15:1 {All the publicans and sinners} (pantes hoi telōnai kai hoi
hamartōloi). The two articles separate the two classes (all the
publicans and the sinners). They are sometimes grouped together
(5:30; Mt 9:11), but not here. The publicans are put on the
same level with the outcasts or sinners. So in verse 2 the
repeated article separates Pharisees and scribes as not quite
one. The use of "all" here may be hyperbole for very many or the
reference may be to these two classes in the particular place
where Jesus was from time to time.
15:2 {Both ... and} (te ... kai). United in the complaint.
{Murmured} (diegogguzon). Imperfect active of diagogguzō,
late Greek compound in the LXX and Byzantine writers. In the N.T.
only here and Lu 19:7. The force of dia here is probably
between or among themselves. It spread (imperfect tense) whenever
these two classes came in contact with Jesus. As the publicans
and the sinners were drawing near to Jesus just in that
proportion the Pharisees and the scribes increased their
murmurings. The social breach is here an open yawning chasm.
{This man} (houtos). A contemptuous sneer in the use of the
pronoun. They spoke out openly and probably pointed at Jesus.
{Receiveth} (prosdechetai). Present middle indicative of the
common verb prosdechomai. In 12:36 we had it for expecting,
here it is to give access to oneself, to welcome like hupedexato of Martha's welcome to Jesus (Lu 10:38). The
charge here is that this is the habit of Jesus. He shows no sense
of social superiority to these outcasts (like the Hindu
"untouchables" in India).
15:3 {This parable} (tēn parabolēn tautēn). The Parable of the
Lost Sheep (15:3-7). This is Christ's way of answering the
cavilling of these chronic complainers. Jesus gave this same
parable for another purpose in another connection (Mt
18:12-14). The figure of the Good Shepherd appears also in Joh
10:1-18. "No simile has taken more hold upon the mind of
Christendom" (Plummer). Jesus champions the lost and accepts the
challenge and justifies his conduct by these superb stories. "The
three Episodes form a climax: The Pasture--the House--the Home;
the Herdsman--the Housewife--the Father; the Sheep--the
Treasure--the Beloved Son" (Ragg).
15:4 {In the wilderness} (en tēi erēmōi). Their usual
pasturage, not a place of danger or peril. It is the owner of the
hundred sheep who cares so much for the one that is lost. He
knows each one of the sheep and loves each one.
15:5 {On his shoulders} (epi tous ōmous autou). He does it
himself in exuberant affection and of necessity as the poor lost
sheep is helpless. Note the plural shoulders showing that the
sheep was just back of the shepherd's neck and drawn around by
both hands. The word for shoulder (ōmos) is old and common, but
in the N.T. only here and Mt 23:4.
15:6 {Rejoice with me} (suncharēte moi). Second aorist passive
of sunchairō, an old and common verb for mutual joy as in Php
2:17f. Joy demands fellowship. Same form in verse 9. So the
shepherd {calls together} (sunkalei, note sun again) both his
friends and his neighbours. This picture of the Good Shepherd has
captured the eye of many artists through the ages.
15:7 {Over one sinner that repenteth} (epi heni hamartōlōi
metanoounti). The word sinner points to verse 1. Repenting is
what these sinners were doing, these lost sheep brought to the
fold. The joy in heaven is in contrast with the grumbling
Pharisees and scribes.
15:8 {Ten pieces of silver} (drachmas deka). The only instance
in the N.T. of this old word for a coin of 65.5 grains about the
value of the common dēnarius (about eighteen cents), a quarter
of a Jewish shekel. The double drachma (didrachmon) occurs in
the N.T. only in Mt 17:24. The root is from drassomai, to
grasp with the hand (1Co 3:19), and so a handful of coin. Ten
drachmas would be equal to nearly two dollars, but in purchasing
power much more.
15:9 {Her friends and neighbours} (tas philas kai geitonas).
Note single article and female friends (feminine article and philas). Heōs hou eurēi here as in verse 4, only hou
added after heōs (until which time) as often.
15:10 {There is joy} (ginetai chara). More exactly, joy arises.
Futuristic present of ginomai (cf. estai in verse 7).
15:11 {Had} (eichen). Imperfect active. Note echōn (verse
4), echousa (verse 8), and now eichen. The
self-sacrificing care is that of the owner in each case. Here
(verses 11-32) we have the most famous of all the parables of
Jesus, the Prodigal Son, which is in Luke alone. We have had the
Lost Sheep, the Lost Coin, and now the Lost Son. Bruce notes that
in the moral sphere there must be self-recovery to give ethical
value to the rescue of the son who wandered away. That comes out
beautifully in this allegory.
15:12 {The portion} (to meros). The Jewish law alloted one-half
as much to the younger son as to the elder, that is to say
one-third of the estate (De 21:17) at the death of the father.
The father did not have to abdicate in favour of the sons, but
"this very human parable here depicts the impatience of home
restraints and the optimistic ambition of youth" (Ragg).
15:13 {Not many days after} (met' ou pollas hēmeras).
Literally, after not many days. Luke is fond of this idiom (7:6;
Ac 1:5).
