Supportive documentation?
This is taken from ch10 of Dr carriers scholarly monograph - On the Historicity of Jesus. The chapter does 56 pages just on Mark and his sources. There are many scholarly sources given on every page so I won't list them all. The blog post gives some of the information in the chapter but not all.
The Gospels as Allegorical Myth, Part I of 4: Mark
Previously, I’ve written about the
historicity of Jesus, and mentioned how the most recent analysis, in Richard Carrier’s
On the Historicity of Jesus (the first comprehensive, academically published, and formally peer-reviewed book written on the subject), showed that it was in fact very unlikely that Jesus Christ ever existed as a historical person, but rather likely began as a celestial deity who was later euhemerized, that is, placed into history as if he were a real person. As a part of Carrier’s comprehensive analysis, he analyzed the Gospels, and thoroughly demonstrated (as many other scholars have before him, though to varying degrees) that the Gospels are quite obviously mythical allegorical fictions, and thus can not be used as evidence to support the historicity of Jesus. As a former Christian, I never analyzed the Gospels from a literary or historical-critical perspective, as this wasn’t particularly relevant nor entirely feasible with my faith-based assumption that I was reading an “inerrant book inspired by God” supposedly based on nothing but true history. As a result, I never gave it much thought, nor realized just how much literary invention there was. In some cases, the care and thought taken to write these narratives is nothing short of brilliant. I wanted to share some of the content and literary devices discovered not only to illustrate that the Gospels are demonstrably mythical allegorical fictions, but also because I thought some of the literary devices used were impressive feats in themselves which I believe deserve recognition. I’ll be discussing a few of these elements found within the Gospels, as mentioned (though in greater detail) by Carrier in his comprehensive analysis. I’ve decided to split this into a series of four posts, one for each Gospel.
First of all, before even identifying or examining these literary constructs, allegories, and prospective elements of myth, we can already see by reading the Gospels that they fail to show any substantive content of being actual researched histories. Nowhere in the Gospels do they ever name their sources of information, nor do they read as eye witness testimonies (nor do they identify themselves as such), nor is it mentioned why any sources used would be accurate to rely upon. The authors never discuss any historical method used, nor do they acknowledge how some contents may be less accurate than others, nor do they mention alternate possibilities of the events given the limited information they had from their sources. They never express amazement or any degree of rational skepticism no matter how implausible an event within the story may be — something we would expect from any rational historian (even one living in antiquity). The authors never explain why they changed what their sources said, nor do they even acknowledge that they did such a thing in the first place — despite the fact that Matthew and Luke clearly relied on Mark as a source (as did John, though less obviously so), for example, and then they all redacted Mark’s version as needed to serve their own literary and theological purposes (which explains some of the contradictions found between one Gospel and another). Instead, the Gospels appear to be fictional historical biographies, likely written by specially interested Christians whose intent was to edify Jesus, just like many other fictional historical biographies that were made for various heroes and sages in antiquity. In fact, all students of literary Greek (the authors of the Gospels wrote their manuscripts in literary Greek), commonly used this fictional biographical technique as a popular rhetorical device — where they were taught to invent narratives about famous and legendary people, as well as to build a symbolic or moral message within it, and where they were taught to make changes to traditional stories in order to make whatever point they desired within their own stories.
So we already have a bit of contemporary background information showing us that fictional biographies were commonplace at the time, and thus warrant caution when examining writings that may look like histories upon first glance. However, there are also certain things we should expect to find in writings that are laden with myth and allegory as opposed to history. We can’t simply try to categorize the writings as fitting within some particular genre, as myths have been written in any and all genres, even as historical biographies (as was just mentioned), for example Plutarch’s
Life of Romulus. In fact, quite a large amount of ancient biography, even of real people, was composed of myth and fiction, and thus we are forced to actually examine the content in detail to determine whether or not it is more likely to be myth or history. Some characteristics of myth include (but are not necessarily limited to): potent and meaningful emulation of previous myths, or potent emulation of real events in some cases; the presence of historical improbabilities — which is not only limited to magic or miracles, but also natural events and human behaviors that are unrealistic as well as the presence of amazing coincidences; and also the absence of external corroboration of key (rather than peripheral) elements, since a myth often incorporates some real historical people and places that surround a central mythical character and story (just as we see in most fiction, e.g., though Dorothy’s home-state of Kansas is a real place, the primary setting, main characters, and story in The Wizard of Oz, including the Wizard of Oz himself, are fictional constructs). It should be noted that not all of these characteristics need be present simultaneously for a story to be myth, but the more that are, or the more instances of each type found, only increases the likelihood that what one is reading is in fact myth rather than history.
From a historical-critical perspective, the most important thing to note is that whenever there are elements of myth found in a story, the rest of the story can no longer be used as reliable historical evidence (concerning any of the more plausible events found within the same story), due to the principle of contamination — just as a court of law assumes that a personal testimony that contains claims of magic, miracles, amazing coincidences or other implausibilities occurring is highly suspect, unreliable, and therefore must be dismissed from the pool of evidence under consideration. So in the context of the Gospels, if they are in fact demonstrated to be filled with highly devised literary structures constituting elements of allegory and myth, though that fact isn’t in itself evidence
against a historical Jesus, it means that the Gospels can no longer be used as evidence
for a historical Jesus. Furthermore, if any mythic content found in the Gospels can be cross-examined with other examples of myth found in history, for example, if one demonstrates that there is a historically high probability that any person claimed to possess certain attributes (e.g. being born of a virgin) are usually non-historical people, then the Gospels
can in fact be used as evidence
against the historicity of Jesus (as opposed to them merely being unusable to support historicity). Before I begin, I want to mention that although the Gospels in the New Testament (NT) had anonymous authors, for the sake of simplicity, I will refer to the authors as Mark, Matthew, Luke, and John.
Beginning with the later story of Barabbas in Mark’s crucifixion narrative (
Mark 15.6-15), Mark tells us:
“At the feast, Pilate used to release to them one prisoner of their choice. And there was one called Barabbas, chained up with those who’d engaged in rebellion, who in the insurrection had committed murder. The mob went up and began to ask him to do what he usually did for them. And Pilate answered them saying, ‘Do you want me to release to you the King of the Jews?’ For he realized the chief priests had seized [Jesus] out of jealousy. But the chief priests stirred up the mob, so he would release Barabbas to them instead. And Pilate again answered and said to them, ‘So what should I do about the one you call the King of the Jews?’ And they cried out again, ‘Crucify him!’ And Pilate, wishing to satisfy the mob, released to them Barabbas, and sent Jesus to be whipped and crucified.”
There are several elements in this passage alone that suggest it is surely myth, and not historical fact. For one, no Roman magistrate, let alone the infamously ruthless Pontius Pilate, would let a violent and murderous rebel go free, and most importantly, no such Roman ceremony (i.e. letting the mob choose to free a particular prisoner) is attested as ever having taken place, as we simply don’t have any Roman documentation or archeological artifact found thus far to support such a claim. Even more telling though, is the fact that this ceremony quite obviously emulates the Jewish Yom Kippur ritual, namely the scapegoat and atonement, and this apparent allegory takes place in a story that is itself about atonement (Jesus’ fundamental role as portrayed in Mark’s Gospel). Since there is quite a bit of evidence that the earliest Christians believed that Jesus’ death served to merge the sacrifices of the Passover and Yom Kippur, it is surely no coincidence that Mark appears to have done just that, by having Jesus be a Yom Kippur sacrifice during Passover.