CHAPTER 1
THE BIBLE AS A LITERARY DOCUMENT
This book is designed to call attention to
and to deconstruct the colonizing elements in Scripture. Mention will be made to the fact that the
Bible, for the most part, was not only written by people who experienced
colonization (usurpation of their land and uprooting), but that these colonized
people, in time, became colonizers themselves.
As part of their colonizing activities, they engaged in what we call
today “ethnic cleansing.” They justified
their colonization and ethnic cleansing by writing that their God, Yahweh,
mandated them to do so. So, they
resorted to theological rationales in order to justify their colonizing
enterprise.
For us to observe the colonizing elements
of Scripture, we must study its history.
This study would include the history of how we obtained the Bible, who
the “key players” were in the writing of Scripture, and how the Scriptures
eventually came to be a document of faith in the Jewish and Christian communities.
This study would entail looking at the
Bible in its literary composition. In
other words, studying the Bible as a literary document would help us to
understand the issues at hand in this book.
It would be intellectually dishonest for one to see the Bible as a
document of faith while at the same time denying, disregarding, and overlooking
the very human elements of its literary composition
and contents.
Having said all the above, I submit that
the Bible as a literary document challenges us to examine the same elements found
in other literature, be it religious or secular. As with any other piece of literature, when
we read the Bible, we must ask the same questions asked when reading any other
document. It is inevitable that we raise
questions about the following:
1. Authorship-
Who wrote the particular books that we read in Scripture? Does it matter? I submit that if the Bible is going to be
considered authoritative and normative in the life of the faith community, that
the authors must have some type of commitment to that community and its beliefs
and practices. Otherwise, I believe, we
would have to assume that the authors of Scripture had an ulterior motive in
writing, i.e. to discredit and defame the faith, and undermine the mission of
the community. There is nothing in the
content of Scripture that suggests that the writers had any such sinister
motives in writing.
We would also have to ask if the authors
named in the books were the actual authors, or were the books attributed to
certain authors in order to give them more credibility and weight. For example, were the first five books of the
Bible (the Pentateuch) written by Moses or were they written just before,
during, or after the Babylonian Captivity and attributed to Moses in order to
give these documents legitimacy and authoritative status?
A related question would be whether we
subscribe to the Documentary Hypothesis, i.e. the theory that there are
multiple authors of the Pentateuch, or not, each one representing different
political and theological interests.
Some of us would be more inclined to believe that there was one author
who wrote the first five books of the Bible, while others, based on the
contents of the Pentateuch, believe that there were multiple authors. The same goes for the book of Isaiah, in that
some authors believe that there was one person named Isaiah who wrote the
entire book and covering not only the events taking place in his time, but also
what would happen in the future. On the
other hand, there are other biblical scholars, who, on the basis of both
content and style, believe in a “Deutero-Isaiah,” who unlike the first one,
only covered events of the period of the Babylonian Captivity.
2. Date of Writing- Since the Bible
is not an ahistorical book, we must examine its publications and writings in
the context of history. In other words, we
must ask at what point in history were the books of the Bible written. The date of writing will reveal the relevance
or non-relevance of what the authors say.
We would have to examine whether the writings were contemporaneous with
the events and issues that the authors speak about or whether the writings came
about much later in history. For example,
we would ask if the Gospel accounts were written during or shortly after Jesus’s
earthly ministry, or were they written much later, therefore, requiring the
writers to resort to different sources of information in order to compose their
writings?
3. Motive-
The reading of any book or other literary document calls for us to examine the
motives and intention of the writers. No
one writes in a vacuum. There are always
reasons behind the writings. Every
writer has a specific reason or intention for composing her/his writing. So, we may ask for example “What was Paul’s
reason for writing his Corinthian correspondence?” Was he in a bad mood? Were there things in the Corinthian church
that were annoying and bothering him?
Did he have a personal grudge with someone there or perhaps a score to
settle? Did the Psalm writer just want
to vent and therefore wrote a prayer asking God to avenge his personal
enemies? Did the writer or writers of
the books of Chronicles and Kings write as one prison resident said to me “to
earn royalties?”
