To condemn or to acquit a man in a court of law, there must not only be evidence, but enough of it to justify a decision. There is some evidence for almost any imaginable proposition; but that is not enough. Not only does the evidence offered to prove Jesus' historicity, already examined, fail to give this assurance, but, on the contrary, it lends much support to the opposite supposition, namely, that in all probability, Jesus was a myth--even as Mithra, Osiris, Isis, Hercules, Sampson, Adonis, Moses, Attis, Hermes, Heracles, Apollo of Tyanna, Chrishna, and Indra, were myths. The story of Jesus, we are constrained to say, possesses all the characteristics of the religious drama, full of startling episodes, thrilling situations, dramatic action and _denouement_. It reads more like a play than plain history. From such evidence as the gospels themselves furnish, the conclusion that he was no more than the principal character in a religious play receives much support. Mystery and morality plays are of a very ancient origin. In earlier times, almost all popular instruction was by means of _Tableaux vivant_. As a great scenic or dramatic performance, with Jesus as the hero, Judas as the villain--with conspiracy as its plot, and the trial, the resurrection and ascension as its _finale_, the story is intelligent enough. For instance, as the curtain rises, it discloses upon the stage shepherds tending their flocks in the green fields under the moonlit sky; again, as the scene shifts, the clouds break, the heavens open, and voices are heard from above, with a white-winged chorus chanting an anthem. The next scene suggests a stable with the cattle in their stalls, munching hay. In a corner of the stable, close to a manger, imagine a young woman, stooping to kiss a newly born babe. Anon appear three bearded and richly costumed men, with presents in their hands, bowing their heads in ecstatic adoration. Surely enough this is not history: It does not read like history. The element of fiction runs through the entire Gospels, and is its warp and woof. A careful analysis of the various incidents in this _ensemble_ will not fail to convince the unprejudiced reader that while they possess all the essentials for dramatic presentation, they lack the requirements of real history.