A Literary Approach to the Bible
IT IS a little astonishing that at this late date there exists virtually no serious literary analysis of the Hebrew Bible. By serious literary analysis I mean the manifold varieties of minutely discriminating attention to the artful use of language, to the shifting play of ideas, conventions, tone, sound, imagery, narrative viewpoint, compositional units, and much else; the kind of disciplined attention, in other words, which through a whole spectrum of critical approaches has illuminated, for example, the poetry of Dante, the plays of Shakespeare, the novels of Tolstoy. The nearly total absence of such critical discourse on the Hebrew Bible is all the more perplexing when one recalls that the masterworks of Greek and Latin antiquity have in recent decades enjoyed an abundance of astute literary analysis, so that we have learned to perceive subtleties of lyric form in Theocritus as in Marvell, complexities of narrative strategy in Homer or Virgil as in Flaubert.
In making such a flatly negative assertion about biblical criticism, I may be suspected of polemical distortion impelled by the animus of a modern literary person against antiquarian scholarship, but I do not think this is the case. There has been, of course, a vast amount of scholarly work on the Bible over the past hundred years or more.
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