(OS 057) Lugt - Cantos and Strophes in Biblical Hebrew Poetry II - Psalms 42-89 PDF

Cantos and Strophes
in Biblical
Hebrew Poetry II
Psalms 42-89
Pieter van der Lugt

Cantos and Strophes
in Biblical Hebrew Poetry II
Oudtestamentische Studiën
Old Testament Studies

published on behalf of the Societies for
Old Testament Studies in the Netherlands and
Belgium, South Africa, the United Kingdom
and Ireland
Editor
B. Becking
Utrecht
Editorial Board
H.G.M. Williamson
Oxford
H.F. Van Rooy

Potchefstroom
M. Vervenne
Leuven
VOLUME 57
Cantos and Strophes
in Biblical Hebrew Poetry II
Psalms 42–89
by
Pieter van der Lugt
LEIDEN • BOSTON
2010
This book is printed on acid-free paper.
Library of Congress Cataloging-in-Publication Data
Van der Lugt, Pieter.

Cantos and strophes in biblical Hebrew poetry II, psalms 42-89 / by Pieter van der Lugt.
p. cm. — (Oudtestamentische studien = Old Testament studies ; v. 57)
Includes bibliographical references and index.
ISBN 978-90-04-18200-4 (hardback : alk. paper)
1. Hebrew poetry, Biblical—History and criticism. 2. Bible. O.T. Psalms XLII-LXXXIX—
Criticism, interpretation, etc. 3. Bible. O.T. Psalms—Language, style. 4. Stanzas.
5. Rhetoric in the Bible. I. Title. II. Series.
BS1405.52.V365 2010
223’.2066—dc22
2009047079
ISSN 0169-7226
ISBN 978 90 04 18200 4
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printed in the netherlands

God woont in de witregels
Michiel de Zeeuw
God dwells in the blank lines
(My translation)
.
CONTENTS
Acknowledgments xiii
Chapter I: Methodology 1
1 Methodology 1
1.1 The logical division of the subject matter . . . . . . . . . . . 2
1.2 Transition markers . . . . . . . . . . . . . . . . . . . . . . . 2
1.3 Verbal repetitions . . . . . . . . . . . . . . . . . . . . . . . . 4
1.4 Quantitative structural aspects . . . . . . . . . . . . . . . . 6
1.5 Various divisions . . . . . . . . . . . . . . . . . . . . . . . . 8
2 Presentation 10
2.1 Comments and summary . . . . . . . . . . . . . . . . . . . . 10
2.2 The reproduction of the texts . . . . . . . . . . . . . . . . . 10
2.3 Textcritical remarks . . . . . . . . . . . . . . . . . . . . . . . 12
Chapter II: The Second Book of the Psalter 13
1 Psalm 42–43 13
2 Psalm 44 24
3 Psalm 45 36
4 Psalm 46 45
5 Psalm 47 53
6 Psalm 48 60
7 Psalm 49 69
8 Psalm 50 82
9 Psalm 51 92
10 Psalm 52 105
viii contents
11 Psalm 53 112
12 Psalm 54 117
13 Psalm 55 122
14 Psalm 56 134
15 Psalm 57 142
16 Psalm 58 150
17 Psalm 59 157
18 Psalm 60 168
19 Psalm 61 177
20 Psalm 62 182
21 Psalm 63 191
22 Psalm 64 199
23 Psalm 65 206
24 Psalm 66 213
25 Psalm 67 223
26 Psalm 68 229
27 Psalm 69 248
28 Psalm 70 267
29 Psalm 71 271
30 Psalm 72 282
Chapter III: The Third Book of the Psalter 295
1 Psalm 73 295
contents ix
2 Psalm 74 308
3 Psalm 75 319
4 Psalm 76 326
5 Psalm 77 332
6 Psalm 78 342
7 Psalm 79 369
8 Psalm 80 379
9 Psalm 81 391
10 Psalm 82 401
11 Psalm 83 408
12 Psalm 84 416
13 Psalm 85 426
14 Psalm 86 434
15 Psalm 87 444
16 Psalm 88 450
17 Psalm 89 462
Chapter IV: The Canto Design of Hebrew Poetry in

Terms of Verselines 485
1 General outline 486

1.1 The First Book of the Psalter: Psalms 1–41 . . . . . . . . . 486
1.2 The Second Book of the Psalter: Psalms 42–72 . . . . . . . . 487
1.3 The Third Book of the Psalter: Psalms 73–89 . . . . . . . . 489
1.4 The Fourth Book of the Psalter: Psalms 90–106 . . . . . . . 489
1.5 The Fifth book of the Psalter: Psalms 107–150 . . . . . . . . 490
1.6 Concluding observation . . . . . . . . . . . . . . . . . . . . . 492
x contents
2 Canto design in terms of verselines 493

2.1 Introduction . . . . . . . . . . . . . . . . . . . . . . . . . . . 493
2.2 Type IA: exactly regular cantos . . . . . . . . . . . . . . . . 494
2.2.1 Within the book of Psalms . . . . . . . . . . . . . . . 494
2.2.2 Outside the book of Psalms . . . . . . . . . . . . . . 494
2.3 Type IB: almost regular cantos . . . . . . . . . . . . . . . . 495
2.3.1 Transitional designs within the book of Psalms . . . . 495
2.3.2 Almost regular cantos within the book of Psalms . . 496
2.3.3 Almost regular cantos outside the book of Psalms . . 497
2.4 Type IIA/B: the 2.4.4 and the 4.4.2 canto design . . . . . . 498
2.4.1 Introduction . . . . . . . . . . . . . . . . . . . . . . . 498
2.4.2 The 2.4.4 canto design within the book of Psalms . . 499
2.4.3 The 4.4.2 canto design within the book of Psalms . . 499
2.4.4 The 2.4.4 and 4.4.2 canto design outside the book of
Psalms . . . . . . . . . . . . . . . . . . . . . . . . . . 500
2.5 Type IIC: the 2.4.4.2 canto design . . . . . . . . . . . . . . . 501
2.6 Type III: concentric canto designs . . . . . . . . . . . . . . . 501
2.6.1 Within the book of Psalms . . . . . . . . . . . . . . . 501
2.6.2 Outside the book of Psalms . . . . . . . . . . . . . . 502
2.7 Summary . . . . . . . . . . . . . . . . . . . . . . . . . . . . 502
Chapter V: Systematic Observations (continued 1):

The Mathematical Centre and its Meaning,
or the Quest for the Rhetorical Centre 505
1 Introduction 505
2 References to God’s presence highlighting the rhetorical

centre 508
2.1 The divine name, yhwh, and the centre . . . . . . . . . . . 508
2.1.1 yhwh within the centre: basic example . . . . . . . . 508
2.1.2 yhwh within the centre: more examples . . . . . . . 509
2.1.3 A related feature: yhwh outside the centre . . . . . 514
2.2 The designation ’dny (‘Lord’) and the centre . . . . . . . . . 516
2.2.1 ’dny within the centre: the examples . . . . . . . . . 516
2.2.2 A related feature: ’dny outside the centre . . . . . . . 519
2.3 The designation ’lhym (‘God’) and the centre . . . . . . . . 520
2.3.1 ’lhym within the centre: the examples . . . . . . . . . 520
2.3.2 A related feature: ’lhym outside the centre . . . . . . 522
2.4 The title ‘lywn (‘Most High’) and the centre . . . . . . . . . 523
contents xi
2.5 The personal pronoun ’th (‘you’), referring to God . . . . . . 524

2.5.1 Basic example . . . . . . . . . . . . . . . . . . . . . . 524
2.5.2 More examples . . . . . . . . . . . . . . . . . . . . . 525
2.5.3 A related feature: the suffix -k and the centre . . . . 526
2.6 The numbers 26, 17, 13 and the centre . . . . . . . . . . . . 526
2.6.1 Basic examples: the number 26 and the centre . . . . 526
2.6.2 More examples of the number 26 and the centre . . . 528
2.6.3 Examples of the number 17 and the centre . . . . . . 531
2.6.4 Examples of the number 13 and the centre . . . . . . 534
3 Concentric and symmetric word patterns highlighting

the rhetorical centre 537
3.1 In the poem as a whole . . . . . . . . . . . . . . . . . . . . . 537
3.1.1 Basic example . . . . . . . . . . . . . . . . . . . . . . 537
3.1.2 More examples . . . . . . . . . . . . . . . . . . . . . 537
3.2 In the centre itself . . . . . . . . . . . . . . . . . . . . . . . 538
4 Specific words highlighting the rhetorical centre 543

4.1 Nouns denoting ‘midst’ . . . . . . . . . . . . . . . . . . . . . 543
4.1.1 The noun qrb (‘midst’) . . . . . . . . . . . . . . . . . 543
4.1.2 The noun bt.n (‘womb’) . . . . . . . . . . . . . . . . . 544
4.2 Words denoting ‘(making a) circle’ . . . . . . . . . . . . . . 545
4.2.1 The noun ‘yn (‘eye’/‘well’) . . . . . . . . . . . . . . . 545
4.2.2 The root sbb (‘to go around’) . . . . . . . . . . . . . 546
4.3 The roots spr (‘to count’) and zkr (‘to remember’) . . . . . . 547
4.3.1 The root spr (‘to count’) . . . . . . . . . . . . . . . . 547
4.3.2 The root zkr (‘to remember’) . . . . . . . . . . . . . . 548
5 A switch in the way God is referred to highlighting the

rhetorical centre 550
6 Conclusion 551
7 Index of Psalms discussed in Chapter V 552
Abbreviations 553
Definitions 557
General bibliography 561
.
ACKNOWLEDGMENTS
Recent biblical scholarship generally recognizes that a proper reading of the

poetry of the Hebrew Bible is inextricably bound up with an investigation
into its structures. However, to put it mildly, it is not always taken for
granted that such a structural investigation should focus on its rhetorical
framework in terms of cantos and strophes in the strict sense. The present
project has once again confirmed my opinion that it is exactly the study
of the cantos (or stanzas) and the strophes that can reveal the wave-like
movement of the works of art under discussion. In my view, neglecting
this movement is like performing a musical composition without paying
attention to its time and grade marks.
This book could never have been published without the continuous en-
couragement by Dr. Casper J. Labuschagne (Haren). The numerous valu-
able suggestions for improving my English form only part of his important
contribution to the accomplishment of this study. Four years ago, when
I could tell him—much to my relief—that the files with my observations on
the canto structures of Psalms 1–41 were in print,1 he immediately asked
me: ‘What is your next project?’ Together we decided that it should be
the analysis of Psalms 42–89. I am greatly indebted to him.
Thanks are also due to Dr. James W. McMillan, Morphett Vale (Aus-
tralia), who, as a native English speaker on the other side of my world, with
his linguistic instinct provided the finishing touches in my work. I consider
myself fortunate for having been introduced to him: he was a very com-
mitted co-reader. Unfortunately he will not witness the publication of this
book, since he passed away on the ninth of July 2009 at the age of 80 years.
Notwithstanding the scrutiny with which both of them checked my
English, there will no doubt remain some errors in the final result. For
such flaws, I bear full reponsibility.
Dokkum, summer 2009 Pieter van der Lugt
1
See my Cantos and Strophes in Biblical Hebrew Poetry, with Special Reference to
the First Book of the Psalter (OTS 53), Leiden/Boston: Brill, 2006.
.
Chapter I
Methodology
1 Methodology
This is a shortened account of the methodology which I presented in the first
volume of this series about the canto structures of the psalms.1 Similarly
to the investigations in CAS I regarding Psalms 1–41, the search for the
poetic framework of the psalms I investigate in this volume (Psalms 42–89)
will move along five mutually complementary lines of approach:
1. the description of the logical division of the subject matter;
2. the registering of transition markers;
3. the recording of verbal repetitions;
4. the description of quantitative structural aspects;
5. a survey of various divisions.
Together, these lines of approach constitute the method for this rhetor-
ical inquiry. This methodology enables us to systematically describe the
rhetorical aspects of the overall design of classical Hebrew poetry in terms
of cantos, canticles (as the case may be) and strophes.2
The sequence in which the different steps of the analysis are presented is
more or less arbitrary and generally does not—and in view of the economy
of presentation cannot—mirror the steps of the hermeneutic circle. For this
aspect, see the ‘comments and summary’ (§ 0.7).3
It may tentatively be stated that, with the application of these five
complementary lines of approach, the most important rhetorical phenom-
ena constituting the poetic structure of the psalms can be seen.
1
See my Cantos and Strophes in Biblical Hebrew Poetry (OTS 53), Leiden/Boston:
Brill, 2006 (further CAS I), Ch. II, 2, pp. 75–92.
2
For such systematic descriptions, see CAS I, Ch. V, and further Chs. IV–V below.
3
Here and in the following sections the figure zero, in e.g. § 0.7, is to be replaced by
the number of the section a psalm is discussed in Chs. II–III; that is to say, 2.7 means
subsection seven in the analysis of Psalm 44 (Ch. II, 2).
2 chapter i: methodology
1.1 The logical division of the subject matter

In the first stage of my inquiry, I present a description of the material con-
tent of the poem in question: § 0.2. This description in terms of semantics
corresponds to the rhetorical framework of the poem as it was established
on the basis of the investigation as a whole.
Because each piece of poetry formally and thematically comprises sev-
eral levels, this stratification has to be made explicit in the description of
the content too. I use Roman numerals to indicate the main sections of the
poem, the cantos (mostly called ‘stanzas’). The strophes, the poetic units
mostly consisting of only two or three verselines, are marked by means of
the Masoretic verses (or verse) that correspond(s) to the strophe in ques-
tion. If the cantos divide into canticles that encompass the strophes, the
canticles are indicated by the Roman numeral of the canto, followed by an
Arabic numeral (e.g., II.1 and II.2; see Ps. 69,14–19 and 20–29).
The confusion among exegetes concerning the subdivisions of Hebrew
poetic texts—note § 0.6 (‘various divisions’)—does not stem from a certain
vagueness of the poets as regards the rhetorical structure of their compo-
sitions in terms of cantos and strophes, but is due to lack on our part of
first-hand knowledge of their techniques. I dare to state that in the past
too little attention has been paid to the formal devices which determine
the structure of a classical Hebrew poem on the level of the cantos and
the strophes. An inquiry into these formal aspects may help us to draw
conclusions on a more objective and verifiable basis. The analysis of the
transition markers, the verbal repetitions and the quantitative structural
aspects can lay the appropriate foundations.4
1.2 Transition markers

On the level of the strophes, I make use of formal markers that demarcate
the beginning or the end of these units. There are a special group of
words and grammatical forms that mark turning points within a Hebrew
poem; cf. the Greek word strophè, which means ‘turn’ (§ 0.3).5 This is
4
A method incorporating such formal devices ‘does not depend as heavily as cur-
rent methods on content and therefore on exegesis’, the ‘reasoning is fully verifiable
and therefore debatable’; cf. M.C.A Korpel and J.C. de Moor (eds.), ‘Fundamentals of
Ugaritic and Hebrew Poetry’, in W. van der Meer and J.C. de Moor, The Structural
Analysis of Biblical and Canaanite Poetry (JSOTS 74), Sheffield: JSOT Press, 1988,
p. 61.
5
‘Dabei darf es uns nun auch nicht irre machen, wenn einzelne Strophen sich durch
Einheit des Inhalts nicht so scharf absondern, als andere. Pflegen ja doch alle Dichter,
schon der gefälligen Abwechslung zu Liebe, nicht immer die Sinn-Pause mit dem Schlusse
i.1 methodology 3
an area of research which is almost unexplored. Nevertheless, it proves

to yield important stylistic findings that further our understanding of the
compositional techniques employed by the Hebrew poets.
In § 0.3.1 I list the transition markers that occur in the first lines of the
strophes. This first line may coincide with the beginning of a new canticle
or canto, or with the beginning of the poem itself. There are separate
entries for the markers that generally denote the beginning of a strophe
(§ 0.3.1.1) and for the markers that generally denote the end of a strophe,
but now occur in the first line of a 3-line strophe or a higher poetic unit, a
canto or the poem as a whole (§ 0.3.1.2).
In § 0.3.2 I list the transition markers that occur in the last line of the
strophes. This last line may coincide with the end of a canticle, a canto,
or with the end of the poem itself. Once again, there are separate entries
for the markers that generally denote the end of a strophe (§ 0.3.2.1) and
for the markers that generally denote the beginning of a strophe, but now
occur in the last line of a 3-line strophe or a higher poetic unit (§ 0.3.2.2).
A fairly large number of words function as transition markers. This
does not suggest arbitrariness or carelessness in their choice on the part
of the poets. It is possible to group them into a limited number of lexical
and grammatical categories. I distinguish eight categories of markers which
primarily denote the beginning of a strophe:
1. vocatives, especially the vocative use of a word for God (’dny, ’lhym,
yhwh, ‘lywn etc.);
2. interrogative particles, like ‘d ’n(h) (‘how long?’), h- interrogative, mh

(‘what?’), lmh (‘why?’), and the interrogative pronoun my (‘who?’);
3. ‘emphatic’ particles: ’z (‘then’), ’k/’kn (‘certainly’), hnh/hn (‘be-

hold!’), ‘l kn (‘therefore’), lwly (‘if not’), n’ (‘now!’), ‘th (‘now’), and
w- (‘and’) at the beginning of a verseline;
4. demonstrative pronouns, like ’lh (‘these’), z’t (‘this’), zw (‘this’), and

personal pronouns, like ’ny (I’), ’th (‘you’);
5. ’šry (‘happy’) and .twb (‘good’) at the beginning of a verseline;
6. imperatives and other verbal forms with an imperative meaning, like

cohortatives and jussives;
der Strophe zusammen fallen zu lassen’; F. Köster, ‘Die Strophen, oder der Parallelismus
der Verse der hebräischen Poesie’, ThStKr 4 (1831), p. 54 (cf. CAS I, Ch. I, 1.1.2).
7. specific verbal forms; to this category I reckon ’mrty (‘I say’), yd‘ty
(‘I know’), brwk yhwh (‘blessed be yhwh’) and yr’ (‘to fear’; with
object God).
The transition markers that primarily demarcate the end of a strophe

may also be grouped into a limited number of categories. Here I distinguish
four categories:
1. ‘emphatic’ particles: ’p (‘more’/‘even’), gm (‘also’/‘yet’), m’d (‘very’),

lm‘n (‘on account of’) and ‘wd (‘more’);
2. personal pronouns, like ’nh.nw (‘we’), ’nky (‘I’), hw’ (‘he’), hy’ (‘she’),
hmh/hnh (‘they’), and the demonstrative pronoun zh (‘this’);
3. words that point to a very long time, ‘eternity’: dr wdr (‘generation

and generation’), kl hywm (‘all day long’), ns.h. (‘eternity’), ‘d (‘eter-
nity’), ‘wlm (‘duration’/‘eternity’) and tmyd (‘always’);
4. the enigmatic term slh (‘selah’).
The exploration of the transition markers in an individual poem always

ends with an entry in which I list the words and grammatical forms that
must be taken as contrary indications in the context of the methodology
described above (§ 0.3.3). Such a contrary indication we find, e.g., in Ps.
42,11b where the expression kl hywm occurs in the second verseline of a
3-line strophe, while it is mostly found in the concluding verseline of a
strophe (in the book of Psalms 18×).
In this respect, I urgently request the reader to consult the overviews
I have drawn up in CAS I, Ch. V, 7.1–2 (pp. 536–66). These systematic
overviews provide information on the number of times the Hebrew poets
used or did not use a particular word or grammatical form as a transition
marker. The information in the sections concerned is presented in such
a way that the reader can decide for themselves whether the figures in
relation to a given transition marker are significant or not.
1.3 Verbal repetitions

One of the most important formal features that frame the macrostructure
of a Hebrew poem are the patterns of verbal repetitions which I chart in
§ 0.4. These patterns generally play a major role in determining the rhetor-
ical framework of a composition: the division into cantos and strophes. We
are dealing here with some sort of parallelism that goes beyond the paral-
lelism between the successive cola of a Hebrew verseline, the parallelismus
i.1 methodology 5
membrorum or the internal parallelism. To denote the parallelism that

characterizes these higher poetic levels I use the term ‘external parallelism’,
or ‘distant parallelism’.
The repetition of lmh ’lhym/‘d mty ’lhym (‘why, O God’/‘how long, O
God’) at the beginning of Ps. 74,1 and 10 respectively functions as a marker
that introduces a new section in v. 10. There are also verbal repetitions
which mark the end of major units. This is true for ’hllk/thltk (‘I praise
you’/‘your praise’) in Ps. 35,18 and 28 respectively.
The phenomenon of external, or distant parallelism is generally not re-
stricted to just one word! We are mostly dealing with a small group, a
cluster, of words that determine the beginning and/or the end of a given
poetic unit in its relationship to another poetic unit. Thus, in Psalm 74
the anaphoric repetition at the beginning of vv. 1 and 10 is not the only
device that marks the beginning of the first and the second canto. The
anaphora is only part of a much broader phenomenon that characterizes
the beginning of these cantos (vv. 1–9, 10–17 and 18–23); note also the
recurrences of lns.h. (‘for ever’; vv. 1, 10 and 19), qdm (‘long ago’; vv. 2 and
12), ’wyb (‘enemy’; vv. 3, 10 and 18) and qrb (‘midst’; vv. 4, 11 and 12).
Such linearly positioned verbal repetitions I call responsions. The example
of Psalm 74 makes it clear that the recurring words within the cluster of
responsions need not necessarily occur in a linear way within the cluster
itself. The sequence in which they repeat may be at random.
The analysis of the parallelistic phenomena is sometimes more complex
than pointed out above. Apart from the linear verbal repetitions (the
responsions), we have to consider the phenomena of ‘concatenation’ and
‘inclusion’ as well. That is to say, verbal repetition in two successive lines
does not automatically combine these lines into a strophe; see, e.g., the
root hlk (‘to go’) in Ps. 58,8 and 9. This verbal repetition constitutes a
concatenation. And distant parallelism does not automatically point to
linearly external correspondences; see, e.g., the root bw’ (‘to come’) in Pss.
42,3 and 43,3–4. The recurrence of this root functions as an inclusion,
which marks the boundaries of the composition as a whole.
To determine these patterns of verbal repetition it is necessary to take
into account all the verbal repetitions that occur in a given poem. There-
fore, § 0.4.1 records the verbal repetitions occurring within the individual
strophes of a poem; see, e.g., twbl/twblnh (‘she is led’/‘they are led’) and
the root bw’ (‘to come’) in Ps. 45,15–16. Section 0.4.2 records the repeti-
tions that characterize the cantos of a poem; see, e.g., ‘twdym (‘he-goats’)
in Ps. 50,9.13, and the preposition b + the root šlm in Ps. 55,19.21. These
recurrences also provide information on the framework of the strophes, es-
pecially when we are dealing with linear verbal repetitions, responsions (cf.
the examples).6 Finally, the repetitions that frame the poem as a whole
are systematically listed in § 0.4.3; see, e.g., the root h.km (‘to be wise’) in
Ps. 49,4.11. These repetitions also provide information on the framework
of the cantos, especially when we are dealing with linear verbal repetitions,
as is the case in Psalm 49.
This means that the word ‘strophic’ in the headings of § 0.4 must not be
taken in its narrow sense; it is also used for the higher structural levels of the
poems. When in §§ 0.4.1, 0.4.2 or 0.4.3 all the verbal repetitions occurring
within a psalm are listed, the item is concluded with an exclamation mark;
see, e.g., kbwd (‘glory’) and h.ylm (‘their wealth’) in Psalm 49 (Ch. II,
7.4.1–2) and all the examples mentioned before.
In connection with verbal repetitions, I also record alliterations and
word pairs, or parallel pairs, now and then; see, e.g., the alliteration twšy‘ny/
hbyšwt in Ps. 44,7–8 and znh.t/zh šknt in Ps. 74,1–2. However, in most
cases such phenomena can only play a supporting role in determining the
macrostructure of a poem. I would like to stress that the analysis should
focus on the exploration of verbatim repetitions occurring in a given poem.
1.4 Quantitative structural aspects

The transition markers and the web of verbal repetitions determining the
framework of a classical Hebrew poem, are formal devices which justify to
take the main units and the sub-units as cantos (stanzas) and strophes in
the proper sense. The regularity or uniformity in terms of the number of
verselines the cantos and the strophes consist of is another formal aspect
of the framework of Hebrew poetry, a quantitative aspect, once more jus-
tifying to take these designations in the proper sense; see the schematic
descriptions preceding the layout of the texts in Chs. II–III.7
In addition, there is a growing awareness that the poets who were re-
sponsible for the literary compositions in the Hebrew Bible, in yet another
way explored quantitative possibilities to shape their texts. They made use
of numerical codes to pass on information with regard to the theological
content of these compositions.
Following the investigations by Claus Schedl,8 Labuschagne especially
6
If there is a structural level of canticles between the strophes and the cantos, § 0.4.2
systematically records the repetitions that characterize the individual canticles; see, e.g.,
yrwšlm (‘Jerusalem’) in Ps. 79,1.3 and štny (‘you have put me’) in Ps. 88,7.9 (in that
case § 0.4.3 records the verbal repetitions within a canto).
7
Strangely enough, it was always denied that the poetry of the book of Job too
displays formal devices supporting its ‘strophic’ framework; see my RCPJ, pp. 32–33.
8
See Claus Schedl, Baupläne des Wortes. Einführung in die biblische Logotechnik,
Wien: Herder Verlag, 1974.
i.1 methodology 7
registers the occurrences of the numbers 17 and 26. In gematria these

numbers represent the name of God, yhwh: y+h+w+h > 1(0)+5+6+5
= 17 and 10+5+6+5 = 26.9
Apart from the numbers 17 and 26, there appear to be other numbers,
such as 7, 11 and 13, that turn up conspicuously often in a quantitative
approach. It may or may not be by chance that the number 26 is a multiple
of 13. In any case, the number 13 points to a prominent characteristic of
the God of Israel. In gematria it represents the word ’h.d (‘One’; see Deut.
6,4): ’+h.+d > 1+8+4 = 13.10
The number 11 with its multiples also deserve special attention. This
number turns up conspicuously in alphabetic acrostics because, among
other things, the Hebrew alphabet has 22 (= 2×11) letters. This cir-
cumstance may also reveal the symbolic meaning of the number concerned.
The use of the alphabet is a rhetorical device expressing the idea of com-
pleteness, fullness, or totality. This interpretation is in accordance with
Labuschagne’s observation that the number eleven is ‘the sum of 4 as the
number of extensiveness and 7 as the number of fullness’.11
Therefore, under the heading ‘quantitative structural aspects’ (§ 0.5)
I first note the sum total of the poetic verselines and cola of the psalm
involved. These figures may point to a meaningful central verseline, or
colon. The word count that follows, is related to my structural inquiry. It
gives an impression of the number of words in the strophes, the cantos and
the poem as a whole. This quantitative inquiry on word level may also
indicate a meaningful centre. In some cases, such central words coincide
with the pivotal colon, or the pivotal verseline.12
Occasionally this approach supports the overall structure of the poem,
as is the case in Psalm 73, where the 11-line cantos have 73 words each. In
other instances the word count reinforces the strophic division of a canto
or canticle, as is the case in Ps. 46,2–7, where the 3-line strophes have 24
words each.13 In section 0.5, as a rule, special numbers are highlighted in
bold face.
Up till now, the importance of the quantitative approach for the inter-
pretation of Hebrew poetry, especially in relation to the symbolic value of
9
See C.J. Labuschagne, Numerical Secrets of the Bible. Rediscovering the Bible Codes,
North Richland Hills (Texas): BIBAL Press, 2000, pp. 88–92.
10
For the symbolic interpretation of the numbers 26, 17 and 13, see now also Ch. V
below (note §§ 2.1.1 and 2.6.1). Cf. further H.A. Hutmacher, Symbolik der biblischen
Zahlen und Zeiten, Paderborn: Ferdinand Schöningh, 1993.
11
Labuschagne, op. cit. (2000), p. 70.
12
For a systematic investigation into the ‘rhetorical centre’ of the psalms, see now
Ch. V below.
13
See further CAS I, Ch. V, 2.4 (pp. 457–60).
some characteristic numbers, has been underrated in mainstream biblical

scholarship.
1.5 Various divisions

Under section 0.6 the reader will find a formalized list which provides a
review of text divisions that have been put forward by other scholars in
the more or less recent past. The author’s name, followed by a year put
in brackets, refers to a publication that can be found in the bibliography
at the end of this study or in § 0.8. In the commentaries on the book of
Psalms the poetic compositions are generally consecutively dealt with. In
these cases, it is no problem to find the proper place. If we are not dealing
with a commentary, then—in most cases—there will be a reference to one
or more pages from that publication.
Then, by using the number of the Masoretic verses, I present the di-
visions which the commentator in question has detected in the poem con-
cerned. When a division cuts through the Masoretic verse, the letter that
follows the number of the verse represents a colon; e.g., 1a = first colon of
verse 1, or 3b = second colon of verse 3, etc. For the colometric divisions,
see the layout of the text at the beginning of each new section. A dot be-
tween two successive Masoretic verses represents a turning point between
strophes. When in addition to that a scholar distinguishes strophes from
higher poetic units (stanzas or cantos), a vertical line (‘|’) marks the dis-
junction between these higher units; e.g., 2–4.5–7|8–10.11–13 (Psalm 76).
When the scholar assumes a transition from one poem to another within
one (Masoretic) chapter, I use a semicolon.
When the division referred to also reflects a strophic interpretation,
whenever possible, I put in brackets the strophic scheme that corresponds to
that division. The figures in brackets represent the number of the Masoretic
verses, verselines or cola that form the strophes; e.g., 3.3|3.3 lines. The
theories that form the bases of these strophic interpretations are described
in my CAS I, Chapter One (pp. 1–68).
This overview does not only refer to scholars who support a strophic
interpretation of the psalms in the strict sense of the word. Of special im-
portance in this context are the structural investigations by Lund, Auffret,
Girard, Weber and others. Their divisions are mostly followed by a combi-
nation of letters which try to give an impression of the linear, symmetric or
concentric pattern found in the poem concerned; e.g., a.b|a’.b’ (linear struc-
ture), a.b|b’.a’ (symmetric structure), a.b|c|b’.a’ (concentric structure). For
a critical evaluation of especially some recent structural approaches, see
now also Ch. II, 27.7.2–3 (on Psalm 69). Finally, I incorporate here also
i.1 methodology 9
the divisions of some scholars which do not emerge on the basis of a specific
strophic or structural theory.
The overview in § 0.6 enables the reader to ascertain readily to what
extent my divisions correspond to or deviate from previous structural inves-
tigations. When there is a certain measure of consensus with a particular
scholar, his name is printed in italics. When my structural analysis obvi-
ously deviates from a current opinion, special attention will be paid to this
fact in the following section ‘comments and summary’ (§ 0.7).
2 Presentation
2.1 Comments and summary
The preceding five stages of analysis essentially determine the rhetorical
framework I detect in the individual poems. Nevertheless, the analyses
are in each case concluded by a section that provides an opportunity for
supplementary remarks, ‘comments and summary’ (§ 0.7). These remarks
may elucidate a few data that have been described adequately in §§ 0.2–6,
but still rather schematically and abstractly. I will indicate which of these
data are especially important for the understanding of the macrostructure
of the poem in question. I will also set out how the different stages of
the analysis should be integrated to reach the most plausible, rhetorical
framework in terms of cantos and strophes in a given case.
In this section, I further create room for discussion with scholars whose
divisions deserve more attention than could be given in § 0.6. If neces-
sary, I will point out the distinctive features of my own approach with
respect to previous results. Finally, I will try to define the leading idea, or
quintessential thought of each poem in relation to its rhetorical framework.
2.2 The reproduction of the texts

For a clear understanding of the macrostructure and the colometric divi-
sions I advocate, the transliterated text of each individual psalm precedes
its analysis.14 The layout of the texts serves to clarify the structure of the
poems as much as possible and advisable. The poetic verselines I write on
one and the same line. The strophes are demarcated from each other by a
blank line. A horizontal line marks the disjunction between the cantos of a
psalm. The cantos are indicated by uppercase Roman numerals. If a canto
divides into canticles, I mark these units by Arabic numerals following the
Roman numeral of the canto (e.g., I.1 and I.2, etc.); see, e.g., Ps. 51,3–5
and 6–8.
The layout also shows the most important verbal repetitions that—
among other phenomena—determine the macrostructure of a given psalm.
The repetitions that play a part on the level of the poem as a whole and
determine the linearly alternating relationship between the cantos, the re-
sponsions, are printed in capitals; see, e.g., kl hywm (‘all day long’) in Ps.
14
I realize that it may have been appropriate—not only to the less trained readers of
Hebrew—if I had provided a translation of the texts as well. Such a translation, however,
would be quite laborious, complicated as it would be by the requisite for concordant
rendering. Moreover, a translation would have claimed a relatively large space in this
study.
i.2 presentation 11
44,9.16.23 and the root bwš (‘to be ashamed’) in Ps. 44,8.16. The repeti-
tions that reveal the linear framework of the cantos themselves, are printed
in bold face; see, e.g., rwh.y (‘my spirit’) in Ps. 77,4.7 and ‘mk (‘your peo-
ple’) in Ps. 77,16.21. The repetitions that expose the linear framework of
the canticles, are printed in small caps; see, e.g., hnh (‘behold!’) in Ps.
73,12.15. Mostly, only verbal recurrences that turn up exclusively on the
level concerned are marked off by this means.15
Sometimes, one element of a responsion on a lower structural level
(within a canticle or strophe) also functions as responsion on a higher level
(a canto or the poem as a whole). In these cases, the element concerned
is printed with the characters belonging to the higher level of responsion,
whereas the other part of the responsion merely displays the characters be-
longing to the lower level; see, e.g., ’zkrh (‘I will remember’) in Ps. 77,4.7.12
(note v. 12b).
Inclusions and concatenations are indicated according to the same sys-
tem. However, to distinguish these verbal repetitions from responsions
(the verbal repetitions that reinforce the linear framework of the poetic
units) the inclusions and concatenations are underlined as well; see, e.g.,
npšy tštwh.h./tštwh.h.y npšy in Ps. 42,7 and 12 respectively (inclusion), and
bnwt/bt in Ps. 45,10.11 (concatenation).
To simplify the perception of the poetic framework of the psalms, brief
schematic descriptions of their structures precede the layout of the texts.
In these descriptions the canto structure of the poems are presented with
the help of figures representing the numbers of the verselines of the cantos.
These codes are followed by a code in which the figures represent the length
of the strophes in terms of verselines; cf. the similar codes that, if applicable,
follow the divisions recorded in § 0.6.
The schematic descriptions which precede the layout of the texts are
concluded by a code put in brackets referring to the type of macrostructure
we are dealing with, e.g., (Type IA). Type IA denotes a series of regular
cantos in terms of verselines (e.g., 6.6 lines), Type IB a series of almost
regular cantos (e.g., 6.6.8 lines). In Type II the basic patterns of Type I
are expanded by a ‘short’ introductory or concluding canto (Type IIA and
Type IIB respectively). In Type IIC there is a ‘half-long canto’ preceding
and following the long cantos at the same time; see, e.g., Psalm 44. Finally,
Type III denotes concentric canto designs; see, e.g., Psalm 72 (8.4.8 lines).16
15
Latin characters are rather suitable to visualise the various modifications of the same
script, as pointed out above. That is the reason why I have not printed the text of the
psalms in Hebrew characters, although I realize that especially for Jewish readers such
a layout ‘hurts the eyes’ (Marc Rozelaar [Jerusalem] in a private communication).
16
About the canto design of the psalms in terms of verselines, see now Ch. IV, 2.
2.3 Textcritical remarks

The first stage of the analyses records major decisions of a textcritical, lex-
icographical or grammatical nature. There are no references in the texts
themselves to these remarks. The letters that follow the verse numbers
in this subsection refer to the respective cola of the Masoretic verses; e.g.,
‘V. 2a’ (= first colon of v. 2). Generally, I will not interfere with the Ma-
soretic text, unless I deem it absolutely necessary. In a number of cases,
the rhetorical analysis itself prevents me from taking indisputable textcrit-
ical decisions. On the other hand, I will pay due attention to textcritical
questions which are elucidated by my rhetorical inquiry.
Chapter II
The Second Book of the Psalter
1 Psalms 42–43
Structure: 6.6.5 > 3.3|3.3|2.3 lines (Type IB)
I 2 k’ylt t‘rg ‘l ’pyqy mym KN NPŠY t‘rg ’lyk ’lhym

3 s.m’h NPŠY l’lhym L’L H .Y mty ’BW’ w’r’h pny ’lhym
4 hyth ly dm‘ty lh.m YWMM wLYLH b’mr ’ly kl hywm ’yh ’lhyk
5 ’lh ’zkrh w’špkh ‘ly NPŠY ky ’‘br bsk ’drm

‘d byt ’lhym bqwl rnh wTWDH hmwn h.wgg
6 MH tštwh.h.y NPŠY wthmy ‘ly hwh.yly l’lhym ky ‘wd ’wdnw yšw‘wt pny
[w’lhy
II 7 ‘ly NPŠY tštwh.h. ‘l KN ’zkrk M’rs. yrdn wh.rmwnym Mhr ms.‘r

8 thwm ’l thwm qwr’ lqwl .snwryk kl mšbryk wglyk ‘ly ‘brw
9 YWMM ys.wh yhwh H . SDw wbLYLH šyrh ‘my tplh L’L H
. Yy
10 ’wmrh l’l sl‘y lmh škh.tny lmh qdr ’lk blh..s ’wyb
11 brs.h. b‘s.mwty h.rpwny .swrry b’mrm ’ly kl hywm ’yh ’lhyk
12 MH tštwh.h.y NPŠY wmh thmy ‘ly hwh.yly l’lhym ky ‘wd ’wdnw yšw‘t pny
[w’lhy
III 1 špt.ny ’lhym wrybh ryby Mgwy l’ H

. SYD M’yš mrmh w‘wlh tplt.ny
2 ky ’th ’lhy m‘wzy lmh znh.tny lmh qdr ’thlk blh..s ’wyb
3 šlh. ’wrk w’mtk hmh ynh.wny YBY’Wny ’l hr qdšk w’l mšknwtyk

4 w’BW’H ’l mzbh. ’lhym ’l ’l śmh.t gyly w’WDk bknwr ’lhym ’lhy
5 MH tštwh.h.y NPŠY wmh thmy ‘ly hwh.yly l’lhym ky ‘wd ’wdnw yšw‘t pny
[w’lhy
1.1 Text
42,2a—k’ylt: ‘like a deer’; MT k’yl (‘like a hart/stag’; a loss of t by haplography).
42,3: MT divides with ’atnah. after ’bw’ in v. 3b.
42,5b—’drm: ‘distinguished people’ (see BHS); MT ’ddm (from the root ddh?).
42,5c–d: MT divides with ‘ole weyored after ’lhym in v. 5c.
42,6c—pny w’lhy: cf. 42,12c and 43,5c; MT reads pnyw ’lhy and takes ’lhy as
the first word of v. 7.
14 chapter ii: second book of the psalter
42,7: MT divides otherwise and suggests to read a tricolon; cf. 42,6 etc.
42,9: MT divides with ’atnah. after ‘my in v. 9b.
1.2 Content
The prayer of an individual: I trustfully wait for God!
I The longing for the sanctuary.
I am longing to be in your presence (42,2–3), because people
attack my faith (v. 4).
I remember my pilgrimages to the sanctuary (v. 5); my soul, wait
for God your Saviour (v. 6).
II The hostile attacks.
Amidst the forces of the chaos waters (vv. 7–8) you will show
your love and I will remain faithful (v. 9; cf. also v. 7).
Why do you let me down, when my enemies taunt me? (vv.
10–11); my soul, wait for God your Saviour (v. 12).
III Prayer for salvation.
O God, deliver me from my enemies (43,1–2).
Bring me into your presence so that I can praise you (vv. 3–4);
my soul, wait for God your Saviour (v. 5).

1.3.1 In the first line of the strophe
1.3.1.1 vocative: ’lhym, 42,2b lmh, 42,10a and 10b
’lh, 42,5a imperatives: špt.ny . . .
cohortatives: ’zkrh w’špkh, wrybh, 43,1a
42,5a vocative: ’lhym, 43,1a
‘l kn, 42,7a imperative: šlh., 43,3a
cohortative: ’wmrh, 42,10a;
also imperf. qal 1 sing. 1.3.1.2 hmh, 43,3a
1.3.2 In the last line of the strophe

1.3.2.1 ywmm wlylh, 42,4a 1.3.2.2 ’yh, 42,4b
kl hywm, 42,4b mh, 42,6a
‘wd, 42,6b vocative: npšy, 42,6a
ywmm, 42,9a imperative: hwh.yly, 42,6b
‘wd, 42,12b mh, 42,12a (2×)
‘wd, 43,5b vocative: npšy, 42,12a
imperative: hwh.yly, 42,12b
mh, 43,5a (2×)
ii.1 psalms 42–43 15
vocative: npšy, 43,5a

imperative: hwh.yly, 43,5b
1.3.3 Contrary indications

mty, 42,3b lmh, 43,2a
kl hywm, 42,11b lmh, 43,2b
’yh, 42,11b w- beginning of line, 43,4a
’th, 43,2a cohortative: ’bw’h, 43,4a
vocative: ’lhy, 43,2a vocative: ’lhym ’lhy, 43,4b
1.4 Verbal repetitions in strophic perspective

1.4.1 Within the strophes
42,2–4: npšy, vv. 2b.3a
suffix -k, vv. 2b.4b (inclusion)
’lhym, vv. 2b.3b.4b (epiphora!); see also ’lhym in v. 3a
vv. 5–6: ‘ly, vv. 5a.6a
} chiasmus (inclusion)
npšy, vv. 5a.6a
ky, vv. 5b.6b (inclusion)
’lhym, vv. 5c.6b+c
root ydh, vv. 5d.6b
hmh, vv. 5d.6a
vv. 7–9: ‘ly, vv. 7a.8b; see also ‘l kn in v. 7a
suffix -k, vv. 7a.8a (exactly linear); see also v. 8b (2×)
vv. 10–12: root ’mr, vv. 10a.11b
lmh/mh, vv. 10a+b and 12a (2×) resp. (inclusion)
suffix -ny, vv. 10a.11a
’lhym, vv. 11b.12b+c
43,1–2: suffix -ny, vv. 1a+b.2a
’lhym, vv. 1a.2a
vv. 3–5: suffix -k, vv. 3 (4×).4b
bw’, vv. 3b.4a
prep. ’l, vv. 3b (2×).4a (2×)
hr qdšk . . . mšknwtyk/mzbh. ’lhym, vv. 3b and 4a resp.
root ydh (hiph‘il), vv. 4b.5b
’lhym, vv. 4a+b (2×).5b+c
1.4.2 Within the cantos

42,2–6 (Canto I): npšy, vv. 2b+3a.5a+6a
’lhym, vv. 2–5; note l’lhym in vv. 3a and 6b
pnym, vv. 3b.6c
42,7–12 (Canto II): ‘ly, vv. 7a+8b.12a (inclusion)

npšy, vv. 7a.12a (inclusion; cf. Canto I)
}
tštwh.h./tštwh.h.y, vv. 7a and 12a resp. (inclusion)
chiasmus
kl, vv. 8b.11b (linear)
l’l h.yy/l’l sl‘y, vv. 9b and 10a resp. (concatenation)
43,1–5 (Canto III): imperative: špt./šlh., vv. 1a and 3a resp. (anaphora)

suffix -ny, vv. 1a+b.3a+b (linear); see also v. 2a
1.4.3 Within the composition as a whole

42,2–4.7–9.43,1–2: ‘l (. . . ) kn, 42,2.7a! (linear)
npšy, 42,2b+3a.7a (linear)
’lhym vocative, 42,2b.43,1a (linear)
l’l h.y, 42,3a.9b!
ywmm, 42,4a.9a! (linear)
lylh, 42,4a.9b! (linear)
prep. mn, 42,7b (2×).43,1a+b! (linear)
root h.sd, 42,9a.43,1a!
tplh/tplt.ny, 42,9b and 43,1b resp. (alliter.)
42,5–6.10–12.43,3–5: cohortative: ’zkrh w’špkh/’wmrh/’bw’h, 42,5a,

10a and 43,4a resp.!
byt ’lhym/mzbh. ’lhym, vv. 42,5c and 43,4a resp.
bqwl rnh wtwdh/w’wdk bknwr, 42,5c–d and 43,4b
(chiasmus); note w- + root ydh exactly linear
mh tštwh.h.y etc. (refrain), 42,6, 12 and 43,5;
note also npšy in 42,5a, ydh in 42,5d and
43,4b!, and hmh in 42,5d!
42,2–4.43,3–5: root bw’, 42,3b.43,3b+4a! (inclusion)
42,5–6.7–9, concat.: root zkr, vv. 5a.7a!

‘ly, vv. 5a+6a.7a+8b; see also ‘l kn in v. 7a
npšy, vv. 5a+6a.7a
root ‘br, vv. 5b.8b!
qwl, vv. 5c.8a!
tštwh.h.y/tštwh.h., vv. 6a and 7a resp.
42,2–6.7–12.43,1–5: b’mr (m) ’ly kl hywm ’yh ’lhyk, 42,4b.11b

lmh škh.tny/znh.tny // lmh qdr ’lk/’thlk blh..s ’wyb,
42,10.43,2; see also -ny in 42,11a.43,1
’lhym, 42,11–12.43,1–2 (concatenation)
1.4.4 Remaining verbal repetitions

1.4.4.1 Partially left out of consideration
prep. ’l (42,2.8), prep. b- (42,5.9.11 and 43,2), kl (42,11), prep. l-
1.4.4.2 Totally left out of consideration

root ‘rg (42,2 [2×]), hr (42,7 and 43,3)

Psalms 42–43 have six strophes, 17 verselines and 37 cola.1 42,9 is the
middle verseline (> 8+1+8 lines) and 42,9b represents the pivotal colon
(> 18+1+18 cola). V. 9 is highlighted as the middle verseline by the
Tetragrammaton in v. 9a. In this line the psalmist formulates an important
idea: I trust in God. Therefore, we may regard v. 9 as the rhetorical centre
of the composition.2
Structure of strophes and cantos in terms of words: 32+30|32+34|22+
37 = 62+66+59 (= 187 = 11×17 words in total).
The designation ’lhym occurs exactly 17×: 42,2, 3 (2×), 4, 5, 6 (2×),
11, 12 (2×), 43,1, 2, 4 (3×) and 5 (2×). The designation ’l (‘God’) is to be
found in 42,3, 9, 10 and 43,4 (4×). The divine name, yhwh, occurs only
in the pivotal verseline 42,9 and highlights it as the rhetorical centre.3
I conclude that the number 17 has a structuring and meaningful func-
tion on the level of the poem as a whole: the psalm is permeated by God’s
presence (see the numbers in bold face and further § 1.7).

Saalschütz (1825), p. 117: 42,2–6.7–12.43,1–5 (5.6.5 verses)
1
About the demarcation of verselines and cola, see § 1.7 below. As far as the 17
verselines are concerned, I agree with Labuschagne; however, he takes vv. 3, 7 and 9 as
tricola and finds 40 cola and 11 strophes (www.labuschagne.nl/ps042–43.pdf). Fokkel-
man (MPHB II) has 12 strophes, 29 verselines and 63 cola!
2
Similarly Raabe (1990, p. 43), Fokkelman (MPHB II, p. 156, n. 16) and Labuschagne
(www.labuschagne.nl/ps042–43.pdf, Observation 2); cf. further Dockner (2001), pp.
216.256–57. See also Ch. V, 2.1.2.
3
For the distribution of these designations over the successive cantos, see § 1.7 below.
Köster (1837): 42,2–6.7–12.43,1–5 (4.1|5.1|4.1 verses); similarly De Wette

(1856)
Sommer (1846), pp. 177–181: 42,2.3.4.5.6 |7.8.9.10–11.12 |43,1.2.3.4.5 ; cf.
Gunkel (1926), Condamin (1933), pp. 137–140, and Calès (1936)
Ewald (1866), pp. 255–61: 42,2–6.7–12.43,1–5 (‘drei ganz gleiche wendun-
gen’; ‘langbau der versglieder’[!])
Ley (1875), pp. 232–234: 42,2–5.6.7–11.12.43,1–5
Delitzsch (1894): 42,2–6.7–12.43,1–5 ; similarly Duhm (1922), Herkenne
(1936), Rowley (1940), Pannier/Renard (1950), Kraus (1978), Aletti/
Trublet (1983), p. 74, Craigie (1983), Schaper (2004)
Zenner (1906), pp. 123–27: 42,2–6.7–8a+9–12.43,1–2+42,8b+43,3–5 (5.4.2|
5.4.2|5.4.2 cola); similarly Wiesmann (1908)
Friedrich Delitzsch (1921), pp. 101–103: 42,2–5.6.7–11.12.43,1–4.5
Möller (1931), pp. 19–20: 42,2–6.7–12.43,1–5 (5.6.5 verses; a.b.a’)
Lund (1942), pp. 117–19: 42,2–4.5.6.7–8.9–11|12.43,1–2.3.4.5 (a.b.c.b’.a’|
a’’.b’’.c’.b’’’.a’’’); similarly Alden (1974), pp. 25–26
Montgomery (1945), p. 382: 42,2–6.7–12.43,1–5 (6.7.6 verses; 42,6.12 and
43,5 are ‘couplets of identical refrain’)
Böhl (1947): 42,2–4.5|6 |7–8.9–11.12 |43,1–2.3–4.5
Podechard (1949): 42,2–6.7–12.43,1–5 (5.6.5 lines; 42,5.6.12 and 43,5 are
taken as tricola); cf. Möller (1931)
Kissane (1953): 42,2–5.6 |7–11.12 |43,1–4.5 (8.2|8.2|8.2 lines); cf. Dockner
Mowinckel (1957), p. 102: 5×2 bicola.42,6|5×2 bicola.42,12|5×2 bicola.43,5
Alonso-Schökel (1976): 42,2–6.7–12.43,1–5 (past, present, future)
Beaucamp (1976): 42,2–3.4–5.6.7–9.10–11.12.43,1–2.3–4.5
Ridderbos (1976): 42,2–6.7–12.43,1–5 (past, present, future; 22.22.20 cola;
note p. 18)
Jacquet (1977): 42,2.3.4.5.6 |7.9*.10.11.12 |43,1.2.3.4.5 (‘parfaite régularité
strophique et rythmique . . . selon le mode de la Qinah [3+2 accents]’);
cf. Gunkel (1926)
Wahl (1977), pp. 207–219: 42,2.3|4.5|6 ||7.8|9.10|11.12 ||43,1.2|3.4|5
Ravasi (1985): 42,2–3.4.5.6 |7–8.9–10.11.12 |43,1–2.3–4.5
Girard (1996): 42,2–4.5|6 |7–8.9–11 12 (a.b|c|b’.a’ c’); 42,6.7–9.10–11|12 |
43,1–2.3–4.5 (c’.d.e|c’’|e’.d’.c’’’)
Raabe (1990), pp. 29–50: 42,2.3.4.5|6 ||7.8.9.10.11|12 ||43,1.2.3.4|5 (2.4.4.6|
5||4.4.3.4.4|5||4.4.4.4|5 cola; 66 cola in total; note p. 44)
Fokkelman (2000), pp. 153–57: 42,2–3.4|5.6 |7.8.9–10|11.12.43,1–2|3–4.5
(3.2|3.2|2.2.3|2.2.3|3.2 lines)
Weber (2001): 42,2–5.6 |7–11.12 |43,1–4.5 (a.b.a’; 21.24.21 cola; cf. Raabe)
Terrien (2003): 42,2–4.5a.5b–6 |7–8.9bA.9bB–12 |43,1–2.3a.3b–5

Psalms 42–43 form a single poem consisting of three cantos, each of which
is concluded by a refrain (42,6, 12 and 43,5). The literary unity of these
Masoretic psalms is also confirmed by many Hebrew manuscripts (see BHS)
and by the fact that Psalm 43 has no title.4
Until recently there was hardly any scholarly discussion about the tri-
partite structure of the composition (see § 1.6). The delimitation, which
considers 42,6, 12 and 43,5 a concluding refrain, is really so powerful that
other internal correspondences cannot harm it; contra Lund (1942), Alden
(1974), Girard (1996) and Fokkelman (2000).5
The successive cantos exhibit a clear thought progression which corre-
sponds to the format of the poem: Canto I is about the supplicant’s longing
for God’s nearness as it was in the past (note vv. 2–3 and 5); in Canto II he
describes his present experience of being forgotten by God and threatened
by enemies (note vv. 8 and 10–11); in Canto III he for the first time peti-
tions God to deliver him so that he can enter the sanctuary in the future
(note vv. 1 and 3–4).6 The first canto preludes Canto II, because in v. 4
the psalmist already speaks of his distress (his ‘tears’ and the taunts by his
adversaries); see especially vv. 4b and 11b. Canto III takes up a fragment
from the second canto when in 43,2 the psalmist speaks of his awful state
(cf. 42,10).
The major refrain in 42,6, 12 and 43,5 concludes the cantos and is part
of a linearly alternating parallelism that determines the tripartite division
of the poem: 42,2–4.5–6|7–9.10–12|43,1–2.3–5 > a.b|a’.b’|a’’.b’’. The anal-
ysis of the verbal repetitions reveals that there is an impressive cluster of
responsions marking the beginning of the cantos; see § 1.4.3 (42,2–4, 7–9,
43,1–2), and note ‘l (. . . ) kn, l’l h.y (‘to the God of life’), ywmm (‘by day’),
lylh (‘night’), prep. mn (‘from’) and the root h.sd (hitpa‘el, ‘to behave faith-
ful’).7 Note also that 42,2–4 and 7–9 have exactly 32 words each (see § 1.5
above). Further, in the first line(s) of each canto God is directly addressed;
see 42,2, 7–8 and 43,1–3+4b. From these points onwards the supplicant
4
See also Wiesmann (1908), pp. 366–68. For the numerical aspects confirming this
unity, see www.labuschagne.nl/ps042–43.pdf, Observation 1.
5
Raabe rightly observes that the proposals by Lund and Girard force the text into a
‘chiastic pattern’ (1990, p. 46). In my view, however, it is not the repeated words which
form the weak basis of their analysis; the repetitions have primarily to be explained as
the backbone of a linearly alternating framework (see below). Fokkelman’s division into
strophes and cantos in a different way tries to do justice to the ‘intensive use of refrains’
in this poem (MPHB II, p. 153).
6
See Raabe (1990, pp. 48–50) and cf. § 1.2.
7
This impressive cluster of recurrences has totally escaped the notice of Girard and
Fokkelman; cf. also Raabe (1990, p. 46).
speaks about God; see especially the refrain in 42,6, 12 and 43,5. In addi-
tion, it is only in this major refrain that the psalmist addresses his own soul
in the second person, while his soul is referred to in several other places in
the third person (see 42,2, 3, 5 and 7). Finally, the cantos are composed of
bicola, except the concluding refrain which is made up of three cola.8
Alongside the linearly alternating correspondences between the cantos,
we have to recognize a concentric aspect in the framework of our compo-
sition as well.9 Canto II, the central canto, opens with the complaint ‘ly
npšy tštwh.h. (‘my soul is depressed within me’, v. 7). The wording is derived
from the refrain (42,6) and produces a concatenation between Cantos I and
II. Simultaneously, an inclusion comes into being within the second canto;
note v. 12a. See in this respect also the concatenation l’l h.yy/l’l sl‘y (‘to
the God of my life’/‘to God, my rock’) in 42,9b and 10a resp. (§ 1.4.2).
A close reading of the poem as a whole further reveals that these sym-
metric features characterizing Canto II are part of an all-embracing con-
centric phenomenon: Cantos I, II and III > A.B.A’. Only in the first and
the third canto the supplicant speaks of his longing to enter the sanctuary
and experience God’s presence (note 42,2–3, 5 and 43,3–4). In this respect,
the root bw’ (‘to come’) is used, which only occurs in the first and the last
strophes of the poem (42,2–4 and 43,3–5; see § 1.4.3 above).
Moreover, as Youngblood pointed out, the distribution of the various
designations for God shows a deliberate pattern of (symbolic) numbers. In
each of Cantos I and III ’lhym (‘God’) occurs 7× and in the middle canto
3×. The word ’l (‘God’) is to be found 1× in Cantos I and III and twice
in Canto II. The divine name, yhwh, only occurs in the pivotal verse-
line, 42,9.10 These patterns of divine titles strongly confirm the concentric
framework. In this context we have to interpret the so-called ‘minor’ re-
frains, 42,4b with 42,11b and 42,10 with 43,2. They show that Canto II is
positioned between Cantos I and III, like a ‘hinge’ (Weber).
From a colometric point of view, Psalms 42–43 are very special.11 It is
generally assumed that the poem is mainly composed of bicola which—in
broad outline—display a 3+2 metre.12 However, a critical evaluation of the
8
About tricola at the end of main units, see CAS I, Ch. V, 6.2 (note p. 529). For the
very controversial colometric interpretation of Psalms 42–43, see below.
9
The concentric framework of Psalms 42–43 and the pivotal position of 42,7–12
(Canto II) is rightly emphasized by Möller (1931, p. 19); cf. also Weber (2001).
10
See R. Youngblood, ‘Divine Names in the Book of Psalms: Literary Structures and
Number Patterns’, JANES 19 (1989), pp. 171–81 (note pp. 176–77) and § 1.5 above; cf.
further Raabe (1990, p. 47).
11
Cf. Weber (2001), p. 200: determining the poetic lines is ‘nicht immer einfach’; see
also Fokkelman, MPHB II, p. 157, n. 21.
12
See the layout in BHS. Gunkel speaks of ‘Fünfer’ and according to Raabe the ‘dom-
results of this (old-fashioned) view makes it clear that the demarcation of

the cola is often artificial and destroys the parallelism which can be observed
in almost every Masortic verse. Therefore, my colometric approach differs
greatly from the current opinion.
Regarding the Masoretic verses as genuine poetic lines—as is mostly
the case in the book of Psalms13 —we may observe that the majority of
these lines are composed of two cola, which in some way or other display
an internal parallelism. In 42,4, 5 and 7 we find an exception to this rule.
Nevertheless, the grammatical break and the Masoretic accentuation in v. 4
produce parts of a verseline that perfectly fit the length of the surrounding
cola. The colometric division is supported by the ’atnah. under wlylh and by
v. 11 (note the similarity between vv. 4b and 11b). V. 5 is composed of two
bicola. The colometry of v. 5a–b coincides with a grammatical break, while
in v. 5c–d a parallelism comes into being by the break-up of the stereotype
phrase bqwl rnh wtwdh (‘with the sound of shouting and thanksgiving’; cf.
bqwl twdh in Ps. 26,7); see also § 1.1 above. The major refrain, 42,6, 12
and 43,5, is a tricolon.
On the basis of these observations, I find that the poetic lines of this
composition are relatively long. This phenomenon is to be considered a
characteristic of the first poem of the Second Book of the Psalter. It can
be compared with the physical length of the verselines in Psalm 1, the first
poem of the First Book of the Psalter.14 This means that, as far as our
poem is concerned, in broad outline I feel comfortable with line divisions
advocated in the nineteenth and the beginning of the twentieth century.15
Once we have established the length of the lines of the poem (and its
colometric divisions), the strophic framework of the cantos can be dis-
cussed. § 1.6 shows that there is no unanimity at all among scholars about
this rhetorical aspect.16 In this context, it is important to note that the
major refrain (42,6, 12 and 43,5) forms an integral part of the strophes
(contra Raabe [1990] and many others). From a semantic perspective, the
connection between the refrain and the preceding verselines may be rather
loose; this is a common characteristic of refrains.17 From a formal point
of view, the relationship is quite obvious; see § 1.4.1 (note especially the
inant stress pattern is 3’2’ (1990, p. 38); similarly Weber: ‘Rhythmik (3+2)’. See also
Jacquet in § 1.6 above and Dockner (2001, p. 38). The colometric interpretation by
Fokkelman is very similar to that by Raabe (note MPHB II, p. 157).
13
See CAS I, Ch. II, 1.6 (p. 74), Ch. V, 6.1 (p. 522) and below, from Psalm 44 onwards.
14
See CAS I, Ch. III, 1 (pp. 93–99).
15
See Saalschütz, Köster, Ewald, Möller (1931) and Podechard (1949) in § 1.6 above.
16
Dockner has only a vague notion of strophic structures and speaks about strophes
which are ‘vom Umfang her ungefähr gleich gebaut’ (p. 209 n. 13).
17
See CAS I, Ch. V, 4.3.3.
verbal repetitions in 42,5–6 and ydh [hiph‘il, ‘to praise’] and ’lhym [‘God’]
in 43,3–5).
In terms of meaning, the strophic cohesion between 42,4 and 2–3 may
also be questioned; the same applies to the cohesion between 42,7–8 and
9. In my opinion, the reference to a long time in v. 4 (see ywmm wlylh)
is a strong indication that this verseline concludes a strophe. The same
holds true for v. 9, because ywmm in v. 9a also has a concluding function
(see § 1.3.2.1). As for v. 9, the responsions on the level of the poem as a
whole strengthen this view; see especially l’l h.y and h.sd in § 1.4.3. The
imperatives at the beginning of 43,1 and 3 argue in favour of a strophic
caesura between vv. 2 and 3 (see §§ 1.3.1.1 and 1.4.2). That is to say, our
poem is mainly composed of 3-line strophes; only the first strophe of Canto
III (43,1–2) has two verselines.
The quintessential thought of this individual prayer is partly to be found
in the major refrain, 42,6, 12 and 43,5. Amidst a hopeless situation (he is
very downcast) the psalmist perseveres with the belief in God’s salvation;
note yšw‘t pny (‘my ever-present help’) in the third colon of the refrain.
The trust in God’s saving presence is even more clearly and eloquently
formulated in the pivotal verseline, 42,9 (see § 1.5 above). In the rhetorical
centre of the poem the supplicant expresses his hope that there will be a
relationship of perfect love.18
The idea of God’s hidden presence is numerically woven into the fabric
of the text. It is conveyed by the 17 verselines, the total number of words
(there are exactly 187 = 11×17 words) and the 17 occurrences of the des-
ignation ’lhym (‘God’) we find in the poem as a whole.19 The divine name,
yhwh, exactly in the pivotal verseline of the composition (42,9) is another
consciously designed feature expressing this presence; see § 1.5 above.
The expression ’l h.y (42,3) is extremely rare in the Hebrew Bible; see fur-
ther Ps. 84,3 and Hos. 2,1.20 Psalms 42–43 open the cycle of Korahite
psalms (Psalms 42–49); so does Psalm 84 (Psalms 84–85 and 87–88). The
similarities between the two initial compositions are very clear.
18
Dockner points out that the verseline in question is often regarded as problematic
in its immediate context. He rightly notes that the meaning of the verseline should be
‘makrostrukturell’ interpreted (pp. 255–57). According to Dockner v. 9 constitutes the
‘Textmitte’ and the axis of a symmetric framework (p. 216).
19
For this symbolic interpretation of 17, see Ch. I, 1.4.
20
Fokkelman, MPHB II, p. 157, n. 25.
1.8 Bibliography
E. Baumann, ‘Kehrverspsalmen’, ZDMG 59 (1905), pp. 129–44;
H. Wiesmann, ‘Kehrverspsalmen’, in Mélanges de l’Université Saint-Joseph (Bey-
routh) 3 (1908), pp. 337–86; note pp. 366–77;
F. Bechtel, ‘Stropha secunda Ps. 42–43 (Vulg. 41–42)’, Biblica 6 (1925), pp.
400–05;
H.H. Rowley, ‘The Structure of Psalm XLII–XLIII’, Biblica 21 (1940), pp. 45–50;
R.B. Boling, ‘A “Late” Redaction of Ps 42–43?’, JSS 4 (1963), pp. 333–43;
L. Alonso-Schökel, ‘The Poetic Structure of Psalm 42–43’, JSOT 1 (1976), pp.
4–11 (originally published as ‘Estructura Poética del Salmo 42–43’, in J. Schreiner
[ed.], Wort, Lied und Gottesspruch. FS J. Ziegler [FzB I.2], Würzburg: Echter
Verlag, 1972, pp. 11–16);
N.H. Ridderbos, ‘Response’, JSOT 1 (1976), pp. 16–21;
J.A. Durlesse, ‘A Rhetorical Critical Study of Psalm 19, 42 and 43’, SBTh 10
(1980), pp. 179–97;
P. Auffret, Hymnes d’Égypte et d’Israël. Etudes de structures littéraires (OBO
34), Fribourg Suisse/Göttingen, 1981, pp. 99–120;
Th. Dockner, “Sicut Cerva . . . ”: Text, Struktur und Bedeutung von Psalm 42
und 43 (ATS 67), St. Ottilien: EOS Verlag, 2001;
Germana Strola, Il desiderio di Dio. Studi dei Salmi 42–43, Assisi: Cittadella
Editrice, 2003;
J. Schaper, “Wie der Hirsch lechzt nach frischem Wasser”. Studien zu Ps. 42/43
in Religionsgeschichte, Theologie und kirchlicher Praxis (BThSt 63), Neukirchen-
Vluyn: Neukirchener Verlag, 2004;
F. Pouslen, ‘Strukturen i Salme 42–43’, Dansk teologisk tidsskrift 70 (2007), pp.
303–17.
2 Psalm 44
Structure: 2.8.8.8.2 > 2|4.4|4.4|4.4|2 lines (Type IIC)
I 2 ’lhym b’znynw šm‘nw ’bwtynw sprw LNW

p‘l p‘lt bymyhm bymy qdm
II 3 ’th ydk gwym hwršt wtt.‘m tr‘ l’mym wtšlh.m

4 ky l’ bh.rbm yršw ’RS. wzrw‘m l’ hwšy‘h LMW
ky ymynk wzrw‘k w’wr PNYK ky rs.ytm
5 ’th HW’ mlky w ’lhy ms.wh yšw‘wt y‘qb
6 bk s.rynw nngh. bšmk nbws qmynw

7 ky l’ bqšty ’bt.h. w h.rby l’ twšy‘ny
8 ky hwš‘tnw ms.rynw wmśn’ynw HBYŠWT
9 b’lhym hllnw KL HYWM w šmk l‘wlm nwdh (slh)
III 10 ’p znh.t w tklymnw wl’ ts.’ bs.b’wtynw

11 tšybnw ’H. WR MNY .sr wmśn’ynw šsw LMW
12 ttnnw ks.’n m’kl w bgwym zrytnw
13 tmkr ‘mk bl’ hwn wl’ rbyt bmh.yryhm
14 tśymnw h.rph lšknynw l‘g wqls lsbybwtynw

15 tśymnw mšl bgwym mnwd r’š bl’mym
16 KL HYWM klmty ngdy wBŠT pny kstny
17 mqwl mh.rp wmgdp mpny ’wyb wmtnqm
IV 18 kl z’t b’tnw wl’ škh.nwk wl’ šqrnw bbrytk

19 l’ nswg ’H. WR lbnw wtt. ’šrynw MNY ’rh.k
20 ky dkytnw bmqwm tnym wtks ‘lynw bs.lmwt
21 ’m škh.nw šm ’lhynw wnprś kpynw l’l zr
22 hl’ ’lhym yh.qr z’t ky HW’ yd‘ t‘lmwt lb

23 ky ‘lyk hrgnw KL HYWM nh.šbnw ks.’n .tbh.h
24 ‘wrh lmh tyšn ’dny hqys.h ’l tznh. lns.h.
25 lmh PNYK tstyr tškh. ‘nynw wlh..snw
V 26 ky šh.h l‘pr npšnw dbqh l’RS. bt.nnw

27 qwmh ‘zrth LNW wpdnw lm‘n h.sdk
ii.2 psalm 44 25
2.1 Text
V. 3a—’th ydk : ‘you, with your hand’, first words of v. 3; so MT and cf. § 2.4.1!
For metrical reasons Gunkel, Dahood, Seybold and Fokkelman (among
others) consider these words the conclusion of v. 2.
V. 5—w’lhy ms.wh: ‘and my God who commanded’ (see BHS; similarly Barthé-
lemy [2005]); MT reads ’lhym .swh (‘God, command . . . ’).
V. 11b—lmw : = lnw (‘for us’); see Pss. 64,6 80,7 and Job 22,17 (cf. Dahood,
Psalms I, p. 173, about Ps. 28,8).
V. 15b—bl’mym: ‘among the nations’; see BHS and cf. v. 3b.
2.2 Content
Prayer of the people of Israel for deliverance from their enemies.
I Introduction: O God, our fathers have told us the deeds you per-
formed in the days of old (v. 2).
II Description of earlier deliverances.
You enabled our fathers (cf. v. 2) to win the land, since you
favoured them (vv. 3–4); you are my king (v. 5; a note of praise).
You give us victory over our enemies (vv. 6–8); we praise you all
day long (v. 9; a note of praise).
III Description of present distress.
Now, you hand us over to our enemies (vv. 10–13).
You make us the taunt among the nations (vv. 14–17).
IV Description of collective innocence and prayer for deliverance.
Despite our distress, we remain faithful to you (vv. 18–21).
Knowing this, why do you remain heedless of our misery? (vv.
22–25).
V Summary: we are humiliated; rise up and save us! (vv. 26–27).

2.3.1.1 vocative: ’lhym, v. 2a 2.3.1.2 ’p, v. 10a
’th, v. 3a hw’, v. 22b
z’t, v. 18a
h- interrogative, v. 22a
z’t, v. 22a

2.3.2.1 qdm, v. 2d kl hywm, v. 9a
hw’, v. 5a ‘wlm, v. 9b
slh, v. 9b lmh, v. 25a; ext. // lmh

lm‘n, v. 27b in v. 24a
imperative: qwmh, v. 27a
2.3.2.2 ’th, v. 5a imperative: pdnw, v. 27b

kl hywm, v. 16a imperative: hqys.h, v. 24b
kl hywm, v. 23a ’l prohibitive, v. 24b
imperative: ‘wrh, v. 24a ns.h., v. 24b
vocative: ’dny, v. 24a

vv. 3–5: ’th, vv. 3a.5a! (inclusion; exactly linear)
ydk/ymynk, vv. 3a and 4c resp. (Girard, p. 726, n. 2)
root yrš, vv. 3a.4a!
suffix -m, vv. 3a+b.4a+b.4d
ky, vv. 4a.4c (anaphora); see also ky in v. 4d
wzrw‘, vv. 4b.4c!
root yš‘, vv. 4b.5b
vv. 6–9: prep. b-, vv. 6a.9a (inclusion; exactly linear); see also prep.
b- in v. 6b
.srynw, vv. 6a.8a
suffix -nw, vv. 6a+b.8a (2×)+b(.9a)
šmk, vv. 6b.9b! (inclusion; exactly linear)
ky, vv. 7a.8a (anaphora)
root yš‘ (hiph‘il), vv. 7b.8a
twšy‘ny/hbyšwt, vv. 7b and 8b resp. (alliter.; epiphora)
vv. 10–13: suffix -nw, vv. 10a+b.11a+b.12a+b

wl’ . . . b-, vv. 10b.13b (inclusion; exactly linear); see also bl’
in v. 13a
vv. 14–17: tśymnw, vv. 14a.15a! (anaphora)

suffix -nw, vv. 14a (2×)+b.15a
root h.rp, vv. 14a.17a! (inclusion; linear)
pnym, vv. 16b.17b
vv. 18–21: suffix -nw, vv. 18a(+b).19a+b.20a+b.21a+b

ii.2 psalm 44 27
l’, vv. 18a+b.19a

škh.nw, vv. 18a.21a (inclusion)
šqrnw/’šrynw, vv. 18b and 19b resp. (alliteration)
brytk/’rh.k, 18b and 19b resp. (epiphora); see also -k, v. 18a
vv. 22–25: h- interr./lmh, vv. 22a and 25a resp. (inclusion; exactly
linear); see also lmh in v. 24a!
ky, vv. 22b.23a
roots ‘lm/str, vv. 22b and 25a resp. (inclusion, Girard)
tznh./tškh., vv. 24b and 25b resp. (alliter.)
lns.h./wlh..snw, vv. 24b and 25b resp. (alliter.; epiphora)
vv. 26–27: prep. l-, vv. 26a+b.27a+b

suffix -nw, vv. 26a+b.27a+b

vv. 3–9 (Canto II): ky, vv. 4a+c.7a+8a (exactly linear)
l’ b- + h.rb + l’ yš‘ (hiph‘il), vv. 4a–b.7! (linear);
see also yš‘ in vv. 5b and 8a!
’lhym, vv. 5a.9a (linear)
vv. 10–17 (Canto III): root klm, vv. 10a.16a!

} chiasmus
bgwym, vv. 12b.15a
vv. 18–25 (Canto IV): z’t, vv. 18a.22a! (linear)

l’, vv. 18a+b+19a.22a (linear)
root škh., vv. 18a+21a.25b!
lb, vv. 19a.22b!
‘l, vv. 20b.23a!
’lhym, vv. 21a.22a (concatenation); see also ’l
(‘God’) in v. 21b

The linear framework.
vv. 2.6–9.14–17.22–25: ’lhym/’dny vocative, vv. 2a and 24a resp.!

’bt.h./t.bh.h, vv. 7a and 23b resp. (alliter.)
root bwš, vv. 8b.16b! (Berkowicz, p. 189)
kl hywm, vv. 9a.16a.23a! (Ridderbos [1973],
p. 37); see also ywm in v. 2c+d!
l‘wlm/lns.h., vv. 9b and 24b resp.
pnym, vv. 16b+17b.25a

ksh/‘lm . . . str, vv. 16b.22b+25a
vv. 3–5.10–13.18–21.26–27: yd/kp, vv. 3a and 21b resp.

’rs., vv. 4a.26b!
lmw, vv. 4b.11b! (exactly linear)
roots rs.h/pdh, vv. 4d and 27b resp.; see also
h.sd in v. 27b
wl’, vv. 10b+13b.18a+b!
’h.wr + mny, vv. 11a.19! (linear); see also
’rh.k in v. 19b (alliter.)
root qwm, vv. 20a.27a
The concentric framework.
vv. 2.26–27: lnw, vv. 2b.27a! (inclusion)
vv. 3–5.22–25: pnyk, vv. 4c.25a!

hw’, vv. 5a.22b!
vv. 6–9.18–21: šm, vv. 6b+9b.21a!

root qwm, vv. 6b.20a
Concatenations.
vv. 6–9.10–13: .sr, vv. 6a+8a.11a!

wmśn’ynw, vv. 8b.11b!
vv. 14–17.18–21: root ksh (pi‘el), vv. 16b.20b!
vv. 22–25.26–27: hrp/‘pr, vv. 23a and 26a resp.

‘wrh/qwmh, vv. 24a and 27a resp.

’lhym (v. 2), prep. b-, gwym (v. 3), suffix -k, ky, kl (v. 18), prep. l-, root
qwm (v. 6)

root znh. (vv. 10.24), ks.’n (vv. 12.23), l’mym (vv. 3.15*)
ii.2 psalm 44 29

Psalm 44 has eight strophes, 28 (= 4×7) verselines and 56 (= 8×7) cola.1
The caesura between vv. 13 and 14 divides the poem into two equal halves,
with four strophes, 14 verselines and 28 cola each. Vv. 13–14 represent the
central verselines and cola, not only of the central canto (vv. 10–17) but of
the entire poem as well (> 13+2+13 verselines and 26+4+26 cola). These
central lines have 13 words.2
Structure of strophes and cantos in terms of words: 11|31+25|25+25*|31
+31|13 = 11+56+50*+62+13 (= 192* = 3×8×8 words in total).3
The designation ’lhym for God occurs 5×: vv. 2, 5, 9, 21 and 22. Once
we find ’dny (v. 24); in v. 21 the poets speaks of ’l zr (‘foreign god’). The
divine name, yhwh, is not found here.

Köster (1837): 2–4.5–9|10–17|18–23|24–27 (3.5.8.6.4 verses; dithyrambic)
Sommer (1846), pp. 47–51: 2|3–5.6–9|10–13.14–17.18|19–22.23–26.27 (vv.
3–26 displays six units of eight cola)
Hävernick (1849), p. 43: 2.3–5.6–9.10–13.14–17.18–20.21–23.24–27 (3.8.8.
8.8.6.6.8 cola); cf. TOB (1978)
Meier (1853), pp. 108–14: 4×(10+10) cola (vv. 6–9 ‘Einschiebsel’)
De Wette (1856): 2–4.5–9.10–17.18–23.24–27; similarly König (1927), pp.
343–45; cf. Köster (1837)
Ewald (1866), pp. 439–41: 2–9.10–17.18–27 (8.8.10 verses)
Ley (1875), pp. 165–66: 2–5.6–9|10–13.14–17|18–23.24–27 (6.4|4.4|6.4 lines)
Delitzsch (1894): 2–4.5–9.10–13.14–17.18–22.23–27 (8.10.8.8.10.10 cola)
Zenner (1906), pp. 265–67: 2–4.5–9|10–13.14–17|18–20+23.24–27 (5.5|4.4|
4.4 lines); cf. Mowinckel (1957)
Grimme (1902), p. 155: 2–3.4–6.7–9.10–12.13–15.18–20.21–23.24–26 (8×3
lines or bicola)
Berkowicz (1907), pp. 187–90: 2 3–5.6–9|10–13.14–17|18–20.21–23.24–26
27 (3 8.8|8.8|3×6 1; vv. 3–9 // 10–17); cf. Ley (1875)
1
With the exception of vv. 2 and 4, each Masoretic verse coincides with a verseline.
The verselines are all bicola. Fokkelman (MPHB III) has also 28 verselines and 56 cola,
but he finds 12 strophes.
2
Similarly Labuschagne (www.labuschagne.nl/ps044.pdf, Observation 1); for a fuller
investigation of the numerical aspects, see his Observations 3–4. On the basis of the 27
Masoretic verses v. 14 is the pivot of the psalm (> 13+1+13 verses). From this point
of view it is noticeable that v. 14 consists of 17 and 17 letters (v. 4a and 4b resp.).
3
This approach also favours the reading bl’mym in v. 15b (see § 2.2); now, there are
three strophes with 31 words and three strophes with 25 words.
Duhm (1922): 2–3.4–5.6–8.9–11.12–14.15–17.18–20.21–23.24–26 (9×3 lines

or bicola); cf. Grimme (1902)
Gunkel (1926): 2–3.4.5–6.7–9|10–11.12–13.14–15.16–17|18–20.21–23|24–25.
26–27; cf. Van der Ploeg (1971)
Condamin (1933), pp. 141–43: 2.3–4|5–6.7–9|10–11.12–13.14–15.16–17|
18–20.21–22|23–25.26–27 (2.3|2.3|2.2.2.2|3.2|3.2 lines; vv. 10–17 ‘stro-
phe intermédiaire’); cf. Zenner (1896)
Calès (1936): 2–4.5–9|10–13.14–17|18–22.23–27 (5.5|4.4|5.5 lines); similarly
Zenner (1896); cf. Condamin (1933) and Böhl (1947)
Podechard (1949): 2–3.4|5–7.8–9||10–11.12–13|14–15.16–17||18–20.21–23.
24–26.27 (3.2|3.2||2.2|2.2|3.3.3.1 lines)
Pannier/Renard (1950): 2–4.5–9.10–17.18–22.23–27 (5.5.8.5.5 lines); cf.
Calès (1936)
Kissane (1953): 2.3–9|10–17|18–25.26–27 (2.8|8|8.2 lines)
Schildenberger (1960), p. 686: 2–3.4–5.6–9|10–13.14–17|18–20.21–23.24–27
(3.3.4|4.4|3.3.4 lines)
Ridderbos (1973): 2–4.5–9|10–13.14–17|18–20.21–23|24–25.26–27 (5.5|4.4|
3.3|2.2 lines); cf. De Wette (1856), NAB (1970)
Jacquet (1977): 2–3.4.5–7.8–9|10–11.12–13.14–15.16–17|18–20.21–23.24–25.
26–27 (‘des groupements de 2 et de 3 distiques’)
Beaucamp (1976): 2a–b|2c–4.5–8|9||10–13.14–17||18–20+23.24–27 (2|8.8|
2||8.8||8.8 cola); cf. Beaucamp (1968), p. 214
Aletti/Trublet (1983), pp. 74–75: 3–9.10–17.18–23.24–27
Craigie (1983): 2–4.5.6.7.8–9|10–15.16–17.18–23|24–27 (‘alternation of
speakers’)
Crow (1992): 2–4.5–9.10–17.18–23.24–27 (a.b.c.b’.a’); cf. De Wette (1856)
and Kraus (1978)
[Hossfeld]/Zenger (1993): 2–9; 10–17.18–23.24–27
Girard (1996): 2–3.4|5–6.7–9||10–11.12–13|14–15.16–17|||18.19.20|21–22a.
22b.23||24–25.26.27 (a.b|a’.b’||c.d|d’.c’|||e.f.g|e’.f’.g’||h.i.h’)
Seybold (1996): 2–4.5–9.10–11+20+13+15.18–19+21–23.24–27+17 (5×5
lines)
Kessler (2001): 2.3–4.5.6–8.9|10.11–15.16–17|18–19.20.21–22.23|24.25.26.27
(A.B.B’.A’); cf. Auffret (1992)
Weber (2001): 2–4.5–9|10–17.18–23|24–27 (20.28.8 cola); cf. Ravasi (1985)
Fokkelman (2003), pp. 63–71: 2–3aA.3aB–4|5–6.7–9||10–11.12–13|14–15.
16–17||18–20.21–22|23–25.26–27 (2.3|2.3||2.2|2.2||3.2|3.2 lines)
Terrien (2003): 2.3–9.10–18.19–23.24–27
Rom-Shiloni (2008), pp. 685–90: 2–4.5–9|10–17.18–23|24–27 (a.b|a’.b’|c);
cf. Crow (1992) and Weber (2001)
ii.2 psalm 44 31

As far as the macrostructure of Psalm 44 is concerned, scholars generally
agree on thematic grounds that the caesurae after vv. 9 and 17 represent
major turning points in the composition and give a tripartite framework.4
Gunkel, Ridderbos and [Hossfeld]/Zenger (among others) distinguish four
main sections by splitting vv. 18–27 into vv. 18–23 and 24–27; according
to Girard these four sections form two by two a coherent whole. Then,
there is agreement about the internal framework of vv. 10–17. The eight
verselines are mostly divided into two 4-line sections, vv. 10–13 and 14–17.
In this respect, Girard (p. 727) notices that the root h.rp (‘to taunt’) has
an including function; see vv. 14a and 17a. About the internal framework
of the other main sections, vv. 2–9 and 18–27, there is no consensus. This
also holds true for the numerous attempts to recover the structure of the
psalm with the help of a strophic theory.5
Nevertheless, a strophic approach is the only way to trace the basic
rhetorical framework of Psalm 44. The analysis of the verbal repetitions
strongly suggests that the 4-line units vv. 10–13 and 14–17 are only part of
a long and uninterrupted sequence of 4-line strophes. It appears that the
device for inclusion demarcating vv. 14–17 is not an isolated phenomenon
but pervades the entire poem.6 It is only the inclusion device that precisely
demarcates every four-line unit of the psalm; note ’th (‘you’) in vv. 3–5, b-
+ šmk (‘in’ + ‘your name’) in vv. 6–9, wl’ + b- (‘and not’ + ‘with’) in vv.
10–13, the root h.rp (‘to taunt’) in vv. 14–17, škh.nw (‘we have forgotten’)
in vv. 18–21 and h- interrogative/lmh (‘why’) in vv. 22–25.7 The predom-
inance of this device is so overwhelming that it almost excludes all other
attempts to unravel the poetic structure of this psalm.8
4
See § 2.6. Jacquet (1977) summarizes as follows: ‘Hymne: autrefois’ (vv. 2–9),
‘Lamentation: aujourd’hui’ (vv. 10–17), ‘Supplication: demain’ (vv. 18–27).
5
See, among others, Köster(!), Zenner, Grimme, Kissane, N.H. Ridderbos, Seybold
and Fokkelman in § 2.6. Ridderbos’s opinion about this poetic aspect merits explicit
mentioning, because it is his firm conviction that, on the basis of its material content,
the poem is composed of units consisting of 10, 8, 6 and 4 verselines respectively (see
§ 2.6 above). According to him, this is not a matter of chance: the psalm is built up in
the form of a zikkurat and arriving at the highest level, the poet presents his prayer to
God; N.H. Ridderbos (1962), p. 42.
6
The device for inclusion was brought to our attention especially by D.H. Müller at
the end of the nineteenth century in the context of the search for strophic structure in
Hebrew poetry; see D.H. Müller, Die Propheten in ihrer ursprünglichen Form, 2 vols.,
Wien, 1896; cf. CAS I, Ch. I, 2.1.1 and 2.1.3.
7
Interrogative particles do not occur elsewhere in the poem. Similarly, most of the
other inclusions are based on verbal repetitions that only feature in the 4-line strophe
concerned; see § 2.4.1.
8
The phenomenon under discussion also shows that we should not interfere with MT
Yet, the device for inclusion is not the only reason to discern a long
series of 4-line strophes. Each strophe provides the poet with a frame to
express an individual idea; see § 2.2. At first sight, the strophes vv. 18–21
and 22–25 seem to resist this claim. It is generally assumed that v. 21—as
a subordinate clause—should immmediately be linked with v. 22—as the
main clause—to form part of one and the same strophe (in one way or
other; see § 2.6). However, the demonstrative pronoun z’t in v. 22a not
only summarizes the protestation of innocence we find in v. 21 but also
that in vv. 18–19, where the community declares its loyalty to God; note
lb (‘heart’) in vv. 19 and 22. This function exactly parallels that of the
pronoun z’t in v. 18a, which summarizes the section vv. 10–17. Therefore,
I conclude that z’t in v. 22 marks the beginng of a new 4-line strophe; see
also § 2.3.1.1 above. In the context of an oath, the particle ’m in v. 21a
means ‘(surely) not’ (cf. Ps. 89,36). V. 21 is a main clause: ‘Surely, we
have not forgotten the name of our God, nor . . . ’.
At the same time, vv. 21 and 22 are closely connected: in both verselines
the poet speaks about God in the third person in a context where God is
clearly addressed (in the second person). Here we are dealing with a form
of concatenation. Further investigation reveals that the concatenation is
part of the symmetric structure of vv. 18–25. In vv. 18–19 we find the
community’s protestation of innocence (a); these two lines form the basis
for the call ‘wake up, . . . O Lord’, vv. 24–25 (two lines; a’). In vv. 20 and 23,
both beginning with the particle ky, there is a description of death threat (b
and b’ resp.). Summarizing: vv. 18–19.20.21|22.23.24–25 > a.b.c|c’.b’.a’.9
For the relationship between vv. 18–21 and 22–25, see also § 2.4.2.
The strong cohesion within vv. 18–25 suggests that we are dealing with
an 8-line canto; cf. vv. 10–17. Vv. 26–27 represent a relatively independent
unit. These verselines represent a concluding 2-line canto, functioning as
a coda. This coda echos ideas we find in vv. 23–24: we are facing death,
therefore, stand up (O God); cf. also § 2.4.3.10
Recent structural analysis seems to refute my strophic division vv. 3–5
and 6–9. Craigie, appealing to the alternation of speakers, discerns in vv.
at the beginning of v. 3; contra Fokkelman (MPHB III, pp. 64–65) and many others;
see § 2.1. Strophes of four verselines form an exception in Hebrew poetry; for other
examples, see Psalms 18 (CAS I, Ch. III, 18 [pp. 204–18]), 83 (see Ch. III, 11 below)
and Job 40,7–41,26 (RCPJ, Part 4, 8 [pp. 390–406]). Within the 4-line strophes vv.
10–13 and 14–17 groups of two verselines may be distinguished; see Gunkel, Condamin,
Jacquet, Girard and Fokkelman in § 2.6.
9
Contra Crow and Girard, who see a linear correspondence between vv. 18–20 and
21–23; see Crow (1992, pp. 397–98), who is now followed by Rom-Shiloni (2008, pp.
687–88), and Girard in § 2.6 above.
10
About such concluding cantos, see CAS I, Ch. V, 5.2.2 (note pp. 516–17).
ii.2 psalm 44 33
2–9 an ‘inner chiastic structure’ in which v. 6 is the centre. According to

Girard, vv. 2–4 and 5–9 form a linear parallelism; see § 2.6 and Fokkelman
(MPHB III, p. 66). Weber discerns in vv. 2c–9 a concentric pattern in
which v. 5 is the pivotal line (cf. Terrien). In my view, however, vv. 3–5
and 6–9 constitute a beautiful parallelismus stropharum; note the linear
correspondences mentioned in § 2.4.2. Additionally, both strophes conclude
with a hymn, vv. 5 and 9.11 The hymn in v. 9a praises God in third person,
while all preceding (and following) verses are explicitly addressed to him.
This sudden switch of words addressed to God and spoken about him is an
indication of the end of a main unit or canto.12
The linear correspondences between vv. 3–5 and 6–9 reinforce the the-
matic cohesion of the strophes (see § 2.2) and strongly suggest that we are
once again dealing with an 8-line canto. In this light, v. 2 represents a rel-
atively independent unit. I take the verse as an introductory 2-line canto,
in which the psalmist provides us with a foretaste of the theme dealt with
in his composition.13
On the basis of the preceding observations, I conclude that the main
body of Psalm 44 consists of three 8-line cantos, vv. 3–9, 10–17 and 18–25,
which are preceded and concluded by a small canto of two verselines, vv. 2
and 26–27 respectively. The three main sections, Cantos II–IV, determine
the ‘rhetorical trajectory’ of this composition. They display a linear pro-
gression of ideas. In the strophes of Canto II the psalmist praises God who
in the past helped the fathers to take possession of the land of Canaan. In
terms of verbal repetitions, the canto paves the way for Canto III because
the words for enemy (s.r and mśn’ym) form a concatenation; see § 2.4.3.
However, against the bright background of Canto II, the following accusa-
tions (Canto III) come like a shock.14 Introduced by an adversative particle
11
For v. 5, note § 2.1 and cf. Ps. 74,12, a verseline very similar to 44,5 and the final line
of a 3-line strophe. For the concluding function of a hymn at the end of a canto (v. 9),
see Pss. 31,8–9.15b.22a 35,9–10.18.28 63,5–6.12a–b 65,9.13–14 71,8.14–16.22–24 and
139,6.12.17–18; note CAS I, p. 356 (about Psalm 35) and cf. [Hossfeld]/Zenger about
v. 9 as ‘ein ursprünglicher Psalmen-Schluß’.
12
For this device for closure, see especially Pss. 13,6c–d 63,12 and 90,17a; in the
psalms concerned the poet consistently addresses God in the second person, while in
the concluding verseline only he abruptly speaks about God in the third person; in this
respect, cf. also Ps. 73,28a–b. In Psalms 30, 71 and 89, the grammatical change marks
the end of a canto or a sub-canto, as is the case in Ps. 44,9a; see Pss. 30,5–6 (the end
of Canto I), 71,16a (the end of Canto II) and 89,19 (the end of Sub-canto I.2). Cf. also
CAS I, p. 215 n. 6 (about Ps. 18,16c–d).
13
Similarly Sommer, Hävernick, Berkowicz, Kissane and Terrien; see § 2.6. About
such introductory cantos, see CAS I, Ch. V, 5.2.1 (note p. 511).
14
Crow righlty notices: ‘The recital of God’s acts in the past serves as a powerful
rhetorical device to persuade the Deity . . . ’ (1992, p. 396).
(’p in v. 10), there follows an abrupt description of present afflictions caused

by God himself. The strophes of Canto IV take their starting point in the
present situation of distress (vv. 18–23) and culminate in the prayer ap-
pealing for God’s attention in the future (vv. 24–25).
From a numerical perspective, the description of present afflictions in
Canto III (vv. 10–17), forms the pivot of the composition (> 2+1+2 cantos,
3+2+3 strophes and 10+8+10 verselines). This observation fits the con-
centric arrangement of small clusters of verbal repetitions as described in
§ 2.4.3 (concentric framework). The middle canto also stands apart because
there is no title for God; especially the designation ’lhym is conspicuously
absent (cf. § 2.5).15 Alongside the concentric framework of the composition,
there are also signs of linear correspondences between the cantos; see § 2.4.3
(linear framework) and note especially kl hywm (‘all day long’; 3×!).16
Although much effort has been lavished on unravelling the rhetorical
framework of Psalm 44, I nevertheless find that past research has overlooked
one of its most characteristic rhetorical feautures, namely the device for
inclusion based on special key words demarcating a long series of 4-line
strophes.17
The rhetorical approach, which proves that Psalm 44 is a coherent
whole, is an effective antidote to recent trends in German psalmexegesis.
The latter interpretation rationalizes that the ‘contradictory’ elements of
the psalm must be explained (so rightly Crow [1992], p. 400). According
to [Hossfeld]/Zenger, e.g., vv. 10–27 is a later extension of vv. 2–9. In this
view, vv. 2–9 is a pre-exilic psalm of confidence (‘Vertrauenspsalm’) and
vv. 10–27 an exilic collective complaint (‘Volksklagepsalm’). Zenger sums
up several characteristics of the individual parts (e.g. ‘Das in 2−4 entfaltete
Thema “Landgabe” klingt in 10−27 nicht an’), but he fails to note what
unites both sections.18
In terms of the quintessential thought of Psalm 44 the concluding lines
of the 8-line cantos function as points of culmination in the poem. Here
15
According to Zenner’s strophic system, vv. 10–17 represent the ‘Wechselstrophe’.
The unit is the centre of Crow’s chiastic structure; see § 2.6 above. ‘The weight of the
psalm, both rhetorically and emotionally, is placed squarely upon the shoulders of this
section’ (Crow [1992], p. 397).
16
Traces of this linear framework were already discovered by Sommer (1846, pp. 50–51)
and Berkowicz (1907, p. 189).
17
For this conclusion, see already my STR, pp. 256–61. The delimitations by nine-
teenth century scholars like Sommer and Hävernick (cf. also Ley and Berkowicz) come
close to my own. Because these scholars do not mention the inclusions, their work is
based on a keen intuition for form. As far as the macrostructure of our poem is con-
cerned, Kissane’s view is very similar to the framework I propose here. See now also
www.labuschagne.nl/ps044.pdf.
18
Zenger also discredits vv. 7, 16–17 and 21–22 as secondary; cf. also Beyerlin (1976).
ii.2 psalm 44 35
the psalmist most explicitly praises God for earlier deliverances (vv. 8–9),
brings the idea of God’s afflictions to its logical conclusion (vv. 16–17) and,
finally, for the first time appeals for God’s help (vv. 24–25). Moreover, the
divine title ’dny occurs only in vv. 24–25. The pivotal verselines of the
central Canto III, vv. 13–14, form another focal point. By means of posi-
tioning these lines in the numerical centre of the poem (> 13+2+13 lines
and 26+4+26 cola; see § 2.5) the poet makes it clear that, notwithstanding
their sad situation, God still surrounds his people.19
There is a conspicuous relationship between Psalm 44 and the preceding

composition, Psalms 42–43. In the first place, the rhetorical development
in both poems is very similar and embedded in their canto structure. It is
based on a pattern of past experiences of God’s nearness (a), present afflic-
tions by enemies (b) and prayers for future salvation (c); cf. § 1.7 above.
Second, I can point to the following verbal repetitions: ’wr pnyk (v. 4c) >
43,3 (’wrk); root .swh (v. 5) > 42,9; yšw‘wt (v. 5) > 42,6.12 and 43,6; kl
hywm (vv. 9.16) > 42,4; root ydh (hiph‘il, v. 9) > 42,6.12 and 43,5; znh.t (vv.
10.24) > 43,2; root h.rp (vv. 14.17) > 42,11; root škn (v. 14) > 43,3; root
škh. (vv. 18.21.25) > 42,10; lmh (vv. 24.25) > 42,10 (2×) and 43,2 (2×);
root lh..s (v. 25) > 42,10 and 43,2; ky šh.h l‘pr npšnw (v. 26) > 42,6.7.12 and
43,5; root h.sd (v. 27) > 42,9 and 43,1.
2.8 Bibliography
W. Beyerlin ‘Innerbiblische Aktualisierungsversuche: Schichten im 44. Psalm’,
ZThK 78 (1976), pp. 446–60;
P. Auffret, ‘“Pourquoi dors-tu, Seigneur?”: Etude structurelle du psaume 44’,
JANES 21 (1992), pp. 13–33;
L.D. Crow, ‘The Rhetoric of Psalm 44’, ZAW 104 (1992), pp. 394–401;
M. Emmendörffer, Der ferne Gott. Eine Untersuchung der alttestamentlichen
Volksklagelieder vor dem Hintergrund der mesopotamischen Literatur (FAT 21),
Tübingen: J.C.B. Mohr, 1998, pp. 102–21;
M. Kessler, ‘Psalm 44’, in J.W. Dyk et al. (eds.), Unless some one guide me
. . . FS Karel A. Deurloo (ACEBT, Suppl. Series 2), Maastricht: Shaker Publish-
ing, 2001, pp. 193–204;
A. Basson, Divine Metaphors in Selected Hebrew Psalms of Lamentation (FAT
II.15), Tübingen: Mohr Siebeck, 2006, pp. 161–86;
Dalit Rom-Shiloni, ‘Psalm 44: The Powers of Protest’, CBQ 70 (2008), pp.
683–98.
19
For the symbolic meaning of the numerical structure, see also Ch. V, 2.6.4.
3 Psalm 45
Structure: 9.8 > 2.3|2.2||2.2.2.2 lines (Type IB)
I.1 2 rh.š lby dbr .twb ’mr ’ny m‘śy l mlk lšwny ‘t. swpr mhyr
3 YPYPYT mBNY ’dm hws.q h.n bśptwtyk ‘l kn brkk ’lhym
[l ‘wlm
4 h.gwr h.rbk ‘l yrk gbwr hwdk whdrk .slh. rkb
5 ‘l dbr ’mt w‘nwh .sdq wtwrk nwr’wt ymynk
6 h..syk šnwnym ‘mym th.tyk yplw blb ’wyby hmlk
I.2 7 ks’k ’lhym ‘WLM W‘D šbt. myšr šbt. mlkwtk

8 ’hbt .sdq wtśn’ rš‘ ‘l kn mšh.k ’lhym ’lhyk šmn śśwn mh.bryk
9 mr w’hlwt qs.y‘wt kl bgdtyk mn HYKLY šn mny ŚMH . Wk

10 BNWT mlkym byqrwtyk ns.bh šgl l ymynk bktm ’wpyr
II 11 šm‘y BT wr’y wht.y ’znk wškh.y ‘mk wbyt ’byk

12 wyt’w hmlk YPYk ky hw’ ’dnyk whšth.wy lw
13 wBT .sr bmnh.h pnyk yh.lw ‘šyry ‘m

14 kl kbwdh BT mlk pnynym mmšbs.wt zhb lbwšh
15 lrqmwt twbl lmlk btwlwt ’h.ryh r‘wtyh mwb’wt lk

16 twblnh bŚMH. T wgyl tb’ynh bHYKL mlk
17 th.t ’btyk yhyw BNYk tšytmw lśrym bkl h’rs.

18 ’zkyrh šmk bkl dr wdr ‘l kn ‘mym yhwdk l‘LM W‘D
3.1 Text
V. 3a—ypypyt: ‘you are the most beautiful’; see J.C. de Moor, Orientalia 37
(1968), p. 124 (note) and cf. Dahood (Psalms I ).
V. 5: according to MT the first colon reads whdrk .slh. rkb; I consider whdrk a
case of dittography (cf. v. 4b; similarly Kittel, Schmidt and Kraus). The
following imperatives (‘achieve succes, ride out’) complete v. 4b (similarly
Mulder [1972], pp. 5–7).
V. 5a—w‘nwh .sdq: meaning uncertain.
V. 6: colometric division uncertain; the sequence of the words is probably dis-
turbed (the words h..syk šnwnym seem to belong with blb . . . ).
V. 7a—ks’k ’lhym: ‘your throne, O god’ (so Delitzsch, Ridderbos [1973] and
Kraus); see now J. Hoftijzer, in B.A. Levine et al. (eds.), Eretz-Israel 26,
ii.3 psalm 45 37
Jerusalem, 1999, 78*–87* (‘a noun phrase functioning as subject’).

V. 9b—mny: < mnym (‘stringed instruments’), see GKC § 87f.
V. 14a—pnynym: ‘corals’; MT reads pnymh (‘inside’).
3.2 Content
An ode to the justice and wealth of the king.
I About the king’s justice and his wealth (vv. 2–10; addressed to the
king).
I will make an ode to the king: you are most beautiful (vv. 2–3).
You must fight for justice (vv. 4–6).
God anoints you because of your just government (vv. 7–8).
Your whole entourage displays joy and wealth (vv. 9–10).
II About the queen (vv. 11–16; partially addressed to the queen) and a
bright future for the king (vv. 17–18; addressed to the king).
O princess, recognize the king as your lord (vv. 11–12).
All kind of riches are brought to you (vv. 13–14).
She and her retinue joyfully enter the king’s palace (vv. 15–16).
Your offspring (to the king) will rule the whole world (v. 17); you
will be praised by everyone and for ever (v. 18).

3.3.1.1 ’ny, v. 2b vocative: bt, v. 11a
imperative: h.gwr, v. 4a imperative: škh.y, v. 11b;
vocative: gbwr, v. 4a ext. // hšth.wy in v. 12b
imperatives: .slh. rkb, v. 4b* w- beginning of line, v. 13a
vocative: ’lhym, v. 7a(?)
imperatives: šm‘y . . . wr’y 3.3.1.2 ‘wlm w‘d, v. 7a
wht.y, v. 11a

3.3.2.1 ‘wlm, v. 3c 3.3.2.2 cohortative: ’zkyrh, v. 18a
hw’, v. 12b ‘l kn, v. 18b
dr wdr, v. 18a
‘lm w‘d, v. 18b

‘l kn, vv. 3c and 8b w- beginning of line, v. 12a

vv. 2–3: lšwn/śph, vv. 2c and 3b resp.
vv. 4–6: ‘l, vv. 4a.5a*
vv. 7–8: ’lhym, vv. 7a.8b (2×)
yšr/s.dq, vv. 7b and 8a resp.
vv. 9–10: the feminine plural form -wt, vv. 9a (2×).10a (2×); see also
bgdtyk in v. 9a
bgdtyk/byqrwtyk, vv. 9a and 10a resp. (alliter.; exactly linear)
vv. 13–14: bt, vv. 13a.14a
pnyk/pnynym, vv. 13a and 14a resp. (alliter.)
vv. 15–16: twbl, vv. 15a.16a!
mlk, vv. 15a.16b
btwlwt/twblnh, vv. 15b and 16a resp. (alliter.)
root bw’, vv. 15c.16b!
vv. 17–18: bkl, vv. 17b.18a!
3.4.2 Within the canticles

vv. 2–6 (I.1): lb, vv. 2a.6b! (inclusion)
dbr, v. 2a.5a!
mlk, vv. 2b.6b (inclusion)
brkk/h.rbk . . . rkb, vv. 3c and 4 resp. (alliter.; concat.)
vv. 7–10 (I.2): root mlk, vv. 7b.10a (inclusion)

mšh.k/śmh.wk, vv. 8b and 9b resp. (alliter.; concat.)
roots śwś/śmh., vv. 8c and 9b resp. (concatenation)
prep. mn, vv. 8c.9b (concatenation)

vv. 2–10 (Canto I): root mlk, vv. 2b+6b.7b+10a (concatenation)
swpr mhyr/’wpyr, vv. 2c and 10b resp. (alliteration
exactly at the end of the line; inclusion)
prep. mn, vv. 3a.8c+9b
‘l kn, vv. 3c.8b (linear)
’lhym, vv. 3c.7a+8b (2×)! (linear)
‘wlm, vv. 3c.7a (linear)
h.rbk/mh.bryk, vv. 4a and 8c resp. (alliter.; concat.)
.sdq, vv. 5a.8a! (concatenation)
ymynk, vv. 5b.10b! (linear)
ii.3 psalm 45 39
šnwnym/šn mny, vv. 6a and 9b resp. (alliter.;

linear)
vv. 11–18 (Canto II): bt, vv. 11a.13a+14a

‘m (‘people’), vv. 11b.13b (linear); see also ‘mym
in v. 18b
’b + suffix -k, vv. 11b.17a! (linear)
mlk, vv. 12a.14a.15a+16b

vv. 2–6.11–14: root yph, vv. 3a.12a! (exactly linear)

śptwtyk/’znk, vv. 3b and 11a resp.
hwd . . . hdr/kbwdh, vv. 4b and 14a resp.
vv. 7–10.15–18: ‘ (w)lm w‘d, vv. 7a.18b!; see also dr wdr in v. 18a
h.brym/r‘wt, vv. 8c and 15b resp.
hykl, vv. 9b.16b!
} chiasmus; see also śwś in v. 8c
śmh., vv. 9b.16a!
The symmetric framework.
vv. 2–6.15–18: ’mr ’ny/’zkyrh, vv. 2b and 18a resp. (the poet speaks
about himself [in the first person singular]!)
bnym, vv. 3a.17a!
‘mym, vv. 6a.18b(!)
th.t, vv. 6a.17a!
vv. 7–10.11–14: kl + bgd/kl + lbwš, vv. 9a and 14 resp. (cf. Pss. 22,19
102,27 and Isaiah 63,2)
bt, vv. 10a.11a+13–14!; note bt + mlk in vv. 10a.14a
ktm/zhb, vv. 10b and 14b resp.

prep. b- (vv. 3 and 16 [2×]), suffix -k, prep. mn (v. 14) ‘l kn (v. 18)

prep. l- (vv. 3, 15 [3×] and 18)

Psalm 45 has eight strophes, 17 verselines and 38* cola.1 V. 10 is the
pivotal verseline (> 8+1+8 lines). According to Labuschagne, the words
of v. 10 about the king’s harem and his wedding day, with his bride at
his right hand, ‘are an eloquent expression of what the poem is all about,
rendering them a most appropriate meaningful centre’.2
Structure of strophes and cantos in terms of words: 23+25*+20+18|17+
15+14+19 = 86*+65 (= 151* words in total).3
The designation ’lhym (‘God’) occurs 3×: vv. 3 and 8 (2×); see also
’lhym in v. 7a.

Köster (1831), pp. 62–64: 2.3.4–6.7–9|10|11–13.14–16.17.18 (1.1.3.3|1|3.3.
1.1 verses; v. 2 // v. 18); similarly Köster (1837)
De Wette (1856): 2|3–6.7–10|11–13.14–16|17.18
Ewald (1866), pp. 88–96: 2–3b.3c|4–8a.8b–c|9–13.14–18a.18b (5 cola + re-
frain, 10 cola + refrain, 20 cola + refrain; the refrain opens with ‘l
kn, see vv. 3c, 8b and 18b)
Bickell (1879), p. 47: 2–4.5–7a.7b–10.11–14.15–18 (5×8 cola)
Delitzsch (1894): 2–3.4–6.7–8.9–10.11–13.14–16.17–18 (6.7.5.5.6.7.4 cola)
Zenner (1906), pp. 105–08: 2 3–6.7–10a.10b–13.14–18 (1 4×5 lines)
Faulhaber (1913), p. 3: 3–4.5–6.7–8.9–10.11–13.14–16 (‘fünfzeilig’)
Duhm (1922): 2.3.4–5a.5b–6.7–8a.8b–9a.9b–10.11–12a.12b–14aA.14aB–15b.
15c–16.17–18a (12×3 lines or bicola); cf. Gunkel (1926), Delitzsch
(1921), pp. 103–05 and Böhl (1947)
Calès (1936): 2 3–6.7–10|11–13.14–16 17–18 (1 3.3|2.2 2 lines); cf. De
Wette (1856)
Podechard (1949): 2 3.4–6.7–9a|9b–10.11–14a.14b–16.17–18 (1 1.2.2|1.4×2;
all lines are tricola, except v. 18b)
Pannier/Renard (1950): 2 3–9.10–17 18; similarly Weber (2001)
Kissane (1953): 2|3–5a.5b–8a.8b–10.11–13.14–16|17–18a (1|5×2|1 lines; ‘On
the assumption that 18b is a later addition, the verses throughout are
triplets’; cf. Duhm [1922])
1
For the 38 cola, see my textcritical note on v. 5 in § 3.1. Fokkelman (MPHB III)
also has 17 verselines, but finds 7 strophes and, considering vv. 5, 6 and 11 tricola, he
finds 41 cola.
2
See www.labuschagne.nl/ps045.pdf, Observation 1; cf. Köster (1831) in § 3.6 below.
3
If we read ypw ypyt in v. 3a (cf. BHS) and do not interfere with MT in v. 5a, the
poem has 153 (= 9×17) words in total; cf. www.labuschagne.nl/ps045.pdf, for a fuller
investigation of the numerical structure starting from 153 words.
ii.3 psalm 45 41
Mulder (1972), pp. 28–29: 2.3.4–8a.8b–10.11–16.17.18 (preface, introduc-

tion, the king’s justice, transition, the king’s wedding, conclusion,
epilogue)
Ridderbos (1973): 2||3|4–6.7–8.9–10||11–13.14–16.17–18
Alden (1974), p. 26: 2–11.12–18 (symmetric arrangement)
Beaucamp (1976): 2|3.4–5a.5b–6.7–8a.8b–9a.9b–10.11–12bA.12bB–14.
15–16a.16b–17 18 (3|10×3 2 cola); cf. Duhm (1922)
Jacquet (1977): 2||3–6.7–10|11–13.14–16|17–18a (1||3.3|2.3|1 ‘tristiques’;
v. 18b is an ‘addition liturgique’)
Aletti/Trublet (1983), pp. 52–53: 2–10.11–18 (‘deux parties nettement con-
centriques’; vv. 2–10 // 11–18)
Craigie (1983): 2.3–9.10–16.17–18
Ravasi (1985): 2–3.4–10|11–16.17–18 (a.b|b’.a’)
Girard (1996): 2–5a.5b–6|7–9a.9b–10||11–13.14–15a|15b–16.17–18 (a.b|a’.
b’||c.d|d’.c’)
Schroeder (1996): 2 3–7.8–16 17–18; cf. Craigie (1983)
Fokkelman (2003), pp. 71–76: 2–3.4–6.7–8.9–10|11–13.14–16.17–18 (2.3.2.2|
3.3.2 lines)
Terrien (2003): 2 3–10.11–17 18

In several places, the Hebrew text of Psalm 45 is difficult to understand
and presumably has not been transmitted without flaws; see § 3.1. A
number of scholars assume that the poem was originally composed of tricola
throughout.4 However, there is no ground in the Masoretic text for this
supposition. The colometric framework of vv. 2 and 3 is no paradigm for
all the following verselines.5
Notwithstanding the dubious tradition of the text, its rhetorical struc-
ture is pretty clear and displays all the characteristics of a beautiful m‘śh
(‘work [of art]’, see v. 2). The composition divides into two cantos (vv.
2–10 and 11–18) consisting of nearly an equal number of verselines, nine
and eight lines respectively.6 The first canto is exclusively about the king.
In the final colon of Canto I his ‘bride’ (šgl, v. 10b) comes on the stage.
In this manner the end of the first canto paves the way for the thematic
4
So Duhm, Gunkel, Calès, Podechard, Kissane, Schildenberger, Schedl, Beaucamp,
Jacquet and Seybold (among others).
5
Cf. Mulder (1972, pp. 21–22) about vv. 11–16.
6
For this bipartite structure, see also Calès, Aletti/Trublet, Ravasi, Girard, Fokkel-
man and Tierrien in § 3.6 above.
development of the following canto in which the poet focusses his attention
almost exclusively on the queen.
The borderline between the cantos coincides with a change in the direc-
tion of address. In the first canto (vv. 2–10) the poet addresses the king
throughout from the second verseline onwards (v. 3); in the first verseline
he speaks about him for a moment (note v. 2b). In vv. 11–13 (and in
v. 15c) the poet addresses the king’s bride (note bt vocative [‘O daughter’]
in v. 11a). However, the whole section vv. 11–16 deals with the princess
and her retinue. The masculine suffixes of the second person singular in
the concluding lines of Canto II (vv. 17–18) show that they refer to the
king; and he is once again the addressee (cf. Canto I). Here, the compo-
sition culminates in the promise of prosperity with the far-reaching terms
for space (bkl h’rs.) and time (bkl dr wdr . . . l‘lm w‘d ).
The bipartite framework of the poem is supported by patterns of verbal
repetition within the cantos themselves and on the level of the psalm as
a whole; see §§ 3.4.3 and 3.4.4 respectively.7 The verbal repetitions on
the level of the psalm as a whole reveal that alongside a linear framework
(vv. 2–6.7–10|11–14.15–18 > a.b|a’.b’), we can simultaneously discern a
symmetric pattern (vv. 2–6.7–10|11–14.15–18 > a.b|b’.a’). It is hard to say
which of these patterns is more powerful. The beginning and concluding
lines of our psalm (v. 2, spoken about the king, and vv. 17–18, addressed to
the king), which take an anomalous position in the cantos in terms of the
direction of address, perfectly fit the latter (symmetric) pattern. Therefore,
they constitute an integral part of the main sections.8 Additionally, the
linear parallelism between the cantos reinforces the position of vv. 17–18
within Canto II; see ‘wlm w‘d in v. 7 and 18.9
The first canto is demarcated by a special device for inclusion: the
alliteration swpr mhyr/’wpyr at the end of vv. 2 and 10.10 The expression
blb (‘in the heart’, v. 6) characterizes the pivotal verseline of this section
(> 4+1+4 verselines).11 Note further that the word ’lhym occurs 4×, and
only in the first canto (vv. 3, 7, 8 [2×]). In Canto I the root mlk (‘to be
king’) also occurs 4× (vv. 2, 6, 7 and 10); now, the same holds true for
Canto II ( vv. 12, 14, 15 and 16).
The analysis of the verbal repetitions also shows that Canto I is com-
posed of two canticles, vv. 2–6 and 7–10. For this framework, see especially
the inclusions mentioned in § 3.4.2 and the linear verbal repetitions (respon-
7
Cf. Mulder (1972), pp. 11–14.
8
Contra De Wette, Calès, Kissane, Beaucamp and Terrien (among others); see § 3.6.
9
For the integral function of v. 2 within Canto I, see also the following paragraphs.
10
For such including patterns, see CAS I, Chapt. V, 3.4.2 (p. 485).
11
About special words highlighting the centre of a unit, see Chapt. V, 4 below.
ii.3 psalm 45 43
sions) mentioned in § 3.4.3 (Canto I).12 The inclusions on the level of the
canticles once again demonstrate that v. 2 is not a relatively independent
introductory verseline, but an integral part of the first canto. Moreover,
the first colon of Canticle I.2 (‘your throne, O god, endures for ever and
ever’, v. 7a), has all the characteristics of a relatively new beginning; see
also § 3.3.1 (transition markers).
From a thematic perspective, the linear parallelism between the canti-
cles is supported by the idea following ‘l kn in vv. 3c and 8b: God is totally
on the side of the king. Nevertheless, it is not easy to grasp the specific
themes of each individual canticle.13
The cantos are almost predominantly composed of 2-line strophes; only
vv. 4–6 is a strophe of three verselines. This strophic structure is based
on the thematic cohesion of mostly two successive lines.14 In most cases
the cohesion within the strophes is reinforced by verbal repetitions; see
§ 3.4.1.15
The divine name, yhwh, does not feature in the psalm, but from a
numerical point of view the Eternal One is not absent: there are exactly
17 verselines symbolically representing God’s presence (see § 3.5 above).
3.8 Bibliography
J. Schildenberger, ‘Zur Textkritik von Psalm 45’, BZ 3 (1959), pp. 31–43;
N.H. Ridderbos, ‘The Psalms: style-figures and structure (certain considerations,
with special reference to Pss. 22 25 and 45)’, in B. Gemser et al., Studies on
Psalms (OTS 13), Leiden: Brill, 1963, pp. 43–76;
C. Schedl, ‘Neue Vorschläge zu Text und Deutung des Psalmes 45’, VT 14 (1964),
12
Especially the linear verbal repetitions dominating Canto I further show that the
caesura between the cantos comes after v. 10 and not after v. 9; note ymynk in vv. 5
and 10 (contra Pannier/Renard, Craigie and Weber).
13
For the canticle division vv. 2–6.7–10, see also Girard in § 3.6; cf. further De Wette
and Calès. Calès: ‘Beauté surhumaine et vertus royales’ (vv. 3–6) and ‘Justice et joyeuse
prospérité du règne’ (vv. 7–10).
14
See § 3.2 and for the strophic stucture of Canto I, also Delitzsch and Fokkelman in
§ 3.6.
15
Most scholars take it for granted that vv. 11–13 and 14–16 represent two 3-line
strophes, because in vv. 11–13 the poet explicitly addresses the queen, while in vv.
14–16 this is mostly not the case. However, v. 13 does not fit with vv. 11–12, where the
poet urges the princess to break off with her past and to submit to her husband. V. 14
does not belong to vv. 15–16, because the latter verselines only contain verbs expressing
movement (note the root ybl [hiph‘il, ‘to bring’] and bw’ [‘to come’]; cf. § 3.4.1), while
v. 14 speaks about the valuable clothing of the princess. Therefore, v. 14 belongs to
v. 13; note mnh.h (‘gift’) and ‘šyr (‘wealthy’) in v. 13. This means, in my opinion, the
direction of address is not the criterion for the strophic division of Canto II.
pp. 310–18;
E. Beaucamp and A. Rose, ‘Argument strophique du Ps 45’, Laval théologique
et philosophique 23 (1967), pp. 169–74;
J. Mulder, Studies on Psalm 45, dissertation Nijmegen, 1972;
C. Schroeder, ‘“A Love Song”: Psalm 45 in the Light of Ancient Near Eastern
Marriage Texts’, CBQ 58 (1996), pp. 417–432;
R. Couffignal, ‘Les structures figuratives du Psaume 45’, ZAW 113 (2001), pp.
198–208;
Nancy Bowen, ‘A Fairy Tale Wedding? A Feminist Intertextual Reading of
Psalm 45’, in Brent A. Strawn and Nancy R. Bowen (eds.), A God So Near:
Essays on Old Testament Theology in Honor of Patrick D. Miller, Winona Lake:
Eisenbrauns, 2003, pp. 53–71;
M. Saur, Die Königspsalmen: Studien zur Entstehung und Theologie (BZAW
340), Berlin: W. de Gruyter, 2004.
ii.4 psalm 46 45
4 Psalm 46
Structure: 6.5 > 3.3|1.3.1 lines (Type IB)
I 2 ’lhym LNW mh.sh w‘z ‘zrh bs.rwt nms.’ m’d

3 ‘l kn l’ nyr’ bhmyr ’rs. wbmwt. hrym blb ymym
4 yhmw yh.mrw mymyw yr‘šw hrym bg’wtw (slh)
5 nhr plgyw yśmh.w ‘yr ’lhym qdš mškny ‘lywn

6 ’lhym bqrbh bl tmwt. y‘zrh ’lhym lpnwt bqr
7 hmw GWYM mt.w mmlkwt ntn bqwlw tmwg ’rs.
II 8 yhwh s.b’wt ‘mnw mśgb LNW ’lhy y‘qb (slh)
9 lkw h.zw mp‘lwt yhwh ’šr śm šmwt b’rs.

10 mšbyt mlh.mwt ‘d qs.h h’rs. qšt yšbr wqs..s h.nyt ‘glwt yśrp b’š
11 hrpw wd‘w ky ’nky ’lhym ’rwm bGWYM ’rwm b’rs.
12 yhwh s.b’wt ‘mnw mśgb LNW ’lhy y‘qb (slh)
4.1 Text
No remarks.
4.2 Content
God stops the forces of evil that threaten his people.
I The community’s trust in God amidst evil forces.
In God we trust when natural forces endanger us (vv. 2–4).
God protects his city against nations in tumult (vv. 5–7).
II The community’s trust in God, who stops the wars on earth.
God is our trust (v. 8).
God is great (vv. 9 en 11), for he stops wars (v. 10).
God is our trust (v. 12).

4.3.1.1 imperatives: lkw h.zw, v. 9a 4.3.1.2 m’d, v. v. 2b

4.3.2.1 slh, v. 4b 4.3.2.2 imperatives: hrpw wd‘w,
slh, v. 8b v. 11a
’nky, v. 11a
slh, v. 12b

‘l kn, v. 3a

vv. 2–4:
prep. b-, vv. 2b.3a+b (2×).4b
hrym, vv. 3b.4b!; see also bhmyr in v. 3a (allit.)
} chiasmus
ymym/mymyw, vv. 3b and 4a resp. (alliter.)
vv. 5–7: suffix -w, vv. 5a.7b
’lhym, vv. 5a.6a+b
prep. b-, vv. 6a.7b
root mwt., vv. 6a.7a
vv. 9–11: lkw h.zw/hrpw wd‘w, vv. 9a and 11a resp. (exactly at the
beginning of the lines; inclusion)
yhwh/’lhym, vv. 9a and 11a resp. (inclusion; exactly linear)
śm šmwt/mšbyt, vv. 9b and 10a resp. (alliter.)
b’rs., vv. 9b.11b! (exactly at the end of the lines; inclusion);
see also ’rs. in v. 10a, b’š in v. 10c and bgwym in v. 11b

vv. 2–7 (Canto I): ’lhym, vv. 2a.5a+6a+b (linear)
prep. l-, vv. 2a.6b
root ‘zr, vv. 2b.6b!
l’/bl, vv. 3a and 6a resp.! (linear); see also blb in
v. 3b (alliter.)
mwr/mwg, vv. 3a and 7b resp.
’rs., vv. 3a.7b
root mwt., vv. 3b.6a+7a! (linear)
blb/bqrb, vv. 3b and 6a resp. (linear)
root hmh, vv. 4a.7a! (exactly at the beginning of the
lines)
suffix -w, vv. 4a+b.5a+7b (concatenation)
ii.4 psalm 46 47
bg’wtw/bqwlw, vv. 4b and 7b resp. (linear)
vv. 8–12 (Canto II): yhwh .sb’wt ‘mnw // mśgb lnw ’lhy y‘qb, vv. 8.12
(refrain; inclusion)
yhwh, vv. 8a.9a (concatenation); see also yhwh in
v. 12a!
’lhym, vv. 11a.12b (concatenation); see also ’lhym
in v. 8b

vv. 2–4.8+12: ’lhym, vv. 2a.8b+12b
} chiasmus
bs.rwt/s.b’wt, vv. 2b.8a+12a (alliter.)
lnw, vv. 2a.8b+12b!
} chiasmus; see also
mh.sh w‘z/mśgb, vv. 2a and 8b resp.
‘mnw in vv. 8a.12a! and Girard, p. 759 n. 4
vv. 5–7.9–11: ‘lywn/’rwm, vv. 5b and 11b (2×) resp.

gwym, vv. 7a.11b!; see also mmlkwt in v. 7a
’rs., vv. 7b.9–11 (3×)

none

none

Psalm 46 has 11 verselines and 23 cola.1 V. 7 is the central verseline (>
5+1+5 verselines); v. 7b represents the pivotal colon (> 11+1+11 cola).
Structure of strophes and cantos in terms of words: 24+24|7+29+7 =
48+43 (= 91 = 13×7 words in total).
The designation ’lhym (‘God’) occurs 7×: vv. 2, 5, 6 (2×), 8, 11 and
12. This is hardly by chance; cf. the 13×7 words of the psalm. The divine
name, yhwh, occurs thrice: vv. 8a, 9a and 12a; the title ‘lywn features
once (v. 5b).
1
Similarly Fokkelman, MPHB II.

Saalschütz (1825), p. 117: 1(!)–4.5–8.9–12 (3×4 verses); similarly Saalschütz
(1853), p. 8 (however, see also pp. 10–11)
Köster (1831), pp. 61–62: 2–4.5–7|8.9–11.12 (3.3|1.3.1 verses); similarly
Köster (1837)
Sommer (1846), pp. 56–57: 2–4|5–7.8|9–11.12 (3 ‘hexastichen’; vv. 5–8 //
vv. 9–12)
Hävernick (1849), p. 40: 2–4|5–7.8|9–11.12 (3|3.1|3.1 verses)
De Wette (1856): 2–4 (probably + refrain).5–8.9–12; similarly Ewald (1866),
pp. 133–36, Ley (1875), pp. 212–213, Müller (1898), pp. 45–47
Delitzsch (1894): 2–4.5–8.9–12 (6.8.9 cola)
Zenner (1906), pp. 283–85: 2–4.5–7|8–12|. . . (3.3|6|. . . lines); similarly Con-
damin (1933), p. 144
von Faulhaber (1913), p. 8: 2–4.5–8.9–12; similarly Möller (1931), pp. 7–8
Duhm (1922): 2–4+refrain.5–8.9a+10–12 (3×8 cola)
Gunkel (1926): 2–4+refrain.5–8.9–12 (‘Fast ganz regelmäßige Strophen’);
similarly Böhl (1947), NAB (1970), Jacquet (1977), Kraus (1978),
Craigie (1983)
Calès (1936): 2–4+refrain.5–8.9–12 (4.4.4 lines); similarly Herkenne (1936),
Pannier/Renard (1950), Kissane (1953), Mowinckel (1957), pp. 48–49
Weiss (1961), pp. 300–02: 2–3 |4–7.8 |9–11|12
Krinetzki (1962): 2–4|5–7.8|9–11.12 (3.4.4 lines; see p. 28 n. 6)
Ridderbos (1973): 2–3 4–5||6|7–8.9–12 (note pp. 75–76)
Alden (1974), pp. 26–27: 2.3.4–5.6.7a|7b.8.9–10.11.12 (a.b.c.d.e|e’.d’.c’.b’.a’)
Beaucamp (1976): 2–4.refrain.5–7.8.9a+10–11.12 (6.2.6.2.6.2 cola); cf.
Beaucamp (1968), p. 211
Tsumura (1980): 2a.2b–3aA.3aB.3b–4.5|6.7a–bA.7bB.8a.8b (a.b.c.d.e|e’.d’.
c’.b’.a’)
Aletti/Trublet (1983), pp. 37.39–40: 2.3–4|5–6|7.8.9–10a|10b–c|11.12 (a.b|c|
b’.a’.b’’|c’|b’’’.a’’)
Girard (1984): 2.3a.3b.4|5–6|7aA.7aB.7b.8||8.9–10a|10b–c|11.12 (a.b.c.d|e|
d’.c’.b’.a’||f.g|h|g’.f’); cf. Tsumura (1980), Aletti/Trublet (1983) and
Terrien (2003)
Ravasi (1985): 2–4.5–7|8–9.10.11–12
Raabe (1990), pp. 51–67: 2–4.refrain|5–7.8|9–11.12 (8.8.9 cola; 3.1|3.1|3.1
lines; ‘creation—history—eschatology’, with reference to Weiser)
Girard (1996): 2–6.7|8||9–10.11|12 (A.B|A’.B’)
Fokkelman (2000), pp. 158–60: 2–4.5–7.8|9–11.12 (3.3.1|3.1 lines)
Weber (2001): 2–4.refrain(?)|5–7.8|9–11.12
Auffret (2003): 2 |3–4.5|6 |7||7|8 |9–10.11|12
ii.4 psalm 46 49
Uehlinger/Grandy (2005), pp. 378–86: 2.3.4.5|6.7.10b–c.11 (‘Kerngedicht’:

a.b.c.d|d’.c’.b’.a’; vv. 8–10a and 12 are secondary additions [sic!])

As most scholars will admit, the ‘strophic’ structure of Psalm 46 is pretty
clear. There are three 3-line strophes, vv. 2–4, 5–7 and 9–11, and a one-
line refrain following the second and the third strophe (vv. 8 and 12).
From the second half of the nineteenth century, many scholars believed
that the refrain was originally also to be found after the first strophe (vv.
2–4).2 Recent structural analysis, however, argues in favour of regarding
the transmitted text as complete, showing that there is no evidence for a
missing refrain after v. 4.3
Exponents of the latter approach further point to the semantic (and for-
mal) correspondence between the refrain (vv. 8.12) and the opening verse-
line of the first strophe (v. 2). In view of this similarity, Girard previously
supposed (1984) that v. 8 functions as a hinge between the two main sec-
tions of the psalm, vv. 2–8 and 8–12, and that both sections display a
concentric structure (similarly Terrien; see § 4.6). More recently (1996),
Girard argues that the refrain only functions as a conclusion to the main
sections (similarly Fokkelman).
In my opinion, the contribution of recent structural research to clarify
the framework of Psalm 46 is rather limited. V. 8 does not belong with
the first main part of the poem, but only fits the framework of its second
main part. The composition divides into two cantos consisting of six and
five verselines respectively, vv. 2–7 and 8–12. From a thematic perspective,
these cantos are very similar. In both sections the psalmist expresses two
ideas: a) we trust in God; and b) God puts an end to war. In the first
canto we find these ideas in a linear succession, while in Canto II they are
in a concentric order; see § 4.2.
It is not surprising that there is no refrain after v. 4, because vv. 2–4
as a whole represents the refrain. In the refrain the community of Israel
expresses its trust in God. The same applies, not only to v. 2 (see above),
but also to vv. 3–4. Vv. 2–4 form a coherent whole; see §§ 4.4.1 (verbal
repetitions) and 4.2 (content). The use of the first person plural dominates
this strophe; see lnw (‘for us’) in v. 2a, l’ nyr’ (‘we do not fear’) in v. 3a
and probably nms.’ in v. 2b.4 Raabe notices that, in terms of syntax, only
2
See, among others, De Wette, Gunkel, Calès and Raabe in § 4.6.
3
See, among others, Weiss, Krinetzki, Ridderbos, Aletti/Trublet, Girard (1984/1996)
and Fokkelman (§ 4.6).
4
According to Fokkelman, it is likely that nms.h in v. 2b is the first person plural qal
the refrain has a symmetric word order (a.b|b’.a’; p. 59). In my opinion,

the same holds true for v. 2: ’lhym lnw // nms.’ m’d and mh.sh w‘z // ‘zrh
bs.rwt (> a.b|b’.a’).5
In the second strophe of Canto I (vv. 5–7) there are no subjective dec-
larations of a group, but we find a rather detached description of God’s
power to defeat evil forces. These characteristics also apply to the central
strophe of Canto II (vv. 9–11). Moreover, v. 9 calls for observing what is
vividly described in vv. 5–7 (Weiss [1961], p. 294). Further, the utterances
of the divine voice spoken about in v. 7b are spelled out in the oracle we
find in v. 11. For the verbal repetitions, see § 4.4.3.
Raabe criticizes my division into two cantos.6 He sees no convincing
reason why I connect vv. 5–7 to vv. 2–4 to form the first half of the com-
position (Raabe, p. 61). However, there is a good reason for doing so. As
he himself notes, vv. 5–7 ‘picks up on the vocabulary’ of vv. 2–4 (Raabe,
p. 66)! The 3-line strophes of Canto I really show an impressive cluster
of verbal repetitions; see § 4.4.2. From this perspective, they provide us
with a fine example of parallelismus stropharum. Additionally, the strophes
have exactly 24 words each (§ 4.5).7 To crown it all, they have a concentric
aspect each: the words blb (‘in the heart’, v. 3) and bqrb (‘in the midst’,
v. 6) occur exactly in the pivotal verseline of the 3-line strophes.8
It is only in the second canto (vv. 8–12) that the refrain has a structuring
function. The verselines demarcate this main part by inclusion.9 It is to be
noticed that this inclusion is only part of the concentric framework of Canto
II as a whole.10 Concentric features pervade the central strophe of the
canto (vv. 9–11); see the correspondences mentioned in § 4.4.1. The double
imperatives (lkw h.zw and hrpw wd‘w respectively), exactly at the beginning
of the outer verselines (vv. 9 and 11), and b’rs. (‘on earth’) exactly at the
end of these lines deserve special mentioning. Additionally, the pivotal line
(v. 10) stands out in the strophe (and also in the entire poem) because it
is a tricolon.11 The refrain in vv. 8 and 12 perfectly fits this concentric
of the root ms.’ (and not a niph‘al), which means ‘we find’ (MPHB II, p. 158).
5
For the correspondences between the refrain and v. 2, see further § 4.4.3.
6
See my STR (1980), p. 474.
7
In this respect, see CAS I, Ch. V, 2.4.3; note the 24 words in the 3-line strophes of
Psalm 21.
8
About special words highlighting the centre of a poetic unit, see Ch. V, 4 below.
For the responsion blb/bqrb, see also Auffret (2003), p. 173 (with reference to Avishur
[1984], pp. 279.505–06.522.672).
9
For other examples of refrains with an including function, see CAS I, Ch. V, 4.3.2.
10
Cf. Köster, Zenner and Ravasi in § 4.6.
11
Cf. the colometry of Psalm 67 (see § 25 below and note vv. 4–6); see also Auffret
(2003), p. 174. It is curious that—generally speaking—-the concentric framework of vv.
ii.4 psalm 46 51
framework to form an independent canto. The divine name, yhwh, only

occurs in this second canto (vv. 8, 9 and 12).
I conclude that the rhetorical structure of Psalm 46 is for an important
part determined by a deliberate positioning of verbal repetitions at exactly
corresponding spots in the text. The refrain, exactly at the begining and the
end of Canto II, functioning as inclusion, is the most conspicuous example of
this feature. Note further the root hmh (‘to roar’), exactly at the beginning
of vv. 4 and 7 (the concluding lines of a 3-line strophe), functioning as
responsion. Moreover, blb and bqrbh occur exactly in the pivotal line of
two successive 3-line strophes (vv. 3 and 6) and function as responsion;
b’rs. (‘in the earth’) has a prominent position exactly at the end of vv. 9
and 10 and functions as inclusion; the double imperatives, exactly at the
beginning of vv. 9 and 11, once again function as inclusion. To elucidate
the development of ideas in our poem the exegete must pay due attention
to such formal features.
In sum, the macrostructure of our poem can schematically be displayed
as follows: vv. 2–4.5–7|8.9–11.12 > a.b|a’.b’.a’.
For the relationship with the preceding poem, see among other things the
following verbal repetitions: ‘l kn (v. 3) > 45,3.8.18; blb (v. 3) > 45,6
(central verseline of Canto I)
4.8 Bibliography
L. Krinetzki, ‘Der anthologische Stil des 46. Psalms und seine Bedeutung für die
Datierungsfrage’, MThZ 12 (1961), pp. 52–71;
M. Weiss, ‘Wege der neuen Dichtungswissenschaft in ihrer Anwendung auf die
Psalmenforschung’, Biblica 42 (1961), pp. 255–302;
L. Krinetzki, ‘Jahwe ist uns Zuflucht und Wehr. Eine stilistisch-theologische
Auslegung von Psalm 46 (45)’, BibLeb 3 (1962), pp. 26–42;
S. Kelly, ‘Psalm 46: a Study in Imagery’, JBL 89 (1970), 305–12;
D.T. Tsumura, ‘The Literary Structure of Psalm 46,2–8’, AJBI 6 (1980), pp.
29–55;
M. Girard, Les Psaumes. Analyse structurelle et interprétation: 1–50, Montréal/
Paris: Éditions Bellarmin/du Cerf, 1984;
P. Auffret, Que seulement de tes yeux tu regardes. . . Etude structurelle de treize
psaumes (BZAW 330), Berlin/New York: Walter de Gruyter, 2003, pp. 168–79;
Ch. Uehlinger and A. Grandy, ‘Vom Toben des Meeres zum Jubel der Völker.
9–11 escaped the attention of modern research. According to Girard (1996), vv. 9–11
forms a small diptych: vv. 9a.9b–10|11a.11b > a.b|a’.b’; Fokkelman pays no attention
to the structure of vv. 9–11.
Psalterexegetische Beobachtungen zu Psalm 46’, in D. Böhler et al. (eds.), L’Ecrit

et l’Esprit. FS A. Schenker (OBO 214), Fribourg/Göttingen: Academic Press/
Vandenhoeck & Ruprecht, 2005, pp 372–93.
ii.5 psalm 47 53
5 Psalm 47
Structure: 5.5 > 2.3|3.2 lines (Type IA)
I 2 KL h‘mym tq‘w kp hry‘w L’LHYM bqwl rnh

3 KY yhwh ‘lywn nwr’ MLK gdwl ‘l KL H’RS.
4 ydbr ‘MYM th.tynw wl’mym th.t rglynw

5 ybh.r lnw ’t nh.ltnw ’t g’wn Y‘QB ’šr ’hb (slh)
6 ‘LH ’lhym btrw‘h yhwh bqwl šwpr
II 7 zmrw ’lhym zmrw zmrw lMLKnw zmrw

8 KY MLK KL H’RS. ’lhym zmrw mśkyl
9 MLK ’lhym ‘l gwym ’lhym yšb ‘l ks’ qdšw
10 ndyby ‘MYM n’spw ‘M ’lhy ’BRHM

ky L’LHYM mgny ’rs. m’d N‘LH
5.1 Text
V. 10b—‘m: ‘people’, so MT; similarly Delitzsch (1894), and more recently É.
Beaucamp, Biblica 38 (1957), pp. 457–60, Seeligmann (2004 [= 1981], pp.
378–79), K. Bodner, JThS 54 (2003), pp. 570–75, and Barthélemy (2005)
(LXX translates ‘with’).
5.2 Content
Call to praise God and celebrate him as king of the world
I God has subdued the nations for the sake of his beloved people.
All you nations, praise the king of the whole earth (vv. 2–3).
He gives us an inheritance among the nations (vv. 4–5); God has
gone up amid shouts of joy (v. 6).
II God has accepted his kingship and rules over the nations.
Sing praises to our king who rules the whole earth and has taken
his seat upon his throne (vv. 7–9; cf. vv. 2–3).
The nations acknowledge God’s sovereign power (v. 10; cf. vv.
4–6).

5.3.1.1 vocative: kl h‘mym, v. 2a (4×); ext. // zmrw in
imperative: tq‘w, v. 2a v. 8b
imperative: hry‘w, v. 2b
imperatives: zmrw, v. 7 5.3.1.2 none

5.3.2.1 m’d, v. 10d 5.3.2.2 none

slh, v. 5b

vv. 2–3: kl, vv. 2a.3b
vv. 4–6: ydbr/ybh.r, vv. 4a and 5a resp. (alliter.; anaphora)
th.tynw/’t nh.ltnw, vv. 4a and 5a resp. (alliter.; exactly linear);
see also suffix -nw in vv. 4b and 5aA
vv. 7–9: zmrw, vv. 7 (4×).8b!
’lhym, vv. 7a.8a.9a+b
root mlk, vv. 7b.8a.9a
lmlknw/mśkyl, vv. 7b and 8b resp. (alliter.)
v. 10: ndyby ‘mym/mgny ’rs., vv. 10a and 10c resp.
’lhym, vv. 10b.10c

vv. 2–6 (Canto I): ‘mym, vv. 2a.4a (linear)
root rw‘, vv. 2b.6a! (inclusion)
prep. l-, vv. 2b.5a
’lhym, vv. 2b.6a (inclusion)
bqwl rnh/bqwl šwpr, vv. 2b and 6b resp.! (exactly at
at the end of the line; inclusion); see also prep. b-
in v. 6a!
yhwh, vv. 3a.6b! (linear)
root ‘lh, vv. 3a.6a (linear); see also ‘l in v. 3b
ii.5 psalm 47 55
vv. 7–10 (Canto II): ’lhym, vv. 7a+8a+9 (2×).10b+c

prep. l-, vv. 7b.10c (inclusion)
ky, vv. 8a.10c
’rs., vv. 8a.10c
root ‘lh, vv. 9a+b.10d (linear); cf. ‘lh in Canto I
gwym/‘mym, vv. 9a and 10a resp. (concatenation)

vv. 2–3.7–9: imperatives, tq‘w . . . hry‘w/zmrw, vv. 2 and 7–8 resp.!

ky, vv. 3a.8a
mlk + kl h’rs., vv. 3b.8a!; see also kl in v. 2a! and mlk in
vv. 7b.9a!
vv. 4–6.10: ‘mym, vv. 4a.10a; see also l’mym in v. 4b and ‘m in v. 10b
y‘qb/’brhm, vv. 5b and 10b resp.
’hb/’brhm, vv. 5b and 10b resp. (alliter.); cf. Isa. 41,8c
root ‘lh with subject God, vv. 6a.10d!
vv. 2–3.10: ‘mym, vv. 2a.10a (but see also the linear framework)
l’lhym, vv. 2b.10c! (inclusion)
niph‘al, nwr’/n’spw, vv. 3a and 10 resp.
vv. 4–6.7–9: -nw, vv. 4a+b+5a (2×).7b!

prep. l-, vv. 5a.7b
‘lh/‘l, vv. 6a and 9a+b resp. (but see also the linear
framework)
‘lh ’lhym/mlk ’lhym . . . ’lhym yšb, vv. 6a and 9 resp.

none

nota accusative ’t (v. 5 [2×]), th.t (v. 4 [2×])

Psalm 47 has 10 verselines and 20 cola. From this perspective, vv. 6–7
represent the centre of the poem: vv. 2–5.6–7.8–10 > 4+2+4 verselines
and 8+4+8 cola.1
Structure of strophes and cantos in terms of words: 17+21|22+12 =
38+34 (= 72 = 9×8 words in total).2 The sum total of 72 (= 2×36) words
is probably not without hermeneutic meaning: the numerical value of the
noun mlk (‘king’; see vv. 3 and 7–9) is 36 (< 11+12+13).3
Once we find the title ‘lywn (‘Most High’), v. 3; the divine name, yhwh,
occurs 2×: vv. 3 and 6. The designation ’lhym (‘God’) is found 8×: vv. 2,
6, 7, 8, 9 (2×) and 10 (2×). The number eight features conspicuously in
this psalm, because the total number of words is also a multiple of eight.4

Wocher (1834), p. 629: 2–3.4–5.6–8.9–10 (2.2.3.2 verses)
Köster (1837): 2–5.6.7–10 (4.1.4 verses)
Sommer (1846), p. 45–46: 2–3.4–5|6–7.8–9|10 (4.4|4.4|4 cola)
De Wette (1856): 2–5.6–10; similarly Böhl (1947), Smit Sibinga (1988)
Ewald (1866), pp. 425–26: 2–5.6–9.10; similarly Herkenne (1936)
Ley (1875), pp. 142–43: 2–3.4–5.6–7.8–9.10 (5×2 lines); cf. TOB (1978)
Delitzsch (1894): 2–5.6–9.10 (8.8.4 cola)
Grimme (1902), p. 155: 2–5.6+8–10b.10c–d
Zenner (1906), pp. 283–85: . . . |2–5.6–8a+9–10a+10c (. . . |4.4 lines)
Duhm (1922): 2–3.4–5.6–7.8–9.10 (5×2 lines); similarly Mowinckel (1957)
Gunkel (1926): 2–3.4–6|7–9.10 (‘Eine regelmäßige Strophenbildung ist wohl
nicht beabsichtigt’); similarly Gerstenberger (1988), pp. 195–99
Calès (1936): 2–3.4–5.6|7–8.9–10b.10c–d (‘deux strophes, parallèles en-
tre elles distique par distique’); similarly Condamin (1933), p. 145,
1
According to Labuschagne these pivotal lines constitute a meaningful centre, since
they express the gist of the psalm; see www.labuschagne.nl/ps047.pdf, Observation 1.
2
Smit Sibinga (‘Some observations’) counts 77 words, because he includes the four
words of the heading (v. 1) and slh (v. 5b) in his calculations. Now, v. 6a (‘lh ’lhym
btrw‘h) is the pivot on word level (> 37+3+37 words). From this perspective, v. 6a
may be taken as the ‘quintessential thought’ of the poem. The other calculations by
Smit Sibinga based on the (supposed striking) positioning of certain words and word-
combinations, e.g., mlk in vv. 3b and 8b, yhwh in v. 6b and mlk ’lhym in v. 9a, are too
speculative to be convincing.
3
For a more profound investigation into the numerical aspects, see www.labuschagne.
nl/ps047.pdf.
4
Cf. Psalm 46; in this poem we find 7× ’lhym and the total number of words is a
multiple of 7.
ii.5 psalm 47 57
Jacquet (1977), Schaper (1994), p. 264, and Terrien (2003)

Muilenburg (1944): 2–6.7–10 (5.5 lines; 10.10 cola)
Podechard (1949): 2–3.4–6|7–8.9–10 (2.3|2.3 lines)
Pannier/Renard (1950): 2–5.6–8.9–10 (4.3.3 lines); cf. Ridderbos (1973)
Kissane (1953): 2–6.7–10 (5.5 lines); similarly [Hossfeld]/Zenger (1993)
J. Ridderbos (1958): 2–3.4–5|6–7.8–9.10
NAB (1970): 2–5.6–7.8–10
Alden (1974), pp. 27–28: 2.3–5.6|7.8–9.10 (a.b.c|c’.b’.a’)
Beaucamp (1976): 2–3.4–5|6–7.9–10b 10c–d (4.4|4.4 2 cola); cf. Beaucamp
(1968), pp. 207, 210 and n. 24
Beuken (1981): 2.3–6|7.8–10b.10c–d (a.b|a’.b’.b’’); cf. Kraus (1978) and
Craigie (1983)
Seeligmann (1981 [= 2004]): 2–3+6+4–5|7–10 (a.b.c.d.e|a’.b’.c’.d’.e’); cf.
Calès (1936)
Aletti/Trublet (1983), pp. 75–76: 2.3.4–5.6|7.8.9–10b.10c–d (a.b.c.d|a’.b’.c’.
d’); cf. Girard (1996)
Watson (1984), pp. 371–73: 2–3.4–5|6|7–8.9–10 (4.4|2|4.4 cola; a.b|c|a’.b’);
cf. Köster (1837)
Ravasi (1985): 2.3.4.5.6|7.8.9.10a–b.10c–d (a.b.c.d.e|a’.b’.c’.d’.e’); cf. Calès
(1936) and Weber (2001)
Seybold (1996): 2–5.6.7+9–10 (4.1.4 lines); cf. Watson (1984)
Auffret (2003): 2–3.4–5.6|7.8–9a.9b–10
Fokkelman (2003), pp. 77–80: 2–3.4–5|6–8.9–10 (2.2|3.3 lines; a.b|a’.b’)

Since Gunkel’s commentary (1926), scholars differ about the question where
the main caesura is to be found in this psalm. Previously, it was often as-
sumed that there was an important break after slh at the end of v. 5.5
Gunkel, however, concluded on form-critical grounds that the main break
does not come after v. 5 but after v. 6: ‘Mit einer neuen Hymnen-Einführung,
der wiederum in 8 das für den Hymnus bezeichnenden “den” folgt, beginnt
der zweite Teil ’ (p. 202). According to this view, Psalm 47 is composed of
two corresponding main parts, vv. 2–6 and 7–10. Gunkel (p. 203) speaks of
‘einen wohlgeordneten Gedankenzusammenhang’.6 Because the argument
is pretty clear, Gunkel has found many followers. Recently, Fokkelman
once again asserted that the structure of Psalm 47 is ‘fairly simple’, but
according to him this is only true when one frees himself from ‘conditioning
5
So Sommer, De Wette, Ewald, Delitzsch, Grimme and Zenner; see § 5.6.
6
Similarly Kraus: ‘Der A u f b a u des Ps 47 ist gut zu durchschauen’ (p. 503);
similarly [Hossfeld]/Zenger (1993).
by form criticism’ (MPHB III, p. 77). He also discerns two main sections,
but like Sommer c.s. he divides the text into vv. 2–5 and 6–10.7
The form-critical approach is cogently substantiated by (recent) struc-
tural investigations, the approach which, among other things, pays due
attention to the verbal repetitions which feature in a composition. Time
and again, structural analysis has shown that the linear correspondence
of motifs which determine the ‘cantos’ of this poem (cf. above and see
§ 5.2) is reinforced by a linear pattern of verbal repetitions.8 In my view,
this parallelism is most adequately displayed by the following scheme: vv.
2–3.4–6|7–9.10 > a.b|a’.b’; see § 5.4.3 (the linear framework). For the im-
peratives marking the beginning of the cantos, cf. Psalm 45 (§ 3 above).
Alongside these linear correspondences between the cantos, the poem
as a whole has also a symmetric aspect (scheme: vv. 2–3.4–6|7–9.10 >
a.b|b’.a’). For this structure, see the verbal repetitions mentioned in § 5.4.3
(the symmetric framework).9 The symmetric aspect is reinforced by the
strophic structure of the psalm consisting of 2+3 (Canto I) and 3+2 (Canto
II) verselines.10
Canto I is strikingly demarcated by the device for inclusion; see § 5.4.2.
Taken for their own, the verbal correspondences in vv. 2 and 6 can be
interpreted as responsions, highlighting v. 6 as the beginning of Canto II.11
However, when we consider the verbal repetitions concerned inclusions, all
other parallelisms on the level of the poem as a whole (and within the cantos
themselves) fall into place. Further, the expressions at the end of the first
and the last line of Canto I, bqwl rnh/bqwl šwpr (vv. 2b and 6b respectively)
remind us of the inclusion demarcating the first canto of Psalm 45 (spwr
mhyr/’wpyr in vv. 2c and 10b respectively; see § 3 above).
The divine name, yhwh, only occurs in the first canto (vv. 3 and 6); cf.
the second canto of Psalm 46.12 The word ’lhym (‘God’) demarcates this
7
See further Pannier/Renard, Ridderbos (1958), NAB and Beaucamp in § 5.6; I
myself erroneously argued in favour of this view in my STR, pp. 262–65.
8
See Calès, Muilenburg (p. 244), Beuken, Seeligmann, Aletti/Trublet and Ravasi in
§ 5.6. Calès already in his ‘Les psaumes des fils de Coré’, RSR 13 (1923), p. 546, has
explained the structure of the psalm in this way; cf. further Zucker (2007).
9
The symmetric aspect of our poem is underestimated in recent research; however,
see also Alden in § 5.6!
10
For the strophic structure, see especially § 5.4.1 and the linear verbal repetitions
mentioned in § 5.4.2 (note the root ‘lh). Cf. the symmetric pattern in the 5-line cantos
of Psalms 6, 16 and 20: 2.3|3.2 verselines; see CAS I.
11
So my STR (1980) and recently Fokkelman. Smit Sibinga (‘Some observations’, pp.
476–77) totally disregards the linear correspondences mentioned in § 5.4.3; he explains
the repetition of the root ‘lh in vv. 6 and 10 as inclusion, marking his second main unit
(vv. 6–10).
12
The divine name is symbolically present in Canto II, because it has 34 (= 2×17)
ii.5 psalm 47 59
canto by inclusion. In Canto II this designation features another six times

and is found in each verseline.
Finally, a close reading shows that the division into two 5-line cantos is
confirmed by an additional phenomenon. Vv. 4 and 9, the pivotal verselines
of the cantos, are significantly highlighted by an internal verbal repetition;
see th.t in v. 4a+b and ’lhym + ‘l in v. 9a+b. Note the antithesis between
the prepositions th.t (‘under’) and ‘l (‘over’).13 In these pivotal verselines
(vv. 4 and 9) we also find the quintessential thought of our poem. That is
to say, the psalm resembles an ellipse since, in terms of ideas, there are two
focal points: God subdues the nations under Israel (v. 4) and, as a king,
he rules the whole world (v. 9).14
For the relationship with Psalm 46, see among other things (cf. also § 5.5
above) the following verbal repetitions: ’lhym (vv. 2 etc.) > 46,2 etc.; bqwl
(vv. 2.6) > 46,7; yhwh (vv. 3.6) > 46,8.9.12; ‘lywn (v. 3) > 46,5; root yr’
(v. 3) > 46,3; root mlk (vv. 3.7–9) > 46,7; ’rs. (vv. 3.8.10) > 46,3.7.9.10.11;
lnw (v. 5) > 46,2.8.12; y‘qb (v. 5) > 46,8.12; gwym (v. 9) > 46,7.11; qdš
(v. 9) > 46,5; m’d (v. 10) > 46,2.
5.8 Bibliography
J. Muilenburg, ‘Psalm 47’, JBL 63 (1944), pp. 235–56;
J.J.M. Roberts, ‘The Religio-Political Setting of Psalm 47’, BASOR 221 (1976),
pp. 129–32;
W.A.M. Beuken, ‘Psalm 47: Structure and Drama’, in B. Albrektson et al.,
Remembering all the way . . . (OTS 21), Leiden: Brill, 1981, pp. 38–45;
J. Smit Sibinga, ‘Some observations on the composition of Psalm xlvii’, VT 38
(1988), pp. 474–80;
B. Janowski, ‘Das Königtum Gottes in den Psalmen. Bemerkungen zu einem
neuen Gesamtentwurf’, ZThK 86 (1989), pp. 389–454;
J. Schaper, ‘Psalm 47 und sein “Sitz im Leben”’, ZAW 106 (1994), pp. 262–75;
I.L. Seeligmann, ‘Psalm 47’, in Gesammelte Studien zur Hebräischen Bibel (FAT
41), Tübingen: Mohr Siebeck, 2004, pp. 365–79 (= Tarbiz 50 [1981], pp. 25–36);
D.J. Zucker, ‘Restructuring Private Psalm 47’, JBQ 35 (2007), pp. 166–72.
words; see § 5.5.

13
The word sequence mlk ’lhym (predicate + subject) in v. 9a is also remarkable; this
is the reverse of the usual formula yhwh mlk (cf. Pss. 93,1 96,10 97,1 and 99,1).
14
According to Beuken ‘“the Most High” in relation to “(all) the earth” constitutes
the dominant topos of the psalm’ ([1981], p. 47).
6 Psalm 48
Structure: 6.6.3 > 3.3|3.3|3 lines (Type IIB)
I 2 GDWL YHWH wMHLL m’d B‘YR ’LHYNW hr qdšw

3 yph nwp mśwś kl h’RS. HR S.YWN yrkty .spwn qryt mlk rb
4 ’lhym b’RMNWTYH nwd‘ lmśgb
5 ky hnh hmlkym nw‘dw ‘brw yh.dw

6 hmh R’W kn tmhw nbhlw nh.pzw
7 r‘dh ’h.ztm šm h.yl kywldh
II 8 brwh. qdym tšbr ’nywt tršyš

9 k’šr šm‘nw kn R’YNW B‘YR YHWH .sb’wt
B‘YR ’LHYNW ’lhym ykwnnh ‘D ‘WLM (slh)
10 dmynw ’lhym h.sdk bqrb hyklk

11 kšmk ’lhym kn THLTk ‘l qs.wy ’RS. .sdq ml’h ymynk
12 yśmh. HR S.YWN tglnh bnwt yhwdh lm‘n mšpt.yk
III 13 sbw S.YWN whqypwh sprw MGDLYh

14 šytw lbkm lh.ylh psgw ’RMNWTYH lm‘n tsprw ldwr ’h.rwn
15 ky zh ’lhym ’LHYNW ‘WLM W‘D hw’ ynhgnw ‘LMWT
6.1 Text
V. 8a—tšbr : ‘you shatter’ (subject God; so Delitzsch, Seybold and Weber; see
also § 6.7 below); contra the general view considering rwh. qdym (‘east
wind’) the subject. MT divides with ’atnah. after qdym in v. 8a; cf. BHS.
V. 11b—‘l qs.wy ’rs.: for the preposition ‘l, cf. ‘l qs.wtm in Ps. 19,7.
V. 15c—‘lmwt: ‘eternally’ (so Krinetzki [1960], Dahood, Craigie; cf. LXX and
BHS); for 2× ‘wlm within one line, see Ps. 112,6. MT reads ‘l mwt.
6.2 Content
God’s presence in Zion guarantees her safety.
I God protects Zion against aggressive enemies (spoken about God).
Praised be God, who protects his holy mountain and abode Zion
(vv. 2–4; dealing with Zion’s security).
The attacking enemies meet an inglorious end (vv. 5–7; dealing
with the whole earth).
ii.6 psalm 48 61
II The community acknowledges God as protector of his city (mainly

addressed to God).
We witness that God makes his city secure for ever (vv. 8–9;
dealing with Zion’s security).
O God, we and the whole world rejoice about your righteous
deeds (vv. 10–12; dealing with the whole earth).
III Conclusion/summary: realize for ever that God will protect Zion
(vv. 13–15; call to remember, spoken about God and dealing with
Zion).

6.3.1.1 hnh, v. 5a imperative: sprw, v. 13b;
vocative: ’lhym, v. 10a; ext. ext. // psgw in v. 14b
// ’lhym in v. 11a
imperat.: sbw . . . whqypw, 6.3.1.2 m’d, v. 2a
v. 13a; ext. // šytw in
v. 14a

6.3.2.1 ‘wlm, v. 9d hw’, v. 15c
slh, v. 9d ‘lmwt*, v. 15c
lm‘n, v. 12c
zh, v. 15a 6.3.2.2 none
‘wlm w‘d, v. 15b

hmh, v. 6a
lm‘n, v. 14c

vv. 2–4: gdwl yhwh/mlk rb, vv. 2a and 3c resp.; cf. mlk gdwl in Pss.
47,3 and 95,3
‘yr/qryh, vv. 2b and 3c resp.
prep. b-, vv. 2b.4a (inclusion)
} chiasmus
’lhym, vv. 2b.4a (inclusion)
hr, vv. 2b.3b
mlk rb/lmśgb, vv. 3c and 4b resp. (alliteration)

vv. 8–9: b‘yr, vv. 9b.9c; see also prep. b- in v. 8a
vv. 10–12: ’lhym, vv. 10a.11a (linear)
h.sdk/s.dq . . . suffix -k/mšpt.yk, vv. 10a, 11c and 12c resp.; see
also suffix -k in vv. 10b and 11a (2×!; epiphora)
bqrb/‘l qs.wy, vv. 10b and 11b resp. (exactly linear)
vv. 13–15: sbb . . . nqb/h.wl, vv. 13a and 14a resp. (‘encircle’/‘turn’)
root spr, vv. 13b.14c!
mgdlyh/h.ylh . . . ’rmnwtyh, vv. 13b and 14a–b resp.; see also
suffix -h in vv. 13a
dwr ’h.rwn/‘wlm w‘d . . . ‘lmwt*, vv. 14c and 15b–c resp.

vv. 2–7 (Canto I): mlk, vv. 3c.5a!
nwd‘/nw‘dw, vv. 4b and 5a resp. (alliter.; concat.)
vv. 8–12 (Canto II): prep. k- + kn, vv. 9a.11a (exactly linear)
’lhym, vv. 9c+d.10a+11a (concatenation)

vv. 2–4.8–9.13–15: root gdl, vv. 2a.13b resp.!; see also mśgb/mgdl in
vv. 4b and 13b resp.
yhwh, vv. 2a.9b!
b‘yr ’lhynw, vv. 2b.9c!; see also b‘yr in v. 9b! and
’lhynw in v. 15a!
.sywn, vv. 3b.13a
.spwn/qdym, vv. 3b and 8a resp.
’rmnwtyh, vv. 4a.14b!; see also mśgb in v. 4b, h.ylh
in v. 14a and suffix -h in vv. 9d.13a+b!
roots yd‘/šyt + lb, vv. 4b and 14a resp.
tšbr/tsprw, vv. 8a and 14c resp. (alliter.); see also
sprw in v. 13b
’lhym ykwnnh/hw’ ynhgnw, vv. 9d and 15c resp.
(exactly linear)
‘d ‘wlm/‘wlm w‘d . . . ‘lmwt*, vv. 9d and 15b–c resp.!
(exactly linear; cf. Dahood, Psalms I, p. 294)
ii.6 psalm 48 63
vv. 2–4.10–12: root hll, vv. 2a.11a!

hr qdš/hykl, vv. 2b and 10b resp.
roots śyś/śmh. . . . gyl, vv. 3a and 12a–b resp.
’rs., vv. 3a.11b!
hr .sywn, vv. 3b.12a!; see also hr in v. 2b!
vv. 5–7.8–9: root r’h, vv. 6a.9a!

} chiasmus
kn, vv. 6a.9a
prep. k-, vv. 7b.9a
vv. 10–12.13–15: ’lhym, vv. 10a+11a.15a (2×)

.sywn, vv. 12a.13a
lm‘n, vv. 12c.14c!

prep. b- (vv. 8.10)

ky (vv. 5.15), h.yl (‘writhing’, v. 7)/h.yl (‘rampart’, v. 14)

Psalm 48 has five strophes, 15 verselines and 35 (= 5×7) cola. Vv. 8–9 is
the central strophe (> 2+1+2 strophes). The 7 words of v. 9a–b constitute
the pivotal verseline (> 7+1+7 lines) and v. 9c (b‘yr ’lhynw ) is the pivotal
colon (> 17+1+17 cola).1
Structure of strophes and cantos in terms of words: 24+17|18+23|23*
= 41+41+23* (= 105* = 15×7 words in total).2 On word level v. 9 is the
centre of the psalm (> 46+13+46 words).3 Vv. 8 and 10–12 are explicitly
addressed to God; these lines have 28 words. The remaining verselines
1
Fokkelman finds 9 strophes, 19 verselines and 37 cola. V. 9 is his central strophe
and v. 9d ‘the ideological peak of the song’ (MPHB II, p. 161).
2
Fokkelman counts only 104 words, since he deletes ‘l mwt (so MT) in v. 15c.
3
Smit Sibinga (VT 38 [1988], p. 480 n. 9) points out that sbw (‘encircle’) in v. 13a
represents the pivotal word of vv. 10–15 (> 23+1+23 words); about the root sbb marking
the centre of a poem, see Ch. V, 4.2.2. However, this calculation is only valid when we
read ‘l mwt (two words) in v. 15c; cf. § 6.1.
have 77 words. Both numbers are once again multiples of 7.4 I conclude
that especially the number 7 has a structuring function (see the numbers
in bold face).
The divine name, yhwh, occurs twice: vv. 2 and 9. The designation
’lhym for God occurs 8× (cf. Psalm 47): vv. 2, 4, 9 (2×), 10, 11 and 15
(2×).

Wocher (1834), pp. 630–33: 2–4.5–8.9.10–12.13–15 (3.4.1.3.3 verses)
Köster (1837): 2–4.5–7.8.9.10–12.13–15 (3.3.1.1.3.3 verses)
De Wette (1856): 2–4.5–9.10–12.13–15 (3.5.3.3 verses); similarly Mont-
gomery (1945), p. 382, Pannier/Renard (1950); cf. Podechard (1949)
Ewald (1866), pp. 136–40: 2–4.5–9.10–15 (3.5.6 verses)
Delitzsch (1894): 2–3.4–8.9|10–12|13–15
Grimme (1902), pp. 155–56: 2–8.9 (refrain).10–15 (8.2.8 ‘Fünfheber’)
Zenner (1906), pp. 205–07: 2–3.4–6|7–9|10–12.13–15 (3.3|4|4.4 lines)
Von Faulhaber (1913), p. 19: 10–12.13–15 (‘Adressenchalipha’)
Gunkel (1926): 2–3a.3b–4|5–6.7–8|9.10–11b.11c–12.13–14b.14c–15 (9×2
lines); similarly Duhm (1922) and Mowinckel (1957)
Calès (1936): 2–4.5–8|9|10–12.13–15 (4.4|1|4.4 lines); similarly Krinetzki
(1960), pp. 74–76 (v. 9 ‘Mittelstrophe’), Schildenberger (1960), p. 686
(v. 9 ‘Zwischenvers’), Palmer (1965), Beaucamp (1976); cf. Wocher
(1834) and Kittel (1929)
Herkenne (1936): 2–3.4–8.9–12.13–15
Kissane (1953): 2–4+9d.5–8.9*–12.13–15 (4.4.4.4 lines)
Böhl (1947): 2–4.5–8|9.10–12|13–15; cf. Calès (1936)
Van der Ploeg (1971): 2–4.5–8.9–12.13–15; similarly Kraus (1978)
Ridderbos (1973): 2–4.5–8|9–11.12–15 (3.4|3.4 Masoretic verses!)
Jacquet (1977): 2–3a.3b–4.5–6.7–8.9|10–11b.11c–12.13–14b.14c–15 (‘Éloge
de Sion|Action de grâces’; 5×2|4×2 lines); cf. Gunkel (1926)
Craigie (1983): 2a.2b–9.10–12.13–15
Ravasi (1985): 2 |3–4.5–8|9 |10–12.13–14|15 (refrain|a.b|refrain|a’.b’|refrain)
Smith (1989), p. 67: 2–4.5–9|10–12.13–15 (‘four strophes of nearly equal
length’)
[Hossfeld]/Zenger (1993): 2–4.5–8.9.10–12.13–15 (vv. 10–12 ‘Einfügung’);
cf. Böhl (1947) and Gerstenberger (1988), pp. 199–202
Girard (1996): 2–3.4–9|10–12.13–15 (a.b|a’.b’)
Seybold (1996): 2–4.5–8.9.10–12.13–15 (4.4.‘Prosa’.4.4); cf. Zenger (1993)
4
For a full investigation into the numerical aspects of this psalm based on the reading
‘l mwt in v. 15c, see www.labuschagne.nl/ps048.pdf.
ii.6 psalm 48 65
Fokkelman (2000): 2–3a.3b–4|5–6.7–8|9|10–11b.11c–12|13–14b.14c–15 (2.2|

2.2|3|2.2|2.2 lines; a.b|c|d|c’|b’.a’); cf. Gunkel (1926) and Calès (1936)!
Weber (2001): 2–4.5–8.9–11.12–14.15 (4×8.3 cola; a.b.b’.a’.c); cf. Ridder-
bos (1973)
Auffret (2003): 2–3.4–9.10–11.12–14.15
Terrien (2003): 2–4.5–7.8–9.10–12.13–15 (5×3 lines; vv. 8–9 ‘the center of
the whole poem’)

Before showing the regular strophic structure of Psalm 48, I must dis-
cuss some opinions regarding the demarcation of its verselines. It is often
supposed that the poem originally consisted of an almost uninterrupted se-
quence of bicola with the metrical scheme 3+2 accents.5 Recently, Fokkel-
man applied himself to prove that ‘in principle, the song is bicolic, with
two words in the B-cola’ (MPHB II, p. 161). Such a regularity is indeed
suggested by the Masoretic verse division in vv. 4–8, 10 and 13. In vv.
3, 11–12 and 14–15, however, the traditional verse division suggests that
we are dealing with tricola. There are no compelling reasons to deviate
from this tradition. Additionally, for v. 12 the Masoretic verse division is
supported by Ps. 97,8 (šm‘h wtśmh. .sywn // wtglnh bnwt yhwdh // lm‘n
mšpt.yk yhwh). Fokkelman rightly takes the latter line as a tricolon.6 In
this light, regarding vv. 11c–12 as two bicola is rather artificial. Moreover,
it is remarkable that the tricola at the end of the poem form ‘pairs’; see
vv. 11–12 and 14–15. The colometric framework of these paired tricola
reinforce each other.7
Relying on the Masoretic verse division (except for v. 9), I discern an
uninterrupted series of 3-line strophes, vv. 2–4, 5–7, 8–9, 10–12 and 13–15.8
The demarcation of the units vv. 2–4, 10–12 and 13–15 is widely accepted;
see § 6.6 above and cf. further §§ 6.2 and 6.4.1. But many scholars will
object that in terms of material content v. 8, speaking about destruction
5
See Duhm, Grimme, Gunkel, Calès and Jacquet in § 6.6 (among others).
6
See his MPHB II, p. 447, and by the same author, The Psalms in Form, 2002,
p. 105.
7
These observations confirm my point of departure that, generally speaking, in the
book of Psalms the Masoretic verses are real poetic lines; see CAS I, Ch. I, 1.6 (p. 74),
and Ch. V, 6.1 (p. 522); cf. also § 1.7 above, about the colometry of Psalms 42–43. V. 9
is an exception. This Masoretic verse is composed of at least four cola which most likely
form two bicola (cf. Gunkel and Jacquet); contra Fokkelman, who takes v. 9a–c as two
bicola and v. 9d as an individual verseline consisting of only one colon.
8
In my STR (1980), I already argued in favour of this strophic structure; see now
also Terrien (2003).
of attacking forces, belongs to vv. 5–7 and not to v. 9. Terrien, however,

has rightly observed that the poet ‘through a daring enjambment (v. 8)’
introduces a transitional element from strophe to strophe.
Terrien’s view on the position of v. 8 is confirmed by a subtle grammat-
ical feature: in v. 8 the psalmist abruptly addresses God. Most scholars
think that this peculiarity does not match the context and take the ‘east
wind’ as the subject of tšbr (see also § 6.1 above). This view is not very
probable, not only because it produces a rather awkward translation, but
also because in the book of Psalms God is always the subject of the root
šbr pi‘el.9 Therefore, I read in v. 8: ‘through the east wind you shatter //
the ships of Tarshish’. God’s act of destruction described in v. 8 reveals his
power to protect Zion. In this sense, the verseline fits the belief expressed
in v. 9d that he ‘establishes it for ever’. That is to say, vv. 5–7 and 8–9
likewise form 3-line strophes.10
Recent structural approaches rightly assume that the overall framework
of our psalm is related to clusters of verbal repetitions. Nobody can fail to
notice the recurrences involved. Nevertheless, it is not clear in advance in
which way they support the framework of the poem. Formal and thematic
observations must support each other.11
In my opinion, it is most likely that the psalm is composed of two
6-line cantos, vv. 2–7 and 8–12, which are concluded by a 3-line strophe
functioning as a ‘half-long’ canto at the end of the poem, vv. 13–15.12 This
overall framework is based on the wave-like movement characterizing the
succession of the 3-line strophes. Schematically, this movement looks as
follows: vv. 2–4.5–7|8–9.10–12|13–15 > a.b|a’.b’|a’’.
From a thematic point of view, I observe that the ‘opening’ strophes of
the cantos (vv. 2–4, 8–9 and 13–15) are about the safety of the city of Zion
which is guaranteed by God’s presence. In terms of ideas, it also appears
that in vv. 5–7 and 10–12 (the b-strophes) the poet speaks about the effect
of God’s presence in Zion: the enemies are terror-stricken (vv. 5–7) and the
inhabitants shout in joy (vv. 10–12).13
9
See Pss. 3,8 29,5 46,10 74,13 76,4 105,33 and 107,16. ‘Mieux vaut voir en ce
verbe une 2e personne à sujet divin anticipant le vocatif des vss 10–11’ (Barthélemy
[2005], p. 282). For the ‘mangelnde formale und inhaltliche Einbindung’ of v. 8, as far
as vv. 5–7 is concerned, see also Spieckermann (1989), pp. 188–89.
10
This outcome contradicts Kraus’s impression, who deems ‘die Annahme einer Stro-
phenordnung . . . wenig wahrscheinlich’; similarly Van der Ploeg: ‘van strofenbouw . . . is
geen sprake’ (‘strophic structure is out of the question’ [my translation]).
11
According to Girard, it is clear that the psalm divides into two main parts, vv. 2–9
and 10–15; but this is not as clear as he suggests.
12
For such ‘half-long’ cantos at the end of a poem, see CAS I, Ch. V, 1.4.
13
This means that the thematic development of the first cantos of Psalms 46, 47, 48
ii.6 psalm 48 67
As far as the a-strophes are concerned, the linear pattern of ideas is

unambiguously reinforced by a similar pattern of verbal repetitions; see
§ 6.4.3 (the linear framework). It is not easy to position the b-strophes
of the 6-line cantos (vv. 5–7 and 10–12) in this linear pattern. In terms
of verbal recurrences, there is an additional symmetric pattern uniting the
strophes of Canto I and II: vv. 2–4.5–7|8–9.10–12 > a.b|b’.a’; see § 6.4.3
(the symmetric framework).14
In Canto I the psalmist does not address God, but explicitly speaks
about him in the third person (vv. 2–4). The particle šm (‘there’, v. 7a)
refers to the city of Zion (vv. 2–4) and marks the final verseline of the canto
(cf. šmh in Pss. 76,4 and 122,5). From v. 8 onwards we find verselines in
which the psalmist addresses God. This is characteristic of the second
canto; see v. 8 and 10–12 (v. 9 is an exception: spoken about God). The
beginning of the final Canto III is indicated by a cluster of imperatives; see
vv. 13–14b.15 In terms of word count, the overall structure of our poem is
confirmed by the circumstance that the 6-line cantos (vv. 2–7 and 8–12)
have exactly 41 words each.16
It is almost generally assumed that v. 9 contains the focal idea of the
poem. Moreover, many scholars take this verse as the pivotal strophe of
the psalm.17 As we have seen in § 6.5 above, v. 9 is the centre of the poem
on word level (> 46+13+46 words) and v. 9a–b the central verseline (>
7+1+7 lines). All these indications support the pivotal position of vv. 8–9
on strophe level. In my opinion, this pivotal position of vv. 8–9 perfectly fits
the thematic framework of Psalm 48 expressing its quintessential thought.
This main idea is found in the a-strophes, vv. 2–4, 8–9 and 13–15: we wit-
ness that God’s powerful presence in Zion guarantees her safety. For the
most succinct formulation of this message, see the concluding cola of the
and 76 is very similar: in the first strophe God is praised (because he protects Jerusalem)
and in the second strophe the enemies are portrayed as powerless or writhing in terror
(see further Ps. 97,1–3 and nwd‘ in Pss. 48,4 and 76,2). Cf. Seybold: ‘Das Motiv vom
Scheitern der Macht und der Waffengewalt angesichts der göttlichen Größe ist der Zion-
Tradition vertraut’.
14
In this respect, see CAS I, pp. 519–20, about the patterns of verbal repetitions in
Psalms 38, 52, 109, 111 and 115.
15
Cf. the imperatives in Pss. 45,11–12 and 47,2.7–8 marking the beginning of a canto.
16
See § 6.5 above and cf. CAS I, Ch. V, 2.4.1. This structural approach shows that we
are dealing with an original poetic unity. There is no reason at all to consider vv. 10–12
a later addition; contra [Hossfeld]/Zenger, p. 294 (where we find seven loose arguments
discrediting the lines in question).
17
So Calès, Krinetzki, Schildenberger, Palmer, Beaucamp and Fokkelman; see § 6.6
above. Ridderbos (1973) terms the verse ‘scharnier’ (‘hinge’). Labuschagne discerns
seven strophes (vv. 2–4||5–7.8.9|10–12||13–14.15) and once again considers the ‘we’-
section v. 9 the meaningful centre; see www.labuschagne.nl/ps048.pdf, Observation 1.
strophes in question, vv. 4b (‘he has made himself known as a stronghold’),

9d (‘God establishes it forever’) and 15c (‘he will guide us eternally’).18
For the relationship with Psalm 47, see among other things the following
verbal repetitions: gdwl (v. 2) > 47,3!; m’d (v. 2) > 47,10 (concatenation)!;
hr qdšw (v. 2) > 47,9 (kś’ qdšw); kl h’rs. (v. 3) > 47,3!; mlk rb (v. 3) > 47,3
(mlk gdwl)!; see also slh.
For the relationship with Psalm 46, see among other things the follow-
ing verbal repetitions: m’d (v. 2) > 46,2!; ‘yr ’lhym (vv. 2.9) > 46,5; qdš
(v. 2) > 46,5; root mlk (vv. 3.5) > 46,7; mśgb (v. 4) > 46,8.12; root šbr
(v. 8) > 46,10; yhwh .sb’wt (v. 9) > 46,8.12; ‘l qs.wy ’rs. (v. 11) > 46,10 (‘d
qs.h h’rs.); root śmh. (v. 12) > 46,5; see also slh. Both psalms open with
a 6-line canto; like the first strophe of Psalm 48, the first two strophes of
Psalm 46 have 24 words.19
6.8 Bibliography
A. Krinetzki, ‘Zur Poetik und Exegese von Ps. 48’, BZ 4 (1960), pp. 70–97;
M. Palmer, ‘The Cardinal Points in Psalm 48’, Biblica 46 (1965), pp. 357–58;
M.S. Smith, ‘God and Zion: Form and Meaning in Psalm 48’, SEL 6 (1989), pp.
67–77;
H. Spieckermann, Heilsgegenwart. Eine Theologie der Psalmen (FRLANT 148),
Göttingen: Vandenhoeck & Ruprecht, 1989, pp. 186–96;
psaumes (BZAW 330), Berlin/New York: Walter de Gruyter, 2003, pp. 187–98.
18
For the ‘double character’ of the ‘central message’, see also Smith (1989): God’s
qualities ‘form the basis of, and are demonstrated by, the ongoing existence of Zion’
(p. 71). This means that the rhetorical approach militates against Gunkel’s opinion that
vv. 5–8 form the ‘Hauptstück’ of the psalm. It is likely that the psalm is a post-exilic
composition and is not about a specific attack on Jerusalem.
19
See also Auffret (2003), pp. 199–206.
ii.7 psalm 49 69
7 Psalm 49
Structure: 4.8.9 > 2.2|2.3.3|3.3.3 lines (Type IIA)
I 2 šm‘w z’t kl h‘mym h’zynw kl yšby h.ld

3 gm bny ’DM gm bny ’yš YH. D ‘šyr w’bywn
4 py ydbr H . KMWT whgwt lby TBWNWT
5 ’t.h lMŠL ’zny ’pth. bknwr h.ydty
II 6 lmh ’yr’ bymy r‘ ‘wn ‘qby yswbny

7 hbt.h.ym ‘l h.ylm wbrb ‘šrm ythllw
8 ’K l’ PDH YPDH ’YŠ l’ ytn l’LHYM kprw

9 wyqr PDYWN npšm wh.dl l‘wlm
10 wyh.y ‘wd lns.h. l’ yr’h hšh.t
11 KY YR’H H. KMYM ymwtw YH

. D ksyl wb‘r y’bdw w‘zbw l’h.rym h.ylm
12 qrbm btymw l‘wlm mškntm lDR wDR qr’w bšmwtm ‘ly
13 W’DM BYQR BL YLYN NMŠL KBHMWT NDMW [’DMWT
III 14 zh drkm ksl lmw w’h.ryhm bpyhm yrs.w (slh)

15 ks.’n lš’wl štw mwt yr‘m
w yrdw bm yšrym lbqr ws.yrm lblwt š’wl mzbl lw
16 ’K ’LHYM YPDH npšy myd š’wl ky yqh.ny (slh)

17 ’l tyr’ ky y‘šr ’YŠ ky yrbh kbwd bytw
18 ky l’ bmwtw yqh. hkl l’ yrd ’h.ryw kbwdw
19 KY npšw bh.yyw ybrk wywdk ky tyt.yb lk

20 tbw’ ‘d DWR ’bwtyw ‘d ns.h. l’ YR’W ’wr
21 ’DM BYQR WL’ YBYN NMŠL KBHMWT NDMW
7.1 Text
V. 6b—‘qby: read as ‘my deceivers’; MT reads ‘my heels’.
V. 8a—’k : ‘surely’, see BHS and § 7.4.3 below; MT reads ’h. (‘brother’; similarly
Barthélemy [2005]).
V. 8a—ypdh: I read a niph‘al (‘he redeems himself’); MT qal.
V. 12a—qrbm: ‘their midst’, so MT; contra BHS and Barthélemy: ‘their graves’.
V. 15c–d: the meaning of the Hebrew text is obscure; see BHS.
V. 16: MT divides with ’atnah. after š’wl in v. 16b; for the syntax of v. 16b, cf.
Ps. 128,2a and see Dahood, Psalms I, p. 301.
7.2 Content
God will pay a price to redeem the wise from the netherworld.
I Exhortation to all people to listen (introduction).
Listen, all people of the earth, both rich and poor (vv. 2–3).
I will teach you wisdom: proverbs and riddles (vv. 4–5).
II Nobody can redeem himself from death.
Why should I fear when boasting rich people besiege me? (vv.
6–7).
No rich man (cf. v. 17) can redeem himself from death (vv. 8–10).
The wise and the fool must leave their wealth to others (v. 11);
people imagine that their houses will endure, but they are like the
beasts that cease to be (vv. 12–13).
III God will pay my ransom to redeem me from death.
The boasting rich (v. 14; cf. v. 7b) live like cattle in the nether-
world (v. 15).
God will save me from the netherworld (v. 16); do not fear the
rich, for they cannot take their wealth in death (vv. 17–18).
Those who are blessed during their lifetime (v. 19; cf. v. 12) will
never more see the light; without understanding they cease to be,
like the beasts (vv. 20–21; cf. v. 15).

