Polyglot Concordance / Mk · Passover and Passion Begins
New Testament · Passover and Passion Begins · Mark

Mark 14 : 41

EN He came the third time, and said to them, “Sleep on now, and take your rest. It is enough. The hour has come. Behold, the Son of Man is betrayed into the hands of sinners.

ES Y vino la tercera vez, y les dice: Dormid ya y descansad: basta, la hora es venida; he aquí, el Hijo del hombre es entregado en manos de los pecadores.

ZH-HANS 第三次来，对他们说：「现在你们仍然睡觉安歇吧 ！够了，时候到了。看哪，人子被卖在罪人手里了。

ZH-HANT 第三次來，對他們說：「現在你們仍然睡覺安歇吧 ！夠了，時候到了。看哪，人子被賣在罪人手裏了。

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Critical apparatus

4 variants · 3 witnesses
𝔊 grk ℙ syr 𝔙 vul
idiom All three attest
Greek NT τὸ τρίτον
Peshitta ܕܬܠܬ ܙܒܢܝܢ
Vulgate tertio

Greek τὸ τρίτον ('the third time') is an adverbial accusative, matched by Latin tertio (ablative of time). Syriac expands periphrastically with ܕܬܠܬ ܙܒܢܝܢ ('three times'/'a third time'), explicitly supplying the noun ܙܒܢܝܢ ('times') that Greek and Latin leave implicit.

𝔊 grk ℙ syr 𝔙 vul
grammar All three attest
Greek NT καθεύδετε
Peshitta ܕܡܟܘ
Vulgate jam

Greek καθεύδετε and Latin Dormite are read here as imperatives ('Sleep on'), matching the Syriac imperative ܕܡܟܘ; the Greek form is ambiguous and can also be parsed as an indicative ('Are you still sleeping?'), a perennial interpretive crux in this verse.

𝔊 grk ℙ syr 𝔙 vul
substitution All three attest
Greek NT ἀπέχει
Peshitta ܡܛܬ ܚܪܬܐ
Vulgate venit hora

The notoriously difficult absolute use of Greek ἀπέχει ('it is enough' / 'the account is settled', here rendered Latin Sufficit) is recast in the Peshitta as ܡܛܬ ܚܪܬܐ ('the end has arrived'), substituting a concrete eschatological statement for the obscure Greek idiom and thereby interpreting rather than translating the source.

𝔊 grk ℙ syr 𝔙 vul
construction All three attest
Greek NT παραδίδοται
Peshitta ܡܫܬܠܡ
Vulgate peccatorum

Greek and Syriac place the verb (παραδίδοται / ܡܫܬܠܡ, both present passive) immediately after the interjection, whereas the Vulgate postpones tradetur to follow the subject Filius hominis and renders it as a future, a stylistic and tense divergence within an otherwise equivalent passive construction.