Successful Time Managememt For Dummies Order Printed Copy
- Author: Dirk Zeller
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About the Book
"Successful Time Management for Dummies" by Dirk Zeller provides practical and effective strategies for managing your time efficiently and achieving your goals. The book offers tips on prioritizing tasks, overcoming procrastination, and finding a balance between work and personal life. It also includes advice on setting realistic goals, improving productivity, and creating a productive daily schedule. Overall, this book is a comprehensive guide for anyone looking to improve their time management skills and productivity.
Mary Slessor
Beyond all question or doubt, Mary Slessor deserves a preeminent place among the great missionaries to Africa. Thirty-nine years of her life she gave to the West Coast of Africa, and when she died, an old converted Negress said, "Kutua oh, kutua oh!" that is to say, "Do not cry, do not cry. Praise God from whom all blessings flow. Ma was a great blessing to Africa." And that, assuredly, this unique woman was! J. H. Morrison thus writes of her:
"To heathen Africa she gave a new conception of womanhood, and to the world at large an imperishable example of Christian devotion."
To this verdict every student of African mission history must agree. Scotland also gave to Africa this devoted servant of her Lord, as she gave to the land of Ham so many great Christian workers. Mary Slessor was born December 2, 1848, in the city of Aberdeen, the second of a family of seven children. Her father was a drunkard, who made life miserable for his entire family, but her mother was a beautiful Christian woman who reared her children in the fear of God. And yet those more rugged traits which made her a great missionary in Africa, Mary inherited from her father, whose death was so great a blessing to the family. For many years her mother had to work in a factory to earn a scant living for her children; but after the death of her father, Mary worked for the family, and even when she was in Africa she supported her mother from her meager salary.
But never would the sunshine of Christian faith and joy pass from the simple home, even in those terrible later years when the father, almost frantic from drunkenness, would cause nights of terror. After the unhappy Saturdays, when Slessor spent his week's wages in drinking, there would come a happy Sunday when the mother with her seven children would hurry to Sunday school where Mary became a teacher when she was yet almost a child. Even then she dreamed of Africa, and her favorite game was to teach an imaginary school of black children. She read avidly, and was a constant student of the Bible and of Milton's Paradise Lost. In spite of this she was a mischievous, impulsive, strong-willed child who was able to beat down any boy that picked a fight with her. Her work in the factory brought her constantly in contact with the roughest element of the city, and this tended to make her a rough and ready antagonist for every one who happened to attempt to oppose her.
In 1874, the Christian world was profoundly moved by the news of Livingstone's death. Everybody spoke of the great missionary hero who by his own choice had died in the jungle of Africa. Now Mary could no longer restrain her passion for missionary work in Africa. She confided her wish to her mother who replied :
"My child, I'll willingly let you go. You'll make a fine missionary, and I'm sure God will be with you."
After some months of special training in missionary work, she was appointed for the West Coast of Africa, the "white man's grave." On August 5, 1876, when Mary was twenty-eight years old, she took the vow to consecrate her whole life for this part of Africa, and immediately sailed from Scotland, her beloved country.
Her field was to be in the city of Calabar, where the United Presbyterian Church had done missionary work for many years. Calabar was the principal coast city of Nigeria, which Great Britain protected by her flag. Nigeria was a part of the slave coast from which each year thousands of slaves were shipped to the west. Some of these slaves, who had been sold to Jamaica, in 1824, conceived of the thought of bringing the Gospel to their home country. The mission was planted and the United Presbyterian Church took charge of it. In 1845, greater interest in the work was aroused by Hope Waddell, who spent some time in Scotland in the interest of African missions.
While the mission was fairly successful, Old Calabar remained what it always had been, a wretched and wicked Sodom, where vice and heathenism flourished. Here all the superstitions and barbarous customs of paganism were practiced, and besides the natives learned from the depraved white people many additional criminal practices. Belief in demons was universal, witchcraft and the horrible poison ordeal were practiced everywhere. Human sacrifices were offered on the river bank for success in fishing. When twin children were born they were buried alive or exposed in the woods, while the unfortunate mother was driven into the bush or even killed; for it was believed that the second child to which she gave birth was the product of her mingling with an evil spirit. When chiefs or other great men died their wives were buried alive with them, while their slaves were slain and their heads thrown into the grave. To these hideous customs must be added the horrors of incessant warfare, of slavery and slave-raiding which made the whole country a veritable hell of degradation. Surely, Mary Slessor could not have chosen a field where missionary work was needed more than right at Calabar!