4. Audience-
Writers of all types (book writers, newspaper journalists, poets, etc.) always
have someone in mind that they believe should be the recipients of their
writings. In other words, all writings
are addressed with a particular audience in mind. When we take a literary
approach to the Bible, one of the questions asked is that of intended
audience. So, for example, we have four
Gospel accounts in the New Testament and apparently each Gospel writer is
addressing her/his account to a particular group of people. When I was a
Visiting Scholar/Professor of Theology at the Tainan Theological
College/Seminary in Taiwan, I wrote a book “The Sovereignty of Taiwan” A
Theological Perspective.” After the book
was written and published, I had a discussion with the Academic Dean about the
book. Thinking that the book would be
read by the general public in Taiwan, I asked him “Who do you think would be
the readers of this book?” Hoping that he would confirm my hopes, he answered
“The academic community, i.e. in this case, the faculty, students, and other engaged
scholars.” While I was happy that the
“community of scholars” would be among my readers, I was somewhat disappointed
that he didn’t think that my audience would be a much wider one. We ask the same type of questions about the
audience of the biblical writers. How large
was their audience? What type of people
were in this audience? Would the
audience be receptive to their message?
Was the select audience an exclusive audience, or did the writers think
that whatever they said to one audience would be universally applicable in all
times and in all places? Did the
author/authors of the epistles and letters believe that what they said to one
person or particular church would be normative for the church universal?
5. Sources of information- As a
student in graduate school, I learned the importance in identifying and quoting
my sources of information. While this was also emphasized in my undergraduate
studies, it was not done with the same degree of vehemence. Relative to the biblical writers, we must
inquire about their sources of information.
In other words, we must ask for example, “Where did the writer of Mark’s
Gospel account get her/his information from in order to compose that Gospel
account?” Did the writer of the
Pentateuch get her/ his information about the Creation and the Flood from a
previously written document such as the Babylonian accounts of Creation and the
Flood, i.e. the Enuma Elish and the Epic of Gilgamesh? Did Ezra and Nehemiah “copy-cat” off
each other, or did they write separately? In our time, whenever we want to know about
or focus on our world events, we make choices about which sources we resort to
in order to form an opinion, whether about economic, political, or social
issues. As writers do not write in a vacuum, we, as thinkers, do not think or
operate in a vacuum. We all base ourselves, to one degree or another, on what
someone else has said.
6. Literary
Style- Whenever we read any document, one of the first questions we often raise
is “What type of literature is this?” Is
it actual and literal history? Is it folklore,
legend or myth? Is it allegory? Is it comedy?
Is it tragedy? The Bible, as a
literary document, does not escape these same types of questions. All the literary forms that we find in books,
articles, essays, and other types of literature, are found in the Bible.
In our current time, in order to form an
opinion and make an evaluation of local, national, and world events, we resort
to reading the different literary forms of journalism. Some of us resort to reading sources which
are super-hyper sensationalist in nature, while others are more inclined to
resort to more intellectually and scholarly-oriented sources of journalism.
It is the same thing in biblical
literature. Some of us are inclined to
read books such as the Psalms which are more devotional in nature, while others
are inclined to read the letters of Paul such as Romans, which establish the
foundation for a well thought-out biblical and systematic theology.
Again, I repeat, that biblical literature
is not exempt from the forms that we find in other literary documents. Subsequently, we need to ask the same kinds
of questions that we ask about any other type of literature.
7. Questions
of Redaction- In our time, whenever we read any type of document, one of
the questions that we raise is whether the particular document has been edited
and revised or not. Biblical scholars
raise the same type of question about the Scriptures. It is, indeed, much more convenient to
believe that whatever we are reading in Scripture was done in one sitting by
the authors. In other words, it is very
convenient and to a certain extent, expedient for us to believe that there was
no editing, or redaction involved in the writing of Scripture.
I think that it should be obvious by now
to the reader, that this writer (yours truly) subscribes to the above approaches
of reading, talking about, and writing about the Bible. These approaches constitute what is called
the “historical-critical” approach to Scripture. It is in my opinion, both irresponsible and
reckless to avoid this method of Bible reading and study. The denial and lack of recognition to the
historical-critical approach results in sloppy engagement with Scripture.
Subsequently, we do injustice to the
Scriptures, their authors, and to the biblical message. My intention in describing the importance of
utilizing the historical-critical approach to the Bible has been to affirm its
message based on a responsible approach that entails clear, analytical and
critical thinking.
NOTE:
The above-posed questions are related to
the approach to the Bible known as the “historical-critical” method of biblical
studies. This approach emerged in the
eighteenth, nineteenth, and twentieth centuries, with a special focus on the
so-called “Documentary Hypothesis” of the Hextateuch (first six books of the
Old Testament).
