The Introduction of the Sermon, Part 2

The point: Don't try to force the introduction, particularly in consecutive expository preaching; often, it must be left until the end of preparation.

The sermon is like a house, and the introduction is the porch. You must know the house's structure before building the porch, lest it be unsuitable or misplaced, illustrating the need to develop the sermon's substance before its introduction.

Now, let me explain what I mean and why I've made that general guideline. Since the sermon is the house, you better know where your house is and the general structure of the house before you build your porch. You might have a nice little porch sitting out in the middle of your backyard. Or, to change the analogy, you might have a porch suitable for an old antebellum mansion, but not at all suitable for a little Cape Cod in Pequonic.

0:50 - 1:18 Read in full sermon

The point: Don't try to force the introduction, particularly in consecutive expository preaching; often, it must be left until the end of preparation.

Constructing an introduction before the sermon's substance is like putting the cart before the horse, emphasizing the logical order of preparation.

So, when a man seeks to construct his introduction before the substance of the sermon is completed, he's just getting the cart before the horse. So, let that general guideline help you to change the analogy. Now, the food, the main entree, dictates the kind of appetizer you'll choose.

1:18 - 1:40 Read in full sermon

The point: Don't try to force the introduction, particularly in consecutive expository preaching; often, it must be left until the end of preparation.

The main entree (sermon body) dictates the appetizer (introduction). You need to know the main course before choosing an appropriate appetizer, reinforcing the idea that the introduction flows from the sermon's content.

So, when a man seeks to construct his introduction before the substance of the sermon is completed, he's just getting the cart before the horse. So, let that general guideline help you to change the analogy. Now, the food, the main entree, dictates the kind of appetizer you'll choose.

1:18 - 1:40 Read in full sermon

The point: Be careful not to steal the substance from the main body of the sermon and place it in the introduction.

Dabney's metaphor describes taking a stone essential to close the arch of an argument and laying it in the threshold (introduction), leaving the arch unclosed later. This illustrates the error of stealing substance from the main body.

In earnest to deal with his proposition, he will find he has anticipated essential matter. Now he has only the choice between a bald repetition of his first idea, or else leaving one of his arguments in a fragmentary state. A stone which is absolutely necessary to close his arch, he has already laid in the threshold.

7:57 - 8:18 Read in full sermon

In this part of the sermon: The fourth guideline emphasizes that introductions should be modest and realistic, avoiding an ornate or overly grand opening that creates disproportionate expectations for the…

Sangster's illustration of a tiny 'council house' with an enormous, ornate Corinthian porch highlights the incongruity of an overly ambitious introduction compared to a modest sermon, emphasizing the need for realism and modesty.

Sangster is the one who gives this very vivid illustration in his book, The Craft of the Sermon, page 116. Years ago, I used to pass on my way to church a wee house with an enormous porch. I see it in my mind's eye as I write, great Corinthian pillars, complete with acanthus leaves, supported a baroque portico which would have given shelter from the rain for half a platoon of soldiers. On the other side of this enormous porch was something like the cheapest kind of council house.

9:51 - 10:27 Read in full sermon

Driving home: Simplicity, modesty, fitness, and suggestiveness.

If your sermon is 'corned beef hash,' don't serve a 'chilled shrimp cocktail' as an appetizer. This analogy vividly illustrates the need for the introduction to be modest and realistic, matching the sermon's content and tone.

Well, that's why I say your introduction ought to be modest and realistic. If your wife is serving you corned beef hash, she doesn't bring, as an appetizer, chilled, shrimp cocktail in a fancy dish with the ice all around it, such as you'd find in an uppity restaurant. No, there's some incongruity between that ornate appetizer and that humble fare of corned beef hash. Well, if your sermon is corned beef hash, serve up a few crackers and cheese for an appetizer, all right?

11:16 - 11:52 Read in full sermon

Driving home: Simplicity, modesty, fitness, and suggestiveness.

