PSALMS-in-CONTEXT Class Notes PDF

PSALMS-
PSALMS-in-
in-CONTEXT: Class Notes,
Notes, 2018
(https://www.pinterest.com/pin/561683384754543291/ )
1
Contents
Notes on Psalm 2 (day 1) ................................................................
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......................................... 4
1. Discourse outline with textual and exegetical notes ..........................................................
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2. Literary-
Literary-structural summary................................
summary................................................................
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.......................................................... 12
3. Examples of a poetic translation ................................................................
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.................................................... 15
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..................................... 19
1. Text Study ................................................................
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2. Structural Outline ................................................................
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........................................... 27
3. Translation ................................................................
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Notes on Psalm 31 (day 3)................................................................
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1. Annotated diagram of the text’s sequential-
sequential-spatial structure .............................................
............................................. 32
2. A structural-
structural-thematic summary of Psalm 31................................................................
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.................................... 45
3. “The Voice” of Psalm 31 ................................................................
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............................................................... 48
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....................................... 52
1. A text-
text-structural display of Psalm 22 (Hebrew) ...............................................................
............................................................... 52
2. Discerning the macro-
macro-structure of Psalm 22................................................................
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.................................... 65
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....................................... 71
1. Discourse outline with textual and exegetical notes .........................................................
......................................................... 71
2. Summary of the Structure of Psalm 29 ................................................................
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........................................... 76
3. Two Translations that Amplify the Orality of Psalm 29 ....................................................
.................................................... 77
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....................................... 79
1. Discourse outline with textual and exegetical notes .........................................................
......................................................... 80
2. Literary-
Literary-structural summary................................
summary................................................................
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.......................................................... 88
3. Comparing and evaluating a pair of poetic translations ....................................................
.................................................... 91
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..................................... 95
1. Linear text display and structural notes ................................................................
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.......................................... 95
2. A practical application of a literary-
literary-structural analysis ...................................................
................................................... 103
2
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..................................... 105
1. A text-
text-study and two translations ................................................................
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................................................ 105
2. Seven artistic-
artistic-rhetorical features of Psalm 45 ................................................................
................................................................ 115
2.1 Patterned organization ................................................................
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............................................................. 115
2.2 Sonic effect................................................................
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.............................................. 118
2.3 Dynamic speech ................................................................
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....................................... 121
2.4 Figurative
Figurative language ................................................................
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.................................. 123
2.5 Contextual reference ................................................................
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................................................................ 124
2.6
2.6 ‘Semantic density’ ................................................................
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.................................... 127
2.7 Pervasive intertextuality ................................................................
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............................................................ 130
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..................................... 134
1. Hebrew Text Analysis and Notes ................................................................
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................................................. 134
2. The structure of Psalm 51 ................................................................
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........................................................... 141
3. The MISERE ................................................................
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............................................. 142
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................................... 145
1. Text Analysis ................................................................
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.............................................................................
............................................. 145
2. Structural summary and comparison................................................................
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............................................ 149
JCBT Studying the ‘PSALMS in Context’

Context’ – Tentative Course Outline…
Outline………………….………………..…
..….154
These preliminary notes (not complete studies) were prepared for the Psalms-in--Context
Psalms-in
course, which is described at the end of this document. This tentative overview, supplemented
by many other psalms-related materials, was modified (reduced!) during the actual
implementation of the course-seminar-workshop, which was conducted by Dr. Lynell Zogbo
and me at the Jerusalem Center for Bible Translators October 29—November 15, 2018.
Ernst R. Wendland (https://sun.academia.edu/EWENDLAND )

Stellenbosch University, Ancient Studies
3
Notes on Psalm 2 (day 1)
1. Discourse outline with textual and exegetical notes
Stanza A (NET)
Why1 do the nations rebel?2

‫ ָ ֭ל ָמּה ָרגְ ֣שׁוּ גוֹיִ ֑ם‬1
1 Psalm 2 begins emphatically with a double rhetorical question (the initial interrogative word
‫ ָ ֭ל ָמּה‬is implicit in line B). The psalmist expresses his outrage in defense of his God (YHWH) and
chosen King—that the nations would have the audacity to rebel against them. DeClaissé et al. consider
the first line to be “an exclamation of surprise” that indicates “puzzlement” (Psalms, 68). But that does
not seem to be the correct connotation in this context; rather, these dramatic queries indicate a sharp
warning and rebuke: How could these nations do such a foolish thing—they cannot win against the
Almighty; they will most certainly fail—completely (‫גּוּ־ריק‬
ֽ ִ ‫ !)יֶ ְה‬This exclamative verse is underscored
syntactically by a chiastic construction: (1a) V—S // S—V (1b).
2 The Hebrew verb ‫ ָרגַ שׁ‬occurs only here. In Dan. 6:6, 11, 15 the Aramaic cognate verb
describes several officials acting as a group. A Hebrew nominal derivative is used in Ps. 55:14 of a
crowd of people in the temple. Thus the context must direct the choice of a suitable equivalent in the
TL—here, “rebel.”
4
Why are the countries3 devising plots4 that
will fail?5
‫גּוּ־ריק׃‬
ֽ ִ ‫וּ ְ֝ל ֻא ִ֗מּים יֶ ְה‬
The kings of the earth6 form a united front;7
‫י־א ֶרץ‬
ֶ֗ ‫ יִ ְ֥תיַ ְצּ ֨בוּ׀ ַמ ְל ֵכ‬2
the rulers collaborate8
‫דוּ־י ַ֑חד‬
ָ ‫וֹס‬ְ ֽ‫וְ רוֹזְ ִ ֥נים נ‬
against the LORD and his anointed king.9
‫יחוֹ׃‬
ֽ ‫ל־מ ִשׁ‬
ְ ‫ל־י֝הוָ ה וְ ַע‬
ְ ‫ַע‬
3 Or “peoples” – the Heb. noun ‫ ְלאֹם‬is used especially in poetic texts, e.g., Ps. 7:8. Note the
alliteration between 1a and 1b that strengthens their sonic cohesion (see Phonology below).
4 The Hebrew imperfect form describes the rebellion as already underway. The verb ‫ ָהגָ ה‬is
variously rendered, depending on the context, e.g., “recite quietly, meditate, moan, growl (lion).” Here
it has the metonymic sense of enemies “devising, planning, plotting” (see Ps. 38:12; Pr. 24:2). This
verb also occurs in Psalm 1—there in a positive sense with reference to the righteous (1:2)—thus
forming another concrete, here contrastive connection between these two foundational, Psalter-
initiating texts.
5 Lit., “[plotting] emptiness.” The noun ‫“( ִריק‬emptiness”) may characterize the rebels’
behavior as “worthless, morally corrupt,” but more likely the term refers to the actual fruitless outcome
of their plots, i.e., failure. This nuance is brought out in the rest of the psalm.
6 The hyperbolic expression “kings of the earth” refers to all those pagan kings, rulers,
chieftains, warlords who had been conquered by and were subject to Israel in its heyday, in the latter
days of King David and especially King Solomon. Some interpreters construe the rhetorical “Why?”
(‫)ל ָמּה‬
֭ ָ of v. 1 as applying also to v. 2, e.g., “[Why] do earth’s kings take their stand…” (Goldingay,
Psalms, 98; cf. Craigie, Psalms, 63).
7 Or “take their stand”; the imperfect verbal form describes their action as underway or
ongoing. The verb ‫ יָ ַצב‬is found only in the Hithpael conjugation.
8 Or “conspire together” with the adverbial ‫ ַ֫;י ַחד‬the verbal form is a Niphal from ‫ יָ ַסד‬, defined
in BDB as “establish, found.” Another chiastic construction highlights these adversarial actions: V-S
/ S-V.
9 Lit., “and against his anointed one” (‫;)מ ִשׁ ַיח‬
ָ the Davidic king is the referent, as is clear from
vv. 6-7. Suddenly, in this third colon, it is revealed whom these kings are foolishly rebelling against.
5
They say,10 “Let's tear off the shackles
they've put on us!11
‫רוֹתימוֹ‬
֑ ֵ ‫וֹס‬
ְ ‫ת־מ‬
ֽ ‫ נְ ֽ֭נַ ְתּ ָקה ֶא‬3
Let's free ourselves from12 their ropes!”
‫יכה ִמ ֶ ֣מּנּוּ ֲעב ֵ ֹֽתימוֹ׃‬
ָ ‫וְ נַ ְשׁ ִ ֖ל‬
Stanza B
The one enthroned13 in heaven laughs in

disgust;14
‫יוֹשׁב ַבּ ָשּׁ ַ ֣מיִ ם יִ ְשׂ ָ ֑חק‬
ֵ֣ 4
the Lord taunts15 them.
‫ג־למוֹ׃‬
ֽ ָ ‫ֲ֝אד ֗ ָֹני יִ ְל ַע‬
Then16 he angrily speaks to them
‫ ָ ֤אז יְ ַד ֵבּ֣ר ֵא ֵל֣ימוֹ ְב ַא ֑פּוֹ‬5
10 NET adds the words “they say” in order to indicate that the words here are hypothetically
uttered by the rebellious kings—a common rhetorical device in the psalms, which allows the wicked
to condemn themselves in their own words.
11 Lit., “their (i.e., the LORD’s and the king’s) shackles (bonds)”; the enemy kings compare
the just rule of the LORD and his chosen king to being imprisoned.
12 Lit., “cast off from us” (‫)שׁ ַלְך‬.
ָ The inner quotation of v. 3 brings stanza A to a close on an
ironic note of defiance; it is incongruous for created beings to issue such self-commands (cohortatives)
to their Creator! This simply emphasizes the futility of spiritual rebellion against the Almighty.
13 Lit., “the one sitting”; the Hebrew verb ‫ יָ ַשׁב‬is used metonymically in this royal setting with
reference to “sitting enthroned” (see Pss. 9:7; 29:10; 55:19; 102:12; 123:1); this nominalized participle
severs as a divine epithet and is fronted to focus on the shift to a new topic/agent.
14 Lit., “he laughs” (‫;)שׂ ַחק‬
ָ as the next, parallel line indicates, this refers to derisive, scornful
laughter—surely not “amusement” (Goldingay, Psalms, 99). The Hebrew imperfect verbal forms in
vv. 4-5 depict a dramatic scene, describing the action from the perspective of an eyewitness (the
prophetic-psalmist) who is watching the divine response as it unfolds before his eyes.
15 Or “scoffs at,” “derides,” “mocks” (‫;)ל ֵעג‬
ָ the subject/agent is again fronted for emphasis—
It is the almighty ‘Lord’ (‫—אד ֗ ָֹני‬a
ֲ֝ form used only in reference to God) who mocks them! “Typically,
the psalm makes it clear that Yhwh has the full emotional range of a person” (Goldingay, Psalms,
99)—extreme anthropomorphism!
16 “Then” (‫—)אז‬used
ָ֤ here as a stylistic device to introduce a stressed phrase. When things
have reached a climactic stage, the point of judicial decision, at that point Yahweh makes his definitive
regal pronouncement (v. 6).
6
and terrifies them in his rage,17 saying,18
‫וּֽ ַב ֲחרוֹנ֥ וֹ יְ ַב ֲה ֵ ֽלמוֹ׃‬
“I myself19 have installed20 my king
‫ ַ ֭ו ֲאנִ י נָ ַ ֣ס ְכ ִתּי ַמ ְל ִ ֑כּי‬6
on Zion, my holy hill.”21
‫ר־ק ְד ִ ֽשׁי׃‬
ָ ‫ל־ציּ֗ וֹן ַה‬
ִ֝ ‫ַע‬
Stanza C
17 “And [God] terrifies them in his rage.” This line anticipates the horrifying effect that God’s
angry response (v. 6) is about to have on the rebellious kings (and all who follow them). Verse 5
features another chiastic construction that syntactically puts the protagonists in angry, antithetical
opposition: V-PP / PP-V.
18 NET inserts the implied word “saying” to indicate that the speaker of v. 6 is the Lord (cf.
RSV, NIV).
19 The first person pronoun with preposed waw (‫ ַ ֭)ו ֲאנִ י‬appears before the first person verbal
form for emphasis (constituent focus), reflected in NET’s translation by “I myself”—which is
reinforced also by the subsequent ‫ ִ◌י‬alliteration. The direct quotation of v. 6 both parallels and also
dramatically responds to that of the enemies in v. 3 (parallel end closures, or structural epiphora).
They thought that they were going to escape God’s just rule; here Yahweh asserts that, instead, he is
imposing the dominion of his chosen “king” (‫)מ ְל ִ ֑כּי‬
ַ over them—and they can do nothing about it, but
rage on in futile resistance.
20 “I have installed” is a metonymic translation (lit., ‘poured out a libation’); perhaps the verb
(‫ )נָ ַסְך‬may be rendered “consecrated,” “anointed” here—even performatively: “I hereby install” (cf. 7c).
21 Lit., “the hill of holiness” (‫ר־ק ְד ִ ֽשׁי‬
ָ ‫)ה‬
ַ – here a reference to the place, setting, or general
situation in which Yahweh and his anointed king exercise their co-rule over God’s saints and, in a
Messianic sense, over all people—the righteous in blessing, the wicked in judgment. As in the case of
stanza A, this quotation, now by Yahweh, brings stanza B to a close. This “reference to Zion” is
manifestly more than “an isolated note in the psalm” (Goldingay, Psalms, 100), for ‫ ִ֝ציּ֗ וֹן‬as the
designation for the distinctive “holy locale” of Yahweh and/or his people will play a major setting role
in the Psalter (nearly 40 occurrences).
7
The king says,22 “I will announce the
LORD's decree.23
‫ ֲא ַס ְפּ ָ ֗רה ֶ ֫ ֽאל ֥חֹק‬7
He said to me:24
‫ֽהוה ָא ַ֘מר ֵא ַ ֥לי‬
֗ ָ ְ‫י‬
‘You are my son!25
‫ְבּ ִ ֥ני ַ ֑א ָתּה‬
This very day26 I have become your
father!27
‫ֲ֝א ֗ ִני ַהיּ֥ וֹם יְ ִל ְד ִ ֽתּיָך׃‬
Ask me,
‫ ְשׁ ַ ֤אל ִמ ֶ֗מּנִּ י‬8
22 NET inserts the words “the king says” for clarification. The speaker shifts from Yahweh in
v. 6 to his chosen king in v. 7, thus also underscoring the support for a stanza break at this point.
23 The initial cohortative verb indicates the speaker’s firm resolve to carry out the stated
action. The “decree” (‫ ) ֥חֹק‬in this case is the “personal covenant document, renewing God’s covenant
commitment to the dynasty of David” (Craigie, Psalms, 67).
24 Or “I will relate the decree. The LORD said to me” (as shown in the Hebrew lineation
above, which ignores the Masoretic accentuation). This proposal results in a colon sequence in v. 7 of
3+3+2+3, as opposed to a tricolon: 4+4+3. The former reproduces the pattern of Ps. 2 where an agent
in focus (here, ‫ֽהוה‬
ָ֗ ְ‫ )י‬is fronted (cf. v. 4).
25 The divine pronouncement “My son [are] you!” (constituent focus) is clearly performative
speech—the very saying accomplishes its reference. The Davidic king was viewed as God’s “son” (see
2 Sam. 7:14a; Ps. 89:26-27). “The idiom reflects ancient Near Eastern adoption language associated
with covenants of grant, by which a lord (king) would reward a faithful subject by elevating him to
special status, referred to as “sonship.” Like a son, the faithful subject received an “inheritance,”
viewed as an unconditional, eternal gift. Such gifts usually took the form of land and/or an enduring
dynasty” (NET note).
26 This fronted temporal reference—“today!” (‫—)היּ֥ וֹם‬is
ַ an instance of constituent focus: “The
emphasis on today also occurs in other types of covenant renewal ceremony; see Deut 26:17 and 30:19”
(Craigie, Psalms, 67).
ֲ֝ an instance of [renewed] topic focus, corresponds to
27 The fronted personal pronoun (‫)א ֗ ִני‬,
“my son” (‫)בּ ִ ֥ני‬
ְ in the preceding line—also phonologically.
8
and I will give you the nations as your
inheritance,28
‫וְ ֶא ְתּ ָנ֣ה ֭גוֹיִ ם נַ ֲח ָל ֶ ֑תָך‬
the ends of the earth as your personal
property.29
‫י־א ֶרץ׃‬
ֽ ָ ‫וַ ֲ֝א ֻחזָּ ְת ָ֗ך ַא ְפ ֵס‬
You will break them30 with an iron
scepter;31
‫שׁ ֶבט ַבּ ְר ֶז֑ל‬
֣ ֵ ‫ ְ ֭תּר ֵֹעם ְבּ‬9
you will smash them like a potter's jar!’”32
‫יוֹצ֣ר ְתּנַ ְפּ ֵ ֽצם׃‬
ֵ ‫ִכּ ְכ ִ ֖לי‬
Stanza D
28 “The nations (X)—your inheritance (Y)”; a thematically significant juxtaposition. The

LORD promises the Davidic king universal dominion, and the Messianic implications here become
ever more apparent. The initial cohortative verb ‫ ֶא ְתּ ָנ֣ה‬after the imperative ‫ ְשׁ ַ ֤אל‬has a resultative sense.
29 “And your personal possession (Y’)—the ends of the earth (X’)”; colon 8c is semantically
heightened and a chiastic reversal of nominal expressions from 8b underscores the LORD’s promise.
30 The LXX reads “you will shepherd them.” This reading, quoted in the Greek text of the NT
in Rev. 2:27, 12:5, and 19:15, assumes a different vocalization of the consonantal Hebrew text and
understands the verb as ‫“( ָר ָעה‬to shepherd”) rather than ‫“( ָר ַעע‬to break”). But the presence of ‫“( נָ ַפץ‬to
smash”) in the next line strongly favors the MT vocalization. Goldingay proposes a deliberate
rhetorical ambiguity here, namely, that this line “lays alternative possibilities before the nations—
either firm shepherding or devastating destruction” (Psalms, 101). We have yet another chiastic, verb-
based structure.
31 The Hebrew term ‫שׁ ֶבט‬
֣ ֵ can refer to a “staff” or “rod” (hence the possible allusion to
“shepherding” in the preceding line). But here it undoubtedly refers to the Davidic king’s royal scepter,
symbolizing his sovereignty and right to rule.
32 “Like a potter’s jar” – before the Davidic king’s awesome power, backed by almighty
Yahweh, the rebellious nations are like fragile pottery, ready to be smashed to pieces if they persist in
their rebellion. The quotation of the LORD’s “decree” ends here, thus concluding the stanza (C), once
more with embedded direct discourse (as in stanas A and B).
9
So now, you kings, do what is wise;33
‫ ְו ַ֭ע ָתּה ְמ ָל ִ ֣כים ַה ְשׂ ִ ֑כּילוּ‬10
you rulers of the earth, submit to

correction!34
‫ִ֝הוָּ ְס ֗רוּ ֣שׁ ֹ ְפ ֵטי ָ ֽא ֶרץ׃‬
Serve35 the LORD in fear!
‫הו֣ה ְבּיִ ְר ָ ֑אה‬
ָ ְ‫ ִע ְב ֣דוּ ֶאת־י‬11
Repent in terror!36
‫וְ ֗ ִ֝גילוּ ִבּ ְר ָע ָ ֽדה׃‬
33 “So now…” (‫ – ְ)ו ַ֭ע ָתּה‬a standard discourse opener begins stanza D. The speaker here is either
the psalmist or the Davidic king (in context, probably the latter), who now addresses the rebellious
kings.
34 The Niphal of ‫ יָ ַסר‬has here a tolerative nuance; the kings are urged to submit themselves
to the corrective advice being offered. The LORD’s judgment upon them has been pronounced, but
the requisite punishment has not yet been meted out – there is still time to repent, submit, and serve
Yahweh and his appointed king. This is proverbial, “wisdom” instruction (cf. Prov. 1:2-8, 16:22). Verse
10 again observes the poet’s preference for chiastic arrangements: Voc. + Impv. / Impv. + Voc.
35 The Hebrew verb translated “serve” (‫)ע ַבד‬
ָ refers here to submitting to the Lord’s gracious
sovereignty as expressed through the rule of the Davidic king. Such “service” (perhaps even “worship”)
in a human ANE setting would involve maintaining allegiance to the Davidic king—and God!—as
“vassals” by paying the stipulated tribute and making regular sacrificial offerings of obeisance to the
deity.
36 Traditionally, “rejoice with trembling” (KJV). The verb ‫ גִּ יל‬normally means “rejoice,” but
this meaning does not seem to fit well together with “in trembling” (but see Goldingay, Psalms, 102).
Some try to understand “trembling” (and the parallel ‫יִ ְר ָאה‬, yir’ah, “fear”) in the sense of “reverential
awe” and then take the verbs “serve” and “rejoice” in the sense of “worship” (cf. NASB). But ‫ְר ָע ָדה‬
(“trembling”) and its related terms consistently refer to utter terror and fear (see Ex. 15:15; Job 4:14;
Pss. 48:6, 55:5, 104:32; Isa. 33:14; Dan. 10:11) or at least great emotional distress (Ezr. 10:9). It seems
more likely here that ‫ גִּ יל‬carries its polarized meaning “mourn, lament,” as in Hos. 10:5. “Mourn,
lament” would then be metonymic in this context for “repent” (referring to one’s rebellious ways). On
the meaning of the verb in Hos. 10:5, see F. I. Andersen and D. N. Freedman, Hosea (AB), 556-57
(NET note adapted).
10
Give sincere homage!37
‫קוּ־בר‬
ַ֡ ‫ נַ ְשּׁ‬12
Otherwise he will be angry,38
‫ֶפּן־יֶ ֱא ַנ֤ ף׀‬
and you will die because of your behavior,39
‫אבדוּ ֶ ֗ד ֶרְך‬
ְ ֹ ‫וְ ֬ת‬
37 Traditionally, “kiss the son” (KJV)—“the crux interpretum of Ps 2” (Craigie, Psalms, 64;
see his full discussion there). But ‫ ַ֡בר‬is the Aramaic word for “son,” not the Hebrew (cf. Prov. 31:2).
For this reason many regard the reading as suspect. Some propose emendations of vv. 11-12. One of
the more popular proposals is to read … (bir‘adah nash equ l eraslayv, “in trembling kiss his feet”). It
makes better sense to understand ‫ ַ֡בר‬as an adjective meaning “pure” (see Pss. 24:4, 73:1 and BDB 141
s.v. ‫ ַ֡בר‬3) functioning here in an adverbial sense. If read this way, then the syntactical structure of
exhortation (imperative followed by adverbial modifier) corresponds to the two preceding lines (see
v. 11). The verb ‫“( נשׂק‬kiss”) refers metonymically to showing homage (see 1 Sam. 10:1; Hos. 13:2).
The exhortation in v. 12 advocates a genuine expression of allegiance and warns against insincerity.
When swearing allegiance, vassal kings would sometimes do so insincerely, with the intent of rebelling
when the time was right. The so-called “Vassal Treaties of Esarhaddon” also warn against such an
attitude. In this treaty the vassal is told: “If you, as you stand on the soil where this oath [is sworn],
swear the oath with your words and lips [only], do not swear with your entire heart, do not transmit
it to your sons who will live after this treaty, if you take this curse upon yourselves but do not plan to
keep the treaty of Esarhaddon …may your sons and grandsons because of this fear in the future” (see
J. B. Pritchard, ed., The Ancient Near East, 2:62)” (NET note, adapted; see also deClaissé et. al, Psalms,
67; Goldingay, Psalms, 103).
38 The particle ‫ ֶפּן‬indicates a negative purpose/result relationship. The implied subject of the
verb is the LORD, mentioned in v. 11. Elsewhere in BH the subject of this verb is consistently the
LORD, suggesting it may be a technical term for divine anger. Anger is here used metonymically for
judgment, as the following statement makes clear. A Moabite cognate occurs in the Mesha inscription,
where it is used of the Moabite god Chemosh's anger at his people (see J. B. Pritchard, ed., The Ancient
Near East, 1:209). (NET note, adapted)
39 Lit., “and you will perish [in the] way.” The Hebrew word ‫“( ֶ ֫דּ ֶרְך‬way”) here refers to their
rebellious behavior, and it functions syntactically as an adverbial accusative in relation to the verb
“perish.”
11
when his anger quickly ignites.40
‫ִ ֽכּי־יִ ְב ַ ֣ער ִכּ ְמ ַע֣ט ַא ֑פּוֹ‬
How blessed41 are all who take shelter in
him!42
‫וֹסי ֽבוֹ׃‬
ֵ ‫ל־ח‬
֥ ‫ַ֝א ְשׁ ֵ ֗רי ָכּ‬
2. Literary-
Literary-structural summary
Psalm 2 might seem a second false start for the Psalter, representing another
form of speech we would not expect in a book called tehillim. As ps. 1 would
be at home in Proverbs, so Ps. 2 would be at home in a prophetic book. 43
Psalm 2 is a very symmetrically structured royal proclamation that almost sounds like it is
being verbally opened (perhaps also closed) by some august angelic spokesperson who is
present in the very throne room of heaven. On the other hand, one might argue that the
40 Or “burns.” The LORDs anger is compared here to fire, the most destructive force known
in ancient Israel.
41 The Hebrew noun is an abstract plural. The word often refers metonymically to the
happiness—perhaps better: overall “well-being”—that God-given security and prosperity produce (see
Pss. 1:1 (inclusio of Pss. 1-2), 34:9, 41:1, 65:4, 84:12, 89:15, 106:3, 112:1, 127:5, 128:1, 144:15).
42 “Taking shelter” in the Lord is an idiom for seeking and enjoying his protection. This also
demonstrates the subject’s loyalty to the Lord God. In the psalms those who “take shelter” in God are
contrasted with the wicked and equated with those who love, fear, and serve him (Pss 5:11-12, 31:17-
20, 34:21-22). DeClaissé et. al assert that “the closing colon of the psalm is not properly a part of
Psalm 2. Its congratulatory tone is out of sync with the admonishments that close the psalms (sic,
psalm)” (Psalms, 67). However, this salutary benediction could certainly apply to all those rulers who
do submit to the Son’s instructions and who “serve the LORD with fear” (vv. 10-11). In any case, 2:12b
appears to complement 1:6a, thus marking a parallel closure (structural epiphora) for both psalms.
43 Goldingay, Psalms, 94. From another perspective, Ps. 2 might be viewed as a poetic drama,
a “coronation” scene in heaven captured in media res by the psalmist, who may be the appointed
speaker who declares the final warning of vv. 10-12 (others interpret these as being the words of the
Son, who is addressing the nations, in particular, their rulers; cf. vv. 7-9) (Goldingay, Psalms, 96).
12
authorized speakers of the first and last sections are in fact the “righteous persons” who have
just been vindicated by the Lord’s judgment in Psalm 1 (vv. 5-6).
The text consists of four stanzas, each of which is comprised of three verses, which
are longer in lexical length in the second half: A (22 words), B (19), C (25), D (26). The two
outer stanzas focus on earthly kings, while the inner pair focus on YHWH and his divinely
anointed (Davidic) king.44 That is the probable reason for the positioning of Psalm 2 at the
head of the Psalter: “A central theme of the entire biblical tradition is the kingdom of God”
(Craigie, Psalms, 68)—and this in sharp contrast to all earthly kings and worldly regimes.
This thematic-pragmatic arrangement may be displayed as follows:
A (1-3) – worldly rulers verbally rebel against the LORD and “his anointed one”45
B (4-6) – God silences all enemies by introducing “my king”
C (7-9) – Yahweh officially instals and commissions “my Son”
D (10-12) – worldly rulers are warned to submit to the LORD and “the Son”
44 The theological significance of this psalm, the two inner stanzas in particular and the
central concept of “Father—Sonship,” harks back to the establishment of the Davidic covenant in 2
Samuel 7:8-16, for example: “I (YHWH) will be his (David/descendant) father and he shall be my son”
(v. 14; cf. Ps. 89:26). Psalm 2 is stated more forcefully in v. 7: “‘I have begotten you’ is metaphorical
language; it means more than simply adoption, which has legal overtones, and implies that a ‘new
birth’ of a divine nature took place during the coronation” (Craigie, Psalms, 67). One is left to wonder,
however, how much spiritual import the descendants of David, most of them anyway, attached to this
official ceremony and public enactment.
45 “The royal title is derived from the fact that the king on his coronation is anointed (1 Kgs
1:45), an act symbolizing that he was set aside from other persons to perform a particular service”
(Craigie, Psalms, 66)—in this case, a divine commission to carry out a cosmic mission.
13
Two primary motives emerge, each of which is lexically supported and conceptually
integrated throughout the text: human/divine SPEECH rejects // promotes KINGSHIP (see
DeClaissé et al., Psalms, 66). As noted in the preceding microtextual analysis, each stanza
ends in a significant quotation (direct speech)—except for the last, where the silence of
acquiescence is presupposed (the worldly kings have nothing more to say). The flow of
principal “speech-acts” and associated “attitudes” is as follows:
A – rulers arrogantly RENOUNCE God/divine King;
B – God angrily REPROACHES rulers;
C – Yahweh reassuringly ORDAINS Son,46
D – The Son/righteous psalmist sternly REPRIMANDS rulers.
Craigie feels that the first “climax” of the psalm occurs in v. 6: “God terrifies the earthly
rulers, not with any direct threat, but simply with the announcement that he has established
his king in Zion” (Psalms, 66)—no ordinary monarch, but one who has all the authority and
power of the sole Deity, Yahweh, behind him. Craigie does not explicitly indicate where
another “climax” occurs, but that must surely be in the very next verse (7), where the divine
performative act is uttered: ‫ ֵא ַ ֥לי ְבּ ִ ֥ני ַ ֑א ָתּה ֲ֝א ִ֗ני ַהיּ֥ וֹם יְ ִל ְד ִ ֽתּיָך‬. Thus, the psalm’s emotive (6) and
thematic (7) high points coincide in the center of the text, whereas the implications of this
momentous divine decree is situated on the borders of the text: all impudent insurrectionists
(stanza A) will be mercifully given a chance to fall into line and accept the new King’s rule
(and receive a blessing, v. 12c); failing that, they must face the dire consequences of God’s
righteous decrees (stanza D).
All the antagonists engaged in this cosmic drama are introduced in vv. 1-2 and remain
“on stage” throughout the semi-narrative progressions that gives the text thematic cohesion
(frequently underscored by chiastic syntactic constructions) as well as performative impact
and poetic appeal. Therefore, this psalm is ideally suited for some form of oral-aural
46 Stanza C features a foregrounded quote within a quote, where the Son reiterates the words
of ordination pronounced by Yahweh. Craigie argues for the psalmist being the speaker of the
concluding words of stern warning found in stanza D (Psalms, 65).
14
articulation (recitation, chanting, song). It concludes with an encouraging “blessing” (‫)א ְשׁ ֵ ֗רי‬
ַ֝
upon all of God’s faithful people (2:12; cf. 1:1, 6)—those who revere his Son (Ps. 2) and walk
in his righteous ways (Ps. 1). Psalms 1-2, neither of which has a superscription (like most of
the other psalms of Book I), appear to deliberately juxtaposed here to function as the poetic
introduction to the Psalter as a whole. The royal “kingship” and sapiential “wisdom” focus
and foundation for the entire Psalmic scroll has thereby been textually established—also with
clear Messianic import.
The authoritative divine instruction that concludes these two psalms (1:5-6, 2:10-12) thus
reinforce divine sovereignty along with human responsibility and “serve as a key to the
message of the Psalter as a whole” (Goldingay, Psalms, 103). Furthermore, the words and
implications of this prominent second psalm have an eschatological implication that
reverberates right through to the close of the Christian Scriptures: “The Revelation, in the
symbolic and mysterious language of its writer, contain an anticipation of the ultimate rule
and triumph of the man born to be King in the language and imagery of Ps 2 (Rev 1:5; 2:27;
4:2; 6:17; 12:5; 19:5 and others)” (Craigie, Psalms, 69).
3. Examples of a poetic translation
The following example of a poetic translation comes from the restructuring of Psalm 2
prepared by William A. Smalley, with special emphasis upon the “expressive function” of
language, that is, in an effort to recreate in English “the mood and emotional thrust of the
Psalm.”47
1a The subject peoples are planning rebellion…

1b Their people are plotting…
2a Their kings and rulers join in revolt…
3 “Freedom!” they say,
“Freedom from rule!”
“off with control
2b of the Lord
and the king he has chosen.”
1b Plotting
Useless plots.
47 William A. Smalley, Restructuring Translations of the Psalms as Poetry, in M. Black and Wm.
Smalley, eds., On Language, Culture, and Religion: In Honor of Eugene A. Nida (The Hague:
Mouton, 1974) 337-371.
15
1a Why?
4 The Lord laughs on his throne.
Mocks them in heaven.
5b Furious, he terrifies them,
5a Speaks to them, angry,
6b “I have installed the king,
Placed him on Zion,
My holy hill.”
7 And the king announces
What the Lord has declared to him:
“You are my son.
Today I became your father.
8 Ask me for the nations,
and I’ll give you them.
Ask for the earth,
and the whole world will be yours
9 to rule.
Break the nations in pieces
Like a clay pot smashes.
Rule them with a harsh king’s rule.”
10 So listen closely, rebel kings.
Watch out, you plotting rulers.
11 Tremble!
12 Bow down!
11 Serve him with fear
or you will die!
But people are happy
who go to the Lord
for protection.
Smalley concludes with several caveats regarding poetic translation (1974: 360, 363,
366):
 The better the poem, of course, the more subtle and powerful is its text structure …,
the tightly-knit interplay of many elements on many levels of deep and surface
structure. This cannot be preserved as such in translation, but elements of deep
structure which the translator keeps must be formed into a new intricate text structure
in the receptor language.
 A dynamic equivalent translation must evoke [the original functions], and although
the information content should be fully preserved in translation, it should be
16
integrated with the expressive function, which is primary. As with all translation, this
can only be done in English by changing the poetic form, and translating the meaning
in terms of another surface structure than that of the original.
 To the degree that there is a poem in the original there should be a poem of
nearly equivalent value in the receptor language if the other functions involved
are also suitable to verse form in the receptor language.
 Translation is not an interlingual Xerox process which produces the same work
of art in another language. Every piece of literary art, whether a poem or a piece
of literary prose, is in some respects unique. It is a unique combination of deep
and surface structure elements, and has a gestalt all its own. … If the
restructuring is done by an artist equivalent to the original artists, presumably
he [she] can produce an equivalent piece of literary art with a different surface
structure, but with the same content and function.
The following is another creative effort (http://www.petesantucci.com/2018/07/17/psalm-2/ -- thanks to

LMZ for this example). Would you have any suggestions for improvement?
Psalm 2
by pete santucci
Why all the hubbub?
Why all the plotting, people?
Why all the conniving and complaining?
Celebrities and politicians are parrots and parodies,
Repeating the same talking points,
Rejecting God and his chosen king.
"We want freedom!" they chant.
"Enough of God's shackles!"
God closes his eyes,

Shakes his head,
And sadly chuckles.
17
They are silly in their stupidity.
But mirthless laughter
Is replaced by a spark of anger.
Their stupidity isn't funny, it's dangerous.
"Hey!" he roars.
"I picked my king
And set him on Zion's throne
There's no negotiating here."
He looks on his king, and smiling says,
"Happy birthday, my son!
Everything I have is yours.
Nations, earth -- it's all yours.
Rule them with an iron scepter.
Crush their pretentions like pottery."
Leaders of the land, wise up!

Consider this your warning.
Ally yourselves with Yahweh, not against him.
His rule is to be celebrated, not rejected.
Kiss the son!
Befriend God's chosen king.
Rejection is destruction.
To refuse him is to refuse your own life.
To embrace him is to embrace life to the fullest.
pete santucci | July 17, 2018 at 3:29 pm
18
1. Text Study
The following Hebrew text study is enriched by expository notes adapted from the NET
version, from the Handbook on Psalms by Bratcher and Reyburn (B&R), and by quotations
from several other commentaries. The psalm has been divided into strophic units, the
structure of which will be discussed more fully after an examination of the text. Note that the
alphabetic letters have been highlighted as well as selected phonological similarities.
New English Translation (NET)48

(NET) SBL Hebrew Text49
A1 Commitment to Worship King YHWH 1-2
‫ ְתּ ִה ֗ ָלּה ְל ָ ֫דִ ֥וד‬1

1 A psalm of praise, by David. 1
‫לוֹהי ַה ֶ ֑מּ ֶלְך‬
֣ ַ ‫רוֹמ ְמָך֣ ֱא‬
ִ ‫ֲא‬
I will extol you, my God, O king!
‫עוֹלם וָ ֶ ֽעד׃‬
֥ ָ ‫וַ ֲא ָב ֲר ָ ֥כה ִ֝שׁ ְמ ָ֗ך ְל‬
I will praise your name continually! 2
ָ‫ְבּ ָכל־י֥ וֹם ֲא ָב ֲר ֶכ֑ךּ‬ 2
2 Every day I will praise you! ‫עוֹלם וָ ֶ ֽעד׃‬

֥ ָ ‫וַ ֲא ַה ְל ָ ֥לה ִ֝שׁ ְמ ָ֗ך ְל‬
I will praise your name continually! 3
1 Psalm 145. The psalmist praises God because

2 Or, hyperbolically, “forever.” “The parallelism
he is a just and merciful “king” (cf. vv.
11-13; cf. Ps. 98:6) who cares for his throughout Psalm 145 tends to be static, that is,
people. This royal praise psalm is without significant heightening from line a to
composed as an acrostic, meaning that line b. However, in spite of this there is, as Alter
the first word of every verse begins with says, ‘a progression from the general praise of
the next letter of the Hebrew alphabet, God to an affirmation of his compassion, his
except for the letter “n” which has been kingship, his daily providing for those who truly
48 https://net.bible.org/#!bible/Psalms+145:14
49
Biblia Hebraica Stuttgartensia: with Westminster Hebrew Morphology. (2001). (electronic ed., Ps
145). Stuttgart; Glenside PA: German Bible Society; Westminster Seminary.
19
omitted (see the note at v. 13). The call unto him’ (Alter, The Art of Biblical
psalm may be entitled as “‘A Hymn of Poetry, p. 23). In the first two verses (in an
Praise’ [cf. the psalm’s superscript]. aa’bb’a’a poetic pattern), the psalmist declares
Other headings are: ‘The name of the his readiness to praise God, to proclaim his
LORD’; ‘An alphabetical doxology’; ‘The greatness, and to thank him forever and ever”
greatness and goodness of God’” (B&R (B&R 1163).
1162; perhaps you can suggest a better
3 Repetition (1c) marks closure of strophe one.
title?).
B1 Reasons for worship—

worship—God’s greatness 3-6
‫אד‬
ֹ ֑ ‫וּמ ֻה ָלּ֣ל ְמ‬
ְ ‫הו֣ה‬
ָ ְ‫֘ ָגּ ֤דוֹל י‬ 3
3 The Lord is great and certainly worthy of
praise!
‫וְ ִ֝לגְ ֻד ָלּ ֗תוֹ ֵ ֣אין ֵ ֽח ֶקר׃‬
No one can fathom his greatness! 4
4 One generation will praise your deeds to ‫֣דּוֹר ְ ֭לדוֹר יְ ַשׁ ַ ֣בּח ַמ ֲע ֶ ֑שׂיָך‬ 4
another,
and tell about your mighty acts! 5 ‫וּגְ ֖בוּר ֶ ֹ֣תיָך יַ ִ ֽגּידוּ׃‬
5 I will focus on your honor and ‫הוֹדָך‬

֑ ֶ ‫֭ ֲה ַדר ְכּ ֣בוֹד‬ 5
majestic splendor,
‫יחה׃‬
ָ ‫אוֹתיָך ָא ִ ֽשׂ‬
֣ ֶ ‫וְ ִד ְב ֵ ֖רי נִ ְפ ְל‬
and your amazing deeds! 6
‫אמרוּ‬
֑ ֵ ֹ ‫נוֹרא ֶ ֹ֣תיָך י‬
ְ ‫וֶ ֱעז֣ וּז‬ 6
6 They will proclaim 7 the power of your ‫דוּלּ ְתיָך֥ ֲא ַס ְפּ ֶ ֽרנָּ ה׃‬
ָ ֯ ְ‫וּג‬
awesome acts!
I will declare your great deeds!*
4 Heb “and concerning his greatness there is no 6 Heb “the splendor of the glory of your majesty,
searching.” “For verse 3a see similar and the matters of your amazing deeds I
statement in 48.1; 96.4; and in verse 3b will ponder”—a rare, emphatic front-
the Hebrew ‘there is no searching his shifted three-word construct-chain of
greatness’ means that God’s greatness synonyms. There are allusions to the
cannot be fully understood by a human Red Sea deliverance event (see Pss.
being” (B&R 1163). 65:5, 66:3, 106:22).
5 “Thy works... thy mighty acts are 7 The prefixed verbal forms in vv. 4-6 are
Yahweh’s marvelous deeds in freeing his understood as imperfects, indicating

people from slavery in Egypt and taking how the psalmist expects his audience
20
them to the Promised Land.” (B&R to respond to his praise. Another option
1163; cf. Exod. 3:20, 34:10). “There is a is to take the forms as jussives,
textual problem in verse 5; RSV (also indicating the psalmist’s wish, e.g., v. 4:
NJV, NEB, TOB) translates the “may one generation praise…and tell
Masoretic text, in which there is only about.”
one verb, I will meditate, in line b. “It should be noted that, in verses 5b, 6b,
Instead of “and the words of” in line a of instead of the first person singular of
the Masoretic text (which RSV in line b, the Hebrew text, the Septuagint,
translates works), the Qumran LXX has the third person plural, which
manuscript has the verb “they will Weiser and NAB follow. NEB and
speak,” which GNT and SPCL prefer SPCL follow the Septuagint in verse 6b.
(also HOTTP). In verse 5a GNT “your In this way the verbs are all plural in
glory and majesty” translates the verses 4-7, which is more consistent;
Hebrew “the splendor of honor of your but the Hebrew text makes sense” (B&R
majesty” (see RSV|).” (B&R 1163). 1164)—and therefore should be retained
in translation.
* A shift to the first person “I” associated with
an assertion of praise marks the end of
strophe 2 (cf. v. 2b).

worship—God’s
God’s goodness
goodness 7-9
‫טוּבָך֣ יַ ִ ֑בּיעוּ‬
ְ ‫ֵז֣ ֶכר ַרב־‬ 7
7 They will talk about the fame of your
great kindness, 8
‫וְ ִצ ְד ָק ְתָך֥ יְ ַר ֵנּֽנוּ׃‬
and sing about your justice. 9
‫הו֑ה‬
ָ ְ‫ַחנּ֣ וּן וְ ַר ֣חוּם י‬ 8
8 The Lord is merciful and compassionate;
‫ֶ ֥א ֶרְך ַ֝א ֗ ַפּיִ ם וּגְ ָדל־ ָ ֽח ֶסד׃‬
he is patient 10 and demonstrates great loyal
love. 11 ‫הו֥ה ַל ֑כֹּל‬
ָ ְ‫טוֹב־י‬ 9
‫ל־מ ֲע ָ ֽשׂיו׃‬
ַ ‫וְ ֝ ַר ֲח ָ֗מיו ַעל־ ָכּ‬
9 The Lord is good to all,
and has compassion on all he has made. 12
8 Heb “the fame of the greatness of your 10 Heb “slow to anger” (see Pss 86:15; 103:8).
goodness.” “In verse 7a fame translates 11 Heb “and great of loyal love” (see Pss 86:15).
the word meaning “remembrance” (see Verse 8 is almost identical in form with
“remembrance” in 6.5; “name” in 103.8; the meaning is the same.
12 Heb “and his compassion is over all his
102.12b).” (B&R 1164); cf. the classic
Exodus 34:6-7. works.” Notice that the “goodness” of
YHWH is here connected with the
21
9 The prefixed verbal forms in v. 7 are “greatness” of his mighty works, which
understood as imperfects, indicating was highlighted in the preceding
how the psalmist expects his audience to strophe. Psalm 145 goes beyond most
respond to his praise. Another option is praise songs by expanding the scope of
to take the forms as jussives, indicating God’s grace to all creation (cf. v. 21).
the psalmist’s wish, “may they talk…and The covenantal atributes of YHWH
sing,” or “they shall…” (Goldingay distinguish strophe 3.
2008:693).
A2 Commitment to Worship King YHWH 10
10 All he has made will give thanks to

the Lord.* ‫ל־מ ֲע ֶ ֑שׂיָך‬
ַ ‫י ֣וֹדוָּך ְי֭הוָ ה ָכּ‬ 10
‫וּכה׃‬
ָ ‫וַ ֲ֝ח ִס ֶ ֗ידיָך יְ ָב ֲר ֽכ‬
Your loyal followers will praise you.
*Or, O LORD; This is the structural midpoint of The term “saints” (‫) ֲח ִס ִידים‬, on the other hand,
the psalm. Again the psalmist proclaims the
serves to join v. 10 with what follows, for these
universal nature of the praise given to Yahweh people are the implied subject of the verbs
(see vv. 1-2; cf. v. 21)—and this in appropriate found in v. 11. Note the distinctive chiastic
response to the great goodness of “all [his] arrangement of this verse:
works,” a phrase that connects this central verse
with the psalm’s first half (v. 9). predicate-subject=subject-predicate.

worship—God’s
God’s greatness
greatness 11-
11-13
11 They will proclaim the splendor of your

kingdom; ‫ֹאמרוּ‬
֑ ֵ ‫כוּתָך֣ י‬
ְ ‫ְכּ ֣בוֹד ַמ ְל‬ 11
‫בוּר ְתָך֥ יְ ַד ֵ ֽבּרוּ׃‬

ָ ְ‫וּג‬
they will tell about your power,
12 so that mankind 13 might ‫הוֹד ַיע׀ ִל ְב ֵנ֣י ָ ֭ה ָא ָדם גְּ בוּר ָ ֹ֑תיו‬

֤ ִ ‫ ְל‬12
acknowledge your mighty acts,
‫כוּתוֹ׃‬
ֽ ‫֝וּ ְכ ֗בוֹד ֲה ַ ֣דר ַמ ְל‬
and the majestic splendor of your kingdom.
‫וּת ָ֗ך ַמ ְל ֥כוּת ָכּל־ ֽעֹ ָל ִ ֑מים‬
ְ ‫ ַ ֽמ ְלכ‬13
13 Your kingdom is an eternal kingdom, 14
‫ל־דּוֹר וָ ֽדוֹר׃‬
֥ ‫֝וּ ֶ ֽמ ְמ ֶשׁ ְל ְתּ ָ֗ך ְבּ ָכ‬
22
and your
dominion endures through all generations.15
13 Heb “the sons of mankind.”

14 Heb “a kingdom of all ages.” “The basic idea is “The Lord is reliable in all his words, and
that of the possession and exercise of faithful in all his deeds.”
YHWH’s power as king; it does not have
a geographical idea, the place where πιστὸς κύριος ἐν τοῖς λόγοις αὐτοῦ
God’s kingship is exercised, as the word
“kingdom” in English usually has; nor καὶ ὅσιος ἐν πᾶσι τοῖς ἔργοις αὐτοῦ.
does it have a temporal idea, the time
when it is exercised. It is God’s timeless One might paraphrase this as follows: “The
and unlimited power as king of the Lord’s words are always reliable; his
universe and humankind.” (B&R 1165). actions are always faithful.” Scholars are
The notion of kingship/divine rule lends divided as to the originality of this
cohesive force to delineate this strophe. verse. L. C. Allen argues for its inclusion
15 Psalm 145 is an acrostic psalm, with each on the basis of structural considerations
successive verse beginning with a (Psalms 101-150 [WBC], 294-95; see
successive letter of the Hebrew also A.K. Lama, Reading Psalm 145
alphabet. However, in the traditional with the Sages, Langham: 2013 – see
Hebrew (Masoretic) text of Psalm below). The psalm may be a partial
145 there is no verse beginning with the acrostic, as in Pss 25 and 34 (see M.
letter nun.50 One would expect such a Dahood, Psalms [AB], 3:335). The
50 On the Hebrew Bible’s “missing verse”: “Psalm 145 is an alphabetic acrostic, the initial
letter of each verse being the Hebrew alphabet in sequence. (For this purpose, the usual Hebrew
numbering of verse 1, which begins with the title, "A Psalm of David", is ignored in favor of the
non-Hebrew numbering which treats verse 1 as beginning ‫( ֲא ָב ֲר ָ ֥כה‬Aromimkhaw, "I will exalt You").
But there is no verse beginning with the letter nun (‫)נ‬, which would come between verses 13 and 14.
A very common supposition is that there had been such a verse but it was omitted by a copyist's
error. If so, that error must have occurred very early. By the 3rd century of the Christian era, Rabbi
Johanan Ha-Nappah is quoted in the Talmud (Berakhot 4b) as asking why is there no verse in Psalm
145 beginning with nun, and the explanation is given (presumably by the same Rabbi Johanan) that
the word "fallen" (‫נ ְֽפ ָלה‬,ָ nawflaw) begins with nun, as in the verse of Amos 5:2 ("Fallen is the
Maiden of Israel, she shall arise nevermore"), and thus it is incompatible with the uplifting and
universal theme of the Psalm. The explanation may not satisfy modern readers (it did not satisfy
Rabbi David Kimhi of the 13th century), but it demonstrates that the absence of a verse beginning
with that letter was noticed and was undisputed even in antiquity.
However, the Septuagint, the Latin Vulgate (which is largely based on the Septuagint), the
Syriac Peshitta, and the Dead Sea Scrolls (11QPs-ɑ)(which shows some affinity with the Septuagint,
23
verse to appear as the fourteenth verse, glaring omission of the nun line would
between the mem (‫ )מ‬and samek (‫)ס‬ have invited a later redactor to add such
verses. Several ancient witnesses, a line.
including one medieval Hebrew “In line d gracious translates the
manuscript, the Qumran scroll from adjective chasid (see its use applied to
cave 11, the LXX, and the Syriac, supply people, “thy saints,” in verse 10b). The
word means “one who shows chesed,” so
the missing nun (‫ )נ‬verse, which reads
it can be taken to mean “one who shows
as follows: love” (BJ) or “one who shows loyalty”
(TOB|prj:TOB88.PSA.145.13c);
NAB has “is holy.”
HOTTP recommends either “loyal” or
“merciful.”” (B&R 1166).

worship—God’s
God’s goodness
goodness 14-
14-16
‫־הנּ ְֹפ ִ ֑לים‬

ַ ‫וֹמְך ְי֭הוָ ה ְל ָכל‬
֣ ֵ ‫ ס‬14
14 The Lord supports all who fall,
e.g., the inclusion of a 151st Psalm) all provide a verse at this point which commences (in Hebrew)
with nun—NAMN "Faithful is God in all His ways, and loving-kind in all His works" … This verse
is now inserted in the appropriate line (sometimes numbered "verse 13b") in several Christian
versions of the Bible including the New Revised Standard, the New American, the Today's English
Version, the Moffat, and others. However, not everyone is convinced that this nun verse is
authentic. It is, except for the first word, identical to verse 17 (‫"( )צ‬Righteous is YHVH in all His
ways...."). These ancient versions all have other departures from the traditional Hebrew text which
make them imperfect evidence of the original text; for example, the Dead Sea Scrolls version
ends every verse in Psalm 145 with "Blessed be YHVH and blessed is His name forever and ever."
And no such nun verse is found in other important ancient translations from the Hebrew — the
Aramaic Targum, the Greek versions of Aquila, Symmachus, and Theodotion — nor is such a verse
quoted anywhere in the Talmud. Additionally, there are other alphabetic acrostics in the Book of
Psalms — specifically Psalms 25 and 34 — that also imperfectly follow the alphabet. It is plausible
that a nun verse was not part of the original text or if it was then it was completely lost many
centuries before any of these other sources originated, and that this nun verse was independently
arrived at, by various copyists and translators, who, when they noticed the absence of such a verse
in their Hebrew manuscript, assumed it was the result of an error by a previous copyist, and each set
about to contrive a replacement verse in the simplest and least objectionable way, coincidentally
arriving at the same result.” (https://en.wikipedia.org/wiki/Psalm_145 ).
24
and lifts up all who are bent over. 16
‫פוּפים׃‬
ֽ ִ ‫־ה ְכּ‬
ַ ‫֝זוֹקף ְל ָכל‬
֗ ֵ ְ‫ו‬
15 Everything looks to you in anticipation, 17 ‫ ֵ ֽעינֵ י־ ֭כֹל ֵא ֶל֣יָך יְ ַשׂ ֵ ֑בּרוּ‬15

and you provide them with food on a regular
basis. 18 ‫ת־א ְכ ָ ֣לם ְבּ ִע ֽתּוֹ׃‬
ָ ‫ן־ל ֶ ֖הם ֶא‬
ָ ‫וֹת‬ֵ ֽ‫וְ ַא ָ ֤תּה נ‬
16 You open your hand,

‫וֹת ַח ֶאת־יָ ֶ ֑דָך‬
֥ ֵ ‫ פּ‬16
and fill every living thing with the food they
desire. 19 ‫־חי ָר ֽצוֹן׃‬
֣ ַ ‫וּמ ְשׂ ִ ֖בּ ַיע ְל ָכל‬
ַ
16 Perhaps “discouraged” (see Ps 57:6). The “Each begins with a double-noun clause affirm-
same thought is also to be found in ing Yhwh’s goodness, followed by
146.8b. identical second cola affirming Yhwh’s
17 Heb “the eyes of all wait for you”—i.e., YHWH commitment. Each opening line is then
v. 14a; verses 15-16 are similar to followed by three verses spelling out the
104:27-28. implications of that description more
18 Heb “and you give to them their food in its concretely; vv. 13c-16 do that for
season”; “Yhwh is the only one who ever creation in general, vv. 17-20 for Yhwh’s
provides sustenance; there is no other people” (Goldingay 2008:702).
God to look to” (Goldingay 2008:703). The notion of inclusiveness (“all” life!)
19 Heb “[with what they] desire.” In the LXX, vv. distinguishes this strophe as a distinct
13c-20 are divided into a pair of 4-line poetic unit—and carries on into the
strophes. next, which is initiated by ‫( ְי֭הוָ ה‬a
structural “aperture”).

worship—God’s
God’s justice 17-
17-20
17 The Lord is just in all his actions, 20

‫ ַצ ִ ֣דּיק ְי֭הוָ ה ְבּ ָכל ְ־דּ ָר ָ ֑כיו‬17
and exhibits love in all he does. 21 ‫־מ ֲע ָ ֽשׂיו׃‬

ַ ‫וְ ָ֝ח ִ֗סיד ְבּ ָכל‬
‫ ָק ֣רוֹב ְי֭הוָ ה ְל ָכל־ק ְֹר ָ ֑איו‬18

18 The Lord is near all who cry out to him,
all who cry out to him sincerely. 22 ‫ְל ֤כֹל ֲא ֶ ֖שׁר יִ ְק ָר ֻ ֣אהוּ ֶב ֱא ֶ ֽמת׃‬
19 He satisfies the desire 23 of his loyal ‫ ְרצוֹן־יְ ֵר ָ ֥איו יַ ֲע ֶ ֑שׂה‬19
followers; 24
he hears their cry for help and delivers them. ‫יעם׃‬

ֽ ֵ ‫ְ ֽו ֶאת־ ַשׁוְ ָע ָ ֥תם ִ ֝י ְשׁ ַ֗מע וְ יוֹ ִשׁ‬
25
20 The Lord protects those who love him,
‫ שׁוֹ ֵ ֣מר ְי֭הוָ ה ֶאת־ ָכּל־א ֲֹה ָ ֑ביו‬20
but he destroys all the wicked. ‫־ה ְר ָשׁ ִ ֣עים יַ ְשׁ ִ ֽמיד׃‬

ָ ‫וְ ֵ ֖את ָכּל‬
20 Heb “in all his ways”; i.e., whatever in the 23 Inthis context “desire” refers to the followers’
universe that Yhwh does—everything desire to be delivered from wicked
“just”! enemies. “Verse 19 implicitly links with
21 Heb “and [is] loving, or ‘totally committed’, in v. 18b: people who call in truth are
all his deeds.” Verse 17b is exactly like people who ‘revere’ Yhwh. For them
verse 13d. Yhwh does act with favor (‫”) ְרצוֹן‬
22 Heb “in truth.” “In verse 18 The LORD is
(Goldingay 2008:704).
near means that he is attentive and 24 Heb “the desire of those who fear him, he
ready to respond (see 34.18) to all who
does.” In verse 19a the thought is like that of
call upon him for help [“near” to him verse 16b. The antithetical content of v. 20 is
in their prayer-life]. The final phrase in
mirrored by its chiastic construction, while the
truth is better translated ‘with negative assertion serves to mark a strophic
sincerity’” (B&R 1167). closure.
21 My mouth will praise the Lord. 25

‫ר־פּי‬
֥ ִ ‫הוה יְ ַֽ ד ֶ֫בּ‬
֗ ָ ְ‫ ְתּ ִה ַ ֥לּת י‬21
Let all who live 26 praise his holy name ‫ל־בּ ָשׂר ֵ ֥שׁם ָק ְד ֗שׁוֹ‬
֭ ָ ‫יב ֵ ֣רְך ָכּ‬
ָ ִ‫ו‬
forever and ever!
‫עוֹלם וָ ֶ ֽעד‬
֥ ָ ‫ְל‬
25 Heb “the praise of the Lord my mouth will The same point is reinforced by the repetition of
speak”; note the shift to a first-person “all” throughout the psalm, and by the
predication (aperture). This verse is best accumulation of key thematic terms,
scanned as a tricolon (which would be such as those in the semantic set of
the only one in this psalm), with the “praise,” mighty “works,” “goodness,”
emphatic ‫עוֹלם וָ ֶ ֽעד‬
֥ ָ ‫ ְל‬concluding this and “rule.” The expression ‫ ֵ ֥שׁם ָק ְד ֗שׁוֹ‬is a
impressive, all-encompassing doxology. new concept in this psalm, “but holiness
The initial ‫ ְתּ ִה ָלּה‬forms a literary sums up the metaphysically unique
person of Yhwh that the psalm has
inclusion with the psalm’s
explored in many of its epithets for
superscription, while the first-person
references and “praising” God’s “name Yhwh,” while the Lord’s Prayer “works
out this psalm’s implications”
forever” clearly link up with the first
strophe (vv. 1-2); note also the (Goldingay 2008:704-705). This verse
may function as “the benediction of
consonants of “name” (Sh/M) being
Book V, leading to the fivefold doxology
previewed in vv. 19-20.
26 Heb “all flesh.” Verse 21 here at the end of the concluding the Psalter (Psalms 146-
150)… (B&B 605). “It is clear that form
psalm echoes v. 10 in the middle, which
26
is another artistic literary touch to the and stylistics share in elucidating the
text. This figurative reference would psalm’s structure” (Allen 1983:296; cf.
include people of all nations (contra as in all examples of literary art). Psalm
Goldingay 2008:695), and 145 fittingly concludes with “forever”
hyperbolically encompass all animals as (‫עוֹלם וָ ֶ ֽעד‬
֥ ָ ‫( ) ְל‬cf. vv. 2b, 13b)—So should
well.
we all praise the LORD!
2. Structural Outline
Due to the rigorous formality of the prevailing acrostic arrangement, many scholars feel that
is unhelpful to seek (perhaps, impossible to find) a larger strophic pattern in Psalm 145. This,
for example, is one conclusion: “No clear division into strophes may be attempted, since the
artificial nature of the composition severely limits its artistry” (Bratcher and Reyburn
1991:1162). However, as I have suggested in the preceding text display, it is possible to
discern a rather clear thematic structure in this psalm, one that is also formally marked by
poetic devices in a manner that is not at all “artificial,” that is, in keeping with the typical
ways of delineating literary units in the Psalter. A summary of the thematic arrangement of
Psalm 145 is found below, one that is based on alternating calls for praise and grounds for
praise. This is followed by notes that briefly describe some of the main poetic devices that
serve to support the proposed strophic arrangement of the discourse.
A1 Commitment to Worship King YHWH 1-2
worship—
B1 Reasons for worship —God’s greatness 3-6
worship—
B2 Reasons for worship —God’s goodness 7-9
worship—
B3 Reasons for worship —God’s greatness 11-
11-13
worship—
B4 Reasons for worship —God’s goodness 14-
14-16
worship—
B5 Reasons for worship —God’s justice 17-
17-20
27
A1 (1-2): divine direct address in both verses, each of which includes the expression
“praise…your name” (God).
B1 (3-6): opening praise for the greatness of YHWH, explicitly named (aperture);
reference is made to God’s great “works” in each verse (internal cohesion).
B2 (7-9): v. 7 is a “hinge” passage, pointing backwards to “they” who are praising
YHWH who is explicitly named in v. 8; all three verses mention aspects of
God’s “goodness”.
A2 (10): the psalm’s midpoint, reflecting back to A1 as well as forward to the end at A3 with
the universal call to “praise” (‫)בּ ַרְך‬
ָ the LORD.
B3 (11-13): each verse praises God’s greatness with reference to his rule, or
“kingdom” (‫מ ְלכוּת‬,
ַ 4x) in a strophe where each verse begins with a thematic
letter: K-L-M.
B4 (14-16): each verse (also 13c) praises God’s goodness with reference to care for his
saints.
B5 (17-20): initial explicit mention of YHWH (aperture); all four verses mention
aspects of the LORD’s covenantal “righteousness” (v. 17c), which in a sense
specifically combines God’s greatness with his goodness.
A3 (21): a concluding shift to a personal perspective (“my mouth”), along with another call
for universal, and eternal, “praise” of YHWH (named); end-stress (closure).
As the preceding structural outline would indicate,51 Psalm 145 has been masterfully
composed in a literary (acrostic) as well as a topical (strophic) manner that serves to
complement and underscore its exuberant invitation for all singers in the congregation
(nobody can remain silent during a prayer like this!) to roundly worship the almighty God
51 Obviously, a divergent structural outline would result in quite a different perspective on

the discourse development of this psalm in terms of form and to some extent meaning as well. For
example, Brueggemann and Bellinger Jr. (B&B) suggest the following divisions: 1-3, 4-9, 10-13, and
14-21 (2014:603)—a proposal that seems to overlook, or to dismiss as not being diagnostic, the
demarcative criteria summarized above. The same could be said for Terrien’s overly uniform
arrangement: 1-3, 4-6, 7-9, 10-12, 13-15 (adding the nun verse 14), 16-18, 19-21, 22 (2003:902-903).
28
who has graciously done everything for them!52 As Adele Berlin puts it: “The entire alphabet,
the source of all words, is marshalled in praise of God” (cited in Goldingay 2008:695). From
another perspective: “Might we read Psalm 145 as the summary statement of the theme of the
Hebrew Psalter:53 The LORD is king over all generations of the Israelites and over all flesh?”
(deClaissé et al. 2014:994)—indeed, over all the “saints” (‫ ) ֲח ִס ִידים‬of every age and race (v.
10).54
3. Translation
Assess the following creative attempt to render the artistic-acrostic nature of Psalm 145—
can you suggest any points for revision or modification?
The A to Z of God’s Glory and Power55

Power
Adonai, my King, I’ll adore you with praise, 1

Almighty God, my Savior,
Bringing you thanks all my days, 2
Blessing who you are forever.
Can your greatness ever be quantified? 3

Can we do you justice in praise?
52 Psalm 145 is the last psalm ascribed to David in the Psalter. Its genre as a royal praise
song, acrostically fashioned, provides an excellent introduction to the five-psalm doxological
conclusion of the entire book, Psalms 146-150. “All five [concluding psalms] echo features and
language of Psalm 145” (Mays 1994:439). “All indications are that the words of this psalm were and
are a vital part of the faith of the Jewish people” (deClaissé et al.:2014:990; cf. Brueggemann and
Bellinger 2014:603).
53 “The psalm is filled with some of the most memorable phrases of praise in all of
scripture” (Anderson 2016:212).
54 Psalm 145 also reflects the two major themes that initiate the Psalter in Psalms 1-2: “the
way of the righteous” (Ps. 1, 145:17-20) and “the rule of the LORD” (Ps. 2, 145:11-13).
55 Brenda Boerger, Poetic Oracle English Translation: Psalms (self-published, 2009), 223-
224.
29
Definitely not—your deeds keep us mystified,
Deep and unsearchable your ways.
Each era acclaims you to their progeny, 4

Enumerating your magnificent acts.
Father, I’ll focus on your majesty, 5
Finding time to probe into the facts.
God, I’ll go over your works diligently—

Glorious in splendor for eternity.
Humanity tells of your power, authority— 6
His are holy and awesome deeds!
I utter testimonies of your immensity.

Individuals talk of your goodness without pause, 7
Jumping for joy in celebration because
Justice is yours and you’re purity.
King Yahweh’s full of mercy and grace, 8

Kind, not losing his temper.
Lord Yahweh’s goodness can’t be displaced, 9
Loving and merciful to all forever.
Master, all you’ve made magnifies you, 10

Majesty, thanks for your great salvation!
None of your godly ones neglects serving you
Numbering your blessings with standing ovation.
Openly, oh Lord, they’ll honor your name, 11

Owning and bowing to your glorious reign,
Proclaiming your praise, hour by hour,
Professing your splendor and power.
Quite so, then all learn your quintessential splendor 12

Quaking at you glory, power, and majesty.
Revered Lord, your kingdom’s rule is forever, 13
Reigning through time for eternity.
30
Supreme One, you sustain all who stumble, 14
Supporting those who’ve been brought low.
To you humble eyes turn, in their trouble 15
Trusting you’ll feed them now and tomorrow.
Unfailingly you open your hand, you’re unstinting. 16

Universally fulfilling the needs of all living.
Verifiably, you’re just, right and true. 17
Vast love is shown in all you do.
Would you then abandon the one who pleads? 18

Would you forget the one who truly believes?
eX
Xecuting the desires of all your exalters— 19
eX
Xtricating from evil, those who pray at your altars—
Yahweh, you protect those who love you, 20

Yet you destroy those who make evil their pursuit.
Zestfully I lift up your name, my Creator. 21
Zealously your creation exalts you forever!
31
1. Annotated diagram of the text’s sequential-spatial structure
We will now examine the actual Hebrew text of Psalm 31 in order to illustrate one possible
discourse-oriented methodology and also to lay the foundation for the literary-structural
commentary and comparison that follows thereafter. The type of textual display follows the
same annotated model that was presented in chapters 1-2; this allows for a number of
additional scholarly perspectives on the original composition.
v.co Post-Verb2 Post-Verb1 VERBAL Pre-Verb2 Pre-Verb1

A 56
0.1
‫ְל ָדִ ֽוד‬ 57‫ִמזְ ֡מוֹר‬ ----- ‫ַל ְמנַ ֵ֗צּ ַח‬
56 Stanza A of Psalm 31 (vv. 1-5) is arranged in a rough concentric pattern: vv. 1/5—
General appeal for refuge/safety to the LORD (YHWH) of the covenant (“righteousness” and
“truth”); vv. 2/4—Specific appeal for defense against the attacks of enemies; v. 3—Basis for the
psalmist’s trust: Yahweh is a “rock” of protection, his “name” is reliable. It is possible, as Terrien
suggests (2003:285), to divide this stanza into two “strophes” at v. 3, despite the strong lexical
overlap between vv. 2 and 3 (e.g., the “rocky” imagery). The initial ‫ ִ ֽכּי‬in v. 3 could be construed as
asseverative, “Indeed…” to provide the confident basis for the following confident assertions.
N57 “This psalm cannot easily be identified with any one type, since it combines elements of
sorrow (verses 9-13), statements of confidence (verses 3, 4, 14-15), thanksgiving (verses 7-8, 19-20),
and pleas for punishment of enemies (verses 4,17-18). Some see it as a composite work” (Bratcher &
Reyburn 1991:289). Though it may be “composite” in its pragmatic-functional constituents, this
does not necessarily mean that it is a compound composition; a single author could have put all the
pieces together into the coherent form that we have it. As Craigie argues: “The structure [of the
psalm] suggests unity, as does the use of common terminology, repeated words and phrases
extending throughout the psalm, and providing a framework of coherence” (1983:259; cf.
VanGemeren 1994:831). Terrien lists the main correspondences as follows: “The unity of the entire
composition may also be conjectured from the repetition of several motifs: refuge (vv. 2 and 20 [1,
19]); confidence (vv. 7, 15, and 24 [6, 14, 23]); shame (vv. 2 and 18 [1, 17]); and fidelity (vv. 5 and
17 [4, 16])” (2003:288). There are lexical and conceptual links between Ps. 31 and Pss. 4, 7, 18, 22,
28, and 71 (Goldingay 2006:437).
32
1.1
58‫יתי‬
ִ ‫ָ ֭ח ִס‬ ‫הו֣ה‬
ָ ְ‫י‬ 59 ֖‫ְבָּך‬
1.2
‫עוֹל֑ם‬
ָ ‫ְל‬ ‫וֹשׁה‬
ָ ‫ֵא ֣ב‬ ‫ַאל־‬
1.3
‫ַפ ְלּ ֵ ֽטנִ י‬ 60 ֥‫ְבּ ִצ ְד ָק ְתָך‬
2.1
‫ָאזְ נְ ָ֮ך‬ ‫ֵא ֨ ַלי ׀‬ ‫ַה ֵ ֤טּה‬
2.2
‫ילנִ י‬
֥ ֵ ‫ַה ִ֫צּ‬ ‫ְמ ֵה ָ ֪רה‬
2.3
‫צוּר־מעוֹז‬
ָ֭ ‫ְ ֽל‬ ‫֨ ִלי ׀‬ ‫ֱה ֵי֤ה‬
61
2.4
‫יענִ י‬
ֽ ֵ ‫הוֹשׁ‬
ִ ‫ְל‬ ‫צוּדוֹת‬
֗ ‫ְמ‬ ‫ְל ֵ ֥בית‬
3.1
‫ָ ֑א ָתּה‬ ------- ‫צוּד ִ ֣תי‬
ָ ‫וּמ‬
ְ ‫י־ס ְל ִ ֣עי‬
ַ ‫ִ ֽכּ‬
58 “Such a declaration of reliance is a standard way to begin a prayer psalm” (cf. 7:1;
Goldingay 2006:438)—perhaps “a stylized expression” associated with psalms of lament (Harman
2011:265).
59 Examples of “topic focus” (as here, “in you”—YHWH!) abound in this psalm; instances of
“constituent focus” are less common, but also present, e.g., 3.1—Yahweh’s “rocky”, “fortress-like”
(protective) character.
60 “‘Righteousness’ is not a reference to God’s justice, but rather to his power to save”
(Harman 2011:266). But this perspective seems overly analytical. In typical OT covenant-oriented
thought and terminology, Yahweh’s “righteousness” could involve his “justice” in the sense that he
would fulfil his promise to “deliver” his faithful people in their time of need, whether communally
or, as here, on an individual basis. That is the basis for the psalmist’s prayer. God’s covenantal
righteousness is manifested in his “faithfulness” (v.5) and “love” (vv.7, 16, 21).
61 A cohesive series of metaphoric references (vv. 2-3) to God’s sure power and unfailing
protection under the figures of high cliffs and rocky fortresses evokes some impressive local imagery
that would be especially moving for the inhabitants of Israel (see VanGemeren 1991:264 for a chart
of the lexical patterning here).
33
3.2
‫ַ ֽתּנְ ֵ ֥חנִ י‬ 62‫ִ֝שׁ ְמ ָ֗ך‬ ‫וּל ַ ֥מ ַען‬
ְ
63‫וּֽ ְתנַ ֲה ֵ ֽלנִ י‬
4.1
64‫ֵמ ֶ ֣ר ֶשׁת‬ ‫יאנִ י‬
ֵ֗ ‫תּוֹצ‬
ִ
4.2
‫ִ ֑לי‬ ‫ָ ֣ט ְמנוּ‬ ‫ז ֭וּ‬
4.3
‫עוּזּי‬
ֽ ִ ‫ָ ֽמ‬ ------- ‫ַ֝א ָתּה‬ ‫ִ ֽכּי־‬
5.1
65 ‫וּחי‬
֥ ִ ‫֫ר‬ ‫ַא ְפ ִ ֪ קיד‬ ‫ְבּיָ ְד ָ֮ך‬
5.2
‫הוה ֵ ֣אל‬
֗ ָ ְ‫י‬ ‫אוֹתי‬
ִ֥ 66‫יתה‬
ָ ‫ָפּ ִ ֖ד‬
‫ֱא ֶ ֽמת‬
62 The “name” being referred to (3.2) is “Yahweh” (YHWH)—the divine “you” ‫( ָ ֑א ָתּה‬3.1) of
the psalms and the covenant Lord of the people of Israel. “The Lord identified with his people by
covenant; his honor is at stake when his people hurt” or are oppressed (VanGemeren 1991:263).
63 “Heb ‘bring me out.’ The translation assumes that the imperfect verbal form expresses the
psalmist's confidence about the future. Another option is to take the form as expressing a prayer,
‘free me’” (NET note). The same exegetical option applies to the next verb in 4.1 (‫יאנִ י‬
ֵ֗ ‫)תּוֹצ‬.
ִ The three
verbs in sequence here form an alliterative pattern that highlights the appeal being expressed:
tanicheniy—tinahileniy—totsiy’eniy (3.2-4.1).
64 Craigie observes that “the meter of this verse is difficult,” but agrees that it is 2+2+2
(1983:258). Harman hears “overtones of the Exodus” in these verses, “with the expression ‘free me’
being one of the common expressions to describe God’s bringing his people out of Egypt (see Exod.
13:3, 9, 14, 16; 20:2)” (2011:266-267). McCann too observes strong links with the Exodus tradition
in these verses (1996:800-801).
65 “In the Greek text of Luke 9:31 the word for ‘departure’ is exodos. . . . It is also
interesting to consider the way in which Jesus quotes on the cross [Luke 23:46] from a psalm that is
replete with Exodus terminology” (Harman 2011:267).
66 “You have redeemed”: “The perfect verbal form is understood here as anticipatory,
indicating rhetorically the psalmist's certitude and confidence that God will intervene. The psalmist
is so confident of God's positive response to his prayer that he can describe his deliverance as if it
had already happened. Another option is to take the perfect as precative, expressing a wish or
34
B 67
6.1 ‫י־שׁוְ א‬
֑ ָ ‫ַה ְב ֵל‬ ‫ַהשּׁ ְֹמ ִ ֥רים‬ 69‫אתי‬
ִ ‫ָשׂ ֗ ֵנ‬
68
6.2
‫ָבּ ָ ֽט ְח ִתּי‬ ‫הו֥ה‬
ָ ְ‫ֶאל־י‬ ‫וַ ֲ֝א ֗ ִני‬
7.1
‫ָא ִ ֥ג ָילה‬
request (‘rescue me’; cf. NIV [supported by Bratcher & Reyburn 1991:292]).
1991:292] See IBHS 494-95
§30.5.4c, d. However, not all grammarians are convinced that the perfect is used as a precative in
biblical Hebrew” (NET note; cf. Goldingay 2006:440). In any case the perfect verb in 5.2 anticipates
those of v. 6. There is an analogous use of a section-final “perfect of closure” in Ps. 22:21, 31.
67 The shorter, second stanza (B) is a declaration of covenantal trust in Yahweh, who is
mentioned just once (6.2), but who is not appealed/prayed to as in stanza A. The LORD’s
affirmative, salvific response is here assumed. The onset of this stanza is marked by a contrastive,
chiastically-arranged expression of topic: A: “I-hate (repudiate)”, B: idol (worshipers), B’: “in-
YHWH”, A’: “I-trust”.
68 Lit. “the-empty-things-of falsehood” – a pejorative expression referring to “idols” or “false
gods” (cf. Jon. 2:9, Isa. 56:1, Hos. 12:6). “The translation of vain idols will depend upon the way in
which this Hebrew expression is to be interpreted. If it is taken in the sense of ‘empty vanities,’ it
may be rendered in some languages as ‘things that have no worth’ or ‘worthless things in which
people cannot put their trust.’ If it is taken in the more traditional sense of idols, one may say, for
example, ‘idols that have no value’” (Bratcher & Reyburn 1991:293).
69 “The LXX and Syriac read ‘you hate’ for ‘I hate’…on the basis of the contrastive use of the
waw before I [in 6.2]: ‘you…, but I’…In favor of the MT (and NIV), it is likely that the psalmist sets
up a contrast between his hatred of idolatry and his trust in the Lord. Moreover, the contrast
between Yahweh and idolatry and the contrastive inclusion of the verbs in the perfect at the
beginning and end in the MT (‘I hate’…, but I trust’) argue in favor of the MT” (VanGemeren
1991:266)—which is as much a literary argument as a purely linguistic one.
35
70‫ְבּ ַ֫ח ְס ֶ ֥דָּך‬ 71‫וְ ֶא ְשׂ ְמ ָ֗חה‬
7.2
‫ת־ענְ יִ ֑י‬
ָ ‫ֶא‬ ‫ית‬
ָ ‫ָ ֭ר ִא‬ ‫שׁר‬
֣ ֶ ‫ֲא‬
7.3
‫נַ ְפ ִ ֽשׁי‬ ‫ְבּ ָצ ֥רוֹת‬ 72‫ָי ַ ֗֝ד ְע ָתּ‬
8.1
73‫ד־אוֹי֑ב‬
ֵ ַ‫ְבּי‬ ‫ִ ֭ה ְסגַּ ְר ַתּנִ י‬ ‫וְ ֣ל ֹא‬
8.2
‫ַרגְ ָ ֽלי‬ ‫ַב ֶמּ ְר ָ ֣חב‬ ‫ֶ ֽה ֱע ַ ֖מ ְד ָתּ‬
C 74
9.1
75‫יְ הוָ ֮ה‬ ‫ָח ֵנּ֥נִ י‬
70 Some commentators draw attention to what they view as a break-up of the “stereotyped”
pairing of “truth” (5.2) and “covenantal love” (7.1), which are often found as a “fixed pair” (e.g.,
25:10, 61:7, 86:15, 89:14) (VanGemeren 1991:265). The disjunction in this case serves to conjoin
stanzas A and B, which are topically quite distinct. The “truth/fidelity” of Yahweh also contrasts
with “vain uselessness” of idols (6.1).
71 The paired jussive verbs of this colon (7.1) underscore the psalmist’s trustful
determination and optimistic outlook.
72 The psalmist’s trust is based on an immanent God who is near enough to “see” and
“know” his plight; thus, he could “rejoice”—“in anticipation of God’s act of deliverance”
(VanGemeren 1994:832).
73 The contrastive metonymic senses of “hand”, i.e., “protection” (5.1) and “power” (8.1)
help mark the close of the first two stanzas (structural epiphora).
74 This single initial call for help dominates stanza C (two strophes—vv. 9-10 and 11-13),
the remainder of which details the various afflictions caused by the psalmist’s enemies. “Verses 9-13
continue to provide reasons why the psalmist petitions the Lord. Unlike the other reasons given, all
of which have to do with trust in God, this section is a personal lament…From a statement of serene
confidence and trust (verses 7[add v. 6]-8), the psalmist now turns to a description of his pitiable
condition and an urgent plea for Yahweh to save him” (Bratcher & Reyburn 1991:294; cf. Craigie
1983:261).
75 There is no other reference to Yahweh in this stanza after the initial appeal; the psalmist
fully focuses on the dangerous and distressful situation that existed between him (I/me) and his
36
76‫ר־לי‬
֥ ִ ‫ַ֫צ‬ ------- ‫ִ ֤כּי‬
9.2
‫ֵע ֗ ִיני‬ ‫ְב ַ ֥כ ַעס‬ ‫ָע ְשׁ ָ ֖שׁה‬
9.3
77‫וּב ְט ִ ֽני‬
ִ ‫נַ ְפ ִ ֥שׁי‬ 78-------
10.1
‫ַחיַּ ֮י‬ ‫ְביָ ֡גוֹן‬ ‫ָכ ֪לוּ‬ ‫ִ ֤כּי‬
10.2
‫ַבּ ֲא ֫ ָנ ָ ֥חה‬ ‫נוֹתי‬
֪ ַ ‫וּשׁ‬
ְ 79-------
10.3
80‫כ ִ ֹ֑חי‬ 81‫ַבּ ֲע ִוֹנ֣י‬ ‫ָכּ ַ ֣שׁל‬
10.4
‫ָע ֵ ֽשׁשׁוּ‬ ‫וַ ֲע ָצ ַ ֥מי‬
enemies (‫)צ ְֹר ַ ֨רי‬, 11.1. The preceding verb “be merciful to me” (‫)ח ֵנּ֥נִ י‬
ָ is common stock in lament
psalms (e.g., 6:9, 30:10, 51:1, 56:1, 123:3).
76 The second prayer-cycle of Psalm 31 begins with a plea (9.1), as in v. 1. The confined and
constrained “narrowness” implied in the noun ‫( ָצ ָרה‬cf. its plural form in 7.3) contrasts with being
set in the “wide places” (‫)ב ֶמּ ְר ָ ֣חב‬
ַ of the preceding colon (8.2).
77 The coupling of ‫ נֶ ֶפשׁ‬and ‫ ֶבּ ֶטן‬occurs also in Ps. 44:25[26], seemingly also with the sense of
“soul” and “body” (cf. BDB), although normally the latter refers to the “insides” (17:14), and
especially the “womb” (22:9-10; Goldingay 2006:442).
78 “Heb ‘my breath and my stomach [grow weak].’ Apparently the verb in the previous line
(‘grow dim, be weakened’) is to be understood here. The Hebrew term ‫ נפשׁ‬can mean ‘life,’ or, more
specifically, ‘throat, breath.’ The psalmist seems to be lamenting that his breathing is impaired
because of the physical and emotional suffering he is forced to endure” (NET note). His whole
being—body and soul—has been affected (VanGemeren 1994:832).
79 As in the case of colon 9.3, so also in 10.2 the verb of the preceding colon (‫)כל֪ וּ‬
ָ is
interpreted to apply here too: “and my years [are consumed] by groaning” (an instance of affective
hyperbole).
80 A vivid personification: “My strength stumbles in [on account of] my sin-guilt.”
81 Certain ancient versions read ‫“ ַבּ ֲע ִנ֣י‬in my affliction/distress/trouble”, which is followed by
many modern translations, e.g., GNT; this is supported by Craigie (1983:258); Goldingay suggests
“weakness” (2006:443). According to Harman, “the Hebrew word ‘avon can carry ideas both of a
misdeed [‘guilt’] and its punishment [‘affliction’]” (2011:268; cf. also VanGemeren 1991:267).
37
11.1
‫ֶח ְר ֡ ָפּה‬ ‫֪יתי‬
ִ ִ‫ָהי‬ ‫צ ְֹר ַ ֨רי‬ ‫ִמ ָכּל־‬
11.2
------- 82‫ְמא ֹ֮ד‬ ‫וְ ִל ֲשׁ ֵכ ֨ ַני ׀‬
11.3
‫ִ ֽל ְמיֻ ָ ֫דּ ָ ֥עי‬ 83------- ‫וּפ ַחד‬
ַ֪
11.4
‫ִמ ֶ ֽמּנִּ י‬ ‫נָ ְד ֥דוּ‬ ‫ַבּ ֑חוּץ‬ ‫ר ַ ֹ֥אי‬
12.1
84‫ִמ ֵלּ֑ב‬ ‫ְכּ ֵ ֣מת‬ ‫ִנ ְ֭שׁ ַכּ ְח ִתּי‬
12.2
‫א ֵ ֹֽבד‬ ‫ִכּ ְכ ִ ֥לי‬ ‫יתי‬
ִ ‫ָ֝ה ִ֗י‬
13.1
‫ים‬
֮ ‫ַר ִבּ‬ ‫ִדּ ַ ֥בּת‬ ‫ָשׁ ַ֨מ ְע ִתּי ׀‬ 85‫ִ ֤כּי‬
82 “Heb ‘and to my neighbors, exceedingly.’ If the MT is retained, then these words

probably go with what precedes [i.e., with ‫֪יתי ֶח ְר ֡ ָפּה‬
ִ ִ‫ ָהי‬implied from the preceding colon—ew].
However the syntactical awkwardness of the text suggests it is textually corrupt. P. C. Craigie (Ps
Ps 1-
1-
50 [WBC],
WBC], 258) proposes that the initial mem (‫ )מ‬on ‫( ְמאֹד‬me’od, ‘exceedingly’) be understood as an
enclitic mem (‫ם‬
‫ )ם‬which was originally suffixed to the preceding form and then later misinterpreted.
The resulting form ‫’( ֵאד‬ed) can then be taken as a defectively written form of ‫’( ֵאיד‬ed, ‘calamity’). If
one follows this emendation, then the text reads literally, ‘and to my neighbors [I am one who
experiences] calamity.’ The noun ‫( ַפ ַחד‬fakhad, ‘[object of] horror’) occurs in the next line; ‫ ֵאיד‬and
‫ ַפ ַחד‬appear in parallelism elsewhere (see Pr 1:26-
1:26-27)”
27 (NET note). The MT could be understood and
rendered as “I am insulted (or: ‘looked on with contempt’) by all my adversaries, even more so by
my neighbors” (cf. TOB, GNT). With reference to the many proposed emendations (cf.
VanGemeren 1991:267), Harman argues that “the uniformity of the MT reading suggests that
alteration of the text is not an option” (2011:269).
83 The verb ‫֪יתי‬
ִ ִ‫ ָהי‬from 12.1 seems to be implied here: “[I am] a dread (or ‘dreadful’) to my
friends”. The atnach in the following line (MT) appears to be misplaced—undoubtedly due to the
difficulty that one encounters in construing this verse.
84 “Heb ‘I am forgotten, like a dead man, from [the] heart.’ The ‘heart’ is here viewed as the
center of one's thoughts” (NET note; Craigie 1983:258). “I am forgotten by them as though I were
dead” (NIV; cf. VanGemeren 1991:267). Goldingay renders: “I am disregarded like a dead person—
out of [their] mind”, with ‫ ְכּ ֵ ֣מת‬and ‫ ִמ ֵלּ֑ב‬being in apposition (2006:444).
85 This final ‫( ִ ֤כּי‬cf. 9.1, 10.1) may be a marker of climax in this stanza: the psalmist’s series
of complaints appear to culminate in this verse. The following verb too may be significant: The
38
13.2
86‫ִמ ָ֫סּ ִ ֥ביב‬ ‫ָמג֪ וֹר‬ -------
13.3
‫ָע ַל֑י‬ ‫ַי ַ֣חד‬ ‫ְבּ ִהוָּ ְס ָ ֣דם‬
13.4
‫זָ ָ ֽממוּ‬ ‫נַ ְפ ִ ֣שׁי‬ ‫ָל ַ ֖ ק ַחת‬
D 87
14.1
‫הו֑ה‬
ָ ְ‫י‬ ‫ָב ַ ֣ט ְח ִתּי‬ ‫ ָע ֶל֣יָך‬88 ‫וַ ֲא ִנ֤י ׀‬
previous complaints might be regarded as a figment of the psalmist’s paranoia; but here he gives
evidence that he has “heard” (‫)שׁ ַ֨מ ְע ִתּי‬.
ָ
86 “In line b terror on every side! may be taken as what the many of line a are whispering;
whispering
so, in different ways. . . Or else it may be the psalmist's own perception of his situation: he is
surrounded by frightful enemies, who fill him with dread. The expression [perhaps ‘a common
saying, or cliché’ (Craigie 1983:261; Goldingay 2006:445)] occurs frequently in Jeremiah (as in Jer
20.3,10 [cf. also 6:25, 46:5, 49:29; Lam. 2:22]). Lines c and d are parallel and nearly synonymous;
line d makes clear what his enemies are planning to do, that is, to kill him” (Bratcher & Reyburn
1991:296). McCann lists the correspondences between Ps. 31:10-13 and Jer. 20 (1996:801).
87 In another stanza consisting of two shorter strophes (vv. 14-16, 17-18), the psalmist
reiterates his confidence in the LORD and repeats his calls for deliverance coupled with retribution
upon his enemies. These expressions of trust and prayer parallel those heard earlier in stanzas A and
B; compare on trust (6.2/14.1)—prayer (1.2/17.1). I have divided this stanza formally into two
smaller strophes of similar pragmatic (appellant) content at v. 17, as marked by the initial divine
ָ֗ ְ‫ )י‬in vv. 14 and 17 (structural anaphora). VanGemeren provides a listing of the various
vocatives (‫ֽהוה‬
lexical elements of vv. 14-18 that have already been introduced in the psalm (1991:268).
Verse 14 + 15.1 is arguably the central thematic assertion of this psalm, being marked by key
terms (two divine names), rhyming central verbs, and a pronominal inclusio—beginning with the
juxtaposed “I—on you” and ending with “you” (the God in whom “I”, the psalmist, “trusts”). The
first (verbless) colon of v. 15 continues this threefold confession of confidence, with a reversal in
pronominal reference: “in your hand [are] my times” (“You determine my destiny”). This strophe
ends with an appeal based on Yahweh’s “covenantal love” (‫)ח ְס ֶ ֽדָּך‬
ַ in 16.2.
88 Here is a good example of topic focus (“and-I”) strategically coupled with constituent
focus (“on-you”).
39
14.2
‫ָ ֽא ָתּה‬ ‫ֹלהי‬
֥ ַ ‫ֱא‬ ‫ָ֝א ַ֗מ ְר ִתּי‬
15.1
‫ִעתּ ָ ֹ֑תי‬ ------- ֥‫ְבּיָ ְדָך‬
15.2
‫וּמר ְֹד ָ ֽפי‬
ֵ ‫ד־אוֹיְ ַ֗בי‬
֝ ַ‫ִמיּ‬ ‫ַה ִ֘צּ ֵיל֤נִ י‬
16.1
‫ל־ע ְב ֶ ֑דָּך‬
ַ ‫ַע‬ 89‫ָ ֭פנֶ יָך‬ ‫ָה ִ ֣א ָירה‬
16.2
90‫ְב ַח ְס ֶ ֽדָּך‬ ‫וֹשׁ ֵיע֣נִ י‬
ִ ‫֖ה‬
17.1
91‫בוֹשׁה‬
ָ ‫ֵ ֭א‬ ‫ַאל־‬ ‫ֽהוה‬
֗ ָ ְ‫י‬
17.2
‫אתיָך‬
֑ ִ ‫ְק ָר‬ ‫ִ ֣כּי‬
17.3
‫ְ ֝ר ָשׁ ֗ ִעים‬ ‫יֵ ֥בֹשׁוּ‬
17.4
‫ִל ְשׁ ֽאוֹל‬ 92‫יִ ְדּ ֥מוּ‬
18.1
‫ָ ֥שׁ ֶקר‬ ‫ִשׂ ְפ ֵ֫תי‬ ‫ֵ ֥תּ ָא ֗ ַל ְמנָ ה‬
18.2
‫ָע ָ֗תק‬ ‫ל־צ ִ ֥דּיק‬
ַ ‫ַע‬ ‫ַהדּ ְֹב ֖רוֹת‬
18.3
‫וָ ֽבוּז‬ ‫ְבּגַ ֲאָו֥ה‬ 93-------
89 “The plea in verse 16a, let thy face shine, is similar to the expression in 4.6, which is used
also in 67.1; 80.3, 7, 19; 119.135 [cf. Num. 6:25]; it means to look on someone with favor, mercy,
kindness” (Bratcher & Reyburn 1991:297).
90 The psalmist’s request “is doubly based on the covenant: he is the LORD’s servant
(‘avdekâ), and he pleads on the basis of the LORD’s unfailing covenant love (chasdekâ)” (Harman
2011:271).
91 An emphatic contrast in the psalmist’s plea to Yahweh (vocative) marks the onset of the
second strophe in stanza D (vv. 17-18): “let me not be put to shame” (‫בוֹשׁה‬
ָ ‫—)א‬but
ֵ֭ instead, “let
them be shamed” (‫!)יֵ ֥בֹשׁוּ‬
92 “The verb ‫( יִ ְדּמוּ‬yidd emu) is understood as a form of ‫( ָדּ ַמם‬damam, ‘wail, lament’).
Another option is to take the verb from ‫‘( ָדּ ַמם‬be quiet’; see BDB 198-99 s.v. I ‫)דּ ַמם‬,
ָ in which case
one might translate, ‘May they lie silent in the grave’” (NET note). The notion of “silence” is
continued by the verb in 18.1.
93 The preceding participle from 18.2 (‫)הדּ ְֹב ֖רוֹת‬
ַ is assumed to function here implicitly, also
as a verbal. Thus each successive line in this stanza/strophe-concluding tricolon qualifies the
40
E 94
19.1
95------- ‫ב־טוּב ָ֮ך‬
ְ ‫ַ ֽר‬ ‫ָ ֤מה‬
19.2
‫ִ ֽלּ ֵ ֫יר ֶ ֥איָך‬ ‫ָצ ַ ֪פנְ ָתּ‬ ‫ֲא ֶשׁר־‬
19.3
96‫ָ ֑בְּך‬ ‫לַ ח ִ ֹ֣סים‬ ‫ָ ֭פּ ַעלְ ָתּ‬
19.4
‫ְבּ ֵנ֣י ָא ָדם‬ ‫֗ ֶ֝נגֶ ד‬ 97-------
preceding one. “In addition to recalling the petition with which the psalm began (see v. 1), vv. 17-18
juxtapose the contrasting alternatives that are present in Psalm 1 and throughout the Psalter: “the
wicked” (v. 17) and “the righteous” (v. 18)” (McCann 1996:802).
94 As in the case of stanza B, a shorter unit expressing trust in Yahweh (E) follows his
fervent appeals for help (D). The NET notes: “The psalmist confidently asks the Lord to protect
him. Enemies threaten him and even his friends have abandoned him, but he looks to the Lord for
vindication. In vv. 19-24, which were apparently written after the Lord answered the prayer of vv. 1-
18, the psalmist thanks the Lord for delivering him.” However, it is not necessary to conclude that
this final section was composed at a later date. This is a common feature of Hebrew lament prayers:
the psalmist in confident trust anticipates the LORD’s deliverance even before it happens, e.g., Ps.
22:22-31; 73:13-28.
95 An exclamation of praise initiates this new stanza (E), which is followed by a dependent
bicolon of explanation, in which the second, parallel line is led off by an implicit ‫ ֲא ֶשׁר־‬. The
“goodness” (tub/tob) being referred to here is covenantal in nature, based on the “faithful love”
(chesed) of YHWH (cf. v. 22.2), and manifested in the eyes of the “sons of mankind”, i.e., the
ungodly, as in Ps. 23:5-6.
96 Literally, “you work [your favor] for the ones seeking shelter in you before the sons of
men”. “‘Taking shelter’ in the LORD is an idiom for seeking his protection. Seeking his protection
presupposes and even demonstrates the subject's loyalty to the LORD. In the psalms those who ‘take
shelter’ in the LORD are contrasted with the wicked and equated with those who love, fear, and
serve the LORD (Ps 2:12; Ps 5:11-12; Ps 34:21-22)” (NET note).
97 The exclamation of 19.1 (“How great [is] your goodness”) seems to be applied here in
19.4 as well, to form a structural inclusio.
41
20.1
98‫ָפּנֶ ֮יָך‬ ‫ְבּ ֵ ֥ס ֶתר‬ ‫ירם ׀‬
֤ ֵ ‫ַתּ ְס ִתּ‬
20.2
‫ִ ֥אישׁ‬ 99‫ֵ ֽמ ֻר ְכ ֵ֫סי‬ 100-------
20.3
‫ְבּ ֻס ָ֗כּה‬ 101‫ִתּ ְצ ְפּ ֵנ֥ם‬
20.4
‫ְלשׁ ֹנֽ וֹת‬ ‫ֵמ ִ ֥ריב‬ -------
F
102
98 “In line a the Hebrew is ‘you hide them in the hiding place of your face’—the word ‘face’
here meaning, as often, ‘presence.’ For the same sentiment, expressed in similar language, see 27.5”
(Bratcher & Reyburn 1991:298).
99 “The noun ‫( ר ֶֹכס‬rokhes) occurs only here. Its meaning is debated; some suggest ‘snare,’
while others propose ‘slander’ or ‘conspiracy’” (NET note).
100 The preceding verb is seemingly implied in the second (B) line of each of the pair
similarly constructed of bicola that comprise v. 20, as well as a personal pronoun “your” (with
reference to Yahweh) on the noun phrase ‫בּ ֻס ָ֗כּה‬.
ְ Note that the reference to Yahweh’s silencing the
psalmist’s enemies (20.4) corresponds to his appeal at the close of the preceding stanza (v. 18), an
instance of structural epiphora (similar unit endings).
101 “Just as God ‘stores up’ love for his people (v. 19), so he stores them up (using the same
Hebrew verb) in a secure place, and so protects them against the slander of men” (Harman
2011:272). This repeated verb (‫ )צפן‬in its complex figurative senses in these verses (vv. 19-20) also
serves as an inclusio for the strophe. “The author uses verbs expressing the ‘hidden’ but full
enjoyment of God’s benefits by repeating the roots ts-p-n (‘hide’, ‘store’) and s-t-r (‘hide’, ‘shelter’) in
an inclusionary way” (VanGemeren 1991:269)—thus formally reflecting their content.
102 A short stanza of thanksgiving (F) expresses the psalmist’s gratitude to Yahweh for
answering his prayer for help, which is quoted in v. 22.2. Craigie lists some of the strong parallels
between the psalmist’s expressions of thanksgiving/praise in vv. 19-24 and his prior
appeals/laments: 19 (1), 20 (16), 21 (16), 22 (2), 23 (6). “In summary, the thanksgiving is directly
rooted in answered prayer, or the anticipation of answered prayer, rather than being a general
statement of praise” (1983:262). “Thus the psalmist both celebrates deliverance as already having
occurred (vv. 5b, 7-8, 21-22) and continues to pray for it (vv. 1b-2, 3b-4a, 9-13, 15b-18). This
tension is the persistent reality of the life of faith” (McCann 1996:802)—already, but not yet, and
42
21.1
103‫הו֑ה‬
ָ ְ‫י‬ ‫ָבּ ֥רוְּך‬
21.2
‫֗ ִ֝לי‬ ‫ַח ְס ֥דּוֹ‬ 104‫ִה ְפ ִ֘ליא‬ ‫ִ ֥כּי‬
21.3
‫ָמ ֽצוֹר‬ ‫ְבּ ִ ֣עיר‬ 105-------
------
22.1
106‫ְב ָח ְפ ִ֗זי‬ ‫ָ֘א ַ ֤מ ְר ִתּי‬ ‫וַ ֲא ִנ֤י‬
22.2
‫֫ ֵע ֶינ֥יָך‬ ‫ ִמ ֶנּ֪ גֶ ד‬107‫׀ נִ גְ ַרזְ ִתּ֮י‬
therefore the psalmist’s concluding timeless exhortation to all the LORD’s “faithful saints” (vv. 23-
24)!
103 Yahweh, the covenantal King, should be “praised” whether he has already come to the
psalmist’s aid (e.g., Ps. 18:46), or whether he is expected, in faith, to do so (e.g., here and in Ps.
28:6). “The expression ‘praise’ or ‘blessed’ often comes at the beginning or at the end of a psalm of
thanksgiving (cf. 28:6; 66:20; 144:1)” (Harman 2011:272)—or, as here in Ps. 31, incorporated as the
climactic close of a psalm of lament/petition.
104 Either “he showed in a wonderful way his love to me” or “he showed his wonderful love
to me.”
105 The verb “to be” or one of location may be implied here: “[when I was] in a besieged
city.” “The psalmist probably speaks figuratively here. He compares his crisis to being trapped in a
besieged city, but the LORD answered his prayer for help” (NET note; for proposed emendations of
21.3, see VanGemeren 1991:270).
106 “The psalmist questions his frailty in having questioned God by despairing in his
‘alarm’” (VanGemeren 1991:832). His weakness contrasted with the LORD’s “steadfast faithfulness”
(‫)ח ְס ֥דּוֹ‬
ַ in 21.2.
107 “In verse 22b I am driven far translates a Hebrew verb (garash) found in two
manuscripts (see also Jonah 2.5); the Masoretic text has the verb garaz, ‘be exterminated,’ while
other Hebrew manuscripts have the verb gazar, meaning ‘cut, slaughter.’ The sense ‘to be driven out’
seems to fit the context better than ‘be slaughtered.’ ‘To be cut off,’ meaning ‘to be separated,’ also
fits the context. HOTTP says the Masoretic text means ‘I found myself left unprovided for’”
(Bratcher & Reyburn 1991:300; cf. Craigie 1983:258; Goldingay 2006:448).
43
22.3
‫נוּני‬
ַ ֗ ‫ַתּ ֲח‬ ‫֥קוֹל‬ ‫ָ ֭שׁ ַמ ְע ָתּ‬ 108‫ָא ֵ֗כן‬
22.4
‫ֵא ֶ ֽליָך‬ ‫ְבּ ַשׁוְּ ִ ֥עי‬
G
109
23.1
‫ידיו‬
֥ ָ ‫ל־ח ִ֫ס‬
ֲ ‫ָ ֽכּ‬ ‫הוה‬
֗ ָ ְ‫ֶאת־י‬ 110‫ֽ ֶא ֱה ֥בוּ‬
23.2
‫הו֑ה‬
ָ ְ‫י‬ 111‫נ ֵֹצ֣ר‬ 112‫֭ ֱאמוּנִ ים‬
23.3
‫ע ֵ ֹ֥שׂה גַ ֲאָ ֽוה‬ ‫ל־י ֶתר‬
֝ ֶ֗ ‫ַע‬ ‫וּמ ַשׁ ֵ ֥לּם‬
ְ
24.1
‫ְל ַב ְב ֶכ֑ם‬ ‫ִ ֭חזְ קוּ‬
113‫וְ יַ ֲא ֵ ֣מץ‬
108 A dramatic particle of contra-expectation (‫)א ֵ֗כן‬