THE
BIBLE AS LITERATURE
To
discuss the Bible as literature, with chief attention to stylistic effects
generated by word choice and order, therefore, would require limiting ourselves
either to the original languages or to a particular translation. If that were the case, the choice would be
the easy one of choosing a particular translation such as the King James
Version because it is universally conceded to be the finest writing in the
English language (Calvin Clinton in “The Bible as Literature.” The Expositor’s Bible Commentary. Grand Rapids: Zondervan Publishing House,
1979, p.129).
There
are, however, elements of literary excellence that do not depend on
peculiarities inherent in any particular language. They include formal elements such as prose
and poetry, narrative, drama, allegory, and biography; and such stylistic
elements as parallelism, imagery, symbolism and the like. It is with such
literary elements that we deal (Ibid.).
In
further clarification of purpose, several questions may be asked. Is it our intent to judge or “criticize” the
book? The last question is not so
fanciful as it may seem (Ibid.)
The
purpose, however, is neither to judge the value of Scripture nor to assess
God’s literary style. Nor does this
disavowal evade the issue. Utilizing the literary approach to Scripture, we
examine some of the major dimensions of literary quality as derived from and
normally applied to other works of literature, to see how they are manifested
in the Bible (Ibid.)
THE
NATURE AND PURPOSE OF LITERATURE
Great
literature is that kind of writing which, in addition to whatever other
purposes may serve, is characterized by aesthetic and artistic qualities. It differs, for example, from expository
prose, not in that it does not communicate, but in that it communicates in a way
rendered more moving and memorable than writing designed merely to transfer an
idea from one mind to another with a minimum of loss. It is writing, whether it
be chiefly aimed at informing, exhorting, narrating, dramatizing, or whatever,
is additionally concerned with aesthetic quality. It is peculiarly fitting, therefore, that so
much of the Bible should be beautiful as well as true, i.e. reminding us that
God created humankind with the wonderful and mysterious capability of
responding with delight to beautify of many kinds (Ibid.).
Literary
quality is not merely decoration.
Because humankind is deeply moved by beauty, literature informs and
teaches more effectively than does unadorned verbal communication. Nor need the term adornment suggest anything
elaborate or calculatedly artificial (Ibid.).
SOME
BASIC ELEMENTS OF LITERARY FORM
Literary
beauty, like all beauty, results from the harmonious blending of many elements
and the complexity begins at the simplest level, that of the words
themselves. For almost every object, the
biblical languages-Hebrew and Greek (and in a few Old Testament passages ,
Aramaic)-present us with multiple choices.
For example, whether one writes “girl,” “maiden,” or “young woman,”
depends on the connotation that one wishes to convey. Some words, indeed, come so richly robed in an
aura of feeling that the connotative dress may say more than the denotative
“thing” within. The Bible is rich and
subtle in its use of precisely the right word, ranging from the multiple
implications of a common word like “shepherd” to the rich suggestiveness of
such words as lamb, candlestick, and vine (Ibid.)
From
at least the time of the Greeks, it has been recognized -i.e. discovered, not
decided-that there are certain essential characteristics of all great
literature. Terminology relating to
these characteristics, and even in some cases their identity, varies harmony,
and radiance. By the first is required
singleness (not simplicity) of purpose; by the second, internal congruence,
absence of contradictoriness; and by the third, the effusion of light,
figuratively taken to be the revelation of the beauty that shines from truth
(Ibid.).
When
the Hebrew tribes broke into Palestine in the long series of incursions and
infiltrations that reached flood tide sometime during the fourteenth or
thirteenth century B.C.E., they projected themselves into a course of culture
that was already very old. Of their own
level of civilization little is known.
At times, they have been regarded as unspoiled nomads directly out of
the Arabian Desert, and consequently possessed of a culture not far above the
barbaric. They have been associated with
the widely diffused Habiru peoples who then lived or had lived in varying
status in several of the civilized lands of the ancient Near East. Probably the safest guess is a theory that
provides room for a combination of these views.
Nonetheless, the conquest of Palestine was epochal for their culture, as
it was to prove also, in the long perspective of the centuries for civilization
as a whole. The little land to which
they made claim lay right athwart the great highroads of the ancient
world. Up and down its valleys and along
its strip of coastal plain went the commerce as well as the pomp and
circumstance of the empires of the time, rich argosies of products from the
looms and shops of Egypt and Babylonia that bore also undeclared imports of
spiritual treasures from the civilization of “the gorgeous East (William A.
