| Definition of the literary feature |
Selected texts illustrating the feature |
| 3.1. The text's functional parts are sequenced as
communicative stages for engaging the projected addressee's attention or
goodwill. This "rhetoric" determines a thematic selection and
sequencing (alternative to section 5). |
|
| 3.1.1. The text as a whole
is a prayer of petition with the communicative sequence: praise of
God/confession of sins/appeal for forgiveness[+/- anticipation of
forgiveness/promise of future praise]. The parts are not necessarily
formally distinct from each other. |
Prayer of Manasseh |
| 3.1.2. The text as a whole
treats a biblical passage and/or theme by 1. an approach to that
passage/theme from an unrelated verse (Petichah) - 2. a meta-linguistic
treatment of the verse constituting that passage/theme (Inyan) - 3. a
link to a consolation verse (Chatimah). Optional further steps are: an
opening legal question-answer unit (Yelammedenu); an examination of the
biblical co-text of the Inyan (Semikhah). This creates and usually
resolves an aesthetic-communicative tension and is built up from units
of explicit bible interpretation. |
Rabbinic homilies (e.g. Leviticus Rabbah 7) |
| 3.1.3. The text as a whole
treats a biblical passage/theme by sequencing units of Bible
interpretation in such a way as to create (and resolve or leave
unresolved) an aesthetic-communicative tension without following the
pattern of 3.1.2. See also section 5. |
homily-like units of Pesiqta Rabbati 34 (and the other "mourners of Zion" homilies?) |
| 3.1.4. Some functional parts
occur more than once with different contents, and are merely juxtaposed
to each other. See also 9.8. |
Petichot in Leviticus Rabbah 7 |
| 3.2. The text is bounded by a formal, communicative or
poetic (poetic-thematic) formation, constituting a single piece (3.3 and
3.4 do not apply.) |
Prayer of Manasseh |
| 3.3. The text bears resemblance in length and theme to a
biblical prayer, song, lament or psalm, and is thereby recognizable as
constituting a single piece, without being bounded by its own
constitution (3.2 does not apply). |
Psalm 151 |
| 3.4. The text constitutes one piece in a sequence of
pieces that only show themselves as separate from each other by their
contrast in adjacency (3.2 does not apply to this single piece). The
contrast may arise from theme, perspective, opening or closing formulae,
terms of address and style (including language, poetic devices). For
the aggregate of pieces, see 10.2. |
Hodayyot: 1QHa VI, 8-22 |
| 3.5. The language of a text whose overall boundaries are
determined by poetic formation or by contrast in adjacency (i.e.,
3.2-4) exhibits poetic formation as follows: [use for individual poems,
songs, etc.] |
Prayer of Manasseh, individual piece from Hodayyot, individual Psalm of Solomon, Psalm 151 |
| 3.5.1. There is pervasive use of rhyme and/or metre. |
|
| 3.5.2. There is pervasive use of parallelism. |
|
| 3.5.3. There is pervasive
use of other features that can be interpreted as defining poetic
formation, such as heightened or figurative language, repetitions of key
phrases, short or otherwise poetically defined lines, etc. |
|
| 3.6. The language of a text whose boundaries are not
determined by poetic formation or by contrast in adjacency (i.e. not
3.2-4) exhibits poetic formation as follows (this applies to 10.2
compilations as well as to continuous texts where section 10 is not
applicable): |
Psalms of Solomon, Sibyl.Or., Sirach, Wisdom of Solomon
|
| 3.6.1. There is pervasive use of rhyme and/or metre. |
|
| 3.6.2. There is pervasive use of parallelism. |
|
| 3.6.3. There is pervasive
use of other features that can be interpreted as defining poetic
formation, such as heightened or figurative language, repetitions of key
phrases, short or otherwise poetically defined lines, etc. |