The light/dark dualism are also common within Greek writings, and Paul especially uses them a lot, probably reflecting his Greek education. Therefore, that approach can be viewed as being both quite Jewish or/and quite a reflection of Hellenization.
Yeah, the light/dark imagery is shared between John's gospel and some of the Pauline epistles (mainly those to the Thessalonians, Corinthians, Philippians and also in the deutero-Pauline Ephesians (which was probably written by a disciple of Paul) and Colossians (which Paul didn't write but again someone belonging to his school did)) which not coincidentally are the most mystically-inclined of the New Testament literature.
Paul refers to this pneumatic (spiritual) 'wisdom' tradition in his letters: "Yet among the mature we do speak wisdom, though it is not a wisdom of this age or of the rulers of this age, who are doomed to perish. But we speak God’s wisdom, secret and hidden, which God decreed before the ages for our glory" (1 Corinthians 2:6-7);
"Therefore do not pronounce judgment before the time, before the Lord comes, who will bring to light the things now hidden in darkness and will disclose the purposes of the heart" (1 Corinthians 4:5);
"for you are all sons of light and children of the day; we are not of the night or of darkness" (1 Thessalonians 5:5);
"For it is the God who said, “Let light shine out of darkness,” who has shone in our hearts to give the light of the knowledge of the glory of God in the face of Jesus Christ." (2 Corinthians 4:6).
So, we know that it was extant and known among the early Christian communities in Corinth even in the 50s CE (which is when the first 'proto-gospel of John' or 'signs source' is thought to have been potencially written, many decades before the actual composite, edited text we have now). These were mixed Jewish-Gentile communities that had grown out of synagogues and met in house churches. The majority of these 'Christians', at that point, appear to have been diaspora Jews with a large and rapidly growing cohort of goyim "God-Fearers" θεοσεβεῖς, Theosebeis (or 'Noahides' as they are known today) whom Paul saw himself as appointed by God to evangelize, in addition to the pagan Gentiles.
Mark and Matthew, evidently, weren't very interested at all in this 'dimension' of the early Jesus oral tradition. The light/dark is pretty much absent from their gospels as a major theme.
In John, it becomes the major theme (or, at least, one of the primary thematic elements) underpinning his entire argument in the text.
When Rudolf Bultmann first discussed the light/dark dualism inherent to John, in the 1900s, the Qumran texts had not yet been discovered and translated from the Hebrew - so it was natural and understandable for exegetes to assume that this kind of language was of hellenistic vintage.
Now, however, we have a large body of pre-Christian Jewish texts which are similarly obsessed with this theme. Moreover, this sect used the mystical 'light/dark' in an eschatological and messianic context, just like Paul and John did.
Compare with the Qumran texts:
War of the Sons of Light Against the Sons of Darkness - Wikipedia
The War of the Sons of Light Against the Sons of Darkness, also known as War Rule, Rule of War and the War Scroll, is a manual for military organization and strategy that was discovered among the Dead Sea Scrolls. The manuscript was among the scrolls found in Qumran Cave 1, acquired by the Hebrew University of Jerusalem and first published posthumously by Eleazar Sukenik in 1955.[1]
In the Community Rule (1QS), for example, the theme of a binary opposition between Light and Dark can be seen. Both include dualistic blessing and cursing liturgies
In the Community Rule (1QS), for example, the theme of a binary opposition between Light and Dark can be seen. Both include dualistic blessing and cursing liturgies
Songs of the Sabbath Sacrifice - Wikipedia
The Songs of the Sabbath Sacrifice, also referred to as the Angelic Liturgy, are a series of thirteen songs, one for each of the first thirteen Sabbaths of the year, contained in fragments found among the Dead Sea Scrolls. The Songs were found in 10 fragmentary copies: nine at Qumran (4Q400–407; 11Q17) and one at Masada.
The Songs describe worship around the throne of God in the heavenly realms. Reference is made to angelic tongues. Throughout the thirteen songs there is everything ranging from accounts of how the angels lead their prayer service in the temple on high to detailed descriptions of the inner throne room where the presence of God and the other god-like beings reside. The scrolls can be categorized into three larger sections: 1–5, 6–8, 9–13. (Wise, Abegg, Cook 1994:350–76) The first section is badly fragmented, but seems to be centered on descriptions of the heavenly priests and their practices. The second section is concerned with the praises and blessings offered by the seven orders of angels, with the seventh song functioning as a peak of the series of thirteen. The final section offers descriptions of the heavenly temple, throne room, and throne (merkavah) of God.
