Perfumed Gospel: Insights by Philip Jenkins

Exploring the Fascinating History of Senses and Their Impact on Human Experience

Over the past couple of decades, one of the most active and creative fields of historical scholarship has been the history of the senses, focusing on how individuals interact with their environments. Scholars delve into profound questions such as: What did the past sound like, taste like, or smell like? Understanding these sensory experiences provides valuable insights into the cultural and emotional landscapes of past societies, revealing how sensory perceptions shaped daily life and social norms.

One remarkable example of this exploration is the book Moravian Soundscapes by Sarah Justina Eyerly. This work employs a “sonic history” to investigate the Moravian missions in early Pennsylvania, shedding light on the auditory experiences of that time. In addition, the senses have played a considerable role in worship and devotion throughout history, often resulting in intense conflicts within the Christian community—ranging from Iconoclasm to the Reformation and beyond. For those intrigued by this vibrant field, I encourage you to explore the highly selective working bibliography I have published online. Furthermore, studying sensory experiences naturally leads to discussions about individuals with sensory impairments, highlighting the significant contemporary focus on disability within historical research and publications.

Diving Deep into the Sensory Richness of the Gospel of John

In this analysis, I will focus specifically on the Gospel of John, renowned for its sensory-rich narrative style. This gospel uniquely emphasizes themes of sight, vision, and blindness while also incorporating the profound significance of smells within its storytelling. The remarkable use of olfactory imagery in John’s narrative sets it apart from other biblical texts, making it a fascinating subject for examination. Few authors have successfully woven smells into their storytelling as John does, inviting readers to engage with the text on multiple sensory levels. This approach not only enriches the narrative but also provides a deeper understanding of the themes of perception and revelation throughout the gospel.

Unpacking the Historical Context of Smell in Ancient Societies

To grasp the cultural significance of smell in ancient societies, it is essential to recognize the drastically different olfactory worlds in which they existed. Sanitation practices were often inadequate, and communities heavily relied on animals for various aspects of life. The elite, including kings and nobles, distinguished themselves through access to luxurious and expensive oils designed to produce delightful scents. For instance, Psalm 45, likely crafted for a royal coronation, evokes rich sensory imagery:

Thou lovest righteousness, and hatest wickedness: therefore God, thy God, hath anointed thee with the oil of gladness above thy fellows.

All thy garments smell of myrrh, and aloes, and cassia, out of the ivory palaces, whereby they have made thee glad.

The Intricate Relationship Between Smell, Class, and Power Dynamics

Throughout history, the association between smell and social status has been evident. The stark contrast of odors between the hard-working poor and the aristocracy illustrates this point. In modern contexts, discussions around xenophobia and racism are often imbued with imagery of filth, smell, and hygiene, further emphasizing the social implications tied to olfactory perceptions. Additionally, the role of smell in religious practices cannot be understated. Temples that regularly sacrificed animals must have been overwhelming in their odors, necessitating the use of large quantities of incense to mask the unpleasant smells. Those who could afford it often used fragrant products for various purposes, including burials. A valuable resource on this topic is the collection of essays found in The Routledge Handbook of the Senses in the Ancient Near East, edited by Kiersten Neumann and Allison Thomason (Routledge Taylor & Francis, 2022), which showcases a comprehensive range of topics related to sensory studies.

The Profound Spiritual Dimensions of Smell in Religious Texts

The religious significance of smell is poignantly illustrated in the term used for the most honored figure in the Judeo-Christian tradition, the one anointed with fragrant oils from distant lands: the Anointed, or moshiach, the messiah, and the Christos. The act of anointing inherently implies the presence of sweet scents. This leads to the profound realization that “Christians” can be interpreted as “Those Who Follow The Sweet-Smelling One.” When such a king was born, gifts of gold for display, aromatic frankincense for perfumes and incense, and fragrant myrrh for anointing—especially for burial—were offered, further highlighting the sacred nature of smell.

Analyzing the Role of Smell in the Gospel of John

Bringing our focus back to the Gospel of John, it is important to recognize that this text, while spiritually powerful, stands out as one of the most compelling literary works across various religious traditions. The composition of the gospel reflects multiple layers of editing and narrative devices that evoke awe. The intricate use of literary techniques, including thematic echoes and motifs, invites readers to engage deeply with the text. For instance, I previously analyzed a significant literary device known as a doublet, where the imagery of twin coal fires symbolizes Peter’s betrayal and subsequent reconciliation. In this discussion, I will introduce another olfactory doublet, a term I coined to describe moments when one scent recalls and contrasts with another, and I will explore what this reveals about the overall message of the gospel.

Understanding the Narrative of Lazarus and His Sisters in Bethany

In the narrative, we meet the family from Bethany—Mary, Martha, and Lazarus—who provide a rich context for exploring sensory experiences. In the unfolding story, the sisters are aware of Lazarus’s illness and send for Jesus to help. However, by the time Jesus arrives, Lazarus has already been dead for four days. Jesus performs the miraculous act of raising Lazarus from the dead, a miracle that incites anger among the Jews, leading them to plot against Jesus. Shortly thereafter, Jesus returns to their home just before the Passover during which he is destined to perish. In a beautifully profound moment, Mary takes a pound of costly ointment made from pure nard and anoints Jesus’ feet, wiping them with her hair, filling the house with the heavenly fragrance of the ointment (John 12.3). This act is a poignant foreshadowing of Jesus’ approaching death and burial, with the extravagant quantity of ointment emphasizing its significance.