ָ that highlights the psalmist’s present
dilemma (22.1-2) and his projected deliverance by Yahweh (22.3-4; cf. Pss. 6:8-9, 22:24, 28:6).
109 A final brief stanza (G) calls upon the entire worship community to put their trust in,
and remain faithful to the LORD, who always keeps his covenant promises. The sudden shift in
address from Yahweh to those who worship him marks this transition. “A ‘faithful follower’ (‫ח ִסיד‬,
ָ
khasid) is one who does what is right in God's eyes and remains faithful to God (see Ps 4:3; Ps 12:1;
Ps 16:10; Ps 31:23; Ps 37:28; Ps 86:2; Ps 97:10)” (NET note; “dedicated people”—Goldingay
2006:449).
110 “The command Love the LORD in the Bible refers not so much to the emotion as to the
willingness and desire to be faithful to him, to obey him, and to do what he commands” (Bratcher &
Reyburn 1991:300).
111 “The participial forms in the second and third lines characterize the Lord as one who
typically protects the faithful and judges the proud” (NET note).
112 Here is a significant juxtaposition of two crucial covenantal terms—‫ידיו‬
֥ ָ ‫ ֲח ִ֫ס‬and ‫֭ ֱאמוּנִ ים‬
(23.1-2). “These two words are related to the two fundamental attributes of God celebrated in Psalm
31: steadfast love (vv. 7, 16, 21; ‘saints’…chasîdîm could be translated ‘steadfastly loving ones’ or
‘steadfastly loved ones’) and faithfulness (v. 5). In short, the people of God derive their identity from
God’s identity…” (McCann 1996:802; VanGemeren 1991:269).
113 The synonymous verbs calling for “strength” of mind and character and attitude
naturally underscore the exhortation here—but, as always, “Yahweh is the key to strength and
44
24.2 114‫ַ֝ה ְמיַ ֲח ֗ ִלים‬ ‫ָכּל־‬
‫יהוה‬
ֽ ָ ‫ַל‬
2. A structural-
structural-thematic summary of Psalm 31
In conjunction with the structure-functional analysis outlined earlier along with the preceding
textual display, it is possible to discern some of the main areas of increased expressive
(speaker-focus) and/or affective (addressee-focus) significance within the text of Psalm 31. In
addition several major break-points or shift in thematic emphasis have been noted—namely,
at verses 6, 9, 14, 19, 21, and 23 (following the versification of English Bibles). These primary
junctures correspond with what have been posited as the psalm’s principal structural (stanza-
strophe) divisions, as shown on the following outline:
Theme: Commit yourself into the hands of the merciful LORD for refuge from all your enemies!
Cycle One: vv. 1-8
Stanza 1 (A)—Petition (1-5): Deliver me from my enemies (1-2), YHWH, for I trust you (3-5)!
Stanza 2 (B)—Profession [trust] (6-8): The LORD has (already) delivered me from my enemies.
Cycle Two: vv. 9-24
Stanza 1 (C)—Lament (9-13): I am near death (9-10) and surrounded by enemies (11-13).
Stanza 2 (D)—Petition (14-18): Deliver me from my foes and punish them (2x: 14-16, 17-18).
(E)—Praise (19-20): The LORD keeps his people safe.
Stanza 3 (F)—Praise, individual (21-22): YHWH helped me when I was in trouble.
(G)—Trust, communal (23-24): You saints, hope in the LORD, for he will preserve you!
The preceding analysis with respect to the parameter of “segmentation” was carried out with
primarily respect to the psalm’s main topical and illocutionary shifts, coupled with features
such as the presence of a vocative invoking the divine name, to indicate points of unit
“aperture,” e.g., v. 9.
Note that subdivisions within the “stanzas” could be designated as internal “strophes”,
e.g., vv. 1-2, 3-5, 9-10, 11-13, 14-16, and 17-18). In my studies, it is rather rare for a stanza
unit to go much beyond three verses with respect to form (cohesion), content (coherence)
courage of heart” (Goldingay 2006:449). ‫ ֭ ֱאמוּנִ ים‬could be rendered “his faithful people” on the basis
of “the double-duty suffix” (VanGemeren 1991:270).
114 Again, the participle here may be construed with an emphasis on its verbal predicative
aspect.
45
and/or function (communicative goal). Instead, it is usually possible to find a smaller unit—
a “poetic paragraph” (strophe); for example, it is advisable to divide stanza 1 (A) into two
sections at v. 3.115 I recognize that the structure of Psalm 31 is rather more complex than
most, but it is certainly not all that exceptional for a longer psalm (cf. Ps. 22). McCann
suggests that perhaps the alternation of petition, profession (faith), and praise are “an
appropriate representation of the psalmist’s chaotic life” or “the severity of the psalmist’s
plight” (1996:799), but in fact, the composer’s formidable faith-foundation is foregrounded
throughout. The articulation of this psalm in two “cycles”, with the second expanding upon
and intensifying the first, is analogous to typical A—B lineal “parallelism”, in which the
second colon frequently highlights and dynamically develops the first (Bratcher & Reyburn
1991:5-6).
Goldingay is in general support of the preceding bifid structural outline and comments
(2006:436-437):
Verses 1-8 thus constitute a prayer that could be complete in itself. . . . Verses 9-24
then go through this sequence again, though with a different profile. . . . [There is a]
parallel with other psalms that go through their “story” twice, not least the
immediately preceding one, Ps. 30 (cf. also, e.g., Pss. 42-43, which does that three
times; also praise psalms such as Pss. 95 and 100). This suggests that repetition of this
kind may simply be part of the rhetoric of prayer. It is
natural to go through the “story” more than once.116
115 The value of distinguishing these poetic units is not recognized by many commentaries
(e.g., Craigie 1983:259) and versions (NIV). One reason for not positing two strophes within stanza
A is the common content (e.g., fortress imagery) in vv. 2-3, although this could be interpreted as a
case of structural anadiplosis across a (minor) discourse boundary (for a summary description of the
main compositional markers, based on repetition, see Wendland 2004:126-128). An argument for a
strophic division here is the shift in prevailing verb forms from imperatives (vv. 1-2) to imperfects
(vv. 3-5).
116 Harman agrees with this twofold division: “This individual lament falls into two parts
(vv. 1-8, 9-24) that are more or less parallel, though the second part is more expansive. In both parts
the steadfast love of the LORD sustains the psalmist (see vv. 7 and 16)” (2011:265).
46
In his commentary Goldingay makes several larger divisions, i.e., vv. 1-5a, 5b-8, 9-13, 14-20,
21-24, which would correspond with my own, except for the first.117 Several other discourse
arrangements that have been proposed by scholars will be evaluated below.
As far as the compositional principle of “connectivity” is concerned, unit-internal
cohesion is developed largely through referential chains, both positive and negative in
connotation. For example, we have the laudatory depictions of Yahweh as a “rock…
refuge…fortress” in the first stanza (vv. 1-5) in contrast to the psalmist’s plaintive expressions
of physical anguish and personal affliction in the opening stanza of cycle II (vv. 9-13). In
addition, a number of key terms expressing the principal theme of Psalm 31 appear
throughout the text in both cycles: “seek refuge” (1, 19); “be ashamed” (1, 17); “rescue” (2,
15); “deliver” (2, 16); “your hand” (5, 8, 15); “trust” (6, 14); and “mercy” (7, 16, 21). The last-
mentioned is of special interest and importance, ‫ח ֶסד‬,
ֶ which denotes a semantic complex that
cannot be expressed adequately in English by a single term: “unmitigated mercy,” “unfailing
faithfulness,” “loving loyalty,” “continued covenantal commitment.” This concept
(anthropomorphically) represents the central motivating force behind Yahweh’s deliverance
of all those who commit themselves in faith to live according to the basic precepts of his
gracious covenant. With respect to worship then, “the supreme fact that formed the basis of
every liturgical celebration in Israel was the unchanging faithfulness of Yahweh” (Driyvers
1965:42).
Thus “fidelity” (‫)ח ֶסד‬,
ֶ often co-occurring with “truth” (‫א ֶמת‬,
ֱ v. 5), entails both a
socioreligious philosophy, or world-view, as well as a theological orientation and a closely
associated code of conduct for the people of God. This mutual interrelationship may be
summarized as follows (Bellinger 1984:61):
[Yahweh] is faithful to his promise to deliver, which means that his commitment to
his people does not change as circumstances do… (Ps. 31:6). …This in turn calls for
117 Verse 5.2/5b seems to be clearly associated more with the previous content (vv. 1-
5.1/5a), rather than with what follows (vv. 6-8). Furthermore, it may be argued that the expressions
“in you, O Yahweh,
Yahweh I took refuge” (1.1) and “you redeemed me, O Yahweh”
Yahweh (5.2) function as an
inclusio for this opening stanza (A). Similarly, stanza C may divide into two strophes on the basis of
(a) content: vv. 9-10 deal with the psalmist’s internal bodily distress, while vv. 11-13 focus on his
external “enemies”; form: an initial inclusio formed by the verb “grow weak” (‫ )עשׁשׁ‬in vv. 9.2/10.4.
47
faithfulness from the people in response to this renewed demonstration of Yahweh’s
hesed to them (31:24…).
The twofold focus of this covenantal relationship (as ideally realized, and faithfully
proclaimed by psalmist and prophet alike) may be depicted as follows with reference to its
primary expression in Psalm 31:
Yahweh provides the covenantal The faithful respond in

motivation
Defense (e.g., 1-5) Love (23)

‫ֶח ֶסד‬
Deliverance (15-16,21-22) Trust (14)
Vindication (17-18) Joy (7)
This nucleus of focal thematic concepts is articulated progressively as the psalm unfolds. It
this provides yet another testimony to the work’s artistic and structural integrity—an overall
unity of form, content, function, and ultimately also message. This literary accord needs to
be conveyed correspondingly in any translated rendition, oral or written, whether individually
or communally expressed and apprehended. From a broader perspective, the crucial
covenantal components of ‫ח ֶסד‬,
ֶ namely, “steadfastness,” “reliability,” “constancy,” “mercy,”
and so forth, act as the cognitive foundation for the various expressions of certainty and
anticipated fulfillment with regard to Yahweh’s actions that characterize the lament genre as
a whole.
3. “The Voice”
Voice” of Psalm 31
31
For the worship leader. A song of David.
1 You are my shelter, O Eternal One—my soul’s sanctuary!

Shield me from shame;
rescue me by Your righteousness.
2 Hear me, Lord! Turn Your ear in my direction.
Come quick! Save me!
Be my rock, my shelter,
my fortress of salvation!
48
3 You are my rock and my fortress—my soul’s sanctuary!
Therefore, for the sake of Your reputation, be my leader, my guide, my
navigator, my commander.
4 Save me from the snare that has been secretly set out for me,
for You are my protection.
5 I entrust my spirit into Your hands.[a]
You have redeemed me, O Eternal, God of faithfulness and truth.
6 I despise the people who pay respect to breathless idols,
and I trust only in You, Eternal One.
7 I will gladly rejoice because of Your gracious love
because You recognized the sadness of my affliction.
You felt deep compassion when You saw the pains of my soul.
8 You did not hand me over to the enemy,
but instead, You liberated me
and made me secure in a good and spacious land.
9 Show me Your grace, Eternal One, for I am in a tight spot.
My eyes are aching with grief;
my body and soul are withering with miseries.
10 My life is devoured by sorrow,
and my years are haunted with mourning.
My sin has sapped me of all my strength;
my body withers under the weight of this suffering.
11 To all my enemies I am an object of scorn.
My neighbors especially are ashamed of me.
My friends are afraid to be seen with me.
When I walk down the street, people go out of their way to avoid me.
12 I am as good as dead to them. Forgotten!
Like a shattered clay pot, I am easily discarded and gladly replaced.
13 For I hear their whispered plans;
terror is everywhere!
They conspire together,
planning, plotting, scheming to take my life.
14 But I pour my trust into You, Eternal One.
I’m glad to say, “You are my God!”
49
15 I give the moments of my life over to You, Eternal One.
Rescue me from those who hate me and who hound me with their
threats.
16 Look toward me, and let Your face shine down upon Your servant.
Because of Your gracious love, save me!
17 Spare me shame, O Eternal One,
for I turn and call to You.
Instead, let those who hate me be shamed;
let death’s silence claim them.
18 Seal their lying lips forever,
for with pride and contempt boiling in their hearts,
they speak boldly against the righteous and persecute those who
poured their trust into You.
19 Your overflowing goodness
You have kept for those who live in awe of You,
And You share Your goodness with those who make You their sanctuary.
20 You hide them, You shelter them in Your presence,
safe from the conspiracies of sinful men.
You keep them in Your tent,
safe from the slander of accusing tongues.
21 Bless the Eternal!
For He has revealed His gracious love to me
when I was trapped like a city under siege.
22 I began to panic so I yelled out,
“I’m cut off. You no longer see me!”
But You heard my cry for help that day
when I called out to You.
23 Love the Eternal, all of you, His faithful people!
He protects those who are true to Him,
but He pays back the proud in kind.
24 Be strong, and live courageously,
all of you who set your hope in the Eternal!
50
Footnotes: 31:5 Luke 23:46
The Voice (VOICE)

The Voice Bible Copyright © 2012 Thomas Nelson, Inc. The Voice™ translation © 2012 Ecclesia
Bible Society All rights reserved.
How would you evaluate this translation—reasons??
51
Notes on Psalm 22
22 (day 4)
4)
1. A text-structural display of Psalm 22 (Hebrew)
The following analytical spreadsheet presents a visual “spatialization” of the Hebrew text of
Psalm 22. The purpose of this exercise is to display the microstructure of this poetic
composition in a way that makes its lexical patterning (especially the recursive elements)118
and significant word orders (topic and focus) more evident (moving from right to left on the
chart). Numbering begins after the heading, as in many English translations; each verse is
broken down into “colon” utterance units, as indicated by the number after the decimal point.
The entire text has been divided into putative “strophes,” which are separated by blank
rows and designated by the capital letters in the leftmost margin; each pairing of two strophes
represents a poetic “stanza” (e.g., A + A’). The rationale for these text divisions, moving from
the larger to the smaller, will be given in a separate section following the display—in note-
like fashion, with each comment identified by a small letter that is also inserted (in boldface)
next to the verse/colon (v.co) where it best belongs in the chart. Footnotes are included to
provide information on special linguistic problems within the text, exegetical or
hermeneutical issues, and literary features of special interest.
v.co Post-Verb2 Post-Verb1 VERBAL Pre-Verb2 Pre-Verb1
0.1 ‫ל־א ֶיּ ֶ֥לת‬

ַ ‫ַע‬ ‫ַ ֭ל ְמנַ ֵצּ ַח‬
119 ‫ַה ַ֗שּׁ ַחר‬
0.2 ‫ִמזְ ֥מוֹר ְל ָדִ ֽוד׃‬
118 Significant repetitions are highlighted by gray shading where possible. Note v. 1, for
example, where the double vocative suggests urgency and a close personal relationship with “me/my”
(-iy suffix).
119 Alter has this note: “ayeleth hashahar. The name elsewhere meaning ‘morning star’ (or,
literally, ‘dawn doe’). One assumes it refers to a musical instrument of some sort or, alternatively, to
a melody” (2007:71; cf. v. 19.2). Goldingay observes: “…LXX, Tg make sense in inferring a reference
to help here. Dawn is then the moment when help may arrive or the moment when one offers prayer
and praise…” (2006:324).
52
A 120
1.1 b
‫ֲעזַ ְב ָ ֑תּנִ י‬ ‫ָל ָ ֣מה‬ 121 ‫ֵא ִ ֣לי‬
1.2 ‫ישׁוּע ִ֗תי‬
ָ ‫ִ ֽ֝מ‬ ‫ָר ֥חוֹק‬ (‫)ל ָ ֣מה‬
ָ
----------
122
1.3 (‫ָ)ר ֥חוֹק‬ (‫)ל ָ ֣מה‬
ָ
‫ִדּ ְב ֵ ֥רי ַשׁ ֲאגָ ִ ֽתי׃‬ ----------
(‫)מ‬
ֽ
2.1
‫וֹמם‬
ָ ֖‫י‬ ‫ֶא ְק ָ ֣רא‬ ‫ֹלהי‬
ַ֗ ‫ֽ‍ֱא‬
2.2
‫ַת ֲע ֶנ֑ה‬ ‫וְ ֣ל ֹא‬
2.3
‫ִ ֽלי׃‬ ‫וּמ ָיּ֥ה‬
ִ ‫ ֽ־ד‬123---------- ‫ְ ֽולֹא‬ ‫וְ ֗ ַ֝ליְ ָלה‬
120 A classical Christian perspective on this psalm by some early Church Fathers teaches us
to read it anew in the light of its NT fulfillment: “The psalm is sung by Christ as in the person of all
humanity…that when troubles are near, we may pray that he help us” (Pseudo Athanasius). “The
words of this psalm are spoken in the person of the crucified one…He speaks consistently in the
character of our old self, whose mortality he bore and that was nailed to the cross with him”
(Athanasius) (Blaising & Hardin 2008:168).
121 “The repeated cry, ‘Eli, Eli,’ shows the intense quality of the bond which heretofore united
this devotee of Yahweh to his Creator” (Terrien 2003:230). There is bitter irony in the fact that “the
psalmist complains of being forsaken, yet still addresses God and ‘my God’” (McCann 1996:762). “The
individual within the covenant community did not have to be content with God’s commitment to his
people as a whole. His promises were not only national but also personal” (VanGemeren 1991:200).
122 Line 1.2 is semantically very complex on account of an increasing amount of implicit
information. Thus, the rhetorical question “Why…” is actually expressed two more times: “Why (are
you) so far from saving me?” — “Why (are you so far from hearing) the words of my groaning?” I
have indicated the implicit elements on the chart in parentheses and smaller print.
A greater number of long cola appear in the eulogy of Part Two, e.g., in stanza E. These
differences may reflect the change in psychological tone as one moves from the psalmist’s agitated
mental state in Part One (vv. 1-21) to a calm (albeit jubilant) expression of praise and thanks in Part
Two (vv. 22-31).
123 The gapped verb “I call out” (plus alliteration in ‫ )ל‬accentuates both the time frame: “day”
and night” (i.e., constantly—a merism), as well as the lack of a response (“silence, quietness”) from
53
A’
3.1
‫ ָק ֑דוֹשׁ‬124---------- ‫וְ ַא ָ ֥תּה‬125
3.2
126 ‫יִ ְשׂ ָר ֵ ֽאל׃‬ ‫ְתּ ִה ֥לּוֹת‬ 127‫֝וֹשׁב‬
ֵ֗ ‫י‬
4.1128
‫ֲאב ֵ ֹ֑תינוּ‬ ‫ָבּ ְט ֣חוּ‬ ‫ְ ֭בָּך‬
4.2129
‫ָ֝בּ ְט ֗חוּ‬
‫ַ ֽו ְתּ ַפ ְלּ ֵ ֽטמוֹ׃‬
5.1
‫זָ ֲע ֣קוּ‬ ‫ֵא ֶל֣יָך‬
“my God” (cf. Ps. 62:1). “Psalm 22 concerns the theological mystery of ‘the deaf God’” (Goldingay
2006:327).
124 The apparent lack of a verb in 3.1 highlights the attributive quality of “holiness” (in this
context perhaps also “separateness”—transcendence) being attributed to “you” (God) (cf. Exod.
15:11). On the other hand, it would be possible, along with the LXX, to construe the verbal ‫֝וֹשׁב‬
ֵ֗ ‫ י‬as
part of line one, i.e., “and you sit (as the) holy one,” though this construal (e.g., Goldingay 2006:327-
328) would detract somewhat from the vivid, highly expressive style.
125 The initial conjunction plus a separable pronoun indicates a topical contrast and marks
the onset of a new strophe, as also in 6.1, 9.1, and 19.1. This usage reflects the separation, or distance,
that the psalmist perceives between him and his God.
ְ anticipates the occurrence of this root (halal) in the psalm’s
126 The noun “praises” (‫)תּ ִה ָלּה‬
praise portion in Part Two (vv. 22, 23, 25, 26).
127 God’s “sitting” here refers to his righteous royal rule (cf. vv. 28, 31), for which he deserves
the highest praise, not only from “Israel”, but from all “nations” (v. 27).
128 The allusions to Moses’ song at the sea in praise of Yahweh’s mighty deliverance of Israel
during the Exodus (ch. 15) grow stronger in vv. 4-5; the crucial concept of “trust” is foregrounded by
a chiastic construction in v. 4. Once again, there is a double contrast implied: the psalmist’s present
isolation versus the corporate unity of Israel in the past; their deliverance by Yahweh versus only
“disappointment” for him.
129 The strong parallelism of vv. 4-5, coupled with the distinctive opening bicolon (v. 3),
formally reinforces the content of strophe A’, continuing the “intensity and inclusiveness that sets
Psalm 22 apart” (McCann 1996:762).
54
‫וְ נִ ְמ ָל֑טוּ‬
5.2
130 ‫ָב ְט ֣חוּ‬ ֖‫ְבָּך‬
‫־בוֹשׁוּ׃‬
ֽ ‫וְ לֹא‬
B
6.1
‫תוֹל ַ֣עת‬
ַ 131---------- ‫וְ ָאנ ִ ֹ֣כי‬
-
‫־אישׁ‬
ִ֑ ‫וְ לֹא‬
6.2
‫ֶח ְר ַ ֥פּת ָ֝א ָ ֗דם‬ ----------
‫וּבז֥ וּי ָ ֽעם׃‬
ְ
7.1
‫ִ ֑לי‬ ‫יַ ְל ִ ֣עגוּ‬ ‫ָכּל־ ֭ר ֹ ַאי‬
7.2
132‫ְ֝ב ָשׂ ֗ ָפה‬ ‫יַ ְפ ִ ֥טירוּ‬
7.3
‫ֽר ֹאשׁ׃‬ ‫יָ ִ ֥ניעוּ‬
130 “The threefold reference to the ‘trust’ of the fathers is symmetric with the threefold
statement of [the psalmist’s] personal trust in the Lord in the phrase ‘my God’. The faith of the
ancestors and the faith of the psalmist are one, but their experience is far different” (VanGemeren
1991:201)—or so he sadly concludes.
131 The sense and imagery of this colon reflect and form a dramatic thematic contrast with
the beginning of the preceding strophe (3.1), one that is reinforced by the verbless syntactic structure
that matches the divine “Holy One” with a worthless “worm”! “God’s absence dwarfs his self-
image…he feels less than human” (VanGemeren 1994:821). This reading would also support the
interpretation of the colonic constituents of v. 3.
132 The graphic antagonistic interpersonal references here anticipate the heightened bestial
images in v. 14. “Sticking out the lip” is “obviously a gesture of scorn, although its exact nature is
unknown” (Bratcher & Reyburn 1991:216). The people’s disparagement of the psalmist contrasts with
their praise of Yahweh, in whom they all rely upon for deliverance in times of trouble. They make the
same wrong conclusion as Job’s three friends.
55
8.1
‫הו֣ה‬
ָ ְ‫ֶאל־י‬ 133‫ֹ֣גּל‬
134‫יְ ַפ ְלּ ֵ ֑טהוּ‬
8.2
‫ַי ִ֝צּ ֗ ֵילהוּ‬
‫ֽבּוֹ׃‬ 135‫ָ ֥ח ֵ ֽפץ‬ ‫ִ֘כּי‬
B’ e
9.1
‫ִמ ָ ֑בּ ֶטן‬ ‫ג ִ ֹ֣חי‬ ---------- ‫־א ָ ֣תּה‬
ַ ‫ִ ֽכּי‬
9.2
‫ל־שׁ ֵ ֥די ִא ִ ֽמּי׃‬
ְ ‫ַע‬ 136‫יחי‬
ִ֗ ‫ַ֝מ ְב ִט‬ ----------
10.1
‫ֵמ ָ ֑ר ֶחם‬ ‫ָה ְשׁ ַל ְ֣כ ִתּי‬ ‫ָ ֭ע ֶליָך‬
10.2cc
‫ָ ֽא ָתּה׃‬ ‫ ֵ ֣א ִלי‬137---------- ‫ִ֝א ִ֗מּי‬ ‫ִמ ֶ ֥בּ ֶטן‬
133 The imperative form (often too quickly emended, e.g., Craigie 1983:196; VanGemeren
1991:203; NIV) suggests a sarcastic insertion of direct speech, aimed emphatically by the enemies (like
weapons) directly at the psalmist: “[Go ahead and] trust in Yahweh [i.e., and see what good it does
you]!” The literal sense of the verb is “to roll (something: your cause/burden) onto the Lord.”
134 This verb (‫)יְ ַפ ְלּ ֵ ֑טהוּ‬, used sarcastically by the psalmist’s enemies here, ironically recalls his
own reflection concerning Yahweh’s “deliverance” (‫ ַ)ו ְֽתּ ַפ ְלּ ֵ ֽטמוֹ‬of his people in v. 4.2, thus reinforcing
his sense of alienation.
135 Here we have another case of ironic intertextuality (or intertextual irony): In other usages
of this verb, God “delights in” a person or group in a positive, beneficent sense, e.g., Num. 14:8, 2
Sm. 22:20, 1 Kgs. 10:9, Pss. 18:19, 41:11. This verb supplies the derisive reason for the three preceding
exhortations. “The psalmist’s enemies sarcastically appeal to God to help him, because he claims to
be an object of divine favor. However, they probably doubted the reality of that claim” (NET note; cf.
Bratcher & Reyburn 1991:217).
136 The hiphil participle “You caused me to trust” (‫יחי‬
ִ֗ ‫)מ ְב ִט‬
ַ֝ or “inspired trust” (VanGemeren
1991:204) plaintively recalls the psalmist’s repeated assertion “they (our fathers) trusted” (‫)בּ ְט ֣חוּ‬
ָ in v.
4.
137 This short strophe (B’) is almost entirely verbless and features a cohesive chiastic
arrangement: “you” + ref. to God + “my mother” – “my mother” + ref. to God + “you” (‫ ַא ָ ֣תּה‬begins
and ends this unit). Just as Yahweh brought Israel forth figuratively as a nation at the Exodus (vv. 4-
56
Cd
11.1cc
‫ִ ֭מ ֶמּנִּ י‬ ‫־תּ ְר ַ ֣חק‬
ִ ‫ַאל‬
11.2
138‫רוֹבה‬
֑ ָ ‫ְק‬ ---------- ‫־צ ָ ֣רה‬
ָ ‫ִכּי‬
11.3b
b
‫עוֹזֽר׃‬
ֵ ---------- ‫־אין‬
ֵ֥ 139‫ִכּי‬
12.1
‫ָפּ ִ ֣רים ַר ִ ֑בּים‬ ‫ְ ֭ס ָבבוּנִ י‬
12.2
140‫ִכּ ְתּ ֽרוּנִ י׃‬ ‫ירי ָב ָ ֣שׁן‬
֖ ֵ ‫ַא ִבּ‬
13.1
‫יהם‬
֑ ֶ ‫ִפּ‬ ‫ָע ַל֣י‬ ‫ָפּ ֣צוּ‬
13.2
‫ט ֵ ֹ֥רף וְ שׁ ֵ ֹֽאג׃‬ ‫ ַ֝א ְר ֵ֗יה‬141
C’
14.1
‫נִ ְשׁ ַפּ ְכ ִתּ֮י‬ 142‫ַכּ ַ ֥מּיִ ם‬
5, strophe A’), so he gave birth physically to the psalmist by “bringing him out” from his mother (vv.
9-10, strophe B’).
138 Similar, but inverted consonants help to foreground the contrast in concepts “far away”
(‫ )רחק‬versus “nearby” (‫)קרוֹב‬
ָ in v. 11.
139 This second kiy is arguably asseverative (emphatic), “Surely…” (cf. Craigie 1983:196).
140 In contrast to the strict parallelism of v. 11, v. 12 features a chiastic construction, with the
two verbs including reference to the psalmist (“me”) being the outer elements. This descriptive
assertion is formally and semantically paralleled at the beginning of the next stanza (D) in v. 16, where
the same verb form is found (‫)ס ָבבוּנִ י‬.
ְ֭
141 Literally, v. 13 reads: “They gaped against me their mouth—a lion tearing and roaring!”
The poet dramatically visualizes the terrifying scene as he personally experienced it, and his syntax
seems to reflect this. “To the modern eye, this might look like a contradictory image. But the sequence
works as follows: First the crowd of enemies is likened to a herd of brawny bulls; then the poet focuses
on the gaping mouths, presumably imagined as human mouths… In the final step, these rapacious
men ready to swallow him are likened to lions” (Alter 2007:73). “The description of the lions is more
moving in the MT by its brevity and use of participles: ‘tearing’ and ‘roaring’” (VanGemeren 1991:205).
142 Strophe C’ is given internal cohesion by a triad a similes, each marked by the inseparable
preposition k-.
57
14.2
‫וֹתי‬
֥ ָ ‫ל־ע ְצ ֫מ‬
ַ ‫ָ ֽכּ‬ ‫וְ ִה ְת ָ ֽפּ ְר ֗דוּ‬
14.3
‫דּוֹנ֑ג‬
ָ ‫ַכּ‬ ‫ִ ֭ל ִבּי‬ ‫ָה ָי֣ה‬
14.4
‫ְבּ ֣תוְֹך‬ ‫ָ֝נ ֵ֗מס‬
143‫ֵמ ָ ֽעי׃‬
15.1
‫כּ ִֹ֗חי‬144 ‫׀‬ 145‫ַכּ ֶ֨ח ֶרשׂ‬ ‫ָ֘י ֵ ֤בשׁ‬
15.2
‫קוֹחי‬
֑ ָ ‫ַמ ְל‬ ‫ֻמ ְד ָ ֣בּק‬ ‫וּ֖ ְלשׁוֹנִ י‬
15.3 f
‫ִתּ ְשׁ ְפּ ֵ ֽתנִ י׃‬ ‫־מוֶ ת‬
ָ֥ ‫ְ ֽו ַל ֲע ַפר‬
D
16.1
‫ְכּ ֫ ָל ִ ֥בים‬ ‫ְס ָב ֗בוּנִ י‬ ‫ִ ֥כּי‬
16.2
‫יפוּנִ י‬
֑ ‫ִה ִקּ‬ ‫ְ ֭מ ֵר ִעים‬ ‫ֲע ַ ֣דת‬
16.3
‫יָ ַ ֥די וְ ַרגְ ָ ֽלי׃‬ 146‫ָ֝כּ ֲא ִ ֗רי‬
143 “The psalmist feels the impact of [his] alienation deep within his inner being. Great fear
is likened to ‘water’ (cf. Jos 7:5; Eze 7:17; 21:7) and to ‘wax’ (2Sa 17:10). These express formlessness
and bring out the feelings of an anguished man. He can no longer function as a human being. The
‘bones,’ heart,’ ‘strength,’ and ‘tongue’ fail him…because of a traumatic response to being hated and
alienated” (VanGemeren 1994:821-822). These anatomical terms in vv. 14-15 and 16-18 suggest that
the psalmist is having a near-death experience (McCann 1996:763).
144 At this point, it may be advisable to adopt “an emendation proposed by many interpreters,
medieval and modern, reading hhiki, ‘my palate,’ for the Masoretic kohhi, ‘my vigor’ (a simple reversal
of letters in the consonantal text). Palate and tongue recur as parallel terms in Hebrew poetry” (Alter
2007:73; cf. Craigie 1983:196). GNT has “my throat” although “there is no ancient witness in support
of” this interpretation (Bratcher & Reyburn 1991:220).
145 Just like a piece of broken pottery, the psalmist feels like a completely broken man, in
body and spirit.
146 “Heb “like a lion, my hands and my feet”—“The Hebrew manuscript evidence is almost
without exception supportive of the reading ‘like a lion’” (Harman 2011:220). However, this reading
is often emended because it is grammatically awkward [e.g., ‘it can scarcely be correct’, Craigie
1983:196], but perhaps this obvious awkwardness is by rhetorical design. “Its broken syntax may be
58
17.1
‫מוֹתי‬
֑ ָ ‫ל־ע ְצ‬
ַ ‫ָכּ‬ 147‫ֲא ַס ֵ ֥פּר‬
17.2
‫ַי ִ֗֝בּיטוּ‬ ‫ֵ ֥ה ָמּה‬
‫אוּ־בי׃‬
ֽ ִ ‫יִ ְר‬
18.1
‫ָל ֶ ֑הם‬ ‫ְבגָ ַ ֣די‬ ‫יְ ַח ְלּ ֣קוּ‬
18.2
148‫גוֹרל׃‬
ָֽ ‫יַ ִ ֥פּילוּ‬ ‫בוּשׁי‬
ִ֗ ‫ל־ל‬
ְ֝ ‫וְ ַע‬
D’ e
19.1cc
‫ל־תּ ְר ָ ֑חק‬
ִ ‫ַא‬ 149‫ְי֭הוָ ה‬ ‫וְ ַא ָ ֣תּה‬
intended to convey the panic and terror felt by the psalmist. The psalmist may envision a lion pinning
the hands and feet of its victim to the ground with its paws (a scene depicted in ancient Near Eastern
art), or a lion biting the hands and feet” (NET footnote; cf. Goldingay 2006:321). Such “broken syntax”
aimed at verbally evoking the psalmist’s awful predicament is employed elsewhere in this section (see
at v. 13).
Some versions attempt to supply an implicit verb: “Like lions [they maul] my hands and feet”
(NJV). Based on the tendency for a certain word in the first line of a bicolon to be necessary for the
interpretation of the second line, e.g., “Why?” in 1.1-2 and “to Yahweh” in 28.1-2, Magonet proposes
a similar phenomenon in v. 16: “…a company of evildoers has enclosed me, (they have enclosed) like
a lion my hands and feet” (1994:107). “The point of mentioning hands and feet is that ‘hands’ for the
means of defense against the enemy, the ‘feet’ the means of escape” (Harman 2011:220).
147 The unexpected insertion of a 1st person singular verb interrupts the sequence of 3rd
plurals (the enemies), thus grammatically highlighting the surrounded psalmist’s predicament.
148 As in the case at the close of the preceding strophe (v. 15), the psalmist concludes here
with a definite anticipation of imminent death (structural epiphora).
149 Another dramatic shift foregrounds the covenantal name of Israel’s “Holy” God—YHWH!
(cf. v. 3a). This is the first time that the psalmist appeals to this divine name in his plight. It was
mentioned earlier, but sarcastically by his adversaries (v. 8a). The psalmist next praises the LORD’s
“name” in vv. 21-22. Already at this point in the psalm, a change in thematic direction is subtly
intimated: “Whereas the psalmist had concluded that there was no one to help (v. 11), here [he]
addresses God as ‘my help’ or ‘my strength’ (v. 19)” (McCann 1996:763). Further evidence of the
transitional nature of strophe D’ is the fact that the three verbs of final appeal in vv. 20-21 (deliver,
59
19.2cc
‫וּשׁה׃‬
ָ ‫ֽח‬ ‫ ְל ֶעזְ ָ ֥ר ִתי‬150‫לוּתי‬
ִ֗ ָ‫ֱ֝אי‬
20.1
‫נַ ְפ ִ ֑שׁי‬ ‫ֵמ ֶ ֣ח ֶרב‬ ‫ַה ִ ֣צּ ָילה‬
20.2
151‫יְ ִח ָיד ִ ֽתי׃‬ ‫ד־כּ ֶלב‬
ֶ֝֗ ַ‫ִמיּ‬ ----------
21.1b
b
‫ַא ְר ֵי֑ה‬ ‫ִמ ִ ֣פּי‬ ‫יענִ י‬
ֵ ‫וֹשׁ‬
ִ ‫֭ה‬
21.2
---------- ‫ֵר ִ ֣מים‬ ‫וּמ ַקּ ְר ֵנ֖י‬
ִ
21.3aa
152‫יתנִ י׃‬
ֽ ָ ִ‫ֲענ‬
E d, g
rescue, answer) occur with a negative sense in vv. 1-10 (vv. 8, 1, 2 respectively), while the mention of
“my helper” in 20.2 contrasts with “there is no one helping” in v. 11.3.
150 “The Hebrew term ’eyalut [‘Strength’] is an unusual epithet for the deity [in fact, a hapax
legomenon]. Some have argued that it brings out the etymology of the ordinary word for God, ’el. It
has even been suggested that the term may play on ayeleth in the superscription of this psalm” (Alter
2007:74; cf. Craigie 1983:197).
151 “My only one” (or “my precious one”—in contrast to death) is an adjective used as a noun,
“which in parallel with ‘my nefesh’ always refers to something like ‘the only life I will ever have’”
(Bratcher & Reyburn 1991:222).
152 “You answered me. This is how the received text reads… Because the rest of the psalm is
devoted to praising rather than imploring God, perhaps the verb in the past tense is intended as a
compact turning point: God has indeed answered the speaker’s prayer” (Alter 2007:75). “The structure
of the psalm as a whole implies that the text and meaning of MT should be retained” (Craigie
1983:197).
“The psalmist, perhaps in response to an oracle of salvation, affirms confidently that God has
answered him, assuring him that deliverance is on the way. . . . “You have answered me” is understood
as a triumphant shout which marks a sudden shift in tone and introduces the next major section of
the psalm. By isolating the statement syntactically, the psalmist highlights the declaration.” (NET
note). The detailed HOTTP textual commentary agrees with this decision (Bratcher & Reyburn
1991:223). “You have answered me” (‫יתנִ י‬
ֽ ָ ִ‫)ענ‬
ֲ triumphantly responds to “you do not answer [me]” ( ‫֣ל ֹא‬
ַ in 2.2 (a sub-inclusio); it corresponds to the synonymous verb “he heard” (‫)שׁ ֵ ֽמ ַע‬
‫)ת ֲע ֶנ֑ה‬ ָ at the end of
the next strophe in 24.2 (structural epiphora).
60
22.1
‫ְל ֶא ָ ֑חי‬ ֣‫ִשׁ ְמָך‬ 153‫ֲא ַס ְפּ ָ ֣רה‬
22.2
154‫ֲא ַה ְל ֶ ֽלךָּ ׃‬ 155‫ָק ָ ֣הל‬ ‫ְבּ ֖תוְֹך‬
23.1
‫׀ ַ ֽה ְל ֗לוּהוּ‬ ‫הוה‬
֨ ָ ְ‫י‬ 156‫יִ ְר ֵ ֤אי‬
23.2
‫ַכּ ְבּ ֑דוּהוּ‬ ‫יַ ֲע ֣קֹב‬ ‫ל־ז֣ ַ רע‬
ֶ ‫ָכּ‬
23.3 ‫ל־ז ַ֥ רע‬
ֶ ‫ָכּ‬ ‫ִ֝מ ֶ֗מּנּוּ‬ ‫וְ ג֥ וּרוּ‬
‫יִ ְשׂ ָר ֵ ֽאל׃‬
24.1
‫־ב ָ֨זה‬
ָ ‫ֽל ֹא‬ 157‫ִ ֤כּי‬
24.2
‫ָע ֗ ִני‬ 158‫ֱענ֬ וּת‬ ‫ִשׁ ַ ֡קּץ‬ ‫וְ ֪ל ֹא‬
24.3
‫ִמ ֶ ֑מּנּוּ‬ ‫ָפּ ָנ֣יו‬ ‫־ה ְס ִ ֣תּיר‬
ִ ‫וְ לֹא‬
153 “‘Let me sing’ is a cohortative intensive in the singular, still the style of a personal prayer.
‘I shall celebrate thy name’ is an indicative future with a daghesh energeticus, which indicates an
emphasis of the will in making such a decision” (Terrien 2003:233).
154 The verb “praise (Yahweh)” (‫ )הלל‬occurs cohesively in every verse of stanza E (vv. 21-26)
except v. 25, where the negative-positive reasons for praise are given. “The taunts of the mockers are
thus drowned out by the songs of the faithful” (VanGemeren 1991:209).
155 “The ‘congregation’ [GK 7702] is here a technical term for the congregation of the
righteous, which excludes that ungodly and mocking Israelites (cf. vv. 7-8). They are further identified
as ‘you who fear the LORD’. . . .The taunts of the mockers are now drowned out by the songs of the
faithful” (VanGemeren 1994:822). The community of the godly (vv. 21-22) will always ultimately
triumph over the diabolical forces of evil (vv. 12-18).
156 The translation “fear” for this Hebrew verb is often misunderstood in English. Here the
psalmist addresses fellow “devoted ones”—“Human fear brings forth not praise but abuse, but fear of
the Lord is just and right, and so it begets praise, confesses love, fires the flames of charity”
(Cassiodorus) (Blaising & Hardin 2008:175). “The verbs ‘praise,’ ‘honor,’ and ‘revere’ form the outward
expression of the fear of the Lord” (VanGemeren 1994:823).
157 Strophe E climaxes with an emphatic assertion of the “reason for praise” (‫)כּי‬
֤ ִ here in v. 24.
158 The noun-adjective (used as a noun) combination based on the same root underscores the
psalmist’s prior dilemma—that is, before the Lord intervened in deliverance (cf. v. 26.1 below).
61
24.4
‫ָשׁ ֵ ֽמ ַע׃‬ ‫ֵא ָל֣יו‬ ‫וּֽ ְב ַשׁוְּ ֖עוֹ‬
E’
25.1
‫ָ ֑רב‬ ‫ְבּ ָק ָ ֥הל‬ ---------- ‫ְ ֽת ִה ֫ ָלּ ִ ֥תי‬ 159‫ֵ ֥מ ִא ְתּ ָ֗ך‬
25.2
‫יְ ֵר ָ ֽאיו׃‬ ‫ֶנ֣ גֶ ד‬ ‫ֲ֝א ַשׁ ֗ ֵלּם‬ ‫נְ ָד ַ ֥רי‬
26.1
‫ֲענָ ִ ֨וים ׀‬ 160‫אכ ֬לוּ‬
ְ ֹ‫י‬
‫וְ יִ ְשׂ ָ֗בּעוּ‬
26.2
‫֣דּ ֹ ְר ָ ֑שׁיו‬ ‫ְי֭הוָ ה‬ ‫יְ ַ ֽה ְל ֣לוּ‬
26.3
161‫ָל ַ ֽעד׃‬ ‫ְל ַב ְב ֶכ֣ם‬ ‫יְ ִ ֖חי‬
Fg
27.1
‫יִ זְ ְכּ ֤רוּ‬
159 Yahweh is both the source and the object of the psalmist’s “praise” (Bratcher & Reyburn
1991:225); God is also the object of the psalmist’s prior vows, that is, of thanksgiving for anticipated
deliverance. The noun ‫ ְ ֽת ִה ֫ ָלּ ִ ֥תי‬serves as the action word of this emphatic, strophe-initial verbless
construction. The psalmist now joins the community of Israel in their heartfelt “praises” of Yahweh
(cf. v. 4.2).
160 Apparently, in a meaningful play on words, the psalmist promises that as part of his votive
thank offering (Lev. 7:16-21), he will have a fellowship meal to which he will invite (formerly) afflicted
folk (like him, v. 24.2), who will be able to eat their fill in honor of Yahweh (Bratcher & Reyburn
1991:226; VanGemeren 1991:210).
161 The strophe (and stanza E) concludes with a dramatic insertion of direct speech: “The
psalmist wishes health, prosperity, happiness, for all his guests” (Bratcher & Reyburn 1991:226). This
wish may be a conventional expression that was used during the making of a vow—or during the meal
celebrating its successful completion. In any case, “other similar statements without any introductory
comment or explanation, that are in effect exclamations, occur in Psalms 31:14a; 45:6a; and 87:6b. . .
. Here the use of the jussive form (yechiy, ‘may [your hearts] live’) may be an intentional use in order
to vary the verb sequences, addressing directly the persons who have just been spoken of [to or about]
in the preceding context” (Harman 2011:223)—namely, v. 25 (cf. 22-23).
62
‫י־א ֶרץ‬
֑ ָ ‫ל־א ְפ ֵס‬
ַ ‫ָכּ‬ ‫ל־י֭הוָ ה‬
ְ ‫ֶא‬ ‫שׁבוּ‬
֣ ֻ ָ‫׀ וְ י‬162
27.2163 ‫ל־מ ְשׁ ְפּ ֥חוֹת‬
ִ ‫ָ ֽכּ‬ 164‫ְ֝ל ָפ ֗ ֶניָך‬ ‫וְ יִ ְֽשׁ ַתּ ֲחו֥ וּ‬
‫גּוֹיִ ֽם׃‬
28.1
‫לוּכה‬
֑ ָ ‫ַה ְמּ‬ ---------- ‫ַ ֭ליהוָ ה‬ ‫ ִ ֣כּי‬165
28.2
‫ַבּגּוֹיִ ֽם׃‬ ‫֝וּמ ֵֹ֗שׁל‬
F’ e
29.1
‫ ָא ְכ ֬לוּ‬166
162 The prefixed verbal forms of v. 27 may be understood as jussives, as in the NET: “Let all
the peoples of the earth acknowledge the LORD and turn to him!”—with v. 28 then providing the
reason (‫)כּי‬.
ִ֣
163 The bicolon of v. 27 represents displays the longest poetic lines of the psalm—perhaps a
phonological isomorphic equivalent that reflects the content being expressed, with reference to “the
ends of the earth”! “The nations—included in the Abrahamic covenant as ‘all the families of the
nations’ (Ge 12:3; Ps 96:7)—will ‘remember’…the Lord. The act of remembrance is an act of obeisance
and worship” (VanGemeren 1994:823).
164 Most versions render “before him” to stay consistent with the preceding colon’s “to
Yahweh”; however, an emendation is not needed to support this translation since pronominal
interchange, especially between different cola, is quite common in Hebrew poetry (enallage). Thus,
just as there is a direct address to the assembled congregation at worship in v. 26, so also in v 27 their
God, Yahweh, is addressed directly (Harman 2011:223).
165 As in the case of strophe E, so also here in strophe F, the unit concludes with a focus on
֤ ִ cf. 24.1, i.e., structural epiphora.
the “reason for praise” (‫)כּי‬,
166 This verse is typically heavily emended by scholars (e.g., Broyles 1999:122), for example,
the first word from ’okhlû (‘they shall eat’) to ’ak lô (‘indeed, to him’, cf. BHS, RSV; VanGemeren
1991:211). However, “if this suggestion is followed, then a further emendation is required to change
the following verb from being a vav consecutive to a simple future by deleting the initial vav. As eating
has already been mentioned in verse 26, it seems best to retain the MT, avoiding…word division,
revocalisation, and deletion” (Harman 2011:224).
63
‫־א ֶרץ‬
ֶ֗ 167‫ל־דּ ְשׁנֵ י‬
ִ ‫ָ ֽכּ‬ ‫וַ ִיּ ְֽשׁ ַתּ ֲחוּ֨ וּ ׀‬
29.2
168‫ָע ָ ֑פר‬ ‫ל־יוֹר ֵ ֣די‬
ְ ‫ָכּ‬ ‫ִי ְ֭כ ְרעוּ‬ ‫ְל ָפ ָנ֣יו‬
29.3
‫ִח ָיּֽה׃‬ ‫֣ל ֹא‬ ‫וְ ֝נַ ְפ ֗שׁוֹ‬
And with regard to the unusual verb usage: “Heb ‘eat and worship.’ The verb forms (a perfect
followed by a prefixed form with vav [‫ ]וו‬consecutive) are normally used in narrative to relate
completed actions. Here the psalmist uses the forms rhetorically as he envisions a time when the
LORD will receive universal worship” (NET note; cf. 27.1). This is just one example of how the micro-
syntax of this psalm (over and above the normal poetic lexicon) is used functionally—to serve a
literary-structural purpose, hence enhancing the text’s communicative quality and effectiveness.
167 Some commentators emend the first consonant of the verb form from dalet (d) to yod
(y)—from “the fat ones” to “the sleeping ones”, thus providing a close semantic and literary (i.e.,
phonological) parallel with the verb in the next line, “those who descend” (e.g., Craigie 1983:197);
however, there is little manuscript or versional support for this change (cf. VanGemeren 1991:211 and
the Logos Lexham Interlinear Bible).
Furthermore, we note that the general reference here is clearly to the dead, which may have
sounded strange, perhaps even shocking to most Jewish hearers. “This inclusion of the dead among
God’s worshipful subjects is unusual because a reiterated theme in Psalms is that the dead, mute
forever, cannot praise God. Perhaps the poet, having imagined God’s dominion extending to the far
ends of the earth, also wants to extend it downward—against common usage—into the very
underworld” (Alter 2007:76). Such usage might be considered to be an all-inclusive merismus, which
is quite appropriate for this climatic point in the psalmist’s praise.
In favor of the MT, the NET (footnote) offers a reasonable explanation, which is always better
than an emendation: “Heb ‘fat [ones].’ This apparently refers to those who are healthy and robust,
i.e., thriving. In light of the parallelism, some prefer to emend the form to…y’esheney, ‘those who
sleep [in the earth]’; cf. NAB, NRSV but… dishney, ‘fat [ones]’) seems to form a merism with ‘all
NAB NRSV),
who descend into the grave’ in the following line. The psalmist envisions all people, whether healthy
or dying, joining in worship of the LORD.”
168 The expression ‘all those descending [into the] dust’ recalls the psalmist’s own sad
situation (v. 15.3)—an amazing reversal, but with the same God in sovereign control.
64
30.1
‫ַי ַֽע ְב ֶ ֑דנּוּ‬ 169‫ֶז ַ֥ רע‬
30.2
‫ַל ֽדּוֹר׃‬ ‫ַ ֽלאד ָֹנ֣י‬ ‫יְ ֻס ַ ֖פּר‬
31.1
‫ָ ֭יבֹאוּ‬
170‫ִצ ְד ָק ֑תוֹ‬ ‫וְ יַ ִגּ֣ידוּ‬
31.2b
b
‫וֹלד‬
ָ ֗ ֝‫נ‬ ‫ְל ַ ֥עם‬
171‫ָע ָ ֽשׂה׃‬ ‫ִ ֣כּי‬
2. Discerning the macro-structure of Psalm 22
Part One of Psalm 22 is segmented into what we might term “cycles” (for lack of a better
term)—that is, a pairing of related stanzas, designated as (A—A’) + (B—B’) // (C—C’) +
169 Future generations join the fathers (v. 4) as the psalm draws to an all-inclusive close. “As
in a medieval ballad [the final verses] sum up the poem and become the equivalent of a musical ‘fugue’”
(Terrien 2003:235). “Each generation will join in with the telling of the story of God’s kingship (cf.
vv. 3-5) and will add what God has done for them. This is the essence of redemptive history”
(VanGemeren 1994:823)—one that climaxes at the Cross (cf. Mt. 27:39-46; Mk. 15:29-34).
170 “In this context ‘righteousness’ has the idea of ‘salvation’, ‘deliverance’” (Harman
2011:224; cf. VanGemeren 1994:823).
171 “Neither the subject nor the object are expressed in the Hebrew text, but the preceding
references to the way in which the Lord heard the cry of the psalmist makes it plain that it is the
deliverance by the LORD that is in view” (Harman 2011:224). “For he has done. The abruptness
reflects the Hebrew. What God has done, in any case, would have to be His bounty or kindnesses
(Hebrew tsedaqot) to those who fear Him” (Alter 2007:77)—more specifically, “his
deliverance/righteousness” in v. 31.1—with reference to Yahweh’s saving actions that vindicate his
people, the oppressed in particular. The LXX makes the subject explicit, viz. “what the Lord has done”
(Craigie 1983:197). GNT reflects the concluding emphasis of the Hebrew by rendering the final clause
in direct speech: “The LORD saved his people,” which would certainly be appropriate in this context
(strophe F’).
65
(D—D’) on the structural chart above. Part Two of the psalm consists of cycle 3: (E—
E’)+(F—F’). Cycle 2 of Part One, as we will see, represents a thematic and emotive
intensification of cycle one, in several ways: the human source of the poet’s grief is more
graphically described (vv. 12-13, 16-18); the expression of his own physical and psychological
reactions is magnified (vv. 14-15); his personal appeal to Yahweh is made more verbally
concrete and concentrated (vv. 19-21). The explicit heightening observed in cycle 2 thus
follows the general tendency of Hebrew verse to manifest a sharpening of semantic focus
and/or a strengthening in the affective impression that is conveyed by the (B) half of a
parallel bicolon (Alter 1985:615).
Moving down to the next lower level of poetic organization, we come to the “stanza” unit of
structure. A consideration of the content as well as the form of Psalm 22 indicates a very
symmetrical manner of construction. There are six compound stanzas in all, four in Part One
(two per cycle), and another pair in the Part Two. Each stanza consists of two “strophes,” or
poetic paragraphs, e.g., A + A’, B + B’, etc.172 With one significant exception, the sequence
of stanzas in Part One reveals an alternating illocutionary movement, which produces a
doubly twofold pattern that relates to the author’s primary communicative intentions and
associated personal feelings. Thus, there is an initial “complaint” describing his desperate
situation followed by either an implicit or explicit “appeal” (based on trust) to Yahweh for
deliverance. This pragmatic framework of Part One may be summarized as follows:
Stanza/Cycle Complaint Appeal
A+A’ 1-2 3-5
B+B’ 6-8 9-10
C+C’ 11-13 14-15**
D+D’ 16-18 19-21
172 Terrien, too, finds an artistic balance that runs throughout Psalm 22: “Structural
analysis…reveals a remarkable symmetry of strophic continuity. . . . The strophic analysis appears to
support the unity of composition for the whole psalm” (2003:229-230).
66
This succession of strophes may also reflect a subtly alternating shift in perspective, that is,
from an inward to an outward point of view, thus, internal: strophes A, B’, C’, D’; external:
strophes A’, B, C, D. The proposed boundaries for these four stanzas and their constituent
strophes will be further justified when the psalm’s microstructure is examined more closely
below.
The exception noted in verses 14-15 represents a deliberate alternation in the established
pattern. Here the expected “appeal” is replaced by another “complaint,” one that is
foregrounded by the psalmist’s graphic description of his physical and mental anguish that is
coupled with a stark depiction of his felt proximity to death. One senses a note of hopeless
resignation in his words, especially in the final climactic utterance: “Surely (waw-emphatic),
to the very dust of death you are depositing me!” (‫ר־מוֶ ת ִתּ ְשׁ ְפּ ֵ ֽתנִ י‬
֥ ָ ‫( ְ ֽ)ו ַל ֲע ַפ‬15.3). There is a certain
irony here: the God whom the psalmist feels is too far away (v. 11) is close enough to lay him
in the grave! The actual position of this exclamation may be significant by virtue of its position
within the psalm, viz., at its virtual “midpoint” with three stanzas on either side (36 versus
39 cola).
The fact that structural centers are often important in Hebrew poetic construction would lead
one to check to see whether there might be any special communicative significance at this
juncture in the text. In relation to its cotext, it may be suggested that these two verses (14-
15) represent the emotive and spiritual nadir of Psalm 22. As reflected in the intense
physically-based imagery, the poet was almost completely played out at this point (though he
could at least still verbalize his feelings despite his tongue sticking to the roof of his mouth!).
He suddenly turns upon Yahweh in direct address, seemingly accusing him of permanently
sealing his fate on account of his failure to act in his behalf. The general complaint that “There
is surely no helper!” at the end of the preceding stanza (‫עוֹזֽר‬
ֵ ‫י־אין‬
֥ ֵ ‫)כּ‬
ִ (11.3, i.e., structural
epiphora), is here bitterly sharpened into a specific charge against Yahweh—that his God was
laying him in the grave! The psalmist could descend no lower in his faith, either for the
present or for any possible future; all hope was seemingly gone. Perhaps it was in order to
distinguish this crucial segment in his lament that the pray-er decided to alter its regular
thematic arrangement, shifting from the expected plea for help to the expression of a
grievance that is Job-like in its grim pessimism (cf. Job 10:9; 30:23).
67
It may be helpful at this point to summarize the “finely wrought compositional design”
(Bratcher & Reyburn 1994:108) of Psalm 22 by means of the following chart, which indicates
the various layers of organization, from top to bottom:
Psalm 22
PART ONE (1-21) TWO (22-31)
Cycle A (1-11) B (12-21) C (22-31)
STANZA A A’ B B’ C C’ D D’ E E’ F F’
Strophe 1-2 3-5 6-8 9-11 12-13 14-15 16-18 19-21 22-24 25-26 27-28 29-31
The preceding strictly linear structure may be complemented and hence compacted by a
thematic concentric arrangement, as proposed by Dorsey (1999:178):173
A Introductory Complaint: God does not hear my cry for help! (1-8)
B Specific Appeal for Help (9-11)
“Do not be far away (‫ל־תּ ְר ַ ֣חק‬

