Psalms

The Bible, Expository & Consecutive Preaching – Part 4

/ Peter Mead / 1 Comment

Daniel Goepfrich wrote a substantial interaction with this blog over on his site – here – this post is specifically addressing the examples of poetry and prophets given in paragraphs 10 & 11.

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Regarding Poetry, again I don’t insist that we preach through a book – that is not what I teach (thanks for correcting your post on that).  However, it would be a shame to miss the importance of written context for any biblical passage.  Proverbs seems to be the most randomly organized, until you read Bruce Waltke or someone like that and start to see the structuring of apparently random collections of proverbs.  Whether or not that can or should be communicated in preaching is another issue.   Ecclesiastes and Job are not random collections.  Psalms, I would suggest, is not as random as our contemporary hymn books (ordered alphabetically).  It contains collections, and increasingly scholars are recognizing structure and ordering throughout the collection.  My Hebrew prof did his OT PhD on the evidence of structure and order in Psalms 107-118.  His mentor, Gerald Wilson, has demonstrated that Psalms is anything but a mere hymn book.  Again, it would be a shame to have a superficial view of this part of the canon and miss some of the richness contained in the structure and sequencing of the book.  That does not require preaching straight through, but it does urge us to have a real awareness of the literary context in our studies.

You mention prophets, and likewise, I agree that we don’t have to preach straight through.  Again, though, I suggest that even if two oracles were given at different times, or in a different order, the way they are in the Bible now is the inspired text.  Our task is neither to dismiss ordering of texts and treat them as random collections, nor is it to “reconstruct” an original and better order.  Our task, in part, is to understand the inspired text as it stands.  Whether you preach straight through or not is up to you – I do both.  However, I would suggest that not studying a passage in context will seriously undermine your ability to understand the text (and why should you study in context if it’s just random?)

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My final segment of response will come tomorrow.  Thanks.

Getting to Grips with the Genres: Poetry (2)

/ Mike Roth / Leave a comment

Yesterday’s post was concerned with how poetry works.  Now let’s consider the implications for our preaching.

Implications for Preaching Poetry

-If preaching narrative connects listeners to plot and discourse connects listeners to ideas, then poetry connects listeners to feelings attached to ideas.

-This means that preaching poetry is slow. It’s less like going on a run than it is like sitting before a painting in an art gallery. The preacher is to draw out colors, themes, nuance, and ideas, line by line, in a way that gives time and space for listeners to connect not just cognitively but affectively to the poem.

-Consider using music, paintings, pictures, movie clips, etc., to draw-out an idea.

-Consider allowing for testimony that affirms the points in poetry. Consider attaching biblical narrative to the points too.

-Poetry speaks to truths and feelings that we have felt, will feel, and need to feel. They are not fiction but fact. We need to be shaped by them. Allow your preaching of poetry the time, space, tone, posture, and space to accomplish this. It’s worth it!

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.