Theology and Reading
Southwestern Journal of Theology
Volume 52, No. 2 – Spring 2010
Managing Editor: Malcolm B. Yarnell III
Jeffrey D. Arthurs. Grand Rapids: Kregel, 2007, 238 pages. Softcover, $15.99.
Jeffrey Arthurs is an associate professor of Preaching and Communication at Gordon-Conwell Theological Seminary. In this book, Arthurs discusses creative and fresh approaches to biblical sermon forms. Arthurs asserts that sermon forms should incorporate diverse methods and arouse innovative experiences rather than follow the typical three-point-sermon pattern. He cites three theological and practical reasons to support his claim. First, God is “the Great communicator” who uses different modes and genres to disclose his will to humans (22). Second, no fixed mandate for sermon forms exists. Preachers have the freedom and privilege to choose from various sermon patterns (23). Third, various sermon patterns provide listeners with the opportunity to enjoy the beauty of oral communication (33).
His approach may be categorized as genre sensitive preaching (13). This work is based on his presupposition that “a sermon’s content should explain and apply the Word of God as it is found in a biblical text, and a sermon’s form should unleash the impact of that text. The second part of that declaration is the special province of this book. We should be biblical in how we preach, not just what we preach” (13). From a conservative theological basis he argues that one must preserve a sound biblical message and express it through different styles according to the genres in Scripture, because biblical authors employ particular genres with special purposes.
Arthurs, however, does not assert that preaching forms ought to become slaves to the genres. He respects each preacher’s personality, gifts, and communication styles in designing the sermon. Arthurs desires to utilize genres in Scripture “to replicate the impact of the text, not its exact techniques, although technique is the best place to start” (28). In other words, he attempts to examine “the rhetorical dynamics” found in each genre and to recreate those effects in his sermon delivery (13). In order to reach this goal, Arthurs presents six categories of genres in biblical texts: psalms, narratives, parables, proverbs, epistles, and apocalyptic literature.
Chapters 1 and 2 demonstrate biblical and theological foundations as they apply to various forms in homiletics. In chapters 3 through 9 he expounds upon each genre’s unique nature by incorporating literary and rhetorical analyses and providing practical homiletic suggestions to formulate rhetorical dynamics. In chapter 3 he illustrates the genre of Psalms as “the sound of music” (38). He characterizes the nature of Psalms with succinctness of lyrics, complicated structures such as synonymous, antithetic, and synthetic (42–43), complex images, and the individual’s profound emotional expression. In order to create rhetorical effects in sermon delivery, Arthurs proposes three notions: employing specific language, using metaphors, and planning emotional synopses. Preaching must reflect emotional movement within a rational message by organizing a progression resulting in climax and resolution (53). The explanation of Psalms is the most exquisite lesson in this book.
Chapters 4 and 5 deal with narratives. Arthurs enumerates nine basic components of narratives: plot, character, setting, point of view, the intensity of omniscience, detail description, time, structure, and irony. He suggests four communication devices: colorful description, sincere experience from the text, usage of the propositional teachings, and utilization of personal testimony. Chapter 6 designates parables as “Hidden Land Mines” (102). Arthurs categorizes parables according to three attributes: actuality, folk stories that reflect views of the biblical writer’s era, and analogy. For preaching parables Arthurs suggests communication skills such as freedom from one point or none and the usage of imagination.
In chapter 7 Arthurs describes Proverbs as “short sentences long remembered” (129). He suggests that the interpreter use “similar metaphor, allegory, and figurative language” to clarify the accepted meaning of a proverb (134). The homiletical implication in Proverbs is the utilization of imagination. Chapter 8 defines an epistle as “one side of a conversation” (151). Arthurs emphasizes that an epistle is an occasional writing with a theological message. Sermon techniques adopted from epistles include question–and–answer, rhetorical questions, interview, dialogic structure, and reiteration (169). In chapter 9 Arthurs describes apocalyptic literature as “vision and victory” (178). He lists the characteristics of apocalyptic as dualistic and symbolic. He recommends utilizing imagination, tensions, and the theme of hope and discipleship, as well as incorporating activities throughout to increase dramatic effect.
In 1989 Thomas Long produced an outstanding work about sermon forms, Preaching and the Literary Forms of the Bible. Fred Craddock, the father of New Homiletics, in his works such as Overhearing the Gospel and Preaching has underlined the prominent elements of genres in the Scripture. Now this work by Jeffrey Arthurs contains more practical suggestions from a conservative theological position than those of Long and Craddock. This volume will motivate conservative homileticians to inquire into peculiarities and dynamics of each biblical genre instead of merely producing the stereotypical forms such as verse-by-verse commentary, three point sermon, or storytelling.
Even with these contributions, this book still has several deficiencies with respect to the author’s initial goal of finding rhetorical dynamics in each genre and applying them in sermon delivery (13). For instance, in the section on Proverbs, the author cannot articulate distinguishable characteristics of Proverbs and provide pertinent practical lessons for those who are willing to preach the book according to its genre. He does not provide sufficient explanation about the differences in wisdom literature, such as Ecclesiastes and Job. If this volume would present distinguished sample sermons that reflect each genre’s unique attributes, it would provide a more comprehensive foundation on which to build.
Arthurs maintains that “a sermon’s form should unleash the impact of that text” (13). With a conservative theological base, he upholds the pivotal function of forms in each genre. He, however, abridges the dynamic of each biblical genre with some rhetorical implements such as imagination and rhetorical questions rather than fully exerting the whole vivid movement in biblical genre. Although there are noticeable cultural and chronological gaps between biblical literature and contemporary sermons, evangelical homileticians must revitalize each genre’s essential qualities in sermon form in a more holistic fashion. Even without sufficient explanation about each biblical genre and sermon form, this volume paves a way for further study in the genre sensitive sermon with an evangelical perspective.
