Daniel Mahar on his Reconstruction of the Marcionite canon

I must confess to enjoying "experimental" translations of the New Testament material, the various, numerous versions which range from ultra-literal to free to expanded versions torturously broken down according to Greek grammar and/or to prevading theological perspectives.

I've seemed to have reached a point - personally - where piecing the bare bones of the Marcionite Gospel in a literal attempt toward its reconstruction quite simply doesn't do it full justice. The result of doing so is even less satisfying if taking for granted the order of citations conveyed through the Church Fathers, who would most likely and most naturally -in holding the opinion that their text was superior to Marcion's- would have quoted Marcionite variants in the course of following the order of their own scriptures. The arrangement of this material in Marcion's text must have been more crucial toward accentuating his interpretation (or even it's
caricature if such be the case); I think attempts toward reshuffling the Gospel material - at pulling out some the stops, may be beneficial, if putting on the mind of an ancient Christian (to the best as one can bring to life in their own minds), who interpreted and filtered their ideas back into the text no less
than the prevailing traditions have done.

Perhaps my recent endeavor toward reconstructing the Gospel is more a "simulation" of a Marcionite text than a proper reconstruction/ translation. Approached thiss way, ancient witnesses relating to Marcion are handled more a guide than a rule.

I now disagree with the opening of my older online reconstruction. I prefer the more minimalist tone, as opposed to my influence from other reconstructions which grandly pronounce "In the fifteenth year of Tiberius Caesar, Jesus Christ, the Son of God,
descended from heaven..."

From influence of the Syrian Marcionite motif of "The Stranger", I think Tertullian actually had it right:

"In the Fifteenth year of Tiberius...
He descended."
He appeared at Kaphernakhum,
a village in Galilee.
He taught them in their synagogue
on their sabbath."

This goes on for several passages- He, "The Stranger" is never identified or named - until only the demons invoke His name, though mistaking Him for "The Angel of Jehovah", and/or perhaps for their commonality state of being spirit-beings.

But prior to the demonic in the synagogue, He must have began with a teaching (displaced in the orthodox version and relocated in the orthodox "Luke" to another place of no critical significance), which riled up all those in the synagogue. I suspect that it may have been the parable of "old bottles/new wine", and/or sewing a new patch on an old wineskin. Perhaps ending with, "The New will not perfect the Old."

Considering that these passages are oft attributed to Marcion initiating his legendary confrontation with the Church elders at Rome. Might Marcion had been
imitating the commencement teachings of his angelic "Lord"?

Further on, I must confess, Stephan, in gratefulness to your fantastic work on this sbject - the so-called "Sermon on the Mount" (which I locate to "the sea") is
appearing more and more to me like instructions for martyrs - and less and less as "golden rule" notions for which others (including myself) have mistaken.

When Jesus (Luke 6:31) in effect says "Do unto others have you would have them do to (or 'for') you", I am of the present opinion that a critical line has been omitted prior to it: "You have heard it said..." Because that passage, without it, within that context of enduring tortures and abuses at the hands of one's "enemies", does not work here!

For if one does only for those who does for them, "(to) what amounts your righteousness?" (not "good" or "goodness" as the orthodox versions)
Even sinners do the same!

SO a small "simulation" of how I think Marcion's text might have read, as opposed to restricting myself to playing with the few dead bones and scraps passed down to us. It's good to push a few boundaries, take a few chances, even should one not turn out entirely correct. We may approach this material just as much as artists and poets as scholars. And hope to achieve a reasonable balance in the process... :)