7.3.1.1 imperative: šm‘w, v. 2a paronom. infinitive constr.:
z’t, v. 2a pdh ypdh, v. 8a
vocative: kl h‘mym, v. 2a ’k, v. 16a
imperative: h’zynw, v. 2b
vocative: kl yšby h.ld, v. 2b 7.3.1.2 zh, v. 14a
lmh, v. 6a brk with object Israel,
’k *, v. 8a v. 19a

7.3.2.1 gm, v. 3a (2×) 7.3.2.2 w- beginning of line, v. 10a;
‘wd, v. 10a ext. // w- in v. 9a
ns.h., v. 10a; ext. // ‘wlm in w- beginning of line, v. 13a
v. 9b w- beginning of line, v. 15c
ii.7 psalm 49 71

‘wlm, v. 12a slh, v. 16b
dr wdr, v. 12b ’l prohibitive, v. 17a
slh, v. 14b ns.h., v. 20b

vv. 8–10: l’, vv. 8a+b.10b (inclusion)
pdh, vv. 8a (2×).9a
w- beginning of the line, vv. 9a.10a (anaphora)
l‘wlm/lns.h., vv. 9b and 10a resp.
vv. 11–13: ymwtw/btymw, vv. 11a and 12a resp. (alliter.)
suffix -m, vv. 11c.12a+b+c
qrbm/byqr, vv. 12a and 13a resp. (alliter.)
’dmh/’dm, vv. 12c.13a
’dmwt/ndmw, vv. 12c and 13b resp. (alliter.)
vv. 14–15: yrs.w/ws.yrm, vv. 14b and 15d resp. (alliter.; inclusion)
š’wl, vv. 15a.15d
vv. 16–18: ky, vv. 16b.17a+b.18a
yqh., vv. 16b.18a! (inclusion)
kbwd, vv. 17b.18b!
bytw/bmwtw, vv. 17b and 18a resp. (alliter.)
suffix -w, vv. 17b.18b (epiphora); see also -w in v. 18a+b
vv. 19–21: suffix -w, vv. 19a (2×).20a
l’, vv. 20b.21a

vv. 2–5 (Canto I): ’zn, vv. 2b.5a! (inclusion)
yh.d/h.ydty, vv. 3b and 5b resp. (alliter; linear)
vv. 6–13 (Canto II): h.ylm, vv. 7a.11c!

w- beginning of the line, vv. 9a+10a.13a (linear)
yqr, vv. 9a.13a
l‘wlm, vv. 9b.12a (linear); see also lns.h. in v. 10a
and ldr wdr in v. 12b
yr’h, vv. 10b.11a (concatenation)
vv. 14–21 (Canto III): ’h.ry-, vv. 14b.18b

slh, vv. 14b.16b (exactly linear)
š’wl, vv. 15a+d.16b! (concatenation)

mwt, vv. 15b.18a
wyrdw/yrd, vv. 15c and 18b resp. (alliter.; linear)
suffix -w, vv. 15d.17b+18b (epiphora)
npš, vv. 16a.19a (linear)
ky, vv. 16–18.19a+b (concatenation)
bytw/tbw’ . . . ’bwtyw, vv. 17b and 20a resp.
(alliter.; linear)
l’, vv. 18a+b.20b+21a

vv. 2–5.11–13.19–21: yh.d, vv. 3b.11b!

h.km, vv. 4a.11a!
ky, vv. 11a.19a (exactly linear)
root r’h, vv. 11a.20b
btymw/tbw’ . . . ’bwtyw, vv. 12a and 20a resp.
(alliter.; linear)
dwr, vv. 12b (2×).20a!
(w)’dm byqr bl/wl’ ylyn/ybyn // nmšl kbhmwt
ndmw, vv. 13.21; see also ’dm in vv. 3a+12c(!),
root byn in v. 4b(!) and root mšl in v. 5a(!)
vv. 6–7.14–15: ywm/bqr, vv. 6a and 15c resp.

} chiasmus
r‘/yšr, vv. 6a and 15c resp.
bt.h./ksl, vv. 7a and 14a resp.; cf. Job 8,14 and
31,24 (Spronk)
vv. 8–10.16–18: ’k, vv. 8a*.16a! (exactly linear)

l’, vv. 8a+b+10b.18a+b; note l’ yr’h/l’ yrd in vv.
10b and 18b resp. (exactly linear); see also ’l
prohibitive in v. 17a
root pdh, vv. 8a+9a.16a!
’yš, vv. 8a.17a
ytn/yqh., vv. 8b and 16b+18a resp. (cf. Pleins
[1996], pp. 22–23)
’lhym, vv. 8b.16a!
npš, vv. 9a.16a
šh.t/š’wl, vv. 10b and 16b resp.
ii.7 psalm 49 73
vv. 6–7.16–18: root yr’, vv. 6a.17a!

} chiasmus
root rbh, vv. 7b.17b!
root ‘šr, vv. 7b.17a
vv. 8–10.19–21: root h.yh, vv. 10a.19a!

ns.h., vv. 10a.20b
l’ yr’h hšh.t/l’ yr’h ’wr, vv. 10b and 20b resp.
The symmetric framework of Cantos II–III.
vv. 6–7.19–21: roots hll/brk . . . ydh, vv. 7b and 19 resp.
vv. 11–13.14–15: h.kmym/yšrym, vv. 11a and 15c resp.

root mwt, vv. 11a.15b
root ksl, vv. 11b.14a!
roots ’bd/blh, vv. 11b and 15d resp.
root ’h.r, vv. 11c.14b
qrbm . . . byqr/lbqr, vv. 12a+13a and 15c resp. (alliter.)
w- beginning of the line, vv. 13a.15c
kbhmwt/ks.’n, vv. 13b and 15a resp.

’yš (v. 3), root ‘šr (v. 3)

byt (vv. 12.17), kl (vv. 2.18), ph (vv. 4.14)

Psalm 49 has eight strophes, 21 (= 3×7) verselines and 44 (= 4×11) cola.1
V. 12 is the central verseline (> 10+1+10 lines) and v. 12a–b represents the
central cola (> 21+2+21 cola; note the multiples of 7). The central cola
have 26 letters.2 Also in terms of meaning, v. 12 can be taken as a focal
1
It is generally agreed that there are 44 cola in this poem; see also Freedman (1986),
Raabe (1990), Fokkelman (MPHB III) and Weber (2001). Weber rightly notes that
the multiple of 22 cola characterizes the poem as an alphabetizing acrostic and empha-
sizes ‘die Ganzheit und Abgeschlossenheit der (weisheitlichen) Ausführungen’; similarly
De Meyer (1979), p. 164, with reference to Bickell (1882). Spronk finds 20 verselines,
because he erroneously argues that vv. 8–10 are to be taken as two tricola (2000, p. 41).
2
Note also qrb (‘midst’) at the beginning of the line; cf. Ch. V, 4.1.1 below.
point in our psalm. In this line the poet explicitly portrays the boasting
of the godless rich; cf. vv. 7b, 14b and 19a. Here their bragging reaches its
climax.
Structure of strophes and cantos in terms of words: 17+12|13+20+28|21*
+26+24 = 29+61+71 (= 161 = 23×7 words in total).3 The refrain—
though slightly different in vv. 13 and 21—consists of 7 words and 28 (=
4×7) letters.
On the basis of these numerical data, I conclude that especially the
number 7 with its multiples has a structuring function in the formal frame-
work of this psalm (cf. § 6.5 above). In this respect, it is worth noting that
we are dealing with Psalm 49 (the number of the psalm is the square of
seven).
The divine name, yhwh, does not feature in this psalm. In vv. 8 and
16 the psalmist uses the designation ’lhym (‘God’).4

Saalschütz (1825), p. 117: 1–5|6–12.13–14|15–20.21 (5|7.2|6.1 verses)
Köster (1837): 2–5|6–7.8–11.12–13 |14–16.17–20.21 (4.8.8 verses)
Hävernick (1849), p. 43: 2–5.6–13.14–21 (4.8.8 verses)
De Wette (1856): 2–5|6–13 |14–16.17–21; cf. NAB (1970)
Ewald (1866), pp. 250–55: 2–5.6–13.17–21 (8|16+refrain|16+refrain cola);
similarly Delitzsch (1894)
Ley (1875), pp. 250–52: 2–5.6–9.10–12.13.14–16.17–20.21 or 2–5.6–10.
11–12+14.13+15–16.17–21
Zenner (1906), pp. 231–34: 2–5.6–9a|9b–13|14–16.17–18+20–21 (4.4|4|4.4
lines)
Berkowicz (1910), pp. 7–9: 2–5.6–9.10–13 |14–16.17–21 (8.8.10|8.10 cola;
vv. 6–13 // 14–21); cf. Ley (1875) and Zenner (1906)
Delitzsch (1921), pp. 105–07: 2–3.4–5.6–7.8–9.10–11a.11b–12.13.14–15b.
15c*–16.17–18.19–20.21
Duhm (1922): 2–5+refrain.6–9+refrain.10–13.14–16+refrain.17–21 (5×5
lines); cf. Berkowicz (1910)
3
Including slh in vv. 14 and 16, Smit Sibinga (NThT 42 [1988], pp. 191–92 n. 19)
considers vv. 12–13 the centre of the poem: vv. 2–11.12–13.14–21 > 73+17+73 words.
The first word of this centre (qrbm, ‘their midst’) should mark its beginning; cf. the
preceding footnote.
4
Smit Sibinga points out that 49 words precede ’lhym in v. 8 (excluding the heading)
and once again 49 words follow ’lhym in v. 16 (including slh in v. 16b); see Smit Sibinga,
NThT 42 (1988), pp. 191–92 n. 19, and by the same author, VT 38 (1988), p. 480 n. 11.
If this is not simply a matter of chance, it perfectly fits my observation regarding the
structural function of the number seven in this poem.
ii.7 psalm 49 75
Gunkel (1926): 2–3.4–5.6–7.8–10*.12+11b.13–14.15.17–18.19–20 (‘Regel-

mäßiger Strophenbau’)
Möller (1931), pp. 4–7: 2–5 6–7.8–12.13 |14–15.16–20.21 (4 2.5.1|2.5.1
verses); cf. Pannier/Renard (1950) and Zucker (2005)
Calès (1936): 2–3.4–5 6–7.8–10a.10b–11.12.13 |14–15c.15d–16.17–18.
19–20.21 (2.2 4×2.1|4×2.1 lines); similarly Podechard (1949) and
Jacquet (1977)
Montgomery (1945), p. 382: 2–5.6–9.10–13.14–16.17–20.21 (5×4.1 lines);
cf. Duhm (1922), Mowinckel (1957) and Terrien (2003)
Böhl (1947): 2–4.5–7|8+10+9.11–12|13–15b.15c–17.18–20.21
Kissane (1953): 2–5.6–13.14–21 (4.9.9 lines); cf. Hävernick (1849), Craigie
(1983) and Freuling (2004), pp. 121–31
Ridderbos (1973): 2–3.4–5 6–7.8–10.11–13 |14–16|17–18.19–21
Schmitt (1973), pp. 217–18: 2–5 6–7|8–10.11–13.14–16.17–21
Beaucamp (1976): 2–5|6–9.10–12|13 |14–16.17–20|21 (8|8.8|2|8.8|2 cola);
simlarly Raabe (1990), pp. 68–89; cf. Duhm (1922) and Forster (2000)
Aletti/Trublet (1983), p. 76: 2–5|6–7.8–9.10–12.13 |14–15.16.17–20.21
(introduction|a.b.c.refrain|c’.b’.a’.refrain)
Ravasi (1985): 2–5 6–9.10–12.13 |14–16.17–20.21 (prelude a.b.refrain|b’.a’.
refrain); cf. Perdue (1974), p. 540, and Beaucamp (1976)
Auffret (1994): 2–5|6–9.10–12|13 |14–15.16.17.18–20|21 (a|b.c.d|a’|d’.c’.b’.
d’’|a’’); cf. Ravasi (1985)
Girard (1996): 2–7.8–9.10–12|13 ||14–15.16.17–20|21 (a.b.c.refrain|c’.b’.a’.
refrain and a.b.c.refrain|a’.b’.c’.refrain)
Pleins (1996): 2.3–4.5.6–7.8–9a.9b–11a.11b|12–13|14.15.16.17–18.19.
20–21a.21b (a.b.c.d.e.f.g|h|g’.f’.e’.d’.c’.b’.a’)
Spronk (2000), pp. 39–44: 2–5|6–7.8–12.13 |14.15.16.17.18–20.21 (4|2.4.1|
1.2.1.1.3.1 lines; introduction|a.b.c|a’.b’.d.a’’.b’’.c’)
Witte (2000), note p. 543: 2–5|6–8+10.11a+12a–b+11b+13.14–16.17–20|21
(4|4×4|1 lines); cf. Montgomery (1945)
Weber (2001): 2–5|6–9.10–12.13 |14–16.17–20.21 (8|8.8.2|8.8.2 cola); cf.
Beaucamp (1976) and Ravasi (1985)
Fokkelman (2003), pp. 80–86: 2–3.4–5|6–7.8–10|11–13|14–15b.15c–16|
17–18.19–21 (2.2|2.3|3|2.2|2.3 lines; note p. 84 n. 24)
Delkurt (2005), pp. 14–25: 2–3.4–5 6–7.8.9–10|11–12.13.14–15|16.17–18.
19–20.21 (vv. 2–5 a.A.a’|b.B.b’|A’.a’’.b’’.B’’)

It is generally agreed that Psalm 49 is composed of three main parts, vv.
2–5, 6–13 and 14–21 (see § 7.6). I take these sections as the cantos of the
poem.5 The first canto is clearly demarcated by the root ’zn (hiph‘il, ‘to
give ear’; see § 7.4.2) and functions as introduction in which the psalmist
calls on the whole world to listen to his wisdom poem. ‘Rich and poor’ are
included in the audience (v. 3b). So, the introduction is a kind of prelude,
because in the following main parts the poet especially deals with the rich
as opposed to the poor (and the wise). Moreover, stating that his ‘mouth’
shall speak ‘wisdom’ and ‘understanding’ (v. 4) the poet preludes on the
self-satisfied utterances coming from the ‘mouth’ of the rich (see v. 14b
and cf. further vv. 7b, 12 and 19) and their stupidity (note ‘he does not
understand’ in v. 21a).
Cantos II and III are demarcated by a concluding refrain (vv. 13 and
21). In Canto II (vv. 6–13) the poet philosophizes about the impossibility
of rich people redeeming themselves from death. In this canto he speaks
about death from the perspective of the living; note vv. 8 and 11 (death is
inescapable and everybody dies). Nevertheless, the rich strongly trust on
and firmly boast about their wealth (vv. 7 and 12). In v. 12, the central
verseline (see § 7.5), it is explicitly stated that they have illusions about
eternal life through their vast possessions.6 Then, the following verseline,
the refrain, which speaks about the resemblance between man and beast
(v. 13), functions as a sudden anticlimax: such people meet an inglorious
end!7 The refrain v. 13 is very powerful. This is further indicated by w- at
the beginning of the line which has an adversative meaning.8
The netherworld, as a place in which all people have a shadowy exis-
tence, is the main theme of Canto III. Here, Sheol is portrayed from within.
Death is described as an inglorious and dark existence; see vv. 15, 18 and
20. In this main part the themes of Canto II are intensified. In Canto III the
psalmist—including all wise people (note the prohibitive in v. 17a)—need
not fear, because God will redeem them from the netherworld (vv. 16–18).
In the second canto we find nothing about such a chance to escape.
The refrain concluding the third canto (v. 21) slightly differs from v. 13.
5
Recently (1996), Girard and Pleins have argued otherwise, taking vv. 2–5 as an
integral part of my second canto; see § 7.6. Raabe (1990, p. 85) rightly criticized my
tentative division proposed in STR, p. 474.
6
This interpretation is based on MT which reads qrbm (‘their midst’) in v. 12a; cf.
§ 7.2. The colon means ‘their inner belief is for their homes to remain for ever’. When
we follow the reading qbrm (‘their grave’, so BHS; cf. LXX, Peshitta and Targum) the
poet speaks about the existence in the netherworld; this, however, is the theme of Canto
III (similarly Fokkelman, MPHB III, p. 81).
7
This is the reverse of a literary chiaroscuro; for such refrains, see further Pss. 42–43
and Job 28. About refrains in general, see CAS I, Ch. V, 4.
8
The copula is lacking in v. 21 This kind of variation is remarkable, because in other
cases w- at the beginning of the refrain turns up in the repetition, while it is lacking in
the first instance; see CAS I, Ch. V, 4.2.2 (p. 494).
ii.7 psalm 49 77
The rich ‘does not understand’ (v. 21a), while in v. 13a the refrain says that
the rich ‘does not abide’. The variation is probably intentional because—
especially for the rich—it is a mystery that the wise and the poor are
redeemed from the netherworld. Furthermore, the variation strongly sug-
gests that the rich will not ‘understand’ the ‘understanding’ (v. 4b) of the
poet (root byn; see § 7.4.3).
Two problems concerning the macrostructure of our poem remain to be
discussed. First, how do the cantos divide into strophes? Second, how do
the cantos interrelate precisely? Let us first consider the question about
the strophic structure.
The introductory Canto I has four verselines. On thematic grounds this
introduction divides into two 2-line strophes, vv. 2–3 and 4–5; see § 7.2.9
Scholars who look for a regular (strophic) structure often assume that the
four lines or eight cola of the introductory canto are somehow indicative of
the strophe length in the second and the third canto.10 According to this
view, vv. 10 and 17 are the opening lines of new strophes.
Although the strophic structure of Cantos II and III displays some am-
biguities (see, e.g., the contrary indications in § 7.3.3), it is not very likely
that we are dealing with 4-line strophes because this strophe length is scarce
in Hebrew poetry. In my opinion, Cantos II and III are for the most part
composed of 3-line strophes; only the first strophe of Canto II, vv. 6–7,
consists of two verselines.11 In the latter strophe the psalmist formulates
the theme of the second canto: why should I be afraid of the aggression of
the rich? Then, there follow two 3-line strophes each containing part of an
answer. The particle ’k in v. 8a* (see also v. 16a) points to the beginning
of a strophe (§ 7.3.1.1; similarly Möller [1931]). Vv. 8–10 form a coherent
3-line strophe. V. 10 completes the idea of vv. 8–9 that man cannot re-
deem himself from death; it is not the beginning of a new strophe (see also
the anaphora in § 7.4.1). In vv. 11–13 it is explicitly said that everybody,
including the rich, will die.
The first 3-line strophe of Canto III (vv. 14–15) links up with the theme
of vv. 11–13 (see also § 7.4.3, the symmetric framework): after an introduc-
tory verseline (v. 14) we get an impression of the existence in the nether-
world. Then, in the following 3-line strophe (vv. 16–18; note ’k in v. 16a)
9
Similarly Gunkel, Calès, Ridderbos and Fokkelman; see § 7.6 above.
10
See Ley, Zenner, Duhm, Montgomery, Beaucamp, Ravasi, Witte and Weber in § 7.6.
11
For Canto II, see also Ridderbos and Fokkelman in § 7.6. slh at the end of vv.
14 and 16 is not a strophe marker. It may tentatively be stated that the word marks
the verses containing the noun š’wl (‘netherworld’, see vv. 15a+d and 16b); otherwise
Labuschagne (www.labuschagne.nl/ps049.pdf, Observation 2). Spronk explicitly states
that his approach does not produce a regular strophic structure (2000, p. 44).
the psalmist once again deals with the theme of redemption from this place
without perspective (cf. vv. 8–10): it is implicitly maintained that God will
pay his ransom (v. 16), while the rich cannot take their price with them in
death (vv. 17–18). The final 3-line strophe, vv. 19–21, thematically corre-
sponds to vv. 11–13 (the final strophe of Canto II): the rich cannot escape
death.12 Note also ky in vv. 11a and 19a (exactly linear; § 7.4.3). For the
inner coherence of the strophes in Cantos II and III, see also § 7.4.1 (verbal
repetitions).13
Recent scholarship has given much thought to the interrelation of the
cantos. It is often supposed that the psalm—as a whole or from Canto
II onwards—displays a ‘chiastic’ framework.14 Alongside such a ‘chiastic’
framework, Raabe, Girard and Weber also discern a linear parallelism on
the level of the poem as a whole.15
The discussion of the strophic structure of Cantos II and III has al-
ready revealed some linear correspondences between these main parts. In
my opinion, our psalm is predominantly structured by a powerful linearly
alternating parallelism between its successive cantos. This structure is for
an important part based on conspicuous clusters of verbal repetitions. In
this formal context, the introductory section, vv. 2–5, functions as the final
strophe of an ‘incomplete’ canto. The overall framework of the psalm ap-
pears to have the following schematic form: vv. 2–5|6–7.8–10.11–13|14–15.
16–18.19–21 > a|b.c.a’|b’.c’.a’’; see § 7.4.3 (the linear framework). The
refrain (vv. 13 and 21) is the most characteristic repetition of these linear
correspondences, but not an exclusive feature.16
At the same time, there is an evident relationship between vv. 6–7 and
16–18; see § 7.4.3. Note further that vv. 6 and 16 are the only lines in Canto
II and III in which the psalmist speaks about himself; cf. vv. 4–5. There
is also a parallelism between vv. 8–10 and 19–21; see once again § 7.4.3.
These correspondences do not smoothly fit the linear parallelisms between
the cantos, neither do they contradict them. Moreover, alongside the linear
framework on the level of the poem as a whole, there are signs of symmetry
12
Vv. 11–12 and 19–20 form a thematic chiasmus (a.b|b’.a’): in vv. 11 and 20 the poet
speaks about death; in vv. 12 and 19 he refers to the successful life of the rich.
13
The refrain forms an integral part of the 3-line strophes; contra Raabe (1990) and
many others. From a thematic point of view, this is clear in the case of v. 21; the refrain
smoothly connects with vv. 19–20. For vv. 11–13, see especially § 7.4.1.
14
So Aletti/Trublet, Ravasi, Raabe, Auffret, Girard, Pleins and Weber; cf. § 7.6.
15
Note that Raabe and Weber do not integrate vv. 2–5 (Canto I) into their schemes
(for Raabe, see pp. 86–87).
16
For the linear pattern of the correspondences between Cantos II and III, cf. also
Zucker (2005). About the ‘half-long canto’ opening a poem and the linear framework of
psalms with a 2.4.4 canto design, see CAS I, Ch. V, 5.2.1 (pp. 507–12).
ii.7 psalm 49 79
between Cantos II and III; see § 7.4.3 (the symmetric framework).

According to Ridderbos (1973) the psalm culminates in vv. 14–16: the
foolish rich perish in death, while the poet escapes from the underworld;
similarly Mulder (1975, p. 122). According to De Meyer (1979, pp. 159–60)
the poet—by means of simple repetitions—‘focuses attention on his ironi-
cally treated theme of the rich defrauder who cannot redeem himself from
death and the poor man who is redeemed by God’. Spronk takes v. 16
(about the escape from Sheol) as the basic idea of the psalm because it is
supposed to represent the exact centre between the refrain in vv. 13 and
21. Smit Sibinga considers vv. 12–13 the centre of the poem (see § 7.5);
similarly Pleins (1996).17
On the basis of the macrostructure of Psalm 49, I find that the refrain
(vv. 13 and 21) concluding the two parts of its main body (vv. 6–13 and
14–21) represents a thematic focal point. From a theological perspective,
however, v. 16 has always drawn the most scholarly attention. In this re-
spect, Hossfeld rightly notes that this culminating point strangely enough
does not conclude the poem (as is the case in Pss. 16,10–11 and 73,24),
but precedes the concluding refrain which is diametrically opposed to it
(Hossfeld/[Zenger], p. 300). My rhetorical analysis reveals that this cu-
rious phenomenon is not to be explained by the redaction of an original
‘Grundpsalm’ (contra Casetti [1982] and Hossfeld/[Zenger]), but is to be
taken as a deliberate device.
Like the refrain, vv. 8–10 and 16–18 display important formal and the-
matic correspondences. Only in the first verseline of these strophes the
psalmist speaks about God (see ’lhym in vv. 8 and 16). In addition, vv.
8–10 and 16–18 represent the pivotal strophes of Cantos II and III. Further,
vv. 16–18 is symbolically sealed by the name yhwh, because this strophe
has exactly 26 words. In my opinion, the pivotal strophes of Cantos II
and III contain the most central message of the poem, its quintessential
thought. This central message is about the price by which man can be
redeemed from the netherworld. It is phrased by the poet with the help of
a remarkable thematic antithesis: wealthy people cannot pay the price for
their redemption from the netherworld, but God pays it for the poor and the
wise.18
17
The positive lesson that ‘wisdom alone triumphs before the grave’ does not occur in
vv. 12–13 (contra Pleins [1996], p. 26). About the concentric framework supported by
Pleins, see the critical remarks by Spronk (2000, p. 38).
18
Cf. also De Meyer (1979, p. 166): ‘In the poem the opposition is articulated that
the rich can do nothing while God can do everything and that the fate of the rich is
different from that of the pious poor man’.
7.8 Bibliography
A. Schmitt, Entrückung—Aufname—Himmelfahrt (FzB 10), Stuttgart: Verlag

Katholisches Bibelwerk, 1973, pp. 193–252;
J.K. Kuntz, ‘The Canonical Wisdom Psalms of Ancient Israel: Their Rhetori-
cal, Thematic, and Formal Dimensions’, in J.J. Jackson and M. Kessler (eds.),
Rhetorical Criticism: Essays in Honor of James Muilenburg (Pittsburgh The-
ological Monograph Series 1), Pittsburgh (Pennsylvania): The Pickwick Press,
1974, pp. 186–222;
L.G. Perdue, ‘The Riddles of Psalm 49’, JBL 93 (1974), pp. 533–42;
M.J. Mulder, ‘Psalm 49:15 en 16: Twee problematische verzen’, in M.H. van Es
and C. Houtman, Loven en geloven. FS N.H. Ridderbos, Amsterdam: Bolland,
1975, pp. 117–34;
F. de Meyer, ‘The Science of Literature Method of Prof. M. Weiss in Confronta-
tion with Form Criticism, Exemplified on the Basis of Ps. 49’, Bijdragen 41
(1979), pp. 152–68;
P. Casetti, Gibt es ein Leben vor dem Tod? Eine Auslegung von Psalm 49 (OBO
44), Göttingen: Vandenhoeck & Ruprecht, 1982;
D.N. Freedman, ‘Acrostic Poems in the Hebrew Bible: Alphabetic and Other-
wise’, CBQ 48 (1986), pp. 408–31;
O. Loretz, ‘Ugaritisches und Jüdisches: Weisheit und Tod in Psalm 49’, UF 17
(1986), pp. 189–212;
P. Auffret, ‘“Ne crains, même si s’enrichit un homme!” Étude structurelle du
Psaume 49’, FoOr 30 (1994), pp. 5–24;
J.D. Pleins, ‘Death and Endurance: Reassessing the Literary Structure and The-
ology of Psalm 49’, JSOT 69 (1996), pp. 19–27;
M. Grimm, ‘Menschen mit und ohne Geld. Wovon spricht Ps. 49?’, BN 96 (1999),
pp. 38–55;
Christine Forster, Begrenztes Leben als Herausforderung. Das Vergänglichkeits-
motiv in weisheitlichen Psalmen, Zürich/Freiburg i. Br.: Pano Verlag, 2000, pp.
61–136;
K. Spronk, ‘Het raadsel van Psalm 49: Enkele opmerkingen over vorm en in-
houd’, J.W. Dyk et al. (eds.), Psalmen (ACEBT 18), Maastricht: Uitgeverij
Shaker Publishing, 2000, pp. 33–45;
M. Witte, ‘“Aber Gott wird meine Seele erlösen”—Tod und Leben nach Psalm
xlix’, VT 50 (2000), pp. 540–60;
K.J. Dell, ‘“I will solve my riddle to the music of the lyre” (Psalm xlix 4 [5]): a
cultic setting for wisdom psalms?’, VT 44 (2004), pp. 445–458;
G. Freuling, “Wer eine Grube gräbt . . . ” Der Tun-Ergehen-Zusammenhang
und sein Wandel in der alttestamentlichen Weisheitsliteratur (WMANT 102),
Neukirchen-Vluyn: Neukirchener Verlag, 2004;
ii.7 psalm 49 81
H. Delkurt, “Der Mensch ist dem Vieh gleich, das vertilgt wird.” Tod und Hoff-
nung gegen den Tod in Ps 49 und bei Kohelet (BThSt 50), Neukirchen-Vluyn:
Neukirchener Verlag, 2005;
D.J. Zucker, ‘The Riddle of Psalm 49’, JBQ 33 (2005), pp. 143–52.
8 Psalm 50
Structure: 6.9.8 > 3.3|3.2.2.2|3.3.2 lines (Type IIA)
I 1 ’l ’lhym yhwh DBR w yqr’ ’rs. mmzrh. šmš ‘d mb’w

2 ms.ywn mkll ypy ’lhym hwpy‘
3 yb’ ’lhynw w’l yh.rš ’š lpnyw t’kl wsbybyw nś‘rh m’d
4 YQR’ ’l hšmym m‘l w’l h’rs. ldyn ‘mw

5 ’spw ly h.sydy krty bryty ‘ly ZBH.
6 Wygydw šmym .sdqw ky ’lhym špt. hw’ (slh)
II 7 šm‘h ‘my w’DBRH yśr’l w’‘ydh bk ’lhym ’lhyk ’nky

8 l’ ‘l zbh.yk ’wkyh.k w‘wltyk lngdy tmyd
9 l’ ’qh. mbytk pr mmkl’tyk ‘twdym
10 ky ly kl h.ytw y‘r bhmwt bhrry ’lp

11 yd‘ty kl ‘wp hrym wzyz śdy ‘mdy
12 ’m ’r‘b l’ ’mr lk ky ly tbl wml’h

13 h’wkl bśr ’byrym wdm ‘twdym ’šth
14 ZBH
. l ’lhym TWDH wšlm l‘lywn ndryk
15 WQR’NY bywm .srh ’h.ls.k wTKBDNY (slh)
III 16 wlrš‘ ’mr ’lhym mh lk lspr h.qy wtś’ bryty ‘ly pyk
17 w’th śn’t mwsr wtšlk DBRy ’h.ryk
18 ’m r’yt gnb wtrs. ‘mw w‘m mn’pym h.lqk
19 pyk šlh.t br‘h wlšwnk ts.myd mrmh

20 tšb b’h.yk tdbr bbn ’mk ttn dpy
21 ’lh ‘śyt whh.ršty dmyt hywt ’hyh kmwk ’wkyh.k w’‘rkh l‘ynyk
22 bynw n’ z’t škh.y ’lwh pn ’t.rp w’yn ms.yl

23 ZBH. TWDH YKBDNNY wśm drk ’r’nw byš‘ ’lhym
8.1 Text
V. 1: the verse is a tricolon (the division is supported by the Masoretic accen-
tuation); see also Fokkelman (MPHB III, p. 87 n. 32).
V. 10b—bhrry ’lp: ‘on a thousand hills’ (cf. Craigie).
ii.8 psalm 50 83
V. 15b—slh: cf. LXX, probably original, but not found in MT; similarly Delitzsch
(1894, p. 368) and see §§ 8.3.2.1 and 8.4.3.
V. 20a—tšb: ‘you sit’ (so MT); probably we have to read bšt (‘shame’; Kraus).
V. 23b—wśm drk : meaning obscure; perhaps we must read wtm drk (‘sound of
way’; cf. Job 4,6 and Prov. 13,6; so Kraus).
8.2 Content
The proper offering.
I Prophetic vision of a theophany (introduction).
God appears and speaks from Mount Zion (vv. 1–3).
As a judge, he summons to gather his covenant people (vv. 4–6).
II The proper offering.
Listen, Israel, I will speak to you: I don’t need animal offerings
(vv. 7–9).
All beasts are mine (vv. 10–11).
I do not feed on bulls and goats (vv. 12–13).
Offer me your thanksgiving and vows; then, I will save you when
you call me (vv. 14–15).
III Condemnation of the wicked.
God says to the wicked: you despise my statutes (vv. 16–18).
From now on, I will reprove you because of all your transgressions
(vv. 19–21).
Understand this, you who forget God: he who offers thanksgiving
honors me and I will save him (vv. 22–23; cf. vv. 14–15).

8.3.1.1 imperative: šm‘h, v. 7a w- beginning of line, v. 16a;
vocative: ‘my, v. 7a ext. // w- in v. 17a
cohortative: ’dbrh, v. 7a mh, v. 16b
vocative: yśr’l, v. 7b imperative: bynw, v. 22a
cohortative: ’‘ydh, v. 7b n’, v. 22a
’mr imperf. 1 sing., v. 12a z’t, v. 22a
imperatives: zbh. . . . wšlm, vocative: škh.y ’lwh, v. 22a
v. 14; ext. // qr’ny in
v. 15a 8.3.1.2 ’nky, v. 7c

8.3.2.1 m’d, v. 3c 8.3.2.2 w- beginning of line, v. 6a
hw’, v. 6b w- beginning of line, v. 15a
slh, v. 6b ’lh, v. 21a
slh*, v. 15b cohortative: ’‘rkh, v. 21c

imperative: ’spw, v. 5a h- interrogative, v. 13a
tmyd, v. 8b ’th, v. 17a
yd‘ty, v. 11a pn, v. 22b

vv. 1–3: ’lhym, vv. 1a.2b.3a; see also ’l in v. 1a
prep. mn, vv. 1c.2a
root bw’, vv. 1c.3a! (inclusion)
suffix -w, vv. 1c.3b+c (inclusion)
vv. 4–6: šmym, vv. 4a.6a (inclusion)
‘l, vv. 4a.5b
prep. l-, vv. 4b.5a
suffix -w, vv. 4b.6a (inclusion)
vv. 7–9: suffix -y, vv. 7a.8b
suffix -k, vv. 7b+c.8a (2×)+b.9a+b
l’, vv. 8a.9a (anaphora)
tmyd/‘twdym, vv. 8b and 9b resp. (alliter.; epiphora)
vv. 10–11: kl, vv. 10a.11a!
hr, vv. 10b.11a!
vv. 14–15: imperative: zbh./qr’ny, vv. 14a and 15a resp. (anaphora); see
also wšlm in v. 14b
suffix -k, vv. 14b.15b
vv. 16–18: w- beginning of the line, vv. 16a.17a (anaphora)
wtś’/śn’t, vv. 16c and 17a resp. (alliter.)
suffix -k, vv. 16c.17b.18b (epiphora); cf. also -k in v. 16b
vv. 19–20: suffix -k, vv. 19a+b.20a+b.21b+c (2×)
prep. b-, vv. 19a.20a+b
vv. 22–23: ’lwh/’lhym, vv. 22a and 23b resp.
} chiasmus
roots ns.l (hiph‘il)/yš‘, vv. 22b and 23b resp.
ii.8 psalm 50 85

vv. 1–6 (Canto I): ’l (‘God’)/’l (prep.), vv. 1a and 4a+b resp.
(linear)
’lhym, vv. 1a+2b+3a.6b
yqr’, vv. 1b.4a (linear)
’rs., vv. 1b.4b! (linear)
prep. mn, vv. 1c+2a.4a (linear)
suffix -w, vv. 1c+3b+c.4b+6a (concatenation)
prep. l-, vv. 3b.4b+5a (concatenation)
vv. 7–15 (Canto II): suffix -k, vv. 7–9.12a.14b+15b

’lhym, vv. 7c (2×).14a (linear); see also ‘lywn
in v. 14b
l’, vv. 8a+9a.12a!
zbh., vv. 8a.14a
‘wlt/‘lywn, vv. 8b and 14b resp. (root ‘lh)
prep. l-, vv. 10a.12a+b.14a+b (linear); see also
prep. l- in v. 8b
‘twdym, vv. 9b.13b! (linear)
ky ly, vv. 10a.12b! (linear)
vv. 16–23 (Canto III): prep. l-, vv. 16a+b (2×).21c

rš‘/škh.y ’lwh, vv. 16a and 22a resp. (linear)
’lhym, vv. 16a.23b (inclusion); see also ’lwh in
v. 22a
pyk, vv. 16c.19a! (linear)
suffix -k, vv. 16–18.19–21 (concatenation)
wtšlk/wlšwnk, vv. 17b and 19b resp. (alliter.);
see also šlh.t in v. 19a
root dbr, vv. 17b.20a (linear)
root r’h, vv. 18a.23b! (linear)

vv. 1–3.7–13.16–21: ’lhym, vv. 1–3.7c (2×).16a (linear); see also below
root dbr, vv. 1b.7a.17b+20a!
root h.rš, vv. 3a.21a!
root ’kl, vv. 3b.13a!
’wkyh.k, vv. 8a.21c!
’m (‘if’), vv. 12a.18a!; see also ’m (‘mother’), v. 20
root ’mr, vv. 12a.16a!
vv. 4–6.14–15.22–23: root qr’, vv. 4a.15a

root zbh., vv. 5b.14a.23a
w- beginning of the line, vv. 6a.15a (exactly
linear)
’lhym, vv. 6b.14a.23b; see also ‘lywn in v. 14b
and ’lwh in v. 22a
slh, vv. 6b.15b*! (linear)
imperative: zbh./bynw, vv. 14a and 22a resp.
(exactly linear); see also ’spw in v. 5a and
wšlm . . . wqr’ny in vv. 14b–15a
twdh, vv. 14a.23a!
‘lywn/’lwh, vv. 14b and 22a resp.
suffix -ny, vv. 15a+b.23a!
prep. b- . . . .srh/byš‘, vv. 15a and 23b resp.
roots h.ls. (pi‘el)/ns.l (hiph‘il), vv. 15b and 22b
resp.; see also the root yš‘ in v. 23b
root kbd (pi‘el), vv. 15b.23a!
vv. 4–6.7–9, concat.: mn, vv. 4a.9a+b

} chiasmus
‘l, vv. 4a.8a
‘m (‘people’), vv. 4b.7a!
} chiasmus
zbh., vv. 5b.8a
imperative: ’spw/šm‘h, vv. 5a and 7a resp.
suffix -y, vv. 5a+b.7a+8b
’lhym, vv. 6b.7a (2×)
vv. 14–15.16–18, concat.: prep. l-, vv. 14a+b.16a+b (2×)

w- beginning of the line, vv. 15a.16–17

prep. b- (vv. 7.10.15), suffix -w (vv. 10.18), suffix -y, ky (v. 6)

bryty ‘ly (vv. 5.16)
ii.8 psalm 50 87

Psalm 50 has 9 strophes, 23 verselines and 51 (= 3×17) cola.1 The 23
verselines are an alphabetizing feature confirming Briggs’s characterization
of the psalm as a ‘didactic poem’ (p. 414).2 Vv. 12–13 represents the
middle strophe (> 4+1+4 strophes). The central position of this strophe is
reinforced by v. 12, being the middle verseline (> 11+1+11 lines), and by
v. 12a, being the pivotal colon (> 25+1+25 cola). As regards the pivotal
colon, we can put it otherwise: v. 12a is ‘embraced’ by 26 cola, because vv.
1–12a and 12–23 both have 26 cola. This pivotal colon has 13 letters and
the middle strophe, vv. 12–13, has (25+27 =) 52 letters. As a counterpoint,
this strophe underlines the central message of the psalm (see § 8.7 below).
Structure of strophes and cantos in terms of words: 25+22|22+15+15+
11|25+23+17 = 47+63+65 (= 175 = 25×7 words in total). Labuschagne
points out that the total number of 175 words further divide into multiples
of seven because there are 126 (= 18×7) words attributed to God (vv. 5,
7–13, 15 and 16b–23) and 49 (= 7×7) words spoken by the prophet (vv.
1–4, 6, 14 and 16a).3 The pivotal word ’mr (‘I say’) is to be found in the
central colon v. 12a (> 87+1+87 words).4
The designation ’lhym for God occurs 9×: vv. 1, 2, 3, 6, 7 (2×), 14, 16
and 23; see also ’l (‘God’) and yhwh in v. 1, ‘lywn (‘Most High’) in v. 14
and ’lwh (‘God’) in v. 22.

Köster (1837): 1–6|7.8–13.14–15|16–21.22–23 (6|1.6.2|6.2 verses)
De Wette (1856): 1–3.4–6|7–9.10–12.13–15|16–18.19–21|22–23
Ewald (1866), pp. 212–18: 1–6|7–9.10–12.13–15|16–18.19–21|22–23 (6|3×3|
1
Fokkelman (MPHB II) also finds 51 cola, but taking v. 21c as a monocolic verseline,
he distinguishes 24 verselines.
2
Sirach 51,13–30 is an alphabetic acrostic composed of 23 verselines. The poem
divides into three main sections consisting of 6, 8 and 9 verselines!; see P.W. Skehan,
‘The Acrostic Poem in Sirach 51:13–30’, HThR 64 (1971), pp. 387–400. For poems
consisting of 23 verselines in the book of Psalms, see further Pss. 38 (see CAS I, Ch. III,
38 [note p. 385]), 74, 94 and 139.
3
See www.labuschagne.nl/ps050.pdf, Observation 2; cf. the quantitative function of
the number seven in Psalm 49 (see § 7.5 above).
4
Including the heading (mzmwr l’sp), wsbybyw (‘around him’) in v. 3c is the pivotal
word of ‘Canto I’ (> 24+1+24 words); for the root sbb in the centre of a poetic unit,
see Ch. V, 4.2.2. Fokkelman takes vv. 7 and 16 as separate introductory strophes and
further argues that each of the two following oracles (vv. 8–15 and 17–23) consists of 54
words (MPHB III, p. 86). Labuschagne (Observation 4) notes that vv. 7–13 (‘the first
major divine speech’) has 52 words.
3.3|2 verses); cf. De Wette (1856)

Delitzsch (1894): 1–3.4–6.7–15.16–21.22–23
Grimme (1902), p. 156: 1–6.7–11.12–17.18–23 (4×12 ‘Dreiheber’)
Zenner (1906), pp. 251–54: 1–3|4–6||7.8–9.10–11.12–13.14–15||16–18.
19–21 22–23 (3|3||2.2.2.2.2||3|3 lines; vv. 22–23 ‘Epilog’;); similarly
Condamin (1933), pp. 146–48
Duhm (1922): 1–2.3b–4.5–6.7*.8–9.10–11.12–13.14–15.16b–17.18–19.20–21b.
21c–23* (12×2 lines); cf. Mowinckel (1957)
Gunkel (1926): 1–3a.3b–4.5–6|7+21c.8–9.10–11.12–13.14–15|16b–17.18–19.
20–21b.22–23 (‘Strophenbildung regelmäßig’); simil. Podechard (1949)
Calès (1936): 1–3.4–6 7–9.10–12.13–15|16–18.19–21 22–23 (3.3 3.3.3|3.3
2 lines)
Herkenne (1936): 1–6|7+16–21.8–13.14–15+22–23
Böhl (1947): 1–3.4–6|7–9.10–12.13–15|16–18.19–21.22–23
Kissane (1953): 1–6.7–15.16–23 (6.9.9 lines); cf. Pannier/Renard (1950),
Van der Ploeg (1971), Kraus (1978), Craigie (1983), Aletti/Trublet
(1983), p. 76
NAB (1970): 1–6.7–15.16–21.22–23
Ridderbos (1973): 1–6||7.8–13.14–15|16–17.18–20.21|22–23
Jacquet (1977): 1–3a.3b–4.5–6||7a–b+21c+7c|8–9.10–11.12–13.14–15|16–17.
18–19.20–21b||22–23 (3×2||2|4×2|3×2||2 lines); cf. Gunkel (1926)
Beaucamp (1976): 1–3.4–6||7|8–11.12–15.17–20|21 22–23 (6.6||3|8.8.8|3 4
cola)
Bos (1982): 1.2–3.4–5.6–7|8–9.10–11.12–13.14–15|16–17.18–20.21.22–23
Ravasi (1985): 1–3|4–5.6.7.8–13.14–15|16a|16b–17.18–20.21.22|23
Girard (1996): 1–3.4–6 7.8–13.14–15|16a.16b–21.22–23 (a.a’ b.c.d|b’.c’.d’)
Fodor (1999), pp. 97–104: 1–4.5.6||7|8–11.12–13.14–15|16a.16b–17.18.
19–20.21a–b.21c.22–23
Weber (2001): 1–6.7–15.16–23 (12.19.18 cola); cf. Kissane (1953)
Auffret (2003): 1–3a.3b–4.5.6.7|7–8.9.10–12a.12b–13.14–15|16–20.21.22–23
Fokkelman (2003), pp. 86–92: 1–3.4–6||7.8–9.10–11|12–13.14–15||16.17–18.
19–20|21.22–23 (3.3||1.2.2|2.2||1.2.2|2[!].2 lines)
Terrien (2003): 1–3.4–6.7–9.10–12.13–15.16–18.19–21 22–23 (7×3 2 lines)

It is not disputed that Psalm 50 has important thematic caesurae after vv.
6 and 15. Some exegetes also find a major break between vv. 21 and 22.5
In my opinion, the unit vv. 22–23 forms an integral part of vv. 16–21. That
5
See De Wette, Ewald, Zenner, Calès, Jacquet, Beaucamp and Terrien in § 8.6.
ii.8 psalm 50 89
is to say, our psalm is composed of three cantos, vv. 1–6, 7–15 and 16–23.
The first canto (vv. 1–6) functions as an introduction to the following main
parts. Here, we find a poetic vision of a theophany. In this introductory
canto the main theme of the poem is only hinted at in v. 5: God will talk
to his devotees about their offerings.6 In Canto II (vv. 7–15) God addresses
the people of Israel as a whole and discusses their cultic behaviour. In the
third canto (vv. 16–23) especially the wicked are addressed and reproached
for their moral behaviour.7
The cantos are clearly distinguished from each other by clusters of re-
sponsions. Especially in the final verselines of the main parts (vv. 4–6.
14–15.22–23) the verbal recurrences feature in a conspicuous density; see
§ 8.4.3.8 The latter cluster, functioning as a refrain-like climax, is a linearly
parallel aspect of the relationship betweeen the successive cantos; note in
this respect also the root dbr (‘to speak’) in § 8.4.3 (vv. 1–3.7–13.16–21),
marking the beginning of the cantos. To some degree, the beginning of the
cantos is also indicated by tricola; see vv. 1, 3, 7 and 16.9 These linearly
parallel phenomena show that vv. 22–23 structurally belongs within the
third canto. In the strophe concerned, God still addresses the wicked (cf.
vv. 16–21).
The introductory Canto I is clearly composed of two 3-line strophes, vv.
1–3 and 4–6.10 Each of these strophes represents a relatively independent
idea (see § 8.2) and is formally demarcated by some inclusions (see § 8.4.1).
The analysis of the verbal repetitions further shows that there are many
linear correspondences between the first lines of the strophes in question
(see § 8.4.2). From this perspective, we are dealing with an instance of
parallelismus stropharum.11
It is sometimes supposed that the second canto, like Canto I, exclusively
consists of 3-line strophes (vv. 7–9, 10–12 and 13–15).12 However, this
division does not do justice to the thematic consistency of vv. 12 and 13
6
Bos (1982, pp. 67 and 70–71) rightly notes that ‘it is not made clear what the tenor
of God’s speech will be, i.e. whether God comes to chastise or to praise.’
7
See also § 8.2 above; similarly Th. Booij, Godswoorden in de Psalmen, dissertation
Amsterdam, 1978, p. 199.
8
For w- at the beginning of the final verseline of Cantos I and II, see CAS I, Ch. V,
3.2.2.2.
9
Fokkelman forces this formal aspect in a preconceived pattern by postulating that
tricola exclusively occur at the very beginning of the main parts. In this respect, he
maintains that vv. 2–3a is a tricolon; for the tricolon v. 21, see § 8.5 above.
10
Similarly De Wette, Delitzsch, Zenner, Calès, Böhl, Beaucamp, Girard, Fokkelman
and Terrien; see § 8.6.
11
Cf. also Girard (Psaumes I, p. 803). For the same phenomenon, see e.g. the opening
3-line strophes in Psalms 21 (CAS I, Ch. III, 21.7) and 46 (§ 4.7 above).
12
See De Wette, Ewald, Calès, Böhl and Terrien in § 8.6.
(both lines are about hunger; see § 8.2) and the linear parallelisms described
in § 8.4.2 (Canto II; note especially the preposition l- in vv. 10, 12 and 14).
This means that the second canto opens with a 3-line strophe (vv. 7–9)
and that from v. 10 onwards we are dealing with strophes consisting of
two verselines (vv. 10–11, 12–13 and 14-15).13 Vv. 14–15 clearly forms a
thematic unity (see § 8.2); note also the imperatives in v. 14 (see § 8.3.1.1).
Canto III opens with two 3-line strophes, vv. 16–18 and 19–21; the final
strophe (vv. 22–23) has only two lines. From a thematic point of view,
vv. 22–23 form an independent unit; see above and § 8.2 (note also the
transition markers in § 8.3.1.1!). The strophic framework of vv. 16–21 is
enhanced by the responsions recorded in § 8.4.2 (Canto III); note pyk (‘your
mouth’), dbr (‘to speak’) and r’h (‘to see’).14
The quintessential thought of this poem is to be found in the refrain-like
strophes concluding Cantos II and III, vv. 14–15 and 22–23: thanksgiving
by spiritual devotion is the real offering which God demands from mankind;
this will also lead to their salvation. This message is reinforced by the coun-
terpoint formulated in the pivotal strophe (vv. 12–13): I do not eat the flesh
or drink the blood of animals.
From a structural point of view, there are remarkable similarities between

Psalm 50 and the preceding poem, Psalm 49. Both compositions open with
an introductory canto which only provides with a vague notion of the theme
dealt with in the following two main parts. Both introductory cantos dis-
play a regular strophic framework: 2.2 verselines in 49,2–5 and 3.3 verselines
in 50,1–6. They are followed by two cantos which are marked by a con-
cluding refrain and a concluding refrain-like strophe respectively.15 In each
of the compositions, these main cantos—containing the central message—
comprise 17 verselines together (49,6–21 and 50,7–23). The canto divisions
produce a symmetric pattern (a.b|b’.a’): 8.9 verselines (Psalm 49) and 9.8
verselines (Psalm 50). This seems to suggest that Psalm 50 was modelled
on Psalm 49.
8.8 Bibliography
J.W.H. Bos, ‘Oh, When the Saints: A Consideration of the Meaning of Psalm
13
For the 2-line strophes in vv. 10–15, see also Zenner, Duhm, Gunkel, Jacquet and
Fokkelman in § 8.6.
14
Girard, who fails to see that the verbal repetitions in Cantos II and III support
a strophic framework, in both cases wrongly argues for a symmetric pattern of corre-
sponding words (‘construction chiastique’, pp. 806–808).
15
In Psalm 50 the introductory Canto I is likewise concluded by a refrain-like strophe,
vv. 4–6.
ii.8 psalm 50 91
50’, JSOT 24 (1982), pp. 65–77;

J.S. Fodor, Psalm 95 und die verwandten Psalmen 81 und 50. Eine exegetische
Studie (THEOS 32), Hamburg: Verlag Dr. Kovač, 1999;
P. Auffret, ‘“Sacrifie à Dieu un sacrifice d’action de grâce.” Nouvelle étude
structurelle du psaume 50’, OTE 16 (2003), pp. 175–94.
9 Psalm 51
Structure: 7.6.7 > 3|2.2||3.3||3|2.2 lines (Type III)
I.1 3 h.nny ’lhym kh.sdk krb rh.myk MH . H PŠ‘y

4 hrbh KBSNY m‘wny wmH T ’ty T HRny
. . .
5 ky PŠ‘y ’ny ’d‘ wH.T. ’Ty ngdy tmyd
I.2 6 lk lbdk h.t.’ty whr‘ b‘ynyk ‘śyty

lm‘n TS.DQ bdbrk tzkh bšpt.k
7 hn b‘wwn h.wllty wbh.t.’ yh.mtny ’my

8 hn ’mt H
. PS.T bt.h.wt wbstm h.kmh twdy‘ny
II 9 TH .T
. ’ny b’zwb w’T. HR TKBSNY wmšlg ’lbyn
10 tšmy‘ny śśwn wśmh.h tglnh ‘s.mwt dkyt
11 hstr pnyk mH .T
. ’y wkl ‘wnty MH .H
12 LB t.hwr br’ ly ’lhym wRWH
. nkwn h.dš bqrby
13 ’l tšlykny ml pnyk wRWH
. qdšk ’l tqh. mmny
14 hšybh ly śśwn yš‘k wRWH
. ndybh tsmkny
III.1 15 ’lmdh PŠ‘YM drkyk wH .T

. ’YM ’lyk yšwbw
16 hs.ylny mdmym ’lhym ’lhy tšw‘ty
trnn lšwny s.dqtk 17 ’dny śpty tpth. wpy ygyd thltk
III.2 18 ky l’ th.ps. zbh. w’tnh ‘wlh l’ trs.h

19 zbh.y ’lhym RWH . nšbrh LB nšbr wndkh ’lhym l’ tbzh
20 hyt.ybh brs.wnk ’t .sywn tbnh h.wmwt yrwšlm

21 ’z th.ps. zbh.y S.DQ ‘wlh wklyl ’z y‘lw ‘l mzbh.k prym
9.1 Text
V. 4a—hrbh: so K (infinitivus absolutus hiph‘il); Q hrb (imperativus hiph‘il).
Vv. 16c–17: this is a tricolon; similarly Fokkelman (MPHB II, p. 167; cf. Girard
[1994], pp. 21–22).
V. 19b–c: a single colon, according to Fokkelman, but MT divides with ’atnah.
after wndkh.
V. 21: Fokkelman sees no decisive arguments either against or in favour of a
bicolic or tricolic structure (MPHB II, p. 168).
ii.9 psalm 51 93
9.2 Content
God accepts a contrite spirit as an appropriate offering.
I Introductory prayer (I.1) and confession of guilt (I.2).
Have mercy on me, O God, for I am aware of my sins (vv. 3–5).
I have sinned against you (v. 6).
I was born in iniquity, but you want inner truth (vv. 7–8).
II Prayer for forgiveness and spiritual renewal.
Remove the guilt of my sins (vv. 9–11; cf. vv. 3–5).
O God, give me a new spirit (vv. 12–14).
III Vow of thanksgiving (III.1); reflection on the proper offering (III.2).
I will thank you by teaching the rebellious your statutes (v. 15);
save me, O God, that I may declare your praise (vv. 16–17).
You will not reject as a sacrifice a contrite heart (vv. 18–19).
Make Zion prosper, then people will give you proper sacrifices (vv.
20–21).

9.3.1.1 imperatives: h.nn . . . mh.h, in v. 13 (2×) and hšybh in
v. 3; ext. // kbs . . . .thr in v. 14a
v. 4 vocative: ’lhym, v. 12a
vocative: ’lhym, v. 3a cohortative: ’lmdh, v. 15a
hn, v. 7a; ext. // hn in cohortative: ’tnh, v. 18a
v. 8a imperative: hyt.ybh, v. 20a
imperatives: br’ . . . h.dš,
v. 12; ext. // ’l prohib. 9.3.1.2 none

9.3.2.1 tmyd, v. 5b v. 11
lm‘n, v. 6c vocative: ’dny, v. 17a; ext.
// ’lhym ’lhy tšw‘ty in
9.3.2.2 ’ny, v. 5a v. 16a–b
yd‘ with subject God, v. 8b ’z, v. 21a and 21b
imperatives: hstr . . . mh.h,

imperative: hs.yl, v. 16a
vocative: ’lhym, v. 19c

vv. 3–5: pš‘y, vv. 3b.5a (inclusion)
root rbb/rbh, vv. 3b.4a!
copula w- + h..t’ty, vv. 4b.5b (exactly linear)
v. 6: prep. l-, v. 6a (2×).6c (anaphora)
suffix -k, v. 6a (2×)+b.6c+d
vv. 7–8: hn, vv. 7a.8a (anaphora)
wbh..t’/bt.h.wt, vv. 7b and 8a resp. (alliter.)
wb-, vv. 7b.8b (exactly linear)
vv. 9–11: root h..t’, vv. 9a.11a (inclusion)
vv. 12–14: ly, vv. 12a.14a! (inclusion)
wrwh., vv. 12b.13b.14b (exactly linear)
suffix -ny, vv. 13b.14b (epiphora); see also -ny in v. 13a
vv. 15–17: drkyk/s.dqtk, vv. 15a and 16c resp. (exactly linear; inclusion);
see also thltk in v. 17b
vocative ’lhy/’dny, vv. 16b and 17a resp. (exactly linear)
vv. 18–19: l’, vv. 18a+b.19c!
zbh., vv. 18a.19a
vv. 20–21: suffix -k, vv. 20a.21b

vv. 6–8 (I.2): root h..t’, vv. 6a.7b (linear)
vv. 18–21 (III.2): th.ps. zbh., vv. 18a.21a (inclusion); see also zbh. in v. 21b
‘wlh, vv. 18b.21a (inclusion); see also the root ‘lh in
v. 21b!
root rs.h, vv. 18b.20a! (linear)
zbh.y ’lhym/zbh.y .sdq, vv. 19a and 21a resp. (linear)

vv. 3–8 (Canto I): h.sd/’mt, vv. 3a and 8a resp. (inclusion)
rh.myk/h.kmh, vv. 3b and 8b resp. (allit.; inclusion)
‘wn, vv. 4a.7a
root h..t’, vv. 4b+5b.6a.7b
root yd‘, vv. 5a.8b! (linear)
vv. 9–14 (Canto II): root .thr, vv. 9a.12a (linear)

’lbyn/lb, vv. 9b and 12a resp. (alliter.; linear)
ii.9 psalm 51 95
śśwn, vv. 10a.14a!

} chiasmus
pnyk, vv. 11a.13a!
vv. 15–21 (Canto III): cohortatives (’lmdh/’tnh), vv. 15a.18a! (linear)

’lhym, vv. 16a+b.19a+c
root .sdq, vv. 16c.21a (linear)

vv. 3–5.9–11.15–17: root mh.h, vv. 3b.11b!
root pš‘, vv. 3b+5a.15a!
root kbs pi‘el + -ny, vv. 4a.9b!
‘wn, vv. 4a.11b
root h..t’, vv. 4b+5b.9a+11a.15b
root .thr, vv. 4b.9a!
roots śwś + śmh. + gyl/rnn + hll, vv. 10 and
16c+17b resp.
vv. 6–8.12–14.18–21: root .sdq, vv. 6c.21a

root h.ps., vv. 8a.18a+21a!
špt. in v. 6d and note h.ps.t/th.ps. in vv. 8a and
18a+21a resp. (alliter.)
wbstm/tsmkny, vv. 8b and 14b resp. (alliter.)
lb, vv. 12a.19b!
} chiasmus
rwh., vv. 12–14.19a!
’l prohibitive/l’, vv. 13 and 18–19 resp.!
hšybh/hyt.ybh, vv. 14a and 20a resp. (alliter.)
rwh. ndybh/nšbrh, vv. 14b and 19a resp.
vv. 7–8.9–11, concat.: ‘wn, vv. 7a.11b

} chiasmus
root h..t’, vv. 7b.9a+11a
roots stm (‘to keep secret’)/str (hiph‘il, ‘to hide’),
vv. 8b and 11a resp.
vv. 12–14.15, concat.: root šwb, vv. 14a.15b!

root yš‘, vv. 14a.16b!

’lhym (vv. 3.12), prep. b-, suffix -k, suffix -ny

’z (v. 21 [2×]), ’l prohibitive (v. 13 [2×]), root dkh (vv. 10.19), kl/wklyl (vv.
11 and 21 resp.), prep. mn, root šbr (v. 19 [2×])

Psalm 51 has eight strophes, 20 verselines and 42 (= 6×7) cola.1 Both
Cantos I and III consist of 7 verselines. In terms of strophes and verselines,
the caesura between vv. 11 and 12 divides the poem into two equal halves (>
4+4 strophes and 10+10 lines). The pivotal cola are to be found in v. 12:
vv. 3–11.12.13–21 > 20+2+20 cola. It is to be noted that the verseline
concerned, consisting of 16+16 = 32 letters, ends with the expression bqrby
(‘in my innner self’).2 Because the prayer for a ‘pure heart’ and a ‘steadfast
spirit’ is a focal message in the composition, v. 12 represents the rhetorical
centre.3
Vv. 6a–b and 18 are the pivotal verselines of Canto I and III respectively
(> 3+1+3 lines). In these pivotal lines the psalmist expresses an important
idea of the canto in question: ‘against you alone I have sinned’ (v. 6a–b)
and ‘you are not pleased with an animal sacrifice’ (v. 18). The pivotal
position of v. 6a–b is reinforced by the verb h..t’ (‘to sin’). The root h..t’
turns up exactly 7× in the poem: vv. 4, 5, 6, 7, 9, 11 and 15 (Magne
[1958], pp. 179–80). The occurrence of this verb in v. 6a–b constitutes the
pivotal word of Canto I (> 21+1+21 words; note the multiples of 7).4
Structure of strophes and cantos in terms of words: 19+11+13||18+24||
20|18+18 = 43+42+56 (= 141 = 3×47 words in total).5
The designation ’lhym (‘God’) occurs 6×: vv. 3, 12, 16 (2×) and 19
(2×); see further ’dny (‘Lord’) in v. 17. The name yhwh is not used.
1
Fokkelman also distinguishes 20 verselines and 42 cola; the number of 42 cola, how-
ever, is based on his view that v. 19 is a bicolon and v. 21 a tricolon (though he is not
sure about the colometry of v. 21; see § 9.1).
2
For the function of the noun qrb (‘midst’) marking the centre of a poem, see Ch. V,
4.1.1.
3
Similarly Fokkelman (‘the verse . . . is the centre of the message’; MPHB II, p. 165)
and Labuschagne (www.labuschagne.nl/ps051.pdf, Observation 1).
4
For a discussion of the function of the number seven in this psalm, see Labuschagne
(Observation 2).
5
It may tentatively be suggested that nšbr w- in v. 19b is a later insertion (see BHS)
and that the original poem consisted of exactly 140 (= 20×7) words. This idea is
inspired by the multiples of seven words we find in the preceding psalms; see Psalms 46
(13×7 words), 48 (15×7 words), 49 (23×7 words) and 50 (25×7 words). In that case,
v. 19b–c would represent one colon only.
Taking into account the 12 words of the extensive heading (vv. 1–2), the psalm has
153 (= 9×17) words.
ii.9 psalm 51 97

Köster (1837): 3–6.7–15.16–19 (4.9.4 verses; vv. 20–21 ‘Zusatz’)
De Wette (1856): 3–14.15–21
Ewald (1866), pp. 301–08: 3–6.7–10.11–14.15–19 (vv. 20–21 ‘nachwort’)
Schlottmann (1885), pp. 484–85: 3–4.5–6.7–8|9–10.11–12.13–14|. . .
Delitzsch (1894): 3–4.5–6.7–8.9–11|12–13.14–15|16–19|20–21 (‘vier Teile von
absteigender Grösse’)
Berkowicz (1903), pp. 242–45: 3–5.6–7.8–10.11–13.14–16.17–19 (vv. 3–7 //
8–13 and vv. 14–16 // 17–19; vv. 20–21 ‘Zusatz’)
Zenner (1906), pp. 243–47: 3–5.6–7|8–15|16–18.19–21 (3.3|4.4|3.3 lines)
Briggs (1907): 3–6.7–11.12–16.17–21 (4×10 cola)
Duhm (1922): 3–4.5+6c–d.6a–b+7.8–9.10–11.12–13.14–15.16–17.18–19
(9×2 lines; vv. 20–21 ‘Zusatz’)
Gunkel (1926): 3–4|5–6.7–8|9–11.12–14|15–17.18–19 (vv. 20–21 ‘Zusatz’);
cf. Gerstenberger (1988), pp. 211–15
Kittel (1929): 3–4.5–8.9–14.15–19 (vv. 20–21 ‘Nachtrag’); cf. BHS (1969)
and Kraus (1978)
Condamin (1933), pp. 149–50: 3–5|6–7|8–9.10–11|12–13.14–15|16–17.18–19
(a.a’.b.c.c’)
Calès (1936): 3–4.5–7.8–11.12–15.16–19 (2.4×4 lines); cf. Kissane (1953)
Herkenne (1936): 3–5.6–8.9–14.15–19
Montgomery (1945), p. 382: 3–6.7–11.12–16.17–19 (5.5.5.3 lines); cf. Briggs
Podechard (1949): 3–4.5–6.7–8|9–11.12–14|15–17.18–19.20–21 (2.3.2|3.3|
3.2.2 lines)
Pannier/Renard (1950): 3–7.8–14.15–19
Magne (1958), pp. 179–86: 3–4.5–6|7–8.9–11||12–14.15–17.18–19 (5.5|3.3.2
lines)
Dalglish (1962), pp. 75–77: 3–4|5–6.7–8|9–11.12–14|15–17.18–19
NAB (1970): 3–4|5–8.9–11.12–14.15–19|20–21
Ridderbos (1973): 3–4.5–6.7–8.9–10|11–12.13–15.16–17.18–19 (2.3.2.2|2.3.
2.2 lines; vv. 20–21 addition)
Beaucamp (1976): 3–6b.7–10.11–14.15–17*.18–21 (5×8 cola); cf. Beaucamp
(1968), pp. 207–08
Jacquet (1977): 3–4|5–6b.6c–7|8–9.10–11|12–13.14–15|16–17.18–19 20–21
(vv. 20–21 ‘Appendice liturgique’)
Wahl (1977), pp. 220–29: 3–4|5–6.7–8|9–11.12–14|15–17.18–19|20–21 (2|3.2|
3.3|3.2|2 lines; ‘thematic structure’: vv. 3–11.12–21); similarly Böhl
(1947); cf. Dalglish (1962)
Aletti/Trublet (1983), pp. 25–26: 3–11.12–19
Ravasi (1985): 3–4.5–8.9–11|12–14.15–19 (vv. 20–21 addition)
Tate (1990): 3–4.5–6b.6c–d.7–8.9+11|10.12–14.15.16–19 (vv. 20–21 add.)

Girard (1994): 3–4.5.6a–b|6c–d|7.8.9|||10.11–13|14a.14b–16b||16c–17||18.
19a|19b–c.20–21 (a.b.c|d|c’.b’.a’|||e.f|e’.f’||g||h.i|i’.h’)
Seybold (1996): 3–6.7–10.11–14.15–19
Fokkelman (2000): 3–5.6|7–8.9–11||12–13||14–15.16–17|18–19.20–21 (3.2|
2.3|2|2.2|2.2 lines)
[Hossfeld]/Zenger (2000): 3–4.5–8.9–11|12–14.15–17.18–19 (vv. 20–21
‘kollektivierende Fortschreibung’); similarly Pfeiffer (2005), pp.
293–96
Weber (2001): 3–6.7–11|12–16.17–19 (vv. 20–21 addition; > 20.20 cola)
Terrien (2003): 3–4.5–6.7–8.9–11|12–14.15–16.17–19 (vv. 20–21 addition)
Tagliacarne (2005): 3–4.5–6b.6c–d.7–8.9–10|11–12.13–14.15|16–17.18–19.
20–21 (a.b.c.b’.a’|. . . |d.e.d’)
Auffret (2006): 3–9.11|10.12–19|18–21

From the preceding section (§ 9.6) we can learn that there is a striking
variety of opinions concerning the rhetorical framework of Psalm 51.6 This
variety of opinions comes to light not only on the macrostructural level
(the division of the poem into cantos), but also on the level of the strophes.
The discussion regarding the macrostructure is complicated by the final
strophe, vv. 20–21, which is almost generally seen as a later addition.
Gunkel’s division into some main sections seems to reflect the ‘natural’
development of ideas: introductory call for mercy (vv. 3–4), confession
of sins (vv. 5–8), prayer for forgiveness and renewal (vv. 9–14), promise of
thanksgiving (vv. 15–19); vv. 20–21 are a later addition. This division based
on a ‘form-critical’ approach was well received by some later exegetes.7
More recently, advocates of a ‘structural’ approach generally agree that
our psalm divides into two main sections, vv. 3–11 and 12–19.8 Consciously
or not, they are deeply influenced by Magne (1958) who based his view on a
profound investigation of the verbal repetitions which abound in the poem.
The most important repetitions, according to Magne, form two groups
6
Pointing out some problems in Psalm 51, Tagliacarne (2005, p. 155) notes: ‘Am
auffälligsten ist die Vielfalt der Gliederungs- bzw. Strukturierungsmodelle’.
7
See Kittel, Herkenne, Dalglish and Wahl in § 9.6; cf. also Leene (1996), p. 65.
8
See Aletti/Trublet, Ravasi, Tate, [Hossfeld]/Zenger, Weber and Terrien in § 9.6.
According to Wahl (1977) this division reflects the ‘thematic structure’. Ridderbos
(1973) and Girard also distinguish two main parts, but Ridderbos divides after v. 10
and Girard after v. 9. According to Girard, v. 11 functions as enjambement (p. 28); cf.
in this respect Auffret (2006), who takes vv. 10–11 as ‘une charnière articulant entre
eux 3–9 et 12–19’.
ii.9 psalm 51 99
of words; the first group (e.g., .thr and pš‘ ) produces a linear pattern in
the poem and the second (e.g., ky and śśwn) a symmetric one (pp. 181–
82).9 Later on, scholars have emphazised that the root mh.h (‘to delete’)
functions as inclusion to mark the boundaries of vv. 3–11 (see vv. 3b and
11b); similarly, the nouns lb (‘heart’) and rwh. (‘spirit’) are taken to mark
the boundaries of vv. 12–19. It is further noticeable that these scholars
almost unanimously find the focal message of the composition to be in the
centre of the main parts, to wit in vv. 6c–d and 16. Magne notes that
the ‘Justice de Dieu trône . . . au centre de la première partie’ (p. 182; with
reference to v. 6c–d) and that it reappears in the centre of the second main
part (p. 183; with reference to v. 16).10
Notwithstanding the general agreement among those who take a struc-
tural approach as pointed out above, I want to make a plea for another
rhetorical interpretation of Psalm 51. Magne’s view regarding the orga-
nization of the verbal repetitions is not the only possible one and it does
not do justice to the thematic structure of this (individual) prayer.11 In
my opinion, the psalm is not composed of two but of three main parts
(cantos), vv. 3–8, 9–14 and 15–21, which in terms of verselines display a
concentric framework (7.6.7 verselines; see also Podechard [1949] in § 9.6).
This tripartite framework is, among other things, based on a linear pattern
of verbal repetitions, responsions, which feature on the level of the poem
as a whole.12 This pattern has the following schematic form: vv. 3–5.6–8|
9–11.12–14|15–17.18–21 > a.b|a’.b’|a’’.b’’; see § 9.4.4. Especially the roots
pš‘ (‘to rebel’), h..t’ (‘to sin’), .sdq (‘to be right’) and h.ps. (‘to be pleased’)
show that the verbal repetitions on the macrostructural level are not re-
stricted to two separate main sections (vv. 3–11 and 12–19), but qualify
the texture of three successive cantos, including vv. 20–21 (note the roots
.sdq and h.ps.).
The linear patterns of verbal correspondences on the level of the poem
as a whole coincide with parallelisms in terms of semantics. From the latter
9
Magne states that the biparite framework mentioned ‘ne peut être méconnu’
(p. 181).
10
Similarly Girard (pp. 14 [vv. 6c–d ‘porte l’idée dominante’] and 21–22), [Hoss-
feld]/Zenger (p. 46) and Weber (p. 235); Terrien considers vv. 6c–d and 15a the ‘core
verses’ of the main sections.
11
Weber characterizes vv. 3–11 as ‘Bitte um Vergebung’ and vv. 12–19 as ‘Bitte um
Neuschöpfung bzw. Wiederherstellung’ (p. 234). These descriptions only apply to vv.
9–11 and 12–14 respectively.
12
Fokkelman (rightly) notes that on the basis of the word repetitions ‘alone’ (italics
are mine [PvdL]) one can find all sorts of structures (p. 165); however, he strongly
underestimates the rhetorical function of this formal aspect. For the semantic aspect of
the tripartite structure, see below.
perspective, there is a continuous relationship between the first strophes of

the cantos, vv. 3–5, 9–11 and 15–17 (for the strophic structure, see below).
In vv. 3–5 and 9–11 the supplicant explicitly prays God to blot out his
sins. The central verseline of vv. 15–17 is a prayer that God will redeem
the psalmist from some kind of guilt (dmym). Such prayers do not occur
elsewhere in the psalm. Additionally, in the beginning of Cantos II and III
we find the theme of joy and praise; see vv. 10 and 16c–17 (note rnn [pi‘el,
‘to sing out’]; but cf. also v. 14a).
The end of the cantos, vv. 7–8, 12–14 and 18–19, is characterized by
the idea of secrecy. The responsions marking the second part of Cantos II
and III reveal a special attention for the ‘heart’ (lb) and the ‘spirit’ (rwh.).
With these words the psalmist refers to his inner feelings. In this context,
it is noticeable that the final strophe of Canto I is about conception (v. 7)
and God’s attention for ‘hidden things’ (note the expressions bt.h.wt wbstm
in v. 8).
The tripartite framework of our psalm is in line with a clear development
of ideas. The first canto (vv. 3–8) is introduced by a prayer for forgiveness
(vv. 3–5; Canticle I.1). Canticle I.2 (vv. 6–8) is about the sins and trans-
gressions of the supplicant which sharply contrast with God’s justice and
love for truth. It is a confession of guilt. This confession is highlighted by
the verbal form h..t’ty (‘I have sinned’; v. 6a) which represents the pivotal
expression of the first canto (see § 9.5 above). In Canto II the psalmist
calls for God’s intervention; it is a prayer for forgiveness (vv. 9–11) and re-
newal (vv. 12–14).13 The canto is exclusively about God’s activity. Canto
III (vv. 15–21) is mainly devoted to observations regarding thanksgiving.
Canticle III.1 (vv. 15–17) is chiefly about the action of the psalmist as a
redeemed and just person who praises God. Its central verseline (v. 16a–b)
is a prayer for salvation. The supplicant concludes this promise of praise
with a critical observation regarding the offerings that please God, Canticle
III.2 (vv. 18–21).
This rhetorical approach militates against the common view that the
prayer for the redemption of Jerusalem and the subsequent vow regarding
the ‘right sacrifices’, formulated in vv. 20–21, represent a later addition.
It is curious that structuralists did not from the beginning argue in favour
of the unity of the psalm. As first, Girard (1994) clearly pointed out that
vv. 3–21 ‘sont décidément l’oevre d’un seul et même auteur’ (p. 27). He
shows that the strophe objected to (vv. 20–21) together with vv. 18–19
form a structural entity (p. 22; cf. § 9.4.2 above).14 Additionally, he rightly
13
For vv. 9–14 as a relatively independent unit, see also Gunkel c.s.
14
Smilarly Fokkelman, MPHB II, pp. 167–68. However, different from Girard (note
pp. 27–28!), Fokkelman does not mention that his view is rather exceptional. Cf. further
ii.9 psalm 51 101
underlines (p. 26) that there is a relationship between vv. 18–21 and v. 8
founded on the repetition of the root h.ps. (‘to be pleased’; cf. § 9.4.4).
Girard is well aware that this application of the formal features strongly
influences the interpretation of the text. He concludes (p. 28) that the ‘I’
of the psalm is a liturgical leader of the people in exile, with reference to
Ezekiel 36,24–28.
In addition, Leene (1996, pp. 71–73) has pointed out that the sequence
‘criticism of animal sacrifice’—‘restoration of Zion’ (Ps. 51,18–21) exactly
corresponds to the development of ideas we find in Ps. 69,30–37 (Canto
III).15 This means that the prayer for the rebuilding of Zion can have a
place in the prayer of an individual.
Leene further states that the affinities between Psalm 51 and Ezekiel 36
are less striking than many commentators maintain. Much more notable,
according to Leene, are the affinities with Isaiah 56–66. In the ‘conceptual
universe of Trito-Isaiah’ the community of the broken-hearted (Isa. 61,1)
eagerly awaits the restoration of Zion (Isa. 62). This hope goes along with
the idea of a sacrificial service pleasing God (note Isa. 60,7). There is so
much in common with these texts, that Psalm 51 must have originated
within the same circles. Leene concludes that ‘penitence, reservation to-
wards the official cult and the eschatological prospect of Zion’s restoration
form by no means an artificial unity’.16
In my opinion, the original unity of the text is further supported by a
form-critical approach. The distribution of the themes over three successive
cantos, as pointed out above, is typical for prayers of an individual. Ac-
cording to ‘form criticism’ such prayers consist of some standard elements:
an invocation, a description of distress, a prayer for redemption, the confi-
dence to be heard and a vow of thanksgiving.17 In our psalm the confession
of guilt on the part of the supplicant (Canto I) replaces the aggression of
the enemies (distress); consequently the prayer for forgiveness and renewal
(Canto II) replaces the prayer for redemption; and finally, in Canto III we
Zenner, Briggs and Beaucamp in § 9.6 above.

15
It is most unlikely that both Pss. 51,20–21 and 69,35–37 originate from a later
editing (for more advocates of this opinion, see Mosis [1992], p. 201 n. 2); contra [Hoss-
feld]/Zenger (pp. 268–69) and Pfeiffer (2005, p. 298). See also l’ bzh (Pss. 51,19 and
69,34), the roots yt.b (Pss. 51,20 and 69,32) and bnh (Pss. 51,20 and 69,36). For the
relationship between the psalms concerned, cf. further Pss. 51,3 and 69,17 (note h.sdk
. . . krb rh.myk ). In Ps. 147,1–3 the rebuilding of Jerusalem by yhwh is closely connected
with the healing of the broken-hearted (cf. Ps. 51,19).
16
Leene, pp. 74–77. With ‘right sacrifices’ (Ps. 51,21) the psalmist means offerings
brought to God in ‘the right spirit and thus truly symbolic of the worshipper’s complete
dedication’ (Johnson, cited by Tate, p. 30).
17
H. Gunkel, Einleitung in die Psalmen, Göttingen, 3rd edn 1975, p. 260.
find the vow of thanksgiving.

These motifs likewise form the basic themes of the three cantos which
can be distinguished in Psalms 22, 69 and 140. The cantos of Psalm 22 (vv.
2–11, 12–22 and 23–31) are successively characterized by motifs of distress,
prayer and thanksgiving.18 The same is true for the cantos of Psalms 69,
vv. 2–13, 14–29 and 30–37 (structure 14.16.8 verselines; see § 27 below),
and 140, vv. 2–6, 7–12 and 13–14 (structure 6.6.2 verselines). Taking into
account the concentric structure of Psalm 22, based on the quantitative dis-
tribution of the verselines over the cantos (10.12.10 verselines), the parallel
with Psalm 51 is even more illustrative (7.6.7 verselines).
Both Cantos I and III divide into two canticles. The divisions are based
on thematic changes (see § 9.2) and linear patterns of verbal repetition;
note the roots yd‘ (‘to know’) and .sdq (‘to be just’) in § 9.4.3.19
The analysis of the verbal correspondences is also a workable tool for
the determination of the strophes. This formal approach shows that the
device for anaphora and phenomena of exactly linear correspondences are
a general characteristic of these poetic units.20 In this respect we find the
following features: the preposition l- in v. 6, hn and wb- in vv. 7–8, wrwh.
(vv. 12–14) and ’lhy/’dny vocative in vv. 16–17; see § 9.4.1. Cf. also the
hiph‘il forms that open the verselines of vv. 9–11, th..t’ny, tšmy‘ny and hstr.
From a thematic point of view, the strophes of Canticle I.2 (vv. 6 and
7–8) form an instance of parallelismus stropharum. The first verselines of
these strophes focus on the awareness of sin on the part of the supplicant,
while the second lines are about God’s love for justice and wisdom (cf.
Fokkelman, MPHB II, p. 166). From the same perspective, vv. 18–19
and 20–21 (Canticle III.2) clearly represent two separate strophes (§ 9.2).
Within this relatively small poetic unit the verbal repetitions abound and
display a ‘symétrie croisée’ or ‘crossed symmetry’ (§ 9.4.2); this formal
feature produces another parallelismus stropharum.
All 3-line strophes are demarcated by inclusion (§ 9.4.1). The adverb
tmyd (‘ever’) properly concludes the first one, vv. 3–5 (see § 9.3.2.1). Canto
II consists of two 3-line strophes, vv. 9–11 and 12–14. In each of the strophes
the supplicant expresses an individual aspect of his prayer (§ 9.2). In vv.
9–11 he mainly speaks about removal of the bad things (interspersed by an
anomalous central verseline, v. 10; the first step of forgiveness) and in vv.
12–14 about the replacement by good things (negatively formulated in the
18
See CAS I, Ch. III, 22 (pp. 239–49).
19
Labuschagne concurs with me that vv. 20–21 are an integral part of Canto III,
but he considers the strophe a third canticle with the characteristics of a coda
(www.labuschagne.nl/ps051.pdf, Observation 3).
20
Similarly Fokkelman (MPHB II, p. 165) and Weber (p. 236).
ii.9 psalm 51 103
central verseline, v. 11; the second step of forgiveness). The conspicuous

cluster of verbal repetitions we find in these strophes (see § 9.4.3) reinforces
the device for parallelismus stropharum. In terms of semantics, the middle
verselines of vv. 9–11 and 15–17 form a relatively independent element; v. 10
is about joy (in a context of forgiveness) and v. 16a–b is about redemption
(in a context of thanksgiving).
The quintessential thought of the psalm is articulated by the wave-like
motion of word repetitions and ideas which determines the texture of the
three successive cantos. The opening strophes of the cantos reveal that sin
and guilt is the starting point of the composition. The central message,
however, reveals itself in the second part of the cantos, especially in vv.
18–21, where the psalmist points out that it is a contrite spirit alone which
will be acceptable to God as a proper offering (note vv. 19 and 21). This
message is reinforced by the prayer for a pure heart and a steadfast spirit
we find in the pivotal cola of the psalm, v. 12 (see § 9.5). The central verse-
lines of Canto I and Canto III (vv. 6a–b and 18 resp.; cf. § 9.5) represent
secondary focal points which in one way or the other support the central
message. In v. 6 we find the most explicit confession of sin and in v. 18 a
negative statement on proper thanksgiving.21
Like the preceding poem, Psalm 51 contains an observation on the proper

way of offering and thanksgiving (see vv. 18–21). For the relationship with
Psalm 50, see further the following verbal repetitions: root .sdq (vv. 6.16.21)
> 50,6; root špt. (v. 6) > 50,6; root šlk (hiph‘il, v. 13) > 50,17; root yš‘
(vv. 14.16) > 50,23; root zbh. (vv. 18–21) > 50,5.8.14.23; .sywn (v. 20) >
50,2 (inclusion!).
9.8 Bibliography
J. Magne, ‘Répétition de mots et exégèse dans quelques Psaumes et le Pater’,
Biblica 39 (1958), pp. 177–97;
H.J. Stoebe, ‘Gott, sei mir Sünder gnädig’: Eine Auslegung des 51. Psalms
(BiblSt 20), Neukirchen: Neukirchener Verlag, 1958;
E.R. Dalglish, Psalm Fifty-One in the Light of Ancient Near Eastern Patternism,
Leiden: Brill, 1962;
J.K. Zink, ‘Uncleanness and Sin: A Study of Job XIV 4 and Psalm LI 7’, VT 17
(1967), pp. 354–61;
A.R. Ceresko, ‘The Function of Chiasmus in Hebrew Poetry’, CBQ 40 (1978),
21
These findings contradict the general view of students of the structural approach,
already formulated by Magne, that the entire psalm is dominated by the ‘pensée de la
Justice divine’ (Magne, p. 183).
pp. 1–10 (note pp. 8 and 10);

E. Haag, ‘Psalm 51’, TThZ 96 (1987), pp. 169–98;
R. Mosis, ‘Die Mauern Jerusalems. Beobachtungen zu Psalm 51,20f.’, in J. Haus-
mann and H.-J. Zobel (eds.), Alttestamentlicher Glaube und Bilische Theologie.
FS H.D. Preuss, Stuttgart, 1992, pp. 201–15;
H. Leene, ‘Personal Penitence and the Rebuilding of Zion: The Unity of Psalm
51’, in Janet Dyk (ed.), Give ear to my words. Essays in honour of Professor
N.A. van Uchelen, Amsterdam, 1996, pp. 61–78;
R. Meynet, ‘Analyse rhétorique du Psaume 51. Hommage critique à Marc
Girard’, RivB 45 (1997), pp. 187–226;
G.Y. Glazov, The Bridling of the Tongue and the Opening of the Mouth in Bibli-
cal Prophecy (JSOTS 311), Sheffield: Sheffield Academic Press, 2001, pp. 276–86;
H. Pfeiffer, ‘“Ein reines Herz schaffe mir, Gott!” Zum Verständnis des Menschen
nach Psalm 51’, ZThK 102 (2005), pp. 293–311;
P. Tagliacarne, ‘Beobachtungen zur Struktur und zum Kontext von Psalm 51’,
in Maria Häusl and David Volgger (eds.), Vom Ausdruck zum Inhalt, vom Inhalt
zum Ausdruck. FS Th. Seidl (ATS 75), St. Ottilien: EOS Verlag, 2005, pp.
155–82;
P. Auffret, ‘Étude structurelle du Psaume 51’, RivB 54 (2006), pp. 5–28.
ii.10 psalm 52 105
10 Psalm 52
Structure: 5.6 > 2.3|3.3 lines (Type IB)
I 3 mh tthll br‘h hgbwr H

. SD ’l kl hywm
4 hwwt th.šb lšwnk kt‘r mlt.š ‘ŚH rmyh
5 ’hbt r‘ mT.B šqr mdbr S.DQ (slh)

6 ’hbt kl dbry bl‘ lšwn mrmh
7 gm ’l yts.K lns.h. yh.tK wysh.K m’hl wšršK m’rs. h.yym (slh)
II 8 wyr’w S.DYQYM wyyr’w w‘lyw yśh.qw

9 hnh hgbr l’ yśym ’lhym m‘wzw
w ybt.h. brb ‘šrw y‘z bhwtw
10 w’ny kzyt r‘nn bbyt ’lhym

. SD ’lhym
bt.h.ty bH ‘WLM w‘d
11 ’wdK l‘WLM ky ‘ŚYT w’qwh šmK ky T
. WB ngd H
. SYDYK
10.1 Text
V. 4: the Masoretic accentuation divides with ’atnah. after lšwnk and takes the
verse as a bicolon; in terms of rhythmicity, there are no serious objec-
tions to this division (see also Fokkelman [2002], p. 62). From a semantic
point of view, the cola form an enjambement (contra BHS, Dahood and
Hossfeld/[Zenger], who divide after th.šb).
V. 9a–b: colometric division uncertain.
10.2 Content
The righteous will rejoice at the ruin of the wicked.
I The evil of the wicked and his ruin (addressed to the wicked).
You ‘hero’, why do you boast of your evil? (vv. 3–4).
You especially love deceitful words (vv. 5–6); but God will bring
about your permanent ruin (v. 7).
II Joy and prosperity for the righteous (about the wicked).
The righteous will be glad to see the ruin of the wicked (v. 8):
behold, this is the fate of the man who trusts in his wealth (v. 9).
I prefer to be in God’s presence trusting in him forever (v. 10);
I praise you in the presence of your faithful ones (v. 11; addressed
to God).

10.3.1.1 mh, v. 3a w- beginning of line, v. 10a
vocative: hgbwr, v. 3a; ext. ’ny, v. 10a
// ‘śh rmyh in v. 4b
w- beginning of line, v. 8a 10.3.1.2 kl hywm, v. 3b
yr’ with object God, v. 8a

10.3.2.1 gm, v. 7a w‘d in v. 10d
ns.h., v. 7a
slh, v. 7c 10.3.2.2 w- beginning of line, v. 9c
‘wlm, v. 11a; ext. // ‘wlm

slh, v. 5b
hnh, v. 9a

vv. 5–7: ’hbt, vv. 5a.6a! (anaphora)
prep. mn, vv. 5a+b.7b+c! (inclusion)
root dbr, vv. 5b.6a!
vv. 8–9: w- beginning of the line, vv. 8a.9a (inclusion)
root ‘zz, v. 9b.9d!
suffix -w, v. 9b.9d (epiphora); see also suffix -w in v. 9c
vv. 10–11: ’lhym, v. 10b.10c
root h.sd, vv. 10c.11c
} chiasmus
‘wlm, vv. 10d.11a

vv. 3–7 (Canto I): root r‘ ‘, vv. 3a.5a! (linear)
’l (‘God’), vv. 3b.7a! (inclusion)
kl, vv. 3b.6a!
kl hywm/lns.h., vv. 3b and 7a resp. (inclusion)
lšwn, vv. 4a.6b!
suffix -k, vv. 4a.7a+b (2×)+c (linear)
root rmh, vv. 4b.6b!
ii.10 psalm 52 107
vv. 8–11 (Canto II): .sdyqym/h.sydym, vv. 8a and 11c resp. (inclusion)
’lhym, vv. 9b.10b+c!
w- beginning of line, vv. 9c.10a (concatenation);
see also v. 8a!
root bt.h. + prep. b-, vv. 9c.10c!

vv. 3–4.8–9: hgbwr/hgbr, vv. 3a.9a!

root hwh, vv. 4a.9d!
vv. 5–7.10–11: .twb, vv. 5a.11b!

suffix -k, vv. 7 (4×).11 (3×) (exactly linear)
lns.h./l‘wlm, vv. 7a.11a (exactly linear)
m’hl/bbyt, vv. 7b and 10b resp.
m’rs. h.yym/ngd h.sydyk, vv. 7c and 11c resp. (epiphora)
vv. 3–4.10–11: roots hll/ydh, vv. 3a and 11a resp.

root h.sd, vv. 3b.10c+11c!; note h.sd ’l/h.sd ’lhym in vv.
3b and 10c resp.
kl hywm/‘wlm w‘d . . . l‘wlm, vv. 3b and 10d–11a resp.
prep. k-, vv. 4b.10a!
root ‘śh, vv. 4b.11a!
vv. 5–7.8–9: root .sdq, vv. 5b.8a!

prep. b- (vv. 3a.9d.10b)

ky (v. 11 [2×]), slh (vv. 5.7)

Psalm 52 has 11 verselines and 24 cola.1 In terms of verselines and cola,
v. 8 is the pivot of the poem (> 5+1+5 lines and 11+2+11 cola). In this
verse the psalmist describes the exuberant joy of the righteous about the
downfall of the wicked. Because this is a focal message of the poem, the
verse represents its rhetorical centre.2
37+36 (= 73 words in total).3 On word level, vv. 7b–8 can be taken as a
meaningful centre (> 31+11+31 words).4
In vv. 3 and 7 God is called ’l, and in vv. 9 and 10 (2×) ’lhym.

Köster (1837): 3.4–5.6–7.8–9.10–11 (1.2.2.2.2 verses); similarly Hävernick
(1849), p. 41
De Wette (1856): 3–6.7–9.10–11 (‘Drei abnehmende Strophen . . . Gemäss
der Stellung des Selah nimmt Hupf. vier Strophen an’ [3.2.2.2 verses])
Ewald (1866), pp. 173–75: 3–6.7–9.10–11 (8.8.8 cola); cf. De Wette (1856)
Delitzsch (1894): 3–6.7–9.10–11 (7.7.4 cola); cf. Ewald (1866)
Grimme (1902), p. 156: 3–5.6–7.8–9.10–11 (4×3 ‘Fünfheber’); similarly
Pannier/Renard (1950)
Zenner (1906), pp. 302–03: 54,3–5.52,3a+4–5|6+3b+7.8–9|54,6–9.52,10–11
(3.3|3.3|4.4 lines)
Duhm (1922): 3–4.5–6.7.9.10 (5×2 lines; v. 11 ‘ein liturgischer Zusatz’)
Gunkel (1926): 3–4.5–6.7.8–9.10.11
Condamin (1933), pp. 151–52: 3–4.5–6|7–8.9|10.11; cf. Delitzsch (1894)
Calès (1936): 3–6.7–9.10–11 (4.4.4 lines); similarly Terrien (2003); cf. Ewald
Herkenne (1936): 3–6.7.8–9.10–11
Montgomery (1945), p. 382: 3–7.8–11 (5.4 verses)
Böhl (1947): 3–6.7–9.10–11; similarly Dahood (1968); cf. Calès (1936)
Podechard (1949): 3–7.8–11 (7.7 lines); cf. Montgomery (1945)
1
Fokkelman (MPHB II) also distinguishes 11 verselines and 24 cola, but he considers
v. 9 a tricolon (deleting rb in v. 9c) and v. 11 two bicola.
2
Similarly Labuschagne, www.labuschagne.nl/ps052.pdf, Observation 3.
3
In gematria, 37 (the total number of words of Canto I) is the numerical value of
the lexeme h.syd (‘faithful’; < 8+15+10+4) occurring in h.sydyk, the concluding word
of the poem (v. 11c). The verseline concerned (v. 11) has exactly 37 letters. These
arithmetic peculiarities indicate that we are dealing with a deliberate design to highlight
the designation h.syd ; cf. also § 10.7. Including the 15 words of the heading (vv. 1–2)
‘Canto I’ has 52 (= 2×26) words.
4
When we take into account the 15 words of the heading and slh in vv. 5 and 7, then
v. 7a is the centre on word level (vv. 1–6.7a.7b–11 > 43+4+43 words).
ii.10 psalm 52 109
Kissane (1953): 3–7.8–11 (6.6 lines); cf. Podechard (1949)

NAB (1970): 3–6.7.8–11
Ridderbos (1973): 3.4.5–6|7||8–9||10–11
Beaucamp (1976): 3a+4.5–6|7.8–9.10.11 (4.4|4.6.4.3 cola)
Jacquet (1977): 3–4a*.4b*–6.7.8–9.10.11 (2.3.2.3.2.2 lines)
Aletti/Trublet (1983), p. 53: 3.4.5.6|7.8–9.10.11 (a.b.a’.b’|c.d.c’.d’)
Tate (1990): 3–4.5–6|7.8–9|10–11; cf. Condamin (1933) and Ravasi (1985)
Auffret (1993): 3–6.7.8–9|10a–b.10c–d.11
Girard (1994): 3–4a.4b|5.6||7.8–9|10a–b.10c–11 (a.b|a’.b’||c.d|c’.d’); cf.
Aletti/Trublet (1983)
Fokkelman (2000), pp. 169–70: 3–4.5–7.8–9|10.11 (2.3.2|2.2 lines)
Hossfeld/[Zenger] (2000): 3–7.8–9.10–11
Weber (2001): 3–7.8–11 (10.10 cola); cf. Kissane (1953)

Broadly speaking, there are two different views about the macrostructure
of Psalm 52. From De Wette (nineteenth century) onwards exegetes have
distinguished three main sections, vv. 3–6, 7–9 and 10–11.5 As far as I can
see, Montgomery (1945) was the first to argue in favour of only two main
parts of approximately equal length, vv. 3–7 and 8–11 (5 and 4 verses).6 A
sound rhetorical approach clearly supports the latter view.
The poem is composed of two almost regular cantos, vv. 3–7 and 8–11,
consisting of five and six verselines respectively. In Canto I (vv. 3–7) the
psalmist addresses the wicked liar and prophesies his complete ruin. The
idea of complete ruin (v. 7) appropriately concludes the first canto. From
v. 8 onwards, Canto II, the attention is focussed on the righteous and the
faithful ones, including the psalmist himself. People who trust in God’s
faithfulness will rejoice at the downfall of the wicked and prosper. The
canto (and the poem as a whole) appropriately concludes with a praise
to God (v. 11). The cantos are connected with each other by a form of
enjambement. The joy of the righteous (v. 8, first line of Canto II) imme-
diately refers to the downfall of the wicked (v. 9, final line of Canto I).
Both cantos are demarcated by inclusion and characterized by verbal
repetitions which only occur in one of the particular cantos; see § 10.4.2.7
5
See further Ewald, Delitzsch, Condamin, Calès, Böhl and Tate in § 10.6 above.
According to Ewald, the tripartite structure corresponds to 3×8 cola, according to Calès
to 3×4 lines.
6
According to Podechard, this bipartite structure corresponds to 2×7 lines, according
to Kissane to 2×6 lines and according to Weber to 2×10 cola; see § 10.6.
7
Fokkelman rightly notes that the mighty man’s vilification of God’s day-to-day loy-
In addition, both cantos are concluded by a tricolon (vv. 7 and 11). The
end of Canto I is also indicated by the transition markers gm (‘also’/‘yet’)
and ns.h. (‘eternity’); see § 10.3.2.1.8 Canto II concludes with a verseline in
which the psalmist explicitly addresses God in the second person (v. 11),
while the preceding lines are spoken about God in the third person (note
especially vv. 9–10).9
The tricola concluding Canto I and II hint at the linear parallel rela-
tionship between the main sections of the psalm. In terms of semantics, the
end of the cantos shows an antithetic correspondence. This correspondence
consists of the application of the tree metaphor. The wicked will be ‘rooted
out’ (like a tree; v. 7c), while the (righteous) psalmist resembles a ‘thriving
olive tree’ (v. 10a).10 From the same perspective, it is to be noted that
the final strophes of the cantos, vv. 5–7 and 10–11, do not form inseparable
coherent units: the concluding verselines (vv. 7 and 11) represent relatively
independent elements (see § 10.2), another feature pointing to the linear
parallelism between the cantos.
The beginning of the cantos is characterized by an unmarked quotation.
In v. 3b (the beginning of Canto I) we are dealing with a speech of the
boasting liar: ‘God’s faithfulness is all the day!’. However, the introduction
to the quotation (you say: . . . ) is missing. The same holds true for v. 9
(the beginning of Canto II). Here we find an unmarked quotation of words
spoken by the righteous: ‘This is a fellow . . . ’.11
The most important rhetorical device of Psalm 52, however, is the con-
spicuous ‘crossed symmetry’, based on specific clusters of word repetitions,
characterizing the texture of the poem as a whole. The psalm is composed
of four mostly 3-line strophes, vv. 3–4, 5–7, 8–9 and 10–11 (see §§ 10.2 and
10.4.1).12 In terms of verbal repetitions, these strophes are related to each
alty (v. 3b) corresponds to his being torn down by God for good (v. 7a) and therefore
frames vv. 3–7 (MPHB II, p. 169 n. 65); cf. also Weber (p. 239).
8
Cf. the transition marker ‘wlm (‘duration’/‘eternity’) in v. 11 (end of Canto II).
Aletti/Trublet and Girard also discern two main parts, but they divide after v. 6. Ac-
cording to Girard, vv. 3–6 are about the wicked and in vv. 7–11 the psalmist concentrates
on God. That is to say, his division cannot do justice to the real opposition: the ruin
by God of the wicked and God’s protection of the righteous. Further, Girard does not
pay attention to the formal devices pointed out above (tricola and transition markers).
9
For other instances of this device for conclusion, see Pss. 18,16c–d (end of Canto II),
24,6b (end of Canto II) and 25,11 (end of Canto I); in Pss. 20,10a 33,22 55,24 62,13
and 106,47 the abrupt address to God functions as a device for closure at the end of an
entire poem, as is the case in Ps. 52,11.
10
The verb nts. (qal, v. 7a) may also evoke the metaphor of a tree; see Job 19,10.
11
For the feature of unmarked direct discourse in biblical poetry, see S.A. Meier,
Speaking of Speaking (SupplVT 46), Leiden: Brill, 1992, pp. 32–43.
12
For the function of slh in v. 5b, see CAS I, pp. 560–61.
ii.10 psalm 52 111
other in two different ways. First, there is a linearly parallel relationship:

vv. 3–4.5–7|8–9.10–11 > a.b|a’.b’. Second, there is a pattern of word rep-
etitions which produces a symmetric framework: vv. 3–4.5–7|8–9.10–11 >
a.b|b’.a’; see § 10.4.3. Simultaneously, these patterns reinforce the formal
coherence of all 3-line strophes.
The framework of the cantos articulates the quintessential thought of the
composition. The ruin of the boasting wicked sharply contrasts with the
protection God provides for the faithful. In v. 8, the middle verseline of the
composition (see § 10.5), we find a terse formulation of the central message:
the righteous will rejoyce at the ruin of the wicked. The roots for praise
and laughing—hll (v. 3), śh.q (v. 8) and ydh (v. 11), which occur exactly
in the first, the middle and the final verselines respectively—enhance the
concentric aspect in question.
In light of the results of the present rhetorical investigation, a compari-
son with Psalm 149 almost forces itself upon us: both psalms are composed
of two almost regular cantos (Psalm 149 is composed of four and five verse-
lines), they conclude with the plural h.sydym (see Ps. 149,9; cf. also Ps.
148,14) and have a middle verseline which is about the joy of the righteous
(‘faithful ones’ [h.sydym] in Ps. 149,5). If these correspondences point to a
substantial relationship, it is doubtful that our psalm originates from the
times of the first temple (contra Hossfeld/[Zenner]).13
For the relationship with the preceding psalm see, among other things,
the following verbal repetitions: hll (v. 3) > 51,17; h.sd (vv. 3.10.11) >
51,3; lšwn (vv. 4.6) > 51,16; .sdq (vv. 5.8) > 51,6.16.21; ngd (v. 11) > 51,5.
10.8 Bibliography
W. Beyerlin, Der 52. Psalm. Studien zu seiner Einordnung (BWANT 111),
Stuttgart: Kohlhammer, 1980;
P. Auffret, Voyez de vos yeux—Étude structurelle de vingt psaumes, dont le
psaume 119 (SupplVT 48), Leiden: Brill, 1993, pp. 1–12;
—, ‘Comme un olivier verdoyant. Etude structurelle du Psaume 52’, SEL 16
(1999), pp. 63–71.
13
The occurrence of the noun h.sydym at the very end of both compositions is not a
matter of chance. For the deliberate positioning of this word in Psalm 52, see § 10.5. In
Psalm 149 the designation h.sydym marks the beginning, the pivot and the end of the
poem (see vv. 1, 5 and 9); for this feature, marking the rhetorical centre of Psalm 149,
see Ch. V, 3.1.2.
11 Psalm 53 (cf. Psalm 14)

I 2 ’mr nbl blbw ’YN ’LHYM

hšh.ytw wht‘ybw ‘wl ’YN ‘ŚH T
. WB
3 ’LHYM mšmym hšqyp ‘l bny ’dm
lr’wt hyš mśkyl drš ’t ’LHYM
II 4 klw sg yh.dw n’lh.w ’YN ‘ŚH T. WB ’YN gm ’h.d

5 hl’ yd‘w p‘ly ’wn ’kly ‘My ’klw lh.m ’LHYM l’ qr’w
6 šm ph.dw ph.d l’ hyh ph.d

ky ’LHYM pzr ‘s.mwt h.nk hbšth ky ’LHYM m’sm
III 7 my ytn ms.ywn yš‘wt yśr’l

bšwb ’LHYM šbwt ‘Mw ygl y‘qb yśmh. yśr’l
11.1 Text
V. 7: it is often assumed that v. 7a–b represents only one colon; see the Masoretic
accentuation, BHS and Fokkelman (MPHB III), among others. However, the
stylistic device for epiphora (see yśr’l in v. 7b and 7d) favours the division into
two bicola.
11.2 Content
Israel’s adversaries will perish.
I God is looking for God-fearing people.
The fool takes no notice of God (v. 2; subject human beings).
God observes humankind to see if they are God-fearing (v. 3;
subject God ).
II God ruins the evildoers.
‘Everyone is a fool and goes astray, oppressing my people’ (vv.
4–5; subject human beings, cf. v. 2).
God will ruin your besiegers because he has despised them (v. 6;
subject God, cf. v. 3).
III Prayer for deliverance of Israel (v. 7a–b); description of the people’s
joy (v. 7c–d; subject human beings, see v. 7d).
ii.11 psalm 53 113

11.3.1.1 my ytn, v. 7a 11.3.1.2 gm, v. 4c

11.3.2.1 none 11.3.2.2 h- interrogative, v. 3c


v. 2: nbl blbw/wht‘ybw ‘wl, v. 2a and 2c resp. (alliter.)
’yn, v. 2b.2d (exactly linear)
v. 3: ’lhym, v. 3a.3d
}
mšmym hšqyp/hyš mśkyl, v. 3a and 3c resp. (alliter.)
chiasmus
vv. 4–5: klw/‘klw, vv. 4a and 5b resp. (alliter.)
n’lh.w/’klw lh.m, vv. 4a and 5b resp. (alliter.)
’yn . . . ’yn/l’ . . . l’, vv. 4b–c and 5a+c resp.
v. 7: yśr’l, v. 7b.7d! (epiphora)

vv. 2–3 (Canto I): nbl/mśkyl, vv. 2a and 3c resp. (inclusion)
’lhym, vv. 2b.3d (inclusion; exactly linear); see
also ’lhym in v. 3a
vv. 4–6 (Canto II): yh.dw . . . ’h.d/ph.dw ph.d . . . ph.d, vv. 4 and 6a–b resp.
(alliteration; linear)
l’, vv. 5a+c.6b! (concatenation)
’lhym, vv. 5c.6c+d (linear)

vv. 2.4–5.7: prep. b-, vv. 2a.7c
suffix -w, vv. 2a.4a.7c!
1× ’lhym, vv. 2b.5c.7c
‘wl/’wn, vv. 2c and 5a resp. (exactly linear)
’yn ‘śh .twb, vv. 2d.4b!; see also ’yn in vv. 2b and 4c!
‘m (‘people’), vv. 5b.7c!
vv. 3.6: 2× ’lhym, vv. 3.6c–d

mšmym/šm . . . m’sm, vv. 3a and 6a+d resp. (alliter.)
yš/hyh, vv. 3c and 6b resp.

none

h- interrogative (vv. 3c.5), ky (vv. 6c–d [2×]), prep. mn (vv. 3a.7a)

Psalm 53 has ten verselines and 22 cola.1 In terms of strophes, verselines
and cola, vv. 4–5 represent the pivot of the psalm (> 2+1+2 strophes,
4+2+4 lines and 8+6+8 cola). Different from the other verselines, vv. 4
and 5 are composed of tricola.
Structure of strophes and cantos in terms of words: 11+12|21+15|13
= 23+36+13 (= 72 words in total).2
The designation ’lhym (‘God’) occurs 7×: vv. 2, 3 (2×), 5, 6 (2×) and 7.
Taking into account the distribution of this designation over the verselines,
the pivotal position of vv. 4–5 is once more reinforced, because ’lhym in
v. 5c has a central position between 3× ’lhym in vv. 2–3 and 3× ’lhym in
vv. 6–7.3

Köster (1837): 2–4.5–6.7; similarly De Wette (1856; see Psalm 14), Herkenne
(1936; see Psalm 14)
1
Fokkelman (MPHB III) discerns eight verselines and 18 cola, as in Psalm 14 (see
CAS I, Ch. III, 14.5 [p. 180]).
2
Including the five words of the heading (v. 1) the number of words amounts to 77
(= 11×7).
3
For ’lhym highlighting the rhetorical centre, see Ch. V, 2.3.1. The numerical ap-
proach makes it clear that the structural function of the number eleven is less powerful
than in Psalm 14 (cf. CAS I, Ch. III, 14.5); this is compensated in our poem by a more
prominent function of the number seven (see the numbers in bold face).
ii.11 psalm 53 115
Sommer (1846), pp. 174–76: 2.3.4.5.6.7 (2.2.4×3 cola); similarly Delitzsch

(1894) and Jacquet (1977)
Ewald (1866), pp. 365–67: 2–3.4–5.6.7 (see Psalm 14)
Ley (1875), pp. 229–230: 2–4.5–7
Zenner (1906), pp. 305–07: 2–3.4–5|6–7|70,2–4. . . (4.4|4|4. . . lines)
Duhm (1922): 2.3.4*.5.6 (5×2 lines/bicola; see Psalm 14)
Gunkel (1926): 2.3.4|5.6|7; similarly Böhl (1947); cf. NAB (1970)
Calès (1936): 2|3.4|5.6|7 (2|2.1|1.2|2 lines)
Kissane (1953): 2.3–4.5–6.7 (2.4.4.2 lines; see Psalm 14)
Ridderbos (1973): 2–5.6.7; similarly Tate (1990), Ravasi (1985), [Hoss-
feld]/Zenger (2000)
Beaucamp (1976): 2|3.4||5*.6|7a–c 7d (4|4.4||4.4|2 1 cola; see Psalm 14)
Kraus (1978): 2–5.6 (v. 7 is a later addition; see Psalm 14)
Girard (1994): 2a–b.2c–d|3a–b|3c–d.4||5a–b.5c.6a–b.6c–d.7 (a.b|c|a’.b’||d.e.
f.e’.d’)
Weber (2001): 2.3.4|5.6.7 (10.10 cola; a.b.a’|a’’.b’.a’’’)
Fokkelman (2003), pp. 92–93: 2–3.4–5|6.7 (2.2|2.2 lines and 6.5|4.3 cola)
Terrien (2003): 2.3–4.5.6.7 (a.b.c.b’.a’)

Psalm 53 is almost identical to Psalm 14. In two regards the variations
between the psalms are rather substantial. In all four cases where Psalm
14 uses the divine name, yhwh, Psalm 53 reads ’lhym. Major differences
are further found in the fourth strophe (Ps. 14,5–6 and 53,6).4
In my opinion, these differences suggest that Psalm 14 is closer to the
original poem than Psalm 53.5 As far as the fourth strophe is concerned,
the external parallelism ky // ky (exactly linear!) in Ps. 14,5–6 perfectly
fits the structure of the strophes in this poem; cf. ’yn in Pss. 14,1/53,2 and
yśr’l in Pss. 14,7/53,7. This formal device has been lost in Ps. 53,6 (note ky
in v. 6c–d). The wisdom connotation of the noun ‘s.h (‘council’/‘plan’) in
Ps. 14,6a fits the linear parallelism between the cantos better (cf. the root
śkl [hiph‘il, ‘to understand’] in 14,2c/53,3c) than the noun ‘s.m (‘bone’) in
Ps. 53,6c.
The variations also have a material aspect: in Ps. 14,5–6 the psalmist
emphasizes the deliverance of the ‘righteous’ (s.dyq), while 53,6 is almost
totally about the ruin of the ‘evildoers’ (p‘ly ’wn, v. 5a).
4
About the differences between Psalms 14 and 53, see further [Hossfeld]/Zenger
(2000), pp. 75–76.
5
So Duhm and many others; otherwise Sommer (1846), Ewald, Gunkel and Girard.
Notwithstanding the differences, the rhetorical framework of both psalms

is basically the same. Like Psalm 14, our composition has five 2-line stro-
phes, which form two 4-line cantos and a concluding canto of 2 verselines.
The cantos of both psalms have a linearly parallel relationship, which for
Psalm 53 can be displayed in schematic form as follows: vv. 2.3|4–5.6|7 >
a.b|a’.b’|a’’; see §§ 11.2 and 11.4.3. The central strophe of both psalms is
composed of two tricola.6 All other verselines are bicola. In view of these
similarities, I may refer to CAS I, Ch. III, 14.7 for a more detailed discus-
sion of this structure.
the following verbal repetitions: root ‘śh (vv. 2.4) > 52,4.11; .twb (vv. 2.4)
> 52,5.11.
The concluding prayer for Israel’s salvation and the promise of subsequent
joy (53,7) reminds us of the final strophe in Psalm 51, where we find a
similar prayer followed by a promise of proper offerings (vv. 20–21).
11.8 Bibliography
R.A. Bennet, ‘Wisdom Motifs in Psalm 14 = 53’, BASOR 220 (1975), pp. 15–21;
P. Auffret, ‘“Qui donnera depuis Sion le salut d’Israël?” Etude structurelle des
Psaumes 14 et 53’, BZ 35 (1991), pp. 217–30;
P. Auffret, ‘Quand il fera revenir . . . son peuple: étude structurelle des psaumes
14 et 53’, Bibbia e Oriente 44 (2002), pp. 35–48.
6
About the rhetorical function of this strophe at the beginning of Canto II, see CAS I,
Ch. V, 6.2.1 (pp. 528–29). For the colometric structure of Psalm 14/53, see also Calès
(1936).
ii.12 psalm 54 117
12 Psalm 54
Structure: 3.4 > 2.1|2.2 lines (Type IB)
I 3 ’lhym bŠMK hwšy‘ny wbgbwrtk tdynny

4 ’lhym šm‘ tplty h’zynh l’mry py
5 KY zrym qmw ‘ly w‘rys.ym bqšw NPŠY l’ śmw ’lhym lngdm (slh)
II 6 hnh ’lhym ‘zr ly ’dny bsmky NPŠY

7 yšwb hr‘ lšrry b’mtk hs.mytm
8 bndbh ’zbh.h lk ’wdh ŠMK yhwh KY .twb

9 KY mkl .srh hs.ylny wb’yby r’th ‘yny
12.1 Text
V. 5a—zrym: ‘strangers’, so MT (Dahood, Tate and Barthélemy [2005]); this
reading is supported by alliteration (see § 12.4.3). The similar verseline
Ps. 86,14 has zdym (‘arrogant [people]’); so BHS and Hossfeld/[Zenger].
V. 7a—yšwb: so K; Q yšyb.
12.2 Content
Prayer of an individual for rescue.
I Prayer for deliverance from enemies.
O God, hear my prayer for salvation (vv. 3–4).
Wicked and godless people try to ruin me (v. 5).
II Description of deliverance.
God is my helper and annihilates my defamers (vv. 6–7; cf. v. 5).
I thank and praise God for his deliverance (vv. 8–9; cf. vv. 3–4).

12.3.1.1 vocative: ’lhym, v. 3a; ext. hnh, v. 6a
// ’lhym in v. 4a cohortative: ’zbh.h, v. 8a
imperative: hwšy‘, v. 3a; vocative: yhwh, v. 8b
ext. // šm‘ . . . h’zynh
in v. 4 12.3.1.2 none

12.3.2.1 slh, v. 5c 12.3.2.2 none

imperative: hs.myt, v. 7b

vv. 3–4: ’lhym (vocative), vv. 3a.4a (anaphora)
-ny . . . -ny/-y . . . -y, vv. 3 and 4 resp. (epiphora)
vv. 6–7: ‘zr ly/hr‘ l-. . . -y, vv. 6a and 7a resp. (alliter.); see also suffix
-y in v. 6b
vv. 8–9: ky, vv. 8b.9a

vv. 3–5 (Canto I): ’lhym, vv. 3a+4a.5c (concatenation)
vv. 6–9 (Canto II): ’dny/yhwh, vv. 6b and 8b resp. (linear); see also
’lhym in v. 6a
prep. b-, vv. 6b+7b.8a+9b
šrry/’yby, vv. 7a and 9b resp. (linear)

vv. 5.8–9: ky, vv. 5a.9a (exactly linear); see also ky in v. 8b!
vv. 3–4.8–9: vocative ’lhym/yhwh, vv. 3–4 and 8b resp.!

šmk, vv. 3a.8b! (Calès; Aletti/Trublet)
hwšy‘ny/hs.ylny, vv. 3a and 9a resp. (Aletti/Trublet); see
also suffix -ny in v. 3b!
’mry py/r’th ‘yny, vv. 4b and 9b resp.
vv. 5.6–7: zrym . . . ‘ly/‘zr ly, vv. 5a and 6a resp. (alliter.)

npšy, vv. 5b.6b!
’lhym, vv. 5c.6a
suffix -m, vv. 5c.7b!
ii.12 psalm 54 119

prep. b- (v. 3), suffix -k

prep. l-

3+1+3 lines); the verseline has 7 words and 13+13 = 26 letters. The
declaration of trust—God is my helper—represents a focal meaning of the
psalm. That is to say, v. 6 as the rhetorical centre of the poem. The central
positioning of v. 6 is further reinforced by v. 6a as the pivotal colon of the
composition (> 7+1+7 cola).
22+27 (= 49 = 7×7 words in total).2
The designation ’lhym for God occurs 4×: vv. 3, 4, 5 and 6. See also
’dny (‘Lord’) in v. 6 (the pivotal verseline)3 and yhwh in v. 8.

Köster (1837): 3–5.6–7.8–9
Sommer (1846), pp. 43–44: 3–4.5|6–7.8–9 (4.3|4.4 cola)
De Wette (1856): 3–5.6–9; similarly Delitzsch (1894), Böhl (1947)
Ewald (1866), pp. 178–79: 3–5|6–7.8–9; cf. Köster (1837)
Müller (1898), pp. 47–49: 3–5*.6–9 (4.4 ‘Doppelzeilen’; a.a’)
Grimme (1902), p. 156: 3–5b.6–7+9
Zenner (1906), pp. 302–03: 54,3–5.52,3a+4–5|6+3b+7.8–9|54,6–9.52,10–11
(3.3|3.3|4.4 lines)
Duhm (1922): 3–4.5*.6–7.8–9 (4×2 lines); similarly Delitzsch (1921), p. 107,
and Podechard (1949); cf. Sommer (1846)
1
Smilarly Fokkelman, MPHB III.
2
The quantitative approach reveals that the number seven has a prominent structural
role (see the numbers in bold face); similarly Labuschagne, www.labuschagne.nl/ps054.
pdf, Observations 2–3. For a comparable function of seven in preceding psalms, cf. § 9.5.
Smit Sibinga (NThT 42 [1988], p. 198 n. 36) counts 50 words, including slh in v. 5.
Now, v. 6a is not only the pivotal colon, but also the centre in terms of words (>
23+4+23 words). Furthermore, ‘yny (‘my eye’, v. 9b) is the 50-st word; in gematria the
numerical value of this word is exactly 50 (< 16+10+14+10)!
3
For ’dny highlighting the rhetorical centre of a psalm, see Ch. V, 2.2.1.
Gunkel (1926): 3–4.5.6–7.8–9; similarly Ridderbos (1973), Wahl (1977), pp.

230–36, TOB (1978), Ravasi (1985), Tate (1990)
Calès (1936): 3–4.5*|6–7.8–9 (2.2|2.2 lines); similarly Pannier/Renard
(1950) and Jacquet (1977); cf. Sommer (1846)
Kissane (1953): 3–4.5–7a.7b–9 (2.2.2 lines)
Beaucamp (1976): 3–4|5.6–7.8–9 (4|3.4.4 cola); cf. Sommer (1846)
Kraus (1978): 3–4.5.6.7.8–9; similarly Hossfeld/[Zenger] (2000)
Aletti/Trublet (1983), pp. 76–77: 3–4.5.6.7.8–9 (a.b.c.b’.a’)
Neveu (1991), pp. 85–87: 2–5.6–7.8–9 (7.4.4 cola); cf. Ewald (1866)
Auffret (1993): 3–4.5a–b.5c.6.7.8.9a.9b
Girard (1994): 3–4.5|6–7.8–9 (a.b|b’.a’); cf. Aletti/Trublet (1983)
Weber (2001): 3–4.5–7.8–9 (a.b.a’); cf. Girard (1994)
Fokkelman (2003), pp. 94–95: 3–5.6–7.8–9 (3.2.2 lines); cf. Ewald (1866)
Terrien (2003): 3–5.6–8 (3.3 lines; a.b.c|c’.b’.a’; v. 9 ‘reflection of the
psalmist’)

From Sommer (nineteenth century) onwards it is often assumed that Psalm
54 consists of two (almost) regular sections, or cantos, vv. 3–5 and 6–9.4
This division is firmly rooted in the development of the ideas: the first
canto is about distress and the second about deliverance (see § 12.2). The
concluding verseline of Canto I (v. 5) is almost identical with Ps. 86,14. In
Psalm 86 the tricolon also functions as a verseline at the end of a canto
(Canto II, vv. 8–14; see Ch. III, 14).
The cantos divide into two strophes each, vv. 3–4.5 and 6–7.8–9. The
divisions concerned are generally recognized.5 The strophic frame is sup-
ported by semantics (see § 12.2), transition markers (note § 12.3.1.1) and
verbal repetitions (see § 12.4.1). The linear verbal correspondences between
the strophes of Canto II (see § 12.4.2) coincide with a parallelism of ideas:
vv. 6 and 8 are about the relation God <> psalmist and psalmist <> God
respectively (Girard, p. 56).
Recent structural investigations have brought to light that the cantos
show a symmetric relationship: vv. 3–4.5|6–7.8–9 > a.b|b’.a’.6 The sym-
metry has the ‘transparence d’une vitrine’ (Girard, p. 55); see the verbal
repetitions noted in § 12.4.3.
In terms of subject matter, the psalm provides us with a clear example
of a concentric framework. Fokkelman rightly points out that the symmetry
4
See further De Wette, Ewald, Müller, Grimme, Calès, and Girard in § 12.6.
5
See Sommer, Duhm, Gunkel, Calès, Beaucamp and Girard in § 12.6.
6
See my STR (1980), pp. 282–84, and Girard; cf. further Terrien.
ii.12 psalm 54 121
between vv. 3–4 and 8–9 is very precise: vv. 4 and 8 contain ‘oral elements’,
while vv. 3 and 9 speak about the deliverance of the supplicant (MPHB
III, p. 94). Additionally, vv. 5 and 7 perfectly fit this symmetry, because
the description of oppression by ruthless people (v. 5) corresponds to the
prayer for annihilation of the oppressors (v. 7). That is to say, from a
semantic point of view, the middle verseline about God’s help (v. 6) is
once again (cf. § 12.5) highlighted as the pivot of the composition; see also
Aletti/Trublet (and Weber) in § 12.6. Because the entire poem has seven
verselines, Labuschagne’s characterization of the concentric framework as a
‘menorah pattern’ is very appropriate: vv. 3.4.5.6.7.8.9 > a.b.c.d.c’.b’.a’.7
The quintessential thought is to be found in the rhetorical centre of the
psalm, v. 6: God is my helper! (see § 12.5; similarly Weber [p. 244]).
the following verbal repetitions: root yš‘ (v. 3) > 53,7 (concatenation); ky
(vv. 5.8.9) > 53,6 (2×; linear!); l’ śmw ’lhym lngdm (v. 5c) > 53,5c (’lhym
l’ qr’w ); root šwb (v. 7) > 53,7; .twb (v. 8) > 53,2.5.
It is generally observed that there is a conspicuous relationship with Psalm

52; cf., e.g., v. 8b with 52,11 (see further Hossfeld/[Zenger], pp. 92–93).
12.8 Bibliography
psaume 119 (SupplVT 48), Leiden: Brill, 1993, pp. 13–18.
7
See www.labuschagne.nl/ps054.pdf, Specific features. Cf. Psalms 7,2–9a (CAS I,
Ch. III, 7) and 67 (§ 25 below); the pivotal verseline of Ps. 7,2–9a (v. 5) has also 7
words.
13 Psalm 55
Structure: 8.8.8.4 > 3.2.3|3.3.2|2.3.3|2.2 lines (Type IIB)
I 2 h’zynh ’LHYM tplty w’l tt‘lm mth.nty 3 hqšybh ly w‘nny

’ryd bŚYH 4
. Y W’HYMH mQWL ’wyb mpny ‘tq RŠ‘
KY YMYT . W ‘ly ’WN wb’p yśt.mwny
5 lby yh.yl bqrby w’ymwt mwt nplw ‘ly

6 YR’H wr‘d yb’ by wtksny pls.wt
7 w’mr my ytn ly ’br kywnh ’‘wph w’šknh

8 hnh ’rh.yq ndd ’lyn bmdbr (slh)
9 ’h.yšh mplt. ly mrwh. s‘h ms‘r
II 10 bl‘ ’DNY plg lšwnm KY r’yty h.ms wryb b‘yr

11 ywmm wlylh yswbbh ‘l h.wmth w’WN w‘ml bqrbh
12 hwwt bqrbh wl’ ymyš mrh.bh tk WMRMH
13 ky l’ ’wyb yh.rpny w ’ś’ l’ mśn’y ‘ly hgdyl w’str mmnw

14 w’th ’nwš k‘rky ’lwpy wmyd‘y
15 ’ŠR yh.dw nmtyq swd bbyt ’LHYM nhlk brgš
16 yśy mwt ‘lymw yrdw š’wl h.yym

ky r‘wt bmgwrm bQRBm . . .
III 17 ’NY ’l ’LHYM ’qr’ wYHWH ywšy‘ny

18 ‘rb wbqr ws.hrym ’ŚYH
. H W’HMH wyšm‘ QWLy
19 pdh bšlwm npšy mqrb ly ky brbym hyw ‘mdy

20 yšm‘ ’l wy‘nm wyšb qdm (slh)
’ŠR ’yn h.lypwt lmw wl’ YR’W ’LHYM
21 šlh. ydyw bšlmyw h.ll brytw

22 h.lq mh.m’t pyw wQRB lbw
rkw dbryw mšmn whmh pth.wt
IV 23 hšlk ‘l YHWH yhbk whw’ yklklk

l’ ytn l‘wlm MWT . lS.DYQ
ii.13 psalm 55 123
24 w’th ’LHYM twrdm lb’r šh.t

’nšy dmym WMRMH l’ yh..sw ymyhm w’NY ’bt.h. bk
13.1 Text
V. 12: MT divides with ’atnah. after bqrbh.
V. 16a—yśy mwt: ‘may death overcome’, so Q; K yšymwt (‘desolations’).
V. 16d: the colon is probably incomplete; see § 13.7.
V. 22a—h.lq: MT reads h.lqw (plural).
V. 23c–d: colometric division not in accordance with MT.
V. 24a–b: colometric division not in accordance with MT.
13.2 Content
The prayer of an individual for rescue from enemies.
I The prayer and a description of distress (addressed to God).
O God, hear my prayer, for enemies threaten me (vv. 2–4; objec-
tive account).
I am terribly frightened (vv. 5–6; subjective account).
O that I were a bird, I would find a shelter for myself (vv. 7–9;
about a safe place).
II Supplication for the ruin of the enemies and description of distress
(addressed to God).
O God, throw my enemies into confusion; the city is full of de-
struction and violence (vv. 10–12; objective account, cf. vv. 2–4).
My close friend has taunted me (vv. 13–15; subjective account,
cf. vv. 5–6).
Let them go down to the underworld alive (v. 16; about a place
of destruction, cf. vv. 7–9).
III Trust in salvation and description of distress (spoken about God).
God will hear my prayer (vv. 17–18; cf. vv. 2–4).
God will save me, but humble the godless opponents (vv. 19–20).
The words of the enemy are full of deceit (vv. 21–22; objective
account, cf. v. 16c–d).
IV Conclusion: protestation of trust (about and addressed to God).
God will save the righteous (v. 23).
You will destroy the godless (v. 24a–d); I trust in you (v. 24e).

13.3.1.1 imperative: h’zynh, v. 2a vocative: ’lhym, v. 2a
’l prohibitive, v. 2b v. 10a
imperatives: hqšybh . . . vocative: ’dny, v. 10a
w‘nny, v. 3a ’ny, v. 17a
w- beginning of line, v. 7a imperative: hšlk, v. 23a
’mr imperf. 1 sing., v. 7a w- beginning of line, v. 24a
my, v. 7a ’th, v. 24a
cohortatives: ’‘wph w’šknh, vocative: ’lhym, v. 24a
v. 7b
imperatives: bl‘ . . . plg, 13.3.1.2 hw’, v. 23a

13.3.2.1 hmh, v. 22d 13.3.2.2 cohortative: ’h.yšh, v. 9a
‘wlm, v. 23c yr’ with object God, v. 20d
’ny, v. 24c

hnh, v. 8a ’th, v. 14a
slh, v. 8b qdm, v. 20b
ywmm wlylh, v. 11a slh, v. 20b (see § 13.5)
w- beginning of line, v. 14a

vv. 2–4: prep. mn, vv. 2b.4a+b
suffix -ny, vv. 3a.4d (inclusion)
prep. b-, vv. 3b.4d
vv. 5–6: bqrby/yb’ by, vv. 5a and 6a resp. (alliter.; exactly linear)
nplw ‘ly/-ny pls.wt, vv. 5b and 6b resp. (alliter.; epiphora)
vv. 7–9: ly, vv. 7a.9a (inclusion)
vv. 10–12: suffix -m, vv. 10a.11a
suffix -h, vv. 11a (2×)+b.12a (2×)+b!
bqrbh, vv. 11b.12a; see also prep. b- in v. 10b
vv. 19–20: ’l/’lhym, vv. 20a and 20d resp.
suffix -m/-mw, vv. 20a and 20c resp.
vv. 21–22: suffix -w, vv. 21a (2×)+b.22a+b.22c
prep. mn, vv. 22a.22c
v. 24: w’th/w’ny, vv. 24a and 24c resp.
suffix -m/-hm, vv. 24a and 24d resp.
ii.13 psalm 55 125

vv. 2–9 (Canto I): tplty/mplt. ly, vv. 2a and 9a resp. (alliter.;
inclusion)
prep. mn, vv. 2b+4a+b.9b (inclusion)
ly, vv. 3a.7a+9a
prep. b-, vv. 3b+4d.5a+6a.8a
‘ly, vv. 4c.5b (concatenation)
pls.wt/mplt., vv. 6b and 9a resp. (alliter.; linear)
vv. 10–16 (Canto II): suffix -m, vv. 10a.16c+d (inclusion)

ky, vv. 10b.13a (linear)
ky r’yty . . . wryb b-/ky r‘wt b-, vv. 10b and 16c
resp. (alliter.; inclusion)
bqrb, vv. 11b+12a.16d (linear); see also prep. b-
in vv. 10b, 15b (2×) and 16c (note the linear
parallelism vv. 15 // 16c–d)
l’, vv. 12a.13a+b (concatenation)
prep. mn, vv. 12a.13c (concatenation)
nś’, vv. 13a.16a*! (linear)
‘ly/‘ly-, vv. 13b and 16a resp. (linear)
vv. 17–22 (Canto III): ’lhym, vv. 17a.20d

wbqr/mqrb, vv. 18a and 19a resp. (alliter;
concatenation)
w’hmh/whmh, vv. 18 adn 22d resp. (alliter.; lin.)
yšm‘, vv. 18c.20a!
prep. b- + root šlm, vv. 19a.21a (linear)
qrb (‘battle’), vv. 19a.22b!
h.lypwt lmw/whmh pth.wt, vv. 20c and 22d resp.
(alliter.)
vv. 23–24 (Canto IV): suffix -k, vv. 23a+b.24c! (inclusion)

whw’/w’th . . . w’ny, vv. 23b and 24 resp.
l’, vv. 23c.24d (linear)

vv. 2–4.10–12.17–18.23–24: ’lhym, vv. 2a.17a.24a
’lhym/’dny/’lhym vocative, vv. 2a, 10a and
24a resp.!; see also ’lhym in v. 17a
roots pll/qr’, vv. 2a and 17a resp.
’ryd/twrdm, vv. 3b and 24a resp.

śyh.y/’śyh.h (root śyh.), vv. 3b and 18b resp.!
w’hymh/w’hmh, vv. 3b and 18b! resp. (from the
roots hwm/hmh resp.)
qwl, vv. 4a.18c!; see also lšwn in v. 10a
rš‘/s.dyq, vv. 4b and 23d resp.
ky, vv. 4c.10b
mwt., vv. 4c.23d!
’wn, vv. 4c.11b!
ywm, vv. 11a.24d!
ywmm wlylh/‘rb wbqr ws.hrym, vv. 11a and 18a
wmrmh, vv. 12b.24c!
’ny, vv. 17a.24e!
wyhwh ywšy‘ny/whw’ yklklk, vv. 17b and 23b resp.
(exactly linear)
yhwh, vv. 17b.23a!; see also ’dny in v. 10a!
vv. 5–6.13–15.19–20: root yr’, vv. 6a.20d!

ky, vv. 13a.19b (linear)
’lwpy wmyd‘y/h.lypwt lmw, vv. 14b and 20c resp.
(alliter.)
’šr, vv. 15a.20c! (exactly linear)
’lhym, vv. 15b.20d (linear)
vv. 16.21–22: qrb (‘midst’)/qrb (‘battle’), vv. 16d and 22b resp.
vv. 21–22.23–24: šlh./hšlk, vv. 21a and 23a resp. (alliter.; concat.)
whmh/whw’ . . . w’th . . . w’ny, vv. 22d.23–24
(concatenation)

prep. l- (vv. 19.23 [2×].24), l’ (v. 20), prep. mn (v. 19), suffix -ny (vv.
13.17), qrb (v. 5)

’wyb (vv. 4.13), ’nwš (vv. 14.24), ’th (vv. 14.24), root yrd (vv. 16.24), prep.
k- (vv. 7.14), lb (vv. 5.22), root mwt (vv. 5.16*), root ntn (vv. 7.23), roots
‘nh/‘nh (vv. 3.20), š’wl/šh.t (vv. 16 and 24 resp.)
ii.13 psalm 55 127

Psalm 55 has 11 strophes, 28 (= 4×7) verselines and 61 cola.1 V. 16 is
the central strophe (> 5+1+5 strophes). The caesura between vv. 15 and
16 divides the poem into two equal halves of 14 verselines. V. 15b is the
pivotal colon (> 30+1+30 cola); this colon has 17 letters.
Structure of strophes and cantos in terms of words: 23+13+19|24+24
+10*|13+21+15|11+14 = 55+58*+49+25 (= 187* = 11×17 words in
total).2 In terms of words, v. 20a–b is the centre of Canto III (> 22+5+22
words); note slh at the end of the verseline.3
5× God is called ’lhym: vv. 2, 15, 17, 20 and 24; in v. 20 it is ’l. The
divine name, yhwh, occurs 2×: vv. 17 and 23; in v. 10 it is ’dny (‘Lord’).
See also yšb qdm (‘who sits enthroned from of old’) in v. 20.

Köster (1837): 2–3||4–6.7–9|10–12.13–15.16||17–18.19–20.21–22.23–24 (2||
3.3|3.3.1||4×2 verses)
De Wette (1856): 2–9.10–16.17–24
Ewald (1866), pp. 162–67: 2–4.5–9|10–12.13–16|17–20.21–22.23–24 (3×8
‘zweigliedrigen versen’)
Delitzsch (1894): 2–4b.4c–6.7–9|10–12.13–15.16–17|18–20b.20c–22.23–24
(‘Wehmut’.‘Zorn’.‘Zuversicht’)
Zenner (1906), pp. 171–73: 2–5a+6b–9.13–15bA+20c–22|16c–d+10b–12+
10a+15bB–16b|17–20.23–24 (8.8|6|4.4 lines)
Duhm (1922): 2–3.4.5–6.7–8.9–10a*.10b–11a.11b–12.13.14–15bA.15bB–16.
17–18b.18c–19.20.21–22b.22c–d+24a–b.24c–e* (16×2 lines/bicola;
v. 23 is a ‘Randzitat’)
1
Fokkelman (MPHB II) counts 12 strophes, 30 verselines and 64 cola. The differences
which come to light here are partly due to the fact that in several places the colometry of
our psalm is rather vague. To single out some of the problematic passages: Fokkelman
takes vv. 10, 11, 12, 16 and 23 as tricola; he further considers v. 13 two bicola. For some
observations concerning the demarcation of the verselines, see § 13.7.
2
In the context of the overall structure of the psalm (some 8-line cantos; see § 13.7),
I tentatively suggest that ky in v. 16c introduces an individual verseline, consisting of
at least two cola (cf. vv. 4c–d and 13). In that case bqrbm (v. 16d) would respresent the
beginning (or the end?) of an incomplete colon; probably there are two words missing
(the cola of v. 16a–c have three words each). This idea is supported by the total number
of words, which in the ‘original psalm’ would amount to 189 (= 27×7); cf. the multiples
of seven words in Psalms 46 (13×7 words), 48 (15×7 words), 49 (23×7 words), 50 (25×7
words) and 54 (7×7 words).
3
For slh marking a pivotal verseline, see CAS I, p. 561. According to Kselmann/Barré
(1998, p. 444) the epithet yšb qdm (‘who sits enthroned from of old’, v. 20b) is positioned
at the centre of the six divine names that occur in vv. 17–24.
Gunkel (1926): 2–3.4.5–6.7–8.9–10a.10b–11a.11b–12.13.14–15bA.15bB–16.

17–19aA.23; 19aB–20b.20c–21.22.24 (‘An der Einheitlichkeit . . . hat
man schon seit lange gezweifelt’)
Calès (1936): 2–3a 3b–4.5–6|7.8–9|10–11a.11b–12|13.14–15||16.17–18|19.
20|21.22|23.24 (1 4.3.4.4|4.3.3.4 lines)
Böhl (1947): 2–4.5–9|10–12.13–15|16–18.19–20.21–22|23–24; cf. TOB (1978)
Pannier/Renard (1950): 2–4b.4c–6.7–9.10–12.13–15.16–20b.20c–22.23–24
(2.4×3.5.4.3 lines)
Kissane (1953): 2–10a.10b–15+21–22.16–20+23–24 (3×9 lines)
NAB (1970): 2–9.10–15.16–24; cf. Böhl (1947)
Ridderbos (1973): 2–3.4.5–6.7–9|10.11–12.13.14–15.16||17–18.19.20.21–22|
23.24
Beaucamp (1976): 2–3a|3b–6.7–10a.10b–12.13–15|16|17–19|20a–b|20c–22|
23–24d|24e (3|4×8|3|8|2|8|8|1 cola)
Jacquet (1977): 2–3a.3b–4.5–6.7–8.9–10a|10b–11a.11b–12.13.14–15.21*.22.
23|17–18b.18c–19.20.16*.24a–d.24e; cf. Gunkel (1929)
Wahl (1977), pp. 237–59: 2–3a.3b–4.5–6|7–9.10–12.13.14–15.16|17–18.
19–20(?).21–22|23.24
Kraus (1978): 2–3.4–6.7–10a.10b–15bA.15bB–16.17.19aA; 19aB–22.23.24
Ravasi (1985): 2–3a|3b–6.7–9.10.11–15.16.17–20b.20c–23.24 (‘Invocazione’|
a.b.refrain.c.refrain.b’.a’.refrain)
Tate (1990): 2–3a.3b–6.7–9.10–12.13–15.16.17–20.21–22.23–24
Auffret (1993): 2–3.4–6.7–9.10–12.13–15.16.17.18–19a.19b.20a.20b–c.20d.
21–22.23.24a–d.24e (v. 16 is a ‘hinge’ between vv. 2–16 and 16–24)
Girard (1994): 2–4b.4c–9.10a.10b–12.13–15|16.17–18.19.20.21–22.23.24
(a.b.c.b’.a’|d.e.f.g.f’.e’.d’); 2–6.7–15|16–20.21–24 (A.B|A’.B’)
Kselmann/Barré (1998): 2–10.11–16|17–24
Fokkelman (2000): 2–4b.4c–6.7–9|10–12.13.14–16||17–18b.18c–19.20|21–22.
23.24 (3.3.3|3.2.3||2.2.2|3.1.3 lines); cf. Ridderbos (1973)
Hossfeld/[Zenger] (2000): 2–3a.3b–6.7–9.10–12.13–15.16.17–18a.18b–19.20.
21–23.24
Lescow (2001), pp. 35–40: 2–9||10–12+16||17–20+23–24 (vv. 13–15 and
21–22 are ‘Kommentierung’, interpolation)
Weber (2001): 2–9.10–15.16–20.21–24 (a.b.a’.b’; 18.17.15.15 cola)
Terrien (2003): 2–4.5–8.9–12.13–15.16–19.20–22.23–24 (3.4.4.4.4.4.3 lines;
a.b.c.d.c’.b’.a’)

From several points of view, Psalm 55 is a rather strange and difficult
composition. In terms of textual criticism, there are numerous problematic
ii.13 psalm 55 129
passages.4 The original colometry and demarcation of the verselines are not
always quite clear.5 Also from a structural point of view, the composition
has surprised many scholars. Throughout the psalm we find extensive de-
scriptions of personal distress. This thematic peculiarity may hamper the
search for a framework which gives the various motifs in the poem their
proper place.6 Therefore, some exegetes have questioned its original unity.
According to Terrien (2003), the ‘structural development is bizarre to the
extreme’ (p. 423). As is shown in § 13.6, there is no consensus regarding
the division of the poem into main sections.
According to Hossfeld/[Zenger], there are no problems regarding the
division of the psalm. A succession of eleven thematic units are listed:
‘Einleitende Bitten’ (vv. 2–3a), ‘Notschilderung’ (vv. 3b–6), ‘Monolog des
Beters’ (vv. 7–9), ‘Begründete Bitte’ (vv. 10–12), etc. However, such a
division does not satisfy.7 ‘Auf diese Weise wird der Psalm als ziemlich
amorphes Gebilde dargestellt’ (Lescow, 2001, p. 40). Rhetorical investiga-
tions have revealed that a Hebrew poem is more than a chain of rather
loose thematic units. The question is: can a structural approach reveal
an underlying coherence between the seemingly unrelated ideas we find in
Psalm 55?
Despite his characterization of the psalm’s overall framework as ‘bizarre’,
Terrien deems it hardly fortuitous that his analysis brings to light a concen-
tric structure, consisting of seven strophes with vv. 13–15 (about a friend’s
betrayal) in the middle (see further § 13.6). According to Girard, all struc-
tural problems disappear when we take it for granted that the psalm is
composed of two concentric sections (vv. 2–15 and 16–24). In the pivotal
units of these sections (vv. 10a and 20 respectively) we find a ‘supplication
d’anti-salut contre les impies’ (see further § 13.6). As far as the bipartite
structure of our psalm is concerned, Girard’s view is not exceptional. N.H.
Ridderbos, Kselmann/Barré and Fokkelman also discern two main parts,
but they divide after v. 16.8
4
See recently Kselmann/Barré (1998).
5
Cf. my layout of the psalm at the beginning of this section with Fokkelman, The
Psalms in Form, 2002, pp. 64–65; see also § 13.5.
6
Note the sigh heaved by Wahl (1977): ‘the pattern is not orderly enough to be
described as a stanza pattern’; cf. § 13.6.
7
The same holds true for the divisions by Gunkel, Kraus and Tate (among others);
see § 13.6.
8
According to Ridderbos and Fokkelman these main parts (vv. 2–16 and 17–24)
further divide into two more or less regular stanzas each; according to Kselmann/Barré
(1998) this only applies to the first main part. See in this respect also the division by
Weber (2001) in § 13.6, who discerns four stanzas. Without exception, in support of
their structural view, these scholars appeal to certain verbal or thematic recurrences
Girard is quite sure regarding the validity of his structural view, be-
cause it is based on a careful registration of all kinds of recurrences.9 On
these grounds he also contends that the composition is a literary unity (pp.
75–76). However, Girard’s view of the structure of Psalm 55 is not convinc-
ing either.10 The major objection to his proposal is the fact that it does
not do justice to the dramatic development and dynamics of the prayer of
an individual. Psalm 55 is not an average Hebrew poem, but it positively
displays the characteristics of an individual prayer. These characteristics
come to light when we divide the composition into three main (8-line) can-
tos, vv. 2–9, 10–16 and 17–22, which conclude with a ‘half-long’ canto, vv.
23–24. This rhetorical framework has thematic as well as a formal aspects.
In terms of subject matter, each canto has its own specific theme.
The first canto (vv. 2–9) starts with the prayer of an individual to be
heard (vv. 2–3a). God is explicitly addressed in the second person; note
’lhym (vocative) in v. 2a and see further the imperatives in vv. 2–3a. This
prayer is immediately followed by a description of the distress that comes
over the supplicant from his enemies (vv. 3b–4). The following strophe
(vv. 5–6) focuses on the subjective experience of the supplicant. The canto
concludes with a strophe in which he dreams of a safe place, an escape from
his enemies (vv. 7–9). This longing for deliverance from personal despair
is typical of this first section.
In v. 10a the psalmist for the first time implores God to ward off the
attacks by his opponents. This is the beginning of the second canto (vv.
10–16). In terms of grammar, its first colon exactly corresponds to the
beginning of Canto I. The canto opens with the imperatives bl‘ . . . plg (‘de-
stroy . . . confound’, v. 10a); cf. the imperatives h’zyh . . . hqšybh ly w‘nny in
v. 2–3a (imperatives do not occur elsewhere in vv. 2–9, nor in vv. 10–16).
The imperatives in v. 10a envelop the vocative ’dny (‘O Lord’); cf. the voca-
tive ’lhym in v. 2a (a vocative for God does not occur in vv. 3b–9, nor in vv.
10b–16). The main part of Canto II is devoted to a description of the dis-
tress the supplicant experiences (cf. vv. 3b–6). His uncomfortable situation
is caused by a lot of violence in the midst of the city (vv. 10b–12). It fur-
ther becomes clear that his close friend has turned out to be an enemy (vv.
13–15). The canto is concluded by a strophe in which the psalmist wants
which are supposed to function as inclusions. For a bipartite division, see further Köster
and Calès in § 13.6.
9
‘. . . comme tous nos résultats se fondent sur des récurrences de termes, on aboutit
à un constat de quasi-certitude’ (p. 75).
10
In terms of semantics the ‘opposition d’un individu au “je”’ we find in vv. 2–4b
and vv. 13–15 (the outer ring of the first concentric unit) does not form an persuasive
inclusion; cf. vv. 21–22. In addition, in terms of verbal repetitions, the parallelism
between vv. 2–4 and 17–18 is much more evident.
ii.13 psalm 55 131
his opponents to descend in the underworld alive (v. 16a–b; cf. v. 10a), a
wish which is immediately followed by another reason (note ky in v. 16c)
describing the intrinsic wickedness of the enemy. In this way, Canto II is
demarcated and characterized by prayers for the ruin of opponents.
Broadly speaking, in vv. 2–16 the psalmist continuously addresses God;
in vv. 14–15 for a moment he (imaginarily) addresses his close ‘friend’. The
beginning of Canto III (vv. 17–22) is, among other things, marked by the
fact that from v. 17 onwards God is (explicitly) spoken about in the third
person; note ’lhym in vv. 17a and 20d, yhwh in vv. 17b, ’l in v. 20a and
wyšb qdm in v. 20b. The description of the prayer in v. 17a (‘as for me, I
call to God’) reminds us of the first verseline of Canto I (vv. 2–3a). From a
thematic point of view, the beginning of this canto stands out, because—for
the first time—the psalmist expresses his confidence in salvation; note ‘and
the Lord will deliver me’ (v. 17b), ‘and he will hear my voice’ (v. 18c).
The same hope for deliverance by God is to be found in vv. 19a and 20a–b.
The remainder of the canto is once again devoted to descriptions of the
wicked behaviour of the opponents. The last strophe concludes on a strong
note: ‘yes, they themselves are drawn swords’ (v. 22d; note the personal
pronoun whmh).
Cantos I–III are concluded by a fourth ‘half-long’ canto, vv. 23–24.
Different from the preceding canto (vv. 17–22), the words of the psalmist
have (once again) an addressee: in the first strophe (v. 23) his words are
addressed to the audience and in v. 24 to God (note w’th ’lhym in v. 24a).
The first colon of this canto (v. 23a), simultaneously corresponds to the
opening lines of Cantos I, II and III. The imperative hšlk (‘cast on’, exactly
at the beginning of v. 23a) reminds us of the imperatives opening the first
and the second cantos (vv. 2–3a and 10a). The divine name, yhwh, is only
to be found in vv. 17b (the beginning of Canto III) and 23a; see also the
designation ’dny in v. 10a (the beginning of Canto II). V. 23b–d, which
is about the protection the righteous will experience, corresponds to the
protestation of trust in the beginning of Canto III (vv. 17–20). The second
strophe of Canto IV (v. 24) is about the descent of the wicked into the
underworld, which reminds us of the thematic individuality of the second
canto, especially v. 16a–b.
The concluding Canto IV can be regarded as a coda in which the main
themes of the preceding sections recur briefly.11 It is a reflection on the
supplicant’s experience, in which his confidence in salvation is cast in a
general rule with regard to the righteous: God will sustain them (v. 23).
Consequently, the prayer for the ruin of the godless (vv. 10a and 16a–b) is
11
For vv. 23–24 as a relatively independent unit, see also Böhl, Ridderbos and Wahl
in § 13.6.
cast in tones of certainty: the wicked will not complete their lives (v. 24).12
V. 24c is a relatively independent colon at the end of the poem, in which
the psalmist explicitly expresses his individual trust in God. Final cola like
this one are to be taken as the concluding element of a tricolon.13
In an attempt to identify a series of more or less regular cantos, the
preceding observations focused on the characteristics of the beginnings of
some main sections.14 The arguments were partly derived from semantics.
The comprehensive analysis of the verbal repetitions on the level of the
poem as a whole butresses our impression that the poet especially marked
the opening verselines of the cantos to frame his composition. In § 13.4.3 the
patient reader can find a substantial list of verbal correspondences marking
the first strophes of the cantos (vv. 2–4, 10–12, 17–18 and 23–24). This
list is followed by gradually shorter records of repetitions which are found
in the second and the third strophes of the cantos respectively. The latter
repetitions also have semantic counterparts; see § 13.2.
At the same time, it must be conceded that our poet, when using verbal
repetitions to frame his psalm, was not as consistent as we would wish.
§ 13.4.4.2 shows that there are a number of recurrences which do not fit the
linear parallelism between the cantos as described above.15 Nevertheless,
there are no substantial arguments to discredit the unity of the composition.
Some comments on the demarcation of the verselines are in order here.
As a general rule, each Masoretic verse represents a poetic verseline, but
there are exceptions.16 In Psalm 55, too, most Masoretic verses coincide
with a verseline. However, vv. 16, 20, 22, 23 and 24, represent two verse-
lines.17 It is not contested that vv. 2–3a constitute a semantic coherence
which may be seen as a tricolon. From the same perspective, we may as-
sume that vv. 3b–4 form two individual verselines. On the basis of these
observations, I conclude that the main cantos (vv. 2–9, 10–16 and 17–22)
consist of eight verselines each. That is to say, in terms of verselines Psalm
55 is composed of three successive exactly balanced cantos and a concluding
‘half-long’ canto.18
12
For other half-long cantos dominated by a declaration of trust, see CAS I, Ch. V,
5.2.2.4.
13
Cf. Pss. 2,12c 3,9b 7,9a 15,5c 68,36c 103,22c 125,5c (128,6b) 129,8c and Ex.
15,18!; contra Fokkelman who takes v. 24c as an independent verseline.
14
For the beginnings of Cantos I–III, see also Fokkelman, MPHB II, pp. 171–72.
15
From this perspective, there is a conspicuous relationship between vv. 13–16 and
24, which cannot be explained in the context of the framework I argued for; see ’nwš
(vv. 14.24), ’th (vv. 14.24), yrd (vv. 16.24) and š’wl/šh.t (vv. 16 and 24 respectively).
16
Cf. CAS I, Ch. V, 6.1 (pp. 522–25).
17
Fokkelman also takes vv. 20 and 22 as containing two verselines; cf. further § 13.5.
18
For more examples of such a regular canto design, see Ch. IV, 2.4.3 below.
ii.13 psalm 55 133
The demarcation of the strophes is mainly based on thematic coher-

ence; see § 13.2. On these grounds, it is most likely that the 8-line cantos
each divide into three strophes, one 2-line strophe and two 3-line strophes.
From the perspective of the transition markers, however, the strophic divi-
sions are not always absolutely clear; see the contrary indications noted in
§ 13.3.3.
Our rhetorical inquiry suggests that the quintessential thought of Psalm
55 is to be found in the first strophes of the cantos, vv. 2–4, 10–12, 17–18
and 23, especially in the first strophe of the generalizing fourth canto, v. 23:
cast your burden on the Lord for he protects the righteous. This positive
message is once more highlighted with the help of a literary chiaroscuro;
note ‘but the wicked will disappear’ (v. 24).19 The glaring contrast prop-
erly concludes this Hebrew poem.
the following verbal repetitions: v. 1 (heading) = 54,1; v. 2a > 54,4 (cf.
Delitzsch); h’zynh (v. 2) > 54,4; tplty (v. 2) > 54,4; ’wyb (vv. 4.13) > 54,9;
’wn (vv. 4.11) > 54,5; ’dny (v. 10) > 54,6; v. 15 > 54,8; ywšy‘ny (v. 17) >
54,3; v. 20d > 54,5c; ph (v. 22) > 54,4.20
13.8 Bibliography
M. Dahood, ‘“A Sea of Troubles”. Notes on Psalms 55:3–4 and 140:10–11’, CBQ
41 (1979) pp. 604–07;
—, ‘Philological Observations on Five Biblical Texts’, Biblica 63 (1982), pp.
390–94;
J. Krašovec, Antithetic Structure in Biblical Hebrew Poetry (SupplVT 35), Lei-
den: Brill, 1984, pp. 68–70;
Ulrike Bail, Gegen das Schweigen klagen. Eine intertextuelle Studie zu den
Klagepsalmen Ps 6 und Ps 55 und der Erzählung von der Vergewaltigung Tamars,
Gütersloh: Chr. Kaiser, 1998;
J.S. Kselmann (S.S.) and M.L. Barré (S.S.), ‘Psalm 55: Problems and Propos-
als’, CBQ 60 (1998), pp. 440–62;
T. Lescow, ‘Die Komposition der Psalmen 6 und 55’, BN 107/108 (2001), pp.
32–40.
19
Cf. Krašovec (1984), pp. 69–70.
20
14 Psalm 56
Structure: 7.7 > 2.2.3|2.2.3 lines (Type IA; cf. Psalm 57)
I 2 h.nny ’lhym ky š’pny ’nwš kl hywm lh.m ylh..sny

3 š’pw šwrry kl hywm ky rbym lh.mym ly mrwm
4 ywm ’YR’ ’ny ’lyk ’BT 5 B’LHYM ’HLL DBRW

.H.
B’LHYM BT .H. TY L’ ’YR’ MH Y‘ŚH BŚR LY
6 kl hywm dbry y‘s.bw ‘LY kl mh.šbtm Lr‘
7 ygwrw ys.pynw hmh ‘qby yšmrw k’šr qww NPŠY
8 ‘l ’wn plt. lmw B’p ‘mym hwrd ’LHYM
II 9 ndy sprth ’th śymh dm‘ty bn’d k hl’ bsprtk

10 ’z yšwbw ’wyby ’h.wr bywm ’qr’
zh yd‘ty ky ’LHYM LY 11 B’LHYM ’HLL DBR BYHWH ’HLL DBR

12 B’LHYM BT .H
. TY L’ ’YR’ MH Y‘ŚH ’DM LY
13 ‘LY ’LHYM ndryk ’šlm twdt Lk
14 ky hs.lt NPŠY mmwt hl’ rgly mdh.y
lhthlk lpny ’LHYM B’wr hh.yym
14.1 Text
Vv. 4–5: the division of the verselines is at variance with the Masoretic accen-
tuation (with Fokkelman, MPHB II; note p. 175 n. 87).
V. 7a—ygwrw ys.pynw : probably third colon of the preceding line.
V. 7a—ys.pynw : so K; Q ys.pwnw.
V. 8a—plt.: ‘escape’, so MT; many scholars read pls (‘recompense’).
V. 10c: the first colon of a new strophe (with Baumann and Wahl); cf. v. 4.
14.2 Content
The confidence of an individual of being delivered from his enemies.
I Prayer for the downfall of the enemies.
Have mercy on me, O God, for my enemies attack me all day long
(vv. 2–3).
I do not fear a human being, for I trust in God (vv. 4–5).
Bring my opponents down, who are spying on me all day long
(vv. 6–8).
ii.14 psalm 56 135
II Certainty about deliverance and vow to thank God.

You know well my distress; then my enemies will draw back (vv.
9–10b).
I firmly trust in God and do not fear a human being (vv. 10c–12).
I express my thanks, for you will surely preserve me (vv. 13–14).

14.3.1.1 imperative: h.nny, v. 2a h- interrogative: v. 9c
vocative: ’lhym, v. 2a yd‘ty, v. 10c
’ny, v. 4a vocative: ’lhym, v. 13a
’th, v. 9a
imperative: śymh, v. 9b 14.3.1.2 kl hywm, v. 6a

14.3.2.1 kl hywm, v. 3a; ext. // kl 14.3.2.2 vocative: ’lhym, v. 8b
hywm in v. 2b

mh, v. 5c zh, v. 10c
hmh, v. 7b mh, v. 12b
’z, v. 10a h- interrogative, v. 14b

vv. 2–3: ky, vv. 2a.3b
root š’p, vv. 2a.3a!
kl hywm, vv. 2b.3a
root lh.m, vv. 2b.3b!
vv. 4–5: ’yr’, vv. 4a.5b
root bt.h., vv. 4a.5b
b’lhym, vv. 5a.5c
vv. 6–8: ‘l, vv. 6b.8a (inclusion)
suffix -m/-mw, vv. 6b.8a (inclusion)
vv. 9–10b: prep. b-, vv. 9b+c.10b
vv. 10c–12: ly, vv. 10c.12b
} chiasmus; see also ’lhym in v. 10c and
b’lhym, vv. 11a.12a
byhwh in v. 11b
vv. 13–14: ’lhym, vv. 13a.14c (inclusion)

prep. l-, vv. 13b.14c (2×; inclusion)
roots mwt/h.yh, vv. 14a and 14d resp.

vv. 2–8 (Canto I): ’lhym, vv. 2a.5a+c.8b
kl hywm, vv. 2b+3a.6a!; see also ywm in v. 4 and
kl in v. 6b!
ly, vv. 3b.5c (linear)
mrwm/hwrd, vv. 3b and 8b resp. (linear)
root dbr, vv. 5a.6a (linear)
vv. 9–14 (Canto II): prep. b-, vv. 9b+c+10b.11a+b+12a.14d

suffix -k, vv. 9b+c.13a+b (linear)
hl’, vv. 9c.14b!
’wyby ’h.wr/b’wr hh.yym, vv. 10a and 14d resp.
(alliter.; linear)
’lhym, vv. 10c.13a+14c; see also b’lhym in vv. 11a
and 12a

vv. 2–3.9–10b: šwrry/’wyby, vv. 3a.10a (linear); cf. Pss. 54,6–9 and
59,2.11
vv. 4–5.10c–12: b’lhym ’hll . . . bśr/’dm ly, vv. 5.11–12!; see also ’yr’
and ’bt.h. in v. 4a, and ’lhym ly in v. 10c
vv. 6–8.13–14: ‘ly, vv. 6b.13a! (linear); see also ‘l in v. 8a

prep. l-, vv. 6b.13b (exactly linear); see also v. 14c
‘qby/rgly, vv. 7b and 14b resp. (exactly lin.)
} chiasmus
npšy, vv. 7c.14a! (linear)
prep. b-, vv. 8b.14d (exactly linear)
} chiasmus
’lhym, vv. 8b.14c (linear)
’lhym vocative: vv. 8b.13a

ywm (v. 10), ky (vv. 10.14)
ii.14 psalm 56 137

root spr (v. 9 [2×])

Psalm 56 has 14 (= 2×7) verselines and 31 cola.1 In terms of verselines,
the caesura between Canto I and II divides the poem into two equal halves
of seven lines each. The pivotal colon is constituted by the three words of
v. 9a: ndy sprth ’th (‘you keep a record of my misery’; > 15+1+15 cola);
this colon has 11 letters. Because the expression of confidence can be
considered a focal theological message, the colon represents the rhetorical
centre of the poem.2
V. 5b–c is the central verseline of Canto I and v. 12 of Canto II (>
3+1+3 lines). Both lines are composed of 28 (= 4×7) letters (cf. Ps. 57,4)
and are once again a succinct expression of the supplicant’s confidence.
Taking into account that the cantos in question have 7 verselines each, it
seems warranted to speak of a ‘double menorah-like pattern’.
Structure of strophes and cantos in terms of words: 18+16+24|14+19+
18 = 58+51 (= 109 words in total). On word level vv. 11b–12a is the
centre of Canto II (> 22+7+22 words); this centre is highlighted by the
exceptional use of the divine name at the beginning of the cola concerned
(see byhwh in v. 11a).3
The title ’lhym for God occurs 9×: vv. 2, 5 (2×), 8, 10, 11, 12, 13 and
14. See also the divine name, yhwh, in v. 11.

Köster (1837): 2–3.4–5.6–8.9–12.13–14 (2.2.3.3.2 verses, ‘denn V. 11–12
sind nach der Analogie von V. 5 für Einen zu achten’)
De Wette (1856): 2–5.6–9|10–12.13–14
1
Similarly Fokkelman, MPHB II; however, this scholar takes v. 2a as two cola and
v. 7 as a bicolon. The graphic ambiguity with regard to vv. 2–3, which emerges when
v. 2 is considered a tricolon (is h.nny ’lhym a projecting colon or not?; see MPHB II,
p. 174), in my opninion, shows that h.nny ’lhym ky š’pny ’nwš (v. 2a) is only one colon.
According to Raabe, the poem is based on a ‘non-alphabetic’ acrostic structure with 33
cola (> 22+11 cola; 1990, p. 98); Raabe takes vv. 2a and 4 as bicola (similarly Weber).
2
The pivotal word of v. 9a is a form of the root spr (‘to count’ !); also in terms of
letters, the form sprth is the centre of the colon: > 3+5+3 letters. For these phenomena
as devices for highlighting the rhetorical centre, see Ch. V, 3.2 and 4.3.1; for v. 9a as the
rhetorical centre of Psalm 56, see especially Ch. V, 2.5.2. Contra Raabe (1990, p. 101),
who takes v. 8b as the middle colon of the poem.
3
For this feature, see Ch. V, 2.1.2.
Ewald (1866), pp. 183–86: 2–5.6–9.10–14 (4.4.5 verses)

Ley (1875), pp. 203–04: 2–3.4–5.6–7.8–9.10–11.12 (‘Kehr- und Schaltvers’).
13–14
Delitzsch (1894): 2–5.6–8.9–12.13–14
Grimme (1902), p. 157: 2–3.4–5.6–7.8–10*.13–14 (5×2 lines)
Zenner (1906), pp. 350–54: 2–5a.5b–10b.10c–14 (3.6.5 lines)
Duhm (1922): 2–3*.6–7a*.7b–8.9a–b+10a+c.10b+11a+12.13–14a+c–d*
(6×2 lines/bicola)
Gunkel (1926): 2–4.6–7b.7c–8+10a+9.10c+11b+12.13–14 (‘Keine regel-
mäßige Strophenbildung’)
Calès (1936): 2–3.4–5|6–7.8–9|10–12*.13–14 (2.2|2.2|2.3 lines)
Herkenne (1936): 2–5.6–12.13–14; similarly NAB (1970)
Baumann (1945), pp. 169–73: 2–4.6–7b.7c–10b*.10c+11b–12.13–14 (3.2.4.
2.3 lines)
Montgomery (1945), p. 383: 2–5.6–8.9–12.13–14 (4.3.4.2 lines)
Böhl (1947): 2–3.4–5|6–7.8–9|10–12.13–14
Pannier/Renard (1950): 2–5.6–8+refrain.9–12.13–14+refrain
Kissane (1953): 2–5.6–8.9–11.12–14 (4×3 lines); cf. Mowinckel (1957)
Ridderbos (1973): 2–3.4–5.6–7.8|9.10.11–12.13–14
Beaucamp (1976): 2–3 4–5.6–7|8–9b.10a+c+11 13+14a+c (4 4.4|4.4 4
cola; ‘mauvaise conservation du texte’)
Jacquet (1977): 2–4.5 |6–8.refrain|9–11a.11b–12 |13–14.refrain (3.refrain|
3.refrain|3.refrain lines)
Wahl (1977), pp. 250–56: 2–3.4–5.6–7|8–10b.10c–12.13–14
Kraus (1978): 2–3.4–5.6–7.8.9–12.13–14
Aletti/Trublet (1983): 2a.2b–3.4–5.6–7.8–9.10–12.13–14 (a.b.c.b’.a’.c’.d)
Ravasi (1985): 2–3|4–5.6–7.8–10.11–12 |13–14
Raabe (1990), pp. 90–111: 2–4.5 |6–8.9–10.11–12 |13–14 (4.1|3.3.2|3 lines;
7.3|13.4|6 = 33 cola); similarly Weber (2001)
Tate (1990): 2–3.4–5.6–8|9–10.11–12.13–14
Auffret (1993): 2aA.2aB–3.4–5.6–7.8|9.10a.10b–13.14a–b.14c–d
Girard (1994): 2aA.2aB–4.5a.5b–c.6.7|8–9.10.11.12.13a.13b–14 (a.b.c.d.e.f|
a’.b’.c’.d’.e’.f’) and 2–3.4|5a|5b–c.6–7||8–9.10.11a.11b.12–13a.13b–14
(a.b|c|b’.a’||d.e.f.f’.e’.d’)
Fokkelman (2000), pp. 174–77: 2–3.4–5|6–8.9–10|11–12.13–14 (2.2|3.2|2.3
lines; 74.100.74 syllables)
[Hossfeld]/Zenger (2000): 2–3.4–5.6–10a.10b–12.13–14 (a.b.c.b’.a’)
Terrien (2003): 2–4.5.6–8|9–10.11–12.13–14
De Vos (2005), pp. 10–20: 2–3.4–5.6–8.9–10b.10c–12.13–14
ii.14 psalm 56 139

Especially from a structural point of view, Psalms 56 and 57 form twin
poems; cf. Psalms 111 and 112. This means that they should be studied
in light of their close relationship and mutual dependence. A provisional
investigation into the features of each individual composition must confirm
this statement.
A special feature of Psalm 56 is the almost identical successive cola in
v. 5 and vv. 11–12. Such identical cola generally represent a refrain, which
mostly marks the end of a poetic unit. A small series of such poetic units
have roughly an equal number of verselines.4 In this case, however, it is
hard to see how the identical cola can conclude some more or less regular
sections. Therefore, Gunkel’s characterization of the refrain as ‘trügerischer
Schein’ is quite understandable (p. 243), but his interference with the text is
unwarranted; see in this respect also Duhm and Baumann in § 14.6. Other
exegetes have deemed it necessarry to insert the ‘refrain’ also behind vv. 8
and 14 (Briggs, Pannier/Renard, Jacquet). Terrien (2003) rightly observes
that the form of the poem has been an ‘enigma’, especially on account of
the unusual positioning of the refrain.
Raabe (1990) does not interfere with the text and positively considers
vv. 5 and 11–12 concluding refrains; cf. Aletti/Trublet in § 14.6. The
‘refrains’ conclude sections of very different length, namely of 7 and 13 cola
respectively. According to Ravasi, vv. 4–5 and 11–12 mark the middle part
of the psalm by inclusion.5 Fokkelman likewise assumes a concentric pattern
by counting 74, 100, and 74 syllables in the strophic pairs he discerns (vv.
2–5, 6–10 and 11–14); he further states that the refrain forms a ring around
the centre (MPHB II, p. 174; cf. § 14.6). However, these structural views do
not satisfy either, because the concentric interpretation is not supported by
a clear relationship between the strophes which form the outer ring of this
construction, vv. 2–3 and 13–14 (contra Seybold and [Hossfeld]/Zenger).
The question remains in which way the clear verbal recurrences of vv. 5
and 11–12 have a structuring function.
The analysis of the verbal repetitions makes it clear that the ‘refrain’
vv. 5 and 11–12 is only the most conspicuous element of a more embracing
system of recurrences on the level of the poem as a whole. From this point
of view, a clear relationship between vv. 6–8 and 13–14 reveals itself; note
npšy (‘my soul’) in vv. 7 and 146 and see further § 14.4.3. On the basis of
4
For the structural function of the refrain in the psalms, see CAS I, Ch. V, 4.3.1–2.
5
Cf. Baumann in § 14.6, who construes a concentric framework in terms of verselines
by deleting v. 5 (> 3.2.4.2.3 lines); see also Seybold (p. 225) and [Hossfeld]/Zenger.
6
Cf. the structural function of npšy in Ps. 57,2 and 7 (see § 15 below)!
this outcome, it is most likely that our poem is composed of two regular
cantos, vv. 2–8 and 9–14, which display a linearly alternating parallelism:
vv. 2–3.4–5.6–8|9–10b.10c–12.13–14 > a.b.c|a’.b’.c’; see § 14.4.3.7
Additionally, the prayer ‘put my tears in your flask’ at the beginning of
Canto II (v. 9b) corresponds to ‘have mercy on me, O God’ at the beginning
of Canto I (v. 2a). The concluding prayer of Canto I, ‘subdue peoples in
your anger, O God’ (v. 8b), antithetically parallels the perspective of the
supplicant that he ‘may walk before God in the light of life’ (v. 14c–d). The
linear parallelism between the cantos is further enhanced by their strophic
structure: 2.2.3 verselines each.
This means that the refrain (vv. 4–5 and 10c–12), in this special case,
functions as a ‘central core statement’ (Tate, p. 69; similarly Terrien and cf.
Girard in § 14.6). Vv. 6–8 and 13–14 represent concluding strophes. The
generalizing prayer for the downfall of the nations (v. 8) forms an emphatic
conclusion of the first canto.8 The cantos of the psalm form two strictly
regular units of seven verselines each.9
In the refrain (vv. 4–5 and 10c–12) the supplicant expresses his strong
trust in God when confronting human antagonism. The similar core state-
ments do not harm the specific character and dynamics of each canto in
terms of subject matter. When we compare the supplicant’s ‘fear’, spoken
about in v. 4, with his bold confession ‘this I know, that God is for me’
(v. 10c), a clear progression of ideas comes to light. Canto I (vv. 2–8) is
bracketed by petitions (vv. 2aA and 8b). These petitions are followed and
preceded by descriptions of hostility (vv. 2aB–3 and 6–7 respectively) form-
ing an inner ring around the pivotal strophe (vv. 4–5). Such descriptions do
not occur in the second canto. Here, the supplicant speaks of deliverance
(v. 10a–b and 14) and thanksgiving (v. 13), ideas which are not found in
the first canto.10
7
For this bipartite division, see also Ridderbos, Tate, Auffret and Terrien (§ 14.6);
cf. also the psalms translation of the Jewish Publication Society (1997). Girard also
discerns two main sections and points out their linear parallelism, but he divides after
v. 7 (see § 14.6; similarly Beaucamp and Wahl). Raabe totally neglects the parallelism
between vv. 6–8 and 13–14, while Fokkelman positively observes it (MPHB II, p. 176).
However, his preoccupation with syllable counting (see above) prevents Fokkelman from
integrating this observation into his search for the overall structure of the psalm.
8
It is telling that [Hossfeld]/Zenger cannot integrate v. 8 into the middle part (vv.
6–10a) of the supposed concentric overall framework; therefore the verseline is attributed
to ‘eine redaktionelle Hand’ (p. 111).
9
According to Raabe, counting verselines is ‘misleading’ when determining the length
a poetic unit; therefore, he counts cola (p. 104). This view is not in accordance with
what we mostly observe in Hebrew poetry; in this case the cantos have 15 and 16 cola
respectively.
10
About the dynamics of our psalm, see also [Hossfeld]/Zenger (p. 110).
ii.14 psalm 56 141
As already indicated above, the strophic division of the cantos is pri-

marily determined by thematic breaks. On this structural level there are
hardly any problems.11 The middle strophes (vv. 4–5 and 10c–12) clearly
stand out as declarations of trust. They are preceded by a 2-line strophe
and followed by a strophe of three verselines. The thematic approach is
supported by clusters of verbal recurrences which unite groups of two and
three successive verselines; see § 14.4.1. In vv. 4–5 these recurrences display
a perfect symmetry: ’yr’ . . . ’bt.h. . . . b’lhym > b’lhym . . . bt.h.ty . . . ’yr’ !; cf.
the chiasmus in vv. 10c–12. This formal approach also shows that vv. 4
and 10c do not serve as ‘transitions’ preparing the refrain, but form the
first colon of the refrain proper.12
The quintessential thought of the psalm is expressed in the refrain, vv.
4–5 and 10c–12. In these core strophes the supplicant clearly asserts his
trust in God’s deliverance; see also § 14.5 about v. 9a and the centre of
Cantos I and II. The first cola of these strophes, vv. 4 and 10c, comple-
ment each other: the psalmist trusts in God (v. 4) and God protects him
(v. 10c).13 In vv. 5a and 11 the psalmist refers to his praising God; cf. also
v. 13.
There is a distinct relationship with the preceding psalm: ywnh (v. 1)

> 55,7 (Delitzsch); ’nwš (v. 2) > 55,14.24; ’ny ’lyk ’bt.h. (v. 4) > 55,24; hmh
(v. 7) > 55,22; npšy (vv. 7.14) > 55,19; root plt. (v. 8) > 55,9; b’p (v. 8)
> 55,4; hwrd (v. 8) > 55,16.24; ndy (v. 9) > 55,8; ’th (v. 9) > 55,14.24;
’wyb (v. 10) > 55,4.13; ’qr’ (v. 10) > 55,17; mwt (v. 14) > 55,5.16; root hlk
(v. 14) > 55,15; h.yym (v. 14) > 55,16.
14.8 Bibliography
Christiane de Vos, Klage als Gotteslob aus der Tiefe. Der Mensch vor Gott in
den individuellen Klagepsalmen (FAT II.11), Tübingen: Mohr Siebeck, 2005.
11
See § 14.2 and note Christiane de Vos (2005) in § 14.6; cf. also Köster, Delitzsch,
Montgomery, Ridderbos, Raabe, Tate, Fokkelman and Terrien.
12
Contra Raabe, pp. 104 and 107–08; Fokkelman mistakenly argues that vv. 9–10
forms a strophe consisting of two tricola, because v. 10b–c closely resembles v. 5b–c
(MPHB II, p. 176). It is generally assumed that vv. 4–5 is a 2-line strophe (§ 14.6).
13
These cola have five words each and together 18+16 = 34 letters. The thematic
importance of v. 4 is probably indicated by its monocolic Masoretic demarcation; cf. Ps.
92,9.
15 Psalm 57
Structure: 7.7 > 2.2.3|2.2.3 lines (Type IA; cf. Psalm 56)
I 2 h.nny ’lhym h.nny ky bk h.syh NPŠY

wbs.l knpyk ’h.sh ‘d y‘br hwwt
3 ’qr’ l’lhym ‘lywn l’l gmr ‘ly h.rp š’py (slh)

4 yšlh. mšmym wywšy‘ny yšlh. ’lhym h.sdw w’mtw
5 npšy btwk lb’m ’škbh lht.ym bny ’dm

šnyhm h.nyt wh..sym wlšwnm h.rb h.dh
6 RWMH ‘L HŠMYM ’LHYM ‘L KL H’RS. KBWDK
II 7 ršt hkynw lp‘my kpp NPŠY

krw lpny šyh.h nplw btwkh (slh)
8 nkwn lby ’lhym nkwn lby ’šyrh w ’zmrh

9 ‘wrh kbwdy ‘wrh hnbl wknwr ’‘yrh šh.r
10 ’wdk b‘mym ’dny ’zmrk bl’mym

11 ky gdl ‘d ŠMYM h.sdk w‘d šh.qym ’mtk
12 RWMH ‘L ŠMYM ’LHYM ‘L KL H’RS. KBWDK
15.1 Text
V. 3b—h.rp š’py (slh): ‘he challenges who hounds me (slh)’; in MT we find
these words between v. 4a and 4b, where they interrupt a sort of staircase
parallelism (cf. v. 9 and Watson [1984], pp. 150–56).
Vv. 5a–b: MT divides with ‘ole weyored after lht.ym.
Vv. 8–9: I take these verselines as two bi cola (they are generally taken as
tri cola). The structure of v. 8a resembles that of v. 2a (a.b.a; and note the
vocative of ’lhym in the centre). Like v. 9a, the colon is further structured
by a ‘half-line’ parallelism; contra Watson (1984), pp. 215–17. V. 9 as a
whole is composed of a sort of staircase parallelism; note the root ‘wr at
the beginning of v. 9a and 9b (cf. v. 4* and note yšlh. at the beginning of
v. 4a and 4b!).
V. 10b—bl’mym: ‘among the nations’ (cf. Ps. 44,15); Codex L reads bl ’mym.
15.2 Content
The confidence of an individual of being delivered from his enemies.
I Prayer and description of distress.
ii.15 psalm 57 143
Save me, O God; I seek refuge in you (v. 2).

