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About the Book
"Too Busy Not to Pray" by Bill Hybels is a practical guide that emphasizes the importance of making time for prayer amidst our busy lives. It provides advice on how to develop a consistent prayer life, draw closer to God, and experience the power of prayer in every aspect of life. The book stresses the transformative impact of prayer and offers insights on how to overcome common obstacles to prayer.
Ann Judson
As the life of Mrs. Ann H. Judson was completely identified with that of her heroic husband, it has been thought neither desirable nor possible to contemplate, them altogether apart. The reader, therefore, who has read our sketch of Dr. Judson, has become familiar with the great events and heroic achievements of her life. Hence the following pages will be devoted chiefly to an estimate of her character. And as she manifested great simplicity and force of character, was actuated by unmistakable motives, and kept ever in full the one great object of her life, her biographers have never been at a loss to decide with what lines and colors to depict her. She was not one of those women who, though brilliant and famous, have been so volatile that it required, not a writer, but rather a photographer, to
"Catch, ere she change, the Cynthia of this minute,"
and so, by a long succession of dissimilar pictures, to enable us to form some general notion of a versatile and extraordinary but illogical and inconsistent life.
A few brief memoranda may be here set down, in order to prepare the reader to accompany us in our analysis of some of the elements in Mrs. Judson's character.
Ann Hasseltine was born at Bradford, Massachusetts, [United States], December, 22d, 1789. She was converted at the age of seventeen, and after completing a pretty thorough and extensive course of study at Bradford Academy, she engaged, not from poverty, but from a sense of duty, in teaching the young. As she opened her school with prayer, her little pupils at first seemed astonished at such a beginning, as some of them had probably never heard a prayer before. She taught school in Salem, Haverhill and Newbury.
Her marriage took place at Bradford, February 5th, 1812, and on the 19th of the same month Mr. and Mrs. Judson embarked for Calcutta. They reached Rangoon in July, 1813.
She set out to return to America by way of London in 1821, and after spending a year in England and Scotland she sailed for New York, where she arrived on the 25th of September, 1822, but proceeded at once to Philadelphia. While here she composed and published a "History of the Burman Mission." She spent some time in Baltimore under medical treatment. She also visited Washington. In June, 1823, she embarked again for Rangoon, where she arrived in December, 1823, after an absence of two years and a half.
She died of remittent fever, at Amherst, a town near the mouth of the Salwen, October 24th, 1826, in the 37th year of her age. Dr. Judson was absent at the time, and no fellow-missionary was present at her death or burial:
By foreign hands thy dying eyes were clos'd,
By foreign hands thy weary limbs compos'd,
By foreign hands thy humble grave adorn'd,
By strangers honor'd and by strangers mourn'd."
Rightly to estimate the excellences of Ann Hasseltine Judson, our readers ought to be acquainted with the state of religion in the Congregational churches of New England, at the beginning of the present century. For information on this subject we have no room.
Her piety was intelligent and sincere. The pastors of that day seem to have been less faithful than the principals and professors of the academies. Miss Hasseltine, under the religious teachings and exhortations of the latter, learned to search her own heart and to understand the difference between common morality and the gracious affections. She was also somewhat indebted to books on practical piety, such as Bunyan's Pilgrim's Progress and Bellamy's True Religion.
One Sunday morning she took up Mrs. Hannah More's Strictures on Female Education. The first words that caught her eyes were those of a quotation of Scripture: "She that liveth in pleasure, is dead while she liveth." For a little season these words alarmed her, and she resolved to lead a life more serious and thoughtful. Converted during a revival in the Spring of 1806, her narrative of her religious exercises at the time (no common production regarded from a literary point of view) is a striking proof of the evangelical character of her experience, and of her clear intellectual analysis of its elements. The tests of a state of grace were some of them perhaps more severe than Holy Writ requires. But after agonies of soul which remind one of Bunyan's, as related in Grace Abounding, she came out of the conflict with unmistakable evidence of newness of life. As she owed much to a revival of religion, so she was ever after a friend of awakenings. She also became a winner of souls. Whether on the land or on the sea, sick or well, among acquaintances or strangers, she considered it her duty to invite sinners to Christ. She did not allow her large ideas of "the good of being in general," and preaching the Gospel to all nations of the world, to blind her to the needs of every person she met in private and social intercourse.
