Inclusio | Knowable Word

Arek Socha (2016), public domain

It’s a natural and practical question. When you’re studying the Bible, how much should you study at once?

On this blog we write a lot about studying the Bible. But most of these articles presume you already have a section of Scripture to study. Today we’ll talk about choosing that section of Scripture.

As you read, keep in mind this is more art than science. What you’ll find below are suggestions, not rules.

Units of Thought

Though inspired by the Holy Spirit, the biblical authors were humans. In some ways, their writing is similar to ours.

Recall your most recent email. Though your message had an overall purpose, each paragraph had its own function. So it is with the biblical texts. Authors usually have one overarching point for writing. But the author builds his case for that main point by assembling arguments and examples. At the smallest level, think about these as units of thought—an author stacks and arranges these units to form larger points, all supporting the main point of the book.

When mapping out a Bible study, this is where I begin. Study complete units of thought.

The length (number of verses) will vary across genres, and remember, there’s no right answer. Your small group might study five verses in an epistle or two chapters in a historical book. The key is to identify and respect these units of thought.

Here’s a simple example. Suppose an author’s main point rests on supporting points A and B. Perhaps A is established by a, b, and c, while B is established by d and e. Your Bible study might consist of just the text for point a (one unit of thought) or for points a, b, and c (three units of thought forming one larger unit). I’d advise against studying the texts for points a–d all at once.

Finding the Units of Thought

If an author’s units of thought are so important, how do we find out what they are? The simple answer is to read the entire book as many times as possible. This is part of what we suggest when completing a book overview.

The more you read the text, the more you’ll understand the author’s flow of thought. You’ll see the transitions and the divisions in the text will become clearer. Some of these markers are obvious—a change of location or main character, a shift in topic, a transition word. Some authors use structural cues to signal their units of thought. These were more obvious to the original audiences of the writing, but we have to work a bit harder to see them.

Here are two of the often-overlooked structural tools used in the Bible.

Inclusio — An inclusio occurs when an author places the same idea, word, phrase, or character both at the beginning and end of a unit of thought. What falls between these two markers should be included (inclusio!) in the same unit of thought. Without the space to explore this further, I’ll point you to this page for an explanation and an example.
Chiasm — In a chiasm an author presents a series of ideas and then repeats them in the opposite order. This can be used to mark off the text or to emphasize the point in the middle. The structure might look like A-B-C-B‘-A’. In this case A and A’ would share something in common, as would B and B’. This would help the reader identify the author’s focus on C. (Here’s a short reference on chiasms.)

Wisdom from Others

When you’re trying to decide how much of the Bible to study at once, don’t be afraid to ask for help! God has placed us in a body of believers across space and time, so we’re not in this by ourselves. Here are some resources to consider.

Book outlines in your study Bible or in other reference material can help you see a book’s structure.
Bible commentaries can be a great aid. Devotional or pastoral commentaries are usually more helpful than academic commentaries on this front. (Check out our recommended list of commentaries.)
The chapter divisions in the Bible can be helpful. They aren’t divinely inspired, but they weren’t inserted at random either.
Don’t ignore your church! Ask your elders, friends, and family for help in setting up your Bible study. In addition to offering you wisdom, sometimes talking through the matter with a friend can help you understand a book more clearly.

In Service of the Main Point

Deciding how much of the Bible to study might seem like a small matter, a tiny decision before you get to the “important stuff.”

But in fact, this is one of the key parts of studying the Bible! If your divisions follow the author’s flow of thought, you’ll be swimming with the current of the book, making it easier to see the main point of each passage.

And if you can understand and apply the main point of a Bible passage, genuine change in your life is next!

This was originally published in 2017.

Perhaps you’re persuaded that structure is something you ought to observe in a Bible passage. And perhaps you believe in the value of observing structure. But you’re just not sure how to do it. Those who can outline a passage or an argument seem to you like wizards drawing on sinister secret arts unavailable to the general populace. How do they do it?

A preliminary step is to hold only loosely to what you learned in school about outlining. Remember, the Bible is ancient literature. And the ancients may not have thought about hierarchical outlines the way we do. They weren’t writing term papers, so they may not have been automatically thinking in a format such as:

I. First main point

A. First sub-point

B. Second sub-point

II. Second main point

And so on…

Different Genres

Often we must observe the genre before we can observe the structure.

Logical literature (epistles) will be driven primarily by the argument. Once you can trace the argument (premises, conclusions, illustrations, etc.), you will have a decent outline of the passage.

Poetry is often logical as well, so tracing the argument can help. But the poet typically signals his ideas by means of metaphors. If you notice when the chief metaphor shifts, you likely can identify literary units.

Narrative is driven primarily by plot, though setting and characters can also be used as structuring devices. The main things you want to look for, though, are opening setting, conflict, rising tension, climax, resolution, and new setting. Trace this arc, and you will grasp the structure of a narrative.