God will surely deliver me by his steadfast love (vv. 3–4).
I am surrounded by enemies (v. 5); rise up, O God, let your glory
be over all the earth (v. 6).
II Thanksgiving for salvation.
My enemies have fallen into their own pit (v. 7).
My heart is firm, O God; I will praise you in the morning (vv.
8–9; cf. vv. 3–4).
I thankfully praise you among the nations because of your endless
faithfulness (vv. 10–11); rise up, O God, let your glory be over all
the earth (v. 12).

15.3.1.1 imperat.: h.nny, v. 2a (2×) v. 9b
vocative: ’lhym, v. 2a vocative: ’dny, v. 10a
vocative: ’lhym, v. 8a
cohortatives: ’šyrh w’zmrh, 15.3.1.2 none
v. 8b; ext. // ’‘yrh in

15.3.2.1 slh, v. 7d vocative: ’lhym, v. 6a
imperative: rwmh, v. 12a
15.3.2.2 imperative: rwmh, v. 6a vocative: ’lhym, v. 12a

slh, v. 3b* vocatives: kbwdy . . . hnbl
imperative: ‘wrh, v. 9a (2×) wknwr, v. 9a

v. 2: prep. b-, vv. 2b.2c
suffix -k, vv. 2b.2c
root h.sh, vv. 2b.2c!
vv. 3–4: ’lhym, vv. 3a.4b; see also ’l (‘God’) in v. 3b
vv. 5–6: šnyhm/hšmym, vv. 5c and 6a resp. (alliter.)
v. 7: lp‘my/lpny . . . nplw, vv. 7a and 7c–d resp. (alliter.)
vv. 8–9: nkwn . . . nkwn/‘wrh . . . ‘wrh, vv. 8a and 9a resp.
nkwn lby/hnbl wknwr, vv. 8a (2×) and 9a resp. (alliter.)

lby/kbwdy, vv. 8a (2×) and 9a resp.
’šyrh/’‘yrh, vv. 8b and 9b resp. (alliter.; exactly linear)
vv. 10–12: suffix -k, vv. 10a+b.11a+b.12b
’dny/’lhym vocative, vv. 10a and 12a resp. (inclusion)
šmym, vv. 11a.12a

vv. 2–6 (Canto I): ’lhym, vv. 2a.3a+4b.6a; note ’lhym as a vocative
in vv. 2a and 6a (inclusion)
suffix -k, vv. 2b+c.6b (inclusion)
npšy, vv. 2b.5a (linear)
‘l, vv. 3b.6a+b; see also ‘lywn in v. 3a
h.rp/h.rb, vv. 3b and 5d resp. (alliter.)
šmym, vv. 4a.6a (linear)
vv. 7–12 (Canto II): root kwn, vv. 7a.8a! (2×; linear)
’lhym (vocative), vv. 8a.12a; see also ’dny as a
vocative in v. 10a
’zmr, vv. 8b.10b! (linear)
‘wrh/rwmh, vv. 9a (2×) and 12a resp. (exactly
linear)
kbwd, vv. 9a.12b (linear)

vv. 2.7: npšy, vv. 2b.7b (exactly linear); cf. Ps. 56,7.14
knp/kpp, vv. 2c and 7b resp. (alliter.)
vv. 3–4.8–9: ’lhym, vv. 3a+4b.8a
vv. 5–6.10–12: prep. b-, vv. 5a.10a+b (exactly linear)

lb’m/bl’mym, vv. 5a and 10b resp. (alliter.)
bny ’dm/‘mym . . . l’mym, vv. 5b and 10 resp.
(linear)
rwmh ‘l (h)šmym ’lhym // ‘l kl h’rs. kbwdk,
vv. 6.12! (epiphora); see also šmym in v. 11a
and suffix -k in vv. 10–11
vv. 2.10–12, inclusion: ky, vv. 2b.11a!

‘d, vv. 2d.11a+b!
ii.15 psalm 57 145
vv. 5–6.7, concatenation: npšy, vv. 5a.7b

btwk, vv. 5a.7d!

none

’mt (vv. 4.11), root h.nn (v. 2a–b [2×]), h.sd (vv. 4.11), yšlh. (v. 4 [2×]), lby
(v. 8 [2×]), root ‘wr (v. 9 [3×])

Psalm 57 has 14 (= 2×7) verselines and 28 (= 4×7) cola.1 The caesura
between Canto I and II divides the psalm into two equal halves (> 3+3
strophes, 7+7 verselines and 14+14 cola).
21* = 49+45* (= 94* = 2×47 words in total). On the basis of this word
count, ‘l kl h’rs. kbwdk (‘over all the earth be your glory’, v. 6b) is the pivot
of the psalm: vv. 2–6a.6b.7–12 > 45+4+45 words. To put it differently,
v. 6b is ‘embraced’ by 49 (= 7×7) words (vv. 2–6b and 6b–12 have 49
words each). Because v. 6b is part of the refrain, we are obviously dealing
with a meaningful centre.
The central verseline of Canto I (v. 4*) has 7 words which simultanu-
ously represent the pivotal words of the canto: vv. 2–3.4*.5–6 > 21+7+21
words (note the multiples of 7). This verseline is composed of 35 (= 5×7)
letters (cf. the 28 letters in Ps. 56,5b–c and 12) and is further highlighted as
the centre of the first canto by staircase parallelism. The central verseline
of Canto II (v. 9) has also 7 words and, like v. 4*, is further highlighted
as the centre of the canto by staircase parallelism (cf. § 15.1; this form of
internal parallelism does not occur elsewhere in the psalm).2
On the basis of the preceding observations, I conclude that the number
seven has an important function in the formal structure of this psalm. In
1
Raabe (1990), following Freedman, assumes that the psalm is based on a ‘non-
alphabetic’ acrostic structure with 33 cola; he divides v. 4 into two bicola and takes vv.
5a–b, 8 and 9 as tricola (note pp. 120–21). Because he considers v. 4 to be two bicola,
Raabe counts 15 verselines. Fokkelman discerns 31 cola; he takes vv. 4, 8 and 9 as tricola
(MPHB III).
2
When we incorporate the central words of the psalm (v. 6b) into Canto II, we find
once again the word pattern 21+7+21 highlighting v. 9 as a middle verseline (< vv.
6b–8.9.10–12).
addition, it seems justified to assume that we are once again dealing with
a ‘double menorah-like pattern’ (cf. § 14.5 above).3
The designation ’lhym for God occurs 6×: vv. 2, 3, 4, 6, 8 and 12; see
also ‘lywn (‘Most High’) and ’l (‘God’) in v. 3, and ’dny (‘Lord’) in v. 10.

Saalschütz (1825), p. 118: 1(!)–6.7–12 (‘zwei ganz gleiche Teile’)
Köster (1837): 2–4.5.6.7.8–11.12 (‘V. 10–11 hängen als Ein Vers natürlich
zusammen’)
De Wette (1856): 2–6.7–12 ; similarly [Hossfeld]/Zenger (2000)
Ewald (1866), pp. 186–89: 2–6.7–12 (14.14 ‘versglieder’ !)
Delitzsch (1894): 2.3–4.5–6 |7.8–9.10–12 (4.5.6|4.5.6 cola)
Grimme (1902), pp. 157–58: 2–4a.5+7.8–11* (4.4.4 lines)
Zenner (1906), pp. 350–54: 2–3.4–7.8–12 (3.6.5 lines)
Berkowicz (1910), pp. 9–12: 2–4a.refrain.5+7.6.8–11.12 (8.2.8.2.8.2 cola);
cf. Grimme (1902)
Duhm (1922): 2.3–4a.5.7; 8–9a*.9a*–10.11–12 (two psalms; 4×2 lines and
3×2 lines)
Gunkel (1926): 2.3–4.5.7|8–9a*.9a*–10.11–12
Möller (1931), pp. 17–19: 2–3.4–5.6 |7|8–9.10–11.12 (5.1.5 > 2.2.1|1|2.2.1
verses; a.b.c|m|a’.b’.c’)
Calès (1936): 2.3–4.5.6 |7.8–9.10–11.12 (2.2.2.1|2.2.2.1 lines); similarly Rid-
derbos (1973) and Wahl (1977), pp. 257–63
Herkenne (1936): 2–4+7*+5.6+8–12
Montgomery (1945), p. 383: 2–5.6.7–11.12 (5.1.6.1 lines)
Böhl (1947): 2–4.5+7.6.8–11.12
Pannier/Renard (1950): 2–6.7–12 ; similarly NAB (1970)
Kissane (1953): 2–6.7–12 (7.7 lines)
Mowinckel (1957): (2); two ‘superstanzas’ with 3 bicola + refrain
Beaucamp (1976): 2.3–4a.5||6.7*|8–9aA.9aB–10.11–12 (4.4.4||1.2|2.2.2)
Jacquet (1977): 2.3–4a*.5.4b|6.7.8–9.10–11.12
Kraus (1978): 2.3–6.7.8–12
Aletti/Trublet (1983), p. 38: 2–4.5.6 |7.8–11.12 (a.b.refrain|b’.a’.refrain)
Ravasi (1985): 2–4.5.6 |7.8–11.12
Raabe (1990), pp. 112–30: 2.3–4.5.6 |7.8–9.10–11.12 (2.3.2.1|2.2.2.1 lines;
4.6.5.2|4.6.4.2 = 33 cola); cf. Wahl (1977)!
3
The refrain is probably also structured by the number seven: v. 12 has 28 letters.
It may tentatively be assumed that v. 12 represents its original form and that hšmym
in v. 6a is a secondary variant of šmym in v. 12a. For a profound investigation into the
numerical aspects of this psalm, see also www.labuschagne.nl/ps057.pdf.
ii.15 psalm 57 147
Tate (1990): 2–4.5–7.8–11.12

Girard (1994): 2–3.4|4.5–7.8–10.11–12 (a.a’|b.c.c’.b’)
Auffret (1993): 2–4.5.6|7.8–10.11–12
Weber (2001): 2–5.6 |7–11.12
Fokkelman (2003), pp. 96–98: 2.3–4|5.6.7|8–9.10–11.12 (2.2|2.1.2|2.2.1 lines)
Terrien (2003): 2–3.4–5.6 |7–8.9–11.12 (a.b.refrain|b’.a’.refrain); cf. Aletti/
Trublet (1983)

As far as the composition of Psalm 57 is concerned, there are hardly any
problems. The refrain in vv. 6 and 12 marks the end of main sections and
in this way divides the poem into two cantos of exactly 7 verselines and 14
cola each, vv. 2–6 and 7–12.4
This formal division is supported by a thematic approach. Weber has
argued on philological and formcritical grounds that vv. 2–6 is a lament
(‘Klagelied’/‘Bittgebet’) and vv. 7–12 a thanksgiving song (‘Danklied’).5
These formcritical characterizations, however, do no justice to the focal idea
of the psalm which unite both sections. I concur with [Hossfeld]/Zenger
(p. 121) when the psalm as a whole is called a ‘Bittgebet mit stark be-
tontem Vertrauensbekenntnis’. Within this prayer of an individual the
development of the thought-content shows a break after v. 6.
In the first canto the psalmist prays to God for protection (v. 2), because
he is surrounded by enemies (v. 5). The form ’škbh (‘I lie down’, v. 5a)
indicates that the prayer is said in the evening, at night. Between the
prayer for protection and the discription of distress, we find a declaration
of confidence in deliverance (vv. 3–4).6 The first canto is concluded by the
first occurrence of the refrain, which consists of a call for help (v. 6a) and
the revelation of God’s glory (v. 6b). The call for help perfectly fits the
semantic context of Canto I (see especially v. 2a: ‘have mercy on me, O
God’) and marks the boundaries of the canto by inclusion; for the device
for inclusion, see also § 15.4.2.
At first sight, v. 7 is the continuation of the description of the adver-
saries and their attempts to capture the supplicant as we find it in the
concluding strophe of Canto I (see v. 5). However, Weber (art. cit., pp.
4
For the bipartite structure, see also Saalschütz, De Wette, Ewald, Delitzsch, Calès,
Pannier/Renard, Kissane, Mowinckel, Ravasi, Raabe, Auffret, Weber and Terrien in
§ 15.6. On the basis of his structural approach, Girard concludes that vv. 6 and 12 do
not represent a real refrain, because v. 12 ‘n’est qu’un doublet’ (p. 96).
5
B. Weber, SJOT 15 (2001), pp. 295–305.
6
Similarly Tate (p. 78); contra Weber (art. cit., p. 298) who argues that yšlh. (v. 4
[2×]) must not be taken as a ‘futurische Zuversichtsaussage’.
299–300) rightly considers the perfect forms (hkynw etc.) an indication that
we are dealing with a review of the distress. The second verseline of v. 7,
about of the downfall of the aggressors (note v. 7d), explicitly shows that
there is a break after v. 6. The motif concerned does not occur in the first
canto.7 In vv. 10–11 the psalmist thanks God and praises God’s faithful-
ness; the theme of thanksgiving does not feature in Canto I. Between the
description of the downfall of the aggressors and the praise of God, we find
once again a declaration of confidence (vv. 8–9; note v. 8a and cf. vv. 3–4).
It includes a call to the supplicant’s soul and his musical instruments to
prepare themselves for the praise of God. In this way, there is a smooth
transition to the following verselines in which we find the praise proper (vv.
10–11). The noun šh.r (‘morning’, 9b) suggests that the second part of the
psalm is situated at dawn. The canto is concluded by the refrain, the call
for the revelation of God’s glory (v. 12).
The preceding descriptions of the subject matter of the cantos form the
basis for their strophic division.8 To some degree, the successive strophes of
Canto II display a parallellismus stropharum; see the linear verbal repeti-
tions enumerated in § 15.4.2 and cf. npšy (‘my soul’) and šmym (‘heavens’)
in Canto I (§ 15.4.2). From a semantic point of view, there is only a loose
connection between the refrain (vv. 6 and 12) and the preceding verselines.9
It may seem that they are positioned individually at the end of the can-
tos. We are dealing here with a typical feature of some Hebrew refrains.10
Nevertheless, the prayer for deliverance (v. 6) smoothly continues the de-
scription of distress in v. 5. As far as v. 12 is concerned, § 15.4.1 clearly
shows that in terms of verbal repetition the concluding verseline belongs
to vv. 10–11; note šmym (‘heavens’) in v. 11a and 12a.11
The bipartite division of the psalm is enhanced by a linear parallel
pattern of verbal recurrences: vv. 2.3–4.5–6|7.8–9.10–12 > a.b.c|a’.b’.c’;
see § 15.4.3 and note npšy (‘my soul’) in vv. 2 and 7 (cf. Ps. 56,7.14).12
The linear parallel pattern also shows itself when we consider the strophic
7
Simlarly Raabe (1990), pp. 126.129–30; contra Tate and Fokkelman (MPHB III)
who consider vv. 5–7 a coherent whole; cf. also Duhm, Gunkel, Böhl and Girard in
§ 15.6. Weber aptly points out that the repetition of the preposition btwk (‘amidst’;
vv. 5a and 7d) underlines the exchange of roles before and after the deliverance of the
supplicant.
8
See also Delitzsch, Calès, Raabe and Fokkelman in § 15.6 and cf. further § 15.2.
9
Cf. the strophic divisions by Calès, Ridderbos, Wahl and especially Raabe in § 15.6.
10
For this characteristic, see CAS I, pp. 499-500.
11
Cf. further Delitzsch in § 15.6 and the parallel strophes in Psalm 56.
12
For the responsion npšy at the end of the first verseline of the cantos, see CAS I,
Ch. V, 3.1.2.2 (p. 472). According to Raabe, the relationship of the strophes to each
other exhibits some kind of quantitative symmetry (1990, p. 124). However, apart from
the refrain, he does not recognize the responsions on the level of the poem as a whole.
ii.15 psalm 57 149
framework of each canto: 2.2.3 verselines. The parallelism between the final
strophes of the cantos (vv. 5–6 and 10–12) is reinforced by the numerical
approach on word level: the strophes concerned have exactly 21 words (see
§ 15.5). These observations show that the refrain is only an aspect of an
all-embracing formal framework.
The quintessential thought of this composition is especially to be found
in the pivotal verselines of the cantos, vv. 4 and 9 (see § 15.5). In these
lines the psalmist expresses his strong confidence in deliverance (v. 4) and
prepares himself to praise God (v. 9). In the refrain, which concludes the
cantos, another focal idea comes to light: reveal your glory, O God, in your
creation!
Psalms 56 and 57 are twin psalms.13 Both psalms consist of two 7-line
cantos. In terms of verbal repetitions, these cantos display a linearly alter-
nating parallelism (a.b.c|a’.b’.c’). In both cases, the strophic structure of
each canto is 2.2.3 verselines. The cantos of the psalms are also character-
ized by a refrain. Apart from the refrain, the noun npšy (‘my soul’) takes a
strategic position in the rhetorical framework of the poems (§§ 14.4.3 and
15.4.3). In terms of subject matter, declarations of confidence characterize
the pivotal strophes of the cantos.
For this relationship, see further the following verbal repetitions: h.nny
’lhym h.nny ky (v. 2) > 56,2 (anaphora); npšy (vv. 2.5.7) > 56,7.14; ’qr’
(v. 3) > 56,10; ‘ly (v. 3) > 56,6.13; root š’p (v. 3*) > 56,2–3; ’dm (v. 5)
> 56,12; rwmh (vv. 6.12) > 56,3; p‘m (v. 7) > ‘qb/rgl in 56,7 and 14 resp.;
‘mym (v. 10) > 56,8.14
15.8 Bibliography
B. Weber, ‘“Fest ist mein Herz, o Gott!” Zu Ps. 57,8–9’, ZAW 107 (1995), pp.
294–95;
—, ‘Formgeschichtliche und sprachliche Beobachtungen zu Psalm 57’, SJOT 15
(2001), pp. 295–305.
13
Similarly [Hossfeld]/Zenger (pp. 116–17 and 129); cf. also Kittel (1929, p. 202),
Auffret (1993, pp. 57–59!) and Weber (art. cit., pp. 304–05). For the designation ‘twin
psalms’, see W. Zimmerli, ‘Zwillingspsalmen’, in Wort, Lied und Gottesspruch. FS J.
Ziegler (FzB 2), Würzburg, 1972, pp. 105–13. Raabe (1990) does not say anything at
all about the relationship between Psalms 56 and 57.
14
Vv. 8–12 recur in Ps. 108,2–6!
16 Psalm 58
Structure: 5.1.5 > 2.3|1|3.2 lines (Type III)
I 2 h’mnm ’LM S.DQ tdbrwn myšrym TŠPT. W bny ’DM

3 ’p blb ‘wlt tp‘lwn B’RS. h.ms ydykm tplswn
4 zrw rš‘ym mrh.m t‘w mbt.n dbry kzb

5 h.mt LMW kdmwt h.mt nh.š KMW ptn h.rš y’t.m ’znw
6 ’šr l’ yšm‘ lqwl mlh.šym h.wbr h.brym MH
. KM
II 7 ’LHYM hrs šnymw bpymw mlt‘wt kpyrym nts. yhwh
III 8 ym’sw KMW mym ythlkw LMW ydrk h..sw KMW ytmllw
9 KMW šblwl tms yhlk npl ’št bl h.zw šmš
10 bt.rm YBYNW syrtykm ’t.d KMW h.y KMW h.rwn yś‘rnw
11 yśmh. S.DYQ ky h.zh nqm p‘myw yrh..s bdm hrš‘

12 wy’mr ’DM ’k pry lS.DYQ ’k yš ’LHYM ŠPT. YM B’RS.
16.1 Text
V. 2a—’lm: ‘gods’ (= ’lym) and ‘mute ones’; see J.S. Kselman and M.L. Barré,
VT 54 (2004), pp. 400–02.
V. 7b—mlt‘wt: = mtl‘wt (‘teeth’/‘fangs’).
V. 10: meaning obscure; see R. Althann, Biblica 84 (1983), pp. 122–24.
16.2 Content
The righteous will rejoice when God sentences the unjust leaders.
I Charges against unjust leaders.
You mighty ones, you grossly misrule the nation (vv. 2–3; ad-
dressed to the gods).
The wicked are full of venom and resemble a deaf snake (vv. 4–6;
spoken about the wicked).
II O God, put an end to the aggression of the wicked (v. 7).
III The vanishing of the wicked and the victory of the righteous.
The wicked will not be successful nor prosper; God whirls them
away (vv. 8–10).
The righteous will rejoice when God judges the wicked and they
themselves will experience prosperity (vv. 11–12).
ii.16 psalm 58 151

16.3.1.1 h- interrogative, v. 2a imperative: nts., v. 7b
vocative ’lm, v. 2a vocative: yhwh, v. 7b
vocative ’lhym, v. 7a
imperative: hrs, v. 7a 16.3.1.2 none

16.3.2.1 ’p, v. 3a 16.3.2.2 w- beginning of line, v. 12a
’k, v. 12a and b

none

vv. 2–3: verb forms t . . . wn, vv. 2a.3a+b (exactly linear)
vv. 4–6: mrh.m/h.wbr h.brym, vv. 4a and 6b resp. (alliter.; inclusion)
mbt.n/kmw ptn, vv. 4b and 5b resp. (alliter.)
prep. l-, vv. 5a.6a
vv. 8–10: roots m’s/mss (‘to melt’), vv. 8a.9a
kmw, vv. 8a+b.9a+10b (2×)
root hlk, vv. 8a.9a!; see also the root drk in v. 8b
vv. 11–12: .sdyq, vv. 11a.12a
bdm/’dm, vv. 11b and 12a resp. (‘alliter.’)

vv. 2–6 (Canto I): ’lm (‘gods’)/rš‘ym, vv. 2a and 4a resp. (linear)
’lm (‘mute’)/h.rš, vv. 2a and 5b resp. (cf. Ex. 4,11
Isa. 35,5–6 and Ps. 38,14)
root dbr, vv. 2a.4b! (linear)
}
myšrym/rš‘ym, vv. 2b and 4a resp. (allit.; lin.)
chiasmus
vv. 8–12 (Canto II): ym’sw/yśmh., vv. 8a and 11a resp. (anaphora)
ydrk h..sw/p‘myw, vv. 8b and 11b resp. (exactly lin.)
root h.zh, vv. 9b.11a!

vv. 2–3.7.11–12: root .sdq, vv. 2a.11a+12a!; see also root yšr in v. 2b
špt., vv. 2b.12b!
} chiasmus
’dm, vv. 2b.12a!
’p/’k, vv. 3a and 12a+b resp.
b’rs., vv. 3b.12b! (linear); see also b- in v. 3a and 11b
h.ms/rš‘, vv. 3b and 11b resp.
ydym/p‘mym, vv. 3b and 11b resp.
’lhym, vv. 7a.12b!; see also ’lm (‘gods’) in v. 2a
bpymw/p‘myw, vv. 7a and 11b resp. (alliter.)
vv. 4–6.8–10: rš‘ym/yś‘rnw, vv. 4a and 10b resp. (alliter.)

mrh.m . . . mbt.n/npl ’št, vv. 4 and 9b resp.
mbt.n/bt.rm, vv. 4b and 10a resp. (alliter.)
h.mt (from the root h.mm, ‘to burn’)/h.rwn (from the
root h.rh, ‘to become hot’), vv. 5a and 10b resp.
lmw, vv. 5a.8a!
kmw, vv. 5b.8–10!; see also prep. k- in v. 5a
l’/bl, vv. 6a and 9b resp.
h.wbr h.brym mh.km/kmw h.y kmw h.rwn, vv. 6b and 10b
resp. (alliter.)
roots h.km/byn, vv. 6b and 10a resp. (linear)
vv. 4–6.7.8–10: suffix -mw, vv. 5a.7a.8a!

mlt‘wt/ytmllw, vv. 7b and 8b resp. (alliter.)

prep. b- (vv. 7.10), suffix -w (v. 5), prep. l- (v. 12)

’k (v. 12 [2×]), suffix -km (vv. 3.10), rš‘ (vv. 4.11)

Psalm 58 has 11 verselines and 22 cola.1 In terms of verselines and cola
v. 7 is the exact arithmetic centre (> 5+1+5 verselines and 10+2+10 cola).
This is the only verseline in which God is explicitly addressed and where
1
Fokkelman (MPHB III) counts 12 verselines and 24 cola, mistakenly regarding v. 8
as two bicolic verselines.
ii.16 psalm 58 153
we find the name yhwh! Because the supplication to put an end to the ag-
gression of the wicked can be taken as a focal message, v. 7 is the rhetorical
centre of the psalm.2
Structure of strophes and cantos in terms of words: 16+25|8|27+19
= 41+8+46 (= 95 = 5×19 words in total). Including the five words of
the heading, v. 7 is also the centre of the composition on word level (vv.
2–6.7.8–12 > 46+8+46 words)!
The designation ’lhym (‘God’) occurs 2×: vv. 7 and 12; see also the
name yhwh in v. 7 and the designation ’lm in v. 2.

Köster (1837): 2–3.4–6.7–9.10–12 (2.3.3.3 verses); similarly Ewald (1866),
pp. 189–94, Jacquet (1977)
De Wette (1856): 2–6.7–10.11–12; similarly Pannier/Renard (1950)
Ley (1875), pp. 206–07: 2–4.5–7.8–10.11–12
Delitzsch (1894): 2–3.4–6.7–10.11–12; similarly Böhl (1947), Tate (1990)
Zenner (1906), pp. 99–100: 2–3.4–6|7–9.11–12 (2.3|3.2 lines/bicola)
Von Faulhaber (1913), p. 21: 2–3.4–5.7–8.11–12 (vv. 6 and 9–10 ‘erklärende
Noten’)
Duhm (1922): 2–3+x.4–6.7–9.10–12 (4×3 lines/bicola)
Gunkel (1926): 2–3.4–6|7–8.9–10|11–12
Lund (1933), pp. 309–12: 2.3.4.5–6|7|8–9a.9b.11.12 (a.b.c.d|e|d’.c’.b’.a’;
3×2.4.2.4.3×2 cola); similarly Lund (1942), pp. 95–97
Calès (1936): 2–3.4–6|7–10.11–12 (2.3|4.2 lines); cf. Zenner (1906)
Kissane (1953): 2–3.4–6|7–10.11–12 (2.3|3.2 lines); cf. Calès (1936)
Ridderbos (1973): 2–3|4.5–6||7–8.9–10|11–12
Alden (1976), pp. 192–93: 2.3.4–6.7a|7b.8–10.11.12 (a.b.c.d|d’.c’.b’.a’)
Beaucamp (1976): 2–3 4–6.7–9 11–12 (4 6.6 4 cola); cf. Kissane (1953)
Aletti/Trublet (1983), p. 77: 2–3.4–6|7–10.11–12 (a.b|b’.a’); cf. Calès (1936),
Ravasi (1985) and Weber (2001)
Neveu (1990), pp. 24–26: 2–3.4–10.11–12
Auffret (1993): 2–3.4–6.7.8–10.11–12 (a.b.x.b’.a’); sim. Hossfeld/[Zenger]
(2000); cf. Kraus (1978)
Girard (1994): 2–4.5–6|7–10.11–12 (a.b|b’.a’); cf. Aletti/Trublet (1983)
Doyle (1996), note pp. 132–35: 2.3–6.7.8–11.12 (1.4.1.4.1 bicola; vv.
2–3.4.5.6|7|8.9.10.11–12 > a.b.c.d|x|d’.c’.b’.a’)
Krawczack (2001), pp. 109–68: 2–3.4–6.7.8–10.11–12 (2.3.1.3.2; a.b.x.b’.a’)
2
For the the central positioning of v. 7, see further § 16.7 below and Ch. V, 2.1.2.
For particulars regarding the rhetorical centre, see also www.labuschagne.nl/ps058.pdf,
Observations 1–2.
Fokkelman (2003), pp. 98–101: 2–3.4–6|7–8a.8b–10.11–12 (2.3|2.3.2 lines;

a.b.x.b’.a’)
Terrien (2003): 2–4.5–6|7|8–9.10–12 (3.2|1|2.3 lines; v. 7 ‘core verse’)

Psalm 58 is an outstanding example of a poem which is concentrically
framed. Pure concentric compositions are rather scarce in Hebrew poetry;
see Ch. IV, 2.6.1. Exegetes have generally observed that Psalm 58 divides
into a series of small relatively independent units, which may be called
strophes, vv. 2–3, 4–6, 7–10, 11–12 (see § 16.6). In addition, some scholars
discern two main sections, vv. 2–6 and 7–12.3 Lund (1933) was the first to
argue convincingly that the psalm as a whole has a concentric framework
and that v. 7 is an independent unit, representing the exact numerical—and
at the same time the meaningful—centre of the composition.4
In my opinion, the schematic form of the concentric framework of our
poem is as follows: vv. 2–3.4–6|7|8–10.11–12 > a.b|x|b’.a’ (similarly Auffret
[1993], Hossfeld/[Zenger] and Krawczack[2001]). This framework is unam-
biguously butressed by the pattern of verbal repetitions on the level of the
psalm as a whole; see § 16.4.3. The conspicuous cluster of responsions we
find in vv. 2–3 and 11–12 mark the boundaries of the composition by in-
clusion; note .sdq (‘to be righteous’), špt. (‘to judge’), ’dm (‘people’) and
b’rs. (‘on the earth’). Especially the parallelism of the roots h.km (‘to be
wise’) and byn (‘to understand’) in vv. 6 and 10 respectively marks the
correspondence between the inner ring, strophes vv. 4–6 and 8–10.5
Lund has aptly noticed that the central positioning of v. 7 is highlighted
by its symmetric form in terms of grammar: a.b.c|c’.b’.a’. At the far ends
we find the vocatives of ’lhym (a) and of yhwh (a’), which include the
imperatives hrs (‘smash’) and nts. (‘break off’); in their turn, they include
the objects ‘teeth’ and ‘fangs’.6
3
See Zenner, Calès, Kissane, Ridderbos, Aletti/Trublet, Girard and Fokkelman in
§ 16.6.
4
See § 16.6; however, Lund erroneously states that ‘Neither length nor number of
lines, but only the order of the ideas, can supply us with the clue to the structure
of the psalm’ (1942, p. 96). For the concentric structure, see now also Doyle (1996),
Hossfeld/[Zenger], Krawczack (2001), Fokkelman and Terrien; cf. in this respect further
Alden, Aletti/Trublet and Girard in § 16.6.
5
For the word pair in question, see Isa. 3,3 11,2 Jer. 10,12 Job 12,12.13 25–26
28,12.20.28 32,9 38,36 39,17 and Prov. 1,2 3,13.19 4,5.7 8,1 9,10 16,16. This word
pair is totally overlooked by Lund. On the basis of the ‘well-knit chiastic structure’ of
the psalm he concludes that v. 10 is a gloss (1933, p. 311).
6
‘This extensive chiastic form is characteristic of the central couplet only’; Lund
(1933), p. 310 (similarly Lund [1942], p. 95). For comparable examples of pivotal psalm
ii.16 psalm 58 155
The concentric pattern of the verbal repetitions on the level of the psalm
as a whole coincides with a similar pattern of correspondences in terms
of motifs and themes. In the outer ring the psalmist straightforwardly
speaks about injustice done to mankind by evil rulers (vv. 2–3; here we are
dealing with the definition of the problem) and God as a righteous judge
(vv. 11–12; the denouement). Vv. 4–6 and 8–10, the inner ring, are full of
metaphors (note the preposition kmw ) describing the intrinsic wickedness of
the judges and their vanishing respectively. Both strophes contain allusions
to childbirth. The metaphor of ‘miscarriage’ (v. 9b) clearly corresponds
to the going astray ‘from the womb’ (v. 4). Further, in both strophes
we read about a lack of sensory perception; note vv. 6a and 9b. The
central verseline, v. 7, is the only unit in which God is explicitly invoked
to intervene.
The strophic structure of Cantos I and II is based on thematic (see
§ 16.2) and formal considerations (see §§ 16.3.1.1, 16.3.2.1 and 16.4.1–2).7
The strophic structure of Canto I is especially based on the change in the
direction of address: in vv. 2–3 the psalmist addresses the ‘mighty ones’ in
the second person (plural), but in vv. 4–6 he speaks about the wicked in
the third person.8 In Canto II, the vanishing of the wicked (vv. 8–10) is
antithetically distinguished from the success of the righteous (vv. 11–12).
In terms of verselines and cola, the strophic structure once more strengthens
the concentric framework of the poem as whole: vv. 2–3.4–6|7|8–10.11–12
> 2.3|1|3.2 verselines and 4.6|2|6.4 cola.
The elaborate concentric framework of this composition does not detract
form the linear thought-progression which characterizes the psalm from
the first to the last verseline. In the first strophe (vv. 2–3), the problem is
stated: mankind suffers by unjust leaders; vv. 4–6 focuses on the wickedness
of the leaders. The central strophe contains a prayer for deliverance (v. 7).
The suffix -mw in v. 7a, referring to the rš‘ym (‘wicked’) in v. 4, shows that
there is a smooth transition from vv. 2–6 (Canto I) to the petition at the
centre (v. 7; Canto II). In vv. 8–10 the psalmist describes the fading away of
the ‘wicked’, without explicitly mentioning the subject of the verbs ym’sw
(‘melt’) etc; this means that there is also a smooth transition from the
second to the third canto. The concluding strophe (vv. 11–12) contains the
denouement: the righteous wil rejoice after their victory over the wicked.
It is rightly noticed by Hossfeld/[Zenger] (p. 134; following Gersten-
berger) that Psalm 58 displays the characteristics of a wisdom song (‘Weis-
heitslied’). The bare fact that the poem has 11 verselines and 22 cola (see
units highlighted by concentric structures, see Ch. V, 3.2.
7
See also Delitzsch, Gunkel, Ridderbos, Hossfeld/[Zenger] and Fokkelman in § 16.6.
8
Contra Girard (pp. 102 and 105), who divides as follows: vv. 2–4 and vv. 5–6.
§ 16.5) points in the direction of this form-critical classification. It means

that the psalm is a ‘quasi-alphabetic’ composition.9 The alphabetic acros-
tic is a literary device often found in poems composed by wisdom teachers
to emphasize the completeness of their observations. The key words h.km
(‘to be wise’) and byn (‘to understand’) in the concluding verselines of the
strophes forming the inner ring (vv. 6 and 10), perfectly fit a wisdom-song.
The contrast between the punishment of the rš‘ (‘wicked’) and the victory
of the .sdyq (‘righteous’) in the concluding strophe (vv. 11–12) additionally
suggests a wisdom background for the poem (cf. Ps. 1,5–6).
In the concluding strophe, the denouement (vv. 11–12), we find the
quintessential thought of our psalm: God makes the righteous prosper, but
the wicked rulers will fade away.10
the following verbal repetitions: bny ’dm (vv. 2) > 57,5 (see also ’dm in
58,12); lb (v. 3) > 57,8; ’rs. (vv. 3.12) > 57,6.12; šnym (v. 7) > 57,5; h..s
(v. 8) > 57,5; p‘m (v. 11) > 57,7.
16.8 Bibliography
K. Seybold, ‘Psalm lviii. Ein Lösungsversuch’, VT 30 (1980), pp. 53–66;
den: Brill, 1984, pp. 70–71;
B. Doyle, ‘Ps. 58: Curse as Voiced Disorientation’, Bijdragen 57 (1996), pp.
122–48;
D.P. Wright, ‘Blown away like a bramble: the dynamics of analogy in Psalm 58’,
RB 103 (1996), pp. 213–36;
P. Krawczack, “Es gibt einen Gott, der Richter ist auf Erden!” (Ps 58,12b)
(BBB 132), Berlin/Wien: Philo, 2001;
O. Loretz, ‘Der juridische Begriff nihlatum / nh.lt / nah.a lāh “Erbbesitz” als
¯
amurritisch-kanaanäischer Hintergrund von Ps 58’, UF 34 (2002), pp. 453–79.
9
For this interpretation of the number eleven, see Ch. I, 1.4 above.
10
Cf. Hossfeld/[Zenger] (p. 134): ‘Die beiden mit ’k ‘ja’ eingeleiteten Kola von V 12
können als weisheitliche Summe des Psalms bezeichnet werden’. Doyle (1996, p. 133)
notes that the concentric structure of the psalm functions to express the reversal of the
fortunes of the wicked and the righteous. According to Terrien (p. 439), the ‘thematic
key’ is to be found in the initial interrogation (v. 2) and the final expostulation (v. 12).
ii.17 psalm 59 157
17 Psalm 59
Structure: 8.8.3 > 2.2|2.2||3.3.2||3 lines (Type IIB)
I.1 2 hs.ylny m’yby ’lhy mmtqwmmy TŚGBny

3 hs.ylny mp‘ly ’wn wm’nšy dmym hwšy‘ny
4 ky hnh ’rbw lnpšy ygwrw ‘ly ‘zym l’ pš‘y wl’ H

.T. ’Ty
5 bly ‘wn yrws.wn wykwnnw ‘wrh lqr’ty wr’h [YHWH
I.2 6 w’th yhwh ’lhym .sb’wt ’lhy yśr’l

hqys.h lpqd kl hgwym ’l th.n kl bgdy ’wn (slh)
7 YŠWBW L‘RB YHMW KKLB WYSWBBW ‘YR

8 hnh yby‘wn bpyhm h.rbwt bśptwtyhm ky my šm‘
II 9 W’th yhwh tśh.q lmw tl‘g lkl gwym

10 ‘ZY ’LYK ’ŠMRH KY ’LHYM MŚGBY
11 ’LHY H. SDY yqdmny ’LHYM yr’ny bšrry
[’DNY
12 ’l thrgm pn yškh.w ‘my hny‘mw bh.ylk whwrydmw mgnnw
13 H.T. ’T pymw dbr śptymw wylkdw bg’wnm wm’lh wmkh.š ysprw
14 klh bh.mh klh w’ynmw wyd‘w ky ’lhym mšl by‘qb l’psy h’rs.
[(slh)
15 wYŠWBW L‘RB YHMW KKLB WYSWBBW ‘YR
16 hmh yny‘wn l’kl ’m l’ yśb‘w wylynw
III 17 W’ny ’šyr ‘Zk w’rnn lbqr H

. SDk
KY hyyt MŚGB ly wmnws bywm .sr ly
18 ‘ZY ’LYK ’ZMRH KY ’LHYM MŚGBY ’LHY H
. SDY
17.1 Text
V. 10a—‘zy: ‘my strength’, see BHS; MT reads ‘zw (‘his strength’).
V. 11a—h.sdy: ‘my loyal love’, so Q; K h.sdw (‘his loyal love’).
V. 12b–c: MT divides with ’atnah. after whwrydmw in v. 12c.
V. 14b–c: MT divides with ’atnah. after by‘qb in v. 14c.
V. 16a—yny‘wn: so Q; K ynw‘wn.
17.2 Content
The confidence of an individual (a king) in deliverance from enemies.
I Prayer for deliverance and description of distress.
I.1 O God, save me from my enemies (vv. 2–3).
Although I am innocent, they are threatening me (vv. 4–5).
I.2 O God, punish all evil deceivers (v. 6; cf. vv. 2–3).
They are threatening and slandering me (vv. 7–8; cf. vv. 4–5).
II Trust in God, prayer for punishment and description of distress.
I trust in your deliverance, for God is my refuge (vv. 9–11).
Bring my enemies down and let them be snared by their arro-
gance (vv. 12–14).
They keep on threatening me (vv. 15–16; cf. vv. 7–8).
III Thanksgiving for deliverance.
I raise a song to your loyalty, for God is my refuge (vv. 17–18).

17.3.1.1 imperative: hs.ylny, v. 2a; vocative: yhwh, v. 9a; ext.
ext. // hs.ylny in v. 3a // ‘zy in v. 10a
and hwšy‘ny in v. 3b ’l prohibitive, v. 12a
vocative: ’lhy, v. 2a imperatives: hny‘mw . . .
hnh, v. 4a whwrydmw, v. 12b–c
vocative: yhwh, v. 4c vocat.: mgnnw ’dny, v. 12c
w- beginning of line, v. 6a w- beginning of line, v. 15a
’th, v. 6a w- beginning of line, v. 17a
vocatives: yhwh ’lhym ’ny, v. 17a
.sb’wt // ’lhy yśr’l, v. 6
w- beginning of line, v. 9a 17.3.1.2 pn, v. 12a
’th, v. 9a

17.3.2.1 slh, v. 6d hnh, v. 8a
slh, v. 14c my, v. 8c
hmh, v. 16a imperat.: klh, v. 14a (2×)
vocative: ‘zy, v. 18a
17.3.2.2 imperatives: ‘wrh . . . cohortative: ’zmrh, v. 18a
wr’h, v. 5b
ii.17 psalm 59 159

imperative: hqys.h, v. 6c
’l prohibitive, v. 6d
cohortative: ’šmrh, v. 10a

vv. 2–3: hs.ylny m’yby/mp‘ly, vv. 2a and 3a resp.! (anaphora); see
also mn in vv. 2b.3b and -ny in v. 2b.3b (epiphora)
vv. 4–5: prep. l-, vv. 4a.5b
’rbw l-/‘wrh lqr’ty wr’h, vv. 4a and 5b resp. (alliter.)
h..t’t/‘wn, vv. 4c and 5a resp.
vv. 9–11: ’lhym, vv. 10b.11a+b
vv. 17–18: ‘z, vv. 17a.18a (inclusion)
h.sd, vv. 17b.18c (inclusion; exactly linear)
ky . . . mśgb ly/mśgby, vv. 17c and 18b resp.; see also mnws
in v. 17d

vv. 2–5 (I.1): vocatives of ’lhy/yhwh, vv. 2a and 4c resp. (linear)
’wn/‘wn, vv. 3a and 5a resp. (linear)

vv. 2–8 (Canto I): ’lhym (vocative), vv. 2a.6a+b
} chiasmus
yhwh (vocative), vv. 4c.6a
p‘ly/bgdy ’wn, vv. 3a and 6d resp.! (linear)
ky, vv. 4a.8c
} chiasmus (linear)
hnh, vv. 4a.8a!
’rbw l-/l‘rb, vv. 4a and 7a resp. (alliter.; linear)
‘wrh l-/hqys.h l-, vv. 5b.6c (concatenation)
vv. 9–16 (Canto II): w- beginning line, vv. 9a.15a (exactly linear)
vocatives of yhwh/’dny, vv. 9a and 12c resp. (lin.)
gwy/‘m (‘people’), vv. 9b and 12a resp. (linear)
’lhym, vv. 10b+11a+b.14b (linear)
root nw‘ (‘to wander’) , vv. 12b.16a!

vv. 2–3.9–11.17–18: suffix -ny, vv. 2–3.11a+b!
’yby/šrry, vv. 2a and 11b resp. (cf. Pss. 54,6–9 and
56,3.10); see also .sr ly in v. 17d
dmym/yqdmny, vv. 3b and 11a resp. (alliter.)
w’th/w’ny, vv. 9a and 17a resp. (anaphora)
‘zy ’lyk ’šmrh/’zmrh // ky ’lhym mśgby, vv. 10 and
18a–b resp.; see also ‘z in v. 17a, ky . . . mśgb
in v. 17c! and the root śgb in v. 2b!
’lhy h.sdy, vv. 11a.18c!; see also h.sd in v. 17b!
vv. 4–6.12–14: ky, vv. 4a.14b

h..tt, vv. 4c.13a!
vocatives of yhwh/’dny, vv. 4c.12c (linear)
yśr’l/y‘qb, vv. 6b and 14c resp.!
kl h- . . . kl/klh . . . klh, vv. 6c–d and 14a (alliter.)
’l prohibitive, vv. 6d.12a!
slh, vv. 6d.14c! (exactly linear)
vv. 7–8.15–16: yšwbw l‘rb . . . ‘yr, vv. 7.15! (refrain; exactly lin.)
hnh yby‘wn/hmh yny‘wn, vv. 8a and 16a resp.
(alliter.; exactly linear)
vv. 6–8.9–11: w’th yhwh . . . l- . . . kl hgwym/w’th yhwh . . . lkl

gwym, vv. 6 and 9 resp. (concatenation)
vv. 15–16.17–18: l‘rb (‘at evening’)/lbqr (‘in the morning’), vv. 15a
and 17b resp. (concatenation)

‘z (v. 4)

ph (vv. 8.13), root r’h (vv. 5.11), śph (vv. 8.13)
ii.17 psalm 59 161

Psalm 59 has 19 verselines and 44 (= 4×11) cola.1 V. 10 is the central verse-
line (> 9+1+9 verselines). The pivotal position of v. 10 is strengthened
by the partially symmetric structure of the verseline in terms of grammar
(a.b.c|d.b’.a’).2 In this line we find a succinct formulation of the psalmist’s
trust in God. This is doubtless a focal idea in the poem, because in the to-
tal structure of the psalm it functions as a refrain (cf. v. 18). Therefore, we
may consider v. 10 the rhetorical centre. Vv. 10–11 constitute the central
cola (> 20+4+20 cola).
Structure of strophes and cantos in terms of words: 11+19+15+14|19+
30+13|22 = 59+62+22 (= 143 = 13×11 words in total). On the basis of
this outcome—see also the number of cola—I conclude that the number
eleven is a characteristic device in the numerical composition of the psalm;
we are once again dealing with a ‘quasi-alphabetic’ poem.3 mśgby (‘my
bulwark’) is the pivotal word (> 71+1+71 words). The morpheme features
exactly at the end of v. 10 and has a pivotal position between the occur-
rences of the root śgb in the first verseline (v. 2b) and the concluding lines
(vv. 17c and 18b; cf. § 17.4.4). In this way, v. 10 is one again highlighted
as the middle verseline of the psalm (cf. Ch. V, 3.1.2).
9× God is designated ’lhym: vv. 2, 6 (2×), 10, 11 (2×), 14 and 18 (2×).
That is to say, the central positioning of vv. 10–11 (see above) is reinforced
by the even distribution of the title ’lhym: there are three occurrences of
’lhym before and after vv. 10–11, while the central cola themselves also
have 3× ’lhym.4 The divine name, yhwh, occurs 3×: vv. 4, 6 and 9; in
v. 12 we find ’dny (‘Lord’).

Köster (1837): 2–6.7–11.12–16.17–18 (3×5.2 verses); similarly Ewald (1866),
pp. 194–99
1
According to Raabe (1990, pp. 139–40), the psalm is based on a ‘non-alphabetic’
acrostic structure with 46 (= 2×23) cola; he divides vv. 11 and 14b–c into three cola.
Weber also counts 44 cola (both halves ‘entsprechen einem nicht-alphabetischen Akros-
tichon’ [p. 265]), but he considers the refrain vv. 7/15 a tricolon, while he takes vv. 6b–d
and 18 as bicola. Fokkelman (MPHB II) has also 19 verselines, but he discerns 47 cola
because he divides vv. 7, 11 and 15 into three cola (note pp. 179–80).
2
For this feature as a device for highlighting the centre of a psalm, see Ch. V, 5.
However, for similar symmetries in the verseline, see vv. 2, 3, 16 and 18.
3
Cf. Psalm 58 (note § 16.5), Raabe, Weber and Labuschagne (www.labuschagne.
nl/ps059.pdf, Observation 2). In this respect, it is noticeable that the heading (v. 1) has
exactly 11 words.
4
For this feature as a device for highlighting the centre of a psalm, cf. Ch. V, 2.3.1.
Hävernick (1849), p. 43: 2–6.7–11.12–14.15–17.18 (5.5.3.3.1 verses)

De Wette (1856): 2–6.7–10|11–14.15–18 (‘Wenige Pss. zeigen eine so
künstliche Anlage wie dieser’ [Olsh.]); similarly Delitzsch (1894) and
Pannier/Renard (1950)
Grimme (1902), p. 158: 2–4b.5–6.7–8b+9.10–11.12–13.14*.16–17.18 (3×6.
4.3×6.4 cola)
Zenner (1906), p. 156–58: 2–4b.4c–6|12–14|7–11.15–18 (3.3|4|5.5 lines)
Berkowicz (1910), pp. 22–23: 2–4.5–6.7.8–9.10 |11–12.13–14.15.16–17.18
Duhm (1922): 2–3.4–5aA.5aB–6b.6c–8b.9–10.11–12b.12c–13.14.15–16.17
(10×2 bicola)
Gunkel (1926): 2–3.4.5–6*.7+16.8a–b+9.10–11.12–13a.13b–14.17; cf.
Mowinckel (1957), pp. 62–63
Calès (1936): 2–3.4–5a.5b–6|7–8.9–10||11–12.13–14|15–16.17.18 (2.2.2|2.2||
2.2|2.2.1 lines); cf. De Wette (1856)
Herkenne (1936): 2–6.7–11.12–14.15–18; cf. Hävernick (1849)
Montgomery (1945), p. 383: 2–6.7–10.11–14.15–18 (5.4.4.5); cf. Calès (1936)
Böhl (1947): 2–3.4–5a.5b–6|7–8 |9–11.12–13.14|15–16 |17–18*
Baumann (1949–50), pp. 115–20: 2–4b+5.6.7+16+9–10|11–13.14.15–17
(4.2.4|4.2.4 lines)
Kissane (1953): 2–3.4–10.11–18 (2.9.9 lines; ‘doubtful’)
Schildenberger (1960), p. 680: 2–6b.6c–10|11–14.15–18 (5.5|5.5 lines); cf.
Montgomery (1945)
Ridderbos (1973): 2–5a.5b–8.9–11|12–14.15–16.17–18
Alden (1976), p. 193: 2–3.4–9.10|11.12–16.17–18 (a.b.c|c’.b’.a’)
Beaucamp (1976): 2–3 4–5a.6|7–8b.9+11||12a+13a–b.13c–14|15–16.17 18
(4 4.4|4.4||4.4|4.4 3 cola)
Jacquet (1977): 2–3.4–5a.6a+5b+6c–d.7*+16.8–9|10–11.12–13b.13c–14.
15–16.17 (v. 18 ‘Addition liturgique’)
Wahl (1977), pp. 264–72: 2–3.4–5a.5b–6.7–8.9–11aA|11aB–12.13.14.15–16.
17–18 (2×5 strophes; all strophes are ‘seen to be couplets, except the
last, which is a triad’)
Kraus (1978): 2–3.4–5a.5b–6.7–8.9–11.12–14.17.18 (‘ausgeschlossen, die
Wiederholungen als “Kehrverse” zu bezeichnen’)
TOB (1978): 2–3.4–6.7–8.9–11.12–14.15–16.17–18
Ravasi (1985): 2–3 4–6.7.8–9|10 |11–14.15.16–17|18 (vv. 7.15, ‘ritornelle
centrale’; vv. 10.18 refrain)
Gerstenberger (1988), pp. 235–39: 2–3.4–5a.5b–6.7–8 |9–10.11–14.15–16 |
17–18
Raabe (1990), pp. 131–53: 2–3.4–5.6|7 |8–9|10–11aA||11aB–12.13–14|15 |
16–17|18 (2.2.2|1|2|1||2.3|1|3|1 lines; 4.5.4|2|5|3||5.7|2|6|3 > 2×23 cola)
Tate (1990): 2–6.7–14.15–18 (note p. 96); similarly Van Uchelen (1977)
ii.17 psalm 59 163
Auffret (1993): 2–3.4–5a.5b–6.7–8.9.10–11aA.11aB–14.15–16.17–18 (v. 9 is

a ‘hinge’ between vv. 2–9 and 9–18)
Girard (1994): 2–3.4–5a.5b–6.7–8.9–11|12.13.14.15–16.17–18 (a.b.c.d.e|a’.b’.
c’.d’.e’ and a.b.c.d.e|e’.d’.c’.b’.a’ [the chiastic pattern is secondary]);
cf. Aletti/Trublet (1983), p. 35
Fokkelman (2000), pp. 177–80: 2–3.4–5a.5b–6|7.8–9.10–11aA||11aB–12.
13–14|15.16–17b.17c–18 (2.2.2|1.2.1||2.2|1.2.2 lines; A.B|A’.B’)
[Hossfeld]/Zenger (2000): 2–3.4–5a.5b–6.7–8.9–10|11.12.13.14.15–16.17–18
Weber (2001): 2–6.7 |8–9.10–11aA||11aB–14.15 |16–17.18 (15.7|14.8 cola
> A.B|A’.B’; 22.22 cola)
Terrien (2003): 2–3.4–6|7–8.9–10 ||11–12.13–14|15–16.17.18 (2.3|2.2||2.2|
2.2.1 lines)

In my opinion, Psalm 59 has a very clear rhetorical framework. Two differ-
ent refrains or refrain-strophes (vv. 7–8.15–16 and 9–11.17–18), strategicly
woven into the fabric of the text, form its most conspicuous structuring
features. However, it is curious to see that these refrains have obviously
hindered the traditional exegesis from detecting the thematically wave-like
movement of our psalm.5 Here, we encounter the shortcomings of not only
the mainstream form-critical approach, but also of recent structural inves-
tigations.
Gunkel notes: ‘Im gegenwärtigen Text stehen die verschiedenen Motive
eines Klageliedes . . . bunt durcheinander’ (p. 252). This intertwining of
motifs ‘has baffled commentators’ (Dahood, Psalms II, p. 67). According
to Tate, ‘the complex nature of the text makes it difficult to find a clear
structural outline in the psalm’ (p. 96).6 In my view, observations like these
are more indicative of the unsatisfactory results of the existing analyses
than of the ambiguous framework of the poem under discussion.
Notwithstanding the difficulties mentioned, many exegetes assume that
our psalm divides into two main sections, vv. 2–10/11 and 11/12–18.7 That
is to say, the refrain vv. 10(–11)/18 is supposed to function as a concluding
device at the end of the main parts. There is also some agreement that slh
5
Scholars like Duhm, Gunkel, Baumann, Jacquet and Kraus have even flatly denied
that the recurring verselines are to be interpreted as refrains.
6
Cf. Gerstenberger (1988, p. 238) about vv. 11–14: ‘a conglomerate of petition,
imprecation, liturgical response, and missionary instruction. . . . Personal and national
concerns are intertwined’.
7
See De Wette, Berkowicz, Calès, Baumann, Pannier/Renard, Kissane, Schilden-
berger, Ridderbos, Alden, Beaucamp, Wahl, Ravasi, Raabe, Girard, Fokkelman, [Hoss-
feld]/Zenger, Weber and Terrien in § 17.6.
in vv. 6 and 14 marks the end of a (sub-)section.8 It is further supposed that

this observation is in line with the positioning of the refrain vv. 7/15 at the
beginning of a new (sub-)section. According to this approach, vv. 7–10/11
and 15–18 form more or less coherent units.9 Moreover, recent structural
investigations unanimously point out that—from a thematic point of view—
the main parts (vv. 2–10/11 and 11/12–18) display a linear parallelism.10
The traditional structural interpretations of our psalm (as described
above) show several flaws. First, vv. 7–10/11 and 15–18 do not represent
coherent poetic units at all. Vv. 7–8 and 15–16 thematically belong to
the preceding sections and are to be taken as strophes concluding a main
part, a canto. Second, the different functions of the refrains are generally
exchanged. What is taken as a refrain opening a (sub-)unit (vv. 7/15)
in fact concludes a main part and what is considered a final refrain (vv.
10.18) in fact functions as marker at the beginning of a main part. Third,
the current exegesis has consistently ignored the major caesurae which come
after vv. 8 and 16,11 while the bipartite division of the psalm breaks up the
coherence of vv. 9–16.
From a structural point of view, Psalm 59 belongs to a class of compo-
sitions which I have called Type IIB. This type includes poems composed
of two or three cantos with a regular number of verselines, which are fol-
lowed by a ‘half-long’ canto. In our psalm, we are dealing with two 8-line
cantos (vv. 2–8 and 9–16), which are followed by a canto of three verselines
(vv. 17–18).
Canto I (vv. 2–8) consists of prayers for deliverance and descriptions of
distress. The canto is composed of two 4-line canticles, vv. 2–5 and 6–8.
These canticles form a powerful linearly alternating parallelism: vv. 2–3.4–5|
6.7–8 > a.b|a’.b’. This pattern is based on semantic correspondences (see
§ 17.2) and a number of conspicuous responsions (note the linear verbal re-
currences described in § 17.4.3). This means that vv. 7–8 form an integral
part of the preceding unit.12 The supplicant’s call for help in v. 5b (‘rouse
8
According to Tate, ‘the selah arrangement provides a reasonable working basis for
reading the psalm’ (p. 96).
9
See Hävernick, De Wette, Calès, Herkenne, Montgomery, Schildenberger, Beaucamp,
Fokkelman and Terrien in § 17.6. Weber takes vv. 7/15 as a concluding refrain marking
the end of the first and the third sub-section. Ravasi regards vv. 7 and 15 as a ‘ritornello
centrale’.
10
See, e.g., Raabe (pp. 151–53), Girard (pp. 113–15) and [Hossfeld]/Zenger (pp.
145–46; ‘Die beiden Teile des Psalms sind analog gestaltet’); for the a.b|a’.b’ structure
of the sub-sections, see Fokkelman and Weber in § 17.6.
11
Cf. Krašovec, Antithetic Structure (1984), pp. 71–72.
12
Cf. Ridderbos (1973), p. 249. Contra Raabe (p. 148), Fokkelman (MPHB II, p. 178,
where he explicitly states that the description of the adversaries in vv. 7–8 does not fit
ii.17 psalm 59 165
yourself on my behalf and see’) is not exactly in line with the alternat-
ing correspondence between the 2-line strophes. It constitutes a semantic
inclusion with vv. 2–3 and simultaneously an enjambement with the first
strophe of the following canticle (note v. 6c; see also the concatenation
described in § 17.4.3).
The small cluster of transition markers represented by w’th yhwh (‘but
you, O Lord’; see § 17.3.1.1) in v. 9a introduce a new theme, the beginning
of Canto II (vv. 9–16). In vv. 9–11 the supplicant expresses his confidence
that God will enable him to conquer his adversaries. In the context of vv.
9–10 the imperfects in v. 11 are not to be taken as jussives; the verseline is
not a wish.13 V. 11b, ‘God will let me gloat over my foes’, forms the climax
of the utterances of trust. The prohibitive ’l thrgm (‘do not kill them’),
opening v. 12, introduces the petition for the downfall of the enemies (vv.
12–14). In vv. 15–16 the psalmist once again describes the aggression of
his adversaries. This strophe corresponds to vv. 7–8, the final strophe of
the first canto (see also § 17.4.4).14 It is most natural to assume that the
refrain-strophe vv. 15–16 concludes Canto II.
The 3-line strophe vv. 17–18 represents a ‘half-long’ canto at the end
of the psalm. In this section we find the psalmist’s (anticipatory) song
of thanksgiving, addressed to God, his strength and refuge. It is a 3-line
refrain-strophe, especially referring to the beginning of Canto II, vv. 9–11
(see § 17.4.4). This correspondence reveals that we are dealing with the
beginning of a new (in terms of verselines ‘incomplete’) canto. It regularly
happens that a half-long canto contains a concluding doxology. In some
cases, these concluding hymns open with the transition markers w- and ’ny
(‘but I’); see Pss. 59,17–18 69,30–37 75,10–11 and cf. w’nh.nw (‘but we’)
in Ps. 115,17–18.15
Psalm 59 is a very illuminating example of the literary technique of re-
sponsion. The composition makes it clear that the refrains vv. 7/15 and vv.
the preceding text), and many others.
13
Similarly Böhl, Ridderbos (1973), Kraus and Girard; contra Gerstenberger (‘V. 11
seems to be a fairly regular petition for help’ [1988, p. 237]), Raabe (1990), pp. 147.
150–52, and many others.
14
Gerstenberger rightly notes that vv. 7–8 and 15–16 are corresponding units ‘with a
flexible second line’ (1988, p. 237). For the political connotations of the refrain vv. 7/15,
see J.S. Kselman (S.S.), ‘Double entendre in Psalm 59’, in P.W. Flint and P.D. Miller,
Jr., The Book of Psalms: Composition and Reception, Brill: Leiden/Boston, 2005, pp.
184–89. For the ‘metaphorisation’ of enemies as a pack of wild dogs and its function
to introduce elements of imprecation, see B. Doyle, ‘Howling like dogs: metaphorical
language in Psalm lix’, VT 54 (2004), pp. 61–82.
15
For concluding half-long cantos dominated by a doxology, see CAS I, Ch. V, 5.2.2.1
(pp. 513–15). For the canto division, see already my STR (1980), p. 474; see now also
Gerstenberger (1988) in § 17.6.
10/18 represent pronounced extrapolations of a comprehensive pattern of

verbal repetitions on the level of the poem as a whole. The responsions in
question determine the linearly alternating parallelism between the cantos.
In terms of verbal recurrences, the framework of the psalm can be displayed
as follows: vv. 2–3.4–6.7–8|9–10.12–14.15–16|17–18 > a.b.c|a’.b’.c’|a’’; see
§ 17.4.4. The root śgb (‘to secure’) is the most important key word in the
psalm (mśgby is the pivotal word; see § 17.5).16 As a responsion, it marks
the beginning of each canto; note v. 2b, 10b and 17–18. It is also a pow-
erful formal indication highlighting that vv. 17–18 represents a relatively
independent unit. The reduplication of the noun mśgb in vv. 17c–18 has a
climactic effect.
w’th yhwh . . . lkl gwym (v. 9) refers to w’th yhwh . . . l- . . . kl hgwym in
v. 6 (see § 17.4.4); similarly, lmw in v. 9a grasps back to the adversaries
described in vv. 7–8. These features show that there is no absolute break,
but a smooth transition between the first and the second canto. However,
the peculiarities in question cannot harm the basic structure of the psalm,
which is firmly embedded in the text by the refrains and the wave-like
movement of the themes.
Our composition clearly shows that we must have a flexible understand-
ing of the structuring function of a refrain in Hebrew poetry and of its form.
As already noted, the refrains in Psalm 59 are extrapolations of a compre-
hensive pattern of verbal repetitions that frame the composition as a whole.
This feature may explain why ’lhy h.sdy (‘my faithful God’) in v. 11 opens
a verseline (the title is the subject of yqdmny [‘he will come to meet me’]),
while in v. 18 it represents the third colon of the line (probably as a voca-
tive).17 In v. 18—by a subtle alliterating change of only one letter—the
refrain is adjusted to the context of the concluding canto, which is a song
of praise: in v. 10 we read ’šmrh (‘I wait’) and in v. 18 ’zmrh (‘I sing
praise’). In v. 15 the repetition of v. 7 is preceded by the copula w-.18
The refrains are inextricably bound up with the structure of the stro-
phes and the cantos; note vv. 7–8, 9–11, 15–16 and 17–18 (similarly Girard,
p. 123). As far as this formal aspect is concerned, Raabe’s opinion (note
1990, p. 146) that, from a structural point of view, in Hebrew poetry a
refrain stands outside a canto (stanza) is notoriously incorrect!19 The con-
16
According to Seybold, ‘die Metapher von Gott als Burg’ is the ‘Leitwort’ of the
psalm (1996, p. 235).
17
So MT!; contra Wahl, Raabe, Fokkelman and Weber, who adapt v. 10 to v. 18 by
taking ’lhy h.sdy (v. 11a) as the conclusion of the preceding verseline and thus destroying
the linear internal parallelism of v. 11.
18
For more examples of adaptations and ‘expansions’ of a refrain in Hebrew poetry,
see CAS I, Ch. V, 4.2.2 (pp. 492–95).
19
Cf. also Ravasi’s and Fokkelman’s handling with the refrains as self-contained stro-
ii.17 psalm 59 167
cluding refrain (vv. 7/15) does not occur in the very last verseline of the
canto concerned but in the second last line. Furthermore, Psalm 59 shows
that a refrain can move from one verseline to another within a parallel stro-
phe; in this case from the second to the third verseline (cf. vv. 9–11 with
vv. 17–18).20
The quintessential thought of the psalm is to be found in the conclud-
ing Canto III (vv. 17–18). Here, the psalmist sings praise to God as his
strength and bulwark. This concluding hymn is anticipated by the piv-
otal verseline of the composition, v. 10 (see § 17.5), in which we find the
psalmist’s declaration of confidence in God as his bulwark.
The relationship of Psalm 59 with the preceding psalm comes to light in

the headings (cf. Ps. 58,1; but see also Ps. 57,1). The metaphor used in
v. 8 refers to Pss. 57,5 and 58,7 (Delitzsch). See further: h.mh (v. 14) >
58,8; dm (v. 3) > 58,11.
17.8 Bibliography
B. Doyle, ‘God as a Dog. Metaphorical Allusions in Psalm 59’, in P. van Hecke
(ed.), Metaphor in the Hebrew Bible, Leuven: University Press/Peeters Publish-
ers, 2005, pp. 41–53;
II.15), Tübingen: Mohr Siebeck, 2006, pp. 187–205.
phes. For a criticism of this structural error, see also CAS I, Ch. V, 4.3.3.
20
For other examples of these features, see CAS I, Ch. V, 4.3.1.1–2.
18 Psalm 60
I 3 ’LHYM ZNH . TNW prs.tnw ’npt tšwbb LNW

4 hr‘šth ’rs. ps.mth rph šbryh ky mt.h
5 hr’yth ‘mk qšh hšqytnw yyn tr‘lh
6 ntth lyr’yk ns lhtnwss mpny qšt. (slh)

7 lm‘n yh.ls.wn ydydyk hwšy‘h ymynk w‘nNW
II 8 ’LHYM dbr bqdšw ’‘lzh ’h.lqh škm w‘mq skwt ’mdd

9 ly gl‘d wly mnšh w’prym m‘wz r’šy yhwdh mh.qqy
10 mw’b syr rh..sy ‘l ’dwm ’šlyk n‘ly ‘ly plšt htr‘ ‘y
11 my yblny ‘yr ms.wr my ynh.ny ‘d ’dwm

12 hl’ ’th ’LHYM ZNH . TNW wl’ ts.’ ’LHYM bs.b’wtyNW
III 13 hbh LNW ‘zrt ms.r wšw’ tšw‘t ’dm

14 b’LHYM n‘śh h.yl whw’ ybws .srynw
18.1 Text
V. 6: MT divides with ’atnah. after lhtnwss in v. 6b.
V. 7b—ymynk : means the king, according to Frisch, BN 100 (1999), pp. 5–10.
V. 7b—w‘nnw : so K; Q w‘nny.
V. 8a–b: note the ‘ole weyored in v. 8b.
V. 10c—htr‘ ‘y: infinitivus hitpolal of rw‘ + suffix first pers. sing. (Dahood).
V. 11b—ynh.ny: MT nh.ny (haplography of y).
18.2 Content
Confidence of the people in deliverance from enemies.
I Prayer for deliverance and declaration of confidence.
O God, you have punished us severely; deliver us (vv. 3–5).
You protect the faithful (vv. 6–7a; trust); save us (v. 7b).
II God’s victory and a declaration of confidence in deliverance.
God rules over Israel and his adversaries (vv. 8–10; spoken about
God).
You are my trust; you will fight for us (vv. 11–12; cf. vv. 6–7).
III Summary: prayer for deliverance from distress (v. 13, addressed to
ii.18 psalm 60 169
God; cf. vv. 3–5) and description of victory over enemies (v. 14, spo-
ken about God; cf. vv. 8–10).

18.3.1.1 vocative: ’lhym, v. 3a my, v. 11a and 11b
yr’ with object God, v. 6a imperative: hbh, v. 13a
cohortatives: ’‘lzh ’h.lqh,
v. 8b 18.3.1.2 none

18.3.2.1 lm‘n, v. 7a 18.3.2.2 imperatives: hwšy‘h . . .
hw’, v. 14b w‘nnw, v. 7b
’th, v. 12a
vocative: ’lhym, v. 12a+b

imperative: rph, v. 4b
slh, v. 6b

vv. 3–5: prs.tnw/’rs. ps.mth, vv. 3a and 4a resp. (alliter.)
suffix -nw, vv. 3a+b.5b (inclusion)
hr‘šth/hr’yth, vv. 4a and 5a resp. (alliter.; anaphora)
vv. 6–7: lyr’yk/ydydyk, vv. 6a and 7a resp.
vv. 8–10: ‘lz (‘to exult’)/rw‘ (‘to shout’), vv. 8b and 10c resp. (inclus.)
suffix -y, vv. 9b+c.10a+b (exactly linear)
vv. 11–12: my . . . my /hl’ ’th ’lhym . . . wl’ ts.’ ’lhym, vv. 11 and 12 resp.
(anaphora)
vv. 13–14: .sr, vv. 13a.14b!

vv. 3–7 (Canto I): suffix -nw, vv. 3a+b+5b.7b
suffix -k, vv. 5a.6a+7a+b! (concatenation)
hšqytnw/qšt., vv. 5b and 6b resp. (alliter.; concat.);
see also qšh in v. 5a
vv. 8–12 (Canto II): ’lhym, vv. 8a.12a+b (inclusion)

prep. b-, vv. 8a.12b (inclusion)
‘l/‘d ’dwm, vv. 10b.11b! (concatenation)

vv. 3–5.8–10.13–14: ’lhym, vv. 3a.8a (anaphora); see also ’lhym in
v. 14a
lnw, vv. 3b.13a!
’dwm/’dm, vv. 10b and 13b resp.; cf. also ’dwm
in v. 11b
tr‘lh/htr‘ ‘y, vv. 5b and 10c resp. (alliter.; exactly
linear); see also hr‘šth in v. 4a
vv. 6–7.11–12: suffix -nw, vv. 7b.12b (epiphora)
vv. 3–5.11–12: ’lhym znh.tnw, vv. 3a.12a! (inclusion); see also

’lhym in v. 12b
vv. 6–7.8–10: ‘nh/dbr, vv. 7b and 8a resp. (concatenation)
vv. 11–12.13–14: yblnw ‘yr ms.wr/lnw ‘zrt ms.r, vv. 11a and 13a resp.
(alliter.; concatenation)
-ynw, vv. 12b.14b (epiphora)

prep. b- (v. 14), prep. l-

yš‘ (vv. 7.13)

Psalm 60 has 12 (= 4×3) verselines and 27 (= 3×3×3) cola.1 The central
colon is v. 9a (> 13+1+13 cola). The colon in question has 13 letters. It
is hard to say what makes v. 9a (‘Gilead is mine, and Manasseh is mine’)
so special from a theological point of view.
1
Similarly Fokkelman (MPHB III). Weber (2001) counts 28 cola, because he takes
v. 3 as a tricolon.
ii.18 psalm 60 171
Structure of strophes and cantos in terms of words: 19+12|28+16|13 =

31+44+13 (= 88 = 8×11 words in total).2 Canto II is composed of 44
words; this number corresponds to the number of words of Canto I and III
together (a multiple of 11). The caesura between v. 9a and 9b divides the
psalm into two equal halves of 44 words each. I conclude that the number
44 plays an important structural role in this poem.3
The designation ’lhym (‘God’) occurs 5×: vv. 3, 8, 12 (2×) and 14.

Köster (1837): 3–6.7–10.11–14 (4.4.4 verses; ‘wieder in je zwei Verse theil-
bar’); similarly De Wette (1856), Kissane (1953)
Sommer (1846), pp. 51–54: 3–6|7–8a.8b–10|11–14 (8|3.8|8 cola)
Ewald (1866), pp. 43–47: 3–7.8–10.11–14 (vv. 8–12a* ‘eingeflochten’)
Grimme (1902), p. 158: 3–6.7+11–13 (8.8 cola)
Zenner (1906), pp. 289–91: 3–6.7+12b–14|8–12a|61,2–5.6–9 (4.4|4|4.4 lines)
Duhm (1922): 3–4.5–6.7+12.13–14 (4×2 bicola); 8.9.10.11* (4 tricola)
Gunkel (1926): 3–5.6–7|8.9.10|11–12.13–14; cf. Delitzsch (1894)
Calès (1936): 3–4.5–6|7.8.9–10|11–12.13–14 (2.2|1.1.2|2.2 lines)
Herkenne (1936): 3–7.8–10.11–14; similarly NAB (1970), Kraus (1978),
Tate (1990), Seybold (1996), [Hossfeld]/Zenger (2000)
Böhl (1947): 3–5.6–7.8–10.11–14; cf. Gunkel (1926)
Baumann (1949–50), p. 122: 3–6.8–10.11–14 (4.4.4 lines); cf. Köster (1837)
Podechard (1949): 3–4.5–7|8.9.10|11–12.13–14 (2.3|3×1|2.2 lines)
Pannier/Renard (1950): 3–7.8–10.11–14 (5.5.4 lines); cf. Herkenne (1936)
Ridderbos (1973): 3–4.5–6.7|8.9a.9b–c.10|11–12.13–14; cf. Herkenne (1936)
Alden (1976), pp. 193–94: 3–7.8–11.12–14 (a.b.a’; ‘hardly an outstanding
example of a chiasmus’); similarly Ogden (1985), note pp. 83–85
Beaucamp (1976): 3–4.5–6|7 8.9.10 11–12.13–14 (4.4|2 3.3.3 4.4 cola)
Jacquet (1977): 3–5.6–7+11.12–14|8.9.10 (3×3|3×1 lines)
TOB (1978): 3–5.6–7.8–10.11–12.13–14; cf. Gunkel (1926)
Ravasi (1985): 3.4–6.7 |8–10|11–13.14 ; cf. Herkenne (1936)
Auffret (1993): 3.4.5–7|8–9.10–11|12–14
2
The multiple of 11 words is hardly by chance; see § 17.5 above, regarding Psalm 59
(13×11 words); cf. further 10×11 words in Psalm 62 and 8×11 words in Psalm 63. For
a profound investigation into the numerical aspects, see www.labuschagne.nl/ps060.pdf.
3
The number 44 especially connects Psalm 60 with the preceding Psalm 59, where
we find 44 cola. Including the 24 words of the heading and slh in v. 6, the psalm has
113 words; now, ’lhym (‘God’) in v. 8a is the central word (> 56+1+56 words).
Girard (1994): 3–7.8–10.11–14 (a.b.a’); cf. Herkenne (1936), Alden (1976)

and Aletti/Trublet (1983), pp. 51 and 57
Weber (2001): 3–7.8–11.12–14 (11.11.6 cola); cf. Alden (1976)
Fokkelman (2003), pp. 103–06: 3–5.6–7|8–9.10–11|12–14 (3.2|2.2|3 lines);
cf. Weber (2001)
Terrien (2003): 3–6.7–10.11–14 (3×4 lines); cf. Baumann (1949–50)

There are no important colometric ambiguities in Psalm 60 and the Ma-
soretic verse division exactly corresponds to the poetic verselines. Neverthe-
less, there is a widespread misunderstanding with regard to its macrostruc-
ture and the interpretation of some specific verselines. It is general agreed
that the poem divides into three main parts. From Köster (1837) onwards,
scholars looking at Hebrew poetry from a strophic perspective have as-
serted that we are dealing with three 4-line strophes, vv. 3–6, 7–10 and
11–14.4 This strophic approach is unsatisfactory, because of the supposed
caesura between vv. 6 and 7. These two verses clearly belong together; see
§ 18.4.1. In addition, the transition marker lm‘n (‘on account of’, v. 7a)
ties in with the preceding verseline, while ’lhym dbr bqdšw (‘God promised
in his sanctuary’, v. 8a) introduces a new thematic field.5
Therefore, it is understandable that, as far as I can observe from Ewald
(1866) onwards, we often meet with the following tripartite division: vv.
3–7, 8–10 and 11–14.6 According to this view, the divine speech together
with its introduction (vv. 8–10) has a pivotal position in the structure of
the poem. Girard states (p. 129) that the tricola which determine the
colometric frame of this unit are to be taken as ‘une manière intentionnelle
et admirable de souligner le statut structurel prioritaire’ of the pivotal
section.
This tripartite division is further based on the idea that the oracle vv.
8–10 is rather loosely connected to the preceding and following verselines.
According to [Hossfeld]/Zenger (p. 154) ‘nimmt er keinen unmittelbaren
Bezug auf die ihn umgebenden Klagen und Bitten’. It is a ‘vorgegebenes
Orakel’ (p. 159). And what is more, in this context Zenger speaks of a
contrasting tension. However, the idea that the unit in question is not
4
See Köster, Calès, Baumann and Terrien in § 18.6; cf. also Sommer (1846), Grimme,
Zenner and Beaucamp.
5
For the function of lm‘n as transition marker at the end of a poetic unit, see CAS I,
Ch. V, 7.2 (p. 559). About the coherence of vv. 6 and 7, see further below.
6
See Ewald, Delitzsch, Gunkel, Herkenne, Podechard, Pannier/Renard, Ridderbos,
Ravasi and Girard in § 18.6.
ii.18 psalm 60 173
really integrated into the total framework of the poem is precisely the
drawback of this view on its structure (cf. Girard). Three-line strophes
consisting entirely of tricolic verselines are not exceptional in the psalms.
But there are no indications that they must be regarded as an individual
canto.7 This also holds true for the ‘recycling’ of vv. 8–10 in Psalm 108
(see 108,8–10; structure: vv. 2–7.8–14 > 6.7 verselines).
The trouble with the current tripartite divisions of our psalm is the fact
that they ignore the wave-like movement—especially in terms of semantics—
which characterizes the entire composition. Gunkel considers the composi-
tion a ‘Liturgie’ (p. 256). Ogden (1985) reads the psalm from the context
of Israel’s liturgical life. According to [Hossfeld]/Zenger (p. 159), the three
parts of the poem are to be seen as a ‘Nachahmung eines gottesdienstlichen
Ablaufs’ (complaints and petitions > divine speech > petitions concluded
by a hopeful perspective [v. 14]). However, the rhetorical framework of a
psalm cannot be explained from a linear liturgical development, but only
from a literary point of view. This means that we must explore the regular
alternation of themes and motifs determining its structure.
Like Psalm 59, in terms of canto design the present poem is an example
of Type IIB (see Ch. IV, 2.4.3). In this case, it means that we are dealing
with two regular 5-line cantos (vv. 3–7 and 8–12) which are concluded by a
‘half-long’ canto consisting of a 2-line strophe (vv. 13–14). This division is
especially based on a linearly alternating parallelism between the successive
main sections in terms of semantics:8 vv. 3–5.6–7|8–10.11–12 > a.b|a’.b’.
The thematic alternation comes to light particularly in the b-strophes of
Cantos I and II, vv. 6–7 and 11–12. In these strophes we find declarations
of confidence in God’s deliverance. There is an unexpected thematic break
between vv. 5 and 6. In vv. 3–5 the psalmist speaks of God’s punishment
and prays for restoration. But in vv. 6–7 he suddenly refers to God’s
help. Like the preceding forms of the verb—see especially hr‘šth (‘you
made quake’) and hr’yth (‘you showed’) at the beginning of vv. 4 and 5—
the perfect ntth at the beginning of v. 6 is to be taken as an indicative,
‘you have given’ or better ‘you will give’. The characterizations of Israel as
‘your faithful ones’ (v. 6a) and ‘your beloved ones’ (v. 7a) further suggest
that vv. 6–7a must have a positive meaning. That is to say, it is all about
confidence in God’s rescuing his people from distress; note also the root h.ls.
(niph‘al, ‘to be rescued’) in v. 7a.9 V. 7b does not exactly fit the semantic
7
Note Pss. 40,6–7 59,12–14 69,14–16 and 77,17–19; cf. further CAS I, Ch. V, 6.2.1
(note p. 529).
8
Weber (p. 270) rightly notes: ‘Begriffswiederholungen sind in Ps 60 nur sparsam
eingesetzt’.
9
Cf. Weber (p. 269): ‘Die verschont gebliebene Gemeinde gedenkt . . . an ein von Gott
context of vv. 6–7a, because it is a prayer for deliverance. This anomaly

serves to emphasize the thematic unity of vv. 3–7 by inclusion; note tšwbb
lnw (‘restore us’, v. 3b) and cf. the plea Ps. 59,5b at the end of Canticle
I.1, vv. 2–5! The concluding imperative w‘nnw (‘and answer us’) forms
the climax of the first canto. The opening colon of Canto II immediately
links up with this imperative because it is about God’s answer form his
sanctuary (v. 8a).
In v. 11 a political leader speaks on behalf of the nation. The repeated
question ‘who will bring me . . . , // who will lead me . . . ’ functions as a
petition for victory over the land of Edom. The answer to this plea has the
form of a rhetorical question: ‘is it not you, O God, who has rejected us;
// and will you not march, O God, with our armies?’ (v. 12). wl’ at the
beginning of v. 12b parallels the emphatic construction hl’ ’th (‘is it not
you?’) in v. 12a. The answer elicited by the question is: ‘yes, you will!’.
This means that vv. 11–12 has a positive meaning and is an expression of
confidence in God’s help, like vv. 6–7. The phrase ’lhym znh.tnw in v. 12a
verbally corresponds to the beginning of the opening verseline (v. 3). But
now it is no longer a complaint (contra the common opinion). In v. 12
it functions as a powerful conclusion to Canto II, rhetorically highlighting
a semantic contrast: while in vv. 3–5 the psalmist formulates a complaint
about God’s aggression against his people, in vv. 11–12 he speaks about
his hope that God will be on their side.10
Now it becomes clear that vv. 8–10 corresponds to vv. 3–5: the ora-
cle about God’s dominion over Israel (vv. 8–9), including the surrounding
nations (v. 10), is a response to Israel’s complaint about the hopeless na-
tional situation and the following prayers for deliverance (vv. 3–5). Note
also the alliteration tr‘lh/htr‘ ‘y marking the end of the sections concerned
(§ 18.4.3).11
The strophic structure of Cantos I and II is in line with the linear
parallelism in terms of semantics: both main cantos consist of a 3- and a 2-
geschenktes . . . Rettungszeichen (ns)’; similarly Tate and Terrien (‘Those who fear God
will pay heed to the sign of incipient hope’). Contra the common view parsing the form
ntth as a precative perfect (‘give’) and taking v. 6 as a ‘call for divine assistance’ (Ogden
[1985], p. 86).
10
Some recent structural investigations (Alden, Gerstenberger, Weber, Fokkelman) try
to show that there is a major caesura between vv. 11 and 12. It is true, Weber speaks of
the ‘Janusköpfigkeit’ of v. 11. But Fokkelman (MPHB III) explicitly asserts that v. 12
structurally belongs to vv. 13–14 (p. 103) and v. 11 to v. 10 (p. 105), thereby ignoring
the simple fact that the interrogative phrases unite vv. 11 and 12 into a coherent whole;
see also § 18.4.1 and [Hossfeld]/Zenger (p. 158).
11
For more examples of this device, see CAS I, Ch. V, 3.3.1 (p. 482). The form htr‘ ‘y
(a hitpolal of the root rw‘ [‘to shout’]) is very exceptional and therefore it may be taken
as a deliberate choice to construe this particular correspondence.
ii.18 psalm 60 175
line strophe (vv. 3–5.6–7|8–10.11–12 > 3.2|3.2 verselines). This parallelism

is further enhanced by the devices for anaphora and epiphora which mark
the beginning and the end of these cantos; note ’lhym in vv. 3a.8a and the
suffix -nw in vv. 7b.12b respectively (see § 18.4.3). This approach reveals
that the phrase ’lhym znh.tnw in vv. 3 and 12 is to be regarded as an
inclusion demarcating the opening and the concluding verseline of Cantos
I and II respectively.
Vv. 13–14 is a relatively independent 2-line canto. There is no thematic
relationship between this strophe (Canto III) and the concluding strophe of
Canto II (vv. 11–12). The successive verselines summarize in a linear way
the specific subject matter of the preceding 5-line cantos.12 The petition
(v. 13) especially refers to vv. 3–5 (see also v. 7b). In v. 14 we find a final
declaration regarding Israel’s victory over his enemies, spoken about God.
The motif of victory especially refers to vv. 8–10, in which the psalmist also
speaks about God (in vv. 3–7 and 11–12 he adresses God in the second
person).13 The different motifs of vv. 13 and 14 are ingeniously woven
together. From a formal point of view, the verselines form a coherent whole;
note .sr (‘foe’) in vv. 13a and 14b (§ 18.4.1). In terms of meaning, there is an
antithetic external parallelism between vv. 13b and 14a: man’s weakness
is contrasted with God’s power. That is to say, the special position of the
concluding canto is strengthened by a characteristic chiasmus.
The quitessential thought of the poem is to be found in the concluding
strophes of Cantos I and II (vv. 6–7 and 11–12). In these corresponding
strophes we find a declaration of confidence that God will fight on Israel’s
side. It is further to be noted that the concluding summarizing strophe
(vv. 13–14) is made up of 13 words in total; in the final verseline v. 14 we
count (13+13 =) 26 letters. In this way, the poet has sealed the message of
his composition with the name of his God; cf. the function of the number
13 with respect to the central colon (§ 18.5).
the following verbal repetitions: root šwb (v. 3) > 59,7.15; root r’h (v. 5) >
59,5.11; root yš‘ (vv. 7.13) > 59,3; m‘wz (v. 9) > 59,4.10.17.18 (‘z ); ly (v. 9
[2×]) > 59,17; my (v. 11 [2×]) > 59,8; ‘yr (v. 11) > 59,7.15; ’th (v. 12) >
59,6.9; .sb’wt (v. 12) > 59,6; .sr (vv. 13.14) > 59,17; h.yl (v. 14) > 59,12.
12
The summarizing function of vv. 13–14 is generally ignored; see § 18.6. According
to [Hossfeld]/Zenger (p. 159), we are dealing with a ‘durch Fragen (V 11–12) verstärkte
Bitte an Gott, er möge seinem Orakel gemäß handeln’.
13
For other examples of summarizing ‘half-long’ cantos, see CAS I, Ch. V, 5.2.2.2–3
(note pp. 516–17); cf. especially Ps. 44,26–27.
Vv. 7–14 > Ps. 108,7–14.

V. 12 > Ps. 44,10 (in Psalm 44 too inclusion plays an important part!).
18.8 Bibliography
G.S. Ogden, ‘Psalm 60: Its Rhetoric, Form, and Function’, JSOT 31 (1985), pp.
83–94;
E.A. Knauf, ‘Psalm lx und Psalm cviii’, VT 50 (2000), pp. 55–65.
ii.19 psalm 61 177
19 Psalm 61
I 2 ŠM‘H ’LHYM rnty hqšybh tplty

3 mqs.h h’rs. ’lyk ’qr’ b‘t.p lby bs.wr yrwm mmny tnh.ny
4 ky hyyt mh.sh ly mgdl ‘z mPNY ’wyb

5 ’gwrh b’hlk ‘WLMYM ’h.sh bstr knpyk (slh)
II 6 ky ’th ’LHYM ŠM‘T l ndry ntt yršt yr’y šmk

7 ymym ‘l ymy mlk twsyp šnwtyw kmw dr wdr
8 yšb ‘WLM lPNY ’lhym h.sd w’mt mn yns.rhw

9 kn ’zmrh šmk l‘d lšlmy ndry ywm ywm
19.1 Text
V. 8b—mn: imperative pi‘el of the root mnh (‘appoint’/‘assign’); so Tate and
[Hossfeld]/Zenger.
19.2 Content
The prayer of an individual and his expression of gratitude.
I Prayer and expression of confidence in deliverance.
O God, listen to my prayer and save me (vv. 2–3).
I trust in you (v. 4; objective) and take refuge in your presence
(v. 5; subjective).
II Expression of gratitude.
O God, you have heard my vows (v. 6).
O that the king may live and prosper for generations (vv. 7–8).
I express my thanks to you for ever (v. 9).

19.3.1.1 imperative: šm‘, v. 2a 19.3.1.2 none
’th, v. 6a
yr’ with object God, v. 6b
imperative: mn, v. 8b

19.3.2.1 ‘wlm, v. 5a v. 8a
slh, v. 5b ywm ywm, v. 9b
dr wdr, v. 7b
kn beginning of line, v. 9a 19.3.2.2 cohortative: ’gwrh, v. 5a
‘d, v. 9a; ext. // ‘wlm in cohortative: ’zmrh, v. 9a

none

vv. 2–3: tplty/b‘t.p lby, vv. 2b and 3a resp. (alliter.)
vv. 4–5: root h.sh, vv. 4a.5b!
vv. 8–9: ‘wlm/‘d . . . ywm ywm, vv. 8a and 9 resp.

vv. 2–5 (Canto I): prep. mn, vv. 3a+b.4b! (concatenation)
prep. b- . . . b- internally //, vv. 3.5! (linear)
vv. 6–9 (Canto II): ’lhym, vv. 6a.8a (linear)

ndry, vv. 6a.9b!
šmk, vv. 6b.9a!
ymym . . . ymy/ywm ywm, vv. 7a and 9b resp.!
(linear)
dr wdr/ywm ywm, vv. 7b and 9b resp. (epiphora)

vv. 2–3.6–7: root šm‘, vv. 2a.6a!
} chiasmus (linear)
’lhym as a vocative: 2a.6a!
rnty/lndry, vv. 2a and 6a resp. (alliter.; exactly linear)
vv. 4–5.8–9: pnym, vv. 4b.8a! (linear)

} chiasmus
‘wlm, vv. 5a.8a!
cohortatives: ’gwrh . . . ’h.sh/’zmrh, vv. 5a and 9a resp.
(linear)
roots gwr (‘to dwell’)/yšb (‘to dwell’), vv. 5a and 8a resp.
(cf. Judg. 5,17 Jer. 49,33 50,40; Girard, p. 139 n. 2)
ii.19 psalm 61 179

none

ky (vv. 4.6), prep. l- (vv. 4.6.8.9 [2×])

Psalm 61 has 8 verselines and 16 cola.1 The caesura between Canto I and
II divides the poem into two equal halves (> 4+4 verselines and 8+8 cola).
29+34 (= 63 = 9×7 words in total). On word level, v. 6a is the centre of
the psalm (> 29+5+29 words). To put it differently, v. 6a is ‘embraced’
by 34 (< 29+5 = 2×17) words on both sides. ’lhym (‘God’) is the pivotal
word of v. 6a and (consequently) of the entire poem (> 31+1+31 words).
All these phenomena reinforce the position of the colon as the meaningful
centre: ‘yes, you, O God, have heard my vows’.
The designation ’lhym (‘God’) occurs 3×: vv. 2, 6 and 8. That is to
say, the central position of v. 6a is highlighted by the distribution of ’lhym
over the entire poem: ’lhym in v. 6a is flanked by 1× ’lhym on both sides.2

Saalschütz (1825), p. 118: 2–5.6–9 (4.4 verses); similarly Hävernick (1849),
p. 40, Pannier/Renard (1950), Kissane (1953), NAB (1970), [Hoss-
feld]/Zenger (2000)
Köster (1837): 2–4.5–6.7–9 (3.2.3 verses); cf. Van der Ploeg (1971)
De Wette (1856): 2–3.4–6|7–9; cf. Ewald (1866), pp. 179–80, Böhl (1947)
Delitzsch (1894): 2–5.6–9 (8.8 cola); similarly Grimme (1902), p. 158; cf.
Saalschütz (1825)
Zenner (1906), pp. 289–91: . . . |61,2–5.6–9 (. . . |4.4 lines); see also § 18.6
Duhm (1922): 2–3.4–5.6–7.8–9 (4×2 bicola)
Gunkel (1926): 2–3.4–5.6+9
Calès (1936): 2–3a.3b–5|6.7–8.9 (2.2|1.2.1 lines)
Montgomery (1945), p. 383: 2–4.5–6.7–8.9
Podechard (1949): 2–3a.3b–4.5–6.7–9 (2.2.2.3 lines)
Beaucamp (1976): 2 3–4.5–6|7–8 9 (2 4.4|4 2 cola)
1
Fokkelman (MPHB III) has 17 cola, because he takes v. 3 as a tricolon.
2
For ’lhym as a device for marking the centre of a psalm, see Ch. V, 2.3.
Jacquet (1977): 2–3a.3b–4.5+9|6–8

Wahl (1977), pp. 273–77: 2–3a.3b–5|6.7–8.9 (2.3|1.2.1 lines); cf. Neveu
(1990), pp. 56–58
Kraus (1978): 2–3.4–5.6.7–8.9
Aletti/Trublet (1983), p. 41: 2–3a.3b–5.6.7–8.9 (a.b.a’.b’.a’’)
Ravasi (1985): 2 3.4–5.6|7–8 9
Tate (1990): 2–5.6–8.9
Girard (1994): 2–3.4–5|6–7.8–9 (a.b|a’.b’)
Weber (2001): 2–4.5–6.7–9 (a.b.a’); similarly Bellinger (1995)
Fokkelman (2003), pp. 106–07: 2–3.4–5|6–7.8–9 (2.2|2.2 lines)
Terrien (2003): 2–5.6–9

Psalm 61 is a clear example of the saying ‘small is beautiful’. The poem
divides into two regular cantos of four verselines, vv. 2–5 and 6–10.3 In
terms of meaning, in the first canto we find a situation of distress. The
unit is characterized by the prayer of an individual for God’s attention (vv.
2–3) and his expression of confidence (vv. 4–5). In Canto II the psalmist
speaks of his being heard (v. 6) and his commitment to praise God’s name
(v. 9); these motifs include an intercession for the king (vv. 7–8; cf. Ps.
84,9–10). The words of this second main part breathe an atmosphere of
deliverance. In addition, Fokkelman (MPHB, p. 106) rightly notes that in
Canto I we find at least five references to space, while in the second canto
five cola refer to time.4
This bipartite framework is strengthened by a clear pattern of verbal
recurrences (responsions) on the level of the composition as a whole: vv.
2–3.4–5|6–7.8–9 > a.b|a’.b’; see § 19.4.3. This means that from a for-
mal perspective, the 4-line cantos display a linearly alternating parallelism.
The canto division is further underscored by closing and opening transi-
tion markers at the borderline of the main sections; see ‘wlm, slh in v. 5
(§ 19.3.2.1), and ’th, ’lhym (as a vocative), yr’ in v. 6 (§ 19.3.1.1).5
3
See also Saalschütz (1825), Delitzsch, Calès, Wahl, Girard, Fokkelman and Terrien
in § 19.6.
4
Terrien points out that each of the main units ends with a ‘refrainlike bicolon: the
first with a mystical wish . . . , and the second by a commitment to celebrate the divine
name’ (p. 453).
5
These formal features are so powerful as to invalidate the attempts by scholars to
join v. 6 together with the preceding verseline(s); see Köster, De Wette, Montgomery,
Podechard, Beaucamp, Ravasi and Weber in § 19.6. Weber (p. 273), following Bellinger
(1995), argues in favour of a ‘dreistanzigen Struktur . . . mit einer chiastischen Anordnung
(A.B.A’)’. His interpretation of the verbal recurrences has no consistency, which proves
ii.19 psalm 61 181
Canto I is composed of two 2-line strophes; see §§ 19.2 and 19.4.1. The
second canto shows a crossed symmetry (‘symetrie croisée’). In terms of
semantics, we are dealing with a concentric structure: vv. 6.7–8.9 > a.b.a’
(§ 19.2). The verbal repetitions partially enhance the concentric arrange-
ment of ideas (see ndry [‘my vows’] and šmk [‘your name’]), but simultane-
ously show a linear pattern; see § 19.4.2.6
Formal indications confirm time and again that v. 6a is the focal point
of the composition (see § 19.5). I conclude that in terms of semantics the
colon represents the quintessential thought of the psalm: God has heard
my vows! In the light of this outcome, the psalm is primarily a song of
thanksgiving.
the following verbal repetitions: .swr (v. 3) > 60,11 (ms.wr ); ntt (v. 6) >
60,6; yr’y šmk (v. 6) > 60,6 (yr’yk ).
19.8 Bibliography
F. Asensio, ‘Teologı́a Bı́blica de un trı́ptico. Salmos 61, 62 y 63’, EstBı́b 21
(1962), pp. 111–25;
P. Auffret, ‘“Alors je jouerai sans fin pour ton nom”. Étude structurelle du
psaume 61’, ScEs 36 (1984), pp. 169–77;
B. Weber, ‘Psalm lxi—Versuch einer hiskianischen Situierung’, VT 43 (1993),
pp. 265–68;
W.H. Bellinger, Jr, A Hermeneutic of Curiosity and Reading of Psalm 61 (Stud-
ies in Old Testament Interpretation 1), Macon (GA): Mercer University Press,
1995;
A. Shveka, ‘A Trace of the Tradition of Diplomatic Correspondence in Royal
Psalms’, JSS 50 (2005), pp. 297–320.
him wrong.
6
Cf. Ps. 82,5–8 (Canto II). My physical reproduction of the text of Canto II displays
two 2-line strophes, following Girard (note p. 143) and Fokkelman (see § 19.6); otherwise
my STR, p. 285.
20 Psalm 62
Structure: 8.8 > 2.2.2.2||2.2|2.2 lines (Type IA)
I 2 ’k ’l ’lhym dwmyh npšy mmnw yšw‘ty

3 ’k hw’ s.wry wyšw‘ty mśgby l’ ’mwt. rbh
4 ‘d ’nh thwttw ‘l ’YŠ trs.h.w klkm

kqyr nt.wy gdrh dh.wyh
5 ’K mš’wt y‘s.w lhdyh. yrs.w KZB

bpymw ybrkw wbqrbm yqllw (slh)
6 ’k l’lhym dwmy npšy KY mmnw tqwty

7 ’k hw’ s.wry wyšw‘ty mśgby l’ ’mwt.
II.1 8 ‘l ’lhym yš‘y wkbwdy .swr ‘zy mh.sy b’lhym

9 bt.h.w bw bkl ‘t ‘m špkw lpnyw lbbkm ’lhym mh.sh lnw
[(slh)
10 ’K hbl bny ’dm KZB bny ’YŠ
bm’znym l‘lwt hmh mhbl yh.d
II.2 11 ’l tbt.h.w b‘šq wbgzl ’l thblw

h.yl KY ynwb ’l tšytw lb
12 ’h.t dbr ’lhym štym zw šm‘ty KY ‘z l ’lhym

13 wlk ’dny h.sd KY ’th tšlm l ’yš km‘śhw
20.1 Text
V. 4b—trs.h.w : ‘you attack’ ?; meaning of Hebrew uncertain.
V. 4d—gdrh dh.wyh: see BHS and HAL; MT gdr hdh.wyh.
V. 5a—mš’wt: ‘deceptions’ (cf. kzb in v. 5b); MT mś’tw (‘from his high posi-
tion’).
V. 5c—bpymw : ‘with their mouths’; MT bpyw (‘with his mouth’).
20.2 Content
Put your trust in God.
I Description of the supplicant’s confidence in the midst of his enemies.
I trust in God (vv. 2–3).
How long will you attack me, a leaning wall? (v. 4).
ii.20 psalm 62 183
They delight in falsehood (v. 5).

I trust in God (vv. 6–7; cf. vv. 2–3).
II Exhortation to trust in God.
You people, note my example and put your trust in God (vv.
8–9).
Human beings are but a breath, a delusion (v. 10).
Do not trust in extortion or robbery (v. 11).
You are strong and faithful, O Lord; you will reward everyone
according to his deeds (vv. 12–13; cf. vv. 8–9).

20.3.1.1 ’k, v. 2a; ext. // ’k in v. 3a ’l prohib., v. 11a+b; ext.
‘d ’nh, v. 4a // ’l prohib. in v. 11d
’k, v. 5a zw, v. 12b
’k, v. 6a; ext. // ’k in v. 7a
’k, v. 10a 20.3.1.2 none

20.3.2.1 hw’, v. 3a slh, v. 9c
brk (with object God), v. 5c hmh, v. 10d
slh, v. 5d
hw’, v. 7a 20.3.2.2 vocative: ’dny, v. 13a
kl ‘t, v. 9a ’th, v. 13b

imperative: bt.h.w, v. 9a
vocative: ‘m, v. 9a

vv. 2–3: ’k, vv. 2a.3a (anaphora)
suffix -y, vv. 2a+b.3a (2×)+b; note -y at the end of the cola
yšw‘ty, vv. 2b.3a
vv. 6–7: ’k, vv. 6a.7a (anaphora)
suffix -y, vv. 6a+b.7a (2×)+b; note -y at the end of the cola
tqwty/yšw‘ty, vv. 6b and 7a resp.
vv. 8–9: ’lhym, vv. 8a+b.9c
mh.sh, vv. 8b.9c!

prep. b-, vv. 8b.9a (2×)
v. 10: hbl, v. 10a.10d
v. 11: ’l prohibitive, v. 11a+b.11d!
vv. 12–13: prep. l-, vv. 12c.13a+c

vv. 2–7 (Canto I): ’k . . . ’mwt., vv. 2–3 and 6–7 resp. (inclusion); cf.
also ’k in v. 5a
trs.h.w/yrs.w, vv. 4b and 5b resp. (alliter; linear)
dh.wyh/lhdyh., vv. 4d and 5a resp. (allit.; concat.);
root dh.h!
vv. 8–13 (Canto II): ’lhym, vv. 8–9.12a+b (inclusion)

‘z, vv. 8b.12c! (inclusion)
root bt.h. + prep. b-, vv. 9a.11a! (linear)
lbb/lb, vv. 9b.11d! (linear)
mh.sh lnw/km‘śhw, vv. 9c and 13c resp. (alliter.;
inclusion)
’yš, vv. 10b.13c
root hbl, vv. 10a+d.11b! (concatenation)
ky, vv. 11c.12c+13b (concatenation)

vv. 2–3.8–9: ’lhym, vv. 2a.8–9
root yš‘, vv. 2b+3a.8a
.swr, vv. 3a.8b
vv. 4–5.10–11: ’yš, vv. 4a.10b (linear)

} chiasmus
kzb, vv. 5b.10b!
’k, vv. 5a.10a
dh.wyh . . . lhdyh./yh.d, vv. 4d–5a and 10d resp. (alliter.)
vv. 6–7.12–13: l’lhym, vv. 6a.12c!; see also ’lhym in v. 12a and prep. l-
in v. 13a+c
ky, vv. 6b.12c+13b; cf. also v. 11c!
hw’/’th, vv. 7a and 13b resp.
vv. 6–7.8–9: .swr, vv. 7a.8b (concatenation)

suffix -y, vv. 6–7.8 (4×; concatenation)
ii.20 psalm 62 185
root yš‘, vv. 7a.8a (concatenation)

prep. b-, prep. l-

’l (v. 11 [2×]), bn (v. 10 [2×]), prep. k- (vv. 4.13), kl (vv. 4.9), ‘l (vv. 4.8)

Psalm 62 has 16 verselines and 35 (= 5×7) cola.1 V. 8b is the pivotal colon
(> 17+1+17 cola). We are obviously dealing with the rhetorical centre,
because in this colon we find a succinct expression of the gist of the entire
poem (‘my rock of strength, my refuge is in God!’). The statement about
the protection by God is highlighted by the 17 cola flanking v. 8b; the
number 17 symbolically represents the divine name, yhwh.
12+12+17 = 50+60 (= 110 = 10×11 words in total). The sum total of
words in the central strophes (vv. 6–7 and 8–9) is also a multiple of 11,
namely 33 (< 14+19 words).2 These multiples of 11 words are a first
indication that we have to do with a wisdom song (for this aspect, see
further § 20.7).3
The psalmist nearly always speaks about God in the third person. It
is only in the concluding verseline (v. 13) that he addresses God in the
second person (eight words).4 The section spoken about God (vv. 2–12) is
significantly composed of exactly 102 (= 6×17) words.
1
Fokkelman (MPHB II) counts 34 cola, because he considers v. 13b–c a single colon.
Weber (2001) takes v. 4c–d as a single colon and, therefore, also has 34 cola.
2
Cf. the multiples of 11 words in Psalms 59, 60 and 63! In this numerical context,
the word count endorses MT and militates against Fokkelman’s proposal to delete rbh
in v. 3b (MPHB II, p. 182; this results in a total of 109 words).
3
I tentatively suggest that the phrase yš‘y wkbwdy .swr ‘zy mh.sy b’lhym (‘my deliv-
erance and glory, my rock of strength, my refuge is in God’, v. 8aB–b) represents the
rhetorical centre of the psalm on word level (> 52+6+52 words). The phrase does not
coincide with a complete bicolon, but it gives food for thought because it has exactly
26 letters (the number 26 represents the name of God). For the central position of v. 8,
see also Auffret (1993), pp. 123–24.
4
For transitions like this occurring exactly in the final verseline of a psalm, see also
Pss. 20,10a 33,22 52,11 55,24 and 106,47; the abrupt address to God functions as a
device for closure. This rhetorical feature characterizes v. 13 as a coherent verseline, as
indicated by the Masoretic verse division; contra Weber (1992) and [Hossfeld]/Zenger
(p. 178; see also p. 181), who argue that vv. 12c and 13a constitute an individual bicolon.
Multiples of 17 words also turn up when we consider the poem to be

composed of two linked ‘rings’, vv. 2–9 and 6–13. Now, the morpheme
wbqrbm (‘and in their inside’) is the pivotal word of the first ring, vv. 2–9:
> 34+1+34 words.5 The second ring, vv. 6–13, consists of 74 words. In
gematria the number 74 (= 2×37) refers to the root hbl (5+2+30 = 37);
note vv. 10a+d and 11b.6
The title ’lhym (‘God’) occurs 7×: vv. 2, 6, 8 (2×), 9 and 12 (2×).7
The pivotal position of v. 8b (see above) is reinforced by the fact that the
word ’lhym in this colon is flanked by 3× ’lhym on both sides.8 In v. 13
God is designated ’dny (‘Lord’); this title occurs in a strophe consisting of
exactly 17 words (vv. 12–13; strophes of 17 words do not occur elsewhere
in the psalm).

Saalschütz (1825), p. 118: 2–5.6–9.10–13 (4.4.4 verses); similarly Hävernick
(1849), p. 40, De Wette (1856); cf. Sommer (1846), p. 54, NAB (1970)
Köster (1837): 2–3.4–5|6–7.8–9|10–11.12–13
Ewald (1866), pp. 119–21: 2–3.4–8.9–13 (2.5.5 verses)
Delitzsch (1894): 2–4.5.6–8.9.10–13 (with Psalm 39 a ‘Zwillingspaar’)
Grimme (1902), p. 158: 2–3.4–5|6–7.8–9*.10–11.12–13* (2.4|2.4.4.4 lines);
cf. Köster (1837)
Zenner (1906), pp. 292–94: 2–5.6–9|10–11.12–13+63,12c|. . . (5.5|4.4|. . . lines)
Duhm (1922): 2*.3.4.5.8.9.10.11.12–13a.13b–c+63,12c (10×2 bicola)
Gunkel (1926): 4.5.6–8|9.10.11.12–13
Möller (1931), pp. 11–12: 2–5.6–9.10–13 (4.4|4 verses); cf. Saalschütz (1825)
Calès (1936): 2–3.4.5|6–8.9.10|11.12–13 (no regular strophic structure)
Herkenne (1936): 6–7.4–5*.8–9.10–11.12–13+63,12
Böhl (1947): 2–3|4–5|6–9|10–11.12–13
Kissane (1953): 2–5.6–10.refrain+11–13 (6.6.6 lines); cf. Pannier/Renard
Van der Ploeg (1971): 2–3.4.5.6–7.8–9.10.11.12–13; cf. TOB (1978)
Alden (1976), p. 194: 2–3.4–5|6–7.8–9|10–11.12–13 (a.b|c.c’|b’.a’)
Beaucamp (1976): 2–3 4–5.6–9b.10–11 12 (13) (2 4.4.4 2 [2] cola)
Jacquet (1977): 2–3.4.5.6–7 |8bB–9.10.11.12–13a (4×2|4×2 lines; v. 13b–c
‘Addition liturgique’)
5
For more examples of the root qrb as a device for marking the centre of a poetic
unit, see Ch. V, 4.1.1.
6
For more numerical observations on word level, see www.labuschagne.nl/ps062.pdf.
7
In this respect, Girard suggests that the number seven represents a ‘symbolisme
numérique’: we are dealing with totality (p. 154).
8
Cf. Psalm 61 (§ 19.5)! For ’lhym as a device for marking a rhetorical centre, see
further Ch. V, 2.3.
ii.20 psalm 62 187
Kraus (1978): 2–8.9–13; similarly De Meyer (1981) and [Hossfeld]/Zenger

Aletti/Trublet (1983), pp. 54–55: 2–3.4–5.6–7 |8–9.10–11.12–13 ; cf. Jacquet
Ravasi (1985): 2–3.4–5.6–7.8–11.12–13
Tate (1990): 2–3.4–5|6–8.9|10.11.12–13
Auffret (1993): 2–3.4.5.6a|6b–7.8|9a–b|9c|10.11|12a–b.12c–13a.13b–c
Girard (1994): 2–3.4–5|6–7.8–13 (a.b|a’.b’)
Fokkelman (2000), pp. 181–83: 2–3.4.5|6–7.8–9|10.11.12–13 (2.2.2|2.2|2.2.2
lines); cf. Jacquet (1977)
Weber (2001): 2–3.4–5.6–8 |9–10.11.12–13 (a.b.a’|c.c’.d; 17.17 cola)
Terrien (2003): 2–3.4–5|6–7.8–9|10–11.12–13 ; cf. Ravasi (1985)

In terms of structure, Psalm 62 is an intriguing poem for more than one
reason. First there is the fact that the psalm is entirely composed of 2-line
strophes; there are eight 2-line strophes in total, vv. 2–3, 4, 5, 6–7, 8–9,
10, 11 and 12–13.9 This rigid regularity is based on semantic and formal
considerations.
The semantic aspect of the strophic structure is described in § 20.2. The
thematic coherence of the strophes is generally in line with the application
of all kinds of transition markers indicating the beginning and the end of
most of these small poetic units; see §§ 20.3.1–2 respectively. Additionally,
in most cases verbal recurrences clearly reinforce the thematic relationship
between two successive verselines; see § 20.4.1. In this respect, it is finally
to be observed that each strophe begins with an ’aleph or an ‘ayin. In
vv. 2–3 and 6–7 this opening device takes the form of an anaphora; see ’k
(‘surely’) at the beginning of the verselines. We are obviously dealing with
a quasi-acrostic device. This is strengthened by the three opening words of
the psalm, all starting with an ’aleph: ’k ’l ’lhym (v. 2a).10
It has often been noted that from v. 9 onwards our poem shows several
characteristics of a wisdom song ([Hossfeld]/Zenger, pp. 180–81). In this
respect, the didactic meditation on humanity in general (v. 10), the warning
9
See also Van der Ploeg, Jacquet and Fokkelman in § 20.6. The final strophe, vv.
12–13, is composed of two tricola; for this closing device, see CAS I, Ch. V, 6.2.1 (pp.
528–29).
10
Cf. Pss. 63,2a–b (’lhym ’ly ’th ’šh.rk ; the opening of the following psalm) and 9,2–3
(in this opening strophe of the alphabetic acrostic Pss. 9–10 each colon starts with an
’aleph); see also Job 5,8: ’wlm ’ny ’drš ’l ’l // w’l ’lhym ’śym dbrty, the first verseline
of Canto II (for the canto structure, see my RCPJ, pp. 70–79). In this respect, it is
remarkable that Ps. 62,6 opens with ’k l’lhym, a slight variation on v. 2 eliminating the
staccato effect caused by the ’aleph at the beginning of three successive words. Cf. fur-
ther, K. Seybold, ‘Akrostichie im Psalter’, Theologische Zeitung 57 (2001), pp. 172–83.
not to trust in wealth (v. 11) and the numerical sequence x/x+1 (v. 12) are
typical features. The quasi-acrostic devices mentioned above and the multi-
ples of 11 words (see § 20.5) are other wisdom features, but simultaneously
suggest that sapiential phenomena permeate the entire composition.11
The second reason why Psalm 62 leads us to a structural inquiry is the
intriguing repetition of vv. 2–3 in the strophe vv. 6–7. It seems natural to
assume that the recurring verselines have a framing function as a refrain
strophe.12 From § 20.6 we learn that the strophe in question is often taken
as an opening refrain at the beginning of the first and the second main
section of the psalm. It is in line with this opinion that from Saalschütz
(1825) onwards, many exegetes divide the poem into the following three
sections: vv. 2–5, 6–9 and 10–13 (‘serenity in spite of insidious foes’, ‘my
refuge is also our refuge’ and ‘the vanity of humankind’ [Terrien]).13 This
division is supposed to be corroborated by slh in vv. 5 and 9, marking the
end of the first and the second main section. Scholars looking at Hebrew
poetry from a strophic perspective—especially in the nineteenth century—
were confirmed in their opinion, by the fact that each section has four
Masoretic verses.
Zenger explicitly rejects this tripartite division. According to him, it
does not do justice to the ‘Zweitakt’ of individual experiences and general
wisdom that characterizes the psalm ([Hossfeld]/Zenger, p. 181). Therefore,
he argues in favour of a bipartite framework, vv. 2–8 and 9–13. The psalmist
‘will seinen in V 2–8 “gelernten” eigenen Weg des Gottesvertrauens anderen
als Lebenslehre weitergeben’ (p. 180).14
I agree that only a bipartite division can adequately reflect the the-
matic movement of the composition. Nevertheless, the division into vv.
2–8 and 9–13 one-sidedly emphasizes the thematic aspect of the ‘Zweitakt’
concerned. This approach ignores the tensions that often emerge in Hebrew
poetry at the interface of form and material content. The regularity of the
2-line strophes which pervades the psalm clearly shows that vv. 8 and 9
11
For the ‘dimension sapientiale’ of the poem as a whole, see De Meyer (1981), pp.
357–64; cf. further § 16.7 above (with regard to Psalm 58).
12
Fokkelman (MPHB II, p. 183 n. 9) rightly notes the remarkable fact that Raabe
does not discuss Psalm 62 in his study of psalms with refrains (1990).
13
See Saalschütz, Köster, Möller, Alden, Tate, Fokkelman and Terrien in § 20.6; cf.
also Kissane (1953). Some exegetes have doubts with regard to the structural function
of vv. 2–3 and 6–7. Kraus wonders: ‘Handelt es sich um einen Refrain . . . , oder ist
anzunehmen, dass hier eine textinnere Variante vorliegt?’; see also Duhm and Gunkel
in § 20.6.
14
Similarly Weber (2001, p. 277): ‘die Hauptzäsur kommt zwischen den Individual-
psalm (I) und die kollektive und weisheitliche Generalisierung bzw. Applizierung (II) zu
liegen’; see also Kraus in § 20.6.
ii.20 psalm 62 189
belong together; see above and note mh.sh (‘refuge’) in § 20.4.1.

According to Fokkelman, the tripartite framework (vv. 2–5, 6–9 and
10–13) is supported by a ‘clever alternation’ of strophes containing positive
and negative terms. Vv. 2–3, 6–9 and 12–13 are ‘positive-sounding units’,
vv. 4–5 and 10–11 are negative units (MPHB II, p. 181). Fokkelman fails to
note that his alternation between positive and negative units coincides with
the distribution of the title ’lhym over the psalm; this title only occurs in
the positive units.15 In my opinion, Fokkelman’s observation is more likely
to support a bipartite than a tripartite framework.16
An investigation into the verbal recurrences featuring on the level of the
psalm as a whole shows that the refrain strophe vv. 2–3 and 6–7 merely con-
tains the most conspicuous recurrences within a web of verbal repetitions
permeating the texture of this composition. In light of these recurrences it
is most probable that the poem is composed of two regular cantos of eight
verselines each, vv. 2–7 and 8–13.
Both cantos are demarcated by verbal repetitions which mark their
boundaries by inclusion. That is to say, our poem is composed of two
successive rhetorical ‘rings’. Vv. 2–3/6–7 is a true refrain strophe which
delimits the first canto as a coherent whole.17 Canto II is marked in a similar
way; note ‘z (‘strength’) and ’lhym (‘God’) in vv. 8–9/12–13 (§ 20.4.2).18
It is consistent with a well-balanced rhetorical approach to note that
the caesura between the cantos does not signify a hard break, but rather
a smooth transition. The main sections are connected to each other by
enjambement and concatenation. The psalmist’s exhortation to his people
to follow his example of having confidence in God (v. 9) is preceded by an
introductory verseline, v. 8, summarizing the main idea of Canto I, ‘I trust
in God’ (note vv. 2–3 and 6–7; enjambement). This thematic transition
coincides with some conspicuous concatenations; see § 12.4.3.
15
Cf. Girard: ‘Toutes les occurrences the ’elōhı̂m jouent un rôle structurel’ (p. 154).
16
For a similar conclusion, see www.labuschagne.nl/Ps062.pdf, Observation 2.
17
The slight variations that turn up in the refain strophe, see especially yšw‘ty (‘my
deliverance’, v. 2b) and tqwty (‘my hope’, v. 6b), do not imply that vv. 6–7 thematically
belongs to the following verselines; contra Girard, p. 148 n. 1.
18
For this bipartite division, see also Jacquet (1977; ‘Méditation’, ‘Exhortation’) in
§ 20.6 and my STR (1980), pp. 288–91. More recently, Aletti/Trublet have argued in
favour of the same division: ‘double composition concentrique’ (see § 20.6)! Girard,
who divides after v. 5, fairly admits that Aletti’s proposition ‘ne manque pas de mérite
. . . et demeure admissible’ (p. 154 n. 8); otherwise Auffret (1993), pp. 117–18. For a
poem similarly composed of two successive ‘rings’, see Psalm 32 (CAS I, Ch. III, 32
[pp. 320–26]). Like our poem, Psalm 32 displays some specific wisdom features; note
the opening anaphora ’šry . . . ’šry (‘happy . . . happy’, vv. 1–2), the admonition not to
act without understanding (vv. 8–9) and also the contrast between the wicked and the
righteous (v. 11)!
Canto II is composed of two regular canticles of four verselines, vv. 8–10

and 11–13; see especially the linear recurrences in § 20.4.2 (bt.h. [‘to trust’],
lbb/lb [‘heart’] and ’yš [‘man’]). This linear pattern of verbal recurrences
corresponds to the call for trust in v. 9 (positive) and v. 11 (negative), oc-
curring in the first strophe of both canticles. These linear correspondences
between vv. 8–10 and 11–13 overlie the concentric framework of the second
canto (‘symetrie croisée’); see once again § 20.4.2.
The quintessential thought of the psalm is to be found in its concluding
strophe, vv. 12–13. This is the only strophe consisting of 17 words and
containing the divine title ’dny (§ 20.5). The strophe is introduced by a
numerical saying (x > x+1), speaking about an oracle. This is a literary
technique to highlight the climax of this didactic composition about God’s
reliability in terms of his loving kindness; note h.sd in v. 13a. In the context
of the linear parallelism between Canticles II.1 and II.2, God’s faithfulness
is underlined by the corresponding strophe, v. 10, portraying man’s weak-
ness.19
For the relationship with the preceding psalm see, among other things, the
following verbal repetitions: ’lhym (vv. 2–13) > 61 (3×); .swr (vv. 3.7.8)
> 61,3; mh.sh (vv. 8.9) > 61,4.5; ‘z (vv. 8.12) > 61,4; lb (vv. 9.11) > 61,3;
root šm‘ (v. 12) > 61,2.6; ky ’th (v. 13) > 61,6; h.sd (v. 13) > 61,8 (linear)!;
root šlm (pi‘el, v. 13) > 61,9 (linear)!
Furthermore, there is a clear relationship with Psalm 39 (so already Ewald

and Delitzsch; see now also Weber). I mention the following features: the
almost identical headings; the frequent use of the particle ’k ; dwmyh (v. 2)
> 39,3; ’yš (vv. 4.10.13) > 39,7.12; ’k hbl bny ’dm (v. 10) > 39,6.7.12; ky
’th (v. 13) > 39,10.
20.8 Bibliography
F. de Meyer, ‘La dimension sapientiale du Psaume 62’, Bijdragen 42 (1981), pp.
350–65;
B. Weber, ‘Ps 62,12–13: Kolometrie, Zahlenspruch und Gotteswort’, BN 65
(1992), pp. 44–46;
19
Cf. Weber (1992), pp. 44–46, and Auffret (1993), p. 127.
ii.21 psalm 63 191
21 Psalm 63
Structure: 6.6 > 2.2.2|3.3 lines (Type IA)
I 2 ’LHYM ’ly ’th ’šh.rk .sm’h lk npšy

kmh lk bśry b’RS. s.yh w‘yp bly mym
3 kn bqdš h.zytyk lr’wt ‘zk wkbwdk

4 ky .twb h.sdk mh.yym śpty yšbh.wnk
5 kn ’brkk bh.yy bšmk ’ś’ kpy

6 kmw h.lb wdšn tśb‘ npšy wśpty RNNWT YHLL PY
II 7 ’m zkrtyk ‘l ys.w‘y b’šmrwt ’hgh bk

8 ky hyyt ‘zrth ly wbs.l knpyk ’RNN
9 dbqh npšy ’h.ryk by tmkh ymynk
10 whmh lšw’h ybqšw npšy yb’w bth.tywt h’RS.

11 ygyrhw ‘l ydy h.rb mnt š‘lym yhyw
12 whmlk yśmh. b’LHYM YTHLL kl hnšb‘ bw ky yskr PY dwbry šqr
21.1 Text
V. 2a—’th: Fokkelman (MPHB III, pp. 108–09) rightly argues that the bicolon
v. 2a–b is composed of 3+4 words; MT divides with ‘ole weyored after
’šh.rk.
V. 11a—ygyrhw : ‘they hand over him’ (hiph‘il of ngr + suffix 3rd person sin-
gular); so MT and similarly Tate and [Hossfeld]/Zenger (cf. BHS).
21.2 Content
A song of confidence by an individual.
I A description of confidence in God’s caring presence.
O God, I am longing for your presence (v. 2).
In the sanctuary I have experienced your loyal love (vv. 3–4).
I (will) praise you for the blessings conferred on me (vv. 5–6).
II The psalmist’s trust for salvation from distress.
At night I remember your protection (vv. 7–9; cf. vv. 2–4).
My enemies will be defeated (vv. 10–11+12c), but the king and
his subjects will rejoice (v. 12a–b; cf. vv. 5–6).

21.3.1.1 vocative: ’lhym, v. 2a w- beginning of line, v. 10a
’th, v. 2a
brk with object God, v. 5a 21.3.1.2 hmh, v. 10a

21.3.2.1 none 21.3.2.2 w- beginning of line, v. 12a

kn beginning of line, v. 3a
.twb beginning of line, v. 4a
kn beginning of line, v. 5a

v. 2: lk, v. 2b.2c
vv. 3–4: suffix -k, vv. 3b.4b (epiphora); see also -k in v. 3a
vv. 5–6: suffix -y, vv. 5a+b.6a+b (epiphora)
vv. 7–9: suffix -k, vv. 7a+b.8b.9a+b
prep. b-, vv. 7b (2×).8b.9b (note the anaphora)
vv. 10–12: w- beginning of the line, vv. 10a.12a! (inclusion)
whmh/whmlk, vv. 10a and 12a resp. (alliter.; inclusion)
prep. b-, vv. 10b.12a+b (inclusion)

vv. 2–6 (Canto I): .sm’h . . . npšy/tśb‘ npšy, vv. 2b.6a (inclusion)
kmh/kmw, vv. 2c and 6a resp. (alliter; exactly lin.)
mym/mh.yym, vv. 2d and 4a resp. (alliter.; linear)
kn, vv. 3a.5a! (anaphora)
h.yym, vv. 4a.5a! (concatenation)
śpty, vv. 4b.6b! (linear)
šbh./hll, vv. 4b and 6b resp.
vv. 7–12 (Canto II): root hyh, vv. 8a.11b! (linear)

npšy, vv. 9a.10a (concatenation)
ii.21 psalm 63 193

vv. 2–3.7–9: ’šh.rk/’h.ryk, vv. 2b and 9a resp. (alliter.)

} chiasmus
.sm’h/dbqh, vv. 2b and 9a resp.
bqdš/bs.l knpyk, vv. 3a and 8b resp.
h.zytyk/zkrtyk, vv. 3a and 8a resp. (note also the alliter.)
vv. 5–6.10–12: kmw h.lb/whmlk yśmh., vv. 6a and 12a resp. (alliter.;
exactly linear)
tśb‘/hnšb‘, vv. 6a and 12b resp. (alliter.; linear)
root hll, vv. 6b.12b! (linear)
py, vv. 6b.12c! (linear)
vv. 2.10–12: ’lhym, vv. 2a.12a!; see also ’l (‘God’) in v. 2a!

’th/hmh, vv. 2a and 10a resp.
šh.r/bqš, vv. 2b and 10a resp. (Hos. 5,15 Prov. 11,27)
’šh.rk/yskr . . . šqr, vv. 2a and 12c resp. (alliteration;
Ceresko, p. 436)
lk/whmlk . . . kl, vv. 2b+c and 12b resp. (alliter.)
’rs., vv. 2d.10b!
vv. 5–6.7–9: kpy/knpyk, vv. 5b and 8b resp. (alliter.)

root rnn, vv. 6b.8b!

prep. b-, suffix -k (v. 5 [2×]), prep. l- (vv. 3.8.9.12 [2×])

ky (vv. 4.8.12), ‘l (vv. 7.11)

Psalm 63 has 12 verselines and 25 cola.1 V. 7a, ’m zkrtyk ‘l ys.w‘y (‘sureley,
I remember you upon my bed’), is the pivotal colon (> 12+1+12 cola).
1
Fokkelman (MPHB III) also counts 25 cola, but he has 13 verselines because he
considers v. 12c a separate verseline.
Structure of strophes and cantos in terms of words: 15+12+15|20+26

= 42+46 (= 88 = 8×11 words in total).2 V. 7a is not only the pivotal
colon, but the centre on word level as well: vv. 2–6.7a.7b–12 > 42+4+42
words. These numerical peculiarities are indicative of the focal idea of the
composition: the psalmist calls God to mind in the night. Therefore, v. 7a
is the rhetorical centre of the psalm.3
Twice God is designated ’lhym: vv. 2 and 12 (note the inclusion); in
v. 2a we find ’l (‘God’).

Köster (1837): 2–6.7–11.12 (5.5.1 verses)
De Wette (1856): 2–7.8–12
Ewald (1866), pp. 180–82: 2–7.8–11.12 (‘trauerlied mit immer kürzer wer-
denden wenden’)
Delitzsch (1894): 2–4.5–9.10–12; similarly Kittel (1929), NAB (1970),
Ravasi (1985), Seybold (1996)
Zenner (1906), pp. 292–94: . . . .62,12–13+63,12c||2.3–6|7–8.9–12b (. . . .4||2.
4|2.4 lines)
Duhm (1922): 2.3+5.4+6.7–8.9–10.11–12b (6×2 bicola)
Gunkel (1926): 2–3.7–9.5–6+4.10–11+12c* (4×3 lines)
Calès (1936): 2a.2b–d.3+5|4.6.7–8|9.10–11.12 (1.2.2|1.2.2|1.2.2 lines; ‘La
forme strophique paraı̂t très regulière et d’une symétrie parfaite.’)
Herkenne (1936): 2–3.4–8.9–11
Böhl (1947): 2.3–4|5–6.7–8|9–10.11–12
Podechard (1949): 2–3.4–6.7–9.10–11+12c* (4×3 lines); cf. Gunkel (1926)
Pannier/Renard (1950): 2–9.10–12 (‘deux parties inégales’)
Kissane (1953): 2–3.4–6.7–9.10–12 (4×3 lines); similarly McKay (1979),
pp. 234–35, Terrien (2003); cf. Podechard (1949) and Weber (2001)
Van der Ploeg (1971): 2.3–4.5–6.7–9.10–12 (not skilfully structured); sim-
larly TOB (1978)
Beaucamp (1976): 2 3–4.5–6|7–8.9–10 11–12b (12c) (4 4.4|4.4 4 [1] cola);
cf. Böhl (1947)
Jacquet (1977): 2–3.7–9.4–6.10–12b (4×3 lines; v. 12c ‘Addition liturgique’);
cf. Gunkel (1926)
2
For the multiple of 11 words, cf. Pss. 59, 60 and 62. For the concluding strophe (vv.
10–12), which is composed of 26 words referring to the divine name, cf. Pss. 2,10–12
(26 words) and 62,12–13 (17 words). For more numerical phenomena on word level, see
www.labuschagne.nl/ps063.pdf, Observations 2–3 and 5.
3
This finding may corroborate McKay’s analysis of this composition as a ‘Psalm of
Vigil’; J.W. McKay, ‘Psalms of Vigil’, ZAW 91 (1979), pp. 229–47; cf. Ceresko (1980).
For v. 7a as the rhetorical centre of the psalm, see also Ch. V, 2.3.2.
ii.21 psalm 63 195
Wahl (1977), pp. 278–84: 2.3–4.5–6|7–9.10–11.12 (2.2.2|3.2.2 lines)

Ceresko (1980): 2–5.6–9.10–12; similarly Tate (1990)
Aletti/Trublet (1983), p. 78: 2.3.4.5.6.7.8–9|10–11.12a–b.12c (a.b.c.d.c’.b’.
a’|e.f.e’); cf. Pannier/Renard (1950) and Auffret (1989)
Neveu (1991), pp. 9–12: 2.3–4.5–6.7–9|10–11|12 (3×2.3|2|1 lines)
Girard (1994): 2.3–6|7.8–12 (a.b|a’.b’)
[Hossfeld]/Zenger (2000): 2–5.6–8.9–12 (‘kunstvolle poetische Struktur ’)
Fokkelman (2003), pp. 107–11: 2–3.4–5|6–7.8–9|10–11.12 (3.2|2.2|2.2 lines)
Gillmayr-Bucher (2003), pp. 71–78: 2–4a.4b–6.7–9.10–12 and 2.3–6|
7.8–9|10–11.12
Auffret (2006): 2.3–6.7–9.10–12 (a.b.b’.a’; v. 2 introduces vv. 3–12)

The various unexpected transitions in the flow of thought in Psalm 63 have
baffled commentators. It is often stated that there is a poor sequence
of thought. The ‘Trostgedanken’ (vv. 7–9) cannot follow ‘das gelobte
Danklied’ (vv. 4–6); this is supposed to be unnatural (Gunkel, pp. 266–67;
see also § 21.6). Zenger ([Hossfeld]/Zenger, p. 191) points out, among
other things, that the alternation of prefix- and suffix-conjugations poses
serious problems. Notwithstanding these and other difficulties, exegetes
speak highly of this psalm. It is supposed to represent one of the ‘finest
testimonies of piety’ in the Psalter (Weiser). However, to grasp the beauty
of this poetic ‘pearl’ we must appeal to a literary explanation and not re-
sort to a shifting of verses to make it appropriate to a preconceived idea
about some ritual in the sanctuary (contra Gunkel and others).
Advocates of a strophic approach have assumed that our psalm is com-
posed of four 3-line strophes.4 According to Ceresko (1980, p. 435), there
are three parts, vv. 2–5, 6–9 and 10–12. Ceresko argues that the beginning
of these sections is indicated by the morpheme npšy (‘my soul’) in vv. 2, 6
and 9, where the poet each time draws upon a different nuance (v. 2 ‘my
throat’, v. 6 ‘my desire’ and v. 10 ‘my life’).5 In v. 9 npšy appears a fourth
time; here it is taken by Ceresko (following Dahood) as a ‘surrogate’ for
the personal pronoun ‘I’. Nevertheless, with an appeal to npšy, according to
[Hossfeld]/Zenger the psalm divides into vv. 2–5, 6–8 and 9–12. Obviously,
we are not dealing with an unambiguous marker of structure. Moreover, in
terms of length, the tripartite divisions do not display some regularity.
A deeper investigation into the verbal repetitions and alliterations on
the level of the composition as a whole reveals that the psalm divides into
4
See Gunkel, Podechard, Kissane and Jacquet in § 21.6.
5
This reasoning is also found with Tate and Fokkelman; cf. § 21.6.
two equal parts (cantos) of six verselines each, vv. 2–6 and 7–12.6 One of
the clearest features supporting this division is the refrain-like character
of vv. 6 and 12; see § 21.4.3 (linear framework). These verselines are to
be taken as a concluding ‘refrain’ marking the end of Cantos I and II.7
Moreover, there is a powerful semantic antithesis between vv. 6b and 12c:
the psalmist’s mouth joyfully praises God (v. 6b), while the mouth of the
liars is stopped (v. 12). This contrast of ideas further supports the canto
division.
The linear parallelism between vv. 6 and 12 is in line with a pattern
based on the ‘akrostichische Merkmale’ which have been observed by Sey-
bold. The beginning of the psalm (Canto I) is marked by four successive
words opening with an ’aleph: ’lhym ’ly ’th ’šh.rk (v. 2a–b). This device
corresponds to the ’aleph marking the beginning of Canto II; see ’m (‘when-
ever’) in v. 7a (there are no other verselines starting with an ’aleph), and
further prep. b- + ’šmrwt ’hgh in v. 7b. In Canto I all verselines following
v. 2a–b start with the letter kaph. This feature parallels the beginning of
the second verseline of Canto II; see ky in v. 8.8 According to Girard (pp.
159–60), the parallelism between vv. 2 and 7 is based on the correspondence
of the verbs šh.r (‘chanter avant l’aube’) and hgh (‘murmurer’ [during the
night]).
These formal phenomena supporting the poem’s bipartite structure co-
incide with various thematic peculiarities which bring to light the dynamics
of this song of an individual. The beginning of the cantos is characterized
by descriptions of longing for God, vv. 2 and 7. The psalmist is searching
for God (v. 2b) and calls him to mind (v. 7) in order to bring him close
by. The following verselines (vv. 3–4 and 8–9) are about his personal expe-
riences of God’s presence and help. Each canto concludes with a strophe
which is (primarily) a song of praise, vv. 5–6 and 10–12. The expression of
personal thanksgiving to be found in the last lines of the first canto is taken
up in v. 12, the final verseline of Canto II, in a form broadening the circle
of thankful persons to the king and his entourage, a community.9 Woven
6
Similarly Wahl (1977) and Girard (1994); cf. also Köster and Zenner in § 21.6.
Girard is not familiar with Wahl’s dissertation (see Girard, p. 169). For a criticism
of the bipartite structure proposed by Aletti/Trublet and Auffret (1989; vv. 2–9 and
10–12), see Girard, p. 169 n. 17.
7
For more examples of (alliterating) recurrences marking the beginning of concluding
verselines of successive cantos in a poem, see CAS I, Ch. V, 3.2.2.2 (p. 481).
8
K. Seybold, ‘Akrostichie im Psalter’, Theologische Zeitung 57 (2001), pp. 172–83
(note pp. 179–80); cf. Seybold (1996), p. 248. Seybold himself wrongly suggests that
v. 7 immediately should follow v. 2a–b.
9
For words of praise marking the end of a canto, see Pss. 31,8–9.15b.22a (CAS I, pp.
308–19) 35,9–10b.18.28 (CAS I, pp. 348–59) 65,9b.14c 71,8.14b–16.22–24a and 84,5b.
ii.21 psalm 63 197
into these songs of praise is a subtle antithetic correspondence dealing with

feeding: God satisfies the psalmist (v. 6a), while his adversaries become a
prey to jackals (v. 11b).
Alongside these linear correspondences, firmly establishing the canto
structure of Psalm 63, we also find symmetric features; see § 21.4.3 (the
symmetric framework) and Auffret (2006) in § 21.6. The linear phenomena
are more powerful than the symmetric features.
Canto I is composed of three 2-line strophes, vv. 2, 3–4 and 5–6; see
§§ 21.2 (content) and 21.4.1–2 (verbal repetitions).10 The first verseline
of these strophes is determined by a verb in the first person singular; see
’šh.rk (v. 2b), h.zytyk (v. 3a) and ’brkk . . . ’ś’ (v. 5; cf. also v. 7a+b). npšy
(‘my soul’, vv. 2 and 6) marks the boundaries of Canto I by inclusion
(§ 21.4.2). This enveloping feature is reinforced by the arithmetic structure
of the canto on word level; vv. 2.3–4.5–6 > 15+12+15 words (a.b.a’; see
§ 21.5). The pivotal strophe, vv. 3–4, is about the psalmist’s overwhelming
experience of God’s presence (note ‘zk wkbwdk . . . h.sdk ).
There is some consensus that vv. 7–9 and 10–12 are two 3-line strophes;
see § 21.6, and cf. further §§ 21.2 and 21.4.1. From a thematic point of
view, the first cola of the concluding verseline about the joy of the king
and his people (v. 12a–b) take an individual position in the last strophe
about the downfall of the adversaries (see § 21.2). However, v. 12c, which
is about the fate of the liars, shows that the line in question integrates with
the strophe concerned.11
Vv. 9–10 represent the central verselines of Canto II; they are high-
lighted by the repetition of npšy (‘my soul’). Once again (cf. especially vv.
3–4), the psalmist powerfully makes it clear that God is on his side. The
experience formulated as ‘your right hand supports me’ (v. 9b) shines forth
brightly against the dark background of the descent of his adversaries into
the netherworld (v. 10).
In my view, the quintessential thought of our psalm is to be found in
the pivotal verselines of the cantos, vv. 3–4 and 9–10; see above. This
means that we are dealing with a psalm of confidence (cf. [Hossfeld]/Zenger,
p. 194).
the following verbal repetitions: ’lhym (vv. 2.12; inclusion) > 62 (inclusion
marking Canto I and II); ’th (v. 2) > 62,13 (concatenation!); lk (v. 2; 2×)
10
Similarly Böhl, Van der Ploeg, Beaucamp, Wahl and Neveu; see § 21.6.
11
For a tricolon concluding a poem made up of a series of bicola, see CAS I, Ch. V, 6.2
(note pp. 526–27). In Psalm 36 we also find the strophic structure 2.2.2|3.3 verselines;
see CAS I, pp. 360–66.
> 62,13; npšy (in Psalm 63 including Canto I, concatenation in Canto II)
> 62,2–7 (including Canto I); ‘z (v. 3) > 62,8.12; kbwd (v. 3) > 62,8; h.sd
(v. 4) > 62,13; root brk (v. 5) > 62,5; ph (vv. 6.12) > 62,5; hmh (v. 10) >
62,10; root dbr (v. 12) > 62,12.
21.8 Bibliography
J.W. McKay, ‘Psalms of Vigil’, ZAW 91 (1979), pp. 229–47;
A.R. Ceresko, ‘A Note on Psalm 63: A Psalm of Vigil’, ZAW 92 (1980), pp.
435–36;
P. Auffret, ‘“Ma bouche s’adonnera à la louange”. Étude structurelle du Psaume
63’, ÉgTh 20 (1989), pp. 359–83;
Susanne Gillmayr-Bucher, ‘David, ich und der König—Fortschreibung und relec-
ture in Psalm 63’, in A. Vonach and G. Fischer (eds.), Horizonte biblischer Texte.
FS J.M. Oesch (OBO 196), Göttingen/Fribourg: Academic Press/Vandenhoeck
& Ruprecht, 2003, pp. 71–89;
P. Auffret, ‘A l’ombre de tes ailes je crie de joie. Nouvelle étude structurelle du
psaume 63’, BZ 50 (2006), pp. 90–98.
ii.22 psalm 64 199
22 Psalm 64
Structure: 2.4.4 > 2|2.2|2.2 lines (Type IIA)
I 2 šm‘ ’LHYM qwly bśyh.y mph.d ’wyb ts.r h.yy

3 tstyrny mswd MR‘YM mrgšt P‘LY ’wn
II 4 ’šr šnnw kh.rb LŠWNM drkw H

. S.m dbr mr
5 lYRWT bmstrym tm PT’M YRhw wl’ yyr’w
6 yh.zqw lmw dbr R‘ ysprw lt.mwn mwqšym ’mrw my yr’h lmw

7 yh.pśw ‘wlt tmnw h.pś mh.pś wqrb ’yš wLB ‘mq
III 8 wYRm ’lhym H . S. PT’WM hyw mkwtm

9 wykšylwhw ‘lymw LŠWNM ytnddw kl r’h bm
10 wyyr’w kl ’dm wygydw P‘L ’LHYM wm‘śhw hśkylw

11 yśmh. .sdyq byhwh wh.sh bw wythllw kl yšry LB
22.1 Text
V. 6c—lmw : = lnw (‘to us’); see Pss. 44,11 80,7 and Job 22,17 (cf. Dahood,
V. 7b—tmnw : ‘we are ready’, so MT (and [Hossfeld]/Zenger). This reading
perfectly fits the linear parallelism between vv. 4–5 and 6–7 (see § 22.4.2
below); contra JPS, Fokkelman (MPHB III, p. 113 n. 27), Seybold and
others, who read .tmnw (‘they have concealed’).
V. 9a: meaning obscure; M.L. Barré (VT 46 [1996], pp. 115–19) reads wykšyl
yhwh ‘lym lšwnm (‘and may yhwh make them trip on their own tongue’).
22.2 Content
The evildoers will perish and the righteous will rejoice.
I O God, protect me from my enemies (vv. 2–3; addressed to God).
II Description of the plotting by the evil men.
They plot against the blameless (vv. 4–5).
Their mouth and tongue are full of cunning and guile (vv. 6–7).
III Description of salvation and thanksgiving (spoken about God).
God brings hostility to an end (vv. 8–9).
All (righteous) people will praise God (vv. 10–11).

22.3.1.1 imperative: šm‘, v. 2a w- beginning of line, v. 10a
vocative: ’lhym, v. 2a yr’ with object God, v. 10a
my, v. 6c
w- beginning of line, v. 8a; 22.3.1.2 none
ext. // w- in v. 9a

22.3.2.1 none 22.3.2.2 none

none

vv. 2–3:
prep. mn, vv. 2b.3a+b!
ts.r/tstyrny, vv. 2b and 3a resp. (alliter.)
vv. 6–7: yh.zqw/yh.pśw, vv. 6a and 7a resp. (alliter.; anaphora)
lt.mwn/tmnw, vv. 6b and 7b resp. (alliter.)
mwqšym/‘mq, vv. 6b and 7c resp. (alliter.)
’lhym . . . pt’wm/‘lymw lšwnm, vv. 8a and 9a resp. (alliter.;
exactly linear)
mkwtm/bm, vv. 8b ad 9b resp. (epiphora)
vv. 10–11: kl, vv. 10a.11c
w- beginning of the colon, vv. 10b+c.11b+c
ngd (hiph‘il)/hll (hitpa‘el), vv. 10b and 11c resp.
’lhym/yhwh, vv. 10b and 11a resp.

vv. 4–7 (Canto II): dbr mr/dbr r‘, vv. 4b and 6a resp.! (linear)
roots str/t.mn, vv. 5a and 6b resp. (concatenation)
prep. l-, vv. 5a.6a+b+c (concatenation)
root tmm, vv. 5a.7b! (linear)
vv. 8–11 (Canto III): w- beginning of the line, vv. 8a+9a.10a (concat.)
ii.22 psalm 64 201
wyrm/wyyr’w, vv. 8a and 10a resp. (alliter.; anaphora)

’lhym, vv. 8a.10b (linear)
wykšylwhw/hśkylw, vv. 9a and 10c resp. (alliter.; concat.)
prep. b-, vv. 9b.11a+b (linear)
kl, vv. 9b.10a+11c! (concatenation)

vv. 2–3.6–7.10–11: ’lhym, vv. 2a.10b
} chiasmus; see also ‘śh in
root p‘l, vv. 3b.10b!
v. 10c
root r‘ ‘, vv. 3a.6a!
mr‘/s.dyq, vv. 3a and 11a resp.
lb, vv. 7c.11c! (‘epiphora’)
vv. 4–5.8–9: lšwnm, vv. 4a.9a!

} chiasmus
h..s, vv. 4b.8a! (linear)
root yrh, vv. 5a+b.8a!
tm/mkwtm, vv. 5a and 8b resp. (alliter.)
pt’ (w)m, vv. 5b.8a!
vv. 2–3.4–5, concat.: root str, vv. 3a.5a!

mr‘ym mrgšt/mr, vv. 3 and 4b resp. (alliter.)
The symmetric arrangement of Cantos II–III.
vv. 4–7.8–11: yyr’w, vv. 5b.10a!

} chiasmus
root r’h, vv. 6c.9b!

prep. b- (vv. 2.5)

root h.pś (v. 7 [3×])

Psalm 64 has five strophes, 10 verselines and 24 cola.1 Vv. 6–7 is the
pivotal strophe. According to Fokkelman, this strophe stands out because
1
Similarly Fokkelman, MPHB III; note p. 115 n. 33.
it is ‘devoted to a more probing analysis of the crisis’.2 V. 7a–b constitute

the central cola (> 11+2+11 cola). These cola about the scheming of
the evildoers are further highlighted by the repetition of the root h.pś (‘to
investigate’; 3×).3
Structure of strophes and cantos in terms of words: 14|15+20|13+17
= 14+35+30 (= 79 words in total). It is noticeable that the final strophe
(vv. 10–11) has exactly 17 words. This is the only strophe in the poem in
which we find the divine name yhwh (v. 11a).4
The designation ’lhym (‘God’) occurs 3×: vv. 2, 8 and 10; the divine
name, yhwh, occurs once (v. 11).

Köster (1837): 2–5.6–7.8–11 (4.2.4 verses)
De Wette (1856): 2–3.4–5.6–7|8–9.10–11 (5×2 verses); cf. Böhl (1947)
Delitzsch (1894): 2–5.6–7.8–11 (8.6.8 cola); cf. Köster (1837)
Müller (1898), pp. 49–51: 2–5.6–8.9–11 (8.8.8 cola); cf. Ewald (1866), pp.
170–72
Zenner (1906), pp. 100–01: 2–4.5–6|7–9.11+10 (3.2|3.2 lines)
Von Faulhaber (1913), p. 6: 2–3.4–7.8–11 (synthetically parallel)
Duhm (1922): 2–3.4–5.6.7*.8–9.10b–11* (6×2 bicola)
Gunkel (1926): 2–3|4–5.6–7|8–9.10–11 (‘Ziemlich regelmäßiger Strophen-
bau’); cf. Von Faulhaber (1913)
Calès (1936): 2.3–5|6.7|8–9a.9b–10.11 (no strophes)
Podechard (1949): 2–3.4–5.6–7.8–9.10–11 (2.2.3.2.2 lines); cf. Duhm (1922)
Pannier/Renard (1950): 2–3.4–7.8–11 (2.4.4 lines); similarly Wahl (1977),
pp. 285–90; cf. Gunkel (1926)
Strobel (1950), note p. 162: 2–5.6–7.8–9.10–11 (4.3.2|2 lines)
Kissane (1953): 2–5.6–8.11+9–10 (4.4.4 lines); cf. Müller (1898)
NAB (1970): 2–7.8–11
Alden (1976), p. 194: 2–3.4.5.6|7.8.9.10–11 (a.b.c.d|d’.c’.b’.a’)
2
Fokkelman, MPHB III, pp. 111–12; see also Weber, p. 286, and cf. the total structure
proposed by Köster, Delitzsch and Calès in § 22.6.
3
According to Terrien (p. 466), these cola are found at the interface of the main
sections of the psalm (see § 22.6) and represent its ‘central meaning’. Tate regards v. 7c
as ‘pivotal expression’ (p. 132).
4
These coinciding phenomena are obviously not by chance because in the preceding
psalms we have detected comparable features. The concluding strophe of Psalm 62 (vv.
12–13) has also 17 words and contains the divine title ’dny (‘Lord’); the final strophe
of Psalm 63 has 26 words (vv. 10–12; also representing the name yhwh). For a more
profound numerical investigation on word level, see www.labuschagne.nl/ps064.pdf, Ob-
servations 2–6.
ii.22 psalm 64 203
Beaucamp (1976): 2–3 4–5.6–7*|8–9*.10–11* (4 4.4|4.4 cola); cf. Beaucamp

(1968), p. 210
Jacquet (1977): 2–3.4–5.6–7b.8–9.10–11* (5×2 lines)
Kraus (1978): 2–3.4–7.8–10.11 (‘Aufbau ist klar durchschaubar’); similarly
Van der Ploeg (1971) and Tate (1990)
Aletti/Trublet (1983), pp. 51.78: 2–3.4–7|8–9.10–11 (a.b|b’.a’)
Ravasi (1985): 2–3 4–7.8–9 10–11
Neveu (1988), pp. 77–79: 2–5.6–9.10–11 (4.5.2 lines)
Auffret (1993), pp. 128–29: 2a.2b.3a–4a.4b–5a.5b–6b.6c–7a|7b–c.8–9a.
9b–10a.10b–c.11
Girard (1994): 2–5bA.5bB–6.7|8–9a.9b–10a.10b–11 (a.b.c|a’.b’.c’)
[Hossfeld]/Zenger (2000): 2–3.4–7|8–9|10–11
Weber (2001): 2|3–5.6–7.8–10|11 (refrain|a.b.a’|refrain)
Fokkelman (2003), pp. 111–15: 2–3.4–5.6–7|8–9.10–11 (2.2.2|2.2 lines;
a.b.x.b’.a’)
Terrien (2003): 2.3.4.5–6a.6b–7a|7b–c.8.9.10.11 (3 bicola.2 tricola|3 bicola.
2 tricola; a.b.c.d.e|a’.b’.c’.d’.e’); cf. Auffret (1993)

In Psalm 64 there are no compelling reasons to deviate from the Masoretic
verse division, which correctly reflects the poetic verselines. Two by two,
these verselines form an uninterrupted sequence of higher poetic units. This
means that our psalm is composed of five 2-line strophes, vv. 2–3, 4–5, 6–7,
8–9 and 10–11.5 This strophic division is based on thematic and formal
features. From a thematic perspective, it is clear that vv. 2–3, 4–7, 8–9
and 10–11 represent relatively individual sections; see § 22.2. In vv. 2–3
we find the prayer of an individual explicitly addressed to God, vv. 4–7 is
about the preparations of the adversaries for their attacks, vv. 8–9 describes
how God makes an end to the plotting of the evildoers and vv. 10–11 is the
denouement focussing on the witnesses of God’s victory over the wicked.
Vv. 4–7 also divide into 2-line strophes. From a formal point of view,
there is a linear parallelism between vv. 4–5 and 6–7; see the roots dbr
(‘to speak’) and tmm (‘to be perfect’) in § 22.4.2 (cf. the linear positioning
of ’lhym [‘God’] and the preposition b- in vv. 8–11, Canto III). From a
colometric perspective, vv. 6–7 is clearly distinguished from vv. 4–5: the
tricola in vv. 6–7 indicate that we are dealng with a relatively independent
strophe; cf. vv. 10–11. Alliterations further show that vv. 6 and 7 form
5
Similarly De Wette (nineteenth century!), Gunkel and Fokkelman; cf. also Pode-
chard, Beaucamp and Jacquet in § 22.6.
a rhetorical unity (§ 22.4.1). The strophic structure of this poem is also

supported by several transition markers; see § 22.3.1.1.
The verbal repetitions on the level of the psalm as a whole constitute a
wave-like mutual relationship between the 2-line strophes: vv. 2–3|4–5.6–7|
8–9.10–11 > a|b.a’|b’.a’’; see § 22.4.3.6 Especially vv. 4–5 and 8–9 con-
tain a conspicuous cluster of verbal recurrences supporting this alternating
pattern. Therefore, we have to do with a kind of refrain strophe. In this
context, Van der Ploeg rightly notes that the author with literary means
has deliberately designed a contrast between the plotting of the enemies
and God’s punishment.7 The tricola, which totally dominate vv. 6–7 and
10–11, perfectly fit the alternating pattern on the macrostructural level of
the psalm. Moreover, in these strophes the psalmist let us know that the
(grammatical) subjects say something; note ysprw/’mrw in v. 6 (about the
speaking of the evildoers) and wygydw/wythllw in v. 10b.11c (about of the
speaking of the men acknowledging God’s deeds).
Because vv. 4–7 form a semantic unity (see above), I conclude that
Psalm 64 is composed of two regular 4-line cantos, vv. 4–7 and 8–11, which
are introduced by a ‘half-long’ canto of two verselines, vv. 2–3.8 The end
of Canto II is highlighted by the enigmatic colon v. 7c, which is probably
a generalizing statement about man’s cunning.
Most scholars do not recognize the major break after v. 3; they read
vv. 2–5 or 2–7 as a rhetorical unity (see § 22.6). However, the supplicant’s
prayer for deliverance, vv. 2–3, represents a relatively independent intro-
ductory canto.9 This is in line with some peculiarities in terms of subject
matter we find in Cantos II–III. Zenger ([Hossfeld]/Zenger, p. 204) rightly
observes that vv. 4–7 is about the threats of the ‘blameless’ in the third
person (v. 5) and do not explicitly describe the supplicant’s distress. Ac-
cordingly, vv. 8–9 deals with the failing of the wicked and vv. 10–11 speaks
of the witnesses of God’s action in the third person (‘all men’, the ‘righ-
teous’). There is no mention of the supplicant’s personal deliverance from
6
To some degree, the alternating pattern of verbal recurrences once more strengthens
the strophic framework.
7
‘De auteur is er bewust op uit geweest met litteraire middelen een tegenstelling te
scheppen tussen het drijven der vijanden en de straf van God’ (1971, p. 373); similarly
Fokkelman, MPHB III, p. 111.
8
For the framework vv. 2–3.4–7.8–11, see also Von Faulhaber, Gunkel, Pan-
nier/Renard, Beaucamp and Wahl in § 22.6. For the basic pattern 2.4.4 verselines, see
Ch. IV, 2.4.2. The macrostructure proposed by Müller and Kissane is a forced attempt
to find three regular sections. The same holds true for the attempts by Zenner, Alden,
Aletti/Trublet, Auffret, Girard and Terrien to discover two balancing or corresponding
parts; see § 22.6.
9
See also CAS I, Ch. V, 5.2.1.2 (p. 510).
ii.22 psalm 64 205
distress. The relative pronoun ’šr at the beginning of vv. 4–7 does not
militate against this outcome. In Job 8,14 we also find ’šr at the beginning
of a new canto.10
Zenger and Weber rightly point to some wisdom devices featuring in this
psalm. ‘Die Auseinandersetzung ist also letztlich ein Kampf zwischen Chaos
und Kosmos’ ([Hossfeld]/Zenger, p. 205). Accordingly, the quintessential
thought of Psalm 64 is to be found in the concluding strophe (vv. 10–11),
the denouement, where the fate of the evildoer is contrasted by the protec-
tion and joy of the righteous (cf. Ps. 58,11–12). This message is rhetorically
highlighted by the divine name which only occurs in the concluding strophe
(v. 11a). Moreover, it is precisely this strophe which is made up of exactly
17 words, another means to weave the divine name into the central message
(see § 22.5).
the following verbal repetitions: ’lhym (vv. 2.8.10) > 63,2.12; h.yym (v. 2)
> 63,4–5; root hyh (v. 8) > 63,8.11; kl (vv. 9–11) > 63,12! (linear); yśmh.
(v. 11) > 63,12! (linear); bw (v. 11) > 63,12; root hll + kl (v. 11) > 63,6.12!
(linear).
In terms of verbal repetition, there is also a conspicuous relationship with

Psalm 58: h.y (v. 2) > 58,10; root p‘l (vv. 3.10) > 58,3; drkw h..sm (v. 4) >
58,8; root dbr (vv. 4.6) > 58,2.4; ‘wlt (v. 7) > 58,3; lb (vv. 7.11) > 58,3;
’dm (v. 10) > 58,2.12; yśmh. .sdyq (v. 11) > 58,11; yhwh (v. 11) > 58,7;
root yšr (v. 11) > 58,2. According to Weber (2001, p. 287), there are also
conspicuous verbal correspondences to Psalm 55.
22.8 Bibliography
A. Strobel, ‘Le Psaume LXIV’, RB 57 (1950), pp. 161–73;
10
See my RCPJ, Part II, 7 (note p. 108); cf. further ’šr at the beginning of Canticle
II.2 in Ps. 144,12 and ’šr at the beginning of a new strophe in Ps. 78,3 and Job 9,15.17
(RCPJ, pp. 110–23). The syntactic link represented by ’šr not only ‘transcends the
strophe boundary’ (Fokkelman, MPHB III, p. 112), but really constitutes ‘a powerful
enjambement’ because it transcends the boundary of the cantos.
23 Psalm 65
Structure: 5.5.6 > 3.2|2.3|3.3 lines (Type IB)
I 2 lk dmyh thlh ’LHYM bs.ywn

wlk yšlm ndr 3 šm‘ tplh ‘dyk KL bśr yb’w
4 dbry ‘wnt gbrw mNW pš‘yNW ’th tkprm
5 ’šry tbh.r wtqrb yškn h..sryk

nśb‘h bT . WB bytk qdš hyklk
II 6 nwr’wt bs.dq t‘nNW ’LHY yš‘NW

mbt.h. KL qs.wy ’RS. wym rh.qym
7 mkyn hrym bkh.w n’zr bgbwrh

8 mšbyh. š’wn ymym š’wn glyhm whmwn l’mym
9 w yyr’w yšby qs.wt m’wttyk mws.’y bqr w‘rb trnyn
III 10 pqdt h’RS. wtšqqh rbt t‘šrnh

plg ’LHYM ml’ mym tkyn dgnm ky kn tkynh
11 tlmyh rwh nh.t gdwdyh brbybym tmggnh .smh.h tbrk
12 ‘t.rt šnt T
. WBTk wm‘glyk yr‘pwn dšn
13 yr‘pw n’wt mdbr wgyl gb‘wt th.grnh
14 lbšw krym hs.’n w‘mqym y‘t.pw br ytrw‘ ‘w ’p yšyrw
23.1 Text
Vv. 2–3: colometric division uncertain.
V. 4a—mnw : prep. mn + suffix first person plural; MT reads mny, but the first
person sing. does not feature in this text.
V. 11a—rwh nh.t: I read these forms as absolute infinitives (they can also be
read as imperatives; so Hossfeld/[Zenger]).
23.2 Content
A song of thanksgiving by the people of Israel.
I Thanksgiving for remission of sins (spoken about ‘us’).
All creatures must praise you, O God, for the remission of our
sins (vv. 2–4).
We are happy because we may dwell in your presence (v. 5).
ii.23 psalm 65 207
II A song of praise of God’s power in nature (spoken about ‘us’).

You answer our prayers with awesome deeds (v. 6).
All peoples of the earth praise you for your creative acts (vv.
7–9).
III God takes care of rainfall for the land.
You take care of rainfall for the land (vv. 10–11).
The fields are full of riches and sing for joy (vv. 12–14).

23.3.1.1 vocative: ’lhym, v. 2b; ext. ext. // mbt.h. . . . rh.qym
// šm‘ tplh in v. 3a in v. 6c–d
’šry, v. 5a
vocative: ’lhy yš‘nw, v. 6b; 23.3.1.2 none

23.3.2.1 ’p, v. 14c 23.3.2.2 ’th, v. 4b

w- beginning of line, v. 2c

vv. 2–4: lk, vv. 2a.2c; see also suffix -k in v. 3b
thlh/tplh, vv. 2b and 3a resp.
v. 5: suffix -k, v. 5b.5d (epiphora); see also suffix -k in v. 5c
h..sryk/hyklk, v. 5b and 5d resp. (epiphora)
vv. 7–9: mkyn/mšbyh., vv. 7a and 8a resp. (participle hiph‘il; ana-
phora); see also mws.’y (participle hiph‘il) in v. 9b
vv. 10–11: root rbb, vv. 10b.11b! (inclusion)
dgnm/tmggnh, vv. 10d and 11b resp. (alliter.; exactly linear)
vv. 12–14: ‘t.rt/ytrw‘ ‘w, vv. 12a and 14c resp. (alliter.; inclusion)
w- beginning of the colon, vv. 12b.13b.14b (exactly linear)
yr‘pw, vv. 12b.13a!
h.gr/lbš, vv. 13b and 14a resp.

vv. 2–5 (Canto I): lk . . . thlh/hyklk, vv. 2a and 5d resp. (alliter;
inclusion)
suffix -k, vv. 2–3.5 (3×)
prep. b-, vv. 2b.5c (inclusion)
vv. 6–9 (Canto II): yr’, vv. 6a.9a! (inclusion)

prep. b-, vv. 6a.7a+b (linear)
t‘nnw/trnyn, vv. 6a and 9b resp. (imperfectum
with subject God; inclusion [Fokkelman])
qs.h, vv. 6c.9a! (linear)
ym, vv. 6d.8a!
vv. 10–14 (Canto III): t‘šrnh/‘t.rt šnt, vv. 10b and 12a resp. (alliter.;
linear)
t‘šrnh/ytrw‘ ‘w . . . yšyrw, vv. 10b and 14c resp.
(alliter.; inclusion)
brk (pi‘el)/‘t.r (pi‘el), vv. 11c and 12a resp. (con-
catenation; see Pss. 5,13 and 21,4 [Auffret])

vv. 2–4.6.10–11: ’lhym, vv. 2b.6b.10c!
kl, vv. 3b.6c!
‘wnt . . . pš‘ynw/t‘nnw . . . yš‘nw, vv. 4 and 6a–b resp.
(alliter. [Fokkelman])
suffix -nw, vv. 4a*+b.6a+b!
’rs., vv. 6c.10a!
vv. 5.7–9.12–14: roots škn/yšb, vv. 5b and 9a resp.

.twb, vv. 5c.12a!
hrym/gb‘wt, vv. 7a and 13b resp.
hrym/krym, vv. 7a and 14a resp. (alliter.)
’zr (‘to gird [oneself]’)/h.qr (‘to gird [oneself]’), vv. 7b
and 13b resp.
roots rnn/gyl, rw‘, šyr, vv. 9b and 13b+14c resp.
vv. 7–9.10–11: root kwn (hiph‘il), vv. 7a.10d+10e! (concatenation)

ii.23 psalm 65 209

prep. b- (v. 11), suffix -k (vv. 9.12)

root gbr (vv. 4.7), prep. mn (vv. 4.9), š’wn (vv. 8 [2×])

Psalm 65 has 16 verselines and 36 cola.1 V. 8 contains the central cola (>
17+2+17 cola). These cola have exactly 7 words; note also the repetition
of š’wn (‘raging’).
Structure of strophes and cantos in terms of words: 21+10|11+20|22+21
= 31+31+43 (= 105 = 5×21 words in total). Because the total number
of words is a multiple of 21, it is worth noting that the first and the fi-
nal strophe both have exactly 21 words.2 Including the four words of the
heading, v. 8 is also the centre of the poem on word level: vv. 2–7.8.9–14
> 51+7+51 words; note the multiples of 17 and cf. the 17 cola flanking
v. 8 on both sides.
The designation ’lhym for God occurs 3×: vv. 2, 6 and 10.

Köster (1837): 2–5.6–9.10–14; similarly Herkenne (1936), Montgomery
(1945), p. 383, NAB (1970), Ravasi (1985), Tate (1990), Hossfeld/
[Zenger] (2000), Weber (2001)
Hävernick (1849), p. 42: 2–5.6–9.10–14 (4.4.5 verses); similarly De Wette
(1856), Ewald (1866), pp. 145–49
Delitzsch (1894): 2–5.6–9.10–11.12–14 (4×7 cola)
Zenner (1906), pp. 149–50: 2–4aA.4aB–5|6–9|10a–b+11–12a.12b–14 (3.3|6|
3.3 lines)
Duhm (1922): 2–3a.3b–4.5.6.7–8a+bB.9.10a–d.10e–11b.11c–13a.13b–14
(10×2 bicola)
Gunkel (1926): 2–3a.3b–4.5.6.7–8.9+14c; 10.11–12.13–14b; cf. Duhm (1922)
Calès (1936): 2–3a.3b–4.5|6.7–8a+8bB.9|10a–d.10e–11.12–14 (2.2.2|2.2.2|
2.2.3 lines)
Böhl (1947): 2–3a.3b–4.5|6.7–8.9|10.11.12–13.14
Pannier/Renard (1950): 2–5.6–9.10–14 (5.5.7 lines); cf. Neveu (1990)
1
Similarly Fokkelman, MPHB III; note p. 118 n. 44.
2
See further www.labuschagne.nl/ps065.pdf, Observations 2–3.
Kissane (1953): 2–5.6–10b.10c–14 (6.6.6 lines)

Mowinckel (1957), p. 41: 2–4.5–6.7–9.10–11.12–14 (5×4 lines)
Van der Ploeg (1971): 2–9; 10–14 (‘Kunstige litteraire procédé’s worden
niet toegepast’)
Beaucamp (1976): 2–3a 3b–4.5|6.7–8bA 9 10–11.12–14b 14c (2 2.2|2.2
2 6.6 1 cola); cf. Beaucamp (1968), p. 211
Jacquet (1977): 2–3a.3b–4.5|6.7–8bA.9+14c|10–11.12–14b (3×2|3×2|5.3 ll.)
Kraus (1978): 2–6.7–9; 10–14 (‘ist später angefügt worden’)
TOB (1978), 2–3.4–5.6.7–9.10–11.12–14
Aletti/Trublet (1983), pp. 78–79: 2–3.4.5||6a–b.6c–d.7|8.9a.9b||10–14 (a.b.
a’||c.d.e|e’.d’.c’||f)
Auffret (1993): 2–3a.3b–4.5||6.7–8.9||10a–d.10e–11|12–14
Girard (1994): 2–3.4a|4b.5||6.7–8|9–10c.10d–14 (a.b|b’.a’||c.d|c’.d’)
Fokkelman (2003) pp. 115–19: 2–4.5|6.7–9|10.11–12.13–14 (3.2|2.3|2.2.2 ll.)
Terrien (2003): 2–4.5–6.7–9.10–11.12–14 (5×3 lines); cf. Mowinckel (1957)

It is generally agreed that Psalm 65 is composed of three main parts, cantos,
vv. 2–5, 6–9, 10–14; see § 23.6. This division is based on thematic grounds:
the first canto (vv. 2–5) is a song of praise to God who forgives the sins of
his people, the second canto (vv. 6–9) is characterized by hymnic features
describing God as the creator of the earth (note the participles in vv. 6c–9)
and Canto III (vv. 10–14) focuses on the blessings God bestows on the land
of Israel.
Because there are no serious problems with regard to the macro division
in terms of semantics (cf. § 23.2) and because we are dealing with no less
than three almost regular cantos (in most psalms there are only two regular
cantos), the composition can be used as an illustrative example of the
techniques the Hebrew poets employed to shape their compositions. To
support the structure of their poems they have woven specific patterns of
verbal recurrences into the fabric of the texts.3
The tripartite division in terms of subject matter is reinforced by a lin-
early alternating pattern of verbal repetitions: vv. 2–4.5|6.7–9|10–11.12–14
> a.b|a’.b’|a’’.b’’. This linear correspondence between the cantos is most
clear in the a-strophes; note ’lhym (‘God), kl (‘all’), suffix -nw (‘our’/‘us’)
and ’rs. (‘land’) in § 23.4.3.4 In terms of subject matter, the linear corre-
3
Contra Girard who maintains that the tripartite division ‘ne se défend guère en
regard de l’analyse structurelle’ (p. 189 n. 11).
4
The pattern in question also shows that vv. 10–14 are an integral part of the original
composition; contra Gunkel, Van der Ploeg and Kraus (see § 23.6).
ii.23 psalm 65 211
spondence between the main parts is especially found at the end of Cantos
II and III, where we read about shouts of joy (vv. 9b and 14c).5 The end
of the first canto is marked by a strophe beginning with ’šry (‘happy’).
Canto I and II each consist of five verselines. The third canto is length-
ened by one verseline; there are six lines. The numerical balance between
Canto I and II in terms of verselines is strengthened on word level, be-
cause vv. 2–5 and 6–9 have exactly 31 words each; see § 23.5 (similarly
Fokkelman, MPHB III). The middle verseline of the first canto (v. 4) is
highlighted by the personal pronoun ’th (‘you’), referring to God.6 The
line also stands out because the profession and forgiveness of sins is the
focal idea of the entire section vv. 2–5. The verseline concerned is enclosed
by references to Sion (v. 2b) and the temple (v. 5).7 Each canto displays
devices for inclusion. In the central canto these devices are most explicit;
note the root yr’ (‘to fear’) in vv. 6 and 9 (§ 23.4.2). It is probably not by
chance that tbrk (‘you bless’) is the pivotal word in Canto III (> 21+1+21
words); note the multiple of 21 words in the psalm as a whole (105 words).
The linear relationship between Cantos I and II described above is not
supported by the strophic structure; from this perspective there is a sym-
metric correspondence: vv. 2–4.5|6.7–9 > a.b|b’.a’. The first canto is com-
posed of a 3- and a 2-line strophe, while Canto II consists of a 2- and a
3-line strophe (similarly Fokkelman, MPHB III). This strophic framework
is based on thematic (§ 23.2) and formal (see especially § 23.4.1, verbal
repetitions) considerations.8
Canto III has two 3-line strophes, vv. 10–11 and 12–14.9 The division
has a solid formal basis. First, verbal repetitions and alliterations bind
three and three verselines together (§ 23.4.1). Second, the strophes display
several features of a linear relationship. Each strophe is opened by a verb
in the perfect form with God as subject: pqdt (‘you take care’, v. 10a) and
‘t.rt (‘you crown’, v. 12a). The strophes open with bicolic verselines and are
concluded by tricola; vv. 10–11 closes with two tricola (vv. 10c–e and 11)
and vv. 12–14 with a single tricolon (v. 14). Vv. 10–11 is concluded by the
root brk (pi‘el ‘to bless’, v. 11c), with God as subject; this is a transition
marker mostly indicating the end of a strophe.10
5
Cf. the descriptions of the songs of praise in Pss. 63,5–6 ad 12a–b.
6
For this feature marking the centre of a poetic unit, see Ch. V, 2.5; the pronoun ’th
does not occur elsewhere in the psalm.
7
Similarly Aletti/Trublet and Weber; cf. also Girard in § 23.6. On word level vv.
3b–4 form the centre of Canto I (> 10+11+10 words).
8
It is often mistakenly assumed that our psalm is mainly composed of 2-line strophes;
see Duhm, Gunkel, Calès, Böhl, Mowinckel, Beaucamp and Jacquet in § 23.6.
9
Cf. Delitzsch, Beaucamp, Jacquet and Terrien in § 23.6.
10
Cf. CAS I, Ch. V, 7.2 (p. 556). Contra Fokkelman (MPHB III, p. 118 n. 43), who
In my opinion, the quintessential thought of Psalm 65 is to be found in

the centre of Cantos I and III. That is to say, the psalm is mainly about the
blessings God bestows on his people in the spiritual (remission of sins, v. 4)
and in the material sphere (blessing of the growth; note the root brk [pi‘el,
‘to bless’] in v. 11c).11 With reference to these tokens of God’s affection,
in the central Canto II (vv. 6–9) the people of Israel praise God.
the following verbal repetitions: hll (v. 2) > 64,11! (concatenation); ’lhym
(vv. 2.6.10) > 64,2.8.10; root šm‘ (v. 3) > 64,2! (linear); wyyr’w (v. 9; see
also v. 6) > 64,10 (Delitzsch [1894]; see also 64,5).
For the relationship with Psalms 60–62 see, among other things, the follow-
ing verbal repetitions: dmyh (v. 2) > 62,2.6; root šlm (pi‘el, v. 2) > 62,13
and 61,9; ndr (v. 2) > 61,9; root rw‘ (v. 14) > 60,10.
23.8 Bibliography
P.E. Bonnard, Psaumes pour vivre (Cahiers de l’Institut Catholique de Lyon),
Lyon, 1981, pp. 59–75;
O. Loretz, ‘Die “fetten” Wagenspuren des Wettergottes Baal/YHWH auf den
Höhen’, UF 37 (2005), pp. 412–440;
P. Auffret, ‘Tu a couronné l’année de ton bienfait. Nouvelle étude structurelle
du Psaume 65’, OTE 20/2 (2007), pp. 307–19.
discerns three 2-line strophes (vv. 10, 11–12 and 13–14). Among other things, Fokkelman
fails to note the alliteration dgnm/tmggnh joining v. 11 to v. 10 (§ 23.4.1); he does not
point to yr‘pw (‘they drip’) linking up v. 12 to v. 13, nor does he mention the copula w-
characterizing the beginning of the second cola in vv. 12–14.
11
For the pivotal positioning of v. 4 and the root brk, see above.
ii.24 psalm 66 213
24 Psalm 66
Structure: 8.3.8 > 3.3.2|3|3.3.2 lines (Type III)
I 1 hry‘w l’LHYM kl h’rs. 2 zmrw kbwd šmw śymw kbwd thltw

3 ’mrw l’LHYM mh nwr’ M‘ŚYk brb ‘zk ykh.šw LK ’ybyk
4 kl h’rs. yšth.ww LK wyzmrw LK yzmrw šmk (slh)
5 LKW wR’W mp‘lwt ’LHYM NWR’ ‘lylh ‘l bny ’dm

6 hpk ym lybšh bnhr y‘brw brgl šm nśmh.h bw
7 mšl bgbwrtw ‘wlm ‘ynyw bgwym ts.pynh hswrrym ’l YRWMW
[lmw (slh)
8 BRKW ‘mym ’LHYnw wHŠMY‘W QWL thltw
9 hŚM npšnw bh.yym wL’ ntn lmwt. rglnw
II 10 ky bh.ntnw ’lhym .srptnw ks.rp ksp

11 HB’Tnw bms.wdh ŚMT mw‘qh bmtnynw
12 hrkbt ’nwš lr’šnw B’NW b’š wbmym wtws.y’nw lrwyh
III 13 ’BW’ bytk b‘wlwt ’šlm LK ndry

14 ’šr ps.w śpty wdbr py bs.r ly
15 ‘lwt mh.ym ’ ‘lh LK ‘m qt.rt ’ylym ’ ‘ŚH bqr ‘m ‘twdym
[(slh)
16 LKW šm‘w w’sprh kl YR’Y ’LHYM ’šr ‘śh lnpšy
17 ’lyw py qr’ty wRWMM th.t lšwny
18 ’wn ’m R’YTY blby l’ yšm‘ ’dny
19 ’kn ŠM‘ ’LHYM hqšyb bQWL tplty

20 BRWK ’LHYM ’šr L’ hsyr tplty wh.sdw m’ty
24.1 Text
Vv. 1–2: a tricolon; see CAS I, Ch. V, 6.1 (note pp. 524–25).
V. 4: colometric division according to BHS; MT divides with ’atnah. after lk in
v. 4b.
V. 7c—yrwmw : ‘they rise up’, so Q; K yrymw (‘they lift up’).
24.2 Content
A song praising God’s faithfulness.
I Praise to God, who protects his people.
Sing the glory of God’s name, all the earth (vv. 1–4).
See God’s mighty deeds by which he protected us when crossing
the sea (vv. 5–7).
O nations, bless our God who has saved us (vv. 8–9).
II O God, you have brought us through oppression to prosperity (vv.
10–12).
III Thanksgiving of an individual for being heard.
I will express to you my gratitude by means of offerings (vv.
13–15; cf. vv. 1–4).
Listen, all you god-fearing, how God made me sing (vv. 16–18).
Blessed be God, who has heard my prayer (vv. 19–20; cf. vv. 8–9).

