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Literary devices of the parables of Jesus
The parables of Jesus contain « narrative metaphors’1 says Hawkins (1983:226). These parables says Hawkins (1983:227) use « secrecy » as literary device, in that the story does not tell us what to do with it. The secret element is the inherent need to add our own interpretation to it. This also applies to Old Testament parables. A case in point is an Old Testament parable (Numbers 23: 24) concerning the Moabites and Israelites inclusive of the secretive element. « Behold the people shall rise up as a great lion: he shall not lie down until he eat of the prey and drink the blood of the slain » (System Bible Study 1922:360).
We are not given the interpretation, but have to find it for ourselves. The narrative brings us to the narrative moment and then leaves us on our own, maintains Brits (1999:91). The reason people did not understand the parables were for Groenewald (1975: 16), Hawkins (1983:227), and Brits (1999:91) the same, that the people’s « inner disposition » was such that they could not understand.
Another reason for the mystery surrounding the parables of Jesus according to Brits (1999:92) is that they have to be understood as metaphors, in order to unlock their meaning. This secretiveness of the par138 able as metaphor says van der Merwe (1984:84) actually prompts the listener to unlock the mystery. Vos (1996: vol.2:85) makes it clear that although the parables of Jesus had their origin in their own world they nevertheless originated in the real world as well. Therefore these
parables create a relation between the narrative world and the real world. Another factor that needs emphasis is the role and authority of Jesus in his parables. Vos (1996: vol.2:84) sees Jesus as commentator.
The authority of Jesus is shown by Vos (1996: vol.2:86) and applied as to « what » it means and refers to, as wefl as the « way » to its field and devices of reference. The parables invite the hearer to not only participate and identify but also to change his/her opinion and to accept the values of the Kingdom of God. Thus one may say the literary device in this instance is argument (Vos 1996: vol.2: 160).
Another device these parables use is persuasion. Vos (1996: vol.2: 160) sees persuasion within a rhetorical frame such as the character of the speaker, audience and their shared values and assumptions. This approach of persuasion is regarded as an advanced form of argument, which by itself is not a device strong enough to move people to change. Not all of the parables of Jesus use « exhaustive theology » as literary device (Long 1989:88). There are many parables that emphasise
a « single truth » as found in the parable form of « code ». This single « truth » plus the minimal narrative elements from what seems to be the « texture of the parable », a texture not of the making of the reader and his interpretation, but of the parable itself, makes it a « code » parable. Long (1989: 173) gives us his slant on the parables of Jesus and shows how they act as metaphors, using human experience as metaphors. For the sake of « imagination and multiple meanings » these parables sacrifice precise and clear description, but present the reader with a « sfice of life », placing experience and concept side by side and expecting the hearer to make the « imaginative connections ».
Within his parables Jesus used analogy as device very richly (Lewis 1983:69). He spoke of « light and salt11 , « shepherd and sheep » (49 times). He used common experience and « familiar concrete terms to convey abstract concepts », as with a lily to demonstrate trust. Lewis (1983:115) maintains that for Jesus « process and content » are important.
He « involves people, and He informs people », and He uses parables amongst other genres to do so. His parables arouse interest, involvement and convey truth. Long (1989: 105) sees the following model for the parable, « advent (event) – reversal – action ». This means that at the « advent of a new
event’1 someone « finds something », and then he reverses the past. The prodigal son « came to himself » and he returns, so he finds « a new world of action ». This is the call of the parable, « not to explain anything, but to evoke the world of kingdom », the « advent – reversal – action », provoked
by the text.
The rhetorical impact of the parables of Jesus
The question above is what Long (1989:102) is concerned with namely: what is the rhetorical impact of the parable? and Vos (1996: vol.2: 193) wants to answer that question. The parable creates an alternative world in the hearers’ imagination, and challenges the hearer to make a decision regarding it. Vos (1996: vol.2:236) maintains further that the metaphorical power of parable is the power of its imagery.
