(OS 063) Lugt - Cantos and Strophes in Biblical Hebrew Poetry III - Psalms 90-150 and Psalm 1 PDF

Cantos and Strophes
in Biblical Hebrew Poetry III

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 63
The titles published in this series are listed at brill.com/ots

Cantos and Strophes
in Biblical Hebrew Poetry III
Psalms 90–150 and Psalm 1
by
Pieter van der Lugt
LEIDEN • BOSTON
2014
Library of Congress Cataloging-in-Publication Data
Van der Lugt, Pieter.

Cantos and strophes in biblical Hebrew poetry III : Psalms 90-150 and Psalm 1 / by Pieter van der
Lugt.
pages cm. -- (Oudtestamentische studiën = Old Testament studies, ISSN 0169-7226 ; v. 63)
Includes bibliographical references and index.
ISBN 978-90-04-26094-8 (hardback : alk. paper) -- ISBN 978-90-04-26279-9 (e-book : alk. paper)
1. Hebrew poetry, Biblical--History and criticism. 2. Bible. Psalms, XC-CL--Criticism, interpretation,
etc. 3. Bible. Psalms, I--Criticism, interpretation, etc. 4. Bible. Psalms--Language, style. 5. Stanzas.
6. Rhetoric in the Bible. I. Title.
BS1405.52.V366 2013
223’.2066--dc23
2013034201
ISSN 0169-7226
ISBN 978-90-04-26094-8 (hardback)
ISBN 978-90-04-26279-9 (e-book)
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Bin ich zu Ende, beginne ich
Hermann Gunkel
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 . . . . . . . . . . . . . . . . . . . . . . . . 5
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
3 In retrospect 12
Chapter II: The Fourth Book of the Psalter 13
1 Psalm 90 13
2 Psalm 91 27
3 Psalm 92 37
4 Psalm 93 47
5 Psalm 94 52
6 Psalm 95 62
7 Psalm 96 71
8 Psalm 97 79
9 Psalm 98 88
viii contents
10 Psalm 99 94
11 Psalm 100 101
12 Psalm 101 106
13 Psalm 102 113
14 Psalm 103 126
15 Psalm 104 140
16 Psalm 105 155
17 Psalm 106 171
Chapter III: The Fifth Book of the Psalter 189
1 Psalm 107 189
2 Psalm 108 205
3 Psalm 109 211
4 Psalm 110 225
5 Psalm 111 235
6 Psalm 112 243
7 Psalm 113 251
8 Psalm 114 256
9 Psalm 115 262
10 Psalm 116 271
11 Psalm 118 283
12 Psalm 119 296

12.1 Introduction . . . . . . . . . . . . . . . . . . . . . . . . . . . 296
12.2 The rhetorical structure of the cantos . . . . . . . . . . . . . 299
12.3 Transition markers . . . . . . . . . . . . . . . . . . . . . . . 326
contents ix
12.4 Quantitative structural aspects . . . . . . . . . . . . . . . . 328

12.5 The overall design of the psalm . . . . . . . . . . . . . . . . 329
12.6 Bibliography . . . . . . . . . . . . . . . . . . . . . . . . . . . 344
13 Psalm 120 346
14 Psalm 121 350
15 Psalm 122 356
16 Psalm 123 362
17 Psalm 124 366
18 Psalm 125 372
19 Psalm 126 376
20 Psalm 127 381
21 Psalm 128 386
22 Psalm 129 392
23 Psalm 130 396
24 Psalm 131 403
25 Psalm 132 407
26 Psalms 133–134 416
27 The linearly alternating design of the cycle of the

Psalms of Ascents 422
27.1 Introduction: various combinations . . . . . . . . . . . . . . 422
27.2 The linearly alternating design in thematic perspective . . . 423
27.3 The linearly alternating design: numerical perfection . . . . 433
27.4 Verbal repetitions in structural perspective . . . . . . . . . . 434
27.5 Concluding remark . . . . . . . . . . . . . . . . . . . . . . . 438
27.6 Bibliography . . . . . . . . . . . . . . . . . . . . . . . . . . . 438
28 Psalm 135 441
29 Psalm 136 451

x contents
30 Psalm 137 460
31 Psalm 138 470
32 Psalm 139 476
33 Psalm 140 490
34 Psalm 141 497
35 Psalm 142 505
36 Psalm 143 511
37 Psalm 144 521
38 Psalm 145 531
39 Psalm 146 542
40 Psalm 147 549
41 Psalm 148 558
42 Psalm 149 566
43 Psalm 150 573
44 An afterthought: Psalm 1 578
Chapter IV: The Canto Design of Hebrew Poetry in

Terms of Verselines 589
1 General outline 590

1.1 The First Book of the Psalter: Psalms 1–41 . . . . . . . . . 590
1.2 The Second Book of the Psalter: Psalms 42–72 . . . . . . . . 591
1.3 The Third Book of the Psalter: Psalms 73–89 . . . . . . . . 593
1.4 The Fourth Book of the Psalter: Psalms 90–106 . . . . . . . 593
1.5 The Fifth book of the Psalter: Psalms 107–150 . . . . . . . . 594
1.6 Outcome . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 596
contents xi
2 Canto design in terms of verselines 597

2.1 Introduction . . . . . . . . . . . . . . . . . . . . . . . . . . . 597
2.2 Type IA: exactly regular cantos . . . . . . . . . . . . . . . . 598
2.2.1 Within the book of Psalms . . . . . . . . . . . . . . . 598
2.2.2 Outside the book of Psalms . . . . . . . . . . . . . . 598
2.3 Type IB: almost regular cantos . . . . . . . . . . . . . . . . 599
2.3.1 Transitional designs within the book of Psalms . . . . 599
2.3.2 Almost regular cantos within the book of Psalms . . 600
2.3.3 Almost regular cantos outside the book of Psalms . . 601
2.4 Type IIA/B/C: the 2.4.4, 4.4.2 and 2.4.4.2 canto design . . . 602
2.4.1 Introduction . . . . . . . . . . . . . . . . . . . . . . . 602
2.4.2 The 2.4.4 canto design within the book of Psalms . . 603
2.4.3 The 4.4.2 canto design within the book of Psalms . . 603
2.4.4 The 2.4.4 and 4.4.2 canto design outside the book of
Psalms . . . . . . . . . . . . . . . . . . . . . . . . . . 604
2.4.5 The 2.4.4.2 canto design . . . . . . . . . . . . . . . . 605
2.5 Type III: concentric canto designs . . . . . . . . . . . . . . . 605
2.5.1 Within the book of Psalms . . . . . . . . . . . . . . . 605
2.5.2 Outside the book of Psalms . . . . . . . . . . . . . . 606
2.6 Summary . . . . . . . . . . . . . . . . . . . . . . . . . . . . 606
Abbreviations 607
Definitions 611
General bibliography 615
ACKNOWLEDGMENTS
Once again, I am greatly indebted to Dr. Casper J. Labuschagne (emeri-

tus professor, University of Groningen) for his help during the process of
finalizing the third volume of my investigations into the rhetorical design
of the psalms. The numerous valuable suggestions for improving my En-
glish form only part of this support. His continuous encouragement and
intellectual engagement during the last decade in which my trilogy on the
book of Psalms has come about, have always been a great stimulus for me.
Thanks are also due to the second proofreader of my English, Ms Nely
Chr. Wielenga (Dokkum). Having followed my investigations from a dis-
tance, it was no problem for her to go once again on board of my little boat
to ensure that I arrive save and sound; see the Prefaces of my Rhetorical
Criticism and the Poetry of the Book of Job (1995) and Cantos and Stro-
phes I (2006). I owe gratidude to her for the painstaking reading of the
manuscript. Of course, I myself bear full responsibility for the flaws that
might have remained in the final version of this study.
Finally, I am greatly indebted to my wife Gerry, who has provided op-
timal domestic circumstances for intellectual creativity to flourish, and has
always shown understanding for my peculiar and rather eccentric scholarly
interests.
Dokkum (The Netherlands), Spring 2013 Pieter van der Lugt

Chapter I
Methodology
1 Methodology
This is an abridged, and in some respects improved and updated, version
of the methodology presented in the first volume of this series about the
canto structures of the psalms.1 Just like the investigations in CAS I and
CAS II the search for the poetic framework of the psalms presented in this
volume will move along five mutually complementary lines of approach:
1. description of the logical division of the subject matter;
2. registering of transition markers;
3. recording of verbal repetitions;
4. description of quantitative structural aspects;
5. survey of various divisions.
This approach will enable us to establish the rhetoric of an individual
composition in terms of cantos, canticles (as the case may be) and strophes,
and finally to systematically describe the major rhetorical aspects of the
overall design of classical Hebrew poetry.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
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; cf. also my Cantos and Strophes in
Biblical Hebrew Poetry II (OTS 57), Leiden/Boston: Brill, 2010 (further CAS II), Ch. I,
pp. 1–12, and my RCPJ, Part II.1 (pp. 31–49). For a theoretical basis of my literary
approach, cf. B. Weber, ‘Entwurf einer Poetologie der Psalmen’, in H. Utzschneider and
E. Blum (eds.), Lesarten der Bibel: Untersuchungen zu einer Theorie der Exegese des
Alten Testaments, Stuttgart: Kohlhammer, 2006, pp. 127–54, and by the same author
‘Toward a Theory of the Poetry of the Hebrew Bible: The Poetry of the Psalms as a
Test Case’, Bulletin for Biblical Research 22/2 (2012), pp. 157–88.
2
For such systematic descriptions, see CAS I, Ch. V, CAS II, Chs. IV–V and Ch. IV
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, 1.7 means
subsection seven in the analysis of Psalm 90 (Ch. II, 1), or Psalm 107 (Ch. III, 1).
2 chapter i: methodology
complementary lines of approach, the most important rhetorical phenom-

ena constituting the poetic structure of the psalms can be seen.
1.1 The logical division of the subject matter

In the first stage of my structural inquiries, I present a description of the ma-
terial content, the subject matter, of the composition under discussion; see
§ 0.2. These descriptions in terms of semantics correspond to the rhetorical
framework of the poem as it was established on the basis of the integration
of the various lines of approach. Because most psalms formally and the-
matically comprise several structural levels, this stratification has also to
be made explicit in the description of the subject matter. Roman numerals
indicate the main sections of a psalm, the cantos (often called ‘stanzas’ by
other scholars). A canto is composed of a series of two or more strophes,
poetic units mostly consisting of only two or three verselines. The latter
units are marked by the numbers of the Masoretic verses or the number of
the Masoretic verse that correspond(s) to the strophe in question. If there
is an additional level of canticles between the cantos and the strophes, the
canticles are indicated by the Roman numeral of the canto and an Arabic
numeral indicating the position of the canticle within the canto, e.g. I.1
and I.2, II.1 and II.2 (cf. Ps. 92,2–5.6–8 and 9–12.13–16).
The confusion among exegetes concerning the subdivisions of Hebrew
poetic texts—note § 0.6 (‘various divisions’)—does not stem from ‘unskil-
fulness’ of the poets as regards their framing techniques. It is my firm
belief that the variety of opinions—often evoking a feeling of bewilderment
when comparing them—is due to our lack of first-hand knowledge of these
techniques. In the past, the usual methods of dividing Hebrew poetic texts
have depended too heavily on the description of content, while too little
attention was paid to the formal devices which determine the rhetorical
framework of these texts. An inquiry into these formal aspects may help
us to draw conclusions on a more objective basis. Such a ‘reasoning is fully
verifiable and therefore debatable’.4 The analysis of the transition markers,
the verbal repetitions and the quantitative structural aspects can provide the
appropriate foundations.
4
M.C.A. Korpel and J.C. de Moor, ‘Fundamentals of Ugaritic and Hebrew Poetry’,
p. 61, 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.
i.1 methodology 3
1.2 Transition markers

On the level of the strophes, sections of mostly two or three verselines, there
is a special group of words and grammatical forms which mark the turning
points between these poetic units; see § 0.3. These formal devices I call
‘transition markers’; cf. the Greek word strophè, which means ‘turn’. Here
we are entering an area of research which is almost unexplored. However,
the systematic exploration of these words and grammatical forms, indicat-
ing the beginnings or the ends of the strophes, proves to yield important
stylistic features that may 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 canticle, a
canto, or with the beginning of the psalm 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 canticle,
a canto or the psalm as a whole (§ 0.3.1.2).
In § 0.3.2 I list the transition markers that occur in the last lines of the
strophes. This last line may coincide with the end of a canticle, a canto, or
with the end of the poem. 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).
There are a fairly large number of words which may function as a tran-
sition marker. This does not suggest arbitrariness or carelessness in their
choice on the part of the poets. It is possible to group these markers into
a limited number of lexical and grammatical categories. I distinguish eight
categories of markers which primarily denote the beginning of a strophe:
• vocatives, especially the vocative use of a word for God (’dny, ’lhym,
yhwh, ‘lywn, etc.);
• interrogative particles, like ‘d ’nh (‘how long?’), h- interrogative, mh
(‘what?’), lmh (‘why?’), and the interrogative pronoun my (‘who?’);
• specific ‘emphatic’ particles: ’z (‘then’), ’k/’kn (‘certainly’), hnh/hn
(‘behold!’), ‘l kn (‘therefore’), lwly (‘if not’), n’ (‘now!’), ‘th (‘now’),
and w- (‘and’) at the beginning of a verseline;
• specific demonstrative pronouns, like ’lh (‘these’), z’t (‘this’), zw (‘this’),
and some personal pronouns, like ’ny (‘I’), ’th (‘you’);
• ’šry (‘happy’) and .twb (‘good’) at the beginning of a verseline;
• imperatives and other verbal forms with an imperative meaning, like

cohortatives and jussives;
• specific verbal forms; to this category I reckon ’mrty (‘I say’), yd‘ty
(‘I know’), brwk yhwh (‘blessed be the Lord’) 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:
• specific ‘emphatic’ particles: ’p (‘more’/‘even’), gm (‘also’/‘yet’), m’d

(‘very’), lm‘n (‘on account of’) and ‘wd (‘more’);
• some personal pronouns, like ’nh.nw (‘we’), ’nky (‘I’), hw’ (‘he’), hy’
(‘she’), hmh/hnh (‘they’), and the demonstrative pronoun zh (‘this’);
• 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’);
• 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.
97,8c where the word lm‘n occurs in the second verseline of a 3-line strophe,
while it is mostly found in the concluding verseline of a strophe.5
In this respect, the reader should consult the provisional overviews that
have been 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
did or did not use a particular word or grammatical form as a transition
marker. The information is presented in such a way that each individual
scholar can decide for himself whether the figures in relation to a given
transition marker are significant or not.
5
For lm‘n in the concluding verseline of a strophe, see Pss. 5,9 8,3 9,15 23,3
25,7.11 30,13 (poem) 44,27 (poem) 48,12 51,6 60,7 68,24 69,19 78,6 79,9 108,7
119,80 122,8 (ext. //) 122,9 (poem) 125,3 130,4 (21× in total); in this respect, the
occurrences of lm‘n in Pss. 6,5 27,11 48,14 97,8 106,8 119,11.71 are to be taken as
contrary indications (7× in total).
i.1 methodology 5
1.3 Verbal repetitions

One of the most important formal features determining the structure of
Hebrew poetry in terms of cantos and strophes are the patterns of verbal
repetitions which I chart in § 0.4. We are dealing here with some sort of
parallelism that goes beyond the parallelism between the successive cola of a
Hebrew verseline, the parallelismus 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 the personal pronoun ’th (‘you’) in Ps. 90,1–2 is such a formal device
reinforcing the strophic unity of the verselines concerned. The repetition
of the designation ‘lywn (‘Most High’) in Ps. 91,1.9 functions as a formal
device which marks the beginnings of the cantos of the psalm. There are
also verbal repetitions that mark the end of major units. This applies to
the root r’h (‘to see’) in Ps. 91,8.16, marking the end of Cantos I and II.
The phenomenon of external, or distant parallelism is generally not re-
stricted to just one word! In most cases we are dealing with a small group,
a cluster, of words that determines the beginning or the end of a poetic unit
in its relationship to another poetic unit within the composition. Thus, in
Psalm 91 the repetition of ‘lywn (vv. 1 and 10) is not the only verbal recur-
rence that marks the beginnings of the cantos, it is only part of a broader
phenomenon; see e.g. the recurrences of yhwh and mh.sy (‘my refuge’) in
vv. 2 and 9. Such linearly positioned verbal repetitions I call responsions.
The example of Psalm 91 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 interpretation of the parallel phenomena which occur in a psalm
is sometimes more complex than pointed out above. Apart from the lin-
ear verbal repetitions (the responsions), we have to reckon with devices for
‘concatenation’ and ‘inclusion’ as well. That is to say, verbal repetition
in two successive verselines does not automatically mean that these lines
represent a strophe; see e.g. the root byn (‘to understand’) in Ps. 94,7.8.
This verbal repetition constitutes a concatenation. And parallel phenom-
ena positioned at a greater distance within a poem do not automatically
point to corresponding beginnings or ends of successive cantos; see e.g. the
root bw’ (‘to come’) in Ps. 95,6.11. The latter recurrence functions as an
inclusion that marks the boundaries of the second canto (95,6–11).
To determine the correct structural function of a verbal repetition, it
is necessary to take into account all the recurrences that occur within the
poem concerned. Therefore, § 0.4.1 records the verbal repetitions occurring
within the individual strophes of a poem; see e.g. ’th (‘you’) in Ps. 90,1.2.
Subsequently, in section 0.4.2 I list the repetitions that characterize the

cantos of a poem; see e.g. ’pk (‘your anger’) in Ps. 90,7.11, and ‘bdyk (‘your
servants’) in Ps. 90,13.16. The latter recurrences also provide information
on the strophic framework of the cantos because they highlight the linearly
alternating relationship between the strophes.6 Finally, the repetitions that
frame the poem as a whole are systematically listed in § 0.4.3, as the case
may be in § 0.4.4; see e.g. ’lhym (‘God’) in Ps. 94,7 and 22–23. When
these repetitions have a linearly alternating position within the psalm, as
is the case with ’lhym in Psalm 94, they also provide information on the
framework of the cantos.
This means that the word ‘strophic’ in the headings of § 0.4 must be
taken in a broad sense; it is also used for the higher structural levels of the
poems, the canticles and the cantos. If 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
by an exclamation mark; see e.g. the root prh. (‘to flourish’) in Psalm 92 (Ch.
II, 3.4.4, The linear framework) and all the examples mentioned before.
In connection with verbal repetitions, I occasionally record alliterations
and word pairs, or parallel pairs; see e.g. the alliteration ky klynw/ky kl
ymynw at the beginning of the strophes Ps. 90,7–8.9–10 and the parallel
pair kbwdw/qdšw highlighting the end of the cantos in Psalm 94 (vv. 6
and 12 resp.). However, in most cases such phenomena can only play
a supporting role in determining the structure of a poem. I would like to
stress that research should focus particularly on the exploration of verbatim
repetitions occurring within an individual composition.
1.4 Quantitative structural aspects

The transition markers and the web of verbal repetitions supporting the
thematic individuality of the strophes and the cantos represent formal de-
vices which justify taking the terms ‘strophes’ and ‘cantos’ in the proper
sense, fundamentally distinguished from just ‘verse paragraphs’. As a rule,
the combination of the formal and thematic aspects of a Hebrew compo-
sition leads up to a regularity or uniformity in terms of the number of
verselines the cantos (and strophes) consist of.7 This is another formal as-
pect, a quantitative aspect, of the framework of Hebrew poetry, once more
justifying to take the term canto (and strophe) in the proper sense; see the
6
When 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. the root rwm (‘to be exalted’) in Ps. 92,9.11 (in that case § 0.4.3 records the
verbal repetitions within the cantos).
7
For this regularity, see now Ch. IV below.
i.1 methodology 7
schematic descriptions preceding the layout of the texts in Chs. II and III.
In addition, there is a growing scholarly awareness that the poets who
were responsible for the literary compositions in the Hebrew Bible, in yet
another way explored quantitative potentialities to shape their texts. They
made use of numerical codes to pass on information with regard to the
(theological) message of their poems. Following the investigations by Claus
Schedl,8 Casper Labuschagne especially 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 alpha-
betic acrostics because, among other things, the Hebrew alphabet has 22
(= 2×11) letters. This circumstance may also reveal the symbolic meaning
of the number concerned. The use of the alphabet is a rhetorical device
expressing the idea of completeness, fullness, or totality.
Therefore, under the heading ‘quantitative structural aspects’ (§ 0.5), I
first note the sum total of the poetic verselines and cola of the psalm in-
volved (for relatively large poems the number of strophes is also mentioned).
These figures may point to a meaningful centre, a pivotal verseline, or piv-
otal colon. The word count that follows, is presented in a form related to
my structural inquiry. It gives an impression of the number of words the
strophes and the cantos consist of. This quantitative inquiry on word level
may also be indicative of a meaningful phrase in the centre of a compo-
sition. In some cases, such central words coincide with the pivotal colon,
8
See Claus Schedl, Baupläne des Wortes. Einführung in die biblische Logotechnik,
Wien: Herder Verlag, 1974.
9
See C.J. Labuschagne, Numerical Secrets of the Bible. Rediscovering the Bible Codes,
North Richland Hills (Texas): BIBAL Press, 2000, pp. 88–92 (also digitally available:
www.labuschagne.nl/z%26oz/book.htm), H. Rand, ‘Numerological Structure in the He-
brew Bible’, JBQ 20 (1991), pp. 50–56, and I. Knohl, ‘Sacred Architecture: The Nu-
merical Dimensions of Biblical Poems’, VT 62 (2012), pp. 189–97.
10
For the symbolic interpretation of the numbers 26, 17 and 13, see now also CAS
II, Ch. V (note §§ 2.1.1 and 2.6.1 [pp. 508 and 526–28]). Cf. further H.A. Hutmacher,
Symbolik der biblischen Zahlen und Zeiten, Paderborn: Ferdinand Schöningh, 1993;
G.G.G. Reinhold, Die Zahl Sieben im Alten Orient. Studien zur Zahlensymbolik in der
Bibel und ihrer altorientalischen Umwelt, Frankfurt am Main/Berlin etc.: Peter Lang,
2008.
or the pivotal verseline.11 These rhetorical centres do not necessarily have

relations with the structure of a psalm in terms of cantos and strophes. In
most cases they represent a rather individual aspect.
At the same time, the quantitative approach on word level may pos-
itively support the overall structure of the poem in terms of cantos and
strophes. This is e.g. the case in Psalm 91 where the 8-line cantos have 56
(= 7×8) words each. In other instances, the word count may reinforce the
strophic division of a canto or canticle. This is e.g. the case in Ps. 140,2–6
where the 3-line strophes have 23 words each.12 In section 0.5, as a rule,
special numbers are highlighted in bold face.
1.5 Various divisions

Under section 0.6 the patient reader will find a formalized 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 in most cases can be found in the general bibliography
at the end of this study, and otherwise in the special bibliography, § 0.8.
In the commentaries on the book of Psalms the individual compositions
are generally consecutively dealt with. In these cases, it is not difficult to
find the proper place of the psalm in question; otherwise, there will be a
reference to one or more pages from the publication concerned.
The divisions proposed by the respective scholars are presented by using
the numbers of the Masoretic verses. When the division cuts through a
Masoretic verse, the letter that follows the number of the verse represents
a colon; e.g. 1a = the first colon of verse 1, or 3b = the second colon of
verse 3, etc.13 For the colometric divisions of a psalm, see the layout of the
text at the beginning of each new section. A dot between 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 disjunction between these
higher units; e.g. 1–3.4–6|7–9.10–12 (Psalm 97). A semicolon indicates
a supposed transition from one poem to another within one (Masoretic)
chapter (Psalm).
When the division referred to also reflects a strophic interpretation in a
11
For a systematic investigation into the ‘rhetorical centre’ of the psalms, see now
CAS II, Ch. V (pp. 505–51)!
12
In this respect, see further CAS I, Ch. V, 2.4 (pp. 457–60).
13
In case the heading of a psalm is a part of the first Masoretic verse (see e.g. tplh
lmšh ’yš h’lhym in Ps. 90,1), the heading is left out of consideration and v. 1a refers to
the first poetic colon of the psalm (e.g. ’dny m‘wn ’th hyyth lnw = Ps. 90,1a).
i.1 methodology 9
strict sense, 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 constitute the strophes; e.g. 3.3|3.3 lines.
The theories underlying 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
importance in this context are the structural investigations by Lund, Alden,
Auffret, Aletti/Trublet and Girard. Their divisions are mostly followed
by a combination 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 structure), a.b|b’.a’ (symmetric structure), a.b.c.b’.a’ (concentric
structure).14
Finally, I also incorporate here the divisions by some scholars that do not
emerge on the basis of a specific strophic or structural theory. However,
generally speaking, there is a growing awareness among biblical scholars
that in one way or another the poems of the Hebrew Bible display specific
structures which are to be investigated in order to obtain a more scien-
tifically based idea of the message of the texts. The present reader will
understand that, in my opinion, this is to be considered a positive de-
velopment in modern exegesis; see e.g. major the commentaries by Allen
(2nd edn 2002) and Hossfeld/Zenger (2008), but also Weber’s Werkbuch
Psalmen (2001 and 2003).
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 current opinion, special attention will be paid to this
fact in the section ‘comments and summary’ (§ 0.7).
14
For a more or less elaborate critical evaluation of specific recent structural ap-
proaches, see also CAS II, Ch. II, 27.7.2–3 (on Psalm 69 [pp. 260–66]).
2 Presentation
2.1 Comments and summary
The preceding five mutually complementary lines of approach essentially
determine the rhetorical framework I detect in the individual psalms. Nev-
ertheless, in each case the structural investigations are concluded by a sec-
tion that provides an opportunity for supplementary remarks, ‘comments
and summary’ (§ 0.7). These remarks may elucidate a few data that have
been listed adequately in §§ 0.2–6, indeed, but at the same time rather
schematically and abstractly presented. In § 0.7 I also set out how the
various lines of approach should be integrated to establish the most plau-
sible framework in terms of cantos and strophes of the psalm concerned.
Further, I indicate which of the rhetorical data are of special importance
for understanding this structure.
In § 0.7 I also create room for discussion with scholars whose divisions
deserve more attention than could be given in § 0.6. If necessary, I will point
out the distinctive features of my own approach with respect to previous
results. Finally, § 0.7 generally winds up with a definition of the leading idea
or quintessential thought of the psalm in relation to its rhetorical framework.
2.2 The reproduction of the texts

For a clear understanding of the structures and the colometric divisions
I advocate, the transliterated text of each individual psalm precedes its
analysis.15 The layout of the texts serves to clarify the structure of the
poems as much as possible and advisable. The poetic verselines are printed
on one and the same line. The strophes are demarcated from each other by
a blank line. A horizontal line (within a blank 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
(cf. Ps. 91,1–4.5–8).
The layout also highlights the most important verbal repetitions that—
among other phenomena—determine the poetic framework of a psalm. The
repetitions that play a part on the level of the poem as a whole and de-
termine the linearly alternating relationship between the cantos, the re-
sponsions, are printed in CAPITALS; see e.g. MTY (‘when?’) in Ps. 94,3.8
15
I realize that a translation of the texts may have been appropriate, and not only to
the less trained readers of Hebrew. Such a translation, however, would have claimed too
much space in this study.
i.2 presentation 11
and WNH . LT (‘and the inheritance’) in Ps. 94,5.14. The repetitions that
reveal the linear framework of the cantos themselves, are printed in bold
face; see e.g. klynw (‘we are consumed’) in Ps. 90,7.9 and ‘bdyk (‘your
servants’) in Ps. 90,13.16. The repetitions that expose the linear framework
of the canticles, are printed in small caps; see e.g. npšy (‘my soul’) in
Ps. 94,17.19. Mostly, only verbal recurrences that turn up exclusively in
the psalm as a whole are marked in this way.16
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
belonging to the lower level; see e.g. the root .sdq (‘to be righteous’) in Ps.
97,2.6.11–12 (note S.DQ in v. 6b).
Inclusions and concatenations are indicated in the same way as respon-
sions. However, to distinguish the former rhetorical devices from respon-
sions, the inclusions and concatenations are additionally underlined; see
e.g. ’DNY in Ps. 90,1.17 (inclusion), and KL P‘LY ’WN in Ps. 92,8.10
(concatenation).
To emphasize the formal balance displayed by the cantos and the stro-
phes, brief schematic descriptions of these units 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 (a vertical line [‘|’] marks
the break between the cantos); cf. the similar codes that, if applicable,
follow the divisions recorded in § 0.6.
The schematic descriptions that 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 ‘half-long’ introductory or concluding canto (Type IIA
and Type IIB resp.). In Type IIC there is a ‘half-long’ canto preceding and
following the long cantos at the same time; see e.g. Psalm 106 (5.20.19.6
lines). Finally, Type III denotes concentric canto designs.17
16
Latin characters are reasonably suitable to visualize the various modifications of the
same script, as pointed out above. That is why, I have decided not to print the text of the
psalms in Hebrew characters, although I realize that—especially to Jewish readers—the
transliteration ‘hurts the eyes’ (Marc Rozelaar [Jerusalem] in a private communication).
17
For the canto design of the psalms in terms of verselines, see now Ch. IV below.
2.3 Textcritical remarks

Major decisions of a textcritical, lexicographical or grammatical nature are
mentioned in § 0.1. There are no references to these remarks in the layout
of the texts. Generally speaking, I do not interfere with the Masoretic text
unless it is absolutely necessary. In a number of cases, the specific approach
of this study prevents me from taking indisputable textcritical decisions.
On the other hand, in case my rhetorical investigations may elucidate a
textcritical question I will pay due attention to it.
3 In retrospect
Although the methodology expounded above deems highly of the Masoretic
text of the psalms, on principle it is not to be considered a synchronic ap-
proach. It leaves room for major textcritical operations (see e.g. Ps. 145,13)
and literary criticism (see e.g. the joining together of Psalms 133 and 134).
Nevertheless, it is highly critical of what is generally called a diachronic
approach. Form-critical and redactional critical approaches in most cases
show little understanding of the aesthetics of classical Hebrew poetry.18
And although it is sometimes stated otherwise, by underestimating the
rhetorical qualities of the individual psalms, these approaches more often
than not leave behind a kind of literary ruins.
On the basis of his structural observations, Zenger concludes that Psalm
132 is a ‘kunstvolle Komposition’ and subsequently rightly challenges hy-
potheses ‘über ein sukzessives Wachstum’ and ‘über die redaktionelle Zu-
sammenfügung vorgegebener Textelemente’ ([Hossfeld]/Zenger [2008], p.
616). Reasonings like this one generally apply to the compositions in the
book of Psalms; they additionally demonstrate the sound starting points
and appropriate methodology of the exegesis in question.
18
Cf. also J. Muilenburg, ‘Form Criticism and Beyond’, JBL 88 (1969), pp. 1–18,
H. Schweizer, ‘Form und Inhalt. Ein Versuch gegenwärtige methodische Differenzen
durchsichtiger und damit überwindbar zu machen. Dargestellt anhand von Ps 150’, BN
3 (1977), pp. 35–47, G.T.M. Prinsloo, ‘Analysing Old Testament poetry: An experiment
in methodology with reference to Psalm 126’, OTE 5/2 (1992), pp. 225–51, and J.
Vermeylen, ‘Il y a psaume et psaume. Faut-il encore parler de ‘genres littéraires’ à propos
des Psaumes?’, in J.-M. Auwers et al. (eds.), Psaumes de la Bible, psaumes aujourd’hui,
Paris: Cerf, 2011, pp. 11–34. In so far as they fail to investigate a structure in terms
of strophes and/or cantos, this criticism also applies to the ‘analyses structurelles’ used
by Auffret and Girard (see CAS I, Ch. I, 3.8 [pp. 59–68]). For a critical discussion of
the methodological distinction between a synchronic and a diachronic approach, see J.
Barr, ‘The Synchronic, the Diachronic and the Historical: A Triangular Relationship?’,
in J.C. de Moor (ed.), Synchronic or Diachronic? A Debate on Method in Old Testament
Exegesis (OTS 34), Brill: Leiden/New York/Köln, 1995, pp. 1–14.
Chapter II
The Fourth Book of the Psalter
1 Psalm 90
Structure: 6.7.5 > 2.2.2|2.3.2|3.2 lines (Type IB)
I 1 ’DNY m‘wn ’th hyyt lnw bdr wdr [’th ’l

2 bt.rm hrym yldw wth.wll ’rs. wtbl wm‘wlm ‘d ‘wlm
3 TŠB ’nwš ‘d dk’ wt’mr ŠWBW bny ’dm

4 ky ’lp ŠNYM b‘ynyk KYWM ’tmwl ky y‘br w’šmwrh blylh
5 zrmtm šnh yhyw bbqr kh..syr yh.lp

6 bbqr ys.ys. wh.lp l‘rb ymwll wybš
II 7 ky klynw b’pk wbh.mtk nbhlnw

8 št ‘wntynw lngdk ‘lmnw lm’wr pnyk
9 ky KL YMYNW pnw b‘brtk klynw ŠNYNW kmw hgh

10 ymy ŠNWTYNW bhm šb‘ym ŠNH w’m bgbwrt šmwnym ŠNH
wrhbm ‘ml w’wn ky gz h.yš wn‘ph
11 my ywd‘ ‘z ’pk wkyr’tk ‘brtk

12 lmnwt ymynw kn hwd‘ wnb’ lbb h.kmh
III 13 ŠWBH yhwh ‘d mty whnh.m ‘l ‘bdyk

14 śb‘nw bbqr h.sdk wnrnnh wnśmh.h bKL YMYNW
15 śmh.nw KYMWT ‘nytnw ŠNWT r’ynw r‘h
16 yr’h ’l ‘bdyk p‘lk whdrk ‘l bnyhm [kwnnhw

17 wyhy n‘m ’DNY ’lhynw ‘lynw wm‘śh ydynw kwnnh ‘lynw wm‘śh ydynw
1.1 Text
V. 1: MT divides with a rebia‘ after lnw ; cf. vv. 2a–b and 4a–b; similarly J.
Ridderbos (1958), cf. Forster (2000), pp. 146–47. According to Fokkelman
14 chapter ii: fourth book of the psalter
(MPHB II, p. 245 n. 59), ‘it is impossible to insert a caesura in this one
clause’; therefore, he takes the verseline as a monocolon (similarly Delitzsch
[1894], Schnocks [2002], pp. 48–49, and Weber [2003]).
V. 5: colometric division according to MT (similarly Delitzsch [1894]; contra
Schnocks [2000], p. 80, and others).
V. 5a—zrmtm šnh yhyw : meaning obscure; H.-P. Müller (VT 50 [2000], pp.
394–400) reads: ‘Du raffst sie hinweg, so daß sie wie ein Schlaf/Traum
sind/werden’.
V. 10c—wrhbm: ‘und ihr stolzes Treiben’ (Schnocks [2002], pp. 92–93).
V. 11b—wkyr’tk . . . : ‘and the fear of you matches . . . ’ (cf. JPS).
1.2 Content
Prayer of the people for deliverance.
I The short lifetime of a human (by contrast with God’s eternity).
O Lord, You have been our refuge in every generation (vv. 1–2).
Our lifetime has no endurance in your perception (vv. 3–4).
Our lifetime is like that of withering plants (vv. 5–6).
II God’s anger about human sinfulness (description of distress).
We are consumed by your wrath about our sins (vv. 7–8).
Our short lifetime is full of trouble and sorrow (vv. 9–10).
Given these conditions, let us obtain a wise heart (vv. 11–12).
III Prayer for deliverance.
O God, have mercy on your servants, so that we may rejoice all
our days (vv. 13–15).
Reveal your glorious deeds to your servant (v. 16) and let the
work of our hands prosper (v. 17).

1.3.1 In the first line of the strophe
1.3.1.1 vocative: ’dny, v. 1a v. 13; ext. // śb‘nw and
’th, v. 1a; ext. // ’th in śmh.nw in vv. 14a and
v. 2c 15a resp.
imperative: šwbw, v. 3b vocative: yhwh, v. 13a
vocative: bny ’dm, v. 3b mty, v. 13a
my, v. 11a
yr’ with object God, v. 11b 1.3.1.2 dr wdr, v. 1b
imperat.: šwbh . . . whnh.m, kl ywm, v. 9a
ii.1 psalm 90 15
1.3.2 In the last line of the strophe

1.3.2.1 ‘wlm (2×), v. 2c w- beginning of line, v. 17a
imperatives: kwnnh . . . ,
1.3.2.2 w- beginning of line, v. 10c kwnnhw, v. 17b–c
cohortative: wn‘ph, v. 10d
1.3.3 Contrary indications

cohortatives: wnrnnh wnśmh.h, v. 14b
kl ywm, v. 14b
1.4 Verbal repetitions in strophic perspective

1.4.1 Within the strophes
vv. 1–2: ’th, vv. 1a.2c!
} chiasmus
bdr wdr/m‘wlm ‘d ‘wlm, vv. 1b.2c
prep. b-, vv. 1b.2a; note bdr wdr/bt.rm
vv. 5–6: bbqr, vv. 5b.6a
root h.lp, vv. 5b.6a!
vv. 7–8: suffix -k, vv. 7a.8a+b (exactly linear)
vv. 9–10: ky, vv. 9a.10d (inclusion)
prep. b-, vv. 9a.10a+b
šnh, vv. 9b.10a (2×)+b
bhm/wrhbm, v. 10a and 10c resp. (alliter.)
vv. 11–12: root yd‘, vv. 11a.12a!
vv. 13–15: imperative at the beginning of the line: šwbh/śb‘nw/śmh.nw,
vv. 13a.14a.15a (anaphora)
root śmh., vv. 14b.15a!
ywm, vv. 14b.15a
vv. 16–17: p‘l/m‘śh, vv. 16a and 17b+c resp.!
prep. ‘l, vv. 16b.17a+b
1.4.2 Within the cantos

vv. 1–6 (Canto I): root hyh, vv. 1a.5a (linear)
prep. ‘d, vv. 2c.3a (concatenation)
prep. k-, vv. 4b.5b (concatenation)
’tmwl/ymwll, vv. 4b and 6b resp.
} chiasmus (allit.;
y‘br/l‘rb, vv. 4b and 6b resp.
linear); cf. also wth.wll in v. 2b
vv. 7–12 (Canto II): ky klynw/ky kl ymynw, vv. 7a and 9a resp. (alliter.;
anaphora)
klynw/klynw, vv. 7a.9b (linear)
b’pk wbh.mtk/b‘brtk, vv. 7 and 9a resp. (linear)
’pk, vv. 7a.11a! (exactly linear)
wbh.mtk nbhlnw/wnb’ lbb h.kmh, vv. 7b and 12b
resp. (alliter.; inclusion)
prep. l-, vv. 8a+b.12a (linear)
‘lmnw lm’wr/‘ml/lmnwt, vv. 8b, 10c and 12a resp.
(alliter.; linear)
root pnh, vv. 8b.9a! (concatenation)
ymynw, vv. 9a.12a; see also ymym in v. 10a
‘brtk, vv. 9a.11b! (linear)
prep. k-, vv. 9b.11b (linear)
vv. 13–17 (Canto III): prep. ‘l, vv. 13b.16–17!; cf. prep. ’l in v. 16a;
note ‘l ‘bdyk/‘l bnyhm, vv. 13b and 16b resp.
(exactly linear)
‘bdyk, vv. 13b.16a! (linear)
root r’h, vv. 15b.16a! (concatenation)
1.4.3 Within the composition as a whole

vv. 1–2.7–8: prep. l-, vv. 1a.8a+b
wm‘wlm ‘d ‘wlm/‘lmnw lm’wr, vv. 2c and 8b
resp. (alliter.)
vv. 3–4.9–10.13–15: root šwb, vv. 3a+b.13a!

ky, vv. 4a+b.9a+10d
šnh, vv. 4a.9b–10b.15b!
prep. b-, vv. 4a+c.9–10.14a+b
kywm/kymwt, vv. 4b and 15a resp.
kl ymynw, vv. 9a.14b!; see also ywm in v. 10a
kmw/kymwt, vv. 9b and 15a resp. (alliter.)
šb‘ym/śb‘nw, vv. 10a and 14a resp. (alliter.)
‘ml w’wn/‘nytnw . . . r‘h, vv. 10c and 15 resp.
vv. 5–6.11–12.16–17: root hyh, vv. 5a.17a

ymwll/lmnwt, vv. 6b and 12a resp. (alliter.)
ymynw kn hwd‘/ydynw kwnnh ‘lynw, vv. 12a and
17b resp. (alliter.)
wnb’ lbb/‘l bnyhm, vv. 12b and 16b (alliter.)
ii.1 psalm 90 17
vv. 3–6.9–12.13–17: bnym, vv. 3b.16b!

roots ‘br (‘to pass’)/‘br (‘to be angry’), vv. 4b
and 9a+11b! resp.
šnh (‘sleep’)/šnh (‘year’), vv. 5a and 10a+b
resp. (alliter.)
bbqr, vv. 5b+6a.14a!
suffix -hm, vv. 10a.16b!; note bhm/bnyhm
(alliter.) and see also suffix -m in v. 10c
vv. 1–2.16–17, inclusion: ’dny, vv. 1a.17a!

m‘wn/n‘m, vv. 1a and 17a resp. (alliter.)
root hyh, vv. 1a.17a
’dny m‘wn . . . hyyt/wyhy n‘m ’dny, vv. 1a and
17a resp.; note the symmetry
lnw/‘lynw, vv. 1a and 17a+b resp.
’l (‘God’)/’lhym, vv. 2c and 17a resp.!
1.4.4 Remaining verbal repetitions

1.4.4.1 Partially left out of consideration
suffix -k (vv. 11.14.16), prep. l- (v. 6), suffix -nw, prep. ‘d (v. 13)
1.4.4.2 Totally left out of consideration

none

Psalm 90 has 8 strophes, 18 verselines and 39 cola. In terms of cola, v. 9b
is the numerical centre of the poem; vv. 1–9a.9b.10–17 > 19+1+19 cola.
Since the clause ‘we spend our years like a sigh’ appears to be a succinct
description of a major idea in the psalm, it can be regarded as a rhetorical
centre.1
Structure of strophes and cantos in terms of words: 18+18+12|11+25+
13|20+19 = 48+49+39 (= 136 = 8×17 words in total). In terms of verse-
lines, the caesura between vv. 9 and 10 divides the psalm into two halves
of nine verselines each. It is remarkable that this division coincides with an
1
Labuschagne (www.labuschagne.nl/ps090.pdf, Observation 1) rightly notes that, in-
cluding the four words of the heading, v. 9b is also the centre of the composition in terms
of words (> 68+4+68 words). Furthermore, including the heading, šmwnym (‘eighty’)
in v. 10b is exactly the 80-th word of the psalm; see J. Smit Sibinga, NThT 42 (1988),
p. 192 n. 21. In my opinion, as far as the superscription is concerned, we are dealing
with an old exegetical tradition striving for (among other things) numerical perfection.
equal number of 68 (= 4×17) words in each half. Because vv. 9 and 10a–b
have 9 words each, the centre of Psalm 90 in terms of verselines is likewise
supported by the word count: vv. 1–8.9–10b.10c–17 > 8+2+8 lines and
59+18+59 words.
In terms of word count, the reference to the divine speech in v. 3b is the
centre of Canto I: vv. 1–3a.3b.4–6 > 22+4+22 words. That is to say, v. 3b
is ‘embraced’ by the number of the divine name, yhwh, because vv. 1–3b
and 3b–6 have 26 words each.2 The central Canto II has 7 verselines and
v. 10a–b is the middle line of this main part. This numerial centre in terms
of verselines, once again, coincides with the numerical centre in terms of
words: vv. 7–9.10a–b.10c–12 > 20+9+20 words.3
The designation ’dny (‘Lord’) occurs 2× (vv. 1 en 17) and constitutes
an obvious inclusion demarcating the boundaries of the psalm as a whole.
The divine name, yhwh, is only found as a vocative, at the beginning of
the third canto, v. 13.

Köster (1831), pp. 66-68: 1–2.3–6.7–10.11–12|13.14–15.16–17 (2.4.4.2|1.2.2)
Köster (1837): 1–2.3–4.5–6.7–8.9–10.11–12|13–17 (6×2.5 verses)
De Wette (1856): 1–2.3–4.5–6.7–8.9–10.11–12.13–14.15–17 (7×2.3 verses);
cf. Köster (1837)
Ewald (1866), pp. 125–32: 1–6.7–12.13–17 (6.6.5 verses or 13.13.11 cola)
Schlottmann (1885), p. 484: 1–2.3–4.5–6|7–8.9–10.11–12|13–17 (2.2.2|2.2.2|5
verses); cf. Köster (1837)
Delitzsch (1894): 1–4.5–8.9–12.13–17
Zenner (1906), pp. 180–82: 1–3.4–6|8–10|7+11–13.14–17b (3.3|4|4.4 lines)
Duhm (1922): 1–2*.3–4b.5–6.7–8.9–10aA.10aB–b.11–12; 13–14.15–16.17
(7×2 and 3×2 bicola)
Gunkel (1926): 1–2+4a–b.3+4c–5.6–7.8–9.10.11–12; 13–15.16–17 (‘Kein
regelmäßiger Strophenbau’)
Calès (1936): 1–2.3–6|7–9.10–12|13–15.16–17 (3.4|3.4|3.2 lines)
Herkenne (1936): 1–6.7–10.11–17
Lund (1942), pp. 125–27: 1–2|3–4.5–6.7–9.10 .11–13.14–15.16–17 (vv. 1–2|
a.b.c.d .c’.b’.a’); similarly Alden (1976), pp. 198–99
Gemser (1949): 1–2+4.3+5–6+10.7–9+11–12.13–17
2
For a comparable construction, cf. Ps. 21,8a; see CAS I, pp. 234–35.
3
Similarly www.labuschagne.nl/ps090.pdf, Observation 2. Labuschagne further sug-
gests that the 39 cola of Psalm 90 and the 39 letters of v. 10a–b (see also the 39 words
in Canto III) represent a deliberate reference to the name of Moses in the heading, the
numerical value of mšh being 39 (13+21+5 = 39).
ii.1 psalm 90 19
Kissane (1954): 1–6*.7–11.12–17 (6.6.6 lines); cf. Pannier/Renard (1950)

and NAB (1970)
Podechard (1954): 2a–b+1+2c+4a–b.3+5–7.8–12; 13–17
Jacquet (1977): 1–2*.4–5a.3+7.5b–6*.8–9.10.11–12|1+13.14–15.16–17b
(7×2 and 3×2 bicola); cf. Duhm (1922)
Schreiner (1978): 1–2 3–4.5–7.8–9.10|11–12|13.14.15.16–17 (vv. 1–2 a.b.c.d|
m|a’.b’.c’.d’)
Beaucamp (1979): 1–2b+3.4a–b+5–6|7–9|10a–b+11–12.13–15; 16–17b
(5×6 cola > a.b.m.b’.a’ [vv. 7–9 ‘la charnière’]; vv. 16–17b); cf. Beau-
camp (1968), p. 208
Auffret (1980): 1–2.3–10|11–12|13–16.17 (a.b|m|b’.a’); cf. Schreiner (1978)
and further Auffret (1996)
Aletti/Trublet (1983), p. 86: 1–6.7–12.13–17 (A.B.A’); cf. Booij (1994)
Tate (1990): 1–2 3–10|11–12|13–15 16–17 (a b|m|c a’); cf. Auffret (1980)
Girard (1994): 1–2.3–12|13–16.17 (a.b|b’.a’)
Seybold (1996): 1–3.4–6.7–9.10–12.13–15.16–17 (originally a poem ‘mit fes-
ten strophischen Strukturen’: 6×3 bicola)
Fokkelman (2000), pp. 245–48: 1–2.3–4.5–6|7–8.9–10.11–12|13–14.15–16.17
(2.2.2|2.3.2|2.2.1 lines; a.b.c|d.e.d’|c’.b’.a’)
Forster (2000), pp. 145–57: 1–2.3–6.7–10.11–12.13–16.17 (vv. 11–12 ‘Schar-
nier’); cf. Auffret (1980)
[Hossfeld]/Zenger (2000): 1–2.3–6.7–10|11–12|13–14.15–16.17 (a.b.c|m|c’.b’.
a’; ‘ein insgesamt siebenteiliger konzentrischer Aufbau’)
Schnocks (2002), pp. 127–32: 1–2|3–6.7–10|11–12|13–16|17 (a.b.m.b’.a’; vv.
11–12 ‘Drehpunkt’/‘Scharnier’/‘pivot’; ‘Der Text bildet ein kohärentes
Ganzes’ [p. 144]); cf. [Hossfeld]/Zenger (2000) and Köckert (2009)
Terrien (2003): 1–2 3–4.5–6|7–8.9–10|11–12.13–15 16–17 (‘The structure
. . . is unusual’)
Weber (2003): 1–2.3–4.5–6|7–8.9–10.11–12|13–15.16–17 (A.B.A’); cf. J. Rid-
derbos (1958), Aletti/Trublet (1983) and Fokkelman (2000)

Recent investigations of Psalm 90 have taken the study of its macrostruc-
ture very seriously. ‘Der Psalm hat (trotz seiner textlichen Problematik)
einen kunstvollen Aufbau’ ([Hossfeld]/Zenger, p. 605).4 Moreover, at this
point in time there seems to be some consensus within certain circles of
4
According to Gunkel (1926, p. 399) the psalm as a whole ‘ist von unbeschreiblicher
Hoheit und Kraft: unter die Hand des gewaltigen Gottes sich beugend und des Ernstes
der Sündenerkenntnis voll, schaut der Psalmist dennoch vertrauend zu Gott empor, der
Israel erlösen wird zu seiner Zeit’.
exegetes that on the macrostructural level the poem predominantly shows

a concentric design. Already in 1942, Lund tried to demonstrate that, in
terms of ideas and some verbal repetitions, the main body of the poem (vv.
3–17) displays a pattern of concentric corresponding elements with v. 10
at the centre (vv. 1–2 being an introduction; see § 1.6). Alden (1976) con-
curred with this analysis. More recent discussions about the structure of
Psalm 90 in the German speaking world are especially influenced by the
studies of Schreiner (1978) and Auffret (1980). Following these investiga-
tions, there is almost general agreement that vv. 11–12 constitute a pivotal
element, a ‘Scharnier’, uniting vv. 1–10 and 13–17.5
Without denying the concentric aspects of the design of our compo-
sition, I disagree that vv. 11–12 should be ascribed a pivotal function in
its macrostructure. Schnocks (2002, p. 37) rightly notes that scholars like
Auffret: ‘im Bemühen um vollständige Berücksichtigung der Beobachtun-
gen gewisse Unstimmigkeiten in ihren Strukturvorschlägen in Kauf nehmen
müssen’.6 Nevertheless, Schnock’s critical evaluation of recent structural
investigations is followed by an analysis of his own which is based on princi-
ples that do not radically differ from the principles of his predecessors.7 The
problems students like Auffret experience in describing the macrostructure
of our psalm are partly due to a blind spot for an important rhetorical
aspect of biblical Hebrew proetry in general, a complete lack of under-
standing of its design in terms of cantos/stanzas and strophes determined
by balanced numbers of verselines. Furthermore, I establish that in this
special case clusters of verbal repetitions do not clearly mark the begin-
ning and/or the end of the main parts of the psalm (the cantos), as is the
case—generally speaking—elsewhere in the Psalter.
Schreiner c.s. completely ignore a scholarly tradition—since Ewald (nine-
teenth century), as far as I can see—which divides Psalm 90 into three
balanced main parts, vv. 1–6, 7–12 and 13–17.8 ‘Expliziert [Canto] I das
Problem, nämlich die Zeitlichkeit und Vergänglichkeit, so bringt es [Canto]
5
See Forster, [Hossfeld]/Zenger and Schnocks in § 1.6; similarly Tate (1990). Ac-
cording to Beaucamp (1979), it is vv. 7–9 which function as a ‘charnière’ between four
symmetric corresponding strophes, while Fokkelman (MPHB II) takes v. 9–10 as the
central strophe; see § 1.6.
6
Auffret reckons ‘mit einem komplizierten In- und Nebeneinander von sich über-
lagernden Strukturen’; and ‘Die von ihm favorisierte Gesamtstruktur kann nur einen
Ausschnitt seiner eigenen Beobachtungen berücksichtigen’ (Schnocks, 2002, p. 36). For
a criticism of previous structural approaches, see also Girard (1994), p. 511 n. 16.
7
See Schnocks (2002), pp. 118–32.
8
See Ewald, Schlottmann, Calès, Aletti/Trublet, Fokkelman and Weber in § 1.6; cf.
Kissane (1954) and my STR (1980), p. 475. It is worth noting that especially Calès,
Fokkelman and Weber hold strong views about the strophic structure of Hebrew poetry.
ii.1 psalm 90 21
II in einen kollektiv-biographischen und theologischen Zusammenhang mit

menschlicher Schuldverhaftung und Gottes Zorn, was in [Canto] III zu Bit-
ten um die Rückkehr Gottes, seine Heilspräsenz und damit um ein freud-
erfülltes und gelingendes Leben führt’ (Weber, p. 119). In my opinion, we
are dealing with three almost regular cantos of 6, 7 and 5 verselines respec-
tively. Such a canto structure is an example of what I have classified as
Type IB.9 In their turn, these cantos mainly consist of 2-line strophes: vv.
1–2, 3–4, 5–6 (Canto I); vv. 7–8, 11–12 (Canto II); and vv. 16–17 (Canto
III). Vv. 9–10 and 13–15 constitute 3-line strophes (cf. J. Ridderbos, Fokkel-
man and Weber). As I shall show below, the macrostructure of Psalm 90
is closely connected with this strophic design of the cantos. Linear verbal
correspondences (responsions) marking the beginnings of successive stro-
phes characteristically indicate the coherence of Cantos II and III. This is
a specific feature of the canto design of Psalm 90 (see especially § 1.4.2);
for Canto I, see below.
There is general agreement that vv. 13–17 constitute a concluding main
part.10 We are dealing with a prayer of the people of Israel for deliverance,
speaking about themselves as ‘your servants’. This main part, Canto III,
is introduced by a conspicuous cluster of transition markers in v. 13 (see
§ 1.3.1.1). Vv. 13–15 represent a 3-line strophe. The strophe is charac-
terized by a series of three imperatives at the beginning of the successive
verselines, of which the first letter is a šin or a śin (Beaucamp [1968], p. 208;
see also § 1.4.1). Vv. 16–17 form a concluding 2-line strophe, consisting of
a bicolon and a tricolon (cf. vv. 1–2 and 3–4).11 This strophic structure
is supported by the responsion ‘bdyk (‘your servants’) in vv. 13b and 16a
(§ 1.4.2), marking the first line of sucessive strophes; note also ‘l ‘bdyk/‘l
bnyhm at the end of these lines.12 The expression ‘bdyk does not occur else-
where in the psalm and once more characterizes vv. 13–17 as a relatively
independent canto.
9
See now Ch. IV, 2.3. Kraus (1978, p. 796) obviously has no sympathy for such an
approach: ‘Der Psalm ist außerordentlich bewegt. Ihn auszugleichen und in ebenmäßige
Stücke auszuwiegen, kann und darf nicht die Aufgabe des Auslegers sein’.
10
Some critics find on thematic grounds that the caesura between vv. 12 and 13 is to
be taken as a break between two originally independent poems; see, e.g., Duhm (1922),
Gunkel (1926), and recently [Hossfeld]/Zenger (2000, pp. 607–08), Leuenberger (2004,
pp. 133–35).
11
Contra Auffret, Fokkelman, Forster, [Hossfeld]/Zenger and Schnocks, who take v. 17
as a relatively independent concluding verseline. The switch in the way God is referred
to in v. 17a—only in this colon He is spoken about in third person—does not indicate
the beginning of a new strophe, but marks the end of the psalm as a whole; cf., e.g.,
Pss. 13,6c–d 56,14c–d and 63,12 (contra Auffret [1980], p. 269).
12
Contra Girard (1994, pp. 509–10) and Fokkelman (MPHB II, p. 247 n. 6), who
regard these features as a symmetric aspect of vv. 13–16.
The two main parts preceding vv. 13–17, vv. 1–6 and 7–12, each displays
its own relative individuality. The first main part, Canto I (vv. 1–6), deals
with ‘Gottes . . . Zeit-Entbundenheit im Gegensatz zur Zeit-Gefangenheit
des Menschen’ (Weber, p. 119). In the opening line of this canto, the
community of Israel speak about themselves in first person plural: ’dny
m‘wn ’th hyyt lnw (‘O Lord, You are a refuge for us’, v. 1a). From v. 3
onwards, however, the poet speaks about mankind in general; note ’nwš
(‘man’) in v. 3a and bny ’dm (‘sons of man’) in v. 3b. Vv. 1–2, dealing
with God’s everlasting faithfulness, form a 2-line strophe in which v. 2
is especially about God’s transcendence in terms of time; for the formal
coherence of this strophe, see § 1.4.1.13 Nevertheless, on the grounds of the
clear thematic individuality of vv. 1–6, there is no reason for detaching the
hymnal introduction vv. 1–2 from the following verselines.14
V. 3 introduces a new idea, indeed, by speaking of man’s mortality.
But this idea is immediately followed by a tricolon (v. 4) once again em-
phasizing God’s transcendence in terms of time; cf. v. 2 and note the linear
parallelism! In this way, the psalmist creates a glaring contrast between
the verselines of the second strophe, vv. 3–4. In terms of colometry, vv. 1–2
and 3–4 form a perfect parallelism: bicolon.tricolon. The first colon of the
following 2-line strophe, vv. 5–6, explicitly ties in with v. 3. The opening
verbs of the strophes concerned have God as subject and express the idea
of destruction; see tšb and zrmtm in vv. 3a and 5a resp. (anaphora). The
suffix 3 plural masc. -m refers to bny ’dm (‘sons of man’) in v. 3b. God
puts an end to human existence; for the interpretation of v. 5a, see also
§ 1.1. From šnh yhyw in v. 5a onwards we find a metaphoric working out
of the same idea, once again speaking of man’s mortality; cf. Isa. 40,6–8
Ps. 103,15–16 Job 14,1–3. From a thematic point of view, the structure
of Canto I can be displayed as follows: vv. 1–2|3.4|5–6 > A|b.a|B. That is
to say, in the first canto of Psalm 90, finally, God’s everlasting faithfulness
(vv. 1–2) is introduced here to emphasize contrastively man’s transitoriness
(vv. 5–6).15
The numerical features of Canto I in terms of words corroborate the
present interpretation. Only in v. 3b we find a (terse) divine command in
direct speech (introduced by ‘and You say’) given to mankind (bny ’dm)
13
Cf. further the symmetric design of these verses described by Auffret (1980), p. 263
(failing to refer to Lund [1942], p. 125); similarly Schnocks (2002), p. 128. See also
Girard (1994), pp. 504–05.
14
Contra Schreiner, Tate and Schnocks; see § 1.6.
15
In Ps. 103,15–16 the metaphor about the transience of human life is followed by a
description of God’s everlasting faithfulness (h.sd ; vv. 17–18). In the latter case, the
emphasis is on vv. 17–18; cf. Isa. 40,8b (wdbr ’lhynw yqwm l‘wlm [‘and the word of our
God stands for ever’]).
ii.1 psalm 90 23
to return to dust.16 This explicitly fatal command is precisely the centre

of Canto I (vv. 1–3a.3b.4–6 > 22+4+22 words; see § 1.5). The intricate
relationships in terms of ideas and the formal features pointed out above
demonstrate that vv. 1–6 constitute an indivisible coherent whole in which
vv. 3–4 function as a transitional strophe.17
From the first verseline of Canto II (vv. 7–12) onwards, the people of
Israel once again speak about themselves and for themselves: ‘yes, we are
consumed by your anger’ (cf. v. 1). The fate of mankind in general (they)
is no longer in the mind of the poet. The first main part, Canto I, only
establishes the fact of man’s transitoriness; nothing is said about the reason
for man’s short life span. It paves the way for the second canto. In this
main part the transience of human life is related to God’s anger and the
guilt of the group. The canto is characterized by words for ‘anger’ and
‘wrath’ in the first verseline of its successive strophes; see ’p, h.mh and ‘brh
in vv. 7, 9 and 11. These words do not occur elsewhere in the poem. And in
terms of structure it is important to note that b’pk and b‘brtk mark the end
of the first colon of the strophes vv. 7–8 and 9–10, while both expressions
recur in the same succession in the first verseline of the following strophe,
vv. 11–12, exactly at the end of successive cola.18 Simultaneously, the
structural role of the words b’pk and b‘brtk has a semantic function. Vv.
11–12 form a high point in the development of the thought content of Canto
II as far as the overwhelming impression of God’s wrath is concerned. The
rhetorical question ‘who knows your furious anger?’ (v. 11a) is another
means to underline this feeling, once again indicating that we are dealing
with a concluding strophe.19 The first reaction of the group to this feeling
is to pray for a ‘wise heart’, v. 12. The repetition of the root yd‘ (‘to know’)
among other things (see also § 1.3.1.1) determines the strophic coherence of
vv. 11–12 (§ 1.4.1). This reminds us of Ps. 39,5–7, the concluding strophe
of the first canto of the psalm in question.20
16
See also Booij (1994), pp. 103–04.
17
Cf. also the linearly corresponding features described in § 1.4.2. For the strophic
structure of vv. 1–6, see also Köster (1837), De Wette, Schlottmann, Duhm, Lund,
Fokkelman, Terrien and Weber (similarly J. Ridderbos) in § 1.6.
18
Cf. the structural function of ‘bdyk and ‘l ‘bdyk/‘l bnyhm in Canto III. For the
strophic structure of vv. 7–12, see also Köster (1837), De Wette, Schlottmann, Fokkel-
man, Terrien and Weber (similarly J. Ridderbos) in § 1.6.
19
The expression my ywd‘ (‘who knows’) is typical of Ecclesiastes; see Eccles. 2,19
3,21 6,12 and 8,1.
20
Cf. especially lmnwt ymynw kn hwd‘ (90,12a) with hwdy‘ny yhwh qs.y (39,5a); see
also Forster (2000), pp. 37.191. In Ps. 39,5–7 the repetition of the root yd‘ functions as
an inclusion; see CAS I, Ch. III, 39 (pp. 390–98). Cf. further Pss. 16,11a (twdy‘ny ’rh.
h.yym; last line of the psalm), 51,8b (wbstm h.kmh twdy‘ny; last line of Canto I), 143,8c–
10 (the concluding canticle of Canto II; note the anaphora hwdy‘ny [‘let me know’, v. 8c]
The central Canto II (vv. 7–12) has an uneven number of 7 verselines.

And in terms of verselines, it has a concentric strophic structure: vv. 7–8.
9–10.11–12 > 2.3.2 verselines. The middle verseline of its central 3-line
strophe is v. 10a–b. The pivotal position of this verseline is reinforced by a
numerical aspect of the canto concerned (vv. 7–9.10a–b.10c–12 > 20+9+20
words; § 1.5.). This verseline explicitly expresses the measure of man’s life
time. Establishing its limitation to seventy or at best eighty years, in
the light of God’s transcendence in terms of time (see Canto I), v. 10a–b
functions as a lament about a definite end; cf. above about v. 3b and see
also Weber, p. 119.
However, the poem does not end with the final strophe of Canto II. The
prayer for a wise heart (v. 12), in which the group is seemingly reconciling
themselves with the given fact of God’s wrath, is only a transitional stage.21
It is important to note that this prayer demands some inner ‘change’ of
the speakers themselves. The third canto (vv. 13–17) is a prayer for a
revolutionary change in God’s attitude.22 It culminates in the prayer we
find in the central verseline of this 5-line canto, v. 15 (< 2+1+2 verselines).
This prayer for as much joy in the future as there was affliction in the past
(cf. v. 10c–d) is the most far-reaching request we find in the third canto.
The canto winds up with the prayers of the final strophe, vv. 16–17: God
may be merciful and give meaning to the existence of his people.23
The boundaries of the poem as a whole are marked by inclusion; see
’dny etc. in § 1.4.3.24 It is possible that the repetition of the root kwn
(‘to confirm’) in v. 17b–c once again underlines the envelope construc-
tion. Using this verb, the community prays that their works ‘durch Gottes
Mitwirken ein wirkungsvoller Beitrag zur Schöpfung als Gesamtprozeß des
Lebens werde’ ([Hossfeld]/Zenger [2000], p. 613, with reference to K. Koch,
externally parallel with lmdny [‘teach me’, v. 10a]).

21
Similarly Booij (1994, p. 107), contra Müller, ZThK 81 (1984), pp. 267–68; cf. also
Girard (1994, p. 503 n. 3) and Forster (2000, p. 191).
22
The prayer šwbh . . . whnh.m (‘turn . . . and show mercy’), straightforwardly implores
God to change his mind. According to the tradition, it is only Moses who has dared
to speak to God in this way (Ex. 32,12; for ’pk [‘your anger’] and r‘h [‘misfortune’], see
Ps. 90,7.11 and 90,15 resp.); note the heading of Psalm 90. For the parallelism šwbh
. . . whnh.m, see also Jer. 4,28 and Joël 2,14. For the relationship between Psalm 90, on
the one hand, and the ‘Song of Moses’ in Deut. 32 and the ‘Blessing of Moses’ in Deut.
33, on the other hand, see [Hossfeld]/Zenger (2000), p. 609. For the expression m‘śh
ydynw (‘the work of our hands’, v. 17), cf. Deut. 2,7 14,19 16,15 24,19 31,29.
23
For the strophic structure of Canto III, see above.
24
For the device for inclusion on the level of entire compositions, see CAS I, Ch. V,
3.4.3 (pp. 485–87). Lund (1942) does not mention this inclusion at all and Schreiner
(1978) is not able to fit it in his supposed web of linear correspondences between vv.
1–10 and 13–17 (cf. § 1.6).
ii.1 psalm 90 25
ThWAT 4 [1984], pp. 103–04); cf. the theme of creation in v. 2.

I conclude that the structure of Psalm 90 surely has concentric aspects.
However, within the total framework of this composition, vv. 11–12 do
not have a pivotal function. They form an integral part of the preceding
verselines vv. 7–10 and, like vv. 5–6 and 16–17, function as a concluding
strophe of a canto. And on the level of the composition as a whole, a lin-
early alternating scheme does more justice to its design than a concentric
scheme: vv. 1–2.3–4.5–6|7–8.9–10.11–12|13–15.16–17 > a.b.c|a’.b’.c’|b’’.c’’.
For this linear pattern, see especially § 1.4.3. Note also the strophic regu-
larity between vv. 9–12 and 13–17: vv. 9–10.11–12|13–15.16–17 > 3.2|3.2
veselines.25
There is a remarkable similarity between the structures of Psalm 89 and

that of Psalm 90. Both psalms are composed of three cantos. In both cases
the concluding (sub-)canto is a prayer for deliverance. The correspondence
between Ps. 90,1a and 17a matches the beautiful inclusion marking the
boundaries of Psalm 89. In both cases, the designation ’dny (‘Lord’) oc-
curs twice and exactly at the far ends of the compositions; see Pss. 89,50–51
and 90,1.17.26 Psalm 90 can be seen as a working-out of the theme touched
upon in 89,48–49: man’s transitoriness. The relationship is even more con-
spicious because we are dealing with compositions that conclude and open
a major cycle of psalms, Book III and IV respectively.
For the relationship with the preceding psalm, see further the follow-
ing verbal repetitions: ’dny (vv. 1.17) > 89,50.51; dr wdr (v. 1) > 89,2.5
(exactly linear!); root h.ll (v. 2) > 89,11.32.35.40; ‘wlm (v. 2) > 89,2–3.
5.29.37.38; wt’mr (v. 3) > 89,20; bny ’dm (v. 3) > 89,48; h.mtk (v. 7) >
89,47; ‘wn (v. 8) > 89,34; m’wr pnyk (v. 8) > 89,16; root ‘br (vv. 9.11)
> 89,39; gbwrh (v. 10) > 89,14; ‘bdyk (vv. 13.16) > 89,51; h.sdk (v. 14) >
89,1–2 etc.; root rnn (v. 14) > 89,13; root ‘nh (v. 15) > 89,23; root kwn
(v. 17 [2×]) > 89,3.5.15.22.38. Cf. further 90,3–6 with 89,48–49 (about
human transitoriness).
1.8 Bibliography
S. Schreiner, ‘Erwägungen zur Struktur des 90. Psalms’, Biblica 59 (1978), pp.
80–90;
P. Auffret, ‘Essai sur la structure littéraire du Psaume 90’, Biblica 61 (1980), pp.
262–76;
H.-P. Müller, ‘Der 90. Psalm. Ein Paradigma exegetischer Aufgaben’, ZThK 81
25
For the ‘lineare Entfaltung’ of the poem, see also Köckert (2009), p. 165.
26
For the structure of Psalm 89, see my CAS II, Ch. III.17 (pp. 462–84).
(1984), pp. 265–85;

B. van ’t Veld, De klacht over de vergankelijkheid van het menselijk leven in het
Oude Testament - tegen de achtergrond van andere Oudtestamentische en van
oud-oosterse uitspraken inzake de verganeljkheid (Diss. Univ. Utrecht), Harder-
wijk, 1985, pp. 122–26;
Th. Krüger, ‘Psalm 90 und die “Vergänglichkeit des Menschen”’, Biblica 75
(1994), pp. 191–219;
P. Auffret, ‘L’étude structurelle des psaumes. Réponses et compléments I’, ScEs
48 (1996), pp. 45–60;
K. Seybold, ‘Zu den Zeitvorstellungen in Psalm 90’, ThZ 53 (1997), pp. 97–108;
Christine Forster, Begrenztes Leben als Herausforderung. Das Vergänglichkeits-
motiv in weisheitlichen Psalmen, Zürich/Freiburg i. Br.: Pano Verlag, 2000, pp.
137–200;
J. Schnocks, Vergänglichkeit und Gottesherrschaft. Studien zu Psalm 90 und
dem vierten Psalmenbuch (BBB 140), Berlin: Philo, 2002;
R. Brandscheidt, ‘“Unsere Tage zu zählen, so lehre du” (Psalm 90,12)’, TThZ
113 (2004), pp. 1–33;
R.J. Clifford, S.J., ‘Psalm 90: Wisdom Meditation or Communal Lament?’, in
P.W. Flint and P.D. Miller, Jr. (eds.), The book of Psalms: Composition and
Reception (SupplVT 99), Leiden/Boston: Brill, 2005, pp. 190–205;
M. Köckert, ‘Zeit und Ewigkeit in Psalm 90’, in R.G. Kratz and H. Spieck-
ermann (eds.), Zeit und Ewigkeit als Raum göttlichen Handelns (BZAW 390),
Berlin: Walter de Gruyter, 2009, pp. 155–85 (note pp. 158–65);
Marianne Grohmann, ‘Metaphors of God, Nature and Birth in Psalm 90,2 and
Psalm 110,3’, in P. Van Hecke and Antje Labahn (eds.), Metaphors in the Psalms
(BEThL 231), Leuven: Peeters, 2010, pp. 23–33.
ii.2 psalm 91 27
2 Psalm 91
Structure: 8.8 > 2.2|2.2||2.3.3 lines (Type IA)
I.1 1 yšb bstr ‘LYWN bs.l šdy ytlwnn

2 ’mr lYHWH MH . SY wms.wdty ’lhy ’bt.h. B w
3 KY hw’ ys.ylk mph. yqwš mdbr hwwt

4 b’brtw ysk lk wth.t knpyw TH. SH .snh wsh.rh ’mtw
I.2 5 l’ tyr’ mph.d lylh mh..s y‘wp ywmm

6 mdbr b’pl yhlk mqt.b yšwd .shrym
7 ypl ms.dk ’lp wrbbh mymynk ’lyk l’ ygš

8 rq b‘ynyk tbyt. wšlmt rš‘ym TR’H
II 9 KY ’th YHWH MH . SY ‘LYWN śmt m‘wnk

10 l’ t’nh ’lyk r‘h wng‘ l’ yqrb B’hlk
11 ky ml’kyw ys.wh lk lšmrk bkl drkyk

12 ‘l kpym yś’wnk pn tgp b’bn rglk
13 ‘l šh.l wptn tdrk trms kpyr wtnyn
14 ky by h.šq w’plt.hw ’śgbhw ky yd‘ šmy

15 yqr’ny w’‘nhw ‘mw ’nky bs.rh ’h.ls.hw w’kbdhw
16 ’rk ymym ’śby‘hw w’R’hw byšw‘ty
2.1 Text
Vv. 1–2: for yšb (‘dwelling’) in v. 1a and ’mr (‘I say’) in v. 2a, see § 2.7.
V. 4c—sh.rh: ‘protection’ (A.A. Macintosh, VT 23 [1973], pp. 56–62); ‘Mauer’
(HAL).
V. 4c—’mtw : 11QPsApa + slh.
V. 9a—’th: ‘You’ (so MT). Booij (1994, p. 116) suggests to read qr’t (‘you have
called’); Fokkelman (MPHB III, p. 174) reads ’mrt (‘you have said’).
V. 9a—mh.sy: ‘my refuge’; so MT (Tate, [Hossfeld]/Zenger; see § 2.7!).
2.2 Content
God will protect all who put their trust in Him.
I He who trusts in God, as I do, needs not fear harm.
I.1 God protects the faithful.
I put my trust in God (vv. 1–2).

He will save you from danger and you will find refuge with Him
(vv. 3–4).
I.2 You will be safe in the midst of dangers.
By night and by day you need not fear (vv. 5–6).
You will hold out and witness the ruin of the godless (vv. 7–8).
II God himself will protect the faithful.
God is a refuge (v. 9; cf. vv. 1–4); you need not fear danger (v. 10;
cf. vv. 5–8).
His angels will lift you on their hands (vv. 11–13).
‘I will let him live to a ripe old age’ (vv. 14–16; cf. vv. 7–8; oracle).

2.3.1.1 ’th, v. 9a 2.3.1.2 none
vocative: yhwh, v. 9a

2.3.2.1 slh, v. 4c* 2.3.2.2 none
’rk ymym, v. 16a

’mr imperf. 1 sing., v. 2a pn, v. 12b
hw’, v. 3a ’nky, v. 15b

vv. 1–2: prep. b-, vv. 1a+b.2b
vv. 3–4: ys.lk/ysk lk, vv. 3a and 4a resp. (alliter.; exactly lineair)
vv. 5–6: prep. mn, vv. 5a+b.6a+b
lylh/’pl, vv. 5a and 6a resp.
ywmm/s.hrym, vv. 5b and 6b resp. (epiphora)
vv. 7–8: suffix -k, vv. 7a+b+c.8a
vv. 9–10: suffix -k, vv. 9b.10b (epiphora); see also -k in v. 10a
vv. 11–13: suffix -k, vv. 11a+b.12a+b (epiphora); see also tdrk in v. 13a
prep. b-, vv. 11b.12b
root drk, vv. 11b.13a! (inclusion); see also rgl in v. 12b
prep. ‘l, vv. 12a.13a! (anaphora)
ii.2 psalm 91 29
vv. 14–16: prep. b- + suffix -y, vv. 14a.16b (inclusion); see also -y in
v. 14b and prep. b- in v. 15b
’plt.hw/’h.ls.hw, vv. 14a and 15c resp.; see also yšw‘ty in v. 16b
suffix -hw, vv. 14a.15a.16a (exactly lineair); see also -hw in
vv. 14b, 15c (2×) and 16b (and suffix -w in v. 15b)
bs.rh/byšw‘ty, vv. 15b and 16b resp. (antithetic parallelism;
exactly lineair)
2.4.2 Within the canticles

vv. 1–4 (I.1): prep. l-, vv. 2a.4a (linear)
root h.sh, vv. 2a.4b (linear)
prep. b- + suffix -w, vv. 2b and 4a (linear); note also -w
in v. 4b+c
vv. 5–8 (I.2): l’, vv. 5a.7c (linear)
tyr’/tr’h, vv. 5a and 8b resp. (alliter.; inclusion)
prep. mn, vv. 5–6.7a+b (concatenation)
ywmm/mymynk, vv. 5b and 7b resp. (alliter.; exactly
linear)
b’pl/ypl ’lp, vv. 6a and 7a resp. (alliter.; concat.)

vv. 1–8 (Canto I): šdy/yšwd, vv. 1b and 6b resp. (alliter.; linear)
root lyn (‘spend the night’)/lylh (‘night’), vv. 1b
and 5a resp. (linear)
prep. b-, vv. 2b.4a.6a.8a (linear); see also b- in v. 1a
mph./mph.d, vv. 3b and 5a resp. (alliter.; ‘concat.’)
mdbr, vv. 3b.6a! (‘concat.’)
prep. mn, vv. 3b (2×).5–7!
vv. 9–16 (Canto II): ky, vv. 9a.11a.14a (anaphora); see also ky in v. 14b
’lyk . . . b’hlk/ml’kyw . . . lk . . . bkl, vv. 10 and 11
(alliter.; concatenation)

vv. 1–4.9–10: ‘lywn, vv. 1a.9b! (exactly linear)
} chiasmus; see also
yhwh mh.sy, vv. 2a.9a!
wms.wdty // ’lhy in v. 2 and the root h.sh in v. 4b!
prep. b-, vv. 2b.10b (exactly linear)
ky, vv. 3a.9a
vv. 7–8.14–16: mymynk/ymym, vv. 7b and 16a resp. (alliter.)

root r’h, vv. 8b.16b! (exactly linear); see also nbt. hiph‘il
in v. 8a
vv. 7–8.9–10, concat.: ’lyk l’/l’ . . . ’lyk, vv. 7c.10a; see also l’ . . . b’hlk in
v. 10b
l’ ygš/l’ yqrb, vv. 7c and 10b resp.

suffix -w (vv. 11 and 15), prep. l- (v. 11a+b)

ywm (vv. 5 and 16)

Psalm 91 has 7 strophes, 16 verselines and 35 (= 5×7) cola. Vv. 7–8
represent the middle strophe and v. 8b is the central colon (> 17+1+17
cola). V. 8b, ‘and you will see the downfall of the godless’, is the climactic
conclusion of the first canto (vv. 1–8).1 Further, it is striking that v. 8b
has exactly 14 (= 2×7) letters; vv. 7–8 have 14 (= 2×7) words.
Structure of strophes and cantos in terms of words: 13+16+13+14|15+
21+20 = 56+56 (= 112 = 16×7 words in total). That is to say, the cantos
do not only have the same number of 8 verselines, but also an identical
number of words, namely 56 (= 8×7).2 The number seven probably has
a structural function; see the numbers in bold face above, and § 2.7 about
the poetic structure of vv. 14–16.
The divine name, yhwh, occurs 2×: vv. 2 and 9. The same holds true
for the divine title ‘lywn (‘Most High’); see vv. 1 and 9. In both cases
it occurs at the beginning of each of the main parts. Especially at the
beginning of Canto I (vv. 1–2) there is a concentration of divine names:
see also šdy (‘Almighty’) in v. 1b and ’lhym (‘God’) in v. 2b.
1
See also www.labuschagne.nl/ps091.pdf, Observation 1. For some observations on
the balance in terms of cola, cf. also Tate (1990), p. 453.
2
Similarly Bazak (1988) and www.labuschagne.nl/ps091.pdf, Specific features. For
more examples of this phenomenon, see CAS I, Ch. V, 2.4.1 (‘Identical cantos and
identical number of words’, pp. 457–58). See now also Labuschagne (2009), pp. 599–601.
I tentatively suggest that 56 (2×28) is a symbolic expression of the idea ‘to seek refuge’;
in gematria the root h.sh (vv. 2.4.9) = 8+15+5 = 28.
ii.2 psalm 91 31

Köster (1837): 1–4.5–8|9–12.13–16 (4×2|4×2 verses)
De Wette (1856): 1–4.5–8.9–13.14–16; similarly Montgomery (1945), p. 383
Ewald (1866), pp. 428–30: 1–8.9–16 (8.8 verses or 17.17 cola; note p. 429)
Ley (1875), pp. 171–72: 1–4.5–8.9–12.13–16 (4×4 lines); similarly Mow-
inckel (1957), p. 44; cf. Köster (1837)
Delitzsch (1894): 1.2|3–8.9a|9b–13.14–16 (three voices); cf. J. Ridderbos
Zenner (1906), pp. 191–93: 1–3.14–16|4–7|8–10.11–13 (3.3|4|3.3 lines)
Duhm (1922): 1–2.3–4b.5–6.7+4c.8–9.10–11.12–13.14–15a*.15b–16 (9×2)
Gunkel (1926): 1–2.3–4.5–6.7–8.9–10.11–13|14–16 (‘Keine ganz regelmäßige
Strophenbildung’); similarly Podechard (1954); cf. Seybold (1996)
Calès (1936): 1–2|3–6.7–10|11–13.14–16 (2|4.4|3.3 lines)
Herkenne (1936): 1–2.3–13.14–16; similarly Kraus (1978)
Gemser (1949): 1–2|3–4.5–6.7–8|9–10.11–13|14–16 (2|2.2.2|2.3|3 lines)
Kissane (1954): 1–3.4–8|9–13.14–16 (3.5|5.3 lines)
Magne (1958), pp. 186–90: 1–2.3–4.5–6.7–8.9–10|11–13.14–16 (a.b.c.b’.a’|
3.4 lines)
Schildenberger (1960), p. 680: 1–3.4–6.7–8|9–10.11–13.14–16 (3.3.2|2.3.3)
Jacquet (1977): 1–2.3–4b.5–6.7+4c.8–9.10–11.12–13|14–16 (7×2|3 bicola)
Beaucamp (1979): 1–2 3–4b.5–7b+8|9.10–13|14+15b–16 (4 4.8|2.8|6 cola)
Aletti/Trublet (1983), pp. 86–87: 1–2.3–4.5–7|8–9|10.11–13.14–16 (a.b.c|d|
c’.b’.a’)
Bazak (1988): 1–2.3–8|9–10.11–13.14–16 (8.8 lines and 56.56 words)
Tate (1990): 1.2–9a.9b–13|14–16 (vv. 2 and 9a frame vv. 3–8); cf. Delitzsch
Auffret (1993): 1–2.3.4.5–8.9.10–13|14–16
Girard (1994): 1–2|3–4.5–6.7|8||9|10.11–13.14–15|16 (a|b.c.d|e||a’|d’.c’.b’|e’)
[Hossfeld]/Zenger (2000): 1–2|3–8.9–13|14–16
Doeker (2002): 1–2.3–8|9a|9b–13.14–16 (a.b|c|b’.a’); cf. Wagner (2006), pp.
79 and 82
Fokkelman (2003), pp. 173–77: 1–2.3–4|5–6.7–8.9–10|11–13.14–16 (2.2|2.2.2|
3.3 lines)
Terrien (2003): 1–3.4–6|7–9|10–12.13–15b 15c–16 (a.b|c|b’.a’ vv. 15c–16)
Weber (2003): 1–2.3–4.5–6.7–8|9–10.11–13.14–16 (note p. 125); similarly
Botha (2012); cf. Booij (1994)

Psalm 91 lends itself very well for demonstrating what is going on in Hebrew
poetry. The psalmist applies all kinds of rhetorical devices like responsion,
concatenation, numerical balance etc. to give expression to his message.
Our psalm is composed of two regular main parts, cantos, of eight verse-
lines each, vv. 1–8 and 9–16. The beginnings of these cantos are clearly
marked by responsions; see § 2.4.4 (note ‘lywn [‘Most High’] and yhwh
[‘Lord’] in combination with mh.sy [‘my refuge’]). Additionally, in terms
of semantics the noun m‘wn (‘haven’), the final word of v. 9, ties in with
the roots yšb (‘to dwell’) and lyn (‘to spend the night’), the opening and
final word of v. 1 respectively.3 The repetition of the root r’h (‘to see’),
only occurring in vv. 8b and 16b, clearly marks the concluding verseline
of the cantos (responsion; § 2.4.4). At the end of the last century, Bazak
pointed out that the uniform 8-line cantos additionally display a similar
number of words; see § 2.5. That is to say, v. 9a is the beginning of the sec-
ond main part, Canto II. This bipartite division was already recognized in
the nineteenth century by Köster (1837) and Ewald, later on by Schilden-
berger, Kissane, Booij, Girard, Weber and Botha (§ 2.6); see also my STR
(1980), pp. 348–51. However, not all modern scholars are ready to accept
the formal features determining the macrostructure of our poem as a basis
for their interpretation.4
The interrelationship of the opening verselines of Canto I (vv. 1–2) is
much discussed by exegetes, as is the first colon of Canto II (v. 9a). Ac-
cording to Fokkelman (following Booij [1994], pp. 113–14), ‘we should read
the imperfect yešeb, plus the participle ’omer indicating and specifying the
subject of the predicates in v. 1’ (MPHB III, p. 173), with reference to Ps.
15,1–2. In my opinion, Zenger rightly assumes that the vocalisation of MT
in vv. 1–2 should be accepted: ‘Als einer, der . . . wohnt, spreche ich . . . ’5
On the basis of MT, v. 1 may also be considered an unmarked quotation by
the psalmist of a poetic line, indicating the subject matter of his composi-
tion (cf. Tate, p. 453): (my poem is about a faithful man) ‘who dwells in
the shelter of the Most High // abides in the shadow of the Almighty’.6 In
3
So Booij (1994), p. 116, and Girard (1994), p. 518.
4
See especially [Hossfeld]/Zenger and Fokkelman in § 2.6; cf. further Delitzsch,
Zenner, Calès, Herkenne, Magne, Tate (‘It is generally agreed that Ps 91 has two main
parts: vv 1–13 and vv 14–16’, p. 450), among others. Doeker explicitly ignores the fun-
damental repetition of the root r’h when she maintains that ‘die Gottesrede semantisch,
z.B. durch Stichwortverbindungen, nicht mit den vorhergehenden Versen verbunden ist’
(2002, pp. 183–84). According to Wagner (2006, p. 79), the bipartite division vv. 1–8
and 9–16 is ‘als alleinige Gliederungsebene nur schwer mit der Sprecherstruktur [. . . ] zu
vereinbaren.’
5
See [Hossfeld]/Zenger (2000), pp. 616–17; similarly Wagner (2006), pp. 82.85, and
cf. Tate (1990), p. 447.
6
For unmarked quotations at the beginning of a poetic unit, see my RCPJ, pp.
240–57, about the framework of Job 21 (note pp. 252–53 about the strophic structure
of vv. 16–26 [Canto II]). For the symmetric construction of the bicolon in question,
characterized by a participle at the beginning of the a-colon and a finite verb at the end
ii.2 psalm 91 33
the latter case, we are dealing with two relatively independent verselines,
both dealing with the experience of God’s presence.
From v. 3 onwards (up to v. 13), the psalmist addresses his fellow believ-
ers in second person singular. However, in v. 9a he interrupts his address
with another unmarked quotation in which God is explicitly addressed in
second person: ‘yes, You, O Lord, are my refuge’. We are obviously deal-
ing with a quotation which refers to v. 2a. That is to say, the verb ’mr (‘I
say’) in v. 2a does double duty.7 The quotation concerned has a structural
function marking the beginning of the second canto. There is no need to
adjust v. 9a to the immediate context, nor to suppose that the psalm re-
flects a liturgical situation in which several voices alternate;8 for the address
to God as indication of the beginning of a new canto, cf. Pss. 126,4 (the
beginning of Canto II), 137,7 (the beginning of Canto III) and Ps. 115,1.
On the grounds of the perfect linearly alternating parallelism between
the uniform cantos, Magne’s interpretation, which takes the verbal repeti-
tions between vv. 1–2 and 9–10 as a device for inclusion (see § 2.6), is to
be rejected. Within the framework concerned, Magne supposes that vv.
5–6 have a pivotal function. According to Aletti/Trublet, it is vv. 8–9 that
form the pivotal strophe of a well-balanced concentric framework determin-
ing the poem as a whole, while according to Terrien vv. 7–9 represent a
pivotal strophe within a concentric framework.9
The uniformity of the cantos does not affect their strophic structure.
Canto I (vv. 1–8) is composed of an uninterrupted series of four 2-line
strophes.10 This strophic regularity is, among other things, supported by
the verbal repetitions in linear position described in §§ 2.4.2–3. This formal
of the b-colon, see also Isa. 44,25a–b.25c–d.26a–b.

7
Similarly Wagner (2006), p. 84. For comparable phenomena, see the framework of
Psalms 103 and 124. Ps. 103,10–14 is a praise of God’s merciful nature at the beginning
of Canto II; however, it depends on brky npšy ’t yhwh (‘bless, my soul, the Lord’) in
vv. 1–2 (the beginning of Canto I; see § 14 below). Ps. 124,4–5 is an apodosis at the
beginning of the second strophe metaphorically portraying the threat the people of Israel
had to face; it depends on the protasis lwly yhwh šhyh lnw . . . phrased in vv. 1–2 (the
beginning of the first strophe); see Ch. III.17 below.
8
Cf. kh ’mr yhwh lmšyh.w (‘thus says the Lord to his anointed’, Isa. 45,1a) opening the
second canto of Isa. 44,25-45,8, and resuming kh ’mr yhwh at the beginning of Canto I;
see my article ‘“Ik ga voor u uit . . . ”: retorische structuur en numerieke perfectie in
Jesaja 44:24–45:8’, in K. Spronk et al. (eds.), Studies uit de Kamper School. FS W.
van der Meer, uitgeverij 2VM, 2010, pp. 73–85; contra Booij and Fokkelman (see § 2.1
above), among others (see further Tate, pp. 448–49).
9
All such interpretations (see also Doeker [2002] in § 2.6 and cf. Tate) are to be
considered the result of a rather widespread disease in modern exegesis to find as many
concentric patterns in Hebrew poetry as possible, a form of ‘concentritis’.
10
See also Köster, Gunkel, Gemser, Magne, Girard, Fokkelman and Weber in § 2.6.
approach also indicates that the 2-line strophes two by two form structural
units of 4-line canticles; see § 2.4.2 (e.g., the root h.sh [‘to find refuge’]
in vv. 2a and 4b). Canticle I.1, vv. 1–4, teems with terms for protection
by God; note also the personal pronoun hw’ (‘He’) in v. 3a (so rightly
Fokkelman, MPHB II, p. 175). The second last verseline of this canticle
(v. 3), speaking about all kinds of dangers, prepares for the subject matter
of the following canticle.11 In vv. 5–8, Canticle I.2, the poet manages to
avoid having God appear as agent. The canticle is full of dangers which
could befall the faithful, but which will nevertheless not harm him.12 In vv.
7–8 the deliverance of the god-fearing person contrasts with the ruin of the
godless; note vv. 7c and 8b. Such an antithetic parallelism is characteristic
of the end of a main part.
Canto II opens with a 2-line strophe (vv. 9–10) and from v. 11 onwards
there are two 3-line strophes. This structure is clearly indicated by the par-
ticle ky, functioning as anaphora at the beginning of the successive strophes
(§ 2.4.3; cf. ky in v. 3).13 V. 9, speaking about God as shelter, especially
ties in with Canticle I.1 (vv. 1–4), while v. 10, in general terms speaking
about dangers, especially ties in with Canticle I.2 (see also the concatena-
tion described in § 2.4.4). This means that vv. 9–10 function as a summary
of the preceding canto at the beginning of Canto II.14 The following 3-line
strophe, vv. 11–13, for the first time explicitly describes in which way God
will rescue the faithful: He will charge his messengers to protect them (vv.
11–12) and the god-fearing himself will destroy all hostile forces (v. 13).
To crown it all, the psalmist makes use of the literary form of an oracle
to create emphasis and underline his message, vv. 14–16 (once again an
unmarked quotation): I myself will rescue the faithful and provide him with
my ‘salvation’ (yšw‘ty, v. 16b).15 Fokkelman (MPHB III, pp. 176–77) points
11
In this respect, cf. the strophic structure of the first canto of Psalm 90, vv. 1–6.
12
For the division vv. 1–4.5–8, see also Köster, De Wette and Ley in § 2.6.
13
See also Gunkel, Gemser, Schildenberger, Bazak, Fokkelman and Weber in § 2.6.
Wagner (2006, pp. 81–82.89) uses this particle selectively because ky in v. 11a does not
fit his idea that vv. 10–13 form a relatively independent section and the subject of v. 9b
is yhwh!
14
See also Booij (1994), p. 116. From a grammatical point of view, v. 9a is a relatively
independent colon at the beginning of Canto II; cf. Ps. 92,9! This colon expresses the
trust of the psalmist himself. Subsequently, in vv. 9b–10 he deals with the trust his
fellow believers may have when they take refuge with God; that is to say, there is a form
of enjambement between vv. 9b and 10; cf. Ps. 92,10!
15
That is to say, the oracle is a literary device—perfectly fitting the development of
the thought content of Canto II—and not an indication of a main part of the poem (cf.
Pss. 60,8–10 81,6c–15 95,8–11, and Botha [2012], pp. 263–64); contra Gunkel, Tate,
Auffret and [Hossfeld]/Zenger, among others. Cf. also Doeker: ‘Damit ist die Gottesrede
[. . . ] freiwillig gespendete Bestätigung des beterlichen Vertrauensbekenntnisses’ (2002,
ii.2 psalm 91 35
out that this concluding strophe is evidence of poetic craftsmanship, once

again making it clear that vv. 14–16 represent the climax of our psalm. It
is the only strophe consisting of 7 cola.16 The central verseline is a tricolon,
which is flanked by a bicolon on both sides. In terms of syntax, the bicola
have a symmetric structure. A ky-clause is followed by a verb (pi‘el) and
a verb (pi‘el) is followed by a ky-clause (v. 14); an object is followed by a
predicate (hiph‘il) and a predicate (hiph‘il) is followed by an object (v. 16).
The middle verseline (v. 15) is composed of 7 words.17 Its central colon
(v. 15b) is enveloped by cola composed of two verbal forms only, two qal
forms and two pi‘el forms respectively. Finally, it is important to note
that the personal pronoun ’nky, referring to God, is precisely the pivotal
word of the central colon!18 Simultaneously, there is a thematic relationship
between vv. 14–16 and 7–8. The latter strophe underlines the ephemeral
life of the godless, while according to vv. 14–16 the faithful shall experience
a long lifetime (note v. 16).19 The antithesis in question is a major aspect
of the bipartite structure of our psalm and is another indication that we
are dealing with a wisdom poem (‘Lehrgedicht’; so Gunkel and Kraus);20
note further Botha (2012).
I conclude that the cantos of Psalm 91 show a perfect formal and se-
mantic parallelism, displaying the device for ‘sharpness’. The second canto
elaborates on and intensifies the main theme of the first canto: God pro-
tects the faithful. That is to say, the parallelism between Cantos I and II
is comparable with the parallelism which is often to be found between two
successive cola: ‘A is so, and what’s more, B is so’.21
p. 185).
16
‘Seine [Jahve’s] verheißungsreiche Schlußrede bildet viell. nicht zufällig eine sieben-
zeilige Str.’ (Delitzsch [1894], p. 594).
17
As a matter of fact, Labuschagne rightly notes that there are no less than 8 verselines
having 7 words: vv. 2, 3, 5, 9, 11, 12, 13 and 15 (www.labuschagne.nl/ps091.pdf, Specific
features).
18
For this phenomenon, cf. CAS II, Ch. V, 2.5 (pp. 524–26; about the personal pronoun
’th [‘You’], referring to God).
19
Cf. Ps. 21,5–7.11–13 and Booij (1994), p. 117. There is a remarkable similarity
between Ps. 91,15–16 (the concluding verselines of Canto II) on the one hand and Ps.
50,15.23 (the concluding verselines of Cantos II and III respectively; see CAS II, pp.
82–91) on the other: cf. wqr’ny bywm .srh // ’h.ls.k wtkbdny (50,15) with yqr’ny . . . bs.rh
// ’h.ls.hw w’kbdhw (91,15) and ’r’nw byš‘ ’lhym (50,23b) with w’r’hw byšw‘ty (91,16b).
20
According to Gunkel it is especially the address (‘Anrede’) which is indicative for
this form-critical characterization of vv. 1–13.
21
J.L. Kugel, The Idea of Biblical Poetry. Parallelism and Its History, New Haven
and London: Yale University Press, 1981, p. 8.
For the relationship with the preceding psalm see, among other things, the
following verbal repetitions: root yr’ (v. 5) > 90,11; lylh // ywm (v. 5) >
90,4b–c; ’lp (v. 7) > 90,4; root r’h (vv. 8.16) > 90,15.16 (end canto); ’th
(v. 9) > 90,1.2 (beginning canto); m‘wn (v. 9) > 90,1 (beginnning canto);
r‘h (v. 10) > 90,15; root yd‘ (v. 14) > 90,11–12; root śb‘ (v. 16) > 90,14.22
For the relationship with Psalm 121, see Ch. III, 14.7 below (concluding
paragraph); for vv. 1–8, cf. Job 5,17–26 (Botha [2012]).
2.8 Bibliography
M. Mannati, Le Psaume 91. Contribution à l’étude des psaumes, Paris, 1965;
J. van der Ploeg, ‘Le Psaume XCI dans une recension de Qumran’, RB 72 (1965),
pp. 210–17;
P. Hugger, Jahwe meine Zuflucht. Gestalt und Theologie des 91. Psalms (Münster-
schwarzacher Studien 13), Münsterschwarzach: Vier-Türme-Verlag, 1971;
J. Bazak, ‘Numerical Devices in Psalm 91’, paper read at the SBL annual meet-
ing, Chicago, November 1988 (private communication);
P. Auffret, Voyez de vos yeux—Étude structurelle de vingt psaumes, dont le
psaume 119 (SupplVT 48), Leiden: Brill, 1993, pp. 279–300;
Andrea Doeker, Die Funktion der Gottesrede in den Psalmen. Eine poetologische
Untersuchung (BBB 135), Berlin/Wien: Philo, 2002, pp. 177–85;
Claudia Sticher, Die Rettung der Guten durch Gott und die Selbstzerstörung
der Bösen. Ein theologisches Denkmuster im Psalter (BBB 137), Berlin/Wien:
Philo, 2002, pp. 210–24;
H. Schützeichel, ‘Im Schutz des Höchsten (Psalm 91)’, TThZ 115 (2006), pp.
60–76;
A. Wagner, ‘Ps 91—Bekenntnis zu Jahwe’, in A. Wagner (ed.), Primäre und
sekundäre Religion als Kategorie der Religionsgeschichte des Alten Testaments
(BZAW 364), Berlin/New York: Walter de Gruyter, 2006, pp. 73–97;
C.J. Labuschagne, ‘Significant Compositional Techniques in the Psalms: Evi-
dence for the Use of Number as an Organizing Principle’, VT 59 (2009), pp.
583–605;
C. Körting, ‘Text and Context—Ps 91 and 11QPsApa ’, in E. Zenger (ed.), The
Composition of the Book of Psalms (BEThL 238), Leuven/Paris/Walpole (MA):
Peeters, 2010, pp. 567–77;
Ph.J. Botha, ‘Psalm 91 and its Wisdom Connections’, OTE 25/2 (2012), pp.
260–76 (note pp. 261–65).
22
Cf. the ‘liens structurels’ between Psalms 90 and 91 described by Auffret (1993),
pp. 297–300.
ii.3 psalm 92 37
3 Psalm 92
Structure: 7.8 > 4.3|4.4 > 2.2|1.2||2.2|2.2 lines (Type IB)
I.1 2
.twb lhdwt l yhwh wlzmr lšmk ‘LYWN
3 LHGYD bbqr h.sdk w’mwntk blylwt
4 ‘ly ‘śwr w‘ly nbl ‘ly hgywn bknwr

5 ky śmh.tny yhwh bp‘lk bm‘śy ydyk ’rnn
I.2 6 mh gdlw m‘śyk yhwh m’d ‘mqw mh.šbtyk
7 ’yš b‘r L’ yd‘ wksyl L’ ybyn ’t z’t

8 bPRH . rš‘ym kmw ‘śb wys.ys.w KL P‘LY ’WN lhšmdm ‘dy ‘d
II.1 9 w’th MRWM l‘lm yhwh 10 ky hnh ’ybyk yhwh

ky hnh ’ybyk y’bdw ytprdw KL P‘LY ’WN
11 w trm kr’ym qrny bltny bšmn r‘nn

12 wtbt. ‘yny bšwrry bqmym ‘ly mr‘ym tšm‘nh ’zny
II.2 13
.sdyq ktmr YPRH . k’rz blbnwn yśgh
14 štwlym bbyt yhwh bh..srwt ’lhynw YPRYH
.W
15 ‘wd ynwbwn bśybh dšnym w r‘nnym yhyw
16 LHGYD ky yšr yhwh .swry wL’ ‘lth bw
3.1 Text
Vv. 9–10: two bicola with enjambement between the verselines: v. 9 is a rel-
atively independent colon, which is followed by a ‘tricolon’; for this phe-
nomenon, cf., e.g., Ps. 145,15–16 and see further my STR, pp. 192–94! For
v. 10b–c as a relatively independent verseline, cf. especially Ps. 73,27.
V. 9—mrwm: ‘the Exalted’ (Dahood, Psalms II, p. 337, and Tate).
V. 11b—bltny: ‘You have poured over me’; for the subject God, see vv. 5a.11a
(cf. Peshitta and Targum). Booij (VT 38 [1988], pp. 210–14) reads blgty
(‘I shine’); for an overview of the discussion, see [Hossfeld]/Zenger (2000),
pp. 628–29. MT has blty; so Barthélemy (2005), p. 656 (cf. BHS).
V. 12a—bšwrry: ‘at my enemies’ (Gunkel, BHS, HAL); MT reads bšwry.
V. 14b—ypryh.w : ‘they richly flourish’ (elative hiph‘il; Dahood, Psalms II,
p. 338, and [Hossfeld]/Zenger).
V. 16b—‘lth: so K; Q ‘wlth (‘wrong’).
3.2 Content
The downfall of the wicked as contrasted by the prosperity of the righteous.
I Praise for God’s steadfast love by the grateful psalmist (I.1); general-
izing announcement of the downfall of the stupid wicked (I.2).
I.1 O Lord, it is good to praise your steadfast love (vv. 2–3).
You make me glad, O Lord, by your deeds (vv. 4–5).
I.2 O Lord, how great are your works (v. 6).
A fool cannot understand this; ultimately, the evildoers shall
be destroyed (vv. 7–8; metaphor of a plant).
II The downfall of God’s enemies contrasted with the psalmist’s victory
(II.1); generalizing description of the success of the righteous (II.2).
II.1 You are exalted, O Lord, for ever (v. 9); your enemies will
surely be destroyed (v. 10; cf. vv. 7–8).
You delivered me from my enemies (vv. 11–12; cf. vv. 4–5!).
II.2 The righteous will enjoy prosperity and dwell in God’s presence
(vv. 13–14; metaphor of a plant, also v. 15 and cf. v. 8).
In old age, they still praise the Lord (vv. 15–16).

3.3.1.1 .twb, v. 2a hnh, v. 10a; ext. // hnh in
vocative: ‘lywn, v. 2b v. 10b
mh, v. 6a vocative: yhwh, v. 10a
vocative: yhwh, v. 6a w- beginning of line, v. 11a;
z’t, v. 7b ext. // w- in v. 12a
w- beginning of line, v. 9a
’th, v. 9a 3.3.1.2 ‘lm, v. 9a

3.3.2.1 m’d, v. 6b 3.3.2.2 vocative: yhwh, v. 5a
‘d, v. 8c

‘wd, v. 15a
ii.3 psalm 92 39

vv. 2–3: prep. l-, vv. 2a (2×)+2b (2×).3a
w- beginning of the colon, vv. 2b.3b (exactly lineair)
suffix -k, vv. 2b.3a+b
vv. 7–8: yd‘/‘dy ‘d, vv. 7a and 8c resp. (alliter.)
w- beginning of the colon, vv. 7b.8b (exactly linear)
vv. 9–10: ky hnh ’ybyk, v. 10a.10b
vv. 11–12: w- beginning of the colon, vv. 11a.12a (anaphora)
wtrm kr’ym/mr‘ym, vv. 11a and 12b resp. (alliter.)
suffix -y, vv. 11a.12 (4×); see also blty in v. 11b
bšmn r‘nn/tšm‘nh, vv. 11b and 12c resp. (alliter.)
vv. 13–14: root prh., vv. 13a.14b

vv. 2–5 (I.1): yhwh, vv. 2a.5a (inclusion)
suffix -k, vv. 2–3.5a+b
‘lywn/‘ly nbl ‘ly hgywn, vv. 2b and 4 resp. (alliter.;
linear)
prep. b-, vv. 3a+b.4b+5a+b (concatenation)
vv. 9–12 (II.1): w- beginning of the line, vv. 9a.11a+12a
root rwm, vv. 9.11a! (linear)
vv. 13–16 (II.2): yhwh, vv. 14a.16a (exactly linear); see also ’lhym in
v. 14b

vv. 2–8 (Canto I): prep. l-, vv. 2–3.8c (inclusion)
yhwh, vv. 2a+5a.6a (concatenation)
w- beginn. of colon, vv. 2b+3b.7b+8b (inclusion)
suffix -k, vv. 2–5.6a+b (concatenation)
root p‘l, vv. 5a.8b (linear)
śmh.tny . . . bp‘lk/mh.šbtyk, vv. 5a and 16b resp.
}
m‘śym, vv. 5b.6a!
chiasmus (concatenation)
vv. 9–16 (Canto II): prep. l-, vv. 9.16a (inclusion; cf. Canto I)
yhwh, vv. 9+10a.14a+16a
ky, vv. 10a+b.16a (inclusion)
wtrm kr’ym/ktmr, vv. 11a and 13a resp. (alliter.;
concatenation)
prep. k-, vv. 11a.13a+b (concatenation)
suffix -y, vv. 11–12.16b! (linear)
bšmn/dšnym, vv. 11b and 15a resp. (alliter.)
}
r‘nn, vv. 11b.15b! (linear)
chiasmus
bšwrry/yšr, vv. 12a and 16a resp. (alliter.; linear)

The linear framework.
vv. 2–5.9–12: ‘lywn/mrwm, vv. 2b.9 resp.; cf. ‘lywn in Ps. 91,1 and 9
blylwt/bltny*, vv. 3b and 11b (alliter.)
‘ly (prep.)/‘ly (‘against me’), vv. 4a (2×)+b and 12b
resp.! (alliter.)
’rnn/r‘nn, vv. 5b and 11b resp. (alliter.; linear)
vv. 6–8.13–16: l’, vv. 7a+b.16b!

root prh., vv. 8a.13a+14b!
} chiasmus
rš‘ym kmw ‘śb/s.dyq ktmr, vv. 8a and 13a
rš‘ym kmw/ky yšr, vv. 8a and 16a resp. (alliter.)
The symmetric framework.
vv. 2–5.13–16: lhgyd, vv. 3a.16a!; see also prep. l- in v. 2
vv. 6–8.9–12: b- . . . rš‘ym/bšwrry, vv. 8a and 12a resp. (alliter.)

kl p‘ly ’wn, vv. 8b.10c!
roots šmd/’bd + prd, vv. 8c and 10b–c resp.!
‘dy ‘d/l‘lm, vv. 8c and 9 resp.!
prep. l-, vv. 8c.9a

prep. b- (vv. 8.11.12.13.14 [2×].15.16), prep. k- (v. 8), ky (v. 5)

none
ii.3 psalm 92 41

Psalm 92 has 8 strophes, 15 verselines and 32 (= 4×8) cola.1 Vv. 9–10a
represent the middle verseline (> 7+1+7 verselines) and simultaneously the
middle cola (> 15+2+15 cola); in other words vv. 9–10a are ‘embraced’ by
17 cola on both sides (vv. 2–10a and 9–16 have 17 cola). V. 5 is the middle
verseline of the first canto (> 3+1+3 verselines). The line, consisting of
7 words, in which the psalmist expresses his personal experience of God’s
deeds (see also § 3.7) may be taken as a consciously designed rhetorical
centre.2
Structure of strophes and cantos in terms of words: 11+14|7+20||16+14|
12+14 = 25+27|30+26 = 52+56 (= 108 = 9×12 words in total). On word
level, v. 9 is the centre of the poem: vv. 2–8.9.10–16 > 52+4+52 words.
This outcome is remarkable because the number 52 (= 2×26) symboli-
cally represents the divine name;3 cf. also the 26 words of the concluding
canticle, vv. 13–16.
The divine name, yhwh, occurs 7×: vv. 2, 5, 6, 9, 10, 14 and 16. That
is to say, within the series concerned, in v. 9 we find the middle occurrence
of the divine name. This feature once more highlights v. 9 as the numer-
ical centre of Psalm 92 (Labuschagne [2000], p. 134). In terms of seman-
tics, v. 9 stands out as ‘hymnische Gottesprädikation’ ([Hossfeld]/Zenger,
p. 635). Therefore, we may safely assume that v. 9 represents the deliber-
ately designed rhetorical centre of Psalm 92.
The designation ’lhym for God is only found in v. 14. In v. 2 God is
called ‘lywn (‘Most High’) and in v. 9 mrwm (‘the Exalted’).

Köster (1837): 2–5.6–8.9.10–12.13–16 (4.3.1.3.4 verses)
De Wette (1856): 2–4.5–7.8–10.11–13.14–16 (5×3 verses); similarly Ley
(1875), pp. 153–54, Zenner (1906), pp. 62–63, Duhm (1922), König
1
Contra Fokkelman (MPHB III, p. 179 n. 19) who, after deleting mr‘ym in v. 12b
as superfluous, considers v. 12 a bicolon and as a result counts 31 cola. The ‘minor
repair’ in question also forms the weak link in his numerical observations (MPHB III,
pp. 180–81).
2
According to Labuschagne, ‘your deeds’ and ‘the works of your hands’ (v. 5) refer to
the 7 days of creation (www.labuschagne.nl/ps092.pdf, Observation 4). For the theme
of creation, see also Sarna (1962), pp. 159–62, and [Hossfeld]/Zenger (2000), p. 641.
3
So J. Bazak, VT 38 (1988), p. 335. Labuschagne further notes that 52 is the numer-
ical value of the title mrwm (13+20+6+13 = 52) in v. 9; see www.labuschagne.nl/ps092.
pdf, Observation 5. The structural analyses by Köster (1837), Magonet, Aletti/Trublet,
[Hossfeld]/Zenger (see § 3.6) and Fokkelman (MPHB III, pp. 178.180) also underscore
that v. 9 is the centre of the composition.
(1927), pp. 328–29, Calès (1936), Gemser (1949), Pannier/Renard

(1950), Mowinckel (1957), p. 34, Schildenberger (1960), pp. 678–79,
Jacquet (1977), Seybold (1996; ‘Neufassung’)
Ewald (1866), pp. 404–06: 2–4.5–9.10–16 (‘länger werdenden wenden’)
Delitzsch (1894): 2–4.5–7.8–10.11–13.14–16 (6.6.7.6.6); cf. De Wette (1856)
Gunkel (1926): 2–3.4–5|6–7.8–9.10.11–12.13–14.15–16 (‘Regelmäßiger Stro-
phenbau’); similarly J. Ridderbos (1958)
Condamin (1933), pp. 167–68: 2–4.5–7|8–10|11–13.14–16 (3.3|3|3.3 lines)
Herkenne (1936): 2–5.6–12.13–16; similarly Booij (1994)
Montgomery (1945), p. 383: 2–4.5–8.9–12.13–16 (3.4.4.4 lines)
Kissane (1954): 2–5.6–9.10–12.13–16 (4.4.4.4 lines); cf. NAB (1970)
Podechard (1954): 2–4.5–7.8–10.11–13.14–16 (5×6 cola); cf. Delitzsch (1894)
Alden (1976), pp. 199–200: 2–6.7–8b.8c|9.10.11–16 (a.b.c|c’.b.a’)
Beaucamp (1979): 2–4.5–6|7–9.10b–12.13–15 16 (6.4|6.6.6 2 cola)
Magonet (1982), pp. 369–73: 2–5.6–7.8|9|10.11–12.13–16 (a.b.c|d|c’.b’.a’)
Aletti/Trublet (1983), p. 87: 2–4.5–6.7–8|9|10.11–15.16 (a.b.c|d|c’.b’.a’)
Loretz (1993), p. 283: 2–3.4–5.11–12; 13–14.15–16 (3×2 and 2×2 bicola)
Girard (1994): 2–4.5–9|10–15.16 (a.b|b’.a’)
[Hossfeld]/Zenger (2000): 2–4|5–7.8.9.10.11–12|13–16 (vv. 2–4 a.b.c.b’.a’
vv. 13–16); cf. Magonet (1982) and Tate (1990)
Fokkelman (2003), pp. 177–81: 2–4.5–6|7–8.9–10.11–12|13–14.15–16 (3.2|
2.2.2|2.2 lines)
Terrien (2003): 2–4.5–7.8–10.11–13.14–16 (5×3 lines; a.b.c.b’.a’); similarly
Weber (2003); cf. De Wette (1856)
Riede (2010): 2–4|5–9.10–12|13–16 (note pp. 214–16)
www.labuschagne.nl/ps092.pdf: 2–4.5–6.7–8||9||10–12|13–14.15–16 (3.2.2||
1||3|2.2 lines)

Scholars have often taken it for granted that Psalm 92 is composed of five
regular (3-line) strophes, vv. 2–4, 5–7, 8–10, 11–13 and 14–16.4 But Gunkel
rightly noted: ‘Die Anordnung . . . scheitert daran, daß mit 6 und 13 neue
Absätze beginnen’. For v. 6 at the beginning of a strophe, see § 3.3.1.1
(transition markers). In terms of subject matter, v. 13 is no doubt the
beginning of a new section (see § 3.2).5 Below I shall argue that our poem
4
See De Wette, Delitzsch, Condamin, Podechard and Terrien in § 3.6. In this respect,
Delitzsch confidently speaks of the ‘unverfehlbare Strophenschema 6.6.7.6.6’ (the length
of the strophes in terms of cola).
5
Booij (1994, pp. 126.129) points out that—for the purpose concerned—the subject
is deliberately positioned at the beginning of the line, with reference to Pss. 60,8 82,1
ii.3 psalm 92 43
is not composed of 3-line strophes, but predominantly divides into 4-line

canticles (generally consisting of strophes of two verselines). However, we
must first of all discuss the macrostructure of the composition.
In my opinon, there is a considerable measure of correspondence be-
tween the macrostructure of Psalm 92 and that of Psalm 91.6 Like the
latter poem, Psalm 92 divides into two (almost) regular cantos; in this case
these main parts have 7 and 8 verselines respectively, vv. 2–8 and 9–16.7
In both cases, this division is indicated by a linearly alternating pattern
of some verbal repetitions on the level of the poem as a whole: vv. 2–5.
6–8|9–12.13–16 > a.b|a’.b’; see § 3.4.4 (linear arrangement) and note ‘lywn
// mrwm in the first verseline of the cantos (cf. the position of ‘lywn in
Psalm 91).8 These linear correspondences are reinforced by the metaphor
of a plant—expressing a general contrast between the fate of the wicked
and that of the righteous—which is only found at the end of the cantos;
see § 3.2. The generalizing aspect characterizing the end of the cantos is
highlighted by the explicitly individual aspect of the beginning of the main
parts referring to the psalmist himself; note vv. 5 and 11–12 (§ 3.2). This
is another linear correspondence between the cantos.
Moreover, as is the case in Ps. 91,8 (the last verseline of Canto I) in
Ps. 92,8 (once again the last verseline of Canto I) the psalmist deals with
the downfall of the ‘wicked’; note rš‘ym in 91,8b and 92,8a. That is to say,
v. 9 is the first colon of the second canto of Psalm 92. And like the first
colon of the second canto of Psalm 91 (v. 9a, a quotation-like clause; see
§ 2.7 above), Ps. 92,9 is a relatively independent colon; see § 3.5 and note
also the verse division of MT. This relative individuality of v. 9 matches
the grammatical position of v. 2a in which God is spoken about, while
from v. 2b onwards the psalmist addresses God in second person (see vv.
2b–6 and 9–12). Once again, we are dealing with a linear correspondence
reinforcing the canto structure of our psalm.9
The linear parallelism between the main parts of the composition is
thwarted by a symmetric pattern of (mainly formal) indications, honouring
the main break between vv. 8 and 9 (‘symétrie croisée’);10 see in the first
and 103,15.19; see also ’yš b‘r in v. 7. See also Köster, Herkenne and Kissane in § 3.6.
6
For the relationship in question, see also the concluding paragraph below. Note
further the relationship with the framework of Psalm 94: 7.8.8 verselines (see § 5 below).
7
About ‘almost regular cantos’ (Type IB), see Ch. IV, 2.3.
8
With this macrostructure in mind, in v. 3 the poet probably employed the plural
blylwt (‘in the nights’), alongside the singlular bbqr (‘in the morning’), to create an
alliteration with bltny* in v. 11b. For the canticle division, see below.
9
As can be seen in § 3.6, this view of the macrostructure of Psalm 92, which I have
already put forward in my STR (1980), pp. 352–56, is generally ignored.
10
For such overlapping structural patterns on the level of a poem as a whole, see also
place the verbal repetitions described in § 3.4.4 (symmetric arrangement).

