However, Luke’s account of this event is much briefer than John’s Lazarus story, and it happens much earlier in Jesus’ life. In Luke 7:14-15, Jesus raises the dead son of a widow, with the wording of Luke (‘And he that was dead sat up’) being echoed by John’s ‘And he that was dead came forth’. Whatever the truth of it, there are examples elsewhere in the Gospels of Jesus raising the dead. It’s possible (as the authors of the Dictionary of the Bible suggest) that John is expanding the parable of the rich man and Lazarus from Luke’s gospel (in which Lazarus, the humble beggar, goes to heaven but the rich man does not).
But only John mentions the story of Jesus raising Lazarus (the other one) from the dead. Luke (chapter 16) tells of Jesus’ parable of the rich man and Lazarus, but this Lazarus (a beggar) isn’t the one whom Jesus raised from the dead. AAI3045121.They appear to have been different people. Subject Areaīurke, Alexander J., "The raising of Lazarus and the passion of Jesus in John 11 and 12: A study of John's literary structure and his narrative theology" (2002). This new interpretation gives the passage a tight and comprehensive fit with the whole of John's Gospel. John shapes Jesus' final discourse, 12:44–50 primarily as the natural conclusion of his eschatological statement, and secondarily as a summary of chapters 1–12 because the insertion of 11 and 12 is itself designed as the climax and summary of chapters 1–12. John's comprehensive interpretations depend upon his bifocal method, his ability to insinuate a second and symbolic level, his both mentality and his skill in using words that can ironically accommodate two meanings at the same time.
John in a complex, repetitive pattern first introduces, then echoes, then climaxes each theme. The second and most profound source of unity, in addition to literary form, is the unity of the eschatological statement shaped out of John's unique haggadistic interpretations of the five eschatological themes that John has woven into a precise and progressive pattern: the mutual glorification of the Father and Son belief and unbelief resurrection and eternal life and universal salvation and judgment. Rather than a mosaic of vignettes John creates a continuously unfolding narrative drama. In the process of selecting, sequencing and interpreting both synoptic elements and elements from his own traditions, John makes known his literary and theological intentions for 11 and 12. When John 11 and 12 are viewed as a single, eschatological statement, an analysis of its three dominant literary forms: plot structure, sign and dialogue structure, and narrative dramatic structure can help establish that the passage of 10:40–12:50 constitutes a tightly-knit literary unity. The extent and unity of this statement has been disguised by the tendency to apply to John a pericopean mentality suitable for the Synoptics but foreign to John. The thesis of this study holds that the fourth evangelist has adopted and combined varied traditions in chapters 11 and 12 into a single, unified eschatological statement, separately and specially conceived, as a complex literary and theological hinge of John's Gospel, a bridge between Christ's ministry to the world and his ministry to his disciples. The raising of Lazarus and the passion of Jesus in John 11 and 12: A study of John's literary structure and his narrative theology
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