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"Taking Action" by Reinhard Bonnke is a motivational book that emphasizes the importance of taking bold and proactive steps towards achieving one's goals and dreams. Bonnke shares personal anecdotes and practical advice on how to overcome fear, doubt, and procrastination in order to pursue a fulfilling and purposeful life. The book serves as a call to action for readers to ignite their passions, unleash their potential, and make a positive impact on the world.

Joseph Ayodele Babalola

Joseph Ayodele Babalola His Background Joseph Ayodele Babalola was born on April 25, 1904 to David Rotimi and Madam Marta Talabi who belonged to the Anglican Church. The family lived at Odo-Owa in Ilofa, a small town about ninety kilometres from Ilorin in Kwara State, Nigeria. His father was the Baba Ijo (“church father”) of the C.M.S. Church at Odo-Owa. Pastor Medayese wrote in his book Itan Igbe dide Woli Ayo Babalola that mysterious circumstances surrounded the birth of Babalola. On that day, it was believed that a strange and mighty object exploded and shook the clouds. On January 18, 1914, young Babalola was taken by his brother M. 0. Rotimi, a Sunday school teacher in the C.M.S. Church at Ilofa, to Osogbo. Babalola started school at Ilofa and got as far as standard five at All Saints’ School, Osogbo. However, he quit school when he decided to learn a trade and became a motor mechanic apprentice. Again, he did not continue long in this vocation before joining the Public Works Department (PWD). He was among the road workers who constructed the road from Igbara-Oke to Ilesa, working as a steam roller driver. Babalola’s Call to the Prophetic Ministry Just like the Old Testament prophets, Babalola was called by God into the prophetic office to stand before men. His was a specific and personal call. Babalola’s strange experience started on the night of September 25th, 1928 when he suddenly became restless and could not sleep. This went on for a week and he had no inkling of the causes of such a strange experience. The climax came one day when he was, as usual, working on the Ilesa-Igbara-Oke road. Suddenly the steam roller’s engin stopped to his utter amazement. There was no visible mechanical problem, and Joseph became confused and perplexed. He was in this state of confusion when a great voice “like the sound of many waters” called him three times. The voice was loud and clear and it told him that he would die if he refused to heed the divine call to go into the world and preach. Babalola did not want to listen to this voice and he responded like many of the Biblical prophets, who, when they were called out by Yahweh as prophets, did not normally yield to the first call. Men like Moses and Jeremiah submitted to God only when it became inevitable. So, Babalola gave in only after he had received the assurance of divine guidance. To go on the mission, he had to resign his appointment with the Public Works Department. Mr. Fergusson, the head of his unit, tried to dissuade him from resigning but the young man was bent on going on the Lord’s mission. The same voice came to Joseph a second time asking him to fast for seven days. He obeyed and at the end of the period he saw a great figure of a man who, according to Pastor Alokan, resembled Jesus. The man in a dazzling robe spoke at length about the mission he was to embark upon. The man also told him of the persecutions he would face and at the same time assured him of God’s protection and victory. A hand prayer bell was given to Babalola as a symbol. He was told that the sound of the bell would always drive away evil spirits. He was also given a bottle of “life-giving water” to heal all manners of sickness. Consequently, wherever and whenever he prayed into water for therapeutic purposes, effective healing was procured for those who drank the water. Thus, Babalola became a prophet and a man with extraordinary powers. Enabled by the power of the Holy Spirit he could spend several weeks in prayer. Elder Abraham Owoyemi of Odo-Owa, said that the prophet regularly saw angels who delivered divine messages to him. An angel appeared in one of his prayers and forbade him to wear caps. The Itinerary of Prophet Babalola During one of his prayer sessions an angel appeared to him and gave him a big yam which he ordered him to eat. The angel told him that the yam was the tuber with which God fed the whole world. He further revealed that God had granted unto him the power to deliver those who were possessed of evil spirits in the world. He was directed to go first to Odo-Owa and start preaching. He was to arrive in the town on a market day, cover his body with palm fronds and disfigure himself with charcoal paints. In October 1928, he entered the town in the manner described and was taken for a mad man. Babalola immediately started preaching and prophesying. He told the inhabitants of Odo-Owa about an impending danger if they did not repent. He was arrested and taken to the district officer at Ilorin for allegedly disturbing the peace. The district officer later released him when the allegations could not be proven. However, it was said that a few days later, there was an outbreak of smallpox in the town. The man whose prophecies and messages were once rejected was quickly sought for. He went around praying for the victims and they were all healed. Pa David Rotimi, Babalola’s father, had been instrumental in the