A Parody of Over-Interpreting the Bible1
Justin Taylor writes,
A classic illustration from Moisés Silva, which had a significant impression on me when I first read it in the late ’90s:
It is approximately the year 2790. The most powerful nation on earth occupies a large territory in Central Africa, and its citizens speak Swahili. The United States and other English-speaking countries have long ceased to exist, and much of the literature prior to 2012 (the year of the Great Conflagration) is not extant. Some archaeologists digging in the western regions of North America discover a short but well-preserved text that can confidently be dated to the last quarter of the twentieth century. It reads thus:
Marilyn, tired of her glamorous image, embarked on a new project. She would now cultivate her mind, sharpen her verbal skills, pay attention to standards of etiquette. Most important of all, she would devote herself to charitable causes. Accordingly, she offered her services at the local hospital, which needed volunteers to cheer up terminal patients, many of whom had been in considerable pain for a long time. The weeks flew by. One day she was sitting at the cafeteria when her supervisor approached her and said, “I didn’t see you yesterday. What were you doing?” “I painted my apartment; it was my day off,” she responded.
The archaeologists know just enough English to realize that this fragment is a major literary find that deserves closer inspection, so they rush the piece to one of the finest philologists in their home country. This scholar dedicates his next sabbatical to a thorough study of the text and decides to publish an exegetical commentary on it, as follows:
We are unable to determine whether this text is an excerpt from a novel or from a historical biography. Almost surely, however, it was produced in a religious context, as is evident from the use of such words as devoted, offered, charitable. In any case, this passage illustrates the literary power of twentieth-century English, a language full of metaphors. The verb embarked calls to mind an ocean liner leaving for an adventuresome cruise, while cultivate possibly alerts the reader to Marilyn’s botanical interests. In those days North Americans compared time to a bird—probably the eagle—that flies.
The author of this piece, moreover, makes clever use of word associations. For example, the term glamorous is etymologically related to grammar, a concept no doubt reflected in the comment about Marilyn’s “verbal skills.” Consider also the subtleties implied by the statement that “her supervisor approached her.” The verb approach has a rich usage. It my indicate similar appearance or condition (this painting approaches the quality of a Picasso); it may have a sexual innuendo (the rapist approached his victim); it may reflect subservience (he approached his boss for a raise). The cognate noun can be used in contexts of engineering (e.g. access to a bridge), sports (of a golf stroke following the drive from the tee), and even war (a trench that protects troops besieging a fortress).
Society in the twentieth century is greatly illuminated by this text. The word patient (from patience, meaning “endurance”) indicates that sick people then underwent a great deal of suffering: they endured not only the affliction of their physical illness, but also the mediocre skills of their medical doctors, and even (to judge from other contemporary documents) the burden of increasing financial costs.
A few syntactical notes may be of interest to language students. The preposition of had different uses: casual (tired of), superlative (most important of all), and partitive (many of whom). The simple past tense had several aoristic functions: embarked clearly implies determination, while offered suggests Marilyn’s once-for-all, definitive intention. Quite noticeable is the tense variation at the end of the text. The supervisor in his question uses the imperfect tense, “were doing,” perhaps suggesting monotony, slowness, or even laziness. Offended, Marilyn retorts with a punctiliar and emphatic aorist, “I painted.”
Readers of Bible commentaries, as well as listeners of sermons, will recognize that my caricature is only mildly outrageous. . . .
Silva goes on to point out the obvious: not only does is the exegesis “overinterpretation,” but “it contributes virtually nothing to the reader’s understanding of what the passage actually says!”
He goes on:
Preachers who make appeals to “the original” may in some cases help their readers obtain a better insight into Scripture. More often than not, however such appeals serve one of two functions: (1) they merely furnish illustrations to heighten interest to that hearers think they have a better understanding of the passage (cf. the comment on embark above); (2) they provide the occasion to make a point that has little do to with the passage (cf. the comment on patient).
The parody is found in Silva’s excellent book, God, Language, and Scripture: Reading the Bible in the Light of General Linguistics, reprinted in the volume Foundations of Contemporary Interpretation (Zondervan, 1990), pp. 199-201.
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