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Poetics, the study of the making of literary works, regards the gospels as literature, in contrast to the historical-critical approach. Petri Merenlahti makes the case that poetics offers a vital critical tool to interpreting the gospels. But he argues that poetics must also be 'historical', as perceptions of literary form and value are not fixed, but evolve and develop from one time and culture to another. Merenlahti provides a comprehensive account of the development and the state of the art of poetics and narrative criticsm. Through scrupulous methodological discussion and detailed analysis of gospel narratives, he also offers a potentially highly productive future programme for historical poetics in gospel studies.
A fresh, provocative look at the link between poetry and Christianity, both as it relates to the Bible itself as well as to Christian and religious life, by an accomplished scholar. The Bible is full of poems. In the Old Testament, there are the Psalms and the Song of Songs, the great exhortations and lamentations of the Prophets, and passages of poetry woven in throughout. In the New Testament, Jesus describes the kingdom of heaven with poetic epithets such as “a treasure hid in a field,” calling the Son of God “the true vine,” “the light of the world,” “the good shepherd,” and “the way, the truth, and the life.” The Gospels reverberate with allusions to the poetry of the Old Testament; the last book of all is Revelation, a visionary poem. The Bible, in other words, asks to be read poetically from start to end, and yet readers have rarely considered what that might mean, much less heeded that call. In The Bible and Poetry, the poet and scholar Michael Edwards reshapes our understanding of the Bible and religious belief, arguing that poetry is not an ornamental or accidental feature but is central to both. He speaks personally of his early, unanticipated, transformative encounters with scripture. He offers close, insightful, and resonant readings of biblical passages. Poetry, as he sees it, is the vital and necessary medium of the Creator’s word, and the truth of the Bible is not a question of precepts and propositions but of a direct experience of its poetry, its power.
The words of Jesus Christ are restored to their original poetic form in this extraordinary volume. Jesus Christ, whose teachings have been on the lips of millions for two millennia, is revealed here as one of the greatest poets of all time. What happened to deafen us to the poetic nature of his words? In migrating from Aramaic speech into written Greek translation, and later into English translation, the lyrics got locked up as prose. In The Poems of Jesus Christ Willis Barnstone unveils the essential poetry of the Gospels by taking the direct speech of Jesus from Mark, Matthew, Luke, and John, and lineating and titling Jesus’s words as individual poems. Jesus’s poems are wisdom lyrics and narrative parables, rich with garden, animal, and nature imagery. Austere and poignant, they carry the totality of the Gospels’ message through the intensity of a single voice––the Gospel of Jesus.
Preaching the Poetry of the Gospels by Elizabeth Michael Boyle Pdf
Can an understanding of the poetics of the Gospels, together with a reading of poetry inspired by them, make the homily an art form as compelling as a poetry performance? In Preaching the Poetry of the Gospels, Elizabeth Michael Boyle, O.P., offers a preaching guide to the Sunday Lectionary using the insights of poets to enliven and elicit more powerful homilies. Preaching the Poetry of the Gospels demonstrates that not only the Fourth Gospel but also the Synoptics can be read with special understanding when they are interpreted as narrative poetry. For each Sunday, from the first Sunday in Advent through Trinity Sunday, the author offers a poet's reflection on the literary devices in the liturgical texts, and a gathering of poems about the gospel event. Chapters are "Incarnation: Advent to Epiphany, " "Redemption: Ash Wednesday through Holy Week, " "Resurrection: The Sundays of Easter, " "Transformation: Ascension to Trinity Sunday, " and "Reclaiming the Poetry of Ordinary Time."