Hearers feel cheated if they order prime rib (promised by an elaborate introduction) but receive corned beef hash (a less impressive sermon body), underscoring the importance of realistic expectations set by the introduction.

The impression which they carry away from a sermon is usually that produced by its concluding parts. If you fail there to fulfill the promise of your introduction, the pleasing surprise which you gave them in beginning will not cause them to pardon you the disappointment at the end.

12:41 - 13:00 Read in full sermon

In this part of the sermon: Martin presents four categories of sources for introductions: weighty reasons for the subject, the text itself (geographical/historical setting or context), a judicious review of…

The birth of a child with Down's syndrome in the church provided a 'weighty reason' to introduce a sermon on Romans 8:28, demonstrating how congregational circumstances can naturally lead into a text.

The weighty reasons for taking up a subject or a text. For instance, back several years ago when little Janine Berry was born, the only Down's syndrome or mongoloid child we have in the church, when you think of all the babies we've had, had through the years, and never has a mongoloid child been born to any of our couples, that thing had a shock effect upon our people. And when the news came in midweek, I knew that gathering on the Lord's Day, everyone's mind would be filled with that. So it was appropriate that in a context of pastoral, congregational intimacy, I should have introduced my su...

16:27 - 17:11 Read in full sermon

In this part of the sermon: Martin presents four categories of sources for introductions: weighty reasons for the subject, the text itself (geographical/historical setting or context), a judicious review of…

Preaching on Gethsemane can be introduced by describing the geographical relationship between the upper room, Brook Kidron, and Mount of Olives, illustrating how the text's setting can form an introduction.

For instance, if you've been constrained to preach on the, what Hugh Martin calls the shadow of Calvary, the circumstances of Gethsemane, what better way to introduce it than to just get your facts straight, about the relationship between the geographical setting of the upper room, and the brook Kidron, and the Mount of Olives. And in brief, terse, descriptive phrases, let your people see in their mind's eye that little band coming down out of the upper room, making their way out of the precincts of what we would call the heart of that section of Jerusalem, making their way out over the brook ...

19:33 - 20:18 Read in full sermon

In this part of the sermon: Martin presents four categories of sources for introductions: weighty reasons for the subject, the text itself (geographical/historical setting or context), a judicious review of…

Introducing Psalm 51 by recounting David's sin with Bathsheba demonstrates how the historical context of a text can be used to awaken interest.

sacred place where our Lord agonized before his Father. You may find in the text itself, giving the geographical or historical setting, the basis of your introduction. If you were preaching on the 51st Psalm, what better way to introduce it than to say there was once a man mighty before God, a man called, a man after God's own heart. But this very man in a moment of weakness stood upon a rooftop, looked and lusted, and lay with a woman other than his own wife.

20:18 - 20:50 Read in full sermon

In this part of the sermon: Martin presents four categories of sources for introductions: weighty reasons for the subject, the text itself (geographical/historical setting or context), a judicious review of…

An anecdote about a preacher who monotonously states 'This is sermon number 23...' illustrates the need for a 'judicious' rather than bland review of previous sermons in a series.

But then there is a third source of introduction, the weighty reasons for taking up the subject, the text itself. Thirdly, a judicious review of the previous parts of a series of expositions, whether topical or consecutive expository, a judicious review of the previous parts of a series. Now, I say judicious, and by that I mean not a bland, lifeless, colorless. Now, this morning, we will review.

21:21 - 21:55 Read in full sermon

The point: Don't get into a rut of sameness in your introductions; labor for freshness for the sake of your people.

A 'rut' is described as 'nothing but a grave with the ends kicked out,' emphasizing the spiritual deadness and lack of excitement that can result from repetitive, unvaried introductions.

You will not indulge yourself in the luxury of the rut of sameness. One man of God says, you know what a rut is? It's nothing but a grave with the ends kicked out. That's what a rut is.

