Tag Archives: Fiction

The Bible as Metaphor (again)

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A few days ago, Dennis and I visited Penrith, a small market town a short distance from the city where we live. What a delight it was to discover that the street preacher who plagues our city – the humourless Dale McAlpine – also inflicts himself on this smaller place. We so enjoyed hearing him bellow out, as we manoeuvered past his confederates handing out poorly written tracts, that we were all sinners – ye, everyone of us – bound for hell.

As we stopped at an ATM we heard Dale announce how Jesus healed lepers and cured leprosy, which patently he did not. He said Jesus’ healing of lepers was a metaphor for what he could do for us all, by removing our sin and making us whole again. His metaphor schtick – an sophisticated one for a simple street preacher – put me in mind of our very own Camp commenter. As Sunday school teacher Don frequently reminds us, the Bible is a) literature and b) largely metaphorical.

In case he’s forgotten and is arguing this week that we should view the bible’s stories as historical accounts (his other favourite tack), here’s what he actually said:

Much of scripture is the kind of literature in which metaphor and other kinds of figurative language is common… you are out of touch with the literary character of ancient literature.

I hope you all feel thoroughly chastised by this. I know I do. Don was taking exception to my post in which I itemised the Bible’s mythical creatures, talking animals and impossible events. So, I’m going to take him, and Dale at their word and take a fresh look at the Bible’s use of ‘metaphor and other kinds of figurative language’

First though, let’s understand that metaphor and figurative language are distinctly literary techniques. In literature and sometimes in speech, metaphors make subtle comparisons and bring to mind a host of associations that the author does not then have to explain. Outside of fiction, they don’t have much of a function. We don’t, for example, attribute metaphorical meaning to human events and interactions in the real world. The present war in the middle east is not a metaphor for something else, like, for example, the warfare that Christians believe rages in the Spirit world. Sleepy Joe Biden’s activity, or lack of it, is not a metaphor for the present condition of the USA (let’s hope not anyway). Our personal relationships are not metaphors for something grander. There is no metaphor embedded in actual events or real world interactions.

No. Metaphor exists almost entirely in literature. While the occasional non-fiction author might add a metaphor for flourish, strictly speaking, metaphor exists in and for fiction and poetry. More than this, when, in fiction, ideas are expressed metaphorically, it signals that the surface meaning is of lesser significance. It is the underlying or hidden meaning that matters. The fiction is the vehicle by which the metaphorical truth is conveyed. Don admits as much in his comment.

Let’s try some illustrations. The underlying metaphor of The Great Gatsby, its truth, is the dark underside of the American dream. Its surface story isn’t real; it is fiction. The metaphor conveyed through Moby Dick – the fictional whale as well as the novel as a whole – is the destructive nature of obsession. Again, as powerful as this is, none of the story that conveys it actually happened. Frankenstein’s central metaphor is the danger that uncontrolled science represents to humankind. The story that carries this message is, however, pure invention. In All The Light We Cannot See, Light is the metaphor, as it frequently is. The characters’ insights into truth are what the author seeks to convey. The fiction is the vehicle of that truth. Choose your own example: fiction embodies metaphor, the ‘truth’ of the story. But the story itself is rarely an actual event. Even when it’s based on one, as the movies say, the narrative is extensively fictionalised.

So, let’s go back to Dale’s leprosy metaphor. In several gospel stories, the authors have Jesus cure lepers precisely to illustrate how he can heal people of their inner leprosy: their sinful nature. Jesus almost certainly did not heal any lepers; this is the fiction. The creators of the gospels designed the story to carry metaphorical meaning, which, in this case, is that Jesus can heal us from sin.

Likewise the stories in which he heals the blind; the blindness is metaphorical. The saviour opens people’s eyes to spiritual truth. He didn’t really cure blind people; that is the fictional vehicle for the metaphor.

He didn’t turn water into wine; the writers of the fourth gospel wanted to convey the spiritual ‘truth’ that the new cult’s beliefs were superseding old Jewish ones; a metaphor was a memorable way to do it.

Lazarus was not raised from the dead; the story is a metaphor to illustrate how God will raise believers at the last day.

The Romans did not execute Jesus; it was the spiritual rulers of the age who, according to Paul in 1 Corinthians 2:8, put the saviour to death. The Romans are the metaphor for the wickedness of these supernatural beings.

Jesus did not rise from the dead. This too is a metaphorical fiction.

How did I do, Don? I’ve interpreted isolated periscopes from the gospels metaphorically. I’ve borne in mind that metaphor and other figurative devices are purely literary, techniques in fiction. I’ve channelled the literary character of ancient literature as defined by you (except of course you never actually do define it.)

You are invited to respond. I offer to post your comment, if it is as lengthy as I expect it to be. You must, however, keep to the point and resist making personal jibes. Choose any of the miracles, healings or pericopes from the gospels and demonstrate that they are real historical events.

It matters to you and to other Christians that the events of Jesus’ life did happen. That they’re not just the invention of clever writers who, taking inspiration from Jewish scriptures, created metaphorical events to convey higher ‘truths’. So persuade us that at least one miracle, healing or episode is more than a literary device, a metaphor for some fanciful theological ‘truth’. Provide the evidence that it really happened. Claiming the disciples witnessed the miracles or healing won’t cut it, when the disciples are themselves characters in the stories, and metaphorical at that.