The horrors of heathenism did not terrify her, since from earliest childhood she had been in contact with vice and sin. She dearly loved the African people for Christ's sake, and at once set out to learn the native language much to the astonishment of the blacks, who said of her that she was gifted "with an Efik mouth." For three years she zealously devoted herself to her new and hard tasks. Then the dreadful coast fever seized her, and she was obliged to return to Scotland for a rest.
But in 1880, Mary Slessor returned to Calabar with new ardor, and now she was allowed to work in Old Town, among the natives, where she employed her own missionary methods. A large part of her meager salary was sent home and she lived largely on native food, which cost her little or nothing. But the chief reason why she preferred living in Old Town, was because she there could become like the natives themselves whom she meant to raise from degradation to purity of life. Her first missionary work was to save the babies that were to be killed or exposed to death. These she gathered and brought to her home, which in a short time became a veritable foundlings' home. But she succeeded in saving also many of the poor mothers who were to be killed, and these together with the children she instructed in the Christian religion. Had she been more inclined to organize her mission work, she might have started a large educational and industrial training school like Lovedale in South Africa, but she was no organizer and was very much averse to routine work. In fact, after a few years' toil in Calabar, she became tired of the humdrum life there, and she begged the Mission Council to permit her to begin work in the interior. For a woman this was a bold and daring venture, and the Mission Council long hesitated before granting her permission. But in 1886, they at last gave consent to her ceaseless requests, and she started off at once for the country of Okoyong, which lies in the angle between the Calabar and the Cross River.
In the district of Okoyong, Mary Slessor encountered a fierce and powerful tribe of Bantu origin, lighter in color than most of the blacks in Nigeria and of finer physique, but thoroughly degraded. Their barbarism was appalling. Head-hunting was one of their favorite pursuits, and between fights they were given to drunkenness and bloody brawls. It was not easy for the white woman to gain permission to settle in the territory of this cruel and oppressive tribe. But in 1888, after many futile attempts, Mary Slessor boldly sailed up the Cross River as far as Ekenge, and begged permission of Chief Edem to establish a mission house in his village. The chief's sister, Ma Eme, at once took a liking to the bold Scottish lass, and induced her brother to permit her to live among the natives. To the end of her life Ma Eme remained a heathen, but she always supported Mary Slessor's work. Mary now returned to Calabar to prepare for a permanent settlement in Okoyong.
On August 3, 1888, her preparations were completed, and in the early hours of a dull gray day Mary Slessor set out for Okoyong. A drizzling rain fell upon the hot country, as a few Christian friends accompanied her to the river and bade her farewell; they said:
"We will pray for you, but you are courting death."
When leaving Calabar, she had five orphan children in her home, the oldest of which was eleven, while the youngest was a babe in arms. No one wanted them and so she took them with her though they added to the hardships of the voyage. Late that night the missionary party were in the Okoyong country, four miles from the village of Ekenge, which was concealed far back in the tropical forest. With her tired and weeping children Mary at once set out for the village where she arrived in a state of complete exhaustion. The oarsmen whom she had commanded to follow, did not arrive, and so alone she went through the forest to the landing place where after a long and severe tongue lashing she finally succeeded in rousing the men from their sleep. By midnight the supplies had been secured in Ekenge.
