The Gospels in Four Part Harmony — Reading Companion

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Clontz, J. (Jerry) Project Gutenberg 2003 Not confirmed
Bible. Gospels -- Harmonies, English Readers of public-domain and historical texts
Project Gutenberg digital edition en

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Words 92,450
Reading time 402 min
Text sections 13

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An editorial note on J. Clontz's 'The Gospels in Four Part Harmony,' focusing on its language, narrative voice, and pacing. The work harmonizes the four Gospels using the sequence of MS Pepys 2498, with a foreword proposing a sectarian Essene-Pharisee struggle. Observations draw from the foreword's scholarly claims and the excerpted Gospel dialogue.
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Read the Text

Essenes were looking for a Messiah to vanquish their enemies, death, poverty, disease and infirmity, and therefore hailed Jesus as their Messiah.

Below are some important academic notes concerning the PGH sequence of the gospels:

The PGH mentions the city of Gerasa which was an ancient city in Palestine which was destroyed by the 10th Roman legion Firensis in AD 70. Only the very oldest existing manuscripts of the canonical gospels mention the city of Gerasa while later manuscripts refer to the area as the land of the Gerasenes. Thus the author of the original source of the PGH may have lived prior to AD 70.

The sequence of the PGH also parallels many aspects of the theoretical "Q" text. The Greek texts of Matthew and Luke in some areas are letter for letter matches which have led some scholars to theorize that at one time a single text "Q" was formed from an early form of Matthew and of Luke and then later portions of our modern forms of Matthew and Luke were copied from this single gospel text. Additionally, in the modern text of Luke the "Parable of the Lamp" occurs in both Chapter 8 and Chapter 11. It has been theorized that an early text that contained Luke had only one "Parable of the Lamp" and that the parable was either cut in half or duplicated in our modern texts. The PGH sequence combines portions of Luke Ch. 8 and 11 and only has a single account of the "Parable of the Lamp" just as some scholars have theorized would've existed in the single gospel forerunner of the modern text of Luke.

Scholars have also theorized that the "Q" text would've been constructed into categories and composed of lists such as a list of parables. This idea was formulated in part based on the gospel of Thomas found at Nag Hammadi. The PGH does form the gospel account into categories or groupings and there are two major groupings of parables in its sequence just as theorized for the "Q" text.

The event sequence of the PGH also enhances the account of the four gospels. The sequence produces cause and effect relationships between events and the interactions of various individuals with each other and with Jesus. For instance, The PGH sequence contains both Mary Magdalene's conversion and subsequent discipleship (this is in the modern gospel texts but is somewhat obscured due to their non-chronological sequence). Thus Mary Magdalene plays a major role in the account of Jesus which is implied by many ancient sources such as the gospel of Thomas but not highlighted by the canonical gospels in their present sequence. The same is true for the significance of John the Baptist in Jesus' ministry. In the PGH sequence, John the Baptist is portrayed as an important ally of Jesus' ministry and his arrest and later death are both pivotal moments in Jesus ministry as portrayed by the PGH sequence. The importance of John the Baptist in the ministry of Jesus is implied by many ancient sources and that importance is vividly depicted in Jesus' ministry using the PGH sequence of the canonical gospels.

Moreover, the PGH is the only manuscript in existence which depicts an error free chronological sequence for the events in the life of Jesus as portrayed in the four canonical gospels. The four canonical gospels make no claim to being written in chronological sequence. There are historical/traditional accounts that indicate that the four canonical gospels were not written in chronological order. For instance, Papias (AD 135) indicated that Mark was not in any particular order. An engineered reconstruction of the chronological order of the gospels indicates that while several sequences are possible -- the sequence of the modern gospels is not in chronological order. For instance, the passage in Mark 3:13-19 not only precedes the passage in Mark 3:20-31 by over a dozen events but in fact several passages in Mark actually occur between Mark 3:13-19 and Mark 3:20- 31.