Christmases With Grandad: Christmas Present (2021)

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Part two of a three-part Christmas story written for BBC Radio Cumbria.

‘I’m sure this piece goes here,’ says Granddad, doing his best to force a yellow plastic chute into a red tower. He has a construction in front of him that is designed to take coloured marbles through various tubes and chutes down to a collecting tray at the bottom, but which looks more like a Heath Robinson contraption. ‘Yes, that’s it,’ he says triumphantly as he wedges the yellow chute precariously in place.

”That’s not right,’ says Lana, hands on hips.

Granddad Neil looks at his handiwork. ‘Of course it is,’ he says. Lana picks up a marble and drops into the top of the red tower. When it reaches the yellow chute it falls out and lands on the floor. ‘See?’ she says. ‘It’s upside down.’

‘Granddad!’ Eva says with all the indignation a two year old can muster.

‘He’s had too much wobbly juice,’ Lana explains and takes herself off to the kitchen to complain to her mum that he’s not up to the job.

Granddad has to concede that the girls may well be right on both counts. He chastises himself for having had more than one glass of wobbly juice. He turns back to the precarious marble construction and realises that if the yellow chute is upside down, then several others parts must be too. He wonders as he starts to remove them, why it has fallen to him to fit the marble tower together in the first place. Construction is definitely not one of his better skills.

He looks round at the other adults. Dad is asleep on the couch. Dennis, who always enjoys doing the washing up, is helping mum clear away the dinner dishes. Uncle Mikey is half watching a film he’s downloaded, which, although it is an animation, is far from suitable for children. Fortunately, both Lana and Eva gave up on it after five minutes, which leaves him to entertain them. He feels he has let them down with his inability to put together a child’s toy. Uncle Mikey, finding his efforts more entertaining than the film, announces it would be better if he sorted it out.

Lana meanwhile has taken herself off to the front room, the toy room as she calls it, and is setting out her doll’s tea set, the one Santa brought with Alice In Wonderland characters on it. She arranges her dolls and teddies around it and shouts for Granddad Neil. All is forgiven! The two of them sit at the table having an imaginary tea party. Lana pours while she explains how last night Santa left very muddy bootprints in the hallway. When, much later, mummy appears at the door and asks what the two of them are doing, Granddad Neil says, ‘we’re having a lovely Christmas.’ And indeed they are.

A Christmas Murder Mystery

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I do love reading a good whodunit at Christmas time.

Here’s one I discovered recently, called 

And One For The Dame

by Agnetha Crispin

Obscured by the large Christmas tree in the drawing room, Miss Palmer put down her knitting and listened intently to the conversation going on in the hallway outside. 

‘Listen Lucinda,’ a ridiculously plummy male voice said, ‘if that old bird keeps asking questions she’s going to rumble us, don’t you know.‘

‘Oh Rupert, darling, don’t be silly. She’s completely ga-ga. In any case, she’s not interested in us. She thinks she’s here to find out how dear old uncle Bertie died. All she’s really succeeding in doing is getting under the inspector’s feet. He told me so himself.’

‘Oh, Luce,’ Rupert Hayes-Hickson whispered softly. ‘You really are a first-rate sort of chap.’ The two of them drifted down the hallway and out of earshot. Miss Palmer resumed her knitting. She resolved to catch up with Inspector Petherbridge… or was it Carmichael? – these token policemen really were interchangeable – at the earliest opportunity. Ga-ga indeed!

* * * * * *

‘So you see, inspector,’ she said, ‘It’s becoming so much clearer who poisoned Bertie. When you think how like Colonel Arbuthnot he was…’

‘Colonel Arbuthnot?’ the inspector said with requisite weariness, ‘Who is Colonel Arbuthnot?’

‘Oh dearie me, yes,’ murmured Miss Palmer absently, as she purled another stitch. ‘Such a difficult man, you know.’

Colonel Arbuthnot or Bertie Mallowan?’ asked the inspector, irked with himself for showing interest in the old lady’s seemingly inconsequential remarks.

‘Arbuthnot, of course,’ she replied with gentle disapproval. ‘He moved into the old manor house in my quintessentially English village, St Mary-Westmacott. Dear me, no; Colonel Arbuthnot was not loved at all. It came as no surprise when my friend Dotty Lumley discovered him dead in his study with multiple gunshot wounds. Goodness me, the blood!’ she exclaimed. ‘That one took some sorting out, I can tell you.’

‘Miss Palmer, I really don’t see…’

‘Come closer, inspector,’ she said. The inspector reluctantly drew his chair up to hers. ‘It’s most suggestive, you see,’ she continued. ‘Yes, most suggestive.’ She turned towards the inspector, ‘So I really would prefer it if you did not address me as Anna.’

‘I don’t recall…’ began the inspector.

‘You know, it isn’t quite the thing to call respectable elderly spinsters by their Christian names, inspector. It is also as I say, much too suggestive. It all but announces how like an anagram my name is.’ She leant into him conspiratorially, ‘You do take my point, don’t you?’

The inspector’s eyes glazed over. He gurgled as the blood forced its way up his throat and into his mouth. ‘Yes, much too suggestive,’ repeated the old lady, withdrawing the knitting needle from between his ribs and wiping it on his pristine breast-pocket handkerchief.

Gathering up her wool, Miss Palmer glided surreptitiously from the room. There would have to be at least two more grisly murders – quite possibly Lucinda and Rupert’s – before she would reveal how poor old Uncle Bertie had met his end.