Various explanations of the possible literary genre of the four gospels have been offered. Most Christians approach the gospels as biographies of Jesus. The do have some biography-like elements, but they are not biographies by the standards of the modern world. Only two show any interest in his birth, only one story occurs before his public ministry, and the majority of the material comes from the last week of Jesus’ life. Most biographical questions are left unanswered.
A few scholars have suggested that the gospels are patterned after Greco-Roman Aretalogies. This is a “divine man” biography, the history of a famous hero that has been built up to make him a god-like person (a biography of a god-like person, Julius Caesar, for example.) The Greek word aretai means “mighty deeds.” Aretalogies are the records of the mighty deeds of a god or hero. An example from the second century is Philostratus’ Life of Apollonius of Tyana. When Josephus describes Moses in Against Apion 2:154-158 he expands the praise beyond the biblical material. Philo of Alexandria also glorifies Moses as the greatest sage and lawgiver, a divine-man who is both priest and prophet. (See David L. Tiede, “Aretalogy” in ABD 1:372-3.)
But even if the Gospels contain history, they must be considered theological documents as well. Consider John 20:30-31, where the author of the fourth Gospel states that his purpose was to convince the readers of a theological fact (“Jesus is the Christ, the Son of God”) and that by believing this theology, the reader might “have life in his name.”
While John’s gospel is the most theological of the four, the other gospels are not simply historical and non-theological. Matthew, Mark and Luke have clear theological agendas. One cannot approach these documents without getting into the question of who Jesus is, who he claims to be, and how the gospel writers present him in their telling of the story.
The Gospels are therefore best described as historical-theological documents. The gospels are most similar to Greco-Roman biographies or history texts. Once we step into the world of the first century and study what history looked like then, we discover that the gospels are not all that removed from the standard of history writing for the time. Luke especially follows some of the conventions for writing good history in the first century.
Craig Blomberg and other evangelical writers conclude that the genre is unique – the Gospels are theological biographies. They contain historical data that is presented through a theological filter. The writers are selective of the material available. They record the events of Jesus life in such a way to make a theological point about him, that he is the Son of God, that he is fully human, that he died as an atoning sacrifice for mankind. This make a historical, theological and literary study of the gospels legitimate, they are all of three of these genres combined in something of a unique fashion.
How does Blomberg’s description of the Gospels as “theological biographies” help us read the Gospels accurately? Is there anything missing this description that is important?
Bibliography. The issue of the genre of the Gospels is covered by Craig Blomberg, Historical Reliability, 235-240; Klein, Blomberg, and Hubbard, Intro to Biblical Hermeneutics, 323-325, Willem S. Vorster, “Gospel Genre” in ABD 2:1077-1079; David Aune, “The Problem of the Genre of the Gospels: A Critique of C. H. Talbert’s What Is a Gospel?” Gospel Perspectives: Studies of History and Tradition in the Four Gospels, Vol. 2, ed. R. T. France and D. Wenham (Sheffield: JSNT, 1981) 9–60.