Second, it is only in v. 2a and in Canticle II.2 (vv. 13–16) that the poet
explicitly speaks about God in third person; another aspect underlining the
symmetry of our poem. Third, in terms of semantics, the a.b|b’.a’ pattern
of the composition comes to light by an ‘enjambement’ between the central
canticles (I.2 and II.1): the statement about the downfall of the ‘evildoers’
(v. 8) is referred to in v. 10 with the purpose to express the idea that God
enables the psalmist to triumph over his enemies (vv. 11–12); there is no
difference between God’s enemies and those of the psalmist. Moreover, the
dramatically stirring central part of the composition (vv. 6–12), in which
the psalmist describes the downfall of the wicked, is framed by the joy and
serenity he deals with in the surrounding Canticles I.1 and II.2, vv. 2–5
and 13–16 respectively.11
As is the case in the first canto of Psalm 91, both cantos of Psalm 92
divide into two (almost) regular canticles: vv. 2–5.6–8 (Canto I) and 9–12.
13–16 (Canto II).12 The decisive argument in favour of these divisions is the
fact that in the concluding verselines of Canticles I.1 and II.1 the psalmist
describes the experience of a gracious action on the part of God toward
himself; see vv. 5.11–12 and cf. .swry (‘my Rock’) in v. 16b (the end of
Canticle II.2).
In their turn, the 4-line canticles are each composed of two 2-line stro-
phes.13 This is clear for vv. 9–12, Canticle II.1; see, among other things,
the theme of the strophes in § 3.2 and further the root rwm in § 3.4.2.14
In terms of subject matter, the strophic structure of the other canticles is
less evident. The divisions are mainly based on formal considerations; for
Canticle II.2, e.g., see yhwh in § 3.4.2. The strophic structure of Canticle I.1
Psalms 4, 20 and 79. Some recent investigations have underlined the symmetric aspect of
our composition; see Alden and Girard in § 3.6. However, there is no basis for construing
a well-balanced concentric pattern; contra Magonet, Aletti/Trublet, [Hossfeld]/Zenger
(with v. 9 as pivotal strophe), Terrien and Weber (with vv. 8–10 as pivotal strophe).
With regard to such concentric frameworks, see also the criticism of Girard (1994),
p. 527 n. 1.
11
So rightly Booij (1994), p. 126.
12
Cf. Köster, Montgomery and Kissane in § 3.6; cf. also the canticle division in Psalms
39 (see CAS I, pp. 390–98) and 94 (see § 5 below).
13
Cf. Gunkel and Fokkelman in § 3.6.
14
The responsion concerned (see vv. 9 and 11a) may explain why the poet varies the
divine titles on the level of the poem as a whole: ‘lywn (v. 2b) > mrwm (v. 9); cf.
‘lywn in Psalm 91. V. 10 is a tricolon, comparable to (e.g.) Ps. 93,3. Nevertheless, I
assume that in the former case we are dealing with an enjambement between successive
verselines within a strophe: vv. 9 and 10a constitute a bicolon, like most verselines of
this poem. For this form of enjambement in Hebrew poetry, see my STR, pp. 192–94,
and Ch. III, 44.7 below about Psalm 1,3.
ii.3 psalm 92 45
is mainly based on analogy, but see also w- at the beginning of the second
colon in vv. 2–3; cf. vv. 7–8. Probably, we may also discern some design
in the 14 words of vv. 4–5, 11–12 and 15–16, in each case the concluding
strophe of a canticle (§ 3.5).
The macrostructure of Psalm 92 suggests that its quintessential thought
is to be found in the generalizing message of the concluding canticles of
the main parts, vv. 6–8 and 13–16: the prosperity of the wicked is only
temporary, but the righteous will experience God’s blessings up to a ripe
old age. This idea is characteristic of the wisdom tradition. That is to
say, our composition is not a ‘psalm of thanksgiving’, nor a ‘hymn’ in the
proper sense. Its framework indicates that we are dealing with a wisdom
psalm (cf. Psalm 91) with a hymnic bias (note v. 9).15
The parallels between Psalms 91 and 92 are impressive and overwhelm-

ing; therefore, the compositions in question form ‘twin psalms’ of which
the structural correspondences have already been pointed out above. For
the relationship in terms of verbal repetition, see: lyhwh (v. 2) > 91,2; šmk
(v. 2) > 91,14 (šmy); ‘lywn (v. 2) > 91,1.9; lylh (v. 3) > 91,5; root yd‘
(v. 7) > 91,14; rš‘ym (v. 8) > 91,8 (end canto!); ’th (v. 9) > 91,9 (begin-
ning canto!); wtbt. ‘yny (v. 12) > 91,8 (b‘ynyk tbyt.); mr‘ym (v. 12) > 91,10
(r‘h); bw (v. 16) > 91,2.16
For the relationship with Psalm 90 see, among other things, the follow-
ing verbal repetitions: bbqr h.sdk (v. 3) > 90,14 (cf. also v. 6); root śmh.
(v. 5) > 90,14–15; p‘lk (v. 5) > 90,16(!); m‘śy ydyk (v. 5) > 90,17b–c; root
rnn (v. 5) > 90,14; root yd‘ (v. 7) > 90,11–12; root .sys. (v. 8) > 90,6.
3.8 Bibliography
N.M. Sarna, ‘The Psalm for the Sabbath Day (Ps 92)’, JBL 81 (1962), pp. 155–68;
J. Magonet, ‘Some Concentric Structures in Psalms’, Heythrop Journal 23 (1982),
pp. 365–76;
J. Bazak, ‘Numerical devices in biblical poetry’, VT 38 (1988), pp. 333–37;
R.M. Davidson, ‘The Sabbatic Chiastic Structure of Psalm 92’, paper delivered
at the SBL annual meeting, Chicago, 1988;
15
Cf. J.K. Kuntz, ‘The Canonical Wisdom Psalms of Ancient Israel: Their Rhetorical,
Thematic, and Formal Dimensions’, in J.J. Jackson and M. Kessler (eds), Rhetorical
Criticism: Essays in Honor of James Muilenburg, Pittsburgh, 1974, pp. 186–222; note
pp. 198–99.207.213–14.
16
See also Auffret (1993), pp. 315–17 (‘l’enchaı̂nement’).
psaume 119 (SupplVT 48), Leiden: Brill, 1993, pp. 301–17;

O. Loretz, ‘Psalm 92. Ugaritische Texte und Gattungsforschung’, UF 25 (1993),
pp. 275–88;
Philo, 2002, pp. 225–39;
P. Riede, ‘“Doch du erhöhest wie einem Wildstier mein Horn”: Zur Metaphorik
in Psalm 92,11’, in P. Van Hecke and Antje Labahn (eds.), Metaphors in the
Psalms (BEThL 231), Leuven: Peeters, 2010, pp. 209–16.
ii.4 psalm 93 47
4 Psalm 93
Structure: 2.3 lines (Type IB)
1 yhwh mlk g’wt lbš lbš yhwh ‘z ht’zr
’p tkwn tbl bl tmwt. 2 nkwn ks’K M’Z M‘WLM ’th
3 nś’w nhrwt yhwh nś’w nhrwt qwlm yś’w nhrwt dkym

4 Mqlwt mym rbym ’dyrym mšbry ym ’dyr bmrwm yhwh
5 ‘dtyK n’mnw m’d lbytK n’wh qdš yhwh L’RK YMYM
4.1 Text
Vv. 1–2: it is generally agreed that the colometric structure is at variance with
the verse division of MT. Fokkelman (MPHB III, pp. 181–84) takes v. 2
as only one colon, ignoring the ’atnah. in m’z.
V. 4b—’dyrym mšbry ym: ‘mighty are the breakers of the sea’, a parenthesis
(so MT; cf. Barthélemy [2005], p. 664); some exegetes prefer to read ’dyr
mmšbry ym (cf. v. 4a).
4.2 Content
Description of God’s everlasting kingship.
• God has established his kingship (v. 1a–b), the world and his throne
stand firm (vv. 1c–2).
• God is exalted above the forces of chaos (vv. 3–4) and his command-
ments are enduring (v. 5; cf. vv. 1c–2).

4.3.1.1 vocative: yhwh, v. 3a 4.3.1.2 none

4.3.2.1 ’p, v. 1c 4.3.2.2 vocative: yhwh, v. 5c
‘wlm, v. 2b
m’d, v. 5a
’rk ymym, v. 5c

’z, v. 2a ’th, v. 2b

vv. 1–2: lbš lbš/tbl bl, vv. 1a–b and 1c resp. (alliter.)
‘z ht’zr/ks’k m’z, vv. 1b and 2a resp. (alliter.; exactly linear)
vv. 3–5: yhwh, vv. 3a.4c.5c; note yhwh vocative in vv. 3a and 5c!
(inclusion)
qwl, vv. 3b.4a!
qwlm/mqlwt, vv. 3b and 4a resp.! (note also the alliter.)
mym rbym ’dyrym . . . ym/ymym, vv. 4a–b and 5c resp.
(alliter.)

vv. 1–2.3–5: yhwh, vv. 1a+b.3a+4c+5c!
lbš lbš/lbytk . . . qdš, vv. 1a–b and 5b resp. (allit.; inclusion)
tkwn . . . bl tmwt. nkwn/n’mnw, vv. 1c–2a and 5a resp.
(linear; note also the niph‘al forms tmwt., nkwn, n’mnw)
ks’k/bytk, vv. 2a and 5b resp. (linear)
suffix -k, vv. 2a.5a+b! (linear)
prep. mn, vv. 2a+b.4a!
m’z m‘wlm/l’rk ymym, vv. 2 and 5c resp. (epiphora)

none

lbš (v. 1 [2×]), root nś’ (v. 3 [3×]), nhrwt (v. 3 [3×]), ’dyr (v. 4 [2×]).

Psalm 93 has 5 verselines and 14 (= 2×7) cola. V. 3 is the middle verseline
(> 2+1+2 verselines).
Structure of strophes and cantos in terms of words: 18+27 (= 45 =
5×9 words in total). In terms of the number of words, v. 3 is once again
the centre of the poem: vv. 1–2.3.4–5 > 18+9+18 words. Labuschagne
has observed that this central tricolon is composed of 13+13+13 letters.1
1
See www.labuschagne.nl/ps093.pdf, Observation 1. For this feature, see further CAS
II, Ch. V, 2.6.4 (pp. 534–36).
ii.4 psalm 93 49
Additionally, v. 3 is the only line displaying the pure form of ‘staircase’

parallelism. And it is only in v. 3 that we find ‘die einzigen wirklichen
Handlungssätze im Psalm’ (Jeremias [1987], p. 18). In terms of meaning,
the verseline stands out in the composition because it is only here that the
psalmist describes the primordial forces resisting God’s creative power. At
the same time, the 13 letters of the cola refer to the God of Israel (13 is
the numerical value of the word ’h.d [‘One’]), indicating that it is he who
‘rules the waves’ (cf. v. 4). Therefore, I take v. 3 as the consciously designed
rhetorical centre of Psalm 93; cf. also Auffret (1991), pp. 105–06.
It is incontestable that the number nine has a structural function in this
poem: the individual strophes and as a result the entire poem are composed
of multiples of 9 words; additionally, the 9 words of v. 3 are flanked by a
multiple of 9 words.2
The divine name, yhwh, occurs 5×: vv. 1 (2×), 3, 4, 5. From this
perspective, v. 3 is once again(!) the middle verseline.3

Köster (1837): 1.2.3.4.5; similarly Pannier/Renard (1950)
Sommer (1846), p. 109: 1a–b.1c–2.3.4.5 (2.2.3.3.3 cola); similarly Gemser
Hävernick (1849), p. 41: 1–2.3–4.5 (2.2.1 verses); similarly De Wette (1856),
Ewald (1866), pp. 406–07, Calès (1936) and Pardee (1988)
Meier (1853), p. 106–08: 1–2.3–4b.4c–5 (9.9.9)
Delitzsch (1894): 1–2.3–4.5; similarly Schildenberger (1960), p. 684; cf.
Tate (1990)
Zenner (1906), p. 110: 1–2.3–4.5 (3.3.1 lines)
Duhm (1922): 1a–b*.1c–2.3.4.5 (5 tricola); similarly Gunkel (1926), Jacquet
(1977); cf. Sommer (1846)
Herkenne (1936): 1–4.5; similarly Mosis (1991), pp. 245–55 (note p. 254)
Kissane (1954): 1a–b.1c–4.5 (1.3.1 lines)
Beaucamp (1979): 1a–b 1c–2.3.4 5 (2 3.3.3 3 cola); cf. Duhm (1922)
Jeremias (1987), pp. 15–17: 1–2.3–5; cf. Auffret (1991), pp. 106–08
Girard (1994): 1–2.3|4.5 (a.b|b’.a’)
Howard (1997), pp. 42–43: 1a–b|1c–2.3|4.5 (8|10+9|9+9 words; v. 1a–b|
a.b|b’.a’); cf. Beaucamp (1979)
Hossfeld/[Zenger] (2000): 1aA 1aB–2.3–4 [5]
Fokkelman (2003), pp. 181–84: 1–2.3–5 (2.3 lines); cf. Jeremias (1987)
Terrien (2003): 1a–b.1c–2.3–4.5 (1.2.2.1 lines)
Weber (2003): 1aA 1aB–2.3–4.5 (v. 1aA 2.2.1 tricola)
2
For these and other numerical aspects, see also Fokkelman, MPHB III, pp. 183–84.
3
For the latter phenomenon, see CAS II, Ch. V, 2.1.1–2 (pp. 508–14).

Psalm 93 is composed of two strophes, vv. 1–2 and 3–5, displaying a par-
allelismus stropharum; cf. Psalm 100 (see § 11 below).4 For this bipartite
division, see especially the verbal repetitions in a linear position described
in § 4.4.2. In this respect, the reference to ‘a long time’ at the end of the
strophes (vv. 2 and 5c) is of fundamental importance; see also ‘wlm and
’rk ymym as transition markers in § 4.3.2.1. The epiphora in question is
only an aspect of the exactly linear correspondences between vv. 1c–2 and
5: the beginning of the verselines concerned is about ‘firmness’ and in the
middle colon the psalmist mentions the place from which God rules the
world (‘your throne’, ‘your house’).5 That is to say, v. 5 is not a relatively
independent verseline—as is generally assumed (see § 4.6)—but an integral
part of the second strophe.
The linear correspondence between vv. 1–2 and 3–5 in terms of verbal
repetitions has also a thematic counterpart. In the opening verseline(s)
of the strophes the psalmist describes God’s exaltedness as king (v. 1a–b)
and ruler over the primordial forces of chaos (vv. 3–4), while in the con-
cluding verseline (vv. 1c–2 and 5) he emphasizes the durability of God’s
supremacy. Jeremias (1987, p. 16) rightly notes: ‘beide [Strophen] lassen
die objektivierende Darstellung des Königtums Gottes übergehen in einen
Lobpreis’.6
It is in the concluding verselines of the strophes, vv. 1c–2 and especially
v. 5, where the psalmist praises God’s trustworthy and everlasting decrees,
that we find the quintessential thought of this composition.
Psalm 93 is based on and an elaboration of the pivotal words of the preced-

4
Similarly Jeremias (1987) and Fokkelman (MPHB III); see § 4.6. According to
Jeremias (p. 16), this bipartite structure is ‘Grundlegend für jede Deutung von Ps 93’.
With the exception of the opening verseline (v. 1a–b), all verselines are tricola; note the
Masoretic accentuation in vv. 3–5 and cf. once again Psalm 100.
5
Cf. Geller (2009), p. 328: ‘Ps 93:5 refers to the covenantal “testimonies”, that is
laws, for the cult established at creation. In this sense, v. 5 harks back to vv. 1c and
2, the establishment of the world “immovably”. It is the firm rules for the cult that
maintain this stability’.
6
The numerical devices described in § 4.5 and the linear parallelism between the
strophes clearly refute the opinion of Hossfeld/[Zenger] that v. 5 is a ‘spätere Nachinter-
pretation im Sinne von Gesetzes- und Tempelfrömmigkeit’ (p. 646); the same criticism
applies to Seybold (1996), p. 370 and Cross (2003), p. 76. In this way, the central
message of the psalm would be eliminated from the text.
As a consequence, it is also unlikely that the pre-exilic temple of Jerusalem is the
scene of the psalm; contra Jeremias (1987), pp. 26–28, Howard (1997), pp. 184–89, and
Weber (2003), p. 132. Like the other compositions of Book IV, Psalm 93 is a post-exilic
poem; so Delitzsch and Mosis (1991), p. 255.
ii.4 psalm 93 51
ing composition, Ps. 92,9 (‘yes, you are the Exalted for all time, O Lord’).7
For the relationship with the preceding psalm, see further the following ver-
bal repetitions: m‘wlm ’th (v. 2) > 92,9; staircase parallelism (v. 3) > 92,10
(Hitzig); mrwm (v. 4) > 92,9; n’mnw (v. 5) > 92,3 (’mwnh); m’d (v. 5) >
92,6; byt (v. 5) > 92,14.
Compare also m‘wlm ’th (v. 2) with Ps. 90,2 and l’rk ymym (v. 5) with
Ps. 91,16.
4.8 Bibliography
J. Jeremias, Das Königtum Gottes in den Psalmen. Israels Begegnung mit dem
kanaanäischen Mythos in den Jahwe-König-Psalmen (FRLANT 141), Göttingen:
Vandenhoeck & Ruprecht, 1987, pp. 15–29;
O. Loretz, Ugarit-Texte und Thronbesteigungspsalmen. Die Metamorphose des
Regenspenders Baal-Jahwe (UBL 7), Münster, 1988, pp. 275–303;
D. Pardee, ‘The Poetic Structure of Psalm 93’, SEL 5 (1988), pp. 163–70;
P. Auffret, ‘Yahve Regne: Etude structurelle du Psaume 93’, ZAW 103 (1991),
pp. 101–09;
R. Mosis, ‘“Ströme erheben, Jahwe, ihr Tosen . . . ”. Beobachtungen zu Ps 93’,
in F.V. Reiterer (ed.), Ein Gott, eine Offenbarung FS N. Füglister, Würzburg,
1991, pp. 223–55;
J. Eaton, Psalms of the Way and the Kingdom. A Conference with the Com-
mentators (JSOTS 199), Sheffield, 1995;
D.M. Howard, The Structure of Psalms 93–100 (BJS 5), Winona Lake (Indiana):
Eisenbrauns, 1997, pp. 34–43;
F.M. Cross, ‘Notes on Psalm 93: A Fragment of a Liturgical Poem Affirming
Yahweh’s Kingship’, in B.A. Strawn and Nancy R. Bowen (eds.), A God So Near.
FS P.D. Miller, Winona Lake (Indiana): Eisenbrauns, 2003, pp. 73–77;
H. Spieckermann, ‘Der theologische Kosmos des Psalters’, Berliner Theologische
Zeitschrift 21 (2004), pp. 61–79;
S.A. Geller, ‘Myth and Syntax in Psalm 93’, in N.S. Fox e.a. (eds.), Mishneh
Todah. FS J.H. Tigay, Winona Lake (IN): Eisenbrauns, 2009, pp. 321–31.
7
‘“In nuce—sagt Hitzig treffend—ist dieser Ps. bereits im 9. V. des vorhergehenden
enthalten . . . ”’; Delitzsch (1894), p. 602.
5 Psalm 94
Structure: 7.8.8 > 4.3|4.4|4.4 > 2.2|2.1||2.2|2.2||2.2|2.2 lines (Type IB)
I.1 1 ’l nqmwt yhwh ’l nqmwt hwpy‘h

2 hnś’ špt. h’rs. HŠB gmwl ‘L g’ym
3 ‘d MTY rš‘ym yhwh ‘d MTY rš‘ym y‘lzw

4 yby‘w ydbrw ‘tq yt’mrw kl P‘LY ’WN
I.2 5 ‘Mk YHWH ydk’w WNH . LTk y‘nw

6 ’lmnh wgr yhrgw wytwmym yrs.h.w
7 W y’mrw l’ yr’h YH wl’ YBYN ’LHY y‘qb
II.1 8 BYNW b‘rym b‘m wksylym MTY tśkylw

9 hnt.‘ ’zn hl’ yšm‘ ’m ys.r ‘yn hl’ ybyt.
10 hysr gwym hl’ ywkyh. hmlmd ’dm d‘t

11 yhwh yd‘ mh.šbwt ’dm ky hmh hbl
II.2 12 ’šry hgbr ’šr tysrnw YH wmtwrtk tlmdnw

13 lhšqyt. lw mymy r‘ ‘d ykrh lrš‘ šh.t
14 ky l’ yt.š YHWH ‘Mw WNH . LTw l’ y‘zb

15 ky ‘d S.DQ YŠWB mšpt. w’h.ryw kl yšry lb (slh)
III.1 16 my yqwm ly ‘m mr‘ym my ytys.b ly ‘m P‘LY ’WN

17 lwly yhwh ‘zrth ly km‘t. šknh dwmh npšy
18 ’m ’mrty mt.h rgly h.sdk yhwh ys‘dny

19 brb śr‘py bqrby tnh.wmyk yš‘š‘w npšy
III.2 20 hyh.brk ks’ hwwt ys.r ‘ml ‘ly h.q

21 ygwdw ‘l npš S.DYQ wdm nqy yršy‘w
22 Wyhy yhwh ly lmśgb w’LHY ls.wr mh.sy

23 WYŠB ‘LYhm ’t ’wnm wbr‘tm ys.mytm ys.mytm yhwh ’LHYnw
ii.5 psalm 94 53
5.1 Text
V. 1b—hwpy‘h: imperative hiph‘il, see BHS and cf. Ps. 80,2; MT hwpy‘ (im-
perfectum), haplography.
V. 15b—slh: cf. LXX; not in MT.
V. 17b—dwmh: ‘netherworld’; see Gallagher, AfO 50 (2003/04), pp. 423–28.
V. 21a—ygwdw : from the root gdd, with the prep. ‘l ‘gather together against’.
5.2 Content
The wicked fools shall perish and the righteous shall live.
I Prayer invoking God’s vengeance over the wicked (I.1) and descrip-
tion of the distress of his people (I.2; Canto I is addressed to God).
I.1 O God, rise up to give the arrogant their deserts (vv. 1–2).
How long, o God, shall the evildoers boast (vv. 3–4)?
I.2 They crush the helpless of your people (vv. 5–6); and do not
reckon with God (v. 7).
II God punishes the fools (II.1) and saves his people (II.2).
II.1 Be wise, you fools (vv. 8–9; cf. vv. 1–4);
for God will surely punish you (vv. 10–11).
II.2 Happy the person, whom you instruct in your teaching, o
God (vv. 12–13; addressed to God).
God will not forsake his people (vv. 14–15).
III God protects the suppliant (III.1) and pays back the wicked their
deeds (III.2).
III.1 God delivers me from the evildoers (vv. 16–17).
Your faithfulness, o God, protects me (vv. 18–19; addressed
to God).
III.2 The wicked threaten the innocent (vv. 20–21; cf. vv. 5–6).
However, God is my refuge (cf. vv. 16–17) and destroys the
villains (vv. 22–23).

5.3.1.1 vocative: ’l nqmwt, v. 1a+b; vocative: yhwh, v. 3a
ext. // špt. h’rs. in v. 2a vocative: yhwh, v. 5a
vocative: yhwh, v. 1a imperative: bynw, v. 8a
imperative: hwpy‘h*, v. 1b; vocative: b‘rym b‘m, v. 8a
ext. // imperat. hnś’ and vocative: ksylym, v. 8b
hšb in v. 2a and 2b resp. mty, v. 8b
mty, v. 3a+b h- interrogative, v. 10a
’šry, v. 12a vocative: ys.r ‘ml, v. 20b

vocative: yh, v. 12a w- beginning of line, v. 22a;
my, v. 16a+b ext. // w- in v. 23a
’mrty, v. 18a
vocative: yhwh, v. 18b 5.3.1.2 none
h- interrogative, v. 20a

5.3.2.1 hmh, v. 11b 5.3.2.2 w- beginning of line, v. 7a
slh, v. 15b*

h- interrogative, v. 9a+b
lwly, v. 17a

vv. 3–4: rš‘ym/p‘ly ’wn, vv. 3a+b and 4b resp.
y‘lzw/p‘ly ’wn, vv. 3b and 4b resp. (alliter.; epiphora)
vv. 5–7: yhwh/yh, vv. 5a and 7a resp. (inclusion)
ydk’w . . . y‘nw/yhrgw . . . yrs.h.w, vv. 5 and 6 (epiphora;
note -w, 3-rd person masc. plural)
w- beginning of the colon, vv. 5b.6b.7b (exactly linear)
vv. 10–11: hmlmd/hmh hbl, vv. 10b and 11b resp. (alliter.)
’dm, vv. 10b.11a!
} chiasmus
root yd‘, vv. 10b.11a!
vv. 12–13: prep. mn, vv. 12b.13a!
vv. 14–15: ky, vv. 14a.15a (anaphora)
suffix -w, vv. 14a+b.15b
w- beginning of the colon, vv. 14b.15b (exactly linear)
vv. 16–17: ly, vv. 16a+b.17a; see also suffix -y in v. 17b
vv. 18–19: rgly/bqrby, vv. 18a and 19a resp. (alliter.; exactly linear)
suffix -y, vv. 18a.19 (3×); see also -ny in v. 18b
h.sdk/tnh.wmyk, vv. 18b and 19b resp. (exactly linear)
vv. 20–21: prep. ‘ly/‘l, vv. 20b.21a
vv. 22–23: w- beginning of the colon, vv. 22a+b.23a+b (anaphora)
yhwh . . . w’lhy/yhwh ’lhynw, vv. 22.23c
ii.5 psalm 94 55

vv. 1–4 (I.1): staircase parallelism, vv. 1 and 3 (linear)
yhwh (vocative), vv. 1a.3a (exactly linear)
vv. 8–11 (II.1): ‘m/gwy, vv. 8a and 10a resp. (linear)
h- . . . hl’, vv. 9a.10a (concat.); see also hl’ in v. 9b!
vv. 12–15 (II.2): ’šry . . . ’šr/yšry, vv. 12a and 15b resp. (alliter.;
inclusion)
yh/yhwh, vv. 12a and 14a resp. (linear)
suffix -w, vv. 13a.14–15 (concatenation); see also -nw
in v. 12a+b
prep. ‘d, vv. 13b.15a (linear)
vv. 16–19 (III.1): suffix -y, vv. 16–17.18–19; see also -ny in v. 18b
yhwh, vv. 17a.18b (concat.)
npšy, vv. 17b.19b! (epiphora)
vv. 20–23 (III.2): prep. ‘l, vv. 20b+21a.23a
w- beginning of the colon, vv. 21b.22–23 (concat.)

vv. 1–7 (Canto I): ’l (‘God’)/’lhym, vv. 1a+b and 7b resp.
(inclusion)
yhwh (vocative), vv. 1a+3a.5a
yt’mrw/y’mrw, vv. 4b.7a (root ’mr; linear); see
also ydbrw in v. 4a
vv. 8–15 (Canto II): ‘m (‘people’), vv. 8a.14a (inclusion)

w- beginning of the second colon, vv. 8.12+14–15
l’, vv. 9–10 (3×).14 (2×
root ysr // root lmd, vv. 10.12! (concatenation)
’dm/gbr, vv. 10b+11a and 12a resp. (concat.)
yhwh, vv. 11a.14a (linear); see also yh in v. 12a
ky, vv. 11b.14a+15b! (linear)
hbl/lb, vv. 11b and 15b resp. (alliter.; epiphora)
vv. 16–23 (Canto III): my/h- interrogative, vv. 16a+b and 20a resp.
(anaphora)
mr‘ym/r‘tm, vv. 16a and 23b resp.
} chiasmus
’wn/’wn, vv. 16b and 23a resp.
(inclusion)
suffix -y, vv. vv. 16–17+18–19.22a+b!
yhwh + ly, vv. 17a.22a (inclusion); see also yhwh
in vv. 18b.23c, ly in v. 16a+b! and prep. l- in

v. 22a+b
npš, vv. 17b+19b.21a!
suffix -k, vv. 18b+19b.20a (concatenation)

vv. 1–4.8–11.16–19: nqmwt . . . nqmwt/yqwm, vv. 1 and 16a resp.
(alliter.)
roots nś’/qwm, vv. 2a and 16a resp.
gmwl . . . g’ym/gwym, vv. 2b and 10a resp. (alliter.)
mty, vv. 3a+b.8b!
p‘ly ’wn, vv. 4b.16b!; see also rš‘ym in v. 3a+b
and mr‘ym in v. 16a
’m, vv. 9b.18a!
vv. 5–7.12–15.20–23: ‘m . . . wnh.lh, vv. 5.14!

suffix -k (referring to God), vv. 5a+b.12b
yhwh, vv. 5a.14a
} chiasmus
yh, vv. 7a.12a!
w- beginning of the second colon, vv. 5–7.12+
14–15.21–23
w- beginning of the line, vv. 7a.22a+23a! (exactly
linear); cf. also ky at the beginning of the line in
vv. 14–15
l’ . . . l’, vv. 7.14 (linear)
’lhym, vv. 7b.22b+23c!; note ’lhy y‘qb, ’lhy and
’lhynw
suffix -nw/-nw, vv. 12a+b and 23c resp.
root rš‘, vv. 13b.21b (exactly linear)
root .sdq, vv. 15a.21a!
root šwb, vv. 15a.23a (exactly linear)
vv. 5–7.8–11, concatenation: l’ . . . l’, vv. 7.9; see also l’ in v. 10a

roots r’h/nbt., vv. 7a and 9b resp.
w- beginning of the second colon, vv. 5–7.8
root byn, vv. 7b.8a!
vv. 1–2.22–23, inclusion: root šwb hiph‘il + prep. ‘l, vv. 2b.23a!
ii.5 psalm 94 57

root ’mr (v. 18), h- interrogative (v. 20), prep. l- (v. 13 [3×]), prep. ‘d (v. 3
[2×]), root r‘ ‘ (v. 13), root rš‘ (v. 3 [2×])

’l nqmwt (v. 1 [2×]), ys.mytm (v. 23 [2×]), ys.r (vv. 9.20), kl (vv. 4.15), prep.
‘m (v. 16 [2×]), root špt. (vv. 2.15)

Psalm 94 has 11 strophes, 23 verselines and 47 cola. Vv. 12–13 represent
the pivotal strophe (> 5+1+5 strophes). The special position of the strophe
is strengthened by the fact that within the second canto it is only in vv.
12–13 that the psalmist addresses God in second person. V. 12 is the
middle verseline (> 11+1+11 verselines). From a theological perspective,
the line in question is a focal point in the poem: happy is the man whom
you instruct in your teaching! That is to say, we are dealing with the
rhetorical centre of the psalm.1 The 23 poetic verselines (which coincide
with the Masoretic verses) probably indicate that we are dealing with an
alphabetizing composition. The alphabetizing character is reinforced by
the 11 strophes, the 11 verselines framing v. 12, the letter ’aleph at the
beginning of the first cola of Canto I (v. 1a+b) and the letter beth at the
beginning of the three words of the first colon of Canto II (v. 8a); see also
below, about the 11 occurrences of the divine name. Additionally, v. 12b
is de middle colon (> 23+1+23 cola).
Structure of strophes and cantos in terms of words: 13+15|10+8||15+14|
15+17||19+13|14+16 = 28+18|29+32|32+30 = 46+61+62 (= 169 = 13×13
words in total).2
The divine name, yhwh/yh, occurs 11×: vv. 1, 3, 5, 7 (yh), 11, 12
(yh), 14, 17, 18, 22, 23. From this point of view also, v. 12 is the middle
verseline, because the divine name in v. 12a—in its short form yh—is the
centre of the eleven instances.3 The designation ’lhym (‘God’) is found 3×:
vv. 7, 22, 23; twice it is ’l (v. 1).
1
Similarly www.labuschagne.nl/ps094.pdf, Observation 1, and Fokkelman, MPHB II,
p. 250.
2
Fokkelman also has 169 words (MPHB II, p. 510). However, this number is not
consistent with the fact that he deletes the relative pronoun ’šr in v. 12a as ‘disruptive
and excessive’ (pp. 251–52).
3
Cf. Psalms 92 and 93!; see further CAS II, Ch. V, 2.1.1–2 (pp. 508–14).

Köster (1837): 1–3.4–7.8–11|12–15.16–19.20–23 (3.4.4|4.4.4 verses); simi-
larly Calès (1936)
Hävernick (1849), p. 42: 1–3.4–7.8–11.12–15.16–19.20–23 (3.5×4 verses);
similarly De Wette (1856), Gemser (1949), Kissane (1954)
Ewald (1866), pp. 360–62: 1–7.8–15.16–23 (7.8.8 verses; probably, a verse
is missing in the first strophe)
Ley (1875), pp. 145–47: 1–2.3–4.5–6.7–8.9–10.11–13 (‘Mittelstrophe’).
14–15.16–17.18–19.20–21.22–23 (5×2.3.5×2 lines); cf. Duhm (1922)
and Jacquet (1977)
Delitzsch (1894): 1–3.4–7.8–11.12–15.16–19.20–23 (6.4×8.9 cola)
Grimme (1902), pp. 162–63: 1–4.5–7*|8–11.12–15|16–19.20–23 (3×16
‘Dreiheber’)
Zenner (1906), pp. 152–54: 1–3.4–7|8–15|16–19.20–23 (3.3|8|4.4 lines)
Gunkel (1926): 1–2.3–4.5–7|8–9.10–11|12–15||16–17.18–19|20–21.22–23; cf.
Podechard (1954), J. Ridderbos (1958)
König (1926): 1–4.5–7.8–11.12–15.16–19.20–23; similarly Herkenne (1936);
cf. NAB (1970)
Montgomery (1945), p. 383: 1–2.3–7.8–11.12–15.16–19.20–23 (2.5.4×4 lines);
similarly Van der Ploeg (1974); cf. Kraus (1978), Tate (1990)
Pannier/Renard (1950): 1–3.4–7.8–11|12–15.16–19.20–23 (6×4 lines)
Beaucamp (1979): 1–2 3–4.5–6|7–8.9–10|12–13.14–15|16–17.18–19|20–21.
22–23b 23c (4 5×8 1 cola; vv. 1–2 a.b.c.b’.a’ v. 23c)
De Meyer (1981), pp. 30–31.40–41: 1–2.3–7|8–11||12–15|16–19.20–23
Aletti/Trublet (1983), pp. 87–88: 1–2.3–4.5–6.7|8|9–11.12–15.16–21.22–23
(a.b.c.d|e|d’.c’.b’.a’)
Girard (1994): 1–7.8–15|16–19.20–23 (a.b|a’.b’)
Seybold (1996): 1–4.7–10.12–15.16–19.20–23 (5×4 lines; vv. 5–6 and 11 are
‘Erweiterungen’ [p. 372])
Auffret (1998): 1–6.7–12.13–15|16–19.20.21–23 (a.b.a’|c.d.c’); cf. Girard
Howard (1997): 1–7.8–11.12–15.16–23 (46+29+32+62 words); cf. Booij
Fokkelman (2000), pp. 248–52: 1–2.3–4.5–7|8–9.10–11|12–13.14–15|16–17.
18–19|20–21.22–23 (2.2.3|2.2|2.2|2.2|2.2 lines)
Hossfeld/[Zenger] (2000): 1–2.3–7.8–11.12–15.16–21.22–23
Terrien (2003): 1–3.4–6.7–9.10–12|13–15.16–18.19–21.22–23 (8×3 lines;
a.b.c.d|d’.c’.b’.a’)
Weber (2003): 1–3.4–7|8–11.12–15|16–19.20–23 (6.8|8.8|8.9 cola; A.B.A’)
ii.5 psalm 94 59

Psalm 94 clearly demonstrates that, in terms of verselines, the Hebrew
poets strove for quantitative regularity in their compositions, because our
poem divides into three almost regular cantos, vv. 1–7, 8–15 and 16–23,
consisting of 7, 8 and 8 verselines respectively. As is the case in Psalm 92
(see § 3 above), the cantos are composed of mostly 4-line canticles, vv. 1–4,
8–11, 12–15, 16–19 en 20–23; vv. 5–7 is a 3-line canticle. And in terms of
subject matter, it is on the latter structural level that the transitions from
one poetic unit to the following are most explicit; see § 5.2. Therefore, it
is not surprising to find that the regular framework of our psalm is often
recognized by exegetes, especially from v. 8 onwards; see § 5.6! The canticle
structure is reinforced by transition markers that conspicuously indicate the
beginnings of the units concerned; see § 5.3.1.1.
Subsequently, there are all kinds of thematic (§ 5.2) and formal features
indicating that the 4-line canticles consist of two 2-line strophes; see § 5.2
(content), § 5.3.1–2 (transition markers) and 5.4.1–2 (verbal repetitions).4
It is especially the vocative yhwh in vv. 1, 3 and 5 (see §§ 5.3.1.1 and 5.4.3)
which demonstrates that v. 4 is not the first verseline of a 4-line section
(vv. 4–7), opening a series of similar sections until the end of the psalm.
Vv. 3 and 4 constitute a 2-line strophe.5 The strophic division of vv. 8–11
(Canticle II.1) is based on analogy.
In the context of the regular canticle structure of our poem, v. 7—
in which the psalmist explicitly portrays the boasting of the wicked with
the help of a quotation—is a refrain-like verseline at the end of the second
canticle referring to v. 4 at the end of the first canticle.6 This interpretation
is corroborated by the repetition of the root ’mr in vv. 4 and 7; it is a
responsion marking the concluding verseline of successive canticles (§ 5.4.3).
For v. 4 as a concluding verseline, cf. also kl p‘ly ’wn in v. 4b with kl yšry
lb in v. 15b (the last words of Canticle II.2). It is only in vv. 5–6 that the
psalmist describes the suffering of God’s people oppressed by the wicked
(description of distress). This is the special idea of the second canticle,
vv. 5–7.7
As already indicated, in their turn, two by two the canticles form a
higher structural level in our psalm, that of three almost regular cantos.
From a formal point of view, it is the numerous verbal repetitions emerg-
4
See also Ley, Gunkel, Beaucamp and Fokkelman in § 5.6.
5
Contra Köster, Hävernick (c.s.), Delitzsch, Zenner, Pannier/Renard and Weber; see
§ 5.6.
6
See also Herkenne and Fokkelman in § 5.6.
7
The canticle division in question is in line with that of the first seven verselines of
Psalm 92: 4.3 verselines!
ing in the uneven canticles, vv. 5–7, 12–15 and 20–23, which support this
framework on a macrostructural level; note the following responsions: ‘m
. . . wnh.lh (‘people . . . inheritance’), yh, w- at the beginning of the line, ’lhym
(‘God’), the root .sdq (‘to be righteous’) and the root šwb (‘to return’) in
§ 5.4.4.8 The responsions concerned are an aspect of the linearly alternat-
ing parallelism constituting the total framework of Psalm 94: vv. 1–4.5–7|
8–11.12–15|16–19.20–23 > a.b|a’.b’|a’’.b’’.
The linear correspondence between the successive cantos has also se-
mantic components. The beginning of Cantos I and II is marked by an
exhortation to God and the fools respectively, vv. 1–2 and 8 (note the im-
peratives). God’s punishment of the fools, implicitly announced in Canticle
II.1 (note v. 10), harks back to the exhortation to take vengeance, expressed
in Canticle I.1 (note vv. 1–2). The description of distress we find in vv.
20–21 (Canticle III.2) is an echo of vv. 5–6 (Canticle I.2). The end of Can-
tos II and III is marked by the poets belief that justice will be done by God
(vv. 14–15 and 22–23 respectively).9
Finally, in terms of form-criticism, Gunkel (p. 413) has classified Psalm
94 as a poem of mixed styles. Canto I (vv. 1–7) has the characteristics of
a ‘(communal?) lament’. It is the only canto which is addressed to God
in its entirety; see further vv. 12–13 and 18–19. The third and concluding
canto (vv. 16–23) distinguishes itself from the preceding verselines because
from v. 16 onwards the psalmist for the first time speaks about himself in
first person. In terms of form-criticism, we are dealing with an ‘individual
lament’. The laments are interrupted ‘von weisheitlich argumentierenden
Passagen’ (Hossfeld/[Zenger], p. 652), vv. 8–15 (Canto II).10
The quintessential thought of Psalm 94 is to be found in the central
Canto II, vv. 8–15, in which the psalmist speaks of a fundamental opposi-
tion: God judges the fools (vv. 8–11) and does justice to his people (vv.
12–15); see also the concluding strophe, vv. 22–23, summarizing the con-
trast between the salvation of the righteous and the annihilation of the
wicked. This means that we are once again dealing with a wisdom poem,
8
Strangely enough, this overwhelming evidence is ignored by Fokkelman; cf. MPHB
II, p. 251 n. 81.
9
For the tripartite framework of our psalm, see also Ewald, Grimme, Zenner, Weber in
§ 5.6 and my STR, pp. 352–56. De Meyer (1981), p. 41, ignores the formal and semantic
distant relationships between the main parts when he opts in favour of a ‘diptyque avec
un volet plutôt négatif (les vv. 1–11) et une partie positive (les vv. 12–23)’.
10
See also J.K. Kuntz, ‘The Canonical Wisdom Psalms of Ancient Israel: Their
Rhetorical, Thematic, and Formal Dimensions’, in J.J. Jackson and M. Kessler (eds),
Rhetorical Criticism: Essays in Honor of James Muilenburg, Pittsburgh, 1974, p. 202,
and De Meyer (1981), pp. 34.41. That is to say, in this case, the form-critical approach
does not conflict with a rhetorical analysis; contra Girard (1994), pp. 546–47.549–50.
ii.5 psalm 94 61
dating from the post-exilic period;11 cf. Psalms 91 and 92. This character-
ization is underscored by the exclamation ’šry (‘happy!’) at the beginning
of the numerical centre of the poem in terms of strophes, vv. 12–13, and
verselines, v. 12 (§ 5.5).
For the relationship with the preceding psalm see, among other things,
the following verbal repetitions: staircase parallelism (vv. 1 and 3) > 93,3
(Delitzsch, p. 606); root nś’ (v. 2) > 93,3 (3×); g’ym (v. 2) > 93,1 (begin-
ning of the psalm); root dk’ (v. 5) > 93,3; ywm (v. 13) > 93,5; mwt. (v. 18)
> 93,1; rb (v. 19) > 93,4; ks’ (v. 20) > 93,2.12
Simultaneously and as already indicated above, there is a conspicuous re-

lationship with Psalm 92 (cf. Tate, p. 476, and Hossfeld/[Zenger], p. 640);
see also the following verbal repetitions: staircase parallelism (vv. 1 and 3)
> 92,10; p‘ly ’wn (vv. 4.16) > 92,8.10; l’ ybyn (v. 7; see also byn in v. 8)
> 92,7; b‘r (v. 8) > 92,7; ksyl (v. 8) > 92,7; ’zn (v. 9) > 92,12; root šm‘
(v. 9) > 92,12; ‘yn (v. 9) > 92,12; root nbt. (v. 9) > 92,12; yšr (v. 15) >
92,16 (the end of a canto!); h.sdk (v. 18) > 92,3; .sdyq (v. 21; see also .sdq in
v. 15) > 92,13; .swr mh.sy (referring to God, v. 22) > 92,16 (s.wry; the end
of the poem!).13
See further: v. 7 > 73,11 (the concluding verseline of Canto I); b‘r (v. 8)
> 73,22 (the concluding verseline of Canto II).
5.8 Bibliography
E. de Meyer, ‘La sagesse psalmique et le Psaume 94’, Bijdragen 42 (1981), pp.
22–45;
P. Auffret, ‘Essai sur la structure littéraire du Psaume 94’, BN 24 (1984), pp.
44–72;
—, ‘Qui se lèvera pour moi? Étude structurelle du Psaume 94’, Rivista Biblica
46 (1998), pp. 129–56;
—, ‘Psalm 94 among the Kingship-of-Yhwh Psalms’, CBQ 61 (1999), pp. 667–85.
11
For the wisdom character of the psalm, see also De Meyer (1981). Tate (p. 488)
rightly notes that ‘the psalm probably makes use of traditional language and elements
which may be much older than its composition’.
12
See also Howard (1999), pp. 671–75.
13
Everything points to the fact that the structures of the psalms of the Fourth Book
of the Psalter must be investigated in their mutual relationships!
6 Psalm 95
Structure: 5.6 > 2.3|2.2.2 lines (Type IB)
I 1 LKW nrnnh lYHWH nry‘h ls.wr yš‘NW

2 nqdmh PNYw btwdh bzmrwt nry‘ lw
3 KY ’l gdwl yhwh wmlk gdwl ‘l kl ’LHYM

4 ’ŠR bYDW mh.qry ’rs. wtw‘pwt hrym lw
5 ’ŠR lw hym wHW’ ‘Śhw wybšt YDYW ys.rw
II 6 B’W nšth.wh wnkr‘h nbrkh lPNY YHWH ‘ŚNW 7 KY HW’ ’LHYNW

w’nh.nw ‘m mr‘ytw ws.’n YDW hywm ’m bqlw tšm‘w
8 ’l tqšw lbbkm kmrybh kywm msh bmdbr

9 ’šr nswny ’bwtykm bh.nwny gm r’w p‘ly
10 ’rb‘ym šnh ’qwt. bdwr w’mr ‘m t‘y lbb hm whm l’ yd‘w drky
11 ’ŠR nšb‘ty b’py ’m yb’wn ’l mnwh.ty
6.1 Text
Vv. 6–7: verse division at variance with MT; as regards the colometry of v. 7,
I take ‘m mr‘ytw // ws.’n ydw in v. 7b–c as a break-up of a stereotyped
phrase (cf. Pss. 79,13a and 100,3c; similarly Howard and Weber).
6.2 Content
Call to praise God as the Lord of the universe and to worship him obedi-
ently as the Shepherd of his people.
I Call for praise to God because he surpasses all the gods (with refer-
ence to creation).
Let us praise our God (vv. 1–2).
He is King above the gods and Creator of the universe (vv. 3–5).
II Call for obedience because God is the Shepherd of his people (with
reference to history).
Let us respectfully bow down before our God and obey him (vv.
6–7; cf. vv. 1–2).
‘Do not be stubborn as your fathers have been in the wilderness’
(vv. 8–9; exhortation).
‘Forty years, I loathed them and I swore that they would not enter
“my resting place”’ (vv. 10–11; warning).
ii.6 psalm 95 63

6.3.1.1 imperative: lkw, v. 1a nbrkh, v. 6
cohortatives: nrnnh . . . ’l prohibitive, v. 8a
nry‘h, v. 1; ext. // nqdmh ’mr imperf. 1 sing., v. 10b
in v. 2a
imperative: b’w, v. 6a 6.3.1.2 hw’, v. 7a
cohortatives: nšth.wh wnkr‘h

6.3.2.1 hw’, v. 5a 6.3.2.2 none
’nh.nw, v. 7b
gm, v. 9b

w- beginning of the line, v. 7b hm, v. 10b+c

vv. 1–2: nry‘ (h), vv. 1b.2b!
prep. l-, vv. 1a+b.2b
vv. 3–5: ’šr, vv. 4a.5a (anaphora)
yd + suffix -w, vv. 4a.5b
} chiasmus
lw, vv. 4b.5a
suffix -w, vv. 4b.5b (epiphora)
vv. 6–7: b’w nšth.wh/w’nh.nw, vv. 6a and 7b resp. (alliter.; anaphora)
vv. 8–9: suffix -km, vv. 8a.9a!
vv. 10–11: prep. b-, vv. 10a.11a (exactly linear)
suffix -y, vv. 10c.11a+b (epiphora)

vv. 1–5 (Canto I): yhwh, vv. 1a.3a (exactly linear)
ls.wr/ys.rw, vv. 1b and 5b resp. (alliter; inclusion)
lw, vv. 2b.4b+5a! (linear)
vv. 6–11 (Canto II): root bw’, vv. 6a.11b!

} chiasmus (inclusion);
‘m (‘people’), vv. 7b.10b!
note also the alliteration ‘m mr‘ytw/w’mr ‘m
t‘y in vv. 7b and 10b resp.

w’nh.nw/bh.nwny/mnwh.ty, vv. 7b, 9b and 11b resp.
(alliter.; linear)
ywm, vv. 7d.8b! (concatenation)
’m, vv. 7d.11b! (linear)
}
bqlw tšm‘w/nšb‘ty b’py, vv. 7d and 11a (alliter.)
chiasmus
lbb, vv. 8a.10b! (linear)
kmrybh . . . bmdbr/’rb‘ym . . . bdwr, vv. 8 and 10a
resp. (alliter.; linear)
’šr n-, vv. 9a.11a (exactly linear); see also ’aleph at
the beginning of the line in vv. 8.10 (Seybold)
suffix -y, vv. 9b.10–11 (epiphora; concatenation)

vv. 1–2.6–7: lkw n-/b’w n- (imperative + cohortative 1 plural),
vv. 1a and 6a resp. (anaphora); cf. Psalm 96
prep. l- + yhwh, vv. 1a.6b (linear)
nry‘h/wnkr‘h, vv. 1b and 6a resp. (alliter.; linear)
suffix -nw (1 plural), vv. 1b.6b+7a! (linear)
yš‘nw/‘śnw, vv. 1b and 6b resp. (alliter.; linear)
pnym, vv. 2a.6b!
vv. 3–5.8–11: ’šr, vv. 4a+5a.9a+11a! (exactly linear)

wybšt/nšb‘ty b’py, vv. 5b and 11a resp. (alliter.)
vv. 3–5.6–7, concat.: ky, vv. 3a.7a!

’lhym, vv. 3b.7a!; see also ’l (‘God’) in v. 3a
bydw/bqlw, vv. 4a and 7d resp.
yd + suffix -w, vv. 4a+5b.7c!
hym/hywm, vv. 5a and 7d resp. (alliter.)
hw’, vv. 5a.7a!
} chiasmus
root ‘śh, vv. 5a.6b!

suffix -w (vv. 2a.5a[-hw ].7b)

gdwl (v. 3 [2×]), hm (v. 10 [2×])
ii.6 psalm 95 65

Psalm 95 has 5 strophes, 11 verselines and 25 cola. Vv. 6–7 represent the
middle strophe, vv. 6–7a is the middle verseline (> 5+1+5 lines) and v. 7a
the pivotal colon (> 12+1+12 cola).1 The pivotal colon has 3 words and
11 letters. This colon is a very pithy and important confession of faith:
‘yes, he is our God!’ Therefore, I consider v. 7a the rhetorical centre of the
psalm (see also the next paragraph).
Structure of strophes and cantos in terms of words: 12+24|19+14+20
= 36+53 (= 89 words in total). On the basis of this approach, the pivotal
position of v. 7a once more comes to light: vv. 1–6.7a.7b–11 > 43+3+43
words.2 The divine speech in vv. 8–11 has exactly 34 (= 2×17) words.3
The divine name, yhwh, occurs 3×: vv. 1, 3, 6. Twice God is desig-
nated ’lhym: vv. 3, 7; and in v. 3 it is ’l.

Köster (1837): 1–2.3–5.6–7.8–9.10–11 (2.3.2.2.2 verses)
Sommer (1846), pp. 123–24: 1–2.3–5.6–7c|7d–9.10–11 (4.6.4|5.5 cola)
De Wette (1856): 1–2.3–5.6–7c|7d–11
Ewald (1866), pp. 412–13: 1–6.7*–11 (6.6 verses); cf. Pannier/Renard
Delitzsch (1894): 1–2.3–7c.7d–11 (4.10.10 cola)
Zenner (1906), pp. 92–93: 1–2.3–5|6–7b.7c–8+11 (5.5 lines)
Duhm (1922): 1–2.3–4.5–6.7a–c*; 7d–9*.10–11 (4×2 bicola; 2×4 bicola)
Gunkel (1926): 1–5.6–7c|7d–11; similarly NAB (1970), Brandscheidt (2011)
König (1927), pp. 107–12: 1–5.6–11; similarly Braulik (1987)
Calès (1936): 1–2.3–5|6–7c.7d–9.10–11 (2.3|2.2.2 lines; ‘il ne paraı̂t guère
possible de découvrir une strophique régulière’); cf. Van Petegem
(2008), pp. 245–49
Herkenne (1936): 1–7c.7d–11; similarly Ridderbos (1958), Kraus (1978),
Tate (1990), Savran (2003)
Kissane (1954): 1–2.3–7c.7d–11 (2.5.5 lines); cf. Delitzsch (1894)
Podechard (1954): 1–2.3–5.6–7c|7d–9.10–11; cf. Gemser (1949)
Schildenberger (1960), p. 686: 1–2.3–5.6–7c|7d–9.10–11 (2.3.2|2.2 lines)
Davies (1973), p. 195: 1–2.3–5.6–7c.7d–11
1
To put it otherwise: v. 7a is embraced by 13 cola on either side, because vv. 1–7a
and 7–11 have 13 cola each.
2
Similarly Howard (1997), pp. 58–59 (‘midpoint of the poem’) and Labuschagne
(www.labuschagne.nl/ps095.pdf, Observation 1).
3
Cf., e.g., Psalm 132 with 2×26 divine words; for the remarkable compositional for-
mula 34 = 19+15 in Ps. 95,8–11 and Deut. 1,34–40, see www.labuschagne.nl/ps095.pdf,
Observations 2–3.
Jacquet (1977): 1–2.3–5.6–7b|7c–9.10–11 (2.3.2|3.3 bicola)

Beaucamp (1979): 1–2.3–5.6.7a–c|7d.8–9.10.11 (4.6.2.3|1.4.4.2 cola)
Girard (1994): 1–2.3.4–5|6.7a.7b–c||7d.8–9bA.9bB.10.11 (a.b.c|a’.b’.c’||d.e.
f.e’.d’)
Prinsloo (1995): 1–2.3–5|6–7c||7d|8–9.10–11
Howard (1997): 1–2.3–5|6–7c||7d–11
Fodor (1999), pp. 82–89: 1–5.6–7c|7d–8.9–11
Hossfeld/[Zenger] (2000): 1–5|6–7c|7d.8–11
Doeker (2002), pp. 249–50: 1–3.4–5.6–7c.7d.8–9.10–11 (5 strophes)
Fokkelman (2003), pp. 184–87: 1–2.3–5.6–7c|7d–9.10–11 (2.3.2|3.2 lines)
Terrien (2003): 1 2–3.4–5.6–7c.7d–9.10–11 (1 5×2 lines)
Weber (2003): 1–2.3–5|6–7c||7d–9.10–11 (10.5|10 cola; A.B|A’)

Recent scholarly discussions about the structure of Psalm 95 still focus on
the relationship between vv. 1–7c and 7d–11. It is generally assumed that
we are dealing with ‘contrasting voices’ (Savran).4 The division concerned
harmonizes with a form-critical approach. Gunkel divides the psalm into
two clearly distinguishable sections: the first main part is a ‘hymn’ (vv.
1–7c) and the second main part an ‘oracle’ (vv. 7d–11). Because of the
implicitly accusatory character of the oracle, according to some critics it
is inconceivable that we are dealing with an original unity.5 Nevertheless,
recent investigators—taking into account (among other things) the verbal
repetitions between the ‘hymn’ and the ‘oracle’—generally conclude that
the units in question form a coherent whole.6
In my opinion, the discussion about the relationship between vv. 1–7c
and 7d–11 is unnecessarily complicated by the rhetorically questionable
point of departure that the oracle we find in vv. 8–11 constitutes a main
part of the composition. And mesmerized by the special character of vv.
8–11, exegetes generally take v. 7d as an independent colon introducing the
divine speech; see § 6.6. Below, I will argue that the main caesura in Psalm
95 is not to be found after v. 7c, but after v. 5. At the same time, there
are no compelling reasons to separate v. 7d from the preceding strophe.
4
So, Fokkelman (MPHB III, p. 184) maintains: ‘The overall division of this song is
simple’. In this respect, see also the survey of the interpretations of the psalm by Davies
(1973), pp. 183–87.
5
See, e.g., Duhm in § 6.6 and Seidl (1998), pp. 109–11.
6
See Davies (1973), Braulik (1987), pp. 35–39, Girard (1994), pp. 571–73, Prinsloo
(1995), Hossfeld/[Zenger] (2000), Savran (2003), and Brandscheidt (2011), p. 2; cf. also
Leuenbeger (2004), p. 150.
ii.6 psalm 95 67
Our psalm is composed of two almost regular cantos, vv. 1–5 and 6–11,
consisting of five and six verselines respectively.7 Each canto opens with a
call of the psalmist to his fellow believers, the people of Israel; note the im-
peratives lkw and b’w in vv. 1a and 6a respectively.8 This form of anaphora
coincides with a whole cluster of exclusive responsions emerging in vv. 1–2
and 6–7; see § 6.4.3. The successive cantos are concluded by verselines
opening with the relative pronoun ’šr, see vv. 4–5 and 9.11 (§ 6.4.3).9
From a structural point of view, vv. 6–7c reflect vv. 1–5 in a nutshell:
the call of v. 6 corresponds to vv. 1–2 and the motivation v. 7a–c to v. 3–5.
At the beginning of a new canto, the cola in question function as a kind of
‘summary’ of what precedes.10
The bipartite division vv. 1–5.6–11 is further supported by the thematic
individuality of each of the cantos. From the very outset, it is clear that
in terms of semantics v. 6 is the beginning of a new main section. The
imperative b’w (‘come’; v. 6a) does not introduce an exhortation for praise,
like lkw in vv. 1–2, but for prostration and reverence: ‘let us bow down and
kneel, bend the knee’. Although Girard does not consider v. 6 the beginning
of the second main part of the psalm, he nevertheless aptly describes the
differences between vv. 1–2 and 6–7c: in vv. 1–2 ‘on exulte, debout, en
marche, avec cris, clairons et tambours’, while in vv. 6–7c ‘“en face” du Dieu
de l’élection et de l’alliance, on plie le genou par terre, immobile, en silence,
tout à l’écoute’ (p. 566). With the cohortatives expressing reverence (v. 6)
the psalmist also preludes his exhortation to be obedient to God’s voice
(v. 7d).11
At first sight, v. 7d represents a sudden shift in the train of thought
indeed: ‘O, that today you would hear his voice!’ In this colon the psalmist
is no longer an integral part of his people. In vv. 1–2 and 6–7c he was
speaking in first person plural (‘we’ and ‘us’), but from v. 7d onwards
the psalmist dissociates himself from the group—probably because of their
7
For this type of macrostructure, see Ch. IV, 2.3 below.
8
For these varied imperatives introducing successive cantos, cf. šyrw/hbw in Ps. 96,1.7
and šyrw/hry‘w in Ps. 98,1.4.
9
Note Van Petegem (2008), p. 246. For such formal devices marking the end of
successive cantos, see the overview in CAS I, Ch. V, 3.2.2 (pp. 480–81).
10
Cf. Ps. 91,9–10 at the beginning of the second canto of the poem (see § 2.7). For
the relationship between vv. 1–5 and 6–7c, see also Girard (1994), pp. 564–68. In the
context of the relationship between Psalms 95 and 100, which has often been observed,
the metaphor of Israel as the flock of God’s care (v. 7b–c) is a natural continuation of
v. 7a; see Ps. 100,3.
11
Similarly Jeremias (1987), p. 111. In this respect, it is worth noting that a form of
the root šh.h (or h.wh?, ‘to bow down’; see v. 6a) also exclusively occurs in the second main
part of the following psalms; see Pss. 96,9 and 97,7. For the structural correspondences
in terms of meaning between Psalm 95–97, see below.
unreliability—and addresses the people of Israel in second person plural

(‘you’ and ‘your’; note also vv. 8–9). However, the cola vv. 7a–c and 7d
form a tight group. They have strong affinities with Deuteronomy. V. 7a–c
is a variation on the bipartite covenant formula. And within this formula
the listening to God’s voice has its proper place; see Deut. 26,17–19 27,9–10
and cf. Jer. 7,23 11,1–5.12
Subsequently, to underline his plea for obedience (v. 7d), the psalmist
calls to mind the forty years of Israel’s sojourn in the wilderness and their
stubborn behaviour during that period as a warning (vv. 8–11). This look-
ing back on the past is put in the form of a divine speech. The strophes
concerned represent an unmarked quotation. There is probably no ‘cultic
reality’ (Mowinckel) underlying this oracle; it is not an actual oracle spoken
by someone in the courtyard of the temple (contra Davies [1973], p. 192).13
The oracle functions as a literary device at the end of the composition re-
inforcing the message of the psalmist; cf. Ps. 91,14–15. The elaboration in
vv. 8–10 on the theme of Israel as ‘a people of erring heart’ (‘m t‘y lbb,
v. 10b) perfectly fits the metaphor of Israel as God’s ‘flock’ (s.’n, v. 7b–c);
see Isa. 53,6 (klnw ks.’n t‘ynw ) and Jer. 50,6 (cf. also Ps. 119,176).14
I conclude that, different from vv. 1–5, in vv. 6–7 as well as in vv. 8–11
the psalmist speaks of the people of Israel (as a historical phenomenon).15
The bipartite structure of Psalm 95 is not based on the difference between
a ‘hymn’ and an ‘oracle’, but between God as the Lord above the gods (vv.
1–5) and God as the Shepherd of the people of Israel (vv. 6–11), between
‘heaven’ and ‘earth’. For the coherence of vv. 6–11 in terms of verbal repeti-
tions, see § 6.4.2.16 At the beginning of the past century, Calès (pp. 192–93)
already rightly discerned the subject matter of the main parts: ‘Hymne
de louange et d’action de grâces à Iahvé, Créateur et Maı̂tre suprême de
l’univers’ (vv. 1–5); ‘Humble hommage et exhortation à l’obéissance envers
12
Cf. Fodor (1999), pp. 153–54. For the bipartite covenant formula in combination
with the metaphor of the people of Israel as God’s flock, see Ez. 34,30–31.
13
So rightly Doeker (2002), p. 257. The latter position is rather popular with scholars;
see Doeker (2002), pp. 255–57.
14
This semantic relationship is also noted by Savran (2003), p. 27; cf. further Dahood,
Psalms II, pp. 354–55.
15
Cf. also Booij (1994), p. 149.
16
My findings regarding the macrostructure of Psalm 95 are corroborated by the
rhetorical framework of Psalms 96 (a ‘twin-psalm’ of Psalm 95!; see § 7.7 below) and
97. Both poems consist of two cantos. And in both cases the first canto is especially
about God’s kingship in heaven, while the second canto is mainly about the effect of his
sovereignty on earth (the second canto of Psalm 95 is about what should be the effect
of it). Psalm 100 is only about the effect of God’s sovereignty on the people of Israel
(‘his faithfulness is for all generations’). On the other hand, there are no structural
similarities at all between Psalms 95, 50 and 81; contra Fodor (1999).
ii.6 psalm 95 69
le Créateur et le Pasteur d’Israël’ (vv. 6–11).17

The linearly alternating correspondences between Cantos I and II con-
stitute a fundamental rhetorical aspect of the poem. In this light, the
conspicuous verbal repetitions we find in vv. 3–5 and 6–7 (see § 6.4.3) are
to be taken as concatenations. This rhetorical aspect of the composition
does not harm its bipartite framework, but demonstrates the skill of the
poet. His literary work of art may be seen from different perspectives and
each time a new facet of its structure brightens up. The creator of the
universe (note vv. 4–5) is the same as Israel’s maker (note vv. 6b and 7c).
The strophic structure of the psalm does not pose many problems. We
are mostly dealing with 2-line strophes: vv. 1–2, 6–7, 8–9 and 10–11 (note
the ‘embedded speech’ in vv. 10b–c and 11b); vv. 3–5 have three bicolic
verselines. As argued above and already indicated by MT, v. 7d belongs
to the preceding cola. Vv. 6–7 form a 2-line strophe, consisting of two
tricola.18 In both cases, the third colon (vv. 7a and 7d) represents the apex
of the verseline; the preceding cola (vv. 6 and 7b–c) are only introductory.19
Both concluding cola open with an emphatic word: ky (‘yes’), hywm (‘this
day’). For the thematic individuality of the strophes, see § 6.2; for more
formal characteristics, see especially §§ 6.3.1.1 and 6.4.1–2.20
The quintessential thought of Psalm 95 is to be found in the middle
strophe, vv. 6–7 (> 2+1+2 strophes). It is especially the combination
of the concluding cola of the tricola concerned (v. 7a+d) which expresses
the message of the composition. The credo ‘yes, he is our God!’ (v. 7a)
is the basis of the exhortation ‘this day, that you would listen to his voice!’21
the following verbal repetitions: .swr (v. 1) > 94,22 (concatenation); ’rs.
17
Cf. also Zenner (1906), p. 93: ‘Die erste Strophe enthält die Aufforderung . . . Gott
die gebührende Verehrung zu zollen . . . . Die zweite Strophe ist eine eindringliche Er-
mahnung zum eigentlichen Gehorsam’; for Zenner’s divison, see § 6.6. Van Petegem
(2008, pp. 247–49) characterizes vv. 1–5 as ‘strophe paı̈enne’ and vv. 6–11 as ‘strophe
de l’action’. The bipartite division concerned—with a major break between vv. 5 and
6—is only rarely recognized; see also König in § 6.6, Braulik (1987), pp. 35–39, and
Jeremias (1987). The critical review of Braulik’s reasoning by Doeker (2002), p. 254,
demonstrates a lack of insight into the formal design of Hebrew poetry.
18
Similarly Labuschagne (www.labuschagne.nl/ps095.pdf, Observation 2).
19
In the tricola of Ps. 100,1–3 the situation is precisely the opposite; here the first
cola (vv. 1 and 3a) express the leading idea.
20
For the strophic structure of our psalm, see also Köster (1837)!; cf. further Sommer,
Calès, Podechard, Schildenberger, Fokkelman and Weber in § 6.6.
21
Prinsloo (1995) and Savran (2003) one-sidedly stress that v. 7d represents the cen-
tral message of the composition. Like the preceding psalms, Psalm 95 is a post-exilic
composition; Tate (1990), p. 500, Prinsloo (1995), p. 407, Tucker (2000).
(v. 4) > 94,2; ’l (‘God’; v. 3) > 94,1a+b; root ys.r (v. 5) > 94,9.20; ‘m
(‘people’; vv. 7.10) > 95,5.8.14; root p‘l (v. 9) > 94,4.16; hm (v. 10 [2×])
> 94,11.22
6.8 Bibliography
R. Schmid, ‘Heute, wenn ihr auf seine Stimme hört (Ps. 95,7), in J. Schreiner
(ed.), Wort, Lied und Gottesspruch, II. FS J. Ziegler (FzB 1–2), Würzburg:
Echter Verlag, 1972, pp. 91–96;
G.H. Davies, ‘Psalm 95’, ZAW 85 (1973), pp. 183–98;
C.B. Riding, ‘Psalm 95,1–7c as a Large Chiasm’, ZAW 88 (1976), p. 418;
G. Braulik, ‘Gottes Ruhe—Das Land oder der Tempel? Zu Psalm 95,11’, 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: Katholisches Bibel-
werk, 1986 (2nd edn 1987), pp. 33–44;
W.S. Prinsloo, ‘Psalm 95: If Only you Will Listen to his Voice!’, in M.D. Car-
rol et al. (eds.), The Bible in Human Society. FS J. Rogerson (JSOTS 200),
Sheffield: Sheffield Academic Press, 1995, pp. 393–410;
T. Seidl, Scheltwort als Befreiungsrede. Eine Deutung der deuteronomistischen
Paränese für Israel in Ps 95,7c–11, in H. Keul and H.-J. Sander (eds.), Das Volk
Gottes. Ein Ort der Befreiung. FS E. Klinger, Würzburg, 1998, pp. 107–20;
J.S. Fodor, Psalm 95 und die verwandten Psalmen 81 und 50. Eine exegetische
Studie (THEOS 32), Hamburg: Verlag Dr. Kovač, 1999;
W.D. Tucker Jr., ‘Psalm 95: Text, Context, and Intertext’, Biblica 81 (2000),
pp. 533–41;
G.W. Savran, ‘The Contrasting Voices of Psalm 95’, RB 110 (2003), pp. 17–32;
P.B. Van Petegem, ‘Sur le psaume 95’, SJOT 22 (2008), pp. 237–52;
Renate Brandscheidt, ‘“Heute, wenn ihr auf seine Stimme hört” (Ps 95,7). Lit-
erarische Gestalt und theologische Aussage des Invitatorialpsalms 95’, TThZ 120
(2011), pp. 1–25.
22
See also D.M. Howard, ‘Psalm 94 among the Kingship-of-Yhwh Psalms’, CBQ 61
(1999), pp. 667–85; note pp. 675–78.
ii.7 psalm 96 71
7 Psalm 96
Structure: 6.8 > 6|4.4 > 3.3||2.2|2.2 lines (Type IB)
I 1 ŠYRW LYHWH šyr h.dš ŠYRW LYHWH KL H’RS.

2 ŠYRW LYHWH brkw ŠMW bśrw mywm lywm yšw‘tw
3 sprw BGWYM KBWDw bkl h‘mym npl’wtyw
4 KY gdwl yhwh wmhll m’d nwr’ hw’ ‘l kl ’lhym

5 KY kl ’lhy h‘mym ’lylym w yhwh ŠMYM ‘śh
6 hwd wHDR LPNYw ‘Z wtp’rt bMQDŠw
II.1 7 HBW LYHWH mšph.wt ‘mym HBW LYHWH KBWD w‘Z

8 HBW LYHWH KBWD ŠMW ś’w mnh.h wb’w lh..srwtyw
9 hšth.ww LYHWH bHDRT QDŠ h.ylw mpnyw KL H’RS.

10 ’mrw BGWYM yhwh mlk ’p tkwn tbl bl tmwt. ydyn ‘mym
[bmyšrym
II.2 11 yśmh.w hŠMYM wtgl h’rs. yr‘m hym wml’w
12 y‘lz śdy wkl ’šr bw ’z yrnnw kl ‘s.y y‘r
13 LPNY yhwh KY b’ KY b’ lšpt. h’rs.

yšpt. tbl bs.dq w ‘mym b’mwntw
7.1 Text
Vv. 1–9: As indicated by MT, all these verselines are bicola; see § 7.7.
7.2 Content
Call to praise God as Lord above the gods and Judge of the earth.
I Call to praise God as Lord above the gods.
O earth, praise God for his salvation (vv. 1–3).
He is more awesome than all divine beings (vv. 4–6).
II Call to pay tribute to God and worship him as Judge of the earth.
II.1 O your peoples, ascribe to God glory and strength in his temple
(vv. 7–8).
Bow down to God and proclaim his kingship: he judges the
peoples with equity (vv. 9–10).
II.2 Let the whole creation rejoice (vv. 11–12), because God rules the
world in faithfulness (v. 13; cf. vv. 9–10).

7.3.1.1 imperative: šyrw, v. 1a+b; v. 7a
ext. // šyrw . . . brkw in imperatives: hšth.ww . . .
v. 2a, bśrw in v. 2b and h.ylw, v. 9; ext. ’mrw in
sprw in v. 3a v. 10a
vocative: kl h’rs., v. 1b vocative: kl h’rs., v. 9b
imperative: hbw, v. 7a+b;
ext. // hbw in v. 8a, ś’w 7.3.1.2 m’d, v. 4a
and b’w in v. 8b hw’, v. 4b
vocative: mšph.wt ‘mym,

7.3.2.1 ’p, v. 10b 7.3.2.2 none

brk with object God, v. 2a
mywm lywm, v. 2b
’z, v. 12b

vv. 1–3: šyrw lyhwh, vv. 1a+b.2a! (anaphora); see also šyr (‘song’) in
v. 1a and prep. l- in v. 2b
suffix -w internally // suffix -w, vv. 2.3 (epiphora)
vv. 5–6: ky, vv. 4a.5a (anaphora)
yhwh, vv. 4a.5b
} chiasmus
kl ’lhym, vv. 4b.5a!
vv. 7–8: hbw lywh, vv. 7a+b.8a (anaphora); see also prep. l- in v. 8b
kbwd, vv. 7b.8a
vv. 9–10: prep. b-, vv. 9a.10a+c
vv. 11–12: suffix -w, vv. 11b.12a; note wml’w/wkl ’šr bw resp.
v. 13: root špt., vv. 13b.13c!

vv. 7–10 (II.1): lyhwh, vv. 7a+b+8a.9a (concatenation); see also yhwh
in v. 10a
mšph.wt/hšth.ww, vv. 7a and 9a resp. (alliter.; linear)
ii.7 psalm 96 73
‘mym, vv. 7a.10c (inclusion)

suffix -w, vv. 8a+b.9a+b (concatenation)
vv. 11–13 (II.2): h’rs., vv. 11a.13b (linear)

prep. b- + suffix -w, vv. 12a.13d (linear); see also prep.
b- in v. 13c

vv. 1–6 (Canto I): yhwh, vv. 1a+b+2a.4a+5b (linear)
suffix -w internally // suffix -w, vv. 2–3.6 (linear)
prep. b-, vv. 3a+b.6b (linear)
h‘mym, vv. 3b.5a
npl’wtyw/lpnyw, vv. 3b and 6a resp. (alliter.; linear)
vv. 7–13 (Canto II): root bw’, vv. 8b.13a+b! (inclusion); cf. Ps. 95,6–11
yhwh, vv. 7–10.13a
pnym, vv. 9b.13a (linear)
tbl, vv. 10b.13c! (linear)
roots dyn/špt., vv. 10c and 13b+c resp.
‘mym b-, vv. 10c.13d (linear); see also ‘mym in v. 7a
bmyšrym/bs.dq . . . b’mwntw, vv. 10c and 13c–d
resp. (epiphora)

vv. 1–3.7–10: šyrw lyhwh/hbw lyhwh, vv. 1a+b+2a and 7a+b+
8a resp. (anaphora)
kl h’rs. vocative, vv. 1b.9b!
šmw, vv. 2a.8a! (linear)
} chiasmus
kbwd, vv. 3a.7b+8a!
prep. mn, vv. 2b.9b!
sprw bgwym/’mrw bgwym, vv. 3a and 10a resp.!
(exactly linear)
vv. 4–6.11–13: ky, vv. 4a+5a.13a+b!

šmym, vv. 5b.11a!
lpnyw/lpny yhwh, vv. 6a and 13a resp.! (linear)
bmqdšw/b’mwntw, vv. 6b and 13d resp. (epiph.)
vv. 4–6.7–10, concat.: hdr, vv. 6a.9a!

‘z, vv. 6b.7b!
root qdš, vv. 6b.9a!

Partially left out of consideration: kl (vv. 3.12 [2×]), prep. l- (v. 13)

Psalm 96 has 6 strophes, 14 (= 2×7) verselines and 29 cola. V. 8a is the
middle colon (> 14+1+14 cola).1
Structure of strophes and cantos in terms of words: 22+24||16+20|17+
13 = 46|36+30 (= 112 = 16×7 words in total). I conclude that the number
seven has a structural function in this poem; see the numbers in bold face.
Further, it appears that the middle colon, v. 8a, coincides with the centre
of the psalm on word level: vv. 1–7.8a.8b–13 > 54+4+54 words (cf. Psalm
95, § 6.5 above). At the same time, from a theological perspective, we are
dealing with an important message because the colon is about the glory of
God’s name (kbwd šmw ): ‘ascribe to the Lord the glory of his name’. We
are probably dealing with a consciously designed rhetorical centre.2
The divine name, yhwh, occurs 11×: vv. 1 (2×), 2, 4, 5, 7 (2×), 8, 9,
10, 13. From this perspective, v. 7a is the middle colon (> 5+1+5). Twice
the psalmist speaks about ’lhym (‘divine beings’): vv. 4 and 5.

Köster (1837): 1–3.4–6.7–10.11–13 (3.3.4.3 verses)
Sommer (1846), pp. 115–16: 1–3.4–6|7–9.10–12a|12b–13 (6.6|6.6|5 cola;
a.b|a’.b’|c); similarly Hävernick (1849), pp. 41–42, Berkowicz (1910),
pp. 18–20
De Wette (1856): 1–3.4–6.7–9.10–13 (3.3.3.4 verses)
Ewald (1866), pp. 410–11: 1–4.7–10.11–13 (4.4.4 verses; vv. 5–6 are a later
insertion and v. 13 represents two verses!)
Ley (1875), pp. 209–10: 1–3.4–6.7–9.10–12a.12b–13 (4×3.2 ‘Octameter’)
Delitzsch (1894): 1–3.4–6.7–9.10–11.12–13 (‘Die Sechszeiler [. . . ] sind nicht
zu verfehlen’)
Zenner (1906), pp. 122–23: 1–3.4–5+10b+9b+6|7–8+9a+10a.11–13
(3.4|3.4 lines)
Duhm (1922): 1–3.4–6.7–9.11–13* (4×3 bicola); similarly Delitzsch (1921),
p. 115; cf. Mowinckel (1957), p. 102
Gunkel (1926): 1–3.4–6|7–9.10a–b+11–12.13 (3.3|3.3.2 lines)
1
Similarly Fokkelman, MPHB III, p. 402.
2
Similarly Labuschagne, www.labuschagne.nl/ps096.pdf, Observation 1. This scholar
also notes that v. 8a is ‘embraced’ by 58 words on both sides (vv. 1–8a and 8a–13 have
58 words) and then points out that 58 is the numerical value of kbwd yhwh (= 32+26).
ii.7 psalm 96 75
Calès (1936): 1–3.4–6|7–9.10|11–12.13 (2.2|2.1|2.2 or 3.3|3.1|2.2 verselines;

‘L’hésitation reste permise’); cf. Ewald (1866), Gemser (1949) and
Auffret (1993)
Herkenne (1936): 1–3.4–6.7–9.11–13b.13c–d (4×6.2 cola); cf. Duhm (1922)
Montgomery (1945), p. 383: 1–3.4–6.7–9.10–13 (3.3.3.5 lines); cf. De Wette
(1856), Kraus (1978)
Kunz (1953): 1.2–3.4–5.6|7–8a.8b–9a.9c–10|11–12.13 (4.3.2 ‘Versgruppen’
> 2.4.4.2|3.2.4|4.4 cola)
Kissane (1954): 1–2.3–6.7–10.11–13 (2.4.4.4 lines)
Podechard (1954): 1–3.4–6|7–10|11–13 (9 tricola and one bicolon [v. 13c–d]);
cf. Calès (1936)
NAB (1970): 1–3.4–6.7–10.11–13; cf. Van der Ploeg (1974)
Jacquet (1977): 1–2a.4–5a.7–8a.8b–9a+10a; 2b–3.5b–6.9b+11.12–13a.
13b–d (4 tricola; 5 tricola)
Beaucamp (1979): 1–2a.2b–3.4–6|7–8a.8b–9.10a–b; 11–12.13 (3.3.6|3.3.2;
4.4 cola); cf. Podechard (1954)
Aletti/Trublet (1983), p. 88: 1–3.4–6|7–10a.10b–c|11–12.13 (a.b|a’.b’|a’’.b’’)
Tate (1990): 1–3.4–6|7–10.11–13
Girard (1994): 1–3.4|5–6.7–10a||10.11|12–13b.13c–d (a.b.|b’.a’||c.d|d’.c’;
yhwh mlk in v. 10a is ‘le coeur même du poème’ [p. 584])
Howard (1997), pp. 64–67: 1–3.4–6||7–9|10.11–13 (22+24||24|12+30 words;
the verselines are mostly tricola)
Hossfeld/[Zenger] (2000): 1–6.7–10.11–13 (v. 5 is an editoral insertion); cf.
Jeremias (1987), pp. 121–25
Fokkelman (2003), pp. 187–90: 1–3.4–6|7–8.9–10|11–12.13 (3.3|2.2|2.2 lines)
Terrien (2003): 1–3.4–6.7–9.10–12 13 (4×3 1 lines)
Weber (2003): 1–3.4–6|7–9|10–12a.12b–13 (2.3|2|2.2 verselines, mostly tri-
cola; A.B.A’)

Although from a rhetorical perspective Psalm 96 does not stand out as a
special composition in the tradition of Hebrew poetic craftsmanship, its
basic structure has not always been recognized.3 Exegetes often assume
that vv. 11–13 represent a relatively individual main part of the psalm,
alongside vv. 1–6 and 7–10.4 Others consider v. 10 the beginning of a new
3
‘Über die poetische Struktur des Psalms gibt es keinen Forschungskonsens’; Hoss-
feld/[Zenger] (2000), p. 666.
4
See Ewald, Calès, Kunz, Podechard, Hossfeld/[Zenger], Fokkelman and Weber in
§ 7.6. Beaucamp takes vv. 11–13 as part of another poem. According to Calès (1936),
p. 203, in terms of subject matter the tripartite division naturally reveals itself: ‘invi-
strophe; see § 7.6. Below, I will argue that vv. 7–10 and 11–13 are to be
taken as relatively individual canticles which together constitute the second
main part (Canto II) of the composition.
In my opinion, on the basis of the pattern of verbal repetitions on the
level of the poem as a whole, Psalm 96 divides into two almost uniform
cantos of 6 and 8 verselines respectively, vv. 1–6 and 7–13. The beginning
as well as the end of these main parts are clearly indicated by clusters of
exclusive responsions, constituting a linearly alternating parallelism: vv.
1–3.4–6|7–10.11–13 > a.b|a’.b’; note § 7.4.4.5 The anaphora marking the
beginnings of the cantos and expressing a call for praise and reverence
respectively (šyrw lyhwh/hbw lyhwh) is one of the most conspicuous aspects
of these responsions.6 And the expressions bmqdšw/b’mwntw precisely at
the end of the successive cantos (vv. 6b and 13d respectively) function as
the device for epiphora; note the preposition b- and the suffix -w referring
to God.7 The concatenations emerging in vv. 4–6 and 7–10 (see once again
§ 7.4.4) cannot undermine the main break between vv. 6 and 7; cf. the
verbal repetitions in Ps. 95,3–5.6–7.
In terms of semantics, each canto has its individual thematic develop-
ment. The call to praise God we find in the first canto (vv. 1–3) is motivated
by his sovereignty over the gods (vv. 4–6), while the call to worship God
characterizing the beginning of the second canto (vv. 7–9) is motivated by
his power to rule the earth with equity (vv. 10 and 13). That is to say,
Canto I is especially about God’s sovereignty in heaven and Canto II about
the effect of this sovereignty on earth (cf. Psalms 95 and 97).8
In the nineteenth century, Sommer (1846) was already aware of the en-
forced parallelism between vv. 1–6 and 7–12a; he was followed by Hävernick
(see § 7.6). More than sixty years later Berkowicz (1910) claimed to be able
to substantiate this parallelism with the help of responsions. However, all
tation à chanter Iahvé, grand et seul vrai Dieu; exhortation à tous les peuples à venir
lui rendre hommage [. . . ]; recommandation à toute la nature de tressaillir de joie à
l’approche de son avènement’.
5
The noun šmym (‘heaven’) in v. 5b (and see also ky in v. 5a) perfectly fits this linear
parallelism. This formal feature disproves the hypothesis that v. 5 is a later insertion;
contra Jeremias (1987), p. 122 n. 1, and Hossfeld/[Zenger] (2000), pp. 667–68, among
others.
6
Cf. lkw/b’w marking the beginning of the cantos of Psalm 95 and especially šyrw
lyhwh/hry‘w lyhwh marking the beginning of the cantos of Psalm 98. Girard in a rather
artificial way argues that the verbal repetitions in vv. 1–10a point to a symmetric struc-
ture (pp. 580–81).
7
For more examples of this device on the macrostructural level of a poem, see CAS I,
Ch. V, 3.2.1.3 (p. 479).
8
See also Jeremias (1987), p. 124, who notes that the call to the ‘families of the
peoples’ (v. 7) points to a historical transition.
ii.7 psalm 96 77
these scholars have taken it for granted that the number of cola in the main
parts should exactly correspond. And Berkowicz had only an eye for the
exactly linear correspondences. Giving up these presuppositions and incor-
porating vv. 12b–13 in the second canto the real pattern of the responsions
comes to light.9
It is generally recognized that the beginning of our psalm consists of
identical units, vv. 1–3 and 4–6, mostly taken as 3-line strophes.10 Obvi-
ously impressed by this regularity, many scholars assume that the 3-line
pattern also determines the length of the following strophes, e.g., vv. 7–9
and 10–12a; see § 7.6. However, this opinion is at variance with the formal
devices constituting the strophic structure of the second canto (vv. 7–13).
This canto is composed of an uninterrupted series of 2-line strophes, vv. 7–8,
9–10, 11–12 and 13.11 The vocative kl h’rs. (‘all the earth’) in v. 9b marks
the beginning of a new strophe (§ 7.3.1.1); cf. kl h’rs. in v. 1b and mšph.wt
‘mym (‘O families of the peoples’) in v. 7a. Like v. 13c–d, the concluding
verseline of the last strophe of the psalm, v. 10 is a concluding verseline
and not the beginning of a 3-line strophe; note the linear parallelism based
on the repetition of tbl (‘world’), ‘mym (‘peoples’) and bmšrym/b’mwntw
(‘with equity’/‘in faithfulness’). According to Booij (1994), pp. 156–57, the
proclamation of God’s kingship (v. 10) belongs to the praise of the kbwd
šmw (v. 8a) and the ‘bowing down’ before him (v. 9a). Additionally, the
jussives in vv. 11–12 mark the beginning of a new section.
It is especially the formal and semantic linear correspondences between
vv. 10 and 13 which are indicative of the canticle structure of Canto II; vv.
7–10 and 11–13 represent two balancing 4-line canticles.12 Vv. 11–13 are a
dramatic elaboration of v. 10 (Booij [1994], p. 157). These observations are
confirmed by the positioning of ’mrw bgwym (‘declare among the nations’)
in v. 10a, constituting one of the responsions characterizing the first part
of the cantos and the noun šmym (‘heaven’) in v. 11a constituting one of
the responsions characterizing the second part of the cantos (see § 7.4.4).
The concluding canticles of Psalm 96, vv. 7–10 and 11–13, culminate in
9
The bipartite division vv. 1–6.7–13 is also recognized by Zenner, Gunkel, Jeremias,
Tate and Howard; see § 7.6! However, these scholars do not systematically explore the
verbal repetitions which constitute the formal skeleton of the poem.
10
Contrary to the Masoretic verse division, some critics suppose that our psalm is
mainly composed of tricola; see Podechard, Jacquet, Beaucamp, Howard and Weber in
§ 7.6 (Calès [1936] hesitates). In this respect, Jeremias (1987), p. 124, rightly notes: ‘der
Liedbeginn in Ps 96 erreicht das kunstvolle der alten Poesie nicht, insofern in V. 1–2a
keine Steigerung vorliegt, sondern ein Nebeneinander von verschiedenen Aussagen’.
11
For the strophic division of vv. 7–13, see also Fokkelman, MPHB III, pp. 188–89.
12
Girard (1994), pp. 583–84, mistakenly takes the correspondences between vv. 10
and 13c–d as inclusions.
the proclamation of God’s faithful government of the earth; see v. 10 and

especially v. 13. And it is the message of these concluding verselines which
constitute the quintessential thought of the poem.13
Psalms 95 and 96 display many conspicuous similarities; some of these

have already been noted above. There is also the lengthening of the suc-
cessive cantos: 5 > 6 verselines (Psalm 95) and 6 > 8 verselines (Psalm
96). See further the following verbal repetitions: lyhwh (v. 1 etc.) > 95,1
(beginning of the poem!); yšw‘tw (v. 2) > 95,1 (beginning of the poem!); ky
gdwl yhwh . . . ‘l kl ’lhym (v. 4) > 95,3 (first line of the second strophe!);
root ‘śh (v. 5) > 95,5.6; lpnyw/lpny yhwh (vv. 6 and 13) > 95,6; root bw’
(vv. 8.13 [2×]) > 95,6.11; hšth.ww (v. 9) > 95,6 (beginning of Canto II);
root mlk (v. 10) > 95,3; root rnn (v. 12) > 95,1.14
Cf. further vv. 7–9a with Ps. 29,1–2 (beginning of the poem!);15 v. 10b
= Ps. 93,1c. For vv. 11–12, see Isa. 44,23 49,13 55,12; v. 1a = Isa. 42,10.
For the psalm as a whole, cf. 1 Chron. 16,23–33.16
7.8 Bibliography
R. Tournay, ‘Les Psaumes complexes. II. Le Psaume XCVI et ses antécédents’,
RB 54 (1947), pp. 533–42;
L. Kunz, ‘Die formale Anlage des 95. Psalms [Vulgatazählung]’, Münchener
Theologische Zeitschrift 4 (1953), pp. 349–56;
P. Auffret, ‘Splendeur et majesté devant lui. Étude structurelle du Psaume 96’,
OTE 6 (1993), pp. 150–62;
B. Weber, ‘Ein neues Lied’, BN 142 (2009), pp. 39–46;
W.D. Tucker, Jr., ‘Hortatory Discourse and Psalm 96’, VT 61 (2011), pp. 119–32.
13
Cf. also Jeremias (1987), p. 124, Fokkelman, MPHB III, p. 188, and Tucker (2011).
14
Cf. Auffret (1993), pp. 157–60.
15
See also Jeremias (1987), pp. 124–25.
16
Girard (1994), p. 580 n. 1, wittily notes: ‘dans la Bible, on ne se formalise guère
d’emprunter à l’emprunteur!’
ii.8 psalm 97 79
8 Psalm 97
Structure: 6.6 > 3.3|3.3 lines (Type IA)
I 1 yhwh mlk TGL H’RS. YŚMH . W ’yym rbym

2 ‘nn w‘rpl sbybyw s.dq wMŠPT . mkwn ks’w
3 ’š lpnyw tlk wtlht. sbyb .sryw
4 H’YRW brqyw tbl r’th wth.l h’rs.

5 hrym kdwng nmsw mlpny yhwh mlpny ’dwn kl h’rs.
6 hgydw hšmym S.DQw wr’w kl h‘mym KBWDW
II 7 ybšw kl ‘bdy psl hmthllym b’lylym hšth.ww lw kl ’lhym

8 šm‘h wTŚMH . .sywn wTGLNH bnwt yhwdh lm‘n MŠPT . yk yhwh
9 ky ’th yhwh ‘lywn ‘l kl H’RS. m’d n‘lyt ‘l kl ’lhym
10 ’hb yhwh śn’y r‘ šmr npšwt h.sydyw myd rš‘ym ys.ylm

11 ’WR zr‘ lS.DYQ wlyšry lb śmh.h
12 śmh.w S.DYQYM byhwh whwdw lzkr QDŠW
8.1 Text
V. 9: a tricolon, like vv. 7 and 8 (note the Masoretic accentuation); contra
Fokkelman (MPHB II, p. 235), who takes vv. 9a–b as one colon.
V. 10a—’hb yhwh śn’y r‘ : ‘the Lord loves those who hate evil’ (so Gunkel,
Jeremias, Booij [p. 164]); MT reads ’hby yhwh śn’w r‘ (‘O you who love
the Lord, hate evil’), which does not fit the context—see especially v. 10b.
V. 11a—zr‘ : ‘is sown’; so MT and similarly Barthélemy (2005), p. 675.
8.2 Content
The revelation of God’s kingship and its effect on earth.
I The revelation of God’s kingship in creation.
The whole world rejoices in God’s just kingship, which destroys
the adversaries (vv. 1–3; description of God’s glory).
The heavens and all the nations acknowledge God’s justice and
glory (vv. 4–6; description of a theophany).
II The effect of God’s kingship in history: the faithful are saved.
All those who worship images are humiliated (v. 7; cf. v. 3b), while
Israel rejoices in God as the supreme Judge on earth (vv. 8–9).
The righteous prosper (vv. 10–11); O you righteous, give thanks
to God (v. 12).

8.3.1.1 none 8.3.1.2 none

8.3.2.1 m’d, v. 9c 8.3.2.2 ’th, v. 9a
vocative: yhwh, v. 9a; ext.
// yhwh in v. 8c
imperative: śmh.w, v. 12a
vocative: .sdyqym, v. 12a

lm‘n, v. 8c

vv. 1–3: sbyb, vv. 2a.3b!
suffix -w, vv. 2b.3b (epiphora); see also vv. 2a and 3a
vv. 4–6: h’yrw/hrym/hgydw, vv. 4a, 5a and 6a resp. (allit.; anaphora)
suffix -w, vv. 4a.6a+b (inclusion)
root r’h, vv. 4b.6b! (inclusion; exactly linear); see also h’yrw
in v. 4a (alliter.)
h’rs., vv. 4b.5c (epiphora)
kl, vv. 5c.6b
vv. 7–9: kl ’lhym, vv. 7c.9c! (inclusion; exactly linear); see also yhwh
in v. 8c, kl in vv. 7a.9b and ’lylym in v. 7a (alliter.)
yhwh vocative: vv. 8c.9a!
vv. 10–12: yhwh, vv. 10a.12a (inclusion)
rš‘/s.dyq, vv. 10c and 11a+12a resp.!
prep. l-, vv. 11a+b.12b
.sdyq, vv. 11a.12a } chiasmus; see also h.syd in v. 10b
root śmh., vv. 11b.12a

vv. 1–6 (Canto I): yhwh/yhwh . . . ’dwn, vv. 1a and 5b–c resp.
tgl h’rs./wth.l h’rs., vv. 1a and 4b resp. (linear); see
also h’rs. in v. 5b
ii.8 psalm 97 81
’yym rbym/kl h‘mym, vv. 1b and 6b resp.

(inclusion)
.sdq, vv. 2b.6a
’š/brq, vv. 3a and 4a resp. (concatenation)
lpnym, vv. 3a.5b+c!
wtlht./wth.l, vv. 3b and 4b resp. (alliter.; concat.);
see also tlk in v. 3a
suffix -w, vv. 3b.6b (epiphora); see also vv. 2+3a
and 6a
vv. 7–12 (Canto II): roots hll/ydh, vv. 7b and 12b resp. (inclusion)
prep. b-, vv. 7b.12a! (inclusion)
prep. l-, vv. 7c.11–12 (inclusion)
suffix -w, vv. 7c.10b (linear)
śmh., vv. 8a.11b+12a
bnwt yhwdh/byhwh whwdw, vv. 8b and 12 resp.
(alliter.)
yhwh, vv. 8c+9a.10a+12a (concatenation)

vv. 1–3.7–9: root gyl, vv. 1a.8b!
} chiasmus
root śmh., vv. 1b.8a
h’rs., vv. 1a.9b
mšpt., vv. 2b.8c!
vv. 4–6.10–12: root ’wr, vv. 4a.11a!

prep. mn, vv. 5b+c.10c!
roots ngd/ydh (both hiph‘il), vv. 6a and 12b resp.
root .sdq, vv. 6a.11a+12a (end of the canto)
kbwdw/(zkr ) qdšw, vv. 6b and 12b resp.! (epiphora)
vv. 4–6.7–9: kl h’rs., vv. 5c.9b! (concatenation); see also kl in vv. 6b

and 7a+c+9c!

none

root ‘lh (v. 9 [4×])

Psalm 97 has 12 verselines and 29 cola (cf. Psalm 96). In terms of cola, v. 7
is the centre of the poem: > 13+3+13 cola. In the thematic context of the
psalm as a whole, the revelation of God’s power as King of the world, the
three middle cola represent a meaningful centre: those who worship images
will be dismayed and the divine beings themselves have to bow down.1
Structure of strophes and cantos in terms of words: 20+22|31+22 =
42+53 (= 95 = 5×19 words in total). The ten words of the three central
cola (v. 7) are enveloped by 42 and 43 words respectively, together 85 words.
That is to say, the power of God, which humiliates all who worship divine
beings, manifests itself in 5×17 (= 85) words and (13+13 =) 26 cola; both
numbers in bold face refer to the Tetragrammaton.
Probably, it is not by chance that v. 9b–c, dealing with God’s sovereignty,
at the same time constitute the middle cola of the second canto and its piv-
otal words: vv. 7–9a.9b–c.10–12 > 7+2+7 cola and 22+9+22 words.
The divine name, yhwh, occurs 6×: vv. 1, 5, 8, 9, 10, 12. In v. 5c God
is called ’dwn. Twice we find the designation ’lhym (‘gods’/‘divine beings’):
vv. 7 and 9.

Köster (1837): 1–5.6–7.8–12 (5.2.5 verses)
Hävernick (1849), p. 40: 1–3.4–6.7–9.10–12 (4×3 verses); similarly De
Wette (1856), Ewald (1866), pp. 407–09, Kissane (1954), Van der
Ploeg (1974)
Delitzsch (1894): 1–3.4–6.7–8.9(.10–12)
Zenner (1906), pp. 63–64: 1.2–3.4–5a+5c.6|7c.8–9.10a–b+11.12 (6.6 >
1.2.2.1|1.2.2.1 lines); similarly Calès (1936)
Duhm (1922): 1–3.4–6.7c–9; 10a–b+11–12 (3.3.3; 3 bicola)
Gunkel (1926): 1.2–6.7–9.10–12 (‘Regelmäßige Strophenbildung tritt nicht
hervor’); similarly Kittel (1929), Gemser (1949)
Herkenne (1936): 1–6.7–10.11–12
Pannier/Renard (1950): 1–6.7–9.10–12; similarly Dahood (1968), Seybold
(1996), [Hossfeld]/Zenger (2000); cf. Kraus (1978)
Podechard (1954): 1.2–4.5–6.7|8–9.10–11.12
Lipiński (1965), p. 271: 1.2–3.4–5.6–7.8–9.10–11.12; cf. Zenner (1906)
NAB (1970): 1–6.7–12; similarly Kuntz (1967)
1
Labuschagne points out the switches in the direction of address which strengthen
the central position of v. 7; see www.labuschagne.nl/ps097.pdf, Observations 1–2. Cf.
further Auffret (1995), pp. 63–64.
ii.8 psalm 97 83
Beuken (1974): 1|2–7.8–9|10–12

Jacquet (1977): 1.2–3.4–5.6|7–8.9–10.11–12 (1.2.2.1|2.2.2 lines)
Beaucamp (1979): 1–3.4–5a+5c–6|7a–b+8a–b+9.10b–12 (3.3|3.3 lines)
Aletti/Trublet (1983), pp. 88–89: 1|2–3.4.5–6|7|8–9.10a.10b–11|12 (a|b.c.b’|
d|e.f.e’|g)
Ravasi (1983), pp. 1013–15: 1.2–5.6|7.8.9|10.11.12 (a.b.a’|c.d.c’|e.f.e’)
Jeremias (1987), pp. 137–39: 1.2–5.6–9.10–12
Girard (1994): 1.2–4a.4b–6.7|8a–b.8c.9a–b.9c–12 (a.b.c.d|a’.b’.c’.d’)
Howard (1997), pp. 73–75: 1–6.7–9|10–12 (42+31|22 words); cf. Tate (1990)
Fokkelman (2000), pp. 252–56: 1–3.4–6|7–9.10–12 (3.3|3.3 lines; a.b|a’.b’);
similarly Weber (2003); cf. Beaucamp (1979)
Terrien (2003): 1 2–4.5–7.8–10 11–12 (1 3.3.3 2 lines)
www.labuschagne.nl/ps097.pdf: 1–4.5–6.7||8–9|10–12 (4.2.1||2|3 lines)

To a large extent, Psalm 97 is an anthology of quotations from other biblical
poems. However, as will be demonstrated below, that does not alter the
fact that our psalm is a carefully designed poetic work of art, displaying a
balanced framework on several structural levels. The psalm is composed of
two uniform cantos of six verselines each, vv. 1–6 and 7–12. In their turn
these cantos consist of two 3-line strophes, vv. 1–3.4–6 and 7–9.10–12.
From a formal perspective, the bipartite division of our composition
is indicated by the linearly alternating pattern of some verbal repetitions
on the level of the poem as a whole: vv. 1–3.4–6|7–9.10–12 > a.b|a’.b’;
see § 8.4.3 and note the root gyl (‘to exult’), the noun mšpt. (‘judgment’)
and the root ’wr (‘to light’).2 The epiphora marking the end of the cantos
is another distinct stylistic device supporting the bipartite structure of
our poem; see kbwdw (‘his glory’) and qdšw (‘his holiness’) in vv. 6b and
12b respectively.3 The linear parallelism between the cantos is further
reinforced by the structure of the poem in terms of the number of words.
The concluding strophes of the cantos, vv. 4–6 and 10–12, have exactly
22 (= 2×11) words each (§ 8.5).4 Finally, as is the case in Psalm 95, the
second canto opens with a strophe consisting of tricola only, vv. 7–9; cf.
2
Similarly Fokkelman (MPHB II), p. 254 (anyway, without referring to my STR,
p. 364!) and Weber (2003). Cf. also Girard in § 8.6. For the bipartite division vv. 1–6
and 7–12, see further Zenner, NAB, Jacquet and Beaucamp in § 8.6.
3
Cf. bmqdšw and b’mwntw in Ps. 96,6b and 13d respectively! For more examples of
this device on the macrostructural level of a poem, see CAS I, Ch. V, 3.2.1.3 (p. 479).
4
It is to be noted that the number 11 represents the idea of fulfilment: God’s saving
power will reveal itself completely.
Ps. 95,6–7, two tricola opening Canto II.5

The linearly alternating correspondences between the cantos have a the-
matic aspect as well. From this point of view, the parallelism between vv.
1–3 and 7–9 displays an ingenious chiasmus. The proclamation ‘the Lord
is King’ at the beginning of the poem (v. 1a) has its counterpart in v. 9
about God’s exaltedness above all divine beings. And v. 3b, which is about
the destruction of God’s enemies, has its counterpart in the opening cola of
v. 7, describing the humiliation of the worshippers of images (§ 8.2). More-
over, the heavenly scene of the lower gods gathered around and bowing
down before the supreme Lord, which is visualized in the concluding cola
of vv. 7–9 (see below), refers to God’s awesome appearance and power in
his heavenly abode, especially described in vv. 2–3a.
These structural considerations show that v. 1 is not a (relatively) in-
dividual verseline introducing the ‘description of theophany’ in vv. 2–6;
contra Gunkel, Beuken, Jeremias and Terrien, among others (see § 8.6).
The exulting of the earth (v. 1a) is an integral part of the first strophe (vv.
1–3); cf. the exulting of the ‘daughters of Judah’ in v. 6b. And accord-
ing to [Hossfeld]/Zenger (2000, pp. 677–78), v. 2 closely ties in with v. 1,
especially by the key word ‘throne’.
It is almost generally agreed that vv. 7–9 and 10–12 form two 3-line
units at the end of the poem; see § 8.6. With the expression kl ’lhym (‘all
divine beings’) which conclude vv. 7.9 and envelop the vocative yhwh at
the end of v. 8 (§ 8.4.1), the psalmist visualizes the message that the lower
gods are gathered around the Lord to honour him. The cola in question
deal with the effect of God’s sovereignty in heaven. The opening cola of the
verselines concerned (vv. 7a–b, 8a–b and 9a–b) are all about the effect of
God’s sovereignty in a historical situation on earth. On thematic grounds,
vv. 10–12, dealing with the protection and prosperity of the righteous, form
another 3-line unit. The imperative śmh.w (‘rejoice’) characterizes the final
verseline of the poem, v. 12 (§ 8.3.2.2).
As I have already suggested in the discussion of the parallelism between
Cantos I and II, it is most probable that Canto I also divides into two 3-line
strophes, vv. 1–3 and 4–6. The portrayal of God’s awesome appearance in
his heavenly abode (vv. 2–3) characterizes vv. 1–3 as a relative individual
strophe; see also sbyb (‘around’) in § 8.4.1. The end of this strophe is clearly
defined by a reference to the destruction of God’s enemies.6 As is the case
in vv. 7–9, the device for inclusion also marks the boundaries of vv. 4–6;
see the root r’h (‘to see’) in vv. 4 and 6 (§ 8.4.1). This strophe portrays
5
For the opening function of such strophes (consisting of tricola only), see also CAS I,
Ch. V, 6.2.1 (pp. 528–29).
6
For the rhetorical function of this motif, see above.
ii.8 psalm 97 85
the theophany proper and makes it clear that the whole creation is seeing
God’s glory.7
Our strophic interpretation of the first canto of Psalm 97 is confirmed
by the strophic structure of the first canto of Psalm 50, which also portrays
a theophany and also consists of two 3-line strophes (vv. 1–3 and 4–6).
The concluding cola of the last verseline of the first 3-line strophe of Psalm
50 read: ’š lpnyw t’kl // wsbybyw nś‘rh m’d (v. 3a–b). These cola clearly
correspond to the concluding verseline of the first 3-line strophe of Psalm
97. Obviously, this is not a matter of chance. In Psalm 50, the first colon of
the concluding verseline of Canto I (v. 6a) reads: wygydw šmym .sdqw. This
clause almost exactly parallels the corresponding colon in the first canto of
Psalm 97; see v. 6a.8 To crown it all, in both cases vv. 4–6 have 22 words.
Ps. 97,2b is a quotation from Ps. 89,15a (s.dq wmšpt. mkwn ks’k ). The
positioning of this colon in the central verseline of the first strophe of Psalm
97 has a structural function. As already pointed out above, the noun mšpt.
(‘judgment’) functions as a responsion on the level of the poem as a whole;
see the central verseline of the first strophe of Canto II (note v. 8c). The
well thought-out character of our ‘anthology’ further comes to light by the
fact that in its turn Ps. 97,8 is taken from Ps. 48,12. And as pointed
out above, the vocative yhwh in Ps. 97,8c—which does not occur in Ps.
48,12—is very functional in the 3-line strophe of vv. 7–9.
From a thematic point of view, vv. 1–3 and 4–6 dealing with theophany
form a tight unit. As far as the coherence of Canto II is concerned, there
are thematic relationships between vv. 7–9 and 10–12. First, there is an
antithetic connection between the opening cola of the strophes: those who
worship idols are humiliated (v. 7a), while God ‘loves those who hate evil’
(v. 10a; see § 8.1).9 Second, the strophes are concluded by verselines ex-
tolling God. It is only in vv. 8–9 that the psalmist explicitly addresses God
and in v. 9 he gives praise to God’s exaltedness. In v. 12 the poet addresses
the righteous with a call to give thanks. Third, the coherence between the
strophes involved is further emphasized by the inclusions which I have listed
in § 8.4.2! These inclusions reveal a contrast between those who ‘sing the
praises of idols’ (v. 7b) and those who ‘praise the Lord’ (v. 12).
7
For the uninterrupted sequence of 3-line strophes in our psalm, cf. also Hävernick,
Duhm, Beaucamp, Fokkelman and Weber in § 8.6. Indeed, it is very remarkable that
the beginning of the strophes is not indicated by transition markers; see § 8.3.1.1–2.
8
For the strophic structure of Psalm 50, see CAS II, Ch. II, 8 (pp. 82–91). The copula
w- in wygydw (Ps. 50,6a) has a structural function; cf. wqr’ny in 50,15a (the first colon
of the concluding verseline of Canto II).
9
Similarly Jeremias (1987), p. 140 n. 7 and p. 142. These cola have 13 letters each,
together 26 letters. That is to say, the message is sealed by the numerical value of God’s
name!
With reference to v. 9 as a perfect closure (for v. 9b, see Ps. 83,19b, and
for v. 9c, note Ps. 47,10d) and in view of the wisdom character of especially
vv. 10–12, some scholars have suggested that these concluding verselines
belong to the final redaction of Psalm 97.10 However, the well thought-
out framework of our psalm militates against this interpretation.11 From
a structural point of view, vv. 10–12 perfectly fit the composition; note
especially the root ’wr in § 8.4.3, the three lines of the strophe concerned
and its 22 words (cf. vv. 4–6). V. 12a, with its call to the righteous to
rejoice in the Lord, is a natural poetic closure; see Ps. 32,11a (for v. 12b,
see Ps. 30,5b). Moreover, the concluding strophe about the prosperity
of the ‘righteous’ (s.dyq) has its counterpart in the concluding canticle of
Psalm 92 (vv. 13–16). And as is the case in Psalm 92, this concluding unit
is the continuation of a description of the defeat of God’s ‘opponents’ (‘bdy
psl ); cf. 97,7–9 with 92,9–12.
As far as the thematic individuality of the cantos is concerned, I con-
clude that Canto I deals particularly with the manifestation of God’s power
in creation and Canto II with the manifestation of God’s reign in history.12
This thematic individuality of the main parts has its parallels in the canto
divisions of the preceding Psalms 95 and 96 (see §§ 6 and 7 above).
The quintessential thought of Psalm 97 is to be found in the concluding
strophes of the cantos: God’s awesome power manifests itself in creation
(vv. 4–6) and causes prosperity and joy for the faithful (vv. 10–12).
the following verbal repetitions: yhwh mlk (v. 1) > 96,10; tgl h’rs. yśmh.w
(v. 1; see also the root śmh. in vv. 8.11.12) > 96,11; root .sdq (vv. 2.6.11.12)
> 96,13 (end canto/poem!); mšpt. (vv. 2.8) > 96,13; lpnyw (v. 3) > 96,6; tbl
(v. 4) > 96,10.13; lpny yhwh (v. 5) > 96,13; kl h’rs. (vv. 5.9) > 96,1; h‘mym
(v. 6) > 96,5; kbwdw (v. 6) > 96,3.7.8; ’lylym (v. 7) > 96,5!; hšth.ww l- (v. 7)
> 96,9; ‘l kl ’lhym (v. 9; see also kl ’lhym in v. 7) > 96,4; qdš (v. 12) > 96,6.9.
For Psalm 97 as an anthology, cf. further Ps. 77,19b (> v. 4a); Ps. 77,17b
and Hab. 3,10a (> r’th wth.l in v. 4b); Mi. 1,4a (> v. 5a); Mi. 4,13f (> ’dwn
kl h’rs. in v. 5c); Isa. 40,5a–b (> v. 6b).13
10
So Delitzsch (1894), Duhm (1922), [Hossfeld]/Zenger (2000), pp. 676–77.
11
Similarly Jeremias (1987, p. 139 n. 5; cf. also Weber, pp. 150–51.
12
Cf. Gunkel (1926), p. 425: ‘Während der erste Teil des Liedes [. . . ] in phantastisch-
mythologischen Farben schwelgt, begibt sich der zweite 7–9 mehr in die Dinge dieser
Welt und schildert die Wirkung der Erscheinung Jahves auf die religiösen und politischen
Verhältnisse der Welt’.
13
See also Delitzsch (1894) and Jeremias (1987), p. 142.
ii.8 psalm 97 87
8.8 Bibliography
E. Lipiński, La Royauté de Yahvé dans la poésie et le culte de l’ancien Israël,
Brussel, 1965, pp. 273–75;
J.K. Kuntz, The Self-Revelation of God, Philadelphia: Westminster, 1967, pp.
203–14;
W.A.M. Beuken, ‘De vreugde om JHWH’s heerschappij. Een struktuuranalyse
van Ps. 97’, in M. Boertien et al. (eds.), Verkenningen in een stroomgebied. FS
M.A. Beek, Amsterdam, 1974, pp. 102–09;
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.
56–69;
W.S. Prinsloo, ‘Psalm 97: Almal moet bly wees, want Jahwe is koning’, Her-
vormde Teologiese Studies 51 (1995), pp. 1088–1113;
Eisenbrauns, 1997, pp. 66–75.
9 Psalm 98
Structure: 5.7 > 3.2|3.2.2 lines (Type IB)
I 1 ŠYRW LYHWH šyr h.dš KY npl’wt ‘śh

hwšy‘h lw ymynw wzrw‘ qdšw
2 hwdy‘ yhwh yšw‘tw l‘yny hgwym glh S.DQTw
3 zkr h.sdw w’mwntw lbyt yśr’l

r’w KL ’psy ’rs. ’t yšw‘t ’lhynw
II 4 HRY‘W LYHWH KL h’rs. ps.h.w wrnnw wzmrw

5 zmrw LYHWH bknwr bknwr wqwl zmrh
6 bh..s.srwt wqwl šwpr HRY‘W Lpny hmlk YHWH
7 yr‘m hym wml’w tbl wyšby bh

8 nhrwt ymh.’w kp yh.d hrym yrnnw
9 lpny yhwh KY b’ lšpt. h’rs.

yšpt. tbl bS.DQ w‘mym bmyšrym
9.1 Text
Vv. 1, 3 and 9: two bicola; similarly Fokkelman (2002), p. 105.
V. 2b–c: Fokkelman takes these words as a single colon (see also MPHB III,
p. 193 n. 62).
V. 9b: the words ky b’ should probably be inserted at the beginning of the
colon; see Ps. 96,13 and § 9.5 below.
9.2 Content
Call to praise God for his faithfulness to Israel and the nations.
I Call to sing praises to the Saviour (no addressee).
Praise the Lord because of his wonders to the people of Israel
(vv. 1 and 3a–b), done in the presence of all the nations (vv. 2
and 3c–d).
II Call to sing praises to the Judge of the earth (addressed to the whole
creation).
O earth, sing praise to the Lord with instruments (vv. 4–6).
Let the whole creation and its inhabitants rejoice (vv. 7–8),
for God will judge them with equity (v. 9).
ii.9 psalm 98 89

9.3.1.1 imperative: šyrw, v. 1a wzmrw, v. 4b; ext. //
imperative: hry‘w, v. 4a zmrw in v. 5a
vocative: kl h’rs., v. 4a
imperatives: ps.h.w wrnnw 9.3.1.2 none

9.3.2.1 none 9.3.2.2 imperative: hry‘w, v. 6b

none

vv. 1–2: lyhwh/lw, vv. 1a and 1c resp.
yhwh, vv. 1a.2a (inclusion)
root yš‘, vv. 1c.2a
suffix -w, vv. 1c (2×)+1d.2a+c (epiphora)
hwšy‘h/hwdy‘, vv. 1c and 2a resp. (alliter.; anaphora)
vv. 4–6: hry‘w/zmrw lyhwh, vv. 4a.5a (anaphora)
hry‘w, vv. 4a.6b! (inclusion)
lyhwh, vv. 4a.5a; see also l- + yhwh in v. 6b
root zmr, vv. 4b.5a+b!
prep. b- + wqwl, vv. 5b.6a!; see also b- in v. 5a
v. 9: root špt., vv. 9b.9c!

vv. 1–3 (Canto I): yšw‘t, vv. 2a.3d! (linear); see also yš‘ in v. 1c!
yšw‘tw l‘yny hgwym/h.sdw w’mwntw lbyt yśr’l, vv.
2a–b and 3a–b resp. (concatenation)
vv. 4–9 (Canto II): yhwh, vv. 4–6.9a

h’rs., vv. 4a.9b
root rnn, vv. 4b.8b!
wrnnw/nhrwt, vv. 4b and 8a resp. (alliter.)
lpny + yhwh, vv. 6b.9a!; see also lyhwh in vv. 4a.5a
tbl, vv. 7b.9c!

vv. 1–2.4–6: šyrw lyhwh/hry‘w lyhwh, vv. 1a and 4a resp. (anaphora);
see also lyhwh in v. 5a and hry‘w l- . . . yhwh in v. 6b!
vv. 3.9: ’mwnh/myšrym, vv. 3a and 9d resp.
vv. 1–2.9, inclusion: ky, vv. 1b.9a!

gwym/‘mym, vv. 2b and 9d resp.
root .sdq, vv. 2c.9c!
vv. 3.4–6, concatenation: kl + ’rs., vv. 3c.4a!

prep. b- (vv. 7b.9c+d), suffix -w (v. 7), prep. l- (v. 9b)

knwr (v. 5 [2×]), root šyr (v. 1a [2×])

Psalm 98 has 5 strophes, 12 verselines (cf. Psalm 97) and 25 cola. Vv.
4–6 represent the central strophe. Its central position is underlined by the
accumulation of the divine name (yhwh); see vv. 4a, 5a and 6b. V. 4b
is the middle colon (> 12+1+12 cola). The central position of this colon
is reinforced by the accumulation of imperatives calling for joy; note the
three successive imperatives ps.h.w wrnnw wzmrw (‘break forth and shout
joyfully and sing praise!’).1 This feature is unique for this poem and may
be considered an intentional variation on Isa. 52,9a ps.h.w rnnw yh.dw (‘break
forth and shout joyfully together’).
Structure of strophes and cantos in terms of words: 19+12|20+12+11
= 31+43 (= 74 = 2×37 words in total).2 Smit Sibinga has pointed out
1
Similarly Labuschagne, www.labuschagne.nl/ps098.pdf, Observation 1.
2
If we insert ky b’ in v. 9b (cf. Ps. 96,13), then our psalm has 76 (= 4×19) words. The
multiple of 19 words of which Psalm 97 is composed (see § 8.5 above), may be adduced
in support of this emendation.
ii.9 psalm 98 91
that l‘yny (‘in the sight of’) in v. 2b is the central expression of vv. 1–3
(Canto I; > 15+1+15 words).3
The divine name, yhwh occurs 6×: vv. 1, 2, 4, 5, 6, 9 (cf. once again
Psalm 97). Once God is designated ’lhym (v. 3).

