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God inerrantly inspired, but only the words copied by the scribes—sometimes correctly but sometimes (many times!) incorrectly? What good is it to say that the autographs (i.e., the originals) were inspired? We don’t have the originals! We have only error-ridden copies, and the vast majority of these are centuries removed from the originals and different from them, evidently, in thousands of ways. These doubts both plagued me and drove me to dig deeper
I chose a passage in Mark 2, where Jesus is confronted by the Pharisees because his disciples had been walking through a grain field, eating the grain on the Sabbath. Jesus wants to show the Pharisees that “Sabbath was made for humans, not humans for the Sabbath” and so reminds them of what the great King David had done when he and his men were hungry, how they went into the Temple “when Abiathar was the high priest” and ate the show bread, which was only for the priests to eat. One of the well-known problems of the passage is that when one looks at the Old Testament passage that Jesus is
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Once I made that admission, the floodgates opened. For if there could be one little, picayune mistake in Mark 2, maybe there could be mistakes in other places as well. Maybe, when Jesus says later in Mark 4 that the mustard seed is “the smallest of all seeds on the earth,” maybe I don’t need to come up with a fancy explanation for how the mustard seed is the smallest of all seeds when I know full well it isn’t. And maybe these “mistakes” apply to bigger issues. Maybe when Mark says that Jesus was crucified the day after the Passover meal was eaten (Mark 14:12; 15:25) and John says he died the
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Other passages of the Gospel also do not cohere completely with the rest. Even the opening verses 1:1–18, which form a kind of prologue to the Gospel, appear to be different from the rest. This highly celebrated poem speaks of the “Word” of God, who existed with God from the beginning and was himself God, and who “became flesh” in Jesus Christ. The passage is written in a highly poetic style not found in the rest of the Gospel; moreover, while its central themes are repeated in the rest of the narrative, some of its most important vocabulary is not. Thus, Jesus is portrayed throughout the
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captivating
How do we know this? In fact, scholars who work on the manuscript tradition have no doubts about this particular case. Later in this book we will be examining in greater depth the kinds of evidence that scholars adduce for making judgments of this sort. Here I can simply point out a few basic facts that have proved convincing to nearly all scholars of every persuasion: the story is not found in our oldest and best manuscripts of the Gospel of John;18 its writing style is very different from what we find in the rest of John (including the stories immediately before and after); and it includes a
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But there’s one problem. Once again, this passage was not originally in the Gospel of Mark. It was added by a later scribe. In some ways this textual problem is more disputed than the passage about the woman taken in adultery, because without these final verses Mark has a very different, and hard to understand, ending. That doesn’t mean that scholars are inclined to accept the verses, as we’ll see momentarily. The reasons for taking them to be an addition are solid, almost indisputable. But scholars debate what the genuine ending of Mark actually was, given the circumstance that this ending
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The copying practices we have considered thus far have been principally those of the first three centuries of Christianity, when most of the copyists of the Christian texts were not professionals trained for the job but simply literate Christians of this or that congregation, able to read and write and so called upon to reproduce the texts of the community in their spare time.1 Because they were not highly trained to perform this kind of work, they were more prone to make mistakes than professional scribes would have been. This explains why our earliest copies of the early Christian writings
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