Kelsey Samenus

Reading the Bible as Literature.  Jeanie C. Crain. Cambridge, UK: Polity Press, 2010. [90-107]

In chapter five of Reading the Bible as Literature, Crain focuses “on what we have in the existing Bible” (Crain 90-91).  Crain wants the reader to focus on  approaching the Bible simply, “knowing what words mean, seeing how they are used, noticing grammatical connections, and reading words in sequence to reconstruct meaning” (91).  It is also important to focus on the form of the literature of the Bible.  I really like how Crain mentions to “read apart from context” (91).  I think this is why I really enjoy attending Bible studies; people ask questions and state opinions that are totally separate from the context read, which spur such deep discussions about other books of the Bible and other facets of life.  The chapter highlighted preliminary considerations and familiar sub-genres.

“The emergence of genres occurs almost naturally in a normal reading of the Bible” (92), because as readers we have always been taught to immediately recognize the genre of literature.  Crain states that “the Bible does not set out…to classify its texts into a set of recognizable literary genres” (93).  I’m glad that Crain made this point; I had first believed the opposite when reading the titles of chapters four and five about genres-that the reader would be expected to classify the books of the Bible as the same old genres other forms of literature are classified as.  Yet, the Bible is uniquely classified into its own genres. For example, 1 Chronicles contains history of families, history-like narratives, and prayers and Matthew contains parables, prayers, and history-like narrative.

The focus of genre criticism (or form criticism) “is to determine the original form of a piece of narrative, a dominical saying or a parable” (Fernandez).  Form critics know that writers form the framework of the literature of the Bible, and that modern framework isn’t based on the original context in which the literature of the Bible was formed.  “The form in which something is preserved shapes the contents” (Fernandez).  Generally, I think that genre critics do the best they can to make sure that that statement rings true, because preserving the form of the literature of the Bible preserves the contents.  It is interesting to learn about some of the objections of genre criticism.  As Crain mentions, reading of the Bible is more simplistic when readers have an idea of the genre of the literature.  Critics make objections that “genres [are] ready-made heuristic tools for interpretation” (93).  I think that they have a good point, but organizing the literature of the Bible into genres makes the books of the Bible seem more recognizable to the reader, instead of complex and foreign. 

This summer, I had begun to participate in a Bible study of Matthew with my church, but wasn’t able to finish because I had to leave for college.  I was so excited to see that this chapter went into depth about parables, because I knew that Matthew had several parables in it.  So, I decided to focus my research of sub-genres on the study of parables.  Parables “make explicit use of analogy to show a similarity between two things, to demonstrate a common denominator between two unlike concepts, characters, events, or objects” (Crain 103).  Parables, unlike allegories, are more brief and realistic and are continuations of similes.  For example, the characteristics of parable found in the tares are revealed in Matthew 13:24-30.  Planting wheat and weeds can be interpreted literally. In parables, two meanings must be constructed in parallel action; the physical sphere, the planting of wheat and the planting of weeds, is compared to a spiritual counterpart, the renewal of life in the kingdom of heaven or the burning in hell.  A parable must contain a figurative object, which in this case, the wheat and weeds are compared to heaven and hell, and a figurative action, which seems to be living a life based on God or Satan.  The figurative meaning of the object and action is that, here on Earth, live moral and righteous people of the Lord, as well as people who don’t follow the commandments of God, who are tainted by Satan.  Both types of people live and grow together, but on judgment day, the followers of the Lord will be granted salvation in heaven, while the followers of Satan will burn in hell.  Another example is of the characteristics of parables found in the grain of mustard seeds are discovered in Matthew 13:31-32, Mark 4:31-32, and Luke 13:19.  Planting mustard seeds can be interpreted literally.  The two meanings constructed in parallel action in these verses are the physical sphere of the planting and growth of the mustard seed, while the spiritual counterpart compares the kingdom of heaven.  The figurative meaning of the object and action of this parable are that the followers of God start out lacking a strong relationship with God, but as their relationship with Christ grows, they become spiritually prosperous (like the mustard seed)  and will redeem a life of salvation in heaven.  Next, the characteristics of parables found in yeast are revealed in Matthew 13:33 and Luke 13:21.  Mixing yeast into flour can be interpreted literally.  The two meanings constructed in parallel action in these verses are the physical sphere of mixing yeast into flour, which is compared to the spiritual counterpart of the kingdom of heaven.  The figurative meaning of the object and action of this parable is that the leavening of bread highlights the positive internal transformation of the heart of the people of God that will eventually reveal to them the hidden wonders of the kingdom of heaven.  Last, the characteristics of parables found in the sower and seeds are located in Matthew 13:3-8, Mark 4:3-8, and Luke 8:5-8.  The literal interpretation is the sowing of seeds.  The two meanings constructed in parallel action in these verses are the physical sphere of sowing seeds, while the spiritual counterpart compares the behavior that God expects of his people.  The figurative meaning of the object and action of the parable is the effect of the “planting of a seed” in our life.  If a seed has fallen from the path, then this means that you have fallen from the path of God and are now following a path of sin, where the devil will consume you.  If a seed has fallen in a rocky place, where it does not have much soil, then the word of God has not “rooted” in your life.  If a seed has fallen among thorns, then the idols of earth (money, possessions, etc.) have consumed you and will keep you from living a life dedicated to God.  If a seed has fallen on good soil, then this means that you will bear a “good crop” and will “sow” life everlasting in heaven.  These parables serve as stories that Jesus used to compare well-known processes (sowing of seeds, leavening of bread, etc.) to humanity, revealing the hidden truths of God’s expectations of our lives.     

Chapter five aids in focusing on the sub-genres of the Bible and allowing readers to read the Bible with better understanding of the forms of each book.  While I decided to do in-depth research of some of the parables of the Bible, chapter five also focused on the sub-genres of song, allegory, and prayer.  The Bible is full of so many other sub-genres as well.  This chapter works to reveal sub-genres of the Bible, but also makes expectations for the reader to read outside of context.  I’ve learned that Crain’s website, Bible studies, and other extemporaneous sources have aided in my understanding of the Bible as literature.  I am already able to better recognize genres and sub-genres of what I am reading in the Bible.

Fernandez, Vhen. "Biblical Genres and Form Criticism." Biblical Genres and Form Criticism. n. page. Web. 4 Nov. 2012. <http://www.scribd.com/doc/60916768/Biblical-Genres-and-Form-Criticism>.

Reading the Bible as Literature.  Jeanie C. Crain. Cambridge, UK: Polity Press, 2010. [90-107]