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Critics claim that the presence of chiasmus in the Book of Mormon is either coincidental, an artifact of the observer, or not impressive since examples of chiastic patterns have been found in the Doctrine and Covenants or other 19th century writing.
Chiasmus is a poetical or rhetorical form used by many languages, including Sumero-Akkadian [Sumeria, Assyria, Babylon], Ugaritic [Syrian area circa. 2000 B.C.] , Biblical Hebrew, Aramaic, the Talmud, the New Testament, Greek, and Latin.[1]
Chiasmus is a form of parallelism, in which related or contrasting ideas are placed in juxtaposition for emphasis. Chiasmus uses "inverted parallelism," and takes its name from the Greek letter chi (χ) which looks like an English "X". This name was chosen to reflect the pattern of chiasmus:
Idea A
Idea A repeated |
Because chiasmus relies, to an extent, on relationships between ideas or concepts, as well as on words (e.g. on rhymes or meter) it can survive translation remarkably intact, even if the translator is unaware of its presence. John W. Welch was the first to notice chiastic structures in the Book of Mormon.[2]
Chiasmus itself can be understood in two distinct ways. It can be seen simply as a structural element (which describes the parallels in inverted order). It can also be seen as a rhetorical figure which employs this structure. While the second definition requires a degree of intentionality on the part of the author, the first does not. The difficulty lies in assessing whether or not a proposed example of chiasmus is really chiasmus or not - that is, is it an intentional figure or an accidental occurence.
Chiasmus as a structure can be found nearly everywhere in prose. However, without considering the rhetorical value of the text, we can only be relatively certain of the intentionality of chiasmus when its structure is offset from the surrounding text in a way that draws our attention to it. This usually only occurs within poetic material where the text around the proposed chiasmus also follows relatively rigid (and intentional) textual patternings. Semitic poetry, for example, frequently uses paired parallel phrases. A passage might go something like this:
A:A' B:B' C:C'
And so on. If on the other hand, in the middle of a series of these parallelisms, we encounter something like this:
A:A' B:B' C:D:E:E':D':C' F:F' G:G'
Then we would have a chiastic structure interrupting the more typical paired parallelisms, and the use of chiasmus would be viewed strongly as being an intentional departure from the parallels that surround it - and thus a real example of chiasmus. This kind of proof does not work in general prose - where we normally do not expect to see structured text. Arguments for the occurence in prose (and in poetics) are usually centered around the rhetorical value of the text. This can appear in several ways. A classic example of the rhetorical value of a chiasmus is seen in the Hebrew Psalm 82. There, the text uses a word which is ambiguous in Hebrew - meaning either "to rule" or "to judge" (in verses 1,2,3 and 8). The intial instances, when read in Hebrew are ambiguous until, through the chiastic structure, they are explained, and the first half of the poem can be re-read and the ambiguity resolved. Thankfully, when translated, most translators resolve the ambiguity for us. Scholars have developed a series of rules and criteria that can be used to help identify when a proposed chiasmus is an intentional one. Accidental chiastic structures are of little value in textual interpretation, since viewing one as intentional (when it wasn't) may lead to misinterpretation of the text. While the center of a chiasmus is usually the main point of the structure, this is not always the case, further complicating the issue.
While Chiasmus as a term was not known to Joseph Smith (the term "chiasmus" was not coined as a reference to this structure until 1871), its use in English, and its description as a rhetorical figure preceded the creation of the Book of Mormon significantly. Two early descriptions of the figure can be found in George Puttenham (1589) who decribed it as: "Ye haue a figure which takes a couple of words to play with in a verse, and by making them to chaunge and shift one into others place they do very pretily exchange and shift the sence." A few years earlier (1577), Henry Peachem, in his book of rhetorical tropes The Garden of Eloquence wrote: "The use serueth properlie to praise, dispraise, to distinguish, but most commonly to confute by the inuersion of the sentence."
Critics have proposed what might be called the "hickory dickory dock" theory of chiasmus. They point out that the children's nursery rhyme Hickory Dickory Dock is chiastic:
A - Hickory dickory dock
A' - Hickory dickory dock |
To be sure, this is a trivial example. If this was the only sort of chiasmus to be found in the Book of Mormon, then it would be weak evidence, at best, of any sort of ancient origin for the text. Such simple examples of chiasmus are well known in English speech. This particular example becomes a bit more complicated, of course, because this poem can also be rewritten in a different format:
Hickory dickory dock
The mouse ran up the clock
Hickory dickory dock |
Which structural label better describes the poem? Was it intended to be read chiastically? Or was it intended to be a limerick? Or does neither description best suit the likely intent of the author?
A - The last
A' - shall be last.
|
A - Fair is
A' - is fair.
|
The "hickory dickory dock" theory would seem to be a strawman. Such simple examples do exist in the Book of Mormon, (examples) but they are not the most impressive ones. Critics try to pretend that the simple, trivial parallelisms represent all such chiastic samples in the Book of Mormon. If Joseph Smith was writing the Book of Mormon himself, he might well compose simple parallelisms intentionally, or even accidentally.
But, the complex examples within the Book of Mormon show much greater sophistication than a child's nursery rhyme.
One might honestly debate the merit of of the less clear examples of "chiasmus" in the Book of Mormon, in which believers may have been over-enthusiastic. And it is debated whether or not examples of macro-chiasmus (chiasms which span many chapters of text) should be properly identified as chiastic. But the examples given above are not as arbitrary. They are detailed, enhance the meaning of the text when appreciated, and require no 'special pleading' for anyone to notice them. They exist within well defined textual boundaries, and often display secondary features, making an argument for coincidence far less appealing. It is true that there are differences of opinions on some of the more widely recognized chiasmus in the Book of Mormon in terms of how they should be phrase, but this doesn't detract from the validity of the expression. To provide an example, here is one possible reading of Mosiah 5:10-12 as a chiasmus (slightly different from the version linked to above):
A - whosoever shall not take upon him the name of Christ (man)
A' - and also, the name by which he shall call you (divine) |
This chiasmus is interesting because it alternates the roles of man and God throughout the structure - except at the center, where those roles are reversed.
Some work had been published on Hebrew poetry previous to the publication of the Book of Mormon. If critics of the Book of Mormon are to make their case for 19th century authorship, they need to demonstrate that Joseph Smith had access to and relied on contemporary research into Hebrew parallelism. John Welch recently summarized the issue:
Small, "trivial" chiastic structures containing only a few elements might well arise through chance or English rhetoric. However, critics ignore numerous complex, subtle, and meaningful chiamus when they pretend that all of the Book of Mormon's inverted parallel structures are so simple. On the other hand, more work needs to be done to evaluate the hundreds of proposed chiastic readings of the Book of Mormon. Some of them will inevitably end up as less likely than others. And for LDS members, the value of these readings is less about demonstrating historicity in the text, and more about interpreting the text with the intentions of the authors in mind, as viewed through their use of rhetorical figures.
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