Mary at once supervised the erection of a mission compound. A mud-walled house was built with several out-stations for the supplies and the women and children whom she might harbor. Unfortunately, the rainy season had set in, so that the whole compound was soon swimming in a pool of muddy water. But Mary was not discouraged. With bare feet and bare head, her hair having been cut short like that of the natives, she worked each day, subsisting on native food, drinking unfiltered water, getting drenched with rain, and doing everything that might have killed an ordinary person. The natives took to her at once, for she perfectly mastered their language, and her fearlessness and good humor made her pleas irresistible. When they fought, she plunged into the midst of the combatants. When they threatened her, she threatened them in turn; when they laughed, she joined in with them. Sometimes she would scold; at other times she would weep; often she would turn her back upon them when they would not obey, but always she kept her commanding attitude which awed the natives into respect. Yet she was no vixen; it was her love for that work that made her so overpoweringly bold. Later, in Scotland, when she was on her furlough, she was so shy that she could not address a meeting as long as a single man was in the audience. But in Africa the chiefs from far and near bowed to her commands and fulfilled her wishes.
Soon the mission compound was full of children who were to be killed, and their mothers driven into the bush. Each day she scoured the woods to find babes exposed and mothers beaten and expelled from the tribal town. These she would bring to the compound, and though by doing this blessed work, she violated every tribal custom, no one dared to interfere with her or molest those whom she sheltered in the compound. Above the house flew the British flag, and in Calabar there were British cannon. Yet, after all, it was her personality which subdued the natives to her will. Of her feats of heroism untold stories are narrated. Once she rescued a babe which had lain exposed in the bush for almost five days, and which she found almost eaten up by the flies and insects. With infinite patience she nursed the little girl back to health. Many years afterwards the young woman was married to an educated native in the service of the Government, and she lived in a fine home and drove around in a motor car. She never forgot the kindness of her good godmother and remained to her end a true Christian. Another time, a son of Chief Edem had been crushed under a heavy log, and upon the advice of a witch doctor, a neighboring tribe was captured to be slaughtered as a propitiatory sacrifice. With great boldness Mary took the burial rites into her own hands, and by her persistent pleas and her irresistible commands saved the victims from a cruel death. In the end, a cow was sacrificed at the grave. It was the first chief's grave in Okoyong which was not saturated with human blood.
In 1891, the British Government appointed her Vice-consul for Okoyong, and though she did not like the routine work connected with it, she readily accepted it because it gave her increased prestige and authority. In 1894, after a service of three years as an official of the Government, she could write in her report:
"No tribe was formerly so feared because of their utter disregard of human life, but human life is now safe in Okoyong. No chief ever died without the sacrifice of many human lives, but this custom has now ceased. Some chiefs, in commenting on the wonderful change, said: `Ma, you white people are God Almighty. No other power could have done this.'"
With the officials of the Government she was always on the best of terms. One of them in later years has given this description of her, as she sat in court and administered justice:
"There was a little frail old lady with a lace shawl over her head and shoulders, swaying herself in a rocking chair and crooning to a black baby in her arms. Her welcome was kind and cordial. I had had a long march on an appallingly hot day, and she insisted upon complete rest before we proceeded to the business of the court. It was held just below her house. Her compound was full of litigants, witnesses, and onlookers, and it was impressive to see with what deep respect she was treated by them all. The litigants emphatically got justice, sometimes, perhaps, like Shylock, 'more than they desired'; and it was essential justice, unhampered by legal technicalities."
Those who sought the settlement of their disputes at the hands and court of Mary Slessor sometimes traveled hundreds of miles and her judgments were never disputed.
However, in spite of her many administrative duties, Mary Slessor never forgot the one great task which had attracted her to Africa. Amid her many labors and difficulties she always testified of Christ. In the mission compound she held services; she daily taught the children at school, and visited the homes of the natives to instruct and comfort them. Sometimes she lost count of the days and on Sundays she would mend the roof of the church with her own hands, while on Mondays she conducted services. But her call to services was always answered by the natives, over whom she exerted perfect control.
In 1896, overcome by ill health, she returned to Scotland on her second furlough, after a stay in Africa of sixteen years. Since she could not entrust her babies to the natives, she brought four of the smallest and most helpless ones with her. She was given one ovation after another, yet she was so shy that she avoided crowds wherever possible, and begged her friends to meet her singly, rather than in groups. While in Scotland, she pleaded with the Mission Council to permit her to open a new mission station farther in the interior of the country. After three years her desire was gratified and a male missionary was appointed in her place in Ekenge. Just then an epidemic of smallpox harassed the whole country. Mary Slessor turned her house in Ekenge into a mission hospital, and leaving it in charge of native helpers, hurried to the more populous town of Akpap, where she fought the disease single-handed. Her old chief, Edem, had caught the infection, and she nursed him faithfully until he died. Then with her own hands she made a coffin, dug the grave, and buried him. When finally two missionaries arrived from Calabar, they found her exhausted from her arduous labors, while her hospital-home in Ekenge was full of corpses, not a single soul having been left to take care of the sick.