Köster (1837): 1–3.4–6.7–9; similarly De Wette (1856), Delitzsch (1894),
Gemser (1949), Pannier/Renard (1950), NAB (1970), Howard (1997),
pp. 80–81, Hossfeld/[Zenger] (2000); cf. Herkenne (1936) and Seybold
Ewald (1866), pp. 411–12: 1–3.4–6.7–9 (3.3.3 verses); cf. Köster (1837)
Zenner (1906), p. 65: 1–4.5–9 (6.6 > 1.3.2|1.3.2 lines)
Von Faulhaber (1913), p. 11: 1–4.5–9 (aleph.taw-responsion); cf. Zenner
Duhm (1922): 1.2–3aA.3aB–d.4–5.6*.7–8.9 (7×2 bicola); cf. Mowinckel
Gunkel (1926): 1.2*.3|4–6.7–8.9 (2.2*.2|3.2.2 lines)
Calès (1936): 1–3b.3c–6.7–9 (4.4.4 lines); similarly Kissane (1954)
Podechard (1954): 1–3; 4–7.8–9
Kosmala (1966), pp. 179–80: 1–2.3.4–7.8–9 (3.2.4.2 lines)
Jacquet (1977): 1.2*.3.4–6.7–9* (3×2 bicola.2×3 tricola)
Kraus (1978): 1a 1b–3.4–9; cf. Gunkel (1926)
Beaucamp (1979): 1a–b 1c–2.3.4–6|7–8.9 (2 4.4.6|4.4 cola)
Aletti/Trublet (1983), p. 89: 1a.1b–3|4–8.9b–d (a.b|a’.b’)
Ravasi (1983), pp. 1027–29: 1–3.4–8.9 (a.b.a’)
Jeremias (1987): 1–3.4–9; similarly Booij (1994)
Tate (1990): 1a.1b–3.4–6|7–9 (a.b.a’|c)
Girard (1994): 1a.1b–3|4–9aA.9aB–d (a.b|a’.b’); cf. Aletti/Trublet (1983)
Fokkelman (2003), pp. 190–93: 1.2–3|4–6.7–8.9 (2.3|3.2.2 lines)
Terrien (2003): 1 2–3.4–6.7–9b 9c–d (1 3.3.3 1 lines)
Weber (2003): 1–3.4–6.7–9 (8.6.8 cola; a.b.a’); cf. Köster (1837)
www.labuschagne.nl/ps098.pdf: 1–2.3||4–6|7–8.9 (3.2||3|2.2 lines)

Many exegetes assume that Psalm 98 is composed of three ‘strophes’ (each
consisting of three Masoretic verses), vv. 1–3.4–6.7–9; see Köster (1837)
and Weber (2003) in § 9.6 (cf. also Calès [1936]). However, Jeremias (1978,
p. 132) rightly observes: ‘Ps 98 . . . ist wie alle Jahwe-König-Psalmen dieser
Gruppe zweistrophig aufgebaut. Die Abfolge von pluralischen Imperativen
(V. 1aA.4–6) und sie begründenden ky-Sätzen, die das Lob entfalten (V.
1aB–3.9), wird zweimal durchlaufen’; cf. also Girard (1994) in § 9.6. That
3
J. Smit Sibinga, NThT 42 (1988), p. 199.
is to say, our poem consists of two almost regular main parts, cantos, vv.
1–3 and 4–9 (5 and 7 verselines respectively); cf. its ‘twin psalm’, Psalm
96. As is the case in Psalm 95 and 96, in terms of verselines the second
canto outnumbers Canto I.
The anaphoric repetition šyrw lyhwh/hry‘w lyhwh (‘sing to the Lord’/
‘raise a shout to the Lord’), is of fundamental importance for this bipartite
division; see § 9.4.3. This formal device once again reminds us of Psalm
96; cf. šyrw lyhwh/hbw lyhwh (‘sing to the Lord’/‘ascribe to the Lord’)
in Ps. 96,1–2 and 7–8 respectively. However, in our poem correspondences
like these, marking the beginning of the cantos, are not found at the end
of the main parts; on the level of the poem as a whole there are signs of
inclusion; note ky and .sdq in § 9.4.3.
The root yš‘ (hiph‘il ‘to save’) charaterizes the first canto; see § 9.4.2.
This canto is composed of two strophes, vv. 1–2 and 3. From a thematic
point of view, we are dealing with a parallelismus stropharum. The reference
to God’s wonders at the beginning of the first strophe (v. 1) corresponds to
his faithfulness towards the house of Israel referred to in the first verseline
of the second strophe (v. 3a–b); and the revelation of God’s salvation in
the presence of the nations characterizes the concluding verselines of the
strophes (vv. 2 and 3c–d); see also § 9.2.4
The second canto is characterized by the preposition l- followed by the
Tetragrammaton, yhwh; see vv. 4a.5a.6b.9a. This indicates that Canto
II (vv. 4–9) is a broad elaboration of the call to sing praises in v. 1a,
the opening colon of the composition. As far as its strophic structure
is concerned, we may safely assume that vv. 4–6 represent a relatively
individual unit; see §§ 9.2, 9.4.1 and 9.6. For vv. 7–9, see Psalm 96 (vv.
11–13).
I conclude that the quintessential thought of Psalm 98 is to be found in
its first strophe, vv. 1–3: sing praises to God, who is a Saviour.
the following verbal repetitions: qdšw (v. 1) > 97,12; root .sdq (vv. 2.9) >
97,2.6.11.12 (end of the canto/poem!); h.sd (v. 3) > 97,10; r’w kl (v. 3) >
97,6 (end of Canto I!; see also r’h in v. 4); kl h’rs. (v. 4) > 97,5.9; lpny (vv.
6.9) > 97,3.5 (2×); hmlk yhwh (v. 6) > 97,1; tbl (vv. 7.9) > 97,4; hrym
(v. 8) > 97,5; root špt. (v. 9 [2×]) > 97,2.8; ‘mym (v. 9) > 97,6 (end of the
canto!); myšrym (v. 9) > 97,11.
4
Fokkelman (MPHB III, pp. 190–91) writes at length about the strophic structure
of Canto I. He maintains that vv. 2–3 is a coherent strophe and ‘the elaboration of
v. 1cd (God’s saving action)’ (p. 192). This is a rather imprecise characterization of the
thematic relationships within the first canto.
ii.9 psalm 98 93
Additionally, there is a conspicuous relationship with the poems of Deutero-

Isaiah: v. 1a > Isa. 42,10a; vv. 1c–2+3c–d > Isa. 52,10; v. 4a > Isa. 44,23b;
v. 4b > Isa. 52,9a.5
9.8 Bibliography
H. Kosmala, ‘Form and Structure in Ancient Hebrew Poetry’, VT 16 (1966), pp.
152–80;
70–76;
B. Gosse, ‘Le Psaume 98 et la rédaction d’ensemble du livre d’Isaı̈e’, BN 86
(1997), pp. 29–30;
H. Leene, ‘The Coming of YHWH as King: The Complementary Character of
Psalms 96 and 98’, in J.W. Dyk et al. (eds.), Unless some one guide me . . . FS
Karel A. Deurloo (ACEBT, Suppl. Series 2), Maastricht: Shaker Publishing,
2001, pp. 211–28.
5
See also Kraus (1978), p. 846, Jeremias (1987), p. 133, and Booij (1994), p. 167.
10 Psalm 99
Structure: 6.4 > 3.3|2.2 lines (Type IB)
I 1 yhwh mlk yrgzw ‘mym yšb krwbym tnwt. h’rs.

2 yhwh bs.ywn gdwl w rm HW’ ‘l kl h‘mym
3 ywdw ŠMk gdwl wnwr’ qdwš HW’
4 w‘z mlk mšpt. ’hb ’TH kwnnt myšrym

mšpt. ws.dqh by‘qb ’TH ‘śyt
5 RWMMW YHWH ’LHYNW WHŠTH . WW Lhdm rglyw QDWŠ hw’
II 6 mšh w’hrn bkhnyw wšmw’l bqr’y ŠMw qr’ym ’l yhwh

7 b‘mwd ‘nn ydbr ’lyhm šmrw ‘dtyw wh.q ntn lmw [wHW’ y‘nm
8 YHWH ’LHYNW ’TH ‘nytm ’l nś’ hyyt lhm wnqm ‘l ‘lylwtm

9 RWMMW YHWH ’LHYNW WHŠTH . WW Lhr QDŠw ky QDWŠ YHWH
[’LHYNW
10.1 Text
V. 4a: ‘Yes, the Strong One is the King; he loves justice’ (cf. Howard [1997],
pp. 85–86); for ‘z (‘strength’) as a quality of God, see Ps. 81,1a (and cf.
§ 10.7, last paragraph).
Vv. 6c–7: Fokkelman (MPHB II, note p. 256) takes vv. 6c–7a and 7b as two
successive bicola; cf. Podechard (1954), Jacquet (1977) and Weber (2003).
I assume that v. 6 is a tricolon.
10.2 Content
Hymn on God’s holiness expressing itself in his care for the people of Israel.
I Call for praising God as the exalted King of the world and the Legis-
lator of the people of Israel (about the present).
God is great in Zion and rules all the nations (vv. 1–2); they praise
your awesome and holy Name (v. 3).
You have established equity in Jacob (v. 4); exalt our holy God
(v. 5; cf. v. 3).
II Call for praising God because of his merciful disposition towards the
fathers (about the past).
God anwered Moses, Aaron and Samuel when they called to him,
because they obeyed his stipulations (vv. 6–7).
He is a forgiving God (v. 8); exalt our holy God (v. 9; cf. v. 5).
ii.10 psalm 99 95

10.3.1.1 w- beginning of line, v. 4a ’th, v. 8a
’th, v. 4b; ext. // with ’th
in v. 4d 10.3.1.2 hw’, v. 6c
vocat.: yhwh ’lhynw, v. 8a

10.3.2.1 hw’, v. 3b; ext. // with hw’ 10.3.2.2 imperatives: rwmmw . . .
in v. 2b hšth.ww, v. 5a–b
hw’, v. 5c imperatives: rwmmw . . .
hšth.ww, v. 9a–b

none

vv. 1–3: yhwh, vv. 1a.2a (anaphora)
‘mym, vv. 1a.2b!
gdwl, vv. 2a.3a!
hw’, vv. 2b.3b
vv. 4–5: mšpt., vv. 4a.4c!
’th, vv. 4b.4d (exactly linear)
vv. 6–7: mšh . . . wšmw’l . . . šmw/šmrw, vv. 6a–b and 7b resp. (alliter.)
prep. b-, vv. 6a+b.7a
šmw/lmw, vv. 6b and 7b resp. (exactly linear)
prep. ’l, vv. 6c.7a!
y‘nm/‘nn, vv. 6c and 7a resp. (alliter.)
vv. 8–9: yhwh ’lhynw, vv. 8a.9a+c
prep. l-, vv. 8b.9b

vv. 1–5 (Canto I): yhwh, vv. 1–2.5a (inclusion)
root mlk, vv. 1a.4a! (linear)
yšb krwbym/hdm rglyw, vv. 1b and 5b resp. (inclus.)
bs.ywn/by‘qb, vv. 2a and 4c resp. (linear)
root rwm, vv. 2b.5a

qdwš hw’, vv. 3b.5c! (epiphora); see also hw’ in v. 2b
vv. 6–9 (Canto II): yhwh, vv. 6c.8–9 (inclusion; cf. Canto I)
root ‘nh + suffix -m, vv. 6c.8a! (linear); see also -m
in v. 8c!
suffix -hm, vv. 7a.8b! (concatenation); see also the
suffix -mw in v. 7b

vv. 1–3.6–7: hw’, vv. 2b+3b.6c
šm (‘name’), vv. 3a.6b!; see also mšh . . . wšmw’l . . . šmrw
in vv. 6–7
vv. 4–5.8–9: ’th, vv. 4b+d.8a!

’th ‘śyt/nś’ hyyt, vv. 4d and 8b resp. (alliter.)
rwmmw yhwh ’lhynw // whšth.ww l-, vv. 5a–b.9a–b!; see
also yhwh ’lhynw in vv. 8a and 9c!, and prep. l- in v. 8b
hdm rglyw/hr qdšw, vv. 5b and 9b resp.
root qdš, vv. 5c.9b+c
vv. 1–3.8–9, inclusion: .sywn/hr qdšw, vv. 2a and 9b resp. (inclusion)

‘l kl h‘mym/‘l ‘lylwtm, vv. 2b and 8c resp.
(alliter.); note prep. ‘l !

suffix -w (vv. 6.7), prep. l- (v. 7)

root qr’ (v. 6 [2×])

Psalm 99 has 10 verselines and 24 cola.1
42+41 (= 83 words in total).2 hw’ (referring to God!) in v. 5c is the pivotal
word of the composition: > 41+1+41 words. Labuschagne rightly points
1
Fokkelman and Labuschagne count 11 verselines and 25 cola; cf. § 10.1.
2
Similarly Howard (1997), p. 88, and Fokkelman (MPHB II), p. 510.
ii.10 psalm 99 97
out that 41 is the numerical value of nwr’ (‘awesome’; 14+6+20+1 = 41;

see v. 3a). That is to say, the numerical structure of the psalm underlines
God’s awesome character.3
The divine name, yhwh, occurs 7×: vv. 1, 2, 5, 6, 8, 9 (2×). From
this perspective, v. 6c is the middle colon (> 3+1+3). I deem this colon,
‘they called to the Lord and he himself answered them’, a good candidate
for the consciously designed rhetorical centre of the poem.4 4× God is
designated ’lhynw : vv. 5, 8, 9 (2×); once it is ’l (v. 8).

Köster (1837): 1.2–4|5 .6–8.9
Hävernick (1849), p. 41: 1–5 .6–9 (5.4 verses or 12.12 cola)
De Wette (1856): 1–5 .6–9 ; similarly Von Faulhaber (1913), p. 11 (taw.taw-
responsion), Pannier/Renard (1950), Tate (1990), Booij (1994)
Ewald (1866), pp. 409–10: 1–3 .4–5 .6–9 (6.6.12 cola); similarly Delitzsch
(1894); cf. Montgomery (1945), p. 383, Gemser (1949), NAB (1970)
Ley (1875), p. 223: 1–3.4–5 .6–7.8–9 ; cf. Duhm (1922)
Grimme (1902), p. 163: 1–4*.5 .6–8*.9 (2×6 ‘Vierheber’)
Zenner (1906), pp. 93–94: 1–5 .6–9 (5.5 > 3.1.1|3.1.1 lines); similarly Mow-
inckel (1957), p. 17; cf. Hävernick (1849)
Wiesmann (1908), pp. 377–86: 1–3.4–5 |6–7.8–9
Möller (1931), pp. 47–49: 1–3|4–5.6–7.8–9 (3|2.2.2 verses; a|b.c.b’)
Calès (1936): 1–2.3.4.5 |6–7.8.9 (2.1.1.1|2.1.1 lines); cf. Gunkel (1926)
Kissane (1954): 1–5 .6–9 (6.6 lines)
Podechard (1954): 1–2.3–4.5 |6–7a.7b–8.9 (4.4.2|4.4.2 cola); cf. Beaucamp
(1979; otherwise Beaucamp [1968], p. 210)
Lipiński (1965), pp. 332–33: 1.2–3a*.3a*–4a.4b–d.5.6–7a.8.9
Van der Ploeg (1974): 1–3.4–5 |6–7.8–9 ; similarly Howard (1997), 87–89
Jacquet (1977): 1–2.3–4*.5 |6–7a.7b–8.9 (2.2.1|2.2.1 bicola)
Aletti/Trublet (1983), p. 90: 1.2–3.4–5.6–9
Ravasi (1983), pp. 1039–41: 1–4.5 |6–8.9 ; ; similarly Weber (2003)
Jeremias (1987): 1–3 |4–5 .6–7a+8a–b+9 ; cf. [Hossfeld]/Zenger (2000)
Scoralick (1989), pp. 54–58: 1–3|4–5.6–9
Raabe (1990), pp. 202–03: 1–3.4.5 |6–7.8.9 (3.2.1|3.1.1 lines; 6.4.3|7.3.3 cola)
Girard (1994): 1.2–3a.3b|4.5a–b.5c|6–8.9a–b.9c (a.b.c|a’.b’.c’|a’’.b’’.c’’)
Fokkelman (2000), pp. 256–58: 1–3.4–5 |6–7.8–9 (3.3|3.2 lines)
Terrien (2003): 1–3.4–5.6–8 9 (3.3.3 1 lines)
3
See www.labuschagne.nl/ps099.pdf, Observation 1, and cf. in this respect also, CAS
II, Ch. III, 4.5 (p. 329) on ’th nwr’ ’th, Ps. 76,8a.
4
For yhwh highlighting the rhetorical centre of a psalm, see CAS II, Ch. V, 2.1.

In broad outline we may distinguish two opinions as far as the macrostruc-
ture of Psalm 99 is concerned. Some scholars assume that the poem consists
of two (almost) uniform parts (vv. 1–5.6–9), which are concluded by the
refrain in vv. 5 and 9; see § 10.6 from Köster (1837) onwards up to Fokkel-
man (2000). Others prefer a tripartite division, in which v. 3b (qdwš hw’ ),
too, is taken as a full refrain, vv. 1–3.4–5.6–9; see § 10.6 from Ewald (1866)
onwards up to Girard (1994). The division of the text is not without conse-
quences for its interpretation. In this respect, Jeremias (1987, p. 115)—who
opts for a tripartite structure5 —notes: ‘Die Bestimmung des Verhältnisses
der drei Strophen zueinander stellt das entscheidende Interpretationsprob-
lem des Psalms dar’; he is followed by [Hossfeld]/Zenger (2000), pp. 694–95.
The pattern of the verbal repetitions on the level of the poem as whole
(§ 10.4.3) clearly argues in favour of the former opinion, the bi partite di-
vision; contra Girard (1994). From this perspective the cantos form a
linearly alternating parallelism: vv. 1–3.4–5|6–7.8–9 > a.b|a’.b’. The can-
tos are concluded by a full refrain (vv. 5 and 9). The expression hdm rglyw
(‘his footstool’) in v. 5b perfecly fits the krwbym as God’s throne in v. 1b.
The expression is varied in v. 9b; now it is hr qdšw (‘his holy mountain’).
The latter expression perfectly fits v. 7b, where the psalmist refers to the
law God gave to Moses. Incidentally, in the context of the entire poem we
may also think of mount Zion (v. 2a).6 In terms of verbal repetitions, the
first strophes of the cantos display more subtle correspondences; note šm
(‘name’) and hw’ (‘He’) in § 10.4.3.7
From a thematic point of view, the bipartite division vv. 1–5 and 6–9
is supported by the fact that in the first canto the psalmist deals with
God’s kingship in Zion which Israel experienced after its deliverance from
the exile (the present situation), while in Canto II he speaks about God’s
compassion with the fathers (the past); see § 10.2.
5
This decision of Jeremias is very remarkable, because he often argues that ‘alle
Jahwe-König-Psalmen dieser Gruppe zweistrophig aufgebaut [sind]’; see also Scoralick
(1989), p. 56 n. 4.
6
For the variation of the refrain and the expansion in v. 9c, see CAS I, Ch. V, 4.2.2
(pp. 492–95).
7
Contra Jeremias (1987, p. 115) who contends that ‘Wortwiederholungen—abgesehen
von dem schon genannten Kehrvers—nur innerhalb der jeweiligen Strophen begegnen’.
Zenger mistakenly argues that vv. 4–5 and 6–9 ‘parallelisiert sind’ (p. 695), with reference
to (among other things) the use of the personal pronoun ’th (‘You’) in vv. 4b+c.8a
(3×), at the same time ignoring the repetition of the personal pronoun hw’ (‘He’) in vv.
2b+3b.6c (likewise 3×); cf. Fokkelman (MPHB II), p. 257. Moreover, the switch from
speaking about God to addressing him in the second person has only a loose relationship
with the rhetorical structure of the psalm.
ii.10 psalm 99 99
The delimitation of the strophes within the cantos is for an important

part based on the conspicuous density of verbal repetititons which we find
in successive verselines; see § 10.4.1! The transition markers supply fur-
ther support for the delimitation of the text on this structural level; see
§ 10.3.1–2.
Additionally, the 3-line sections of Canto I constitute a parallelismus
stropharum. For this feature, see the (linear) correspondences described in
§ 10.4.2; note the root mlk (‘to be king’) and qdwš hw’ (‘He is holy’). These
formal correspondences coincide with the thematic parallelism between the
concluding verselines of the strophes (vv. 3 and 5); these lines are about the
praise of God.8 The strophic structure of Canto II is further supported by
the repetition of the root ‘nh (‘to answer’) in a linear position (see § 10.4.2)
and the thematic relationship between vv. 7a and 9b–c: God speaks from a
mysterious cloud because of his holiness (linear position).9 That is to say,
the full refrain is an integral part of the cantos. For v. 5, note rwm and
qdwš hw’ in § 10.4.2; and for v. 9, note yhwh ’lhynw in § 10.4.1.10
It goes without saying that verbal repetitions play an important role in
this psalm. They are the backbone of the rhetorical structure the compo-
sition (see above). Simultaneously, they are also indicative of the thematic
individuality of the cantos. On these grounds we may assume that the
exhortation to praise God’s holiness (the refrain, vv. 5.9) is a major theme
of the psalm as a whole, a quintessential thought. Subsequently, it is es-
pecially the root mlk (‘to be king’) which characterizes the first canto (vv.
1–5), while the root ‘nh (‘to answer’) has the same function in the second
canto (vv. 6–9). That is to say, the basis for extolling God has two aspects:
he is King of the world who establishes justice for his people (vv. 1–4); and
he answers his people when they invoke his name (vv. 6–8).
the following verbal repetitions: yhwh mlk (v. 1) > 98,6; ‘mym (v. 1.2) >
98,9 (concatenation); root yšb (v. 1) > 98,7; h’rs. (v. 1) > 98,3.4.9; mšpt.
(v. 4 [2×]) > 98,9 (2×); myšrym (v. 4) > 98,9; .sdqh (v. 4) > 98,2.9; ‘śyt
(v. 4) > 98,1; qdšw (v. 9; see also qdwš in vv. 3.5.9) > 98,1.
8
For the parallelism between vv. 1–3 and 4–5, see also Auffret (1995), pp. 78–81.
These observations militate against the interpretation of vv. 1–3 as ‘die Keimzelle des
weiteren Psalms’; contra [Hossfeld]/Zenger (2000), pp. 695–96, following Jeremias (1987)
and Scoralick (1989), p. 58.
9
For the strophic structure of our psalm, see also Ley (1875), Wiesmann (1908),
Möller (1931), Van der Ploeg (1974) and Fokkelman (2000).
10
So rightly Booij (1995), p. 176 n. 4; similarly De Wette, Wiesmann, Möller, Kissane,
Van der Ploeg and Fokkelman, among others (contra Köster, Calès and especially Raabe
[among others]; see § 10.6). Note also my CAS I, Ch. V, 4.3.3 (pp. 498–500).
For the relationship with Psalm 97 see, among other things, the following
verbal repetitions: yhwh mlk (v. 1a) > 97,1a; .sywn (v. 2a) > 97,8a; v. 2b
> 97,9c; ywdw (v. 3a) > 97,12b; qdšw (v. 9b; see also qdwš in vv. 3b.5c.9c)
> 97,12b (end of the psalm!); root ’hb (v. 4a) > 97,10a; root kwn (v. 4b)
> 97,2b; mšpt. ws.dqh (v. 4c) > 97,2b; ’th (referring to God; vv. 4b+d.8a)
> 97,9a; whšth.ww (vv. 5b.9b) > 97,7c; root šmr (v. 7b) > 97,10b.11
There is also a conspicuous relationship between Psalms 99 and 81: ‘wz

(v. 4a) > 81,2a; mšpt. (v. 4a) > 81,5b; y‘qb (v. 4c) > 81,2b.5b; whšth.ww
(vv. 5.6) > 81,10b; vv. 6–8 > 81,8 (Booij [1994], pp. 174–75); ‘dtyw (v. 7b)
> 81,6a; h.q (v. 7b) > 81,5a.
10.8 Bibliography
H. Wiesmann, ‘Kehrverspsalmen’, Mélanges de l’Université Saint-Joseph (Bey-
routh) 3 (1908), pp. 337–86;
E. Lipiński, La Royauté de Yahvé dans la poésie et le culte de l’ancien Israël,
Brussel, 1965;
C.F. Whitley, ‘Psalm 99,8’, ZAW 85 (1973), pp. 227–30;
P. Mommer, ‘Samuel in Ps 99’, BN 31 (1986), pp. 27–30;
R. Scoralick, Trishagion und Gottesherrschaft. Psalm 99 als Neuinterpretation
von Tora und Propheten (SBS 138), Stuttgart, 1989;
P.R. Raabe, Psalm Structures. A Study of Psalms with Refrains (JSOTS 104),
Sheffield: JSOT Press, 1990;
J. Schiller, ‘Bemerkungen zur Analyse und Interpretation von Psalm 99’, BN 91
(1998), pp. 77–89;
P. Auffret, ‘Dans la colonne de nuée il leur parlait. Etude structurelle du psaume
99’, BN 114/115 (2002), pp. 5–10;
M. Leuchter, ‘The literary strata and narrative sources of Psalm xcix’, VT 55
(2005), pp. 20–38;
Corinna Körting, Zion in den Psalmen (FAT 48), Tübingen, 2006, pp. 187–96.
11
For a comparison with Psalm 97, see also Auffret (1995), pp. 85–86.
ii.11 psalm 100 101
11 Psalm 100
Structure: 2.2 lines (Type IA)
1 hry‘w lyhwh kl h’rs. 2 ‘bdw’t yhwh Bśmh.h B’W lpnyw Brnnh
3 d‘w KY yhwh hw’ ’lhym hw’ ‘śnw wlw ’nh.nw ‘mw ws.’n mr‘ytw
4 B’W š‘ryw Btwdh h..srtyw Bthlh hwdw lw brkw šmw

5 KY .twb yhwh l‘wlm h.sdw w‘d dr wdr ’mwntw
11.1 Text
V. 1–2: an opening tricolon; for this combination of two Masoretic verses (a
monocolon and a bicolon), see CAS I, Ch. V, 6.1 (pp. 524–25).
V. 3b—wlw : so Q (similarly Barthélemy [2005], p. 679); K wl’.
V. 4c: Fokkelman (MPHB II, p. 259) takes these words as a bicolon.
11.2 Content
Hymn on God’s enduring faithfulness to Israel.
• O earth, raise a shout for God (vv. 1–2), for he is our Maker and we
are his people (v. 3).
• Enter his temple to praise him (v. 4; cf. vv. 1–2), for his faithfulness is
for ever (v. 5; cf. v. 3).

11.3.1.1 imperative: hry‘w, v. 1; imperatives: hwdw . . .
ext. // d‘w in v. 3a brkw, v. 4c
vocative: kl h’rs., v. 1 brk with object God, v. 4c
imperative: ‘bdw, v. 2a
imperative: b’w, v. 2b 11.3.1.2 none
imperative: b’w, v. 4a

11.3.2.1 hw’, v. 3a and b dr wdr, v. 5c
’nh.nw, v. 3b
‘wlm, v. 5b 11.3.2.2 .twb beginning of line, v. 5a

none

vv. 1–3: yhwh, vv. 1a+2a.3a
vv. 4–5: prep. l-, vv. 4c.5b
šmw/’mwntw, vv. 4c and 5c resp. (epiphora)

vv. 1–3.4–5: hry‘w lyhwh/hwdw lw, vv. 1a and 4c resp. (linear)
prep. b-, vv. 2a+b.4a+b! (linear); note bśmh.h . . . brnnh/
btwdh . . . bthlh
b’w, vv. 2b.4a! (linear)
pnyw/š‘ryw . . . h..srtyw, vv. 2b and 4a–b resp.; note suffix
-w referring to God
d‘w/w‘d, vv. 3a and 5c resp. (alliter.; linear)
ky, vv. 3a.5a! (linear)
yhwh subject, vv. 3a.5a! (linear)
lw, vv. 3b*.4c! (concatenation)
‘mw/l‘wlm, vv. 3c and 5b resp. (alliter.; linear)
mr‘ytw/’mwntw, vv. 3c and 5c resp. (alliter.; epiphora)

prep. l- (v. 2b), suffix -w (vv. 3c [‘mw].5b)

hw’ (v. 3 [2×]), root ydh (v. 4 [2×])

Psalm 100 has 2 strophes, 4 verselines and 12 cola.1
Structure of strophes in terms of words: 23+18 (= 41 words in total).2
1
Fokkelman (MPHB II) finds 5 verselines and 13 cola, because he takes v. 4 as two
successive bicola (cf. § 11.1). As a result, he can maintain that in terms of syllable
count the 13 cola answer to the ‘norm figure 7’ (p. 259); like Howard (p. 96), he counts
91 syllables in total. Labuschagne (www.labuschagne.nl/ps100.pdf, Observations 1–2)
follows Fokkelman. He argues that there are 7 calls to praise God which each time open
a colon. He considers v. 4a the meaningful centre of the composition (> 6+1+6 cola).
2
Note that in Psalm 99 the middle word (hw’ ) is enveloped by 41 words on both
sides, probably representing the numerical value of nwr’ (‘awesome’).
ii.11 psalm 100 103
The divine name, yhwh, occurs 4×: vv. 1, 2, 3, 5. In v. 3a God is

designated ’lhym.

Köster (1837): 1.2–3.4–5
Sommer (1846), p. 107: 1–2.3.4.5 (3×3.2 cola); similarly Beaucamp (1979)
De Wette (1856): 1–3.4–5; similarly Ewald (1866), pp. 413–14, Delitzsch
(1894), Szczygiel (1913), pp. 13–14, Herkenne (1936)
Ley (1875), p. 200: 1–2.3.4.5 (4×1 line); similarly Delitzsch (1921), p. 116,
Duhm (1922), Gemser (1949); cf. Sommer (1846)
Zenner (1906), pp. 37–38: 1–5 (4 > 2.2 lines); cf. NAB (1970) and [Hoss-
feld]/Zenger (2000)
Gunkel (1926): 1–2.3|4.5 (a.b|a’.b’); similarly Aletti/Trublet (1983), p. 90
Calès (1936): 1–2.3|4.5 (1.1|1.1 tricola!; a.b|a’.b’); similarly Jacquet (1977)
Kissane (1954): 1–3.4–5 (2.2 tricola)
Girard (1994): 1–3aA.3aB–c|4.5 (a.b|a’.b’; v. 3aA = d‘w )
Howard (1997), pp. 96–97: 1–2.3.4|5 (a.b.a’|c; 11+12+9+9 words); simi-
larly Lescow (2001); cf. Calès (1936) and Auffret (2007)
Fokkelman (2000), pp. 258–59: 1–3.4–5 (2.3 lines)
Terrien (2003): 1–3.4–5 (3.3 lines)
Weber (2003): 1–2a.2b–3a.3b–c.4a–b.4c–5 (a.b.c.b’.a’)

Psalm 100 is a singular poem since it is solely composed of tricola;3 cf.
the entry hymn Ps. 24,7–10. There is almost general agreement among
exegetes that the psalm divides into two strophes, vv. 1–3 and 4–5; see
§ 11.6. This consensus is rather surprising because there is little structural
coherence between the verselines within the strophes (Girard [1994], p. 620).
The division is based on the linear correspondences between vv. 1–3 and
4–5. Like the opening poetic units of the preceding poem (Ps. 99,1–3.
4–5), these sections constitute a parallelismus stropharum: vv. 1–2.3|4.5
> a.b|a’.b’.4 The parallelism in question has a thematic aspect (§ 11.2)
and a formal one. From a thematic point of view, we find that the a-lines
are about praising God in his presence (note pnyw and š‘ryw . . . h..srtyw
respectively), while the b-lines contain a motivation. In both cases, the
second of the corresponding lines specifies and intensifies the first one. The
3
Similarly Calès (1936), Kissane (1953), [Hossfeld]/Zenger (2000), pp. 705–07, Lescow
(2001), pp. 39–40.
4
See also Gunkel, Calès and Girard in § 11.6.
general exhortation to praise God (vv. 1–2) is specified in v. 4: the praise

should be related to ‘thanksgiving’ (note the root ydh in v. 4a+c). In
the motivation of v. 3 the psalmist refers to God’s creative work in the
formation of Israel; the line has a retrospective connotation.5 V. 5 is a
generalizing statement, especially focussing on God’s eternal goodness for
Israel; the line has a prospective connotation. For the formal aspect, note
the linear pattern of verbal repetitions listed in § 11.4.2.
This analysis militates against Howard’s view that ‘v. 3 contains the
core of the message of Psalm 100, and ‘mw summarizes this message in
one word’. Ignoring the correspondences between vv. 3 and 5, Howard
interpretes the balance between ‘the threefold call to worship (using three
imperatives) in v. 1–2’ and ‘the fourfold call (also using three imperatives)
in v. 4’ as a device for inclusion. Subsequently, he considers v. 5 a ‘liturgical
formula’ representing the ‘conclusion to the entire psalm’ (1997, pp. 96–97).
He is followed by [Hossfeld]/Zenger.6
The latter approach, however, plays down the theological meaning of the
concluding verseline, v. 5. Psalm 100 itself is the concluding doxology, the
final chord, of the cycle which begins with Psalm 90.7 And it is precisely
in v. 5 that the psalmist expresses God’s overwhelming and everlasting
goodness. Here we find the climax of the composition, its quintessential
thought. The parallelism of the words .twb, h.sd and ’mnwnh functions as
a fermata on the final chord. Moreover, while Psalm 100 appears to be
an anthology based on the preceding poems from Psalm 90 onwards, the
‘liturgical formula’ of v. 5 is unique in Psalms 90–99.8
It is curious that in terms of verbal repetitions there is only a loose re-

lationship with the preceding psalm:9 hw’ (v. 3 [2×]) > 99,2.3.6); root ‘śh
5
The imperative d‘w (‘acknowledge’) at the beginning of the line is not a call to
worship God, but has an affirmative function modifying the following particle ky; cf. d‘
wr’h ky in 1 Sam. 12,17 24,12 1 Kings 20,7 2 Kings 5,7 and Jer. 2,19. Probably, it
does double duty; see ky in v. 5a.
6
‘Die drei Trikola V 1–4 bilden eine konzentrische Struktur’ (2000), p. 707; cf. Macholz
(2001), p. 150. For v. 3b–c as centre, see Weber (2003) in § 11.6. Lescow (2001), p. 39,
considers the ‘Credo-Formel’ yhwh hw’ ’lhym in v. 3a the central message.
7
For the cycle Psalms 90–100, see also C.J. Labuschagne, ‘Significant Sub-Groups
in the Book of Psalms: A New Approach to the Compositional Structure of the
Psalter’, in E. Zenger (ed.), The Composition of the Book of Psalms (BEThL 238),
Leuven/Paris/Walpole (MA): Peeters, 2010, pp. 623–34 (note pp. 630–31).
8
Its importance is further shown by Psalms 106, 107 and 118, where the verseline
concerned functions as a motto at the beginning of the psalms. According to Auffret
(2007, p. 239) the division vv. 1–4.5 ‘met en relief’ the verseline about the qualities of
yhwh.
9
Similarly Howard (1997), pp. 180–81.
ii.11 psalm 100 105
(v. 3) > 99,4; root ydh (v. 4 [2×]) > 99,3; šm (v. 4) > 99,3.6.
As a matter of fact, there is a conspicuous and generally recognized par-
allelism between Psalms 100 and 95; note, e.g., the correspondence between
Pss. 100,3 and 95,6b–7b. See further: hry‘w (v. 1) > Ps. 95,1.2 (beginning
of the poem!); b’w (v. 2.4) > Ps. 95,6 (beginning of a canto!); hw’ ‘śnw
(v. 3b) > Ps. 95,5b (whw’ ‘śhw ); btwdh (v. 4) > Ps. 95,2.
Finally, with respect to the coherence of Psalms 90–100 as a relatively
individual cycle of psalms, Koenen (1994, pp. 77–78) rightly points out
some correspondences between our poem and Psalm 90: root ‘bd (v. 2a)
> 90,13.16 (this root in relationship to yhwh does not occur elsewhere in
Psalms 90–100; cf. Ps. 97,7); roots śmh. . . . rnn (v. 2) > 90,14b; h.sd (v. 5b)
> 90,14a; l‘wlm . . . dr wdr (v. 5b–c) > 90,1b+2c (the expression dr wdr [‘for
all generations’] does not occur elsewhere in Psalms 90–100!; furthermore,
it features precisely in the first verseline of Psalm 90 and the concluding
verseline of Psalm 100, making a perfect inclusion). See in this respect also
Weber (2003, p. 163), who aptly notes: ‘Ps 100 schliesst [. . . ] innerhalb
von Psalter-Buch IV [mit] Stichworte ab, die in den folgenden Psalmen 101–
106 nicht mehr auftauchen (vgl. ’mwnh “Treue” 92,3; 96,13; 98,3; 100,5;
h..sr “Vorhof” 92,14; 96,8; 100,4; rw‘ “schreien, jauchzen” 95,1.2; 98,4.6;
100,1 und die Wurzel rnn “jauchzen, jubeln/Jubel” 90,14; 92,5; 95,1; 96,12;
98,4.8; 100,2)’. Cf. also hry‘w lyhwh kl h’rs. (v. 1) with Ps. 98,4 (beginning
of the canto!).10
11.8 Bibliography
K. Koenen, Jahwe wird kommen, zu herrschen über die Erde. Ps 90–110 als
Komposition (BBB 101), Weinheim: Beltz Athenäum, 1995, pp. 76–78;
B. Weber, ‘Psalm 100’, BN 91 (1998), pp. 90–97;
T. Lescow, ‘Die literarische Struktur des Psalms 100’, BN 110 (2001), pp. 38–41;
Chr. Macholz, ‘Psalm 100—Israels Todah-Feier mit den Völkern’, in Beat Huwyler
et al. (eds.), Prophetie und Psalmen. FS Klaus Seybold (AOAT 280), Münster:
Ugarit-Verlag, 2001, pp. 143–52;
P. Auffret, ‘Venez à ses portails! Etude structurelle du psaume 100’, ZAW 119
(2007), pp. 236–40.
10
In view of these interrelationships, Koenen (1994, pp. 76–77) rightly concludes: ‘Ps
100 ist wohl für seinen Kontext geschrieben worden. [. . . ] Der Psalm hat seinen Sitz
deswegen nicht im Kult, sondern in der Literatur’; similarly Lescow (2001), p. 40.
12 Psalm 101
Structure: 8.6 > 3.3.2|2.2.2 lines (Type IB)
I 1 h.sd wmšpt. ’šyrh lk YHWH ’zmrh

2 ’śkylh BDRK TMYM mty tbw’ ’ly
’THLK BTM lbby BQRB BYTY
3 l’ ’šyt LNGD ‘YNY DBR bly‘l

‘ŚH st.ym śn’ty l’ ydbq by
4 lbb ‘qš yswr mmny r‘ l’ ’d‘
5 mlwšny bstr r‘hw ’wtw ’S.MYT

gbh ‘YNYM wrh.b lbb ’tw l’ ’wkl
II 6 ‘YNY bn’mny ’rs. lšbt ‘mdy

HLK BDRK TMYM hw’ yšrtny
7 l’ yšb BQRB BYTY ‘ŚH rmyh

DBR šqrym l’ ykwn LNGD ‘YNY
8 lbqrym ’S.MYT kl rš‘y ’rs.

lhkryt m‘yr YHWH kl p‘ly ’wn
12.1 Text
V. 2b: see Th. Booij, VT 38 (1988), pp. 458–62.
V. 5a—mlwšny: so K, participle po‘el of lšn (‘slander’; for the h.ireq compaginis,
see GKC § 90m); Q mlšny. HAL reads mlšyn (participle hiph‘il).
12.2 Content
Protestation of personal integrity.
I Hymn on a clear conscience.
I will sing to God about justice and I will live with a clear con-
science (vv. 1–2; positive—active behaviour).
I will have nothing to do with shameful things coming from a bad
conscience (vv. 3–4; negative—passive behaviour).
I will silence the slanderer and cannot endure people with a bad
conscience (v. 5; negative—active behaviour)
II Protestation of a blameless conduct.
The blameless are at my side (v. 6; positive—active behaviour).
ii.12 psalm 101 107
He who deals deceitfully shall not be my companion (v. 7;

negative—passive behaviour).
Every day I will reduce all evildoers to silence (v. 8; negative—
active behaviour).

12.3.1.1 cohortatives: ’šyrh . . . ’zmrh, 12.3.1.2 none
v. 1; ext. // ’śkylh in v. 2a
vocative: yhwh, v. 1b

12.3.2.1 hw’, v. 6d 12.3.2.2 none

mty, v. 2b

vv. 1–2: ’śkylh b-/’thlk b-, vv. 2a and 2c resp. (anaphora)
root tmm, vv. 2a.2c
vv. 3–4: l’, vv. 3a.3d.4b
v. 5: ’wtw/’tw, v. 5b.5d (exactly linear)
v. 7: l’, v. 7a.7c
v. 8: prep. l-, v. 8a.8c (anaphora)
kl rš‘y ’rs./kl p‘ly ’wn, v. 8b.8d! (epiphora); cf. ’wtw/’tw in v. 5

vv. 1–5 (Canto I): prep. l-, vv. 1b.3a (linear)
lbb, vv. 2c.4a.5c! (linear)
‘ynym, vv. 3a.5c
l’ ’d‘/l’ ’wkl, vv. 4b and 5d resp. (epiphora)
vv. 6–8 (Canto II): ‘ynym, vv. 6a.7d

’rs., vv. 6a.8b! (linear)
root yšb, vv. 6b.7a! (linear)
bqrb/lbqrym, vv. 7a and 8a resp. (alliter.; linear)

vv. 1–4.6–7: prep. l-, vv. 1b.6b (exactly linear)
bdrk tmym, vv. 2a.6c! (linear)
} chiasmus; see also
root hlk, vv. 2c.6c!
btm in v. 2c! and mty tbw’ in v. 2b (alliter.)
bqrb byty, vv. 2d.7a! (linear: third line canto)
lngd ‘yny, vv. 3a.7d! (linear: fourth line canto)
}
root dbr, vv. 3b.7c! (linear: fourth line canto)
chiasmus
‘śh, vv. 3c.7b!
vv. 3–4.7: l’, vv. 3–4 (3×).7 (2×)
vv. 5.8: ’s.myt, vv. 5b.8a! (linear: second last line canto)
vv. 1–2.8, inclusion: lk/kl, vv. 1b and 8b+d resp. (alliter.)

yhwh, vv. 1b.8c!
vv. 5.6, concat.: ‘ynym, vv. 5c.6a

prep. b- (vv. 3.5.6), suffix -y/-ny

prep. mn (vv. 4.8)

Psalm 101 has 6 strophes, 14 (= 2×7) verselines and 28 (= 4×7) cola.1
11 = 48+33 (= 81 = 9×9 words in total).2
The divine name, yhwh occurs 2×, in the opening and the concluding
verseline only (vv. 1 and 8).3
1
Following Fokkelman (MPHB II), Labuschagne (www.labuschagne.nl/ps101.pdf,
Observation 1) distinguishes 7 strophes. Subsequently, in terms of strophes and verse-
lines, he considers v. 5 the centre of the poem (> 3+1+3 strophes and 6+2+6 lines).
2
Labuschagne (www.labuschagne.nl) notes that ’s.myt (‘I destroy’) in v. 5b is the
pivotal word (> 40+1+40 words) and apparently has the status of a key word.
3
For this phenomenon, see also Psalms 8, 23, and 131; cf. further ’lhym (‘God’) in
Psalm 82 and ’dny (‘Lord’) in Psalm 90.
ii.12 psalm 101 109

Köster (1837): 1.2.3–5.6–8 (1.1.3.3 verses)
Hävernick (1849), p. 43: 1.2–4.5–8 (1.3.4 verses); similarly De Wette (1856)
Ewald (1866), pp. 22–24: 1–4.5–8 (4.4 verses or 8.8 cola)
Ley (1875), pp. 224–25: 1.2–3.4.5–6.7–8 (1.2.1.2.2 lines)
Delitzsch (1894): no strophes; similarly NAB (1970)
Zenner (1906), pp. 38–39: 1–2b|2c–4.5–6.7–8 (2||2.2|2.2|2.2 lines)
Duhm (1922): 1–2b.2c–3b.3c–4.5.6.7.8 (7×2 bicola); similarly Gunkel (1926),
Gemser (1949), Mowinckel (1957), Jacquet (1979)
Calès (1936): 1–2b|2c–3b.3c–4|5.6|7.8 (2|2.2|2.2|2.2 lines); cf. Zenner (1906),
Duhm (1922) and www.labuschagne.nl/ps101.pdf
Herkenne (1936): 1–2b.2c–5.6–8
Lund (1942), pp. 101–04: 1–2b.2c–3b.3c–5b|5c–6.7.8 (a.b.c|c’.b’.a’)
Kissane (1954): 1–2b.2c–4.5–6.7–8 (2.4.4.4 lines); cf. Calès (1936)
Schildenberger (1960), p. 681: 1–2b|2c–3b.3c–4.5|6.7.8 (2|3×2|3×2 lines)
Beaucamp (1979): 1 2||3.4+5c–d||6.7||8 (2 4||4.4|4.4||4 cola)
Aletti/Trublet (1983), p. 90: 1 2.3–4.5|6.7.8 (v. 1 a.b.c|a’.b’.c’)
Kselman (1985), pp. 46–50.57: 1–2|3–5|6–7.8; cf. Auffret (1997), pp. 125–31
Booij (1994), p. 183: 1–2b|2c–3.4–5|6.7.8 (2|3.3|2.2.2)
Girard (1994): 1–2b.2c–d.3|4–5||6.7a–b.7c–d|8 (a.b|a’.b’)
Allen (2002), pp. 9–10: 1–2b.2c–3b.3c–4.5|6.7.8 (4×2|3×2 bicola)
Fokkelman (2003), pp. 193–96: 1–2b|2c–3b.3c–4.5|6.7.8 (2|2.2.2|2.2.2 lines)
Terrien (2003): 1–2.3–4.5–6*.7–8b 8c–d (4×3 1 bicola)
Weber (2003): 1–2b.2c–3b.3c–4|5.6.7|8 (a.b.c|c’.a’.b’ v. 8; 7×2 bicola)
Barré (2005), pp. 206–07: 1–2|3–5.6–7|8
Hossfeld/[Zenger] (2008): 1.2|3–4.5|6–7.8

As far as the delimitation of its verselines and cola is concerned, Psalm 101
poses no problems. Although the verselines are conspicuously short—in
this sense the composition is unique in the Psalter—it is generally assumed
that the poem consists of 14 verselines and 28 cola. However, there is no
such consensus among exegetes when the macrostructure of our psalm is
discussed. It is often supposed that after v. 5 the psalm divides into two
main parts; see § 12.6. Additionally, many scholars take vv. 1–2b or 1–2
as introductory.4 Others conclude that vv. 1–2 (in their entirety) together
4
See Zenner, Calès, Herkenne, Kissane, Schildenberger, Beaucamp, Fokkelman, Barré
and Hossfeld/[Zenger] in § 12.6.
with vv. 3–5 constitute the first main part.5

Allen (2002, p. 9) remarks that repetition ‘is clearly the key to the
structure’; it points to ‘two largely symmetrical strophes’. I endorse this
opinion: Psalm 101 is composed of two cantos, vv. 1–5 and 6–8, consisting
of 8 and 6 verselines respectively. This macrostructural division is based
on the unequivocal linearly alternating parallelism between the main parts;
cf. the strophic framework of Psalm 100!
The linear parallelism between the cantos especially comes to light in
terms of subject matter, the development of the thought: vv. 1–2.3–4.5|6.7.8
> a.b.c|a’.b’.c’; see § 12.2. Both cantos open with a strophe (vv. 1–2 and
6) which stands out because there is no mention of evil in it. The psalmist
portrays his positive attitude towards a blameless way of life and states
that he actively dedicates himself to such a behaviour; note ’śkylk/’thlk
(‘I will study’/‘I will walk’) in v. 2 and ‘yny b-/hw’ yšrtny (‘my eyes are
on’/‘he shall be in my service’) in v. 6.6 In the second strophes of the two
cantos (vv. 3–4 and 7) the psalmist is rather passive; he will have nothing
to do with a base conduct; note the accumulation of the negation l’ (‘not’)
in the verselines concerned (§ 12.4.1). In vv. 3–4 he probably speaks of
his own conduct; in v. 7, however, it concerns the conduct of others.7 In
the concluding strophe of the cantos (vv. 5 and 8), we once again meet an
active person (cf. vv. 1–2 and 6): the psalmist silences the evildoers.8
The motif of the annihilation of the wicked is a rhetorical characteristic
marking the end of main parts. Additionally, the parallelism between vv. 5
and 8 displays the device for reinforcement. In v. 8 the psalmist strengthens
his intention to destroy the wicked; note lbqrym (‘each morning’) in v. 8a,
the repetition of kl (‘all’) in v. 8b+d and compare the active form lhkryt
(‘to rid of’) in v. 8c with the passive expression l’ ’wkl (‘I endure not’) in
v. 5d. To crown it all, v. 8 is the only strophe which consists of 11 words.
This numerial device underlines the idea that the evildoers will be fully
banned from God’s city. Therefore, v. 8 functions as a climax.
5
See Aletti/Trublet, Allen and Girard in § 12.6; cf. also the layout in BHS.
6
Fokkelman (MPHB II, p. 193) erroneously maintains that vv. 1–2b stands out be-
cause there is ‘no sign of battle against evil’ in it. The idea of ‘battle’ only occurs in vv.
5 and 8. According to Hossfeld/[Zenger] (2008, p. 31), v. 2 stands out on the basis of its
‘Weg-Terminology’ and therefore belongs to the ‘Überschrift’ v. 1; however, cf. hlk bdrk
in v. 6c.
7
According to the vocalisation of MT, dbr in v. 3b is a noun and ‘śh in v. 3c an
infintive. That is to say, the psalmist speaks in general terms about a base behaviour.
LXX reads ‘śh in v. 3c as a participle (cf. ‘śh in v. 7b); now the psalmist speaks about
a wicked person.
8
This does not hold true for v. 5c–d. The departure from what we should expect in
terms of ideas probably has a structural function on strophe level; see § 12.4.2.
ii.12 psalm 101 111
The pattern of verbal repetitions on the level of the poem as a whole

in broad outline coincides with and strengthens the design in terms of
subject matter as explained above: vv. 1–4.5|6–7.8 > a.b|a’.b’; see § 12.4.3.9
Alongside a linear pattern of verbal correspondences on the macro level of
the psalm, there are also signs of symmetry. The divine name, yhwh, clearly
marks the boundaries of the composition; and the repetition ‘ynym (‘eyes’,
vv. 5 and 6) functions as a hinge between the cantos (see § 12.4.3).
Scholars who are more or less aware of the strophic structure of Hebrew
poetry in a strict sense often maintain that Psalm 101 is composed of an
uninterrupted series of seven 2-line strophes.10 As already suggested above,
2-line strophes only feature from v. 5 onwards. The semantic parallelism
between the cantos indicates that both main parts consist of three strophes.
Canto I opens with two 3-line strophes. In my opinion, this departure from
the 2-line strophic framework at the beginning of the poem is unambigu-
ously supported by the repetition of the noun lbb (‘heart’) which functions
as a refrain-like word in the concluding verselines of the strophes (3×!); see
§ 12.4.2. It also indicates the thematic individuality of Canto I: a sincere
heart is the basis for blameless behaviour.11 For Canto II, see especially
the linear positioning of the noun ’rs. (‘land’) and the root yšb (‘to dwell’).
The quintessential thought is to be found in the first strophes of the two
cantos, where we find a description of the psalmist’s promotion of ‘loyalty
and justice’ in his country; see especially vv. 1–2, I sing to God about a
decent way of life, which consist of 17 words, representing the divine name,
yhwh.
There is no clear relationship with the preceding psalm; however, note

h.sd in Pss. 101,1a and 100,5b (concatenation).
12.8 Bibliography
Helen A. Kenik, ‘Code of Conduct for a King: Psalm 101’, JBL 95 (1976), pp.
391–403;
9
In this respect, cf. also Aletti/Trublet, Allen, Girard (§ 12.6); see further Hoss-
feld/[Zenger] (2008), p. 30.
10
See Zenner, Duhm, Calès, Schildenberger, Allen, Fokkelman and Weber in § 12.6.
11
According to me, Girard (1994, p. 14) underestimates the structural and semantic
function of the noun in question when he establishes: ‘Aucun procédé clair [. . . ] n’atteste
l’unité du volet [vv. 1–5] tout entier’. According to Hossfeld/[Zenger] (2008, p. 32), vv.
3–5 are about ‘Private Tätigkeiten des Beters’ and vv. 6–8 about ‘Forensische Tätigkeiten
des Beters’. This semantic distinction between the main parts does not convince because
(among other things) v. 5a–b is obviously about a forensic act and v. 7 about a private
affair.
J.S. Kselman, ‘Psalm 101: Royal Confession and Divine Oracle’, JSOT 33 (1985),
pp. 45–62;
O. Loretz, Die Königspsalmen. Die altorientalisch-kanaanäische Königstradition
in jüdischer Sicht, Teil 1 (UBL 6), Münster, 1988, pp. 141–76;
P. Auffret, ‘“Au milieu de ma maison.” Étude structurelle du Psaume 101’,
SJOT 11 (1997), pp. 124–37;
M. Saur, Die Königspsalmen: Studien zur Entstehung und Theologie (BZAW
340), Berlin: W. de Gruyter, 2004, pp. 186–204;
M.L. Barré, ‘The Shifting Focus of Psalm 101’, in P.W. Flint and P.D. Miller, Jr.
(eds.), The book of Psalms: Composition and Reception (SupplVT 99), Leiden/
Boston: Brill, 2005, pp. 206–23.
ii.13 psalm 102 113
13 Psalm 102
Structure: 12.11.6 > 4×3|3.3.3.2|3.3 lines (Type IIB)
I 2 YHWH šm‘h TPLTy wšw‘ty ’lyk tbw’

3 ’l tstr PNYK mmny bywm .sr ly
ht.h ’LY ’znk bywm ’qr’ mhr ‘nny
4 ky klw b‘šn ymy w‘s.mwty kmwqd nh.rw

5 hwkh k‘śb w ybš lby ky škh.ty m’kl lh.my
6 mqwl ’nh.ty dbqh ‘s.my lbśry
7 dmyty lq’t mdbr hyyty kkws h.rbwt

8 šqdty w’hyh ks.pwr bwdd ‘l gg
9 kl hywm h.rpwny ’wyby MHWLLy by nšb‘w
10 ky ’pr k lh.m ’klty wšqwy bbky mskty

11 mpny z‘mk wqs.pk ky nś’tny wtšlykny
12 ymy ks.l nt.wy w’ny k‘śb ’ybš
II 13 W’TH YHWH l‘wlm tšb wzkrk lDR WDR

14 ’TH tqwm trh.m s.ywn ky ‘t lh.nnh ky b’ mw‘d
15 ky rs.w ‘BDYK ’t ’bnyh w’t ‘prh yh.nnw
16 wyyr’w gwym ’t šm yhwh wkl mlky H’RS. ’t kbwdk

17 ky bnh yhwh s.ywn nr’h bkbwdw
18 pnh ’l TPLT h‘r‘r wl’ bzh ’t TPLTm
19 tktb z’t ldwr ’h.rwn w‘m nbr’ YHLL yh

20 ky hšqyp mmrwm qdšw yhwh mšmym ’l ’rs. hbyt.
21 lšm‘ ’nqt ’syr lpth. bny tmwth
22 lspr bs.ywn šm yhwh wTHLTw byrwšlm

23 bhqps. ‘mym yh.dw w mmlkwt l ‘bd ’t yhwh
III 24 ‘nh bdrk kh.y qs.r ymy ’mr ’LY

25 ’l t‘lny bh..sy ymy bDWR DWRYM šnwtyk
26 lpnym H’RS. ysdt wm‘śh ydyk šmym
27 hmh y’bdw W’TH t‘md wklm kbgd yblw klbwš th.lypm

28 wyh.lpw W’TH hw’ wšnwtyk l’ ytmw
29 bny ‘BDYK yškwnw wzr‘m lPNYK ykwn
13.1 Text
V. 4b—kmwqd : ‘like a brazier/hearth’ (see BHS); Codex L reads kmw qd.
V. 8: the colometric division follows the Masoretic accentuation (note the ’atnah.
in w’hyh); similarly Fokkelman (MPHB II, p. 261 n. 3).
V. 24a—kh.y: so Q; K kh.w.
V. 24b: ‘the brevity of my days He has announced me’. For the colometric
division of vv. 24b–25a, see LXX, Peshitta and 4QPsb ; Skehan, CBQ 26
(1964), p. 316. MT reads ‘He has shortended my days. I say: O my God
. . . ’; cf. Barthélemy (2005), p. 690.
V. 28a—wyh.lpw : in MT the last word of v. 27; for the antithetic parallelism
within vv. 27a and 28a (ext. //), cf. yqllw hmh w’th tbrk in Ps. 109,28a!
13.2 Content
Hope for the restoration of Jerusalem.
I The prayer of an individual and the description of his distress.
O God, hear my prayer and do not hide yourself (vv. 2–3).
My days vanish in pain and sorrow (vv. 4–6).
My enemies insult me because of my miserable situation (vv. 7–9).
I am dying by your anger (vv. 10–12).
II Praise of God for the restoration of Jerusalem.
O God, you are forever (v. 13; hymn); you will treat Zion with
compassion and support her inhabitants (vv. 14–15).
The nations will fear God’s glory (v. 16; hymn); God will surely
rebuild Zion (vv. 17–18).
The future generation will praise God (v. 19; hymn), because he
has noticed the distress of his children (vv. 20–21; v. 21 // v. 18).
God will be praised in Zion (v. 22; hymn), while the nations gather
to worship him (v. 23).
III Summary.
Do not take me away; my short lifetime contrasts with your eter-
nity (vv. 24–26; cf. Canto I).
You will remain the same and your servants will be secure (vv.
27–29; cf. Canto II).

13.3.1.1 vocative: yhwh, v. 2a v. 3a and ht.h . . . ‘nny
imperative: šm‘h, v. 2a; in v. 3c–d
ext. // ’l prohibitive in jussive: tbw’, v. 2b
ii.13 psalm 102 115
w- beginning of line, v. 13a ’th, v. 27a; ext. // ’th in

’th, v. 13a; ext. // ’th in v. 28a
v. 14a
vocative: yhwh, v. 13a 13.3.1.2 ‘wlm, v. 13a
w- beginning of line, v. 16a dr wdr, v. 13b
yr’ with object God, v. 16a hmh, v. 27a
z’t, v. 19a

13.3.2.1 kl hywm, v. 9a 13.3.2.2 ’ny, v. 12b

’l prohibitive, v. 25a w- beginning of line, v. 28a*
dwr dwrym, v. 25b hw’, v. 28a

vv. 2–3: ’lyk/’ly, vv. 2b and 3c resp. (inclusion); see also ’l prohib.
in v. 3a (alliter.)
suffix -k, vv. 2b.3a.3c
bywm, vv. 3b.3d (exactly linear)
vv. 4–6: ky, vv. 4a.5b
} chiasmus
b‘šn/k‘śb, vv. 4a and 5a resp. (alliter.)
‘s.m, vv. 4b.6b! (inclusion)
prep. k-, vv. 4b.5a
lby/lbśry, vv. 5a and 6b resp. (alliter.)
} chiasmus
prep. mn, vv. 5b.6a
vv. 7–9: root hyh, vv. 7b.8a!
prep. k-, vv. 7b.8b
h.rbwt/h.rpwny, vv. 7b and 9a resp. (alliter.; inclusion)
vv. 10–12: ky, vv. 10a.11b
prep. k-, vv. 10a.12a+b (inclusion)
vv. 13–15: ’th, vv. 13a.14a
suffix -k, vv. 13b.15a (inclusion)
ky, vv. 14b+c.15a
root h.nn, vv. 14b.15b! (epiphora)
vv. 16–18: ’t (nota accusativi), vv. 16a+b.18b (inclusion)
yhwh, vv. 16a.17a
kbwd, vv. 16b.17b! (epiphora)
bnh/pnh, vv. 17a and 18a resp. (alliter.)

vv. 19–21: prep. l-, vv. 19a.21a+b (inclusion)
yh/yhwh, vv. 19b and 20b resp.
vv. 22–23: prep. l-, vv. 22a.23b
} chiasmus
yhwh, vv. 22a.23b
vv. 24–26: prep. b-, vv. 24a.25a+b
ymy, vv. 24b.25a
suffix -k, vv. 25b.26b
vv. 27–29: w’th, vv. 27a.28a
root h.lp, vv. 27c.28a*
wšnwtyk/yškwnw, vv. 28b and 29a resp. (alliter.)
suffix -k, vv. 28b.29a+b

vv. 2–12 (Canto I): pnyk + mn/mpny + -k, vv. 3a and 11a resp.
ywm, vv. 3b+d.9a (linear)
.srr/’wyb, vv. 3b and 9a resp.
ky, vv. 4a+5b.10a+11b (exactly linear)
ymy, vv. 4a.12a
prep. k-, vv. 4b+5a.7b+8b.10a+12a+b (linear)
k‘śb wybš/k‘śb ’ybš, vv. 5a and 12b resp.!
}
’kl lh.my/lh.m ’klty, vv. 5b.10a!
chiasmus
škh.ty/wtšlykny, vv. 5b and 11b resp. (alliter.)
vv. 13–23 (Canto II): w- beginning of the line, vv. 13a.16a (anaphora)
yhwh, vv. 13a.16a+17a.20b.22a+23b; see also yh
in v. 19b
suffix -k, vv. 13b+15a.16b (concatenation)
ldr wdr/ldwr, vv. 13b.19a (linear)
root ‘bd, vv. 15a.23b (linear)
’t . . . ’t (nota accus.), vv. 15.16 (concatenation);
see also v. 18b
’bnyh/bny, vv. 15a and 21b resp. (allit.; linear)
‘prh/h‘r‘r, vv. 15b and 18a resp. (alliter.; linear)
gwym/‘mym, vv. 16a and 23a resp.
šm yhwh, vv. 16a.22a! (exactly linear)
} chiasmus;
.sywn, vv. 17a.22a
see also zkrk in v. 13b (cf. Ps. 135,13), .sywn
in v. 14a! and yrwšlm in v. 22b
ii.13 psalm 102 117
root mlk, vv. 16b.23b!

ky, vv. 17a.20a (exactly linear); see also ky in
vv. 14–15
roots r’h/nbt., vv. 17b and 20b resp. (linear)
kbwdw/qdšw, vv. 17b and 20a resp. (linear)
wl’ bzh/lšm‘, vv. 18b and 21a resp. (linear; cf.
Ps. 69,34)
roots ktb/spr, vv. 19a and 22a resp. (anaphora)
‘m (‘people’), vv. 19b.23a!
root hll, vv. 19b.22b (linear)
hšqyp/bhqps., vv. 20a and 23a resp. (alliter.)
prep. l- + infinitive, vv. 21a+b.22a+23b (concat-
enation; anaphora)
vv. 24–29 (Canto III): šnwtyk, vv. 25b.28b! (linear); see also suffix -k in
vv. 26b and 29a+b
lpnym, vv. 26a.29b (linear)
roots ysd/kwn, vv. 26a and 29b resp. (linear; cf.
Ps. 24,2 and Prov. 3,19)

vv. 2–6.13–18.24–29: suffix -k, vv. 2–3.13b+15a+16b.25b+26b+28–29
yhwh vocative, vv. 2a.13a! (exactly linear)
tplt, vv. 2a.18a+b!
’l prohibitive, vv. 3a.25a! (exactly linear)
pnyk, vv. 3a.29b!; see also pnh in vv. 18a and 26a
’ly (‘to me’), vv. 3c.24b*!; see also ’lyk in v. 2b
‘nh, vv. 3d (‘answer’) and 24a (‘bring low’)!
klw b‘šn/wklm kbgd yblw klbwš, vv. 4a and 27b–c
resp. (alliter.)
w’th, vv. 13a.27a+28a; see also ’th in v. 14a!
ldr wdr/bdwr dwrym, vv. 13b and 25b resp.
tqwm/t‘md (subject God), vv. 14a and 27a resp.
mw‘d/t‘md, vv. 14c and 27a resp. (alliter.)
‘bdyk, vv. 15a.29a!
h’rs., vv. 16b.26a!
vv. 7–12.19–23: root hll, vv. 9b.19b+22b!
vv. 10–12.13–15, concatenation: ’pr/‘pr, vv. 10a and 15b resp. (alliter.)
suffix -k, vv. 11a (2×).13b+15a

w’ny/w’th, vv. 12b and 13a resp.

prep. ’l (vv. 18.20), ’rs. (v. 20), ’t (nota accusativi; v. 23), prep. b-, prep. k-
(v. 27 [2×]), prep. mn (v. 20 [2×])

bnym (vv. 21.29), kl (vv. 9.16.27), šmym (vv. 20.26), root šm‘ (vv. 2.21)

Psalm 102 has 10 strophes, 29 verselines and 60 cola.1 In terms of verselines
and cola, v. 15 is the centre of the psalm: vv. 2–14.15.16–29 > 14+1+14
verselines and 29+2+29 cola.2 On canto level, the psalm divides into 12,
11 and 6 verselines. On the basis of the 11 verselines of the middle canto
(vv. 13–23), v. 18 also has a pivotal position (vv. 13–17.18.19–23 > 5+1+5
lines). The results of these numerical approaches reinforce each other. The
strophes vv. 13–15 and 16–18 display all kinds of linear correspondences.
The opening verselines (vv. 13.16) are about the praise of God, the middle
lines (vv. 14.17) about God’s concern with the restoration of Jerusalem and
in the concluding verselines the psalmist speaks about the inhabitants of
the city, ‘your servants’/‘the destitute’ (vv. 15a.18a). The repetition of the
noun tplh (‘prayer’) further underlines that v. 18 is to be taken as a central
verseline.3
Structure of strophes and cantos in terms of words: 20+20*+19+19|25+
24+23+13|20+21 = 78+85+41 (= 204 = 12×17 words in total).4 Like the
1
Fokkelman (MPHB II) takes v. 27a as a bicolon and finds 30 verselines and 61 cola.
2
Similarly Labuschagne, www.labuschagne.nl/ps102.pdf, Observation 1. For the sym-
metric structure of v. 15 in terms of grammar, see CAS II, Ch. V, 3.2 (pp. 538–42).
3
Cf. ’th nwr’ ’th in Ps. 76,8a, the repetition of the root zkr in Ps. 77,12 and qwyty
yhwh qwth npšy in Ps. 130,5a. In all these cases we are dealing with a rhetorical centre.
See also Weber (2003), p. 172, who argues in favour of a central section, vv. 13–18, which
‘auch theologisch das Zentrum bildet’; for Weber, see also § 13.6. Otherwise Sedlmeier
(1996), pp. 224.234–35, who takes v. 19 as ‘die Mittelachse der Komposition von VV.
16–23’; see § 13.6.
4
In Codex L the second strophe has 21 words; see § 13.1 about v. 4b. Now the sum
total of words amounts to 205 (= 5×41); cf. Psalm 69 with 7×41 words. Additionally,
on the basis of the reading kmw qd in Codex L, v. 15b is the centre of the poem on word
level (> 101+3+101 words). To put it otherwise, v. 15b is ‘embraced’ by 4×26 words
because vv. 2–15b and 15b–29 have 104 words each.
ii.13 psalm 102 119
total of 204 words, the 85 words of Canto II represent a multiple of 17 (85

= 5×17). This numerical aspect, which refers to the divine name, coincides
with the high density of yhwh/yh in vv. 13–23.
The divine name, yhwh, occurs 7×: vv. 2, 13, 16, 17, 20, 22 and 23;
in v. 19 it is the short form yh.

Köster (1837): 2–6.7–12.13–18.19–23|24–29 (5.6.6.5|6 verses)
De Wette (1856): 2–12.13–23.24–29; similarly Köckert (2009), p. 180
Ewald (1866), pp. 317–21: 2–9.10–16.17–23.24–29 (8.7.7.6 verses)
Delitzsch (1894): 2–3.4–6.7–9.10–12.13–15.16–18.19–23.24–29
Zenner (1906), pp. 140–43: 2–3.4–5+24+6|7–9.10–12||13–15.16–18||19–23|
25–29 (3.3|3.3||3.3||5.5 lines)
Duhm (1922): 2–3.4–6.7–9.10–12 (4×3 bicola); 13–15.16–18.19–21.26–28.
29+22–23 (5×3 bicola); cf. Mowinckel (1957)
Gunkel (1926): 2–3.4–12.13–23|24–29
Calès (1936): 2–3|4–6.7–8|9–11.12–13; 14–15.16–18|19–21.22–23|24–25.
26–27.28–29 (3|3.2|3.2; 2.3|3.2|2.2.2 lines)
Kissane (1954): 2–9*.10–16.17–23.24–29 (4×7 lines)
Van der Ploeg (1974): 2–3.4–8.9–12.13–23.24–25.26–28.29; cf. Kittel (1929)
Beaucamp (1979): 2–3 4–6.7–9|10–12.13+25–26 27–29; 14–15|16–18.
19–21|22–23 (6 6.6|6.6 6; 4|6.6|4 cola)
Jacquet (1979): 2–3.4–6*.7–9.10–12.24–26.27–28|13–15.16–18.19–21.29+
22–23 (6×3|4×3 bicola)
Aletti/Trublet (1983), p. 91: 2–3||4–12|13–25||26–29 (vv. 4–12 and 13–25
‘Deux sections concentriques vocabulaire’)
Ravasi (1985), pp. 35–37: 2–3.4–12|13–15.16–23|24.25–28||29
Brandscheidt (1987), pp. 57–62: 2–3.4–5*|7–11||13–14*+16.17–18|19–23||
24.25*.26–27* (5.5|5.5|5 lines; A.B|A’.B’|C)
Brüning (1992), pp. 286–92: 2–3|4–6.7–9.10–12|13–15.16–18.19–23|24–25a.
25b–28.29; cf. Gemser (1949)
Girard (1994): 2–3.4–12.13–15|16–23.24–25a.25b–29 (A.B.C|A’.B’.C’)
Auffret (1995): 2–15.16–23.24–29
Sedlmeier (1996), pp. 222–29: 13–15|16.17–18.19.20–21.22–23 (vv. 13–15
a.b.c.b’.a’)
Fokkelman (2000), pp. 260–64: 2–3.4–6|7–9.10–12||13–15.16–18|19–21.
22–23||24–26.27.28–29 (3.3|3.3||3.3|3.2||3.2.2 lines)
Allen (2002): 2–3.4–12|13–15.16–18.19–21.22–23|24.25–28.29 (12.11.6 lines;
note pp. 18–20); similarly NAB (1970)
Terrien (2003): 2–3.4–6.7–9.10–12|13–15.16–18.19–21.22–24|25–27a.27b–29

(4×3|4×3|3.3 lines)
Weber (2003): 2–3.4–6|7–9.10–12||13–15.16–18|19–21.22–23||24–26.27–29
(A.B.C.A’.B’); cf. Fokkelman (2000)
Körting (2006), p. 38: 2–3|4–6.7–9.10–11.12|13.14–18.19–23|24–25.26–29*
Marttila (2006): 2–12+24–25a (‘basic text’); 13–23+25b (‘I collective redac-
tion’); 26–27b+29 (‘II collective redaction’)
Hossfeld/[Zenger ] (2008): 2–3.4–6.7–9.10–11.12|13.14–15.16.17–18.19.20.21.
22–23|24.25.[26–28.]29 (vv. 2–12+25 represent the ‘Grundpsalm’)

In terms of subject matter, Psalm 102 divides into three relatively indepen-
dent main parts, cantos, vv. 2–12, 13–23 and 24–29; see § 13.2. The central
canto, vv. 13–23, is characterized by an accumulation of the divine name,
yhwh (Sedlmeier [1996], pp. 222–29); see vv. 13, 16, 17, 19 (yh) 20, 22 and
23 (7×; cf. also § 13.5 about the 85 words of Canto II). In terms of seman-
tics, the central main part stands out because it is about the restoration
of Jerusalem and, in this respect, completely interlarded with references to
the praise of God. Additionally, in this section the psalmist only speaks of
a community; see ‘your servants’ in v. 15, etc. That is to say, Canto II does
not smoothly fit its context in which an individual portrays his distress and
prays for deliverance (vv. 2–12 and 24–26). Therefore, some exegetes have
assumed that our psalm is not an original unity.5 In my opinion, we are
probably dealing with a compilation of fragments stemming from different
psalms, which cannot be traced anymore in the Psalter. However, at the
same time there is no doubt that the poet of Psalm 102 did his job in a
well-thought-out way (cf. Psalm 108; see Ch. III.2 below). From a formal
point of view the coherence between the main parts is beyond dispute.
The composition is in conformity with the rules of classical Hebrew poetry.
To reach this aim, the psalmist has probably changed the wording of his
originals in some places.6
The macrostructure of the new composition is determined by a linearly
alternating pattern of verbal repetitions on the level of the psalm as a whole:
5
See Duhm (1922), Beaucamp (1979), Brunert (1996), Sedlmeier (1996), Marttila
(2006), and Hossfeld/[Zenger] (2008), among others.
6
Cf. Weber (2003), pp. 170–71, who assumes that ‘ein Verfasser bewusst unter-
schiedliche Formen und Traditionen aufnahm und modellierte, um eine neue Aussage
zu gewinnen’. Therefore, it is unwise to speculate on the exact dimensions and wording
of a ‘Grundpsalm’; and on the same grounds, it is impossible to trace some verses as
‘Fortschreibung’ (contra Hossfeld/[Zenger]).
ii.13 psalm 102 121
vv. 2–6.7–12|13–18.19–23|24–29 > A.B|A’.B’|A’’. This linear pattern espe-

cially comes to light in the a-strophes of the cantos, vv. 2–6, 13–18 and
24–29. In these strophes we find an impressive cluster of verbal repetitions
(and alliterations), often exclusively occurring in the corresponding units;
see § 13.4.3. This linearly parallel design in terms of verbal repetitions
demonstrates that—from a formal point of view—Psalm 102 is to be taken
as a carefully devised composition.7
In terms of the number of verselines, the psalm displays a stable struc-
ture: there is a balanced distribution of verselines in Cantos I and II (12
and 11 lines respectively); Canto III with its six verselines has exactly half
the length of the longest of the preceding cantos.8
The cantos of Psalm 102 are almost completely composed of 3-line stro-
phes. Canto II ends with a 2-line strophe, vv. 22–23. This regularity is
generally recognized by scholars who are aware of the strophic framework
of the psalms; see § 13.6 from Delitzsch (1894) onwards.9 In Cantos I and
II this almost rigid regularity is buttressed by the thematic individuality
of the 3-line units; see § 13.2. The strophes in Canto II are systematically
introduced by verselines containing hymnic motifs or references to hymns;
note vv. 13, 16, 19 and 22. The formal indications listed in §§ 13.3.1–2
(transition markers) and 13.4.1–2 (verbal repetitions) further support the
regular framework on strophe level.
Within Canto I we may discern a pattern of verbal repetitions pointing
to a linearly alternating parallelism between the successive strophes: vv.
2–3.4–6|7–9.10–12 > a.b|a’.b’ (see § 13.4.2 and note vv. 5 // 10a+12b).10
Probably, a similar pattern features in Canto II: vv. 13–15.16–18|19–21.
22–23 > a.b|a’.b’. For this pattern, see especially ldr wdr/ldwr (vv. 13 and
19 resp.), šm yhwh (vv. 16.22), 2× yhwh (vv. 16–17.22–23) and the root
7
Cf. Brüning (1992), p. 296. According to Girard Psalm 102 divides into two linearly
parallel main parts, vv. 2–15 and 16–29; see § 13.6. However, starting form this division
the verbal repetitions on the level of the poem as a whole do not show up well: note ’l
prohibitive in vv. 3.25, pnyk (‘your face’) in vv. 3.29, ’ly (‘to me’) in vv. 3.24*, h’rs. (‘the
earth’) in vv. 16.26 and the root hll in vv. 9.19+22! (pace Girard’s statement [p. 31] that
his main parts ‘répondent aux canons d’une architecture remarquablement équilibrée et
impressionnante’).
8
Similarly Allen (2002); see also Allen (1986), p. 592 n. 61. For the basic pattern 4.4.2
verselines, see Ch. IV below. As a rule the Masoretic verse divisions can be taken as a
reliable indication for delineating the poetic verselines; only v. 3 represents two bicola
(cf. BHS and Fokkelman [2000]).
9
Note Duhm, Gemser, Jacquet, Beaucamp, Fokkelman, Terrien and Weber.
10
This interpretation of the verbal repetitions is at variance with Girard’s view (pp.
25–26) who argues that vv. 4–12 display a concentric framework; cf. also Aletti/Trublet
(1983) and Auffret (1995).
mlk (vv. 16.23); see § 13.4.2.11

The third canto, vv. 24–29, is also composed of 3-line strophes (vv.
24–26 and 27–29). This strophic division is especially supported by the
transition marker ’th (‘you’) in vv. 27–28 (§ 13.3.1) and the linearly corre-
sponding verbal repetitions listed in § 13.4.2. The analogy with the strophic
structure of the preceding cantos supports this interpretation. Having es-
tablished the formal structure of Canto III, we subsequently observe a kind
of enjambement between the strophes: in vv. 25b–26 and 27–28 the psalmist
speaks about God’s transcendence in terms of time.
The bipartite division of the concluding third canto also helps us to
determine the thematic relationship between vv. 2–12 and 13–23, as it was
obviously in the mind of the psalmist. In the first strophe of Canto III
(vv. 24–26) the supplicant contrasts his miserable situation, the brevity of
his life (vv. 24–25a; cf. Canto I), with God’s eternity (vv. 25b–26). In this
way, the supplicant reinforces the description of his distress. Ps. 90,1–6
demonstrates that the reasoning of 102,24–26 is not unique.12 In the sec-
ond strophe of the concluding canto (vv. 27–29) the reference to God’s
eternity has quite a different function than it has in vv. 25b–26. Here the
supplicant praises God because he is sure that the offspring of his fellow
believers will dwell in Jerusalem in God’s presence (cf. Canto II). Never-
theless, the formal unity of Canto III demonstrates that the references to
God’s eternity constitute the bridge between the description of individual
distress and the hope for the restoration of Jerusalem. In other words:
‘Der Schlussabschnitt 24–29 bietet gewissermassen die Synthese der bei-
den Linien von Klagegebet und Zionsschau [. . . ], wobei die “Zeit”-Aspekte
gleichsam die Drehscheibe der Verbindungen darstellen’.13
In retrospect, I conclude that the relationship between the various
themes of Cantos I and II is also indicated by the conspicuous transition
from v. 12 to v. 13, expressing a glaring contrast. The concluding colon
11
Similarly Fokkelman, without reference to my STR, pp. 370 and 372–73. On these
grounds, Fokkelman (MPHB II, p. 262) and Weber (2003) conclude that the strophes
two by two form relatively individual poetic sections within the cantos (vv. 2–6, 7–12,
13–18 and 19–23). For the division vv. 13–18 and 19–22, see also Hossfeld/[Zenger],
pp. 45–46, who refers to Körting (2006). For the coherence of two successive strophes
within Canto II, see also w- at the beginning of the line (vv. 13.16), the nota accusativi
’t (vv. 15–16), the roots ktb/spr (vv. 19 and 22 resp.), the root hll (vv. 19.22) and the
prep. l- (vv. 21–22). Nevertheless, I do not consider vv. 2–6 etc. as sub-cantos because,
in my opinion, the sections in question do not display a thematic individuality.
12
Cf. Hossfeld/[Zenger] (2008), pp. 47–48. For the relationship between Psalms 90
and 102 in terms of words and expressions, see below.
13
Weber, 2003, p. 171. For this interpretation, see already my STR (1980), p. 373.
For the summarizing character of the concluding ‘half-long’ canto, vv. 24–29, see CAS I,
Ch. V, 5.2.2.2–3 (pp. 515–17).
ii.13 psalm 102 123
of Canto I (v. 12b) opens with w’ny (‘and I’) and contains a description
of the brevity of the supplicant’s life. The first colon of Canto II (v. 13a)
immediately ties in with v. 12b. It opens with w’th (‘and/but you’) and
contains a praise of God’s eternal rule. We are obviously dealing with a
well thought-out antithesis. Besides, in the prayers of an individual the
expression w’th often marks the transition from the description of distress
to the supplicant’s trust; see, e.g., Pss. 3,4 22,4 41,11 59,9 (the opening
word of Canto II) 86,15 (the opening word of Canto III).14 So, I agree with
Weber (2003), p. 171, when he suggests that Canto II represents ‘die Stelle
eines Vertrauensbekenntnisses’.
The concluding strophes of Psalms 51 and 69 (vv. 20–21 and 35–37
respectively) clearly demonstrate that according to the feeling of the post-
exilic community personal distress and national disaster (the ruins of Jeru-
salem) form a thematic continuum.15
It is especially the correspondences between Psalms 102 and 69 which
show that our psalmist has tried to produce a coherent composition. In
a study on the rhetorical structure of Psalm 69, Allen (1986), pp. 591–95,
shows that Psalms 69 and 102 are ‘hitherto unrecognized twins’ (p. 593).
He rightly argues that both psalms are composed of ‘two long sections and
a concluding short one’ (p. 592).16 In support of his conclusion, Allen fur-
ther points (among others things) to a surprising number of terminological
links between the two psalms; compare, e.g., ’l tstr pnyk mmny // bywm
.sr ly . . . mhr ‘nny (Ps. 102,3) with w’l tstr pnyk m‘bdyk // ky .sr ly mhr
‘nny (Ps. 69,18), ky bnh yhwh .sywn (102,17) with ky ’lhym ywšy‘ .sywn //
wybnh ‘ry yhwdh (69,36), and wl’ bzh . . . lšm‘ ’nqt ’syr (102,18b.21a; exter-
nally parallel) with ky šm‘ ’l ’bywnym yhwh // w’t ’syryw l’ bzh (69,34).
However, he fails to note that some of these links have a similar strategic
14
Cf. also ’th yhwh l‘wlm tšb // ks’k ldr wdwr in Lam. 5,19 (the beginning of Canto
III); in this case the verseline marks the transition from a communal lament to the
prayer for deliverance. wyhwh l‘wlm yšb in Ps. 9,8a (the beginning of Canticle I.2) does
not introduce a major shift in meaning.
15
The concluding strophes of Psalms 51 and 69 are a genuine part of the psalms
concerned; see CAS II, Ch. II, 9 and 27. However, Steck (1990), p. 358, justly remarks:
‘Doch stehen dort [in Psalms 22 and 69] die kollektiven Erwartungen nach den Aussagen
vom Einzelnen am Ende, während Ps 102 einen seltsamen Wechsel der Aspekte bietet’.
Notwithstanding this peculiarity, Steck considers Psalm 102 ‘ein einheitlicher Text’. Cf.
further Körting (2006), pp. 48–56.
16
For the rhetorical structure of Psalm 69, see CAS II, Ch. II.27 (pp. 248–66). Addi-
tionally, in both cases the macro division is supported by a linearly alternating scheme
of verbal repetitions: A.B|A’.B’|A’’. The concluding ‘half-long’ canto is completely in-
tegrated within the rhetorical framework of the poem as a whole. And like Psalm 102,
Psalm 69 is mainly composed of 3-line strophes, sometimes interrupted by a strophe of
two lines.
position in the psalms concerned. For this phenomenen, compare: tplty in

102,2/69,14, the opening verseline of Cantos I and II respectively; the root
bkh in 102,10/69,11, the first verseline of the concluding 3-line strophe of
Canto I; ky ‘t lh.nnh . . . ky rs.w (102,14–15)/‘t rs.wn (69,14), the first stro-
phe of Canto II; pnh ’l in 102,18/69,17, the second strophe of Canto II;
bny ‘bdyk yškwnw // wzr‘m lpnyk ykwn (102,29)/wzr‘ ‘bdyw ynh.lwh
// w’hby šmw yšknw bh (69,37), the concluding verseline of the psalm in
its entirety! The latter correspondences show that we are dealing with de-
liberate allusions. The similarities have a cumulative effect and strengthen
the idea that Psalm 102 is a well designed composition.17
the following verbal repetitions: root bw’ (v. 2) > 101,2 (the first strophe
of the psalm); root str (v. 3) > 101,5; lbb/lb (v. 5) > 101,2.4.5; root dbq
(v. 6) > 101,3; root yšb (v. 13) > 101,6.7; ’rs. (vv. 16.20.26) > 101,6.8; root
tmm (v. 28) > 101,2 (2×).6; root kwn (v. 29) > 101,7.
For the relationship with Psalm 90 see, among other things, the following
verbal repetitions: pnyk (vv. 3.29) > 90,8; ywm (vv. 3 [2×].4.9.12.24*.25) >
90,4.9–10.12.15; root klh (v. 4) > 90,7.9; root ybš (vv. 5.12) > 90,6; root hyh
(vv. 7.8) > 90,1.5.17; z‘mk wqs.pk (v. 11) > 90,7.9.11 (’pk wbh.mtk/‘brtk );
’th (vv. 13–14.27–28) > 90,1; ‘wlm (v. 13) > 90,2; dr wdr/dwr dwrym (vv.
13.25) > 90,1; ‘bdyk (vv. 15.29) > 90,13.16; root yr’ (v. 16) > 90,11; root r’h
(v. 17) > 90,15.16; bny twmth (v. 21) > 90,3 (bny ’dm); root ’mr (subject
God; v. 24*) > 90,3; šnh (vv. 25.28) > 90,4.9–10.15; root h.lp (vv. 27.28*)
> 90,5.6(!); root kwn (v. 29) > 90,17 (2×; the concluding verseline of the
psalm).18
13.8 Bibliography
wijk, 1985, pp. 127–28;
L.C. Allen, ‘The Value of Rhetorical Criticism in Psalm 69’, JBL 105 (1986), pp.
591–95;
Renate Brandscheidt, ‘Psalm 102. Literarische Gestalt und theologische Aus-
17
Contra Marttila (2006), pp. 126–27. On the basis of his numerical approach,
Labuschagne also emphasizes the compositional craftsmanship of the author of Psalm
102; see www.labuschagne.nl/ps102.pdf, Observations 2–4.
18
Cf. Köckert (2009), pp. 181–84.
ii.13 psalm 102 125
sage’, TThZ 96 (1987), pp. 51–75;

O.H. Steck, ‘Zu Eigenart und Herkunft von Ps 102’, ZAW 102 (1990), pp. 357–72;
Ch. Brüning, Mitten im Leben vom Tod umfangen. Ps 102 als Vergänglichkeits-
klage und Vertrauenslied (BBB 84), Frankfurt a.M.: Anton Hain GmbH, 1992;
R.C. Culley, ‘Psalm 102: a complaint with a difference’, Semeia 62 (1993), pp.
19–35;
87–104;
F. Sedlmeier, ‘Zusammengesetzte Nominalsätze und ihre Leistung für Psalm cii’,
VT 45 (1995), pp. 239–50;
—, ‘Psalm 102,13–23: Aufbau und Funktion’, BZ 40 (1996), pp. 219–35;
Gunild Brunert, Psalm 102 im Kontext des Vierten Psalmenbuches (SBB 30),
Stuttgart: Katholisches Bibelwerk, 1996;
Corinna Körting, Zion in den Psalmen (FAT 48), Tübingen, 2006, pp. 32–60;
M. Marttila, Collective Reinterpretation in the Psalms. A Study of the Redaction
History of the Psalter (FAT II.13), Tübingen, 2006, pp. 118–35;
W.H. Bellinger, Jr., ‘Psalm 102: Lament and Theology in an Exilic Setting’,
in R.L. Foster and D.M. Howard (eds.), My Words are Lovely. Studies in the
Rhetoric of the Psalms (Library of Hebrew Bible/Old Testament Studies 467),
London/New York: T&T Clark, 2008, pp. 147–55;
M. Köckert, ‘Zeit und Ewigkeit in Psalm 90’, in R.G. Kratz and H. Spieck-
ermann (eds.), Zeit und Ewigkeit als Raum göttlichen Handelns (BZAW 390),
Berlin: Walter de Gruyter, 2009, pp. 155–85.
14 Psalm 103
Structure: 9.9.4 > 5.4|5.4|4 > 2.3|2.2||2.3|2.2||2.2 lines (Type IIB)
I.1 1 BRKY NPŠY ’T YHWH wkl qrby ’t šm qdšw

2 BRKY NPŠY ’T YHWH w’l tškh.y kl GMWLYw
3 hslh. lkl ‘WNky hrp’ lkl th.l’yky

4 hgw’l mšh.t h.yyky hm‘t.rky H . SD wRH. MYM
5 hmśby‘ bt.wb ‘dky tth.dš knšr n‘wryky
I.2 6 ‘śh S.DQWT yhwh wmšpt.ym lkl ‘šwqym

7 ywdy‘ drkyw lmšh LBNY yśr’l ‘lylwtyw
8 rh.wm wh.nwn yhwh ’rk ’pym wrb H

. SD
9 l’ lns.h. yryb wl’ l‘WLM yt.wr
II.1 10 l’ kh..t’ynw ‘śh lnw wl’ k‘WNTYnw GML ‘lynw

11 ky kgbh ŠMYM ‘l h’rs. GBR H . SDw ‘l yr’yw
12 krh.q mzrh. mm‘rb hrh.yq mmnw ’t pš‘ynw
13 kRH . M ’b ‘l bnym RH. M yhwh ‘l yr’yw
14 ky hw’ yd‘ ys.rnw zkwr ky ‘pr ’nh.nw
II.2 15 ’nwš kh..syr ymyw ks.ys. hśdh kn ys.ys.

16 ky rwh. ‘brh bw w’ynnw wl’ ykyrnw ‘wd mqwmw
17 wH . SD yhwh m‘WLM w‘d ‘WLM ‘l yr’yw wS.DQTw LBNY

18 lšmry brytw wl zkry pqdyw l ‘śwtm [bnym
III 19 yhwh bŠMYM hkyn ks’w wmlkwtw bkl mšlh

20 BRKW yhwh ml’kyw GBRY kh. ‘śy dbrw lšm‘ bqwl dbrw
21 BRKW yhwh kl .sb’yw mšrtyw ‘śy rs.wnw [YHWH

22 BRKW yhwh kl m‘śyw bkl mqmwt mmšltw BRKY NPŠY ’T
14.1 Text
V. 5a—‘dky: ‘your existence’; cf. Ps. 104,33 and 146,2 (Dahood, Kraus, Allen,
[Hossfeld]/Zenger). MT reads ‘dyk (‘your ornament’); cf. Barthélemy (2005),
p. 693: ‘ton avidité’ (with reference to Ps. 32,9).
V. 11b—gbr : ‘it is strong’ (so MT); this reading is supported by Ps. 117,2 and
ii.14 psalm 103 127
§ 14.4.4 (similarly Allen, [Hossfeld]/Zenger); against BHS which reads gbh

(‘it is high’).
V. 17a–b: the colometric division is not supported by the accentuation of MT;
similarly Fokkelman (2002).
V. 22c—brky npšy ’t yhwh: a relatively independent (third) colon at the end
of the concluding verseline; for this phenomenon, cf. Pss. 2,12c 3,9b 7,9a
15,5c 55,24c 68,36c 104,35c 125,5c 129,8c and 150,6!
14.2 Content
A hymn on God’s steadfast love.
I The praise of an individual, a ‘subjective’ (I.1), and an ‘objective’ de-
scription of God’s goodness in the past (I.2).
Bless my soul the Holy Name (vv. 1–2), because he has healed
all your diseases and surrounds you with steadfast love (vv. 3–5).
God executes righteousness for all those who are wronged and he
has shown his steadfast love to our ancestors (vv. 6–9).
II The praise of the community, a ‘subjective’ (II.1), and an ‘objective’
description of God’s goodness in the future (II.2).
God does not deal with us according to our sins, but his steadfast
love and compassion are towards those who fear him (vv. 10–14;
cf. vv. 3–5).
God’s steadfast love towards those who fear him is for all eternity
(vv. 15–18; cf. vv. 6–9).
III Concluding doxology: a call for praise to the whole creation.
The whole creation must bless God (vv. 20–22; cf. vv. 1–2) as
heavenly King (v. 19).

14.3.1.1 imperative: brky, v. 1a; ext. imperative: brkw, v. 21a
// brky in v. 2a and ’l ext. // brk in v. 22a+c
prohib. in v. 2b brk with object God, v. 21a;
brk with object God, v. 1a; ext. // brk in v. 22a+c
ext. // brk in v. 2a vocative: kl .sb’yw mšrtyw
vocative: npšy, v. 1a; ext. ‘śy rs.wnw, v. 21 ext. //
// npšy in v. 2a kl m‘śyw . . . npšy in
casus pendens: ’nwš, v. 15a v. 22a+c
yr’ with object God, v. 17b 14.3.1.2 none
casus pendens: yhwh, v. 19a

14.3.2.1 ns.h., v. 9a ‘wd, v. 16b
‘wlm, v. 9b
hw’, v. 14a 14.3.2.2 yd‘ with subject God, v. 14a
’nh.nw, v. 14b

yr’ with object God, v. 11b brk with object God, v. 20a
yr’ with object God, v. 13b vocative: ml’kyw gbry kh.
‘wlm, v. 17a+b s̀y dbrw, v. 20a
imperative: brkw, v. 20a

vv. 1–2: brky npšy ’t yhwh, vv. 1a.2a! (anaphora); see also qrby, v. 1b
w- + kl, vv. 1b.2b (exactly linear)
vv. 3–5: article h- + participium, vv. 3a+b.4a+b.5a (anaphora)
suffix -ky, vv. 3a+b.4a+b.5a*+b! (epiphora)
h.yym/‘d, vv. 4b and 5b* resp.
vv. 6–7: prep. l-, vv. 6b.7a+b
vv. 10–11: prep. k-, vv. 10a+b.11a
prep. ‘l, vv. 10b.11a+b
vv. 12–14: prep. k-, vv. 12a.13a (anaphora); see also ky in v. 14a
krh.q mzrh. . . . hrh.yq mmnw/krh.m . . . rh.m, vv. 12 and 13
resp. (alliter.)
suffix -nw (first person plural), vv. 12b (2×).14a (inclusion);
see also ’nh.nw in v. 14b
vv. 17–18: prep. l-, vv. 17c.18a+b (2×)
vv. 19–20: wmlkwtw/ml’kyw, vv. 19b and 20a resp. (alliter.)
vv. 21–22: brkw yhwh kl .sb’yw/m‘śyw, vv. 21a and 22a resp. (anaphora);
see also kl in v. 22b and brky . . . ’t yhwh in v. 22c
root ‘śh, vv. 21b.22a

vv. 1–5 (I.1): kl, vv. 2b.3a+b (concatenation)
vv. 6–9 (I.2): .sdqh/rh.wm wh.nwn, vv. 6a and 8a resp. (linear; cf. Ps. 111,
vv. 3–4; Willis [1991], p. 530)
ii.14 psalm 103 129
yhwh (subject), vv. 6a.8a (exactly linear)

prep. l- . . . l-, vv. 7.9 (linear); see also l- in v. 6b
vv. 10–14 (II.1): prep. k-, vv. 10a+b+11a.12a+13a (concatenation)

h..t’ynw . . . ‘wntynw/pš‘ynw, vv. 10 and 12b resp. (lin.)
kh..t’ynw/’nh.nw, vv. 10a and 14b resp. (alliter.; inclusion)
suffix -nw (first person pl.), vv. 10 (4×).12b (2×).14a!;
see also ’nh.nw in v. 14b
ky, vv. 11a.14a+b (exactly linear)
‘l yr’yw, vv. 11b.13b; see also ‘l in vv. 10b+11a and 13a

vv. 1–9 (Canto I): yhwh, vv. 1a+2a.6a+8a (exactly linear)
gmwlyw/‘lylwtyw, vv. 2b and 7b resp. (exactly
linear)
lkl, vv. 3a+b.6b; see also kl in vv. 1b and 2b
h.sd, vv. 4b.8b (linear)
} chiasmus
root rh.m, vv. 4b.8a (linear)
vv. 10–18 (Canto II): prep. k-, vv. 10–13.15a+b

root ‘śh, vv. 10a.18b (inclusion)
prep. l-, vv. 10a.17c+18a+b (2×; inclusion)
wl’, vv. 10b.16b (linear); see also l’ in v. 10a
ky, vv. 11a+14a+b.16a! (exactly linear)
h.sd, vv. 11b.17a
‘l yr’yw, vv. 11b+13b.17b!
prep. mn, vv. 12a+b.17a (linear)
bnym, vv. 13a.17b (linear)
} chiasmus
yhwh, vv. 13b.17a (linear)
root zkr, vv. 14b.18b! (exactly linear)
vv. 19–22 (Canto III): yhwh, vv. 19a+20a.21a+22a+c (concatenation)

bkl + root mšl, vv. 19b.22b! (inclusion)
-yw, vv. 20a.21a+22a (exactly linear); see also
suffix -w in v. 19a (concatenation)
root ‘śh, vv. 20b.21b+22a (concatenation)

vv. 1–5.10–14.19–22: brky npšy ’t yhwh, vv. 1a+2a.22c! (inclusion); see
also brkw yhwh in vv. 20a+21a+22a!
root gml, vv. 2b.10b! (linear)

‘wn, vv. 3a.10b!
h.sd, vv. 4b.11b
root rh.m, vv. 4b.13a+b (exactly linear)
šmym, vv. 11a.19a! (linear)
root gbr, vv. 11b.20b! (linear)
vv. 6–9.15–18: root ‘śh, vv. 6a.18b

} chiasmus
s.dqh, vv. 6a.17c!
drkyw/pqdyw, vv. 7a and 18b resp.
lbny, vv. 7b.17c!
rh.wm/rwh., vv. 8a and 16a resp. (alliter.)
h.sd, vv. 8b.17a (linear)
‘wlm, vv. 9b.17a+b! (linear)
yt.wr/brytw, vv. 9b and 18a resp. (alliter.; linear)
vv. 8–9.10–11, concatenation: l’ . . . wl’, vv. 9.10 (anaphora)

suffix -w, prep. k- (v. 5), prep. mn (v. 4)

root yd‘ (vv. 7.14), mqwm (vv. 16.22)

Psalm 103 has 10 strophes, 22 verselines (it is an ‘alphabetizing’ poem)
and 47 cola.1 In terms of strophes and verselines, the ceasura between vv.
11 and 12 divides the psalm into two equal parts (vv. 1–11 and 12–22 >
11+11 verselines and 5+5 strophes). V. 12b represents the middle colon
(> 23+1+23 cola). This colon is composed of exactly 17 letters and clearly
constitutes a focal theme of the composition: God removes our sins from us.
In other words, v. 12b is to be taken as the consciously designed rhetorical
centre of Psalm 103.2
1
Fokkelman (MPHB III) counts 23 verselines; he considers v. 22c a relatively inde-
pendent monocolic verseline.
2
According to Labuschagne (www.labuschagne.nl/ps103.pdf, Observation 1) it is es-
pecially the middle verselines, vv. 11–12, which constitute the ‘consciously designed,
most appropiate meaningful centre’ of this psalm.
ii.14 psalm 103 131
Structure of strophes and cantos in terms of words: 17+18|12+13||17

+23|16+15||17+18 = 35+25|40+31|35 = 60+71+35 (= 166 = 2×83 words
in total). The opening strophes of the cantos, vv. 1–2, 10–11 and 19–20,
are characterized by an equal number of 17 words.
The divine name, yhwh, occurs 11×: vv. 1, 2, 6, 8, 13, 17, 19, 20, 21
and 22 (2×). The number eleven, which once again turns up (cf. above),
strengthens the alphabetizing character of the psalm. Combined with the
inclusion brky npšy ’t yhwh (vv. 1a+2a.22c), we are dealing with a set of for-
mal devices which express that in terms of subject matter the composition
forms a complete whole.

