Poetry | Knowable Word

Better Than a Wild Guess: Poetry

July 28, 2023 By Peter Krol

I’ve argued that you can get the main point; you’re not reduced to making a wild guess every time you study a passage. A few key skills will be most helpful:

Observing the structure
Asking and answering interpretive questions
Tracking the flow of thought

Last week I gave some examples of how this works from narrative and discourse texts. Now let me show you some brief examples of poetic texts.

Proverbs 2

This chapter of Proverbs functions almost like a discourse, with tight logical reasoning.

If you listen and search for God’s wisdom – Prov 2:1-4
Then you will find it – Prov 2:5
For God loves to give it out – Prov 2:6-10
It will guard you – Prov 2:11
- From the way of evil men – Prov 2:12-15
- From the forbidden woman – Prov 2:16-19
- For the way of the good – Prov 2:20-22

The thesis clearly comes in the first five verses. The rest of the poem supports that thesis with a variety of reasons and consequences.

The main point: The Lord delights to grant a delivering wisdom to those who listen and search for it.

Proverbs 31:10-31

It’s easy to get lost in the details of this famous poem. However, my colleague Tom Hallman, who recently preached the most helpful sermon I’ve ever heard on this text, demonstrated beautifully how the structure and train of thought communicate the poem’s main point.

You can find Tom’s extended outline (color-coded!) in this Google Doc. The outer frame of the poem (Prov 31:10-12, 27-29) sets up a large chiasm—a structure where the second half mirrors the first half in reverse order. But instead of continuing a single, long chiasm, he embeds two shorter chiasms in the middle.

The main ideas of each of those embedded chiasms are brought together in the poem’s conclusion (Prov 31:30-31).

The repeated idea that keeps coming up is how this woman is to be praised. And the woman in view is not a young woman, a potential marriage partner. She is an older woman, having lived a life of wisdom. This poem is not a checklist for a potential spouse but a lifetime achievement award for a woman of wisdom.

Check out the linked doc for details. The structure and train of thought demonstrate that the poem’s main idea is to show what sort of woman is worthy of praise.

Try This at Home

I admit that the Prov 31 example gets a little complex. And Tom told me he didn’t see all this himself. He noticed a few things, and then tracked down and assimilated the helpful insights of others. It took him some time to sharpen his observation and interpretive questions and answers.

But I hope all of these examples give you some hope that this can be done. You don’t have to make a wild guess at the main point. Keep observing. Keep asking and answering questions. Nail down the structure as best you can, and figure out how the author moves from the beginning to the end. Where does he draw conclusions or highlight particular ideas?

Please know that I am not offering these main points as definitive or unquestionable. These main points are only the best I can do with my current understanding of those texts. But they are open to debate or sharpening.

Some of my favorite small group discussions take place when others challenge what I thought was the main point. When folks do that well, through careful observation and interpretation of the text, we all win.

As you improve in these skills, you’ll gain both facility and confidence at identifying the main points the Spirit of God wishes to communicate through the Scripture.

Units of Thought in Poetry

February 10, 2023 By Peter Krol

The Bible’s poetry can seem so strange and foreign, until you realize how to follow their train of thought. Then you can see why so many of them are among the most moving and beautiful poems in the history of the world.

The trick is to learn to read them as poems and not simply as random collections of inspiring sentiments. Why is it encouraging to be assured that you will regularly traverse the valley of death (Ps 23:4)? Because you have a divine shepherd (Ps 23:1-4) who is a lavish host (Ps 23:5-6).

So how do we go about observing the structure of a biblical poem? How do we distinguish the stanzas or sections?

Photo by Trust “Tru” Katsande on Unsplash

Stanzas

The primary structuring device in a biblical poem is the stanza. A stanza is sort of like a paragraph in prose texts; it’s a collection of lines or sentences into a coherent unit of thought. So when seeking the structure of a poem, the first and primary goal is to divide the poem into stanzas.

Many modern Bible editions help immensely, since they put a blank space between stanzas for you. The main challenge is to figure out from the text whether your Bible’s editors are right.