establishment of a C.M.S. Church in Odo-Owa. Babalola organized regular prayer meetings in this church which many people attended because of the miracles God performed through him. Among the regulars was Isaiah 01uyemi who later saw the wrath of Bishop Smith of Ilorin diocese. Information had reached the bishop that almost all members of the C.M.S. Church in Ilofa were seeing visions, speaking in tongues and praying vigorously. Babalola and the visionaries were allegedly ordered by Bishop Smith to leave the church. But Babalola did not leave the town until June 1930. On an invitation from Daniel Ajibola, Babalola went to Lagos. Elder Daniel Ajibola at that time was working in Ibadan where he was a member of the Faith Tabernacle Congregation. He introduced Prophet Babalola to Pastor D. 0. Odubanjo, one of the leaders of the Faith Tabemacle in Lagos. Senior Pastor Esinsinade who was then the president of the Faith Tabernacle was invited to see Babalola. After listening to the details of his call and his ministry, the Faith Tabernacle leaders warmly received the young prophet into their midst. Babalola had not yet been baptized by immersion and Senior Pastor Esinsinade emphasized that he needed to go through that rite. Pastor Esinsinade then baptized him in the lagoon at the back of the Faith Tabernacle Church building at 51, Moloney Bridge Street, Lagos. Babalola returned to Odo-Owa a few days after that and Elder (later Pastor) J. A. Medayese, paid him a visit. The news of the conversion of the new prophet reached Pastor K. P. Titus at Araromi in Yagba, present Kwara State. Pastor Titus was a teacher and preacher at the Sudan Interior Mission which was then thriving at Yagba. He invited Prophet Babalola for a revival service. Joseph Ayodele Babalola while in Yagba, performed mighty works of healing. Many Muslims and Christians from other denominations and some traditional religionists were converted to the new faith during the revival. The fact that Babalola did not use the opportunity to establish a separate Christian organization despite his marvelous evangelical success, must be puzzling to historians, but his intention was not to start a new church. He declared to his followers that he had registered his membership with the Faith Tabernacle, the society which had him baptized in Lagos. He thus persuaded them to become members of the Faith Tabernacle. To facilitate this, he went to Lagos to confer with the leaders, especially as he was not yet well acquainted with the doctrines, tenets, and administration of the church. Oke-Oye Mighty Revival There was a controversy among the leaders of the Faith Tabernacle in Nigeria over some doctrines. In the midst of it were, in particular, the Ilesa and Oyan branches of the tabernacle. The Oyan branch was under the supervision of Pastor J. A. Babatope, a notable Anglican teacher, before his conversion and later, one of the outstanding leaders of the Faith Tabernacle in Nigeria. Issues like the use of western and traditional drugs versus divine healing, polygamy and whether polygamous husbands should be allowed to partake of the Lord’s Supper, were among those doctrines that needed to be agreed on. These issues had caused dissension at the IIesa Tabernacle and in order to avoid a split, a delegation of peacemakers made up of all leading Faith Tabernacle pastors, was sent to Ilesa. It was headed by Pastor J. B. Esinsinade of Ijebu-Ode, president of the General Headquarters of the movement and D. O. Odubanjo of the Lagos Missionary Headquarters. The Ilesa meeting was scheduled for the 9th and lOth of July, 1930. The Apostolic Council of Jerusalem in A.D. 48, and other important church councils, are precedents in seeking ecclesiastical direction on matters affecting the life and peace of the church. Before the delegation left Lagos for Ilesa, Babalola had been invited to meet the leaders at Pastor I. B. Akinyele’s residence at Ibadan. From there I. B. Akinyele and Babalola joined the delegation to Ilesa. At Ilesa, he was introduced to the whole conference and was lodged in a separate room because of his prophetic mission. The representatives began their meeting and on the agenda were twenty-four items. The first was the validity of baptism administered to a man with many wives. The second was the issue of divine healing because some of the members believed in the use of drugs like quinine to cure malaria fever. They were only able to discuss the first item when there was a sudden interruption which Pastor Adegboyega described thus: “The concilatory talks at Ilesa were going on, when suddenly a mighty sweeping revival broke out at Faith Tabernacle Congregation Church at Oke-Oye, Ilesa”. The revival began with the raising by Babalola of a dead child. The mother of the dead child who was restored to life went about spreading the news around the town of Ilesa proclaiming that a miracle working prophet had come to the town of Oke-Oye. This attracted a large number of people to Oke-Oye to see the prophet. According to Pastor Medayese, many of those afflicted with various diseases who came to Oke-Oye were healed. Many mighty works were performed through the use of the prayer bell and the drinking of consecrated water from a stream called Omi Ayo (“Stream of Joy”). The result was that thousands of people including traditional religionists, Muslims and Christians from various other denominations were converted to the Faith Tabernacle. As there was