Köster (1837): 1–5.6–14.15–19|20–22 (5.9.5|3 verses)
Hävernick (1849), p. 43: 1–5.6–10.11–14.15–18.19–22 (5.5.4.4.4 verses);
similarly Gemser (1949); cf. www.labuschagne.nl/ps103.pdf
De Wette (1856): 1–5.6–9.10–13.14–16.17–19.20–22 (5.4.4.3.3.3 verses)
Ewald (1866), pp. 488–90: 1–5|6–9.10–13.14–18|19–22 (5|4.4.5|4 verses)
Ley (1875), pp. 176–77: 1–5.6–10|11–14|15–18.19–22 (5.5|4|5.5 lines; vv.
11–14 represent a ‘Mittelstrophe’); cf. Hävernick (1849)
Delitzsch (1894): 1–5.6–10.11–14.15–18.19–22 (10.10.8.8.10 cola); cf. Ley
Zenner (1906), pp. 128–31: 1–2.3–5|6–7.8–10||11–12.13–14||15–16.17–18|
19–20.21–22 (2.3|2.3|2.2|2.2|2.2 lines); similarly Condamin (1933), pp.
169–71, and Calès (1936); cf. Ley (1875)
Duhm (1922): 1–2.3–4.5–6.7–8.9–10.11–12.13–14.15–16.17–18.19–20.21–22b
(11×2 bicola); similarly Mowinckel (1957)
Gunkel (1926): 1–2.3–5.6–13.14–18.19–22; cf. Kraus (1978)
Herkenne (1936): 1–5.6–12.13–18.19–22
Pannier/Renard (1950): 1–2.3–6.7–10.11–14.15–18.19–22b (2.5×4 lines)
Kissane (1954): 1–5.6–9.10–14.15–18.19–20b+21–22+20c (5.4.5.4.5* lines)
Dahood (1970): 1–5.6–10.11–18.19–22; similarly NAB (1970)
Van der Ploeg (1974): 1–5.6–14.15–18.19–22b.22c; similarly BHS (1969)
Alden (1978), p. 200: 1a.1b–5.6.7.8–9.10.11–14|15.16.17a–b.17c.18.19–22b.
22c (a.b.c.d.e.f.g|g’.f’.e’.d’.c’.b’.a’)
Beaucamp (1979): 1 2–5.6–9.10–13.14–17a+c 18 (2 4×8 2 cola)
Jacquet (1979): 1–2|3–5.6–7+x.8–10.11–13.14–16.17–19|20–22b (2|6×3|3
bicola v. 22c)
Ravasi (1988), pp. 51–77: 1–2.3–10.11–19.20–22
Willis (1991): 1–5.6–10.11–14.15–19.20–22 (five ‘strophes’); cf. Zenner (1906)
Girard (1994): 1–2|3.4–5.6–7.8.9–10|11a.11b–13.14–16.17–18.19|20–22 (a|b.
c.d.c’.b’|d.e.f.e’.d’|g); cf. Ravasi (1988)
Metzger (1995): 1–2.3–5||6–7|8|9–10||11–13|14–18.19–22 (2.3||2|1|2||3|5.5;

vv. 3–5.6–7|8|9–10.11–13 > a.b|c|b’.a’)
Allen (2002): 1–5|6–8.9–11.12–14.15–18|19–22 (note pp. 28–29)
Fokkelman (2003), pp. 197–201: 1–2.3–5.6–8|9–10.11–13.14–16|17–19.
20–22 (2.3.3|2.3.3|3.4 lines; a+a.b|c.d.c’|b’.a’)
Terrien (2003): 1–2 3–5.6–8.9–11.12–14.15–17.18–20 21–22 (2 6×3 3
lines); cf. Jacquet (1979)
Weber (2003): 1–2.3–5||6–7.8–10|11–12.13–14|15–16.17–18||19–20.21–22
(A|B.C.B|A’); cf. Willis (1991)
[Hossfeld]/Zenger (2008): 1–2.3–5.6–7.8.9–10|11.12.13.14.15–16.17–18|
19–22b.22c (vv. 3–5.6–7|8|9–10.11–13 > a.b|c|b’.a’; vv. 15–18 are a
‘Redaktionelle Neuinterpretation’—sim. Spieckermann [1990], p. 10)

Psalm 103 with its rigidly implemented rhetorical structure is a beautiful
example of classical Hebrew poetry. So, Allen (2002, p. 29) justly remarks:
‘Much care has clearly been lavished upon this artistic composition’. Yet,
there is a bewildering variety of opinions with regard to its poetic frame-
work3 and, in my opinion, the fine balance between its main parts is only
seldom recognized, to put it mildly.
Because our psalm consists of 22 verselines, it is an alphabetizing poem.
In this case the poetic verselines, without exception, coincide with the
Masoretic verses. Most verselines consist of two cola which display an
internal parallelism. At the end of the poem we find some tricola; see
vv. 17, 20 and 22.4 However, the internal parallelism which characterizes
most verselines is only an aspect of an all-embracing phenomenon. The
psalm in its entirety is composed of two 9-line cantos (vv. 1–9 and 10–18)
and a concluding ‘half-long’ canto of four verselines (vv. 19–22).5 Both
in terms of semantics and from a formal perspective, the 9-line cantos
form an overall parallelism. Additionally, the concluding ‘half-long’ canto
is completely integrated within the wave-like movement between the main
parts. Schematically represented, the rhetorical structure of Psalm 103 is as
follows: vv. 1–5.6–9|10–14.15–18|19–22 > a.b|a’.b’|a’’. We are once again
dealing with a linearly alternating parallelism on a macrostructural level.
3
See also Willis (1991), pp. 525–26.
4
According to Fokkelman (MPHB III, p. 200), v. 17c is the first colon of the following
verseline; he takes vv. 17c–18 as a tricolon. For v. 22c as the third colon of the concluding
verseline, see § 14.1.
5
For the basic pattern 4.4.2 verselines, see also Psalm 102; cf. further CAS II, Ch. IV,
2.4.3 (pp. 499–500).
ii.14 psalm 103 133
14.7.1 The parallelism between the cantos
At the beginning of the first canto an individual encourages his soul to praise
God; note ‘bless, my soul, the Lord’ in vv. 1a and 2a. This opening call
to praise determines the subject matter of all following verselines. In vv.
3–5 the psalmist formulates the reason for his exhortation. The participles,
which are preceded by the article h-, opening the successive cola in vv.
3–5a, reinforce the hymnic character of the section vv. 1–5. Canto II (vv.
10–14) also begins with a hymn. In this case, there is no exhortation to
praise God (ellipsis), but the psalmist immediately gives the reason for his
song of praise. I assume that the call for praise in vv. 1–2 functions as a
double-duty modifier on a macrostructural level.6 And different from vv.
1–5, the psalmist now speaks as a member of a community; note ‘our sins’
in v. 10a etc. Tacitly, the community adopts the call to praise from vv.
1–2 and without introduction starts with a hymnic description of God’s
steadfast love. The psalmist as an individual thanks God especially for
having recovered from a fatal disease (vv. 3–5); in passing, he also speaks
of forgiveness of sins (v. 3a). When he is speaking as a member of the
community, the forgiveness of sins is the main theme (vv. 10–14). Both
the hymn of the psalmist as an individual and that of the community have
five verselines. In terms of ideas, the ‘half-long’ Canto III seamlessly fits
the alternating scheme between the canticles, because it is dominated by
an exhortation to praise God; cf. Canticle I.1 (see § 14.2).
The hymn of the psalmist (vv. 1–5) and that of the community (vv.
10–14) are very personal ‘subjective’ utterances of thanksgiving. The co-
herence of these sections is determined (among other things) by suffixes
which refer to an individual (note -y and -ky in vv. 1–5) or a specific group
(note -nw in vv. 10–14); see § 14.4.1–2. Subsequently, both hymns are fol-
lowed by more generalizing and ‘objective’ descriptions of God’s ‘steadfast
love’ (h.sd ), vv. 6–9 and 15–18. From these sections it is not clear whether
an individual is speaking or a group.7 We are dealing with rather detached
descriptions of God’s compassion with the people of Israel; cf. the linear
parallelism between Cantos I and II in Psalm 111 (Ch. III.5 below). In
vv. 6–9 the psalmist especially portrays the revelation of God’s steadfast
6
Cf. Dahood, Psalms III, pp. 429–44. For comparable phenomena, cf. the framework
of Psalms 91 (’mr [‘I say’] in v. 2a does double duty), 100 (the imperative d‘w [‘acknowl-
edge’] does double duty) and 124 (Ps. 124,4–5 is an apodosis at the beginning of the
second strophe which depends on the protasis lwly yhwh šhyh lnw . . . phrased at the
beginning of the first strophe [vv. 1–2]; see Ch. III.17 below).
7
Contra Allen (2002), p. 27, Metzger (1995), p. 132, and [Hossfeld]/Zenger (2008),
p. 55, who maintain that from v. 6 onwards the psalmist has in mind a special group;
this only holds true for vv. 10–14!
love as it expressed itself in history, during the stay of the people of Is-
rael in the wilderness.8 Vv. 15–18 emphasize the everlasting character of
God’s steadfast love and especially focus on the future generations; note
lbny bnym (‘for sons of sons’) in v. 17c.
The end of Canticle I.1 is marked by the sudden shift from the participles
in succession (introduced by the particle h-) to the imperfect tth.dš (‘it is
renewed’) in v. 5b; cf. Ps. 147,15–17! And contrary to vv. 3a, 4a and 5a
(which are dependent on yhwh in vv. 1–2), v. 6a is an individual nominal
clause; note the subject yhwh. The transition from Canticle II.1 to II.2
is in the first place marked by the casus pendens construction in v. 15a;
note ’nwš (see § 14.3.1.1 and cf. yhwh in v. 19a). In addition, Canticle
II.1 concludes with ’nh.nw (‘we’), which explicitly refers to a specific group,
while Canticle II.2 opens with ’nwš, a reference to mankind in general.
Canticles I.2 and II.2 have four verselines each.
The linear parallelism between the main parts is not only based on the
alternation of ‘subjective’ (vv. 1–5 and 10–14) and ‘objective’ descriptions
of God’s steadfast love (vv. 6–9 and 15–18) described above. From a formal
point of view, it is reinforced by the structural pattern 5.4|5.4 verselines (vv.
1–5.6–9|10–14.15–18). The linear correspondence is further buttressed by a
characteristic pattern of verbal repetitions on the level of the composition
as a whole; see the responsions listed in § 14.4.4. In the opening a-canticles
(vv. 1–5, 10–14 and 19–22) as well as in the concluding b-canticles (vv.
6–9 and 15–18) we find small clusters of words which exclusively occur
in the corresponding units. For the a-canticles, note brky npšy ’t yhwh
(‘bless the Lord, O my soul’), the root gml (‘to requit’), ‘wn (‘sin’), šmym
(‘heaven’) and the root gbr (‘to be strong’);9 for the b-canticles, note .sdqh
(‘righteousness’), lbnym (‘to sons’) and ‘wlm (‘eternity’).10
The a.b|a’.b’|a’’-pattern, which controls the total framework of the
poem, also comes to light when we take into consideration the revela-
tion of God’s goodness in terms of time: vv. 1–5.6–9|10–14.15–18|19–22
> present.past|present.future|present. To crown it all, the correspon-
dence between Canticle I.1 and Canto III is reinforced by some numerical
features on word level: both units have 35 words and divide into 17 and
18 words on strophe level; see § 14.5. Additionally, the first strophe of
8
V. 7a is an allusion to Ex. 33,12–13 and v. 8 a quotation from Ex. 34,6.
9
This approach once again shows that Canto III smoothly fits the framework of the
poem. For this feature, see CAS I, Ch. V, 5.2.2.6 (pp. 518–20).
10
Canto I concludes with a verseline containing some expressions for a ‘long time’;
see ns.h. and ‘wlm in v. 9 (§ 14.3.2.1). This feature points to the end of a rhetorical
unit; cf. m‘wlm w‘d ‘wlm (‘from eternity to eternity’) in the second last verseline of the
concluding strophe of Canto II (v. 17).
ii.14 psalm 103 135
Canto II (vv. 10–11) exactly fits this linear relationship between the cantos
because it has also 17 words.11
14.7.2 The structure of Cantos I and II

The linearly alternating correspondences between the canticles demonstrate
that vv. 1–9 and 10–18 represent two relatively individual main parts. Ad-
ditionally, these main parts display specific features which make them stand
out as relatively individual cantos. Canto I is characterized by participles
describing God’s merciful deeds which connect Canticles I.1 and I.2; see
vv. 3–5 and ‘śh (‘doing’) in v. 6a. Its cohesion is further supported by the
expressions gmwlyw (‘his bounties’) and ‘lylwtyw (‘his deeds’). The word
gmwlyw in v. 2b is the last morpheme of the first strophe of Canticle I.1.
In terms of meaning and positioning, it exactly corresponds to ‘lylwtyw
(‘his deeds’) in v. 7b, which is the last morpheme of the first strophe of
Canticle I.2. In the second strophe of Canticle I.1 we find the words h.sd
(‘steadfast love’) and rh.mym (‘compassion’), v. 4b. In reverse order, these
words return in the second strophe of Canticle I.2 (chiasmus); see rh.wm and
h.sd in vv. 8a and 8b respectively (§ 14.4.3). Simultaneously, these linear
correspondences reinforce the canticle division of the first main part.
Canto II as a whole stands out by the repetition of ‘l yr’yw (‘towards
those who fear him’) in vv. 11b, 13b and 17b (§ 14.4.3; the expression
does not occur elsewhere in the psalm). Its cohesion is further buttressed
by the repetition of the root zkr (‘to remember’). This root occurs in the
concluding verselines of both Canticle II.1 (v. 14) and II.2 (v. 18) and does
not occur elsewhere in the psalm. Its strategic positioning at precisely
the beginning of the second colon of the lines concerned once more indi-
cate that we are dealing with deliberate design. In this respect, see also
the responsion bnym (‘sons’), which occurs in the second last line of the
canticles in question (vv. 13a and 17c). Simultaneously, these linear cor-
respondences reinforce the canticle division of the second main part. The
noun h.sd (‘steadfast love’) represents a key word in both Cantos I and II.
It occurs once in each canticle: vv. 4b (I.1), 8b (I.2), 11b (II.1) and 17b
(II.2).12
11
The latter observations reveal that the divine name is deliberately woven into the
fabric of the text; cf. 11× yhwh in the composition as a whole (§ 14.5).
The perfect balance between the main parts of Psalm 103 refute the recent assump-
tion by [Hossfeld]/Zenger (2008) that vv. 15–18 represent a ‘Redaktionelle Neuinterpre-
tation’; for a refutation of this idea, see also Metzger (1995), p. 130 n. 20.
12
The root rh.m (‘to have compasssion’), which is a semantic equivalent of h.sd, also
occurs 4×, vv. 4, 8, en 13 (2×). According to Metzger (1995, p. 129), these synonyms
describe two aspects of the same idea: ‘In der Vergebung von Sünde (V. 12) wirkt sich
As regards the strophic divisions within the cantos, they are partly based
on formal considerations. In terms of grammar, the participles of vv. 3–5
are dependent on vv. 1–2. Nevertheless, we may distinguish a 2- and a
3-line strophe; cf. Pss. 104,1–5 147,7–11.12–17 and Isa. 44,24–28. In this
respect, see also the strategic positioning of gmwlyw (‘his bounties’) and
‘lylwtyw (‘his deeds’) discussed above. The parallel features between vv. 6
and 8 enhance the bipartite division of Canticle I.2; see § 14.4.2 and note
yhwh in vv. 6a.8a. Moreover, within the canticle vv. 6 and 8 stand out as
nominal clauses. For the strophic division of Canto II, see especially ky in
§ 14.4.3. Canticle II.2 (vv. 15–18) in its entirety constitutes an antithetic
parallelism: the life of a human being is transient like that of grass and
flowers (vv. 15–16), while God’s steadfast love is everlasting (vv. 17–18).
This contrast is explicitly expressed by the w- adversative (‘but’) at the
beginning of v. 17 (§ 14.3.1.1).
14.7.3 The progressive development of ideas
There is a remarkable progression in the development of ideas which char-

acterizes Psalm 103. In the a-canticles the praise of God is adopted by
bigger and bigger groups: the psalm opens with the praise of an individual
(Canticle I.1; note npšy in vv. 1–2); subsequently, it is the community of
the people of Israel that praises the Lord (Canticle II.1; note the suffix -nw
[first person plural] in vv. 10–14); and finally the whole creation is sum-
moned for praise (Canto III). The circle of creatures summoned to worship
God with songs of praise is gradually expanded.
In the b-canticles, which rather detachedly portray God’s steadfast love
(vv. 6–9 and 15–18), we find a comparable progressive development or in-
tensification. Canticle I.1 is about the past and concludes with the negative
statement that God will not contend for ever (v. 9), while Canticle II.2 is
(also) about the future and concludes with the explicitly positive state-
ment that God’s steadfast love is everlasting and towards all generations
who worship him; note m‘wlm w‘d ‘wlm and lbny bnm in v. 17. Previous
scholars could only have a vague notion of this development.13 The pre-
cise description of its poetic framework provides the basis for a much more
precise articulation of the reinforcement of praise and compassion which
characterizes the thought-development in this marvellous composition.
die Übermacht der Gnade (h.sd ) aus (V. 11), der tiefere Beweggrund dieses Handelns ist
das väterliche Erbarmen (rh.m) Jahwes (V. 13)’.
13
See, e.g., Metzger (1995), pp. 132–33. Willis (1991, p. 537) opposes the idea that
this psalm ‘develops along the lines of ever-expanding praise’ because there is no mention
of praise in vv. 16–18.
ii.14 psalm 103 137
As pointed out above, Cantos I and II (vv. 1–9 and 10–18) represent
two relatively independent main parts of 9 verselines each, which display
a conspicuous linear parallel relationship. This means that the formal and
semantic bond between vv. 9 and 10, which has often been noticed by
exegetes, is to be taken as a device for concatenation. The negation l’ (‘not’)
features twice in both vv. 9 and 10. And in both cases it is strategically
positioned at the beginning of the cola (l’ . . . wl’ ). This concatenation has
also a thematic aspect: God will not deal with us according to our sins for
all time (enjambement).14 The verselines in question function as a hinge
between the two main panels of the psalm.15 V. 9 sets the stage for vv.
10–14. The corresponding verselines at both sides of the caesura between
Cantos I and II elicit a rhetorical suspense. Its effect is spoiled when most
scholars mechanically connect v. 10 to the preceding verselines; see § 14.6.16
A transition like this also occurs between Canticles II.1 and II.2. When
in vv. 15–18 the psalmist portrays God’s everlasting faithfulness with the
help of an antithetic parallelism (see above) he ties in with a motif from the
concluding verseline of Canticle II.1, in which he speaks about human tran-
science (v. 14). This device for enjambement produces some tension in the
progression of the development of ideas within Canto II. Joining together
v. 14 with the following verselines (vv. 15–16 or 15–18) into one strophe
obscures and disturbs the rhetorical framework of the second canto.17
14.7.4 A retrospective
The results of my approach endorse the ‘strophic’ interpretation by espe-
cially Kissane (1954) and, in broad outline, by scholars from the nineteenth
and the beginning of the twentieth century. They agreed that the poet of
Psalm 103 applied ‘strophes’ of (alternately) four and five verselines.18 Ad-
ditionally, Ley (1875) drew attention to vv. 11–14 as the central unit of
14
Probably, v. 10 is an allusion to Ex. 34,7a. If so, vv. 8–10 represent a sort of break-up
of a stereotyped phrase; see Ex. 34,6–7a.
15
For this phenomenon, see further CAS I, Ch. V, 3.5 (pp. 487–88); cf. also ’šry
(‘happy’) in Ps. 84,5.6
16
De Wette (1856), Ewald (1866), Kissane (1954) and Beaucamp (1979) are excep-
tions.
17
Contra De Wette, Ewald, Gunkel, Jacquet, Beaucamp, Girard, Metzger and Fokkel-
man, among others; see § 14.6.
18
The layout of Kissane’s translation clearly displays an alternation of 5- and 4-line
strophes; that is to say, the psalm belongs to his basic type ‘alternating strophes of equal
length’ (cf. CAS I, Ch. I, 3.2.1 [pp. 46–47]). His own characterization (‘Five strophes
of five verses each’ [p. 147]) is inadequate. In this respect, cf. further Hävernick (1849),
Ewald (1966), Ley (1875), Delitzsch (1894), Zenner (1906), Condamin (1933) and Calès
(1936) in § 14.6!
the composition (‘Mittelstrophe’); cf. recently Weber (2003)! According

to Zenner (1906), our psalm is a clear example of his theory that many
Hebrew poems are composed according to a special pattern: ‘Strophe’
and ‘Antistrophe’; ‘Wechselstrophe’; ‘Strophe’ and ‘Antistrophe’ (scheme:
a.a’|b|c.c’).19 This example did convince scholars like Condamin and Calès.
However, Condamin (1933, p. 171) in all fairness adds that the ‘répétitions
symétriques’ are thin on the ground. Zenner’s theory cannot do justice to,
e.g., the distant parallelism between vv. 6–9 and 15–18; this is positively
the case in Weber’s scheme (see § 14.6).20 As explained above, the canticles
are linked up with each other according to the scheme a.b|a’.b’|a’’. It is
precisely this pattern which reveals the verbal repetitions which Condamin
was looking for in vain.
The approaches by Ley, Zenner c.s. and Weber are of importance be-
cause they accentuate vv. 11–14 as a pivotal theological section (as argued
above, v. 10 has to be included): God’s steadfast love and forgiveness are
all-embracing and overwhelming to his sinful and weak creatures!21 This is
the quintessential thought of the psalm.
the following verbal repetitions: šm (v. 1) > 102,16.22; qdšw (v. 1) >
102,20; root rh.m (vv. 4.8.13 [2×]) > 102,14; drk (v. 7) > 102,24; bnym
(vv. 7.17) > 102,21.29; root h.nn (v. 8) > 102,14; ‘wlm (v. 9.17 [2×]) >
102,13; šmym . . . ’rs. (v. 11) > 102,20.26; root yr’ (vv. 11.13.17) > 102,16;
hw’ (referring to God; v. 14) > 102,28; root zkr (vv. 14.18) > 102,13; ‘pr
(v. 14) > 102,15; v. 19 > 102,13; root kwn (v. 19) > 102,29; mlkwt (v. 19) >
102,16.23; root šm‘ (v. 20) > 102,2; m‘śym (v. 22) > 102,26.22 In addition,
the macrostructure of Psalm 102 also meets the basic scheme 4.4.2 and the
linearly alternating parallelism a.b|a’.b’|a’’.
14.8 Bibliography
P. Auffret, ‘Essai sur la structure littéraire du psaume 103’, FoOr 23 (1985/86),
pp. 197–225;
19
For Zenner’s strophic theory, see CAS I, Ch. I, 2.2.1 (pp. 26–28).
20
Nevertheless, Zenner (p. 130) rightly points to the relationship between Canticle
II.2 and Canto III: the casus pendens ’nwš (‘human being’) in v. 15a contrasts with the
casus pendens yhwh in v. 19a; cf. Willis (1991), p. 533.
21
Cf. also Fokkelman (MPHB III, p. 198), who considers vv. 11–13 the theological
centre of the poem. Metzger (1995), pp. 125–29, and [Hossfeld]/Zenger (2008) take v. 8
as the meaningful theological centre of the psalm (following Spieckermann [1990]).
22
Cf. Auffret (1995), pp. 102–04, and Hossfeld/[Zenger] (2008), pp. 50–51.
ii.14 psalm 103 139

wijk, 1985, pp. 122–26;
H. Spieckermann, ‘“Barmherzig und gnädig ist der Herr . . . ”’, ZAW 102 (1990),
pp. 1–18;
T.M. Willis, ‘“So Great is His Steadfast Love”: A Rhetorical Analysis of Psalm
103’, Biblica 72 (1991), pp. 525–37;
M. Metzger, ‘Lobpreis der Gnade: Erwägungen zu Struktur und Inhalt von
Psalm 103’, in M. Weippert and S. Timm (eds.), Meilenstein. FS H. Donner
(Ägypten und Altes Testament 30), Wiesbaden: Harrassowitz, 1995, pp. 121–33;
J.P. Fokkelman, Reading Biblical Poetry. An Introductory Guide, Louisville/Lon-
don: Westminster John Knox Press, 2001, pp. 159–173;
B.C. Gregory, ‘The legal background of the metaphor for forgiveness in Psalm
ciii 12’, VT 56 (2006), pp. 549–51;
J.P. Fokkelman, ‘Psalm 103: Design, Boundaries, and Mergers’, in B. Becking
and E. Peels (eds.), Psalms and Prayers, (OTS 55), Leiden/Boston, 2007, pp.
109–18;
W.D. Pickut, ‘Additional Observations Relating to the Legal Significance of
Psalm ciii 12’, VT 58 (2008), pp. 550–56.
15 Psalm 104
Structure: 18.17 > 5.4.9|5.7.5 > 2.3|2.2|3.3.3||2.3|3.2.2|2.3 lines (Type IB)
I.1 1 BRKY NPŠY ’T YHWH YHWH ’LHY GDLT m’d hwd whdr lbšt
2 ‘t.h ’wr kślmh nwt.h šmym kyry‘h
3 hmqrh bmym ‘lywtyw hśm ‘bym rkwbw hmhlk ‘l knpy RWH

.
4 ‘ŚH ml’kyw RWH . WT mšrtyw ’š lht.
5 ysd ’rs. ‘l mkwnyh bl tmwt. ‘WLM w‘D
I.2 6 thwm klbwš ksytw ‘l hrym y‘mdw mym

7 mn g‘rtK ynwswn mn qwl r‘mK yh.pzwn
8 y‘lw hrym yrdw bq‘wt ’l mqwm ZH ysdt LHM

9 gbwl śmt bl y‘brwn bl YŠWBWN l kswt H’RS.
I.3 10 hMŠLH. m‘ynym bnh.lym byn hrym YHLKWN

11 yšqw KL H. YTW śdy yšbrw pr’ym .sm’m
12 ‘lyhm ‘wp hšmym yškwn mbyn ‘p’ym YTNW qwl
13 mšqh hrym m‘lywtyw mpry M‘ŚYK TŚB‘ H’RS.

14 ms.myh. h..syr lbhmh w‘śb L‘BDT H’DM lHWS.Y’ lh.m mn H’RS.
15 wyyn YŚMH . lbb ’nwš lhs.hyl PNYM mšmn wlh.m lbb ’nwš ys‘d
16 YŚB‘W ‘s.y yhwh ’rzy lbnwn ’šr nt.‘

17 ’šr ŠM .sprym yqnnw h.sydh brwšym byth
18 hrym hgbhym l y‘lym sl‘ym mh.sh lšpnym
II.1 19 ‘ŚH yrh. lmw‘dym šmš yd‘ mbw’w

20 tšt h.šk w yhy lylh bw trmś KL H . YTW y‘r
21 hkpyrym š’gym lt.rp wlbqš m’l ’klm
22 tzrh. h šmš y’spwn w’l m‘wntm yrbs.wn
23 YS.’ ’DM lp‘lw wL‘BDTw ‘DY ‘rb
II.2 24 mh rbw M‘ŚYK yhwh klm bh.kmh ‘ŚYT ml’h H’RS. qnynK
25 ZH hym GDWL wrh.b ydym ŠM rmś w’yn mspr h.ywt qt.nwt ‘m GDLWT
26 ŠM ’nywt YHLKWN lwytn ZH ys.rt lśh.q bw
27 klm ’lyK yśbrwn lTT ’klm b‘tw

28 TTN LHM ylqt.wn tpth. ydK YŚB‘WN .twb
ii.15 psalm 104 141
29 tstyr PNYK ybhlwn tsp RWH . m ygw‘wn w’l ‘prm YŠWBWN

30 TŠLH. RWH
. K ybr’wn wth.dš PNY ’DMH
II.3 31 yhy kbwd yhwh l‘WLM YŚMH . yhwh bM‘ŚYw

32 hmbyt. l ’rs. wtr‘d yg‘ bhrym wy‘šnw
33 ’šyrh lYHWH bH . Yy ’zmrh l’LHY b‘wdy

34 y‘rb ‘lyw śyh.y ’nky ’ŚMH
. byhwh
35 ytmw h..t’ym mn H’RS. wrš‘ym ‘wd ’ynm BRKY NPŠY ’T YHWH
15.1 Text
V. 1a—brky npšy ’t yhwh: a relatively independent colon at the beginning of
the opening verseline of the psalm; for this phenomenon, cf. Pss. 16,1–2
25,1–2 87,1–2 and 146,1–2(!) .
V. 6a: ‘The deep, you covered it as (with) a garment’; the object is the thwm
(note the masc. suffix -w ; similarly NBG and Girard [p. 53]).
V. 13b—mpry m‘śyk : see Booij, Biblica 70 (1989), pp. 409–12.
V. 35c—brky npšy ’t yhwh: cf. Ps. 103,22c; MT + the editorial note hllw yh.
15.2 Content
Hymn on God as Creator and universal Provider.
I Hymn on God as Creator and universal Provider.
I.1 I will praise God’s majesty and his power to create heaven and
earth (vv. 1–5).
I.2 You have driven away the waters of chaos and made the earth
a habitable place (vv. 6–9; consistently addressed to God).
I.3 God sustains his creation (vv. 10–18).
He supplies water for the wild beasts (vv. 10–12).
He supplies water for man and his cattle (vv. 13–15).
All animals living on high places take advantage of this water
(vv. 16–18).
II Hymn on God as Creator and universal Provider.
II.1 God has created a special time (vv. 19–20) for all living beings
on earth to gather their food (vv. 21–23).
II.2 Generalizing description of God as Sustainer of all life (note
v. 24; consistently addressed to God).
The sea is full of your creatures (vv. 24–26).
You provide all living creatures with food (vv. 27–28).
You give life to all creatures on earth (vv. 29–30).
II.3 Concluding prayer concerning God’s everlasting majesty (vv.
31–32) and his acceptance of the psalmist’s poem (vv. 33–35).

15.3.1.1 imperative: brk, v. 1a cohortatives: ’šyrh . . .
vocative: npšy, v. 1a ’zmrh, v. 33
vocative: yhwh ’lhy, v. 1b
casus pendens: thwm, v. 6a 15.3.1.2 m’d, v. 1b
mh, v. 24a ‘wlm, v. 31a
vocative: yhwh, v. 24a ‘wd, v. 33b
jussive: yhy, v. 31a

15.3.2.1 ‘wlm w‘d, v. 5b 15.3.2.2 w- beginning of line, v. 15a
zh, v. 26b; ext. // zh in imperative: brky, v. 35c
v. 25a vocative: npšy, v. 35c
‘wd, v. 35b

zh, v. 8b
casus pendens: h.sydh, v. 17b
’nky, v. 34b

vv. 1–2: root lbš/ślmh, vv. 1c and 2a resp.
vv. 3–5: suffix -w, vv. 3a+b.4a+b
hmhlk/ml’kyw, vv. 3c and 4a resp. (alliter.)
prep. ‘l, vv. 3c.5a; see also ‘lywtyw in v. 3a (inclusion)
rwh., vv. 3c.4a
vv. 8–9: prep. l-, vv. 8b.9b
vv. 10–12: prep. byn, vv. 10b.12b! (inclusion)
vv. 13–15: prep. mn, vv. 13a+b.14c.15b
tśb‘/w‘śb, vv. 13b and 14b resp. (alliter.)
h’rs., vv. 13b.14c (epiphora)
prep. l-, vv. 14a+b+c.15b
lbhmh/lbb, vv. 14a and 15a+c resp. (alliter.)
lh.m, vv. 14c.15c!
vv. 16–18: ’šr, vv. 16b.17a!
ii.15 psalm 104 143
vv. 19–20: mbw’w/bw, vv. 19b and 20b resp. (alliter.); note suffix -w
vv. 21–23: w- beginning of the second colon, vv. 21b.22b.23b (linear)
suffix -m, vv. 21b.22b
vv. 24–26: zh, vv. 25a.26b
} chiasmus
šm, vv. 25b.26a
vv. 27–28: yśbrwn/yśb‘wn, vv. 27a and 28b resp. (alliter.)
root ntn, vv. 27b.28a
b‘tw/t.wb, vv. 27b and 28b resp. (alliter.; epiphora)
vv. 29–30: pnym, vv. 29a.30b
} chiasmus
rwh., vv. 29b.30a
vv. 33–35: yhwh, vv. 33a.34b.35c
suffix -y, vv. 33a+b.34a.35c
‘wd/‘wd, vv. 33b.35b! (inclusion)

vv. 6–9 (I.2): root ksh, vv. 6a.9b! (inclusion)
hrym, vv. 6b.8a (linear)
vv. 10–18 (I.3): hrym, vv. 10b.13a (linear)

} chiasmus; see also hrym in
root šqh, vv. 11a.13a
v. 18a
yšbrw/brwšym, vv. 11b and 17b resp. (alliter.)
hšmym/pnym mšmn/lšpnym, vv. 12a, 15b and 18b
resp. (alliter.; linear)
prep. mn, vv. 12b.13–15 (concatenation)
root ‘lh, vv. 13a.18a; note also the alliter. m‘lywtyw/
ly‘lym
root śb‘, vv. 13b.16a (linear)
prep. l-, vv. 14–15.18a+b (linear)
vv. 19–23 (II.1): lmw‘dym/w’l m‘wntm, vv. 19a and 22b resp. (alliter.)
šmš, vv. 19b.22a!
vv. 24–30 (II.2): suffix -k, vv. 24a+c.27a+28b.29a+30a (concatenation)

klm, vv. 24b.27a! (linear); see also ’klm in v. 27b
(alliter.) and the suffix -m in v. 29b+c (linear)
qt.nwt/ylqt.wn, vv. 25c and 28a resp. (alliter.)
roots ys.r/br’, vv. 26b and 30a resp. (linear)
prep. b- + suffix -w, vv. 26b.27b (concat.; epiphora)
vv. 31–35 (II.3): yhwh, vv. 31a+b.33a+34b+35c

l‘wlm/b‘wdy, vv. 31a and 33b resp. (linear)

root śmh., vv. 31b.34b
prep. b-, vv. 31b+32b.33 (2×)+34b (concatenation)
’rs., vv. 32a.35a (linear)

vv. 1–18 (Canto I): root lbš, vv. 1c.6a! (linear)
prep. k-, vv. 2a+b.6a! (linear)
šmym, vv. 2b.12a! (linear)
h- (article) + participle (beginning of the colon),
vv. 3a+b+c.10a
mym, vv. 3a.6b! (concatenation)
‘lywtyw, vv. 3a.13a!
root śym, vv. 3b.9a! (linear)
root hlk (pi‘el), vv. 3c.10b
prep. ‘l, vv. 3c+5a.6b (concat.); see also v. 12a
root ‘śh, vv. 4a.13b
root ysd, vv. 5a.8b! (linear)
’rs., vv. 5a.9b
} chiasmus (linear)
bl, vv. 5b.9a+b!
‘l mkwnyh/’l mqwm, vv. 5a and 8b resp. linear)
suffix -h, vv. 5a.17b! (linear)
hrym, vv. 6b.10b (linear)
qwl, vv. 7b.12b! (linear)
y‘lw/y‘lym, vv. 8a and 18a resp.
} chiasmus (lin.)
hrym, vv. 8a.18a
h’rs., vv. 9b.13b+14c; see also ’rs. in v. 5a
vv. 19–35 (Canto II): root ‘śh, vv. 19a.24a+b.31b (linear); note m‘śym
in vv. 24a and 31a
yhy, vv. 20a.31a! (linear)
bw, vv. 20b.26b!
} chiasmus (linear)
root rmś, vv. 20b.25b!
h.ytw/h.ywt, vv. 20b.25c (linear; note the alliter.);
see also root h.yh in v. 33a
w- at the beginning of the second colon, vv. 21–23.
30b.35b! (linear)
’klm, vv. 21b.27b!
w’l, vv. 22b.29c! (linear); see also ’lyk in v. 27a
root ’dm, vv. 23a.30b (linear)
‘rb/y‘rb, vv. 23b and 34a resp. (alliter.)
ii.15 psalm 104 145
yhwh, vv. 24a.31+33–35

h’rs., vv. 24c.35a; see also ’rs. in v. 32a
’yn, vv. 25b.35b!
ygw‘wn/yg‘, vv. 29b and 32b resp. (alliter.; concat.)

vv. 1–5.19–23: ’wr/h.šk, vv. 2a and 20a resp. (exactly linear)
’wr/šmš, vv. 2a and 19b+22a resp.
‘śh, vv. 4a.19a
vv. 1–5.24–30: yhwh vocative:, vv. 1b.24a!

root gdl, vv. 1b.25a+c!
root hlk, vv. 3c.26a
rwh., vv. 3c+4a.29b+30a!
vv. 1–5.31–35: brky npšy ’t yhwh, vv. 1a.35c!; see also suffix -y in
vv. 33–34!
yhwh ’lhy/yhwh . . . ’lhy, vv. 1b and 33 resp.
hwd whdr/kbwd, vv. 1c and 31a resp. (cf. Ps. 21,6)
mšrtyw/rš‘ym, vv. 4b and 35b resp. (alliter.)
’rs., vv. 5a.32a+35a
tmwt./ytmw, vv. 5b and 35a resp. (alliter.)
‘wlm, vv. 5b.31a!
w‘d/‘wd, vv. 5b and 33b+35b resp. (alliter.)
vv. 6–9.24–30: suffix -k, vv. 7a+b.24+27–28+29–30

zh, vv. 8b.25a+26b!
lhm, vv. 8b.28a!
yšwbwn, vv. 9b.29c!
} chiasmus
h’rs., vv. 9b.24c
vv. 10–18.19–23: kl h.ytw śdy/kl h.ytw y‘r, vv. 11a.20b!

l‘bdt + ’dm + root ys.’, vv. 14b–c.23! (symmetric)
vv. 10–18.24–30: root šlh., vv. 10a.30a!

yhlkwn, vv. 10b.26a! (linear)
yšbrw . . . brwšym/yśbrwn, vv. 11b+17b and 27a resp.
(alliter.)
root ntn, vv. 12b.27b+28a!
m‘śyk, vv. 13b.24a!; see also ‘śyt in v. 24b
root śb‘, vv. 13b+16a.28b!
h’rs., vv. 13b+14c.24c

root ’dm, vv. 14b.30b
pnym, vv. 15b.29a+30b!
yhwh, v. 16a.24a
’šr šm .sprym/šm rmś . . . mspr, vv. 17a and 25b resp.
(alliter.)
šm (‘there’), vv. 17a.25b+26a!
yqnnw/qnynk, vv. 17a and 24c resp. (alliter.)
vv. 10–18.31–35: hrym, vv. 10b+13a+18a.32b

root h.yh, vv. 11a.33a
prep. ‘ly-, vv. 12a.34a
m‘śym, vv. 13b.31b
h’rs., vv. 13b+14c.35a; see also ’rs. in v. 32a
root śmh., vv. 15a.31b+34b!
brwšym/wrš‘ym, vv. 17b and 35b resp. (alliter.)

prep. ’l (v. 8), prep. b- (v. 10), suffix -hm (v. 12), suffix -w (vv. 6.13.23
[2×].31), prep. l- (vv. 19.21.23a.26.27), suffix -m (v. 35), prep. mn (vv. 7
[2×].21.35)

lbb ’nwš (v. 15 [2×])

Psalm 104 has 14 (= 2×7) strophes, 35 (= 5×7) verselines and 78 (= 3×26)
cola. The verselines exactly coincide with the Masoretic verse divisions and
in most cases consist of two cola; vv. 1, 3, 14–15, 24–25, 29 and 35 are
tricola.1 V. 18 is the middle verseline (> 17+1+17 verselines).
1
Cf. NBG (1952), Fokkelman (2000) and Hossfeld/[Zenger] (2008), pp. 68–70; Kissane
(1954), Booij (1994, p. 219) and Terrien (2003) take vv. 14–15 as three bicola. The latter
reading not only disturbs the semantic parallelism between v. 15a and 15b, but also fails
to note that vv. 14 and 15 form an external parallelism. ms.myh. (‘making grow’) in
v. 14a does double duty, because it also functions as the verb in v. 15a; and v. 15c is
externally parallel to v. 14c. Fokkelman (MPHB II, p. 512) has 36 verselines and 80
cola; he takes v. 26 as a tricolon and—including hllw yh at the end of the psalm—v. 35
as two bicola (see also Fokkelman [2002]).
ii.15 psalm 104 147
Structure of strophes and cantos in terms of words: 17+24|14+17|21+28

+20||15+18|31+13+15|13+23* = 41+31+69|33+59+36* = 141+128* (=
269 words in total). From this perspective, the 13 words of vv. 17–18
constitute the centre of the psalm (> 128+13+128 words).2
The divine name, yhwh, occurs 9× in vv. 1–35c: vv. 1 (2×), 16, 24,
31 (2×), 33, 34 and 35c; see also ’l (‘God’) in v. 21b.

Köster (1837): 1.2–5.6–9.10–12.13–17.18|19–23.24–26.27–30.31–34.35 (1.4.
4.3.5.1|5.3.4.4.1 verses)
De Wette (1856): 1.2–5.6–9.10–13.14–18.19–24.25–30.31–35 (‘Die gemacht-
en Abtheilungen sind kaum Strophen zu nennnen’)
Ley (1875), pp. 178–80: 1–4.5–9.10–13.14–18.19–23.24–26.27–30.31–35
(3×5.6.4×5 ‘Hexameter’); cf. Ewald (1866), pp. 490–95
Delitzsch (1894): 1–4.5–9.10–14b.14c–18.19–23.24–30.31–35 (7 sections, like
Gen. 1,2–2,3); cf. Seybold (1996)
Zenner (1906), pp. 207–11: 1–4.5–9|10–11+13+16|14–15+18+12.19–23|
24–25+27–30|31–32+35a–b.33–34+35c* (5.5|4|5.5|6|3.3 lines)
Von Faulhaber (1913), p. 6: 1–5.6–12.13–18.19–24a.24b–29 (synthetical
parallelism)
Duhm (1922): 1–4.5–9*.10–14b.14c–18.19–23.24–26*.27–30*.31–35b (8×5
bicola); similarly, Herkenne (1936), Pannier/Renard (1950) and Mow-
inckel (1957); cf. Delitzsch (1894)
Fullerton (1921): 1–4.5–9.10–11+16–17+12.13–15+18.19–23.24–27.28–30.
31–34 (6×10.7.8 cola)
Gunkel (1926): 1–2a.2b–4.5–9.10–12.13–18.19–23|24–26.27–30|31–35; cf.
Dion (1991), pp. 45–48.69–71
Condamin (1933), p. 172–76: 1–2a.2b–4|5–6.7–9|10–11.12–13|14–15.16–18|
19–21.22–23|24*.25–26.27–28.29–30|31–33|34–35
Calès (1936): 1–2a.2b–4|5–6.7–9|10–12.13–15.16–18|19–21.22–23|24–26|
27–28.29–30|31–32.33–34|35 (note pp. 271–72); cf. Booij (1994)
Montgomery (1945), p. 383: 1–4.5–9.10–13.14–18.19–23.24–30.31–35 (4.5.4.
5.7.5 lines); cf. Delitzsch (1894)
Gemser (1949): 1–4.5–9.10–18.19–23.24–26.27–30.31–35 (seven sections);
similarly NAB (1970), Auffret (1981), Aletti/Trublet (1983), pp. 91–92
Kissane (1954): 1–5+8.6–12*.13–18.19–24b.24c–30.31–35 (7.6.7.6.7.6 lines)
Alden (1978), p. 102: 1.2–14.15.16–18.19a|19b.20–22.23.24–32.33–25 (a.b.c.
d.e|e’.d’.c’.b’.a’)
2
See also www.labuschagne.nl/ps104.pdf, Observation 2.
Beaucamp (1979): 103,19.20a–b+21–22b.104,1b–2|3a–b+4–5.6–9|10.11–12.

13a.13b–14.15.16–17|19.20–21.22–23|24–25a.25b–26.27–28.29a–b+30|
31–32.33–34.35a–b 35c (‘Il n’y a pas trace de strophes’, p. 153)
Jacquet (1979): 1a 1b–4.5–9.10–12.13–15.16–18.19–23.24–26*.27–30.
31–35b 35c (v. 1a 2×5.3.4.3.5.4.2×5 bicola v. 35c)
Girard (1994): 1a||1b–6|5–13|12–13a.13b–14b.14c–15a.15b–c.16.17–18||19–
20a.20b–21.22–24|23–24.25–26.27–28.29–32|31–32.33–34a.34b–35b||
35c (A|B.C.D|B’.C’.D’|A’)
Fokkelman (2000), pp. 264–69: 1–2.3–4|5–6.7–9|10–11.12–13|14–15.16–18|
19–20.21–23|24–26.27–28.29–30|31–32.33–34.35 (2.2|2.3|2.2|2.3|2.3|
3.2.2|2.2.2 lines)
Allen (2002): 1–4|5–9.10–13|14–18.19–23|24–26.27–30|31–35 (vv. 1–4, vv.
5–13.14–23.24–30 > 18.22.17 cola, vv. 31–35; note pp. 42–44); cf.
Calès (1936) and Fokkelman (2000)
Terrien (2003): 1 2–4.5–9.10–13.14–18|19–23.24–26.27–30.31–35b 35c
(v. 1 a.b.c.d|d’.c’.b’.a’ v. 35c)
Weber (2003): 1–4|5–9.10–14b|14c–18.19–23|24–26.27–30|31–35; cf. Fokkel-
man (2000)
Hossfeld/[Zenger] (2008): 1a.1b–4|5–9.10–18.19–23.24.25–26|27–28.29–30|
31–35b.35c (‘Grundschicht’: vv. 1b-4.10–18.20–24.27–30*.33; vv. 1a.
5–9.19.25–26.29b.31–32.34–35 are ‘redaktionell’)
Krüger (2010), pp. 64–67: 1a 1b–2a||2b–4|5.6–9|10–12.13–18|19.20–23||
24 ||25–26|27–28.29–30||31–35b 35c
www.labuschagne.nl/ps104.pdf: 1–5.6–9|10–13.14–18.19–23|24–30.31–35 (7
canticles in a menorah pattern > 17 strophes)

Psalm 104 divides into two almost regular cantos of 18 and 17 verselines
respectively, vv. 1–18 and 19–35.3 Each canto consists of three canticles,
vv. 1–5.6–9.10–18 (Canto I) and vv. 19–23.24–30.31–35 (Canto II). In both
Cantos I and II the middle canticle, vv. 6–9 and 24–30 respectively, stands
out because it is only here that God is consistently addressed in the second
person. In the remaining (framing) canticles God is mostly spoken about
in the third person. In this respect, vv. 1b–c and 13b are exceptions in the
framing canticles of Canto I; the same holds true for v. 20a in the context
of Canticle II.1.4
3
For the delimitation of the verselines, see § 15.5.
4
See also Labuschagne (www.labuschagne.nl/ps104.pdf, Observation 3): ‘the key to
understanding the structure of Psalm 104 lies in taking seriously the change in the direc-
tion of address’; and cf. Köster (1837), p. 325: ‘Nach dem Präludium (1.) sondern sich
ii.15 psalm 104 149
15.7.1 The bipartite structure of the entire psalm

In the nineteenth century, the founding father of strophic investigation ar-
gued in favour of a thematic individuality of the cantos: ‘So wird also das
Ganze durch V. 18 in zwei Hälften zerlegt, von denen die erste mehr die
Schöpfung darstellt, die zweite die Erhaltung; beide jedoch oft zusammen-
fliessend in der Idee einer creatio continua’; Köster (1837), p. 326. This de-
scription of the bipartite division of our composition is not very precise, but
it is confirmed by a specific pattern of verbal repetitions in the cantos; see
§ 15.4.3. These repetitions almost generally point to a linearly alternating
parallelism between the canticles: vv. 1–2.3–5|6–7.8–9|10–12.13–15.16–18
> a.b|a’.b’|a’’.c.b’’; and vv. 19–20.21–23|24–26.27–28.29–30|31–32.33–35 >
d.e|d’.f.e’|d’’.e’’. For this phenomenon, see, e.g., the roots lbš (‘to clothe’),
ysd (‘to establish’) and the nouns šmym (‘heaven’), qwl (‘voice’) in Canto I.
Within the second canto the linear correspondence between the canticles
is clearly indicated by (among other things) the root ‘śh (‘to make’) which
only occurs in the first verseline of the successive canticles (vv. 19.24.31)
and by the copula w- at the beginning of the second colon of the concluding
verselines (vv. 23.30.35; note also vv. 21–22 [§ 15.4.1]).5
Quite a few of the repetitions listed in § 15.4.3 only occur within the
cantos themselves and in this way further underline the (formal) individu-
ality of the main parts; see, e.g., šmym (‘heaven’) and ‘lywtyw (‘his lofts’)
in Canto I, and for Canto II the jussive yhy, the root rmś (‘to stir’) and
’klm (‘their food’). The first canto also stands out because it is only in
Canticles I.1 and I.3 that participles (praising God as Creator and univer-
sal Provider) mark the beginning (contra Allen, p. 43) of strophes; see vv.
3, 10 and 13–14 and cf. the first canto of Psalm 103 (vv. 1–9).6
2–5, 6–9, 10–12, 13–17 auf das Bestimmteste äusserlich ab durch regelmässige Abwech-
selung der dritten und zweiten Person, von Jehova gebraucht’. However, Fokkelman
(MPHB II, p. 267) concludes that ‘the long passage about God’s work and his care for
his creation [vv. 5–30] is permanently oscillating between “Thou” and “He”’.
5
For the (structural) meaning of the root ‘śh within the psalm, see also Allen (2002,
pp. 43–44), Fokkelman (MPHB II, p. 266) and Miller (2004, p. 185).
6
hmbyt. (‘the looking’, v. 32a) is the only participle in Canto II referring to God
(š’gym in v. 21a refers to lions); this verb occurs at the beginning of the second verseline
of the strophe vv. 31–32. For the strophic structure of the psalm, see below. Girard
(1994, p. 74) argues that the transition from vv. 18 to 19 is unique in the poem because
‘le v. 18 marque strictement la fin de la première moitié du psaume [. . . ], et le v. 19,
le début de la seconde moitié’ (see also Girard, p. 60). According to Terrien (2003),
the bipartite division of the psalm is based on a symmetric relationship between the
successive ‘strophes’; see § 15.6 and cf. Alden (1978).
15.7.2 The canticle division of the cantos

The linear verbal repetitions listed in § 15.4.3 and discussed above at the
same time support the exact delimitation of the successive canticles. For
this delimitation, see further § 15.2 (content) and § 15.4.2 (verbal repeti-
tions within the canticles). On these grounds, I take v. 5 as the concluding
verseline of Canticle I.1; note the root ysd (‘to establish’), the noun ’rs.
(‘earth’) and the negation bl in § 15.4.3. Moreover, the casus pendens con-
struction of v. 6a (see §§ 15.1 and 15.3.1.1) marks the beginning of a new
canticle; cf. Ps. 103,15 and 19.7
At the end of the nineteenth and the beginning of the twentieth century,
exegetes looking for strophic regularity often assumed that our psalm is
mainly composed of 5-line strophes (or strophes of 10 cola).8 In broad out-
line, their ‘strophes’ correspond to my canticle division. However, it is only
in vv. 1–5, 19–23 and 31–35 that I find poetic units of 5-lines. Following
Spieckermann (Heilsgegenwart, 1989) and Köckert (2000), Hossfeld takes
vv. 5–9 (among other verselines) as a later insertion; see Hossfeld/[Zenger]
(2008), p. 73. However, the verbal repetitions within the cantos clearly
represent a deliberately designed formal skeleton. On this basis, it is very
unlikely that this poem is interlarded with such editorial additions.9
15.7.3 Looking for the total design of the composition

On the basis of §§ 15.2 (content) and 15.4.4 (verbal repetitions), I conclude
that there is not an unambiguous rhetorical design which determines the re-
lationship between the cantos and gives some structure to the composition
in its entirety. Canticle I.1 (vv. 1–5) has an introductory function; cf. Gen.
1,1 and note the reference to the ‘heaven’ and the ‘earth’ (Ps. 104,2b.5a).
The verbal repetitions between vv. 1–5 and 31–35 point to a deliberately
designed device for inclusion; see § 15.4.4. From a thematic point of view
(§ 15.2), this inclusion is strengthened by the following features: it is only
7
For v. 5 as the concluding verseline of the opening poetic section, cf. Köster (1837),
De Wette (1856), Von Faulhaber (1913) and Beaucamp (1979) in § 15.6. Most exegetes
mistakenly argue that the verseline in question belongs to vv. 6–9.
8
See Ley, (Delitzsch,) Zenner, Duhm and Fullerton in § 15.6.
9
Pace Delitzsch (1894, p. 640), who also notes that v. 8 ‘sich nur gewaltsam dem
Zus. fügt, daß v. 18 sich verbindungslos und planwidrig eindrängt und daß v. 32 sich
dortselbst nur mittelst künstlicher Gedankenkombination begreifen läßt’. Therefore,
many scholars will consider my reluctance to interfere with the verselines of this psalm a
sign of a ‘decidedly conservative theological bent’ (cf. Crenshaw, JBL 116 [1997], p. 344)
or based on a so-called synchronic reading of the Masoretic text (cf. Zenger, BZ 52 [2008],
p. 311). I think, my conclusions are evidence of an open-minded attitude with regard to
the individual character of classical Hebrew poetry.
ii.15 psalm 104 151
in the opening and concluding verselines of his poem that the psalmist is
speaking about himself (note vv. 1a–b.33–34+35c); and it is only in this
context that he explicitly mentions God’s majesty (note vv. 1b–2a and
31a). The concluding function of vv. 31–35 (Canticle II.3) is apparent from
the following features: a) the high density of five occurrences of the divine
name, yhwh (see vv. 31a+b, 33a, 34b and 35c [cf. § 15.5]); b) the prayer
that God will enjoy his creative deeds (v. 31b); c) the poet’s prayer that his
composition will be pleasing to Him (v. 34a); d) the conventional final line
in which the psalmist prays for the downfall of the wicked (v. 35a–b). The
verbal correspondences between vv. 10–18 and 19–23 (§ 15.4.4) constitute a
concatenation between the cantos. This formal device is strengthened by a
thematic similarity: it is only in vv. 10–18 and 19–23 that the psalmist por-
trays God as the universal Provider of food for human beings and beasts.10
Viewed apart, the phenomena described in this paragraph could be inter-
preted as a symmetric aspect of the total design of the composition.
The verbal correspondences between vv. 1–5.19–23 and 6–9.24–30 (cf.
also vv. 10–18.31–35; § 15.4.4) are an indication of the linearly parallel
relationship between Cantos I and II. This macro design is strengthened
by a thematic correspondence between Canticles I.1 and II.1: both sec-
tions speak of the heavenly spheres; note šmym (‘heaven’) in v. 2b and
yrh. (‘moon’)/šmš (‘sun’) in v. 19. Subsequently however, notwithstanding
the fact that—in terms of verbal repetitions—vv. 6–9 is almost exclusively
related to vv. 24–30, it is hard to find a thematic link between these middle
sections. Canticle I.2 (vv. 6–9) as a whole is about God’s victory over the
chaos waters. Vv. 24–30 (Canticle II.2) are for the most part a generalizing
intensification of the preceding canticles: God is the universal Provider of
all life on earth; note also klm bh.kmh ‘śyt (‘you have made them all with
wisdom’, v. 24b). Additionally, the conspicuous verbal correspondences
between vv. 1–5.24–30 and 10–18.24–30 fly in the face of all attempts to
unambiguously establish the relationship between the main parts.11
10
Dealing with God as the Provider of food in vv. 27–28, the poet summarizingly
speaks of klm (‘all of them’).
11
Cf. Weber (2003, p. 183): ‘Inwieweit der linearen Abfolge der acht Stanzen eine
zusätzliche Gesamtanlage unterlegt ist, ist mir nicht hinreichend deutlich’. According
to Girard (1994, p. 53): ‘L’auteur, maı̂tre-constructeur avéré, possède une manière de
structurer assez inusitée: au lieu de tracer une frontière bien nette entre les diverses
parties de son ensemble, il s’organise systématiquement pour que la finale d’une section
déborde par enjambement sur le début de la suivante’.
15.7.4 The strophic structure of the canticles
The canticles themselves are composed of 2- and 3-line strophes. The

strophic division of these sections is for an important part based on the
linear parallelism between immediately successive strophes; see especially
§ 15.4.2 and cf. the canticle structure of the cantos. This phenomenon once
again reveals that v. 5 is the concluding verseline of Canticle I.1 (cf. § 15.7.2
above). Vv. 1–2 and 3–5 form a kind of parallelismus stropharum: in vv.
1–2a and 3–4 the psalmist praises God as universal Ruler from his heavenly
abode, while vv. 2b and 5 are about God who positions heaven and earth.
Within Canticle I.1 the merism šmym (‘heaven’)/’rs. (‘earth’) forms a linear
parallelism.
The boundaries of Canticle I.2 (vv. 6–9) are marked by inclusion; see
the root ksh (‘to cover’) in § 15.4.2. Simultaneously, its strophes once again
display a linear parallelism: vv. 6.7|8.9 > a.b|a’.b’. Notwithstanding the
formal resemblance to Ps. 107,26a (‘they mounted up to heaven, they went
down to the depths’), v. 8 reads: ‘the mountains went up, the valleys sank
down’ (so rightly Delitzsch, RSV and NBG). This reading does not support
the view that v. 8 is a later intrusion between vv. 7 and 9. The noun hrym
(‘mountains’, v. 8a) forms a regular responsion within the canticle (see v.
6a). And in terms of ideas, in vv. 6 and 8 the poet deals with the place God
provides for the waters in relation to the earth. In v. 6 he does not portray
a primordial situation in which the waters covered the earth, as is almost
generally assumed. Canticle I.1 makes it clear that the ‘waters’ (mym)
are already situated above the firmament, where God has established his
heavenly abode; see v. 3a. For the translation of v. 6a, see § 15.1. V. 9
immediately links up with v. 7: God has driven away the chaos waters.
Moreover, within Canticle I.2, it is only in vv. 7 and 9 that we find verbs
in the imperfect third person plural, concluding with a nun-paragogicum;
see ynwsw n in v. 7a, etc. In all instances, the subject of these verbs is the
‘waters’ referred to in v. 6b.12
The strophes of Canticle I.3 (vv. 10–12.13–15.16–18) also display linear
parallel phenomena; see § 15.4.2. Additionally, they stand out on the basis
of their thematic individuality; see § 15.2. From the latter perspective, vv.
13–15 form a rhetorical centre. It is precisely in this pivotal strophe that
the psalmist speaks about God’s care for mankind (and his cattle). The
central strophe is flanked by strophes which are about God’s care for the
beasts in the wild, vv. 10–12 and 16–18.13
12
For a comparable linear parallelism between successive 2-line strophes in terms of
subject matter, see Job 7,1–4 and my RCPJ, p. 100!
13
For the strophic division, see also Calès (1936) and Jacquet (1979) in § 15.6.
ii.15 psalm 104 153
The strophic divisions in Canticles II.1 and II.2 are based on a transi-
tion in terms of subject matter; see § 15.2.14 For the strophes vv. 24–26,
27–28 and 29–30 (Canticle II.2), see also § 15.4.1 and klm (‘all of them’)
in § 15.4.2. For the strophic division of the concluding Canticle II.3 (vv.
31–32.33–35), see especially the transition markers listed in § 15.3.1–2 and
the linear verbal repetitions noted in § 15.4.2. I conclude that both Cantos
I and II have 7 strophes.
From a structural point of view Psalm 104 does not display the same reg-
ularity as Psalm 103. Yet, there is a conspicuous similarity in terms of
the use of words. For this feature, see: brky npšy ’t yhwh (vv. 1.35) >
103,1.22!; šmym (vv. 2.12) > 103,11.19; rwh. (vv. 3.4.29.30) > 103,16; ‘śh
(vv. 4.19 etc.) > 103,6.10 etc.; ml’kyw (v. 4) > 103,20 (‘concatenation’);
mšrtyw (v. 4) > 103,21 (‘concatenation’); mkwn (v. 5) > 103,19; ‘wlm (vv.
5.31) > 103,9.17 (2×); h’rs. (vv. 9.14 etc.) > 103,11; root śb‘ (vv. 13.16.28)
> 103,5; ’yn (vv. 25.35) > 103,16; yśb‘wn .twb (v. 28) > 103,5 (hmśby‘
bt.wb); ‘pr (v. 29) > 103,14; th.dš (v. 30) > 103,5; h.yy // ‘wdy (v. 33) >
103,4a+5a*; ‘wd (v. 35) > 103,16.
15.8 Bibliography
K. Fullerton, ‘The Feelings for Form in Psalm 104’, JBL 40 (1921), pp. 43–56;
P. Auffret, Hymnes d’Égypte et d’Israël. Études de structures littéraires (OBO
34), Fribourg/Göttingen, 1981, pp. 137–228 (note pp. 137–73);
B. Renaud, ‘La structure du Ps. 104 et ses implications théologiques’, RevSR 55
(1981), pp. 1–30;
P. Auffret, ‘Note sur la structure littéraire du Psaume 104 et ses incidences pour
une comparaison avec l’Hymne à Aton et Genèse 1’, RevSR 56 (1982), pp. 73–82;
B. Renaud, ‘Note sur le Psaume 104. Réponse à P. Auffret’, RevSR 56 (1982),
pp. 83–89;
O.H. Steck, ‘Der Wein unter den Schöpfungsgaben. Überlegungen zu Psalm
104’, in O.H. Steck, Wahrnehmungen Gottes im Alten Testament. Gesammelte
Studien (Theologische Bücherei 70), München: Chr. Kaiser Verlag, 1982, pp.
240–61;
P. Auffret, ‘Note sur la comparaison entre l’hymne à Aton et le Ps. 104 à partir
de leurs structures littéraires d’ensemble’, RevSR 57 (1983), pp. 64–65;
P.E. Dion, ‘YHWH as Storm-god and Sun-god. The Double Legacy of Egypt
and Canaan as Reflected in Psalm 104’, ZAW 103 (1991), pp. 45–71;
Y. Hoffmann, ‘Psalm 104: A Literary Examination’, in M. Fishbane and E.
14
For the canticle division of Canto II and the strophic structure of vv. 19–23 and
24–30, see also Fokkelman (2000) in § 15.6.
Tov (eds.), ‘Sha‘arei Talmon’, Winona Lake (Indiana): Eisenbrauns, 1992, pp.
13*–24*;
M. Köckert, ‘Literargeschichtliche und religionsgeschichtliche Beobachtungen zu
Ps 104’, in R.G. Kratz et al. (eds.), Schriftauslegung in der Schrift. FS O.H.
Steck (BZAW 300), Berlin/New York: Walter de Gruyter, 2000, pp. 259–79;
P.D. Miller, ‘The Poetry of Creation: Psalm 104’, in P.D. Miller, The Way to
the Lord (FAT 39), Tübingen: Mohr Siebeck, 2004, pp. 178–92 (note pp. 178–85;
= W.P. Brown and S.D. McBride [eds.], God Who Creates. FS W.S. Towner,
Grand Rapids: W.B. Eerdmans, 2000, pp. 87–103);
Philo, 2002, pp. 240–51;
A. Berlin, ‘The Wisdom of Creation in Psalm 104’, in R.L. Troxel et al. (eds.),
Seeking out the Wisdom of the Ancient. FS Michael V. Fox, Winona Lake:
Annette Krüger, Das Lob des Schöpfers. Studien zur Sprache, Motivik und Theo-
logie von Psalm 104 (WMANT 124), Neukirchen-Vluyn: Neukirchener Verlag,
2010.
ii.16 psalm 105 155
16 Psalm 105
Structure: 6.19.20 > 6|9.10|11.9 > 3.3||3.3.3|1.3.3.3||2.3.3.3|3.3.3 lines
(Type IIA)
I 1 hwdw lyhwh QR’W bšmw hwdy‘w b‘MYM ‘lylwtyw

2 šyrw lw zmrw lw śyh.w bkl npl’wtyw
3 hthllw bšm QDŠW YŚMH . LB mbqšy yhwh
4 dršw yhwh w‘zw bqšw PNYw tmyd
5 ZKRW npl’wtyw ’šr ‘śh mptyw wMŠPT . Y pyw
6 zr‘ ’BRHM ‘BDW bny y‘qb BH
. YRYW
II.1 7 hw’ yhwh ’lhynw bkl h’rs. MŠPT . Yw

8 ZKR l ‘wlm brytw DBR .swh l’lp dwr
9 ’šr krt ’T ’BRHM wšbw‘tw lyśh.q
10 wy‘mydh l y‘qb lH .Q l yśr’l bryt ‘wlm

11 l’mr lk ’TN ’t ’RS. kn‘n h.bl nh.ltkm
12 bhywtm mty MSPR km‘t. w grym bh
13 wYTHLKW mGWY ’l GWY mmmlkh ’l ‘m ’h.r

14 l’ hnyh. ’DM l‘šqm wywkh. ‘LYHM mlkym
15 ’l tg‘w bmšyh.y wlnby’y ’l tr‘w
II.2 16 wYQR’ r‘b ‘l h’rs. kl mt.h LH

. M ŠBR
17 šlh. lPNYhm ’yš l ‘bd nmkr ywsp
18 ‘nw bkbl rglyw brzl b’h npšw
19 ‘d ‘t b’ dbrw ’mrt yhwh .srpthw
20 šlh. mlk wytyrhw mšl ‘MYM wYPTH . hw

21 ŚMW ’dwn lbytw wmšl bkl qnynw
22 l’sr śryw bnpšw wzqnyw yh.km
23 WYB’ yśr’l MS.RYM w y‘qb gr B’RS. H

.M
24 wYPR ’t ‘MW m’d wy‘s.mhw ms.ryw
25 HPK LBm lśn’ ‘MW lhtnkl b‘BDYW
III.1 26 šlh. mšh ‘BDW ’hrn ’šr bh.r bw

27 ŚMW bm dbry ’twtyw wmptym B’RS. H .M
28 šlh. h.šk wyh.šk wl’ mrw ’t dbryw

29 HPK ’t mymyhm ldm wymt ’t dgtm
30 šrs. ’rs.m .sprd‘ym bh.dry mlkyhm
31 ’mr WYB’ ‘rb knym bkl gbwlm

32 ntn gšmyhm brd ’š lhbwt b’rs.m
33 wyk gpnm wt’ntm wYŠBR ‘s. gbwlm
34 ’mr WYB’ ’rbh wylq w’yn MSPR

35 wy’kl kl ‘śb b’rs.m wy’kl PRY ’DMTm
36 wyk kl bkwr b’rs.m r’šyt lkl ’wnm
III.2 37 wyws.y’m bksp wzhb w’yn bšbt.yw kwšl

38 ŚMH . MS.RYM bs.’tm ky npl ph.dm ‘LYHM
39 prś ‘nn lmsk w ’š lh’yr lylh
40 š’lw WYB’ ślw wLH. M šmym yśby‘m

41 PTH . .swr wyzwbw mym HLKW bs.ywt nhr
42 ky ZKR ’t DBR QDŠW ’T ’BRHM ‘BDW
43 wyws.’ ‘MW bśśwn brnh ’t BH

. YRYW
44 wYTN lhm ’RS.WT GWYM w‘ml l’mym yyršw
45 b‘bwr yšmrw H
. QYw wtwrtyw yns.rw
16.1 Text
V. 18a—rglyw : so K; Q rglw.
V. 28b—wl’ mrw ’t dbryw : ‘and they did not defy his words’ (so MT; similarly
Barthélemy [2005], p. 706); for the subject of mrw, see § 16.7.1.
V. 40a—š’lw : ‘they asked’ (see BHS); MT reads š’l (‘he asked’).
16.2 Content
God’s guidance of the people of Israel in Canaan and in Egypt.
I Call to the people of Israel to praise and to remember.
Sing praises to God, you who seek Him (vv. 1–3).
Remember God’s wonders, offspring of Abraham (vv. 4–6).
II God’s promise to grant the patriarchs the land of Canaan (II.1, vv.
7–15) and how the Israelites came to live in Egypt (II.2, vv. 16–25).
God is ever mindful of his covenant with Abraham (vv. 7–9).
He confirmed his decree to give the land of Canaan to the offspring
of Jacob (vv. 10–12).
He protected them from oppression of the nations (vv. 13–15).
ii.16 psalm 105 157
He called down a famine on the land (v. 16).

Joseph was sold as a slave (vv. 17–19).
The king made him the lord of his household (vv. 20–22).
After Jacob had come into Egypt, He made the people of Israel
very numerous, so that they were hated (vv. 23–25).
III Description of the plagues in Egypt (III.1, vv. 26–36) and how the
people of Israel left Egypt (III.2, vv. 37–45; cf. II.2).
He sent Moses and Aaron, who performed wonders in Egypt (vv.
26–27).
He sent darkness, water turned into blood and the land teemed
with frogs (vv. 28–30).
Insects came; hail and fire struck down their trees (vv. 31–33).
Locusts devoured the land and He struck down every first-born
(vv. 34–36).
He led the people of Israel out of Egypt laden with silver and gold,
and protected them (vv. 37–39).
He provided them with meat, bread and water in the wilderness
(vv. 40–42).
He gave them the land of the nations so that they might obey his
laws (vv. 43–45).

16.3.1.1 imperatives: hwdw . . . qr’w, w- beginning of line, v. 16a
v. 1a; ext. // šyrw . . . w- beginning of line, v. 23a;
zmrw in v. 2a and hthllw ext. // w- in v. 24a
in v. 3a w- beginning of line, v. 37a
imperative: hwdy‘w, v. 1b; w- beginning of line, v. 43a;
ext. // śyh.w in v. 2b ext. // w- in v. 44a
imperative: dršw, v. 4a; ext.
// zkrw in v. 5a 16.3.1.2 tmyd, v. 4b
imperative: bqšw, v. 4b hw’, v. 7a
w- beginning of line, v. 10a ‘wlm, v. 10b

16.3.2.1 b‘bwr, v. 45a; cf. Ps. 132,10 † ’l prohibitive, v. 15a + 15b
16.3.2.2 vocatives: zr‘ ’brhm . . . bny w- beginning of line, v. 36a;
y‘qb, v. 6 ext. // w- in v. 35a

‘wlm, v. 8a
dwr, v. 8b
m’d, v. 24a

vv. 1–3: hwdw lyhwh/šyrw lw zmrw lw, vv. 1a.2a resp. (anaphora);
see also hthllw bšm qdšw in v. 3a
yhwh, vv. 1a.3b
} chiasmus (inclusion); see also
bšm + suffix -w, vv. 1a.3a
prep. b- in vv. 1b.2b and mbqšy in v. 3b (alliter.)
‘lylwtyw/npl’wtyw, vv. 1b and 2b resp. (epiphora)
vv. 7–9: suffix -w, vv. 7b.8a.9b
vv. 10–12: suffix -h, vv. 10a.12b!
vv. 13–15: root mlk, vv. 13b.14b
vv. 17–19: root bw’, vv. 18b.19a
vv. 20–22: roots ntr (hiph‘il) . . . pth./’sr, vv. 20 and 22a resp. (inclusion)
mšl, vv. 20b.21b! (linear); cf. also mlk in v. 20a, ’dwn in
v. 21a, śr in v. 22a and zqn in v. 22b
vv. 23–25: w- beginning of the line, vv. 23a.24a (anaphora)
ms.rym/ms.ryw, vv. 23a and 24b resp. (alliter.)
‘mw (‘his people’), vv. 24a.25a
vv. 28–30: ’t (nota accusativi): vv. 28b.29a+b
vv. 31–33: ’mr wyb’ ‘rb/b’rs.m, vv. 31a and 32b resp.
gbwlm, vv. 31b.33b (exactly linear; inclusion); see also b’rs.m
in v. 32b (epiphora!)
vv. 34–36: ’mr . . . ’rbh/b’rs.m, vv. 34a and 35a+36a resp. (alliter.)
w- . . . kl . . . b’rs.m , vv. 35a.36a (anaphora); see also kl in
v. 36b and suffix -m in vv. 35b.36b (epiphora)
wy’kl/wyk kl, vv. 35a+b and 36a resp. (alliter.; anaphora)
vv. 37–39: root ys.’, vv. 37a.38a
vv. 40–42: šmym/mym, vv. 40b and 41a resp.
vv. 43–45: w- beginning of the line, vv. 43a.44a (anaphora)
yyršw/yns.rw, vv. 44b and 45b resp. (alliter.; epiphora)

vv. 7–15 (II.1): ‘wlm, vv. 8a.10b!
} chiasmus
bryt, vv. 8a.10b!
ii.16 psalm 105 159
’brhm . . . yśh.q/y‘qb . . . yśr’l, vv. 9 and 10 resp.

(concatenation)
w- beginning of the line, vv. 10a.13a (anaphora)
prep. b-, vv. 12a+b.15a (linear)
vv. 16–25 (II.2): w- beginning of line, vv. 16a.23a+24a (exactly linear)

’rs., vv. 16a.23b
šlh., vv. 17a.20a (anaphora)
‘bd, vv. 17b.25b
bkbl/bkl, vv. 18a and 21b resp. (alliter.; linear)
root bw’, vv. 18b+19a.23a
npšw, vv. 18b.22a!
‘m (‘people’), vv. 20b.24a+25a
prep. l- + infinitive, vv. 22a.25a+b (linear)
vv. 26–36 (III.1): šlh., vv. 26a.28a (anaphora)

dbr, vv. 27a.28b (concatenation)
’mr wyb’, vv. 31a.34a! (anaphora)
‘rb/’rbh, vv. 31a.34a resp. (alliter.; exactly linear)
b’rs.m, vv. 32b.35a+36a (linear); see also b’rs. in
v. 27b, ’rs.m in v. 30a (linear), gbwlm in vv.
31b.33b and ’dmtm in v. 35b
wyk, vv. 33a.36a (exactly linear)
vv. 37–45 (III.2): wyws.y’, vv. 37a.43a! (exactly linear); see also the root
ys.’ in v. 38a!

vv. 1–6 (Canto I): yhwh, vv. 1a+3b.4a (concatenation)
npl’wtyw, vv. 2b.5a! (linear)
} chiasmus
root bqš, vv. 3b.4b! (concatenation)
mbqšy yhwh/zr‘ ’brhm . . . bh.yryw, vv. 3b.6 (linear);
note the alliter. mbqšy yhwh/bny y‘qb
vv. 7–25 (Canto II): yhwh, vv. 7a.19b

} chiasmus
root dbr, vv. 8b.19a
h’rs., vv. 7b.16a
} chiasmus (exactly linear); see
kl in vv. 7b.16b
also ’rs. in vv. 11a.23b and bkl in vv. 7b.21b
w- beginning of strophe, vv. 10a+13a.16a+23–24
y‘qb, vv. 10a.23b

} chiasmus
yśr’l, vv. 10b.23a!
root ’mr, vv. 11a.19b
gr, vv. 12b.23b!
wythlkw/lhtnkl, vv. 13a and 25b resp. (alliter.;
linear)
prep. mn, vv. 13a+b.24b! (linear)
root mlk, vv. 13b+14b.20a
‘m (‘people’), vv. 13b.20b+24a+25a
vv. 26–45 (Canto III): ‘bdw, vv. 26a.42b

’hrn/brnh, vv. 26b and 43b resp. (alliter.; incl.)
root bh.r + suffix -w, vv. 26b.43b (inclusion)
dbr, vv. 27a+28b.42a (symmetric)
mym, vv. 29a.41a! (symmetric)
wyb’, vv. 31a+34a.40a (symmetric)
’š lh-, vv. 32b.39b!
w’yn, vv. 34b.37b! (concatenation)
w- beginning of the line, vv. 35a+36a.37a (con-
catenation); see also w- in vv. 43a and 44a
bkwr/b‘bwr, vv. 36a and 45a resp. (alliter.; linear)

vv. 1–6.16–25.37–45: root qr’, vv. 1a.16a! (exactly linear)

‘mym, vv. 1b.20b!
qdšw, vv. 3a.42a!
} chiasmus; see also the
root śmh., vv. 3b.38a!
roots śyś and rnn in v. 43
lb, vv. 3b.25a!
pnym, vv. 4b.17a!
root zkr, vv. 5a.42a
’brhm ‘bdw, vv. 6a.42b!; see also ‘bd in v. 17b and
‘bdyw in 25b
bh.yryw, vv. 6b.43b! (linear)
lh.m, vv. 16b.40b!
brzl/bksp wzhb, vv. 18b and 37a resp. (Ceresko)
wytyrhw/wtwrtyw, vv. 20a and 45b resp. (alliter.)
root pt.h., vv. 20b.41a!
prep. l- + infinitive, vv. 22a+25.39a+b!
ii.16 psalm 105 161
wyb’, vv. 23a.40a

} chiasmus
ms.rym, vv. 23a.38a!
‘mw (‘his people’), vv. 24a+25a.43a! (linear)
vv. 7–15.26–36: ’šr, vv. 9a.26b (linear)

mspr, vv. 12a.34b!
l’, vv. 14a.28b!; see also ’l prohibitive in v. 15a+b!
root ’dm, vv. 14a.35b! (linear)
vv. 4–6.7–9, concatenation: yhwh, vv. 4a.7a

root zkr, vv. 5a.8a
’šr, vv. 5a.9a
mšpt.ym, vv. 5b.7b!
’brhm, vv. 6a.9a
vv. 7–15.37–45: zkr + dbr, vv. 8.42a

’t ’brhm, vv. 9a.42b!
h.q, vv. 10a.45a!
root ntn + ’rs., vv. 11a.44a!
roots nh.l/yrš, vv. 11b and 44b resp. (cf. Isa. 57,13)
root hlk, vv. 13a.41b!
gwy, vv. 13a (2×).44a!
‘lyhm, vv. 14b.38b!
vv. 16–25.26–36: r‘b/‘rb, vv. 16a and 31a resp. (alliter.)

root šbr, vv. 16b.33b!
šlh., vv. 17a+20a.26a+28a! (note the anaphora)
root śym (śmw ), vv. 21a.27a!
wyb’, vv. 23a.31a+34a
b’rs. h.m, vv. 23b.27b!
root prh, vv. 24a.35b!; note also the alliter. ypr/pry
hpk, vv. 25a.29a!
prep. b- + suffix -w, vv. 25b.26b
‘bd + suffix -w, vv. 25b.26a

nota accusativi ’t (vv. 11.24.42a.43), prep. b-, suffix -w/-hw, y‘qb (v. 6), kl,
prep. l-, suffix -m/hm, mlk (v. 30), root ntn (v. 32)

prep. ’l (v. 13 [2×]), suffix -y (v. 15 [2×]), mptym (vv. 5.27)

Psalm 105 has 16 strophes, 45 (= 5×9) verselines and 90 (= 10×9) cola. In
terms of verselines and cola, v. 23 is the centre of the psalm: vv. 1–22.23.
24–45 > 22+1+22 lines and 44+2+44 cola. According to Ceresko (1983,
p. 36), v. 23 ‘serves as a “hinge”’ because it ‘summarizes the story up to
this point and at the same time sets the stage for what follows’. In terms
of meaning, the line—which is composed of 7 words—constitutes a turning
point in the composition. And Fokkelman (MPHB III, p. 206) rightly notes
that ‘the threshold function’ of v. 23 is highlighted by the accumulation of
‘no fewer than four proper names, in an a.b//a’.b’ pattern’; see also the
chiasmus Jacob-Israel/Israel-Jacob in Canto II (§ 16.4.3). Therefore, I agree
with Labuschagne when he maintains that this numerical centre ‘can with
certainty be identified as the deliberately designed meaningful centre’.1
V. 11 is the numerical centre of Canticle II.1: vv. 7–10.11.12–15 >
4+1+4 verselines and 8+2+8 cola. This line stands out because it is an
embedded speech by God, introduced by l’mr ; cf. the concluding verseline
of the canticle (v. 15). From the same point of view, v. 16 is the centre
of Canto II: vv. 7–15.16.17–25 > 9+1+9 verselines and 18+2+18 cola.
Additionally, v. 16 is flanked by three 3-line strophes at both sides. From
a thematic perspective, the verseline functions as a turning point within
Canto II: the famine (v. 16) is the reason why the patriarchs left Canaan
(note this name in v. 11, the numerical centre of vv. 7–15) and went to live
in Egypt (vv. 17–25).
Structure of strophes and cantos in terms of words: 21+19||19+20+21|8
+19+17+19||14+19+18+20|19+21+18 = 40|60+63|71+58 = 40+123+129
(= 292 = 4×73 words in total).
In Cantos I–II, the divine name, yhwh, occurs 5× (and is not found in
Canto III): vv. 1, 3, 4, 7 and 19. In v. 7 God is designated ’lhym.

Köster (1837): 1–7.8–15.16–23.24–30.31–38.39–45 (‘Scharfe Abtheilungen
finden sich in diesem Ps. nirgends; [. . . ] Vielleicht hat er es auf 3 mal
15 (45) Verse abgesehn’)
De Wette (1856): 1–6.7–15.16–25.26–35.36–45
Ewald (1866), pp. 513–17: 1–6.7–15.16–24.25–33.34–42.43–45 (6.4×9.3)
1
www.labuschagne.nl/ps105.pdf, Observation 2.
ii.16 psalm 105 163
Ley (1875), pp. 172–75: 1–3.4–7.8–11.12–15.16–19.20–23.24–27.28–31.32–35.

36–39.40–43.44–45 (3.10×4.2 lines)
Delitzsch (1894): 1–6.7–11.12–15.16–24.25–38.39–45
Zenner (1906), pp. 71–74: 1–6.7–10.12–15.16–19.20–23.24–27.28–31.32–35.
36–39.40–45 (6.8×4.6 lines); cf. Ley (1875)
Müller (1907), pp. 59–68: 1–5.6–15.17–22+16+23–25.26–27+29–35+28.
36–45 (5.4×10 lines); similarly Kissane (1954)
Duhm (1922): 1–2.3–4.5–6.7–8.9–10.12–13. etc. 44–45 (22×2 bicola)
Löhr (1922), pp. 16–17: 1–6.7–14*.17–22.23–28[.29–35].36–41.43–106,3*
(6×6 ‘Langzeilen’)
Gunkel (1926): 1–6.7–11.12–15.16–23.24–38.39–41.42–45 (‘Regelmäßige
Strophenbildung [. . . ] tritt nicht hervor’); similarly Kraus (1978); cf.
Delitzsch (1894), Herkenne (1936), NAB (1970) and Booij (1994)
Calès (1936): 1–2.3–4.5–6|7.8–9.10–11|12–15|16.17–19.20.21–22.23|24–25.
26–27|28–29.30–31.32–33.34–35.36|37–38.39–41.42–44.45 (‘de stances
de longueur diverse’)
Alden (1978), p. 201: 1–11.12–41.42–45 (A.B.A’)
Beaucamp (1979): 1–3.4–6|7–8.9–11||12–15.16–19|20–23.24–27|28–31.
32–35|36–39.42–45 (6.6|4.6||8.8|8.8|8.8|8.8 cola; ‘structure strophique
aisément discernable’, p. 160); cf. Beaucamp (1974), p. 164
Clifford (1979): 1–6|7–11|12–15.16–22.23–38.39–45
Jacquet (1979): 2–7.8–15.16–25.26–35.36–41.42–45 (3×2.4×2.5×2.5×2.3×2.
2×2 bicola)
Aletti/Trublet (1983), pp. 92–93: 1–6 7–11.12–41.42–45 (vv. 1–6 A.B.A’)
Ceresko (1983): 1–3.4–6|7–11||12–15|16–23 ||23–38|39–41|42–45 (cf. Gunkel
[1926]); alternative structure for vv. 24–45: vv. 24–30.31–33.34–36.
37–39.40–42.43–45 (7.5×3 lines)
Girard (1994): 1–4|||5–7.8–11||12–16.17–19|20–22.23–25||26–28.29.30–36|
37–40.41.42–45b (a||b.b’|c.d.d’.c’|e.f.g.g’.f’.e’); 1–4|5–11.12–16.17–25|
26–29.30–41.42–45b|45c > A|B.C.D|D’.C’.B’|A’ and simultaneously
5–11.12–25|26–28.29–45b > B.C|B’.C’
Allen (2002): 1–6.7–11|12–15.16–23|24–30.31–36|37–41.42–45 (11.12.13.9
lines; note pp. 55–57)
Auffret (2003): 1–3.4–7.8–11|12–18.19.20–25|26–27.28–30.31–33.34–36.
37–38.39–41.42–43.44–45
Fokkelman (2003), pp. 201–12: 1–3.4–6|7–9.10–11||12–13.14–15|16–17.
18–19.20–22||23–25.26–27|28–29.30–31.32–33|34–35.36–38||39–41.
42–43.44–45 (3.3|3.2|2.2|2.2.3|3.2|2.2.2|2.3|3.2.2 lines)
Terrien (2003): 1–3.4–6|7–9.10–12|13–15.16–18|19–21.22–24|25–27.28–30|
31–33.34–36|37–39.40–42 43–45 (7 ‘strophes, composed of two sub-
strophes, each of which has three bicola’)
Weber (2003): 1–3.4–7.8–11|12–15.16–19.20–23|24–27.28–31.32–35|36–38.

39–41.42–45 (A.B.B’.A’); cf. Allen (2002)
Hossfeld/[Zenger] (2008): 1–3.4–7.8–11.12–15.16–23.24–38.39–41.42–45b

16.7.1 The strophic structure and the device for anaphora
Psalm 105 is entirely composed of bicolic verselines (tricola do not occur).2
Today, its ‘Einheitlichkeit’ is almost uncontested.3 The verselines form a
nearly uninterrupted series of 3-line strophes. The strophic regularity is
only interrupted at the beginning of some main parts. At the beginning
of Canticle II.2 we find a one-line strophe (v. 16)4 and at the beginning of
Canto III a 2-line strophe (vv. 26–27).
In my opinion, the (3-line) strophes form one of the most manifest
structural units of Psalm 105; cf. Terrien (2003) in § 16.6. It is especially
the device for anaphora which almost unambiguously characterizes this
rhetorical skeleton; cf. § 16.4.2.5 Fokkelman (MPHB III, p. 202) rightly
notes that God’s proper name in vv. 1.4.7 combined with the names of the
patriarchs in vv. 6.9 point to a parallelismus stropharum: vv. 1–3.4–6.7–9
> a.a’.a’’. It is only in vv. 1.4.7 that the divine name (yhwh) features
as the second word at the beginning of a verseline; note further hwdw
lyhwh (‘praise the Lord’)/dršw yhwh (‘turn to the Lord’) in vv. 1a and
4a respectively. The regular strophic structure at the beginning of the
poem is further enhanced by the linear correspondences b‘mym ‘lylwtyw
(‘among the nations his deeds’)/bkl h’rs. mšpt.yw (‘throughout the earth
[are] his judgements’) in vv. 1b.7b respectively and mbqšy yhwh (‘who seek
the Lord’)/bny y‘qb (‘sons of Jacob’) in vv. 3b.6b respectively (note also
the alliteration).
From v. 10 onwards, the beginning of the strophes is even more explic-
itly indicated by anaphora than in vv. 1–9. In vv. 10, 13 and 16 it is the
imperfect consecutive opening the verselines which highlights the beginning
of successive strophes; see wy‘mydh (‘and He confirmed it’), wythlkw (‘and
they wandered’), wyqr’ (‘and He called’) respectively and cf. wyb’ (‘and he
came’) at the beginning of v. 23. The strategic positioning of the simi-
lar verbal forms marks the beginning of the successive strophes. For the
2
For an enumeration of psalms consisting of only bicola, see CAS I, p. 523.
3
See Hossfeld/[Zenger] (2008, pp. 97–98) and cf. Ceresko (1983, p. 25); otherwise
Seybold (1996) and Leuenberger (2004), pp. 193–98.
4
For the one-line strophe marking the beginning of a canto or a canticle, see CAS I,
Ch. V, 2.1.5 (pp. 451–52).
5
For this phenomenon, see further CAS I, Ch. V, 3.1.1.2 (pp. 469–70).
ii.16 psalm 105 165
strophic division of vv. 17–22, see especially šlh. (‘He sent’) at the begin-
ning of vv. 17 and 20. Vv. 20–22 also stand out because each of its six cola
contains a term for ‘leader’ (Fokkelman, MPHB III, p. 205); see § 16.4.1.
From a purely thematic point of view, it is impossible to detect a
strophic regularity in the following verselines. However, in Canticle III.1
(vv. 26–36), this thematic vagueness is fully compensated for by a conspic-
uous formal skeleton which once again points to a series of 3-line strophes.
In Canticle III.1 the strophic framework is not only indicated by the device
for anaphora but by other phenomena of responsion as well (cf. vv. 1–9).
For the anaphora, see šlh. (‘He sent’) in vv. 26.28 and ’mr wyb’ ‘rb/’rbh
(‘He spoke and insects/locusts came’) in vv. 31.34.6 The regular strophic
structure of this canticle is further based on the repetition of the expression
(b)’rs.(m) (‘[in] [their] land’) in the concluding verseline(s) of the strophes;
see in vv. 27.30.35–36 and further § 16.4.2.7 The latter device for respon-
sion is reinforced by the strategic positioning of the imperfect consecutive
wyk (‘and He struck’) in vv. 33.36 (exactly at the beginning of successive
concluding verselines);8 cf. further the imperfect consecutive wy’kl (‘and
it devoured’) in v. 35. In addition, the strophic coherence of vv. 31–33 is
marked by the epiphora described in § 16.4.1.9
For the strophic structure of Canticle III.2 (vv. 37–45), see the respon-
sion wyws.y’ (‘and he led out’) right at the beginning of the first and the
6
These formal relationships suggest that there is a ‘double entendre’ in v. 28b. On the
one hand, the correspondence between vv. 26 and 28 supports Delitzsch’s opinion ([1894],
p. 652) that Moses and Aaron (v. 26) are the subject of mrw in v. 28b (cf. Num. 20,24
and 27,14). Note also that the object dbryw harks back to v. 27a (concatenation; note
the plural [K]). This may suggest that the predicates śmw and mrw are also similar. On
the other hand, the strophic regularity may imply a semantic correspondence between
v. 28b and vv. 31a.34a (all these cola occur in the first verseline of successive strophes):
‘and they did not defy His words’ parallels ‘He spoke and he came’. This confirms Booij’s
suggestion (VT 39 [1989], pp. 209–14) that ‘darkness’ (v. 28a) is the personified subject
of mrw in v. 28b. For comparable personifications, see Pss. 43,3 and 148,8.
7
Tucker (2005) rightly points out that for the psalmist ‘the devastation of the land
by Yahweh, as a result of the plagues, was of central concern’ (p. 405).
8
For this phenomenon, see CAS I, Ch. V, 3.2.2.1 (pp. 480–81). For the responsions
marking the strophes vv. 28–30, 31–33 and 34–36, see also Auffret (2003), pp. 306–07.
9
I do not understand why this strophic regularity is ignored by Hossfeld/[Zenger],
when stating with regard to vv. 24–38: ‘Weitere Unterteilungen sind entweder einer
in den Text importierten Harmonie von Strophen oder willkürlicher Verteilung von
Stichwortentsprechungen geschuldet’ (2008, p. 99). Obviously, Hossfeld fails to see that
it is in particular the ‘Stichwortentsprechungen’ which are indicative of the strophic
structure. However, it is even more remarkable that—from v. 10 onwards—Fokkelman
(MPHB III), too, did not recognize the patterns of ‘verbal repetition’ (anaphora) which
determine the transition from one strophic unit to another. As always, Girard (1994)
systematically ignores the strophic structure of Hebrew poetry; see § 16.6.
third strophe (vv. 37.43). In its turn, the imperfect consecutive wyws.y’
forms a grammatical responsion with wyb’ (‘and he brought’) in v. 40a
(anaphora; cf. wyb’ right at the beginning of vv. 23–25).10
The strophic regularity of Psalm 105 demonstrates, e.g., that the subor-
dinate clause v. 12 is not the beginning of a main part—as is generally as-
sumed (see § 16.6)—but belongs to the preceding verselines. The statement
about the weakness of the people of Israel (v. 12) underlines the greatness
of God’s promise (v. 11).11 The same holds for v. 39: the verseline is not the
beginning of a main part—as is generally accepted (see § 16.6)—but the
concluding verseline of a 3-line strophe. Finally, the framework on strophe
level makes it clear that vv. 23–25 form a 3-line strophe (see also § 16.4.1).
It resolves the dilemma in which the exegesis has been caught from the
beginning of the nineteenth century: is it v. 24 or v. 25 which opens a main
part?; see § 16.6.
The strophic structure is rather sparingly supported by transition mark-
ers; see § 16.3.1–2. In this respect, one peculiarity is to be noted. The first
verseline of the second 3-line strophe (vv. 4–6) is marked by an expression
for a long time; see tmyd in v. 4b. The same holds for the first verseline of
the fourth 3-line strophe (vv. 10–12); see ‘wlm in v. 10b. Expressions like
these are mostly indicative of the last verseline of a strophe; cf. also hw’
(‘He’) in v. 7a. Conversely, the end of the second 3-line strophe (vv. 4–6)
is marked by the vocative zr‘ ’brhm (‘offspring of Abraham’) etc., which
encompasses the entire concluding verseline of the strophe. And gener-
ally speaking, vocatives are indicative of the first verseline of a strophe.
That is to say, in terms of transition markers the beginning of the poem is
characterized by inversion; this phenomenon is rather unique.12
16.7.2 The overall structure of the psalm

The poem as a whole consists of three cantos, vv. 1–6, 7–25 and 26–45.
Most exegetes agree that vv. 1–6 represent an introductory section of six
verselines (two 3-line strophes) containing an exhortation to praise God; cf.
§ 16.6. The canto is characterized by a cluster of imperatives (§ 16.3.1.1)
and by the key word npl’wtyw (‘his wondrous acts’) in the middle verseline
of the strophes (vv. 2 and 5). Its end is definitely marked by the vocative
10
With regard to the formal skeleton determining the series of 3-line strophes in vv.
31–45, Ceresko (1983, pp. 39–43) speaks of ‘an alternate structuring principle’ (p. 39);
cf. § 16.6 and Clifford (1979), pp. 425–27.
11
This semantic connection is further supported by the feminine pronoun suffix -h in
v. 12b, which has ’rs. (‘land’) in v. 11a as its antecedent.
12
For a statistical overview of the function of ‘transition markers’, see CAS I, Ch. V, 7
(pp. 536–66).
ii.16 psalm 105 167
zr‘ ’brhm etc. in v. 6.13

Vv. 7–25 and 26–45 form two almost uniform cantos of 19 and 20 verse-
lines respectively. In their turn, these cantos consist of two canticles each,
vv. 7–15.16–25 (Canto II) and 26–36.37–45 (Canto III). And subsequently,
each canticle consists of at least three 3-line strophes.14 V. 7 serves as a
motto at the beginning of Cantos II–III: ‘He [is] the Lord our God //
on the whole earth [are] his judgements’. After the cluster of imperatives
characterizing the first canto, the ‘static tranquillity of the nominal clause
[. . . ] strikes a new note’ (Fokkelman, MPHB III, p. 202). It is only in this
line that we meet the speaker personally. And as part of a collective (note
‘our God’) he formulates an important confession (cf. Deut. 6,4). All fol-
lowing verselines are an elaboration on this confession. In Canto II the poet
describes the period of the patriarchs. Their names—Abraham, Isaac and
Jacob/Israel—are explicitly mentioned in the opening and closing strophes
of this main part; see vv. 9–10 and 23 (inclusion).
Canto III is about the period of Moses and Aaron. Their names occur
programmed in the first verseline of this main part (v. 26). Girard (1994,
pp. 89–90) has rightly noted that the relative individuality of this main
part and its division into vv. 26–36.37–45 is supported by a remarkable
symmetric pattern of verbal recurrences: note the root bh.r + suffix -w
(v. 26) > dbr (vv. 27+28) > mym (v. 29) > wyb’ (vv. 31+34a) > w’yn
(v. 34b) | w’yn (v. 37) < wyb’ (v. 40) < mym (v. 41) < dbr (v. 42) < root
bh.r + suffix -w (v. 43); cf. § 16.4.3 (Canto III).15
As is the case in Psalm 104 (see v. 35), the present composition is
concluded by a relatively independent verseline in terms of semantics: ‘that
they might keep his laws // and observe his teachings’ (v. 45). The 3-
line strophes which are characteristic of Psalm 105 show that the verseline
represents an intentional closure of the poem.
From a formal point of view, the overall structure of this composition is,
13
Allen (2002, pp. 55–56) mistakenly maintains that the ‘call to praise and the content
of praise, vv. 1–11 (1–6 + 7–11) together form the opening strophe’. As a rule, however,
a half-long canto representing an introductory doxology stands out because of its general
wording and does not specify the reason for praising God; see CAS I, Ch. V, 5.2.1.1 (pp.
508–10). § 16.4 demonstrates that the ‘chiastic word patterns’ to which Allen refers (fol-
lowing Ceresko [1983]) in order to substantiate his ‘strophic’ structure represent random
selections of a much more complex web of verbal repetitions. The same criticism applies
to Fokkelman (MPHB III, p. 205), when he describes the ‘concentric arrangement’ of
vv. 17–21, and Weber (2003, pp. 190–91).
14
For the delimitation of the canticles, cf. also De Wette (1856), Müller (1907) and
Jacquet (1979) in § 16.6. For the delimitation of vv. 26–36.37–35 (Canticles III.2 and
III.3), see Girard (1994, pp. 92–93); for especially vv. 37–45 as a relatively independent
section (Canticle III.2), see also Calès (1936) and Allen (2002); cf. Weber (2003).
15
Cf. also Auffret (2003), pp. 309–10.
among other things, determined by a linearly alternating pattern in terms

of verbal repetitions: vv. 1–6|7–15.16–25|26–36.37–45 > A|B.A’|B’.A’’; see
§ 16.4.4 (The linear framework).16 It is especially the numerous responsions
in the A-sections which reveal the alternating scheme; note the root qr’
(‘to call’; first line of A and A‘), ‘mym (‘peoples’), qdšw (‘his holiness’), the
root śmh. (‘to rejoice’), lb (‘heart’), pnym (‘face’), ’brhm ‘bdw (‘Abraham,
his servant’), bh.yryw (‘his chosen ones’), lh.m (‘bread’), the root pth. (‘to
open’), ms.rym (‘Egypt’) and ‘mw (‘his people’; last line[s] of A’ and A’’).
In the light of this impressive cluster, the responsions between Canticles
II.1 (vv. 7–15) and III.1 (vv. 26–36) are conspicuously few.17
The linear structural pattern on the level of the entire poem is reinforced
by a thematic correspondence between Canticles II.1 and III.1 on the one
hand and Canticles II.2 and III.2 on the other. In Canticles II.1 (vv. 7–15)
and III.1 (vv. 26–36) the psalmist speaks about God’s protection of his
people in the midst of the nations in general (II.1) and of Egypt in particular
(III.1). Canticle II.1 is concluded by an embedded speech, in which God
explicitly warns other nations not to harm his chosen people (v. 15). The
verseline also stands out by the expressions mšyh.y (‘my anointed ones’) and
nby’y (‘my prophets’), referring to the people of Israel. This line forms a
glaring contrast to the concluding verseline of Canticle III.1, which describes
the final blow God deals the people of Egypt, the death of their first-born
(v. 36).18 Canticle II.2 (vv. 16–25) is about the way the people of Israel
came to live in Egypt, their entry; while Canticle III.2 (vv. 37–45) portrays
how this people left Egypt, their exodus (and the gift of the land).
As far as the formal relationship between the canticles of Cantos II–III
is concerned, there is—alongside a linear pattern of verbal repetitions (see
above)—a symmetric wordpattern as well (‘symétrie croisée’): vv. 7–15.
16–25|26–36.37–45 > A.B|B’.A’; see § 16.4.4 (The symmetric framework).
The clusters of verbal repetitions which exclusively occur in corresponding
canticles demonstrate that we are (once again) dealing with a conscious
16
The division into main parts by Hossfeld/[Zenger] (see § 16.6) is based on a com-
bination of thematic and structural observations; in this respect, it is explicitly noted
that ‘Wortentsprechungen’ are not systematically taken into account to achieve the de-
limitations concerned (2008, p. 98).
17
This approach shows that the expression ’brhm ‘bdw (‘Abraham, his servant’) in
v. 6a represents a deliberate choice by the poet, because it fits the linear parallelism
between Canto I and Canticle III.2 (see v. 42b); it is not secondarily influenced by
v. 42b (contra Booij [1994], pp. 233–34, who suggests to read yśr’l ‘bdyw [‘Israel his
servants’]). For the linear pattern of verbal repetitions on the level of the poem as a
whole, cf. also Girard (1994), pp. 100–02 (and § 16.6).
18
This structural and semantic correspondence is ignored by Andrea Doeker (2002),
pp. 99–100.
ii.16 psalm 105 169
literary technique.19 This symmetric aspect of the relationship between

Cantos II–III is corroborated by the length of the successive canticles in
terms of verselines: vv. 7–15.16–25|26–36.37–45 > 9.10|11.9 (cf. the 9-line
cantos in Psalm 103). De 9-line canticles (II.1 and III.2) envelop Can-
ticles II.2 and III.1, which surpass the length of 9 lines by one and two
verselines respectively. The concatenation between vv. 4–6 and 7–9, note
mšpt.m (‘judgements’) in vv. 5.7, fits in the symmetric relationship between
the main parts (see § 16.4.4).
For the relationship with the preceding psalm, see especially the verbal
repetitions which constitute a remarkable concatenation between Psalms
104 and 105: root šyr (v. 2) > 104,33; root zmr (v. 2) > 104,33; root śyh.
(v. 2) > 104,34; root śmh. (vv. 3.38) > 104,15.31.34. Cf. further: root ‘śh
(v. 5) > 104,4.13.19.24 (2×); root šlh. (vv. 17.20.26.28) > 104,10.30; root
hlk (vv. 13.41) > 104,10.26; root ’dm (vv. 14.35) > 104,14.23; lh.m (vv.
16.40) > 104,14–15; qnyn (v. 21) > 104,24(!); h.km (v. 22) > 104,24; w’yn
mspr (v. 35) > 104,25.20
Vv. 1–15 > 1 Chron. 16,8–22. For the correspondences to Psalm 78, see
78,5a–b (v. 10) 78,43 (v. 27) 78,51 (v. 36) and 78,14 (v. 39).
16.8 Bibliography
D.H. Müller, Komposition und Strophenbau: alte und neue Beiträge, Wien, 1907,
pp. 59–68;
S.E. Loewenstamm, ‘The Number of Plagues in Psalm 105’, Biblica 52 (1971),
pp. 34–38;
A.R. Ceresko, ‘The Chiastic Word Pattern in Hebrew’, CBQ 38 (1976), pp.
303–11;
R.J. Clifford, ‘Style and Purpose in Psalm 105’, Biblica 60 (1979), pp. 420–27;
A.R. Ceresko, ‘A Poetic Analysis of Psalm 105, with Attention to its Use of
Irony’, Biblica 64 (1983), pp. 20–46;
T. Booij, ‘The Role of Darkness in Psalm CV 28’, VT 39 (1989), pp. 209–14;
A.C.C. Lee, ‘Genesis I and the Plagues Tradition in Psalm CV’, VT 40 (1990),
19
For the symmetric pattern of verbal repetitions between Cantos II–III, cf. also Girard
(1994), pp. 94–99 (and § 16.6). Girard frankly admits: ‘Il reste trois récurrences dont
nous sommes absolument incapable de rendre compte’ (p. 103 n. 18). In this respect he
points to ntn in v. 32a, the root qr’ in vv. 1.16 and pnym in vv. 4.7. In my opinion, the
root qr’ and the noun pnym fit the linear pattern on the level of the entire poem (§ 16.4).
It is especially the noun mptym (‘portents’) which resists my structural schematizations;
see § 16.4.5.2.
20
See also Auffret (2003), pp. 317–27, and Hossfeld (2004), pp. 304–05.
pp. 257–63;
P. Auffret, Que seulement de tes yeux tu regardes . . . Etude structurelle de treize
psaumes (BZAW 330), Berlin/New York: Walter de Gruyter, 2003, pp. 292–327;
F.-L. Hossfeld, ‘Eine poetische Universalgeschichte. Ps 105 im Kontext der
Psalmentrias 104–106’, in F.-L. Hossfeld and L. Schwienhorst-Schönberger (eds.),
Das Manna fällt auch heute noch. FS Erich Zenger (Herders Biblische Studien
44), Freiburg: Herder, 2004, pp. 294–311;
W.D. Tucker Jr., ‘Revisiting the plagues in Psalm cv’, VT 55 (2005), pp. 401–11.
ii.17 psalm 106 171
17 Psalm 106
Structure: 5.20.19.6 > 5|8.12|10.9|6 > 3.2||3.2.3|3.3.2.2.2||5×2|3.3.3||2.2.2
lines (Type IIC)
I 1 HWDW lyhwh ky t.wb ky l‘wlm H . SDW
2 my ymll GBWRWT yhwh YŠMY‘ KL thltw
3 ’šry šmry mšpt. ‘ŚH .sdqh bKL ‘t
4 ZKRNY YHWH brs.wn ‘Mk pqdny bYŠW‘Tk

5 lR’WT Bt.wbt BH
. YRYk lśmh. bśmh.t GWYk l hthll ‘m NH
. LTk
II.1 6 h..t’nw ‘m ’bwtynw H‘WYNW hrš‘nw

7 ’bwtynw bms.rym L’ hśkylw npl’wtyk
L’ ZKRW ’t RB H . SDYk wYMRW ‘l ym swp
8 w ywšy‘m lm‘n ŠMw lhwdy‘ ’t GBWRTw

9 wyg‘r bym swp w yh.rb wywlykm bthmwt kmdbr
10 w ywšy‘m myd ŚWN’ wyg’lm myd ’WYB

11 w yksw MYM S.RYhm ’h.d mhm l’ nwtr
12 wY’MYNW bDBRYW yšyrw THLTw
II.2 13 mhrw škh.w M‘ŚYw L’ h.kw l‘s.tw

14 wyt’ww t’wh BMDBR wynsw ’l byšymwn
15 wytn lhm š’ltm wyšlh. rzwn bnpšm
16 wyqn’w LMŠH bmh.nh l’hrn qdwš yhwh

17 tpth. ’rs. wtbl‘ dtn w tks ‘l ‘dt ’byrm
18 wtb‘r ’š b‘dtm lhbh tlht. rš‘ym
19 Y‘ŚW ‘gl bh.rb wyšth.ww lmskh

20 wymyrw ’t kbwdm btbnyt šwr ’KL ‘śb
21 škh.w ’l mwšy‘m ‘ŚH gdlwt bms.rym

22 npl’wt B’RS. h.m nwr’wt ‘l ym swp
23 wY’MR lHŠMYDm lwly MŠH BH . YRw

‘MD bPRS. lpnyw lhšyb h.mtw mhšh.yt
III.1 24 wym’sw B’RS. h.mdh L’ H’MYNW lDBRW

25 wyrgnw b’hlyhm L’ ŠM‘W bqwl yhwh
26 wyś’ ydw lhm lhpyl ’wtm BMDBR

27 wlhpyl zr‘m bgwym wlzrwtm B’RS.WT
28 wys.mdw lb‘l p‘wr wY’KLW zbh.y mtym

29 wyk‘ysw bm‘llyhm wTPRS. bm mgph
30 wY‘MD pynh.s wypll wt‘s.r hmgph

31 wth.šb lw ls.dqh ldr wdr ‘d ‘wlm
32 wyqs.ypw ‘l MY mrybh wyr‘ LMŠH b‘bwrm

33 ky HMRW ’t rwh.w wybt.’ bśptyw
III.2 34 L’ HŠMYDW ’t h‘MYM ’šr ’MR yhwh lhm

35 wyt‘rbw bgwym wylmdw M‘ŚYhm
36 wy‘bdw ’t ‘s.byhm wyhyw lhm lmwqš
37 w yzbh.w ’t bnyhm w’t bnwtyhm lšdym

38 wyšpkw dm nqy wth.np h’rs. bdmym
39 wyt.m’w bM‘ŚYhm wyznw bm‘llyhm
40 wyh.r ’p yhwh b‘Mw wyt‘b ’t NH

. LTw
41 wytnm byd gwym wymšlw bhm ŚN’Yhm
42 wylh..swm ’WYBYhm wykn‘w th.t ydm
IV 43 p‘mym RBWT ys.ylm whmh YMRW b‘s.tm wymkw b‘WNm

44 wYR’ BS.R lhm bŠM‘w ’t rntm
45 wYZKR lhm brytw wynh.m kRB H . SDW

46 wytn ’wtm lrh.mym lpny KL šwbyhm
47 HWŠY‘NW YHWH ’lhynw wqbs.nw mn hGWYM

lHWDWT lŠM qdšk lhštbh. bTHLTk
17.1 Text
V. 7d—‘l ym swp: cf. v. 22b. MT reads ‘l ym bym swp (for bym, see v. 9a);
similarly Pröbstl (1997), pp. 106–07, and Barthélemy (2005).
V. 20a—kbwdm: see BHS.
V. 38a: MT + dm bnyhm wbnwtyhm ’šr zbh.w l‘s.by kn‘n. These words—which
are rather prose than poetry and overload the 3-line strophe—represent a
gloss (Gunkel, Kraus, Booij, Pröbstl [1997], p. 109). They can only artifi-
cially be made a part of an ‘extended chiastic pattern’; see § 17.4.2 (against
ii.17 psalm 106 173
Aletti/Trublet [1983], Girard [1994, p. 116 n. 10], Fokkelman [MPHB II,

p. 275], Allen [2002, p. 68], and Auffret [2003, pp. 340–41]).
V. 45b—h.sdw : so K; Q h.sdyw.
17.2 Content
Notwithstanding their apostasy, God remains faithful to his people.
I Call and prayer for praising God.
Praise the Lord for he is good (vv. 1–3).
Be mindful of me, O Lord, that I may praise you (vv. 4–5).
II God rescued our fathers from their enemies in Egypt (II.1, vv. 6–12);
but in the wilderness they forgot their Saviour, so that He almost
destroyed them (II.2, vv. 13–23).
We have sinned against You like our fathers in Egypt, who did
not remember your wonders (vv. 6–7).
Yes, He rescued them at the Sea of Reeds (vv. 8–9).
And He made their adversaries drown (vv. 10–12).
They soon forgot his deeds in the wilderness and put God to the
test (vv. 13–15).
They rebelled against Moses and Aaron (vv. 16–18).
They worshipped a calf at mount Horeb (vv. 19–20).
They forgot God’s wonders in Egypt (vv. 21–22).
He almost destroyed them, but Moses intervened (v. 23).
III In the wilderness they did not obey God’s commands, so that He al-
most exterminated them (III.1, vv. 24–33); in their homeland they
did not destroy the nations and He delivered them to their enemies
(III.2, vv. 34–42).
They did not obey his commands (vv. 24–25).
He swore to put an end to their existence as a people in the
wilderness (vv. 26–27).
They worshipped Baal Peor and a plague broke out among them
(vv. 28–29).
But Pinehas intervened and the plague left (vv. 30–31).
They provoked his wrath at the waters of Meriba (vv. 32–33).
They did not obey God’s commands and worhipped the idols of
the nations they should have destroyed (vv. 34–36).
They shed innocent blood and defiled themselves by their acts
(vv. 37–39).
And God handed them over to their enemies (vv. 40–42).
IV Summary: the people’s rebelliousness and their deliverance by God.
Although they rebelled against Him time and again, He saved
them many times from their adversaries (vv. 43–46).
O God, rescue us from the nations to sing praises to You (v. 47,
prayer; cf. vv. 4–5).

17.3.1.1 imperative: hwdw, v. 1a w- beginning of line, v. 30a;
imperative: zkrny, v. 4a ext. // w- in v. 31a
vocative: yhwh, v. 4a w- beginning of line, v. 32a
imperative: pqdny, v. 4b w- beginning of line, v. 37a;
w- beginning of line, v. 8a; ext. // w- in vv. 38a and
ext. // w- in v. 9a 39a
w- beginning of line, v. 10a; w- beginning of line, v. 40a;
ext. // w- in vv. 11a and ext. // w- in vv. 41a and
12a 42a
w- beginning of line, v. 16a w- beginning of line, v. 45a;
w- beginning of line, v. 23a ext. // w- in v. 46a
lwly, v. 23b imperative: hwšy‘nw, v. 47a
w- beginning of line, v. 24a; vocative: yhwh ’lhynw,
ext. // w- in v. 25a v. 47a
w- beginning of line, v. 26a; imperative: qbs.nw, v. 47b
ext. // w- in v. 27
w- beginning of line, v. 28a; 17.3.1.2 ‘wlm, v. 1b
ext. // w- in v. 29a hmh, v. 43b

17.3.2.1 kl ‘t, v. 3b 17.3.2.2 ’šry, v. 3a
dr wdr, v. 31b w- beginning of line, v. 15a;
‘wlm, v. 31b ext. // w- in v. 14a
w- beginning of line, v. 36a;
ext. // w- in v. 35a

my, v. 2a b‘bwr, v. 32b; cf. Ps. 105,45
lm‘n, v. 8a w- beginning of line, v. 44a
ii.17 psalm 106 175

vv. 1–3: yhwh, vv. 1a.2a
h.sdw/thltw, vv. 1b and 2b resp. (epiphora)
kl, vv. 2b.3b
vv. 4–5: ‘mk/gwyk, vv. 4a and 5b resp.; see also suffix -k in vv. 4b
and 5a+c (epiphora)
vv. 6–7: ’bwtynw, vv. 6a.7a!
l’, v. 7b.7c
suffix -k, v. 7b.7c
vv. 8–9: wy-, vv. 8a.9a (anaphora)
vv. 10–12: wy-, vv. 10a.11a.12a (anaphora)
prep. mn, vv. 10a+b.11b
śwn’ . . . ’wyb/s.r, vv. 10 and 11a resp.
vv. 16–18: ‘dt, vv. 17b.18a!; see also dtn in v. 17a (alliter.)
v. 23: lhšmydm/lhšyb . . . mhšh.yt, v. 23a and 23d resp. (alliter.)
suffix -w, v. 23b.23c+d
vv. 24–25: l’, vv. 24b.25b (exactly linear)
vv. 26–27: lhpyl, vv. 26b.27a!
vv. 32–33: mrybh/hmrw, vv. 32a and 33a resp. (alliter.)
vv. 34–36: lhm, vv. 34b.36b (inclusion); see also suffix -hm in v. 35b
(epiphora)
vv. 37–38: lšdym/bdmym, vv. 37b and 38b resp. (alliter.; epiphora)
vv. 40–42: yd, vv. 41a.42b
} chiasmus
śn’yhm/’wybyhm, vv. 41b.42a

vv. 6–12 (II.1): ym swp, vv. 7d.9a (linear)
w- beginning of line, vv. 8–12 (concat.; anaphora)
wywšy‘m, vv. 8a.10a (anaphora); see also wyg’lm in
v. 10b (linear)
vv. 13–23 (II.2): w- beginning of line, vv. 14–16 (concat.; anaphora)

škh.w, vv. 13a.21a! (linear)
root ‘śh, vv. 13a.19a.21b (linear); note further ‘gl b-/
gdlwt b- in vv. 19a and 21b resp. (alliter.)
’l (‘God’), vv. 14b.21a!
lmšh/lmskh, vv. 16a and 19b resp. (alliter.; linear)
mšh, vv. 16a.23b (linear); see also lhšmydm in v. 23a
(alliter.)
bh.rb/bh.yrw, vv. 19a and 23b resp. (alliter.; linear)
vv. 24–33 (III.1): w- beginning of line, vv. 24–32 (concat.; anaphora)

b’rs., vv. 24a.27b
ldbrw/bmdbr, vv. 24b and 26b resp. (alliter.; linear)
mgph, vv. 29b.30b! (concatenation; epiphora)
vv. 34–42 (III.2): ‘m (‘people’), vv. 34a.40a

} chiasmus (linear)
yhwh, vv. 34b.40a
w- beginning of line, vv. 35–42 (concat.; anaphora)
prep. b- + gwym, vv. 35a.41a (linear)
m‘śyhm, vv. 35b.39a!

vv. 1–5 (Canto I): prep. l-, vv. 1a+b.5a+b+c (inclusion)
yhwh, vv. 1a+2a.4a (linear)
.twb, vv. 1a.5a! (inclusion)
root hll, vv. 2b.5c; note thltw/lhthll (alliter.)
vv. 6–23 (Canto II): root rš‘, vv. 6b.18b!

bms.rym, vv. 7a.21b!
l’, vv. 7b+c.13b (linear); cf. also l’ in v. 11b
npl’wt, vv. 7b.22a!
l’ zkrw/škh.w, vv. 7c and 13a+21a resp.
‘l ym swp, vv. 7d.22b!; see also ym swp in v. 9a!
root yš‘ hiph‘il + suffix -m, vv. 8a+10a.21a!
root h.rb, vv. 9a.19a!
mdbr, vv. 9b.14a; see also yšymwn in v. 14b
prep. mn, vv. 10–11.23d (linear)
root ksh, vv. 11a.17b!
vv. 24–42 (Canto III): l’, vv. 24b+25b.34a (linear)

yd, vv. 26a.41a+42b
lhm, vv. 26a.34b+36b
bgwym, vv. 27a.35a; see also b- + gwym in v. 41a!
root zbh., vv. 28b.37a!
bm‘llyhm, vv. 29a.39b!
vv. 43–47 (Canto IV): root rbb, vv. 43a.45b (linear)

roots ns.l (hiph‘il)/yš‘ (hiph‘il), vv. 43a and 47a
resp. (linear)
ii.17 psalm 106 177
w- beginning of the line, vv. 44–46 (concatena-

tion; anaphora)
lhm, vv. 44a.45a (concatenation)

vv. 1–5.13–23.34–42: root ‘śh, vv. 3b.13a+19a+21b.35b+39a!

‘m (‘people’), vv. 4a.34a+40a!
bh.yr, vv. 5a.23b! (linear)
nh.lh, vv. 5c.40b! (linear)
l’, vv. 13b.34a (linear)
root ’mr, vv. 23a.34b!
} chiasmus
root šmd hiph‘il, vv. 23a.34a!
vv. 6–12.24–33.43–47: suffix -nw, vv. 6–7a.47a–b!

root ‘wh, vv. 6b.43c!
l’, vv. 7b+c.24b+25b (linear)
suffix -k, vv. 7b–c.47c–d
root zkr, vv. 7c.45a
rb h.sd, vv. 7c.45b!; see also rbwt in v. 43a!
root mrh, vv. 7d.33a.43b!; note ymrw in vv. 7d
and 43b (linear)
root yš‘ hiph‘il, vv. 8a+10a.47a
šm (‘name’), vv. 8a.47c!
wyg‘r/wyrgnw, vv. 9a and 25a resp. (alliter.)
mym, vv. 11a.32a!
.sr, vv. 11a.44a!
root ’mn hiph‘il + dbr + suffix -w, vv. 12a.24b!
thlh, vv. 12b.47d (exactly linear)
root šm‘, vv. 25b.44b (exactly linear)
’wtm, vv. 26b.46a!
1–5.43–47: root ydh (hiph‘il), vv. 1a.47c!

h.sdw, vv. 1b.45b!
root šm‘, vv. 2b.44b
kl, vv. 2b+3b.46b!
root hll, vv. 2b+5c.47d (note thlt- in vv. 2b.47d)
root zkr, vv. 4a.45a
zkrny yhwh/hwšy‘nw yhwh, vv. 4a and 47a resp.!

(note yhwh vocative); see also pqdny in v. 4b and
ys.ylm in v. 43a
suffix -k, vv. 4–5.47c–d
root yš‘, vv. 4b.47a
root r’h + prep. b-, vv. 5a.44a!
gwy, vv. 5b.47b
vv. 6–12.34–42: root śn’, vv. 10a.41b!

’wyb, vv. 10b.42a!
vv. 13–23.24–33: mhrw/hmrw, vv. 13a and 33a resp. (alliter.)

bmdbr, vv. 14a.26b!
mšh, vv. 16a+23b.32b!; note lmšh in vv. 16a and 32b;
cf. also lhšmydm in v. 23a (alliter.)
bmh.nh/b’hlyhm, vv. 16a and 25a resp.
’byrm/b‘bwrm, vv. 17b and 32b resp. (alliter.)
root ’kl, vv. 20b.28b!
b’rs. h.m/b’rs. h.mdh, vv. 22a and 24a resp. (alliter.); see
also b’rs.wt in v. 27b! and bprs. in v. 23c (alliter.)
root ‘md, vv. 23c.30a!
root prs., vv. 23c.29b!
vv. 1–5.6–12, concat.: h.sd, vv. 1b.7c

gbwrh, vv. 2a.8b!
root hll, vv. 2b+5c.12a; note thltw in vv. 2b.12b
root zkr, vv. 4a.7c
suffix -k, vv. 4–5.7b–c
root yš‘, vv. 4b.8a+10a
prep. ‘m (‘with’), vv. 5c.6a!

