THROUGHOUT THIS STUDY a number of words and phrases are used that carry specific meanings. Some of these terms are familiar. Others I have created myself. For the sake of clarity and ease of reference this list is included.
We will deal with three aspects of composition. These are (1) the smaller to larger units of composition, (2) the various ways Paul’s homilies are compiled, and (3) various internal features of those homilies.
Hebrew parallelism. This is a well-known ancient Middle Eastern literary style. During the biblical period and beyond, Middle Eastern authors often wrote using pairs of phrases or sentences. The second line may duplicate the first, present its opposite, illustrate the first, bring the first to a climax or simply finish the sentence. Multiple examples of all of these types of parallelisms are on display in the Psalms and the writings of the Hebrew prophets.
Cameo. I have chosen this word to refer to the clusters of phrases that form the essential building blocks out of which Isaiah, Paul and others construct homilies. Often the cameo is composed of one or more Hebrew parallelisms. These cameos are given numbers down the page for easy reference. The traditional chapter and verse numbers in our Bibles are included as raised numbers. These clusters of phrases could be called “stanzas,” but I prefer “cameos” because the word stanza is too closely associated with hymns and poems. We are dealing with heightened prose, but I hesitate to use the word poetry.
Homily. A number of cameos together form a homily. As these appear in the Old Testament, I refer to them as prophetic homilies. In 1 Corinthians I call them apostolic homilies. In each homily presented, the cameos are numbered for easy reference. The key words or ideas in each cameo are printed to the right to highlight the themes that are repeated elsewhere in the same homily. The homilies form the building blocks for sections within an essay.
Section. One or more homilies together form a section (of an essay). Sometimes a longer homily is composed of two or three parts, which are also called sections (of the homily).
Essay. This word is used to describe each of the five major parts of 1 Corinthians. Each essay in 1 Corinthians is composed of four to seven sections.
Ring composition. This is a more recent term for what is often called “chiasm” or “inverted parallelism.” All three of these designations refer to a common literary style where an author presents a series of ideas, comes to a climax and then repeats the series of ideas backwards, returning to the starting point and thus creating a “ring,” hence the designation “ring composition.” The climax of the ring composition is usually the center. Often the climactic center is in some important way related to the beginning and the end of the ring composition. At times these connections are bold and clear. At other times the connections are more subtle.
Double-decker sandwich composition. This designation refers to a homily that is put together like a double-decker sandwich. When using this style, Paul formulates an idea that he presents three times (like the three layers of bread in a double-decker sandwich). New material is then added between the three layers of “bread,” thus creating the sandwich. Paul uses this format four times, with slight modifications among the four. This format appears in Isaiah 50:4-11.
Prophetic rhetorical template. When a biblical author presents a series of words, phrases, cameos, homilies or even sections using a 1-2-3-4-3-2-1 format (ring composition), I call the result a “prophetic rhetorical template.” Seven is the perfect number in biblical literature. The prophets, the apostles and other New Testament writers often use this style. This particular format is so common with the prophets, the Gospels and in 1 Corinthians that it needed a name. After some years of reflection, prophetic rhetorical template seemed to be the best option.
The high jump format. Often Paul presents a short series of cameos in a straight line, and that series is used as an introduction to a finely crafted ring composition. This is like a high jumper who starts with (1) a short run, and then (2) comes the jump, which is (3) followed by the crossing of the bar. Finally (4) there is the arced fall on the far side. The arc of the fall is the reverse of the jump. Crossing the bar is the climax of the four movements. The close parallel between a high jump and this particular Pauline style of composition has led me to call this format the “high jump format.” First Corinthians contains a number of fine examples of this style.
Step parallelism. This designation refers to a series of ideas that are presented on the page and then repeated in the same order. This creates a A-B-C, A-B-C format. Sometimes a series is composed of cameos and sometimes made up of single lines. Six cameos come together in 16:15-18 using step parallelism. More often a homily such as 3:5-9 is composed (in this case with four cameos) using ring composition. As the reader compares the parallel cameos within that ring composition, step parallelism appears. Isaiah 28:14-18 offers an early example of this style where cameos 1 and 7 are related together using step parallelism.
Point of turning. In ring composition the author presents a series of ideas, comes to a climax and then repeats the series of ideas backwards. Just past the center, as the ideas start to repeat (backwards), there may be a “point of turning.” Something significantly different is introduced as the repetition begins. Paul occasionally uses this rhetorical device.
Encased parable. This phrase describes a metaphor, simile or parable (short or long) that appears in the center of a ring composition.
Encased Old Testament quotation. At times ring composition is constructed with an Old Testament quotation in the climactic center. The Old Testament quotation so placed is called an “encased Old Testament quotation.” The quotation is given special prominence by being positioned thus.