the role of the lukan parables in terms of the purpose of luke's gospel

of Greek historiography, both in general and in detail. These scientific works are as technical
treatises on crafts including medicine, engineering, architecture and philosophy. Scientific
works generally compose of one or two sentences, and by convention have a reference to the
work of predecessors, to the tradition of the subject and to eyewitnesses. In addition, they are
couched in periodic sentences and expressed to some extent in ponderous phraseology with
periphrasis and compound words. In view of the fact that the author’s decision to write is
represented in the vocative, the insertion of the personal pronoun and the final clause with ‘so
that you… ’, the content of Luke’s introduction is typical of scientific tradition. 9 From
another angle, D.P. Moessner argues that, when Hellenistic writers produce alternative
versions of traditions, themes, or periods of history and the like, their references to their own
superior credentials provide the closest parallel to Luke’s preface. Therefore, on the criteria
of contemporary poetics regarding what constitutes good narrative, Luke expresses his
narratives as a worthy and legitimate reconfiguration of many other attempts. In order to
demonstrate these, Moessner focuses only on two terms, as Luke’s
superior credentials and as narrative sequence in Luke 1:3. Ancient Greek authors
of historiography, philosophical essays, and scientific or technical prose and treatises
generally use in their prologue to denote a rationale for and legitimation of
their undertaking. Moreover, Dionysius of Halicarnassus takes note of the role of a
narrative’s sequence () in enhancing clear understanding. That is to say, a narrative
sequence provides a firm understanding of the significance of the events. Just as Hellenistic
authors link the author’s qualifications () for the benefit of the reader, who
follows the superior text to a narrative sequence () for offering a clear understanding,
so Luke also ties his credentials () to a narrative sequence ()
providing a better grasp of the events. 10
In conclusion, it is to some extent clear that Luke employs a literary convention already
widespread in the Greco-Roman world. He seems to follow a well-paved path, embedding a
11
Greek-style prologue in the introduction of his narrative.
9. Alexander, The Preface to Luke’s Gospel: Literary Convention and Social Context in Luke 1:1-4 and Acts 1:1,
42-101, especially 103-106. On the other hand, V.K. Robbins, “Prefaces in Greco-Roman Biography and Luke-
Acts,” SBLSP 14 (1978), 193-207, compares Luke’s introduction with those of Hellenistic biographies. For
more on argument of Hellenistic biography, see Talbert, Literary Patterns, Theological Themes, and the Genre of
Luke-Acts; idem, What Is A Gospel? (Philadelphia: Fortress, 1977).
10. Moessner, “The Appeal and Power of Poetics (Luke 1:1-4),” in Jesus and the Heritage of Israel
(Pennsylvania: Trinity Press International, 1999), 84-123, here 85, 88, 97-98, 109, 112-113.
11. Against this claim, see Bock, “Understanding Luke’s Task: Carefully Building on Precedent (Luke 1:1-4),”
268