Yes, indeed. So the classic catch-line of Ecclesiastes rings out through churches across the land.
If you are a daily communicant, you know that Ecclesiastes is now getting its 15 minutes (or less) of fame in the daily readings.
To honor the occasion, let's talk about Ecclesiastes:
Ecclesiastes is one of the most
atypical books of the Old Testament, a composition virtually unique in its
genre that voices opinions seemingly contrary to the mainstream of biblical
teaching. In it, a persona who seems to
identify himself as Solomon engages in a philosophical thought-experiment about
the meaning of life that leads him to the brink of despondency. Despite the darkness of the book, however,
believers through the ages have found solace and catharsis in its pages, and
spiritual writers have continued to recommend meditation on it as an aid to
detachment from the temporal world.
In
the Jewish tradition, Ecclesiastes is known by the Hebrew title of the primary
voice of the book, Qoheleth. “Qoheleth” is a rare and unusual word, a
feminine active participle based on the root qahal, “an assembly, a congregation,” probably meaning “the leader
of a congregation.” The Greek and Latin
traditions translated “Qoheleth” literally, building a participle from the
Greek root ekklesia, “congregation,”
thus giving us “Ecclesiastes.” Many
modern English translations render “Qoheleth” as “the Preacher” as a cultural
equivalent to “congregational leader.”
In
the Jewish tradition, the Book of Qoheleth is part of the ketuvim, specifically one of the “five scrolls” (megillot) read at the great liturgical
feasts. Qoheleth is read during the
celebration of the Feast of Tabernacles.
While at first the reading of such a dour book seems ill-suited for the
festive occasion of Tabernacles, nonetheless there is a suitability: Tabernacles is a harvest festival that has an
element similar to American Thanksgiving.
Ecclesiastes teaches a balanced view of feasting: affirming its
legitimate enjoyment (“Go, eat your
bread with enjoyment, and drink your wine with a merry heart,” 9:7) while also
urging temperance and recognition of coming death and judgment (“But know that
for all these things God will bring you into judgment” 11:9).
In the
Greek and Latin traditions, Ecclesiastes found a settled place after Proverbs
and before Song of Songs, which three books came to be understood in the
Christian spiritual tradition as representing the illuminative, purgative, and
unitive ways to God, respectively.
Literary Genre and Structure
The genre of Ecclesiastes is unique. Like Job and Song of Songs, the book has
multiple voices and could theoretically be performed as a theater piece. However, in Ecclesiastes, the number of
voices is minimal: there is only a narrator (Eccl. 1:1, or 1:1-11; and 12:9-14)
and “Qoheleth” (Eccl. 1:12–12:8). The
first-person speech of Qoheleth dominates the book; therefore, the genre of
Ecclesiastes may helpfully be compared to a one-man, one-act play, introduced
and concluded by a narrator. After a
brief introduction, an actor calling himself “Qoheleth” and dressed like
Solomon strides onto the stage to deliver a series of powerful and poetic
soliloquies, at the conclusion of which the curtain falls, and the narrator’s
voice summarizes the message of the “play” for the audience. That is not to suggest that Qoheleth was composed
for performance; it is a “literary drama,” written to be read and pondered
rather than performed, like certain existentialist plays in modern times (e.g.
Sartre’s “Waiting for Godot”).
The Literary Structure of Ecclesiastes
Prologue: 1:1-11
I. Part I: “Vanity”
A. Double Intro: 1:12-15
1:16-18
B. Six Units on
the theme “Vanity” (2:1–6:9)
1.
2:1-11
2.
2:12-17
3.
2:18-26
4.
3:1-4:4
5.
4:5-4:16
6.
5:1-6:9
II. Part II: “Ignorance”
A.
Introduction: 6:10-12
B. Four Units on the theme “Can’t Find Out”
1.
7:1-14
2.
7:15-24
3.
7:25-29
4.
8:1-17
B. Four Units
on the theme “Don’t know”
1.
9:1-12
2.
9:13-10:15
3.
10:16-11:2
4.
11:3-6
III. Poem on Age and Youth
11:7-12:8
The
structure of Ecclesiastes is intentionally loose and rambling. Qoheleth often engages in asides or
digressions. Nonetheless, careful study
does reveal a basic pattern and progression in the work. After a double introduction (1:12-15;
1:16-18), Qoheleth delivers six reflections on the theme of “vanity” (Heb. hevel) in 2:1–6:9. In vv. 6:10-12, there is a transition and
introduction to the second half of the book, where the motif of “vanity” (hevel) is less prominent, and the idea
of ignorance or incomprehensibility comes to the fore. Thus Qoheleth delivers four mediations on
theme “one can’t find out” (7:1–8:17) and another four on “one doesn’t know”
(9:1–11:6). Qoheleth’s “performance”
reaches its finale with the recitation of masterful poem on youth, aging, and
death (11:7–12:8). After the “curtain
drop,” the voice of the narrator focuses the message of the play for the
audience, lest Qoheleth’s provocative speeches be misunderstood or misapplied.
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