The Poetics Of Matthew 1

The Poetics of Matthew 1 is about seeing what has not previously been seen in the first chapter of Matthew by explaining key literary patterns. What is the reason for the five references to mothers in the Messiah’s genealogy? How can the genealogy be called Jesus’s lineage if it is not Jesus’s biological lineage? What kind of “genesis” is the Messiah’s kind of genesis in verse 18? Why is Joseph labeled as “righteous” in verse 19? Why does verse 22 say “This has all happened” seemingly before it has all happened? Questions such as these were not previously thought to have answers within the text. The Poetics of Matthew 1 employs an underestimated method of answering text-based questions with text-based answers.

The Poetics of Matthew 1 is about seeing what has not previously been seen in the first chapter of Matthew by explaining key literary patterns. What is the reason for the five references to mothers in the Messiah's genealogy? How can the genealogy be called Jesus's lineage if it is not Jesus's biological lineage? What kind of "genesis" is the Messiah's kind of genesis in verse 18? Why is Joseph labeled as "righteous" in verse 19? Why does verse 22 say "This has all happened" seemingly before it has all happened? Questions such as these were not previously thought to have answers within the text. The Poetics of Matthew 1 employs an underestimated method of answering text-based questions with text-based answers.

The Gospel of Matthew contains poems by Jesus, John the Baptist, the Angel of the Lord, as well as other individuals in the Gospel. Jesus creates several poems in the Gospel of Matthew. Chief among these poems is the Lord's Prayer. The Lord's Prayer incorporates an amazing series of rhymes based on the Hebrew word for "Forgive." The verses immediately before and after the Lord's Prayer contain a series of rhymes based on the Hebrew word for "Reward." The entire poetic structure is composed of three stanzas. The first and last stanzas utilize a rhyming wordplay for "Reward" that brackets the rhyming wordplay in the middle stanza for "Forgive." The transitions in rhyme match the transitions in conceptualization in the passage.Jesus also creates a poem using performance art in the passage concerning the fig tree in Matthew 21:19. The Hebrew word for fig tree is spelled the same as the Hebrew word used in Judges 14:4 for "occasion [ground of quarrel]." Jesus uses performance art to create an implied wordplay involving the double entendre for "fig tree/occasion [ground of quarrel]." Jesus' actions obviously depict a quarrel with the fig tree yet the word "Quarrel" never appears in the verse. On a literary and media basis this is the highest form of literary connection possible where the poet creates portions of the poem through their actions and not only by their words. This passage is one of the oldest historical examples of performance poetry. John the Baptist creates a poem during his dialogue with the Pharisees in Matthew 3:7-9. His poem is comprises of three rhyming couplets that form an AABCBC rhyme scheme. The first rhyming couplet is based on the Hebrew word for "Pharisee" and the Hebrew term for "Bearing Fruit." This rhyming couplet also appears in several passages in the Gospel of Matthew as part of Jesus' dialogue with the Pharisees. The second couplet utilizes wordplay between Hebraic terms for "God" and "Raise Up." This particular wordplay reappears near the end of the Gospel of Matthew as part of the narrative for the resurrection. Thus this rhyming couplet from John the Baptist's dialogue with the Pharisees foreshadows Jesus' resurrection. The third couplet employs a wordplay between the Hebrew words for "Son" and "Stone." This is the most prevalent wordplay in the Gospel of Matthew and appears in many passages including The Temptation, The Sermon on the Mount, The Confession of Peter, The Olivet Discourse, and The Passion. The Angel of the Lord creates a portion of a poem concerning The Nativity in Matthew 1:18-25. The angel contributes three rhyming couplets. The first couplet is a wordplay on the Hebrew words for "Conceived" and "Holy Spirit." The second couplet is the well known Hebrew rhyme between "Jesus" and "Save." This couplet reappears during the crucifixion where the rhyme adds dramatic tension to the events at the cross. The third couplet is between the Hebrew words for "People" and "Sins." This particular rhyme is notable since it expands the rhyme from the Old Testament passage from Isaiah that is quoted immediately afterwards which includes the words "Virgin," "Immanuel," and "God With Us."

First Published in 1998. Routledge is an imprint of Taylor & Francis, an informa company.

The Gospel of Matthew is both deliberately deceptive and emotionally compelling.Karl McDaniel explores ways in which the narrative of the Gospel of Matthew elicits and develops the emotions ofsuspense, surprise, and curiosity within its readers. While Matthew 1:21 invites readers to expect Jewish salvation, progressive failure of the plot's main characters to meet Jesus' salvation requirements creates increasing suspense for the reader. How will Jesus save 'his people'? The commission to the Gentiles at the Gospel's conclusion provokes reader surprise, and the resulting curiosity calls readers back to the narrative's beginning.Upon rereading with a retrospective view, readers discover that the Gentile mission was actually foreshadowed throughout the narrative, even from its beginning, and they are invited to partake in Jesus' final commission.

Orientalist Poetics is the only book on literary orientalism that spans the nineteenth century in both England and France with particular attention to poetry and poetics. It convincingly demonstrates orientalism's centrality to the evolution of poetry and poetics in both nations, and provides a singularly comprehensive and definitive analysis of the aesthetic impact of orientalism on nineteenth-century poetry. Because it examines the poetry of the entire century across both national literatures, the book is in a unique position to articulate the essential part orientalism plays in major developments of nineteenth-century poetics. Through probing discussions of an array of prominent nineteenth-century poets-including Shelley, Southey, Byron, Hugo, Musset, Leconte de Lisle, Wordsworth, Hemans, Gautier, Tennyson, Arnold and Wilde-Emily A. Haddad reveals how orientalism functions as a diffuse avant-garde, a crucial medium for the cultivation and refinement of a broad range of experimental positions on poetry and poetics. Haddad argues that while orientalist poems are often viewed mainly as artefacts of European attitudes towards the East and imperialism, poetic representations of the Islamic Orient also provide an indispensable matrix for the reexamination of such aesthetically fundamental issues as the purpose of poetry, the value of mimesis, and the relationship between nature and art. Orientalist Poetics effectively bridges the gap between the analysis of poetics and the analysis of orientalism. In showing that major poetic developments have roots in orientalism, Haddad's book offers a valuable and innovative revisionist view of nineteenth-century literary history.

The inerrancy of God's Word has been attacked throughout church history. Today's assaults are unique since neo-evangelicals now surrender to post-modernistic ideas of history and historical-critical ideologies that assault this vital doctrine. They seek to redefine the orthodox meaning of inerrancy. Since the signing of the Chicago Statements, troubling signs have once again appeared in recent years among many who either did not fight the battles for the inerrancy of Scripture as did the International Council on Biblical Inerrancy, or who do not remember the troubling times that caused their development. The nature and definition of "inerrancy" are now being changed to include ideas of fallibility. History is forgotten. The need arises for sounding the alarm for Vital Issues in Inerrancy. Evangelical schools and churches that broke away earlier to defend inerrancy surrender now to academic prestige and scholarly fads instead of faithfulness to God's inerrant Word. The contributors pray that the Lord will raise up a new generation with the spiritual fervency of the International Council on Biblical Inerrancy to uphold the inerrancy of God's Word: Isaiah 40:8--"The grass withers, the flower fades, But the word of our God stands forever."

After the publication of T.S. Eliot's The Waste Land, a complex series of debates occurred over the traditions of English poetry. Analyzing these diverse discussions in a wide range of well-known periodicals during the late modernist period, Chambers uncovers how poetry was shaped by avant-garde ideas, setting poetic trends for the 20th century.