And the courage of Mrs. Judson was as remarkable as her piety. Was there nothing in it of the nature of fanatical hardihood or a rash and willful closing of the eyes on the dangers and unavoidable miseries of a woman's missionary life? We say a woman's, for she was the first American woman that resolved to enter the field of Foreign Missions. Harriet Newell, who accompanied her, informs us that Miss Hasseltine was the first to determine to leave her native land and to go to India; and the journal of the former shows that she was influenced by the example of her more adventurous friend. But this was not the only time that she was called to encounter suffering and death all alone. After the death of her earliest female associate, Mrs. Newell, she was again left alone. And during her husband's imprisonment, her own hardships, perils and sufferings were enhanced by the fact that she was the only European woman at the Burman capital, and there was not one fellow-foreigner to help her meet the scorn and rancor of the populace or the insolence, apathy, terrorism, and extortion of the barbarous officials.
Her consecration to the cause of Christ was complete. About the time of her conversion, the question of the nature and extent of true submission to God began to be discussed in England. When Rev. John Lord, so well known as a lecturer on history, was being examined for ordination, a member of the council asked him whether he were willing to be damned in case it should please God to send him to perdition. His reply was, "Well; fathers and brethren, if the question were whether I am willing that you should be condemned, I might answer without much hesitation, but I have not, I must confess, any such submission to God, as in any case to be willing that I should myself be doomed to final misery."
As for Miss Hasseltine, in her narrative of her Christian experience, she relates how she was brought to an absolute submission to the divine Sovereignty. Afterwards, when her sister asked her if she were willing to be lost, she replied with careful discrimination: "I am not willing to be an enemy of God; but so submissive is my spirit that I could not be unhappy, however He might dispose of me." Well does Mrs. Sigourney pronounce her piety disinterested and sublime.
Her intellectual powers were of no common order. Though, while a girl, she had a strong relish for social amusements, such was her desire for knowledge, that a book could allure her from the gayest social circle. "This desire," says Mr. Knowles, "is almost invariably an attribute of eminent mental powers; and the person thus happily endowed, needs nothing but industry and adequate means, to assure the attainment of the highest degree of literary excellence." Hers were fortunately the means and industry. At the Bradford academy she displayed a rapid perception and a retentive memory, as well as that strong reasoning faculty which her writings everywhere exhibit. She wrote much and well, but as the most of her compositions have perished, we can not form a fair estimate of her abilities as an author. Her letters are marked by that seriousness and fervor, that masculine strength and clearness, which characterized her mind and heart.
Her "Address to the Females in America," in behalf of her schools for Burman girls, is written with zeal and gracefulness, and her "History of the Burman Mission," is a concise and well conducted narrative.
She became perfectly familiar with the Burman language and character; and probably her most eloquent addresses were those, which she made to the King, Queen and other persons connected with the Burman Court. Dr. Wayland speaks of her as possessing great clearness of intellect and large powers of comprehension. It was not to be expected that a woman with such superior gifts and acquirements, would escape the weapons of malice. "Envy with its acute vision," says her biographer, "and calumny with its open ear and ready tongue, although they have assailed her, have never insinuated a doubt of the purity of her life." For a lady to be a successful author, was provoking, but for her to be also a world-renowned missionary, was a crime, that deserved no mercy.
She was of sanguine temperament, but without the changefulness which so often attends it. Coupled with great firmness and resolution, it carried her forward in her career with a steady vivacity and hopefulness. Herein did nature co-operate with grace; for in her early years, as we are told, she was distinguished by feelings unusually ardent, and by a love of enterprise and adventure.
