The Second Vatican Council taught that, in interpreting Holy Scripture, we must search out the meanings intended by the sacred writers, and that, in doing so, we must have regard for literary forms. I write as a layman in such matters, and will probably make mistakes on important points of detail: but I venture to write on the subject because I doubt that my general assessment is wrong. This is that, in the style of Biblical criticism now apparently prevalent within the Catholic Church, the appeal to literary forms has become little more than a formal device, serving to conceal, possibly from themselves, what the exegetes really mean; and what they mean is usually something inconsistent with any belief, however qualified, in the inspiration of Scripture, and often with more fundamental articles of Christian faith.

The general principle that we must take account of the literary form adopted is clear and evident. What is intended to be read as allegory must be read as allegory; what is written as fiction or as historical romance must be read as fiction or as historical romance. In reading historical accounts, we must try to assess what liberties the author was allowing himself, and not give a misplaced weight to details for which he was not meaning to vouch: we must distinguish reporting from reconstruction, must be aware of the use of devices such as compression and dramatisation. But, in applying this principle, we must, as much as in all other matters, submit to the evidence, not bend it to our will. Acceptance of the principle of literary forms is an acknowledgment of the more general principle that inspiration is not dictation. The inspired writers did not act as transcribing machines: it was not merely the hand that held the pen that was inspired, but the creative human mind itself.