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Old 01-02-2010, 08:56 AM   #1
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Default "Novelistic" tropes point to audience?

In discussing with ApostateAbe I brought up Neil Godfrey's pointing to similarities between some Hellenistic novelistic tropes and gospel tropes. An idea occurred to me that I wondered as to the plausibility of:

IIRC, it can safely be said that a sizeable minority of educated people of the day (and some not so educated) were members of some kind of Mystery cult or another. Even some quite famous people were initiates.

So far as we know, what went on in those cults was kept fairly well secret - in fact, we still don't really know some of the nitty-gritty of what went on.

In this context, then, the novels are a sort of "cheeky" literary genre - a form of romantic novel that also has a cheeky reference to Mysteries ideas. Something those "in the know" would amusedly acknowledge with a nod-and-a-wink.

So, the gospel writers were attempting to appeal to THIS audience, by couching the story of their Jewish dying/rising saviour deity in the clothing of a format that would be familiar to them.

I also had a similar idea wrt the notion that the Jesus biography follows somewhat the format of a Stoic "exemplary biography" - again, there's a certain target audience in mind here. Philosophically-inclined, educated.

Anyway, I think this all hangs together fairly well in giving a clearer picture of the people who were first appealed to around the time of the writing of the gospels (which I would take to be from 70 CE onwards). Far from aiming at slaves and such, it seems the gospel writers were aiming at educated people who were already initiates in cults, and philosophically-inclined.

But of course this is just my speculation - but I'd be interested to know if anyone has done any work along these lines?
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Old 01-02-2010, 09:41 AM   #2
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......IIRC, it can safely be said that a sizeable minority of educated people of the day (and some not so educated) were members of some kind of Mystery cult or another. Even some quite famous people were initiates.

So far as we know, what went on in those cults was kept fairly well secret - in fact, we still don't really know some of the nitty-gritty of what went on.

.... Far from aiming at slaves and such, it seems the gospel writers were aiming at educated people who were already initiates in cults, and philosophically-inclined.

But of course this is just my speculation - but I'd be interested to know if anyone has done any work along these lines?
The "educated cult" was the Greek priesthood and the top echalons of this priesthood known as the Sacred College of the Pontifices reported to the "Pontifex Maximus" from the time of Julius Caesar, who bribed his way to assume that role in Rome. The educated cult included the philosophical schools who wrote and preserved the literature of the Greek civilisation. You need to perceive that the Roman Emperors sponsored the Greek priesthood and the Greek civilisation in the epoch BCE, in the 1st, in the 2nd, in the 3rd and in the early part of the 4th centuries under Diocletian. Plotinus, discussed earlier, is a good example, since his renown was recognised by the emperors, and since he produced numerous philosophical / metaphysical / religious works which were highly revered by the Greek civilisation, and by his 12 disciples, of whom Porphyry was one. Plotinus' wrote about the concept of the Greek Holy Trinity --- The All or the Good (CHRESTOS), the SPIRIT and the SOUL.

The gospel writers were aiming to convert these educated Greeks away from the Greek Logos, and had absolutely no impact on them until Constantine backed the gospels with his sword.
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Old 01-02-2010, 09:58 PM   #3
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Far from aiming at slaves and such, it seems the gospel writers were aiming at educated people who were already initiates in cults, and philosophically-inclined.
I think Stark has done a reasonably good job of showing that it is very unlikely that Christianity started among slaves and such, but instead most likely started among the upper crust. So this is consistent with what you're suggesting.
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Old 01-03-2010, 01:21 PM   #4
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I also had a similar idea wrt the notion that the Jesus biography follows somewhat the format of a Stoic "exemplary biography" - again, there's a certain target audience in mind here. Philosophically-inclined, educated.
I agree with the idea that they are trying to present a Greek type of philosopher (or at least influenced) but in a Jewish messiah context.
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Old 01-03-2010, 09:44 PM   #5
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Rabbi Pythagoras and Rabbi Heraclitus one fine morning were engaged in debate on the portico to the Jewish temple about the nature of the Logos .... Yeah it makes perfect sense. NOT. The audience was Greek. The audience was not Jewish.

In accordance to Christian Tradition, the audience consisted of "Gentiles" and conversions were expected --- by the authors or editor(s) or publisher --- of the new testament. We dont know who the authors of the NT were, but we do know who was its first (large-scale) editor and first (large-scale) publisher.
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Old 01-03-2010, 11:49 PM   #6
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Anyway, I think this all hangs together fairly well in giving a clearer picture of the people who were first appealed to around the time of the writing of the gospels (which I would take to be from 70 CE onwards). Far from aiming at slaves and such, it seems the gospel writers were aiming at educated people who were already initiates in cults, and philosophically-inclined.

