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Tyndale Open Bible Dictionary

POETRY, Biblical

Poetic language in Scripture.

In the Old Testament

The OT contains all that we know of the poetry of Israel, and what we have occupies an important place in that literature. It was presumably well known throughout the ancient Near East, for its fame had spread even to Babylon (Ps 137:3). Much of the OT is poetic in spirit and structure—a feature of the prophetic writings as well as the poetic literature. In the former are found passages of elevated poetry, studded with brilliant gems of imagery. The movement is rhythmical, with meter, parallelism, and strophic arrangement, as in the poetry books.

The English Revised Version of the Bible (1881) first rendered a great service to English readers by printing OT poetry in parallel lines. Where this is not done in the prophetic literature, the poetic quality of these books is obscured. Note that besides the OT books recognized as poetry—the Psalms, Job, Lamentations, Song of Songs, and Proverbs—Ecclesiastes and the Prophets consist of prose and poetry. The historical books also contain fine examples of poetry.

The Hebrew language was an ideal instrument for expressing poetic speech. Its simplicity of form combined intensity of feeling and pictorial power and allowed great play of imagination. Figures, metaphors, and hyperboles are extremely common. In its powerful imagery the genius of Hebrew poetry comes to its finest expression.

The normal unit of Hebrew verse is the couplet of two parallel lines. But this is not the only grouping of lines in Hebrew poetry. Units of three (Pss 1:1; 5:11; 45:1-2), four (Pss 1:3; 55:21; Prv 27:15-16), five (Ps 6:6-7; Prv 24:23-25), six (Ps 99:1-3; Prv 30:21-23), and even larger combinations of parallel lines occur.

As far as can be determined, meter is absent from biblical poetry. Certainly there is little concern for the careful meter that marks classic Greek and Latin, as well as much of English, poetry. The only exception is found in wailing songs or laments (Jer 9:18-20; Lam 1–4). This is called the lamentation meter, where the verse is in two parts. Rhyme also is so rare as to be almost nonexistent.

On the other hand, Hebrew poetry is rhythmical—one of its distinguishing features. Its rhythm recurs with stressed and unstressed syllables in relatively regular succession. There are usually three or four accents or beats to a line, but the rhythmic unit is not uniform. Rhythm in Hebrew poetry, however, is not confined to the balance of accents or beats in a line. The meaning of the words and their position in the line are also significant—a feature called parallelism. This distinguishing characteristic was first clearly recognized by Dr. Robert Lowth, who in 1753 developed the principle of parallelism.

He distinguished three types. The first is synonymous parallelism, where the thought expressed in the first part of the verse is repeated in the second part, in different but equivalent terms (Pss 2:4; 19:1; 36:1-2; 103:11-12; Prv 3:13-18). The second is antithetic parallelism, where the thought in the first part of the verse is contrasted with its opposite in the second (Ps 1:6; Prv 10:1-4, 16-18; 13:9). The third is synthetic parallelism, where the idea expressed in the first line of a verse is developed and completed in the following lines (Pss 1:1; 3:5-6; 18:8-10; Prv 26:3). There are more complicated forms of parallelism, but these three are the most common.

Another characteristic of biblical poetry is the use of the letters of the Hebrew alphabet. Psalms in which verses are linked together by this means are called acrostic. Today, an acrostic is formed by taking a name and beginning the successive lines of the short poem with the letters that make up the name. The Hebrews took only the alphabet and arranged the lines of the poem according to the succession of the letters.

Each line of a psalm may begin with a different letter, as in Psalm 25. Or each of the stanzas may begin with the same letter until all 22 letters of the alphabet are exhausted, as in Psalm 119. However, this psalm, which is the most conspicuous example of a Hebrew acrostic poem, is quite complicated in its arrangement. Not only does each stanza begin with a letter, but each of the eight lines of every stanza begins with the same letter, so that eight alphabetic arrangements move through the psalm in parallel lines. Other elaborate acrostics are Psalms 9, 10, 34, 37, 111, 112, and 145.

The first four chapters of Lamentations also follow an acrostic arrangement. This example of acrostic arrangement is less noticeable to the English reader because the names of the Hebrew letters do not mark the beginning of the stanzas. In Lamentations 3 each letter of the alphabet begins three successive lines numbered as verses. Another acrostic occurs in Proverbs 31:10-31. It is an alphabetic description of the virtuous woman.

