LITERARY DEVICES IN ISAIAH 1

The Bible is amazing in that very little information is lost when reading it in different translations. This is unlike the Koran, for example, of which Muslims will tell you can't really be understood unless you read Arabic. But one must admit that there are some literary and rhetorical devices utilized in the Bible, especially in the poetic sections, which help to better emphasize the main points. Since most of you are probably like me in not having a deep understanding of the Hebrew language, I will admit that I am very grateful for scholarly commentators who bother to point out some of these often subtle rhetorical tricks.

For example, Schoekel discusses the various rhetorical devices employed in Isaiah. One such device is the pun: “Repetitions or similar sounds link words and parallel phrases which then unite or contrast with one another...The sound delights, surprises, emphasizes, and aids the memory.” Blenkinsopp adds, “Word play on personal names is as prominent in these opening chapters as it is in Hosea...” Some of these word plays will be discussed below along with comments on other literary techniques that experts discuss regarding Isaiah 1 in particular.

Isaiah 1:1

“The beginning chapters of Isaiah...illustrate a developed scheme of balance and antithesis...The poet syntactically arranges these contrasting terms...for greater rhetorical effect. In chapter 1 of Isaiah, a similar technique is used.” (Gentrup) His examples begin with the very first verse: “Heaven vs. earth” and continue with “animal versus human (literally 'sons' in vv. 2-3), Sodom/Gomorrah versus Zion/Jerusalem (vv. 8-9, 21-27), false worship versus true (vv. 10-17), and field/land versus city (vv. 7-9).” Gentrup concludes that “the pairs structurally echo the predominant theme of obedience versus rebellion.”

Isaiah 1:2

Blenkinsopp detects two examples of puns in this verse:

        sim'u samayim = hear, heaven!

        giddalti veromamti = I have raised and reared

Isaiah 1:4

“This next section of the speech [vv. 4-9] begins with the sound of death. The interjection 'ah' (the Hebrew word is sometimes translated 'woe') was a cry of mourning heard at funerals (see 1 Kings 13:30; Jer. 22:18-19; Amos 5:16). When Isaiah's audience heard this word, images of death must have appeared in their minds. By prefacing his remarks with this word, the prophet suggested that the rebellious nation's funeral was imminent.” (Chisholm)

Blenkinsopp notes the use of alliteration and a staccato effect formed by the words hoy goy hote (“sinful nation”). And Schoekel says that “the noun rhymes with the interjection, as if it were the echo of a shout.”

Isaiah 1:7

Since this whole chapter is written in Hebrew poetic style, it is good to remind ourselves that in general each pair of lines tends to say the same basic thing and that they should not be taken as totally separate thoughts. And as I have expressed several times in my posts, that repetition of thought may take several different literary forms. As just one example, consider four lines in this verse:

        Your country lies desolate,

        your cities are burned with fire.”

This form of poetry is called Identical Parallelism even though the second line may extend the idea of the first line. Thus, the second line expands somewhat on the first one in that (1) the destruction is said to include the cities as well as the country and (2) the specific method of destruction is specified.

        “Aliens devour your land;

        It is desolate, as overthrown by foreigners.”

This type of poetry has been labeled Introverted Parallelism since the key elements in each line are listed in opposite order. This might also be labeled as Symbolic Parallelism in that the metaphor “devour” in line one becomes the literal “overthrown” in line two.

Isaiah 1:7-10

“A kind of coherence is achieved by the recurrence of the same word. For example, Sodom and Gomorrah function as a simile at the end of 1:7-9 to describe the pillaged Israel. This usage is followed by a demand of 'you rulers of Sodom' and 'you people of Gomorrah,' sardonic references to Israel, to stop their hypocritical ritual sacrifices (1:10). The allusions to Sodom and Gomorrah have completely different contexts in these two prophecies but are a connecting link between them.” (Gentrup)

Chisholm states that “before the Lord speaks the prophet summons the citizens of Jerusalem into court, addressing them as 'rulers of Sodom' and 'people of Gomorrah' (v. 10). The sarcastic address reflects the Lord's perspective and emphasizes how sinful the nation was in his sight.”

