Structure | Knowable Word

How Structure Conveys Meaning

November 30, 2018 By Peter Krol

What is the difference between the following statements?

Because the Bible is the authoritative word of God, I must submit every area of life to its instruction.
God doesn’t just want me to work on the Bible; he wants the Bible to work on me.

The first statement is obviously more precise. But I bet most would consider the second statement more inspirational. More memorable.

And why is this? Because structure conveys meaning. In this case, the structure of the sentence itself packs a persuasive punch. The sentence makes use of a “concentric pattern” or “chiasm” to drive its point:

Me … work … Bible

Bible … work … me

The symmetry of the phrases catches your attention. You can feel the hinge in the middle that unwinds until the tension finally lands with force on the final “me.” The very structure of the sentence conveys additional inspirational or persuasive meaning that goes beyond what the first, more precise, statement could ever communicate.

Biblical authors do this very thing, when they embed their primary emphases, their authorial intentions, within the very structure of the texts they compose.

Observe the Structure

Before we can talk about interpretation, we must first develop the skills to observe the structure. I wrote on this topic a few weeks ago, so I just want to underscore the need to do this well.

Get your chapter and verse divisions out of the way. Drop the extra headings that most Bibles put in. Get a reader’s version, use software such as Logos, or print a numberless manuscript from Bible Gateway. Get yourself looking at the naked text so you can actually observe the literary signposts the author drops in like paint blazes on a wilderness trail.

Identify the constituent units. Then take note of how those units are arranged. If your structural observation is poor, your interpretation won’t be any better.

But once you’ve discovered the units, and you’ve mapped their arrangement (typically parallel, symmetric, or linear—again see the previous post for explanation), you are ready to consider what this structure communicates about the author’s intended meaning.

But how do you do that? David Dorsey (chapter 4) explains 3 main ways that structure conveys meaning.

George Pankewytch (2014), Creative Commons

Overall Structure

Sometimes historical narratives follow a linear pattern to simply communicate the progress of time. But at other times, they follow a cyclical pattern to communicate, through the structure itself, the spiraling up or spiraling down of the protagonists’ fate. For example, Judges gives us 7 cycles of Judges, following the pattern established in Judg 2:11-19, which clearly spiral downward into greater fallenness. But the book of 1-2 Samuel gives us 3 main overlapping narrative arcs: Samuel’s, Saul’s, and David’s. Those three arcs advance from one degree of glory to another, yet all three are ultimately tragic in their shape (narrating a rise, a peak, and then a fall).

Another example of the overall structure conveying meaning is the book of Lamentations. Hebrew poetry often works in parallel lines with parallel stresses (A-B-C/A-B-C). For example, “Serve (A) the LORD (B), with gladness (C)/Come (A) into his presence (B) with singing (C)” (Psalm 100:2). But scholars of ancient literature have pointed out that laments cut this pattern short. The second line loses one of the stresses, yielding a 3-2, or something like an A-B-C/B-C pattern. For example: “O my God (A), I cry by day (B), but you do not answer (C)/and by night (B), but I find no rest (C)” (Psalm 22:2).

Lamentations takes this pattern of laments and drops it into the book’s overall structure. Not only do we see a 3-2 pattern in almost every verse (for example: “She (A) weeps bitterly (B) in the night (C)/with tears (B) on her cheeks (C)” (Lam 1:2a). But we also see this pattern across the chapters.

Chapter 1: long acrostic with 66 lines

Chapter 2: long acrostic with 66 lines

Chapter 3: long acrostic with 66 lines

Chapter 4: shorter acrostic with 44 lines

Chapter 5: even shorter acrostic with 22 lines

The whole book takes on the 3-2 shape of lament that visually and audibly peters out by the end, leaving the sadness hanging heavily.

Structured Repetition

When you observe matching units in parallel or chiastic structures, you should investigate why and how they match. Do they present a comparison or contrast? Is a promise in the first section fulfilled in the second? Does one section better explain the other? Is some sort of reversal taking place?

The Gospel of Mark divides into two main divisions: 1:1-8:30 and 8:31-16:8. The first verse outlines the structure: “The beginning of the gospel of Jesus Christ, the Son of God.” The first half of the book concludes with Peter’s confession that Jesus is the Christ (Mark 8:29). The second half concludes with the centurion’s confession that Jesus is the Son of God (Mark 15:39). By comparing the closing sections of each half of the book, we see that Peter gets part of Jesus’ identity (chapter 8), but he doesn’t understand all of it (chapter 14-15). By the end, Peter is denying that he even knows this man (Mark 14:71), while a Gentile military officer grasps something remarkable about the nature of Jesus’ suffering. “When the centurion, who stood facing him, saw that in this way he breathed his last, he said…” (Mark 15:39).

The parallel between Jonah’s prayer in chapter 2 and his prayer in chapter 4 leads us to question the sincerity of his repentance in the belly of the fish.

When you observe these repetitions, these matching units, you are well prepared to ask “Why” and better uncover the author’s intentions.