For example, in Proverbs 3:13-35, every translation seems to have a different idea of where the thought-divisions occur. Though most treat Prov 3:13 as the start of a unit, the LEB includes verses 11-12 with the first stanza. There is some diversity as to whether to treat Prov 3:19-20 as its own unit or as part of what follows. Also, the ESV sees Prov 3:27 as the end of the stanza that begins with Prov 3:21, but nearly every other version considers Prov 3:27 as the start of a new stanza.

ESV	CSB	LEB	NET	NIV
13-18	13-18	11-18	13-26	13-18
19-20	19-20	19-35		19-20
21-27	21-26			21-26
28-35	27-35		27-35	27-30
				31
				32-35

Stanza divisions in Proverbs 3:13-35

How do we decide who is right? A few tools will help us make such a decision.

Refrains

The first and simplest structuring device in Hebrew poetry is the refrain. A refrain is a line or sentence that repeats at regular intervals to mark off units of thought.

Here are some examples of refrains:

“Restore us, O God, let your face shine that we may be saved” (Ps 80: 3, 7, 19) divides Psalm 80 into three stanzas.
“The Lord of hosts is with us; the God of Jacob is our fortress” (Ps 46:7, 11) divides Psalm 46 into two stanzas.
“Why are you cast down… Hope in God” (Ps 42:5, 11; Ps 43:5) divides Psalm 42-43 into three stanzas.
“For all this his anger has not turned away” (Is 9:12, 17, 21; Is 10:4) divides Isaiah 9:8-10:4 into four stanzas.
“Yet you did not return to me” (Amos 4:6, 8, 9, 10, 11) divides Amos 4:6-12 into six stanzas.

Inclusio

An inclusio is a word or phrase that occurs at the beginning and end of a passage. It is similar to a refrain, except that it occurs specifically at beginning and end, like bookends on a library shelf.

Some psalms use an inclusio at the beginning and end of the entire poem (e.g. Psalms 8, 103, 113, 118). That encompassing inclusio may help us to grasp the poem’s main idea, but it doesn’t help us break the poem down into subdivided stanzas or units of thought.
Other times, an inclusio marks off a stanza or unit of thought for us. For example:
- “wisdom and instruction” repeated in Prov 1:2, 7—showing us that those verses all fit together as a unit of thought.
- “gazelle or young stag on the mountains” bookends the poetic stanza in Song 2:8-17.

Metaphor Shifts

Often, a poet shifts gears in his thought when he shifts from one overriding metaphor to another.

In Psalm 23, there is a shift from the larger metaphor of shepherd (Ps 23:1-4) to the metaphor of host (Ps 23:5-6).
In Psalm 71, the poet seeks refuge in God (Ps 71:1-6), proves that enemies aren’t so scary (Ps 71:7-15), remembers God’s work in the past (Ps 71:16-18), and employs the past to provide hope for the future (Ps 71:19-24). The shifts in these metaphorical phases of life outline the poem’s train of thought.
In Isaiah 5, the metaphor of the vineyard dominates Is 5:1-7. Then the threat of curse (Is 5:8-23) turns into the metaphor of fire (Is 5:24-25), before the chapter concludes with the metaphor of signal or alarm (Is 5:26-30).

Grammar Shifts

Sometimes, the changes from stanza to stanza are evident through shifts in the grammar.

There could be shifts in subject, as in Psalm 24: God (1-2), God’s people (3-6), God together with his people (7-10).
There could be shifts in pronouns or audience, as in Psalm 29: speaking to heavenly beings (1-2), speaking about Yahweh’s voice (3-9), speaking about Yahweh’s enthronement (10-11).

Conclusion

To draw defensible conclusions regarding a poem’s main point, we must be able to identify the poem’s units of thought. Then we can show how each of those units builds a case and contributes to the main idea. The trick is that we can’t simply go with what “feels right.” We ought to have observable clues within the text that mark the divisions for us. Refrains, incusios, and shifts in metaphor may be among such observable evidence.

Back to Proverbs 3

So where does that leave us on the question of Proverbs 3:13-35? How do these tools help us identify the stanzas (see the chart above)?

Prov 3:13-18 has the inclusio of both “blessing” and the concept of finding or laying hold of wisdom. Prov 3:21-26 has an inclusio of “keeping” or being “kept.” That whole section of Prov 3:13-26 thus has a unified metaphor of finding and keeping wisdom. At the center of that section is a brief description of how Yahweh built wisdom right into the fabric of the universe at the moment of creation (Prov 3:19-20). This explains why it “works” that finding and keeping wisdom will result in great blessing.

