Abstract
The preface to Luke’s Gospel (cf. Lk 1:1–4) has been the object of extensive debate, especially since the publication of the thesis of L. Alexander who maintained that the preface should be treated not so much as historiographic but scientific. For years, therefore, the discussion has been focused on the literary genre of the preface. This article seeks to explore the question, recalling, briefly, the research of the twentieth century up to the present day. It starts out with Cadbury, examines Alexander’s volume, reviews the positions of her critics, and concludes that, although the Oxford scholar highlighted a series of important texts for comparison, her neat opposition between historiographical and scientific prefaces does not stand up to critical control. At this point, there is a re-examination of the ancient examples, comparing them with Luke. Then, Luke’s preface is analysed according to the criteria of narrative analysis, highlighting the text’s many semantic and syntactical ambiguities. A careful philological study shows that many of the preface’s terms and expressions are ambiguous since they support at least two different interpretations. Proceeding as if on shifting sand, the reader has more questions than certainties, but, ironically, he is brought to recognise the truth of the element of faith into which he has been initiated. Why, then, does Luke choose to begin his work in such an ambiguous way? What is the effect on his reader of an initial frame that is so deliberately obscure? The various questions find their complete answer only in the episode of the Emmaus disciples (cf. Lk 24:13–35) where the same logic re-emerges: the reader is brought from lack of recognition to the effective recognition of Jesus in the form of faith.
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