Meanwhile the British armies had penetrated the country west of the Cross River, and had even gone beyond the Niger, where mighty cannibal tribes inhabited the Ibo country. At Itu there was a great slave-market from which captives were constantly shipped to Calabar. At Arochuku, thousands of pilgrims worshiped a most terrible idol, called the long Ju-Ju. The British force took Arochuku, subdued the tribes, and demolished Ju-Ju. In this way a vast and populous country was thrown open to the work of Christian missionaries. Mary Slessor could not restrain her desire to follow the missionary call into this wild and unknown territory, and finally the Mission Council permitted her to take up work among the degraded natives of this section of Nigeria. She was now fifty-four years of age, but with fresh vigor she set out on the new venture. Twelve more years she was spared for work and achievement in Nigeria. She established herself first at Itu and, later, when a medical missionary took charge of this important field, she pushed on up country. Everywhere the people received this strange, good woman with joy and respect. In her work she was assisted by Christian boys and girls from Okoyong, and the progress of the missionary enterprise was as rapid as it was encouraging. The old Ju-Ju idol had been overthrown by the Christian God, and so the natives wanted to know who this mighty Lord was. At one unknown place, called Akani Obio, Mary Slessor was kindly received by a chief named Onoyom, who at Calabar had been instructed in the Christian religion, but who later on had returned to heathenism. He now offered to build a church in which Mary Slessor might teach the people, and contributed fifteen hundred dollars for the mission compound which she erected. When, with other converts, he later came to the Lord's Table, he said:
"Akani Obio is now linked on to Calvary. I am sure our Lord will never keep it from my mother."
Her success was so great that the British Government, in 1905, again asked her to administer justice in and around Itu. She consented to do the work, but refused the high salary offered to her, since she was supported by mission funds. With great tact and skill she discharged the duties of this office until ill health obliged her, in 1909, to resign the post. For a number of years she rode from village to village on a bicycle, which her Government friends had bought for her, but toward the end of her life she had to be drawn from place to place in a rickshaw.
In 1912, her health was completely shattered, and her many friends arranged for a short vacation in the Canary Islands. She accepted the offer, hoping that her life might be spared for a few more years of service. She was a frail little lady, with a face wrinkled like yellow parchment, but in spite of her weakness she was full of enterprise and fun. When she returned to Calabar, she received from the King of England the silver cross of the Order of St. John of Jerusalem, which is conferred only on persons who are eminently distinguished for philanthropy. She was glad to escape the publicity connected with this great honor and said, as she returned to the interior, that she could never "face the world again after all this blarney." Her mind was still busy with new missionary projects. Near Itu she founded an industrial home for women and girls. To Scotland she sent letter after letter asking for new workers. She urged the Missionary Council to provide motor cars for their missionaries in order that they might gain more time for missionary work. She herself moved from place to place, opening village after village to the ever increasing number of Christian missionaries that were sent to Nigeria. Finally, only one solitary city, the populous town of Iban, held out, refusing steadfastly to receive the Christian missionaries. But she was undaunted. So long and ardently she pleaded with the town chiefs that at last she gained the victory. That night she wrote a letter to her friends in Scotland, telling them that "she was the happiest and most grateful woman in the world."
But a last heavy blow was to strike this ardent woman missionary. This was the cruel World War, which penetrated also into Africa. When she heard the first news of the great tragedy, she was at Odore Ikpe, where she was building a mission compound. When she heard that Belgium had been invaded and the French armies were on the retreat, and when she learned that her own country was involved in the struggle, she sank back as if struck by lightning. Her native girl helpers put her to bed, where she lapsed into unconsciousness. Afterwards they placed her in a boat and rowed her to Itu. Under the careful medical care she rallied and returned to her mission station, where she taught her classes as usual, though she could no longer stand while conducting the service. But right to the last Sunday of her life and by sheer force of will, she continued in her work. Death claimed her on Wednesday, January 13, 1915, just as the dawn was breaking. Her body was taken to Calabar, where she was buried on Mission Hill, a most beautiful cemetery, which overlooks a large part of the city where she labored so faithfully when she served as a missionary apprentice. For thirty-nine years she had served Africa, bringing to this darkened country the light and life of her Lord.