’rs. (vv. 17.38), nota accusativi ’t, prep. b-, suffix -w (vv. 8 [2×].12b.13
[2×].26.33 [2×]. 40 [2×].44.45 [2×]), yd (v. 10 [2×]), yhwh (vv. 16.25),
prep. l-, l’ (v. 11), suffix -m/-hm, prep. mn (v. 47), prep. ‘l (vv. 17.32)

ky (vv. 1 [2×].33), root ntn (vv. 15.41.46), ‘wlm (vv. 1.31), ‘s.h (vv. 13.43),
pnym (vv. 23.46), .sdqh (vv. 3.31), root qdš (vv. 16.47)
ii.17 psalm 106 179

Psalm 106 has 21 strophes, 50 (= 5×10) verselines (cf. the 5×9 verselines
in Psalm 105) and 102 (= 6×17) cola. Vv. 24–25 constitute the middle
strophe (> 10+1+10 strophes). The strophe stands out by the repetition
of the negation l’ (‘not’) exactly at the beginning of vv. 24b and 25b (cf.
l’ in v. 7 and § 17.7). In this way the psalmist emphasizes the idea of
Israel’s disobedience. At the beginning of Canto III, this strophe concisely
expresses an important theme of the composition: the Israelites are a recal-
citrant people.1 The ceasura between Cantos II and III divides the psalm
into 25+25 verselines and 51+51 cola.
Structure of strophes and cantos in terms of words: 21+15||19*+13+17|
18+20+12+13+11||12+11+11+12+13|18+16*+18||14+12+11 = 36|49+
74|59+52|37 = 36+123+111+37 (= 307 words in total). On word level,
the strophe v. 23 constitutes the centre of the psalm: vv. 1–22.23.24–47
> 148+11+148 words (148 = 4×37).2 V. 23 also expresses an important
idea: Moses has calmed down God’s destructive wrath; cf. also vv. 30–31.
The divine name, yhwh occurs 8×: vv. 1, 2, 4, 16, 25, 34, 40 and 47;
in vv. 14 and 21 we find the designation ’l (‘God’), in v. 47 it is ’lhym.

Köster (1837): 1–6.7–12.13–18.19–23.24–27.28–31.32–35.36–39.40–43.44–47
(6.6.6.5.6×4 verses)
De Wette (1856): 1–5.6–12.13–18.19–23.24–27.28–31.32–33.34–39.40–43.
44–46.47; cf. Köster (1837)
Ewald (1866), pp. 495–99: 1–12.13–23.24–33.34–46.47 (‘Die wende hat [. . . ]
durchschnittlich 10 verse’)
Ley (1875), pp. 185–87: 1–6.7–12.13–18.19–23|24–31|32–37.38–42.43–47
(4×6.8.3×6 ‘Hexameter’; vv. 24–31 represent a ‘Mittelstrophe’)
Delitzsch (1894): 1–5.6–12.13–23.24–33.34–43.44–46.47; cf. Pröbstl (1997),
pp. 106–12
1
Fokkelman and Auffret consider vv. 24–27 a central stanza. According to Fokkelman
(MPHB II, p. 273), this unit stands out (among other things) because ‘the terms have
been kept general’; see, however, b’hlyhm (‘in their tents’, v. 25a) and bmdbr (‘in the
wilderness’, v. 26b). According to Auffret (2003, p. 358), ‘l’enchaı̂nement de 24–27 sur
le péché d’infidélité à la Parole avec le châtiment qui devrait s’en suivre’ is the summit
of the composition. Ley (1875) takes vv. 24–31 as a ‘Mittelstrophe’ (see § 17.6).
2
This word count is based on the emendations described in § 17.1; see vv. 7d
and 38a. Only taking into account the emendation in v. 38a our psalm has 308 (=
28×11) words. The Masoretic text has 315 (= 45×7) words. On the latter basis,
Labuschagne takes the 17 words of vv. 23–24 as the numerical centre of the psalm;
Zenner (1906), pp. 74–77: 1–6.7–12.13–18.19–24.25–31.32–37.38–42.43–47

(8×6 lines); cf. Ley (1875)
Duhm (1922): 1–2.3–4a.4b–5 (3×2 bicola); 7.8–9.10–11.12–13.14–15.16–17.
19–20. etc. 32–33.35–36. etc. 45–46 (20×2 bicola)
Gunkel (1926): 1–3.4–5.6.7–12.13–15.16–18.19–23.24–27.28–31.32–33.
34–46|47 (‘Die deutlich hervortretenden Abschnitte zeigen keinen
regelmäßigen Strophenbau, gegen Bickell, Duhm2 u.a.’); cf. Kraus
Calès (1936): 1–2.3|4a.4b–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|34–36.37–39|40–42.43–46||
47.48 (2.1|1.2||1.2.2.2.1|1.2|1.2|2.2.2|2.2|2.2|2|3.3|3.4||2.2 lines; ‘Le ps.
ne paraı̂t pas avoir de strophique régulière’, p. 302)
Herkenne (1936): 4–7b|7c–12|13–15.16–18.19–23.24–27.28–31.32–33|107,11
+106,34–43|44–46|47
Gemser (1949): 1–5|6–12.13–15.16–18.19–23.24–27.28–31.32–33.34–39.
40–42.43–46|47; cf. Calès (1936), NAB (1970), Van der Ploeg (1974)
Kissane (1954): 1–7.8–15.16–23.24–31.32–39.40–47.48 (6×8.1 lines)
Alden (1978), pp. 201–02: 1–5.6–46.47–48 (A.B.A’)
Beaucamp (1979): 1.2–3.4–5 6.7–8.9–10.11–12.13–15.16–18.19–23.24–27.
28–31.32–33.34–36.37–38*.39–42.43a–b+44–46 47 (‘aucun agence-
ment strophique n’est ici discernable’, p. 167)
Jacquet (1979): 1–3||4–6a.6b–7.8–9.10–11|13–14.15–16|17–18|19–20.21–22.
23|24–25.26–27|28–29.30–31|32–33|34–35.36–37.39–40.41–42.43–44|
45–46.47
O’Connor (1980): 1–3.4–6.7–9.10–13|14–16.17–19.20–22.23–25|26–29.
30–33.34–36.37–38|39–42.43–44.45–48 (29.25.27.24 cola)
Aletti/Trublet (1983), p. 93: 1–5 6–22.23–33.34–40.41–47 48
Booij (1994): 1–5.6–12.13–18.19–23.24–27.28–31.32–33.34–43.44–47.48
Girard (1994): 1–2.3.4–5|6–7.8–11.12|13.14–15.16–18.19–20.21–22|23a.23b.
23c–d.24–25.26–27.28–31.32–33.34|35.36–37.38.39|40–42.43.44–46.47;
1–5.6–12.13–22.23–25|26–34.35–39.40–46.47 > A.B.C.D|D’.C’.B’.A’
Fokkelman (2000), pp. 269–78: 1–3.4–5||6–7.8–9.10–11|12–13.14–15.16–18|
19–20.21–22.23||24–25.26–27||28–29.30–31.32–33|34–35.36–37.38–39|
40–41.42–43.44–46||47.48 (3.2|3.2.2|2.2.3|2.2.2|2.2|2.2.2|2.2.2|3.2.2|2.2)
Allen (2002): 1–5.6–12|13–15.16–18.19–23|24–27.28–31|32–33.34–42.43–46.
47 (note pp. 68–70)
Auffret (2003): 1–5.6–12.13–15.16–18.19–23|24–25.26–27|28–31.32–33.
34–42.43–46.47–48 (a.b.c.d.e|X|e’.d’.c’.b’.a’)
Terrien (2003): 1–3 4–5.6–7.8–10|11–13.14–16.17–18|19–22.23–24.25–27|
28–31.32–33.34–36|37–38.39–41.42–46 47–48 (the body of the poem
is made up of ‘five strophes, slightly irregular’)
Weber (2003): 1–5.6–15.16–23|24–33.34–43.44–47 (A.B.C|C’.B’.A’)
ii.17 psalm 106 181
Ceresko (2006), pp. 37–42: 1–6.7–12.13–23.24–33.34–47

Hossfeld/[Zenger] (2008): 1.2–3.4–5||6–12|13–15|16–18|19–23|24–27|28–31|
32–33|34–39|40–43|44–46||47
www.labuschagne.nl/ps106.pdf: 1–3.4–5.6–7|8–9.10–12|13–15.16–18||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 (7 cantos; vv. 19–27 represent a central canto)

The long poem Psalm 106 is almost exclusively composed of bicola (cf.
Psalm 105). It is only the concluding verseline of the introductory canto
(v. 5) and the opening line of the concluding canto (v. 43) which have
the extended form of a tricolon. In most cases, the poetic lines coincide
with the Masoretic delimitation of the verses (for v. 38, see § 17.1). In
vv. 7, 23 and 47 one Masoretic verse represents two verselines (bicola);
similarly Fokkelman (2002). The doxology v. 48 is not an integral part of
the composition, but a later addition marking the end of the Fourth Book
of the Psalter; cf. Pss. 41,14 72,18–19 and 89,53.3
17.7.1 The framework of the cantos

Former exegetes experienced problems in detecting some poetic structure in
this composition. Delitzsch notes that the law of parallelism is observed in-
deed, but that beyond this feature the progression of the ideas is ‘ein gerad-
linigter Fluß ohne symmetrische Teilung’ (1894, p. 656). Gunkel, Calès and
Beaucamp explicitly maintain that there is no regular strophic framework
in this psalm; see § 17.6. Recent structural investigations, however, have
made a serious attempt to demonstrate that Psalm 106 positively displays
a rhetorical framework beyond that of the parallelism between successive
cola; see Auffret (1994 and 2003), Girard (1994), Fokkelman (2000), Allen
(2002), and Weber (2003).
To grasp the total structure of our psalm, we have to investigate the
progression of ideas in combination with the patterns of verbal repetition
3
Auffret (2003), Auwers (2010, pp. 76–79) and Sanders (2010) argue that v. 48 is a
structurally integrated element of the psalm because it should correspond to vv. 1–2.
In this respect, Hossfeld (2004, p. 309) rightly notes that ‘die redaktionelle Funktion
der drei vorausgehenden Doxologien’ is not enough reckoned with; see also Levin (2004),
Dahmen (2005), pp. 10–14, and Leuenberger (2011), pp. 168–69. Moreover, the root ydh
(hiph‘il; ‘to praise’) at the beginning of the opening and concluding verseline of Psalm
106 (vv. 1 and 47c–d respectively) exactly marks its boundaries by inclusion (§ 17.4.4).
And finally, the traditional view is substantiated by the rhetorical connection of Psalms
105 and 106; see the concluding paragraph (17.7.3).
on the level of the poem as a whole. This approach demonstrates that

the kernel of Psalm 106 consists of two almost regular cantos of 20 and
19 verselines respectively (vv. 6–23 and 24–42), which in their turn divide
into two almost uniform canticles, vv. 6–12.13–23 (Canto II) and vv. 24–33.
34–42 (Canto III); cf. Psalm 105.4 And as is the case in Psalm 105, these
main parts are introduced by a ‘half-long’ canto, vv. 1–5 (Canto I). Unlike
Psalm 105, Cantos II and III are also concluded by a ‘half-long’ canto, vv.
43–47 (Canto IV).5
Vv. 1–5 represent an introductory canto of five verselines.6 Like Ps.
105,1–6, this canto stands out on the basis of its imperatives (vv. 1a and
4a+b). Its exact boundaries are unambiguously marked by the root .twb (‘to
be good’) in vv. 1 and 5 (inclusion), which does not occur elsewhere in the
poem (§ 17.4.3). These formal phenomena indicate that the call to praise
(vv. 1–3; including the beatitude in v. 3) and the prayer by the psalmist
(vv. 4–5) form a rhetorical unity, Canto I.7
In vv. 4–5 the psalmist addresses God (note the suffix -k [‘Your’]) and
speaks as an individual (note the suffix -ny in v. 4). In vv. 6–7 he still
addresses God (note the suffix -k in v. 7b–c; concatenation), but now he
speaks as a member of the community (cf. Ps. 105,7). Furthermore, the
possessive suffix -k in v. 7b–c has still the vocative yhwh in v. 4a as its
antecedent (enjambement). Nevertheless, Fokkelman rightly notes that (in
terms of semantics) the confession of guilt in v. 6 marks a ‘sharp turn’
(MPHB II, p. 271). The idea of guilt characterizes vv. 6–7 as a relatively
independent strophe.
From a thematic point of view, it is the explicit observation about the
failure of the people of Israel to recognize God’s marvellous deeds (vv. 6–7)
which strategically features at the beginning of Canto II and summarizes its
subject matter. The portrayal of God’s saving acts at the Sea of Reeds in
vv. 8–9 and 10–12 are a concrete expression of God’s wonders and underline
4
Notwithstanding Delitzsch’s statement that there is no symmetric division of sec-
tions (see above), he has more or less intuitively noticed the breaks on the level of the
canticles; see § 17.6 and cf. Ewald (1866). Ceresko (2006, pp. 37–42) has tentatively
argued that the beginnings and endings of most of the units in question show signs of
‘alphabetic thinking’; see e.g. l ’ hšmydw ’t h‘mym // ’šr ’mr yhwh lhm (v. 34, at the
beginning of Canticle III.2; note the cluster of the letter ’aleph).
5
For more examples of such symmetric structures in terms of the number of verselines,
see Ch. IV, 2.4.5 below.
6
See also De Wette, Delitzsch, Calès, Gemser, Alden, Beaucamp, Aletti/Trublet,
Girard, Fokkelman, Auffret, Weber and Hossfeld/[Zenger] in § 17.6.
7
In a similar context Girard (1994, p. 110) rightly notes: ‘Preuve de plus de la priorité
incontestable des critères structurels sur les critères morphocritiques dans l’art structurel
des psalmographes de la Bible’. For the transitional function of vv. 1–5, see § 17.7.3
below.
ii.17 psalm 106 183
the guilt of the people because they have a short memory as far as these
wonders are concerned. V. 12, which positively speaks of the faith of the
Israelites, forms a natural conclusion of this episode; cf. Ex. 14,31–15,1. Vv.
6–7 and 8–12 together form Canticle II.1 and function as starting point for
the following canticle; note škh.w (‘they forgot’) in vv. 13 and 21.
V. 13 is a thematic echo of vv. 6–7 (responsion). The verseline once
again speaks of the failure of the Israelites to recognize God’s deeds; cf.
especially npl’wtyk [. . . ] h.sdyk (‘your wonders [. . . ] your acts of steadfast
love’) in v. 7 and m‘śyw (‘your works’) in v. 13a. The verseline contrasts
sharply with the concluding line of Canticle II.1 (v. 12). Delitzsch (1894,
pp. 657–59) rightly points out that both vv. 13–23 (Canticle II.2) and
24–33 (Canticle III.1) describe three major sins of the people of Israel. Vv.
13–15 are about ‘das undankbare [. . . ] Murren um Speis und Trank’, vv.
16–18 about ‘die Empörung wider ihre Obern’ and vv. 19–23 about ‘die
Anbetung des Kalbes’ (Canticle II.2). Vv. 24–27 are about ‘die Empörung
in Folge des Berichtes der Kundschafter’, vv. 28–31 about ‘die Teilnahme
am moabitischen Baalsdienst’ and vv. 30–31 about ‘der Aufstand wider
Mose and Ahron am Haderwasser’ (Canticle III.1).8
However, the sins listed in Canticle III.1 do not exemplify the short
memory of the Israelites, as is the case in Canticle II.2, but are striking
cases in point of their failure to obey God’s commands; note vv. 24b and
25b. Vv. 24–25 strategically feature at the beginning of Canto III. V. 24b
at the beginning of Canticle III.1 is a conspicuous reference to v. 12a at
the end of Canticle II.1; see § 17.4.4 (The linear framework). V. 34 is a
thematic echo of vv. 24–25 (responsion); cf. ldbrw [. . . ] bqwl yhwh (‘in his
word [. . . ] to the voice of the Lord’) in vv. 24–25 and ’šr ’mr yhwh (‘as
the Lord had said’) in v. 34b. The verseline introduces Canticle III.2. Vv.
35–39 elaborate on the disobedience to destroy the people of Canaan and
vv. 40–42 portray the final effects of this failure to obey God’s commands,
namely the oppression of the people of Israel by their enemies (vv. 40–42).
In its turn, v. 34 at the beginning of Canticle III.2 is a conspicuous reference
to v. 23a at the end of Canticle II.2; see § 17.4.4 (The linear framework).
The verselines at the beginning of the successive canticles in Cantos
II–III formally stand out by the negation l’ (‘not’) at the beginning of
a colon; see vv. 7b–c (‘they did not perceive Your wonders, // did not
remember Your many acts of steadfast love’), 13b (‘they did not wait for
his counsel’), 24b+25b (‘they put no faith in his word, [. . . ] they did not
obey the voice of the Lord’), 34a (‘they did not destroy the nations’).9
8
For the delimitation of these episodes, see also Herkenne, Gemser, Beaucamp, Booij,
Auffret and Hossfeld/[Zenger] in § 17.6.
9
The negation l’ also occurs in v. 11b, but not at the beginning of a colon, nor to
From this (formal) perspective, vv. 6–7 at the beginning of Canto II are
linear parallel with vv. 24–25 at the beginning of Canto III; note l’ // l’.
The repetition of the negation l’ in vv. 6–7 and 24–25 is an aspect
of the linearly alternating pattern of verbal recurrences pervading the en-
tire poem: vv. 1–5|6–12.13–23|24–33.34–42|43–47 > A|B.A’|B’.A’’|B’’; see
§ 17.4.4 (The linear framework).10 This formal pattern confirms that v. 43
is a summarizing verseline at the beginning of a new canto (Canto IV; cf. vv.
6–7, 13, 24–25 and 34); note ymrw (‘they rebelled’) in vv. 7d.43b and the
root rbb (‘to be numerous’) in vv. 7c.43a.11 Vv. 44–46 are an elaboration of
God’s saving acts referred to in v. 43a. In this way, Canto IV strengthens
the linear pattern on the overall level of the poem in terms of semantics;
cf. vv. 8–12 in Canticle II.1. The prayer in its concluding strophe (v. 47)
reminds us of the prayer in the concluding strophe of Canto I (vv. 4–5).
At the same time, however, the psalmist speaks here as a member of the
community; note the suffix -nw (‘us/our’) in vv. 47a–b. And that aspect
of v. 47 once again harks back to Canticle II.1 (vv. 6–7).
Recent structural investigations have totally overlooked this linear pat-
tern. Mesmerized by the obvious correspondences between the beginning
and the end of the poem, scholars focussed exclusively on the symmet-
ric pattern of verbal repetitions. It is especially Weber (2003, p. 199) who
has meticulously listed the impressive cluster of verbal recurrences between
the opening and concluding cantos; cf. also Alden (1978, p. 202). These
correspondences are positively indicative of a symmetric pattern, which si-
multaneously determines the total structure of our psalm (alongside the
linear pattern; ‘symétrie croisée’): vv. 1–5|6–12.13–23|24–33.34–42|43–47
> A|B.C|C’.B’|A’; see § 17.4.4 (The symmetric framework).12
The symmetry in terms of verbal recurrences has also a thematic aspect
(§ 17.2). The central canticles (vv. 13–23 and 24–33) are about Israel’s
rebellious behaviour in the wilderness and the intercession by Moses and
Pinehas respectively not to destroy the people; cf. Janowski (1983). The
emphasize a failure of the people of Israel.

10
Among other things, Auffret (2003, pp. 345–49) mistakenly considers the correspon-
dences between vv. 6–12 and 43–46 as an aspect of the symmetric structure of the poem.
Similarly, Weber (2003, p. 199) wrongly assumes that the repetition of the roots ‘śh (‘to
make’) and ‘wh (‘to sin’) are elements of the symmetric arrangement of the cantos.
11
Cf. also the noun ‘s.h (‘plan’) in the first verseline of Canticle II.2 and Canto IV
(vv. 13b.43b). It is almost generally assumed that from a thematic perspective v. 43
belongs to the preceding verselines; otherwise Ley, Zenner, Calès, Gemser, Beaucamp
and Auffret (see § 17.6).
12
Weber (2003) rightly assumes that the break between vv. 23 and 24 represents
the transition between the symmetric positioning of the verbal repetitions in question;
otherwise Girard, who positions this break between vv. 25 and 26.
ii.17 psalm 106 185
framing Canticles II.1 and III.2 on the one hand portray God as a Saviour
from enemies in Egypt (vv. 6–12) and on the other hand as the cause of
Israel’s subjection to their enemies in the promised land (vv. 34–42).
17.7.2 The strophic structure of the cantos

The imperatives in vv. 1 and 4 form an anaphora marking the strophic
structure of the first canto (vv. 1–3.4–5); see hwdw (‘praise!’, v. 1a) and
zkrny . . . pqdny (‘be mindful of me . . . take note of me’, v. 4). In vv. 1–3
the psalmist speaks about God in the third person, while in vv. 4–5 he
addresses God (in the second person). We are dealing with a 3- and a
2-line strophe. This strophic combination sets the stage for the strophic
framework of Canticles II.1 and II.2.
The strophic structure of Canticle II.1 (3.2.3 verselines) is once again
determined by an anaphora; note wywšy‘m (‘and he saved them’) in vv.
8a.10a and see further §§ 17.4.2 and 17.2 (Content; for vv. 6–7, see also
§ 17.4.1). For the strophic structure of Canticle II.2 (3.3.2.2 verselines),
note especially the responsion based on the repetition of the root ‘śh (‘to
make’) in vv. 13a.19a.21b (see further §§ 17.4.2 and 17.2 [Content]).
Canticles III.1 and III.2 are characterized by uninterrupted series of
uniform strophes. In Canticle III.1 (vv. 24–33) we find five 2-line strophes;
Canticle III.2 (vv. 34–42) is composed of three 3-line strophes. And dif-
ferent from what we observed in the second canto (vv. 6–23), the strophic
framework of Canticle III.1 is not indicated by anaphora, nor by other man-
ifestations of responsion. In this case the strophes particularly stand out
as individual units on the basis of their grammatical subject. In vv. 24–25,
28–29 and 32–33 the people of Israel are the subject; in vv. 26–27 and
30–31 this constant alternates with God and Pinehas as subject respec-
tively.13 The relative individuality of the 3-line strophes which structure
Canticle III.2 (vv. 34–36, 37–39 and 40–42) is mainly based on thematic
considerations; see § 17.2.
Canto IV (vv. 43–47) is once again composed of a series of 2-line stro-
phes. This strophic form especially comes to light by the close-knit struc-
ture of v. 47; note the imperatives in v. 47a–b, the vocative yhwh ’lhynw
(§ 17.3.1.1) and the grammatical coherence beween v. 47a–b and 47c–d (en-
jambement; cf. v. 23 at the end of Canto II and especially vv. 4–5 at the
end of Canto I). The strophe is the concluding prayer of a group at the end
13
Similarly Duhm (1922), Calès (1936), Jacquet (1977), Fokkelman (2000; § 17.6);
see also Löhr (1922), p. 21. The breaks between the strophes in Canticles II.2 and
III.1 always coincide with those between the 6 major sins pointed out by Delitzsch (see
§ 17.7.1 above).
of the final canto; cf. the prayer of an individual at the end of the opening
Canto I (vv. 4–5). For the division vv. 43–44.45–46, see the root rbb in vv.
43a.45b (responsion; § 17.4.3).
17.7.3 Psalm 105 and 106 as an inseparable whole
The close connection between Psalms 105 and 106 is generally recognized.
Both psalms are ‘Geschichtspsalmen’ or ‘episodic psalms’ (Labuschagne).
Zimmerli (1972, pp. 109–11) has especially pointed out the theological as-
pects of their relationship. It is the praise of God which unites the various
themes of the successive psalms: ‘Das Rühmen der unerschütterlichen Bun-
destreue Jahwes und das offene Bekenntnis der Sündigkeit der Geschichte
des Gottesvolkes’ (p. 111).14 Nevertheless, Zimmerli is of the opinion that
there is no formal similarity between Psalms 105 and 106 and that these
psalms do not stem from the same author. Their relationship is sup-
posed to be the result of an editorial proces (p. 109). Hossfeld (2004,
pp. 306–08) agrees. The latter exegete concludes (p. 308) that Ps. 106,1
belongs ‘zur sekundären Rahmung mit Blick auf Ps 106,47 (Grundpsalm)
die den Grundpsalm an Ps 105 angebunden hat’. After this, the prayer of
vv. 4–5 should have been added (‘Die Proselytenperspektive dieser beiden
Verse passt gut zur universalen Tendenz in Ps 107’) and finally ‘erfolgte der
Eintrag von Frage und Antwort in V 2–3’. However, it is exactly the com-
parison between the formal structures of the psalms in question which leads
one to suspect that these claims should be regarded as built on quicksand.
In terms of the number of lines, the cantos of Psalms 105 and 106 con-
stitute a remarkable concentric pattern, with Ps. 106,1–5 as the numerical
midpoint: 6.19.20 (Psalm 105); 5.20.19.6 (Psalm 106) > A.B.C.X.C’.B’.A’.
From this perspective, the introductory canto Ps. 106,1–5 is to be consid-
ered a transitional unit, a thematic hinge point.15 This accounts for the
thematic complexity of Ps. 106,1–5. In terms of form criticism it is a mish-
mash of various elements and Janus-faced. The praise of God (vv. 1–3)
harks back to Psalm 105,16 while the prayer of the psalmist (vv. 4–5) in-
troduces the confession of guilt which forms the kernel of Psalm 106.
The central position of Ps. 106,1–5 is underlined by the device for inclu-
sion which marks the boundaries of especially this canto; note the prep. l-
and the root .twb (§ 17.4.3!). This figure of speech does not occur elsewhere
14
In this respect, cf. also Beyerlin (1974), who considers Ps. 106,1–5 the ‘nervus rerum’
of the psalm in question, and Passaro (2006).
15
Cf. my RCPJ, p. 79, about the transitional function of Job 5,1–7 within Eliphaz’s
first speech, Job 4–5 (structure 10.10 [Job 4]; 7.9.10.1 [Job 5] > 20.7.20 verselines)!
16
See also Löhr (1922), p. 16, and Herkenne (1936).
ii.17 psalm 106 187
in Psalms 105 and 106 on the level of the cantos/canticles. Additionally,

the pivotal verseline of vv. 1–5 (106,3) stands out because it opens with
the exclamation ’šry (‘happy’) and concludes with a reference to a long
time, bkl ‘t! In most cases these expressions have a structural function in
the psalms; ’šry generally marks the beginning of a strophe and bkl ‘t the
end of it.17 To crown it all, Ceresko (2006, p. 39) has aptly noted that the
verseline is highlighted by an alphabetizing phenomenon: the line begins
with an ’aleph (see ’šry) and ends with a taw (see ‘t)! This rhetorical device
is symbolic of the all-embracing meaning of its message and perfectly fits
the pivotal position of v. 3. The line is a generalizing beatitude of all who
act justly at all times! It explicitly ties in with the concluding verseline of
Psalm 105; note the root šmr (‘to keep’) in Pss. 105,45 and 106,3.
In my opinion, the formal peculiarities pointed out above strongly dis-
pute the view that the relationship between Psalms 105 and 106 is the coin-
cidental final result of several editorial additions. The remarkable rhetorical
coherence between the compositions rather demonstrates that we are deal-
ing with a purposeful and original design.
For the relationship with the preceding psalm, see further the following
verbal repetitions: hwdw lyhwh (v. 1) > 105,1 (anaphora!); root hll (vv.
2.5.12.47) > 105,3; šmry (v. 3) > 105,45 (concatenation!); mšpt. (v. 3) >
105,5.7; ‘śh (vv. 3.13.19.21.35.39) > 105,5; root zkr (vv. 4.7.45) > 105,5.8.42
(linear!); bh.yr (vv. 5.23) > 105,6.43 (linear!; see also v. 26);18 root śmh.
(v. 5) > 105,3.38; nh.lh (vv. 5.40) > 105,11; bms.rym (vv. 7.21) > 105,23.38;
npl’wt (vv. 7.22) > 105,2.5; root mrh (vv. 7.33.43) > 105,28; šm (‘name’;
vv. 8.47) > 105,1.3; lhwdy‘ (v. 8) > 105,1; wywlykm (v. 9) > 105,13.41;
root śn’ (vv. 10.41) > 105,25; yšyrw (v. 12) > 105,2; wytn lhm (v. 15) >
105,44; root šlh. (v. 15) > 105,17.20.26.28; mšh (vv. 16.23.32) > 105,26;
’hrn (v. 16) > 105,26; qdwš (vv. 16.47) > 105,3.42; ’š (v. 18) > 105,32; ’kl
(v. 20) > 105,35; ‘śb (v. 20) > 105,35; b’rs. h.m (v. 22) > 105,23.27 (Ps.
78,51!); b‘bwrm (v. 32) > 105,45; dm (v. 38) > 105,29; ‘mw (‘his people’;
v. 40) > 105,24.25.43; root mšl (v. 41) > 105,20.21; rntm (v. 44) > 105,43
(linear!); bryt (v. 45) > 105,8.10; yhwh ’lhynw (v. 47) > 105,7.
17.8 Bibliography
W. Zimmerli, ‘Zwillingspsalmen’, in J. Schreiner (ed.), Wort, Lied und Gottes-
17
See CAS I, Ch. V, 7.1 (p. 543). For ’šry in a pivotal position, see Ps. 33,12 (>
80+1+80 words); CAS I, Ch. III, 33.5 (pp. 330–31).
18
Weber (2003) notes that within the book of Psalms the designation bh.yr also occurs
in Ps. 89,4!
spruch. FS J. Ziegler (FzB 2), Würzburg: Echter Verlag, 1972, pp. 105–13
(now in W. Zimmerli, Studien zur alttestamentlichen Theologie und Prophetie.
Gesammelte Aufsätze, vol. 2 [ThB 51], München,1974, pp. 261–71);
W. Beyerlin, ‘Der nervus rerum in Psalm 106’, ZAW 86 (1974), pp. 50–64;
M. O’Connor, Hebrew Verse Structure, Winona Lake (Indiana): Eisenbrauns,
1980, pp. 493–98 and 567–70;
B. Janowski, ‘Psalm 106,28–31 und die Interzession des Pinchas’, VT 33 (1983),
pp. 237–48;
V. Pröbstl, Nehemia 9, Psalm 106 und Psalm 136 und die Rezeption des Penta-
teuchs, Göttingen, 1997, pp. 106–78;
P. Auffret, Que seulement de tes yeux tu regardes . . . Etude structurelle de treize
psaumes (BZAW 330), Berlin/New York: Walter de Gruyter, 2003, pp. 328–58;
F.-L. Hossfeld, ‘Eine poetische Universalgeschichte. Ps 105 im Kontext der
Psalmentrias 104–106’, in F.-L. Hossfeld and L. Schwienhorst-Schönberger (eds.),
Das Manna fällt auch heute noch. FS Erich Zenger (Herders Biblische Studien
44), Freiburg: Herder, 2004, pp. 294–311;
Ch. Levin, ‘Die Entstehung der Büchereinteilung des Psalters’, VT 54 (2004),
pp. 83–90;
U. Dahmen, ‘“Gepriesen sei der Herr, der Gott Israels, vom Anfang bis ans Ende
der Zeiten” (Ps 106,48). Beobachtungen zur Entstehungsgeschichte des Psalters
im vierten und fünften Psalmenbuch’, BZ 49 (2005), pp. 1–25;
A.R. Ceresko, ‘Endings and Beginnings: Alphabetic Thinking and the Shaping
of Psalms 106 and 150’, CBQ 68 (2006), pp. 32–46;
A. Passaro, ‘Theological Hermeneutics and Historical Motifs in Pss 105–106’, in
N. Calduch-Benages and J. Liesen (eds.), History and Identity, Berlin: Walter
de Gruyter, 2006, pp. 43–55;
Th.H. Olbricht, ‘The Rhetoric of Two Narrative Psalms 105 and 106’, in R.L.
Foster and D.M. Howard (eds.), My Words are Lovely. Studies in the Rhetoric of
the Psalms (Library of Hebrew Bible/Old Testament Studies 467), London/New
York: T&T Clark, 2008, pp. 156–70;
J.-M. Auwers, ‘Le Psautier comme livre biblique: Édition, rédaction, fonction’,
in E. Zenger (ed.), The Composition of the Book of Psalms (BEThL 238), Leu-
ven: Peeters, 2010, pp. 67–89;
P. Sanders, ‘Five Books of Psalms?’, in E. Zenger (ed.), The Composition of the
Book of Psalms (BEThL 238), Leuven: Peeters, 2010, pp. 677–87;
M. Leuenberger, ‘Die Psalmendoxologien. Entstehung und Theologie’, in M.
Leuenberger, Gott in Bewegung (FAT 76), Tübingen: Mohr Siebeck, 2011, pp.
166–93.
Chapter III
The Fifth Book of the Psalter
1 Psalm 107
Structure: 3.19.20.1 > 3|6.7.6|10.10|1 > 3||2.2.2|3.2.2|2.2.2||2.3.3.2|5×2||1
lines (Type IIC)
I 1 hdw lyhwh ky .twb ky l‘wlm h.sdw

2 y’mrw g’wly yhwh ’šr g’lm myd .sr
3 wm’RS.WT qbs.m mmzrh. wmm‘rb ms.pwn wmym
II.1 4 T‘W bMDBR byšymwn DRK ‘YR MWŠB l’ ms.’w

5 R‘BYM gm S.M’YM npšm bhm tt‘t.p
6 WYS.‘QW ’L YHWH BS.R LHM MMS.WQWTYHM ys.ylm

7 wYDRYKm bDRK YŠRH llkt ’l ‘YR MWŠB
8 YWDW LYHWH H . SDW WNPL’WTYW LBNY ’DM

9 ky hśby‘ npš šqqh w npš R‘BH ml’ .twb
II.2 10 YŠBY h.šk ws.lmwt ’syry ‘NY w brzl

11 ky hmrw ’mry ’l w‘s.t ‘LYWN n’s.w
12 wykn‘ b‘ml lbm kšlw w’yn ‘zr
13 wyz‘qw ’l yhwh bs.r lhm mms.qwtyhm ywšy‘m

14 YWS.Y’M mh.šk ws.lmwt wmwsrwtyhm yntq
15 ywdw lyhwh h.sdw wnpl’wtyw lbny ’dm

16 ky šbr dltwt nh.št wbryh.y brzl gd‘
II.3 17 ’wlym mdrk pš‘m wm‘wntyhm YT‘NW

18 kl ’kl tt‘b npšm wygy‘w ‘d š‘ry mwt
19 wyz‘qw ’l yhwh bs.r lhm mms.qwtyhm ywšy‘m

20 yšlh. dbrw wyrp’m wymlt. mšh.ytwtm
190 chapter iii: fifth book of the psalter
21 ywdw lyhwh h.sdw wnpl’wtyw lbny ’dm

22 wyzbh.w zbh.y twdh wysprw M‘ŚYW brnh
III.1 23 ywrdy hym b’nywt ‘śy ml’kh bmym rbym

24 hmh r’w M‘ŚY YHWH wnpl’wtyw bms.wlh
25 wy’mr wy‘md rwh. s‘rh w trwmm glyw

26 Y‘LW šmym yrdw thwmwt npšm br‘h ttmwgg
27 yh.wgw wynw‘w kškwr wkl H. KMTm ttbl‘
28 WYS.‘QW ’L YHWH BS.R LHM WMMS.WQTYHM YWS.Y’M
29 yqm s‘rh ldmmh wyh.šw glyhm
30 wyśmh.w ky yštqw wynh.m ’l mh.wz h.ps.m
31 YWDW LYHWH H . SDW WNPL’WTYW LBNY ’DM

32 w yrmmwhw bqhl ‘m wbmwšb zqnym yhllwhw
III.2 33 yśm nhrwt lMDBR w ms.’y mym lS.M’WN

34 ’RS. pry lmlh.h mr‘t YŠBY bh
35 yśm MDBR l’gm mym w’RS. .syh l ms.’y mym

36 w ywšb šm R‘BYM wykwnnw ‘YR MWŠB
37 wyzr‘w śdwt wyt.‘w krmym wy‘św pry tbw’h

38 wybrkm w yrbw m’d wbhmtm l’ ym‘yt.
40 špk bwz ‘l ndybym wYT‘M bthw l’ DRK

39 w ym‘t.w wyšh.w m‘s.r r‘h wygwn
41 wyśgb ’bywn m‘WNY w yśm ks.’n mšph.wt

42 yr’w YŠRYM wyśmh.w wkl ‘wlh qps.h pyh
IV 43 my H
. KM wyšmr ’lh wytbwnnw h.sdy yhwh
1.1 Text
V. 3: a tricolon concluding the introductory canto, vv. 1–3; cf. Ps. 106,5 (simi-
larly MT and [Hossfeld]/Zenger [2008], p. 139). According to Fokkelman,
vv. 2–3a is a tricolon (MPHB II, pp. 279–80); Weber (2003, p. 206) con-
siders vv. 1–2a a tricolon.
V. 3c—ms.pwn wmym: so MT; cf. Isa. 49,12.
V. 4: MT divides with ’atnah. after drk in v. 4b.
iii.1 psalm 107 191
V. 20b—mšh.ytwtm: ‘from their pits’; cf. HAL and Barthélemy (2005), p. 721.
Vv. 39–40: these verses are to be reversed (Gunkel, Jacquet, Allen).
1.2 Content
Praise of God as the Lord of history and nature.
I Let the redeemed by God praise his steadfast love (vv. 1–3).
II Call to the redeemed by God to praise Him as a saviour from ex-
haustion (II.1), captivity (II.2) and death (II.3).
II.1 Exhausted, they wandered in the wilderness (vv. 4–5).
They cried to God and He led them to a habitable place (vv.
6–7).
Let them praise the Lord who satisfied them with goodness
(vv. 8–9).
II.2 They were imprisoned because they rebelled against the
Most High (vv. 10–12).
They cried to God and He broke their bonds (vv. 13–14).
Let them praise the Lord for his liberation (vv. 15–16).
II.3 They were close to death because of their stupid sinful be-
haviour (vv. 17–18).
They cried to God and He rescued them from the pit (vv.
19–20).
Let them praise the Lord and offer Him sacrifices (vv.
21–22).
III Hymn on God for his control over nature (and social order): the wa-
ters of the sea (III.1) and the fertility of the land (III.2).
III.1 The seamen have seen God’s wonders (vv. 23–24).
When He raised a storm-wind their misery was enormous (vv.
25–27).
They cried to God and He stilled the waves; He led them to
a safe haven (vv. 28–30).
Let them praise the Lord in the congregation (vv. 31–32).
III.2 He turns fruitful land into a desert because of the wickedness
of its inhabitants (vv. 33–34).
He turns the desert into a watery place and let the hungry
live there (vv. 35–36).
He provides them with a fruitful harvest (vv. 37–38).
He pours contempt upon nobles and makes them wander (vv.
39–40).
He secures the needy from suffering and the upright rejoice
(vv. 41–42).
IV Call for trust: let the wise man consider God’s steadfast love (v. 43).

1.3.1.1 imperative: hdw, v. 1a w- beginning of line, v. 37a;
w- beginning of line, v. 6a; ext. // w- in v. 38a
ext. // w- in v. 7a w- beginning of line, v. 41a
w- beginning of line, v. 13a my, v. 43a
w- beginning of line, v. 19a ’lh, v. 43a
w- beginning of line, v. 28a 1.3.1.2 ‘wlm, v. 1b

1.3.2.1 gm, v. 5a 1.3.2.2 w- beginning of line, v. 3a
hmh, v. 24a w- beginning of line, v. 12a
m’d, v. 38a w- beginning of line, v. 22a
brk with object Israel, v. 38a w- beginning of line, v. 30a


y’mrw/wm’rs.wt, vv. 2a and 3a resp. (alliter.; anaphora)
suffix -m, vv. 2b.3a
prep. mn, vv. 2b.3 (5×)
myd .sr/wm’rs.wt, vv. 2b and 3a resp. (alliter.)
vv. 4–5: prep. b-, vv. 4a (2×).5b
} chiasmus
ms.’w/s.m’ym, vv. 4b and 5a resp. (alliter.)
vv. 6–7: prep. ’l, vv. 6a.7b
} chiasmus
prep. b-, v. 6a.7a
vv. 13–14: prep. mn, vv. 13b.14a
} chiasmus
ywšy‘m/yws.y’m, vv. 13b and 14a resp.
suffix -hm, vv. 13a+b.14b
vv. 17–18: pš‘m/npšm, vv. 17b and 18b resp. (alliter.; exactly linear)
vv. 19–20: prep. mn, vv. 19b.20b
} chiasmus
ywšy‘m/wyrp’m, vv. 19b and 20a resp.
iii.1 psalm 107 193
vv. 21–22: root ydh, vv. 21a.22a

vv. 23–24: root ‘śh, vv. 23b.24a
vv. 28–30: prep. ’l, vv. 28a.30b (inclusion)
suffix -hm, vv. 28a+b.29b
lhm/ldmmh, vv. 28a and 29a resp. (alliter.)
suffix -m, vv. 28b.30b (inclusion)
vv. 37–38: wyt.‘w/ym‘yt, vv. 37a and 38b resp. (alliter.)
vv. 39–40: wym‘t.w/wyt‘m bthw, vv. 39a and 40b resp. (alliter.)

vv. 4–9 (II.1): root drk, vv. 4b.7a (2×)
‘yr mwšb, vv. 4b.7b
root r‘b, vv. 5a.9b
} chiasmus (linear)
npš, vv. 5b.9a+b
yhwh, vv. 6a.8a (linear)
vv. 10–16 (II.2): h.šk ws.lmwt, vv. 10a.14a!

’syr/mwsrh (root ’sr ), vv. 10b and 14b resp.
brzl, vv. 10b.16b! (inclusion)
ky, vv. 11a.16a
w- beginning of the line, vv. 12a.13a (concatenation)
ntq (pi‘el)/šbr (pi‘el), vv. 14b and 16a resp. (linear)
vv. 17–22 (II.3): wm‘wntyhm/mms.qwtyhm, vv. 17b and 19b resp.

(linear); note prep. mn and suffix -hm; see also
prep. mn in vv. 17a and 20b
mwt/šh.ytwt, vv. 18b and 20b resp (epiphora)
vv. 23–32 (III.1): root yrd, vv. 23a.26a!

wnpl’wtyw, vv. 24b.31b
s‘rh, vv. 25a.29a!
root rwm (polel), vv. 25b.32a!
glym, vv. 25b.29b!
yhwh, vv. 28a.31a (linear); see also yhwh in v. 24a
wyśmh.w/wyrmmwhw, vv. 30a and 32a resp. (exactly
linear); see also yhllwhw in v. 32b (linear)
vv. 33–42 (III.2): yśm + mdbr, vv. 33a.35a! (anaphora); see also yśm in
v. 41b! (linear)
ms.’y mym, vv. 33b.35b! (linear); see also v. 35a

ls.m’wn/’rs. .syh lms.’y, vv. 33b and 35b resp. (alliter.;
linear)
’rs., vv. 34a.35b (concatenation)
pry, vv. 34a.37b!
r‘h, vv. 34b.39b (linear)
root yšb, vv. 34b.36a+b (linear)
suffix -h, vv. 34b.42b! (linear)
w- beginning of line, vv. 36a.37a+38a.39a.41a
wyt.‘w/wym‘t.w, vv. 37a and 39a resp. (alliter.)
wbhmtm l’ ym‘yt./wyt‘m bthw l’, vv. 38b and 40b resp.
(alliter.; concatenation); note the negation l’
root m‘t., vv. 38b.39a! (linear)
prep. mn, vv. 39b.41a (concatenation)

vv. 4–22 (Canto II): root drk, vv. 4b+7a (2×).17a (linear)
root yšb, vv. 4b+7b.10a (linear)
npšm, vv. 5b.18a (linear); note also lbm in v. 12a
(linear; cf. Pss. 13,3 and 84,3)
tt‘t.p/tt‘b, vv. 5b and 18a resp. (alliter.; linear)
wys.‘qw/wyz‘qw ’l yhwh bs.r lhm // mms.wqwtyhm
ys.ylm/ywšy‘m, vv. 6.13.19 (exactly linear)
ywdw lyhwh h.sdw // wnpl’wtyw lbny ’dm, vv.
8.15.21 (exactly linear)
ky, vv. 9a.16a (exactly linear); see also v. 11a
h.šk ws.lmwt/mwt . . . šh.ytwt, vv. 10a+14a and
18b . . . 20b resp.
root ‘nh, vv. 10b.17b (exactly linear)
dltwt/š‘rym, vv. 16a and 18b resp. (concaten.)
vv. 23–42 (Canto III): root ‘śh, vv. 23b+24a.37b

mym, vv. 23b.33b+35a+b! (linear)
root rbh, vv. 23b.38a!
root r’h, vv. 24a.42a! (inclusion)
r‘h, vv. 26b.34b+39b!
prep. k-, vv. 27a.41b!
wkl, vv. 27b.42b!
wyśmh.w, vv. 30a.42a!
mwšb, vv. 32b.36b; see also root yšb in vv. 34b
and 36a
iii.1 psalm 107 195

vv. 1–3.10–22.33–42: ’rs., vv. 3a.34a+35b!

yšby, vv. 10a.34b!
root ‘nh, vv. 10b+17b.41a!
vv. 4–16.23–32.43: mwšb, vv. 4b+7b.32b

npšm, vv. 5b.26b
tt‘t.p/ttbl‘, vv. 5b and 27b resp. (alliter.)
wys.‘qw (’l yhwh bs.r lhm etc.), vv. 6a.28a!
ywdw lyhwh h.sdw // wnpl’wtyw lbny ’dm, vv. 8+15
and 31; see also h.sdy yhwh in v. 43b
root ’mr, vv. 11a.25a
root ‘lh, vv. 11b.26a
yws.y’m, vv. 14a.28b!
root h.km, vv. 27b.43a!; see also ‘s.h in v. 11b
vv. 1–3.4–9: hdw/ywdw lyhwh, vv. 1a and 8a resp.; see also yhwh in
vv. 2a.6a
ky, vv. 1a+b.9a
.twb, vv. 1a.9b! } chiasmus
h.sdw, vv. 1b.8a
.sr, vv. 2b.6a
wmm‘rb/r‘bym, vv. 3b and 5a resp. (alliter.)
vv. 4–9.33–42: root t‘h, vv. 4a.40b!

} chiasmus
mdbr, vv. 4a.33a+35a!
root drk, vv. 4b+7a (2×).40b
} chiasmus
‘yr mwšb, vv. 4b+7b.36b!
l’, vv. 4b.38b+40b!
ms.’w/wms.’y . . . ls.m’wn, vv. 4b and 33b resp. (alliter.);
see also lms.’y in v. 35b
r‘bym, vv. 5a.36a; see also r‘bh in v. 9b!
root .sm’, vv. 5a.33b!
yšr, vv. 7a.42a!
vv. 21–22.23–24: yhwh, vv. 21a.24a

wnpl’wtyw, vv. 21b.24b
root ‘śh, vv. 22b.23b+24a

root ’mr (v. 2), prep. b-, suffix -hm (v. 5), suffix -w, ky (v. 30), kl (v. 18),
prep. l-, suffix -m, prep. mn (v. 34), root ‘lh (v. 40)

ym (vv. 3.23)

Psalm 107 has 20 strophes, 43 (= 17+26) verselines and 87 cola.1 V. 22 is
the middle verseline (> 21+1+21 verselines) and v. 22a is the middle colon
(> 43+1+43 cola). The middle verseline is highlighted as the numerical
centre by a form of the root spr (‘to count’); see wysprw (‘and let them
recount’) in v. 22b.2 The exhortation ‘Let them offer thanksgiving offerings,
// and recount his works with joy’ underlines the call to praise the Lord
in the second refrain (vv. 8, 15, 21 and 31). On these grounds, we may
safely assume that v. 22 is the deliberately designed rhetorical centre of the
composition.3
Structure of strophes and cantos in terms of words: 20||14+14+14|19+
12+13|13+12+12||13+19+19+12|12+14+13+13+13||7 = 20|42+44+37|63
+65|7 = 20+123+128+7 (= 278 = 2×139 words in total). Note that each
3-line strophe in Cantos II and III (vv. 10–12, 25–27, 28–29) is composed
of exactly 19 words; the introductory 3-line strophe, representing Canto I,
has 20 words.
The divine name, yhwh, occurs 12×: vv. 1, 2, 6, 8, 13, 15, 19, 21, 24,
28, 31 and 43. In v. 11 God is designated ’l and ‘lywn.
1
Fokkelman (MPHB II, p. 281) takes v. 37 as a tricolon and has 88 cola; similarly
Labuschagne (www.labuschagne.nl/ps107.pdf). However, there is no structural indica-
tion why v. 37 as a tricolon should interrupt a long series of bicola; as is the case in
v. 26a, the four words of v. 37a represent a single colon.
2
For this phenomenon, see CAS II, Ch. V, 4.3.1 (pp. 547–48).
3
Similarly Labuschagne, www.labuschagne.nl/ps107.pdf, Observation 1. According
to Condamin and Alden, vv. 17–22 (Canticle II.3) represent a pivotal strophe; see § 1.6
below.
iii.1 psalm 107 197

Köster (1837): 1–9.10–16.17–22.23–32.33–42.43
Ewald (1866), pp. 500–03: 1–3.4–9.10–16.17–22.23–32.33–43 (3|4.2|5.2|4.2|
8.2|10.1 verses); cf. De Wette (1856)
Ley (1875), pp. 180–82: 1–3.4–9.10–16.17–22.23–27.28–32.33–38.39–43
Delitzsch (1894): 1–3.4–9.10–16.17–22.23–32.33–38.39–42 43
Müller (1898), pp. 53–54: 4–7.8–9|10+12–14.15–16|17–20.21–22|23–26.
27–30.31–32 (8.4|8.4|8.8.4 cola)
Grimme (1902), pp. 163–64: 1–3*.refrain|4–7.8–9|10+12–14.15–16|17–20.
21–22|28–30*.31–32; cf. Müller (1898)
Zenner (1906), pp. 193–96: 1–3||4–9.10+12–16|33–34.35–36.37–38.39+41.
42–43|17–22.23+26+28–29+31–32 (3||6.6|10|6.6 lines; a||b.b’|c|d.d’)
Duhm (1922): 1–2 4–5.6–7.8–9|10+12.13–14.15–16|17–18.19–20.21–22|
23+25.28–29.31–32; 33–34. etc. 39+41.42–43 (13×2 and 5×2 bicola)
Gunkel (1926): 1–3|4–5.6–7.8–9|10–12.13–14.15–16|17–18.19–20.21–22|
23–24.25–27.28–30.31–32; 33–34.35–36.37–38.40+39.41–42.43 (‘die
vierte Strophe [vv. 23–32] mag . . . nachträglich erweitert worden sein’);
for a critical review of former textual interventions (Duhm, Briggs,
Schlögl, Baumann, Löhr, Rothstein, among others), see p. 471
Condamin (1933), pp. 252–56: 1–3||4–5.6–7.8–9|10–12.13–14.15–16||17–18.
19–20.21–22||23–24.25–27.28–30.31–32|33–34.35–37.38–40.41–42||43
(3||3*.2.2|3.2.2||2.2.2||2.3.3.2|2.3.3.2||1 lines; a||b.b’|c|d.d’||e)
Calès (1936): 1–3|4–5.6–7.8–9|10–12.13–14.15–16|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 (3|2.2.2|3.2.2|
2.2.2|2.3.3.2|5×2 > 3|6.7.6.10|6.4 lines)
Gemser (1949): 1–3|4–5.6–7.8–9|10–12.13–14.15–16|17–18.19–20.21–22|
23–27.28–32|33–34.35–38|40+39.41–42.43; cf. Van der Ploeg (1974)
Kissane (1954): 1–3.4–9.10–16.17–22.23–32.33–38.40+39+41–43 (‘the only
psalm [. . . ] which defies all attempts at finding a regularity of struc-
ture’); cf. Ley (1875), Delitzsch (1894)
Alden (1978): 1–3.4–9.10–16|17–22|23–32.33–42.43 (a.b.c|d|c’.b’.a’)
Beaucamp (1979): 1.2–3 4–7.8–9||10–14.15–16||17–20.21–22||23–24.25–30.
31–32||33–34.35–36|37–39.40–42 43; cf. Müller (1898)
Jacquet (1979): 1–3 4–5.6–7.8–9|10+12.13–14.15–16|17–18.19–20.21–22|
23a+25a+27a+26b.28–29a+30b.31–32||33–34.35–36.37–38.40+39.
41–42 43 (3 3×2|3×2|3×2||5×2 1 bicola)
De Moor (1980), p. 315: . . . |4–5.6–7.8–9|10–12.13–14.15–16|17–18.19–20.
21–22|23–27.28–30.31–32|. . . (. . . |4×3 strophes|. . . )
O’Connor (1980): 1–3.4–5.6–9|10–12.13–16|17–18.19–22|23–25.26–27.28–32|
33–36a.36b–38.39–41.42–43 (18.14.12.21.24 cola)
Girard (1994): 1–3||4–5.6a.6b–7.8–9|10–12.13a.13b–14.15–16|17–18.19a.

19b–20.21–22|23–27.28a.28b–30.31–32||33.34|35.36–41||42–43;
vv. 1–3.4–32.33–41.42–43 > A.B.B’.A’)
Jarick (1997): 1–3|4–9.10–16.17–22.23–32|33–43; cf. NAB (1970)
Fokkelman (2000), pp. 278–81: 1–3|4–5.6–7.8–9|10–12.13–14.15–16|17–18.
19–20.21–22|23–24.25–27.28–30.31–32|33–34.35–36.37–39|40–41.42–43
(3|2.2.2|3.2.2|2.2.2|2.3.3.2|2.2.3.|2.2 lines); cf. Terrien (2003)
Allen (2002): 1–3.4–9.10–16.17–22.23–32.33–38+40+39+41.42–43 (note pp.
87–88)
Weber (2003): 1–3|4–6.7–9|10–13.14–16|17–19.20–22|23–25.26–28.29–32|
33–35.36–38.39–41|42–43 (vv. 1–3 A.B.B’.A’ vv. 33–43); cf. [Hoss-
feld]/Zenger (2008)

The long poem Psalm 107 is almost exclusively composed of bicola (cf.
Psalms 105 and 106). It is only the concluding verseline of the introductory
canto (v. 3) which has the extended form of a tricolon (see § 1.1). The poetic
lines always coincide with the Masoretic delimitation of the verses.
The division of Psalm 107 into some major sections is unproblematic.
It is generally agreed that vv. 1–3, in which the redeemed by the Lord are
called to praise his steadfast love, functions as an introductory unit (see
§ 1.6). And from v. 4 onwards we are once again dealing with a series of se-
mantically and formally well defined poetic sections: vv. 4–9, 10–16, 17–22
and 23–32 (see also § 1.6). These sections are characterized by two refrains
which are interlaced in the fabric of the text; see vv. 6.13.19.28 (the first
refrain) and vv. 8.15.21.31 (the second refrain). In this case, the refrains do
not mark the exact end of the canticles.4 From v. 33 onwards there are no
further refrains. Therefore, some scholars have concluded that we are deal-
ing with a later addition (Gunkel, Mejı́a [1975], Beyerlin [1979], Seybold).
However, Condamin (1933, p. 252) aptly noted that the section concerned
‘par sa dimension répond assez bien à la strophe précédente, v. 23–32, plus
longue que celles de la première partie’. And although the mutual relation-
ship between the fundamental sections is variously interpreted,5 recently,
most scholars accept the original unity of the composition.6
4
For this phenomenon, see CAS I, Ch. V, 4.3.1 (pp. 495–97).
5
Auffret (1995, p. 105) notes that most exegetes ‘ne poussent pas plus avant l’étude
de la structure d’ensemble du poème’.
6
So Dahood (1970), Girard (1994; note p. 137), Jarick (1997), Roffey (1997; note
p. 72), Carbajosa (2001), Weber (2003; note p. 206), and [Hossfeld]/Zenger (2008; note
pp. 144–46), among others.
iii.1 psalm 107 199
His strophic theory made Zenner assume that vv. 33–43 are a ‘Wechsel-
strophe’: the section ‘besteht aus Verspaaren und führt allgemein aus, was
die vier andern Strophen im besondern aussagen’ (1906, p. 195). Accord-
ingly, he transposed the verses concerned between vv. 16 and 17 (see § 1.6).
On the basis of a comparable theory, Condamin (1933) did not intervene
in the succession of the sections. As pointed out above, he recognized the
formal balance between vv. 23–32 and 33–42. On that basis he interpreted
the sections as a ‘strophe’ and an ‘antistrophe’. Subsequently, he consid-
ered vv. 17–22 a ‘strophe intermédiaire’ (cf. § 1.6).7 More recently, Alden
(1978) argued that vv. 17–22 are the central part of a concentric struc-
ture; see § 1.6.8 According to Girard (1994), Psalm 107 has a symmetric
structure (A.B.B’.A’; see § 1.6). However, this total interpetation is very
problematic because in terms of the number of verselines the b-sections
(vv. 4–32 and 33–41) do not balance at all. Jarick (1997) has sustained
the thesis that ‘the four corners of the world listed in v 3 can be taken
as a pattern of symbolic geography applied in the four stanzas that follow
[vv. 4–9, 10–16, 17–22 and 23–32]’. Weber (2003) concurs with this idea
and (different from Girard) argues that it is only these four sections which
display a symmetric mutual relationship (A.B.B’.A’; see § 1.6); similarly
Mejı́a (1975), pp. 57–58, and [Hossfeld]/Zenger (2008). In this respect, vv.
23–32 are sometimes seen as the ‘climax’ of these for sections.9
In my opinion, the current interpretation of Psalm 107 is based on the
mistaken assumption that on the one hand there is a rather smooth tran-
sition from vv. 4–22 to vv. 23–32 and on the other hand a major caesura
between vv. 32 and 33. It is true, vv. 23–32 are structured by the same
refrains which characterize the preceding episodes and these refrains are
lacking in vv. 33–42. Nevertheless, it obscures an aspect of the main mes-
sage of the composition by laying too much weight on this formal feature.10
After the introduction, vv. 1–3 (Canto I), Psalm 107 consists of two major,
almost uniform, cantos of 19 and 20 verselines respectively (vv. 4–22 and
7
For Zenner’s and Condamin’s strophic theory, see CAS I, Ch. I, 2.2.1–2 (pp. 26–29).
8
However, from a thematic perspective, it is hard to see that vv. 17–22 function as a
pivotal section in the entire poem; the same criticism applies to Condamin (1933).
9
So Jarick (1997), Fokkelman (MPHB II), p. 279, and [Hossfeld]/Zenger (2008),
p. 143; Weber (2003, p. 206) speaks of a ‘Steigerung auf den letzten [Abschnitt] hin’.
10
Psalm 80 also demonstrates a creative flexibility of the Hebrew poets when applying
refrains to structure their compositions: both 4-line canticles of Canto I are concluded by
a refrain, but in Canto II it is only at the end of the second 4-line canticle that this refrain
shines through; see CAS II, Ch. III.8 (pp. 379–90). Underlining the fundamental coher-
ence of vv. 4–32, Labuschagne (among other things) points out that vv. 4–16 (Canticles
II.1–2) and 17–32 (Canticles II.3+III.1) have 26 and 32 cola respectively, ‘constitut-
ing the kebod-YHWH formula, 58 = 26 + 32’; see www.labuschagne.nl/ps107.pdf,
Observation 3.
23–42). The first major canto (Canto II) is composed of three canticles, vv.
4–9, 10–16 and 17–22, while the second major canto (Canto III) has only
two canticles, vv. 23–32 and 33–42. The poem is rounded off by a relatively
independent single verseline, v. 43.
The three canticles of Canto II successively depict three different afflic-
tions the people of Israel had to endure. The vocabulary of the introductory
verselines vv. 2–3 is influenced by the compositions of Deutero- and Trito-
Isaiah: for g’wly yhwh (v. 2a) > Isa. 62,12b; for the four corners of the
world (v. 3) > Isa. 43,5–6 and 49,12b. This indicates that the following
afflictions are a poetic retrospection on the period of the exile/diaspora
and the redemption from its distress. The three canticles of Canto II are
also interlaced with allusions to the poetry of Deutero-Isaiah: for bmdbr
byšymwn (v. 4a) > Isa. 43,19c–d and 20c–d; for r‘bym gm .sm’ym (v. 5a)
> Isa. 49,10a; for yšby h.šk . . . ’syry (v. 10; see also v. 14) > Isa. 42,7 and
49,9a–b; v. 16 is an almost literal quotation from Isa. 45,2c–d. These word-
associations further show that the various forms of distress have to bring
to mind the situation of the deportees in Babel (and elsewhere) and the
afflictions they experienced on their way home.11
Canticle II.1 (vv. 4–9) immediately ties in with the concluding verseline
of the introduction. The people gathered by God from all over the world
(v. 3) had to endure a lot of hardship, hunger and thirst during their wan-
derings (vv. 4–5). Canticle II.2 (vv. 10–16) portrays the arduous situation
of the exiles and connect it with their rebellious behaviour against God’s
commands (vv. 10–12).12 Canticle II.3 (vv. 17–22) further elaborates on
the sinful behaviour of God’s people (v. 17). The section is a climax as far
as the distress is concerned: ‘and they reached the gates of death’ (v. 18b).
However, God listened to their cries for help and redeemed his people from
all afflictions. The concluding verseline of Canticle II.3 (v. 22) does not
express the reason for praising God (as is the case in vv. 9 and 16), but
its call to offer thanksgiving sacrifices and to joyfully recount God’s deeds
effectively underlines the exhortation to praise the Lord in v. 21 and in this
way rounds off Canto II.13 For the formal coherence of vv. 4–22 in terms of
verbal recurrences, see § 1.4.3; note npšm/lbm in vv. 5.12.18 and the root
‘nh in vv. 10.17.
11
For the relationship between the literary world of Psalm 107 and the language of
Deutero-Isaiah, see also Roffey (1997), pp. 72–73. Anyway, Roffey rightly concludes
that the ‘archetypal symbols of distress and deliverance are able to be recognized and
known across the centuries’ (p. 76); for this universal meaning, see also the commentary
of [Hossfeld]/Zenger (2008).
12
V. 11 is a clear allusion to whmh ymrw b‘s.tm in Ps. 106,43; cf. also l’ h.kw l‘s.tw in
Ps. 106,13.
13
For v. 22 as the rhetorical centre of the entire poem, see § 1.5.
iii.1 psalm 107 201
Like the opening canticle of Canto II (vv. 4–9), the first canticle of Canto
III (vv. 23–32) is about people who are travelling. The allusion to Deutero-
Isaiah we find in its opening verseline may once again indicate that Canticle
III.1 is a poetic reflection on the coming home from the exile; for ywrdy
hym (v. 23a) > Isa. 42,10; for hym . . . bmym rbym (v. 23) > bym . . . bmym
‘zym (Isa. 43,16). That is to say, Canticle III.1 once again ties in with
the introductory Canto I when speaking about God who gathers his people
from all corners of the world (vv. 2–3). But unlike the canticles of Canto II,
which time and again open with a strophe describing a situation of distress
(see vv. 4–5, 10–12 and 17–18), the beginning of Canticle III.1 is marked
by a strophe which immediately focusses on God’s marvellous deeds (vv.
23–24). In this way, there emerges a form of enjambement between the end
of Canto II and the beginning of Canto III; note m‘śyw (‘his deeds’) in v. 22b
and m‘śy yhwh (‘the deeds of the Lord’) in v. 24a (§ 1.4.4).14 Canticle III.1
portrays the experience of seamen (Phoenician people?) who have to endure
a mighty storm. And this event has cosmic and mythical dimensions; note
ms.wlh (‘deep’) in v. 24b (cf. Jonah 2,4) and thwmwt (‘depths’) in v. 26a.
Now, it is explicitly stated that the dreadful situation is caused by God
himself (v. 25; for the imagery, cf. Isa. 51,15b). Moreover, it is noticeable
that in v. 30a the seamen especially rejoice because the waves of the sea
had quietened down and not about their redemption (cf. vv. 7, 14 and 20).
In other words, Canticle III.1 highlights God’s control over nature and the
forces of chaos; see also [Hossfeld]/Zenger (2008), p. 154!
This is likewise the subject matter of Canticle III.2 (vv. 33–42). It is
God who changes fertile land into a desert, vv. 33–34; he is the cause of
chaotic circumstances (note also thw in v. 40). And it is the same God
who changes the desert into a habitable place (vv. 35–38). The psalmist
once again links up with the vocabulary of Deutero-Isaiah: for yśm nhrwt
lmdbr (v. 33a) > wśmty nhrwt l’yym (Isa. 43,15c) and especially ’śym nhrwt
mdbr (Isa. 50,2f); for wms.’y mym ls.m’wn (v. 33b) > tb’š dgtm m’yn mym
// wtmt bs.m’ (Isa. 50,2g–h); v. 35 is an almost literal quotation from Isa.
41,18c–d and compare the imagery of v. 35b with Isa. 44,3a (ky ’s.q mym
‘l .smy). Once again, God is celebrated for his control over nature and
as the cause of very dissimilar events. Job 12,21–25, in which the same
ideas are expressed, makes it clear that for the Hebrew mind there was
no fundamental difference between God’s control of nature and his control
over social order. Because there is a conspicuous similarity between the
vocabulary of Job 12,21–25 and the concluding strophes of Canticle III.2
14
Note furthermore that the concluding strophe of Canticle III.1 (vv. 31–32) resembles
the concluding strophe of Canticle II.3 because v. 32 reinforces the call to praise God in
v. 31; cf. vv. 21–22.
(see the concluding paragraph below), we may safely assume that in terms
of subject matter vv. 39–42 seamlessly join vv. 33–38. For the coherence
of Canticle III.2 in terms of verbal recurrences, see § 1.4.2.
Canticle III.2 characteristically winds up with an antithetic parallelism:
the upright rejoice while the wrongdoers are silenced (v. 42). V. 42b is an
almost literal quotation from Job 5,16b, a colon which likewise functions
in an antithetic parallelism (wthy ldl tqwh // w‘lth qps.h pyh). This does
positively matter because Job 5,16 is the concluding verseline of the second
canto of Job 5 (vv. 8–16); see my RCPJ, Ch. II.4 (pp. 70–79). Note further
that the rejoicing of the upright parallels the rejoicing of the seamen in
Canticle III.1 (v. 30). Vv. 33–42 are the grand finale of the composition
as a whole: in this concluding canticle the psalmist portrays the blessings
God’s people experiences after having returned in their homeland. For the
formal coherence of vv. 23–42 in terms of verbal recurrences, see § 1.4.3.
V. 43 is a relatively individual verseline concluding the psalm as a whole.
The interrogative particle my (‘who’) and the demonstrative pronoun ’lh
(‘these’) we find in v. 43a generally introduce a new strophe (CAS I, Ch.
V, 7.1 [note pp. 541 and 551]); see also my h.km wybyn ’lh in Hosea 14,10a
(introducing a concluding remark) and cf. further hnh ’lh in Ps. 73,12 (CAS
II, pp. 295–307), hn ’lh in Job 26,14 (RCPJ, pp. 286–96). The parallelism
with Job 5,27, hnh z’t h.qrnwh kn hy’ // šm‘nh w’th d‘ lk, is especially
noteworthy. This is a relatively individual verseline concluding the second
poem of Eliphaz’s first reply to Job; cf. the strategic positioning of Ps.
107,42b and Job 5,16b pointed out above.15
It is generally recognized that vv. 4–9 (Canticle II.1) and vv. 33–42
(Canticle III.2) display many ‘exclusive’ verbal repetitions (see § 1.4.4);
see already Condamin (1933, p. 252), with reference to the commentary
of Pérennès.16 However, this symmetric aspect of Psalm 107 is not as
elaborated as is the case in Psalms 105 and 106; cf. Ch. II above, §§ 16.4.4
and 17.4.4.
Alongside the aspect of symmetry, there are signs of a linear parallelism
between Cantos II and III as well. It is already noted above that the opening
canticles of both main sections (vv. 4–9 and 23–32) are about travelling.
And in both cases God leads his people out of distress to a safe haven (vv.
15
Recently, most scholars take vv. 42–43 as a concluding strophe; see § 1.6. For
v. 43 as an individual concluding mono-line strophe, see also Köster, Ewald, Delitzsch,
Condamin, Alden, Beaucamp and Jacquet.
16
To substantiate his supposed concentric structure, Alden (1978) also refers to most
of the correspondences in question (cf. § 1.6); see further Girard (1994), p. 135. The
supposed symmetric pattern in vv. 4–32, advocated by Weber and [Hossfeld]/Zenger,
cannot do justice to these conspicuous correspondences.
iii.1 psalm 107 203
7b and 30b respectively). It is in line with these linear correspondences

when it is only in Canticles II.1 and III.1 that the first refrain opens with
wys.‘qw (‘and they cried’; vv. 6 and 28), while Canticles II.2–3 use the
varied form wyz‘qw (vv. 13 and 19). The concluding canticles (vv. 10–22
and 33–42) speak of human iniquity as the cause of distress; see vv. 11+17
on the one hand and v. 34b on the other hand. Besides, it is only in these
sections that the root ‘nh is used to express the idea of suffering; see vv.
10+17 and 41 (§ 1.4.4).
In terms of the number of verselines (and cola), the three canticles we
find in vv. 4–22 almost balance the two canticles of vv. 23–42; there are 19
and 20 verselines respectively. This formal feature reinforces the individual
coherence of the major cantos and support my contention that it is not only
vv. 33–42, as a kind of appendix, which focus on God’s control over nature.
The praise of this divine quality is a substantial element of the subject
matter of the psalm because it also features in vv. 23–32. To crown it all,
it is to be noted that the length of Cantos II and III exactly corresponds to
the length of the main parts of Psalms 105 and 106: all these psalms have
two main cantos, and one of these cantos has 19 verselines and the other
20 verselines.17
The strophic structure of Canticles II.1–III.1 is quite clear. Canticles
II.1–3 have three strophes each, while Canticle III.1 is composed of four
strophes. The strophes mainly stand out by their thematic individuality
(§ 1.2). In addition, the beginning of the last strophe of these canticles is
each time marked by the second refrain ydw lyhwh etc., while the beginning
of the second to the last strophe is each time marked by the first refrain
wys.‘qw/wyz‘qw ’l yhwh etc.18 The strophic framework of the second half
of Canticle III.2 (vv. 33–42) is obscured by the fact that vv. 39 and 40
are probably transposed. I presume that we are dealing with an unbroken
series of five 2-line strophes; for this interpretation, see especially the linear
verbal repetitions (responsions) listed in § 1.4.2.19
There is a conspicuous similarity of vocabulary between Psalms 107 and

106: hdw lyhwh ky .twb // ky l‘wlm h.sdw (v. 1) > 106,1 (linear!); hdw
(v. 1) > 106,47 (concatenation); root ’mr (vv. 2.11.25) > 106,23.34; g’l +
-m myd (v. 2) > 106,10; bs.r lhm (vv. 6.13.19.28) > 106,44 (see also .sr in
17
It may be a matter of chance or not, but I note that the 19 verselines of Canto II
in Psalm 107 have 123 words, like the 19 verselines of Canto II in Psalm 105; the 20
verselines of the second canto of Psalm 106 have also 123 words.
18
Otherwise Weber (2003); see § 1.6.
19
So also Zenner, Duhm, Gunkel, Calès and Jacquet (see § 1.6); otherwise Condamin,
Fokkelman and Allen (2002), p. 84 (Note 40.a), among others.
107,2 and 106,11); ’rs.wt (v. 3) > 106,27; qbs.m (v. 3) > 106,47 (concat.);
bmdbr byšymwn (v. 4) > 106,14! (see also mdbr 107,33.35 and 106,9.26);
ys.ylm (v. 6) > 106,43; lkt (v. 7) > 106,9; npl’wt (vv. 8.15 etc.) > 106,7.22;
hmrw (v. 11) > 106,7.33.43; ’l (‘God’) (v. 11) > 106,14.21; ‘s.h (v. 11) >
106,13.43 (linear); wykn‘ (v. 12) > 106,42; ywšy‘m (vv. 13.19) > 106,4.8 etc.;
‘wn (v. 17) > 106,6.43; ’kl (v. 18) > 106,20.28; dbrw (v. 20) > 106,12.24;
mšh.ytwtm (v. 20) > 106,23; zbh. (v. 22) > 106,28.37; m‘śym (vv. 22.24) >
106,13; rnh (v. 22) > 106,44; thwmwt (v. 26) > 106,9; wyśmh.w (vv. 30.42)
> 106,5; yhllwhw (v. 32) > 106,2.5.12.47; root r’h (vv. 24.42) > 106,5.44.
For the relationship with the vocabulary of the Book of Job, see the follow-
ing verbal recurrences: h.šk ws.lmwt (vv. 10.14) > Job 3,5a 10,21b 12,22
34,22a; kškwr (v. 27b) > Job 12,25b; v. 40a = Job 12,21a; v. 40b = Job
12,24; v. 42a > Job 22,19a; v. 42b > Job 5,16b.
1.8 Bibliography
D.H. Müller, Strophenbau und Responsion. Neue Beiträge, Wien: Alfred Hölder,
1898, pp. 53–54;
J. Mejı́a, ‘Some Observations on Psalm 107’, BThB 5 (1975), pp. 56–66;
W. Beyerlin, Werden und Wesen des 107. Psalms (BZAW 153), Berlin: Walter
de Gruyter, 1979;
J.C. de Moor, ‘The Art of Versification in Ugarit and Israel III: Furhter Illustra-
tions of the Principle of Expansion’, UF 12 (1980), pp. 311–15;
M. O’Conor, Hebrew Verse Structure, Winona Lake (Indiana): Eisenbrauns,
1980, pp. 475–82 and 570–72;
P. Auffret, Merveilles à nos yeux. Etude structurelle de vingt psaumes dont celui
105–129;
J. Jarick, ‘The Four Corners of Psalm 107’, CBQ 59 (1997), pp. 270–87;
J.W. Roffey, ‘Beyond Reality. Poetic Discourse and Psalm 107’, in E.E. Carpen-
ter (ed.), A Biblical Itinerary. FS G.W. Coats (JSOTS 240), Sheffield, 1997, pp.
60–76;
A. Carbajosa, ‘Salmo 107: unidad, organización, teologı́a’, EstBı́b 59 (2001), pp.
451–85;
P. Auffret, ‘Qui est sage? Qu’il regarde cela! Nouvelle étude structurelle du
psaume 107’, BN 129 (2006), pp. 25–52.
iii.2 psalm 108 205
2 Psalm 108
Structure: 6.7 > 2.2.2|3.2.2 lines (Type IB)
I 2 nkwn lby ’LHYM ’šyrh w’zmrh ’p kbwdy

3 ‘wrh hnbl wknwr ’‘yrh šh.r
4 ’wdk b‘mym yhwh w’zmrk bl’mym

5 ky gdwl m‘l šmym h.sdk w‘d šh.qym ’mtk
6 RWMH ‘l šmym ’LHYM w‘l kl h’rs. kbwdk

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

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

12 hl’ ’lhym znh.tnw wl’ ts.’ ’lhym bs.b’tynw
13 HBH lnw ‘zrt ms.r wšw’ TŠW‘T ’dm

14 b’LHYM n‘śh h.yl whw’ ybws .srynw
2.1 Text
V. 4b—bl’mym: Codex L reads bl ’mym; for this word division, see Babiero/
Pavan, ZAW 124 (2012), pp. 598–603.
V. 11b—ynh.ny: MT reads nh.ny (haplography of y); in this respect, Barthélemy
(2005), p. 393, points to wky’mr = wky y’mr in Lakish.
2.2 Content
Confidence in deliverance from enemies.
I Praise and prayer of an individual for deliverance.
My heart is firm, O God; I will praise you in the morning (vv.
2–3).
I thankfully praise you among the nations for your endless faith-
fulness (vv. 4–5).
Rise up, O God, that your beloved ones may be delivered (vv.
6–7; prayer ).
II Description of God’s victory and an affirmation of confidence in de-
liverance.
God rules over Israel and his adversaries (vv. 8–10).

You are my trust; you will fight for us (vv. 11–12).
Save us from distress (v. 13; prayer, cf. vv. 6–7); we trust in God’s
help (v. 14).

2.3.1.1 vocative ’lhym, v. 2a vocative: ’lhym, v. 6a
cohortatives: ’šyrh w’zmrh, my, v. 11a and b
v. 2b; ext. // ’ ‘yrh in v. 3b imperative: hbh, v. 13a
imperative: rwmh, v. 6a 2.3.1.2 ’p, v. 2c

2.3.2.1 lm‘n, v. 7a 2.3.2.2 imperatives: hwšy‘h . . .
hw’, v. 14b w‘nny, v. 7b

imperative: ‘wrh, v. 3a h- interrogative, v. 12a
vocatives: hnbl wknwr, v. 3a vocative: ’lhym, v. 12a+b

vv. 2–3: nkwn/wknwr, vv. 2a and 3a resp. (alliter.)
} chiasmus
-n lby/hnbl, vv. 2a and 3a resp. (alliter.)
’šyrh/’‘yrh, vv. 2b and 3b resp. (alliter.; exactly linear)
vv. 4–5: suffix -k, vv. 4a+b.5a+b
vv. 6–7: suffix -k, vv. 6b.7a+b
vv. 8–10: roots ‘lz (‘to exult’)/rw‘ (‘to shout’), vv. 8b and 10c resp.
(inclusion)
suffix -y, vv. 9b+c.10a+b (exactly linear); see also suffix -y
in v. 9a (2×)
vv. 11–12: my . . . my/hl’ ’lhym . . . wl’ ts.’ ’lhym, vv. 11 and 12 resp.
(anaphora)
vv. 13–14: suffix -nw, vv. 13a.14b
.sr, vv. 13a.14b!
iii.2 psalm 108 207

vv. 2–7 (Canto I): ’lhym/yhwh/’lhym vocative, vv. 2a, 4a and 6a resp.
(linear: the last word of the opening colon!)
w’zmr, vv. 2b.4b! (linear)
kbwd, vv. 2c.6b! (linear)
’wdk/kbwdk, vv. 4a and 6b resp. (alliter.; linear)
suffix -k, vv. 4–5.6–7! (concatenation)
prep. ‘l, vv. 5a.6a+b (concatenation)
šmym, vv. 5a.6a! (concatenation)
vv. 8–12 (Canto II): ‘l/‘d ’dwm, vv. 10b.11b! (concatenation); see also
’dm in v. 13b (alliter.)
mbs.r/ms.r, vv. 11a and 13a resp. (alliter.; exactly
linear)
’lhym, vv. vv. 12a+b.14a (linear); see also ’lhym
in v. 8a
suffix -nw, vv. 12a+b.13–14!; note bs.b’tynw/s.rynw
in vv. 12b and 14b resp. (alliter.; epiphora)

vv. 2–3.8–10: suffix -y, vv. 2a+c.9–10!; cf. suffix -ny in v. 7b
’lhym, vv. 2a.8a (exactly linear)
’šyrh w’zmrh/’‘lzh . . . ’trw‘ ‘, vv. 2b and 8b+10c resp.
(cf. Auffret [1993], p. 82)
’šyrh w’zmrh/m‘wz r’šy, vv. 2b and 9b resp. (alliter.)
‘wrh . . . ’ ‘yrh/’trw‘ ‘, vv. 3 and 10c resp. (alliter.)
’ ‘yrh šh.r/syr rh..sy, vv. 3b and 10a resp. (alliter.)
vv. 4–5.11–12: prep. ‘d, vv. 5b.11b!
vv. 6–7.13–14: rwmh/hbh, vv. 6a and 13a resp. (exactly linear)

’lhym, vv. 6a.14a
root yš‘, vv. 7b.13b!
vv. 6–7.8–10: roots ‘nh/dbr, vv. 7b and 8a resp. (concatenation)

prep. ‘l (y) (v. 10a+b)

prep. b- (vv. 4a+b.8a.14a), prep. l- (vv. 7a.9a [2×].13a), my (v. 11 [2×]),
prep. mn (vv. 5.13)

Psalm 108 has 6 strophes, 13 verselines and 30 cola.1 V. 8 is the middle
verseline (> 6+1+6 lines).2
Structure of strophes and cantos in terms of words: 12+13+14|28+15+13
= 39+56 (= 95 = 5×19 words in total).
The divine name, yhwh, occurs only once (v. 4); in most cases (6×)
God is designated ’lhym: vv. 2, 6, 8, 12 (2×) and 14.

Köster (1837): 2–6.7|8–10.11–13.14
De Wette (1856): 2–6.7–10.11–14; similarly Ewald (1866), pp. 512–13,
Delitzsch (1894), Gemser (1949)
Duhm (1922): cf. Pss. 57,8–12 and 60,7–14; similarly Kissane (1954)
Gunkel (1926): 2.3–5.6–7|8.9.10|11–12.13–14
Calès (1936): 2–3.4–5.6|7.8.9.10|11–12.13–14 (2.2.1|4×1|2.2 lines)
Herkenne (1936): 2–6.7–14
Pannier/Renard (1950): 2–7.8–10.11–14
Schildenberger (1960), p. 684: 2–4.5–7|8–10.11–13.14 (3.3|3.3.1 lines)
NAB (1970): 2–7.8–14
Kraus (1978): 2–6.7.8–10.11–14
Jacquet (1979): 2–3.4–6|7|8.9.10|11|12–14 (3.3|1|1.1.1|1|3 lines)
Auffret (1993): 2–6.7|8–11.12–14 (a.b|a’.b’)
Girard (1994): 2a–b.2c–3.4.5–6|7.8–10.11–14 (a.b.a’.b’|c.d.c’)
Fokkelman (2000), pp. 282–83: 2–3.4–5.6–7|8–9.10–11.12–14 (2.2.2|2.2.3
lines); cf. Weber (2003)
Allen (2002): 2–5.6–10.11–14 (4.5.4 lines); similarly Doeker (2002), p. 262
Terrien (2003): 2–4.5–7|8–10.11–12.13–14 (3.3|3.2.2 lines)
[Hossfeld]/Zenger (2008): 2–4.5|6.7|8–9a.9b–c.10|11.12.13.14
Botha (2010): 2–5.6–7|8–10|11–12.13–14 (a.b|x|b’.a’); cf. Gunkel (1926)
and Pannier/Renard (1950)
www.labuschagne.nl/ps108.pdf: 2–3.4–5.6–7|8–10.11–13|14 (2.2.2|3.3|1 ll.)
1
Fokkelman (MPHB II) takes v. 2b–c as one colon and has 29 cola in total.
2
It is hard to say what makes v. 8 special from a theological point of view;
Labuschagne speaks of the ‘meaningful centre on verseline level’; www.labuschagne.
nl/ps108.pdf, Observation 1.
iii.2 psalm 108 209

From v. 7 onwards, Psalm 108 is similar to Psalm 60,7–14; we are dealing
with an almost literal quotation. In both cases, v. 7 is the concluding
verseline of the first canto. In Psalm 108, the five verselines preceding v. 7
are more or less literally taken from Ps. 57,8–12 and replace the opening
four verselines of Psalm 60.3 By this rearrangement the poet created a
new psalm, a ‘composition in its own right’ (Allen [2002], p. 94), in which
the description of distress—characterizing the beginning of Psalm 60—is
substituted by a song of praise on God’s steadfast love. The new psalm
consists of two almost regular cantos of 6 and 7 verselines respectively (vv.
2–7 and 8–14).4 In Canto I the psalmist only speaks as an individual, while
in Canto II he is also part of a collective (see vv. 12–14).
In the new context Pss. 57,12 (= 108,6) and 60,13–14 (= 108,13–14)
have a different strategic position from that in the original poems. Ps.
57,12 is a refrain concluding the second canto of the composition (cf. 57,6
concluding its first canto).5 In Psalm 108 the verseline concerned functions
as the beginning of a new strophe, vv. 6–7.6 The imperative rwmh (‘rise up’)
introduces a prayer for deliverance (v. 7). In the new context, this emphatic
imperative is linearly parallel with the emphatic imperative hbh (‘grant’) in
the concluding strophe of Canto II (vv. 13–14; § 2.4.3), also introducing a
prayer for God’s saving intervention.7 Its counterpart in Psalm 60 functions
as a summarizing canto (Canto III).8 The linear parallelism between the
concluding strophes of the cantos is reinforced by the root yš‘ which only
features in vv. 7 and 13 (§ 2.4.3). For the linear parallelism between the
opening strophes of Cantos I and II (vv. 2–3 and 8–10), see especially the
conspicuous alliterations listed in § 2.4.3. In addition, the joyful singing of
the psalmist corresponds to God’s exulting at his dominion.9
3
For the textual differences, see [Hossfeld]/Zenger (2008), pp. 163–65.
4
So also Köster, Schildenberger, NAB, Fokkelman and Terrien; cf. Labuschagne (see
§ 2.6). That is to say, in my view, the structure suggested by Schildenberger has more
to commend itself than Allen (2002, p. 94) suggests.
5
For the structure of Psalm 57, see CAS II, Ch. II.15 (pp. 142–49).
6
See also Gunkel, Fokkelman, Allen and Labuschagne in § 2.6.
7
Cf. also Weber (2003), p. 213; contra Girard (1994, p. 143), who maintains: ‘Au
niveau premier de la maxi-structure, on cherche en vain le moindre indice formel de
cohésion’. For the strategic positioning of the parallelism rwmh/hbh, cf. šyrw/hbw
(‘sing’/‘ascribe’) in Psalm 96, at the beginning of Canto I and II respectively (vv. 1–2
and 7–8). The parallelism militates against Fokkelman’s strophic division of the second
canto; see § 2.6.
8
For the structure of Psalm 60, see CAS II, Ch. II.18 (pp. 168–76).
9
Contra Botha (2010), pp. 581–82, who takes vv. 8–10 as an individual pivotal stanza
(cf. § 2.6).
I conclude that the poet of Psalm 108, when conflating parts of Psalms
57 and 60, did his job in a thoughtful way. The suffix of the third person
plural -nw in the last word of Ps. 60,7 (w‘nnw, [‘and answer us’]; so K!)—
perfectly fitting the context of the first canto of Psalm 60—is adapted to
the individual character of the first canto of Psalm 108 (w‘nny, [‘and answer
me’])! Note also the responsion kbwd in Ps. 108,2c.6b (§ 2.4.2). In Psalm 57
the noun occurs in the concluding verseline of the strophe vv. 8–9 and forms
a linear parallelism with kbwd in the concluding verseline of the following
strophe, vv. 10–12. However, as pointed out above, in Psalm 108 the
refrain taken from 57,12 is not a concluding line anymore, but an opening
line. Therefore, the poet of Psalm 108 interfered in the strophe 57,8–9,
with the result that the noun kbwd now occurs in the opening verseline of
108,2–3, once again constituting a linear parallelism.
The quintessential thought of Psalm 108 is to be found in the conclud-
ing strophes of the cantos (vv. 6–7 and 13–14), especially in the strophe
rounding off the composition as a whole (vv. 13–14). In this strophe the
prayer for deliverance explicitly concerns the whole community (note lnw
[‘for us’] in v. 13a) and is followed by a declaration of trust concerning the
victory of the community over their enemies (v. 14).10
following verbal repetitions: h.sd (v. 5) > 107,1 etc.; root yš‘ hiph‘il (vv.
7.13) > 107,13.19; my (v. 11 [2×]) > 107,43; ‘yr mbs.r (v. 11) > 107,4.7.36
(‘yr mwšb); ‘zr (v. 13) > 107,12; .sr (vv. 13.14) > 107,2.6 etc.; ’dm (v. 13)
> 107,8 etc.
2.8 Bibliography
psaume 119 (SupplVT 48), Leiden/New York/Köln: Brill, 1993, pp. 80–85;
E.A. Knauf, ‘Psalm lx und Psalm cviii’, VT 50 (2000), pp. 55–65;
P.J. Botha, ‘Psalm 108 and the Quest for Closure to the Exile’, OTE 23/3 (2010),
pp. 574–96.
10
Otherwise Doeker (2002, p. 262): ‘Ist die Zuversicht des Beters in die göttliche
Wirkmächtigkeit zwar grundgelegt, so erfährt sie doch in der Gottesrede von autorita-
tiver Seite her ihre Bestätigung’.
iii.3 psalm 109 211
3 Psalm 109
Structure: 12.12.6 > 4.8|7.5|6 > 3×2|3×2||3.3.1|3.2||2.2.2 lines (Type IIB)
I.1 1 ’LHY THLTy ’l th.rš 2 ky PY rš‘ wPY mrmh ‘LY pth.w

DBRW ’TY lšwn šqr 3 wDBRY śn’h sbbwny wylh.mwny h.nm
4 th.t ’HBTY YŚT

. NWny W’NY tplh
5 wyśymw ‘LY R‘H th.t T
. WBH w śn’h th.t ’HBTY
6 hpqd ‘lyw rš‘ wŚT

. N Y‘MD ‘l YMYNw
7 bHŠPT
. w ys.’ rš‘ w tpltw thyh lH
.T. ’H
I.2 8 yhyw ymyw m‘t.ym pqdtw yqh. ’h.r

9 yhyw bnyw ytwmym w’štw ’lmnh
10 wNW‘ YNW‘W bnyw wš’lw wdršw mh.rbwtyhm

11 ynqš nwšh lkl ’šr lw wybzw zrym ygy‘w
12 ’l yhy lw mšk H
. SD w’l yhy h.wnn lytwmyw
13 yhy ’h.rytw lHKRYT bdwr ’h.r YMH . ŠMm
II.1 14 yzkr ‘wn ’btyw ’l yhwh wH

.T. ’T ’mw ’l TMH.
15 yhyw ngd yhwh tmyd wYKRT m’rs. zkrm
16 y‘n ’šr l’ zkr ‘śwt H
. SD wyrdp ’yš ‘ny w’bywn wnk’h lbb lmwtt
17 wY’HB QLLH wtbw’hw wl’ h.ps. bBRKH wtrh.q mmnw

18 wYLBŠ QLLH kmdw wtb’ kmym bqrbw wkšmn b‘s.mwtyw
19 thy lw kbgd Y‘T
.H wlmzh. tmyd yh.grh
20 Z’T p‘lt ŚT

. NY m’t yhwh whDBRYM R‘ ‘L NPŠY
II.2 21 w’th yhwh ’dny ‘śh ’TY lm‘n ŠMk ky T

. WB h.sdk
22 ky ‘ny w’bywn ’nky w lby h.ll bqrby [hs.ylny
23 ks.l knt.wtw nhlkty nn‘rty k’rbh
24 brky kšlw ms.wm wbśry kh.š mšmn

25 W’NY hyyty h.rph lhm yr’wny YNY‘WN r’šm
III 26 ‘zrny yhwh ’LHY hwšy‘ny kh.sdk

27 wyd‘w ky ydk Z’T ’th yhwh ‘śyth
28 YQLLW hmh w’th TBRK qmw wybšw w‘bdk yśmh.

29 YLBŠW ŚWT
. NY klmh wY‘T
. W km‘yl bštm
30 ’wdh yhwh m’d bPY wbtwk rbym ’HLLnw
31 ky Y‘MD lYMYN ’bywn l hwšy‘ mŠPT
. Y NPŠw
3.1 Text
Vv. 1–3: for the colometric distribution of these verses over two tricola, see
CAS I, Ch. V, 6.1 and 6.2.1 (note pp. 524–25 and 529); similarly Fokkelman
(MPHB II, p. 287 n. 89); cf. also Condamin (1933), p. 177, and BHS.
V. 31b—mšpt.y: so MT; this reading is supported by the linear arrangement
of the cantos (see § 3.4.4). The reading mrdpym (LXX; see BHS) also fits
this linear arrangement (see § 3.4.4).
3.2 Content
Prayer of an individual for deliverance from those who accuse him falsely.
I Description of the hatred of false accusers experienced by the sup-
plicant (I.1); quotation of the curses hurled by the opponents (I.2).
I.1 O God, do not keep aloof, for my accusers assail me without
cause (vv. 1–3).
They repay me with hatred for my love (vv. 4–5).
‘May he be judged and found guilty’ (vv. 6–7).
I.2 ‘May he be without future’ (vv. 8–9).
‘May he be reduced to poverty’ (vv. 10–11).
‘Let his posterity be cut off’ (vv. 12–13).
II Prayer for retribution of the curses spoken by the wicked (II.1; cf.
I.2) and description of the distress of the supplicant (II.2; cf. I.1).
II.1 May God cut off his family, because he did not help the poor
man (vv. 14–16).
May a curse come upon him (vv. 17–19).
Thus may be the reward of my accusers (v. 20).
II.2 O God, save me, for I am poor and doomed to die (vv. 21–23).
From their perspective, I am past praying for (vv. 24–25).
III Prayer for deliverance and vow of thanksgiving.
O God, save me, that men may acknowledge your deeds (vv.
26–27).
Bless me, while my accusers may be clothed with shame (vv.
28–29; cf. vv. 17–19).
I shall sing great praise to God, because He saves the poor
from his accusers (vv. 30–31).
iii.3 psalm 109 213

3.3.1.1 vocative: ’lhy thlty, v. 1a vocative: yhwh ’dny, v. 21a
’l prohibitive, v. 1a imperative: ‘śh, v. 21b
’ny, v. 4b imperative: hs.ylny, v. 21c
imperative: hpqd, v. 6a imperative: ‘zrny, v. 26a
w- beginning of line, v. 10a vocative: yhwh ’lhy, v. 26a;
’l prohibitive, v. 12a+b ext. // yhwh in v. 27b
’l prohibitive, v. 14b imperative: hwšy‘ny, v. 26b
w- beginning of line, v. 17a; ’th, v. 28a
ext. // w- in v. 18a
z’t, v. 20a 3.3.1.2 lm‘n, v. 21b
’th, v. 21a

3.3.2.1 y‘n, v. 16a 3.3.2.2 w- beginning of line, v. 5a
tmyd, v. 19b jussive: thy, v. 19a
’ny, v. 25a

tmyd, v. 15a ’th, v. 27b
’nky, v. 22a hmh, v. 28a
w- beginning of line, v. 27a brk with object Israel, v. 28a
z’t, v. 27a m’d, v. 30

vv. 4–5: th.t ’hbty, vv. 4a.5b; see also th.t in v. 5a!
vv. 6–7: rš‘, vv. 6a.7a (exactly linear)
vv. 8–9: yhyw, vv. 8a.9a (anaphora)
vv. 10–11: wš’lw/’šr lw, vv. 10a and 11a resp. (alliter.; exactly linear)
vv. 12–13: yhy, vv. 12a+b.13a
vv. 14–16: root zkr, vv. 14a.15b.16a!
yhwh, vv. 14a.15a
vv. 17–19: w- + qllh, vv. 17a.18a (anaphora)
wtbw’, vv. 17a.18b!
bbrk/bqrbw, vv. 17b and 18b resp. (alliter.; exactly linear);

see also prep. b- in v. 18c
prep. k-, vv. 18a+b+c.19a; note kmdw (‘like a garment’)/
kbgd (‘like a cloak’) in vv. 18a and 19a resp.
vv. 21–23: ky, vv. 21c.22a
vv. 26–27: yhwh, vv. 26a.27b
vv. 28–29: root bwš, vv. 28b.29b!
wybšw/ylbšw, vv. 28b and 29a resp. (alliter.)

vv. 1–7 (I.1): rš‘, vv. 2a.6a+7a! (inclusion)
‘ly, vv. 2b.5a; see also ‘lyw . . . ‘l ymynw in v. 6
śn’h, vv. 3a.5b! (linear)
root śt.n, vv. 4a.6b (linear)
tplh, vv. 4b.7b!
vv. 8–13 (I.2): yhyw/yhy, vv. 8a+9a and 12a+b+13a resp. (inclusion)
root ’h.r, vv. 8b.13a+b! (inclusion)
bnyw, vv. 9a.10a! (concatenation)
ytwmym, vv. 9a.12b!
lw, vv. 11a.12a (concatenation)
vv. 14–20 (II.1): yhwh, vv. 14a+15a.20a (inclusion)

root hyh, vv. 15a.19a
tmyd, vv. 15a.19b!
l’, vv. 16a.17b! (concatenation)
vv. 21–25 (II.2): w’th/w’ny beginning of the line, vv. 21a and 25a resp.

vv. 1–13 (Canto I): ’l prohibitive, vv. 1a.12a+b (inclusion)
root pqd, vv. 6a.8b! (concatenation)
root hyh, vv. 7b.8a+9a (concatenation)
vv. 14–25 (Canto II): yhwh, vv. 14a+15a+20a.21a (concatenation)

root hyh, vv. 15a+19a.25a
root ‘śh, vv. 16a.21b (linear)
h.sd, vv. 16a.21c (linear)
‘ny w’bywn, vv. 16b.22a! (linear)
lbb/lb, vv. 16c.22b! (linear)
iii.3 psalm 109 215
bqrb, vv. 18b.22b!

šmn, vv. 18c.24b!
vv. 26–31 (Canto III): yhwh, vv. 26a+27b.30a

root yš‘ hiph‘il, vv. 26b.31b! (inclusion)
ky, vv. 27a.31a (linear)
’th, vv. 27b.28a (concatenation)

vv. 1–7.14–20.26–31: ’lhym, vv. 1a.26a! (linear)

root hll, vv. 1a.30b!
} chiasmus (inclusion)
ph, vv. 2a (2×).30a!
prep. ‘l + suffix -y, vv. 2b+5a.20b!; see also prep.
‘l + suffix -w in v. 6a+b!
root dbr, vv. 2c+3a.20b!
root ’hb, vv. 4a+5b.17a!
root śt.n, vv. 4a+6b.20a.29a!
root r‘ ‘, vv. 5a.20b!
root y‘md ‘l ymynw/y‘md lymyn, vv. 6b and 31a!
root špt., vv. 7a.31b!
root h..t’, vv. 7b.14b!
root rdp, vv. 16b.31b*!
root qll, vv. 17a+18a.28a!
root brk, vv. 17b.28a!
root lbš, vv. 18a.29a!
root ‘t.h, vv. 19a.29b!; note kbgd y‘t.h/wy‘t.w km‘yl
in vv. 19a and 29b resp.
z’t, vv. 20a.27a!
npš, vv. 20b.31b! (exactly linear)
vv. 8–13.21–25: root nw‘, vv. 10a (2×).25b!

šm (‘name’), vv. 13b.21b!
šmm/r’šm, vv. 13b and 25b resp. (alliteration;
epiphora); see also mšmn in v. 24b (alliter.)
and cf. npš in vv. 20 and 31 (see above)
vv. 1–7.21–25: ’ty (‘with me’), vv. 2c.21b!

w’ny, vv. 4b.25a!

} chiasmus
.twb, vv. 5a.21c!
vv. 8–13.14–20: yhyw, vv. 8a+9a.15a

’yšh/’yš, vv. 9b and 16b resp.!
’šr, vv. 11a.16a!
lw, vv. 11a+12a.19a!
’l prohibitive, vv. 12a+b.14b
h.sd, vv. 12a.16a
root krt hiph‘il, vv. 13a.15b!
root mh.h, vv. 13b.14b!
šmm (‘their name’)/zkrm (‘their memory’), vv. 13b
and 15b resp.
vv. 21–25.26–31: w’th, vv. 21a.28a; see also ’th in v. 27b!

yhwh ’dny/yhwh ’lhy, vv. 21a and 26a resp.
root ‘śh, vv. 21b.27b
ky, vv. 21–22.27a+31a
h.sdk, vv. 21c.26b!
} chiasmus
hs.ylny/hwšy‘ny, vv. 21c and 26b resp.
suffix -k, vv. 21b+c.26–28!
’bywn, vv. 22a.31a
h.rph/root bwš + klmh, vv. 25a and 28–29 resp.

’bywn (v. 31), prep. b- (v. 30 [2×]), suffix -w, suffix -y, prep. k- (vv. 23
[3×].26), ky (v. 2), prep. l-, suffix -m (v. 29)

suffix -hw/-nw (vv. 17.30), prep. mn (vv. 15.17.20.24 [2×].31), suffix -ny

Psalm 109 has 14 strophes, 30 verselines and 66 cola.1 In terms of strophes,
verselines and cola, after v. 16 the psalm divides into two equal parts: vv.
1–16 and 17–31 > 7+7 strophes, 15+15 verselines and 33+33 cola.
1
Similarly Labuschagne, www.labuschagne.nl/ps109.pdf, Strophic structure. How-
ever, according to this scholar, w’th yhwh ’dny in v. 21 marks the beginning of Canto
III (Observation 4). Fokkelman (MPHB II) has 32 verselines and 69 cola, because he
considers vv. 17 and 28 two bicola.
iii.3 psalm 109 217

16||29+23+9|23+13||12+14+14 = 46+41|61+36|40 = 87+97+40 (= 224 =
32×7 words in total). From this perspective, the curse right at the begin-
ning of vv. 17–19, wy’hb qllh wtbw’hw (v. 17a), is the numerical centre of
Canticle II.1: vv. 14–16.17a.17b–20 > 29+3+29 words. Similarly, in terms
of word count, the first curse expressed in this canticle, wykrt m’rs. zkrm
(v. 15b), is the centre of vv. 14–16 (> 13+3+13 words); in addition, this
centre coincides with the pivotal colon of vv. 14–16 (> 3+1+3 cola). Be-
cause the cursing of his accusers by the supplicant (for this interpretation,
see § 3.7 below) is the main theme of Canticle II.1, I assume that we are
dealing with well-considered rhetorical devices. The root zkr in v. 15b—
representing the middle occurrence of this root in the strophe concerned
(and the psalm as a whole; cf. vv. 14a and 16a)—reinforces this view.2
The divine name, yhwh, occurs 7×: vv. 14, 15, 20, 21, 26, 27 and 30.
In vv. 1 and 26 God is designated ’lhym and in v. 21 it is ’dny (‘Lord’).
It is important to note that the middle occurrence of the divine name in
v. 21a is highlighted by the apposition ’dny and by the expression ‘your
name’ in v. 21b. In my view, the number seven has a structural function in
this poem: there are 2×7 strophes, 32×7 words and 7 occurrences of the
Tetragrammaton.

Köster (1837): 1–5.6–10.11–16.17–20|21–25.26–31 (‘Anlage zu fünfgliedrigen
Strophen’)
Hävernick (1849), p. 42: 1–5.6–10|11–15.16–20|21–25.26–31 (5.5|5.5|5.6
De Wette (1856): 1–5.6–20.21–25.26–31
Ewald (1866), pp. 298–301: 1–5.6–10|11–15.16–20||21–25.26–29|30–31 (5.5|
5.5||5.5|2 verses or 20.20.20.4 cola); cf. Hävernick (1849)
Delitzsch (1894): 1–5.6–10.11–15.16–20.21–25.26–31; similarly Pannier/
Renard (1950); cf. Ewald (1866) and Gemser (1949)
Zenner (1906), pp. 158–60: 1–8.9–15|16–17.18–19|20–25.26–31 (7.7|2.2|6.6
lines; a.a’|b|c.c’)
2
For the root zkr (‘to remember’) highlighting the rhetorical centre of a poetic unit,
see CAS II, Ch. V, 4.3.2 (pp. 548–49). Labuschagne points out that ‘ny w’bywn in
v. 16b are the pivotal words of the psalm (> 111+2+111 words). He further suggests
that we are dealing with a significant word structure because the numerical value of ’yš
‘ny w’bywn (‘a person afflicted and poor’, v. 16b) is exactly 111 (www.labuschagne.nl/
ps109.pdf, Observation 1).
Duhm (1922): 1–3a.3b–5.6–7.8–9.10–11.12–13.14–15.16.17–18a.18b–19.