What are the poetics of everyday life ? What can they teach us about God? Art, music, dance, and writing can certainly be poetic, but so can such diverse pastimes as fishing, skiing, or attending sports events. Any and all activities that satisfy our fundamental need for play, for celebration, and for ritual, says William Dyrness, are inherently poetic and in Poetic Theology he demonstrates that all such activities are places where God is active in the world. All of humanity s creative efforts, Dyrness points out, testify to our intrinsic longing for joy and delight and our deep desire to connect with others, with the created order, and especially with the Creator. This desire is rooted in the presence and calling of God in and through the good creation. With extensive reflection on aesthetics in spirituality, worship, and community development, Dyrness s Poetic Theology will be useful for all who seek fresh and powerful new ways to communicate the gospel in contemporary society. William Dyrness s bold invitation to a poetic theology shaped by Scripture, tradition, and imagination one luring us toward a fuller participation in beauty than argument or concept alone allow reminds us that truth itself is beautiful to behold and poetic to the core. . . . If poetry is in its deepest reflex an intensification of life, then Dyrness s call for a poetic theology is one we ignore at our peril, reminding us that faithful living is not only about proper thinking but also and, perhaps, more properly about the texture of our living and the quality of our loving. Mark S. Burrows Andover Newton Theological School Makes a strong case for aesthetics as one of the avenues used by God to draw human beings near to him and his glory. . . . A wonderful journey through Reformed spirituality and a wake-up call for Reformed theology. Cornelius van der Kooi Free University, Amsterdam
The Poetics of Biblical Narrative by Robert Walter Funk Pdf
A pioneering work that answers the question: What do we do when we tell a story? Using examples from the Bible and popular literature, Robert Funk examines the structure of stories to uncover the underlying grammar of the narrative.
Divine Inspiration by Robert Atwan,George Dardess,Peggy Rosenthal Pdf
The Bible is by far the leading source of inspiration for Western literature, and in particular, the life of Jesus has drawn the attention of artists and writers throughout the ages. Now, in a volume of astonishing range and originality, Robert Atwan, George Dardess, and Peggy Rosenthal present 280 remarkable poems from world literature focusing on Jesus's life and teaching. Readers accustomed to the predictable inclusions of many anthologies will be surprised and delighted by the diversity of poets represented here, from Aquinas, Dante, de Guevara, Donne, and Sor Juana, to D.H. Lawrence, Gabriela Mistral, Wole Soyinka, Margaret Atwood, Gwendolyn Brooks, Czeslaw Milosz, and Leopold Senghor. Perhaps no other thematically organized anthology could have brought together writers as different as Jorge Luis Borges, Thomas Merton, Alice Walker, Rainer Maria Rilke, and Jack Kerouac. Indeed, simply to turn the page in Divine Inspiration is an adventure in itself. And in terms of form, style, modulations of tone and perspective, the variety here is as unparalleled as it is unpredictable. The editors of Divine Inspiration have done a masterful job of unifying this vast assortment of poems. Organized chronologically around the life of Jesus, the book is divided into nine sections--from Birth and Infancy, through Healings and Miracles, to the Resurrection-- and presents passages from the Gospels followed by the poems they inspired. This structure gives readers the dual pleasures of a strong narrative pull punctuated by moments of lyric intensity. Our familiarity with the life of Jesus is thus enlivened, deepened, and in some cases wholly transformed by the imaginative power of the poems. In the largest section of the book, on the Passion of Jesus, we find an array of poems by Anna Akhmatova, Antonio Machado, Thomas Hardy, Miguel de Unamuno, Charles Baudelaire, R.S. Thomas, Andrew Marvell, Frederico Garcia Lorca, and Denise Levertov, among others. To see the Passion of Jesus refracted through the lenses of such poets is to see it anew, or more vividly than before. And to encounter Chinese, Korean, Nigerian, Arab, Latin American, Scandinavian, Hungarian, and Greek poets alongside English, French, and German is a testimony both to the editors' devoted scholarship and to the power of Jesus's life to inspire great poetry across a spectrum of cultures and eras. An invaluable sourcebook for students, scholars, and general readers alike, Divine Inspiration should prove equally satisfying to readers with a strong interest in religion and to all lovers of poetry.
