Note the historicizing imagination at work….
On October 10, early in the morning, I left Jerusalem through the Ephraim Gate, always accompanied by my trusted Ali, with the aim of examining the battlegrounds immortalized by the poet Tasso.
For twelve pages in the chapters devoted to the Holy Land, the story of the pilgrim stands out for its exceedingly natural and sincere enthusiasm. He forgets the Holy Sepulcher, the Via Dolorosa, the convents, and the monks. He simply tries to rediscover on the spot the framework, not of the last days of Jesus and of the Passion, but of the principal heroic and moving episodes from Tasso’s Jerusalem Delivered, in a kind of romanesque topographical revery:
Proceeding to the north of the city, between the grotto of Jeremiah and the Sepulcher of the Kings, I opened Jerusalem Delivered and was immediately struck by the accuracy of the poet’s description. Solime (that is, Jerusalem), says Tasso, stands on two opposing hills …. Nature offers only an earth that is arid and naked; no springs, no streams refresh the barren grounds; one never sees flowers blooming; no stately trees spread their shelters against the sun’s rays. At a distance of more than six miles there emerges only a forest casting a baleful shade that inspires horror and sadness. Nothing can be more clear and precise. The forest situated six miles from the camp, in the direction of Arabia, is not an invention of the poet. William of Tyre speaks of the wood where Tasso makes so many marvels happen. Godfrey finds there the timber for the construction of his war machine’ … Aladin sits with Erminia on a tower built between two gates from where they can observe the fighting on the plain and the camp of the Christians. This tower is still standing, together with several others, between the Gate of Damas and the Gate of Ephraim.
In fact, the tower exists in the imagination of Chateaubriand, for he imagines the shadow of a tower and the phantom of a forest. He continues: . . .
. . . . It is not as easy to determine the place where the runaway Erminia meets with the shepherd on the edge of the river.
Note that we deal here with pure fiction (the episode of Erminia among the shepherds at the beginning of the seventh canto); yet Chateaubriand looks for its location with the same seriousness one would use in localizing a historical fact. . . .
This is an evocation, on site, of a romanesque tale-that of Chateaubriand’s detour to the Holy Sepulcher when he went to visit the holy places. It reminds us of the detour Renan made, during his mission to Phoenicia, to find the sites and the framework of that other fiction which would become the Gospels.
And still it is true that the events told by Tasso are not without verifiable historical reality, since they agree in many points with the history of the Crusades, on which we can rely. “We will see,” says Chateaubriand, “how much Tasso had studied the original documents when I translate the historians of the Crusades.” But for the story of the Gospels we have no text, no testimony concerning most of the events they recount, a century after they happened.
Nanine Charbonnel, whose book Jésus-Christ, Sublime Figure De Papier we are continuing to discuss in this post, then drives home the key point for her thesis that Halbwachs dares to affirm about the gospels and that I quote from the English edition of On Collective Memory:
This is the source of the thesis that “the Gospels, which were an apocalyptic revelation in the first century, became a legendary form of narrative in the second.” Let us understand by this that a mystical belief, a vision that moved the mind into the religious and supernatural realm, was transformed into a series of events that developed on the human level, even though these also had a transcendental significance.
(Halbwachs, On Collective Memory, pp 205-209, formatting and bolding is mine in all quotations)
We are now entering NC’s final main chapter examining the “masterful creative syntheses” with which the gospel narratives have been written and that the previous posts have been covering.
The creative method of the evangelists has had a more enduring spell than we find in Tasso’s Jerusalem Delivered and was explained long ago, NC notes, by David Friedrich Strauss:
Further, the fishermen, at the call of Jesus, forsake their nets and follow him; so Elisha, when Elijah cast his mantle over him, left the oxen, and ran after Elijah. This is one apparent divergency, which is a yet more striking proof of the relation between the two narratives, than is their general similarity. The prophet’s disciple entreated that before he attached himself entirely to Elijah, he might be permitted to take leave of his father and mother; and the prophet does not hesitate to grant him this request, on the understood condition that Elisha should return to him. Similar petitions are offered to Jesus (Luke ix. 59 ff.; Matt. viii. 21 f.) by some whom he had called, or who had volunteered to follow him; but Jesus does not accede to these requests: on the contrary, he enjoins the one who wished previously to bury his father, to enter on his discipleship without delay; and the other, who had begged permission to bid farewell to his friends, he at once dismisses as unfit for the kingdom of God. In strong contrast with the divided spirit manifested by these feeble proselytes, it is said of the apostles, that they, without asking any delay, immediately forsook their occupation, and, in the case of James and John, their father. Could anything betray more clearly than this one feature, that the narrative is an embellished imitation of that in the Old Testament intended to show that Jesus, in his character of Messiah, exacted a more decided adhesion, accompanied with greater sacrifices, than Elijah, in his character of Prophet merely, required or was authorized to require?
(Strauss, Life of Jesus, Part II, chapter v § 70)
NC stresses that there is more here than imitation and amplification: it is the messianic situation of the End Times that demands the difference.
We need to understand and at some level to know that the gospels are not like other literature. They are not like the Iliad and Odyssey or Greek novels, nor are they like allegorical Greek myths, nor are they typical tales of the marvelous and fantastic.
Some ways they differ from other literature:
- The gospels put into narratives the principles of Judaism. The miracles, for example, are not tales of the marvelous but are coded signs within the hermeneutics of the Hebrew Bible. It is impossible to genuinely understand anything in the New Testament if it is read apart from the context of the Hebrew Bible.
- The principles of Greek literature (e.g. Greek tragedy) only function to give form to an entirely Judaic theme. (NC refers to Bruno Delorme and his Le Christ grec: De la tragédie aux évangiles but a similar discussion is found in Gilbert G. Bilezikian’s The Liberated Gospel: A Comparison of the Gospel of Mark and Greek Tragedy.)
- Above all, “perhaps the key to their genius”, is that the gospels transform into supposedly real characters and situations statements that are expressions of language or poetic formulations from OT texts.
Transforming persons and actions into meaningful words
Recall the discussions where we noted that not only were names of persons given for symbolic reasons but even characters themselves were created as symbols of entire communities: the Samaritan woman is the Samaritan people; Mary is the Jewish people and the other Marys are different facets of the Jewish people (e.g. Israel as a prostitute, etc).
Another example points to the complexity we sometimes find here. Manna, the word meaning “what is it?”, was given to the “bread” in the wilderness. Bread elsewhere becomes a symbol of the word of God. Prophets are made to eat scrolls full of written words. The question “what is it?” becomes the question one asks of the meaning of God’s word.
“Walking in the way” is a metaphor for righteous living according to the law. So in the gospels the healing of a paralytic, one who cannot walk, brings to mind the restoration of the gentiles who were hitherto without the law of God.