Stage 3 – Passage Purpose

Stage 3 – Passage Purpose

/ Peter Mead / Leave a comment

The second stage of passage study is all about interpreting the details in the passage. This stage is not complete until you get to the idea, which is actually stage 4. In order to distinguish the stages somewhat, I tend to view stage 2 as determining the flow or outline of the text’s content. This third stage focuses our attention beyond content alone. As you study the passage, you are studying not only the author’s content, but also his intent. Why did he write this passage and what was he trying to achieve? It is the understanding of both content (stage 2) and intent (stage 3) that leads to a full understanding of the passage, its idea (stage 4).

Previously – There have been several posts addressing the issue of authorial intent or passage purpose. Why was the text written as well as purpose and preaching, both touch on this stage significantly. Two posts on preaching help to clarify that the author’s purpose may differ from ours, but we must be careful not to bend the text too far to achieve our own purposes.

To see a full list of all posts that relate to stage 3, please click on the menu to the right.

Who’s The Boss?

/ Peter Mead / Leave a comment

It is so easy to get things turned around.  Sunday is rapidly approaching and you are not yet ready to preach.  You have to preach, your name is on the bulletin.  You probably have to preach a specific passage too, that’s on the bulletin as well.  But time marches on, life happens and you’re not ready.  It’s easy to forget who the boss is for this sermon.

It is tempting to take charge.  After all, you are the one who has to stand and deliver.  You are the one people will critique over their Sunday lunch.  You are the one people might be paying to preach.  So it is tempting to take charge, to make the text fit the sermon shape or idea you have in mind.  It is tempting to make the text your servant, looking in it for interesting points from which you can jump off and preach something or other.

Remember who is in charge. Preaching is God’s work.  They are His people.  This is His church.  You are empowered by His Spirit.  You are preaching His book.  So, no matter how tight the schedule may be.  No matter how distracted or tired you may feel.  No matter how daunting the text may be.  Prayerfully wrestle with the text.  According to most good definitions of expository preaching, the text is necessarily boss over the central concept, the main idea of the sermon.

As you pray your dependence to God and submit your urgings to take over to the superior inspiration of His Word, you will remain an expository preacher.  You may not be the best ever.  You may not have taken enough time to craft a masterpiece.  But if the meaning of the text is in charge and you prayerfully strive for relevance, you will be an expository preacher.  The church needs that.  Not necessarily the best or the brightest, but just little old me and you, presenting the best and the brightest Word of God to those He chooses to put before us.

Why Was the Text Written?

/ Peter Mead / 1 Comment

In a general sense everything written in the Bible was written for our instruction (Rom.15:4).  Yet as preachers we can fall into the trap of looking for a sermon in a text, rather than fully pursuing the process of allowing the text to be boss of the sermon.

Yesterday I was discussing Genesis 3 with a friend.  I’ve heard sermons that essentially ignore everything after verse 7 in order to give a how-to guide to resisting temptation.  Was that why the chapter was written?  This was not merely an example of temptation, it was the Fall.  While there may be a place for noting the steps Eve took that led to disaster, surely this cannot dominate the message to the extent that the passage becomes a mere instructional piece.

Why was it written?  There is instruction about a one-off event with lasting implications that face us all everyday.  There may be passing lessons to learn about the way the enemy works in our response to God’s instruction.  There also is significant space given to explanation of the consequences of the Fall.  There is also hope interwoven with judgment in the seed of the woman to come.

When we pause and ponder enough to recognize that the passage is not an instructional anecdote, but one of the most significant events of history, and that the reverberations of that event are wobbling our world moment by moment right until this moment, and that the solution is not in our ability to implement lessons from Eve’s conversation, but in the hope of the seed of the woman who would come and crush the serpent’s head.  When we spend enough time in the text and see why it was written, then we are in a better place to preach the Word.  After all, it was written for our instruction, so that through the encouragement of Scriptures we might have hope!  (Rom.15:4)

For Improvement Just Do This

/ Peter Mead / 5 Comments

It is easy to feel pressure to preach better. We put the pressure on ourselves. Others put the pressure on us, often unwittingly. Perhaps a lack of apparent response in recent months. Perhaps comments about other preachers. Perhaps the big shots on the radio. Perhaps a renewed passion to preach well that has stirred within.

When the pressure to improve is felt, things can often seem overwhelming. After all, there are so many books, so many ideas, so many aspects of effective preaching to consider, indeed, so many preaching traditions to learn from. Maybe you skim through previous posts on this site, or other sites, or magazines, or podcasts, etc. Perhaps you let your mind go back to seminary and you recall all the instructions you received there. It can all be so overwhelming.

