An Exegetical Analysis of Mark 6:22: The Dancer and Herod’s Oath
This exegetical study of An Exegetical Analysis of Mark 6:22: The Dancer and Herod’s Oath is based on a b-greek discussion from January 1, 2002. The initial communication saw a participant withdrawing previous contentions regarding Mark 6:22, humorously deferring to the perceived superior wisdom of other contributors. This withdrawal suggests a prior disagreement on a specific point of grammar or interpretation concerning the passage, which had apparently met with skepticism from the named individuals.
The main exegetical issue at the heart of the discussion, as inferred from subsequent contributions, concerns the precise grammatical construction and textual integrity of Mark 6:22, particularly regarding the identity of the dancer mentioned in the text. The core of the debate likely centered on the genitive absolute construction and the pronominal reference to the dancer’s parentage, specifically the choice between αὐτοῦ (his) and αὐτῆς (her) in relation to θυγατρὸς Ἡρῳδιάδος (daughter of Herodias). This seemingly minor textual variant carries significant implications for understanding the narrative’s portrayal of the characters involved and the flow of events leading to John the Baptist’s death.
Greek text (Nestle 1904):
καὶ εἰσελθούσης τῆς θυγατρὸς αὐτοῦ Ἡρῳδιάδος καὶ ὀρχησαμένης ἤρεσεν τῷ Ἡρῴδῃ καὶ τοῖς συνανακειμένοις.
Key differences with SBLGNT (2010):
- Nestle 1904 reads αὐτοῦ (his) referring to Herod’s daughter.
- SBLGNT (2010) reads αὐτῆς (her), which clarifies that it is the daughter of Herodias (Salome), rather than Herod’s direct biological daughter. This reading is preferred by most modern critical editions.
Textual criticism (NA28): The reading αὐτῆς (her) is strongly preferred in modern critical editions such as NA28, based on robust manuscript evidence (e.g., Vaticanus [B], Sinaiticus [א], L, W, Δ, f1, 28). The reading αὐτοῦ (his) in older editions like Nestle 1904 is generally considered a scribal assimilation or a clarifying attempt to make the dancer Herod’s daughter, potentially overlooking the nuanced family relationships. The presence of Ἡρῳδιάδος in apposition to τῆς θυγατρὸς αὐτῆς clarifies that the dancer is Salome, Herodias’ daughter, and thus Herod’s stepdaughter. The NA28 apparatus highlights the significant internal and external support for αὐτῆς, making it the more historically and grammatically plausible reading.
Lexical notes (KITTEL, BDAG):
- εἰσελθούσης (from εἰσέρχομαι): Aorist active participle, genitive singular feminine. BDAG defines εἰσέρχομαι as “to go or come into, enter.” Kittel (TDNT) emphasizes the often significant aspect of “entering into a new sphere or activity.” Here, it marks the commencement of the girl’s appearance.
- θυγατρὸς (from θυγάτηρ): Genitive singular feminine. BDAG defines θυγάτηρ as “a female child, daughter.” In this context, it functions in a genitive absolute construction.
- αὐτῆς (from αὐτός): Genitive singular feminine pronoun. BDAG notes various uses for αὐτός, including a possessive sense (“of her”). Its textual variant with αὐτοῦ is critical for identifying the dancer’s direct parental relationship.
- Ἡρῳδιάδος (from Ἡρῳδιάς): Genitive singular feminine. BDAG identifies Herodias as “daughter of Aristobulus and Bernice.” In Mark 6:22, it stands in apposition to θυγατρὸς αὐτῆς, specifying whose daughter is meant—Herodias’ daughter, Salome.
- ὀρχησαμένης (from ὀρχέομαι): Aorist active participle, genitive singular feminine. BDAG: “to move the body rhythmically and usually to music, dance.” Like εἰσελθούσης, it is part of the genitive absolute, describing an action simultaneous with or immediately subsequent to her entry.
- ἤρεσεν (from ἀρέσκω): Aorist active indicative, third person singular. BDAG: “to gain the approval of, please.” Kittel (TDNT) discusses its use in secular and religious contexts, often implying an action that finds favor or contentment. Here, it signifies Herod’s satisfaction with the dance.
- Ἡρῴδῃ (from Ἡρῴδης): Dative singular masculine. BDAG: “Herod.” Refers to Herod Antipas, to whom the dance was pleasing.
Translation Variants
The core grammatical structure under scrutiny is the genitive absolute: εἰσελθούσης τῆς θυγατρὸς αὐτῆς Ἡρῳδιάδος καὶ ὀρχησαμένης. This construction provides background or circumstantial information, often indicating a temporal or causal relationship. In this verse, it clearly sets the stage for Herod’s reaction. The use of two conjoined participles (εἰσελθούσης and ὀρχησαμένης) emphasizes a sequence of actions: first her entry, then her dance. Rhetorically, the text deliberately highlights the dancer’s identity as “the daughter of Herodias” (Salome), framing the performance as an act stemming from Herodias’s influence, ultimately leading to John the Baptist’s demise. The preference for αὐτῆς over αὐτοῦ in critical editions clarifies that the dancer is Herodias’s daughter, not Herod’s own (biological) daughter, a distinction vital for accurate historical and familial context within the Herodian dynasty. The verb ἤρεσεν succinctly conveys the strong positive reaction of Herod, which sets in motion the tragic chain of events, underscoring the power of the performance.
Conclusions and Translation Suggestions
The exegetical analysis of Mark 6:22 reveals that the textual variant concerning the possessive pronoun (αὐτοῦ vs. αὐτῆς) is central to correctly identifying the dancer and understanding the family dynamics. Modern scholarship strongly favors αὐτῆς, indicating the dancer was Herodias’s daughter, Salome. The genitive absolute construction effectively establishes the scene, leading to Herod’s fateful promise. Accurate translation must convey these nuances.
- “And when the daughter of her, Herodias, entered and danced, she pleased Herod and those reclining with him.”
This translation is very literal, retaining the genitive apposition “daughter of her, Herodias,” which correctly identifies Salome as Herodias’s daughter.
- “And when Herodias’s daughter came in and performed her dance, she delighted Herod and his dinner guests.”
This option offers a more idiomatic rendering in English, directly identifying the dancer as Herodias’s daughter and using “performed her dance” for natural flow.
- “Then, after Herodias’s daughter entered and danced, it pleased Herod greatly, along with those who were feasting with him.”
This translation emphasizes the temporal sequence more explicitly with “after,” and uses “pleased Herod greatly” to capture the impact of ἤρεσεν, while specifying “feasting with him” for context.