20–21.22–23.24–25.26–27.28–29.30–31 (16×2 bicola)
Gunkel (1926): 1–3a.3b–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 (‘Strophen von je zwei Doppel-
dreiern’)
Condamin (1933), pp. 177–79: 1–3.4–5.6–7|8–9.10–11.12–13||14.15.16.17.
18.19.20||21*.22–23.24–25|26–27.28–29.30–31 (3×2|3×2||7×1||3×2|
3×2 lines)
Calès (1936): 1–3.4–5||6–8.9–10|11–13.14–15|16.17–19.20||21–22.23–25|
26–27.28–29|30–31 (5|5.5.5|5.4.2 lines); cf. Ewald (1866)
Herkenne (1936): 1–5|6–19|20–25.26–29|30–31; cf. NAB (1970)
Kissane (1954): 1–7*.8–13.14–19*.20–25.26–31(5×6 lines)
BHS (1969): 1–5.6–20.21–31; similarly Cottrill (2008) and Scheffler (2011),
pp. 198–201; cf. Kraus (1978)
Van der Ploeg (1974), p. 238: 1–3.4–5.6–7.8–11.12–13.14–15.16.17–19.20.
21–22.23–25.26–27.28–29.30–31
Beaucamp (1979): 1 2–5|6–7.8–11.12–15.17–18b+19–20|21 22–25.26–29
30–31 (1 8|4.8.8.8|3 8.8 4 cola; ‘La construction strophique est
complexe’)
Jacquet (1979): 1–3a.3b–5|6–7.8–9.10–11.12–13.14–15|16a–b+17.18a+16c+
18b–c.19–20|21–22.23–24.25–26.29+27.30–31.28 (2.2|5×2|3×2|5×2.1
bicola)
Aletti/Trublet (1983): . . . |6–7.8.9.10.11.12.13.14–15|16–20.21.22–25.26–27.
28–29|. . . (. . . |a.b.c.d.d’.c’.b’.a’|e.f.g.f’.e’|. . . )
Girard (1994): 1.2.3–5||6–8.9–10.11.12.13–15(!)||14–16a.16b–20|21.22–25|
26–27.28–31 (a||b.c.d.c’.b’||e.f|e’.f’|e’’.f’’)
Auffret (1995): 1.2–5.6–15|16–31
Van der Velden (1997), pp. 121–24: 1.2–5.6–19.20|21.22–25.26–27.28–29.
30–31
Fokkelman (2000), pp. 284–88 : 1–3.4–5|6–7.8–10|11–13.14–16|17.18–19.20|
21–22.23–25|26–27.28–29.30–31 (2.2|2.3|3.3|2.2.1|2.3|2.3[!].2 lines)
Allen (2002): 1–5.6–19|20–25.26–31 (A.B|A’.B’; note pp. 100–01)
Terrien (2003): 1–3.4–5|6–8.9–10|11–13.14–15|16–18.19–20|21–23.24–25|
26–28.29–30[.31] (3.2|3.2|3.2|3.2|3.2|3.2 lines; ‘The symmetry is spec-
tacular’); cf. Delitzsch (1894)
Weber (2003): 1–5|6–10.11–15.16–19|20–24.25–29.30–31 (10|10.10.10|11.10.
4 cola); cf. Ewald (1866)
[Hossfeld]/Zenger (2008): 1.2–3.4–5|6–7.8–13.14–15.16–18.19.20|21–22.
23–24.25|26.27.28.29|30.31
iii.3 psalm 109 219

It is often assumed that in broad outline Psalm 109 consists of three main
parts, vv. 1–5.6–20.21–31 (see § 3.6). From a purely thematic point of
view, this division seems justified because the long middle section stands
out as a recital of imprecations. In modern times scholars debate the ques-
tion whether this recital represents the real words of the supplicant towards
his opponents or a quotation of the words spoken by his opponents. Al-
though recently most scholars are inclined to adhere to the latter view,3
as I shall demonstrate, the traditional interpretation cannot be dismissed
completely.4
In my opinion, the current exegesis fails to bring to light the rhetorical
framework of Psalm 109 which is a great help to resolve the dilemma de-
scribed above. Scholars still one-sidedly focus on the thematic aspects of a
Hebrew poem at the cost of major structural features which are provided
by its internal evidence. The interpretation of our psalm which also takes
into account the strophic structure of Hebrew poetry (including its frame-
work in terms of cantos and canticles) and the formal patterns of verbal
repetitions—responsions, inclusions and concatenations—favours the view
that the structure of Psalm 109 exactly complies with the basic canto de-
sign 4.4.2 verselines (Type IIB).5 That is to say, there are two main cantos
of 12 verselines (vv. 1–13 and 14–25) and a concluding ‘half-long’ canto of
6 verselines (vv. 26–31).6 In their turn, the main cantos both consist of
two canticles, vv. 1–7.8–13 (Canto I) and vv. 14–20.21–25 (Canto II).
In Canticle I.1 (vv. 1–7) the psalmist addresses God and complains
about the hatred he experiences from those who accuse him falsely. The
canticle is characterized by the nouns rš‘ (‘wicked’; note the inclusion) and
śn’h (‘hatred’); these words do not occur elsewhere in the poem (§ 3.4.2). In
addition, the section is interlarded with forensic vocabulary; see py mrmh
3
So Hugger (1973), Kraus, Booij (1996), Jacquet, Fokkelman, Allen, Weber, Egwim
(2011), [Hossfeld]/Zenger (among others).
4
For the traditional interpretation, see Gunkel (p. 478), König (p. 556), Calès (pp.
332–34), Dahood (p. 99), Van der Ploeg (p. 236), Girard (p. 158), Wright (1994), Van
der Velden (1997), Cottrill (2008) pp. 141–50, and Scheffler (2011), pp. 201–03.
5
Van der Ploeg (1974, pp. 238–39) rightly points out that there is an impressive
number of verbal recurrences, including some important key words (e.g. śt.n and qll ),
but he does not recognize their strategic positioning in the total framework of the psalm.
In my opinion, the same criticism applies to the painstaking investigations by Girard
(1994) and Auffret (1995); cf. also Allen (2002) in § 3.6. Remarkably enough, Booij
reproaches the poet of Psalm 109 for a lack of subtlety as far as designing is concerned.
In this respect, he (mistakenly) speaks of verbal repetitions without a structural function
(1994, p. 291).
6
For the basic canto pattern 4.4.2 lines, see Ch. IV, 2.4.3–4 below.
(v. 2a), lšwn šqr (v. 2c), wylh.mwny (v. 3b), yśt.nwny (v. 4a), wśt.n y‘md ‘l
ymynw (v. 6b) and especially bhšpt.w (‘when he is tried’) in v. 7a.7 From v. 6
onwards, there is a change from plural to singular forms; cf., e.g., wyśymw
in v. 5a with the suffix -w in vv. 6–9. This may indicate that in vv. 6–7
the supplicant quotes the words of his accusers. The following observations
further substantiate the correctness of this supposition. It is unlikely that
the supplicant should petition God, from whom he expects his vindication
(vv. 28–31), for appointing a wicked accuser (to condemn another wicked
person). And, generally speaking, a fair trial is needed for bringing evil to
light! The immediate context of vv. 6–7 also indicates that the ‘accuser’ of
v. 6b is of the same group as the opponents of the supplicant; see the root
śt.n in vv. 4a and 6b. And ‘his prayer’ (v. 7b) harks back to the ‘prayer’ of
the supplicant in v. 4b. It is true, the words of vv. 6–7 are not introduced
as a quotation by a verbum dicendi in the proper sense, but in this case vv.
1–5 obviously function as such; see especially vv. 2–3.8
Canticle I.2 (vv. 8–13) is the follow-up of the concluding strophe of
Canticle I.1. The root pqd (‘to appoint’), which only occurs in vv. 6 and
8 (concatenation; § 3.4.3), formally underlines the connection between the
successive canticles. The supplicant further quotes the curses of his oppo-
nents. But different from the complaint in Canticle I.1—focussing on the
forensic harm he experiences—the curses quoted in Canticle II.2 concern
his physical and social decline and culminate in the wish that the mem-
ory of his posterity will be erased as well (vv. 12–13). The boundaries of
this canticle are marked by the root ’h.r (inclusion), which does not occur
elsewhere in the poem.
At first sight, Canticle II.1 (vv. 14–19/20) seems a continuation of the
quotation by the supplicant started in vv. 6–13. There is a smooth tran-
sition from vv. 12–13 expressing a wish for the erasure of the memory of
posterity to vv. 14–16 praying that the memory of ancestry may be blotted
out. The relationship between vv. 12–13 and 14–16 is reinforced by a small
cluster of verbal recurrences; see the noun h.sd (‘mercy’) in vv. 12.16, the
the root krt (‘to cut of’) in vv. 13.15 and the root mh.h (‘to blot out’) in
vv. 13.14 (note the symmetric positioning: h.sd > krt > mh.h | mh.h < krt <
h.sd !). However, from v. 14 onwards there is a conspicuous appeal to God
for remembering wrongdoings and for repaying them; see vv. 14–15 and 20.
7
For the delimitation of vv. 1–7 as a relatively independent section, see also Condamin
and Kissane in § 3.6.
8
It is generally recognized that in Hebrew poetry unmarked quotations are not excep-
tional; see, e.g., Hugger (1973), p. 110, and Booij (1996), p. 102. For the ‘non-necessity
of explicitly marking’ direct discourse in biblical poetry, see also my RCPJ, Ch. III.7,
about Job 21 (note p. 252 n. 11) and R.P. Gordis, JSS 39 (1994), pp. 7–17.
iii.3 psalm 109 221
Such a reference does not occur in vv. 6–13.9 Anyway, in vv. 6–13 there is
no concrete accusation of any transgression. ‘Et comment supposer qu’un
ennemi impie puisse dire du pieux psalmiste les v. 16–18: “ Il ne s’est pas
souvenu de faire miséricorde . . . Il a persécuté le malheureux et l’indigent
. . . Il a aimé la malédiction . . . Il n’a pas voulu la bénédiction”?’ (Calès
[1936], p. 333).10 The vocabulary by which the opponent is cursed in vv.
17–19 for the most part parallels the vocabulary of the accusation (note the
root qll ) and the imprecation in vv. 28–29; and the latter curse is clearly
spoken by the supplicant. Besides, the expression ‘ny w’bywn (‘the afflicted
and poor man’) is exactly repeated in v. 22, which suggests that someone
other than the psalmist is the subject of v. 16. To crown it all, in the con-
text of the preceding catalogue of accusations, ‘retribution’/‘punishment’ is
the most natural meaning of the noun p‘lh in v. 20a (cf. Isa. 65,7).11 That
is to say, from v. 14 onwards we are dealing with the wish of the suppli-
cant himself that his opponents may decline.12 The curses expressed in vv.
15b and 17a are highlighted by the numerical structure of the canticle in
question on word level; see § 3.5.
There is a slight resemblance between Canticle II.1 and the descriptions
of the fate of the wicked which form a major theme in the speeches of Job
and his partners in dialogue. In his second speech Zophar winds up his
description of the downfall of the wicked with the retrospective observa-
tion: zh h.lq ’dm rš‘ m’lhym // wnh.lt ’mrw m’l (‘this is the wicked man’s
portion from God // and the lot God has ordained for him’), Job 20,29 (cf.
also Job 27,13). This retrospective corresponds to Ps. 109,20 and further
buttresses the Masoretic reading m’t yhwh (cf. m’hlym . . . m’l ). I conclude
that it is exactly the thematic and formal correspondences between vv.
12–13 and 14–16 pointed out above which highlight a major break between
the strophes in question.13 The symmetric pattern of the verbal repetitions
9
In my opinion, vv. 14–15 do not contain oblique divine references comparable to
Pss. 3,3 22,9 and 71,11; contra Hugger (1973), p. 111.
10
According to [Hossfeld]/Zenger (2008, p. 188), the care for the poor is often ‘so
wenig konkret nachprüfbar, dass es leicht als politisches und juristisches “Kampfmit-
tel” eingesetzt werden kann, um einen “unbequemen” Amsträger zu diskreditieren und
zu verleumden’. This unfounded statement clearly demonstrates the weakness of the
interpretation of vv. 14–16 as a quotation.
11
Scholars who argue in favour of vv. 14–19 as the follow-up of the quotation of the
psalmist in vv. 6–13 forcedly take the noun p‘lh as the ‘work’ of the accusers and read ’t
yhwh instead of m’t yhwh (‘this is the work of my accusers before yhwh’, v. 20a). The
jussive thy in v. 19a indicates that the nominal construction of v. 20 expresses a wish
(contra Hugger [1973], note p. 106, and Booij [1996], pp. 95–96).
12
Cf. also Jacquet (1979) who takes vv. 16–20 as a separate section containing ‘la
réponse de l’accusé à ses calomniateurs’.
13
For a similar transition between successive cantos, see e.g. Psalms 84 (CAS II, Ch.
may symbolize the idea that the supplicant wants to hold a mirror up to
the face of his accusers. This also explains why vv. 14–19 is couched in
singular forms as far as the number of the opponents of the supplicant is
concerned; note the suffix -w in v. 14 etc. and verb forms like zkr . . . wyrdp
in v. 16 etc. In v. 20 the supplicant once again speaks of accusers in the
plural. This also suggests that the singular forms in vv. 14–19 are not to
be taken too absolutely.
From a formal perspective, the cohesion of Canticle II.2 (vv. 21–25) is
indicated by the strategic position of w’th/w’ny at the beginning of its first
and last verseline respectively (inclusion); such a positioning does not occur
elsewhere in the poem (cf. w’ny in v. 4b and w’th in v. 28a).14 In this canticle
the supplicant especially portrays his distress. This means that he harks
back to the beginning of the psalm, vv. 1–7 (Canticle I.1). The relationship
between the canticles in question is strengthened by the fact that once
again God is addressed in the second person (note w’th yhwh ’dny in v. 21a
and cf. ’lhy thlty in v. 1), while in Canticle II.1 God is explicitly spoken
about in the third person. Therefore, we may assume that the canticles
of Cantos I–II display a symmetric framework: vv. 1–5.6–13|14–20.21–25
> A.B|B’.A’ (the A-canticles contain a description of distress, whereas the
B-canticles contain imprecations; see also § 3.2). For the verbal recurrences
supporting this framework, see § 3.4.4 (the symmetric framework). The
latter line of approach reveals that the concatenations marking the break
between Cantos I and II (see vv. 12–13 and 14–16) are an aspect of a
phenomenon encompassing the cantos in their entirety; note ’ty (‘with me’),
w’ny (‘and I’) and .twb (‘good’) in vv. 1–7 and 21–25. Simultaneously, the
verbal recurrences listed in § 3.4.3 indicate that vv. 14–20 and 21–25 form
a coherent canto; note the expressions ‘ny w’bywn (‘afflicted and poor’),
bqrb (‘in the midst of’) and the noun šmn (‘oil’).
In the beginning of Canto III (vv. 26–31) the supplicant once again
addresses God (vv. 26–29; cf. vv. 1–5 and 21–25). This concluding section
stands out because—linking up with a motif from the first verseline of
the preceding canticle, v. 21c—it is about salvation in its entirety. It fits
this thematic individuality that the section is marked out by the root yš‘
(hiph‘il), which only occurs in vv. 26 and 31 (inclusion; see § 3.4.3 and cf.
the inclusions marking out Canticles I.1, I.2 and II.2). In the second strophe
(vv. 28–29) the blessing by God which the supplicant hopes to experience
III.12 [pp. 416–25]) and 103 (Ch. II.14 above; cf. vv. 9 and 10).
14
For the device for inclusion based on the repetition of corresponding phrases at the
beginning of the first and the last verseline of a poetic section, see CAS I, Ch. V, 3.4.2
(p. 485). It is often recognized that vv. 21–25 and 26–31 represent relatively individual
sections; see Köster, De Wette, Delitzsch, Condamin, Girard and Fokkelman in § 3.6.
iii.3 psalm 109 223
is contrasted by the disgrace which he wishes for his accusers. With the
latter idea the psalmist ties in with the curses he launched in the second
strophe of Canticle II.1 (vv. 17–19). Vv. 30–31 represent a characteristic
conclusion. In this strophe the supplicant pledges God to praise Him for
his salvation. The phrasing of v. 31a, ky y‘md lymyn ’bywn (‘because He
stands at the right hand of the poor’) by which he expresses his basic trust,
is an explicit reply to the curse of his accusers in v. 6b, wśt.n y‘md ‘l ymynw
(‘and an accuser may stand at his right hand’). In this strophe God is
once again spoken about in the third person. This grammatical peculiarity
marks the end of the canto and of the psalm as a whole.15
Finally, the thematic individuality of the successive canticles and of
Canto III is supported by patterns of verbal repetition on the level of the
poem as a whole. The symmetric pattern of these repetitions, supporting
the A.B|B’.A’ framework of Cantos I–II, is already discussed above. At
the same time, there is an impressive cluster of verbal recurrences bring-
ing to light a linearly alternating parallelism between the successive cantos
(‘symétrie croisée’): vv. 1–7.8–13|14–20.21–25|26–31 > A.B|A’.B’|A’’. It is
especially in the A-sections that we find a great number of exclusive rep-
etitions; see the words listed in § 3.4.4 (The linear framework) which are
followed by an exclamation mark. The correspondences marking the very
end of Canticles I.2 and II.2 (šmm/r’šm) and the very end of Canticle II.1
and Canto III (npšy/npšw ) are also noticeable.16
Cantos I and III consist of uninterrupted series of 2-line strophes. In
Canto II the 3-line strophe is dominant. In Canticle II.1 two 3-line stro-
phes are concluded by a mono-line strophe, while Canticle II.2 consists of
a 3-line and a 2-line strophe. The strophic structure of the cantos is based
on thematic breaks between groups of verselines (see § 3.2). The thematic
individuality of the strophes is often supported by responsions (sometimes
in strategic positioning) uniting groups of successive verselines; see, e.g.,
th.t ’hbty in vv. 4–5, rš‘ in vv. 6–7, the root zkr in vv. 14–16 and the root
bwš in vv. 28–29 (§ 3.4.1). For the strophe vv. 4–5, cf. also Ps. 38,20–21.17
the following verbal repetitions: ymyn (vv. 6.31) > 108,7; lm‘n (v. 21) >
108,7; root ‘zr (v. 26) > 108,13; root yš‘ hiph‘il (vv. 26.31) > 108,7.13;
’wdh (v. 30) > 108,4.
15
For such switches in the way God is referred to highlighting the end of a poetic
section, see CAS II, p. 550 n. 1.
16
For this remarkable phenomen of epiphora on the macrostructural level of a poem,
see further CAS I, Ch. V, 3.2.1.3 (p. 479).
17
For the strophic structure of our psalm, see also Van der Ploeg (1974) in § 3.6.
For the relationship with Psalm 107 see, among other things, the fol-
lowing verbal repetitions: root hll (vv. 1.30) > 107,32; ph (vv. 2.30) >
107,42; wyśymw (v. 5) > 107,33 etc.; .twb (vv. 5.21) > 107,1.9; m‘t. (v. 8) >
107,38.39; root nw‘ (vv. 10.25) > 107,27; h.sd (v. 12 etc.) > 107,1 etc.; ‘wn
(v. 14) > 107,17; lb (vv. 16.22) > 107,12; ’bywn (vv. 16.22.31) > 107,41;
root h.ps. (v. 17) > 107,30; root brk (vv. 17.28) > 107,38; yr’wny (v. 25) >
107,24.42; root ‘zr (v. 26) > 107,12; root yš‘ hiph‘il (vv. 26.31) > 107,13.19;
yśmh. (v. 28) > 107,30.42; ’wdh (v. 30) > 107,1.8 etc.; m’d (v. 30) > 107,38;
rbym (v. 30) > 107,23.
3.8 Bibliography
P. Hugger, ‘“Das sei meiner Ankläger Lohn . . . ”? Zur Deutung von Ps 109,20’,
BibLeb 14 (1973), pp. 105–12;
D.P. Wright, ‘Ritual Analogy in Psalm 109’, JBL 113 (1994), pp. 385–404;
130–47;
Th. Booij, ‘Psalm 109:6–19 as a Quotation. A Review of the Evidence’, in Janet
Dyk (ed.), Give ear to my words. FS N.A. van Uchelen, Amsterdam, 1996, pp.
91–106;
F. van der Velden, Psalm 109 und die Aussagen zur Feindschädigung in den
Psalmen (SBB 37), Stuttgart: Katholisches Bibelwerk, 1997;
B.L. Tanner, ‘Hearing the Cries Unspoken: An Intertextual-Feminist Reading
of Psalm 109’, in A. Brenner and C.R. Fontaine (eds.), Wisdom and Psalms,
Sheffield: Sheffield Academic Press, 1998, pp. 283–301;
U. Berges, ‘“God staat aan de kant van de armen” (Ps. 109,31). Armoede en
rijkdom in het psalmenboek’, Tijdschrift voor Theologie 44 (2004), pp. 108–23;
A.M. Kitz, ‘Effective Simile and Effective Act: Psalm 109, Numbers 5, and KUB
26’, CBQ 69 (2007), pp. 440–56;
Amy C. Cottrill, Language, Power, and Identity in the Lament Psalms of the In-
dividual (Library of Hebrew Bible/Old Testament Studies 493), New York (NY)/
London: T&T Clark, 2008, pp. 138–56;
S.C. Egwim, A Contextual and Cross-Cultural Study of Psalm 109 (Biblical Tools
and Studies), Leuven/Paris/Walpole (MA), Peeters, 2011;
E.H. Scheffler, ‘Pleading Poverty (or Identifying with the Poor for Selfish Rea-
sons): On the Ideology of Psalm 109’, OTE 24/1 (2011), pp. 192–207.
iii.4 psalm 110 225
4 Psalm 110
I 1 N’M YHWH l’DNY šb lYMYNY

‘d ’šyt ’ybyk hdm lrglyk
2 mt.h ‘zk yšlh. yhwh Ms.ywn rdh bqrb ’ybyk

3 ‘mk ndbt BYWM h.ylk bhrry QDŠ Mrh.m mšh.r lk .tl yldtyk
II 4 NŠB‘ YHWH wl’ ynh.m ’th KHN l‘wlm ‘l dbrty mlkY .sdq
5 ’DNY ‘l YMYNk mh.s. BYWM ’pw mlkym
6 ydyn bgwym ml’ gwywt mh.s. r’š ‘l ’rs. rbh

7 Mnh.l bdrk yšth ‘l kn yrym r’š
4.1 Text
V. 3a—‘mk ndbt: ‘with you is nobility’ (so LXX; Booij [1991], pp. 398–99). MT
reads ‘your people will volunteer’ (Allen).
V. 3b—bhrry qdš: ‘on holy mountains’ (so Booij [1991], p. 398, Allen; cf. BHS
and Ps. 87,1). MT reads bhdry qdš (cf. Pss. 29,2 and 96,9).
V. 3b—mšh.r : ‘Morgenrot’ (HAL).
V. 3c: yldtyk : ‘I have begotten you’ (LXX, Peshitta and cf. further BHS). This
reading, which is substantiated by yldtyk in Ps. 2,7c (the last expression of
a tricolon!), is ‘extrêmement probable’ (Barthélemy [2005], p. 748; cf. also
Schenker [2009]). MT reads ‘your youth’.
4.2 Content
God supports the king in defeating his enemies.
I God will make the king rule over his enemies.
God speaks to my lord: sit at my right hand and I will subject
your enemies (v. 1).
God makes you rule over your enemies (v. 2); you are from the
womb of dawn, I have begotten you (v. 3).
II He crushes the surrounding nations and returns from battle as a
victor.
God swears an oath to the king: you are priest for ever (v. 4);
God is on your side: he crushes kings (v. 5).
He crushes the heads of the nations and holds his head high (vv.
6–7).

4.3.1.1 n’m, v. 1a ’th, v. 4b
imperative: šb, v. 1b
imperative: rdh, v. 2b 4.3.1.2 ‘wlm, v. 4b

4.3.2.1 none 4.3.2.2 ‘l kn, v. 7b

none

v. 1: prep. l-, vv. 1a+b.1d
vv. 2–3: mt.h ‘zk yšlh./‘mk . . . h.ylk, vv. 2a and 3a resp. (alliter.; anaph.)
‘z/h.yl, vv. 2a and 3a resp.
prep. mn, vv. 2a.3b
ms.ywn/bhrry qdš, vv. 2a and 3b resp.; cf. Pss. 2,6b and 87,1–2
rdh bqrb/bhrry qdš, vv. 2b and 3b resp. (alliter.; exactly linear)
vv. 4–5: yhwh/’dny, vv. 4a and 5a resp.
prep. ‘l, vv. 4c.5a
mlk, vv. 4c.5b!
vv. 6–7: ydyn/yrym, vv. 6a and 7b resp. (alliter.)
r’š, vv. 6b.7b!
} chiasmus
prep. ‘l, vv. 6b.7b

vv. 1–3 (Canto I): yhwh, vv. 1a.2a (linear)
imperative šb/rdh, vv. 1b and 3b resp. (exactly lin.)
’ybyk, vv. 1c.2b! (concatenation); see also suffix -k
in vv. 2a+3a (2×)+3c (2×)
vv. 4–7 (Canto II): prep. ‘l, vv. 4c+5a.6b+7b! (concatenation)

mh..s, vv. 5b.6b!
}
mlkym/bgwym, vv. 5b and 6a resp. (cf. Psalm 2)
chiasmus (concatenation)
iii.4 psalm 110 227

vv. 1.4–5: n’m yhwh/nšb‘ yhwh, vv. 1a and 4a resp. (anaphora); cf.
Ps. 132,1–2.11 (yhwh ldwd . . . nšb‘/nšb‘ yhwh ldwd )
’dny, vv. 1a.5a!
šb/nšb‘, vv. 1b and 4a resp. (alliter.)
ymyn, vv. 1b.5a!
suffix -y, vv. 1b.4c!
vv. 2–3.6–7: prep. mn, vv. 2a+3b.7a!

bhrry/rbh, vv. 3b and 6b resp.
vv. 1.6–7: ’šyt/yšth, vv. 1c and 7a resp. (alliter.)

} chiasmus
rgl/drk, vv. 1d and 7a resp.
vv. 2–3.4–5: bywm, vv. 3a.5b!

} chiasmus
qdš/khn, vv. 3b and 4b resp.
prep. l-, vv. 3c.4b

prep. b- (v. 7), suffix -k (v. 5)

none

Psalm 110 has 8 verselines and 18 (= 2×9) cola.1 The middle verselines
(vv. 3 and 4) are tricola. These tricola represent the numerical centre
of the psalm: vv. 1–2.3–4.5–7 > 6+6+6 cola. The verselines concerned
have exactly 11 words each. The central words of these verselines are qdš
(‘holiness’) in v. 3 and khn (‘priest’) in v. 4 (> 5+1+5 words). There is
clearly a semantic relationship between these words.2
1
Similarly Labuschagne, www.labuschagne.nl/ps110.pdf, Strophic structure. With
the exception of v. 1, the Masoretic delimitation of the verses coincides with the poetic
lines of the psalm; cf. Psalm 109. According to Allen (2002), there are 10 (5+5) verselines
and 24 (12+12) cola. Van der Meer has 12 (6+6) verselines and 23 cola (note Van der
Meer [1988], p. 215). Fokkelman (MPHB II and 2002) has 9 verselines and 20 cola, while
Von Nordheim (2008, p. 37) distiguishes 11 verselines and 23 cola.
2
According to Labuschagne, vv. 3–4 constitute the ‘climax of the inaugural ceremony’

29+34 (= 63 = 9×7) words in total). The oracles in vv. 1b–d and 4b–c,
at the beginning of the cantos, in both cases are composed of 7 words.
Vv. 2b–3 is probably another part of these oracles (see § 4.1 about yldtyk
in v. 3c) and has 14 words. Vv. 5 and 7 also have 7 words each (3+4
words). Therefore, on word level the psalm can be considered a numerical
composition.3
The divine name, yhwh, occurs 3×: vv. 1, 2 and 4 (‘gewiß nicht ab-
sichtslos’, Delitzsch [1894], p. 679). Once God is called ’dny (‘Lord’; v. 5a).

Köster (1831), pp. 59–61: 1–3.4 (‘Schaltvers’).5–7 (3.1.3 verses)
Köster (1837): 1–3.4.5–7 (3.1.3 verses; v. 4 is ‘Mittelpunkt des Ganzen’)
De Wette (1856): 1–2.3–4.5–7 (2.2.3 verses; ‘Der rhythmische Bau des Ps.
ist nicht klar; er hat überhaupt die Natur eines Bruchstücks oder
Entwurfs’ [p. 532])
Ewald (1866), pp. 39–43: 1–3.4–6.7 (3.3.1 verses or 7.7.2 cola)
Ley (1875), p. 225: 1–2.3–4.5–7; ; cf. De Wette (1856)
Delitzsch (1894): 1.2|3.4|5–6a.6b–7 (7.7.7 > 4.3|4.3|4.3 cola; seven is ‘die
Zahl des Schwures und des Bundes’); cf. Ley (1875)
Zenner (1906), pp. 94–97: 1.2–3*|4*.5–7 (2.3|2.3 lines)
Delitzsch (1921), p. 118: 1.2.3.4; similarly Duhm (1922)
Gunkel (1926): 1.2–3aA.3aB–c.4|7b+5+6aA.6aB–b+7a (2.2.2.2|2.2 lines;
‘Regelmäßiger Strophenbau’)
Calès (1936): 1.2.3|4.5–6.7 (2.1.1|1.2.1 lines)
Gemser (1949): 1.2–3.4.5–7 (2.3.2.4 lines)
Baumann (1949–50), pp. 136–40: 1a.1b–3|4a.4b–7 (1.4|1.4 lines)
Kissane (1954): 1–2.3–4.5–7 (3×3 lines); cf. Ley (1875)
NAB (1970): 1–3.4.5–7; similarly Doeker (2002), p. 102; cf. Köster (1831)
Schreiner (1977): 1a.1b–d.2.3|4a.4b–c.5.6 7 (a.b.c.d|a’.b’.c’.d’ v. 7)
Alden (1978), p. 204: 1.2.3.4.5.6.7 (a.b.c.d.c’.b’.a’); cf. NAB (1970)
Beaucamp (1979): 1.2–4*.6–7 (2.6.4 cola)
Jacquet (1979): 1.2–3aA.3aB–c|4.5.6–7* (3×2|3×2 bicola)
Kunz (1982): 1.2–3.4.5–6.7 (1.2.1.2.1 verses or 5.11.6.7.4 ‘Kleinstichen’)
Van der Meer (1988): 1.2.3|4.5–6.7 (2.2.2|2.2.2 lines [note p. 215]; vv.
5b–6/7a are ‘an actualising expansion’); cf. Calès (1936)
Girard (1994): 1–2.3|4–5a.5b–7 (a.b|a’.b’); cf. Auffret (2004)
3
In this respect, cf. also Delitzsch (1894) who assumed a tripartite structure for the
psalm as a whole consisting of groups of 7 cola; see § 4.6.
iii.4 psalm 110 229
Fokkelman (2000), pp. 288–91: 1.2–3|4–5a.5b–7 (2.2|2.3 lines or 4.6|4.6 cola;

a.b|a’.b’); cf. Girard (1994)
Allen (2002): 1.2–3|4.5–7 (4.8|4.8 cola; note pp. 113–14); cf. Weber (2003),
Saur (2004), Körting (2006), [Hossfeld]/Zenger (2008), Von Nordheim
(2008), pp. 40–43
Terrien (2003): 1–2.3|4–6.7 (3.2|3.1 lines)
www.labuschagne.nl/ps110.pdf: 1–2.3–4|5–6.7 (3.2|2.1 lines)

The selective bibliography (see § 4.8) already testifies that Psalm 110 is
in the centre of interest of biblical scholarship. Simultaneously it indicates
that the exegesis of this composition raises many questions. One of these
questions concerns the poetic structure of the verselines. Strikingly, most
of the lines do not display any form of parallelismus membrorum; cf. also
Van der Meer (1988), pp. 211–15. As a consequence, there is no unanimity
among scholars with regard to their delimitation.4 In my opinion, we must
take as our starting point that—generally speaking—in the book of Psalms
the Masoretic demarcation of the verses is a reliable witness to the genuine
structure of a Hebrew poetic verseline.5 The opening verse of Psalm 110 is
an exception (cf. Ps. 109,1–3). This verse (v. 1) contains two bicola.6 Most
Masoretic verses (vv. 2, 5, 6 and 7) in our psalm are made up of bicola; the
’atnah. marks the caesura between the cola. Vv. 3 and 4 are tricola.7 This
colometric approach is substantiated by the formal balance which emerges
between the main parts of the psalm and the verbal repetitions which fall
into place now; for these rhetorical phenomena, see below.
Notwithstanding the questions referred to above, from a rhetorical point
of view, it is clear that the poem is composed of two sections, vv. 1–3 and
4–7.8 These sections are especially marked out by their corresponding
introductory formulas: n’m yhwh (‘the Lord said’) and nšb‘ yhwh (‘the
Lord has sworn’) respectively. That is to say, we are dealing with a form
4
With regard to the various ideas of some thirty modern authors about the colometry
of the psalm, Fokkelman (MPHB II, p. 291) speaks of a ‘disconcerting diversity’. See
also § 4.5 above (n. 1).
5
See also CAS I, Ch. V, 6.1 (pp. 522–25).
6
Similarly BHS, Doeker (2002), p. 103, Fokkelman (2002) and Von Nordheim (2008),
p. 36; at variance with Van der Meer (1988), pp. 211–12, who takes this verse as a
monocolon followed by a tricolon.
7
For the Masoretic accentuation of vv. 3 and 4, see CAS I, p. 524.
8
For this bipartite division, see also Zenner, Calès, Baumann, Van der Meer, Girard,
Fokkelman, Allen, Terrien and Auffret in § 4.6. Besides, Girard, Fokkelman and Von
Nordheim (2008), pp. 40–42, underline the linear parallelism between these sections!
of anaphora on the level of the poem as a whole.9 § 4.4.3 demonstrates

that this anaphora is only the most eye-catching element of a small cluster
of verbal recurrences underlining the relationship between the beginnings
of the main sections; note ’dny and ymyn. On the basis of my point of
departure concerning the delimitation of the verselines, I assume that these
main sections constitute two uniform cantos consisting of 4 verselines.
The first canto (vv. 1–3) contains two divine oracles, vv. 1c–d and
2b–3,10 spoken by an (imaginary?) ‘cult/court prophet’, each with their
own introduction (vv. 1a and 2a).11 And each of these oracles opens with
an order addressed to the king: ‘sit’ (v. 1b) and ‘rule’ (v. 2b). But it is
especially God who is active in subduing the enemies of the king; see vv.
1c–d and 2a. At first site, the concluding tricolon of Canto I (v. 3) has
only a loose connection with the preceding ideas. In the Masoretic text we
are obviously dealing with a demythologization of the original message of
the line: ‘your people will volunteer on the day of your strength // in holy
splendor, from the womb of dawn // yours is the dew of your youth’. How-
ever, the ancient versions (e.g. LXX and Peshitta) testify that originally
the line was about the high position (v. 3a) and the divine descent of the
king (v. 3b–c): ‘with you is nobility on the day of your strength // on holy
mountains, from the womb of dawn // yours is the dew, I have begotten
you’; cf. § 4.1.12 On the basis of this reading the line has an obvious mytho-
logical flavour, presenting the inauguration of the king as a cosmic event
(Booij [1991], p. 401).13 This idea perfectly fits the message of vv. 1–2: as
a son of God (sitting at God’s right hand, v. 1b), the king may reckon on
divine assistance for subduing his enemies; cf. Pss. 2,7–9 and 89,27–28.
Canto II is for the most part about crushing enemies; note the root mh..s
(‘to crush’) in vv. 5 and 6. Once again, this main section opens with a
9
For this device on a macrostructural level, see CAS I, Ch. V, 3.1.1.3 (pp. 470–71).
10
Similarly Doeker (2002), p. 102. With reference to Assyrian prophecies, Hilber
(2003), p. 359, argues that the psalm as a whole is to be taken as a coherent oracle.
11
Labuschagne rightly notes that, in order to emphasize God’s personal involvement,
the name yhwh deliberately features in each of the introductory statements occurring
in this psalm, vv. 1a, 2a and 4a; www.labuschagne.nl/ps110.pdf, Observation 2.
12
For the combination bhrry . . . mšh.r, see kšh.r . . . ‘l hhrym in Joel 2,2 and hrym . . . šh.r
in Am. 4,13; for bhrry qdš . . . .tl, see kt.l . . . ‘l hrry .sywn in Ps. 133,3a–b.
13
For the mythological background of mrh.m mšh.r . . . yldtyk, cf. the expression bn šh.r
in Isa. 14,12; and for the probably mythological connotation of the noun .tl, see R. Kilian,
‘Der “Tau” in Ps 110,3—ein Mißverständnis?’, ZAW 102 (1990), pp. 417–19. Otherwise
Mettinger, who argues that the king was not considered to be of divine descent, because
‘his divine sonship commenced at a definite point in time and was brought about by a
performative utterance of God’; T.N.D. Mettinger, King and Messiah. The Civil and
sacral Legitimation of the Israelite Kings (Coniectanea Biblica. Old Testament Series
8), Lund: C.W.K. Gleerup, 1976, p. 265.
iii.4 psalm 110 231
divine oracle (v. 4b–c), explicitly marked as such by a quotation formula

(v. 4a). In v. 5a the ‘court prophet’ continues addressing the king in the
second person and because God is the subject in this colon, it is most
natural to assume that God is also the agent from v. 5b onwards. In that
case, we are dealing with a metaphor portraying God as a fierce warrior.14
At the same time, it is not very likely that God is also the subject in v. 7.
God does not drink from a stream and it is the king who ‘holds his head
high’ (v. 7b).15 And although it is not to be excluded that God is the
subject of ydyn in v. 6a,16 it is also possible that the king is the agent
of the verb.17 This means that the metaphor of God as a fierce warrior
gradually turns colour. Because there is no explicit marking of a switch of
subject, it is suggested that in vv. 5b–7 there is a ‘double entendre’. In
this respect, Raabe (1991, pp. 25–26), speaks of a ‘deliberate ambiguity’:
it is not necessary to choose between one of the possibilities. This is also
suggested by the macrostructure of the composition. At the beginning of
the first canto, the king is designated ’dny (v. 1a)—conspicuously enough
not mlk (‘king’)—and invited to sit at God’s right hand (v. 1b); but at the
beginning of Canto II, it is God who is designated ’dny and now He is at
the right hand of the king (v. 5a).18 That is to say, it is a basic constituent
of the overall framework of the psalm that God and the king are mutually
exchangeable.
Now, it is the opening tricolon of the canto (v. 4), about the priestly
function of the king, which has a loose connection with its immediate con-
text. In this respect v. 4 is similar to v. 3. Besides, different from their
14
So König (1926), pp. 496–97, Booij (1991), p. 404, and [Hossfeld]/Zenger among
others; cf. Ex. 15,3 and Ps. 24,8. The expression bywm ’pw (‘in the day of his anger’,
v. 5b) seems to support this interpretation; cf. especially b’pw in Ps. 2,5a, and further
bywm ’pw in Job 20,28 and Thr. 2,1.
15
So rightly Von Nordheim (2008), pp. 42–43, and Hilber (2003), p. 356. For the
expression yrym r’š, cf. mrym r’šy (‘He who holds my head high’) in Ps. 3,4 and w‘th
yrwm r’šy // ‘l ’yby sbybwty in Ps. 27,6a–b. The noun drk (‘way’) in the concluding
verseline of this composition (v. 7a) alludes to the same noun in the concluding verseline
of Psalm 2 (see v. 12a); for the allusions to Psalm 2 in vv. 2–3, see above! In the latter
case, there is a remarkable relationship with the concluding verseline of Psalm 1; cf. pn
y’np wt’bdw drk (Ps. 2,12a) with ky ywd‘ yhwh drk .sdyqym // wdrk rš‘ym t’bd (Ps. 1,6).
On the basis of this intertextuality, I tentatively suggest that ‘drinking from the stream’
(v. 7a) has the connotation ‘studying the Torah’ and that by this study the king can
‘hold his head high’ (v. 7b).
16
For this interpretation of ydyn bgwym, see 1 Sam. 2,10(!) and Ps. 7,9a.
17
See ydyn ‘mk bs.dq (‘he may judge Your people rightly’) in Ps. 72,2a and cf. the
external parallelism of the roots .sdq/dyn in Ps. 110,4c and 6a respectively.
18
For this change of place as far as the ‘right hand’ is concerned, note also the re-
sponsion of ymyn in Ps. 16,8b (God is at the right hand of the supplicant) and 11c (the
supplicant longs to be at God’s right hand).
surrounding verselines, vv. 3–4 stand out in the composition by the total
absence of any reference to a battle. They are about the aura of sainthood
which belongs to the status of the king. As pointed out in § 4.5, taken
together, vv. 3–4 represent the numerical centre of the poem in terms of
verselines and cola. And the pivotal words of these verselines, qdš (‘holi-
ness’) and khn (‘priest’), highlight their relationship in terms of semantics:
the vocabulary has cultic connotations. On the basis of these observations,
we may safely assume that vv. 3–4 express a fundamental aspect of the mes-
sage of Psalm 110. I conclude that we are dealing with a deliberate device
highlighting the transition from Canto I to Canto II (cf. Psalm 109).19
The linearly alternating pattern based on the repetition of the intro-
ductory cola (vv. 1a.2a) and the following divine oracles (vv. 1c–d.2b–3)
demonstrates that Canto I is composed of two 2-line strophes.20 In addi-
tion, the syntactic relationship between the two verselines of v. 1 guarantees
a coherent subject matter. For the formal coherence of vv. 2–3, see § 4.4.1;
note the preposition mn. The exclusive repetitions of the nouns mlk (‘king’)
and r’š (‘head’) in vv. 4–5 and 6–7 respectively, in both cases point to an
antithetic relationship between the successive verselines in question. God is
on the side of his kingly priest (v. 4), while he crushes the kings (of the na-
tions; v. 5). Similarly, the king crushes the heads of his enemies (v. 6), while
he himself raises his head (v. 7). On these grounds, I assume that Canto
II is also made up of two 2-line strophes. However, otherwise as Canto I,
from the perspective of the external parallelisms between the verselines the
second canto displays a symmetric design: vv. 4.5|6.7 > a.b|b’.a’ (positive
> negative | negative > positive).
Subsequently, the inner coherence of Cantos I and II is reinforced by
conspicuous concatenations; see ’ybk (‘your enemies’) in Canto I and mh..s
(‘he crushes’) in Canto II (§ 4.4.2; for Canto II, note also the preposition‘l ).
By these concatenations the psalmist highlights a ‘central’ and important
assurance for the king: God is on your side in subduing your opponents!
That is to say, in terms of its message Psalm 110 looks like an ellips with
19
According to Köster (1831/37), NAB (1970) and Alden (1978), it is only v. 4 which
has a pivotal position in the psalm (it is the centre of 7 Masoretic verses); see § 4.6.
And recently Doeker (2002), p. 105, has characterized v. 4 as ‘Zentrum und Angelpunkt
des gesamten Psalms’. Conversely, it is argued by [Hossfeld]/Zenger (2008), p. 205, that
v. 4 is an editorial intrusion; similarly Schreiner (1977), p. 220. Nevertheless, Zenger
([Hossfeld]/Zenger, p. 203) rightly points out the natural relationship between vv. 2
and 4: ‘Die Formulierung “von Zion her” evoziert den Tempel und den dort stehenden
Gottesthron. So verwundert es nicht, dass dieser König am Anfang der zweiten Strophe
als “Priester nach der Weise des Melchisedek” proklamiert wird’. For the function of
v. 4 in the context of an enthronement psalm, see also Booij (1991), pp. 402–03.
20
Cf. Zenner (1906), Gemser (1949), Kunz (1982) and Fokkelman (2000); see § 4.6.
iii.4 psalm 110 233
two focal points; see also above, about the pivotal position of vv. 3–4.
following verbal repetitions: ymyn (vv. 1.5) > 109,6.31 (concatenation!);
’dny (v. 5) > 109,21.
4.8 Bibliography
L. Krinetzki, ‘Psalm 110 (109). Eine Untersuchung seines dichterischen Stils’,
ThGl 51 (1961), pp. 110–21;
C. Schedl, ‘“Aus dem Bache am Wege”: Textkritische Bemerkungen zu Ps. 110
(109),7’, ZAW 73 (1961), pp. 290–97;
M. Treves, ‘Two Acrostic Psalms (Psalm 2; 110)’, VT 15 (1965), pp. 81–90;
G. Sauer, ‘Psalm 2 und 110’, ZDMG 118 (1968), pp. 259–64;
S. Schreiner, ‘Psalm CX und die Investitur des Hohenpriesters’, VT 27 (1977),
pp. 216–222;
H. Möller, ‘Der Textzusammenhang in Ps 110’, ZAW 92 (1980), pp. 287–89;
G. Gerleman, ‘Psalm CX’, VT 31 (1981), pp. 1–19;
L. Kunz, ‘Psalm 110 in masoretischer Darbietung’, ThGl 72 (1982), pp. 331–35;
W. van der Meer, ‘Psalm 110: A Psalm of Rehabilitation?’, 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. 207–34;
Th. Booij, ‘Psalm 110: “Rule in the midst of your foes”’, VT 41 (1991), pp.
396–407;
P.R. Raabe, ‘Deliberate Ambiguity in the Psalter’, JBL 110 (1991), pp. 213–27;
R.J. Tournay, ‘Les relectures du Psaume 110 (109) et l’allusion à Gédéon’, RB
105 (1998), pp. 321–31;
S.R.A. Starbuck, Court Oracles in the Psalms. The So-Called Royal Psalms in
their Anient Near Eastern Context (SBL.DS 172), Atlanta, 1999;
J.W. Hilber, ‘Psalm cx in the light of Assyrian prophecies’, VT 53 (2003), pp.
353–66;
U. Bail, ‘Psalm 110. Eine intertextuelle Lektüre aus alttestamentlicher Per-
spektive’, in D. Sänger (ed.), Heiligkeit und Herrschaft (BThSt 55), Neukirchen-
Vluyn, 2003, pp. 94–121;
P. Auffret, ‘Il est seigneur sur les nations. Étude structurelle du psaume 110’,
BN 123 (2004), pp. 65–73;
O. Loretz, ‘Der Thron des Königs “zur Rechten” der Gottheit beim Siegesmahl
nach Psalm 110,1–2’, UF 38 (2006), pp. 415–36;
Miriam von Nordheim, Geboren von der Morgenröte? Psalm 110 in Tradition,
Redaktion und Rezeption (WMANT 117), Neukirchen-Vluyn: Neukirchener Ver-
lag, 2008;
A. Schenker, ‘Textkritik und Textgeschichte von Ps 110(109),3. Initiativen der
Septuaginta und der protomasoretischen Edition’, in W. Kraus (ed.), La septante
en Allemagne et en France. Septuaginta Deutsch und Bible d’Alexandrie (OBO
238), Fribourg/Göttingen, 2009, pp. 172–90;
Marianne Grohmann, ‘Metaphors of God, Nature and Birth in Psalm 90,2 and
Psalm 110,3’, in P. Van Hecke and Antje Labahn (eds.), Metaphors in the Psalms
(BEThL 231), Leuven: Peeters, 2010, pp. 23–33;
M. von Nordheim-Diehl, ‘Spricht Psalm 110,3 von mšh.r oder mšh.r ? Ein Plädoyer
für die masoretische Lesart’, Kleine Untersuchungen zur Sprache des Alten Tes-
taments und seiner Umwelt 10 (2009), pp. 25–37.
iii.5 psalm 111 235
5 Psalm 111
Structure: 4.4.2 > 2.2|2.2|2 lines (Type IIB); alphabetic acrostic
I 1 ’wdh yhwh bkl lbb Bswd YŠRYM w‘dh

2 Gdlym m‘śy yhwh Drwšym LKL h.ps.yHM
3 Hwd whdr p‘lw Ws.dqtw ‘mdt l‘d

4 ZKR ‘śh lnpl’tyw H
. nwn wrh.wm yhwh
II 5 T
. rp ntn lYR’Yw YZKR L‘WLM BRYTW
6 Kh. m‘śyw hgyd L‘MW Ltt lHM nh.lt gwym
7 M ‘śy ydyw ’mt wmšpt. N’mnym kl pqwdyw

8 Smwkym L‘D L‘WLM ‘śwym b’mt wYŠR
III 9 Pdwt šlh. L‘MW S.wh L‘WLM BRYTW Qdwš wNWR’ šmw
10 R’šyt h.kmh YR’T yhwh Śkl .twb LKL ‘śyHM Thltw ‘mdt L‘D
5.1 Text
No remarks.
5.2 Content
God remains faithful to the covenant with his people for all time.
I The greatness of God’s works (general description).
I praise the Lord for his works in the congregation (vv. 1–2).
The Lord is righteous and compassionate (vv. 3–4).
II God remains faithful to his covenant (reference to history).
He gives food to his people and a heritage among the nations (vv.
5–6).
His works are truthful for all eternity (vv. 7–8).
III Summary: God rescues his people (v. 9a–b, cf. vv. 5–6); it is wise
to fear Him (v. 10a–b); concluding praises (vv. 9c+10c; cf. v. 1).

5.3.1.1 yr’ with object God, v. 5a 5.3.1.2 ‘wlm, vv. 5b and 9b

5.3.2.1 ‘d, vv. 8a and 10c 5.3.2.2 yr’ with object God, v. 10a
‘wlm, v. 8a

‘d, v. 3b

kl, vv. 1a.2b
vv. 3–4: pairs of nouns honouring God: hwd whdr/h.nwn wrh.wm, vv.
3a and 4b resp.
p‘lw/lnpl’tyw, vv. 3a and 4a resp. (alliter.; exactly linear)
prep. l-, vv. 3b.4a
vv. 5–6: root ntn, vv. 5a.6b!
prep. l-, vv. 5a+b.6a+b (2×)
l‘wlm/l‘mw, vv. 5b and 6a resp. (alliter.)
vv. 7–8: root ‘śh, vv. 7a.8b
’mt, vv. 7a.8b; see also the root ’mn in v. 7b!
pairs of nouns honouring God’s works: ’mt wmšpt./’mt wyšr,
vv. 7a and 8b resp.
vv. 9–10: l‘mw/‘mdt l‘d, vv. 9a and 10c resp. (alliter.)
l‘wlm/l‘d, vv. 9b and 10c resp.; see also l- in vv. 9a and 10b
root yr’, vv. 9c.10a
qdwš . . . šmw/thltw, vv. 9c and 10c resp.; cf. Ps. 106,47c–d

vv. 1–4 (Canto I): ’wdh/hwd, vv. 1a and 3a resp. (alliter.; anaphora)
yhwh, vv. 1a+2a.4b
root ‘śh, vv. 2a.4a (linear)
vv. 5–8 (Canto II): l‘wlm, vv. 5b.8a (inclusion)

brytw/pqwdyw, vv. 5b and 7b resp. (exactly linear)
m‘śyw/m‘śy ydyw, vv. 6a and 7a resp. (concaten.)

vv. 1–2.5–6.9–10: roots ydh hiph‘il/hll, vv. 1a and 10c resp. (‘inclusion’)
iii.5 psalm 111 237
lkl h.ps.yhm/lkl ‘śyhm, vv. 2b and 10b resp.!; see also

the suffix -hm in v. 6b!
yr’ (root) . . . l‘wlm brytw . . . l‘mw/l‘mw . . . l‘wlm brytw
. . . yr’ (root; 2×), vv. 5a–6a and 9–10a resp.! (note
the symmetric positioning!)
ltt lhm/thltw, vv. 6b and 10c resp. (alliter.)
vv. 3–4.7–8: pairs of nouns honouring God’s works, vv. 3a+4b and
7a+8b (cf. Fokkelman, MPHB III, p. 216)
roots .sdq/špt., vv. 3b and 7a resp.
vv. 1–2.7–8: prep. b-, vv. 1a+b.8b!

root yšr, vv. 1b.8b! (inclusion)
plural participles: gdlym . . . drwšym/n’mnym . . . smwkym
. . . ‘śwym, vv. 2 and 7–8 resp.!
vv. 3–4.5–6: root zkr, vv. 4a.5b! (concatenation)

zkr ‘śh l. . . -yw/t.rp ntn l. . . -yw, vv. 4a and 5a resp. (note:
object > predicate and assonance; concatenation)
vv. 7–8.9–10: l‘d + l‘wlm, vv. 8a.9b+10c (chiasmus; concatenation)

suffix -w (vv. 3b.5a.7b), yhwh (v. 10), kl (v. 7), root ‘śh (v. 10)

‘mdt l‘d (vv. 3.10)

Psalm 111 has 5 strophes, 10 verselines and 22 (= 2×11) cola. In my opin-
ion, the Masoretic demarcation of the verses provides a reliable indication
of the poetic verselines.1 Vv. 5–6 represent the central strophe (> 2+1+2
1
For a sound discussion of the structure of the poetic verselines, see Booij (2009), p. 8,
and [Hossfeld]/Zenger (2008), p. 221. Pace Fokkelman, who argues at length that vv. 4–6
represent two tricola (MPHB III, pp. 214–15); as a result he finds 9 verselines. Because
vv. 4 and 5 belong to different strophes (see below), Fokkelman’s interference with the
Masoretic verse division is to be rejected. Calès (1936), Kissane (1954), Schildenberger
(1960/1980) and Allen (2002) also mistakenly suppose that vv. 1–8 are larded with
tricola; cf. § 5.6. Weber argues that vv. 9–10 represent 3 bicola (BN 118 [2003], p. 63).
strophes) and in v. 6 we find the pivotal cola (> 10+2+10 cola).

Structure of strophes and cantos in terms of words: 13+12|14+13|20 =
25+27+20 (= 72 = 2×6×6 words in total).2 Cantos I and II together have
exactly 52 (= 2×26) words.
The divine name, yhwh, occurs 4×: vv. 1, 2, 4, 10.

Köster (1837): 1–3.4–6.7–10 (‘von eigentlichen Strophen nicht die Rede’)
De Wette (1856): no strophes; similarly Ewald (1866), pp. 503–05, Delitzsch
(1894), Duhm (1922), Gunkel (1926), Herkenne (1936), Gemser (1949),
Pannier/Renard (1950), NAB (1970), Pardee (1992), Brettler (2009)
Zenner (1906), pp. 103–04: 1.2–3.4–5|6.7–8.9–10 (1.2.2|1.2.2 lines)
Schlottmann (1885), p. 490: 10 Masoretic verses
Calès (1936): 1|2–4a.4b–5.6–7a.7b–8.9|10 (‘Il est vain . . . d’y chercher une
division strophique’); cf. Köster (1837)
Kissane (1954): 1.2–4a.4b–7a.7b–9.10 (1.2.2.2.1 lines); cf. Calès (1936)
Alden (1978), pp. 204–05: 1–3.4a.4b.5a.5b.6|7–8.9.10–112,1. . . (a.b.c.d.e.f|f’.
e’.d’. . . )
Beaucamp (1979): 1–3.4–6.7–9b|9c–10 (6.6.6|4 cola); cf. Köster (1837)
Jacquet (1979): 1|2–4a.4b–7a.7b–9|10 (2|5.6.6|3 cola)
Schildenberger (1980), pp. 203–05: 1–2.3–7a.7b–10 (2.4.4 lines)
Girard (1994): 1||2–3.4a.4b–5a.5b.6.7a|7b–8.9a.9b.9c–10a.10b.10c (v. 1||a.b.
c.d.e.f|f’.e’.d’.c’.b’.a’)
Auffret (1997), pp. 183–191: 1–2.3–4.5–6.7–8.9.10 (a.b.c.a’.c’.b’); cf. Pardee
(1999), p. 137
Scoralick (1997): 1–2 3–6.7–8.9–10 (vv. 1–2 a.x.a’)
Van Grol (2001), pp. 229–30: 1–2.3–4|5–6.7–8|9–10 (2.2|2.2|2); with refer-
ence to my STR (1980)
Allen (2002): 1.2–7a.7b–10 (1.4.4 lines; note pp. 122–24); cf. Schildenberger
(1960), pp. 682–83, and Girard (1994)
Fokkelman (2003), pp. 213–18: 1–3.4–6|7–8.9–10 (3.2|2.2 lines)
Terrien (2003): 1–3.4–5|6–8.9–10 (3.2|3.3 lines); cf. Zenner (1906)
Weber (2003): 1|2–3.4–5.6–7.8–9b.9c–10 (2.5×2 bicola; v. 1 a.b.c.b’.a’)
[Hossfeld]/Zenger (2008): 1–3.4–6.7–9.10 (3.3.3.1 lines); cf. Fokkelman
DeCaen (2009), p. 103: 1–2.3–4|5–6.7–8|9.10 (2.2|2.2|1.1)
www.labuschagne.nl/ps111.pdf: 1.2–3|4–5.6.7–8|9.10 (7 strophes in a meno-
rah pattern; 1.2|2.1.2|1.1 lines)
2
Scoralick (1997, p. 203) has 74 words, because she also takes into account the heading
hllw yh.
iii.5 psalm 111 239

Psalm 111 is an alphabetic acrostic: the first letters of the successive cola
represent the Hebrew alphabet. The same goes for Psalm 112, a first indi-
cation that the poems are to be seen as ‘twin psalms’, ‘Zwillingspsalmen’.
Because in alphabetic acrostics the alphabet generally marks the beginning
of successive verselines, Psalms 111 and 112 are unique compositions in the
Hebrew Bible. Nevertheless, it is unwarranted to conclude on the grounds
of their alphabetic form that the single colon is the basic building block of
the poetic framework of this composition. The psalm is composed of eight
bicola (vv. 1–8) and two concluding tricola (vv. 9–10).3
From Köster (1837)—the founding father of strophic investigation—
onwards, scholars have often assumed that beyond the acrostic design there
was no formal principle structuring this poem; see De Wette (1856) in § 5.6.
However, since the second half of the preceding century the insight gains
ground that ‘the poet was well able to overcome the limitations the acrostic
form might have imposed upon him’ and some speak highly of his crafst-
manship; see e.g. Allen (2002, p. 124) and Booij (2009, p. 9). Especially
from Kissane (1954) onwards, the total structure of this composition has
systematically been investigated several times (cf. also § 5.8). Some of
these investigations seem to demonstrate that there is a major ceasura af-
ter v. 7a.4 According to Girard (1994, pp. 171–72) and Allen (2002, pp.
123–24), the caesura is supported by a pattern of verbal recurrences in
symmetric position which should come to light in vv. 2–10 (e.g. ‘mdt l‘d in
vv. 3b and 10c), a ‘construction chiastique’ (Girard).5
As in the case of all other alphabetic acrostics in the Hebrew Bible, the
alphabetic design of Psalm 111 did not hinder the poet to mould his compo-
sition according to the rules of classical Hebrew poetry. I shall demonstrate
that our psalm consists of two regular 4-line cantos (vv. 1–4 and 5–8) and
a concluding ‘half-long’ canto of two verselines (Type IIB).6 In their turn,
the main cantos are composed of 2-line strophes. That is to say, on strophe
3
The same applies to Psalm 112. For de delimitation of the verselines, see § 5.5
above (n. 1). For the concluding function of a 2-line strophe composed of tricola only
(vv. 9–10), see CAS I, Ch. V, 6.2.1 (pp. 528–29).
4
See Schildenberger (1980), Girard (1994) and Allen (2002) in § 5.6.
5
This approach is debatable, among other things, because it ignores the Masoretic
verse division which suggests that v. 7a and 7b represent a coherent verseline. See also
Fokkelman (MPHB III, pp. 215–16), who describes a ‘palindrome of some ten elements’
drawing attention to the root ’mn in vv. 7–8; cf. Scoralick (1997) in § 5.6.
6
Pace Labuschagne who argues, with reference to comparable numerical patterns in
Psalms 112 and 113, that Ps. 111,4–8 is a meaningful core canto surrounded by a 39-
word framework (19+20 words) and specifically dealing with ‘YHWH’s unique acts’;
level, the psalm consists of an uninterrupted series of uniform sections in

terms of verselines. As could be expected in a wisdom psalm expressing its
message in an alphabetic acrostic, in this respect, formal devices play an
important part.
It is especially the verbal repetitions within successive verselines which
highlight the structure of the psalm on strophe level; note yhwh in vv. 1–2,
the alliteration p‘lw/lnpl’tyw in vv. 3–4, the root ntn (‘to give’) in vv. 5–6,
the root ’mn (niph‘al ‘to be reliable’) in vv. 7–8 (3×!) and the root yr’
(‘to fear’) in vv. 9–10 (§ 5.4.1). The pairs of nouns honouring God and his
works in vv. 3–4 and 7–8 are a further indication of the strophic coherence
of two successive verselines (see also § 5.4.1; otherwise Fokkelman, MPHB
III, p. 216). The antecedent of the plural participia smwkym and ‘śwym
in v. 8 is m‘śy ydyw (‘the works of his hand’) in v. 7a, a syntactic feature
underlining the coherence of vv. 7 and 8. The concluding hymns at the end
of the tricola vv. 9 and 10 (see vv. 9c and 10c) perfectly fit this strophic
interpretation.7
Two by two, the first four strophes form a relatively individual canto.
Canto I (vv. 1–4) is characterized by the Tetragrammaton (vv. 1, 2 and
4; 3× in four verselines), while the divine name does not occur in Canto
II (vv. 5–8). The conspicuous application of the Tetragrammaton in the
first canto demonstrates that this main part is to be taken as a coherent
song of praise. In this opening canto the psalmist rather generally and
theoretically focusses on some qualities of God: his works are great (v. 2a).
In the first strophe he explicitly refers to his fellow believers; note yšrym
(‘the upright’, v. 1b) and lkl h.ps.yhm (‘for all who enjoy them’, v. 2b). The
following strophe (vv. 3–4) more or less detachedly portrays God’s qualities:
there is no reference to the beneficiaries.
In the first strophe of the second canto (vv. 5–6) the psalmist is much
more concrete, exemplifying God’s deeds and compassion by some histor-
ical blessings the people of Israel has experienced: food, the covenant, a
heritage. Once again (cf. vv. 1–2), he explicitly refers to his fellow believ-
ers; note lyr’yw (‘to those who fear Him’, v. 5a) and l‘mw (‘to his people’,
v. 6a). Vv. 7–8, once again, more or less detachedly portray God’s qualities
because there is no reference to the beneficiaries (cf. vv. 3–4); note also the
pairs of nouns honouring God and his works, which characterize the stro-
phes concerned (§ 5.4.1).8 In terms of verbal repetitions, the second canto
mainly has a symmetric design (§ 5.4.2). The roots yšr and zkr, which
7
For the strophic structure of our psalm, see also Auffret (1997), Van Grol (2001)
and DeCaen (2009) in § 5.6.
8
For the remarkable similarities between the rhetorical framework of Psalms 111 and
103, see the concluding paragraph.
iii.5 psalm 111 241
exclusively feature in the symmetrically corresponding strophes of Cantos

I and II (see § 5.4.3) underline that these sections represent the main parts
of the poem and that vv. 9–10 are to be taken as a summarizing unit.
The latter observation does not alter the fact that the summarizing third
canto (vv. 9–10) perfectly fits the wave-like motion between the successive
main parts described above: once again (cf. vv. 1–2 and 5–6), the psalmist
explicitly refers to his fellow believers; note l‘mw (‘to his people’, v. 9a)
and lkl ‘śyhm (‘for all who do them’, v. 10b). The elements of praise which
conclude the tricola vv. 9–10 (note vv. 9c and 10c) smoothly join this
design: they correspond to the song of praise the psalmist performs in the
congregation of the upright (v. 1).9
The stylistic correspondences between the successive cantos described
above are a major element of the fundamental linearly alternating paral-
lelism between the cantos: vv. 1–2.3–4|5–6.7–8|9–10 > a.b|a’.b’|a’’. This
linear parallelism is reinforced by the exclusive verbal recurrences listed in
§ 5.4.3; note the cluster of verbal correspondences in vv. 5–6 and 9–10 (in
symmetric positioning!).10 It is especially the expression ‘mdt l‘d in vv. 3
and 10 (§ 5.4.4.2) which does not fit this linear parallel design; see also the
root ‘sh in v. 10 (§ 5.4.4.1)11 and the the pair of nouns honouring God’s
name in v. 9c (qdwš wnwr’ ). These ‘defects’ are probably due to the sum-
marizing character of vv. 9–10.12 In v. 10a–b the psalmist unexpectedly
speaks about the ‘essence of wisdom’. This is a new element in the reason-
ing of the composition and in terms of subject matter further marks vv.
9–10 as a concluding strophe.
The quintessential thought of the psalm is concisely expressed in the
concluding canto, vv. 9–10: the fear of the Lord, based on the recognition
of his wonderful deeds, has to be the fundamental attitude of life.
The alternation between personal related (‘subjective’) utterances of thanks-

giving and more generalizing (‘objective’) descriptions of God’s faithfulness
which characterize the rhetorical structure of Cantos I and II, parallels
the framework of Ps. 103,1–9 and 10–18 (Cantos I–II); note Ch. II, 14.7.1
above. Clearly, this relationship is not by chance, as it is also suggested by
the following verbal correspondences between Psalms 111 and 103,17–18:
l‘d l‘wlm (v. 8a) > 103,17b (w‘d ‘wlm); yr’yw (v. 5a) > 103,17b; ws.dqtw
9
For hymnic motifs occurring in the summarizing canto, cf. CAS I, Ch. V, 5.2.2.2
(pp. 515–16).
10
This total structure supports the idea that the (at first sight unsuitable) plural suffix
in the expression lkl ‘śyhm (v. 10b) is inspired by lkl h.ps.yhm (v. 2b); so Fokkelman,
MPHB III, p. 216 n. 8.
11
The root ‘śh is a key word in the psalm; see vv. 2, 4, 6, 7, 8 and 10.
12
For this phenomenon, see further CAS I, Ch. V, 5.2.2.6 (pp. 518–20).
(v. 3b) > 103,17c; brytw (vv. 5b.9b) > 103,18a; root zkr (vv. 4a.5b) >
103,18b; pqwdyw (v. 7b) > 103,18b; ‘śyhm (v. 10c) > 103,18b (l‘śwtm);
note also h.nwn wrh.wm yhwh in 111,4b and rh.wm wh.nwn yhwh in 103,8a,
in both cases occuring in the generalizing descriptions of God’s faithful-
ness. Besides, Psalms 103 and 111 have a similar basic canto pattern: 4.4.2
verselines (Type IIB). And to crown it all, it is to be noted that Psalm 103
with its 22 verselines is an alphabetizing composition.
The relationship between the poems in question further lends support
to my interpretation of the formal correspondences marking the transition
from the first to the second canto in Psalm 111 as concatenations (§ 5.4.3,
vv. 3–4.5–6); see l’ . . . // wl’ . . . in Ps. 103,9.10 as a device for concate-
nation marking the break between Cantos I and II.13
5.8 Bibliography
J. Schildenberger, ‘Das Psalmenpaar 111 und 112’, Erbe und Auftrag 56 (1980),
pp. 203–07;
D. Pardee, ‘Acrostics and Parallelism: The Parallelistic Structure of Psalm 111’,
Maarav 8 (1992), pp. 117–38;
P. Auffret, ‘Grandes sont les oeuvres de YHWH: Etude structurelle du Psaume
111’, JNES 56 (1997), pp. 183–96;
D. Pardee, ‘La structure du Psaume 111—Réponse à P. Auffret’, JNES 56 (1997),
pp. 197–200;
R. Scoralick, ‘Psalm 111—Bauplan und Gedankengang’, Biblica 78 (1997), pp.
190–205;
H.W.M. van Grol, ‘The Torah as a Work of YHWH: A Reading of Psalm 111’, in
J.W. Dyk et al. (eds.), Unless some one guide me . . . FS K.A. Deurloo (ACEBT,
Suppl. Series 2), Maastricht: Shaker Publishing, 2001, pp. 229–36;
B. Weber, ‘Zu Kolometrie und strophischer Struktur von Psalm 111—mit einem
Seitenblick auf Psalm 112’, BN 118 (2003), pp. 62–67;
E. Zenger, ‘“Er hat geboten in Ewigkeit seinen Bund.” Weisheitliche Bundes-
theologie in Psalm 111’, in Chr. Dohmen and Chr. Frevel (eds.), Für immer
verbündet (SBS 211), Stuttgart: Verlag Katholisches Bibelwerk, 2007, pp. 271–80;
M. Brettler, ‘The riddle of Psalm 111’, in Deborah A. Green and Laura S. Lieber
(eds.), Scriptural Exegesis. FS M. Fishbane, Oxford: Oxford University Press,
2009, pp. 62–73;
V. DeCaen, ‘Theme and Variation in Psalm 111: Metrical Phrase and Foot in
Generative Perspective’, JSS 54 (2009), pp. 81–109.
13
Cf. also the concatenations highlighting the caesura between the first and the second
canto in Psalms 109 (see vv. 12–13.14–16 and § 3.4.4 above [the symmetric arrangement
of the cantos]) and 110 (see vv. 3.4 and § 4.7 above).
iii.6 psalm 112 243
6 Psalm 112
Structure: 4.4.2 > 2.2|2.2|2 lines (Type IIB); alphabetic acrostic
I 1 ’ŠRY ’YŠ YR’ ’t YHWH Bms.wtyw h.ps. m’d

2 Gbwr b’rs. YHYH zr‘w Dwr yšrym ybrk
3 Hwn w‘šr bbytw Ws.dqtw ‘mdt l‘d

4 Zrh. bh.šk ’wr l yšrym H
. NWN wrh.wm wS.DYQ
II 5 T
. WB ’YŠ H. WNN wmlwh Yklkl dbryw bmšpt.
6 Ky l‘wlm l’ ymwt. Lzkr ‘wlm YHYH S.DYQ
7 Mšmw‘h r‘h l’ YYR’ Nkwn lbw bt.h. bYHWH

8 Smwk lbw l’ YYR’ ‘d ’šr yr’h bs.ryw
III 9 Pzr ntn l’bywnym S.dqtw ‘mdt l‘d Qrnw trwm bkbwd
10 Rš‘ yr’h wk‘s Šnyw yh.rq wnms T’wt rš‘ym t’bd
6.1 Text
V. 4a—zrh. . . . ’wr : ‘a light . . . rises’; contra the opinion of Sherwood (1989),
Girard (p. 177) and [Hossfeld]/Zenger (p. 233) that the ‘man’ from v. 1a
is the subject of zrh. (cf. v. 4b)—a human being is never the subject of zrh.
(Booij [2009], p. 15); cf. also Isa. 58,10c.
6.2 Content
The happiness of the righteous man.
I Happy is the man who fears the Lord.
The offspring of the man who fears the Lord will be blessed
(about future; vv. 1–2).
There is light for the upright amidst darkness (about adversity;
vv. 3–4).
II The beneficent man shall never be shaken.
The beneficent man shall never be shaken (about future; vv. 5–6).
When receiving bad news, he trusts in the Lord (about adver-
sity; vv. 7–8).
III Summary: the righteous man supports the poor (v. 9a; cf. vv. 5–6)
and overcomes adversity (v. 9b–c; cf. vv. 3–4 en 7–8); conversely,
the wicked man meets with disaster (v. 10; cf. v. 8b).

6.3.1.1 ’šry, v. 1a 6.3.1.2 m’d, v. 1b
yr’ with object God, v. 1a ‘d, v. 9b
.twb beginning of line, v. 5a

6.3.2.1 ‘wlm, v. 6a and b 6.3.2.2 none

‘d, v. 3b

vv. 1–2: ’šry ’yš yr’/yšrym, vv. 1a and 2b resp. (alliter.)
vv. 3–4: root .sdq, vv. 3b.4b
vv. 7–8: l’ yyr’, vv. 7a.8a! (exactly linear)
} chiasmus; see also yr’h in
lbw, vv. 7b.8a!
v. 8b (alliter.)
prep. b-, vv. 7b.8b; note bt.h. byhwh/yr’h bs.ryw (epiphora)
vv. 9–10: trwm bkbwd/t’wt rš‘ym t’bd, vv. 9c and 10c resp. (alliter.;
epiphora)

vv. 1–4 (Canto I): prep. b-, vv. 1b+2a.3a+4a
zr‘w/zrh., vv. 2a and 4a resp. (alliter.; linear)
yšrym, vv. 2b.4a! (linear)
vv. 5–8 (Canto II): prep. b-, vv. 5b.7b+8b

l’, vv. 6a.7a+8a! (concatenation)

The linear arrangement of Cantos I and II.
vv. 1–2.5–6: ’šry ’yš/t.wb ’yš, vv. 1a and 5a resp.! (anaphora); cf. Ps.
128,2b and n’m yhwh/nšb‘ yhwh in Ps. 110,1.4
yhyh, vv. 2a.6b!
iii.6 psalm 112 245
vv. 1–2.7–8: root yr’, v. 1a.7a+8a!

yhwh, vv. 1a.7b!
vv. 3–4.5–6: .sdyq, vv. 4b.6b; see also ws.dqtw in v. 3b

root h.nn, vv. 4b.5a!; note also the alliter. h.nwn/h.wnn
vv. 7–8.9–10: yr’h, vv. 8b.10a!

prep. b- (v. 9)

prep. l- (vv. 3.4.6 [2×].9 [2×]), rš‘ (v. 10a+c), .sdqtw ‘mdt l‘d (vv. 3b.9b)

Psalm 112 has 5 strophes, 10 verselines and 22 (= 2×11) cola.1 Vv. 5–6
represent the central strophe (> 2+1+2 strophes) and in v. 6 we find the
central cola (> 10+2+10 cola). Probably, the central cola are highlighted
by the root zkr (‘to remember’) in v. 6b.2
Structure of strophes and cantos in terms of words: 15+13|15+16|18
= 28+31+18 (= 77 = 7×11 words in total).3 The multiple of 11 words
perfectly fits the poem as an alphabetic acrostic and highlights the wisdom
character of this composition.4 V. 1a stands out in Psalms 111 and 112 be-
cause this colon is composed of 5 words, while all other cola in these poems
1
Similarly Fokkelman, MPHB III, pp. 213–20 and 404; contra Seybold (1996) and
Weber (2003) who take vv. 9–10 as three bicola.
2
For this phenomenon, see CAS II, Ch. V, 4.3.2 (pp. 548–49). Sherwood (1989, p. 53)
considers v. 6 ‘the midpoint of the psalm’; Claudia Sticher (2002, pp. 254–55) points
out that this numerical centre contains ‘die zentrale Aussage des Psalms’: ‘“niemals”
wankt der Gerechte, das Andenken an ihn wird “ewig” sein’; cf. also Auffret (1998) in
§ 6.6. Labuschagne notes that the ‘five alliterating lamedhs draw extra attention to the
meaningful centre’ (www.labuschagne.nl/ps112.pdf, Observation 1).
3
Labuschagne points out that the number of words before and after the ’atnah. are
also determined by multiples of 11; there are 44 words before the ’atnah. and 33 words
after this distinctive accent (www.labuschagne.nl/ps112.pdf, Observation 5).
4
See Psalms 33 (note CAS I, Ch. III, 33.5), 34 (note CAS I, Ch. III, 34.5) and 37
(note CAS I, Ch. III, 37.5); cf. further Psalms 38 (note CAS I, Ch. III, 38.5), 78 (note
CAS II, Ch. III, 6.5) and, for the symbolic meaning of the number 11, Ch. I, 1.4 above.
do not exceed the maximum of four words. Obviously, this phenomenon

is not by chance, because in terms of word count 112,1a is the numerical
centre of Psalms 111 and 112 taken together: > 72+5+72 words. This
numerical approach highlights the message of 112,1a, ‘happy is the man
who fears the Lord’, as the rhetorical centre of the diptych represented
by Psalms 111 and 112; note also the concatenation yr’t yhwh/yr’ ’t yhwh,
Pss. 111,10a and 112,1a respectively.5
The divine name, yhwh, occurs 2×: vv. 1 and 7.

Köster (1837): 1–4.5–8.9–10 (4.4.2 verses)
De Wette (1856): no strophes; similarly Ewald (1866), pp. 503–05, Delitzsch
(1894), Zorell (1913), p. 145, Duhm (1922), Gunkel (1926), Herkenne
(1936), Gemser (1949), Pannier/Renard (1950), NAB (1970)
Zenner (1906), pp. 104–05: 1.2–4.5|6.7–9.10 (1.3.1|1.3.1 lines)
Calès (1936): 1.2–4a|4b–5.6–8.9|10
Kissane (1954): 1.2–3.4–6a.6b–8.9–10 (1.4×2 lines)
Schildenberger (1960), p. 683: 1–2.3–4|5–6.7–8.9–10 (2.2|2.2.2 lines); other-
wise Schildenberger (1980): 1–2.3–7a.7b–10
Perdue (1977): 1 2–3a.3b|4–6a.6b|7–9a.9b|9c–10b.10c (v. 1 3.1|5.1|5.1|3.1)
Alden (1978), pp. 204–05: . . . 111,10–112,1.2–5.6–8.9–10 (. . . d’.c’.b’.a’)
Beaucamp (1979): 1–3.4–6.7–9b.9c–10 (6.6.6.4 cola; cf. Psalm 111)
Jacquet (1979): 1.2.3|4.5.6|7.8|9a–b.9c–10a.10b–c (3×2|3×2|2×2|3×2 cola)
Aletti/Trublet (1983), pp. 94–95: 1–2.3a.3b.4–5|6–8|9a.9b.9c.10 (a.b.c.d|e|
d’.c’.b’.a’)
Sherwood (1989), pp. 52–55: 1–4.5–6a|6b–9.10 (11.11 cola)
Girard (1994): 1–2.3.4–5|6–8.9.10 (A.B.C|A’.B’.C’) and 1.2.3.4.5|6.7–8.9.
10a–b.10c (a.b.c.b’.a’|d.e.f.e’.d’)
Auffret (1998): 1.2–3.4–5|6|7–8.9.10
Allen (2002): 1.2–6.7–10 (1.5.4 lines or 2.10.10 cola; note pp. 129–30)
Sticher (2002), pp. 253–55: 1.2–3.4–6.7–9b.9c–10
Fokkelman (2003), pp. 213–20: 1–2.3–4.5–6|7–8.9–10 (2.2.2|2.2 lines)
Terrien (2003): 1–3.4–5|6–8.9–10 (3.2|3.2 lines)
Weber (2003): 1.2–3.4–5|6–7.8–9b.9c–10 (2.5×2 bicola; a.b.c|c’.b’.a’); cf.
Zenner (1906)
[Hossfeld]/Zenger (2008): 1–3|4–6.7–9|10
5
In this respect, cf. Ps. 10,1 as the rhetorical centre of Psalms 9–10 (see CAS I,
Ch. III, 10.5 [pp. 154–55] and www.labuschagne.nl/ps009-10.pdf, Observation 1) and
my observations regarding the central positioning of Ps. 106,1–5 in the context of the
‘Zwillingspsalmen’ 105 and 106 (see Ch. II, 17.7.3 above).
iii.6 psalm 112 247
www.labuschagne.nl/ps112.pdf: 1.2–3|4–5.6.7–8|9.10 (7 strophes in a meno-

rah pattern; 1.2|2.1.2|1.1 lines)

Psalm 112 is an alphabetic acrostic in the same sense as the preceding
poem, Psalm 111.6 As is the case in Psalm 1, the opening word is ’šry
(‘happy’), opening with an aleph (v. 1a), and the concluding word t’bd (‘it
will fade out’), opening with a taw (v. 10c). This phenomenon reinforces
the alphabetic character of the composition. And as § 6.6 reveals, in the
past it was once again (cf. Psalm 111) generally assumed that the rhetorical
framework was confined to colon level. However, as is the case in Psalm
111 and in accordance with the Masoretic delimitation of the verses, its 22
cola constitute eight successive bicola and two concluding tricola (cf. § 6.5).
And once again, I shall demonstrate that the alphabetic acrostic did not
stand in the way of the psalmist to shape his composition in accordance
with the rules of classical Hebrew poetry. Like Psalm 111, this poem is
composed of two regular 4-line cantos (vv. 1–4 and 5–8) and a concluding
‘half-long’ canto of two tricola (vv. 9–10).7
In my opinion, the correspondences between exactly the beginnings of
vv. 1, 5 and 9 decisively structure our psalm, and function as beacons
showing the way through the thicket of its verbal recurrences and semantic
relationships. I take the exclamations ’šry ’yš (‘happy is the man’) in
v. 1a and .twb ’yš (‘it goes well with the man’) in v. 5a as an anaphora
marking the beginnings of Cantos I and II.8 The device for anaphora is
supported by the parallel expressions bms.wtyw/bmšpt. in the second colon
of the verselines concerned (vv. 1b and 5b respectively); see further yhyh
6
For the unique alphabetic form of these poems, see § 5.7 above (first paragraph).
7
Cf. Köster (1837) and Schildenberger (1960) in § 6.6. The similarity between the
twin psalms in terms of their macrostructure supports my reasoning behind the proposed
framework of the two psalms; contra Kissane (1954), Girard (1994), Fokkelman (2003)
and Weber (2003) who conclude that Psalms 111 and 112 have different frameworks.
And pace Labuschagne who argues, with reference to comparable numerical patterns
in Psalms 111 and 113, that Ps. 112,4–8 is a meaningful core canto surrounded by a
39-word framework (21+18 words); www.labuschagne.nl/ps112.pdf, Observation 3.
8
For the device for anaphora on a macrostructural level, see CAS I, Ch. V, 3.1.1.3
(pp. 470–71). I must concede that most scholars disagree with me regarding this in-
terpretation. Girard (1994) takes the repetition of the noun ’yš as an element in the
concentric framework of vv. 1–5; Fokkelman (MPHB III, p. 218) considers the corre-
spondence between vv. 1a and 5a ‘a semantic anaphora’ which marks the beginnings of
the first and the final strophe of his first main part (vv. 1–6). However, these interpre-
tations cannot do justice to the structural function of the message of v. 9a, right at the
beginning of Canto III (see below).
in § 6.4.3. In the second verselines of these cantos the psalmist speaks

about the future, in v. 2 about the future of the offspring of a righteous
man and in v. 6 about his own future; and note the identical grammatical
structure of vv. 2a and 6b (predicate.qualifier.yhyh.subject).9 The end of
the main cantos is marked by the motif of adversity; note h.šk (‘darkness’)
in v. 4a, and r‘h (‘evil’) and .sryw (‘his foes’) in vv. 7–8.10 That is to say,
from a thematic perspective Cantos I and II form a linearly alternating
parallelism: vv. 1–2.3–4|5–6.7–8 > a.b|a’.b’; cf. Psalm 111. The end of the
second canto is marked by the victory of the beneficent man over his foes;
see v. 8b.
Alongside the linear correspondences between Cantos I and II described
above, in terms of verbal repetitions a symmetric framework dominates;
see § 6.4.3 (the symmetric framework). This formal symmetry has also
a thematic aspect. The first canto concludes with the observation that
the righteous man is compassionate (v. 4b). This general statement about
the righteous (cf. the ‘objective’ descriptions of God’s qualities in Psalm
111,3–4), is made concrete in v. 5: he lends generously.11 The symmetric
pattern of verbal recurrences marking the boundaries of vv. 1–8 indicates
that vv. 9–10 are a relatively independent concluding canto.
Vv. 9 and 10 stand out as tricolic verselines at the end of an unin-
terrupted series of bicola (vv. 1–8). And in terms of semantics, vv. 9–10
form an inseparable whole: the prosperity of the righteous (v. 9) is con-
trasted by the downfall of the wicked (v. 10); cf. the concluding strophe
of Psalm 1 (vv. 5–6). This semantic contrast especially comes to light in
the third cola of the verselines: the horn of the righteous is exalted (v. 9c),
while the desire of the wicked comes to nothing (v. 10c); it is corroborated
by conspicuous alliterating features (§ 6.4.1). This means that vv. 9–10
as a whole develop and intensify the message of vv. 7–8, the concluding
verselines of the preceding canto: the beneficent man is not afraid and his
opponents taste defeat; cf. the transition from the first to the second canto.
9
The structural relationship between vv. 1–2 and 5–6 is corroborated by Ps. 37,26.
According to this verseline, the righteous is ‘all day long generous and lending’ (kl hywm
h.wnn wmlwh, 37,26a), which has its counterpart in 112,5a, ‘and his children are held
blessed’ (wzr‘w lbrkh, 37,26b), which has its counterpart in 112,2.
10
For the motif of adversity as a ‘realistic appraisal’ in wisdom psalms, see Pss.
34,20–21 37,39–40 and 94,12–15; J.K. Kuntz, ‘The Retribution Motif in Psalmic Wis-
dom’, ZAW 89 (1977), pp. 223–33 (note p. 230). Fokkelman ignores this structural
component when he argues that our psalm divides into two main parts, vv. 1–6 and
7–10; vv. 1–6 should distinguish itself from vv. 7–10 because ‘stanza I’ contains ‘only
positive terms’ (MPHB III, p. 218).
11
The relationship between the verselines concerned is also suggested by Isa. 58,10:
people who feed the hungry (v. 10a–b; cf. Ps. 112,5) are promised that their light shall
rise in the darkness (wzrh. bh.šk ’wrk, v. 10c; cf. Ps. 112,4a).
iii.6 psalm 112 249
In this respect, it is to be noted that vv. 8b and 9c form the break-up of

a stereotyped phrase. The metaphor of the exalted horn of the righteous
(v. 9c) obviously ties in with the idea of battle and the victory over enemies
(v. 8b); see especially wtrm kr’ym qrny . . . wtbt. ‘yny bšwrry (‘You raise my
horn high like that of a wild ox . . . and my eye sees the fall of my foes’; Ps.
92,11–12) and cf. further 1 Sam. 2,1 Pss. 75,10 89,18–19.25–26.
V. 9a (‘he gives freely to the poor’) especially links up with the concrete
description of the beneficent behaviour of the righteous at the beginning
of Canto II (v. 5). Additionally, now the beneficiaries are explicitly men-
tioned (‘the poor’); cf. Ps. 111,1–2, 5–6 and 9–10. In this way, the conclud-
ing canto (vv. 9–10) seemlessly joins the linearly alternating parallelism
between Cantos I and II. V. 9b corresponds to v. 3b and does not fit this
linear pattern on canto level; see also yr’h (‘he sees’) in vv. 8b.10a. The
latter phenomena are probably due to the summarizing character of the
concluding canto.12
Both Cantos I and II are composed of two 2-line strophes. That is to
say, the poem as a whole consists of an uninterrupted series of uniform
sections.13 For the regular strophic structure of Canto I, see especially the
responsion yšrym (‘the upright men’) in § 6.4.2. The boundaries of the first
strophe (vv. 1–2) are also marked by the words ’šry and ybrk (inclusion); cf.
these words in the linear corresponding strophes of Psalm 128 (vv. 1–2 and
4–5a) and Sherwood (1989), p. 60. The well-being (t.wb) of the beneficent
man (v. 5) is exemplified in the following verseline (‘he shall never be shaken
// . . . ’, v. 6); the connection is reinforced by ky at the beginning of v. 6.
The coherence between vv. 7 and 8 is almost uncontested and, among other
things, corroborated by a unique chiasmus; see § 6.4.1.
The quintessential thought of the psalm is once again (cf. Psalm 111) to
be found in the concluding and summarizing Canto III (vv. 9–10). With
the help of a literary chiaroscuro the psalmist brightens up the firmness
and joy of the beneficent man (v. 9) against the dark background of the
feelings and fate of the wicked (v. 10).
Psalm 111 and 112 are twin psalms. Their similarity is not only based
on the special form of these alphabetic acrostics, but also comes to light
in their total framework (4.4.2 verselines; Type IIB) and their regularity
12
See CAS I, Ch. V, 5.2.2.6 (pp. 518–20); for vv. 9–10 as a summarizing canto, see
also CAS I, Ch. V, 5.2.2.3 (pp. 516–17). The correspondence between vv. 3b and 9b
is for Girard (p. 182) ‘la pièce maı̂tresse’ of the linear parallelism between vv. 1–5 and
6–10; for Weber (p. 231) it is the ‘Hauptanzeiger’ for the symmetric parallelism between
vv. 1–5 and 6–10 (see § 6.6).
13
See also Schildenberger (1960) and Fokkelman (2003) in § 6.6
on strophe level (uninterrupted series of 2-line strophes). The relationship

between the successive psalms is clearly supported by an impressive group
of verbal recurrences: root yr’ (vv. 1.7.8) > 111,5.9.10 (note the concatena-
tion); h.ps. (v. 1) > 111,2; yšrym (vv. 2.4) > 111,1.8; .sdqtw ‘mdt l‘d (vv. 3.9)
> 111,3 (linear); h.nwn wrh.wm (v. 4) > 111,4 (exactly linear); .twb (v. 5)
> 111,10; mšpt. (v. 5) > 111,7; l‘wlm (v. 6) > 111,5.8.9; root zkr (v. 6)
> 111,4.5; lb (vv. 7.8) > 111,1; smwk (v. 8) > 111,8; root ntn (v. 9) >
111,5.6.14
6.8 Bibliography
W. Zimmerli, ‘Zwillingspsalmen’, in J. Schreiner (ed.), Wort, Lied und Gottes-
spruch. FS J. Ziegler (FzB 2), Würzburg: Echter Verlag, 1972, pp. 105–13 (note
pp. 107–09; now in W. Zimmerli, Studien zur alttestamentlichen Theologie und
Prophetie. Gesammelte Aufsätze, vol. 2 [ThB 51], München,1974, pp. 261–71);
L.G. Perdue, Wisdom and Cult (SBL Dissertation Series 30), Missoula (Mon-
tana): Scholars Press, 1977, pp. 291–94;
J. Schildenberger, ‘Das Psalmenpaar 111 und 112’, Erbe und Auftrag 56 (1980),
pp. 203–07;
S.K. Sherwood, ‘Psalm 112—A Royal Wisdom Psalm?’, CBQ 51 (1989), pp.
50–64;
C.B. Houk, ‘Acrostic Psalms and Syllables’, in J.C. Knight (ed.), The Psalms
and other Studies on the Old Testament. FS J.I. Hunt, Nashotah, 1990, pp.
54–60;
W.S. Prinsloo, Die Psalms leef: ’n eksegetiese studie van psalm 3, 15, 23, 112,
126, 131, 136, 148, Pretoria: NGKB, 1991;
P. Auffret, ‘En mémoire éternelle sera le juste: étude structurelle du Psaume
cxii’, VT 48 (1998), pp. 2–14;
Philo, 2002, pp. 252–59;
R. Kessler, ‘Khirbet el-Kōm und Psalm 112—ein Fall von Intertextualität’, VT
61 (2011), pp. 677–84.
14
For the coherence of Psalms 111 and 112, see also § 6.5 above where I argue that
112,1a is the rhetorical centre of these twins. In my opinion, all these phenomena
militate against the imputations made by [Hossfeld]/Zenger (2008, p. 234) that ‘wegen
stilistischer Differenzen’ Psalms 111 and 112 probably do not stem from the same poet;
Psalm 112 is said to be less skilfully composed.
iii.7 psalm 113 251
7 Psalm 113
Structure: 3.3.3 lines (Type IA)
1 hllw ‘bdy yhwh hllw ’t šm yhwh
2 yhy šm yhwh mbrk m‘th w‘d ‘wlm
3 mmzrh. šmš ‘d mbw’w mhll šm yhwh
4 RM ‘l kl gwym yhwh ‘l hšmym kbwdw

5 my kyhwh ’lhynw hmgbyhy lšbt
6 hmšpyly lr’wt bšmym wb’rs.
7 mqymy m‘pr dl m’špt YRYM ’bywn

8 lhwšybw ‘m ndybym ‘m ndyby ‘mw
9 mwšyby ‘qrt hbyt ’m hbnym śmh.h
7.1 Text
Vv. 5–6: ‘Die traditionelle Umstellung in der rhetorischen Frage von V 5f. ist
unnötig’ (Hossfeld/[Zenger], p. 249).
V. 8a—lhwšybw : see BHS; MT lhwšyby. ‘Generally false assimilation to the
adjacent endings is assumed’ (Allen, p. 133).
7.2 Content
God is great because he helps the poor (cf. Ps. 112,5–8).
• Exhortation to praise God (vv. 1–3).
• Description of God’s dominion over heaven and earth (vv. 4–6; note
‘yhwh is exalted’ in v. 4a).
• Description of God as the saviour of the poor (vv. 7–9; note ‘He lifts
up’ in v. 7b).

7.3.1.1 imperative: hllw, v. 1a and 1b 7.3.1.2 none
vocative: ‘bdy yhwh, v. 1a

7.3.2.1 none 7.3.2.2 none

jussive: yhy, v. 2a m‘th w‘d ‘wlm, v. 2b
brk with object God, v. 2a my, v. 5a

vv. 1–3: root hll, vv. 1a+b.3b! (inclusion)
šm yhwh, vv. 1b.2a.3b!; see also yhwh in v. 1a
mbrk/mhll, vv. 2a and 3b resp.
} chiasmus
mn . . . ‘d, vv. 2b.3a!
šmym, vv. 4b.6b! (inclusion)
prep. l-, vv. 5b.6a
vv. 7–9: root yšb hiph‘il, vv. 8a.9a (anaphora)

vv. 1–3.4–6.7–9: yhwh, vv. 1–3.4a+5a! (concatenation)
prep. mn, vv. 2b+3a.7a+b!
root rwm, vv. 4a.7b! (linear); cf. the root qwm in v. 7a
root yšb, vv. 5b.8a+9a!; note prep. l- + yšb in vv. 5b
and 8a (linear; Allen)

prep. l- (v. 8)

prep. b- (v. 6b [2×]), suffix -w (vv. 3.4.8 [2×*]), prep. ‘l (v. 4 [2×]), prep.
‘m (v. 8 [2×])

Psalm 113 has 3 strophes, 9 verselines and 18 cola; note the multiples of 3.
V. 5 constitutes the middle verseline (> 4+1+4 verselines) and the middle
cola (> 8+2+8 cola). The central position of v. 5 is highlighted by the
designation ’lhym (‘God’) which does not occur elsewhere in the psalm.1 It
is also worth noting that the expression ’lhynw (‘our God’) has a pivotal
1
For this phenomenon, see CAS II, Ch. V, 2.3.1 (pp. 520–22).
iii.7 psalm 113 253
place in the verseline concerned (> 2+1+2 words); additionally, it is only

here that the psalmist introduces himself as belonging to a group.2
Structure of strophes in terms of words: 21+17+18 (= 56 = 8×7 words
in total). Labuschagne points out that the central strophe, vv. 4–6, is en-
veloped by a 39-word framework (21+18 words; cf. Psalms 111 and 112)
and that 39 derives its significance from the numerical value of the expres-
sion yhwh ’h.d (= 26+23); www.labuschagne.nl/ps113.pdf, Observation 3.
The divine name, yhwh, occurs 6×; see vv. 1–5. In v. 5 God is referred
to as ’lhym.

Köster (1837): 1–3.4–6.7–9 (3.3.3 verses; note pp. 367–68); similarly Häver-
nick (1849), p. 40, Ley (1875), pp. 154–55, Delitzsch (1894), Duhm
(1922), Calès (1936), Montgomery (1945), p. 382, Pannier/Renard
(1950), Kissane (1954), Mowinckel (1957), Schildenberger (1960), p.
675, Dahood (1970), NAB (1970), Jacquet (1979), Allen (2002), note
pp. 134–35, Hossfeld/[Zenger] (2008), Booij (2009)
De Wette (1856): 1–4.5–9; similarly Van der Ploeg (1974), Kraus (1978)
Ewald (1866), pp. 505–07: no strophes; similarly NBG (1951), BHS (1969)
Gunkel (1926): 1–2.3–4|5–6.7–9 (‘Keine Strophenbildung’); similarly Gem-
ser (1949) and cf. De Wette (1856)
Freedman (1980), pp. 243–49: 1–3.4–6.7–9. . . (6.6.6. . . cola); cf. Beaucamp
(1979) and (1968), p. 211
Aletti/Trublet (1983), p. 95: . . . |4.5–6.7.8–9 (. . . |a.b.a’.b’)
Girard (1994): 1.2–3||4.5–6|7.8–9 (a.a’||b.c|b’.c’); cf. Aletti/Trublet (1983)
Prinsloo (1996), pp. 469–74: 1–3|4–6.7–9; cf. Weber (2003)
Meynet (1998), pp. 260–62: 1–4.5a.5b–9
Fokkelman (2003), pp. 220–21: 1–2.3–4|5–6.7–9 (2.2|2.3 lines); cf. also
Fokkelman (1998), pp. 9–17, and Gunkel (1926)
Terrien (2003): 1–3.4–5|6–7.8–9 (3.2|2.2 lines)

Exegetes almost unanimously agree that Psalm 113 is composed of three
regular 3-line strophes, vv. 1–3, 4–6 and 7–9; see Köster, Freedman, Girard
and Prinsloo in § 7.6. The boundaries of the first and the second strophe
are marked by inclusion; note the root hll and the noun šmym respectively.
2
Fokkelman (MPHB III, p. 221) calls v. 5a ‘the most characteristic rhetorical question
available in the hymnic genre’; cf. Meynet (1998) in § 7.6. See also C.J. Labuschagne,
The Incomparability of Yahweh in the Old Testament, Leiden: Brill, 1966, p. 22.
Additionally, the first strophe is characterized by the expression šm yhwh

(‘the name of the Lord’); see § 7.4.1. Booij (2009, p. 19) rightly remarks
that the merismus of space, we find in v. 3a (‘from the sun’s rising to its
setting’), paves the way for the following strophe (vv. 4–6), as does the idea
of ‘seeing what is below’ in v. 6a for the concluding strophe (vv. 7–9).
The second and the third verselines of vv. 1–3 and 4–6 are formally
parallel because their colometry is characterized by chiasmus; for vv. 2–3,
see § 7.4.1.3 The chiasmus characterizing vv. 5–6 is based on grammatical
relationships: v. 6b especially joins v. 5a and, in terms of syntax, v. 6a
matches v. 5b.4 The responsion based on the repetition of the root rwm
marks the opening verselines of the second and the third strophes (§ 7.4.2).
The transition from the second to the third strophe is highlighted by the
undetermined participles mqymy and mwšyby in vv. 7a and 9a respectively;
cf. hmgbyhy and hmšpyly in vv. 5b and 6a respecively.
According to Gunkel (1926), ‘der deutliche Absatz’ in v. 5 militates
against the regular strophic structure. It is true that the interrogative par-
ticle my (‘who?’) in most cases functions as a transition marker at the
beginning of a strophe. However, in this case it introduces the pivotal
verseline of the strophe/psalm (§ 7.5); cf. the contrary indications which
occur in v. 2 and are listed in § 7.3.3.
the following verbal repetitions: root brk (v. 2) > 112,2; root rwm (vv. 4.7)
> 112,9; ’bywn (v. 7) > 112,9. Note also the multiples of 7 words: Psalm
112 has 11×7 words and Psalm 113 has 8×7 words.
V. 5a > 1 Sam. 2,2; vv. 7–8 > 1 Sam. 2,8a–d; v. 9 > 1 Sam. 2,5c–d.
7.8 Bibliography
J.T. Willis, ‘The Song of Hannah and Psalm 113’, CBQ 35 (1973), pp. 139–54;
D.N. Freedman, ‘Psalm 113 and the Song of Hanna’, in D.N. Freedman, Pottery,
Poetry, and Prophecy. Studies in Early Hebrew Poetry, Winona Lake (Indiana):
3
Fokkelman (MPHB III, p. 221 n. 22) ignores this chiasmus and maintains that the
language of v. 3 offers no basis for its interpretation as a ‘volitive clause’. However, the
chiasmus reveals that the participle pu‘al mhll in v. 3b, like the participle pu‘al mbrk, is
governed by the jussive yhy in v. 2a; see also Booij (2009), p. 20.
4
For the relationship between Ps. 113,5a and 6b, cf. Deut. 3,24b and 1 Kings 8,23.
For the device for chiasmus in corresponding verselines of successive 3-line strophes, see
also Ps. 124,4–5.7.
iii.7 psalm 113 255
A. Hurvitz, ‘Originals and Imitations in Biblical Poetry: A Comparative Exam-

ination of 1 Sam 2:1–10 and Ps 113:5–9’, in Ann Kort and Scott Morchauser
(eds.), Biblical and Related Studies. FS S. Iwry, Winona Lake, 1985, pp. 115–21;
G.T.M. Prinsloo, ‘Yahweh and the Poor in Psalm 113. Literary Motif and/or
Theological Reality?’, OTE 9 (1996), pp. 465–85;
H.P. Müller, ‘Zum 113. Psalm’, BN 100 (1999), pp. 18–21.
8 Psalm 114
I 1 bs.’t yśr’l Mms.rym byt Y‘QB M‘m l‘z

2 hyth yhwdh lqdšw yśr’l mmšlwtyw
3 HYM r’h wYNS HYRDN YSB L’H. WR

4 HHRYM RQDW K’LYM GB‘WT KBNY S.’N
II 5 mh lk HYM ky TNWS HYRDN TSB L’H. WR

6 HHRYM TRQDW K’LYM GB‘WT KBNY S.’N
7 Mlpny ’dwn h.wly ’rs. Mlpny ’lwh Y‘QB

8 hhpky hs.wr ’gm mym h.lmyš lm‘ynw mym
8.1 Text
V. 1b—‘m l‘z : see Weiss (1984), pp. 93–100, and Geller (1990), pp. 191–94.
V. 7—h.wly: ‘dance’ ([Hossfeld]/Zenger, pp. 270–72); cf. Ps. 96,9b.
8.2 Content
Call to praise God who protects his people Israel.
I Description of the exodus from Egypt (about the past).
After Israel had gone forth from Egypt the land of Juda became
His domain (vv. 1–2).
The whole Creation reacted in dismay when God revealed himself
(vv. 3–4).
II Call to honour God as a saviour from exile (about the present).
O Creation, why are you so dismayed? (vv. 5–6).
O earth, dance before God, who is a source of blessings (vv. 7–8).

8.3.1.1 mh, v. 5a imperative: h.wly, v. 7a
vocative: hym, v. 5a; ext. vocative: ’rs., v. 7a
// hhrym in v. 6a
vocative: hyrdn, v. 5b; ext. 8.3.1.2 none
// gb‘wt in v. 6b
iii.8 psalm 114 257

8.3.2.1 none 8.3.2.2 none

none

vv. 1–2: bs.’t . . . byt (anaphora)/-w . . . -w (epiphora), vv. 1 and 2 resp.
yśr’l mm-, vv. 1a.2b!
vv. 7–8: mlpny . . . mlpny (anaphora)/mym . . . mym (epiphora), vv. 7
and 8 resp.

vv. 1–4 (Canto I): none
vv. 5–8 (Canto II): none

vv. 1–2.7–8: prep. mn, vv. 1a+b.7a+b!
mms.rym/hs.wr . . . mym, vv. 1a and 8a resp. (alliter.)
y‘qb, vv. 1b.7b!
mmšlwtyw/h.lmyš, vv. 2b and 8b resp. (alliter.)
vv. 3–4.5–6: vv. 3–4 ext. // 5–6

prep. l- (vv. 2.8)

none

Psalm 114 has 4 strophes, 8 verselines and 16 cola. From these perspectives,
the caesura between Cantos I and II divides the poem into two equal halves.

24+28 (= 52 = 2×26 words in total). That is to say, although the Tetra-
grammaton does not explicitly occur in this poem, nevertheless, in a sym-
bolic way it is woven into the fabric of the text, because 26 is the numerical
value of yhwh.1
In v. 7 God is designated ’dwn (‘Lord’) and ’lwh (‘God’).

Köster (1837): 1–2.3–4.5–6.7–8 (4×2 verses/lines); similarly De Wette
(1856), Ley (1875), p. 147, Duhm (1922), Gunkel (1926), Calès (1936),
Herkenne (1936), Montgomery (1945), p. 382, Gemser (1949), Pan-
nier/Renard (1950), Kissane (1954), Mowinckel (1957), Schildenberger
(1960), p. 674, BHS (1969), Jacquet (1979), Terrien (2003)
Sommer (1846), p. 108: 1–2.3–4.5–6.7–8 (4×4 cola); similarly Delitzsch
(1894), Watson (1984), pp. 189–90, Geller (1990)
Meier (1853), pp. 94–96: 1–2.3–4|5–6.7–8 (8.8|8.8)
Ewald (1866), pp. 505–07: no strophes; similarly NAB (1970)
Moulton (1900), pp. 54–55: 1–2.3–4|5–6.7–8 (a.b|b’.a’); similarly Möller
(1931), pp. 39–40, Aletti/Trublet (1983), p. 95, W.S. Prinsloo (1992),
Girard (1994), Allen (2002), Weber (2003), Witte (2003), p. 295,
[Hossfeld]/Zenger (2008)
Lund (1942), pp. 110–111: 1.2|3.4.5.6|7.8 (a.b|c.d.c’.d’|b’.a’)
Beaucamp (1979): 1–2.3–4|5–6.7–8 (4.4|4.4 cola); cf. Sommer (1846)
G.T.M. Prinsloo (1998): 1–2.3–4|5–6.7–8 (a.b|c.d)
Bauer (2001), pp. 291–92: 1–2.3–4.5–6.7–8 (a.b.b’.c; 12+12+14+14 words)
Fokkelman (2001), pp. 56–60: 1–2.3–4|5–6.7–8 (2.2|2.2 lines; a.b|b’a’); sim-
ilarly Fokkelman (2003), pp. 222–23’; cf. Moulton (1900)
Amzallag/Avriel (2011): 1–2+3–4.3–4+5–6.5–6+7–8
www.labuschagne.nl/ps114.pdf: 1–2|3–4.5–6|7–8 (12|12+14|14 words)

Exegetes generally extol the craftsmanship of the poet of Psalm 1142 and
unanimously agree that the psalm is composed of a regular series of 2-line
1
Bauer (2001, p. 310) interprets the numerical structure on word level as follows:
‘Die Zahl 12 symbolisiert das aus 12 Stämmen bestehende Volk Israel und die Zahl 14
(2×7) die Totalität der Völker’.
2
‘Der Psalm ragt unter seinesgleichen durch frische Anschaulichkeit, schlagende
Kürze, strenge Einheitlichtkeit und schönes Ebenmaß hervor’ (Gunkel, p. 495); see fur-
ther Witte (2003), pp. 294. For a profound discussion of the rhetorical features of the
psalm, see e.g. Prinsloo (1998) and Bauer (2001).
iii.8 psalm 114 259
strophes (vv. 1–2, 3–4, 5–6 and 7–8; see § 8.6). Two by two, the strophes
form two regular 4-line cantos. The first canto (vv. 1–4) is a description of
historical events, the exodus from Egypt and God’s election of the people
of Israel. Canto II is about the present,3 the liberation of the exiles from
their captivity in Babylon.
The first strophe of Canto I is about the birth of the people of Israel
(v. 2) and in this context the psalmist refers to the exodus from Egypt
(v. 1). For the composition of the second strophe (vv. 3–4) the psalmist has
chosen and adapted motifs from various sources to describe the reaction of
nature and to underline the tremendous aspect of the events described in
vv. 1–2.4 The personification of the waters and the mountains provides
the strophe with a mythical flavour. Their reaction marking the end of the
first canto, paves the way for the dénouement we find in Canto II; cf. § 7.7
above (the first paragraph), about the transitions between the strophes of
Psalm 113.
The beginning of Canto II (vv. 5–8) is marked by the interrogative par-
ticle mh and the canto as a whole is determined by vocativi (§ 8.3.1.1). The
interrogative clause mh lk in v. 5a introduces a rhetorical question express-
ing excitement and amazement.5 Nevertheless, vv. 7–8 do not function as
an anwer. Quite in accordance with the terse style of this poetic master-
piece, the answer is to be found in the blank line between the third and the
fourth strophe: on the basis of the cosmic phenomena the psalmist observes
in a wonderful vision (vv. 5–6), and which are similar to those that accom-
panied the exodus from Egypt (cf. vv. 3–4), the exiles in Babylon may
conclude that God presents himself to guide them through the wilderness
and will bring them home (vv. 7–8; cf. vv. 1–2 and note the symmetric po-
sitioning of the ideas).6 Berlin (2008, pp. 358–60) has pointed out that the
way our psalm combines creation and exodus imagery, and highlights the
3
Similarly Fokkelman (2001), pp. 59–60, Weber (2003), p. 238. Vv. 5–6 consistently
make use of the imperfect, conspicuously deviating from vv. 1–4 (cf. Booij [2009], p. 27);
contra Berlin (2008), who maintains that ‘the distinction between past and present is
intentionally blurred’ (p. 354) and ‘there is a gradual shift from past to present in the
grammar of the psalm’ (p. 361; the italics are mine [PvdL]).
4
For this interpretation of vv. 3–4, cf. Berlin (2008), p. 353, and Booij (2009), p. 27.
According to [Hossfeld]/Zenger (2008), the ‘skipping’ (root rqd ) of the mountains is the
‘buchstäblich “springende” Punkt’ (p. 269) for the total interpretation of our psalm. In
my opinion, Zenger mistakenly assumes that there is a deliberate contrast between the
fear of the waters (vv. 3 and 5) and the joy of the hills (vv. 4 and 6); [Hossfeld]/Zenger
(2008), p. 270 (with reference to Lohfink [1994], p. 218; cf. also Geller [1990], p. 186).
5
In 2 Sam. 14,5 1 Kings 1,16 and 2 Kings 6,28 mh lk is a real question for information.
6
Fokkelman (2001, p. 58) rightly notes that the characters God and Israel ‘in their
qualities of powerful savior and chosen people’ only occur in vv. 1–2 and 7–8. For the
symmetry between the cantos in terms of verbal recurrences, see §§ 8.4.1 and 8.4.3.
experiences at the Reed Sea and in the wilderness resonates with the dis-
course of Second Isaiah; see Isa. 11,15–16 43,20 48,20–21 and 51,9–11. The
exhortation to (the inhabitants of) the world to dance before (to honour)
the God of Israel (vv. 7–8) functions as an endorsement of what is going
on in the cosmos (vv. 5–6). It is a hymnic affirmation of God’s creative
power for once again leading his people through the wilderness.7
This means that the verbal and thematic correspondences between vv.
3–4 and 5–6 are not a sign of ‘redundancy’ (contra Amzallag and Avriel
[2011]) but a very meaningful rhetorical device within the development of
ideas to express the message of the poem. In Psalm 114 we are dealing
with an extended form of this rhetorical device because it comprises almost
a complete 2-line strophe. The device in question has its counterparts in a
number of other psalms.8
The symmetric relationship between the strophes is corroborated by
their structure in terms of syntax. The first and the fourth strophes consist
of a single clause; the second and the third strophes have 4 clauses each,
which coincide with their four cola. Additionally, as far as vv. 1–2 and 7–8
are concerned, it is only in vv. 2 and 7 that we find a finite verb, while vv. 1
and 8 have an infintive and a participle respectively. From this perspective,
the opening and concluding strophes reinforce the symmetric structure of
the psalm as a whole: bs.’t . . . hyth|h.wly . . . hhpky > a.b|b’.a’. And to crown
it all, the antecedents of the suffixes of the third person singular used in the
second line of the first strophe (v. 2) only turn up in the second last line of
the concluding strophe; note the designations for God (’dwn and ’lwh) in
v. 7.9
7
Cf. Bauer (2001, p. 307) who takes v. 7a as ‘eine intensivierende Weiterführung’
of the preceding verselines. For the hymnic aspect of vv. 7–8, note the particle hhpky
introducing v. 8.
8
See, e.g., mh tštwh.h.y npšy ‘ly/‘ly npšy tštwh.h. at the transition form the first to
the second canto in Psalms 42–43 (42,6a and 7a respectively; CAS II, pp. 13–23), w’ny
. . . ‘mk in Ps. 73,22.23 (CAS II, pp. 295–307), mg‘rtk/m’z ’pk in Ps. 76,7a and 8b resp.
(CAS II, pp. 326–31), ’šry in Ps. 84,5a.6a (anaphora!; CAS II, pp. 416–25), the root
byn in Ps. 94,7b.8a (see Ch. II.5 above), ‘ynym in Ps. 101,5c.6a (see Ch. II.12 above), l’
. . . wl’ in Ps. 103,9.10 (see Ch. II.14 above), m‘śyw/m‘śy yhwh in Ps. 107,22b and 24a
resp. (see Ch. III.1 above), bt.h. b- in Ps. 115.8b.9–11, lšwn rmyh in Ps. 120,2b.3b (note
mh ytn lk wmh ysyp lk in v. 3a; cf. Ps. 114,5a), the root šyr in Ps. 137,3 (3×).4 (2×)
and the participle ‘śh in Ps. 146,6a.7a (note the anaphora); cf. also h.sd/krt/mh.h in Ps.
109,12–13.14–16 (see Ch. III.3 above).
9
This is a clear example of the device for ‘delayed indentification’ (Watson [1984], pp.
336–38) and a proof of the poet’s craftsmanship. The device concerned achieves suspense
and ‘verstärkt den unheimlichen Eindruck, der über den folgenden Versen liegt’ (Weiser
[1966], p. 488); similarly Weiss (1984), p. 357.
iii.8 psalm 114 261
the following verbal repetitions: byt (v. 1) > 113,9 (concatenation); ‘m
(‘people’; v. 1) > 113,8; root hyh (v. 20 > 113,2; bnym (vv. 4.6) > 113,9.10
On the grounds of the concatenation between Psalms 113 and 114 (note
the noun byt), I tentatively suggest that the ‘sterile woman’ from Ps. 113,9
may represent the city of Jerusalem during the exile.
8.8 Bibliography
P. Auffret, ‘Notes conjointes sur la structure littéraire des Psaumes 114 et 29’,
EstBı́b 37 (1978), pp. 103–13 (and 38 [1979], p. 153);
B. Renaud, ‘Les deux lectures du Ps 114’, RevSR 52 (1978), pp. 14–28;
M. Weiss, The Bible From Within: The Method of Total Interpretation, Jerusalem,
1984, pp. 93–100 and 352–78;
S.A. Geller, ‘The Language of Imagery in Psalm 114’, in T. Abusch et al. (eds.),
Lingering over Words. FS W.L. Moran (HSS 37), Atlanta, 1990, pp. 179–94;
W.S. Prinsloo, ‘Psalm 114: It Is Yahweh Who Transforms the Rock into a Foun-
tain’, JNSL 18 (1992), pp. 163–76;
N. Lohfink, ‘Das tanzende Land und der verflüssigte Fels. Zur Übersetzung von
Ps 114,7’, in A. Greve and F. Albrecht (eds.), . . . dann werden wir sein wie die
Träumenden. FS I. Baldermann, Siegen, 1994, pp. 199–222;
L. Ruppert, ‘Zur Frage der Einheitlichkeit von Psalm 114’, in P. Mommer and
W. Thiel (eds.), Altes Testament: Forschung und Wirkung. FS H.G. Reventlow,
Frankfurt a.M.: Peter Lang Verlag, 1994, pp. 81–94;
G.T.M. Prinsloo, ‘Tremble before the Lord: Myth and history in Psalm 114’,
OTE 11 (1998), pp. 306–25;
U.F.W. Bauer, ‘Eine literarische Analyse von Psalm cxiv’, VT 51 (2001), pp.
289–311;
J.P. Fokkelman, Reading Biblical Poetry. An Introductory Guide, Louisville/Lon-
don: Westminster John Knox Press, 2001, pp. 56–60;
M. Witte, ‘Psalm 114. Überlegungen zu seiner Komposition im Kontext der
Psalmen 113 und 115’, Kleine Arbeiten zum Alten und Neuen Testament 4/5
(2003), pp. 293–311;
A. Berlin, ‘The Message of Psalm 114’, in Ch. Cohen et al. (eds.), Birkat Shalom.
FS Sh.M. Paul, Winona Lake (Indiana): Eisenbrauns, 2008, pp. 347–63;
N. Amzallag and M. Avriel, ‘The Canonic Responsa Reading of Psalm 114 and
its Theological Significance’, OTE 24/2 (2011), pp. 303–23.
10
Cf. Witte (2003), pp. 302–06.
9 Psalm 115
Structure: 8.8.2 > 3.5|3.5|2 > 3|3.2||3|3.2||2 lines (Type IIB)
I.1 1 L’ lnw yhwh L’ lnw ky lšmk TN kbwd ‘l h.sdk ‘l ’mtk

2 lmh y’mrw hgwym ’yh n’ ’lhyhm
3 W’lhynw bŠMYM kl ’šr h.ps. ‘ŚH
I.2 4 ‘s.byhm ksp wzhb m‘śh ydy ’DM

5 ph lhm wl’ ydbrw ‘ynym lhm wl’ yr’w
6 ’znym lhm wl’ yšm‘w ’p lhm wl’ yryh.wn
7 ydyhm wl’ ymyšwn rglyhm wl’ yhlkw l’ yhgw bgrwnm

8 kmwhm yhyw ‘śyhm kl ’šr BT
.H. Bhm
II.1 9 yśr’l BT
.H. Byhwh ‘zrm wmgnm hw’
10 byt ’hrn BT.H
. W Byhwh ‘zrm wmgnm hw’
11 yr’y yhwh BT .H
. W Byhwh ‘zrm wmgnm hw’
II.2 12 yhwh zkrnw ybrk ybrk ’t byt yśr’l ybrk ’t byt ’hrn
13 ybrk yr’y yhwh hqt.nym ‘m hgdlym
14 ysp yhwh ‘lykm ‘lykm w‘l bnykm
15 brwkym ’tm lyhwh ‘ŚH ŠMYM w’rs.

16 hŠMYM ŠMYM lyhwh Wh’rs. NTN l bny ’DM
III 17 L’ hmtym yhllw yh WL’ kl yrdy dwmh

18 W’nh.nw nbrk yh m‘th w‘d ‘wlm
9.1 Text
V. 17b—dwmh: ‘netherworld’; see Gallagher, AfO 50 (2003/04), pp. 423–28.
9.2 Content
Call to the people of Israel to trust in God.
I The downfall of those who worship idols.
I.1 Profession of God’s evident majesty and power in front of the
nations (vv. 1–3).
I.2 The impotence of the idols (vv. 4–7) and of those who put their
trust in them (v. 8).
iii.9 psalm 115 263
II God’s blessings for the people of Israel.

II.1 Call to the people of Israel to trust in God (vv. 9–11; cf. vv.
1–3).
II.2 The blessings for the believers (vv. 12–16; cf. vv. 7–8).
III Song of praise: it is the living who praise God (vv. 17–18).

9.3.1.1 vocative: yhwh, v. 1a // bt.h.w in vv. 10a+11a
imperative: tn, v. 1b brk with object Israel, v. 12
vocative: yśr’l, v. 9a; ext. (3×); ext. // brk in v. 13
// byt ’hrn in v. 10a and ’tm, v. 15a
yr’y yhwh in v. 11a
imperative: bt.h., v. 9a; ext. 9.3.1.2 brk with object God, v. 18a

9.3.2.1 hw’, v. 11b; ext. // hw’ in 9.3.2.2 w- beginning of line, v. 3a
vv. 10b and 9b yr’ with object God, v. 11a
’nh.nw, v. 18a w- beginning of line, v. 18a
m‘th w‘d ‘wlm, v. 18b

lmh, v. 2a
’yh, v. 2b
n’, v. 2b

vv. 1–3: prep. l-, vv. 1a (2×)+b.2a
suffix -nw, vv. 1a (2×).3a (inclusion)
’lhym, vv. 2b.3a!
vv. 4–6: lhm wl’, vv. 5a+b.6a+b!
vv. 7–8: prep. b-, vv. 7c.8b
vv. 9–11: bt.h.(w) byhwh // ‘zrm wmgnm hw’, vv. 9.10.11 (epiphora)!
vv. 12–14: yhwh, vv. 12a.13a.14a
ybrk, vv. 12a+b+c.13a
hqt.nym/bnykm, vv. 13b and 14b resp.
} chiasmus
hgdlym/‘lykm, vv. 13b and 14a+b resp.
vv. 15–16: lyhwh, vv. 15a.16a (exactly linear); see also prep. l- in v. 16b
šmym, vv. 15b.16a (2×)
’rs., vv. 15b.16b!
vv. 17–18: l’ hmtym/w’nh.nw, vv. 17a and 18a resp. (anaphora)
roots hll (pi‘el)/brk (pi‘el), vv. 17a and 18a resp. (linear)
yh, vv. 17a.18a! (exactly linear)
dwmh/w‘d ‘wlm, vv. 17b and 18b resp. (alliter.; epiphora)

vv. 4–8 (I.2): suffix -hm, vv. 4–8 (10×); see also suffix -m in v. 7c
root ‘śh, vv. 4b.8a (inclusion)
ydym, vv. 4b.7a! (linear)
yšm‘w/ymyšwn, vv. 6a and 7a resp. (alliter.; concaten.)
vv. 12–16 (II.2): yhwh, vv. 12a.13a.14a.15a.16a

root brk, vv. 12+13a.15a (linear)
bnym, vv. 14b.16b! (linear)

vv. 1–8 (Canto I): l’, vv. 1a (2×).5–7 (7×)
prep. l-, vv. 1–2a.5–6 (4×)
suffix -hm, vv. 2b.4–8!
prep. b-, vv. 3a.7c+8b (linear)
kl ’šr, vv. 3b.8b! (cf. Psalm 135)
} chiasmus (linear)
root ‘śh, vv. 3b.4b (concatenation)
vv. 9–16 (Canto II): yśr’l, vv. 9a.12b! (linear)

yhwh, vv. 9–11.12–16 (concatenation)
byt ’hrn, vv. 10a.12c!
yr’y yhwh, vv. 11a.13a!

vv. 1–3.9–11.17–18: l’, vv. 1a (2×).17a (exactly linear); see also v. 17b
suffix -nw/’nh.nw, vv. 1a (2×)+3a and 18a resp.
yhwh, vv. 1a.9–11
w- at the beginning of the line, vv. 3a.18a! (exacly
linear); cf. also w- at the beginning of v. 17b
iii.9 psalm 115 265
vv. 4–8.12–16: ’dm, vv. 4b.16b! (cf. Psalm 135)
vv. 1–3.12–16: suffix -nw, vv. 1a (2×)+3a.12a

root ntn, vv. 1b.16b! (inclusion)
prep. ‘l, vv. 1c (2×).14a+b (2×)!
‘l ’mtk/‘lykm, vv. 1c and 14 (2×) resp. (alliter.)
šmym, vv. 3a.15b+16a (2×)!
‘śh with subject yhwh, vv. 3b.15b! (cf. Psalm 135)
vv. 7–8.9–11: suffix -m, vv. 7c.9–11! (6×)

root bt.h. + prep. b-, vv. 8b.9a+10a+11a!
vv. 12–16.17–18: root brk, vv. 12+13a+15a.18a!

w- at the beginning of the second colon, vv. 16b.17b!

kl (v. 17b)

suffix -k (v. 14 [3×]), suffix -km (v. 1 [3×])

constitute the middle strophe (> 3+1+3 strophes).2 The strophe stands
out on the basis of its ‘antiphonal’ character. The switch in the way the
people of Israel is referred to suggests that there is a change of speaker at
the break within the verselines: in the a-cola several groups are addressed
in the second person, while in the b-cola these groups are spoken about in
the third person. The repetition of the personal pronoun hw’, referring to
God, at the end of the b-cola, gives the strophe a hymnic flavour. The cola
in question obviously convey an important theological message: ‘He is their
1
Similarly Fokkelman (MPHB III), [Hossfeld]/Zenger (2008) and Labuschagne (www.
labuschagne.nl/ps115.pdf). However, it is to be noted that there is no unanimity re-
garding the marking out of the strophes (see § 9.6).
2
Cf. the concentric structure suggested by Aletti/Trublet (1983), [Hossfeld]/Zenger
(2008) and Labuschagne; see § 9.6.
help and shield’. Additionally, v. 9b is the pivotal colon of the composition

as a whole (> 19+1+19 cola).
Structure of strophes and cantos in terms of words: 25|22+16||20|23+13
||14 = 25+38|20+36|14 = 63+56+14 (= 133 = 19×7 words in total). The
number seven has a structural function in this psalm: the psalm as a whole
is composed of 7 strophes and a multiple of 7 words. In addition, the
individual cantos also have multiples of 7 words: Canto I has 9×7 words,
Canto II 8×7 words and Canto III 2×7 words! Moreover, the psalmist men-
tions 7 futilities displayed by the idols (see www.labuschagne.nl/ps115.pdf,
Observation 3).3
The divine name, yhwh, occurs 10×: see vv. 1 and 9–16; in vv. 17 and
18 occurs the shortened from yh. In vv. 2 and 3 God is designated ’lhym.
That is to say, there are 14 explicit references to God.

