[Origin of the Gospels] The Gospels, then, are a transcript of a mock murder of the Sun-god Joshua annually performed in secret by the Jews of Jerusalem, for it had got there before it was written down and discontinued. One asks oneself why, if the Jews had tolerated so long a pagan survival among themselves, they could not keep it up a little longer; and why the "Christists" should be so anxious "to break away from paganism" at exactly the same hour. Moreover, their breach with paganism did not amount to much, since they kept the transcript of a ritual drama framed on pagan lines and inspired throughout by pagan ideas and myths; not only kept it, but elevated it into Holy Scripture. At the same time they retained the Old Testament, which as Jews they had immemorially venerated as Holy Scripture; and for generations they went on worshipping in the Jewish temple, kept the Jewish feasts and fasts, and were zealous for circumcision. What a hotchpotch of a sect!
[How could a Sun-god slain annually be slain by Pontius Pilate?] It occurs to me to ask Mr. Robertson a few questions about this transcript. It was the annual mystery play reduced to writing. The central event of the play was the annual death and resurrection of a solar or vegetation god, whose attributes and career were borrowed from the cults of Osiris, Adonis, Dionysus, and Co. All these gods died once a year; and, I suppose, had you asked one of the votaries when his god died, he would have answered, Every spring. Now all the Gospels (in common with all Christian tradition) are unanimous that Jesus only died once, about the time of the Passover, when Pilate was Roman Governor of Judæa, when Annas and Caiaphas were high-priests and King Herod about. This surely is an extraordinary record for a Sun-god who died once a year. And it was not in the transcript only that all these fixities of date crept in, for Mr. Robertson insists most vehemently that Pilate was an actor in the play. "Even the episode," he writes (Pagan Christs, p. 193), "of the appeal of the priests and Pharisees to Pilate to keep a guard on the tomb, though it might be a later interpolation, could quite well have been a dramatic scene." In Mark and Matthew, as containing "the earlier version" of the drama, he detects everywhere a "concrete theatricality." Thus he commits himself to the astonishing paralogism that Pilate and Herod, Annas and Caiaphas, and all the other personages of the closing chapters of the Gospels, were features in an annually recurring passion play of the Sun-god Joshua; and this play was not a novelty introduced after the crucifixion, for there never was a real crucifixion. On the contrary, it was a secret survival among paganized Jews, a bit of Jewish pagan mummery that had been going on long ages before the actors represented in it ever lived or were heard of. Such is the reductio ad absurdum of the thesis which peeps out everywhere in Mr. Robertson's pages. And now we have found what we were in search of--namely, the cultus and organization to account for which a biography of Jesus had to be fabricated. The Life of Apollonius, argues Mr. Robertson, cannot have been built up round a hole, and as there was no organized cult of him (this is utterly false), there must have been a real figure to fit the biography. In the other case the organized and pre-existing cult was the nucleus around which the Gospels grew up like fairy rings around a primal fungus. It is not obvious why a cult should exclude a real founder, or, rather, a real person, in honour of whom the cult was kept up. In the worship of the Augustus or of the ancient Pharaoh, who impersonated and was Osiris, we have both. Why not have both in the case of Jesus, to whose real life and subsequent deification the Augusti and the Pharaohs offer a remarkable parallel? But there never was any pre-Christian cult and organization in Mr. Robertson's sense. It is a monstrous outgrowth of his own imagination.