Irwin, in “The Literature of the Old Testament”( The Interpreter’s Bible. New York: Abingdon Press, 1952, p. 175).”
Ancient
Near Eastern Culture
The
great story of the achievements of the older Orient is not in the theme of this
book. We restrain comment on the
incredibly superb metalworking of Sumer, and the temples of Egypt and of
Babylonia, different as they were in their architectural genius, yet alike in
their housing of a ritual and liturgy that grew ornate and magnificent with the
lengthening centuries. The palaces, the
pyramids, the splendor of well-planned royal cities, the wealth and ease and
the refinement that leisure can encourage-and much more may be recalled only as
colorful and pregnant background possessed of immense relevance for the
quasi-barbarian invaders of Palestine’s narrow strip of fertility between the
desert and the sea. It is more acute
loss, however, that we may only allude to the slow dawning of a science that in
some departments presently became empirical, and to the speculative thought of
these lands that age after age wrestled with the persistent problem, in course
of time to become Israel’s obsession also-What is humankind? What is humankind’s place in a world of
wonder and unfathomed mystery (Ibid.)?
It was
a very old and ripe culture into which the Hebrews came. More significantly still, it was a literate
civilization. All literatures have their
beginnings in oral traditions of one sort or another; and this unwritten
heritage was of peculiar significance to the Orient. Note must soon be taken of its function in
Israel. But by the time of the Hebrew
conquest, the great lands of the Near East had long since passed beyond the
stage of development. Business,
government, law, ritual, and the outreach of thought had all invoked the art of
the scribe for so many centuries that it had become normal. As the modern world has its classics, so then
likewise, famous old poems and myths circulated afar, and won a renown which
justly has revived in our own day. In
the history of human culture documents of a very high relevance (Ibid.)
THE
PRE-ISRAELITE CULTURE OF PALESTINE
The
immediate context of the emerging Hebrew nationality was also notable. The Canaanites have received less than their
due. Religious practices, which rightly shocked
Israel’s austere morality, have through the medium of Old Testament
condemnation provoked contempt and disregard for the pre-Israelite culture of
Palestine, but accumulating facts compel more generous appraisal. The Canaanites were a people of unusual
ability. Through more than a thousand
years, they had built up in Palestine a great civilization. The wealth and refinement of their cities
astonished Egyptian conquerors. Their
inventive genius originated three novel systems of writing; two of these were
alphabetic, and one of these was one destined to supplant the venerable systems
of Egypt and Babylonia, and to become in
its lineal descendants the medium of written record and communication for the
entire Western culture even to this day. These alphabetic characters were
ready, waiting when the Israelites arrived, tempting alert spirits to invoke
them for expression and for annals. But
stimulus and example were at hand. It
has longed been recognized that a considerable portion of the Old Testament
legal system, notably the social legislation in Exodus 21-23, was originally
Canaanite, but received Israel’s characteristic stamp. The Canaanites shared also, it would appear,
in the intellectual activity of the Orient known as “wisdom.” Yes, most astonishing is the group of
documents uncovered at Ras Shamra on the northern coast of Syria in 1929 and
subsequent years. They turned out in
decipherment to consist largely of ancient religious poems, epics, and myths
intimately related to the cultus-nothing less in fact than a portion of the
long-lost literature of the ancient Canaanites! That the documents date from
the period when the Hebrews were in the early stages of their thrust into
Palestine is but incidental; the significant fact is that they give us an all
too tantalizing glimpse of the intellectual and religious culture that were to
be Israel’s pervasive atmosphere for centuries.
Their actual influence is attested in the notable series of parallels,
allusions, and even near quotations readily being recognized in the Old
Testament down to its later portions (Ibid., p. 176).
The
Hebrews, then, had august guides, and the stimulus of a great and ancient
culture so all-comprehending as to constitute their native air, when presently
they set out themselves to create a literature that was to prove itself one of
the greatest achievements of the human spirit.
Yet it would be an error to limit our perspective to non-Hebraic facts
and forces. Basic to all was the inherent genius of the Hebrews themselves,
although it is highly dubious that as yet any of them or of their
contemporaries could have suspected the possibilities that lay in germ in these
uncouth shepherds and desert wanderers whose immediate purpose was to
dispossess the Canaanites, the legal owners of the land. The reality of national traits cannot be denied,
even though their origin lies hidden in the mystery of human biology; and
Israel’s incomparable contribution to human culture will not be comprehended if
it is not recognized that they were a people of remarkable endowments (Ibid.).