Her restless spirit was indeed sometimes the occasion of grief to her mother, who once said to her, "I hope, my daughter, you will one day be satisfied with rambling."
Her excellent biographer, Mr. Knowles, admits that her constitutional fervor may sometimes have had too much influence over her feelings, and, we think he might justly have added, over her judgment. When told by her London physicians (men so often consulted by patients of her class), that she could not live if she returned to India, she gave no heed to the intelligent and prudent warning.
Again, while returning to the East, she was on her arrival in Hindustan assured that there was great prospect of war between the English and the Burmans. Friends both at Serampore and Calcutta concurred in advising her not to go forward to Rangoon. This unanimous advice was, we are told, enforced by an account of the real state of things, which was furnished to her and her fellow missionaries by the chief Secretary of British India. Yet, after all, she, flew deliberately, as no bird would have done, directly towards the thunder-cloud. We hold the unpopular opinion that right thinking is as acceptable to God as right feeling. We own, indeed, that it is not certain that she did not think wisely, when, in the face of all human counsels and alarms, she determined to put health and life in jeopardy by going to Rangoon at that portentous time. We are equally ready to concede that very few of the heroes or heroines of the church and the world have been markedly wise and prudent. We might go on to make several other concessions in favor of Mrs. Judson, were it not that to set them down at proper length would carry us too far out of our way. It is sufficient to add that she showed an admirable superiority to fear, from the time of her first approach to India, when her eyes caught a distant glimpse of the towering mountains of Golconda, to the moment when she cast her last dying look on the waters of Martaban.
Mrs. Judson acquired a proper independence of heart and mind. This is commonly regarded as a masculine rather than a feminine virtue; but her tragic life, in which a heroic energy and resolution were so often demanded, called into exercise the highest manly excellences. These, disentangling themselves from natural weakness and temptation, arose to those serene regions where they met the strong current of divine grace, and were thereby wafted perpetually towards the supreme object of Christian pursuit. But this independence was not joined to an audacious and obstinate disposition, but to meekness and to a lady-like delicacy and quietness. It was this independence that sustained her rare perseverance. Hence, "amidst perplexities, disease and danger, she pressed steadily forward towards the great object to which her life was devoted. The state of her health repeatedly forced her away from the scene of her labors; but she returned the moment her recruited strength would permit. The tumults of war, and the exasperated barbarity of the government, subjected her and her associates to sufferings unparalleled in the history of modern missions. But as soon as peace returned, instead of flying from a country where she had endured so much, and where her benevolent toils had been so cruelly requited, her first thoughts were directed to the re-establishment of the mission." Many other instances might be cited in proof of Mrs. Judson's superiority to circumstances, and her consequent power to persist unfalteringly in a grand enterprise.
In personal presence she happily blended modesty and self-possession. In her manners there was such an ease and repose that at first you suspected that she was wanting in feminine sensibility and ardor. You had only to mention the Burman mission or any subject connected with human redemption, to see her eyes flash with enthusiasm and to find features and voice expressing the most delicate and most prevailing eloquence.
Her figure was rather above the medium height; in complexion, she was a brunette: but after her return from India it was impaired by the sallow tinge, which a tropical climate almost always lends.
The portrait prefixed to her memoir, as first published, was thought by her friends correctly to represent her as she appeared during her visit to the United States. She then had, we are told, an oval face, with a profusion of black curls, and dark deep eyes. Her pleasant, open countenance had in unsought air of dignity. Her conversation partook of the same admixture of sweetness, frankness and unaffected majesty.
