The Fab Four
Konstantin Stanislavski is regarded as the “father of modern acting.” He was the one who first said, “There are no small parts, only small actors.” Prior to his time, the bit players and extras in productions didn’t do much acting. Mostly, they just filled in the spaces between the lines of the “big” actors.
Stanislavski rejected this understanding. He required the same depth, commitment, and quality from all his actors – big or small, headliners or extras. This demand revolutionized the theater experience for both the actors and the audience.
In our text, we witness the performance of one of the bit players and extras in the Gospel according to Mark. The poor widow may have a small part in the drama. She is, however, anything but a small actor. The poor widow is, in fact, one of the “Fab Four” in the Markan gospel account.
Mark’s gospel features four unnamed women. They are the woman with the hemorrhage in Mark 5, the Syro-Phoenician woman in Mark 7, the poor widow here in Mark 12, and the woman who anointed Jesus in Mark 14.
These women are some of the so-called “little people” in Mark’s gospel. That means they aren’t one of the Twelve so-called “official” disciples. Nor are they among the named characters who have larger roles in the drama. Instead, they come on stage. They play their parts and speak their lines. Then they leave the stage, not to be mentioned again.
The four women are, in the language of the theater, bit players and extras. They might not even rate a mention in the credits at the end of the film or on the back of the program. Yet, these four women – the characters I want to call the “Fab Four” – reveal more about who Jesus is and what following him means than most of the other characters in Mark’s script.
These four women have similar roles in the Markan drama. Each of them takes the initiative. The woman with the hemorrhage seeks Jesus out and takes the risk to touch his robe. The Syro-Phoenician woman finds Jesus and walks right into the house where he’s staying. The poor widow expresses her devotion to God in the Temple with her whole living. The unnamed anointer comes uninvited, not only into the house, but into the space reserved for the invited male guests.
Mark wants us to see that this is what disciples look like. These are not small actors. Nor do they have small parts.
These four women are outsiders to “The System” – the status quo that keeps them sick, rejected, poor, and segregated. They do not allow, however, “The System” to keep them in their places. The woman with the hemorrhage has had enough of ineffective treatments. The Syro-Phoenician woman has had enough of limited access. The poor widow has had enough of gifts evaluated by size. The anointing woman has had enough of men controlling access to worship.
Mark wants us to see that this is what disciples look like.
They, however, are not identical. The “Fab Four” each have their own roles and performances. The despair of the bleeding woman drives her to courageous faith. The determination of the Syro-Phoenician woman empowers her to get what she seeks. The devotion of the poor widow requires even a corrupt and broken system to convey her gift to God. The discernment of the anointing woman is beyond that of any of the men in the room.
These women engage in the dance of trust. It is a complicated step that I won’t often get right. Trusting Jesus as my Lord often requires this combination of desperation, determination, devotion, and discernment. The recipe is never quite the same twice in a row. But this complicated dance plays out in the Markan drama for those with the eyes to see it.
Martin Luther describes one function of the “Law” in God’s Word as driving me deeper into my need for Jesus. Luther gets that right. This text drives me deeper into Jesus’ loving embrace. That doesn’t happen as resignation or fear. Rather, I am driven by a joyous hunger to have what the Fab Four have. There is more to this discipleship biz, and I want it.
Yes, perhaps the way to relate to these four women is to contract and nourish a case of what Barbara Brown Taylor calls “holy envy.” I know it was Krister Stendahl who coined the phrase. And Taylor always gives due credit. But she puts additional flesh on Stendahl’s theological bones in this phrase.
I can envy the widow for her deep devotion, her “ruthless trust” (as Brenna Manning would name it). I can envy her for shedding her last bits of financial and cultural baggage. After all, as that great philosopher, Kris Kristofferson, once said, “Freedom’s just another word for nothing left to lose.”
I can envy her the adventure of not knowing what comes next and the excitement of finding out. I can envy her love without anxiety or limits. I can envy her desire to love God, not for what she can get but rather “for nothing.” I can choose to feel ashamed by her example or inspired by it. I think the Markan composer longs for us to see the Fab Four and know that there are no small parts in the Good News of the Kin(g)dom of God – not even for me.
