Longman, Dillarrd, A quick introduction to the Old Testament

Tim Stephenson

- 5 minutes read - 1065 words

Quick introduction to the Old Testament

  • Authors: Tremper Longman III, Raymond B. Dillard

  • Publisher: Zondervan Academic

  • Year: 2012

  • ISBN: 9780310496434

Note
This book is itself a short summary of the authors' longer work: 'An Introduction to the Old Testament'.

Contrasts 'classic German criticism' of Eissfeldt and 'historical analysis' of Rendtorff with 'canonical function' of B.S.Childs and more particularly 'determined …​ conservative' works of Young, Archer, Harrison and LaSor-Hubbard-Bush with their focus on apologetics. More simply historical-critical and evangelical have been opposing camps argues that there is room for respect and even cross-fertilisation Treating the text 'as the church has received it' (synchronic?) is key to the evangelical perspective according to Longman. Similarities with Childs who, without disowning historical-critical effectively takes a compatible view with diachronic thoughts present but isolated. General (whole testament themes) and Special introduction (individual books) Acknowledges importance of questions of authorship and date but emphasises context as part of OT and Bible as a whole, calling out genre, shape and style specifically. Proposes to treat historical, literary and theological topics separately but insists that they are integrated in the text.

Historical background

The books of the bible written for language and culture of ancient middle east. Timeless not in the specifics but in the revelation of God if offers to every generation. History is the interpretation of the historian from his or her perspective even when it intends to record actual events. So not a video recording. Biblical history variously referred to as: 'theological history', 'prophetic history' and 'covenantal history'. The last appeals most to Longman because covenant is the key metaphor of 'divine-human relationship'. Not however acceptable to call it historical fiction: history may have a creative aspect but it is still constrained to the understanding of the author of what happened. Howard asks directly: 'If Jericho is not razed, is our faith in vain?' Since we place great significance on the resurrection of JC and the gospels and book of Joshua are not so different in their claims to be 'historical' then this is indeed a challenge.

History and the supernatural

It is necessary to acknowledge the reality of God, and that he is the ultimate director of the Bible, to be able to accept the supernatural elements of the OT. It is also necessary to consider the genre and intent when looking at books of the OT. Particular examples include asking if Jonah or Job are intended as history or parable.

The challenge of minimalism

The 90s saw the arrival of an assertion that only events with direct extra-Biblical (in other words archeological) support could be considered historical. Davies, Thomson, Whitelam, Lamche and others. This is an unjustified view says Longman citing 'obvious hermeneutical and ideological problems inherent in [archeology]'.

Nature of Biblical Histiography

'Biblical history is not an objective reporting of purely human events'

  • Selectivity: Quite apart from there being insufficient room to record every aspect of an event, the historian has a focus to his writing. Discerning the focus is key, and tricky. Longman argues it is the community of Israel and often their kings as the representative of the nation. For example, Samuel-Kings seeks to explain how God’s people end up in exile, so it describes their repeated sin, the role of the prophets and God’s delayed judgement.

  • Emphasis: Some events receive more airtime than others, one may assume this is because they illustrate the point of the author best. For example, many cities were conquered in Canaan but Jericho and Ai are highlighted. Because they were first, but also because they denote the correct and incorrect way to wage 'holy war'.

  • Order: For the most part order is chronological, but that is not a straightjacket. For example, Saul does not recognise David when he comes to fight Goliath but in the previous chapter 1 Samuel 16:14-23 he has been described as the musician able to soothe Saul’s troubled soul. Emphasising David’s gifts as both psalm-writer and mighty warrior.

  • Application: 'Not misleading to envision the historians of Israel as preachers.' They are using events to teach and guide the people of Israel.

Biblical history and archaeology

Should archaeology be subservient to texts such as the Bible (inference is this is Longman’s view?), the inverse (such as minimalism, above) or some middle ground? Archaeology may seem the firmer ground but in reality precisely its lack of interpretation can make conclusions from it more subjective. Longman concludes that we can neither expect confirmation nor refutation of Biblical texts by archaeology.

Literary analysis

Stories and poems

This is the dominant form of the OT (notwithstanding the bits about law and the tribal boundaries in the second half of Joshua). This form is more accessible than 'a more technical and precise form of communication'. More easily comprehended and addresses more than merely our intellects. Therefore need to decide how to approach interpretation given the culture is alien to us.

The conventions of OT poetry

Highly stylised language. Can even be hard to determine if a particular passage is poetry or prose. Some characteristics, though not universally applicable:

  • Terseness: Repetition of some things, omission of others. Suppression of conjunctions, for example: '[Because] The LORD is my shepherd; [therefore] I shall not want' [Psalm 23:1, KJV] Encourages more meditative reading says Longman. Also, large amount of imagery.

  • Parallelism: Not merely repetition of the same thought in different words for emphasis but typically develop (or contrast) with the second part. Typically, though not always, repetition is in same verse or even line. Not enough to determine poetry on its own, but suggestive of it. For example: > I will praise you, LORD, with all my heart; > I will tell of all your wonderful deeds.

    Again, encouraging meditative reading.

  • Meter: Common place in Greek and Latin poetry. Lowth (18th C) concluded he could not discern any meter in Hebrew poetry but attributed it to his distance from the originating culture. Since 1980s increasingly felt that no such meter exists (O’Connor, Kugel, Longman).

  • Imagery: Requires background research (encouraging once again meditation). Also contributes to the concision and emotiveness.

Conventions of OT stories

No sharp distinction from poetry. Application of 'categories and methods of contemporary literary theory' permits the biblical conventions to be discerned and thus shed light on the intended meaning.

  • Genre: Genre signals an intended understanding. For example, 'Once upon a time' denotes a fairy tale rather than historical realism to our culture.