Mrs. Judson's destitute and forsaken plight, as her husband found her at Ava, on his return to his home from Maloun, at the close of the negotiations for peace, was afterwards graphically described by Mr. Judson to his wife Emily. Some vague intimation had created the fear that she was dead. As soon, therefore, as he was released, he ran to his house. The door was open, and without being seen by any one he entered. "The first object that met his eye was a fat, half naked Bengalee woman, squatting in the ashes beside a pan of coals, and holding on her knees a wan baby, so begrimed with dirt that it did not occur to the father that it could be his own. He gave but one hasty look and hurried to the next room. Across the foot of the bed, as though she had fallen there, lay a human object, that at first glance was scarcely more to be recognized than his child. The face was of a ghastly paleness, the features sharp, and the whole form shrunken almost to the last degree of emaciation. The glossy black curls had been shorn from the finely-shaped head, which was now covered with a close-fitting cotton cap. The whole room presented the appearance of the very deepest wretchedness. There lay, sick, the devoted wife who had followed him so unweariedly from prison to prison. The Bengalee cook, who held the child, had been her only nurse. The wearied sleeper was awakened by a breath that came too near her cheek, or perhaps, a falling tear."
Long before Mr. Judson's imprisonment she had adopted the Burmese style of dress — we say style, for in Asia fashion is not known. Her friend, the wife of the governor of the palace, presented her with a dress and recommended her to wear it, rather than a European costume, as better adapted to conciliate the people. "Behold her, then," said Mr. Judson to Mrs. Emily, "her dark curls carefully straightened, drawn back from her forehead, and a fragrant cocoa blossom drooping like a white plume from the knot upon the crown; her saffron vest thrown open to display the folds of crimson beneath; and a rich silken skirt, wrapped closely about her fine figure, parting at the ankle and sloping back upon the floor. The clothing of the feet was not Burman; for the native sandal could not be worn except upon a bare foot. Behold her standing in the door-way (for she was never permitted to enter the prison) her little blue-eyed blossom wailing, as it almost always did, upon her bosom, and the chained father crawling forth to the meeting." Behind her stood her faithful servant, Moung Ing, and by her side, to guard the threshold, the merciless "spotted face." As the father struggled forward to receive his child, his companions in misery, who were fastened to him, seconded his wishes by a simultaneous movement towards the door. This scene, we are told, remained to the end of his life among Dr. Judson's most vivid recollections.
The influence of Mrs. Judson as a political adviser at the Court of Ava, during the Burman war, has been very generally overlooked. When it is remembered that she was for a long time the only European at the capital that had not been sent to prison and so denied all intercourse with the members of the Court, and that, though she was well acquainted with the British power and policy, yet, as an American, she had the advantage of being a neutral, we need not wonder that, as is now well known, she was the author of those eloquent appeals to the government which prepared it for submission to the terms of peace. She persuaded the haughty and proud court to yield its notorious inflexibility in favor of the welfare of the people. Hitherto sincerity in negotiations with an enemy had not been observed. She urged the importance of an honest diplomacy and the necessity of keeping good faith in all offers of peace to England. No official acknowledgement of her political services was to be expected either from the Burmese or from the British; for the party to a treaty that should express gratitude to a mediator would be suspected by the opposite party of having obtained the better bargain. Policy, it is thought, dictates the necessity of a good deal of formal grumbling. While officials greedy of pay and place, are loud and urgent in their claims based on their services in diplomacy, it is not surprising that British histories of Burmah should so often ignore both Mrs. Judson's good offices at the court of Ava, and those of Mr. Judson in securing the treaty of Yandabo. It is but just, however, to the Governor General of India to add that he allowed Mr. Judson, five thousand two hundred rupees, in consideration of his services at this treaty and as a member of the subsequent embassy to Ava.