15:14 {When he had spent} (dapanēsantos autou). Genitive
absolute. The verb is here used in a bad sense as in Jas 4:3.
See on dapanē ŻLu 14:28.
15:15 {Joined himself} (ekollēthē). First aorist passive of kollaō, an old verb to glue together, to cleave to. In the N.T.
only the passive occurs. He was glued to, was joined to. It is
not necessary to take this passive in the middle reflexive sense.
{The citizens} (tōn politōn). Curiously enough this common word
citizen (politēs from polis, city) is found in the N.T. only
in Luke's writings (15:15; 19:14; Ac 21:39) except in He 8:11
where it is quoted from Jer 38:34.
15:16 {He would fain have been filled} (epethumei
chortasthēnai). Literally, he was desiring (longing) to be
filled. Imperfect indicative and first aorist passive infinitive. Chortasthēnai is from chortazō and that from chortos
(grass), and so to feed with grass or with anything. Westcott and
Hort put gemisai tēn koilian autou in the margin (the Textus
Receptus).
15:17 {But when he came to himself} (eis heauton de elthōn). As
if he had been far from himself as he was from home. As a matter
of fact he had been away, out of his head, and now began to see
things as they really were. Plato is quoted by Ackerman
("Christian Element in Plato") as thinking of redemption as
coming to oneself.
15:18 {I will arise and go} (anastas proreusomai). This
determination is the act of the will after he comes to himself
and sees his real condition.
15:19 {No longer worthy} (ouketi axios). Confession of the
facts. He sees his own pitiful plight and is humble.
15:20 {To his father} (pros ton patera heautou). Literally, to
his own father. He acted at once on his decision.
15:21 The son made his speech of confession as planned, but it is
not certain that he was able to finish as a number of early
manuscripts do not have "Make me as one of the hired servants,"
though Aleph B D do have them. It is probable that the father
interrupted him at this point before he could finish.
15:22 {The best robe} (stolēn tēn prōtēn). Stolē is an old
word for a fine stately garment that comes down to the feet (from stello, to prepare, equip), the kind worn by kings (Mr 16:5;
Lu 22:46). Literally, "a robe the first." But not the first that
you find, but the first in rank and value, the finest in the
house. This in contrast with his shabby clothes.
15:23 {The fatted calf} (ton moschon ton siteuton). The calf
the fatted one. Siteuton is the verbal adjective of sileuō,
to feed with wheat (sitos). The calf was kept fat for festive
occasions, possibly in the hope of the son's return.
15:24 {And is alive} (kai anezēsen). First aorist active
indicative of anazaō, to live again. Literally, he was dead and
he came back to life.
15:25 {As he came and drew nigh} (hōs erchomenos ēggisen). More
exactly, "As, coming, he drew nigh," for erchomenos is present
middle participle and ēggisen is aorist active indicative.
{Music} (sumphōnias). Our word "symphony." An old Greek word
from sumphōnos (sun, together, and phōnē, voice or sound),
{harmony, concord}, by a band of musicians. Here alone in the
N.T.
15:26 {Servants} (paidōn). Not douloi (bondslaves) as in
verse 22. The Greeks often used pais for servant like the
Latin "puer". It could be either a hired servant (misthios,
verse 17) or slave (doulos).
15:27 {Is come} (hēkei). Present indicative active, but a stem
with perfect sense, old verb hēkō retaining this use after
perfect tenses came into use (Robertson, "Grammar", p. 893).
{Hath killed} (ethusen). Aorist active indicative and literally
means, {did kill}. Difficult to handle in English for our tenses
do not correspond with the Greek.
15:28 {But he was angry} (ōrgisthē). First aorist (ingressive)
passive indicative. But he became angry, he flew into a rage
(orgē). This was the explosion as the result of long resentment
towards the wayward brother and suspicion of the father's
partiality for the erring son.
15:29 {Do I serve thee} (douleuō soi). Progressive present
tense of this old verb from doulos (slave) which the elder son
uses to picture his virtual slavery in staying at home and
perhaps with longings to follow the younger son (Robertson,
"Grammar", p. 879).
15:30 {This thy son} (ho huios sou houtos). Contempt and
sarcasm. He does not say: "This my brother."
15:31 {Son} (Teknon). Child.
15:32 {It was meet} (edei). Imperfect tense. It expressed a
necessity in the father's heart and in the joy of the return that
justifies the feasting. Euphranthēnai is used again (first
aorist passive infinitive) and charēnai (second aorist passive
infinitive) is more than mere hilarity, deep-seated joy. The
father repeats to the elder son the language of his heart used in
verse 24 to his servants. A real father could do no less. One
can well imagine how completely the Pharisees and scribes (verse
2) were put to silence by these three marvellous parables. The
third does it with a graphic picture of their own attitude in the
case of the surly elder brother. Luke was called a painter by the
ancients. Certainly he has produced a graphic pen picture here of
God's love for the lost that justifies forever the coming of
Christ to the world to seek and to save the lost. It glorifies
also soul-saving on the part of his followers who are willing to
go with Jesus after the lost in city and country, in every land
and of every race.
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