Robyn Faith Walsh, a professor of New Testament studies at the University of Miami with a Ph.D. in religious studies from Brown University, has recently hit the circuit promoting her “controversial” thesis (building on her dissertation at Brown) that the Gospels are deliberate literary creations, and not happenstance collections of oral lore. I just completed her book on this point, The Origins of Early Christian Literature: Contextualizing the New Testament within Greco-Roman Literary Culture (Cambridge University 2021). And it’s excellent work. Here I’ll summarize its points and merits.

I put the word “controversial” in quotes above because, of course, not just me but many scholars (and the more, the more lately) have been arguing the same thing for many years now. She isn’t alone; and she knows it: her bibliography is full of concurring scholarship. But until now no one has written so comprehensive and persuasive a case for this point than she has. Moreover, as she notes and documents, her position is the norm in all other fields of ancient literature. Biblical studies is the lone holdout now. So her turn toward dismantling that last bastion of resistance is really just a mopping-up operation. I honestly think this is the death knell to all rational opposition. Irrational opposition will remain rampant of course. Because time makes more converts than reason. But the fact is, resistance to her thesis isn’t at all well-founded and remains more of an emotional artifact of institutional inertia. Like Luke Skywalker clinging to a sky-terminal screaming, “Noooo!” Sadly common in Jesus studies.

What does make this seem “shocking” in the field, though, is that it comes right on the heels of a recent contrary craze for applying “orality” and “memory” studies to the Gospels. Precisely the angle Walsh is pretty much lighting on fire. Although her book does pertain (as its title suggests) to the entire New Testament (and Christian writing beyond), its principal focus throughout is the Gospels. And her primary objective is to answer the simple question: who could have written these things; and why? Not specifically, but generally: what kind of people would they have to be, and what kinds of objectives and methods must they have had, given what we know of ancient authors and writing and literature? In other words, Walsh puts the context back into answering this question; a context too often ignored.

The Walsh Thesis

The first I encountered this thesis was in graduate school, when I read Keith Hopkins’ now-famous article “Christian Number and Its Implications” in the 1998 edition of the Journal of Early Christian Studies (as soon as it came out, on a tip from my dissertation advisor William Harris; they were close colleagues), which despite its title is really about the fact that we need to take seriously the question of who could even write the books we find in the New Testament. Because not just the literacy, but the advanced skills involved in literary composition it required were available to only very few people then, people who would have had very particular social positions and interests. That article is in Walsh’s bibliography. I went on to find this point articulated, and impressively proven in various ways, by numerous scholars since, from Randel Helms to Thomas Brodie, Dennis MacDonald, David Gowler, Robert Price, Richard Pervo, and beyond. Again and again, demonstrations have been made that the Gospels (and Acts) thoroughly evince literary composition, according to the very tropes and tools we know were taught (and indeed only taught) in the ancient equivalent of graduate schools in Greek (see my discussion in Science Education in the Early Roman Empire and chapters nine and ten of On the Historicity of Jesus).

For too long this groundswell has been ignored or resisted in the field. Yet it extends even to specific motifs the authors of the Gospels employed. As Walsh refreshingly admits:

Scholars have long noted parallels between the canonical gospels and works like the Greek novel or the Satyrica, including the shared topoi of ritual anointing, crucifixion, a disappearance off the cross, a cannibalistic fellowship meal, (implied) resurrection, and the motif of the empty tomb; yet comparisons between these ancient corpora are few and far between.

Origins, p. 8

She exaggerates. There actually have been quite a few (her own list is but a fraction). But she is right that they have mostly been ignored. The wheel keeps getting reinvented. The facts keep getting noticed. The same results replicated study after study. Yet most scholars just don’t want to acknowledge it; or simply dismiss it, for wholly perfunctory reasons; mere handwaving. Which indicates that the dominant voices in Jesus studies don’t want this to be true; but have no actual case to make that it isn’t.

