Modern Skepticism / A Course of Lectures Delivered at the Request of the Christian Evidence Society

by Unknown

Now as the existence of this portraiture is not a theory, but a fact, it is plain that it must be accounted for. The assumption that the Gospels are historically true, and that their authors have truly delineated the actions and sayings of one who had an historical existence, is a rational account of its origin. But as these Schools deny their historical character, they are bound to tell us how the portraiture got there. The only answers which they propound are the mythic and Tübingen theories.

According to these theories, a good and holy Jew, who had attracted a crowd of enthusiastic and credulous followers, was gradually metamorphosed by them into the divine Christ of the Evangelists. The inventors of the character were impelled by purely spontaneous instincts. They had no intention of conscious deception. They mistook their Master for the Messiah. In the depths of their enthusiastic credulity, they invented multitudes of fictions, and in time mistook them for realities, and innocently ascribed them to Jesus. Development succeeded development. The fruitful mind of the infant Church created myth after myth. Party spirit raged. Compromise followed compromise. Spontaneous impulse by the end of the century had created the materials of our present Gospels. At last three unknown men appeared who arranged these materials into their present form, and produced the Synoptics. Sixty years later, another great unknown arose, whose character must have been a compound of mysticism, enthusiasm, and imposture, and produced the fourth Gospel, which he successfully palmed off on the Church as the work of the Apostle John, some seventy or eighty years after he was silent in the grave. Such is the alternative which modern unbelief presents as a substitute for the historical reality of the portraiture of Jesus Christ as we behold it in the Gospels.

One cannot help pausing to observe the kind of analogy which exists between these theories and those of a certain class of philosophers who attempt to prove that the moral and religious being whom we designate man has been slowly developed out of the lower forms of life by causes purely physical. Like as in the one case each development became an improvement on its predecessor, so in the other the lower fabulous creations must have died out, and the nobler ones prevailed, until at last there emerged from them Christianity and the glorious Christ of the Gospels. Physical philosophers, however, work at a great advantage in developing an ape into a moral being, compared with the mythologists who developed a Jew of the year 30 into a Christ. The one can draw cheques to any extent on the bank of eternity. If a million of years is not sufficient, a million of millions may be easily had. But in the other case my opponents are limited by the stern conditions of history; and the respective periods of seventy and one hundred and thirty years are all that they venture even to demand.

Now, observe; the portraiture of the Jesus of the Evangelists consists of a multitude of parts which harmoniously blend into a complicated whole. It is composed, in fact, of as many distinct portions as there are incidents recorded in the Gospels, which all concur in imparting to it a common effect. Those with whom I am contending admit that the character is a very great one. Many of them allow that it is greater and more perfect than any which has ever existed as a fact or been conceived as a fiction. Yet the character, taken as a whole, presents us with an essential unity. This is obviously the case in the three first Gospels, and will hardly be disputed except on a very few subordinate points. But it is equally remarkable that of the various traits which compose the character, and which are very numerous, each presents us with a similar unity, although they are dramatized over a very wide sphere of action. To this fact I earnestly invite your attention. In the portraiture of Jesus at least twenty distinct aspects of moral character are blended together, and a number of subordinate ones not easy to be counted; and each of these constitutes a separate unity, which harmoniously blends with the others, and together compose the great unity of the portraiture. Numerous as they are, and dramatized over a wide sphere of action, they are yet depicted with a faultless propriety, even in the most minute details. Nor does it to any serious extent differ with the fourth Gospel. This is certainly the case as far as the actions attributed to Jesus are concerned, though it is not so obvious in the case of the discourses. Still even in these an underlying unity of conception can be found.[107] The four Gospels contain, in fact, four portraitures of one and the same Christ, only differing from each other in the point of view from which they are taken.

Now the obvious course would have been to have assumed that the conception of the original character was the creation of some great poet, and that the fourfold modification of it which our present Gospels exhibit has been the work of four subsequent poets. But this supposition the facts and phenomena of the case consign to the region of hopeless impossibilities. It is therefore necessary to assume that the character itself, and the Christianity of the New Testament, have been gradually elaborated bit by bit, not by a succession of great poets, but of credulous, enthusiastic mythologists; and that the Synoptic Gospels originated in piecing together a multitude of tales which in the latter end of the first century were floating on the surface of the Christian Church.

It is impossible to deny that the Jesus of the Evangelists is an immeasurably finer conception than either the Prometheus of Æschylus, which exhibits the divine in suffering, or the Macbeth or Hamlet of Shakspeare. Each of these characters is distinguished by a unity of conception which proves that as characters they are the creation of a single mind. But supposing we were to be told that these, and the dramas which contain them, were not the creations of single poets, nor even of a succession of poets, but had been slowly elaborated, step by step, during a considerable interval of time by a number of credulous enthusiasts. My opponents would be the first to receive such a suggestion with shouts of derision.

It is plain that if the portraiture of our Lord be an ideal creation, those who framed it must have been gifted with a high order of genius.

Let me illustrate the position by the art of painting. High genius in painting is analogous to high genius in poetry. Let us suppose that we are contemplating a great ideal picture,—e.g., the Marriage Feast in Cana of Galilee, at the Louvre,—and that we are told that it is not the work of a single artist, nor even of four, but of a succession who gradually developed it.

Nor, to make the case a parallel one, is this all which we should be asked to believe. As I have already observed, the portraiture of the Jesus of the Evangelists is made up of a multitude of parts, each of which has a separate unity, from the union of which the unity of the whole results. These are said to have been elaborated out of a number of myths and developments which have been the creations of many minds. In a similar manner the picture of the Marriage Feast at Cana consists of a number of separate figures which harmoniously blend into a whole, and to which the magnificent colouring has been adapted. Now suppose that we were told that each of these figures had been gradually developed into its present form by a set of improvements effected unconsciously by a succession of painters; and that all that the artist who formed the picture did was skilfully to combine these separate figures, and place them in juxtaposition. Surely one would not be uncharitable in assuming that the author of such a suggestion had escaped from a lunatic asylum.

Similar is the theory of these Schools as to the origin of the Gospels, and of the great character contained in them. Such a theory of their origin demands our acquiescence in a greater miracle than all the miracles of the New Testament united together.