‘Skene’ simply means ‘a tent’; but if matters were as simple as that, this would be a very short study. In fact, this word in scripture, and particularly in the NT, came to acquire a range of metaphorical and symbolic meanings which make it a fascinating word to examine. It is also the head of a small family of words, related nouns and verbs, which we shall also look at. The English derivatives, ‘scene’ and ‘scenery’ (but not ‘obscene’) owe their existence to Greek theatre, and the Greek word itself in turn seems to be derived from the word ‘skia’, meaning ‘shade’ or ‘shelter’ – a word we will encounter later. Before Greek drama developed into the tragedies for which it is most famous, and was staged in the magnificent theatres whose remains are still today tourist attractions throughout the Hellenic world, it seems that it consisted of essentially religious ceremonies, choric hymns in honour of the gods connected by priestly narrations of their exploits. These would be staged on temporary wooden platforms, perhaps with some kind of ‘skia’ erected over them as a covering. This structure was called a ‘skene’, and the word was carried over into the permanent theatres when drama became a regular feature of Greek civic culture. It now came to refer not to the stage but to the rear wall of the theatre, which was itself unchanging, though ‘scenery’ could be added to it , in the form of temporary screens or structures, as the setting of the play required. There is, I think, no suggestion at all that any of the 20 uses of ‘skene’ in the NT owes anything to this theatrical background. Nevertheless, the history of the Greek ‘skene’, with its development from something essentially temporary and moveable into a fixed and permanent theatre, and yet retaining elements of its former self, is remarkably parallel to the history of the biblical ‘skene’. Furthermore, the paradox that what we see taking place on the ‘skene’ of a theatre appears to be real but in fact is only an imitation – or a shadow – of true reality is one that will feature largely in this study.
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- Cary Gilbart-Smith
- I am a Greek teacher who wants Bible teachers, preachers and readers to get to grips with New Testament Greek. Feel free to respond to any entry and then I will respond promptly to any questions about NT Greek words.
Tuesday, 20 December 2011
SKENE: Introduction - Greek Theatre
‘Skene’ simply means ‘a tent’; but if matters were as simple as that, this would be a very short study. In fact, this word in scripture, and particularly in the NT, came to acquire a range of metaphorical and symbolic meanings which make it a fascinating word to examine. It is also the head of a small family of words, related nouns and verbs, which we shall also look at. The English derivatives, ‘scene’ and ‘scenery’ (but not ‘obscene’) owe their existence to Greek theatre, and the Greek word itself in turn seems to be derived from the word ‘skia’, meaning ‘shade’ or ‘shelter’ – a word we will encounter later. Before Greek drama developed into the tragedies for which it is most famous, and was staged in the magnificent theatres whose remains are still today tourist attractions throughout the Hellenic world, it seems that it consisted of essentially religious ceremonies, choric hymns in honour of the gods connected by priestly narrations of their exploits. These would be staged on temporary wooden platforms, perhaps with some kind of ‘skia’ erected over them as a covering. This structure was called a ‘skene’, and the word was carried over into the permanent theatres when drama became a regular feature of Greek civic culture. It now came to refer not to the stage but to the rear wall of the theatre, which was itself unchanging, though ‘scenery’ could be added to it , in the form of temporary screens or structures, as the setting of the play required. There is, I think, no suggestion at all that any of the 20 uses of ‘skene’ in the NT owes anything to this theatrical background. Nevertheless, the history of the Greek ‘skene’, with its development from something essentially temporary and moveable into a fixed and permanent theatre, and yet retaining elements of its former self, is remarkably parallel to the history of the biblical ‘skene’. Furthermore, the paradox that what we see taking place on the ‘skene’ of a theatre appears to be real but in fact is only an imitation – or a shadow – of true reality is one that will feature largely in this study.
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