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Suffice it to say that one spends several years learning basic skills in reading and interpreting the Hebrew Bible, but then after all the “rules” one learns (whether those passed down from Medieval Masoretes or ancient scholastics schooled in Greek and Latin works), suddenly one enters the strange world of Hebrew “Poetry”.
This strange new world does not follow the “rules” one has just spent years memorizing and practicing. Now an altogether new adventure commences wherein such “rules” simply fail to guide the linguistic adventurer along her path to understanding and appreciation.
So what sort of journey is this and how does one find their way while avoiding the many pitfalls of previous generations of students of the ancient text form? What follows will be a multi-part, multi-layered map (of sorts…or so it is hoped).
To begin with one must come to the realization that Biblical Hebrew knows nothing of “poetry”, but practices the poetic with great fluidity. What is the difference? To begin with, there is no word or words in the Hebrew text which might be translated “poetry”. There are words for song (משכיל or שיר), proverbial sayings and riddles (משל), but none for “poetry” specifically. In fact, “poetry” is a construct one uses to try to categorize what is happening at the level of literary genre. As a construct (and one technically foreign to Hebrew) it creates its own issues.
English poetry is marked by such features as meter, rhythm, and rhyme, but Hebrew is not marked as such. The typical explanations of what makes a certain Hebrew text “poetic” are notions of “meter” and “parallelism” (both of which will be discussed in future posts — other features which bear discussion are “terseness” and “imagery”). But such constructs are difficult to follow through with once one begins to actually examine the Hebrew texts available. There are clearly non-literary texts (narrative, for instance, like Exodus 2:1-7) which have notable meter and parallelisms. There are also texts belonging to corpora clearly intended to be poetic which offer little in the way of meter or clear parallelisms throughout (such as the well-known
Psalm 23). Highly problematic for discerning what is “poetry” and what is “prose” is the writings of the prophets. Their works offer something of a bizarre admixture of all varieties of such categorizations without fitting either very well. There is a fluidity of such strictures that points toward a need to reject formal constraints on what constitutes “poetry” and “prose” in the Hebrew texts.
To close,
James Kugel has fittingly imaged this polarity and its demise:
…the categories of prose and poetry imply too sharp, and total, a polarity: to use only these terms is to describe sections of the skyline as consisting either of ‘building’ or ‘no building.’
Of course, there is a case to be made for the use of the term ‘poetry’ in regard to some parts of the Bible. It has, as noted, an approximate validity, and is sanctioned by a centuries-old tradition. But it is not a perfect fit; and since ancient Israel seems to have gotten along without any corresponding term, it might be better for modern critics to enclose the phrase ‘biblical poetry,’ at least mentally, in quotation marks. (The Idea of Biblical Poetry: Parallelism and Its History [Baltimore: Johns Hopkins University, 1998] p.86)
So this is why I’ve labeled this series “On Hebrew Poetics”. It is to attempt to point toward poetic notions without the strictures of imposing ‘rules’ of ‘poetry’ on a text which resists all attempts to frame such constructs, yet at every turn offers poetic sensibilities.
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Luke Geraty just blogged about “talking smack” in video games, which brought to my mind some of the “Biblical” smack-talk that I have found humorous over the years. Here is a small sampling:
