Ambiguity

In the previous post in this series, we looked quite generally at ambiguity in scripture and how it draws us in to wrestle with difficult concepts of theology, metaphysics and existence in general. Today, I want to look at one passage in particular.

It’s the passage often referred to as “The Rich Young Ruler.” It appears in both all three synoptic gospels, but I’m taking the text here from Matthew 19:16-22 in the English Standard Version:

¹⁶And behold, a man came up to him [Jesus], saying, “Teacher, what good deed must I do to have eternal life?” ¹⁷And he [Jesus] said to him [the rich young ruler], “Why do you ask me about what is good? There is only one who is good. If you would enter life, keep the commandments.” ¹⁸He said to him, “Which ones?” And Jesus said, “You shall not murder, You shall not commit adultery, You shall not steal, You shall not bear false witness, ¹⁹Honor your father and mother, and, You shall love your neighbor as yourself.” ²⁰The young man said to him, “All these I have kept. What do I still lack?” ²¹Jesus said to him, “If you would be perfect, go, sell what you possess and give to the poor, and you will have treasure in heaven; and come, follow me.” ²²When the young man heard this he went away sorrowful, for he had great possessions.”

What happens at the end of this passage? Does the young man surrender his possessions and follow Jesus? The traditional answer is, “No,” and the following statement of Jesus about rich people and camels and heaven seems to support this interpretation.

But look closer. We don’t actually know what the rich young ruler does, we only know that he goes away with sorrow. We assume that he goes away sorrowful because he is not willing to give away his wealth, but he could just as easily be going away sorrowful because he has decided to give away his wealth and is suffering the angst and upset that inevitably follows the loss of material things.

Jesus’s statement about getting into heaven being more difficult for a rich man than a camel passing through the eye of the needle doesn’t really tell us anything that gives us logical support for either interpretation. Jesus could be implying that this young man has triumphed where others may not, or that this man, like many others, will be unable to let go of worldly things, or even that we don’t yet know what the young man will do and Jesus is simply describing the difficulty of the choice he has to make.

Which is the correct answer? We don’t know, and—purposefully, I think—we cannot know. Without a definite answer, we have to consider each possibility; we cannot cast any aside.

When we acknowledge the ambiguity in this story instead of glossing it over with the traditional answer, we are given to contemplate: (1) the difficulty of surrendering worldly things to follow Jesus, (2) the inevitable sorrow that would result from choosing to give up worldly things to follow Jesus, and (3) the difficulty of being within that choice, the struggle to decide one way or the other and to be willing to live with the consequences.

One story, three points. If we were definitively told that the rich young ruler goes away because he will not do what Jesus has asked, we lose meaning in this passage rather than gaining meaning.

Ambiguity allows several points to be put forth at the same time, simultaneously multiplying the meaning to be found in a passage while providing syntactic and stylistic efficiency the communication of those multiple meanings. In other words, the Bible says more with less when ambiguity is (under the right circumstances, of course) employed, as it is throughout.

Think about why Jesus speaks in parables. Parables are analogies; analogies have slippage between the two things compared, creating ambiguity. Thus, in parables, Jesus can convey more complex meaning than by making direct and unequivocal statements. This is, in part, why we often hear people say, “Every time I reread the Bible (or a particular passage), I get something new out of it.”

Your state of mind at the time you read a passage will influence how you resolve ambiguities. Therefore, at different times in your life and under different circumstances, the scriptures will speak to you in different ways, with the most applicable ideas from a particular passage always seeming to float to the top.

This is not to say that there is relativism in what Jesus says; on the topics of greatest importance, Jesus speaks clearly—“Love your neighbor as yourself,” for instance. Even in this passage, the meaning that following Jesus is the goal is not equivocated or made ambivalent. The Bible uses ambiguity selectively to force us to consider those things that are not ambiguous. It is clear that we are to love our neighbors, but what does it mean to love them? This is a serious theological question and, in current church issues, at the heart of the debates in various denominations about the approach to the LGBTQ community within the Christian faith.

I’ll talk a little about how I think we should approach resolving difficult ambiguities like the one above in a later post in this series. For now, I want to point something out about the ambiguity of how we love our neighbors. If Jesus meant for us to move away from the legalism of the Old Testament, such an ambiguous command is a perfect way to do it. Without detailed and clear guidance, we cannot easily say to ourselves, “I have done enough; I need do no more for my neighbors.” Instead, we must always ask ourselves, “Am I loving my neighbors? What more can I do, or what can I do differently, to love them better?” The ambiguity of how to carry out the command demands more of us than a black-and-white commandment, elevating, empowering and extending the exhortation itself.