Olivier-Thomas Venard's Thomas d'Aquin poète théologien trilogy, an in depth analysis of the scripture of St. Thomas Aquinas, is translated for a new audience in this streamlined anthology. Featuring selections from all three books in the trilogy, chosen in accordance with Venard's direction and discernment, it introduces not only arguments pertinent to the theme of this volume, but an invitation to explore the full breadth of Venard's work. Concentrating on the subjects of scripture, theology and literature, language as a theological question and the word of God, Murphy and Oakes capture the scope and energy of Venard's trilogy while collating many of its key passages. Ranging from the themes of a poetic gospel and Christology to the Thomist theories of semiology and the metaphysics of the Word, this volume sets scholars on the path to a deeper understanding of Aquinas's systematic theology.
Biblical Echo and Allusion in the Poetry of W.B. Yeats by Dwight Hilliard Purdy Pdf
"This book treats the poetics of biblical allusion in the lyric poetry of William Butler Yeats, and the ways in which the King James Bible became for Yeats a model for poetry as a communal voice shaping a culture." "The introduction analyzes the critical history of what Eleanor Cook has termed the "poetics of allusion," emphasizing the work of the Italian rhetorician Gian Biago Conte and the American critic and poet John Hollander. The major topics considered here are allusions as the intersections of texts, as figures of speech, and as structural signifiers; the centrality of the reader in the study of allusion; the quality of allusions, their placement and varying degrees of clarity; and the centrality of the study of allusion to cultural criticism." "The first chapter is concerned with the development of the Bible as a model for secular poetry from the late eighteenth century to Yeats, surveying Bishop Lowth, Blake, Coleridge, Wordsworth, Shelley, and Matthew Arnold, as well as Yeats's references in his prose works to the Bible as a model for art and the artist, and his desire to restore the Bible as sacred text, yet write his own Bible." "Chapters 2 through 5 take up in detail the poetics of biblical allusion and echo in the poems. Chapter 2 treats the poetry of the nineties: here Yeats usually engages the Bible as an antagonist, subverting it for the sake of a Celtic consciousness, denying its exclusive claim to spiritual truth. But many biblical echoes show Yeats's dependence upon the Bible as a guide to poetic language. Chapter 3 concerns the poetry from In the Seven Worlds to The Wild Swans at Coole. Yeats looks on Scripture with an ironic eye, often replacing it with what he calls "haughtier texts," the parables, prayers, visions, and private revelations that mirror biblical models and make biblical texts into warrants for his own theory of rebirth. Chapter 4 is a close reading of biblical intertextuality in seven poems: "The Second Coming," "Sailing to Byzantium," "Meditations in Time of Civil War," "Nineteen Hundred and Nineteen," "Prayer for My Son," "Dialogue of Self and Soul," and "Vacillation." In these major poems Yeats displays his antitheticality, as Hazard Adams calls it, putting into dramatic tension biblical texts and his own heterodox ideas about birth, death, and resurrection. Chapter 5 examines the poetry after "Vacillation," where Yeats gives biblical texts (often text used before) a new sensual gloss, but also admits the limits of a "high talk" derived from scriptural language." "Chapter 6 places Yeats in the broad context of biblical intertextuality, working backward from modernism to Romanticism. First, the study contrasts Yeats with two of his contemporaries, D. H. Lawrence and T. S. Eliot, for whom the Bible always asserts its religious authority, in the Victorian tradition of Arnold, Clough, Browning, and Tennyson. The study concludes by comparing Yeats to Wordsworth and Shelley. Although Yeats is deeply indebted to them, his attitude is distinct from theirs: even when rejecting the Bible, Wordsworth. and Shelley accept a dogmatic view of it, while Yeats escapes dogmatism."--BOOK JACKET.Title Summary field provided by Blackwell North America, Inc. All Rights Reserved