Schoekel states that in “'am 'amora ('people of Gomorrah'), 'people' appears almost as if it were a part of 'Gomorrah.'”

Isaiah 1:11

This verse begins with a rhetorical question: “What are your multitude of sacrifices to me?” The question is posed so that the implied answer is “nothing.”

Isaiah 1:12-13

These combined verses form a sort of chiastic structure which turns around on itself in the following manner:

        1. Bringing offerings is futile

                2. incense is an abomination to me

                        3. New moon and sabbath and calling of convocation

                                4. I cannot endure solemn assemblies with iniquity.

                        3'. Your new moons and your appointed festivals

                2'. my soul hates;

        1'. they have become a burden I am weary of bearing.

This form of composition is meant to focus the eye and ear squarely on the key statement in section 4 in which the reason for God's hatred of religious ceremonies is clearly spelled out.

Isaiah 1:15-17

Kidner points out an interesting phenomenon: “First the offerings are rejected, then the offerers (vv. 11,12); but while God's tone sharpens from distaste to revulsion, the specific accusation is held back to the final lurid phrase of v. 15, when at once the pace quickens with the rain of blows, the imperatives of repentance, in vv. 16,17, only to throw into relief the measured climax of the passage in the great offer of salvation in vv. 18-20.” Most translations attempt to make these changes in pace obvious.

Isaiah 1:16-17

“There is nothing more conventional than the opposition of good and bad which Isaiah takes advantage of in 1:16-17 in order to join intensity with urgency. Two alliterative verbs and two nouns say it all: limdu heytev dirshu misphat, 'cease to do evil, learn to do good.'” (Schoekel)

Blenkinsopp states, “Here as elsewhere (3:1-15: 5:18-23; 30:15) the target is the ruling class, and more particularly the princes or courtiers (sarim) who served in an administrative, military, and judging capacity.”

Isaiah 1:18

Several commentators note the way washing crimson and scarlet in v. 18 allude back to cleaning of 'blood' in 15-16. In addition, note the similarity between kashanim ('like scarlet') and kasheleg ('like snow'). “The sounds are linked here in order to contrast the opposed meanings.” (Schoekel)

Isaiah 1:21

“Beautiful city” in vv. 21 and 26 works together as an inclusio, marking off the limits of a separate literary unit.

Isaiah 1:24

“The verdict pronounced by Yahweh opens with a typically Isaianic play on words ('ennahem, 'innaqum)...” These mean to feel satisfaction at another's expense and to avenge oneself, respectively. (Blenkinsopp)

“The Lord (adon) means 'master,' and with the definite article signifies 'Lord of lords.' It often is followed as here by 'the Lord Almighty' or 'the Lord of armies'... the term hosts suggests powerful nations.” (Schultz)

Isaiah 1:25

“Developing further one of the metaphors utilized in verse 22, the Lord explained that his judgment would burn away Zion's impurities (v. 25).” (Ansholm)

Isaiah 1:26

“The prophet foresees a future in which Jerusalem will be restored and will receive a new name and designation (cf. 62.4,12); righteousness (Heb 'tsedeq') recalls the names of Melchizedek (Gen. 14.18) and Zadok (1 Kings 2.35).” (Blenkinsopp)

Isaiah 1:27

Yet another variety of poetic parallelism is seen here:

        “Zion shall be redeemed by justice, and

        those in her who repent, by righteousness.”

Note how the meaning of “Zion” is explained more fully in the second line, which has omitted the verb “shall be redeemed” in order that the lengths of the two lines become more balanced.

Isaiah 1:30-31

The poem ends in a burst of similies such as “like an oak,” “like a garden without water,” “like a tinder,” and “like a spark.”