Form criticism

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Form criticism is a method of biblical criticism adopted as a means of analyzing the typical features of texts, especially their conventional forms or structures, in order to relate them to their sociological contexts.

Since biblical text is derived from an oral tradition, the creative process has produced a number of layers, each with a particular meaning. Firstly, there is the original 'historical material', a saying or an event that no doubt occurred in some manner and was witnessed. In telling and retelling, a number of details were added. These inevitably reflect the purpose of the narrator; the original material was used to reinforce a particular message. Of course, each retelling might bring further accretions, until there are several meanings attached. Finally, the tradition is incorporated into a written account. However, the author will inevitably have their own agenda, and the assembly of traditional material will be crafted into a narrative that seeks to underline a particular theological point of view.

As developed by Rudolf Bultmann and others, form criticism might be seen as a form of literary deconstruction in an attempt to rediscover the original kernal of meaning. This process has been described as 'demythologising', although the word must be used with caution. 'Myth' is not intended to convey a sense of 'untrue', but the significance of an event in the narrator's agenda. What, ultimately, does the writer mean by it?

In the case of the Gospels, this deconstruction or demythologising is intended to reveal the underlying kerygma or 'message' that is to be conveyed. What does the Gospel say about the nature and significance of Christ and his teaching? Form criticism is thus an attempt to reconstruct the theological opinions of the primitive church and pre-talmudic judaism.

Form criticism begins by identifying a text's genre or conventional literary form, such as parables, proverbs, epistles, or love poems. It goes on to seek the sociological setting for each text's genre; its "situation in life" (German: Sitz im Leben). For example, the sociological setting of a law is a court, or the sociological setting of a psalm of praise (hymn) is a worship context, or that of a proverb might be a father-to-son admonition. Having identified and analyzed the text's genre-pericopes, form criticism goes on to ask how these smaller genre-pericopes contribute to the purpose of the text as a whole.

Form criticism was originally developed for Old Testament studies by Hermann Gunkel. It later came to be applied the Gospels by Karl Ludwig Schmidt, Martin Dibelius and Rudolf Bultmann, among others.

The process is illustrated by this extract from St. John's Gospel.

1 And the third day there was a marriage in Cana of Galilee; and the mother of Jesus was there:

2 and both Jesus was called, and his disciples, to the marriage.

(This possibly enshrines the details of an historical event, though the details of Christ's family may be later interpolations.)

3 And when they wanted wine, the mother of Jesus saith unto him, They have no wine.

(The shortage of wine may be historical, but wine may have an iconic significance. What?)

4 Jesus saith unto her, Woman, what have I to do with thee? mine hour is not yet come.

(This may be an original saying of Jesus, or it may be a later addition. But it is included because it has some significance. What does it say about the nature of Christ and his significance? Is it intended to convey that everything about his ministry is fore-ordained?)

5 His mother saith unto the servants, Whatsoever he saith unto you, do it.

6 And there were set there six waterpots of stone, after the manner of the purifying of the Jews, containing two or three firkins apiece.

(Most of this is probably later interpolations. Notice the reference to the ritual purification of biblical Judaism. Is this a statement about the relationship between the new and the old covenant with God?)

7 Jesus saith unto them, Fill the waterpots with water. And they filled them up to the brim.

8 And he saith unto them, Draw out now, and bear unto the governor of the feast. And they bare it.

(More later detail. Who or what is the governor of the feast?)

9 When the ruler of the feast had tasted the water that was made wine, and knew not whence it was, (but the servants which drew the water knew,) the governor of the feast called the bridegroom,

10 and saith unto him, Every man at the beginning doth set forth good wine; and when men have well drunk, then that which is worse: but thou hast kept the good wine until now.

(New wine instead of old. This perhaps touches upon the kerygma that underlies the Gospel)

11 This beginning of miracles did Jesus in Cana of Galilee, and manifested forth his glory; and his disciples believed on him.

(Note that this is the first miracle, the first manifestation of the true Christ. He attends a wedding. But is the historical event fashioned to make a new point? What if he himself is the iconic bridegroom attending the wedding feast? What qualities of a contemporary bridegroom did he partake of? If he is the bridegroom, who, or what, is the bride? Is it the writers intention to reveal this elsewhere in the Gospel?)

12 After this he went down to Caper'na-um, Mt. 4.13 he, and his mother, and his brethren, and his disciples; and they continued there not many days.

(This just links this episode with the next.)

[edit] Bibliography

Armerding, Carl E. The Old Testament and Criticism. Grand Rapids: Eerdmans, 1983, pp. 43-66.
Hayes, John H. An Introduction to Old Testament Study. Nashville: Abingdon, 1979, pp. 121-154.
Hayes, John H., ed. Old Testament Form Criticism. San Antonio: Trinity University, 1974.
Tucker, Gene M. Form Criticism of the Old Testament. Guides to Biblical Scholarship. Philadelphia: Fortress, 1971.
Tucker, Gene M."Form Criticism, OT," pp. 342-345 in Interpreter's Dictionary of the Bible, Supplementary Volume. Keith Crim, gen. ed. Nashville: Abingdon, 1976.