Walsh thus takes issue with the long trend in Jesus studies to explain the content of the Gospels as produced by mostly illiterate “communities” (an idea based on no evidence, only conjecture) rather than by the one community we know for a fact produced them: the literary elite. Once you admit this, it becomes clear we cannot understand the Gospels, or their authors or content, until we understand that community. And we have a great deal of data on that community, and how they operated and produced, and why; vastly more than we have for any early “Christian” community, much less such as could have generated the literary artifacts of the Gospels. So Walsh sets out to look at that data, everything we know about the literary elite and their agendas and techniques, and to point out all the ways that this informs, and indeed must inform, our understanding of the Gospels, and their origins and contents.

Walsh outlines the usual romantic notion of the early Christians as illiterate simple-folk who somehow commissioned the Gospels into existence, and explains that there is actually no evidence for it. In fact, all evidence is to the contrary:

That the gospel writers might actually represent Roman literary elites writing about supernatural interests and foreign and bucolic landscapes and peoples seems contrary to how we have imagined Jesus’s followers for millennia. But this idealized version of the early Christian story confuses the subject matter of the gospels with their authors.

Origins, p. 9

In fact, ancient literary elites often wrote material like the Gospels—and we can explain their entire content by reference to what the literary trends of the era already were. They are not strange or unique. They are typical. As Walsh says:

[W]hen compared with other first-century literature, the Jesus of the gospels can be fruitfully compared with the Cynics, Aesop, the pastoral heroes of the Greek novel, or witty underdogs in the biographical tradition, the subject of [my] Chapter 5. Moreover, many of the topoi used by the gospel writers convey Jesus’ special standing, but they do so through familiar literary allusions—the empty tomb, for instance, is found throughout Greek and Roman literature and material culture (e.g., the novel and numerous paradoxographical fragments) to indicate supernatural status. Even strategic omissions, like anonymity, are common tricks of the trade among imperial writers [especially Jewish writers, pp. 156-57] and can be understood without associations with memory traditions or communal authorship, as I discuss in [my] Chapter 4.

Origins, p. 10

In those chapters Walsh also discusses how ordinary and innate to ancient literary method mimesis was, and that continued resistance to the idea that the Gospels are emulating Homeric and Jewish literature must be abandoned. They obviously were doing this; just as all authors were taught to.

Those closing chapters are preceded by crucial background. Walsh’s first chapter deconstructs “The Myth of Christian Origins.” Her second chapter details the faulty origin of the “Romantic” trend in imagining how the Gospels were produced, which she traces back several centuries to obsolescent folklorists, a fancy still far too popular in the field given what she proves to be its entirely baseless foundation. Her third chapter then surveys what we actually know about ancient authors and their social and educational and literary milieu, because that’s who must have produced the Gospels. Her fourth and fifth chapters then apply all of these findings to show that the Gospels fall into a category of ancient elite literature called “Subversive Biography,” an often fictional or pseudo-historical genre that “commonly features a marginal or subversive figure forced to succeed through the use of their wits or wonder-working skills” (Origins, p. 13) as well as their (usually untimely) deaths; in some cases they are even unjustly executed by state or religious authorities. Once we understand that, everything falls into place: in outline the Gospels’ entire purpose and content is predicted and explained. In this she is not far from where experts on the genre of the Gospels have already been heading. What is conspicuously missing from all this is any substantive concern with oral lore. Collecting and mediating that simply isn’t what the authors of the Gospels are doing. There is no evidence it ever really was. (Hence its complete absence, for example, in the Epistle of 1 Clement.)

Walsh even agrees that the gospel and kerygma came by revelation (directly or through scripture), not “oral lore” originating with Jesus (Origins, p. 39); and that the escalating Gospel moves to “pretend” otherwise was a commonplace literary device of the time. Just as, for example, in the “gospels” (and even passion plays) of the mythical Romulus, the names of witnesses would be given, an obvious invention. Hence:

Whether Jesus or Romulus, a risen figure required bystanders. These bystanders are not necessarily “real” but woven into the fabric of the storytelling in order to confirm the writer’s account and add authenticity to their work. Claiming the authenticity of eyewitnesses, divine knowledge—or even authorial anonymity—was a strategic move on the part of the ancient writer to give weight to their work and attention to their claims. Indeed, the anonymity and divine status invoked by the gospel writers fit well within this strategic paradigm.