Prov 3:27-28 has two prohibitions against “withholding good.” Prov 3:29-30 has two prohibitions against “planning evil.” The chapter ends (Prov 3:32-35) with a grammatical shift to four assurances (parallel to the four prohibitions) that Yahweh neither plans evil nor withholds good from the right people at the right time. In between those two four-verse chunks is a warning not to envy violent men (Prov 3:31)—those who constantly plan evil and withhold good from others when it suits them. So the entire section (Prov 3:27-35) sticks together under the larger metaphor of humanitarian dealings (love your neighbor as yourself).

So in the end, I agree with both the NET and the NIV (though the CSB is not far off). The NET is correct that there are two main units of thought. The NIV is correct that each of those main units has three subsections. We’d be greatly helped if there were a clear way to represent both the main stanzas and their subdivisions in the way our Bibles lay out the text.

What We Miss When We Skip the Book of Lamentations

August 30, 2021 By Ryan Higginbottom

As a book, Lamentations is overlooked and ignored. Bible readers often don’t know what to do with it. It’s short and poetic, but it is found among the major prophets instead of within the wisdom literature. It is full of lament, so inspiration-seeking Christians cannot easily hop between uplifting verses. The book is heavy and sad, filled with the sorrows of the aftermath of the destruction of Jerusalem.

But this book is a gem. God has given it to us as his inspired word, and if we’re willing, we have much to learn from this volume.

An Extended Lament

The main thing we miss if we bypass Lamentations is an extended look at lament.

Many books of the Bible contain lament—including as many as one third of the Psalms. But Lamentations is the only book which is only lament. When we read this book, we face sorrow and grief from beginning to end.

Most Western Christians are not familiar with lament; it makes us uncomfortable. With Lamentations we are forced to wrestle with lament as a legitimate, biblical form of prayer.

The laments in Lamentations differ from those in many of the Psalms in important ways. The author of Lamentations confesses guilt on behalf of the Israelites (Lam 1:5; 1:8–9; 1:18; 1:22; 4:13–16) and recognizes God’s hand in the destruction of the city and the holy temple (Lam 2:1–10). Even though God’s anger is justified against his people, their sorrowful cry in the midst of a terrible situation is still legitimate.

This book of laments also makes Bible readers grapple with the issue of complaint. Complaining to God cannot be inherently wrong because most of Lamentations is a detailed list of all the ways the people are suffering. Therefore, we must learn to distinguish between godly complaint and ungodly complaint. (It may be helpful to use the term “grumbling” instead of “complaining” to make this distinction.)

Repeated readings of this book also force the reader to learn to live with the tension inherent in lament. Each of the five chapters of Lamentations is a separate prayer of lament, and none of these prayers resolve in a way that is satisfying to the modern ear. Far from being a problem, this feature of lament naturally turns the sorrowful Christian back to God, again and again seeking his face.

Trust in the Midst of Destruction

Lamentations helps us to acquire a taste for biblical lament, but it also gives us a brief glimpse into the moment in history after the fall of Jerusalem. The walls are down, the temple is demolished, and most of the population has been captured; how will the people who remain react?

We read the people confess their sins and the sins of their leaders (Lam 4:13–16). We see them cry out to the Lord in pain, wanting to be seen in their affliction (Lam 1:9,11,20; 2:20; 5:1). And we also witness these believers cling to the promises of God (Lam 3:31–33; 4:22).

A Lesson in Waiting

The most famous verses in Lamentations (Lam 3:22–23) have been quoted and misquoted at length, and they have inspired a wonderful hymn. But the middle section of the middle chapter of Lamentations is worthy of extended reflection.

In this passage we learn the importance of looking to God’s character—not our circumstances—for hope. We see that waiting on the Lord is not something we may need to do occasionally, but rather it is a baked-in part of following Yahweh (Lam 3:25–33).

Pointing to Christ

Reading Lamentations is a healthy challenge for those who believe that all the Scriptures speak of Jesus (Luke 24:44). How could a book so sad and filled with devastation speak of the Savior?

