What is clear is that the central narrative of the gospel biography, the story of the Last Supper, the Agony, Betrayal, Trial, and Crucifixion, is neither a contemporary report nor a historical tradition, but the simple transcript of a Mystery-Drama. The proof lies in the very structure of the document.
Anyone who will attentively follow the account of the Last Supper and its sequelæ in the first gospel will see that it reproduces a series of closely-continuous dramatic scenes, with no room given to such considerations as would naturally occur to a narrator of real events, and no sign of perception of the extreme improbability of the huddled sequence set forth. A more or less unnatural compression of events is the specific mark of drama, even in the hands of great masters, as Shakespeare and Ibsen; and the primitive mystery-play, as might be expected, is excessively compressed, so as to conform to the recognised Greek rule that the action of a drama should be limited to twenty-four hours. Jesus is made to take the Passover after dark; then to go forth in the night for no reason given with his disciples, who sleep while he prays; then to be captured in the darkness by a "multitude"; then to be taken straight to the high priest, "where the scribes and elders were gathered together." These now proceed, in the dead of the night, to "seek false witnesses," and "many false witnesses" come, to no purpose, till "afterward" come two who testify to his words about destroying the temple; whereupon he is judged and buffeted, and the night's history ends with the episode of Peter's denial. No hint is ever given of anything said or done or felt by Jesus on the way from the Supper to the Mount, or in the interval between the Jewish and the Roman trials.
Such a narrative cannot have been originally composed for reading. A writer, whether inventing or reproducing hearsay, would have sought to explain the strangely protracted midnight procedure of the high priest and scribes and elders; would have given some thought to the time necessary between event and event; would have thought of the Lord in his dungeon. The story before us yields exactly what could be scenically enacted, nothing more; and where on the stage the successive scenes would originally raise no question of the time taken, the unreflecting narrative loses all verisimilitude by making everything happen in unbroken sequence, and by making the Master utter words of prayer which, apart from the audience of the drama, there was no one to hear. In the play the "false witnesses" would of necessity be sent for and introduced without lapse of time, and the action would raise in a popular audience no perplexity, where the narrative loses all semblance of probability by turning the dramatic act into a historical process. After the unspecified slight pause till "the morning was come," the action is resumed before Pilate with the same dramatic speed, and the execution impossibly follows immediately on the trial. We are reading the bare transcript of a mystery-drama; a transcript so bare that, in the scene of the Passion, the speech beginning "Sleep on now," and that beginning "Arise, let us be going," are put together as if they were one utterance, without specification of the required exit and entrance between.