From Great Missionaries to Africa by J. Theodore Mueller. Grand Rapids, Mich: Zondervan, ©1941.
learning the lyrics of god
A preacher once told me, “Although I often read a psalm to people in the hospital, I would never consider preaching from a psalm because I do not know what to do with it.” Not knowing “what to do” with the poetry of the Bible has made biblical poetry a closed book to many Christians. Happily, it is a problem with a ready solution. We can learn “what to do” with the poetry of the Bible. The purpose of this article is to equip pastors, Bible teachers, and laypeople to handle the poetry of the Bible with zest and confidence. To achieve this purpose, I have divided my material into three topics, as follows: three common fallacies about poetry that need to be refuted the seven most important things you need to know about the poetry of the Bible three tips for handling the poetry of the Bible with confidence Three Fallacies About Poetry The first fallacy that we need to lay to rest is that poetry is beyond the reach of people today. In the past, say many people in the pew, poetry was a normal part of life, but that is no longer true. I increasingly hear of people pressuring Sunday school teachers to leave the poetry of the Bible untouched, and preachers have been influenced by the same trend of the time. There is no chronological factor whatsoever in the accessibility of poetry. People in Bible times were not in a privileged position in regard to poetry. The situation might actually be the reverse. Our own world is image-oriented, matching the way in which poetry relies on imagery (words naming concrete objects and actions). Additionally, people in an age of texting are accustomed to brief modes of communication, and poetry is likewise a compressed form of discourse. Equally fallacious is the claim that poetry is an unnatural form of discourse. People who make the claim incorrectly believe that prose is the natural form of communication, and poetry an aberration. All of us speak poetry part of the time. For example, we sing hymns, which begin as poems and become hymns only when music is added to them (after which they do not cease to be poems). We speak of the sun rising and setting, of game changers and cliff hangers, of killing time and juggling our schedule. All of these are poetic metaphors. Why do we use them? Because we correctly sense that poetic speech often conveys truth more effectively than literal prose. A third misconception is that poetry is unrelated to real life. This is doubly false. At the verbal level of the actual language used, poetry stays close to the everyday experiences of life. Biblical poets keep us rooted in a world of water and sheep and light and pathways. Additionally, at the level of content, poems have exactly the same subject as all other literature, namely, universal human experience. Both of these points — that poetic language and the content of poems put us in touch with everyday experience — were encapsulated in the title of a book on poetry: Poetry and the Common Life . 1 Seven Things You Need to Know About Poetry Fiction writer Flannery O’Connor famously said that “the writer should never be ashamed of staring.” She meant that literary authors need to be close observers of life. Teachers of literature often adapt O’Connor’s statement and apply it to readers: readers, too, should never be ashamed of staring at a text. But we should not say this glibly. Merely staring at a poem in the Bible will yield meager results. We need to know what to look for , which is to say that we need to know how poetry works. We can begin with seven things readers need to know about poetry. 1. We know that God expects us to understand and enjoy poetry. This is not a controversial claim. We know that God wants us to have poetry as a component of our spiritual lives because at least a third of the Bible comes to us in the form of poetry. Poetry is present throughout the Bible. For starters, we can think of books that are wholly or largely poetic in format: Psalms, Proverbs, Song of Solomon, and Job. But those are only the obvious  places where we find poetry in the Bible. The books of Ecclesiastes and Revelation, though printed mainly as prose, are actually poetic in their technique. Jesus’s discourses are heavily poetic in their language, and it is no stretch to say that Jesus is one of the world’s most famous poets. Beyond these saturated poetic parts of the Bible, we find metaphors and other figures of speech on nearly every page of the Bible. The New Testament epistles feature passages like the following as a staple: “At one time you were darkness, but now you are light in the Lord. Walk as children of light” (Ephesians 5:8). We can draw three conclusions from the fact that God gave us a poetic Bible. The first is that it gives us and our charges an incentive to embrace and master the poetry of the Bible. If God gave us poetry, he wants it to be present in our lives. Second, the heavy incidence of poetry in the Bible stands as a rebuke to people who disparage it and try to steer us away from it. God is not honored by lazy Bible readers who refuse to master the poetic parts of the Bible. Third, if poetry permeates the entire Bible, we need to be ready to recognize it wherever it appears, not just in the obviously poetic parts, and to deal with it as poetry. 