Positions of Prominence

The final way structure conveys meaning is through positions of prominence.

This is neither mechanical nor foolproof, but often the most prominent part of a parallel structure is the end. And the most prominent part of a chiasm is the center.

Don’t apply that principle woodenly, but you should at least investigate the matter.

For example, Mark 6-8 follows a parallel structure, surrounded by an inclusio (bookends):

Intro: When Jesus sends out the twelve, Herod fears John the Baptist has risen from the dead. But others think he’s Elijah or one of the prophets (Mark 6:7-29).

A. Feeding a multitude (Mark 6:30-44)

B. Crossing the sea (Mark 6:45-56)

C. Disputing with the Pharisees (Mark 7:1-23)

D. Discussing bread with a follower (Mark 7:24-30)

E. Healing a malfunctioning sense—deafness (Mark 7:31-37)

A. Feeding a multitude (Mark 8:1-9)

B. Crossing the sea (Mark 8:10)

C. Disputing the Pharisees (Mark 8:11-13)

D. Discussing bread with followers (Mark 8:14-21)

E. Healing a malfunctioning sense—blindness (Mark 8:22-26)

Conclusion: When Jesus questions the twelve, they claim people think he’s John the Baptist or Elijah or one of the prophets. But Peter (who used to be deaf and blind—Mark 8:18) now sees clearly enough to know “You are the Christ” (Mark 8:29).

What is Mark’s point here in chapters 6 through 8? Jesus is healing his disciples’ own deafness and blindness so they can hear and see who he is.

And what is my point with this little exercise? If you find yourself fretting over why Jesus would call someone a dog (Mark 7:27), what the disciples failed to understand regarding the number of baskets of leftovers (Mark 8:19-21), or why it took Jesus two tries to heal the guy’s blindness (Mark 8:23-25), you need only take yourself to the position of prominence. In this case, the end of the parallel sequence gives us the author’s emphasis and intention: to help Jesus’ disciples perceive who he really is. When we get this, the rest will make more sense.

Conclusion

Observing structure is hard work. But it bears fruit thirty-, sixty-, and a hundred-fold when it comes time to interpret the author’s meaning.

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How to Observe Structure

November 2, 2018 By Peter Krol

Perhaps you’re persuaded that structure is something you ought to observe in a Bible passage. And perhaps you believe in the value of observing structure. But you’re just not sure how to do it. Those who can outline a passage or an argument seem to you like wizards drawing on sinister secret arts unavailable to the general populace. How do they do it?

A preliminary step is to hold only loosely to what you learned in school about outlining. Remember, the Bible is ancient literature. And the ancients may not have thought about hierarchical outlines the way we do. They weren’t writing term papers, so they may not have been automatically thinking in a format such as:

I. First main point

A. First sub-point

B. Second sub-point

II. Second main point

And so on…

Different Genres

Often we must observe the genre before we can observe the structure.

Logical literature (epistles) will be driven primarily by the argument. Once you can trace the argument (premises, conclusions, illustrations, etc.), you will have a decent outline of the passage.

Poetry is often logical as well, so tracing the argument can help. But the poet typically signals his ideas by means of metaphors. If you notice when the chief metaphor shifts, you likely can identify literary units.

Narrative is driven primarily by plot, though setting and characters can also be used as structuring devices. The main things you want to look for, though, are opening setting, conflict, rising tension, climax, resolution, and new setting. Trace this arc, and you will grasp the structure of a narrative.

Macro-Structure

Now those tips will help you on a micro level, with isolated passages or episodes. That’s often the easy part. Greater difficulty lies in identifying the structure of an entire book, or a book’s major division. But we need to interpret the passage at hand in light of the larger persuasive structure, so we must be able to discover that larger structure within which we find our text.

How do we do that?

As I’ve done before, I will rely on David Dorsey, The Literary Structure of the Old Testament, for help. Dorsey has done clear and important work on this topic, which I am happy to present to you.

Primary Steps in Observing Literary Structure

Dorsey gives three main steps for grasping larger literary structures:

Identify the constituent units of a composition.
Analyze the arrangement of those units.
Consider what this structure communicates about the author’s intended meaning.

I find the first step to be the most challenging and to require the most work. And I often have to cycle through steps 1 and 2 a few times before the structure really pops, like one of those Magic Eye 3D pictures that you can’t unsee after you have seen it.

1. Identify Constituent Units

Dorsey give three sub-steps to help you identify literary units:

Beginning markers
End markers
Internal cohesion

Beginning markers are introductory phrases that signal a new section. For example, in my study of the tabernacle instructions in Exodus 25-31, I observed seven narrative statements: “Yahweh said to Moses…” The narrator uses these “markers” to structure God’s instructions into seven speeches. We see Genesis use a similar technique, dividing the book into ten sections that begin with: “These are the generations of…”

End markers are conclusive statements that signal the end of a section. For example, early in Mark’s gospel the narrator uses a general narrative summary statement to signal the end of his major sections (see Mark 3:7-12, 6:6b). The book of Psalms uses concluding doxologies to signal the ends of each of the book’s five major divisions (Ps 41:13, 72:18-20, 89:52, 106:48, 150:1-6). Job gives an end marker to signal a major shift from Job’s interactions with his 3 friends to Elihu’s interaction with Job (Job 31:40b).