While this story is widely known, John’s presentation of it is notably unique. The introduction of the family begins with a reference to an event that has not yet transpired: “Now a certain man was ill, Lazarus of Bethany, the village of Mary and her sister Martha. It was Mary who anointed the Lord with ointment and wiped his feet with her hair, whose brother Lazarus was ill” (11.2). This narrative strategy creates a curious tension, as the characters of Mary and Martha are introduced without prior context, even though the foot-washing scene follows closely in the text. Some translations, including the NIV, place this line in parentheses, reflecting its seemingly extraneous nature within the narrative flow.

Tracing the Origins of the Anointing Narrative Across the Gospels

Examining the origins of John’s anointing story uncovers the evolution of this particular tradition, which draws upon accounts that had developed over several decades and were elaborated upon by earlier gospel writers. This scene resonates with the “anointing of Jesus” narrative found in the Synoptic gospels, particularly in Mark 14, where it states:

“While he was in Bethany, reclining at the table in the home of Simon the Leper, a woman came with an alabaster jar of very expensive perfume [muron], made of pure nard. She broke the jar and poured the perfume on his head.”

In this account, it is not Judas who expresses shock at the waste, but the bystanders, and Jesus rebukes them similarly. Matthew closely follows Mark’s narrative, while Luke (7.36-50) presents a distinct interpretation:

“When one of the Pharisees invited Jesus to have dinner with him, he went to the Pharisee’s house and reclined at the table. A woman in that town who lived a sinful life learned that Jesus was eating at the Pharisee’s house, so she came there with an alabaster jar of perfume. As she stood behind him at his feet weeping, she began to wet his feet with her tears. Then she wiped them with her hair, kissed them and poured perfume on them.”

Although Luke mentions Mary and Martha in a separate story, it is distinct from the anointing narrative, highlighting the diversity of interpretations across the gospels.

How John’s Narrative Adaptation Enhances the Anointing Story

John’s account, therefore, serves as a culmination of an older tradition where the story of the woman anointing Jesus has evolved, incorporating the act of washing his feet with her hair. This narrative also merges with the stories of the two sisters and foreshadows the events surrounding Lazarus. John’s seemingly extraneous explanatory sentence assumes that his audience is familiar with these earlier gospel accounts, upon which he builds further layers of meaning. He effectively reminds readers of the foot-washing story found in Luke, signaling, “You know these characters? Let me share more about them.” For many readers, the distinct elements of these stories have become so intertwined that it can be challenging to recall their separate origins and intended messages. This blending of narratives is further reinforced by cultural depictions, such as the musical Jesus Christ Superstar, which melds the characters and events into a single narrative thread.

Contrasting Olfactory Imagery in John’s Gospel: Life and Death

The concept of olfactory doublets in John’s narrative is particularly noteworthy, as explicit references to smell are uncommon in the New Testament, typically appearing in a sacrificial context, invoking the image of offerings rising to Heaven. However, in this narrative, John presents two radically contrasting smell images. When Jesus approaches Lazarus’s tomb, he instructs,

Jesus said, Take ye away the stone. Martha, the sister of him that was dead, saith unto him, Lord, by this time he stinketh: for he hath been dead four days.

Modern translations, such as the NIV, adopt a more genteel expression:

“But, Lord,” said Martha, the sister of the dead man, “by this time there is a bad odor, for he has been there four days.”

The Greek phrase used, “ede ozei,” implies a bad smell, making Martha’s concern valid. Immediately following this grim imagery, we encounter a contrasting moment as Mary anoints Jesus, resulting in the house being filled with the delightful fragrance of the ointment (he de oikia eplerotho ek tes osmes tou myrou; ἡ δὲ οἰκία ἐπληρώθη ἐκ τῆς ὀσμῆς τοῦ μύρου).

Understanding the Deeper Significance of Smell in John’s Narrative

John’s unique approach to using smell in a literal and material sense is exceptional; his only mention of ozei in the New Testament is found here, while the term for “fragrance,” osme, appears only in John’s gospel. This contrasts sharply with the Synoptic gospels, which do not delve into the sensory implications of the anointing. The Synoptic accounts focus on the act of anointing without emphasizing the sensory experiences that accompany it. In John’s narrative, the story is enriched with a “prequel,” offering context through the tale of Lazarus, thereby deepening the reader’s engagement with the sensory aspects of the events.

Furthermore, the term “filled” carries profound connotations, often used in the Old Testament to describe God’s glory “filling” the tabernacle. It originates from a verb frequently used across all four gospels in the context of fulfilling prophecies. The contrasting olfactory imagery in John’s narrative serves to highlight two key moments associated with death. In the first instance, Lazarus experiences the natural decay of humanity, symbolized by the stench, which is ultimately transformed through Jesus’ miraculous act, contrasting with the fragrance of the anointing that evokes sacred imagery associated with the Temple and religious practices. The overwhelming scent of the ointment signifies eternal life, effectively overshadowing the stench of death, illustrating how the fragrance of Heaven triumphs over the smell of decay.

In essence, John’s narrative employs these contrasting olfactory images to convey powerful messages of failure, betrayal, triumph, and glory. The juxtaposition of the bad smell preceding the good serves a rhetorical purpose, emphasizing the necessity of experiencing death before encountering the resurrection, even if it requires an editorial addition to indicate events yet to unfold. This invites the reader to contemplate how many more such doublets and parallels exist within the Gospel of John, enriching our understanding of the text.

This post is substantially expanded from one I did here several years ago.