The text seems to have been written with imagery from sources like Ezekiel, Isaiah, Exodus, and 1 Enoch (Schiffman 1994:351–60). The text invokes lofty imagery of angels, god-like beings, and intense descriptions of the heavenly throne...If these songs were used by an entire congregation, then the entire group would be chanting and singing these in unison, thus creating a mystical experience
Visions of Amram - Wikipedia
Visions of Amram, also referred to as 4Q543-549, is a collection of five extremely fragmented copies found in Qumran cave 4. In 1972, Jozef T. Milik published a significant fragment of the Visions of Amram.[1]
It is relatively certain that Visions of Amram originated well before the scribes of Qumran, and likely existed beyond this community.[3] Nevertheless, based on the evidence of multiple copies found fragmented in cave 4, this text appears to have been significant to the people of Qumran.[9] Although never explicitly referenced in Qumran sectarian literature,[1] Amram's vision reflects prominent themes, such as dualism, which were cornerstone to the Qumran beliefs.
Dualism in the Qumran community is defined by the belief in a divine predetermined plan, which offers two ways of existence. On one end of the spectrum lies goodness and light and on the other, darkness and evil. These sides are in continuous combat, but in the end God will determine ultimate victory to the Sons of Light.[10] Terms used in Visions of Amram, such as Sons of Light and Sons of Darkness, are also reflected throughout Qumran Sectarian literature. The Vision of Amram depicts a scene of two divine figures who claim to rule all humanity. These figures are extensively reflected in significant Qumran literature, such as the Community Rule, where the theme of dualism is prominent.[10] This extremely fragmentary piece of literature, given its early origins, could have had huge implications on the way dualism developed in Qumran.
It is evident to me that the reliance upon this theme in the New Testament is heavily tinged with some of the same theological suppositions of the pre-Christian Qumran Jews.The Songs describe worship around the throne of God in the heavenly realms. Reference is made to angelic tongues. Throughout the thirteen songs there is everything ranging from accounts of how the angels lead their prayer service in the temple on high to detailed descriptions of the inner throne room where the presence of God and the other god-like beings reside. The scrolls can be categorized into three larger sections: 1–5, 6–8, 9–13. (Wise, Abegg, Cook 1994:350–76) The first section is badly fragmented, but seems to be centered on descriptions of the heavenly priests and their practices. The second section is concerned with the praises and blessings offered by the seven orders of angels, with the seventh song functioning as a peak of the series of thirteen. The final section offers descriptions of the heavenly temple, throne room, and throne (merkavah) of God.
The text seems to have been written with imagery from sources like Ezekiel, Isaiah, Exodus, and 1 Enoch (Schiffman 1994:351–60). The text invokes lofty imagery of angels, god-like beings, and intense descriptions of the heavenly throne...If these songs were used by an entire congregation, then the entire group would be chanting and singing these in unison, thus creating a mystical experience
Visions of Amram - Wikipedia
Visions of Amram, also referred to as 4Q543-549, is a collection of five extremely fragmented copies found in Qumran cave 4. In 1972, Jozef T. Milik published a significant fragment of the Visions of Amram.[1]
It is relatively certain that Visions of Amram originated well before the scribes of Qumran, and likely existed beyond this community.[3] Nevertheless, based on the evidence of multiple copies found fragmented in cave 4, this text appears to have been significant to the people of Qumran.[9] Although never explicitly referenced in Qumran sectarian literature,[1] Amram's vision reflects prominent themes, such as dualism, which were cornerstone to the Qumran beliefs.
Dualism in the Qumran community is defined by the belief in a divine predetermined plan, which offers two ways of existence. On one end of the spectrum lies goodness and light and on the other, darkness and evil. These sides are in continuous combat, but in the end God will determine ultimate victory to the Sons of Light.[10] Terms used in Visions of Amram, such as Sons of Light and Sons of Darkness, are also reflected throughout Qumran Sectarian literature. The Vision of Amram depicts a scene of two divine figures who claim to rule all humanity. These figures are extensively reflected in significant Qumran literature, such as the Community Rule, where the theme of dualism is prominent.[10] This extremely fragmentary piece of literature, given its early origins, could have had huge implications on the way dualism developed in Qumran.
When the Dead Sea Scrolls were published in the 1960s, it completey overturned Johannine and Pauline scholarship.
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