Internal cohesion refers to the many techniques an author uses to signal that a passage hangs together as a single unit. Dorsey lists 14 techniques biblical authors use to create this cohesion, but his list can be boiled down to one thing: change. Changes in scene or setting, characters, topic, genre, pace of action, literary form, or grammatical forms (such as a shift from second person to third person pronouns) can all suggest the boundaries of a literary unit. As can inclusio or chiasm, keyword repetition, or recurring motif.

For example, Isaiah’s chapter divisions in English Bibles are notorious for screwing up the author’s structure. Isaiah 7:1-9:7 hangs together as one section, beginning with the promise of Immanuel and ending with the Mighty God being born among humanity as a child. Then Isaiah 9:8-10:4 is a single cohesive unit, containing four stanzas, each with an identical, repeated end marker: “For all this his anger has not turned away, and his hand is stretched out still” (Is 9:12b, 9:17c, 9:21b, 10:4b). If you read just Isaiah chapter 7, then chapter 8, then chapter 9, then chapter 10 (assuming each chapter to be its own unit), you will miss Isaiah’s structure, and therefore his point.

2. Analyze the Arrangement of the Units

Once you can list, with reasonable confidence, the main units of a book, you can examine how the author has chosen to fit them together.

Sometimes he uses a linear arrangement, which is the most straightforward approach. The units have little to do with each other, except that one leads to the next. The outline looks like: A-B-C-D-E-F-G. I can’t prove this, but my hunch is that this is the least common arrangement in the Scriptures. For oral cultures, a linear arrangement is just too difficult to hear and remember. We see a linear arrangement in Proverbs 10-29, where the author wants us to stop and think after almost every verse.

Sometimes biblical authors use a parallel arrangement, which involves giving a sequence and then repeating it one or more times. The outline looks like A-B-C-D//A-B-C-D. We see this in the book of Judges, where the sequence laid out in Judges 2:11-19 repeats 7 times, before we get two closing epilogues (Judges 17-18 and 19-21) that match the book’s two prologues (Judges 1:1-2:5 and 2:6-3:6). Mark uses a parallel arrangement in Mark 6:30-8:26, where he takes his disciples through the same sequence of events (feed a multitude, cross the sea, dispute the Pharisees, discuss bread, heal someone’s malfunctioning senses) two times.

Sometimes biblical authors use a symmetric arrangement, which involves moving the action or argument forward to a hinge point, then unwinding the action or argument in reverse order. The outline looks like A-B-C-D-E-D-C-B-A. This arrangement is often called a chiasm, because the outline looks like one side of the Greek letter chi (an X). We see this in the Aramaic section of Daniel (Dan 2-7) which tells of:

a vision of 4 kingdoms (Dan 2),

a martyr/rescue story (Dan 3),

judgment on a king’s pride—restored (Dan 4),

judgment on a king’s pride—not restored (Dan 5),

a martyr/rescue story (Dan 6),

and a vision of 4 kingdoms (Dan 7).

Conclusion

I’m out of space for now and will have to return to the third main step in another post. That’s where all this work of observation starts to pay off, as we grapple with the interpretive question: “Why did the author arrange his material in this way?”

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The Value of Observing Structure

October 26, 2018 By Peter Krol

Observing structure is a lost art in much Bible study. We fixate on a few verses, and we fail to look for larger literary patterns in larger portions of text. But most Bible books would have been read orally, and authors used larger literary patterns to help people retain information. Public speakers do the same thing today when they repeat and reiterate and reinforce their points through rhythmic patterns of variation. (Just think of Martin Luther King, Jr.’s famous “I have a dream” speech.)

In his wonderful book, The Literary Structure of the Old Testament, David A. Dorsey enumerates 10 benefits gained by observing structure:

1. Appreciation of literary artistry

Les Haines (2012), Creative Commons

God’s word is not simply true; it is also beautiful, just like he is.

2. Identification of unit boundaries

Knowing the structure might help you break up the passage sensibly for your Bible study or sermon series.

3. Discovery of the rationale behind a unit’s overall layout

When you can’t figure out why events are in such a strange order, perhaps the author arranged them purposefully to make a certain point.

4. Clarification of the relationship of the parts to the whole

Tracking structure will help you to keep the smaller episodes or stanzas connected to the main point of the whole book.

5. Accounting for repetitions

For example, why does Genesis 6-9 keep repeating the names of Noah’s sons (Gen 6:10, 7:13, 9:18)? They serve as markers for the structure.

The world is bad (sons named)
- God gives Noah instructions
  - A sampling of all living things (sons named) get on the ark
    - Waters rise
      - God remembers the ark’s inhabitants
    - Waters fall
  - The living things (including the sons, unnamed this time) get off the ark
- God gives Noah instructions
The world is still bad (sons named)

6. Accounting for apparently misplaced units

Some scholars don’t know what to do with passages like Genesis 38 or Nehemiah 5 or Isaiah 36-39 that seem to be completely misplaced (way out of order) within their books. But these placements make more sense when we consider the outlines of those books.

