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Heinrich Julius Holtzmann. Die synoptischen Evangelien. Ihr Ursprung und geschichtlicher Charakter. (The Synoptic Gospels. Their Origin and Historical Character.) Leipzig, 1863. 514 pp.
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“My hope is,” writes Strauss in concluding the preface of his new Life of Jesus, “that I have written a book as thoroughly well adapted for Germans as Renan's is for Frenchmen.” He was mistaken; in spite of its title the book was not a book for the people. It had nothing new to offer, and what it did offer was not in a form calculated to become popular. It is true Strauss, like Renan, was an artist, but he did not write, like an imaginative novelist, with a constant eye to effect. His art was unpretentious, [pg 194] even austere, appealing to the few, not to the many. The people demand a complete and vivid picture. Renan had given them a figure which was theatrical no doubt, but full of life and movement, and they had been grateful to him for it. Strauss could not do that.
Even the arrangement of the work is thoroughly unfortunate. In the first part, which bears the title “The Life of Jesus,” he attempts to combine into a harmonious portrait such of the historical data as have some claim to be considered historical; in the second part he traces the “Origin and Growth of the Mythical History of Jesus.” First, therefore, he tears down from the tree the ivy and the rich growth of creepers, laying bare the worn and corroded bark; then he fastens the faded growths to the stem again, and describes the nature, origin, and characteristics of each distinct species.
How vastly different, how much more full of life, had been the work of 1835! There Strauss had not divided the creepers from the stem. The straining strength which upheld this wealth of creepers was but vaguely suspected. Behind the billowy mists of legend we caught from time to time a momentary glimpse of the gigantic figure of Jesus, as though lit up by a lightning-flash. It was no complete and harmonious picture, but it was full of suggestions, rich in thoughts thrown out carelessly, rich in contradictions even, out of which the imagination could create a portrait of Jesus. It is just this wealth of suggestion that is lacking in the second picture. Strauss is trying now to give a definite portrait. In the inevitable process of harmonising and modelling to scale he is obliged to reject the finest thoughts of the previous work because they will not fit in exactly; some of them are altered out of recognition, some are filed away.