EARLIEST
FRAGMENTS OF HEBREW LITERATURE
It
is more directly to the point, however, to speak of the Hebrew literary
heritage so old as apparently to antedate the settlement in Palestine. Poetic scraps, such as the Song of the Well,
the taunt against Heshbon, and the vivid bit of description of the boundaries
of Moab, preserved in Numbers 21, are placed by the narrator in the time of the
Wandering, a date there is no good reason for disputing. How long before the Conquest the Song of
Lamech (Genesis 4:23-24) and the Curse of Canaan (Genesis 9:24-27) may have
originated no one can say. But it is
freely admitted that some nucleus of the Song of Moses (or Miriam?) in Exodus
15 was actually composed of the triumphant celebration it materializes. Balaam’s oracles (Numbers 23-24) are other
extended poetic traditions which can with reasonable confidence be assigned in
greater or lesser bulk to the period with which the record associates them.
The
earliest Hebrews also accumulated a body of traditions about the great figures
and events of their history. To these we
are indebted in some undetermined measure for our stories about the
patriarchs. The superb character of
these narratives is, consciously, or otherwise, recognized by all; but the
critical study of them is yet far from finality; indeed, much further than was
once supposed. Even among prominent
scholars, opinions differ widely, as reflected in a relative conservatism (H.
H. Rowley, From Josephus to Joshua. London:
Oxford University Press, 1950).
There
is also a belief that the stories have grown up in a way typical of most early
traditions: a small nucleus of historic events-which cannot now be precisely
determined-overlaid with legendary embellishments (Aage Bentzen, Introduction
to the Old Testament. Copenhagen: G. E. C. Gad, 1948).
However,
this may be, the account of Abraham’s successful pursuit of the four marauding
kings who had carried off his nephew Lot (Genesis 14) has archaic features that
indicate dependence on an actual historical source. The whole body of these narratives has indeed
received in recent years small, quite indefinite, but significant corroborative
support from various aspects of our growing knowledge of the ancient East. We can no longer doubt their factual basis,
but he/she would be a bold spirit who would undertake to delineate that
basis. Much the same is to be said about
the stories of Jacob; they fit at numerous points what we know from other
sources. Yet we wrong this whole body of
literature when we appraise it primarily or exclusively as history, for it was
composed for a variety of purposes, most of them quite apart from systematic
record of the past. Nonetheless it is
apparent that the origins of these stories carry us far back in Israel’s
career, so that the traditions provided a significant portion of the nation’s
cultural heritage when at length the Hebrew tribes emerged into actual history.
It is highly improbable that any of these various elements had been committed
to writing before the Conquest; they existed rather as an oral literature, more
accurately, as folk traditions. The art
of writing was already very ancient and was widely diffused; it had been
practiced in Palestine. But such meager
knowledge as we possess relevant to the point does not encourage the assumption
that literacy was general at this time in Israel (Irwin, op. cit., p. 177).
Style
of Old Testament Literature
A
literature so diverse as that of the Old Testament may well baffle rational
appraisal and in addition to its diversity of type and theme, it possessed also
a wide range of merit. Nevertheless, the
important matter is to realize its prevailing existence. For those who possess historic perspective,
it stands out easily as the greatest literature of the ancient East. The writers of Egypt and of Mesopotamia,
notwithstanding their indisputable importance in the history of culture, yet at
their best only imperfectly approached the level where Israel’s literary
persons moved easily as masters. Nor is
this all. The Old Testament has continued
to this day a high treasure of our cultural heritage by reason of its
historical significance, it is true, but primarily through its literary beauty
and power (Ibid.).
After
all that has transpired in more than two thousand years, we must yet appoint a
place with the mighty for these unknown persons of the rugged hills of Judah
and the narrow vales of Israel. They
lived in conditions of stark simplicity; but herein they set themselves a
symbol of their own meaning: human life consists not in things, but “out of the
abundance of the heart, the mouth speaks (Ibid.).
The
curse of not a few contemporary writers is that with notable mastery of their
art they have nothing to say. To their
qualities of great expression, the Hebrews added robust and profound
thought. Their theme was one, whatever
their immediate topic; and it is the greatest theme that can engage human
thought. In some way, the mystery of
human life had been impressed upon them.