7. Clarification of a unit by comparison with its match

For example, Jonah’s prayer in Jonah 2 appears pious and repentant until you consider the parallel prayer in chapter 4. Suddenly his repentance doesn’t look very repentant.

8. A check on redaction-critical theories

For a hundred and fifty years or so, unbelieving scholars spent their time picking apart books of the Bible and showing how all the parts couldn’t have been written by the same person. However, this approach isn’t so common anymore, as the unity and beauty (see point #1 above) of each book speaks a more compelling truth.

9. Discovery of a unit’s main point

Here is something truly worth getting pumped up for. Sometimes a passage’s main point is more implicit than explicit, and the author tucks that point right into his shaping of the composition.

10. Discovery of a composition’s theme

A theme is an idea woven into the fabric of a book. That theme might not be clear until you’ve seen it crop up in many sections. Observing structure brings themes into the foreground.

So much for the principles. To see them in action, look at how much difference structure makes in each gospel’s telling of the feeding of the 5,000. Through the context and structure of each Gospel, we see that Matthew, Mark, Luke, and John can use the same event for a different purpose.

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How to Understand the Exodus Plague Narratives

December 2, 2016 By Peter Krol

Exodus 5:22-7:7 is like the pre-bout buildup to a championship prize-fight. Moses has his doubts, but his trainer, God, is right at his side. This trainer massages Moses’ shoulders, squirts water into his mouth, and gets in his face with one pep talk after another. By passage’s end, Moses has his gloves tied, his robe draped, and his shoes tightened. He’s hopping from foot to foot, pumped and ready to rumble. He trots down the aisle up to the ring, he enters between the ropes, and the announcer proclaims his presence to the watching world.

The fight of the century is about to take place: Moses v. Pharaoh. Really, it’s Yahweh v. the Egyptian pantheon. Beginning with Ex 7:8, we’re made privy to every round of this legendary collision, and we don’t even have to rent it on pay-per-view.

Peter Gordon (2011), Creative Commons

Common Approaches to the Plague Narratives

Even the most casual reader of the plague narratives in Exodus can’t avoid a basic interpretive question: Why are these narratives so long? And if we treat Passover as a separate section, we’ve got almost 4 chapters of text to ‘rassle. In the ESV, the 9 plagues on Egypt go on for more than 3,200 words. How should we understand and study such an epic narrative?

Some readers take the children’s story Bible approach: Abridge the thing down to a manageable size and land on only the fundamental truths. God is powerful. Egypt got hit hard. Pharaoh would not relent. There is value in this approach, as long as we don’t fall into the trap of ignoring the details. Every detail is inspired by God and there for a reason!

Other readers take the statistician’s approach: Map out the plagues in a large table or spreadsheet, showing all the fine comparisons and contrasts among the 9 plagues. When is Aaron’s staff used vs. Moses’ staff? When does Pharaoh harden his heart vs. God hardening it? How much is Pharaoh willing to grant the Israelites after each plague? Which plagues can the Egyptian magicians duplicate? There is value in this approach, as long as we don’t fall into the trap of ignoring the big picture. Not every detail has deeply symbolic or spiritual meaning; the story as a whole was intended to have a certain emotional impact. Let’s not lose that impact to a statistical analysis.

How I Approach the Plague Narratives

Without demeaning either of the two approaches mentioned above—both have value and provide complementary insights—I’ve found a third approach to better highlight the author’s main ideas and do justice to why the story is given this much space. That approach is to follow the 3 cycles.

The narrator masterfully employs setting to help his readers receive his message. Observe:

In plagues 1, 4, and 7, God commands Moses to confront Pharaoh early in the morning (Ex 7:15, 8:20, 9:13).
In plagues 2, 5, and 8, God commands Moses simply to “Go in to Pharaoh…” (Ex 8:1, 9:1, 10:1).
In plagues 3, 6, and 9, there is no confrontation with Pharaoh. God commands Moses to perform some symbolic gesture and bring the plague unheralded. And these three plagues all have a reasonably short narrative (Ex 8:16-19, 9:8-12, 10:21-29).

What is the point of these observations? The narrative organizes the plagues into three 3 cycles of 3 plagues each. Plagues 1-3 have 3 different settings. Plagues 4-6 repeat the 3 settings in the same order. Plagues 7-9 repeat the settings once more.

This structure is reinforced by the fact that each cycle has a unique and climactic ending:

Cycle #1 ends with the Egyptian magicians being unable to replicate the plague and admitting it must be the finger of God (Ex 8:18-19).
Cycle #2 ends with the Egyptian magicians being unable to stand before Moses (Ex 9:11-12).
Cycle #3 ends with Moses being driven from Pharaoh’s presence (Ex 10:28-29).