The judgments described in Lamentations are devastating and, in some cases, graphic. The people have been justly visited by God’s wrath, through the vehicle of the Babylonians, because they turned away from him.

In Lamentations we have a detailed picture of the wages of sin. We have a faint sense of what we deserve when we stand before holy God. And, therefore, we also glimpse a shadow of the judgment Jesus suffered for his people when he took their sins upon himself (1 Peter 2:24).

Lamentations is worthy of our attention. If, as the Church, we soaked in this book more regularly, we would develop greater sympathy for others, firmer trust in God’s promises, and a deeper understanding of God’s character and what it means to seek him.

Identifying Stanzas in Lamentations

July 30, 2021 By Peter Krol

For a number of years, I have been following Joe Carter’s excellent Bible reading plan: Read an entire book of the Bible 20 times. Pick another; read it 20 times. Repeat. I just finished working through Lamentations, which was surprisingly refreshing. As my wife just had a baby, I don’t have time to compose a full interpretive walkthrough just yet. But I’d like to comment briefly on the book’s literary units.

Lamentations seems quite straightforward, with five main poems, matching the five chapters in our English Bibles. This seems all the more straightforward when you learn (perhaps from a commentary or study note) that the first four chapters are all acrostic poems in Hebrew, where each verse (or, in the case of chapter 3, every three verses) starts with the next letter of the Hebrew alphabet.

In fact, my initial take on the book labeled the five chapters with the following headings:

Grief
Loss
Wrestling
Shellshock
Appeal

But David Dorsey, in his masterpiece The Literary Structure of the Old Testament, makes a compelling case for recognizing an additional structure superimposed over the acrostic structure. Upon reading the entire book in one sitting, day after day, I observed that the poems ebb and flow with periodic shifts in the pronouns. For example, chapter 1 begins in third person (“the city … she … her … Judah … Zion … Jerusalem” — Lam 1:1-11) but shifts to first person exactly halfway through, as the people express their groaning (“I … my … me … my” — Lam 1:12-22).

I hadn’t yet sat down to map out the shifts and consider how they might affect the structure and flow of thought. But I was not surprised when I read Dorsey’s analysis pulling it all together. By collecting the pronoun-shifts into the main stanzas, Dorsey (p.251) identifies 13 sections (perhaps we’d consider them lengthy stanzas?) in the book, which match up in mirror-image pairs:

she—Zion—is desolate and devastated (Lam 1:1-11)
- I—Zion—was betrayed and defeated (Lam 1:12-22)
  - he—Yahweh—has caused this in his anger (Lam 2:1-8)
    - they—princes, maidens, nurslings, children, mothers—suffer (Lam 2:9-12)
      - you—Zion—should cry out to God (Lam 2:13-22)
        he—Yahweh—has afflicted (Lam 3:1-20)
        CLIMAX: Yahweh’s great love! (Lam 3:21-32)
        he—Yahweh—afflicts humans (Lam 3:33-39)
      - you—Yahweh—to you I cry out (Lam 3:40-66)
    - they—princes, maidens, nurslings, children, mothers—suffer (Lam 4:1-10)
  - he—Yahweh—has caused this in his anger (Lam 4:11-16)
- we—the people of Zion—were betrayed and defeated (Lam 4:17-22)
we—the people of Zion—are desolate and devastated (Lam 5:1-22)

The heartbreaking poetry of Lamentations is quite moving, and it gives us a vocabulary for our own losses and laments. And the book’s structure greatly helps us to recognize the book’s overall message, which is one of profound hope in the midst of the deepest suffering. Even when the king who was supposed to save is himself wrecked (Lam 4:20), the law and the prophets have failed to provide the life and direction you need (Lam 2:9), and the place where God and man are supposed to be able to dwell together in peace is no more (Lam 5:18)—there is a big “but” writ large across time and space:

But this I call to mind, and therefore I have hope: The steadfast love of Yahweh never ceases; his mercies never come to an end; they are new every morning; great is your faithfulness. (Lam 3:21-22)

The structure gives us every reason to look to the book’s center for the key message, which just might become a hinge for our perspectives on dark situations. As Ryan put it, when he explained why the context of Lamentations 3 matters:

We should remember the steadfast love of the Lord every day, but we need reminders most when we feel it least. When we’re tempted to lose heart, when our souls are cast down, we need to remember what God is really like.
Join the author of Lamentations. Recall the mercies of God throughout history and in your own life. Remember that he is your portion. Wait for him; he will have compassion according to his abundant, steadfast love.

