Reading the Bible as Literature
by Leland Ryken
A crucial principle of interpretation thus needs to be established at the outset: meaning is communicated through form, starting with the very words of a text but reaching beyond that to considerations of literary genre and style. We cannot properly speak about the theological or moral content of a story or poem (for example) without first interacting with the story or poem.
Literary form exists prior to content; no content exists apart from the form in which it is embodied. As a result, the first responsibility of a reader or interpreter is to understand the form of a discourse. It is a common misconception to think that the literary dimension of the Bible is only the form in which the message is presented. Actually, without some kind of literary form, the content would not even exist. The concept of literary form needs to be construed very broadly here. Anything having to do with how a biblical author has expressed his message constitutes literary form. We tend to think (erroneously) that authors tell us about characters, actions, and situations, whereas actually they speak with or by means of these things — about God, people, and the world.
The Bible as Literature
The idea of the Bible as literature began with the Bible itself. The writers refer to a whole range of literary genres in which they write: proverb, saying, chronicle, complaint (lament psalm), oracle, apocalypse, parable, song, epistle, and many others. Secondly, some of these forms correspond to the literary forms current in the authors’ surrounding cultures. For example, the Ten Commandments are cast in the form of the suzerainty treaties that ancient Near Eastern kings imposed on their subjects, and the NT epistles show many affinities to the structure of Greek and Roman letters of the same era.
Mainly, though, we can look to the Bible itself to see the extent to which it is a literary book. Virtually every page of the Bible is replete with literary technique, and to possess the individual texts fully, we need to read the Bible as literature, just as we need to read it theologically and (in the narrative parts) historically.
The most customary way to define literature is by the external genres (types or kinds of writing) in which its content is expressed. The two main genres in the Bible are narrative and poetry. Numerous categories cluster under each of these. Narrative subtypes, e.g., include hero story, gospel, epic, tragedy, comedy (a U-shaped plot with a happy ending), and parable. Specific poetic genres keep multiplying as well: lyric, lament psalm, praise psalm, love poem, nature poem, epithalamion (wedding poem), and many others.
But those are only the tip of the iceberg. In addition to narrative and poetry, we find prophecy, visionary writing, apocalypse, pastoral, encomium, oratory, drama (the book of Job), satire, and epistle. Then if we add more specific forms like travel story, dramatic monologue, doom song, and Christ hymn, the number of literary genres in the Bible readily exceeds a hundred.
The importance of genre to biblical interpretation is that genres have their own methods of procedure and rules of interpretation. An awareness of genre should alert us to what we can expect to find in a text…
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