This structure has a simple beauty about it, while also serving an interpretive purpose. With each new “Rise up early in the morning,” we hear a fresh start, a new round in the boxing match. And each cycle/round serves as a discrete unit with a particular point to make.

So over the next 3 Exodus posts, I will address the plague narratives in their three cycles. For each cycle, I will ask, what is the author’s main point in this cycle? This approach enables us to hear all the details and consider how they contribute to the unique main point of each cycle. And this approach also helps us not to drown in the details without collating them into a bigger picture.

Preliminary Round

But what should we make of the scene with the staffs and serpents in Ex 7:8-13? This episode stands outside the three cycles by introducing them.

This scene introduces the key players: Moses, Aaron, and Yahweh on one side; Pharaoh, his magicians, and their secret arts on the other.

This scene introduces the key conflict: “When Pharaoh says to you, ‘Prove yourselves by working a miracle…'” Pharaoh will get his wish, and in a big way. If he won’t release these slaves without proof of the requesting party’s power, he’ll sure get it.

This scene foreshadows the inevitable outcome: “But Aaron’s staff swallowed up their staffs” (Ex 7:12). Pharaoh and his champions will not win this fight.

This scene also introduces the theme of the vindication of God’s word: “Still Pharaoh’s heart was hardened, and he would not listen to them, as the Lord had said” (Ex 7:13). Let God be proved true, and every man a liar. God’s glory is at stake in the economic status of his people Israel. His promises to Abraham, Isaac, and Jacob must be fulfilled. Therefore God’s glory and faithfulness must be vindicated. Game on, Pharaoh. Ding. Ding.

Click here to see what I’m doing with this sample Bible study and why I’m doing it.

Two Ways to Outline a Bible Passage

July 29, 2016 By Peter Krol

mkorsakov (2014), Creative Commons

There must be high demand for Bible outlines, since they show up everywhere. Almost every study Bible outlines each book. Almost every commentary has a central outline. Most sermons and study guides outline their passages. And most introductory essays on books of the Bible share a few key topics: date, author, audience, key themes, and—you guessed it—outline.

We generate and consume Bible outlines in massive quantities, but have you ever considered what goes into creating an outline? How do you know if the outline is accurate or not? And what makes some outlines better or worse than others, at least for specific purposes?

Let’s assume you’re already convinced it’s worth your time to pay attention to structure. (If you need more convincing, see how structure shapes the meaning of a passage and 10 reasons why we should take note of structure.) How does that structure translate into a formal outline? What should you look for in an outline? Why are some outlines of the same text so different from one another?

Outline #1: Observational

The first way to make an outline is to summarize what the passage says. This type of outline takes the bare facts of a passage and puts them in order.

For example, here is part of an outline of Job from the Gospel Transformation Bible:

III. The Intervention of Eliphaz (Job 4:1-5:27)
IV. Job’s First Response to Eliphaz (Job 6:1-7:21)
V. The Intervention of Bildad (Job 8:1-22)
VI. Job’s First Response to Bildad (Job 9:1-10:22)
VII. The Intervention of Zophar (Job 11:1-20)
VIII. Job’s First Response to Zophar (Job 12:1-14:22)

This outline contains some important observations. Job’s speeches alternate with those of his 3 friends, who each speak in turn. If you continue through the outline, you’ll see that Eliphaz and Bildad each speak three times, and Zophar speaks only twice. But Job has a response to each one of their speeches.

This outline gives you a straightforward, clear grasp of the text’s structure. Similarly observational outlines for other books of the Bible might go like this:

Luke:
I. Jesus’ Birth (Luke 1-2)
II. Jesus’ Galilean Ministry (Luke 3-9)
III. Jesus on the Way to Jerusalem (Luke 9-19)
IV. Jesus in Jerusalem (Luke 19-21)
V. Jesus’ Suffering and Death (Luke 22-23)
VI. Jesus’ Resurrection (Luke 24)

Proverbs:
I. Introduction (Prov 1-9)
II. Proverbs of Solomon (Prov 10:1-22:16)
III. Sayings of the Wise (Prov 22:17-24:34)
IV. Hezekiah’s Collection (Prov 25-29)
V. Proverbs of Agur (Prov 30)
VI. Proverbs of King Lemuel (Prov 31:1-9)
VII. The Virtuous Woman (Prov 31:10-31)

These outlines tell you exactly what happens in the text, and they’re great for helping you get your bearings in a book. But they don’t say much more than the foundational what.

Outline #2: Interpretive

The second way to make an outline is to describe what the passage means. This type of outline takes the main points of a passage and shows their logical flow.

For example, here is part of an outline of Job (same section as above) from the ESV Study Bible:

B. The friends and Job: can Job be right before God? (Job 4:1–25:6)

1. First cycle (Job 4:1–14:22)

a. Eliphaz: can mortal man be in the right before God? (Job 4:1–5:27)
b. Job: life is futile (Job 6:1–7:21)
c. Bildad: the wisdom of the sages (Job 8:1–22)
d. Job: how can a mortal be just before God? (Job 9:1–10:22)
e. Zophar: repent (Job 11:1–20)
f. Job: a challenge to the “wisdom” of his friends (Job 12:1–14:22)

This outline goes beyond bare observation and shows the flow of ideas from one speech to the next. The chief benefit of such an outline is that it gives you not only the what but also the why. It focuses not only on summaries but also on main points (do you know the difference?). The chief weakness of such an outline is that it’s more likely to be mistaken or even off-center, since it’s not as clearly based on the surface of the text.