ִ ‫)א‬
ַ from me…for there is no helper (‫—”!)עוֹזֽר‬v.
ֵ 11
C Description of Dire Situation: the pit of despair (12-18)
“Do not be far away (‫ל־תּ ְר ַ ֣חק‬

ִ ‫)א‬
ַ from me…hasten to help (‫—”!)ל ֶעזְ ָ ֥ר ִתי‬v.
ְ 19174
B’ Specific Appeal for Help (19-21)
A’ Concluding Praise: God has heard my cry for help! (22-31)
This proposal rather generalizes the interpersonal dynamics of Psalm 22, but it does provide
another formally defensible perspective on the text’s expert literary construction.
173 This may be compared with VanGemeren’s rather artificial chiastic arrangement: A (1-5),
B (6-8), C (9-11), C’ (12-21), B’ (22-24), A’ (25-31), the segments of which do not cohere very well
either formally or semantically, for example, with respect to the center: C—“God’s Covenantal
Responsibilities”; C’—“Abandonment and Prayer for Covenantal Favor” (1991:199).
174 The parallel pleas of vv. 11 and 19 constitute an exclusio, a structural frame around the
central core (vv. 12-18). The repeated notion of being “far away” (‫ )רחק‬is present to mark the onset of
distinct poetic units (i.e., structural anaphora) in vv. 1.2, 11.1, and 19.1.
68
Governing this entire poetic compositional process is the application of a comprehensive
strategy of balanced structuration. This features the artistic positioning of corresponding
semantic elements, both analogous and antithetical, on all levels of linguistic organization to
give a sense of unity and harmony to the whole lyric-liturgical composition, as well as to
highlight the important disjunctions or thematic peaks within it.175
Nevertheless, there are also some important communicative differences between Parts
One and Two. The chief of these pertain to the divergence in their respective illocutionary
functions, as well as to the more obvious matters of topic and tone. These variations would
seem to be significant enough to substantiate our initial inclination to distinguish the two
sections as being representative of distinct poetic category types. The major dissimilarities as
they apply specifically to Psalm 22 (not the complete Psalter) are listed for comparative
purposes below:
Lament Eulogy
personal focus………………………………… communal focus
introverted perspective……………………… extroverted perspective
connotatively sad ……………………………. connotatively glad
sudden contrasts …………………………….. smooth progression of ideas
subject matter differences:
affliction from Yahweh …………….. blessing from Yahweh
Yahweh as adversary ………………. Yahweh as deliverer-vindicator
(but his aid is possible) ……………. (his aid has been demonstrated)
constant attack by enemies ……….. surrounding fellowship of friends
pain and perceived affliction ……... health and total well-being
typical imagery reflects:
persecution and suffering …………. peace and tranquility
great disappointment ……………… complete satisfaction
continual conflict …………………… constant unity
175 The unity and message of Psalm 22 would be severely diminished if it were limited to the
first 21 (22) verses. Thus, many commentators view the subsequent text is post-exilic in origin (e.g.,
Holladay 1996:43). Besides having no manuscript evidence for such a proposal, we have on the other
hand many laments that manifest a medial break as radical and significant as we find in Psalm 22 (vv.
21/22), for example, Ps. 73:14/15.
69
interpersonal disjunction ………….. interpersonal harmony
emotive climax:
individual descent …………………... universal ascent
down to the grave …………………... forward to a new generation
Finally, we note an interesting contrast in the respective relationships involving the principal
“cast of characters” (or participants) in this psalm. They correspond as shown on the diagram
below with reference to the divine center of thematic “gravity”:
Lament: enemies  (supports) ---- YAHWEH ---- (disappoints)  me
Eulogy: enemies  (destroys) ---- YAHWEH ---- (delivers)  me
With the LORD at the center of your life, you need never fear your enemies and can always
look forward to praising him with your friends in faith for his ultimate deliverance in Christ.
70
5)
Below you will find the Hebrew text of Psalm 29 accompanied by the NET translation and
notes—adapted and supplemented by the observations of several commentators plus my own.
Colored shading is used to mark repeated items and certain key terms. This psalm begins
with an introductory call to praise the LORD (1-2) and concludes with a corresponding two-
verse assertion of the reasons for such acclaim (10-11). The name YHWH resounds four times
in both strophes. In between we find a magnificent stanza of seven verses that proclaim a
theophany in the imagery of a mighty storm that is seemingly sweeping across the landscape
(3-9) from east to west and top to bottom. The thunderous “voice of the Lord” (‫הוה‬
ָ֗ ְ‫)קוֹל י‬
֥ is
heard seven times in this wonderful depiction of divine power (‫הוה‬
ָ֗ ְ‫— י‬10x), as God motivates
the praise of his people with images of his powerful presence and, in the end, blesses them
with his reassuring “peace” (v. 11b)—to which they respond: “To him be the ‘glory’!” (v. 9;
cf. 3, inclusio).
Psalm 29 1 New English Translation (NET) Biblia Hebraica Stuttgartensia: with Westminster Hebrew
(https://net.bible.org/#!bible/Psalms+29:1 ) Morphology. (2001). (electronic ed., Ps 29:1–2). Stuttgart;
Glenside PA: German Bible Society; Westminster Seminary.
1 A psalm of David.
‫ ִמזְ ֗מוֹר ְל ָ ֫דִ ֥וד‬1
Acknowledge the Lord, you heavenly beings, 2
‫ָה ֣בוּ ַ ֭ ֽליהוָ ה ְבּ ֵנ֣י ֵא ִ ֑לים‬
acknowledge the Lord’s majesty and power! 3
‫יהוה ָכּ ֥בוֹד וָ ֽעֹז׃‬
֗ ָ ‫ָה ֥בוּ ַ֝ל‬
2 Acknowledge the majesty of
the Lord’s reputation! 4 ‫ ָה ֣בוּ ַ ֭ ֽליהוָ ה ְכּ ֣בוֹד ְשׁ ֑מוֹ‬2
Worship the Lord in holy attire! 5 ‫יהוה ְבּ ַה ְד ַרת־ ֽקֹ ֶדשׁ׃‬
֗ ָ ‫ִה ְשׁ ַתּ ֲחו֥ וּ ַ֝ל‬
1 Psalm 29. In this (victory) hymn of praise the In Canaanite mythological texts the divine
psalmist calls upon the heavenly assembly to council of the high god El is referred to as “the
acknowledge the royal splendor of the Lord. He sons of El.” The OT apparently borrows the
describes the Lord’s devastating power as Canaanite phrase and applies it to the
revealed in the thunderstorm and affirms that supernatural beings that surround the
71
the Lord exerts this awesome might on behalf of heavenly throne. On the other hand, in view of
his people. In its original context the psalm was the envelope structure of this psalm, with vv.
a bold polemic against the Canaanite storm god 10-11 being a logical continuation of vv. 1-2,
Baal, for it affirms that the Lord is the real king one might argue that “sons of God” is a
who controls the elements of the storm, contrary figurative, honorific reference to “the people
to pagan belief. (See R. B. Chisholm, Jr., “The [of YHWH” who are being “blessed” in v. 11
Polemic against Baalism in Israel’s Early History (climax!).
and Literature,” BSac 150 (1994): 280-82;
3 Or “ascribe to the Lord glory and strength”—
Craigie 1983:247).
that is, praise YHWH for his power and glory,
2 Heb “sons of gods,” or “sons of God; about to be described (vv. 3-9) in a magnificent
Though ‫’( ֵא ִ ֑לים‬elim) is vocalized as a plural form natural manifestation visible to all in the land;
the repetition provides an emphatic opening.
(“gods”) in the MT, it is likely that the
final mem is actually enclitic, rather than a 4 Heb “ascribe to the Lord the glory of his
plural marker. In this case one may read “God.”
Some, following a Qumran text and the LXX, name.” The Hebrew term ‫( ֵשׁם‬shem, “name”)
also propose the phrase occurred in the original refers here to the Lord’s supreme reputation.
text of Deut 32:8. The phrase ‫ְבּ ֵנ֣י ֵא ִ ֑לים‬ (The English term “name” is often used the
same way.)
(bÿney ’elim, “sons of gods” or “sons of God”)
occurs only here and in Ps 89:6 (89:7HT). In Ps 5 Some interpret this as a reference to being
89 the “sons of gods/God” are also called “the respectfully dressed for the occasion; better,
assembly of the holy ones” and “council of the and in view of v. 10: worship the LORD “for his
holy ones.” The heavenly assembly, comprised of amazing/wonderful holiness”—which is also
so-called “angels” and other supernatural powerfully displayed in his creation. Note that
beings, appears to be intended. See Job 5:1; due to the internal repetition, vv. 1-2 could be
15:15 and Zech 14:5, where these supernatural also construed as a tetracolon—one that
beings are referred to as “holy ones.” answers the questions who should praise (v.
1b), what (vv. 1b-2a), where or why (v. 2b)?
3 The Lord’s shout is heard over the water; 6

‫־ה ָ ֥מּיִ ם‬
ַ֫ ‫הוה ַעל‬
֗ ָ ְ‫ ֥קוֹל י‬3
the majestic God thunders, 7
‫־ה ָכּ ֥בוֹד ִה ְר ִ ֑עים‬
ַ ‫ֵ ֽאל‬
the Lord appears over the surging water. 8 ‫֝הוה ַעל־ ַ ֥מיִ ם ַר ִ ֽבּים׃‬
֗ ָ ‫ְי‬
4 The Lord’s shout is powerful, 9 ‫הו֥ה ַבּ ֑כֹּ ַח‬

ָ ְ‫ קוֹל־י‬4
the Lord’s shout is majestic. 10 ‫֝הוה ֶבּ ָה ָ ֽדר׃‬

֗ ָ ‫֥קוֹל ְי‬
5 The Lord’s shout breaks 11 the cedars, ‫ ֣קוֹל ְי֭הוָ ה שׁ ֵֹב֣ר ֲא ָר ִז֑ים‬5
the Lord shatters 12 the cedars of Lebanon. 13 ‫֝הוה ֶאת־ ַא ְר ֵז֥י ַה ְלּ ָבנֽ וֹן׃‬
֗ ָ ‫וַ יְ ַשׁ ֵ ֥בּר ְי‬
72
6 He makes Lebanon skip like a calf
‫־ע֑גֶ ל ְל ָבנ֥ וֹן‬
ֵ ‫ידם ְכּמוֹ‬
֥ ֵ ‫ וַ יַּ ְר ִק‬6
and Sirion 14 like a young ox. 15 ‫וְ ִ֝שׂ ְר ֗י ֹן ְכּ ֣מוֹ ֶבן־ ְר ֵא ִ ֽמים׃‬
6 Heb “the voice of the Lord [is] over the water.” The wordless, but powerful “voice of the
As the next line makes clear, the “voice of LORD” in nature symbolizes his dynamic word
the Lord” is here the thunder that accompanies a in Scripture, as alluded to in the “blessing” of
violent storm. The psalm depicts the Lord in the “peace” referred to in v. 11 (cf. Num 6.24-26).
role of a warrior-king, so the thunder is his
11 TheHebrew participle draws attention to the
shattering battle cry, as it were. “The voice of
the LORD,” which is emphatically repeated in durative nature of the action being described.
verses 3 to 9, requires being changed to a verb in
some languages where there is no term for 12 The prefixed verbal forms with vav (‫)ו‬
“voice” apart from speaking. Hence it may be consecutive here and in v. 6a carry on the
necessary to restructure the nominal phrase into descriptive function of the preceding participle
a “when” clause; for example, “when the LORD (see GKC 329 §111.u). The verb ‫( ָשׁ ַבר‬shavar)
speaks, he is heard everywhere upon the seas.”
7 The Hebrew perfect verbal form is probably appears in the Qal in the first line of the verse,
and in the intensified Piel form in the second
descriptive or gnomic. In dramatic fashion the
psalmist portrays the Lord coming in the storm line. The verb, which means “break” in the Qal,
to do battle with his enemies and to vindicate his appears thirty-six times in the Piel, always with
multiple objects (the object is either a collective
people—perhaps alluding also to the chaotic
watery forces at the time of creation (Gen 1:2). singular or grammatically plural or dual form).
8 Traditionally “many waters.” The geographical The Piel also highlights the divine activity,
references in the psalm (Lebanon, Sirion [Mt. perhaps with the nuance “break again and
Hermon], Kadesh) suggest this is a reference to again, break in pieces.” This verse well
illustrates the typical heightening as we move
the Mediterranean Sea (see Ezek 26:19; 27:26).
from line A to line B in Hebrew poetry.
The psalmist describes a powerful storm moving
in from the sea and sweeping over the 13 Thecedars of the Lebanon forest were well-
mountainous areas north of Israel. The “surging known in ancient Israel for their immense size.
waters” may symbolize the hostile enemies of Here they undoubtedly symbolize the arrogant
God who seek to destroy his people (see Pss enemies of God and of Israel (see Isa 2:12-13).
18:17; 32:6; 77:20; 93:4; 144:7; Isa 17:13; Jer
51:55; Ezek 26:19; Hab 3:15). In this case, 14 Sirion(a Phoenician term, used poetically
the Lord is depicted as elevated above and here) refers to Mount Hermon (Deut 3:9). We
sovereign (ruling) over the raging waters as well note how one verse is related in some way with
as destructive storms—probably metaphoric for the preceding one, perhaps to depict the
the great tumults and trials that his people may progressive geographical movement of the
face. storm over God’s land of Israel.
9 Heb “the voice of the Lord [is accompanied] by
strength” (v. 4a) – “…by majesty” (4b; cf. v. 1c). 15 Lebanon and Sirion are compared to frisky
A “beth of essence” that indicates a predicate. young animals (a calf…a young ox) who skip
10 In languages where “speak” instead of “voice”
and jump. The thunderous shout of the Lord is
must be used in v. 4, it may be necessary to say, so powerful, one can see the very mountains
for example, “When the LORD speaks he shows shake on the horizon. “The picture of a range of
his power, when he speaks he shows how great mountains jumping may be beyond even the
he is.” The “power” and “majesty” attributed to poetic expression of some people. In some
the LORD in this verse reflects back (in reverse cases it may be necessary to say ‘God shakes
order) on similar concepts in v. 1. the mountains called Lebanon and they jump
73
like a calf jumps’ or ‘when the LORD causes an
earthquake, the mountains of Lebanon go up
and down like a jumping animal” (UBS
Handbook on Psalms, 278)
7 The Lord’s shout strikes 16 with flaming fire. 17

‫הו֥ה ח ֵֹ֗צב ַל ֲה ֥בוֹת ֵ ֽאשׁ׃‬
ָ ְ‫ קוֹל־י‬7
8 The Lord’s shout shakes 18 the wilderness,
‫ ֣קוֹל ְי֭הוָ ה יָ ִ ֣חיל ִמ ְד ָ ֑בּר‬8
the Lord shakes the wilderness of Kadesh. 19
‫֝הוה ִמ ְד ַ ֥בּר ָק ֵ ֽדשׁ׃‬
֗ ָ ‫יָ ִ ֥חיל ְי‬
9 The Lord’s shout bends 20 the oak trees 21
‫לוֹת‬
֮ ָ‫חוֹל֣ל ַאיּ‬
ֵ ְ‫הוה׀ י‬
֨ ָ ְ‫ ֤קוֹל י‬9
and strips 22 the leaves from the forests. 23
‫ַוֽ יֶּ ֱח ֪שׂ ֹף יְ ֫ ָע ֥רוֹת‬
Everyone in his temple says, “Majestic!” 24
‫וּב ֵהי ָכ ֑לוֹ ֻ֝כּ ֗לּוֹ א ֵ ֹ֥מר ָכּ ֽבוֹד׃‬
ְ
16 Theverb normally means “to hew [stone or 21 Heb “the deer.” Preserving this reading, some
wood],” or “to hew out.” In Hos 6:5 it seems to translate the preceding verb, “causes [the deer]
mean “cut in pieces,” “knock down,” or perhaps to give premature birth” (cf. NEB, NASB). But
“hack” (see F. I. Andersen and D. N. Freed- the Polel of ‫ חול‬/‫( ִחיל‬khul/khil) means “give
man, Hosea [AB], 428). The Ugaritic cognate
birth,” not “cause to give birth,” and the
can mean “assault.” In v. 7 the verb seems to
statement “the Lord’s shout gives birth to deer”
have a similar meaning, perhaps “attack, strike.” is absurd. In light of the parallelism (note
The phrase “flames of fire” is an adverbial “forests” in the next line) and v. 5, it is
accusative; the Lord’s shout is accompanied by preferable to emend (’ayyalot, “deer”) to (’elot,
“flames of fire,” that is, lightning bolts.
“large [oak] trees”) understanding the latter as
17 TheLord’s shout hews/strikes [trees, v. 5?] an alternate fem. form of the usual plural masc.
with flaming fire (lit. ‘flames of fire’). The short (’ayyalim) to rhyme with the preceding ’elot.
line has invited textual emendation, but its 22 The verb is used in Joel 1:7 of locusts
distinct, brief form may highlight the statement,
stripping the leaves from a tree. The prefixed
which serves as the axis of a chiastic structure
encompassing vv. 5-9: (A) the Lord’s shout verbal form with vav (‫ )ו‬consecutive here
destroys the forest (v. 5); (B) the Lord’s shout carries the descriptive function of the
shakes the terrain (v. 6); (C) the Lord’s shout is preceding imperfect. See GKC 329 §111.t.
accompanied by destructive lightning (v. 7); (B´)
the Lord’s shout shakes the terrain (v. 8); (A´) 23 The usual form of the plural of ‫( ַ֫י ַער‬ya’ar,
the Lord’s shout destroys the forest (v. 9). “forest”) is ‫( יערים‬yÿ’arim). For this reason some
Goldingay sees a different concentric structure:
A/A’ (1-2/11): YHWH’s regal power/ propose an emendation to (yÿ’alot, “female
omnipotence; B/B’ (3-4/9c-10): YHWH rules mountain goats”) which would fit nicely in the
over the waters; C (5-9b): YHWH manifests his parallelism with “deer” (cf. NEB “brings kids
power in the world (Psalms, vol. 1, 2006:413). early to birth”). In this case one would have to
understand the verb ‫( ָח ַשׂף‬khasaf) to mean
74
18 TheHebrew imperfect verbal forms are “cause premature birth,” an otherwise
descriptive in function; the psalmist depicts the unattested homonym of the more common
action as underway. (“strip bare”). The Lord’s thunderous shout is
accompanied by high winds which damage the
19 Kadesh. The references to Lebanon and Sirion trees of the forest. The UBS Handbook states:
in v. 6 may suggest that this is a reference to the “Most favor keeping the two lines parallel, with
northern Kadesh, located north of Damascus oaks and forests, or else ‘deer’ and ‘goats’;
(M. Dahood, Psalms [AB], 1:178); however, see NEB ‘The voice of the LORD makes the
possible allusion to Israel’s desert wanderings in hinds calve and brings kids early to birth’”
v. 8 prefer the southern Kadesh mentioned so (280).
often in the OT. Either interpretation would
indicate a sharp turn in the storm moving from 24 Heb “In his temple, all of it saying, ‘Glory.’”
the east to the north or south (a divinely How else can people respond to the LORD’s
impelled storm?); alternatively, Kadesh (“holy awesome display of authoritative power? Note
place”) is simply an unknown location further to the inclusio formed with v. 3 (cf. also vv. 1-2).
the east of Mt. Hermon. While the Lord’s heavenly Temple may be in
primary view here, the implication is clear that
20 The Hebrew imperfect verbal form is such reverent worship should be duplicated
descriptive in function; the psalmist depicts the everywhere also on earth. Verses 3-9 thus
action as underway. provide motivate for the angels’ praise (1-2).
10 The Lord sits enthroned over the engulfing

waters, 25 ‫ ְי֭הוָ ה ַל ַמּ ֣בּוּל יָ ָ ֑שׁב‬10
the Lord sits enthroned 26 as the eternal king.
‫עוֹלם׃‬
ֽ ָ ‫֝הוה ֶ ֣מ ֶלְך ְל‬
֗ ָ ‫וַ ֵיּ ֶ֥שׁב ְי‬
11 The Lord gives 27 his people strength; 28 ‫עז ְל ַע ֣מּוֹ יִ ֵ ֑תּן‬
ֹ ֖ ‫ֽהוה‬
֗ ָ ְ‫ י‬11
the Lord grants his people security. 29 ‫הוה׀ יְ ָב ֵ ֖רְך ֶאת־ ַע ֣מּוֹ ַב ָשּׁ ֽלוֹם׃‬
֓ ָ ְ‫י‬
26 The prefixed verbal form with vav (‫)ו‬
25 The noun ‫( ַמבּוּל‬mabbul, “flood”) appears only
here and in Gen 6-11, where it refers to the consecutive here carries the descriptive
Noahic flood. Some see a reference to that event function of the preceding perfect. YHWH’s rule
here. The presence of the article (perhaps over the chaotic, inimical powers of nature and
indicating uniqueness) and the switch to the humanity is constant and complete!
perfect verbal form (which could be taken as 27 Theimperfect verbal forms in v. 11 are either
describing a past situation) might support this. descriptive or they may be regarded as
However, the immediate context indicates that precatory jussives: “May YHWH give…”
the referent of ‫ ַל ַמּ ֣בּוּל‬is the “surging waters”
28 Strength. This may refer to military power
mentioned in v. 3. The article indicates waters
that are definite in the mind of the speaker and (cf. 1 Sam 2:10 and Ps 86:16)—or better, divine
the perfect is probably descriptive in function, “protection” (Craigie, 243). Note the inclusio
like “thunders” in v. 3. However, even though connecting this reference to v. 1. The “strength”
the historical flood is not the primary referent of the LORD, as powerfully demonstrated in
here, there may be a literary allusion involved. nature, becomes that of his faithful people in
The psalmist views the threatening chaotic sea their lives of faith!
as a contemporary manifestation of the
75
destructive waters of old—which, as in the Flood 29 Heb “blesses his people with peace.” The
account, is controlled completely by YHWH. Hebrew term ‫( ָשּׁ ֽלוֹם‬shalom, “peace”, total well-
Psalm 29 may be classified formally as an
being) might refer to the protection and
“enthronement psalm” (deClaissé et.al. 2014:
prosperity experienced by God’s people after
281), but it is YHWH being acclaimed as the the Lord intervenes in battle on their behalf,
almighty universal king, not some human ruler.
but it has a more general scope here.
“Peace stands not just for cessation of
hostilities, but for well-being, prosperity,
happiness, success” (UBS Handbook, 281).
2. Summary of the Structure of Psalm 29

The UBS Handbook on Psalms (1991:275; cf. Boerger below) views the rather obvious linear
tripartite, or “ring” (A—B—A’) structure of Psalm 29 as assuming a complementary chiastic
arrangement (cf. note 17 in the preceding text display):
A (Verse 1-2) LORD (four times)

B (Verse 1) strength
C (Verse 3) waters
D (Verse 4) majesty
E (Verse 5) cedars
F (Verse 6) Lebanon
G (Verse 7) flashes
F' (Verse 8) Kadesh
E' (Verse 9) oaks
D' (Verse 10) enthroned
C' (Verse 10) flood
B' (Verse 10) strength
A' (Verse 10-11) LORD (four times)
Note that the center of this structure (G, v. 7) consists of a single poetic line in Hebrew.
Evaluate this proposal in the light of the hymnic content of Psalm 29 and what appears to
be its primary message. What does the concentric framework, if credible, contribute to the
psalm’s main communicative purpose, namely, its function as a liturgical doxology? To be
more specific, why would v. 7 be foregrounded at the center of this arrangement? Is there a
possible semantic, emotive, and structural (boundary-marking) link between the “fire” (‫) ֵ ֽאשׁ‬
of v. 7 and the “glory” of v. 9c (‫ ?) ָכּ ֽבוֹד‬If granted, these poetic features might arguably serve
as an internal developmental build-up to verses 10-11 (Conclusion
Conclusion:
Conclusion Reasons for worship—
YHWH’s glorious all-empowering kingship), which may in turn be regarded as expressing
the principal theological theme of Psalm 29. This royal hymn’s preceding sections, i.e., vv.
76
Introduction Call to worship—the glorious holiness of YHWH’s “name”) and 3-9
1-2 (Introduction
Introduction:
Body Reasons for worship—YHWH’s glorious might as manifested in nature), then fit
(Body
Body:
appropriately into place within the whole, progressively leading up to the culminating
affective peak lauding Yahweh’s cosmic rule over his people, which is surprisingly and
contrastively marked by “peace” (‫— ָשּׁ ֽלוֹם‬rhetorical end-stress)!
3. Two Translations that Amplify the Orality of Psalm 29
Psalm 29 was clearly composed for an enthusiastic oral performance (the imperative of
‫יָ ַהב‬, ‘ascribe’, or better contextually, “shout out!” 3x in vv. 1-2), most probably as a
communal liturgy involving the entire congregation, for example, voicing in bold unison
the body of the psalm of vv. 3-9 (‫)! ֣קוֹל ְי֭הוָ ה‬. The following are three English renditions
that seek to accent the audible character of the text in translation. Read each version
aloud and evaluate its performative “potential.” Are there any modifications that you
might recommend to increase the translation’s sonic effectiveness (impact and appeal)?
Perhaps you have a version in your language that can qualitatively compete with these.
---------------------------------------------------------------------------------------------------------------
29176
Honor Yahweh, you lesser deities!
Honor Yahweh’s imposing presence and power!
Honor Yahweh for the imposing power of his name!
Bow down before Yahweh when you see his robes lit up by lightning!
The voice of Yahweh: above the waters of heaven and earth.
The deity of the imposing presence thunders.
Yahweh, above chaos’ ocean.
The voice of Yahweh: power.

The voice of Yahweh: lightning.
The voice of Yahweh: shattered cedars.
Yahweh shatters the thickest cedars and shakes the land.
Massive mountains jump like calves.
The voice of Yahweh: fire flashes.
The voice of Yahweh: the desert shakes.
176 Timothy L. Wilt, Praise, Prayer and Protest: The David Collection (self-published, 2002), 37.
77
Yahweh shakes the desert of Kadesh.
The voice of Yahweh: oaks are split, their leaves are stripped.
And in his temple, all speak of his imposing presence.
Yahweh is enthroned, above the floods.
Yahweh is enthroned, eternal king.
Yahweh gives power to his people.
Yahweh will bless his people with peace.
----------------------------------------------------------------------------------------------
YAHWEH’S POWER IN A STORM177

1. Acknowledge Yahweh, beings in the heavenlies.
Affirm the Lord is glorious, mighty!
2. Assert Yahweh’s name is worthy of glory,
Bowing down to the Lord’s splendor, so holy.
3. Yahweh’s voice rumbles from on high.
The God of glory thunders in the sky.
Across the raging waters the Lord sounds his cry.
4. Yahweh’s voice is powerful, mighty!
The Lord’s voice is endowed with majesty.
5. Yahweh’s voice splits Lebanon’s cedars,
The Lord carves the tree into splinters.
6. Mt. Lebanon skips to the reverberations;
Mt. Hermon dances down to its foundations.
7. Yahweh’s voice strikes; it’s a lighting flash!
8. The Lord’s voice makes the wilderness shake.
Throughout the entire desert of Kadesh,
The Lord makes everything quake.
9. At Yahweh’s voice the oaks are uprooted;
Entire forests are stripped and denuded.
In his temple, Yahweh is adored,
“How glorious and majestic is the Lord!”
10. In the flood Yahweh shows his domination;
Forever the Lord is King of creation.
11. Strength to his people Yahweh will bring.
Our Lord will bless his own with well-being.
177 Brenda Boerger, POET Psalms, Self-published, 2009:50 (I have slightly modified the format).
78
(https://www.pinterest.com/pin/318981586082773991/ )
79
6)
New Revised Standard Version –Strophe A ‫ַל ְמנַ ֵ֗צּ ַח ִמזְ ֥מוֹר ְל ָדִ ֽוד׃‬
The heavens are telling the glory of God;178
‫וֹד־אל‬
֑ ֵ ‫ ַה ָשּׁ ַ֗מיִ ם ְ ֽמ ַס ְפּ ִ ֥רים ְכּ ֽב‬1
and the firmament proclaims his
handiwork.179
‫וּֽ ַמ ֲע ֵ ֥שׂה ָי ָ ֗֝דיו ַמ ִ ֥גּיד ָה ָר ִ ֽ ק ַיע׃‬
Day to day pours forth speech,180
‫א ֶמר‬
ֹ ֑ ‫יע‬
ֽ ַ ‫ י֣ וֹם ְ ֭ליוֹם יַ ִ ֣בּ‬2
and night to night181 declares knowledge.182
‫ה־דּ ַעת׃‬
ֽ ָ ֶ‫וְ ַ ֥ליְ ָלה ְ֝לּ ֗ ַליְ ָלה יְ ַחוּ‬
178 “God's glory” refers here to his royal majesty and power as revealed in the beautiful design
of the created universe—as specified figuratively as “the work of his hands” in v. 1b.
179 God’s handiwork is continually being proclaimed by the skies [technically, ‘the
firmament’, Gen.1:6-8, 14-19, perhaps in reference to the moon and stars, Ps. 8:3]. The medial
participles in both lines of v. 1 emphasize the ongoing testimony of the heavens/sky to God’s ongoing
preservation. The chiastic structure of this verse serves to highlight the notion of inclusiveness: S—V
(part.)—O//O—V (part.)—O.
180 Lit., “Day to day it gushes forth a word.” The “sky” (see v. 1) is the subject of the verb.
Though not literally speaking (see v. 3), it clearly displays—visually teaches about (cf. “knowledge,”
2b; Prov 1:23)—God’s royal majesty. The second line of this bicolon, which features linear parallelism,
specifies the first. Although all of the heavenly bodies are initially referred to, this didactic poem
proceeds to focus even more specifically on sun’s splendor and its regular movement across the sky
(see vv. 4-6). Though only heavenly features are mentioned, the psalmist clearly intends to include
earth’s wonders as well (v. 4).
181 The fronted temporal expressions in both lines exemplify constituent focus, with an
emphasis on the constancy and continuity of divine preservation and ordering in the universe.
182 Lit., “it [i.e., the sky] declares knowledge,” i.e., knowledge about God and his royal
character, creative power, and caring preservation—of a wondrously complex but orderly universe
(see v. 1). This apparently refers to the splendor and movements of the stars. The imperfect verbal
forms in v. 2, like the participles in the preceding verse, combine with the temporal phrases (“day
after day” and “night after night”) to emphasize the ongoing, non-verbal (cf. v. 3) testimony of the
80
There is no speech, nor are there words;
‫א ֶמר וְ ֵ ֣אין ְדּ ָב ִ ֑רים‬
ֹ ֭ ‫ ֵ ֽאין־‬3
their voice183 is not heard;
‫קוֹלם׃‬
ֽ ָ ‫ְ֝בּ ֗ ִלי נִ ְשׁ ָ ֥מע‬
yet their voice184 goes out through all the
earth,185
‫ל־ה ָ֨א ֶרץ׀ ָ֘י ָ ֤צא ַק ָ ֗וּם‬
ָ ‫ ְבּ ָכ‬4
and their words to the end of the world.
‫יהם‬
֑ ֶ ‫וּב ְק ֵצ֣ה ֵ ֭ת ֵבל ִמ ֵלּ‬
ִ
Strophe B
In the heavens he has set a tent for the

sun,186
‫א ֶהל ָבּ ֶ ֽהם׃‬
ֹ ֥ ‫ַ֝ל ֶ֗שּׁ ֶמשׁ ָ ֽשׂם־‬
sky and the heavenly bodies, which have been vigilantly studied by human beings since the beginning
of time.
183 “Their voice” (‫)קוֹלם‬
ָֽ – the plural antecedent is “the heavens,” a metonym referring to the
heavenly bodies. No verbal speech (3a), and no vocal speech (3b) comes from the heavens to glorify
God (only human beings can do that, v. 14!); and yet the magnificent testimony of the wonderfully
created universe is everywhere apparent on earth (v. 4)—hence often erroneously worshiped as deities.
184 The MT reads, “their measuring line” (‫)ק ָ ֗וּם‬.
ַ However, the noun ‫“( ַקו‬measuring line”)
makes no sense in this context—unless it could possibly refer to a “line” of writing (cf. Isa. 28:10),
here with metaphorical reference to the unspoken testimonial of the cosmos to the Creator. The
reading ‫קוֹלם‬
ֽ ָ (“their voice”), as at the end of the preceding line (3b), which is supported by the LXX,
is another viable option (see the discussion in deClaissé et.al, Psalms, 205).
ָ ‫( ְבּ ָכ‬constituent focus) emphasizes the great range of the
185 The fronted phrase ‫ל־ה ָ֨א ֶרץ‬
heavenly testimony to the greatness of Creator-God, a concept reinforced through repetition in the
next line.
186 The fronted phrase ‫ ֝ ַל ֶ֗שּׁ ֶמשׁ‬is an instance of topic focus, as the poet narrows his view of the
glories of the universe to zero in on the sun, as a new strophe begins. However, this shift in subject
has been subtly anticipated by the combined reference to “day” and “night” in v. 2.
81
which comes out187 like a bridegroom from
his wedding canopy,188
‫ וְ ֗הוּא ְ ֭כּ ָח ָתן י ֵֹצ֣א ֵמ ֻח ָפּ ֑תוֹ‬5
and like a strong man runs its course with
joy.189
‫א ַרח׃‬
ֹ ֽ ‫יָ ִ ֥שׂישׂ ְ֝כּגִ ֗בּוֹר ָל ֥רוּץ‬
Its rising is from the end of the heavens,190
‫וֹצ ֗אוֹ‬
ָ ‫ ִמ ְק ֵצ֤ה ַה ָשּׁ ַ֨מיִ ם׀ ֽמ‬6
and its circuit to the end of them;191
‫צוֹתם‬
֑ ָ ‫ל־ק‬
ְ ‫קוּפ ֥תוֹ ַע‬
ָ ‫וּת‬ְ
and nothing is hid from its heat.192
‫וְ ֵ ֥אין ִ֝נ ְס ָ֗תּר ֵ ֽמ ַח ָמּתוֹ׃‬
187 The fronted initial pronoun (‫ )וְ ֗הוּא‬reinforces the newly introduced subject of the “sun”
and its grand, but ordered movement; the imperfect verb (‫ )י ֵֹצ֣א‬indicates regularity. This glorious,
world-wide “going out” is referred to later in v. 6a—and connects with the general outward
“communication” of the cosmos mentioned back in v. 4a.
188 The Hebrew noun ‫“( ֻח ָפּה‬chamber”) occurs elsewhere only in Isa. 4:5 and Joel 2:16 (where
it refers to the bedroom of a bride and groom). The graphic metaphor of this verse likens the sun to
a bridegroom whose face shines so brightly on the morning after his wedding night!
189 Lit., “it [sun] rejoices like a mighty man to run [its] path” – The metaphorical language
reflects the sharp visual brilliance of the sunrise, which attests to the sun’s vigor and power over the
earth that it traverses. Yet, we must remember that the sun has been “set” within the cosmos by the
Creator (v. 4c)!
190 Lit., “from the end of the heavens [is] its going forth/exit.” The fronted ‫ ִמ ְק ֵצ֤ה ַה ָשּׁ ַ֨מיִ ם׀‬may
be an instance of constituent (locative) focus, emphasizing the scope of the sun’s daily journey. The
image is that of a flat earth which the sun “exits” from underneath on the east in the morning—and
“enters” on the the other side (west) at night. Reference to “the heavens” forms an inclusio with v. 1a,
while the reference to “extremity” (‫)ק ֶצה‬
ָ is mentioned twice in v. 6 and once in v. 4 (parallel structural
endings, or demarcating “closure”).
191 Lit., “and its circuit/turning [is] at/upon their [heavens’] ends.” The tail-head conjunction
of the two nouns (‫קוּפ ֥תוֹ‬
ָ ‫וּת‬ְ ‫וֹצ ֗אוֹ‬
ָ ‫)מ‬
ֽ form a chiastic-like construction that suggests completeness (cf. “on
the other end”; Goldingay, Psalms, 283)—the total earth-coverage of the sun’s essential daily “tour of
duty.”
192 This concluding assertion is somewhat surprising; if however a created object exhibits
such universal power (such that it is/was deified in many cultures), how much more should one
82
Strophe C
The law of the Lord is perfect,193

‫ימה‬
ָ ‫הו֣ה ְ ֭תּ ִמ‬
ָ ְ‫וֹרת י‬
֤ ַ ‫ ֘תּ‬7
‫יבת ָנ ֶ֑פשׁ‬
ַ ‫ְמ ִ ֣שׁ‬
reviving the soul;194
the decrees of the Lord195 are sure,
‫הו֥ה ֶ֝נ ֱא ָמ ֗ ָנה‬
ָ ְ‫ֵע ֥דוּת י‬
‫ימת ֶ ֽפּ ִתי׃‬
ַ ‫ַמ ְח ִ ֥כּ‬
reverence its Creator (and in truth avoid any foolish, God-demeaning sun-worship)! DeClaissé et. al
go further to proposed a “double entendre” in the meaning of ‫מ ַח ָמּתוֹ‬:
ֽ ֵ “the Hebrew root…can mean
both ‘heat’ and [metonymically] ‘wrath’”—and this links up in turn with ‫צוֹתם‬
֑ ָ ‫ ְק‬in a “complementary
double entendre” since this term may have a spatial sense, “edge” of the earth, as well as a temporal
sense, “their expiration,” i.e., “divine judgment [or ‘vindication’ as effected by God’s Torah in vv. 7-
11] reaches even unto the end of life” (Psalms, 209).
193 From v. 7a to 9b the topic of each colon, a synonym for Torah (Instruction), occurs in
initial position, thus naturally highlighting God’s instructions for right, covenantal living throughout
the segment and manifesting a strong cohesive thematic and poetic strand. Furthermore, the first six
cola of the strophe manifest a symmetrical verbless structure: noun + YHWH + adjective + participle
+ noun. Each colon may be divided into two at the participle, as suggested also by the Masoretic
accentuation (i.e., Dechi on the third word of the first half-line). For a good overview of the various
lexical and conceptual distinctions between and among this set of Torah-related expressions, see
Goldingay, Psalms, 291-293: “The six terms for Yhwh’s instructions are qualified by six descriptions
of their nature…” (ibid., 291).
194 Lit., “[it] restores life.” Elsewhere the Hiphil of ‫“( שׁוּב‬return”) when used with ‫“( ָנ ֶ֑פשׁ‬inner
life”) as object, means to “rescue or preserve one’s life” (Job 33:30; Ps. 35:17) or to “revive one’s
strength” (emotionally or physically; cf. Ru. 4:15; Lam. 1:11, 16, 19). Here the psalmist teaches us
that the Law preserves the life of the one who studies it by revealing God’s will so that the person
knows how to please God and fellowship daily with him; one also learns how to avoid offending him
(see v. 11).
195 The noun ‫ ֵע ֥דוּת‬refers here to the “testimony” of God’s covenant law, the content of the
Torah, which attests to how he desires his people to live. God’s covenant presents a “reliable,
trustworthy” witness to his holy character and demands.
83
making wise the simple;196
the precepts of the Lord are right,197
‫הו֣ה ְי ָ֭שׁ ִרים‬
ָ ְ‫וּדי י‬
֤ ֵ ‫ ִפּ ֘קּ‬8
‫י־ל֑ב‬
ֵ ‫ְמ ַשׂ ְמּ ֵח‬
rejoicing the heart;198
the commandment of the Lord is clear,199
‫הו֥ה ָ֝בּ ָ ֗רה‬
ָ ְ‫ִמ ְצַו֥ת י‬
enlightening the eyes;200
‫ירת ֵע ָינֽ יִ ם׃‬
֥ ַ ‫ְמ ִא‬
the fear of the Lord is pure,201
‫הוֹר ֮ה‬
ָ ‫הוה׀ ְט‬
֨ ָ ְ‫ יִ ְר ַ ֤את י‬9
‫עוֹמ ֶדת ֫ ָל ַ ֥עד‬
ֶ֪
enduring forever;
the ordinances of the Lord are true202
‫הו֥ה ֱא ֶ ֑מת‬
ָ ְ‫ִ ֽמ ְשׁ ְפּ ֵטי־י‬
196 Heb. ‫ ֫ ֶפּ ִתי‬refers to someone who is “[morally] naive,” that is, a younger person who is still
in the process of learning to distinguish right from wrong and wisdom from folly.
197 The adjective ‫ יָ ָשׁר‬refers basically to “straightness,” in a moral sense, “upright” or “just.”
The idea is that God’s “precepts” impart knowledge concerning what is just and right in keeping with
his will and proper communal living.
198 Lit., “making happy [the] heart.” The point is that God’s precepts for life bring a sense of
joyful satisfaction to the one who knows and keeps them, for those who obey his law are richly
rewarded, as v. 11 indicates.
199 Because they reflect God’s character, his commands (here, a collective singular) provide a
consistent code of moral and ethical purity.
200 Lit., “enlightening [the] eyes” – the NET rendering “giv[ing] insight for life” is a good
functional equivalent (cf. Ps. 119:130).
201 The phrase “fear of the LORD” also refers to God’s Law, here, by metonymy (conceptual
association, i.e., the proper cognitive, affective, and volitional attitude that a person has in relation to
the biblically revealed divine will). Thus, God’s commands teach one how to demonstrate proper
reverence for him as Lord (cf. Ps. 111:10; Eph. 1:18).
202 The LORD’s “regulations” are, lit., “truth”—that is, “trustworthy” with respect to
reliability.
84
and they are righteous altogether.203
‫ָ ֽצ ְד ֥קוּ יַ ְח ָ ֽדּו׃‬
More to be desired are they204 than gold,
‫ ַ ֽהנֶּ ֱח ָמ ִ ֗דים ִ ֭מזָּ ָהב‬10
‫וּמ ַפּ֣ז ָ ֑רב‬
ִ
even much fine gold;
sweeter also than honey,205
‫וּמתוּ ִ ֥ קים ִ֝מ ְדּ ַ֗בשׁ‬
ְ
and drippings of the honeycomb.206
‫צוּפים׃‬
ֽ ִ ‫וְ ֹ֣נ ֶפת‬
Moreover by them is your servant warned;207
‫ם־ע ְב ְדָּך נִ זְ ָ ֣הר ָבּ ֶ ֑הם‬
֭ ַ ‫ ַ ֽגּ‬11
in keeping them there is great reward.208
‫ְ֝בּ ָשׁ ְמ ָ ֗רם ֵע ֶ֣קב ָ ֽרב׃‬
203 ‫“ יַ ְח ָ ֽדּו‬taken/considered together.” This colon breaks the syntactic pattern of adjective +
participle + noun and thus forms a pre-climax within the strophe. This is followed by the descriptive
verse 10 and then the climactic verse 11, which summarizes the purpose of God’s Law.
204 Both of the fronted masc. pl. participles of this verse, ‫ ַ ֽהנֶּ ֱח ָמ ִ ֗דים‬and ‫מתוּ ִ ֥ קים‬,
ְ refer back to
the “judgments/regulations of YHWH” (‫הו֥ה‬
ָ ‫)מ ְשׁ ְפּ ֵטי־ ְי‬
ֽ ִ in v. 9b.
205 Lit., “are sweet[er].” God’s law is “sweet” in the sense of “desirable” (v. 10a). Great benefit
all around derives from the very keeping of God’s commands—such that, in time, one delights to do
them.
206 In each line of v. 10, “the second colon takes the first further” (Goldingay, Psalms, 293)
through the use of more specific nouns of comparison, ‫ ַפּז‬and ‫ ֫נ ֹ ֶפת‬. This serves to highlight the
psalmist’s point as a whole in this verse: Obedience to Torah principles results in greater internal
moral discernment and a keener sense of personal well-being (v. 11), while they also provide blessed
life-principles (v. 12).
207 Lit., “moreover (or, ‘to be sure’) your servant is warned by them.” DeClaissé et. al see
another double entendre here, with the root ‫ זָ ַהר‬meaning either “warned” or “illumined” (Psalms,
211)—depending contextually on the moral state of the speaker or hearer of this psalm. Note also that
to be a “servant” of YHWH (‫)ע ְב ְדָּך‬
֭ ַ is an honorable position—to be included among OT’s “great ones”
(e.g., Moses, Deut. 34:5, 10-12)—but with this comes equally great responsibility (v. 13a).
208 Obedience brings much/great “consequence, gain” (‫—)ע ֶקב‬hence
ֵ֫ “reward.” However, a
“positive connotation comes only from the context” (Goldingay, Psalms, 283). The short alliterative
line expresses the emotive peak of the long, Torah-centered strophe C.
85
Strophe D
But who can detect their errors?209

‫יאוֹת ִ ֽמי־יָ ִ ֑בין‬
֥ ִ‫ ְשׁג‬12
Clear me210 from hidden faults.211
‫ִ ֽמנִּ ְס ָתּ ֥רוֹת נַ ֵ ֽקּנִ י׃‬
Keep back your servant also from the
insolent;212
‫ ַגּ֤ם ִמזֵּ ִ ֨דים׀ ֲח ֬שׂ ְֹך ַע ְב ֶ ֗דָּך‬13
do not let them have dominion over me.
‫לוּ־בי‬
֣ ִ ‫ַ ֽאל־יִ ְמ ְשׁ‬
209 Lit., “Errors who can discern?” The fronted object ‫יאוֹת‬
֥ ִ‫( ְשׁג‬which is reinforced by its
corresponding parallel ‫ ִ ֽמנִּ ְס ָתּ ֥רוֹת‬in the next line) is an instance of topic focus; a new subject is
introduced as a new strophe begins. This rhetorical question highlights the fact that perfect moral
discernment is impossible to achieve. Consequently, it is inevitable that even those with good
intentions will sin on occasion—and that the Law of the Lord, just praised above, is necessary to help
keep one in line.
210 “Declare me innocent of” (‫ ;)נַ ֵ ֽקּנִ י‬the psalmist now explicitly references himself in the
psalm, although this was already anticipated at the close of strophe C by ‫( ַ ֭ע ְב ְדָּך‬11a, cf. also 13a). The
psalmist’s prayer for moral discrimination and appropriate behavior occupies the remainder of the
text.
211 Lit., “from hidden [things, i.e., sins] declare me innocent.” In this context (also the
preceding line) “hidden” sins are not sins committed in secret, but sins which are not recognized as
such by the psalmist. That is to say, he re-asserts that he has not willfully sinned against God’s Law.
From another perspective, “The cleansing for which the psalmist is asking is not for forgiveness but
the removing of the inclination to wrongdoing” (Goldingay, Psalms, 295).
212 “In v.13a the ‘yes’ [‫ ַ]גּ֤ם‬constitutes a resumptive beginning for a colon that reexpresses the
plea in v. 12 and clarifies it further” (Goldingay, Psalms, 295). The psalmist foregrounds a related
topic ‫מזֵּ ִ ֨דים‬,
ִ underscored by the focus particle ‫גּ֤ם‬.ַ Not only from sins of ignorance, he prays “moreover”
that he might be protected from either “willfull/deliberate sins” (NIV, GNB), or from “willfull/insolent
sinners”—that is, “false accusers” and/or God-revilers (deClaissé et. al, Psalms, 212). These “insolent
ones” (‫ )זֵּ ִ ֨דים‬would be “willful” people “whose attitude thus contrasts with that expressed in vv. 7-11”
(Goldingay, Psalms, 295).
86
Then I shall be blameless,213
‫יתם‬
֑ ָ ‫ָ ֣אז ֵא‬
and innocent of great transgression.214
‫יתי ִמ ֶ ֥פּ ַ ֽשׁע ָ ֽרב׃‬
ִ ‫וְ ֝נִ ֵ ֗קּ‬
Let the words of my mouth215
‫י־פי‬
ִ ֡ ‫ יִ ְֽהי֥ וּ ְל ָר ֨צוֹן׀ ִא ְמ ֵר‬14
and the meditation of my heart be acceptable
to you,216
‫וְ ֶהגְ י֣ וֹן ִל ִ ֣בּי ְל ָפ ֶנ֑יָך‬
O Lord, my rock217 and my redeemer.218
‫צוּרי וְ ג ֲֹא ִ ֽלי׃‬
֥ ִ ‫֝הוה‬
֗ ָ ‫ְי‬
213 The verb, here a variant of “be perfect” (‫)תּ ַמם‬,