In this respect, the claims of the gospel writers combine to generate an authorizing “anti-intellectualism” that simultaneously embraces the tactics of history and bios writing along with the idealism of bucolic or utopian fiction. Thus, these features of the gospels—eyewitnesses and anonymity—are not evidence of the manner by which these writings were produced or their uniqueness among other literature of the age. They are a commonplace, rhetorical invocation on the part of the gospel author.

Origins, pp. 154-55

In fact, she points out, “Spurious claims to eyewitness testimony are commonplace in Greek and Roman history; paradoxography similarly attempts to link fantastic or miraculous events to place and local lore in order to lend credibility to its anonymous claims,” such that, for example, Luke 1 referencing an anonymous eyewitness tradition “need not signal the hallmarks of community—oral tradition and cohesive groups—but, instead, are demonstrative of clever writing” (Origins, p. 156). Indeed, faking lives and histories (even letters) was the norm in religious communities then (I considerably expand on her list of examples in Element 44, Chapter 5, in On the Historicity of Jesus). Even playing up or inventing the “illiteracy” of the first Christians would be a recognized device for establishing the miraculous provenance of their knowledge and the moral superiority of their social status, being “of the people” (Origins, pp. 167-68; cf. OHJ, pp. 263-64, 293, 440). Overall, Walsh is skeptical that any oral lore exists in the Gospels, but even if there is, she says, such “elements are irretrievable to us” behind a rather thorough mask of authorial creativity and invention (Origins, pp. 156 and 194).

In the end, Walsh makes a point Jesus scholars really need to heed:

Assuming that all shared material in the gospels and Paul stem[s] from the same oral tradition is what has fostered faulty notions about early Christian communities and their exceptionalism, severely limiting our understanding of Christian beginnings. In short, by accepting the Romantic reconstruction of the gospels, we fail to acknowledge the degree to which these writings fit perceptibly within a larger trajectory of imperial literature.

Origins, p. 169

Key examples she cites include some I’ve referenced to this same point myself: Plutarch’s Life of Romulus, the Lives of Aesop, the Lives of Homer and the Lives of Moses, Jewish tales like Tobit and Joseph and Asenath, Esther and the book of Daniel and the Kings narratives of Elijah and Elisha, even fiction spun as history about Socrates (by Plato and Xenophon) or even about such luminaries as Cyrus or Alexander the Great, and of course the Satyricon and other novels—Jewish, Greek, and Roman. Very apposite, she and I have both noted, are the accounts of Socrates, and the Lives of Aesop (see Element 46, Chapter 5, in OHJ). The latter are likewise anonymous, exist in multiple redactions over time (just like Matthew redacts Mark; and Luke, Matthew), and feature an unjustly executed hero (indeed for the same crime, of blasphemy), who is of low social status yet possessed of miraculous powers who verbally spars with the religious and political elite, exemplifying in result his moral and cultural superiority over their haughty elite standards, ending in his unjust execution by their hands.

Walsh also denounces the usual “differences eliminate similarities” apologetic—which you will find only in Biblical studies; in Classics, such an argument would be laughed out of court, as flippantly dismissing the entire form and function of literary and genre studies as a subject (Origins, p. 193). For example, she quotes one scholar insisting “similarities in form do not outweigh differences in content,” yet (as she notes) that is absurd: the entire point of “genres” and “tropes” is to use a similar theme or format to represent new content. Differences in content are the point of employing common tropes and generic structure (“genre”). If these things weren’t being deployed in novel ways, you wouldn’t have a new text but just a copy of an old one. Hence the whole point of creatively generating new literature is to devise new and clever ways to instantiate tropes and genres. This is likewise the point of mimesis (literary emulation) and religious syncretism (merging two religious traditions to create a new one): the similarities are what is being borrowed and commented on; the changes are the point of doing that: developing something new, and marketing that new message to replace, comment on, or supersede the old. If a new religion did not differ from the models influencing it, then it wouldn’t be a new religion, just a continuation of the old one. So it is impossible that “differences in content outweigh similarities in form.” Anyone who says that literally knows nothing about how new religions or literature are produced. Walsh, coming as I do from a strong background in ancient religious and literary studies outside the Bible, concurs.