This power of the image and symbol will impact not only on the mind, but also the heart in that· it will build and maintain the relation between God and others by its power to symbolise. Symbolic language is language that employs metaphors (Vos 1996: vol.2:59). Parables are thus seen as examples of the metaphorical power of the language of faith as faith operates in the world of symbolism. This, to Long, is the invitation into the « inner circle » when understanding dawns, as it is stated in Matthew 13: 11 « It has been given to you to know the secrets of the kingdom of heaven » (Long 1989: 104).
The point that the parables of Jesus want to make (Vos 1996: vol .1: 88) in taking so many of their figures of speech out of nature for example, is that when you resist the point of the parable, you resist not only the viewpoint of the narrative and parable, but also that of God who maintains nature as its creator. Hearers are called by Jesus to accept the rule of God. As He rules over nature so He wants to rule over us. Through His parables, says Vos (1996: vot.1:91), Jesus wants us to exchange old values for new.
CHAPTER 1. INTRODUCTION PROBLEM STATEMENT AND HYPOTHESIS
1 The need for this study lies in weak recall of sermons and gaps in people’s memory
1.1 Crisis between pulpit and pew
1.2 Crisis between eye and ear
1.3 The hypotheses are that imagery is a key to clearer understanding and that biblical imagery stimulates imagination and better recall of sermon
1.4 Elements of the visual and figures of speech
2. The narrative as model
2.1 Inductive and deductive principles at work in the narrative
2.2 Narrative as « experience »
2.2.1 Communication strategies of the narrative
2.3 Visual elements in the narrative plot
3 The dialogical as goal of narrative and dialogical tension between communicator and recipient
3.1 Intentional dialogue reflecting on technique and goals of the dialogical model
4. The objectives of this investigation
4.1 Finding workable filters and embedded images in the narrative
5.1 Moses under the narrative searchlight focusing on imagery and metaphor 27
5.2 Narrative pulpit preaching models
6. Conclusions
CHAPTER 2 INDUCTIVE AND DIALOGICAL PRINCIPLES IN THE NARRATIVE
1. Concreteness as point of departure for abstract thinking
2. The principles of discovery in the levels of higher learning
3. The inductive flows from complexity to clarity in an ongoing interpretation in the existentialist dilemma
3.1 Dangers of utilitarianism representing inductive doubt as constant companion
4. Dialogical and social circumstance
5. The narrative and real life
5.1 The narrative model is a vehicle for human experience
5.2 The becoming Christian involved in a dialogical meeting with the inductive movement in the text
6. Imagery (figurative speech) as dialogical tool
6.1 The shaping power of images and redundancy of imagery
6.1.1 How images function
6.1.1.1 Imagery functioning in the psychological field
6.2 Levels of meaning
6.3 Informational levels and imagery and inter-subjective validity of symbols in the cultural model
6.4 Social circumstances and communication levels
6.5 Understanding as dimension of communication
6.6 The human story through biblical lenses of narrative and image
7. Conclusion
CHAPTER 3 SEMANTIC, CHARACTER AND PLOT STRUCTURES OF THE NARRATIVE
PART1 Semantic styles and approaches to the text in exegesis
1.1 The manner and the matter of production of meaning
1.2 Interactive axes for the narratives of the Bible
1.2.1 Forces in play upon the narrative
1.2.2 Integrating power of the narrative in the shaping of history
1.2.3 The shape of history as movement and event in time
1.2.3.1 Factors that shape the narrative
1.2.4 The narrative emulates history
1.3 Theological view of reality in the narrative
1.3.1 Narrative congruence with history
1.3.2 Rhetorical analysis discloses the force of persuasion
1.3.3 The narrative is imagery in itself
1.4 Creative environment for the narrative