But of course this is just my speculation - but I'd be interested to know if anyone has done any work along these lines?
Well, based on "Octavius" by Minucius Felix and "Against Celsus" by a writer using the name Origen, the gospels had very little effect on the philosophical inclined.

And when one reads the gospels themselves the authors made Jesus mingle, eat and drink with the poor, the publicans and sinners.

Mark 2.15-17
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15And it came to pass, that, as Jesus sat at meat in his house, many publicans and sinners sat also together with Jesus and his disciples; for there were many, and they followed him.

16And when the scribes and Pharisees saw him eat with publicans and sinners, they said unto his disciples, How is it that he eateth and drinketh with publicans and sinners?

17When Jesus heard it, he saith unto them, They that are whole have no need of the physician, but they that are sick: I came not to call the righteous, but sinners to repentance.
The authors of the gospels appear to be appealing to the gullible with riddles, hocus-pocus magic, fire and brimstone conflagration, and Holy Ghost stories.

Examine Mark 13.
Quote:
15 And let him that is on the housetop not go down into the house, neither enter therein, to take any thing out of his house:

16 And let him that is in the field not turn back again for to take up his garment.

17 But woe to them that are with child, and to them that give suck in those days!

18 And pray ye that your flight be not in the winter.

19 For in those days shall be affliction, such as was not from the beginning of the creation which God created unto this time, neither shall be.

20 And except that the Lord had shortened those days, no flesh should be saved.....
This is not philosophy; this is doomsday material; The end of the WORLD. There would be no need or time for "philosophy". The writers of the Gospels appear to believe the end of world was imminent.

Mark 13.30
Quote:
Verily I say unto you, that this generation shall NOT pass, till ALL these things be done..
So, don't bother with the Stoics, the Platonists, the Peripatetics, the Pythagoreans, the Epicureans and their philosophy just believe in Jesus or else you will be burned to smithereens.

The Gospels were not philosophy, just doomsday riddles for the gullible. In other words, Stop philosophizing and REPENT.
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Old 01-04-2010, 04:22 PM   #7
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Someone mention audiences?
http://www.nazarenus.com/

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The kernel of the gospel narratives is the trial and execution of Jesus. Whereas Jesus’ ministry in Galilee is presented as a string of utterances, deeds and incidents, culled from oral traditions and differently arranged by each of the four evangelists, with Jesus’ arrest the pace quickens and a highly dramatic story emerges, in which the differences between the gospels fade into insignificance. This indicates that the gospels drew on some pre-existing written account of the passion. As we read the story of Jesus’ final hours and watch one carefully-construed scene succeed another, we begin to distinguish the hand of a master. There must have been an individual of literary genius who wrote about the trial and execution of JesusI speak of an individual, because genius is individual.

Ever since the Enlightenment, when the gospels began to be studied in a rationalistic frame of mind as literary works within their ancient context, parallels have been drawn between the passion of Jesus and the rituals and mysteries of the dying and resurrecting gods such as Dionysus and Osiris. The death and resurrection of Osiris was enacted annually in a dramatic performance. Greek tragedy evolved from sacred plays in honor of Dionysus. Did primitive Christianity, too, begin as ritual drama?

The economy of the Gospel narratives is related to the ritual commemoration of the Passion; taking them literally we run the risk of transposing into history what are really the successive incidents of a religious drama,

so wrote Alfred Loisy, one of the most perceptive New Testament scholars of our time.[2] J. M. Robertson went even further, claiming that the story of the passion is

the bare transcript of a primitive play... always we are witnessing drama, of which the spectators needed no description, and of which the subsequent transcriber reproduces simply the action and the words...[3]

Even theologians who are less daring in framing hypotheses continue to stumble upon traces of some ancient drama that appears to underlie the passion narrative.[4] S.G.F. Brandon is impressed by the superb theatrical montage of the trial of Jesus[5] ; Raymond Brown finds that John’s gospel contains touches worthy of great drama in many of its scenes and suggests that our text may be the product of a dramatic rewriting on such a scale that little historical material remains.[6] But none of these scholars has succeeded in reconstructing this drama or identifying its author. They came very close to the truth but missed a crucial elementthe drama that constituted the kernel of the passion story was not a primitive ritual performance, but a tragedy of considerable subtlety and sophistication.
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