Different Outlines for Different Uses

In some cases, the observational outline will be more useful. Such cases include the first pass through a book overview, a detailed review to confirm the validity of an interpretive outline, or a quick compass check to find your place in a book (I’m slogging through Isaiah 25 and need to be reminded of the larger sections).

In other cases, the interpretive outline will be more useful. Such cases include teaching or preaching, concisely organizing the main points or train of thought, or moving toward application.

Let’s say you’re studying Mark 15:1-20 to teach to others. You might begin your own study with a simple observational outline:

Jews deliver Jesus to Pilate (Mk 15:1-5)
Pilate delivers Jesus to be crucified (Mk 15:6-15)
Soldiers mock Jesus (Mk 15:16-20)

But I hope you don’t teach the passage that way. That outline doesn’t help anyone to understand why Mark wrote these things. Something like this will be more useful for teaching:

Don’t mistake this King’s identity (Mk 15:1-5)
Don’t miss this King’s release (Mk 15:6-15)
Don’t abhor this King’s mockery (Mk 15:16-20)

Can you see the difference? Do you see how you can get from one outline to the other? Can you see benefits to each one? Why do you think some outlines are better than others?

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You Can’t Resist Immorality with an Empty Weapon

April 7, 2014 By Peter Krol

Ken (2008), Creative Commons

In Proverbs 7, Solomon unmasks immorality’s deception to help us stand against it. But we won’t be ready to skirmish unless we first lock and load. You can’t win a battle with an empty weapon.

1 My son, keep my words
and treasure up my commandments with you;
2 keep my commandments and live;
keep my teaching as the apple of your eye;
3 bind them on your fingers;
write them on the tablet of your heart.
4 Say to wisdom, “You are my sister,”
and call insight your intimate friend,
5 to keep you from the forbidden woman,
from the adulteress with her smooth words. (Prov 7:1-5, ESV)

Observe Key Words

First observe three key words: “keep,” “my,” and “words.”

Keep

The word “keep” is repeated 4 times.

The first 3 repetitions are all parallel. Keep my words. Keep my commandments. Keep my teaching. “Treasure up my commandments” is sandwiched in the middle and fits the idea well. We should get the idea that keeping the commandments is not the same thing as obeying the commandments (what we usually mean by “keeping a command”). It has more to do with treasuring, storing, valuing, or guarding.

The one who keeps the commandments is the one who hungrily savours every word and fends off any threat of dilution, forgetfulness, or spin.

Notice now the twist in verse 5. This compulsive hoarding of wisdom (and keeping it close) will keep you from the forbidden woman (that is, from immorality). When you keep (protect) wisdom, wisdom keeps (protects) you. Thus the opposite should come as no surprise: The one caught by immorality is the one who has failed to guard wisdom (the one who lack sense – Prov 7:7).

My

Observe next how Solomon likewise plays with the word “my,” a pronoun of possession. There’s a reason possession is nine-tenths of the law.

“My son” – you, the audience, are a possession of the one speaking to you.

“My words,” “my commandments,” “my commandments,” “my teaching” – the words of wisdom are a precious possession, but freely available to you.

“Say to wisdom, ‘You are my sister'” – keeping the words of wisdom will teach you a thing or two about possession. You’ll learn intimacy from the one who was intimate with you.

Words

“Words” bracket this stanza. The one who keeps Solomon’s words (Prov 7:1) is kept from immorality’s smooth words (Prov 7:5).

For this reason, I write. For this reason, we speak truth to one another. This battle will always be one of words. Which words will rule your heart? Whose promises will you treasure deep within?

Observe Structure

Now that we’ve noticed how the key words are used, we can fit the pieces together. This stanza is structured as a chiasm, a pretty common literary device in ancient literature where the second half is a mirror image of the first half. The point is often to draw attention to the center.

A Keep my words – Prov 7:1

B Life-giving commandments become the apple of your eye – Prov 7:2

C Make sure these words fill your heart and are bound on your fingers – Prov 7:3

B’ Intimate insight/wisdom becomes your sister – Prov 7:4

A’ Be kept from immorality’s smooth words – Prov 7:5

The Main Idea

Like an arrow, the passage’s structure points right to verse 3. Something must be written on the tablet of your heart. The words found there will seep out of your fingers into your everyday choices. Solomon already covered this ground in his formula for change in Prov 4:20-27: Wisdom must come in the ears, through the heart, and out the fingertips.

Now he gets specific and applies his formula to the realm of sexual temptation.