Köster (1837): 1–3.4–8|9–11.12–15.16–18 (3.5|3.4.3 verses)
De Wette (1856): 1–4.5–8|9–11.12–15.16–18 (4.4|3.4.3 verses); cf. Köster
Ewald (1866), pp. 398–400: 1–3.4–7.8–11|12–15.16–18
Delitzsch (1894): 1–2.3–8.9–14.15–18
Zenner (1906), pp. 276–79: . . . ||1–2.3–4.5–6.7–8.9–10.11–12||13.14–15|16.
17–18 (. . . ||6×2||1.2|1.2 lines)
Duhm (1922): 1*.2–3.4–5.6–7b.7c–8*.9–10.11*.12*.13–14.15–16.17–18
(11×2 bicola)
Gunkel (1926): 1–2*.3–8.9–11.12–15.16–18; similarly Dahood (1970) and
Kraus (1978)
Calès (1936): 1.2–3.4.5–6.7.8|9–11.12–13.14–15.16–18
Herkenne (1936): 1–3.4–8.9–11.12–15.16–18; sim. Van der Ploeg (1974)
Lund (1942), pp. 104–07: 1.2–3.4–8|9–13.14–16.17–18 (a.b.c|c’.b’.a’)
Gemser (1949): 1–3|4–8|9–11|12–13.14–15|16–18
Pannier/Renard (1950): 1–3.4–6.7–8*.9–11.12–14.15–18 (‘des strophes ter-
naires’); cf. Mowinckel (1957)
Kissane (1954): 1–3.4–7.8–11.12–15.16–18 (3.4.4.4.3 lines)
NAB (1970): 1–3.4–8.9–18
Alden (1978), pp. 205–06: 1.2–3.4–8|9–14.15–16.17–18 (a.b.c|c’.b’.a’); cf.
Lund (1942)
Beaucamp (1979): 1 2–4.5–6+8.9–11.12–13.14–15 16–18 (‘ne présente
aucune construction strophique régulière’)
3
The number seven also plays an important structural role in Psalms 112, 113 and
135 (among others).
iii.9 psalm 115 267
Jacquet (1979): 1*–3.4–6.7*–8.9–11.12a+1c+12b–13.14–16|17–18 (6×3|2

bicola; vv. 17–18 ‘addition tardive’); cf. Pannier/Renard (1950)
Aletti/Trublet (1983), pp. 95–96: 1.2–3.4–8|9–11|12–14.15–16.17–18 (a.b.c|
d|c’.b’.a’)
Ravasi (1983): 1–3.4–8.9–11|12–13.14–15.16–18 (a.b.a’|c.d.c’)
Girard (1994): 1–2.3–4.4–8|9–14.15–16.16b–18 (a.b.c|c’.b’.a’); cf. Alden
Auffret (1995): 1.2.3.4–8|9–11.12–13.14.15–16.17.18 (a.b.b’.c|c’ [vv. 9–16].
d.d’)
Allen (2002): 1–4.5–8.9–11.12–13.14–18 (A.B.C.C’.A’; note pp. 146–47)
Fokkelman (2003), pp. 223–26: 1–3.4+8.5–7|9–11.12–13|14–16.17–18 (3.2.3|
3.2|3.2 lines; vv. 1–3 . . . 9–11 . . . 15–18 > a . . . x . . . a’)
Terrien (2003): 1–3 4–8.9–13.14–18 (3 5.5.5 lines); cf. Fokkelman (2003)
Weber (2003): 1–3|4–6.7–8|9–11.12–13|14–16.17–18 (A.B.B’.A’); cf. Fokkel-
man (2003)
[Hossfeld]/Zenger (2008): 1–3.4–8|9–11|12–15.16–18 (A.B|C|B’.A’)
www.labuschagne.nl/ps115.pdf: 1–2|3–4.5–8||9–11.12–13.14–15|16–18
(7 strophes in a menorah pattern); cf. [Hossfeld]/Zenger (2008)

Zenger rightly considers Psalm 115 a ‘poetisch imaginierte Liturgie’. There-
fore, its structure is to be interpreted on the grounds of ‘eine poetologische
Analyse’ and not with the help of a ‘hinter dem Text vermutete Liturgie’
([Hossfeld]/Zenger [2008], p. 278). Such an approach makes me conclude
that Psalm 115 divides into two uniform cantos of eight verselines (vv. 1–8
and 9–16) and a small concluding canto of two verselines (vv. 17–18).4 Both
uniform cantos are composed of two canticles, consisting of 3 and 5 verse-
lines respectively. The canticles have a linearly alternating relationship
and the concluding half-long canto smoothly joins this wave-like motion:
vv. 1–3.4–8|9–11.12–16|17–18 > a.b|a’.b’|a’’.
The caesura between Cantos I and II is supported by the linear corre-
spondence between vv. 1–3 and 9–11: the (implied) exhortation to God to
reveal his majesty and power (v. 1) matches the exhortations to the people
of Israel to rely on God’s protection (vv. 9–11); see §§ 9.2 and 9.3.1.1.5
Subsequently, the impotence of the idols (vv. 4–8) is contrasted by God’s
blessings the people of Israel may reckon with (vv. 12–16). On the basis of
the hymnic motifs occurring in vv. 1–3 (note vv. 1b and 3) and in the b-cola
of vv. 9–11, the concluding Canto III—which is about the praise of God
4
It is almost generally agreed that v. 8 marks the end of a main section, see § 9.6.
5
LXX mistakenly considers the forms of the root bt.h. in vv. 9–11 perfecta; see [Hoss-
feld]/Zenger (2008), pp. 289–90, and Booij (2009), p. 34 (cf. BHS).
in its entirety—smoothly fits this linear design. For the linear parallelism
between the cantos, see also the verbal repetitions listed in § 9.4.4; note
the negation l’ at the beginning of vv. 1.17 and the adversative function of
the conjunction w- at the beginning of vv. 3.18.
Furthermore, Canto I stands apart because the Tetragrammaton only
occurs in its first colon (v. 1a), while in Canto II the divine name occurs in
the first colon of all its verselines; see § 9.4.3. Additionally, in v. 1a yhwh
is a vocative and in the second canto God is consistently spoken about in
the third person. The formal coherence of Canto I is also supported by the
responsion kl ’šr ; see § 9.4.3. The coherence of Canto II is buttressed by
the exclusive occurrence of yśr’l (‘Israel’), byt ’hrn (‘house of Aaron’) and
yr’y yhwh (‘those wo fear the Lord’); see § 9.4.3.
Vv. 17–18 represent a relatively individual canto. It is a concluding
doxology.6 In terms of verbal repetitions, the verselines form a tight unity;
see § 9.4.1 and note the shortened form of the divine name (yh), which does
not occur elsewhere in the poem. § 9.6 shows that v. 16 is frequently seen
as an integral part of this concluding doxology.7 However, it is once again
especially the verbal repetitions on the level of the strophes which underline
the formal coherence of vv. 15–16; note lyhwh (‘by/to the Lord’), šmym
(‘heaven’) and ’rs. (‘earth’) in § 9.4.1. The external parallelism between
vv. 12–14 and 15–16 further support the strophic divisions concerned; note
the responsions based on the repetition of the root brk (‘to bless’) and the
noun bnym (‘sons’) in § 9.4.2. And to crown it all, the symmetric pattern of
the verbal repetitions on the level of the poem as a whole (see § 9.4.4 and
below) unambiguously demonstrates that v. 16 belongs to Canto II; note
the symmetric positioning of the small cluster ntn, šmym and ‘śh in vv. 1–3
and 15–16.8 The coincidence of all these formal features is a decisive factor
in establishing the overall framework of our psalm. Afterwards, I establish
that (in terms of meaning) vv. 15b–16 are a hymnic closure of the second
canto (note the participle ‘śh in v. 15b) and preludes on the explicit praise
of God in the concluding half-long Canto III.
Subsequently, within Cantos I and II we may distinguish some 3-line
strophes; cf. Pannier/Renard and Jacquet in § 9.6. The refrain-like rep-
etition of the second part of the verselines, ‘He is their help and shield’,
6
For such concluding half-long cantos consisting of a doxology, see CAS I, Ch. V,
5.2.2.1 (pp. 513–15).
7
Otherwise Duhm (1922), Lund (1942), Alden (1978), Jacquet (1979), Aletti/Trublet
(1983), Girard (1994), Fokkelman (2003) and Weber (2003).
8
For the symmetric structure—in terms of verbal repetitions—of two successive main
cantos, setting apart a concluding half-long canto, see Psalms 25, 30, 38 (CAS I, Ch.
III.25, III.30 and III.38 respectively), 48, 60 (CAS II, Ch. II.6 and II.18 respectively),
109, 111, 112 and 140 (the present volume).
iii.9 psalm 115 269
underlines the thematic coherence of the 3-line strophe vv. 9–11 (§ 9.4.1);
and the repeated call to trust in God, we find in the a-cola, reinforces this
coherence. In vv. 12–14 the psalmist speaks about the blessings God will
bestow on his people. In terms of the direction of address, there is a smooth
transition to the following strophe, vv. 15–16. In vv. 12b–13 the people of
Israel is spoken about in the third person,9 but in v. 14 the psalmist ad-
dresses his fellow believers in the second person plural (note the suffix -km
[3×]), as is the case in the opening colon of the following strophe (note ’tm
in v. 15a).10 The relative individuality of vv. 12–14 and 15–16 is reinforced
by the parallelismus stropharum described above.
For vv. 1–3 as a 3-line strophe, see § 9.4.1 and kl ’šr in § 9.4.3.11 I assume
that vv. 4–6 is another 3-line strophe. This suggestion is (once again) based
on formal considerations; note the responsion ydym (‘hands’) in § 9.4.2.
From a thematic point of view, v. 7 is the immediate continuation of vv.
5–6. Nevertheless, there is a subtle grammatical difference: in vv. 5–6 the
parts of the body are followed by lhm (‘to them’), while in v. 7 the suffix
hm/-m is immediately attached to the parts of the body (similarly Weber
[2003], p. 242).12
Finally, the listing of the verbal recurrences on the level of the poem as a
whole (§ 9.4.4) demonstrates that—alongside a linearly alternating relation-
ship (see above)—the canticles of Cantos I and II also display a symmetric
design (‘symetrie croisée’): vv. 1–3.4–8|9–11.12–16 > a.b|b’.a’.13 The ex-
pression bt.h. b- (‘to trust in’, vv. 8 and 9–11) functions as a concatenation
at the interface of the main cantos. Moreover, in terms of meaning, the
concluding verseline of Canto I about the impotence of those who put their
trust in idols (v. 8) paves the way for the exhortation to trust in yhwh
characterizing the first strophe of Canto II.
the following verbal repetitions: ’lhym (vv. 2.3) > 114,7 (’lwh); r’h (v. 5) >
9
In v. 12a the psalmist refers to his people in the first person plural; note zkrnw (‘He
remembers us’) in v. 12a and cf. vv. 1–3.
10
Otherwise Labuschagne, who assumes a switch in the direction of address after v. 15
11
Similarly Köster, Ewald, Herkenne, Gemser, Pannier/Renard, NAB, Fokkelman,
Terrien, Weber, [Hossfeld]/Zenger; see § 9.6.
12
For this device for enjambement within Canticle I.2, cf. the transition within Canticle
II.2 at the break between vv. 12–14 and vv. 15–16 discussued above.
13
§ 9.6 shows that from Lund (1942) onwards, scholars have frequently noted some
aspects of this symmetry; see Alden (1978), Girard (1984; ‘construction chiastique pra-
tiquement indubitable’), Allen (2002), and Weber (2003). According to Aletti/Tublet,
[Hossfeld]/Zenger and Labuschagne, Psalm 115 displays a concentric overall structure.
114,3; root hyh (v. 8) > 114,2; yśr’l (vv. 9.12) > 114,1.2; byt (vv. 10.12; byt
’hrn) > 114,1 (byt y‘qb); bn (vv. 14.16) > 114,4.6; ’rs. (vv. 15.16) > 114,7.
Note also the stylistic device for concatenation at the interface of Cantos I
and II.14
LXX takes Psalms 114 and 115 as a coherent composition. On the basis
of their thematic and structural individuality, it is obvious that MT rightly
distinguishes two successive psalms. The poetry of Psalm 114 radiates con-
fidence that God will free his people from the exile in Babylon, while Psalm
115 is primarily an exhortation to trust in God’s control (note vv. 9–11).15
For v. 2 > Ps. 79,10 and for v. 18 > Ps. 79,13; that is to say, Psalm
115 elaborates on the concluding canticle of Psalm 79 (Canticle II.2, vv.
10–13).
9.8 Bibliography
O. Loretz, ‘Psalmenstudien III’, UF 6 (1974), pp. 175–210;
A. Hurvitz, ‘The history of a legal formula: kol ’ašer-h.apes. ‘aśah (Psalms cxv 3,
cxxxv 6), VT 32 (1982), pp. 257–67;
W. Beyerlin, Im Licht der Traditionen. Psalm LXVII und CXV: ein Entwick-
lungszusammenhang (SupplVT 45), Leiden: Brill, 1992, pp. 56–69;
148–61;
E. Zenger, ‘“Wo ist denn ihr Gott?” Die Einzigartigkeit JHWHs nach Psalm
115’, Bibel und Liturgie 74 (2001), pp. 230–39;
G.T.M. Prinsloo, ‘Unit Delimitation in the Egyptian Hallel (Psalms 113–118)’,
in M.C.A. Korpel and J.M. Oesch (eds.), Unit Delimitation in Biblical Hebrew
and Northwest Semitic Literature (Pericope 4), Assen: Van Gorcum, 2003, pp.
232–63.
14
For the relationship with the preceding Psalms 113–114, see [Hossfeld]/Zenger
(2008), pp. 288–89, and for that with Psalm 113 specifically www.labuschagne.nl/ps115.
pdf, Specific features of Psalm 115 and Observation 1.
15
Contra H. Lubsczyk, ‘Einheit und heilsgeschichtliche Bedeutung von Ps 114/115
(113)’, BZ 11 (1967), pp. 161–73, M. Witte, ‘Psalm 114. Überlegungen zu seiner Kom-
position im Kontext der Psalmen 113 und 115’, Kleine Arbeiten zum Alten und Neuen
Testament 4/5 (2003), pp. 293–311, and Prinsloo (2003).
iii.10 psalm 116 271
10 Psalm 116
Structure: 9.10 > 4.5|5.5 > 2.2|2.3||2.3|2.3 lines (Type IB)
I.1 1 ’HBTY KY yšm‘ yhwh ’t qwly th.nwny

2 KY ht.h ’znw ly wbymy ’qr’
3 ’ppwny h.bly MWT wms.ry š’wl ms.’wny .srh wygwn ’ms.’

4 WBŠM YHWH ’QR’ ’NH YHWH mlt.h npšy
I.2 5 h.nwn yhwh ws.dyq w’lhynw mrh.m

6 šmr pt’ym yhwh dlwty w ly YHWŠY‘
7 ŠWBY npšy lmnwh.yky ky yhwh GML ‘lyky

8 ky h.ls.t npšy mmwt ’t ‘YNy mn dm‘h [’t rgly mdh.y]
9 ’thlk lpny yhwh b’rs.wt hh.yym
II.1 10 H’MNTY KY ’dbr ’ny ‘nyty m’d

11 ’ny ’mrty bh.pzy kl h’dm kzb
12 mh ’ŠYB lyhwh kl TGMWLWhy ‘ly

13 kws YŠW‘WT ’ś’ wbšm yhwh ’qr’
14 ndry lyhwh ’šlm ngdh n’ lkl ‘mw
II.2 15 yqr b‘YNY yhwh hMWTH lh.sydyw

16 ’NH YHWH ky ’ny ‘bdk ’ny ‘bdk bn ’mtk pth.t lmwsry
17 lk ’zbh. zbh. twdh WBŠM YHWH ’QR’

18 ndry lyhwh ’šlm ngdh n’ lkl ‘mw
19 bh..srwt byt yhwh btwkky yrwšlm
10.1 Text
V. 1a—’hbty: yhwh is the implied object (Delitzsch, Hossfeld/[Zenger]); for the
anacrusis, see CAS I, Ch. V, 6.3 (pp. 533–35).
V. 8c: this colon is probably a gloss inspired by the correspondences between
vv. 8a–b+9 and Ps. 56,14; cf. Spieckermann (1995), p. 267 n. 4 and § 10.5.
V. 10a—h’mnty: yhwh is the implied object.
Vv. 14b and 18b: Barré (1990, pp. 73–74) takes ngdh n’ as a verb, naggı̄dâ-nnā’
(‘we will proclaim’); in the same vein Fokkelman/Rendsburg (VT 53 [2003], pp.
328–36), who take ngdh as an imperative (‘lead’). These explanations do not
convince; cf. also Booij (2009), pp. 47–48.
10.2 Content
Hymn on God’s mercy for the faithful ones.
I Description of the distress (I.1) and of the deliverance (I.2).
I love God, because He has heard my prayer (vv. 1–2).
I was at death’s door and I called to God (vv. 3–4).
God is very gracious for the simple-hearted (vv. 5–6a) and he
saved me (v. 6b; cf. vv. 1–2).
O my soul, be at rest, because God saved me from death (vv.
7–8); I live in the presence of the Lord (v. 9).
II Description of trust and deliverance (vv. 10–11 and 15–16 resp.; cf.
I.2); description of thanksgiving (vv. 12–14 and 17–19).
Amidst great suffering I am confident (vv. 10–11).
I thank God in the presence of his people for all the benefits he
granted me (vv. 12–14).
He delivered his servant from distress when he implored Him (vv.
15–16; cf. vv. 5–6).
I sacrifice a thank-offering and pay my vows to the Lord in the
temple of Jerusalem (vv. 17–19; cf. vv. 12–14).

10.3.1.1 imperative: šwby, v. 7a mh, v. 12a
vocative: npšy, v. 7a
’ny, v. 10b; ext. // ’ny in 10.3.1.2 m’d, v. 10b
v. 11a

10.3.2.1 none vocative: yhwh, v. 4b
imperative: mlt.h, v. 4b
10.3.2.2 w- beginning of line, v. 4a n’, v. 14b
’nh, v. 4b vocative: yrwšlm, v. 19b

’mrty, v. 11a ’ny, v. 16a and b
’nh, v. 16a n’, v. 18b

vv. 1–2: ky, vv. 1a.2a
yšm‘/ht.h ’znw, vv. 1a and 2a resp.
vv. 7–9: npšy, vv. 7a.8a
} chiasmus
ky, vv. 7b.8a
yhwh, vv. 7b.9a (inclusion)
roots mwt/h.yh, vv. 8a and 9b resp.
vv. 10–11: h’mnty/’mrty, vv. 10a and 11a resp. (alliter. and perfect first
person singular)
’dbr/’mrty, vv. 10a and 11a resp.
} chiasmus
’ny, vv. 10b.11a
vv. 12–14: lyhwh, vv. 12a.14a (inclusion); see also yhwh in v. 13b
vv. 15–16: yhwh, vv. 15a.16a
vv. 17–19: prep. l, vv. 17a.18a+b
wbšm/b- . . . yrwšlm, vv. 17b and 19b resp. (alliter.; inclu-
sion); see also prep. b- in v. 19a
yhwh, vv. 17b.18a.19a
’šlm/yrwšlm, vv. 18a and 19b resp. (alliter.)
ngd/btwk, vv. 18b and 19b resp. (exactly linear)

vv. 1–4 (I.1): yhwh, vv. 1a.4a+b (inclusion)
wb- . . . ’qr’, vv. 2b.4a (linear)
vv. 5–9 (I.2): h.nwn/lmnwh.yky, vv. 5a and 7a resp. (alliter.; linear)

yhwh, vv. 5a+6a.7b+9a (concatenation)
vv. 10–14 (II.1): kl beginning of the second colon, vv. 11b.12b (concat.)
vv. 15–19 (II.2): yhwh, vv. 15–16.17–19

prep. l-, vv. 15b.17–18 (linear)
suffix -k, vv. 16 (3×).17a! (concatenation)

vv. 1–6 (Canto I): ky, vv. 1a+2a.7b+8a
’t nota accusativi, vv. 1b.8b!
root h.nn, vv. 1b.5a! (linear); note also the alliter.
ly, vv. 2a.6b! (linear)

mwt, vv. 3a.8a
} chiasmus (linear)
npšy, vv. 4b.7a+8a!
prep. b-, vv. 4a.9b (linear)
roots mlt./h.ls., vv. 4b and 8a resp. (linear); see
also the root yš‘ (hiph‘il) in v. 6b
vv. 7–12 (Canto II): ky (. . . ) ’ny, vv. 10.16a; see also ’ny in vv. 11a
and 16b! (linear)
h- (article), vv. 11b.15b (linear)
refrain, vv. 13b–14.17b–18! (linear); see also kl in
vv. 11 and 12!
prep. l-, vv. 12a+14b.15b (concatenation)
yhwh, vv. 12–14.15–19 (concatenation)
suffix -w, vv. 14b.15b (concatenation; epiphora)

vv. 1–4.10–14: ’hbty ky/h’mnty ky, vv. 1a and 10a (anaphora); see also
ky in v. 2a
vv. 5–9.15–19: pt’ym/h.sydym, vv. 6a and 15b resp.

suffix -ky, vv. 7a+b.19b!
h.ls.t/pth.t, vv. 8a and 16c resp.
‘yn, vv. 8b.15a!
lpny yhwh/b‘yny yhwh, vv. 9a and 15a resp.
b’rs.wt hh.yym/bh..srwt, vv. 9b and 19a resp. (alliter.;
‘epiphora’); see also prep. b- in v. 19b
vv. 1–4.15–19: h.bl/mwsr, vv. 3a and 16c resp.

mwt, vv. 3a.15b
wbšm yhwh ’qr’, vv. 4a.17b
} chiasmus
’nh yhwh, vv. 4b.16a!
vv. 5–9.10–14: root yš‘, vv. 6b.13a!

root šwb, vv. 7a.12a!
root gml, vv. 7b.12b!
ky, vv. 7b+8a.10a (linear)
‘ly-/‘ly, vv. 7b and 12b resp.

prep. b-, vv. 9b.11a
h- (article), vv. 9b.11b

prep. b- (vv. 11.15), suffix -y (vv. 1.8.12.16), prep. l- (v. 9)

prep. mn (v. 8 [3×]), root ms.’ (v. 3 [2×]), suffix -ny (v. 3 [2×]), ‘bd (v. 16
[2×]), root .srr (v. 3 [2×])

Psalm 116 has 19 verselines and 40* cola.1 From these perspectives, v. 10
is the centre of the psalm: vv. 1–9.10.11–19 > 9+1+9 lines and 19*+2+19
cola.
Structure of strophes and cantos in terms of words: 13+16|11+20*||12+
19|16+19 = 29+31*|31+35 = 60*+66 (= 126* = 18×7 words in total).2
On word level, v. 10 has once again a pivotal position: vv. 1–9.10.11–19
> 60*+6+60 words! In this way, the supplicant underlines that notwith-
standing his distress he trusts in God. This proclamation is obviously a
focal message of the composition and therefore to be considered the rhetori-
cal centre of Psalm 116.3 V. 5 is the central verseline of Canto I (> 4+1+4
lines). The pivotal position of the verseline about God’s compassion (cf.
Ex. 33,19 and 34,6) is highlighted by the designation ’lhym which does not
occur elsewhere in the psalm.4
The divine name, yhwh, occurs 15×: vv. 1, 4 (2×), 5, 6, 7, 9, 12–19.
1
I take v. 8c as a gloss (§ 10.1). The delimitation of the verselines is exactly indicated
by the Masoretic verse division. Fokkelman (MPHB III, note pp. 232–34) distinguishes
20 verselines and 42 cola, taking v. 16 as two bicola. Weber (2003) takes vv. 3–4 as
three bicola and vv. 16–17 as two tricola.
2
For the 20 words in vv. 7–9, see § 10.1. Barré (1990, pp. 63–65) has 64 words in
Canto II because he takes ngdh n’ in vv. 14 and 18 as a verb; cf. § 10.1 above.
3
For the idea of trust in the numerical centre of a poem, cf. Job 13,15a (hn yqt.lny
lw ’yh.l ; > 28+1+28 cola and 99+4+99 words); see my RCPJ, pp. 152–64 (note p. 164
n. 19). Labuschagne considers the 17 words of vv. 9–11 the meaningful centre of the
psalm (www.labuschagne.nl/ps116.pdf, Observation 1).
4
For the latter phenomenon, see CAS II, Ch. V, 2.3.1 (pp. 520–22); note ’lhynw in
Ps. 113,5. For the theological importance of v. 5, cf. H. Spieckermann, ‘“Barmherzig
und gnädig ist der Herr . . . ”’, ZAW 102 (1990), pp. 1–18.

Köster (1837): 1–6.7–12.13–19 (2.2.2|2.2.2|2.2.3 verses)
De Wette (1856): 1–6.7–11.12–15.16–19; cf. Dahood (1970)
Ewald (1866), pp. 400–02: 1–6.7–10|11–15*.16–19 (13.9|13*.9 cola)
Delitzsch (1894): 1–4.5–9.10–14.15–19 (9.11.10.11 cola)
Zenner (1906), pp. 335–36: 1–4.5–6.7–9|10–13.15–16.17–19 (4.2.3|4.2.3 lines)
Szczygiel (1913), pp. 138–39: . . . 10–11.12–14|15–16.17–19 (vv. 12–14 and
17–19 ‘Kehrstrophe’)
Duhm (1922): 1–2.3–4a.4b–5+4a.6–7a+4a.7b–8*+4a.9–10a+4a.10b–11+4a.
12–13.15–16a+4a.16b–17.18–19 (11×2 bicola)
Gunkel (1926): 1–2.3–4.5–6.7–9|10–11.12–13.15+16b–c.17–19 (‘Keine regel-
mäßige Strophenbildung’)
Möller (1931), pp. 54–56: 1–4.5–7.8–11|12–14.15–16.17–19 (a.b.a’|c.d.c’;
4.3.4|3.2.3 verses)
Calès (1936): 1–2.3–4.5–6.7–9|10–11.12–14.15–16.17–19 (2.2.2.3|2.3.2.3
lines); cf. Gunkel (1926)
Herkenne (1936): 2b+4b+1+2a+3a–b.3c+4a+5–6.7–9||10–12.13–17|18–19
Gemser (1949): 1–2|3–4.5–6.7–9|10–11.12–14|15–16.17–19
Pannier/Renard (1950): 1–4.5–9; 10–14.15–19
Kissane (1954): 1–4.5–9|10–13+15.16–19 (4.5|5.4 lines)
NAB (1970): 1–4.5–9|10–19
Van der Ploeg (1974): 1–2.3–4.5–7.8–9|10–14.15–19
Alden (1978), p. 206: 1.2.3.4–5.6.7.8|9–11.12.13a.13b–14.15–16.17.18–19
(a.b.c.d.e.f.g|g’.f’.e’.d’.c’.b’.a’; ‘most elaborate’ !)
Beaucamp (1979): 1–2.3–4a|5–6.7+9|10–11.12–14|15–16b.17–19
Jacquet (1979): 1–2.3–4a.4b–5+16a|10–11.6+8a+c.7+9|12–13.16b–17.
18–19 (3×2|3×2|3×2 bicola)
Aletti/Trublet (1983), pp. 38–39: . . . 3.4.5–6.7.8|9.10–12.13a.13b.15–16. . .
(. . . a.b.c.d.e|e’.d’.c’.b’.a’. . . )
Barré (1990): 1–2.3–4|5–6.7–9||10–11.12–14|15–16.17–19 (2.2|2.3||2.3|2.3
lines; A.B|A’.B’)
Prinsloo (1993): 1–2.3–4|5–6|7–8|9–11.12–14|15|16–19
Girard (1994): 1–2a.2b.3a–b.3c.4.5–6||7–9.10–12|13–15.16–19 (a.b.c.c’.b’.a||
d.e|d’.e’; vv. 1–4.4–6|7–13.13–19 > A.B|B’.A’)
Seybold (1996): vv. 1–4.5–9|10–13.14–19 (‘in stark verwittertem Zustand’)
Auffret (1997), pp. 161–73: 1–2.3.4–6|7.8–9.10–11.12|13–14.15–16.17–19
(a.b.a’|c.d.e|f.g.f’; 1–9.10–19: ‘récurrences [. . . ] selon un chiasme par-
fait’ [pp. 173–75])
Tita (2001), pp. 109–26: 1–2.3–6.7–9.10–11|12.13–14.15–16.17–19 (a.b.b.a’|
v. 12 c.d.c’); similarly Janowski (2003), pp. 98–111 and cf. Hoss-

feld/[Zenger] (2008)
Allen (2002), pp. 153–54: 1–2.3–4.5–6.7|8–9.10–11.12.13–14|15.16.17–18.19
(3×2.1|2.2.1.2.2|1.2.2.1 lines)
Fokkelman (2003), pp. 227–34: 1–2.3–4|5–6.7–8||9–11.12–14|15–16.17–19
(2.2|2.2||3.3|3.3 lines; a.b|a’.b’||c.d|c’.d’)
Terrien (2003): 1–3.4–5|6–7.8–10|11–12.13–15|16–17.18–19 (3.2|2.3|2.3|3.2)
Weber (2003): 1–4.5–9.10–14.15–19 (4×5 lines; a.a’.b.b’ and a.b.b’.a’)
Booij (2009): 1–2.3–4.5–6.7–9||10–11.12–14|15–16.17–19 (3×2.3||2.3|2.3)
www.labuschagne.nl/ps116.pdf: 1–2.3–4|5–6.7–8|9–11|12–13.14–15|16–17.
18–19 (2.2|2.2|3|2.2|2.2 lines)

The search for the total framework of Psalm 116 on the basis of form-critical
considerations cannot produce unambiguous results. ‘Verschiedenartige
Bestandteile folgen scheinbar ohne jede durchschaubare Ordnung: Klage,
Bitte, Vertrauen und Dank’ (Kraus [p. 969], following Gunkel [p. 500]).5
LXX and Jerome distinguish two psalms, making the second begin with
v. 10. And many exegetes have followed this tradition by assuming that
our psalm is composed of two main parts, vv. 1–9 and 10–19.6 Accord-
ing to Delitzsch (1894, p. 699), there are two other important caesuras
which determine the total structure of our psalm: ‘Deutlich sondern sich 4
Sinnabschnitte, deren Anfänge einander entsprechen (v. 1 u. 10, 5 u. 15)’.
As will be argued below, Delitzsch already accurately described the rhetor-
ical structure of Psalm 116. Unfortunately, until Barré (1990), his opinion
was not copied by others, including myself (see STR [1980], pp. 396–400).7
The correspondence between ’hbty ky, right at the beginning of v. 1, and
h’mnty ky, right at the beginning of v. 10, is on the surface of the framework
5
See also Van der Ploeg (1974, p. 280): ‘Een logische gedachtengang of opbouw is
in het lied niet te vinden’ (‘A logical line of thought or structure is not to be found
in the song’; my translation). The characterizations by Janowski (2003) of vv. 1–11
as ‘Danklied’ and vv. 12–19 as ‘Dankopfer’ do no justice to the wavelike motion of the
themes.
6
For this division, see Zenner, Gunkel, Calès, Gemser, Pannier/Renard(!), NAB, Van
der Ploeg, Seybold and Booij in § 10.6; see also Spieckermann (1995), Auffret (1997)
and Vincent (2000).
7
For the division vv. 1–4.5–9|10–14.15–19, see now also Weber (2003); cf. further
Kissane, Beaucamp and Seybold in § 10.6. Hossfeld characterizes vv. 1–2, 5–6, 10–11
and 15–16 as ‘bekenntnisartige[n] Äusserungen des Vertrauens’ (Hossfeld/[Zenger], 2008,
p. 294). Nevertheless, he fails to see the structural relevance of this observation and
joins Janowski (2003), who in his turn follows Tita (2001); see § 10.6. For the mutual
relationship beween vv. 5–6 and 15–16, cf. also Beaucamp (1979), p. 214.
of our psalm; and the combination of a perfect first person singular followed
by ky does not occur elsewhere in the poem. For the parallelism of the
roots ’hb and ’mn, see ’hbw ’t yhwh kl h.sydyw // ’mwnym ns.r yhwh in Ps.
31,24a–b. It is to be noted that in Ps. 116,1 as well as in Ps. 31,24 God
is the object of the root ’hb (‘to love’).8 Following Spieckermann (1995,
p. 271), Vincent underlines the theological importance of the relationship
in question: ‘“je crois” est en fait une modalité de “jaime”’ (2000, p. 515).
The correspondence between ’hbty ky and h’mnty ky structurally coincides
with the semantic relationship between vv. 9 and 19 speaking about the
place where the supplicant experiences God’s salvation, in the presence of
God, in his temple (such references are also unique in the psalm); note
v. 9, immediately preceding v. 10, and v. 19, right at the end of the psalm.
The structural coincidence of the correspondences in question demonstrates
that the similar openings of vv. 1 and 10 are to be taken as a device for
anaphora and that the refrain-like similarity between vv. 9 and 19 functions
as a semantic form of epiphora (see also § 10.4.4, the linear framework).9
The correspondence between Pss. 116,8–9 and 56,14, concluding the
second canto of the poem and the psalm as a whole, further demonstrates
that a major break occurs after 116,9. In addition, Barré (1990, p. 67
n. 20) rightly points out the similarities between Pss. 116,17–18 and 56,13;
see twdh, ndr and ’šlm. And he aptly suggests that the author of Psalm
116 has separated the two themes of Ps. 56,13–14 (paying vows/offering
sacrifice and rescue from death/walking in God’s presence), placing one at
the end of the first canto of his composition and the other at the conclusion
of the second canto.10 I conclude that our psalm consists of two balancing
8
For more similarities between Psalms 116 and 31, see ky yšm‘ yhwh ’t qwl th.nwny
(116,1 31,23c), ht.h ’znw ly (116,2a 31,3a) and ’ny ’mrty bh.pzy (116,11a 31,23a; this
phrase does not occur elsewhere in the Hebrew Bible). According to Girard (1994, p. 215
n. 9), some exegetes overestimate the importance of the similarity between vv. 1 and 10;
in the same vein Janowski (2003), p. 101. In my opinion, this is a wrong assessment.
Simultaneously, Girard has to concede: ‘Le repérage critique des structures [. . . ] s’avère
ici un peu plus embêtant et délicat que dans la majorité des psaumes’ (1994, p. 208).
9
Similarly Spieckermann (1995), p. 268, and contra Hossfeld who maintains: ‘Das
Bekenntnis von V 10f. bildet durch seine Rückbezüge auf V 1 einen Rahmen um V 3–6.
7–9’; Hossfeld/[Zenger] (2008, p. 298), following Janowski (2003, p. 101), who states
that ‘mit der Frage nach dem angemessenen Dank in V. 12 . . . ein neuer Sinnabschnitt
eingeleitet wird’ (see also Tita [2001] in § 10.6). Likewise, I conclude that Fokkelman
(MPHB III, pp. 231–32) mistakenly considers the spatial terms characterizing vv. 9 and
19 as a device for inclusion; cf. also Fokkelman (MPHB III, p. 230) about the supposed
‘radical change’ in v. 9, with an appeal to Prinsloo (1993). For the device for anaphora
on the level of a poem as a whole, see CAS I, Ch. V, 3.1.1.3 (pp. 470–71).
10
In this respect, cf. further the expression m’rs. h.yym at the end of the first canto of
Psalm 52 (v. 7c). See CAS II, Ch. II.10 (pp. 105–11).
main parts, cantos, vv. 1–9 and 10–19.11

Subsequently, the cantos divide into two regular canticles consisting of
mostly five verselines: vv. 1–4.5–9 and 10–14.15–19 respectively (Canticle
I.1 has only four lines). Within Canto I, vv. 5–9 stand out by their the-
matic individuality: the canticle deals with God’s compassion for people
who are brought low (§ 10.2). Canticle I.1 (vv. 1–4) contains two different
motifs. Vv. 1–2 are about God’s hearing the prayer of the supplicant, while
the following strophe focusses on the description of the distress (v. 3) and
the prayer for deliverance (v. 4). Nevertheless, the strophes stand out in
this poem by the references to the prayer of the supplicant.12 The canticle
division is buttressed by the linearly corresponding verbal recurrences, re-
sponsions, listed in § 10.4.3 and by the fact that within vv. 1–9 it is only
in vv. 4b and 8 that the psalmist addresses God in the second person (note
once again the linear correspondence).13 The canticle structure of Canto II
is especially highlighted by the description of thanksgiving in vv. 13b–14
and 17b–18, marking the end of the uniform sections by a refrain; see once
again § 10.4.3.14
In terms of verbal recurrences the successive canticles display a linearly
alternating parallelism: vv. 1–4.5–9|10–14.15–19 > a.b|a’.b’. Apart from
the anaphora constituted by ’hbty ky/h’mnty ky, this parallelism especially
comes to light by the cluster of responsions which are found at the end of
the main parts, in Canticles I.2 and II.2 (§ 10.4.4). This linear parallelism
coincides with a thematic correspondence between the canticles. It is only
in Canticles I.1 and II.1 that the psalmist speaks about his distress; see vv.
3–4 and 10–11. And it is only in Canticles I.2 and II.2 that he sings the
praises of God’s compassion with people who are brought low in general ;
see vv. 5–6 and 15–16 (note pt’ym/h.sydym in vv. 6a and 15b respectively).15
11
According to Booij (2009, p. 39), there is a similarity between Ps. 116,1–9.10–19
on the one hand and Ps. 30,2–6.7–11 (Cantos I and II) on the other: a traditional
formulated review is followed by a much more personal memory of distress; note ’mrty
bh.pzy in Ps. 116,11a and ’mrty bšlwy in Ps. 30,7a (in both cases at the beginning of the
second canto).
12
That is to say, vv. 3–4 do not belong to the ‘Erzählung der Rettungen’ (see vv. 5–9);
contra Hossfeld/[Zenger] (2008), p. 296.
13
For the division vv. 1–4.5–9, see (apart from Delitzsch [1894], Barré [1990] and
Weber [2003]) also Panier/Renard, Kissane, NAB, Beaucamp and Seybold in § 10.6.
14
For this division, see (apart from Delitzsch [1894], Barré [1990] and Weber [2003])
also Szczygiel, Gemser, Pannier/Renard, Van der Ploeg, Beaucamp and Booij in § 10.6.
For refrains which do not occur in exactly the last verseline of successive poetic units
(note vv. 17b–18), see CAS I, Ch. V, 4.3.1.1 (note p. 496). The relationship between
the concluding strophes of Canticles II.1 and II.2 is reinforced by a numerical feature:
they have exactly 19 words each (and 3 verselines; § 10.5).
15
Otherwise Weber (2003, p. 248), who argues that the description of distress (Canticle
The bipartite framework demonstrates that, in broad outline, the course

from the land of darkness (vv. 3–4 and 10–11; note š’wl in v. 3b) to the
place of salvation (vv. 9 and 19) is run twice in this beautiful composition,
that is to say in both cantos. Along these poetic roads, the first track
culminates in a description of salvation (vv. 7–9; cf. vv. 1–2), while the
second track is characterized by a repeated portrayal of thanksgiving (vv.
13–14 and 17–18).16 This means that the psalm as a whole also displays
a progressive development of thought; it is a case of intensification on a
macrostructural level.
Simultaneously, as far as the verbal recurrences on the level of the poem
as a whole are concerned, there is (alongside a linear correspondence) a
rather elaborated web of a symmetric order of words as well: vv. 1–4.5–9|
10–14.15–19 > a.b|b’.a’; see § 10.4.4 (the symmetric framework). In this
respect, it is worth noting that in the course of the poem the expression
wbšm yhwh ’qr’ (‘and I invoke the name of the Lord’) changes colour: in
Canto I (v. 4a) it is a cry for help (cf. also wbmy ’qr’ in v. 2b), while in
Canto II (vv. 13b and 17b) it functions as a song of praise. A case of skilful
entwining of symmetry and linear progression. The verbal recurrences in
vv. 7 and 12 highlight them as the central verselines of Canticles I.2 and
II.1 (similarly Weber [2003], p. 248). Hossfeld speaks of ‘der reflektierende
Stil’ of the ‘Selbstaufforderung’ (v. 7) and the ‘Selbstanfrage’ (v. 12); Hoss-
feld/[Zenger] (2008), p. 294. With reference to Ps. 27,13 (h’mnty . . . b’rs.
h.yym), the expressions b’rs.wt hh.yym and h’mnty right at the interface of
Cantos I and II (vv. 9b and 10a resp.) may be taken as a form of conca-
tention. ‘Recently’ the structural investigations by Alden, Aletti/Trublet
and Weber have emphasized this symmetric aspect of our psalm; cf. also
Girard and Auffret (1997; see § 10.6). According to Alden, the psalm is a
significant demonstration of such a total structure. However, Alden and
Aletti/Trublet mistakenly assume that the axis of symmetry is to be found
between vv. 8 and 9.17
Having detected the length of the canticles, it is not difficult to find the
strophic structure of our poem. Canto I is composed of a series of 2-line
strophes (vv. 1–2, 3–4, 5–6) which are concluded by a 3-line strophe (vv.
I.1) corresponds to the portrayal of the experience of safety (Canticle II.2) and that the
inner canticles, to the contrary, are characterized by expressions of trust and salvation.
16
Contra Janowski (2003, pp. 107–08), who construes a vertical event in vv. 3–6
(between netherworld and temple) and a horizontal (concentric) event in vv. 9–19 (the
lands of the living > Jerusalem > the courts of the temple).
17
Unfortunately, the symmetric aspect of Psalm 116 is ignored by Barré (1990). How-
ever, it is this additional device which shows that hmwth in v. 15b is not a notorious
crux. It perfectly fits the symmetry; contra Barré (1990), pp. 69–73. For v. 15, cf.
especially Ps. 72,14; see further Janowski (2008).
7–9).18 Like Canticle I.2, the 5-line canticles of Canto II consist of a 2- and
a 3-line strophe.19 In most cases, the strophes have a thematic (§ 10.2) and
a formal aspect (§§ 10.4.1 and 10.4.3). The concluding strophes display a
form of enjambement, because in vv. 16 and 17 the psalmist addresses God
in the second person, while in vv. 10–15 and 18–19 God is spoken about in
the third person.
The quintessential thougth of Psalm 116 is to be found in the opening
verselines of the canticles. Starting from his own experience described in
Canticles I.1 and II.1 (vv. 1–2 and 10–11), the supplicant speaks of God’s
compassion for the lowly, the faithful in general (vv. 5–6 and 15–16).20
the following verbal repetitions: yšm‘ (v. 1) > 115,6; ’zn (v. 2) > 115,6;
root mwt (vv. 3.8.15) > 115,17; ’lhynw (v. 5) > 115,3; ‘yn (vv. 8.15) >
115,5; rgl (v. 8) > 115,7; ’thlk (v. 9) > 115,7; ’dm (v. 11) > 115,4.16; h.syd
(v. 15) > 115,1; see also Hossfeld/[Zenger] (2008), p. 300.
10.8 Bibliography
M.L. Barré, ‘Psalm 116. Its Structure and its Enigmas’, JBL 109 (1990), pp.
61–78;
W.S. Prinsloo, ‘Psalm 116: Disconnected Text or Symmetrical Whole?’, Biblica
74 (1993), pp. 71–82;
Th. Booij, ‘Psalm 116,10–11: the Account of an Inner Crisis’, Biblica 76 (1995),
pp. 388–95;
H. Spieckermann, ‘Lieben und Glauben: Beobachtungen in Psalm 116’, in M.
Weippert and S. Timm (eds.), Meilenstein. FS H. Donner (ÄAT 30), Wies-
baden, 1995, pp. 266–75;
P. Auffret, ‘“Je marcherai à la face de YHWH”: Étude structurelle du Psaume
116 (suite)’, OTE 10 (1997), pp. 161–77;
J.-M. Vincent, ‘“Que’est-ce que la théologie?” Une approche par l’interprétation
du Ps 116’, RB 107 (2000), pp. 495–525;
H. Tita, Gelübde als Bekenntnis (OBO 181), Freiburg (Schweiz)/Göttingen,
2001;
B. Janowski, ‘Dankbarkeit. Ein anthropologischer Grundbegriff im Spiegel der
Toda-Psalmen’, in E. Zenger (ed.), Ritual und Poesie (HBS 36), Freiburg/Basel/
18
For this strophic division, see also Gunkel, Calès, Gemser and Barré in § 10.6.
19
For the latter strophic division, see also Calès, Gemser and Barré in § 10.6.
20
Spieckermann, who categorically rejects the possibility of a ‘Feingliederung’ of vv.
1–9 and 10–19 (1995, p. 269), as a result fails to do justice to the alternation of individual
experience and generalizing conclusions (1995, pp. 274–75).
Wien, 2003, pp. 91–136;

W. Herrmann, ‘Sensus Mysticus. rh.m in Ps 18,2 und ’hb in Ps 116,1 als Fragen
an den israelitsch-jüdischen Glauben’, UF 40 (2008) pp. 429–43;
B. Janowski, ‘Die Kostbarkeit des Lebens. Zur Theologie und Semantik eines
Psalmenmotivs’, in B. Janowski, Die Welt als Schöpfung (BThAT 4), Neukirchen-
Vluyn, 2008, pp. 249–65;
A. Pinker, ‘Psalm 116,15—Death of the Saints?’, ZAW 121 (2009), pp. 529–39.
11 Psalm 118
Structure: 4.8.8.8.1 > 2.2|1.2.2.3|4×2|1.2.2.3|1 lines (Type IIC)
I 1 HWDW lyhwh ky T. WB KY L‘WLM H

. SDW
2 y’mr N’ yśr’l KY L‘WLM H
. SDW
3 y’mrw N’ BYT ’hrn KY L‘WLM H
. SDW
4 y’mrw N’ yr’y yhwh KY L‘WLM H
. SDW
II 5 mn hms.r qr’ty yh ‘NNY bmrh.b yh
6 yhwh ly l’ ’yr’ mh y‘śh ly ’dm

7 yhwh ly b‘ZRY w’ny ’r’h bśn’y
8 T
. WB lh.swt byhwh mbt.h. b’dm
9 T
. WB lh.swt byhwh mbt.h. bndybym
10 kl gwym sbbwny BŠM YHWH ky ’mylm

11 sbwny gm sbbwny BŠM YHWH ky ’mylm
12 sbwny kdbwrym d‘kw k’š qws.ym BŠM YHWH ky ’mylm
III 13 dh.w dh.ytny lnpl wyhwh ‘ZRNY

14 ‘zy wzmrt yh WYHY LY LYŠW‘H
15 qwl rnh WYŠW‘H b’hly s.dyqym ymyn yhwh ‘śh h.yl

16 ymyn yhwh rwmmh ymyn yhwh ‘śh h.yl
17 l’ ’mwt ky ’h.yh w’spr m‘śy yh

18 ysr ysrny yh wlmwt l’ ntnny
19 pth.w ly š‘ry s.dq ’B’ Bm ’WDH yh

20 ZH hš‘r lyhwh s.dyqym YB’W BW
IV 21 ’wdk ky ‘NYTNY WTHY LY LYŠW‘H
22 ’bn m’sw hbwnym hyth lr’š pnh

23 m’t yhwh hyth z’t hy’ npl’t b‘ynynw
24 ZH hywm ‘śh yhwh ngylh wnśmh.h BW

25 ’nh yhwh hwšy‘h N’ ’nh yhwh hs.lyh.h N’
26 brwk hB’ BŠM YHWH brknwkm mBYT yhwh

27 ’l yhwh wy’r lnw ’srw h.g b‘btym ‘d qrnwt hmzbh.
28 ’ly ’th w’WDk ’lhy ’rwmmk
V 29 HWDW lyhwh ky T
. WB KY L‘WLM H
. SDW
11.1 Text
Vv. 10b.11b.12b—’mylm: imperfect hiph‘il from the root mwl (‘abwehren’;
HAL) and suffix -m.
V. 14a—zmrt: ‘Stärke’ (HAL).
V. 27b–c: the combination of the nouns h.g and mzbh. strongly suggests that the
first noun means ‘festival sacrifice’ (cf. Ex. 23,18); others take it as ‘festal
procession’ or ‘dance’.
11.2 Content
Thanksgiving of an individual (a king?) for his deliverance from enemies.
I Introduction: call to praise.
O people of Israel, praise the Lord, because his steadfast love is
eternal (vv. 1–4).
II Description of (confidence in) the defeat of enemies.
God has heard my prayer from my state of distress (v. 5).
Because God helps me, I will defeat my enemies (vv. 6–7).
It is better to take refuge in God than to trust in mortals (vv.
8–9; cf. vv. 6–7).
In the name of the Lord I defeat my enemies (vv. 10–12; cf.
v. 5).
III Description of the psalmist’s deliverance from distress (vv. 13–14
and 17–18) and of communal thanksgiving (vv. 15–16 and 19–20).
I praise the Lord, because he delivered me from serious pressure
(vv. 13–14).
The righteous rejoice, because God is their help (vv. 15–16).
I recount God’s wonders, because He did not hand me over to
death (vv. 17–18; cf. vv. 13–14).
The righteous follow me with songs of praise through God’s gates
of victory (vv. 19–20; cf. vv. 15–16).
IV Thanksgiving by the supplicant and the people (note the words spo-
ken to God in vv. 21, 25 and 28).
I praise You, because You saved me (v. 21).
God makes the despised important (vv. 22–23; generalizing de-
scription of deliverance).
Today we rejoice on God’s deliverance (vv. 24–25).
We offer thanks-offerings to God (vv. 26–28).
V Praise the Lord, because his steadfast love is eternal (v. 29; cf. vv.
1–4).

11.3.1.1 imperative: hwdw, v. 1a imperative: pth.w, v. 19a
mh, v. 6b cohortative: ngylh, v. 24b
t.wb beginning of line, v. 8a; cohortative: nśmh.h, v. 24b
ext. // .twb in v. 9a imperative: hwdw, v. 29a
paronomast. infinitive con-
str.: dh.w dh.ytny, v. 13a 11.3.1.2 brk with object Israel, v. 26b

11.3.2.1 ‘wlm, v. 2b; ext. // ‘wlm in 11.3.2.2 n’, v. 4a; ext. // n’ in v. 3a
v. 1b ’th, v. 28a
‘wlm, v. 4b; ext. // ‘wlm in vocative: ’lhy, v. 28b
v. 3b
zh, v. 20a
hy’, v. 23b
‘wlm, v. 29b

n’, v. 2a ’nh, v. 25a+b
’ny, v. 7b vocative: yhwh, v. 25a+b
gm, v. 11a imperative: hwšy‘h, v. 25a
paronomast. infinitive con- n’, v. 25a+b
str.: ysr ysrny, v. 18a imperative: hs.lyh.h, v. 25b
z’t, v. 23a imperative: ’srw, v. 27b
zh, v. 24a

vv. 1–2: ky l‘wlm h.sdw, vv. 1b.2b (epiphora)
vv. 3–4: y’mrw n’, vv. 3a.4a (anaphora)
ky l‘wlm h.sdw, vv. 3b.4b (epiphora)
vv. 6–7: yhwh ly, vv. 6a.7a! (anaphora); see also ly in v. 6b and suffix
-y in v. 7b
’yr’/’r’h, vv. 6a and 7b resp. (alliter.)
vv. 8–9: .twb lh.swt byhwh // mbt.h. b-, vv. 8.9! (anaphora)
b’dm/bndybym, vv. 8b and 9b resp. (alliter.; epiphora)
vv. 10–12: root sbb + suffix -ny, vv. 10a.11a (2×).12a!
bšm yhwh ky ’mylm, vv. 10b.11b.12c! (epiphora)
vv. 13–14: prep. l-, vv. 13a.14b (2×)
w- at the beginning of the second colon, vv. 13b.14b
yhwh/yh, vv. 13b and 14a resp.
‘zrny/‘zy wzmrt, vv. 13b and 14a resp. (alliter.)
vv. 15–16: ymyn yhwh ‘śh h.yl, vv. 15c.16b! (epiphora); see also ymyn
yhwh in v. 16a!
vv. 17–18: l’, vv. 17a.18b
} chiasmus
mwt, vv. 17a.18b!
yh, vv. 17b.18a
vv. 19–20: š‘r, vv. 19a.20a!
root .sdq, vv. 19a.20b
root bw’ + prep. b-, vv. 19b.20b
yh/yhwh, vv. 19b and 20a resp.
vv. 22–23: hbwnym/b‘ynynw, vv. 22a and 23b resp. (alliter.)
hyth, vv. 22b.23a!
hyth/hy’, vv. 22b and 23b resp. (alliter.; exactly linear)
vv. 24–25: yhwh, vv. 24a.25a+b
vv. 26–28: yhwh, vv. 26a+b.27a
’l (‘God’), vv. 27a.28a! (anaphora); see also ’lhym in v. 28b!

vv. 1–4 (Canto I): yhwh, vv. 1a.4a (inclusion)
ky l‘wlm h.sdw, vv. 1b+2b.3b+4b (concat.); see
also ky in v. 1a
y’mr n’/y’mrw n’, vv. 2a.3a+4a! (concat.)
vv. 5–12 (Canto II): prep. mn, vv. 5a.8b+9b

yhwh, vv. 6a+7a.8a+9a.10b+11b+12c (concat.);
see also yh in v. 5a+b
’dm, vv. 6b.8b! (exactly linear)
prep. b-, vv. 7a+b.8–9 (concatenation)
vv. 13–20 (Canto III): w- at the beginning of the second colon, vv.
13–14.17–18
yhwh, vv. 13b.15c+16a+b.20a
suffix -ny, vv. 13b.18b
yh, vv. 14a.17b+18a.19b (concatenation);
note yh in vv. 14a and 18a (exactly linear),
and yh in vv. 17b and 19b (exactly linear)
ly, vv. 14b.19a
yšw‘h, vv. 14b.15a (concatenation)
root .sdq, vv. 15b.19a+20b!
root ‘śh, vv. 15c+16b.17b (concatenation)
vv. 21–28 (Canto IV): ’wdk, vv. 21a.28a! (inclusion); see also suffix
-k in v. 28b! and suffix -y in vv. 21b.28a+b
root hyh, vv. 21b.22b+23a (concatenation)
root yš‘, vv. 21b.25a
prep. mn, vv. 23a.26b
yhwh, vv. 23a.24a+25a+b.26a+b+27a (con-
catenation)
z’t/zh, vv. 23a and 24a resp. (concatenation)
suffix -nw, vv. 23b.27a!

vv. 1–4.8–12.17–20.24–28: .twb, vv. 1a.8a+9a
n’, vv. 2a+3a+4a.25a+b!
byt, vv. 3a.26b!
bšm yhwh, vv. 10b+11b+12c.26a!
suffix -m, vv. 10–12.19b!
root bw’ + prep. b-, vv. 19b+20b.26a!
’wdh, vv. 19b.28a; see also hwdw in v. 1a
zh, vv. 20a.24a!
bw, vv. 20b.24b!
vv. 5–7.13–16.21–23: root ‘nh + suffix -ny, vv. 5b.21a!

root ‘śh, vv. 6b.15c+16b
root ‘zr + suffix -y/-ny, vv. 7a.13b!
lnpl/npl’t, vv. 13a and 23b resp. (alliter.)
wyhy/wthy ly lyšw‘h, vv. 14b.21b!; see also
yhwh ly in vv. 6–7 and wyšw‘h in v. 15a!
vv. 1–4.29, inclusion: hwdw lyhwh ky .twb, vv. 1a.29a!

ky l‘wlm h.sdw, vv. 1b+2b+3b+4b.29b!
vv. 19–20.21, concat.: ly, vv. 19a.21b

} chiasmus
’wdh, vv. 19b.21a

prep. b- (vv. 5.15.23.27), ky (vv. 17.21), prep. l- (vv. 18.22.27), l’ (v. 6)

root brk (v. 26 [2×]), h- (article; vv. 5.20.22.24.26.27), root yr’ (vv. 4.6),
root rwm (vv. 16.28)

Psalm 118 has 15 strophes, 29 verselines and 61 cola.1 Vv. 15–16 constitute
the central strophe (> 7+1+7 strophes). V. 15 is the middle verseline (>
14+1+14 lines) and contains the middle cola (> 29+3+29 cola).2
Structure of strophes and cantos in terms of words: 13+14|7+14+10+
23|11+16+13+14|6+13+15+22|7 = 27+54+54+56+7 (= 198 = 18×11
words in total).3 The four words of v. 15c (ymyn yhwh ‘śh h.yl ) constitute
the centre of the psalm on word level: 1–15b.15c.16–29 > 97+4+97 words.4
We are dealing with an important message of the composition: God is a
mighty Saviour! (see also v. 16b).
The divine name, yhwh, occurs 22 (= 2×11) times: vv. 1, 4, 6, 7, 8, 9,
10, 11, 12, 13, 15, 16 (2×), 20, 23, 24, 25 (2×), 26 (2×), 27 and 29.5 The
1
Fokkelman (MPHB II) also counts 29 lines and 61 cola, but he distinguishes 13
strophes.
2
Weber (2003, p. 255) considers ‘das den Sieg und die Hoheit JHWHs proklamierende
Trikolon’ vv. 15c–16 the centre of the poem. Labuschagne points out that vv. 15c–16 rep-
resent the three middle cola of vv. 5–27 (> 23+3+23 cola); www.labuschagne.nl/ps118.
pdf, Observation 2.
3
The numbers of 27 and 54 words highlight the strategic positioning of the noun h.sd
in vv. 1–4 and 29; in gematria 27 is the numerical value of h.sd (= 8+15+4)!
4
Similarly Labuschagne, www.labuschagne.nl/ps118.pdf, Observation 1. The colon
is composed of 14 letters! That is to say, the number 7 has a structural function; see
the number of strophes and verselines enveloping pivotal poetic units, and the number
of words of some strategically positioned strophes.
5
That is to say, alongside the number 7, the number 11 features conspicuously as
well in Psalm 118; see also the total number of words. Additionally, Labuschagne notes
that there are 22 words which are explicitly addressed to God in the second person, vv.
13a, 21, 25 and 28 (www.labuschagne.nl/ps118.pdf, Observation 6).
short form of the divine name, yh, occurs 6×: vv. 5 (2×), 14, 17, 18 and
19. Twice God is designated ’l : vv. 27 and 28; in v. 28 it is ’lhym.

Köster (1837): 1–4|5.6–9.10–13.14.15–18.19.20–23.24|25–28.29 (4|1.4.4.1.4.
1.4.1|4.1 verses)
Hävernick (1849), p. 43: 1–4.5–9.10–14.15–18.19–23.24–28.29 (4.5.5.4.5.5.1
De Wette (1856): 1–4.5–9.10–14.15–18.19–21.22–25.26–27.28–29 (or 4.5×5
verses); cf. Hävernick (1849)
Ewald (1866), pp. 394–97: 1–4.5–9.10–14.15–18.19–23.24–25.26–27.28.29
(vv. 5–23: 5.5.4.5 verses or 10.11.9.10 cola); cf. De Wette (1856)
Delitzsch (1894): 1–4.5–19|20–27.28.29
Zenner (1907), pp. 219–21: 29+1.2–4|5–7.8–9||10+12.13–14.15–16.17–18.
19–20||21–22.23–24|25–26.27–28 (2.3|3.2||5×2||2.2|2.2; a.a’|b|c.c’)
Delitzsch (1921), pp. 119–21: 1–4.5–9.10–12.13–18.19–20.21–25.26.27a–b.
27c.28–29
Duhm (1922): 1–4|5–7.8–9.10–12a+r.+12b–c.13–14.15a–b+16.17–18|19.20.
21.22.23.24.25.26.27a.27b–c.28–29 (4|3.2.4.3×2|10×1.2 bicola)
Gunkel (1926): 1–4|5.6–7.8–9.10–11.12.13–14.15–16.17–18.19–21|22–23.
24–25.26–27.28.29
König (1927), pp. 439–445: 1–4.5–9.10–14.15–17.18–21.22–26.27–29
Calès (1936): 1–4.5–9.10–14.15–18|19–23.24–28.29 (4.5.5.4|5.5.1 lines);
‘similarly’ Hävernick (1849)
Herkenne (1936): 1–4.5–12.13–18|19–23.24–27.28–29
Gemser (1949): 1–4|5–7.8–9.10–12.13–14.15–16.17–18.19–20.21|22–23.
24–25.26.27.28.29
Pannier/Renard (1950): 1.2–4.5–7.8–9*.10–12.13–15.16–18.19–21.22–24.
25–26.27–28.29 (‘groupement en strophes ternaires’)
Kissane (1954): 1–4.5–9.10–14.15–19.20–24.25–29 (4.5×5 lines); cf. De
Wette (1856)
NAB (1970): 1–4|5–9.10–14.15–18|19–25.26–29; cf. Kissane (1954)
Beaucamp (1979): 1.2–4 5–7.8–9.10+12a–b.13–14.15–16.17–18.19–20.
21–22|23–25.26–28 29 (‘Le psaume . . . ne suppose aucune disposition
strophique rigoureuse’)
Jacquet (1979): 1–4.5–7.8–9.10–12a+c.13–14.15–16*.17–18|19.20|21.22.23.
24.25.26|27a+x.27b–c.28*.29
Aletti/Trublet (1983), p. 96: 1–4 |5–7.8–9|10–14.15–16|17–21.22–27|28–29
Ravasi (1983), pp. 417–21: 1–4|5.6–9.10–13.14–16.17–18|19–20.21–29 (vv.
5–18 > a.b.c.b’.a’)
Girard (1994): 1–4 ||5–9.10–13|14–18.19–20|21–25.26–28||29 (a||b.c|b’.c’|

b’’.c’’||a’)
Auffret (1995): 1–9|10–17.18–21.22–26|27–29 and 1–9.10–19|20–26.27–29
Schröten (1995), pp. 33–34.59–65: 1.2–4.5–18.19–28.29; cf. Mark (1999)
Fokkelman (2000), pp. 291–93: 1–4.5–7|8–9.10–12.13–14|15–16.17–18.
19–20|21–22.23–24.25|26–27.28–29 (4.3|2.3.2|2.2.2|2.2.1|2.2 lines; a.b|
0.0.c|d.e.d’|c’.b’|0.a’)
Allen (2002): 1–4.5–13.14–19.20–28.29 (note pp. 164–65); cf. Girard (1994)
Terrien (2003): 1–4|5–7.8–9.10–12|13–14|15–18.19–21.22–24|25–29 (a|b.c.d|
e|d’.c’.b’|a’)
Weber (2003): 1–4 5–9.10–13.14–18.19–23.24–28 29 (‘Rahmen’ a.b.c.b’.a’
‘Rahmen’); cf. Sticher (2002), pp. 264–66
[Hossfeld]/Zenger (2008): 1–4 5.6–7.8–9.10–12|13.14–16.17–18||19–21.
22–25.26–28 29 (vv. 1–4 and 29 constitute a ‘Rahmen’)
www.labuschagne.nl/ps118.pdf: 1–2.3–4||5–7.8–9|10–12||13–14.15–16|
17–18.19–20||21–24|25–26.27||28–29 (2.2||3.2|3||2.2|2.2||4|2.1||2 lines)

‘Was die Architektur von Ps 118 angeht, gibt es fast soviele Vorschläge wie
Ausleger’ (Weber [2003], p. 255). Nevertheless, it has often been assumed
that there is a major caesura after v. 18.6 This bipartite division is based
on the idea that the first main part of the psalm represents the recital of an
individual, going up with sacrificial animals towards the temple, about his
deliverance; the second main part is alleged to be sung by the community
(alternating with Levites) after the arrival in the temple-complex; cf. Allen
(2002), pp. 163–64, and [Hossfeld]/Zenger (2008), p. 316. However, Girard
(1994, p. 226) asserts that the ‘étapes type d’une dramatique biblique de
salut [. . . ] apparaissent si entremêlées dans le texte qu’il nous faut à tout
prix recourir à un autre critère littéraire’.
Recently Fokkelman, Terrien and Weber have argued that the psalm
has a concentric structure. In this respect, Fokkelman takes vv. 15–20 as
the middle section, Terrien vv. 13–14 as the ‘core strophe’, but according to
Weber it is vv. 14–18 which have a central position.7 So, at first glance, it
seems somewhat bold to present our psalm as an example of a well-thought-
out Hebrew poem. Nevertheless, in my opinion, the poet has positively
put into practice the formal restrictions belonging to the composition of a
Hebrew literary work of art. Moreover, in the recent past some exegetes
have sensed something of the technique by which this psalm is framed.
6
So Calès, Duhm, Herkenne, NAB, Ravasi, Sticher and [Hossfeld]/Zenger; see § 11.6.
7
Cf. Zenner (1907) who considered vv. 10–20 the ‘Wechselstrophe’ of the composition.
11.7.1 The formal design
It is not disputed that vv. 1–4 represent a relatively individual section,

an introductory call to praise. V. 29 is a relatively individual concluding
strophe, repeating the opening verseline and in this way winding up the
composition by the device for inclusion.8 However, scholars have generally
ignored the fact that the body of the psalm is composed of an uninterrupted
series of three regular 8-line cantos, vv. 5–12, 13–20 and 21–28! Moreover,
these 8-line cantos are introduced by a unit which is exactly half the length
of the main sections, namely four verselines.9
Girard (1994, pp. 226.234) rightly notes that the formal aspect of the
verbal recurrences is of overriding importance for the determination of the
macro framework of the psalm. In Psalm 118 we find clusters of verbal
recurrences which display a linearly alternating pattern: vv. 1–4|5–7.8–12|
13–16.17–20|21–23.24–28 > a|b.a’|b’.a’’|b’’.a’’’; see § 11.4.3. The introduc-
tory Canto I smoothly fits the rhythm of this wave-like motion because it
corresponds to the second half of Cantos II and IV; see .twb (‘good’), n’
(‘please’) and byt (‘house’).10 Furthermore, Canto III also stands out by
the repeated occurrence of the shortened divine name yh (see § 11.4.2).
Apart from the regularity of the cantos in terms of 8 verselines (and 17
cola!), the canto division is also supported by numerical features in terms
of words. Both Cantos II and III (vv. 5–12 and 13–20) have exactly 54
words. And the 4-line introductory canto (vv. 1–4) with its 27 words is
once again half the lenght of Cantos II and III (§ 11.5).11 Besides, the
8
Similarly Allen (2002), Girard (1994), Sticher (2002), Weber (2003) and [Hoss-
feld]/Zenger (2008); see § 11.6. Allen speaks of an ‘obvious inclusion’ (p. 164), Weber
and Zenger speak of a ‘Rahmen’.
9
For this phenomenon, see Ch. IV, 2.4 below.
10
My opinion about the macrostructure of Psalm 118 is close to the interpretations
by Girard (1994), Allen (2002), [Hossfeld]/Zenger (2008) and Labuschagne; see § 11.6.
The structural function of the verbal correspondences listed in § 11.4.3 is appreciated
by most of these scholars too; the interpretation by Labuschagne is especially based on
numerical features. However, Allen and Zenger fail to note the linear pattern of the ver-
bal repetitions and therefore Zenger wrongly takes the repetition of the expression ’wdh
yh/w’wdk (vv. 19 and 28 respectively) as a device for inclusion marking the boundaries
of his concluding main part (vv. 19–28). This correspondence, combined with the root
bw’ + prep. b-, perfectly fits the linear design.
Girard is positively aware of the linearly parallel pattern constituted by the verbal
recurrences!; see § 11.6. Nevertheless, like Allen, he mistakenly considers the repetition
of the root ‘zr (vv. 7 and 13) an inclusion marking the boundaries of his first main part;
once again, this repetition perfectly fits the linear design. Girard also ignores that, in
terms of verbal recurrences, the introductory section (vv. 1–4) smoothly matches with
the following cantos.
11
For the numerical uniformity of successive cantos in terms of words, see CAS I,
2-line strophes of the introduction (vv. 1–2.3–4) exactly correspond to the

concluding 2-line strophes of Canto III (vv. 17–18.19–20): in both cases
there are 13 and 14 words respectively (see § 11.5 and cf. § 11.4.3).
The formal phenomena outlined above and constituting the regular de-
sign of Psalm 118 on the level of the cantos coincide with a thematic and
linearly alternating parallelism between especially the opening and con-
cluding verselines of Cantos II–IV. The following paragraph deals, among
other things, with this semantic aspect.
11.7.2 The thematic design

The first verseline of Canto II (v. 5) is a programmed opening: God has
delivered the supplicant from a situation of distress. This opening line
qualifies the subject matter of all three main cantos.12 Canto II further
elaborates on the confidence people may have on the basis of the experience
of the psalmist (vv. 6–9). In this respect, the generalizing didactic phrases
vv. 8–9 are revealing. It is not before vv. 10–12 that we are informed
about the concrete threat the psalmist had to endure: he was surrounded
by enemies. That is to say, from a thematic point of view, Canto II has a
concentric design: vv. 5.6–9.10–12 > a.b.a’ (§ 11.2; see also the noun ’dm
in § 11.4.2).
Canto III once again opens with the psalmist’s protestation that God
saved him from some personal distress (v. 13; cf. v. 5). The opening colon
(v. 13a) stands out, because for the first time God is addressed in the second
person: ‘You pressed me hard, I nearly fell’. This grammatical peculiarity
at the beginning of the canto has a structural function (see below about
v. 21) and the active form dh.ytny should not be changed (with the ancient
translations; cf. BHS) into a passive.13 V. 13 is immediately followed by the
psalmist’s song of praise (v. 14). The latter theme is characteristic for the
canto in its entirety; see qwl rnh (‘a shout of joy’) in v. 15a, w’spr m‘śy yh
(‘and I recount His works’) in v. 17b and ’wdh yh (‘I give thanks to Him’)
in v. 19b. In vv. 15–16 the individual praise of the psalmist is taken over by
the ‘righteous’ in general (note b’hly .sdyqym in v. 15b). The description of
the psalmist’s deliverance from a fatal threat, vv. 17–18, echoes the first line
of the opening strophe of the canto (v. 13). And once again the psalmist
praises God (v. 17b; cf. v. 14). Canto III winds up with an exhortation by
the psalmist to open the gates of the temple (Jerusalem?) so that he may
Ch. V, 2.4.1 (pp. 457–58).

12
Allen (2002, p. 163) calls v. 5 an ‘introductory summary’.
13
It is v. 18a which indicates that God is the subject of the paronomastic infinitive
construction dh.w dh.ytny.
enter (v. 19). V. 20 adds a generalizing aspect to this call because it (once
again) speaks of all ‘righteous people’ (they are allowed to move with the
psalmist through the gates of the temple); cf. vv. 15–16. That is to say,
from a thematic point of view, the strophes of Canto III display a linearly
alternating design: vv. 13–14.15–16.17–18.19–20 > a.b.a’.b’ (§ 11.2; see also
the root .sdq in § 11.4.2).14
The concluding strophe (vv. 19–20) stands out by its dialogic structure.
After the exhortation of the psalmist to open the gates of the holy City
(v. 19; see Hamidović [2000]), the gatekeepers answer that the righteous
may enter (v. 20). The strophe paves the way for the following canto which
abounds in references to the temple; see also the concatenations between
vv. 19–20 and 21 mentioned in § 11.4.3.
Canto IV for the third time opens with a protestation of the psalmist
concerning his deliverance by God (v. 21; cf. vv. 5 and 13). As is the case
in v. 13a, in v. 21 God is addressed in the second person; note further the
root ‘nh (‘to answer’) in vv. 5 and 21! And the psalmist once again praises
God for his salvation. The expression ’wdk (‘I praise You’) is right at the
beginning of the canto and marks its boundaries by inclusion; see w’wdk in
v. 28a.15 In the verselines in between (vv. 22–27) the psalmist speaks as
a member of a group; note ‘in our eyes’ (v. 23b), ‘let us exult and rejoice’
(v. 24b), ‘we bless you’ (v. 26b) and ‘for us’ (v. 27a). In these lines we find
an accumulation of general statements about God’s goodness; see vv. 22,
24a and 27a.
The concluding strophe of the canto (vv. 26–28) once again stands out
by its dialogic structure; cf. vv. 19–20. In its opening verseline (v. 26)
the gatekeepers/Levites proclaim a blessing for the community (cf. the
concluding strophe of the second canto of Psalm 115 [vv. 15–16]). The
community answers the blessing with an exhortation to the Levites (cf.
v. 19a) to accept their offerings (v. 27); for the meaning of the noun h.g,
cf. § 11.1. And finally, the psalmist himself concludes the dialogue with a
hymnic confession (v. 28).16 In view of the concluding strophes of Cantos
III and IV, the psalm is a poetic portrayal of a temple liturgy.
14
On the basis of the parallelism between vv. 15–16 and 19–20, Fokkelman (MPHB
II, pp. 292–93) impulsively concludes that vv. 17–18 are the central strophe of the poem
and that the poem in its entirety has a concentric design (see § 11.6).
15
Canto IV stands out in the psalm by its addresses to God; see vv. 21, 25 and 28.
16
Cf. Girard (1994, p. 225): ‘rien n’empêche qu’on mettre dans la bouche du psalmiste
[. . . ] la totalité du poème, sauf les v. 26–27 qui constituent manifestement la réponse
d’un interlocuteur, une formule rituelle de bénédiction’.
11.7.3 The level of the strophes
Since Köster (1837), scholars looking for a strophic framework have often
suggested that our psalm is structurally determined by groups of 5 and
4 verselines.17 However, this strophic interpretation is ruled out by the
macrostructure of the psalm pointed out above. Fokkelman (MPHB II,
p. 291) rightly observes that on the level of the strophes we find a ‘fre-
quent use of anaphora and epiphora’. These devices feature in vv. 1–2,
3–4, 8–9, 10–12, 15–16, 22–23, 26–28. Generally speaking, on the level of
the strophes verbal recurrences once again (cf. the level of the cantos) play
a major structuring role; see § 12.4.1. The 2-line strophe dominates. In this
respect, Cantos II and IV break a rigid regularity: both sections open with
a mono-line strophe and end with a 3-line strophe.18
The quintessential thought of Psalm 118 is to be found in the two exhorta-

tions to praise God’s steadfast love enveloping the poem as a whole (vv. 1
and 29). The pivotal hymn v. 15c, ymyn yhwh ‘śh h.yl (‘the right hand of the
Lord acts with power’), functions as a general motivation of these praises.
Additionally, the individual experiences recited in the opening verselines of
the main cantos, vv. 5, 13–14 and 21, not only nuance but also underscore
this motivation.
For the relationship with the preceding psalm, we must compare Psalm
116, because Psalm 117 is not a real psalm but a doxology marking the
end of a series of 11 poems at the beginning of Book V.19 For series of 11
compositions at the beginning of a new Book of the psalter, see Psalms
73–83 at the beginning of Book III and Psalms 90–100 at the beginning
of Book IV (note the hymn Psalm 100 concluding the cycle in question).
Psalms 107–117 together have exactly 170 verselines.
For the relationship between Psalms 118 and 116 see, among other things,
the following verbal repetitions: ms.r (v. 5) > 116,3(!; the noun does not
17
See Hävernick, De Wette, Ewald, Calès, Kissane and Weber in § 11.6. According to
Pannier/Renard (1950), there is an almost uninterrupted series of 3-line strophes.
18
For the strophic structure of the psalm, see also Gunkel, Gemser, Beaucamp and
Fokkelman in § 11.6.
19
See C.J. Labuschagne, ‘Significant Sub-Groups in the Book of Psalms’, in E. Zenger
(ed.), The Composition of the Book of Psalms (BEThL 238), Leuven: Peeters, 2010,
pp. 623–34 (note pp. 631–32). Weber (2003, p. 251) tentatively calls Psalm 117 a
‘Koda’(!) originally concluding the Egyptian Hallel and according to [Hossfeld]/Zenger
(2008, p. 305) it may have a ‘Brückenfunktion’ between Psalms 116 and 118. For a 2-line
doxology at the end of a psalm cycle, see Ps. 72,18–19.
occur elsewhere in the Psalter); qr’ty (v. 5) > 116,2.4.13.17; ’dm (vv. 6.8) >
116,11; bšm yhwh (vv. 10.11.12.26) > 116,4.13.17; yšw‘h (vv. 14.15.21.25)
> 116,6.13; .sdyq (vv. 15.20) > 116,5; mwt (vv. 17.18) > 116,3.8.15; root
ydh (vv. 1.19.21.28) > 116,17; ’nh yhwh (v. 25 [2×]) > 116,4.16; byt yhwh
(v. 26) > 116,19 (the end of the poem!); mzbh. (v. 27) > 116,17 (2×; the end
of the poem!). These repetitions form a cluster of fundamental concepts
and demonstrate that we are dealing with a close relationship between the
psalms in question. Psalm 118 may be seen as a continuation of Psalm 116.
Psalm 118 is an elaboration of the theme of thanksgiving referred to at the
end of the second canto of Psalm 116 (note 116,17–19).20
In terms of verbal recurrences, there is also a conspicuous parallel with

Psalm 115: yśr’l (v. 2) > 115,9; byt ’hrn (v. 3) > 115,10.12; yr’y yhwh
(v. 4) > 115,11.13; ’dm (vv. 6.8) > 115,4.16; bt.h. (vv. 8.9) > 115,8.9.10.11;
gwym (v. 10) > 115,2; mwt (vv. 17.18) > 115,17; root brk (v. 26 [2×])
> 115,12 (3×).13.15.18. Moreover, like the present poem, Psalm 115 is
composed of 8-line cantos.
Cf. further: vv. 1 and 29 > Pss. 106,1 107,1 (note Weber [2003], p. 256)
136,1; v. 6b > Ps. 56,12b; vv. 14 and 21b > Ex. 15,2a–b Isai. 12,2c–d; vv.
15c–16 > Ex. 15,6.
11.8 Bibliography
F. Crüsemann, Studien zur Formgeschichte von Hymnus und Danklied in Israel
(WMANT 32), Neukirchen-Vluyn, 1969, pp. 217–23;
162–81;
J. Schröten, Entstehung, Komposition und Wirkungsgeschichte des 118. Psalms
(BBB 95), Weinheim: Beltz Athenäum Verlag, 1995;
M. Mark, Meine Stärke und mein Schutz ist der Herr. Poetologisch-theologische
Studie zu Psalm 118 (FzB 92), Würzburg: Echter Verlag, 1999;
D. Hamidović, ‘“Les portes de justice” en “la porte de YHWH” dans le Psaume
118,19–20’, Biblica 81 (2000), pp. 542–50;
Philo, 2002, pp. 260–76;
Fanie Snyman, ‘Reading Psalm 117 against an Exilic Context’, VT 61 (2011),
pp. 109–18.
20
See also [Hossfeld]/Zenger (2008), pp. 332–33.
12 Psalm 119
Structure: 16.80.80 > 16|32.32.16|32.32.16 > 2×8|4×8.4×8.2×8|4×8.4×8.
2×8 (8 = 2.2|2.2) lines (Type IIA; alphabetic acrostic)
12.1 Introduction
Psalm 119 is an extremely long alphabetic acrostic. There are 22 eight-
line sections, that is to say 176 verselines in total. Each verseline of an
individual section opens with the same letter, one of the letters of the
Hebrew alphabet in succession. Without exception, the Masoretic verse
division correctly marks the poetic lines.
On the basis of our knowledge of Hebrew poetry in general, it seems
reasonable to suppose that there is an overall design clustering the 8-line
sections into coherent groups with balanced numbers of sections. How-
ever, such an overall design does not catch the eye at first glance. And
it is only recently that some scholars have been looking for this rhetorical
aspect of our psalm; see Soll (1991), Seybold (1996), Nodder (2005) and
[Hossfeld]/Zenger (2008). Therefore, I will postpone the discussion of the
overall design till the end of my investigation.
In this particular case, I will first discuss the strophic framework of
the 8-line sections, which from now on I call ‘cantos’ (§§ 12.2.1–22). In
the past, exegetes generally ignored this structural level too (cf. the over-
all design) and took it for granted that the 8-line sections form the basic
building blocks of the psalm.1 However, scholars like Girard (1994), Fokkel-
man (2003), Terrien (2003), Nodder (2005), Auffret (1993/2006) and [Hoss-
feld]/Zenger (2008) rightly assume that the cantos themselves display a well
thought-out poetic design. Girard has already argued that the 8-line sec-
tions display a major break after the fourth verseline.2 Fokkelman, Nodder
and [Hossfeld]/Zenger fundamentally agree.3 ‘Die Strophen sind in zwei
Unterabschnitte gegliedert; jeweils vier Verse bilden eine thematische Ein-
heit (Diptychonstruktur)’; [Hossfeld]/Zenger (2008), p. 355. Furthermore,
1
So Köster (1837), De Wette (1856), Gunkel (1926), Calès (1936), Kissane (1954),
Allen (2002), among others; ‘selten gehören [. . . ] nur zwei oder gar drei Sätze oder mehr
einigermaßen zusammen’ (Gunkel, p. 511; similarly Deissler [1955], p. 265). Otherwise
Weber (2003, p. 270): ‘eine Unterteilung der akrostichischen Stanzen in Strophen ist
diskutierbar’.
2
It is only Canto XVIII (s.ade) which would deviate from this regular pattern.
3
In vv. 1–8 and 89–96 (the ’aleph- and lamed-canto) Fokkelman has 3.2.3 lines, which
according to him mark the beginnings of the two halves of the composition (MPHB III,
p. 249); in vv. 49–56 (the zayin-canto) he has 3.3.2 lines; cf. NBV (2004). According to
Terrien, all 8-line sections divide into 3.3.2 verselines.
Fokkelman and Nodder argue that, in their turn, the 4-line ‘substanzas’
divide into two 2-line strophes (scheme: 2.2|2.2 lines).
As will be demonstrated below, the 22 cantos represent a series of in-
geniously structured miniatures which together form the psalm as a whole.
Nodder and Zenger rightly suppose that all cantos regularly divide into
two 4-line subsections; I call them ‘canticles’. In their turn, these canticles
regularly divide into two 2-line strophes (so Nodder and cf. Fokkelman).4
Nevertheless, within the rigid regularity of this strophic pattern the poet
succeeds in endlessly varying the rhetorical design of the cantos as far as
the relationship between subject matter and formal features (verbal recur-
rences, alliterations, transition markers, syntax) is concerned.
In a number of cases, the bipartite division of the cantos is supported
by signs of linear parallelism between successive 8-line sections, especially
in terms of verbal repetitions. For this phenomenon, see e.g. the correspon-
dences between Canticles I.1 and II.1, on the one hand, and Canticles I.2
and II.2, on the other, between Canticles II.1 and III.1, on the one hand,
and Canticles II.2 and III.2, on the other, and so on.
The synonymous Torah terms dbr (y)k/’mrtk (‘your word[s]’) may fur-
ther exemplify what is going on here. The combination almost exclusively
occurs in the first canticle of the cantos and in the standard sequence dbrk
. . . ’mrtk ; see vv. 9+11 (Canticle II.1), 41–42 (VI.1; ’mrtk . . . dbrk ), 49–50
(VII.1; dbr . . . ’mrtk ), 57–58 (VIII.1), 65+67 (IX.1), 74+76 (X.1), 81–82
(XI.1), 114+116 (XV.1), 139–140 (XVIII.1), 147–148 (XIX.1), 161–162
(XXI.1), 169–170 (XXII.1; see also ’mrtk in v. 172). It is only in Can-
tos V, XIII and XX that the combination in question occurs in the second
canticle; see vv. 37*–38 (V.2), 101+103 (XIII.2) and 158+160 (XX.2; ’mrtk
. . . dbrk ).5
The root bwš (hiph‘il ‘to put to shame’) almost exclusively occurs in the
second canticle of a canto; see vv. 6 (I.2), 31 (IV.2), 46 (VI.2) and 78+80
(X.2). It is only in v. 116 that the root occurs in the first canticle (XV.1).
The root š‘ ‘ (hitpalpel ‘to take delight’) is also nearly always found in the
second canticle of the cantos, often in combination with the root śyh. (‘to
meditate’); see 15–16 (II.2; śyh. . . . š‘ ‘ ), 23–24 (III.2; śyh. . . . š‘ ‘ ), 47–48
4
For a systematic and very illuminating exposition of the view that the cantos consist
of four 2-line strophes, see Nodder (2005), pp. 327–28. The strophic scheme of 2.2|2.2
lines is also valid when we reject the numerous transpositions of lines and substitutions
of ‘missing’ Torah terms as suggested in Briggs’s commentary (1917); note pp. 416–18.
5
In Canto XVII we find dbryk in v. 130 (XVII.1) and ’mrtk in v. 133 (XVII.2). For the
root ’mr, cf. further vv. 82 (XI.1; l’mr ), 123 (XVI.1; wl’mrt .sdq) and 154 (XX.1; l’mrtk ).
For the root dbr, cf. further vv. 16 (II.2; dbrk ), 17 (III.1; dbrk ), 23 (III.2; ndbrw ), 25+28
(IV.2; kdbrk ), 42+43 (VI.1; dbr ), 46 (VI.2; w’dbrh) and 105+107 (XIV.1; dbrk ).
(VI.2; š‘ ‘ . . . śyh.), 77–78 (X.2; š‘ ‘ . . . śyh.).6 In vv. 14+16 (II.2) we also
find the combination of the roots śwś and š‘ ‘.7 For the root š‘ ‘ on its
own in the second canticle of a canto, see vv. 70 (IX.2), 143 (XVIII.2) and
174 (XXII.2); in this respect, its occurrence in v. 92 (Canticle XII.1) is a
contrary indication.
References to the opponents of the psalmist, likewise, mostly occur in
the second canticle of the cantos. Regularly, these opponents are called
zdym (‘arrogant people’); see vv. 21 (III.2), 69 (IX.2), 78 (X.2) and 85
(XI.2).8 From Canto VII onwards the enemies of the psalmist are also des-
ignated rš‘ym (‘wicked people’) and, once again, this designation mostly
occurs in the second canticle of the cantos; see vv. 53 (VII.2), 61 (VIII.2),
95 (XII.2), 110 (XIV.2) and 119 (XV.2).9 Additionally, in 150 (Canticle
XIX.2) and 157 (XX.2) the opponents are called rdpy (‘my persecutors’);
see also the expression rdpwny in v. 86 (Canticle XI.2).10 The designation
mlkym (‘kings’) in v. 46 (Canticle VI.2) further shows that it is predomi-
nantly in the second canticles that the psalmist speaks of his opponents.
It may (or may not) be a matter of chance, but the Torah word pqwdym
almost exclusively occurs in the second canticle of the cantos (17×); see vv.
40 (V.2), 45 (VI.2), 56 (VII.2), 63 (VIII.2), 69 (IX.2), 78 (X.2), 87 (XI.2),
93+94 (XII.2), 104 (XIII.2), 110 (XIV.2), 128 (XVI.2), 134 (XVII.2), 141
(XVIII.2), 159 (XX.2), 168 (XXI.2) and 173 (XX.2).11
For economic reasons in terms of space, I shall not devote special para-
graphs to systematically list the verbal repetitions on the various levels
of the cantos. With the help of specific typefaces, this framing aspect is
tentatively indicated in the layout of the texts. Small caps point to lin-
ear verbal repetitions (responsions) which occur within the canticles, and
words printed in bold face mark responsions which occur on the level of
the cantos in their entirety. When these recurrences constitute an inclu-
6
In vv. 27, 97+99 and 148 the root śyh. occurs in the first canticle of a canto (IV.1,
XIII.1 and XIX.1 resp.).
7
In Psalm 119 the root śwś only occurs in vv. 14, 111 and 162.
8
It is only in vv. 51 and 122 that zdym occurs in the first canticle of a canto (VII.1
and XVI.1 resp.).
9
It is only in v. 155 that rš‘ym occurs in the first canticle of a canto (XX.1).
10
In v. 84 the designation rdpy occurs in the first canticle of Canto XI and in v. 161
we find the expression rdpwny in Canticle XXI.1. In v. 157 (Canticle XX.2), alongside
the designation rdpy, we also find .sry (‘my foes’); however, in v. 139 the latter term
occurs in Canticle XVIII.1. In two cases the opponents of the psalmist are called śrym
(‘princes’). In v. 161 (Canticle XXI.1) the designation is the subject of rdpwny, while in
v. 23 it occurs in parallelism with zdym (v. 21) in the second canticle of Canto III.
11
In vv. 40, 56, 104, 128 and 168 it features right in the concluding verseline of the
canto in question. It is only in vv. 4, 27 and 100 that pqdym is found in the first canticle
of a canto (I.1, IV.1 and XIII.1 resp.).
sion or a concatenation they are additionally underlined/underlined.

The verbal repetitions which occur within the strophes are, as usual, not
especially marked.
The layout of the texts is followed by a concise explanation. In these
explanations I discuss which, in my opinion, are the decisive thematic and
formal phenomena structuring the cantos. There is always a concluding ob-
servation regarding the relationship (mostly in terms of verbal recurrences
only) between the canto in question and its predecessor. In this respect, the
well-known 8 Tora words (twrh, dbr, ’mrh, mšpt.ym, h.qym, ms.wt, ‘dwt and
pqwdym) are mostly left out of consideration. These words do not reveal a
specific relationship between successive cantos; see, e.g., Freedman (1999),
p. 52 (Table 10). The synonymous terms dbrk/’mrtk (‘your word’) are an
exception because in most cases they positively function as a structural
bridge.12
The discussion of the rhetorical design of the cantos (§ 12.2) is followed
by a systematic listing of transitition markers (§ 12.3), some quantitative
structural observations (§ 12.4) and, finally, by some observations regarding
the overall framework of Psalm 119 (§ 12.5).
12.2 The rhetorical structure of the cantos

12.2.1 Canto I (’aleph)
I.1 1 ’šry tmymy drk hhlkym btwrt yhwh

2 ’šry ns.ry ‘dtyw bkl lb ydršwhw
3 ’p l’ p‘lw ‘wlh bdrkyw hlkw

4 ’th s.wyth pqdyk lšmr m’d
I.2 5 ’h.ly yknw drky lšmr h.qyk

6 ’z l’ ’bwš bhbyt.y ’l kl ms.wtyk
7 ’wdk byšr lbb blmdy mšpt.y .sdqk

8 ’t h.qyk ’šmr ’l t‘zbny ‘d m’d
The first canto of Psalm 119 has a beautiful structure. The opening strophe
of Canticle I.1 is a benediction of people who observe God’s decrees; note
12
For a description of all kinds of relationships between the cantos, see Auffret, Mais
tu élargiras mon coeur (BZAW 359), 2006, pp. 67–359. Curiously enough, he does not
carry out a systematic investigation of the rhetorical relationships between successive
cantos.
’šry (‘happy’) at the beginning of the two first verselines (vv. 1–2). The
following strophe emphasizes that these people do no wrong (v. 3) because
they obeyed God’s command to keep his precepts (v. 4). In the latter
verseline the psalmist addresses God in the second person (note ’th [‘You’]
in v. 4a), while in vv. 1–3 God is spoken about in the third person. The
strophic structure is suported by the linear parallelism between the strophes
in terms of verbal recurrences (responsions); see the noun drk (‘way’) and
the root hlk (‘to walk’) in vv. 1 and 3.
As is the case in v. 4, in Canticle I.2 God is addressed in the second
person. In this sense, the concluding verseline of Canticle I.1 paves the way
for the following unit; note also the expression lšmr exactly at the beginning
of the second colon of vv. 4 and 5 (concatenation).13 And for that matter,
Canto I is trend-setting; see the preparatory function (in terms of meaning)
of the concluding verseline of the first canticle in Cantos I, II, VI, X, XII and
XVIII; note also ‘bdk and rbym at the interface of the canticles in Cantos
XVI and XX respectively. However, different from Canticle I.1, where the
psalmist focusses on people in general, from v. 5 onwards he speaks about
himself. The beginning of Canticle I.2 is marked by the sigh ’h.ly (v. 5a),
introducing the message that the psalmist wants to be a member of the
blessed group spoken about in Canticle I.1 (vv. 5–6).14 The canticle winds
up with a strophe in which the psalmist praises God (note the root ydh
hiph‘il in v. 7a) and asserts that he keeps his laws (v. 8). The boundaries
of the canticle are marked by the root šmr (‘to keep’) in combination with
the Torah word h.qyk (vv. 5b.8a); note the chiasmus. Its strophic structure
is indicated by the linear positioning of the reference to a supposed distress
in v. 6a (’z l’ ’bwš) and the prayer for God’s proximity in v. 8b (‘l t‘zbny).
The noun drk (‘way’) at the end of the opening cola of the canticles
(vv. 1a and 5a) and the adverb m’d exactly at the end of both canticles
(vv. 4b and 8b; epiphora) function as responsions which strongly support
the bipartite division of Canto I in terms of subject matter as pointed out
above. In this respect, cf. also ’th/’t exactly at the beginning of vv. 4 and
8 resp. (alliteration).15
13
This symmetric aspect of the overall structure of the canto is reinforced by the
repetition of the root .swh (vv. 4a.6b) and the corresponding expressions bkl lb/byšr lbb
(vv. 2b.7a resp.).
14
MT divides v. 6 with ’atnah. after ’bwš.
15
Fokkelman (MPHB III, pp. 237–38) has 3.2.3 lines. Nevertheless, he speaks of the
‘contours of two quartets (substanzas) glimmering through the LSL structure of the
octet’ (p. 238).
12.2.2 Canto II (beth)
II.1 9 bmh yzkh n‘r ’t ’rh.w lšmr k dbrk

10 bkl lby drštyk ’l tšgny mms.wtyk
11 blby .spnty ’mrtk lm‘n l’ ’h..t’ lk

12 brwk ’th yhwh lmdny h.qyk
II.2 13 bśpty sprty kl mšpt.y pyk

14 bdrk ‘dwtyk śśty k‘l kl hwn
15 bpqdyk ’śyh.h w’byt.h ’rh.tyk

16 bh.qtyk ’št‘š‘ l’ ’škh. dbrk
The core lines of Canticle II.1 consist of assertions that the psalmist ob-
serves God’s commands (vv. 10–11). This theme is framed by an interro-
gation concerning the behaviour of a ‘young man’ (v. 9; cf. vv. 1–3)16 and
a praise of God (v. 12a; cf. v. 7). Its strophic structure is indicated by the
corresponding Torah terms dbrk/’mrtk (vv. 9b.11a resp.) and the prayers
for loyalty to God’s commands in vv. 10b and 12b (note the epiphoric ef-
fect). See also the alliteration lm‘n/lmdny at the beginning of vv. 11b.12b
(‘anaphora’).
Stating that he proclaims all God’s rules (v. 13), in the first verseline
of Canticle II.2 the psalmist ties in with the praise expressed in the con-
cluding verseline of the preceding canticle. He further emphasizes that he
takes delight in God’s decrees; see vv. 14a.16a. This message at the same
time represents the thematic individuality of the canticle and supports its
strophic structure (note the linear positioning). The coherence of vv. 13–14
and 15–16 is especially highlighted by the conspicuous parallelism in terms
of synyax between the verselines of these strophes; see also kl in vv. 13b.14b.
From now on, the cantos are throughout addressed to God in the second
person; the address to the wrongdoers in v. 115 is an exception. The
boundaries of Canto II are marked by the expression dbrk (‘your word’)
exactly at the end of the opening and concluding verseline (vv. 9b.16b,
inclusion);17 cf. also the noun ’rh. (‘way’) in vv. 9a and 15b. Its bipartite
division is supported by the repetition of the Torah word h.qyk/h.qtyk in vv.
12b.16a (responsion).
16
For the traditional reading of v. 9 as a question and answer, see Reynolds, VT 58
(2008), pp. 265–69.
17
For this special device for inclusion, cf. bny ’dm in Ps. 12,2.9 and h.sydym/h.sydyw
in Ps. 149,1.9.
In terms of verbal repetitions, there is a conspicuous parallelism between

Canticles I.1 and II.1; see yhwh (vv. 1.12), bkl lb + the root drš (vv. 2.10;
exactly linear), p‘l ‘wlh/h..t’ (vv. 3.11; exactly linear) and ’th (‘You’) (vv.
4.12; exactly linear). For I.2 // II.2, see the root nbt. (hiph‘il, vv. 6.15).
Note also the structural function of the synonymous nouns drk/’rh. (‘way’);
see drk in vv. 1+3+5 (responsion) and ’rh. in vv. 9+15 (inclusion); in this
respect, cf. further the expression lšmr in vv. 4+5.9.
12.2.3 Canto III (gimel )
III.1 17 gml ‘l ‘bdk ’h.yh w’šmrh dbrk

18 gl ‘yny w’byt.h npl’wt mtwrtk
19 gr ’nky b’rs. ’l tstr mmny ms.wtyk

20 grsh npšy lt’bh ’l mšpt.yk bkl ‘t
III.2 21 g‘rt zdym ’rwrym hšgym mms.wtyk

22 gl m‘ly h.rph wbwz ky ‘dtyk ns.rty
23 gm yšbw śrym by ndbrw ‘bdk yśyh. bh.qyk

24 gm ‘dtyk š‘š‘y ’nšy ‘s.ty
Different from the preceding cantos, from Canto III onwards we find all
kinds of explicit references to distress the psalmist experiences and his
prayers for deliverance. Canticle III.1 immediately opens with a colon in
which the psalmist pleads that he may live (v. 17a). Vv. 19–20 contain
references to feelings of alienation; see gr ’nky (‘I am a sojourner’, v. 19a)
and grsh npšy (‘my soul is consumed’, v. 20a). bkl ‘t (‘for all times’, v. 20b)
is a transition marker highlighting the end of the canticle. The strophic
division of the canticle is formally indicated by anaphoric features in terms
of alliteration; see gml/gl (vv. 17a.18a resp.), gr/grsh (vv. 19a.20a resp.)
and ’l (prohibitive)/’l (preposition) in vv. 19b.20b resp. From a thematic
point of view, the prayer ‘not to hide’ in v. 19b harks back to the prayer
‘open my eyes’ in v. 18a.
Canticle III.2 opens with a statement about God’s reaction to arrogant
people (v. 21), followed by a prayer for deliverance from distress (v. 22a).
In the concluding strophe (vv. 23–24) the psalmist affirms that he remains
loyal to God’s decrees amidst opposition: ‘meditating’ these decrees is his
‘delight’. The strophic division of the canticle is supported by the repetition
of the Torah word ‘dtyk (vv. 22b.24a; responsion) and the particle gm (vv.
23.24; anaphora). In this respect, cf. also zdym/śrym (vv. 21a.23a resp.;
responsion).
In terms of verbal recurrences, the symmetric design of Canto III espe-
cially catches the eye; note the underlined words printed in bold face.18 Its
bipartite division is supported by the exactly linear position of the prayers
gl ‘yny/gl m‘ly (vv. 18a.22a; note the alliteration) and the even distribution
over the canticles of the total number of words; each canticle has 25 words.
The exactly linear positioning of lšmr kdbrk (v. 9b) and w’šmrh dbrk
(v. 17b) constitutes a parallelism between Canticles II.1 and III.1. In
this respect, cf. also ’l tšgny mms.wtyk (v. 10b) with ’l tstr mmny ms.wtyk
(v. 19b). The corresponding expressions bpqdyk ’śyh.h/bh.qtyk ’št‘š‘ and yśyh.
bh.qyk/gm ‘dtyk š‘š‘y, occurring in the concluding strophes of Cantos II and
III (vv. 15–16 and 23–24 respectively), highlight the linear parallelism be-
tween Canticles II.2 and III.2. Cf. further the root šgh (vv. 10.21) and
w’byt.h (vv. 15b.18a; concatenation).
12.2.4 Canto IV (daleth)
IV.1 25 dbqh l‘pr npšy h.yny kdbrk

26 drky sprty wt‘nny lmdny h.qyk
27 drk pqwdyk hbynny w’śyh.h bnpl’wtyk

28 dlph npšy mtwgh qymny kdbrk
IV.2 29 drk šqr hsr mmny wtwrtk h.nny

30 drk ’mwnh bh.rty mšpt.yk šwyty
31 dbqty b‘dwtyk yhwh ’l tbyšny

32 drk ms.wtyk ’rws. ky trh.yb lby
Canticle IV.1 stands out because in its opening and concluding verselines
(vv. 25.28) the psalmist points to some (serious) distress he experiences;
and subsequently he prays for deliverance. In the verselines in between (vv.
26–27) he prays for understanding God’s precepts; note the chiasmus. The
symmetric aspect in terms of material content is reinforced by a conspicuous
pattern of verbal repetitions which at the same time highlight the relative
individuality of the canticle; see the underlined words printed in small caps
and note the parallel phrases h.yny kdbrk/qymny kdbrk (vv. 25b.28b resp.).19
18
For the symmetry of Canto III, see also Girard (1994), pp. 256–57.
19
For kdbrk exactly at the end of the opening and concluding versline of the canticle,
see CAS I, Ch. V, 3.4.2 (p. 485) and further Pss. 47,2–6 (bqwl rnh/bqwl šwpr ; Canto I)
89,39–52 (mšyh.k ; Canto III).
The opening prayer of v. 29 functions in the context of the assurance

that the psalmist is loyal to God’s decrees. The antithetic expressions drk
šqr/drk ’mnwh, which highlight the coherence of vv. 29–30 by the device
for anaphora, reinforce this affirmation. For the strophic structure of the
canticle, see also the exactly linear position of the parallel phrases drk
’mwnh bh.rty and drk ms.wtyk ’rws. (vv. 30a.32a resp.),20 and the alliteration
bh.rty/trh.yb (vv. 30a.32b resp.; responsion).21
The opening verseline of Canticle IV.1 refers to the corresponding line
of Canticle III.I; see the root h.yh followed by dbrk in vv. 17 and 25b. The
repetitions of npl’wt (vv. 18.27)22 and npšy (vv. 20.25+28) further highlight
the parallelism between these canticles. The repetition of the root śyh. (vv.
23.27) defies any systematization.
12.2.5 Canto V (he)
V.1 33 hwrny yhwh drk h.qyk w’s.rnh ‘qb

34 hbynny w’s.rh twrtk w’šmrnh bkl lb
35 hdrykny bntyb ms.wtyk ky bw h.ps.ty

36 ht. lby ’l ‘dwtyk w’l ’l bs.‘
V.2 37 h‘br ‘yny mr’wt šw’ bdbrk h.yny

38 hqm l‘bdk ’mrtk ’šr lyr’tk
39 h‘br h.rpty ’šr ygrty ky mšpt.yk .twbym

40 hnh t’bty lpqdyk bs.dqtk h.yny
In Canticle V.1 the psalmist prays for God’s help that he may observe
his teachings. Its relative individuality and coherence are indicated by
some responsions which simultaneously mark the strophic structure of the
canticle; see the root drk (‘to walk’) and the noun lb (‘heart’) printed in
small caps. In this respect, see also the synonyms drk/ntyb (‘path’) in vv.
33a.35a respectively. The coherence of vv. 33–34 is reinforced by the repe-
tition of w’s.r (n)h and by the semantic correspondence of w’s.rnh/w’šmrnh
20
The assurance ’rws. (‘I run’, v. 32) aptly concludes the canto in which the noun drk
(‘way’) functions as a key word.
21
In terms of word count, I note that the strophes of Canticle IV.1 (vv. 25–26 and
27–28) have 10 words each, while the strophes of Canticle IV.2 (vv. 29–30 and 31–32)
have 11 words each.
22
In Psalm 119 the root pl’ only occurs in vv. 18, 27 and 129.
(‘anaphora’; note also the alliteration).23

Canticle V.2 stands out by being prayers for deliverance from distress;
note h.yny (‘give me life’), marking the boundaries of the canticle by in-
clusion (vv. 37.40).24 The repetition of the imperative h‘br (‘remove’, vv.
37.39), followed by expressions for affliction (šw’ and h.rph respectively),
further highlights the thematic coherence of the canticle and simultane-
ously supports its strophic structure by anaphora. For the coherence of vv.
37–38, see also the alliteration mr’wt/’mrtk.
The bipartite division of Canto V is supported by h.ps.ty (‘I want’)/ygrty
(‘I dread’) in the concluding strophes of the canticles (vv. 35b.39a resp.),
expressing contrasting feelings of the supplicant. After an uninterrupted
series of hiph‘il imperatives (with God as subject), the concluding verse-
line of Canto V aptly opens with the transition marker hnh (‘behold’); it
introduces the assurance ‘I long for your precepts’ (v. 40a; cf. v. 32a).
For the relationship with the preceding canto in terms of verbal repeti-
tions, see h.yny kdbrk/bdbrk h.yny (vv. 25.37* resp.),25 the root drk (vv.
26+27+29+30+32.33+35), the imperative hbynny (vv. 27.34), the root
qwm (vv. 28.38), the vocative yhwh (vv. 31.33) and the noun lb (vv. 32.34+36;
note lby in vv. 32.36).
12.2.6 Canto VI (waw )
VI.1 41 wyb’ny h.sdk yhwh tšw‘tk k’mrtk

42 w’‘nh h.rpy dbr ky bt.h.ty bdbrk
43 w’l ts.l mpy dbr ’mt ‘d m’d ky lmšpt.k yh.lty

44 w’šmrh twrtk tmyd l‘wlm w‘d
VI.2 45 w’thlkh brh.bh ky pqdyk dršty

46 w’dbrh b‘dtyk ngd mlkym wl’ ’bwš
47 w’št‘š‘ bms.wtyk ’šr ’hbty

48 w’ś’ kpy ’l ms.wtyk ’šr ’hbty w’śyh.h bh.qyk
23
In my opinion, the context of ‘qb in Ps. 119,33.112 suggests that it means ‘to the
end’ and not ‘reward’; see especially l‘wlm ‘qb in v. 112b, the concluding colon of Canto
XIV (otherwise Deissler [1955], pp. 130–32.211 and [Hossfeld]/Zenger, p. 348).
24
For this special device for inclusion, occurring exactly at the end of the verselines,
cf. kdbrk in Canticle IV.1 (vv. 25–28).
25
For the reading bdbrk in v. 37b, see h.yny kdbrk in vv. 25b and 107b (Müller [1898],
p. 57); cf. also kdbrk hwnny in 11QPsa . MT reads bdrkk.
The coherence and strophic structure of Canticle VI.1 is determined by the

linearly alternating parallelism of its verselines in terms of subject matter.
Vv. 41 and 43 are individual prayers for divine mercy; in vv. 42 and 44 the
supplicant describes what he will do when God hears his pleas. According
to v. 42, he will be able to put his opponents in their place. This parallelis-
mus stropharum is reinforced by the word pair h.sd/mt (vv. 41a.43a resp.).
For the formal coherence of vv. 41–42, see k’mrtk/bdbrk (vv. 41b.42b resp.;
epiphora). The expressions tmyd and ‘wlm w‘d in v. 44 function as transi-
tion markers highlighting the end of a section (cf. v. 20). In terms of verbal
repetitions, the canticle displays a kind of symmetry; see the underlined
words printed in small caps.
Canticle VI.2 elaborates on the assurance expressed in v. 44 and culmi-
nates in the description of delight the psalmist experiences when meditating
on God’s laws (vv. 47–48; cf. vv. 23–24). The coherence of vv. 47–48 in
terms of syntax and verbal repetitions immediately catches the eye.26 See
also the syntactical parallel phrases vv. 45a and 46a (anaphora).
The bipartite division of Canto VI is strengthened by the verbs of move-
ment introducing the canticles; see wyb’ny (‘and let come to me’) //w’thlkh
(‘and I will walk about’), vv. 41.45 resp. (anaphora).27 The exactly linear
positioning of the phrases w’‘nh h.rpy dbr and w’dbrh . . . ngd mlkym in the
first colon of the second verseline of the canticles (vv. 42a.46a resp.), in
both cases expressing the message that the psalmist will verbally resist his
opponents, further underlines this division.
For the parallelism between Canticles V.1 and VI.1, see the vocative
yhwh (vv. 33.41) and the expressions twrtk w’šmrnh/w’šmrh twrtk (vv.
34.44 resp.). The Torah words dbrk/’mrtk (vv. 37–38.41–42) and the root
h.rp (vv. 39.42) connect Canticles V.2 and VI.1.
12.2.7 Canto VII (zayin)
VII.1 49 zkr dbr l‘bdk ‘l ’šr yh.lty

50 z’t nh.mty b‘nyy ky ’mrtk h.ytny
51 zdym hlys.ny ‘d m’d mtwrtk l’ nt.yty

52 zkrty mšpt.yk m‘wlm yhwh w ’tnh.m
26
Fokkelman (MPHB III, p. 243 n. 22) takes v. 48 as a tricolon.
27
For this special device for anaphora, cf. CAS I, Ch. V, 3.1.1.2–3 (pp. 469–71).
VII.2 53 zl‘ph ’h.ztny mrš‘ym ‘zby twrtk

54 zmrwt hyw ly h.qyk bbyt mgwry
55 zkrty blylh šmk yhwh w’šmrh twrtk

56 z’t hyth ly ky pqdyk ns.rty
Canticle VII.1 stands out by the repetition of the root nh.m (pi‘el: ‘to com-
fort’, vv. 50a.52b), which at the same time supports its strophic structure
(responsion). The idea of comfort fits the references to some kind of afflic-
tion we find in the central verselines of the canticle; see ‘nyy in v. 50a and
zdym hlys.ny in v. 51a. The same is true of the characterization of God’s
word by ‘it gives me life’ (v. 50b). The root zkr opening vv. 49.5228 and
the alliteration between ky ’mrtk h.ytny and mtwrtk l’ nt.yty (vv. 50b.51b
resp.) accentuate the symmetric design of this canticle. In terms of subject
matter, vv. 49–50 stand out as a prayer and vv. 51–52 as an assertion of
loyalty to God’s rules. The reference to a ‘long time’ (m‘wlm, v. 52a) is a
transition marker highlighting the end of the canticle (cf. v. 44).29
Canticle VII.2 opens with the psalmist’s fury about the wicked who for-
sake God’s Torah (v. 53). Against this dark background his nightly praise
of God (vv. 54–55) all the more comes to light. The strophic structure of
the canticle is supported by the repetition of twrtk occurring exactly at the
end of vv. 53.55, hyw ly/hyty ly in vv. 54a.56a resp., and the alliteration
mrš‘ym/šmk . . . w’šmrh in vv. 53a.55 resp. (responsions). In terms of se-
mantics, there is a glaring contrast between ‘zby twrtk (‘who forsake your
Torah’, v. 53b) and w’šmrh twrtk (‘and I obey your Torah’, v. 55b).30
The corresponding messages mtwrtk l’ nt.ty/w’šmrh twrtk, occurring in
the second colon of the concluding strophes of the canticles (vv. 51b.55b
resp.), and zkrty . . . yhwh, occurring in the same strophes (vv. 52.55), sup-
port the bipartite division of Canto VII into two regular 4-line canticles.
For the parallelism between Canticles VI.1 and VII.1, see ‘d m’d (vv.
43.51; exactly linear), yh.lty (vv. 43.49) and ‘wlm (vv. 44.52; exactly linear).
For the parallelism between Canticles VI.2 and VII.2, see ky pqdyk dršty/ky
pqdyk ns.rty (vv. 45.56 resp.). See further yhwh (vocative, vv. 41.52+55)
and w’šmrh twrtk (vv. 44.55).
28
For this special device for inclusion, see CAS I, Ch. V, 3.4.1–2 (pp. 484–85).
29
In v. 49a I read dbr, with MT and Freedman (1999), pp. 57.67; cf. dbr in vv. 42.43
(with an appeal to LXX and 11QPsa , many scholars read dbrk ). For yh.lty in v 49b, cf.
dbr + yh.lty in vv. 43, 74 and 81 (so Fokkelman [MPHB III], p. 244 n. 28); MT reads
yh.ltny.
30
In this respect, see also mtwrtk l’ nt.yty in v. 51b. The expression twrtk regularly
occurs in the b-colon of the first verseline of the strophes concerned; this strongly argues
against Fokkelman’s division into 3.3.2 lines (MPHB III, pp. 243–44).
12.2.8 Canto VIII (h.eth)
VIII.1 57 h.lqy yhwh ’mrty lšmr dbryk

58 h.lyty pnyk bkl lb h.nny k’mrtk
59 h.šbty drky w’šybh rgly ’l ‘dtyk

60 h.šty wl’ htmhmhty lšmr ms.wtyk
VIII.2 61 h.bly rš‘ym ‘wdny twrtk l’ škh.ty

62 h..swt lylh ’qwm lhwdwt lk ‘l mšpt.y .sdqk
63 h.br ’ny lkl ’šr yr’wk w lšmry pqwdyk