Another poetic device giving unity to a poem and marking its divisions is the refrain. Psalm 136 is an outstanding example of this arrangement. The refrain is “His faithful love endures forever” and is used to conclude every verse.

The meter of Hebraic poetry is dependent on accentuation; the unit is the couplet, in which the members may be of equal or varying length. Couplets are often arranged into strophes. The fundamental category of Hebrew poetry is the song or lyric. The song was accompanied by music (Gn 31:27; Ex 15:20; 1 Chr 25:6; Is 23:16; 30:29; Am 6:5) and could be associated with dance (Ex 15:20-21).

Some complete poems in the OT are embedded in the narrative books and represent various types of Hebrew poems. The first recorded poem in the Bible is a battle song (Gn 4:23-24). Other famous examples of this type are the Song of Moses (Ex 15:1-18) and the Song of Deborah (Jgs 5:1-31). Then there is the Taunt Song (Nm 21:27-30), the Song of the Well (vv 17-18), and songs of blessing. Of this latter type, well-known examples are the Blessing of Jacob (Gn 49:1-27), the Blessing of Moses (Dt 33:2-29), and the four Blessings of Balaam (Nm 23:7-10; 23:18-24; 24:3-9; 24:15-24). There are also laments for the dead (2 Sm 1:19-27) and didactic poems that warn against improvidence (Prv 6:6-11) and drunkenness (23:29-35). Common throughout all of these various types of poems is religious emotion and fervor. The songs of Moses and Deborah praise God as the giver of victory.

Most poems of distinctively religious fervor characterize the worship of the sanctuary. The psalms are religious poems sung with musical accompaniment. Many are private prayers, while others were composed for public worship, especially hymns of thanksgiving sung at the tabernacle or temple. It is in the Psalter that the soaring spirit of Hebrew poetry rises to a level never achieved by Israel’s pagan neighbors; the Hebrews worshiped God in spirit and in truth, and as they did so, they were giving expression to a personal experience of the living God in their soul.

The internal qualities of Hebrew poetry are in part influenced by the age, social conditions, and environment in which the writers lived. Although the OT is of divine authorship, it also comes within the scope of literature and should be appreciated as such. Though the Holy Spirit inspired the message of the Hebrew writers, their individual writing styles remain clearly evident. Using simple and vivid diction, figures of speech, and literary devices, each poet expressed a wealth of religious thought, experience, and emotion; simile, metaphor, allegory, hyperbole, personification, irony, and wordplay all variously enhanced each writer’s pattern of thinking. Hebrew poetry is the expression of the poet’s human spirit, and it is the literature of revelation—the Word of God to humankind.

In the New Testament

The NT has a limited number of poetical passages. Probably the NT contains less poetry than the OT (relatively speaking) because the early Christians found the OT Psalter (in the Hebrew and LXX) adequate for their devotional purposes. All the writers of the NT were Jews, except Luke. He has given us some memorable poems: the Magnificat (Lk 1:46-55), the Benedictus (vv 68-79), and the Nunc Dimittis (2:29-32). Interestingly, these poems are strongly Hebraic in form, character, and content. Matthew has given us the poetic Beatitudes (Mt 5:3-12). These Beatitudes have the parallelism that is common in OT poetry—specifically, synthetic parallelism (where the second line of each verse completes the meaning of the first line). There is also a definite rhythmic quality in Matthew 11:28-30. John’s Prologue to his Gospel of John (1:1-18) is a fine example of Hellenistic poetry.

The NT Epistles contain a number of poetic passages, especially in the doxologies (see, for example, Rom 16:25-27; Jude 1:24-25). Other sections are distinctly poetry and/or early Christian hymns. These include Philippians 2:6-11 (“The Humility of Christ” hymn/ poem); Colossians 1:15-20 (“The Preeminence of Christ” hymn/poem); and 1 Timothy 3:16 (“The Incarnation” hymn/poem). The writer to Hebrews also produced a noteworthy poetic prologue (1:1-3). Other sections of Paul’s writings display poetic language, where rhythm and exalted diction are prominent (see, for example, 1 Cor 13; 15:54-57).

The book of Revelation also contains a number of poems of praise as well as hymns (see Rv 5:9-10, 12-13; 7:12; 11:17-18; 15:3-4).