Matthew’s Dead Saints Rising

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Matthew’s gospel describes some strange goings-on at the time of the crucifixion which are not attested in any other source. This includes the most unusual miracle in the New Testament :certain holy men emerge from their tombs and appear to people in Jerusalem. Matthew does not describe this event in any detail nor does he explain its significance. The reader is left amazed and a little bewildered (which was perhaps Matthew’s intention). Evangelicals have a strong belief in the truthfulness of scripture. Should we trust Matthew when he says these events occurred?

Considering these texts in Matthew, NT Wright commented:

“it is better to remain puzzled than to settle for either a difficult argument for probable historicity or a cheap and cheerful rationalistic dismissal of the possibility. Some stories are so odd that they may just have happened. This may be one of them, but in historical terms there is no way of finding out.”

Now some sceptics have argued that this sort of reasoning takes historical analysis to a new world of fairies and Elvis sightings. But this misses Wright’s argument by some distance. He concedes that the methods of historical science judge Matthew’s account of saints leaving the graves as highly improbable.

However, Wright’s point is that historical science is not infallible. Surely the Christian’s faith in scripture can allow him to accept events that historians would judge as very improbable? An historian can weigh the evidence and conclude that Jesus was baptised by John, and had profound spiritual experiences. But how can a historian tell if Satan really tempted Jesus in the wilderness, or if a heavenly voice really accompanied Jesus’ baptism? Historical reasoning can conclude that Jesus was crucified under Pontius Pilate; but how can a historian tell if Jesus atoned for sins as he died?

It remains possible that Matthew had a source that told him that people had experiences of saints on the day that Jesus’ was crucified. This matched Matthew’s expectations; an event like the Resurrection would be accompanied by signs and wonders. So Matthew included it in his account of the Resurrection. A Christian can recognise that the historical evidence for the truth of this story is somewhere between weak and non-existent; and, at the same time, the Christian can accept that the story is true, because he has a rational trust in God’s word. After all, Matthew’s story of the walking dead is not a “special effect” thrown in to spice up a dull tale. Rather, this story confirms that the resurrection of Jesus is hope of all the faithful, and the death of death itself.

But what about the sceptic who does not share the evangelical’s faith? Isn’t Matthew’s report that the dead left the tombs and that the Temple curtain split upon Jesus’ death evidence that subsequent generations embellished simpler accounts of the Resurrection. This objection ignores the fact that Luke and John’s accounts are less “extravagant” than Matthew’s. If there was a tendency to embellish the resurrection accounts, the stories in John should be even more elaborate than those in Matthew’s account.

But how can the sceptic take Matthew’s biography of Jesus seriously when it includes such extraordinary and uncorroborated events? We need consider the context in which Matthew wrote. It was conventional for historians to describe apocalyptic signs which accompanied earth-shattering events. When Dio Cassius’ recounts the death of the emperor Claudius, he records that:

It seemed as if this event had been indicated by the comet, which was seen for a very long time, by the shower of blood, by the thunder-bolt that fell upon the standards of the Praetorians, by the opening of its own accord of the temple of Jupiter Victor, by the swarming of bees in the camp, and by the fact that one incumbent of each political office died.

Matthew is positively restrained by comparison! The historian Josephus gives a generally reliable account for the fall of the Temple in Jerusalem. However, he takes time to record the miraculous signs that preceded the destruction: “thus there was a star resembling a sword, which stood over the city, and a comet, that continued a whole year.” Josephus complains that the Jewish people did not heed the many omens in the years leading up to the Jewish revolt:

Thus also before the Jews’ rebellion, and before those commotions which preceded the war, when the people were come in great crowds to the feast of unleavened bread, on the eighth day of the month Nisan, and at the ninth hour of the night, so great a light shone round the altar and the holy house, that it appeared to be bright day time; which lasted for half an hour. This light seemed to be a good sign to the unskillful, but was so interpreted by the sacred scribes, as to portend those events that followed immediately upon it. At the same festival also, a heifer, as she was led by the high priest to be sacrificed, brought forth a lamb in the midst of the temple.

If this seems a tad implausible, a wilder tale follows:

…on the one and twentieth day of the month Jyar a certain prodigious and incredible phenomenon appeared: I suppose the account of it would seem to be a fable, were it not related by those that saw it, and were not the events that followed it of so considerable a nature as to deserve such signals; for, before sun-setting, chariots and troops of soldiers in their armor were seen running about among the clouds, and surrounding of cities. Moreover, at that feast which we call Pentecost, as the priests were going by night into the inner court of the temple, as their custom was, to perform their sacred ministrations, they said that, in the first place, they felt a quaking, and heard a great noise, and after that they heard a sound as of a great multitude, saying, “Let us remove hence.”

These stories seem far-fetched; yet, historians have not discounted Josephus as a source. In fact, Josephus immediately goes on to describe the ministry of Jesus ben Ananus, a “prophet” who wandered the city, crying “Woe, woe to Jerusalem!” for four years prior to its fall. Historians seem satisfied that the story of Jesus ben Ananus is credible. In the same way, historians – and sceptics – cannot dismiss the testimony of Matthew because they find a few verses dubious.

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The Walking Dead and Eternal Life

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The era of Western supremacy is drawing to an end as the colossal economies of China and India become as technologically advanced as Europe and America . Little wonder, then, that our appetite for apocalyptic fiction is growing. However, it is more than a little surprising to discover that end-times fiction has given an old B-Movie star – the zombie –a new lease of life. And with the publicity generated by last summers’ “World War Z”, zombies became inescapable. Brad Pitt’s notoriously troubled production gave the living dead their first multi-million dollar summer blockbuster. Sequels are a safe bet. Along with “Zs” impressive commercial success, zombies have achieved critical acclaim with AMC’s television series “The Walking Dead” and Simon Pegg’s satire “Shaun of the Dead”. The zombie virus has even infected Shakespeare – Romeo and Juliet is retold in “Warm Bodies” as a story about a zombie and a human .

So what explains this unexpected trend in pop-culture? On one level the answer is simple: horror abhors a vacuum. Vampires no longer resemble Dracula, who was driven by an unholy and unclean blood-lust. But no-one believes in holiness anymore and living death seems tempting when we lose our belief in eternity; so the post modern world redefined the vampire as tragic-romantic figure. When a phantom ceases to horrify and begins to fascinate,  it’s time to move along to a new ghoul.

Thankfully for Hollywood, there’s very little to redeem a zombie (even in “Warm Bodies” the zombie hero’s humanity is restored.) So they make wonderful cannon fodder for action heroes; you don’t lose brownie points for annihilating an unconscious, barely animate corpse. Horror directors love zombies because audiences can feel repulsion and terror without conscience – and they won’t break the special effects department’s budget. Importantly, the zombie can be given a pseudo-scientific explanation.

A writer must persuade an audience to suspend their disbelief  to engage with the numerous improbabilities in any good work of fiction.Twenty –first century audiences have a hard time swallowing possessions and poltergeists. However, the mystique of science, and our terror of biological weapons, provides a plausible candidate for the undead plague: the dreaded “virus” But what zombies offer producers, above all, is blood, guts and gore.

Horror is about the absence of hope. In body horror – the genre where zombies have their roots – our own bodies are represented as grotesque and sickening. Such works of art do not merely teach that death and decay are inescapable. They seek to deconstruct the beauty of the human form as a shell for ugly and nauseating stench. Cinema and television no longer use sex scenes to sensationalise dramas; the autopsy and the torture scene are the primary forms of titillation.

This progression from “porn” to “torture-porn” is logical enough. In pornography the human body is viewed as an object to be manipulated, a chunk of flesh to lust after. In torture-porn the body is lumps of meat strung along bones, a mechanism that can be disassembled and reassembled according to the audience’s tastes. We have become so desensitised to this grotesque violence that blood-soaked carnage is often played for laughs.

Satirists are drawn to the mindless hunger which drives the zombie horde: it seems so similar to the greed that drives Western consumers. Yet they very often overlook a more obvious analogy: there is very little to distinguish the zombies’ mindless, murderous rage and a modern audience’s insatiable demand for cruel death and free flowing gore. Perhaps a little more reflection on what entertains us would be wise. Successful horror must contain an idea that frightens, disturbs and fascinates.

Zombies resonate with modern culture simply because we have come to suspect that there is little to distinguish us from the walking dead. The zombie’s body is a vehicle for a plague; human bodies are vehicles for our genes. In this age of unthinking scientism, free-will, the self, and even consciousness are explained away as the interactions of nervous systems and their environments.  We are not embodied souls but mechanised meat.

Thankfully, the scientific reductionism that drives this picture of a human being is deeply flawed. Consider your experience of love. No scientific description of your brain, or the particles which it is composed of, will include what that feels like. Reflect on all the things you have loved. One subject has had all those experiences – you. You are a thinking self who can consider the world from many aspects,  turning your mind to think of beauty, children, food or romance. Rumours of the death of the soul have been greatly exaggerated.

What of our bodies? CS Lewis encountered the living dead on the battle field, where the heavy artillery smashed his comrades. He later recalled dying men still struggling towards shelter like “half-crushed beetles”. Yet in The Pilgrim’s Regress Lewis notes we only feel disgust when we focus on a human corpse or some isolated part of the human body, like digestion. When we consider the human body as a healthy, functioning whole, it is undeniably beautiful. Indeed, the elegance of the various systems in the human body (and even the  complexity of their parts) can inspire awe in the most hard-boiled positivist.

Whether considered in its detail or as a whole the human body suggests art and design. Moreover, the human soul – our mind, or thought and its capacity for action and experience – suggests the nature of our designer. Scientism insists consciousness and purpose have been constructed from forces and particles; that personality is the accidental side-effect of matter in motion. Theism insists that scientism approaches the universe in a muddled, backwards manner.

Reality only makes sense if the personal is fundamental: the structure, detail and beauty of the material universe can only be explained by the conscious purposes of a limitless power. And Christianity gives us more than an explanation. It gives us grounds for hope, pointing to someone greater than death; someone who can tame our malicious passions and give our souls new life.

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