Review high level structure

Skeletal framework of Old Testament narrative:

"Markers" serve as literary/theological centers of large narrative units

• Key statements of divine purpose

• Narrative illustrates and grounds theology in history

• Markers that define eras of biblical revelation are vital to subsequent revelation—progressive revelation advances the theology of these markers in light of newly revealed truths

"Links" are restatements of markers, or the narrative to which the markers refer, in subsequent narratives (week #1, page 5)

• The theology of the past era injected into the new era, demonstrating the continuity of biblical revelation—a bridge between narrative units

• Links are given "fuller" meaning in the light of new revelation, ultimately being "fulfilled" (or "filled full") in the completion of God’s plan in Jesus Christ and His eschatological rule—the Hebrew notion of linear history, in which events and blessings are not complete, because the plan is not yet complete. For example, "1812 Overture", "Bolero"

E.g.: The exodus as a thematic paradigm of historical redemption

• Regathering after the exile, a "new exodus" (Hos. 2:14,15; 11:1; Isaiah 11, 52)
  
  
  
• Eschatological redemption of the nations (Isaiah 19)
  
  
  

• Development of key markers in subsequent narrative forms a promise motif.

Low level theological narrative structure: books and their subsets

1. Narrative books: Narratives are typically defined in terms of a more or less complete story, focusing on dialogue, and consisting of a beginning, a series of events, and an end.

• Whole books may be considered a narrative (E.g.: Numbers, Judges; 1,2, Samuel, 1,2 Kings, 1,2 Chronicles, Jonah).

The controlling theme or theological center is almost always a marker or link from a previous marker, indicating the progress of God’s plan. Sometimes it is a summary statement on the condition of God’s plan through his covenant people.

• Example of controlling theme as summary statement: Judges 21:25

• Example of controlling theme as theological marker: 2 Samuel 7/1 Chron. 17

• Example of controlling theme as theological link (with a marker): 1 Kings 11:9—13 (see also Exodus 19:4—6)

2. Narrative within narrative texts. Substantial portions of books may constitute a narrative (E.g.: Exodus 1—19; Genesis 37—50). Narratives may also be defined in narrower terms—the life of a patriarch, the reign of a king, and so forth.

Where one narrative ends and another begins is not exact.

• E.g.: Is Abraham (Gen. 12—25) on or several narratives?
  

Hermeneutical Principle #5: Individual narratives are not self-interpreting—they relate to the broader argument of the book. Each narrative sequence that makes up a book must be viewed in terms of the theological center of the book as a whole.

Implication for interpreters: literary context is essential

• What is the theological purpose for the book in which the narrative appears?
  

 Implication for interpreters: recognize the main point of a particular narrative. How does it relate to the argument of the book?

• Within the particular narrative, the author provides clues to the implicit or explicit point the narrative serves. These clues can be recognized by:

1. Theological markers and links present in the narrative

• Sometimes the relationship of the particular narrative to the theological center of the whole is explicit (Exodus 6:5—8 the redemption of Israel, cf. Exod. 19:4—6).
  
• Note the many restatements of the Abrahamic Covenant in the patriarchal narratives linking each generation to Abraham (17, 21, 22, 24, 26, 27, 35, 50, cf. Gen. 12:1—3)
  
• Many narratives contain a clear theological message that is essential to our understanding of the controlling theology of the narrative (Exodus 12 the Passover—price of redemption, cf. Exod. 19:4—6).

2. Context. Sometimes the connection between individual narrative and the theological center of the book is implicit and can only be recognized by the context of the narrative in to overall book.

• 1 Samuel 1—2:11 the Hannah story

 3. Introduction/conclusion (summary) statements

• Mark 1:1 and John the Baptist narrative (1:2—8)
• Deuteronomy 34:10—12 and the death of Moses narrative

 4. Repetitions

• Formulas

• "In those days Israel had no king" (Jud. 16, 18, 19, 21)
  
• "fulfilling the word of the Lord" (1,2 Kings)
  
• "evil/good in the sight of the Lord" (1,2 Kings)
  
• "Is it because there is no God in Israel … ?" (2 Kings 1:3,6,16)

• Events

• Joshua and Moses in Josh. 1—5
  
• Elijah and Elisha in 1 Kings 17 and 2 Kings 4
  
• Barrenness in Sarah, Hannah, Elizabeth …

• Words

• "God said", "it was so", "it was good" in creation narrative
  
• "gave" in the Joshua narrative

5. Presence of the "divine voice" either directly or through a character

• 1 Samuel 13:13,14; 15:22,23 Samuel’s rebukes to Saul
  
• Genesis 50:19—21

 Class Exercise: Examine 1 Kings 17. What is the main point of the narrative and how do we know?

 Character and plot development

Narrative and scene. Narratives are composed of a sequence of distinct but related events termed scenes. There may be as few as one scene, but often several. The scenes develop the story line, or plot of the narrative. Each scene adds important details that, taken together, illustrate the theological center of the entire narrative.

• Particular scenes are usually identified from the larger narrative in which they are found by reference to:

• Introduction of new characters

E.g.: Genesis 37:1—11 Joseph and his jealous brothers

• Introduction of new situations—geographical change, separation of time, a change in the action

E.g.: Genesis 37:18—36 Joseph sold to Potiphar the Egyptian

• Plot often draws attention to the main point. As the plot thickens, it heightens the readers’ awareness of the point being made:

E.g.: Genesis 45:4—8 Joseph’s climactic speech as he reveals himself to his brothers

E.g.: Exodus 11:4—8 Increased severity of the final plague focusing readers’ attention on the Passover

E.g.: 1 Samuel 15 Saul’s decline pointing to choice of a replacement

Implication for interpreters: summarize the action of the scenes to show the narrative’s development

Character development. Narratives revolve around characters. Authors use characters to convey their message in a number of ways:

• Characters can say the words or perform actions that unveil the point of the story. Note: God (or the voice of God) is often the central character in biblical narrative

E.g.: Exodus 15:24—26 God’s provision is also a "test"

E.g.: 1 Kings 17:24 The woman’s dramatic realization of who Elijah was

• Characters show the reader what it looks like to live out faithfulness or unfaithfulness to God, thus becoming models to emulate (Hebrews 11)

E.g.: Joshua and Caleb (Num. 13:30; Josh. 24:14,15)

Implication for interpreters: summarize the role characters play in the unfolding of the narrative

Historical, cultural, and linguistic considerations

Like all literature, biblical theological narrative was written to a particular audience within a particular historical—cultural context. Grammatical—Historical method requires an understanding of these factors as it relates to the original meaning of the text.

Implication for interpreters: clarify, define, and describe key terms, institutions, persons, and events as this relates to the main point and to details of the narrative.

• E.g.: Historical period in which the narrative is set

• E.g.: "Redemption" (Exodus 6:6)

• E.g.: "Covenant" (Genesis 15)

• E.g.: Pharaoh and how he was view by the Egyptians

Theological considerations

The main point of the narrative is the core theological consideration

Implication for interpreters: what is the theological significance of the main point?

• How does the main point advance the argument of the book?

• How is the text used in subsequent revelation, or "fill" previous revelation?

• What important additional truths are revealed about God, his plan, and the life of faith?

Applying theological narrative

Biblical narrative relates both to the original audience and to all of God’s people throughout time.

Implications for interpreters:

• What actions, attitudes, or convictions are being called for by the author to his original audience?
  
• How do the attitudes, convictions, or actions being called for to the original audience relevant to us?