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15 In this sense we can dispense with the ®fth category proposed in our tentative typology. Any kind of literary apologetic may also function as legitimation or self-de®nition for the group which it sets out to defend: to recognize that some apologetic functions as self-de®nition is not to identify a distinct `type' of apologetic, but simply to recognize the always latent disparity between the dramatic audience of apologetic and its real readers. Most of the apologetic scenarios proposed for Acts con®gure the dramatic audience as an external one: Greeks or Romans or Jews.

59 Cameron, Rhetoric of Empire, ch. 2. 60 MacMullen, Christianizing the Roman Empire. 61 Aratus' philosophical poem proclaimed the universal indwelling of Zeus in all human life: `Let us begin with God, whom men never leave unspoken: full of God are the streets, and all the marketplaces of humanity, and full the sea and the harbours; and we are all in need of God everywhere. We are all his children . 63 Nevertheless, it is tempting to try to decide which, of all the book's apologetic scenarios, has the most claim to represent the author's real interests: and in purely numerical terms, it is not dicult to see which it should be.

R. Edwards, Religion and Power, and my ` ``In Journeyings Often'' '; also my `Narrative Maps'. 64 Maddox, Purpose of Luke±Acts, 66±7. 65 Even where the dramatic audience is Roman (as in the hearings before Felix and Festus), the accusers and the charges are essentially Jewish; and by bringing on Agrippa as an interested observer in the ®nal court scene (ch. 26), Luke e€ectively turns Paul's last and fullest apologetic speech into a restatement and defence of his whole theological standpoint before a ®gure who can be identi®ed as a symbolic spokesman for Diaspora Judaism.

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Apologetics In The Roman Empire by Edwards et al (eds)


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