Also, while there have been many modern attempts to reconstruct the sequence of the events of Jesus life as narrated in the four canonical gospels none of these reconstructions has as many parallels to the theoretical "Q" text as the PGH. Furthermore the theory for the "Q" text was first proposed in the 1800's and the PGH manuscript predates the "Q" text theory by 400 years. Thus the best candidate to date for the "Q" text sequence is the PGH manuscript.

More importantly, the best manuscript for a chronological depiction of the actual sequence of events in the life of Jesus is The Pepys Gospel Harmony MS 2498.

The biblical text for this book is from The Common Edition of the New Testament by T. E. Clontz and I would like to thank my brother for allowing me to use his book.

J. Clontz's The Gospels in Four Part Harmony arranges the canonical Gospels according to the sequence of MS Pepys 2498, an ancient harmony of which a single copy survives at Cambridge University Library. The foreword immediately shifts from manuscript provenance to a bold historical thesis: that Jesus was a North Palestinian Essene associated with the Damascus Covenant, and that the Gospel events reflect a sectarian struggle between Essenes and Pharisaical Jews. This interpretive frame colors the entire work, yet the reader encounters it only in the foreword; the Gospel text itself is presented without commentary, leaving the sequence to carry the argument.

Foreword as Framing Device

The foreword does more than introduce the manuscript. It advances a specific scholarly claim: that the PGH sequence depicts Jesus and John the Baptist converting Judean Jews through baptism, an altercation at the temple, John's arrest, a northern retreat to Capernaum, and a final journey to Jerusalem. The language is declarative—"the PGH sequence of the canonical gospels depicts what some scholars believe to have been a sectarian struggle"—but the author hedges with "some scholars have theorized" and "it has been proposed." This creates a tension between certainty and speculation. The foreword also notes that the PGH mentions Gerasa, a city destroyed in AD 70, suggesting the original source may predate that event. This detail is presented as evidence for the harmony's antiquity, but the reasoning is left implicit.

Dialogue and Repetition in the Excerpted Gospel

The excerpt from John 9–10 showcases a distinctive narrative voice: the healed blind man's responses grow increasingly defiant. He repeats the Pharisees' own logic back to them: "I have told you already and you did not listen. Why do you want to hear it again?" The structure of the interrogation—question, answer, reviling, further question—creates a rhythmic acceleration. Jesus's subsequent discourse on the good shepherd uses a different pace: a series of declarative metaphors ("I am the door," "I am the good shepherd") interspersed with explanatory asides. The narrator notes that "this figure Jesus used with them, but they did not understand," a brief comment that slows the reading and underscores the opacity of the teaching. The shift from rapid-fire dialogue to measured parable is a notable change in pace.

Pacing Through Parenthetical and Explanatory Interjections

Throughout the excerpt, the Gospel writer inserts short explanatory phrases that alter the rhythm. After the Pharisees cast out the blind man, the text reads: "Jesus heard that they had cast him out, and when he found him, he said…" The clause "when he found him" compresses time, implying a search that is not described. Later, in the shepherd discourse, the narrator interjects: "This figure Jesus used with them, but they did not understand what he was saying to them." This parenthetical pause separates the parable from its interpretation, giving the reader a moment to register the disciples' confusion. The effect is a staccato interruption of the teaching flow, contrasting with the smooth parallelism of the shepherd sayings. Such interjections are a recurring structural feature, modulating the pace between action and reflection.

Readers approaching The Gospels in Four Part Harmony should attend to the interplay between the foreword's historical thesis and the Gospel text itself. The sequence chosen by the editor imposes a narrative arc that the foreword interprets as sectarian conflict, but the Gospel excerpts retain their own rhetorical patterns—repetition, dialogue, and explanatory asides. Noticing where the pacing quickens or slows can reveal how the harmony's arrangement shapes meaning, independent of the scholarly claims that frame it.

There’s a particular tenderness in how Clontz lets the Gospel voices linger against each other, the pacing almost breathlike. It reminded me of sitting with an old friend’s margin notes. That same unhurried reverence lives in The Books of the New Testament — Story, Setting & Ideas, another companion I’ve returned to quietly, and probably will again, when the evenings grow long.

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