Macro-Structure

Now those tips will help you on a micro level, with isolated passages or episodes. That’s often the easy part. Greater difficulty lies in identifying the structure of an entire book, or a book’s major division. But we need to interpret the passage at hand in light of the larger persuasive structure, so we must be able to discover that larger structure within which we find our text.

How do we do that?

As I’ve done before, I will rely on David Dorsey, The Literary Structure of the Old Testament, for help. Dorsey has done clear and important work on this topic, which I am happy to present to you.

Primary Steps in Observing Literary Structure

Dorsey gives three main steps for grasping larger literary structures:

Identify the constituent units of a composition.
Analyze the arrangement of those units.
Consider what this structure communicates about the author’s intended meaning.

I find the first step to be the most challenging and to require the most work. And I often have to cycle through steps 1 and 2 a few times before the structure really pops, like one of those Magic Eye 3D pictures that you can’t unsee after you have seen it.

1. Identify Constituent Units

Dorsey give three sub-steps to help you identify literary units:

Beginning markers
End markers
Internal cohesion

Beginning markers are introductory phrases that signal a new section. For example, in my study of the tabernacle instructions in Exodus 25-31, I observed seven narrative statements: “Yahweh said to Moses…” The narrator uses these “markers” to structure God’s instructions into seven speeches. We see Genesis use a similar technique, dividing the book into ten sections that begin with: “These are the generations of…”

End markers are conclusive statements that signal the end of a section. For example, early in Mark’s gospel the narrator uses a general narrative summary statement to signal the end of his major sections (see Mark 3:7-12, 6:6b). The book of Psalms uses concluding doxologies to signal the ends of each of the book’s five major divisions (Ps 41:13, 72:18-20, 89:52, 106:48, 150:1-6). Job gives an end marker to signal a major shift from Job’s interactions with his 3 friends to Elihu’s interaction with Job (Job 31:40b).

Internal cohesion refers to the many techniques an author uses to signal that a passage hangs together as a single unit. Dorsey lists 14 techniques biblical authors use to create this cohesion, but his list can be boiled down to one thing: change. Changes in scene or setting, characters, topic, genre, pace of action, literary form, or grammatical forms (such as a shift from second person to third person pronouns) can all suggest the boundaries of a literary unit. As can inclusio or chiasm, keyword repetition, or recurring motif.

For example, Isaiah’s chapter divisions in English Bibles are notorious for screwing up the author’s structure. Isaiah 7:1-9:7 hangs together as one section, beginning with the promise of Immanuel and ending with the Mighty God being born among humanity as a child. Then Isaiah 9:8-10:4 is a single cohesive unit, containing four stanzas, each with an identical, repeated end marker: “For all this his anger has not turned away, and his hand is stretched out still” (Is 9:12b, 9:17c, 9:21b, 10:4b). If you read just Isaiah chapter 7, then chapter 8, then chapter 9, then chapter 10 (assuming each chapter to be its own unit), you will miss Isaiah’s structure, and therefore his point.

2. Analyze the Arrangement of the Units

Once you can list, with reasonable confidence, the main units of a book, you can examine how the author has chosen to fit them together.

Sometimes he uses a linear arrangement, which is the most straightforward approach. The units have little to do with each other, except that one leads to the next. The outline looks like: A-B-C-D-E-F-G. I can’t prove this, but my hunch is that this is the least common arrangement in the Scriptures. For oral cultures, a linear arrangement is just too difficult to hear and remember. We see a linear arrangement in Proverbs 10-29, where the author wants us to stop and think after almost every verse.

Sometimes biblical authors use a parallel arrangement, which involves giving a sequence and then repeating it one or more times. The outline looks like A-B-C-D//A-B-C-D. We see this in the book of Judges, where the sequence laid out in Judges 2:11-19 repeats 7 times, before we get two closing epilogues (Judges 17-18 and 19-21) that match the book’s two prologues (Judges 1:1-2:5 and 2:6-3:6). Mark uses a parallel arrangement in Mark 6:30-8:26, where he takes his disciples through the same sequence of events (feed a multitude, cross the sea, dispute the Pharisees, discuss bread, heal someone’s malfunctioning senses) two times.

Sometimes biblical authors use a symmetric arrangement, which involves moving the action or argument forward to a hinge point, then unwinding the action or argument in reverse order. The outline looks like A-B-C-D-E-D-C-B-A. This arrangement is often called a chiasm, because the outline looks like one side of the Greek letter chi (an X). We see this in the Aramaic section of Daniel (Dan 2-7) which tells of:

a vision of 4 kingdoms (Dan 2),

a martyr/rescue story (Dan 3),

judgment on a king’s pride—restored (Dan 4),

judgment on a king’s pride—not restored (Dan 5),

a martyr/rescue story (Dan 6),

and a vision of 4 kingdoms (Dan 7).

Conclusion

I’m out of space for now and will have to return to the third main step in another post. That’s where all this work of observation starts to pay off, as we grapple with the interpretive question: “Why did the author arrange his material in this way?”

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