PART2 Plot Structure in the narrative
2.1 Global structures of the discourse and categories of superstructure
2.2 Communication event and existential happenings
2.3 Macro structures in exegesis of the narrative text
2.3.1 Plot as a series of events
2.3.2 Plot as sequence of episodes and movement
2.3.2.1 Plot as blocks of material
2.3.2.2 Plot as manuscript
2.3.3 Essential components for narrative
2.3.4 Cyclical exploration
2.3.5 Cyclical exploration for multiple biographies
2.3.6 Cyclical exploration of multiple stories
2.3.7 Elaboration model for biographical stories
2.3.8 Bi-Polar concept as plot structure
2.4 Putting the narrative together by telling and listening
2.4.1 Telling
2.4.2 Listening
2.4.3 Narrative Types
2.4.4 Composing and placing the narrative
2.4.5 Crossing the induction – deduction bridge
2.4.6 The linear outline model
2.4.6.1 Correcting the deductive preaching process
PART3 Character development in the narrative
3.1 Shaping of identities through characters
3.2 Depiction of character
3.2.1 Points of view heighten suspense
3.2.1.1 Narrator’s point of view
3.2.1.2 Character’s point of view
4. Conclusion
CHAPTER 4 HERMENEUTIC FOR METAPHOR, PARABLE AND PREACHING
1.1 Metaphor and mystery
1.2 Metaphor, experience and imagination
1.2.1 Language and imagination
1.2.2 Sensitivity and suspicion regarding image and imagination
1.2.3 Filling the gaps and setting words in silence
1.3 Phases of preaching in metaphors and images
1.4 Dimensions of metaphor
1.5 Defining group identity through key metaphors
1.6 Context and metaphor
1. 7 The re-contextualisation of and by the present listener
1. 7 .1 Text interpretation an existentialist happening
1. 7 .2 God talk and verbal realism
1.8 Meta-communication and linguistic accessibility
PART 2 Parable and metaphor
2.1 What is a parable?
2.1.1 Models for parables
2.1.1.1 Models of parable strategies
2.1.1.2 The non-narrative text and parables
2.1.1.3 The function of parable as imagery in the sermon
2.2 Parable as metaphor
2.2.1 Rhetorical function of parable as metaphor
2.2.1.1 Literary devices of the parable employed as metaphor
2.2.1.2 Literary devices of the parables of Jesus
2.2.1.3 The rhetorical impact of the parables of Jesus
Part 3 Hermeneutic for parable and metaphor in transformation
3.1 The context of transformation
3.1.1 Modernism as framework for transformation
3.1.1.1 Secularisation
3.2 A practical hermeneutic for preaching in our times
3.2.1 Communicative action as transformational hermeneutical Principle
3.2.2 A hermeneutic of homiletical possibilities
3.2.3 Hermeneutical questions to be answered
3.2.3.1 Exegesis as dialogue with the text in context
3.2.4 The hermeneutic of transformational metaphor
3.3 Parable and metaphor applied transformationally
3.3.1 New metaphors in the social reality of specific cultures
3.4 Transformational and prophetic preaching with new metaphors
3.4.1 Critical creative hermeneutic for transformation preaching
3.4.1.1 Prophetic motivations as transformational way forward
3.4.1.2 Prophetic preaching as transformation necessity
3.5 Pentecostalism as a hermeneutic for the poor
4. Conclusion.
CHAPTER 5 THE THEORY IN REVIEW
PART 1 Theoretical evaluatio
1. Imagery in narrative preaching
1.1 Another look at the problem
1.2 The Hypotheses scrutinised
1.2.1. Inductive accents and the hypotheses
1.2.2 The narrative
1.2.3. Metaphor
1.2.4 Parable
1.2.5 Transformational preaching as preaching in a new key
1.2.6 Dialogical accents in preaching
PART 2 New theoretical hypothesis
2.1 Midrash in Old Testament and Rabbinic use
2.2 Midrash in the early New Testament (Apostolic) era
2.3 Midrash as a model for our own times
PART 3 The new Midrash as theoretical proposition
3.1 Historical roots
3.2 Hermeneutical specifics
3.3 Theoretical propositions for a present day homiletical approach
3.3.1 Extrapolation of Midrash hermeneutical patterns for today as a tentative way forward
Purpose of this investigation
THE FUNCTIONS OF IMAGERY IN NARRATIVE PREACHING