This may sound overly simplistic, but just do this: prayerfully endeavor to do the basics well. Try to study the passage effectively so that you are clear on the structure, the author’s main idea and purpose in writing. Try to think through your sermon purpose in light of both the passage and the congregation. Try to determine a clear main idea (doesn’t have to be an all-time great one), a clear and simple structure, a way to start that will make listeners want to hear the rest of the sermon and a way to finish so that the impact of the text will be felt in a specific area of their life. Do the basics well. You’ll probably find the pressure lifts because your preaching is much closer to what you want it to be!

Texts Only Bend So Far

/ Peter Mead / 1 Comment

Be honest, sometimes you find yourself trying to make a text do something it doesn’t do.  Perhaps you have an illustration you want to use, or a visual aid that would be powerful, or some other motivation.  But when it comes to the text, it doesn’t quite work.  You know the order is backwards, you know you don’t want to admit it, but we’re being honest here.

This happened to me last week.  I’m not one for creative visual aids, but one came to mind.  One that would be perfect and impressive and effective and so on.  But then I went back to the only real text that would work with that visual aid.  It didn’t work.  I was trying to conform the text to the sermon, rather than derive the sermon from the text.  The text wasn’t boss, and I wasn’t happy.

But I felt that the integrity move at that point was to drop the illustration and switch texts.  Let’s be preachers of integrity, people who represent the text well and don’t injure the text trying to fit it into our sermon box.

Preaching Longer Narratives

/ Peter Mead / 1 Comment

Nathan asked about preaching longer narratives, such as the narratives of Daniel.  Last week I preached Daniel chapter 2 and the book of Esther (10 chapters!), so I’ve been thinking about this recently.  Here are my thoughts, I’d love to hear anything you would add:

Even if it is long, preach a literary unit. Longer narratives can stretch through many verses and multiple scenes.  Unless the scenes are really sub-plots that can stand on their own, I would suggest trying to preach the whole narrative.  While this may create some challenges, it is still better to deal with an entire narrative than risk misunderstanding and misapplying a part-narrative.

Tell the whole story, but perhaps read selectively. In the case of the Daniel 2 message, the leader of the service had a major chunk of the passage read before I got up to preach.  In the case of Esther, I read certain paragraphs and verses as I told the story.  While we want to honor the text and certainly encourage people to read it through later, the weakness in extended reading is actually our reading rather than the text itself.

The challenge is actually the same as for any passage. The challenge we face in preaching a longer narrative is, in one respect, no different than any other passage.  Which details will receive in-depth attention, and which elements or sections can be summarized to maintain flow and unity?  A longer narrative calls on our skill in big picture exegesis and compelling story-telling, but in many ways the process remains the same – study the passage, determine the main idea and purpose, define purpose and main idea for the sermon and shape it strategically, etc.

When Discourse Sits in Narrative

/ Peter Mead / Leave a comment

Discourse text often sits within a narrative.  Consider the teaching sections of the Gospels, how a Jesus sermon is set in the context of the story of His ministry or passion.  Consider the speeches in Acts as they move the story forward time and again.  Consider the direct communication of God to Joshua at the key transition point in Israel’s leadership, or the direct communication of the prophets as they address a specific issue at a specific point in Israel’s history.  Whatever form the book may take generally, these specific instances are essentially discourse Scripture.

When a discourse text sits in the midst of a broader narrative, what do we do?  We should analyze the broader plot to see the function of the discourse within it.  The narrative plot then serves as context for the details of the discourse.  Of course we could choose to preach the text in some kind of narrative form, but equally we can choose to keep that plot-work at the level of context and purpose analysis.  A discourse type text can yield clear and effective outlines through careful analysis.  By giving time in our study to the plot within which the discourse sits, we can add tension and interest to the preaching of the discourse.

This applies to epistles too, incidentally.  Just because an epistle may consist entirely of discourse, we should not lose sight of the broader narrative of history in which it sits.  An epistle is a point in time, a point on the plot line of the story of that particular church or individual.  At a key juncture in the story of the church at Rome, or in Colossae, Paul wrote to them.  We have his discourse, but we can also trace the tension of the church’s history to that point, and be left with the tension of how they would respond to his instruction in the letter.  Awareness of the broader narrative can always add tension and interest to the preaching of a discourse.

Discourse usually sits within a broader narrative framework.  Awareness of that helps our interpretation of the passage. It can also help our preaching by adding more life to the living words!

Discourse is Not Just Epistles

/ Peter Mead / Leave a comment

When I teach preaching courses, I tend to refer to the three types of Scripture: discourse, narrative and poetry. The various genre fit within these categories and so they give a good overview of different Biblical text types. So the principles of narrative interpretation would apply in the Gospels, Acts, historical books and so on. The principles of poetry would apply in Psalms, of course, but also other wisdom literature and poems found in historical books (eg.Exodus 15). The principles of discourse interpretation naturally work in the epistles, but that is not the only place we find discourse.