If you’re tired of capitulating and want to get in the ring with your sexual sin, your training begins now. You must hear the words of wisdom. You need to get them inside, and you need to keep them there. Guard the commands, memorize the Word, serve the Lord. Your fight doesn’t begin when you’re looking at seedy websites. Your resistance begins long before.

The battle is coming, and your cartridge is empty. You need to fill it with rounds of ammo. Check the safety. Clean the barrel. Let’s lock and load.

But know this, soldier. You’ll still lose this battle if your hope lies in your ability to pack your own ammo. If that’s all you get from this post, you’re doomed.

What you need is a companion. An intimate friend. A sibling (Prov 7:4).

Your hope is in that wisdom which came down from heaven to be your friend. That man of wisdom who called you “Mine” long before you considered him yours. The Word (John 1:1) whose Father can keep you from stumbling and present you blameless before the presence of his glory with great joy (Jude 1:24-25).

When he unzips you and steps inside, immorality won’t ever stand a chance. It’s no longer a fair fight.

Structure: the Shape of Meaning

January 10, 2014 By Peter Krol

Sometimes the Bible’s meaning is plain and simple:

“These are written so that you may believe that Jesus is the Christ, the Son of God, and that by believing you may have life in his name” (John 20:31, ESV).
“Now the point in what we are saying is this: we have such a high priest, one who is seated at the right hand of the throne of the Majesty in heaven” (Heb 8:1).

Many times, however, the meaning is not so plain:

“Noah began to be a man of the soil, and he planted a vineyard. He drank of the wine and became drunk and lay uncovered in his tent” (Gen 9:20-21).
“Now among those who went up to worship at the feast were some Greeks. So these came to Philip, who was from Bethsaida in Galilee, and asked him, ‘Sir, we wish to see Jesus.’ Philip went and told Andrew; Andrew and Philip went and told Jesus” (John 12:20-22).

Deborah Austin (2010), Creative Commons

When you’re studying a Bible passage and the point is not stated explicitly, one thing you can do is zoom out and observe the structure. Often, authors use structure to convey meaning, and we might not get the meaning unless we discern the shape of the text.

For example, Noah’s nakedness in the vineyard comes right after God dismantled and recreated the entire world (Gen 6-8). When we read of a naked man of the soil who consumes a fruit, and of a sin that enters God’s pristine world, alarm bells should go off in our heads, reminding us of Genesis 3. We suddenly realize that, though the Flood may have wiped people from the face of the earth, it could never wipe sin from their hearts. The structure of Genesis (cycles of creation-fall-new beginning) illuminates this strange episode for us.

For another example: John 12 concludes the first half of John’s Gospel. (Chapter 13 launches Act II, with most of the rest of the book describing the last 24 hours before Jesus’ death.) With the singling out of Philip and Andrew (John 12:22), we remember the beginning of the story, where these two men were some of the first disciples called by Jesus (John 1:40, 43). Only this time, Jesus doesn’t have to recruit anyone; disciples are coming to him. The initial “Come and see” (John 1:39, 46) has morphed into “Sir, we wish to see” (John 12:21). These bookends on John 1-12 (among others) show the tremendous impact Jesus’ years of ministry had on the world. This impact fulfills prophecies like Zech 8:20-23 and triggers Jesus’ troubled reflections on his looming death (John 12:23-33).

Over the next month or so, I’ll illustrate the value of structure through a study of the feeding of the 5,000. Through the context and structure of each Gospel, I hope to show that Matthew, Mark, Luke, and John used the same event for a different purpose. Stay tuned!

What Catching Fire (Hunger Games #2) Taught Me About Bible Study

November 22, 2013 By Peter Krol

In honor of the second “Hunger Games” movie opening this weekend, I’m updating and reposting this article (originally published June 4, 2012) about the novel Catching Fire.

I just finished reading Catching Fire by Suzanne Collins, part 2 of the Hunger Games series (see here for my thoughts on the first book). The plot pacing and literary devices were similar to the first book, but a few new things struck me in this volume that help with Bible study.

1. Structure is Your Friend

The Hunger Games is divided into three parts; each part had nine chapters. Not bad. It helped me to remember the flow of the story: the Tributes, the Games, the Victor.

Catching Fire has the same structure: three parts with nine chapters each. A nice, memorable flow: the Spark, the Quell, the Enemy.

I must admit, I looked ahead to the third book. Guess what? Three parts, nine chapters each. Fantastic. That means the entire series is made up of nine parts with nine chapters in each part. Beautiful symmetry!

It can’t be an accident. In fact, most chapters (and some of the parts) don’t really end with a scene change the way most books do. Collins clearly set things up to have the right number of chapter and part divisions.

How does this help with Bible study? Biblical authors employ the same tactic. They consciously structure their books so readers can easily remember and assimilate the material. Here are some examples.