no space in the church hall, revival meetings were shifted to an open field where men and women from all walks of life, from every part of the country and from neighbouring countries assembled daily for healing, deliverances and blessings. Odubanjo testified that within three weeks Babalola had cured about one hundred lepers, sixty blind people and fifty lame persons. He further claimed that both the Anglican and Wesleyan Churches in Ilesa were left desolate because their members transferred their allegiance to the revivalist and that all the patients in Wesley Hospital, Ilesa, abandoned their beds to seek healing from Babalola. The assistant district officer in Ilesa in 1930 wrote that he visited the scene of the revival incognito and found a crowd of hundreds of people including a large contingent of the lame and blind and concluded that the whole affair was orderly. Members of the church made fantastic claims such as: “Hopeless barren women were made fruitful; women who had been carrying their pregnancies for long years were wonderfully delivered. The dumb spoke and lunatics were cured. In fact, it was another day of Pentecost. Witches confessed and some demon possessed people were exorcized. But the general superintendent of the Wesleyan Methodist Missionary Society of Nigeria at the time has described the reports as “grotesquely inaccurate accounts of the operations of Babalola.” This of course could be the biased view of a man whose church was said to be the greatest victim of the Ilesa revival. A revelation was later given to Ayo Babalola to burn down a big tree in front of the Owa’s Palace. The big tree was traditionally believed to be the rendez-vous of witches and wizards. The juju tree was therefore greatly feared and sacrifices were usually made to the spirits believed to reside in it. There was apprehension that this bold act would result in the instantaneous death of Babalola since it was expected to arouse the anger of the gods. But to the great amazement of the people, the prophet did not die but rather continued to wax stronger in the Lord’s work. That single event was said to have made even the Owa of Ilesa and important people in the town to fear and respect the prophet. The tidal wave of Babalola’s revival spread from Ilesa to Ibadan, Ijebu, Lagos, Efon-Alaaye, Aramoko Ekiti and Abeokuta. No greater revival preceded that of Babalola. It was popularly held in Christ Apostolic Church (C.A.C.) circles that at one revival meeting, attendance rose to about forty thousand. Among the men of faith who came as disciples to Babalola were Daniel Orekoya, Peter Olatunji who came from Okeho, and Omotunde, popularly known as Aladura Omotunde, from Aramoko Ekiti. These men drew great inspiration from Babalola. Orekoya went on to reside in Ibadan where a great revival also broke out at Oke-Bola through him. It was during his Oke-Bola revival that Orekoya reportedly raised a dead pregnant woman. Babalola’s Other Missionary Journeys After the great revival of Oke-Oye, the prophet was directed by the Holy Spirit to go out on further missionary journeys, but even before this, people from other parts of the country had been spreading the glad tidings of Oke-Oye, Ilesa’s great revival, to other parts of the country. Accompanied by some followers, Joseph Babalola went to Offa, in present Kwara State. Characteristically, people turned out to hear his preaching and see miracles. The Muslims in Offa became jealous and for that reason incited the members of the community against him. To avoid bloodshed he was compelled to leave. He next stopped in Usi in Ekitiland for his evangelical mission and he performed many works of healing. From Usi he and his men moved to Efon-Alaaye, also in Ekitiland, where they received a warm reception from the Oba Alaaye of Efon. An entire building was provided for their comfort. Babalola requested an open space for prayer from the Oba who willingly and cheerfully gave him the privilege to choose a site. Consequently, the prophet and his men chose a large area at the outskirts of town. Traditionally the place was a forbidden forest because of the evil spirits that were believed to inhabit it. The Oba tried to dissuade Babalola and his men from entering the forbidden forest, but Babalola insisted on establishing his prayer ground there. The missionaries entered the bush, cleared it and consecrated it as a prayer ground. When no harm came upon them, the inhabitants of Efon were inspired to accept the new faith in large numbers. Babalola’s evangelistic success in Efon-Alaaye was a remarkable one. Archdeacon H. Dallimore from Ado-Ekiti and some white pastors from Ogbomoso Baptist Seminary were believed to have come to see for themselves the “wonder-working prophet” at Efon. Both Dallimure and the Baptist pastors reportedly asked some men from St. Andrew’s College, Oyo and Baptist Seminary, Ogbomoso to assist in the work. The success of the revival was accelerated by the conversion of both the Oba of Efon and the Oba of Aramoko. They were both baptized with the names, Solomon Aladejare Agunsoye and Hezekiah Adeoye respectively. After this event, news of the revival at Efon spread to other parts of Ekitiland. The missionaries also visited other towns in the present Ondo State. Among them were Owo, Ikare and Oka. Babalola retreated to his home town in Odo-Owa to fortify himself spiritually. While he was at Odo-Owa, a warrant for his arrest was issued from Ilorin. He