The image of Jesus that functions in the institutional church is a composite drawn from the four canonical gospels that is undergirded by a theological statement of the church. Children are taught the theological statement from the earliest possible age and when the child reaches maturity, s/he fills out the image choosing material indiscriminately from the four canonical gospels as taught in the church’s educational program.
In the popular ecclesiastical mind, the narratives of all four gospels are regarded as reliable historical documents. The truth is, however, that they are written a generation and more after the death of Jesus. The narratives are based on brief anonymous oral reports of the sayings and doings of Jesus. The descriptions of Jesus, his activities, and his words are the products of impressions on the minds of those nameless persons who transmitted the oral reports, and the impressions the reports made on the minds of the evangelists, who then produced the gospels. The information from the oral reports has been filtered through the faith of each evangelist, which s/he had been taught in the church.1 We have nothing directly from the mouth of Jesus. It is doubtful that anything survived the rigors of the oral period intact.
Hence the gospels are a collage comprised of historical data, ecclesiastical theory and dogma, quotations and misquotations, and invented plots or story-lines. Critical readers of the New Testament have been aware of many of these problems since the late 1700s. The writing, The Age of Reason, by the American Statesman, Thomas Paine, anticipates “many of the insights of contemporary critical biblical scholarship.”2
Each of the canonical gospels presents to the reader unique portraits of the man.3 A portrait is a unique painting by the artist recording how a particular painter sees the subject, and that is also true of the literary portraits by Matthew, Mark, Luke, and John. There are always similarities and differences. At times the differences in their portraits are glaring, at other times subtle. The primary reason Matthew, Mark, and Luke (they are called the “synoptic gospels”) are so similar is because Matthew and Luke used Mark as a source, and they also shared another hypothetical sayings’ source, which accounts for similarities in literary structure and in the sayings of Jesus. Matthew and Luke make changes to Mark’s text according both to their own theological proclivities and literary styles. The Gospel of John has little in common with the other three. The images of Jesus in the canonical gospels are not historical photographs but novelistic portraits.
Here is one glaring example of their contradictory differences. In Mark 4:10, the author we call Mark puts on the lips of his literary character, Jesus, the reason why Mark thinks the historical figure, Jesus, told such difficult-to-understand stories (that is, parables):
So that they may indeed see, but not perceive, and may indeed hear, but not understand; lest they should turn again and be forgiven.
Matthew (13:13) and Luke (8:10b) completely eliminate the offensive phrase, “lest they should turn again, and be forgiven.” Matthew and Luke reject the idea that Jesus told parables to prevent people from understanding, lest they turn and be forgiven by God. John, on the other hand, does not even use the word parable and does not portray his literary character, Jesus, telling any of the classic parables known from the synoptic gospels.4
These kinds of differences in the portraits of Jesus in the canonical gospels are lost in the pious ecclesiastical amalgamations of Jesus.
It’s just common sense, folks.
Professor Emeritus
Missouri State University
1Hedrick, When History and Faith Collide.
2Hedrick, “Thomas Paine and the Bible,” The Fourth R (September-October 2022), 4.
3Hedrick, When History and Faith Collide. Studying Jesus (Hendrickson, 1999; reprint, 2013) 30-47.
4See the description of each portraiture of Jesus in Hedrick, When History and Faith Collide, 32-46 and “Is John a Revisionist Gospel?” pp. 151-54 in Unmasking Biblical Faiths (Cascade, 2019).