2. Poetry requires a slow read. Poetry requires us to read it slowly and analytically. This stands in contrast to the trends of our time. To read slowly is the opposite of the speed reading that our culture encourages. Poetry also differs from genres such as expository prose and stories that carry their meaning largely on the surface. When I said earlier in this paragraph that poetry requires us to read it analytically, I did not mean meditatively , though that is a good way to read everything in the Bible. Meditation is the reflection and application in which we engage after we have assimilated a text. By analysis  I mean that poetry embodies its meanings in images and figures of speech that require us to unpack them. After we have done that, we can proceed to meditate on what we have uncovered. 3. Poets speak a language all their own. In resisting the claim that poetry is an unnatural form of discourse, I am not saying that poetry is our normal  way of speaking. Poetry is a specialized form of discourse. But so is prose. In ordinary conversation, we often do not speak in prose (complete sentences that follow the rules of grammar). Instead, we speak an associative form of communication consisting of single words and phrases, disjointed and incomplete sentence fragments, arranged by stream of consciousness instead of formal syntax and logical argument. The drift of what I am saying is that the entire Bible, prose as well as poetry, requires analysis and unpacking. Very little in the Bible resembles the conversation at the local coffee shop. To return to the announced point, poets speak in what can be called a poetic idiom. It consists of images and figures of speech. All that this means is that we need to educate ourselves into the expectations of poetic discourse, just as we need to educate ourselves into how stories and epistles work. At this point, poetry is no different from the rest of the Bible: dealing with it competently depends on allowing the expectations of the genre to govern our encounter with a text. 4. Poets think in images and figures of speech. Poetry is a way of thinking and feeling before it is a form of speech or writing. Poets write in a poetic idiom because during the process of composition that is how they experience life and record it. As a byproduct of this, we need to credit poets with possessing a skill of expression and perception of the world that most people lack. But this does not separate poets from us; it only means that poets are our representatives. They say what we, too, want said, only they say it better and in a distinctive way. If poets think in images, so must we as readers. 5. Poetry is a form of logic. Modern poet Stephen Spender wrote in his famous essay “The Making of a Poem” that “the terrifying challenge” facing a poet is the question “Can I think out the logic of images?” 2  If we think of poetry as a form of logic, a door is opened into seeing it as more like ordinary speech than we might otherwise think. Logic means making an accurate connection between two things. We can always ask, Why did the poet use this image for this subject matter? Similarly with the comparisons (metaphors and similes) that poets continually spring on us: How is A like B? What is the logic of calling God a shepherd (Psalm 23:1), and the godly person a tree planted by a stream of water (Psalm 1:3)? 6. Poetry is an invitation to discover meaning. Poetry does not carry all of its meaning on the surface. In fact, it is akin to a riddle in the sense that it requires us to discover the meanings that a poet has embedded in the poetic texture of a poem (the images and figures of speech). The poet simply puts a figure of speech before us, such as “the name of the Lord is a strong tower” (Proverbs 18:10), and expects us to figure out the meanings of the comparison. Instead of chafing under this obligation, we and our audiences should relish the opportunity to be active in discovering God’s truth. Unpacking the meanings embedded in poetry can be a pleasurable experience, and additionally it is good at activating a Bible study group in a process of joint discovery. 