The Plagues on Egypt (Exodus 7:14-10:29), organized as three sets of three plagues each. Notice how the first plague of each set begins with something like “Go to Pharaoh in the morning…” (Ex 7:14, 8:20, 9:13). The tight organization contrasts with the utter chaos resulting from the plagues, and it helps us appreciate the power and majesty of the Lord.
Jesus’ Sermons in Matthew (Matthew 5-7, 10, 13, 18, 23-25), dividing the Gospel into five sections. Each section highlights a particular aspect of what it means to be Jesus’ disciple. The book climaxes with the Great Commission to go out and make disciples (Matt 28:16-20).

Pay attention to structure, as authors use it to couch their main points in a memorable way. For more help, I highly recommend The Literary Structure of the Old Testament by David Dorsey.

2. Plot Twists Have Always been in Style

Catching Fire has lots of plot twists. Some are clearly foreshadowed; others caught me by surprise. Modern stories seem boring if they’re too predictable, but Collins delivers engagingly.

Plot twists are not a modern invention; the Bible showed us how to do it long ago.

Readers of the Old Testament expected the Messiah to deliver Israel (Acts 1:6), but who would have guessed that God himself would become a man, be born of a virgin, live in poverty, and die in great shame? If the rulers of this age had known it, they would not have crucified Jesus (1 Cor 2:7-8). Many today still read the Bible but miss Jesus, the main point (2 Cor 3:12-16).

Now that we know the end of the story, however, we can go back and get the point.

P.S. For a fantastic review of the content and ethics of The Hunger Games, see N.D. Wilson’s article posted by Trevin Wax at The Gospel Coalition. And for a keen but scathing review of the popular response to the Hunger Games franchise, see Scott Mendelson’s review at Forbes.

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Disclosure: The Amazon links above are affiliate links, so if you click them and buy stuff, you’ll end up supporting this site at no extra cost to yourself.

What to Observe: Structure

September 11, 2012 By Peter Krol

Rock singer Geddy Lee of Rush once said, “That is what intrigues me; songwriting and song structure and expression.” As the holder of a Bachelor’s Degree in Music, I agree.

Much music is based on an ABA structure. You start with a musical idea, develop that idea (or go to a second idea), and then return to the main idea. “Three Blind Mice” is a good example, where the line “three blind mice” represents the A section, and the stuff in the middle is the B section.

Similarly, when we learn how to study the Bible, a good skill to develop is how to observe structure. It is another thing to observe, after words and grammar.

Let’s observe Luke 2:1-24 as an example. Look at the flow of the story:

A The pomp of the Roman government and census

B Joseph and Mary give birth to a son

C Shepherds were living out in the field

D An angel appeared with a message about the Lord

E An army of angels appeared, praising God, saying:

F “Glory to God in the highest, and on earth peace”

E The angels left and went back to heaven

D The shepherds believe the message from the Lord, and they go, sharing it

C The shepherds return to their field, glorifying and praising God

B The son is named Jesus

A The humility of Jesus’ family (who couldn’t afford sheep for sacrifice)

Such an outline, where the second half is sort of a mirror image of the first half, was really common in ancient literature. One reason why they did it was to make it easier to hear the passage read aloud. You could hear the story move in towards a climax and then unravel back out.

It helps to observe such things, because the climax of such a structure usually comes at the center. In this case, we see that God is concerned with his own glory (in contrast to the glory of Rome), and he will use Jesus to bring about peace between himself and those with whom he is pleased.

Other parts of the Bible use more logical structures. For example, look at Hebrews 2:17-7:28.

I. Jesus is a merciful and faithful high priest – 2:17-18

A. Jesus is a faithful high priest – 3:1-6

B. Application – 3:7-4:14

C. Jesus is a merciful high priest – 4:15-5:10

D. Application – 5:11-6:20

II. Jesus is a high priest like Melchizedek – 6:20

A. Explanation: how Jesus is like Melchizedek – 7:1-28

This outline covers just a portion of the book of Hebrews. The entire book is structured similarly: a point is stated, then explained and applied. The application leads into the next point, which is stated, explained, and applied.

Observing the structure is one step in our study. Once we see it, we’re better equipped to identify the sections so we can interpret and apply them.

We’ve now had three posts on specific observation skills: observing words, grammar, and structure. Have you noticed how each post had a common structure? Check ’em out again, and use your new-found skills when you study the Bible.

Five Things to Observe

August 31, 2012 By Peter Krol

You sit down with your Bible, and you’re ready to study it. You pray and open the page to the right spot. Then…what? You see lots of ink and paper. You’ve heard these verses before.

You’d like to go deeper, and you don’t want to let familiarity get in the way. But what exactly can you do? What should you begin to observe?

Derek Bridges (2006), Creative Commons

Here are some ideas to get you started:

WORDS: Pay attention to the words. Count up how many times different words are repeated. Notice how different things are described or labeled.
GRAMMAR: Identify the subject, verb, and object of a sentence. What are the main verbs? Who is doing what, and where and how are they doing it?
STRUCTURE: How does the passage fit together? Break it into paragraphs. Pay attention to transitions.
GENRE: Is this poetry or prose? A letter or a narrative? Who is the author? Who is the original audience?
MOOD: What tone of “voice” is the author writing with? Does the passage inspire action, invoke emotion, or challenge assumptions?