For the past two thousand years, Jesus Christ has been one of the greatest gifts and one of the greatest mysteries in the world. History is full of books and poems that honor and glorify Jesus, and many scholars have studied Jesus' teachings. In The Invisible Poet for the first time, Jesus Christ emerges not only as the Son of God but also as the greatest poet who has ever lived. This book studies Jesus' words in their original poetic form, the same form that the Disciples heard directly from Christ. Jesus Christ : The Invisible Poet examines Jesus' use of Hebrew poetic traditions in his parables and poetry, bringing a new understanding to the gospels and message of Christ. Now you can experience Jesus' teachings in their original, ancient tradition. Despite this proliferation of poetry throughout the Bible, readers rarely equate Scripture with poetry, perhaps because we are most accustomed to reading poetry written in the Western tradition. To the Western eye, Scripture initially appears more like prose than poetry, mainly because Scripture typically does not rhyme. Therein lies the key to missing Christ's importance as a poet. Jesus was a poet of Hebrew tradition; Jesus worked in the language of poetics and he used poetry to share his Gospel. This book concludes beyond question that Jesus is the greatest poet of all time, that he is the invisible poet in his parables and proclamations, working all the while within traditional Hebrew poetic structure. Jesus is indeed a personality who worked for the betterment of humanity. This book traces the Master in his use of every substantial form of Hebrew poetry. Having such a demonstration of poetic mastery, we may well inquire with the wondering throng at Jerusalem, when they heard the gracious words which proceeded out of His mouth. "How," said they, "does this Man know letters, having never learned.?" It is the perennial wonder of mediocrity in the presence of genius. Let us then not deny him this praise, which even his enemies were forced to concede. We may hail Jesus as the Man of Letters. In presenting the poems of Jesus, we may well begin with Matthew, for this Gospel professedly contains his Logia, set forth at length, and hence we may expect that here, if anywhere, the form will have been preserved. It would be unreasonable to look for the exactness that the original text might possess. However, a certain sympathy also exists between the English version and the more primitive language; that sympathy has tended to recover the balance of expression. In part, the sympathy is due to the tremendous influence of the Scriptures in the development of English speech; it also arises from the fact that the first crude rendition of the Scriptures into the common speech of the Anglo-Saxons was by certain wandering bards who chanted the story of the Christ, and thus associated the gospels with a melodic flavor that has characterized all subsequent versions. The conclusion on this subject is very simple and practical: despite the fact that much of its poetic essence has been lost over time, Christ's words can be studied today through the prism of poetry, on the level of theory. If we look at religious ceremonies and rituals of almost all Christian denominations and religious communities, we notice that believers in fact sing the verses of the gospel and Christ's words. No matter what the particular language is, or the translation, the essential nature of Jesus' legacy is a lyrical one. In any language, Jesus emerges as the greatest poet the world has known.
Parables as Poetic Fictions by Charles W. Hedrick Pdf
Contending that Jesus narrative parables are more poetic than metaphoric, Hedrick argues that parables should be heard solely on their own terms. Hedrick s dissatisfaction with figurative and metaphorical approaches or those that argue for a particular meaning or a single interpretation diverges sharply from the modern consensus and breaks new ground in parable studies.
This book of poetry is an opportunity to search for meaning in the Gospel of St. Matthew and a way to explore your soul. St. Mathew’s Gospel is a rich and fertile field producing abundant insights into life and the human condition. These poems cultivate this wisdom and translate it into poetry, amplifying its meaning and adding contemporary context and color. Once engaged in the poetic, the reader is offered additional insights generated by their own excited imagination. To aid the imagination, I have added an original abstract painting to each poem to enhance the experience. This experience of the Holy can be a path into the soul. Deep at the bottom of each of us is that spark of eternity that can only be ignited by the gift of faith. It is my hope that these poems will encourage the reader to examine that divine mystery that is planted deep within us by the very Word of God.
This book employs Cognitive Literary Theory in an analysis of Conceptual and Intertextual Blending in the Gospel of Philip and the Exegesis on the Soul, read as Christian texts contemporary with the production and use of the Nag Hammadi Codices.