7. Poetry is concentrated. An additional trait of poetry has been implied above, namely, that poetry is the most compressed form of discourse. Individual images and comparisons rarely embody just one meaning. When a biblical poet compares the experience of trusting in God to living in his house (Psalm 91:1), the meanings are multiple. None of these traits puts poetry beyond the reach of anyone. The real obstacle to reading the poetry of the Bible is not its alleged difficulty. It is instead unwillingness to spend the time and mental thought required to unpack the meanings that poetry embodies. Three Principles of Poetry In any sphere of life, our methods of accomplishing a task need to be based on an understanding of the principles involved. Perhaps you have shared my experience of trying to screw a bottle top onto a bottle, only to discover eventually that it needed to be pushed on instead. What follows is a section of methodology, equivalent to the first class meeting on poetry in my Bible-as-literature courses. What I am about to say should be understood as constituting “first things” when dealing with the poetry of the Bible. What we need to do first is master the actual poetic texture of a poem (the words, images, and figures of speech). After all, this is what embodies the content. We need to avoid putting matters of secondary importance ahead of analysis of poetic texture. I remember how shocked I was when a biblical scholar said that the first thing he would talk about with biblical poetry is parallelism. That is totally unhelpful. Poetic meaning is embodied in the poetic texture; parallelism is only the verse form in which the content is packaged. It is not unimportant, but it is far down on the agenda of topics that need to be addressed as we deal with a poem. Another preliminary point that I need to make is the distinction between poetry  and poem . Poetry  is the language poets use, as I am about to discuss it. This language often goes by the name the poetic idiom . Poems  are compositions constructed out of poetic language. Many specific genres fill out the repertoire of poems — praise psalm, for example, or oracle of judgment, or Christ hymn. In the space at my disposal, I will concentrate on the essentials of poetry . This is what gets shortchanged in conventional biblical scholarship and Bible study methods. I have divided my primer on poetic discourse into three principles. Poetic Principle 1: The Primacy of the Image An image is any word that names a concrete object or action. In Psalm 1:1, walking, standing, sitting, the way or path, and the seat are all images. I need immediately to note a complexity. In the Bible, “the straight image” is relatively rare. Most images in the Bible are part of a metaphor, simile, or symbol. The picture that Amos paints in his satiric portrait of the complacent wealthy of his society employs straight imagery. Thus, lying on beds of ivory (Amos 6:4) is an example of a straight image because it is not part of a metaphor or simile — the rich in Israel really were lying on beds of ivory. But analysis of a metaphor or simile needs to begin the same way we handle a straight image. In comparisons such as metaphors and similes (which I will shortly discuss), A is said to be like B. Every comparison of this type is an image first (level A), and the meanings we assign to this image at level A are then carried over to level B. This means that everything I am about to say about the primacy of the image in poetry applies to metaphors, similes, and symbols as well as straightforward images. Dealing with a poetic image starts at the literal level of identifying the exact nature of the image. This is usually but not always self-evident. In Psalm 121:6, the striking of the sun by day is obviously the threat of sun stroke and heat exhaustion, but the image in the next line of the striking of the moon by night requires research. Once we have the literal image correctly identified, we need to do three more things with it. First, an image requires us to determine its connotations, either universally or in the specific context of the poem where the image appears. Abiding in a shelter or house (Psalm 91:1) embodies connotations of safety, protection, provision, proximity to others living in the same house, and loving relationship. Second, images usually evoke feelings. Naming the feelings evoked by an image — determining its affective meanings — is an entirely legitimate and helpful form of commentary. Third, we need to explore the logic of an image. Logic involves making accurate connections between two things. To explore the logic of a poetic image means determining why the poet chose a particular image for the experience that is being presented. Before I move to my additional “first things” in regard to poetry, I need to take time out to say that I hope you are not impatient with my nuts-and-bolts approach to the poetry of the Bible. The reason poetry is not treated as poetry in our circles is that interpreters do not begin at the foundational level that I am delineating. I once surveyed what commentaries and study Bibles did with an image that appears more than half a dozen times in the Psalms — raising up a horn (e.g., Psalm 75:10; 89:17; 112:9; 148:14). None of my sources told me what the literal image is; all the attention was devoted to interpreting the conceptual meaning of the image. Poetry needs to be read and interpreted in terms of what it is, starting at the foundational level of its imagery. Poetic Principle 2: The Importance of Comparison or Analogy As far