ָ is related to the adjective “perfect” (‫)תּ ִמים‬
ָ
in v. 7a—thus forming a minor inclusio; the goal of the Lord’s Torah is to encourage “perfect” living—
to the extent possible, and with the guidance of God’s Spirit.
214 Note the verb ‫יתי‬
ִ ‫נִ ֵ ֗קּ‬, which is the passive of the active form ‫‘ נָ ָקה( נַ ֵ ֽקּנִ י‬be empty, clean’) in
v. 12b, thus creating an important thematic correspondence. I have construed this verse as consisting
of four lines—two cola parallel in thought (a long and a short one), which are balanced by another
parallel pair (a short and a long one).
215 Lit., “may they be for acceptance the words of my mouth and the meditation of my heart
[may it be acceptable] before you” (cf. Ps. 104:34-35). The imperfect verbal form ‫ יִ ְֽהי֥ וּ‬at the beginning
of the verse is understood as a jussive of prayer, and here, as elsewhere in the psalm there is an
indication of “priestly language” (deClaissé et. al, Psalms, 212). The “words,” or “sayings” (‫)א ְמ ֵרי‬
ִ
referred to here are not limited to those being uttered in this psalm, but in context include also “the
words that might be the means of doing wrong to another person” (Goldingay, Psalms, 296).
216 Literally, this verse reveals a chiastic structure, suggesting conceptual-logical
completeness: A: may-they-be for-acceptance, B: the-words-of=my-mouth; B’: and-the-meditation-of
my-heart A’: [may it be acceptable] before-you. The technical term “acceptable” (‫)ל ָר ֨צוֹן‬
ְ “Commonly
refers to the acceptability or welcome of a sacrifie (e.g., Lev. 1:3). The psalm presupposes that there
is a link between the acceptability of one’s sacrifices and the acceptability of ones (inner) words and
prayers” (Goldingay, Psalms, 297). In short, for the “righteous” person according to the Torah, one’s
deeds should be a reflection of one’s heart condition.
217 Heb. ‫“ צוּר‬rock, cliff” or “rocky cliff” (cf. Ps. 18:2, 46)—a physical object much larger than
a “stone,” as the English might imply; Goldingay’s “crag” is not helpful.
218 The rhymed final two words ‫צוּרי וְ ג ֲֹא ִ ֽלי‬
֥ ִ produce a climactic phonological effect. “My rocky
cliff” is a metaphor for protection, “and the one who redeems me” is a corresponding metaphor that
87
2. Literary-structural summary
Psalm 19 divides into two major portions, each of which has two parts. Section one (vv. 1-6,
Heb. 2-7) focuses on “the heavens” (‫ ) ַה ָשּׁ ַ֗מיִ ם‬and its wordless testimony to “the glory of God”
(‫וֹד־אל‬
֑ ֵ ‫) ְכּ ֽב‬, v. 1. Then, from a broader reference to the heavenly bodies in general, strophe A
(vv. 1-4b), the poet zeroes in on the scope and brilliance of the “sun” in strophe B (v. 4c-
6).219 “It is by means of the sun’s journey that the heavens’ proclamation is effected”220—
although, “highlighted” might be contextually more precise as a description than “effected,”
since God created the universe to reflect his glorious attributes.
In the second half of Psalm 19, section two (vv. 7-14), the initial focus is manifestly
on “the teaching of the LORD” (‫הו֣ה‬
֤ ַ ‫) ֘תּ‬, v. 7, but it is important to note that this explicit
function of the Torah was plainly prefigured earlier in the soundless testimony of God’s entire
creation (vv. 1-4). In strophe C (vv. 7-11) the perfect character and purpose of Yahweh’s
divine directives are described. Verse 11 serves as a climax to this strophe, summarizing the
twofold benefit of the Torah (warning and reward),221 while functioning also as a transition
to strophe D, with its emphasis on the need for inner moral discernment using the Torah as
a divine guide. Thus, the psalmist, realizing his own imperfection and speaking for every
godly, “Law”-abiding person, aptly responds in the final strophe (D, vv. 12-14) with a twofold
prayer for forgiveness (12-13) and personal acceptance (14). The beginning of each of the
four strophes is syntactically marked by a fronted expression of its main topic: “the heavens”
casts the Lord in the role of a family leader who protects members of his extended clan in times of
need and crisis—a “protector” or “defender” (again, Goldingay’s “restorer” is rather obscure).
219 Goldingay comments on vv. 4-6 as a separate unit within vv. 1-6, “v. 4c looks like a new
start,” but does not distinguish vv. 4c-6 as a distinct strophe (Psalms, 282-283, 287).
220 Goldingay, Psalms, 290.
221 Therefore, I do not consider v. 11 to be a mere “footnote” with respect to the content of
strophe C (cf. Goldingay, Psalms, 290).
88
(‫ ) ַה ָשּׁ ַ֗מיִ ם‬in 1a; “for the sun” (‫ ) ַ֝ל ֶ֗שּׁ ֶמשׁ‬in 4c; “the law of the LORD” (‫הו֣ה‬
֤ ַ ‫ ) ֘תּ‬in 7a; and
human “errors” (‫יאוֹת‬
֥ ִ‫ ) ְשׁג‬in v. 12a.222
In terms of genre then, Psalm 19 exhibits a “mixed” type—part one is a Creation-based

“hymn,” or song of praise, lauding the heavens and their Creator God, while part two
exemplifies a didactic “wisdom psalm” that teaches us about the nature, purpose, and benefits
of the Lord’s life-sustaining Torah. And yet, from another, undoubtedly the intended more
comprehensive perspective, the notion of personally advantageous instruction pervades the
entire psalm, which is thereby constituted as a cohesive literary whole: “It teaches that the
Creator can be known about through creation, but the torah is the only way that one can
know the personal God [YHWH],” which allows people to “pray to God in a relational way”
(deClaissé Psalms, 204)—in a way that is also publicly displayed in a God-fearing life-style.
With regard to rhetorical style, as the psalm progresses we observe a manifestation of

the typical principle of Hebrew parallelism, “A, and what’s more, B,” that is, an augmentative
movement from a broader to a more specific viewpoint or aspect of the topic at hand. First of
all, the general revelation of God’s creation in part one (strophes A-B) shifts to the particular
testimony of Yahweh’s “Law” in part two (strophes C-D). Likewise within each major portion,
we have a corresponding progression: a description of the activities of a humanized “sun” in
strophe B serves as a particularized element of “the heavens’ glories” extolled in strophe A.
Similarly, the desired human response to the sublime perfection of the Lord’s instructions in
strophe D follows naturally from the manifold Torah-extoling description of strophe C. The
psalm’s climax occurs at the end in strophe D, as the impersonal poetic description that has
preceded it in strophes A-C is emotively applied through an intensely personal reaction. Here
now the psalmist patently speaks on behalf of every listener in reverent, penitential response
(‫יִ ְר ַ ֤את‬, v. 9a) to the prior twofold revelation from a great, indeed universal God (‫) ֵ ֑אל‬, who is
at the same time the one and only holy LORD (‫הוה‬
֨ ָ ְ‫—)י‬the “Redeemer” (‫)גּ ֵֹאל‬. Thus, “the
222 This is a demarcative structural principle that I term “anaphora,” or “aperture”

(“Disjunctive Parallelism in the Psalter,” unpublished SBL paper, 2016)
89
psalm cannot be satisfied with comments on creation and revelation…at the end, it has to
come to a plea for redemption.”223
Declaissé et. al offer a somewhat similar structure based on the general theme of
“speech,” as shown below (Psalms, 204):
vv. 1-6 Creation’s Speech – praise for God
vv. 7-10 Torah’s Speech – instruction of humanity
vv. 11-14 Servant’s Speech – prayer to God
Indeed, there is a perceptible amount of speech-related vocabulary that gives semantic unity
to the psalm as a whole.224 However, much of this—and perhaps more—could also be
grouped under the more general theme of divine “revelation,” or even “communication”—
with an emphasis on the only true or genuine source of beneficial information, namely, the
LORD God. From this perspective then, the preceding tripartite arrangement appears to
overlook the distinct polemical strophe devoted to the personalized “sun,”225 which was
widely worshiped as a deity among the cultures of the Ancient Near East—a fact which
deClaissé et. al also recognize: “Both the iconographic and literary data from Israel’s
neighbors establish the fact that the poet of Psalm 19 was playing off this idea…[in] the
polemic against creation worship, especially worship of the sun” (ibid., 208; cf. Ps. 148:3-
10).226
223 Goldingay, Psalms, 299—with reference to Fishbane, Text and Texture, 89.
224 For documentation of this thematic thread involving “words or speech,” see deClaissé et.
al, Psalms, 204-211. Furthermore, “v. 7 continues the series of double entendres that play with the
‘natural’ and the ‘moral’ sense of various words” (ibid., 210).
225 However, there seems to be a slight contradiction in the commentary, for later vv. 5-6 are
identified as “the second stanza,” though “still a part of section 1 of the psalm” (ibid., 207).
226 DeClaissé et. al suggest that there may be a conceptual linkage between stanzas B and C,
hence the two principal sections of Psalm 19, due to “the ancient concept of the sun as the god of
90
Finally, we note a significant difference in the structure posited above in comparison
with my earlier proposal: The “Servant’s Speech” is set as beginning at v. 11, rather than v.
12, probably due to the sudden self-reference to the psalmist, “your servant” (‫ ) ַ ֭ע ְב ְדָּך‬in v.
11a. However, the double pronominal reference to “them” in v. 11 (‫ ָבּ ֶ ֑הם‬and ‫) ְ֝בּ ָשׁ ְמ ָ ֗רם‬, the
antecedent being the prior “ordinances of the LORD” (‫הו֥ה‬
ָ ְ‫ ) ִ ֽמ ְשׁ ְפּ ֵטי־י‬in v. 9b, plus the
presence of ‫ ַ ֽגּם‬in v. 11a, which normally highlights a crucial comment upon what has
preceded it in the text (“To be sure…”), would indicate that v. 11 functions better as the
closure of strophe C, rather than as the aperture to strophe D.227
3. Comparing and evaluating a pair of poetic translations
Compare the following “poetic” English translations with each other and the Hebrew source
text. Which version do you prefer as a “lyric” rendering—and for what reasons? What
modifications can you suggest to make this version even more effective (accurate, appealing,
affective, relevant)? Would these translations all be applicable in the same setting of use? If
not, suggest a particular primary audience group for each one.
3.1 Brenda Boerger228
Psalm 19: Creation and Scriptures Speak – by David—a psalm of praise
1 See heavens now disclosing Yahweh’s glory.

The sky proclaims creation’s story.
2 Day after day they’ve shouted and they’ve pealed.
justice,” which thus “prepares the audience for the transition to torah/laws (vv. 7-10 and the abrupt
request to be cleansed of hidden sins (v. 12)” (Psalms, 208).
227 This interpretation is supported by Goldingay (Psalms, 286). Therefore, the lexical
parallels noted by deClaissé et. al involving vv. 11-13 (Psalms, 211) are more correctly viewed as an
instance of paralleled “overlap” (juncture) serving to mark the boundary between strophes C and D.
Although there are conceptual connections between the two major portions of this psalm, Goldingay
suggests that “they read as if the author was avoiding using similar terms about the proclamation in
creation and the nature of Yhwh’s Torah” (Psalms, 285).
228 Boerger, POET, 38-39. Sung to the tune “Father in Heaven, we lift our voice to Thee”
(De Reef 10.10.10.10).
91
Night after night our God has been revealed.
3 Not using words or utterance with tongue,

Voices they have don’t make a single sound.
4 Yet the world over we hear their news sung.
Throughout the earth their message goes around.
See how the sky’s a tent built for the sun,
5 That seems for a bridegroom there inside,
Who bursts out from his door to meet his bride.
Or it is like a racer set to run.
6 Sun’s route starts out in dawn skies of the east,
And it runs west till its course is done.
All on earth are subject to its heat.
God’s word’s a sun that shines for everyone.229
7 Yahweh gives perfect instructions, and whole,
For they’re designed to revitalize the soul.
All God’s directions are dependable,
For they give wisdom to the gullible.
8 And Yahweh’s principles are always right,
So hearts rejoice to recognize their light.
Since God’s commandments are so very clear,
People can follow teachings that they hear.
9 Laws for revering Yahweh are so pure,
That for eternity they will endure.
His standards are all dependably true.
We know they’re reliably righteous, too.
10 Lessons he gives are more precious than gold,
Even the purest gold the earth can hold.
His words are like sweet honey on my lips,
As richest gold down from honeycomb drips.
11 Lord, keeping your commandments brings reward.
By heeding them your people can be warned.
12 But everyone, Lord, can have some blind spots,
So forgive me my hidden unknown faults.
13 Don’t let me flout your word, do flagrant sin,
229 “The last line here give the implied relationship between it and what comes in 7-10. This
relationship is not discerned by most readers” (Boerger, loc.cit.).
92
Lest that sin overpower me in the fight.
But make my heart clear of all transgression,
So that I know I’m blameless in your sight.
14 Let each word, Lord, that my mouth may recite,

And every thought I think and dwell upon,
Be worthy, also pleasing in your sight,
Lord, you’re my savior, fortress, and my God.
3.2 Timothy Wilt230
The sky records

God’s wealth and work,
throughout the day,
throughout the night.
No language, no word
where the star’s voice
cannot be heard.
No place too far
to miss their sound.
Their divine lines go
from heaven to earth,
even to chaos’ edge
where Shemesh the sun
has pitched his tent.
Shemesh, awaited like the bridegroom

to leave his room for all to praise,
runs like a warrior his arc through the sky,
from earth’s edge to earth’s edge.
Torah: Yahweh’s
light
for the eyes, for the heart
joy.
Yahweh’s ways, orders, rulings, guidelines

are perfect, ideal, certain in every detail,
more precious than the purest gold,
sweeter than the sweetest honey.
230 Praise, Prayer, and Protest: The David Collection, Psalms 1—72 (Murfreesburo TN: Self-
published, 2002), pp. 24-25. Reproduced as formatted and without verse numbers.
93
Torah’s light glows even on your worthless slave. I’ve been
enriched by heeding it, yet it reveals sins of which I’ve been
unaware. Oh, forgive me for these and keep me from pride so
that only you own me and I stay in the ideal way, captive to
you and innocent.
Yahweh, I want every thought, my every
word to please you, towering cliff, protective parent.
*******
94
7)
1. Linear text display and structural notes
Before exploring the disjunctive parallels found in this text, it may be instructive to overview
the linear organization of Psalm 132, which coincides at key points with the sequentially
unfolding, and then recycled arrangement of paired panels. Again, we can detect a rather
intricately constructed symmetrical pattern that falls into two thematic halves, based on a
prayer-and-response cycle. As Mays notes (1994:409) “A coordination between Zion as the
LORD’s habitation and David as the LORD’s anointed is the basis of the structure and
purpose of the song”. This linkage is displayed in the chart below, which presents the Hebrew
text 231 along with the English Standard Version for reference: 232
V Designation Description
1 PRAYER Thematic Keynote for Psalm 132: “Remember David!”
Remember, O LORD, in
David's favor (‘for David’s
‫נּוֹתוֹ׃‬
ֽ ‫ל־ע‬
ֻ ‫הו֥ה ְל ָדִו֑ד ֵ֝את ָכּ‬
ָ ְ‫זְ כוֹר־י‬
sake’—NET), all the
hardships he endured,233
2 Quote Margin David’s Oath to the LORD—Finding Him a [Holy] Place
how he swore to the LORD
and vowed to the Mighty
‫יהו֑ה ָ֝נ ַ ֗דר ַל ֲא ִ ֥ביר יַ ֲע ֽקֹב׃‬
ָ ‫שׁר ִנ ְ֭שׁ ַבּע ַל‬
֣ ֶ ‫ֲא‬
One of Jacob,
3- Oath Formula The quote margin, which in the MT continues from v. 1 [Base—
5 Content], consists of one “line” (a bicolon). The oath itself
comprises three lines that build to a climax of intention in the third
231 Biblia Hebraica Stuttgartensia: with Westminster Hebrew Morphology. (2001). (Logos
electronic edition). Stuttgart; Glenside PA: German Bible Society; Westminster Seminary.
232 “The thirteenth of the Songs of Ascents (Psalms 120-134) stands out in the collection,
because it is noticeably longer than the others. … Psalm 132 impressively articulates the theological
rationale for making a pilgrimage—namely, Zion is God’s chosen place (vv. 13-14…), as well as the
site of the Davidic throne… As Allen [1983] suggests, the placement of Psalm 132 encourages the
reader (sic) to hear it as an articulation of the hope called for in Pss 130:7; 131:3. Thus the references
to David are to be heard messianically; they are a way of symbolizing concretely the hope for the
future of God’s people” (McCaan 1996:1210-1211).
233
A probable reference to David’s words about his efforts on behalf of “the house of the LORD” (1 Chr 22:14).
95
bicolon (v. 5). Each of the three pledge lines exhibits close
synonymous parallelism internally (Base—Restatement), but as a
whole develop a cumulative Condition (3-4)—Consequence (5)
relationship.234
Quote “I will not enter my 235‫צוּעי׃‬
house
ֽ ָ ְ‫ל־ע ֶרשׂ י‬
֥ ֶ ‫ם־א ֱע ֗ ֶלה ַע‬
ֶ֝ ‫יתי ִא‬
֑ ִ ‫א ֶהל ֵבּ‬
ֹ ֣ ‫ם־אבֹא ְבּ‬
֭ ָ ‫ִא‬
or get into my bed; ‫נוּמה׃‬
ֽ ָ ‫ם־א ֵ ֣תּן ְשׁ ַנ֣ת ְל ֵע ָינ֑י ְ ֽל ַע ְפ ַע ַ ֥פּי ְתּ‬
ֶ ‫ִא‬
I will not give sleep to my
eyes, or slumber to my ‫יהו֑ה ִ֝מ ְשׁ ָכּנ֗ וֹת ַל ֲא ִ ֥ביר יַ ֲע ֽקֹב׃‬
ָ ‫ד־א ְמ ָצ֣א ָ ֭מקוֹם ַל‬
ֶ ‫ַע‬
eyelids;
until I find a place for the
LORD, a dwelling place for
the Mighty One of Jacob.”
6 Quote Margin “Songs of Ascents”—Travelling to God’s Dwelling Place
Behold, we heard of it in
Ephrathah; we found it in
‫י־י ַֽער׃‬
ָ ‫וּה ִבּ ְשׂ ֵד‬
ָ ֗‫וּה ְב ֶא ְפ ָ ֑ר ָתה ְ֝מ ָצאנ‬
ָ ֥‫ֽה־שׁ ַ ֽמ ֲענ‬
ְ ‫ִה ֵנּ‬
the fields of Jaar.236
A Pilgrim’s Poetic Pastiche There appears to be a rising progression in the three lines that
make up this set of song samples, which builds from exhortations
by the pilgrims on their way to the Temple in Jerusalem (v. 7—
cohortatives), to an appeal for the LORD’s presence when they
arrive (v. 8—imperative), and ending with the priests and the
people engaged in communal worship in the Temple’s precincts (v.
9—jussives). The bicola all illustrate a relationship of Base—
Addition.
7- “Let us go to his dwelling
9 place; let us worship at his
‫נוֹתיו ִ֝נ ְשׁ ַתּ ֲח ֶ ֗וה ַל ֲה ֥ד ֹם ַרגְ ָ ֽליו׃‬
֑ ָ ‫וֹאה ְל ִמ ְשׁ ְכּ‬
ָ ‫נָ ֥ב‬
footstool!” ‫נוּח ֶ ֑תָך ַ֝א ָ֗תּה וַ ֲא ֥רוֹן ֻע ֶזּֽ ָך׃‬
ָ ‫קוּמה ְי֭הוָ ה ִל ְמ‬
ָ֣
Arise, O LORD, and go to
your resting place, you and ‫ידיָך יְ ַר ֵנּֽנוּ׃‬
֥ ֶ ‫שׁוּ־צ ֶ֑דק וַ ֲח ִס‬
ֶ ‫כּ ֲֹה ֶנ֥יָך יִ ְל ְבּ‬
the ark of your might.
Let your priests be clothed
with righteousness, and let
your saints shout for joy.”
10 PRAYER The prayer initiated in v. 1 is seemingly continued here in v. 10 at

the beginning of the psalm’s second half. This parallels the first half
234
The binary designators of the semantic structure representing a bicolon are summarized in Wendland 2002:98-
99.
235
Selected lexical items of importance or corresponding sound patterns are highlighted in greyscale.
236
The antecedent of the feminine pronoun “it” is probably the “ark,” mentioned later in v. 8, and only here in the
Psalter (cf. Allen 1983:202-203; Bratcher & Reyburn 1090-1091; Alter 2007:460). For a succinct discussion of the
place names of this verse, see Wilcock 2001:241.
96
with regard to basic structure, except for the fact that it is
heightened in terms of content (the LORD speaks) and form, with
the addition of a special prophetic coda that acts as the psalm’s
climax in vv. 17-18 (a Messianic promise, foreshadowed in
“Anointed One” at the end of v. 10).
For the sake of your
servant David, do not turn
‫יחָך׃‬
ֽ ֶ ‫ל־תּ ֵ֗שׁב ְפּ ֵנ֣י ְמ ִשׁ‬
ָ֝ ‫ַ ֭בּ ֲעבוּר ָדִּו֣ד ַע ְב ֶ ֑דָּך ַא‬
away the face of your
anointed one.
11a Quote Margin Yahweh’s Oath to David—Royal Dynasty by Covenant
The LORD swore to David a
sure oath from which he
‫הוה׀ ְל ָד ִ ֡וד ֱא ֶמ ֮ת ֽל ֹא־יָ ֪שׁוּב‬
֨ ָ ְ‫נִ ְשׁ ַ ֽבּע־י‬
will not turn back:
11b Oath—Divine Promise Paralleling the structure of the initial oath of vv. 2-5, a quote
-12 margin (11a) is followed by a divine quotation of three poetic lines
(bicola, vv. 11b-12), each of which refers to David’s descendants
and their divinely given rule (11b, 12b)—IF they “keep” Yahweh’s
“covenant” (12a). In this stanza, a central Condition (12a) is flanked
by a minor (11b) and as well as a major Consequence (12b)
“One of the sons of your
body
‫א־לְך׃‬
ֽ ָ ‫ִ֫מ ֶ ֥מּנָּ ה ִמ ְפּ ִ ֥רי ִב ְטנְ ָך֑ ָ֝א ִ֗שׁית ְל ִכ ֵסּ‬
I will set on your throne. ‫ית֮י וְ ֵעד ִ ֹ֥תי ז֗ וֹ ֲא ֫ ַל ְמּ ֵ ֥דם‬
ִ ‫ִ ֽאם־יִ ְשׁ ְמ ֬רוּ ָב ֨ ֶניָך׀ ְבּ ִר‬
If your sons keep my
covenant and my ‫א־לְך׃‬
ֽ ָ ‫י־עד ֵ ֝י ְשׁ ֗בוּ ְל ִכ ֵסּ‬
֑ ַ ‫יהם ֲע ֵד‬
֥ ֶ ֵ‫ם־בּנ‬
ְ ַ‫גּ‬
testimonies that I shall
teach them,
their sons also forever
shall sit on your throne.”
13 Quote Margin Yahweh’s Oath (cont.)—Blessings for Israel from Zion
For [Indeed!] the LORD has
chosen Zion; he has
‫מוֹשׁב ֽלוֹ׃‬
֥ ָ ‫הו֣ה ְבּ ִציּ֑ וֹן ִ֝א ָ ֗וּהּ ְל‬
ָ ְ‫י־ב ַ ֣חר י‬
ָ ‫ִ ֽכּ‬
desired it for his dwelling
place:
14- Oath—Divine Promise This stanza continues the psalm’s basic structural pattern
16 consisting of an initial quote margin (13, General—Specific
assertion) followed by a quotation of three poetic lines. The LORD
continues his promise to David, now focusing on the physical and
spiritual blessings that he will provide from his “resting place” for
the priesthood and people alike. Thus, the essential Reason (14),
stemming from Yahweh’s essence, is followed by four distinct
Results for his faithful people (15-16).
“This is my resting place
forever; here I will dwell,
‫יה׃‬
ָ ‫ה־א ֵ֗שׁב ִ ֣כּי ִאוִּ ִ ֽת‬
ֵ֝ ‫י־עד ֽ ֹפּ‬
֑ ַ ‫נוּח ִ ֥תי ֲע ֵד‬
ָ ‫את־מ‬
ְ ֹ‫ז‬
for I have desired it.
‫יע ָ ֽל ֶחם׃‬
ֽ ַ ‫יה ַא ְשׂ ִ ֥בּ‬
ָ ‫יוֹנ‬
ֶ ֗ ‫ֵ ֭צ ָידהּ ָבּ ֵ ֣רְך ֲא ָב ֵ ֑רְך ֶ֝א ְב‬
97
I will abundantly bless her
provisions; I will satisfy her
‫יה ַר ֵנּ֥ ן יְ ַר ֵנּֽנוּ׃‬
ָ ‫יה ַא ְל ִ ֣בּישׁ ֶי ַ֑שׁע וַ ֲ֝ח ִס ֶ ֗יד‬
ָ ֶ‫וְ ֽ֭ כ ֲֹהנ‬
poor with bread.
Her priests I will clothe
with salvation, and her
saints will shout for joy.”
17- Oath—Divine Promise Yahweh’s Oath (cont.)—Blessings for the Anointed One
18
Coda—Climax This short stanza manifests continuity and discontinuity. It
continues Yahweh’s fundamental promise, begun in v. 14. It offers
the ultimate divine Response to the two prior Prayers of God’s
people (vv. 1, 10). However, the unit is structurally distinct,
consisting of only two lines (instead of the usual four), and it
highlights by way of an unexpected, interposed colon of Contrast
(18a), some future “Anointed” (Messianic) king from among
“David’s” descendants, someone who will defeat all “enemies”
“there” (17a)—that is, ruling from his “dwelling place” in “Zion”
(13a).
“There237 I will make a horn
to sprout for David; I have
‫יחי׃‬
ֽ ִ ‫ָ ֤שׁם ַא ְצ ִ ֣מ ַיח ֶ ֣ק ֶרן ְל ָדִו֑ד ָע ַ ֥ר ְכ ִתּי ֗ ֵ֝נר ִל ְמ ִשׁ‬
prepared a lamp for my ‫֭אוֹיְ ָביו ַא ְל ִ ֣בּישׁ ֑בֹּ ֶשׁת וְ ָ֝ע ֗ ָליו יָ ִ ֥ציץ נִ זְ ֽרוֹ׃‬
anointed.
His enemies I will clothe
with shame, but on him his
crown will shine.”
After the preceding linear perspective,238 it may be helpful to supplement the earlier description of the
disjunctive parallel arrangement of Psalm 132 with a summary of the various stylistic-poetic features that
provide further evidence supporting the linkage of each of the proposed paired panels:
A/A’/A” The thematic-precatory backbone of the psalm, consisting of the two interconnected
prayers (1, 10), mention “David” and “anointed one” (‫)מ ִשׁ ַיח‬,
ָ thereby pointing ahead to
the climax of the LORD’s response in verses 17. A plea for Yahweh to “Remember” (‫זְ כוֹר־‬
237 Note the potential thematic distinction between “here” (‫ ) ֹֽפּה‬in v. 14 (present “Zion”) and “there” (‫שׁם‬
֤ ָ ) in v.
17 (future “Zion”), both in structurally significant stanza/strophe-initial position.
238 With respect to its internal structure, I would analyze Psalm 132 as comprised of three “stanzas”—two
conjunctive ones, each consisting of two “strophes” A: 2-5 + 6-9; B: 11-12 + 13-16, and a disjunctive (non-
contiguous) stanza, comprised of the three interconnected prayer segments: 1, 10, and 17-18. This structure
is extraordinary, which complements its unusual length (for a “song of the ascent”) and content (its unique
reference to the “powerful Ark [of the Covenant]” (v.8).
98
‫הו֥ה‬
ָ ְ‫ )י‬in v. 1 is paralleled by its negative restatement in v. 10: “Do not turn from” (‫ַאל־‬
‫)תּ ֵ֗שׁב‬.
ָ֝
B/B’ David “swears an oath to YHWH” in v. 2 (‫יהו֑ה‬
ָ ‫)נ ְ֭שׁ ַבּע ַל‬,
ִ while “YHWH swears an oath to
David” (‫הוה׀ ְל ָד ִ֡וד‬
ָ֨ ְ‫ )נִ ְשׁ ַ ֽבּע־י‬in v. 11a.
C/C’ David promises (direct speech) to find “a dwelling place239 for YHWH” ( ‫יהו֑ה‬
ָ ‫ָ ֭מקוֹם ַל‬
‫)מ ְשׁ ָכּנ֗ וֹת‬
ִ֝ in vv. 3-5; Yahweh promises in direct speech to establish an eternal dynasty for
David, “on your throne” (2x ‫א־לְך‬
ֽ ָ ‫)ל ִכ ֵסּ‬
ְ in vv. 11b-12.
D/D’ Two quote margins in which reference is made to “Zion”—first figuratively by locative
metonymy (v. 6), and then explicitly by name (v. 13). The quote includes two
synonymous references to Yahweh’s “dwelling place”: ‫נוּח ֶ ֑תָך‬
ָ ‫ ִל ְמ‬in v. 7, and ‫מוֹשׁב ֽלוֹ‬
֥ ָ ‫ ְל‬in v.
13.
E/E’ An appeal to Yahweh to come reside in “your resting place” (‫נוּח ֶ ֑תָך‬
ָ ‫)ל ְמ‬
ִ in v. 8 is paralleled
by Yahweh’s assertion that he will stay enthroned at “my resting place” (‫נוּח ִ ֥תי‬
ָ ‫)מ‬
ְ forever
in v. 14.
F/F’ The people’s prayer, “Let your priests be clothed with righteousness, and let your saints
shout for joy” in v. 9 (‫ידיָך יְ ַר ֵנּֽנוּ‬
ֶ ‫)כּ ֲֹה ֶנ֥יָך יִ ְל ְבּ‬, is matched almost exactly by the
LORD’s promise of blessing in v. 16: “Her priests I will clothe with salvation, and her
saints will shout for joy” (‫יה ַר ֵנּ֥ ן יְ ַר ֵנּֽנוּ‬
ָ ‫יד‬
֗ ֶ ‫יה ַא ְל ִ ֣בּישׁ ֶי ַ֑שׁע וַ ֲ֝ח ִס‬
ָ ֶ‫)וְ ֽ֭ כ ֲֹהנ‬.
The structural linear-

linear-concentric structure of psalm 134
After the preceding linear perspective,240 a corresponding disjunctive parallel arrangement

of Psalm 132 is shown below; this will be followed by a summary and then a further
description of the various stylistic-poetic features that provide further evidence supporting
the linkage of each of the proposed paired panels:
239
Use of the plural “dwellings” (‫)מ ְשׁ ָכּנ֗ וֹת‬
ִ֝ probably indicates a special degree (importance) and/or
quality (excellence).
240 With respect to its internal structure, I would analyze Psalm 132 as comprised of three
“stanzas”—two conjunctive ones, each consisting of two “strophes” A: 2-5 + 6-9; B: 11-12 + 13-16, and
a disjunctive (non-contiguous) stanza, comprised of the three interconnected prayer segments: 1, 10,
and 17-18. This structure is extraordinary, which complements its unusual length (for a “song of the
ascent”) and content (its unique reference to the “powerful Ark [of the Covenant]” (v.8).
99
A. Remember, O LORD, in David's favor, (1) PETITION
all the hardships he endured,
B. how he swore to the LORD (2) OATH (quote margin)

and vowed to the Mighty One of Jacob,
C. “I will not enter my house (3-5) OATH (David)

or get into my bed,
I will not give sleep to my eyes
or slumber to my eyelids,
until I find a place for the LORD,
a dwelling place for the Mighty One of Jacob.”
D. Behold, we heard of it in Ephrathah; (6-7) LOCATIVE

we found it in the fields of Jaar.
“Let us go to his dwelling place;
let us worship at his footstool!”
E. Arise, O LORD, and go to your resting place, (8)

you and the ark of your might. INVITATION to God
F. Let your priests be clothed with righteousness, (9)

and let your saints shout for joy. PRAYER for the priests
------------------------------------------------------------------------------------------------------------------------------------------------------
A’ For the sake of your servant David, (10) PETITION

do not turn away the face of your anointed one.
B’ The LORD swore to David a sure oath (11ab OATH (quote margin)
from which he will not turn back:
C’ “One of the sons of your body (11cd-12) OATH (YHWH)

I will set on your throne.
If your sons keep my covenant
and my testimonies that I shall teach them,
their sons also forever shall sit on your throne.”
D’ For the LORD has chosen Zion; (13) LOCATIVE

he has desired it for his dwelling place:
E’ “This is my resting place forever; (14) RESPONSE by God

here I will dwell, for I have desired it.
F’ I will abundantly bless her provisions; (15-16)

I will satisfy her poor with bread.
Her priests I will clothe with salvation,
and her saints will shout for joy. RESPONSE to priests
A” There I will make a horn to sprout for David; (17-18) PROMISE

I have prepared a lamp for my anointed. (divine RESPONSE to
His enemies I will clothe with shame, both PETITIONS)
but on him his crown will shine.”
100
A/A’/A” The thematic-precatory backbone of the psalm, consisting of the two
interconnected prayers (1, 10), mention “David” and “anointed one” (‫)מ ִשׁ ַיח‬,
ָ
thereby pointing ahead to the climax of the LORD’s response in verses 17. A plea
for Yahweh to “Remember” (‫הו֥ה‬
ָ ְ‫ )זְ כוֹר־י‬in v. 1 is paralleled by its negative
restatement in v. 10: “Do not turn from” (‫ל־תּ ֵ֗שׁב‬
ָ֝ ‫)א‬.
ַ
B/B’ David “swears an oath to YHWH” in v. 2 (‫יהו֑ה‬

ָ ‫)נ ְ֭שׁ ַבּע ַל‬,
ִ while “YHWH swears an
oath to David” (‫הוה׀ ְל ָד ִ֡וד‬
ָ֨ ְ‫ )נִ ְשׁ ַ ֽבּע־י‬in v. 11a.
C/C’ David promises (direct speech) to find “a dwelling place241 for YHWH” ( ‫ָ֭מקוֹם‬
‫יהו֑ה ִ֝מ ְשׁ ָכּנ֗ וֹת‬
ָ ‫)ל‬
ַ in vv. 3-5; Yahweh promises in direct speech to establish an eternal
dynasty for David, “on your throne” (2x ‫א־לְך‬
ֽ ָ ‫)ל ִכ ֵסּ‬
ְ in vv. 11b-12.
D/D’ Two quote margins in which reference is made to “Zion”—first figuratively by

locative metonymy (v. 6), and then explicitly by name (v. 13). The quote includes
two synonymous references to Yahweh’s “dwelling place”: ‫נוּח ֶ ֑תָך‬
ָ ‫ ִל ְמ‬in v. 7, and
‫מוֹשׁב ֽלוֹ‬
֥ ָ ‫ ְל‬in v. 13.
E/E’ An appeal to Yahweh to come reside in “your resting place” (‫נוּח ֶ ֑תָך‬
ָ ‫)ל ְמ‬
ִ in v. 8 is
paralleled by Yahweh’s assertion that he will stay enthroned at “my resting place”
(‫נוּח ִ ֥תי‬
ָ ‫)מ‬
ְ forever in v. 14.
F/F’ The people’s prayer, “Let your priests be clothed with righteousness, and let
your saints shout for joy” in v. 9 (‫ידיָך יְ ַר ֵנּֽנוּ‬
ֶ ‫)כּ ֲֹה ֶנ֥יָך יִ ְל ְבּ‬, is matched almost
exactly by the LORD’s promise of blessing in v. 16: “Her priests I will clothe with
salvation, and her saints will shout for joy” (‫יה ַר ֵנּ֥ ן יְ ַר ֵנּֽנוּ‬
ָ ‫יד‬
֗ ֶ ‫יה ַא ְל ִ ֣בּישׁ ֶי ַ֑שׁע וַ ֲ֝ח ִס‬
ָ ֶ‫)וְ ֽ֭ כ ֲֹהנ‬.
Psalm 132 incorporates an interesting combination of genres as constituents of its complex

structure.242 The essential macro-framework, which encompasses the text’s two major
portions, is that of a “prayer” (vv. 1 and 10). The first half of the psalm is then comprised of
a “historical reflection” (vv. 2-5) concerning God’s “dwelling[s]” (‫—מ ְשׁ ָכּנ֗ וֹת‬v.
ִ֝ 5), coupled with
a liturgical “call to worship” (vv. 6-9) at that same “dwelling” (‫—מ ְשׁ ָכּן‬v.
ִ 7). The psalm’s second
241 Use of the plural “dwellings” (‫)מ ְשׁ ָכּנ֗ וֹת‬

ִ֝ probably indicates a special degree (importance)
and/or quality (excellence).
242 Psalm 132 is the longest of the “Song of the Ascents” (‫)שׁיר ַ ֽה ַ֫מּ ֲעל֥ וֹת‬.
ִ֗
101
half features a set of divine “promises” regarding (a) King David’s descendants (vv. 11b-12),
(b) the LORD’s “dwelling place” (‫מוֹשׁב‬/‫ה‬
ָ ‫נוּח‬
ָ ‫)מ‬
ְ of Zion (vv. 13-16), and (c) a future Davidic
“anointed one” (‫)מ ִשׁ ַיח‬
ָ (vv. 16-17).243 Linking the two halves is a related pair of “oath”
introducers—first from David to YHWH (v. 2), and then from YHWH to David (v. 11a).
The display above revealed the paired instances of disjunctive parallelism in Psalm
132, which was based on a prior analysis of the Hebrew text, as represented in translation by
the form-oriented English Standard Version. As indicated, the parallel segments have been
composed in this case to form a reversed “recursion” of corresponding balanced panels. This
dual macro-structural pattern is indicated by similar degrees of indentation in the diagram,
while key matching elements within the corresponding lettered panels are highlighted by
different fonts or grayscale. Suggested abstract “descriptors” in the form of generic speech
acts, which interrelate the parallel compositional units, are indicated in CAPS along the right
side of the diagram.
The preceding structural diagram reveals that segment A’ (v. 10) is not merely an
inclusio that ends the first half of Psalm 132. From a broader thematic and structural
perspective, as indicated by the progression of disjunctive parallel elements, A’ functions also
as a thematic hinge that subtly joins the psalm’s two halves together and points ahead to its
climax in A” (vv. 17-18). Thus, the psalm appropriately concludes with the messianic
prophecy that YHWH’s “anointed one” from David’s descent (v. 10) will possess a divine
“horn” of power, which will enable him to defeat all his enemies and put them to “shame”,
hence causing his kingly rule to “shine” [universally and forever—implied].
In this instance, the device of disjunctive parallelism functions to organize the poet’s
thematic argument in such a way that the second half of the psalm not only mirrors the first
half, but also manifests the basic principle of Hebrew A—B parallelism. Therefore, we have
thematic “heightening,” whereby the second section further develops, intensifies, specifies,
completes, etc. the first, on the macrostructural level of the discourse. The interlocking
petitions regarding David (A, A’) are dramatically answered in the psalm’s second half, as the
LORD himself swears in a solemn oath to establish his royal line forever, ultimately in the
person of a future Messianic ruler (A”).
243 Due to its twofold focus upon King David and the LORD’s dwelling place in Zion, Psalm
132 is often sub-classified as a “royal psalm,” a “song of Zion,” or both. “Zion and the anointed king
are topics of central importance in the psalmic theology of the reign of God” (Mays 1994:410).
102
2. A practical application of a literary-
literary-structural analysis
A literary-structural analysis as carried out above offers, over and above its exegetical insights,
a practical benefit that concerns all Bible readers, i.e. to clearly demarcate a psalm’s distinct
units of thought, its constituent stanzas/strophes (whether these involve prayer, praise, or
some other type of speech act), and to aid translators in their effort to reveal the text’s
structure more clearly on the printed page. This could be done through the use of a single
column of print244 that is differentiated by means of corresponding parallel unit indentations
and interlineal spaces to indicate major sequential divisions within the text (as illustrated
earlier). Not all Bibles are created equal in this respect, that is, with regard to their degree of
accuracy or clarity. The following is a chart that indicates some of the diversity that exists in
a number of popular English versions, re: division breaks in Psalm 132. X indicates a proposed
division break in the text, i.e., the beginning of a new poetic unit.
vs 1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 16 17 18
A X X
B X X X X X
C X X X
D X X
E X X X X X
F X X X
G X
H X X X X
I X X X X
J X X X X X X X
K X
W X X X X
A = New Literary Translation G = TANAKH Translation (JPS)

B = Good News Bible H = English Standard Version
C = Contemporary English Version I = New Revised Standard Version
D = God’s Word J = New Jerusalem Bible
E = Living Bible K = New American Bible
F = Revised English Bible W = Wendland
244 Rather than by the typical two columns of right-justified print, which results in poetic line
breaks at awkward places within words.
103
So what does this comparative chart reveal? The rather unsettling discovery is the
sheer diversity displayed among the different standard versions with regard to where they
place their internal stanza/strophe divisions. Yet where the paragraph or strophic spaces are
placed in a text of Scripture will surely affect one’s pronunciation, whether read silently or
publically, in terms of pauses, stress, and intonational patterns, which obviously affect the
audience’s perception and understanding of the poetic psalm.
104
8)
1. A text-
text-study and two translations
The SBL version of the difficult Hebrew text (MT) of Psalm 45 is given below in strophic
sections alongside the New English Translation and an edited selection of the NET’s
expository footnotes combined with those of the UBS Handbook on Psalms (Bratcher &
Reyburn, 1991), adapted from Paratext 7.5; a number of items of possible phonological
(literary-poetic) significance have been highlighted in the text:
For the music director; 1 according to the tune

of “Lilies;” 2 by the Korahites, ‫ ַל ְמנַ ֵצּ ַ֣ח ַעל־ ֭שׁ ֹ ַשׁנִּ ים ִל ְבנֵ י־ ֑קֹ ַרח‬1
a well-written poem, 3 a love song. ‫ַ֝מ ְשׂ ִ֗כּיל ִ ֣שׁיר יְ ִדי ֽד ֹת׃‬
1 My heart is stirred by a beautiful song. 4
‫ ָ ֘ר ַ ֤חשׁ ִל ִ֨בּי ׀ ָ ֘דּ ָ ֤בר ֗טוֹב‬2
I say, “I have composed this special song 5 for
the king; ‫א ֵ ֹ֣מר ָ ֭אנִ י ַמ ֲע ַ ֣שׂי ְל ֶ ֑מ ֶלְך‬
my tongue is as skilled as the stylus of an
experienced scribe.” 6 ‫סוֹפר ָמ ִ ֽהיר׃‬
ֵ ֬ ‫שׁוֹני ֵ ֤עט ׀‬
ִ ֗ ‫ְ֝ל‬
1 Psalm 45. This is a romantic poem celebrating 3 The meaning of the Hebrew term ‫ַ֝מ ְשׂ ִ֗כּיל‬
the Davidic king’s marriage to a lovely princess. (maskil) is uncertain (cf. the superscription
The psalmist praises the king for his military of Ps 42).
prowess and commitment to justice, urges the 4 Heb “[with] a good word.” The “good word”
bride to be loyal to the king, and anticipates probably refers here to the song that follows.
that the marriage will be blessed with royal 5 Heb “my works [are] for a king.” The plural
offspring. After the opening dedication (verse
“works” may here indicate degree, referring to
1), the psalm addresses itself to the king (verses
the special musical composition that follows.
2-9), who is praised in extravagant terms; then “My verses” (RSV; GNT “this song”) translates
the poet addresses the bride (verses 10-15),
what is literally “my deeds” in the Masoretic
after which he brings his poem to a conclusion
text; with different vowels the Hebrew word can
with a final promise to the king (verses 16-17). be read as “my deed.” Most translate “my
This psalm has a minimum of semantic poem”; NEB has “the song I have made.”
parallelism. Each line is a statement, and apart 6 Heb “my tongue [is] a stylus of a skillful
from verses 12-14 the second line does not
scribe.” Words flow from the psalmist’s tongue
emphasize the idea of the first line. just as they do from a scribe’s stylus. The
2 Heb “according to lilies.” “Lilies” may be a composition is dedicated to the king, and the
tune title or musical style, suggestive of psalmist compares himself to the pen of a ready
romantic love. The imagery of a “lily” appears scribe. The word translated ready means quick,
frequently in the Song of Solomon in a variety skilled, expert (see its use in Ezek 7.6);
of contexts (see 2:1-2, 16; 4:5; 5:13; 6:2-3; 7:2). scribe here means “writer.”
105
2 You are the most handsome of all men! 7 ‫ית ִמ ְבּ ֬ ֵני ָא ָ ֗דם‬
ָ ‫ יָ ְפיָ ֡ ִפ‬3
You speak in an impressive and fitting ‫תוֹתיָך‬

֑ ֶ ‫וּצק ֵ ֭חן ְבּ ְשׂ ְפ‬
ַ ‫֣ה‬
manner! 8
For this reason 9 God grants you ‫עוֹלם׃‬

ֽ ָ ‫ֹלהים ְל‬
֣ ִ ‫ל־כּ֤ן ֵ ֽבּ ַר ְכָך֖ ֱא‬
ֵ ‫ַע‬
continual blessings. 10
3 Strap your sword to your thigh, O warrior! 11 ‫וֹר־ח ְר ְבָּך֣ ַעל־יָ ֵ ֣רְך גִּ ֑בּוֹר‬
ַ ֽ‫ ֲחג‬4
Appear in your majestic splendor! 12 ‫֝ה ְוֹד ָ֗ך וַ ֲה ָד ֶ ֽרָך׃‬
4 Appear in your majesty and be victorious! 13 ‫ וַ ֲה ָ ֬ד ְר ָ֨ך׀ ְצ ֬ ַלח ְר ַ֗כב‬5
Ride forth for the sake of what is right, 14
‫ה־צ ֶ֑דק‬
ֶ ָ‫ר־א ֶמת וְ ַענְ ו‬
ֱ ֭ ‫ל־דּ ַב‬
ְ ‫ַ ֽע‬
on behalf of justice! 15
Then your right hand will accomplish mighty ‫נוֹר ֣אוֹת יְ ִמ ֶינֽ ָך׃‬
ָ ֖‫תוֹרָך‬
ְ ְ‫ו‬
acts! 16
5 Your arrows are sharp ‫ ִח ֶ֗צּיָך ְשׁנ֫ ִ ֥וּנים‬6
and penetrate the hearts of the king’s enemies.