24.3.1.1 imperative: hry‘w, v. 1; vocative: ’lhym, v. 10a
ext. // ’mrw in v. 3a imperatives: lkw šm‘w,
vocative: kl h’rs., v. 1 v. 16a
imperatives: zmrw . . . cohortative: ’sprh, v. 16a
śymw, v. 2 vocative: kl yr’y ’lhym,
imperatives: lkw wr’w, v. 16b
v. 5a yr’ with object God, v. 16b
imperatives: brkw . . . ’kn, v. 19a
hšmy‘w, v. 8
brk with object God, v. 8a 24.3.1.2 none
vocative: ‘mym, v. 8a

24.3.2.1 slh, v. 4b 24.3.2.2 ’l prohibitive, v. 7c
‘wlm, v. 7a brwk ’lhym, v. 20a
slh, v. 7c
slh, v. 15c

mh, v. 3a

vv. 1–4: hry‘w l’lhym/’mrw l’lhym, vv. 1 and 3a resp. (anaphora)
ii.24 psalm 66 215
kl h’rs., vv. 1.4a! (inclusion)

root zmr, vv. 2a.4b (2×)! (inclusion)
šm (‘name’), vv. 2a.4b! (inclusion)
ykh.šw/yšth.ww, vv. 3b and 4a resp. (note also the alliter.)
lk, vv. 3b.4a+b; see also prep. l- in vv. 1.3a and suffix -k in
vv. 3a+b (2×).4b
vv. 5–7: mp‘lwt/‘wlm, vv. 5a and 7a resp. (alliter.; inclusion)
prep. l-, vv. 6a.7c
brgl šm/mšl bgbwrtw, vv. 6b–c and 7a resp. (alliter.;
chiasmus); see also prep. b- in vv. 6b+c.7b
vv. 8–9: suffix -nw, vv. 8a.9a+b
vv. 10–12: bh.ntnw/hb’tnw, vv. 10a and 11a resp. (alliter.); see also -nw
in vv. 10b.11b.12a+c
root bw’, vv. 11a.12b
} chiasmus
mtnynw/r’šnw, vv. 11b and 12a resp.
prep. b-, 11a+b.12b (2×)
vv. 13–15: prep. b-, vv. 13a.14b
‘wlwt/‘lwt, vv. 13a and 15a resp. (inclusion); see also ’‘lh in
v. 15a (root ‘lh)
lk, vv. 13b.15a (inclusion); see also prep. l- in vv. 14b
vv. 16–18: root šm‘, vv. 16a.18b (inclusion)
’lhym/’dny, vv. 16b and 18b resp. (inclusion; last word of
the second colon)
lnpšy/lšwny, vv. 16c and 17b resp. (alliter.; epiphora)
qr’ty/r’yty, vv. 17a and 18a resp. (alliter.)
vv. 19–20: ’lhym, vv. 19a.20a (exactly linear)
tplty, vv. 19b.20b! (exactly linear)

vv. 1–9 (Canto I): imperatives: hry‘w . . . zmrw . . . śymw . . . ’mrw/
lkw wr’w/brkw . . . whšmy‘w, vv. 1–3, 5a and 8
resp. (anaphora)
’lhym, vv. 1a+3a.5a.8a (linear)
vocatives: kl h’rs./‘mym, vv. 1a and 8a (linear)
šm (‘name’)/šm (‘there’), vv. 2a+4b and 6c resp.
(alliter.)
root śym, vv. 2b.9a (inclusion)
thltw, vv. 2b.8b! (linear)
nwr’, vv. 3a.5b(!)
prep. b- + ‘z/gbwrh, vv. 3b and 7a resp.; see also b-
in vv. 6b (2×)+c+7b.9a (linear)
lk/lkw, vv. 3–4 and 5a resp. (alliter.); see also kl

in vv. 1 and 4a
slh, vv. 4c.7c (exactly linear/epiphora)
rgl, vv. 6b.9b!
gwym/‘mym, vv. 7b and 8a resp. (concatenation)
vv. 13–20 (Canto III): prep. b-, vv. 13a+14b.18a.19b (concatenation)

prep. l-, vv. 13–15.16c (concatenation)
lk/lkw, vv. 13b+15a and 16a resp. (alliter.; con-
catenation); see also kl in v. 16b
’šr, vv. 14a.16c.20b!
śpty/lšwny, vv. 14a and 17b resp.
} chiasmus
py, vv. 14b.17a!
root ‘śh, vv. 15c.16c (concatenation)
’lhym, vv. 16b.19a+20a
root šm‘, vv. 16a+18b.19a (concatenation)
l’, vv. 18b.20b (linear)

vv. 1–4.13–15: root ‘śh, vv. 3a.15c
lk, vv. 3b+4a+b.13b+15a!
’yb/s.r, vv. 3b and 14b resp.
slh, vv. 4c.15c
vv. 5–7.16–18: lkw (root hlk ), vv. 5a.16a!

root r’h, vv. 5a.18a!; see also the root .sph in v. 7b
roots p‘l + ‘ll/‘śh, vv. 5 and 16c resp. (‘subject’ God)
root rwm, vv. 7c.17b!
vv. 8–9.19–20: root brk, vv. 8a.20a!; note also the alliter. brkw/brwk
’lhym, vv. 8a.19a+20a
root šm‘, vv. 8b.19a
qwl thltw/qwl tplty, vv. 8b and 19b resp.!; see also tplty
in v. 20b
l’, vv. 9b.20b (exactly linear)
vv. 1–7.13–18: kl, vv. 1+4a.16b!

slh, vv. 4c+7c.15c
mp‘lwt/b‘wlwt . . . ‘lwt, vv. 5a and 13–15a resp. (alliter.)
root ‘lh, vv. 5b.13a+15a (2×)!
mšl/’šlm, vv. 7a and 13b resp. (alliter.)
ii.24 psalm 66 217
vv. 5–9.16–20: root šm‘, vv. 8b.16a+18b+19a!

npš, vv. 9a.16c!
vv. 1–4.19–20: ’lhym ext. // ’lhym (exactly linear), vv. 1+3a.19a+20a

(inclusion)
vv. 8–9.10–12, concat.: ’lhym, vv. 8a.10a

suffix -nw, vv. 8a+9a+b.10a+b+11a+b+
12a+c!; see also b’nw in v. 12b
root śym, vv. 9a.11b
prep. l-, vv. 9b.12c
vv. 10–12.13–15, concat.: root bw’, vv. 11a+12b.13a!; see also root ys.’
(hiph‘il) in v. 12c (Dahood)
prep. b-, vv. 11–12 (4×).13a+14b

suffix -w (vv. 2.6.7.17.20)

kbwd (v. 2 [2×]), npš (vv. 9.16), prep. ‘m (v. 15 [2×])

Psalm 66 has 7 strophes, 19 verselines and 45 cola.1 Vv. 10–12 is the
central strophe and composed of 7 cola. V. 11 is the middle verseline (>
9+1+9 lines) and v. 11b the pivotal colon (> 22+1+22 cola).
Structure of strophes and cantos in terms of words: 28+28+13|19|24+22
+14 = 69+19+60 (= 148 = 4×37 words in total).2 The central strophe
(vv. 10–12) gives the entire poem in a nutshell. The 19 words and the 7
cola of vv. 10–12 correspond to the 19 verselines and the 7 strophes of the
psalm respectively. The three words of its pivotal colon v. 11b, śmt mw‘qh
bmtnynw (‘you put a trammel on our loins’; > 3+1+3 cola), match the
three verselines of the pivotal strophe. To crown it all, this pivotal colon
1
Fokkelman (MPHB II) also counts 45 cola, but—contrary to my view—he takes vv.
3–4 as two tricola and vv. 16.20 as bicola.
2
Fokkelman counts 147 words because he considers lmw in v. 7c to be ‘redundant’
(MPHB II, p. 186). In view of the word count, this conjecture does not recommend
itself: the first and the second strophe (vv. 1–4 and 5–7) have 28 words each; cf. CAS I,
Ch. V, 2.4.3 (pp. 459–60).
coincides with the pivotal colon of the entire psalm. On word level, the cen-
tral positioning of v. 11b is strengthened by the fact that its three words
also constitute the pivotal words of vv. 10–12 (vv. 10–11a.11b.12 > 8+3+8
words). It is probably not by chance that the pivotal word of v. 11b, mw‘qh
(‘trammel’), has the connotation of ‘inclusion’.3
The designation ’lhym (‘God’) occurs 8×: vv. 1, 3, 5, 8, 10, 16, 19 and
20; once we find ’dny (‘Lord’; v. 18).

Köster (1837): 1–4.5–7|8–12.13–15|16–20 (3[!].3.5.3.5 verses); similarly
Montgomery (1945), p. 383
De Wette (1856): 1–4.5–7.8–12.13–15.16–20 (‘Die Strophen . . . sind un-
gleich’); similarly Delitzsch (1894), Herkenne (1936), Böhl (1947),
Ravasi (1985), Seybold (1996), Hossfeld/[Zenger] (2000)
Ewald (1866), pp. 426–27 and 114–15: 1–4.5–7.8–12; 13–15.16–18.19–20
Grimme (1902), pp. 158–59: 1–4.5–7 (6.6 lines); 8–12; 13–15.16–20a (4.4
lines)
Zenner (1906), pp. 331–35: 1–4.13–15|5–7.16–20|8–12.67,2–8 (3.3|4.4|5.5
lines)
Duhm (1922): 1–3a.3b–4.5–6b.6c–7.8–9.10–11.12+17b; 13–14.15.16–17a.
18–19a*.19b–20 (7×2 bicola; 5×2 bicola)
Gunkel (1926): 1–4.5–6b.6c–7.8–12|13–15.16–20 (no strophes)
Calès (1936): 1–4|5–7.8–12|13–15.16–20 (3|3.5|3.5 lines)
Podechard (1949): 1–4.5–7|8–9.10–12|13–15.16–17.18–20 (‘Les strophes . . .
sont inégales’: 3.3|2.3|3.2.3 lines); cf. Grimme (1902) and TOB (1978)
Pannier/Renard (1950): 1–4.5–7.8–12.13–15.16–20 (five strophes, ‘assez
inégales, renfermant chacune, sauf la quatrième, le nom de Dieu-
Élohim au premier vers’)
Kissane (1953): 1–4.5–12.13–20 (3.8.8 lines); similarly NAB (1970)
Van der Ploeg (1971): 1–4.5–7.8–12|13–15.16–17.18–19.20
Beaucamp (1976): 1–2.3–4|5.6.7||8–9.10–12b||13–15|16.17–19*.20 (3.4|2.3.3||
4.6||6|2.6.2 cola); cf. Podechard (1949)
Jacquet (1977): 1–5.6–7|8–9.10–12*|13–15.16–19 20
Kraus (1978): 1–4.5–7.8–12; 13–20
Aletti/Trublet (1983), pp. 48–49.53: 1–2.3.4.5–7|8–9|10–12.13–14.15.16–17.
18–19.20 (a.b.c.b’|A’|B.C.D.C’.B’.A’’)
3
Cf. Ch. V, 4.2.2. For vv. 10–12 as meaningful centre, see § 24.7 (quintessential
thought). For a more in-depth investigation into the numerical aspects, see also www.
labuschagne.nl/ps066.pdf.
ii.24 psalm 66 219
Neveu (1988), pp. 92–96: 1–2.3–4.5–7.8–9|10–12|13–15.16.17–19.20 (3.5.8.4|

7|7.3.6.3 cola)
Tate (1990): 1–4.5–7|8–12||13–15.16–19 20
Girard (1994): 1–4.5–7.8|9–11a.11b–12|13–15.16–18.19–20 (a.b.c|d.d|a.b.c)
Fokkelman (2000), pp. 183–86: 1–4.5–7|8–9.10–12|13–15.16–18.19–20 (3.3|
2.3|3.3.2 lines)
Weber (2001): 1–4.5–7|8–12|13–15.16–20 (a.b|c|a’.b’)
Auffret (2003): 1–8|9–11a.11b–12|13–20 (a|b.b’|a’); cf. Girard (1994)
Terrien (2003): 1–4.5–7.8–10|11–12 (3.3.3|2 lines); 13–15.16–18|19–20 (3.3|2
lines)

From Köster (1837) to Weber (2001) there is a basic consensus of opinion
that the structure of Psalm 66 is most adequately represented by distin-
guishing five sections: vv. 1–4, 5–7, 8–12, 13–15 and 16–20.4 It is generally
observed that the word slh marks the end of the first, second and fourth
section (see also § 24.3.2.1). It is further noted that the beginning of these
sections is mostly indicated by an imperative; see hry‘w (‘raise a shout’,
v. 1), lkw wr’w (‘come and see’, v. 5), brkw (‘bless’, v. 8) and lkw šm‘w
(‘come and hear’, v. 16). These devices are supposed to coincide with the
marking function of ’lhym (‘God’) at the beginning of a new section; see
vv. 1, 5, 8 and 16.5
The break between vv. 12 and 13 is based on a clear thematic transition.
Before v. 12 it is a collective which is speaking, while from v. 13 onwards
we hear the words of an individual (see further below). This may explain
why there is no slh marking the end of vv. 8–12, nor an imperative or ’lhym
(‘God’) marking the beginning of v. 13.
The framework discussed above has a firm rhetorical basis. Neverthe-
less, it is not entirely satisfactory. There are at least two shortcomings.
First, it does not do justice to ’lhym (‘God’) in vv. 10 and 19–20; second,
most exegetes do not discuss the question in which way the five sections
are related to each other and form a coherent whole.
The designation ’lhym in vv. 10 and 19–20 indicates that the third and
the fifth ‘section’ (vv. 8–12 and 16–20) each contain a 2- and a 3-line strophe
(vv. 8–9.10–12 and 16–18.19–20 respectively). For the strophic structure
of vv. 8–12, note ’lhym in the vocative in v. 10a (§ 24.3.1.1). Also in terms
of subject matter vv. 10–12, about God testing his people, is distinguished
4
See Köster, De Wette, Grimme, Zenner, Calès, Podechard, Pannier/Renard, Beau-
camp and Weber in § 24.6.
5
Cf. Pannier/Renard in § 24.6; for the same phenomenon, see Psalm 65.
from vv. 8–9, praising God for his saving deeds. The external parallelism
between vv. 19 and 20 (see § 24.4.1; exactly linear!) and ’kn in v. 19a
(§ 24.3.1.1) show that vv. 19–20 is a 2-line strophe. It is a concluding
doxology at the end of the entire psalm, formally dissociated from the
preceding 3-line strophe (vv. 16–18) in which the psalmist recounts how
God heeded his prayer (note vv. 17–18).
This means that our psalm mainly consists of a series of 3-line strophes,
which after v. 7 are interrupted by a 2-line strophe; such a 2-line strophe
also occurs at the end of the psalm (vv. 19–20). Because the strophes are
clearly rounded off by semantic and formal devices, the poet uninhibited
makes use of concatenation; see the roots bw‘ (‘to come’) in vv. 11–12 and
13, ‘śh (‘to do’) in vv. 15 and 16, šm‘ (‘to hear’) in vv. 18 and 19.6
Regarding the macrostructure of Psalm 66, according to Aletti/Trublet
there are two overlapping concentric patterns; the concentric patterns are
supposed to be found in vv. 1–9 and vv. 8–20 (see § 24.6). More recent
structural investigations assume that the psalm as a whole definitely has a
pivotal section, which is enveloped by two linearly parallel corresponding
‘wings’. Girard and Auffret consider vv. 9–12 the centre of the psalm, while
Weber takes vv. 8–12 as the central ‘Stanza’.7 Girard deserves credit for
having most adequately defined the rhetorical framework of this composi-
tion. In my opinion, however, its central section is restricted to vv. 10–12
and so does not include v. 9.8 This modification of Girard’s interpretation
follows from the strophic analysis. It is further supported by the hymnic
nature of v. 9 (see further below) and the linear parallelism between vv. 1–9
and 13–20 (note l’ [‘not’] in vv. 9b and 20b). In short, the structure of Psalm
66 has the following scheme: vv. 1–4.5–7.8–9|10–12|13–15.16–18.19–20 >
a.b.c|d|a’.b’.c’.
The most conspicuous feature of this poem is the linear parallelism
between vv. 1–9 and 13–20, Cantos I and III. The parallelism has formal and
thematic aspects. The verbal recurrences described in § 24.4.3 provide the
linear correspondence with a sound formal basis. The strophic framework
of the cantos is in line with this linear relationship: both cantos have two
3-line strophes which are concluded by a strophe of two verselines.
In the first strophe of Canto I (vv. 1–4) we find an exhortation to all
6
For the strophic framework of Psalm 66, see now also Fokkelman (MPHB II); any-
way, Fokkelman does refer to my STR (1980, pp. 296–301), where I already argued for
this framework on strophe level.
7
Weber further assumes that v. 10 is highlighted as the centre of vv. 8–12. This
assumption is strengthened by the word count: vv. 8–9.10.11–12 > 13+6+13 words.
Tate (p. 150) considers v. 9 the ‘key verse’ in the psalm.
8
Similarly Neveu (1988); see § 24.6. He calls vv. 10–12: ‘Partie la plus homogène de
toute la composition, avec des allures de refrain!’ (p. 95).
ii.24 psalm 66 221
the earth to sing the glory of God. This exhortation corresponds to the
declaration of the psalmist that he will bring the offerings he promised to
God in his distress (first strophe of Canto III, vv. 13–15). Both strophes
have a ritual dimension (Girard). The second strophe of the cantos con-
cerned are about a past deliverance. Vv. 5–7 (second strophe of Canto I)
contains a reference to the exodus events (see v. 6) in which God demon-
strated his universal power, while in vv. 16–18 (second strophe of Canto
III) the psalmist speaks of God’s hearing his prayers. In both cases, the
description of deliverance is characteristically introduced by a call to other
people to ‘come and see/hear’ (vv. 5a and 16a). The cantos are concluded
by a 2-line strophe which speaks of blessing God for the various professions
of his loyalty (vv. 8–9 and 19–20). In vv. 8–9 the motivation—a general
statement about God as defender of his people (v. 9)—follows an exhor-
tation to praise (v. 8), while in vv. 19–20 the doxology (v. 20a) is flanked
by a strong affirmation of God’s hearing the prayer of the psalmist (see
vv. 19 and 20b–c). Vv. 8–9 and 19–20 show quite a few verbal recurrences
(§ 24.4.3) and may be seen as a refrain-like poetic unit concluding Cantos
I and III.
Canto I has a universal outlook; in this main part the psalmist addresses
‘all the earth’ (vv. 1–4) and ‘peoples’ in general (v. 8). The canto is further
determined by hymnic elements; the participles at the beginning of vv. 7
and 9, introducing the descriptions of God’s qualities, are part of its hymnic
nature. God’s saving deeds regard the people of all Israel. In Canto III
the perspective is narrowed in more than one respect. The deliverance only
pertains to the psalmist and the addressees are restricted to ‘all god-fearing
men’ (v. 16).
The linear parallelism between vv. 1–9 and 13–20 is a major argument
for considering vv. 10–12 the pivotal canto of the psalm, Canto II.9 In this
3-line strophe the psalmist is indeed still speaking in the first person plural,
as is the case in vv. 8–9 (note the suffix -nw and see also v. 6c). Nevertheless,
the strophe vv. 10–12 does not form the immediate semantic continuation
of the preceding verselines. The doxology in vv. 19–20, concluding the
psalm as a whole, demonstrates that the call to praise in vv. 8–9 is to be
seen as a relative conclusion marking the end of Canto I.
The rhetorical tension characterizing the transition from the first to
the second canto has its counterpart in the caesura between Cantos II and
III. From v. 13 onwards we find the words of an individual ; note ’bw’
(‘I enter’) in v. 13a. Therefore, it is uncontested that vv. 13–20 form a
9
For a similar macrostructure—a relatively small pivotal canto enveloped by two
major sections forming a linear parallelism—, see Psalm 72 (§ 30 below); for the canto
design concerned, cf. further Ch. IV, 2.6.1.
coherent whole. The poetic tension between the cantos is based on the
conspicuous concatenation which stems from the repetition of the root bw’
(‘to come’, vv. 11–12.13). This unifying device is reinforced by the fact
that in vv. 10–12 and 13–15 the psalmist explicitly addresses God in the
second person, while in vv. 5–9 and 16–20 he speaks about God.
The central positioning of vv. 10–12 (Canto II) is impressively high-
lighted by the numerical approach; see § 24.5. The 3-line unit vv. 10–12 is
a distinct pivotal canto because it also constitutes the exact centre of the
series of 7 strophes. This means that the description of God testing his
people (Canto II) is emphasized by the framework of the composition. It
represents the gist of the poem as a whole. The sudden thematic transition
in the last colon (v. 12c), however, makes it clear that oppression is not the
main subject matter of this unit.
The quintessential thought of the psalm is formulated in the refrain-like
2-line strophes concluding Canto I and III, vv. 8–9 and 19–20. The stro-
phes deal with the ‘blessing of God’ (note the root brk pi‘el in vv. 8 and
20) for the extension of his loyal love (note h.sdw in v. 20c). The lengthy
description of God testing his people in the central Canto II (vv. 10–12)
is another major theme, forming a functional counterpoint which gives the
praise of God special relief.10
the following verbal repetitions:11 root rw’ (v. 1) > 65,14 (concatenation!);
’lhym (vv. 1–20) > 65,2.6.10; kl (vv. 1.4.16) > 65,3.6; ’rs. (vv. 1.4) > 65,6.10;
kl h’rs. (vv. 1.4) > 65,3 (kl bśr; linear)!; thlh (vv. 2.8) > 65,2 (linear)!; nwr’
(vv. 3.5) > 65,6; lk (vv. 3.4 [2×].13.15) > 65,2 (2×); ym (v. 6) > 65,6.8;
bgbwrh (v. 7) > 65,7; root brk (vv. 8.20) > 65,11; root šm‘ (vv. 8.16.18.19)
> 65,3; rb (v. 10) > 65,10.11; mym (v. 12) > 65,10; root ys.’ (v. 12) > 65,9;
root rwh (v. 12) > 65,11; bytk (v. 13) > 65,5; root šlm pi‘el + ndr (v. 13)
> 65,2; root dbr (v. 14) > 65,4; root yr’ (v. 16) > 65,9; tplh (vv. 19.20) >
65,3 (inclusion).
24.8 Bibliography
—, ‘Voyez les oeuvres de Dieu. Étude structurelle du Psaume lxvi’, VT 53
(2003), pp. 431–44.
10
For the central position of vv. 10–12, see especially § 24.5; cf. also Fokkelman, MPHB
II, p. 183 (‘pivot and centre of gravity for the seven strophic units’).
11
ii.25 psalm 67 223
25 Psalm 67
Structure: 2.3.2 lines (Type III)
2 ’lhym yh.nnw w ybrknw y’r pnyw ’tnw (slh)
3 ld‘t b’rs. drkk bkl gwym yšw‘tk
4 ywdwk ‘mym ’lhym ywdwk ‘mym klm

5 yśmh.w wyrnnw l’mym ky tšpt. ‘mym myšwr wl’mym b’rs. tnh.m (slh)
6 ywdwk ‘mym ’lhym ywdwk ‘mym klm
7 ’rs. ntnh ybwlh ybrknw ’lhym ’lhynw

8 ybrknw ’lhym wyyr’w ’tw kl ’psy ’rs.
25.1 Text
V. 5: a tricolon, so MT; see J. Schildenberger, Biblica 40 (1959), pp. 188–98
(note p. 192; similarly Tate, [Hossfeld]/Zenger, Fokkelman); as against
Grimme, Gunkel, Kraus and BHS (among others), who—appealing to the
Codex Sinaiticus—reconstruct v. 5b and read it as two cola.
25.2 Content
All the nations praise God as the righteous judge.
• May God bless us, that all nations may acknowledge your deliverance
(vv. 2–3).
• All peoples will praise you, O God, for you judge them with equity
(vv. 4–6).
• May God bless us so that the whole world will fear him (vv. 7–8; cf.
vv. 2–3).

25.3.1.1 jussive: y’r (MT), v. 2b 25.3.1.2 brk pi‘el with object Israel,
vocative: ’lhym, v. 4a v. 2a

25.3.2.1 brk pi‘el with object Israel, 25.3.2.2 vocative: ’lhym, v. 6a
v. 8a; ext. // brk in v. 7b yr’ with object God, v. 8b

slh, v. 2b (cf. Ley [1875], pp. 150–51 and § 25.5)
slh, v. 5c (cf. § 25.5)

vv. 4–6: ywdwk ‘mym ’lhym // ywdwk ‘mym klm, vv. 4.6! (inclusion)
‘mym, vv. 4a+b.5b.6a+b! (inclusion)
vv. 7–8: ’rs., vv. 7a.8b
} chiasmus; see also ’lhynw in v. 7b
ybrknw ’lhym, vv. 7b.8a

vv. 2–3.4–6.7–8: ’lhym, vv. 2a.4a+6a.7b (2×)+8a!
ybrknw, vv. 2a.7b+8a! (inclusion); see also suffix -nw
in vv. 2a+b and 7b!
y’r/wyyr’w, vv. 2b and 8b resp. (alliter.; inclusion)
suffix -w, vv. 2b.8b! (inclusion)
’tnw/’tw, vv. 2b and 8b resp.! (alliter.; inclusion)
’rs., vv. 3a.5c.7a+8b! (inclusion); note b’rs. in vv. 3a
and 5c; see also prep. b- in v. 3b
suffix -k, vv. 3a+b.4a+b+6a+b (concatenation)
kl gwym/kl ’psy ’rs., vv. 3b and 8b resp.! (inclusion);
see also klm in vv. 4b and 6b!

none

l’mym (v. 5 [2×])

Psalm 67 has 7 verselines and 15 cola. V. 5 is the central verseline (>
3+1+3 verselines); this is also the only line in the poem which comprises
three cola. V. 5b, ky tšpt. ‘mym myšwr (‘for you judge the peoples with
equity’), is the pivotal colon (> 7+1+7 cola). From a theological perspec-
tive, this is certainly a meaningful centre. In the light of these numerical
ii.25 psalm 67 225
observations, there is every reason to suppose that the psalm is composed

in a menorah pattern; see further below.
Structure of strophes in terms of words: 12+22+13 (= 47 words in
total). The central word is ‘mym (‘peoples’) in v. 5b (> 23+1+23 words).
This noun occurs 5× in the psalm: vv. 4a, 4b, 5b, 6a and 6b. It means that
the word ‘mym in v. 5b once again occupies a pivotal position. Including
the noun l’mym (‘nations’/‘peoples’, v. 5a+c!) into our considerations, this
pivotal placement is once more strengthened. A small menorah pattern
appears with ‘mym in v. 5b as the central axis: a.a.b.a.b.a.a (a = ‘mym
and b = l’mym); similarly Botha (2004), p. 370.
New perspectives open themselves if we follow Trudy Labuschagne and
also take into consideration the word slh (vv. 2 and 5). In that case, there
are 49 (= 7×7) words in total. The noun ‘mym in v. 5b remains the cen-
tral word (> 24+1+24 words). Additionally, with slh at the end of v. 5
the noun in question is also the central word of the verseline (> 5+1+5
words). To crown it all, in terms of word count, a perfect menorah pat-
tern turns up for the composition of the entire psalm: vv. 2.3.4.5.6.7.8 >
7+6+6+11+6+6+7 words. The refrain (vv. 4 and 6) consists of exactly
26 letters. The number 26 represents the divine name. Because this de-
vice only holds true for vv. 4 and 6, we are dealing with a feature which
underscores the concentric form of the menorah.1
The designation ’lhym (‘God’) occurs 6×: vv. 2, 4, 6, 7 (2×) and 8.

Köster (1837): 2–3.4–6.7–8
Hävernick (1849), p. 43: 2–3.4–5.6–8 (2.2.3 verses or 4.5.6 cola); similarly
De Wette (1856), Montgomery (1945), p. 383
Ewald (1866), pp. 414–15: 2–5.6–8; similarly König (1927), pp. 173–74,
and Auffret (2004)
Ley (1875), p. 150: 2–4.5.6–8 (3.‘Mittelstrophe’.3 lines)
Delitzsch (1894): 2–3.4–6.7–8 (4.7.4 cola)
Grimme (1902), p. 159: 2–3.4.5*.6.7–8
Zenner (1906), pp. 331–35: . . . ||66,8–9.10–12|67,2–3.4a+5+7b–8 (. . . ||2.3|
2.3 lines)
1
See Trudy Labuschagne, De menora in woord en beeld. Een studie over de vorm,
functie en betekenis van de menora in het Oude Testament en de latere symboliek (doc-
torate term paper), Groningen, 1992, pp. 81–84. For literary menorah patterns in
the Hebrew Bible, see also C.J. Labuschagne, Numerical Secrets of the Bible. Re-
discovering the Bible Codes, North Richland Hills (Texas): BIBAL Press, 2000, pp.
41–56. For an in-depth investigation into the numerical aspects of this poem, see further
Duhm (1922): 2–4.5–6 *.7–8+refrain (3×3 bicola); similarly Gunkel (1926),

Calès (1936), Podechard (1949), Kissane (1953); cf. Pannier/Renard
(1950), Kraus (1978)
Möller (1931), pp. 20–22: 2–3.4.5.6.7–8 (a.b.c.b’.a’); similarly Girard (1994)
and Talstra/Bosma (2001), p. 302
Lund (1933), pp. 289–91: 2–3.4.5.6.7–8 (a.b.c.b’.a’; 4.2.3.2.5 cola); similarly
Lund (1942), pp. 97–99; cf. Möller (1931) and Ravasi (1985)
Schildenberger (1960), p. 686: 2–3.4–6.7–8 (2.3.2 lines)
Alden (1976), pp. 194–95: 2.3.4.5a|5b|5c.6.7.8 (a.b.c.d|e|d’.c’.b’.a’)
Beaucamp (1976): 2 3–4.(5.)6–7 8 (2 4.[4.]4 2 cola)
Jacquet (1977): 2–3.4.5.6.7–8.refrain
Aletti/Trublet (1983), p. 38: 2–3.4–5a.5b–c.6.7–8
Raabe (1990), pp. 166.199–200: 2–3.4.5.6.7–8 (4.2.3.2.4 cola); cf. Lund
Beyerlin (1992), pp. 11–13: 2–3.4–6.7–8 (a.b.a’); similarly Meynet NRTh
120 (1998), pp. 5–11, [Hossfeld]/Zenger (2000), Weber (2001)
Wahl (1992): 2–3.4–5.6–7.8
Neveu (1993), pp. 87–90: 2|3.4.5.6|7–8 (2|2.2.3.2|4 cola); cf. Tate (1990)
Fokkelman (2003), pp. 119–21: 2–4.5–6.7–8 (3.2.2 lines, 6.5.4 cola and
18.16.13 words); similarly Terrien (2003); cf. Böhl (1947)
Botha (2004), pp. 367–71: 2–3.4–5|6–8; cf. Hävernick (1849)

Psalm 67 is the example par exellence of a Hebrew poem composed on
the basis of a menorah pattern. The poem consists of 7 verselines which
form the skeleton of this small literary gem. The Masoretic verse division
provides a reliable indication for determining the length of the verselines.
Most verselines consist of two cola; only the central verseline (v. 5) is a
tricolon representing the shaft of the literary menorah; for more numerical
aspects of this menorah, see § 25.5.
The strophic framework of the poem strengthens the concentric form
of its menorah pattern. There are two 2-line strophes (vv. 2–3 and 7–8)
which flank a strophe of three verselines (vv. 4–6). The 2-line strophes are
composed of bicola.2 The central position of vv. 4–6 is highlighted by its
colometric structure: bicolon.tricolon.bicolon.
The central strophe (vv. 4–6) has a universal outlook. It describes the
praise of all peoples for God’s right judgement and government of the world.
2
Zenger ([Hossfeld]/Zenger, pp. 235–36) argues that v. 7a is a later addition; this
opinion does not reckon with the chiasmus which fuses the cola of vv. 7–8 together into
a coherent whole (see § 25.4.1).
ii.25 psalm 67 227
Vv. 4 and 6 represent a refrain with an including function (§ 25.4.1).3 The

framing 2-line strophes focus on the people of Israel and constitute a prayer
for God’s blessing;4 in both cases the consequences for other peoples are
mentioned (see vv. 3 and 8b). These strophes are characterized by the
use of the root brk (pi‘el, ‘to bless’) forming an inclusion which marks the
boundaries of the poem as a whole.
That is to say, the menorah pattern of Psalm 67 is supported by con-
centric features which permeate the poem. These features include verbal
recurrences (see § 25.4.2), correspondences of ideas (cf. § 25.2), its colomet-
ric structure with the tricolon v. 5 as the backbone of the concentric frame-
work, and a number of very conspicuous numerical devices (see § 25.5).
The strophic framework of this psalm was already recognized by Köster
and Delitzsch in the nineteenth century. More recent structural investi-
gations have time and again pointed to its concentric aspects.5 However,
Trudy Labuschagne (1992; see § 25.5) deserves the credit for first present-
ing a meticulous analysis of this small poem in relation to its menorah
structure. This interpretation is supported by an old Jewish tradition. A
text of the Kabbala (Vatican Manuscript no. 214) interprets Psalm 67 as
representing the menorah, the six-branched lampstand.6 In this respect,
Trudy Labuschagne rightly notes that our psalm is a prayer asking God to
make his face to shine upon his people (see v. 2b, y’r pnyw ’tnw ), a special
element borrowed from the priestly blessing Num. 6,24–26. This is posi-
tively remarkable with regard to the light-giving function of the menorah.
Cf. in this respect also the Jewish practice of reciting this psalm at the
close of the Sabbath, the end of a cycle of seven days.
Talstra (2000, p. 58) wrongly reproaches the rhetorical analysis of the
3
In my STR (1980, pp. 302–04) I already pointed out that many scholars have gone
astray when establishing the strophic structure of this psalm. They assume that a refrain
always functions as a closing device; see now also Fokkelman who infelicitously speaks
of his ‘correct strophe division’ (MPHB III, pp. 119–20). For the including function of
a refrain, see now CAS I, Ch. V, 4.3.2 (pp. 497–98).
4
The jussive y’r (‘may he make to shine’, v. 2b; so MT) shows that the imperfects
(yh.nnw etc.) are to be considered a wish.
5
See Möller, Lund, Schildenberger, Alden, Raabe and Beyerlin in § 25.6; for the
nineteenth century, cf. also Ley.
6
For particulars in connection with Psalm 67 written in the form of a menorah,
see Encyclopedia Judaica, II, 1971, col. 1368; L. Yarden, The Tree of Light. A
Study of the Menorah, the Seven-Branched Lampstand, Uppsala, 1972, pp. 1–2 and
24; R. Meynet, Rhetorical Analysis: An Introduction to Biblical Rhetoric (JSOTS 256),
Sheffield: Sheffield Academic Press, 1998, pp. 62–63; www.labuschagne.nl/ps067.pdf,
Observation 5. For menorah patterns forming the rhetorical skeleton of a poem, cf. also
Psalms 7,2–9a (see CAS I, Ch. III, 7 [pp. 132–36]) 56 (Cantos I and II) 57 (Cantos I
and II) and 135 (Cantos I, II and III).
psalm for only focussing on the beauty of the poem and neglecting its
meaning. The truth is that the concentric structure of our psalm reveals
a semantic main point, to be found in the pivotal verseline, v. 5; see also
Meynet (1998). The quintessential thought is probably formulated in the
enveloping strophes, vv. 2–3 and 7–8, which contain the prayer for God’s
blessing of his people. Simultaneously, the blessings for Israel are placed in
a universal context: all nations will fear God (vv. 3 and 8b). This universal
context is elaborated in the central strophe vv. 4–6.
the following verbal repetitions: ybrknw (vv. 2.7.8) > 66,8.20; slh (vv. 2.5)
> 66,4.7.15; gwym (v. 3) > 66,7; ‘mym (vv. 4.6) > 66,8; yśmh.w (v. 5) >
66,6; ’lhynw (v. 7) > 66,8; wyyr’w (v. 8) > 66,16; kl ’psy ’rs. (v. 8) > 66,1.4
(kl h’rs.; inclusion)!
25.8 Bibliography
W. Beyerlin, Im Licht der Traditionen. Psalm LXVII und CXV: ein Entwick-
lungszusammenhang (SupplVT 45), Leiden: Brill, 1992, pp. 1–50;
H.-M. Wahl, ‘Psalm 67. Erwägungen zu Aufbau, Gattung und Datierung’, Bib-
lica 73 (1992), pp. 240–47;
B. Weber, ‘Psalm lxvii: Anmerkungen zum Text selbst und zur Studie von W.
Beyerlin’, VT 43 (1993), pp. 559–66;
W.S. Prinsloo, ‘Psalm 67: Harvest thanksgiving psalm, (eschatological) hymn,
communal prayer, communal lament or . . . ?’, OTE 7 (1994), pp. 231–46;
R. Meynet (SJ), ‘Le Psaume 67: “Je ferai de toi la lumière des nations”’, NRTh
120 (1998), pp. 3–17;
E. Talstra, ‘Alle zegen komt van boven, ook als zij van beneden komt: Gedachten
bij Psalm 67’, ACEBT 18 (2000), pp. 47–60;
E. Talstra and C. Bosma, ‘Psalm 67: Blessing, Harvest and History’, CThJ 36
(2001), pp. 290–313;
P. Auffret, ‘Que te rendent grâce les peuples, eux tous! Nouvelle étude struc-
turelle du psaume 67’, Etudes Théologiques et Religieuses 79 (2004), pp. 575–82;
Ph.J. Botha, ‘Psalm 67 in its literary and ideological context’, OTE 17/3 (2004),
pp. 365–79; now in H.M. Niemann and M. Augustin (eds.), Stimulation from Lei-
den (Beiträge zur Erforschung des Alten Testaments und des Antiken Judentums
54), Frankfurt am Main: Peter Lang, 2006, pp. 161–75.
ii.26 psalm 68 229
26 Psalm 68
Structure: 18.18 > 6.4|4.4||5.4|5.4 > 2.2.2|2.2||2.2|2.2|||2.3|2.2||2.3|2.2 lines
(Type IA)
I.1.1 2 yqwm ’lhym ypws.w ’WYBYW wynwsw mśn’yw mpnyw [’lhym

3 khndp ‘šn tndp khms dwng mpny ’š y’bdw rš‘ym mpny
4 ws.dyqym yśmh.w y‘ls.w lpny ’lhym wyśyśw bśmh.h

5 ŠYRW L’LHYM ZMRW šmw slw LRKB b‘rbwt byh šmw w‘lzw lpnyw
6 ’by ytwmym wdyn ’lmnwt ’lhym bm‘wn qdšw [s.h.yh.h

7 ’lhym mwšyb yh.ydym byth MWS.Y’ ’syrym bkwšrwt ’k swrrym šknw
I.1.2 8 ’lhym bS.’Tk lpny ‘mk bs.‘dk byšymwn (slh)

9 ’RS. r‘šh ’p ŠMYM nt.pw mpny ’lhym zh syny mpny ’lhym ’lhy
[yśr’l
10 gšm ndbwt tnyp ’lhym nh.ltk wnl’h ’th kwnnth
11 H
. YTk yšbw bh tkyn bt.wbtk l‘ny ’lhym
I.2.1 12 ’DNY YTN ’MR hmbśrwt .sb’ rb [šptym

13 MLKY .sb’wt yddwn yddwn wnwt byt th.lq šll 14 ’m tškbwn byn
knpy ywnh nh.ph bKSP w’brwtyh byrqrq h.rws.

15 bprś šdy MLKYM bh tšlg bs.lmwn
I.2.2 16 hr ’lhym hr BŠN hr gbnnym hr BŠN

17 lmh trs.dwn hrym gbnnym hhr h.md ’lhym lšbtw ’p yhwh yškn lns.h.
18 rkb ’lhym rbtym ’lpy šn’n ’dny b’ msyny bqdš

19 ‘lyt lmrwm šbyt šby lqh.t MTNWT b’dm w ’p swrrym lškn
[yh ’lhym
II.1.1 20 brwk ’dny ywm ywm y‘ms lnw h’l yšw‘tnw (slh)
21 h’l lnw ’l lmwš‘wt wlyhwh ’dny lmwt TWS.’WT
22 ’k ’lhym ymh..s r’š ’YBYW qdqd ś‘r mthlk b’šmyw

23 ’MR ’DNY mBŠN ’šyb ’šyb mms.lwt ym
24 lm‘n trh..s rglk bdm lšwn klbyk m’YBYM mnhw
II.1.2 25 r’w hlykwtyk ’lhym hlykwt ’ly mlky bqdš

26 qdmw šrym ’h.r ngnym btwk ‘lmwt twppwt
27 bmqhlwt brkw ’lhym yhwh mmqwr yśr’l

28 šm bnymn .s‘yr rdm śry yhwdh rgmtm śry zblwn śry nptly
II.2.1 29
.swh ’lhym ‘zk ‘wzh ’lhym zw p‘lt lnw
30 mhyklk ‘l yrwšlm lk ywbylw MLKYM šy
31 g‘r H
. YT qnh ‘dt ’byrym b‘gly ‘mym
mtrps brs.y KSP bzr ‘mym qrbwt yh.ps.w
32 y’tyw h.šmnym mny ms.rym kwš trys. ydyw l’lhym
II.2.2 33 mmlkwt h’RS. ŠYRW L’LHYM ZMRW ’dny (slh)

34 LRKB bŠMY ŠMY qdm hn YTN bqwlw qwl ‘z
35 TNW ‘z l’lhym ‘l yśr’l g’wtw w‘zw bšh.qym

36 nwr’ ’lhym mmqdšyk ’l yśr’l hw’ NTN ‘z wt‘s.mwt l ‘m brwk ’lhym
26.1 Text
V. 3a—tndp: ‘you blow away’ (imperf. qal, 2nd pers. masc. sing.; so MT).
According to Dahood and De Moor (1990, p. 119 n. 89), we are dealing
with an archaic imperf. niph‘al, 3rd pers. masc. plural (‘they are blown
away’).
V. 4: MT lacks a clear colometric division.
V. 5b—rkb b‘rbwt: see O. Loretz, UF 34 (2002), pp. 521–26.
V. 5c—byh šmw : this is not a theological motivated gloss (contra B.T. Arnold
and B.A. Strawn, ZAW 115 [2003], pp. 428–32); see also H.-P. Müller,
ZAW 117 (2005), pp. 206–16.
V. 9a–b: MT divides with ‘ole weyored after ’lhym in v. 9b.
V. 10b—wnl’h: see B.A. Strawn, UF 34 (2002), pp. 785–98.
V. 14a: probably to be taken as the third colon of v. 13 (see also § 26.6).
V. 18b—b’ msyny: see BHS; MT reads bm syny.
V. 19c—lškn yh ’lhym: meaning obscure.
V. 20: MT has no clear colometric division.
V. 24a—trh..s: ‘you bathe’ (cf. Ps. 58,11; similarly Kraus and Hossfeld/[Zenger]);
MT reads tmh..s (‘you crush’).
V. 27a—brkw : ‘they bless’ (perfectum qal, 3rd pers. plural); MT reads an
imperative.
V. 29a—s.wh ’lhym: ‘ordain, O God’ (see BHS and Kraus); MT reads .swh ’lhyk
(‘your God has ordained’).
V. 31d—bzr : ‘scatter’ (imperative pi‘el); MT reads a perfectum.
V. 32a—y’tyw : I take this form as a jussive of the hiph‘il, ‘let them bring’ (so
also Dahood; cf. Jerome and § 26.7.1); MT reads a qal (‘they come’).
ii.26 psalm 68 231
26.2 Content
All nations must praise God, who defeats his enemies to protect his people.
I God arises to protect his people against the attacks of enemies (I.1);
God has defeated all foreign kings and moved into his sanctuary (I.2).
I.1 The righteous praise God because he protects the weak against
adversaries (I.1.1; spoken about God); God makes his people
prosper (I.1.2; addressed to God).
When God arises, his enemies disappear (vv. 2–3).
The righteous rejoice before God; sing to God, the Rider of
the Clouds (vv. 4–5).
God protects the weak (vv. 6–7b), but the rebellious will
not prosper (v. 7c).
O God, when you fought for your people, the whole cosmos
was in commotion (vv. 8–9; cf. vv. 2–3).
You granted your poor people a good place to live (vv.
10–11; cf. vv. 6–7).
I.2 When God speaks, a multitude of messengers bring good tidings
(I.2.1; spoken about God); as a victor, God went up to his holy
mountain (I.2.2; addressed to [the mountain of] God).
When God speaks, the enemies flee and the housewives share
the spoils (vv. 12–14a).
The messenger birds bring good tidings (vv. 14b–15).
God will dwell on his favourite mountain (vv. 16–17).
God has settled in his sanctuary (v. 18); you have taken
with you the rebellious (v. 19).
II Praise of the people of Israel (II.1) and of the nations (II.2).
II.1 The people of Israel praise God (II.1.2; addressed to God) for
their deliverance (II.1.1; spoken about God).
Blessed be God, for he is our Saviour (vv. 20–21).
God’s enemies experience a crushing defeat (vv. 22–24).
There is a procession on the way to the sanctuary (vv.
25–26).
Israel’s tribes praise God (vv. 27–28).
II.2 The nations seek security with God (II.2.1; addressed to God);
exhortation to praise God (II.2.2; mainly addressed to the king-
doms of the earth and spoken about God [but note v. 36a]).
O God, kings acknowledge your power and bring gifts to
Jerusalem (vv. 29–30; cf. v. 19b).
The nations desperately seek security with God (vv. 31–32).
O kingdoms, praise God, the Rider of the Skies (vv. 33–34).
God strengthens his people Israel (vv. 35–36).

26.3.1.1 w- beginning of line, v. 4a vocat.: ’lhym, v. 29a*+b
vocative: ’lhym, v. 8a zw, v. 29b
vocative: ’lhym, v. 10a imperative: g‘r, v. 31a;
’th, v. 10b ext. // bzr * in v. 31d
vocat.: hr . . . , v. 16 (4×) vocat.: mmlkwt h’rs., v. 33a
brwk ’dny, vv. 20a imperatives: šyrw . . .
’k, vv. 22a zmrw, v. 33
vocative: ’lhym, v. 25a imperative: tnh, v. 35a
brk with object God, v. 27a
imperative: .swh, v. 29a* 26.3.1.2 ywm ywm, v. 20a

26.3.2.1 ’p, v. 9a hw’, v. 36b
zh, v. 9b
’p, v. 17c 26.3.2.2 ’k, v. 7c
ns.h., v. 17c vocative: ’lhym, v. 11b
’p, v. 19c vocative: yh ’lhym, v. 19c
lm‘n, v. 24a vocative: ’lhym, v. 36a
qdm, v. 34a

imperatives: šyrw . . . zmrw slh, v. 20b (see § 26.7.1)
. . . slw . . . w‘lzw, v. 5 slh, v. 33b (see § 26.7.1)
slh, v. 8b (see § 26.7.1) hn, v. 34b
lmh, v. 17a

vv. 2–3: ’lhym, vv. 2a.3c
} chiasmus
mpny, vv. 2b.3b+c
vv. 4–5: roots ‘ls. (‘to exult’)/‘lz (‘to exult’), vv. 4a and 5c resp.
lpny ’lhym/l’lhym, vv. 4b.5a; see also lpnyw in v. 5c
prep. b-, vv. 4b.5b
vv. 6–7: ’lhym, vv. 6b.7a
prep. b-, vv. 6b.7b
m‘wn (‘habitation’)/byt (‘home’), vv. 6b and 7a resp.
ii.26 psalm 68 233
vv. 8–9: ’lhym, vv. 8a.9b+c (2×)

} chiasmus
pnym, vv. 8a.9b+c
‘mk/yśr’l, vv. 8a and 9c resp.
vv. 10–11: ’lhym, vv. 10a.11b
} chiasmus
root kwn, vv. 10b.11b!
suffix -k, vv. 10b.11a+b
wnl’h/l‘ny, vv. 10b and 11b resp. (alliter.)
vv. 12–14a: .sb’, vv. 12b.13a!
vv. 14b–15: prep. b-, vv. 14b+c.15a (2×)+b
vv. 16–17: hr, vv. 16a (2×)+b (2×).17a+b!
’lhym, vv. 16a.17b
} chiasmus
gbnnym, vv. 16b.17a!
vv. 18–19: ’lhym, vv. 18a.19c
prep. b-, vv. 18b.19b (exactly linear)
vv. 20–21: ’dny, vv. 20a.21b
} chiasmus; see
lnw + h’l (‘God’) + root yš‘, vv. 20b.21a!
also ’l (‘God’) in v. 21a and prep. l- in v. 21 (3×)
vv. 22–24: ’ybym, vv. 22a.24b (inclusion)
prep. b-, vv. 22b.24a (inclusion)
prep. mn, vv. 23a+b.24b
vv. 25–26: prep. b-, vv. 25b.26b
vv. 29–30: ’lhym ‘zk/mhyklk, vv. 29a and 30a resp. (alliter.)
suffix -k, vv. 29a.30a+b
prep. l-, vv. 29b.30b
vv. 31–32: prep. b-, v. 31b.31c
‘mym, vv. 31b.31d
brs.y/ms.rym . . . trys., vv. 31c and 32 resp. (alliter.)
vv. 33–34: prep. l-, vv. 33a.34a
vv. 35–36: root ntn + ‘z, vv. 35a.36b; see also ‘z in v. 35b
prep. l-, vv. 35a.36b
’lhym, vv. 35a.36a+c
‘l/’l yśr’l, vv. 35b and 36b (exactly linear)

vv. 2–7 (I.1.1): ’lhym, vv. 2–3.4–5.6–7 (concatenation)
pnym, vv. 2–3.4b+5c (concatenation)
prep. b-, vv. 4–5.6–7 (concatenation)
vv. 8–11 (I.1.2): ’lhym, vv. 8–9.10–11 (concatenation)

prep. b-, vv. 8a+b (2×).11a+b (inclusion)
prep. l-, vv. 8a.11b (inclusion)
suffix -k, vv. 8a+b.10–11
vv. 12–15 (I.2.1): ’dny/šdy, vv. 12a and 15a resp. (inclusion)
mlkym, vv. 13a.15a (linear)
th.lq šll/tšlg, vv. 13b and 15b resp. (alliter.; linear)
vv. 16–19 (I.2.2): ’lhym, vv. 16–17.18–19 (concatenation)

prep. l-, vv. 17a+b+c.19a+c (linear)
lšbtw/šbyt, vv. 17b and 19a resp. (alliter.; linear)
’p, vv. 17c.19c (exactly linear)
yhwh/yh, vv. 17c and 19c resp. (linear)
} chiasmus
root škn, vv. 17c.19c (linear)
vv. 20–24 (II.1.1): ’dny, vv. 20a+21b.23a

prep. l-, vv. 20–21.24a (inclusion)
vv. 25–28 (II.1.2): ’lhym, vv. 25a.27a (linear); see also ’ly (‘my God’)
in v. 25b
prep. b-, vv. 25–26.27a (concatenation)
šrym/śry, vv. 26a and 28b+c (2×) resp. (linear); see
also .s‘yr in v. 28a
vv. 29–32 (II.2.1): ’lhym, vv. 29a+b.32b (inclusion)

prep. l-, vv. 29b+30b.32b (inclusion); cf. vv. 20–24
prep. mn, vv. 30a.32a (linear)
roots ybl (hiph‘il ‘to bring’)/’th (hiph‘il ‘to bring’),
vv. 30b and 32a* resp. (linear)
vv. 33–36 (II.2.2): prep. l-, vv. 33–34.35–36 (concatenation)

l’lhym, vv. 33a.35a (linear); see also ’lhym in v. 36
bšmy šmy qdm/bšh.qym, vv. 34a and 35b resp. (con-
catenation); see also prep. b- in v. 34b
root ntn + ‘z, vv. 34b.35a+36b (concatenation); see
also ‘z in v. 35b and t‘s.mwt (‘power’) in v. 36b
lrkb/brwk, vv. 34a.36c (alliter.; linear)
26.4.3 Within the sub-cantos

vv. 2–11 (I.1): pnym, vv. 2–5.8–9! (linear); note mpny ’lhym/mpnyw in
vv. 2–3.9b+c (linear)
prep. b-, vv. 4–7.8+11 (concatenation)
root yšb, vv. 7a.11a (linear)
ii.26 psalm 68 235
yh.yd/‘ny, vv. 7a and 11b resp. (linear)

ys.’, vv. 7b.8a (concatenation)
.sh.yh.h (‘parched land’)/yšymwn (‘desert’), vv. 7c and
8b resp. (concatenation)
vv. 12–19 (I.2): ’dny, vv. 12a.18b (inclusion); see also šdy in v. 15a
root ntn, vv. 12a.19b
root rbb, vv. 12b.18a!
th.lq/lqh.t, vv. 13b and 19b resp. (alliter.; inclusion)
prep. b-, vv. 14b–15.18b+19b (linear)
vv. 20–28 (II.1): brwk ’dny/brkw ’lhym, vv. 20a.27a (inclusion)

’l (‘God’), vv. 20b+21a.25b (linear)
yhwh, vv. 21b.27b (inclusion); see also yhwdh in v. 28b
(alliter.)
lmwt/‘lmwt, vv. 21b and 26b resp. (alliter.; linear)
root hlk, vv. 22b.25a+b! (concatenation)
prep. b-, vv. 22–24.25–26 (concatenation)
suffix -k, vv. 24a+b.25a (concatenation)
vv. 29–36 (II.2): suffix -k, vv. 29–30.36a (inclusion)

root ‘zz, vv. 29a+b.34b+35–36!
mhyklk/mmqdšyk, vv. 30a and 36a resp. (inclusion)
root mlk, vv. 30b.33a (linear)
‘m (‘people’), vv. 31b+d.36c (linear)
l’lhym, vv. 32b.33a+35a (concatenation)

vv. 2–19 (Canto I): roots qwm/‘lh, at the beginning of vv. 2a and 19a
resp. (inclusion)
roots nws (‘to flee’)/ndd (‘to flee’), vv. 2b and 13a
(2×) resp. (linear)
root rkb, vv. 5b.18a (inclusion)
yh, vv. 5c.19c! (inclusion)
qdš, vv. 6b.18b (inclusion)
root yšb, vv. 7a+11a.17b!
mwšyb . . . yšbw/šbyt šby, vv. 7a+11a and 19a
resp. (alliter.)
byt, vv. 7a.13b! (linear)
’sr/šbh, vv. 7b and 19a (2×) resp. (inclusion)
swrrym + škn, vv. 7c.19c!; see also škn in v. 17c!
(inclusion); see also ’syrym in v. 7b (alliter.)

’p, vv. 9a.17c+19c! (linear)
syny, vv. 9b.18b! (linear)
bh, vv. 11a.15a! (concatenation)
gšm (‘rain’)/šlg (‘snow’), vv. 10a and 15b resp.
(concatenation)
vv. 20–36 (Canto II): brwk ’dny/brwk ’lhym, vv. 20a and 36c resp.
(inclusion)
’dny, vv. 20a+21b+23a.33b (inclusion)
lnw, vv. 20b+21a.29b! (linear); see also suffix
-nw in v. 20b!
tws.’wt/wt‘s.mwt, vv. 21b and 36b resp. (alliter.;
inclusion)
mthlk/mhyklk, vv. 22b and 30a resp. (alliter.)
root mlk, vv. 25b.30b+33a
root qdš, vv. 25b.36a (linear)
root qdm, vv. 26a.34a
} chiasmus (linear)
root šyr, vv. 26a.33a
roots ngn/zmr, vv. 26a and 33b resp. (linear)
brkw ’lhym/brwk ’lhym, vv. 27a.36c (linear)
prep. mn, vv. 27b.36a (linear)
yśr’l, vv. 27b.35b+36b (linear)

vv. 2–11.20–28: ’wybyw/’ybyw, vv. 2a.22a; see also ’ybym in v. 24b!

šm (‘name’)/šm (‘there’), vv. 5a+c and 28a resp.
(alliter.)
root ys.’, vv. 7b+8a.21b!
.s‘d (‘to march’)/hlk (‘to go’), vv. 8b and 25a+b resp.
byšymwn/b’šmyw, vv. 8b and 22b resp. (alliter.)
vv. 12–19.29–36: root ntn, vv. 12a+19b.34b+35a+36b!

mlkym, vv. 13a+15a.30b(!); see also mmlkwt in v. 33a
ksp, vv. 14b.31c!
} chiasmus
roots prś/rps, vv. 15a and 31c resp.
ii.26 psalm 68 237
vv. 2–11.29–36: šyrw l’lhym, vv. 5a.33a!; see also l’lhym in vv. 32b
and 35a!
zmrw, vv. 5a.33b!
lrkb b‘rbwt/lrkb bšmy šmy qdm, vv. 5b and 34a resp.!
bkwšrwt/kwš trys., vv. 7b and 32b resp. (alliter.)
‘m (‘people’), vv. 8a.31b+d.36c!
’rs., vv. 9a.33a!
šmym, vv. 9a.34a (2×)!
’lhy/’l yśr’l, vv. 9c and 36b resp.
root h.yh, vv. 11a.31a!
vv. 12–19.20–24: ’dny . . . ’mr/’mr ’dny, vv. 12a and 23a resp.!; see also
’dny in vv. 18c and 20a+21b
bšn, vv. 16a+b.23a!
yhwh, vv. 17c.21b
bqdš, vv. 18c.25b(!)
šbyt šby/’šyb, vv. 19a and 23a+b resp. (alliter.)
b’dm/bdm, vv. 19b and 24a resp. (alliter.)

’l (‘God’, v. 36b), prep. mn (v. 18b)

none, apart from the recurrences which only occur within a verseline (see,
e.g., ywm [‘day’] in v. 20)

Psalm 68 has 17 strophes, 36 verselines and 81 cola.1 Vv. 18–19 is the
pivotal strophe (> 8+1+8 strophes), which contains a focal message: you
went up to the heights and your foes must acknowledge you as victor.
V. 19b is the pivotal colon (> 40+1+40 cola).
Structure of strophes and cantos in terms of words: 18+18+18|19+15||
18+13|20+21|||16+24|14+17||15+22|15+20 = 54+34|31+41||40+31|37+35
= 88+72|71+72 = 160+143 (= 303 words in total). Also taking into ac-
1
Fokkelman (MPHB III) has also 36 verselines, but he distinguishes 16 strophes and
86 cola.
count its 36 (= 2×18) verselines, I conclude that the number 18 and its
multiples (see the numbers in bold face) conspicuously feature in this com-
position. This may simply be a matter of chance, but it cannot be excluded
that in this psalm the number eighteen has a rhetorical significance. The
7 words of v. 19a–b represent the centre on word level (> 148+7+148
words).2
The divine name, yhwh, occurs 5×: vv. 5 (yh), 17, 19 (yh), 21 and 27.
In vv. 12, 18, 20, 21, 23 and 33 God is called ’dny (6×). The title ’lhym
(‘God’) is found 26×: vv. 2, 3, 4, 5, 6, 7 (Canticle I.1.1); 8, 9 (3×), 10,
11 (Canticle I.1.1); 16, 17, 18, 19 (Canticle I.2.2); 22 (Canticle II.1.1); 25,
27 (Canticle II.1.2); 29 (2×), 32 (Canticle II.2.1); 33, 35, 36 (2×; Canticle
II.2.2). 5× we find ’l (‘God’): vv. 20, 21 (2×), 25 and 36. In v. 15 it is šdy.

Köster (1837): 2–4.5–7|8–11.12–15.16–19.20–24|25–28|29–32.33–36 (3.3|
4×4|4|4.4 verses; ‘V. 23.24 sind, als genau zusammenhängend, in
Einen zu verbinden’; ‘An diesen Ps. bewährt sich auffallend der Nutzen
der strophischen Abtheilung’)
Sommer (1846), p. 68: ‘Sela . . . steht jedesmal nach dem ersten Distichon
der je dritten Strophe’
Hävernick (1849), p. 43: 2–4.5–7.8–11.12–15.16–19.20–24.25–28.29–32.
33–36 (3.3.4.4.4.5.4.4.4 verses; ‘Strophen von verschiedener, aber regel-
mässig wechselnder Länge’); cf. Köster (1837)
De Wette (1856): 2–4.5–7|8–11.12–15.16–19.20–24.25–28.29–32.33–36 (3.3|
4.4.4.5.4.4.4 verses; ‘Die Gliederung des Gedichtes tritt sehr deutlich
hervor’); cf. Hävernick (1849)
Ewald (1866), pp. 415–25: 2–4.5–7|8–11.12–15.16–19.20–24|25–28.29–32.
33–36 (3.3|4.4.4.5|4.4.4 verses); cf. De Wette (1856)
Schlottmann (1885), p. 491: 2–4.5–7 8–11.12–15.16–19|20–24.25–28|29–32.
33–36 (3.3 4.4.4|5.4|4.4 verses); cf. Ewald (1866)
Delitzsch (1894): 2–3.4–5.6–7|8–9.10–11|12–13.14–15|16–17.18–19||20–21.
22–24.25–28|29–32.33–35a.35b–36; cf. TOB (1978)
Grimme (1902), pp. 159–160: 2–3.4–5.6–7.8–9.10–12.13–14.15. . . ; 20–21.
22–23. . . ; contra Bickell and Duhm
Zenner (1906), pp. 213–17: 2–4.5–7|8–11.12–15|16–19.25–28|33–36|20–24.
29–32 (3.3|4.4|4.4|6|5.5 lines); cf. Schlottmann (1885)
2
Including the 4 words of the heading and the term slh (as we find it in MT [3×]) we
count 310 words. Now the 4 words of v. 19a (‘lyt lmrwm šbyt šby) constitute the centre
on word level (> 153+4+153 words; 153 = 9×17). For an in-depth investigation into
the numerical structure, see also www.labuschagne.nl/ps068.pdf.
ii.26 psalm 68 239
Duhm (1922): 2–3.4–5.6–7.8–9b+10a.10b–12.13+14b–15.16–17.18a–b+

19–20a.20b–22.23–24*.25–26*.27–28.29a+30–31b.31c–33a.33b–35
(‘Jede Strophe besteht aus einem Distichon und einem Tristichon’)
Gunkel (1926): 2–3.4–5|6–7.8–9.10–12.13–15|16–17.18–19.20+23+21.22+
24*.25–26*.27–28|29+31.30+32|33–35a.35b–36 (‘regelmäßig gebildete
Strophen’); cf. Duhm (1922)
Kittel (1929): 2–4.5–7.8–11.12–15.16–19.20–24.25–28.29–32.33–36; similar-
ly Van Uchelen (1977); cf. Schlottmann (1885)
Calès (1936): 2–3 4–5.6–7|8–9.10–11|12–13.14–15|16–17.18–19||20–21.
22–23|25–26.27–28|29–30.31–32|33–35a.35b–36c 36d (2 4×4|4×4
lines); cf. Delitzsch (1894) and Mowinckel (1957), p. 102
Böhl (1947): 2–3.4–5.6–7|8–9.10–11|12–14a.14b–15|16–17.18–19|20–21.
22–24|25–27.28–30|31.32–34a|34b–36; cf. Calès (1936)
Pannier/Renard (1950): 2–4*.5–7.8–11.12–14.15–19.20–24.25–28.29–32.
33–36 (3×4.3.5.5.4.5.4 lines)
Kissane (1953): 2–7|8–11.12–15.16–19.20–24.25–28.29–32|33–36 (6|6×4|6
lines); cf. Köster (1837)
Mowinckel (1953): 2–4.5–7|8–11.12–15.33–36|16–19.20–24|25–28.29–32; cf.
Schlottmann (1885)
Vlaardingerbroek (1973): 2–7.8–19.20–32.33–36
Alden (1976): 2–3.4.5.6–7.8–11.12.13.14.15–16.17–18.19|20|21.22.23.24.25.
26.27–29.30–31.32–34.35.36 (a.b.c . . . k|l|k’ . . . c’.b’.a’)
Beaucamp (1976): 2.3–4 5–6a.6b–7|8–9.10–11||12–13.14–15|16–17b.18–19.
20||21–22.23–24.25–26.27–28 29–33.34–35|36a–c.36d
Gray (1977): 2–4.5–7.8–11.12–15.16–17.18–19.20–22.23–24.25–28.29–30*.
31–32*.33–36; cf. Mowinckel (1953)
Jacquet (1977): 2–4.5–7|8–11.12–14*+15*.16–19.20–24.25–28*|29–32.
33–36; cf. Schlottmann (1885)
Kraus (1978): 2–4.5–7.8–11.12–15.16–17.18–19.20–21.22–24.25–28.29–30.
31–32.33–36
LePeau (1981): 2–4.5–7.8–11|12–15.16–19.20–24|25–28.29–32.33–36; simi-
larly Tate (1990)
Aletti/Trublet (1983), pp. 79–80: 2–5||6–7.8–9.10–11|12–13|14–15.16–17.
18–19||20–24.25–28.29–36 (vv. 2–5||a.b.c|d|c’.b’.a’||A.B.A’; ‘Plusieurs
sections repérables grâce aux inclusions’)
Carniti (1985): 2–3.4–5.6–7|8–11|12–15||16–17.18–19.20–22||23–24|25–28|
29–31.32–34.35–36 (A.B.C|D|C’.B’.A’)
Ravasi (1985): 2–4 5–11.12–19|20–22|23–34 35–36 or 2–4|5–11.12–19|
20–22|23–34|35–36 (a|b.c|a’|d|a’’)
Fokkelman (1990): 2–4.5–7|8–9.10–11||12–14a.14b–15|16–17.18–19|20–21.
22–24||25–26.27–28|29–30.31–32|33–34.35–36b 36c (3.3|2.2||2.2|2.2|
2.3||2.2|2.3|2.2 1 lines; 9.8|6.4||5.4|5.6|4.6||4.5|4.6|4.6 cola; a.a’|b.c.b’|

d.e.d’); similarly Fokkelman (2003), pp. 121–27
Girard (1996): 2–3.4–9.10–15.16–21.22–24|25–26.27–32.33–34a.34b–36 (a.b.
c.b’.a’|d.e.d’.e’)
De Moor (1997): 2–3.4–5.6–7.8–9.10–11.12–14a.14b–15.16.17.18*.19*.
20–21.22.23–24.25 (14×2.1 lines)
Hossfeld/[Zenger ] (2000): 2–4 5–7.8–11|12–15.16–19.20–24.25–28|29–32.
33–36 (vv. 2–4 a.b|c.d.c’.d’|b’.a’)
Weber (2001): 2–4 5–7.8–11.12–15.16–19|20–24.25–28.29–32.33–36 (vv.
2–4 a.b.a’.b’|c.d.c’.d’ and vv. 2–4 A.B.C.D|D’.C’.B’.A’)
Auffret (2003): 2–3.4–5.6–7.8–9.10–11.12–15.16–17.18–19.20–21|22–24.
25–28.29–30a.30b–32.33–36 (vv. 10–11 and 29–30a are pivotal units)
Terrien (2003): 2–4.5–7.8–10.11–13.14–16|17–19|20–22.23–26.27–30.31–34a.
34b–36 (5×3|3|3.4.4.3.3 lines; a.b.c.d.e|f|e’.d’.c’.b’.a’; vv. 17–19 core
strophe)
Pfeiffer (2005), pp. 215–38: 5.6–7b|8–9.10–11|12–13.14b–15|16-17b.18–19b|
20–21.23–24|25–26.27–28|33–35a.35b–36b 36c (‘Grundpsalm’; 7×[2.2
lines] > A.B.C.X.C’.B’.A’ v. 36c; and vv. 5–7b 8–19b.20–28+33–36)

It is generally observed that, from a textcritical point of view, Psalm 68
is full of uncertainties; cf. also § 26.1. Nevertheless, there is a conspicuous
unanimity among interpreters regarding a relatively low level of its poetic
structuring. Hossfeld (Hossfeld/Zenger, p. 247) concurs with this general
feeling when he notes: ‘Ps 68 besteht nach konstanter und relativ breiter
Übereinstimmung . . . aus neun Strophen von unterschiedlicher Länge’; cf.
§ 26.6. On the basis of this observation we may expect that our psalm
consists of a series of clearly distinguishable units of meaning.
26.7.1 At the interface of the strophes and the canticles

In most cases Hossfeld’s ‘Strophen’ represent what I call canticles. These
canticles are generally composed of two strophes.3 The distinction between
canticles and strophes is not a purely formal matter. Especially among
scholars who do not discern the various structural layers, there exists an
ingrained misconception with regard to the canticle division at the be-
ginning of the psalm. Vv. 2–4 and 5–7 do not represent two relatively
independent sections. Together, these verses form the first canticle of our
3
For the strophic analysis, note especially Fokkelman (1990); cf. also Delitzsch,
Grimme, Duhm, Gunkel, Calès, Böhl, Aletti/Trublet, De Moor and Auffret in § 26.6.
ii.26 psalm 68 241
poem.4 This canticle is composed of three 2-line strophes, vv. 2–3, 4–5
and 6–7. The strophes in question consist of a bicolon and a tricolon.5
Also in terms of word count, the strophes have a very similar structure:
4+3|3+4+4, 3+4|4+3+4 and 4+3|4+3+4 words respectively. That is to
say, each strophe has exactly 18 words (§ 26.5). The verbal repetitions
on strophe level further show that vv. 4 and 5 together form an indepen-
dent unit (see § 26.4.1). From a thematic point of view, vv. 2–7 (Canticle
I.1.1) has an introductory character. Each of the 2-line strophes has its
own individual subject matter: God’s enemies disappear (vv. 2–3), joyful
shouting before God (vv. 4–5) and God protects the weak (vv. 6–7); see
§ 26.2. These themes are elaborated in the following canticles.
The first canticle ends on a strong note. Its concluding verseline (v. 7)
displays an antithetic parallelism: God makes the weak and oppressed live
in safety (vv. 7a–b), but the rebellious must live in the desert (v. 7c). For
the rhetorical coherence of vv. 2–7, which is based on its linear parallelism
with the following canticle, vv. 8–11, see § 26.7.2 below.
The first canticle has no explicit addressee;6 in Canticle I.1.2 (vv. 8–11),
however, the psalmist addresses God in the second person throughout. The
unit is about God’s care for the people of Israel; see vv. 10–11 and note
‘mk (‘your people’) and yśr’l (‘Israel’) in vv. 8–9. The canticle is obviously
composed of two 2-line strophes; see § 26.4.1. The first 2-line strophe, vv.
8–9, is an adaptation of the 3-line strophe Judges 5,4–5:
4
yhwh bs.’tk mš‘yr bs.‘dk mśdy ’dwm
’rs. r‘šh gm šmym nt.pw gm ‘bym nt.pw mym
5
hrym nzlw mpny yhwh zh syny mpny yhwh ’lhy yśr’l
By deleting v. 4c and the first two words of v. 5, the poet modelled the stro-
phe from Judges 5 on the pattern bicolon.tricolon we find in the preceding
strophes of Psalm 68.7
In Canticle I.2.1 (vv. 12–15) there is once again no explicit addressee (cf.
vv. 2–7). In this canticle the psalmist describes the positive results of the
defeat of the enemy kings. There are two 2-line strophes; see §§ 26.2 and
4
See Delitzsch, Böhl, Kissane and Fokkelman in § 26.6.
5
For a similar colometry, see vv. 8–9, 16–17, 18–19, 27–28 and 35–36; cf. also Duhm
in § 26.6. It is noteworthy that Fokkelman does not recognize this regularity.
6
For the form tndp in v. 3a, see § 26.1.
7
Other adaptations include, among other things, the replacement of the divine name
by the title ’lhym, fitting the terminology of the first two canticles (see § 26.5), and
the substitution of the particle gm by its semantic cognate ’p, fitting the linear cor-
respondence between Sub-cantos I.1 and I.2 (see § 26.4.4 and note ’p in vv. 17c and
19c).
26.4.1. The strophes display devices of a linear parallelism: the ‘messengers’

in v. 12b correspond to the ‘dove’ as a messenger bird in v. 14b.8 The noun
mlkym (‘kings’) clearly reinforces this pattern (§ 26.4.2).
In contrast to Canticle I.2.1, the fourth canticle (vv. 16–19) has a clear
addressee. The first verseline (v. 16) is totally dominated by vocative forms.
That is to say, the first strophe of the canticle (vv. 16–17) is addressed to
Mountain Bashan; see the second person plural form trs.dwn (‘you watch
enviously’) in v. 17a. In the concluding verseline (v. 19) the psalmist ad-
dresses God. Canticle I.2.2 portrays God moving into his holy place. The
unit is composed of two 2-line strophes which in terms of verbal recurrences
show a linearly alternating relationship; see §§ 26.4.1–2.
In Canticle II.1.1 (vv. 20–24) God is throughout spoken about. Vv.
20–23 have no distinct addressee. In the concluding verseline of v. 24 there
is an embedded speech; see ’mr ’dny (‘the Lord said’) in v. 23. We may
assume that the people of Israel is addressed here. The canticle is composed
of two strophes with two and three verselines respectively (vv. 20–21 and
22–24; see § 26.4.1). Each strophe has its own relatively individual theme:
vv. 20–21 is a praise of the people of Israel with reference to the defeat of
the enemies, vv. 22–24.9
The sixth canticle (vv. 25–28) opens with a verseline in which God is
once again explicitly addressed (v. 25). There are two 2-line strophes. In
the first verseline of the second strophe (v. 27) the psalmist speaks about
God. Each strophe has its own thematic individuality (§ 26.2); they form
a linear parallelism (§ 26.4.2). In this section we find a description of the
praise which all the people of Israel bring to God.
Most of Canticle II.2.1 (vv. 29–32) is addressed to God;10 only in the
final verseline (v. 32) God is spoken about in the third person. The sec-
tion is composed of two linear parallel strophes of two and three verselines
respectively, vv. 29–30 and 31–32 (cf. Canticle II.1.1, vv. 20–24). The con-
cluding verseline of these strophes is about the gifts the enemy king(dom)s
offer to God (vv. 30 and 32). This subject matter determines the thematic
individuality of the entire canticle. For the linear parallelism between the
strophes, see also § 26.4.2 and note the imperatives in connection with God
in vv. 29 and 31. For the individual device of the strophes in terms of
8
See O. Keel, Vögel als Boten (OBO 14), Freiburg (Schweiz): Universitätsverlag,
1977, pp. 28–36.109–42, and Ch. Begg, ‘The messenger Dove in Ps 68,12–14’, EThL 63
(1987), pp. 117–18. According to De Moor (1997, p. 174 n. 359), the word ywnh (‘dove’)
is ‘a metaphor for Mt. Zalmon (“The Dark One”), its grey basalt evoking the colour of
a dove’.
9
This interpretation is probable, notwithstanding the cryptic cola vv. 23b and 24b.
10
For v. 29a, see § 26.1.
ii.26 psalm 68 243
verbal repetitions, see § 26.4.1.

The concluding Canticle II.2.2 (vv. 33–36) is for the most part addressed
to the kingdoms of the earth; only in the first colon of the final verseline
(v. 36a) the psalmist explicitly addresses God.11 This section is mainly
about ‘power’ (‘z/t‘s.mwt; see § 26.4.2). The kingdoms are called to pow-
erfully praise God (vv. 33 and 35) and God, in his turn, thunders with
his powerful voice and ‘empowers’ his people (vv. 34 and 36). This linear
parallel relationship between the verselines (a.b|a’.b’) indicates that we are
dealing with two 2-line strophes, vv. 33–34 and 35–36; note also the imper-
atives in connection with the ‘kingdoms of the earth’ in vv. 33 and 35. For
the strophic division, see further §§ 26.2 and 26.4.1.
The canticle division of Psalm 68 is in an unusual way supported by the
term slh. As a rule, slh marks the end of a strophe. In this case, the word
highlights the end of the first verseline of Canticles I.1.2, II.1.1 and II.2.2
(vv. 8, 20 and 33).12
26.7.2 At the interface of the canticles and the sub-cantos

So far so good. However, an important question remains to be answered:
how do the canticles described above make a coherent poetic composition?
It is often suggested that Psalm 68 consists of a ‘catalogue’ (Albright [1950])
of a series of unrelated small poetic units. According to Schmidt (1934,
p. 127), we are dealing with a collection of texts ‘die nicht durch ihren
Gegenstand verbunden sind, sondern durch die Gelegenheit, für die sie
zusammengestellt sind, bei der sie gesungen werden sollen’. Tate concludes
that the poetic structure of the psalm ‘has an irregular quality at best and
efforts to give it a uniform style should be resisted’ (p. 173).13
The results of recent structural investigations suggest that the psalm as
a whole displays (signs of) a concentric framework or consists of some major
sections which are concentrically structured. According to Alden (1976),
v. 20 is the pivot of a very detailed concentric frame which structures the
psalm as a whole, while Terrien (2003) takes vv. 17–19 as the core strophe of
a concentric total structure; cf. Pfeiffer (2005). Carniti (1985) distinguishes
three main parts of which vv. 16–22, as central main part, is flanked by
concentrically corresponding units. According to Hossfeld/[Zenger] and
11
This feature can be taken as a device for closure; cf. the abrupt address to God in
Pss. 20,10a 33,22 52,11 55,24 62,13 and 106,47.
12
Similarly Sommer (1846; see § 26.6) and Hossfeld/[Zenger] (pp. 250–51). For the
same phenomenon, see Habakkuk 3,3b (the end of the first verseline of a canto); for the
anomalous use of slh, see further CAS I, pp. 560–61.
13
Cf. Schmidt (p. 127): ‘Jeder Versuch, sie [die Abschnitte] miteinander in Verbindung
zu bringen . . . ist umsonst’.
Weber, vv. 2–4 represent an isolated prologue.14 Subsequently, from v. 5

onwards, Hossfeld sees two ‘rings’ enveloping a central main part, vv. 12–28
(‘Psalmkern’).15 Weber discerns two main parts, vv. 5–19 and 20–36, which
are supposed to display all kinds of symmetric devices. Auffret argues in
favour of four overlapping main parts (see § 26.6), which display several
rhetorical relationships.
In my opinion, the total structure of the psalm can most adequately
be described as an accumulation of pairings of rhetorical sections. That
is to say, as a rule, two verselines form a strophe (with the exception of
vv. 22–24 and 31–32, where we have three verselines), two strophes form a
canticle (with the exception of vv. 2–3, 4–5 and 6–7, where we have three
strophes), two canticles form a sub-canto, two sub-cantos form a canto and,
finally, two cantos constitute the poem as a whole. Now, I will argue that
the canticles two by two form a higher level of poetic structuring. A section
consisting of two canticles I call a sub-canto.
Canticles I.1.1 and I.1.2 (vv. 2–7 and 8–11) form a linearly alternating
parallelism. For the linear correspondence in terms of verbal repetitions,
see § 26.4.3 and note especially mpny (‘from the face of’) in vv. 2–3 and
8–9. In terms of semantics, the linear parallelism is supported by the
correspondence between vv. 6–7 and 10–11, where God is portrayed as the
patron of the weak (§ 26.2). On this basis we may assume that vv. 2–11
represent the first sub-canto. The specific subject matter of this section
consists of the overall idea that God defeats Israel’s enemies (note the first
strophe, vv. 2–3) and provides his people a good place to live (note the
concluding strophe, vv. 10–11).
The following three sub-cantos do not display a clear rhetorical pattern.
Their poetic individuality is chiefly based on unity of meaning. The sec-
ond sub-canto (I.2, vv. 12–19) is primarily about God as victor over the
foreign kings; note the first and the last strophe, vv. 12–14a and 18–19
respectively. The preposition b- gives the section a linear parallel accent
(§ 26.4.3). Sub-canto II.1 (vv. 20–28) is mainly about the people of Israel
praising God for his saving deeds. In terms of verbal recurrences, symmet-
ric devices dominate (see § 26.4.3).16 The concluding sub-canto (II.2, vv.
29–36) focusses on the kingdoms of the earth which pay tribute to the God
of Israel and are called to sing praises to this mighty God.
14
Similarly Pfeiffer (2005); however, Hossfeld wrongly states that this is ‘weithin an-
erkannt’ (Hossfeld/[Zenger], p. 247).
15
Along the same lines Fokkelman and Girard.
16
According to Hossfeld/[Zenger] (pp. 248–49), in vv. 12–19 (I.2) and 20–28 (II.1) we
find ‘zweimal die Abfolge von Impulsschilderung bzw. Siegesmeldung und deren Echo
bzw. Kommentar’.
ii.26 psalm 68 245
26.7.3 At the interface of the sub-cantos and the cantos

In their turn, the sub-cantos—two by two—form a higher level of po-
etic structuring, the cantos. In the nineteenth century, Delitzsch already
pointed out that in terms of material content Psalm 68 divides into two
main parts, vv. 2–19 and 20–36 (Canto I and II), ‘welche sich im Allg. so
unterscheiden, daß die erste mehr bei der That Gottes, die zweite mehr
bei den Eindrücken verweilt, die sie auf die Gemeinde und die Weltvölker
macht’ (p. 445). And in this respect, Calès (1936, p. 648) notes: ‘on ob-
tient deux parties égales et symétriques, l’une relative au passé, l’autre au
présent et à l’avenir’.17 That is to say, in Canto I the psalmist especially
focusses on a past action by God on behalf of his people, while in Canto
II we read about the present reaction of Israel and the whole world to this
divine intervention. Each canto consists of exactly 18 verselines.18
The combination of two successive sub-cantos into a rhetorical layer of
cantos, is supported by mostly linear correspondences between the canticles
of which the sub-cantos are composed. From the viewpoint of the occur-
rence of an addressee, the first and the second sub-canto show the following
scheme: vv. 2–7.8–11|12–15.16–19 > a.b|a’b’. The a-canticles have no spe-
cific addressee, while in the b-canticles there is one; see above § 26.7.1 and
cf. § 26.2. From the perspective of the verbal repetitions, there is primarily
a symmetric design: vv. 2–7.8–11|12–15.16–19 > a.b|b’.a’ (§ 26.4.4).
Between the third and the fourth sub-canto a linear pattern of verbal
repetitions dominates: vv. 20–24.25–28|29–32.33–36 > a.b|a’.b’ (§ 26.4.4).
This linear framework is reinforced by the length of the canticles in terms
of verselines; note the structural scheme 5.4|5.4 lines. Finally, these formal
observations are supported by thematic features. The 3-line strophe of
Canticle II.1.1 (vv. 22–24) is about the defeat of God’s enemies; the same
applies to the 3-line strophe of Canticle II.2.1 (vv. 31–32). The description
of the people of Israel praising God (vv. 25–28; II.1.2) corresponds to the
doxology of the kingdoms of the world (vv. 33–36; II.2.2).19
17
For this bipartite division, cf. recently also Weber (2001), p. 305, and Pfeiffer (2005),
p. 235. Girard also discerns two main parts, but he erroneously supposes that the main
break comes after v. 24.
18
As a rule the verselines coincide with the text units marked by the Masoretic verse
divisions; only v. 31 has two verselines. For v. 13–14a, see § 26.1.
19
Similarly Weber, p. 305 (see also § 26.6). According to Fokkelman, vv. 25–28, 29–32
and 33–36 display a concentric relationship (a.b.a’); strangely enough, this scholar fails
to note that vv. 29–32 rhetorically corresponds to vv. 20–24.
26.7.4 At the interface of the cantos and the poem as a whole
From a rhetorical perspective the cantos form a cohesive work of art. The
relationship between the cantos comes to light by the thematic description
of the sub-cantos formulated in § 26.7.2 above (cf. also § 26.2). On this
basis, the four sub-cantos form a linearly alternating parallelism: vv. 2–11.
12–19|20–28.29–36 > A.B|A’.B’. In the A-sections (vv. 2–11 and 20–28) the
poet focusses on the people of Israel. The deliverance of Israel from their
oppressors is the specific subject matter of vv. 2–11 (Sub-canto I.1); the
hymns the tribes of Israel sing to God as thanksgiving for this deliverance
form the thematic individuality of vv. 20–28 (Sub-canto II.1). Vv. 12–19
and 29–36, the B-sections, focus on the foreign kings. In vv. 12–19 (Sub-
canto I.2) we read about their submission by the God of Israel and in vv.
29–36 (Sub-canto II.2) the psalmist portrays their bringing tibute to this
God; for the correspondence to the latter motive, cf. especially v. 19b (I.2).
The psalm in its entirety can be seen as a hymn on the God of Israel as
Victor over his enemies. In the second to last canticle of this hymn (II.2.1,
vv. 29–32) we find a whole cluster of petitions for divine intervention. Such
petitions do not occur before. The thematic sequence concerned is not
exceptional in the book of Psalms.20
In terms of verbal recurrences on the level of the composition as a
whole, there are some indications supporting this linear parallelism; see
§ 26.4.5, the linear framework. The pattern is further reinforced by a con-
spicuous numerical balance in terms of words: the second and the fourth
sub-canto (vv. 12–19 [I.2] and 29–36 [II.2]) have 72 (= 4×18) words each
(§ 26.5). Alongside this linear pattern, there are small clusters of verbal rep-
etitions supporting a symmetric framework: vv. 2–11.12–19|20–28.29–36 >
A.B|B’.A’ (§ 26.4.5, the symmetric framework). In terms of verbal repeti-
tion, the symmetric framework is more powerful than its linearly parallel
pendant.
Contra the common opinion, it is to be emphasized that v. 36c (brwk
’lhym [‘blessed is God’]) forms an integral part of the concluding strophe;
it is the final element of a tricolon. Such relatively independent expressions
at the end of a psalm are a common feature.21
the following verbal repetitions: ’lhym (26×) > 67 (6×); pnym (vv. 2–5.
20
See H. Gunkel, Einleitung in die Psalmen, Göttingen, 3rd edn 1975, § 2.36 (pp.
56–59; note p. 58); cf. further CAS I, p. 159 n. 13 (with reference to Ps. 9,14–21).
21
Cf. Pss. 2,12c 3,9b 7,9a 15,5c 55,24c 103,22c 125,5c (128,6b) 129,8c and Ex.
15,18!
ii.26 psalm 68 247
8–9) > 67,2; root śmh. (v. 4 [2×]) > 67,5; root ntn (vv. 12.34–36) > 67,7;
root brk (vv. 20.27.36) > 67,2.7.8; root yš‘ (vv. 20.21) > 67,3; ‘mym (v. 31
[2×]) > 67,4 (2×).6 (2×).22
26.8 Bibliography
W.F. Albright, ‘A Catalogue of Early Hebrew Lyric Poems (Psalm LXVIII)’,
HUCA 23 (1950), pp. 1–39;
S. Mowickel, Der achtundsechzigste Psalm, Oslo: Dybwad, 1953;
J. Vlaardingerbroek, Psalm 68, Amsterdam, 1973;
J. Gray, ‘A Cantata of the Autumn Festival: Psalm LXVIII’, JSS 22 (1977), pp.
2–26;
J.P. Le Peau, Psalm 68: An Exegetical and Theological Study, Ph.D. Diss. Uni-
versity of Iowa, 1981;
C. Carniti, Il Salmo 68. Studio letterario, Roma (LAS), 1985;
J.P. Fokkelman, ‘The Structure of Psalm 68’, in A.S. van der Woude (ed.), In
Quest of the Past (OTS 26), Leiden: Brill, 1990, pp. 72–83;
J.C. de Moor, The Rise of Yahwism. The Roots of Israelite Monotheism (BEThL
91), Leuven: Peeters, 2nd edn 1997, pp. 171–91;
P. Auffret, Merveilles à nos yeux. Etude structurelle de vingt psaumes dont celui
de 1Ch 16,8–36 (BZAW 235), Berlin/New York: Walter de Gruyter, 1995, pp.
1–30;
—, Que seulement de tes yeux tu regardes. . . Etude structurelle de treize psaumes
(BZAW 330), Berlin/New York: Walter de Gruyter, 2003, pp. 207–47;
Henrik Pfeiffer, Jahwes Kommen von Süden. Jdc 5; Hab 3; Dtn 33 und Ps 68 in
ihrem literatur- und theologiegeschichtlichen Umfeld (FRLANT 211), Göttingen:
Vandenhoeck & Ruprecht, 2005.
22
See also Hossfeld/[Zenger], pp. 256–57.
27 Psalm 69
Structure: 14.16.8 > 5.9|6.10|8 > 3.2|3.3.3||3.3|3.2.3.2||3.2.3 lines
(Type IIB)
I.1 2 HWŠY‘NY ’LHYM ky B’W MYM ‘d npš

3 T
. B‘TY bywn MS.WLH W’YN m‘md
B’TY bM‘MQY MYM wŠBLT ŠT
. PTNY
4 yg‘ty bqr’y nh.r grwny klw ‘YNY myh.l l’LHY [’šyb
5 RBW mś‘rwt r’šy ŚN’Y h.nm ‘s.mw ms.myty ’YBY šqr ’šr l’ gzlty ’z
I.2 6 ’lhym ’TH YD‘T l’wlty w’šmwty mmk l’ nkh.dw

7 ’l YBŠW by QWYK ’dny yhwh .sb’wt
’l YKLMW by mbqšyk ’lhy yśr’l
8 ky ‘lyk nś’ty H
. RPH ksth KLMH pny
9 mwzr HYYTY l’h.y wnkry lbny ’my
10 ky qn’t bytk ’kltny wH. RPWT H . WRPYk nplw ‘ly
11 w’bkh bs.wm npšy wTHY lH. RPWT ly
12 w’TNH lbwšy śq w’HY lhm lmšl
13 yśyh.w by YŠBY š‘r wngynwt šwty škr
II.1 14 W’NY tplty lk yhwh ‘t rs.wn ’LHYM bRB h.sdk ‘nny b’mt YŠ‘K
15 hs.ylny mt.yt. w’l ’T
. B‘H ’ns.lh mŚN’Y wmM‘MQY MYM
16 ’l TŠT
. PNY ŠBLT MYM w’l tbl‘ny MS.WLH w’l t’t.r ‘ly b‘r pyh
17 ‘nny yhwh ky T . WB h.sdk kRB rh.myk pnh ’ly

18 w’l tstr pnyk m‘BDk ky .sr ly mhr ‘nny
19 qrbh ’l npšy g’lh lm‘n ’YBY pdny
II.2 20 ’TH YD‘T H . RPTy wBŠTy wKLMTY ngdk kl .swrry

21 H RPH šbrh lby w’nwšh w’QWH lnwd W’YN wlmnh.mym wl’
.
22 wYTNW bbrwty r’š wls.m’y yšqwny h.ms. [ms.’ty
23 YHY šlh.nm lpnyhm lph. wlšlwmym lmwqš

24 th.šknh ‘YNYhm mr’wt wmtnyhm tmyd hm‘d
25 špk ‘lyhm z‘mk wh.rwn ’pk yśygm

26 THY .tyrtm nšmh b’hlyhm ’l YHY YŠB
27 ky ’t ’šr hkyt rdpw w’l mk’wb h.llyk ysprw
ii.27 psalm 69 249
28 TNH ‘wn ‘l ‘wnm w’l YB’W bs.dqtk

29 ymh.w mspr h.yym w‘m .sdyqym ’l yktbw
III 30 W’NY ‘ny wkw’b YŠW‘Tk ’LHYM tśgbny

31 ’hllh šm ’LHYM bšyr w’gdlnw btwdh
32 wTYT . B l yhwh mšwr pr mqrn mprys
33 r’w ‘nwym yśmh.w dršy ’LHYM wyh.y lbbkm

34 ky šm‘ ’l ’bywnym yhwh w’t ’syryw l’ bzh
35 yhllwhw šmym w’rs. ymym wkl rmś bm

36 ky ’LHYM YWŠY‘ .sywn wybnh ‘ry yhwdh wyšbw šm wyršwh
37 wzr‘ ‘BDYw ynh.lwh w’hby šmw yšknw bh
27.1 Text
V. 11a: see Groenewald (2003), pp. 20–24.
V. 14: a tricolon; see § 27.7.3 below (contra BHS, Fokkelman and others).
V. 27a—’t: sign of the accusative (cf. LXX); MT reads ’th (‘you’).
V. 27b—ysprw : ‘they talk’, so MT (cf. § 27.4.2); against Allen (1986), p. 583.
27.2 Content
The prayer of an individual for deliverance from enemies.
I Description of distress and penitence.
I.1 Description of distress (introduced by a prayer).
Save me, O God (v. 2a), for I am in danger (vv. 2b–3;
metaphor of water).
I am longing for God, for my enemies are innumerable (vv.
4–5).
I.2 Description of penitence and distress (introduced by a prayer).
O God, you know my sins; do not disappoint your faithful
ones (vv. 6–7, prayer; cf. v. 2a).
I suffer reproach for serving you (vv. 8–10).
Because of my penitence I am reproached by the community
(vv. 11–13).
II Prayer for deliverance and ruin of the enemies.
II.1 Prayer for deliverance with a plea for God’s loyalty.
O God, save me from my dreadful position (vv. 14–16;
metaphor of water [cf. vv. 2–3]).
O God, rescue me in your great mercy (vv. 17–19).
II.2 Prayer for the ruin of the enemies (introduced by a refer-

ence to the distressing situation).
You know the humiliation I experience (vv. 20–22, descrip-
tion of distress; cf. vv. 8–13).
Let my enemies be trapped at their tables (vv. 23–24).
Make them disappear from the earth (vv. 25–27).
Make them perish completely so that they are not enrolled
among the righteous (vv. 28–29).
III Promise of thanksgiving for salvation (introduced by a prayer).
O God, rescue me (v. 30, prayer; cf. v. 2a); I will praise
him with a song (vv. 31–32).
Then, the faithful will become new hope (vv. 33–34).
God will save Zion and his servants will dwell therein (vv.
35–37).

27.3.1.1 imperative: hwšy‘, v. 2a vocative: yhwh, v. 17a
vocative: ’lhym, v. 2a imperative: pnh, v. 17b
vocative: ’lhym, v. 6a; ext. ’th, v. 20a
// ’dny yhwh .sb’wt in v. yd‘ with subj. God, v. 20a
7b and ’lhy yśr’l in v. 7d jussive: yhy, v. 23a
’th, v. 6a imperative: špk, v. 25a;
yd‘ with subject God, v. 6a ext. // thy (jussive) in
w- beginning of line, v. 11a; v. 26a and ’l prohibitive
ext. // w- in v. 12a in v. 26b
cohortative: ’bkh, v. 11a; imperative: tnh, v. 28a
ext. // ’tnh in v. 12a ’l prohibitive, v. 28b; ext.
w- beginning of line, v. 14a // ’l in v. 29b
’ny, v. 14a w- beginning of line, v. 30a
vocative: yhwh, v. 14a ’ny, v. 30a
vocative: ’lhym, v. 14b vocative: ’lhym, v. 30a
imperative: ‘nny, v. 14c; vocat.: dršy ’lhym, v. 33a
ext. // hs.yl in v. 15a and jussive: yh.y, v. 33b
’ns.lh (cohort.) in v. 15b vocat.: šmym w’rs., v. 35a
imperative: ‘nny, v. 17a; vocat.: ymym wkl rmś bm,
ext. // ’l prohibitive in v. 35b
v. 18a, ‘nny in v. 18b,
qrbh . . . g’lh in v. 19a 27.3.1.2 none
and pdny in v. 19b
ii.27 psalm 69 251

27.3.2.1 lm‘n, v. 19b ’l prohibitive, v. 16 (3×);
tmyd, v. 24b ext. // ’l in v. 15a
27.3.2.2 ’z, v. 5c w- beginning of line, v. 32a
’l prohibitive, v. 7c; ext. // w- beginning of line, v. 37a
’l in v. 7a

cohortative: ’hllh, v. 31a

vv. 2–3: suffix -ny, vv. 2a.3d (inclusion)
root bw’, vv. 2b.3a (inclusion)
mym, vv. 2b.3b (inclusion)
.tb‘ty b-/b’ty b-, vv. 3a and 3c resp. (alliter.; anaphora)
vv. 4–5: prep. mn, vv. 4b.5a
vv. 6–7: ’lhym, vv. 6a.7d (inclusion)
suffix -k, vv. 6b.7a.7c
’l prohibitive, v. 7a.7c (anaphora); see also ’lhym in v. 6a
(alliter.)
’l ybšw/’l yklmw, v. 7a and 7c resp. (anaphora)
by, v. 7a.7c (linear)
vocatives: ’dny yhwh .sb’wt/’lhy yśr’l, v. 7b and 7d resp.
(epiphora)
vv. 8–10: ky, vv. 8a.10a (inclusion; exactly linear)
prep. ‘ly-, vv. 8a.10b
root h.rp, vv. 8a.10b (2×)
suffix -k, vv. 8a.10b (inclusion)
vv. 11–13: w-, vv. 11a.12a (anaphora)
w- + root hyh, vv. 11b.12b (exactly linear)
prep. l-, vv. 11b (2×).12b (2×)
vv. 14–16: suffix -ny, vv. 14c.15a.16a+b
roots yš‘/ns.l, vv. 14c and 15a+b resp.
’l prohibitive, vv. 15a.16a+b+c
’t.b‘h/tbl‘ny, vv. 15a and 16b resp. (alliter.)
mym, vv. 15b.16a
vv. 17–19: ‘nny, vv. 17a.18b

ky, vv. 17a.18b } symmetric
root pnh, vv. 17b.18a
suffixes -y . . . -ny, vv. 18b.19b (linear)
prep. ’l, vv. 17b.19a (inclusion); see also ’l prohibitive in
v. 18a (alliter.)
.srr/’yb, vv. 18b and 19b resp.
prep. l-, vv. 18b.19b
suffix -ny, vv. 18b.19b (epiphora); see also -ny in v. 17a
vv. 20–22: root h.rp, vv. 20a.21a
prep. l-, vv. 21b+c.22b
ms.’ty/wls.m’y, vv. 21c and 22b resp. (alliter.)
vv. 23–24: šlh.nm/th.šknh, vv. 23a and 24a resp. (alliter.)
suffix -hm, vv. 23a.24a+b; see also suffix -m in v. 23a
vv. 25–27: suffix -hm, vv. 25a.26b; see also suffix -m in vv. 25b and 26a
(chiasmus)
suffix -k, vv. 25a+b.27b (inclusion)
roots nśg (hiph‘il, ‘to overtake’)/rdp (‘to persecute’), vv. 25b
and 27a resp. (inclusion)
vv. 28–29: ’l prohibitive, vv. 28b.29b
} chiasmus
root .sdq, vv. 28b.29b!
vv. 30–32: w- beginning of the line, vv. 30a.32a (inclusion)
’lhym, vv. 30b.31a
bšyr/mšwr, vv. 31a and 32a resp. (alliter.; exactly linear)
vv. 35–37: bm/bh, vv. 35b and 37b resp. (inclusion)
roots yšb/škn, vv. 36c and 37b resp.
suffix -h, vv. 36c.37a+b!

vv. 2–5 (I.1): ’lhym, vv. 2a.4b (linear)
prep. b-, vv. 3a+c.4a (concatenation)
vv. 6–13 (I.2): suffix -k, vv. 6b+7a+7c.8a+10 (concatenation)

by, vv. 7a+c.13a (linear)
root klm, vv. 7c.8b (concatenation)
root hyh, vv. 9a.11b+12b
root h.rp, vv. 10b (2×).11b (concatenation)
vv. 14–19 (II.1): suffix -k, vv. 14a+b+c.17a+b+18a (2×; linear)

yhwh, vv. 14a.17a (linear)
ii.27 psalm 69 253
brb/krb, vv. 14b and 17b resp. (linear)

h.sdk, vv. 14b.17a! (linear) } symmetric
‘nny, vv. 14c.17a+18b! (linear)
roots yš‘/ns.l/pdh, vv. 14c, 15a+b and 19b resp.
prep. mn, vv. 15a+b+c.18a (linear)
’l prohibitive, vv. 15a+16a+b+c.18a
vv. 20–29 (II.2): suffix -k, vv. 20c.25a+b.28b (linear); see also suffix -k
in v. 27b
prep. l-, vv. 21–22.23a+b (2×; concatenation)
root ntn, vv. 22a.28a
yhy/thy, vv. 23a.26a+b
suffix -hm, vv. 23–24.25a+26b (concatenation)
prep. ‘l, vv. 25a.28a (linear); cf. also prep. l- in vv.
21b+c and 23 (4×)
root spr, vv. 27b.29a (linear)

vv. 2–13 (Canto I): ’lhym, vv. 2a+4b.6a
prep. mn, vv. 4–5.6b (concatenation)
vv. 14–29 (Canto II): prep. ‘l, vv. 16c.25a+28a

root .srr, vv. 18b.20c! (concatenation); see also
’yb in v. 19b
vv. 30–37 (Canto III): w- beginning of line, vv. 30a+32a.37a (inclusion)

‘ny/‘nw, vv. 30a and 33a resp. (linear)
root yš‘, vv. 30b.36a
’lhym, vv. 30b+31a.36a
’lhym in v. 33b
root hll, vv. 31a.35a!
šm (‘name’), vv. 31a.37b!; see also šm (‘there’)
in v. 36c, šmym in v. 35a and šm‘ in v. 34a
(alliter.)
suffix -hw, vv. 31b.35a!
yhwh, vv. 32a.34a (linear)
ky, vv. 34a.36a
suffix -w, vv. 34b.37a+b!
vv. 2–3.14–16.30–32: root yš‘, vv. 2a.14c.30b (first verseline); see also
yš‘ in v. 36a!, ns.l in v. 15 and pdh in v. 19b
’lhym, vv. 2a.14b.30b+31a; see also ’lhym in vv.
4b, 33b, 36a and note hwšy‘ny ’lhym ky/ky
’lhym ywšy‘ in vv. 2 and 36a resp. (inclusion;
symmetric)
root .tb‘, vv. 3a.15a! (first colon second line)
ms.wlh, vv. 3a.16b!
} chiasmus; see also mym
m‘mqy mym, vv. 3c.15c!
in v. 2b and 16a!
šblt, vv. 3d.16a!
} chiasmus (third line)
št.p + -ny, vv. 3d.16a!
w’ny, vv. 14a.30a! (anaphora)
vv. 2–5.14–19.30–37: root rbb, vv. 5a.14a+17b!

śn’y, vv. 5a.15b!
’yby, vv. 5b.19b! (second colon of the last line)
yhwh, vv. 14a+17a.32a+34a
‘nny/‘ny . . . ‘nwym, vv. 14c+17a and 30a+33a
resp. (alliter.)
root yt.b, vv. 17a.32a!
‘bd (‘servant’), vv. 18a.37a!
vv. 6–7.20–22: ’th yd‘t, vv. 6a.20a! (first colon of the first line)
mmk l’ nkh.dw/ngdk, vv. 6b and 20c resp. (second
colon of the first line)
root bwš, vv. 7a.20a!
root qwh, vv. 7a.21b! (second line)
root klm, vv. 7c+8b.20b!
vv. 6–13.20–29: prep. ‘l, vv. 8a+10b.25a+28a

root h.rp, vv. 8a+10b (2×)+11b.20a!
root hyh, vv. 9a+11b+12b.23a+26a+b!
l’h.y . . . lbny ’my/lšlwmym, vv. 9 and 23 resp.
root ntn, vv. 12a.22a+28a!
suffix -hm, vv. 12b and 23–26!
lmšl/wlšlwmym, vv. 12b and 23b resp. (alliter.)
root yšb, vv. 13a.26b
ii.27 psalm 69 255
šth + škr/šqh + h.ms., vv. 13b and 22b resp.
Symmetric features.
vv. 2–5.20–29: root bw’, vv. 2b+3c.28b!

w’yn, vv. 3b.21b!
m‘md/hm‘d, vv. 3b and 24b resp. (alliter.)
roots h.rr/h.rh, vv. 4a and 25b resp. (Girard)
‘ynym, vv. 4b.24a!
vv. 20–29.30–37: kl, vv. 20b.35b!

lb/lbb, vv. 21a.33b!
} chiasmus
root r’h, vv. 24a.33a!
’hl/škn, vv. 26b and 37b resp.
} chiasmus
root yšb, vv. 26b.36c
root k’b, vv. 27b.30a!
root h.yh, vv. 29a.33b!

prep. ’l (vv. 27.34), prep. b- (vv. 14 [2×].22.26.28.31 [2×]), suffix -y, yhwh
(v. 7), suffix -k (v. 30), prep. l- (vv. 4.6.9 [2×].14.32), prep. mn (v. 32),
suffix -ny (vv. 10.22.30), pnym (vv. 8.23)

’t (nota accusative; vv. 27*.34), suffix -m (vv. 23.26.35), npš (vv. 2.11.19),
r’š (‘head’)/r’š (‘poison’; vv. 5 and 22 resp.)

Psalm 69 has 14 strophes, 38 verselines and 83 cola.1 The caesura between
Canticle II.1 and II.2 divides the poem into two sections of 7 strophes
each. Vv. 18–19 form the central verselines (> 18+2+18 lines). V. 18b is
the pivotal colon (> 41+1+41 cola). The colon represents a key notion in
the psalm: ‘yes, I am in distress; answer me quickly!’ (ky .sr ly mhr ‘nny).
1
Fokkelman (MPHB III) also finds 83 cola; however, he takes v. 14 as two bicola (cf.
§ 27.1) and v. 15b–c as a single colon. His view on the colometry of v. 14 is also the
reason why he has 39 verselines. Fokkelman rightly points out (cf. e.g. BHS) that vv.
4–5 repesent only two verselines, a bicolon and a tricolon (MPHB III, pp. 130–31 n. 75).
Further, he distinguishes 16 strophes.
Structure of strophes and cantos in terms of words: 17+22|21+21+19||

32+25|24+12+22+14||18+16+24 = 39+61|57+72|58 = 100+129+58 (=
287 = 41×7 words in total). On word level, the three cola vv. 17b–18
constitute the centre of the psalm (> 137+13+137 words).2
The divine name, yhwh, occurs 5×: vv. 7, 14, 17, 32 and 34; the
designation ’lhym (‘God’) is found 9×: vv. 2, 4, 6, 7, 14, 30, 31, 33 and 36;
once we find ’dny (‘Lord’; v. 7b).

Köster (1837): 2–5.6–13.14–22.23–30.31–34 (4.8.9.8.4 verses; vv. 35–37
‘Zusatz’)
De Wette (1856): 2–7.8–13.14–22.23–29.30–37
Ewald (1866), pp. 292–98: 2–5.6–7|8–13.14–19.20–22|23–29.30–35.36–37
(4.2|6.6.3|7.6.2 verses)
Ley (1875), pp. 192–93: 2–7.8–14.15–22.23–30.31–37 (5 ‘Octasticha’)
Delitzsch (1894): 2–3.4–5.6–8.9–11.12–14|15–16.17–19.20–22|23–25.26–28.
29–31.32–34.35–37 (3.5.6.6.7|5.6.7|5×6 cola)
Zenner (1906), pp. 343–50: 2–5.14b–19|6–8.20–22|9–14a.23–29 (7.7|4.4|6.6
lines); 30–33.34–37
Duhm (1922): 2–3.4–5.6–7.8–10.11–13.14–15.16–17.18–20*.21–22.23–25.
27–29.30–32 (12×3 bicola); 33–34.35–36b.36c*–37 (3×2 bicola); cf.
Mowinckel (1957)
Gunkel (1926): 2–3.4.5.6–7.8–10.11–13|14.15–16.17–19||20–21a*.21b–22|
23–25.26–27.28–29||30–32.33–34.35–37
Calès (1936): 2–4.5–6.7–9.10–13|14–16.17–20.21–22.23–26.27–29|30–33.
34–37 (4×4|5×4|4.4 lines)
Herkenne (1936): 2–4.5–6.7–13.14–19.20–22.23–29.30–31 (32–37)
Böhl (1947): 2–3.4–5|6–7|8–10.11–13|14–15.16–18|19–21a.21b–23|24–26.
27–29|30–32.33–35.36–37
Podechard (1949): 2–6.7–13.14–19|20–22.23–29.30–37 (‘Les strophes . . . sont
inégales’)
Pannier/Renard (1950): 2–5.6–13.14–22.23–29.30–37; similarly NAB (1970);
cf. De Wette (1856)
Kissane (1953): 2–5.6–13.14–20.21–29.30–37 (8.9.8.9.8 lines)
BHS (1969): 2–5.6–13.14–19.20–29.30–34.35–37
Van der Ploeg (1971): 2–4.5.6–7.8–10.11–13.14–16|17–19.20–22.23–26.
27–29.30–32.33–34|35–37
2
For a profound numerical investigation on word level, see www.labuschagne.nl/
ps069.pdf (note Observations 2–4).
ii.27 psalm 69 257
Beaucamp (1976): 2+4+6.8–10.11–13|17–19.21b–22+27.30–32 (6.6.6|6.6.6

cola; ‘fusion de deux lamentations’)
Jacquet (1977): 2–3.4.5.6.7.8–10.11–13.14.15a+c+16+15b.17.20–21*.18–19|
22–24.25–27.28–30.31–33|34–35.36–37
Wahl (1977), pp. 291–303: 2–7.8–13.14–18.19–22.23–30.31–37
Aletti/Trublet (1983), p. 80: 2–5.6–13.14–19.20–29.30–37 (a.b.a’.b’.a’’)
Ravasi (1985): 2–5|6–13.14–19|20–21.22–29.30|31–34.35–37 (A.B.B’.A’)
Allen (1986): 2–5.6–14a|14b–19.20–30|31–34.35–37 (8.10|7.12|4.3 lines, note
p. 586; A.A’.B, note p. 595)
Tate (1990): 2–5.6–14a.14b–18.19–22.23–26.27–30.31–37; cf. Allen (1986)
Neveu (1993), pp. 48–54: 2–3.4.5.6.7.8–9.10–13|14.15–16.17–19.20–21a.
21b–22.23–26.27–29|30.31–32.33–34.35–37 (3.1.3.1.2.2.4|2.2.3.2.2.4.3|
1.2.2 lines and 7 cola)
Tillmann (1993), pp. 112–41: 2–5+14b–19+31–34 (‘Grundtext’); 6–14a and
20–30 (‘erste Erweiterung’); 35–37 (‘letzte Wachstumsstufe’)
Girard (1994): 2–5.6–13.14–19.20–22|23–29.30–37 (a.b.a’.b’|c.c’; vv. 2–13.
14–22.23–29.30–37 > A.B.A’.B’)
Auffret (1996): 2a.2b–3.4.5.6 (a.b.c.b’.a’)|7–10a.10b.11–13 (d.e.d’)||14a.
14b–16.17–19|20–22.23–26.27–30||31–34.35–37; cf. Allen (1986)
Seybold (1996): 2–5.6–13.14–19.20–30.31–37
[Hossfeld ]/Zenger (2000): 2–5.6–14a|14b–19.20–30|31–34.35–37 (a.b|a’.b’|
a’’.c); cf. Allen (1986)
Weber (2001): 2–4a.4b–5.6–9.10–14a|14b–18.19–22.23–26.27–30|31–34.
35–37 (4.4.2 strophes); cf. Tate (1990)
Fokkelman (2003), pp. 127–37: 2–3.4–5.6–7|8–10.11–13.14|15–16.17–19.
20–21|22–23.24–25.26–27.28–29|30–32.33–34.35–37 (3.2.3|3.3.2|2.3.2|
2.2.2.2|3.2.3 > 8.8.7.8.8 lines; 6.5.6|6.6.4|5.6.6|4.4.4.4|6.4.7 > 17.16.17.
16.17 cola; A.B.X.B’.A’)
Terrien (2003): 2–4.5|6–7.8–10|11–13.14|15–17.18–19|20–21.22–23|24–26.
27–29|30–34 35–37 (3.2|3.3|3.2|3.2|2.2|3.3|3.2 3 lines)
Groenewald (2003): 2–4.5|6–7.8–14a|14b–16.17–19|20–22.23–30|31–34.
35–37 (basic text: vv. 2–5.14–19.31; the rest is ‘Fortschreibung’)

27.7.1 Summary
Psalm 69 is a very suitable composition to study the rhetorical techniques
the Hebrew poets used to model their works of art. From the perspective
of the development of ideas, it is very plausible that the psalm divides into
three main parts, cantos, vv. 2–13, 14–29 and 30–37. In Canto I (vv. 2–13)
we find a description of all sorts of distresses, Canto II (vv. 14–29) consists

of a prayer for deliverance and the ruin of the enemies, while vv. 30–37
(Canto III) focusses on a promise of thanksgiving for salvation. In terms of
verselines, the psalm displays a stable structure: there is a balanced distri-
bution of verselines in Cantos I and II (14 and 16 lines respectively); Canto
III with its eight verselines has exactly half the length of the longest of the
preceding cantos.3 Both Cantos I and II divide into two sections, canticles:
vv. 2–5 and 6–13 (Canticle I.1 and I.2); vv. 14–19 and 20–29 (Canticle II.1
and II.2). The canticle division is based on a shifting of thought within the
cantos (§ 27.2). In Canticle I.1 (vv. 2–5) the description of distress remains
rather elusive, because the psalmist uses mythological images (‘water’) to
portray it. In Canticle I.2 (vv. 6–13) it becomes apparent that the sup-
plicant is reproached for serving God. In Canticle II.1 (vv. 14–19) we find
a general prayer for deliverance, while the prayer in the following canticle
(II.2, vv. 20–29) is explicitly about the ruin of the adversaries.
One of the most remarkable rhetorical features of our psalm is the pat-
terns of verbal repetition on the level of the poem as a whole, which clearly
support the macro divisions presented above.4 From this formal perspec-
tive, there is a surprising amount of linearly alternating correspondences be-
tween the successive cantos, coinciding and reinforcing the canticle division
of Cantos I and II. The following scheme mirrors the linear relationship be-
tween the main parts: vv. 2–5.6–13|14–19.20–29|30–37 > a.b|a’.b’|a’’; note
§ 27.4.4 (the linear framework)! The parallelism especially comes to light in
the opening strophes of the cantos (vv. 2–3, 14–16 and 30–32). Within this
pattern the concluding ‘half-long’ Canto III (vv. 30–37) is to be considered
the beginning of an ‘incomplete’ main part.
In its turn, this formal rhetorical structure of the psalm in its entirety
is reinforced by semantic aspects (cf. § 27.2). Canticles I.1, II.1 and Canto
III share the motif of deliverance. The units concerned each begin with
a prayer for salvation; note vv. 2a, 14–19 and 30; see also the root yš‘
(hiph‘il, ‘to save’) in § 27.4.4. This means that the description of distress,
which constitutes Canticle I.1, is deliberately introduced by a short prayer
for deliverance (v. 2a). The elaboration of this prayer is found in the
parallel Canticle II.1 (vv. 14–19). The concluding part (vv. 30–37) mainly
consists of a promise to give thanks. This promise is once again deliberately
introduced by a prayer for deliverance, v. 30. From a thematic point of view
and in terms of the change in the direction of address, this introductory
3
As a rule the Masoretic verse divisions can be taken as a reliable indication for
delineating the poetic verselines; only vv. 3 and 7 represent two bicola (cf. BHS and
Fokkelman). For the basic pattern 4.4.2 verselines, see Ch. IV, 2.4.3.
4
Note also Girard’s observation: ‘Les récurrences pleuvent’ (p. 239).
ii.27 psalm 69 259
prayer is not connected to vv. 31–32. It is precisely the linear pattern of

verbal repetitions on the level of the poem as a whole which confirms the
close relationship between the verselines; see further § 27.7.3 below.5
The linear parallelism between the cantos in terms of semantics is fur-
ther supported by a correspondence of motifs in Canticles I.2 and II.2. From
vv. 8–13 we learn that the faithfulness of the supplicant is the cause for the
humiliation by enemies, his distress. In Canticle II.2 we find the petition
for their ruin. The canticle has an introductory strophe (vv. 20–22) which
explicitly refers back to the description of distress in the parallel Canticle
I.2 (note vv. 8–13). Many exegetes had difficulties to explain vv. 20–22
in the thought development of Canticle II.2. They have often assumed a
major break after v. 22.6 However, the conspicuous linear correspondence
between Cantos I and II (note the parallelism between vv. 6–7 and 20–22;
see § 27.4.4 [the linear framework]) reveals that the description of distress
in vv. 20–22 is to be explained as a justification for, and an introduction
to, the curse of the enemies in vv. 23–29.7
To crown it all, the subdivision of Cantos I and II into two canticles
produces a beautiful linear pattern in terms of the number of verselines:
5.9|6.10 > a.b|a’.b’. The parallel canticles are successively lengthened by
one verseline: 5 lines (I.1) > 6 lines (II.1) and 9 lines (I.2) > 10 lines (II.2).8
Apart from a structure on the level of the cantos and the canticles,
Psalm 69 has a distinct framework in terms of strophes. The poem is mainly
composed of 3-line strophes.9 In Canticles I.1, II.2 and Canto III we find
some 2-line strophes; see vv. 4–5, 23–24, 28–29 and 33–34. The strophic
division is based on consistency of ideas (see § 27.2). In most cases, this
thematic aspect is strongly supported by transition markers, which abound
especially at the beginning of the strophes; see § 27.3.1.1. Finally, most
strophes display verbal repetitions and/or alliterations which form another
formal device uniting the verselines on this poetic level (§ 27.4.1). The
3-line strophes are often demarcated by the device for inclusion.
5
The description of the supplicant’s faithfulness (Canticle I.2) is introduced by a
prayer for the rescue of all God-fearing people (v. 7). Here we are dealing with a
generalizing device. In this case, the prayer encompasses two verselines and constitutes
a linear parallelism between the beginnings of Canticles I.1 and I.2.
6
See Köster, De Wette, Ley, Delitzsch, Pannier/Renard, Wahl and Girard in § 27.6.
7
For the coherence of Psalm 69 in terms of ideas, see also Christiane de Vos and G.
Kwakkel (2007); contra Tillmann (1993) and Groenewald (2003), among others.
8
For a contrasting phenomenon, see Job 38,39–39,30: 7.8|6.7|5 verselines; in this case,
the corresponding canticles are shortened by one verseline (note my RCPJ, p. 388). Cf.
also the remarkable structural scheme of Deuteronomy 32: 6|7.10|11.7|8.11|9 (vv. 1–4|
5–8.9–14|15–21.22–25|26–31.32–38|39–43).
9
In this respect, Psalm 69 differs significantly from the preceding Psalm 68 in which
2-line strophes dominate; see § 26 above.
27.7.2 Recent structural investigations

In broad outline, my rhetorical analysis of Psalm 69 is in accordance with
the results of recent structural investigations. Allen deserves the credit for
first having presented a rather thorough overview of the intriguing fabric
of verbal repetitions in relation to the poetic structure of this psalm. His
study, ‘The Value of Rhetorical Criticism in Psalm 69’ (1986), has certainly
influenced modern exegesis.10 However, the pattern of verbal recurrences
Allen presents in his diagram 1 (p. 579) is not complete. He does not
mention the repetition of the roots rbb (‘to be many’; vv. 5, 14 and 17) and
qwh (‘to hope’; vv. 7 and 21).11 Allen argues that the pattern of verbal
repetitions determines ‘the overall scheme’ of the psalm (vv. 2–14a, 14b–30
and 31–37); the recurrences indicate where the caesurae between the main
parts are to be found. On the basis of these recurrences, he assumes that
there is an obvious parallelism between vv. 2–14a and 14b–30.
Allen concludes that his approach refutes some traditional views. He
argues that w’ny (‘and I’) in vv. 14 and 30 is not a signal indicating the
beginning of a main section, but a ‘concluding marker’ (p. 582). In terms
of the direction of address, he notes that the psalmist in vv. 2–30 mainly
addresses God in the second person (vv. 4–5 is an exception), while from
v. 31 onwards he consistently speaks about God in the third person. From
this perspective, v. 30 obviously belongs to the preceding verselines (note
v. 30b; pp. 582 and 595).12 Subsequently, Allen points out (pp. 586–91) that
there is a major rhetorical break within his main parts: vv. 6 and 20 mark a
fresh beginning. In this respect, he speaks of a ‘widely recognized feature’.
As far as the caesurae discussed by Allen up till now are concerned, Tate,
[Hossfeld]/Zenger and Weber in their recent commentaries (1990, 2000 and
2001 respectively) follow Allen.13
Girard (1994), in his ‘analyses structurelles’, does not pay much atten-
tion to Allen’s inquiry, notwithstanding the fact that he also takes verbal
repetitions as his most important tool to distinguish the main units of a
psalm.14 Girard argues that our psalm consists of only two main parts,
10
Although he was aware of my dissertation, as appears (among other things) from
p. 582 n. 18, Allen does not mention that he joins my methodological approach presented
in STR (1980).
11
Auffret is positively aware of these recurrences (1996, p. 21); for Auffret, see below.
12
Labuschagne points out (among other things) that the words spoken about God in
vv. 31–37 have exactly 52 (= 2×26) words and 7 verselines, which is supposed to attest
to the compositional unity of the section (www.labuschagne.nl/ps069.pdf, Observ. 2).
13
Similarly Groenewald (2003). There is only a minor difference between Allen on
the one side and Tate/Weber on the other: in the second main part the latter scholars
divide after v. 18.
14
For the reference to Allen, see p. 249 n. 10. I wonder whether Girard fully understood
ii.27 psalm 69 261
vv. 2–22 and 23–37. From the description of the material content (‘l’ana-
lyse du sens’; pp. 243–44), it remains unclear in which respect these main
parts stand out. Vv. 2–22 is characterized as ‘stade initial d’un drame non
dénoué’ and vv. 23–37 are supposed to contain the denouement. The curs-
ing of the enemies in vv. 23–29, which precedes the ‘sprint final’ (v. 30),
is ‘une sorte d’avant-dernier sprint du mouvement de supplication’. Note
that, in the context of his bipartite division, Girard can also value the ver-
bal repetitions in vv. 2–5 and 14–19 as responsions. His first main part
is determined by a linearly alternating parallelism: vv. 2–5.6–13|14–19.
20–22 > a.b|a’.b’ (§ 27.6). In the context of the ‘structure d’ensemble’ (pp.
241–44) Girard assumes a correspondence between vv. 14–22 and 30–37.
He (rightly) observes a lack of coherence between vv. 14–19 and 20–22.
Allen’s investigation of Psalm 69 forms the starting point for the ‘étude
structurelle’ by Auffret (VT 46 [1996], pp. 1–29). Like Allen (and Girard),
Auffret is convinced that verbal repetitions constitute the basic clue for
unravelling the structure of a Hebrew poem, especially of a psalm. On the
basis of this approach, he discerns five sections, vv. 2–6, 7–13, 14–19, 20–30,
31–37 (I–V); see also § 27.6. In broad outline, these sections coincide with
the units which are also described by Allen. Further, like Allen, establishing
the ‘structure littéraire de l’ensemble’, Auffret in the first place points out
that there is a parallelism between vv. 2–13 and 14–30, his Sections I+II
and III+IV (p. 21).
Subsequently, Auffret has also investigated how the concluding Section
V is related to the preceding main parts (‘l’ensemble du poème’[!], p. 23).
Allen had maintained that the first two main parts share a ‘sequence of
vocabulary’ which is absent in vv. 31–37 (pp. 585 and 595).15 Auffret, to
the contrary, points out that there is a structural coherence between his
concluding Section V (vv. 31–37) and the beginning of the first main parts,
vv. 2–6 and vv. 14–19.16 This means that Auffret has observed the linear
parallelism between my concluding Canto III and the preceding main parts.
In this respect, Auffret’s analysis is not a mere variation of the inquiry by
Allen, but an improvement of it.
Auffret also argues that there is a formal connection between his Sec-
tions I and IV, vv. 2–6 and 20–30 respectively; for the relationship con-
cerned, cf. § 27.4.4 (symmetric features). Finally, he demonstrates that
there is a formal bond between his Section V (vv. 31–37) and the end of
the second main part. Here, we are dealing with a concatenation on the
Allen’s argument.
15
He does point to the root yšb (‘to dwell’) which is supposed to mark the end of the
three main parts of the psalm (vv. 13, 26, 36).
16
Auffret (1996), pp. 23–24; cf. § 27.4.4 (the linear framework).
macrostructural level.17
According to Auffret, Allen’s inquiry has contributed greatly to explain
the formal structure of Psalm 69. However, he also criticizes Allen’s ap-
proach. Allen has started his inquiry with the description of the parallelism
between the first two main parts of the psalm, vv. 2–14a and 14b–30. Auf-
fret emphasizes that he begins from the bottom up. He prefers to first
analyse the small poetic units. Subsequently, he studies the correspon-
dences between the sections composed of these small units.18
At the very outset of his inquiry of our psalm, Fokkelman (MPHB III,
2003, pp. 127–37) reproaches Auffret (and Allen, among others) for not res-
olutely distinguishing strophes and stanzas (p. 127). According to Fokkel-
man, the song displays a numerical perfection which consists of specific pat-
terns of words, cola and verses (cf. § 27.6). Like Auffret, he distinguishes
five main parts (called ‘stanzas’): vv. 2–7, 8–14, 15–21, 22–29 and 30–37
(Stanzas I–V). Particular conspicuous elements in terms of subject matter
form the main ground for this division. Note that the breaks between the
stanzas do not coincide with Auffret’s and Allen’s divisions.
Fokkelman concludes that Stanza III (vv. 15–21) makes the powerful
centre of the composition because it combines the themes from Stanzas I
and II (p. 129). In quantitative terms the central position of Stanza III is
supported by the correspondence of cola, words and syllables preceding and
following the stanza: 33 cola, 112 words and 276/289 syllables respectively
(p. 133); see also the pattern 8.8.7.8.8 verselines in § 27.6. To establish the
rhetorical position of v. 30 (the verse is ‘the kind of Janus face that resists
all attempts at classification’) Fokkelman appeals to the keyword yš‘ in
alternation with ‘God’ (’lhym), which combination turns up in remarkable
positions (vv. 2, 14, 30 and 36; p. 129).
Subsequently, Fokkelman discusses the strophic structure of the stanzas
of the psalm (pp. 130–35). Stanzas I–III and V are supposed to consist of
a combination of 2- and 3-line strophes, in Stanza IV he finds four 2-line
strophes. He also assumes that the strophes of Stanzas I and II display a
linear parallelism: vv. 2–3.4–5.6–7|8–10.11–13.14 > a.b.c|a’.b’.c’.
17
Auffret (1996), p. 25; cf. § 27.4.4 (symmetric features). For this device in psalms with
the basic structure 4.4.2, cf. e.g. Pss. 18,47–51 and 83,18–19. Auffret further supposes
a relationship between vv. 7–13 and 31–37; see the word pair bqš/drš (‘to seek’; vv. 7c
and 33b resp.) and the root yšb (‘to dwell’; vv. 13a and 36c). The same applies to vv.
14–19 (Section III) and vv. 20–30 (Section IV); see Auffret, p. 22. Only the root .srr (‘to
be in distress’) is a clear bridge uniting both sections (see § 27.4.3).
18
See Auffret (1996), p. 1; Auffret raises the same objection to Girard’s approach
(1996, p. 28; see also p. 29!).
ii.27 psalm 69 263
27.7.3 Critical remarks

Allen and Auffret draw very similar conclusions regarding the macrostruc-
ture of Psalm 69. Both scholars discern two long main parts, which are
concluded by a relatively short part. They also agree that the long parts
divide into two units. The five sections, which emerge in this way, in very
broad outline coincide with Fokkelman’s stanzas. Finally, Allen and Auffret
associate this framework with specific patterns of verbal repetition. What
is more, they—including Girard—share the fundamental conviction that
verbal repetitions form the basic clue for determining the rhetorical struc-
ture of a Hebrew poem. With regard to Psalm 69, these insights have not
been presented before extensively in their mutual relationship (cf. § 27.6).
And as far as these aspects are concerned, I am in heartfelt agreement with
Allen and Auffret.
However, the approaches by Allen and Auffret have some dubious as-
pects in common. Both scholars show a great fancy for interpreting verbal
recurrences and alliterations as inclusions. Allen is of the opinion that the
first main part of the psalm is enveloped by the prayers of vv. 2a and 14a.19
Further, the root yš‘ (vv. 14c and 30b) is supposed to mark the beginning
and the end of the second main part; the same applies to the title ’lhym
(‘God’; vv. 14b and 30b). The designation ’lhym is also supposed to in-
clude the third main part (vv. 31 and 36); similarly the noun šm (‘name’)
in vv. 31 and 37. The personal pronouns ’th (‘you’, v. 6) and w’ny (‘and I’,
v. 14a) are supposed to envelop the second unit of the first main part. The
boundaries of the psalm as a whole are likewise assumed to be determined
by inclusion; see hwšy‘ny ’lhym ky (‘deliver me, O God’) /ky ’lhym ywšy‘
(‘for God will deliver’), vv. 2 and 36 respectively.
In almost every instance, Auffret agrees with these structural interpre-
tations by Allen. But differing from Allen (Tate, [Hossfeld]/Zenger and
Weber), he considers v. 14a the beginning of the second main part. How-
ever, in his turn, Auffret takes v. 6 as the final line of the first section of
the first main part and then assumes that this first section has a concentric
structure; cf. ’lhym (‘God’) in vv. 2, 4 and 6 (see § 27.6). Furthermore,
Auffret attempts to show that his second section of the first main part (vv.
7–13) is also concentrically framed (see § 27.6). Finally, by connecting v. 6
with vv. 2–5 and v. 30 with vv. 20–29 he can state now that ‘IV commence
comme finit I et finit comme commence I’ (p. 22).
Contrary to a dominant trend in (recent) structural inquiries to explain
verbal repetitions and alliterations as inclusions, I may point out that the
19
According to Van der Ploeg, the strophes vv. 2–4 and 14–16 form an inclusion which
marks the boundaries of the first main part (cf. § 27.6).
linearly parallel relationships in the rhetorical framework of Hebrew poetry

are highly underestimated. Including and concentric devices are less domi-
nant than is often supposed. This is clearly demonstrated by the framework
of Psalm 69. The device for inclusion on the macrostructural level is far
less prominent in this poem than Allen and Auffret maintain. Its total
structure is determined by a linearly alternating parallelism; see § 27.7.1.
On the basis of this pattern, we must conclude that v. 30 does not belong
to Canto II, but is to be considered the opening verseline of the concluding
main part (Canto III).20 This conclusion has repercussions for the position-
ing of v. 14a; note w’ny (‘and I’) in vv. 14a and 30a! Allen himself refers
to an observation by Seybold that the pronouns in vv. 6, 14, 20, 30 mark
caesurae (p. 586 n. 46). And because ’th (‘you’) in vv. 6 and 20 marks the
beginning of a new section (similarly Allen) it is only reasonable to expect
that the same applies to the pronouns opening vv. 14 and 30; see also w’ny
in § 27.3.1.1 and below about the strophic structure of vv. 14–19.
Another point of my criticism concerns the application of ‘word-pairs’
to determine formal relationships between poetic units. Especially Auffret
rashly makes use of this presumed device. In the case of Psalm 69, Allen
and Auffret base their claims on, e.g., the word-pairs npš (‘soul’)/lb (‘hart’)
and šm‘ (‘to hear’)/yd‘ (‘to know’).21 However, the rhetorical premisses
in question generally cause confusion instead of enlightenment and, as a
rule, result in the assumption of very complicated relationships between
successive and distant poetic units. In my opinion, an excessive appeal
to word-pairs needlessly obscures the perception of the regular framework
of a psalm. Generally, it prevents the exegete from getting a clear-cut
impression of the total structure of a Hebrew poem.
A final point of criticism regards the passing over the strophic structure
of Hebrew poetry by most ‘structuralists’. On this level of rhetorical anal-
ysis their investigations clearly fail. In this respect, the investigations by
Fokkelman are an exception (see below).
According to Allen, his structural inquiry demonstrates that v. 14a is
the conclusion of the first main part of our psalm. However, he (also) fails
to note that the strophes vv. 14–16 and 17–19 constitute a conspicuous
parallelismus stropharum; note § 27.4.2.22 The linear parallelism between
20
So rightly De Wette, Calès, Podechard, Pannier/Renard, Kissane, BHS,
Aletti/Trublet, Neveu and Fokkelman; contra Wahl, Ravasi, Allen, Tate, Auffret, [Hoss-
feld]/Zenger, Weber and Groenewald, among others (see § 27.6).
21
In most cases, they can appeal to Y. Avishur, Stylistic Studies of Word-Pairs in
Biblical and Ancient Semitic Literatures, Neukirchen-Kevelaer, 1984.
22
This relationship is positively recognized by Girard (p. 246). And Allen himself
admits that v. 14a ‘looks forward and introduces the prayers’ of vv. 14b–19 (p. 588).
ii.27 psalm 69 265
vv. 14 and 17 demonstrates that v. 14 is a single verseline; cf. § 27.1. The

root yš‘ in v. 14c further indicates that the colon in question is to be taken
as a part of the first verseline of the strophe (v. 14): it also occurs in the
first verseline of Cantos I and III.23 This is another reason why v. 14 as a
whole opens the second main part of Psalm 69.
Because Girard is not aware of the strophic structure of Hebrew po-
etry, he wrongly states that vv. 6–13 does not display a formal framework
(p. 245). In fact, the section is composed of three regular strophes of three
verselines each; see §§ 27.2, 27.3.1.1, 27.4.1 and by in § 27.4.2.
As far as the question of strophic structure is concerned, the investiga-
tions by Fokkelman (MPHB I–IV) are superior to most recent inquiries in
Hebrew poetry. Fokkelman rightly observes that the poems in the Hebrew
Bible are generally composed of 2- and/or 3-line strophes. This is also
the case in Psalm 69.24 However, because Fokkelman wrongly takes v. 14
as two bicola (see above) he divides vv. 14–16 into two 2-line strophes.
From v. 22 onwards he also assumes a sequence of 2-line strophes. These
strophes are supposed to display an alternating parallelism: vv. 22–23.
24–25|26–27.28–29 > a.b|a’.b’. However, it is generally agreed that from a
thematic point of view v. 22 belongs to the preceding verselines, vv. 20–21,
dealing with the distress of the supplicant (cf. § 27.6; Jacquet and Ravasi
are on Fokkelman’s side). Vv. 23–24 focus on the punishment of the ene-
mies, which consists of a reversal of all good things they have (‘table’, ‘good
friends’, ‘eyes’ and ‘lions’). The ‘table’ of v. 23a constitutes a smooth tran-
sition form the ‘food’ and ‘drink’ spoken about in v. 22 to the first verseline
of the new strophe vv. 23–24. The transition marker tmyd (‘continually’,
v. 24b) indicates the end of this strophe (§ 27.3.2.1) and the imperative špk
(‘pour out’, v. 25a) the beginning of a new one (§ 27.3.1.1).
Because Fokkelman has not systematically investigated the patterns of
verbal repetition in the Hebrew poems, he sometimes has a poor under-
standing of the total structure of these compositions. The same holds true
for his understanding of the macrostructure of Psalm 69. From Auffret
he could have learned that the symmetric interpretation of his five stanzas
(A.B.X.B’.A’) does not do justice to the complicated mutual relationships
between the main parts of the song.
23
Contra Allen (p. 581), Fokkelman (MPHB III, p. 132 n. 78) and many others who
take v. 14 as two bicola, v. 14a and v. 14b–c. The example shows that, in some cases,
the macrostructure of a composition can provide a solution to colometric problems.
24
Cf. also Delitzsch, Duhm, Gunkel, Calès, Böhl, Van der Ploeg, Jacquet and Terrien
in § 27.6. According to Groenewald (2003), Psalm 69 is composed of five stanzas, ‘with
each respective stanza containing two strophes’ (p. 39); cf. § 27.6. In most cases, however,
Groenewald’s ‘strophes’ are mere verse paragraphs lacking any formal device, such as,
e.g., some numerical balance.
Calès (1936) was the first scholar, as far as I can see, who has exactly
detected the caesurae between the three main parts of Psalm 69. Although
he does not buttress his threepartite division by rhetorical arguments, he
nevertheless provides us with an accurate description of the material con-
tent of the main parts: ‘Cri de détresse du suppliant, persécuté pour sa
piété’ (vv. 2–13), ‘Prière pour être délivré des ennemis, et imprécations
contre ceux-ci, cruels au-delà de toute mesure’ (vv. 14–29) and ‘Promesse
de chants de louange et d’action de grâces pour le salut escompté, person-
nel et national’ (vv. 30–37).25 In my opinion, the rhetorical relationships
on the level of the canticles are presented in a surprisingly correct way by
Aletti/Trublet in 1983: a.b.a’.b’.a’’; see § 27.6 and, for this level, cf. also
BHS.
the following verbal repetitions: ms.wlh (vv. 3.16) > 68,23; ś‘rwt r’šy (v. 5)
> 68,22; ’šyb (v. 5) > 68,23 (2×); ’šmwty (v. 6) > 68,22; .sb’wt (v. 7) >
68,12–13; ’lhy yśr’l (v. 7) > 68,9; root ntn (vv. 12.22.28) > 68,12.19.34.35.36;
root yšb (vv. 13.26.36) > 68,7.11.17; ngynwt (v. 13) > 68,26; šm (‘name’,
vv. 31.37) > 68,5 (2×); root śmh. (v. 33) > 68,4; root h.yh (v. 33) > 68,11.31;
’syryw (v. 34) > 68,7; šmym w’rs. (v. 35) > 68,9.33–34; ynh.lwh (v. 37) >
68,10; root škn (v. 37) > 68,7.17.19.
27.8 Bibliography
L.C. Allen, ‘The Value of Rhetorical Criticism in Psalm 69’, JBL 105 (1986), pp.
577–98;
N. Tillmann, “Das Wasser bis zum Hals!” Gestalt, Geschichte und Theolo-
gie des 69. Psalms (Münsteraner Theologische Abhandlungen 20), Altenberge:
Oros Verlag, 1993;
P. Auffret, ‘“Dieu sauvera Sion”: étude structurelle du Psaume lxix’, VT 46
(1996), pp. 1–29;
A. Groenewald, Psalm 69: Its Structure, Redaction and Composition (Altes Tes-
tament und Moderne 18), Münster: LIT Verlag, 2003;
—, ‘Psalm 69: a composition-critical contribution’, in P.C. Counet and U. Berges
(eds.), One Text, A Thousand Methods: Studies in Memory of Sjef van Tilborg
(Biblical Interpretation Series 71), Boston/Leiden: Brill, 2005, pp. 77–96;
Christiane de Vos and G. Kwakkel, ‘ Psalm 69: the petitioner’s understanding
of himself, his God, and his enemies’, in B. Becking and E. Peels (eds.), Psalms
and Prayers, (OTS 55), Leiden/Boston, 2007, pp. 159–79.
25
J. Calès, Le livre des Psaumes I, 1936, p. 664; cf. § 27.2.
ii.28 psalm 70 267
28 Psalm 70 (cf. Psalm 40,14–18)

I 2 ’lhym lhs.ylny YHWH l‘ZRTY H

. WŠH
3 ybšw wyh.prw MBQŠY npšy
ysgw ’h.wr wyklmw h.ps.y r‘ty
4 yšwbw ‘l ‘qb bštm h’MRYM h’h. h’h.
II 5 yśyśw wyśmh.w bk kl MBQŠYk

wY’MRW tmyd ygdl ’lhym ’hby yšw‘tk
6 w’ny ‘ny w’bywn ’lhym H

. WŠH ly
‘ZRY wmplt.y ’th YHWH ’l t’h.r
28.1 Text
No remarks.
28.2 Content
Prayer of an individual for deliverance from his enemies.
I The downfall of the enemies.
O God, make haste to help me (v. 2).
Let my enemies perish (vv. 3–4).
II The deliverance of the faithful.
Let all who love you rejoice (v. 5; cf. vv. 3–4).
O God, make haste to help me (v. 6; cf. v. 2).

28.3.1.1 vocative: ’lhym, v. 2a 28.3.1.2 none
vocative: yhwh, v. 2b
imperative: h.wšh, v. 2b
’ny, v. 6a
vocative: ’lhym, v. 6b; ext.
// yhwh in v. 6d

28.3.2.1 ‘l ‘qb, v. 4a 28.3.2.2 ’th, v. 6c
tmyd, v. 5c ’l prohibitive, v. 6d

w- beginning of the line, v. 5c

vv. 3–4: root bwš, vv. 3a.4a! (inclusion)
ybšw/yšwbw, vv. 3a and 4a resp. (alliter.; inclusion, beginning
of the lines)
mbqšy/‘qb bštm, vv. 3b and 4a resp. (alliter.; inclusion)
suffix -y, v. 3b.3d (epiphora)
v. 5: suffix -k, v. 5b.5d (epiphora); see also -k in v. 5a!
v. 6: ’ny/’th, v. 6a and 6c resp.
’lhym/yhwh, v. 6b and 6d resp. (exactly linear)

vv. 5–6 (Canto II): w- beginning of the line, vv. 5c.6a (concatenation;
anaphora)
’lhym, vv. 5c and 6b resp. (concatenation)

vv. 3–4.6: root ’h.r, vv. 3c.6d!
vv. 2.6: yhwh, vv. 2b.6d!

root ‘zr + suffix -y, vv. 2b.6c! } note the symmetry
h.wšh, vv. 2b.6b!
vv. 3–4.5: mbqšym, vv. 3b.5b!

h.ps.y r‘ty/’hby tšw‘tk, vv. 3d and 5d resp.
root ’mr, vv. 4b.5c!
ii.28 psalm 70 269

’lhym (v. 2), suffix -y

none

Psalm 70 has eight verselines and 16 cola.1 In vv. 4–5b we find the central
verselines and the central cola (> 6+4+6 cola). These lines contain the
terse wording of the core idea of the poem; see the quintessential thought
in § 28.7.
21+23 (= 44 = 4×11 words in total); for the multiple of 11 words, cf.
Psalm 63 (§ 21.5 above). It is likely that the numbers four and eleven have
a structuring function.
The divine name, yhwh, occurs twice: vv. 2 and 6. The strophes
containing this name have 5+12 = 17 words in total.2 God is 3× designated
’lhym: vv. 2, 5 and 6.

See CAS I, Ch. III, 41.6 (pp. 409–10; Psalm 40,14–18).
Delitzsch (1894): 2–4.5–6; similarly Böhl (1947), Van der Ploeg (1971)
Zenner (1906), pp. 305–07: . . . |2–4.5–6 (. . . |4.4 lines)
Friedrich Delitzsch (1921), p. 109: 2–3b.3c–4.5.6
Calès (1936), p. 426: 2.3–4|5–6 (1.3|4 lines)
Alden (1976), p. 196: 2.3–4|5.6 (a.b|b’.a’); similarly Aletti/Trublet (1983),
pp. 80–83, Ravasi (1985), [Hossfeld]/Zenger (2000), Weber (2001)
Jacquet (1977): 2–3b.3c–4.5.6 (4×2 lines)
Wahl (1977), pp. 304–08: 2|3–4.5|6 (1|3.2|2 lines, or 2|6.5|4 cola; v. 2 is an
introduction)
De Moor (1978), example no. 64: 2.3–4|5.6 (2.2 strophes)
Girard (1994): 2|3a–b.3c–4|5a–b.5c–d|6 (a|b.c|b’.c’|a’)
Fokkelman (2000), pp. 186–87: 2.3–4|5.6 (1.3|2.2 lines; a.b|b’.a’)
1
Fokkelman (MPHB II, p. 187 n. 24) finds 17 cola, reading v. 5c–d as a tricolon.
Further, Fokkelman points out that these 17 cola have an exact average of seven syllables.
However, it is to be noted that he takes the second verseline of Ps. 40,17 as a bicolon;
cf. also his The Psalms in Form, 2002, pp. 52 and 78.
2
Similarly www.labuschagne.nl/ps070.pdf, Observation 4.
Terrien (2003): 2–3.4.5–6 (3.1.3 lines; v. 4 is the ‘core verse’)

Recent investigations generally reveal that Psalm 70 is a clear example of
a composition displaying a symmetric structure: vv. 2.3–4|5.6 > a.b|b’.a’;
see Alden and Fokkelman in § 28.6. In this respect, formal and semantic
phenomena often coincide and support each other; see §§ 28.2 (content)
and 28.4.3 (verbal repetitions; the symmetric framework). The symmetry
is reinforced by the embedded speeches we find in the centre of the compo-
sition, vv. 4b and 5c. In terms of subject matter, the prayers of vv. 2 and
6 surround the antithetic parallel strophes vv. 3–4 and 5, contrasting the
fate of the supplicant’s adversaries with the hope for the faithful.
Alongside the symmetric pattern of verbal recurrences, there is a linear
aspect; see the root ’h.r (pi‘el, ‘to delay’) in § 28.4.3. Taking into account
this crossed symmetry (‘symétrie croisée’), we must assume that our small
poem is composed of two equal cantos of four verselines, vv. 2–4 and 5–6.
Canto II obviously divides into two 2-line strophes, vv. 5 and 6; see
§§ 28.2 (content), 28.3.1.1–2 (transition markers) and 28.4.1 (verbal rep-
etitions). Canto I contains a one-line strophe (v. 2) and a 3-line strophe
(vv. 3–4); see § 28.2 (content). Note that the symmetric structure of the
psalm as a whole is not buttressed by the strophic framework in terms of
the number of verselines. The number of verselines of the corresponding
strophes is in the proportion of 1:2 (vv. 2 and 6) and 3:2 (vv. 3–4 and 5).
The quintessential thought of the poem is to be found in the central
verselines, at the interface of Canto I and II, vv. 4–5b (cf. § 28.5): let my
enemies perish and the faithful rejoice.
the following verbal repetitions: v. 2a > 69,2a!; lhs.ylny (v. 2a) > 69,15;
root bwš (vv. 3.4) > 69,7.20; mbqšy (vv. 3.5) > 69,7; wyklmw (v. 3) >
69,7.8.20; wyśmh.w (v. 5) > 69,33; tmyd (v. 5) > 69,24; ’hby (v. 5) > 69,37;
yšw‘tk (v. 5) > 69,2.14.30.36; v. 6a > 69,30a; ’bywn (v. 6) > 69,34.
28.8 Bibliography
J.C. de Moor, ‘The Art of Versification in Ugarit and Israel. II: The Formal
Structure’, UF 10 (1978), pp. 187–217;
P. Auffret, ‘“Les oreilles, tu me les as ouvertes”. Etude structurelle du Psaume
40 (et du Ps. 70)’, NRTh 109 (1987), pp. 220–45.
ii.29 psalm 71 271
29 Psalm 71
Structure: 8.8.9 > 3.3.2|3.2.3|3.3.3 lines (Type IB)
I 1 bk yhwh h.syty ’L ’BWŠH l‘wlm

2 bs.dqtk TS.YLny wtplt.ny ht.h ’ly ’znk whwšy‘ny
3 hyh ly ls.wr m‘wn lbw’ tmyd .swyt lhwšy‘ny ky sl‘y wms.wdty
[’th
4 ’lhy plt.ny myd rš‘ mkp m‘wl wh.wms.
5 ky ’th tqwty ’dny yhwh mbt.h.y mn‘wry
6 ‘lyk nsmkty mbt.n mm‘y ’my ’th gwzy bk thlty tmyd
7 kmwpt hyyty lrbym w’th mh.sy ‘z

8 yml’ PY THLTK KL HYWM tp’rtk
II 9 ’L tšlykny l‘t ZQNH kklwt kh.y ’L T‘ZBNY

10 ky ’mrw ’wyby ly wšmry npšy nw‘s.w yh.dw
11 l’mr ’lhym ‘ZBw rdpw wtpśwhw ky ’yn MS.YL
12 ’lhym ’l trh.q mmny ’lhy l‘zrty h.wšh

13 YBŠW yklw śt.ny npšy y‘t.w h.rph wklmh MBQŠY R‘TY
14 w’NY tmyd ’yh.l whwspty ‘l kl THLTK

15 PY yspr .sdqtk KL HYWM tšw‘tk ky l’ yd‘ty sprwt
16 ’bw’ bgbrwt ’dny yhwh ’zkyr .sdqtk lbdk
III 17 ’lhym lmdtny mn‘wry w‘d hnh ’gyd npl’wtyk

18 wgm ‘d ZQNH wšybh ’lhym ’L T‘ZBNY
‘d ’gyd zrw‘k ldwr lkl ybw’ gbwrtk
19 ws.dqtk ’lhym ‘d mrwm ’šr ‘śyt gdlwt ’lhym my kmwk

20 ’šr hr’ytnw .srwt rbwt wr‘wt tšwb th.yynw
wmthmwt h’rs. tšwb t‘lny 21 trb gdlty wtsb tnh.mny
22 gm ’NY ’wdk bkly nbl ’mtk ’lhy ’zmrh lk bknwr qdwš yśr’l
23 trnnh śpty ky ’zmrh lk wnpšy ’šr pdyt
24 gm lšwny KL HYWM thgh .sdqtk ky BŠW ky h.prw MBQŠY R‘TY
29.1 Text
Vv. 1–3: cf. Ps. 31,2–4a.
V. 12b—h.wšh: so Q; K h.yšh.
V. 20a–b—hr‘ytnw . . . th.yynw : so K (cf. § 29.7); Q hr‘ytny . . . th.yyny.
29.2 Content
The prayer of an individual for deliverance from enemies.
I The prayer, description of trust and song of praise.
With you, O God, I take refuge (inclusion); rescue me (vv. 1–3).
O God, from my youth I have trusted in you (vv. 4–6; introduced
by a prayer for deliverance).
I praise you all day long, because you are my strength (vv. 7–8).
II Description of distress, the prayer and song of praise.
Do not forsake me, when old age comes (v. 9), for there are many
enemies (vv. 10–11).
O God, save me and let my accusers perish in shame (vv. 12–13).
Then, I will praise you all day long (vv. 14–16; cf. vv. 7–8).
III The prayer, hymnic description of trust and song of praise.
O God of my youth, do not forsake me, when I am old and grey
(vv. 17–18b; cf. v. 9), so that I can tell the coming generation of
your power (v. 18c–d).
O God, your justice is unequalled (v. 19); you will restore us to
life again and so you will restore me (vv. 20–21).
I will sing to you all day long (vv. 22–24; cf. vv. 14–16).

29.3.1.1 vocative: yhwh, v. 1a // ’lhym in v. 18b
’l prohibitive, v. 1b w- beginning of line, v. 19a
vocative: ’lhy, v. 4a; ext. // vocative: ’lhym, v. 19a+c
’dny yhwh in v. 5b my, v. 19c
imperative: plt., v. 4a ’ny, v. 22a
’th, v. 7b vocative: ’lhy, v. 22a
’l prohibitive, v. 9a and b cohortative: ’zmrh, v. 22b;
vocative: ’lhym, v. 12a ext. // ’zmrh in v. 23a
’l prohibitive, v. 12a vocative: qdwš yśr’l, v. 22b
vocative: ’lhy, v. 12b
imperative: h.wšh, v. 12b 29.3.1.2 ‘wlm, v. 1b
w- beginning of line, v. 14a tmyd, v. 14a
’ny, v. 14a gm, v. 22a
vocative: ’lhym, v. 17a; ext.
ii.29 psalm 71 273

29.3.2.1 tmyd, v. 3a 29.3.2.2 imperat.: hyh, v. 3a; ext. //
tmyd, v. 6c ht.h and hwšy‘ in v. 2b
kl hywm, v. 8b ’th, v. 3c
gm, v. 24a ’th, v. 6b; ext. // ’th in
kl hywm, v. 24a v. 5a

kl hywm, v. 15b gm, v. 18a
yd‘ty, v. 15c ’l prohibitive, v. 18b

vv. 1–3: prep. b- + suffix -k, vv. 1a.2a (anaphora)
whwšy‘ny/lhwšy‘ny, vv. 2b.3b (exactly linear)
vv. 4–6: prep. mn, vv. 4a+b.5b.6a+b
’th, vv. 5a.6b
mbt.h.y/mbt.n, vv. 5b and 6a resp. (alliter.)
vv. 9–11: root ‘zb, vv. 9b.11a (inclusion)
ky, vv. 10a.11b
root ’mr, vv. 10a.11a!
vv. 14–16: kl, vv. 14b.15b
.sdqtk, vv. 15a.16b
vv. 17–18: ’lhym, vv. 17a.18b
‘d, vv. 17b.18a.18c (temporal!)
’gyd, vv. 17b.18c! (inclusion)
vv. 19–21: w-, vv. 19a.20c (inclusion; exactly linear)
’šr, vv. 19b.20a
root gdl, vv. 19b.21! (inclusion)
root rbh, vv. 20a.21
tšwb, v. 20b.20c!
th.yynw/tnh.mny, vv. 20b and 21 resp. (alliter.; epiphora)
vv. 22–24: gm, vv. 22a.24a (inclusion; exactly linear)
’zmrh lk, vv. 22b.23a!
śph/lšwn, vv. 23a and 24a resp.
ky, vv. 23a.24b (2×)

vv. 1–8 (Canto I): bk, vv. 1a.6c!
yhwh/’lhy in the vocative, vv. 1a and 4a resp.
(linear); see also’dny yhwh (vocative) in v. 5b
root h.sh, vv. 1a.7b! (linear)
root plt., vv. 2a.4a!
root hyh, vv. 3a.7a!
tmyd, vv. 3a.6c (linear); see also kl hywm in
v. 8b (linear!)
’th, vv. 3c.5a+6b.7b! (concatenation)
mkp/kmwpt, vv. 4b and 7a resp. (alliter.; linear)
thlt, vv. 6c.8a (linear)
vv. 9–16 (Canto II): ’l prohibitive, vv. 9a+b.12a (linear)

root klh, vv. 9b.13a!
npšy, vv. 10b.13a
’lhym, vv. 11a.12a+b (concatenation)
vv. 17–24 (Canto III): ’lhym in the vocative, vv. 17a+18b.19a+c.22a

(linear)
‘d, vv. 17b+18a+c.19a! (concatenation)
gm, vv. 18a.22a+24a!
.sdqtk, vv. 19a.24a
’šr, vv. 19b+20a.23b!

vv. 1–3.9–11.17–18: root ns.l (hiph‘il), vv. 2a.11b!

ly, vv. 3a.10a!
root bw’, vv. 3a.18d
zqnh, vv. 9a.18a!
’l t‘zbny, vv. 9b.18b!; see also ’l prohibitive in vv.
1b.9a.9b and ‘zb in v. 11a!
vv. 4–6.12–13.19–21: ’lhym in the vocative, vv. 4a.12a.19a

prep. mn, vv. 4–6.12a.20c; note mbt.n/mthmwt h’rs.
in vv. 6a and 20c resp.
vv. 7–8.14–16.22–24: py, vv. 8a.15a!; see also śpty in v. 23a

ii.29 psalm 71 275
thltk, vv. 8a.14b!

kl hywm, vv. 8b.15b.24a!; see also kl in v. 14b
’ny, vv. 14a.22a! (exactly linear)
.sdqtk, vv. 15a+16b.24a
roots yš‘/pdh, vv. 15b and 23b resp. (exactly linear)
prep. b-, vv. 16a.22a+b
vv. 1–3.12–13.22–24: root bwš, vv. 1b.13a.24b!

s.dqtk, vv. 2a.24a
h.rph/h.prw, vv. 13b and 24b resp. (alliter.)
mbqšy r‘ty, vv. 13b.24b!
vv. 14–16.17–18, concat.: kl, vv. 14b+15b.18d

root bw’, vv. 16a.18d
gbwrh, vv. 16a.18d!

suffix -k, ky (vv. 3.5.15), prep. l-, prep. mn (v. 17), suffix -ny, npšy (v. 23),
root rbb (v. 7), r‘h (v. 20), tmyd (v. 14)

’dny yhwh (vv. 5.16), suffix -y, prep. k- (vv. 7.9.19), mn‘wry (vv. 5.17), root
spr (v. 15 [2×]), prep. ‘l (vv. 6.14)

Psalm 71 has nine strophes, 25 verselines and 54 cola.1 Vv. 12–13 represents
the pivotal strophe. V. 13 is the pivotal verseline (> 12+1+12 lines);
simultaneously, this line contains the central cola (> 26+2+26 cola).
24|21+25+32 = 61+64+78 (= 203 = 29×7 words in total). The 78 words
1
Fokkelman rightly notes that there is much confusion about the colometric division
of the psalm (MPHB II, p. 191 n. 37). Fokkelman himself has 30 verselines and 66
cola, reading (among other things) vv. 19–21 as four verselines consisting of nine cola
and vv. 2, 3, 22 and 24 as two bicola. In my opinion, the Masoretic verse divisions can
generally be taken as a reliable indication for delineating the poetic verselines; only v. 18
contains two bicola. Furthermore, I take vv. 20c and 21 as a coherent verseline; for the
consistency of v. 20a–b as an individual verseline, see § 29.7.
of Canto III symbolically represent the divine name (yhwh), because 78 is

a multiple of 26. We are probably dealing with a device, strengthening the
proclamation about God’s incomparability; see ’lhym my kmwk (‘O God,
who is like you’) in v. 19c.2
The pivotal strophe of the psalm, vv. 12–13, is flanked by a multiple
of 17 words on both sides: vv. 1–11.12–13.14–24 > 85+16+102 words
(85 = 5×17 and 102 = 6×17). The central positioning of this strophe is
reinforced by its pivotal place within the middle canto: vv. 9–11.12–13.
14–16 > 1+1+1 strophes, 3+2+3 verselines and 24+16+24 words!3
The designation ’lhym (‘God’) occurs 9×: vv. 4, 11, 12 (2×), 17, 18, 19
(2×) and 22. The divine name, yhwh, occurs thrice: vv. 1, 5 and 16; in
vv. 5 and 16 the Name is preceded by ’dny (‘Lord’).

Köster (1837): 1–3.4–8.9–13.14–18.19–21.22–24 (the strophes ‘sondern sich
. . . nicht scharf ab’)
De Wette (1856): 1–4.5–8.9–12|13–16.17–20.21–24 (6×4 verses; ‘befriedigt
nicht ganz’)
Ewald (1866), pp. 308–13: 1–3.4–6.7–9|10–18|19–24 (3×3|9|6 verses)
Delitzsch (1894): 1–3.4–6|7–9.10–12|13–15.16–18|19–21.22–24
Zenner (1906), pp. 173–75: 1–3.4–6|7–9.10–12||13–18b||18c–21.22–24 (3.3|3.
3||6||4.4 lines)
Duhm (1922): 4–6b.6c–8.9–11.14–16aA.16aB–18b.18c–19.20–21.22–23aA*.
23aB–24 (9×3 bicola)
Gunkel (1926): 1–2.3.4–6.7–8|9–11.12–13.14–16|17–19.20–21.22.23–24
(‘keine Strophen’)
Kittel (1929): 1–6.7–11.12–15.16–18.19–21.22–24
Calès (1936): 1–2.3.4–6|7–9.10–11.12–13||14–16.17–18b.18c–19|20–21.22.
23–24 (3.2.3|3.2.3||3.2.3|3.2.3 lines)
Montgomery (1945), p. 383: 1–3.4–6.7–9.10–13.14–16.17–18.19–22.23–24
(3.3.3.4.3.3.5.2)
Böhl (1947): 1–3.4–6|7–8.9–11.12–13|14–16.17–19a.19b–21|22.23–24
Pannier/Renard (1950): 1–3.4–8.9–11.12–13|14–16.17–18.19–21.22–24
Kissane (1953): 1–3.4–9.10–15.16–20.21–24 (3.6.6.6.6 lines)
NAB (1970): 1–8.9–16.17–24
Van der Ploeg (1971): 1–3.4–6.7–8.9–11.12–13.14–19.20–21.22–24
2
Cf. the 26 words of the strophe Ex. 15,11–13; the first verseline of this strophe also
deals with God’s incomparability (my kmkh b’lym yhwh . . . ).
3
For more numerical peculiarities on word level, see www.labuschagne.nl/ps071.pdf,
Observations 2–3.
ii.29 psalm 71 277
Alden (1976): 1–4.5–7.8.9–11.12a|12b.13–14.15–16.17–18.19–24 (a.b.c.d.e|

e’.d’.c’.b’.a’)
Beaucamp (1976): 1–3|4|5–6b.7–8|9|10–11.12–13*|14–16|17–18|19*–20|22.
23*–24a.24b (‘La structure strophique est incertaine’)
Jacquet (1977): 1–2.3a–b+4.5–6b.7–8.3c+6c+9.10–11.12–13.14–16.17–19a.
19b–21.22–24 (7×2.4×3)
Wahl (1977), pp. 309–20: 1–2.3–4.5–6b.6c–8.9–11.12–13|14–15.16–18b.
18c–19b.19c–21.22.23–24
Kraus (1978): 1–8.9–16.17–24 (v. 8 ‘Jubellied’; vv. 14–16 ‘Lobgesang’ !)
Aletti/Trublet (1983), p. 35: 1–4 5–8.9–12.13 |14–17.18–21.22–24 (vv. 1–4
a.b.c|a.b.c’)
Ravasi (1985): 1 |2–4.5–8.9–11.12|13 |14–24a|24b
Tate (1990): 1–4.5–12.13–18.19–20.21–24
Neveu (1991): 4–5.6–8.9–11.12–13.14–16.17–18.19–21 (4.7.6.6.7.6.7 cola)
Girard (1994): 1–8.9–13|14–17.18–24 (a.b|a’.b’)
Seybold (1996): 1–3.4–7.8–11.12–15.16–18.19–21.22–24 (6×4 lines; vv.
22–24 represent ‘Nach- und Unterschriften’)
Fokkelman (2000), pp. 187–91: 1–2.3–4|5–6.7–8|9–11.12–13||14–16.17–18|
19–20a.20b–21|22.23–24 (3.3|2.2|3.2||3.3|2.2|2.3 lines)
Hossfeld/[Zenger ] (2000): 1–3.4–8.9–16.17–21.22–24
Gerstenberger (2001), pp. 58–64: 1–3.4–7.8–9.10–11.12–13.14–21.22–24
Weber (2001): 1–4.5–9.10–13|14–18a.18b–21.22–24 (a.b.c|a’.b’.c’)
Terrien (2003): 1–3|4–6.7–9.10–12|13.14–15|16–19.20–22a.22b–23|24 (vv.
1–3|a.b.c|d|c’.b’.a’|v. 24; vv. 13–15 is the ‘core strophe’; this archi-
tecture is ‘hypothetical’)
Obinwa (2006), pp. 110–11: 1–4.5–9.10–13.14–21.22–24 (a.b.a’.b’.c)

It is often assumed that, on the macrostructural level, Psalm 71 is composed
of two main parts. In most cases, the exegetes in question find a major break
after v. 13.4 Furthermore, in recent structural investigations it has been
argued time and again that the two main parts show a linearly alternating
parallelism.5 The impression is created that, from a structural point of
view, the bipartite division tolerates no contradiction. ‘À toutes fins utiles,
nos résultats atteignent à peu près la certitude’ (Girard, p. 264). And
according to Fokkelman, it is not hard to discover that the psalm ‘falls
into two parts, with a parallelism at section level’. He argues that the
4
See Calès, Pannier/Renard, Wahl, Aletti/Trublet, Girard, Fokkelman and Weber in
§ 29.6; for a bipartite division, see also De Wette and Alden.
5
So Aletti/Trublet, Girard, Fokkelman and Weber.
parallelism is firmly established by the identical cola concluding the main

parts; see ‘those who seek my ruin’ in vv. 13b and 24b.6
In my opinion, the bipartite division of Psalm 71 cannot do justice to
the most important rhetorical phenomena of the composition. Apart from
the obvious correspondences uniting the end of the supposed main parts
(vv. 2–13 and 14–24), the semantic parallelism between the beginning of
these units is rather poor.7 Girard cannot explain the rhetorical function
of the various themes which determine his first sub-section (vv. 1–8; cf. my
Canto I and § 29.2). Further, Girard (p. 260) is driven back on the device for
inclusion to explain the repetitions of, e.g., the root ns.l (hiph‘il; ‘to rescue’)
in vv. 2 and 11 and ‘all day long’ and ‘your righteousness’ in vv. 15–16 and
24 (see also Fokkelman [MPHB II], p. 187, and Weber). It also gives food
for thought that—on the level of the poem as a whole—Alden and Terrien
believe to observe a symmetric and a concentric structure respectively (see
§ 29.6).
I will argue that, on the basis of a rhetorical approach, our psalm di-
vides into three balanced cantos, consisting of eight, eight and nine verse-
lines respectively, vv. 1–8, 9–16 and 17–24.8 The special subject matter of
the successive cantos determining the development of thought is aptly de-
scribed by Gunkel in his famous commentary: ‘Im ersten Teile 1–8 herrscht
der “Ausdruck des Vertrauens” . . . , im zweiten 9–16 die Klage vor; der
erste schließt mit einem kurzen Jubelliede 8 . . . , das am Ende des zweiten
in volleren Tönen erschallt 14–16, während der dritte fast ganz durch ein
solches Danklied in hymnischen Formen ausgefüllt wird 18–24’.9
Further investigation reveals that the linear semantic parallelism be-
tween the cantos is even more substantial than noted by Gunkel, speaking
about vv. 8 and 14–16. The third canto is not totally dominated by a song
of thanksgiving. The prayer not to be forsaken by God in the first two
verselines of Canto III (vv. 17–18b) especially corresponds to the opening
verseline of the second canto (v. 9). And it is particularly in the concluding
strophe of the third canto (vv. 22–24) that the supplicant straightforwardly
praises God with his song; note gm ’ny ’wdk . . . ’zmrh lk (‘yes, I will praise
you . . . I will sing to you’). This praise of God finds its counterpart in the
final verselines of Canto I and II, vv. 8 and 14–16 respectively (§ 29.2).
6
Fokkelman, MPHB II, p. 187. The parallelism is reinforced by the terms for shame
in vv. 13 and 24b.
7
See Girard, pp. 258–60 (‘La structure d’ensemble’), and Weber (p. 321).
8
For this tripartite division, see also Gunkel, NAB and Kraus in § 29.6. For the
demarcation of the verselines, see § 29.5.
9
Gunkel (1926), p. 302; similarly Kraus, p. 652. According to Gunkel, this tripar-
tite division is already to be found in the commentary by Hitzig (1863–65). Cf. also
H. Gunkel, Einleitung in die Psalmen, Göttingen, 1933 (3-rd ed. 1975), p. 243.
ii.29 psalm 71 279
A comparison with Psalms 31 and 35 supports one of the semantic

aspects on which the tripartite division of Psalm 71 is based. The identical
vocabulary and similarity of expressions we find in these psalms is well-
known; cf. e.g. Ps. 71,1–3 with 31,2–4a and see further below. However,
the similarity between these psalms is more fundamental. The main body of
Psalms 31 and 35 is also composed of three long cantos, vv. 2–9.10–15.16–
23. . . (> 9.9.9. . . verselines) and vv. 1–10.11–18.19–28 (> 12.8.11 verselines)
respectively. But what is more: the end of these cantos is marked by a song
of praise; see Pss. 31,8–9.15b.22a and 35,9–10b.18.28.10
From within, the tripartite division of Psalm 71 is further buttressed by
clusters of verbal repetitions on the level of the psalm as a whole, especially
marking the beginning and the end of the cantos; see § 29.4.3 (the linear
framework)! These clusters constitute a linearly alternating parallelism be-
tween Cantos I, II and III: vv. 1–3.4–6.7–8|9–11.12–13.14–16|17–18.19–21.
22–24 > a.b.c|a’.b’.c’|a’’.b’’.c’’. In this context, the responsion kl hywm
(‘all day long’; vv. 8, 15 and 24)—concluding three successive cantos—is
more powerful than the expression mbqšy r‘ty (‘those who seek my ruin’)
in vv. 13 and 24, which is often assumed to support the bipartite division.
The canto division is also justified by an anomaly in the first colon of
the final verseline of Canto II, v. 16a. Here, the poet abruptly speaks about
God (‘I will come with [praise of] the mighty deeds of the Lord yhwh’)
in a context where God is consistently addressed in the second person.
Such a switch in the way God is referred to can be taken as a device for
highlighting the concluding verseline of a canto.11 The third canto—and
the psalm in its entirety—is concluded in a comparable way. In a context
of cola which all contain a declaration of praise (vv. 22–24a), the final colon
v. 24b about the shame of the adversaries comes as a surprise, functioning
as a sign of closure.
Some scholars maintain that the strophic structure of our psalm is rather
vague.12 In my opinion, having established the macrostructure of Psalm
10
See CAS I, Ch. III, 31 and 35; note § 35.7 (last paragraphs, pp. 358–59). Gunkel
(1926) did not recognize the three main parts in Psalms 31 and 35. On form-critical
grounds, he finds two more or less parallel sections, in both cases referring to Psalm 102
(a composition which, in my opinion, also divides into three main parts: vv. 2–12.13–23.
24–29); similarly Gunkel, Einleitung, p. 242.
11
For this device for closure, see especially Pss. 13,6c–d 63,12 and 90,17a. In the
psalms concerned the poet consistently addresses God in the second person, while in
the concluding verseline only he abruptly speaks about God in the third person; in this
respect, cf. also Ps. 73,28a–b. In Psalms 30, 44 and 89, the switch from addressing God
in the second person to speaking about him in the third person marks the end of a canto
or a sub-canto, as is the case in Ps. 71,16a; see Pss. 30,5–6 (the end of Canto I), 44,9a
(the end of Canto II) and 89,19 (the end of Sub-canto I.2).
12
See Köster, De Wette, Beaucamp and Terrien in § 29.6. According to Fokkelman,
71, it is hardly questionable that each canto is composed of three strophes

consisting of, generally speaking, three verselines. For the strophic division
of the cantos, see especially §§ 29.2 (content), 29.3.1.1 (transition markers
at the beginning of the strophes) and 29.4.1–2 (verbal repetitions on the
level of the strophes). The most characteristic feature marking the begin-
ning of the strophes in this poem is the various designations for God in the
vocative form; see § 29.3.1.1. The strophic structure of Canto III is totally
dominated by this device, simultaneosly constituting a linear correspon-
dence between the uninterrupted sequence of 3-line strophes (vv. 17–18,
19–21 and 22–24).13 Such a linear pattern of verbal recurrences explicitly
marking the successive strophes is also to be found in the first canto (vv.
1–8); note the vocatives for God, the root h.sh (‘to seek refuge’), tmyd
(‘continually’) and thlh (‘praise’) in § 29.4.2. In terms of semantics, the
concluding colon of the second strophe, about the praise of the supplicant
(v. 6c), constitutes a linear parallelism with v. 8, the concluding verseline
of the third strophe.
It is a special feature of this poem that, on the basis of verbal repeti-
tions, the strophe vv. 12–13 has close relationships with the first and the
last strophes of the psalm; see § 29.4.3 (the concentric framework).14 This
phenomenon is in line with the quantitative structural observations, which
indicate that vv. 12–13 represent the pivot of the composition (see § 29.5).
Therefore, we may safely assume that vv. 12–13 formulate a focal idea: O
God, hasten to my aid and let my accusers perish.15
On the basis of the verbal repetitions, there is a strong relationship be-

tween our psalm and the preceding Psalm 70: root plt. (vv. 2.4) > 70,6;
’th (vv. 3.5–6.7) > 70,6; tmyd (vv. 3.6.14) > 70,5; root ’mr (vv. 10–11) >
70,4.5; l‘zrty h.wšh (v. 12) > 70,2.6; ybwšw . . . h.rph (v. 13) > 70,3; mbqšy
r‘ty (vv. 13.24) > 70,3 (cf. also v. 5); w’ny (v. 14; cf. also v. 22) > 70,6;
tšw‘tk (v. 15) > 70,5; root gdl (vv. 19.21) > 70,5.16
there are a few places where the demarcation of strophes is rather ‘tricky’ (MPHB II,
p. 187).
13
For the strophic structure of my Canto III, see also Pannier/Renard in § 29.6.
The 7 words of v. 20a–b constitute the pivotal verseline of the third canto. The central
positioning of this line is highlighted by the remarkable fact that only here the supplicant
broadens his personal evil plight and firm hope to that of the community in general;
note the suffix -nw in v. 20a+b.
14
Cf. § 30.7 below, about Ps. 72,9–11.
15
It is worth noting that this focal idea has much in common with the central verselines
of Psalm 70 (vv. 4–5b; see § 28.7); note also the corresponding vocabulary (yšwbw >
ybšw, bštm/ybšw, mbqšyk > mbqšy r‘ty) and cf. the conclusion of Obinwa (2006, p. 129)
that the ‘heart of the prayer seems to lie in vv. 4 and 12’.
16
See also Obinwa (2006), pp. 78–82.
ii.29 psalm 71 281
For the relationship with Psalm 31 see, among other things, the following
verbal repetitions: vv. 1–3 > 31,2–4a; plt.ny (v. 4) > 31,2; myd (v. 4) >
31,16; rš‘ (v. 4) > 31,18; ky ’th (v. 5) > 31,4.5!; root bt.h. (v. 5) > 31,7.15;
hyyty (v. 7) > 31,12.13; ‘z (v. 7) > 31,3.5; ’wyb (v. 10) > 31,9.16; root šmr
(v. 10) > 31,7; root rdp (v. 11) > 31,16; root bwš (vv. 13.24) > 31,2.18 (2×);
root h.rp (v. 13) > 31,12; w’ny (v. 14) > 31,7.15.23!; .sdqtk (vv. 15.16.19.24)
> 31,2; root .srr (v. 20) > 31,8.10.12.22; śph (v. 23) > 31,19; lšwn (v. 24)
> 31,21.
For the relationship with Psalm 35 see, among other things, the follow-
ing verbal repetitions: thltk (vv. 8.14) > 35,18.28 (linear); kl hywm (vv.
8.15.24) > 35,28 (linear); ’lhym ’l trh.q mmny (v. 12) > 35,22; l‘zrty h.wšh
(v. 12) > 35,2 (wqwmh b‘zrty); ybšw . . . wklmh (v. 13) > 35,4.26; mbqšy
r‘ty (vv. 13.24) > 35,4; l’ yd‘ty (v. 15) > 35,11.15; ’lhym my kmwk (v. 19)
> 35,10; ’wdk b- (v. 22) > 35,18; gm lšwny . . . thgh .sdqyk (v. 24) > 35,28
(exactly linear); h.prw (v. 24) > 35,7.26.
29.8 Bibliography
P. Auffret, ‘“Ma bouche publiera ta justice.” Etude structurelle du psaume 71’,
ÉgTh 25 (1994), pp. 5–35;
I.M.C. Obinwa, Yahweh My Refuge: A Critical Analysis of Psalm 71 (European
University Studies XXIII.839), Frankfurt am Main/Berlin/Bern: Peter Lang,
2006.
30 Psalm 72
Structure: 8.4.8 > 4.4|4|4.4 > 2.2|2.2||1.2.1||2.2|2.2 lines (Type III)
I.1 1 ’lhym mšpt.yk lMLK TN ws.dqtk lbn MLK

2 ydyn ‘mk bs.dq w‘NYYk bmšpt.
3 yś’w HRYM šlwm l‘m wgb‘wt bs.dqh

4 yšpt. ‘NYY ‘m YWŠY‘ lbny ’BYWN Wydk’ ‘wšq
I.2 5 yyr’wk ‘m ŠMŠ wLPNY yrh. dwr dwrym

6 yrd kmt.r ‘l gz krbybym zrzyp ’RS.
7 yprh. bymyw .sdyq wrb šlwm ‘d bly yrh.

8 Wyrd mym ‘d ym wmnhr ‘d ’psy ’RS.
II 9 l pnyw ykr‘w .syym w’ybyw ‘pr ylh.kw
10 MLKY tršyš w’yym mnh.h yšybw

MLKY šb’ wsb’ ’škr yqrybw
11 Wyšth.ww lw KL MLKYM KL GWYM y‘bdwHW
III.1 12 ky ys.yl ’BYWN mšw‘ w‘NY w’yn ‘zr lw

13 yh.s ‘l dl w’BYWN w npšwt ’BYWNYM YWŠY‘
14 mtwk wmh.ms yg’l npšm wyyqr dmm b‘ynyw

15 Wyh.y wYTN lw mzhb šb’ wytpll b‘dw tmyd kl hywm ybrknhw
III.2 16 yhy pst br b’RS. br’š HRYM

yr‘š klbnwn pryw wys.ys.w m‘yr k‘śb h’RS.
17 yhy šmw l‘wlm LPNY ŠMŠ ykwn šmw

Wytbrkw bw KL GWYM y’šrwHW
30.1 Text
V. 5a—yyr’wk : ‘let them fear you’ (so MT; addressed to God); similarly JPS
and Barbiero (2008), pp. 76–77 n. 33 (see further § 30.7); cf. S. Bazylı́nski,
SBFLA 55 (2005), 41–58. On the basis of LXX, most scholars read wy’ryk
‘and may he prolong (his days)’.
ii.30 psalm 72 283
V. 6b—zrzyp: probably denominative of the root zrzp (‘irrigate’).