27:16 - 27:29 Read in full sermon

The point: Self-consciously seek to learn how to construct good introductions by observation and practice, studying models like Spurgeon, Shedd, and Warfield.

A caricature of a preacher jumping into the pulpit to wake up a sleeping congregation illustrates the ineffectiveness and lack of genuineness in overly dramatic introductions.

So they just jump up into the pulpit. And people somehow sense something's not quite kosher. So don't attempt to be elegant or overly dramatic, as I have just been by way of caricature. Now, fourthly, self-consciously seek to learn, self-consciously seek to learn how to construct good introductions by observation and practice.

29:31 - 30:06 Read in full sermon

In this part of the sermon: He advises self-consciously learning to construct good introductions through observation and practice, recommending Spurgeon, Shedd, and Warfield as models. He also strongly…

A lengthy quote from Samuel Davies's sermon on Luke 16:27-31 illustrates an introduction that challenges the audience's assumptions about their faith, demonstrating a 'judicious use of arresting literary devices.'

In his opening sermon, which is on the divine authority and sufficiency of the Christian religion, his text is Luke 16, 27 to 31. Then he said, I pray therefore, Father, you would send them to my Father's house. I have five brethren that he may testify to them. And Abraham said they have Moses and the prophets.

31:50 - 32:08 Read in full sermon

The point: As a general rule, write out your introduction in detail to aid in conciseness, directness, and pungency.

Davies's introduction to a sermon on final judgment, expressing his frustration in choosing a theme but settling on the certainty of judgment, illustrates using personal experience and conviction as an introduction.

He quotes his text dealing with the final judgment. And he says, As I've wrestled with what I should bring for the benefit of your never-dying immortal souls, I have felt frustration and agony to know just precisely what note I should sound. But convinced that this note can never be wrong, then he launches into a sermon on the second coming of the judgment of the great day. Well, reading men like this, seeing what they did, and again, brethren, if that was something that came, as it were, automatically to these men, it was only after years of a cultivated discipline.

33:30 - 34:06 Read in full sermon

The point: Keep your speech apparatus (mouth) up and facing the audience, even when looking at notes, to project sound effectively and maintain engagement.

Martin's father, a bandmaster, taught him to keep the trumpet's bell up, never less than parallel to the ground. This is applied to public speaking, urging preachers to keep their 'speech apparatus' (mouth) up and facing the audience, even when looking at notes, to project sound effectively and maintain engagement.

Never, never get your speech apparatus down here. Even when you're looking at your notes. Keep this trumpet with the bell out here. One of the things my pappy taught me.

39:01 - 39:11 Read in full sermon

Driving home: The introduction has been called a preacher's cross. It is the most liable subject of criticism, but the most difficult of execution.

Vinay's quote describes the introduction as 'the preacher's cross,' the most difficult part of execution, often leading to frustration and dissatisfaction despite rich sermon content, highlighting the universal challenge of crafting effective openings.

Before passing to the next topic of discussion in the analysis of the sermon, I wish to suggest a few hints on the work of composing the introduction. The introduction has been called a preacher's cross. It is the most liable subject of criticism, but the most difficult of execution. I'm sorry, the most easy subject of criticism, but the most difficult of execution.

41:10 - 41:36 Read in full sermon

The point: Do not use a 'pious cop out' by neglecting diligent labor on the introduction, assuming only the exposition matters.

The introduction is likened to an airplane's takeoff, which expends half its fuel to get into the air and attain altitude. This illustrates the arduous labor required for a sermon's introduction to successfully launch the message.

So there's a man who recognized that most preachers, when they've been honest, if they've really labored at a true and realistic standard of efficient introduction to their sermons, have confessed that it was their cross in the sense that it was a difficult, difficult labor. As I was saying with this brother, you feel that God has given you something to say with which you can cruise at 40,000 and you know under God how to get the thing back on the ground, but for the lifer you don't know how to get the thing into the air. And just as with an airplane, usually the average aircraft expends half ...

43:08 - 43:51 Read in full sermon