What is humankind? Humankind, in
their deepest being, humankind over against and in relation to that supreme
mystery of Being from which all things and all beings proceed? Here lay their interest, their
obsession. Age after age, in varying
mood, form and emphasis, the Hebrew writers discussed directly or through
implication this and this only. Some
lost the greatness in a petty selfishness; some were content to mouth ancient
sentiments, and at best to stand on the gains of former ages. But, overall, they were thinkers of the
highest order (Ibid.).
THE
LANGUAGE AND STYLES OF THE NEW TESTAMENT
The
New Testament is a monument of the Greek language as it was spoken in the first
century C.E., not of the artificial and sophisticated style. Its heritage includes classical Greek, the
Old Testament in Hebrew and in Greek translation, and the speech of the common
people. The New Testament, moreover,
originated new classes of literature, which are not “literature” in any actual
formal sense. The Gospels, for example,
were a new type of work, they are not biography, for they do not give personal
descriptions nor an analysis of the principal characters, nor a full-life story
of Jesus. Neither the Gospel accounts
nor Acts are primarily “history.” Paul’s
Epistles, while more than mere personal letters, are not literary oratory. The motivation throughout the New Testament
was not to produce literature or promote its authors, but to proclaim the
message of salvation through faith in Christ (J. Harold Greenlee in “The
Language of the New Testament.” The
Expositor’s Bible Commentary, Frank E. Gaebelein and J.D. Douglas, eds. Grand Rapids: Zondervan Publishing House,
1979, p. 414).
There
are, of course, several levels of language and styles in the books of the New
Testament. At one extreme, the Epistle
to the Hebrews with careful progression of argument and arrangement of words,
is a model of the “koine (common Greek)” in good written, as opposed to spoken
form. Luke and Acts, too, reveal Luke’s
knowledge of literary Greek. Luke can
vary his style, making it more colloquial, more Jewish, or more elegant. (Ibid.,
p. 415).
Certain
scholars have had a “field day” pointing out instances that they maintain show
that John’s Gospel account is filled with Semitic expressions and with Greek
‘mistranslations’ of an underlying Aramaic original. Yet one of the most remarkable features of
these investigations is the almost total disagreement of such scholars with one
another concerning the specific examples of these “Semitisms,” John’s style, rather, is the style of a
person of some education, using a conversational form (Ibid.).
The
grammar of Revelation is so inferior that many scholars have questions about
its authorship. Revelation has been said
to be the work of a Semitic-speaking person who was just learning Greek, as
evidenced by its poor Grammar. It is
true that Revelation is full of ideas and imagery of the Old Testament. Yet its grammatical “blunders” are not
Semitic idioms translated into Greek; they have parallels in colloquial Greek
papyrus texts, many of which are grammatically inferior to Revelation (Ibid.).
The
Gospel account of Mark is considered the primary document from which the other
Gospel writers may have derived their information for composing their
accounts. It has a simple and vivid
style. The author uses the word
“immediately” about forty times (Ibid.).
The
style of Paul stands in contrast, in various ways, to those of John, Mark,
Hebrews, and Revelation. Paul is
thoroughly steeped in the Old Testament, but he speaks the Greek of an educated
man. In contrast with Hebrews, Paul’s
style exhibits the irregularities and broken constructions to be expected in
letters that were more personal, than formal presentations that were often
written in response to other letters, dictated without later revision, and
sometimes written out of deep feelings.
More than once Paul begins an argument, digresses to a different matter,
and either never returns to his original point or returns by a different
grammatical route (Ibid.).
Paul’s
Greek vocabulary, moreover, is permeated by the Old Testament and by Christian
concepts. Though this is evident in all
the New Testament books, it is probably more extensive in Paul’s writings
(Ibid.).
The
style of the Greek New Testament has implications for translations into other
languages. If the original was written
in the language of common speech, then a translation into English or any other
language should likewise be in the language of common speech. Part of the
genius of the Greek New Testament is that it was not written in the archaic and
artificial style that many secular writers and even later Christian writers,
affected (Ibid., p. 416).
Summary
As
mentioned at the beginning of this chapter, the Bible must be recognized as a
document of literature. The questions
that we pose about other literary documents can, and in fact, must be asked
about the Bible. We cannot avoid or dodge
the questions simply because it is a document of faith considered to be “The
Word of God.” For us to be responsible
with the biblical message, we must maintain the highest degree of intellectual
and literary honesty.