Abstract

Mary of Magdala is widely and unaccountably known as a symbol of fallen and redeemed womanhood. By a mysterious conflation of named and anonymous women in the gospel narratives, a completely fictitious character has emerged into the Western Christian tradition. Christian writing, art and social action reflect this misconception. Eastern traditions are truer to the gospel narratives, recognising Mary as the apostle to the apostles, the one who stands in the presence of the risen Jesus and goes to tell the other disciples the news of the resurrection. The gospels tell only a little about this character: she was a woman of means, from whom seven demons were cast out by Jesus. Her home town had experienced considerable violence and oppression. She was part of the inner circle around Jesus, and one of the first witnesses to the resurrection. She receives a specific commission from Jesus to go and tell. The model of Mary Magdalene has been used to bolster a view of women as seductresses and in need of cleansing from their natural corruption. Her image in art has shown women in a recumbent, suppliant posture. The scriptural model should rather strengthen the image of women in their full humanity, standing in the presence of Jesus and speaking publicly about divine things.