Alexander Loney, «Narrative Structure and Verbal Aspect Choice in Luke.», Vol. 18 (2005) 3-31
In order to represent the actions of past-time narrative, Luke can choose
to employ either the aorist or the imperfect tense, that is, either the perfective
or the imperfective aspect. By selecting one tense over the other Luke
manipulates verbal aspect to give organization to his episodic narrative and
to create contrastive prominence (enargeia) within individual pericopes. In
this way, he follows in the tradition of his historiographical predecessors
–most notably Thucydides– who, through their subtle play with verbal aspect,
composed narratives concerned with at once the factual representation
of the past and their own contemporary, didactic purposes.
22 Alexander C. Loney
dialogue are sparse, consisting of only essential elements of the narrative.
Thus already the principle of prominence is displayed in just what events
and dialogue have been selected to be recorded, since an episode that
occurs for over 40 days, with the intimacy of Jesus alone in the wilderness
or in personal dialogue with one other person, and which spans settings
high and low, in the wild and in the city of Jerusalem, is relatively con-
strained in its expression by the mere 15 verses allotted it. Consequently,
every item in the text is presupposed to have a high degree of saliency.
Still, as a narrative, it does have an internal structure marked by aspect
choice, connectives, particles, and adverbial phrases.
Beginning from the top down, we see that perfective forms, both as
finite verbs and as participles, dominate this passage. In vv. 1-15, if we
ignore the verbs within direct speech, which are recorded as though
spoken at the internal present moment of speaking and thus not directly
relevant to an analysis of the recording past-time events, there are 15
finite perfective forms, five aorist participles, two finite imperfects, and
two imperfective participles. Secondly, we see that the passage has a
chiastic structure60. It begins (1) and ends (14) with Jesus turning from
one place and moving into another with the Holy Spirit. As discussed in
greater length above, these “brackets†of verbs of motion are the leading
part of a cadential formula. In the next layer of the episode’s chiastic
structure, there are general statements about the devil’s temptation (v.
2: “being tested for forty days by the devil†and v. 13: “having finished
every temptation, the devil left him…â€). The innermost layer consists of
three temptations by the devil, each refuted by Jesus with a reference to
a narrow section of the Pentateuch (Deut 6,13 – 8,3), and with the final
temptation highlighted against the first two by its introduction with the
discontinuous particle δ , where the first two were joined with the more
continuous, unmarked particle κα .
The dominance of the perfective forms, particularly in vv. 2b-14,
indicates that the passage is concerned with the transcription of events
as facts. This formal perfective predominance, taken along with the lack
of imperfective forms, indicates that Luke had little need to demarcate a
background category, either because Luke chose to record few events that
would ipso facto be characterized as background or because he willfully
chose to record most events, irrespective of their nature, as foreground.
Regardless of the grounds for Luke’s application of a dominant foreground
level of discourse, this section appears to conform to the principles of
60
Chiasmus or inclusio is a well-documented feature of Lukan style, of which these
cadential formulas play a part. On inclusio in Luke, see Goulder, Luke, 92.