The bottom line is: scholars who look at the Bible through blinders, ignoring the entire literary and cultural context in which (and by which) it was produced, are doomed to get everything about it wrong. And on that faulty foundation they will fail to correctly apprehend or reconstruct the real origins and development of Christianity and its claims and ideas. Walsh aims to correct this grave error and get the field back on the correct track. I’m right there with her.

Disagreements

I pretty much endorse everything Walsh says and argues in this volume. It’s well-said, well-demonstrated, and correct. There are but a few exceptions, and they don’t affect her thesis.

Walsh does not make it a centerpiece of her thesis, but a few times she does suggest that the Gospels might not have even been authored by Christians, but just the literary exercises of playful auteurs (e.g. pp. 28, 35, 111, 133). She doesn’t insist on this; she merely says that if you wish to maintain these authors were Christians, and advocating a position (perhaps even a position they believe their “community” shares or that they want it to share), you need to present evidence for that, not just presume it. Which is fair enough. One should be able to present evidence to believe that.

I am certain we have. The Gospels’ designs are thoroughly propagandistic and thus only make sense coming from an interested party intent on controlling or advising the behaviors and doctrines of the faithful. And their knowledge of Christian theology, organizing principles, and the Jewish scriptures and apocrypha undergirding it all, does not seem likely to be the product of idle pastime. Mark builds his entire story to sell the Christian mission out of the Epistles of Paul, for example (a point with which Walsh concurs: Origins, p. 132; indeed her list of examples I have added to my article); his comparable employment of the Septuagint indicates more than mere literary interest in the material; and his pervasive argument justifying Paul’s mission to the Gentiles through an extended tale of Jesus himself foreshadowing it evinces a specific sectarian goal. Matthew, in turn, is quite intent to defend the Torah-observant Christian faction against Mark’s design; and Luke, to unify and harmonize those warring factions; and John, to blow up the whole affair with wholesale religious reform. These are obviously concerned missionaries; not idle auteurs.

Another disagreement I have is with Walsh’s push to argue that the Satyricon was written in the second century to parody the Christian Gospels, rather than being written before the Gospels to parody religious adventure novels generally (as most scholars I think would still maintain). G.W. Bowersock sets the context well enough in Fiction as History: Nero to Julian (University of California Press 1995). If there were already trained dogs acting out mock deaths and resurrections in comedy stage plays in the time of Vespasian (Plutarch, “On the Cleverness of Animals,” Moralia 973e-974a), we clearly have a genre so commonly recognized it was already regularly being made fun of, far too soon for “the Gospels” to be inspiring it.

I think Walsh might not be aware, for example, that the novel Callirhoe, which seems one of the likely targets of the Satyricon’s parody (Origins, p. 152), most definitely predates the Gospels (it is mentioned as an already-popular work of pulp fiction in a poem of Persius; and Suetonius reports in his Lives of the Poets that he died in 62 A.D.). We even have a papyrus that appears to contain a Greek predecessor to our Latin of the Satyricon, suggesting an even older provenance than even theories of Petronian authorship would suggest (P. Parsons, “A Greek Satyricon?” Bulletin of the Institute of Classical Studies 1971). So our Satyricon could even be a second century redaction of an earlier work. But either way, as Walsh admits, these motifs were all over religious adventure novels of the time, both before and after Christianity began (and not only in novels: “empty tombs and the resurrected dead were particularly popular conventions of paradoxography, a genre that experienced a resurgence in the first and second centuries,” Origins, p. 149); and this is based on the examples that survive. There will no doubt have been others. So we needn’t appeal to the Gospels as the Satyricon’s referent, no matter what its date.