Mrs. Judson's narrative of her husband's imprisonment at Ava and Oung-pen-la must always rank among the most graphic and pathetic to be found in English literature. Such a conjuncture of events, such alternations of favorable and unfavorable occurrences; such contrasts of character in the intercourse of persons of the highest refinement and of the coarsest and most brutal barbarians — barbarians who had just enough of the light of civilization occasionally darting upon them to reveal, like lightning at midnight, vast surroundings of the deepest darkness;— the transitions from hope to terror through which Mrs. Judson was so often hurried; her description of the fate of others: as of the renowned Burman General Bandoola —how enthusiastically, yet blindly, his troops set out for the strife with the British forces; the entire assurance which pervaded the palace that he would return in triumph, bringing English captives to be the slaves of the princes and princesses of golden Ava; then the news of Bandoola's sudden death in the storming of Donabew; how the King received it in silent amazement, and the Queen, in Eastern style, smote upon her breast and cried Ama! ama! (Alas! alas!) — how on that long walk of two miles though the dark streets of the capital she heard the people say, "Who can be found to fill Bandoola's place? Who will venture since the invincible general has been cutoff?";— how, in low tones, the poor common men were heard to speak of rebellion in case a call was made for more soldiers; the delayed arrest of the Spanish consul Lansago and the Portuguese priest (a delay which we are sorry she did not stop to explain); the sufferings and death of the Greek prisoner on the way to Oung-pen-la;— her care in feeding and clothing the other European prisoners as well as her husband, making no distinction except in case of the threatened execution of all, when, having interceded for all, the heart of the wife dutifully implored that he at least might be spared;— her daily visits to the prison, carrying food to the door she was not permitted to pass — food which the keepers would not even allow their servants to bear a few paces to the hands of their famishing charge without an extra fee;— her daily visits to the governor of the city to obtain some mitigation of her husband's sufferings;— her nightly return to her solitary home, two miles away, and her throwing herself, worn out with fatigue and anxiety, into her chair to invent some new scheme for the release of the prisoners;— her construction of little bamboo cabins near the prison to serve as hospitals for her sick husband;— the first appearance of poor little infant Maria at the door of the prison in the arms of her mother;— the sickness, terror and vexation of the prison life at Oung-pen-la;— her making presents to the jailors to obtain leave for Mr. Judson to carry his emaciated little daughter around the village to beg a little nourishment from the mothers who had infants of their own;— the hopes of life and liberation that were raised by the news of the execution for high treason of their diabolical foe at court, the Pakan woon, one of the King's brothers;— the effect of all-absorbing hopes, fears, pains, anxieties and exasperating exactions in causing in her heart an almost total oblivion of home and kindred for nearly a year and a half;— and then the reasonable expectation of liberty spreading like the light of the morning on the crests of dark mountains;— last of all, best of all, the certainty, of freedom and that greater joy than any other human triumph ever knew, when they found themselves floating down the Irrawaddy of a moonlight evening, surrounded by six or eight golden boats; and the next morning, saw that they had sailed within the British lines and the bounds of civilized life;— these events and others, perhaps more touching than these, must be read in Mrs. Judson's own letter to her brother, before we are prepared to form any tolerable notion of her rare benevolence, her ingenious kindness, her quick sagacity, her star-like perseverance and the peculiar qualities of her genius.
Much is it to be regretted that there was no one at her bed-side competent to mark and remember her last words during those eighteen days of sickness. Though little Maria's disease had worn out her mother, and was, it is supposed, the innocent occasion of her mortal sickness, she, was nevertheless a great comfort to that mother during the lonesomeness which was caused by her husband's long imprisonment and his subsequent absence at the court of Ava.
In her last letter to him she says, "When I ask poor little Maria where Papa is, she always starts up and points towards the sea." Mrs. Sigourney makes touching mention of the relation of the sick child to the dying mother:
Dark Burman faces are around her bed,
And one pale babe,—to hush whose wailing cry,
She checks the death groan, and with fond embrace,
Still clasps it firmly to her icy breast,
Even till the heart-strings break."
From The Story of Baptist Missions in Foreign Lands... by G. Winfred Hervey. St. Louis: Chancy R. Barns, 1885.
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). ↩