What to Observe: Genre

September 17, 2012 By Peter Krol

Professor and Poet Marilyn Hacker once said, “Poetry seems to have been eliminated as a literary genre, and installed instead, as a kind of spiritual aerobic exercise – nobody need read it, but anybody can do it.” She lamented the loss of poetry’s unique place and rigorous standards in popular writing. The implications of her perspective impact our Bible study, because sometimes it can be easy to miss the significance of a text’s genre.

In answer to the question “how do I observe a Bible passage?” or “where do I begin when I sit down to study the Bible?” we’ve discussed numerous items to consider: words, grammar, and structure. Today we come to a fourth item: genre.

Genre is easy to miss because it’s not something that is likely to change substantially from verse to verse. Once you observe a book’s genre, you’re likely to come across only minor deviations from time to time. The important thing is that we remain on the lookout.

Let’s use our study of Luke 2:1-24 as an example.

The main observation to make is straigtforward: the genre of this text, as with most of Luke, is historical narrative. The author reports on events that actually happened (see Luke 1:1-4 for his intentions), but he does so by telling a story. He doesn’t issue a medical report or a media sound byte. He’s done his research, interviewing witnesses and collecting relevant documents, but he presents the facts in the shape of a narrative of the key events that verify the truthfulness of what has been taught about Jesus.

What are the implications of this observation?

It really happened. Luke 2:1-24 speaks of governors, shepherds, and angels. A baby is born to a virgin. These things are neither fable nor fairy tale. They were researched, verified, and presented as historical fact.
The story has an agenda. Although factually trustworthy, it would be naive to conclude that the text was written in a coldly objective way. The author still has an agenda. He includes certain details, and excludes others, for a reason. The purpose of the story is to tell a story, not to report on every little thing that might forestall potential questions. How many shepherds were there? Did the angels have wings? Were they floating in the sky? Was Jesus born in a stable or a cave? We don’t know. Such specifics were not part of Luke’s agenda.

One more thing: observe that the genre changes briefly in Luke 2:14, where we get a brief switch to poetry.

We know Luke 2:14 is poetry because:

the angels were praising God (likely singing)
the quote consists of two parallel lines (the chief component of Jewish poetry)

Why is this observation significant? Because we ought to change our expectations. “Glory to God in the highest” does not mean that God exists physically at a higher altitude than everyone else. Something more poetic, more figurative, is intended.

How’d You Do That? (7/16/12)

July 17, 2012 By Peter Krol

In yesterday’s post, we fleshed out Solomon’s first purpose for writing Proverbs. In so doing, we examined an important component of biblical poetry: parallelism.

We saw the importance of observing Genre here and here. Now that we’ve noticed that we’re dealing with poetry, we can appreciate the implications.

English poetry and Hebrew poetry have some similarities and some differences. Knowing them up front enables us to read the Bible rightly.

Similarities

Uses lots of imagery
Attempts to evoke feelings

Differences

English poetry is (often) driven by meter and rhyme
Hebrew poetry is primarily driven by parallelism

English poetry sounds…poetic. It has a bounce, a rhythm. For example:

When beggars die, there are no comets seen;
The heavens themselves blaze forth the death of princes. (Shakespeare, Julius Caesar, II.2.30)

Hebrew poetry generally doesn’t have the “bounce.”

To know wisdom and instruction,
To understand words of insight (Prov 1:2, ESV).

Bible translators often format the text differently to signal poetry (lots of white space, parallel lines indented together, etc.). Because of the lack of meter and rhyme, however, translators often disagree whether certain Bible passages are prose or poetry. Just look at the book of Ecclesiastes in a few different versions, and you’ll see that there is little consensus on whether some sections are prose or poetry.

What’s the point?

When you read poetry in the Bible, remember not to isolate individual lines. Instead, we ought to read parallel lines together, for it’s in their parallelism that we get the poet’s intentions. Also, expect lots of figurative and emotive language. The poet wants to communicate a point, but he wants to do so beautifully.