‘Jesus I Know and Paul I Know. But Who Are You?’
Comparative commentary by Rebecca Dean
Acts 19 recounts Paul’s missionary adventures in and around Ephesus. A series of short, self-contained stories are linked together throughout this chapter. They are geographically connected, but they also share some common themes—chiefly, perhaps, that of authentic discipleship.
The section begins with Paul’s discovery of a group of twelve disciples who have only heard part of the Christian story: they have taken on board John the Baptist’s call to repentance but have not yet received the life-changing gift of the Holy Spirit. A little later, we read about seven exorcists who also think they have understood the Christian message and who attempt to use the name of Jesus to cast out an evil spirit. They learn the hard way that their understanding was only partial. As Willie James Jennings writes, ‘[T]hey discerned power instead of presence and did not sense the ecology of touch and relationship that moved in and through Paul and these disciples’ (2017: 186).
The embodied, relational faith depicted in the Acts of the Apostles can be easy to overlook, but it is this idea that is highlighted in Angu Walters’ painting The Evening Prayer II. This lively image also captures something of the dynamism of Acts 19. The chapter is set in the bustling city of Ephesus, famous for its temple dedicated to the goddess Artemis (the Roman goddess Diana), which was one of the seven wonders of the ancient world. The temple functioned as a financial centre where people could obtain loans and deposit money, with its priests functioning as protectors of this wealth (Brinks 2009: 782). Worship, wealth, and social affiliations are deeply entangled within such spaces, and authentic religious devotion must be carefully discerned. However, authentic faith is not confined to ‘set apart’ spaces, as can be seen from Paul’s relocation from the synagogue to a public lecture hall belonging to the interestingly named Tyrannus (‘tyrant’) (Acts 19:9). The Christian God is at work, right in the midst of things.
The final third of Acts 19 is focused upon the discord between the Christian missionaries, led by Paul the tentmaker (see Acts 18:3), and the Ephesian devotees of Artemis, headed up by Demetrius the silversmith. Here are two artisans, both utilizing their skills in the service of their religion. Yet Demetrius is presented as being primarily concerned with the protection of his own income (19:25), while Paul’s generous and selfless service of the living God is underscored (vv.21, 30).
Consideration of the Pieter Coecke van Aelst tapestry foregrounds these questions of motive. While the vibrancy of this object makes an interesting contrast with the usually ‘polite’ and ‘tame’ biblical tapestries of the era (Alberge 2018), it is its possible symbolism within the context of the English Reformation that has generated the most discussion. The events of this period raise serious questions about censorship, religious freedom, and the use and abuse of religious authority, and as such the tapestry represents a challenging lens through which the biblical passage can be re-examined.
With its assertion of the superiority of Christianity over the religion of the Ephesian natives and its apparent celebration of the politically and historically complex act of book burning, this chapter does not always make comfortable reading. This discomfort may be compounded further by the mention of items of clothing that heal the sick (vv.12–13) and of evil spirits and exorcism attempts (vv.13–16). There is much in this account that may seem strange to many contemporary readers.
This sense of discomfort and uncertainty is profoundly captured in the painting by Norman Lewis. His depictions of ritual and procession have often confounded interpreters because of the ambiguity and even ambivalence that can be found within them. Art historian Ann Gibson suggests that such ambiguity should not be seen as a problem but rather as a ‘purposeful theme’ and a ‘strategy’ in Lewis’s negotiation of complex layers of meaning (1998: 41).
These are sentiments that may also serve as a helpful guide to readers of Acts. If we are able to sit with the questions and the emotions that this chapter generates, we may find a portrayal of authentic discipleship that is far richer and more nuanced than many interpreters have allowed.
References
Alberge, Dalya. 2018. ‘Lost Henry VIII Tapestry Rediscovered in Spain to Go on Display for First Time, 22 September 2018, www.telegraph.co.uk
Brinks, C. L. 2009. ‘“Great Is Artemis of the Ephesians”: Acts 19:23–41 in Light of Goddess Worship in Ephesus’, The Catholic Biblical Quarterly 71.4: 776–94
Gibson, Ann Eden. 1998. ‘Diaspora and Ritual: Norman Lewis’s Civil Rights Paintings’, Third Text 13.45: 29–44
Jennings, Willie James. 2017. Acts: A Theological Commentary on the Bible (Louisville, Kentucky: Westminster John Knox Press)