V. 16: see A. Caquot, VT 38 (1988), pp. 214–20.
V. 17b—ykwn: ‘endure’; see S.M. Paul, JNES 31 (1972), pp. 351–55 (note pp.
354–55), and J.S. Kselman, BASOR 220 (1975), p. 80; MT reads ynyn
(K)/ynwn (Q).
30.2 Content
A blessing for the king.
I Prayer for the righteous rule of the king (I.1, vv. 1–4) and his ever-
lasting and all-embracing peaceful dominion (I.2, vv. 5–8).
O God, give righteousness and peace to the king and his land (vv.
1 and 3); let the king release the lowly but crush the oppressor
(vv. 2 and 4).
Let them always fear you (v. 5), so that the righteous can live
in peace and prosperity for ever (vv. 6–7; metaphor of fertility)
under the world-wide dominion of the king (v. 8).
II About the submission of the nations.
Let the surrounding nations submit to him (vv. 9 and 11) and
pay him tribute (v. 10).
III About the deliverance of oppressed people (III.1, vv. 12–15) and fer-
tility of the country (III.2, vv. 16–17).
He will rescue the needy and the lowly (vv. 12–14; cf. vv. 2 and
4); then his subjects will bless him continuously (v. 15).
Let there be crops in plenty in the land (v. 16; cf. the metaphor
of fertility in vv. 6–7).
Let his name endure for ever (v. 17a–b; cf. v. 5); and let his
subjects bless him (v. 17c–d; cf. v. 15).

30.3.1.1 vocative: ’lhym, v. 1a 30.3.1.2 dwr dwrym, v. 5b
imperative: tn, v. 1a

30.3.2.1 tmyd, v. 15b 30.3.2.2 w- beginning of line, v. 8a
kl hywm, v. 15c w- beginning of line, v. 11a

‘wlm, v. 17a

vv. 1–2: mšpt., vv. 1a.2b
} chiasmus
root .sdq, vv. 1b.2a
suffix -k, vv. 1a+b.2a+b
vv. 3–4: ‘m (‘people’), vv. 3a.4a (exactly linear)
vv. 7–8: ‘d, vv. 7b.8a+b!
v. 10: mlkym, v. 10a.10c (anaphora)
yšybw/yqrybw, vv. 10b and 10d resp. (alliter.; epiphora)
vv. 12–13: ’bywn, vv. 12a.13a+b
mšw‘/ywšy‘, vv. 12a and 13b resp. (alliter.)
vv. 14–15: prep. mn, vv. 14a (2×).15a
copula w- + imperfectum, vv. 14b.15b (exactly linear); see
also v. 15a (2×)
v. 16: ’rs., v. 16a.16d
} chiasmus
br’š/yr‘š, vv. 16b and 16c resp. (alliter.)

vv. 1–4 (I.1): root špt., vv. 1a+2b.4a!
bs.dq/bs.dqh, vv. 2a.3b (concatenation); see also .sdqh
in v. 1b and prep. b- in v. 2b
lbn, vv. 1b.4b! (inclusion); see also prep. l- in vv. 1a
and 3a
‘m (‘people’), vv. 2a.3a+4a! (concatenation)
‘nyym, vv. 2b.4a (linear)
vv. 5–8 (I.2): yrh., vv. 5b.7b! (linear); see also šmš in v. 5a
yrd (‘let him fall’)/wyrd (‘and let him rule’), vv. 6a
and 8a resp.! (alliter.; exactly linear)
root rbb, vv. 6b.7a! (concatenation)
’rs., vv. 6b.8b (epiphora)
vv. 12–15 (III.1): lw, vv. 12b.15a (inclusion)

npš, vv. 13b.14a! (concatenation)
vv. 16–17 (III.2): yhy, vv. 16a.17a! (anaphora)

ii.30 psalm 72 285
prep. b-, vv. 16a+b.17c (inclusion)

br’š hrym/y’šrwhw, vv. 16b and 17d resp. (alliter.;
inclusion)
copula w- + imperfectum, vv. 16d.17c (linear)

vv. 1–8 (Canto I): suffix -k, vv. 1–2.5a! (linear)
root .sdq, vv. 1–3.7a!
šlwm, vv. 3a.7b! (linear)
copula w- + imperfectum, vv. 4c.8a (linear)
vv. 9–11 (Canto II): lpnyw/lw, vv. 9a and 11a resp.

} chiasmus
ykr‘w/yšth.ww, vv. 9a and 11a resp.
(inclusion)
mlkym, vv. 10a+c.11a (concatenation)
vv. 12–17 (Canto III): copula w- + imperfectum, vv. 15a–b (3×).17c

(exactly linear); see also vv. 14b and 16d
tmyd . . . kl hywm/l‘wlm, vv. 15b–c.17a (linear);
see also kl in v. 17d (linear)
root brk, vv. 15c.17c! (linear)
suffix -hw, vv. 15c.17d (epiphora)

vv. 1–4.12–15: root ntn, vv. 1a.15a!

‘ny, vv. 2b+4a.12b!
ywšy‘, vv. 4b.13b!
’bywn, vv. 4b.12–13!
copula w- + imperfectum, vv. 4c.14b+15a–b (3×)
vv. 5–8.16–17: šmš, vv. 5a.17b!

} chiasmus
lpny, vv. 5b and 17b resp.
prep. k-, vv. 6a+b.16c+d! (exactly linear)
’rs., vv. 6b+8b.16a+d!
šlwm/šmw l‘wlm, vv. 7b and 17a resp. (alliter.)
copula w- + imperfectum, vv. 8a.17c (exactly linear)
prep. mn, vv. 8a+b.16d
wmnhr ‘d ’psy/m‘yr k‘śb, vv. 8b and 16d resp. (alliter.)
vv. 1–4.9–11.16–17: mlk, vv. 1a+b.10–11!

lbn/klbnwn, vv. 1b+4b and 16c resp. (alliter.)
hrym, vv. 3a.16b!
šlwm l‘m/l‘wlm, vv. 3a and 17a resp. (alliter.)
copula w- + imperfectum, vv. 4c.11a.17c
kl gwym, vv. 11b.17d!; see also kl in v. 11a
suffix -hw, vv. 11b.17d
vv. 11.12–13: lw, vv. 11a.12b (concatenation)

suffix -w

ywm (vv. 7.15), šb’ (vv. 10.15), šm (‘name’; v. 17a–b [2×])

Psalm 72 has 11 strophes, 20 verselines and 42 cola.1 V. 10 unambiguously
constitutes the pivot of the composition: vv. 1–9.10.11–17 > 5+1+5 stro-
phes, 9+2+9 verselines and 19+4+19 cola. In terms of strophes, verselines
and cola, v. 10 is also the pivot of the central Canto II.2 In the pivotal
strophe v. 10 we also find a central idea of the psalm: all foreign kings
will pay tribute to the king of Israel. Therefore, we may assuredly call it a
rhetorical centre.
Structure of strophes and cantos in terms of words: 12+14|14+16||6+10
+7||15+18|13+12 = 26+30|23|33+25 = 56+23+58 (= 137 words in total).3
The divine name, yhwh, does not occur. In v. 1 God is explicitly
designated ’lhym. It is worth noting that this designation occurs in a 4-line
unit (vv. 1–4) consisting of exactly 26 words; the number 26 symbolically
refers to the divine name.
1
Fokkelman (MPHB II) distinguishes nine strophes, 21 verselines and 44 cola, reading
v. 10 as a single verseline and considering vv. 18–19 the concluding strophe of the psalm.
2
For the concentric framework of Canto II (vv. 9–11), see further § 30.7.
3
Labuschagne (www.labuschagne.nl/ps072.pdf, Observation 2) considers šb’ in v. 10c
the intentionally devised meaningful centre on word level (> 68+1+68 words). For more
numerical aspects of this psalm (also including vv. 18–19), see his Observations 3–7.
ii.30 psalm 72 287

Köster (1837): 1–4.5–7.8–11.12–14.15–17 (4.3.4.3.3 verses; ‘diese Strophen
. . . sondern sich nicht scharf ab’); similarly De Wette (1856)
Ewald (1866), pp. 231–36: 1–4.5–7|8–15|16–17
Delitzsch (1894): 1–4.5–8.9–11.12–15.16–17 (8.8.6.8.6 cola)
Zenner (1906), pp. 135–37: 1–3.4+6+5|7–11|12–15.16–17 (3.3|6|4.4 lines)
Von Faulhaber (1913), p. 15: 9–11.12–15 (‘Subjektschalipha’)
Duhm (1922): 1–2.3–4b.12–13.14+15b–c.16.17 (6×2 bicola)
Gunkel (1926): 1–3.4–7.8–11.12–15.16.17 (‘Regelmäßige Strophenbildung
tritt nicht hervor’)
Condamin (1933), pp. 152–55: 1–2.3–4|6+5.7–8|9.10.11|12–13.14–15|16.17
(2.2|2.2|1.1.1|2.2|2.2 lines; a.a’.b.c.c’)
Calès (1936): 1–2.3–4.5–7|8–9.10–11.12–14|15.16.17 (2.2.3|2.3.3|2.2.2 lines;
‘trois parties inégales’ [p. 686])
Böhl (1947): 1–4|5–8.9–11|12–15a.15b–17b|17c–19
Podechard (1949): 1–2.3–4b.6–7.5+8.9+11.12–13.14+15b–c.16.17 (9×2 ll.)
Baumann (1949–50), pp. 122–25: 1–4.5–8.9–11.12–15*.16–17 (5×4 lines);
similarly Kissane (1953)
Pannier/Renard (1950): 1–4.5–7.8–11.12–15.16–17 (4.3.4.4.3; ‘cinq stro-
phes, assez inégales d’étendu’)
J. Ridderbos (1958): 1–4.5–7.8–11.12–14.15–17; similarly NAB (1970),
Kraus (1978)
Skehan (1959): 1–4b.5–8.9–11.12–14+15b–c.16–17 (5×4 lines/bicola)
Van der Ploeg (1971): 1–4.5–8.9–11.12–15.16–17 (note pp. 426–27; no ob-
vious strophes [contra Skehan])
Kselman (1975): 1–4b.5–8.9–11.12–15*.16–17 (5×4 lines; 61+58+58+77/68
+58 sylables); cf. Skehan (1959)
Beaucamp (1976): 1–3|4+6–7.8–9+11.12–14.15b–16|17 (6|4×6|4 cola)
Jacquet (1977): 1–2.4+3.6–7.5+8.9+11.12–13.14+15b–c.16.17 (9×2 lines)
Aletti/Trublet (1983), p. 81: 1–4.5–8.9–11.12–14.15–17 (a.b.c.a’.b’)
Ravasi (1985): 1–4 5–8.9–11.12–14.15–17 18–19
Tate (1990): 1–4.5–8.9–11.12–15.16–17 (‘five stanzas of approximately equal
length’); cf. Van der Ploeg (1971)
Girard (1994): 1–4|5–8.9–11||12–14|15–17 (a.b|a’.b’)
Auffret (1996), pp. 54–55: 1–4.5–8.9–11.12–14.15–17.18–19
Seybold (1996): 1–4.5–7.8–11.12–15.16–17 (4.3.5.4.4 lines)
Janowski (1997), pp. 46–49: 1 2–4.5–7.8–11.12–14.15–17 (v. 1 a.b.c.a’.b’;
vv. 8–11 and 17c–d ‘Fortschreibung’)
Prinsloo (1999), p. 538: 1–4.5–8.9–11.12–14.15–17.18–19.20
Arneth (2000): 1–2||3–6|7|12–14.16.17a–b; 8–11, 15 and 17c–d (‘Ergän-

zungsschicht’)
Fokkelman (2000), pp. 191–93: 1–2.3–4|5–6.7–8|9–11.12–14|15–16.17.18–19
(2.2|2.2|3.3|3.2.2 lines)
[Hossfeld]/Zenger (2000): 1 2–4.5–7.8–11.12–14.15–17 (v. 1 a.b.c.a’.b’)
Weber (2001): 1–4.5–8.9–11.12–15.16–17 (a.b.c.a’.b’)
Terrien (2003): 1–3.4–6.7–9.10–11.12–14.15–16.17–18 (7×3 lines)
Meinhold (2004), note p. 87: 1|2–4.5–7|8–11|12–14.15–17|18–19 (v. 1|a.b|
c|a’.b’|vv. 18–19; vv. 8–11 ‘ist vermutlich nachexilisch’ [p. 96])
Saur (2004): 1–7+12–14 (‘Der älteste Kern’ [p. 135]); 8–11 and 15–17 (sec-
ondary); 18–19 (‘doxologischer Abschluss der Fürbitte’)
Barbiero (2008): 1 2–4.5–8|9–11|12–15.16–17|18–19 (v. 1 a.b|c|a’.b’ vv.
18–19); cf. Aletti/Trublet

Kraus shows a sigh of frustration in his commentary: ‘Gedankengang . . .
nicht leicht zu erfassen’. It is a matter of fact that on the basis of a
straightforwardly linear interpretation of the material content we get a
poor impression of the rhetorical framework of Psalm 72.4 Especially the
position of vv. 8 and 15 within this framework has been a moot question
in traditional exegesis; and it still is in more recent structural analysis.
However, I will try to show that the—at first sight—thematically weak
structure of our psalm is compensated by a rigidly implemented formal
architecture.
Condamin (1933) deserves the credit for being the first to observe
that the poem is composed of some 4-line sections (vv. 1–4, 5–8, 12–15
and 16–17). Note also that vv. 9–11 is interpreted by him as ‘strophe in-
termédiaire’, a central poetic unit.5 According to him, the special character
of the ‘strophe intermédiaire’ explains why vv. 9–11 as a 3-line unit devi-
ates from the enveloping sections.6 Calès, who argues, against Condamin,
that v. 8 belongs to vv. 9–11 and v. 15 is not connected with vv. 12–14,
4
See also Köster in § 30.6.
5
For a similar division into five sections by a nineteenth century scholar, see Delitzsch
in § 30.6.
6
See recently Fokkelman, who argues that the pivot of vv. 9–11 (v. 10) ‘consists of long
half-verses based on the abcde // abcde pattern’ (MPHB II, p. 192). This colometric
interpretation forms the weak basis for his statement that the average number of syllables
of the cola attain ‘the norm figure 8.00’. V. 10a–b and 10c–d as the second and third
verselines of vv. 9–11 have a rhythmic parallel in the corresponding verselines of vv. 1–4,
namely vv. 2 and 3; see also v. 16a–b.
ii.30 psalm 72 289
rightly notes that v. 10 is not a single verseline but represents two verse-
lines (1936, p. 687); see also BHS and more recently Barbiero (2008), p. 73.
Subsequently, after less than two decades, Baumann and Kissane more or
less intuitively—as far as I can judge—observed that Psalm 72 is composed
of an uninterrupted series of five 4-line units (see § 30.6).
I suppose that the text division by Baumann and Kissane is partially
based on the secret desire to detect series of regular ‘strophes’ in Hebrew
poetry. With regard to Psalm 72, Patrick W. Skehan (1959) has put forward
conclusive proof of this structural perfection. Skehan has observed (1971,
p. 56) that the concluding verselines of the 4-line units, vv. 5–8, 9–11,
12–15 and 16–17, all begin with w- (‘and’) followed by an imperfect; see
wyrd (‘and let him rule’, v. 8a), wyšth.ww (‘and let them bow’, v. 11a), wyh.y
(‘and let him live’, v. 15a) and wytbrkw (‘and let them bless themselves’,
v. 17c). This phenomenon does not occur at the beginning of the other
verselines.7 Additionally, he points out that vv. 11, 15 and 17c–d ‘provide
in their outward form extraordinarily ways of rounding out a stanza’ (1971,
p. 57). These verselines contain a description of ways of honouring the king
by all his subjects. That is to say, within the total framework of our poem,
vv. 11, 15 and 17c–d thematically function as a concluding refrain. I deem
it incomprehensible that critics like Aletti/Trublet, Ravasi, Girard, Auffret
and Fokkelman neglect these powerful rhetorical devices when determining
the formal position of v. 15.8
Unfortunately, Skehan himself (1971, pp. 55–56) has partially destroyed
his own argument. He takes v. 4c, wydk’ ‘wšq (‘and let him crush the
oppressor’), as a gloss caused by a ‘corrupt dittography’. In his opinion, the
same holds true for wytn lw mzhb šb’ (‘and let them give him gold of Sheba’)
in v. 15a. In fact, the form wytn (w- followed by the imperfect; v. 15a)
strengthens the device marking the concluding verseline of vv. 12–15; see
also wytpll (‘and let them pray’) in v. 15b. It is true, the form wydk’ in
v. 4c does not open the concluding verseline of vv. 1–4, but it can definitely
be considered an echo of the device in question. Moreover, the tricola we
find in vv. 4 and 15 are another device for closure; tricola do not occur
elsewhere in the poem. To crown it all, the semantic contrast (antithetic
7
For verbal recurrences marking the beginning of the concluding verseline of succes-
sive poetic units (canticles or cantos), see CAS I, Ch. V, 3.2.2.1–2 (pp. 480–81); note
the recurrences of the copula w-.
8
See especially Fokkelman (MPHB II, p. 193 n. 40) and Girard (pp. 274–75). For
v. 15 as concluding verseline, see also tmyd (‘continually’) and kl hywm (‘all day long’)
in § 30.3.2.1. In this light, it is clear that the king is the subject of wyh.y in v. 15a
and the object of the blessings spoken about in the remainder of the verseline; contra
[Hossfeld]/Zenger (pp. 306–07). For the division of the poem into an uninterrupted series
of 4-line units, see also Kselman in § 30.6.
parallelism) between v. 4a–b and v. 4c (salvation for the lowly and ruin for
the oppressor) is a powerful means marking the end of a rhetorical section.9
The verselines which constitute the 4-line units mostly display a mix-
ture of linearly alternating and symmetric interrelations; see § 30.2 (con-
tent) and 30.4.2 (verbal repetitions within the canticles). From a thematic
pespective, the verselines of vv. 1–4 show a linearly alternating parallelism:
vv. 1.2.3.4 > a.b.a’.b’ (§ 30.2).10 In terms of verbal repetitions, vv. 1–4 does
not display a distinct pattern. Nevertheless, the unit is characterized by the
root špt. (‘to judge’) and the noun ‘m (‘people’). The morpheme lbn/lbny
(‘to the son/sons’) unambiguously marks its boundaries by inclusion.
The second 4-line unit starts with a wish focussing on the everlasting
fear for God (v. 5) and concludes with a wish/prayer for the world-wide rule
of the king (v. 8). That is to say, the verselines deal with the all-embracing
dominon of God in terms of time and of the king in terms of space.11 The
verselines in-between (vv. 6 and 7) make use of the metaphor of fertility.
From this semantic perspective the unit displays a symmetric framework:
vv. 5.6.7.8 > a.b.b’.a’ (§ 30.2). In terms of verbal recurrences, the verse-
lines show a linearly alternating correspondence (vv. 5.6.7.8 > a.b.a’.b’;
§ 30.4.2). Barbiero (2008, p. 72) points out that this linear correspondence
is reinforced by the fact that vv. 6 and 8 (the b-lines) have as their subject
the king, while vv. 5 and 7 (the a-lines) have as their respective subjects
an indeterminate ‘they’ and ‘the just one’, two expressions which may refer
to the messianic community.12
Vv. 9–11 focusses on the submission of the surrounding peoples. From
a semantic point of view as well as in terms verbal repetitions, the unit has
a concentric framework (see §§ 30.2 and 30.4.3).13
In terms of verbal repetitions, vv. 12–15 has a symmetric framework
(§ 30.4.2; similarly Barbiero [2008], pp. 77–78). Alongside this symmetric
aspect, there is a linear development of ideas (§ 30.2). The final verseline
9
For the reference to the ruin of the oppressors marking the end of a poetic section,
see e.g. Ps. 71,24b; cf. further Ps. 1,6. For imperfect forms beginning with w-, see further
wyyqr (‘and it is precious’) in v. 14b and wys.ys.w (‘and they blossom’) in v. 16d.
10
Similarly Fokkelman, MPHB II, p. 192. For this semantic framework in the opening
4-line canticle of a poem, see also Job 7,1–4; note my RCPJ, p. 100.
11
Cf. Condamin (p. 153): ‘Étendue du règne messianique dans le temps et l’espace’.
12
Contra Girard (pp. 272–73), who—on the basis of verbal recurrences—states that
vv. 5–8 displays a concentric pattern. The external parallelism between vv. 5–6 and
7–8 once again makes it clear that v. 8 is part of the preceding verselines, vv. 5–7.
For the rhetorical coherence of vv. 5–8, see also Prinsloo (1999), pp. 544–45; other-
wise recently NAB, Kraus, Jobling (1992, pp. 101–02), Seybold, [Hossfeld]/Zenger and
Meinhold (2004).
13
For this ‘envelope construction’, see also Kselman (p. 79), Girard (p. 273), Prinsloo
(1999, p. 545) and Barbiero (2008, p. 73).
ii.30 psalm 72 291
v. 15, full of blessings for the king, is to be considered the logical follow-up
to the king’s saving acts on behalf of the lowly and the poor.
In terms of subject matter, vv. 16–17 is not a coherent whole. The
4-line unit is a coda-like conclusion in which themes from vv. 5–8 (cf. the
idea of ‘fertility’ in v. 16 with vv. 6–7 and the idea of the everlasting ‘name’
of the king in v. 17a–b with vv. 5 and 8) are closely connected with the idea
that all nations will submit to this king (v. 17c–d; cf. vv. 9–11). The verbal
recurrences display a mixture of linear and including features (§ 30.4.2).
The macrostructure of this composition is rather unusual. At first sight,
it is hard to say in which way two or more 4-line units constitute a higher
thematic section. However, in terms of verbal recurrences, there are indica-
tions that vv. 1–4 and 5–8 form a coherent whole (§ 30.4.3). Note that—in
the psalm as a whole—only in vv. 1–2 and 5 God is explicitly addressed
in the second person; for yyr’wk (‘let them fear you’) v. 5, see § 30.1. This
feature powerfully strengthens the linear parallelism between the opening
4-line units. A linear correspondence in terms of verbal repetitions also
occurs in vv. 12–15 and 16–17 (§ 30.4.3).14
A more profound investigation into the relationships between the 4-line
units reveals that vv. 1–4 and 5–8 constitute a linearly alternating paral-
lelism with vv. 12–15 and 16–17 (a.b|. . . |a’.b’). This parallelism has clear
semantic (note § 30.2) and formal aspects (note § 30.4.4, the linear frame-
work). It also confirms Condamin’s interpretation of vv. 9–11 as ‘strophe
intermédiaire’.15 In terms of subject matter, this pivotal unit has a rela-
tively individual position within the poem: it consistently focusses on the
submission of the surrounding peoples (§ 30.2). This theme only rever-
berates in vv. 8 and 17d. In vv. 9–11 foreign peoples and kings form the
grammatical subject of the verbs, while in most verselines of the poem the
king is the grammatical subject (cf. Von Faulhaber in § 30.6 and Prinsloo
[1999], p. 545). The special character of this pivotal canto is highlighted
by its concentric composition; see below.
I consider vv. 1–8, 9–11 and 12–17 the three cantos of the psalm. On
both sides, the central Canto II (vv. 9–11), consisting of four verselines, is
14
For the coherence of vv. 1–8 and 12–17, see also Condamin in § 30.6. Because Girard
does not take v. 15 as a refrain concluding vv. 12–14, he states that ‘aucun procédé
n’unifie les v. 12–17’ (p. 276).
15
Similarly Aletti/Trublet, Weber (p. 327) and Barbiero (2008, pp. 74–75); see also
Janowski (1997), [Hossfeld]/Zenger and Meinhold in § 30.6. With reference to Janowski
(1997, pp. 48–49), Zenger elaborates on the semantic parallelism between vv. 2–7 and
12–17 ([Hossfeld]/Zenger, pp. 311–12). Zenger also notes that this semantic parallelism
is corroborated by a pattern of verbal recurrences. However, he fails to see that this
pattern simultaneously supports the division of the psalm into a regular series of 4-line
units.
flanked by a canto consisting of eight verselines (vv. 1–8 and 12–17), which
is twice as long as Canto II. The 4-line units vv. 1–4, 5–8, 12–15 and 16–17
represent canticles. The central Canto II consists of a single canticle.16
Alongside the linear parallelism between vv. 1–8 and 12–17, there is
a formal bond between the pivotal Canto II (vv. 9–11) and the opening
and concluding canticle, vv. 1–4 and 16–17 respectively (see § 30.4.4, the
concentric framework).17
The canticles are composed of mostly 2-line strophes.18 For the strophic
structure, see §§ 30.2 (content), 30.4.1 (verbal repetitions within the stro-
phes) and the linear verbal recurrences described in § 30.4.2. The strophic
structure of Canto II, consisting of a central 2-line strophe flanked by a
one-line strophe on both sides (see §§ 30.2, 30.4.1 and 30.4.3[!]), highlights
its pivotal position in the psalm as a whole. It clearly stands out, because
a strophic structure like this does not occur elsewhere in the canticles.19 In
terms of verbal repetitions, vv. 12–13 forms an obvious 2-line unit within
Canticle III.1 (§ 30.4.1). Starting from this observation we may conclude
that vv. 14–15 is the other 2-line strophe, formally characterized by w-
followed by an imperfectum (§ 30.4.1).
On the basis of the preceding rhetorical analysis, I assume that the
quintessential idea of our psalm is to be found in the prayer of its central
Canto II (vv. 9–11): let all the nations submit to God’s chosen king.
the following verbal repetitions: .sdqtk (v. 1) > 71,2.15.16.19.24; ywšy‘ (vv.
4.13) > 71,2.3.15; ys.yl (v. 12) > 71,2.11; root ‘zr (v. 12) > 71,12; tmyd
(v. 15) > 71,3.6.14; kl hywm (v. 15) > 71,8.15.24.
16
For such concentric canto designs, see Ch. IV, 2.6. According to [Hossfeld]/Zenger,
we are dealing with a secondary form of a ‘Primärpsalm, dessen Aufbau noch stringenter
erscheint als der Aufbau der Endgestalt’ (p. 313). In this context, it is maintained that
vv. 8–11, 15a and 17c–d do not belong to the original psalm; for comparable observations,
see Janowski (1997), Arneth (2000), Meinhold (2004) and Saur (2004) in § 30.6. ‘In
V 8–11.15–17 steht nicht die Gerechtigkeit des Königs, sondern seine umfassende und
weltweite Herrschaft und die Unterwerfung der Völker im Zentrum’ (Sauer, p. 141,
with reference to Zenger). In my opinion, such considerations show that—generally
speaking—within recent German exegesis there is still a poor understanding of what is
going on in Hebrew poetry and how it works. For a similar criticism with regard to
recent trends in German exegesis, see now also Barbiero (2008)!
17
Such a concentric structure on canticle level is very remarkable. For a comparable
phenomenon, see the rhetorical position of the central strophe in Psalm 71 (vv. 12–13;
§ 29.4.3 above).
18
Cf. also Duhm, Condamin, Podechard and Jacquet in § 30.6.
19
Cf. CAS I, Ch. V, 2.1.4 (pp. 450–51).
ii.30 psalm 72 293
30.8 Bibliography
P.W. Skehan, ‘Strophic Structure in Psalm 72’, Biblica 40 (1959), pp. 302–08,
now in Studies in Israelite Poetry and Wisdom (CBQ Monograph Series 1),
Washington, 1971, pp. 53–58;
J.S. Kselman, ‘Psalm 72: Some Observations on Structure’, BASOR 220 (1975),
pp. 77–81;
G.H. Wilson, ‘The Use of Royal Psalms at the “Seams” of the Hebrew Psalter’,
JSOT 35 (1986), pp. 85–94;
B. Renaud, ‘De la bénédiction du roi à la bénédiction de Dieu (Ps 72)’, Biblica
70 (1989), pp. 305–26;
D. Jobling, ‘Deconstruction and the Political Analysis of Biblical Texts: A
Jamesonian Reading of Psalm 72’, Semeia 59 (1992), pp. 95–127;
J.-M. Auwers, ‘Les Psaumes 70–72. Essai de lecture canonique’, RB 101 (1994),
pp. 242–57;
P. Auffret, ‘“Toutes les nation le diront bienheureux.” Étude structurelle du
Psaume 72’, SEL 13 (1996), pp. 41–58;
B. Janowski, Stellvertretung. Alttestamentliche Studien zu einem theologischen
Grundbegriff (SBS 165), Stuttgart: Verlag Katholisches Bibelwerk, 1997, pp.
46–66;
W.S. Prinsloo, ‘Psalm 72: ’n Verskuiwing van die mistieke na die politieke?’,
OTE 12 (1999), pp. 536–54;
M. Arneth, “Sonne der Gerechtigkeit”. Studien zur Solarisierung der Jahwe-
Religion im Lichte von Psalm 72 (Beihefte zur Zeitschrift für Altorientalische
und Biblische Rechtsgeschichte 1), Wiesbaden: Harrassowitz Verlag, 2000;
O. Loretz, Psalmstudien. Kolometrie, Strophik und Theologie ausgewälter Psal-
men (BZAW 309), Berlin/New York: Walter de Gruyter, 2002, pp. 171–213;
A. Meinhold, ‘Verstehen und Übersetzen. Versuch zu Psalm 72’, Theologische
Fakultät Leipzig. Leqach. Mitteilungen und Beiträge der Forschungsstelle Ju-
dentum 4 (2004), pp. 85–107;
M. Saur, Die Königspsalmen: Studien zur Entstehung und Theologie (BZAW
340), Berlin: W. de Gruyter, 2004, pp. 132–52;
G. Barbiero, ‘The Risks of a Fragmented Reading of the Psalms: Psalm 72 as a
Case in Point’, ZAW 120 (2008), pp. 67–91.
.
Chapter III
The Third Book of the Psalter
1 Psalms 73
Structure: 11.11.6 > 7.4|5.6|6 > 1.2.2.2|2.2||1.2.2|2.2.2||2.2.2 lines
(Type IIB)
I.1 1 ’K T
. WB lyśr’l ’LHYM lbry LBB
2 W’NY km‘t. nt.yw rgly k’yn špkw ’šry

3 ky qn’ty bhwllym šlwm RŠ‘YM ’r’h
4 ky ’yn h.rs.bwt lmw tm wbry’ ’wlm

5 b‘ML ’nwš ’ynmw w‘m ’dm l’ YNG‘W
6 lkn ‘nqtmw g’wh y‘t.p šyt h.ms lmw

7 ys.’ mh.lb ‘YNmw ‘brw mśkywt LBB
I.2 8 ymyqw wydbrw br‘ ‘šq mmrwm ydbrw

9 štw bšmym pyhm wlšwnm thlk b’rs.
10 lkn yšwb ‘mw hlm wmy ml’ yms.w lmw

11 W’mrw ’YKH YD‘ ’L wyš D‘H b‘lywn
II.1 12 HNH ’lh RŠ‘YM wšlwy ‘WLM hśgw h.yl
13 ’K ryq zkyty LBBY w’rh..s bnqywn kpy

14 w’hy NGW‘ kl hywm wtwkh.ty lbqrym
15 ’m ’mrty ’SPRH kmw HNH dwr bnyk bgdty

16 w’h.šbh l d‘t z’t ‘ML hw’ b‘YNy
II.2 17 ‘d ’bw’ ’l mqdšy ’L ’bynh l’H

. RYTm
18 ’k bh.lqwt tšyt lmw hpltm lmšw’wt
19 ’YK hyw lšmh krg‘ spw tmw mn blhwt

20 kh.lwm mhqys. ’DNY b‘yr .slmm tbzh
296 chapter iii: third book of the psalter
21 ky yth.ms. lbby wklywty ’štwnn

22 W’NY b‘r wl’ ’D‘ bhmwt hyyty ‘MK
III 23 W’NY tmyd ‘MK ’h.zt byd ymyny

24 b‘s.tk tnh.ny w’H . R kbwd tqh.ny
25 my ly bšmym w ‘MK l’ h.ps.ty b’rs.
26 klh š’ry wLBBY s.wr LBBY wh.lqy ’lhym l‘WLM
27 ky HNH rh.qyk y’bdw hs.mth kl zwnh mmk

28 W’NY qrbt ’LHYM ly T. WB šty b’DNY yhwh mh.sy lSPR kl ml’kwtyk
1.1 Text
V. 2a—nt.yw : so Q; K nt.wy.
V. 2b—špkw : so Q; K špkh.
V. 4—lmw tm: ‘for them; sound’, so BHS, Irsigler (1984, p. 16), [Hossfeld]/
Zenger; for lmw, see also §§ 1.4.2–3. MT reads lmwtm (‘at their death’).
V. 8: for the colometric division see BHS; MT divides with ’atnah. after ‘šq.
V. 9: is about ‘mighty words’; De Boer, VT 18 (1968), pp. 260–64.
V. 10: meaning uncertain.
V. 16b—hw’ : so Q; K hy’.
V. 20: MT divides with ’atnah. after mhqys.; meaning uncertain.
1.2 Content
God blesses the blameless, but the wicked will perish in the end.
I The incomprehensible prosperity (I.1) and shameless boasting (I.2)
of the wicked.
I.1 God is good to Israel (v. 1).
Nevertheless, I envied the prosperity of the wicked (vv. 2–3).
They are in perfect health (vv. 4–5).
Therefore they are arrogant (vv. 6–7).
I.2 They scoff and speak high-handedly (vv. 8–11).
II The initial confusion of the psalmist (II.1) and the temporary pros-
perity of the wicked (II.2).
II.1 Such is the prosperity of the wicked (v. 12).
It was for nothing that I kept my innocence (vv. 13–14).
I was worried about this problem (vv. 15–16).
II.2 Until I discovered that they (the wicked) will perish in the end
(vv. 17–18).
Suddenly, they are destroyed completely (vv. 19–20).
iii.1 psalms 73 297
My envy was unfounded (vv. 21–22).

III The psalmist’s trust in his personal communion with God (coda).
I will be with you forever (vv. 23–24).
You are the fulfilment of my life (vv. 25–26).
The wicked will perish, but I will stay with you (vv. 27–28).

1.3.1.1 ’k, v. 1a ext. // w’h.šbh in v. 16a
.twb beginning of line, v. 1a hnh, v. 15b
w- beginning of line, v. 2a cohortative: ’bynh, v. 17b
’ny, v. 2a ’yk, v. 19a
lkn, v. 6a w- beginning of line, v. 23a
lkn, v. 10a ’ny, v. 23a
hnh, v. 12a my, v. 25a
’lh, v. 12a hnh, v. 27a
’k, v. 13a
’mrty, v. 15a 1.3.1.2 ‘wlm, v. 12b
cohortative: ’sprh, v. 15a; tmyd, v. 23a

1.3.2.1 kl hywm, v. 14a w- beginning of line, v. 16a
hw’, v. 16b z’t, v. 16a
‘wlm, v. 26b w- beginning of line, v. 22a
’ny, v. 22a
1.3.2.2 w- beginning of line, v. 11a w- beginning of line, v. 28a
’ykh, v. 11a ’ny, v. 28a

w- beginning of line, v. 14a rg‘, v. 19a
(but see also § 1.4.2) vocative: ’dny, v. 20a
’k, v. 18a

vv. 4–5: ’yn, vv. 4a.5a
} chiasmus
’wlm/b‘ml, vv. 4b and 5a resp. (alliter.)
vv. 8–9: prep. b-, vv. 8a.9a+b
vv. 19–20: prep. k-, vv. 19a.20a

prep. mn, vv. 19b.20a
vv. 23–24: roots ’h.z/lqh., vv. 23b and 24b resp.
ymyny/tqh.ny, vv. 23b and 24b resp. (allitering epiphora)
vv. 27–28: rh.q (‘to be far’)/qrb (‘to approach’), vv. 27a and 28a resp.
kl, vv. 27b.28c
suffix -k, vv. 27b.28c (epiphora); see also suffix -k in v. 27a

vv. 1–7 (I.1): lbry/wbry’, vv. 1b and 4b resp. (alliter.; linear)
lbb, vv. 1b.7b (inclusion; last word of the lines!)
’yn, vv. 2b.4a+5a!
ky, vv. 3a.4a (concatenation)
prep. b-, vv. 3a.5a (linear)
lmw, vv. 4a*.6b (linear); see also suffix -mw in vv. 5a,
6a+7a
’ynmw/‘ynmw, vv. 5a and 7a resp. (alliter.; exactly
linear)
vv. 12–16 (II.1): hnh, vv. 12a.15b (linear)

w-, vv. 14a.16a (exactly linear)
roots ng‘/‘ml, vv. 14a and 16b resp. (linear; cf. v. 5)
vv. 17–22 (II.2): root hyh, vv. 19a.22b

prep. b-, vv. 18a.20b (linear)
suffix -m, vv. 18b.20b (linear); see also -mw in v. 18a
lmšw’wt/lšmh, vv. 18b and 19a resp. (alliter.; concat.)
b‘yr/b‘r, vv. 20b and 22a resp. (alliter.; linear)

vv. 1–12 (Canto I): šlwm/wlšwnm, vv. 3b and 9b resp. (alliter.)
lmw, vv. 4a*+6b.10b (linear)
lkn, vv. 6a.10a! (exactly linear)
root šyt, vv. 6b.9a
prep. mn, vv. 7a.8b (concatenation)
vv. 13–22 (Canto II): wšlwy ‘wlm/lmšw‘wt . . . lšmh, vv. 12b and
18b–19a resp. (alliter.)
’k, vv. 13a.18a
lbby, vv. 13a.21a
iii.1 psalms 73 299
w- beginning of line, vv. 14a+16a.22a (exactly

linear)
hyh, vv. 14a.19a+22b!
root yd‘, vv. 16a.22a (linear)
roots yd‘/byn, vv. 16a and 17b resp. (concat.)
vv. 23–28 (Canto) III: w’ny, vv. 23a.28a (inclusion)

byd/b’dny, vv. 23b and 28b resp. (alliter.)
‘mk (‘with you’), vv. 23a.25b (linear)
ly, vv. 25a.28a!
’lhym, vv. 26b.28a (linear)

vv. 1–7.12–16.23–28: ’k, vv. 1a.13a
brr (niph‘al ‘be pure’)/zkh (qal ‘be pure’), vv. 1b
and 13a resp.
lbb, vv. 1b+7b.13a.26a+b; note lbby in vv. 13
and 26
w’ny, vv. 2a.23a+28a
rgly . . . ’šry/kpy/yd ymyny, vv. 2, 13b and 23b
resp.; see also š’ry in v. 26a (alliter.)
šlwm/wšlwy ‘wlm, vv. 3b and 12b resp. (alliter.)
rš‘ym, vv. 3b.12a!
h.rs.bwt/w’rh..s, vv. 4a and 13b resp. (alliter.)
’wl/š’r, vv. 4b and 26a resp.
root ‘ml, vv. 5a.16b!
root ng‘, vv. 5b.14a!
‘yn, vv. 7a.16b! (linear)
hnh, vv. 12a+15b.27a!
‘wlm, vv. 12b.26b!; see also ’wlm in v. 4b (alliter.);
cf. further kl hywm and tmyd in vv. 14 and 23
kl, vv. 14a.27b+28c!
kl hywm/tmyd, vv. 14a and 23a resp.
root spr, vv. 15a.28c!
vv. 8–11.17–22: suffix -hm/-m, vv. 9a+b.18b+20b

w- beginning of the line, vv. 11a.22a (exactly
linear)
’ykh/’yk, vv. 11a.19a!
yd‘, vv. 11a+b.22a (linear)
’l (‘God’), vv. 11a.17a!; see also prep. ’l in v. 17a
vv. 1.27–28, inclusion: .twb, vv. 1a.28a!

} chiasmus
’lhym, vv. 1a.28a
vv. 17–22.23–28, concat.: root ’h.r, vv. 17b.24b!

bh.lqwt/wh.lqy, vv. 18a and 26b resp. (alliter.)
root šyt, vv. 18a.28b
’dny, vv. 20a.28b!
w’ny beginning of the line, vv. 22a.23a+28a
‘mk, vv. 22b.23a+25b!

prep. b-, prep. k- (vv. 2 [2×].15), suffix -k (v. 15), prep. l-, lmw (v. 18),
prep. mn (v. 27), prep. ‘m (v. 5)

root ’mr (vv. 11.15), b’rs. (vv. 9.25), root dbr (v. 8 [2×]), l’ (vv. 5.22.25),
šmym (. . . b’rs.; vv. 9.25), root tmm (vv. 4*.19)

Psalm 73 has 15 strophes, 28 (= 4×7) verselines and 57 cola.1 Vv. 13–14 is
the central strophe (> 7+1+7 strophes). The description of the psalmist’s
futile innocence and his ongoing misery in this strophe is the absolute low
point of the poem. V. 15a is the pivotal colon (> 28+1+28 cola), which
can hardly be seen as a meaningful centre.
Structure of strophes and cantos in terms of words: 6+13+14*+13|12+
15||7+13+14|13+14+12||11+15+20 = 46*+27|34+39|46 = 73*+73+46 (=
192* = 16×12 words in total). That is to say, on word level, the first and
the second canto are exactly equal because they have 73 words each.2
The divine name, yhwh, only occurs in v. 28, in the combination ’dny
yhwh; the designation ’dny (‘Lord’) reappears in v. 20. The designation
1
Fokkelman (MPHB II) has also 28 verselines; but he finds 58 cola, taking not only
v. 28 but also v. 26 as a tricolon (similarly Weber [2003], p. 16). He distinguishes 12
strophes.
2
For identical cantos in terms of word count, see CAS I, Ch. V, 2.4.1 (pp. 257–58).
Presumably, there is a deliberate relationship between the 73 words of the cantos in
question and the numbering of the psalm (we are dealing with Psalm 73); for such nu-
merical relationships, cf. CAS I, Ch. III, 5.5 (concluding paragraph). For a profound
investigation into the numerical aspects, see also www.labuschagne.nl/ps073.pdf, Obser-
vations 2–6.
iii.1 psalms 73 301
’lhym (‘God’) occurs 3×: vv. 1, 26 and 28; in vv. 11 and 17 it is ’l. In v. 11
God is also referred to as ‘lywn (‘Most High’).

Köster (1837): 1.2–11.12.13–22.23–28 (1.10.1.10.6 verses; ‘Da nun die drei
langen Strophen durchaus in je zwei Verse zerfallen, so zeigen sich
hier ganz symmetrische Verhältnisse’ [pp. 216–17])
De Wette (1856): 1|2–5.6–9.10–14|15–17.18–20|21–22.23–28
Ewald (1866), pp. 350–56: 1 2–5.6–9.10–14|15–18.19–22.23–26|27–28
(1 4.4.5|4.4.4|2 verses)
Ley (1875), pp. 151–52: 1–3.4–6.7–9.10–12.13–14|15–17.18–20.21–23.24–26.
27–28
Franz Delitzsch (1894): 1–2.3–6.7–10.11–14|15–18.19–22.23–26.27–28 (4.8.
8.8|8.8.8.5 cola)
Zenner (1906), pp. 234–37: 1–5.6–10|11–17*|18–22.23–24+26–28 (5.5|8|5.5)
Friedrich Delitzsch (1921), pp. 109–11: 1–2.3–4.5–6.7–8.9–10.11–12.13–14.
15–16.17–18.19–20.21–22.23–24.25–26.27–28b; similarly Duhm (1922)
Gunkel (1926): 2–3.4–5.6–7.8–9.10–11.13–14.15+21.16+22.17–18.19–20.
23–24.25–26.27–28b
Kittel (1929): 1–2.3–5.6–12.13–17+21–22.18–20.23–26.27–28
Condamin (1933), pp. 156–59: 1.2–3.4–5|6–7.8–9.10||11–12.13–14.15–16||
17–18.19–20.21–22|23–24.25–26.27–28b (1.2.2|2.2.1||2.2.2||2.2.2|2.2.2
lines); cf. Zenner (1906)
Calès (1936): 1.2–3.4–5.6–7.8–9.10–12.13–14|15.16–17.18–20.21–22.23–24.
25–26.27–28* (1.4×2.3.2|1.2.3.4×2 lines)
Herkenne (1936): 1–2|3–5.6–9|10–15|16–20|21–26|27–28
Böhl (1947): 1.2–3.4–5.6–7.8–9.10–11|12–14.15–16|17–18.19–20.21–22|
23–24.25–26.27–28
Podechard (1949): 1–3.4–5|6–8.9–11|12–14.15–17|18–20.21–22|23–24.25–28
(3.2|3.3|3.3|3.2|2.4 bicola)
Baumann (1949–50), pp. 126–32: 1–2|3–5.6–9+11–12|13–14.15–16+21–22|
17–20.23–26|27–28b (2|3.6|2.4|4.4|2 lines)
Pannier/Renard (1950): 1–9.10–14.15–20.21–28
Kissane (1954): 1–6.7–11.12–17.18–22.23–28 (6.5.6.5.6 lines)
Mowinckel (1957), pp. 64–65: 2-line strophes
NAB (1970): 1–3 4–12.13–17.18–22.23–28
Van der Ploeg (1971), p. 438: 1–3.4–12.13–17.18–28
Illman (1976–77), pp. 123–24: 1–2|3–12.13–17|18–20.21–26|27–28 (2|10.5|
3.6|2 lines)
Jacquet (1977): 1 2–3.4–5.6–7.8–9.10–11|12–14.15–17.18–20|21–22.23–24.

25–26.27–28b.28c* (1 5×2|3×3|4×2.1 bicola)
Beaucamp (1979): 1||2–3|4–5.6–7|8–9.11–12|13–14.15–16||17–18.19–20|
21–22.23–24|25–26.27–28b (28c); cf. Beaucamp (1968), p. 211
Allen (1981), pp. 100–07: 1–4.5–12|13–17.18–20||21–28 (a.b|b’.a’||. . . )
Crenshaw (1984): 1–3|4–12.13–16.17.18–20.21–26|27–28
Irsigler (1984), pp. 291–93.353–64: 1||2–3|4–5.6–7.8–9.10–11.12|13–14.
15–17||18–20|21–22|23–24.25–26|27–28
Krašovec (1984): 1.2–12.13–17.18–22.23–26.27–28
McCann (1987), pp. 249–50: 1–3.4–12|13–17|18–20.21–28 (3.9|5|3.9 lines;
vv. 13–17 ‘serves as the turning point or axis for the reversal which
has taken place’; v. 15 is ‘the central verse of the central unit’)
Tate (1990): 1||2–3.4–12.13–16|17|18–20.21–26.27–28||1 (a||b.c.d|e|d’.b’.c’||
a’; note p. 234)
Girard (1994): 1–12.13–17.18–28 (A.A’.A’’); similarly [Hossfeld]/Zenger
Seybold (1996): 1 2–5.6–9.10–13+15.16+21+14+17.18–20+22.23–26
27–28
Fokkelman (2000), pp. 193–98: 1–3.4–5.6–7|8–9.10–12||13–14.15–17||18–20.
21–22|23–24.25–26.27–28 (3.2.2|2.3|2.3|3.2|2.2.2 lines; 14.10|10|10.14)
Terrien (2003): 1–2.3–6.7–10.11–12|13–14.15–17.18–20.21–22|23–24.25–26.
27–28
Weber (2003): 1–3.4–6|7–9.10–12||13–14.15–17||18–20.21–23|24–26.27–28
(A.B.A’; 12.12|10|12.12 cola); cf. Girard (1994)
Boadt (2004), pp. 538–40: 1–2|3–7.8–12|13–17|18–22.23–27|28 (4|10.10|10|
10.10|3 cola; a|b.b’|a’|c.c’|a’’; vv. 13–17 is the ‘central insightful solu-
tion for all doubters: find God in the temple’)

In support of the assumed tripartite division vv. 1–12.13–17.18–28, recent
structural investigations time and again point to the emphatic particle ’k
(‘truly’), which should mark the very beginning of the main sections (see
vv. 1, 13 and 18).3 In terms of semantics, these sections are supposed to
show ‘une évolution de la dramatique’ (Girard, p. 287): ‘L’apparent
scandale du présent des impies [thèse] et du présent du juste [antithèse]
trouve son explication ultime dans la perspective de l’avenir de l’un et de
l’autre [synthèse]’ (Girard, p. 293). Weber characterizes these sections as
3
According to Girard, ‘c’est ’ak qui joue le rôle le plus important dans la maxi-
structuration du triptyque’ (p. 287); see further Krašovec (note pp. 41–42), McCann,
[Hossfeld]/Zenger, Fokkelman (MPHB II, p. 195), Weber and Boadt in § 1.6; cf. also
Van der Ploeg (note p. 438) and Allen (1981), p. 101.
iii.1 psalms 73 303
‘Problem’, ‘Drehpunkt’ and ‘Lösung’. McCann, Fokkelman, Weber and

Boadt further point out that their second main section, vv. 13–17, is to be
taken as the rhetorical centre of the composition. This relatively small sec-
tion of 10 cola is supposed to be enveloped by much longer sections, which
in terms of the number of the cola are exactly equal (24 cola).4 However,
we are dealing here with a conspicuously eclectic use of the numerous ver-
bal recurrences and a poor description of the semantic relationships which
structure the composition as a whole.
Psalm 73 is indeed composed of three main parts, but in my opinion,
thematic and formal features suggest a different canto division: vv. 1–11,
12–22 and 23–28.5 Cantos I and II (vv. 1–11 and 12–22) are perfectly
balanced units, consisting of 11 verselines (which are all bicola) and 73
words each.6 All cantos are composed of uninterrupted series of 2-line
strophes. In Cantos I and II these series are preceded by a one-line strophe,
vv. 1 and 12 respectively. Canto III is a concluding ‘half-long’ canto.7
In terms of semantics, the first canto (vv. 1–11) is a coherent unit,
in which the supplicant expresses his astonishment about the prosperity
(Canticle I.1; vv. 1–7) and shameless boasting (Canticle I.2; vv. 8–11) of
the wicked. The one-line strophe v. 1 functions as a thematic introduction
to the main body of the first main section. The declaration that God
blesses the pure of heart is the springboard for the definition of the problem,
which immediately follows and starts with the transition markers w- + ’ny
(‘but I’) in v. 2a: the psalmist is astonished seeing the prosperity of the
wicked (vv. 2–3). From a structural point of view the opening verseline
(v. 1) is incorporated within Canticle I.1 by inclusion; see lbb (‘heart’) at
the end of vv. 1 and 7.8 The boasting of the wicked reaches its summit in
v. 11, where they proudly challenge the Most High. It is the concluding
verseline of Canto I.9 For the formal counterpart of the thematic division
4
For the supposed concentric structure of this psalm, see also Zenner, Condamin and
Tate in § 1.6.
5
A comparable division was already advocated by the founding father of strophic
investigation, F. Köster (1837); cf. further Böhl and Terrien in § 1.6. In the nineteenth
century, exegetes like Ley and Franz Delitzsch preferred to divide the psalm into two
regular parts, supposing a main caesura after v. 14; similarly Calès in the twentieth
century (for the major break after v. 14, cf. also De Wette and Ewald in § 1.6).
6
The eleven verselines are an alphabetizing aspect of our psalm; see Ch. I, 1.4.
This phenomenon strengthens its wisdom character; for this generic interprepation, note
Luyten (1979), and see further Allen (1981), pp. 111–12, Wendland (1998), p. 131, and
Boadt (2004), p. 540. For the 73 words, see § 1.5 above.
7
For the basic pattern 4.4.2 verselines, see Ch. IV, 2.4.3.
8
Cf. w’ny at the beginning of vv. 23 and 28, including Canto III.
9
Similarly Böhl and Jacquet; see § 1.6. Cf. also the concluding verseline of the first
canto of Psalm 94: wy’mrw l’ yr’h yh // wl’ ybyn ’lhy y‘qb (‘they say: “the Lord does
between Canticles I.1 and I.2, see § 1.4.2–3 (verbal recurrences; note lmw
and lkn in § 1.4.3).
Like Canto I, the second canto (vv. 12–22) starts with a statement
in the form of a one-line strophe functioning as a thematic introduction,
v. 12. The words hnh (‘behold’), rš‘ym (‘wicked’) and ‘wlm (‘eternity’), all
occuring in v. 12, perfectly fit the linear parallelism between the cantos
(see below). Therefore, the verseline is not the conclusion of the first main
part, as is currently supposed (see § 1.6), but—as the ‘Recapitulation der
bisherigen Betrachtung’ (Köster)—the starting point for the description of
the supplicant’s initial confusion, Canticle II.1 (vv. 12–16).10 Beginning
with the emphatic particle (transition marker) ’k (v. 13a) the psalmist
immediately ties in with the opening statement and describes his utter
disappointment regarding God’s just government (vv. 13–16). This means
that in terms of semantics, vv. 12–16 forms a coherent whole, Canticle II.1;
see also § 1.4.2 (linear verbal repetitions). The second part of Canto II
deals with the temporary character of the wicked’s prosperity and his final
downfall (Canticle II.2; vv. 17–22). There is an obvious causura between
vv. 16 and 17: after the confession of his poor knowledge (note the root yd‘ )
regarding God’s government (v. 16), the following verseline suddenly speaks
of the psalmist’s understanding (note the root byn; v. 17). Nevertheless, the
canticles form an inseparable unity on the basis of the renewed and refrain-
like confession of the psalmist’s ignorance in v. 22, which concludes Canticle
II.2. The root yd‘ (‘to know’) is a responsion marking the final verseline of
Canticles II.1 and II.2 (vv. 16 and 22; § 1.4.3). This responsion emphasizes
that the restless seeking for understanding God’s righteous government is
the main theme of the canto in question. The description of the wicked’s
downfall in Canticle II.2 contrasts sharply with his shameless boasting in
the face of God, portrayed in the parallel Canticle I.2.
With the confession of the psalmist’s ignorance in v. 22, the composition
has reached a relative conclusion. The 22 verselines of Cantos I and II
formally reinforce the relative completeness of the poem. Nevertheless, the
psalm is rounded off by a third—‘half-long’—canto (vv. 23–28), which has
not see it, // and the God of Jacob does not pay heed”’; Ps. 94,9). Psalm 94 is composed
of 23 verselines which are all bicola, except the concluding verseline (v. 23). Moreover,
the verselines constitute an almost uninterrupted series of 2-line strophes (only v. 7 is a
one-line strophe). All these phenomena point to a (formal) relationship between Psalms
73 and 94.
10
It is generally recognized that there are obvious thematic affinities with Psalms 37
and 49. In this respect, it is remarkable that the third canto of Psalm 49 (vv. 14–21)
also begins with a summarizing reference to the preceding canto (vv. 14–15); note zh
drkm ksl lmw // w’h.ryhm bpyhm yrs.w (‘such is the fate of those who are self-confident,
// and the end of those pleased with their own talk’; v. 14).
iii.1 psalms 73 305
all the characteristics of a coda. The canto immediately ties in with the
first morpheme of the final verseline of Canto II, w’ny (‘and I’; v. 22a).
This morpheme also marks its boundaries by inclusion (see w’ny at the
beginning of vv. 22 and 28), and underlines the individual and subjective
character of this main section. It is a hymn on the personal communion
between the psalmist and God, a ‘lyrical exultation of mystical originality’
(Terrien).11
The concluding strophe vv. 27–28, composed of a bicolon and a final
tricolon, constitutes a strong note, not only at the end of the third canto
but simultaneously at the end of the entire composition. It contrasts the
downfall of the godless and the psalmist’s experience of God’s nearness
(note the roots rh.q and qrb; see § 1.4.1).12 The coda-like character of the
third canto is reinforced by the conspicuous cluster of verbal recurrences
which features in vv. 17–22 and 23–28; see § 1.4.4. Moreover, it is only in
Canticle II.2 and Canto III that the the psalmist directly addresses God in
the second person.13
The patterns of the verbal recurrences on the level of the poem as a
whole show that the successive cantos are connected to each other by a lin-
early alternating parallelism: vv. 1–7.8–11|12–16.17–22|23–28 > a.b|a’.b’|a’’;
see § 1.4.4 and note rš‘ym (‘wicked’), the root ‘ml, (‘to tire oneself’), the
root ng‘ (‘to hit’), ‘yn (‘eye’), hnh (‘behold’), ‘wlm (‘eternity’), kl (‘all’),
the root spr (‘to count’) and ’ykh/’yk (‘how?’). Within Canto II the root
yd‘ (‘to know’) is a responsion marking the final verseline of Canticles II.1
and II.2 (vv. 16 and 22; see above). On the level of the macroframework of
the psalm, the same root constitutes a responsion in the concluding verse-
lines of Cantos I and II; see vv. 11 (note the repetition) and 22. In this
case, the godless bragging of the wicked speaking about God’s ignorance
(v. 11) sharply contrasts with the psalmist’s confession of his own igno-
rance (v. 22). The strategic positionings of the root ‘to know’ once more
highlight the wisdom character of the poem.14 The responsion coincides
with the semantic parallelism between Canticles I.2 and II.2 pointed out
above.
The morpheme w’ny (‘and I’) in vv. 2, 22, 23 and 28 is also strategi-
cally positioned. However, in this case its rhetorical function conspicuously
11
For the thematic aspect of such ‘half-long’ cantos, see also CAS I, Ch. V, 5.2.2.4
(pp. 517–18).
12
For the antithetic structure of these verselines, see also Krašovec, pp. 56–57.
13
For the structuring function of the change from the third to the second person, as
far as God is concerned, see also www.labuschagne.nl/ps073.pdf, Observation 2.
14
Cf. above, about the eleven verselines of Cantos I and II; see also the root byn (‘to
understand’) in v. 17b.
varies and depends on the perspective from which one is looking at the
macrostructure of the psalm: within Canto III w’ny is a device for inclu-
sion (vv. 23 and 28), at the interface of Cantos II and III it functions as a
concatenation (vv. 22 and 23) and on the level of the poem as a whole as
a responsion (vv. 2 and 23+28).15
For the perception of the macrostructure of this psalm it is further
of fundamental importance to recognize the strategic positioning of the
copula w- (‘and’) at the beginning of the verselines. This word is found at
the beginning of the concluding verselines of each canto; note vv. 11, 22
and 28.16 Within Canto II the copula at the beginning of vv. 16 and 22
supports the canticle division; and within Canticle II.1 it is a responsion
marking the last verseline of the 2-line strophes vv. 13–14 and 15–16.
The cantos consistently divide into 2-line strophes.17 In Cantos I and
II the uninterrupted sequence of this strophe form is preceded by a one-
line strophe, vv. 1 and 12 respectively.18 It must be conceded that this
regular structure is only sparsely supported by verbal recurrences within
the strophes; see § 1.4.1. The strophic structure is especially motivated by
a combination of formal (transition markers; see § 1.3.1–2) and thematic
features (see § 1.2).19 For the strophes vv. 4–5, 6–7, 8–9 and from 19–20
onwards, the thematic coherence of two successive verselines is undisputed.
The transition markers w- and ’ny at the beginning of v. 2 suggest that vv.
2–3 form another 2-line strophe. The exact meaning of v. 10 is uncertain,
but the preceding strophic regularity strongly suggests that the verseline
constitutes a semantic unity with v. 11. In addition, lkn (‘therefore’) in
v. 10a is a transition marker highlighting the beginning of a strophe (cf.
lkn in v. 6). The transition marker ’k (‘truly’) in v. 13a also indicates the
beginning of a strophe. There are no real objections to taking vv. 13–16
as two 2-line strophes. Although ’k in v. 18, as a transition marker, is
to be considered a contrary indication, ’yk in v. 19a positively marks the
beginning of a new strophe, vv. 19–20. All verselines are bicola, except the
concluding verseline, v. 23.
15
See also the varying function of the noun lbb (‘heart’) in §§ 1.4.2–4 and compare the
structuring function of the root zkr (‘to remenber’) in Psalm 74 (§§ 2.4.2–3).
16
For this phenomenon, see CAS I, Ch. V, 3.2.2.2 (p. 481); and note the framework
on the level of the canticles in the preceding composition, Psalm 72.
17
Similarly Köster (1837): ‘. . . , so zeigen sich hier ganz symmetrische Verhältnisse’
(pp. 216–27); see also Friedrich Delitzsch, Gunkel, Condamin, Böhl, Mowinckel, Jacquet,
Beaucamp and Irsigler in § 1.6.
18
Similarly Köster (1837); for the one-line strophe as a marker at the beginning of a
canto, see CAS I, Ch. V, 2.1.5 (pp. 451–52).
19
For the transition markers, cf. also Irsigler (1984), p. 292.
iii.1 psalms 73 307
the following verbal repetitions: šlwm (v. 3) > 72,3.7; h.ms (v. 6) > 72,14;
‘šq (v. 8) > 72,4; b’rs. (vv. 9.25) > 72,16; ‘wlm (vv. 12.26) > 72,17; kl hywm
(v. 14) > 72,15; tmyd (v. 23) > 72,15.
1.8 Bibliography
A. Caquot, ‘Le Psaume LXXIII’, Semitica 21 (1971), pp. 29–55;
M. Mannati, ‘Sur le quadruple avec toi de Psaume LXXIII, 21–26’, VT 21 (1971),
pp. 59–67;
A. Schmitt, Entrückung—Aufname—Himmelfahrt (FzB 10), Stuttgart: Verlag
Katholisches Bibelwerk, 1973, pp. 253–309;
J. Luyten, ‘Psalm 73 and Wisdom’, in M. Gilbert (ed.), La Sagesse de l’Ancien
Testament (BEThL 51), Leuven, 1979, pp. 59–81;
K.-J. Illman, ‘Till tolkningen av Psalm 73’, Svensk Exegetisk Årsbok 41–42 (1976–
77), pp. 120–29;
L.C. Allen, ‘Psalm 73: An Analysis’, Tyndale Bulletin 33 (1981), 93–118;
J.L. Crenshaw, A Whirlpool of Torment: Israelite Traditions of God as an Op-
pressive Presence, Philadelphia: Fortress Press, 1984, pp. 93–109;
H. Irsigler, Psalm 73—Monolog eines Weisen: Text, Programm, Struktur (ATS
20), St. Ottilien: Eos Verlag, 1984;
den: Brill, 1984, pp. 38–59;
J.C. McCann, Psalm 73: An Interpretation Emphasizing Rhetorical and Canon-
ical Criticism, Ph.D. Diss. Duke University, 1985;
—, ‘Psalm 73: A Microcosm of Old Testament Theology’, in K.G. Hoglund et
al. (eds.), The Listening Heart, FS R.E. Murphy (JSOTS 58), Sheffield, 1987,
pp. 247–57;
P. Auffret, ‘Et moi sans cesse avec toi. Étude structurelle du Psaume 73’, SJOT
9 (1995), pp. 241–76;
W. Brueggemann and P.D. Miller, ‘Psalm 73 as a Canonical Marker’, JSOT 72
(1997), pp. 45–56; now in P.D. Miller, Israelite Religion and Biblical Theology.
Collected Essays (JSOTS 267), Sheffield, 2000, pp. 298–309;
E. Wendland, ‘Introit “into the sanctuary of God” (Psalm 73:17): Entering the
theological “heart” of the psalm at the centre of the Psalter’, OTE 11 (1998),
pp. 128–53;
M. Witte, ‘Auf dem Weg in ein Leben nach dem Tod. Beobachtungen zur
Traditions- und Redaktionsgeschichte von Psalm 73,24–26’, ThZ 58 (2002), pp.
15–30;
L. Boadt CSP, ‘The Use of “Panels” in the Structure of Psalms 73–78’, CBQ 66
(2004), pp. 533–50.
2 Psalm 74
Structure: 9.8.6 > 3.2.2.2|3.3.2|2.2.2 lines (Type IB)
I 1 LMH ’LHYM znh.t LNS.H y‘šn ’pk bs.’n mr‘ytk

.
2 ZKR ‘dtk qnyt QDM g’lt šbt. nh.ltk hr .sywn zh šknt bw
3 hrymh p‘myk lmš’wt NS.H kl hr‘ ’WYB bqdš
.
4 š’gw S.RRYK bQRB mw‘dk śmw ’wttm ’twt
5 ywd‘ kmby’ lm‘lh bsbk ‘s. qrdmwt
6 w‘th ptwh.yh yh.d bkšyl wkylpt yhlmwn

7 šlh.w b’š mqdšk l’RS. h.llw mškn šmk
8 ’mrw blbm nynm yh.d śrpw kl mw‘dy ’l b’RS.

9 ’wttynw l’ r’ynw ’yn ‘wd nby’ wl’ ’tnw yd‘ ‘d mh
II 10 ‘d mty ’LHYM YH . RP .sr YN’S. ’WYB šmk LNS.H .

11 LMH tšyb ydk wymynk mQRB h.yqk klh
12 w’LHYM mlky mQDM p‘l yšw‘wt bQRB h’rs.
13 ’th pwrrt b‘zk ym šbrt r’šy tnynym ‘l hmym

14 ’th rs..st r’šy lwytn ttnnw m’kl l‘m ls.yym
15 ’th bq‘t m‘yn wnh.l ’th hwbšt nhrwt ’ytn
16 lk YWM ’p lk lylh ’th hkynwt m’wr wšmš

17 ’th hs.bt kl gbwlwt ’RS. qys. wh.rp ’th ys.rtm
III 18 ZKR z’t ’WYB H . RP yhwh w‘m nbl N’S.W šmk

19 ’l ttn lh.yt npš twrk h.yt ‘nyyk ’l tškh. LNS.H
.
20 hbt. lbryt ky ml’w mh.šky ’rs. n’wt h.ms
21 ’l yšb dk nklm ‘ny w’bywn yhllw šmk
22 qwmh ’LHYM rybh rybk ZKR h.rptk mny nbl kl hYWM

23 ’l tškh. qwl S.RRYK š’wn qmyk ‘lh tmyd
2.1 Text
Vv. 5–6a: meaning of Hebrew obscure; A. Robinson (ZAW 89 [1977], pp.
120–21) reads in v. 5b qr dmwt (‘Stadt der Verwüstungen’).
iii.2 psalm 74 309
V. 6a—w‘th: ‘and now’, so Q; K w‘t (‘and a time’).

V. 8a—nynm: MT ‘their offspring’; but we are probably dealing with a 1st pers.
plur. imperf. qal + object suffix of a root ynh* (‘oppress’; cf. BHS).
V. 11b—h.yqk : ‘your bosom’ so Q; K h.wkq (‘your decree’).
V. 11b—klh: ‘end’ (imperative) so MT (cf. Ps. 59,14); M.A. Zipor (VT 49
[1999], pp. 553–55) reads slh.
V. 14b—l‘m ls.yym: cf. Ps. 72,9.
V. 20: MT divides with ’atnah. after lbryt in v. 20a.
V. 22b—kl hywm: so MT, which is supported by § 2.4.3!; contra Fokkelman
(MPHB II, p. 201 n. 63), who deletes the words metri causa (cf. BHS).
2.2 Content
A prayer of the people for deliverance from their enemies.
I Description of the distress (introduced by a prayer).
O God, remember the people you rejected (vv. 1–3).
The enemies have destroyed your sanctuary (vv. 4–9).
II Praise of God as the creator who saves (introduced by a prayer).
O God, how long will the enemies blaspheme (vv. 10–11); never-
theless, I praise God (v. 12).
You have defeated the primeval chaos monsters (vv. 13–15).
You created day and night, summer and winter (vv. 16–17).
III Prayer for deliverance.
O God, remember that base people revile your name (vv. 18–19).
Look at the violence; do not disappoint the poor (vv. 20–21).
Rise, O God; remember that you are scoffed at all the time (vv.
22–23).

2.3.1.1 lmh, v. 1a imperative: zkr, v. 18a
vocative: ’lhym, v. 1a z’t, v. 18a
w- beginning of line, v. 6a vocative: yhwh, v. 18a
‘th, v. 6a imperative: hbt., v. 20a
mty, v. 10a; ext. // lmh in imperatives: qwmh . . .
v. 11a rybh, v. 22a
vocative: ’lhym, v. 10a vocative: ’lhym, v. 22a
’th, v. 13a; ext. // ’th in vv. imperative: zkr, v. 22b
14a, 15a+b
’th, v. 16b; ext. // ’th in 2.3.1.2 ns.h., v. 1a
v. 17a+b ns.h., v. 10b

2.3.2.1 ns.h., v. 3a 2.3.2.2 imperative: hrymh, v. 3a;
‘wd, v. 9b ext. // zkr in v. 2a
qdm, v. 12a mh, v. 9c
ns.h., v. 19b w- beginning of line, v. 12a
tmyd, v. 23b; extern. // kl ’l prohibitive, v. 23a; ext.
hywm in v. 22b // ’l prohib. in vv. 21a
and 19a+b

qdm, v. 2a
zh, v. 2c
’p, v. 16a

vv. 1–3: znh.t/zh šknt, vv. 1a and 2c resp. (alliter.)
prep. l-, vv. 1a (2×).3a (inclusion)
ns.h., vv. 1a.3a (inclusion; last word of the first colon)
}
y‘šn ’pk/p‘myk, vv. 1b and 3a resp. (alliter.)
chiasmus
vv. 8–9: ’mrw/’wttynw, vv. 8a and 9a resp. (alliter.; anaphora)
mw‘dy/‘wd . . . yd‘ ‘d mh, vv. 8b and 9b–c resp. (alliter.)
vv. 10–12: ‘d mty/lmh, vv. 10a and 11a resp. (anaphora)
’lhym, vv. 10a.12a (inclusion)
prep. l-, vv. 10b.11a
qrb, vv. 11b.12b
vv. 13–15: ’th, vv. 13a.14a.15a (anaphora); see also ’th in v. 15b
prr/rs..s, vv. 13a and 14a resp. (linear)
r’šy tnynym/r’šy lwytn, vv. 13b and 14a resp.; see also ’ytn
in v. 15b (alliter.)
tnynym/ttnnw, vv. 13b and 14b resp. (alliter.)
vv. 16–17: ’th, vv. 16b.17a+b
m’wr wšmš/qys. wh.rp, vv. 16b and 17b resp.
vv. 18–19: zkr/’l tškh., vv. 18a and 19b resp.
vv. 22–23: root qwm, vv. 22a.23b!
} chiasmus
zkr/’l tškh., vv. 22b and 23a resp.
kl hywm/tmyd, vv. 22b and 23b resp. (epiphora)
iii.2 psalm 74 311

vv. 1–9 (Canto I): lmh/‘d mh, vv. 1a and 9c resp. (inclusion)
’lhym/’l (‘God’), vv. 1a and 8b resp. (linear)
prep. l-, vv. 3a.5a.7b (linear); see also v. 1a (2×)
root škn, vv. 2c.7b!
prep. b-, vv. 1b+2c+3b.4a+5b.6b+7a.8a+b
(concatenation)
kl, vv. 3b.8b
root qdš, vv. 3b.7a! (linear); see also mškn, v. 7b
mw‘d, vv. 4a.8b (linear); see also ‘dh in v. 2a!
’wtt, vv. 4b (2×).9a!
root yd‘, vv. 5a.9c! (linear)
yh.d, vv. 6a.8a! (exactly linear)
šlh.w b’š/śrpw, vv. 7a and 8b resp. (concat.)
’rs., vv. 7b.8b (concatenation)
vv. 10–17 (Canto II): prep. b-, vv. 12b.13a (concatenation)

’rs., vv. 12b.17a (linear); see also ’th ys.rtm in
v. 17b (alliter.)
’th, vv. 13–17; note ’th // ’th in vv. 15 and 17!
(linear)
vv. 18–23 (Canto III): zkr (imperative), vv. 18a.22b (linear)

zkr/hbt./qwmh (imperatives), vv. 18a, 20a and
22a resp. (anaphora)
root h.rp, vv. 18a.22b (linear)
yhwh (vocative)/’lhym (vocative), vv. 18a and
22a resp. (linear)
nbl, vv. 18b.22b! (linear)
šmk, vv. 18b.21b
‘ny, vv. 19b.21b! (linear)
’l tškh., vv. 19b.23a! (linear); see also ’l prohib.
in vv. 19a and 21a! (exactly linear)
tškh./mh.šky, vv. 19b and 20b resp. (alliter.;
concatenation)
lns.h./tmyd, vv. 19b and 23b resp. (exactly linear)

vv. 1–5.10–12.18–21: lmh ’lhym/‘d mty ’lhym, vv. 1a and 10a resp.
(anaphora); see also lmh in v. 11a!; and
yhwh (vocative) in v. 18a (cf. Ps. 80,5.13)

lns.h., vv. 1a.10b.19b!; see also ns.h. in v. 3a!
zkr (imperative), vv. 2a.18a
qdm, vv. 2a.12a!
zh/z’t, vv. 2c and 18a resp.!
p‘myk lmš’wt/p‘l yšw‘wt, vv. 3a and 12b resp.
(alliter.)
’wyb, vv. 3b.10b.18a!
root .srr, vv. 4a.10a
qrb, vv. 4a.11b+12b!
root h.rp, vv. 10a.18a (linear)
root n’s., vv. 10b.18b! (linear)
šmk, vv. 10b.18b (linear); see also šmk in
v. 21b
root šwb, vv. 11a.21a!
vv. 6–9.16–17.20–23: ’rs., vv. 7b+8b.17a.20b

h.llw/hllw, vv. 7b and 21b resp. (alliter.)
kl, vv. 8b.17a.22b
ywm, vv. 16a.22b!
vv. 1–5.22–23, inclusion: ’lhym (vocative), vv. 1a.22a

zkr (imperative), vv. 2a.22b
hrymh/qwmh (imperatives), vv. 3a.22a resp.
roots nšh/š’h, vv. 3a and 23b resp.!
š’gw .srryk/qwl .srryk, vv. 4a and 23a resp.
root ‘lh, vv. 5a.23b!
vv. 6–9.10–12, concat.: ’rs., vv. 7b+8b.12b

šmk, vv. 7b.10b; see also mškn in v. 7b (allit.)
‘d mh/‘d mty, vv. 9c and 10a resp.!
vv. 16–17.18–19, concat.: root h.rp, vv. 17b.18a

prep. l- (v. 14 [2×].16 [2×].19 [2×].20), prep. mn (v. 22)

h.yt (v. 19 [2×]), suffix -k, root ntn (vv. 14.19), ‘m (‘people’; vv. 14.18)
iii.2 psalm 74 313

Psalm 74 has 10 strophes, 23 verselines and 48 (= 4×12) cola.1 The 23
verselines are an alphabetizing feature of the poem.2 V. 12 is the pivotal
verseline (> 11+1+11 lines). In a context in which God is consistently
addressed (v. 8b is an embedded speech by the enemies), v. 12 is the only
verseline in which God is explicitly spoken about in the third person. The
line has the characteristics of a hymn (see the participle p‘l [‘doing’]), and
is a terse and very personal praise of God who reveals himself on the earth
as a saviour; note mlky (‘my king’).3 Therefore, v. 12 can be considered
the rhetorical centre of the composition.4
25+18|19+16+18 = 74+66+53 (= 193 words in total). The central word is
h’rs. in v. 12b (> 96+1+96 words). Including the two words of the heading,
Smit Sibinga (NThT [1988], p. 195; see also VT [1988], p. 480 n. 9) takes
bqrb (‘in the midst of’) in v. 12b as the central word (> 97+1+97 words).5
God is 4× designated ’lhym: vv. 1, 10, 12 and 22; in v. 8 it is ’l. The
divine name, yhwh, occurs only in v. 18; on word level it is the pivot of
the verseline (> 4+1+4 words; Labuschagne).

Köster (1837): 1–2.3–6.7–8.9–11.12.13–15.16–17.18–21.22–23 (2.4.2.3.1.3.
2.4.2 verses)
De Wette (1856): 1–3.4–5.6–7.8–9|10–11.12–13.14–15.16–17|18–19.20–21.
22–23 (3.3×2|4×2|3×2 verses; ‘vielleicht’ [p. 401])
Ewald (1866), pp. 441–44: 1–9.10–17.18–23 (20.16.12 cola)
1
Fokkelman (MPHB II) has 49 cola because he takes v. 20 as a tricolon.
2
Sirach 51,13–30 is an alphabetic acrostic composed of 23 verselines. The poem
divides into three main sections consisting of 6, 8 and 9 verselines!; see P.W. Skehan,
‘The Acrostic Poem in Sirach 51:13–30’, HThR 64 (1971), pp. 387–400. For poems
consisting of 23 verselines in the book of Psalms, see further Pss. 38 (CAS I, Ch. III, 38
[note p. 385]), 50 (Ch. II, 8 above), 94 and 139; cf. also the 22 verselines of Cantos I–II
in Psalm 73.
3
The complaint of v. 9 is spoken by a group; for this feature, see § 2.7.
4
Similarly www.labuschagne.nl/ps074.pdf, Observation 1. Fokkelman (MPHB II,
p. 198) also underlines the pivotal positioning of v. 12; cf. further Boadt (2004) in § 2.6.
The 7 words of the verseline display a concentric arrangement; the participle p‘l is the
pivotal word and the three letters of this verb are flanked by 14 (= 2×7) letters at both
sides. For v. 12 as the rhetorical centre of Psalm 74, see also Ch. V, 5.
5
For a similar phenomenon, cf. Psalms 49 and 51; see further Ch. V, 4.1.1. However,
in Psalm 74 the word qrb also occurs in vv. 4 and 11. For a more profound investigation
into the numerical aspects in terms of word count, see www.labuschagne.nl/ps074.pdf,
Observations 3–4.
Ley (1875), pp. 207–08: 1–2.3–5.6–8.9–11.12–14.15–17.18–20.21–23

Delitzsch (1894): 1–3.4–8.9–11.12–14.15–17.18–20.21–23
Zenner (1906), pp. 254–57: 1–3.4–5|7–9.10–11||12–17||18–20|21–23 (3.2|3.2||
2.2.2||3|3 lines)
Briggs (1907): 1–2*.3b–4a+7.8–9|10–11.13+15.16–17|18–19.20–21.22–23
(4.4.4|4.4.4|4.4.4 cola)
Duhm (1922): 1–2a.2b*–3.4–5.6–7.8–9a+c.10–11.12–13.14–15.16–17.18–19.
20–21.22–23 (12×2 bicola); similarly Podechard (1949)
Gunkel (1926): 1–2b.2c–3*.4–5.6–7.8–9.10–11|12–13.14–15.16–17|18–19.
20–21.22–23 (‘regelmäßige Strophenbildung’)
Calès (1936): 1–3.4–6|7–9.10–11|12–14.15–17|18–20.21–23 (3.3|3.2|3.3|3.3
lines)
Herkenne (1936): 1–2b.2c–9.10–11.12–17.18–23
Lund (1942), pp. 112–14: 1–2.3–6.7–9.10–12|13–14.15–16.17–18.19.20–21.
22–23 (a.b.b’.a’|c.d.e.c’.d’.e’); cf. Alden (1976), p. 197
Böhl (1947): 1–2.3–5.6–8.9–11|12–14.15–17.18–20.21–23
Pannier/Renard (1950): 1–9.10–17.18–23* (‘strophes assez long’)
Kissane (1954): 1–5.6–11.12–17.18–23 (4×6 lines)
BHS (1969): 1–11.12–17.18–23; similarly [Hossfeld]/Zenger (2000)
NAB (1970): 1–11.12–23; cf. Böhl (1947)
Weiss (1972), pp. 96–106: 1–3 4–11.12–17.18–23
Van der Ploeg (1974): 1–3.4–8.9–11|12–17|18–23; cf. NAB (1970)
Jacquet (1977): 1–3.4–7.8–11*|12–14.15–17.18–20.21–23 (4.4|4×3 bicola);
cf. Böhl (1947) and Van der Ploeg (1974)
Kraus (1978): 1–2.3–8.9–11.12–17.18–23
Beaucamp (1979): 1–2b||3–4*.5–7|8–9.10–11||12–14.15–17||18–19.20–21||
22–23 (4||4.4|4.4||6.6||4.4||4 cola)
Sharrock (1981): 1 2–3.4–9.10–11.12–17.18–23 (v. 1 a.b.c.b’.a’)
Aletti/Trublet (1983), pp. 21–22: 1–11.12–17.18–23 (A.B.A’); cf. BHS
Auffret (1983): 1–2.3–11.12–17.18–23
Tate (1990): 1–3.4–9|10–11|12–17.18–23; cf. Sharrock (1981)
Neveu (1993), pp. 55–59: 1–3.4–8.9.10–11|12–17|18–19.20.21.22–23 (3.5.1.2|
6|2.1.1.2 bicola)
Girard (1994): 1–3.4a.4b|5–7.8.9||10–12.13a.13b.14.15.16–17||18–19.20.
21–23 (A.A’.A”)
Fokkelman (2000), pp. 198–202: 1–3.4–5|6–7.8–9.10–11||12–13.14–15.
16–17|18–19.20–21.22–23 (3.2|2.2.2||2.2.2|2.2.2 lines); cf. Calès (1936)
and Jacquet (1977)
Terrien (2003): 1–2.3–5.6–8|9–11.12–14.15–17|18–19.20–21.22–23 (2.3.3|
3×3|3×2 lines)
Weber (2003): 1–3.4–5|6–8.9–11||12–14.15–17|18–20.21–23
iii.2 psalm 74 315
Boadt (2004), pp. 540–41: 1–11*.12.13–23 (22.2.22 cola)

The programmatic investigations by Weiss (1972) and Van der Ploeg (1974)
have the structure of Psalm 74 as their main subject. In these inquiries they
make use of some verbal repetitions in support of their divisions of this po-
etic text.6 A comparison between both studies reveals that Van der Ploeg’s
inquiry into the rhetorical significance of the verbal repetitions is more pro-
found than that by Weiss. Nevertheless, neither has exhaustively exploited
this structural device. Especially, the numerous verbal correspondences be-
tween vv. 10 and 18 are totally left out of consideration. And assuming a
main caesura between vv. 11 and 12, they prove to be deeply influenced by
the form-critical approach, which they critically discuss.7
The verbal recurrences which abound in our psalm are functionally in-
tegrated in the division advocated by Girard (1994). According to him,
Psalm 74 is composed of three main parts, cantos, vv. 1–9, 10–17 and
18–23.8 It is generally recognized indeed that vv. 18–23 constitute a rela-
tively individual—concluding—main section. But ever since Gunkel, most
exegetes take vv. 12–17 as the second to the last main section, assuming
that there is a major break between vv. 11 and 12. Some consider the break
between these verselines the most important dividing line in the psalm.9
Girard (p. 307) rightly notes that the tripartite division vv. 1–9.10–
17.18–23 ‘permet au mieux de rendre compte des nombreux rapports de
mots tissés à l’intérieur du poème’. However, Girard also states that the
main sections form a ‘triptyque sans tranches de correspondances nettement
délimitées’ (italics are mine; PvdL). In his opinion, the exact positioning
of the caesurae between the main parts is chiefly based on the strong inner
coherence of vv. 1–9 and 18–23 (p. 308). That is to say, he fails to observe
the linearly alternating parallelism between the cantos.
In § 2.4.3 I demonstrate that the parallelism between the three cantos
in terms of verbal recurrences is displayed by the following scheme: vv. 1–5.
6
Note Weiss (1972), pp. 98–100, and Van der Ploeg (1974), pp. 208–10; for their
divisions, see § 2.6.
7
See Gunkel and Kraus in § 2.6; and cf. further C. Westermann, Lob und Klage in
den Psalmen, Göttingen, 1977, pp. 39–48.
8
In the nineteenth century, this division was already advocated by De Wette and
Ewald; see for the twentieth century also Briggs and Pannier/Renard in § 2.6! See
also my STR (1980); however, in this study I erroneously considered v. 1 a relatively
independent introductory unit, failing to take it as an integral part of the first canto.
9
So Böhl, NAB, Jacquet, Fokkelman, Weber and www.labuschagne.nl/ps074.pdf, Ob-
servation 2; cf. Lund in § 2.6.
6–9|10–12.13–15.16–17|18–21.20–23 > a.b|a’.c.b’|a’’.b’’. It is this consistent

alternating pattern which formally determines the breaks after vv. 9 and
17. The description of these verbal recurrences further shows that the
responsions mainly occur at the beginning of the cantos, vv. 1–3, 10–12 and
18–19. The repetition of lns.h. (‘for ever’) in vv. 1, 10 and 19 is especially
important because it occurs at the beginning of all three cantos; see also
ns.h. in v. 3.10 The same applies to the noun ’wyb (‘enemy’; vv. 3, 10 and
18). This rhetorical phenomenon has a semantic counterpart: the strophes
in question contain a lament (vv. 1 and 10–11a) and a prayer (vv. 2–3a, 11b
and 18–19). These features are to be taken as refrain-like devices opening
the successive main parts.
Girard mistakenly maintains that from a dramatic perspective there is
no true progression in the psalm because ‘les trois volets se situent au même
stade’ (p. 298). The subject matter of our psalm is very similar to that of
Psalm 44 (see Ch. II, 2). Like the present psalm, Psalm 44 is a communal
lament. A comparison between the overall structures of Psalms 74 and 44
shows that the first two main parts have changed places: praise of God’s
past actions > present distress (Ps. 44,3–9 and 10–17 respectively); present
distress > praise of God’s past actions (Ps. 74,1–9 and 10–17 respectively).
In both cases, the concluding canto is characterized by prayers; for Psalm
44, see v. 24.11
That is to say, the verbal repetitions in vv. 1–3 and 10–11 are not to
be taken as a device for inclusion marking the boundaries of the first main
part, as is often suggested.12 It also means that, from a rhetorical point
of view, the complaint in vv. 10–11 does not belong to the complaint for-
mulated in Canto I, but is to be considered a summarizing introduction to
the second canto.13 V. 12 has also an introductory function; it is an ex-
plicit hymn, praising God who delivers the earth (from the chaos forces).14
This theme is elaborated on in the following verselines, vv. 13–17; cf. the
description of the devastation of the sanctuary in v. 3b, which paves the
10
Cf. this consistent use of lns.h. with that of kl hywm (‘all day long’) at the end of
the three cantos of Psalm 71 (Chapt. II, 29)! In this context, it is worth noting that in
Psalm 74 kl hywm occurs at the end of Canto III (v. 22b).
11
For Pss. 44,5 and 74,12, see below.
12
Contra Van der Ploeg (p. 208), Aletti/Trublet, Fokkelman (MPHB II, p. 199), Weber
and others.
13
Cf. the summarizing function of Ps. 73,12, occurring at the beginning of Canto II.
14
There is a conspicuous similarity between this verseline and Ps. 44,5 (’th hw’ mlky
w’lhy // ms.wh yšw‘wt y‘qb); note mlky (‘my king’), ’lhym (‘God’) and yšw‘wt (‘deliver-
ances’)! Within the framework of the communal lament Psalm 44, v. 5 is the concluding
verseline of the first strophe of a canto in which we find a praise of God as liberator
in past events (vv. 3–9); cf. the positioning of Ps. 74,12. For the praise of God as a
concluding theme, see also Ps. 44,9 (b’lhym hllnw kl hywm // wšmk l‘wlm nwdh)!
iii.2 psalm 74 317
way for its elaboration in vv. 4–9. The verseline opens with w- adversa-
tive, emphasizing the strong tension between vv. 10–11 and 12. From a
semantic point of view, there is no coherence between vv. 10–11 and 12. In
terms of verbal recurrences, however, vv. 10–12 form a solid 3-line strophe;
see § 2.4.1. Vv. 13–17 formally divide into a 3-line and a 2-line strophe,
vv. 13–15 and 16–17; see ’th // ’th in vv. 15 and 17 (similarly Köster and
[Hossfeld]/Zenger, p. 359). I conclude that v. 12 is not the beginning of a
new main section, but the final verseline of the 3-line strophe vv. 10–12.
In its entirety, this strophe functions as the beginning of the second canto,
vv. 10–17.
The strophic structure of Canto I (vv. 1–9) is for an important part
based on a pattern of linear verbal repetitions; see § 2.4.2.15 In light of these
verbal recurrences, we may further assume that the successive strophes
display a linearly alternating pattern: vv. 1–3.4–5|6–7.8–9 > a.b|a’.b’; for
the a-strophes, note the positioning of the roots škn (‘to dwell’) and qdš (‘to
be holy’), for the b-strophes the positioning of mw‘d (‘meeting-place’), ’wtwt
(‘signs’) and the root yd‘ (‘to know’). In vv. 1–3 God is the grammatical
subject, in vv. 4–8 it is the enemies. The tricolon v. 9 is highlighted as the
concluding verseline of the canto, because only here it is the people which
are speaking in the first person plural; note ’wttynw (‘our signs), r’ynw (‘we
see’) and ’tnw (‘with us’).
Canto III is composed of three 2-line strophes, vv. 18–19, 20–21 and
22–23; see §§ 2.4.1–2. In terms of verbal repetitions, the first and the
third strophe form an elegant parallelismus stropharum; this parallelism
functions as an inclusion marking the boundaries of the third main part:
vv. 18–19.20–21.22–23 > a.b.a’.16
The quintessential thought of Psalm 74 is to be found in the first strophes
of the three cantos, vv. 1–3, 10–12 and 18–19; note the responsions on the
level of the poem as a whole. In each of these strophes we find a lament and
a prayer for deliverance. Especially the first strophe of Canto II (vv. 10–12)
is to be considered the high point of the whole psalm. In this strophe the
praise of God as king and cosmic saviour (v. 12) impressively counterpoints
the summary of the litany characterizing the first canto (vv. 10–11).17
15
For the strophic division vv. 1–3.4–5.6–7.8–9, see also De Wette and Fokkelman in
§ 2.6.
16
Similarly Van der Ploeg, Tate, Girard and Fokkelman; cf. De Wette, Briggs, Duhm,
Gunkel, Podechard and Terrien in § 2.6.
17
For v. 12 as rhetorical centre, see § 2.5!
There is an obvious formal relationship between Psalms 73 and 74. For

this relationship see, among other things, the following verbal repetitions:
lmš’wt (v. 3) > 73,18 (Delitzsch); mqdš (v. 7; see also qdš in v. 3) > 73,17;
’mrw (v. 8) >73,11 (introducing an embedded speech by the enemies; last
strophe of Canto I!); ’l (‘God’, v. 8) > 73,11.17; b’rs. (v. 8) > 73,9.25; ydk
wymynk (v. 11) > 73,23; root klh (v. 11) > 73,26; z’t (v. 18) > 73,16; h.ms
(v. 20) > 73,6; kl hywm (v. 22) > 73,14; tmyd (v. 23) > 73,23.
Both psalms use the divine name yhwh only once; in Psalm 74 the
Name occurs at the beginning of Canto III (v. 18) and in Psalm 73 at the
end of Canto III (v. 28). Both poems are composed of two (almost) regular
main cantos and are concluded by a canto of six verselines. In both cases
the borderlines of the poem are demarcated by the inclusion ’lhym (‘God’).
2.8 Bibliography
M. Weiss, ‘Die Methode der “Total-Interpretation”’, in Congress Volume Uppsala
1971 (SupplVT 22), Leiden: Brill, 1972, pp. 88–112;
J.P.M. van der Ploeg, ‘Psalm 74 and Its Structure’, in M.S.H.G. Heerma van Vos
et al. (eds.), Travels in the World of the Old Testament. FS M.A. Beek (SSN
16), Assen: Van Gorcum, 1974, pp. 204–10;
G.F. Sharrock, ‘Psalm 74: A Literary-Structural Analysis’, AUSS 21 (1981), pp.
211–23;
P. Auffret, ‘Essai sur la structure littéraire du Psaume LXXIV’, VT 33 (1983),
pp. 129–48;
—, ‘“Souviens-toi de ton assemblée!” Étude structurelle du Psaume 74’, FoOr
33 (1997), pp. 21–31;
A. Gelston, ‘A note on Psalm lxxiv 8’, VT 34 (1984), pp. 82–87;
C.T. Begg, ‘The covenantal dove in Psalm lxxiv 19–20’, VT 37 (1987), pp. 78–81;
R.K. Low, A theological understanding of Psalm 74 and 79 in light of rhetorical
and linguistic analysis, Ph.D. Golden Gate Baptist Theological Seminary, 1995;
B. Weber, ‘Zur Datierung der Asaph-Psalmen 74 und 79’, Biblica 81 (2000), pp.
521–32;
(2004), pp. 533–50;
II.15), Tübingen: Mohr Siebeck, 2006, pp. 206–26.
iii.3 psalm 75 319
3 Psalm 75
Structure: 5.6 > 1.2.2|2.2.2 lines (Type IB)
I 2 hwdynw lk ’lhym hwdynw wqrwb šmk sprw npl’wtyk
3 KY ’qh. mw‘d ’ny myšrym ’ŠPT

.
4 nmgym ’RS. wkl yšbyh ’nky tknty ‘mwdyh (slh)
5 ’mrty lhwllym ’l thlw wlRŠ‘YM ’l TRYMW QRN

6 ’l TRYMW lmrwm QRNkm tdbrw bs.w’r ‘tq
II 7 ky l’ mmws.’ wmm‘rb wl’ mmdbr hrym

8 ky ’lhym ŠPT zh yšpyl wzh yrym
.
9 KY kws byd yhwh wyyn h.mr ml’ msk
wygr mzh ’k šmryh yms.w yštw kl rš‘y ’RS.
10 w’ny ’gyd l‘lm ’zmrh l’lhy y‘qb

11 wkl QRNY RŠ‘YM ’gd‘ TRWMMNH QRNWT .sdyq
3.1 Text
V. 7b—hrym: infinitive construct hiph‘il from the root rwm; cf. v. 8b (similarly
Barthélemy [2005]: ‘relèvement’).
v. 9: MT divides with ‘ole weyored after mzh in v. 9c and with ’atnah. after yštw
in v. 9d.
v. 9c—mzh: ‘sweet wine’; so M. Dijkstra, ZAW 107 (1995), pp. 296–300.
3.2 Content
God is a righteous judge.
I Trust in God as a righteous judge (proclamation).
We praise you, O God (v. 2; introduction).
I am the righteous judge when the whole earth is about to dissolve
(vv. 3–4; oracle).
I say to the wicked: be not arrogant (vv. 5–6; warning).
II Trust in God as a righteous judge (reflection).
God will judge everyone (vv. 7–8).
All wicked people will be condemned by God (v. 9).
I sing praises to God because the wicked will perish and the
righteous live (vv. 10–11).

3.3.1.1 vocative: ’lhym, v. 2a ext. // w- in v. 11a
’ny, v. 3b ’ny, v. 10a
’mrty, v. 5a cohortative: ’zmrh, v. 10b
’l prohibitive, v. 5a+b; ext.
// ’l in v. 6a 3.3.1.2 none
w- beginning of line, v. 10a;

3.3.2.1 ’nky, v. 4b 3.3.2.2 none
slh, v. 4b
zh, v. 8b (2×)

’k, v. 9c
‘lm, v. 10a

vv. 3–4: mw‘d/‘mwdyh, vv. 3a and 4b resp. (alliter.)
’ny/’nky, vv. 3b and 4b resp. (exactly linear)
vv. 5–6: roots ’mr/dbr, vv. 5a and 6b resp.
} chiasmus
’l trymw + qrn, vv. 5b.6a; see also mrwm in v. 6a
prep. l-, vv. 5a+b.6a
vv. 7–8: ky, vv. 7a.8a (anaphora)
root rwm, vv. 7b.8b (epiphora); note hrym and yrym resp.
v. 9: kws byd yhwh/yms.w yštw, v. 9a and 9d resp.; cf. Isa. 51,17
vv. 10–11: w-, vv. 10a.11a (anaphora)
’gyd/’gd‘, vv. 10a and 11a resp. (alliter.)

vv. 7–11 (Canto II): ky, vv. 7a+8a.9a (concatenation)
mmws.’/yms.w, vv. 7a and 9d resp. (alliter.)
root rwm, vv. 7b+8b.11b (inclusion)
’lhym, vv. 8a.10a
’lhym/yhwh, vv. 8a and 9a resp. (concatenation)
iii.3 psalm 75 321
w- beginning of the line, vv. 9c.10a+11a (concat.)

kl + rš‘ym, vv. 9d.11a (linear)

The linear framework
vv. 2–4.7–9: ’lhym, vv. 2a.8a
ky, vv. 3a.7a+8a+9a
myšrym/šmryh, vv. 3b and 9c resp. (alliter.)
root špt., vv. 3b.8a!
’rs., vv. 4a.9d!
} chiasmus
kl yšbyh/kl rš‘y, vv. 4a and 9d resp.
vv. 5–6.10–11: ’mrty/’gyd . . . ’zmrh, vv. 5a and 10 resp.

rš‘ym, vv. 5b.11a
root rwm, vv. 5b+6a (2×).11b
qrn, vv. 5b+6a.11a+b!
tdbrw bs.w’r ‘tq/trwmmnh qrnwt .sdyq, vv. 6b and 11b
resp. (alliter.; epiphora)
The symmetric framework
vv. 2.10–11: ydh (hiph‘il)/zmr (pi‘el), vv. 2a–b and 10b resp.
}
spr (pi‘el)/ngd (hiph‘il), vv. 2c and 10a resp.
chiasmus
vv. 5–6.7–8: root rwm, vv. 5b–6a.7b+8b

tdbrw/mmdbr, vv. 6b and 7b resp. (alliter.)

prep. l-

’ny (vv. 3.10), prep. b- (vv. 6.9), root ydh (hiph‘il; v. 2 [2×]), roots yšr/s.dq
(vv. 3 and 11 resp.), suffix -k (v. 2 [3×]), l’ (v. 7 [2×]), prep. mn (v. 7 [3×])

5+1+5 lines) and v. 7a the pivotal colon (> 11+1+11 cola). According to
Labuschagne, the 7 words of v. 7 may be considered the meaningful core
of the psalm (www.labuschagne.nl/ps075.pdf, Observation 1).
Structure of strophes and cantos in terms of words: 8+13+15|14+17+13
= 36+44 (= 80 words in total).2
The divine name, yhwh, occurs only once: v. 9 (cf. Pss. 73 and 74);
the strophe in question has exactly 17 words. In vv. 2, 8 and 10 God is
designated ’lhym (3×).

Köster (1837): 2.3–5.6.7–9.10–11
De Wette (1856): 2.3–4.5–6.7–8.9–10.11 (1.4×2.1 verses; ‘vielleicht’)
Ewald (1866), pp. 142–45: 2–4.5–9.10–11
Ley (1875), pp. 143–44: 2.3–4.5–6.7–8.9.10–11; similarly Delitzsch (1894)
and TOB (1978); cf. Duhm (1922), Grimme (1902), p. 160, Mowinckel
Zenner (1906), pp. 307–10: 2+5–6.3+11+4|76,2–4.5–7||8–10+75,7||
75,9–10|76,11–13 (3.3|3.3||4||3|3 lines)
Gunkel (1926): 2|3–4|5–6.7–8.9.10–11 (‘Keine regelmäßige Strophenord-
nung’)
Kittel (1929): 2.3–6.7–9.10–11; similarly Dahood (1968), Van der Ploeg
(1971), Terrien (2003)
Calès (1936): 2|3–4.5–6.7–8.9|10–11 (1|2.2.2.2|2 lines)
Böhl (1947): 2.3–4.5–6|7–8.9.10–11
Podechard (1949): 2–4.5–6.7–8.9.10–11 (3.4×2 bicola)
Pannier/Renard (1950): 2*.3–4.5–6.7–8.9.10–11 (6×2 lines)
Kissane (1954): 2.3–5.6–8.9–10.11 (1.3.3.3.1 lines)
Ridderbos (1958): 2|3–4.5–6|7–8.9|10–11
NAB (1970): 2.3–9.10–11
Alden (1976), pp. 197–98: 2–3.4.5–6|7–8.9.10–11 (a.b.c|c’.b’.a’; a.b.c|a’.b’.c’)
Jacquet (1977): 2|3–4.5–6|7–8.9|10–11 (1|2.2|2.2|2 bicola); similarly Botha
(2002), pp. 321–25
Beaucamp (1979): 2*||3–4.5–6|7–8.9*||10–11 (2||4.4|4.4||4 cola)
Tate (1990): 2|3–4.5–6|7–8.9|10.11; cf. Kittel (1929)
1
Fokkelman (MPHB II) has 24 cola because he takes wygr mzh (v. 9c) as a separate
colon. The numbers 11 and 23 probably mean that we are dealing with an alphabetizing
composition; similarly Jensen (2001), p. 422 n. 19, and cf. also Psalm 74, § 2.5.
2
For a profound numerical investigation on word level, see further www.labuschagne.
nl/ps075.pdf, Observations 3–6.
iii.3 psalm 75 323
Girard (1994): 2–3.4–6|7–8.9–11 (a.b|a’.b’)

Auffret (1997): 2.3–4.5–6|7–8|9.10.11 (a.b.c|b’|c’.a’.b’’)
Fokkelman (2000), pp. 202–04: 2.3–4.5–6|7–8.9.10 (1.2.2|2.2.2 lines; a.b.c|c’.
b’.a’); similarly Weber (2003)
Hossfeld/[Zenger] (2000): 2.3–4.5–9.10–11
Jensen (2001), pp. 422–27: 2|3–4|5–6.7–8.9|10.11 (1.2.6.1.1 bicola)
Boadt (2004), pp. 541–43: 2.3–7.8–11 (v. 2 is followed by two ‘balanced
panels’)

The demarcation of strophes in Psalm 75 is not problematic. After a one-
line introductory praise, explicitly addressed to God and spoken by the
community of Israel, there is an uninterrupted series of 2-line strophes,
vv. 3–4, 5–6, 7–8, 9 and 10–11. This division is based on the thematic
individuality of the successive strophes (see § 3.2) and corroborated by
transition markers (see § 3.3). Verbal recurrences within two successive
verselines further strengthen the internal unity of the strophes; see § 3.4.1
and note ’ny/’nky (‘I’) in vv. 3–4 (anaphora at the beginning of the second
cola of the lines), ’l trymw (‘do not lift up’) + qrn (‘horn’) in vv. 5–6, ky
. . . hrym/ky . . . yrym in vv. 7–8 (anaphora and epiphora/rhyme).3
The larger framework of our psalm is much less obvious. From a se-
mantic point of view there is little coherence between groups of successive
strophes. In v. 2 we hear the voice of a community. Vv. 3–4 is an abrupt
speech by God (an oracle without introduction). Vv. 5–6 is probably a
speech by the psalmist (Hossfeld/[Zenger], p. 376). In vv. 7–10 the psalmist
speaks about God in the third person. It is generally assumed that in v. 11
God is speaking again. This sudden change of speaker is to be taken is a
device for closure, in this case marking the end of the psalm.4
The clustering of the words rš‘ym (‘wicked’), qrn (‘horn’) and the root
rwm (‘to be high’) in vv. 5–6 and 10–11, in my opinion, is to be interpreted
as a closing device at the end of a canto. This means that this poem is
composed of two almost regular cantos of five and six verselines respectively,
3
For the strophic structure of Psalm 75, see also § 3.6 where I show that we may
speak of some measure of consensus. That is to say, the strophic structure of Psalm 75
as a whole is similar to that of the individual main cantos of Psalm 73, vv. 1–11 and
12–22; see § 1 above.
4
Labuschagne takes v. 11 as words spoken by the psalmist and maintains that the
oracle is not confined to vv. 3–4, but comprises vv. 3–6. He argues that the 28 words of
vv. 3–6 are enveloped by 52 words (vv. 2 and 7–11), which twice represent the divine
name (www.labuschagne.nl/ps075.pdf, Observations 2–3).
vv. 2–6 and 7–11.5 The cluster of verbal repetitions at the end of the
cantos is in line with the linearly alternating pattern of verbal recurrences
determining the structure of the poem as a whole: vv. 2–4.5–6|7–9.10–11 >
a.b|a’.b’ (see § 3.4.3 and cf. Girard). Additionally, the first verseline of the
cantos is highlighted by repetitive internal parallelism; see hwdynw . . . -k in
v. 2 and l’ mm- in v. 7 (cf. § 3.4.4.2).6
From a semantic perspective, the framework of this composition shows a
symmetric pattern: vv. 2.3–4.5–6|7–8.9.10–11 > a.b.c|c’.b’.a’.7 The bound-
aries of the psalm are marked by inclusion (see the a-strophes): the com-
munal praise (or thanksgiving) opening the psalm (v. 2) corresponds to the
individual praise of the psalmist in the concluding strophe (v. 10). The
prophetic warnings in vv. 5–6 are motivated by vv. 7–8 (the c-strophes;
see also the concatenations described in § 3.4.3). In the pivotal strophes of
the cantos, vv. 3–4 and 9 (the b-strophes), we find the most explicit for-
mulation of the message of this composition. Vv. 3–4 is an oracle in which
God proclaims his universal power as a righteous judge; v. 9 is an explicit
description of God’s judgement the wicked will experience. The special
positioning of v. 9 within Canto II is reinforced by the occurrence of the
divine name in v. 9a and highlighted by the 17 words which constitute this
strophe (see § 3.5).8
the following verbal repetitions: šmk (v. 2) > 74,7.10.18.21; mw‘d (v. 3) >
74,4.8; root rwm (vv. 5–8.11) > 74,3.
3.8 Bibliography
P. Auffret, ‘C’est Dieu qui juge. Etude structurelle du psaume 75 ’, ZAW 109
(1997), pp. 385–94;
B. Gosse, ‘Les Psaumes 75–76 en rapport à la rédaction du Psautier et à celle
du livre d’Isaı̈e’, Bibbia e Oriente 40 (1998), pp. 219–28;
5
This canto division is supported by recent structural investigations; see Alden, Gi-
rard, Fokkelman and Weber in § 3.6 (cf. also Böhl).
6
There is a conspicuous (semantic) correspondence between Ps. 75,7–8 (the first stro-
phe of Canto II) and 1 Sam. 2,6–7 (the first strophe of the second canto of the Song of
Hannah, 1 Sam. 2,1–10):
yhwh mmyt wmh.yh mwryd š’wl wy‘l
yhwh mwryš wm‘šyr mšpyl ’p mrwmm
7
Cf. Alden, Fokkelman and Weber in § 3.6.
8
In light of the latter phenomenon, it is probably not by chance that the corresponding
central strophe of Canto I (vv. 3–4) has 13 words; 13 is the numerical value of the word
’h.d (‘One’; 1+8+4 = 13), a prominent characteristic of the God of Israel (see Deut. 6,4).
iii.3 psalm 75 325
M. Rösel, ‘Israels Psalmen in Ägypten? Papyrus Amherst 63 und die Psalmen

xx und lxxv’, VT 50 (2000), pp. 81–99;
J.E. Jensen, ‘Psalm 75: Its Poetic Context and Structure’, CBQ 63 (2001), pp.
416–29;
J.S. Kselman, ‘Janus Parallelism in Psalm 75:2’, JBL 121 (2002), pp. 531–32;
Ph.J. Botha, ‘“The honour of the righteous will be restored”: Psalm 75 in its
social context’, OTE 15 (2002), pp. 320–34;
(2004), pp. 533–50.
4 Psalm 76
I 2 nwd‘ byhwdh ’lhym byśr’l gdwl šmw

3 wyhy bšlm skw wm‘wntw bs.ywn
4 šmh šbr ršpy qšt mgn wh.rb wmlh.mh (slh)
5 n’wr ’th ’dyr mhrry .trp

6 ’štwllw ’byry lb nmw šntm wl’ ms.’w kl ’nšy h.yl ydyhm
7 mg‘rtk ’lhy y‘qb nrdm wrkb wsws
II 8 ’th nwr’ ’th wmy y‘md lpnyk m’z ’pk

9 mšmym hšm‘t dyn ’rs. yr’h wšqt.h
10 bqwm lmšpt. ’lhym lhwšy‘ kl ‘nwy ’rs. (slh)
11 ky h.mt ’dm twdk š’ryt h.mt th.gr

12 ndrw wšlmw lyhwh ’lhykm kl sbybyw ywbylw šy lmwr’
13 ybs.r rwh. ngydym nwr’ lmlky ’rs.
4.1 Text
V. 5–6: the original colometry of these verses is probably as follows:
n’wr ’th ’dyr mhrry .trp ’štwllw ’byry lb
nmw šntm wl’ ms.’w kl ’nšy h.yl ydyhm
V. 11: literally ‘for the rage of men will praise you // you gird on the residue of
raging’; J.A. Emerton (VT 24 [1974], pp. 136–46) reads: ‘surely thou dost
crush the wrath of man // thou dost restrain the remnant of wrath’.
4.2 Content
Hymn on God who defeats his enemies.
I God conquers his enemies in his abode.
God is a great warrior in his holy place (vv. 2–4).
In front of your resplendent power, O God, the mighty ones are
despoiled and their arms dismantled (vv. 5–7).
II God reigns all over the world.
O God, you will arise and come down from heaven to deliver all
the oppressed of the earth (vv. 8–10).
Even the fiercest of men shall praise you; bring tribute to the God
who inspires awe in the kings of the earth (vv. 11–13).
iii.4 psalm 76 327

4.3.1.1 ’th, v. 5a ’z, v. 8b
’th, v. 8a (2×)
my, v. 8b 4.3.1.2 none

4.3.2.1 slh, v. 4b 4.3.2.2 vocative: ’lhy y‘qb, v. 7a
slh, v. 10b

w- beginning of the line, v. 3a

vv. 2–4: prep. b-, vv. 2a+b.3a+b
gdwl šmw/bšlm/šmh šbr, vv. 2b, 3a and 4a resp. (alliter.)
suffix -w, vv. 2b.3a+b
vv. 5–7: prep. mn, vv. 5b.7a (inclusion)
nmw šntm (‘they slept their sleep’)/nrdm (‘slumbering’),
vv. 6a and 7b resp.
vv. 8–10: root yr’, vv. 8a.9b
prep. mn, vv. 8b.9a
mšmym hšm‘t/bqwm lmšpt. . . . lhwšy‘, vv. 9a and 10 resp.
(alliter.)
roots dyn/špt., vv. 9a and 10a resp.
’rs., vv. 9b.10b
vv. 11–13: ’lhykm/lmlky, vv. 12a and 13b resp. (alliter.)
} chiasmus
lmwr’/nwr’ l-, vv. 12b and 13b resp.
prep. l-, vv. 12a+b.13b

vv. 2–7 (Canto I): participle niph‘al: nwd‘/n’wr, vv. 2a and 5a resp.
(anaphora)
’lhym, vv. 2a.7a (inclusion)
yśr’l/y‘qb, vv. 2b and 7a resp. (inclusion)
weapons: ršpy qšt mgn wh.rb/wrkb wsws, vv. 4 and
7b resp. (linear)
wh.rb/wrkb, vv. 4b and 7b resp. (alliter.; linear)
vv. 8–13 (Canto II): nwr’, vv. 8a.13b (inclusion); see also mwr’ in
v. 12b and the root yr’ in v. 9b
suffix -k, vv. 8b (2×).11a (linear)
’p/h.mh, v. 8b.11a+b (linear)
’rs., vv. 9b+10b.13b! (epiphora); note kl ‘nwy
’rs./lmlky ’rs. in vv. 10b and 13b (alliter.)
prep. l-, vv. 10a+b.12a+b+13a
’lhym, vv. 10a.12a
kl, vv. 10b.12b

vv. 2–4.8–10: prep. b-, vv. 2–3.10a!

slh, vv. 4b.10b! (exactly linear)
vv. 5–7.11–13: kl ’nšy h.yl/kl sbybyw, vv. 6b and 12b resp.

’nwš/’dm, vv. 6b and 11a resp.
nrdm/ndrw, v. 7b and 12a (alliter.)
vv. 2–4.11–13: suffix -w, vv. 2–3.12b!

wyhy/yhwh (root hyh), vv. 3a and 12a resp. (alliter.)
šlm, vv. 3a.12a!
vv. 5–7.8–10: n’wr ’th/’th nwr’ ’th, vv. 5a and 8a resp.

mg‘rtk/-k m’z ’pk, vv. 7a and 8b resp. (concat.)

none

none
iii.4 psalm 76 329

Psalm 76 has 12 verselines and 24 cola.1
40+43 (= 83 words in total). V. 8a, ’th nwr’ ’th (‘you, awesome are you’),
is the centre of the psalm on word level: vv. 2–7.8a.8b–13 > 40+3+40
words! ‘The tersely phrased affirmation of God’s awesome character ex-
presses the central idea of the poem most eloquently and emphatically’
(www.labuschagne.nl/ps076.pdf, Observation 2). It is the rhetorical centre
of the psalm.2 The pivotal word of v. 8a, nwr’ (‘awesome’), is a ‘key-
word of paramount importance’ and enveloped by 41 words on both sides.
Labuschagne points out that the numerical value of nwr’ is exactly 41
(14+6+20+1 = 41).3
4× God is designated ’lhym: vv. 2, 7, 10 and 12. The divine name,
yhwh, occurs only once, v. 12.4

Saalschütz (1825), p. 118: 2–4.5–7.8–10.11–13 (4×3 verses; note p. 118);
similarly De Wette (1856), Duhm (1922), Calès (1936), Herkenne
(1936), Pannier/Renard (1950), Kissane (1954), Podechard (1954),
Mowinckel (1957), NAB (1970), Fokkelman (2000), pp. 204–06, Burger
(2002), pp. 44–56 (‘diachrone Ebene’), Terrien (2003)
Köster (1837): 2–4.5–7|8–10.11–13 (3.3|3.3 verses); similarly Ewald (1866),
pp. 140–42, Böhl (1947)
Sommer (1846), p. 67: 2–4.5–7.8–10.11–13; similarly Müller (1898), pp.
51–52, Montgomery (1945), p. 383
Delitzsch (1894): 2–4.5–7.8–10.11–13 (6.6.6.6 cola); similarly Grimme (1902),
p. 160, Gunkel (1926)
Jacquet (1977): 2–4.5–7*.8–10.11–13 (4×3 bicola); cf. Saalschütz (1825)
Kraus (1978): 2–3.4–10.11–13
Beaucamp (1979): 2–4.5–7|8–10.11–13 (6.6|6.6 cola [a.b|b’.a’]; vv. 2–7 ‘Vic-
toire passée’, vv. 8–13 ‘Perspectives d’avenir’); cf. Köster (1837) and
Beaucamp (1968), p. 211
Tate (1990): 2–4.5–10.11–13
Girard (1994): 2–3.4–7|8–10.11–13 (a.b|b’.a’); cf. Tate (1990)
1
Fokkelman discerns 25 cola, considering v. 6 a tricolon. However, taking into account
the Masoretic accentuation, v. 12 is more likely to be a tricolon; this verseline divides
with an ‘ole weyored after ’lhykm in v. 12a and with an ’atnah. after sbybyw in v. 12b.
2
For v. 8a as rhetorical centre, see also Ch. V, 2.5.
3
See further www.labuschagne.nl/ps076.pdf, Observation 1.
4
The same holds true for the preceding poems, Psalms 73, 74 and 75.
Auffret (1996): 2–4.5–6.7.8–12.13 (a.b.a’.c.b’)

Weber (2003): 2–4.5–7|8–10.11–13 (a.b|b’.a’); cf. Girard (1994)
Boadt (2004), pp. 543–44: 2–3.4–7.8.9–13

It is generally agreed that Psalm 76 is composed of four 3-line strophes,
vv. 2–4, 5–7, 8–10 and 11–13; see § 4.6. This strophic division is mainly
based on the semantic individuality of the successive strophes (§ 4.2) and
supported by some transition markers (§ 4.3.1–2). On this structural level,
verbal repetitions further strengthen the coherence between three succes-
sive verselines; see § 4.4.1. In addition, the strophic structure is more or
less reinforced by some shifts in the direction of address as far as God is
concerned. In the first strophe, vv. 2–4, the psalmist speaks about God in
the third person, while in vv. 5–7 (the second strophe) God is explicitly
addressed in the second person. From this perspective, vv. 8–10 and 11–13
form a parallelismus stropharum: in vv. 8–9a and 11 God is addressed in
the second person, while in vv. 9b–10 and 12–13 He is spoken about in the
third person.5
Two by two the strophes form a framework of two 6-line cantos, vv.
2–7 and 8–13. From a semantic point of view, the second canto widens the
perspective of Canto I. The first canto (vv. 2–7) is about God conquering
his adversaries within his own abode, Zion (v. 3) and the land of Israel (v. 2).
In the second canto the psalmist explicitly maintains that the whole earth
is involved when God comes down from heaven; see vv. 9b, 10b and 13b
(cf. also wmy y‘md lpnyk [‘and who withstands you’], v. 8b).6 In terms of
verbal recurrences, the boundaries of the cantos are marked by inclusion;
note ’lhym byśr’l/’lhy y‘qb (Canto I) and nwr’ (‘awesome’; Canto II) in
§ 4.4.2.
On the level of the psalm as a whole, there is a linearly alternating
pattern of ideas: 2–4.5–7|8–10.11–13 > a.b|a’.b’. The a-strophes focus on
God’s dwelling place, Zion and heaven respectively; in the b-strophes the
psalmist especially speaks about the effect of God’s power on earth: the
5
Psalms 46, 48 and 76 are often considered to be Songs of Zion. Note that the
structure of Psalm 46 and 48 is also dominated by the 3-line strophe: 3.3|1.3.1 verse-
lines (Psalm 46) and 3.3|3.3|3 verselines (Psalm 48); see further Burger (2002), pp.
76–79. The latter also applies to the following composition, Psalm 77. These observa-
tions militate against the view that vv. 9–10 are to be taken as a ‘spätere Erweiterung’
([Hossfeld]/Zenger, pp. 387–88, and Burger [2002], pp. 83–88).
6
In my opinon, there is no cogent reason to suppose that vv. 2–7 (Canto I) is about
a victory in the past and vv. 8–13 (Canto II) ‘en tirent les conséquences pout l’avenir’;
contra Beaucamp (p. 22) and [Hossfeld]/Zenger (p. 389).
iii.4 psalm 76 331
adversaries are defeated (vv. 5–7) and everybody brings tribute to God (vv.
11–13; see § 4.2). The semantic correspondence between the b-strophes is
buttressed by the equal number of 22 words which constitute these strophes;
see § 4.5.
The patterns of verbal repetition on the level of the psalm as a whole
show that alongside a linear correspondence between the cantos—as pointed
out above—there is also a symmetric parallelism: vv. 2–4.5–7|8–10.11–13 >
a.b|b’.a’ (§ 4.4.3). In my opinion, the linear parallelism between the cantos
is more powerful than the symmetric correspondence (contra Tate, Girard,
Fokkelman and Weber).
the following verbal repetitions: šmw (v. 2) > 75,2 (linear); ’lhy y‘qb (v. 7)
> 75,10; kl . . . ’rs. (v. 10) > 75,5; kl ‘nwy ’rs. (v. 10) > 75,9 (kl rš‘y ’rs.);
root špt. (v. 10) > 75,3.8; root ydh hiph‘il (v. 11) > 75,2 (2×).7
4.8 Bibliography
W.A.M. Beuken, ‘God’s Presence in Salem: A Study of Psalm 76’, in Loven en
geloven. FS N.H. Ridderbos, Amsterdam, 1975, pp. 135–50;
P. Auffret, ‘“Quand Dieu se lève pour le jugement.” Etude structurelle du
psaume 76’, BN 84 (1996), pp. 5–10;
B. Gosse, ‘Les Psaumes 75–76 en rapport à la rédaction du Psautier et à celle
du livre d’Isaı̈e’, Bibbia e Oriente 40 (1998), pp. 219–28;
B. Weber, ‘“In Salem wurde sein Versteck . . . ” Psalm 76 im Lichte literarischer
und historischer Kontexte neu gelesen’, BN 97 (1999), pp. 85–103;
M. Burger, Psalm 76. Zionslied und Asafpsalm, Zürich/Freiburg i.Br.: Pano
Verlag, 2002;
(2004), pp. 533–50.
7
See also P. Auffret, ‘C’est Dieu qui juge. Etude structurelle du psaume 75 ’, ZAW
109 (1997), pp. 385–94; note pp. 392–93.
5 Psalm 77
Structure: 6.6.8 > 3.3|3.3|3.3.2 lines (Type IB)
I 2 qwly ’l ’LHYM w’s.‘qh qwly ’l ’LHYM wh’zyn ’ly

3 bywm .srty ’DNY dršty ydy lylh ngrh wl’ tpwg m’nh hnh.m npšy
4 ’zkrh ’LHYM w’hmyh ’śyh.h wtt‘t.p rwh.y (slh)
5 ’h.zt šmrwt ‘yny np‘mty wl’ ’dbr

6 h.šbty ymym MQDM šnwt ‘wlmym
7 ’ZKRH ngynty blylh ‘m lbby ’ŚYH
.H wyh.pś rwh.y
II 8 hl‘wlmym yznh. ’DNY wl’ YSYP lrs.wt ‘wd

9 h’ps lns.h. h.sdw gmr ’mr ldr wdr
10 hškh. h.nwt ’L ’m qps. b’p rh.myw (slh)
11 w’mr h.lwty hy’ šnwt ymyn ‘lywn

12 ’ZKWR m‘lly yh ky ’ZKRH MQDM pl’k
13 whgyty bkl p‘lk wb‘lylwtyk ’ŚYH
.H
III 14 ’LHYM bqdš drkk my ’L gdwl k’LHYM

15 ’th h’L ‘śh pl’ hwd‘t b‘mym ‘zk
16 g’lt bzrw‘ ‘mk bny y‘qb wYWSP (slh)
17 r’wk mym ’lhym r’wk mym yh.ylw ’p yrgzw thmwt

18 zrmw mym ‘bwt qwl ntnw šh.qym ’p h..s.syk ythlkw
19 qwl r‘mk bglgl h’yrw brqym tbl rgzh wtr‘š h’rs.
20 bym drkk wšbylk bmym rbym w‘qbwtyk l’ nd‘w

21 nh.yt ks.’n ‘mk byd mšh w’hrn
5.1 Text
V. 5a—’h.zt: I read this verb as a participle qal (‘they are held’), because God
is not addressed in vv. 2–11 (cf. Gunkel and Seybold); MT reads a perfect,
2nd person sing. masc. qal (‘you held’).
V. 7a—’zkrh: first word of v. 7; so MT and exactly linear with ’zkrh in v. 4a
(§ 5.4.2). According to the Masoretic accentuation, the line is a tricolon
(‘olè weyored followed by an ’atnah., cf. v. 3 and see also CAS I, p. 524);
similarly Weber (1995, pp. 73–78) and Hossfeld/[Zenger] (contra Fokkel-
man, MPHB II, p. 209 n. 91, and Barthélemy [2005]; cf. BHS).
iii.5 psalm 77 333
V. 11: ‘and I say: this is my sorrow . . . ’; the verse is often considered a text-
critical crux; see Emerton, VT 44 (1994), pp. 183–94. Weber (1995, p. 95)
rightly notes: ‘Nicht eine Textverderbnis, sondern das Textverständnis ist
die crux ’.
V. 12a—’zkwr : so Q; K ’zkyr.
V. 20b—wšbylk : so Q; K wšbylyk.
5.2 Content
I will remember God’s great deeds from the past.
I Prayer of an individual and his personal distress (physical).
In my distress I call on God (vv. 2–4).
In the night I remember the past years of joy (vv. 5–7).
II Description of distress and preparation of a hymn (widening of the
perspective; rational considerations).
Can God remain angry for ever? (vv. 8–10; spoken about God).
I remember your former deeds of salvation (vv. 11–13).
III Hymn to God, who miraculously rescued his people from Egypt.
You delivered your people from their enemies (history; vv. 14–16).
The waters writhed for your thunder and lightning (theophany;
vv. 17–19).
You delivered your people by the hand of Moses and Aaron (his-
tory; vv. 20–21; cf. vv. 14–16, inclusion).

5.3.1.1 cohortative: w’s.‘qh, v. 2a 5.3.1.2 ‘wlm, v. 8a; ext. // ns.h. and
h- interrogative, v. 8a; ext. dr wdr in v. 9
// h- in vv. 9a and 10a ‘wd, v. 8b
w- beginning of line, v. 11a hy’, v. 11a
’mr 1st pers. sing. imperf., ’p, v. 17c; ext. // ’p in
v. 11a v. 18c
my, v. 14b

5.3.2.1 slh, v. 4b 5.3.2.2 cohortatives: ’zkrh . . .
slh, v. 10b w’hmyh, v. 4a
slh, v. 16b cohortative: ’śyh.h, v. 4b
cohortative: ’zkrh, v. 7a cohort.: ’śyh.h, v. 13b; ext.

cohortative: ’śyh.h, v. 7b // ’zkrh in v. 12b

qdm, vv. 6a qdm, v. 12b
‘wlm, v. 6b ’th, v. 15a

vv. 2–4: ’lhym, vv. 2a+b.4a (inclusion); cf. ’dny in v. 3a
w’s.‘qh/w’hmyh, vv. 2a and 4a (exactly linear; inclusion)
suffix -y, vv. 2b.3c.4b (epiphora)
vv. 8–10: h- interrogative, vv. 8a.9a.10a! (anaphora)
l‘wlmym/lns.h. . . . ldr wdr, vv. 8a and 9 resp.
yznh./lns.h., vv. 8a and 9a resp. (alliter.)
’dny/’l, vv. 8a and 10a (exactly linear; inclusion)
h.sdw/rh.myw, vv. 9a and 10b resp.
vv. 11–13: w-, vv. 11a.13a (beginning of the line; inclusion)
‘lywn/yh, vv. 11b.12a
’zkwr/hgyty, vv. 12a and 13a resp. (anaphora)
’zkrh/’śyh.h, vv. 12b and 13b resp.
m‘lly yh/‘lylwtyk, vv. 12a and 13b resp.
} chiasmus
pl’k/bkl p‘lk, vv. 12b and 13a resp. (alliter.)
vv. 14–16: prep. b- . . . suffix -k, vv. 14a.15b.16a
’l (‘God’), vv. 14b.15a; see also ’lhym in v. 14a+b
‘m (‘people’), vv. 15b.16a
vv. 17–19: mym, vv. 17a+b.18a
’p, vv. 17c.18c! (exactly linear)
root rgz, vv. 17c.19c! (inclusion)
qwl, vv. 18b.19a
h..s.syk/brqym, vv. 18c and 19b resp.

vv. 2–7 (Canto I): ywm, vv. 3a.6a! (linear)
lylh, vv. 3b.7a!
prep. b- + ywm/lylh, vv. 3a and 7a resp.
wl’, vv. 3b.5b
’zkrh, vv. 4a.7a (exactly linear)
iii.5 psalm 77 335
’śyh.h, vv. 4b.7b (linear)

rwh.y, vv. 4b.7c (epiphora)
vv. 8–13 (Canto II): hl‘wlmym/m‘lly yh . . . wb‘lylwtyk, vv. 8a and

12–13 resp. (alliter.)
root ’mr, vv. 9b.11a!
roots šh.k/zkr, vv. 10a and 12a+b resp.
’l/‘lywn, vv. 10a.11b (concat.); see also yh in
v. 12a
prep. b-, vv. 10b.13a+b (linear)
vv. 14–19 (Canto III): ’lhym vocative, vv. 14a.17a (linear); see also
’lhym in v. 14b
prep. b- . . . drkk, vv. 14a.20a! (linear); see also
wšbylk b- in v. 20b
prep. b- + suffix -k, vv. 14a+15b+16a.19a.20a+b
prep. k-, vv. 14b.21a! (inclusion)
root yd‘, vv. 15b.20c!
bzrw‘ ‘mk/r‘mk b-, vv. 16a and 19a resp. (alliter.;
linear)
‘mk, vv. 16a.21a! (exactly linear); see also ‘mym
in v. 15b!
bny y‘qb wywsp/byd mšh w’hrn, vv. 16b and 21b
resp. (exactly linear)
bny y‘qb/w‘qbwtyk, vv. 16b and 20c resp. (alliter.);
note also the root ‘qb
mym, vv. 17a+b+18a.20b! (linear)

vv. 2–4.8–10.14–16: ’lhym, vv. 2a+b+4a.14a+b
.srty/lrs.wt, vv. 3a and 8b resp. (alliter.)
’dny, vv. 3a.8a!
rwh.y/rh.myw, vv. 4b and 10b resp. (alliter.;
exactly linear)
ysyp/ywsp (root ysp), vv. 8b.16b!
’l (‘God’), vv. 10a.14b+15a!
vv. 5–7.11–13(.20–21): ymym/ymyn, vv. 6a and 11b resp. (alliter.)

mqdm, vv. 6a.12b! (linear)
šnwt (‘years’)/šnwt (‘change’), vv. 6b and 11b
resp.
‘wlmym/‘lywn, vv. 6b and 11b resp. (alliter.)

’zkrh, vv. 7a.12b; see also ’zkwr in v. 12a
ngynty/whgyty/nh.yt, vv. 7a, 13a and 21a resp.
(alliter.; exactly linear)
‘m lbby/wb‘lylwtyk, vv. 7b and 13b resp.
(alliter.; linear)
’śyh.h, vv. 7b.13b (exactly linear)
vv. 2–4.20–21, inclusion: yd, vv. 3b.21b!; cf. ymyn in v. 11a
vv. 5–7.8–10, concat.: ‘wlmym, vv. 6b.8a!
vv. 11–13.14–16, concat.: pl’, vv. 12b.15a!

prep. b- . . . suffix -k, vv. 13a+b.14–16!

prep. b- (v. 21), suffix -k, qwl (v. 2 [2×])

root r’h (v. 17 [2×])

Psalm 77 has 7 strophes, 20 verselines and 46 cola.1 Vv. 11–13 constitute
the central strophe (> 3+1+3 strophes and 20+6+20 cola); note also ‘lywn
and yh in vv. 11b and 12a resp. This strophe has a sound construction
(see § 5.4.1) and can be regarded as a meaningful centre: I appeal to your
marvellous deeds.2 V. 12 contains the central cola (> 22+2+22 cola) and
consists of 7 words. The line is characterized by repetition of the key word
zkr (‘to remember’) and enveloped by verselines beginning with w- (‘and’,
vv. 11 and 13); such lines do not feature elsewhere in the poem.3 Therefore,
v. 12 manifests itself as the consciously designed meaningful centre; see also
Ch. V, 2.1.2.
1
Fokkelman (MPHB II) also counts 7 strophes and 20 verselines; however, taking v. 7
as a bicolon he has 45 cola; cf. § 5.1 above.
2
Similarly www.labuschagne.nl/ps077.pdf, Observation 2; cf. also Weber, Terrien and
Boadt in § 5.6 below.
3
Note especially the root zkr in front position in v. 12a; this phenomenon matches the
position of the same root in the central colon of Psalm 78 (see wyzkrw ky ’lhym .swrm,
78,35a).
iii.5 psalm 77 337
Structure of strophes and cantos in terms of words: 27+19|21+18|20+27

+14 = 46+39+61 (= 146 = 2×73 words in total). The caesura between vv.
11 and 12 divides the poem into two equal halves in terms of verselines and
words: vv. 2–11.12–21 > 10+10 verselines and 73+73 words. I tentatively
suggest that this bipartite division coincides with the transition from the
words spoken about God (vv. 2–11) to the words addressed to God (vv.
12–21); cf. in this respect § 5.1 with regard to ’h.zt in v. 5a.
God is mostly called ’lhym, 6×: vv. 2 (2×), 4, 14 (2×) and 17; the
designation ’l is found 3×: vv. 10, 14 and 15. The divine name yh occurs
only in the central strophe (once), v. 12.4 Finally, in the central strophe
we also find the designation ‘lywn, v. 11.5 There are altogether 11 explicit
references to God.

Saalschütz (1825), p. 118: 2–4.5–7.8–10.11–13.14–16 (‘5 Strophen zu je 3
Versen’)
Saalschütz (1853), pp. 11–12: 2–4.5–7.8–10.11–13.14–16.17–19.20–21 (6×3.2
verses)
Köster (1837): 2–4.5–7.8–10.11–13.14–16|17–19.20–21 (vv. 2–16: 5×3 verses)
Sommer (1846), p. 67: 2–4.5–7.8–10.11–13.14–16.17–21 (slh ‘abwechselnd
am Schlusse der Strophen’)
Hävernick (1849), p. 42: 2–4.5–7.8–10.11–13.14–16.17–21 (5×3.5 verses);
similarly De Wette (1856)
Ewald (1866), pp. 356–60: 2–4.5–7.8–10.11–13|14–16.17–19.20–21 (7.7.6.6|6.
6[!].5 cola)
Delitzsch (1894): 2–4.5–10.11–16.17–20.21 (7.12.12.12.2 cola); cf. Grimme
(1902), p. 160, Van der Ploeg (1974)
Berkowicz (1903), pp. 239–41: 2|3–4.5–7|8–10.11–13||14–16.17–18.19–20.
21. . . (3|6.6|6.6||6.6.6. . . cola, ‘abgebrochen’ [with Duhm]; vv. 3–4.
5–7|8–10.11–13 > a.b|a’.b’ !)
Zenner (1906), pp. 196–98: 2–4.5–7|14–20|11–13.8–10 (3.3|6|3.3 lines)
Schlögl (1911/15?), pp. 115–17:
Duhm (1922): 2–4*.5–7.8–10.11–13.14–16.21* (6×3 bicola); 17.18.19.20
(4 tricola); cf. Mowinckel (1957)
Gunkel (1926): 2–3.4–7.8–10|11–13.14–16.17.18.19.20.21
Calès (1936): 2–4.5–7.8–10.11–13.14–16|17–18.19–20.21 (5×3|2.2.1 lines)
4
Cf. the preceding Psalms 73, 74, 75 and 76, where the divine name similarly occurs
only once!
5
For the pivotal position of this title in the numerical framework of the psalm, see
www.labuschagne.nl/ps077.pdf, Observations 3–4.
Herkenne (1936): 2|3–5.6–10|11–13.14–21

Lund (1942), pp. 115–16: 2–3.4–7.8–10.11–13|14–16.17–18a.18b–19b.
19c–21 (a.b.a’.b’|c.d.d’.c’; vv. 2–13.14–21 > A.A’)
Böhl (1947): 2–3.4–5.6–7.8–10|11–13.14–16|17.18.19.20.21
Pannier/Renard (1950): 2–5.6–10.11–16|17–21
Kissane (1954): 2–6.7–11.12–16.17–21 (4×5 lines)
Podechard (1954): 2–3a.3b–7.8–10.11–13.14–16|17–20|21 (‘Les strophes . . .
sont inégales’)
J. Ridderbos (1958): 2–5.6–11|12–16.17.18.19.20.21
Dahood (1968): 2–13.14–21; similarly NAB (1970)
Beaucamp (1979): 2|||3–4.5–7|8–10.11–13|||14–15||16|17.18.19.20|21 (2|||6.
6|6.6|||4||2|4×3|2 cola)
Jacquet (1977): 2a+3–4.5–7.8–10|11–13.14–16|17–18.19–20|21 (3×3 bicola|
2×3 bicola|2×2 tricola|1 bicolon)
Kraus (1978): 2–7.8–11|12–16.17–21
Aletti/Trublet (1983), pp. 81–82: 2–3.4–6.7–11|12–21
Kselman (1983): . . . |9–10.11.12–14.15–16.17–21 (. . . |a.b.c.b’.a’)
Tate (1990): 2–5.6–11.12–16.17–21; cf. Kselman (1983)
Girard (1994): 2–4a.4b–5|6–7b*.7b*–11|12.13–21 (a.b|a’.b’|a”.b”)
Van der Meer (1994): 2–4.5–7.8–10|11–13.14–16.20–21 (vv. 17–19 consti-
tute a later insertion; cf. Psalm 18 and Hab. 3)
Weber (1995): 2–4.5–7.8–10|11–13|14–16.17–19.20–21; sim. Weber (2003)
Fokkelman (2000), pp. 206–10: 2–4.5–7|8–10.11–13|14–16.17–19.20–21 (3.3|
3.3|3.3.2 lines; a.b|c.b’|d.e.d’)
Hossfeld/[Zenger] (2000): 2–4.5–7.8–10.11–13.14–16.21 (‘fünfstrophiges
Gebet’; vv. 17–20 cosmological insertion); cf. Van der Meer (1994)
Terrien (2003): 2–4.5–7.8–10|11–13|14–16.17–18.19–21 (a.b.c|d|c’.b’.a’)
Boadt (2004), pp. 544–46: 2–4.5–10|11–13|14–16.17–21 (a.b|c|b’.a’)
Auffret (2005): 2–3.4–7.8–11.12–13|14–15a.15b–16.17–20b.20c–21 (a.b.c.d|
d’.c’.b’.a’)

Psalm 77 is almost entirely composed of 3-line strophes; only vv. 20–21
repesent a strophe of two verselines. From a formal perspective, this regu-
larity is firmly embedded in the fabric of the text itself. The verbal repe-
titions described in § 5.4.1 (see especially h- interrogative and the root rgz
[‘to quake’]) emphasize their internal coherence. In addition, the linear cor-
respondences listed in § 5.4.2 further enhance the strophic regularity in vv.
2–7 and 14–21; see ywm (‘day’), ’zkrh (‘I call to mind’), ’śyh.h (‘I ponder’),
iii.5 psalm 77 339
rwh.y (‘my spirit’), ’lhym (‘O God’), ‘mk (‘your people’) and mym (‘wa-
ters’) etc. Finally, the transition markers clearly contribute to the strophic
framework; note h- interrogative, w-, ’mr, ’lhym vocative in § 5.3.1.1 and slh
in § 5.3.2.1.6 Already from Saalschütz onwards, this regular structure was
generally recognized in the nineteenth century, later also by Calès. In the
twentieth century, however, it was not very popular. In 1980, I once again
called attention to the regular strophic framework of this poem (see my
STR, pp. 324–29). From that time onwards, recent investigations have also
generally recognized it; see in the first place the monograph on Psalm 77
by Beat Weber (1995), then Van der Meer, Fokkelman, Hossfeld/[Zenger]
and Terrien (§ 5.6 above).7
From a form-critical perspective, the divisions concerned cannot pass, as
it seems. The authority of Gunkel already harmed the idea of the strophic
regularity of this psalm; according to him v. 4 belongs to vv. 5–7. And from
Gunkel onwards most exegetes did not show much interest in its strophic
framework. However, a new consensus did not emerge; see Herkenne, Pan-
nier/Renard, J. Ridderbos and Kraus in § 5.6. Therefore, in this case, a
purely form-critical approach cannot attain unambiguous results.
The same applies to the division of the psalm into main units (cantos).
It is often supposed—following Gunkel—that our psalm shows a major
break after v. 10 or v. 11.8 According to this view, in vv. 2–10 we find
the prayer of an individual and in vv. 12–21 a retrospective of God’s deeds
of old. Doubts remain with regard to the right place of v. 11 (see Kraus,
p. 695). However, the regular strophic structure of Psalm 77 makes it clear
that v. 11 belongs to vv. 12–13 to form a 3-line strophe.
Next, the pattern of the verbal repetitions on the macrostructural level
reveals a linear parallelism between vv. 2–7, 8–13 and 14–21 (§ 5.4.3). This
parallelism especially comes to light in vv. 2–4, 8–10 and 14–16. This means
that our psalm divides into three cantos, the first two of them displaying an
equal number of verselines. Berkowicz (1903, p. 241) already pointed out
the parallelism between vv. 3–7 and 8–13; cf. Lund, Dahood, Beaucamp and
Fokkelman with regard to the caesura after v. 13 (see § 5.6).9 In addition,
the strophes vv. 5–7 and 11–13 also constitute an obvious correspondence
6
As is the case in Psalm 76, slh only occurs at the end of the first 3-line strophe of
the cantos!
7
The linear patterns of verbal recurrences unambiguously show that vv. 17–19/20
form an integral part of vv. 14–21 (see § 5.4.2 and further Weber [2006], especially pp.
267–69); contra Van der Meer (1994) and Hossfeld/[Zenger].
8
See Herkenne, J. Ridderbos, Kraus, Girard, Van der Meer, Weber and Terrien in
§ 5.6.
9
Lund (1942) observes that v. 13 is the only line with a symmetric structure (he calls
it a ‘chiastic couplet’, p. 116) and therefore concludes a main part!
from a thematic point of view: the supplicant remembers the blessed days
of the past (see § 5.2).10
In the first canto, the attention is totally focussed on the personal dis-
tress of the supplicant. The unit is dominated by physical elements: voice
(v. 2), hand (v. 3), eye (v. 5) and heart (v. 7). In Canto II this individual
aspect is absent and we may surmise a broader perspective, the distress
(and salvation) of the community. The unit is dominated by rational con-
siderations about God’s behaviour. In Canto III it explicitly comes to light
that the whole people of Israel is the main subject of the composition; note
‘mk (‘your people’) in vv. 16 and 21.11
Having established the basic framework of the cantos, it appears that
the second and third verseline of the strophe vv. 11–13, where the supplicant
refers to God’s wondrous deeds, form a thematic preparation for the hymn
in the third canto. Until the end of the second millennium, this view of the
macrostructure of Psalm 77 did not get support from other investigations,
but it now comes from Fokkelman (§ 5.6).12
The quintessential thought of Psalm 77 is especially to be found in the
central cola, v. 12: I remember God’s wonders of old (see § 5.5).13
the following verbal repetitions:14 rwh. (vv. 4.7) > 76,13; šnwt (vv. 6.11)
> 76,6 (šntm); lbb (v. 7) > 76,6; ’p (v. 10) > 76,8; my (v. 14; beginning
canto) > 76,8 (beginning canto); ’l gdwl (v. 14) > 76,2 (byśr’l gdwl); ’th
(v. 15) > 76,5.8 (2×); y‘qb (v. 16) > 76,6; ’wr (v. 19) > 76,5; ’rs. (v. 19) >
76,9.10.13; nd‘w (v. 20) > 76,2 (nwd‘) (inclusion).
10
Weber, Terrien and Boadt underestimate the correspondences concerned when they
take vv. 11–13 as a pivotal canto, flanked by vv. 2–10 and 14–21.
11
About the development of thought in Canto I–II, see also Fokkelman, MPHB II, pp.
209–10, regarding the verb ’śyh.h.
12
In STR (1980) I supposed that we are dealing with three 6-line cantos, which are
concluded by a relatively independent unit of two verselines, vv. 20–21. Now I follow
Fokkelman (MPHB II), assuming that the strophe vv. 20–21 forms an inclusion with
vv. 14–16, marking the boundaries of the third canto (see § 5.6); for a similar pattern,
cf. Canto III of Psalm 74! For an appropriate description of the structure of Canto III
(vv. 14–21), see also Girard (1994), pp. 340–41. Strangely enough, the real pattern of
verbal recurrences characterizing vv. 14–21 escaped the attention of Weber (1995), pp.
177–78. Following Aletti/Trublet (p. 81), he takes vv. 16–21 as a symmetric section:
vv. 16.17.18|19.20.21 > a.b.c|c’b’.a’; see now also Weber (2006), p. 268.
13
Contra Tate, who finds the main theme in vv. 8–10.
14
Cf. Weber (1995), pp. 285–86.
iii.5 psalm 77 341
5.8 Bibliography
D. Michel, Tempora und Satzstellung in den Psalmen (Abhandlungen zur evan-
gelischen Theologie 1), Bonn: H. Bouvier u. Co. Verlag, 1960, pp. 99–107;
H.G. Jefferson, ‘Psalm LXXVII’, VT 13 (1963), pp. 87–91;
J.S. Kselman, ‘Psalm 77 and the Book of Exodus’, JANES 15 (1983), pp. 51–58;
P. Auffret, ‘La droite du Très-Haut. Étude structurelle du Psaume 77’, SJOT 6
(1992), pp. 92–122;
W. van der Meer, ‘Psalm 77,17–19: Hymnisches Fragment oder Aktualisierung?’,
EThL 70 (1994), pp. 105–11;
B. Weber, Psalm 77 und sein Umfeld. Eine poetologische Studie (BBB 103),
Weinheim: Beltz Athenäum Verlag, 1995;
M. Weiss, ‘“And I will tell of all your work.” Faith and belief in Psalm 77’, in
M.V. Fox, V.A. Hurowitz et al. (eds.), Texts, Tempels and Traditions. A Tribute
to Menahem Haran, Winona Lake: Eisenbrauns, 1996, pp. 47*–58*;
R. Mosis, ‘Reden und Schweigen. Psalm 77 und das Geschäft der Theologie’,
TThZ 108 (1999), pp. 85–107;
(2004), pp. 533–50;
P. Auffret, ‘“Toi le Dieu faisant merveille.” Etude structurelle du Psaume 77’,
Bibbia e Oriente 47 (2005), pp. 123–38;
B. Weber, ‘“Es sahen dich die Wasser—sie bebten . . . ” (Ps 77:17b). Die Funk-
tion mytho-poetischer Sprache im Kontext von Psalm 77’, OTE 19/1 (2006), pp.
261–280.
6 Psalm 78
Structure: 11.33.33 > 11|15.18|16.17 > 11||8.7|9.9||9.7|9.8 > 2.3.3.3|||3.3.2|
3.2.2||3.3.3|2.2.2.3|||2.3.2.2|3.2.2||3.3.3|2.3.3 lines (Type IIA)
I 1 h’zynh ‘my twrty ht.w ’znkm l’mry PY

2 ’PTH . H bmšl PY ’by‘h h.ydwt mny QDM
3 ’šr šm‘nw wnd‘m w ’bwtynw sprw lnw

4 l’ nkh.d mbnyhm l dwr ’h.rwn msprym
thlwt yhwh w ‘ZWZW WNPL’WTYW ’ŠR ‘ŚH
5 wyqm ‘dwt BY‘QB w twrh śm BYŚR’L

’šr .swh ’t ’bwtynw lhwdy‘m l bnyhm [l bnyhm
6 lm‘n yd‘w dwr ’h.rwn bnym ywldw yqmw w ysprw
7 wyśymw b’lhym kslm WL’ YŠKH . W m‘lly ’l wms.wtyw yns.rw

8 WL’ yhyw K’BWTM dwr swrr wmrh
dwr L’ HKYN LBW WL’ N’MNH ’t ’l RWH .w
II.1.1 9 bny ’PRYM nwšqy RWMY QŠT HPKW bywm QRB

10 L’ ŠMRW BRYT ’lhym wbtwrtw m’nw lLKT
11 wYŠKH . W ‘lylwtyw WNPL’WTYW ’ŠR hr’m
12 ngd ’BWTM ‘ŚH PL’ B’rs. MS.RYM ŚDH S.‘N

13 bq‘ ym wy‘byrm wys.b mym kmw nd
14 wynh.m b‘nn ywmm wkl hlylh b’wr ’š
15 ybq‘ .srym BMDBR wyšq kthmwt RBH

16 wyws.’ NWZLYM msl‘ wywrd knhrwt mym
II.1.2 17 w YWSYPW ‘WD lH.T

. ’ lw lmrwt ‘LYWN bs.yh
18 wynsw ’l bLBBM lš’l ’kl l NPŠM
19 wydbrw b’lhym ’mrw hywkl ’l l‘rk šlh.n BMDBR
20 hn hkh .swr wyzwbw mym wnh.lym yšt.pw

hgm LH. M ywkl tt ’m ykyn Š’R l ‘MW
21 lkn ŠM‘ yhwh WYT‘BR w’š nśqh BY‘QB wgm ’P ‘LH BYŚR’L
22 ky L’ H’MYNW B ’lhym WL’ BT .H. W byšw‘tw
iii.6 psalm 78 343
II.2.1 23 wys.w šh.qym mm‘l wdlty šmym PTH .

24 wymt.r ‘lyhm mn l’kl wdgn šmym NTN LMW
25 LH
. M ’byrym ’kl ’yš .sydh šlh. lhm l śb‘
26 ys‘ QDYM b šmym wynhg b‘ZW tymn
27 wymt.r ‘lyhm k‘pr Š’R wkh.wl ymym ‘wp knp
28 w YPL bQRB mh.nhw sbyb l MŠKNTYw
29 wy’klw w yśb‘w M’D wt’wtm yb’ lhm

30 l’ zrw mt’wtm ‘wd ’klm bPYhm [hkry‘
31 w’P ’lhym ‘LH Bhm wyhrg bmšmnyhm w BH WRY Y ŚR’L
.
II.2.2 32 bkl z’t H

.T. ’W ‘WD WL’ H’MYNW B NPL’WTYW
33 wykl bhbl ymyhm wšnwtm bbhlh
34 ’m hrgm wdršwhw wšbw wšh.rw ’l

35 wyzkrw ky ’lhym .swrm w’l ‘LYWN g’lm
36 wyptwhw bPYhm wblšwnm ykzbw lw

37 w LBM L’ NKWN ‘mw WL’ N’MNW BBRYTw
38 whw’ rh.wm ykpr ‘wn WL’ yšh.yt

wHRBH lhšyb ’PW WL’ y‘yr kl h.mtw
39 wyzkr ky bśr hmh RWH. HWLK WL’ yšwb
III.1.1 40 kmh YMRWhw BMDBR y‘s.ybwhw byšymwn

41 wyšwbw WYNSW ’l wqdwš YŚR’L htww
42 l’ zkrw ’t YDw ywm ’šr pdm mny S.R

43 ’šr śm BMS.RYM ’twtyw wmwptyw BŚDH S.‘N
44 wYHPK ldm y’ryhm w NZLYhm bl yštywn
45 yšlh. bhm ‘rb wY’KLm ws.prd‘ wtšh.ytm

46 WYTN Lh.syl ybwlm wygy‘m l’rbh
47 yhrg bbrd gpnm wšqmwtm bh.nml

48 WYSGR Lbrd b‘yrm w mqnyhm Lršpym
III.1.2 49 yšlh. bm h.rwn ’PW ‘brh wz‘m wS.RH mšlh.t ml’ky r‘ym
50 ypls ntyb l ’PW l’ h.śk mmwt NPŠM wh.ytm ldbr hsgyr
51 WYK kl bkwr BMS.RYM r’šyt ’wnym B’HLY h.m
52 wys‘ kS.’N ‘MW wynhgm k‘dr BMDBR

53 wynh.m l BT .H
. WL’ ph.dw w’t ’wybyhm ksh hym
54 wYBY’m ’l gbwl QDŠW HR zh qnth ymynw [ŠBT

. Y YŚR’L
55 wygrš mpnyhm gwym wypylm bh.bl NH
. LH wyškn B’HLYhm
III.2.1 56 WYNSW wYMRW ’t ’lhym ‘lywn w‘dwtyw L’ ŠMRW

57 wysgw wybgdw K’BWTM NHPKW KQŠT RMYH
58 wyk‘yswhw bbmwtm wbpsylyhm yqny’whw
59 ŠM‘ ’lhym WYT‘BR wym’s M’D bYŚR’L

60 wyt.š MŠKN šlw ’hl ŠKN b’dm
61 WYTN Lšby ‘ZW wtp’rtw bYD S.R
62 WYSGR Lh.rb ‘mw wbnh.ltw HT‘BR

63 BH. WRYw ’KLH ’š wbtwltyw l’ hwllw
64 khnyw bh.rb NPLW w’lmntyw l’ tbkynh
III.2.2 65 wyqs. kyšn ’dny kgbwr mtrwnn myyn

66 WYK S.RYw ’h.wr h.rpt ‘wlm NTN LMW
67 wym’s B’HL YWSP wbŠBT . ’PRYM l’ bh.r

68 wybh.r ’t ŠBT
. yhwdh ’t HR .sywn ’šr ’hb
69 wybn kmw rmym MQDŠW k’rs. ysdh l ‘wlm
70 wybh.r bdwd ‘bdw wyqh.hw mmkl’t S.’N

71 m’h.r ‘lwt HBY’W lr‘wt BY‘QB ‘MW w BYŚR’L NH
. LTw
72 wyr‘m ktm LBBW wbtbwnwt kpyw ynh.m
6.1 Text
V. 4: for the colometry, see O’Connor (1980, p. 264), Fokkelman (2002, p. 85).
6.2 Content
God remains faithful notwithstanding Israel’s disloyalty.
I Introduction: exhortation to the people of Israel to trust in God.
Listen, o people, to my poem (vv. 1–2).
We are recounting the great deeds of God (vv. 3–4).
He gave a teaching to Israel to hand down (vv. 5–6),
lest their offspring become as wayward as their fathers
(vv. 7–8).
iii.6 psalm 78 345
II The disloyalty of the settled Israelites and of their fathers wandering

through the wilderness (II.1.1 and II.1.2); God’s benefactions for the
wandering and settled people (II.2.1 and II.2.2).
II.1.1 Ephraim did not keep God’s covenant and forgot his won-
ders (vv. 9–11).
He brought their fathers from Egypt and took them
through the sea (vv. 12–14).
He gave them plenty to drink in the wilderness (vv. 15–16).
II.1.2 They went on sinning against God and demanded food in
the wilderness (vv. 17–19):
‘Can He supply bread and meat?’ (v. 20).
Because they did not put their trust in God, the Lord was
infuriated (vv. 21–22; about anger).
II.2.1 He gave them bread from heaven in plenty (vv. 23–25).
He supplied them with meat in abundance (vv. 26–28).
When they were eating, God’s anger flared up against them
and he slew their youths (vv. 29–31; about punishment).
II.2.2 Nonetheless, they went on sinning and did not trust in his
wonders (vv. 32–33).
When he struck them, they sought God once again (vv.
34–35).
Yet they were untrue to his covenant (vv. 36–37).
He often forgave their iniquity (vv. 38–39).
III God’s punishment of Egypt (III.1.1) and of the Israelites (III.2.1);
God’s guidance of Israel (III.1.2) and his election of Juda and David
(III.2.2).
III.1.1 They often grieved him in the wilderness (vv. 40–41).
They did not remember that he turned the rivers of Egypt
into blood (vv. 42–44);
that he inflicted upon the Egyptians swarms of insects to
devour them and their crops (vv. 45–46);
that he destroyed their fruit trees and cattle (vv. 47–48).
III.1.2 He struck all of the first-born of Egypt (vv. 49–51).
He guided his people in safety through the wilderness (vv.
52–53).
He brought them to his holy realm (vv. 54–55).
III.2.1 Yet, they rebelled against God like their fathers and they
provoked him with their idols (vv. 56–58).
God heard it and let his tabernacle be destroyed (vv.
59–61).
He gave his people to the sword (vv. 62–64).
III.2.2 But God destroyed his foes (vv. 65–66).
He rejected the clan of Joseph but chose the tribe of Judah

(vv. 67–69).
He chose David to shepherd his people Israel (vv. 70–72).

6.3.1.1 imperative: h’zynh, v. 1a w- beginning of line, v. 52a;
vocative: ‘my, v. 1a ext. // w- in v. 53a
imperative: ht.w, v. 1b w- beginning of line, v. 54a;
w- beginning of line, v. 5a ext. // w- in v. 55a
w- beginnning of line, v. 7a; w- beginning of line, v. 56a;
ext. // w- in v. 8a ext. // w- in vv. 57a and
w- beginning of line, v. 17a; 58a
ext. // w- in vv. 18a and w- beginning of line, v. 62a
19a w- beginning of line, v. 65a;
hn, v. 20a ext. // w- in v. 66a
lkn, v. 21a w- beginning of line, v. 67a;
w- beginning of line, v. 23a; ext. // w- in vv. 68a and
ext. // w- in v. 24a 69a
w- beginning of line, v. 29a w- beginning of line, v. 70a
z’t, v. 32a
w- beginning of line, v. 36a; 6.3.1.2 ‘wd, v. 17a
ext. // w- in v. 37a m’d, v. 29a
w- beginning of line, v. 38a; ‘wd, v. 32a
ext. // w- in vv. 38c and hw’, v. 38a
39a m’d, v. 59b
kmh, v. 40a

6.3.2.1 qdm, v. 2b ext. // w- in v. 27a
lm‘n, v. 6a w- beginning of line, v. 31a
ywmm wkl hlylh, v. 14 w- beginning of line, v. 44a
gm, v. 20c w- beginning of line, v. 48a;
hmh, v. 39a ext. // w- in vv. 46a, 44a
‘wlm, v. 66b and 41a
‘wlm, v. 69b w- beginning of line, v. 51a
w- beginning of line, v. 61a;
6.3.2.2 h- interrogative, v. 19b ext. // w- in v. 60a
w- beginning of line, v. 28a; w- beginning of line, v. 72a
iii.6 psalm 78 347

cohortatives: ’pth.h . . . ‘wd, v. 30b
’by‘h, v. 2a–b w- beginning of line, v. 33a
h- interrogative, v. 20c w- beginning of line, v. 35a
gm, v. 21c zh, v. 54b

6.4.0 General survey
’: ’b, vv. 3, 5, 8, 12, 57; ’hl, vv. 51, 55, 60, 67; ’zn, v. 1 (2×); ’h.r, vv. 4, 6,
66, 71; ’kl, vv. 18, 24, 25, 29, 30, 45; ’l (‘God’), vv. 7, 8, 18, 19, 34,
35, 41; ’lhym, vv. 7, 10, 19, 22, 31, 35, 56, 59; ’m , vv. 20, 34; ’mn,
vv. 8, 22, 32, 37; ‘mr, vv. 1, 19; ’p (‘anger’), vv. 21, 31, 38, 49, 50;
’prym, vv. 9, 67; ’rs., vv. 12, 69; ’š, vv. 14, 21, 63; ’šr, vv. 3, 4, 5, 11,
42, 43, 68; ’t (nota accusativus), vv. 5, 8, 42, 53, 56, 68 (2×)
b: prep. b-, vv. 2, 5 (2×), 7, 9, 12 etc.; bw’, vv. 29, 54, 71; bh.wr, vv. 31,
63; bh.r, vv. 67, 68, 70; bt.h., vv. 22, 53; bn, vv. 4, 5, 6 (2×), 9; bq‘, vv.
13, 15; brd, vv. 47, 48; bryt, vv. 10, 37
g: gm, vv. 20, 21
d: dwr, vv. 4, 6, 8 (2×)
h: h- interrogative, vv. 19, 20; suffix -hw, vv. 28, 34, 36, 40 (2×), 58 (2×),
70; hlk, vv. 10, 39; hll, vv. 4, 63; suffix -hm, 4, 5, 6, 24, 27 etc.; hpk,
vv. 9, 44, 57; hr, vv. 54, 68; hrg, vv. 31, 34, 47
w: suffix -w, vv. 7, 8 (2×), 10, 11 (2×), 17, 20, 22, 26 etc.
z: zkr, vv. 35, 39, 42
h.: h..t’, vv. 17, 32; h.rb, vv. 62, 64
y: suffix -y, vv. 1 (3×), 2; yd, vv. 42, 61; yd‘, vv. 3, 5, 6; yhwh, vv. 4, 21;
ywm, vv. 9, 14, 33, 42; ykl, vv. 19, 20; ym, vv. 13, 27, 53; ysp, vv. 17,
67; y‘qb, vv. 5, 21, 71; yrh, vv. 1, 5, 10; yśr’l, vv. 5, 21, 31, 41, 55, 59,
71
k: prep. k-, vv. 8, 13 (kmw ), 15, 16, 27 (2×), 40, 52 (2×), 57 (2×), 65
(2×), 69 (kmw ), 69, 72; kwn, vv. 8, 20, 37; ky, vv. 22, 35, 39; kl, vv.
14, 32, 38, 51
l: prep. l-, vv. 1, 3, 4, 5 (2×), 6 (2×), 10, 17 (3×), etc.; l’, vv. 4, 7, 8 (3×),
10, 22 (2×), 30, 32, 37 (2×), 38 (2×), 39, 42, 50, 53, 56, 63, 64, 67;
lb, vv. 8, 18, 37, 72; lh.m, vv. 20, 25
m: suffix -m, vv. 3, 5, 7, 8, 11, 12 etc.; m’d, vv. 29, 59; m’s, vv. 59, 67;
mdbr, vv. 15, 19, 40, 52; suffix -mw, vv. 24, 66; mt.r, vv. 24, 27; mym,
vv. 13, 16, 20; prep. mn, vv. 2, 4, 16, 23, 30, 42, 50, 55, 65, 70, 71;
ms.rym, vv. 12, 43, 51; mrh, vv. 8, 17, 40, 56
n: nhg, vv. 26, 52; suffix -nw (first person plural), vv. 3 (2×), 5; nzl, vv.
16, 44; nh.h, vv. 14, 53, 72; nh.lh, vv. 55, 62, 71; nkh, vv. 20, 51, 66;
nsh, vv. 18, 41, 56; ns‘, vv. 26, 52; npl, vv. 28, 55, 64; npš, vv. 18, 50;
ntn, vv. 20, 24, 46, 61, 66
s: sgr, vv. 48, 50, 62; spr, vv. 3, 4, 6
‘: ‘br (hitpa‘el, ‘to rage’), vv. 21, 49, 59, 62; ‘dwt, vv. 5, 56; ‘wd, vv. 17,
30, 32; ‘wlm, vv. 66, 69; ‘z, vv. 4, 26, 61; ‘lh, vv. 21, 23, 24, 27, 31;
‘lywn, vv. 17, 35, 56; ‘ll, vv. 7, 11; ‘m (‘people’), vv. 1, 20, 52, 62, 71;
‘śh, vv. 4, 12
p: ph, vv. 1, 2, 30, 36; pl’, vv. 4, 11, 12, 32; pth., vv. 2, 23
s.: .s’n, vv. 52, 70; .swh, vv. 5, 7, 23; .swr, vv. 15, 20, 35; .s‘n, vv. 12, 43; .srr,
vv. 42, 49, 61, 66
q: qdm, vv. 2, 26; qdš, vv. 41, 54, 69; qwm, vv. 5, 6; qnh, vv. 48, 54; qrb
(‘battle’)/qrb (‘inside’), vv. 9 and 28 resp.; qšt, vv. 9, 57
r: rbh, vv. 15, 38; rwh., vv. 8, 39; rmh, vv. 9, 57; r‘h, vv. 71, 72
ś: śb‘, vv. 25, 29; śdh, vv. 12, 43; śym, vv. 5, 7, 43
š: š’r, vv. 20, 27; šbt., vv. 55, 67, 68; šwb, vv. 34, 38, 39, 41; šh.t, vv. 38, 45;
škh., vv. 7, 11; škn, vv. 28, 55, 60 (2×); šlh., vv. 19, 25, 45, 49 (2×);
šmym, vv. 23, 24, 26; šm‘, vv. 3, 21, 59; šmr, vv. 10, 56
t: t’wh, vv. 29, 30

vv. 1–2: py, vv. 1b.2a; see also suffix -y in v. 1a (2×)!
vv. 3–4: ’šr, vv. 3a.4d
root spr, vv. 3b.4b
vv. 5–6: root qwm, vv. 5a.6c! (inclusion)
root yd‘, vv. 5d.6a
lbnyhm, vv. 5d.6c; see also bnym in v. 6b
wl’, vv. 7b.8a.8d
} chiasmus; see also l’ in v. 8c
dwr, v. 8b.8c
’l (‘God’), vv. 7b.8d (inclusion)
vv. 15–16: prep. k-, vv. 15b.16b; note kthmwt/knhrwt
vv. 17–19: w- beginning of the line, vv. 17a.18a.19a (anaphora)
prep. l-, vv. 17a (2×)+b.18b (2×).19c
’l (‘God’), vv. 18a.19b
vv. 23–25: root ‘lh, vv. 23a.24a
šmym, vv. 23b.24b
root ’kl, vv. 24a.25a
vv. 26–28: prep. b-, vv. 26a+b.28a (inclusion)
iii.6 psalm 78 349

vv. 29–31: w- beginning of the line, vv. 29a.31a (inclusion; exactly lin.)
root ’kl, vv. 29a.30b
} chiasmus
t’wtm, vv. 29b.30a!
prep. b- + suffix -hm, vv. 30b.31a+b; see also suffix -hm in
v. 29b
vv. 34–35: ’l (‘God’), vv. 34b.35b; see also ’lhym in v. 35a
vv. 38–39: w- beginning of the line, vv. 38a.38c.39a (anaphora)
wl’, vv. 38b.38d.39b
root šwb, vv. 38c.39b
vv. 40–41: byšymwn/wyšwbw, vv. 40b and 41a resp. (alliter.)
vv. 42–44: ’šr, vv. 42b.43a
vv. 45–46: ‘rb/l’rbh, vv. 45a and 46b resp. (alliter.)
vv. 47–48: brd, vv. 47a.48a!
vv. 49–51: ’pw, vv. 49a.50a (exactly linear)
wynhgm/wynh.m, vv. 52b and 53a resp.
k’bwtm/bbmwtm, vv. 57a and 58a resp. (alliter.; linear)
vv. 62–64: h.rb, vv. 62a.64a! (inclusion); see also bh.wryw in v. 63a
(alliter.)
l’, vv. 63b.64b
šbt., vv. 67b.68a
} chiasmus
root bh.r, vv. 67b.68a
vv. 70–72: w- beginning of the line, vv. 70a.72a (incl.; exactly linear)
root r‘h, vv. 71b.72a!

vv. 9–16 (II.1.1): ywm, vv. 9b.14a
w- beginning of the line, vv. 11a.14a.16a (exactly
linear)
root pl’, vv. 11b.12a (concatenation)
root bq‘, vv. 13a.15a!
mym, vv. 13b.16b
vv. 17–22 (II.1.2): b’lhym, vv. 19a.22a (exactly linear)

h- interrogative + ywkl, vv. 19b.20c! (linear)
gm, vv. 20c.21c! (concatenation)
vv. 23–31 (II.2.1): šmym, vv. 23b+24b.26a! (linear)

wymt.r ‘lyhm, vv. 24a.27a! (exactly linear)
root ’kl, vv. 24a+25a.29a+30b
lhm, vv. 25b.29b!
} chiasmus
root śb‘, vv. 25b.29a!
vv. 32–39 (II.2.2): kl, vv. 32a.38d

wl’ + root ’mn, vv. 32b.37b
root šwb, vv. 34b.38c+39b
wyzkr (w) ky, vv. 35a.39a (exactly linear)
vv. 40–48 (III.1.1): w- beginning of line, vv. 41a.44a.46a.48a (exactly

linear)
wytn l-/wysgr l-, vv. 46a.48a (exactly linear)
vv. 49–55 (III.1.2): w- beginning of the line, vv. 51a.52a+53a.54a+55a

(concatenation)
b’hlym, vv. 51b.55c (linear)
vv. 56–64 (III.2.1): ’lhym, vv. 56a.59a (linear)

root ‘br (hitpa‘el), vv. 59a.62b (linear)
w- beginning of the line, vv. 60a+61a.62a (concat.)
vv. 65–72 (III.2.2): w- beginning of the line, vv. 65a+66a.67a+68a+

69a.70a+72a (concatenation)
root ’h.r, vv. 66a.71a
‘wlm, vv. 66b.69b! (linear)
root bh.r, vv. 67b+68a.70a! (linear); note wybh.r in
vv. 68a and 70a

vv. 9–22 (II.1): rwmy/lmrwt, vv. 9a and 17b resp. (alliter.; linear)
‘br (‘pass through’)/‘br (hitpa‘el; ‘be angry’), vv. 13a
and 21a resp.
mym, vv. 13b+16b.20a!
’š, vv. 14b.21b
.swr, vv. 15a.20a
iii.6 psalm 78 351
bmdbr, vv. 15a.19c (concatenation)
vv. 23–39 (II.2): ‘wd, v. 30b.32a (concatenation)

bpyhm, vv. 30b.36a!
’p (‘anger’), vv. 31a.38c (linear); note w’p/’pw resp.
(alliter.)
root hrg, vv. 31b.34a
vv. 40–55 (III.1): bmdbr, vv. 40a.52b

root qdš, vv. 41b.54a (inclusion); note wqdwš/qdšw
yśr’l, vv. 41b.55c (inclusion)
root .srr, vv. 42b.49b
bms.rym, vv. 43a.51a
root šlh., vv. 45a.49a+c
‘rb/‘brh, vv. 45a and 49b resp. (alliter.)
bnh.ml/bh.bl nh.lh, vv. 47b and 55b resp. (allit.; linear;
Fokkelman)
root sgr, vv. 48a.50c (concatenation)
root qnh, vv. 48b.54b!
vv. 56–72 (III.2): wym’s + prep. b-, vv. 59b.67a! (exactly linear)
byśr’l, vv. 59b.71c
’hl, vv. 60b.67a (linear)
root .srr, vv. 61b.66a
‘mw (‘his people’), vv. 62a.71b (linear)
nh.ltw, vv. 62b.71c (linear)
bh.wry . . . bh.rb/bh.r wybh.r . . . wybh.r, vv. 63–64.67–68
+70a (alliter.)

vv. 1–8 (Canto I): twrh, vv. 1a.5b (linear)
root yd‘ + suffix -m, vv. 3a.5d; see also yd‘ in v. 6a!
’bwtynw, vv. 3b.5c; see also ’bwt in v. 8a and suffix
-nw in v. 3b(!)
root spr, vv. 3b+4b.6c!
bnyhm, vv. 4a.5d+6c; see also bnym in v. 6b
dwr ’h.rwn, vv. 4b.6a!; see also dwr in v. 8b+c!
w- beginning of the line, vv. 5a.7a+8a (anaphora)
‘dwt/ms.wh, vv. 5a and 7c resp. (linear)
root śym + prep. b-, vv. 5b.7a (linear)
root .swh, vv. 5c.7c
The linear framework of Canto II.
vv. 9–16.23–31: root qrb, vv. 9b.28a!

ym, vv. 13a.27b
vv. 17–22.32–39: ‘wd, vv. 17a.32a

} chiasmus (exactly linear); cf.
root h..t’, vv. 17a.32a!
also ‘wd in v. 30b!
‘lywn, vv. 17b.35b
’l (‘God’), vv. 18a+19b.34b+35b
lbbm/lbm, vv. 18a.37a
’m, vv. 20d.34a!
root kwn, vv. 20d.37a
‘mw (‘his people’)/‘mw (‘with him’), vv. 20d and 37a
resp.
ky, vv. 22a.35a+39a!
l’ h’mynw b-, vv. 22a.32b; see also v. 37b (l’ n’mnw b-)
wl’, vv. 22b.32b+37b+38–39
byšw‘tw/yšwb, vv. 22b and 39b resp. (allit.; epiphora)
The symmetric framework of Canto II.
vv. 9–16.32–39: bryt, vv. 10a.37b!

root hlk, vv. 10b.39b! (inclusion)
npl’wtyw, vv. 11b.32b; see also root pl’, vv. 12a
ywm, vv. 9b+14a.33a
kl, vv. 14b.32a+38d
root rbh, vv. 15b.38c!
vv. 17–22.23–31: root ’kl, vv. 18b.24a+25a+29a+30b

root šlh., vv. 19c.25b
lh.m, vv. 20c.25a!
š’r, vv. 20d.27a!
’p (‘anger’) + ‘lh + prep. b- + yśr’l, vv. 21c.31! (end
of the canticles)
The linear framework of Canto III.
vv. 40–48.56–64: ymrw, vv. 40a.56a

} chiasmus (exactly linear)
wynsw, vv. 41a.56a
yśr’l, vv. 41b.59b
yd + .sr, vv. 42.61b!
iii.6 psalm 78 353
root hpk, vv. 44a.57b

root ’kl, vv. vv. 45a.63a
wytn l-, vv. 46a.61a!
wysgr l-, vv. 48a.62a!; see also prep. l- in v. 48b and
cf. hsgyr in v. 50b
vv. 49–55.65–72: root .srr, vv. 49b.66a

} chiasmus (exactly linear)
wyk, vv. 51a.66a
b’hl, vv. 51b+55c.67a; see also ’hl in v. 60b!
.s’n, vv. 52a.70b!
‘mw (‘his people’), vv. 52a.71b
ynh.m, vv. 53a.72b
root bw’ hiph‘il, vv. 54a.71a!
root qdš + suffix -w, vv. 54a.69a
hr, vv. 54b.68b!
ymynw/kpyw, vv. 54b and 72b resp.
nh.lh, vv. 55b.71c
šbt., vv. 55c.67b+68a!
yśr’l, vv. 55c.71c (linear)

vv. 1–8.23–39.56–72: ph, vv. 1b+2a.30b+36a!

root pth., vv. 2a.23b!
root qdm, vv. 2b.26a!
root ’h.r, vv. 4b+6a.66a+71a!
root hll, vv. 4c.63b!
root .swh, vv. 5c+7c.23a!
k’bwtm, vv. 8a.57a!; see also prep. k- in v. 57b
l’ + root kwn, vv. 8c.37a!
} chiasmus
lb, vv. 8c.37a
lbw/lbbw, vv. 8c.72a (epiphora)
wl’ n’mnh/w, vv. 8d.37b; see also wl’ h’mynw in
v. 32b and wl’ in vv. 7–8, 38–39 (exactly linear)
rwh., vv. 8d.39b! (epiphora)
ntn lmw, vv. 24b.66b!
‘zw, vv. 26b.61a! (exactly linear); see also ‘zwzw
in v. 4c!
root npl, vv. 28a.64a (linear)
mškn, vv. 28b.60a (exactly linear); see also škn in
v. 60b
m’d, vv. 29a.59b! (linear)
bh.wrym, vv. 31c.63a! (exactly linear)
vv. 9–22.40–55: prep. b- + ms.rym, vv. 12b.43a+51a!; see also prep. b-

in vv. 43b and 51b
śdh .s‘n, vv. 12b.43b! (exactly linear)
wynh.m, vv. 14a.53a
bmdbr, vv. 15a+19c.40a+52b! (linear)
nwzlym, vv. 16a.44b! (linear)
wynsw ’l, vv. 18a.41a!; see also ’l in v. 19b
npšm, vv. 18b.50b! (exactly linear)
dbr (‘to speak’)/dbr (‘pestilence’), vv. 19a and 50c resp.
‘mw (‘his people’), vv. 20d.52a (exactly linear)
wl’, vv. 22b.53a
} chiasmus (linear)
root bt.h., vv. 22b.53a!
vv. 1–8.9–22: twrh, vv. 1a+5b.10b!

root ’mr, vv. 1b.19b!
bnym, vv. 4a+5d+6b–c.9a!
yhwh, vv. 4c.21a!
wnpl’wtyw ’šr, vv. 4d.11b; see also pl’ in v. 12a
‘śh, vv. 4d.12a!
by‘qb . . . byśr’l, vv. 5a–b.21b–c
b’lhym, vv. 7a.19a+22a
yškh.w, vv. 7b.11a! (concatenation)
root ‘ll, vv. 7b.11a! (concatenation)
’l (‘God’), vv. 7b+8d.18a+19b
’bwtm, vv. 8a.12a
root mrh, vv. 8b.17b
l’ + root ’mn, vv. 8d.22a
vv. 9–22.56–72: ’prym, vv. 9a.67b!

root rmh, vv. 9a.57b
} chiasmus; note rwmy/rmyh resp.
qšt, vv. 9a.57b!
(alliter.)
root hpk, vv. 9b.57b (cf. also hpk in v. 44a!)
l’ šmrw, vv. 10a.56b!
’rs., vv. 12b.69b!
’š, vv. 14b+21b.63a!
iii.6 psalm 78 355
root ysp, vv. 17a.67a!