As direct communication, discourse is often the easiest type of passage to interpret, and it is usually one of the easier ones to preach. While narrative and poetry have real advantages for sermon formulation (for instance we could mention tension and imagery respectively), discourse tends to be direct instruction. With a sensitivity to the original context and audience, appropriate progression through exegetical, theological and recontextualization stages of sermon preparation, the preacher is able to formulate an attractive preaching plan for the text.

Other New Testament Discourse – Obviously the Epistles tend to be the preacher’s favorite in the Bible churches of the western world. But consider the other discourse possibilities in the New Testament. In each of the Gospels we have recorded speeches by Jesus – direct instructional communication. His Sermon on the Mount, or Olivet Discourse, or instructions to the seventy-two, etc., can all make for great preaching. Then in the book of Acts we have the speeches of Peter on Pentecost, Stephen on his promotion day, Paul in Athens and so on. In Acts it seems that the speeches do not supplement the action, but actually are the action, moving the broader narrative forward time and again.

Old Testament Disourse – Consider Joshua 1, for instance. God’s instructions to Joshua at that key moment of transition. It is part of history, part of a broad narrative, but actually those first nine verses are not a plot to trace, they are a discourse. Then you’ll find discourse in the wisdom literature, such as Job and Ecclesiastes, but arguably in poetic form throughout.  Likewise many of the oracles in the prophets bear features of discourse-driven communication, along with poetic structuring.

As preachers we may easily fall into the trap of thinking anything outside the epistles will be either narrative or poetry. This is not true, and tomorrow we’ll consider what this means in our preparation.

Getting to Grips with the Genres: Poetry (1)

/ Mike Roth / Leave a comment

Poetry is different from narrative and it is very different from discourse. How though is our preaching of poetry different from our preaching of narrative and discourse? To answer this question, today we will consider how poetry works and functions. Then tomorrow we’ll consider some implications for preaching poetry.

How Poetry Works – Besides employing literary devices such as imagery, metaphor, allegory, simile, wordplay, irony, hyperbole, etc., the prevalent literary device in Hebrew poetry is parallelism. There are many ways to describe parallelism. One common way is to discern between four kinds of parallelism – antithetical parallelism, synonymous parallelism, synthetic parallelism, and emblematic parallelism. In antithetical parallelism, the first line of a sentence is in contrast to the second line (Ps 34:19). In synonymous parallelism, the first line of a sentence is similar to the second line (Ps 49:3). In synthetic parallelism, the second line of a sentence builds upon the idea of the first line (Ps. 49:5). In emblematic parallelism, the two parts of a sentence connect through simile or metaphor (Ps 49:20).

How Poetry Functions – Parallelism insists that the reader slow down, mull over, and consider how each sentence functions. More than that, because each sentence is laced with metaphor, allegory, simile, wordplay, irony, hyperbole, etc., poetry insists that its content be felt. Rhetorically, poetry connects affect to ideas.

Saying the Text’s Something

/ Peter Mead / Leave a comment

You have a text, maybe more, but certainly one.  You study it.  You determine what it’s purpose was and the author’s idea.  Then you consider your congregation and the purpose of preaching the sermon.  You shape the idea, then the sermon and preach.  Simple really.  But there are some traps we easily fall into.  Here are a couple to consider:

Don’t Overqualify.  Often the text will be saying something quite strong.  We want to make sure we’re not misunderstood or somehow imbalanced, so we qualify it.  This text says this.  But don’t forget that other text that says that, and the other that says something else.  Before we know it, we’ve overqualified the message and the force of the sermon has been dissipated like replacing a bullet with two dozen marshmallows.  There are times when we must communicate careful balancing of a potentially misunderstandable idea.  Generally though, don’t overqualify a message and end up saying nothing.  A lot of balancing can come through future preaching of other texts.

Don’t Overteach.  It’s easy to cram a perfectly good message with extra information that would be best suited in perfectly good other messages.  Either we can try to dump every scrap of exegetical inquiry into the message, or we can cram too many ideas into a one-idea time slot.  “Seven great lessons from the book of whatever” would generally be more effective as seven separate sermons.  Once the ideas start to pile up, people will either synthesize the message in their own way (over which you have no real influence), or they will take one “nugget” and ignore the rest (and that nugget may be a merely anecdotal illustration), or they will simply take away nothing.  Generally speaking, don’t overteach in a message so that in saying lots, people actually take home little to nothing.

Don’t try to say everything.  Don’t try to say lots of things.  Don’t risk the people getting nothing.  Say something.  Say the something the text pushes you towards.  Say the text’s something and try to say it well.