back as the oldest surviving piece of literary theory, Aristotle’s Poetics , the ability to see resemblances has been regarded as the most crucial test of a poet’s ability. Analogy in poetry takes three forms: metaphor: an implied comparison between two things that does not use the explicit formula like  or as simile: an explicitly stated comparison that uses the formula like  or as symbol: an image that embodies meanings beyond the thing named Some will be surprised to see symbol on my list, but a symbol operates on the same principle of analogy that the other two do. A symbol has its literal identity (level A) and then adds one or more other meanings to it (level B). What is the effect when a poet draws our attention to a correspondence between two things? It is ingenious: the poet uses one area of human experience to illuminate or shed light on another area. In Psalm 23, a shepherd’s acts of provision for his sheep during a typical day illuminate how God provides for human needs. Poetic analogy is a form of logical equation, as one thing is said to be equivalent to something else. Another helpful term is the word bifocal : in a metaphor, simile, and symbol, we are required to look at two things — the experience being presented and the image to which it is compared. What interpretive actions do poetic comparisons require us to perform? This is where the word metaphor  is worth its weight in gold. The word is based on two Greek words meaning “to carry over.” That is exactly what we need to do. If “the tongue is a fire” (James 3:6), we first need to determine what the literal properties of fire are, and then we need to carry over  those meanings to the subject of human words and speech. Poetry is concentrated, and it is a rare poetic analogy that has only one point of correspondence. Three things follow from what I have said. First, poetry is based on a principle of indirection. Poet Robert Frost said that poetry is a way of saying one thing while meaning another. The poet says  that the name of the Lord is a strong tower (Proverbs 18:10); he means  that God is a strong protector with whom we are safe. Second, metaphors, similes, and symbols are an invitation to discover meaning. The poets of the Bible state that A is like B, trusting us to complete the process of communication that they have begun. Third, merely labeling a figure of speech correctly is of very limited value. What matters is that we unpack the meanings embodied in a figure of speech. Poetic Principle 3: Poets’ Preference for the Nonliteral Let me first simply name additional figures of speech that occur so often in biblical poetry that we need to know what they are: apostrophe; synecdoche; metonymy; personification; allusion; paradox; merism. Definitions of these are available on the Internet; for a more analytic discussion of how they actually work, I recommend my book A Complete Handbook of Literary Forms in the Bible . 3 Most of these figures of speech are fictional and often fantastic rather than factual or literal. In apostrophe, for example, a poet addresses someone not literally present (“O kings” in Psalm 2:10), or something that is inanimate and therefore incapable of hearing and responding (“mountains and all hills” in Psalm 148:9), as though  these were present and capable of hearing and responding. It is no wonder the world has coined the label poetic license . We need to handle the poetry of the Bible in the spirit in which it is offered to us, respecting the far-flung imagination of its poets. Embracing the Bible’s Poetry The foregoing has doubtless seemed like sitting in a college literature class. This is exactly what you need in order to read and teach and preach on biblical poetry with confidence. At the beginning of this article, I quoted a preacher who recalled the era of his life when he avoided preaching from the Psalms because he did not know “what to do” with a psalm. After he embraced a literary approach to the Bible along the lines of what I have said in this article, he no longer avoided preaching on biblical poetry. In this article, I have opened a door that can enable you to know what do with a biblical poem. I have one more challenge for you: if preachers and Bible study leaders would devote just two minutes in a sermon or Bible study session to teach or remind their audience of individual pieces of literary methodology, church members would quickly become adept at handling the Bible. A reminder of what a poetic image or analogy requires us to do, or that stories are made up of plot, setting, and character, would equip the person in the pew to deal with biblical texts in terms of what they really are. We have been guilty of a great abdication in this regard, but the remedy is straightforward. All it takes is resolve. M.L. Rosenthal, Poetry and the Common Life  (New York: Persea Books, 1974). ↩ Stephen Spender, The Making of a Poem  (New York: Norton, 1962), 54. ↩ Leland Ryken, A Complete Handbook of Literary Forms in the Bible  (Wheaton, IL: Crossway, 2014). ↩