‫ַ ֭ע ִמּים ַתּ ְח ֶ ֣תּיָך יִ ְפּ ֑לוּ‬
Nations fall at your feet. 17

‫ְ֝בּ ֗ ֵלב אוֹיְ ֵ ֥בי ַה ֶ ֽמּ ֶלְך׃‬
7 Heb “you are handsome from the sons of 14 Or “for the sake of truth.”
man.” The preposition “from” is used in a 15 The precise meaning of the MT is uncertain.
comparative (“more than”) sense. The peculiar The form ‫’( ַענְ וָ ה‬anvah) occurs only here. One
verb form ‫ית‬ָ ‫( יָ ְפיָ ֡ ִפ‬yafyafita) is probably the result could emend the text to ’anavah vÿtsedeq, “[for
of dittography of yod-pe and should be the sake of truth], humility, and justice”). In
emended to yafita. See GKC 152 §55.e. It was this case “humility” would perhaps allude to the
expected that a king be handsome (see the king’s responsibility to “serve” his people by
description of Absalom in 2 Sam 14.25), and promoting justice (cf. NIV “in behalf of truth,
here the poet describes him in exaggerated humility and righteousness”). The present
terms as the fairest of the sons of men, that is, translation assumes an emendation to ya’an,
the most handsome man living; for sons of “because; on account of”) which would form a
men see comment on “children of men” in 11.4. suitable parallel to ‫ל־דּ ַבר‬
ְ ‫’( ַ ֽע‬al-dÿvar, “because;
8 Heb “favor is poured out on your lips.” “Lips”
for the sake of”) in the preceding line. The
probably stands by metonymy for the king’s
Psalms Handbook notes this difficulty in line b,
speech. Some interpret the Hebrew term ‫ֵ ֭חן‬ which in Hebrew is “ride on in behalf of truth
(khen) as referring here to “gracious (i.e., kind and meekness (of) justice”; HOTTP prefers this
106
and polite) speech”, but the word probably and translates “for loyalty’s sake and for mild
refers more generally to “attractive” speech that justice.” With a slight change the Hebrew can
is impressively articulated and fitting for the be made to mean “executing justice on behalf of
occasion. For other instances of the term being the humble” or “in defense of the poor and of
used of speech, see Prov 22:11 and Eccl 10:12. justice.” Some would translate the Masoretic
9 Or “this demonstrates.” The construction ‫ל־כּ֤ן‬ ֵ ‫ַע‬ text “for the cause of faithfulness, meekness,
(’al-ken, “therefore”) usually indicates what and right” (similarly NIV).
16 Heb “and your right hand will teach you
logically follows from a preceding statement.
mighty acts”; or “and may your right hand teach
However, here it may infer the cause from the
you mighty acts.” After the imperatives in the
effect, indicating the underlying basis or reason
first half of the verse, the prefixed verbal form
for what precedes. It seems best in this context
to take the Hebrew ’al-ken as pointing back- with vav (‫ )ו‬conjunctive likely indicates purpose
wards, that is, that the king’s beauty and (“so that your right hand might teach you
eloquence are evidence of God’s favor. mighty acts”) or result (see the present
10 Or “blesses you forever” (Briggs; see NJB and translation). The “right hand” here symbolizes
Weiser “for God has blessed you forever”). the king’s military strength. His right hand will
Here “bless” means to “endue with the power “teach” him mighty acts by performing them
and skill to rule effectively,” as the following and thereby causing him to experience their
verses indicate. magnificence. “Awesome deeds,” that is, deeds
11 Or “mighty one.” that strike terror in the hearts of the king’s
12 The Hebrew text has simply, “your majesty enemies and evoke awe and respect from his
and your splendor,” which probably refers to allies. GNT takes the Hebrew as a statement,
the king’s majestic splendor when he appears in but it can also be construed as a wish.
full royal battle regalia. Most versions connect 17 Heb “your arrows are sharp – peoples beneath
this line with what precedes, “in your glory and you fall – in the heart of the enemies of the
majesty” (RSV); GNT takes it as an independent king.” The choppy style reflects the poet’s
statement, “you are glorious and majestic.” excitement and high emotion as he pens (or
Note the phonological correspondences and proclaims!) these words. In Hebrew the line
parallels in this verse—a literary device for translated “in the heart of the king's enemies” is
embellishment. the last one of the verse; both RSV and GNT
13 Heb “and your majesty, be successful.” The have joined it to the first line, for clarity of
syntax is awkward. Some scholars regard the meaning. This line refers to the king in the third
appearance of “and your majesty” in verse 4a person, which could be mistakenly understood
(immediately after “and your majesty” at the to be someone other than the king himself, who
end of verse 3) as an accidental repetition; and is addressed in the second person (Your
so they connect the last words of verse 3 with arrows); so in this line GNT keeps the second
the opening words of verse 4, “ride on to victory person, “your enemies.”
in majesty and glory.” Most versions stay with
the Masoretic text.
6 Your throne, 18 O God, is permanent. 19 ‫עוֹל֣ם וָ ֶ ֑עד‬

ָ ‫ֹלהים‬
ִ ‫ ִכּ ְס ֲאָך֣ ֭ ֱא‬7
The scepter 20 of your kingdom is a scepter of
justice. ‫כוּתָך׃‬
ֽ ֶ ‫שׁ ֶבט ַמ ְל‬
֣ ֵ ‫ֵ ֥שׁ ֶבט ִ֝מי ֗שׁ ֹר‬
7 You love 21 justice and hate evil. 22
‫׃‬v‫ ָא ַ ֣ה ְב ָתּ ֶצּ ֶד ֮ק וַ ִתּ ְשׂ ֫ ָנא ֶ ֥ר ַשׁע‬8
For this reason God, your God 23 has
anointed you 24
‫ֹלהיָך‬
ֶ ‫ֹלהים ֭ ֱא‬
֣ ִ ‫ל־כּ֤ן ׀ ְמ ָשׁ ֲח ָ֡ך ֱא‬
ֵ ‫ַע‬
107
with the oil of joy, 25 elevating you above your
companions. 26 ‫ֶ ֥שׁ ֶמן ָשׂ ֗שׂוֹן ֵ ֽמ ֲח ֵב ֶ ֽריָך׃‬
8 All your garments are perfumed
with 27 myrrh, aloes, and cassia. ‫ל־בּגְ ד ֶ ֹ֑תיָך‬
ִ ‫ מֹר־וַ ֲא ָה ֣לוֹת ְ ֭ק ִציעוֹת ָכּ‬9
From the luxurious palaces 28 comes the music
of stringed instruments that makes you
‫יכ ֵלי ֵ֝ ֗שׁן ִמ ִ ֥נּי ִשׂ ְמּ ֽחוָּך׃‬
ְ ‫ן־ה‬
֥ ֵ ‫ִ ֽמ‬
happy. 29
9 Princesses 30 are among your
honored guests, 31
‫רוֹתיָך‬
֑ ֶ ‫ ְבּנ֣ וֹת ְ ֭מ ָל ִכים ְבּיִ ְקּ‬10
your bride 32 stands at your right hand, wearing
jewelry made with gold from Ophir. 33
‫אוֹפיר׃‬
ֽ ִ ‫ימינְ ָ֗ך ְבּ ֶכ ֶ֣תם‬
ִ ‫נִ ְצּ ָ ֥בה ֵשׁ ַג֥ל ִ ֝ ֽל‬
18 The king’s throne here symbolizes his rule. Perhaps the reference to his anointing at his
coronation facilitates the transition to the
19 Or “forever and ever.” O God. The king is description of the wedding, for the king was
clearly the addressee here, as in vv. 2-5 and 7-9. also anointed on this occasion.
Rather than taking the statement at face value,
many prefer to emend the text because the 25 The phrase oil of joy alludes to the fact that
concept of deifying the earthly king is foreign to the coronation of the king, which was ritually
ancient Israelite thinking (cf. NEB “your throne accomplished by anointing his head with olive
is like God’s throne, eternal”). However, it is oil, was a time of great celebration and renewed
preferable to retain the text and take this hope. (If one understands the anointing in
statement as another instance of the royal conjunction with the wedding ceremony, the
hyperbole that permeates the royal psalms. “joy” would be that associated with the
Because the Davidic king is God’s vice-regent marriage.) The phrase “oil of joy” also appears
on earth, the psalmist addresses him as if he in Isa 61:3, where mourners are granted “oil of
were God incarnate. God energizes the king for joy” in conjunction with their deliverance from
battle and accomplishes justice through him. A oppression.
similar use of hyperbole appears in Isa 9:6,
26 Heb “from your companions.” The
where the ideal Davidic king of the eschaton is
given the title “Mighty God” (see the note on “companions” are most naturally understood as
this phrase there). Ancient Near Eastern art and others in the royal family or, more generally, as
literature picture gods training kings for battle, the king’s countrymen. Verses 6-7 are quoted
bestowing special weapons, and intervening in in Heb 1:8-9, where they are applied to Jesus.
battle. According to Egyptian propaganda, the The verb “anointed” may be understood in a
Hittites described Rameses II as follows: “No twofold sense; thus, the translation can be “God
man is he who is among us, It is Seth great-of- (has anointed you and) has chosen you (to be
strength, Baal in person; Not deeds of man are king) instead of any other man”; GNT translates
these his doings, They are of one who is unique” the verse: “Therefore God has appointed you as
(see Miriam Lichtheim, Ancient Egyptian ruler, your God has given you more honor and
Literature, 2:67). Ps 45:6 and Isa 9:6 probably gladness than to all your people.”
envision a similar kind of response when 27 The
friends and foes alike look at the Davidic king in words “perfumed with” are supplied in
full battle regalia. When the king’s enemies the translation for clarification. The poet
oppose him on the battlefield, they are, as it describes the magnificence of the royal court.
were, fighting against God himself. The king’s robes are fragrant with myrrh and
aloes and cassia. All three are perfumes derived
from vegetable substances. In languages where
108
20 The king’s scepter symbolizes his royal there are known substances for making
authority. The psalmist praises the king’s perfume, these may be substituted for myrrh
devotion to equity and righteousness, on and aloes and cassia. Alternatively, the
account of which God has made him the translator must either employ the specific terms
happiest of all kings. In verse 6 scepter is a with a generic such as “substance,” or use some
figure of the king’s power; a scepter of kind of descriptive phrase; for example, “a
equity means that the king is fair and just in sweet smelling liquid.”
ruling his people. In languages where a chief’s
28 Heb “the palaces of ivory.” The phrase
authority is symbolized in an object associated
with him, such as a cane, stool, or scepter, line “palaces of ivory” refers to palaces that had
b can be translated using such symbols of ivory panels and furniture decorated with ivory
authority; for example, “Your scepter shows inlays. Such decoration with ivory was
that you rule your people fairly.” characteristic of a high level of luxury. See 1 Kgs
22:39 and Amos 3:15.
21 Tolove justice means to actively promote it.
29 Heb “from the palaces of ivory stringed
In verse 7a the abstract qualities righteous-
ness and wickedness stand for deeds or instrument[s] make you happy.” The stringed
conduct: “righteous actions... evil actions.” The instruments in verse 8b are not further
expression you love righteousness and hate identified (the word occurs elsewhere only in
wickedness must be rendered by verb phrases 150.4); NEB “music of strings”; NJV translates
in many languages. “lutes”; NJB “harps.”
22 30 Heb “daughters of kings.”
To hate evil means to actively oppose it.
23 31 Heb “valuable ones.” The form is feminine
For other examples of the repetition of
Elohim, “God,” see Pss 43:4; 48:8, 14; 50:7; plural.
51:14; 67:7. Because the name Yahweh (“Lord”) 32
is relatively rare in Pss 42-83, where the name This rare Hebrew noun apparently refers to
Elohim (“God”) predominates, this compound- the king’s bride, who will soon be queen
ing of Elohim may be an alternative form of the (see Neh 2:6). The Aramaic cognate is used of
compound name “the Lord my/your/our God.” royal wives in Dan 5:2-3, 23. At your right is the
place of honor (see 16.11
24 Anointed you. When read in the light of the 33 Heb “a consort stands at your right hand,
preceding context, the anointing is most
naturally taken as referring to the king’s gold of Ophir.” It is not known exactly where
coronation. However, the following context Ophir was; southwest Arabia seems the most
(vv. 8-9) focuses on the wedding ceremony, so likely location. Its gold was the finest (see 1 Kgs
some prefer to see this anointing as part of the 9.28; 10.11; Job 22.24; 28.16), and so GNT has
king’s preparations for the wedding celebration. translated: “and at the right of your throne
stands the queen, wearing ornaments of finest
gold.” Note the lengthy lines in this descriptive
strophe that embellishes the king’s regal glory.
10 Listen, O princess! 34
‫י־בת‬
֣ ַ ‫ ִשׁ ְמ ִע‬11
Observe and pay attention! 35 ‫וּ ְ֭ר ִאי וְ ַה ִ ֣טּי ָאזְ ֵנ֑ ְך‬
Forget your homeland 36 ‫וְ ִשׁ ְכ ִ ֥חי ֝ ַע ֵ֗מְּך‬
109
and your family! 37
‫וּבית ָא ִ ֽביְך׃‬
ֵ֥
11 Then 38 the king will be attracted by 39 your
beauty. ‫ וְ יִ ְת ָ ֣או ַה ֶ ֣מּ ֶלְך יָ ְפ ֵי֑ ְך‬12
After all, he is your master!
‫י־הוּא ֲ֝אד ֗ ַֹניִ ְך‬
֥ ‫ִכּ‬
Submit 40 to him! 41
‫י־לוֹ׃‬
ֽ ִ‫וְ ִה ְשׁ ַ ֽתּ ֲחו‬
12 Rich people from Tyre 42
‫וּבת־ ֨צ ֹר ׀ ְ ֭בּ ִמנְ ָחה ָפּ ַנ֥ יִ ְך‬
ֽ ַ 13
will seek your favor by bringing a gift. 43
‫יְ ַח ֗לּוּ ֲע ִ ֣שׁ ֵירי ָ ֽעם׃‬
39 Or “desire.”
34 Heb “daughter.” The Hebrew noun ‫ַ ֣בת‬
(“daughter”) can sometimes refer to a young 40 Or“bow down.” Here too the translation
woman in a general sense. Note the relatively should not be too literal and suggest servitude.
short poetic lines in this word of admonition to Lines b and c are probably better rendered
the future queen—in contrast with the together, as in the NIV: “Honor him for he is
preceding strophe. Listen, O princess. The poet your lord.”
now addresses the bride.
41 The poet here makes the point that the young
35 Heb “see and turn your ear.” The verb ‫ָר ָאה‬ bride is expected to bring pleasure to her new
(ra’ah, “see”) is used here of mental observation. husband. Though a foreign concept to modern
western culture, this was accepted as the
36 Heb “your people.” This reference to the cultural norm in the psalmist’s day.
“people” of the princess suggests she was a
42 Heb “and a daughter of Tyre with a gift, your
foreigner. Perhaps the marriage was arranged
as part of a political alliance between Israel (or face they will appease, the rich of people.” The
Judah) and a neighboring state. The translation phrase “daughter of Tyre” occurs only here in
“your homeland” reflects such a situation. Note the OT. It could be understood as addressed to
the end-line repetition of the 2pf pron. sfx, ‫ְך‬, the bride, indicating she was a Phoenician (cf.
NEB). However, often in the OT the word
which highlights the referent being addressed.
“daughter,” when collocated with the name of a
37 Heb “and the house of your father.” The city or country, is used to personify the referent
expression “forget your people” is somewhat (see, for example, “Daughter Zion” in Ps 9:14,
metaphorical, since the intention is not one of and “Daughter Babylon” in Ps 137:8). If that is
forgetting, but rather of not obeying. Therefore, the case here, then “Daughter Tyre” identifies
in languages where forget will only be the city-state of Tyre as the place from which
understood literally, it is better to say “don’t be the rich people come (cf. NRSV). The idiom
commanded by your people and your relatives” “appease the face” refers to seeking one’s favor
or “no longer follow the advice of your....” (see Exod 32:11; 1 Sam 13:12; 1 Kgs 13:6; 2 Kgs
13:4; 2 Chr 33:12; Job 11:19; Ps 119:58; Prov
38 “Then” might not be a good model for 19:6; Jer 26:19; Dan 9:13; Zech 7:2; 8:21-
translation, i.e., if it suggests a temporal rather 22; Mal 1:9).
than a logical connection with the preceding
110
verse. After the preceding imperatives, the 43 RSV translates the Hebrew phrase ‫בוּדּה‬
֣ ָ ‫ל־כּ‬
ְ ‫ ָכּ‬in
jussive verbal form with vav (‫ )ו‬conjunctive is
best understood as introducing a purpose (“so v. 13a as “all kinds of wealth” (‫בוּדּה‬
֣ ָ ‫ל־כּ‬
ְ ‫ ) ָכּ‬and
that the king might desire your beauty”) or links this with v. 12. However, this expression is
result clause (see the present translation and cf. better understood as a description of the bride
also NASB). The point seems to be this: The (“all glorious”), as in the GNT: “The princess is
bride might tend to be homesick, which in turn in the palace—how beautiful she is!” In any
might cause her to mourn and diminish her case, one must recognize that there are
attractiveness. She needs to overcome this considerable challenges presented by the
temptation to unhappiness and enter into the Hebrew text as it now stands, and
marriage with joy. Then the king will be drawn commentators and translations vary quite
to her natural beauty. widely.
13 The princess 44 looks

absolutely magnificent, 45 ‫֑ימה‬
ָ ‫ת־מ ֶלְך ְפּ ִנ‬
֣ ֶ ‫בוּדּה ַב‬
֣ ָ ‫ל־כּ‬
ְ ‫ ָכּ‬14
decked out in pearls and clothed in a brocade ‫בוּשׁהּ׃‬
ֽ ָ ‫ִ ֽמ ִמּ ְשׁ ְבּ ֖צוֹת זָ ָ ֣הב ְל‬
trimmed with gold. 46
14 In embroidered robes she is escorted to the ‫תּוּבל ֫ ַל ֶ ֥מּ ֶלְך‬

֪ ַ ‫מוֹת‬
֮ ‫ ִל ְר ָק‬15
king.
Her attendants, the maidens of honor who ‫יה‬

ָ ‫עוֹת‬
֑ ֶ ‫יה ֵר‬
ָ ‫תוּלוֹת ַ ֭א ֲח ֶר‬
֣ ‫ְבּ‬
follow her,
are led before you. 47 ‫וּב ֣אוֹת ָ ֽלְך׃‬

ָ ‫֖מ‬
15 They are bubbling with joy as they walk in
procession ‫וּב ְלנָ ה ִבּ ְשׂ ָמ ֣חֹת וָ ִג֑יל‬
ַ ‫ ֖תּ‬16
and enter the royal palace. 48 ‫יכל ֶ ֽמ ֶלְך׃‬

ַ ‫ְ֝תּב ֶֹ֗אינָ ה ְבּ ֵ ֣ה‬
44 Heb “[the] daughter of a king.” The term 47 Heb “virgins after her, her companions, are
princess, if translated literally as in Hebrew led to you.” GNT and others take the Hebrew
“daughter of the king,” will in most cases no text to mean that only one group of bridesmaids
longer refer to the bride. Therefore, in many follows her (her virgin companions, her escort);
languages one must say “the woman the king but some take these to be two groups, “brides-
will marry.” maids” and “ladies-in-waiting” (or, less
45 Heb “[is] completely glorious.” elegantly, her servants). There is no way to be
46 Heb “within, from settings of gold, her certain; the Hebrew text is none too clear. In
clothing.” The Hebrew term ‫֑ימה‬ ָ ‫( ְפּ ִנ‬pÿnimah, some languages her virgin companions may be
rendered “the young girls who assist her,” or
“within”), if retained, would go with the
“the young women who escort her.”
preceding line and perhaps refer to the bride
being “within” the palace or her bridal chamber Some emend ‫( ָ ֽלְך‬lakh, “to you”) to lah, “to her,”
(cf. NIV, NRSV). Since the next two lines refer i.e., the princess), because the princess is now
to her attire (see also v. 9b), it is preferable to being spoken of in the third person (vv. 13-14a),
emend the form to ‫“( ְפּנִ ינִ ים‬pearls”) or to “her rather than being addressed directly (as in
111
pearls.” The mem (‫ )מ‬prefixed to “settings” is vv. 10-12). However, the ambiguous suffixed
probably dittographic. Verses 13-15 describe the form ‫ ָ ֽלְך‬need not be taken as second feminine
bridal procession into the palace; first the singular. The suffix can be understood as a
princess comes in. GNT’s rendering “in the pausal second masculine singular form,
palace” translates the Hebrew word “within,” addressed to the king. The translation assumes
which RSV takes to be rather the place where this to be the case; note that the king is
the princess was decked—“in her chamber.” addressed once more in vv. 16-17, where the
second person pronouns are masculine.
48 Heb “they are led with joy and happiness,
they enter the house of the king.”
16 Your 49 sons will carry 50 on the dynasty of

your ancestors; 51 ‫יתמוֹ‬
֥ ֵ ‫ ַ ֣תּ ַחת ֭ ֲאב ֶֹתיָך יִ ְהי֣ וּ ָב ֶנ֑יָך ְתּ ִשׁ‬17
you will make them princes throughout the
land. ‫ל־ה ָ ֽא ֶרץ׃‬
ָ ‫ְ֝ל ָשׂ ִ ֗רים ְבּ ָכ‬
17 I will proclaim your greatness through the
coming years, 52 ‫ל־כּן‬
֥ ֵ ‫ ַאזְ ִ ֣כּ ָירה ִ ֭שׁ ְמָך ְבּ ָכל־ ֣דּ ֹר וָ ֑ד ֹר ַע‬18
then the nations will praise you 53 forever. ‫֝הוֹדָך ְלע ָ ֹ֥לם וָ ֶ ֽעד׃‬
֗ ֻ ‫ַע ִ ֥מּים ְי‬
49 The pronoun is second masculine singular, 52 Heb “I will cause your name to be
indicating the king is being addressed from this remembered in every generation and
point to the end of the psalm. generation.” The cohortative verbal form
50 The prefixed verbal form could be taken as expresses the poet’s resolve. The king’s “name”
jussive and the statement interpreted as a stands here for his reputation and character,
prayer, “May your sons carry on the dynasty of which the poet praised in vv. 2-7.
your ancestors!” The next line could then be 53 The nations will praise you. As God’s vice-
taken as a relative clause, “[your sons] whom regent on earth, the king is deserving of such
you will make princes throughout the land.” honor and praise. In verse 17 the poet promises
51 Heb “in place of your fathers will be your that he will keep the king’s name, that is, his
sons.” The RSV translation of verse 16a is “fame,” alive forever (see comments on “name”
unintelligible. The Hebrew expression “instead in 5.12). For all time people will remember the
of your fathers shall be your sons” means that king and praise him. Obviously the poet is
the king’s male descendants, his sons, will be referring to this song that he has just composed
kings, replacing, as it were, the king’s male as the way in which the king’s memory will be
ancestors (your fathers), who also had been kept alive forever, not only in Israel but in all
kings. Princes were a kind of “rulers.” The title the world. In some languages it is not possible
was not limited to sons of a king. to refer to someone’s fame as being alive.
Therefore one must often say, for example, “I
will cause people to remember always what
great things you did.”
The two English versions of Psalm 45 below provide a further, now contrastive
translational orientation. In the left column, a more literal, ‘foreignized’ rendition (favoring
112
the SL),245 the English Standard Version (ESV) is given; on the right, a more natural,
‘domesticated’ rendering (favoring the TL), the New Living Translation (NLT):246
ESV NLT
Your Throne, O God, Is Forever For the choir director: A love song to be sung
To the choirmaster: according to Lilies. A to the tune “Lilies.”
A psalm of the descendants of Korah.
Maskil of the Sons of Korah; a love song.
1 My heart overflows with a pleasing 1 Beautiful words stir my heart.
theme; I will recite a lovely poem about the king,
I address my verses to the king; for my tongue is like the pen of a skillful poet.
my tongue is like the pen of a
ready scribe.
2 You are the most handsome of 2You are the most handsome of all.
the sons of men; Gracious words stream from your lips.
grace is poured upon your lips; God himself has blessed you forever.
therefore God has blessed you
forever.
3 Gird your sword on your thigh, 3Put on your sword, O mighty warrior!
O mighty one, You are so glorious, so majestic!
in your splendor and majesty!
4 In your majesty ride out 4In your majesty, ride out to victory,
victoriously defending truth, humility, and justice.
for the cause of truth Go forth to perform awe-inspiring deeds!
and meekness and
righteousness;
let your right hand teach you
awesome deeds!
5 Your arrows are sharp 5Your arrows are sharp, piercing your
in the heart of the king's enemies' hearts.
enemies; The nations fall beneath your feet.
the peoples fall under you.
6 Your throne, O God, is forever and 6Your throne, O God endures forever and
ever. ever.
The scepter of your kingdom is You rule with a scepter of justice.
a scepter of uprightness;
7 you have loved righteousness 7You love justice and hate evil.
and hated wickedness. Therefore God, your God, has anointed you,
Therefore God, your God, has pouring out the oil of joy on you more than on
anointed you anyone else.
with the oil of gladness beyond
245
Potentially problematic (unnatural, ambiguous, unclear, etc.) expressions in this version
(ESV), which has been reproduced as formatted (namely, the line breaks), are marked in boldface. Do
you agree? If so, propose more naturalized English renderings. How about the signification of the
format: how legible is the text—how readily read aloud?
246
English Standard Version (2001), Wheaton: Crossway Bibles; New Living Translation
(2004), Wheaton: Tyndale House Publishers.
113
your companions;
8 your robes are all fragrant with 8 Myrrh, aloes, and cassia perfume your robes.
myrrh and aloes and In ivory palaces the music of strings entertains
cassia. you.
From ivory palaces stringed
instruments make you glad;
9 daughters of kings are among 9 Kings' daughters are among your noble
your ladies of honor; women.
at your right hand stands the At your right side stands the queen,
queen in gold of Ophir. wearing jewelry of finest gold from Ophir!
10 Hear, O daughter, and consider, 10 Listen to me, O royal daughter; take to heart
and incline your ear: what I say.
forget your people and your Forget your people and your family far away.
father's house,
11 and the king will desire your 11 For your royal husband delights in your
beauty. beauty;
Since he is your lord, bow to honor him, for he is your lord.
him.
12 The people of Tyre will seek 12 The princess of Tyre will shower you with
your favor with gifts, gifts.
the richest of the people. The wealthy will beg your favor.
13 All glorious is the princess in her 13 The bride, a princess, looks glorious
chamber, with robes in her golden gown.
interwoven with gold.247
14 In many-colored robes she is 14 In her beautiful robes, she is led to the king,
led to the king, accompanied by her bridesmaids.
with her virgin companions
following behind her.
15 With joy and gladness they are led 15 What a joyful and enthusiastic procession
along as they enter the king's palace!
as they enter the palace of the
king.
16 In place of your fathers shall be 16 Your sons will become kings like their father.
your sons; You will make them rulers over many lands.
you will make them princes in
all the earth.
17 I will cause your name to be 17 I will bring honor to your name in every
remembered in all generation.
generations;
247
In v. 14a we have a sample of the sort of text critical issues that challenge the translator of
ָ ִ‫( ְפּנ‬nimah,
Psalm 45: ‘Heb. “within, from settings of gold, her clothing.” The Hebrew term ‫ימה‬
“within”), if retained, would go with the preceding line and perhaps refer to the bride being “within”
the palace or her bridal chamber (cf. NIV, NRSV). Since the next two lines refer to her attire (see also
ָ ִ‫“( ְפּנִ ינ‬her pearls”) or to ‫“( ְפּנִ ינִ ים‬pearls”). The mem (‫מ‬
v. 9), it is preferable to emend the form to ‫יהּ‬ ‫)מ‬
prefixed to “settings” is probably dittographic’ (NET text note).
114
therefore nations will praise you Therefore, the nations will praise you forever
forever and ever. and ever.
2. Seven artistic-
artistic-rhetorical features of Psalm 45
‘Psalm 45 is rich in literary features’ (Patterson 1985:30). By way of summary, I have selected
seven important stylistic, specifically artistic-rhetorical, devices for consideration: patterned
organization, sonic effect, dynamic speech, figurative language, contextual reference,
semantic density, and pervasive intertextuality. I will not be able to examine any of these
‘poetic’ characteristics in detail, but can simply point out certain aspects of their purposeful
significance (i.e., ‘meaning’!) within the Hebrew text of Psalm 45, which implies that they
must also be handled with corresponding care and craft in any translation (to be discussed in
section 3). The attribute ‘artistic’ refers to the original text’s attractive formal, linguistic
features, while ‘rhetorical’ calls attention to their vital functional, or pragmatic, dimension in
religious-cultic communication. Thus, in addition to conveying theological and/or ethical
content, the sacred text aims to please as well as to persuade with corresponding effect
(convincing impact, emotive force, aesthetic appeal, and oral-aural resonance) in its
envisioned setting of religious use, whether for praising, instructing, petitioning, warning,
encouraging, or simply broadcasting a ‘remembrance’ of God’s ‘name’ (‫)אזְ ִ ֣כּ ָירה ִ ֭שׁ ְמָך‬
ַ (v. 18).
This same literary dimension, if granted (whether more or less), should be correspondingly
prominent in any contemporary version that aims to be ‘functionally equivalent’ in nature,
that is, in accordance with the project’s overall job description (brief) and primary
communicative goal (skopos) (Wendland 2011:95-122).
2.1 Patterned organization
‘Hebrew poetry is most often organized according to patterns’ (Beldman 2012: 90). Although
this is not reflected in most (English) translations, the structural organization of Psalm 45 is
rather symmetrical and binarily arranged in Hebrew, a feature that would contribute to both
its memorizability and oral performance. This structure is summarized in the outline below
(cf. VanGemeren 1991:343; Gerstenberger 1988:186).248 After each descriptive heading, the
248
Harman suggests a more basic structure that is determined by shifts in the primary
addressee, which in turn is centered around the king (2011:365):
115
applicable verses are given in parentheses, followed by the principal text ‘markers’ indicating
the particular rhetorical-poetic devices that help to distinguish the onset (‘aperture’) of a new
discourse unit, or ‘strophe’ (cf. Wendland 2002:118–119). The psalm’s superscription is also
significant in relation to the text’s overall genre and theme (e.g., ‘song of loves’ ‫)שׁיר יְ ִדי ֽד ֹת‬
֣ ִ and
has therefore been included in the following architectural overview of the compositional
arrangement of Psalm 45:
I. A. Introduction (1–2): technical poetic-musical information + 1st person authorial

(self) reference announcing the poet’s personal goal of praising the king!
B. Appeal to the king (3–6): shift to 2nd pers. sing. masc. pronouns
C. Description of the king’s glory (7–10): vocative opener + shift to
non-imperatival verbs; ‘God’ is the king’s personal point of reference
------------------------------------------------------------------------------------------------------------
II. B’ Appeal to the bride/queen (11–13): vocative opener + shift to 2nd pers.
sing. fem. pronouns (the addressee suddenly shifts from the king to his bride)
C’ Description of the bride’s glory (14–16): shift to 3rd pers. sing.
fem. pronouns; ‘the king’ is the bride’s personal point of reference
A’ Conclusion (17–18): shift back to 2nd pers. sg. masc. pronouns + a concluding 1st
person authorial (self) reference announcing the poet’s goal of praising the king (and the
King) forever! (compositional end stress)
Thus, personal pronouns are instrumental in guiding the hearer/reader through this
psalm’s well-crafted organization, that is, along with the distinctive subject matter which is
expressed within a given discourse unit (strophe).249 Poetic symmetry, too, is manifest, as the
royal bard (one of ‘the sons of Korah’) begins and ends his lyric with a dramatic declaration
The king (vv. 2-5, English versions)

God (vv. 6-7)
The king (vv. 8-9)
The bride (vv. 10-15)
The king (vv. 16-17)
249
A ‘discourse’ is a verbal text, or a segment of one, that derives specifically from direct
speech, whether actual (vocal) or represented (written), i.e., intended to be spoken, as in the case of
the Psalter.
116
of purpose—to praise the king/King. In between, he presents an expressive summary of the
wonderful wedding to which he was evidently a specially invited eye-witness and perhaps
even an active participant. The psalm is thus divided into two major ‘stanzas’—the second
being somewhat shorter than the first—and the text is developed around a pair of authorial
exhortations: first to the king/groom, second to his queen/bride. The two stanzas are
transitioned at their medial border by means of an overlapping lexical link of the key term
‘daughters/daughter’ (‫בּנ֣ וֹת‬/‫ת‬
ְ ‫–ב‬10a/11a),
ַ֣ and each unit may be further segmented into a set
of three matching ‘strophes’ (a semi-chiastic arrangement: A-B-C / B’-C’-A’).
In addition to the climactic, text-final promise and vow regarding the king’s future
blessings (vv. 17-18), there is one sub-strophe of particular thematic import in this royal
eulogy, namely, an internal segment that may have implicit Messianic implications (vv. 7-8;
I, C, a). It appears to be chiastically arranged in order to highlight its semantic prominence
within the discourse, that is, with a focus on the ‘upright’ king—whose reign is, in turn,
framed by the divine promise that is based upon the premise of righteous ruling (see further
below for additional support for this interpretation):250
A. temporal blessing by ‘God’ (‫ֹלהים‬

ִ ‫)א‬
ֱ ֭ – king’s ‘eternal’ rule [7a]
B. description of the king’s ethical ‘justice’ (‫)מישׁוֹר‬
ִ [7b]
B’ description of the king’s moral ‘uprightness’ (‫)צ ֶדק‬
ֶ [8a]
A’ personal blessing by ‘God’ (‫ֹלהים‬
ִ ‫)א‬
ֱ ֭ – king’s ‘superior’, regal status [8b]
250
I therefore interpret these verses as operating according to the covenantal (Torah) principle
of gracious divine blessing before (encouraging) human righteous response (Deut. 17:18-20, 28:12-
13). Thus, with reference to the amazing deeds described in v. 5, ‘God’s blessing will mean that the
king sees God do them by means of his own deeds as he himself rides out in the cause of truthfulness
and faithfulness’ (Goldingay 2007:58). Furthermore, Israel’s kings were divinely ‘anointed’ (v. 8b)
based ‘on the supposition that they affirmed that commitment’ to righteous behavior, that is,
‘faithfulness’ to the Mosaic covenant (ibid.:59). ‘Elsewhere, such as in Psalm 65:5, ‘awesome deeds’
refers to God’s own actions’ (Harman 2011:367).
117
The covenantal (Yahwistic) vocabulary that permeates this passage (cf. Ps. 2:2, 33:5; Isa. 61:1-
3) clearly indicates its importance, which must also be signaled somehow in a translation (or
noted in its paratext with reference to vv. 7-8).251
The balanced arrangement of Ps. 45, including it spotlighted strophes in the middle
(7-8) and at the end (17-18), would have been made familiar through repeated liturgical choral
performances. This communal participatory factor would also be helpful to any audience—
that is, to assist them in following along or joining in, in responsive fashion, as the text is
being chanted, recited, or probably (given the occasion) sung to the accompaniment of
selected musical instruments (cf. v. 9b).252 A discourse analysis of the entire text gives us a
grasp of the poetic whole and its parts; from this viewpoint—and ‘soundscape’—we are in a
better position to discover and evaluate its microstructural features.
2.2 Sonic effect
The predominant phonological quality and identifying characteristic of Hebrew (Semitic)

poetry is the familiar (but never to be underestimated!) device of concise, lineal parallelism,
a rhythmic, progressive sequence that is delineated into strophes comprised of variable sets
of bi- and tri-cola.253 Bratcher and Reyburn assert that ‘this psalm has a minimum of semantic
parallelism’ (1991:420), but this view would have to be understood in a very narrow sense as
referring to synonymous parallelism. In fact, Psalm 45, like any other, is constituted
251
Terrien suggests that Psalm 45’s ‘emphasis on the religious, moral, and ethical obligations
of royalty’ was another reason for its inclusion in the Psalter (2003:365; cf. Deut. 17:18-20 and the
category of ‘extensive intertextuality’ below).
252
No doubt the type of melody would modulate according to the prevailing subject matter
and emotive mood of each strophe, for example (some tentative suggestions), contemplative for the
opening and closing authorial reflections; majestically grand for the king’s stanza (military, vv. 3-6 +
celebratory, vv. 7-10); delicately beautiful for the bride’s piece (instructive, vv. 11-13 + triumphant,
vv. 11-16).
253
‘The first characteristic of Hebrew poetry, a feature it shares with much poetry throughout
history, is its terseness. Even in translation the lines of poetry are shorter than those of prose, and in
Hebrew this economy of words is even more pronounced. . . . The second and most distinctive
characteristic [then why is it not listed first?] is parallelism. . . . [T]here is always a dynamic movement
from the first line to the second. This progression or intensification is most significant on the semantic
level, increasing the impact of a statement’ (Beldman 2012:88; words italicized and in brackets added).
118
completely by paralleled poetic line couplets (and triads, cf. Wendland 2007), here primarily
of the additive type, including five tricola (vv. 2, 3, 8, 12, 15; Craigie 1983:335-336) and with
a prevalent accentual rhythm of 4 + 4 (Goldingay 2007:55).254 These deliberate poetic line
parallels combine to form the text’s most prominent ‘sound effect’, one that creates an
extended cadenced, oft patterned style of composition. This is a lyric feature that literally calls
out for public oral articulation, as indeed, the psalmist himself attests at this song-poem’s
very beginning. But the phonic frame of Psalm 45 is very much evident (audible) in other
ways as well.
For example, sound is referred to at the onset of the poem as the psalmist reveals that
he ‘is uttering his (praiseworthy) work to the king (with his) tongue’ (‫שׁוֹני‬
ִ֗ ‫)א ֵ ֹ֣מר ָ֭אנִ י ַמ ֲע ַ ֣שׂי ְל ֶ ֑מ ֶלְך ְ֝ל‬.
The particular type of ‘utterance’ in this case is undoubtedly a musical piece—a ‘love lyric’
֣ ִ or ‘wedding song’ (NIV), as specified in the text’s superscription.255 The prime
(‫)שׁיר יְ ִדי ֽד ֹת‬,
subject of the bard’s flowing, flowery praise—‘the [handsome]256 king’—is also quaintly
described as having ‘lips [speech] poured on with grace’ (‫תוֹתיָך‬
֑ ֶ ‫וּצק ֵ ֭חן ְבּ ְשׂ ְפ‬ ֣ (v. 3).257 The
ַ ‫)ה‬
bride/future queen (lit. ‘daughter’) is correspondingly exhorted at the onset of the psalm’s
second half to ‘listen, and see (visualize?), and give ear’ (‫י־בת וּ ְ֭ר ִאי וְ ַה ִ ֣טּי ָאזְ ֵנ֑ ְך‬
֣ ַ ‫)שׁ ְמ ִע‬
ִ to what the
254
Poetic parallelism also creates a certain corresponding conceptual pattern or thought
progression to complement the verbal utterance rhythm linking bi-/tri-cola and even larger lyric
segments (strophes, stanzas). ‘Poetry was a welcome aid to memory, for it employed parallel lines that
had a certain rhythm of thought, though no set meter’ (Wilson 1989:141).
255
The vocal lyric nature of this psalm is suggested already by the technical term shoshanim
(‫ ) ֭שׁ ֹ ַשׁנִּ ים‬in its title: ‘This is still another unknown musical term, though the literal meaning is “lilies”’
(Alter 2007:158). This term frequently appears—quite significantly for comparative purposes—in the
Song of Songs (e.g., 2:1-2, 16; 4:5; 5:13; 6:2-3; 7:2).
256
Alter renders the superlative descriptive verb ‫ית‬
ָ ‫ יָ ְפיָ ֡ ִפ‬as ‘you are loveliest’, which seems rather
strange when applied to a man. In any case, he comments: ‘[This word] is unique to this poem and
looks like an elegant stylistic flourish suited to the celebratory language of the psalm’ (2007:158). The
key question is: How ‘elegant’ (in terms of form) or ‘celebratory’ (with regard to function) does the
translation in my/our language sound when enunciated aloud?
257
‘[T]he context of other references to gracious speech…suggests that the king has a way with
words, a facility for speaking a winning word (Prov. 22:1; Eccles. 10:12)’ (Goldingay 2007:57). ‘Part
of God’s gift to the king was loveliness of speech, an indication of his blessing’—‘forever’, that is, for
as long as he lived (Harman 2011:366).
119
psalmist has to say to her (v. 11). Sound is also suggested in the ‘stringed instruments’
(Craigie 1983:337) of v. 9 and the corresponding voices of ‘gladness’ (‫ )שׂמח‬emanating from
the bridal procession (v. 16). It is further implied in the singer’s concluding vow to ‘perpetuate
ַ which, quite significantly and perhaps surprisingly, results
the (king’s) memory’ (‫)אזְ ִ ֣כּ ָירה ִ ֭שׁ ְמָך‬,
in everlasting world-wide acclamation (‫֝הוֹדָך ְלע ָ ֹ֥לם וָ ֶ ֽעד‬
֗ ֻ ‫ל־כּן ַע ִ ֥מּים ְי‬
֥ ֵ ‫)ע‬
ַ (v. 18b).
The preceding colon exhibits some of the resonant, rhythmic alliteration that is heard
periodically throughout this psalm. This is evident also in v. 8b-c:258
‫ֹלהיָך‬
֣ ִ ‫ל־כּ֤ן ׀ ְמ ָשׁ ֲח ָ֡ך ֱא‬
ֵ ‫ – ַע‬al-kên mishachakha elôhiym elôhekha
‫– ֶ ֥שׁ ֶמן ָשׂ ֗שׂוֹן ֵ ֽמ ֲח ֵב ֶ ֽריָך‬ shemen sâsown mechabherekha
On the other hand, and by way of contrast (perhaps to signal a final strophic boundary, i.e.,
closure), we observe a broken, breathless style (asyndetic, perhaps to convey excitement)259
as the king’s wartime exploits are described (v. 6, in literal translation; note the phonological
chiasmus):
‫ִח ֶ֗צּיָך ְשׁנ֫ ִ ֥וּנים‬ – [A] your arrows are [B] sharpened
‫– ַ ֭ע ִמּים ַתּ ְח ֶ ֣תּיָך יִ ְפּל֑ וּ‬ [B’] peoples [A’] under you they will fall
‫– ְ֝בּ ֗ ֵלב אוֹיְ ֵ ֥בי ַה ֶ ֽמּ ֶלְך׃‬ in the heart of the enemies of the king
The verb ‘they will fall’ (‫ )יִ ְפּל֑ וּ‬at the end of the pre-positioned second line appears to do
poetically-motivated double-duty.260 Thus as the royal army’s arrows rain down upon hostile
hearts, the affected enemy peoples correspondingly ‘drop’ beneath the king’s control (note
the corresponding verse/strophe-final climactic position of ‘the king’).
258
The tricolon of v. 8 is the longest verse of the psalm as well as its physical (lexical) midpoint,
viz. vv. 1-8: 77 words, vv. 9-18: 82 ‘words’. Often, as here, this location is often a point of thematic
prominence within a psalm. Note also the corresponding occurrences of the consequential conjunction
‘therefore’ (‫ל־כּ֤ן‬
ֵ ‫)ע‬
ַ at the beginning, middle, and ending of Ps. 45 (vv. 3b, 8b, and 18b).
259
In contrast, the asyndeton in the tricolon of v. 2 may convey a ‘sonorous’ vocal impression
(Goldingay 2007:56).
260
A similar thing occurs at the close of the next strophe in v. 10, where the verb that begins
colon B in the MT, ‘she stands’ (‫ )נִ ְצּ ָ ֥בה‬may be construed as applying also to the preceding verbless
line A (despite its plural subject, ‘daughters’; cf. Goldingay 2007:60; Craigie 1983:336-337).
120
2.3 Dynamic speech
This third poetic feature is closely related to ‘sonic effect’ (3.2). Thus, Psalm 45 psalm was,
like virtually all ancient formal and informal discourse, composed as well as transmitted aloud
(cf. Craigie 1983:339; Hilber 2009:357)—in the case of the Psalter also explicitly in the form
of direct [prayerful] speech, whether individual or communal in nature.261 God, or the LORD
(YHWH), was normally the primary addressee (in contrast to Ps. 45), while the psalmist
and/or the people of God were the usual speaker(s).
Such composition thus lends itself well to a functional (‘speech-act’) analysis: what
were the speakers doing through their words; what pragmatic goals were they seeking to
accomplish? In general, are the varied cola (poetic utterances) of a given psalm informative,
expressive, directive, evocative, eulogistic, relational, performative, and/or artistic in
nature?262 More specifically then, what vocalized communicative intention does a particular
colon (bicolon) embody or express, and what is the expected outcome or impact upon the
audience or addressee(s)? In short, ‘the three [speech] acts are “of saying” (locution), “in
saying” (illocution) and “by saying” (perlocution)’ (Briggs 2008:88, original italics).
What can a speech-act (SA) study tell us about Psalm 45? First of all, we note that
related sets of SAs tend to group themselves according to the stanzaic and strophic structure
of the text that was outlined above (for two classificatory systems, see Wendland 2011:44, 46;
cf. Levine 1995:95). Thus, the psalm leads off with a short strophe consisting of several
combined SAs of expressive exaltation and authorial self-affirmation (v. 2).263 The second
strophe of stanza one then consists of a sequence of SAs that generally praise and exhort the
king/groom in terms of his royal character: commendation, encouragement, and especially
261
As the German translator Martin Buber correctly emphasized: ‘The Bible is a product of
living recitation, and is intended for living recitation; that speech is its nature, and the written text is
only a form for preserving it’ (from ‘A Translation of the Bible’ [1927], cited in Weissbort and
Eysteinsson 2006:320).
262
Gerstenberger outlines the structure of Ps. 45 in terms of these functional elements
(1988:186).
263
From a secular perspective, such functional ‘self-presentation’ ‘is necessary whenever a
singer performs before an audience, whose benevolence is vital to him’; cf. medieval minstrels
(Gerstenberger 1988:187).
121
an appeal to valor in the face of Israel’s enemies (vv. 3–6). This strophe sounds rather
militaristic in tone as the psalmist impressively focuses his verbal spotlight upon the royal
warrior being displayed on stage:264
He addresses the king directly with verses that sound appropriate to a pre-battle
liturgy anticipating victory and that highlight the military accoutrement of this
supreme warrior (Broyles 1999:206).
This leads to the third strophe (vv. 7–10), which begins by describing the king with regard to
his benevolent, ‘righteous’ governance, but then subtly shifts to a portrayal of the extravagant
physical setting of the royal wedding.
Stanza two begins by offering fatherly counsel, advice, and encouragement to the
future bride (1st strophe, vv. 11–13),265 followed by a more physical description of her
beautiful person and blissful surroundings (2nd strophe, vv. 14–16). The psalmist interjects
himself again at the end of his song (vv. 17–18) with a benediction cum prediction concerning
future progeny, coupled with a vow to perpetuate the king’s glorious memory forever through
his poetry. This is an instance of what Patterson calls ‘rhetorical parallelism that fits the stated
needs of lyricism for progression’ (1985:31)—a poem with a particular purpose in mind.
In any such classificatory scheme there is of course a considerable amount of

interlocking and overlapping, as one SA meshes with or is molded into another. The drama
of direct discourse becomes a challenge for translators as they must seek to convey the same,
or similar pragmatic implications—naturally—in their language. Especially difficult are those
cases of convergence, where a single utterance (colon or bicolon) appears to express two or
more SAs at once, but on different levels of interpretation. For example, a strong case can be
made that the apparent (surface level) descriptive and/or predictive praise of the king in vv.
264
‘From loveliness and grace, the poem quickly moves on to military might, something the
kings of the ancient Near East proverbially needed to exercise in order to maintain securely the
grandeur of their courts even in times of peace, such as the wedding occasion of this poem’ (Alter
2007:159). Longman feels that the ‘divine warrior’ motif, which first occurs in Exod. 15:4, is a ‘theme
that ties together many of the writings of the Old Testament’ (1993:105).
265
These words of admonition to the bride (esp. vv. 11-12) may have formed part of the
ritualized bridal instructions delivered as part of the wedding ceremony (Gerstenberger 1988:188).
122
7-8 is simultaneously also an implicit (deep level) exhortation for him to continue to reflect
the godly attributes of ‘justice’ (perhaps ‘truth’ and ‘humility’ ‫ ַענְ וָ ה‬as well, cf. v. 5; Craigie
1983:336; Perowne 1878:376).266 Such godly behavior must be manifested throughout his
current rule for the good of his subjects (the people of God, implied in v. 3) and for the sake
of his future reputation (v. 18b).
2.4 Figurative language
‘Images are the glory, perhaps the essence of poetry’ (Schoekel 1988:95)—intended to
stimulate the imagination and to generate interest and allure. In terms of its genre, or literary
type, Psalm 45 may be classified as a ‘royal psalm’ (Craigie 1983:337; Wendland 2002:51) that
functions more specifically as an ‘epithalamium’ – a marriage hymn and, especially if a public
choral arrangement were involved, also as an ‘encomium’ – a song of communal praise (Alter
2007:17; Gerstenberger 1988:189; Preminger & Brogan 1993:332, 378; Ryken 1992:273, 293;)
in honor of the king, the ‘mighty one’ (‫)גִּ בּוֹר‬, an attribute also appropriate for God (Ps. 24:8,
120:4). The elaborate, albeit rather cryptic (to scholars today!) Hebrew title ( ‫ַל ְמנַ ֵצּ ַ֣ח ַעל־ ֭שׁ ֹ ַשׁנִּ ים‬
‫) ִל ְבנֵ י־ ֑קֹ ַרח ַ֝מ ְשׂ ִ֗כּיל‬, with its reference to ‘lilies’ (as frequently in the Song of Songs, e.g., 2:1),
seems to refer to ‘a popular tune about romantic love’ (Terrien 2003:365), or contrastively, to
a ‘hymn tune’ (Bullock 2001:30)—in any case, a musical composition of some sort (Craigie
1983:264, 336), which would certainly be suitable for ‘a love song’ (‫)שׁיר יְ ִדי ֽד ֹת‬
֣ ִ (v. 1). Such a
lovely lyric typically features a diversity of picturesque figurative language (especially
metaphor) and related imagery that pertains to the personage(s) being praised.267 This song-
poem thus ‘ties together in a single bunch of many colored flowers a variety of essential motifs
266
Similarly, the apparent authorial wish of v. 17 may actually serve as a more substantive
divine promise, declared by the ‘inspired’ singer (v. 2) (Gerstenberger 1988:189).
267
In Hebrew poetry generally, ‘an abundant use of various figures of speech enhanced its
liveliness, creativity, and depth of meaning’ (Wilson 1989:141) in relation to the topic at hand.
Furthermore, ‘[t]he nature of Hebrew poetry is to paint pictures with broad strokes of the brush. The
Hebrew authors of Scripture were not so much interested in the fine details and harmonious pattern
of what they painted as they were in the picture as a whole’ (ibid.:145). A good example of this the
overall ‘wedding scenario’ suggestively sketched in broad, metonymic strokes by the author(s) of
Psalm 45. And yet, the descriptive evocations can also be quite specific in nature, such as those ‘sharp
arrows that pierce through the hearts of the king’s enemies’ (v. 6).
123
and thoughts associated with the [marriage] feast’ (Weiser 1962:362); it thereby depicts the
various ceremonies that accompanied the several distinct stages of an ancient Jewish
traditional wedding celebration.
Ryken et.al. set the scene well in what amounts to a semi-narrative description of the
festive communal, dual processional event, a scenario that abounds in ‘extravagant joy and
sensory richness’ (1996:938)—naturally with jubilant sounds implied:
The poet sets the tone at the outset when he asserts, ‘My heart overflows with a goodly
theme’ (Ps 45:1, RSV). The couple stands at the center of the event, and both appear
at their best. The king is ‘fairest of the sons of men’ (Ps 45:2, RSV), girded with his
sword in ‘glory and majesty’ (Ps 45:3). He is anointed with ‘the oil of gladness’, and
his robes ‘are all fragrant with myrrh and aloes and cassia’ (Ps 45:7-8, RSV). The
princess, for her part, ‘is decked in her chamber with gold-woven robes’ (Ps 45:13) and
then led to the king ‘in many robes . . . with her virgin companions’ (Ps 45:14, RSV).
The whole procession enters the palace of the king ‘with joy and gladness’ (Ps 45:15,
RSV).268
But although two persons are naturally center-stage in this wedding scene, the focus is
undoubtedly fixed upon the regal groom, who is highlighted even when his bride is being
described (e.g., vv. 12, 14–15). This picturesque song includes not only rich nuptial images,
but it also incorporates, as befits a royal personage, figurative references to the king’s
outstanding gifts of speech (v. 3b), fighting prowess (vv. 4–5), and ruling capabilities (vv. 7–
8a). It is important to note too that, while the ‘imagery’ of Psalm 45 is patently visual in
nature, it further appeals to the sense of smell (e.g., ‘myrrh and aloes and cassia’, v. 9a) and
sound as well (e.g., ‘strings’, v. 9b).
2.5 Contextual reference
Every text automatically comes with a context—verbal (intra- and intertextual) and nonverbal
(sociocultural and environmental)—which is necessary for proper audience understanding
268
The custom of the husband-to-be awaiting his bride for the imminent wedding ceremony
(as depicted in Ps. 45) is also reflected in ‘the Jewish marriage service’ (Wilson 1989:204).
124
and appreciation.269 Even the author’s opening self-reference as being a ‘scribe’ (‫)סוֹפר‬
ֵ֬ cannot
be taken for granted or interpreted anachronistically; thus, they were not mere copyists, but
‘[s]cribes and sages were the official storytellers of the kings of the Ancient Near East’ (Walton
et. al. 2000:528).270 Some commentators take space to speculate about the historical life-
setting of Psalm 45 and who might have been the king and bride concerned, for example:
Solomon and the daughter, either of Pharaoh or of Hiram, king of Tyre; Ahab and Jezebel
(which would be most ironic in view of the psalm’s later typological hermeneutical history,
but see Terrien 2003:367–368 and Holladay 1996:28); Joram, son of Jehoshaphat, and
Athaliah (also ironic), or most far-fetched, some later Persian king and his wife (or one of
them) (Perowne 1878:367).271 But truth be told, we cannot know for sure, and ‘all that can be
safely said is that [this psalm] originated during the existence of the [Jewish] monarchy and
was probably used [officially] at several royal weddings’ (McCann 1996:861, words in brackets
added; cf. Day 1992:93). However, it is most probable that Psalm 45 was also used
‘unofficially’ and in a transferred sense, that is, liturgically for Temple worship, especially in
later years to celebrate the covenantal relationship between Yahweh and his chosen people.272
As our preceding survey of the psalm’s figurative language would suggest, an