Walsh does not commit to this thesis either (she admits there are other ways to read the data, e.g., Origins, pp. 16-17). But she seems personally convinced. I am not as persuaded. The parallels she surveys in Chapter 4 are indeed remarkable, but they are too random; they lack sufficient specificity or interpretability to connect to any of the Gospels. Mimesis served to comment on (or in parody, to make fun of) the target of emulation, to mock or honor or transvalue it; and there just isn’t any of that here. Brodie and MacDonald developed mimesis criteria for a reason. Walsh’s findings score too poorly against them for this to qualify as a case of it, in either direction (for a contrasting example see my discussion in Proving History, pp. 192-204). I don’t think the Satyricon knew the Gospels; nor the Gospels, the Satyricon. But that does leave only one alternative: these motifs were so widespread in satires and novels of the time that the authors of the Gospels were most definitely riffing on the trend. And we would indeed have a better understanding of their authors’ intentions and designs if we had access to the exemplars they were transvaluing. I just think we don’t. Whatever work, say, Mark was lifting from and commenting on has simply been lost. We only see echoes of it in the Satyricon’s general parody of the whole genre.

Lastly, a minor point: Walsh says “cannibalism … as a specific theme in invective against Christians” appears in Tacitus and Pliny (p. 145). In fact neither author mentions this. Pliny says the Christians claimed their meals were “ordinary and innocent” but does not specify what else he might have thought them to be. Tacitus never mentions meals at all. The idea of Christians specifically being accused of cannibalism exists only in Christian apologetics; we actually have no early pagan source ever accusing them of such a thing. I suspect Christian apologists often fabricated accusations made against them. For example, no pagan author ever accused the Christians of atheism, but rather the opposite: superstition, an excessive or irrational fear of the gods. That no Christian apologetics ever responds to this, the actual accusation we find in pagan sources, but instead converts the accusation into “atheism,” to create an easy straw man to rebut, demonstrates Christian mendacity (see Not the Impossible Faith, pp. 156-57). We should thus doubt the cannibalism accusation was ever real as well.

On a couple of other points I can give her an assist. Walsh apologizes for relying on Bart Ehrman’s pop-market work Forged, evidently unaware of the publication of his later thorough and excellent peer-reviewed monograph on the subject, Forgery and Counter-Forgery (Oxford University Press 2012). I recommend readers update her footnote accordingly (Origins, p. 157 n. 80), as it removes any need for her comments in defense of his thesis. It is now an established conclusion in the academic literature. In another instance, Walsh discusses a common feature of subversive heroes in ancient fiction: their physical unattractiveness (particularly noted of Socrates and Aesop; even in the Alexander Romance, Alexander the Great is portrayed as disarmingly short, in ways echoing the same trope). She notes this is not found in the Gospels but the same trope is carried there with other features, such as Jesus’s low social status and associations (Origins, p. 192). She evidently isn’t aware that Christian tradition did in fact attribute physical ugliness to Jesus, exactly on trope (Justin Martyr, Dialogue with Trypho 88; Tertullian, On the Flesh of Christ 9; Clement of Alexandria, The Instructor 3.1; Origen, Against Celsus 6.75; and indeed with “scriptural” support: Isaiah 52:14 and 53:2-3).

Conclusion

I have few disagreements with Walsh; and those are relatively trivial. And even where we disagree, she ably presents the data, which is of value in itself. The rest of her book is an excellent piece of extended argumentation, more than adequately establishing its case with cited evidence and scholarship throughout. It will not only persuade, but it will educate you on how Biblical studies ended up in the dead-end of romanticism, the pit Walsh is trying to drag it back out of; and on how much can be learned from reversing course back down the path of understanding the Gospels that we should have been on all along. Anyone who wants to better understand who the authors of the Gospels were in general, what their techniques and agendas and literary environments would have been like that influenced their every decision in constructing those texts, simply must read this book. As must anyone who wishes to resist its thesis and insist the Gospels are collections of oral lore and not the deliberate creative products of individual, elite authors; or insist the Gospels are unique and special, rather than quite typical examples of popular counter-cultural fiction of the time. If that is you, and you are the sort of person who responds rationally to evidence and argument, this book will disabuse you of those notions.

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