In a sense, the Bible is one long narrative. It tells the story of creation, fall, and redemption. Shortly after Eve and Adam sinned, God activates his plan to restore humanity. The whole Bible fits within that narrative. Within the grand narrative, substories abound in the epochs of biblical history. There is a unity to the narrative of the patriarchs, the exodus, the kings, Israel’s exile and return, and the Gospel accounts.

A Likely Story

“Once upon a time there were four little Rabbits, and their names were Flopsy, Mopsy, Cottontail, and Peter. They lived with their mother in a sand-bank, underneath the root of a very big fir tree.”

“There was once a fisherman who lived with his wife in a poor little hut by the sea . . .”

“Once upon a time there lived a very rich king whose name was Midas . . .”

Lines such as these tell us that a story is coming. When one starts with “Once upon a time,” we expect a children’s story. When we hear that Peter is naughty, a child suspects that he will find trouble, and then escape—since the drawing is so cute, he must survive—and learn a lesson. In fact, Peter does disobey his mother. He goes to Mr. McGregor’s garden, where he munches lettuces and beans until he nearly collides with Mr. McGregor, who almost catches him. After a desperate flight, Peter sees the gate, dashes for it, and escapes. Exhausted, Peter goes to bed with nothing but chamomile tea, while his good sisters enjoy bread, milk, and blackberries.

Simple as they are, the adventures of Peter Rabbit follow the most common structure for drama, from Mark Twain to Shakespeare, from science fiction to the Bible. In that structure, readers meet a hero (Peter) in settings (Mr. McGregor’s garden) that bring adventure (stealing food), followed by tension (the chase). It reaches a climax (almost captured) and a resolution (escape). Finally, the story offers comments that help readers interpret it as it unwinds. When Peter limps home and goes to bed without supper, it suggests that rebellion does not pay.

Broadly speaking, the Bible has two literary forms, narrative and discourse. Narratives are stories or dramas. About one-third of the Bible is narrative. With few exceptions, such as Jesus’ parables, biblical narratives are historical. They describe and interpret what happened in space and time to the people who appear in the account. Narrative is the most common literary form or genre in the Bible, with more pages than law, prophecy, letters, or visions. In this book, we collect all other genres of the Bible under the term discourse. Discourse includes laws, letters, prophecies, proverbs, psalms, speeches, prayers, and visions. Within the CAPTOR format (context, analysis, problems, themes, obligations, reflection), we now move to the first part of analysis. Chapter 6 explains how we analyze biblical discourse. This chapter describes the way that we analyze narratives.

In a sense, the Bible is one long narrative. It tells the story of creation, fall, and redemption. Shortly after Eve and Adam sinned, God activates his plan to restore humanity. The whole Bible fits within that narrative. Within the grand narrative, substories abound in the epochs of biblical history. There is a unity to the narrative of the patriarchs, the exodus, the kings, Israel’s exile and return, and the Gospel accounts. At a granular level, we have individual narratives, such as the history of Samson and Delilah. We usually study the Bible at that level, yet we must always locate individual narratives in the context of God’s wider plan.

Narratives are history, yet they don’t just report what happened. They convey moral lessons, but they are more than morality tales. Biblical narratives describe and explain God’s redemptive acts, as they lead to their climax, the death and resurrection of Jesus.

Biblical authors use various methods to engage readers and enable them to see events as God does. They repeat crucial ideas. They preview the future, so that readers will know where events are leading. They allude to the past, so that readers can observe God’s consistent ways with his people. They present characters with whom we can identify. They leave some things unexplained, so that readers will get involved in the task of interpretation. In these ways and others, authors use stories to teach about God, humanity, and their relationships. It is no overstatement to say that God is the main character in every narrative and that what he does is the main theme (Ps. 66:5; Luke 24:24–27). Whenever we forget this, we court moralism.

Types of Narrative

All narratives report events and tell stories, but they have more than one pattern, so let’s label them. The most common types of narrative are reports, speech stories, and dramas. By distinguishing them, we interpret them better.

Reports are brief records of events such as battles (for example, David’s defeat of the Ammonites in 2 Samuel 10) or building projects (for example, Solomon’s temple and palace in 1 Kings 6–9). Reports also describe dreams and the reigns of minor kings. They present facts or simple events and typically lack dramatic tension. Although they may not reveal much by themselves, reports often develop or allude to important themes.

Reports are brief records of events such as battles (for example, David’s defeat of the Ammonites in 2 Samuel 10) or building projects (for example, Solomon’s temple and palace in 1 Kings 6–9). Reports also describe dreams and the reigns of minor kings. They present facts or simple events and typically lack dramatic tension. Although they may not reveal much by themselves, reports often develop or allude to important themes.

Principle 1: To discover the point of a report, examine several reports together.

Speech stories primarily report what someone said in a historical setting. In a speech story, words matter most.

Principle 2: In speech stories, the main event is the speech, not the events surrounding it.

Dramas, the longest and most complex type of narrative in the Bible, are the focus of this chapter. Apart from parables, dramas are historical events, not mere stories, and we appreciate the evidence of their accuracy. Our faith rests on the assurances that God actually accomplished his plan of redemption (1 Cor. 15:14–17). Biblical dramas do not, therefore, follow the patterns of literary dramas because someone massaged them to make them fit. Rather, God structured the world so that certain elements are present in stories that are worth telling. If biblical dramas have the same structure as fiction, it is because art imitates life, not because the Bible imitates art.

Principle 3: When you find the crisis and resolution of a drama, you usually find the main point, too.

Excerpt taken from Chapter 5: Analyzing Narratives, Getting the Message: A Plan for Interpreting and Applying the Bible, Revised and Expanded by Daniel M. Doriani. A new edition will be released on September 7, 2022 by P&R Publishing. Used with permission.