was arrested for preaching against witches, a practice which had caused some trouble in Otuo in present Bendel State. He was sentenced to jail for six months in Benin City in March 1932. After serving the jail term, he went back to Efon Alaaye. One Mr. Cyprian E. Ufon came from Creek Town in Calabar to entreat Babalola to “come over to Macedonia and help.” Ufon had heard about Babalola and his works and wanted him to preach in Creek Town. After seeking God’s direction, the prophet followed Ufon to Creek Town. His campaign there was very successful. From Creek Town, Babalola visited Duke town and a plantation where a national church existed at the time. Certain members of this church received the gift of the Holy Spirit as Babalola was preaching to them and were baptized. When the prophet returned from the Calabar area, he settled down for a while. In 1935 he married Dorcas. The following year Babalola, accompanied by Evangelist Timothy Bababusuyi, went to the Gold Coast. On arrival at Accra, he was recognized by some people who had seen him at the Great Revival in Ilesa. After a successful campaign in the Gold Coast he returned to Nigeria. The Birth of the C.A.C. in Nigeria The spectacular evangelism by Prophet Joseph Ayo Babalola brought with it a wave of persecution to all who rushed into the new faith. The mission churches allegedly became jealous and hostile especially as their members constituted the main converts of the Faith Tabernacle. It was widely rumoured that the revival movement was a lawless and unruly organization. The Nigerian government was put on the alert about the activities of the movement. At this time, the leading members of the movement were advised to invite the American Faith Tabernacle leaders to come to their rescue. The leaders from America, however, refused to come as such a venture was said to be against their principles. As a matter of fact, the association between the Philadelphia group and the Faith Tabernacle of Nigeria was terminated following the marital problems of the leader of the American group, Pastor Clark. The Nigerian group then went into fellowship with the Faith and Truth Temple of Toronto which sent a party of seven missionaries to West Africa. Again, the fellowship was stopped when Mr. C. R. Myers, the only surviving missionary, sent his wife to the hospital where she died in childbirth. Despite these disappointing relationships with foreign groups, the Nigerian Faith Tabernacle still considered it prestigious to seek affiliation with a foreign body. The rationale for this can be found in D. 0. Odubanjo’s letter to Pastor D. P. Williams of the Apostolic Church of Great Britain of March 1931. In the letter Odubanjo claimed: “The officers of the government here fear the European missionaries, and dare not trouble their native converts, but often, we brethren here have been ill-treated by government officers”. This was followed by a formal request for missionaries to be sent to strengthen the position of the Nigerian Faith Tabernacle. Missionaries did come and, on their advice, the Nigerian Faith Tabernacle was ceded to the British Apostolic Church. Consequently, the name changed from Faith Tabernacle to the Apostolic Church. Doctrinal differences between the two groups soon began to appear in forms similar to the ones that caused the termination of the association with the American groups. The subject of divine healing, was one of the most important issues. Some of the invited white missionaries from Britain were found using quinine and other tablets and this caused a serious controversy among the leading members. It was unfortunate that the controversy could not be resolved and the movement subsequently split. One faction of the church made Oke-Oye its base and retained the name the Apostolic Church. The other larger faction and in which Prophet Joseph Babalola was a leader eventually became the Christ Apostolic Church. This church had to go through many names before May 1943 when its title was finally registered with number 147 under the Nigerian Company Law of 1924. Today, the church controls over five thousand assemblies, and reputedly is one of the most popular Christian organisations in Nigeria and the only indigenous organization with strong faith in divine healing. Professor John Peel recorded that the membership of the C.A.C. in 1968 was well over one hundred thousand. That figure must have doubled by now. The church opened up several primary and grammar schools, a teachers’ training college, a seminary, maternity homes and a training school for prophets. The years between 1970 and 1980 saw further expansion of the church to England, Ivory Coast, Sierra Leone and Liberia. At present the church has its Missionary and General Headquarters in Lagos and Ibadan respectively. Babalola was a spiritually gifted individual who was genuinely dissatisfied with the increasing materialistic and sinful existence into which he believed, the Yoruba in particular and Nigeria in general were being plunged as western civilization influence on society grew. The C.A.C. believes that the spiritual power bestowed on Babalola placed him on an equal level with Biblical apostles like Peter, Paul and others who were sent out with the authority and in the name of Jesus. Joseph Ayo Babalola slept in the Lord in 1959. David O. Olayiwola

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). ↩

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