šm‘ yhwh/’lhym wyt‘br, vv. 21a.59a!; see also ‘br
(hitpa‘el) in v. 62b!
by‘qb . . . byśr’l, vv. 21b–c.71b–c
vv. 23–39.40–55: root ns‘, vv. 26a.52a!; note ys‘

root wynhg, vv. 26b.52b!
root hrg, vv. 31b+34a.47a!
bmšmnyhm/byšymwn, vv. 31b and 40b resp. (alliter.)
root šwb, vv. 34b+38c+39b.41a!
root zkr, vv. 35a+39a.42a!
g’lm/pdm, vv. 35b and 42b resp.
root šh.t (hiph‘il), vv. 38b.45b!
’pw, vv. 38c.49a+50a

’lhym (vv. 10.31.35), ’šr (vv. 5.68), prep. b-, root bw’ (v. 29), suffix -hm,
suffix -w, ywm (v. 42), ym (v. 53), prep. k-, kl (vv. 51), prep. l-, l’ (vv.
4.30.42.50.67), suffix -m, prep. mn, root nkh (v. 20), root nsh (v. 18), root
npl (v. 55), root ntn (v. 20), root ‘br (v. 49), ‘wd (v. 30), ‘lywn (v. 56), ‘m
(‘people’, v. 1), .swr (v. 35), śm (v. 43), root škn (v. 55), root šm‘ (v. 3)

root ’zn (v. 1 [2×]), ’t (nota accusativus), suffix -hw, ‘dwt

Psalm 78 has 30 strophes, 77 (= 7×11) verselines and 163 cola.1 V. 35 is
the central verseline (> 38+1+38 verselines) and v. 35a the pivotal colon
(> 81+1+81 cola). The central position of v. 35 is highlighted by the
middle occurrence in v. 35b of the the 3 instances of the divine title ‘lywn
(‘Most High’) in this psalm; see also vv. 17 and 56. V. 35 (wyzkrw ky ’lhym
.swrm // w’l ‘lywn g’lm) has exactly 7 words and v. 35a 17 letters. Like
the pivotal colon, the central verseline is to be taken as meaningful core:
‘they remembered that God was their rock // and God Most High, their
1
Fokkelman (MPHB II) also has 77 verselines, but he distinguishes 32 strophes and—
taking vv. 9 and 20a–b as tricola—165 cola (similarly Weber [2003]). O’Connor (1980,
pp. 263–78) also considers v. 20a–b a tricolon, but he takes v. 28 as a single colon and
so he has 163(!) cola in total.
redeemer’. This idea expresses ‘the quintessence of the salutary lessons to

be drawn from Israel’s history according to this didactic poem’.2
V. 5a–b, wyqm ‘dwt by‘qb // wtwrh śm byśr’l (‘He established a decree
in Jacob // and ordained a teaching in Israel’), is the pivotal verseline of
Canto I (> 5+1+5 lines). This verseline is composed of 13+13 letters and
contains the deliberately construed central message of the first Canto.3 On
verseline level, wymt.r ‘lyhm mn l’kl // wdgn šmym ntn lmw (‘and He rained
down manna upon them for food // and gave them heavenly grain’; v. 24),
is the meaningful centre of Canto II (> 16+1+16 lines). In the same way,
v. 56, wynsw wymrw ’t ’lhym ‘lywn // w‘dwtyw l’ šmrw (‘and they defiantly
tested God Most High // and did not observe his degrees’) is the meaningful
centre of Canto III (> 16+1+16 lines). It is to be noted that the word ‘dwt
(‘degree’) only occurs in vv. 5a–b and 56. The meaningful centres of the
three cantos form a summary of the message of the entire psalm: God
has given Israel heavenly bread, his teaching (twrh) and manna, but they
constantly tested his patience.
Structure of strophes and cantos in terms of words: 14+18+21+24|||20+
22+12|21+15+18||22+19+21|12+13+12+21|||11+22+11+10|28+14+18
||18+18+17|13+23+20 = 77||54+54|62+58||54+60|53+56 = 77|108+120|
114+109 (= 528 = 48×11 words in total).4 From this perspective, the
three cola vv. 34–35a constitute the centre of the poem (> 259+10+259
words).
8× God is designated as ’lhym: vv. 7, 10, 19, 22, 31, 35, 56 and 59; and
7× we find the designation ’l : vv. 7, 8, 18, 19, 34, 35 and 41. The divine
name, yhwh, occurs twice: vv. 4 and 21; in v. 65 it is ’dny (‘Lord’). In vv.
17, 35 and 56 we find the divine title ‘lywn (‘Most High’; 3×). The second
occurrence of this title in precisely v. 35 reinforces the pivotal position of
the verseline in question. Labuschagne notes that the middle occurrence of
‘lywn (v. 35) is underscored by the 58 words of vv. 32–39 (Canticle II.2.2);
58 represents the numerical value of ‘lywn (> 16+12+10+6+14).5
2
So rightly www.labuschagne.nl/ps078.pdf, Observation 1. For v. 35 as the rhetorical
centre of Psalm 78, see also Ch. V, 2.4; for the root zkr (‘to remember’) at the beginning
of the rhetorical centre, cf. Pss. 63,7a and 77,12. Fokkelman maintains that v. 38a–b
is ‘the pivot of the middle stanza of the middle section’ and considers the verseline ‘an
ideological climax’ (MPHB II, p. 221).
3
For the 13+13 letters of v. 5a–b as a device highlighting the rhetorical centre, see
Ch. V, 2.6.2.and 2.6.4.
4
Fokkelman (MPHB II, p. 507) erroneously gives 518 words. For more occurrences
of the number 11 on word level, see www.labuschagne.nl/ps078.pdf, Observation 4.
5
See www.labuschagne.nl/ps078.pdf, Observation 3.
iii.6 psalm 78 357

Köster (1837): 1–4.5–8.9–12.13–16.17–20.21–25.26–31|32–37.38–43.44–49.
50–55.56–61.62–66.67–72 (5×4.5.6|5×6.5.6 verses; ‘eine Probe der
späteren Poesie, welche mehr äussere Kunst als Energie der Gedanken
erstrebte’ [p. 236])
De Wette (1856): 1–4|5–8|9–12.13–16.17–20.21–25.26–31.32–37.38–43.
44–49.50–55|56–59.60–64|65–68.69–72 (‘Es scheiden sich Sinnabtheil-
ungen aus von vier, fünf und sechs Versen, welche vielleicht als Stro-
phen zu betrachten sind’ [p. 421]); cf. Köster (1837)
Ewald (1866), pp. 463–71: 1–8.9–16.17–24.25–31.32–39.40–48.49–55.56–64.
65–72 (9×8 verses; ‘die kleinen abweichungen davon in der jezigen
versabtheilung sind unbedeutend’ [p. 464])
Ley (1875), pp. 195–98: 1–3.4–8.9–16.17–23.24–31.32–39.40–48.49–55.
56–64.65–72; cf. Ewald (1866)
Delitzsch (1894): 1–4.5–7.8–11|12–16.17–20.21–25|26–29.30–33.34–37||
38–40.41–44.45–48|49–51.52–55.56–59|60–64.65–68.69–72
Zenner (1906), pp. 221–25: 1–4.5–7|8–12|13–21.22–31|32–37|41–46.47–51|
52–55|56–65.38+40+39+66–71 (5.5|6|10.10|6|6.6|4|10.10 lines)
Duhm (1922): 1–3.4–5b.5c–7a.7b–8.9–11.12–14.15–17.18+20.21*–22.23–25.
26–28.29–31*.32–34.35–37.38–39.40–42.43–45.46–48.51–53.54–55.
56–58.59–61.62–64.65–67.68–70a*.70b–72 (26×3 bicola)
Gunkel (1926): 1–4.5–11.12–16.17–20.21–31.32–39.40–51.52–55.56–58.
59–64.65–72 (‘Regelmäßige Strophenbildung tritt nicht hervor’)
Calès (1936): 1–2.3–4.5.6–7.8|9–11.12.13–14.15–16|17–18.19–20|21–25.
26–28.29–31|32–33.34–35.36–37.38–39|40–41.42–43.44–45.46–48.
49–51.52–53.54–55|56–58.59–61.62–64|65–66.67–69.70–72 (‘plus que
hasardeux d’y rechercher un système strophique régulier’ [pp. 52–53])
Böhl (1947): 1–2.3–4.5–7a.7b–8.9–11|12–16.17–20|21–22.23–25.26–28.29–31|
32–34.35–37.38–39.40–42|43–45.46–48.49–50.51–53|54–55.56–58.59–61.
62–64|65–67.68–70.71–72
Pannier/Renard (1950): 1–8 9–16.17–31.32–39.40–55.56–66.67–72 (‘Après
le prologue, vv. 1–8, on trouve une série de récits inégaux, sans
strophique’); cf. NAB (1970)
Kissane (1954): 1–7a.7b–14.15–22.23–31.32–39.40–48.49–55.56–64.65–72*
(9×9 lines); cf. Ewald (1866)
Podechard (1954): 1–11 12–16.17–31.32–39.40–51.52–55.56–58.59–64.
65–72 (‘introduction . . . huit sections inégales’)
Coats (1968): 1–4.5–8|9–16.17–41|42–66.67–72 (introduction|a.b|a’.b’)
Jacquet (1977): 1–2.3–4.5–7a.7b–8|9–12.13–16.17–20.21a+c–22.23–25.
26–29.30–31a+21b+31b–c.32–33.34–37.38–39|40–42.43–48.49a–b+
50a+49c+50b–51.52–55b.56–58.59–64.65–66.67–69.70–72 (‘Exorde’
[vv. 1–8], ‘La Leçon de la Sortie d’Égypte’ [vv. 9–39] and ‘La Leçon
du Désert et de Canaan’ [vv. 40–72])
Kraus (1978): 1–11.12–31.32–41.42–53.54–64.65–72
Beaucamp (1979): 1–2|3–5.6–7.8+10–11|12|13–16.18–20.21b–24|25|26–29.
30–33.34–37.38–40|41–44.45–48|49–51.52–55b|56|57–60.61–64|65–68.
69–72 (2|8.8.8|2|8.8.8|2|8.8.8.8|8.8|8.8|8.8|8.8 cola)
Campbell (1979): 1–8||9–11.12–39.40–58|59–64||65–72
O’Connor (1980), pp. 504–10.563–67: 1–4.5–6a.6b–7.8–10|11–13.14–16.
17–18.19–20|21–23.24–26.27–29.30–32|33–36.37–38.39–41.42–45|
46–49.50–52.53–55.56–58|59–62.63–66.67–69.70–72 (10.5.5.8|6.6.4.8|
7.6.5.7|8.6.6.8|9.7.7.6|8.8.6.7 > 28.24.25.28.29.29 cola)
Clifford (1981): 1–11||12–16.17–20.21–32|33–39||40–55.56–58.59–64|65–72
(introduction|a.b.c.d|a’.b’.c’.d’)
Aletti/Trublet (1983), pp. 82–83: 1–8 9–20.21–31.32–39.40–58.59–67. . . (vv.
1–8 a.b.c.a’b’)
Korpel/De Moor (1988), pp. 54–60: 1–2.3–4|5.6–7|8.9–11||12–14.15–16|||
17–18.19.20|21–22||23–25.26–27.28–29|30–31|||32–33.34–35|36–37.
38–39|||40–41.42–43|44–45.46–48|49–50a.50b–51||52–53.54–55|||56–58.
59–60|61–62.63–64||65–66.67–68|69–70.71–72 < 1–16.17–31.32–39.
40–55.56–72 (20.17.9.17.17 lines; 2.2.0.2.2 sub-cantos; 4.4.2.4.4 canti-
cles; 8.8.4.8.8 strophes)
Spieckermann (1989): 1–11*.12–16.17–31*.32–39.52–55*.56–64*.65–72*
(vv. 40–51 ‘ein Einschub, der den theologischen Zusammenhang emp-
findlich stört’ [p. 144])
Füglister (1991), pp. 270–76: 1–2 3–7|8+10–16.17–31|32–39|40–55.56–64|
65–72 (vv. 1–2 16|18.35|18|35.18|17 cola > vv. 1–2 8|9.16|9|16.9|8
lines; vv. 1–2 a|b.c|d|c’.b’|a’; vv. 32–39 is ‘die Mitte des Psalmes’)
Tate (1990): 1–4.5–8.9–11|12–16.17–20.21–32.33–39|40–41.42–55.56–64|
65–66.67–72 (note pp. 287–88); cf. Clifford (1981)
Girard (1994): 1–2.3–4|5a–b.5c–6.7–11||12–16.17–20.21–22.23–29.30–39.
40–42.43–53||54–58.59–67.68–72
Seybold (1996): vv. 1–2 3–4 5–11.12–17.18–22.23–32.33–42.43–51.52–56.
57–64.65–72 (nine strophes; vv. 1–2 and 3–4 represent two introduc-
tions and vv. 65–72 is a ‘Nachtrag’)
Fokkelman (2000), pp. 210–28: 1–3.4|5–6.7–8||9–11.12–13.14–16|17–18.
19–20.21–22|23–25.26–28.29–31||32–33.34–35|36–37.38–39|40–41.
42–43||44–45.46–47|48–49.50–51|52–53.54–55|56–58.59–60||61–62.
63–64.65–66|67–69.70–72 (3.2|3.3||3.2.3|2.2.2|3.3.3||2.2|2.3|2.2||2.2|2.2|
2.2|3.2||2.2.2|3.3 lines)
Hossfeld/[Zenger] (2000), pp. 425–26: 1–8*.12–16.17–20+22–27+29.32–39.
iii.6 psalm 78 359
52–55.56–58+60–64.65–72 (seven strophes; vv. 40–51 ‘ein markanter

Einschub’ [p. 423])
Auffret (2003): 1–7.7–11|12–16.17-22.23–29.30–42.43–51|52–55.56–58.59–67.
68–72
Terrien (2003): 1–2 3–4.5–6.7–8|9–11.12–14.15–17|18–20.21–24.25–28|
29–32.33–37.38–40|41–44.45–48.49–51|52–55.56–59.60–63|64–66.
67–69.70–72 (vv. 1–2 3×3|3×3|3×3|3×4|3×4|3×4|3×3 lines)
Weber (2003): 1–3 4–8|9–16.17–22.23–31|32–39|40–48.49–55.56–64|65–72
(vv. 1–3 A.B.C.B’.A’); cf. Ley (1875)
Boadt (2004), pp. 546–49: 1–4.5–8|9–16.17–31|32–41.42–55|56–64.65–72

6.7.1 The canto design
Psalm 78 is a very large composition with a fascinating rhetorical structure.
The number 11 plays a prominent role in this structure. It perfectly fits
the wisdom genre of the composition and underlines its didactic character.6
First, the psalm consists of 7×11 verselines. Second, the total number of
77 verselines form three regular cantos, vv. 1–8, 9–39 and 40–72.7 The
length of these cantos in terms of verselines is determined by the number
eleven: the introductory Canto I (vv. 1–8) has 11 verselines; Cantos II and
III (vv. 9–39 and 40–72), the cantos of the main body of poem, have 33
(= 3×11) verselines each. Third, the number eleven also manifests itself
on word level. The total number of words is 48×11 (= 528). Fourth, the
introductory canto (vv. 1–8) is composed of exactly 7×11 words.8 This
overwhelming amount of evidence regarding the structuring function of the
number eleven in Psalm 78—which, as far as I know, has not been observed
before—cannot be dismissed as accidental, but points to deliberate design.
Canto I (vv. 1–8) functions as an introduction to the main body of the
poem, vv. 9–72.9 The canto opens with an exhortation to listen to the
teaching of the authoritative poet (vv. 1–2). This opening 2-line strophe is
6
Cf. Ch. I, 1.4. For the structural role of the number 11 in a context of wisdom
poetry, see now also my ‘Speech-cycles in the book of Job’, VT 56 (2006), pp. 554–57.
7
For this canto division, see also Jacquet in § 6.6.
8
For the numerical phenomena on word level, see § 6.5.
9
For the delimitation of vv. 1–8, see—apart from Jacquet—also Ewald, Calès, Coats,
Pannier/Renard, Campbell, Aletti/Trublet, Fokkelman and Hossfeld/[Zenger] in § 6.6.
It is often assumed that the introductory section ends with v. 11; see, e.g., Delitzsch,
Podechard, Kraus, Clifford, Korpel/De Moor, Tate, Girard, Spieckermann and Auffret
(2003). The latter division is, among other things, belied by the linear pattern of
verbal repetitions which determines the composition as a whole and by the symmetric
framework of Cantos II–III; see §§ 6.4.5 (above) and 6.7.3 (below).
followed by a small series of 3-line strophes (vv. 3–4, 5–6 and 7–8). For this
strophic structure, see §§ 6.2 (content), 6.3.1.1, 6.3.2.1 (transition markers),
6.4.1 and 6.4.4 (verbal repetitions).10 The noun dwr (‘generation’) is one of
the key words which determine the subject matter of these 3-line strophes
(§ 6.4.4). In vv. 3–4 and 5–6, the psalmist is especially concerned with the
‘future generation’ (dwr ’h.rwn). In the final strophe of the canto (vv. 7–8)
the desired faith of this future generation is contrasted by the wayward
behaviour of the ‘fathers’ (v. 8a), the past ‘generation’ (note dwr v. 8b–c).
By putting this contrast on the stage, the poet concludes the first main
section with an allusion to a major theme he deals with in Cantos II–III.
The relative individuality of the first canto is further strengthened by the
roots yd‘ (‘to know’) and spr (pi‘el; ‘to tell’); see § 6.4.4 (these words do
not occur elsewhere in the psalm).11
The second and the third cantos mainly elaborate on the theme of Is-
rael’s lack of confidence in God’s guidance. These cantos are both composed
of four canticles: vv. 9–16, 17–22, 23–31 and 32–39 (Canto II); vv. 40–48,
49–55, 56–64 and 65–72 (Canto III).12 In terms of semantics, there is a lin-
ear parallelism between Cantos II and III, because the first three canticles
of both main sections contain long-drawn-out descriptions of Israel’s lack of
trust in God and conclude with a canticle that constitutes a focal point as
far as subject matter is concerned, marking the end of the sections.13 The
latter canticles (vv. 32–39 and 65–72) focus on God’s love and forgiveness.
Canticle II.2.2 (vv. 32–39), which concludes the second canto, is a sum-
mary statement. It teaches the lessons of history in the most general terms.
The ever recurring unfaithfulness of Israel (note vv. 36–37) is contrasted
10
Fokkelman (MPHB II, pp. 212–14, followed by Weber [2003]) argues that v. 3 is the
conclusion of the first strophe, vv. 1–2. In my opinion, the line dividing the first and the
second strophe of Canto I is determined by the transition from the first person singular
(vv. 1–2) to the first person plural (vv. 3–6); similarly Füglister (1991), p. 265 (see also
§ 6.6). The relative pronoun ’šr at the beginning of v. 3 does not militate against this
strophic division. In Ps. 64,4 (see Ch. II, 22 above) and Job 8,14 (see RCPJ, Ch. II, 7
and note p. 108) we find ’šr at the beginning of a new canto; in Ps. 144,12 ’šr occurs
at the beginning of Canticle II.2 and in Job 9,15.17 at the beginning of a new strophe
(RCPJ, Ch. II, 8 [pp. 110–23]).
11
For the introductory character of vv. 1–8 as an exhortation to listen, see also CAS I,
Ch. V, 5.2.1.3 (pp. 510–11), and RCPJ, pp. 469–70, with regard to Job 15,17–19 (note
wl’ kh.dw m’bwtm in v. 18b), 21,2–4 and 36,2–4.
12
For the canticle division, see Ewald, Ley, Kissane and Weber in § 6.6; cf. also Calès,
Pannier/Renard and Podechard. Jacquet, mistakenly, does not show much understand-
ing for this fundamental structural level: ‘il s’avère tout à fait vain d’y vouloir discerner
une strophique de même qualité, comme prétend E. Kissane . . . Seul, en fait, le sens com-
mande la strophique; or, les différentes narrations ont des développements très inégaux’
(pp. 520–21).
13
Cf. Clifford (1981) in § 6.6 and Füglister (1991), p. 293.
iii.6 psalm 78 361
to the enduring faithfulness and mercy of God (note vv. 38–39). Recent
structural investigations have time and again pointed out the special char-
acter of this canticle in terms of meaning. However, by assuming that the
verses in question form the rhetorical core of a concentric overall structure,
the significance of the canticle is overestimated at the expense of the the-
ological meaning of vv. 65–72, the concluding canticle of Canto III and of
the poem as a whole.14 The final canticle of Canto II is composed of four
strophes (vv. 32–33, 34–35, 36–37 and 38–39) which in terms of meaning
display an a.b|a’.b’ pattern. The a-strophes describe the negative attitude
of Israel towards God, while the b-strophes speak of God’s positive attitude
regarding his people; see § 6.2.15
The concluding canticle of Canto III (and of the psalm as a whole),
Canticle III.2.2 (vv. 65–72), opens with a 2-line strophe in which God is
represented as a hero who awakes from his sleep to strike his foes (vv.
65–66). The following two 3-line strophes focus on election and guidance.
Vv. 67–69 contrasts the election of the tribe of Judah with the rejection
of the tribe of Joseph/Ephraim and deals with Mount Zion as the place
God has chosen for his everlasting sanctuary. The concluding strophe (vv.
70–72) is about David as ‘his servant’ (v. 70a) who is chosen by God to
‘shepherd’ his beloved ones. The canticle is characterized by the key word
bh.r (‘to choose’) and especially highlighted as the final unit by the key word
‘wlm (‘eternity’); see § 6.4.2. When compared with the final canticle of
Canto II (vv. 32–39), the concluding canticle of Canto III is the realization
of God’s mercy and forgiveness previously described in general terms.16
6.7.2 The canticle design of Cantos II and III

Canto II opens with a verseline in which the rebellious and unfaithful be-
haviour of the past generation (see v. 8) is exemplified with the help of
a concrete event: the Ephraimite bowmen turned back on the day of the
battle. Although it is not clear which historical event the psalmist has in
mind (cf. Gen. 49,24), we may safely assume that he is speaking about the
generation that has already been settled in the land of Israel. The marvels
described in vv. 12–14 and 15–16 are related to the exodus and the stay in
the wilderness. And these marvels God performed ‘in sight of their fathers’
14
See Aletti/Trublet, Korpel/De Moor and Weber in § 6.6; cf. also Hossfeld/[Zenger].
The responsions within vv. 32–39 are not extremely conspicuous when compared with
other canticles; see § 6.4.2 (contra Korpel/De Moor, p. 57).
15
For the strophic structure of vv. 32–39, see also Calès, Korpel/De Moor and Fokkel-
man in § 6.6.
16
‘In der Erwählung Davids, auf die der ganze Psalm . . . hinausläuft . . . , liegt zweifel-
sohne . . . die Sinnspitze des Psalms’ (Füglister [1991], p. 294).
(v. 12a); that is to say, the fathers of the Ephraimites. With the word
bnym (‘sons’; v. 9a), the first word of Canto II, the new section ties in with
the introductory canto in which the noun bnym occurs no less than four
times. The two following verselines (vv. 10–11) are, once again, in general
terms about the refusal of the past generation to trust in God and keep his
covenant (cf. v. 8). The opening words of v. 11, wyškh.w ‘lylwtyw (‘and they
forgot his deeds’), explicitly refer to the concluding strophe of Canto I; see
wl’ yškh.w m‘lly ’l in v. 7b and further § 6.4.5 (The symmetric framework).
In the following strophes of the first canticle of Canto II (vv. 12–14 and
15–16) the poet immediately links up with the reproach formulated in v. 11
by putting on the stage two marvels the fathers forgot: God brought them
through the sea (vv. 12–14) and gave them water to drink in the wilderness
(vv. 15–16). In this context he speaks about God ‘splitting’ the sea and
rocks to rescue his people from his enemies and from thirst respectively.
The root bq‘ (‘to split’) is a key word of Canticle II.1.1 (see § 6.4.2).
Canticle II.1.2 (vv. 17–22) is framed by verselines in which Israel’s sinful
behaviour is once again described in general terms; see vv. 17 and 22 (cf.
vv. 10–11). Vv. 18–20 concretely mention that the people challenged God
to supply ‘bread’ and ‘meat’ as well (v. 20c–d) in the wilderness (v. 19c).
That is to say, in this canticle the poet is no longer dealing with the gen-
eration settled in the land, but speaks about their fathers. The unit is
characterized by interrogative clauses concluding a 3-line and a 2-line stro-
phe (see vv. 19 and 20c–d respectively and note h- interrogative). The root
ykl (‘to be able’) is the key word of the unit (see § 6.4.2). The second to
the last verseline of this canticle (v. 21) is about God’s anger, and at first
sight may create the impression of a strayed element. However, it has a
structuring function on more than one level. Within Canto II the verse-
line marks the concluding strophe of the second canticle; cf. ‘p ‘lh byśr’l
(‘anger flared up against Israel’) in v. 21c with the concluding verseline
of the following canticle (v. 31; see § 6.4.4 [The symmetric framework of
Canto II]). Within the psalm as a whole, v. 21 is an important element
in the symmetric framework of Cantos II–III; note the underlined words
which are printed in capitals and bold face in the layout of the psalm
(see further §§ 6.4.5 [above] and 6.7.3 [below]).17
In the third canticle of Canto II (II.2.1, vv. 23–31) the psalmist portrays
in the first two 3-line strophes how God actually supplied ‘bread’ (vv.
23–25) and ‘meat’ (vv. 26–28) in the wilderness. The canticle is concluded
by a 3-line strophe which deals with God slaying the young men of Israel
in his anger (vv. 29–31). The semantic individuality of 3× three successive
17
Contra Spieckermann (1998, pp. 135–36) and Hossfeld/[Zenger] (p. 425), who among
other things try to discredit the verselines dealing with God’s anger.
iii.6 psalm 78 363
verselines is the main basis for the strophic division. The relative poetic
independence of the canticle is supported by an impressive set of key words
and exclusive expressions; see šmym (‘heaven’), wymt.r ‘lyhm (‘and he rained
upon them’), lhm (‘to them’) and the root śb‘ (‘to be sated’) in § 6.4.2.
As already noted, vv. 21 and 31 function as refrain-like verselines (tri-
cola) in the last strophe of two successive canticles. In addition, the theme
of God supplying bread and meat we find in the opening strophes of Can-
ticle II.2.1 (vv. 23–25 and 26–28) is preluded by the opening strophes of
Canticle II.1.2 (vv. 17–19 and 20). That is to say, from a semantic point
of view, there is a linear parallelism between the inner canticles of Canto
II: vv. 17–20.21–22|23–28.29–31 > a.b|a’.b’. On the basis of the summary
character of Canticle II.2.2 (see above, § 6.7.1) we may suppose that this
unit, like Canticle II.1.1, is about the generation already settled in the
promised land. This feature constitutes a relationship between the outer
canticles of Canto II (vv. 9–16 and 32–39). The parallelism between the
middle canticles of Canto II, on the one hand, and its framing canticles, on
the other, concurs with the symmetry which determines the canto in terms
of verbal recurrences: vv. 9–16.17–22|23–31.32–39 > a.b|b’.a’; see § 6.4.4
(The symmetric framework of Canto II).
Alongside this symmetric framework, there is a linear pattern of verbal
repetitions determining the canto as a whole: vv. 9–16.17–22|23–31.32–39
> a.b|a’.b’; see § 6.4.4 (The linear framework of Canto II). From a thematic
point of view, the linear structure is strengthened by the fact that Can-
ticles II.1.1 and II.2.1 contain concrete descriptions of God’s benefactions
during the wandering in the wilderness (water, bread and meat), while
Canticles II.1.2 and II.2.2 are more explicit with regard to Israel’s rebel-
lious behaviour and punishment (see vv. 17–22 in their entirety and note
vv. 32–33 and 36–37 in Canticle II.2.2). It is hard to say which of both
patterns is rhetorically more powerful, the symmetric or the linear pattern.
The first two canticles of Canto III (vv. 40–48 and 49–55) are about
the plagues of Egypt, the exodus of the people of Israel and their ultimate
settlement in the land of Canaan; these canticles form Sub-canto III.1. The
sub-canto opens with a 2-line strophe which explicitly refers to the Israelites
during their stay in the wilderness (note bmdbr in v. 40a). This means that
from a historical perspective Sub-canto III.1 corresponds to the middle
canticles of Canto II (vv. 17–22 and 23–31). The rebellious attitude of the
Israelites described in general wording in vv. 40–41 especially reminds us
of vv. 17 and 22, the framing verselines of Canticle II.1.2.
Canticle III.1.1 refers to some plagues which did not impress the king
of Egypt enough to let the people of Israel go (vv. 42–48). Including vv.
40–41, the canticle as a whole is about failure. The strophic structure of
the unit is determined by the copula w- consistently marking the beginning

of the final verseline of the strophes (§ 6.4.2). Canticle III.1.2 deals with
the final plague, the destruction of the first-born in the land of Egypt (vv.
49–51). The effect of it enabled God to lead his people to the promised land,
like a shepherd (vv. 52–53). The canticle (and Sub-canto III.1) is rounded
of by a strophe in which the psalmist describes the conquest of Canaan
and the subsequent settlement of the people of Israel (vv. 54–55). Canticle
III.1.2 is about success and its strophic structure is mainly based on the
relative thematic individuality of three and 2× two successive verselines.
In the third and the fourth canticle of Canto III (vv. 56–64 and 65–72)
the psalmist once again deals with the generation which was brought by
God ‘to his holy realm’ (v. 54a) and which has been settled in the land of
Israel; cf. the framing canticles of the second canto (vv. 9–16 and 32–39).
These canticles form Sub-canto III.2.
Canticle III.2.1 opens with a 3-line strophe (vv. 56–58) in which the
rebellious and unfaithful attitude of the settled generation is concretely
described in terms of idolatry. The destruction of the sanctuary in Shiloh
(vv. 59–61) is the central theme of the canticle. As a preparation, it forms
the dark background for the description of God choosing Mount Zion as the
place to build a permanent sanctuary, which is found in the central strophe
of Canticle III.2.2 (vv. 67–69). From a semantic perspective, the canticle
finds its high point in the concluding strophe which tells about the ruin of
the people of Israel (vv. 62–64). The strophic structure of the canticle is
supported by some responsions; see § 6.4.2.
There is an unambiguous linearly alternating parallelism between Sub-
cantos III.1 and III.2: vv. 40–48.49–55|56–64.65–72 > a.b|a’.b’. In terms of
semantics, it is to be noted that Canticles III.1.1 and III.2.1 share the theme
of punishment: vv. 40–48 (III.1.1) is about the punishment of the land of
Egypt and vv. 56–64 (III.2.1) about the punishment of the people of Israel.
In Canticles III.1.2 (vv. 49–55) and III.2.2 (vv. 65–72) the psalmist focusses
on God’s saving actions. The concluding strophe of Canticle III.2.2 (vv.
70–72) especially corresponds to the second to the last strophe of Canticle
III.1.2 (vv. 52–53) where God is depicted as the shepherd of his people. In
vv. 70–72 it is stated that God has chosen David as his servant to take over
the pastoral office.
In terms of verbal repetition, this linear parallelism beween Sub-cantos
III.1 and III.2 is clearly enhanced. The opening words of Canticle III.2.1
wynsw wymrw (‘and they tested and rebelled’; v. 56a) refer to the opening
strophe of Canticle III.1.1 (vv. 40–41).18 This responsion represents only
18
For the underlined words printed in capitals and bold face in vv. 56–58, see § 6.7.3.
iii.6 psalm 78 365
the tip of the iceberg which consists of impressive clusters of linear verbal
recurrences; see § 6.4.4.19
6.7.3 The composition as a whole

The relationship between the successive cantos of Psalm 78 is determined
by clear patterns of verbal repetition. In the first place, there is a linearly
alternating pattern of verbal repetitions: vv. 1–8|9–22.23–39|40–55.56–72
> A|B.A’|B’.A’’; see § 6.4.5 (The linear framework) and the words printed
in capitals and bold face in the layout of the psalm.20 The linear pattern
of verbal repetitions concurs with the linear parallelism between Cantos II
and III in terms of semantics which I described in § 6.7.1.
In light of some recent literary- and redaction-critical operations, more
is to be said about the relationship between Cantos II and III. When we
compare the first and the third canticle of Canto II, on the one hand, with
the first and the third canticle of Canto III, on the other, then, in Canto
II we read more about the benefactions God bestowed on his people and
in Canto III we read more about punishment (see § 6.7.2 above). The
concluding canticle of these cantos (vv. 32–39 and 65–72) are in both cases
about God’s mercy, but in the final canticle of Canto III the poet elaborates
on this subject and is much more concrete than in its counterpart (see
§ 6.7.1). On the basis of these observations, I conclude that there is more
chiaroscuro in Canto III than in Canto II. This means that the concluding
Canto III as a whole has an emphatic character. It is not a mere repetition
of Canto II, but in terms of semantics it strengthens and reinforces it.21
With respect to the ‘Zweiteilung der Exodusgeschichte’ we find in Can-
tos II and III, Hossfeld states that some exegetes have made a virtue of
necessity (Hossfeld/[Zenger], p. 420). This reproach gives food for thought.
The ‘Doppelläufigkeit der Geschichtserzählung’, which underlies the lin-
early alternating parallelism between Cantos II and III (vv. 9–39 and
40–72), is not only ‘dem biblischen Erzählstil . . . keineswegs zuwiderlaufend’
(so rightly Füglister [1991], p. 271), but perfectly fits one of the main char-
acteristics of biblical Hebrew poetry in general.22
19
See also Koopmans (1988), p. 122, who further notes that both sub-cantos are
composed of 35 cola; cf. Füglister (1991), p. 274 (see also § 6.6).
20
Cf. Coats (1968) and Clifford (1981) in § 6.6.
21
For this poetic device on the level of the verseline Kugel coined the term ‘sharpness’;
see J.L. Kugel, The Idea of Biblical Poetry, New Haven and London: Yale University
Press, 1981, pp. 7–13.
22
Contra Spieckermann (1998) and Hossfeld/[Zenger], who consider vv. 40–51 as a
later intrusion; see § 6.6. In my opinion, it should have made Hossfeld think when he
concludes: ‘Der mit Hilfe der Literar- und Redaktionskritik erarbeitete Grundpsalm gibt
Second, alongside these linear correspondences between Cantos I–III,

there is a conspicuous pattern of concatenations and inclusions, which I la-
bel as symmetric relationships. There is a distinct device for concatenation
between Canto I (vv. 1–8) and Sub-canto II.1 (vv. 9–22). Furthermore,
there is a symmetric pattern of verbal repetitions which determines the re-
lationship between Cantos II and III: 9–22.23–39|40–55.56–72 > A.B|B’.A’;
see § 6.4.5 (The symmetric framework) and the underlined words which are
printed in capitals and bold face in the layout of the psalm.23
Korpel/De Moor (1988) also distinguish between cantos, sub-cantos,
canticles and strophes. According to them there are five cantos. However,
their canto division is based on the hypothesis that ‘the heart of the mat-
ter’ is to be found right in the centre of the psalm ‘where it belongs as
the kernel out of which everything grew in accordance with the laws of
parallelistic expansion’ (p. 54). As I have argued, this hypothesis cannot
do justice to the meaning of vv. 65–72. Further, we can surely speak of
an ‘undulatory movement’ as far as the sin of the fathers and the mercy
of God is concerned, but this alternation of themes is more sophisticatedly
woven into the fabric of the text than Korpel/De Moor will have it.24 In
addition, the supposed balance between the corresponding cantos is based
on the unfounded assumption that the length of a canto is mainly to be
measured on the basis of the number of strophes. This hypothesis often
leads them astray when defining the strophic boundaries. Finally, the ver-
bal recurrences within vv. 56–72 do not at all suggest a ‘nice concentric
structure’ (p. 58; see § 6.4.3).
The high point of the composition is to be found in the concluding
canticle (vv. 65–72) in which the authoritative poet deals with the election
of the tribe of Judah, Mount Zion and king David.25
. . . wegen der gelegentlichen Unbestimmtheit der poetischen Darstellung wenig Signale

zur Bestimmung der Abschnitte oder Strophen’ (Hossfeld/[Zenger], p. 425). In addition,
I think it not very likely that an editorial process putting in layer upon layer leads up
to a very sophisticated composition as we find it in Psalm 78, in which the numbers 11
and 7 play a structuring role; see § 6.7.1. In this light, it is more probable that we are
dealing with a composition ‘aus einem Guß’.
23
The patterns in question are based on a comprehensive investigation of the ver-
bal repetitions that occur in Psalm 78; see § 6.4.0 and cf. Girard (1994), pp. 371–72,
especially notes 25–26.
24
In an unscholarly outburst, Fokkelman militates against this supposed ‘most re-
markable undulatory movement’ (Korpel/De Moor, p. 59). He labels it the product
of a ‘theological preoccupation with miracles, election and the like’ and ‘the result of
projection and sentimental faith’; see MPHB II, p. 227 n. 117.
25
It may tentatively be argued that, in terms of gematria, the 56 words of Canticle
III.2.2 allude to the name dwd (‘David’; 4+6+4 = 14) because 56 is 4×14.
iii.6 psalm 78 367
following verbal repetitions: h’zynh (v. 1; see also ’znkm) > 77,2 (anaphora);
qdm (vv. 2.26) > 77,6.12; ‘zwzw wnpl’wtyw . . . ‘śh (v. 4; see also the root
pl’ in vv. 11.12.32 and ‘z in vv. 26.61) > 77,15 (‘śh pl’ . . . ‘zk ; see also pl’
in v. 12); y‘qb (vv. 5.21.71) > 77,16; root škh. (vv. 7.11) > 77,10; m‘lly ’l
(v. 7) > 77,12 (m‘lly yh); root m’n (v. 10) > 77,3; ‘lylwt (v. 11) > 77,13;
root nh.h (vv. 14.53.72) > 77,21; thmwt (v. 15) > 77,17; root ysp (v. 17) >
77,8; ‘lywn (vv. 17.35.56) > 77,11; šh.qym (v. 23) > 77,18; ymym // šnwt
(v. 33) > 77,6; root drš (v. 34) > 77,3; root zkr (vv. 35.39.42) > 77,4.7.12
(2×); root g’l (v. 35) > 77,16; root rh.m (v. 38) > 77,10; yd (vv. 42.61) >
77,3.21; .srh (v. 49) > 77,3; ks.’n (v. 52; see also .s’n in v. 70) > 77,21; ywsp
(v. 67) > 77,16.26
6.8 Bibliography
O. Eißfeldt, ‘Das Lied Moses Deuteronomium 32:1–43 und das Lehrgedicht Asaphs
Psalm 78 samt einer Analyse der Umgebung des Moses-Liedes’, Berichte über die
Verhandlungen der Sachsischen Akademie der Wissenschaften zu Leipzig (Phil.-
hist. Klasse 104.5), Berlin: Akademia, 1958;
G.W. Coats, Rebellion in the Wilderness, Nashville: Abingdon, 1968, pp. 199–224;
A.F. Campbell, ‘Psalm 78. A Contribution to the Theology of Tenth Century
Israel’, CBQ 41 (1979), pp. 51–79;
M. O’Connor, Hebrew Verse Structure, Winona Lake (Indiana): Eisenbrauns,
1980;
R.J. Clifford, ‘In Zion and David a New Beginning. An Interpretation of Psalm
78’, in B. Halpern and J.D. Levenson (eds.), Traditions in Transformation. FS
F.M. Cross, Winona Lake (Indiana): Eisenbrauns, 1981, pp. 121–41;
W.T. Koopmans, ‘Psalm 78, Canto D—a Response’, UF 20 (1988), pp. 121–23;
M.C.A. Korpel, and J.C. de Moor, ‘Fundamentals of Ugaritic and Hebrew Po-
etry’, in W. van der Meer and J.C. de Moor (eds.), The Structural Analysis
of Biblical and Canaanite Poetry (JSOTS 74), Sheffield: JSOT Press, 1988,
pp. 1–61;
A.C.C. Lee, ‘The Context and Function of the Plagues Tadition in Psalm 78’,
JSOT 48 (1990), pp. 83–89;
26
See also P. Schelling, De Asafspsalmen, Kampen, 1985, pp. 239–40, Auffret (1993),
pp. 233–36, and Weber (1995), pp. 288–90. On the basis of the conspicuous correspon-
dences between Psalms 77 and 78, Weber wonders whether these phenomena are to be
interpreted as an indication ‘dass der eine Psalm mit Kenntnis des anderen entstanden
ist’ (1995, p. 290).
N. Füglister, ‘Psalm LXXXVIII [sic!]: der Rätsel Lösung?’, in J.A. Emerton

(ed.), Congress Volume Leuven 1989 (SupplVT 43), Leiden: Brill, 1991, pp.
264–97;
P. Auffret, Voyez de vos yeux—Etude structurelle de vingt psaumes, dont le
T. Hieke, ‘“Weitergabe des Glaubens” (Ps 78,1–8). Versuch zu Syntax und
Struktur von Ps 78’, BN 78 (1995), pp. 49–62;
Ph. Stern, ‘The Eight Century Dating of Psalm 78 Re-argued’, HUCA 66 (1995),
pp. 41–65;
J. Chinitz, ‘Some Surprises in Psalm 78’, JBQ 26 (1998), pp. 246–49;
B. Weber, ‘Psalm 78: Geschichte mit Geschichte deuten’, ThZ 56 (2000), pp.
193–214;
(2004), pp. 533–50;
B. Weber, ‘Psalm 78 als “Mitte” des Psalters?—ein Versuch’, Biblica 88 (2007),
pp. 305–25;
J.M. Leonard, ‘Identifying Inner-Biblical Allusions: Psalm 78’, JBL 127 (2008),
pp. 241–65.
iii.7 psalm 79 369
7 Psalm 79
Structure: 8.8 > 4.4|3.5 > 2.2|2.2||1.2|2.3 lines (Type IA)
I.1 1 ’LHYM B’W gwym bnh.ltk .tm’w ’t hykl qdšk śmw ’t yrwšlm l‘yym
2 ntnw ’t nblt ‘BDYK m’kl l‘wp hšmym bśr h.sydyk lh.ytw ’rs.
3 ŠPKW DMm kmym sbybwt yrwšlm w’yn qwbr

4 hyynw H
. RPH LŠKNYNW l‘g wqls lsbybwtynw
I.2 5 ‘D MH yhwh t’np lns.h. tb‘r kmw ’š qn’tk

6 špk h.mtk ’l HGWYM ’ŠR l’ YD‘Wk
w‘l mmlkwt ’ŠR bŠMK l’ qr’w

7 KY ’kl ’t y‘qb w ’t nwhw hšmw
II.1 8 ’l tzkr lnw ‘wnt r’šnym mhr yqdmwnw rh.myk KY dlwnw m’d
9 ‘zrnw ’LHY yš‘nw ‘l dbr kbwd ŠMK

whs.ylnw wkpr ‘l h..t’tynw lm‘n ŠMK
II.2 10 LMH y’mrw HGWYM ’yh ’lhyhm

YWD‘ bGWYM l‘ynynw nqmt DM ‘BDYK hŠPWK
11 TBW’ lpnyk ’nqt ’syr kgdl zrw‘k htr bny tmwth

12 whšb LŠKNYNW šb‘tym ’l h.yqm H
. RPTm ’ŠR H . RPWk ’dny
13 w’nh.nw ‘mk ws.’n mr‘ytk nwdh lk l‘wlm ldr wdr nspr thltk
7.1 Text
V. 10c—bgwym: so Q; K bgyym.
V. 11b: MT divides with ’atnah. after zrw‘k.
V. 11b—htr : ‘let go free’ (imperat. hiph‘il from the root ntr), so Pesjitta (sim-
ilarly Barthélemy [2005]); cf. pth. in Ps. 102,21 and ntr hiph‘il // pth. pi‘el
in Ps. 105,20. MT hwtr (‘preserve’; imperat. hiph‘il from the root ytr).
V. 13b: MT divides with ‘ole wejored after l‘wlm and with ’atnah. after wdr.
7.2 Content
Prayer of the people of Israel for deliverance from their enemies.
I Description of distress (I.1) and prayer for the ruin of enemies (I.2).
I.1 O God, the nations have destroyed your sanctuary and slain
your servants (vv. 1–2).

We have become a taunt to our neighbours (vv. 3–4).
I.2 How long, O Lord, will your anger endure? (v. 5).
Pour out your fury on the nations that do not know you (v. 6);
for they have ruined your people (v. 7).
II Prayer for forgiveness of sins (II.1) and for the ruin of their enemies
(II.2; cf. I.2)
II.1 Forgive the sins from the past (v. 8).
O God of our salvation, deliver us and forgive our sins (v. 9).
II.2 Demonstrate your vengeance for the slaughter of your servants
by those who do not know you (v. 10; cf. v. 6).
Return to our neighbours the taunts they have flung at you
(vv. 11–12); then, we will praise you forever (v. 13).

7.3.1.1 vocative: ’lhym, v. 1a ’yh, v. 10b
mh, v. 5a imperative: htr, v. 11b; ext.
vocative: yhwh, v. 5a // hšb in v. 12a
’l prohibitive, v. 8a 7.3.1.2 ns.h., v. 5a
vocative: ’lhy yš‘nw, v. 9a m’d, v. 8c
lmh, v. 10a

7.3.2.1 lm‘n, v. 9d 7.3.2.2 w- beginning of line, v. 9a
’nh.nw, v. 13a imperatives: hs.ylnw wkpr,
‘wlm, v. 13b v. 9c
dr wdr, v. 13c w- beginning of line, v. 13a;
ext. // w- in v. 12a

imperative: špk, v. 6a
vocative: ’dny, v. 12b

vv. 1–2: suffix -k, vv. 1a+b.2a+c
iii.7 psalm 79 371
’t (nota acusative), vv. 1b+c.2a

prep. l-, vv. 1c.2c+b
vv. 3–4: sbybwt, vv. 3b.4b!
vv. 5–6b: qn’h/h.mh, vv. 5b and 6a resp.
suffix -k, vv. 5b.6b (epiphora); see also v. 6a
v. 9: ‘zrnw . . . yš‘nw/whs.ylnw, v. 9a and 9c resp.
‘l, v. 9b.9c
‘l dbr/lm‘n, v. 9b and 9d resp. (exactly linear)
šmk, v. 9b.9d (epiphora)
v. 10: gwym, v. 10a.10c
vv. 11–13: prep. l- + suffix -k, vv. 11a.13b (inclusion)

vv. 1–4 (I.1): yrwšlm, vv. 1c.3b! (linear)
vv. 5–7 (I.2): ’šr l’ yd‘wk/’šr bšmk l’ qr’w, v. 6b and 6d resp.!

(concatenation)
vv. 8–9 (II.1): tzkr lnw/‘zrnw, vv. 8a and 9a resp. (alliter.; concaten.)
suffix -nw, vv. 8a+b+c.9a (2×)+c (2×)
‘wnt/h..t’tynw, vv. 8a and 9c resp. (inclusion)
vv. 10–13 (II.2): suffix -nw, vv. 10c.12a

nqmt/’nqt, vv. 10d and 11a resp. (alliter.; concaten.)
nqmt/šwb hiph‘il, vv. 10d and 12a resp.
hšpwk/h.rpwk, vv. 10d and 12b resp. (alliter.)

vv. 1–7 (Canto I): gwym, vv. 1a.6a (linear)
’t (nota accusative), vv. 1b+c+2a.7a+b! (inclusion)
root ’kl, vv. 2b.7a! (inclusion)
root špk, vv. 3a.6a (symmetric and beginning of the
line)
prep. k-, vv. 3a.5b (concatenation); note kmym and
kmw ’š resp.
vv. 8–13 (Canto II): lnw/l‘ynynw, vv. 8a and 10c resp. (linear)
‘zrnw/zrw‘k, vv. 9a and 11b resp. (alliter.; linear)
’lhy, vv. 9a.10b (concatenation)
roots kbd/hll, vv. 9b and 13b resp. (linear; cf. Ps.

22,24)
w-, vv. 9c.12a+13a (exactly linear); note w- +
imperative hiph‘il in vv. 9c and 12a
l- . . . šmk/lpnyk . . . lk, vv. 9d and 11a+13b resp.
(linear)
prep. l-, vv. 9d.10a (concatenation); note lm‘n and
lmh resp.

vv. 1–4.8–9: ’lhym vocative(!), vv. 1a.9a
vv. 5–7.10–13: ‘d mh/lmh, vv. 5a and 10a resp. (exactly linear); see
also ’yh in v. 10b
yhwh/’dny (vocatives), vv. 5a and 12b resp.!
lns.h./l‘wlm ldr wdr, vv. 5a and 13b resp.!
qn’tk/’nqt, vv. 5b and 11a resp. (alliter.)
prep. ’l, vv. 6a.12a!
hgwym, vv. 6a.10a; see also gwym in v. 10c
’šr, vv. 6b+d.12b!
root yd‘, vv. 6b.10c! (second line of the canticles)
y‘qb/‘mk, vv. 7a and 13a resp. (last line of the canticles)
nwh/mr‘yt, vv. 7b and 13a resp. (cf. Ez. 34,14; last line
of the canticles)
vv. 1–4.10–13: root bw’, vv. 1a.11a!

} chiasmus
‘bdyk, vv. 2a.10d!
nh.ltk/mr‘ytk, vv. 1a and 13a resp. (last word of the first
colon of the first and the concluding verseline resp.;
inclusion)
root špk, vv. 3a.10d
} chiasmus
dm, vv. 3a.10d!
hyynw/w’nh.nw, vv. 4a and 13a resp. (first morpheme of
the last verseline)
root h.rp, vv. 4a.12b (2×)!
lšknynw, vv. 4a.12a!
lsbybwtynw in v. 4b
iii.7 psalm 79 373
vv. 5–7.8–9: qn’h/rh.mym, vv. 5b and 8b resp.

‘l, vv. 6c.9b+c!
šmk, vv. 6d.9b+d!
ky, vv. 7a.8c!

suffix -k, prep. k- (v. 11), prep. l- (v. 4 [1×])

none

Psalm 79 has 16 verselines and 36 cola.1 V. 7 contains the middle cola (>
17+2+17 cola). These cola have 11+11 letters. The verseline in question
reads: ky ’kl ’t y‘qb // w’t nwhw hšmw (‘for it has devoured Jacob // and
desolated his home’). Amidst verselines which are in most cases poorly de-
termined by internal parallelism in terms of semantics and/or grammar, this
verseline positively shows parallelismus membrorum.2 Moreover, in terms
of syntax, it is the only line with a symmetric structure: predicate + object
// object + predicate (cf. especially Ps. 58,7 and further Ch. V, 2.6.3). It is
composed of 7 words with the suffering object y‘qb at the arithmetic centre
(> 3+1+3 words). The verseline is introduced by the emphatic particle ky
and contains a terse description of the distress the people of Israel experi-
enced. On the basis of all these observations, I conclude that v. 7 is the
consciously designed meaningful centre of the composition.3
Structure of strophes and cantos in terms of words: 23+13|16+13||11
+13|12+29 = 36+29|24+41 = 65+65 (= 130 = 5×26 words in total). The
caesura between Canto I and II divides the poem into an equal number of
verselines as well as an equal number of words(!): vv. 1–7.8–13 > 8+8 lines
1
Fokkelman (MPHB II) discerns 37 cola. He takes v. 3 as a bicolon and v. 13 as a
2-line strophe with four cola.
2
In most cases there is a clear external parallelism between two successive verselines
constituting a 2-line strophe.
3
It may be by chance or not that the verseline coincides with the pivot of the psalm
in terms of the Masoretic verses (> 6+1+6 verses). Fokkelman, who discerns seven
strophes, considers vv. 8–9 the central strophe: ‘this is where introspection and spiritual
enrichment take place’ (MPHB II, p. 229; see also p. 230); similarly www.labuschagne.nl/
ps079.pdf, Observations 2–3. Auffret (1993) considers v. 9 the structural and semantic
pivot of the psalm; see § 7.6.
and exactly 65+65 words (65 = 5×13).4

The divine name, yhwh, occurs only once, v. 5 (cf. Psalm 77, § 5.5); in
v. 12 it is ’dny (‘Lord’). The designation ’lhym for God is found 3×: vv. 1,
9 and 10. All together, God is explicitly referred to 5×. In this context, it
is worth noting that the psalm consists of 5×26 words.

Köster (1837): 1–4.5–7.8–10.11–13 (4.3.3.3 verses)
Hävernick (1849), p. 41: 1–4.5–8.9–12.13 (4.4.4.1 verses)
De Wette (1856): 1–4.5–8.9–13 (4.4.5 verses)
Ewald (1866), pp. 444–46: 1–5.6–10.11–13 (5.5.3 verses)
Delitzsch (1894): 1–4.5–8.9–12.13 (9.9.9.3 cola); cf. Hävernick (1849)
Zenner (1906), p. 40–42: 1–4.5–6+8–9c.10–13 (4.4.4 lines)
Duhm (1922): 1.2.3*.5*.8.9.10.11.12.13a+80,19a.80,19b+79,13b–c
(11 tricola)
Gunkel (1926): 1–4.5–12.13; similarly Kraus (1978)
Calès (1936): 1–4.5–7|8–10.11–13 (8.5|7.6 lines); cf. Köster (1837)
Herkenne (1936): 1–5+8a.8b–9+6a–b.10–13 (4.4.4 lines)
Böhl (1947): 1.2.3.4–5|6–7.8.9.10.11.12|13
Pannier/Renard (1950): 1–5.6–10b.10c–13 (‘trois strophes assez inégales’)
Kissane (1954): 1–4.5–8.9–10.11–13 (4.4.4.4 lines); cf. Mowinckel (1957),
NAB (1970)
Podechard (1954): 1–2.3–4|5–7.8–10b.10c–12|13 (‘Les strophes . . . sont
inégales’); cf. Gunkel (1926)
Van der Ploeg (1974): 1–3.4|5–6.7|8–9|10.11.12.13; cf. Calès (1936)
Jacquet (1977): 1.2.3.4.5.6–7|8a–b+9.10.11–13 (4 tricola.1 bicolon.3 bicola|
3.2.3 bicola; ‘une Plainte’ [vv. 1–7], ‘une Supplication’ [vv. 8–13])
Beaucamp (1979): 1.2.3.4||5|6|7|8.9.10.11.12||13 (4×3||2|2|2|5×2||3 cola)
Aletti/Trublet (1983), p. 83: 1–4.5–10b.10c–13 (a.b.a’)
Ravasi (1985), pp. 659–61: 1–4.5–9.10–13 (a.b.a’); sim. [Hossfeld]/Zenger
(2000); cf. Aletti/Trublet (1983)
Labuschagne (1984): 1–3.4.5–7|8–10.11–12.13 (a.b.a’|36+18+11 words; vv.
1–7.8–13 > 65+65 words)
Tate (1990): 1–5|6–12.13
Auffret (1993): 1–3.4–5.6–7.8|9|10.11.12.13 (a.b.a’.b’|X|e.f.e’.f’)
Girard (1994): 1–3.4–5|6–10.11–13 (a.b|a’.b’)
Seybold (1996): 1–4.5–7.8–10b.10c–13; cf. Van der Ploeg (1974)
4
Cf. in this respect Psalm 77 (§ 5.5). For a profound investigation into the numerical
aspects on word level, see also www.labuschagne.nl/ps079.pdf, Observations 4–7.
iii.7 psalm 79 375
Fokkelman (2000), pp. 229–30: 1–3.4–5|6–7.8–9|10.11–12.13 (3.2|3.3|2.2.2

lines; a.b|a’.b’|a”.b”.c)
Terrien (2003): 1–3.4–6.7–9.10–11.12–13 (a.b.c.b’.a’)
Weber (2003): 1–2.3–5|6–7.8–9|10.11–12.13 (a.b.a’); cf. Fokkelman (2000)

As is shown by the survey of various divisions in § 7.6, in the past there
has been no consensus at all among exegetes as far as the macrostructure
of Psalm 79 is concerned. With regard to the poetic aspect of the psalm,
scholars often confined themselves to the observation that the verses are
very unequal in length.5 This dithyrambic aspect, however, does not alter
the fact that the total structure of the poem shows a remarkable balance.
On the basis of various structural investigations, it has recently often been
suggested that we are dealing with a concentric structure.6 The concentric
approach, however, emphasizes only one aspect of the total framework of
Psalm 79 and does not do justice to the web of very sophisticated interre-
lationships that lend a firm structure to the text.7
In my opinion, there are two regular cantos, vv. 1–7 and 8–13, which
consist of 8 verselines and 65 words each.8 In addition, the cantos are each
composed of two (almost) regular canticles which consist of four or nearly
four verselines, vv. 1–4.5–7 (Canto I) and 8–9.10–13 (Canto II).9
In terms of semantics, the second and the fourth canticle (vv. 5–7 and
10–13) display clear correspondences. In both units the psalmist prays
for the ruin of enemies; see vv. 6 and 10c–d.12. Further, in both units
the psalmist reminds God that the nations do not know him; note vv.
6b+d and 10b. Finally, the question whether God’s anger will endure
forever (v. 5) is contrasted by the statement that his praise will be told
about always and from generation to generation (v. 13).10 These thematic
5
‘Die Verse sind sehr unregelmäßig gebaut’ (Gunkel, p. 350); ‘De verzen zijn zeer
ongelijk van lengte en bouw’ (Van der Ploeg, p. 37); cf. also Kraus.
6
See Aletti/Trublet, Ravasi, Auffret, [Hossfeld]/Zenger, Terrien and Weber in § 7.6;
cf. also my STR (1980), pp. 330–34.
7
Contra Girard who concludes: ‘avouons que bien d’autres psaumes manifestent un
soin et un art plus raffinés’.
8
For this bipartite divsion, see also Calès, Jacquet and Labuschagne in § 7.6 (and
cf. Van der Ploeg). Labuschagne (1984) was the first scholar to point out that, in a
quantitative sense, the bipartite division of the psalm is buttressed on word level; see
now also www.labuschagne.nl/ps079.pdf, Observation 1, and § 7.5 above.
9
In this respect, cf. the divisions by Köster, Calès, Kissane, Van der Ploeg (note his
layout of the text on pp. 35–36) and Seybold in § 7.6.
10
Zenger ([Hossfeld]/Zenger, p. 446) mistakenly argues that v. 13 is related to v. 1, for
it is not in v. 1 but in v. 5 that ‘die fundamentale Störung der Beziehung JHWH—Israel’
correspondences between Canticles I.2 and II.2, are formally reinforced by

a cluster of verbal repetitions on the level of the psalm as a whole; see
§ 7.4.4 (The linear framework); note, among other things, the interrogative
particles at the beginning of Canticles I.2 and II.2 (‘d mh [‘how long’] and
lmh [‘why’] respectively) and the root yd‘ (‘to know’).11 The parallelism
between Canticles I.2 and II.2 is an aspect of the total structure of Psalm
79, dividing the composition into two regular cantos.
This bipartite division is further supported by the inner structure of
Cantos I and II. In terms of verbal repetitions, Canto I (vv. 1–7) has
mainly a symmetric framework; see § 7.4.3. From a thematic perspec-
tive, the symmetry is perfectly underlined by the description of distress
in the concluding verseline of the canto: v. 7b refers to the devastation of
the sanctuary mourned about in v. 1 and v. 7a to the slaying of the peo-
ple mourned about in vv. 2–3. Zenger ([Hossfeld]/Zenger, p. 445) rightly
observes that the enumeration of brutal deeds by the nations is concluded
in v. 4, ‘indem gewissermassen das Resultat mit einem Blick auf die Beter
selbst festgehalten wird’. The question regarding the endurance of God’s
anger (v. 5) seamlessly joins this final verseline of Canticle I.1, which con-
stitutes another aspect of the symmetry in Canto I. But from v. 5 onwards
the psalmist reckons with the possibility of improvement of the situation
and subsequently asks for vengeance (v. 6).
The two canticles of Canto II have mainly a linearly alternating relation-
ship: vv. 8.9|10.11–13 > a.b|a’b’. This linear parallelism between Canticles
II.1 and II.2 most clearly comes to light by the investigation of the ver-
bal repetitions; see § 7.4.3. From a semantic perspecive, I observe that in
vv. 8 and 10 the psalmist especially focusses on the dreadful condition of
the people of Israel (note ‘where is their God?’ in v. 10b), while in vv. 9
and 11–13 he focusses on God’s name (note šmk in v. 9), his glory (kbwd,
v. 9) and praise (thltk, v. 13), but also on the abuse flung to him (v. 12b).
The assurance to collectively praising God for ever, formulated in the final
verseline (v. 13), constitutes an antithetic parallelism with the plaintive
statement that the nations do not experience God’s being on Israel’s side
(v. 10a–b; similarly [Hossfeld]/Zenger, p. 445). In this way, the boundaries
of Canticle II.2 are marked by inclusion.
Alongside the linear devices marking the end of Cantos I and II, pointed
is bewailed. That is to say, speaking of the ‘linear-dynamische Bewegung vom Anfang

zum Schluss’ Zenger overlooks that this movement takes place in two steps, from v. 1 to
v. 7 (Canto I) and finally from v. 8 to v. 13 (Canto II). We are dealing with a bipartite
poetic composition, not with prose.
11
These linear structural relationships on the level of the psalm as a whole do not
concur with the parallelism supposed by Girard; see § 7.6.
iii.7 psalm 79 377
out above, there is a very conspicuous symmetric pattern of verbal re-

currences on the level of the psalm as a whole: vv. 1–4.5–7|8–9.10–13 >
a.b|b’.a’; see § 7.4.4 (The symmetric framework). The most remarkable
cluster of verbal repetitions occurs in the outer canticles (I.1 and II.2); note
the root bw’ (‘to come’), ‘bdyk (‘your servants’), dm (‘blood’) and lšknynw
(‘to our neighbours’). These formal relationships also have semantic coun-
terparts; e.g., ‘the vengeance of the outpoured blood (of your servants)’
(v. 10d; Canticle II.2) refers to the pouring out of the blood described in
v. 3a (Canticle I.1). The symmetry is reinforced by a thematic correspon-
dence which unites the inner canticles. The anger of God spoken about in
v. 5 (Canticle I.2) is caused by the sins of his people of which the psalmist
speaks in vv. 8 and 9 (Canticle II.1).
The strophic structure of our psalm in the strict sense is irrefutably
determined by formal devices; see §§ 7.3.1–2 (transition markers), 7.4.1
(verbal repetitions) and 7.5 (the second strophe of the first three canticles
has consistently 13 words!). Fokkelman rightly argues that the beginning
of the strophes is marked by ‘a vocative, imperative, vetitive and the ques-
tion “why”’ (MPHB II, p. 229). In light of this observation it is difficult
to understand why he (followed by Weber [2003]) ignores the question ‘d
mh (‘how long?’; v. 5) as an indication of the beginning of a new strophe
(§ 7.3.1.1; see also yhwh in the vocative). The strophic structure of Can-
ticle I.1 (vv. 1–4) is especially rooted in the device for verbal repetition
within the strophes (§ 7.4.1); and see also yrwšlm (‘Jerusalem’) in § 7.4.2.
The 2-line strophic structure of Canticle I.2 is partly suggested by analogy;
cf. Canticle I.1. The transition from vv. 5–6b to 6c–7 is characterized by
enjambement (see § 7.2).
For the relationship with the preceding poem, see among other things the
following verbal repetitions: gwym (vv. 1.6.10 [2×]) > Ps. 78,55; nh.lth (v. 1)
> Ps. 78,55.62.71; root qdš (v. 1) > Ps. 78,41.54.69; ‘bd (vv. 2.10) > Ps.
78,70; root ’kl (vv. 2.7) > Ps. 78,18.24.25.29.30.45; ‘wp (v. 2) > Ps. 78,27;
šmym (v. 2) > Ps. 78,23.24.26; bśr (v. 2) > Ps. 78,39; root h.yh (v. 2) > Ps.
78,50; dm (v. 3) > Ps. 78,44; sbyb (vv. 3.4) > Ps. 78,28; root h.rp (vv. 4.12
[2×]) > Ps. 78,66; root škn (vv. 4.12) > Ps. 78,28.55.60 (2×); ’š (v. 5) >
Ps. 78,14.21.63; root qn’ (v. 5) > Ps. 78,58; h.mh (v. 6) > Ps. 78,38; root
zkr (v. 8) > Ps. 78,35.39.42; ‘wn (v. 8) > Ps. 78,38; root qdm (v. 8) > Ps.
78,2.26; root rh.m (v. 8) > Ps. 78,38; root yš‘ (v. 9) > Ps. 78,22; root kpr
(v. 9) > Ps. 78,38; root h..t’ (v. 9) > Ps. 78,17.32; root šwb hiph‘il (v. 12)
> Ps. 78,38; ‘m (‘people’; v. 13) > Ps. 78,1.20.53.62.71; .s’n (v. 13) > Ps.
78,52.70; root r‘h (v. 13) > Ps. 78,71.72; ‘wlm (v. 13) > Ps. 78,66.69; root
spr (v. 13) > Ps. 78,3.4.6; thlh (v. 13) > Ps. 78,4.
For the relationship with Psalm 74, see among other things the following
verbal repetitions: nh.ltk (v. 1) > Ps. 74,2; qdš (v. 1) > Ps. 74,3.7; śmw
(v. 1) > Ps. 74,4; root ntn + m’kl (v. 2) > Ps. 74,14; lh.yt (v. 2) > Ps.
74,19a (see also v. 19b); root h.rp (vv. 4.12 [2×]) > Ps. 74,10.17.18.22; root
škn (vv. 4.12) > Ps. 74,7; ‘d mh (v. 5) > Ps. 74,10 (‘d mty); lns.h. (v. 5)
> Ps. 74,1.10.19 (see also v. 3); šmk (vv. 6.9 [2×]) > Ps. 74,7.10.18.21;
nwh (v. 7) > Ps. 74,20; root yš‘ (v. 9) > Ps. 74,12; root zkr (v. 8) > Ps.
74,2.18.22; lmh (v. 10) > Ps. 74,1.11; ywd‘ (v. 10) > Ps. 74,5; root šwb
(hiph‘il; v. 12) > Ps. 74,11; h.yq (v. 12) > Ps. 74,11; .s’n mr‘ytk (v. 13) >
Ps. 74,1.12
7.8 Bibliography
C.J. Labuschagne, ‘On the Structural Use of Numbers as a Composition Tech-
nique’, JNSL 12 (1984), pp. 87–99;
R.K. Low, A theological understanding of Psalm 74 and 79 in light of rhetorical
and linguistic analysis, Ph.D. Golden Gate Baptist Theological Seminary, 1995;
B. Weber, ‘Zur Datierung der Asaph-Psalmen 74 und 79’, Biblica 81 (2000), pp.
521–32;
Ph.J. Botha, ‘The poetic structure and strategy of Psalm 79’, Verbum et Ecclesia
25/2 (2004), pp. 357–77.
12
For the conspicuous relationship with Psalm 74, see also Delitzsch (pp. 531–32) and
[Hossfeld]/Zenger (p. 448). For the ‘anthological style’ characterizing this poem, see
Beaucamp (p. 39), Tate (pp. 299–300), [Hossfeld]/Zenger (p. 447) and Weber ([2003],
pp. 60–61).
iii.8 psalm 80 379
8 Psalm 80
Structure: 8.8.4 > 4.4|4.4|4 > 2.2|2.2||2.2|2.2||2.2 lines (Type IIB)
I.1 2 r‘h yśr’l h’zynh nhg ks.’n ywsp

yšb hkrwbym hwpy‘h 3 LPNY ’prym wmnšh
‘wrrh ’t gbwrtk wlkh lYŠ‘TH lnw

4 ’LHYM HŠYBNW wH’R PNYK WNWŠ‘H
I.2 5 yhwh ’LHYM S.B’WT ‘D MTY ‘šnt btplt ‘mk

6 h’kltm lh.m dm‘h wtšqmw bdm‘wt šlyš
7 tśymnw mdwn lšknynw w’ybynw yl‘gw lmw

8 ’LHYM S.B’WT HŠYBNW wh’r pnyk wnwš‘h (slh)
II.1 9 gpn mms.rym tsy‘ tgrš gwym w tt.‘h

10 PNYT LPNYh wtšrš šršyh wtml’ ’rs.
11 ksw hrym .slh w‘npyh ’rzy ’l

12 tšlh. qs.yrh ‘d ym w’l nhr ywnqwtyh
II.2 13 LMH prs.t gdryh w’rwh kl ‘bry drk

14 ykrsmnh h.zyr my‘r wzyz śdy yr‘nh
15 ’LHYM S.B’WT ŠWB n’ hbt. mšmym wr’h

wpqd gpn z’t 16 wknh ’šr nt.‘h YMYNK
III 17 śrph b’š kswh.h mg‘rt PNYK y’bdw

18 thy ydk ‘l ’yš YMYNK ‘l bn ’dm ’ms.t lk
19 wl’ nswg mmk th.ynw w bšmk nqr’

20 yhwh ’LHYM .sb’wt HŠYBNW H’R PNYK WNWŠ‘H
8.1 Text
V. 3a—’prym: MT + wbnymn; this word, which overloads the colon, does not
fit between ’prym and wmnšh (with Duhm, Calès and Jacquet).
V. 7b—lmw : = lnw (‘for us’); see Pss. 44,11 64,6 and Job 22,17 (cf. Dahood,
V. 8b—slh: so LXX; not in MT.
V. 10: MT divides with ’atnah. after lpnyh in v. 10a.
V. 16—wknh: Hebrew obscure; ‘and her shooting’ (cf. HAL).

V. 16—ymynk : MT + w‘l bn ’ms.th lk ; dittography from v. 18b (see ymynk in
vv. 16 and 18a; note Hieke [1997], p. 31, Fokkelman, MPHB III, p. 140).
V. 17a—śrph . . . kswh.h: ‘burned . . . , cut off’ (according to the vocalisation of
MT; so Delitzsch, Tate, JPS and others).
8.2 Content
Prayer of the people for deliverance from their enemies.
I Prayer for restoration (I.1) and description of the distress (I.2).
I.1 O shepherd of Israel, appear before your people (vv. 2–3a).
O God, deliver us (vv. 3b–4).
I.2 O God, your people are at a complete loss (vv. 5–6).
Our enemies mock at us (v. 7); O God, help us (v. 8).
II God’s kindness for Israel (II.1) and a description of distress (II.2; cf.
I.2)—allegory of the vine.
II.1 You planted a vine that grew profusely (vv. 9–12).
II.2 Why did you destroy the vineyard? (vv. 13–14).
O God, pay heed to this vine (vv. 15–16).
III Summary: they (the people of Israel) perish by your anger (v. 17);
O God of hosts, restore us (vv. 18 and 20); then we will be faithful
to you (v. 19).

8.3.1.1 vocative: r‘h yśr’l, v. 2a; lmh, v. 13a
ext. // yšb hkrwbym in vocative: ’lhym .sb’wt,
v. 2c v. 15a
imperative: h’zynh, v. 2a; imperative: šwb, v. 15a;
ext. // hwpy‘h in v. 2c ext. // pqd in v. 15c
vocative: nhg ks.’n ywsp, n’, v. 15a
v. 2b imperatives: hbt. . . . wr’h,
imperat.: ‘wrrh . . . wlkh, v. 15b
v. 3b–c w- beginning of line, v. 19a
vocative: yhwh ’lhym .sb’wt,
v. 5a 8.3.1.2 none
mty, v. 5b

8.3.2.1 slh, v. 8b* 8.3.2.2 vocative: ’lhym, v. 4a
iii.8 psalm 80 381
imperatives: hšybnw wh’r, z’t, v. 15a

v. 4 vocatives: yhwh ’lhym
vocative: ’lhym .sb’wt, v. 8a .sb’wt, v. 20a
imperatives.: hšybnw wh’r, imperatives: hšybnw h’r,
v. 8 v. 20

jussive: thy, v. 18a

vv. 2–3a: h’zynh/hwpy‘h, vv. 2a and 2c resp. (exactly linear)
ywsp/’prym wmnšh, vv. 2b and 3a* resp. (epiphora)
vv. 3b–4: root yš‘, vv. 3c.4b
suffix -nw, vv. 3c.4a
vv. 5–6: prep. b-, vv. 5b.6b
vv. 7–8: suffix -nw, vv. 7 (3×).8a
lšknynw/hšybnw, vv. 7a and 8a resp. (alliter.; linear)
vv. 19–20: th.ynw/hšybnw, vv. 19b and 20a resp. (note suffix -nw)

vv. 2–4 (I.1): r‘h/‘wrrh, vv. 2a and 3b resp. (alliter.; anaphora)
hwpy‘h/wh’r pnyk, vv. 2c and 4b resp. (linear)
pnym, vv. 3a.4b (linear)
wmnšh/wnwš‘h, vv. 3a and 4b resp. (alliter.; epiphora)
vv. 5–8 (I.2): ’lhym .sb’wt, vv. 5a.8a (inclusion)
vv. 13–16 (II.2): prep. mn, vv. 14a.15b (concatenation)

vv. 2–8 (Canto I): lnw/lmw, vv. 3c and 7b resp. (exactly linear)
suffix -nw, vv. 3c+4a.7–8 (linear)
’lhym (. . . ) hšybnw // wh’r pnyk wnwš‘h, vv. 4.8
(refrain; concluding verseline of the canticle)
vv. 9–15 (Canto II): gpn, vv. 9a.15c!

} chiasmus (inclusion); note
prep. mn, vv. 9a.15b
mms.rym/mšmym, but see also mn in v. 14a

root nt.‘, vv. 9b.16! (inclusion)
suffix -h, vv. 9–15!
’rs./šmym, vv. 10b and 15b resp. (inclusion; see
Ps. 79,2)
’l (‘God’)/’lhym, vv. 11b and 15a resp. (linear)
vv. 17–20 (Canto III): prep. b-, vv. 17a.19b

} chiasmus (linear)
mn + suffix -k, vv. 17b.19a
pnyk, vv. 17b.20b (inclusion)
roots ’bd/h.yh, vv. 17b and 19b resp. (linear)

vv. 2–4.9–12.17–20: lpny, vv. 3a.10a!; see also pnyt in v. 10a
’lhym (. . . ) hšybnw // h’r pnyk wnwš‘h, vv. 4.20;
see also root yš‘ in v. 3c and pnyk in v. 17b
vv. 5–8.13–16: ‘d mty/lmh, vv. 5b and 13a resp. (linear)

’lhym .sb’wt + root šwb, vv. 8a.15a (linear); see also
’lhym .sb’wt in v. 5a
wh’r/wr’h, vv. 8b and 15b resp. (alliter.; linear)
vv. 13–16.17–20: prep. mn, vv. 14a+15b.17b+19a

’lhym .sb’wt + root šwb, vv. 15a.20a
ymynk, vv. 16.18a! (concatenation)

suffix -k, prep. l-

dm‘h (v. 6 [2×]), yhwh (vv. 5.20), prep. ‘d (vv. 5.12), ‘l (v. 18 [2×]), root
r‘h (vv. 2.14)

Psalm 80 has 5 canticles, 10 strophes, 20 verselines and 40 cola.1 From these
quantitative perspectives, vv. 9–12 (Canticle II.1) is the centre of the poem:
1
Fokkelman has 9 strophes (see § 8.6), 20 verselines and 41 cola (see MPHB III,
p. 399); he takes v. 10 as a tricolon.
iii.8 psalm 80 383
> 2+1+2 canticles, 4+2+4 strophes, 8+4+8 verselines and 16+8+16 cola.
In this way, the psalmist highlights the special meaning of the unit dealing
with Israels history. It is precisely in vv. 9–12 that he speaks about God’s
kindness for his people. Therefore, Canticle II.1 may be considered the
rhetorical centre of the psalm.
Structure of strophes and cantos in terms of words: 12*+11|14+12||12+
13|13+14*||16+13 = 23*+26|25+27*|29 = 49*+52*+29 (= 130* = 5×26
words in total). The 52 words of vv. 9–16 symbolically represent the divine
name twice; in gematria the numerical value of yhwh is 26. In this respect,
it is noticeable that the vocative yhwh ’lhym .sb’wt opening vv. 5 and 20
symmetrically envelops vv. 9–16; note also the 26 words in vv. 5–8.2
5× God is designated as ’lhym: vv. 4, 5, 8, 15 and 20; in v. 11 we find
the word ’l, indirectly referring to God. The divine name, yhwh, occurs
twice: vv. 5 and 20.3

Köster (1837): 2–4.5–8.9–14.15–20 (3.4.6.6 verses)
Hävernick (1849), p. 44: 2–4.5–8.9–15.16–20 (3.4.7.5 verses); similarly De
Wette (1856)
Ewald (1866), pp. 446–49: 2–4|5–8|9–14.15–20 (8|8|12.12 cola); cf. Köster
(1837)
Ley (1875), pp. 167–68: 2–4.5–8.9–12.13–16.17–20 (5×4 lines)
Delitzsch (1894): 2–4.5–8.9–12.13–16.17–20 (5×8 cola); similarly Cobb
(1905), pp. 30–32, Ridderbos (1972), pp. 33–34, Basson (2006)
Zenner (1906), pp. 131–33: 2–4.5–8|9–12|13–14+17+15a*.15b–16+19–20
(4.4|4|4.4 lines)
Wiesmann (1908), pp. 352–66: 2–4.5–8|9–12|13–14+79,7+16a+17a+refrain.
15a+16b+15b–c+18a+17b+19b+19a+20 (4.4|4|5.5 lines; a.b|c|b’.a’)
Duhm (1922): 2–4.5–8.9–11+refrain.12–15a*.15b–17a+18+20 (5×4 bicola);
cf. Friedrich Delitzsch (1921), pp. 111–12, and Gunkel (1926)
Möller (1931), pp. 41–43: 2–4.5–8.9–12.13–16.17–20 (3|4.4|4.4 verses; vv.
2–4 a.b|b’.a’)
Calès (1936): 2–4.5–8.9–12.13–16a.17–20 (5×4 lines); similarly Herkenne
(1936), Kissane (1954), Podechard (1954), Schildenberger (1960),
p. 673; cf. Mowinckel (1957), NAB (1970)
Böhl (1947): 2–4|5–8|9–12.13–14+17+15a*|15b–16+18–19|20 (4|4|4.4|4|1
lines); cf. Zenner (1906)
2
For a profound numerical investigation, see further www.labuschagne.nl/ps080.pdf,
Observations 3–6.
3
Cf. Psalm 78; in other Asaph-psalms the divine name mostly occurs only once.
Pannier/Renard (1950): 2–4.5–8.9–15a+4b/8b.15b–20

Eissfeldt (1953), pp. 66–68: 2–4.5–8.9–16.17–20; similarly J. Ridderbos
(1958) and Kraus (1978)
Jacquet (1977): 2–3.4 |5–7.8 ||9–12.refrain|13–15b+17.refrain||15c–16+
18–19.20 (4.4|5.5|5 bicola)
Beaucamp (1979): 2–3.4 |5–7.8 ||9–10.11–12|13–14.15a–b||15c–16a+17.
18–19.20 (6.2|6.2||4.4|4.2||4.4.2 cola)
Aletti/Trublet (1983), p. 83: 2–4.5–8|9–15.16–20 (a.b|b’.a’)
Tromp (1989), pp. 147–48: 2–4.5–8|9–14.15–20 (8.9|12.13 cola; a.b|b’.a’)
Raabe (1990), pp. 200–02: 2–3.4 |5–7.8 |9–12.13–14.15–16a|17–19.20 (6.2|
6.2|8.4.4|6.2 cola)
Tate (1990): 2–4|5–8|9–12.13–17a.17b–20
Girard (1994): 2–3.4–8|9–14.15–20 (a.b|a’.b’); cf. Aletti/Trublet (1983)
Hieke (1997), pp. 88–90: 2–3.4 |5–7.8 |9–14.15a–b|15c–17+19.20 (‘Es ist
nicht sinnvoll, den Psalm regelmäßiger gestalten zu wollen’)
Prinsloo (1997), pp. 283–92: 2–3.4 |5–7.8 ||9–10|11–12|13–14|15–16|17–19.20
(a.b|a’.c.b’|a’’.b’’)
Fokkelman (2003), pp. 139–43: 2–3a.3b–4|5–6.7–8|9–10.11–12.13–14|15–17.
18–20 (2.2|2.2|2.2.2|3.3 lines)
Terrien (2003): 2–3.4 |5–7.8 |9–12|13–14+17.15a–b|15c–16a+18–17.20 (5×4
bicola)
Weber (2003): 2–4.5–8.9–12.13–16.17–20 (a.b.c.b’.a’); cf. Wiesmann (1908)
Auffret (2006): 2–3.4.5–7.8.9–12.13–14.15–19.20 (a.b.c.b’.a’.c’.a’’.b’’; vv.
5–7 and 13–14 are centres)

From Ley in the nineteenth century onwards (1875), exegetes with an eye
for strophic structures in Hebrew poetry have often argued that Psalm
80 is composed of a series of five regular units, vv. 2–4, 5–8, 9–12, 13–16
and 17–20.4 To support this division they appeal to formal and thematic
features. The refrain in vv. 4, 8, 15–16 and 20 is the most conspicuous
formal device marking the end of the units concerned, except vv. 9–12. The
latter unit clearly stands out on thematic grounds, because only here the
psalmist speaks about God’s care for his people and the subsequent political
4
Cf. Ley, Delitzsch, Zenner, Wiesmann, Möller, Calès, Böhl, Jacquet, Beaucamp,
Terrien and Weber in § 8.6; see also my STR, pp. 335–39. Girard, who—in spite of his
indepth inquiry into verbal recurrences—fails to notice the fundamental characteristic
of strophic structure in Hebrew poetry, has to admit that Psalm 80 ‘compte parmi ceux
qui donnent le plus de fil à retordre à un praticien de l’analyse des structures’ (p. 384).
iii.8 psalm 80 385
prosperity (see § 8.2). In my opinion, these units form an uninterrupted

series of five 4-line canticles.5
It goes without saying that vv. 2–4, 5–8 and 9–12 consist of four verse-
lines each. The four lines of vv. 9–12 exactly fit the quantitative regularity
of the preceding units. Kraus (p. 719) rightly notes that in v. 11 we should
not interrupt ‘den Gang der Weinstock-Allegorie’ by a refrain.6 With this
remark Kraus militates against an overvaluing of ‘formale Prinzipien’. But
I observe that it is exactly a formal principle, namely the principle that
each canto has four verselines, that confirms his view. There is no reason
to suppose that the refrain has been lost after the third canticle.
It is generally accepted that we are dealing with a device for gradual ex-
tension as far as the first colon of the refrain in vv. 4, 8 and 20 is concerned.
The opening colon of v. 4 reads ’lhym hšybnw (‘O God, restore us’). In v. 8a
this colon is extended by .sb’wt (‘hosts’): ’lhym s.b’wt hšybnw. Finally, in
v. 20a this colon reads: yhwh ’lhym .sb’wt hšybnw. This gradual extension
is a way of expressing ‘sharpness’; there is a climax in the intensity of the
prayer.7 The device for extension is a form of variation. And vv. 15–16
are to be taken as another form of variation of the refrain. In v. 15a the
vocative ’lhym .sb’wt is a verbatim repetition and the imperative qal šwb +
n’ is a variation on the imperative hiph‘il in vv. 4, 8 and 20. Vv. 15b–16, in
wordings fitting the metaphor of the vine, contain a prayer for deliverance
and restoration, which is the very thematic charasteristic of the standard
refrain.8 That is to say, from v. 13 onwards we are once again dealing with
4-line units, vv. 13–16 and 17–20.
Mesmerized by the refrain which so clearly structures our psalm, ex-
egetes mostly did not try to find a higher framework uniting the 4-line units
into a well thought-out composition. In this respect, Zenner, Wiesmann,
Möller, Jacquet, Beaucamp, Prinsloo, Weber and Auffret are an exception;
see § 8.6. For Zenner, Psalm 80 was a clear example of the macrostructure
characterizing a special genre of Hebrew poetry, the so-called ‘Chorlieder’.9
The centre of such a song was the ‘Wechselstrophe’, in Psalm 80 repre-
5
Especially contra Wiesmann, Jacquet and Beaucamp; see § 8.6.
6
Contra Duhm, Gunkel, Jacquet and others (see § 8.6); cf. also H. Grimme, Psalmen-
probleme. Untersuchungen über Metrik, Strophik und Paseq des Psalmenbuches (Col-
lectanea Friburgensia NF 3), Freiburg (Schweiz), 1902, pp. 160–61.
7
Note J. Goldingay, ‘Repetition and Variation in the Psalms’, JQR 68 (1977–78),
pp. 146–51, and recently S. Yona, ‘Repetition and Variation in Biblical Texts’, UF 37
(2005), pp. 729–40; contra Hieke (1997), pp. 20–25.
8
Contra Fokkelman, MPHB III, p. 139. For the phenomenon of the varied refrain in
Hebrew poetry and the feature of extension which occurs in vv. 4, 8 and 20, see also
CAS I, Ch. V, 4.2.2 (pp. 492–95).
9
For Zenner’s strophic theory, see CAS I, Ch. I, 2.2.1 (pp. 26–28).
sented by vv. 9–12. In this strophe, according to Zenner (1906, p. 133),

the poet reminds God ‘in einer prächtigen Allegorie an seine ehemalige
liebevolle Fürsorge für Israel (mächtiger Beweggrund zum hilfreichen Ein-
greifen)’.10 This approach perfectly fits ideas which recently have taken
root among exegetes investigating the structure of biblical compositions,
namely that concentric patterns dominate. In this respect, Weber (2003)
also emphasizes that vv. 9–12 represents the ‘Mittelstanze’.11
This total approach, however, does not entirely satisfy because the al-
legory of the vine is not restricted to vv. 9–12; it continues in vv. 13–16
(for v. 17a, see below). Additionally, the boundaries of vv. 9–16 are clearly
marked by the device for inclusion emphasizing its rhetorical coherence;
see § 8.4.3 (Canto II).12 Möller has recognized this structural coherence
when he labels vv. 9–12 and 13–16 as b-strophes; see § 8.6. However, he
erroneously considers vv. 2–4 an introductory section.
The device for inclusion marking vv. 9–16 also explains why part of the
refrain in its verbatim form, ’lhym .sb’wt šwb n’ (v. 15a), does not feature
in the final verseline of the fourth canticle (vv. 13–16). It stands back in
the second to the last verseline to make room for the framing words.13
Like vv. 9–12 and 13–16, the preceding 4-line units, vv. 2–4 and 5–8,
form a rhetorically coherent whole. The coherence is based on the lin-
early alternating parallelism between the canticles: vv. 2–3a.3b–4|5–6.7–8
> a.b|a’.b’. In vv. 2–3a and 5–6 the psalmist somewhat detachedly speaks
about the people of Israel in the third person; note Israel, Joseph, Ephraim
and Manasseh in vv. 2–3a; for the corresponding phenomenon, see ‘your
people’ (v. 5b) and ‘them’ in v. 6a–b. Whereas in vv. 3b–4 and 7–8, speak-
ing about ‘us’ and ‘we’, he wholly identifies himself with the suffering col-
lective. For the verbal repetitions, see § 8.4.3 and note the concluding
refrain. That is to say, our psalm is composed of two 8-line cantos, vv. 2–8
and 9–16, constituting its main body. In this respect, vv. 17–20 is to be
considered a concluding ‘half-long’ canto.
10
Wiesmann (1908), following Zenner, speaks of a ‘Mittelstrophe’: ‘mit ihrer herrlichen
Allegorie bildet sie den Höhepunkt des ganzen Gedichtes’ (p. 364).
11
‘Betont in der Mitte steht die im Bild des Weinstocks entfaltete . . . Geschichts-
reminiszenz’ (Weber, p. 65); see further § 8.6. According to Auffret (2006), vv. 8–12
form the centre of the psalm as a whole; cf. also Prinsloo (1997) in § 8.6.
12
According to Labuschagne, the coherence of vv. 9–16 is further underscored by the
relationship between this passage dealing with the vineyard, a metaphor for Joseph (see
v. 2b), and the Blessing for Joseph in Deuteronomy 33 (vv. 13–17): both units consist
of 52 words (excluding the introduction wlywsp ’mr in Deut. 33,13); www.labuschagne.
nl/ps080.pdf, Observation 3.
13
For more refrains occuring in the second to the last verseline of a poetic unit, see
Pss. 59,7.15 and 88,9a; cf. further CAS I, Ch. V, 4.3.1.1 (pp. 495–97).
iii.8 psalm 80 387
The concluding Canto III (vv. 17–20) functions as a summary with

a doxology motif. In v. 17a the imagery of the vine, which dominates
vv. 9–16, is still reverberating. This feature constitutes an enjambement
between Cantos II and III. From a thematic point of view, however, v. 17
(‘burnt by fire, cut off; they perish by the threatening of your face’) is not
consistent with the plea in vv. 15–16.14 The verseline in question contains a
description of distress and therefore refers back to vv. 13–14. It is precisely
the summarizing character of vv. 17–20 which militates against changing
the vocalisation of v. 17a to make v. 17 fit the plea of vv. 15–16 (e.g., ‘they
who have burnt it like rubbish, may they perish . . . ’),15 or even transposing
v. 17 after vv. 13–14.16 V. 19 introduces new motifs. V. 19a is a promise by
the people to be faithful to God and in v. 19b the promise is about praising
God, a doxology. The latter motif is indicative of a summarizing half-long
canto.17 V. 18 is, like the concluding refrain, a plea that God protect his
beloved of old. It is mainly this thematic correspondence which divides
the canto into two linear parallel strophes, vv. 17–18 and 19–20. For the
parallelism between vv. 17 and 19, see § 8.4.3 (Canto III).
As is the case in the concluding Canto III, the 4-line canticles of Cantos
I and II all divide into two 2-line strophes.18 In terms of verbal repetition,
the 2-line strophes of Canticle I.1 (vv. 2–3a and 3b–4) form a beautiful
parallelismus stropharum; see § 8.4.2! The inner coherence of vv. 2–3a
and 3b–4 is enhanced by the verbal recurrences described in § 8.4.1. For
the thematic aspect, see above regarding the parallelism between Canticles
I.1 and I.2.19 The strophic division of Canticle I.2 is chiefly based on
these thematic considerations; see further the verbal repetitions described
in § 8.4.1.
Within Canticle II.1 there is a shift of acting subjects at the interface
of the 2-line strophes. In vv. 9–10 God is the vinegrower who takes the
initiative, while in vv. 11–12 God is not mentioned any longer and the
psalmist focusses on the exuberant growth of the vine (Fokkelman, MPHB
14
For the interpretation of v. 17a, see § 8.1. The internal parallelism suggests that
y’bdw in v. 17b is not an optative with Israel’s enemies as subject (‘may they perish’)
but an indicative with Israel as subject (‘they perish’).
15
Contra Gunkel, Kraus, Girard and [Hossfeld]/Zenger, among others.
16
Contra Zenner, Böhl, Jacquet, Terrien and others; see § 8.6.
17
Cf. Pss. 106,43–47 109,26–31 and 136,23–26. For the ‘half-long’ canto in the 4.4.2
canto design, see CAS I, Ch. V, 5.2.2 (pp. 512–20), and note §§ 5.2.2.2–3 (about summa-
rizing half-long cantos). Cf. also Cobb (1905, p. 32): ‘17–20 sum up all that preceded’.
18
See also my STR (1980), pp. 335–39.
19
The Masoretic verse division suggests that our psalm, like Psalm 79, opens with
two tricolic verselines (vv. 2 and 3). However, its strophic structure shows that the
traditional colometric interpretation of 80,2–3 should be adjusted; similarly Fokkelman,
MPHB III, pp. 140–41, and contra Raabe (pp. 201–02).
III, p. 141). The strophes of Canticle II.2 each contain their own individual
subject matter; see § 8.2.
In terms of verbal repetitions, the psalm as a whole has a linearly al-
ternating structure: vv. 2–4.5–8|9–12.13–16|17–20 > a.b|a’.b’|a’’. In the
a-canticles the root pnh (‘to clear a place’) features conspicuously. It does
not only occur in the refrain as pnyk (‘your face’; vv. 4 and 20), but is also
found in vv. 3a, 10a (2×) and 17b. In the b-canticles the correspondence
between ‘d mty (‘how long’; v. 5) and lmh (‘why’; v. 13) is striking, be-
cause in Psalm 79 these words (‘d mh/lmh) also mark the beginning of the
b-canticles. In terms of semantics, the linear parallelism between Cantos
I and II is reinforced by the description of distress we find in vv. 5–8 and
13–16; see § 8.2.
I conclude that Psalm 80 is a very soundly and regularly constructed
poem of which the refrain is an integral part. Especially because the refrain
is an indispensable element in the uninterrupted sequence of 2-line strophes,
it is beyond dispute that the repeated verseline is not ‘structurally distin-
guished from the surrounding material’.20 This observation further implies
that there is no reason at all to speculate about the question whether the
refrain indicates a later redaction. According to [Hossfeld]/Zenger (p. 456),
the refrain ‘mit seiner Jerusalemer Perspektive’ points to a secondary inser-
tion.21 Assuming an earlier form of this composition, in which the refrain
does not feature, is like dreaming about a zebra without stripes.
The refrain contains an aspect of the quintessential thought of the poem:
O God, deliver us from our distress! Canticle I.1 as a whole is devoted to
this theme; cf. further vv. 18 and 20 in Canto III. On the basis of the
numerical structure of the psalm, we may assume that Canticle II.1 also
contains a focal idea; see § 8.5. This canticle is about God’s former kind-
ness for his people.
There is a fundamental similarity between the frameworks of Psalms 80

and 79. Both compositions consist of two 8-line cantos which divide into
two balanced canticles (in Psalm 80 these cantos are concluded by a 4-line
canto). In both poems the level of the canticles is well crystallized out.
In terms of semantics, in both cases the second canticles of the 8-line can-
tos show a clear parallelism. In Psalm 79 Canticles I.2 and II.2 contain a
prayer for the ruin of the enemies. In Psalm 80 the concluding canticles
20
Contra Raabe (p. 164); in this respect, see also Jacquet, Beaucamp, Hieke and
Terrien in § 8.6. By the way, Hieke (1997, pp. 36–37) rightly emphasizes that the refrain
is an original part of the composition.
21
For this misconception, see already E. Baumann, ‘Kehrverspsalmen’, ZDMG 59
(1905), pp. 129–44, and more recently also Beyerlin (1973) and Seybold (p. 317).
iii.8 psalm 80 389
of Cantos I and II—the main body of the poem—contain a description of

distress. Finally, the total number of words in both psalms is probably 130
(= 5×26); for Psalm 80, cf. also § 8.1.
For the relationship with the preceding psalm, see also the following
verbal repetitions: root r‘h (vv. 2.14) > Ps. 79,13 (concatenation!); root
yš‘ (vv. 3.4.8.20) > Ps. 79,9; root šwb (hiph‘il; vv. 4.8.20) > Ps. 79,12;
pnyk (vv. 4.8.17.20) > Ps. 79,11; yhwh (vv. 5.20) > Ps. 79,5 (linear!); ‘d
mty (v. 5) > Ps. 79,5 (‘d mh; linear!); ‘mk (v. 5) > Ps. 79,13; root ’kl (v. 6)
> Ps. 79,2.7; šlyš (v. 6; see HAL) > Ps. 79,12 (šb‘tym); root śym (v. 7) >
Ps. 79,1; lšknynw (v. 7) > Ps. 79,4.12; root l‘g (v. 7) > Ps. 79,4; ’rs. (v. 10)
> Ps. 79,2; lmh (v. 13) > Ps. 79,10 (exactly linear!); šmym (v. 15) > Ps.
79,2; ’š (v. 17) > Ps. 79,5; root h.yh (v. 19) > Ps. 79,2; šmk (v. 19) > Ps.
79,6.9 (2×); root qr’ (v. 19) > Ps. 79,6.22
8.8 Bibliography
W.H. Cobb, A Criticism of Systems of Hebrew Metre, Oxford: Clarendon Press,
1905;
H. Wiesmann, ‘Kehrverspsalmen’, Mélanges de la Faculté Orientale de l’Univer-
sité Saint-Joseph—Beyrouth 3 (1908), pp. 337–86;
M. Löhr, Psalmenstudien (Beiträge zur Wissenschaft vom Alten Testament 3),
Berlin, 1922, pp. 37–38;
O. Eissfeldt, ‘Psalm 80’, in W.F. Albright et al., Geschichte und Altes Testa-
ment. FS A. Alt (Beiträge zur historischen Theologie 16), Tübingen: J.C.B.
Mohr, 1953, pp. 65–78;
J. Schreiner, ‘Hirte Israels, stelle uns wieder her! Auslegung zu Psalm 80’, BiLe
10 (1969) , pp. 95–111;
W. Beyerlin, ‘Schichten im 80. Psalm’, in H.R. Balz (ed.), Das Wort und die
Wörter. FS G. Friedrich, Stuttgart, 1973, pp. 9–24;
N.J. Tromp, ‘La métaphorique engloutie. Le langage métaphorique du Psaume
80’, Sémiotique et Bible 47 (1987), pp. 30–43;
—, ‘Psalm LXXX. Form of expression and form of contents’, in A.S. van der
Woude (ed.), New Avenues in the Study of the Old Testament. FS M. Mulder
(OTS 25), Leiden: Brill, 1989, pp. 145–55;
P. Auffret, Voyez de vos yeux—Etude structurelle de vingt psaumes, dont le
22
Note ‘d mh and lmh at the beginnig of Canticle I.2 and II.2 in Psalm 79! For ‘d
mty // lmh (80,5 and 13), see further Ps. 74,1.10 (lmh // ‘d mty). On the basis of these
very fundamental similarities between Psalms 79 and 80 (see also [Hossfeld]/Zenger, pp.
465–66, and Auffret (1993), pp. 245–46; otherwise Weber, pp. 66–67), it may tentatively
be argued that in Psalm 79 the canticles of Canto II originally consisted of four verselines
as well. In this respect, I can imagine that v. 12 was originally next to v. 9.
psaume 119 (SVT 48), Leiden: Brill, 1993, pp. 247–61;

Th. Hieke, Psalm 80—Praxis eines Methodenprogramms (ATS 55), St. Ottilien,
1997;
G.T.M. Prinsloo, ‘Shepherd, vine-grower, father—divine metaphor and existen-
tial reality in a community lament (Psalm 80)’, OTE 10/2 (1997), pp. 279–302.
P. Auffret, ‘Fais luire ta face et nous serons sauvés. Nouvelle étude structurelle
du psaume 80’, OTE 19/3 (2006), pp. 1052–63;
II.15), Tübingen: Mohr Siebeck, 2006, pp. 227–42;
E. Haag, ‘Psalm 80 und der Menschensohn. Zur Vorgeschichte der Menschen-
sohngestalt im Danielbuch’, TThZ 117 (2008), pp 15–38.
iii.9 psalm 81 391
9 Psalm 81
Structure: 7.7.2 > 3.2.2|3.2.2|2 lines (Type IIB)
I 2 hrnynw l’LHYM ‘wznw hry‘w l’LHY y‘qb

3 ś’w zmrh wtnw tp knwr n‘ym ‘m nbl
4 tq‘w bh.dš šwpr bksh lywm h.gnw
5 ky h.q lYŚR’L hw’ mšpt. l’LHY y‘qb

6 ‘dwt byhwsp śmw bs.’tw ‘l ’RS. MS.RYM
śpt l’ yd‘ty ’ŠM‘ 7 hsyrwty msbl škmw kpyw mdwd t‘brnh

8 bS.RH qr’t w’h.ls.k ’‘nk bstr r‘m ’bh.nk ‘L my mrybh (slh)
II 9 šm‘ ‘my w’‘ydh bk YŚR’L ’m tšm‘ ly

10 l’ YHYH bk ’l zr wl’ tšth.wh l’l nkr
11 ’nky YHWH ’LHYk hm‘lk M’RS. MS.RYM hrh.b pyk w’ml’HW
12 wl’ šm‘ ‘my lqwly wYŚR’L l’ ’bh ly

13 w’šlh.HW bšryrwt lbm ylkw bmw‘s.wtyhm
14 lw ‘my ŠM‘ ly yśr’l bdrky yhlkw

15 km‘t. ’wybyhm ’kny‘ w‘L S.RY hm ’šyb ydy
III 16 mśn’y YHWH ykh.šw lw wYHY ‘tm l‘wlm

17 wy’kylHW Mh.lb h..th wMs.wr dbš ’śby‘k
9.1 Text
Vv. 6–7: verse division at variance with MT.
V. 17a—wy’kylhw : ‘and he fed him’ (so MT and Barthélemy [2005]); contra
BHS, Hossfeld/[Zenger], Fokkelman, who read w’ ’kylhw (‘and I fed him’).
9.2 Content
Exhortation to worship the God who liberates.
I Exhortation to thank God for the deliverance from Egypt.
Give thanks to Jacob’s God (vv. 2–4; imperatives).
For that is an institution for Israel since the exodus from Egypte
(vv. 5–6b).
‘I saved you from distress’ (vv. 6c–8; first oracle).
II Exhortation to listen to God’s instructions (second oracle).

‘Do not worship foreign gods’ (vv. 9–11; imperatives, cf. vv. 2–4).
‘My people did not listen to me’ (vv. 12–13; cf. vv. 5–6b).
‘If they would obey I would humiliate their enemies’ (vv. 14–15;
cf. vv. 6c–8).
III Declaration of trust (summary): God’s enemies will perish and his
people will prosper (vv. 16–17).

9.3.1.1 imperative: hrnynw, v. 2a; cohortative: w’‘ydh, v. 9a
ext. // ś’w zmrh wtnw in vocative: yśr’l, v. 9b
v. 3a and tq‘w in v. 4a w- beginning of line, v. 12a;
imperative: hry‘w, v. 2b ext. // w- in v. 13a
yd‘ty, v. 6c lw, v. 14a
imperative: šm‘, v. 9a
vocative: ‘my, v. 9a 9.3.1.2 ‘wlm, v. 16b

9.3.2.1 slh, v. 8c 9.3.2.2 imperative: hrh.b, v. 11c
’nky, v. 11a w- beginning of line, v. 17a

hw’, v. 5a

vv. 2–4: suffix -nw, vv. 2a.4b! (inclusion)
vv. 5–6: h.q/‘dwt, vv. 5a and 6a resp.
yśr’l . . . y‘qb/yhwsp, vv. 5.6a (cf. Ps. 80,2)
vv. 9–11: bk, vv. 9a.10a; see also suffix -k in v. 11a+b+c
’l (‘God’)/’lhym, vv. 10a+b and 11a resp.
vv. 12–13: w- at the beginning of the line, vv. 12a.13a (anaphora)
vv. 14–15: suffix -y, vv. 14b.15b

vv. 2–8 (Canto I): l’lhy y‘qb, vv. 2b.5b! (exactly linear); see also l’lhym
iii.9 psalm 81 393
in v. 2a and lyśr’l in v. 5a
prep. b-, vv. 4a+b.6a+b.8a+b (linear)
prep. l-, vv. 4b.5a+b (concatenation)
suffix -w, vv. 6a+b.7a+b (concatenation)
prep. ‘l, vv. 6b.8c (linear)
vv. 9–15 (Canto II): root šm‘ + ‘my, vv. 9a.12a.14a! (linear; chiasmus);
see also tšm‘ in v. 9b (linear)
yśr’l, vv. 9b.12b.14b (exactly linear)
’m/lw (optative particles), vv. 9b and 14a resp.!
(linear)
ly, vv. 9b.12b (exactly linear); see also ly in v. 14a!
(linear) and lqwly in v. 12a (linear)
’nky/’kny‘, vv. 11a and 15a resp. (alliter.; linear)
suffix -hw, vv. 11c.13a (linear)
prep. b-, vv. 13a+b.14b (conatenation)
root hlk, vv. 13b.14b! (concatenation)
suffix -hm, vv. 13b.15a+b! (linear); see also suffix
-m in v. 13a!

vv. 2–6b.9–13.16–17: ’lhym, vv. 2a+b+5b.11a!; see also ’l in v. 10 (2×)
zmrh . . . knwr/zr . . . nkr, vv. 3 and 10 resp.
(alliter.; linear)
yśr’l, vv. 5a.9b+12b
root ‘wd, vv. 6a.9a
bs.’tw ‘l/hm‘lk m-, vv. 6b and 11b resp.
’rs. ms.rym, vv. 6b.11b!
suffix -k, vv. 9–11.17b
root hyh, vv. 10a.16b!
} chiasmus
yhwh, vv. 11a.16a!
tšth.wh/ykh.šw, vv. 10b and 16a resp. (alliter.)
hm‘lk/l‘wlm, vv. 11b and 16b resp. (alliter.)
prep. mn, vv. 11b.17a+b
suffix -hw, vv. 11c+13a.17a!
vv. 6c–8.14–15: root šm‘, vv. 6c.14a

kp/yd, vv. 7b and 15b resp.!
root .srr, vv. 8a.15b!; see also root ryb in v. 8c
’‘nk . . . ’bh.nk/’kny‘, vv. 8b–c and 15a resp.
(alliter.)
prep. ‘l, vv. 8c.15b
vv. 6c–8.9–11, concat.: śph/ph, vv. 6c and 11c resp.

l’, vv. 6c.10a+b
root šm‘, vv. 6c and 9a+b
prep. mn, vv. 7a+b.11b
prep. b-, vv. 8a+b.9a
suffix -k, vv. 8a+b+c.9–11
vv. 14–15.16–17, concat.: lw (‘if only’)/lw (‘to him’), vv. 14a.16a

suffix -hm/-m, vv. 15a+b.16b

prep. l- (v. 10), l’ (v. 12 [2×])

none

Psalm 81 is composed of two 7-line cantos and a concluding canto with
two lines. The composition has 7 strophes in total, 16 verselines and 35 (=
5×7) cola.1 Vv. 9–11 is the pivotal strophe. The message of this strophe—
listen to me, I am your God—can be considered the high point of the poem.
That is to say, we are dealing with the meaningful core. The message is
underscored by the exactly 26 words of which vv. 9–11 is made up. For
this number of words representing the divine name, see also yhwh in v. 11a;
note ’nky yhwh ’lhyk (‘I am the Lord, your God’). V. 9b constitutes the
pivotal colon (> 17+1+17 cola); the colon has 13 letters and is the most
terse formulation of the central message.
14|13 = 54+53+13 (= 120 = 3×40 words in total). Bazak (1988, p. 336)
has pointed out that v. 9b is the centre of the psalm on word level: vv.
2–9a.9b.10–17 > 58+4+58 words.2 Because v. 9b is also the pivotal colon
1
Similarly Fokkelman, MPHB III (note p. 399).
2
These calculations, rightly, do not incorporate the heading (v. 1), nor slh in v. 8.
Bazak further observes that the name Israel has a ‘focal place’ in v. 9b: ‘the first time
the name Israel is mentioned in this psalm is the 23rd word from the beginning, while
the last time this name is mentioned is the 23rd word from the end’ (p. 336); cf. also
‘Israel’ in v. 12.
iii.9 psalm 81 395
(see above), this numerical aspect once more shows that we are dealing
with the deliberately designed meaningful centre of the psalm in the proper
sense: ‘O Israel, if you would only hear me!’3 In addition, the pivotal
positioning of vv. 9–11 on strophe level is underscored by another quan-
titative observation on word level. Labuschagne has recently pointed out
that the theological statement ’nky yhwh ’lhyk (‘I am the Lord, your God’;
v. 11a) is the exact centre of the oracles in vv. 7–15: vv. 7–10.11a.11b–15
> 33+3+33 words!4
Further, it is tempting to look for a focal point within the 7-line cantos.
In terms of verselines, v. 5 is the pivotal element of Canto I; this line has
(13+13 =) 26 letters (cf. Ch. V, 2.6). In terms of the number of cola, the
strophe vv. 5–6b constitutes the centre of the canto (> 6+4+6 cola). This
centre coincides with the centre on word level (> 20+14+20 words). In
this respect, it is further worth noting that vv. 5 and 6a–b consist of 7
words each. V. 12 is the central verseline of Canto II and v. 12a (‘and my
people does not heed my voice’) its central colon (> 7+1+7 cola). It is
probably not by chance that this pivotal colon consists of 14 letters. In my
view, the meaning of the central elements of Cantos I and II is reinforced
by these numerical observations.
The divine name, yhwh, occurs twice (cf. Psalm 80): vv. 11, where it
is the pivotal word of the oracles, and 16. The designation ’lhym for God
is found 4×: vv. 2 (2×), 5 and 11. Twice, the poet speaks about foreign
gods, using the designation ’l (v. 10).

Köster (1837): 2–4.5–8.9–13.14–17 (3.4.5.4 verses)
De Wette (1856): 2–8|9–13.14–17 (‘Gleichmässige Strophen finden sich
nicht’ [p. 435])
Ewald (1866), pp. 471–74: 2–6.7–11.12–16.17 (5.5.5.1 verses)
Ley (1875), p. 169: 2–5.6–8.9–10+12–13.14–17 (4×4 lines)
Grimme (1902), p. 161: 2–8.9–11a+11c–12+14–17 (16.16 cola)
Zenner (1906), pp. 217–19: 2–5.6–8b*|9–11b+8c+11c|12–14.17+15+16 (4.4|
4|3.3 lines)
Berkowicz (1910), p. 24: . . . |9–11.12–13.14–17 (‘Responsion in den je ersten
zwei Stichen’)
Duhm (1922): 2–3.4–5 (2×2 bicola); 6*.7–8b.9–10.11+8c.12–13.14–15.
16–17 (7×2 bicola)
3
For v. 9b as the rhetorical centre of Psalm 81, see also Ch. V, 3.1.1.
4
See www.labuschagne.nl/ps081.pdf, Observations 2–3.
Gunkel (1926): 2–4.5–6b|6c+11c.9+11a–b.8a–b+7.8c+10.12–13.14–15.

16–17
Calès (1936): 2–4.5–6b||6c–7.8|9–11.12–13|14–15.16–17 (3.2||2|3.2|2.2 lines)
Herkenne (1936): 2–7|9–11+8+17.12–16
Böhl (1947): 2–6b|6c–8.9–11|12–14.15–17
Pannier/Renard (1950): 2–6b|6c–8.9–17
Kissane (1954): 2–6.7–11.12–17 (5.5.5 lines); cf. BHS (1969)
Podechard (1954): 2–4.5–6b|6c+11c.7–8*.9–11b.12–13.14–15.16–17 (‘Les
strophes . . . sont inégales’); similarly Jacquet (1977)
NAB (1970): 2–6b|6c–11.12–17; similarly Tate (1990)
Kraus (1978): 2–4.5–6b.6c+11c.7–11b.12–13.14–17
Beaucamp (1979): 2–4.5–6b||6c–7|8.9–11b|12–13.14–15.16–17 (6.4||2|3.6|
4.4.4 cola)
Aletti/Trublet (1983), p. 84: 2–6b||6c–8.9.10–11.12–13.14–17 (vv. 2–6b||a.b.
c.b’.a’)
Girard (1994): 2–4.5–6b||6c–8.9–11|12–13.14–17 (vv. 2–6b||a.b|a’.b’); cf.
Böhl (1947) and Aletti/Trublet (1983)
Fodor (1999), pp. 90–96: 2–4.5–6b||6c|7–8.9–10.11|12.13.14–17
Hossfeld/[Zenger] (2000): 2–5.6–8.9–11.12–13.14–17
Fokkelman (2003), pp. 143–47: 2–4.5–6b|6c–8.9–11|12–13.14–15.16–17 (3.2|
2.3|2.2.2 lines); cf. TOB (1978)
Terrien (2003): 2–4.5–7a.7b–9.10–12.13–15.16–17 (5×3.2 bicola)
Weber (2003): 2–4.5–6|7–8.9–11|12–14.15–17; cf. Fokkelman (2003)

Psalm 81 is a splendid example of Hebrew poetic craftsmanship. Like
Psalm 79, this poem is composed of 16 verselines. However, unlike Psalm
79 (which divides into two 8-line cantos), the present psalm divides into two
main cantos consisting of 7 verselines each (vv. 2–8 and 9–15) and a con-
cluding ‘half-long’ canto of two verselines (vv. 16–17). This canto division
resembles the framework of Psalm 80, which also consists of two regular
cantos and a concluding ‘half-long’ canto (scheme: 8.8.4 verselines).5
From a formal perspective, the inner structure of the main cantos (vv.
2–8 and 9–15) is determined by a conspicuously consistent pattern of re-
sponsions, linear verbal repetitions; see § 9.4.2. These responsions mark
the boundaries of the successive strophes and at the same time emphasize
the relative individuality of the cantos in question.6
5
For this basic canto design, see Ch. IV, 2.4.3.
6
These patterns of responsions explain why in v. 6b the poet uses the preposition ‘l
before the noun ’rs. (‘land’; note ‘l in v. 8c), instead of mn (cf. m’rs. in v. 11b). The
iii.9 psalm 81 397
The first canto (vv. 2–8) opens with a call to praise Israel’s God (vv.
2–4). In the following two strophes this exhortation is explained: God has
ordained such a hymn (vv. 5–6b) and he has proven to be a real saviour
from distress (vv. 6c–8). The latter strophes are about the people’s history,
especially about the exodus from Egypt and the wandering in the wilder-
ness. The concluding strophe (vv. 6c–8) is couched in the form of a divine
speech, which is introduced by ‘I heard a language that I did not know’
(v. 6c). The strophe is purely tricolic and in this way formally rounds off
Canto I. The concluding effect is strengthened by the slh at the end of the
strophe (v. 8c).7
In Canto II (vv. 9–15) we find a second divine speech characteristically
opening with a call to listen (v. 9; cf. Ps. 50,7). The canto is totally
concerned with the actual situation the psalmist experiences. The oracle
deals with Israel’s disobedience and apostasy. In its first strophe (vv. 9–11)
God calls his people to open their ears and their mouths so that he can fill
them with his goodness (note v. 9a and 11c). The strophe is an appeal to
forswear foreign gods and to worship only the God who has proved to be
a liberator from slavery and who can provide copiously (note v. 11). From
v. 12 onwards God does not address his people any longer, but speaks about
them. In vv. 12–13 the appeal of vv. 9–11 is motivated by establishing that
Israel is not obedient at all. The second canto is concluded by a strophe in
which we find a fervent wish that the people may follow God’s instructions,
because then he would turn against their enemies (vv. 14–15).
The overall structure of the psalm shows an unambiguous linearly al-
ternating pattern: vv. 2–6b.6c–8|9–13.14–15|16–17 > a.b|a’.b’|a’’. For this
parallelism in terms of verbal repetitions, see § 9.4.3. The beginning of the
second canto is marked by imperatives framing its first strophe; see vv. 9a
and 11c. These imperatives linearly correspond to the imperatives which
pervade vv. 2–4 (the first strophe of Canto I). The linear parallelism be-
tween Cantos I and II further reveals itself in terms of strophic structure:
3.2.2|3.2.2 verselines.
These formal aspects of the parallelism between the successive cantos
are powerfully reinforced by thematic correspondences. The semantic paral-
lelism is even more specific than the formal pattern suggests: vv. 2–4.5–6b.
6c–7|9–11.12–13.14–15|16–17 > a.b.c|a’.b’.c’|a’’ (cf. § 9.2). The admonition
not to bow down to a foreign god (v. 10b) corresponds to the exhortation
most evident responsions indicating the strophic structure of Canto II have already
been observed by Berkowicz at the beginning of the twentieth century; see § 9.6. For
the strophic structure of this psalm, see also Fokkelman in § 9.6.
7
For the structuring function of pure tricolic strophes, see CAS I, Ch. V, 6.2.1 (pp.
528–29). For slh at the end of the first canto, cf. Ps. 80,8.
to praise the God of Israel (vv. 2–4). The concluding Canto III perfectly
fits this linear correspondence between the first strophes of Cantos I and II.
In v. 16a the psalmist foresees that ‘those who hate God will cower (root
kh.š pi‘el) before him’. The opening 3-line strophe of Psalm 66 (vv. 1–3)
shows that the cowering of God’s enemies belongs to the semantic context
of vv. 10b and 2–4; note ykh.šw lk // yšth.ww lk in Ps. 66,3b–4a (cf. tšth.wh l-
in 81,10b), the root zmr (‘to sing’) in Ps. 66,2a.4b (2×; cf. 81,3a) and hry‘w
(‘raise a shout’) in Ps. 66,1 (cf. 81,2b).8 The belief that God will satisfy his
people with wheat and honey (v. 17; note ’śby‘k in v. 17b) corresponds to
the promise that he will fill their mouth (note w’ml’hw in v. 11c). In terms
of subject matter, the statement that Israel does not listen to God (vv.
12–13; second strophe of Canto II) refers back to the law God has imposed
on his people (vv. 5–6b; second strophe of Canto I). More specific: the
central verseline of Canto II (v. 12) refers back to the central verseline of
Canto I (v. 5). From the same perspective, there is a relationship between
the concluding strophes of Cantos I and II, vv. 6c–8 and 14–15. In both
strophes God is described as a liberator from ‘oppression’ and ‘oppressors’
(note the root .srr in vv. 8 and 15).
The concluding Canto III (vv. 16–17) is a 2-line strophe and functions
as a summary, a kind of coda. The canto structure supports the traditional
text (MT): in vv. 16–17a God is not speaking any longer and the poet
speaks about God (cf. BHS). That is to say, the divine speech ends with
v. 15. The rhetorical framework further shows that vv. 16–17 does not de-
pend on the condition introduced by the particle lw (‘if only’) in v. 14, as
is assumed by most exegetes.9 We are dealing with a protestation of trust
formulated as a promise by the psalmist. He envisages the submission of
God’s enemies (v. 16) and Israel’s prosperity (v. 17). In this way, the com-
position is rounded off on a strong note because the verselines in question
form an antithetic parallelism.
The final colon (v. 17b) is once again couched in the form of a divine
oracle addressing the people of Israel; cf. vv. 8–11. This unexpected switch
not only fits the linear parallelism between the cantos (see vv. 9–11 and
note v. 11c) but, simultaneously, is another device for closure marking the
end of the psalm.10
8
On the basis of these semantic relationships, we may be sure that lw (‘before him’;
81,16a) refers to God and not to the people of Israel; contra Fokkelman (MPHB III,
p. 146) and others.
9
See Fokkelman, MPHB III, p. 146 n. 20.
10
For such a sudden switch in the way God is referred to marking the end of a com-
position, cf. Pss. 20,10a 33,22 52,11 55,24 62,13 and 106,47. For the half-long canto
in the 4.4.2 canto design, see CAS I, Ch. V, 5.2.2 (pp. 512–20; note § 5.2.2.4).
iii.9 psalm 81 399
The linear correspondences between Cantos I–III described above firmly

establish the rhetorical structure of Psalm 81. This structure is not under-
mined by the devices for enjambement and concatenation which occur at
the interfaces of the cantos. The device for concatenation is especially ap-
parent at the interface of Cantos I and II; see § 9.4.3. This phenomenon
is enhanced by the divine speech which starts in vv. 7–8, and is resumed
in vv. 9–15. Additionally, in vv. 8–11 God addresses the people of Israel
directly.11 At the interface of Cantos II and III the psalmist deals with
Israel’s (and God’s) enemies and their downfall.
Dazzled by the oracle beginning in v. 7 and seemingly continuing un-
til v. 17, former exegetes have generally divided our psalm into two main
parts, vv. 2–6b and 6c–17; see § 9.6. That is to say, the current research
has totally failed to see that after vv. 8 and 15 we are dealing with main
poetic caesurae which divide the composition into two main sections and
a concluding section of only two verselines.12 However, by taking the ora-
cle form as a criterion for poetic structuring scholars look in vain for the
rhetorical coherence of Psalm 81.13
The quintessential thought of this psalm is to be found in its central
strophe, vv. 9–11. Here the people of Israel are called to worship only the
God who liberated them from slavery and who can provide abundantly.
Since the pivotal strophe includes the central colon of the psalm (v. 9b)
and the middle words of the divine speeches (v. 11a; see § 9.5) it is once
more clear that we are dealing with the focal message.
following verbal repetitions: suffix -nw (vv. 2.4) > 80,3.4.7 (3×).8.19.20;
yśr’l (vv. 5.9.12.14) > 80,2; yhwsp (v. 6) > 80,2; root śym (v. 6) > 80,7;
11
It is noticeable that the verselines at both sides of the caesura separating Cantos I
and II chiastically correspond to the verselines which mark the boundaries of the second
canto of Psalm 50 (vv. 7 and 15): compare 81,9 with 50,7a–b (šm‘h ‘my w’dbrh // yśr’l
w’‘ydh bk ; see also 81,11a and 50,7c [’lhym ’lhyk ’nky]) and 81,8a with 50,15 (wqr’ny
bywm .srh // ’h.ls.k wtkbdny).
12
In the nineteenth century the main break between vv. 8 and 9 was recognized by De
Wette; for the beginning of the twentieth century, see Grimme and Berkowicz (§ 9.6). In
this respect, see further B. Jacob, ‘Beiträge zu einer Einleitung in die Psalmen’, ZAW 16
(1896), pp. 129–81; note p. 144 (slh denotes ‘den Absatz, bei welchem ein selbständiger
Gesang in der Tempelliturgie begann’).
13
Girard, who has an open mind for verbal recurrences as a structuring device in
Hebrew poetry, nevertheless divides the psalm after v. 6b into two main parts. Con-
sequently, he has to admit that the structural coherence of the main parts is meagre
(p. 403). For a comparable case, see Psalm 95. This poem divides into two cantos, vv.
1–5 and 6–11, but most exegetes take the oracle vv. 7d–11 as the second main part of
the psalm.
’rs. (vv. 6.11) > 80,9; ms.rym (vv. 6.11) > 80,9; root qr’ (v. 8) > 80,19; ‘m
(‘people’; vv. 9.12.14) > 80,5; root šlh. (pi‘el; v. 13) > 80,12; root hlk (vv.
13.14) > 80,3; ’wybym (v. 15) > 80,7; root šwb (hiph‘il; v. 15) > 80,4.8.20;
yd (v. 15) > 80,18; wy’kylhw (v. 17) > 80,6.14
9.8 Bibliography
Th. Booij, Godswoorden in de Psalmen, hun funktie en achtergronden, Amster-
dam: Rodopi, 1978, pp. 165–89;
—, ‘The Background of the Oracle in Psalm 81’, Biblica 65 (1984), pp. 465–75;
J. Bazak, ‘Numerical devices in biblical poetry’, VT 38 (1988), pp. 333–37;
P. Auffret, ‘“Écoute, mon peuple!” Étude structurelle du Psaume 81’, SJOT 7
(1993), pp. 285–302;
Th. Hieke, ‘Psalm 80 and Its Neighbors in the Psalter’, BN 86 (1997), pp. 36–43;
J.S. Fodor, Psalm 95 und die verwandten Psalmen 81 und 50. Eine exegetische
Studie (THEOS 32), Hamburg: Verlag Dr. Kovač, 1999;
G.Y. Glazov, The Bridling of the Tongue and the Opening of the Mouth in Bibli-
cal Prophecy (JSOTS 311), Sheffield: Sheffield Academic Press, 2001, pp. 286–95;
P.L. Trudinger, The Psalms of the Tamid Service. A Liturgical Text from the
Second Temple (SupplVT 98), Leiden/Boston, 2004, pp. 121–35.
14
See also Auffret (1993), pp. 299–302, and Hossfeld/[Zenger], p. 466.
iii.10 psalm 82 401
10 Psalm 82
Structure: 4.4 > 2.2|1.2.1 lines (Type IA)
I 1 ’LHYM ns.b b‘dt ’l bqrb ’lhym YŠPT.

2 ‘d mty TŠPT
. W ‘wl wpny rš‘ym tś’w (slh)
3 špt.w dl wytwm ‘ny wrš hs.dyqw

4 plt.w dl w’bywn myd rš‘ym hs.ylw
II 5 l’ yd‘w wl’ ybynw bh.škh ythlkw ymwt.w kl mwsdy ’rs.
6 ’ny ’mrty ’lhym ’tm wbny ‘lywn klkm

7 ’kn k’dm tmwtwn wk’h.d hśrym tplw
8 qwmh ’LHYM ŠPT

. H h’rs. ky ’th tnh.l bkl hgwym
10.1 Text
No remarks
10.2 Content
The true nature and mismanagement of the gods revealed.
I About the mismanagement of the gods.
God judges the gods (v. 1); ‘I accuse you of class justice’ (v. 2).
‘Deliver the poor and the oppressed from the wicked’ (vv. 3–4).
II About the true nature of the gods and the dominion over the earth.
The gods have no insight to rule the earth (v. 5).
‘I predict that you (gods) will die like human beings’ (vv. 6–7).
Arise, O God, and judge your earth (v. 8).

10.3.1.1 imperative: špt.w, v. 3a; imperatives: qwmh . . .
ext. // plt.w in v. 4a špt.h, v. 8a
imperative: hs.dyqw, v. 3b; vocative: ’lhym, v. 8a
ext. // hs.ylw in v. 4b ’th, v. 8b
’ny, v. 6a
’mrty, v. 6a 10.3.1.2 none
’tm, v. 6a

10.3.2.1 slh, v. 2b 10.3.2.2 none

mty, v. 2a
’kn, v. 7a

vv. 1–2: root špt., vv. 1b.2a
vv. 3–4: špt.w dl wytwm/plt.w dl w’bywn, vv. 3a and 4a resp.
(anaphora)
‘ny wrš/myd rš‘ym, vv. 3b and 4b resp. (alliter.; exactly lin.)
hs.dyqw/hs.ylw, vv. 3b and 4b resp. (epiphora)
vv. 6–7: ’lhym ’tm/tmwtwn, vv. 6a and 7a resp. (alliter.; exactly linear)

vv. 1–4 (Canto I): root špt., vv. 1b+2a.3a (concatenation)
rš‘ym, vv. 2b.4b! (exactly linear)
vv. 5–7 (Canto II): prep. b-, vv. 5b.8b (inclusion)

ymwt.w/tmwtwn, vv. 5c and 7a resp. (alliter.; linear)
kl, vv. 5c.6b (concatenation)
kl, vv. 5c.8b
’rs., vv. 5c.8a!
’lhym, vv. 6a.8a (linear)
’tm/’th, vv. 6a.8b (linear)

vv. 1–2.8, inclusion: ’lhym (= yhwh), vv. 1a.8a!
roots ns.b/qwm, vv. 1a and 8a resp.
prep. b-, vv. 1a+b.8b (inclusion)
root špt., vv. 1b+2a.8a

none
iii.10 psalm 82 403

prep. k- (v. 7 [2×]), l’ (v. 5 [2×])

Psalm 82 has 8 verselines and 17 cola. V. 5a is the pivotal colon (> 8+1+8
cola) and can be taken as the meaningful centre in terms of cola (see further
below).
Structure of strophes and cantos in terms of words: 14+12|10+13+9
= 26+32 (= 58 = 2×29 words in total).1 V. 5a–b contains the middle
words: vv. 1–4.5a–b.5c–8 > 26+6+26 words. These words—which include
the pivotal colon v. 5a—obviously represent the meaningful core in terms
of words: the (lower) gods have no knowledge!2 Because the number 26
symbolizes the presence of yhwh, the positioning of the designation ’lhym
in precisely the first and the last verseline (vv. 1a and 8a), which only here
denotes the God of Israel, reinforces these rhetorical phenomena.3
The verdict on the gods that they will die like humans in the central
strophe of Canto II (vv. 6–7) is very appropriately sealed by the 13 words
in the strophe. In gematria the number in question represents the word ’h.d
(‘one’; 1+8+4 = 13), an important attribute of yhwh (Deut. 6,4; cf. also
Ch. V, 2.6.4).
In vv. 1, 5 and 8 the psalmist is speaking (26 words) and the oracles
are confined to vv. 2–4 and 6–7 (32 words).4 That is to say, from the
perspective of the speaker, the 58 words of the psalm divide in a way which
is similar to the distribution of the words over the cantos. I concur with
Labuschagne that from a numerical point of view this composition is a
1
It is to be noted that the 17 cola of this poem have the same number of words (58)
as each of the 17 cola flanking the pivotal colon in Psalm 81 (v. 9b in the preceding
composition)! Labuschagne observes that in gematria the number 58 represents the
formula kbwd yhwh (32+26!; note that the numbers 32 and 26 correspond to the spread
of the words to the cantos); see his Numerical Secrets of the Bible, North Richland
Hills (Texas): BIBAL Press, 2000, pp. 143–45, and more recently www.labuschagne.
nl/ps082.pdf, Observation 2. In the latter investigation (Observation 5), he further
notes that 58 is also the numerical value of ‘lywn (‘Most High’; see v. 6b); in this
respect it is striking that the pivotal canticle of Psalm 78 (vv. 32–39) has also exactly
58 words (note ‘lywn in v. 35 and see further § 6.5 above).
2
For a comparable idea occurring in the mathematical centre of a poem, cf. Ps. 14,4a
(hl’ yd‘w kl p‘ly ’wn; > 33+5+33 words).
3
Cf. the positioning of the rhetorical centre of Psalm 23, v. 4d (> 26+3+26 words,
while yhwh occurs only in the first and the last verseline); see further Ch. V, 2.6.1.
4
For v. 5 as an ‘interruption’ between the oracles by the psalmist, see also § 10.7;
similarly Girard, [Hossfeld]/Zenger and Labuschagne.
showpiece of craftsmanship.5
In vv. 1a and 8a the God of Israel is designated ’lhym. The word ’lhym
in vv. 1b and 6a refers to the (lower) gods; in v. 1a it is ’l. In v. 6b we
find the title ‘lywn (‘Most High’), which is particularly appropriate in this
psalm.

Köster (1837): 1.2.3–4|5.6–7.8 (4.4 verses)
Hävernick (1849), p. 41: 1.2–4.5–7.8 (1.3.3.1 verses); similarly De Wette
(1856), Kissane (1954), Mowinckel (1957)
Ewald (1866), pp. 362–65: 1–4.5–7.8 (8.7.2 cola)
Ley (1875), pp. 144–45: 1–2.3–4.5.6–7.8 (2.2.‘Mittelvers’.2.‘Schlussvers’)
Delitzsch (1894): 1–2.3–4.5–7.8
Grimme (1902), p. 161: 1–2.3–4.6–7 (4.4.4 cola)
Zenner (1906), pp. 237–38: 1–2.3–4.6–7.5+8 (4×2 lines)
Duhm (1922): 1–2.3–4.5*.6–7 (4×2 bicola); similarly Beaucamp (1968)
Gunkel (1926): 1.2–4.5.6–7.8; similarly Podechard (1954)
Calès (1936): 1–2.3–4.5*.6–7.8 (4×2.1 lines); cf. Duhm (1922)
Böhl (1947): 1–4.5–8
Pannier/Renard (1950): 1.2–7.8; similarly Kraus (1978)
J. Ridderbos (1958): 1–2.3–4.5.6–7.8
Dahood (1968): 1–4.5–7.8; similarly BHS (1969), Van der Ploeg (1974)
NAB (1970): 1 2–4.5–8
Jacquet (1977): 1.2–4.5–7.8 (1.3.3.1 bicola); cf. Hävernick (1849)
Beaucamp (1979): 1|2–4.5.6–7|8 (2|6.3.4|2 cola; ‘structure compliquée’)
Watson (1984), pp. 290–93: 1.2–4|5–7.8 (a.b|c.a’)
Handy (1990): 1.2–4.5.6–7.8 (a.b.c.b’.a’); similarly Terrien (2003); cf.
Auffret (1991) and Prinsloo (1995)
Tate (1990): 1.2.3–4.5.6.7.8 (a.b.c.d.c’.b’.a’)
Girard (1994): 1.2–4.5a|5b–c.6–7.8 (a.b.c|c’.b’.a’); cf. Tate (1990)
Fokkelman (2003), pp. 147–49: 1–2.3–4|5.6–7.8 (2.2|1.2.1 lines)
Weber (2003): 1 2–4.5–7 8; cf. Jacquet (1977)

Psalm 82 divides into two regular cantos of four verselines each, vv. 1–4
and 5–8.6 In the first canto the psalmist deals with the mismanagement of
5
See www.labuschagne.nl/ps082.pdf (Specific features); contra Fokkelman (MPHB
III, p. 149) who maintains that from the perspective concerned ‘there is little of note’.
6
See also Köster, Böhl and Fokkelman in § 10.6.
iii.10 psalm 82 405
the (lower) gods. In Canto II he focusses on their real nature and on the
just dominion of the earth; although they are supposed to be ‘gods’, they
are totally ignorant and nothing more than mortals; see § 10.2.
From a grammatical point of view, the cantos have a linearly alternating
parallel framework (a.b|a’.b’). In vv. 1 and 5 (the a-elements) the psalmist
speaks about the gods in the third person, while in the following verses
(vv. 2–4 and 6–7) they are addressed (by God) directly. The imperatives
rounding off the cantos perfectly fit this linear pattern. In vv. 3–4 the
gods are summoned to do justice to the poor and in v. 8 God is called
to administer justice on earth (the b-elements). In terms of words, we are
dealing with a telling distribution of 26 and 32 words; see § 10.5. However,
we look in vain for a pattern of verbal repetitions on the level of the poem
as a whole underscoring this structure.
Canto I (vv. 1–4) is probably composed of two 2-line strophes; note slh
at the end of v. 2 (§ 10.3.2.1), the tight structure of vv. 3–4 (§§ 10.2 and
10.4.1) and the linear parallel positioning of rš‘ym (‘wicked’; § 10.4.2).7
Canto II (vv. 5–8) has a concentric framework; its strophic structure is
1.2.1 verselines. In the framing one-line strophes vv. 5 and 8 the psalmist
is speaking about the failure of the gods and the competence of God re-
spectively to administer justice on earth. This thematic correspondence is
supported by verbal repetitions on canto level; see § 10.4.2.
The middle strophe, vv. 6–7, is an oracle about the (supposed) divine
status and ultimate fate of the gods.8 The central position of this strophe
is reinforced by clear alphabetizing devices. Each word of v. 6a opens with
an ’aleph, the first letter of the Hebrew alphabet (cf. Job 5,8 and see my
RCPJ, p. 77), and the last word of the strophe (tplw ; v. 7b) begins with
a taw, the last letter of the Hebrew alphabet. This framing feature fits
the concentric structure of the second canto and simultaneously symbolizes
the whole life story of the gods.9 The alphabetizing character of vv. 6–7 is
reinforced by the pivotal word klkm (‘all of you’, v. 6b; > 6+1+6 words).
Incidentally, the letters kaph and lamed represent the middle letters of the
Hebrew alphabet (numbers 11 and 12 respectively).10
7
This means that the strophic structure is not determined by God’s speech in vv.
2–4. The oracle smoothly adjusts itself—without wasting words (there is no introductory
formula; cf. v. 6a)—into the poetic framework of the canto.
8
For the ‘unusual instance of antithetic parallelism’ in vv. 6–7, see Krašovec (1984),
pp. 72–73 and 128–29.
9
For a similar including alphabetizing device, see ’šry (‘happy’) and t’bd (‘it will
perish’) in Psalm 1; in this respect, see also CAS I, p. 97 n. 8.
10
These alphabetizing phenomena have escaped the notice of Weber, who states with
regard to Psalm 82: ‘hinsichtlich Akrostichie nicht auffällig’; see B. Weber, ‘Akrostich-
ische Muster in den Asaph-Psalmen’, BN 113 (2002), pp. 79–94 (note p. 90). For the
In terms of verbal recurrences on the macro level of the psalm, the de-
vice of inclusion dominates; see § 10.4.3. The inclusion is enhanced by the
phenomenon that only in the first and the last verseline of the poem the
psalmist explicitly focusses on Israel’s God (vv. 1 and 8). In v. 1 he speaks
about God and in v. 8 he addresses God in the second person. These in-
cluding devices form part of the concentric structure of Psalm 82 in which
v. 5a–b represents the theological kernel of the composition (§ 10.5).11
There are no spectacular verbal repetitions when we compare our psalm

with the preceding Psalm 81: ’l (‘God’; v. 1) > 81,10 (2×); root nś’ (v. 2)
> 81,3; root špt. (v. 3) > 81,5; root yd‘ (v. 5) > 81,6. There is probably
a thematic relationship with 81,10b: wl’ tšth.wh l’l nkr (‘and you shall not
bow to an alien god’).12
10.8 Bibliography
H.-W. Jüngling, Der Tod der Götter. Eine Untersuchung zu Psalm 82 (SBS 38),
Stuttgart, 1969;
M. Tsevat, ‘God and the Gods in Assembly, an Interpretation of Psalm 82’,
HUCA 40/41 (1969–70), pp. 123–37;
P.J. van Zijl, ‘Die Interpretasie van Psalm 82 in die Lig van Nuwe Navorsing’,
NGThT 11 (1970), pp. 65–77;
J. Krašovec, Antithetic Structure in Biblical Hebrew Poetry (SupplVT 35), Leiden:
Brill, 1984, pp. 72–73;
W.G.E. Watson, Classical Hebrew Poetry. A Guide to its Techniques (JSOTS
26), Sheffield: JSOT Press, 1984;
H. Niehr, ‘Götter oder Menschen—eine falsche Alternative. Bemerkungen zu Ps
82’, ZAW 99 (1987), pp. 94–98;
L.K. Handy, ‘Sounds, Words and Meanings in Psalm 82’, JSOT 47 (1990), pp.
51–66;
P. Auffret, ’Dieu juge. Etude structurelle du Psaume 82’, BN 58 (1991), pp.
7–12;
W.S. Prinsloo, ‘Psalm 82: Once Again, Gods or Men?’, Biblica 76 (1995), pp.
219–28;
E. Zenger, ‘Psalm 82 im Kontext der Asafsammlung’, in B. Janowski and M.
Köckert (eds.), Religionsgeschichte Israels. Formale und materiale Aspekte, Güt-
ersloh: Kaiser/Gütersloher Verlaghaus, 1999, pp. 272–92;
symbolic meaning of the 13 words of vv. 6–7, see § 10.5.

11
For the concentric structure, see also Ley, Handy, Tate, Girard and Terrien in § 10.6.
12
See also [Hossfeld]/Zenger, pp. 490–91.
iii.10 psalm 82 407
P.L. Trudinger, The Psalms of the Tamid Service. A Liturgical Text from the
Second Temple (SupplVT 98), Leiden/Boston, 2004, pp. 87–108;
Y. Zakovitch, ‘Psalm 82 and Biblical Exegesis’, in Chaim Cohen et al. (eds.),
Sefer Moshe. The Moshe Weinfeld Jubilee Volume, Winona Lake: Eisenbrauns,
2004, pp. 213–28;
M. Suc Kee, ‘The Heavenly Council and its Type-scene’, JSOT 31 (2007), pp.
259–73.
11 Psalm 83
Structure: 8.10 > 4.4|4.4.2 lines (Type IB)
I 2 ’lhym ’l dmy lk ’l th.rš w’l tšqt. ’L

3 ky hnh ’wybyk yhmywn wmśn’yk nś’w r’š
4 ‘l ‘mk y‘rymw swd wyty‘s.w ‘l .spwnyk
5 ’MRW lkw wnkh.ydm mgwy wl’ yzkr šm yśr’l ‘wd
6 ky nw‘s.w lb yh.dw ‘lyk bryt ykrtw

7 ’hly ’dwm wyšm‘’lym mw’b whgrym
8 gbl w‘mwn w‘mlq plšt ‘m yšby .swr
9 gm ’šwr nlwh ‘mm HYW zrw‘ lbny lwt. (slh)
II 10 ‘śh lhm kmdyn ksysr’ kybyn bnh.l qyšwn

11 nšmdw b‘yn d’r HYW dmn l’dmh
12 šytmw ndybmw k‘rb wkz’b wkzbh. wks.lmn‘ kl nsykmw
13 ’šr ’MRW nyršh lnw ’t n’wt ’lhym
14 ’lhy šytmw kglgl kqš l pny rwh.

15 k’š tb‘r y‘r wklhbh tlht. hrym
16 kn trdpm bs‘rk wbswptk tbhlm
17 ml’ pnyhm qlwn wybqšw šmk yhwh
18 ybšw w ybhlw ‘dy ‘d wyh.prw wy’bdw

19 wyd‘w ky ’th šmk yhwh lbdk ‘LYWN ‘l kl h’rs.
11.1 Text
V. 12b—wkzbh. wks.lmn‘ : an integral part of the verseline; contra Gunkel, Kraus,
Fokkelman and others, who delete the colon on metrical grounds.
11.2 Content
Prayer of the people for deliverance form their enemies.
I Description of distress.
O God, your enemies are about to ruin your people (vv. 2–5).
They conspire against you (vv. 6–9; these enemies are named
now).
II Prayer for the downfall of the enemies.
Deal with them as with our enemies of old (vv. 10–13; these
enemies are named, cf. vv. 6–9).
iii.11 psalm 83 409
O God, ruin them completely (vv. 14–17).

Coda: make them perish for ever and let them recognize that you
are the only God (vv. 18–19).

11.3.1.1 vocative: ’lhym, v. 2a vocative: ’lhy, v. 14a
’l prohibitive, v. 2 (3×) imperative: šytmw, v. 14a
vocative: ’l (‘God’), v. 2b
imperative: ‘śh, v. 10a 11.3.1.2 none

11.3.2.1 ‘wd, v. 5b 11.3.2.2 imperative: lkw, v. 5a
gm, v. 9a imperative: ml’, v. 17a
slh, v. 9b vocative: yhwh, v. 17b
’th, v. 19a

hnh, v. 3a kn beginning of line, v. 16a
imperative: šytmw, v. 12a ‘d, v. 18a

vv. 2–5: lk/lkw, vv. 2a and 5a resp. (alliter.; inclusion)
suffix -k, vv. 2a.3a+b.4a+b
’l (‘God’)/yśr’l, vv. 2b and 5b resp. (inclusion)
‘m (‘people’)/gwy, vv. 4a and 5a resp.
} chiasmus
y‘rymw/’mrw, vv. 4a and 5a resp. (alliter.)
vv. 6–9: lb/lbny, vv. 6a and 9b resp. (alliter.; inclusion)
bryt/nlwh, vv. 6b and 9a resp. (inclusion; cf. Isa. 56,6 and
Jer. 50,5)
‘m (‘with’), vv. 8b.9a!; see also w‘mwn w‘mlq in v. 8a
vv. 10–13: ‘śh lhm/šytmw, vv. 10a and 12a resp.
} chiasmus
prep. b-, vv. 10c.11a
lhm/lnw, vv. 10a and 13a resp. (inclusion)
lhm/’lhym, vv. 10a and 13b resp. (alliter.; inclusion)
prep. k-, vv. 10a+b (2×).12a+b

vv. 14–17: vocative for God: ’lhy/yhwh, vv. 14a and 17b resp.
}
pnym, vv. 14b.17a!
chiasmus (inclusion)
prep. k-, vv. 14a+b.15a+b
suffix -k, vv. 16a+b.17b
vv. 18–19: ‘dy ‘d/wyd‘w, vv. 18a and 19a resp. (alliter.)

vv. 2–9 (Canto I): ’lhym . . . ky/ky . . . ’hly, vv. 2–3 and 6–7 resp.
(beginning of the lines; chiasmus; alliter.)
’lhym ’l dmy/’hly ’dwm, vv. 2a and 7a resp.
(alliter.)
prep. l-, vv. 2a.9b (inclusion)
suffix -k, vv. 2–4.6b (linear)
‘l, vv. 4a+b.6b; note ‘l ‘mk . . . ‘l . . . -k/‘lyk
swd/bryt, vv. 4a and 6b resp. (Fokkelman)
}
root y‘s., vv. 4b.6a!
chiasmus
vv. 10–19 (Canto II): suffix -hm, vv. 10a.17a!

prep. k-, vv. 10+12.14–15!
bnh.l qyšwn/qlwn wybqšw, vv. 10b and 17 resp.
(alliter.)
šytmw, vv. 12a.14a!; see also -mw in v. 12a+b!
kl, vv. 12c.19b!
} chiasmus (concatenation);
see also prep. l- in vv. 10a and 11b
’lhym/yhwh, vv. 13b and 17b resp. (epiphora)
suffix -k, vv. 16–17.19a (2×)
root bhl, vv. 16b.18a!
qlwn/‘lywn, vv. 17a and 19b resp. (alliter.)
}
šmk yhwh, vv. 17b.19a!
chiasmus

vv. 2–5.10–13: ’mrw, vv. 5a.13a! (exactly linear)
iii.11 psalm 83 411

vv. 2–5.14–19: prep. l- + suffix -k, vv. 2a.19a! (inclusion)
’l (‘God’)/‘lywn, vv. 2b and 19b resp. (inclusion); cf.
Pss. 73,11 78,17–18.35.56 (’lhym ‘lywn)
’lhym in vocative: vv. 2a.14a!; see also yhwh in v. 17b
suffix -m, vv. 5a.16a+b!
šm (‘name’), vv. 5b.17b+19a!
vv. 6–9.10–13: ’hly ’dwm/hyw dmn l’dmh, vv. 7a and 11b resp. (alliter.)
’šwr/’šr, vv. 9a and 13a resp. (alliter.)
} chiasmus
hyw, vv. 9b.11b!

prep. b- (v. 16 [2×]), ky (v. 19), prep. ‘l (v. 19)

none

Psalm 83 has 18 verselines and 38 cola.1 Vv. 10–11 represent the central
verselines (> 8+2+8 verselines).
Structure of strophes and cantos in terms of words: 32+27|28+23+16
= 59+67 (= 126 = 18×7 words in total). V. 5b (wl’ yzkr šm yśr’l ‘wd ;
‘and Israel’s name will be remembered no more’), the second part of the
first quotation of the words of the enemies, is the pivot of Canto I on word
level: vv. 2–5a.5b.6–9 > 27+5+27 words. From the same point of view,
the second quotation of the words of the enemies as a whole (nyršh lnw
// ’t n’wt ’lhym; ‘let us take as possession for ourselves // the pasture
lands of God’, v. 13) is the pivot of the 4-line strophes of Canto II: vv. 2–
13aA.13aB–b.14–17 > 23+5+23 words. On this arithmetic basis, we may
assume that the threat of Israel’s existence formulated in the quotations
concerned represent the central peaks of the psalm in terms of meaning.2
The designation ’lhym (‘God’) occurs 3×: vv. 2, 13 and 14; 1× it is
’l (v. 2) and 1× we find the title ‘lywn (‘Most High’; v. 19). The divine
1
Fokkelman has 37 cola because he takes v. 12b as a gloss for metrical reasons (MPHB
II, p. 233; see § 11.1 and my STR, p. 344).
2
For more numerical features on word level, see www.labuschagne.nl/ps083.pdf, Ob-
servations 2–6.
name, yhwh, occurs 2×: vv. 17 and 19. That is to say, there are 7 explicit
references to God. The density of the designations yhwh and ‘lywn in the
final verselines of Psalm 83 (vv. 17–19) appropriately marks the end of the
series of eleven Asaph-psalms (Pss. 73–83) and of the series of 7 occurrences
of the title ‘lywn in this collection of poems.3

Köster (1837): 2–5.6–9.10–13.14–19 (4.4.4.6 verses); similarly Ewald (1866),
pp. 461–63
Hävernick (1849), p. 43: 2–5.6–9.10–13.14–16.17–19 (4.4.4.3.3 verses); sim-
ilarly Ley (1875), pp. 252–53, Calès (1936)
De Wette (1856): 2–5.6–9|10–11.12–13.14–16.17–19 (4.4|2.2.3.3 verses)
Delitzsch (1894): 2–5.6–9.10–13.14–17.18–19 (4×8.4 cola)
Grimme (1902), p. 161: 2–9.10–19 (16.16 cola)
Zenner (1906), pp. 165–67: 2–5.6–9|10–13|14–16.17–19 (4.4|4|3.3 lines); cf.
Hävernick (1849)
Duhm (1922): 2–3.4–5.6–7.8–9.10–11.12–13.15–16.14+17.18–19 (9×2 bi-
cola); cf. Gunkel (1926) and Mowinckel (1957)
Herkenne (1936): 2–9.10–19; similarly NAB (1970); cf. Grimme (1902)
Böhl (1947): 2–5|6–9|10–13.14–16|17–19; cf. Zenner (1906)
Pannier/Renard (1950): 2–5.6–9|10–13.14–19 (4.4|4.6 lines)
Kissane (1954): 2–5.6–9.10–13.14–17.18–19 (4×4.2 lines); similarly Terrien
(2003) and Seybold (1996)
Podechard (1954): 2–3.4–5.6–9.10–11.12–13.14–16.17–19 (4.4.8.4.4.6.6 cola)
Van der Ploeg (1974): 2|3–5.6–9|10–13.14–18|19 (a|b.c|c’.b’|a’)
Jacquet (1977): 2–3.4–5.6–7.8–9.10–11.12–13.14–16.17–19 (6×2.3.3 bicola)
Kraus (1978): 2.3–9.10–19; similarly Tate (1990); cf. Herkenne (1936)
De Moor (1978), p. 216: 2.3–5.6–9|10–13.14–16.17–19 (2×3 strophes)
Beaucamp (1979): 2|3–5.6–8.10–12.14–16.17–19 (2|5×6 cola); cf. Beau-
camp (1968), p. 211
Aletti/Trublet (1983), pp. 24–25: 2.3–4.5|6–9.10–12|13.14–18.19 (a.b.c|d.d’|
c’.b’.a’)
Neveu (1988), pp. 103–06: 2–3.4–5.6–8.9|10–16|17–19
Girard (1994): 2 3–4.5.6–9|10–11.12–13.14–19 (v. 2 a.b.a’|c.c’.c’’)
Fokkelman (2000), pp. 231–33: 2–3.4–6.7–9|10–11.12–13.14–15|16–17.
18–19 (2.3.3|2.2.2|2.2 lines; a.b.c|c’.b’a’|d.d’)
[Hossfeld]/Zenger (2000): 2–5.6–9|10–13.14–16.17–19; cf. Böhl (1947)
Weber (2003): 2–5|6–9|10–13|14–16.17–19 (a.b.b’.a’)
3
See ‘lywn in Pss. 73,11 77,11 78,17.35.56 82,6 and 83,19.
iii.11 psalm 83 413

In terms of subject matter Psalm 83 clearly divides into two almost regular
cantos of eight and ten verselines, vv. 2–9 and 10–19 respectively. The
first canto is a description of distress regarding the conspiracy of Israel’s
enemies to ruin the people of God. This description is introduced by a
prayer to God not to remain silent (v. 2). Fokkelman (MPHB II, p. 231)
rightly notes that (from a formal point of view) this canto is characterized
by a chain of monosyllables with a long o which form the endings of six
cola; see r’š (v. 3b), swd (v. 4a), gwy (v. 5a), ‘wd (v. 5b), .swr (v. 8b) and
lwt. (v. 9b). The end of the canto is marked by the word slh (v. 9b).
Canto II is a prayer for the ruin of the aggressors. From a formal point
of view, the coherence of the canto is buttressed by a cluster of words which
occur exclusively in vv. 10–19 (see suffix -hm, prep. k-, šytmw, kl, the root
bhl and šmk yhwh in § 11.4.2) and by some nouns of two syllables ending
in oon. For the latter phenomenon, see qyšwn (v. 10c), qlwn (v. 17a) and
‘lywn (v. 19b).
From Köster onwards—the founding father of strophic investigation at
the beginning of the nineteenth century—exegetes have time and again
pointed out that Psalm 83 opens with a series of 4-line strophes; see § 11.6.
However, there is uncertainty with regard to the consistency of this pattern
after v. 14. It is often supposed that the psalm is concluded by two 3-line
strophes, vv. 14–16 and 17–19. In my view, vv. 14–17 is a fourth 4-line
strophe, while vv. 18–19 constitute a concluding strophe of two verselines.4
This strophic division is largely based on thematic considerations. From a
formal point of view, the strophic structure is firmly supported by the tran-
sition markers described in §§ 11.3.1–2. Additionally, there are indications
that the 4-line strophes are all marked by inclusion; see § 11.4.1.5
The quotation of the words of the enemies formulating their intention
to exterminate the people of Israel (v. 5), introduced by ’mrw (‘they say’),
is the high point rounding off the first strophe of Canto I (vv. 2–5; [Hoss-
feld]/Zenger, p. 494). The strophe appropriately ends with a word denoting
a long time, ‘wd (v. 5b); see § 11.3.2.1 (transition markers). The first stro-
phe of Canto II (vv. 10–13) is also concluded by a quotation of the words
of the enemies (v. 13). This quotation is structurally parallel to v. 5 as its
logical continuation: ‘let us take God’s pasture lands as our possession’. It
is introduced by ’šr ’mrw (‘who say’); cf. § 11.4.3 (linear framework).6 The
4
Similarly Delitzsch, Kissane, Terrien and Seybold; see § 11.6.
5
In this repect, there is a kind of similarity with Psalm 44; see Ch. II, 2 above. Note
that both psalms are a communal lament, a prayer for deliverance from enemies.
6
For the quantitative aspects highlighting the words of the enemies in vv. 5 and 13
as a pivotal message, see § 11.5.
strophe is characterized by references to Israel’s enemies of old (see vv. 10

and 12 and cf. Judges 4–8).
From a semantic perspective, the second strophe of Canto I, vv. 6–9, is
an intensification of vv. 2–5. It now becomes clear that the agression of the
enemies is not only aimed at God’s people (v. 4) but against God himself
(v. 6b). The enumeration of ten hostile people and nations is a special
feature of this strophe. Once again, the concluding verseline v. 9 is the
high point of the message: Assyria is the main threat. This is indicated by
the transition marker gm (‘also’/‘even’; § 11.3.2.1) at the beginning of the
verseline and by the fact that the whole line is exclusively devoted to only
one enemy, while in vv. 7 and 8 the poet mentions four and five adversaries
respectively.
The beginning of the second 4-line strophe of Canto II, vv. 14–17, is
indicated by the imperative šytmw (‘make them’) in combination with the
vocative ’lhym (‘O God’ [cf. v. 2]; this vocative does not occur in v. 12,
where we also find the imperative šytmw ). In this case, the boundaries of
the strophe are clearly marked by the device for inclusion; note especially
pnym (‘face’) in vv. 14b and 17a (see further § 11.4.1). The imperative ml’
(‘fill’) at the beginning of v. 17 perfectly fits the semantic context of the
strophe, which is a prayer for the ruin of the adversaries. On these grounds,
we can be sure that the fourth strophe is rounded off by v. 17 (and not by
v. 16 as is often supposed). In v. 17b the imperative is unexpectedly varied
by a jussive expressing the wish that the enemies may seek Israel’s God.
This is another indication that v. 17 is a concluding verseline.
Vv. 18–19 represent a small relatively individual strophe at the end of
Canto II. The strophe is totally dominated by jussives and distinguished
by having the enemies as the subject of the main clauses. It functions as a
coda within the second canto: there are no new themes and especially from
a formal point of view we are dealing with an echo of the final verselines of
the preceding 4-line strophe, vv. 16–17 (see § 11.4.2). In terms of subject
matter, v. 19 is an elaboration of v. 17b and simultaneously the concluding
verseline of the poem as a whole.7
In my opinion, there are no grounds for speculating on a ‘Primärgestalt’
of this psalm in which vv. 17b, 18a and 19 did not occur; contra Seybold,
[Hossfeld]/Zenger and Weber (2003). The prayer for the downfall of the
enemies and—at the same time—for their acknowledging God at first sight
7
For the correspondence between vv. 16–17 and 18–19, see also Fokkelman, MPHB
II, p. 232. According to Terrien, we are dealing with an ‘envoi that combines a curse
of the enemies and a praise of the holy name’ (p. 593) concluding the series of 4-line
strophes as a whole. However, there is no description of distress corresponding to vv.
2–9; therefore I take vv. 18–19 as the coda of Canto II only.
iii.11 psalm 83 415
seems a paradox indeed. However, from a rhetorical point of view, the idea
that all people will worship Israel’s God is a very appropriate conclusion
for a psalm.
The reference to some enemies of old in the first strophe of Canto II
(vv. 10–13) immediately ties in with the enumeration of ten contemporary
adversaries in the final strophe of the first canto (vv. 6–9). In this way,
there is some form of concatenation between the cantos. This formal de-
vice is an aspect of the symmetric relationships between Cantos I and II
in terms of verbal repetitions; see § 11.4.3 (symmetric framework).8 In my
opinion, this symmetry has no clear thematic components.
the following verbal repetitions: ’lhym vocative (vv. 2.14) > 82,8 (con-
catenation); ’l (‘God’; v. 2) > 82,1 (anaphora); ’mrw (vv. 5.13) > 82,6
(’mrty); gwy (v. 5) > 82,8; slh (v. 9) > 82,2; prep. k- (vv. 10.12.14–15)
> 82,7; pnym (vv. 14.17) > 82,2; yd‘w (v. 19) > 82,5; ky ’th (v. 19) >
82,8 (epiphora); ‘lywn (v. 19) > 82,6; kl h’rs. (v. 19) > 82,5 (kl . . . ’rs.).8 (kl
hgwym; epiphora).9
11.8 Bibliography
J.C. de Moor, ‘The Art of Versification in Ugarit and Israel. II: The Formal
Structure’, UF 10 (1978), pp. 187–217;
P. Auffret, ‘“Qu’ils sachent que ton nom est YHWH!” Étude structurelle du
Psaume 83’, ScEs 45 (1993), pp. 41–59;
B. Gosse, ‘Le Psaume 83, Isaı̈e 62,6–7 et la tradition des Oracles contre les
Nations des livres d’Isaı̈e et d’Ezéchiel’, BN 70 (1993), pp. 9–12;
R. Althann, ‘Atonement and reconciliation in Psalms 3, 6 and 83’, JNSL 25
(1999), pp. 75–82;
B. Weber, ‘Psalm 83 als Einzelpsalm und als Abschluß der Asaph-Psalmen’, BN
103 (2000), pp. 64–84.
8
For this symmetry on the level of the psalm as a whole, cf. also Van der Ploeg,
Aletti/Trublet, Fokkelman and Weber in § 11.6. According to Weber (2003, p. 81),
‘Semantische (Begriffs-)Wiederholungen, mit denen in vielen (Asaph-)Psalmen ein po-
etisches Netz aufgespannt wird, sind eher selten’. Otherwise Girard (p. 424) who states
that the structural analysis ‘éclaire grandement l’articulation très soignée des idées et
des mots’.
9
See also [Hossfeld]/Zenger, pp. 503–04.
12 Psalm 84
Structure: 7.8 > 3.2.2|3.2.3 lines (Type IB)
I 2 mh ydydwt mšknwtyk YHWH S.B’WT

3 nksph wGM klth npšy lH
. S.RWT YHWH
LBy wbśry yrnnw ’L ’l h.y
4 gm .spwr ms.’h byt wdrwr qn lh

’šr šth ’prh.yh ’t mzbh.wtyk
YHWH S.B’WT mlky w’lhy

5 ’ŠRY ywšby BYTk ‘wd yhllwk (slh)
II 6 ’ŠRY ’dm ‘wz lw bk mslwt bLBBm

7 ‘bry b‘mq hbk’ m‘yn yšytwhw GM brkwt y‘t.h mwrh
8 ylkw mh.yl ’L h.yl yr’h ’L ’lhym bs.ywn
9 yhwh ’lhym s.b’wt šm‘h tplty h’zynh ’lhy y‘qb (slh)

10 mgnnw r’h ’lhym whbt. pny mšyh.k
11 ky .twb ywm bH. S.RYk m’lp bh.rty hstwpp bBYT ’lhy mdwr b’hly rš‘
12 ky šmš w mgn YHWH ’lhym h.n wkbwd ytn YHWH l’ ymn‘ .twb
13 YHWH S.B’WT ’ŠRY ’dm bt.h. bk [l hlkym btmym
12.1 Text
V. 3c–d: MT divides with ’atnah. after wbśry in v. 3c.
V. 4: for the colometric division, see also Fokkelman (2002, p. 93); it does not
correspond to the Masoretic accentuation.
V. 7c: meaning of Hebrew uncertain; ‘even the early rain wraps it in blessings’
(Tate).
vv. 11–12: two tricola, in accordance with the Masoretic accentuation (similarly
JPS); contra BHS, Fokkelman (2002, p. 93) and Weber (2003).
12.2 Content
Happy the person who looks to God for protection.
I Description of the psalmist’s longing for God’s sanctuary.
O God, I am eagerly longing to dwell in your temple (vv. 2–3).
Even a little bird finds a home there (v. 4a–d).
Those who find shelter in you praise you continually (vv. 4e–5).
iii.12 psalm 84 417
II Happy is the person who finds refuge in God.

The person whose strength is in you will appear before you in Zion
(vv. 6–8).
O God, hear my prayer and remember your anointed (vv. 9–10).
Happy the person who trusts in you (v. 13), because you do good
to all righteous people (vv. 11–12).

12.3.1.1 mh, v. 2a h’zynh, v. 9b–c; ext. //
vocative: yhwh .sb’wt, v. 2b r’h . . . whbt. in v. 10
vocative: yhwh .sb’wt, v. 4e vocative: ’lhy y‘qb, v. 9c
vocative: mlky w’lhy, v. 4f .twb ‘beginning’ of the line,
’šry, v. 6a v. 11a
vocat.: yhwh ’lhym .sb’wt, vocat.: yhwh .sb’wt, v. 13a
v. 9a; ext. // ’lhym in ’šry, v. 13b
v. 10a
imperatives: šm‘h . . . 12.3.1.2 none

12.3.2.1 ‘wd, v. 5b 12.3.2.2 ’šry, v. 5a
slh, v. 5b

gm, v. 3a gm, v. 7c
gm, v. 4a slh, v. 9c

vv. 2–3: yhwh, vv. 2b.3b
suffix -y, vv. 3a.3c (2×)
vv. 4e–5: w’lhy/yhllwk, vv. 4f and 5b resp. (alliter.)
vv. 6–8: ‘wz/h.yl, vv. 6a and 8a (2×) resp. (inclusion)
prep. b-, vv. 6a+b.7a.8b
roots ‘br/hlk, vv. 7a and 8a resp. (anaphora)
vv. 9–10: ’lhym, vv. 9a+c.10a
vv. 11–13: ky, vv. 11a.12a! (anaphora)
.twb, vv. 11a.12c!
prep. b-, vv. 11a+b+c.12c.13b

suffix -k, vv. 11a.13b (inclusion)
b’hly rš‘/lhlkym btmym, vv. 11c and 12c resp. (epiphora)

vv. 2–5 (Canto I): mh ydydwt/’šry, vv. 2a and 5a resp. (inclusion)
mšknwtyk/bytk, vv. 2a and 5a resp.; see also byt in
v. 4a, qn in v. 4b, the roots škn/yšb in vv. 2a
and 5a resp. (note the concentric positioning)
mšknwtyk/mzbh.wtyk, vv. 2a and 4d resp.; see also
suffix -k in v. 5a+b
yhwh .sb’wt, vv. 2b.4e (linear); see also yhwh in
v. 3b
gm, vv. 3a.4a
wgm klth/mlky, vv. 3a and 4f resp. (alliter.)
suffix -y, vv. 3a+c (2×).4f (2×)
yrnnw/yhllw, vv. 3c and 5b resp. (linear)
’l (‘God’)/’lhym, vv. 3d and 4f resp.
’šr/’šry, vv. 4c and 5a resp. (alliter.; exactly lin.)
vv. 6–13 (Canto II): ’šry ’dm ‘wz lw bk/’šry ’dm bt.h. bk, vv. 6a and 13b!
resp. (inclusion); see also prep. b- in vv. 6b–8.
11–12 and suffix -k in vv. 10b.11a+13b (concat.)
‘bry b‘mq/y‘qb, vv. 7a and 9c resp. (alliter.)
brkwt/bh..sryk . . . bh.rty, vv. 7c and 11a–b resp.
(alliter.)
root hlk, vv. 8a.12c!
prep. mn, vv. 8a.11a+c
root r’h, vv. 8b.10a! (linear); see also root nbt.
(hiph‘il) in v. 10b
’lhym, vv. 8b.9–10.11–12 (concatenation)
yhwh ’lhym, vv. 9a.12a!; see also yhwh in v. 12b
yhwh + .sb’wt, vv. 9a.13a
suffix -y, vv. 9b.11b (linear)
mgn, vv. 10a.12a!

vv. 2–3.6–8: mh ydydwt/’šry, vv. 2a and 6a resp.
gm, vv. 3a.7c
iii.12 psalm 84 419
lb/lbb, vv. 3c.6b!

’l ’l/’l ’lhym, vv. 3d.8b; see also prep. ’l in v. 8a!
’l ’l h.y/mh.yl ’l h.yl, vv. 3d and 8a resp. (alliter.)
vv. 4a–d.9–10: mzbh.wtyk/mšyh.k, vv. 4d and 10b resp. (alliter.; exactly

linear)
vv. 4e–6.11–13: yhwh .sb’wt, vv. 4e.13a; see also yhwh in v. 12a+b
byt, vv. 5a.11b; note ywšby bytk and hstwpp bbyt resp.
(alliter.)
yhllwk/lhlkym, vv. 5b and 12d resp. (alliter.)
vv. 2–3.11–13, inclusion: mh ydydwt/ky .twb, vv. 2a and 11a resp.

yhwh .sb’wt, vv. 2b and 13a; see also yhwh in
vv. 3b and 12a+b
h..sr, vv. 3b.11a!
vv. 5–6.7–8, concat.: ’šry, vv. 5a.6a (anaphora)

none

prep. l- (vv. 3.4.6.12), root šyt (vv. 4.7)

Psalm 84 has 6 strophes, 15 verselines and 34 (= 2×17) cola.1 V. 6 is the
middle verseline (> 7+1+7 lines); this line consists of 7 words. Because
v. 6 encompasses the refrain marking the boundaries of Canto II, this mid-
dle verseline can be considered the rhetorical centre of the psalm: ‘happy
are those whose strength is in you, with pilgrim-highways in their hearts’.
V. 7a–b represent the central cola (> 16+2+16 cola). V. 4a–b is the pivotal
verseline of the first canto (vv. 2–3.4a–b.4c–5 > 3+1+3 lines). Vv. 9–10
represent the central strophe and the pivotal verselines of Canto II.2
1
Fokkelman distinguishes 7 strophes. Further, taking vv. 11–12 as four bicola, he has
17 verselines and 36 cola (MPHB II, pp. 237.508); cf. § 12.1 above.
2
For the central positioning of vv. 4a–b and 9–10, see further § 12.7 below.

32 = 38+70 (= 108 = 4×27 words in total).3 In terms of word count,
the psalm divides after v. 7 into two equal parts: vv. 2–7.8–13 > 54+54
words. From the same perspective, v. 4a (gm .spwr ms.’h byt) is the pivot of
Canto I: vv. 2–3.4a.4b–5 > 17+4+17 words. On word level, v. 10 (mgnnw
r’h ’lhym // whbt. pny mšyh.k ) is the centre of Canto II: vv. 6–9.10.11–13 >
32+6+32 words.
Taking the word slh in vv. 5 and 9 as a marker denoting the end of main
sections, the psalm divides into vv. 2–5, 6–9 and 10–13.4 On word level,
these sections show a concentric framework: 38+32+38 words (vv. 6–9 is
enveloped by 38 words on either side).
The divine name, yhwh, occurs 7×: vv. 2, 3, 4, 9, 12 (2×) and 13.
The same applies to the designation ’lhym (‘God’): vv. 4, 8, 9 (2×), 10, 11
and 12; see further ’l (‘God’) in v. 3. From this perspective, v. 9 stands out
because yhwh in v. 9a and ’lhym in v. 9c represent the middle occurrences
of the two sets of 7 designations for God. Additionally, the expression yhwh
’lhym .sb’wt features only in v. 9a.5

Köster (1837): 2–5.6–9.10–13 (3×4 verses); similarly De Wette (1856)
Sommer (1846), p. 54: 2–5.6–9.10–13; similarly König (1927), pp. 300–08;
Seybold (1996)
Ewald (1866), pp. 261–64: 2–4.5–8.9–12.13 (8.8.10.2 cola)
Delitzsch (1894): 2–3.4.5.6–7.8–9.10–11.12.13
Grimme (1902), pp. 161–62: 2–5.6–8+10+9.11–13 (6.6.5 lines)
Zenner (1906), pp. 240–41: 2–3+11+4d–f.5–8+13|9–10+12|. . . (6.6|4|. . . ll.)
Duhm (1922): 2–3b.3c–d+4d–f.4a–c.5–6.7*.8*.11 (7×2 bicola); 9–10.12–13
(2.2 bicola)
Gunkel (1926): 2–3.4a–d.5–6.7*–8.11.12–13
Schmidt (1934): 2–5.6–10.11–13; similarly BHS (1969); cf. Tate (1990)
Desnoyers (1935): 2–3.4–5|6–8.9–10|11.12–13; cf. TOB (1978)
Calès (1936): 2–3.11.4.5|6–8.9–10.12.13 (3.2.2.1|3.2.2.1 lines)
Montgomery (1945), p. 383: 2–5.6–8.9–12.13 (4.3.4.1 lines); cf. Ewald (1866)
3
Labuschagne points out that 108 is the numerical value of mšknwtyk (‘your dwelling
places’, v. 2a); see www.labuschagne.nl/ps084.pdf, Observation 1.
4
Cf. the division by Köster, Sommer, Grimme and Alden in § 12.6; see further
5
In this case, slh at the end of v. 9 probably functions as a marker denoting the
special character of the verseline. On these grounds, I deem it very improbable that
the designation ’lhym (‘God’) in vv. 9a and 12a is a later addition; contra Booij (VT 44
[1994], p. 437).
iii.12 psalm 84 421
Böhl (1947): 2–3.4–5|6–8|9–11.12–13; cf. Pannier/Renard (1950)

Baumann (1949–50), pp. 135–36: 2–3.4–5|6–8|9+11|12–13; cf. Böhl (1947)
Kissane (1954): 2–4.5+11+6–8.9–10+12–13 (3×5 lines)
Podechard (1954): 2–4.5–8.11–13; 9–10 (‘Les strophes . . . sont inégales’)
Schildenberger (1960), p. 679: 2–3.4–5.6–8.9–11.12–13 (5×3 lines); cf. Bau-
mann (1949–’50)
Van der Ploeg (1974): 2–4.5–8.9–13; similarly NAB (1970)
Alden (1976), p. 198: 2–5.6–9.10–13 (a.b.a’); cf. Sommer (1846)
Jacquet (1977): 2–3.4–5.6–7b+8|7c+9–10*.11–12b|12c–13 (3×3|3.3|2
bicola)
Beaucamp (1979): 2||3.4.5–6.7*–8|9–10.11.12||13 (2||4×4|4.3.4||2 cola)
Aletti/Trublet (1983), p. 84: 2–4.5–8.9–13 (a.b.a’); cf. Van der Ploeg (1974)
Auffret (1994): 2.3|4.5–6||6.7–8.9–10.11a|11b–c.12a–b.12c.13 (a.b|a’.b’||c.d.
e.f|f’.e’.d’.c’)
Booij (1994): 2–8.9–13
Girard (1994): 2.3.4a–d.4e–8|9–10.11a.11b–c.12–13 (a.b.c.d|a’.b’.c’.d’)
Fokkelman (2000), pp. 234–37: 2–3.4|5–6.7–8|9–10.11.12–13 (3.3|2.2|2.2.3
lines); cf. Aletti/Trublet (1983)
[Hossfeld]/Zenger (2000): 2–5.6–8.9–13 (7.3.7 bicola); cf. Böhl (1947)
Terrien (2003): 2–3.4–5|6–8.9–10|11.12–13; cf. Desnoyers (1935)
Weber (2003): 2–3.4.5|6–8|9–10.11.12–13 (14.7.15 cola; A.B.A’)

There is complete confusion among exegetes regarding the poetic structure
of Psalm 84.6 The overview in § 12.6 makes it clear that many scholars—
in some way or another—divide the psalm into three main sections. In
a few cases they are guided by the positioning of slh and on this basis
they distinguish vv. 2–5, 6–9 and 10–13.7 Köster (1837, p. 262) explicitly
states: ‘Durch Selah werden drei gleiche Strophen bezeichnet; wobey eine
besondere Schönheit darin liegt, dass der Schlussvers immer die folgende
Strophe vorbereitet’ (similarly De Wette).
Recently, Fokkelman has also argued for a tripartite structure (MPHB
II, pp. 234–35). He points to the recurrent title yhwh .sb’wt and maintains
that this title functions as an inclusion marking the boundaries of the first
and third main sections, vv. 2–4 and 9–13. He further notes that vv. 5–8
(his second stanza) stands out because it ‘manages entirely without a first
6
According to Girard (p. 429), ‘on n’a pas encore radiographié avec justesse l’épine
dorsale du Ps 84’. And Weber (2003, p. 87) rightly notes: ‘Die Bestimmung von Kolo-
metrie und Struktur ist nicht einfach und deshalb auch umstritten’.
7
See Köster, Sommer, Grimme and Alden in § 12.6.
person, which has to do with the poet’s now speaking generally’.8 Others,
who assume a tripartite framework, consider vv. 6–10 the central section
of the psalm,9 or vv. 6–8, where the psalmist focusses on the strength of
the pilgrims and the pilgrim highways to Zion.10
A few exegetes assume that our psalm displays a bipartite structure.
However, also from this point of view there is no unanimity with regard to
the exact delimitation of the main sections. In this respect, Calès supposes
that the major caesura comes after v. 5, while according to Booij and Girard
this break comes after v. 8 (see § 12.6).
In my opinion, our psalm is indeed composed of two main sections. In
fact, most rhetorical features fall into place when we divide Psalm 84 into
two almost balanced cantos of seven and eight verselines respectively, vv.
2–5 and 6–13 (cf. Calès). The first canto (vv. 2–5) is about the psalmist’s
individual longing for experiencing God’s presence in his sanctuary. In
Canto II (vv. 6–13) he mainly focusses on others. First, he speaks about
people who seek refuge in God and undertake the pilgrimage to Zion (vv.
6–8). Second, his prayer concerns (the prosperity of) the king (vv. 9–10; see
also mgnnw [‘our shield’] in v. 10a). Third, starting from his own preference
(v. 11), he portrays God’s goodness to the righteous (vv. 12–13).
The boundaries of the first canto (vv. 2–5) are marked by a ‘praise’ of
God’s sanctuary (v. 2a) and of all those who dwell therein (v. 5a). These
praises frame the canto by inclusion. This device for inclusion is an aspect
of the concentric structure of vv. 2–5. The first, the middle and the final
verseline of this 7-line canto (vv. 2, 4a–b and 5) are all about the temple as
a dwelling place; see also § 12.4.2 (verbal repetitions).11 V. 4a–b is marked
as the pivotal verseline by the emphatic particle gm at the beginning of the
bicolon and by the internal parallelism taking advantage of the synonyms
byt (‘home’) and qn (‘nest’) denoting ‘dwelling place’. For v. 4a as the
pivot of Canto I on word level, see § 12.5. Therefore, we may speak of a
menorah-pattern. The canto is characteristically concluded by a reference
to the continuing praise of God (v. 5b); see also ‘wd (‘continually’) and slh
in § 12.3.2.1.12
8
For the division concerned, see also Kissane, Van der Ploeg and Aletti/Trublet in
§ 12.6. Van der Ploeg notes that in terms of thought content the boundaries of his main
parts are fluent (p. 68).
9
See Schmidt, Desnoyers and Terrien in § 12.6.
10
See Böhl, [Hossfeld]/Zenger and Weber in § 12.6. ‘In V 2–5 und V 9–13 spricht ein
Ich zu seinem Gott . . . , während V 6–8 über die Menschen redet, die unterwegs sind zu
Gott auf dem Zion’ ([Hossfeld]/Zenger, p. 512).
11
Cf. Weber (2003, p. 87): ‘Stanze I ist durch die Wohn- und Haus-Begrifflichkeit
zusammengehalten’.
12
For the continuing praise marking the end of a main section, cf. especially ‘wd ’wdnw
iii.12 psalm 84 423
Like Canto I, the second canto (vv. 6–13) also displays a concentric
structure. This canto is composed of three strophes, vv. 6–8, 9–10 and
11–13; for the thematic individuality of these strophes, see above. In terms
of verselines, the second strophe consisting of two verselines (vv. 9–10) has a
pivotal position because it is flanked by a 3-line strophe on both sides. From
a thematic point of view, the central strophe (vv. 9–10) stands out because
it contains a prayer seemingly interrupting the psalmist’s considerations
about the blessings accompanying the pilgrimage to and the dwelling in
God’s sanctuary (vv. 6–8 and 11–13 respectively).13 The boundaries of
Canto II are marked by a varied refrain with an enveloping function; see
’šry ’dm ‘wz lw bk (‘happy is the person whose strength is in you’; v. 6a)
and ’šry ’dm bt.h. bk (‘happy is the person who trusts in you’; v. 13b).14
Taking into account this concentric framework, I conclude that vv. 9–10 is
not at all a later intrusion, as is sometimes supposed, but an essential part
of Canto II. Within the concentric structure of this canto the prayer for the
anointed, the king, represents the pivotal element.
As supporting evidence for the concentric framework of Ps. 84,6–13
containing a prayer for the king in the middle verselines I can adduce the
rhetorical structure of Psalm 61. In the first canto of both poems we learn
about the desire of the psalmist to dwell in God’s temple (for Psalm 61, see
v. 5). In this respect, it is important to note that Ps. 61,7–8, the middle
verselines of the second canto of Psalm 61, contain a prayer for the king
(see Ch. II, 19 above); for the verbal repetitions buttressing the relationship
between the psalms concerned, see below.15
(‘I will praise him continually’) in the concluding refrain of Psalms 42–43 (42,6.12 and
43,5). The correspondence between Psalms 84 and 42 is reinforced by the thematic
similarity of the opening strophes of their first cantos dealing with the psalmist’s desire
for God’s proximity. For ’šry in the concluding strophe of Canto I introducing the
blessing of the people who dwell in God’s courts, see also Ps. 65,5!; cf. further Ps. 146,5.
13
See Booij (VT 44 [1994], pp. 433–34), and [Hossfeld]/Zenger, pp. 512–13; cf. also
Duhm, Gunkel, Calès (who transposes v. 11 after v. 3), Baumann (who deletes only
v. 10) and Kissane (who transposes v. 11 after v. 5) in § 12.6.
14
In my view, it is very remarkable that—as far as I can see (§ 12.6)—the repetition we
find in v. 6a and 13b has not been interpreted as a framing device before; even Calès does
not point to it in support of his bipartite delimitation. According to Girard (p. 430),
the refrain is a structural element in the linearly alternating parallelism between vv.
2–8 and 9–13 (see § 12.6). Fokkelman mentions this correspondence only in a footnote
(p. 236 n. 27). Van der Ploeg calls v. 13 an ‘echo’ of v. 6a (p. 73). About the enveloping
function of the refrain in Hebrew poetry, see CAS I, Ch. V, 4.3.2 (pp. 497–98).
15
Booij also argues for vv. 9–10 as an ‘integral part’ of Psalm 84 (VT 44 [1994], p. 435).
However, taking ky in v. 11a as a ‘causal conjunction’ immediately linking up with v. 10,
we must assume an inexplicable alternation of the king’s speaking of himself in the first
(vv. 9 and 11) and the third person (v. 10). Therefore, it is not likely that the king
himself is speaking in this psalm (contra Booij).
The psalm as a whole displays signs of symmetry. The psalmist’s praise

of God’s courts at the end of the poem (v. 11) refers back to its opening
strophe (vv. 2–3). After the description of the psalmist’s individual longing
for the sanctuary (vv. 2–4d), the final verseline of Canto I is about all people
who dwell in God’s temple (v. 5). This generalizing feature functions as a
preparation to the beginning of Canto II where the psalmist is dealing with
all people who seek refuge in God and are longing for experiencing his pres-
ence (vv. 6–8). For the symmetric structure in terms of verbal repetitions,
see § 12.4.3.16 In terms of verbal recurrences, there are also signs of a linear
parallelism between Cantos I and II. For these linear correspondences, see
once again § 12.4.3.
The main accent of Psalm 84—its quintessential thought—is to be found
in the refrain enveloping Canto II, vv. 6a and 13b: ‘happy the person who
trusts in you’.
the following verbal repetitions: gm (vv. 3a.4a.7c) > 83,9; ’l (‘God’, v. 3d)
> 83,2; root šyt (vv. 4.7) > 83,12.14; pnym (v. 10) > 83,14.17; ’hlym (v. 11)
> 83,7.
For the relationship with Psalms 42–43 see, among other things, the fol-
lowing verbal repetitions: mšknwtyk (v. 2) > 43,3; root rnn (pi‘el; v. 3) >
42,5; ’l ’l h.y (vv. 3) > 42,3.9 (l’l h.y); mzbh.wt (v. 4) > 43,4; ‘wd (v. 5) >
42,6.12 and 43,5; root ‘br (v. 7) > 42,5.8; root hlk (vv. 8.12) > 42,10 and
43,2; tplty (v. 9) > 42,9; pnym (v. 10) > 42,3.6.12 and 43,5.
For the relationship with Psalm 61 see, among other things, the follow-
ing verbal repetitions: ‘wz (v. 6) > 61,4; šm‘h (v. 9) > 61,2; tplty (v. 9) >
61,2; pnym (v. 10) > 61,8; ’hl (v. 11) > 61,5; root ntn (v. 12) > 61,6.
12.8 Bibliography
L. Kunz, ‘Die Gestalt des 84. Psalms’, ThGl 45 (1955), pp. 22–34;
A. Robinson, ‘Three suggested interpretations in Psalm LXXXIV’, VT 24 (1974),
pp. 378–81;
16
For the concatenation at the interface of Cantos I and II based on ’šry (‘happy’) at
the beginning of vv. 5 and 6 (anaphora), compare w’ny (‘and I’) at the beginning of vv.
22 and 23 in Psalm 73 (marking the transition between Cantos II and III; see Ch. III.1
above!) and ‘śh (‘making’) at the beginning of vv. 6 and 7 in Psalm 146 (also marking
the transition between Cantos II and III); for this form of concatenation, see further
CAS I, Ch. V, 3.5 (pp. 487–88).
iii.12 psalm 84 425
Th. Booij, ‘Royal words in Psalm LXXXIV 11’, VT 36 (1986), pp. 117–20;
—, ‘Psalm LXXXIV, a prayer of the anointed’, VT 44 (1994), pp. 433–41;
P. Auffret, ‘Qu’elles sont aimables, tes demeures! Etude structurelle du psaume
84’, BZ 38 (1994), pp. 29–43;
E. Zenger, ‘Das Mythische in den Psalmen 84 und 85’, in A. Lange et al. (eds.),
Mythos im Alten Testament und seiner Umwelt. FS H.-P. Müller (BZAW 278),
Berlin, 1999, pp. 233–51;
H. Spieckermann, ‘Der theologische Kosmos des Psalters’, Berliner Theologische
Zeitschrift 21 (2004), pp. 61–79;
S. Gillmayr-Bucher, ‘Glücklich, wer gebahnte Wege im Herzen hat. Raumbilder
in den Psalmen’, Protokolle zur Bibel 14 (2005), pp. 67–79;
O.M. Jerome, ‘How lovely is your dwelling place’: The Desire for God’s House
in Psalm 84 (Dissertationen. Theologische Reihe 87), St. Ottilien: Eos Verlag,
2004.
13 Psalm 85
Structure: 7.7 > 3.2.2|3.2.2 lines (Type IA)
I 2 rs.yt YHWH ’rs.k ŠBT ŠBWT y‘qb

3 nś’t ‘wn ‘mk ksyt kl h..t’tm (slh)
4 ’spt kl ‘brtk HŠYBWT mh.rwn ’pk
5 šwbnw ’lhy yš‘nw whpr k‘sk ‘mnw

6 hl‘wlm t’np bnw tmšk ’pk ldr wdr
7 hl’ ’th tšwb th.ynw w ‘mk yśmh.w bk

8 hr’nw YHWH H . SDk wYŠ‘k TTN lnw
II 9 ’šm‘h mh ydbr h’l YHWH ky ydbr šlwm

’l ‘mw w’l H. SYDYw w’l YŠWBW lkslh
10 ’k qrwb lyr’yw YŠ‘w lškn kbwd b’rs.nw
11 h.sd w’mt npgšw s.dq wšlwm nšqw

12 ’mt m’rs. ts.mh. w s.dq mšmym nšqp
13 gm YHWH YTN ht.wb w ’rs.nw TTN ybwlh

14 s.dq lpnyw yhlk wyśm ldrk p‘myw
13.1 Text
V. 2b—šbwt: so K (the technical expression is šwb šbwt [‘to restore the fortune’];
see Tate); Q reads šbyt (‘captivity’; from the root šbh).
V. 4b—hšybwt: ‘you have turned’ (JPS).
V. 5a—šwbnw : ‘turn us’ (Tate).
V. 9d—kslh: ‘confidence’ (so Kselman [1984] and HAL; cf. Job 4,6); the noun
is often taken as ‘folly’ (so TOB, Tate, JPS and [Hossfeld]/Zenger).
13.2 Content
The confidence the people of Israel may have in restoration.
I The collective prayer for restoration (addressed to God).
O God, you have forgiven all the sins of your people (vv. 2–4).
O God, put an end to your anger (vv. 5–6).
O God, deliver us and give us life, so that we can rejoice in you
(vv. 7–8).
iii.13 psalm 85 427
II The trust in deliverance (spoken about God).

