Monthly Archives: November 2022

Cruci-fiction

Posted on by
2

Given the birth, baptism and wilderness narratives are fiction, why not then the other parts of Mark and Matthew? We’ve already seen how the trial and crucifixion in Mark are literary creations, which Matthew lifts and embellishes. The resurrection stories are also invented, which is why the different accounts are confused and contradictory. The likelihood that everything between the beginning and the end – Jesus’ ‘ministry’, miracles and preaching – is invented too, either by the authors of the gospels themselves or by those who preceded them. My money would be on the former; the stories are so carefully arranged, forming an integral part of a clever literary construct.

I have a growing, sneaking admiration for what Mark and Matthew, and later Luke and John, achieved. They consciously set about creating myth. When Paul and others preached that their Christ had died and risen again ‘according to the scriptures’ that’s literally what they meant; the Christ was discernible in Jewish scripture, his story laid out there for those with eyes to see it. Mark tells us as much in Mark 4:9: ‘He who has ears to hear, let him hear.’

What he and, to an even greater extent, Matthew did, was construct a Saviour story from these elements. They saw him, or thought they did, all over the place. Whether or not they’re was an actual Jesus is beside the point. as is the extent to which the gospel writers may have used existing stories about him. Gospel Jesus is their imaginative creation from start to finish. His life, deeds and many of his sayings are put together by cutting and pasting scripture.

Cite any episode in Mark and Matthew’s gospels and it will have a precedent in scripture, either a prophecy (that invariably isn’t a prophecy) or episode (that was never about a future suffering Messiah) or character (usually legendary in their own right.) You can believe, as many True Believers do, that these ‘Old Testament’ episodes foreshadow the events of Jesus’ life. That he miraculously fulfilled prophecy through everything he did and said while here on Earth. Or you can take the view that doesn’t rely on faith in the miraculous, and recognise that he’s merely written that way. He’s the literary embodiment of scattered scraps of scripture.

On this much more realistic view, everything Jesus is made to do, particularly his miracles and crucifixion, is symbolic; a fictional enactment of scripture. Other aspects are drawn from Paul (the Last Supper/Eucharist, for example), claims of inner-visions (the resurrection) and early cult rules (behavioural expectations.) The events of Jesus’ earthly existence, as created by the gospel writers, have no historical basis; they didn’t really happen. I maintain that all of the gospel writers were fully cognisant of this as they created their respective symbolic lives for him.

According to Scripture

Posted on by
8

A simple comparison of Mark’s and Matthew’s gospels is enough to demonstrate that the gospel writers invented their stories of Jesus. I’m going to take only a few examples over the next few posts, but the same analysis could be made of any of the episodes in the two gospels and yield the same results.

Mark starts his story with Jesus’ baptism and subsequent 40 days in the wilderness. The dominant motifs of both episodes are intended to alert the reader to the fact that Mark sees Jesus as the new Moses, preparing to lead his people out of bondage and into the Kingdom that God is preparing for them. The parting seas of Exodus 14 become the parting clouds through which God proclaims Jesus his Son, the 40 year trek through the wilderness (Exodus 16 etc) is replaced with Jesus’ 40 days in the wilderness. 

Mark gives the wilderness episode a mere two sentences (Mark 1.12-13) which isn’t enough for Matthew. He embellishes it in his gospel, making it a full-blown fantasy, complete with a lengthy conversation between Jesus and Satan. Matthew invented this story. We know he did because:

it cannot possibly have come from an eye-witness (because there wasn’t one);

It is patently fantasy material, with Satan, ministering angels and teleportation;

it cannot have derived from any oral tradition (as it is an embellishment of Mark’s tale, invented only a decade earlier, designed to echo the Moses story);

It is designed specifically to extend the analogy with the Moses. In Matthew, Jesus encounters the same temptations as the ancient Israelites in their wilderness trip, but, unlike his forebears, Jesus triumphantly resists them. He then recruits 12 disciples to go on ahead of him (Mark 3:13-15) just as Moses’ appointed 12 spies for the same purpose (Numbers 13). 

Matthew has even more up his sleeve. He is fully aware of the parallels Mark has made between Jesus and Moses and adds a third to the beginning of his Jesus narrative. In his contrived nativity story, he rewrites the story from Exodus 1 and 2, itself a complete fabrication, in which Pharaoh orders the elimination of all Israelite baby boys. He lifts it directly into the so-called Massacre of the Innocents episode in his gospel.

Again, we know Matthew made this up:

Herod did not order any such massacre. It is not an historical event.

Matthew was determined to find incidents in Jewish scripture he could claim were really about Jesus. Here he is at it.

He is determinedly extending Mark’s metaphor; this is not material from any other source or tradition.

