FACT #2: On the Sunday following the crucifixion, Jesus’ tomb was found empty by a group of his women followers.
Much analysis can be spent on the source gospel Mark. The Greek rhetoric style is highly mythic and almost every story can be linked to a source including the OT narratives or a transfiguration of the Romulus narrative.
Jesus scores 20, an almost perfect score on the Rank Ragalin mythotype scale. This, the literary devices employed, the parables, and more demonstrate this is definitely a work of fiction and not history. It's also not written as a history, improbable events like fishermen suddenly leaving families are always explained and sources are always given in 1st century histories. This is religious fiction and not reliable as fact. Apologetics that says otherwise is literal pseudo-science crank.
Some points from Carriers article on the empty tomb, more points are covered these are just a few basic ideas.
Why Did Mark Invent an Empty Tomb? • Richard Carrier
- Finding a tomb empty is conspicuously absent from Paul’s account of how the resurrection came to be believed (
1 Corinthians 15:1-8).
-Mark 16:1-8 no one was told about this....uh, so why does Mark know? Maybe because he's making it up? Trembling and bewildered, the women went out and fled from the tomb. They said nothing to anyone, because they were afraid.
-It clearly hadn’t occurred to Mark when composing the empty tomb story that it would invite accusations the Christians stole the body. So Matthew had to fix this by adding guards at the tomb. But Matthew’s stated excuse for introducing guards into the story of the empty tomb narrative reveals a rhetoric that apparently only appeared after the publication of Mark’s account of an empty tomb, and this exposes the whole tale as an invention.
-On top of that, is the fact that the earliest Christian history shows no knowledge of there having been any empty tomb story at any point in the religion’s first three decades. Though claiming the body was gone would peg Christians as suspects in a capital crime of grave robbery, an obvious boon their enemies would not fail to exploit, and though the book of Acts records case after case of Christians being interrogated at trial before both Jews and Romans on other offenses (e.g. Acts ), never once in this entire history of the church are they ever suspected of or questioned about grave robbery. It’s as if there was no missing body to investigate; no empty tomb known to the authorities. Which means the Christians can’t really have been pointing to one.
-Worse than that, the Romans would have had an even more urgent worry than body-snatching: the Christians were supposedly preaching that Jesus had escaped his execution, was seen rallying his followers, and then disappeared. Pilate and the Sanhedrin would not likely believe claims of his resurrection or ascension (and there is no evidence they did), but if the tomb was empty and Christ’s followers were reporting that he had continued preaching to them and was still at large, Pilate would be compelled to assume an escape had occurred, and would have to haul every Christian in and interrogate every possible witness in a massive manhunt for what could only be to his mind an escaped convict
Yet none of this happens. No one asks where Jesus is hiding or who aided him. No one is at all concerned that there may be an escaped convict, pretender to the throne, thwarter of Roman law and judgment, dire threat to Jewish authority, alive and well somewhere, and still giving orders to his followers.
Where did Mark get the idea of an empty tomb, and what did he intend his empty tomb narrative to mean?
- Mark may have had some inspiration from Homer. Dennis MacDonald made a good case in “Rescued Corpses” (pp. 154-61) and “Tombs at Dawn” (pp. 162-68) in
The Homeric Epics and the Gospel of Mark (Yale 2000). Mark was transvaluing Greek “scriptures,” creating a superior Judeo-Christian analog meant to replace them, and in the process criticizing their messaging by contrast with his.
- But Mark needn’t have had so specific an inspiration. Lots of saviors and heroes got empty tomb stories. So of course Jesus should have been given his too. We see many examples from ascension mythology (Pagan and Jewish) that would have been well known to Mark, wherein the absence of a hero’s body is taken as evidence of his ascension to heaven and concomitant deification.
Empedocles being a famous example (Diogenes Laertius,
Lives 8.67-69, quoting the pre-Christian writer Heraclides), and something akin was claimed of the Roman King
Numa. But even some legends about Moses involved a disappearing body as evidence of his ascension (e.g. Josephus,
Antiquities 4.8.48).
But Mark’s most likely inspiration were the Psalms,
- Many Jews held a belief that “until three days” after death “the soul keeps on returning to the grave, thinking it will go back” into the body, “but when it sees the facial features have become disfigured, it departs and abandons it” (
Midrash Rabbah Genesis 100:7, based on
Job 14:20-22)
-This third-day motif was certainly widespread, and may be very ancient. In Jewish tradition it could lie behind the prophecy of
Hosea 6:2 that “He will revive us after two days, He will raise us up on the third day, that we may live before him.” The Jewish belief that corruption sets in on the third day might even have entailed the savior’s resurrection then, to fulfill
Psalms 16:9-11 that the savior’s body would not see corruption.
-The same idea was popular long before Judaism. The first recorded myth of a crucified and resurrected deity, that of the Sumerian goddess Innana, relates that after her naked, murdered corpse is nailed up, her minions come to feed her the food and water of life and she is raised back to life “after three days.” Many pagan legends of resurrection feature rising “on the third day,” including that of Aridaeus, Timarchus, and Rufus of Philippi
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Mark drew upon the Psalms. He consciously modeled his crucifixion narrative on Psalm 22, adapting phrases directly from the Septuagint text thereof (as countless scholars have long noted), including Christ’s cry on the cross, the taunts of the onlookers, and the dividing of garments by casting of lots. Crucifixion also calls up that Psalm’s image of the messiah’s pierced hands and feet. This begins a logical three-day cycle of psalms: Psalm 22 marks the first day (the crucifixion), Psalm 23 the next (the Sabbath, during which Christ’s body rests in the grave), and then Psalm 24 predicts and informs the resurrection on Sunday, the third day.
The middle one, Psalm 23, corresponding to the Sabbath, the day of rest, is the Funeral Psalm (“The Lord is my Shepherd, I shall not want…Even though I walk through the valley of the shadow of death…”) and thus represents Christ’s sojourn in the realm of the dead. That Psalm also concludes with what can be taken to be a prediction of a Pauline resurrection: “And I will dwell in the house of the Lord forever,” just as Psalm 22 concludes with a prediction of salvation for those who believe in the Christ.
Then Psalm 24 proclaims God’s Lordship over the universe and anticipates a new era, which a Christian would understand began with Christ’s resurrection and ascension to heaven.
-Even the names of the women in Mark’s empty tomb tale are likely symbolic. Salome is the feminine of Solomon, an obvious symbol of supreme wisdom and kingship. Wisdom was often portrayed as a feminine being.
So these two Marys in Mark represent Egypt and Israel, one literally the Mother of Israel; the other, the harbinger of escape from the land of the dead. Thus they represent (on the one side) the borders of the Promised Land and the miraculous defeat of death needed to get across, and (on the other side) the founding of a new nation, a New Israel—both linked to each other, through the sister of the first savior, Moses, and Aaron (the first High Priest), and mediated by Wisdom (Salome). (Sophia), so to have her represented here behind a symbolic name rich with the same meaning is not unusual. Mariam (the name we now translate as Mary) was famously the sister of Moses and Aaron, who played several key roles in the legendary escape from Egypt,
-Just as reversal of expectation lies at the heart of the teachings of Jesus—indeed, of the very gospel itself—so it is quite natural for Mark to structure his narrative around such a theme, too. This program leads him to ‘create’ thematic events that thwart the reader’s expectation, and an empty tomb is exactly the sort of thing an author would invent to serve that aim. After all, it begs credulity to suppose that so many convenient reversals of expectation actually happened. It’s more credible to suppose that at least some of them are narrative inventions; and probably, all of them. One such invention could easily be the empty tomb