God is near to the loyal members of his people (vv. 9–10).
Justice and well-being will fill the cosmos (vv. 11–12).
God will bestow his bounty, our land will yield its produce and
righteousness will prevail (vv. 13–14).

13.3.1.1 vocative: yhwh, v. 2a ’th, v. 7a
imperatives: šwbnw . . . cohortative: ’šm‘h, v. 9a
whpr, v. 5 mh, v. 9a
vocative: ’lhy yš‘nw, v. 5a
h- interrogative, v. 7a 13.3.1.2 none

13.3.2.1 ‘wlm, v. 6a 13.3.2.2 imperative: hr’nw, v. 8a
dr wdr, v. 6b vocative: yhwh, v. 8a
’k, v. 10a

slh, v. 3b ’l prohibitive, v. 9d
h- interrogative, v. 6a gm, v. 13a

vv. 2–4: suffix -k, vv. 2a.3a.4a (exactly linear); note ’rs.k/‘mk in vv.
2a and 3a resp.; see also suffix -k in v. 4b
root šwb, vv. 2b (2×).4b (inclusion)
kl, vv. 3b.4a!
vv. 5–6: k‘sk/’pk, vv. 5b and 6b resp.
vv. 7–8: suffix -k, vv. 7b (2×).8a+b
vv. 9–10: ’l (‘God’)/prep. ’l/’l prohib., v. 9a, 9c (2×) and 9d resp.
h.sydyw/yr’yw, vv. 9c and 10a resp.
suffix -w, vv. 9c (2×).10a (2×); exactly linear)
prep. l-, vv. 9d.10a+b
vv. 11–12: ’mt, vv. 11a.12a!
.sdq, vv. 11b.12b (exactly linear)
nšqw/nšqp, vv. 11b and 12b resp. (alliter.; epiphora); see

also npgšw in v. 11a (alliter.)

vv. 2–8 (Canto I): rs.h/h.sd, vv. 2a and 8a resp.
yhwh, vv. 2a.8a
suffix -k, vv. 2–8!
root šwb, vv. 2b (2×)+4b.5a.7a
‘mk, vv. 3a.7b!; see also ’rs.k in v. 2a; cf. further
‘mnw (‘with us’) in v. 5b
’pk, vv. 4b.6b! (linear)
suffix -nw, vv. 5–6.7–8 (concatenation)
yš‘, vv. 5a.8b
h- interrogative, vv. 6a.7a! (concat.; anaphora);
note the alliter. hl‘wlm/hl’
prep. l-, vv. 6a+b.8b (linear)
prep. b-, vv. 6a.7b (concatenation)
vv. 9–14 (Canto II): yhwh, vv. 9a.13a (linear)

šlwm, vv. 9b.11b! (linear)
} chiasmus
h.syd/h.sd, vv. 9c.11a
suffix -w, vv. 9c–10.14a+b! (linear)
prep. l-, vv. 9d–10.14a+b (linear)
’rs.nw, vv. 10b.13b!; see also ’rs. in v. 12a
.sdq, vv. 11b+12b.14a!

vv. 2–4.9–10: yhwh, vv. 2a.9a
’rs., vv. 2a.10b
root šwb, vv. 2–4.9d
‘m (‘people’), vv. 3a.9c
‘mk/’rs.nw, vv. 3a and 10b resp. (cf. below)
ksyt kl/lkslh, vv. 3b and 9d resp. (alliter.)
vv. 7–8.13–14: tšwb th.ynw/ytn ht.wb, vv. 7a and 13a resp. (alliter.)
‘mk/’rs.nw, vv. 7b and 13b resp. (cf. above)
yhwh, vv. 8a.13a
ttn, vv. 8b.13b; see also root ntn in v. 13a!
iii.13 psalm 85 429
vv. 7–8.9–10, concatenation: root šwb, vv. 7a.9d

‘m (‘people’), vv. 7b.9c
yhwh, vv. 8a.9a
h.sd/h.syd, vv. 8a.9c
yš‘, vv. 8b.10a
prep. l-, vv. 8b.9d–10

prep. b- (v. 10), root dbr (v. 9 [2×])

prep. mn (vv. 4.12 [2×])

Psalm 85 is composed of two 7-line cantos consisting of 14 cola each.1
V. 5 is the pivotal verseline of Canto I (> 3+1+3 lines). This line has 26
letters, which symbolically represents the divine name and reinforces its
central positioning; cf. yhwh in vv. 2 and 8.2 In terms of semantics, the
verseline stands out because it contains a prayer; such a prayer also occurs
in the concluding verseline of the canto (see v. 8).3 V. 11 is the pivotal
verseline of Canto II; for v. 11a as the centre on word level, see below.
13 = 44+47 (= 91 = 13×7 words in total). On word level, v. 11a is the
centre of the second canto: vv. 9–10.11a.11b–14 > 22+3+22 words. Also
taking into account that v. 11 is the pivotal verseline of the canto and
contains an accumulation of four aspects of restoration—see h.sd (‘faithful-
ness’), ’mt (‘truth’), .sdq (‘justice’) and šlwm (‘well-being’)—we may regard
the line as the deliberately designed meaningful centre of Canto II.4 In my
opinion, the numbers 7 and 13 have a structuring function in this psalm;
see the numbers in bold face.
The divine name, yhwh, occurs 4×: vv. 2, 8, 9 and 13. Once God is
designated ’lhym (v. 5) and once ’l (v. 9; see h’l yhwh in v. 9a).
1
Fokkelman (MPHB II) also counts 14 verselines and 28 cola. For the enjambement
which features at the interface of v. 9b and 9c, see MPHB II, p. 239, and my STR, pp.
192–94. Labuschagne (www.labuschagne.nl/ps085.pdf, Observation 1) takes v. 9 as the
central strophe of the psalm; similarly Meynet (1990).
2
For such concentric patterns on the level of a psalm as a whole, see Ch. V, 2.6.1–2.
3
For the central position of v. 5 in terms of verbal repetition, see § 13.7.
4
For the central position of v. 11 in terms of verbal repetition, see § 13.7.

Köster (1837): 2–3.4–7|8|9–10.11–12.13–14 (6.1.6 verses)
De Wette (1856): 2–4.5–8|9–10.11–14 (3.4|2.4 verses)
Ewald (1866), pp. 458–60: 2–8.9–14
Ley (1875), pp. 253–55: 2–3.4–5.6–8.9.10–11.12–14
Delitzsch (1894): 2–4.5–8.9–11.12–14
Grimme (1902), p. 162: 2–4.5.6–8; . . . (6.2.6 cola; . . . )
Zenner (1906), pp. 114–15: 2–4.5–8|9–10.11–14 (3.4|3.4 lines); similarly
Schildenberger (1960), pp. 679; cf. De Wette (1856)
Berkowicz (1910), pp. 24–25: 2–3|4–5|6–7.8 (a.a’.a’’)
Von Faulhaber (1913), p. 18: 2–8.9–14 (‘Personenwechsel’)
Duhm (1922): 2–4.5–7.8|9–10.11–13.14 (3.3.1|3.3.1 bicola)
Gunkel (1926): 2–4.5–8.9–14; similarly Herkenne (1936), Podechard (1954),
NAB (1970), Kraus (1978) and Tate (1990)
Calès (1936): 2–4.5–6.7–8|9–10.11–12.13–14 (3.2.2|3.2.2 lines); cf. TOB
Böhl (1947): 2–4|5–8|9–10.11–14
Pannier/Renard (1950): 2–8.9–14 (7.7 lines); similarly Kissane (1954),
Mowinckel (1957); cf. Ewald (1866)
Jacquet (1977): 2–4.5–6.7–8|9.10+13.11–12+14 (3.2.2|2.2.3 bicola)
Beaucamp (1979): 2–4 5–6.7–8|9a–c+10|11–12.13–14 (6 4.4|4|4.4 cola);
cf. Beaucamp (1968), p. 214
Aletti/Trublet (1983), pp. 84–85: 2–4.5–8|9–10.11–14 (a.b|b’.a’); cf. Zenner
Meynet (1990): 2–4.5.6–8|9|10–11.12.13–14 (a.b.a’|c|d.e.d’)
Auffret (1993): 2–4.5.6–8|9–10.11.12–14 (a.b.a’|c.d.c’); cf. Auffret (2007)
Girard (1994): 2.3–4|5a.5b–8||9.10|11–12.13–14 (a.b|a’.b’||c.d|c’.d’)
Seybold (1996): 2–4.6–8.9–10.11–13 (4×3 lines)
Fokkelman (2000), pp. 237–40: 2–4.5–6.7–8|9–10.11–12.13–14 (3.2.2|3.2.2
lines; a.b.c|a’.b’.c’); cf. Calès (1936)
[Hossfeld ]/Zenger (2000): 2–4.5–8|9–10.11–14
Terrien (2003): 2–4.5–6|7–8.10–12 13–14 (3.2|2.3 2 bicola)
Weber (2003): 2–4.5–8|9–10.11–14 (6.8|6.8 cola)

It is generally agreed that Psalm 85 is composed of two regular sections,
vv. 2–8 and 9–14; see § 13.6. These sections represent two balanced cantos
consisting of 7 verselines each. The canto division is mainly based on the-
matic considerations; see § 13.2. According to [Hossfeld]/Zenger (p. 529),
we are dealing with a complaint/prayer (vv. 2–8) and an answer (vv. 9–14).
Calès (p. 103) less appropriately assumes that Canto I is about the past
iii.13 psalm 85 431
and Canto II about the present. In the first canto (vv. 2–8) the psalmist
addresses God throughout in the second person. The canto also stands out
beause it revolves around God’s anger (vv. 4–6) and because only here we
find prayers for restoration; see vv. 5 and 8. The central positioning of
v. 5 (see § 13.5) is reinforced by some concentric features in terms of verbal
recurrences. V. 5a simultaneously refers to the first and the final verseline
of Canto I. For the relationship between vv. 5a and 2, see the root šwb (‘to
turn’) in vv. 5a and 2b (2×!; cf. also vv. 4b and 7a). For the relationship
between vv. 5a and 8, see the noun yš‘ (‘salvation’) in vv. 5a and 8b. Ad-
ditionally, only in v. 5a God is designated ’lhym, while in vv. 2 and 8—the
enveloping verselines—we find the divine name (yhwh).5 The enveloping
function of the latter verselines is enhanced by the roots rs.h and h.sd (vv.
2a and 8a respectively). Girard (p. 440) rightly observes that these roots
‘expriment l’idée d’amour’.6
In Canto II (vv. 9–14) the psalmist exclusively speaks about God in the
third person. The beginning of the canto characteristically opens with a
cohortative of the root šm‘ (‘to hear’; v. 9a); see also ‘m (‘people’) in v. 9c
and cf. šm‘ ‘my (‘hear my people’) at the beginning of the second canto
of Psalm 81 (v. 9). As a whole, the canto is distinguished by a visionary
description of a peaceful and righteous world for the god-fearing. The cen-
tral positioning of v. 11 (see § 13.5) is once again reinforced by a concentric
phenomenon in terms of verbal recurrences. V. 11b simultaneously refers
to the first and the final verseline of Canto II; see the noun šlwm (‘peace’)
in vv. 11b.9b and the noun .sdq (‘justice’) in vv. 11b.14a (cf. also v. 12b).7
The cantos show signs of a linearly alternating parallelism: vv. 2–4.
5–6.7–8|9–10.11–12.13–14 > a.b.c|a’.b’.c’. This parallelism comes to light
when we look at the psalm from the perspective of its strophic structure:
3.2.2|3.2.2 verselines. On word level, it is reinforced because the concluding
strophes of the cantos (vv. 5–6, 7–8 and 13–14) have 13 words. The root ntn
(‘to give’), which only occurs in the c-strophes, functions as an unambiguous
responsion; see § 13.4.3. In terms of semantics, there is a correspondence
between the second cola of the c-strophes, vv. 7b and 13b. These cola focus
respectively on the joy of the people and on the productivity of the land.
Fokkelman rightly observes that the correspondence between the b-strophes
is based on the ‘broad gestures in time and space’ we find in vv. 6 and 12
(MPHB II, p. 240 n. 43); see ‘forever . . . for all generations’ (v. 6) and the
5
Similarly Meynet (1990) and Auffret (1993), pp. 268–70. For ’lhym as a device for
highlighting the rhetorical centre of a poetic unit, see Ch. V, 2.3.1.
6
Cf. also CAS I, Ch. III, 5 (pp. 118–25), and note h.sd in Ps. 5,8a and rs.wn in 5,13b
reinforcing the linear parallelism between Cantos II and III.
7
Similarly Auffret (1993), pp. 271–73.
polar word-pair (merismus) ‘earth . . . heaven’ in v. 12. In this poem, ‘your

people’ (‘mk ) and ‘our land’ (’rs.nw ) support the parallelism between the a-
strophes as well as between the c-strophes; see § 13.4.3 and cf. the external
parallelism between ’rs.k (‘your land’) and ‘mk (‘your people’) in vv. 2–4
(§ 13.4.1). The verbal recurrences we find in vv. 7–8 and 9–10 (§ 13.4.3)
unite the cantos by means of the device for concatenation.8
The strophic structure of the cantos is partially based on the thematic
individuality of 2 or 3 successive verselines; see § 13.2. These semantic con-
siderations are mostly supported by transition markers; see § 13.3.1–2. Ver-
bal repetitions futher buttress the framework on strophe level; see § 13.4.1.
The coherence of vv. 9–10 and its function as the opening strophe of Canto
II is enhanced by a quasi-acrostic device; note the ’aleph at the beginning
of the three verselines.
On the basis of the responsion constituted by the root ntn (see above),
I assume that the quintessential thought of our poem is to be found in the
concluding strophes of the cantos, vv. 7–8 and 13–14. The supplication
‘and grant us your salvation’ (v. 8b) finds its answer in the firm conviction
‘surely (gm), God will bestow what is good and our land will yield its har-
vest’ (v. 13). The repetition of the root ntn (‘to bestow/yield’) in v. 13
underlines the message that the god-fearing will live in ‘well-being’.
the following verbal repetitions: y‘qb (v. 2) > 84,9; th.ynw (v. 7) > 84,3; bk
(v. 7) > 84,6.13; root ntn (vv. 8.13) > 84,12; root šm‘ (v. 9) > 84,9; mh
(v. 9; beginning of Canto II) > 84,2 (beginning of Canto I); ’l (‘God’; v. 9)
> 84,3; root škn (v. 10) > 84,2; kbwd (v. 10) > 84,12; gm (v. 13) > 84,3.4.7;
.twb (v. 13) > 84,11.12 (linear); pnym (v. 14) > 84,10; root hlk (v. 14) >
84,8.12.9
13.8 Bibliography
J.S. Kselman, ‘A Note on Psalm 85:9–10’, CBQ 46 (1984), pp. 23–27;
R. Meynet, ‘L’enfant de l’amour (Psaume 85)’, NRTh 112 (1990), pp. 843–58;
E. Zenger, ‘Das Mythische in den Psalmen 84 und 85’, in A. Lange et al. (eds.),
Mythos im Alten Testament und seiner Umwelt. FS H.-P. Müller (BZAW 278),
Berlin, 1999, pp. 233–51;
8
Cf. Auffret (1993, p. 276) with regard to vv. 7–8 and 9.
9
See also P. Auffret, ‘Qu’elles sont aimables, tes demeures! Etude structurelle du
psaume 84’, BZ 38 (1994), pp. 42–43.
iii.13 psalm 85 433
P. Auffret, ‘Fais-nous voir, YHWH, ton amour’, Bibbia e Oriente 49 (2007), pp.
65–78;
D.J. Zucker, ‘Restructuring Psalm 85’, JBQ 35/1 (2007), pp. 47–55.
14 Psalm 86
Structure: 7.7.3 > 2.3.2|3.1.3|3 lines (Type IIB)
I 1 ht.h yhwh ’znk ‘nny ky ‘ny w’bywn ’ny

2 šmrh npšy ky h.syd ’ny HWŠ‘ ‘bdk ’th ’lhy hbwt.h. ’lyk
3 H. NNY ’dny ky ’lyk ’qr’ kl hywm

4 śmh. npš ‘BDK ky ’lyk ’dny NPŠY ’ś’
5 KY ’TH ’dny T . WB wslh. WRB H . SD lkl qr’yk
6 h’zynh yhwh tplty whqšybh bqwl th.nwnwty
7 bywm .srty ’qr’k ky t‘nny
II 8 ’yn kmwk b’lhym ’dny w’yn kM‘ŚYk

9 kl gwym ’šr ‘ŚYT ybw’w wyšth.ww lPNYk ’dny wykbdw lšmk
10 ky gdwl ’TH w‘ŚH npl’wt ’TH ’lhym lbdk
11 hwrny yhwh drkk ’hlk b’MTk yh.d lbby lyr’h šmk
12 ’wdk ’dny ’lhy bkl lbby w’kbdh šmk l‘wlm

13 ky H. SDk gdwl ‘ly whs.lt NPŠY mš’wl th.tyh
14 ’lhym zdym qmw ‘ly w‘dt ‘rys.ym bqšw NPŠY wl’ śmwk lngdm
III 15 W’TH ’DNY ’l rh.wm wH

. NWN ’rk ’pym WRB H . SD w’MT
16 PNH ’ly wH . NNY tnh ‘zk l‘BDK wHWŠY‘H lbn ’mtk
17 ‘ŚH ‘my ’wt lT
. WBH wyr’w śn’y wybšw KY ’TH YHWH
[‘zrtny wnh.mtny
14.1 Text
V. 11c—yh.d : imperative pi‘el from the root yh.d (‘konzentrieren’; HAL).
14.2 Content
The trust in deliverance of an individual in distress.
I The prayer for deliverance.
O God, I am poor and needy, deliver your servant who trusts in
you (vv. 1–2).
O God, I call on you: bring joy to my life (vv. 3–4); yes, you
abound with steadfast love to all who call on you (v. 5).
iii.14 psalm 86 435
O God, heed my plea in time of trouble (vv. 6–7b); yes, you will
answer me (v. 7c).
II Description of praises to God.
All nations will recognize your greatness, O God, for the gods are
no match for you (vv. 8–10).
O God, teach me how to fear your name (v. 11).
I will praise you, O God, because you have saved my life from
godless adversaries (vv. 12–14).
III Coda: O God, you abound with steadfast love; deliver your servant
(vv. 15–17b); yes, you help me (v. 17c).

14.3.1.1 imperatives: ht.h . . . ‘nny, // ’dny in v. 9b and
v. 1a; ext. // šmrh and ’lhym in v. 10b
hwš‘ in v. 2a–b imperatives: hwrny . . . yh.d,
vocative: yhwh, v. 1a; ext. v. 11
// ’lhy in v. 2b vocative: yhwh, v. 11a
’ny, v. 1b; ext. // ’ny in yr’ with object God, v. 11c
v. 2a vocative: ’dny ’lhy, v. 12a
imperative: h.nny, v. 3a; cohortatives: ’wdk . . .
ext. // śmh. in v. 4a w’kbdh, v. 12
vocative: ’dny, v. 3a; ext. w- beginning of line, v. 15a
// ’dny in vv. 4b and 5a ’th, v. 15a
imperatives: h’zynh . . . vocative: ’dny, v. 15a
whqšybh, v. 6
vocative: yhwh, v. 6a 14.3.1.2 kl hywm, v. 3b
vocative: ’dny, v. 8a; ext. ‘wlm, v. 12b

14.3.2.1 none ext. // pnh . . . wh.nny
in v. 16a, tnh in 16b and
14.3.2.2 ’th, v. 5a hwšy‘h in v. 16c
’th, v. 10a+b ’th, v. 17c
vocative: ’lhym, v. 14a vocative: yhwh, v. 17c
imperative: ‘śh, v. 17a;

’th, v. 2b

vv. 1–2: ky, vv. 1b.2a
’ny, vv. 1b.2a!
vv. 3–5: ’dny, vv. 3a.4b
} chiasmus; see also ky
ky ’lyk, vv. 3b.4b (exactly linear)
. . . ’dny in v. 5a
root qr’, vv. 3b.5b
kl, vv. 3b.5b
vv. 6–7: prep. b-, vv. 6b.7a
vv. 8–10: ’lhym, vv. 8a.10b (inclusion)
’dny, vv. 8a.9b
root ‘śh, vv. 8b.9a.10a
prep. l-, vv. 9b+c.10b; note lšmk/lbdk (epiphora)
vv. 12–14: ’lhym, vv. 12a.14a (inclusion)
prep. l-, vv. 12b.14c (inclusion)
‘ly, vv. 13a.14a! (exactly linear)
npšy, vv. 13b.14b
vv. 15–17: w’th ’dny/ky ’th yhwh, vv. 15a and 17c resp. (inclusion)
root h.nn, vv. 15a.16a (exactly linear)
w’mt/’mtk, vv. 15b and 16c resp. (alliter.; epiphora)
prep. l-, vv. 16b+c.17a
root yš‘ (hiph‘il)/root ‘zr, vv. 16c and 17c resp. (cf. Pss.
37,40 and 109,26; Girard)

vv. 1–7 (Canto I): yhwh, vv. 1a.6a
root ’zn, vv. 1a.6a!
root ‘nh + suffix -ny, vv. 1a.7b! (inclusion)
npšy, vv. 2a.4b
} chiasmus; see also npš in v. 4a
‘bdk, vv. 2b.4a
ky, vv. 1–2.3–5 (concat.); see also ky in v. 7b
h.sd, vv. 2a.5b
} chiasmus (linear)
’th ’lhy/’th ’dny, vv. 2b and 5a
hbwt.h./t.wb, vv. 2c and 5a resp. (alliter.; linear)
’lyk, vv. 2c.3b+4b! (concatenation)
root h.nn, vv. 3a.6b (linear)
ywm, vv. 3b.7a!
root qr’ + suffix -k, vv. 5b.7a (linear); see also ’qr’
in v. 3b!
iii.14 psalm 86 437
vv. 8–14 (Canto II): prep. b-, vv. 8a.11b.12a (‘concentric’)

’lhym, vv. 8a+10b.12a+14a (inclusion)
’dny, vv. 8a+9b.12a (inclusion)
kl, vv. 9a.12a (inclusion)
prep. l-, vv. 9–10.11c.12b+14c (concatenation)
w- + root kbd + šmk, vv. 9c.12b! (inclusion);
see also šmk in v. 11c! (concentric)
ky + gdwl, vv. 10a.13a! (inclusion)
lbby, vv. 11c.12a! (concatenation)

vv. 1–2.15–17: yhwh, vv. 1a.17c (inclusion)
root yš‘ (hiph‘il), vv. 2b.16c! (inclusion)
vv. 3–5.12–14: kl hywm/l‘wlm, vv. 4b and 12b resp.

npšy, vv. 4b.13b+14b
} chiasmus
h.sd, vv. 5b.13a
vv. 3–5.15–17: h.nny, vv. 3a.16a; see also h.nwn in v. 15a!

‘bdk, vv. 4a.16b
ky ’th ’dny/ky ’th yhwh, vv. 5a.17c; see also w’th ’dny
in v. 15a
.twb, vv. 5a.17a! } chiasmus
wrb h.sd, vv. 5b.15b!
vv. 6–7.12–14: whqšybh bqwl/bqšw npšy, vv. 6b and 14b resp. (alliter.)
vv. 8–10.15–17: root ‘śh, vv. 8b+9a+10a.17a!

root pnh, vv. 9b.16a!
ky . . . ’th . . . ’th ’lhym/ky ’th yhwh, vv. 10.17c; see also
w’th ’dny in v. 15a
npl’wt/’wt lt.wbh, vv. 10a and 17a resp. (alliter.)
vv. 11.15–17: yhwh, vv. 11a.17c

’mt, vv. 11b.15b!

prep. ’l (v. 16), prep. l- (v. 5)

prep. k- (v. 8 [2×])

Psalm 86 consists of 17 verselines and 40 cola.1 On the macrostructural
level the psalm divides into two 7-line cantos and a concluding canto of 3
verselines. There are 7 strophes. Vv. 8–10 represents the pivotal strophe.
V. 9 is the central verseline of the psalm as a whole (> 8+1+8 lines) and
can be considered the meaningful centre: all nations will honor God.
Vv. 4 and 11 represent the pivotal verselines of Cantos I and II respec-
tively (> 3+1+3 verselines). These lines can also be taken as meaningful
centres. The prayer to bring joy to the supplicant’s life (v. 4) is the most
far-reaching of all prayers in the first canto. The prayer for focussing on
God’s ways of faithfulness (v. 11) stands out as the only prayer in Canto II.
27|31 = 54+60+31 (= 145 = 5×29 words in total). On word level, the
colon ky gdwl ’th w‘śh npl’wt (‘for you are great and a worker of wonders’;
v. 10a) is the centre of the psalm: vv. 1–9.10a.10b–17 > 70+5+70 words.
It is noteworthy that the personal pronoun ’th (‘you’), referring to God, is
precisely the pivot of this colon.2 The numerical approach on word level
once more points to vv. 8–10 as the deliberately designed rhetorical centre
of Psalm 86.3
The designation ’dny (‘Lord’) for God is found 7× (Delitzsch): vv. 3,
4, 5, 8, 9, 12 and 15.4 This designation characterizes the central strophe of
Canto I, vv. 3–5. In the second canto the designation marks the beginning
of the 3-line strophes vv. 8–10 and 12–14 framing the pivotal verseline v. 11
(see § 14.4.2). The divine name, yhwh, occurs 4×: vv. 1, 6, 11 and 17.
In the first canto the Tetragrammaton occurs in the 2-line strophes vv.
1–2 and 6–7 enveloping the central strophe vv. 3–5; in Canto II the divine
name highlights v. 11 as its pivotal verseline. From this perspective, vv.
15–17 are characterized as a summarizing coda: the strophe contains one
’dny (v. 15a) and one Tetragrammaton (v. 17c; note the inclusion and see
further § 14.7)! Like the divine name, the designation ’lhym (‘God’) occurs
1
Fokkelman (MPHB II) has 18 verselines and 41 cola because he takes v. 17c as a
relatively individual bicolon; see also his The Psalms in Form, 2002, p. 95.
2
For this phenomenon, cf. ’th in Ps. 23,4d; see CAS I, Ch. III, 23.5 (p. 252) and
further Ch. V, 2.5.2 below.
3
Similarly www.labuschagne.nl/ps086.pdf; note Observation 1.
4
This is noticeable, because in the preceding psalms the word ’dny, denoting God, is
used sparingly; cf. also Vorndran (2002), pp. 91–92.
iii.14 psalm 86 439
4×: vv. 2, 10, 12 and 14; see also ’lhym (‘gods’) in v. 8. In v. 15a we find
the short form ’l (‘God’).
On the basis of these quantitative observations, I conclude that the
number 7 has a structural role in this composition; see the numbers printed
in bold face.

Köster (1837): 1–2.3–5.6–7|8–10|11–13.14.15–17 (2.3.2|3|3.1.3 verses)
De Wette (1856): 1–4.5–7.8–10.11–13.14–17 (4.3×3.4 verses); similarly
Kissane (1954)
Ewald (1866), pp. 507–09: 1–5.6–10.11–13|14–17 (11.11.7|11 cola)
Delitzsch (1894): 1–5.6–13.14–17
Zenner (1906), pp. 187–89: 1–3.4–6|7–10+11cB|11a–cA+14.16–17 (3.3|6|
4.4 lines)
Duhm (1922): 1–2*.3–4.5–6.7–8*.9–10a.10b–11.12–13.15–16a+17a.16b–c+
17b+17cB (9×2 bicola)
Gunkel (1926): 1–3.4–7.8–10.11–13|14–15.16–17 (‘regelmäßige Strophenbil-
dung tritt nicht hervor’)
Calès (1936): 1–4.5–7|8–10|11–13.14–17 (4.3|3|3.4 lines); cf. Köster (1837)
and De Wette (1856)
Pannier/Renard (1950): 1–5.6–13.14–17
Podechard (1954): 1–3.4–7*|14–15.16–17|8–10.11–13 (‘Les strophes . . . sont
inégales’)
Mowinckel (1957), p. 43: 6×3 lines
Giavini (1966): 1–4.5–6.7|8–10.11.12–13|14.15.16–17 (a.b.c|d.e.d’|c’.b’.a’);
similarly Terrien (2003)
BHS (1969): 1–7.8–10.11–13.14–17
NAB (1970): 1–7.8–10.11–17; cf. Calès (1936)
Jacquet (1977): 1–3.4–6.7+14a–b+15.16–17|8–10.11–13 (4×3|3.3 bicola)
TOB (1978): 1–2.3–4.5–7.8–10.11.12–13.14.15–17
Auffret (1979): 1–2.3–5.6–7|8–10.11–13|14.15–17a.17b–c (note p. 402); sim-
ilarly Ravasi (1985)
Beaucamp (1979): 1|2–3.4–5||6–7|8–10.11–13||14.15–17a 17b–c (2|4.4||4|
6.6||3|6 2 cola)
Aletti/Trublet (1983), pp. 43–46: 1–7|8–10.11–13|14–17 (A.B.A’); simi-
larly Tate (1990), [Hossfeld]/Zenger (2000) and Vorndran (2002), pp.
89–90.122–24; cf. Böhl (1947), Auffret (1979) and Neveu (1993), pp.
60–65
Girard (1994): 1–7.8–10|11–13.13–17 (a.b|b’.a’)
Seybold (1996): 1–4.5 |6–9.10 |11–14.15 |16–17
Fokkelman (2000), pp. 241–45: 1–2.3–5.6–7|8–10.11–13|14–15.16–17 (2.3.2|

3.3|2.3 lines; a.b.c.x.d.b’.a’); cf. Aletti/Trublet (1983)
Weber (2003): 1–3.4–7|8–10|11–14.15–17 (a.b|c|b’.a’); cf. Calès (1936)

From F.B. Köster (the founder of strophic investigation) onwards, exegetes
often consider the universal praise of God’s incomparability, vv. 8–10, the
meaningful centre of Psalm 86.5 According to Weber (2003), the central
position of vv. 8–10 is part of a concentric pattern which characterizes the
psalm as a whole: 1–3.4–7.8–10.11–14.15–17 > a.b.c.b’.a’; cf. also Fokkel-
man in § 14.6. The latter view, however, does not do justice to the function
of vv. 15–17 as a summarizing coda, nor does it take into account the the-
matic and formal coherence between vv. 8–10 and 12–14 (see below).
Concentric patterns clearly play an important role in the framework
of this composition, but the total structure of the poem is not dominated
by such a pattern.6 In my opinion, the macrostructure of our psalm is
especially determined by the concentric framework of its main cantos, vv.
1–7 and 8–14. With regard to vv. 1–7 (the first main canto) this is regularly
observed in the commentaries.
It is generally recognized that, in terms of semantics, vv. 1–7 (Canto I)
represents a cohesive whole. Here we find the prayer of an individual for
deliverance from distress; see § 14.2. The canto consists of three strophes,
vv. 1–2, 3–5 and 6–7. This strophic structure is especially supported by the
transition markers noted in § 14.3.1.1 and the verbal repetitions described
in § 14.4.1.7 This first main section abrubtly ends on the strong note v. 7b
where the psalmist states that God will answer him (ky t‘nny). This sudden
change of thought—from prayer to trust—is to be taken as a device for
conclusion.8 The declaration of trust (v. 7b) is prepared by the concluding
verseline of the preceding strophe (vv. 3–5), which speaks about God’s
steadfast love for all who call on him. The correspondence in question is
the semantic aspect of the linear parallelism between vv. 3–5 and 6–7; cf.
the root h.nn (‘to have mercy’) in § 14.4.2.
The concentric framework of this first 7-line canto (vv. 1–7) is based on
the following features. In the first place, there is a small group of verbal
5
See Köster, De Wette, Calès, NAB, Fokkelman and Weber in § 14.6; see also
6
Similarly Auffret (1979), p. 402.
7
For this strophic structure, see also Köster (1837), and more recently Auffret, Ravasi
and Fokkelman in § 14.6.
8
Cf. ‘nytny (‘you have answered me’) in Ps. 22,22b (end Canto II; see CAS I, p. 247).
iii.14 psalm 86 441
repetitions occurring only in the outer strophes vv. 1–2 and 6–7; see the
inclusions described in § 14.4.2. Second, the strophes of the canto in terms
of verselines display a concentric structure: 2.3.2 verselines. Third, the
boundaries of the central 3-line strophe vv. 3–5 are marked by inclusions;
see § 14.4.1. In this respect, note also the designation ’dny (‘Lord’) char-
acterizing the inner strophe as a whole. Fourth, to crown it all, the pivotal
verseline of the central strophe (and of Canto I as a whole) stands out by
the far-reaching prayer for joy in v. 4 (cf. § 14.5).
Like Canto I, the second 7-line canto (vv. 8–14) also consists of three
strophes, vv. 8–10, 11 and 12–14. For this strophic structure, see especially
the transition markers in § 14.3.1.1 and the verbal repetitions described
in § 14.4.1!9 And like Canto I, the second canto is also determined by
a concentric pattern. There are two 3-line strophes (vv. 8–10 and 12–14)
which envelop a one-line strophe (v. 11): pattern 3.1.3 verselines. This
concentric framework of Canto II is clearly reinforced by the conspicuous
cluster of verbal repetitions which occur in the outer 3-line strophes vv.
8–10 and 12–14; see § 14.4.2.10 See in this respect also the distribution
over the strophes of the designations ’dny and yhwh pointed out in § 14.5.
The formal correspondences of the outer 3-line strophes of Canto II
are in line with their thematic correspondence: both strophes deal with
the honor paid to God’s name (note vv. 9c and 12b). In vv. 8–10 it is a
universal praise paid by all nations in view of God’s incomparability,11 while
vv. 12–14 describe the individual praise of the psalmist in view of God’s
mercy. In the concluding verseline of this strophe (v. 14) the supplicant
explicitly portrays the distress he experiences: he is attacked by a band of
ruthless men who are not mindful of God. Against this dark background
his praise for deliverance lights up all the more.12 That is to say, the praise
of God is the main theme of Canto II. In this context, v. 11 clearly stands
out as the pivotal verseline because it is a prayer ; see also § 14.5.13 The
9
For ’wdk ’dny ’lhy bkl lbby (‘I will praise you, O Lord, my God, with all my heart’;
v. 12a) as the begining of a rhetorical unit, cf. Pss. 9,2 111,1 and 138,1.
10
Contra Auffret (1979, pp. 396–97), Beaucamp (commentary, p. 71), Aletti/Trublet
(pp. 44–45), Girard (pp. 450–51) and Fokkelman (MPHB II, p. 242) who state that vv.
8–10 form a parallelismus stropharum with vv. 11–13.
11
Cf. C.J. Labuschagne, The Incomparability of Yahweh in the Old Testament, Leiden:
Brill, 1966; note p. 119.
12
Simultaneously, v. 14 is the concluding verseline of Canto II and almost identical
with Ps. 54,5; in the latter case, the verseline concludes the first canto (canto structure:
3.4 verselines).
13
According to Giavini and Terrien, v. 11 represents the pivotal verseline of the con-
centric pattern which dominates the composition as a whole; however, this approach
does no justice to the mathematical aspect of the concentric patterns in Hebrew poetry;
for this formal aspect, see especially Ch. V below.
prayer for the concentration of the heart on the fear of God’s name (v. 11c)
perfectly fits its pivotal position.
From a semantic point of view, there are signs of a linear parallelism
between Cantos I and II; vv. 1–2.3–5.6–7|8–10.11.12–14 > a.b.c|a’.b’.c’. In
the first strophe of Canto I (vv. 1–2) the psalmist focusses on his personal
qualifications; note ‘ny w’bywn ’ny (‘I am poor and needy’) and h.syd ’ny (‘I
am loyal’). In the first strophe of Canto II (vv. 8–10) he exclusively focusses
on God’s qualifications. There is an antithetic correspondence between the
poor and needy position of the psalmist and God’s greatness. The decla-
ration of turning to God in the central verseline of the first canto (v. 4b)
corresponds to the prayer for focussing on God in the central verseline of
Canto II (v. 11c). The portrayal of the distress the supplicant experiences
in the concluding verseline of Canto II (v. 14) is an elaboration of the ref-
erence to his distress in the concluding verseline of Canto I; note bywm .srty
(‘in my time of distress’; v. 7a).14
Vv. 15–17 constitute a relatively independent summarizing 3-line canto,
a coda.15 For the formal coherence of the strophe, see § 14.4.1. From a se-
mantic point of view, this concluding canto especially refers to Canto I (vv.
1–7). It is a prayer for deliverance with an appeal to God’s loving kindness
(cf. Ex. 34,6). Once again, the canto ends on a strong note. The prayer vv.
15–17b is concluded by a declaration of trust that God will surely help and
give comfort (v. 17c); cf. v. 7b at the end of Canto I. In terms of verbal
recurrences, there is a special relationship with vv. 3–5, the central stro-
phe of Canto I; see § 14.4.3. From the same point of view, the concluding
canto fits the linear semantic parallelism between Cantos I and II described
above: there are some verbal repetitions occurring exclusively in vv. 8–10
and 15–17; see the roots ‘śh (‘to make’) and pnh (‘to turn’) in § 14.4.3.
In view of the two 7-line cantos vv. 1–7 and 8–14, there is an conspic-
uous structural relationship with the preceding poem, Psalm 85. For this
relationship, note also the following verbal repetitions: h.syd (v. 2) > 85,9
(Delitzsch); root yš‘ (vv. 2.16) > 85,5.8.10; root śmh. (v. 4) > 85,7; .twb
(vv. 5.17) > 85,13; h.sd (vv. 5.13) > 85,8; lpny (v. 9) > 85,14; root kbd (vv.
9.12) > 85,10; root drk (v. 11) > 85,14; root hlk (v. 11) > 85,14; root yr’
(v. 11) > 85,10; l‘wlm (v. 12) > 85,6; h.sd w’mt (v. 15) > 85,11 (Delitzsch).16
In terms of verbal repetitions, there is especially a strong relationship with

Psalm 25: ky ‘ny w’bywn ’ny (v. 1b) > 25,16; šmrh npšy (v. 2) > 25,20; root
14
Cf. also Auffret (1979), p. 398.
15
For this function of vv. 15–17, see also CAS I, Ch. V, 5.2.2.3 (pp. 516–17).
16
See also Vorndran (2002), pp. 213–16.
iii.14 psalm 86 443
bt.h. (v. 2) > 25,1; ’lyk ’dny npšy ’ś’ (v. 4b) > 25,1a; kl hywm (v. 3) > 25,5;
.twb (vv. 5.17) > 25,7.8.13; root .srr (v. 7) > 25,17.22; šmk (vv. 9.11.12) >
25,11; hwrny yhwh drkk (v. 11a) > 25,4a; root yrh (v. 11) > 25,8.12; drk
(v. 11) > 25,8.12; b’mtk (v. 11) > 25,5; lbby (vv. 11.12) > 25,17; root yr’
(v. 11) > 25,12.14; h.sd + suffix -k (v. 13) > 25,6.7; root ns.l (v. 13) > 25,20;
h.sd w’mt (v. 15) > 25,10; pnh ’ly wh.nny (v. 16a) > 25,16a; root śn’ (v. 17)
> 25,19; root bwš (v. 17) > 25,2.20; ky ’th yhwh (v. 17) > 25,5.17
14.8 Bibliography
G. Giavini, ‘La struttura letteraria del Salmo 86 (85)’, RivB 14 (1966), pp.
455–58;
P. Auffret, ‘Essai sur la structure littéraire du Psaume LXXXVI’, VT 29 (1979),
pp. 385–402;
J. Vorndran, ‘Alle Völker werden kommen’. Studien zu Psalm 86 (BBB 133),
Berlin/Wien: Philo, 2002;
P.D. Miller, ‘“Deinem Namen die Ehre.” Die Psalmen und die Theologie des
Alten Testaments’, Evangelische Theologie 67 (2007), pp. 32–42.
17
For the relationship between Psalms 25 and 86, see also Vorndran (2002), pp. 219–37.
15 Psalm 87
Structure: 2.2.2 lines (Type IA)
1 yswdtw bhrry qdš 2 ’hb YHWH š‘ry .sywn mKL mšknwt y‘qb
3 nkbdwt mdbr BK ‘yr h’lhym (slh)
4 ’zkyr rhb wbbl lyd‘y hnh plšt ws.wr ‘m kwš ZH YLD ŠM
5 Wls.ywn y’mr ’yš w’yš yld BH whw’ ykwnnh ‘lywn
6 YHWH yspr bktwb ‘mym ZH YLD ŠM (slh)

7 Wšrym kh.llym KL m‘yny BK
15.1 Text
V. 1—yswdtw bhrry qdš: ‘his foundation is on holy mountains’ (so MT).
V. 4a—’zkyr rhb wbbl lyd‘y: ‘I will talk of Rahab and Babylon to those who
know me’ (Emerton [2000], pp. 188 and 194).
V. 7a—wšrym kh.llym: ‘but they sing while dancing’ (cf. Barthélemy [2005]:
‘Mais ils chantent, comme on le fait en dansant’).
15.2 Content
Praise of Zion: it is a privilege to be born in Zion.
• Introduction: God loves his city Zion (vv. 1–3).
• Central message: the surrounding nations were born in their countries
(v. 4), but it is a privilege to be born in the city established by God
himself (v. 5; cf. v. 3).
• Summarizing conclusion (coda): God registers the nations who were
born in their own countries (v. 6; cf. v. 4); but the citizens of Zion
praise their birthplace as the spring of life/joy (v. 7; cf. vv. 3 and 5).

15.3.1.1 hnh, v. 4b 15.3.1.2 none

15.3.2.1 slh, v. 3b 15.3.2.2 w- beginning of line, v. 7a;
hw’, v. 5c ext. // w- in v. 5a
iii.15 psalm 87 445

vocative: ‘yr h’lhym, v. 3b zh, v. 6b
zh, v. 4c slh, v. 6b

vv. 1–3: prep. b-, vv. 1a.3a
mšknwt/nkbdwt, vv. 2b and 3a resp. (alliter.)
vv. 4–5: prep. l-, vv. 4a.5a!
lyd‘y/ls.ywn, vv. 4a and 5a resp.
lyd‘y/yld, vv. 4a and 5b resp. (alliter.)
yld, vv. 4c.5b
vv. 6–7: prep. b-, vv. 6a.7b

vv. 1–3.4–5.6–7: bhrry/rhb, vv. 1 and 4a resp. (alliter.; linear)
yhwh, vv. 2a.6a! (linear)
š‘ry/wšrym, vv. 2a and 7a resp. (alliter.; inclusion)
kl, vv. 2b.7b! (inclusion)
.sywn . . . mšknwt y‘qb/rhb wbbl . . . plšt ws.wr ‘m kwš/
‘mym, vv. 2, 4a–b and 6a resp. (linear)
mdbr/y’mr, vv. 3a and 5a resp. (linear)
bk, vv. 3a.7b!; see also bh in v. 5b (linear; prep. b- +
pronominal suffix referring to Zion)
‘yr h’lhym/whw’ ykwnnh, vv. 3b and 5c resp. (epiphora;
cf. Ps. 48,9c–d)
’lhym/‘lywn, vv. 3b and 5c resp. (epiphora; cf. Ps. 46,5)
‘m (‘with’)/‘m (‘people’), vv. 4b and 6a resp. (alliter.;
linear)
zh yld šm, vv. 4c.6b! (exactly linear); see also yld in
v. 5b! (concatenation)
w- beginning of the line, vv. 5a.7a! (exactly linear)

none

suffix -h (v. 5 [2×]), .sywn (vv. 2.5)

Psalm 87 has six verselines and 15 cola.1 V. 4c, zh yld šm (‘this one was
born there’), is the central colon (> 7+1+7 cola); the colon consists of 7
letters.
Structure of strophes and cantos in terms of words: 15+21+12 (= 48 =
4×12 words in total).2 According to Labuschagne, vv. 4–5b constitute the
deliberately designed meaningful centre; vv. 1–3.4–5b.5c–7 > 15+18+15
words.3 On word level, after v. 4b the poem divides into two equal halves:
vv. 1–4b.4c–7 > 24+24 words. The number 12 probably has a structuring
function.4
The divine name, yhwh, occurs twice: vv. 2 and 6. In v. 3 we find the
designation ’lhym (‘God’) and in v. 5 the title ‘lywn (‘Most High’).

Saalschütz (1825), p. 119: 1–3.4–6|7 (3.3|... verses)
Köster (1837): 1–3.4–5.6–7 (2.2.2 verses); similarly Kissane (1954) and cf.
TOB (1978)
De Wette (1856): 1–3.4–7 (vv. 4–7 probably divide into two strophes)
Ewald (1866), pp. 388–90: only one strophe; similarly NAB (1970)
Delitzsch (1894): 1–4.5–7 (7.7 cola)
Grimme (1902), p. 162: 1–3.4–5b.5c–7 (3.3.3 bicola); similarly Duhm (1922)
and Jacquet (1977)
1
The first verseline consists of two Masoretic verses (vv. 1–2) comprising a single
colon and a bicolon respectively. This phenomenon is regularly found at the beginning
of a psalm; see CAS I, Ch. V, 6.1 (note pp. 524–25). Because the suffix in yswdtw
(‘his foundation’) has no antecedent within v. 1, some authors take vv. 1–2 as a bicolon,
ignoring the Masoretic verse division: ‘Seine Gründung auf heiligen Bergen liebt JHWH,
// die Tore Zions mehr als alle Wohnstätten Jakobs’ (so Weber and similarly Briggs,
Kittel, J. Ridderbos; cf. Booij [1987, p. 18] and [Hossfeld]/Zenger (p. 550). However,
Booij himself rightly notes that, when the reference is to God, the construction we find
in v. 1 (MT) is not exceptional; cf. Ps. 114,1–2 and Lam. 3,1. Fokkelman (MPHB III)
takes vv. 5c+1 as a bicolon following v. 2; therefore, he has 7 verselines.
2
Labuschagne (www.labuschagne.nl/ps087.pdf, Observation 2) notes that 48 is the
numerical value of .sywn (vv. 2 and 5; 18+10+6+14).
3
See www.labuschagne.nl/ps087.pdf, Observation 3; Fokkelman (MPHB III) consid-
ers v. 4 the numerical pivot of the psalm: vv. 1–3+5b.4.5a–b+6–7 > 3+1+3 verselines
and 18+12+18 words.
4
Cf. Fokkelman, MPHB III, pp. 151 and 154.
iii.15 psalm 87 447
Zenner (1906), p. 239: 2+1+5c+3.6a+4+5a–b+7 (3.3 lines)

Gunkel (1926): 2+1+5c+7+3.6+4–5b (3.3 lines); sim. Podechard (1954);
cf. Kraus (1978)
Calès (1936): 1–3.4–5b.5c–7 (2.2.2 lines); cf. Grimme (1902)
Herkenne (1936): 2+1+5c.6+3+4.5+7; cf. Gunkel (1926)
Böhl (1947): 1–3|4–5b.5c–7; cf. Calès (1936)
Pannier/Renard (1950): 1–3.4.5.6–7
Beaucamp (1979): 1–4b.5b–7 (6.6 cola), or 1–3.4–5.6–7 (4.4.4 cola)
Smith (1988): 3–7 (‘a concentric pentacolon’: bk—šm—bh—šm—bk)
Booij (1987 and 1994): 1–2.3–5.6–7
Girard (1994): 1–3.4|5.6–7 (a.b|a’.b’; 5.3|3.5 cola)
Auffret (2000): 1–2.3–4.5a–b|5c.6.7 (a.b.c|a’.b’.c’)
[Hossfeld]/Zenger (2000): 1–3.4–6.7; similarly Zenger (2003), pp. 452–55
Fokkelman (2003), pp. 149–54: 2+5c+1+3.4–5b.6–7 (3.2.2 lines)
Terrien (2003): 1 2–3.4.5*.6* 7
Weber (2003): 1–2 3–4.5–6 7 (2 5.5 2 cola)

This short poem is one of the most difficult compositions in the Psalter.
Due to its terse formulation, the abrupt speech and the sudden semantic
shifts, the meaning of the poem is problematic.5 It has often been sug-
gested that the sequence of the cola is out of order. A number of scholars
have tried to restore this order by joining vv. 1 and 5c into one biclon; cf.
§ 15.6. Recently, however, exegetes mostly assume that the Masoretic read-
ing of the psalm makes some sense; see Booij (1987), Emerton (2000) and
[Hossfeld]/Zenger (p. 550), among others (Seybold and Fokkelman [MPHB
III] are an exception). Emerton rightly observes: ‘The heart of the problem
of the psalm lies in the interpretation of zeh yullad-šām in verses 4 and 6.
. . . Does it [šām] refer to the places named in v. 4 or the places where the
‘ammı̂m of verse 6 live, or to Zion?’ (p. 186).
In the case of Psalm 87, the strophic structure of the composition is
of great help to make some decisions of an exegetical nature. From a
purely formal point of view, the poem divides into three 2-line strophes,
vv. 1–3, 4–5 and 6–7.6 For the formal aspects of this division, see especially
§ 15.4.1–2 (verbal repetitions). § 15.4.2 shows that our strophic division is
characterized by a linear pattern of verbal recurrences.
5
Calès (p. 116) speaks highly of this poem precisely because of these features: ‘Il est
merveilleux de concision, de vivacité de ton, de variété de tours’.
6
For this division, cf. Köster, Grimme, Calès, Böhl, Beaucamp and Fokkelman in
§ 15.6.
This linear pattern is strengthened by a thematic alternation on the

level of the sequence of the verselines: vv. 1–2.3|4.5|6.7 > a.b|a’.b’|a’’.b’’.
The a-lines, vv. 1–2, 4 and 6, focus on activities by God : he founds and
loves Zion (vv. 1–2), he makes mention of and registers the nations sur-
rounding Jerusalem (vv. 4 and 6 respectively). Note also that the word
‘mym (‘peoples’) in v. 6a is a summary of the names listed in v. 4a–b (cf.
§ 15.4.2). The b-lines, vv. 3, 5 and 7, focus on the speaking by unnamed
people; note ‘are spoken’ (v. 3a), ‘it will be said’ (v. 5a) and ‘they sing’
(v. 7a). The unnamed people consistently speak about the glorious quali-
ties of the city of Zion: she is the city of God (v. 3), various people are
born in her (v. 5), and she is the spring of life and joy (v. 7).7 See also the
linearly parallel relationships described in § 15.2.
Starting from this strophic division, the interpretation of Psalm 87 by
Emerton (2000) is most fitting. According to this scholar, the theory that
people would be said to have been born in Zion, when in fact they had
been born elsewhere, is implausible. With an appeal to Junker (1949) he
establishes that w- in v. 5a has an adversative meaning (pp. 188–89). That
is to say, wls.ywn at the beginning of v. 5 indicates a contrast with v. 4.8
Because bh in v. 5b refers to Zion, this implies that šm in v. 4 does not
refer to this city (p. 188). The additional statement about Zion in v. 5c
(‘and he who established her is the Most High’)—such a statement does
not occur after vv. 4c and 6b—makes it clear that it is a privilege to be
born in Zion because it is pre-eminently God’s own city (Emerton [p. 197]
and cf. § 15.2).9
The strophic structure of the poem supports this view. The semantic
difference between vv. 4 and 6 on the one hand, and v. 5 on the other
perfectly fits the linear parallelism between the 2-line strophes in terms of
verbal recurrences (§ 15.4.2). There is a deliberate alternation between šm
(vv. 4 and 6) and bh (v. 5): šm denotes the place of the nations mentioned
in vv. 4 and 6, and bh denotes the city of Zion!10
7
In this respect, Fokkelman observes that ‘all three units end rather vocally . . . The
address is always Zion’ (MPHB III, p. 151). Weber (2003, p. 99) rightly notes that the
many quotations are a significant feature of our psalm; see vv. 4b–c, 5b–c, 6b and 7b.
8
‘. . . , there is a stress on Zion which is not found on the names of the places mentioned
in verse 4, and so there appears, in any case, to be some kind of contrast to the other
places’ (Emerton [2000], p. 195). Similarly Fokkelman, MPHB III, p. 153; contra Booij
(1987), p. 20.
9
Therefore, it is unwarranted to move v. 5c from its place in MT (see above, the
introductory paragraph), or to take it as the beginning of the following verseline (and
strophe; contra Grimme, Calès, Böhl and Auffret). Note also suffix -h // suffix -h in
v. 5b–c (both times referring to Zion in v. 5a), constituting the internal parallelism in
the verseline.
10
Similarly Fokkelman, MPHB III, p. 152.
iii.15 psalm 87 449
In terms of verbal repetitions there is a clear relationship with the Korahite

compositions Psalms 46–48.11 From a thematic as well as from a formal
point of view, it is a mystery why Psalm 87 follows Psalm 86.12
15.8 Bibliography
H. Junker, ‘Einige Rätsel im Urtext der Psalmen’, Biblica 30 (1949), pp. 197–212;
Th. Booij, ‘Some observations on Psalm lxxxvii’, VT 37 (1987), pp. 16–25;
M.S. Smith, ‘The structure of Psalm lxxxvii’, VT 38 (1988), pp. 357–58;
P. Auffret, ‘“Een die daar is geboren”: Structuuranalyse van Psalm 87’, ACEBT
18 (2000), pp. 61–70;
J.A. Emerton, ‘The problem of Psalm lxxxvii’, VT 50 (2000), pp. 183–99;
E. Zenger, ‘Psalm 87: A Case for Ideological Criticism?’, in J. Cheryl Exum
and H.G.M. Williamson (eds.), Reading from Right to Left. FS D.J.A. Clines
(JSOTS 373), Sheffield, 2003, pp. 450–60;
Christl M. Maier, ‘“Zion wird man Mutter nennen” Die Zionstradition in Psalm
87 und ihre Rezeption in der Septuaginta’, ZAW 118 (2006), pp. 582–96;
—, ‘Psalm 87 as a Reappraisal of the Zion Tradition and Its Reception in Gala-
tians 4:26’, CBQ 69 (2007), pp. 473–86.
11
See recently Maier (2007), pp. 476–77.
12
For the function of our psalm within the cycle Psalms 84–88, see now Zenger (2003),
pp. 457–59.
16 Psalm 88
Structure: 10.10 > 6.4|6.4 > 2.2.2|2.2||2.2.2|2.2 lines (Type IA)
I.1 2 YHWH ’lhy yšw‘ty YWM .s‘qty blylh ngdk

3 tbw’ lPNYK TPLTY ht.h ’znk lrnty
4 ky śb‘h br‘wt NPŠY wh.yy lš’wl hgy‘w

5 nh.šbty ‘m ywrdy bwr hyyty kgbr ’yn ’yl
6 bMTYM h.pšy kmw h.llym škby QBR

’šr l’ zkrtm ‘wd whmh mydk ngzrw
I.2 7 štny bbwr th.tywt bMH. ŠKYM bms.lwt

8 ‘LY smkh h.mtk wkl mšbryk ‘NYT (slh)
9 HRH . QT MYD‘Y MMNY štny tw‘bwt lmw

kl’ wl’ ’s.’ 10 ‘yny d’bh mny ‘NY
II.1 qr’tyk YHWH bkl YWM št.h.ty ’lyk kpy

11 hlMTYM t‘śh pl’ ’m rp’ym yqwmw ywdwk (slh)
12 hyspr bQBR h.sdk ’mwntk b’bdwn

13 hywd‘ bh.šk pl’k ws.dqtk b’rs. nšyh
14 w’ny ’lyk YHWH šw‘ty wbbqr TPLTY tqdmk

15 lmh YHWH tznh. NPŠY tstyr PNYK mmny
II.2 16 ‘NY ’ny wgw‘ mn‘r nś’ty ’myk ’pwnh

17 ‘LY ‘brw h.rwnyk b‘wtyk .smtwny
18 sbwny kmym kl hywm hqypw ‘LY yh.d

19 HRH. QT MMNY ’hb wr‘ MYD‘Y MH . ŠK
16.1 Text
V. 6a—h.pšy: ‘Entlassener’ ([Hossfeld]/Zenger).
V. 9c—kl’ : ‘I am shut in’ (JPS; similarly HAL).
V. 16b—’pwnh: meaning uncertain (HAL); may be, a form of the root pnh (‘to
turn’), in the sense of ‘pass away’ (J.A. Emerton [2004]). 4QPss has ’pwrh.
V. 17b—s.mtwny: ‘they silence me’ (HAL; cf. Ps. 119,139); MT reads .smtwtny
(for this pi‘el form, see Weber [2007], p. 483).
V. 19b—mh.šk : ‘dark place’ (so MT); see further Weber (2007), pp. 484–85.
iii.16 psalm 88 451
16.2 Content
The prayer of an individual in spiritual distress.
I Description of the near-death situation (I.1; introduced by a prayer;
subject ‘I’) because of God’s wrath (I.2; logical subject ‘you’ [God]).
I.1 O God, let my prayer come to your attention (vv. 2–3).
My life draws near to the netherworld (vv. 4–5).
I am like those whom you remember no longer (v. 6).
I.2 Your wrath lies heavy upon me (vv. 7–8).
You make my companions to shun me (vv. 9–10a).
II The prayer to be saved from staying in the grave (II.1) and descrip-
tion of God’s wrath (II.2).
II.1 Save me, O God, from the netherworld before it is too late (vv.
10b–11).
Your wonders are not recounted in the netherworld (vv. 12–13;
enjambement [cf. v. 11b]).
O God, why do you hide your face from me (vv. 14–15).
II.2 Your wrath and terrors overwhelm me (vv. 16–17; cf. vv. 7–8).
They constantly encircle me, while you make my companions
to shun me (vv. 18–19; cf. vv. 9–10a).

16.3.1.1 vocative: yhwh, v. 2a ’ny, v. 14a
vocative: ’lhy yšw‘ty, v. 2a vocative: yhwh, v. 14a; ext.
vocative: yhwh, v. 10b // yhwh in v. 15a
h- interrogative, v. 12a; ext. ’ny, v. 16a
// h- in v. 13a
w- beginning of line, v. 14a 16.3.1.2 kl ywm, v. 10b

16.3.2.1 ‘wd, v. 6c slh, v. 11b
hmh, v. 6d
slh, v. 8b 16.3.2.2 lmh, v. 15a

imperative: ht.h, v. 3b
kl hywm, v. 18a

vv. 2–3: -ty (end cola), vv. 2a.3a+b; see also .s‘qty in v. 2b
ngdk/lpnyk, vv. 2b and 3a resp.
suffix -k, vv. 2b.3a+b
vv. 9–10a: mmny/mny ‘ny, vv. 9a and 10a resp. (alliter.)
vv. 12–13: h- interrogative, 12a.13a (anaphora)
prep. b-, vv. 12a+b.13a+b
bqbr . . . b’bdwn/bh.šk . . . b’rs. nšyh, vv. 12 and 13 resp.
h.sdk ’mwntk/pl’k ws.dqtk, vv. 12 and 13 resp.
vv. 14–15: yhwh, vv. 14a.15a
vv. 16–17: ’myk/b‘wtyk, vv. 16b and 17b resp.
vv. 18–19: roots sbb (‘to surround’)/rh.q (‘to stay away’), vv. 18a and
19a resp. (anaphora); see also nqp (hiph‘il; ‘to encircle’)
in v. 18b

vv. 2–6 (I.1): prep. b-, vv. 2b.4a.6a (linear)
suffix -k, vv. 2–3.6b (inclusion)
prep. l-, vv. 3a+b.4b (concatenation)
š’wl/qbr, vv. 4b and 6b resp. (linear)
nh.šbty/h.pšy . . . škby, vv. 5a and 6 resp. (alliteration;
concatenation)
prep. k-, vv. 5b.6b (concatenation)
’yn/l’, vv. 5b and 6c resp. (linear)
vv. 7–10a (I.2): štny, vv. 7a.9b! (linear)

th.tywt . . . bms.lwt/tw‘bwt, vv. 7 and 9b resp. (linear;
Weber [2007], p. 479)
root ‘nh, vv. 8b.10a (epiphora)
vv. 10b–15 (II.1): qr’ty/šw‘ty, vv. 10b and 14a resp. (linear)
yhwh, vv. 10b.14a+15a (inclusion)
’lyk, vv. 10c.14a! (linear); see also tqdmk in v. 14b
h- interrogative, vv. 11a.12a+13a! (concatenation)
hlmtym/lmh, vv. 11a and 15a resp. (alliter; exactly
linear)
pl’, vv. 11a.13a! (exactly linear)
bqbr/bbqr, vv. 12a and 14b resp. (alliter.; linear)
prep. b-, vv. 12–13.14b (concatenation); see also
iii.16 psalm 88 453
prep. b- in v. 10b
vv. 16–19 (II.2): prep. mn, vv. 16a.19a (inclusion)

‘ly, vv. 17a+18b (concatenation)

vv. 2–10a (Canto I): prep. b-, vv. 2b+4a+6a.7 (3×; linear)
bwr, vv. 5a.7a!
l’, vv. 6c.9c! (linear)
prep. mn, vv. 6d.9a+10c (linear)
vv. 10b–19 (Canto II): kl + ywm, vv. 10b.18a! (note bkl ywm and kl
hywm respectively)
root yd‘ + h.šk, vv. 13a.19b!
’ny, vv. 14a.16a! (concatenation)
mmny, vv. 15b.19a (linear)

vv. 2–6.10b–15: yhwh, vv. 2a.10b+14–15!
yšw‘ty/šw‘ty, vv. 2a and 14a resp. (alliter.)
ywm, vv. 2b.10b (linear)
.s‘qty/qr’ty . . . šw‘ty, vv. 2b and 10b+14a resp.
blylh/bbqr, vv. 2b and 14b resp.
ngdk . . . lpnyk/’lyk . . . ’lyk . . . tqdmk, vv. 2–3.10c+14
pnyk, vv. 3a.15b!
} chiasmus
tplty, vv. 3a.14b!
nt.h (hiph‘il)/št.h. (pi‘el), vv. 3b and 10c resp.
npšy, vv. 4a.15a!
š’wl/’bdwn, vv. 4b and 12b resp. (exactly linear; cf.
Job 26,6)
mtym, vv. 6a.11a!
h.llym škbym/rp’ym yqwmw, vv. 6b and 11b resp.
qbr, vv. 6b.12a!
whmh/w’ny, vv. 6d and 14a resp.
yd/kp, vv. 6d and 10c resp.
vv. 7–10a.16–19: mh.šk, vv. 7b.19b(!)

‘ly, vv. 8a.17a+18b!
h.mtk/h.rwnyk, vv. 8a and 17a resp.
mšbryk/kmym, vv. 8b and 18a resp.
root ‘nh (pi‘el, ‘to afflict’), vv. 8b+10a.16a!

hrh.qt, vv. 9a.19a! (linear)
myd‘y, vv. 9a.19b!
} chiasmus (concluding strophe);
mmny, vv. 9a.19a
see also prep. mn in vv. 10a and 16a
tw‘bwt/b‘wtyk, vv. 9b and 17b resp. (alliter.)

suffix -k, prep. k- (v. 18), prep. l- (v. 9)

none

Psalm 88 has 10 strophes, 20 verselines and 40 cola.1 From this perspective
the caesura between Cantos I and II divides the poem into two equal halves:
vv. 2–10a and 10b–19 > 5+5 strophes, 10+10 lines and 20+20 cola.2 From
the same perspective, vv. 6 and 14–15 represent the centres of Cantos I and
II respectively (> 2+1+2 strophes, 4+2+4 verselines and 8+4+8 cola); for
vv. 14–15 as centre on word level, see below.
Structure of strophes and cantos in terms of words: 13+15+13|11+13||
14+11+14|12+13 = 41+24|39+25 = 65+64 (= 129 = 3×43 words in total).
The noun ‘ny (‘affliction’) in v. 10a is the pivot of the psalm in terms of
words (> 64+1+64 words). From this perspective, vv. 14–15 is once again
the centre of Canto II: vv. 10b–13.14–15.16–19 > 25+14+25 words. It
is further worth noting that on word level vv. 4–5 and 12–13 represent
the centres of Canticles I.1 and II.1: > 13+15+13 and 14+11+14 words
respectively. Because vv. 4–5 and 12–13 are simultaneously the central
strophes, verselines and cola of the 6-line canticles vv. 2–6 and 10b–15, the
numerical approach on word level reinforces the concentric framework of
these canticles.
The divine name, yhwh, occurs 4×: vv. 2, 10, 14 and 15. In v. 2 God
is designated ’lhym.
1
Fokkelman (MPHB III) has 19 verselines because he takes vv. 9 and 10 as tricola (in
accordance with the Masoretic verse division); similarly www.labuschagne.nl/ps088.pdf.
2
For a similar high degree of numerical regularity, two cantos of 10 verselines and 20
cola each, see Psalm 132 (canto division: vv. 1–10 and 11–18).
iii.16 psalm 88 455

Wocher (1834), p. 629: 2–3.4–6.7–8.9–10.11–13.14–15.16–19 (2.3.2.2.3.2.4
verses); cf. TOB (1978)
Köster (1837): 2–4.5–7.8–10.11–13.14–16.17–19 (6×3 verses); similarly
Hävernick (1849), p. 40, De Wette (1856); cf. Sommer (1846), p. 68
Ewald (1866), pp. 209–12: 2–3.4–8.9–13.14–19 (4.12.12.12 cola)
Ley (1875), pp. 170–71: 2–5.6–8.9–11.12–15.16–19 (‘fünf Strophen von je
vier Hexametern’)
Delitzsch (1894): 2–5.6–8|9–10.11–13|14–16.17–19 (8.8|6.6|6.6 cola; note
p. 571)
Grimme (1902), p. 162: 2–5.6–8.9–11.12–15.16–19 (5×8 cola); cf. Ley (1975)
Zenner (1906), pp. 327–31: 2–5.10b–13|6–7+14–16|8+9c–10a+9a–b.17–19
(4.4|6|3.3 lines)
Duhm (1922): 2–3.4–5.6.7–8.9–10a.10b–11.12–13.14–15.16–17.18–19 (10×2
bicola); similarly Podechard (1954; ‘à la suite de Bickell’), Mowinckel
Gunkel (1926): 2–3.4–10a|10b–c.11–13|14.15–19; cf. König (1927), pp. 579–
82, and Kraus (1978)
Calès (1936): 2–3.4–8.9–13.14–19 (2.6.6.6 lines); cf. Ewald (1866)
Herkenne (1936): 2–6.7–10a.10b–15.16–19
Lund (1942), pp. 122–25: 2–3.4–6|7–8.9–10a.10b–11.12–13.14–15.16–17.
18–19 (c.d+a|a’.b.c’.d’.c’’.a’’.b’); cf. Duhm (1922) and Auffret (1987)
Böhl (1947): 2–3.4–5.6.7–8|9–10.11–13|14–15.16–17.18–19
Pannier/Renard (1950): 2–10.11–19
Kissane (1954): 2*–6.7–9.10b*–16.17–19 (10.10 > 7.3.7.3 lines)
Schildenberger (1960), pp. 679–80: 2–4.5–6.7–10a|10b–13.14–16.17–19
(3.3.4|4.3.3 lines); cf. Kissane (1954) and Haag (1986)
NAB (1970): 2–9.10–13.14–19; cf. Gunkel (1926)
Jacquet (1977): 2–3.4+8.5+9a–b.6.7+9c–10a.10b–11.12–13.14–15.16–17.
18–19 (10×2 bicola); cf. Lund (1942)
Beaucamp (1979): 2–3 4–6.7–10a.10b–13.14–17 18–19 (4 4×8 4 cola)
Aletti/Trublet (1983), pp. 85–86: 2–10a.10b–13.14–19 (a.b.a’); similarly
Schlegel (2005), pp. 53–66; cf. Gunkel (1926)
Ravasi (1985): 2–3|4–6.7–10a.10b–13|14–19
Booij (1994): 2–9.10–19 (A.A’; see p. 71); cf. Pannier/Renard (1950)
Girard (1994): 2–3.4–10a|10b–c.11–13|14.15–19 (a.b|a’.b’|a’’.b’’); cf. Gunkel
Seybold (1996): 2–3.4–6.7–10a.10b–13.14–17.18–19 (2.4×4.2 lines); cf. Beau-
camp (1979)
[Hossfeld]/Zenger (2000): 2–10a.10b–13.14–19 (note pp. 567–69); cf. Gunkel
Loretz (2002): 2–3.4–5.6.7–8.9–10a|10b–14.15–16.17–18.19+x (vv. 6 and
11–13 ‘Zusätze’)
Berges (2003), pp. 44–49: 2–3|4–5.7–8|9–10a||10b–c|11.12.13||14|15–16.

17–18|19 (v. 6 is a ‘Zusatz’ [pp. 48–49])
Fokkelman (2003), pp. 154–59: 2–3.4–5.6–7|8–10.11–13|14–16.17–19 (2.2.3|
3.3|3.3 > 7.6.6 lines; 14.14.12 cola and 46.44.39 words)
Terrien (2003): 2–3.4–5.6.7–8|9–10a.10b–11|12–13.14–15.16–17.18–19 (4×2|
2.2|4×2 lines); cf. Jacquet (1977)
Lescow (2005), pp. 226–31: 2|3.4–6.7–10a||10b–c|11.12.13||14|15.16–18.19
De Vos (2005), pp. 21–38: 2–3.4–6.7–10a|10b–c.11–13|14.15–19 (‘Der Auf-
bau des Psalms wird durch die Anreden vorgegeben’ [p. 24])
Weber (2008): 2–3.4–5.6|7–8.9–10a||10b–11.12–13.14–15|16–17.18–19 (A.B|
A’.B’); cf. Herkenne (1936) and Terrien (2003)

This composition stands out as the gloomiest poem in the book of Psalms.
Simultaneously, it represents a marvellous example of rhetorical design,
displaying a very sophisticated web of responsions, concatenations (as the
case may be, enjambement) and inclusions. On the level of the cantos and
the canticles, concentric structures play an important role. Although the
artistic quality of the psalm is generally recognized in recent investigations
(Groß [1999], Fokkelman [2001], Weber [2007]), exegetes widely differ with
regard to its poetical framework; see the survey in § 16.6. The confusion
in question is mainly due to the application of a defective system of formal
devices and a selective combination of thematic correspondences.
Following Gunkel, some scholars distinguish three main parts: vv. 2–10a,
10b–13 and 14–19.3 Gunkel characterizes vv. 2–10a and 14–19 as ‘Klage’,
and vv. 10b–13 as ‘Beweggrund göttlichen Einschreitens’. According to
[Hossfeld]/Zenger, this tripartite division ‘ist im Text so deutlich angezeigt,
daß sich dieser Vorschlag gegenüber anderen Einteilungen . . . unbedingt
empfiehlt’ (p. 567). ‘Dreimal betont der Beter sein klagendes Schreien
zu JHWH, wobei diese Klagepassagen die Einleitung für die jeweils an-
schließenden Abschnitte sind: die Klage V 2–3 leitet die dann in V 4–10a
folgende Notschilderung ein; die Klage V 10bc eröffnet die in V 11–13 fol-
gende Appellation, die mit drängenden rhetorischen Fragen gestaltet ist;
die Klage V 14 leitet die in V 15–19 folgende Notschilderung ein’ ([Hoss-
feld]/Zenger, p. 567). Zenger further asserts that within this framework vv.
10b–13 represent the ‘kompositionelle Mitte’ of the psalm, its ‘Sinnachse’,
which is clearly distinguished from the other main parts ([Hossfeld]/Zenger,
3
So Kraus (‘in aller Vorsicht’), Aletti/Trublet, Girard (very definitely [p. 470]), [Hoss-
feld]/Zenger (very definitely), Berges (2003), Lescow (2005), De Vos (2005) and Schlegel
(2005; very definitely); see also NAB in § 16.6.
iii.16 psalm 88 457
p. 568; similarly Aletti/Trublet and Lescow).4 Taking into account that

Aletti/Trublet and Girard are among the adherents of this division, the
impression is created that the ‘form-critical’ approach is supported by a
more structural orientated way of reading.
From a rhetorical point of view, the tripartite division as advocated
by Gunkel c.s. has some drawbacks: a) there is no quantitative regularity
between the main sections (the first section is as long as the second and the
third sections together); b) it overlooks the relative rhetorical independence
of vv. 7–10a; c) it tends to overrrate the significance of vv. 10b–13 as pivot
of the psalm without doing justice to the parallelism between vv. 2–6 and
10b–15.
In my opinion, the complaint that God has caused the supplicant’s
companions to shun him (vv. 9a and 19) is to be taken as a refrain which
divides the psalm into two mathematically balanced parts (cantos). In
Canto II the refrain is the concluding verseline, while in the first canto it
occurs in the second last verseline, because vv. 9c–10a structurally belongs
to vv. 7–9b. The correspondences described in § 16.4.2 show that vv. 7–8
and 9–10a form a parallelismus stropharum; note especially the epiphora
based on the repetition of the root ‘nh (‘to afflict’) at the end of vv. 8b and
10a. In addition, the invocation of God in v. 10b–c is clearly the beginning
of a new strophe (§ 16.3.1–2). This means that the refrain in vv. 9a and
19 divides Psalm 88 into two exactly regular cantos of 10 verselines and 20
cola each (vv. 2–10a and 10b–19).5 However, within the bipartite division
of our psalm the refrain and the equality of length are only two elements
of the linearly parallel correspondences which pervade Cantos I and II in
terms of numbers, verbal recurrences, alliterations and semantics.
As indicated above, in terms of verbal recurrences vv. 7–10a are a tight
formal unit. Within Canto I this unit further stands out because from the
first morpheme onwards—see štny (‘you have put me’, v. 7a)—it becomes
clear that the psalmist explicitly accuses God of being the cause of his
4
Fokkelman considers vv. 8–10 the central unit (the pivot of a series of 7 strophes),
which is crosswise linked to the first and last strophes of the composition (MPHB
III, 157). According to Terrien, vv. 9–11 is the ‘core strophe’ of the psalm; similarly
Labuschagne (www.labuschagne.nl/ps088.pdf), appealing to slh (vv. 8 and 11) as mark-
ing the end of his first and second canto.
5
From Zenner (1906) onwards, the break between vv. 10a and 10b, splitting up a
Masoretic verse over two successive ‘strophes’, is generally recognized; see § 16.6. For
refrains occurring in the second last verseline of a canto, see my CAS I, Ch. V, 4.3.1.1 (pp.
495–97). Strangely enough, Fokkelman criticizes some authors, aiming at a dichotomy
of 20+20 cola, for ‘an intemperate desire for symmetry’ (MPHB III, p. 157). I do
not understand this criticism because the quest for regularity is the main motive of
Fokkelman’s own investigations; see, e.g., the figures in § 16.6, which are supposed to
illustrate the regular proportions of his three main parts.
despair. In vv. 4–6 the supplicant portrays his nearness to death motivating
(note ky in v. 4a) his petition that God may hear his cry (vv. 1–2). From
a semantic point of view, the prayer itself (vv. 1–2) and its motivation
(vv. 4–6) form a coherent whole; see also the verbal repetitions in § 16.4.2.
Additionally, in vv. 2–6 the supplicant himself is mainly the logical subject
(v. 3b makes a passing exception). And until v. 6, it remains unclear what
is the cause of the supplicant’s near-death situation. From v. 7 onwards
God is the logical subject and the verselines abound with accusations: it is
God’s ‘wrath’ (h.mh; v. 8a) which has brought the supplicant near to death
(vv. 7–8) and (consequently) it is God who caused his close friends to shun
him (v. 9). That is to say, there is a clear rhetorical distinction between
vv. 2–6 and 7–10a supporting the division of Canto I into two canticles of
6 and 4 verslines respectively.6
Canto II likewise divides into two canticles of 6 and 4 verselines respec-
tively, vv. 10b–15 and 16–19. The canticle division is among other things
based on the conspicuous linearly alternating parallelism between Cantos
I and II in terms of semantics and verbal recurrences. Canticle II.2 (vv.
16–19) stands out as a relative independent unit because the supplicant
once again (cf. vv. 7–10a) points to God’s ‘wrath’ (h.rwnym, v. 17a) as
the cause of his despair; see also the morphemes ’myk and b‘wtyk (‘your
terrors’) in vv. 16b and 17b. It is once again God who has put his close
friends far from him (refrain; v. 19). Such accusations of God himself be-
ing the adversary do not occur in vv. 10b–15. For the relationship between
Canticles I.2 and II.2, see also the corresponding phrases ‘I am shut in
and cannot get out’ (v. 9c) and ‘they swirl around me . . . they encircle me’
(v. 18). Finally, the parallelism between the canticles in question is also (cf.
the refrain) unambiguously supported by a whole cluster of verbal repeti-
tions; see § 16.4.4. In this respect, it is noticeable that the predicate ‘ny
(‘afflicted’) has a signal function in Canticle II.2 by its positioning as the
first word; cf. the epiphora in Canticle I.2.
Canticle II.1 (vv. 10b–15) has exclusive thematic and verbal relation-
ships with the first canticle of Canto I (vv. 2–6). The prayers (invocations)
vv. 10b–c and 14–15 correspond to vv. 2–3. These prayers envelop the
rhetorical questions in vv. 11–13, which imply the idea that the psalmist is
near to death.7 This idea, too, clearly refers to Canticle I.1 (note vv. 4–6).
The same holds true for the terms describing God’s loving-kindness in vv.
6
The relative clause v. 6c–d, where God is the grammatical subject in v. 6c (‘whom
you remember no longer’), can be considered a smooth transition between vv. 2–6 and
7–9b. The transition markers ‘wd (‘more’) and hmh (‘they; v. 6c–d) highlight the verse-
line in question as the end of Canticle I.1 (see § 16.3.2.1).
7
For these questions (real or rhetorical?), cf. Schlegel (2005), pp. 65–66.
iii.16 psalm 88 459
12–13; cf. ’lhy yšw‘ty (‘God of my deliverance’) in v. 2a. For the parallelism
between Canticles I.1 and II.1 in terms of semantics, see also ‘whom you
remember no longer’ (v. 6c) and ‘in the land of oblivion’ (v. 13b).
The verbal recurrences and alliterations described in § 16.4.2 further
characterize vv. 10b–15 as a coherent whole; see qr’ty/šw‘ty (‘I call’/‘I cry
out’), yhwh (‘Lord’), ’lyk (‘to you’) and the alliteration hlmtym/lmh. These
repetitions also support the concentric framework of Canticle II.1 indicated
above (invocation > rhetorical questions > invocation). To crown it all,
this concentric framework unambiguously emerges in terms of the number
of words: vv. 10b–11.12–13.14–15 > 14+11+14 words (§ 16.5).8 Especially
by this numerical aspect, the poet focusses on the accumulation of terms
pointing to God’s loving-kindness in the middle strophe of the canticle, vv.
12–13; note h.sd (‘loyalty’), ’mwnh (‘faithfulness’), pl’ (‘wonders’) and .sdq
(‘righteousness’).9
That is to say, vv. 14–15 are inextricably bound up with the preceding
verselines and should not be taken as invocations introducing vv. 16–19
(contra the tripartite division discussed above). It is further to be noted
that the description of the netherworld, as a place where God and his
loving-kindness are not praised (vv. 11b–13), functions in Canticle II.1 as
an exhortation that God may deliver the supplicant from death. Such an
(implicit) exhortation for deliverance is not found before and is an aspect
of the thought progression characterizing the psalm in its entirety.
The cluster of verbal repetitions described in § 16.4.4 (vv. 2–6.10b–15)
formally supports the parallelism between Canticles I.1 and II.2. These
repetitions once again show that vv. 14–15 form an integral part of Can-
ticle II.1; note yhwh (‘Lord’), pnyk (‘your face’), tplty (‘my prayer’) and
especially npšy (‘my soul’).
In my opinion, the observations above reveal that Psalm 88 has a lin-
early alternating framework: vv. 2–6.7–10a|10b–15.16–19 > A.B|A’.B’.10
In the last century, N.W. Lund (1942) already produced a very adequate
8
For the semantic constituent of the concentric framework of vv. 10b–15, see also
Lund (1942) in § 16.6.
9
The number of 11 words constituting this middle strophe is probably an intentional
device for symbolizing the ‘completeness’ of the description concerned.
10
See now also Weber (2008), pp. 602!; cf. further Herkenne, Kissane, Schildenberger
and Booij in § 16.6. Starting from the parallelism between vv. 2–10a and 10b–19, Weber
rightly remarks that in terms of semantics Canto I develops from the confession (call)
‘God of my deliverance’ (v. 2a) to the key word ‘affliction’ (v. 10a). ‘Beim zweiten Durch-
gang [vv. 10b–19] wird die Anrufung, ja erbitterte Bestürmung Gottes noch gesteigert’
([2008], p. 605). This phenomenon of intensification or ‘sharpness’ (Kugel) on the level
of the cantos is not a speciality of Psalm 88, but a fundamental aspect of the macrostruc-
ture of Hebrew poetry in general.
description of the rhetorical correspondences within this psalm; see § 16.6.

However, in the context of his search for ‘chiastic’ (concentric) structures,
this scholar considered vv. 7–10a and 16–19 the outer shell of the concen-
tric framework of vv. 10b–15.11 At the same time, Lund rightly noted the
relationships between vv. 2–6 (which he interpreted as introductory) and
vv. 10b–15 (which he considered the pivot of the main section vv. 7–19).12
On the level of the strophic structure, there is also no scholarly agree-
ment; see § 16.6. Köster (1837) c.s. discerned an uninterrupted series
of strophes consisting of 3 Masoretic verses, Ewald (1866) mainly distin-
guished strophes of 12 cola (cf. Calès, 6 bicola), Grimme and Beaucamp
found strophes of 8 cola (cf. Ley and Seybold, 4 verselines), while Zen-
ner and Schildenberger assumed that we are dealing with a combination of
3-line and 4-line strophes. I agree with Duhm c.s. who discern an uninter-
rupted series of 2-line strophes; see § 16.2 (especially for vv. 2–6), § 16.3
(note slh in vv. 8 and 11) and §§ 16.4.1–2 (especially for vv. 2–15).13 The
transition between vv. 10b–11 and 12–13 not only displays a device for
concatenation (see h- interrogative in § 16.4.2) but is also characterized by
enjambement because v. 11b (the shades do not praise God) introduces
vv. 12–13 (about the absence of hymns in the netherworld). The strophic
framework of vv. 16–19 is rather vague and is partially based on analogy.
My rhetorical analysis suggests that the quintessential thought of our
composition is to be found in the pivotal strophes of the cantos, vv. 6 and
14–15 (note § 16.5). These strophes focus on the hopeless situation of the
supplicant (v. 6) and his prayer to a God who hides his face (vv. 14–15).14
The final word of the composition, ‘dark place’ (v. 19b), once more under-
lines the gloomy character of the psalm as a whole and its pivotal ideas in
particular. In this respect, see also ‘ny (‘affliction’), which is a key word
in Canticles I.2 and II.2, the final word of Canto I and simultaneously the
pivotal word of the composition as a whole (§ 16.5).
the following verbal repetitions: h.llym (v. 6b) > 87,7; root zkr (v. 6c) >
87,4; myd‘y (vv. 9.19) > 87,4; root spr (v. 12) > 87,6.
11
Cf. Zenner (1906), who takes vv. 8–10a and 17–19 as the second strophe and anti-
strophe (composed of 3 verselines each).
12
Therefore, in my view, Girard (p. 470 n. 5) wrongfully criticizes Lund’s analysis.
13
For this strophic interpretation, see Duhm (Bickell), Lund, Jacquet, Terrien in § 16.6
and especially Weber (2008), pp. 599–600 n. 18; cf. also Böhl.
14
Contra Loretz (2002) and Berges (2003) who consider v. 6 a later intrusion; for v. 15
as a climax in terms of meaning, see also Weber (2008), p. 604.
iii.16 psalm 88 461
16.8 Bibliography
E. Haag, ‘Psalm 88’, in E. Haag and F.-L. Hossfeld (eds.), Freude an der Weisung
des Herrn. Beiträge zur Theologie der Psalmen. FS H. Groß (SBB 13), Stuttgart,
1986, pp. 149–70;
P. Auffret, ‘“Les ombres se lèvent-elles pour te louer?” Étude structurelle du Ps
88’, EstBı́b 45 (1987), pp. 23–37;
R.C. Culley, ‘Psalm 88 Among the Complaints’, in L. Eslinger and G. Taylor
(eds.), Ascribe to the Lord (JSOTS 67), Sheffield: Sheffield Academic Press,
1988, pp. 289–301;
W.S. Prinsloo, ‘Psalm 88: the gloomiest psalm?’, OTE 5 (1992), pp. 332–45;
W. Groß, ‘Gott als Feind des Einzelnen? Psalm 88’, in W. Groß, Studien
zur Priesterschrift und zu alttestamentlichen Gottesbildern (Stuttgarter bibli-
sche Aufsatzbände 30), Stuttgart, 1999, pp. 159–71;
J.P. Fokkelman, Reading Biblical Poetry. An Introductory Guide, Louisville/Lon-
don: Westminster John Knox Press, 2001, pp. 108–15;
B. Janowski, ‘Die Toten loben JHWH nicht. Psalm 88 und das alttestamentliche
Todesverständnis’, in F. Avemarie and H. Lichtenberger (eds.), Auferstehung—
Resurrection (Wissenschaftliche Untersuchungen zum Neuen Testament 135),
Tübingen: Mohr Siebeck, 2001, pp. 3–45;
U. Berges, Schweigen ist Silber—Klagen ist Gold. Das Drama der Gottesbezieh-
ung aus alttestamentlicher Sicht mit einer Auslegung zu Ps 88 (Salzburger Ex-
egetische Theologische Vorträge 1), Münster: Lit Verlag, 2003;
F. Crüsemann, ‘Rhetorische Fragen?’, Biblical Interpretation 11 (2003), 345–60;
J.A. Emerton, ‘Some Problems in Psalm 88.16’, in C. McCarty and J.F. Healey
(eds.), Biblical and Near Eastern Essays (JSOTS 375), London: T & T Clark,
2004, pp. 95–103;
Th. Lescow, ‘Psalm 22,2–22 und Psalm 88. Komposition und Dramaturgie’,
ZAW 117 (2005), pp. 217–31;
Christiane de Vos, Klage als Gotteslob aus der Tiefe. Der Mensch vor Gott in
den individuellen Klagepsalmen (FAT II.11), Tübingen: Mohr Siebeck, 2005;
J. Schiller, ‘“Für die Toten wirst Du ein Wunder tun?” Randbemerkungen zur
Interpretation von Ps 88,11–13’, Protokolle zur Bibel 14 (2005), pp. 61–66;
Juliane Schlegel, Psalm 88 als Prüfstein der Exegese. Zu Sinn und Bedeutung
eines beispiellosen Psalms (BThSt 72), Neukirchen-Vluyn, 2005;
B. Weber, ‘“JHWH, Gott der Rettung” und das Schreien aus “finsterem Ort”.
Klangmuster und andere Stilmittel in Psalm 88’, OTE 20 (2007), pp. 471–88;
—, ‘“JHWH, Gott meiner Rettung!” Beobachtungen und Erwägungen zur Struk-
tur von Psalm lxxxviii’, VT 58 (2008), pp. 595–607.
17 Psalm 89
Structure: 18.20.14 > 8.10|12.8|8.6 > 4.4|6.4||4.4.4|4.4||4.4|6 (Type IB)
I.1.1 2 H
. SDY yhwh ‘wlm ’šyrh ldr wdr ’wdy‘ ’MWNTK Bpy
3 ky ’MRTY ‘wlm H. SD ybnh šmym tkn ’MWNTK Bhm
4 krty BRYT lBH. YRy NŠB‘TY LDWD ‘BDY

5 ‘d ‘wlm ’kyn zr‘k wbnyty ldr wdr ks’k (slh)
I.1.2 6 wywdw šmym pl’k yhwh ’p ’mwntk bqhl qdšym

7 ky my bšh.q y‘rk l yhwh ydmh l yhwh bbny ’lym
8 ’l n‘rs. bswd qdšym rbh wnwr’ ‘l kl sbybyw

9 yhwh ’lhy .sb’wt my kmwk h.syn yh w ’mwntk sbybwtyk
I.2.1 10 ’th mwšl bg’wt hym bśw’ glyw ’th tšbh.m

11 ’th dk’t kh.ll rhb bzrw‘ ‘zk pzrt ’WYBYK
12 lk šmym ’p lk ’rs. tbl wml’h ’th ysdtm

13
.spwn wymyn ’th BR’Tm tbwr wh.rmwn bšmk yrnnw
14 lk zrw‘ ‘m gbwrh t‘z ydk trwm ymynk

15
.sdq wMŠPT . mkwn ks’k h.sd w’mt yqdmw pnyk
I.2.2 16 ’šry h‘m ywd‘y trw‘h YHWH b’wr pnyk YHLKWN

17 bšmk ygylwn kl hywm wbs.dqtk yrwmw
18 ky tp’rt ‘zmw ’th wbrs.nk trym qrnnw

19 ky lYHWH mgnnw wl qdwš yśr’l mlknw
II.1.1 20 ’z dbrt bh.zwn lH

. SYDYk wT’MR
šwyty nzr ‘l gbwr hrymwty BH. WR m‘m
21 ms.’ty DWD ‘BDY bšmn qdšy mšh.tyw
22 ’šr ydy tkwn ‘mw ’p zrw‘y t’ms.nw
II.1.2 23 l’ yš’ ’WYB bw wbn ‘wlh l’ y‘nnw

24 wktwty mpnyw S.RYW wmśn’yw ’gwp
25 w ’mwnty wh.sdy ‘mw wbšmy trwm qrnw

26 wśmty bym ydw wbnhrwt ymynw
iii.17 psalm 89 463
II.1.3 27 hw’ yqr’ny ’by ’th ’ly wS.WR yšw‘ty

28 ’p ’ny bkwr ’tnhw ‘lywn lmlky ’rs.
29 l‘wlm ’šmwr lw h.sdy wbryty n’mnt lw

30 wśmty l‘d zr‘w WKS’W kymy šmym
II.2.1 31 ’m y‘zbw bnyw twrty wbMŠPT. y l’ YLKWN

32 ’m h.qty yh.llw wms.wty l’ yšmrw
33 wpqdty bšbt. pš‘m wbng‘ym ‘wnm

34 wh.sdy l’ ’pyr m‘mw wl’ ’šqr b’mwnty
II.2.2 35 l’ ’h.ll bryty wmws.’ śpty l’ ’šnh

36 ’h.t NŠB‘TY bqdšy ’m LDWD ’kzb
37 zr‘w l‘wlm yhyh wks’w kšmš ngdy

38 kyrh. ykwn ‘wlm w‘d bšh.q n’mn (slh)
III.1.1 39 w’th znh.t wtm’s ht‘brt ‘m mšyh.k

40 n’rth BRYT ‘bdk h.llt l’rs. nzrw
41 prs.t kl gdrtyw śmt mbs.ryw mh.th

42 šshw kl ‘bry drk hyh h.rph lšknyw
III.1.2 43 hrymwt ymyn S.RYW hśmh.t kl ’WYBYw

44 ’p tšyb S.WR h.rbw wl’ hqymtw bmlh.mh
45 hšbt mt.hrw WKS’W l’rs. mgrth

46 hqs.rt ymy ‘lwmyw h‘t.yt ‘lyw bwšh (slh)
III.2 47 ‘d mh YHWH tstr lns.h. tb‘r kmw ’š h.mtk

48 zkr ’ny mh h.ld ‘l mh šw’ BR’T kl bny ’dm
49 my gbr yhyh wl’ yr’h mwt ymlt. npšw myd š’wl (slh)
50 ’yh h.sdyk hr’šnym ’dny NŠB‘T LDWD B’MWNTK

51 zkr ’dny h.rpt ‘bdyk ś’ty bh.yqy kl rbym ‘mym
52 ’šr h.rpw ’WYBYK YHWH ’šr h.rpw ‘qbwt mšyh.k
17.1 Text
V. 8: colometric division according to MT.
V. 8a—rbh: adverb (see Pss. 62,3 and 78,15); cf. GKC § 132h, note 2.
V. 9b—h.syn†: ‘mighty’ (Tate, TOB and JPS).
V. 10b—bśw’ : prep. b- + infinitive constr. from the root nś’ ; see GKC § 76b.
V. 17b—yrwmw : ‘they will be jubilant’ (Tate, with reference to Dahood).
V. 18b—trym: ‘you raise’, so K; Q trwm (‘is raised’; so BHS).
V. 20a–b: for the colometric division, see Fokkelman (MPHB III, pp. 163–64).
V. 20c—nzr : ‘crown’ (so Hossfeld/[Zenger]; cf. v. 40); MT reads ‘zr (‘help’).
V. 23a—yš’ : Dahood proposes to read yś’ (niph‘al from the root nś’ ; cf. HAL).
V. 38b—w‘d : ‘and a witness’; so MT (JPS, Hossfeld/[Zenger]).
V. 44a—s.wr h.rbw : ‘the edge of his sword’ (see Tate).
V. 45a—hšbt mt.hrw : meaning uncertain.
V. 51b: for a discussion of this ‘difficult colon’, see Tate, pp. 412–13.
17.2 Content
Why does God not fulfil his promises to David?
I Praise of God’s loyalty to David (I.1.1) and to the people of Israel
(I.2.2), and of God’s greatness in heaven (I.1.2) and on earth (I.2.1).
I.1.1 I will praise your faithfulness (vv. 2–3).
‘I will establish the throne of David, my servant, for ever’
(vv. 4–5).
I.1.2 In heaven they praise your faithfulness, O God (vv. 6–7).
O God, the gods do not measure up to you (vv. 8–9).
I.2.1 You suppressed the powers of the chaos (vv. 10–11).
The whole universe is yours (vv. 12–13).
Your government is based on justice and loyalty (vv. 14–15).
I.2.2 Happy are the people, O God, who walk in your light (vv.
16–17).
Yes, you give us strength; you are our king! (vv. 18–19).
II God has chosen David as a king (II.1) and he will not reconsider this
decision (II.2).
II.1.1 Vision: ‘I have exalted the chosen from the people’ (v. 20).
‘I have anointed David, my servant with oil’ (vv. 21–22; cf.
vv. 4–5).
II.1.2 ‘I will destroy his enemies’ (vv. 23–24).
‘I will help him gain the victory’ (vv. 25–26).
II.1.3 ‘He will call me “father” and I will make him my firstborn’
(vv. 27–28).
‘His dynasty will last forever ’ (vv. 29–30).
iii.17 psalm 89 465
II.2.1 ‘When his sons forsake my teachings (vv. 31–32),

I will punish them, but I will remain faithful to him’ (vv.
33–34).
II.2.2 ‘I will not violate my covenent with David’ (vv. 35–36).
‘His dynasty will last forever ’ (vv. 37–38; cf. vv. 29–30).
III Description of God failing to fulfil the covenant with David (III.1)
and prayer for deliverance (III.2).
III.1.1 However, you have rejected your anointed (vv. 39–40).
You have devastated all his strongholds (vv. 41–42).
III.1.2 You have made him suffer defeat from his adversaries (vv.
43–44).
You have thrown his throne to the ground (vv. 45–46).
III.2 How long, O God, will your wrath last? (v. 47); remember
man’s mortality (vv. 48–49).
Where are your former pledges of loyalty to David? (v. 50);
remember, O God, the abuse flung at your servants (vv.
51–52).

17.3.1.1 cohortative: ’šyrh, v. 2a w- beginning of line, v. 39a
w- beginning of line, v. 6a ’th, v. 39a
vocative: yhwh, v. 6a mh, v. 47a; ext. // mh in
’th, v. 10a+b; ext. // ’th in v. 48a+b
v. 11a vocative: yhwh, v. 47a
’th, v. 12b; ext. // ’th in ’yh, v. 50a
v. 13a vocative: ’dny, v. 50a; ext.
’šry, v. 16a // ’dny in v. 51a and
vocative: yhwh, v. 16b yhwh vocat. in v. 52a
’th, v. 18a
’z, v. 20a 17.3.1.2 ‘wlm, v. 2a; ext. // ‘wlm in
w- beginning of line, v. 25a; v. 3a
ext. // w- in v. 26a dr wdr, v. 2b
’th, v. 27a ’p, v. 6b
w- beginning of line, v. 33a; ns.h., v. 47a
ext. // w- in v. 34a

17.3.2.1 ‘wlm, v. 5a slh, v. 5b
dr wdr, v. 5b kl hywm, v. 17a
’p, v. 22b 17.3.2.2 vocatives: yhwh ’lhy .sb’wt,

’p, v. 28a v. 9a
‘d, v. 30a; ext. // ‘wlm in my, v. 9b; ext. // my in
v. 29a v. 7a
‘wlm, v. 38a; ext. // ‘wlm vocative: yh, v. 9b
in v. 37a w- beginning of line, v. 30a
slh, v. 38b my, v. 49a
’p, v. 44a
slh, v. 46b
slh, v. 49b

’mrty, v. 3a ’ny, v. 28a
’p, v. 12a imperative: zkr, v. 48a
w- beginning of line, v. 24a ’ny, v. 48a
hw’, v. 27a imperative: zkr, v. 51a

vv. 2–3: h.sd, vv. 2a.3a
} chiasmus
‘wlm, vv. 2a.3a
’mwntk b-, vv. 2b.3b (exactly linear)
vv. 6–7: yhwh, vv. 6a.7a (exactly linear); see also yhwh in v. 7b
bqhl qdšym/bbny ’lym, vv. 6b and 7b resp. (epiphora)
vv. 8–9: ’l (‘God’)/’lhym, vv. 8a and 9a resp.
sbyb, vv. 8b.9c! (epiphora)
vv. 10–11: ’th, vv. 10a.11a (anaphora); see also ’th in v. 10b
prep. b-, vv. 10b.11b (exactly linear); see also b- in v. 10a
vv. 12–13: ’th, vv. 12b.13a
vv. 14–15: ymynk/pnyk, vv. 14b and 15b resp. (alliter.; epiphora)
vv. 18–19: ky, vv. 18a.19a (anaphora)
w-, vv. 18b.19b (exactly linear)
suffix -nw (first person plural), vv. 18b.19b (epiphora); see
also -nw in v. 19a!
vv. 23–24: ’wyb bw/s.ryw . . . mśn’yw , vv. 23a and 24 resp. (cf. v. 43)
vv. 25–26: w- beginning of the colon, vv. 25a+b.26a+b (anaphora)
suffix -w end of the colon, vv. 25a+b.26a+b (epiphora); note
qrnw/ymynw (‘alliter.’)
vv. 29–30: l‘wlm/l‘d, vv. 29a and 30a resp.
iii.17 psalm 89 467

vv. 31–32: ’m, vv. 31a.32a (anaphora)
w- + l’ ylkwn/yšmrw, vv. 31b.32b (exactly linear)
vv. 33–34: w- beginning of the colon, vv. 33a+b.34a+b (anaphora)
‘wnm/b’mwnty, vv. 33b and 34b resp. (epiphora)
vv. 35–36: ’šnh (‘I change’)/’kzb (‘I lie’), vv. 35b and 36b (epiphora)
vv. 37–38: ‘wlm, vv. 37a.38a
vv. 41–42: kl, vv. 41a.42a (linear)
vv. 43–44: hrymwt/hqymtw, vv. 43a and 44b resp. (alliter.)
vv. 47–49: mh, vv. 47a.48a+b!; see also my in v. 49a
vv. 50–52: ’dny (vocative), vv. 50a.51a!; see also yhwh (voc.) in v. 52a
root h.rp, vv. 51a.52a+b

vv. 2–5 (I.1.1): ‘wlm, vv. 2a+3a.5a (inclusion)
ldr wdr, vv. 2b.5b! (inclusion)
root bnh, vv. 3a.5b!
} chiasmus (linear)
root kwn (hiph‘il), vv. 3b.5a
vv. 6–9 (I.1.2): yhwh, vv. 6–7.9a; see also yh in v. 9b (inclusion)
’mwntk, vv. 6b.9c (inclusion)
} chiasmus
bqhl/bswd qdšym, vv. 6b.8a (linear)
my, vv. 7a.9b (linear)
} chiasmus
’l (‘God’), vv. 7b.8a (concatenation)
vv. 10–15 (I.2.1): ’th, vv. 10–11.12b+13a (concatenation)
zrw‘, vv. 11b.14a
root ‘zz, vv. 11b.14b
lk, vv. 12a (2×).14a (!; anaphora)
ymyn, vv. 13a.14b (concatenation)
vv. 16–19 (I.2.2): yhwh, vv. 16b.19a (inclusion)
} chiasmus
root rwm, vv. 17b.18b (concatenation)
vv. 20–22 (II.1.1): ‘zr (so MT)/zrw‘y, vv. 20c and 22b resp. (alliter.)
vv. 27–30 (II.1.3): ’rs./šmym, vv. 28b and 30b (epiphora; cf. v. 12a)
vv. 39–42 (III.1.1): root ‘br, vv. 39b.42a! (inclusion)

vv. 2–9 (I.1): yhwh, vv. 2a.6–7+9a
roots šyr/ydh (hiph‘il), vv. 2a and 6a resp. (linear)
’mwntk, vv. 2b+3b.6b+9c
} chiasmus
šmym, vv. 3b.6a (linear)
vv. 10–19 (I.2): ’th, vv. 10–13.18a

root ‘zz, vv. 11b+14b.18a!
bšmk, vv. 13b.17a(!)
yrnnw/qrnnw, vv. 13b and 18b resp. (alliter.)
root rwm, vv. 14b.17b+18b (concatenation)
.sdq, vv. 15a.17b! } chiasmus (concatenation)
pnyk, vv. 15b.16b(!)
vv. 20–30 (II.1): root ‘lh, vv. 20c.28b (linear)

root rwm, vv. 20d.25b
bh.wr/bkwr, vv. 20d and 28a resp. (alliter.; linear)
yd, vv. 22a.26a
} chiasmus (linear);
‘mw (‘with him’), vv. 22a.25a
see also ymyn in v. 26b
’p, vv. 22b.28a
zrw‘y/zr‘w, vv. 22b and 30a resp. (alliter.; linear)
root ’mn, vv. 25a.29b
} chiasmus (linear); see also
h.sdy, vv. 25a.29a
h.syd in v. 20b
wśmty, vv. 26a.30a (!; exactly linear)
vv. 31–38 (II.2): ’m, vv. 31a+32a.36b!

} chiasmus (linear)
root h.ll (pi‘el), vv. 32a.35a
root ’mn, vv. 34b.38b (epiphora)
vv. 39–46 (III.1): l’rs., vv. 40b.45b(!)

kl, vv. 41a+42a.43b (concatenation)
h.rph/bwšh, vv. 42b and 46b resp. (linear)
vv. 47–52 (III.2): ‘d mh yhwh/’yh . . . ’dny, vv. 47a and 50a resp. (ana-
phora)
yhwh (vocative), vv. 47a.52a (inclusion)
root zkr, vv. 48a.51a! (exactly linear)
kl, vv. 48b.51b (exactly linear)

vv. 2–19 (Canto I): h.sd, vv. 2a+3a.15b (linear)
’šyrh/’šry, vv. 2a and 16a resp. (alliter.; symmetric)
root yd‘, vv. 2b.16a! (symmetric)
ky, vv. 3a+7a.18a+19a!
šmym, vv. 3b+6a.12a
iii.17 psalm 89 469
root kwn, vv. 3b+5a.15a (linear)

ks’k, vv. 5b.15a (!; linear)
yhwh (inclusion), vv. 6–9.16–19 (linear); see also
yhwh in v. 2a
’p, vv. 6b.12a (symmetric)
root ’mn, vv. 6b+9c.15b (symmetric)
root qdš, vv. 6b+8a.19b (linear)
rbh/rhb, vv. 8a and 11a resp. (allit.; symmetric)
kl, vv. 8b.17a (linear)
vv. 20–38 (Canto II): dwd, vv. 21a.36b

prep. b- + qdšy, vv. 21b.36a(!)
root kwn, vv. 22a.38a
‘mw (‘with him’), vv. 22a+25a.34a
’mwnty, vv. 25a.34b(!)
} chiasmus
wh.sdy, vv. 25a.34a
l‘wlm, vv. 29a.37a
} chiasmus (linear); see also
zr‘w, vv. 30a.37a
‘wlm in v. 38a and l‘d in v. 30a
root šmr, vv. 29a.32b! (concatenation)
bryty, vv. 29b.35a(!)
root ’mn (niph‘al), vv. 29b.38b(!)
} chiasmus
wks’w k-, vv. 30b.37b(!)
(linear)
‘d/‘d (‘witness’ ?), vv. 30a and 38b resp. (linear)
kymy šmym/kšmš . . . kyrh., vv. 30b and 37b–38a
resp. (linear)
vv. 39–52 (Canto III): ht‘brt/tb‘r, vv. 39b and 47b resp. (alliter.; exact-
ly linear)
mšyh.k, vv. 39b.52b!
‘bd + suff. -k, vv. 40a.51a!
kl, vv. 41–43.48b+51b
mh.th/h.mtk, vv. 41b and 47b resp. (alliter.)
root h.rp, vv. 42b.51–52!

vv. 2–9.20–30.39–46: h.sdy yhwh . . . ’mrty/lh.sydyk wt’mr, vv. 2a+3a and
20b resp.! (anaphora); see also h.sd in v. 3a
bryt, vv. 4a.40a (cf. bryty in § 17.4.4)
root bh.r, vv. 4a.20d!
dwd ‘bdy, vv. 4b.21a! (third line of the canto);

see also ‘bd + suffix -k in vv. 40a and 51a
’l (‘G/god’), vv. 7b+8a.27b!
nzr, vv. 20c*.40b!
hrymwty/hrymwt, vv. 20d.43a (root rwm
[hiph‘il]; note the alliteration)
’wyb, vv. 23a.43b
} chiasmus (cf. ’wybyk below)
.sryw, vv. 24a.43a!
root śym, vv. 26a+30a.41b!
.swr, vv. 27b.44a!
wks’w, vv. 30b.45b (linear)
ymym, vv. 30b.46a (!; last line of the sub-canto)
vv. 10–19.31–38.47–52: root h.ll, vv. 11a.32a (second line of the sub-
canto); see also v. 35a
’wybyk, vv. 11b.52a(!)
br’t, vv. 13a.48b!
mšpt., vv. 15a.31b!
yhwh (inclusion), vv. 16–19.47–52
root hlk, vv. 16b.31b!
root šb‘ (niph‘al) + ldwd, vv. 36a+b.50b
(third line from the end of the canto)
vv. 10–19.20–30, concat.: ym, vv. 10a.26a!

zrw‘, vv. 11b+14a.22b!
’wyb, vv. 11b.23a
šmym . . . ’rs./’rs. . . . šmym, vv. 12a and 28b
+30b resp. (!; chiasmus)
gbwr(h), vv. 14a.20c
yd . . . ymyn, vv. 14b.26!
pnym, vv. 15b+16b.24a!
root rwm + qrn, vv. 18b.25b!
mlk, vv. 19b.28b!
vv. 2–9.47–52, inclusion: h.sdy yhwh/h.sdyk, vv. 2a and 50a resp.

’mwntk + prep. b-, vv. 2–3.50b(!); see also
’mwntk in vv. 6b and 9c
root šb‘ (niph‘al) + ldwd, vv. 4b.50b (third
line from the beginning and the end)
bny ’lym/bny ’dm, vv. 7b and 48b resp.
root rbh, vv. 8a.51b!
iii.17 psalm 89 471

’p (v. 44), ’th (vv. 27.39), prep. b-, bn (vv. 23.31), root gbr (v. 49), zr‘
(v. 5), root h.ll (v. 40), yd (v. 49), ywm (v. 17), ymyn (v. 43), prep. k- (vv.
9.11.47), suffix -k, prep. l-, l’ (vv. 23 [2×].34 [2×].35 [2×].44.49), my (v. 49),
mšh. (v. 21), prep. ‘l (vv. 8.46.48), ‘m (‘with’; vv. 14.39), pnym (v. 24), šm
(‘name’; v. 25)

’ny (vv. 28.48), ’šr (vv. 22.52 [2×]), root nś’, ‘d (vv. 30.47), ‘m (‘people’;
vv. 16.20.51), bšh.q (vv. 7.38†; Condamin, p. 166)

Psalm 89 is composed of 25 strophes, 52 (= 2×26) verselines and 105
(= 15×7) cola.1 Vv. 25–26 constitute the central strophe (> 12+1+12
strophes). To put it otherwise, vv. 25–26 is ‘embraced’ by 2×13 strophes,
because vv. 2–26 and vv. 25–52 both have 13 strophes. The strophe in
question represents a meaningful core: the Davidic king will rule the waves.
The strophe is made up of 11 words, symbolically representing the idea of
fulfilment (vv. 45–46 is another strophe in this poem consisting of 11 words).
V. 26b is the pivotal colon (> 52+1+52 cola).
Structure of strophes and cantos in terms of words: 18+14|17+18||16+
17+16|14+13|||12+13|13+11|14+13||13+12|13+12|||12+13|13+11||30+24
= 32+35|49+27||25+24+27|25+25||25+24|54 = 67+76|76+50|49+54 = 143
+126+103 (= 372 = 31×12 words in total).2 The 143 = 11×13 words of
Canto I probably symbolize the ‘fullness’ (11) of the praise of God as ‘One’
(’h.d ; 13). Canto II has 126 = 18×7 words. The oracle in Canto II is
made up of 126–5 = 121 = 11×11 words (v. 20a–b is an introduction).
The square of eleven may rhetorically underline that God will ‘fulfil’ his
promises to David.
De divine name, yhwh, occurs 9×: vv. 2, 6, 7 (2×), 9, 16, 19, 47 and
52; see also yh in v. 9 and ’dny (‘Lord’) in vv. 50 and 51. The designation
’l for God occurs 2×: vv. 8 and 27; in v. 9 it is ’lhym. See also ’lym (‘gods’)
in v. 7.
1
Fokkelman (MPHB III) has also 52 verselines and 105 cola.
2
For a different distribution of the 372 words over the strophes and the canticles, see

Köster (1837): 2–5.6–9.10–15.16–19.20–25.26–29.30–32.33–35.36–38|
39–42.43–46.47–52 (4.4.6.4.6.4.3.3.3|4.4.6 verses)
De Wette (1856): 2–5|6–9.10–12.13–15.16–19|20–23.24–26.27–29.30–32.
33–35.36–38|39–42.43–46|47–49.50–52 (‘Es lassen sich dem Sinne
gemäss Strophen von vier und drei Versen bilden’ [p. 462])
Ewald (1866), pp. 452–58: 2–6.7–19|20–38|39–52 (‘Ein bau nach wenden
lässt sich hier nicht entdecken’ [p. 453])
Ley (1875), pp. 257–61: 2–5.6–9.10–13.14–19|20–23.24–28.29–33.34–38|
39–42.43–46.47–49.50–52
Delitzsch (1894): 2–3.4–5|6–7.8–9|10–11.12–13.14–15|16–17.18–19|20–21.
22–23|24–26.27–28.29–30|31–32.33–34.35–36.37–38|39–40.41–42.
43–44.45–46|47–49.50–52
Zenner (1896), pp. 28–30: 2–5|6–9||10–11.12–13||14–16|17–19||20.21–22.
23–24.25–26.27–28.29–30||31–34|35–38||39–40.41–42.43–44.45–46||
47–49|50–52 (4.4|4|3.3|12|4.4|8|3.3 lines)
Hontheim (1897): 2–5|6–9||10–11.12–13.14–15.16–17.18–19||20–28|29–38||
39–40.41–42.43–44.45–46||47–49|50–52 (4.4|10|10.10|8|3.3 lines; ZThK
[1897], pp. 329–33); similarly Zenner (1906), pp. 257–62
Briggs (1907): 2–3.6–7.8–9.10–11.12–13.14–15 (6×4 cola); 18–19.20.21–22.
4–5|23–24.25–26.27–28.29–30|31–32.33–34.35–36.37–38|39–40.41–42.
43–44.45–46 (4×4|4×4|4×4|4×4 cola); 47–49.50–52 (6.6 cola)
Berkowicz (1910), pp. 12–18: 2–5.6–9|10–13.14–17|18–19|||20–22|23–26.
27–30|31–34.35–38||39–42.43–46|47+50–52 (8.8|8.8|4|||8|8.8|8.8||8.8|8
cola); cf. Grimme (1902), p. 162 (with reference to Bickell)
Szczygiel (1913), p. 130: 2–19.20–38.39–52 (3× ‘zwei Distrophen’); cf. NAB
(1970) and Kraus (1978)
Duhm (1922): 2–3.4–5.6–7. . . 18–19 (9×2 bicola); 20.21–22.23–24. . . 45–46.
47+50.51–52 (16×2 bicola; vv. 48–49 ‘Zusatz’)
Gunkel (1926): 2–3.[4–5.]6–7.8–9.10–11.12–13.14–15.16–17.18–19; 20.
21–22.23–24.25–26.27–28.29–30.31–32.33–34.35–36.37–38; 39–40.
41–42.43–44.45–46; 47–48.49–50.51–52
Condamin (1933), pp. 160–66: 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|29–30.31–32.33–34.35–36.37–38||
39–40.41–42.43–44.45–46||47–49.50–52 (2.2|2.2||5×2||5×2|5×2||4×2||
3|3 lines); cf. Zenner (1906)
Calès (1936): 2–5|6–9.10–15.16–19|20–22.23–26.27–30.31–34.35–38|39–42.
43–46.47–49.50–52 (2.2||2.2|2.2.2|2.2||2.2|2.2|2.2|2.2|2.2||2.2|2.2|3|3
lines; note p. 141); cf. Berkowicz (1910)
Herkenne (1936): 2+6|7–9.10–11.12–13.14–15|16–19||20a+3–5|20b–28|
iii.17 psalm 89 473
29–38||39–46||47–52
Böhl (1947): 2–5.6–9.10–13.14–19.20–25.26–30.31–38.39–46.47–52
Pannier/Renard (1950): 2–5.20–38.39–52; 6–19
Kissane (1954): 2–7.8–15.16–22.23–30.31–38.39–46.47–52 (6.5×8.6)
Podechard (1954): 2–3[.4–5]|6–7.8–9|10–11.12–13.14–15[.16–19]||20.21–22.
23–24.25–26.27–28|29–30.31–32.33–34.35–36.37–38|39–40.41–42.
43–44.45–46||47–49.50–52 (6×2 bicola||14×2 bicola||2×3 bicola)
Ward (1961), pp. 321–27: 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|31–32.33–34|35–36.37–38||
39–40.41–42|43–44.45–46||47–49.50–52 (the four-line ‘strophes’ are
composed of ‘paired couplets’ throughout [p. 326]); cf. Calès (1936)
Dumortier (1972): 2–3.4–5|6–9.10–15.16–19|20a–b.20c–28.29–38 (vv.
29–30.31–32.33–34.35–36.37–38 > a.b.c.b’.a’)
Jacquet (1977): 2–3|6–7.8–9.10–11.12–13.14–15.16–17|18–19|20.21–22.4–5.
23–24.25–26.27–28.29–30.31–32.33–34.35–36.37–38|39–40.41–42.
43–44.45–46|47–49.50–52 (2|6×2|2|11×2|4×2|3.3 bicola)
TOB (1978): 2–3.4–5.6–7.8–9.10–11.12–13.14–15.16–17.18–19.20–22.23–24.
25–26.27–28.29–30.31–34.35–38.39–40.41–42.43–44.45–46.47–49.50–52
Beaucamp (1979): 2–3 4–5||6|7–9.10–12.13–15|16||17–18a.18b–19||20c–21+
25–26.27–30|31–34.35–38|39–42.43–46 47–49.50–52 (4 4||2|6.6.6|2||
3.3||8.8|8.8|8.8 6.6 cola); cf. Beaucamp (1968), p. 212
Ravasi (1985), pp. 832–37: 2–5||6–19.20–38.39–52||53
Tate (1990): 2–3|4–5|6–15.16–19|20–28.29–38|39–46.47–52 (A.B.A’B’.C;
note pp. 413–16)
Floyd (1992): 2–5.6–15.16–19|20–38.39–46|47–49.50–52
Girard (1994): 2–5.6–11.12–19|20.21–22.23–24.25.26–28|29–30.31–33.
34–38||39–41.42–43.44–47|48–49.50.51–52 (a.a’.a’’|b.c.d.b’.c’|e.f.e’||
g.h.g’|i.k.i’)
Auffret (1995): 2–5.6–15.16–19.20–38|39–46|47–52; similarly Caquot (1993)
Hossfeld/[Zenger] (2000): 2–5.6–9.10–13.14–15.16–19|20–26.27–28.29–35.
36–38|39–46.47–52 (vv. 4–5, 36–38 and 48–49 are later insertions)
Fokkelman (2003), pp. 160–72: 2–3.4–5|6–8.9–11||12–13.14–15|16–17.
18–19|||20–21.22–24|25–26.27–28||29–30.31–33|34–36.37–38|||39–40.
41–42|43–44.45–46||47–49.50–52 (2.2|3.3||2.2|2.2|||3.3|2.2||2.3|3.2|||
2.2|2.2||3.3 lines; vv. 2–5.6–11|12–15.16–19 > a.b|b’.a’)
Terrien (2003): 2–5.6–8|9–12.13–15|16–19.20–21|22–25.26–28|29–32.33–35|
36–39.40–42|43–46.47–49 50–52 (7×[4+3] lines + vv. 50–52 [3 lines])
Weber (2003): 2–5 6–9.10–12.13–15.16–19|20–22.23–26.27–30.31–34.35–38|
39–42.43–46.47–49.50–52 (8 28.40.28 cola; vv. 2–5 4.5.4 strophes; vv.
2–5 A.B.A’; vv. 6–19 > a.b.b’.a’; vv. 20–38 > c.d.e.d’.c’); cf. Calès
Steymans (2005), pp. 448–49: 2.3–5.6–19|20–38|39–46.47–49.50–52 (7.20.70|

95|37.20.16 ‘Kola’; a.b.c|d|c’.b’.a’; ‘bedeutet jedoch nicht, daß der
Psalm . . . keine redaktionellen Ergänzungen erfahren hätte.’ [p. 303])

From the end of the nineteenth century onwards the rhetorical compo-
sition of Psalm 89 has attracted the attention of scholars investigating
the ‘strophic’ structure of Hebrew poetry.3 Calès (p. 141) notices that
the adherents of Zenner’s strophic theory used this psalm to demonstrate
‘une de ses applications les plus manifestes’.4 Therefore, it is not sur-
prising that Zenner, Hontheim and Condamin have reached comparable
conclusions with regard to its framework.5 Berkowicz, a follower of D.H.
Müller’s strophic theory, also speaks highly of this psalm: ‘Der tadellose
symmetrische Bau dieses Psalms, der auch in stilistischer Beziehung keine
Schwierigkeiten bietet, die kunstvolle Durchführung seiner Strophentech-
nik . . . berechtigen uns zu der Behauptung, daß die Responsion ein hervor-
ragender Faktor der hebräischen Strophentechnik ist’ (1910, p. 17).6 This
attention to the structure of Psalm 89 is fully comprehensible when we
realize that the poem abounds with formal devices like responsion, in-
clusion, anaphora and epiphora supporting a high degree of regularity on
all macrostructural levels starting with the strophe. ‘Peu de poèmes du
psautier sont aussi achevés quant à la forme littéraire et poétique’ (Calès).
17.7.1 The internal composition of the cantos

Psalm 89 is composed of three main sections (cantos) which are clearly
distinguished from each other on the basis of their individuality in terms
of literary genre: vv. 2–19 (a hymn of praise), 20–38 (a divine oracle) and
39–52 (a complaint); cf. § 17.2. This individuality is very specific. There-
fore, in the past it has sometimes been suggested that we are dealing with
a secondary compilation of different (liturgical) elements.7 ‘Dank der Ent-
deckung der internen Vernetzung im Psalm tendiert die neuere Exegese zur
Feststellung der Einheitlichtkeit’ (Hossfeld/[Zenger], p. 581).8 From a the-
3
See Zenner, Hontheim, Berkowicz and Condamin in § 17.6.
4
For Zenner’s strophic theory, see CAS I, Ch. I, 2.2 (pp. 26–30).
5
In this respect, Condamin (1933, p. 166 n. 1) also mentions H. Pérennès (Les
Psaumes, 1922).
6
For Müller’s strophic theory, see CAS I, Ch. I, 2.1 (pp. 22–26).
7
See, e.g., Briggs, Duhm, Gunkel and Pannier/Renard in § 17.6.
8
On the basis of the strophic structure of Psalm 89, Condamin (1933, p. 166) has
already noted: ‘Peut-on voir dans ce tout harmonieux l’oeuvre d’un compilateur, qui
iii.17 psalm 89 475
matic point of view, God’s loyalty to the Davidic dynasty is the unifying
element. And notwithstanding the concluding complaint about God forsak-
ing this loyalty (vv. 39–52; Canto III), we are dealing with an ‘intelligible
unity’ (Ward [1961], p. 323).9 This claim is substantiated by an analysis
of the structure of Psalm 89 in terms of cantos, sub-cantos, canticles and
strophes.
Each canto divides into two sub-cantos. Canto I divides into vv. 2–9 and
10–19. In their turn, these sub-cantos are composed of two canticles: vv.
2–5.6–9 (Sub-canto I.1) and vv. 10–15.16–19 (Sub-canto I.2).10 The latter
subdivision is, among other things, based on a ‘crossed symmetry’ which
simultaneously determines the coherence of Canto I as a whole. From
a thematic point of view, we are dealing with a symmetric pattern: vv.
2–5.6–9|10–15.16–19 > a.b|b’.a’. Vv. 2–5 and 16–19 (the a-canticles) are
about the praise the psalmist sings to God for his faithfulness to the Davidic
dynasty (I.1.1) and the joy of the people for the protection by their heavenly
King (I.2.2) respectively.11 The b-canticles (vv. 6–9 and 10–15) are a hymn
on God’s incomparability in the heaven above (vv. 6–9) and on his power as
Creator of the earth below (vv. 10–15).12 This symmetry is supported by
some ‘verbal’ correspondences; see § 17.4.4 (note ’šyrh/’šry and the root yd‘
[‘to know’]). However, from this formal perspective, the linearly alternating
parallelism between the canticles is more powerful: vv. 2–5.6–9|10–15.16–19
> a.b|a’.b’; see once again § 17.4.4. In addition, the boundaries of Canticles
I.1.1 and I.1.2 are highlighted by the device for inclusion; see ldr wdr (‘for
all generations’) in vv. 2–5 and ’mwntk (‘your faithfulness’) in vv. 6–9.
In Canticle I.1.2 the inclusion is buttressed from the perspective God is
aurait ajusté, tant bien que mal, trois poèmes d’origine différente, cousus de gloses?’
9
For more advocates of the view that the entire psalm was composed as a coherent
unity, see Clifford (1980), Girard (1994), Auffret (1995), Renaud (1995) and Barbiero
(2007). In my opinion, however, the concluding doxology v. 53 is not an integral part of
the original composition (contra Barbiero).
10
For this canticle division, see also Köster (1837), Delitzsch (1894), Calès (1936) and
Dumortier(1972) in § 17.6.
11
Note the name of David (preceded by the preposition l-) in v. 4b (internally parallel
with lbh.yry in v. 4a) and the word ‘king’ in v. 19b. The preposition l- in lyhwh and
wlqdwš (v. 19a+b) is emphatic: ‘truly, the Lord is our shield // and the Holy One of
Israel is our king’ (so Dahood, Dumortier [1972, pp. 184–85] and Tate).
12
See § 17.2 and cf. Fokkelman (MPHB III), pp. 160–61: ‘Thus, the difference between
A and B in the model is that of specific and general’. For Fokkelman’s ‘model’, see § 17.6;
contra Weber, who argues for the symmetric structure of vv. 6–19 (see § 17.6). V. 15,
which together with v. 14 forms a 2-line strophe (see below), paves the way for vv. 16–19
(Canticle I.2.2); see .sdq (‘righteousness’) and pnyk (‘your face’) in § 17.4.3. For the idea
of God’s incomparability, see C.J. Labuschagne, The Incomparability of Yahweh in the
Old Testament, Leiden: Brill, 1966.
referred to: in vv. 6 and 9 the psalmist adresses God in the second person,
while in vv. 7–8 he speaks about God in the third person.13
The relative individuality of Sub-cantos I.1 and I.2 (vv. 2–9 and 10–19)
especially comes to light in the description of their verbal recurrences; see
§ 17.4.3 and note ’mwntk (‘your faithfulness’) in vv. 2–9, and for vv. 10–19
the root ‘zz (‘to be strong’), .sdq (‘righteousness’) and pnyk (‘your face’).
Moreover, the tricolon (v. 9) formally concludes Sub-canto I.1 because it is
the only tricolon amidst an uninterrupted series of bicola.14 As regards the
end of Sub-canto I.2 (vv. 10–19), throughout this sub-canto the psalmist
addresses God in the second person, apart from the concluding verseline
(v. 19) where God is spoken about in the third person (in the first verseline
of Canto II, v. 20a–b, God is once again the second person). This sudden
and temporary switch in the way God is referred to is a formal device
marking the end of a main poetic section.15
After a verseline introducing the direct speech (v. 20a–b), Canto II
stands out in the poem as the quotation by the psalmist of a divine oracle.
Like Canto I, the second canto is composed of two sub-cantos, vv. 20–30 and
31–38. In Sub-canto II.1 (vv. 20–30) God speaks about his election of David
(I.1.1), David’s rule over the world (I.1.2) and the intimate relationship
between God and his chosen (I.1.3). The sub-canto culminates in a strophe
in which God underlines the everlasting character of his covenant with
David (vv. 29–30).
Sub-canto II.2 (vv. 31–38) as a whole focusses on the endurance of
this covenant by emphasizing that God will not change his mind (vv. 35–
38; II.2.2) even if David’s offspring would forsake Him (vv. 31–34; II.2.1).
Note the cluster of the negation l’ (‘not’) we find in this sub-canto: vv.
31b, 32b, 34a+b and 35a+b; see also ’m in v. 36b. Once again, the sub-
13
For switches like this functioning as a formal marker of a rhetorical boundary, see
also the following paragraph.
14
For the colometric structure of vv. 8–9, see CAS I, Ch. V, 6.3 (pp. 533–35).
15
For this device for closure, see Pss. 13,6c–d 63,12 and 90,17a; in the psalms con-
cerned the poet consistently addresses God in the second person, while in the concluding
verseline only he abruptly speaks about God in the third person; in this respect, cf. also
Ps. 73,28a–b. In Psalms 30, 44 and 71, the switch in the way God is referred to marks
the end of a canto or a sub-canto, as is the case in Ps. 89,19; see Pss. 30,5–6 (the end
of Canto I), 44,9a (the end of Canto II) and 71,16a (the end of Canto II). In the first
sub-canto of Psalm 89 (vv. 2–9) we find a remarkable alternation of cola in which the
poet speaks about God (vv. 2a, 3a, 7 and 8) and cola in which he straightforwardly
addresses God in the second person (vv. 2b, 3b, 6 and 9); for the structural meaning of
this alternation in vv. 6–9, see above. In Canto III the psalmist once again consistently
addresses God in the second person.
The preceding observations militate against the subdivision of vv. 2–19 by Girard and
Fokkelman, who take vv. 6–11 as a relative individual section; see § 17.6.
iii.17 psalm 89 477
canto culminates in a strophe which is explicitly about the endurance of

the Davidic dynasty (vv. 37–38). That is to say, vv. 29–30 and 37–38
constitute a ‘refrain strophe’ at the end of successive sub-cantos formally
supporting the bipartite division of Canto II. For the conspicuous cluster
of responsions reinforcing this external parallelism, see § 17.4.4.16
The sub-cantos of Canto II display a linearly parallel development of
ideas and within this parallelism between vv. 20–30 and 31–38 Sub-canto
II.2 (vv. 31–38) functions as a reinforcement of Sub-canto II.1 (vv. 20–30).
In this way, the poet gradually builds up to a climax. And this climax is
to be found in vv. 35–38 elaborately emphasizing that God will not change
his mind with regard to the endurance of the Davivic dynasty.17
The boundaries of Canto III (vv. 39–52) are marked by a characteristic
device for inclusion; note mšyh.k (‘your anointed’) in vv. 39 and 52. This
morpheme is the final word of the first and the concluding verseline of the
canto.18 In terms of ideas, there is a sharp contrast between the complaint
about God’s failing to fulfil the covenant with David (Canto III) and the
preceding cantos in which the psalmist speaks highly of this bond, culmi-
nating in vv. 35–38. Once again, the canto divides into two sub-cantos, vv.
39–46 and 47–52. In Sub-canto III.1 (vv. 39–46) the psalmist objectively
describes what is going on in the kingdom of David: God has ruined all his
16
Similarly Berkowicz (1910), p. 17, and cf. Beaucamp (1979) in § 17.6. My interpre-
tation of vv. 29–30 and 37–38 as a concluding refrain strophe is at odds with the division
of vv. 20–38 by Hontheim, Zenner (1906), Condamin, Dumortier (pp. 190–91), Girard,
Fokkelman and others. They divide Canto II into two regular sub-sections of 10 and
10 verselines, vv. 20–28 and 29–38. For Hontheim c.s. the balance of the 10+10 verse-
lines is connected with their interpretation of vv. 20–28 and 29–38 as a ‘Strophe’ and a
‘Gegenstrophe’. From Dumortier onwards scholars take the refrain strophe (vv. 29–30
and 37–38) as an element in the concentric framework of vv. 29–38; see also Clifford
(1980), pp. 45–46.
17
This phenomenon of ‘reinforcement’ or ‘intensification’ where two successive rhetor-
ical units are concerned is a general characteristic of Hebrew poetry; see also the total
structure of Psalm 88 (§ 16 above). Therefore, I cannot appreciate Weber’s view either,
when he assumes that vv. 20–38 as a whole displays a concentric framework in which
vv. 27–30 form the structural centre and thematic climax (2003, p. 113); cf. § 17.6.
Although the interpretation of the function of the semantic correspondences and the
verbal repetitions structuring vv. 20–38 varies, scholars approaching our poem from a
rhetorical perspective generally agree that we are dealing with a coherent whole. In this
light, it is perplexing to note that Hossfeld (Hossfeld/[Zenger], pp. 582–83 and 594–95)
tries to discredit vv. 36–38, among other things on the basis of the reference to an ‘oath’
(v. 36; also explained away in vv. 4–5), as a later insertion (‘Die besagten V 36–38 fallen
aus dem Duktus heraus und klappen nach’). It is clear that there is still a wide gap
between some forms of current (especially German) exegesis and the rhetorical approach
to Hebrew poetry.
18
For this particular device for inclusion, cf. e.g. Psalms 45,2–10 (Canto I) and 47,2–6
(Canto I); for a more comprehensive overview, see CAS I, Ch. V, 3.4 (pp. 483–87).
fortifications (vv. 39–42; III.1.1) and he has made his enemies overpowering
it (vv. 43–46; III.1.2). Sub-canto III.2 (vv. 47–52) is an emotional prayer
from distress urging God to help his poor people. From a formal point
of view, the relative individuality of the prayer is buttressed by the inter-
rogative pronouns which abound in this sub-canto; see ‘d mh (‘how long?’,
v. 47), mh (‘how?’, v. 48), my (‘who’, v. 49) and ’yh (‘where?’, v. 50). The
cluster of vocative forms by which the supplicant addresses God further dis-
tinguish this sub-canto from vv. 39–46 (Sub-canto III.1); see yhwh vocative
marking the boundaries of vv. 47–52 and ’dny vocative in vv. 50–51.
17.7.2 The relationship between the successive cantos

The coherence of the composition—including vv. 39–52 (Canto III)—is
unambiguously revealed by the linearly alternating pattern of verbal rep-
etitions, responsions, uniting the successive cantos: vv. 2–9.10–19|20–30.
31–38|39–46.47–52 > A.B|A’.B’|A’’.B’’; see § 17.4.5.19 In this respect, it
is also to be noted that Sub-cantos I.2 and II.2 open with a strophe dis-
playing a special device for anaphora. The beginning of Sub-canto I.2 is
marked by the repetition of the personal pronoun ’th (‘you’; vv. 10–11), the
beginning of Sub-canto II.2 by the repetition of ’m (‘if’; vv. 31–32). This is
remarkable, because both words begin with an ’aleph, the first letter of the
alphabet; this form of anaphora does not feature elsewhere in the poem.20
In addition, Cantos I and II end on a strong note. The concluding verseline
of Canto I (v. 19) is an exclamation praising God as Israel’s king (for this
interpretation, see § 17.7.1 above and cf. Renaud [1995], p. 422). The con-
cluding enigmatic colon of the second canto, ‘and the witness in the clouds
is faithful’ (v. 38b), is to be considered a final assurance of the reliability
of God’s oath.21
Simultaneously, there is very specific cluster of correspondences connect-
ing vv. 10–19 and 20–30; see once again § 17.4.5. These correspondences
bring to light that God grants his qualities of powerfully resisting his ene-
mies and protecting his people, praised in Sub-canto I.2 (vv. 10–19), to his
earthly representative, chosen according to Sub-canto II.1 (vv. 20–30); see,
19
For an overview of the distribution of key words in major divisions of our psalm, see
also Ward (1961), p. 339, and further Renaud (1995), p. 427.
20
Cf. also ’šry (‘happy’) at the beginning of Canticle I.2.2 (v. 16) and ’z (‘then’) at
the beginning of Canto II (v. 20).
21
For an elaborate discussion of this colon, see Tate (pp. 424–27; ‘Yahweh is under
obligation to keep the terms of his oath’). The sudden break-up of the parallelism
between two successive cola in v. 38 is a formal device for closure; cf. CAS I, p. 105 n. 6
with regard to Ps. 2,12c (contra Veijola [1988] and Tate [p. 425] who take vv. 37–38a as
a tricolon and v. 38b as a monocolon).
iii.17 psalm 89 479
e.g., ym (‘sea’) in vv. 10 and 26.22

Finally, the fundamental coherence of the psalm as a whole is underlined
by some very specific verbal recurrences we find especially in vv. 2–5 and
50–52 marking the boundaries of this compositon; see once again § 17.4.5
(inclusion) and note the unique combination ’mwntk b- and nšb‘t(y) ldwd.23
The inclusion concerned is enhanced by the phenomenon that only at the
very beginning of the psalm (vv. 2–3) and in the last strophes (vv. 48 and
51) the psalmist speaks of himself in the first person.
The length of the successive sub-cantos in terms of verselines displays
a specific pattern: vv. 2–9.10–19|20–30.31–38|39–46.47–52 > 8.10|12.8|8.6
lines. Within this pattern, the number eight determines the number of the
verselines of alternately the first, the second and the first sub-canto of the
main cantos, vv. 2–9, 31–38 and 39–46.24 This ‘semi-symmetric’ pattern in
terms of verselines is partially reinforced on word level because vv. 10–19
and 20–30 consist of 76 words each (see § 17.5).
17.7.3 The lower levels of the strophes and the canticles

Our psalm is almost totally composed of bicolic verselines (cf. Psalm 88).
Only the concluding verseline of Sub-canto I.1 (v. 9) is a tricolon. In
most cases, the poetic verselines coincide with the Masoretic verse division.
Only v. 20 represents two bicola. From v. 2 onwards, these verselines form
an uninterrupted and long series of 2-line strophes until v. 46 (cf. once
again Psalm 88). This rigid application of one and the same strophic unit
structuring almost fifty verselines is especially indicated by the numerous
phenomena of anaphora and epiphora; see § 17.4.1 and note sbyb (‘around’)
in vv. 8–9 (epiphora), ’th (‘you’) in vv. 10–11 (anaphora) et cetera.25 For
the strophic framework of vv. 6–9, see also qdšym (‘holy ones’) and my
(‘who’) in § 17.4.2 supporting the linear parallelism between vv. 6–7 and
22
About the correspondences of the qualities concerned, see further Dumortier (1972),
pp. 187–89 (‘les promesses diverses qui concrétisent “l’élection” royale, ne sont que l’écho
à peine affabli des manifestations de la puissance divine’; p. 187).
23
The conspicuous correspondences between the beginning and the end of the psalm
form another indication of the rhetorical unity of vv. 2–5. That is to say, the oracle vv.
4–5 is not a stray element in the praise of God characterizing Canto I (vv. 2–19); contra
Gunkel c.s.
24
For the numerical patterns which feature on the level of the sub-cantos in terms of
verselines, see CAS I, Ch. V, 2.3 (p. 457).
25
For this strophic division, see also Delitzsch, Briggs, Duhm, Gunkel, Condamin,
Calès, Podechard, Ward, Jacquet and TOB in § 17.6. It is probably due to Fokkelman’s
negligence to systematically list verbal repetitions and to his fundamental contempt for
previous research in the field of strophic structure that this rigid regularity has escaped
his attention (see § 17.6).
8–9, an aspect which does not detract from the symmetric relationship be-
tween the strophes (see above, § 17.7.1). In most cases, the breaks between
the strophes are also highlighted by all kinds of transition markers; see
§ 17.3.1–2.
The concluding Sub-canto III.2 is composed of two 3-line strophes, vv.
47–49 and 50–52.26 The expansion on strophe level, 2-line > 3-line strophe,
is to be taken as a formal device by which the poet closes his composition
on a strong note, a fermata. This device is further strengthened by the
conspicuous correspondences between these 3-line units in terms of verbal
repetitions constituting a parallelismus stropharum; see § 17.4.3.27
Anyway, such a strong formal relationship between two successive stro-
phes is also to be found in Canticles I.1.1 and I.1.2 (vv. 2–3.4–5 and 6–7.8–9
respectively), opening the psalm and constituting two 4-line canticles; see
§ 17.4.2.28 The relative individuality of these canticles is enhanced by the
framework of Canto I discussed above (§ 17.7.1). On the basis of this frame-
work, vv. 16–19 also constitute a relatively independent 4-line canticle. Its
inner coherence is highlighted by the positioning of yhwh in vv. 16 and 19
marking the boundaries of the canticle; cf. ldr wdr in vv. 2–5 and ’mwntk
in vv. 6–9.
Further investigation reveals that the 4-line canticle totally dominates
Canto II (vv. 20–38) and that the same applies to Sub-canto III.1 (vv.
39–46). This structural level is supported by thematic and formal indica-
tions which unite the 2-line strophes two by two to form an uninterrupted
series of 4-line canticles, vv. 20–22, 23–26 and so on. For the thematic
coherence of these canticles, see the discussion of the framework of Canto
II and Sub-canto III.1 above (§ 17.7.1). For the formal devices highlighting
this structural level of the psalm, see especially the responsions described
in § 17.4.3.29
26
See De Wette, Ley, Delitzsch, Zenner, Briggs, Condamin, Calès, Podechard, Ward,
Jacquet, TOB, Beaucamp, Fokkelman, Terrien and Weber in § 17.6.
27
The tightly structured framework of vv. 47–52 and its formal function as a ‘fermata’
makes it highly improbable that vv. 48–49 are a later insertion; so Duhm (1922) and
more recently Hossfeld/[Zenger] (pp. 583.596), with an appeal to Tate, Emmendörffer
(1998) and Rösel (1999).
28
Although Hossfeld is aware of the web of correspondences uniting vv. 2–3 and 4–5,
he nevertheless argues that the oracle in vv. 4–5 is a later insertion (‘Sie parallelisiert
den Bund und den Schwur’ is one of the objections; Hossfeld/[Zenger], pp. 582.590); cf.
also Briggs, Herkenne and Jacquet in § 17.6. In my view, Hossfeld’s objections to the
original status of the latter verselines melt away in light of the rhetorical patterns by
which the divine oracle vv. 4–5 is woven into the fabric of the text; see also §§ 17.4.5
(inclusion) and 17.7.2.
29
This level of 4-line canticles is also observed by Berkowicz, Calès, Ward and Weber;
see § 17.6. With regard to the canticle structure of vv. 20–38 (Canto II) Berkowicz notes:
iii.17 psalm 89 481
Canticle I.2.1 (vv. 10–15) breaks the regularity of the 4-line canticles.
The three 2-line strophes display signs of a concentric arrangement. The
middle strophe vv. 12–13 stands out on the basis of the holistic pairing of
regions (merismus) where God makes his rule felt, characterizing each colon:
‘heaven and earth’, ‘the world and its fulness’, ‘the north and the south’
and ‘Tabor and Hermon’. Its pivotal position is reinforced by the number
of words constituting the successive strophes of the canticle: vv. 10–11.
12–13.14–15 > 16+17+16 words (see § 17.5); cf. further the enveloping
position of the noun zrw‘ (‘arm’) and the root ‘zz (‘to be strong’) in vv. 11
and 14 (§ 17.4.2).30
17.7.4 Conclusion
In terms of ideas, this final composition of the third book of the Psalter
displays a regressive development; it is back-to-front (cf. Renaud [1995],
p. 429). Instead of culminating in a major hymn on God’s greatness, it
shrivels in a helpless petition for deliverance. Its quintessential thought in
its most terse form is to be found in the central verselines of the concluding
3-line strophes of Canto III (and of the psalm as a whole; vv. 48 and 51):
O God, remember my transcience and the abuse flung at your servants.
It is important to note that both verselines begin with the imperative ‘re-
member!’ (zkr ). ‘The speaker and fellow servants of Yahweh lodge their
faith and hope in the repeated prayer that Yahweh will “remember”’ (Tate,
p. 429).31 For the psalmist, it makes sense to turn to God with these pleas,
because God has promised that David’s dynasty will last for ever (vv. 37–38
and 29–30; the concluding strophes of the sub-cantos of Canto II). In view
of this promise, the psalmist sang his praise to God in the first canto; the
summary of this praise is to be found in the opening canticle of the psalm
as a whole, vv. 2–5. As already noted (§ 17.7.2), there is a unique corre-
spondence between vv. 2–3, on the one hand, and especially vv. 48 and 51,
on the other hand: only in these verselines the psalmist speaks of himself in
the first person. The distant parallelism once more emphasizes the strong
contrast characterizing the psalm as a whole and the important role vv. 48
and 51 play within this development of ideas.
‘Die Responsionen in diesen 5 Strophen sind deutlich und auffallend; sie erleichtern
dadurch, daß sie sich hauptsächlich in den letzten Strophenzeilen befinden, das Erkennen
der Strophen auch dort, wo sich kein slh befindet’ ([1910], pp. 16–17); see, e.g., śmty (‘I
put’) in vv. 26 and 30.
30
Cf. also the concentric aspect of the 6-line canticles of Psalm 88, vv. 2–6 and 10b–15.
31
For the root zkr highlighting the centre of a poetic unit, see Ch. V, 4.3.2.
For the relationship with the preceding psalm see, among other things (cf.
also § 17.7.3, first paragraph), the following verbal repetitions: h.sd (vv. 2.3
etc.) > 88,12; root yd‘ (vv. 2.16) > 88,13; ’mwntk (vv. 2.3.6.9.50) > 88,12;
root ydh (hiph‘il; v. 6) > 88,11; pl’k (v. 6) > 88,13 (see also pl’ in v. 11); root
sbb (vv. 8.9) > 88,18; root h.ll (vv. 11.32.35.40) > 88,6; root qdm (v. 15) >
88,14; pnyk (vv. 15.16) > 88,3.15; kl hywm (v. 17) > 88,18; .sdqtk (v. 17) >
88,13; yšw‘ty (v. 27) > 88,2; root znh. (v. 39) > 88,15; ‘lwm (‘youth’; v. 46)
> 88,16 (n‘r [‘youth’]); root str (v. 47) > 88,15; h.mtk (v. 47) > 88,8; gbr
(v. 49) > 88,5. On the basis of these correspondences, I tentatively suggest
that Psalm 88 is to be taken as the prayer of the rejected anointed king we
read about in Ps. 89,39–52.
There are also conspicuous formal (and material) relationships between

Psalms 89 and 18.32 It is very remarkable that Psalm 18 (like our poem;
see § 17.5) consists of 52 verselines. Poems consisting of 52 verselines do
not feature elsewhere in the book of Psalms. It is further noticeable that
Psalm 18, like Psalm 89, is almost completely made up of 4-line units, in
the case of Psalm 89 on the level of the canticles, in the case of Psalm
18 on the level of the strophes.33 Psalm 18 is a royal song of praise. Its
royal character corresponds to the theme of Psalm 89: God’s loyalty to the
Davidic dynasty (cf. Ps. 18,51).
In addition, the psalms in question form the final composition of a sub-
group, Psalms 9–18 and 73–89 respectively. I deem it probable that the
number of 52 (= 2×26) verselines is intentional to finalize and seal the sub-
groups in a symbolic way by means of the divine name. In this respect, see
also Psalm 72 as a royal psalm concluding the second book of the Psalter!34
17.8 Bibliography
J.M. Ward, ‘The Literary Form and Liturgical Background of Psalm LXXXIX’,
VT 11 (1961), pp. 321–39;
E. Lipińsky, Le poème royal du psaume 89,1–5.20–38 (Cahiers de la Revue
Biblique 6), 1967;
32
For the poetic structure of Psalm 18, see CAS I, Ch. III, 18, pp. 204–18.
33
Four-line strophes/canticles also dominate Psalms 44 72 80 83 92 94 137 and
143. For the parallelism between Psalms 44 and 89, see now Mitchell (2005), pp. 525–26.
34
For the latter parallelism, see G.H. Wilson, ‘The Use of Royal Psalms at the ‘Seams’
of the Hebrew Psalter’, JSOT 35 (1986), pp. 85–94, and idem, ‘King, Messiah, and the
Reign of God: Revisiting the Royal Psalms and the Shape of the Psalter’, in P.W. Flint
and P.D. Miller (eds.), The Book of Psalms: Composition and Reception (SupplVT 99),
Leiden/Boston: Brill, 2005, pp. 391–406. For the relationship between Psalms 18 and
89, see also Hossfeld/[Zenger] (p. 586).
iii.17 psalm 89 483
J.-B. Dumortier, ‘Un rituel d’intronisation: le Ps. LXXXIX 2–38’, VT 22 (1972),

176–96;
R.J. Clifford, ‘Psalm 89: A Lament over the Davidic Ruler’s Continued Failure’,
HThR 73 (1980), pp. 35–47;
V. Ravanelli, Aspetti letterari del Salmo 89, Jerusalem, 1980;
P.W. Skehan, ‘Gleanings from Psalm Texts from Qumrân’, in A. Caquot and
M. Delcor (eds.), Mélanges bibliques et orientaux. FS H. Cazelles (AOAT 212),
Neukirchen-Vluyn: Neukirchener Verlag, 1981, pp. 439–52;
T. Veijola, Verheissung in der Krise. Studien zur Literatur und Theologie der
Exilszeit anhand des 89. Psalms (Annales Academiae Scientiarum Fennicae, Se-
ries B, 220), Helsinki: Suomalainen Tiedeakatemia, 1982;
—, ‘Davidverheißung und Staatsvertrag: Beobachtungen zum Einfluß altorien-
talischer Staatsverträge auf die biblische Sprache am Beispiel von Psalm 89’,
ZAW 95 (1983), pp. 9–31;
den: Brill, 1984, pp. 73–74;
D. Pardee, ‘The Semantic Parallelism of Psalm 89’, in W.B. Barrick and J.R.
Spencer (eds.), In the Shelter of Elyon, (JSOTS 31), Sheffield: JSOT Press, 1984,
pp. 121–37;
T. Veijola, ‘The Witness in the Clouds: Ps. 89:38’, JBL 107 (1988), pp. 413–17;
M.H. Floyd, ‘Psalm lxxxix: a prophetic complaint about the fulfillment of an
oracle’, VT 42 (1992), pp. 442–57;
U. Gleßmer, ‘Das Textwachstum von Ps 89 und ein Qumranfragment’, BN 65
(1992), pp. 55–73;
P. Auffret, Merveilles à nos yeux. Étude structurelle de vingt psaumes dont celui
de 1 Ch 16,8–36 (BZAW 235), Berlin/New York: Walter de Gruyter, 1995, pp.
31–55;
B. Renaud, ‘La cohérence littéraire et thélogique du Psaume 89’, RevSR 69
(1995), pp. 419–35;
D. Volgger, Notizen zur Textanalyse von Ps 89 (ATS 45), St. Ottilien: EOS Ver-
lag, 1995;
Ch. Rösel, Die messianische Redaktion des Psalters, Stuttgart, 1999;
M. Saur, Die Königspsalmen. Studien zur Entstehung und Theologie (BZAW
340), Berlin: W. de Gruyter, 2004, pp. 153–85;
S.R.A. Starbuck, ‘Theological Anthropology at a Fulcrum: Isaiah 55:1–5, Psalm
89, and Second Stage Traditio in the Royal Psalms’, in B.F. Batto and Kathryn
L. Roberts (eds.), David and Zion. Biblical Studies in Honor of J.J.M. Roberts,
Winona Lake: Eisenbrauns, 2004, pp. 247–65;
P.M. Venter, ‘Psalm 89 and Daniel 7’, OTE 17/4 (2004), pp. 678–91;
M.W. Mitchell, ‘Genre disputes and communal accusatory laments: reflections
on the genre of Psalm lxxxix’, VT 55 (2005), pp. 511–27;
H.U. Steymans, Psalm 89 und der Davidbund. Eine strukturale und redaktions-
geschichtliche Untersuchung (ÖBS 27), Frankfurt am Main: Peter Lang, 2005;
G. Barbiero, ‘Alcune osservazioni sulla conclusione del Salmo 89 (vv. 47–53)’,
Biblica 88 (2007), pp. 536–45.
Chapter IV
The Canto Design of Hebrew Poetry in Terms

of Verselines
Introduction
In the fourth chapter of the first volume of my Cantos and Strophes in

Biblical Hebrew Poetry (OTS 53), especially dealing with Psalms 1–41, I
presented some general outlines of the design of all the poems we find in
the book of Psalms. These outlines formed the basis for some systematic
observations in the final Chapter Five. In the course of the present investi-
gation, the discussion of the structures of Psalms 42–89, I have had to make
some—mostly slight—alterations in previously supposed canto structures.
These alterations pertain to the canto structure of Psalms 42–43 (5.6.5 >
6.6.5 lines), 47 (4.4.2 > 5.5 lines), 52 (5.5.1 > 5.6 lines), 58 (5.4.2 > 5.1.5
lines), 66 (3.8.8 > 8.3.8 lines), 68 (17.18 > 18.18 lines), 75 (1.4.4.2 > 5.6
lines), 83 (8.8.2 > 8.10 lines) and 84 (8.8 > 7.8 lines). Therefore, it is fitting
at the end of this investigation to first provide an updated general outline
of the structures on the level of the cantos and the strophes in the book
of Psalms (§ 1.1–5).1 This outline is immediately followed by the slightly
revised systematic overview regarding the canto design of the psalms in
terms of verselines (§ 2.1–7).2 Moreover, there are additional paragraphs
with a preliminary exploration of basic canto patterns outside the book of
Psalms.
1
Cf. CAS I, Ch. IV, 1, pp. 420–26.
2
Cf. CAS I, Ch. V.1, pp. 437–44.
486 chapter iv: design of hebrew poetry
1 General outline
The following overview offers a general outline of the most fundamental as-
pects of the design of the biblical psalms. The numbering of the psalms is
followed by a formalized presentation in the second and third columns de-
noting the number of verselines of the cantos and strophes, as the case may
be, the canticles and sub-cantos. The final column displays the Masoretic
verse divisions corresponding to the structures of the poems in question. A
dot indicates a caesura between strophes; a vertical line marks a caesura
between cantos. Two vertical lines mark a caesura between the cantos when
they divide into canticles. In the latter case, one vertical line marks the
break between the canticles.
1.1 The First Book of the Psalter: Psalms 1–41

1: 2.2.2 vv. 1–2.3–4.5–6
2: 6.6 > 3.3|3.3 vv. 1–3.4–6|7–9.10–12
3: 4.4 > 2.2|2.2 vv. 2–3.4–5|6–7.8–9
4: 4.4 > 2.2|2.2 vv. 2–3.4–5|6–7.8–9
5: 3.6.6 > 3||2.2|2||2.2|2 vv. 2–4||5–6b.6c–7|8–9||10.11|12–13
6: 5.5 > 3.2|2.3 vv. 2–4.5–6|7–8.9–11
7A: 2.3.2 vv. 2–3.4–6.7–9a
7B: 5.5.1 > 3.2|2.3|1 vv. 9b–10.11–12|13–14.15–17|18
8: 5.5 > 1.2.2|2.2.1 vv. 2a–b.2c–3.4–5|6–7.8–9.10
9–10: 20.20 > 2.2.2|2.2.2|4×2|| vv. 2–3.4–5.6–7|8–9.10–11.12–13|
2.2.2|2.2.2|4×2 14–15.16–17.18–19.20–21||1–2.
3–4.5–6|7–8b.8c–9.10–11|12–13.
14.15–16.17–18
11: 3.2.3 vv. 1–3.4.5–7
12: 4.4 > 2.2|2.2 vv. 2–3.4–5|6–7.8–9
13: 2.2.2 vv. 2–3.4–5.6
14: 4.4.2 > 2.2|2.2|2 vv. 1.2|3–4.5–6|7
15: 2.3 vv. 1–2.3–5
16: 5.5 > 3.2|2.3 vv. 1–4.5–6|7–8.9–11
17: 8.9 > 2.2|2.2||2.3|2.2 vv. 1.2–3|4–5.6–7||8–9.10–12|13–14b.
14c–15
18: 2.3×15.5 > 2|3.4.4.4|4.4.4.3| vv. 2–3|4–6.7–9.10–13.14–16|17–20.
4.4.4.3|3.2 21–24.25–28.29–31|32–35.36–39.
40–43.44–46|47–49.50–51
19: 6.12 > 3.3||2.2|2.2|2.2 vv. 2–4.5–7||8.9|10.11|12–13.14–15
20: 5.5 > 3.2|2.3 vv. 2–4.5–6|7.8–10
iv.1 general outline 487
21: 6.6.1 > 3.3|3.3|1 vv. 2–4.5–7|8–10.11–13|14

22: 10.12.10 > 2.3|3.2||3.3|3.3|| vv. 2–3.4–6|7–9.10–11||12–14.15–16|
3.2|3.2 17–19.20–22||23–25.26–27|
28–29.30–32
23: 5.4 > 3.2|2.2 vv. 1–3.4|5.6
24: 2.4.4 > 2|2.2|2.2 vv. 1–2|3–4.5–6|7–8.9–10
25: 10.10.1 > 2.2.2|2.2||2.2| vv. 1–3.4–5.6–7|8–9.10–11||12–13.
2.2.2||1 14–15|16–17.18–19.20–21||22
26: 5.5.2 > 3.2|3.2|2 vv. 1–3.4–5|6–8.9–10|11–12
27: 6.7.7.2 > 2.2.2|3.2.2|3.2.2|2 vv. 1.2.3|4.5.6|7–9c.9d–10.11–12|
13–14
28: 5.3.5 > 2.3|3|3.2 vv. 1.2–3|4–5|6–7.8–9
29: 2.6.2 > 2|2.2.2|2 vv. 1–2|3–4.5–6.7–9|10–11
30: 5.5.2 > 3.2|3.2|2 vv. 2–4.5–6|7–9.10–11|12–13
31: 9.9.9.2 > 3.3.3||3.3.3||2.2| vv. 2–3.4–6.7–9||10–11.12–13.14–15||
2.3||2 16–17.18–19|20–21.22–23||24–25
32: 6.8 > 2.2.2|3.3.2 vv. 1–2.3–4.5|6–7.8–9.10–11
33: 11.11 > 3.2.2|2.2||2.2|2.2.3 vv. 1–3.4–5.6–7|8–9.10–11||12–13.
14–15|16–17.18–19.20–22
34: 10.12 > 2.2.2|2.2||2.2| vv. 2–3.4–5.6–7|8–9.10–11||12–13.
2.2.2.2 14–15|16–17.18–19.20–21.22–23
35: 12.8.11 > 3.2.2.2.3||2.2.2.2|| vv. 1–3.4.5–6.7–8.9–10||11–12.13–14.
2.2|3.2.2 15–16.17–18||19–20.21–22|23–25.
26.27–28
36: 6.6 > 2.2.2|3.3 vv. 2–3.4–5.6–7|8–10.11–13
37: 21.21 > 2.2.2|3.2||2.3|2.3||| vv. 1–2.3–4.5–6|7–9.10–11||12–13.
2.2.2|2.2||2.2.3|2.2 14–15|16–17.18–20|||21–22.23–24.
25–26|27–28b.28c–29||30–31.
32–33.34–36|37–38.39–40
38: 9.10.4 > 2.3|2.2||2.2.2|2.2|| vv. 2–3.4–5|6–7.8–9||10–11.12–13.
2.2 14–15|16–17.18–19||20–21.22–23
39: 7.8 > 2.2|3||2.2|1.2.1 vv. 2.3–4|5–7||8–9.10–11|12.13.14
40A: 10.10 > 3.2|2.3||3.2|2.3 vv. 2–3.4|5.6–7||8–10.11|12.13
40B: 4.4 > 1.3|2.2 vv. 14.15–16|17.18
41: 6.6 > 3.3|3.3 vv. 2–4.5–7|8–10.11–13
1.2 The Second Book of the Psalter: Psalms 42–72

42–43: 6.6.5 > 3.3|3.3|2.3 vv. 2–4.5–6|7–9.10–12|1–2.3–5
44: 2.3×8.2 > 2|4.4|4.4|4.4|2 vv. 2|3–5.6–9|10–13.14–17|18–21.22–25|
26–27
45: 9.8 > 2.3|2.2||2.2.2.2 vv. 2–3.4–6|7–8.9–10||11–12.13–14.15–16.

17–18
46: 6.5 > 3.3|1.3.1 vv. 2–4.5–7|8.9–11.12
47: 5.5 > 2.3|3.2 vv. 2–3.4–6|7–9.10
48: 6.6.3 > 3.3|3.3|3 vv. 2–4.5–7|8–9.10–12|13–15
49: 4.8.9 > 2.2|2.3.3|3.3.3 vv. 2–3.4–5|6–7.8–10.11–13|14–15.16–18.
19–21
50: 6.9.8 > 3.3|3.3×2|3.3.2 vv. 1–3.4–6|7–9.10–11.12–13.14–15|
16–18.19–21.22–23
51: 7.6.7 > 3|2.2||3.3||3|2.2 vv. 3–5|6.7–8||9–11.12–14||15–17|18–19.
20–21
52: 5.6 > 2.3|3.3 vv. 3–4.5–7|8–9.10–11
53: 4.4.2 > 2.2|2.2|2 vv. 2.3|4–5.6|7
54: 3.4 > 2.1|2.2 vv. 3–4.5|6–7.8–9
55: 8.8.8.4 > 3.2.3|3.3.2|2.3.3| vv. 2–4.5–6.7–9|10–12.13–15.16|17–18.
2.2 19–20.21–22|23.24
56: 7.7 > 2.2.3|2.2.3 vv. 2–3.4–5.6–8|9–10b.10c–12.13–14
57: 7.7 > 2.2.3|2.2.3 vv. 2.3–4.5–6|7.8–9.10–12
58: 5.1.5 > 2.3|1|3.2 vv. 2–3.4–6|7|8–10.11–12
59: 8.8.3 > 2.2|2.2||3.3.2||3 vv. 2–3.4–5|6.7–8||9–11.12–14.15–16||
17–18
60: 5.5.2 > 3.2|3.2|2 vv. 3–5.6–7|8–10.11–12|13–14
61: 4.4 > 2.2|2.2 vv. 2–3.4–5|6–7.8–9
62: 8.8 > 4×2|4×2 vv. 2–3.4.5.6–7||8–9.10|11.12–13
63: 6.6 > 2.2.2|3.3 vv. 2.3–4.5–6|7–9.10–12
64: 2.4.4 > 2|2.2|2.2 vv. 2–3|4–5.6–7|8–9.10–11
65: 5.5.6 > 3.2|2.3|3.3 vv. 2–4.5|6.7–9|10–11.12–14
66: 8.3.8 > 3.3.2|3|3.3.2 vv. 1–4.5–7.8–9|10–12|13–15.16–18.
19–20
67: 2.3.2 vv. 2–3.4–6.7–8
68: 18.18 > 2.2.2|2.2||2.2| vv. 2–3.4–5.6–7|8–9.10–11||12–14a.14b–
2.2|||2.3|2.2||2.3| 15|16–17.18–19|||20–21.22–24|25–26.
2.2 27–28||29–30.31–32|33–34.35–36
69: 14.16.8 > 3.2|3.3.3||3.3| vv. 2–3.4–5|6–7.8–10.11–13||14–16.
3.2.3.2||3.2.3 17–19|20–22.23–24.25–27.28–29||
30–32.33–34.35–37
70: 4.4 > 1.3|2.2 vv. 2.3–4|5.6
71: 8.8.9 > 3.3.2|3.2.3|3.3.3 vv. 1–3.4–6.7–8|9–11.12–13.14–16|17–18.
19–21.22–24
72: 8.4.8 > 2.2|2.2||1.2.1|| vv. 1–2.3–4|5–6.7–8||9.10.11||12–13.
2.2|2.2 14–15|16.17
1.3 The Third Book of the Psalter: Psalms 73–89

73: 11.11.6 > 1.2.2.2|2.2||1.2.2| vv. 1.2–3.4–5.6–7|8–9.10–11||12.
2.2.2||2.2.2 13–14.15–16|17–18.19–20.21–22||
23–24.25–26.27–28
74: 9.8.6 > 3.2.2.2|3.3.2| vv. 1–3.4–5.6–7.8–9|10–12.13–15.16–17|
2.2.2 18–19.20–21.22–23
75: 5.6 > 1.2.2|2.2.2 vv. 2.3–4.5–6|7–8.9.10–11
76: 6.6 > 3.3|3.3 vv. 2–4.5–7|8–10.11–13
77: 6.6.8 > 3.3|3.3|3.3.2 vv. 2–4.5–7|8–10.11–13|14–16.17–19.
20–21
78: 11.33.33 > 11||8.7|9.9||9.7| vv. 1–2.3–4.5–6.7–8|||9–11.12–14.15–16|
9.8 17–19.20.21–22||23–25.26–28.29–31|
32–33.34–35.36–37.38–39|||40–41.
42–44.45–46.47–48|49–51.52–53.
54–55||56–58.59–61.62–64|65–66.
67–69.70–72
79: 8.8 > 2.2|2.2||1.2|2.3 vv. 1–2.3–4|5–6b.6c–7||8.9|10.11–13
80: 8.8.4 > 2.2|2.2||2.2|2.2|| vv. 2–3a.3b–4|5–6.7–8||9–10.11–12|
2.2 13–14.15–16||17–18.19–20
81: 7.7.2 > 3.2.2|3.2.2|2 vv. 2–4.5–6b.6c–8|9–11.12–13.14–15|
16–17
82: 4.4 >2.2|1.2.1 vv. 1–2.3–4|5.6–7.8
83: 8.10 >4.4|4.4.2 vv. 2–5.6–9|10–13.14–17.18–19
84: 7.8 >3.2.2|3.2.3 vv. 2–3.4a–d.4e–5|6–8.9–10.11–13
85: 7.7 >3.2.2|3.2.2 vv. 2–4.5–6.7–8|9–10.11–12.13–14
86: 7.7.3 >2.3.2|3.1.3|3 vv. 1–2.3–5.6–7|8–10.11.12–14|15–17
87: 2.2.2 vv. 1–3.4–5.6–7
88: 10.10 > 2.2.2|2.2||2.2.2| vv. 2–3.4–5.6|7–8.9–10a||10b–11.12–13.
2.2 14–15|16–17.18–19
89: 18.20.14 > 4.4|6.4||4.4.4| vv. 2–3.4–5|6–7.8–9||10–11.12–13.14–15|
4.4||4.4|6 16–17.18–19|||20.21–22|23–24.25–26|
27–28.29–30||31–32.33–34|35–36.
37–38|||39–40.41–42|43–44.45–46||
47–49.50–52
1.4 The Fourth Book of the Psalter: Psalms 90–106

90: 6.7.5 > 2.2.2|2.3.2|3.2 vv. 1–2.3–4.5–6|7–8.9–10.11–12|13–15.16–17
91: 8.8 > 4×2|2.3.3 vv. 1–2.3–4.5–6.7–8|9–10.11–13.14–16
92: 7.8 > 2.2|1.2||2.2|2.2 vv. 2–3.4–5|6.7–8||9–10.11–12|13–14.15–16
93: 2.3 vv. 1–2.3–5

94: 7.8.8 > 2.2|2.1||2.2|2.2|| vv. 1–2.3–4|5–6.7||8–9.10–11|12–13.
2.2|2.2 14–15||16–17.18–19|20–21.22–23
95: 5.6 > 2.3|2.2.2 vv. 1–2.3–5|6–7.8–9.10–11
96: 6.8 > 3.3||2.2|2.2 vv. 1–3.4–6||7–8.9–10|11–12.13
97: 6.6 > 3.3|3.3 vv. 1–3.4–6|7–9.10–12
98: 5.7 > 3.2|3.2.2 vv. 1–2.3|4–6.7–8.9
99: 6.4 > 3.3|2.2 vv. 1–3.4–5|6–7.8–9
100: 2.2 vv. 1–3.4–5
101: 8.6 > 3.3.2|2.2.2 vv. 1–2.3–4.5|6.7.8
102: 12.11.6 > 4×3|3.3.3.2|3.3 vv. 2–3.4–6.7–9.10–12|13–15.16–18.
19–21.22–23|24–26.27–29
103: 9.9.4 > 2.3|2.2||2.3|2.2|| vv. 1–2.3–5|6–7.8–9||10–11.12–14|
1.3 15–16.17–18||19.20–22
104: 18.17 > 2.3.2.2|3.3.3||2.3| vv. 1–2.3–5.6–7.8–9|10–12.13–15.
3.2.2|2.3 16–18||19–20.21–23|24–26.
27–28.29–30|31–32.33–35
105: 6.19.20 > 3.3||3.3.3|1.3.3.3|| vv. 1–3.4–6||7–9.10–12.13–15|16.
2.3.3.3|3.3.3 17–19.20–22.23–25||26–27.
28–30.31–33.34–36|37–39.
40–42.43–45
106: 5.20.19.6 > 3.2||3.2.3|3.3.2.2.2|| vv. 1–3.4–5||6–7.8–9.10–12|13–15.
5×2|3.3.3||2.2.2 16–18.19–20.21–22.23||24–25.
26–27.28–29.30–31.32–33|
34–36.37–39.40–42||43–44.
45–46.47
1.5 The Fifth Book of the Psalter: Psalms 107–150

107: 3.19.20.1 > 3||2.2.2|3.2.2|2.2.2|| vv. 1–3||4–5.6–7.8–9|10–12.13–14.
2.3.3.2|5×2||1 15–16|17–18.19–20.21–22||
23–24.25–27.28–30.31–32|
33–34.35–36.37–38.39–40.
41–42||43
108: 6.7 > 2.2.2|3.2.2 vv. 2–3.4–5.6–7|8–10.11–12.13–14
109: 12.12.6 > 2.2|4×2||3.3.1|3.2|| vv. 1–3.4–5|6–7.8–9.10–11.12–13||
2.2.2 14–16.17–19.20|21–23.24–25||
26–27.28–29.30–31
110: 4.4 > 2.2|2.2 vv. 1.2–3|4–5.6–7
111: 4.4.2 > 2.2|2.2|2 vv. 1–2.3–4|5–6.7–8|9–10
112: 4.4.2 > 2.2|2.2|2 vv. 1–2.3–4|5–6.7–8|9–10
113: 3.3.3 vv. 1–3.4–6.7–9

114: 4.4 > 2.2|2.2 vv. 1–2.3–4|5–6.7–8
115: 8.8.2 > 3|3.2||3|3.2||2 vv. 1–3|4–6.7–8||9–11|12–14.15–16||
17–18
116: 9.10 > 2.2|2.3||2.3|2.3 vv. 1–2.3–4|5–6.7–9||10–11.12–14|
15–16.17–19
117: 2 vv. 1–2
118: 4.8.8.8.1 > 2.2|1.2.2.3|4×2| vv. 1–2.3–4|5.6–7.8–9.10–12|13–14.
1.2.2.3|1 15–16.17–18.19–20|21.22–23.
24–25.26–28|29
119: 3×48.32 > 24.24|24.24| vv. 1–3.4–6.7–8|9–11.12–14.15–16|
24.24|32 17–19.20–22.23–24||25–27. etc.
120: 2.2.3 vv. 1–2.3–4.5–7
121: 4.4 > 2.2|2.2 vv. 1–2.3–4|5–6.7–8
122: 2.4.4 > 2|2.2|2.2 vv. 1–2|3–4b.4c–5|6–7.8–9
123: 1.2.2 vv. 1.2.3–4
124: 2.3.3.1 vv. 1–2.3–5.6–7.8
125: 2.2.2 vv. 1–2.3.4–5
126: 4.4 > 2.2|2.2 vv. 1–2b.2c–3|4–5.6
127: 4.4 > 2.2|2.2 vv. 1.2|3–4.5
128: 4.4 > 2.2|2.2 vv. 1–2.3|4–5a+x.5b–6
129: 4.4 > 2.2|2.2 vv. 1–2.3–4|5–6.7–8
130: 4.4 > 2.2|2.2 vv. 1–2.3–4|5–6.7–8
131: 2.2.1 vv. 1.2.3
132: 10.10 > 2.3|2.3||2.2|2.2.2 vv. 1–2.3–5|6–7.8–10||11.12|13–14.
15–16.17–18
133: 2.2 vv. 1–2.3
134: 2.1 vv. 1–2.3
135: 7.7.7 > 2.2|3||2.3|2||3.1|3 vv. 1–2.3–4|5–7||8–9.10–12|13–14||
15–17.18|19–21
136: 3.6.6.7.4 > 3|3.3|3.3|3.4|4 vv. 1–3|4–6.7–9|10–12.13–15|16–18.
19–22|23–26
137: 4.4.4 > 2.2|2.2|2.2 vv. 1–2.3|4–5.6|7.8–9
138: 3.3.2 vv. 1–3.4–6.7–8
139: 5.6.6.6 > 3.2|2.2.2|2.2.2| vv. 1–4.5–6|7–8.9–10.11–12|13–14.
2.2.2 15–16.17–18|19–20.21–22.23–24
140: 6.6.2 > 3.3|3.3|2 vv. 2–4.5–6|7–9.10–12|13–14
141: 2.5.5 > 2|3.2|2.3 vv. 1–2|3–4.5|6–7.8–10
142: 6.5 > 3.3|1.2.2 vv. 2–4b.4c–5|6.7.8
143: 8.8.2 > 2.2|2.2||2.2|2.2||2 vv. 1.2|3.4–5||6–7b.7c–8b|8c–9.10||
11–12
144: 10.10(?) > 3.2|2.3||2.2|2.2.2 vv. 1–2.3–4|5–6.7–8||9–10.11|12.

