Biblical Poetry And The Art Of Close Reading

Explores the aesthetic dimensions of biblical poetry, offering close readings of poems across the Hebrew Bible/Old Testament.

Three decades ago, renowned literary expert Robert Alter radically expanded the horizons of biblical scholarship by recasting the Bible as not only a human creation but a work of literary art deserving studied criticism. In The Art of Biblical Poetry, his companion to the seminal The Art of Biblical Narrative, Alter takes his analysis beyond narrative craft to investigate the use of Hebrew poetry in the Bible. Updated with a new preface, myriad revisions, and passages from Alter's own critically acclaimed biblical translations, The Art of Biblical Poetry is an indispensable tool for understanding the Bible and its poetry.

A companion to Reading Biblical Narrative provides a holistic introduction to biblical poetry, offering literary examples of how the poets of the bible created their works. Original.

An Invitation to Biblical Poetry is an introduction to the aesthetic dimensions of the ancient poetry of the Bible. It argues that, as art, biblical poems engage their readers in embodied encounters that accomplish intellectual work. It examines how this is achieved through the poems' various techniques of voicing and address, lines, formal patterns, figures such as metaphor, personification, and symbol, and the crucial but elusive dimensions of historical and readerly context. Its broad survey of biblical poetry and accessible style will benefit anyone interested in becoming a better reader of poetry.

First time in paperback: “One of the most ambitious literary projects of this or any age.”—Adam Kirsch, New Republic Here in Robert Alter's bold new translation are some of the most magnificent works in world literature. The astounding poetry in the Book of Job is restored to its powerful ancient meanings and rhythms. The creation account in its Voice from the Whirlwind is beautiful and incendiary. By contrast, a serene fatalism suffuses Ecclesiastes with a quiet beauty, and the pithy maxims of Proverbs impart a worldly wisdom that is satirically shrewd. Each of these books addresses the universal wisdom that the righteous thrive and the wicked suffer in a rational moral order; together they are essential to the ancient canon that is the Hebrew Bible.

Uniquely considering the characteristics of biblical Hebrew poetry beyond its currently best known feature, parallelism,On Biblical Poetry demonstrates the many interesting and valuable interpretations that yield from analyses of major facets of biblical verse, as well as careful attention to prosody--rhythm, lineation, and the like--and close reading. Through a series of programmatic essays, F.W. Dobbs-Allsopp argues that biblical poetry is, in most respects, just like any other verse tradition--and thus biblical poems should be read and interpreted like other poems. Using the same critical tools and kinds of guiding assumptions as traditional verse scholarship, this book also considers the historicity and cultural specificity that distinguishes the verse of the Bible. The literary and the historical, then, are in view throughout. Issues of orality, textuality, and literacy at the site of biblical poems are also probed extensively and there is a strong comparative orientation to much of the thinking in the volume.

"This book treats the poetics of biblical allusion in the lyric poetry of William Butler Yeats, and the ways in which the King James Bible became for Yeats a model for poetry as a communal voice shaping a culture." "The introduction analyzes the critical history of what Eleanor Cook has termed the "poetics of allusion," emphasizing the work of the Italian rhetorician Gian Biago Conte and the American critic and poet John Hollander. The major topics considered here are allusions as the intersections of texts, as figures of speech, and as structural signifiers; the centrality of the reader in the study of allusion; the quality of allusions, their placement and varying degrees of clarity; and the centrality of the study of allusion to cultural criticism." "The first chapter is concerned with the development of the Bible as a model for secular poetry from the late eighteenth century to Yeats, surveying Bishop Lowth, Blake, Coleridge, Wordsworth, Shelley, and Matthew Arnold, as well as Yeats's references in his prose works to the Bible as a model for art and the artist, and his desire to restore the Bible as sacred text, yet write his own Bible." "Chapters 2 through 5 take up in detail the poetics of biblical allusion and echo in the poems. Chapter 2 treats the poetry of the nineties: here Yeats usually engages the Bible as an antagonist, subverting it for the sake of a Celtic consciousness, denying its exclusive claim to spiritual truth. But many biblical echoes show Yeats's dependence upon the Bible as a guide to poetic language. Chapter 3 concerns the poetry from In the Seven Worlds to The Wild Swans at Coole. Yeats looks on Scripture with an ironic eye, often replacing it with what he calls "haughtier texts," the parables, prayers, visions, and private revelations that mirror biblical models and make biblical texts into warrants for his own theory of rebirth. Chapter 4 is a close reading of biblical intertextuality in seven poems: "The Second Coming," "Sailing to Byzantium," "Meditations in Time of Civil War," "Nineteen Hundred and Nineteen," "Prayer for My Son," "Dialogue of Self and Soul," and "Vacillation." In these major poems Yeats displays his antitheticality, as Hazard Adams calls it, putting into dramatic tension biblical texts and his own heterodox ideas about birth, death, and resurrection. Chapter 5 examines the poetry after "Vacillation," where Yeats gives biblical texts (often text used before) a new sensual gloss, but also admits the limits of a "high talk" derived from scriptural language." "Chapter 6 places Yeats in the broad context of biblical intertextuality, working backward from modernism to Romanticism. First, the study contrasts Yeats with two of his contemporaries, D. H. Lawrence and T. S. Eliot, for whom the Bible always asserts its religious authority, in the Victorian tradition of Arnold, Clough, Browning, and Tennyson. The study concludes by comparing Yeats to Wordsworth and Shelley. Although Yeats is deeply indebted to them, his attitude is distinct from theirs: even when rejecting the Bible, Wordsworth. and Shelley accept a dogmatic view of it, while Yeats escapes dogmatism."--BOOK JACKET.Title Summary field provided by Blackwell North America, Inc. All Rights Reserved

Analyzes the structure, functions, and metaphors of the poetry in Psalms, Job, Proverbs, and other books of the Old Testament.