I am convinced that the Christian gospels are not, in technical terms, “wisdom” texts. They are not advice on how to get along in the world as it is. That work is left for books like Proverbs in the Hebrew Scriptures and, perhaps, James in the Christian Scriptures. No, the Christian gospels are apocalypses. They seek to uncover the world as God intends and destines it to be.
Each of the Fab Four is an apocalyptic actor, revealing more about the Kin(g)dom and Jesus’ role and identity in that Kin(g)dom. They demonstrate that God’s healing love flows into the world. They show that outsiders have faith – often more than the insiders. They demonstrate what it means to give one’s whole life for the sake of love. And they point to Jesus as the true Messiah, King of Israel, and Son of God.
In my envy, I am challenged as a disciple to live an apocalyptic life as well. I don’t mean that I should focus on end times prophecies. No, I’m claiming the real meaning of “apocalyptic.” Jesus followers are called to live lives that reveal the living and loving presence and power of God in Jesus Christ for the sake of each person and the whole cosmos. The four women do that in the Markan composition. They show us that we can do that in our lives as well. There are no small parts in the gospel drama, and no one is a small actor.
The Fab Four also uncover The System in its tragic brokenness and terrible power. The critique in the poor widow’s story, for example, is not that the Temple is financially extractive. The problem is that the widow is abandoned with only two pennies to her name. The fact that this widow exists is Exhibit A to prove that The System is broken and corrupt. The rich have a surplus because the widow has a deficit – and vice versa.
Each of the Fab Four reveals, in her own way, a place where The System is broken. The bleeding woman requires us to look at our health care system and know that it penalizes the poor not only for being poor but for daring to be sick. The Syro-Phoenician woman reveals our anti-Other prejudices now expressed in rejection of the migrant. The poor widow reveals our exploitation of the many to enrich the few. The anointing woman shows up in our discounting of the witness and voices of women – especially in churches.
The four women remind us that where we look determines what we see. If we look at the rich donors and the big stones of the Temple, we will not see the poor widows, the bleeding women, the desperate mothers, the grieving prophets of the world. We dare not look at the beneficiaries of The System and expect to see anything other than support for the status quo.
The Kin(g)dom of God is most clearly revealed in the people The System regards as bit players and extras. We who follow Jesus know where to look. It takes immense, self-serving effort to avert our gaze and look in all the wrong places. The Fab Four remind us to abandon that habit of the averted gaze.
The small apocalypse we experience in the story of the poor widow leads us into a bigger apocalyptic story next week. Jesus tells us that a system which can treat this poor widow in this way is in danger of collapsing under the weight of its own hypocrisy. More on that next week, but (spoiler alert), we should be very worried.
More important, however, the small apocalypse we experience in the story of the poor widow leads us into the biggest story of all. She gives her whole life in trusting response to God’s goodness. This is a preview, a foreshadowing, of Jesus as he gives his whole life in trusting response to God’s call and for the sake of all.
In the gospel drama, there are no small parts. Please, God, help me to stop being a small actor.
References and Resources
Beavis, Mary Ann. “Women as Models of Faith in Mark,” https://www.academia.edu/13080771/Women_as_Models_of_Faith_in_Mark.
Dewey, Joanna. “Women in the Gospel of Mark.” https://wordandworld.luthersem.edu/content/pdfs/26-1_mark/26-1_dewey.pdf.
FLEDDERMANN, HARRY. “A Warning about the Scribes (Mark 12:37b-40).” The Catholic Biblical Quarterly, vol. 44, no. 1, Catholic Biblical Association, 1982, pp. 52–67, http://www.jstor.org/stable/43716182.
MALBON, ELIZABETH STRUTHERS. “The Poor Widow in Mark and Her Poor Rich Readers.” The Catholic Biblical Quarterly, vol. 53, no. 4, Catholic Biblical Association, 1991, pp. 589–604, http://www.jstor.org/stable/43718348.
Taylor, Barbara Brown. Holy Envy: Finding God in the Faith of Others. HarperOne, 2019.
WRIGHT, ADDISON G. “The Widow’s Mites: Praise or Lament?—A Matter of Context.” The Catholic Biblical Quarterly, vol. 44, no. 2, Catholic Biblical Association, 1982, pp. 256–65, http://www.jstor.org/stable/43709756.