awareness of the text’s real or assumed extralinguistic setting is a crucial factor in its
269
‘[I]n order to understand Psalm 45 we need to know something about ancient betrothal
and wedding customs’ (Boice 1996:381; these are then summarized, ibid.:381-382).
270
Walton continues: ‘Their command of the traditions and their association with the royal
bureaucracy made it appropriate that they perform songs and stories that remind the people of the
king’s role to feed and protect the land as God’s political agent’ (ibid.:528). Traditional royal ‘praise’
poets and griots perform an analogous role in many African societies.
271
With reference to the word ‫ ֵשׁ ַג֥ל‬in v. 10b, the NET notes: ‘This rare Hebrew noun
apparently refers to the king's bride, who will soon be queen (see Ne 2:6).
2:6 The Aramaic cognate is
used of royal wives in Da 5:2- 5:23 Alter adds: ‘The Hebrew shegal is probably an Akkadian
5:2-3, Da 5:23.’
loan-word. Other features of the poem’s style are also archaic, and some commentators, given the
wedding with a Tyrian princess (see verse 13), have been tempted to see the psalm as a product of
Solomon’s court’ (2007:160).
272
Westermann wrongly concludes that Psalm 45 was ‘really a completely secular song, which
originally had nothing to do with worship’ (1980:107).
125
contemporary interpretation.273 Such imagery, whether expressed in greater or lesser
explicitness, always evokes a richer, often less obvious ‘cognitive environment’ than more
prosaic discourse. Thus, precise knowledge of the Ancient Near Eastern (ANE) situational
background is essential to reveal this added semantic and connotative significance, hence also
to provide some vital contextually-based hermeneutical insight. For example, the customs
referred to in verses 8 and 9 (anointing the head, wearing perfumed, gold-embroidered robes,
festive stringed music, etc.) could be applied to both a wedding ceremony and also the
coronation of a king, two public events that were often combined (Walton et. al. 2000:528).
Another important perspective affects the analysis and hence also the translation of
verse 13. ‘A daughter of Tyre’ (‫ ) ַ ֽבת־ ֨צֹר‬might refer to a particular person—some prominent
woman (perhaps even the queen herself!) from the Phoenician seaport city of Tyre—but it is
more likely a figurative reference to the affluent merchant inhabitants of that location, which
‘was associated with the epitome of wealth (Ezek. 27:1-33)’ (Hilber 2009:359; cf. Goldingay
2007:61; Walton et.al. 2000:529; NET study notes).
The psalm’s prevailing frame of reference involving ANE marriage ceremonies and
associated family traditions is helpful also for understanding the structure as well as the
message of Psalm 45. As suggested earlier, this psalm consists of a narrator frame that opens
(v. 1) and closes (vv. 17–18) the text as a whole. In between we have two principal poetic units
(‘stanzas’) that present a quasi-narrative discourse featuring two central characters, first the
groom and then his bride. These stanzas correspond to the two ritualized journeys connected
with a typical Jewish wedding celebration: the groom must first travel with his company to
the bride’s residence (3–10), and then with the addition of her entourage they all move in the
273
‘This psalm contains language and detail suitable for a marriage anthem or the anointing
of a king (Ps 133:2). In the Ancient Near East these two were combined in the sacred marriage ritual
described…’ (Walton et. al. 2000:528). The scene envisioned includes its general setting, for example,
the ‘ivory palaces’ (v. 9), which refers to ‘the lavish use of ivory to decorate furniture and wall panels…
The wealth of a nation might well be displayed in the king’s palace—a sign of power and prestige for
the state’ (ibid.:loc.cit.; cf. Gerstenberger 1988:188; Amos 3:15).
126
opposite direction back to the groom’s home (11–16).274 In the first stanza we hear effusive
praise extolling the virtues of the groom—how fitting a person he is (or should be!) in terms
of character and capacity (performance).275 The second stanza then features a contrast in both
content and tone as the bride-to-be is paternally advised (perhaps with some maternal
influence as well), in sapiential fashion (cf. Proverbs 1:8, 3:1, 4:1, 5:1), to adopt a completely
new outlook on life (v. 11). This would be in customary submission to her husband, yes (v.
12), but also in the prospect of an optimistic future (v. 16) that promised both public respect
(v. 13) and considerable domestic responsibility (implied in v. 17).276
2.6 ‘Semantic density’
The device of ‘semantic density’ is characteristic of the typical ‘terseness’, or formal-semantic

condensation, of poetry.277 It specifically applies to words or phrases that arguably have more
than one compatible sense or reference in a given cotextual setting (Wendland 1990:302–
304). The qualifier ‘arguably’ is necessary because commentators may disagree on whether or
not this literary device is actually present in the biblical text, and whether deliberate authorial
intention can be demonstrated in such usage, as distinct from its being a product of the
history of Scripture interpretation and/or contemporary scholarly consensus. Such functional
semantic ambiguity is a typical characteristic of most, if not all lyrical traditions, and it
certainly plays a central role in the poetic books of the Hebrew Bible, especially in texts that
are more expressive and panegyric in nature, such as the Canticles and Psalm 45.
We may have an example of such lexical ‘density’ at the very onset of the psalm, as the
composer describes himself as a ‘scribe’ who is ‫מ ִ ֽהיר‬.
ָ This adjective, derived from the verb
274
‘Wedding processions that mark the transition into another sphere of life are customary in
many parts of the world. . . . The text [of Ps. 45] reflects this “rite of passage”’ (Gerstenberger
1988:188-189).
275
‘This text also supports the view that the royal psalms speak of the royal ideal in ancient
Israel, an ideal often unfulfilled’ (Bellinger 1990:114).
276
We find the corresponding didactic-hortatory custom involving the bride and groom in
Chewa traditional marriage ceremonies.
277
In the opinion of Adele Berlin, ‘[i]t is not parallelism per se, but the predominance of
parallelism with terseness, which marks the poetic expression of the Bible’ (1985:5).
127
‘hasten’ (‫)מהר‬, could refer to the writer’s actual quickness of composition and/or,
metonymically, to his artistic ‘expertise’ in doing so, as in the case of Ezra; cf. 7:6 (cf. Harman
2011:366). The ‘swiftness’ of the author’s skill (v. 2) would then contrast with the potentially
long ‘duration’ of his song’s panegyric message (v. 18).278 On the other hand, the mention of
‘tongue’ in the third colon (v. 2) might also indicate that the term ‘scribe’ (‫)סוֹפר‬
ֵ֬ is to be taken
figuratively and the reference made (in addition) to his manner of oral delivery, ‘whose words
are fluent and mellifluous’ (Goldingay 2007:56).
Along with the abundance of emblematic speech, already noted, hyperbolic

exaggeration appears to be an important poetic element in this psalm—that is, if a human
personage, even some prominent royal figure (or dynasty), is being so greatly lauded, for
example, in the case of statements like ‘God has blessed you forever’ (‫עוֹלם‬
ֽ ָ ‫ֹלהים ְל‬
֣ ִ ‫ ) ֵ ֽבּ ַר ְכָך֖ ֱא‬in v.
3b, or ‘your throne, O God, will last for ever and ever’ (‫עוֹל֣ם וָ ֶ ֑עד‬
ָ ‫ֹלהים‬
ִ ‫)כּ ְס ֲאָך֣ ֭ ֱא‬
ִ in v. 7a (cf.
18b).279 Furthermore, the king is described at times with ‘characteristics normally reserved
278
‘Etymologically “quick,” but Ethiopic suggests “expert’…which makes better sense esp. in
Ezra 7:6; Prov. 22:29’ (Goldingay 2007:52).
279
‘Suddenly the psalmist looks beyond the immediate occupant of the throne of David to the
kingly glory of the messianic ruler. This is similar to the way in which Isaiah inserts direct address to
“Immanuel” into a passage that is dealing with the impending Assyrian invasion (Isa. 8:8)’ (Harman
2011:367)
Alter translates the latter text somewhat awkwardly as ‘Your throne of God is forevermore’
since he feels that ‘it would be anomalous to have an address to God in the middle of the poem because
the entire psalm is directed to the king or to his bride’ (2007:159). However, the deliberately
ambiguous vocative ‘O god [king]’ might also be interpreted as another subtle literary-rhetorical
device which acts as a hermeneutical key denoting the secondary divine personage (‘O God [King
YHWH]’) that underlies the overt royal referent of this psalm. Broyles suggests that the change of
addressee at the onset of v. 7 with the unexpected reference to ‘God’ may indicate a typical psalmic
liturgical turn: ‘If we were to hear [Ps. 45] performed, it may have been obvious [that] these words
were directed to God above, not to the king’ (1999:207).
The NET text note comments: ‘Rather than taking the statement at face value, many prefer to
emend the text because the concept of deifying the earthly king is foreign to ancient Israelite thinking
(cf. NEB: “your throne is like God's throne, eternal”). However, it is preferable to retain the text and
take this statement as another instance of the royal hyperbole that permeates the royal psalms. Because
the Davidic king is God's vice-regent on earth, the psalmist addresses him as if he were God incarnate.
128
for God, namely, “splendor” and “majesty” (v 4; cf. Ps. 96:6)’ (Craigie 1983:339; cf. also vv.
5–6).280 In the wider context of Scripture then (see ‘intertextuality’ below), early Jewish (and
later Christian) commentators began to construe the language of these texts as exceeding
‘poetic license’ and thus having divine or messianic typological significance (Craghan
1967:91; Hilber 2009:378; Mays 1994:182; McCann 1996:863; Whybray 1996:91).281
A distinct lexical-semantic feature of Psalm 45 that supports this broader interpretive
perspective is its use of the term ‘God’ (‫ֹלהים‬
֣ ִ ‫)א‬
ֱ to refer figuratively to the king, but within a
wider (psalmic-canonical) hermeneutical framework also to its literal divine referent (v. 7a).
Such conceptually ‘dense’ nominal usage is coupled with the associated second person (m.)
singular pronoun ‘you/your’ in referential cotexts where, humanly speaking and hyperbole
aside, it does not quite belong, for example: ‘the nations [i.e., the whole wide world!] will
praise you forever and ever’ (‫֝הוֹדָך ְלע ָ ֹ֥לם וָ ֶ ֽעד‬ ַ (v. 18; cf. also vv. 3, 7–8).282 This semantic
֗ ֻ ‫)ע ִ ֥מּים ְי‬
overlay comes to the fore in the conjoined expression ‘God, your God’ (‫ֹלהיָך‬
֣ ִ ‫ ) ֱא‬in v. 8b:
‘The person designated as “God” in the previous verse is now marked off from him by the
God energizes the king for battle and accomplishes justice through him.’ Broyles proposes that vv. 7-
8 ‘thus make the same point as the one made in the longer liturgy of Ps. 89, namely that Yahweh’s
kingship is the basis for David’s…’ (1999:207; on the exegetical difficulties of this verse, see Goldingay
2007:53). The LXX supports the reading of the MT: ὁ θρόνος σου, ὁ θεός, εἰς τὸν αἰῶνα τοῦ αἰῶνος…
Another option is to follow Dahood’s proposed emendation to kis’àká ‘[God] has enthroned
you’ (Holladay 1996:125), which provides a close parallel (and an instance of structural anaphora)
with ‘God has blessed you forever’ in v. 3b. The potential Messianic implication would nevertheless
be the same.
280
It would be a mistake, however, to conclude that the people of Israel viewed their kings as being
endowed with ‘divine status’ (Gillingham 1994:221).
281
‘Either we have here a piece of poetical exaggeration far beyond the limits of poetic license,
or a “greater than Solomon is here”’ (Alexander Maclaren, cited in Boice 1996:381).
282
With reference to v. 18a, Alter comments: ‘Let me make your name heard. Though some
interpreters understand “you” to refer to God and read this final verse as a stock psalmodic ending, it
is more plausible to see it as a conclusion of the address to the king. This would be in keeping with
our understanding of verse 7, “Your throne of (sic) God is forevermore,” as well as with “Therefore
has God blessed you forever” in verse 3’ (2007:161). However, my point is this: why can this not be
rather a ‘both-and’ interpretation, overtly designating the ‘king’ of Israel, but also having a secondary,
canonically-shaped reference to the great ‘King’, Yahweh, the Lord of all ‘generations’ and ‘nations’?
This too would then be an instance of hermeneutical ‘semantic density’ (cf. 3.6).
129
reference to “your God”’ (Harman 2011:368). ‘Thus, vv. 6-7 [7-8] may use a pun to make the
point that the enthroned king, while a “mighty ruler,” must acknowledge [the rule of] his
God above’ (Broyles 1999:207).283
2.7 Pervasive intertextuality284

As suggested above, the surrounding cotextual setting of the Psalter itself serves to stimulate
and to shape our understanding of Psalm 45 with regard to its literal as well as any deeper
theological significance. The various individual psalms, though probably composed
separately, were normally not meant to be silently read and interpreted in isolation. Rather,
they were gathered into smaller compositional groups (e.g., the ‘psalms of ascent’—Pss. 120-
134), later into edited ‘books’ (I-V), and finally the Psalms-scroll as a whole so that they might
be sung, recited, chanted, or otherwise articulated—whether in familial meditative (but
audible!) devotion and prayer—or more frequently, during public worship and communal
liturgical expression. The memory of the entire psalmic corpus acted metonymically as a
broad conceptual point of reference and an associated hermeneutical guide for the community
of faith.285 This reflective process is well illustrated in the book of Hebrews with respect to
the Psalter and, in particular, the passage under consideration: Ps. 45:7–8 > Heb. 1:8–9 (with
an emphasis on the text’s ‘spoken’ orality in Heb. 1:6, 2:12, 3:7, 3:15, 4:3, and so on).
283
Alter suggests that ‘this odd phrasing is the result of an editorial substitution of ’elohim
’elohekha for YHWH ’elohekha’ (2007:158), which would not be an unexpected occurrence in the so-
called ‘Elohistic Psalter’ (Pss. 42-83) (Broyles 1999:207; cf. Bellinger 1990:11). Whether this is true or
not (one cannot really be as certain as Alter about such textual emendations), it does not change the
interpretation being proposed here.
284
For the purposes of this essay, we might adopt the following working definition:
‘Intertextuality relates various “texts” to one another in a way that is not concerned with issues of
priority or dependence. Instead, it is concerned with the way a text acquires different meanings when
it is situated in relationship to other texts’ (Bowen 2003:54).
285
This is analogous to the conceptual relationship viewed as contextualizing and connecting
one narrative or poem with the entire oral tradition in which it arose and to which it meaningfully
contributes, an analytical notion that was popularized by the early French Structuralist approach to
‘myth’ (e.g., Lévi-Strauss 1972:174-184).
130
The most immediate cotextual grouping for Psalm 45 is that ‘of/for/by the sons of
ִ a distinct corpus that is divided between Books II (Pss. 42–49) and III (Pss.
Korah’ (‫)ל ְבנֵ י־ ֑קֹ ַרח‬,
84–88).286 Psalm 45 is most closely related thematically to the Korahite psalms that
immediately follow it: ‘The psalm insists on the close relationship between God and his king
and prepares the way for the great affirmations about the reign of God that we find in Psalms
46—48’ (Firth 2008:27; cf. Patterson 1985:32). Psalm 48 is especially relevant, as we shall see.
There are a number of other psalms having an explicit reference to the king (or
King)—the so-called ‘royal psalms’, which according to Gunkel include at least the following:
‘Psalms 2; 18; 20; 21; 45; 72; 89; 101; 110; 132; 144:1–11’ (Tucker 2008:584; cf. Futato
2008:181; Gerstenberger 1988:188).287 Psalm 72, which is considered ‘Messianic’ by Jews and
Christians alike (Wilson 1989:182), manifests a number of important correspondences with
Psalm 45—for example, the ideal king of Israel defending and delivering his people (72:4; cf.
286
‘The Korahites, like the Asaphites, are described in the Books of Chronicles as Levitical
singers established by David to serve in the house of Yahweh (1 Chr. 6.31-37; 16.4-7)’ (Wallace
2009:92). Wallace endeavors to show certain semantic-thematic connections between the Korahite
collection and King David: ‘The reference to anointing and victory reminds of Psalm 2, while his
handsome features recall the description of David in 1 Sam. 16.12’ (ibid.:94).
287
Bowen explores Ps. 45 in intertextual relation to several familiar OT texts from a ‘feminist’
perspective, e.g., Abigail (1 Sm. 25; ‘[a] common vocabulary binds the named and unnamed brides
together’, 2003:57), Esther, the unfaithful wife of Ezek. 16, the assertive young woman of the SoS,
and Jephthah’s daughter (Judg. 11). Bowen recognizes, for example, that ‘[l]ike Ezekiel 16, psalm 45
can be read as both a tale of human marriage as well as a story of divine-human marriage’ (ibid.:66),
but unfortunately (in my opinion) concludes that ‘[t]he problem with Psalm 45 is that the gendered
world it wishes for is the very world that feminists critique’ (ibid.:71).
131
45:4-6)288 and ruling over them in ‘justice’ and ‘righteousness’ (72:2-3; cf. 45:7-8).289 The
notion of God’s kingship may well be regarded as the ‘root metaphor’ of the entire Psalter:
‘All subsequent affirmations about the work and activity of Yahweh are predicated upon the
assumption that Yahweh reigns as king’ (Tucker 2008:591; cf. Bullock 2001:62). In short, ‘the
psalms are the poetry of the reign of the LORD’ (Mays 1994:30).
Such a prevailing intertextual resonance involving this preeminent theme of divine

kingship was (and is) bound to affect the understanding of Psalm 45 as it was transmitted,
and contextually reinterpreted, both orally and in writing over the ages (Miller 1986:12-13).
This would be a natural historical hermeneutical development within a long liturgical
tradition, despite the fact that this divine perspective was undoubtedly not within the
cognitive frame of reference of its original composer and setting (Gerstenberger 1988:189-
190). There is thus a marriage of hermeneutical horizons in this distinctive wedding hymn,
and we see (hear) and mentally merge many thematic parallels like the following:
The poet proclaims of his earthly master [the king], ‘I commemorate your fame
of all generations, / so people will praise you forever and ever’ (Ps. 45:18), just
as the psalmist praises God, his heavenly lord and master: ‘Every day will I
bless You / and praise Your name forever and ever’ (145:2) (Levine 1995:93–
94; words in the brackets added).
288
In the ANE, a king was ipso facto also a mighty Savior of his subjects (Wilson 1989:181).
Commemorating the wonderful ‘name’ of the king ‘forever’ is also enjoined at the close of both psalms
(72:17; cf. 45:18). Psalm 72 concludes Book II of the Psalter (a printed collection of hymns), while
Psalm 45 occurs near its beginning—the significance being that ‘[t]he placement of royal psalms…at
the “seams” of the Psalter appears to be intentional’ (McCann 2012:281). Thus, ‘[v]erses 12-14 of
Psalm 72 amount to something like a job description for the earthly king in his role as the agent
entrusted with the enactment and embodiment of God’s will’ (ibid.:286)—a role that is clearly
celebrated in Psalm 45.
289
‘[T]he words “justice” and “righteousness” function as a summary of what God wills in and
for the world (torah)’ (McCann 2012:285)—cp. 45:7-8 and 72:1. ‘To “love justice” and to “hate evil” is
a standard requirement for everybody (Amos 5:15; Mic 3:2; Isa 61:8; Pss 5:5-6; 37:27; 52:5…) but
especially for the king (Pss 72:4; 101:2-8)’ (Gerstenberger 1988:188).
132
In an interesting reversal of the anthropopathic theme of ‘divine suffering in the
Psalter’ as documented by Gericke (2011), we may have here in Psalm 45 (among others) a
glimpse of manifold ‘divine rejoicing’. Such pervasive happiness is elicited, as it were, by the
acclamation, honor, devotion, and testimony of God’s people (45:2, 4-6, 7, 9, 12)—in the end
(v. 18), a universal mixed multitude embracing members of every epoch, nation, culture, and
language (Rev. 7:9–10).290 To be sure, this is certainly a ‘noble theme’ concerning a most
praiseworthy royal personage, which therefore requires the expert ‘tongue’ and ‘pen’ of a
‘skilled’ translator—and songster!—in order to ‘perpetuate [his] memory through all
generations’ (Ps. 45:2, 18, NIV).
290
As enjoined also in Ps. 45:18, ‘[t]he songs of praise regularly invite a world-encompassing
congregation to praise God’ (McCann 2012:288)—a call that occasionally extends to all creation (e.g.,
Ps. 98:7-9).
133
9)
1. Hebrew Text Analysis and Notes
The Hebrew text below is paralleled by the NET version in English along with many of
this version’s helpful notes (https://net.bible.org/#!bible/Psalms+51:13 ), occasionally
adapted or supplemented and accompanied by additional exegetical observations as
needed.291 Colored shading is used to highlight selected phonological correspondences or
reiterated key terms, and we note that the psalm as a whole features a great deal of
lexical repetition (for a summary, see Goldingay 2007:124).
NEW ENGLISH TRANSLATION (NET) HEBREW MT

1 For the music director; a psalm of David, 1
‫ ַל ְמנַ ֵ֗צּ ַח ִמזְ ֥מוֹר ְל ָדִ ֽוד׃‬1
written when Nathan the prophet confronted him
‫בוֹא־א ָליו נָ ָ ֣תן ַהנָּ ִ ֑ביא‬
ֵ֭ ‫ ְ ֽבּ‬2
after David’s affair with Bathsheba. 2
‫ת־שׁ ַבע׃‬
ֽ ָ ‫־בּ‬
ַ ‫ַ ֽכּ ֲא ֶשׁר־ ָ֗֝בּא ֶאל‬
Have mercy on me, O God, because of 3
your loyal
love! ‫ֹלהים ְכּ ַח ְס ֶ ֑דָּך‬
֣ ִ ‫ ָח ֵנּ֣נִ י ֱא‬3
Because of your great compassion,4 wipe away my
rebellious acts! 5 ‫ְכּ ֥ר ֹב ַ ֝ר ֲח ֶ֗מיָך ְמ ֵ ֣חה ְפ ָשׁ ָ ֽעי׃‬
2 Wash away my wrongdoing! 6
‫ ֶ֭ה ֶ ֯רבה ַכּ ְבּ ֵ ֣סנִ י ֵמ ֲעוֹ ִנ֑י‬4
Cleanse me of my sin! 7
‫אתי ַט ֲה ֵ ֽרנִ י׃‬
֥ ִ ‫וּֽ ֵמ ַח ָטּ‬
1 Psalm 51. The psalmist confesses his sinfulness to Another option is that the psalmist is
God and begs for forgiveness and a transformation comparing forgiveness to erasing or blotting
of his inner character. According to the psalm out names from a register (see Exod 32:32-
superscription, David offered this prayer when 33). In this case one might translate, “erase
Nathan confronted him with his sin following the all record of my rebellious acts.”
king’s affair with Bathsheba (see 2 Sam 11-12). 6 Lit. “Thoroughly wash me from my
Some scholars suggest that the final two verses of wrongdoing.”

the psalm do not fit this situation, for they seem to 7 In vv. 1b-2, along with the series of pleas in
assume the walls of Jerusalem have been destroyed the imperative voice, the psalmist uses three
and that the sacrificial system has been temporarily different words to emphasize the multi-
suspended. Thus they propose that these verses are faceted character and degree of his sin.
an addition to the psalm made during the period of Whatever one wants to call it (“rebellious
exile following the fall of Jerusalem in 586 b.c. The acts,” “wrongdoing,” “sin”), he has done it
exiles could relate to David’s experience, for they, and stands morally polluted in God’s sight.
like him, and had been forced to confront their sin. The same three words appear in Exod 34:7,
They appropriated David’s ancient prayer and which emphasizes that, in keeping with his
gracious covenant, God is willing to forgive
sin in all of its many dimensions (cf. also Ps
291
Several non-relevant NET notes have been deleted.
134
applied it to their own circumstances.292 However, 51:5, 7, 9, 13). In v. 2 the psalmist uses a
these verses could also be interpreted as David’s chiastic construction in comparing
prayer on behalf of his city—that his gross sin with forgiveness and restoration to physical
Bathsheba (cf. the psalm’s superscript) would not cleansing (V-cleansing + from-sin // from-
bring the Lord’s punitive wrath down upon his sin + V-cleansing). Perhaps he likens
people as well. spiritual cleansing to the purification rites
2 Lit. “a psalm by David, when Nathan the prophet of priestly law, which are referred to at the
came to him when he had gone to Bathsheba.” The end of the psalm (vv. 16-19).
correspondence here in the two “comings” (lit. “Words for sin come twelve times in vv. 1-9
Heb.) is both rhetorically and theologically and twice in vv. 10-19; God is named once in
significant. vv. 1-9 and six times in vv. 10-19. Sin gives
3 Or “according to.” way to God; with confession, sin gives way
4 We note the build-up of key covenantal terms; the to God’s presence” (Goldingay 2007:14). For
LORD’s mercy must restore fellowship with those a listing of the correspondences of Psalm
who sincerely repent of their transgressions. 51’s concern for sinfulness and the need for
5 Traditionally, “blot out my transgressions.” personal confession with reference to the
Because of the reference to washing and cleansing prophetic literature, see Tate 1990:9-10. See
in the following verse, it is likely that the psalmist is also Tate for a detailed lexical analysis of the
comparing forgiveness to wiping an object clean various words for “sin” in vv. 1-2 (1990:13-
(note the use of the verb ‫ ָמ ָחה‬in the sense of “wipe 16).
clean; dry” in 2 Kgs 21:13; Prov 30:20; Isa 25:8).
3 For I am aware of 8 my rebellious acts;

‫ ִ ֽכּי־ ְ ֭פ ָשׁ ַעי ֲא ִנ֣י ֵא ָ ֑דע‬5
I am forever conscious of my sin. 9
‫אתי נֶ גְ ִ ֣דּי ָת ִ ֽמיד׃‬
֖ ִ ‫וְ ַח ָטּ‬
4 Against you – you above all 10 – I have sinned;
‫את֮י‬
ִ ‫ ְלָך֤ ְל ַב ְדּ ָ֨ך׀ ָח ָט‬6
I have done what is evil in your sight.
‫יתי‬
ִ ‫וְ ָה ַ ֥רע ְבּ ֵע ֗ ֶיניָך ֫ ָע ִ ֥שׂ‬
So 11 you are just when you confront me; 12
‫ְ ֭ל ַמ ַען ִתּ ְצ ַ ֥דּק ְבּ ָד ְב ֶ ֗רָך‬
you are right when you condemn me. 13
‫ִתּזְ ֶ ֥כּה ְב ָשׁ ְפ ֶ ֽטָך׃‬
5 Look, I was guilty of sin from birth,
‫חוֹל ְ֑ל ִתּי‬
ָ ‫־בּ ָעו֥ וֹן‬
ְ ‫ ֵהן‬7
a sinner the moment my mother conceived me. 14
‫וּ ְ֝ב ֵ֗ח ְטא ֶי ֱֽח ַ ֥מ ְתנִ י ִא ִ ֽמּי׃‬
6 Look, 15 you desire 16 integrity in the inner man; 17
‫־א ֶמת ָח ַ ֣פ ְצ ָתּ ַב ֻטּ ֑חוֹת‬
ֱ ֭ ‫ ֵהן‬8
you want me to possess wisdom. 18
‫יענִ י׃‬
ֽ ֵ ‫תוֹד‬
ִ ‫וּ ְ֝ב ָס ֻ֗תם ָח ְכ ָ ֥מה‬
292
I would support the contrary opinion regarding this issue of textual “addition,” see DeClaissé et.al.
2014:457; cf. also Goldingay 2007:125, 138-139. In agreement with those who conclude that vv. 18-19
“are a later addition” are Robert G. Bratcher & Wm. D. Reyburn (B&R), A Handbook on Psalms, New York:
United Bible Societies, 1991:467 (also Tate 1990:29).
135
8 Lit. “know,” i.e., acknowledge, confess (B&R 14 Heb “Look [or ‘Yes!’], in wrongdoing I was
1991:469); the initial explanatory ‫ ִ ֽכּי‬may have also brought forth, and in sin my mother
conceived me.” The prefixed verbal form in
an asseverative force here: “For to be sure…” The
the second line is probably a preterite
psalmist’s petitions of vv. 1-2 are supported now by
his reasons/motives for God’s response in vv. 3-6. (without vav [‫ ]ו‬consecutive), stating a
9 Lit. “and my sin [is] in front of me continually.” simple historical fact. The psalmist is not
The fronted ‫ ְ ֭פ ָשׁ ַעי‬is an instance of N-constituent suggesting that he was conceived through
an inappropriate sexual relationship … The
focus—a foregrounding device that is prominent
psalmist’s point is that he has been a sinner
throughout this entire strophe (vv. 3-6).
10 Lit. “only you” (note the alliteration and the from the very moment his personal exist-
repeated personal pronouns: I—you), as if the ence began. By going back beyond the time
psalmist had sinned exclusively against God and no of birth to the moment of conception, the
other (since he is so focused in his appeal to God psalmist makes his point more emphatically
in the second line than in the first. “What
alone). Since the Hebrew verb ‫“( ָח ָטא‬to sin”) is used the psalmist is saying is that he (and so, by
elsewhere of sinful acts against people (see BDB implication, everyone) is a sinner; sin is
306 s. v. 2a) and David (the presumed author) ingrained in human nature and permeates
certainly sinned when he murdered Uriah (2 Sam all of human activity” (B&R 470).
12:9), it is likely that the psalmist is overstating the 15 The juxtaposition of two occurrences of
case to suggest that the attack on Uriah was “look” (‫ ) ֵהן‬in vv. 5-6 draws attention to the
ultimately an attack on God himself. To clarify the
sharp contrast between man’s nature and
point of the hyperbole, the translation uses
“especially,” rather than the potentially confusing God’s requirement—the sinful reality of the
“only.” psalmist’s condition and the righteous ideal
11 The Hebrew term ‫ל ַמ ַען‬
that God has set for him in life.
֭ ְ normally indicates 16 The perfect is used in a generalizing sense
purpose (“in order that”), but here it introduces a here—a life-long righteousness (cf. Ps. 1).
logical consequence of the preceding statement. 17 Lit. “in the covered [places],” i.e., in the
(Taking the clause as indicating purpose here inner man—the heart from which sin arises.
would yield a theologically illogical idea – the 18 Lit. “in the secret [place] wisdom you
psalmist purposely sinned so that God’s justice cause me to know.” The Hiphil verbal form
might be vindicated!) For other examples of ‫ְ ֭ל ַמ ַען‬ is causative, while the imperfect is used in a
indicating result, see 2 Kgs 22:17; Jer 27:15; Amos modal sense to indicate God’s desire (note
2:7, as well as IBHS 638-40 §38.3.293 the parallel verb “desire”). For explanation
12 Lit. “when you speak,” that is, in your of the difficult v. 6, see Tate 1990:20; B&R
pronouncing the sentence of “Guilty!” (B&R 469). 470.
In this context the psalmist refers to God’s word of You want me to possess wisdom. Here
condemnation against his sin delivered through “wisdom” does not mean “intelligence” or
Nathan (cf. 2 Sam 12:7-12). “learning,” but refers to moral insight and
13 Lit. “when you judge.” skill in applying God’s principles in life.
7 Sprinkle me 19 with water 20 and I will be pure; 21

‫ ְתּ ַח ְטּ ֵ ֣אנִ י ְב ֵאז֣ וֹב וְ ֶא ְט ָ ֑הר‬9
wash me 22 and I will be whiter than snow. 23
‫וּמ ֶ ֥שּׁ ֶלג ַא ְל ִ ֽבּין׃‬
ִ ‫ְ֝תּ ַכ ְבּ ֵ֗סנִ י‬
8 Grant me the ultimate joy of being forgiven! 24
‫יענִ י ָשׂ ֣שׂוֹן וְ ִשׂ ְמ ָ ֑חה‬
ֵ ‫ ַ ֭תּ ְשׁ ִמ‬10
293
See also John Goldingay, Psalms, Volume 2: Psalms 42-89, Grand Rapids: Baker, 2007:122; Marvin E.
Tate, Psalms 51-100 (Word Biblical Commentary, vol. 20), Waco, TX: Word, 1990:5-6, 18.
136
May the bones 25 you crushed rejoice! 26
‫ית׃‬
ָ ‫ָ֝תּ ֗ ֵג ְלנָ ה ֲע ָצ ֥מוֹת ִדּ ִ ֽכּ‬
9 Hide your face 27 from my sins!
‫ ַה ְס ֵ ֣תּר ָ ֭פּנֶ יָך ֵמ ֲח ָט ָ ֑אי‬11
Wipe away 28 all my guilt!
‫ְ ֽו ָכל־ ֲעוֹ֖ נ ַ ֹ֣תי ְמ ֵ ֽחה׃‬
19 The imperfect verbal form is used here to express 26 In this context of petitionary prayer, the
the psalmist’s wish or request. prefixed verbal form is understood as a
20 Lit. “cleanse me with hyssop.” “Hyssop” was a jussive, expressing the psalmist’s strong
small plant (see 1 Kgs 4:33) used to apply water (or wish or personal request to God.
blood) in purification rites (see Exod 12:22; Lev 27 In this context Hide your face from my
14:4-6, 49-52; Num 19:6-18. The psalmist uses the sins means “Do not hold me accountable for
language and imagery of such rites to describe my sins”—this is “another prayer for
spiritual cleansing through forgiveness. forgiveness. … Verse 9 (also verses 11-12),
21 After the preceding imperfect, the imperfect like verse 2, is chiastic, which is structurally
with vav (‫ )ו‬conjunctive indicates result. relevant, as this verse falls at the
22 The imperfect verbal form is used here to express approximate center of the psalm. The
the psalmist’s fervent wish or request. psalmist has again employed chiasmus as a
23 I will be whiter than snow. Whiteness here poetic device in his petition to God to
remove all his sin” (B&R 472).
symbolizes the moral purity resulting from God’s 28 See the note on the similar expression
forgiveness (see Isa 1:18).
24 Lit. “cause me to hear happiness and joy.” The “wipe away my rebellious acts” in v. 1. “Two
language is metonymic: the effect of forgiveness opening lines of appeal (vv. 1-2) and three
(joy) has been substituted for its cause. The later lines of appeal (vv. 7-9) thus bracket
five lines of confession” (Goldingay 2007:
psalmist probably alludes here to an assuring word
131). The pleas of vv. 7-9, however, are
from God announcing that his sins are forgiven (a
noticeably stepped up emotively (e.g., with
so-called divine oracle of forgiveness). The
figurative language) from those of vv. 1-2 in
imperfect verbal form is used here to express the
psalmist’s wish or request. The synonyms “happi- accord with the typical pattern of A—B
ness” and “joy” are joined together as a hendiadys parallelism. In these verses, “the psalmist
begins to think beyond guilt and
to emphasize the degree of joy he anticipates.
25 May the bones you crushed rejoice. The psalmist alienation.”294 His rhetorical strategy of
progressive hortatory intensification
compares his sinful condition to that of a person
continues then in the next strophe, vv. 10-
who has been physically battered and crushed.
12, with an additional set of petitions
Within this metaphorical framework, his “bones”
refer to the basis for his emotional strength. relating to the “spiritual” dimension of life.
10 Create for me a pure heart, O God! 29

‫ֹלהים‬
֑ ִ ‫א־לי ֱא‬
֣ ִ ‫ ֵל֣ב ָ ֭טהוֹר ְבּ ָר‬12
Renew a resolute spirit within me! 30
‫וְ ֥ר ַוּח ָ֝נ ֗כוֹן ַח ֵ ֥דּשׁ ְבּ ִק ְר ִ ֽבּי׃‬
11 Do not reject me! 31
‫יכנִ י ִמ ְלּ ָפ ֶנ֑יָך‬
֥ ֵ ‫ל־תּ ְשׁ ִל‬
ַ ‫ ַא‬13
Do not take your Holy Spirit 32 away from me! 33
‫ל־תּ ַ ֥קּח ִמ ֶ ֽמּנִּ י׃‬
ִ ‫וְ ֥ר ַוּח ָ ֝ק ְד ְשׁ ָ֗ך ַא‬
12 Let me again experience the joy of your
deliverance! ‫יבה ִ ֭לּי ְשׂ ֣שׂוֹן יִ ְשׁ ֶ ֑עָך‬
ָ ‫ ָה ִ ֣שׁ‬14
294
Walter Brueggemann and Wm. H. Bellinger, Jr. (B&B), Psalms, Cambridge: Cambridge UP, 2014:236.
137
Sustain me by giving me the desire to obey! 34
‫יבה ִת ְס ְמ ֵ ֽכנִ י׃‬
֣ ָ ‫וְ ֖ר ַוּח נְ ִד‬
29 The heart (fronted constituent focus in vv. 12-14) 32 Your Holy Spirit. The personal Spirit of
is viewed here as the seat of the psalmist’s motives God is mentioned frequently in the OT, but
and moral character. The vocative ‫ֹלהים‬ ֑ ִ ‫ ֱא‬echoes the only here and in Isa 63:10-11 is he called
one at the beginning of the appeal (v. 1), thus “your/his Holy Spirit.” God’s breath-spirit is
helping to mark the onset of the psalm’s second the source of life, not only of physical
half (structural anaphora). The verb “create” (‫) ָבּ ָרא‬ existence but, in a higher sense, of a moral
meaningful life, life in fellowship with and
is rather rare and suggests “the sovereign power dependent upon God, life that is dedicated
God exercises in doing something seemingly to him (cf. B&R 473). For a discussion of
impossible” (Goldingay 2007:133); “the psalmist this reference to the deity, “when ‘spirit’ is
has in mind an act of generativity that is as fully associated with God,” see Tate 1990:23-25.
wondrous as the initial act of divine generativity in 33 Do not take…away. The psalmist
Genesis 1” (B&B 237). By a “clean heart” the expresses his fear that, due to his sin, God
psalmist is probably not referring to a heart free of will take away the empowering Holy Spirit
impurity, but rather to a single-minded, (cf. Isa 63:10-11). NT believers enjoy the
wholehearted devotion to God’s will (as in Matt permanent gift of the Holy Spirit and need
5:8) (B&R 472). “By verse 10, the poem moves from not make such a request nor fear such a
confession to petition in a series of imperatives consequence. However, in the OT God’s
addressed to the God of mercy and steadfast love; Spirit enabled certain individuals for special
these petitions constitute an act of hope for a tasks and only temporarily resided in them.
renewed, restored relationship with God” (B&B For example, when God rejected Saul as
236)—with a focus now on a consecrated life-style king and chose David to replace him, the
that naturally follows upon a confession of sin. divine Spirit left Saul and came upon David
30 Lit. “and a reliable spirit renew in my inner
(1 Sam 16:13-14).
being.” “In many languages if the local word for 34 Lit. “and [with] a willing spirit sustain
spirit is used in line b, the meaning is apt to refer to me.” The psalmist asks that God make him
one’s spiritual existence in contrast to the physical. the kind of person who eagerly obeys the
Therefore in those languages, it may be advisable to divine commandments—that “God would
use the word for heart in both a and b; for example, provide him with an obedient spirit, that is,
“a heart which is pure and a new heart which is a disposition, a willingness, to serve him”
loyal.” (B&R 472). (B&R 473). The imperfect verbal form is
31 Lit. “do not cast me away from before you.”
again used here to express the psalmist’s
ardent wish or plea for a permanent state.
13 Then I will teach 35 rebels your merciful ways, 36

‫ ֲא ַל ְמּ ָ ֣דה פ ְֹשׁ ִ ֣עים ְדּ ָר ֶכ֑יָך‬15
and sinners will turn 37 to you.
‫וְ ֝ ַח ָטּ ִ֗אים ֵא ֶ ֥ליָך יָ ֽשׁוּבוּ׃‬
14 Rescue me from the guilt of murder, O God, 38
‫ֹלהים‬
ִ֗ ‫ ַה ִ֘צּ ֵיל֤נִ י ִמ ָדּ ִ֨מים׀ ֱ ֽא‬16
the God295 who delivers me!
‫שׁוּע ִ ֑תי‬
ָ ‫ֹלהי ְתּ‬
֥ ֵ ‫ֱא‬
Then my tongue will shout for joy because of your
deliverance. 39 ‫שׁוֹני ִצ ְד ָק ֶ ֽתָך׃‬
ִ ֗ ‫ְתּ ַר ֵנּ֥ ן ְל‬
295
Most of the references to deity in this psalm are found concentrated in this stanza (vv. 13-17), as the
psalmist consecrates his heart and life to God’s service.
138
15 O Lord, give me the words! 40
‫ ֭ ֲאד ֹנָ י ְשׂ ָפ ַ ֣תי ִתּ ְפ ָ ֑תּח‬17
Then my mouth will praise you. 41
‫וּ ֗ ִ֝פי יַ ִ ֥גּיד ְתּ ִה ָלּ ֶ ֽתָך׃‬
16 Certainly 42 you do not want a sacrifice, or else I
would offer it; 43 ‫־ת ְח ֣ ֹפּץ ֶז ַ֣בח וְ ֶא ֵ ֑תּנָ ה‬
ַ ‫ ִ ֤כּי׀ לֹא‬18
you do not desire a burnt sacrifice. 44
‫וֹלה ֣ל ֹא ִת ְר ֶ ֽצה׃‬
ָ ֗ ‫֝ע‬
17 The sacrifices God desires are a humble
spirit 45 – ‫ים ֪ר ַוּח נִ ְשׁ ָ֫בּ ָ ֥רה‬
֮ ‫ֹלה‬
ִ ‫ ִ ֽז ְב ֵ ֣חי ֱא‬19
a humble and repentant heart 46
‫ֵלב־נִ ְשׁ ָ ֥בּר וְ נִ ְד ֶכּ֑ה‬
O God, … you will not reject. 47
‫ֹלהים ֣ל ֹא ִת ְב ֶזֽה׃‬
ִ֗ ‫ֱ֝א‬
35 The initial cohortative verb expresses the 43 The translation assumes that the
psalmist’s positive resolve, marking the onset of a cohortative is used in a hypothetical manner
new stanza. This may be a vow or promise. If in a formally unmarked conditional
forgiven, the psalmist will “repay” the Lord by sentence, “You do not want a sacrifice,
declaring God’s mercy and motivating other sinners should I offer [it]” (cf. NEB). For other
to repent. “It should be noted that the vow here is examples of cohortatives in the protasis (“if”
not the usual one, in this kind of psalm, to offer a clause) of a conditional sentence, see GKC
proper sacrifice, but to teach transgressors thy 320 §108.e.)… “A total rejection of sacrificial
ways. The transgressors of verse 13a are the same rites is not intended,” but in this case, “the
as the sinners of verse 13b; they are not two sin confessed is beyond ritual atonement”
different groups. ‘Thy ways’ refers to God’s (Tate 1990:27-28). “In a typical way of
requirements, God’s commands for human speaking, the psalmist is not (as it might
conduct, especially as they are expressed in the appear) saying that God wants all sacrifices
Torah” (B&R 474). We see here further progress in to cease; he is saying that God prefers the
the psalmist’s mental-spiritual move, beginning in proper penitent attitude which an offering
v. 10, “from an old life of alienation to a new life of of sacrifices should express and represent
glad relationship” (B&B 238). (see also Ps. 50.8-9)” (B&R 475).
36 Lit. “your ways.” The word “merciful” is added for
NOTE: It is likely that the stanza of vv. 13-17
clarification. God’s “ways” often refer to his moral could be divided into two strophes at v. 16
commands, but in this context, where the teaching (cf. Goldingay 2007:137), where the subject
of God’s ways motivates repentance (see the next of sacrifices is highlighted by the initial ‫ ִ ֤כּי‬.
line), it may be that God’s merciful and compass- 44 You do not desire a burnt sacrifice. Here
sionate manner of dealing with sinners is also in
view. Thanksgiving songs praising God for his the chiastic arrangement (neg.V-Obj/Obj-
deliverance typically focus on these gracious divine neg.V) underscores completeness. The
attributes (see Pss 34, 41, 116, 138). terminology used in v. 16 does not refer to
37 Or “return,” i.e., in personal repentance. expiatory sacrifices, but to dedication and
38 Lit. “from bloodshed.” “Bloodshed” here stands communion offerings. This is not a
by metonymy for the guilt which it severe sin categorical denial of the sacrificial system in
produces—“deadly guilt” (Tate 1990:26). general or of the importance of such
39 Lit. “my tongue will shout for joy your offerings. The psalmist is talking here about
righteousness.” Another option is to take the his specific situation. Dedication and
prefixed verbal form as a jussive, “may my tongue communion offerings have their proper
shout for joy.” However, the pattern in vv. 12- place in worship (see v. 19), but God
15 appears to be prayer/request (see vv. 12, 14a, requires something more fundamental, a
15a) followed by promise/vow (see vv. 13, 14b, 15b). repentant and humble attitude (see v. 17),
before these offerings can have real
139
40 Lit. “open my lips.” The imperfect verbal form is meaning. “The recurrence of reference to
used to express the psalmist’s prayerful appeal. sacrifices in vv. 16-19 may explain the
41 Lit. “and my mouth will declare your praise.” The psalm’s location here as an appropriate
chiastic structure of this verse (Obj-V/Subj-V) response to Ps. 50” (Goldingay 2007:125).
accents the reciprocal divine-human action being 45 Lit. “a broken spirit.” As noted earlier, “In
depicted. “The psalmist’s request in verse 15 is to be many languages it is not possible to speak of
understood as a reference to forgiveness; while a spirit as being ‘humble,’ much less broken.
unforgiven he is unable to praise God, but if God In this context it will frequently be
forgives him, then he will be able to praise him” necessary to avoid the word spirit, which
(B&R 475), as fellowship is again restored. would mean a kind of inferior, nonphysical
42 Or “For.” The translation assumes the particle is being, and say ‘humble heart’ (B&R 476)
asseverative (i.e., emphasizing: “certainly!”). (Some 46 Lit. “a broken and crushed heart.”
translations that consider the particle asseverative 47 Or “despise.” The psalmist’s rhetorical
leave it untranslated.) If taken as causal or argument is that when penitents offer to

explanatory (“for”, cf. NRSV), the verse would God an objective brokenness of body and
explain why the psalmist is pleading for divine spirit, he has a hard time resisting such an
forgiveness, rather than merely offering a sacrifice. inner offering (Goldingay 2007:138).
18 Because you favor Zion, do what is good for

her! 48 ‫יבה ִ ֭ב ְרצוֹנְ ָך ֶאת־ ִציּ֑ וֹן‬
ָ ‫יט‬
֣ ִ ‫ ֵה‬20
Fortify 49 the walls of Jerusalem!
‫רוּשׁ ָ ִ ֽלם׃‬
ָ ְ‫חוֹמוֹת י‬
֥ ‫ִ֝תּ ְב ֗ ֶנה‬
19 Then you will accept 51 the proper sacrifices,
‫־צ ֶדק‬
ֶ֭ ‫ ָ ֤אז ַתּ ְח ֣ ֹפּץ זִ ְב ֵחי‬21
burnt sacrifices and whole offerings;
‫עוֹ ָ ֣לה וְ ָכ ִ ֑ליל‬
then bulls will be sacrificed 52 on your altar. 53
‫־מזְ ַבּ ֲחָך֣ ָפ ִ ֽרים׃‬
ִ ‫ָ ֤אז יַ ֲע ֖לוּ ַעל‬
48 Heb “do what is good for Zion in your favor.” The 53 Verses 18-19 possibly reflects the exilic
imperative and reference to “Zion” marks the onset period, when the city’s walls lay in ruins and
of the psalm’s concluding strophe. The mention of the sacrificial system had been disrupted.
God’s essential “favor” recalls v. 1 (inclusio). On the other hand, where else except in the
49 Or “Build.” The imperfect verbal form is used Temple city of Jerusalem could the psalmist
here to express the psalmist’s wish or request. The offer the very sacrifices that he vowed to
military imagery may well be metaphorical here, make in the preceding verses? Thus, rather
implying a communal repentance on the part of the than viewing vv. 18-19 as some later
whole city—thus leading more naturally to v. 19. addition, we may well read them as a most
51 Or “desire, take delight in [sacrifices]”—there is a fitting conclusion—an all-inclusive
strong contrastive conceptual linkage here with v. resolution, to a situation of personal abject
16, and hence the final strophe with the rest of the contrition on the part of the psalmist, King
psalm (see ftn. 53). David (cf. DeClaissé et. al., 2014:457).
52 Heb “then they will offer up bulls.” The third
plural subject is indefinite.
140
2. The structure of Psalm 51
Psalm 51 is usually classified as a “lament” psalm: However, “It has no complaint against
the enemy and no plea to God to act against the enemy.”296 On the other hand, one could
argue that in this case the “enemy” is oneself, and the “plea to God” involves a personal
appeal for forgiveness and restoration (cf. Ps. 38). Generally speaking, Psalm 51 assumes
the following symmetrical (concentric) structure and paralleled message.297 The
corresponding poetic units (stanzas) are relatively balanced in terms of lexical “weight,”
excluding the superscription (Heb. vv. 1-2):
A. Prologue—Appeal for God’s mercy in individual forgiveness (vv. 1-2)

B. Personal confession of sinfulness (3-6)
C. Prayer for forgiveness and renewed joy (7-9)298
C’ Prayer for purity and renewed joy (10-12)
B’ Personal profession of consecration (13-17)
A’ Epilogue—Appeal for God’s communal blessing upon Zion (18-19)
Having carefully studied the text of Psalm 51, consider again the larger discourse
structure proposed below,299 where “it is possible to see a movement from confession in
verses 1-9 to anticipation in verses 10-19” (B&B 236), but now in comparison with the
arrangement suggested below (Bratcher & Reyburn 1991:467):
296
Nancy DeClaissé-Walford, Rolf A. Jacobson, and Beth Laneel Tanner, The Book of Psalms (NICOT), Grand
Rapids: Eerdmans, 2014:454.
297
Contra Weiser’s opinion (recorded in Tate 1990:12). DeClaissé-Walford, et.al. (loc. cit.) propose a
structure that agrees with the above in some respects, but not in others: Introductory Words – a Plea for
Mercy (vv. 1-2); Words of Confession (vv. 3-6); The Plea Resumed (vv. 7-12); The Vow (vv. 13-15);
Concluding Words – the Nature of Sacrifice (vv. 16-17); A Prayer for Zion (vv. 18-19). What do you think?
Study this psalm and come to your own conclusion about its structural-topical arrangement, which is, of
course, an important aspect of the text’s intended meaning.
298
The first half of Ps. 51 manifests a concentric arrangement of key topics (Goldingay 2007:130):
Wipe away (v. 1) – wash me (2a) – purify (2b) – I acknowledge (3) – I have sinned (4a) – you are faithful (4b)
I am sinful (5) – make me acknowledge (6) – so that I may be pure (7a) – wash me (7b) – wipe away (9).
299
The structural arrangement of p. 7 is supported by Alan Harman, Psalms (vol. 1), Fearn, GB: Mentor,
2011:398-405.
141
“The psalm begins with a prayer for forgiveness (verses 1-2), followed by a confession of
sin (verses 3-5). The psalmist prays for a restoration of fellowship with God and a spiritual
renewal, ending with a promise to bring sinners back to God (verses 6-13). Then he
promises to offer his praise to God and to present the kind of sacrifice that pleases God
(verses 14-17). The last two verses are a prayer asking God to restore Jerusalem so that
sacrifices may again be offered to him at the Temple (verses 18-19).”
To the preceding organizational formats, add the following chiastic structure:300
A. Grounds for requesting forgiveness: God’s mercy and love (51:1-2)

B. Confession of transgressions and sins (3-5)
C. CENTER: Plea for forgiveness and restoration (6-12)
(center of center: “hide your face from my sins, and blot out all my iniquities!”)
B’ Vow to confess Yahweh’s ways to transgressors and sinners and to praise God (13-15)
A’ Grounds for forgiveness: not sacrifices but a broken spirit (16-17)
Addendum: (18-19, “probably added later to correct the potential impression that sacrifices are
no longer necessary”)
Evaluate the pros and cons of each of these three structures (plus any more that you have
discovered) and then tell which one you prefer—with reasons why. How do these
differences affect one’s understanding of this psalm’s precatory development?
3. The MISERE
Miserere (full title: Miserere mei, Deus, Latin for "Have mercy on me, O God") is a setting
of Psalm 51 (50) by Italian composer Gregorio Allegri. It was composed during the reign
of Pope Urban VIII, probably during the 1630s, for use in the Sistine Chapel during matins,
as part of the exclusive Tenebrae service on Holy Wednesday and Good Friday of Holy Week.
The Miserere is written for two choirs, one of five and one of four voices, and is an example
of Renaissance polyphony.
One of the choirs sings a simple version of the original Miserere chant; the other, spatially
separated, sings an ornamented commentary on this. The Tenebrae service where
the Miserere would be sung normally began at dusk, hence the name (tenebrae is Latin for
"shadows" or "darkness"). During the ritual, candles would be extinguished one by one, save
300
David Dorsey, The Literary Structure of the Old Testament, Grand Rapids, Baker Books, 1999:178.
142
for the last candle which remained alight and was then hidden. Gregorio Allegri envisioned
the setting of the Miserere to be the final act within the first lesson of the Tenebrae service.
The Miserere is one of the most frequently recorded pieces of late Renaissance music.
The original translation of the psalm used for the piece was in Latin:
Miserere mei, Deus
Miserere mei, Deus: secundum magnam misericordiam tuam.