Point 2: Ambiguity allows greater meaning in fewer words through the incorporation of alternative possible resolutions of the ambiguity.

For the next post in this series, click here.

In the late 1930’s and early 1940’s, a German Jew who had fled to Istanbul to avoid the Nazis wrote what I think is one of the foundational books for any literary understanding of the scriptures. His name was Erich Auerbach; the book was Mimesis: The Representation of Reality in Western Literature.

If the stories are to be believed, circumstances forced Auerbach to do much of his work by memory, for he did not have access to all of the texts drawn from and cited to in Mimesis. While a fascinating thought, it is largely irrelevant; Auerbach was a genius whatever the strength of his memory.

It is only the first chapter of the book, entitled “Odysseus’ Scar,” that concerns us for the time being. In that chapter, Auerbach argues that there are two major iconic styles of storytelling running through western civilization, at least historically speaking. Like Tolkien, Auerbach was a philologist by training, born at the end of the 19^th Century, and with a penchant for looking backward, far backward, rather than at the contemporary.

Two iconic styles of literature in historic western writing. Only two. The first, Auerbach tells us, is the style best exemplified by the works of Homer, in the Iliad and (as the chapter’s title suggests) the Odyssey. By way of example, Auerbach carefully describes the scene in which Odysseus has returned home in disguise after his long journey. He is recognized for his true self by a scar on his leg, and Homer gives us great detail about that scar—how it was got, where it is, etc.—as it plays its pivotal role in the plot.

That is Homer in a nutshell, overflowing with detail, carefully crafting images in our mind’s eye, little left out for us, all with the purpose (Auerbach says) of giving us a profound sense of awe, and therefore pleasure. This is a pagan style, rich in sensory data and concerned with worldly delight.

Homer is to be contrasted with the Biblical style—a Dragnet-style, “Just the facts, ma’am,” and not even all of the facts we want to know. We get the bare bones of the story, just enough information to understand the flow of events, but not enough to become cognizant of all that is going on in the story.

Auerbach’s example of this is one I never forget and often use. You should play along. Think about Abraham and Isaac in Genesis. We know that Isaac is Abraham’s son, that God has commanded Abraham to sacrifice Isaac as a test of his faith, that Isaac seems to go along willingly. But how old is Isaac? Before you go back to the text to check, I want you to see if you can recall the answer by memory. What does Isaac look like in your memory? How old is he?

Of course, I’m pulling one over on you. Genesis doesn’t tell us Isaac’s age at the time of Abraham’s trial. We tend to think of him as young, perhaps pre-adolescent, seemingly innocent and only wanting to please his father. But that’s not the only possibility.

In the middle ages, theologians largely believed that Isaac was thirty-three when Abraham took him to be sacrificed. An adult! One who might have moved out of his parents’ home! Who might have his own children! My age, in fact.

Does an adult Isaac willingly going along with Abraham seem strange to you? For the medieval theologians, it was strange to think that he was only a boy. Why? Because they believed that Jesus was thirty-three at the time of his crucifixion; they were searching for parallels that showed continuity between the Old Testament and the New.

What Auerbach wants to show us here is that the Bible often, seemingly purposefully, leaves out details from the story, even potentially important ones for the story’s meaning. The literary effect could not be farther from the Homeric one. Where Homer fills in all the details, forcing the reader to step back and spectate in awe, the Bible forces the reader to fill in the blanks, engaging with the story. The reader of scripture must make choices to resolve ambiguities in the text, must interpret, must participate.

It is commonly argued that the gospels are written in both style and substance in such a way as to force the reader to ask and answer the same question as everyone else in the narrative: who do you believe Jesus is? But Auerbach takes this idea even further—the very style of the entire scriptures (though he was more focused perhaps on the Old Testament) does not allow us to stand idly by and watch—we must struggle with the text (and here Jacob wrestling with God comes to mind quite readily) to make it mean something. We must invest ourselves in it and synthesize it with ourselves for the text to come alive. The sparsity of detail naturally pulls us in to do just this, even if you don’t recognize it’s happening.

Point One: Ambiguity forces us to engage; we cannot simply absorb.

For the next post in this series, click here.