He constructs the narrative using additional ‘prophecies’ he finds in the scriptures. For example, the trip to Bethlehem and the flight to Egypt, neither of which happened (no other gospel writers knows of them.) The Egypt episode is an imaginative (and dishonest) expansion of Hosea 11:1: ‘Out of Egypt I called my son’. In context, the verse refers to the Jewish nation not a future Messiah. And who led the Israelites out of Egypt? Moses.

The nativity story and the Moses/Israelite parallels in the Egypt/baptism/wilderness episodes in Matthew are not drawn from tales of Jesus that were doing the rounds. They are clever, contrived literary creations. They tell us too that Matthew did not regard Mark’s more basic stories as history or biography. He evidently did not view them as immutable. He changes and adds to them to make his own points, ‘correct’ Mark, extend his analogies and emphasise that which he thinks Mark hasn’t emphasised enough. Throughout his gospel he’s prepared to create new incidents, even when they conflict with points Mark makes. He knows that Mark’s work, like his own, constitutes carefully devised stories and he feels free – compelled – to improve them. You can’t treat history this way but you can rewrite fiction.

A Star Is Born

Posted on by
1

Did you know that the original, 1937 version of A Star Is Born may well have been based on a true story, first aired in an earlier, 1932 movie called What Price Hollywood? Yet every word of dialogue in the original Star Is Born was invented, all of its characters fictional, all of its scenes made up.

By the time of the 1954 remake, the female lead had gone from being an aspiring actress to an aspiring singer, played by Judy Garland, looking for her big break. Her mentor is still the addictive personality of the original film but this time he’s a has-been singer, not an actor, and crucially he doesn’t commit suicide before the film’s end (apologies for the spoiler.) Practically everything about this remake – its dialogue, characters, songs (songs? Where’d they come from?) settings and scenes – is different and, once again, is completely made up.

In the Barbra Streisand 1976 version, the female lead is once again a singer, her mentor a rock star whose career is on the slide. This film is about the perils of a rock’n’roll lifestyle and the passionate relationship between the two protagonists. It bears only the scantest relationship to its predecessors, never mind the original true-story that inspired the first film. Again, everything in it is pure invention.

Which brings us to the fourth version, starring Lady Gaga, that borrows a little something from all of the previous films. All the same, it alters the story, creating completely new scenarios, dialogue, songs and settings. It would be unrecognisable to the original audience of the first A Star Is Born, as different from that film as… well, as John’s gospel from Mark’s.

As the various versions of the film demonstrate, stories evolve. They are fluid and in their telling and retelling they change. Their creators adapt them and ‘improve’ them to meet the evolving tastes of their intended audience. They happily invent new episodes, new scenarios and new dialogue.

And so it is with the gospels: Mark’s original based on the visions of a few people from 40 or so years earlier; Matthew and Luke’s based on Mark’s – with their own largely invented additions – and John’s (the Lady Gaga of the set) a wild reimagining of all three. Apart from the outline of the story (which they get from Mark), every one freely adapts everything else: dialogue, scenarios, pericopes and, yes, songs.

We’ll look in detail next time at the evidence, still apparent in today’s versions of the gospels, at how we know this to be the case. 

Tailor Made

Posted on by
126

So where did the stories of Jesus life on Earth come from? The traditional answers to this question are wholly inadequate. As we’ve seen, they didn’t seem to be around when Paul was writing; the hypothetical Q is an unconvincing way of explaining them while unreliable memory, coupled with the so-called oral tradition, don’t offer any means of conveying accurate verifiable information about Jesus.

The writers of the gospels, particularly Mark the creator of the first, would have known this. The gospels are not collections of the speculative tales that were doing the rounds. They might have made some incidental use of them, but all of the gospels are carefully constructed, designed to make theological points about their hero. Particular kinds of stories were required for this and the gospel writers thought nothing of making them up. It’s possible they made use of existing tales, but if they did, they almost certainly retooled them to suit their purposes. The stories we find in the gospels are tailor made to illustrate these purposes. None of the gospels is history: they are all carefully crafted literary creations.

What were the purposes and the agendas of the gospel writers? Propaganda, designed not so much to convert non-believers, but to explain to those who were already part of the cult, and their own sects in particular, what belief in Jesus entailed. To this end, they created allegories, symbolic stories about his life on Earth.

Mark began the process. He constructed his narrative by adapting Paul’s teaching ;and inventing stories based on ‘prophecies’ from the scriptures to create a symbolic narrative every part of which makes a theological point. He may also have retooled existing stories while borrowing features of existing myth that fellow cultists would expect to find in an account of a demi-god’s adventures.

Matthew and Luke then followed his lead, lifting what they thought was of relevance to their own agendas, dropping or amending the rest and inventing their own symbolic stories.

You think they didn’t? I’ll show you that they did, and how, using Mark, Matthew and Luke’s gospels, in a couple of posts time. But before that: a slight and relevant diversion.