In a recent post, Neil cited a paper by Dr. Alan Kirk called “Memory Theory and Jesus Research.” While Kirk does an adequate job of explaining the current state of play in memory theory, I couldn’t help but notice yet again some misunderstandings in the ways Memory Mavens remember German critical scholarship in general and form criticism in particular. I’ve been putting off this dismally inevitable task, but the time has come to offer some corrections and commentary.
First, Kirk takes a swipe at William Wrede. He writes:
. . . Wrede’s bifurcation of Markan tradition into surviving elements of empirical history on the one hand and Easter-engendered dogma on the other, with the latter occluding the former, was precursor to the form critics’ model. Of a “historical view of the real life of Jesus,” wrote Wrede, only “pale residues” survive. (Kirk 2011, p. 809-810, emphasis mine)
Kirk argues that the form critics, taking their cue from Wrede, believed memory and personal eye-witness recollections were synonymous and that the Jesus traditions which effectively buried those recollections were something entirely different.
While memory traces of this sort lay at the origins of the tradition, they were a residuum, largely inert with respect to developments in the tradition itself. The salient image was of so-called authentic memories of Jesus coming to be buried under multiple layers of “tradition.” Tradition, in other words, had little to do with memory. (Kirk 2011, p. 809)
How does Kirk’s analysis square with what Wrede actually said? Kirk’s wording may lead the casual reader to infer from the first citation above that Wrede was referring to the general state of Mark’s sources or, to put in another way, the overall character of the various streams of oral and written tradition available to the author of Mark.
I see John as a rewriting of those written texts in light of both the cultural memories of his own group and a very particular set of historical circumstances. There’s no doubt that this gospel is distinctive in many ways, with its view of Jesus as the incarnate Logos, the unique Son of the Father, and the bringer of eternal life. And yet, it seems to me that many of these distinctive features can be seen to derive from a creative reflection on Markan material. (Bond, 0:55, 2016 — Note: In this post all bold emphasis in quotations is mine.)
An extremely slim volume
Further, she correctly observes that most scholars thought John knew and used the Gospel of Mark until the publication of Percival Gardner-Smith’s Saint John & the Synoptic Gospels in 1938. But notice who turns out to be the villain in this story.
So, while the extent of John’s familiarity with Matthew has often been debated, there was almost complete agreement, until the early 20th century, that the evangelist was thoroughly acquainted with Mark and very likely also with Luke. With the emergence of form criticism, however, things began to change. (Bond, 1:52, 2016)
In my previous post, I discussed the basic element of Bart Ehrman’s understanding of Maurice Halbwachs, the founder of the study of collective memory. This time, I’d like to focus on his remarks concerning Formgeschichte (form criticism) as it applies to the New Testament in general and memory theory in particular.
Basic Element 2: Form Criticism
“Forget it — he’s rolling.”
♦ Dibelius said what?
This is more like a scholar of American history saying that George Washington wrote the Declaration of Independence.
The authors of the Gospels—all of them, not just Mark—wrote down stories that had been passed along by word of mouth for years and decades before they wrote. For that reason, when the Gospel writers produced their accounts, they were not simply inventing the stories themselves; but they were also not recording what actually happened based on direct testimony. They were stringing together stories that had long been circulating among the Christian communities. For [Martin] Dibelius, “stringing together” is precisely what the Gospel writers did. The Gospel stories are “pearls on a string.” The authors provided the string, but they inherited the pearls. (Ehrman, 2016, p. 46, emphasis mine)
Part 4: Hochliteratur (high literature) and Kleinliteratur (low literature)
To understand Karl Ludwig Schmidt’s argument concerning the genre of the canonical gospels, we need first to understand his usage of the terms Hochliteratur and Kleinliteratur. These terms are difficult to translate into English, because we lose the nuance of the German words, while picking up unwanted baggage from their English equivalents.
Literally, they mean “high literature” and “low literature,” and that’s exactly how they’re rendered in The Place of the Gospels in the General History of Literature. However, in some translations of form critics’ works, you’ll see them left untranslated. Sometimes you’ll see Kleinliteratur translated as “folk literature” or “popular literature.” The translator of our text, Byron R. McCane, chose to translate the terms literally, since for him to leave terms untranslated is an admission of defeat. I’m not sure I agree with that position, but at least he has his reasons. There’s no right or wrong approach, I suppose.
No new thing under the sun
McCane is certainly wrong, however, about the origins of the terms. He writes:
Many scholars who discuss Die Stellung [i.e., The Place (of the Gospels)] choose not to translate these German terms. They are, after all, neologisms created by Schmidt to designate specialized literary categories. (p. xxxii, emphasis added)
The terms are not neologisms; they predate Schmidt. As far back as 1919, Martin Dibelius used Kleinliteratur in From Tradition to Gospel. In the first edition (Tübingen, 1919) he wrote:
In erhöhtem Maße wird dies alles von der sogenannten Kleinliteratur gelten. (p. 1, emphasis added)
In the English translation this sentence reads:
What we have said is true also in humbler forms of literature. (p. 1, emphasis added)
You can find the terms in discussions of literary works dating as far back as the late 19th century. A quick survey of Google Books reveals that Hochliteratur and Volksliteratur were in use at least as far back as 1891. Conceptually, then, the terms and the concepts behind them had been current in German academia (viz., history of literature, literary criticism, etc.) for a couple of decades before Schmidt’s The Place of the Gospels was published.
McCane is hardly alone. I can only guess that most people who have read (or claim to have read) Dibelius are familiar only with the second edition of From Tradition to Gospel (1933), and are unaware of the first edition (1919). It’s also a bit hard to trace the usage of these terms, because when translators convert them into English, you never know what you’ll get — Low literature? Folk literature? Folk tales? Popular literature? Humbler forms of literature?
The ideal type is a fiction: a tool that we use to help us better comprehend the issues at hand. It’s a subjective model of the problem domain, not an objective definition of reality.
Before we continue, let’s review the concept of ideal types. If we were to envision the ideal parliamentary democracy, we would list the defining characteristics — some integral, others peripheral — generally held in common. We would not expect any particular, real-world parliamentary democracy to have every one of these characteristics. That does not mean they are something else. Nor does it mean that our ideal type is invalid. On the other hand, if a nation-state coincidentally shares a few peripheral characteristics or partially shares one of the core characteristics, that doesn’t mean it has magically become a parliamentary democracy.
Likewise, if we created a list of all the defining characteristics of Hochliteratur or Kleinliteratur and compared that list against extant works of literature from the ancient Greco-Roman world they won’t all correspond perfectly against the ideal types. That’s because, as we all should know, the ideal type is a fiction: a tool that we use to help us better comprehend the issues at hand. It’s a subjective model of the problem domain, not an objective definition of reality. Continue reading “The Genre of the Gospels: How the Consensus Changed (Part 4)”