Et secundum multitudinem miserationum tuarum, dele iniquitatem meam.
Amplius lava me ab iniquitate mea: et a peccato meo munda me.
Quoniam iniquitatem meam ego cognosco: et peccatum meum contra me est semper.
Tibi soli peccavi, et malum coram te feci: ut justificeris in sermonibus tuis, et vincas cum judicaris.
Ecce enim in iniquitatibus conceptus sum: et in peccatis concepit me mater mea.
Ecce enim veritatem dilexisti: incerta et occulta sapientiae tuae manifestasti mihi.
Asperges me hysopo, et mundabor: lavabis me, et super nivem dealbabor.
Auditui meo dabis gaudium et laetitiam: et exsultabunt ossa humiliata.
Averte faciem tuam a peccatis meis: et omnes iniquitates meas dele.
Cor mundum crea in me, Deus: et spiritum rectum innova in visceribus meis.
Ne proiicias me a facie tua: et spiritum sanctum tuum ne auferas a me.
Redde mihi laetitiam salutaris tui: et spiritu principali confirma me.
Docebo iniquos vias tuas: et impii ad te convertentur.
Libera me de sanguinibus, Deus, Deus salutis meae: et exsultabit lingua mea justitiam tuam.
Domine, labia mea aperies: et os meum annuntiabit laudem tuam.
Quoniam si voluisses sacrificium, dedissem utique: holocaustis non delectaberis.
Sacrificium Deo spiritus contribulatus: cor contritum, et humiliatum, Deus, non despicies.
Benigne fac, Domine, in bona voluntate tua Sion: ut aedificentur muri Ierusalem.
Tunc acceptabis sacrificium justitiae, oblationes, et holocausta: tunc imponent super altare tuum
vitulos.
English translation
This translation is from the 1662 Book of Common Prayer and is used in Ivor Atkins'
English edition of the Miserere (published by Novello):
Have mercy upon me, O God
143
Have mercy upon me, O God, after Thy great goodness
According to the multitude of Thy mercies do away mine offences.
Wash me thoroughly from my wickedness: and cleanse me from my sin.
For I acknowledge my faults: and my sin is ever before me.
Against Thee only have I sinned, and done this evil in thy sight: that Thou mightest be justified in Thy
saying, and clear when Thou art judged.
Behold, I was shapen in wickedness: and in sin hath my mother conceived me.
But lo, Thou requirest truth in the inward parts: and shalt make me to understand wisdom secretly.
Thou shalt purge me with hyssop, and I shall be clean: Thou shalt wash me, and I shall be whiter
than snow.
Thou shalt make me hear of joy and gladness: that the bones which Thou hast broken may rejoice.
Turn Thy face from my sins: and put out all my misdeeds.
Make me a clean heart, O God: and renew a right spirit within me.
Cast me not away from Thy presence: and take not Thy Holy Spirit from me.
O give me the comfort of Thy help again: and stablish me with Thy free Spirit.
Then shall I teach Thy ways unto the wicked: and sinners shall be converted unto Thee.
Deliver me from blood-guiltiness, O God, Thou that art the God of my health: and my tongue shall
sing of Thy righteousness.
Thou shalt open my lips, O Lord: and my mouth shall shew [show] Thy praise.
For Thou desirest no sacrifice, else would I give it Thee: but Thou delightest not in burnt-offerings.
The sacrifice of God is a troubled spirit: a broken and contrite heart, O God, shalt Thou not despise.
O be favourable and gracious unto Sion: build Thou the walls of Jerusalem.
Then shalt Thou be pleased with the sacrifice of righteousness, with the burnt-offerings and
oblations: then shall they offer young bullocks upon Thine altar.
(https://en.wikipedia.org/wiki/Miserere_(Allegri)
144
10)
1. Text Analysis
Perhaps the best way to approach this unique psalm301 is simply to read it through first
in order to get a general topical and emotional orientation. The Hebrew text, minus the
heading (v. 1),302 is displayed in paralleled poetic lines below and numbered according
to the accompanying relatively literal English translation. Putative strophic and stanza
breaks are also indicated by interposed spaces and structural designations. Selected
phonological features in Hebrew to be commented on later are highlighted in grey
shading. A number of significant text-critical issues confront the Hebrew analyst, but due
to space restrictions, only the most important of these will be considered (in footnotes),
along with selected translational comments:
I-A
1. O Yahweh, God of my salvation, ‫שׁוּע ִ ֑תי‬
ָ ְ‫ֹלהי י‬
֣ ֵ ‫ְ ֭יהוָ ה ֱא‬
by day I cry out – in the night (I am) before you.303 ‫יוֹם־צ ַ ֖ע ְק ִתּי ַב ַ ֣לּיְ ָלה נֶ גְ ֶ ֽדָּך׃‬
ָ
2. May my prayer come into your presence, ‫ָתּ ֣בוֹא ְ ֭ל ָפנֶ יָך ְתּ ִפ ָלּ ִ ֑תי‬
301
It is unique for a psalm of the ‘lament’ genre because the psalmist’s complaint does not appear
to let up; there is no overt profession of trust that God will come to his aid (but see discussion below), nor
is there any expressed hope of a future resolution to his adverse circumstances with an associated word of
praise. For several other distinctive features of Psalm 88, see Mays 1994:282; Pyles 2012:21.
302
Psalm 88 begins with one of the longest titles, or superscriptions, in the Psalter – perhaps
suggesting ‘the importance of this extraordinary psalm to the community’ (Goldingay 2007:645). This
heading begins with terms similar to that of Psalm 87: ‘A song (‫) ִ ֥שׁיר‬, a psalm of the sons of Korah’ ( ‫ִמזְ ֗מוֹר‬
‫) ִל ְב ֫ ֵני ֥קֹ ַרח‬, then continues with the familiar ‘for the director of music’ ( ַ‫)ל ְַמנ ֵַצּ֣ח‬, an unfamiliar literary or
musical expression, ‘according to mahalath leannoth’ (‫ל־מ ֲח ַל֣ת ְל ַענּ֑ וֹת‬
ָ ‫) ַע‬, and a word of attribution, ‘a maskil
(‫ ) ַ֝מ ְשׂ ִ֗כּיל‬of Heman the Ezrahite’ (‫ימן ָה ֶאזְ ָר ִ ֽחי‬
֥ ָ ‫) ְל ֵה‬. For further discussion of the unknown terms and ‘Heman
the Ezrahite’, (see Pyles 2012:15; Tate 1990:394–395; Terrien 2003:627).
303
Lit. ‘day-I cry out, in the night before you’; versions and commentators differ as to whether this
verse is divided into one or two lines. I have sided with the minority: ‘the colon divides into two parallel
halves, with the verb and the prepositional expression applying to both, and the expression “day” and
“night” divided between them: i.e., “By day I have cried out [before you], by night [I have cried out]
before you”’ (Goldingay 2007:646; cf. NIV: ‘Day and night I cry out before you’). Tate (1990:393) and
Tanner (2014:668–669) prefer to read v. 1 as three lines (cf. NET).
145
turn your ear toward my loud crying.304 ‫ה־אזְ נְ ָ֗ך ְל ִרנָּ ִ ֽתי׃‬
ָ֝ ‫ַה ֵ ֽטּ‬
I-B
3. For my whole being is filled with troubles, ‫י־שׂ ְב ָ ֣עה ְב ָר ֣עוֹת נַ ְפ ִ ֑שׁי‬
ֽ ָ ‫ִ ֽכּ‬
and my life has reached Sheol.305 ‫וְ ַח ַ֗יּי ִל ְשׁ ֥אוֹל ִה ִ ֽגּיעוּ׃‬
4. I am reckoned among those who are descending into the Pit306; ‫ֶ֭נ ְח ַשׁ ְב ִתּי ִעם־י֣ ְוֹר ֵדי ֑בוֹר‬
I am like a strong man who has run out of strength.307 ‫ין־א ָיֽל׃‬
ֱ ‫יתי ְכּ ֶ ֣ג ֶבר ֵ ֽא‬
ִ ‫ָ֝ה ִ֗י‬
5. Among the dead I am released,308 ‫ַבּ ֵמּ ִ֗תים ָ֫ח ְפ ִ ֥שׁי‬
like those slain lying in a (mass) grave, ‫ְכּ ֤מוֹ ֲח ָל ֨ ִלים׀ ֥שׁ ֹ ְכ ֵבי ֶ ֗ק ֶבר‬
those whom you remember no more,309 ‫ֲא ֶ ֤שׁר ֣ל ֹא זְ ַכ ְר ָ ֣תּם ֑עוֹד‬
yes, the ones who have been cut off from your (protective) hand. ‫וְ ֝ ֵ֗ה ָמּה ִמיָּ ְדָך֥ נִ גְ ָזֽרוּ׃‬
II-A
6. You have put me into the depths of the Pit, ‫ַ ֭שׁ ַתּנִ י ְבּ ֣בוֹר ַתּ ְח ִתּיּ֑ וֹת‬
304
The colon-initial verbs of v. 2a-b, (‫) ָתּ ֣בוֹא‬, a jussive form, and (‫) ַה ֵ ֽטּה‬, a Hiphil imperative,
constitute the only explicit ‘appeals’ in the entire psalm, but of course they function to lay the foundation
for the descriptive parallels in vv. 9b-c and 13. This verse also features a subject – object alternation: ‘“my
prayer” is the grammatical subject in one line and the object in the parallel line’ (Berlin 1985:128–129).
305
A chiastic structure suggests the comprehensiveness of the psalmist’s calamity: 3a, Verb –
Adjunct – Subject; 3b, Subject – Adjunct--Verb. Sheol is ‘the place where dead people are, a nonphysical
equivalent to the grave or tomb. It is not a place of punishment, unless people are taken there before their
time because of wrongdoing…, but just a place where people exist – as bodied do in their graves – rather
than really live. God does not intervene there, and there is nothing to praise God for there (88:3–12 [4-
13])’ (Goldingay 2007:705; cf. Mays 1994:282).
306
The noun bor, ‘pit, cistern’ is sometimes used metonymically to refer to the grave and/or the
realm of the dead, here, in obvious parallel with ‘Sheol’ (a poetic pair).
307
‫ ֱא ָיֽל‬is a hapax, perhaps an Aramaic loanword, found only here in the MT; it ‘probably means
strength’ (Tate 1990:396).
308
The sense of ‫ ָ֫ח ְפ ִ ֥שׁי‬is debated, leading to many proposals for emendation; ‘the usual meaning…is
“free”’ (Tate 1990:396). The term may be used ironically here, i.e. the psalmist imagines himself to be
‘free’ from the troubles of earthly ‘life’ (v. 3b), which on the other hand, he is pleading for the Lord to save
(vv. 1–2). In contrast, Alter prefers ‘cast away’: ‘a negative sense is surely required here … imprisonment’
(2007:309).
309
‘The asher is expressed and thus has some emphasis’ (Goldingay 2007:642) – as in the case of
the subsequent, also initial ‘and-they’ (‫ )וְ ֵ֗֝ה ָמּה‬in the following line.
146
into the darkest places, those most deep.310 ‫ְ֝בּ ַמ ֲח ַשׁ ִ֗כּים ִבּ ְמצ ֹֽלוֹת׃‬
7. Your wrath has pressed down upon me; ‫ָ ֭ע ַלי ָס ְמ ָ ֣כה ֲח ָמ ֶ ֑תָך‬
with all your waves you have afflicted (me).311 ‫ית‬
ָ ‫ל־מ ְשׁ ָבּ ֶ ֗ריָך ִע ִ ֥נּ‬
ִ֝ ‫וְ ָכ‬
SELAH
‫ֶ ֽסּ ָלה׃‬
8. You have caused my associates to shun me; ‫ִה ְר ַ ֥ח ְק ָתּ ְמיֻ ָדּ ֗ ַעי ִ֫מ ֶ ֥מּנִּ י‬
you have made me repulsive to them; ‫תוֹע ֣בוֹת ָ ֑למוֹ‬
ֵ ‫ַשׁ ַ ֣תּנִ י‬
I am trapped and cannot escape312; ‫ָ֝כּ ֗ ֻלא וְ ֣ל ֹא ֵא ֵ ֽצא׃‬
9a. My eyes grow weak from my affliction!313 ‫ֵע ִ ֥יני ָד ֲא ָ֗בה ִמ ֫ ִנּי ֥עֹנִ י‬
II-B
9bc. Yahweh, I have called upon you every day; ‫הוה ְבּ ָכל־י֑ וֹם‬
֣ ָ ְ‫אתיָך י‬
֣ ִ ‫ְק ָר‬
I spread out to you my palms (in prayer).314 ‫ִשׁ ַ ֖טּ ְח ִתּי ֵא ֶ ֣ליָך ַכ ָ ֽפּי׃‬
10. Do you work wonders for the dead? ‫ה־פּ ֶלא‬
֑ ֶ ‫ֲה ַל ֵמּ ִ ֥תים ַתּ ֲע ֶשׂ‬
Or do dead spirits rise up to praise you?315 ‫ם־ר ָפ ִ֗אים יָ ֤קוּמוּ׀‬
֝ ְ ‫ִא‬
SELAH
‫יוֹדוָּך ֶ ֽסּ ָלה׃‬
֬
11. Is your loyal love proclaimed in the grave? ‫ַהיְ ֻס ַ ֣פּר ַבּ ֶ ֣קּ ֶבר ַח ְס ֶ ֑דָּך‬
(How about) your faithfulness in the realm of Destruction?316 ‫ֱ֝א ֽמוּנָ ְת ָ֗ך ָבּ ֲא ַב ֽדּוֹן׃‬
310
‫ ַמ ֲח ַשׁ ִ֗כּים‬is perhaps a plural of intensification. ‘The “deep places” (or “bottom”) [‫] ִבּ ְמצ ֹֽלוֹת‬
appears especially with reference to the sea (note Exod 15:5, Neh 9:11…)’ (Tate 1990:396), which fits the
imagery of 7b.
311
Tanner prefers the ironic meaning ‘you answer (me)’ for the homonymous verb ָ‫( ﬠִ ִנּ֥ית‬2014:669).
As translated above, ‘the sense seems to be that the speaker has been crushed beneath the “waves” of God’
(Tate 1990:397).
312
This reading is supported in Bratcher and Reyburn 1991.
313
‘Constant weeping has affected his eyesight’ (Harman 2011:652); however, the reference may
not be physical but rather ‘as a measurement of vitality’ (Tanner 2014:672). The inclusion of v 9a with the
preceding strophe is supported by Goldingay 2007:643 and some translations, e.g. NIV (see below).
314
‘Spreading out the hands [here, lit. “palms”] toward God was a prayer gesture (see Ex 9:29, Ex
9:33; 1Ki 8:22, 1Ki 8:38; 2Ch 6:12-13, 2Ch 6:29; Ezr 9:15; Job 11:13; Is 1:15)’ (NET note).
315
‘The Rephaim [‫ ] ְ ֝ר ָפ ִ֗אים‬are related to the dead spirits in v. 10a and, as noted in several studies
in Ugaritic, maybe royal or heroic dead ones’ – ‘ghosts’ in fact! (Tanner 2014:670; cf. Tate 1990:397).
316
‫ ֲאבַ דֹּֽ ון‬is included within the same semantic set as ‘grave’ ‫ ֶ ֣קּ ֶבר‬in 11a and Sheol in v. 3b (cf. Prov
15:11).
147
12. Are your wonders known in the darkness? ‫ֲהיִ וָּ ַ ֣דע ַבּ ֣חֹ ֶשְׁך ִפּ ְל ֶ ֑אָך‬
(How about) your righteousness in the land of forgottenness? ‫וְ ֝ ִצ ְד ָק ְת ָ֗ך ְבּ ֶ ֣א ֶרץ נְ ִשׁ ָיּֽה׃‬
III-A
13. But I – unto you, Yahweh, I have cried for help; ‫הוה ִשַׁ ֑וּ ְע ִתּי‬
֣ ָ ְ‫וַ ֲא ִ ֤ני׀ ֵא ֶ ֣ליָך י‬
and in the morning my prayer confronts you.317 ‫֝וּ ַב ֗בֹּ ֶקר ְ ֽתּ ִפ ָלּ ִ ֥תי ְת ַק ְדּ ֶ ֽמךָּ ׃‬
14. Why, Yahweh, do you reject me personally?318 ‫ָל ָ ֣מה ְ ֭יהוָ ה ִתּזְ ַ ֣נח נַ ְפ ִ ֑שׁי‬
(Why) do you hide your face from me? ‫ַתּ ְס ִ ֖תּיר ָפּ ֶנ֣יָך ִמ ֶ ֽמּנִּ י׃‬
15. I have been afflicted and near death319 from my youth; ‫ָע֘ ִ ֤ני ֲא ִ ֣ני וְ גֵ ֹ֣ו ַע ִמ ֹ֑נּ ַער‬
I have borne your terrors; I am exhausted!320 ‫אתי ֵא ֶ ֣מיָך ָא ֽפוּנָ ה׃‬
ִ ‫נָ ָ ֖שׂ‬
III-B
16. Your wrath has passed over upon me; ‫רוֹניָך‬
֑ ֶ ‫ָ ֭ע ַלי ָע ְב ֣רוּ ֲח‬
your dreadful (attacks) have destroyed me. ‫תוּתנִ י׃‬
ֽ ֻ ‫עוּתיָך ִצ ְמּ‬
ֶ֗ ‫ִ֝בּ‬
17. They swirl around me like water all day; ‫ל־היּ֑ וֹם‬
ַ ‫ַס ֣בּוּנִ י ַ ֭כ ַמּיִ ם ָכּ‬
they close in upon me from all sides. ‫ִה ִ ֖קּיפוּ ָע ַ ֣לי יָ ַֽחד׃‬
18. You have caused lover and companion to shun me; ‫ִה ְר ַ ֣ח ְק ָתּ ִ ֭מ ֶמּנִּ י א ֵ ֹ֣הב וָ ֵ ֑ר ַע‬
my closest friends – (now) darkness!321 ‫ְ ֽמיֻ ָדּ ַ ֥עי ַמ ְח ָ ֽשְׁך׃‬
317
For the meaning ‘confront’, see Psalm 17:13; ‘Since God is the problem in this psalm, it is
reasonable to assume that the prayer is confronting God’ (Tanner 2014:670) – in judicial, Job-like fashion,
as it were (cf. Job 9). The yiqtol (non-completive) verb significantly suggests ongoing action. This verse
features a semantic-syntactic reversal, ‘involving the transformation of the verbal phrase “I cry” into the
nominal “my prayer”’ (Berlin 1985:129).
318
‫ נַ ְפ ִ ֑שׁי‬means more than simply a substitute for the personal pronoun ‘me’ in English and other
languages.
319
‘MT’s [‫ ]גֵֹו ַ֣ע‬has the meaning of “dying” or “near to death/about to die”’ (Tate 1990:398).
320
‘The meaning of the Hebrew form ‫’( ָא ֽפוּנָ ה‬afunah), which occurs only here in the OT, is unclear.
It may be an adverb meaning “very much” (BDB 67 s.v.), though some prefer to emend the text to …
’afugah (“I am numb”) from the verb … pug (see Ps 38:8; Ps 77:2)’ (NET note; cf. ‘I despair of life’, Tate
1990:398; ‘I am petrified’, Tanner 2014:670; ‘I am helpless’, Bratcher & Reyburn 1991).
321
‘The last line in Hebrew is “my acquaintances darkness,” which TEV … and others understand
to mean “and darkness is my only companion”’ (Bratcher & Reyburn 1991; cf. Tate 1990:398; see Ps
74:20). ‘This line is difficult, as various translations indicate. One probable reason for the syntax is so the
psalm can end with the word [‫“( ] ַמ ְח ָ ֽשְׁך‬darkness” or “a dark place”)’ (Tanner 2014:670). The muddled
148
2. Structural summary and comparison
The following chart summarizes the major and minor structural divisions of Psalm 88 along
with a functional (‘speech-act’) description of the poetic units (Box 1).
UNIT VERSES LINES RHETORICAL FUNCTION

I-A 1-2 4 Initial Appeal to YHWH
I-B 3-5 8 Descriptive Lament
I-C 6-9a 8 Accusatory Lament
------------------------------------------------------------------------------------------------------------------------------------------------
II-A 9b-c 2 Appeal to YHWH

II-B 10-12 6 Rhetorical Support (Profession)
III-A 13 2 Appeal to YHWH
III-B 14-18 10 Accusatory Lament
(Note: The use of boldface and italics highlights rhetorical parallels within the structure of Psalm 88, while
the underlined expression indicates the psalm’s prominent rhetorical and thematic central core.)
The distressed semantic surface of Psalm 88 disguises an underlying symmetrical topical and
functional structure. Three ‘stanzas’ (major poetic units) are posited, each of which includes
2–3 ‘strophes’ (minor units; poetic ‘paragraphs’).322 The psalm divides into two halves of 20
lines each, with the initial and longest stanza I being balanced by stanzas II–III. Each stanza
begins with a plaintive ‘appeal’, or ‘calling out’ to Yahweh (marked by a vocative) for help (vv.
1a, 9b, 13a).323 The second and third strophes of stanza I consist of eight lines each, with the
syntax may also be a subtle indication of the correspondingly jumbled psychological state of the psalmist.
Instead of close friends and companions, the psalmist has only smothering ‘waters’ surrounding him –
perhaps a metaphoric reference also to deadly enemies (cf. Ps 22:12-16). ‘“Utter” is added [in the
translation] for the sake of intelligibility. This abrupt statement, just two words in the Hebrew, closes the
poem on the theme of darkness that has dominated it throughout’ (Alter 2007:310).
322
After completing my analysis, I discovered the study of Pyles, who proposes a similar
macrostructure for Psalm 88 (2012:15); see also Gerstenberger’s form-critical outline (2001:141) and
Terrien 2003:624-626.
323
Three different verbs of ‘calling’ are used: ‫( ָצ ַ ֖ע ְק ִתּי‬1b), ‫אתיָך‬
֣ ִ ‫( ְק ָר‬9b), and ‫( ִשַׁוּ ְ֑ע ִתּי‬13a). The
manifestation of significant formal and/or semantic parallels at the beginning of distinct poetic units is a
discourse demarcative device termed ‘anaphora’, which is part of the collective technique delineating a
structural ‘aperture’ (Wendland 2004:127).
149
last verse of each strophe ending in a tetracolon. Strophe B (vv. 3–5) expresses a ‘descriptive
lament’, with a predominance of first-person subject pronouns as the psalmist figuratively
portrays his present plight. In strophe C (vv. 6–9a), second-person verbs take over as the
lament turns more to an ‘accusation’ suggesting that Yahweh is persecuting the psalmist.324
In the psalm’s second half, both stanzas manifest a similar two-part structure, but
what follows the short initial ‘appeal’ differs significantly in each case. In strophe III-B we
hear another ‘accusatory lament’ (vv. 14–18), which closely parallels that of I-C, except that
it is intensified by length (10 vs. 8 lines), by more desperate imagery (see below), and by an
initial critical rhetorical question: ‘Why, O LORD…’ (‫ל ָ ֣מה ְי֭הוָ ה‬,
ָ 14a). These structurally
parallel strophes also conclude with similar allegations: ‘You have taken from me my closest
friends’ (8a, NIV) – ‘You have taken my companions and loved ones from me’ (18a, NIV).325
What is thematically and structurally distinctive in Psalm 88 is the series of six
rhetorical questions that comprise the second strophe of stanza two (II-B).326 Each one of the
mock queries anticipates a negative response, e.g. ‘Do you show your wonders to the dead?’
(10a). However, these interrogations seem to have more significance than usually interpreted,
that is, as being merely additional accusations against the injustice of God. Rather, this highly
emotive sequence may be construed as lending prolonged ‘rhetorical support’ to the psalmist’s
implicit faith (expressed already in v. 1), thus underscoring his passionate pleas as he overtly
gesticulates with his hands towards the heavens in heartfelt prayer (9c). ‘All of the questions
have the same point – Yes, YHWH is God of the living, and if YHWH wants to be taken
seriously, then YHWH must keep the speaker among the living…’ (Brueggemann & Bellinger
2014:380). In this, ‘the bleakest of all the psalms’, at the very least there remains this ‘glimmer
of light that the psalmist can still pray – he is still able to appeal to Yahweh’ (Johnston
2005:79).
324
There are subtle pronominal shifts at the end of each strophe: ‫‘ זְ ַכ ְר ָ ֣תּם‬you (sg) remember them’
in v. 5c anticipates the ‘you’ sequence of verbs in strophe I-C; ‫‘ ֵא ֵ ֽצא‬I go out’ in v. 8c prepares for ‘I call’ in
the plea of v. 9b.
325
Note the intensification that is apparent in the second of these cola, in a manner that reflects
what is typical in the Hebrew A – B parallelism of adjacent poetic lines (similarly strophe III-B in relation
to I-C). Robert Alter has a good explanation of this common poetic feature in relation to vv. 12–13 (Alter
1985:14).
326
In his classic study, Watson also calls attention to this (1984:339).
150
But why should God answer him? It is simply, but significantly, because if God would
allow the psalmist to pass down into Sheol and die (vv. 3–4), then the latter’s potential paean
of praise (‫יוֹדוָּך‬,
֬ 10b) for Yahweh’s manifestations of covenantal ‘steadfast love’ (‫)ח ְס ֶ ֑דָּך‬
ַ and
‘faithfulness’ (‫)א ֽמוּנָ ְת ָ֗ך‬
ֱ֝ (v. 11) through ‘deliverance’ (‫וּע ִ ֑תי‬
ָ ‫יְ שׁ‬, v. 1a) will have been lost to the
world and silenced within the community of the faithful (‘Zion’ of Ps 87; cf. Ps 89:1–2, where
these same two divine attributes are lauded by the psalmist, twice in fact).327 So what we
arguably have here in strophe II-B are implied professions of trust on the part of the psalmist
– that despite his precarious, near-death situation and his forceful protestations against God
for allowing, even causing this to happen, he nevertheless retains a foundational faith that it
is not utterly too late for the Lord to resolve things by making his ‘wondrous works’ manifest
(vv. 10a, 12a), this time on behalf of his benighted, bemused plaintiff (v. 18b).
What difference does an accurate discourse structure make? Obviously, it helps the
specialist and lay-person alike to grasp the larger thematic organization of a psalm, for
example, and how the psalmist has arranged his prayer in order to make the greatest
impression, from a human appellant’s point of view. As we see in the case of Psalm 88, the
larger structure clearly reveals the threefold division into stanzas, each leading off with an
appeal to the Lord for help and with the first and last stanzas ending in parallel with an
accusatory lament (I-C, III-B). The second part of the middle stanza is conspicuously different
by way of contrast, thus making it stand out for the observant reader (listener), being vocally
marked by means of the dramatic series of rhetorical questions, which one might view as the
psalm’s emotive and thematic peak.
However, there is by no means complete scholarly consensus regarding this psalm’s

larger structural arrangement. Tanner, for example, does not recognize verses 9b–c and 13 as
parallel ‘appeals’ that essentially reiterate the prayer’s aperture (vv. 1–2). She further suggests
that ‘vv. 1–2 and 9 provide an inclusio around this large section which suggests that [it]
should not be separated into plea and complaint as individual sections’ (Tanner 2014:668).
This proposal differs considerably from the structure outlined above, so readers will have to
study the text and come to their own conclusion on the matter. My contention is that the
concept of ‘inclusio’ (marking the beginning and ending of some unit) is overused in such
compositional analyses and must be clearly distinguished from at least two other macro-
327
These two covenant-centered thematic qualities are paired twice more in Psalm 89, in vv. 33,49.
151
demarcative devices in Hebrew poetry, namely, ‘anaphora’ (distinct unit beginnings) and
‘epiphora’ (distinct unit endings) (Wendland 2004:123–130).
These structural issues are not of interest and importance only to scholars, but they
have invariably been ‘translated’ into the published formats of the various versions that all
believers access on a regular basis, whether during public worship or in private devotions. So
what are people to make of the diversity that confronts them in their Bibles? For example, the
following popular English translations indicate internal breaks in the printed text by means
of a line space before the verses indicated in the listing below (my segmentation is given last
for comparison):
English Standard Version 8 – 13

New International Version 3 – 6 – 9b – 13
New Revised Standard Version 3 – 8 – 13
Revised English Bible 10 – 13
New American Bible 9b – 13
New Jerusalem Bible 3 – 6 – 8 – 10 –13 – 15 – 17
New Living Bible 8 – 15
Wendland 3 – 6 – 9b – 10 – 13 – 14
So should the attentive reader conclude that these divisions do not really make all that much
difference – to each, his own, as it were? On the contrary, such partitions will naturally affect
one’s mental and oral reading of the psalm, for example, in making brief pauses where such
breaks occur in the text, and through onset or ending intonational patterns (in English).
Certain pause-points are well established in these versions, such as the one occurring before
v. 13. Others are suspect, like the New Living Bible’s breaks at both selahs (8, 15), which do
not correspond with a justifiable structural shift. These differences in formatting the text on
the printed page further illustrate the literary principle that ‘form has meaning’, especially
where poetry is concerned.
152
JCBT Studying the ‘PSALMS in Context’ – Tentative Course Outline
(*“CONTEXT” = text, co-text, con-text, intra-text, inter-text, extra-text, para-text, translata-text)
Day Proposed Daily Plan for Afternoons Topical Studies—and/or Excursions
Psalm Analysis (for the latter see below)
Oct.29th Introductions – Course Objectives; Class Presentations and/or Possible Topical Discussions:
1 A poetic analysis methodology ‘Poetic Discourse Analysis Procedures’: considering and
(W); Psalms 1-2: theological comparing different methods—yours too! (see Studies, 1.3;
foundation for the Psalter (Torah, LiFE, ch. 3; see also “Interpreting the Psalms” in SSup, ch. 14;
royal psalms; cf. SSup chs. 1-2) TLS, ch. 7; Analyzing, ch. 7)
Oct.30th Questions from Day 1 (ditto daily); ‘A Canonical Approach to Analyzing the Psalter’
2 Psalms 145, 150 (acrostic, praise-- (Peter Ho; cf. W’s review of “Flow of the Psalms”, SSup, ch.
concluding the Psalter) (SSup chs. 13)
21-22) 2 PM MUSIC MUSEUM EXCURSION
Oct.31st Psalms 6, 31 (lament psalms, the ‘Genres in Hebrew Poetry’ (HPB, ch. 2; cf. Studies, ch. 3 –
3 basic, prototypical genre) (SSup, ‘Genre criticism and the Psalms’)
ch. 3; Studies, ch. 3)
Nov.1st Psalm 22, 24 (Studies, chs. 4; ch. Peter Ho—selected topics
4 1) 4 PM EMANUEL TOV ON TEXTUAL ISSUES
Nov 2nd Psalm 23, 29 (SSup, chs. 15, 17) ‘Assessing a Poetic Translation’ (Studies, ch. 10; TLS, ch. 10;
5 cf. TBT April 2018 on ‘hospitality’ approach)
2 PM H. RONNING–PSALM 23 IN PHYSICAL CONTEXT
Nov 3rd Psalms 19, 67 (SSup, chs. 8, 9) Principles of parallelism and inter-cola connections (HPB, ch.
6 3; Studies, 2.4.3; Analyzing, ch.3, ‘conjunctive parallelism)
Nov.4th Psalms 30, 132 (Studies, ch. 2; ‘Disjunctive parallelism in the Psalms’ (Studies, ch. 2.4.5, ch.
7 SSup, ch. 4) 4.2; SSup, ch. 4)
2 PM TEMPLE INSTITUTE and WESTERN WALL
Nov.5th Psalm 45:1-9, 10-17 (Studies, ch. ‘Stylistic/poetic features’ in the Psalms (HBP, ch. 3 Studies, ch.
8 6) 1.2, 6.3).
Nov 6th Psalm 51, 92 (SSup, chs.16, 19 ) Discovering poetic features in the TL (TLS, ch. 8); ‘Matches
9 and mis-matches in translation’ (HPB, ch. 4; cf. Pym’s
typology in SSup 1.6-7)
Nov 7th ALL DAY EXCURSION 8 AM BIBLICAL PLANTS and AGRICULTURE
with Ronit Maoz
Nov 8th Psalm 87, 88 (SSup, chs. 5, 18) Special problems/challenges when translating BH poetry (HPB,
10 chs. 5-7)
Nov 9th TWO DAYS NORTH
Nov 10 9AM NAZARETH VILLAGE
Nov11th Psalms 16, 110 (the case of Psalms (poetry) outside the Psalter (HPB, ch. 8, Studies, ch. 8;
11 ‘Messianic’ psalms; SSup, chs. 7, SSup, ch. 6; cf. Judges 5-6 in LiFE, 170-76)
10)
Nov12th Psalm 13, 98 (SSup, ch. 6; Studies, Toward ‘Singing the Psalms’ and/or a poetic version (Studies,
12 ch. 7) ch. 7; SSup, ch. 6, 8.5; HPB-‘Appendix’)
Nov13th Psalm 18:1-24, 25-50 (SSup, ch. Poetic lexical and ‘key-term analysis’, e.g., “Blood” in the
13 20) Psalms (SSup, ch. 11; Analyzing, ch. 6)
Nov14th Class papers and/or performances Organizing/Teaching a Psalms Workshop (TLS, chs. 9, 11;
14 handouts for RT discussion for comparing methods)
Nov Class papers and/or performances Discussion of final “book” collection of papers-presentations;
15th future contact; distribution of certificates?
153
Psalms in Context is a new course which continues the goal of JCBT of connecting the study of
the biblical text with the land of Israel. Co-taught by Drs Ernst Wendland and Lynell Zogbo, both
former UBS translation consultants in Africa and authors of books on Hebrew poetry and the
Psalms, the course offers an overview of the book of Psalms as well as individual studies of nearly
30 psalms of varying discourse genres: praise, petition, royal, lament, and love, with a special
emphasis on each psalm’s Hebrew structure and patterning, stylistic devices and sound effects,
textual issues and key terms, as applied to Bible translation.
A special highlight has been excursions (coordinated by JCBT’s Dr Halvor Ronning) which have
enlightened our understanding of the Psalms: a visit to the new music museum in downtown
Jerusalem, an overnight in a desert tent, climbing the rocks and enjoying the refreshment of Ein
Gedi where David hid, as well as a guided tour of outdoor biblical settings and a talk with a modern
day Jewish scribe. The majority of our 14 participants are all consultants or project coordinators
working in Bangladesh, China, India, Mexico, Mozambique, Nigeria, Slovakia, and South Africa,
along with an Old Testament scholar from Singapore. All are contributing to the course by sharing
their own field experience and pursuing original research topics. Our final exercise will be to
produce a monograph of selected research papers related to the Psalms.
 text – the psalm under study

 co-text – the verses immediately preceding and following any given passage
 con-text – the psalms immediately preceding and following any given psalm
 intra-text – any verses in the Psalter that relate in any way to a passage under study
 inter-text – any verses in the Scriptures that relate to a passage under study
 extra-text – the cultural (WV) and situational (geographical, ecological, etc.) setting of
the biblical text
 para-text – the various expository, descriptive, and visual helps needed to appropriately
“contextualize” the biblical text for readers/hearers
 translata-text – the text as rendered in a poetic, oral-aural, functionally-equivalent
manner in the TL, ideally also musically/in sung form (as specified in a translation brief)
(As we work through each psalm, point out aspects of the text that would requires some form of
“contextualization” in YL so as to enable or enrich the readers’/hearers’ understanding—explain why.)
The great vision and goal of this course is to spend three weeks digging deep into the Psalter as a
unified “book” and in particular the psalms we have chosen for daily study. When we leave
Jerusalem we want our students to have a good grasp of the following points:
 the structure of the Psalter

 poetic genres exhibited within the text (wisdom or didactic, praise, royal, laments, etc.)
 poetic devices used in Hebrew song composition (various kinds of parallelism, chiasm,
inclusio, word pairs, sound effects and other poetic features)
 building blocks of psalms (strophes)
 the role of titles
 key terms as they appear in the psalms (kabod, hesed, torah ...)
 a methodology to get a handle on how to analyze any psalms
154
 particular items in the psalms (musical instruments, various spices or elements which
have symbolic significance, oil, wine, aloes)
 geographic elements on the scene in Israel which will help us all understand psalms better
(rock, fortress, refuge, trees by water, paths of sheep, etc.)
 archeological sites and or museums which evoke the psalms : walls, gates, sanctuary,
altar, vain idols, holy mountain, Zion
 anything we can know about how the psalms were written down and preserved over time
 an application of all of the above to Bible translation and teaching
Normal Daily Schedule:

Devotion: 08:15-08:30
Class One: 08:30-10:00
Tea Break: 10:00-10:30
Class Two: 10:30-12:00
Lunch Break: 12:00-14:00
Class Three: 14:00-15:30
Tea Break: 15:30-16:00
Study Time: 16:00-18:00
Evening Time: Special Lecture/Study Time/Fellowship
Course Requirements:
 Read and critique Hebrew Poetry in the Bible (revised edition): Enter your proposed corrections,
revisions, additions in the PDF copy that will be sent to you (use “sticky notes”); we will discuss
individual chapters in scheduled afternoon sessions. (20%)
 Prepare the daily psalm readings for “contextual” (in the wider sense!) analysis and group
discussion during the morning sessions. (15%)
 Present to the group a summary of some research-in-progress or publication that you have already
completed with regard to the Psalter—or alternatively, overview the poetic and/or musical
features of a non-English TL genre and apply these to the translation of a selected psalm, pointing
out some of the main challenges and how they were handled. NB—discuss your presentation with
us ASAP so that it can be worked into the afternoon class schedule. (15%)
 Prepare a substantial paper (analytical, practical, or performance-related) on a particular psalm (or

group or topic) for class presentation during the last two days; the final written version of your
study will be due one month after the course; when you are ready, inform the course presenters of
your subject. (50%)
Course Reference Texts:

Hebrew Poetry in the Bible (HPB)
Studies in the Psalms (Studies)
Studies in the Psalms—Supplement (SSup)
Analyzing the Psalms (Analyzing)
Translating the Literature of Scripture (TLS)
More Psalm-related material is available at: https://sun.academia.edu/EWENDLAND

155
PSALMS-in-CONTEXT: Ways of visually (and otherwise) contextualizing the biblical text:
a) Attend a psalms-based course in residence at the JCBT (#1 by far!)
b) Access reliable books that depict various aspects of the setting of the biblical text, e.g.,
Photo Companion to the Bible—Psalm 23 (https://www.bibleplaces.com/psalm23-photo-
companion-to-the-bible/ -- https://www.amazon.com/Psalm-23-Commentary-Steven-
Anderson/dp/1717356915 ); 30 Days in the Land of the Psalms (cf. Kindle edition)
c) Access reliable websites that do the same with photos as in (b), e.g.,
(1) https://www.gettyimages.com/photos/israel-
landscape?mediatype=photography&phrase=israel%20landscape&sort=mostpopular ;
(2) https://info.goisrael.com/en/gallery#/specFilters=180m!#-
!915&pageSize=24&viewMode=grid&orderBy=0&pageNumber=1 ;
(3) http://www.holylandphotos.org/page.asp?page_ID=48#History%20of%20Israel ;
(4) https://www.pinterest.com/cdenninger/holy-land-israel/
(5) musical instruments-- http://www.musicofthebible.com/instruments.htm
d) Access reliable video (DVD) productions, e.g., “Bible Lands as Classroom”

(https://www.thebibletranslator.org/products/bible-lands-classroom-2-dvd-set ); “The Bible and
the Land—Israel in Context” (https://preservingbibletimes.org/the-bible-and-the-land-in-
context/ ); “That the World May Know—The Promised Land”
(https://www.thattheworldmayknow.com/#109 )
e) Search for “psalm” in a reference book such as the Dictionary of Biblical Imagery
(https://www.academia.edu/37160185/Dictionary_of_BIBLICAL_IMAGERY ) or the book of
Psalms in the IVP Bible Background Commentary.
Contextualizing exercises (to be carried out as time allows):
a) Check out the photos at the following website and find one (or more) that fits one of the
psalms that we are studying during this workshop—explain how this picture visually
“contextualizes” a verse or portion from the psalm for you:
https://www.gettyimages.com/photos/israel-
landscape?mediatype=photography&phrase=israel%20landscape&sort=mostpopular
b) Note three important intertextual (cross) references that are helpful for understanding
the text of a given psalm; be able to explain your choices.
c) Call attention to a published study Bible note that you find especially helpful with
reference to a given passage and tell why. On the other hand, do the same for any such
note that is potentially misleading, whether to you as a Hebrew scholar, or in terms of the
TL sociocultural setting in which you may be translating.
156
d) Identify any psalm term or text that you feel would require an illustration or diagram in
order to make the passage more meaningful to the “average” reader, whether in English
or the TL in which you are working. What would you suggest?
e) Discuss how a specific TL poetic style and/or musical genre that you have investigated
would help to non-verbally contextualize the emotive mood and communicative function
(praise, lament, instruction, etc.) of a particular psalm (or psalm type).
ASSIGNMENTS—Further Instructions:
A. Individual Class Presentation (research-in-progress, publication, analysis of a poetic
TL translation): This is best given as for a classroom-teaching type of setting—or better
perhaps, in a seminar-type of style, that is, a more informal approach among colleagues
that aims to stimulate interaction and feedback. However, you are free to present in a way
that is most comfortable for you. A power-point screen will be available if you like that
mode of communication. All participants will have Logos or something similar available
for reference to the Hebrew text as needed. Not all of us will be of equal ability in their
nuts-and-bolts knowledge of Hebrew vocabulary and grammar, but Logos helps out with
the basic forms at least!
B. Critique of Hebrew Poetry in the Bible: There are two types of criticism that you might
make in your PDF copy of the text:
a) MAJOR: Important issues that you feel require a correction, or additions that you
think are needed, should be written as a “comment”; we will take these up for
discussion as we proceed in our afternoon workshop sessions.
b) Minor: The easiest method is simply to highlight these in your PDF copies. You may
call our attention to any important items among these as we work chapter-by-chapter
through the draft text on the days (afternoons) specified.
You will send (email) us your PDF corrected copies at the end of the workshop so that
we can compile and organize the revisions needed. The text of HPB has come to us in a
pre-edited stage, so we may be somewhat limited as to the extent of changes that we will
be able to make—except outright errors!
C. Final Paper: At this stage we are already confident that we will have a collection of
papers (including items from us) available for publication in some form or another (to be
determined) after the workshop. Your topic should concern some important aspect(s) of
poetically analyzing the Psalms, translating, and/or communicating them, whether in
print or an oral performance. Please type these in double-space and follow the format
instructions given for The Bible Translator. Submissions from 5-10,000 words are
encouraged and will be due by the end of December, 2018.
157
APPENDIX: Psalm Sounds on Youtube
(https://wjdw.nl/2018/07/25/psalms-on-youtube/ ) by Dr. Willem-Jan de Wit
Listen to all 150 psalms in various languages and styles. Each of the following numbers leads to a playlist on
YouTube for that psalm:
1, 2, 3, 4, 5, 6, 7, 8, 9, 10, 11, 12, 13, 14, 15, 16, 17, 18, 19, 20, 21, 22, 23, 24, 25, 26, 27, 28, 29, 30, 3
1, 32, 33, 34, 35, 36, 37, 38, 39, 40, 41, 42, 43, 44, 45, 46, 47, 48, 49, 50, 51, 52, 53, 54, 55, 56, 57, 58,
59, 60, 61, 62, 63, 64, 65, 66, 67, 68, 69, 70, 71, 72, 73, 74, 75, 76, 77, 78, 79, 80, 81, 82, 83, 84, 85, 8
6, 87, 88, 89, 90, 91, 92, 93, 94, 95, 96, 97, 98, 99, 100, 101, 102, 103, 104, 105, 106, 107, 108, 109, 1
10, 111, 112, 113, 114, 115, 116, 117, 118, 119, 120, 121, 122, 123, 124, 125, 126, 127, 128, 129, 130,
131, 132, 133, 134, 135, 136, 137, 138, 139, 140, 141, 142, 143, 144, 145, 146, 147, 148, 149, 150.
Or, listen to the psalms in a specific language. Most of the following links are to YouTube playlists, a few to
SoundCloud or another site:
Arabic ‫ﺮﺑﻲ‬GGGG‫ﻋ‬: various; Psalms of the Evangelical Presbyterian Church in Egypt; Maher Fayez and
ElKarouzTeam; Coptic Orthodox chant, chant with musical instruments
Dutch: Genevan Psalter: various; Nederland Zingt (The Netherlands Sing television program); all 150
Psalms in the 1773 version; De Nieuwe Psalmberijming (a new Dutch version, site)
Dutch: other: various; Psalmen voor nu (Psalms for Today); The Psalm Project (partly based on the
Genevan Psalter, site)
English: various; 1650 Scottish Psalter; Anglican chant, all psalms in one video; Genevan Psalter; The
Psalm Project (partly based on the Genevan Psalter); Psalm Project Africa
French: various; Genevan Psalter
German: various; Heinrich Schütz, Schütz 26 psalms in one video
Greek: Greek orthodox
Hebrew: various https://www.youtube.com/playlist?list=PLkWhEXBBCqGYefGKVzUwi4mG4jp4rD86_
Hungarian: various; Genevan Psalter Indonesian: various
Japanese: Genevan Psalter (Masaaki Suzuki, Bach Collegium Japan)
Latin: various Polish: various Portuguese: various; Genevan Psalter
Spanish: various; Genevan Psalter, site with mp3s
Turkish: Genevan Psalter (Ali Ufki), individual psalms 2, 5, 6, 8, 9, 13
158
JCBT Office Phones and Email:
Tel: +972-2-579-0201
Fax: +972-2-533-3793
Email: [email protected]
JCBT Office Mailing Address

Jerusalem Center for Bible Translators
PO Box 40258
Mevasseret Zion, 9080500
ISRAEL
Founders and Co-Directors
Halvor Ronning, Director:
Cell phone: +972-54-422-1994 email: [email protected]
Mirja Ronning, Director of Hebrew Studies:
Special Programs Director
Brian (Baruch) Kvasnica:
NOTE: A similar course/workshop intended for advanced translation personnel and
consultants is being planned for 2019—this one focusing on a prophetic book. If you
would be interested in such a course, please contact the JCBT office above
([email protected]).
159
(https://i.pinimg.com/originals/bb/74/6e/bb746e093080d02f0207099422f5f1d5.jpg )
160

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PSALMS-

JCBT Studying the ‘PSALMS in Context’

Ernst R. Wendland (https://sun.academia.edu/EWENDLAND )

1. Discourse outline with textual and exegetical notes

Why1 do the nations rebel?2

The one enthroned13 in heaven laughs in

28 “The nations (X)—your inheritance (Y)”; a thematically significant juxtaposition. The

you rulers of the earth, submit to

B (4-6) – God silences all enemies by introducing “my king”

C (7-9) – Yahweh officially instals and commissions “my Son”

A – rulers arrogantly RENOUNCE God/divine King;

B – God angrily REPROACHES rulers;

C – Yahweh reassuringly ORDAINS Son,46

D – The Son/righteous psalmist sternly REPRIMANDS rulers.

3. Examples of a poetic translation

1a The subject peoples are planning rebellion…

The following is another creative effort (http://www.petesantucci.com/2018/07/17/psalm-2/ -- thanks to

God closes his eyes,

Leaders of the land, wise up!

pete santucci | July 17, 2018 at 3:29 pm

New English Translation (NET)48

A1 Commitment to Worship King YHWH 1-2

‫ ְתּ ִה ֗ ָלּה ְל ָ ֫דִ ֥וד‬1

2 Every day I will praise you! ‫עוֹלם וָ ֶ ֽעד׃‬

I will praise your name continually! 3

1 Psalm 145. The psalmist praises God because

B1 Reasons for worship—

5 I will focus on your honor and ‫הוֹדָך‬

I will declare your great deeds!*

Yahweh’s marvelous deeds in freeing his understood as imperfects, indicating

B2 Reasons for worship—

and has compassion on all he has made. 12

A2 Commitment to Worship King YHWH 10

10 All he has made will give thanks to

B3 Reasons for worship—

11 They will proclaim the splendor of your

‫בוּר ְתָך֥ יְ ַד ֵ ֽבּרוּ׃‬

12 so that mankind 13 might ‫הוֹד ַיע׀ ִל ְב ֵנ֣י ָ ֭ה ָא ָדם גְּ בוּר ָ ֹ֑תיו‬

13 Heb “the sons of mankind.”

B4 Reasons for worship—

‫־הנּ ְֹפ ִ ֑לים‬

15 Everything looks to you in anticipation, 17 ‫ ֵ ֽעינֵ י־ ֭כֹל ֵא ֶל֣יָך יְ ַשׂ ֵ ֑בּרוּ‬15

16 You open your hand,

B5 Reasons for worship—

17 The Lord is just in all his actions, 20

and exhibits love in all he does. 21 ‫־מ ֲע ָ ֽשׂיו׃‬

‫ ָק ֣רוֹב ְי֭הוָ ה ְל ָכל־ק ְֹר ָ ֑איו‬18

he hears their cry for help and delivers them. ‫יעם׃‬

but he destroys all the wicked. ‫־ה ְר ָשׁ ִ ֣עים יַ ְשׁ ִ ֽמיד׃‬

A3 Commitment to Worship King YHWH 21

21 My mouth will praise the Lord. 25

A1 Commitment to Worship King YHWH 1-2

A2 Commitment to Worship King YHWH 10

A3 Commitment to Worship King YHWH 21

51 Obviously, a divergent structural outline would result in quite a different perspective on