Rhoover60 wrote:Wes Wood wrote:Rhoover60 wrote:It looks to me like the Ἰησοῦν τὸν Ναζωραῖον in vs. 22 is the direct object of ἀνείλατε at the end of vs. 23.
If pressed, I would say that the direct object of ἀνείλατε is τοῦτον, but I would also be the first to admit that I don't see much difference between the labels.
I think the repetition Ἰησοῦν...τοῦτον makes it clear that there is grammatical emphasis,
I think the repetition Ἰησοῦν... τοῦτον makes it clear that there is grammatical emphasis,
Thanks for your response, Wes. I had noticed the τοῦτον and figured that it referenced back to Ἰησοῦν.
The τοῦτον picks things up again after the parenthetic καθὼς αὐτοὶ οἴδατε.
The emphasis comes from being the first thing - the topic of discussion, and from being the last thing mentioned - the specific point being made. In this case there the beginning is itself picked up in three endings (final statements). In other words, the general topic of this passage is also the specific point. Common, sober, and serious narrative structure in Koine Greek is quite similar to the pattern and structure of racey / fast-paced of joke-telling in English, so I will intersperse a pseudo-joke - one that's not really funny, but which I will make up in a parallel structure, to show how the one beginning comes to the three endings. I wish I could put it into three columns for you, but such is the nature of the medium here;
Ἄνδρες Ἰσραηλῖται, ἀκούσατε τοὺς λόγους τούτους. - an opening statement of the topic - "The following words are for you". (Three doctors walk into a pub - a sugeon, an anaesthetist and cosmetic surgeon)
Ἰησοῦν τὸν Ναζωραῖον - The general topic of what is said (they see Jack), ἄνδρα a slightly specific piece of information (a bloke) ⸂ἀποδεδειγμένον ἀπὸ τοῦ θεοῦ⸃ a more specific piece of information (coming on this medical walking frame)
εἰς ὑμᾶς a punchline (right over to them) δυνάμεσι καὶ τέρασι καὶ σημείοις (with all sorts of limping, swaying and tapping) οἷς the relative clause begins a dicursive explicative or explanational statement about what went on outside the temporal (or other) reference framework of the joke - the half-time break, in which we the listeners (players) relax, before going out again to tackle the opposing teams heads into the ground again with added fury ἐποίησεν διʼ αὐτοῦ ὁ θεὸς (which the leg made as he walked)
ἐν μέσῳ ὑμῶν a giggle or emotionally engaged moment (right up to the three), ⸀
καθὼς αὐτοὶ οἴδατε (then they recognised who he was), 23 τοῦτον a reference back to a person or event in the first half (it was the guy to whom) τῇ ὡρισμένῃ βουλῇ καὶ προγνώσει τοῦ θεοῦ ⸀ἔκδοτον διὰ ⸀χειρὸς ἀνόμων the quickly spoken not-really-needs-to-be-understood phrase which is shown in some action movies as an ultra slow motion bullets-in-the-air split second of calm before the rage and mayhem (by some quirk of inventory system mismanagement, budgetary cutbacks or paperwork bungling, )
προσπήξαντες ἀνείλατε the third and final climax and punchline of the joke (they had affixed a prostetic arm),
In Greek, it is not a joke. It's just coincidental that the way serious things are structured in Greek is very close to the way this guilt laying speech is structured. If you are looking for emphasis in the Greek, look for the giggles or moments of heighened awareness in the joke that I've written out in parallel. To translate this text-type into a suitable form of subject matter, we would have to make some changes, according to the norms of the target language.