13–14a.14b–15
145: 9.4.9 > 2.2|3.2||2.2||2.2| vv. 1–2.3–4|5–7.8–9||10–11.12–13b||
2.3 13c–14.15–16|17–18.19–21
146: 1.4.4 > 1|2.2|2.2 vv. 1–2|3–4.5–6|7–8.9–10
147: 6.6.9 > 3.3|3.3|3.3.3 vv. 1–3.4–6|7–8.9–11|12–14.15–17.18–20
148: 6.8 > 2.2.2|4×2 vv. 1–2.3–4.5–6|7–8.9–10.11–12.13–14
149: 4.5 > 2.2|2.3 vv. 1–2.3–4|5–6.7–9
150: 2.3 vv. 1–2.3–6
1.6 Concluding observation

The total number of poems is 150. These poems do not always coincide
with the Masoretic division between successive psalms. The distribution of
the 150 poems over the traditional five books of the Psalter is as follows:
1. in Book I (Psalms 1–41) we find 42 poems: Psalms 7 and 40 divide

into two independent poems, while Pss. 9–10 constitute a single poem;
2. Book II (Psalms 42–72) has 30 poems: Pss. 42–43 constitute a single

poem;
3. Book III (Psalms 73–89) has 17 poems;
4. Book IV (Psalms 90–106) has 17 poems;
5. and Book V (Psalms 107–150) has 44 poems.
That is to say, the Psalter has 42+30+17+17+44 = 150 poems.

iv.2 cantos and verselines 493
2 Canto design in terms of verselines

2.1 Introduction
Searching for particular patterns in the design of Hebrew biblical poetry,
we should especially take into consideration the canto as the highest level
of poetic structuring. On this level there is always a great measure of
well thought-out patterning, regularity and quantitative balance in terms
of verselines. Regularity in length is indeed often found on the level of the
strophes and canticles,1 yet on canto level it is a fundamental characteristic.
In Psalm 135, e.g., we find a high degree of irregularity on strophe level.
The psalm is composed of several 2- and 3-line strophes and one mono-
line strophe. And at first sight, the succession of these strophes within
the poem is arbitrary in terms of its strophic structure: 2.2.3.2.3.2.3.1.3
lines. At the same time, however, repeatedly three strophes form together
a higher level of 7-line cantos: 2.2.3|2.3.2|3.1.3 > 7.7.7 lines (vv. 1–7.8–
14.15–21).2 That is to say, when we approach the framework of Psalm 135
from the perspective of the cantos, the balance in terms of verselines shows
itself to us in an unmistakable way.3
It is only in a limited number of psalms that we find no higher structural
level above the strophe. The psalms in question are always relatively small,
namely Psalms 1 7,2–9a (7A) 11 13 15 67 87 93 100 113 117 120
123 124 125 131 133 134 138 and 150 (20 psalms in total). This
means that in the book of Psalms we find (150 − 20 =) 130 poems which
on macrostructural level divide into two or more cantos.4
Generally speaking, every psalm of some length displays at least two or
three regular, or almost regular cantos. Therefore, the most simple canto
arrangement is represented by the basic pattern 4.4 verselines, representing
two exactly balanced cantos (Type I).
Subsequently, it often happens that a series of cantos of regular length
are expanded by a ‘half-long canto’. Such a divergent half-long canto always
precedes or follows the regular cantos; basic pattern 2.4.4 verselines (Type
IIA) and 4.4.2 verselines (Type IIB) respectively. In some cases two regular
cantos are interrupted by a canto of different length. In these cases a
concentric framework emerges; basic pattern 4.X.4 verselines (Type III).
1
For the design on these lower levels of Hebrew poetry, see CAS I, Ch. V, 2 (pp.
445–60).
2
For the canto structure of Psalm 135, see my STR, pp. 425–30.
3
For this conclusion, see already my STR (1980), pp. 478–79. This conclusion has
been substantiated in the course of my investigations into the poems in the book of Job;
see my RCPJ, pp. 460–66.
4
For the total number of 150 poems, see § 1.6 above.
494 chapter iv: design of biblical poetry
2.2 Type IA: exactly regular cantos

2.2.1 Within the book of Psalms
The most impressive regularity on macrostructural level is to be found in
psalms which exclusively consist of an unbroken series of exactly regular
cantos. By exactly regular cantos I understand a series of main units com-
posed of an equal number of poetic verselines; basic pattern 4.4 lines.5 In
the book of Psalms this pattern is well documented, as is shown by the
following systematic overview. The numbers in bold face stand for the
number of verselines the cantos are composed of. The canto arrangements
are presented from the most simple design (4.4 lines) to the more complex
ones (leading up to 21.21 lines).
4.4 Pss. 3, 4, 12, 40B, 61, 8.8 Pss. 62, 79, 91
70, 82, 110, 114, 121, 10.10 Pss. 40A, 88, 132,
126, 127, 128, 129, 130 144
4.4.4 Ps. 137 11.11 Ps. 33
5.5 Pss. 6, 8, 16, 20, 47 18.18 Ps. 68
6.6 Pss. 2, 36, 41, 63, 76, 97 20.20 Pss. 9–10
7.7 Pss. 56, 57, 85 21.21 Ps. 37
7.7.7 Ps. 135
This group include 42 compositions, which amounts to 32.3% of all the
psalms displaying a canto structure (130 psalms). Most of these poems
have two regular cantos. Two poems in this category display a series of
three regular cantos, namely Psalms 137 (4.4.4 verselines) and 135 (7.7.7
verselines).
2.2.2 Outside the book of Psalms: a preliminary exploration

In the book of Job poems which are composed of exactly regular cantos
only are relatively rare; see Job 4 (structure: 10.10 lines), 12 (structure:
12.12 lines), Job 15,2–16 (structure: 5.5.5 lines), 24 (structure: 13.13 lines)
and 32 (structure: 9.9 lines). These are only five poems in total, that is
13.9% of the 36 poems in the book of Job displaying a canto structure.6
In Deutero-Isaiah (Isaiah 40–55) we find several poems which are ex-
clusively composed of exactly regular cantos; see Isa. 41,1–7 (structure:
6.6 lines; vv. 1–3.4–7), 41,17–20 (structure: 4.4 lines; vv. 17–18.19–20),
5
The verselines usually consist of two cola. This ‘normal’ length of the poetic line,
however, is sometimes interrupted by a single tricolon, or a small cluster of two or more
tricola. For the tricolon, see CAS I, Ch. V, 6 (pp. 522–35).
6
See my RCPJ, pp. 61–69, 142–51, 177–83, 274–85 and 410–19 respectively.
41,21–29 (structure: 7.7 lines; vv. 21–24.25–29), 43,1–7 (structure: 4.4.4

lines; vv. 1–2.3–4.5–7), 45,9–13 (structure: 5.5 lines; vv. 9–11.12–13), 45,15–
25 (structure: 12.12 lines; vv. 14–19.20–25), 49,7–13 (structure: 7.7 lines;
vv. 7–9b.9c–13), 49,22–26 (structure: 5.5 lines; vv. 22–23.24–26), 52,7–12
(structure: 4.4.4 lines; vv. 7–8.9–10.11–12).
Poems composed of exactly regular cantos only also feature in the first
chapters of the Song of Songs; see 1,2–8 (structure: 4.4.4 lines; vv. 2–4.
5–6.7–8), 1,9–2,7 (structure: 9.9 lines; 1,9–17.2,1–7), 2,8–17 (structure: 8.8
lines; vv. 8–13.14–17), 4,1–7 (structure: 4.4.4 lines; vv. 1–2.3–4.5–7).
For poems which in terms of verselines are exclusively composed of
exactly regular cantos, see further the Song of Hannah in 1 Samuel 2,1–10
(structure: 8.8 lines; vv. 1–5.6–10) and Lamentations 3 (structure: 33.33
> 15.18|15.18 lines; vv. 1–15.16–33|34–48.49–66).
2.3 Type IB: almost regular cantos

2.3.1 Transitional designs within the book of Psalms
Somewhat less impressive is the regularity in a group of seven psalms com-
posed of three cantos, of which only two successive cantos have an equal
number of verselines. In these poems there is an opening or concluding
canto displaying a divergent number of lines. In Psalm 139 a series of
three successive regular cantos are preceded by a canto with a divergent
number of verselines.7 However, as a rule, the divergence in question does
not exceed one verseline. That is to say, there is an ‘extra’ or a ‘miss-
ing’ verseline in the first or in the final canto. In Psalms 77 and 147 the
regular cantos are concluded by a canto which is longer by two and three
verselines respectively. The following systematic overview lists the psalms
in question.
5.5.6 Ps. 65 6.6.9 Ps. 147
5.6.6.6 Ps. 139 7.8.8 Ps. 94
6.6.8 Ps. 77 8.8.9 Ps. 71
6.6.5 Pss. 42–43
These seven poems represent 5.4% of all the psalms with a canto struc-
ture. In Psalms 94 and 139, where the irregular canto opens the poem,
the divergent canto is by one verseline shorter than the following regular
cantos. When the irregular canto concludes the poem, this canto is mostly
longer than the preceding regular cantos; see Psalms 65, 71, 77 and 147. In
7
For this rather exceptional canto structure, see also Job 30 (structure: 9.8.8.8 lines);
RCPJ, pp. 335–47.
Psalms 42–43 the concluding canto is by one verseline shorter than the pre-
ceding regular cantos. Generally speaking: within this group of psalms, the
cantos are lengthened in the progression of the compositions (Pss. 42–43 is
the exception).
2.3.2 Almost regular cantos within the book of Psalms

The small ‘irregularities’ on macrostructural level of some psalms described
in the preceding paragraph strongly suggest that the Hebrew poets had
some freedom to vary the length of their cantos within one and the same
composition. At the same time, it appears that this freedom was rather
limited because, as a rule, the divergence does not exceed one verseline.
Therefore, it is quite in order to single out a group of psalms that have—
strictly speaking—no regular cantos but are composed of two or three ‘al-
most regular’ cantos. In this case, we are dealing with a sequence of main
units differing in length by generally not more than one verseline. In poems
of some length, as a rule composed of cantos with eight or more verselines,
this discrepancy may increase by two lines; see, e.g., Psalms 83 (structure:
8.10 lines) and 101 (structure: 8.6 lines). In the long composition Psalm 89
the divergence between the second and the third canto amounts to even six
verselines (structure: 18.20.14 lines).8 The following list gives a systematic
overview of the psalms concerned.
3.4 Ps. 54 6.7 Ps. 108 8.10 Ps. 83
4.5 Ps. 149 6.7.5 Ps. 90 9.8 Ps. 45
5.4 Ps. 23 6.8 Pss. 32, 96, 9.8.6 Ps. 74
5.6 Pss. 52, 75, 95 148 9.10 Ps. 116
5.7 Ps. 98 7.8 Pss. 39, 84, 92 10.12 Ps. 34
6.4 Ps. 99 8.6 Ps. 101 18.17 Ps. 104
6.5 Ps. 46, 142 8.9 Ps. 17 18.20.14 Ps. 89
This group comprise 27 psalms, representing 20.8% of all the psalms
with a canto structure. Most psalms of this group (24 poems) consist of
only two cantos. In 17 cases the second canto is longer than the first; these
poems include Psalms 17 32 34 39 52 54 75 83 84 92 95 96 98 108
116 148 and 149. In seven psalms composed of only two cantos the second
canto is shorter than the following one; these poems include Psalms 23 45
46 99 142 101 and 104. In sum: in most psalms of Type IB composed
8
In the short poems Psalms 98 (structure: 5.7 lines) and 99 (structure: 6.4 lines) we
are also dealing with a divergence of two verselines. This is a feature of their formal
(and thematic!) relationship; in this respect, cf. also the canto structure of Psalm 96
(6.8 lines).
of only two cantos we can find a lengthening of cantos in the progression of

the composition.
Psalms 74, 89 and 90 have three almost regular cantos. In Psalms 89
and 90 the second canto is longer than the first and the third canto is
shorter than the first. In Psalm 74 there is a gradually diminishing number
of lines per canto (structure: 9.8.6 lines).
Under Type IB, I have singled out two groups of psalms displaying a
series of almost regular cantos. Taken together, we are dealing with (7 +
27 =) 34 psalms composed of almost regular cantos. This number amounts
to 26.2% of all the psalms displaying a canto structure (130 psalms).
2.3.3 Almost regular cantos outside the book of Psalms:

a preliminary exploration
In the book of Job poems which are exclusively composed of almost regular
cantos are relatively rare. For this design, see Job 14 (structure: 12.10
lines), 27 (structure: 12.10 lines), Job 30 (structure: 9.8.8.8 lines) and 35
(structure: 7.8 lines).9
In Deutero-Isaiah this design is very common; see Isa. 40,12–16 (struc-
ture: 12.11 lines; vv. 12–20.21–26), 41,8–16 (structure: 5.6.6 lines; vv.
8–10.11–13.14–16), 43,8–15 (structure: 3.5.5 lines; vv. 8–9.10–12b.12c–15),
44,24–45,8 (structure: 9.9.6 lines; vv. 44,24–28.43,1–4.5–8), 47 (structure:
12.12.9 lines; vv. 1–7.8–11.12–15), 50,4–11 (structure: 5.6.6 lines; vv. 4–6.7–
9.10–11; cf. Isa. 41,8–16), 51,1–8 (structure: 7.7.4 lines; vv. 1–3.4–6.7–8),
54,1–10 (structure: 9.8 lines; vv. 1–5.6–10), 55,6–13 (structure: 5.4.4 lines;
vv. 6–9.10–11.12–13) and 55,11–17 (structure: 5.4 lines; vv. 11–15.16–17).
Poems exclusively consisting of almost regular cantos also conspicu-
ously feature in Trito-Isaiah; see Isa. 56,9–57,13 (structure: 13.13.10 lines;
56,9–57,2.3–8.9–13), 61 (structure: 7.7.9 lines; vv. 1–3.4–7.8–11), 62 (struc-
ture: 10.10.7 lines; vv. 1–5.6–9.10–12) and 65 (structure: 14.17.16 lines; vv.
1–7.8–16.17–25).
In this respect, see further Isaiah 5,8–24 (structure: 13.12.12 lines; vv.
8–17.18–24.25–30), Lamentations 1 (structure: 34.33 lines; vv. 1–11.12–22)
and Sirach 51,13–30 (structure: 6.8.9 lines; vv. 13–17.18–22.23–30).
9
For a discussion of these structures, see my RCPJ, pp. 165–75, 299–308, 335–47 and
439–43.
2.4 Type IIA/B: the 2.4.4 and the 4.4.2 canto design
2.4.1 Introduction
There is a relatively large group of psalms which we may class under other
basic patterns, namely as having 2.4.4 or 4.4.2 verselines. Frequently,
the basic pattern of two (or three) regular cantos is expanded by a canto
which—in view of its length in terms of verselines—at first sight has no
relationship at all with the regular cantos. Nevertheless, such divergent
cantos in most cases obey to some rules. First, a divergent canto mostly
opens or concludes the regular cantos and do not occur within the succession
of the main cantos.10 Second, the number of verselines of the canto in
question do not exceed half the number of verselines in the regular cantos.
Psalm 73 with its structure 11.11.6 lines (Type IIB) is the only exception
to this rule.
As a matter of fact, in a considerable number of psalms the divergent
canto preceding or following the main cantos has exactly half the number
of verselines of the regular cantos; note, e.g., the structure 3.6.6 verselines
in Psalm 5.11 The ‘half-long canto’ may actually be smaller than the half
of a long canto; see, e.g., Psalm 31 with its structure 9.9.9.2 lines.
In a few psalms there is probably yet another deliberate relationship
between the length of the ‘long’ cantos and that of the ‘half-long’ canto. In
Psalms 18, 78 and 140 the ratio between the length of these cantos in terms
of verselines is exactly 3:1. In Psalm 18 we find three main cantos composed
of 15 verselines each, while the concluding canto has five verselines (for the
canto design of this psalm, see § 2.5 below). The canto structure of Psalm
78 is 11.33.33 lines (Type IIA) and on canto level Psalm 140 has 6.6.2
lines (Type IIB). In Psalm 119 the ratio between the main cantos and
the concluding divergent canto is exactly 3:2 (structure: 48.48.48.32 lines;
Type IIB).
As is the case in the 4.4 canto design, in the 2.4.4 and 4.4.2 design, too,
it may happen that the long cantos do not exactly balance in terms of the
number of verselines, but differ by one or more lines (cf. Type IB, § 2.3
above). Within this category the longest of the main cantos provides the
criterion for the maximum length of the ‘half-long canto’; see Psalms 69
(structure: 14.16.8 lines) and 102 (structure: 12.11.6 lines).
10
For divergent cantos interrupting the regular cantos, see § 2.6 below (concentric
canto designs).
11
In the book of Job this phenomenon occurs in Job 8 (structure: 6.6.6.3 lines [RCPJ,
pp. 102–09]) and 28 (structure: 4.8.8.8 lines [RCPJ, pp. 309–24]); note further Isaiah
51,17–23 (structure: 3.6.6 lines; vv. 17.18–20.21–23) and Exodus 15,1–18 (structure:
3.6.6.6 lines; vv. 1–2.3–8.9–13.14–18).
Psalm 50 has a gradually increasing number of verselines per canto in

the progression of the composition (structure: 6.8.9 lines). On the basis
of this pattern, the composition fits the category of ‘almost regular cantos’
(see § 2.3.2 above). Nevertheless, I reckon the canto structure of Psalm 50
to the basic pattern 2.4.4 because of the relationship with Psalm 49. From
a thematic point of view, the first canto of Psalm 50 (vv. 1–6) is a relatively
independent section describing the vision of a theophany and functioning as
an introduction to the following main cantos; cf. the first canto of Psalm 49
(vv. 2–5; this is an introductory exhortation to all people to listen).12 The
main cantos of Psalms 49 and 50, in both cases, have 8 and 9 verselines.
2.4.2 The 2.4.4 canto design within the book of Psalms

The following overview lists the psalms displaying the basic pattern 2.4.4
lines (Type IIA).
1.4.4 Ps. 146 4.8.9 Ps. 49
2.4.4 Pss. 24, 64, 122 6.8.9 Ps. 50
2.5.5 Ps. 141 6.19.20 Ps. 105
3.6.6 Ps. 5 11.33.33 Ps. 78
This group of psalms comprise 10 compositions. In most cases the main
‘long’ cantos have an equal number of verselines. In Psalms 49 50 and
105 we are dealing with ‘almost regular’ cantos. It is worth noting that
the cantos in question are consistently lengthened in the progression of the
composition.
2.4.3 The 4.4.2 canto design within the book of Psalms

The following overview lists the psalms showing the basic pattern 4.4.2
lines (Type IIB).
4.4.2 Pss. 14, 53, 111, 112 8.8.2 Pss. 115, 143
5.5.1 Ps. 7B 8.8.3 Ps. 59
5.5.2 Pss. 26, 30, 60 8.8.4 Ps. 80
6.6.1 Ps. 21 8.8.8.4 Ps. 55
6.6.2 Ps. 140 9.9.9.2 Ps. 31
6.6.3 Ps. 48 9.9.4 Ps. 103
6.7.7.2 Ps. 27 9.10.4 Ps. 38
7.7.2 Ps. 81 10.10.1 Ps. 25
7.7.3 Ps. 86 11.11.6 Ps. 73
12
For the thematic individuality of the opening half-long canto, see CAS I, Ch. V,
5.2.1.1–4 (pp. 507–11).
12.11.6 Ps. 102 14.16.8 Ps. 69

12.12.6 Ps. 109 48.48.48.32 Ps. 119
This group of psalms comprise 28 compositions. This means that in the
book of Psalms the pattern with the ‘half-long canto’ concluding a series
of long cantos (Type IIB), occurs much more frequently than the pattern
with the ‘half-long canto’ preceding the long cantos (Type IIA; ratio 2.8:1).
To sum up, there are (10 + 28 =) 38 psalms which begin or conclude with a
‘half-long canto’; this number amounts to 29.2% of all the psalms displaying
a canto structure (130 psalms).
Most poems in this category (Type II) have two regular or almost regular
cantos. Psalms 31, 55 and 119 are composed of three exactly regular cantos.
These poems all belong to Type IIB.
2.4.4 The 2.4.4 and 4.4.2 canto design outside the book of Psalms
In the book of Job the 2.4.4 and 4.4.2 canto design is well documented; see,
e.g., Job 8 (structure: 6.6.6.3 lines), 11 (structure: 6.6.6.2 lines), 13 (struc-
ture: 4.12.12 lines), 28 (structure: 4.8.8.8 lines), 38,39–39,30 (structure:
15.13.5 lines) and 40,7–41,26 (structure: 8.22.23 lines).13
These canto arrangements regularly feature in Deutero-Isaiah; see Isa.
42,13–17 (structure: 4.5.2 lines; vv. 13–14.15–16.17), 42,18–25 (structure:
5.5.2 lines; vv. 18–21.22–24.25), 46 (structure: 3.9.9 lines; vv. 1–2.3–7.8-
13), 51,17–23 (structure: 3.6.6 lines; vv. 17.18–20.21–23) and 52,13–53,12
(structure: 4.11.13 lines; 52,13–15.53,1–6.7–12).
In Trito-Isaiah we find some examples of the 4.4.2 canto arrangement;
see Isa. 60 (structure: 16.18.7 lines; vv. 1–9.10–11+13–18.19–22) and 63,7–
64,11 (structure: 19.20.4 lines; 63,7–15.16–64,8.9–11).
The latter design also occurs in Joel; see Joel 1 (structure: 10.10.10.4
lines; vv. 2–7.8–12.13–17.18–20) and 2,1–14 (structure: 10.12.4 lines; vv.
1–5.6–11.12–14).
In this respect, see further Exodus 15,1–18 (structure: 3.6.6.6 lines; vv.
1–2.3–8.9–13.14–18), Isa. 5,1–7 (structure: 5.4.4.2 lines; vv. 1–2.3–4.5–6.7),
Ezekiel 19,2–14 (structure: 6.10.10 lines; vv. 2–4.5–9.10–14), Micah 6,1–16
(structure: 3.10.10 lines; vv. 1–2.3–8.9–16), Proverbs 31,10–31 (structure:
9.9.4 lines; vv. 10–18.19–27.28–31) and Lamentations 4 (structure: 20.20.4;
vv. 1–10.11–20.21–22), 5 (structure: 10.8.4; vv. 1–10.11–18.19–22).
13
For the rhetorical discussion of these poems, see RCPJ, pp. 102–09, 133–41, 152–64,
309–24, 377–89 and 390–406.
2.5 Type IIC: the 2.4.4.2 canto design

In six psalms there is a ‘half-long canto’ preceding and following the long
cantos at the same time; basic pattern 2.4.4.2 verselines.
3.6.6.7.4 Ps. 136 2.15.15.15.5 Ps. 18
2.8.8.8.2 Ps. 44 3.19.20.1 Ps. 107
4.8.8.8.1 Ps. 118 5.20.19.6 Ps. 106
This type of design (featuring in 6 poems) represents 4.6% of all the psalms
with a canto structure. It is a salient point that four of these psalms
have three long cantos (Psalms 18, 44, 118 and 136). The closing ‘half-
long canto’ of Psalm 136 exceeds the ‘maximum’ length by one verseline
(structure: 3.6.6.7.4 lines; cf. § 2.4.1 above regarding Psalm 73). In Psalms
136 and 107 the main cantos display a lengthening in the progression of
the composition (6 > 7 lines and 19 > 20 lines respectively). In Psalm 106
we are dealing with a decrease in the number of verselines (20 > 19 lines).
Outside the book of Psalms the 2.4.4.2 canto design is found in Deutero-
nomium 32 (structure: 6.17.18.19.9 lines; vv. 1–4.5–14.15–25.26–38.39–43)
and Habakuk 3 (structure: 2.7.7.7.5 lines; vv. 2.3–7.8–12.13–16.17–19).
Once again, the poems have three long cantos.
2.6 Type III: concentric canto designs

2.6.1 Within the book of Psalms
Psalms composed of three cantos sometimes have a concentric framework.
In other words, it also happens that two regular (or almost regular) can-
tos envelop a canto which has a (significantly) different number of verse-
lines; basic pattern 4.X.4 verselines. The following list gives a systematic
overview of the psalms concerned.
5.1.5 Ps. 58 8.4.8 Ps. 72
5.3.5 Ps. 28 9.4.9 Ps. 145
2.6.2 Ps. 29 10.12.10 Ps. 22
7.6.7 Ps. 51 12.8.11 Ps. 35
8.3.8 Ps. 66
Within this group of nine psalms (6.9% of the psalms with a canto
design) two patterns can be distinguished. There is a pattern in which the
pivotal canto is longer than the framing ones; for this pattern, see Psalms 22
and 29.14 In the remaining seven psalms this concentric scheme is reversed;
14
Cf. Psalms 7:2–9a (structure: 2.3.2 lines) and 67 (structure: 2.3.2 lines).
that is to say, the pivotal canto is mostly shorter than the framing ones.15
In Psalm 51 the divergence between the length of the framing cantos and
the central canto is only one verseline. More frequently, however, there is
a divergence of two or more lines. In Psalm 35 the framing cantos are not
exactly regular but shorter in length by one verseline in the progression of
the composition; for such ‘almost regular cantos’, see § 2.3 above (Type IB).
2.6.2 Outside the book of Psalms: a preliminary exploration

In the book of Job there are some clear examples of concentric canto de-
signs: Job 9 (structure: 11.12.11 lines), 22 (structure: 10.9.10 lines) and 31
(structure: 12.16.12 lines).16
In Trito-Isaiah concentric canto patterns are especially found in chapters
57–59; see Isa. 57,14–20 (structure: 4.2.4 lines; vv. 14–15.16.17–20), 58
(structure: 12.8.12 lines; vv. 1–5.6–9b.9c–14), 59,1–20 (structure: 15.6.16
lines; vv. 1–8.9–11.12–20; the framing cantos are almost regular [for the
latter phenomenon, cf. Psalm 35]).
In this respect, see further Isaiah 42,1–12 (structure of cantos and stro-
phes: 5.7.5 > 3.2|2.3.2|2.3; vv. 1.2–4|5.6–7.8–9|10.11–12) and Lamentations
2 (structure 30.6.31; vv. 1–10.11–12.13–22; the framing cantos are almost
regular [for the latter phenomenon, cf. Psalm 35]).
2.7 Summary
From the perspective of length in terms of verselines we have distinguished
three main types of canto arrangement:17
• Type I represents an unbroken series of exactly regular or almost

regular cantos only (basic pattern: 4.4 lines);
• Type II represents an unbroken series of regular or almost regular

cantos which are preceded or concluded by a ‘half-long canto’ (basic
pattern: 2.4.4 and 4.4.2 lines respectively);
• Type III represents a pattern in which two ‘regular’ cantos are inter-
rupted by a unit with a divergent number of verselines (basic pattern:
4.X.4 lines).
15
Cf. Psalm 11 (strophic structure: 3.2.3 lines).
16
See RCPJ, pp. 110–23, 255–64 and 348–61.
17
It is only Psalm 19 (canto structure: 6.12) that does not fit the schemes I discussed
above.
Within all these types there are psalms that have exactly regular or
balanced cantos in terms of verselines and psalms that have almost regular
cantos in terms of verselines. Type IA represents the group of psalms that
are exclusively composed of an unbroken series of (mostly two) exactly
regular cantos; this group comprise 43 poems. Within the basic pattern of
Type IB (almost regular cantos), there are 7 psalms that nevertheless have
two successive cantos with an equal number of verselines (these psalms,
which are composed of at least three cantos, begin or end with a ‘divergent’
canto differing in length by mostly one verseline).
Within the group of psalms with a basic structure 2.4.4 lines (Type
IIA) most poems, namely 7 out of 10, have two exactly regular cantos;
Psalms 49, 50 and 105 are the exceptions to this rule. Within the group
of psalms with the basic structure 4.4.2 lines (Type IIB) 25 poems have at
least two exactly regular cantos; in this respect Psalms 38, 69 and 102 are
the exceptions. Within the group of psalms with the basic structure 2.4.4.2
(Type IIC) once again most poems, namely 4 out of 6, have at least two
exactly regular cantos; Psalms 106 and 107 are the exceptions.
Finally, within the group of nine psalms with the basic structure 4.X.4
lines (Type III) no less than eight poems have two exactly regular cantos;
Psalm 35 is the exception.
To sum up, there are 43 (IA) + 7 (IB) + 7 (IIA) + 25 (IIB) + 4 (IIC)
+ 8 (III) = 94 psalms which have at least two exactly regular cantos. This
figure amounts to 72.3% of all the psalms displaying a canto structure (130
psalms).18
In psalms which partially or as a whole consist of ‘almost regular cantos’
we could establish that in most cases there is a lengthening of these cantos
in the progression of the composition.
I conclude that the Hebrew poets used a limited number of basic canto
patterns to shape their compositions. In the book of Psalms these patterns
can be clearly discerned. At the same time—by their poetic craftsmanship—
the Hebrew writers handled these canto patterns in a creative way. Impos-
ing particular restrictions on themselves, they freely varied them, with the
result that already on the level of the overall framework hardly any two
poems of some length have exactly the same canto structure in terms of
verselines.
18
In the book of Job we find 36 poems that are composed of cantos. In terms of
verselines, 22 poems of this corpus show at least two regular cantos, that is 61% of all
the poems concerned. Additionally, in the book of Job we could identify a special canto
type with seven lines introducing or concluding the regular or almost regular cantos (see
RCPJ, pp. 463–64). This phenomenon is not found in the book of Psalms.
.
Chapter V
Systematic Observations (continued 1):

The Mathematical Centre and its Meaning,
or the Quest for the Rhetorical Centre
1 Introduction
Some twenty years ago, Jacob Bazak (Jerusalem) and Casper Labuschagne
(Groningen) demonstrated that the pivotal words of Psalms 23, 81, 82 and
92 represent a ‘meaningful centre’; note Pss. 23,4d 81,9b 82,5a–b and
92,9.1 They used the word ‘pivot’ in a purely quantitative sense. That is to
say, they found that the meaningful centres of these psalms are preceded
and followed by an exactly equal number of words; see, e.g., Ps. 92,9 (vv.
2–8.9.10–16 > 52+4+52 words).
Recent biblical scholarship has indeed developed a keen eye for concen-
tric structures in Hebrew poetry,2 yet—generally speaking—exegetes focus
especially on the semantic aspect of this rhetorical phenomenon and tend to
disregard its formal features. They seem to harbour fundamental suspicions
of the quantitative constituent of concentric structures.3 Consequently, it
has not been explored systematically in the context of the exegesis of bib-
lical Hebrew poetry.
In my opinion, this state of affairs calls for a deeper investigation into
the numerical aspects of the meaningful centres to be found in the book of
Psalms.4
1
See J. Bazak, ‘Numerical devices in biblical poetry’, VT 38 (1988), pp. 333–37,
and C.J. Labuschagne, Vertellen met getallen. Functie en symboliek van getallen in de
bijbelse oudheid, Zoetermeer: Boekencentrum, 1992, pp. 114–17 (cf. also p. 120 n. 23).
In this respect, see further J. Smit Sibinga, ‘Gedicht en getal: Over de compositie van
Psalm 6’, NThT 42 (1988), pp. 185–207, and R. Youngblood, ‘Divine Names in the Book
of Psalms: Literary Structures and Number Patterns’, JANES 19 (1989), pp. 171–81.
2
According to Korpel and De Moor, in North-West Semitic poetry ‘we often find
the heart of the matter right in the middle where it belongs as the kernel out of which
everything grew in accordance with the laws of parallelistic expansion’; see M.C.A Korpel
and J.C. de Moor, ‘Fundamentals of Ugaritic and Hebrew Poetry’, in W. van der Meer
and J.C. de Moor, The Structural Analysis of Biblical and Canaanite Poetry (JSOTS
74), Sheffield: JSOT Press, 1988, pp. 1–61 (note p. 54 and see also p. 60).
3
See my CAS I, Ch. II, 2.4 (especially p. 87) and also § 2.6.1 below.
4
Bazak (‘Numerical devices’, pp. 336–37) rightly concluded: ‘One might expect that
a systematic examination of the book of Psalms . . . might reveal additional psalms where
506 chapter v: rhetorical centre
The initial numerical explorations by Bazak and Labuschagne were

limited to the word level of the psalms. At that time, neither Bazak
nor Labuschagne realized that their quantitative approach on word level
deals only with one aspect of the numerical framework of these composi-
tions. What escaped their notice is that the central words they detected
always make up a complete colon, or two successive cola, as is the case in
Ps. 82,5a–b.
Further investigation has brought to light that the pivotal words of a
psalm, representing a meaningful centre, may coincide with its pivotal colon;
see for example Ps. 81,9b (‘O Israel, if you would only hear me!’). V. 9b
is enveloped by 58 words on either side. At the same time, these 58 words
constitute 17 cola; that is to say, vv. 2–9a.9b.10–17 > 17+1+17 cola and
58+4+58 words. This phenomenon occurs regularly. More examples of
central words coinciding with the pivotal colon are, e.g., Pss. 11,4b* 38,12b
63,7a 95,7a 96,8a 116,10a 144,9a and Job 13,15a.5 Starting from this
observation, Labuschagne and myself gradually realized that—apart from
the number of words—the numerical component of the central message of
a psalm may also be expressed in terms of cola, verselines or strophes.
If the focal idea of a composition is highlighted by one or more formal
features—say, by a quantitative phenomenon—I designate it the rhetorical
centre. On the basis of these preliminary observations, I suggest the follow-
ing fundamental constraints with regard to a rhetorical centre in Hebrew
poetry:
• in the quantitative approach of the psalms, the headings should be

left out of consideration;
• the same applies to the occurrences of the word slh;
• the term ‘centre’ has to be taken in a purely quantitative sense;
• the mathematical centre on word level should at least constitute a

complete colon;
the poet used numerical devices to stress central sentences and key words’. For a sys-
tematic investigation into the meaningful centres of all the psalms, see now also the
Psalm Project on the website of Casper Labuschagne, www.labuschagne.nl.
5
For Ps. 95,7a as the ‘midpoint of the poem’, see now also D.M. Howard, The Struc-
ture of Psalms 93–100 (Biblical and Judaic Studies 5), Winona Lake (Indiana): Eisen-
brauns, 1997, p. 59. Job 13,15a (hn yqt.lny lw ’yh.l ) is flanked by 99 words and 28 cola
on either side. Simultaneously, in terms of meaning, v. 15a expresses the essential idea
of Job 13: ‘behold, he may slay me; I hope for him!’; see my RCPJ, pp. 152–64 (note
p. 164 n. 19), and now also Fokkelman, MPHB II, pp. 367, 371 and 379–81.
v.1 introduction 507
• such a centre can also be found on the level of cola, verselines, strophes
or cantos;
• in the case of an even total number of cola or verselines, the mathe-

matical centre can comprise two middle cola or two middle verselines;
• the mathematical centre should represent a meaningful phrase;
• the mathematical centre constitutes a tersely formulated important

idea or message of the composition.
The phenomenon of, e.g., a pivotal verseline expressing a major idea

is in itself sufficient to regard it as the deliberately designed centre of a
poem. Nevertheless, it is often possible to point out some additional formal
features that highlight the unique position of such a rhetorical centre. Such
features may reinforce the central position of a colon, verseline or strophe
in numerical terms. In this respect, all kinds of references to God regularly
function as a corroborative device; see § 2 below. Further, concentric or
symmetric word patterns in general determining the poem as a whole or the
rhetorical centre itself may highlight a central message; see § 3 below. The
use of words explicitly denoting ‘midst’ or ‘(making a) circle’ were other
means the Hebrew poets applied to mark the rhetorical centre of their
compositions; see § 4 below. In some cases, the sudden and temporary
switch in the way God is referred to coincides with the centre of a poem in
a quantitative sense; see § 5 below.6
In the following sections, when appropriate, I shall first expound what
I have learned from the observations by Bazak, Labuschagne and Smit
Sibinga; see the basic examples Pss. 92,9 (§§ 2.1.1 and 2.6.1) 23,4d (§§
2.5.1 and 2.6.1) 82,5a–b (§ 2.6.1) 81,9b (§ 3.1.1) and the introductory
remark to § 4.1–3. These examples are generally characterized by the fact
that the rhetorical centre is defined in terms of the number of words.
6
For such reinforcing features, see now also www.labuschagne.nl/aspects.pdf (Special
devices to highlight the meaningful centre).
2 References to God’s presence highlighting

the rhetorical centre
2.1 The divine name, yhwh, and the centre
2.1.1 yhwh within the centre: basic example
(1.) Ps. 92,9 reads: w’th mrwm l‘lm YHWH (‘but You are exalted for ever,
O Lord’). Bazak has observed that these four words are enveloped by a
multiple of 26 words on either side: vv. 2–8.9.10–16 > 52+4+52 words
(52 = 2×26). He notes that in the traditional literature of Judaism 26 is
the numerical value of the name of God, yhwh (y+h+w+h > 10+5+6+5
= 26), and concludes that the numerical structure of the entire psalm was
‘deliberately planned’ with the number 26 in mind.1 Labuschagne concurs
with Bazak and further observes that the divine name which is found in
v. 9 enhances the core position of these central words. In this ‘song for the
seventh day’ (v. 1) as a whole the name yhwh occurs 7 times and within
this series it has a pivotal place in v. 9; see vv. 2, 5, 6, 9, 10, 14 and 16 (>
3+1+3).2
Additionally, it is to be noted that the first and the final position of
the divine name in the series of seven is found in exactly the first and the
last verseline of Psalm 92, vv. 2 and 16 respectively. This phenomenon
in particular supports the symbolic interpretation of the number 26 (cf.
the discussion of Psalm 23 in § 2.6.1 below). Finally, I observe that the
personal pronoun ’th (‘you’), referring to God, only occurs in v. 9.3 On
the basis of all these observations we may safely assume that the references
to God which permeate this composition are consciously designed so as to
expressively strengthen the central message: God is exalted for ever! That
is to say, v. 9 is the rhetorical centre of the psalm.4
1
Bazak, ‘Numerical devices’, p. 335. For the number 26 as a device supporting the
rhetorical centre of a psalm, see § 2.6.1–2.
2
Labuschagne, Vertellen met getallen, pp. 116–17; see also Youngblood, ‘Divine
Names’, p. 178.
3
For this pronoun corroborating v. 9 as rhetorical centre, see § 2.5 below.
4
This relatively new insight may explain why the Masoretes have marked the rhetor-
ical centre as a complete verse, although we are dealing with only a single colon. This
kind of verse division is sometimes found in the first verseline of a psalm, but is very
exceptional within a psalm; see CAS I, pp. 524–25.
v.2 references to god 509
2.1.2 yhwh within the centre: more examples

The following examples will make it clear that the phenomena described
above are not restricted to Psalm 92, but often occur in the mathematical
centres of the psalms.
(2.) The pivotal cola of Psalm 2 read: ’sprh ’l h.q YHWH // ’mr ’ly bny
’th (‘I will proclaim the decree of the Lord; // he said to me: you are my
son’, v. 7a–b); vv. 1–6.7a–b.7c–12 > 13+2+13 cola. The central position
of the cola in question is enhanced by the 3 occurrences of the divine name
in the psalm as a whole. yhwh in v. 7a is the core of this small series;
see vv. 2c, 7a and 11a (> 1+1+1). By using the 13 cola to flank v. 7a–b
on either side and by the positioning of God’s name, the poet expressively
demonstrates in a literary way that God supports his ‘son’.5
(3.) V. 4 constitutes the central strophe of Psalm 11 (> 1+1+1 strophes).
This strophe is composed of two verselines which simultaneously form the
middle verselines of the psalm (vv. 1–3.4.5–7 > 3+2+3 lines).6 The pivotal
position of v. 4 is reinforced by v. 4b as the mathematical centre of the psalm
in terms of cola and words: vv. 1–4a.4b.4c–7 > 9+1+9 cola and 32*+3+32
words.7 The colon reads: YHWH bšmym ks’w (‘the Lord’s throne is in
heaven’). In the psalm as a whole, the divine name occurs 5× and in this
series it has a pivotal position in v. 4b highlighting the colon about God’s
highness as the rhetorical centre of the psalm; see vv. 1b, 4a, 4b, 5a and
7a (> 2+1+2). It is further to be noted that, as in Psalm 92, the first and
the final occurrences of yhwh feature in the first and the last verseline, vv.
1 and 7 respectively.8
(4.) The middle cola of Psalm 12 read: mšd ‘nyym m’nqt ’bywnym //
‘th ’qwm y’mr YHWH (‘“because of the devastation of the afflicted, the
groaning of the poor, // now I will arise,” says the Lord’, v. 6a–b); vv.
2–5.6a–b.6c–9 > 8+2+8 cola. The divine name occurs 5× in the entire
psalm and in this series v. 6a–b is once again highlighted as the centre of
the poem; see vv. 2, 4, 6b, 7 and 8 (> 2+1+2). The concentric pattern
may express the thought that God is near the ‘afflicted’ and the ‘poor’.
5
For the 13 cola enveloping v. 7a–b as a device supporting the rhetorical centre, see
§ 2.6.4; and for a similar function of the root spr (‘to [re-]count’) in v. 7a, see § 4.3.1
below. The personal pronoun ’th in v. 7b refers to the king and not to God.
6
For this centre with its 52 letters, see § 2.6.2 below.
7
Because in the quantitative descriptions of the rhetorical centre the headings of the
psalms are in principle left out of consideration (in this case lmns.h. ldwd ), I note ‘v. 1’
and not ‘v. 1b’. In v. 1c (sic!) we have to read hr kmw (see BHS); MT reads hrkm. For
the colometric division of Psalm 11, see CAS I, Ch. III, 11 (pp. 164–68).
8
For the 13 letters of v. 4b as another means to mark the rhetorical centre, see § 2.6.4.
(5.) In terms of verselines and strophes, vv. 4–5 are the quantitative centre
of Psalm 13 (> 1+1+1 strophes and 2+2+2 lines). The central position
of vv. 4–5 is enhanced by the opening colon v. 4a representing the centre
of the psalm in terms of words; vv. 2–3.4a.4b–6 > 24+4+24 words. These
central words read: hbyt.h ‘nny YHWH ’lhy (‘look, answer me, O Lord, my
God!’).9 The pivotal position of these words is highlighted by the divine
name, yhwh. The Tetragrammaton not only features in v. 4a, but simulta-
neously in exactly the first and last verseline of the psalm, vv. 2 and 6c–d.
That is to say, in v. 4a it has a pivotal position. Finally, the designation
’lhym (‘God’) occurs only in v. 4a.10 These observations show that the
central position of the phrase hbyt.h ‘nny yhwh ’lhy is firmly embedded in
the literary framework of the psalm. This framework—emphasizing God’s
presence—is an implicit answer to the central prayer : save me, O God!
(6.) Psalm 36 is composed of five strophes.11 From this perspective, the

third strophe, vv. 6–7, constitutes the centre of the poem: vv. 2–5.6–7.8–13
> 2+1+2 strophes. This middle strophe reads:
YHWH bhšmym h.sdk ’mwntk ‘d šh.qym
s.dqtk khrry ’l mšpt.k thwm rbh ’dm wbhmh twšy‘ YHWH
O Lord, your faithfulness reaches to heaven,
your steadfastness to the clouds.
Your righteousness is like the high mountains,
your justice like the great deep;
man and beast you deliver, O Lord.
The central position of vv. 6–7 is highlighted by the name yhwh precisely
marking the boundaries of the strophe by inclusion (see vv. 6a and 7c);12
the Tetragrammaton is not found elsewhere in the psalm. In this light, it
is hardly a matter of chance that vv. 6–7 have 68 (= 4×17) letters.13 On
the basis of these formal references to God’s presence permeating vv. 6–7,
we may safely assume that the strophe constitutes the consciously designed
rhetorical centre of Psalm 36: O God, your steadfast love and justice are
unlimited.
9
For the 17 words of vv. 4–5 and the 17 letters of v. 4a highighting this strophe as
rhetorical centre, see § 2.6.3. For v. 4b as the pivotal colon of Psalm 13, see § 4.2.1.
10
For ’lhym corroborating the rhetorical centre, see § 2.3 below.
11
For the strophic structure of Psalm 36, see CAS I, Ch. III, 36 (pp. 360–66).
12
Contra Gunkel, Dahood, Kraus, Ridderbos (1972) and Jacquet (see also BHS), who,
for metrical reasons, take yhwh in v. 7c as the first word of the following verse (v. 8). For
the concentric aspect of vv. 6–7 as a device highlighting the rhetorical centre, see § 3.2;
and for the designation ’lhym (‘God’) supporting this concentric aspect, see § 2.3.2.
13
For the number 17 highlighting the rhetorical centre, see § 2.6.3 below.
(7.) In the past, Ps. 42,9 has often been regarded as problematic in its
immediate context. Recently, to the contrary, it has regularly been consid-
ered the rhetorical centre of the composition represented by Psalms 42–43;
see Ch. II, 1.5. The verseline reads: ywmm ys.wh YHWH h.sdw // wblylh
šyrh ‘my tplh l’l h.yy (‘by day, the Lord commends his faithful care, // and
at night a song is with me, a prayer to the God of my life’); 42,2–8.9.10–
43,5 > 8+1+8 lines. The central position of the verseline is highlighted
by the divine name which occurs in v. 9a and is not found elsewhere in
the whole poem.14 That is to say, Dockner has rightly observed that the
meaning of 42,9 should be ‘makrostrukturell’ interpreted. According to
him the verseline constitutes the ‘Textmitte’ and the axis of a symmteric
framework.15
(8.) There is a whole cluster of formal devices highlighting the rhetorical
centre of Psalm 58. V. 7 is the mathematical centre of this psalm in terms
of verselines and cola: vv. 2–6.7.8–12 > 5+1+5 lines and 10+2+10 cola.
In addition, v. 7 is the centre of the five strophes which make up the poem:
vv. 2–3.4–6|7|8–10.11–12 (> 2+1+2 strophes). And the strophic structure
in terms of verselines once more highlights v. 7 as mathematical centre:
2.3|1|3.2 lines (> a.b|c|b’.a’). The central verseline reads: ’lhym hrs šnymw
bpymw // mlt‘wt kpyrym nts. YHWH (‘O God, smash their teeth in their
mouths, // the jaw-teeth of the lions, break, O Lord’). This supplication
to put an end to the aggression of the wicked is further marked as the
rhetorical centre of the psalm by the single occurrence of the name yhwh
(vocative) in v. 7b.16
(9.) In Psalm 77, the phrase ’zkwr m‘lly YH // ky ’zkrh mqdm p‘lk (‘I
remember the deeds of the Lord, // yes, I remember your wonders of old’,
v. 12) constitutes the centre of the poem on colon level: vv. 2–11.12.13–21
> 22+2+22 cola (note the multiples of 11). In addition, v. 12 is the
central verseline of the middle strophe of the psalm, vv. 11–13.17 Its central
position is further highlighted by the divine name in its shortened form
yh, because this name does not occur elsewhere in the poem (neither in its
long form!). And finally it is the repetition of the root zkr (‘to remember’)
14
Similarly Youngblood, ‘Divine Names’, pp. 176–77. Cf. also P.R. Raabe, Psalm
Structures (JSOTS 104), Sheffield, 1990, p. 183.
15
Th. Dockner, “Sicut Cerva . . . ”: Text, Struktur und Bedeutung von Psalm 42 und
43 (ATS 67), St. Ottilien: Eos Verlag, 2001, pp. 216.255–57. For the 39 (= 3×13) letters
further highlighting 42,9 as rhetorical centre, see § 2.6.4.
16
For the symmetric composition of v. 7 as a device for highlighting the rhetorical
centre, see § 3.2 below; and for the similar function of the address to God, see § 5 below!
The designation ’lhym (‘God’) occurs 2×: vv. 7a(!) and 12b.
17
For vv. 11–13 as the middle strophe of Psalm 77, see § 3.2 below.
which gives v. 12 a special relief.18 On the basis of these formal indications,

I conclude that the praise (v. 12), which is composed of exactly 7 words, is
the rhetorical centre of Psalm 77.
(10.) In terms of words and verselines, v. 3 is the mathematical centre of

Psalm 93: vv. 1–2.3.4–5 > 2+1+2 lines and 18+9+18 words.19 This centre
reads: nś’w nhrwt YHWH // nś’w nhrwt qwlm // yś’w nhrwt dkym (‘the
floods lift up, O Lord, // the floods lift up their voice, // the floods lift
up their tumult’). V. 3 is highlighted as the rhetorical centre of the psalm
by the divine name in v. 3a. In the poem as a whole, the Tetragrammaton
occurs 5× and in this series the pivotal occurrence falls in v. 3; see vv. 1a,
1b, 3a, 4c and 5c (> 2+1+2); note yhwh in the first and last verseline,
vv. 1 and 5 respectively.20 By these formal devices the praise formulated
in v. 3 becomes an extra theological dimension and is to be considered the
rhetorical centre of the psalm.
(11.) V. 12 is the pivotal verseline of Psalm 94: vv. 1–11.12.13–23 >

11+1+11 lines. The pivotal line reads: ’šry hgbr ’šr tysrnw YH // wmtwrtk
tlmdnw (‘happy the man whom you instruct, O Lord, // whom you teach
by your law’). The divine name in v. 12a, yh, has a pivotal position,
because in the entire psalm it features 11× (mostly in its long form) and
in this series the proper name in v. 12a takes the sixth position; see vv.
1, 3, 5, 7 (yh), 11, 12 (yh), 14, 17, 18, 22, 23 (> 5+1+5).21 This feature
reinforces the pivotal position of v. 12; note further the occurrence of the
Tetragrammaton in the first and the last verseline, vv. 1 and 23. To crown
it all, v. 12 is highlighted as the central verseline by its first word ’šry
(‘happy’). The word mostly occurs at the beginning of a psalm, or the
beginning of a main section (see CAS I, p. 543). In Ps. 33,12 it is the first
morpheme of the second canto and simultaneously the pivotal word of the
poem concerned (> 80+1+80 words). The latter phenomenon corresponds
18
For the root zkr as a device for highlighting the rhetorical centre, see § 4.3.2.
19
In addition, there is a perfect balance in the poem on word level, because the nine
words of the central verseline appear to be the norm figure for the surrounding verselines:
the two verselines preceding and following v. 3 have exactly 2×9 (= 18) words.
20
I may also point out that v. 3 is a tricolon composed of 3+3+3 words (cf. Pss. 108,8
135,11 and 146,6, which are all pivotal praises of God) and 13+13+13 letters per colon.
For the latter feature highlighting v. 3 as the rhetorical centre, see § 2.6.4. Additionally,
the tricolon stands out in the poem by the repetition of the noun nhrwt (‘floods’), three
times!
21
For the alternation of yhwh and yh, see also Psalm 130 below. The number 11
(note the numbers in bold face) symbolically represents the idea of ‘fullness’ and, as a
rhetorical device, it is often found in wisdom compositions. For the symbolic meaning
of eleven, see Ch. I, 1.4.
to the strategic placement of ’šry at the beginning of the central verseline

of Psalm 94. All these formal devices clearly indicate that the beatitude
v. 12, which consists of exactly 7 words, is an important theme of Psalm
94 and may be considered its rhetorical centre.
(12.) The divine name also features in the central words of Psalm 130, v. 5;
vv. 1–4.5.6–8 > 23+6+23 words. These central words read: qwyty YHWH
qwth npšy // wldbrw hwh.lty (‘I wait for the Lord, my soul waits, // and
I hope for his word’). Including the occurrence of the shortened form yh
in v. 3, the divine name occurs 5× in the entire psalm and in this series it
has a pivotal position in v. 5; see vv. 1a, 3a, 5a, 7a and 7b (> 2+1+2).22 I
assume that the contemplative message about the longing for God in v. 5 is
the deliberately designed rhetorical centre of Psalm 130. This assumption
is corroborated by the similar wording of the rhetorical centre of Psalm 39
(v. 8), w‘th mh qwyty ’dny // twh.lty lk hy’ (see § 2.2.1 below); for the root
yh.l (‘to wait/hope’) in the centre, see also Job 13,15a (cf. § 1 above).
(13.) Vv. 7–8 are clearly the centre of Psalm 140:

’mrty lYHWH ’ly ’th h’zynh YHWH qwl th.nwny
YHWH ’dny ‘z yšw‘ty skth lr’šy bywm nšq
I said to the Lord: you are my God,
give ear, O Lord, to my cry for mercy.
O Lord, my Lord, the strength of my deliverance,
you protected my head on the day of battle.
In this psalm the central cola coincide with the central verselines: vv.
2–6.7–8.9–14 > 6+2+6 lines and 12+4+12 cola. The central position of
these lines is additionally highlighted by three successive occurrences of the
divine name (vv. 7a, 7b and 8a). It is further important to note that this
high density of yhwh within two verselines has a pivotal position in the
series of 7 occurrences of the Name in the psalm as a whole: vv. 2a, 5a,
7a, 7b, 8a, 9a, 13a (> 2+3+2).23 Moreover, the designation ’dny (‘Lord’;
see the vocative yhwh ’dny in v. 8a) is not found elsewhere in the psalm.24
And finally, the same applies to the personal pronoun ’th (‘you’), referring
to God, in v. 7a.25 This whole complex of formal features indicate that
22
For the alternation of yhwh and yh, see also Psalm 94 above. Simultaneously, the
name yhwh highlights v. 5a as the central colon of the psalm (> 8+1+8 cola); for the
17 letters of this colon, see § 2.6.3 below.
23
See also Youngblood, ‘Divine Names’, pp. 178–79.
24
For the designation ’dny as a device highlighting the rhetorical centre, see § 2.2.
25
For the pronoun ’th, referring to God, as a device highlighting the rhetorical centre,
see § 2.5 below.
the prayer for deliverance, in combination with the psalmist’s declaration

of trust, formulated in vv. 7–8, is to be taken as the deliberately designed
rhetorical centre of Psalm 140.
2.1.3 A related feature: yhwh outside the centre

(14.) From a numerical perspective, vv. 5–6 represent the centre of Psalm 8
(> 4+2+4 lines and 8+4+8 cola). In light of the preceding observations, it
is probably relevant to note that the verselines in question are, among other
things, highlighted as a rhetorical centre by the name yhwh, because it
occurs only in the first and the last verselines of the composition, vv. 2a–b
and 10.26
(15.) ky ’th ‘mdy (‘surely, You [are] with me’) is the centre of Psalm 23 in
terms of words (> 26+3+26 words).27 The divine name does not feature
in this numerical centre (v. 4d). Nevertheless, its pivotal position between
26 words on either side perfectly fits and coincides with the occurrences of
yhwh in the first and the last verselines of the psalm only, demarcating
the poem by inclusion; see vv. 1–2a and 6c–d. That is to say, the position-
ing of the Tetragrammaton corroborates the symbolic interpretation of the
number 26!28
(16.) The pivotal position of Ps. 39,8, w‘th mh qwyty ’dny // twh.lty lk hy’
(‘and now, for what do I wait, O Lord? // My hope—it is in you!’; >
7+1+7 lines), is among other things enhanced by the phenomenon that it
is once preceded and once followed by the name yhwh, enveloping v. 8 as
the middle verseline of the poem in question; see vv. 5 and 13.29
(17.) In Psalm 101 the central cola coincide with the middle verselines: vv.
1–4.5.6–8 > 6+2+6 lines and 12+4+12 cola. This centre reads:
mlwšny bstr r‘hw ’wtw ’s.myt
gbh ‘ynym wrh.b lbb ’tw l’ ’wkl
He who slanders his friend in secret // I will destroy;
the haughty and proud man // I cannot endure.
26
For vv. 5–6 as the rhetorical centre of Psalm 8, see especially § 2.2.2 below.
27
For the 26 words flanking the pivotal idea v. 4d on either side, see especially
§ 2.6.1 below.
28
However, when first pointing to the numerical structure of Psalm 23 and the symbolic
meaning of 26 this supporting evidence escaped the attention of Bazak and Labuschagne
(cf. § 1). For the personal pronoun ’th (‘you’), referring to God, in the centre of the
pivotal words, see § 2.5.1.
29
Cf. Youngblood, ‘Divine Names’, p. 175. For v. 8 as the rhetorical centre of Psalm
39, see especially § 2.2.1.
The pivotal position of these lines is formally supported by the strategic

placement of the divine name, which features only in the first and the last
verselines of the psalm, vv. 1 and 8c–d, demarcating the poem by inclusion.
Within the composition as a whole, in which the psalmist declares his
innocence and righteousness, the central lines about his destruction of the
wicked function as a forceful counterpoint. Therefore, I take v. 5 as the
rhetorical centre of Psalm 101.30
(18.) In Psalm 125 the central cola not only coincide with the central
verselines (cf. Psalm 101 above) but also with the central strophe (v. 3):
vv. 1–2.3.4–5 > 1+1+1 strophes, 2+2+2 verselines and 5+4+5 cola. The
central strophe reads:
ky l’ ynwh. šbt. hrš‘ ‘l gwrl hs.dyqym
lm‘n l’ yšlh.w hs.dyqym b‘wlth ydyhm
Yes, the scepter of the wicked will not rest
upon the land allotted to the righteous,
that the righteous not set
their hands to wrongdoing.
The strophe is composed of exactly 14 (= 2×7) words. Indeed, the name

yhwh does not occur in v. 3, yet the Tetragrammaton positively occurs in
each verseline preceding and following the central strophe; see vv. 1, 2, 4
and 5.31 ‘This may be interpreted as consciously intended to let the divine
name surround the meaningful centre in the same fashion as the mountains
surround Jerusalem and yhwh surrounds his people’.32
(19.) In Psalm 131, the phrase ’m l’ šwyty // wdwmmty npšy (‘nay rather,
I have stilled // and quieted my soul’, v. 2a–b) is the mathematical centre;
vv. 1.2a–b.2c–3 > 2+1+2 verselines and 4+2+4 cola. The occurrence of
the divine name in exclusively the first and the last verselines of this small
poem, vv. 1a–b (the first word) and 3 respectively, expressively reinforces
the pivotal position of v. 2a–b. The idea of the supplicant’s intense rest
(v. 2a–b) is structurally emphasized by God’s presence at the beginning
and the end of the psalm surrounding v. 2a–b as its rhetorical centre.
(20.) The phrase wmy yspr ’t m‘śy ’dwn (‘and who can recount the works
of the Lord’) constitutes the pivotal colon of Psalm 151 (11QPsa 28.3–12; >
13+1+13 cola). Its central position is reinforced by the name yhwh which
30
For the noun ‘yn (‘eye’) in v. 5c highlighting the rhetorical centre, cf. § 4.2.1.
31
Similarly Youngblood, ‘Divine Names’, p. 174.
32
Labuschagne, www.labuschagne.nl/ps125.pdf (Observation 6).
once precedes and once follows it; see vv. 3c and 10c.33 When we also take
into consideration the designation ’dwn (‘Lord’) in the central colon, it can
be demonstrated that the divine names are positioned with mathematical
precision: there are exactly 27 words between the divine designations. In
other words, counting from ’dwn in v. 6b, yhwh in v. 3c as well as in v. 10c
is the 28-th word.34 I assume that we are dealing with a deliberate design.
2.2 The designation ’dny (‘Lord’) and the centre

2.2.1 ’dny within the centre: the examples
(1.) There is ample evidence that v. 8 is the deliberately designed rhetorical
centre of Psalm 39. In numerical terms, we are dealing with the middle
verseline: vv. 2–7.8.9–14 > 7+1+7 lines. This verseline reads: w‘th mh
qwyty ’DNY // twh.lty lk hy’ (‘and now, for what do I wait, O Lord? //
My hope—it is in you!’). In this case, it is—among other things—the
designation ’dny (‘Lord’) that gives relief to v. 8 as the middle verseline.
This designation does not occur elsewhere in the psalm. In addition, it is the
very centre of the verseline in terms of words and letters (> 3+1+3 words
and 11+4+11 letters).35 This also means that the phrase is composed of
exactly 7 words and 26 letters.36 To crown it all, the pivotal position of
v. 8 is supported by the phenomenon that it is once preceded and once
followed by the name yhwh (see vv. 5 and 13; § 2.1.3). I conclude that, in
a literary fashion, these formal devices underscore the contemplative idea
of v. 8: I trust in you, O God! We are dealing with the rhetorical centre
of Psalm 39. This conclusion is supported by the similar wording of the
rhetorical centre of Psalm 130, qwyty yhwh qwth npšy // wldbrw hwh.lty
(v. 5; see § 2.1.2 above).
(2.) In terms of verselines, v. 6 is the mathematical centre of Psalm 54:
vv. 3–5.6.7–9 > 3+1+3 lines. The line reads: hnh ’lhym ‘zr ly // ’DNY
bsmky npšy (‘behold, God is my helper, // the Lord sustains my life’).
The pivotal position of v. 6 is highlighted by the designation ’dny (‘Lord’)
because it only occurs in the middle verseline (v. 6b).37 V. 6 is composed
33
In this case the abbreviation ‘v.’ means ‘verseline’. For the Hebrew text and the
rhetorical centre of Psalm 151, see especially § 2.2.1 below.
34
For this concentric aspect of the psalm as a device for highlighting the rhetorical
centre, cf. the positioning of the designation ’lhym (‘God’) in Psalm 49 (§ 2.3.2) and the
name ‘Israel’ in Psalm 81 (§ 3.1.1).
35
For this concentric aspect of v. 8 as a device marking the rhetorical centre, see § 3.2.
36
For the 26 letters as a device for highlighting the rhetorical centre, see § 2.6.1–2.
37
The designation ’lhym (‘God’), which features in v. 6a, occurs 4× in the poem as a
whole (vv. 3, 4, 5 and 6); the name yhwh occurs in v. 8.
and 7 words and exactly 13+13 = 26 letters.38 By these formal devices

referring to God’s presence the psalmist’s declaration of trust (v. 6) obtains
a meaningful relief. We are dealing with the rhetorical centre of the psalm.
(3.) In light of the preceding examples, I assume that the rhetorical cen-
tre of Psalm 140 (vv. 7–8) is once again marked by the designation ’dny
(‘Lord’); see v. 8a, yhwh ’DNY ‘z yšw‘ty (‘O yhwh, my Lord, the strength
of my deliverance’). This designation is not found elsewhere in the poem.39
(4.) Psalm 151 (11QPsa 28.3–12) is composed of two 6-line cantos which
divide into an uninterrupted series of 2-lines strophes. The Hebrew text
reads:40
I 1 qt.n hyyty mn ’h.y ws.‘yr mBNY ’by
2 WYŚYMNY rw‘h ls.wnw WMWŠL Bgdywtyw
3 ydy ‘św ‘wgb w’s.b‘wty knwr w’śymh lYHWH kbwd

4 ’mrty ’ny bnpšy hhrym lw’ y‘ydw lw whgb‘wt lw’ ygydw
5 ‘ly h‘s.ym ’t dbry whs.w’n ’t m‘śy

6 ky my YGYD wmy ydbr wmy yspr ’t m‘śy ’DWN
II 7 hkwl r’h ’lwh hkwl hw’ šm‘ whw’ h’zyn

8 šlh. nby’w lmwšh.ny ’t šmw’l lgdlny
9 ys.’w ’h.y lqr’tw ypy htwr wypy hmr’h

10 hgbhym bqwmtm hypym bś‘rm lw’ bh.r YHWH ’lwhym bm
11 Wyšlh. wyqh.ny m’h.r hs.w’n wymšh.ny bšmn hqwdš

12 WYŚYMNY NGYD l‘mw WMWŠL BBNY brytw
38
For the numbers 26 and 13 as devices highlighting the rhetorical centre, see §§
2.6.1–2 and 2.6.4 respectively.
39
For the discussion of vv. 7–8 as the rhetorical centre of Psalm 140, see especially
§ 2.1.2 above.
40
For the Hebrew text of Psalm 151, see J.A. Sanders, The Psalms Scroll of Qumrân
Cave 11 (DJD IV), Oxford: Clarendon Press, 1965, pp. 49 and 54–60. For the colo-
metric division of this poem and the demarcation of its verselines, see P.W. Skehan,
‘The Apocryphal Psalm 151’, CBQ 25 (1963), pp. 407–09, and J. Magne, ‘Orphisme,
Pythagorisme, Essénisme dans le texte hébreu du Psaume 151?’, RQ 8/4 (1975), pp.
508–47 (note p. 544). For the canto division, cf. J. Carmignac, ‘Précisions sur la forme
poétique du Psaume 151’, RQ 5/2 (1965), pp. 249–52, and J. Magne, art. cit., pp.
546–47. Cf. further B. Storfjell, ‘The Chiastic Structure of Psalm 151’, AUSS 25 (1987),
pp. 97–106.
1 I was the least of my brothers

and the youngest of my father’s SONS.
2 AND HE MADE ME shepherd of his flock
AND RULER OF his little goats.
3 My hands fashioned a reed pipe

and my fingers a lyre,
and I gave to the Lord glory.
4 I said to myself:
the mountains cannot witness to Him,
nor the hills relate,
5 neither the boughs of trees my words,

nor the flock my compositions.
6 Who indeed can relate and who can tell,
and who can recount the works of the Lord?
7 Everything, God saw,

everything He heard and He gave head.
8 He sent his prophet to anoint me,
Samuel to exalt me.
9 My brothers went out to meet him,

handsome of presence and handsome too see.
10 [Though] they were tall of stature,
with handsome heads of hair,
not them did the Lord God choose.
11 And He sent and took me from after the flock

and anointed me with the holy oil.
12 AND HE MADE ME leader of His people
AND RULER OF THE SONS of His covenant.
(Skehan’s translation)
There is once again ample evidence that this psalm has a deliberately de-
signed rhetorical centre. This centre reads: wmy yspr ’t m‘śy ’DWN (‘and
who can recount the works of the Lord’). The pivotal position of this colon
is, among other things(!), highlighted by the designation ’dwn which does
not occur elsewhere in this psalm. Furthermore, its central position is pow-
erfully supported by the concentric pattern the names of God display in the
poem as a whole (see § 2.1.3 above). In addition, it is not without meaning
that this pivotal colon is composed of 17 letters and flanked by exactly 13
cola (vv. 1–6a.6b.7–12 > 13+1+13 cola).41 To crown it all, it is only in

this colon that we find the a form of the root spr (‘to [re-]count’).42 All
these formal devices strengthen the message of the central colon that the
praise of God’s infinite goodness has to be the central theme of all human
utterances.
2.2.2 A related feature: ’dny outside the centre

(5.) Vv. 5–6 represent the centre of Psalm 8 in terms of cola and verse-
lines: vv. 2–4.5–6.7–10 > 4+2+4 verselines and 8+4+8 cola. The middle
verselines read:
mh ’nwš ky tzkrnw wbn ’dm ky tpqdnw
wth.srhw m‘t. m’lhym wkbwd whdr t‘t.rhw
What is man that you are mindful of him,
and the son of man that you attend him?
Yet, you have made him little less than God,
and crowned him with glory and majesty.
The central position of vv. 5–6 is enhanced by the vocative yhwh ’DNYnw
(‘O yhwh, our Lord’), which only features in the first and the last verselines
of the psalm (vv. 2a–b and 10).43 The middle verselines are composed of
14 (= 2×7) words and additionally characterized by the designation ’lhym
(‘God’) in v. 6a.44 Vv. 5–6 feature on the interface of the two cantos which
constitute Psalm 8 (vv. 2–6 and 7–10; see CAS I, pp. 142–46). Because
these middle verselines contain the main idea of the poem—you have dele-
gated divine mastery to an insignificant human being—we are dealing with
its rhetorical centre.
(6.) In terms of words and verselines, vv. 9–10b constitute the centre of
Psalm 90, the prayer of Moses: vv. 1–8.9–10b.10c–17 > 8+2+8 lines and
59+18+59 words.45 This centre reads:
ky kl ymynw pnw b‘brtk klynw šnynw kmw hgh
ymy šnwtynw bhm šb‘ym šnh w’m bgbwrt šmwnym šnh
41
For these special numbers highlighting the rhetorical centre, see §§ 2.6.3 and 2.6.4
respectively.
42
For the the root spr as a device highlighting the rhetorical centre, see § 4.3.1 below.
43
For the position of yhwh as a device highlighting the rhetorical centre, see § 2.1.3.
44
For the latter device marking the rhetorical centre, see § 2.3.1 below.
45
To put it otherwise, vv. 9–10b is ‘embraced’ by 77 words, because vv. 1–10b and
9–17 both have 77 words.
Yes, all our days pass away in your wrath,

we finish our years like a sigh.
the number of our years may be seventy,
or, given the strength, eighty years.
The complaint about human transcience is formally focussed on and at the
same time semantically counterbalanced by the designation ’dny (‘Lord’)
which is only found in exactly the first and the last verseline of the psalm
(vv. 1 and 17). The inclusion expresses God’s everlasting presence.46
2.3 The designation ’lhym (‘God’) and the centre

Particularly in the so-called ‘Elohistic Psalter’ (Psalms 42–83/89), it some-
times happens that it is the designation ’lhym, denoting the God of Israel,
which enhances the concentric aspect of the numerical structure of a psalm;
see Psalms 53, 61, 62, 63, and 82 below.
2.3.1 ’lhym within the centre: the examples

(1.) The rhetorical centre of Psalm 8 (vv. 5–6) is, among other things,
highlighted by the designation ’lhym (‘God’) in v. 6a; it does not occur
elsewhere in the poem.47
(2.) Ps. 13,4a, hbyt.h ‘nny yhwh ’LHY (‘look, answer me, O Lord, my
God!’), is among other things highlighted as a central phrase of the psalm
concerned (> 24+4+24 words) by the designation ’lhym (‘God’); it does
not occur elsewhere in the poem.48
(3.) From nearly all numerical perspectives, vv. 4–5 constitute the centre
of Psalm 53: vv. 2–3.4–5.6–7 > 2+1+2 strophes, 4+2+4 verselines and
8+6+8 cola. This centre reads:
klw sg yh.dw n’lh.w ’yn ‘śh .twb ’yn gm ’h.d
hl’ yd‘w p‘ly ’wn ’kly ‘my ’klw lh.m ’LHYM l’ qr’w
Everyone is dross, altogether foul, // no one does good, // not even one.
Have the evildoers no understanding, // who devour my people as they
[devour food? // They do not call on God.
The pivotal position of these lines is enhanced by the central place ’lhym
(‘God’) in v. 5c occupies in the poem as a whole. This designation for God
46
The divine name, yhwh, occurs only in v. 13.
47
For vv. 5–6 as the rhetorical centre of Psalm 8, see especially § 2.2.2 above.
48
For the central position of v. 4a within Psalm 13, see especially § 2.1.2 above. And
for the designation yhwh ’lhym in the centre, see also Pss. 113 and 123 below.
features 7× and within this remarkable series it takes a central position

in v. 5c between 3× ’lhym in vv. 2–3 and 3× ’lhym in v. 6–7; see vv.
2b, 3a+d, 5c, 6c+d and 7c. Additionally, it is noticeable that ’lhym is
found in precisely the first and the last verselines of the psalm (see vv. 2b
and 7c). The middle verselines, expressing a complaint about the absolute
wickedness of the oppressors, are also highlighted as the rhetorical centre
of the psalm by their colometric structure: different from the other lines
(which are all bicola), they are both composed of three cola.49
(4.) In terms of words, v. 6a, ky ’th ’LHYM šm‘t lndry (‘for you, O God,
have heard my vows’), constitutes the centre of Psalm 61: vv. 2–5.6a.6b–9
> 29+5+29 words.50 The central position of v. 6a is enhanced by the
designation ’lhym, because this reference to God in v. 6a is flanked by 1×
’lhym on either side; see vv. 2 and 8. In addition, the vocative ’lhym (‘O
God’) is the very centre of v. 6a (> 2+1+2 words), and consequently of
the poem as a whole in terms of words (> 31+1+31 words).51 The formal
devices expressively support the central declaration of trust of the psalm:
God has heard my vows!
(5.) V. 8b is the centre of Psalm 62 in terms of cola: vv. 2–8a.8b.9–13
> 17+1+17 cola.52 The colon reads: .swr ‘zy mh.sy b’LHYM (‘the rock of
my strength, my refuge, is in God’). Its pivotal position is additionally
highlighted by the designation ’lhym. This reference to God occurs 7× in
the psalm as a whole. The central position of v. 8b on colon level coincides
with the fact that ’lhym in v. 8b is flanked by 3× ’lhym on either side; see
vv. 2a, 6a, 8a, 8b, 9c, 12a and 12c (> 3+1+3). These formal phenomena
structurally display the idea that God is all around the supplicant and mark
the declaration of v. 8b, my trust is in God, as the rhetorical centre of the
poem.
(6.) From more than one perspective, v. 5 is the mathematical centre of
Psalm 113: vv. 1–4.5.6–9 > 4+1+4 verselines and 8+2+8 cola. This centre
reads: my kyhwh ’LHYnw // hmgbyhy lšbt (‘who is like the Lord, our God,
// who is enthroned on high?’). V. 5 stands out by the designation ’lhym,
49
For tricola constituting the rhetorical centre of a psalm, see also Pss. 93,3 (note
§ 2.1.2) 108,8 135,11 and 146,6.
50
To put it otherwise, v. 6a is ‘embraced’ by 34 (= 2×17) words, because vv. 2–6a
and 6–9 have 34 words each. For the number 17 highlighting the rhetorical centre, see
§ 2.6.3.
51
For this concentric aspect as a device for highlighting the rhetorical centre, see § 3.2.
For the similar function of the pronoun ’th (‘you’), referring to God, in v. 6a, see § 2.5
below.
52
For the 17 cola significantly flanking v. 8b, see § 2.6.3 below.
which is only found in the exact pivot of this pivotal verseline (> 2+1+2
words).53 The formal devices mentioned strongly support the main theme of
the poem, which is tersely formulated in v. 5 in terms of the incomparability
of God. We are dealing with the rhetorical centre of the psalm.
(7.) The phrase kn ‘ynynw ’l yhwh ’LHYnw // ‘d šyh.nnw (‘so are our
eyes on the Lord, our God, // till he gives us liege aid’) is the central
verseline of Psalm 123: vv. 1–2b.2c–d.3–4 > 2+1+2 lines.54 This verseline
is composed of 7 words and its central position is reinforced by its first
colon v. 2c, which contains the pivotal words of the psalm: vv. 1–2b.2c.
2d–4 > 17+5+17 words.55 The pivotal position of v. 2c (and of the middle
verseline v. 2c–d) is highlighted by the designation ’lhym (‘God’); it does
not occur elsewhere in the poem. We may assume that this reference to
God highlights v. 2c(–d) as the rhetorical centre of the psalm.56
2.3.2 A related feature: ’lhym outside the centre

(8.) The rhetorical centre of Psalm 36 (vv. 6–7) is marked by the divine
name at the very edges of it (> 2+1+2 strophes; note § 2.1.2). The pivotal
position of this strophe is reinforced by the designation ’lhym (‘God’) once
preceding and once following vv. 6–7; see vv. 2 and 8.
(9.) On colon level, v. 12a–b is the mathematical centre of Psalm 49 (>
21+2+21 cola). This centre reads: qrbm btymw l‘wlm // mškntm ldr
wdr (‘their inner belief is their eternal home, // their dwellings through
all generations’). The central position of these cola is reinforced by the
stategic positioning of ’lhym (‘God’) in vv. 8 and 16: there are 49 words
preceding ’lhym in v. 8 (excluding the heading) and once again 49 words
following ’lhym in v. 16 (including slh in v. 16b).57
53
For this concentric aspect as a device for highlighting the rhetorical centre, see § 3.2.
The divine name, which features as the second word of v. 5, occurs 6× in the psalm as
a whole; see vv. 1–5. For the designation yhwh ’lhym in the centre, see also Psalm 13
above and Psalm 123 below.
54
The second verseline of the psalm is also a bicolon and consists of v. 2 from its first
word hnh onwards until gbrth (note the ‘ole weyored ); contra BHS and Fokkelman (The
Psalms in Form, p. 133).
55
Similarly Smit Sibinga, ‘Gedicht en getal’, pp. 196–97. For the number 17 high-
lighting the rhetorical centre, see § 2.6.3.
56
For the noun ‘yn (‘eye’) in v. 2c as a device marking the rhetorical centre, see § 4.2.1.
The divine name, yhwh, which features as the fourth word of v. 2c, occurs 2× in the
psalm as a whole; see vv. 2c and 3a.
57
So Smit Sibinga, ‘Gedicht en getal’, pp. 191–92 n. 19, and by the same author, ‘Some
observations’, p. 480 n. 11; cf. yhwh in Psalm 151 (§ 2.1.3 above) and yśr’l in Psalm 81
(§ 3.1.1 below). For v. 12a–b as the rhetorical centre of Psalm 49, see especially § 4.1.1.
(10.) In terms of words and cola, v. 7a is the very pivot of Psalm 63: vv.
2–6.7a.7b–12 > 12+1+12 cola58 and 42+4+42 words (note the multiples
of 7). This centre reads: ’m zkrtyk ‘l ys.w‘y (‘surely, I remember you upon
my couch’). The central positioning of v. 7a is reinforced by the designation
’lhym (‘God’) occurring exclusively in the first and the last verseline of the
poem, vv. 2a–b and 12; cf. also ’l (‘God’) in v. 2a. We are certainly dealing
with a deliberate device, because this concentric aspect coincides with the
pivotal position of the pronominal suffix -k (‘you’), referring to God, in
the central colon. In terms of letters, this reference is positioned in the
very pivot of v. 7a (> 7+1+7 letters).59 In a literary way, these formal
peculiarities express the idea that God’s presence surrounds the supplicant
when he calls God to mind in the night. I conclude that v. 7a is the
deliberately designed rhetorical centre of Psalm 63.
(11.) Psalm 82,5a–b, l’ yd‘w wl’ ybynw // bh.škh ythlkw (‘they neither
know nor understand, // they wander about in darkness’), are the central
words of the poem concerned: vv. 1–4.5a–b.5c–8 > 26+6+26 words.60
The pivotal position of v. 5a–b and its character as rhetorical centre is
enhanced by the explicit references to the God of Israel in the very first
and last verselines of the psalm, demarcating it by inclusion; see ’lhym
(‘God’) in v. 1 (first word of the psalm) and v. 8 (second word of the last
verseline).61
2.4 The title ‘lywn (‘Most High’) and the centre

(1.) V. 8 is the middle verseline of Psalm 21 (> 6+1+6 lines).62 The
central position of v. 8 is reinforced by some features focussing on v. 8b
as the pivot of the psalm. V. 8b reads: wbh.sd ‘LYWN bl ymwt. (‘and
through the kindness of the Most High he will not be shaken’). First, there
are exactly 13 cola which precede and follow v. 8b: vv. 2–8a.8b.9–14 >
13+1+13 cola.63 Second, the central position of v. 8b is underlined by
the title ‘lywn, which does not occur elsewhere in the poem. Third, the
title ‘lywn is flanked by 2× yhwh on either side; see vv. 2a, 8a, 10b and
58
In other words, v. 7a is ‘embraced’ by 13 cola on either side, because vv. 2–7a
and 7–12 both consist of 13 cola. For the number 13 as a device for highlighting the
rhetorical centre, see § 2.6.4.
59
For the suffix -k in the centre, see § 2.5.3. For the function of the root zkr (‘to
remember’) supporting the rhetorical centre, see § 4.3.2 below.
60
For this revealing numerical framework, see especially § 2.6.1 below.
61
It may tentatively be suggested that the word ’lhym in vv. 1a and 8a replaces an
original yhwh; cf. the numerical structure of Psalm 23 discussed in § 2.1.3.
62
For v. 8 as rhetorical centre, see especially § 5.
63
For the number 13 highlighting the rhetorical centre, see § 2.6.4.
14a. These formal devices show that the idea of v. 8b—God supports the
king—is to be considered an important message of Psalm 21.64
(2.) Vv. 11–13 is the centre of Psalm 77 in terms of cola and strophes (>
3+1+3 strophes and 20+6+20 cola).65 The central position of the strophe
is reinforced by the title ‘lywn in v. 11b, which does not occur elsewhere in
the poem.
(3.) On the level of verselines, v. 35 is the centre of Psalm 78: vv.

1–34.35.36–72 > 38+1+38 lines.66 The verseline is composed of 7 (= 4+3)
words and reads: wyzkrw ky ’lhym .swrm // w’l ‘LYWN g’lm (‘and they
remembered that God was their rock, // and God the Most High their
redeemer’). The pivotal position of v. 35 is highlighted by the title ‘lywn
in v. 35b. In the psalm as a whole, ‘lywn occurs 3× and in this small series
it has a pivotal position in v. 35b; see vv. 17, 35 and 56.67
2.5 The personal pronoun ’th (‘you’), referring to God,

and the centre
2.5.1 Basic example
(1.) The rhetorical centre of Psalm 23 reads: ky ’TH ‘mdy (‘surely, You
[are] with me’, v. 4d). We are dealing with the pivotal words of the poem
(> 26+3+26 words).68 Bazak has noted that the personal pronoun ’th
(‘you’), referring to God, is the exact ‘centre of the central expression’; the
64
For Ps. 21,8a as the centre of the psalm on word level, see § 2.6.2.
65
For vv. 11–13 as the middle strophe of Psalm 77, see especially § 3.2 below. In terms
of cola, we may also say that vv. 11–13 is ‘embraced’ by 26 cola on either side, because
vv. 2–13 en 11–21 both have 26 cola; for the number 26 as a device for highlighting the
rhetorical centre, see § 2.6.1–2.
66
To put it otherwise, v. 35 is ‘embraced’ by 39 lines on either side, because vv.
1–35 en 35–72 both have 39 (= 3×13) verselines; for the number 13 as a device for
highlighting the rhetorical centre, see § 2.6.4.
67
Taking into account the strategic positioning of the title ‘lywn in the 11 Asaph-
psalms (Psalms 73–83), the pivotal place of Ps. 78,35 is once more confirmed. In Psalms
73–83 ‘lywn occurs 7× and within this series the three occurrences of ‘lywn in Psalm 78
have a central position; see Pss. 73,11 77,11 78,17.35.56 82,6 and 83,19 (> 2+3+2).
Note also that Psalm 78 is the pivotal poem of the 11 Asaph-psalms (> 5+1+5 psalms).
For the root zkr (‘to remember’, v. 35a) as a device highlighting the rhetorical centre,
see § 4.3 below. In Psalm 78 as a whole the designation ’lhym (‘God’) occurs 8× (note
v. 35a): vv. 7, 10, 19, 22, 31, 35, 56 and 59; and 7× we find the designation ’l (‘God’;
note v. 35b): vv. 7, 8, 18, 19, 34, 35 and 41.
68
For the numerial structure of this psalm, see especially § 2.6.1 below.
pronoun does not occur elsewhere in the psalm.69 The following examples
further show that this phenomenon may be taken as a deliberate device to
highlight the rhetorical centre of some psalms.
2.5.2 More examples

(2.) Psalm 56,9a reads: ndy sprth ’TH (‘You keep a record of my misery’).
This is the central colon of the psalm in question: vv. 2–8.9a.9b–14 >
15+1+15 cola. Its pivotal position is highlighted by the personal pronoun
’th (‘you’), referring to God; this pronoun is not found elsewhere in the
poem.70 The idea of the central colon obtains an extra dimension by the
number of ‘fullness’, because v. 9a is composed of exactly 11 letters. That
is to say, by formal devices the psalmist’s declaration of trust in v. 9a—God
fully knows my distress—is given pride of place as the rhetorical centre of
Psalm 56.
(3.) On word level, Psalm 61,6a, ky ’TH ’lhym šm‘t lndry (‘for You, O
God, have heard my vows’), constitutes the numerical centre of the psalm
in question (> 29+5+29 words). The personal pronoun ’th, referring to
God, occurs only in these pivotal words, highlighting this declaration of
trust as the rhetorical centre of the poem.71
(4.) V. 8a constitutes the centre of Psalm 76 on word level: vv. 2–7.8a.
8b–13 > 40+3+40 words. The colon reads: ’TH nwr’ ’TH (‘You, awe-
some You’). In this case the personal pronoun ’th, referring to God, occurs
twice(!) in the centre and flanks the pivotal word of the composition, nwr’
(> 41+1+41 words); however, the pronoun also occurs in v. 5a. In ad-
dition, Labuschagne has pointed out that the numerical value of nwr’ is
exactly 41 (14+6+20+1 = 41; cf. the 41 words preceding and following
nwr’ ).72 In this way, God’s characterization as ‘awesome’/‘terrible’ is ele-
vated to the rhetorical centre of the psalm.73
(5.) w’TH mrwm l‘lm yhwh (‘but you are exalted for ever, O Lord’) is the
rhetorical centre of Psalm 92 (> 52+4+52 words).74 The personal pronoun
69
J. Bazak, ‘Numerical devices’, p. 334. Cf. ky ’TH m‘wzy (‘for you are my refuge’)
as the pivotal words of the first canto of Psalm 31: vv. 2–5a.5b.6–9 > 33+3+33 words
(note the multiples of 11); see CAS I, Ch. III, 31 (pp. 308–19).
70
For the root spr (‘to count’) in v. 9a as a device highlighting the rhetorical centre,
see § 4.3 below.
71
For v. 6a as the rhetorical centre of Psalm 61, see especially § 2.3.1 above.
72
See www.labuschagne.nl/ps076.pdf, Observation 1.
73
For the concentric word pattern of v. 8a as a device for highlighting the rhetorical
centre, cf. § 3.2 below.
74
For the numerical framework of Psalm 92, see especially § 2.1.1 above.
’th, referring to God, occurs only in these pivotal words and in this way
additionally highlights v. 9 as the rhetorical centre.
(6.) Psalm 140,7–8 is the rhetorical centre of the poem concerned (see
§ 2.1.2 above). The central position of these verselines is highlighted by the
occurrence of the personal pronoun ’th, referring to God, in v. 7a (’mrty
lyhwh ’ly ’TH [‘I said to the Lord: You are my God’]); this pronoun is not
found elsewhere in the psalm.
2.5.3 A related feature: the suffix -k (‘you’, referring to God)

and the centre
(7.) ’m zkrtyK ‘l ys.w‘y (‘surely, I remember You upon my couch’, v. 7a) is
the rhetorical centre of Psalm 63 (> 12+1+12 cola and 42+4+42 words).75
The central positioning of v. 7a is reinforced by the pronominal suffix -k
(‘you’), referring to God. In terms of letters, this reference is positioned in
the very pivot of v. 7a: > 7+1+7 letters; cf. ’th in Psalm 23 (§ 2.5.1).76
2.6 The numbers 26, 17, 13 and the centre

In the preceding paragraphs, it has already been mentioned many times
that the numbers 26, 17 and 13 form an additional help in discovering the
meaningful centre of the psalms. The numbers 26 and 17 are a symbolic
representation of the divine name, yhwh. The number 13 also points
to the God of Israel, because it is the numerical value of the word ’h.d
(‘One’), yhwh’s most essential quality (see Deut. 6,4).77 The following
examples further show that the numbers in question regularly function as a
formal and meaningful device applied by the Hebrew poets to highlight and
support the rhetorical centre of their compositions. Generally speaking, we
are dealing with a device emphasizing God’s presence.
2.6.1 Basic examples: the number 26 and the centre

(1.) In my opinion, it is incontestable that the pivotal words of the famous
Psalm 23, ‘The Lord is my shepherd’, constitute its deliberately designed
rhetorical centre. These pivotal words read: ky ’th ‘mdy (‘surely, you [are]
with me’, v. 4d); vv. 1–4c.4d.4e–6 > 26+3+26 words. We are dealing
here with one of the most fascinating examples of the phenomenon under
75
For v. 7a as the rhetorical centre of Psalm 63, see especially § 2.3.2 above.
76
However, it is to be noted that the suffix -k is also found elsewhere in the psalm:
10× in vv. 2–6 and 4× in vv. 7b–12.
77
For the symbolic interpretation of the numbers 26, 17 and 13, see Ch. I, 1.4.
discussion. Bazak has pointed out that the 26 words which precede and
follow v. 4d were so calculated ‘in order to refer to the name of God, which
is symbolized by the number 26’.78 This means that the poet has used a
quantitative device to symbolize God’s nearness and to emphasize the focal
idea of his composition: God’s presence is a reality for me.
Independently from Bazak and about the same time, the Dutch scholar
Roel Oost also pointed out that the three words ky ’th ‘mdy constitute
the centre of Psalm 23.79 Informed by his Austrian colleague Claus Schedl
about the symbolic meaning of the number 26, Labuschagne gradually re-
alized that the numerical approach of Psalm 23 by Oost has to be explained
‘as an affirmation of the poet’s conviction that God is all around him’.80
In light of the functional connection between numerical structure and
meaning in Psalm 23, the reserved reaction of mainstream biblical schol-
arship is disconcerting. Some scholars minimise the importance of the
numerical approach in locating the pivotal theme of a poem, while some
seem to ignore it completely. According to Van Uchelen, the analysis of the
numerical aspects of a text ‘surely has its merits’. However, in discussing
the numerical pattern of Psalm 23, he insists that such findings have to
be combined with a ‘linguistic and rhetorical analysis’.81 And in this re-
spect, Prinsloo wonders whether it is wise to establish the pivotal theme of
a poem by merely counting the words of the psalm.82 Fokkelman (MPHB
III, pp. 38–41) does not even mention the rhetorical features of Psalm 23
in question, notwithstanding the fact that he has meticulously counted all
the words of the individual psalms.
(2.) Psalm 82,5a–b, l’ yd‘w wl’ ybynw // bh.škh ythlkw (‘they neither know
nor understand, // they wander about in darkness’), are the central words
78
Bazak, ‘Numerical devices’, p. 335. In passing, he remarks that this symbolic mean-
ing of the number 26 has frequently been mentioned in the traditional literature of
Judaism.
79
R. Oost, ‘De structuur van Psalm 23’ (ACEBT 7), Kampen: Kok, 1986, pp. 96–100.
80
Labuschagne, Vertellen met getallen, 1992, pp. 114–15 (see also p. 120 n. 23);
see now by the same author, Numerical Secrets of the Bible. Rediscovering the Bible
Codes, North Richland Hills (Texas): BIBAL Press, 2000, p. 11 (see also p. 123 and
p. 179, n. 19). As for Schedl, see his Baupläne des Wortes. Einführung in die biblische
Logotechnik, Wien: Herder Verlag, 1974. For the positioning of yhwh in exactly the
first and the last verseline of Psalm 23 as a device supporting its numerical structure,
see § 2.1.3 above. For the similar function of ’th (‘you’), see § 2.5.1 above.
81
N.A. van Uchelen, ‘Psalm xxiii. Some Regulative Linguistic Evidence’, in A.S. van
der Woude (ed.), New Avenues in the Study of the Old Testament (OTS 25), Leiden:
Brill, 1989, p. 158–59 n. 9.
82
W.S. Prinsloo, Die Psalms leef: ’n eksegetiese studie van psalm 3, 15, 23, 112, 126,
131, 136, 148, Pretoria: NGKB, 1991, p. 51 n. 12.
of the poem concerned: vv. 1–4.5a–b.5c–8 > 26+6+26 words.83 The 26

words of vv. 1–4 and 5c–8 in a symbolic way represent the divine name. The
plausibility of this symbolic interpretation of 26 is enhanced by the reference
to the God of Israel in exclusively the first and the last verselines of the
poem; see ’lhym (‘God’) in vv. 1 and 8.84 V. 5a–b is a terse formulation
of the main message of Psalm 82: the (lower) gods have no understanding.
The importance of this idea is emphasized by the concentric framework of
the psalm in terms of its number of words and the strategic positioning of
the word ’lhym, referring to God. We are dealing with the rhetorical centre.
(3.) The phrase w’th mrwm l‘lm yhwh (‘but you are exalted for ever, O
Lord’) is the rhetorical centre of Psalm 92 (Bazak and Labuschagne). The
colon is flanked by 52 words on either side: vv. 2–8.9.10–16 > 52+4+52
words (52 = 2×26).85
2.6.2 More examples of the number 26 and the centre

(4.) On word level, Ps. 10,1, lmh yhwh t‘md brh.wq // t‘lym l‘twt bs.rh
(‘why, O Lord, do you stand afar off? // [why] do you hide yourself in
times of distress?’), constitutes the centre of the alphabetic composition
Psalms 9–10: 9,2–21.10,1.2–18 > 156+7+156 words. The number 156 is
a multiple of 26 (156 = 6×26). The central words Ps. 10,1 are a complaint
about God being distant; note brh.wq (‘afar off’) in the pivot of the verseline
(> 3+1+3 words).86 We are dealing with a major message of the poem.
From a numerical point of view, however, the complaint is counterbalanced
by the multiple of 26 words which precede and follow it, in a symbolic way
representing God’s presence: God is not afar off in times of a feeling of
desolation.
(5.) In terms of verselines and strophes v. 4 is the centre of Psalm 11: vv.
1–3.4.5–7 > 1+1+1 strophes and 3+2+3 lines. The centre reads:
yhwh bhykl qdšw yhwh bšmym ks’w
‘ynyw yh.zw ‘p‘pyw ybh.nw bny ’dm
The Lord is in his holy temple, // the Lord—his throne is in heaven.
His eyes behold, // his eyelids tests the sons of man.
The central position of these verselines is highlighted by the phenomenon
83
Labuschagne (Vertellen met getallen, 1992, pp. 115–16) deserves credit for being the
first to present this numerical structure of Psalm 82.
84
For this positioning of ’lhym as a device highlighting the rhetorical centre, see § 2.3.2.
85
For v. 9 as the rhetorical centre of Psalm 92, see especially § 2.1.1 above.
86
For this concentric aspect as a device highlighting the rhetorical centre, see § 3.2.
that v. 4a–b and v. 4c–d both consist of exactly 26 letters (cf. Ps. 50,12–13
below). Additionally, vv. 4a and 4b have 13 letters each.87
(6.) V. 8 is the middle verseline of Psalm 21 (> 6+1+6 lines).88 The

central position of v. 8 is reinforced by the fact that on word level v. 8a
is the centre of the psalm: vv. 2–7.8a.8b–14 > 48+4+48 words. To put
it differently, v. 8a is ‘embraced’ by 52 words on either side, because vv.
2–8a and 8–14 have 52 (= 2×26) words each. The central words read: ky
hmlk bt.h. byhwh (‘for the king trusts in the Lord’). We have to conclude
that there is a mutual relationship between the king and God because, in
a symbolic way, the king is ‘double embraced’ by His presence.89
(7.) In terms of cola and verselines, Ps. 28,4c–d, km‘śh ydyhm tn lhm //
hšb gmwlm lhm (‘for the work of their hands repay them, // give them
their deserts’), is the centre of the psalm concerned: vv. 1–4b.4c–d.5–9 >
6+1+6 lines and 13+2+13 cola.90 This centre is composed of exactly 26
letters, once more emphasizing that the prayer for repayment to the wicked
is an important theme of the psalm.
(8.) V. 8 is the central verseline of Psalm 39 and reads: w‘th mh qwyty ’dny
// twh.lty lk hy’ (‘and now, for what do I wait, O Lord? // My hope—it is
in you!’; > 7+1+7 lines). This verseline has exactly 26 letters.91
(9.) On colon level, v. 7b–c is the centre of Psalm 40A (vv. 2–13): 2–7a.7b–c.
8–13 > 21+2+21 cola.92 The middle cola read: ’znym kryt ly // ‘wlh wh..t’h
l’ š’lt (‘ears you have graven for me, // holocausts or sin-offerings you sought
not’). These cola consist of 7 words and 26 letters.93
(10.) The rhetorical centre of Psalm 44 is to be found in vv. 13–14; this

centre is enveloped by 26 cola on both sides: vv. 2–12.13–14.15–27 >
26+4+26 cola.94
87
For the pivotal position of v. 4, see also § 4.2.1; and for v. 4b as the centre of Psalm
11 on colon level, see § 2.1.2 above.
88
For v. 8 as rhetorical centre, see especially § 5.
89
In this respect, it is probably not by chance either that the divine name, yhwh,
occurs 4× in the psalm as a whole; see vv. 2, 8, 10 and 14. For the central position of
v. 8b, explicitly speaking of God’s protection of the king, see § 2.4 above.
90
For the 13 cola flanking v. 4c–d, see § 2.6.4.
91
For v. 8 as the rhetorical centre of Psalm 39, see especially § 2.2.1 above. For the
concentric aspect of v. 8 in terms of words and letters as a device marking the rhetorical
centre, see § 3.2 below.
92
For vv. 2–13 as an individual poem, see CAS I, Ch. III, 40–41 (pp. 399–411).
93
For the concentric aspect of these cola, see § 3.2.
94
For vv. 13–14 as the rhetorical centre of Psalm 44, see especially § 2.6.4.
(11.) Psalm 49,12a–b reads: qrbm btymw l‘wlm // mškntm ldr wdr (‘their
inner belief is their eternal home, // their dwellings through all genera-
tions’). We are dealing with the central cola of the psalm concerned (>
21+2+21 cola). These cola have 26 letters.95
(12.) Vv. 12–13 constitute the middle strophe of Psalm 50 (> 4+1+4
strophes). The strophe is composed of (25+27 =) 52 letters (cf. Psalm
11,4 above). The idea of vv. 12–13, I do not eat the flesh of animals nor do
I drink their blood, functions as a counterpoint to the main theme of the
psalm: thanksgiving by spiritual devotion is the real offering which God
demands from mankind (see Ch. II, 8.7).
(13.) The central verseline of Psalm 54 reads: hnh ’lhym ‘zr ly // ’dny
bsmky npšy (‘behold, God is my helper, // the Lord sustains my life’,
v. 6; > 3+1+3 lines). This verseline is composed of exactly 13+13 = 26
letters.96
(14.) The centre of Psalm 71 on colon level reads: ybšw yklw śt.ny npšy //
y‘t.w h.rph wklmh mbqšy r‘ty (‘let them be put to shame and consumed who
attack my life, // let them be wrapped in ignominy and disgrace who seek
to harm me’; v. 13). These cola are enveloped by 26 cola on both sides:
vv. 1–12.13.14–24 > 26+2+26 cola. Simultaneously, v. 13 is the middle
verseline of the psalm (> 12+1+12 lines).97
(15.) In terms of verselines, v. 13 is the mathematical centre of Psalm 139:

vv. 1–12.13.14–24 > 11+1+11 lines. This central line reads: ky ’th qnyt
klyty // tskny bbt.n ’my (‘truly you have formed my kidneys, // you knit
me in my mother’s womb’). This is a terse formulation of an important
idea of the psalm in question. In addition, v. 13 is composed of exactly 7
words and 26 letters.98
(16.) In terms of verselines and cantos, vv. 10–13b constitute the centre of
Psalm 145: vv. 1–9.10–13b.13c–21* > 1+1+1 cantos and 9+4+9* verse-
95
For v. 12a–b as the rhetorical centre of Psalm 49, see especially § 4.1.1.
96
For v. 6 as the rhetorical centre of Psalm 54, see especially § 2.2.1. For the 13 letters
of the individual cola, cf. § 2.6.4.
97
As regards the latter numerical aspect, we may also say that v. 13 is ‘embraced’ by
13 lines on either side, because vv. 1–13 and 13–24 both have 13 verselines. For the
number 13 as a device for highlighting the rhetorical centre, cf. § 2.6.4. For v. 13 as
part of the rhetorical centre vv. 12–13, see Ch. II, 29.5 and 29.7.
98
For the noun bt.n (‘womb’, v. 13b) as a device highlighting this rhetorical centre, see
§ 4.1.2. In this case, the indicative value of the personal pronoun ’th, referring to God
(v. 13a), is weakened by its occurrence in vv. 2 and 8 (cf. § 2.5).
lines.99 The central Canto II (vv. 10–13b) is composed of exactly 26 words.

The central canto functions as a summary of the entire psalm: O God, the
whole universe praises your everlasting kingship.
2.6.3 Examples of the number 17 and the centre
(1.) Vv. 4–5 is the middle strophe of Psalm 13 (> 1+1+1 strophes). At the
same time, the two verselines of this strophe represent the middle verselines
of the psalm: vv. 2–3.4–5.6 > 2+2+2 lines. These verselines read:
hbyt.h ‘nny yhwh ’lhy h’yrh ‘yny pn ’yšn hmwt
pn y’mr ’yby ykltyw .sry ygylw ky ’mwt.
Look! Answer me, O Lord, my God,
enlighten my eyes, lest I fall into the sleep of death,
lest my enemy say, ‘I have overcome him’,
my foes rejoice when I totter.
These lines are composed of 17 words. The symbolic interpretation of 17—
the number represents the divine name—is corroborated by the occurrence
of yhwh in v. 4a and further reinforced by the 17 letters of this colon.100
(2.) V. 8 is the central verseline of Psalm 17 (> 8+1+8 lines). V. 8a,

šmrny k’yšwn bt ‘yn (‘keep me as the apple of your eye’), is the pivot of the
psalm on colon level: vv. 1–7.8a.8b–15 > 17+1+17 cola. This numerical
structure expresses the idea of God’s presence all around the supplicant.
That is to say, the prayer for protection in the pivotal colon (v. 8a) finds
its answer in the formal framework of the composition.101
(3.) On colon level, v. 11b is the centre of Psalm 25: vv. 1–11a.11b.12–22
> 22+1+22 cola. The colon reads: wslh.t l‘wny ky rb hw’ (‘please pardon
my iniquity, for it is great’). It is composed of 17 letters. For the theme of
forgiveness of sins, cf. Ps. 103,12b below (also composed of 17 letters).
(4.) w’sbbh ’t mzbh.k yhwh (‘and I will go around your altar, O Lord’,
v. 6b) is the pivotal colon of Psalm 26 (> 12+1+12 cola). The colon is
composed of 17 letters.102
99
For v. 13c–d, see BHS.
100
For yhwh highlighting v. 4a as the centre of Psalm 13 (and vv. 4–5 as the middle
strophe), see § 2.1.2 above.
101
For the pivotal position of the noun ‘yn (‘eye’) in the context of the Psalm 17 as a
whole, see § 3.1.2. For the function of this noun as a device on its own highlighting the
rhetorical centre, see § 4.2.1 below.
102
For v. 6b as the rhetorical centre of Psalm 26, see especially § 4.2.2.
(5.) Ps. 36,6–7 is the rhetorical centre of the psalm concerned (> 2+1+2
strophes). The centre is composed of exactly 68 = 4×17 letters.103
(6.) On word level, v. 6a is the centre of Psalm 61. The central words read:
ky ’th ’lhym šm‘t lndry (‘for you, O God, have heard my vows’). V. 6a is
‘embraced’ by 34 (= 2×17) words on either side, because vv. 2–6a and 6–9
both have 34 words.104
(7.) Within Psalm 62, v. 8b (s.wr ‘zy mh.sy b’lhym [‘the rock of my strength,
my refuge, is in God’]) consitutes the pivotal colon; it is enveloped by 17
cola on either side.105
(8.) In v. 8 we find the central cola of Psalm 65: vv. 2–7.8.9–14 > 17+2+17
cola. These cola read: mšbyh. š’wn ymym // š’wn glyhm whmwn l’mym (‘you
still the roaring of the seas, // the roaring of their waves and the tumult
of the peoples’). They are composed of 7 words in total. The numerical
structure of the poem in terms of cola demonstrates that God is ‘around’
the rebellious forces, in other words, he overpowers them.106
(9.) On colon level, v. 7 is the mathematical centre of Psalm 79: vv.
1–6.7.8–13 > 17+2+17 cola. V. 7 reads: ky ’kl ’t y‘qb // w’t nwhw hšmw
(‘yes, it has devoured Jacob, // and laid waste his dwelling’). This phrase
is composed of 7 words and 11+11 letters. The 17 cola enveloping v. 7
on either side in a symbolic way counterbalance the lament about Israel’s
distress. That is to say, God surrounds his people in times of trouble.107
(10.) In terms of cola, Ps. 81,9b, yśr’l ’m tšm‘ ly (‘O Israel, if you would
only hear me!’), is flanked by 17 cola on both sides.108
(11.) Psalm 91,8b, wšlmt rš‘ym tr’h (‘and you shall see the requital of the
wicked’), is the central colon of the psalm in question: vv. 1–8a.8b.9–16
> 17+1+17 cola. This assurance about the doom of the wicked is the
climactic conclusion of Canto I and the rhetorical centre of Psalm 91.
103
For vv. 6–7 as the rhetorical centre of Psalm 36, see especially § 2.1.2 above.
104
For v. 6a as the rhetorical centre of Psalm 61, see especially § 2.3.1.
105
For v. 8b as the rhetorical centre of Psalm 62, see especially § 2.3.1.
106
In this respect, it is remarkable that including the four words of the heading (lmns.h.
mzmwr ldwd šyr ) v. 8 is the centre of the psalm on word level: vv. 1–7.8.9–14 >
51+7+51 words (note the multiples of 17). I tentatively assume that we are deal-
ing with a deliberate procedure of the editors of the book of Psalms, the earliest Hebrew
exegetes, who were responsible for the headings.
107
For the symmetrical structure of v. 7 in terms of grammar as a device for highlighting
the rhetorical centre, see § 3.2 below.
108
For v. 9b as the rhetorical centre of Psalm 81, see especially § 3.1.1 below. For the
13 letters of the colon as a device for highlighting the rhetorical centre, see § 2.6.4.
(12.) V. 12b is the centre of Psalm 103 on colon level: vv. 1–12a.12b.13–22
> 23+1+23 cola. The colon reads: hrh.yq mmnw ’t pš‘ynw (‘he has removed
our transgressions from us’). The forgiveness of sins is an important theme
of the psalm. This statement consists of 17 letters; for the theme of for-
giveness of sins, cf. Ps. 25,11b above (also composed 17 letters).
(13.) On word level, v. 2c, kn ‘ynynw ’l yhwh ’LHYnw (‘so are our eyes on
the Lord, our God’), is the centre of Psalm 123. The phrase is enveloped
by 17 words on both sides.109
(14.) V. 5a is the pivotal colon of Psalm 130: vv. 1–4.5a.5b–8 > 8+1+8
cola. The colon reads: qwyty yhwh qwth npšy (‘I wait for the Lord, my
soul waits’). Its special position is, among other things, highlighted by
the repetition of the root qwh (‘to wait’). Additionally, the pivotal colon
is composed of 17 letters. In this case, the symbolic interpretation of 17
is secured by the pivotal position of the divine name in its long form in
v. 5a.110 All these formal features in a literary way underline the central
contemplative message of the psalm: I am longing for God.
(15.) From almost all numerical perspectives, vv. 6–7b constitute the centre
of Psalm 143: vv. 1–5.6–7b.7c–12 > 4+1+4 strophes, 8+2+8 verselines and
17+4+17 cola. The strophe reads:
prśty ydy ’lyk npšy k’rs. ‘yph lk
mhr ‘nny yhwh klth rwh.y
I stretch out my hands to you,
I am like a parched land longing for you.
Answer me quickly, O Lord,
my spirit fails!
The numerical structure of the poem in terms of cola functions as a counter-
point to the central prayer from distress in vv. 6–7b. This means: notwith-
standing his distressful situation, God is all around the supplicant.
(16.) The pivotal colon of Psalm 151 (11QPsa ) reads: wmy yspr ’t m‘śy
’dwn (‘and who can recount the works of the Lord’; > 13+1+13 cola).
This colon is composed of exactly 17 letters, a literary means by which the
poet has woven the divine name into the fabric of the text.111
109
For v. 2c as the rhetorical centre of Psalm 123, see especially § 2.3.1.
110
For the concentric positioning of the Tetragrammaton in Psalm 130, see § 2.1.2.
111
For the colon in question as the rhetorical centre of Psalm 151, see especially § 2.2.1;
for the number 13 as a device marking the rhetorical centre, see § 2.6.4.
2.6.4 Examples of the number 13 and the centre
(1.) On colon level, v. 7a–b is the centre of Psalm 2. This centre, ’sprh ’l
h.q yhwh // ’mr ’ly bny ’th (‘I will proclaim the decree of the Lord; // he
said to me: you are my son’), is enveloped by 13 cola on both sides.112
(2.) On colon level, v. 26b is the centre of Psalm 18: vv. 2–26a.26b.27–51
> 55+1+55 cola (note the multiples of 11). The colon reads: ‘m gbr tmym
ttmm (‘with the blameless, you deal blamelessly’). Its pivotal position is
highlighted by the repetition of the root tmm (‘to be complete’).113 V. 26b
has 13 letters.114
(3.) On colon level, v. 8b, wbh.sd ‘lywn bl ymwt. (‘and through the kindness
of the Most High he will not be shaken’), is the centre of Psalm 21. This
colon is flanked by 13 cola on either side (> 13+1+13 cola).115
(4.) In terms of words, vv. 17b–18 constitute the centre of Psalm 22: vv.
2–17a.17b–18.19–32 > 117+13+117 words (117 = 9×13). That is to say,
the numerical structure of the psalm as a whole is strikingly determined by
the number 13 and its multiples.116
(5.) From a colometric perspective, v. 6b is the pivot of Psalm 24: vv.

1–6a.6b.7–10 > 12+1+12 cola. To put is differently: v. 6b is ‘embraced’
by 13 cola on both sides, because vv. 1–6 and 6b–10 have 13 cola each. In
addition, v. 6b is composed of 13 letters. The middle colon reads: mbqšy
pnyk y‘qb (‘those who seek your face [is/belong to] Jacob’). The colon also
stands out in the psalm as a whole because it is the only phrase in which the
psalmist addresses God.117 We are dealing with the climactic conclusion
of the second canto of Psalm 24 (vv. 3–6).118 Therefore, v. 6b is to be
considered the rhetorical centre of Psalm 24.
112
For v. 7a–b as the rhetorical centre of Psalm 2, see especially § 2.1.2 above.
113
This emphasis on the root tmm (‘to be complete’) in the pivotal colon, corresponds
to the multiple of 11 cola flanking v. 26b on both sides because 11 is the number of ‘full-
ness’. In this way, the meaning of the central colon supports the symbolic interpretation
of 11.
114
For v. 26b as the rhetorical centre of Psalm 18, see further CAS I, Ch. III, 18.5 (pp.
211–12).
115
For the colometry of Psalm 21, see CAS I, Ch. III, 21 (note p. 232). For the title
‘lywn supporting the rhetorical centre of Psalm 21, see especially § 2.4 above.
116
For the root spr (‘to count’) and its pivotal position within vv. 17b–18 as devices
for highlighting the rhetorical centre, see §§ 3.2 and 4.3.1 below. For vv. 17b–18 as the
rhetorical centre of Psalm 22, see further CAS I, Ch. III, 22.5 (pp. 244–45).
117
For this peculiarity as a device highlighting the rhetorcial centre, see § 5.
118
See CAS I, Ch. III, 24 (pp. 257–61).
(6.) V. 4c–d is the rhetorical centre of Psalm 28. On colon level, this centre,
km‘śh ydyhm tn lhm // hšb gmwlm lhm (‘for the work of their hands repay
them, // give them their deserts’), is enveloped by 13 cola on either side.119
(7.) In terms of cola, v. 21a is the centre of Psalm 37: vv. 1–20.21a.21b–40:
> 44+1+44 cola (note the multiples of 11). The colon reads: lwh rš‘ wl’
yšlm (‘the wicked borrows and does not repay’). It is composed of exactly
13 letters.
(8.) Ps. 42,9 is the rhetorical centre of the composition Psalms 42–43 (>
8+1+8 lines). The centre reads: ywmm ys.wh yhwh h.sdw // wblylh šyrh
‘my tplh l’l h.yy (‘by day, the Lord commends his faithful care, // and at
night a song is with me, a prayer to the God of my life’). It is composed
of exactly 39 = 3×13 letters.120
(9.) On more than one level, vv. 13 and 14 form the mathematical centre
of Psalm 44: vv. 2–12.13–14.15–27 > 13+2+13 verselines and 26+4+26
cola.121 The two verselines read:
tmkr ‘mk bl’ hwn wl’ rbyt bmh.yryhm
tśymnw h.rph lšknynw l‘g wqls lsbybwtynw
You sell your people for no fortune
and have not profited from the price of their sale.
You make us a reproach to our neighbours,
the scorn and derision of those around us.
The centre is composed of exactly 13 words. That is to say, the complaint
about Israel’s distress, formulated in vv. 13–14 at the interface of two 4-line
strophes (see Ch. II, 2), is counterbalanced by the numerical structure of
the psalm which demonstrates symbolically that God is present within the
distress.122
(10.) On colon level, Ps. 60,9a is the mathematical centre of the poem in
question: vv. 3–8.9a.9b–14 > 13+1+13 cola. The pivotal colon reads: ly
gl‘d wly mnšh (‘mine is Gilead and mine is Manasseh’). V. 9a is composed
of exactly 13 letters. This means that the numerical structure of Psalm 60
underlines God’s claim on possession.
(11.) From more than one numerical perspective, v. 9b is the centre of
119
For v. 4c–d as the rhetorical centre of Psalm 28, see especially § 2.6.2.
120
For v. 9 as the rhetorical centre of Psalms 42–43, see especially § 2.1.2 above; and
for the 39 letters of this centre, cf. Psalm 93 below.
121
For the 26 cola flanking vv. 13–14, see § 2.6.2.
122
For the root sbb (‘to go around’; v. 14b) as a device for highlighting the rhetorical
centre, see § 4.2.2 below.
Psalm 81 (> 17+1+17 cola and 58+4+58 words). V. 9b reads: yśr’l ’m

tšm‘ ly (‘O Israel, if you would only hear me!’). This colon is composed of
exactly 13 letters.123
(12.) In terms of words and verselines, v. 3 is the centre of Psalm 93 (>
2+1+2 lines and 18+9+18 words). V. 3 reads: nś’w nhrwt yhwh // nś’w
nhrwt qwlm // yś’w nhrwt dkym (‘the floods lift up, O Lord, // the floods
lift up their voice, // the floods lift up their tumult’). We are dealing with
a pivotal praise of God composed of 3+3+3 words and 13+13+13 letters
per colon. I assume that the numerical composition of the middle verseline
is deliberately designed as a literary device to praise God who is enthroned
above the roaring waters.124
(13.) Psalm 97,7, ybšw kl ‘bdy psl // hmthllym b’lylym // hšth.ww lw kl
’lhym (‘all who worship graven things are put to shame, // who glory in
the things of nought, // all gods are prostrate before him’), constitutes the
pivotal cola of the psalm in question: vv. 1–6.7.8–12 > 13+3+13 cola. The
13 cola flanking v. 7 on both sides are a literary means to express God’s
sovereignty over the lower gods.
(14.) The phrase wmy yspr ’t m‘śy ’dwn (‘and who can recount the works
of the Lord’) is the rhetorical centre of Psalm 151 (11QPsa ). In numerical
terms, it is—among other things(!)—noticeable that this colon is flanked
by 13 cola on either side (> 13+1+13 cola).125
123
For v. 9b as the rhetorical centre of Psalm 81, see especially § 3.1.1 below.
124
For v. 3 as the rhetorical centre of Psalm 93, see especially § 2.1.2; and for the 39
letters of this centre, cf. the discussion of Ps. 42,9 above.
125
For this colon as the rhetorical centre of Psalm 151, see especially § 2.2.1.
v.3 concentric and symmetric patterns 537
3 Concentric and symmetric word patterns

highlighting the rhetorical centre
In the preceding section 2, I discussed all kinds of references to God and
symbolic representations of his presence which may be interpreted as high-
lighting the rhetorical centre of a psalm. Generally speaking, such a refer-
ence must constitute a concentric aspect of its macrostructure. The central
positioning of yhwh in a series of 7 in Ps. 92,9 (§ 2.1.1) is a clear example
of this phenomenon. The same holds true for ’dwn (‘Lord’) in the central
colon of Psalm 151, which is strategicly flanked by yhwh on both sides
(§ 2.1.3). In Pss. 52,5c and 62,8b it is the designation ’lhym (‘God’) that
has a pivotal place in a series of 7× ’lhym (§ 2.3.1). In Ps. 78,35 the ti-
tle ‘lywn (‘Most High’) is the centre of a series of 3× ‘lywn in the psalm
concerned (§ 2.4). Further investigation reveals that the Hebrew poets did
not restrict themselves to concentric patterns based on references to God
in support of the rhetorical centres of the psalms. The following examples
show that these concentric patterns are special cases of a more comprehen-
sive poetic device for highlighting the rhetorical centre of a classical Hebrew
composition. The description ‘concentric word patterns’ in broad outline
indicates which phenomena may further undersore a rhetorical centre.
3.1 In the poem as a whole

3.1.1 Basic example
(1.) Bazak has pointed out that Ps. 81,9b, YŚR’L ’m tšm‘ ly (‘O Israel,
if you would only hear me!’), contains the central words of the psalm: vv.
2–9a.9b.10–17 > 58+4+58 words.1 He also found that the name Israel has
a ‘focal place’ in v. 9b. In the composition as a whole the name occurs
4× (vv. 5a, 9b, 12b and 14b); ‘the first time the name Israel is mentioned
. . . is the 23rd word from the beginning, while the last time this name is
mentioned is the 23rd word from the end’.2 This phenomenon additionally
underlines the pivotal position of v. 9b and marks the idea of the colon as
an important message of Psalm 81.
3.1.2 More examples

(2.) The central verseline of Psalm 17 reads: šmrny k’yšwn bt ‘YN // bs.l
knpyk tstyrny (‘keep me as the apple of your eye, // in the shadow of your
1
For the 17 cola flanking v. 9b, see § 2.6.3; for the 13 letters of v. 9b, see § 2.6.4.
2
Bazak, ‘Numerical devices’, p. 336.
wings hide me’, v. 8); vv. 1–7.8.9–15 > 8+1+8 verselines. The noun ‘yn
(‘eye’) is the pivotal word of this rhetorical centre (> 3+1+3 words) and,
in addition, it has a central position in the psalm as a whole. The noun
occurs 3× in the entire psalm and its occurrence in v. 8 forms the centre of
this series; see vv. 2, 8 and 11. These features reinforce the pivotal position
of v. 8 as a whole and of v. 8a as the central colon.3
(3.) On colon level, v. 5b is the mathematical centre of Psalm 67: vv.
2–5a.5b.5c–8 > 7+1+7 cola. The pivotal colon reads: ky tšpt. ‘MYM myšwr
(‘surely, you rule the peoples in equity’). The noun ‘mym (‘peoples’) occurs
5× in the entire poem and in this series it has a pivotal position in v. 5b;
see vv. 4a, 4b, 5b, 6a and 6b (> 2+1+2). This feature emphasizes the
focal placement of the colon and further indicates that the statement about
God’s just government of the world is the rhetorical centre of the psalm.
(4.) Psalm 149,5a reads: y‘lzw H . SYDYM bkbwd (‘the faithful exult in
glory’). We are dealing with a rhetorical centre because the phrase contains
the pivotal words of the psalm in question (vv. 1–4.5a.5b–9 > 28+3+28
words), which may simultaneously be regarded as a major message. The
designation h.sydym (‘faithful’) is the very pivot of the colon (and of the
entire psalm!; > 29+1+29 words). This pivotal place is reinforced by its
central positioning in a series of 3× h.sydym in the psalm as a whole. The
noun is also found on other strategic places in the composition: it is the
final word of the first and the last verselines, vv. 1 and 9 respectively! It is
crystal-clear that these positions of the noun h.sydym have been deliberately
designed to mark v. 5a as the rhetorical centre of Psalm 149.4
3.2 In the centre itself

As pointed out in § 3.1.2, in Psalm 17 the noun ‘yn (‘eye’) not only marks
v. 8 as middle verseline on the basis of its central position in a series of 3×
‘yn in the poem as a whole, but simultaneously it is the pivotal word of this
central line. The same holds true for h.sydym (‘faithful’) in Ps. 149,5a: it is
the pivot of a series of 3× h.sydym and the central word of v. 5a. This seems
to suggest that in some cases the rhetorical centre of a psalm is highlighted
by a meaningful word in the middle of the mathematical centre.
(5.) The rhetorical centre of Psalm 3 is composed of 7 words: ’ny škbty
3
For v. 8a as the central colon of Psalm 17, see § 2.6.3 above. For the function of the
noun ‘yn in itself as a device for highlighting the rhetorical centre, see § 4.2.1 below.
4
For the concentric aspect of v. 5a as a device for highlighting the rhetorical centre,
see § 3.2 below.
w’yšnh // HQYS.WTY ky yhwh ysmkny (‘I lie down and sleep, // I wake
up, for the Lord sustains me’, v. 6); vv. 2–5.6.7–9 > 8+2+8 cola. The
pivotal word of the centre, the verb hqys.wty (‘I wake up’; > 3+1+3 words),
expresses the gist of the psalm in its most succinct form. This pivotal word
has exactly 7 letters.5
(6.) The rhetorical centre Ps. 10,1 is likewise composed of 7 words: lmh
yhwh t‘md BRH . WQ // t‘lym l‘twt bs.rh (‘why, O Lord, do you stand afar
off? // [why] do you hide yourself in times of distress?’; > 156+7+156
words). The main idea of this complaint is expressed by the pivotal word
of this verseline, brh.wq (‘afar off’; > 3+1+3 words).6
(7.) Vv. 17b–18 is the mathematical centre of Psalm 22 in terms of words
(> 117+13+117 words).7 This centre reads:
...... ‘dt mr‘ym hqypwny k’ry ydy wrgly
’SPR kl ‘s.mwty hmh ybyt.w yr’w by
. . . a pack of evil ones have encompassed me,
‘like a lion’ [they maul] my hand and feet.
I can count all my bones;
they stare and look at me.
The central words are highlighted as the rhetorical centre of the psalm by
the verb ’sprh (‘I count’) in v. 18a.8 At the same time, it constitutes the
very pivot of the 13 words of the centre (> 6+1+6 words; cf. Ps. 56,9a
below).
(8.) It has already been pointed out that the designation ’dny (‘Lord’)
gives relief to the rhetorical centre Ps. 39,8: w‘th mh qwyty ’DNY // twh.lty
lk hy’ (‘and now, for what do I wait, O Lord? // My hope, in you it is!’;
> 7+1+7 verselines).9 The phrase is composed of exactly 7 words and
26 letters. It is worth noting that the designation ’dny is positioned at
the very centre of these words and letters: > 3+1+3 words and 11+4+11
letters (cf. Ps. 40,7b–c below).
5
For the special meaning of the number seven in Psalm 3, see CAS I, Ch. III, 3.5
(pp. 108–09). The word is also set apart by the Masoretic accentuation; note the ‘ole
weyored at the end of v. 6a and the ’atnah. under hqys.wty.
6
For Ps. 10,1 as the rhetorical centre of the alphabetic composition Psalms 9–10, see
especially § 2.6.2 above.
7
For the number 13 as a device characterizing the numerical structure of Psalm 22,
see § 2.6.4 above.
8
For this function of the root spr (‘to count’), see § 4.3.1 below.
9
For v. 8 as the rhetorical centre of Psalm 39, see especially § 2.2.1 above.
(9.) The rhetorical centre of Ps. 40,2–13 is to be found in v. 7b–c and

reads: ’znym kryt ly // ‘WLH wh..t’h l’ š’lt (‘ears you have graven for me,
// holocausts or sin-offerings you sought not’; > 21+2+21 cola). The two
cola are composed of 7 words and 26 letters.10 The noun ‘wlh (‘holocaust’)
is precisely the pivot of these words and letters: > 3+1+3 words and
11+4+11 letters (cf. Ps. 39,8 above).
(10.) Ps. 56,9a reads: ndy SPRTH ’th (‘you keep a record of my misery’);
this is the pivotal colon of the psalm in question (> 15+1+15 cola).11 The
colon is among other things highlighted as the gist of the poem in its most
terse form by the root spr (‘to count’; see § 4.3.1 below). In this respect
it is noticeable, that the verbal form sprth (‘you count/keep a record’) is
positioned at the very centre of the pivotal colon in terms of words and
letters: > 1+1+1 words and 3+5+3 letters (cf. Ps. 22,17b–18 above).
(11.) V. 7 constitutes the rhetorical centre of Psalm 58 and reads: ’LHYM

hrs šnymw bpymw // mlt‘wt kpyrym nts. YHWH (‘O God, smash their
teeth in their mouths, // the jaw-teeth of the lions, break, O Lord’).12
The pivotal position of v. 7 in terms of mathematics is reinforced by its
symmetrical composition in terms of syntax: vocative + predicate + object
// object + predicate + vocative (> a.b.c|c’.b’.a’). ‘This extensive chiastic
form is characteristic of the central couplet only’.13
(12.) Ps. 61,6a, ky ’th ’LHYM šm‘t lndry (‘for you, O God, have heard my
vows’), constitutes the rhetorical centre of the poem concerned (> 29+5+29
words).14 The weighty sense of this colon is highlighted by the vocative
’lhym (‘O God’) because it is the pivot of a small series of 3× ’lhym in
the psalm as a whole (vv. 2, 6a and 8). In addition, the vocative ’lhym
constitutes the very centre of v. 6a in terms of words (> 2+1+2 words)
and consequently of the poem as a whole (> 31+1+31 words)!
(13.) In terms of verselines, strophes and cantos, vv. 9–11 is the centre
of Psalm 72: vv. 1–8.9–11.12–17 > 1+1+1 cantos, 4+3+4 strophes and
8+4+8 verselines. The pivotal position of Canto II (vv. 9–11) is further
highlighted by its concentric structure on strophe level (> 1+2+1 verse-
10
For the 26 letters highlighting the rhetorical centre, see § 2.6.1–2.
11
12
For this rhetorical centre, see especially § 2.1.2 above.
13
See N.W. Lund, ‘Chiasmus in the Psalms’, AJSL 49 (1933), p. 310, and by the same
author, Chiasmus in the New Testament, Chapel Hill (N.C.): The University of North
Carolina Press, 1942, p. 95.
14
lines).15 These formal features indicate that the submission of the nations,
spoken about in vv. 9–11, is the larger meaningful centre of the psalm.16
(14.) The rhetorical centre of Psalm 74 is to be found in v. 12: w’lhym mlky
mqdm // P‘L yšw‘wt bqrb h’rs. (‘and God is my king from of old, // doing
saving deeds in the midst of the earth’; > 12+1+12 verselines).17 This
central verseline is composed of 7 words and 31 letters. It is worth noting
that—in terms of words and letters—the participle p‘l (‘doing’), denoting
God, is positioned at the very centre of the central line: > 3+1+3 words
and 14+3+14 letters (note the multiples of 7).
(15.) Vv. 11–13 constitute the centre of Psalm 77 in terms of cola and
strophes: vv. 2–10.11–13.14–21 > 3+1+3 strophes and 20+6+20 cola.
The strophe reads:
W’mr h.lwty hy’ šnwt ymyn ‘lywn
’zkwr m‘lly yh ky ’zkrh mqdm pl’k
Whgyty bkl p‘lk wb‘lylwtyk ’śyh.h
AND I say, ‘My grief is this
that the right hand of the Most High has changed.’
I recall the deeds of the Lord,
yes, I will recall your wonders of old.
AND I recount all your work,
and ponder on your acts.
This pivotal strophe has a solid construction (see Ch. III, 5.4.1). For its
concentric framework, see the copula w- at the beginning of vv. 11 and 13.
The praise of God formulated in vv. 11–13 is to be regarded as an extension
of the rhetorical centre v. 12: I appeal to your marvellous deeds!18
(16.) The rhetorical centre of Psalm 79 is to be found in v. 7: ky ’kl ’t y‘qb //
w’t nwhw hšmw (‘yes, it has devoured Jacob, // and laid waste his dwelling’;
> 17+2+17 cola).19 Amidst verselines which are in most cases poorly
determined by internal parallelism in terms of semantics and/or grammar,
15
For this concentric structure, which is typical of Canto II, see Ch. III, 30.2, 30.4.1
and 30.4.3.
16
For v. 10 as the rhetorical centre in its succinct form, see Ch. III, 30.5.
17
To put it otherwise, v. 12 is ‘embraced’ by 13 verselines on either side, because vv.
1–12 and 12–23 have 13 verselines each (for the number 13 and the rhetorical centre,
cf. § 2.6.4). For v. 12 as the rhetorical centre of Psalm 74, see especially § 5 below.
18
Similarly Labuschagne (www.labuschagne.nl/psalm077.pdf, Observation 2); cf. also
Weber, Terrien and Boadt in Ch. III, 5.6. For the title ‘lywn (‘Most High’; v. 11b) as a
device for highlighting this centre, see § 2.4. For v. 12 as the rhetorical centre of Psalm
77 in its most succinct form, see §§ 2.1.2 and 4.3.2.
19
For v. 7 as the rhetorical centre of Psalm 79, see especially § 2.6.3.
this verseline positively exhibits parallelismus membrorum. Moreover, in

terms of syntax, it is the only line with a symmetric structure: predicate
+ object // object + predicate (a.b // b’.a’); cf. Ps. 102,15 below. This
formal feature further focusses on the complaint about the ruin of the land
of Israel in v. 7 as as the rhetorical centre of Psalm 79.
(17.) Psalm 102,15, ky rs.w ‘bdyk ’t ’bnyh // w’t ‘prh yh.nnw (‘for your ser-
vants take delight in its stones, // and its dust they cherish’), is the centre
of the psalm concerned in terms of cola and verselines: vv. 2–14.15.16-29
> 14+1+14 lines (note the multiples of 7) and 29+2+29 cola. The cen-
tral position of v. 15 is highlighted by its symmetric structure in terms of
syntax: predicate + object // object + predicate (a.b // b’.a’); cf. Ps. 79,7
above.20
(18.) In terms of words and cola, v. 9a is the mathematical centre of
Psalm 144: vv. 1–8.9a.9b–15 > 21+1+21 cola (note the multiples of 7)
and 62+5+62 words. We are dealing with a central pledge to praise God:
’lhym šyr H
. DŠ ’šyrh lk (‘O God, I will sing a new song to you’). The pivotal
position of this message is strengthened by the concentric word pattern of
the central colon: a.b.c.b’.a’ ! The adjective h.dš (‘new’) is very meaningful
in this context and is especially emphasized by being the very centre of the
central phrase.
20
However, it is to be noted that such a symmetric structure is not typical of v. 15
alone; see, e.g., also vv. 2, 4, and 20.
v.4 special words 543
4 Specific words highlighting the rhetorical

centre
In an article from 1988 the Dutch New Testament scholar Smit Sibinga
points out that in early Christian literature the word ‘midst’ sometimes
indicates the exact middle point of a relatively large or small textual unit.
He argues that this technique is probably very old, because it is also applied
by the poets of the psalms with all kinds of variation.1 It can actually be
demonstrated that there are some specific words, denoting the ‘centre’ of
a body, which in some cases are used by the poets of the Hebrew Bible to
highlight the rhetorical centre of a composition. Words denoting the idea
of a ‘circle’ in a number of instances function as a comparable device.
4.1 Nouns denoting ‘midst’

4.1.1 The noun qrb (‘midst’)
(1.) In terms of cola, v. 12a–b is the mathematical centre of Psalm 49
(> 21+2+21 cola; note the multiples of 7). The centre reads: QRBm
btymw l‘wlm // mškntm ldr wdr (‘their inner belief is their eternal home,
// their dwellings through all generations’). The first noun of v. 12a–b, qrb
(‘inwards’), marks these middle cola as the rhetorical centre of the poem;
the word does not occur elsewhere in the psalm.2 We are dealing with
the rhetorical centre of the psalm because in v. 12a–b the poet explicitly
portrays the boasting of the godless rich and here their bragging reaches
its climax.3
(2.) V. 12 is the rhetorical centre of Psalm 51: lb .thwr br’ ly ’lhym // wrwh.
nkwn h.dš bQRBy (‘a clean heart create for me, O God, // and a steadfast
spirit renew within me’); vv. 3–11.12.13–21 > 20+2+20 cola. The final
morpheme of these cola is bqrby (‘in my inside’), which gives the central
prayer a special relief; the noun qrb does not feature elsewhere in the poem.
(3.) Psalm 74,12 is the rhetorical centre of the psalm concerned and reads:
w’lhym mlky mqdm // p‘l yšw‘wt bQRB h’rs. (‘and God is my king from of
old, // doing saving deeds in the midst of the earth’; > 12+1+12 verse-
1
Smit Sibinga, ‘Gedicht en getal’ (1988), p. 195.
2
That is to say, the noun qrb itself is not the mathematical centre of Psalm 49 on
word level, but its special meaning and frontposition in the middle cola highlight them
as focal phrases. Cf. Smit Sibinga, ‘Gedicht en getal’, pp. 191–92 n. 19.
3
For the 26 letters of v. 12a–b as a device for highlighting this rhetorical centre, see
§ 2.6.2; cf. further § 2.3.2 above.
lines).4 The word qrb in v. 12b reinforces the pivotal position of the line;
however, it also occurs in vv. 4 and 11. One of the first ‘exegetes’ of the
psalms, the redactor responsible for the heading of this composition, prob-
ably had a keen eye for this device: including the heading, the word bqrb in
v. 12b is the very centre of the psalm on word level (> 97+1+97 words)!5
(4.) In this respect, see further bqrbh (‘in its midst’) in the central verseline
of the 3-line strophe Ps. 46,5–7. It is externally parallel with blb (‘in the
heart’) in the central verseline of the preceding 3-line strophe vv. 2–4 (see
Ch. II, 4.4.2).
In Ps. 45,6 the expression blb (‘in the heart’) marks the middle verseline
of Canto I (vv. 2–10; > 4+1+4 lines); see Ch. II, 3.
The pivotal word of Ps. 62,2–9 is wbqrbm (‘and in their midst’; v. 5d);
> 34+1+34 words (note the multiples of 17).6
4.1.2 The noun bt.n (‘womb’)

(5.) Psalm 132,11 is the central strophe of the psalm; vv. 1–10.11.12–18
> 4+1+4 strophes. V. 11c–d reads: mpry BT . Nk // ’šyt lks’ lk (‘from the
offspring of your womb // I will set upon your throne’). The noun bt.n can
be taken as a poetic device for highlighting the rhetorical centre (the noun
does not occur elsewhere in the poem).
(6.) V. 13 is the larger rhetorical centre of Psalm 139 (> 11+1+11 verse-
lines).7 The focal meaning of this line is reinforced by v. 13b as the pivotal
colon of the psalm: vv. 1–13a.13b.14–24 > 25+1+25 cola.8 . The piv-
otal colon reads: tskny bBT . N ’my (‘you knit me in my mother’s womb’).
On word level, the noun bt.n is the very pivot of the pivotal colon. The
noun does not occur elsewhere in the psalm and therefore its function here
is clearly to focus attention on the rhetorical centre in its most succinct
form.9
4
For this rhetorical centre, see especially § 5 below.
5
The latter phenomenon has been observed by Smit Sibinga, ‘Gedicht en getal’ (1988),
p. 195; see by the same author ‘Some observations’, p. 480 n. 9.
6
For this central word, see further Ch. II, 20.5.
7
For this rhetorical centre, see § 2.6.2.
8
To put it otherwise: v. 13b is ‘embraced’ by 26 cola on both sides (vv. 1–13 and
13b–24 have 26 cola each); for the number 26 as a device for highlighting the rhetorical
centre, see § 2.6.1–2.
9
Cf. Smit Sibinga, ‘Gedicht en getal’ (1988), p. 196.
4.2 Words denoting ‘(making a) circle’

4.2.1 The noun ‘yn (‘eye’/‘well’)
(1.) Ps. 11,4 reads:
yhwh bhykl qdšw yhwh bšmym ks’w
‘YNYw yh.zw ‘p‘pyw ybh.nw bny ’dm
The Lord is in his holy temple,
the Lord—his throne is in heaven.
His eyes behold,
his eyelids tests the sons of man.
We are dealing with the centre of Psalm 11 in terms of verselines and
strophes (> 1+1+1 strophes and 3+2+3 lines; for this centre, see especially
§ 2.6.2). This centre is brought into focus by the noun ‘yn (‘eye’) in v. 4c,
which is not found elsewhere in the psalm.10
(2.) In terms of verselines and strophes, vv. 4–5 represent the mathematical
centre of Psalm 13 (> 1+1+1 strophes and 2+2+2 lines; § 2.6.3). The
central position of vv. 4–5 is enhanced by v. 4b representing the centre of
the psalm in terms of cola: vv. 2–4a.4b.5–6 > 6+1+6 cola. This colon
reads: h’yrh ‘YNy pn ’yšn hmwt (‘give light to my eyes that I may not
sleep in death’). The noun ‘yn gives special relief to this centre; it does not
occur elsewhere in the psalm.11
(3.) V. 8a is the pivotal colon of Psalm 17 (> 17+1+17 cola; see § 2.6.3
above). This colon reads: šmrny k’yšwn bt ‘YN (‘keep me as the apple of
your eye’). The noun ‘yn gives v. 8a special relief as the pivot of the psalm
on colon level. This is strongly underscored by the fact that ‘yn in v. 8a is
positioned in the middle of a series of 3× ‘yn in the poem as a whole (see
vv. 2, 8 and 11). At the same time, it is the pivotal word of the central
verseline v. 8 (see § 3.1.2 above).
(4.) In terms of cola and verselines, v. 9 is the mathematical centre of
Psalm 19: vv. 2–8.9.10–15 > 8+2+8 verselines and 18+4+18 cola. This
centre reads:
pqwdy yhwh yšrym mśmh.y lb
ms.wt yhwh brh m’yrt ‘YNYM
10
Cf. Smit Sibinga, ‘Gedicht en getal’ (1988), p. 196. For v. 4b as the rhetorical centre
of the psalm in its most succinct form, see § 2.1.2.
11
For v. 4a as the rhetorical centre of Psalm 13 in its most succinct form, see § 2.1.2.
The precepts of the Lord are just,

rejoicing the heart;
the instruction of the Lord is lucid,
enlightening the eyes.
These are the only lines within one strophe which are composed of 21
letters each (see v. 9a–b and 9c–d and note the multiples of 7). The noun
‘yn in v. 9d further highlights these middle lines as the rhetorical centre of
the psalm; this noun does not occur elsewhere in the psalm.
(5.) Smit Sibinga has pointed out that the expression l‘yny (‘for the eyes
[of]’) constitutes the pivotal element of the first canto of Psalm 98 (vv. 1–3;
> 15+1+15 words; note v. 2b).12 Moreover, l‘yny occurs in the middle
verseline of Canto I (> 2+1+2 lines) and within this middle line it is the
pivotal morpheme in a series of 7 words: hwdy‘ yhwh yšw‘tw // L‘YNY
hgwym glh .sdqtw (‘the Lord has made his salvation known, // for the eyes
of the nations he has revealed his justice’; > 3+1+3 words).13 The word
‘yn does not occur elsewhere in the psalm.
(6.) The pivotal words of Psalm 123 are found in v. 2c: kn ‘YNYnw ’l yhwh
’lhynw (‘so are our eyes on the Lord, our God’); > 17+5+17 words. The
noun ‘yn occurs 4× in the whole psalm indeed (vv. 1a, 2a, 2b and 2c), yet
all emphasis is on v. 2c, the fourth occurrence of this series.14
4.2.2 The root sbb (‘to go around’)
(7.) The phrase w’SBBH ’t mzbh.k yhwh (‘and I go around your altar,
O Lord’) constitutes the pivotal colon of Psalm 26; vv. 1–6a.6b.7–12 >
12+1+12 cola. The root sbb (‘to go around’) further highlights v. 6b as
the centre of the poem; the root does not occur elsewhere in the psalm.
In addition, this pivotal colon is composed of exactly 17 letters.15 These
features indicate that the (promise of) thanksgiving spoken about in the
pivotal colon is the deliberately designed rhetorical centre of Psalm 26.16
12
Smit Sibinga, ‘Gedicht en getal’ (1988), p. 199.
13
For this concentric aspect of v. 2 as a device highlighting the rhetorical centre, cf.
§ 3.2.
14
Smit Sibinga, ‘Gedicht en getal’ (1988), pp. 196–97; for v. 2c–d as the centre of
Psalm 123, see § 2.3.1 above. Cf. further § 2.1.3 (17.) about Ps. 101,5.
15
For the number 17 highlighting a rhetorical centre, see § 2.6.3. For the 13 cola
‘embracing’ v. 6b (vv. 1–6 and 6b–12 have 13 cola each), cf. § 2.6.4.
16
For the pivotal position of the root sbb within the psalm as a whole, see CAS I,
Ch. III, 26.5 (pp. 275–76).
(8.) Ps. 44,13–14 is the rhetorical centre of the composition concerned.17

The centre concludes with the expression lsbybwtynw (‘for those around
us’). This strategic positioning of the root sbb further highlights vv. 13–14
as a focal message of the poem; the root sbb does not occur elsewhere in
the psalm.
(9.) In the Masoretic tradition, SBYB lšlh.nk (‘around your table’; v. 3d) is
the pivotal colon of Psalm 128; vv. 1–3c.3d.4–6 > 7+1+7 cola. The root
sbb, which is not found elsewhere in the psalm, may highlight the central
position of v. 3d.18
(10.) V. 11b is the central colon of Psalm 66: vv. 1–11a.11b.12–20 >
22+1+22 cola (note the multiples of 11).19 The central colon reads: śmt
mw‘qh bmtnynw (‘you put a trammel on our loins’; cf. JPS). The pivotal
position of v. 11b is highlighted by its pivotal word mw‘qh (‘trammel’),
which has the connotation of ‘inclusion’.20
4.3 The roots spr (‘to count’) and zkr (‘to remember’)
4.3.1 The root spr (‘to count’)
In view of the quantitative aspect of the rhetorical centre of the psalms,
it is very remarkable that, in some cases, the root spr (qal and pi‘el ‘to
count’/‘to recount’) occurs precisely in the mathematical centre. This is
the case in Psalms 2 22 56 107 and 151.
(1.) The rhetorical centre of Psalm 2 is to be found in vv. 7a–b (> 13+2+13
cola; see § 2.1.2 above). The two cola open with the expression ’sprh (‘I
will proclaim’): ’SPRH ’l h.q yhwh // ’mr ’ly bny ’th (‘I will proclaim the
decree of the Lord; // he said to me: you are my son’). The root spr,
which does not occur elsewhere in the poem, probably highlights v. 7a–b
as the rhetorical centre of the psalm.
17
For this rhetorical centre, see especially § 2.6.4.
18
Smit Sibinga includes the heading of the psalm in his word count and thinks that sbyb
in v. 3d is the consciously designed centre of the poem (> 23+1+23 words). See Smit
Sibinga, ‘Gedicht en getal’ (1988), p. 196, and by the same author ‘Some observations’
(1988), p. 480 n. 9.
19
For the pivotal position of v. 11b within the central strophe of the psalm, vv. 10–12,
note Ch. II, 24.5 above.
20
The noun mw‘qh is probably derived from the root ‘wq/s.wq (hiph‘il ‘to oppress’;
HAL). For the concentric aspect of v. 11b as a device highlighting the rhetorical centre,
cf. § 3.2.
(2.) The central words of Psalm 22 are found in vv. 17b–18 (> 117+13+117
words). V. 18a reads: ’spr kl ‘s.mwty (‘I can count all my bones’). The first
word of this colon ’spr has a strategic position within the central words of
the psalm, because it is the very pivot of the 13 words.21 In my opinion,
this strongly suggests that the function of the root spr is to highlight the
rhetorical centre of the poem. In this respect, it is to be noted indeed that
the root spr also features in vv. 23 and 31; in these lines, it delimits the
third canto by inclusion.
(3.) V. 9a, ndy SPRTH ’th (‘you keep a record of my misery’), is the pivotal
colon of Psalm 56 (> 15+1+15 cola).22 Once again (cf. Ps. 22,17b–18) the
pivotal word of this rhetorical centre is a form of the root spr (‘to count’);
and in this case the pivotal word is also the centre in terms of letters.23
Therefore, the root spr may further highlight v. 9a as the rhetorical centre
of the psalm. Note, however, that the root spr also occurs in v. 9c.
(4.) The central verseline of Psalm 107 reads: wyzbh.w zbh.y twdh //
wYSPRW m‘śyw brnh (‘and let them make thank offerings, // and re-
count his works with shouts of joy’; v. 22); vv. 1–21.22.23–43 > 21+1+21
lines (note the multiples of 7). The first word of the second colon is a form
of the root spr ; this root does not occur elsewhere in the whole psalm!
Therefore, I assume that the root spr functions as a device for highlighting
the rhetorical centre. For the wording of v. 22b, cf. the central colon of
Psalm 151 (see the following example).
(5.) A form of the root spr also features in the central colon of Psalm 151
(11QPsa ; > 13+1+13 cola). This colon reads: wmy YSPR ’t m‘śy ’dwn
(‘and who can recount the works of the Lord’).24 The root in question does
not occur elswehere in the poem and further highlights the phrase as the
rhetorical centre of this ‘deutero-canonical’ psalm. For the wording of the
central colon, cf. Ps. 107,22b (see the preceding example).
4.3.2 The root zkr (‘to remember’)
(1.) In terms of semantics, the rhetorical centres of Psalms 107 and 151 (see
preceding examples in § 4.3.1) are very similar to the rhetorical centre of
Psalm 77, ’ZKWR m‘lly yh // ky ’ZKRH mqdm p‘lk (‘I remember the deeds
of the Lord, // yes, I remember your wonders of old’; v. 12); > 22+2+22
21
For vv. 17b–18 as the rhetorical centre of Psalm 22, see § 3.2.
22
23
For these features, see § 3.2.
24
For this rhetorical centre, see especially § 2.2.1.
cola.25 Now it is the root zkr which expresses the idea of ‘recount’ (spr ).
Therefore, I assume that this ‘recounting’ and the repetition of zkr (note
v. 12a and 12b) further highlight v. 12 as the rhetorical centre of Psalm 77
in its most terse form.
(2.) In my opinion, it is not by chance that the root zkr also features in
the mathematical centre of the following composition of the Asaph-psalter
(Psalms 73–83), Psalm 78. Here, v. 35 is the middle verseline (> 38+1+38
lines).26 The first colon of v. 35 reads: wYZKRW ky ’lhym .swrm (‘and
they remembered that God was their rock’). I assume that the root zkr
additionally highlights v. 35 as the rhetorical centre of Psalm 78. Note,
however, that this root also occurs in vv. 39 and 42.
(3.) From more than one perspective, v. 7a is the mathematical centre of
Psalm 63 (> 12+1+12 cola and 42+4+42 words).27 This pivotal colon
reads: ’m ZKRTYk ‘l ys.w‘y (‘surely, I remember you upon my couch’).
The root zkr does not occur elsewhere in the poem and therefore I assume
that it highlights the rhetorical centre.
(4.) In this respect, see also Ps. 8,5a, mh ’nwš ky TZKRnw (‘what is man
that you remember him’); the root zkr does not occur elsewhere in the
poem.28
(5.) In the latter example, God is the subject of the root zkr. The
quintessential thought of Psalm 89 is to be found in the prayers formu-
lated in vv. 48 and 51 (see Ch. III, 17.7.4). The verselines in question
constitute the central lines of the concluding 3-line strophes (vv. 47–49 and
50–52). In light of the function of the root zkr as a possible marker of
the centre of a psalm, I deem it noticeable that vv. 48 and 51 both start
with a form of this root, namely an imperative: ‘remember!’ (zkr ; the root
does not occur elsewhere in the whole poem). In this way the psalmist
rhetorically underlines his prayers for deliverance.
(6.) V. 6 is the mathematical centre of Psalm 112 in terms of cola: vv.
1–5.6.7–10 > 10+2+10 cola. The central cola read: ky l‘wlm l’ ymwt. //
lZKR ‘wlm yhyh .sdyq (‘yes, he will never be shaken, // the righteous will
ever be remembered’). It may tentatively be assumed that the root zkr
(v. 6b) highlights v. 6 as the rhetorical centre; the root does not occur
elsewhere in the psalm.
25
For v. 12 as the rhetorical centre of Psalm 77, see § 2.1.2.
26
For v. 35 as the rhetorical centre of Psalm 78, see especially § 2.4.
27
For v. 7a is the rhetorical centre of Psalm 63, see especially § 2.3.2.
28
For vv. 5–6 as the rhetorical centre of Psalm 8, see § 2.2.2.
5 A switch in the way God is referred to

highlighting the rhetorical centre
In the book of Psalms it often happens that there is a sudden and temporary
switch from words directly spoken to God in the second person to words
in which the psalmist explicitly speaks about God in the third person, or
vice versa. In a number of cases it can be shown that such abrupt changes
have a function in the rhetorical framework of a composition. Among other
things, they often mark the end of a canto or the end of a whole psalm.1
In other cases, such shifts highlight the rhetorical centre of a psalm. That
is to say, the centre may stand out in the psalm as a whole on the basis of
a different way God is referred to.
(1.) The middle verseline of Psalm 21 reads: ky hmlk bt.h. byhwh // wbh.sd
‘lywn bl ymwt. (‘yes, the king trusts in the Lord, // and through the kind-
ness of the Most High he will not be shaken’, v. 8); vv. 2–7.8.9–14 > 6+1+6
verselines. In vv. 2–7 the poet addresses God, while in v. 9–13 he addresses
the king (in v. 14 God is once more the addressee). From this perspective,
the central verseline stands out because here the poet speaks about God
and about the king. It is the only verseline lacking a direction of address.
The central position of v. 8 is further reinforced by v. 8a as the centre of
the psalm on word level (see § 2.6.2 above) and by v. 8b as its pivotal
colon (see especially § 2.4 above). I suppose that v. 8, which is about the
mutual relationship between the king and God, is the consciously designed
rhetorical centre of Psalm 21 in its long form.
(2.) In terms of cola, v. 6b is the numerical centre of Psalm 24: vv.
2–6a.6b.7–10 > 12+1+12 cola (see especially § 2.6.4). In this psalm the
poet speaks about God throughout, with the exception of the pivotal colon
v. 6b, mbqšy pnyk y‘qb (‘those who seek your face [is/belong to] Jacob’),
where the psalmist explicitly addresses God (note ‘your face’). This phe-
nomenon highlights v. 6b as the rhetorical centre of the psalm.
(3.) V. 7 constitutes the rhetorical centre of Psalm 58 (see § 2.1.2.) This
pivotal verseline reads: ’lhym hrs šnymw bpymw // mlt‘wt kpyrym nts. yhwh
(‘O God, smash their teeth in their mouths, // the jaw-teeth of the lions,
break, O Lord’). This line is, among other things, highlighted as rhetorical
1
For this rhetorical function, see Pss. 18,16c–d (end of Canto II), 24,6b (end of Canto
II) and 25,11 (end of Canto I); in Pss. 20,10a 33,22 52,11 55,24 62,13 82,8 106,47 and
140,14 the abrupt switch to words addressed to God functions as a device for closure
at the end of an entire poem. Cf. E. König, Stilistik, Rhetorik, Poetik in Bezug auf die
biblische Litteratur, Leipzig, 1900, p. 243.
v.6 conclusion 551
centre on the basis of its direction of address: it is the only verseline in the
psalm in which God is explicitly addressed ; note the vocatives ’lhym (‘O
God’) and yhwh (‘O Lord’) at the beginning and the end of the line.
(4.) In terms of verselines, v. 12 is the numerical centre of Psalm 74: vv.
1–11.12.13–23 > 12+1+12 verselines. In this psalm the poet addresses
God throughout, with the exception of v. 12: w’lhym mlky mqdm // p‘l
yšw‘wt bqrb h’rs. (‘and God is my king from of old, // doing saving deeds in
the midst of the earth’). In this verseline God is spoken about in the third
person.2 The peculiarity in question proves beyond any doubt that the
praise in v. 12 is the consciously designed rhetorical centre of the psalm.3
In addition, v. 12 stands out in its context because of its very personal tone;
note mlky (‘my king’).
6 Conclusion
The systematic investigation of the rhetorical centre of the psalms once
more reveals that the Hebrew poets were skilled architects of literary com-
positions. They often applied all kinds of devices to highlight and em-
phasize the meaningful core of their poems. Among other things, they
structured them with the help of numerical patterns in terms of strophes,
verselines and words to focus on a special message positioned right in the
centre.
2
Similarly [Hossfeld]/Zenger, Terrien and Weber; Dahood, Tate and JPS, however,
take w’lhym in v. 12a as a vocative.
3
For the pivotal position of the verb p‘l as a device highlighting the rhetorical centre,
see § 3.2. For the same function of the noun qrb (‘midst’; v. 12b) , see § 4.1.1.
7 Index of psalms discussed in Chapter V

Psalm
2 §§ 2.1.2 2.6.4 4.3.1 66 § 4.2.2
3 § 3.2 67 § 3.1.2
8 §§ 2.1.3 2.2.2 2.3.1 4.3.2 71 § 2.6.2
9–10 §§ 2.6.2 3.2 72 § 3.2
11 §§ 2.1.2 2.6.2 4.2.1 74 §§ 3.2 4.1.1 5
12 § 2.1.2 76 § 2.5.2
13 §§ 2.1.2 2.3.1 2.6.3 4.2.1 77 §§ 2.1.2 2.4 3.2 4.3.2
17 §§ 2.6.3 3.1.2 4.2.1 78 §§ 2.4 3.2 4.3.2
18 § 2.6.4 79 §§ 2.6.3 3.2
19 § 4.2.1 81 §§ 2.6.3 2.6.4 3.1.1
21 §§ 2.4 2.6.2 2.6.4 5 82 §§ 2.3.2 2.6.1
22 §§ 2.6.4 3.2 4.3.1 89 § 4.3.2
23 §§ 2.1.3 2.5.1 2.6.1 90 § 2.2.2
24 §§ 2.6.4 5 91 § 2.6.3
25 § 2.6.3 92 §§ 2.1.1 2.5.2 2.6.1
26 §§ 2.6.3 4.2.2 93 §§ 2.1.2 2.6.4
28 §§ 2.6.2 2.6.4 94 § 2.1.2
33 § 2.1.2 (11) 97 § 2.6.4
36 §§ 2.1.2 2.3.2 2.6.3 98 § 4.2.1
37 § 2.6.4 101 § 2.1.3
39 §§ 2.1.3 2.2.1 2.6.2 3.2 102 § 3.2
40A §§ 2.6.2 3.2 103 § 2.6.3
42–43 §§ 2.1.2 2.6.4 107 § 4.3.1
44 §§ 2.6.2 2.6.4 4.2.2 112 § 4.3.2
45 § 4.1.1 (4) 113 § 2.3.1
46 § 4.1.1 (4) 123 §§ 2.3.1 2.6.3 4.2.1
49 §§ 2.3.2 2.6.2 4.1.1 125 § 2.1.3
50 § 2.6.2 128 § 4.2.2
51 § 4.1.1 130 §§ 2.1.2 2.6.3
53 § 2.3.1 131 § 2.1.3
54 §§ 2.2.1 2.6.2 132 § 4.1.2
56 §§ 2.5.2 3.2 4.3.1 139 §§ 2.6.2 4.1.2
58 §§ 2.1.2 3.2 5 140 §§ 2.1.2 2.2.1 2.5.2
60 § 2.6.4 143 § 2.6.3
61 §§ 2.3.1 2.5.2 2.6.3 3.2 144 § 3.2
62 §§ 2.3.1 2.6.3 145 § 2.6.2
63 §§ 2.3.2 2.5.3 4.3.2 149 § 3.1.2
65 § 2.6.3 151 §§ 2.1.3 2.2.1 2.6.3 2.6.4
ABBREVIATIONS
AB Anchor Bible
ACEBT Amsterdamse Cahiers voor Exegese van de Bijbel en zijn Tra-
dities
AJBI Annual of the Japanese Biblical Institute
AJSL American Journal of Semitic Languages and Literatures
ANVAO Avhandlinger utgitt av Det Norske Videnskaps-Akademi i Oslo
AOAT Alter Orient und Altes Testament
ATD Das Alte Testament Deutsch
ATS Arbeiten zu Text und Sprache im Alten Testament
AUSS Andrews University Seminary Studies
BASOR Bulletin of the American Schools of Oriental Research
BBB Bonner Biblische Beiträge
BEThL Bibliotheca Ephemeridum Theologicarum Lovaniensium
BHS Biblia Hebraica Stuttgartensia
BibLeb Bibel und Leben
BiblSt Biblische Studien
BK Biblischer Kommentar
BN Biblische Notizen
BOT Boeken van het Oude Testament
BThSt Biblisch-Theologische Studien
BWANT Beiträge zur Wissenschaft vom Alten und Neuen Testament
BZ Biblische Zeitschrift
BZAW Beihefte zur Zeitschrift für die alttestamentliche Wissenschaft
CAS I P. van der Lugt, Cantos and Strophes in Biblical Hebrew
Poetry, with Special Reference to the First Book of the Psalter
(OTS 53), Leiden/Boston: Brill, 2006
CBQ Catholic Biblical Quarterly
COT Commentaar op het Oude Testament
DJD Discoveries in the Judaean Desert
ÉgTh Église et Théologie
EstBı́b Estudios Bı́blicos
EstEcl Estudios Eclesiásticos
ET The Expository Times
EThL Ephemerides Theologicae Lovanienses
FAT Forschungen zum Alten Testament
FoOr Folia Orientalia
FOTL The Forms of the Old Testament Literature
FzB Forschung zur Bibel
554 abbreviations
GKC W. Gesenius, E. Kautzsch, and A.E. Cowley, Gesenius’

Hebrew Grammar, Oxford: Clarendon Press, 2nd edn 1946
HAL Hebräisches und aramäisches Lexikon zum Alten Testament
HAT Handbuch zum Alten Testament
HCOT Historical Commentary on the Old Testament
HK Göttinger Handkommentar zum Alten Testament
HS Die Heilige Schrift des Alten Testamentes
HThK.AT Herders Theologischer Kommentar zum Alten Testament
HThR The Harvard Theological Review
HUCA Hebrew Union College Annual
ICC International Critical Commentary
JANES Journal of the Ancient Near Eastern Society
JBL Journal of Biblical Literature
JBQ Jewish Bible Quarterly
JEThS Journal of the Evangelical Theological Society
JNSL Journal of Northwest Semitic Languages
JPS The Book of Psalms. A New Translation According to the
Traditional Hebrew Text, Philadelphia (PA): the Jewish
Publication Society, 2nd edn 1997
JSOT Journal for the Study of the Old Testament
JSOTS Journal for the Study of the Old Testament, Supplement
Series
JSS The Journal of Semitic Studies
KAT Kommentar zum Alten Testament
KHC Kurzer Hand-commentar zum Alten Testament
KV Korte Verklaring van de Heilige Schrift
LXX Septuaginta
LS Louvain Studies
MPHB J.P. Fokkelman, Major Poems of the Hebrew Bible, 4 vols.
(SSN 37, 41, 43 and 47), Assen: Van Gorcum, 1998–2004
MT Masoretic Text
MThZ Münchener theologische Zeitschrift
NAB New American Bible
NEB.AT Neue Echter Bibel: Kommentar zum Alten Testament
NGThT Nederduitse Gereformeerde Teologiese Tydskrif
NRTh Nouvelle Revue Théologique
NThT Nederlands Theologisch Tijdschrift
OBO Orbis Biblicus et Orientalis
ÖBS Österreichische Biblische Studien
OTE Old Testament Essays
OTS Oudtestamentische Studiën
abbreviations 555
PHPT A. Preminger (ed.), The Princeton Handbook of Poetic

Terms, Princeton (New Jersey): University Press, 1986
POT Prediking van het Oude Testament
RB Revue Biblique
RCPJ P. van der Lugt, Rhetorical Criticism and the Poetry of the
Book of Job (OTS 32), Leiden/New York/Köln: Brill, 1995
RevSR Revue des Sciences Religieuses
RivB Rivista Biblica
RQ Revue de Qumrân
RSR Recherches de Science Religieuse
RSV Revised Standard Version
SBFLA Studii Biblici Franciscani Liber Annuus
SBL Society of Biblical Literature
SBS Stuttgarter Bibelstudien
SBTh Studia Biblica et Theologica
ScEs Science et Esprit
SEL Studi Epigrafici e Linguistici sul Vicino Oriente antico
SJOT Scandinavian Journal of the Old Testament
SSN Studia Semitica Neerlandica
StANT Studien zum Alten und Neuen Testament
STR P. van der Lugt, Strofische structuren in de bijbels-hebreeuw-
se poëzie. De geschiedenis van het onderzoek en een bijdrage
tot de theorievorming omtrent de strofenbouw van de Psal-
men (Dissertationes Neerlandicae), Kampen: Kok, 1980
StTDJ Studies on the Texts of the Desert of Judah
SupplVT Supplements to Vetus Testamentum
ThGl Theologie und Glaube
ThStKr Theologische Studien und Kritiken
ThZ Theologische Zeitschrift
TOB Traduction Oecuménique de la Bible
TThZ Trierer Theologische Zeitschrift
TU Tekst en Uitleg
UF Ugarit-Forschungen
VT Vetus Testamentum
WBC Word Biblical Commentary
WMANT Wissenschaftliche Monographien zum Alten und Neuen
Testament
WZKM Wiener Zeitschrift für die Kunde des Morgenlandes
ZAW Zeitschrift für die Alttestamentliche Wissenschaft
ZDMG Zeitschrift der Deutschen Morgenländischen Gesellschaft
ZThK Zeitschrift für Theologie and Kirche
.
DEFINITIONS
acrostic: a poem in which the initial letters of each colon, or verseline, or

strophe have a meaning when read downward (cf. PHPT, p. 3).
alliteration: any repetition of the same consonants in two or more words
of a colon, verseline or higher structural unit, which produces a no-
ticeable artistic effect (cf. Watson [1984], pp. 225–29 and also ‘asso-
nance’).1
anacrusis: (Gr. ‘the striking up of a tune’) a word or group of words at
the beginning of a verseline, before the rhythm proper (cf. Watson
[1984], p. 110).
anaphora: (Gr. ‘bring back’) the repetition of a similar word or similar
words at the beginning of successive verselines, strophes, canticles or
cantos (cf. ‘epiphora’).
assonance: any repetition of the same vowel-sounds in two or more words
of a colon, verseline or higher structural unit, which produces a no-
ticeable artistic effect (cf. alliteration).
bicolon: a verseline consisting of two cola.
canto: a major subdivision of a poem, that divides and orders its content
and formal framework.
canticle: a subdivision of a canto, that divides and orders its content and
formal framework.
chiasmus: ‘(Gr. “a placing crosswise,” from the name of the Gr. letter X,
“chi” . . . ). . . . the criss-cross order and correspondence in meaning or
syntax of two pairs of words, whether or not involving word repetition’
(PHPT, p. 36; cf. Watson [1984], pp. 201–08).
coda: a relatively short individual concluding canto, typically forming an
‘addition’ to the basic structure of a poem and generally repeating
some important themes of the main cantos.2
1
See also W.B. Stevenson, The Poem of Job: A Literary Study with a New Trans-
lation, London: OUP, 2nd edn 1948, pp. 98–100; Th.P. McCreesh, Biblical Sound and
Sense. Poetic Sound Patterns in Proverbs 10–29 (JSOTS 128), Sheffield: JSOT Press,
1991; D.W. Cotter, A Study of Job 4–5 in the Light of Contemporary Literary The-
ory (SBL Dissertation Series 124), Atlanta (Georgia): Scholars Press, 1992, pp. 28–31;
W.G.E. Watson, ‘Problems and solutions in Hebrew verse: a survey of recent work’, VT
43 (1993), p. 381. I recognize this device, when at least three consonants are involved.
2
Cf. also www.labuschagne.nl/aspects.pdf.
558 definitions
colon: a part of a Hebrew verseline which, usually together with another

part (sometimes two other parts), constitutes a semantic or formal
parallelism.
concatenation: a repetition of words (or grammatical forms) in two suc-
cessive verselines, which do not belong to the same poem, or canto,
or canticle, or strophe.
concentric structure: a pattern of formal and/or semantic correspon-
dences by which the first element of a poetic unit recurs at the end
of the unit, the second element in the second last position of the
unit, and so on, while the central element has no counterpart. To
put it schematically: a.b.c.b’.a’ (cf. ‘pivot pattern’ and ‘symmetric
structure’).
contrary indication: a formal or semantic element which does not fit the
(theoretical) rhetorical framework of the poem.
couplet: see ‘bicolon’.
distich: see ‘bicolon’.
enjambement: ‘The completion, in the following poetic line, of a clause or
other grammatical unit begun in the preceding line; the employment
of “run-on” lines which carry the sense of a statement from one line
to another without rhetorical pause at the end of the line . . . . The
term is also applied to the carrying over of meaning from one couplet
or stanza to the next’ (PHPT, p. 67).
envelope: see ‘inclusion’.
epiphora: (Gr. ‘to add’) the repetition of a similar word or similar words
at the end of successive verselines, strophes, canticles or cantos (cf.
‘anaphora’).
external parallelism: a correspondence between two verselines within a
poem or higher rhetorical unit.
formal analysis: the structural investigation which does not take into
account the meaning of the poetic elements used.
higher (poetic) unit: a poetic unit which encompasses more than one
strophe, or canticle, or canto.
inclusion: ‘a special case of repetition . . . . A word, line or stanza will
recur in the same or nearly the same form so as to enclose other
material. A word, some words, a line or significant phrase may thus
enclose a stanza or a whole poem; a complete stanza may be repeated
definitions 559
to enclose a poem or a section of a larger poem. . . . Also the repeated

words carry an added richness and meaning from the intervening lines,
sometimes acquiring an almost incantatory force’ (cf. PHTH, p. 67).
internal parallelism: (parallelismus membrorum, R. Lowth) a correspon-
dence between two or three successive cola within a verseline.
line: see ‘verseline’.
linear structure: a pattern of formal and/or semantic correspondences
which may schematically be described as follows: a.b.c|a’.b’.c’.
Masoretic verse: a semantic unit in the Hebrew Bible of which the end
is marked by a sôp pāsûq.
parallelism: ‘(Gr. “side by side”). In poetry a state of correspondence
between one phrase, line, or verse with another. P. seems to be the
basic aesthetic principle of poetic utterance. . . . doubtless, p. was
the basic element of primitive poetry before such refinements as meter
and rhyme were invented’ (PHPT, p. 182).
pivot pattern: see ‘concentric structure’.
quasi-acrostic: a poem modelled on the length of a Hebrew alphabetic
acrostic, that is to say with 22 cola, verselines or strophes (cf. Watson
[1984], p. 199).
refrain: a repetition of an unbroken series of words, roughly in the same
sequence and encompassing at least a colon, with a framing function
on the level of the macrostructure of a poem.
repetition: ‘A basic unifying device in all poetry’ (PHPT, p. 228).
responsion: a linear phenomenon of verbal repetition, by which the begin-
nings and/or the ends of the cantos, or the canticles, or the strophes
within a poem correspond with each other.
rhyme: ‘The spelling “rhyme” became common in the 17th c. and is now
more usual than the older “rime”’ (PHPT, p. 233).
stanza: see ‘canto’.
stich: see ‘colon’.
strophe: a subdivision of a canticle, canto or poem, that divides and orders
its content and formal framework.
sub-stanza: see ‘canticle’.
‘symetrie croisée’: two individual patterns of formal and/or semantic
correspondences framing a poetic section in a linear and a symmetric
560 definitions
way at the same time. To put it schematically: a.b|a’.b’ and a.b|b’.a’.3

symmetric structure: a pattern of formal and/or semantic correspon-
dences by which the first element of a poetic unit recurs at the end
of the unit, the second element in the second last position of the
unit, and so on. To put it schematically: a.b.c|c’.b’.a’ (cf. ‘concentric
structure’).
transition marker: a special word or grammatical form which usually
indicates the first or the last verseline of a Hebrew strophe.
tricolon: a verseline consisting of three cola.
triplet: see ‘tricolon’.
tristich: see ‘tricolon’.
verseline: a unit of Hebrew poetry which is regularly characterized by an
internal correspondence of the successive cola (mostly two, sometimes
three).
3
I have borrowed the wording from Pierre Auffret.
GENERAL BIBLIOGRAPHY
This is a selective bibliography especially containing frequently cited works

which will mostly be referred to by the name of the author (followed by the
year of publication) only.
Alden, R.L. ‘Chiastic Psalms (I). A Study in the Mechanics of Semitic

Poetry in Psalms 1–50’, JEThS 17 (1974), pp. 11–28.
— ‘Chiastic Psalms (II). A Study in the Mechanics of Semitic Poetry in
Psalms 51–100’, JEThS 19 (1976), pp. 191–200.
— ‘Chiastic Psalms (III). A Study in the Mechanics of Semitic Poetry in
Psalms 101–150’, JEThS 21 (1978), pp. 199–210.
Aletti, J.N. and Trublet, J. Approche poétique et théologique des Psaumes.
Analyses et Méthodes, Paris: Les Editions du Cerf, 1983.
Barthélemy, D. Critique textuelle de l’Ancien Testament. Tome 4. Psaumes
(OBO 50/4), Fribourg/Göttingen: Academic Press/Vandenhoeck &
Ruprecht, 2005.
Baumann, E. ‘Struktur-Untersuchungen im Psalter II’, ZAW 62 (1949–50),
pp. 115–52.
Beaucamp, É. ‘Structure strophique des Psaumes’, RSR 56 (1968), pp.
199–223.
— Le Psautier, 2 vols. (Sources Bibliques), Paris: J. Gabalda et Cie Éditeurs,
1976 and 1979.
Berges, U. Klagelieder (HThK.AT), Freiburg/Basel/Wien: Herder, 2002.
Berkowicz, M. ‘Strophenbau und Responsion in den Psalmen’, WZKM 17
(1903), pp. 232–45 and WZKM 21 (1907), pp. 178–90.
— Der Strophenbau in den Psalmen und seine äusseren Kennzeichen (Sit-
zungsbericht der Kais. Akademie der Wissenschaften in Wien, Phil.-
Hist. Klasse, 165. Band, 4. Abhandlung), Wien, 1910.
Bickell, G. Carmina Veteris Testamenti metrice, Oeniponte, 1882.
Böhl, F.M.Th. de Liagre and Gemser, B Psalmen, 3 vols. (TU), Groningen,
1946, 1947, 1949 (= De Psalmen, Nijkerk, 1968).
Booij, Th. Psalmen III (POT), Nijkerk, 1994.
Briggs, Ch.A. and Briggs E.G. A Critical and Exegetical Commentary on
the Book of Psalms, 2 vols. (ICC), Edinburgh, 1906 and 1907.
Calès, J. Le livre des Psaumes, 2 vols., Paris: Gabriel Beauchesne et ses
Fils, 1936.
562 bibliography
Condamin, A. Poèmes de la Bible. Avec une introduction sur la strophique

hébraı̈que, Paris: Gabriel Beauchesne et ses Fils, 2nd edn 1933.
Craigie, P.C. Psalms 1–50 (WBC 19), Waco (Texas): Word Books, 1983.
Crüsemann, F. Studien zur Formgeschichte von Hymnus und Danklied in
Israel (WMANT 32), Neukirchen-Vluyn, 1969.
Dahood, M. Psalms, 3 vols. (AB 16.17.17A), New York, 1965, 1968 and
1970.
Delitzsch, Franz Die Psalmen (Keil/Delitzsch IV.1), Leipzig, 5th edn 1894.
Delitzsch, Friedrich Die grosse Täuschung, vol. 2, Stuttgart/Berlin, 1921.
Desnoyers, L. Les Psaumes. Traduction rythmée d’après l’hébreu, Paris:
Desclée de Brouwer et Cie, 1935.
Duhm, B. Die Psalmen (KHC XIV), Freiburg, 1899 (Tübingen, 2nd edn
1922).
Ewald, H. Die Psalmen und die Klagelieder (Die Dichter des Alten Bundes
I.2), Göttingen: Vandenhoeck, 3rd edn 1866.
Faulhaber, M. von ‘Die Strophentechnik der biblischen Poesie’, in FS G.
von Hertling zum 70. Geburtstag . . . dargebracht von der Görres-
Gesellschaft zur Pflege der Wissenschaft im kath. Deutschland, Kemp-
ten/Kösel, 1913, pp. 1–22.
Fokkelman, J.P. Major Poems of the Hebrew Bible, 4 vols. (SSN 37, 41, 43
and 47), Assen: Van Gorcum, 1998, 2000, 2003 and 2004.
— The Psalms in Form. The Hebrew Psalter in its Poetic Shape, Leiden:
Deo Publishing, 2002.
Gerstenberger, E.S., Psalms. Part I, with an Introduction to Cultic Poetry
(FOTL 14), Grand Rapids: Eerdmans, 1988.
— Psalms. Part II and Lamentations (FOTL 15), Grand Rapids: Eerd-
mans, 2001.
Girard, M. Les psaumes redécouverts. De la structure au sens, 3 vols.,
Éditions Bellarmin, 1994 (vols. 2–3) and 1996 (vol. 1).
Grimme, H. Psalmenprobleme. Untersuchungen über Metrik, Strophik und
Paseq des Psalmenbuches (Collectanea Friburgensia NF 3), Freiburg
(Schweiz), 1902.
Gunkel, H. Die Psalmen (HK II.2), Göttingen, 4th edn 1926 (Nachdr.
Göttingen 1968).
Hävernick, H.A.Ch. Handbuch der historisch-kritischen Einleitung in das
Alte Testament, vol. 3 (ausgearbeitet von C.F. Keil), Erlangen, 1849.
Herkenne, H. Das Buch der Psalmen (HS V.2), Bonn, 1936.
bibliography 563
Hossfeld, F.-L. and Zenger, E. Die Psalmen I (NEB.AT), Würzburg: Echter

Verlag, 1993.
— Psalmen 51–100 (HThK.AT), Freiburg/Basel/Wien: Herder, 2000.
Howard, D.M. The Structure of Psalms 93–100 (Biblical and Judaic Stud-
ies from the University of California, San Diego, 5), Winona Lake
(Indiana), 1997.
Jacquet, L. Les Psaumes et le coeur de l’Homme. Etude textuelle, littéraire
et doctrinale II, Duculot, 1977.
Kissane, E.J. The Book of Psalms, 2 vols., Dublin, 1953 and 1954.
Kittel, R. Die Psalmen (KAT XIII), Leipzig, 5th and 6th edn 1929.
König, E. Die Psalmen, Gütersloh, 1927.
Korpel, M.C.A., and Moor, J.C. de, ‘Fundamentals of Ugaritic and He-
brew Poetry’, in W. van der Meer and J.C. de Moor (eds), The Struc-
tural Analysis of Biblical and Canaanite Poetry (JSOTS 74), Sheffield:
JSOT Press, 1988, pp. 1–61.
Köster, F.B. ‘Die Strophen, oder der Parallelismus der Verse der hebräischen
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Cantos and Strophes

Pieter van der Lugt

Old Testament Studies

H.F. Van Rooy

Pieter van der Lugt

Library of Congress Cataloging-in-Publication Data

Van der Lugt, Pieter.

Copyright 2010 by Koninklijke Brill NV, Leiden, The Netherlands.

printed in the netherlands

God dwells in the blank lines

Chapter II: The Second Book of the Psalter 13

Chapter III: The Third Book of the Psalter 295

Chapter IV: The Canto Design of Hebrew Poetry in

1 General outline 486

2 Canto design in terms of verselines 493

Chapter V: Systematic Observations (continued 1):

2 References to God’s presence highlighting the rhetorical

2.5 The personal pronoun ’th (‘you’), referring to God . . . . . . 524

3 Concentric and symmetric word patterns highlighting

4 Specific words highlighting the rhetorical centre 543

5 A switch in the way God is referred to highlighting the

7 Index of Psalms discussed in Chapter V 552

Recent biblical scholarship generally recognizes that a proper reading of the

Dokkum, summer 2009 Pieter van der Lugt

1. the description of the logical division of the subject matter;

2. the registering of transition markers;

3. the recording of verbal repetitions;

4. the description of quantitative structural aspects;

5. a survey of various divisions.

1.1 The logical division of the subject matter

1.2 Transition markers

an area of research which is almost unexplored. Nevertheless, it proves

2. interrogative particles, like ‘d ’n(h) (‘how long?’), h- interrogative, mh

3. ‘emphatic’ particles: ’z (‘then’), ’k/’kn (‘certainly’), hnh/hn (‘be-

4. demonstrative pronouns, like ’lh (‘these’), z’t (‘this’), zw (‘this’), and

5. ’šry (‘happy’) and .twb (‘good’) at the beginning of a verseline;

6. imperatives and other verbal forms with an imperative meaning, like

The transition markers that primarily demarcate the end of a strophe

1. ‘emphatic’ particles: ’p (‘more’/‘even’), gm (‘also’/‘yet’), m’d (‘very’),

3. words that point to a very long time, ‘eternity’: dr wdr (‘generation

4. the enigmatic term slh (‘selah’).

The exploration of the transition markers in an individual poem always

1.3 Verbal repetitions

membrorum or the internal parallelism. To denote the parallelism that

1.4 Quantitative structural aspects

registers the occurrences of the numbers 17 and 26. In gematria these

some characteristic numbers, has been underrated in mainstream biblical

1.5 Various divisions

2.2 The reproduction of the texts

2.3 Textcritical remarks

The Second Book of the Psalter

I 2 k’ylt t‘rg ‘l ’pyqy mym KN NPŠY t‘rg ’lyk ’lhym

5 ’lh ’zkrh w’špkh ‘ly NPŠY ky ’‘br bsk ’drm

II 7 ‘ly NPŠY tštwh.h. ‘l KN ’zkrk M’rs. yrdn wh.rmwnym Mhr ms.‘r

III 1 špt.ny ’lhym wrybh ryby Mgwy l’ H

3 šlh. ’wrk w’mtk hmh ynh.wny YBY’Wny ’l hr qdšk w’l mšknwtyk

1.3 Transition markers

1.3.2 In the last line of the strophe

vocative: npšy, 43,5a

1.3.3 Contrary indications

1.4 Verbal repetitions in strophic perspective

1.4.2 Within the cantos

pnym, vv. 3b.6c

Jerusalem, 1999, 78–87 (‘a noun phrase functioning as subject’).