Those familiar with the contents of the Jewish and Christian scriptures cannot help but notice how the imagery and language of these writings pervades the writings of Ephrem. The problem with Ephrem’s extensive use of the metaphors and terminology of scripture throughout the fabric of his madrâŝe is that of genre; that is, while Ephrem very clearly employs and interprets scripture, discerning the framework of his interpretation remains far more difficult to parse. In response to this question, Jeff Wickes has suggested categorizing Ephrem’s madrâŝe as a “doxological genre”, more specifically that of “scriptural poetics.” This paradigm functions as a transition from traditional commentary, where readers examine scripture to understand and uncover its meaning, to the engagement of scripture as a means for understanding or uncovering some other thing (God, an event) in the presence of an audience. Through the lens of “scriptural poetics” the scriptures become the building materials for an applicable theology, the raw conceptual tools at the intersection between “Scripture, world, God, and audience.” This essay reflects upon the nature of “scriptural poetics”, especially in light of Ephrem’s theology of names. Continue reading
This post is part of an ongoing series examining Ephrem the Syrian and early Syrian Christianity.