64 h.sdk yhwh ml’h h’rs. h.qyk lmdny
Canticle VIII.1 is primarily a protestation of loyalty to God and his de-

crees. Vv. 59–60 are characterized by the metaphor of a journey (‘way’,
‘foot’, ‘hurry’) expressing that the psalmist eagerly wants to follow up God’s
commandments. The protestation is interrupted by a plea to have mercy
on him (v. 58). The boundaries of the canticle are marked by the device
for inclusion; see lšmr at the beginning of the second colon of vv. 57.60. Its
strophic structure is reinforced by the alliteration h.lqy/h.lyty (vv. 57a.58a;
anaphora) and the repetition of the root ’mr (vv. 57a.58b); for vv. 59–60,
see the alliteration h.šbty/h.šty (anaphora).
Notwithstanding the distress the psalmist experiences from the wicked
(v. 61a), in Canticle VIII.2 he praises God because of his just rules (cf.
Canticle VII.2). The coherence and strophic design of the canticle is secured
by the contrast between rš‘ym (‘wicked people’) and kl ’šr yr’wk (‘all who
fear You’) in vv. 61a.63a resp., and the parallelism between the reference
to the praise of the psalmist (v. 62a) and the hymn fittingly concluding the
canto as a whole (v. 64a).
The divine name, yhwh (vv. 57a.64a), highlights the boundaries of
Canto VIII in its entirety (inclusion). The linear correspondence between
the petition to have mercy (v. 58) and the description of distress (v. 61a)
supports its bipartite framework. Furthermore, Deut. 32,9 and Ps. 16,5–6
show that the nouns h.lq (‘part’) and h.bl (‘rope’) right at the beginning of
the canticles (vv. 57.61) represent a word pair and mark the total structure
by anaphora.31
For the parallelism between Canticles VII.1 and VIII.1, see dbr + ’mrtk
(vv. 49–50.57–58; exactly linear). For the parallelism between Canticles
31
For this special device for anaphora, cf. CAS I, Ch. V, 3.1.1.2–3 (pp. 469–71).
VII.2 and VIII.2, see rš‘ym . . . twrtk (vv. 53.61; exactly linear), the roots
zmr/ydh (vv. 54.62 resp.; exactly linear) and lylh (vv. 55.62).32
12.2.9 Canto IX (t.eth)
IX.1 65 t.wb ‘śyt ‘m ‘bdk yhwh k dbrk

66 t.wb .t‘m wd‘t lmdny ky bms.wtyk h’mnty
67
.trm ’‘nh ’ny šgg w‘th ’mrtk šmrty
68 t.wb ’th w mt.yb lmdny h.qyk
IX.2 69
.tplw ‘ly šqr zdym ’ny bkl lb ’s.r pqwdyk
70
.tpš kh.lb lbm ’ny twrtk š‘š‘ty
71 t.wb ly ky ‘nyty lm‘n ’lmd h.qyk

72 t.wb ly twrt pyk m’lpy zhb wksp
Canto IX is unambiguously composed of a series of 2-line strophes. The

anaphora characterizing both opening and concluding verselines immedi-
ately catches the eye; see .twb (‘good’) in vv. 65–66 and 71–72 (t.wb ly). The
personal pronoun ’ny (‘I’) at the beginning of vv. 69b.70b perfectly fits this
formal feature. For the coherence of vv. 69–70, see also the alliteration bkl
lb/kh.lb lbm (vv. 69b.70a resp.). See further the linear parallel repetition of
the Torah words dbrk/’mrtk (vv. 65.67 resp.), the imperative lmdny (vv.
66.68) and the expressions twrtk/twrt pyk (vv. 70.72 resp.).
In the framing verselines of Canticle IX.1 (vv. 65.68) the psalmist speaks
about God’s goodness; note also the vocative yhwh (v. 65b) and the personal
pronoun ’th referring to God (v. 68a). In the inner verselines we find
assurances of allegiance to God’s commands (vv. 66–67). The rhetorical
symmetry of the canticle is reinforced by the syntactic parallels vv. 66b.67b.
Canticle IX.2 stands out by its references to distress the psalmist expe-
riences from outside (note vv. 69a.70a.71a). However, notwithstanding the
threat by insolent people, the psalmist once again affirms that he is loyal
to God’s precepts because they are a source of delight for him (v. 70b) and
a precious gift (v. 72).
The root ‘nh (pi‘el ‘to humble’) and the root lmd (pi‘el ‘to teach’) in
combination with the expression h.qyk in vv. 67–68.71–72 buttress the linear
aspect of the overall framework. Simultaneously, the anaphora marking vv.
32
The noun lylh does not occur elsewhere in Psalm 119. Cf. further yhwh (vv.
52+55.57+64), the root šmr (vv. 55.57+60+63) and Nodder (2005), pp. 333–34.
65–66 and 71–72, ky (vv. 66.71), the personal pronoun ’ny (vv. 67.69–70)
and the word pairs .t‘m wd‘t/zhb wksp (vv. 66a.72b resp.) constitute a
symmetric pattern on the level of the canto as a whole.33
For the parallelism between Canticles VIII.1 and IX.1, see dbr (y)k/’mrtk
(vv. 57–58.65+67). For the parallelism between Canticles VIII.2 and IX.2,
see rš‘ym/zdym (vv. 61.69 (exactly linear). See further yhwh (vv. 57+64.65;
concatenation), the root šmr (vv. 57+60+63.67), bkl lb (vv. 58.69) and h.qyk
+ the root lmd (vv. 64.68+71).
12.2.10 Canto X (yod )
X.1 73 ydyk ‘śwny wykwnnwny hbynny w’lmdh ms.wtyk

74 yr’yk yr’wny wyśmh.w ky l dbrk yh.lty
75 yd‘ty yhwh ky .sdq mšpt.yk w’mwnh ‘nytny

76 yhy n’ h.sdk lnh.mny k ’mrtk l‘bdk
X.2 77 yb’wny rh.myk w’h.yh ky twrtk š‘š‘y

78 ybšw zdym ky šqr ‘wtwny ’ny ’śyh. bpqwdyk
79 yšwbw ly yr’yk w yd‘y ‘dtyk

80 yhy lby tmym bh.qyk lm‘n l’ ’bwš
The first strophe of Canticle X.1 (vv. 73–74) is about God’s goodness to the
psalmist (cf. Canticle IX.1!). Its second strophe (vv. 75–76) is determined
by a prayer for mercy. The strophic structure is supported by the Torah
words dbrk/’mrtk in exactly linear position (vv. 74b.76b resp.) and the
word pair ’mwnh/h.sd in vv. 75–76 (cf. Canticle XI.2).
The first colon of Canticle X.2 (v. 77a) immediately ties in with the con-
cluding prayer of the preceding canticle; note also the word pair h.sdk/rh.myk
in the centre of vv. 76a.77a resp. Moreover, the canticle as a whole stands
out by pleas for divine help; note further ‘let the arrogant be put to shame’
(v. 78a) and ‘that I be not put to shame’ (v. 80b). Nevertheless, the
psalmist asserts that—amidst the threat by arrogant people—God’s Torah
is a source of ‘delight’ and ‘meditation’ for him (vv. 77–78; cf. Canticle
IX.2!). The strophic framework of the canticle is indicated by the verbs
of movement yb’wny and yšwbw opening vv. 77.79 resp. (anaphora; cf.
wyb’ny/w’thlkh in Canto VI). The repetition of the root bwš (vv. 78a.80b;
33
For the symmetric overall pattern, see also Girard (1994), pp. 262–63.
responsion) further buttresses the strophic design.34

The bipartite division of Canto X is formally secured by the repetition
of the jussive yhy exactly at the beginning of the concluding verselines of
the canticles (vv. 76.80);35 see also the root yd‘ in vv. 75.79.
Apart from the thematic correspondences noted above, there is a re-
markable linear parallelism between Cantos IX and X in terms of verbal
recurrences. For the parallelism between Canticles IX.1 and X.1, see the
root ‘śh (vv. 65.73; the logical subject is God; exactly linear), ‘bdk (vv.
65.76), the vocative yhwh (vv. 65.75), dbrk // ’mrtk (vv. 65+67.74+76),
and the root ’mn (vv. 66.75). For the parallelism between Canticles IX.2
and X.2, see šqr (vv. 69.78; linear), zdym (vv. 69.78; linear), ’ny . . . pqwdyk
(vv. 69b.78b; linear), lb (vv. 69+70.80), twrtk š‘š‘ty/š‘š‘y (vv. 70b.77b;
linear), ly (vv. 71+72.79; linear) and lm‘n + h.qyk (vv. 71.80; linear).36
12.2.11 Canto XI (kaph)
XI.1 81 klth ltšw‘tk npšy ldbrk yh.lty

82 klw ‘yny l’mrtk l’mr mty tnh.mny
83 ky hyyty kn’d bqyt.wr h.qyk l’ škh.ty

84 kmh ymy ‘bdk mty t‘śh brdpy mšpt.
XI.2 85 krw ly zdym šyh.wt ’šr l’ ktwrtk

86 kl ms.wtyk ’mwnh šqr rdpwny ‘zrny
87 km‘t. klwny b’rs. w’ny l’ ‘zbty pqwdyk

88 kh.sdk h.yny w’šmrh ‘dwt pyk
As is the case in Canto IX, from a formal point of view, the strophic struc-
ture of Canto XI is especially highlighted by the device for anaphora. For
the framing strophes, see the root klh in vv. 81–82 and the preposition k-
in vv. 87–88. The expressions ldbrk/l’mr opening vv. 81b.82b resp. and w’-
opening vv. 87b.88b perfectly fit this formal feature; in this respect, see
also ’šr/šqr at the beginnings of vv. 85b.86b resp. (alliteration). The allit-
34
wyd‘y in v. 79b follows the Q; K wyd‘w.
35
For this special form of responsion, see CAS I, Ch. V, 3.2.2 (pp. 480–81).
36
Cf. further the repetition of the root yd‘ (vv. 66.75+79), the root lmd (vv.
66+68+71.73) and the root ‘nh (vv. 67+71.75); note ’lmd in vv. 71.73, concatenation
(the qal of lmd is not found elsewhere in Psalm 119). For the parallelism between Can-
tos IX and X, see also Fokkelman (MPHB III, p. 247!), Nodder (2005, pp. 334–35), and
[Hossfeld]/Zenger (2008, pp. 374–75).
eration pqwdyk/pyk marks the strophe vv. 87–88 by the device for epiphora.
From a thematic point of view, the verselines of the strophes represent an
uninterrupted alternation of descriptions of distress (see especially vv. 83a,
85a, 87a) and prayers for deliverance (see vv. 82b, 84b, ‘zrny in v. 86b
and h.yyny in v. 88a). Canto IX is ‘by far the most desperate’ (Soll [1991],
p. 100) of the cantos.
The bipartite division of Canto XI reveals itself by the variety of forms
in which the prayers are couched. The prayers in Canticle XI.1 consist of
questions; note the interrogative particles mty in vv. 82b.84b (cf. kmh in
v. 84a). At the same time, the linear positioning of these particles further
supports the strophic structure of vv. 81–84. In Canticle XI.2 the supplicant
expresses his prayers in the form of imperatives: ‘zrny (‘help me’, v. 86b)
and h.yny (‘give me life’, v. 88a). Once again, the linear positioning of these
imperatives further supports the strophic structure of the canticle; for this
framework, see also the word pair ’mwnh/h.sd in vv. 86a.88a resp. (cf. vv.
75–76). The canticle division is reinforced by the semantic correspondence
of the assertions h.qyk l’ škh.ty and l’ ‘zbty pqwdyk (vv. 83b.87b resp.); note
the exactly linear position and the syntactical chiasmus.37 The negation l’,
which only occurs in the b-cola of the odd lines (vv. 83b.85b.87b), once more
enhances the strophic structure of Canto XI. In terms of verbal repetition,
the canto has primarily a symmetric structure; see the underlined words
printed in bold face.38
For the parallelism between Canticles X.1 and XI.1, see the root ‘śh
(vv. 73.84), dbrk/’mrtk (vv. 74b+76b.81b+82a),39 ldbrk yh.lty (vv. 74.81;
linear), the root nh.m (vv. 76.82) and ‘bdk (vv. 76.84; exactly linear). For
the parallelism between Canticles X.2 and XI.2, see the root h.yh (vv. 77.88),
zdym (vv. 78.85; linear) and šqr (vv. 78.86; exactly linear). See further
’mwnh/h.sdk in vv. 75–76.86+88 and the root hyh in vv. 76+80.83.
37
For a similar semantic correspondence between distant phrases structuring a canto,
see vv. 51b and 55b in Canto VII; note also that in both cases there is a chiasmus in
terms of syntax.
38
For this symmetry, see also Girard (1994), pp. 264–65. Canticles XI.1 and XI.2 have
25 words each.
39
This word pair characterizes the first canticle from Canto VI onwards; see also vv.
41–42 (’mrtk/dbrk ), 49–50 (dbr/’mrtk ), 57–58 and 65+67!
12.2.12 Canto XII (lamed )
XII.1 89 l‘wlm yhwh dbrk ns.b bšmym

90 ldr wdr ’mwntk kwnnt ’rs. w t‘md
91 lmšpt.yk ‘mdw hywm ky hkl ‘bdyk

92 lwly twrtk š‘š‘y ’z ’bdty b‘nyy
XII.2 93 l‘wlm l’ ’škh. pqwdyk ky bm h.yytny

94 lk ’ny hwšy‘ny ky pqwdyk dršty
95 ly qww rš‘ym l ’bdny ‘dtyk ’tbwnn

96 lkl tklh r’yty qs. rh.bh ms.wtk m’d
In the first strophe of Canticle XII.1 (vv. 89–90) the psalmist sings the
praises of God’s creative power with which He has established his word
and faithfulness forever; note the anaphora l‘wlm/ldr wdr. The strophic
coherence is further supported by the word pair šmym/’rs. (vv. 89b.90b
resp.). The second strophe (vv. 91–92) is especially about the present; see
hywm in v. 91a. In the concluding verseline the psalmist affirms (note the
transition marker lwly at the beginning of the line) that God’s Torah is a
delight for him amidst his affliction (v. 92). This verseline preludes on the
theme of the following canticle.
Canticle XII.2 is characterized by the assertions that—notwithstanding
serious threat from outside (v. 95a)—the psalmist is loyal to God’s precepts.
The repetition of the Torah term pqwdyk and the particle ky (‘anaphora’)
support the coherence of vv. 93–94. A verseline emphasizing the universal
meaning of God’s commands (v. 96) winds up Canto XII in its entirety. It
sums up the strophe by contrasting what perishes with what stands (cf.
Allen); the transition marker m’d reinforces the concluding message.
The bipartite division of Canto XII is formally marked by the repetition
of l‘wlm exactly at the beginning of the opening verselines of the canticles
(vv. 89.93; anaphora);40 in this respect, see also the root ’bd (vv. 92.95) and
the alliteration ‘bdyk/‘dtyk (vv. 91b.95b resp.) highlighting the concluding
strophes of the canticles.41
For the relationship between Cantos XI and XII, see the root klh (vv.
81+82+87.96),42 the root yš‘ (vv. 81.94), l’ škh.ty/l’ ’škh. (vv. 83.93 resp.),
‘bd (y)k (vv. 84.91), zdym/rš‘ym (vv. 85.95 resp.; linear), ’mwnh (vv. 86.90),
40
For this device for anaphora, see CAS I, Ch. V, 3.1.1.2–3 (pp. 469–71).
41
Contra Fokkelman (MPHB III, pp. 249–50) who has 3.2.3 lines.
42
In Psalm 119 the root klh only occurs in vv. 81–88, 96 and 123.
’rs. (vv. 87.90), the root h.yh (vv. 88.93); cf. also the semantic parallelism
between vv. 87 and 95 (exactly linear).43
12.2.13 Canto XIII (mem)
XIII.1 97 mh ’hbty twrtk kl hywm hy’ śyh.ty

98 m’yby th.kmny ms.wtk ky l‘wlm hy’ ly
99 mkl mlmdy hśklty ky ‘dwtyk śyh.h ly

100 mzqnym ’tbwnn ky pqwdyk ns.rty
XIII.2 101 mkl ’rh. r‘ kl’ty rgly lm‘n ’šmr dbrk

102 mmšpt.yk l’ srty ky ’th hwrtny
103 mh nmls.w lh.ky ’mrtk mdbš lpy

104 mpqwdyk ’tbwnn ‘l kn śn’ty kl ’rh. šqr
In Canticle XIII.1 the psalmist sings the praises of God’s decrees because
‘meditating’ on them provides him with a superior understanding. The
canticle stands out by the repetition of the root śyh. (‘to meditate’; vv.
97b.99b), which at the same time supports its strophic structure (respon-
sion). For the formal coherence of strophe vv. 97–98, see twrtk/ms.wtk in
vv. 97a.98a resp. (‘epiphora’) and hy’ in vv. 97b.98b.
The boundaries of Canticle XIII.2 are determined by the corresponding
phrases mkl ’rh. r‘ kl’ty rgly and śn’ty kl ’rh. šqr (vv. 101a.104b resp.; inclu-
sion). Accordingly, in this canticle the psalmist mainly asserts that he will
not depart from God’s rules. Its strophic structure is determined by the
synomymous Torah words dbrk/’mrtk in vv. 101b.103a resp. (responsion).
It is noticeable that Canto XIII does not contain any reference to distress
the psalmist experiences, nor any prayers for deliverance; cf. Cantos I–II.
The boundaries of the canto are characteristically marked by the antithetic
expressions ’hbty/śn’ty in vv. 97a.104b resp. (inclusion).44 This symmetric
aspect of the overall design is reinforced by mh and mkl ; see the underlined
words printed in bold face. Its bipartite framework is buttressed by the
repetition of ’tbwnn and pqwdyk in the concluding verseline of the canticles
43
The cluster of verbal recurrences contradicts Fokkelman’s statement that Canto XII
is especially linked up with its successor (MPHB III, p. 249); cf. also § 12.2.13. For the
canto-pair XI–XII, see also Nodder (2005), p. 336.
44
For the combination of the roots ’hb and śn’, see further Canticles XV.1, XVI.2 and
XXI.1; cf. also § 12.1 above.
(vv. 100.104); note the chiasmus.45

For the parallelism between Cantos XII and XIII, see l‘wlm (vv. 89+93
and 98), the repetition(!) of the Torah word pqwdyk (vv. 93–94.100+104),
hywm (vv. 91.97; linear) and ’tbwnn (vv. 95.100+104).46
12.2.14 Canto XIV (nun)
XIV.1 105 nr l rgly dbrk w’wr lntybty

106 nšb‘ty w’qymh lšmr mšpt.y .sdqk
107 n‘nyty ‘d m’d yhwh h.yny k dbrk

108 ndbwt py rs.h n’ yhwh w mšpt.yk lmdny
XIV.2 109 npšy bkpy tmyd wtwrtk l’ škh.ty

110 ntnw rš‘ym ph. ly wmpqwdyk l’ t‘yty
111 nh.lty ‘dwtyk l‘wlm ky śśwn lby hmh

112 nt.yty lby l‘śwt h.qyk l‘wlm ‘qb
The strophic structure of Canto XIV is clearly supported by all kinds of

repetition between successive verselines; see yhwh (vocative) in vv. 107–108,
the parallel phrases wtwrtk l’ škh.ty/wmpqwdyk l’ t‘yty in vv. 109–110 (epi-
phora), the chiastic positioning of l‘wlm and lby in vv. 111–112. In Canticle
XIV.1, this framework is strengthened by the responsions dbrk and mšpt.ym;
see the words printed in small caps. At the same time, these responsions
characterize the relative individuality of the canticle.
From a thematic perspective, Canto XIV displays a symmetric design.
In the framing strophes (vv. 105–106 and 111–112) the psalmist praises
God’s rules because they are a light on his path and delight his heart.
Therefore, he is resolved to keep them. The core strophes (vv. 107–108 and
109–110) are also larded with assertions of loyalty to God’s rules but stand
out by references to serious distress. Vv. 107–108 also contain prayers for
deliverance.
The individuality of the canticles and their mutual relationship are prob-
ably underlined by the parts of the body which envelop vv. 105–108 and
109–112; see the words printed in bold face.
45
Besides, it is only in vv. 97–100 that the preposition mn, opening the verselines vv.
98–100, has a comparative function.
46
The hitpolel of the root byn does not occur elsewhere in Psalm 119; it is usually
hbynny (vv. 27, 34, 73, 125, 144 and 169; 6×) and in v. 130 mbyn.
For the parallelism between Cantos XIII and XIV, see l‘wlm (vv. 98.111
and 112), the root lmd (vv. 99.108; linear), ’rh./ntybh (vv. 101+104.105
resp.), rgly (vv. 101.105), the root šmr (vv. 101.106) and py (vv. 103.108).
12.2.15 Canto XV (samek )
XV.1 113 s‘pym śn’ty wtwrtk ’hbty

114 stry wmgny ’th l dbrk yh.lty
115 swrw mmny mr‘ym w’s.rh ms.wt ’lhy

116 smkny k ’mrtk w’h.yh w’l tbyšny mśbry
XV.2 117 s‘dny w’wš‘h w’š‘h bh.qyk tmyd

118 slyt kl šwgym mh.qyk ky šqr trmytm
119 sgym hšbt kl rš‘y ’rs. lkn ’hbty ‘dtyk

120 smr mph.dk bśry wmmšpt.yk yr’ty
Like the preceding canto, in terms of subject matter Canto XV has a sym-
metric framework. In the outer strophes (vv. 113–114 and 119–120) the
psalmist emphasizes that he loves God’s decrees; note ’hbty in vv. 113.119.
The central strophes (vv. 115–116 and 117–118) stand out by all kinds of
pleas for deliverance. The petitions themselves have a symmetric aspect,
too; note the parallel phrases smkny . . . w’h.yh (‘support me . . . so that I
may live’) and s‘dny w’wš‘h (‘sustain me that I may be saved’) opening vv.
116.117 resp. at both sides of the blank line between the canticles.47
The Torah words dbrk/’mrtk (vv. 114b.116a resp.) highlight the strophic
structure of Canticle XV.1 and its relative individuality (cf. Canticles IX.1,
X.1 and XIII.2). In this respect, note also the synonymous roots yh.l/śbr
(pi‘el ‘to wait’) marking the end of the strophes (vv. 114b.116b resp.;
epiphora). The inner coherence of the framing strophes vv. 113–114 and
119–120 is reinforced by various perfect forms of the first person singular
(because such verb forms do not occur elsewhere in Canto XV they simul-
taneously underline the rhetorical relationship between the strophes). In
vv. 113–114 these perfects occur at the end of the cola; see śn’ty, ’hbty
and yh.lty; for vv. 119–120, see ’hbty and yr’ty. The relative individuality
of vv. 117–118 is enhanced by the repetition of the Torah term h.qyk (cf.
pqwdyk in vv. 93–94; the first strophe of Canticle XII.2) and the alliteration
tmyd/trmytm at the end of the verselines (epiphora).
47
For the symmetric overall design of Canto XV, see also Girard (1994), pp. 268–69.
The bipartite division of Canto V is supported by the alliteration mśbry/

m- . . . bśry marking the concluding verselines of the canticles (vv. 116b.120a
resp.).48 In this respect, see also mr‘ym/rš‘y ’rs. in vv. 115.119 resp. (ex-
actly linear).
For the parallelism between Cantos XIV and XV, see the root h.yh (vv.
107.116; linear), tmyd (vv. 109.117; exactly linear) and rš‘ym (vv. 110.119).
12.2.16 Canto XVI (‘ayin)
XVI.1 121 ‘śyty mšpt. w s.dq bl tnyh.ny l‘šqy

122 ‘rb ‘bdk lt.wb ’l y‘šqny zdym
123 ‘yny klw lyšw‘tk wl’mrt s.dqk

124 ‘śh ‘m ‘bdk kh.sdk wh.qyk lmdny
XVI.2 125 ‘bdk ’ny hbynny w’d‘h ‘dtyk

126 ‘t l‘śwt lyhwh hprw twrtk
127 ‘l kn ’hbty ms.wtyk mzhb wmpz

128 ‘l kn kl pqwdyk yšrty kl ’rh. šqr śn’ty
In Canticle XVI.1 the supplicant prays for deliverance from arrogant peo-
ple who oppress him. The boundaries of the canticle are clearly marked by
the root ‘śh right at the beginning of its opening and concluding verselines
(vv. 121.124).49 The repetition of the noun .sdq (vv. 121.123) and the par-
allel phrases ‘rb ‘bdk lt.wb/‘śh ‘m ‘bdk kh.sdk in exactly linear position (vv.
122a.124a resp.; note the repetition of ‘bdk ) especially underline its the-
matic individuality and also support its strophic structure. The coherence
of vv. 121–122 is further highlighted by the repetition of the root ‘šq.
Canticle XVI.2 is mainly characterized by all kinds of assertions that
the supplicant is absolutely loyal to God and his commands; in this respect,
the implicit prayer for deliverance expressed in v. 126 is an exception.50
Its strophic framework is secured by verbal correspondences within the
48
In my opinion, we are dealing with a deliberate choice of words by the poet in order
to highlight the rhetorical design of the canto. Within Psalm 119 the root śbr only occurs
in vv. 116.166 and the noun bśr is not found elsewhere in this psalm. In this respect,
see also the structural function of the expressions yh.lty and mśbry within Canticle XV.1
discussed above.
49
For this special device for inclusion, see CAS I, Ch. V, 3.4.1–2 (pp. 484–85).
50
With regard to lyhwh in v. 126a, Zenger notes ‘Entweder ist l- zu streichen oder als
betonter Vokativ zu erklären’; [Hossfeld]/Zenger (2008), p. 349. But for the change from
second to third person, cf. v. 57 (with Allen [2002]).
strophes themselves; for vv. 125–126, see ‘dtyk/twrtk (epiphora); for vv.
127–128, see ‘l kn (anaphora) and the word pair ’hbty/śn’ty.51
The reference to people who violate God’s Torah in the first strophe of
Canticle XVI.2 (v. 126b) probably has a structural function: the subject of
this phrase is found in the first strophe of Canticle XVI.1 (vv. 121–122; note
‘šqym and zdym). The linear relationship between subject and predicate
supports the bipartite division of the canto. The expression ‘bdk exactly at
both sides of the interface between the canticles (vv. 124.125) constitutes
a device for concatenation (cf. lšmr in Canto I and rbym in Canto XX); in
this respect, see also the repetition of the root ‘śh in vv. 124.126.
For the parallelism between Cantos XV and XVI, see śn’ty (vv. 113.128),
the root ’hb (vv. 113+119.127), the root yš‘ (vv. 117.123) and šqr (vv.
118.128; linear). Note further the semantic parallelism between vv. 118
and 126 (exactly linear), and the antithetic correspondence between sgym
(‘dross’)/zhb . . . pz (‘gold’) in vv. 119.127 resp. (exactly linear).52
12.2.17 Canto XVII (pe)
XVII.1 129 pl’wt ‘dwtyk ‘l kn ns.rtm npšy

130 pth. dbryk y’yr mbyn ptyym
131 py p‘rty w’š’ph ky lms.wtyk y’bty

132 pnh ’ly wh.nny kmšpt. l’hby šmk
XVII.2 133 p‘my hkn b’mrtk w’l tšlt. by kl ’wn

134 pdny m‘šq ’dm w ’šmrh pqwdyk
135 pnyk h’r b‘bdk wlmdny ’t h.qyk

136 plgy mym yrdw ‘yny ‘l l’ šmrw twrtk
In the first strophe of Canticle XVII.1 (vv. 129–130) the psalmist sings the
praises of the wondrous effect of the observance of God’s decrees for himself
and the ‘simple’ (ptyym) in general. In the second strophe (vv. 131–132) he
primarily expresses his longing for these commands. The concluding prayer
for mercy (v. 132) preludes on Canticle XVII.2. The strophic stucture of
Canticle XVII.1 is presumably supported by the reference to a special kind
of people in the concluding cola of these 2-line units; see ptyym and ’hby
šmk in vv. 130b.132b resp. (epiphora).
51
In v. 128a I read kl pqwdyk with Fokkelman (MBHB III, p. 255 n. 57; cf. BHS and
[Hossfeld]/Zenger, p. 349); MT reads kl pqwdy kl.
52
For the coherence between Cantos XV and XVI, see also Nodder (2005), p. 335.
In the first strophe of Canticle XVII.2 (vv. 133–134) the supplicant ex-
plicitly pleads for deliverance from oppression. In the second strophe (vv.
135–136) he prays that God’s face may shine on him and speaks about
his grief because of his opponents who stray from God’s Torah. The lat-
ter characterization, l’ šmrw twrtk (v. 136b), obviously harks back to the
protestation of the supplicant that he himself will positively keep God’s
precepts, w’šmrh pqwdyk (v. 134b); note the repetition of the the root šmr.
These contrasting ideas determine the relative individuality of the canticle
and at the same time support its strophic structure (the phrases in question
occur right in the concluding colon of the strophes).
The bipartite division of Canto XVII is formally underscored by the
word pair dbryk/’mrtk occurring in the first strophe of the canticles (vv.
130a.133a resp.; cf. the structuring function of this word pair in Canticles
IX.1, X.1, XIII.2 and XV.1) and by the root pnh occurring in the concluding
strophes of the canticles (vv. 132a.135a).53
For the parallelism between Cantos XVI and XVII, see the root ‘šq (vv.
121+122.134), ‘bdk (vv. 122+124+125.135), ‘yny (vv. 123.136), ’mrh (vv.
123.133), h.qyk + lmdny (vv. 124b.135b), ‘l kn (vv. 127+128.129; concate-
nation) and the root ’hb (vv. 127.132); cf. also hprw twrtk/l’ šmrw twrtk
(vv. 126b.136b resp.).
12.2.18 Canto XVIII (s.ade)
XVIII.1 137 s.dyq ’th yhwh wyšr mšpt.yk

138 s.wyty s.dq ‘dtyk w ’mwnh m’d
139
.smttny qn’ty ky škh.w dbryk s.ry
140
.srwph ’mrtk m’d w‘bdk ’hbh
XVIII.2 141
.s‘yr ’nky wnbzh pqdyk l’ škh.ty
142 s.dqtk s.dq l‘wlm wtwrtk ’mt
143 s.r wms.wq ms.’wny ms.wtyk š‘š‘y

144 s.dq ‘dwtyk l‘wlm hbynny w’h.yh
In terms of verbal recurrences, the canticles of Canto XVIII display a linear

and a symmetric relationship; for the linear pattern, see the words printed
in bold face, and for the symmetric relationship, see the words printed in
53
My observations belie Zenger’s view that the normal bipartite division of the canto
is not ‘besonders deutlich markiert’; [Hossfeld]/Zenger (2008), p. 382.
bold face which are also underlined. The linear relationship is reinforced by
the antithetical correspondence .sdyq ’th (‘You are righteous’) and .s‘yr ’nky
(‘I am belittled’) marking the beginnings of the canticles (vv. 137a.141a)54
and the alliteration .smttny/wms.wq ms.’wny . . . ms.wtyk in the first verseline
of the second strophe of the canticles (vv. 139a.143 resp.).55
The opening strophe of Canticle XVIII.1 (vv. 137–138) plainly sings
the praises of God’s righteousness; note the repetition of the root .sdq. The
second strophe (vv. 139–140) especially praises the ‘word’ of God; note
the Torah words dbryk/’mrtk. The relative individuality of the canticle
is formally enhanced by the repetition of the transition marker m’d (vv.
138.140) highlighting its strophic structure.
From a thematic point of view, Canticle XVIII.2 stands out because in
vv. 141a and 143a the psalmist speaks about his miserable situation, his
distress. In vv. 141b and 143b he affirms his loyalty to God’s precepts:
he does not forget them because they are his delight. In vv. 142 and 144
he once again praises God’s decrees.56 The linear positioning of all these
parallel phrases in terms of semantics also supports the strophic structure
of the canticle. We are dealing with a parallelismus stropharum in terms
of subject matter; in this respect, see also the repetition of the transition
marker l‘wlm at the end of vv. 142a.144a (exactly linear).
In terms of verbal recurrences, the connection with the preceding canto
is conspicuously weak; see the parallel Torah words dbryk/’mrtk (vv. 130
and 133.139–140) and the root ’hb in vv. 132.140 (exactly linear). Nev-
ertheless, Canto XVIII clearly elaborates on the praise of God’s decrees
started in the first strophe of Canto XVII (vv. 129–130). Additionally, ac-
cording to vv. 136 and 139 the distress of the psalmists consists of the fact
that his enemies disregard God’s Torah.
12.2.19 Canto XIX (qoph)
XIX.1 145 qr’ty bkl lb ‘nny yhwh h.qyk ’s.rh

146 qr’tyk hwšy‘ny w ’šmrh ‘dtyk
147 qdmty bnšp w’šw‘h ldbrk yh.lty

148 qdmw ‘yny ’šmrwt lśyh. b’mrtk
54
For this device for anaphora, see CAS I, Ch. V, 3.1.1.2–3 (pp. 469–71).
55
Fokkelman (MPHB IIII, p. 256) rightly notes that the linear parallelism between
the successive strophes (vv. 137–138.139–140|141–142.143–144 > a.b|a’.b’) is ‘the more
compelling of the two’.
56
Note that in the hymn vv. 137–138 and the praises 142+144a the psalmist himself
retreats into the background, as is the case in Canticle XII.1.
XIX.2 149 qwly šm‘h kh.sdk yhwh kmšpt.k h.yny

150 qrbw rdpy zmh mtwrtk rh.qw
151 qrwb ’th yhwh wkl ms.wtyk ’mt

152 qdm yd‘ty m‘dtyk ky l‘wlm ysdtm
The first strophe of Canticle XIX.1 (vv. 145–146) is a distinct individual

prayer for deliverance. In its second strophe the psalmist expresses his
loyalty to God’s word (vv. 147–148). The strophic structure immediately
catches the eye because of the device for anaphora marking vv. 145–146 and
147–148; see qr’ty and the root qdm resp. For the coherence of vv. 147–148,
see also the semantic correspondence between nšp (‘dawn’) and ’šmrwt
(‘night watches’). This framework is reinforced by the synonymous imper-
atives ‘nny/hwšy‘ny following qr’ty in vv. 145a.146a resp., the Torah terms
dbrk/’mrtk in vv. 147–14857 and the alliteration w’šmrh/’šmrwt . . . b’mrtk
in vv. 146b.148 resp. (note the repetition of the root šmr ; responsion).
In terms of subject matter, the first strophe of Canticle XIX.2 (vv.
149–150) harks back to the prayers in the opening strophe of the preced-
ing canticle (vv. 145–146) and subsequently explicitly portrays the kind of
danger the supplicant has to face. Finally, in the concluding strophe of the
canto (vv. 151–152) he plainly praises God and his decrees. The strophic
structure of Canticle XIX.2 is reinforced by the word pair h.sd/’mt in vv.
149a.151b resp. and the repetition of the vocative yhwh in vv. 149b.151a
(note the chiasmus);58 these phenomena function as responsions in the first
verseline of the strophes. The relative individuality of this canticle is fur-
ther underlined by the repetition of the root qrb (vv. 150+151; anaphora
and concatenation).
The bipartite division of Canto XIX is especially supported by the root
qdm which only occurs at the beginning of the verselines of the concluding
strophes of the canticles (vv. 147+148.152).59
For the parallelism between Cantos XVIII and XIX in terms of verbal
recurrences, see ’th yhwh (vv. 137.151),60 the framing function of ‘d (w )tyk
(vv. 138+144.146+152; exactly linear), the root ’mn (vv. 138+142.151),
the Torah words dbr (y)k/’mrtk (vv. 139–140.147–148; exactly linear), l‘wlm
(vv. 142+144.152; linear) and the root h.yh (vv. 144.149; linear).61
57
The reading ldbrk in v. 147b follows the Q; K ldbryk.
58
Fokkelman (MPHB III, pp. 258–59) mistakenly argues that the vocative yhwh in
v. 149 should be in the a-colon; cf. yhwh kh.sdk h.yny in v. 159b.
59
For this special kind of responsion, see CAS I, Ch. V, 3.2.2 (pp. 480–81).
60
Note also the parallel phrases vv. 137.151 in their entirety.
61
These points of contact can hardly be dismissed as coincidental; see also Fokkelman
(MPHB III), p. 258.
12.2.20 Canto XX (reš)
XX.1 153 r’h ‘nyy wh.ls.ny ky twrtk l’ škh.ty

154 rybh ryby wg’lny l ’mrtk h.yny
155 rh.wq mrš‘ym yšw‘h ky h.qyk l’ dršw

156 rh.myk rbym yhwh kmšpt.yk h.yny
XX.2 157 rbym rdpy ws.ry m‘dwtyk l’ nt.yty

158 r’yty bgdym w’tqwt..th ’šr ’mrtk l’ šmrw
159 r’h ky pqwdyk ’hbty yhwh kh.sd k h.yny

160 r’š dbrk ’mt wl‘wlm kl mšpt. .sdqk
Canticle XX.1 consists of individual prayers for deliverance. In vv. 155–156

the (supposed) mercy for the supplicant is contrasted by the lack of sal-
vation for the wicked. Its strophic framework is supported by the parallel
phrases l’mrtk h.yny/kmšpt.yk h.yny (vv. 154b.156b; epiphora); note the rep-
etition of the imperative h.yny. The parallel phrases r’h ‘nyy wh.ls.ny/rybh
ryby wg’lny underline the poetic coherence of vv. 153–154 by anaphora.
Canticle XX.2 is marked by affirmations of loyalty to God’s precepts;
see vv. 157b.159a. At the same time, the phrases in question support the
strophic structure of the canticle on the basis of their linear positioning
(for the structural function of v. 159b, see below). The first strophe of the
canticle (vv. 157–158) stands out because it contains explicit descriptions
of distress the psalmist experiences. In v. 157a the distress consists of a
threat from outside (by enemies). In v. 158 it is the sight of a faithless
conduct which the supplicant loathes; cf. vv. 136 and 139. The reference
to the disloyalty of the enemies (v. 158b) reinforces the protestation of
his own firmness (v. 157b). The canto winds up with a verseline in which
the psalmist plainly praises the exellence of God’s rules (v. 160); cf. the
concluding strophe of the preceding canto (vv. 151–152) and note the tran-
sition marker l‘wlm in vv. 152b.160b.62 The Torah words ’mrtk/dbrk (vv.
158b.160a resp.) further support the strophic structure of the canto and
the word pair h.sd/’mt (vv. 159b.158a) especially highlights the coherence
of the concluding strophe.
The verbal repetitions on the level of the canto as a whole partly have a
symmetric positioning (see the underlined words printed in bold face) and
partly support its bipartite framework by responsions (‘symétrie croisée’).
62
Note that in v. 160 the psalmist himself retreats into the background; cf. the hymns
in Canto XVIII.
For the symmetry, see also h.qyk l’ dršw/’mrtk l’ šmrw (vv. 155b.158b; ex-
actly symmetric). For the responsions, see especially ’mrtk in vv. 154b.158b
and the words printed in bold face in the concluding strophe of the can-
ticles (vv. 155–156.159–160). In this respect, see also the parallel phrases
twrtk l’ škh.ty/m‘dwtyk l’ nt.yty in the opening strophes of the canticles
(vv. 153b.157b resp.; exactly linear), rh.mym/h.sd . . . ’mt in the concluding
strophes of the canticles (vv. 156a.159–160 resp.) and the corresponding
prayers kmšpt.yk h.yny/kh.sdk h.yny once again in the concluding strophes of
the canticles (vv. 156b.159b resp.).
The linear parallelism between Cantos XIX and XX cannot escape at-
tention. In both cases petition comes to the fore and both cantos wind
up with a song of praise on God’s Torah; cf. also [Hossfeld]/Zenger (2008),
p. 384. This correspondence is reinforced by a substantial number of verbal
recurrences. For this feature, see the root yš‘ (vv. 146.155; linear), the root
šmr (vv. 146+148.158), the Torah terms dbrk/’mrtk (vv. 147–148.158+160),
kh.sdk (vv. 149.159; linear), the parallel phrases yhwh kmšpt.k h.yny/yhwh
kh.sdk h.yny (vv. 149b.159b resp.; linear), rdpy (vv. 150.157; linear), the
root rh.q (vv. 150.155), ’mt (vv. 151.160; linear), m‘d (w )tyk (vv. 152.157;
linear) and l‘wlm (vv. 152.160; exactly linear).
12.2.21 Canto XXI (śin/šin)
XXI.1 161 śrym rdpwny h.nm wmdbrk ph.d lby

162 śś ’nky ‘l ’mrtk kmws.’ šll rb
163 šqr śn’ty w’t‘bh twrtk ’hbty

164 šb‘ bywm hlltyk ‘l mšpt.y .sdqk
XXI.2 165 šlwm rb l ’hby twrtk w’yn lmw mkšwl

166 śbrty lyšw‘tk yhwh wms.wtyk ‘śyty
167 šmrh npšy ‘dtyk w ’hbm m’d

168 šmrty pqwdyk w‘dtyk ky kl drky ngdk
Canto XXI is characterized by all kinds of assertions that the psalmist ob-
serves God’s commands because he loves them; note the root ’hb in vv.
163b, 165a and 167b. The fact that the root ’hb only occurs in the odd
verselines supports the strophic structure of the canto. The strophic coher-
ence of vv. 161–162 is secured by the Torah words dbrk/’mrtk.63 Canticle
63
The reading wmdbrk in v. 161b follows the Q; K wmdbryk.
XXI.1 culminates in the explicit record of the psalmist’s repeatedly praising

God because of his righteousness (v. 164).64
The opening verseline of Canticle XXI.2 stands out by the generalizing
statement that ‘people who love God’s Torah’ enjoy ‘well-being’ (šlwm;
v. 165 and cf. vv. 1–2). This statement harks back to the psalmist’s
protestation of ‘loving God’s Torah’ himself in the concluding strophe of
the preceding canticle (v. 163). For the coherence of the concluding stro-
phe, see also the eye-catching verbal repetitions occurring in vv. 167a.168a
(anaphora and ‘epiphora’).
The hope for God’s salvation expressed in v. 166a corresponds to the
description of distress in v. 161a. The linear parallel positioning of these
ideas (the first strophe of the canticles) probably supports the bipartite
division of the canto into two regular 4-line canticles.65 In this respect, see
also the alliteration šll rb/šlwm rb in vv. 162b.165a resp. (responsion); note
the repetition of rb.
For the parallelism between Cantos XX and XXI, see yšw‘h (vv. 155.166),
the root rbb (vv. 156+157.162+165), the root rdp (vv. 157.161), w’tqwt..th/
w’t‘bh (expressing the psalmist’s abhorrance; vv. 158.163 resp.), the root
’hb (vv. 159.163+165+167; note ’hbty in vv. 159.163) and mšpt. + .sdqk (vv.
160.164).
12.2.22 Canto XXII (taw )
XXII.1 169 tqrb rnty lpnyk yhwh kdbrk hbynny

170 tbw’ th.nty lpnyk k ’mrtk hs.ylny
171 tb‘nh śpty thlh ky tlmdny h.qyk

172 t‘n lšwny ’mrtk ky kl ms.wtyk .sdq
XXII.2 173 thy ydk l ‘zrny ky pqwdyk bh.rty

174 t’bty lyšw‘tk yhwh wtwrtk š‘š‘y
175 th.y npšy w thllk wmšpt.k y‘zrny

176 t‘yty kśh ’bd bqš ‘bdk ky ms.wtyk l’ škh.ty
From a thematic point of view, the strophes of Canticles XXII.1 and XXII.2
form a linearly alternating parallelism: vv. 169–170.171–172|173–174.175–
64
This verseline clearly corresponds to the phrase h..swt lylh ’qwm lhwdwt lk // ‘l mšpt.y
.sdqk in Canticle VIII.2 (v. 62).
65
As will be demonstrated in the last paragraph of § 12.2.22, v. 166a especially func-
tions within the linear parallelism between Cantos XXI and XXII!
176 > a.b|a’.b’. In the opening strophes of the canticles (vv. 169–170 and
173–174) the supplicant pleads for deliverance. The following strophes con-
tain songs of praise (vv. 171–172; cf. v. 164) and a promise for thanksgiving
(v. 175a) respectively.
For the coherence of the opening strophe of Canto XXII, see the con-
spicuous parallelism between the verselines in terms of syntax and meaning;
note the repetition of lpnyk (vv. 169a.170a) and the Torah words dbrk/’mrtk
(vv. 169b.170b resp.). It is once again a considerable measure of parallel
syntax and meaning which determines the coherence of vv. 171–172 (it is
only in the second colon of the verselines that there is some variation).
The strophic framework of Canticle XXII.1 is supported by the repetition
of ’mrtk in vv. 170b.172a (responsion). For the strophic structure and
rhetorical individuality of Canticle XXII.2, see especially the root ‘zr + the
suffix -ny in vv. 173a.175b (responsion).
The bipartite division of Canto XXII is clearly supported by responsions
featuring on the level of the canto as a whole. The divine name, yhwh
(vocative), only occurs in the first strophe of the canticles (vv. 169.174); in
the second strophe of the canticles we find the root hll (vv. 171a.175a; in
both cases exactly at the end of the first colon) and the expression ms.wtyk
(vv. 172b.176b; in both cases in the concluding colon).66
In terms of verbal repetitions, Canticles XXI.1 and XXII.1 are remark-
ably parallel; see the word pair dbrk/’mrtk (vv. 161–162.169–170; exactly
linear), the alliteration w’t‘bh/tb‘nh (vv. 163a.171a; exactly linear),67 .sdq
(vv. 164b.172b; exactly linear). For the parallelism between Canticles
XXI.2 and XXII.2, see śbrty/t’bty lyšw‘tk yhwh (vv. 166a.174a resp.; ex-
actly linear; cf. also yhwh in v. 169), npšy (vv. 167a.175a; exactly linear).
Note further the root hll (vv. 164.171+175); this root does not occur else-
where in Psalm 119!
66
In this respect, see also the preposition l- in vv. 169a+170a.173a+174a. There are
no compelling reasons to take v. 176 as a tricolon; contra Soll (1991), Fokkelman (MPHB
III) and [Hossfeld]/Zenger.
67
The roots t‘b and nb‘ do not occur elsewhere in Psalm 119 and are obviously in the
positions concerned to reinforce the parallelism between the cantos.

12.3.1.1 ’šry, vv. 1a and 2a v. 70b
’h.ly, v. 5a .twb beginning of line, vv.
mh, v. 9a 71a; ext. // .twb in v. 72a
imperative: gml, v. 17a; imperative: hbynny, v. 73b
ext. // gl in v. 18a yd‘ty, v. 75a
’l prohibitive, v. 19b vocative: yhwh, v. 75a
imperative: hbynny, v. 27a yr’ with object God, v. 79a
imperatives: hsr . . . h.nny, ’ny, v. 87b
v. 29 vocative: yhwh, v. 89a
imperative: hwrny, v. 33a; lwly, v. 92a
ext. // hbynny in v. 34a mh, v. 97a
vocative: yhwh, v. 33a mh, v. 103a
imperative: hdrykny, v. 35a; vocative yhwh, v. 107b; ext.
ext. // ht. in v. 36a // yhwh in v. 108a
imperatives: h‘br . . . h.yny, imperative: h.yny, v. 107b;
v. 37; ext. // hqm in v. 38a ext. // rs.h . . . lmdny
imperative: h‘br, v. 39a; in v. 108
ext. // h.yny in v. 40b imperative: swrw, v. 115a;
w- beginning of line, v. 41a; ext. // smkny in v. 116a
ext. // w- in v. 42a imperative: s‘dny, v. 117a
vocative: yhwh, v. 41a lkn, v. 119b
w- beginning of line, v. 43a imperative: hbynny, v. 125a
’l prohibitive, v. 43a ‘l kn, v. 127a; ext. // ‘l kn
ext. // w- in v. 44a in v. 128a
w- beginning of line, v. 45a; ‘l kn, v. 129b
ext. // w- in v. 46a imperative: hkn, v. 133a;
w- beginning of line, v. 47a; ext. // pdny in v. 134a
ext. // w- in v. 48a ’l prohibitive, v. 133b
imperative: zkr, v. 49a imperatives: h’r . . .
vocative: yhwh, v. 55a wlmdny, v. 135
’mrty, v. 57a ’th, v. 137a
’ny, v. 63a vocative: yhwh, v. 137a
yr’ with object God, v. 63a imperative: ‘nny, v. 145a;
.twb beginning of line, v. 65a ext. // hwšy‘ny in v. 146a
vocative: yhwh, v. 65b vocative: yhwh, v. 145a
’ny, v. 67a imperatives: šm‘h . . . h.yny,
‘th, v. 67b v. 149
’ny, v. 69b; ext. // ’ny in vocative yhwh, v. 149b
’th, v. 151a ext. // hs.ylny in v. 170b

vocative: yhwh, v. 151a jussive: thy, v. 173a
imperatives: r’h . . . wh.ls.ny, jussive: th.y, v. 175a
v. 153a; ext. // rybh . . .
wg’lny . . . h.yny in v. 154 12.3.1.2 ‘wlm, v. 93a
imperatives: r’h . . . h.yny, lm‘n, v. 101b
v. 159 tmyd, v. 109a
vocative: yhwh, v. 159b tmyd, v. 117b
vocative: yhwh, v. 169a ’nky, v. 141a
imperative: hbynny, v. 169b;

12.3.2.1 m’d, v. 4b imperative: qymny, v. 28a
m’d, v. 8b ’l probitive, v. 36b
kl ‘t, v. 20b hnh, v. 40a
gm, v. 24a; ext. // gm vocative: yhwh, vv. 52b
in v. 23a z’t, v. 56a
tmyd, v. 44a vocative: yhwh, v. 64a
‘wlm w‘d, v. 44b imperative: lmdny, v. 64b
‘wlm, v. 52a .twb beginning of line, v. 68a
lm‘n, v. 80b ’th, v. 68a
dr wdr in v. 90a; ext. // imperative: lmdny, v. 68b
‘wlm in v. 89a jussive: yhy, v. 76a
m’d, v. 96b n’, v. 76a
‘wlm, v. 98b; ext. // kl jussive: yhy, v. 80a
hywm in v. 97b mh, v. 84a
hy’, v. 98b; ext. // hy’ in mty, v. 84b
v. 97b imperative: h.yny, v. 88a
‘wlm, v. 112b lwly, v. 92
m’d, v. 138b ‘l kn, v. 104b
m’d, v. 140a n’, v. 108a
‘wlm, v. 142a ’l prohibitive, v. 116b
‘wlm, v. 144a imperative: ‘śh . . . lmdny,
‘wlm, v. 152b v. 124
‘wlm, v. 160b imperatives: pnh . . . wh.nny,
’nky, v. 162a v. 132a
imperative: hbynny, v. 144b
12.3.2.2 ’th, v. 4a yd‘ty, v. 152a
’l prohibitive, v. 8b vocative: yhwh, v. 156a
brwk . . . yhwh, v. 12a imperative: h.yny, v. 156b
’th, v. 12a imperative: bqš, v. 176a

’p, v. 3a mty, v. 82b
’z, v. 6a imperative: ‘zrny, v. 86b
’l prohibtive, v. 10b ’ny, v. 94a
lm‘n, v. 11b imperative: hwšy‘ny, v. 94a
’nky, v. 19a ’th, v. 102b
imperative: gl, v. 22a m’d, v. 107a
imperative: lmdny, v. 26a ‘wlm, v. 111a
yr’ with object God, v. 38b hmh, v. 111b
m’d, v. 43a ’th, v. 114a
z’t, v. 50a imperative: ‘rb, v. 122a
m’d, v. 51a ’l prohibitive, v. 122b
imperative: h.nny, v. 58b vocative: lyhwh, v. 126a(?)
imperative: lmdny, v. 66a vocative: yhwh, v. 166a
yr’ with object God, v. 74a m’d, v. 167b
’ny, v. 78b vocative: yhwh, v. 174a

Psalm 119 has 22 eight-line cantos; that is to say there are 176 verselines.
Without exception, these poetic lines are correctly marked by the Masoretic
verse division. And in my opinion, these lines are always bicola.68
Structure of cantos and main parts in terms of words: 48+45||50+42+48
+49|47+49+54+51|50+49||54+49+46+48*|50+42+44+51|48+49 = 93|189
+201+99|197+187+97 = 93+489+481 (= 1063 words in total).69 Accord-
ing to Labuschagne, it is not by chance that the concluding colon of Canto
XI, w’šmrh ‘dwt pyk (v. 88b), which occurs right before the break between
the two halves of the composition, is the centre of the poem in terms of
words: > 530+3+530 words; the colon consists of 13 letters.70
The divine name, yhwh, occurs 24×: vv. 1, 12, 31, 33, 41, 52, 55, 57,
64, 65, 75, 89, 107, 108, 126, 137, 145, 149, 151, 156, 159, 166, 169 and 174
68
Similarly Freedman (1999) and Weber (2003), p. 270. Soll (1991, p. 106), takes
vv. 145 and 176 as tricola, Fokkelman (MPHB III, pp. 235.263) vv. 48, 145 and 176,
while according to [Hossfeld]/Zenger (2008, p. 355) it is only the concluding verseline
(v. 176) which represents a tricolon. Auffret (2006), in broad outline following Allen
(1983), assumes that tricolic verselines are indiscriminately shot through the bicola (vv.
29, 33, 37, 39, 46, 48, 55, 62–64, 75, 84, 104, 112, 145, 176); he considers v. 43 a verseline
consisting of four cola.
69
Fokkelman (MPHB III, pp. 268[!].405–07) mistakenly has 1064 words, because in
the second strophe of the mem-canto (Canto XIII) he counts 13 instead of 12 words.
70
See www.labuschagne.nl/ps119.pdf, Observation 1; similarly Labuschagne (2000),
p. 14. This calculation is based on the reading kl pqwdyk in v. 128a (see § 12.2.16).
(in most cases yhwh is a vocative; in this respect, its occurrences in vv. 1,
57 and 126 are exceptions). In v. 115 God is designated ’lhym.71
12.5 The overall design of the psalm

12.5.1 Unsatisfactory previous research
Formerly, exegetes have generally underestimated the poetic significance of
Psalm 119. Duhm (1922, p. 427) calls this psalm ‘das inhaltloseste Pro-
dukt, das jemals Papier schwarz gemacht hat’. According to Gunkel (1926,
p. 511), this artificially composed alphabetic acrostic is not a true work
of art.72 Moreover, it is almost unanimously maintained that our psalm
lacks a development of ideas. ‘Eine Sammlung von Lobsprüchen auf das
geoffenbarte Gesetz in alphabetischen Strophen von je acht Versen, und da-
her ohne inneren Fortschritt und Zusammenhang’ (so Köster [1837], p. 383,
the founding father of strophic investigation); ‘Ein Gedankenfortschritt ist
nicht vorhanden’ (Duhm [1922], p. 416); ‘The complex acrostic structure
set limits upon the logical development of the psalm’ (Allen [2002], p. 180);
cf. also Booij (2009, p. 70). And although Fokkelman supposes that the
psalm divides into two regular halves of 11 cantos each (vv. 1–88 and
89–176; MPHB III, p. 249),73 he simultaneously wonders ‘whether between
the levels of the composition as a whole and that of the stanzas [cantos]
there is an intermediary level of “sections”, on which stanzas are grouped
in series’. According to him, due to the high degree of synonymy in Psalm
119, this question is extremely difficult to answer (MPHB III, p. 255 n. 56).
Nevertheless, Deissler (1955, p. 269) has stated that we are not deal-
ing with ‘ein mehr oder minder geschicktes “musivisches” Zusammensetzen
vor Wort- und Gedankensplittern’; the psalm is ‘ein wirkliches Gestalten’.
The poet ‘verfuhr nach “anthologischen” Gesichtspunkten, die in diesem
71
Note that the verseline in question also stands out by its direction of address. In a
context in which the psalmist throughout addresses God in the second person, v. 115 is
addressed to the wrongdoers and speaks about God in the third person. It may (or may
not) be a matter of chance, but the line has (13+13 =) 26 letters, which might have
been intended to highlight it.
72
More recently, however, Freedman (1999, p. 88) has rightly argued that the arti-
ficiality of Psalm 119 ‘can be seen, not as a stultifying structure that kills the poet’s
creativity, but as the broadest canvass possible for the poet’s skill in making the psalm’s
form assist its function, the praise of tôrat yhwh’. And ‘a careful analysis of the Hebrew
text’ has revealed to Dahood, ‘in verse after verse, a freshness of thought and a felicity
of expression unnoticed and consequently unappreciated in earlier versions’ (Psalms III,
1970, p. 172).
73
For this bipartite division, see also Freedman (1999), pp. 57–86, and Labuschagne
in § 12.4 above.
Falle zugleich theologische Bedeutung haben’ (Deissler, pp. 268–69). And

as noted in the introductory remarks (§ 12.1), recently some scholars have
been looking for a rhetorical pattern structuring the poem in its entirety.
Soll (1991, pp. 90–111) argues that vv. 1–16 (Cantos I–II) function as a pro-
logue and that from v. 17 onwards we are dealing with five groups of four
cantos each, with the exception that the ‘unusual movement’ of the central
section (Cantos XI–XV) requires five cantos for its development, leaving
the following section with only three cantos: vv. 17–48 (Cantos III–VI),
49–80 (Cantos VII–X), 81–120 (Cantos XI–XV; Central Section), 121–144
(Cantos XVI–XVIII) and 145–176 (Cantos XIX–XII). According to Seybold
(1996, p. 473), after the Prologue (vv. 1–16) the psalm consistently divides
into regular groups of 4 cantos each (vv. 17–48, 49–80, 81–112, 113–144
and 145–176). Zenger also distinguishes groups of four cantos each, fol-
lowing the introductory pair Cantos I–II. However, this scholar takes vv.
81–96 (Cantos XI–XII) as the central section.74 To put it schematically,
he divides as follows: 1–16.17–48.49–80|81–96|97–128.129–160.161–176 >
2×8.4×8.4×8|2×8|4×8.4×8.2×8 [8 = 4.4] lines > A.B.C|D|C’.B’.A’; [Hoss-
feld]/Zenger (2008), pp. 356–57. Finsterbusch (2008, p. 94) states that
there is a Prologue (Cantos I–II) and a Conclusion (Canto XXII); within
this framework it should be Canto XII (vv. 89–96) only—including a cosmic
perspective of Torah—which represents a central position between Cantos
III–XI and XIII–XXI (9 cantos each). According to Labuschagne, it is the
204 (= 12×17) words of Cantos X–XIII (vv. 73–104) which are the pivot
of a menorah pattern structuring Psalm 119 as a whole: Cantos I–III.IV–
VI.VII–IX|X–XIII|XIV–XVI.XVII–XIX.XX–XXII.75
However, Reynolds (2010, p. 19) concludes that all these attempts to
find an overall design in Psalm 119 ‘are largely unconvincing’. Neverthe-
less, the following structural observations are meant to be an attempt to
substantiate the macrostructure of Psalm 119 presented by Zenger. In my
opinion, there are some fundamental (formal) phenomena—(erroneously)
neglected in the discussion of Zenger—which support his demarcations. At
the same time, however, the phenomena in question may adjust the sup-
posed concentric overall design of the composition. For an overview of the
framework of the psalm and a summary of the argument, see Table I on
the following page.
74
For Cantos XI–XII as central section, see also Nodder (2005), pp. 337–38.
75
See www.labuschagne.nl/ps119.pdf, Observations 2–3.
Table I
introduction: Cantos I–II (’aleph–beth; vv. 1–16)

happy are they who observe God’s decrees (vv. 1–2)
oh, that I might keep your statutes (vv. 4–8; > Canticle XXII.2)
concluded by parallel verselines (vv. 13–14.15–16)
two Torah words in the final verseline (v. 16)
Part I: Cantos III–XII (gimel–lamed ; vv. 17–96)
concluded by hymnic phrases
śyh. (‘to meditate’) // š‘ ‘ (hitpalpel ‘to take delight’)
root rh.b (‘to be widened’, vv. 32.45.96)
qs. (‘end’, v. 96)
Part I.1: Cantos III–VI (gimel–waw ; vv. 17–48)
motif of sojourn (root gwr, v. 19; > Canto VII);
the verbal contest; roots dbr and h.rp
concluded by parallel verselines (vv. 47–48)
Part I.2: Cantos VII–X (zayin–yod ; vv. 49–80)
motif of sojourn (root gwr, v. 54; > Canto III);
loyal notwithstanding opposition
Part I.3: Cantos XI–XII (kaph–lamed ; vv. 81–96)
praise of God amidst afflictions;
root ’bd (‘to perish’, vv. 92.95; > Part II.3)
Part II: Cantos XIII–XXII (mem–taw ; vv. 97–176)
opened by hymnic phrases;
’hb (‘to love’) // śn’ (‘to hate’)
Part II.1: Cantos XIII–XVI (mem–‘ayin; vv. 97–128)
I hate every false way (vv. 104.128)
concluded by parallel verselines (vv. 127–128)
Part II.2: Cantos XVII–XX (pe–reš; vv. 129–160)
distress at the neglect of God’s Torah (vv. 136.139.158)
Part II.3: Cantos XXI–XXII (śin/šin–taw ; vv. 161–176)
root hll (‘to praise’, vv. 164.171.175)
root ’bd (‘to go astray’, v. 176; > Part I.3)
‘I have strayed like a lost sheep’ (v. 176; > Canticle I.2);
two Torah words in concluding verselines
12.5.2 The overall design of the composition

The description of the relationships between two successive cantos in the
concluding paragraphs of §§ 12.2.1–22 may create the impression that reg-
ularly two successive cantos form a rhetorical ‘twin’: Cantos I and II,
Cantos III and IV, and so on until Cantos XXI–XXII.76 It is reason-
able to assume that, in their turn, these ‘twin-cantos’ constitute main
parts which structure the psalm as a whole. Cantos I–II (vv. 1–16) rep-
resent an introductory section. However, different from Soll, Seybold and
[Hossfeld]/Zenger, I suppose that after the Introduction the psalm con-
sists of two regular main parts of 10 cantos each, Cantos III–XII (Part I,
vv. 17–96) and XIII–XXII (Part II, vv. 97–176). I further assume that,
subsequently, both main parts divide into three subsections, consisting
of 4, 4 and 2 cantos respectively (cf. [Hossfeld]/Zenger). Part I consists
of Cantos III–VI (Part I.1, vv. 17–48), VII–X (Part I.2, vv. 49–80) and
XI–XII (Part I.3, vv. 81–96); Part II consists of Cantos XIII–XVI (Part
II.1, vv. 97–128), XVII–XX (Part II.2, vv. 129–160) and XXI–XXII (Part
II.3, vv. 161–176). Although there are all kinds of thematic and formal
relationships between these sections, there is a special structural corre-
spondence between the Introduction (Cantos I–II) and the ‘twin-cantos’
concluding Parts I and II (Cantos XI–XII and XXI–XXII resp.). To put
it schematically: vv. 1–16|17–48.49–80.81–96| 97–128.129–160.161–176 >
2×8|4×8.4×8.2×8|4×8.4×8.2×8 > A|B.C.A’|D.E.A’’.
12.5.3 The Introduction: Cantos I–II

In terms of subject matter, the introductory Cantos I–II are to be seen
as the nucleus from which all following cantos originate. They represent
a preliminary compilation of motifs which are developed in Cantos III–
XXII. The Introduction opens with a generalizing benediction of people
who observe God’s decrees (vv. 1–2). In the first canticle of Canto I (vv.
1–4) the psalmist himself characteristically retreats into the background,
76
For the coherence of Cantos I–II, see also Soll (1991), Seybold (1996) and [Hoss-
feld]/Zenger; for the coherence of Cantos IX–X, see Fokkelman and [Hossfeld]/Zenger;
for the coherence of Cantos XI–XII, XV–XVI, XVII–XVIII, XIX–XX and XXI–XXII,
see [Hossfeld]/Zenger; cf. further Calès (1936) and Van der Ploeg (1974) who, following
Briggs (1907, pp. 416–17), in their versions systematically join together two successive
cantos, vv. 1–16, 17–32, 33–48, etc. For the latter view, see also Nodder (2005), pp.
333–36. However, at the same time, there is a close relationship between the succes-
sive Cantos VI–VII, VIII–IX, X–XI and XVIII–XIX as well (for Cantos XVIII–XIX,
see also Fokkelman [MPHB III], p. 258). On the basis of the reconstructed(!) distribu-
tion of the Torah terms within the cantos, Briggs (1907) divided the psalm into Cantos
I–IV.V–XII.XIII–XX.XXI–XXII (see the table on p. 418).
speaking about people who observe God’s Torah and about God Himself
who has ordered to behave this way. However, from Canticle I.2 onwards—
generally speaking—the psalmist is present in almost every verseline.77 In
the latter canticle he immediately ties in with vv. 1–4 by sighing that
he himself wishes to be a member of the group described in the opening
canticle. Noticeably in Canticle I.2 there is a notion of affliction glimmering
through the phrases ‘then I would not be ashamed’ (’z l’ ’bwš, v. 6a) and ‘do
not utterly forsake me’ (’l t‘zbny ‘d m’d, v. 8b). In Canto II, the psalmist
positively asserts his loyalty to God’s decrees. The introductory cantos
also contain hymnic phrases praising God; see ‘I will praise You’ (v. 7a)
and ‘blessed are You, O Lord’ (v. 12a).
There is no explicit description of distress the psalmist experiences and
there are no prayers for deliverance. The conspicuous parallelism in terms
of syntax marking the strophes of Canticle II.2, vv. 13–14 and 15–16, high-
lights the end of the Introduction.78 To crown it all, the concluding verse-
line of Canticle II.2 (v. 16) has two Torah words within one verseline: h.qtyk
. . . dbrk (note the framing positioning). In Psalm 119 this is a special device
for indicating the end of a main part.79
12.5.4 The coherence of Parts I and II

In terms of verbal recurrences it is remarkable that right from v. 17a on-
wards the psalmist designates himself as ‘bdk (‘your servant’). Conspicu-
ously enough, this designation also occurs in the concluding verseline of
the poem (v. 176a).80 Additionally, right from v. 17a onwards the psalmist
pleads that he may live (gml ‘l ‘bdk ’h.yh). The entire psalm is larded with
this prayer—often in the form of an imperative followed by the suffix of the
first person singular—and finally highlights the penultimate verseline (th.y
npšy wthllk, v. 175a).81
77
The hymnic openings of Cantos XII (vv. 89–91) and XVIII (vv. 137–138), e.g.,
belong to the few exceptions.
78
Cf. vv. 47–48 at the end of Part I.1 and 127–128 at the end of Part II.1. In this
respect, the parallel phrases vv. 169–170 (opening Canto XXII) are an exception.
79
For the latter phenomenon, cf. v. 48 at the end of Part I.1 and v. 160 at the end
of Part II.2. For the structural function of two Torah words in the concluding verseline
of Canto XXI (v. 168) and the concluding verseline of Canticle XXII.1 (v. 172), see
§ 12.5.6.3.
80
For the expression ‘bdk (denoting the psalmist), see vv. 17, 23, 38, 49, 65, 76, 84,
122, 124, 125, 135, 140, 176 (13×); the designation occurs 7× in vv. 17–96 (Part I) and
6× in vv. 97–176 (Part II). In v. 91 the plural ‘bdyk (‘your servants’) probably refers to
the ‘heaven’ and the ‘earth’ (vv. 89–90).
81
The root h.yh occurs 8× in Part I, vv. 17 (’h.yh), 25 (h.yny), 37 (h.yny), 40 (h.yny),
50 (h.ytny), 77 (w’h.yh), 88 (h.yny) and 93 (h.ytny), and 8× in Part II, vv. 107 (h.yny),
The cantos of Parts I and II are generally characterized by references

to distress and prayers for deliverance (from people who thwart the suppli-
cant); see, e.g., ‘take away from me taunt and abuse’ (v. 22a), and so on.
These motifs are continually interwoven with protestations of loyalty and
dedication to God’s Torah (as we already found it in Canto II), addition-
ally colouring nearly all following cantos; see, e.g., ‘bdk yśyh. bh.qyk (‘your
servant meditates on your laws’; v. 23b), drk ms.wtk ’rws. (‘I run the way of
your commands’; v. 32a).
12.5.5 The individual structure of Part I (vv. 17–96)

12.5.5.1 Part I.1: Cantos III–VI
Part I.1 is marked out by an exceptional recurrence of the root dbr (‘to
speak’). In this main part it is found in vv. 17, 23, 25, 28, 37, 42 (2×), 43
and 46 (9× in total).82 In v. 17b the Torah term dbrk is part of the phrase
w’šmrk dbrk (‘and I that I may keep your word’). In vv. 37b (Canticle V.2)
and 42b (Canticle VI.1) it is part of the for Psalm 119 specific combination
dbrk/’mrtk ; see vv. 37–38 and 41–42 (cf. § 12.1). In vv. 25 and 28 the
expression kdbrk (‘according to your word’) frames Canticle IV.1. However,
it is quite exceptional that in v. 23 (Canto III) the root dbr is used to
express the verbal attack by the opponents of the supplicant (by ndbrw ).
The same applies to the root dbr in vv. 42a, 43a and 46a (Canto VI), where
it represents the ‘word’/‘speaking’ of the supplicant himself with which he
verbally resists those who ‘taunt’ him.83 I conclude that Cantos III and VI
determine the beginning and the end of Part I.1 by portraying the verbal
contest of the psalmist with his opponents. This thematic aspect framing
Part I.1 is reinforced by the assertions that the psalmist meditates on God’s
laws and delights in them, characterizing the concluding strophes of Cantos
III and VI (vv. 23–24 and 47–48 resp.).84
Furthermore, it is typical for the opponents to be called zdym (‘arrogant
people’) // śrym (‘princes’; vv. 21.23 resp.) in Canticle III.2 and mlkym
116 (w’h.yh), 144 (w’h.yh), 149 (h.yny), 154 (h.yny), 156 (h.yny), 159 (h.yny) and 175 (th.y
npšy). That is to say, the expression th.y npšy (‘let my soul live’) in the penultimate
verseline is exceptional in Psalm 119!
82
In the other main parts consisting of 4 cantos the root dbr occurs ‘only’ 4×: vv.
49, 57, 65, 74 (Part I.2); vv. 101, 105, 107, 114 (Part II.1); vv. 130, 139, 147, 160 (Part
II.2). For the root dbr in Psalm 119, see further vv. 9, 16 (Introduction), 81 (Part I.3)
and 161 (Part II.3).
83
The root h.rp (‘to taunt’) is further characteristic of Part I.1; it only occurs in vv.
22 (III.2), 39 (V.2) and v. 42 (VI.1)!
84
Note the for Psalm 119 remarkable combination of the roots š‘ ‘ (hitpalpel ‘to take
delight’) and śyh. (‘to meditate’); cf. § 12.1. In vv. vv. 23–24 and 47–48 these roots form
a chiasmus.
(‘kings’; v. 46) in Canticle VI.2.85 From Canto VII onwards the psalmist
also speaks of rš‘ym (‘wicked people’); see below, § 12.5.5.2.
In most cases, the concluding strophe of the cantos of Part I.1 contain
a praise of God’s Torah. The concluding colon of Canto III (v. 24b) praises
God’s decrees as ‘counselors’, a source of wisdom.86 Canto IV winds up
with the praise that God’s commands ‘broaden’ the heart (v. 32). For
Canto V, see the penultimate verseline where the psalmist praises God’s
rules as ‘good’ (ky mšpt.yk .twbym; v. 39b).
The end of Part I.1 is marked by the conspicuous parallelism in terms
of syntax and verbal repetitions of the verselines of the concluding strophe
of Canticle VI.2, vv. 47–48.87 The concluding verseline of Part I.1 is (once
again) formally highlighted by the occurrence of two Torah words within
one verseline; see ms.wtyk // h.qyk in v. 48.88
Part I.1 echoes motifs and key words which also occur in the Introduc-
tion. In Canticle III.1 the psalmist prays that God should open his eyes
so that he ‘perceives’ (root nbt., hiph‘il) his wondreous Torah (v. 18). The
root nbt. (hiph‘il ‘to perceive’) in relation to God’s rules also occurs in vv.
6 and 15 (Canticles I.2 and II.2 resp.) and is not found elsewhere in the
psalm!89 The concluding canto of Part I.1, Canto VI (vv. 41–48), stands
out by the cluster of assertions that the psalmist is loyal to God’s laws.
The self-assurance of the psalmist is revealed by the imperfecta of the first
person singular opening most verselines (vv. 42 and 44–48). This assurance
of loyalty reminds us of the concluding canticle of the Introduction (Canti-
cle II.2, vv. 13–16). Finally, the assertions that the psalmist meditates on
God’s laws and delights in them, concluding Cantos III and VI (vv. 23–24
and 47–48 resp.; see above), explicitly link up with the concluding strophe
of the Introduction (vv. 15–16).
12.5.5.2 Part I.2: Cantos VII–X

Canto VII is marked as the opening canto of Part I.2 by the supplicant’s
autobiographical description as a gr (‘sojourner’). In v. 54 (Canticle VII.2)
the psalmist speaks of ‘the house of my sojourn’ (byt mgwry). The expres-
sion obviously harks back to the phrase ‘I am a sojourner on earth’ (gr ’nky
85
Within Psalm 119 the designation śrym only occurs in vv. 23 and 161 (the opening
verseline of Canto XXI). The designation mlkym is not found elsewhere in the psalm.
86
The noun ‘s.h is a wisdom term and does not occur elsewhere in Psalm 119. For an
overview of wisdom terminology in the Psalms, see Kuntz (1974), p. 201.
87
Cf. vv. 13–14.15–16 and 127–128 at the end of the Introduction and Part II.1 resp.
88
Cf. v. 16 at the end of the Introduction and v. 160 at the end of Part II.2; see also
[Hossfeld]/Zenger (2008), p. 368!
89
In this respect, see also the root šgh (‘to stray from’) in v. 21, harking back to v. 10
(Canticle II.1); within Psalm 119 this root only occurs in vv. 10, 21 and 118.
b’rs.) in the opening canto of Part I.1 (v. 19a). The root gwr does not occur
elsewhere in Psalm 119!
It is also from Canticle VII onwards that the supplicant speaks about
his distress as ‘nyy (‘my affliction’; v. 50).90 Moreover, from now on the
opponents of the psalmist are not only designated zdym (‘arrogant people’;
v. 51), as is the case in Part I.1, but also rš‘ym (‘wicked people’). Within
Part I.2 the latter expression occurs precisely in the opening verselines of
Canticles VII.2 and VIII.2 (vv. 53.61 resp.).91
And it is in line with the pronounced reality of the psalmist’s enemies
in Part I.2 that—different from Part I.1—he regularly affirms his loyalty
to God’s rules notwithstanding the experience of serious opposition from
outside. In Canto VII, it is v. 51 which most concisely expresses this mes-
sage: ‘the arrogant cruelly mock me, // I do not swerve from your Torah’;
for Part I.2, see further the opening verselines of Canticles VIII.2 (v. 61)
and IX.2 (v. 69).92 The more adversity the supplicant suffers, the more
vehemently he declares his dedication to God’s Torah.
The second canticles of Cantos VII–IX also contain explicit references
to praise. In Canticles VII.2 and XVIII.2 the psalmsit typically refers to
his nightly praise of God; see vv. 55 and 62 respectively.93 Canto IX is
full of assertions of loyalty and winds up with a plain praise of God’s rules:
‘more precious to me is the Torah of your mouth // than thousands of gold
and silver pieces’ (v. 72; cf. also v. 64a, concluding Canto VIII).
Canto X is highlighted as the concluding canto of Part I.2 by the asser-
tions that God’s Torah is a delight for the psalmist and that he meditates
on it (vv. 77–78; the opening strophe of Canticle X.2).94 The generally rec-
90
For the root ‘nh in Psalm 119 expressing the suffering of the psalmist, see further
vv. 67, 71, 75, 92, 107 and 153.
91
Within Psalm 119 the designation rš‘ym occurs in vv. 53, 61, 95, 110, 119, and
155 (3× in Part I and 3× in Part II). The designation zdym is predominantly found in
Part I, vv. 21, 51, 69, 78, 85; for Part II, see v. 122.
92
For similar phrases, see vv. 87 and 95 (Part I.3), 110 (Part II.1), 141+143 (Part
II.2) and 157 (Part II.2). In vv. 84, 86, 150, 157 and 161 the adversity is also expressed
by the root rdp (‘to perscute’). Botha (1992) argues that the presence of the unfaithful
enemies in Psalm 119 is a literary motif taken from individual laments and functions to
bring to light the faith of the psalmist.
93
In terms of verbal repetitions, I note that the root ydh (hiph‘il ‘to praise’) only occurs
in vv. 7 (Canto I) and 62 (Canto VIII). For the correspondences between Cantos I and
VIII, see further drk (vv. 1+5.59), bkl lb (vv. 2.58), lšmr (vv. 4+5.57+60+63), the root
lmd (vv. 7.64) and mšpt.y .sdqk (vv. 7.62); see also Fokkelman (MPHB III, p. 245 n. 33)
and Auffret (2006), pp. 93–94.
94
For the closing effect of these assertions, see vv. 15–16 (the concluding strophe of
the Introduction) and 47–48 (the concluding strophe of Part I.1)! The linear parallelism
between the concluding cantos of Parts I.1 and I.2 (Cantos VI and X resp.) is further
ognized coherence between Cantos IX and X (see § 12.2.10, the concluding

paragraph) additionally marks the end of Part I.2.
The final verseline of Canto X (v. 80) reminds us of Canto I. It is a
prayer of the psalmist for ‘perfection’ in following God’s laws so that he
may not be ‘put to shame’. Within Pslm 119 the expression tmym (‘per-
fect’) only occurs in the opening verseline of Canto I (v. 1) and in v. 80;
and the phrase lm‘n l’ ’bwš (v. 80b) echoes ’z l’ ’bwš in v. 6a (Canticle I.2).95
12.5.5.3 Part I.3: Cantos XI–XII

The beginning of Part I.3 is clearly marked by the laments and descrip-
tions of distress which dominate Canto XI, by far the most desperate of the
cantos. The hymnic phrases in the opening verselines of Canto XII (‘For-
ever, O Lord, // your word stands firm in heaven . . . ’, vv. 89–91) sharply
contrast with the preceding utterances. These lines express the apogee of
praises we find in Psalm 119. That is to say, with the help of a literary
chiaroscuro in Part I.3 the psalmist emphasizes that he praises God amidst
his afflictions.96 The rhetorical tension created by these contrasting ideas
expresses a fundamental message of this alphabetic acrostic and highlights
the end of Part I.
In this respect, it is also worth noting that the end of Part I is marked by
the noun qs. (‘end’) which features right in the concluding verseline of Canto
XII (lkl tklh r’yty qs.; v. 96a); this noun does not occur elsewhere in Psalm
119! Moreover, from a thematic perspective, the verseline as a whole—
praising the universal meaning of God’s commands—has a summarizing
function perfectly fitting its positioning at the end of a main part (cf.
§ 12.2.12). The root rh.b (‘to broaden’; v. 96b), which in this context has a
crucial function as a means to express the importance of God’s instruction
(rh.bh ms.wtyk m’d ), also reinforces the relative individuality of Part I; it
only occurs in Part I.1 (vv. 32, 45) and Part I.3 (v. 96).97
supported by the following verbal recurrences: wyb’ny/yb’wny (vv. 41.77 resp., at the
beginning of a canticle!), h.sdk (vv. 41.76) and l’ ’bwš (vv. 46.80); cf. also wyb’ny h.sdk
. . . k’mrtk (v. 41) with yhy n’ h.sdk . . . k’mrtk (v. 76).
95
Botha (1999, p. 392) also points to the matching contexts the root bwš features in
vv. 6 and 80. Within Psalm 119 the root bwš occurs in vv. 6, 31, 46, 78, 80 and 116. It
is only in vv. 6 (Canticle I.2), 46 (Canticle VI.2) and 80 (Canticle X.2) that we find the
phrase l’ ’bwš. In vv. 31 (Canticle IV.2; Part I.1) and 116 (Canticle XV.1; Part II.1) it
is ’l tbyšny. Note that in Part I the root bwš exclusively occurs in the second canticle
of a canto. For the verbal recurrences connecting Cantos I and X, see further lb (vv.
2+7.80), the root lmd (vv. 7.73), mšpt.y .sdqk/s.dq mšpt.yk (vv. 7.75 resp.).
96
Cf. also Soll (1991), pp. 101–02, and [Hossfeld]/Zenger, p. 377.
97
The root rh.b occurs exclusively in the second canticle a canto; see Canticles IV.2
(v. 32, the concluding verseline of Canto IV), VI.2 (v. 45) and XII.2 (v. 96, the concluding
verseline of Canto XII).
Further investigation reveals that the repetition of the root rh.b in vv. 45
and 96 is part of a whole cluster of verbal recurrences supporting the linear
relationship between the concluding cantos of Parts I.1 and I.3 (Cantos VI
and XII resp.); for this correspondence, see also the root yš‘ (vv. 41.94),
the roots ‘nh (‘to answer’)/‘nh (‘to be miserable’, vv. 42.92 resp.), m’d
(vv. 43.96), the root ’mn (vv. 43.90), l‘wlm (vv. 44.89+93), ky pq(w )dyk
dršty (vv. 45b.94b) and the root š‘ ‘ (vv. 47.92). Note that the phrase ky
pq(w )dyk dršty (vv. 45b.94b) does not occur elsewhere in Psalm 119!98
Finally, there are some indications of a linear relationship between Parts
I.2 and I.3. The overall structure of Canto VII (the opening canto of Part
I.2) is, among other things, determined by the parallel phrases mtwrkt l’
nt.yty/w’šmrh twrtk (vv. 51b.55b resp.), expressing the psalmist’s loyalty
to God’s Torah. The overall structure of Canto XI (the opening canto of
Part I.3) is, among other things, determined by similar parallel phrases in
exactly the same position within the 8-line section; see h.qyk l’ škh.ty/w’ny
l’ ‘zbty pqwdyk (vv. 83b.87b resp.). Note further that in both cases the
corresponding phrases form a syntactical chiasmus.
Additionally, there is an indication of a deliberate thematic correspon-
dence between the concluding cantos of Parts I.2 and I.3, Cantos X and XII
respectively. In v. 73a (the opening colon of Canto X) the psalmist praises
God as Creator of a human being and in vv. 89–91 (the opening lines of
Canto XII) he sings the praises of God as Creator of the Torah and the
universe.99
12.5.6 The individual structure of Part II (vv. 97–176)

Part II (vv. 97–176, Cantos XIII–XXII) is characterized by the contrasting
roots ’hb (‘to love) and śn’ (‘to hate); the combination of these roots does
not occur in the Introduction, nor in Part I. In Canto XIII, right at the
beginning of Part II, the roots in question mark the boundaries of the
canto by inclusion (vv. 97.104 resp.); see further the first verseline of Canto
XV (v. 113), the concluding strophe of Canto XVI (vv. 127–128) and the
third verseline of Canto XXI (v. 163).100 The combination of the roots
98
For the relationship concerned, see also Auffret (2006), pp. 123–24.
99
For the correspondence between Cantos X and XII, see also the root kwn (polel, vv.
73.90; linear), the exactly linear positioning of the Torah words mšpt.yk (vv. 75.91) and
‘dtyk (vv. 79.95), the root ‘nh (vv. 75.92; linear), the phrase twrtk š‘š‘y (vv. 77.92); the
polel of kwn does not occur elsewhere in Psalm 119; for kwn, cf. further vv. 5 and 133.
100
Outside Part II, the root śn’ is totally absent in Psalm 119. The root ’hb predom-
inantly occurs in Part II (see also vv. 119, 132, 140, 159, 165 and 167); cf. Soll (1991),
pp. 105–06. The repetition of ’hbty in the concluding verselines of Canto VI (vv. 47–48)
marks the end of Part I.1; see § 12.5.5.1.
śyh. and š‘ ‘, conspicuously featuring in the Introduction (Canto II) and
Part I, is not found in Part II (see §§ 12.1 and 12.5.5.2). On the grounds
of these observations I conclude that there is a progressive intensification
and marking out as far as the psalmist’s relationship with God’s Torah is
concerned. In the Introduction and Part I it is only described in positive
terms of love for and joy in meditation on God’s Torah, but right from the
first Canto of Part II the relationship is also portrayed as hate towards all
conduct which is not in accordance with these rules.
After Part I.3 in which the psalmist expresses a glaring contrast be-
tween despair (Canto XI) and praise (Canto XII), in accordance with the
sequence we already noted in Parts I.1 and I.2, from Canto XIII onwards
there is a reversal of themes! From now on, the praise comes first and sub-
sequently we find descriptions of distress. As will be demonstrated below,
this is the thematic order which structures Parts II.1 and II.2.
12.5.6.1 Part II.1: Cantos XIII–XVI

The first canticle of Part II.1 (Canticle XIII.1; vv. 97–100) is predominantly
characterized by the psalmist’s praise of God’s Torah as a source of wis-
dom; note the roots h.km (‘to be wise’; v. 98a), śkl (hiph‘il ‘to have insight’;
v. 99a) and the phrase mzqnym ’tbwnn (‘I have more understanding than
the elders’; v. 100a). Subsequently, in Canticle XIII.2 (vv. 101–104) he
portrays his complete devotion to God’s word. In the opening verseline of
Canto XIV (v. 105) God’s word is praised as a source of light. Canticle
XIV.2 (vv. 109–112) is once again full of assertions that the psalmist is
loyal to God’s Torah (amidst attacks by wicked people).
However, in Cantos XV (vv. 113–120) and XVI (vv. 121–128) we look
in vain for phrases which praise God’s Torah. In the core strophes of Canto
XV we find all kinds of pleas for deliverance; the same applies to Canticle
XVI.1. In Canto XV these pleas are framed by declarations of loyalty to
God’s Torah, and in Canto XVI such assertions occur in Canticle XVI.2.101
The relative individuality of Part II.1 (Cantos XIII–XVI) is underlined
by the obvious correspondence between the concluding verselines of the
framing Cantos XIII and XVI; cf. ‘l kn śn’ty kl ’rh. šqr (v. 104b; Canto
XIII) with ‘l kn . . . kl ’rh. šqr śn’ty (v. 128; Canto XVI). See also the Torah
term pqwdyk in vv. 104a.128a. In addition, there is the semantic parallelism
between the cola preceding these concluding lines; see mdbš lpy (v. 103b)
and mzhb wmpz (v. 127b), emphasizing the spiritual value of God’s Torah
for the psalmist.102
101
The phrase stry wmgny ’th (‘You are my refuge and shield’) in the first strophe of
Canto XV (v. 114a) is a declaration of trust and not a real praise.
102
For the semantic relationship of the latter expressions, see the strophe Ps. 19,11:
12.5.6.2 Part II.2: Cantos XVII–XX

Subsequently, it is most striking that from Canto XVII onwards there is
a reappearance of explicit hymnic phrases right at the beginnings of the
cantos (cf. the opening cantos of Part II.1); see ‘your decrees are wondrous,
. . . the opening of your words gives light . . . ’ (vv. 129–130, the opening
verselines of Canto XVII), ‘You are righteous, O Lord; // your rulings
are just . . . ’ (vv. 137–138, the opening verselines of Canto XVIII) and cf.
further vv. 142 (Canticle XVIII.2). Canto XIX and XX are for the most
part characterized by prayers for deliverance (note Canticles XIX.1 and
XX.1). Nevertheless, in the concluding strophes of these cantos we once
again find praises of God and his decrees; see vv. 151–152 and 160.
The correspondence between the beginnings of Parts II.1 and II.2 in
terms of praise is reinforced by the wisdom terminology we find in Canticles
XIII.1 and XVII.1. The wisdom terminology characterizing Canticle XIII.1
(see § 12.5.6.1 above) corresponds to what we find in the opening strophe of
Part II.2 (vv. 129–130; Canto XVII) where the psalmist implicitly declares
that the study of God’s Torah makes him wise, it ‘gives insight to the
simple’. The noun pty (‘simple’, v. 130b) belongs to the vocabulary of the
wisdom tradition. For the combination of the root h.km (hiph‘il, v. 98a) and
the noun pty, see mh.kymt pty in Ps. 19,8 and yh.km pty in Prov. 21,11.103
For the parallelism between the opening cantos of Parts II.1 and II.2, see
also the root ’wr (hiph‘il ‘to give light’). The repetition of this root in
Canto XVII (vv. 130 and 135) reminds us of the first verseline of Canto
XIV (v. 105) which praises God’s word as a ‘light’; in Psalm 119 the root
’wr only occurs in vv. 105, 130 and 135.
The thematic individuality of Part II.2 (vv. 129–160) is determined by
the distress the psalmist experiences at the neglect of God’s Torah by the
wicked; see vv. 136 (‘my eyes shed streams of tears // because they do not
keep your Torah’; the concluding verseline of Canto XVII), 139 (Canticle
XVIII.1) and 158 (Canticle XX.2).104
The impressive parallelism between Cantos XIX and XX (see § 12.2.20)
can be seen as a formal device for marking the end of Part II.2; cf. the
obvious coherence of Cantos IX and X at the end of Part I.2. To crown it
all, the end of Part II.2 is conspicuously highlighted by the occurrence of
two Torah terms within one verseline; see dbrk // mšpt. in v. 160.
hnh.mdym mzhb wmpz rb

wmtwqym mdbš wnpt .swpym
In this respect, cf. also v. 72b (Canticle IX.2).
103
For an overview of wisdom terminology in the Psalms, see Kuntz (1974), p. 201.
104
The accumulation of such phrases is typical for Part II.2; however, cf. also v. 53
(Canto VII, the opening canto of Part I.2).
12.5.6.3 Part II.3: Cantos XXI–XXII

In terms of verbal recurrences, the cantos of Part II.3 (Cantos XXI–XXII)
stand out by the repetition of the root hll (‘to praise’), which only occurs
in vv. 164, 171 and 175. Additionally, it is only in these immediately
successive cantos that we find two Torah words in concluding verselines;
see pqwdyk w‘dtyk in the concluding verseline of Canto XXI (v. 160) and
’mrtk . . . ms.wtyk in the concluding verseline of Canticle XXII.1 (v. 172).105
In this concluding Part II.3 there is a remarkable fusion of themes,
including praise. In Canto XXI we find all kinds of assertions that the
psalmist is loyal to God’s commands. And Canticle XXI.1 culminates in
the reference to his praising God seven times a day (v. 164). Canto XXII is
determined by the linearly alternating repetition of petitions for deliverance
and promises of thanksgiving (see § 12.2.22).
The expression th.y npšy (‘let my soul live’) in the penultimate verse-
line of Psalm 119 is exceptional in this composition (see § 12.5.4)! The
supplicant’s confession ‘I have strayed like a lost sheep’—aptly followed by
the prayer ‘seek your servant’ (bqš ‘bdk )—in the final verseline is also most
exceptional.106 That is to say, different form Part I, which concludes with a
phrase praising God’s Torah (v. 96), Part II and the composition as a whole
winds up with a minor chord, a confession of failing framed by prayers for
mercy.
12.5.7 The correspondences between the Introduction, Parts I.3

and II.3
Finally, there are indications which point to a parallelism between the In-
troduction (Cantos I–II, vv. 1–16), Parts I.3 (Cantos XI–XII, vv. 81–96)
and II.3 (Cantos XXI–XXII, vv. 161–176).
• On the basis of their length in terms of verselines the Introduction,
Parts I.3 and II.3 match each other because they have 16 verselines
each.
• We have to admit, however, that the correspondences between the
Introduction and Part I.3 are not exclusive. In the opening three
verselines of Cantos I and XII (vv. 1–3 and 89–91) the psalmist re-
treats into the background.
In terms of verbal recurrences, I point especially to the recurrence
of the root ‘zb (‘to forsake’); see v. 8 (the concluding verseline of
105
Cf. vv. 16, 48 and 160 at the end of the Introduction, Parts I.1 and II.2 respectively.
106
The root bqš (‘to seek’) does not occur elsewhere in Psalm 119; for the root t‘h (‘to
stray’), see also v. 110 (Canticle XIV.2, Part II.1).
Canto I) and v. 87 (the penultimate verseline of Canto XI).107 See

further the root drš (vv. 2+10.94), the root kwn (vv. 5.90), the Torah
term dbrk (vv. 9.81; the first verseline a canto), pyk (vv. 13.88), the
root š‘ ‘ (vv. 16.92) and l’ + the root škh. (vv. 16.83+93).
• There is ample evidence supporting the relationship between the In-
troduction and Part II.3. The blessing in vv. 1–2 (Canticle I.1) corre-
sponds to the statement in v. 165 (Canticle XXI.2) that people who
love God’s Torah enjoy ‘well-being’ (šlwm); note also the general-
izing aspect of these phrases (the psalmist himself retreats into the
background).108
In v. 14 (Canticle II.2) the psalmist ‘rejoices’ over God’s decrees ‘as
over all riches’ (k‘l kl hn), and in v. 162 (Canticle XXI.1) he ‘rejoices’
over God’s word ‘as over the finding of a great spoil’ (kmws. šll rb).109
The psalmist’s confession ‘I have strayed like a lost sheep’ concluding
Part II.3 (v. 176) is in line with the sigh that he wants to belong
to the group of blessed people who walk in the ways of the Lord
which characterizes Canticle I.2. In addition, the root t‘h (‘to go
astray’) perfectly fits the synonymous nouns drk/’rh. (‘way’) which
have a structural role in Cantos I and II.
The root škh. (‘to forget’) preceded by the negation l’ and determin-
ing the final assurance of Psalm 119, ky ms.wtyk l’ škh.ty (v. 176b),
further underlines the correspondence between the Introduction and
Part II.3. In the Introduction the root škh. only occurs in the phrase
l’ ’škh. dbrk (v. 16b), once again the final assurance.110
• The root ’bd (qal ‘to go astray’) unambiguously emphasizes the par-
allelism between Parts I.3 and II.3. The root conspicuously features
right in the concluding verseline of Canto XXII (v. 176a) and as a
responsion in Canto XII, the concluding canto of Part I.3. In the
latter case it highlights the concluding strophes of the canticles (vv.
92 and 95). The root does not occur elsewhere in Psalm 119!
107
In Psalm 119, the root ‘zb occurs in vv. 8, 53 and 87. The repetition of this root in
v. 53 (Canticle VII.2) and v. 87 (Canticle XI.2) probably highlights the beginnings of
Parts I.2 and I.3. Note further that the root ‘zb only features in the second canticle of
the cantos (Canticles I.2, VII.2 and XI.2).
108
See also Soll (1991), p. 107.
109
In Psalm 119 the root śwś (‘to rejoice’) only occurs in vv. 14 (Introduction), 111
(Part II.1) and 162 (Part II.3).
110
For the root škh. in Psalm 119, see vv. 16, 61, 83, 93, 109, 139, 141, 153 and 176.
I note that this root is almost exclusively found in the even cantos (Cantos II, VI, XII,
XIV, XVIII, XX and XXII); its occurrence in v. 83 (Canto XI) is an exception. In vv.
61, 109 and 153 it occurs in the identical phrase twrtk l’ škh.ty.
The root ’bd also underlines the relationship between Parts I.3 and
II.3 on the one hand and the Introduction on the other because there
is a rhetorical correspondence with ’šry marking vv. 1–2; note ’šry
. . . t’bd exactly framing Psalms 1 and 112.
The parallelism between Parts I.3 and II.3 is reinforced by the com-
bination of the root šmr (‘to keep’) with the Torah word ‘dwt in the
opening cantos of Parts I.3 and II.3, Cantos XI and XXI resp. Canto
XI winds up with the protestation w’šmrh ‘dwt pyk (v. 88b) and the
concluding strophe of Canto XXI remarkably shows the repetition of
the root šmr and the Torah term ‘dtyk as its object (vv. 167–168).111
In my opinion, it is hard to find clusters of correspondences remarkably

determining a structural relationship between Parts I.1–2 and II.1–2. There
are a few indications which may point to a linear parallelism between these
main parts. In the concluding cantos of Part II.1 the psalmist speaks about
God rejecting all who ‘stray from’ his laws; see vv. 118–119 (Canticle XV.2)
and 126 (Canticle XVI.2). This motif also occurs in the opening canto of
Part I.1; see v. 21 (Canticle III.2).112 The parallelism between Parts I.1
and II.1 also comes to light by the repetition of the enigmatic term ‘qb,
which only occurs in vv. 33 (Canto V) and 112 (Canto XIV). In terms of
structure, we found that the relative individuality of Part I.1 as well as
that of Part II.1 is marked by special phenomena highlighting the framing
cantos (see §§ 12.5.5.1 and 12.5.6.1 above).
For the parallelism between Parts I.2 and II.2, I refer to the special kind
of distress the psalmist experiences at seeing the neglect of God’s Torah
by the wicked; see v. 53 (Canto VII, the opening canto of Part I.2) on the
one hand, and vv. 136 (Canto XVII, the opening canto of Part II.2), 139
(Canticle XVIII.1) and 158 (Canticle XX.2) on the other. In addition, the
end of both main parts is highlighted by an impressive linear parallelism
between the concluding cantos, Cantos IX–XX and XIX–XX (cf. § 12.5.6.2).
My conclusion is that Psalm 119 is anything but a collection of more
or less disconnected sayings about the Torah. As a matter of fact, one
needs a bird’s-eye view of the composition to grasp the mutual relation-
ships between distant sections. However, once having reached the proper
vantage point, it appears that the psalm is a well-thought-out composition
111
The three words of v. 88b represent the numerical centre of Psalm 119; see § 12.4.
I conclude that the occurrence of w‘dtyk in v. 168b is a deliberate device and not a case
of dittography. For the root šmr (which occurs 21× in Psalm 119) as predicate and ‘dtyk
as object, see also v. 146 (Canto XIX).
112
In Psalm 119 the root šgh (‘to stray from’) is only found in vv. 10, 21 and 118; for
the occurrence of this root in vv. 10 and 21, cf. § 12.5.5.1 above.
ultimately expressing human failure to understand the depth and creative

power of God’s instructions.
12.6 Bibliography
1898, pp. 54–61;
A. Deissler, Psalm 119 (118) und seine Theologie. Ein Beitrag zur Erforschung
der anthologischen Stilgattung im Alten Testament (MThSt I.11), München: Karl
Zink Verlag, 1955;
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. FS J. Muilenburg, Pittsburgh, 1974, pp. 186–222;
L.G. Perdue, Wisdom and Cult (SBL.DS 30), Missoula: Scholars Press, 1977,
pp. 303–12;
S. Bergler, ‘Der längste Psalm—Anthologie oder Liturgie?’, VT 29 (1979), pp.
257–88;
Y. Amir, ‘Psalm 119 als Zeugnis eines proto-rabbinischen Judentums’, in: Y.
Amir (ed.), Studien zum antiken Judentum (BEATAJ 2), Frankfurt a.M., 1985,
pp. 1–34;
Ph.J. Botha, ‘The Measurement of Meaning—an Exercise in Field Semantics’,
Journal for Semitics 1 (1989), pp. 3–22;
W.M. Soll, Psalm 119. Matrix, Form, and Setting (CBQ.MS 23), Washington:
Catholic Biblical Association of America, 1991;
Ph.J. Botha, ‘The Function of the Polarity between the Pious and the Enemies
in Psalm 119’, OTE 5 (1992), pp. 252–63;
P.W. Skehan/E. Ulrich/P.W. Flint, ‘Two Manuscripts of Psalm 119 from Qum-
ran Cave 4’, RQ 16 (1995), pp. 477–86;
Ph.J. Botha, ‘Shame and the Social Setting of Psalm 119’, OTE 12 (1999), pp.
389–400;
D.N. Freedman, Psalm 119. The Exaltation of Torah (BJS 6), Winona Lake:
Eisenbrauns, 1999;
C.J. Labuschagne, Numerical Secrets of the Bible. Rediscovering the Bible Codes,
North Richland Hills (Texas): BIBAL Press, 2000;
K. Nielsen, ‘Why not Plough with an Ox and Ass together? Or: Why not Read
Ps 119 together with Pss 120–134?’, SJOT 14 (2000), pp. 56–66;
E. Zenger, ‘Torafrömmigkeit. Beobachtungen zum poetischen und theologischen
Profil von Psalm 119’, in Ch. Hardmeier et al. (eds.), Freiheit und Recht. FS F.
Crüsemann, Gütersloh: Chr. Kaiser/Gütersloher Verlagshaus, 2003, pp. 380–96;
M. Nodder, ‘What is the Relationship Between the Different Stanzas of Psalm
119’, Churchman 119 (2005), pp. 323–342;
P. Auffret, Mais tu élargiras mon coeur. Nouvelle étude structurelle du psaume

119 (BZAW 359), Berlin/New York: Walter de Gruyter, 2006;
Karin Finsterbusch, ‘Multiperspektivität als Programm. Das betende Ich und
die Tora in Psalm 119’, in M. Bauks et al. (eds.), Was ist der Mensch, dass du
seiner gedenkst?’ (Psalm 8,5). FS B. Janowski, Neukirchen-Vluyn, 2008, pp.
93–104;
S.N. Callaham, ‘An Evaluation of Psalm 119 as Constrained Writing’, Hebrew
Studies 50 (2009), pp. 121–35;
A. Lenzi, ‘The Metonic Cycle, Number Symbolism, and the Placement of Psalms
19 and 119 in the MT Psalter’, JSOT 34/4 (2010), pp. 447–73;
K.A. Reynolds, Torah as Teacher. The Exemplary Torah Student in Psalm 119
(SupplVT 137), Leiden: Brill, 2010;
C.J. Labuschagne, www.labuschagne.nl/ps119.pdf.
13 Psalm 120
I 1 ’l yhwh bs.rth LY qr’ty wy‘nny

2 yhwh hs.ylh NPŠY mśpt šqr mlšwn rmyh
3 mh ytn lk wmh ysyp lk lšwn rmyh

4 h..sy gbwr šnwnym ‘m gh.ly rtmym
II 5 ’wyh LY ky grty mšk šknty ‘m ’hly qdr

6 rbt šknh lh NPŠY ‘m śwn’ šlwm
7 ’ny šlwm w ky ’dbr hmh lmlh.mh
13.1 Text
V. 2: MT divides with ’atnah. after šqr ; for the enjambement, cf. vv. 1.3.6.7.
13.2 Content
Prayer of an individual in his distress.
I Description of prayer and reference to revenge.
In my distress I call to God for deliverance, because He hears me
(vv. 1–2).
He will give the deceitful tongue its just deserts (vv. 3–4).
II Description of distress.
Living abroad, I am in a miserable situation (vv. 5–6).
I am for peace, but when I speak, they are for war (v. 7).

13.3.1.1 mh, v. 3a (2×) ’ny, v. 7a
vocative: lšwn rmyh, v. 3b
’wyh, v. 5a 13.3.1.2 none

13.3.2.1 hmh, v. 7b 13.3.2.2 none

imperative: hs.ylh, v. 2a

vv. 1–2: yhwh, vv. 1a.2a!
vv. 3–4: lšwn/šnwn, vv. 3b and 4a resp.; see šnnw (. . . ) lšwnm in Pss.
64,4 140,4 (and cf. Prov. 25,18; note also the alliteration)
rmyh/rtmym, vv. 3b and 4b resp. (alliter.; epiphora)
vv. 5–6: root škn, vv. 5b.6a!
prep. ‘m, vv. 5b.6b

vv. 1–4 (Canto I): lšwn rmyh, vv. 2b.3b! (concatenation; epiphora)
vv. 5–7 (Canto II): ky, vv. 5a.7a! (linear)

’hly qdr/’dbr, vv. 5b and 7a resp. (alliter.; linear)
šlwm, vv. 6b.7a! (concatenation)

vv. 1–2.5–6: ly, vv. 1a.5a! (linear)
qr’ty/grty, vv. 1b and 5a resp. (alliter.); cf. qdr in v. 5b
npšy, vv. 2a.6a! (linear)
vv. 3–4.7: h..sym/mlh.mh, vv. 4a and 7b resp. (linear; Allen)
vv. 3–4.5–6: prep. ‘m, vv. 4b.5b+6b! (concatenation)

prep. l- (vv. 3 [2×].6.7), prep. mn (v. 2 [2×])

suffix -k (v. 3 [2×])

Psalm 120 has 7 verselines and 14 (= 2×7) cola.1 V. 4 is the middle
verseline (> 3+1+3 lines).
Structure of strophes in terms of words: 13+14|16+6 = 27+22 (= 49
= 7×7 words in total). In addition, as Labuschagne notes, it is only the
7 words of v. 2 which are explicitly addressed to God.2 On the basis of
these observations, I conclude that the number 7 has a structural function
in this short poem.
The divine name, yhwh, occurs 2×: vv. 1 and 2.

Köster (1837): 1–4.5–7; similarly De Wette (1856), Zenner (1906), p. 111,
Pannier/Renard (1950), Allen (2002), p. 200; cf. Briggs (1907)
Ewald (1866), pp. 369–70: 1–2.3–4.5–7 (4.4.6 cola); simialrly Delitzsch
(1894), Herkenne (1936), NAB (1970), Kraus (1978)
Von Faulhaber (1913), p. 19: 1–2.3–4 (‘Adressenchalipha’)
Duhm (1922): 1–2.3–4.5*.6–7 (4×2 bicola); cf. Mowinckel (1957), p. 101
Gunkel (1926): 1–2.3–4.5–6.7 (2.2.2.1 lines); similarly Jacquet (1979)
Calès (1936): 1.2–4.5–7 (1.3.3 lines); similarly Gemser (1949), Kissane
Beaucamp (1979): 1–2.3–4|5–7 (4.4|6 cola); cf. Ewald (1866)
Girard (1994): 1.2.3–4|5.6.7 (a.b.c|a’.b’.c’)
Fokkelman (2000), pp. 294–95: 1–2.3–4.5–7 (2.2.3 lines); similarly Terrien
(2003), Weber (2003) and Stocks (2012), pp. 73–77; cf. Auffret (1999)
[Hossfeld]/Zenger (2008): 1|2.3–4|5.6–7
www.labuschagne.nl/ps120.pdf: 1–2.3–4|5–6.7 (2.2.|2.1 lines); cf. Gunkel

Psalm 120 is composed of two almost regular cantos of 4 and 3 verselines
respectively (vv. 1–4.5–7).3 Canto I consists of two 2-line strophes which are
marked by a switch of addressee (Von Faulhaber [1913]). The psalmist first
addresses God (vv. 1–2) and then his enemies (with a rhetorical question;
vv. 3–4). For the coherence of vv. 1–2, see also yhwh (§ 13.4.1). The
1
Fokkelman (2000), p. 294, counts 15 cola because he considers v. 7 a tricolon; sim-
ilarly [Hossfeld]/Zenger (2008). However, MT divides with ’atnah. after ’dbr ; for the
enjambement, see vv. 1.3.6. Stocks (2012), pp. 68–77, takes vv. 3 and 7 as ‘para-tricola’.
2
Labuschagne, www.labuschagne.nl/ps120.pdf, Observation 2.
3
For this bipartite divsion, see also Köster (1837), Beaucamp (1979), Girard (1994)
and Allen (2002) in § 13.6.
expression lšwn rmyh constitutes a concatenation between the strophes;

note also the epiphora.4
The second canto is a monologue introduced by the transition marker
’wyh (v. 5a). Vv. 5–6 are a 2-line strophe marked by the repetition of the
root škn (‘to dwell’); see § 13.4.1. V. 7 is a mono-line strophe. Allen (2002)
aptly notes that in this verseline the ‘I–they’ polarity characterizing Canto
II is brought to a climax. By analogy with the repetition of lšwn rmyh in
Canto I, the repetition of the noun šlwm (‘peace’) is to be taken as a device
for concatenation between the strophes; note the alliteration lšwn/šlwm.
The bipartite division of the psalm is supported by the linear position-
ing of ly . . . npšy in the opening strophes of the cantos, vv. 1–2 and 5–6
(responsion; § 13.4.3). Both cantos wind up with ‘Kriegsmetaphorik’; see
h..sym (‘arrows’) and mlh.mh (‘war’) in vv. 4 and 7 respectively.
13.8 Bibliography
Helgalinde Staudigel, ‘Anmerkungen zu Ps 120’, ZAW 118 (2006), pp. 269–70.
See further Psalms 120–134, § 27.6 below.
4
In this respect, note also the transition markers occurring in v. 2 which in most
cases open a strophe; see § 13.3.3.
14 Psalm 121
I 1 ’ś’ ‘yny ’l hhrym M’yn YB’ ‘zry

2 ‘zry M‘m yhwh ‘śh šmym w’rs.
3 ’l ytn lmwt. rglyk ’l ynwm šmrk

4 hnh l’ ynwm wl’ yyšn šwmr yśr’l
II 5 yhwh šmrk yhwh .slk ‘l yd ymynk

6 ywmm hšmš l’ ykkh wyrh. blylh
7 yhwh yšmrk Mkl r‘ yšmr ’t npšk

8 yhwh yšmr .s’tk wBW’k M‘th w‘d ‘wlm
14.1 Text
V. 5: MT divides with ’atnah. after šmrk in v. 5a.
14.2 Content
God is your guardian.
I You may reckon on God’s help.
My help is from God (vv. 1–2).
God accompanies you as a watchful guardian (vv. 3–4).
II God is your guardian.
God is your ‘guardian shadow’ by day and by night (vv. 5–6).
God will guard you from all harm, everywhere and always (vv.
7–8).

14.3.1.1 m’yn, v. 1b 14.3.1.2 none
’l prohibitive, v. 3a+b

14.3.2.1 ywmm . . . blylh, v. 6 14.3.2.2 hnh, v. 4a
m‘th w‘d ‘wlm, v. 8b

none

vv. 1–2: suffix -y, vv. 1a+b.2a!
prep. mn, vv. 1b.2a
} chiasmus
‘zry, vv. 1b.2a
vv. 3–4: ’l ynwm/l’ ynwm, vv. 3b.4a; see also ’l (prohibitive) in v. 3a
and l’ in v. 4aB
root šmr, vv. 3b.4b
vv. 5–6: .slk/l’ ykkh, vv. 5a and 6a resp. (exactly linear)
vv. 7–8: yhwh yšmr, vv. 7a.8a (anaphora); see also yšmr in v. 7b!
prep. mn, vv. 7a.8b

vv. 1–4 (Canto I): ‘yn/rgl (parts of the body), vv. 1a and 3a (linear)
’l (prep.)/’l (prohibitive), vv. 1a and 3a+b resp.
(alliter.; linear)
yhwh/šwmr yśr’l, vv. 2a and 4b resp. (linear)
vv. 5–8 (Canto II): yhwh šmrk/yhwh yšmrk, vv. 5a.7a (anaphora); see
also yhwh yšmr in v. 8a, yhwh in v. 5aB and
yšmr in v. 7b
yd ymynk/npšk (parts of the body), vv. 5b and 7b
(exactly linear)
ywmm . . . blylh/m‘th w‘d ‘wlm (merismus in terms
of time), vv. 6 and 7b resp. (linear)

vv. 3–4.7–8: rglyk/s.’tk wbw’k, vv. 3a and 8a resp.
vv. 1–2.7–8, inclusion: prep. mn, vv. 1b+2a.7a+8b!

root bw’, vv. 1b.8a!
šmym w’rs./s.’tk wbw’k, vv. 2b and 8a resp. (mer-
ismus in terms of space)
vv. 3–4.5–6, concat.: šmrk, vv. 3b.5a; see also root šmr in v. 4b
l’, vv. 4a (2×).6a!

suffix -k (v. 5aB; partially left out of consideration)

Psalm 121 has 8 verselines and 16 cola.1
27+27 (= 54 words in total). On word level, the psalm divides exactly
into two halves of 27 words each; and each half is composed of two stro-
phes consisting of 13 and 14 words respectively; cf. Ps. 120,1–4(!) and the
structure on word level of Psalm 118 (27+54+54. . . words!). Labuschagne
produces convincing evidence that the total of 54 words is not by accident:
54 is the numerical value of the root šmr (21+13+20 = 54), the key word
of this composition (see vv. 3, 4, 5, 7 [2×] and 8).2
The divine name, yhwh, occurs 5×: vv. 2, 5 (2×), 7 and 8.

Köster (1837): 1–2.3–4.5–6.7–8 (4×2 verses); similarly Hävernick (1849),
p. 40, Ley (1875), pp. 261–62, Von Faulhaber (1913), p. 11, Duhm
(1922), König (1927), Calès (1936), Pannier/Renard (1950), Kissane
(1954), Mowinckel (1957), NAB (1970), Van der Ploeg (1974), Jacquet
(1979), Fokkelman (2003), pp. 271–74, Terrien (2003), [Hossfeld]/
Zenger (2008), Booij (2009), p. 164, Sigurvinsson (2011)
Meier (1853), pp. 32–33: 1.2|3.4|5.6|7.8 (4.4|4.4|4.4|4.4)
De Wette (1856): 1–2.3–6.7–8 (2.4.2 verses)
Ewald (1866), pp. 370–71: 1–4.5–8; similarly Briggs (1907), Herkenne (1936)
Delitzsch (1894): 1–2.3–4.5–6.7–8 (4×4 cola); similarly Moulton (1900),
p. 50, Friedrich Delitzsch (1921), p. 121, Beaucamp (1979)
Zenner (1906), pp. 27–29: 1–4.5–8 (2.2|2.2 lines); cf. Amzallag (2010)
Gunkel (1926): 1–2.3–4|5–6.7–8 (‘Gleichmäßige Strophen’); similarly Van
Grol (1986), Becking (2009)
Lund (1942), pp. 108–09: 1–2.3–4|5–6.7–8 (a.b|a’.b’); simil. Ceresko (1989)
1
Similarly Fokkelman (MPHB III); Allen (2002) takes vv. 4–5 and 7–8 as tricola,
Weber (2003) vv. 4 and 5. For an in-depth colometric discussion, see Stocks (2012), pp.
77–82.
2
See www.labuschagne.nl/ps121.pdf, Observation 3.
Gemser (1949): 1–2|3–4|5–6.7–8 (4×2 bicola)

Aletti/Trublet (1983), pp. 96–97: . . . 3.4.5|6a.6b.8 (. . . a.b.c|c’.b’.a’)
Girard (1994): 1.2|3–6.7–8 (a.a’|b.b’)
Allen (2002): 1–2.3–5.6–8 (2.3.3 lines; note pp. 205–06)
Weber (2003): 1–2.3–4|5–6.7–8 (4.5|5.4 cola; a.b|b’.a’)

Psalm 121 is an illustration of the saying ‘small is beautiful’. ‘Le rythme
graduel, répétition d’un ou de plusieurs mots d’un vers à l’autre, est ici
très en relief’ (Calès, p. 453). It is especially on the basis of this formal
device that the poem is unambigiously composed of four 2-line strophes;
see vv. 1–2, 3–4 and 7–8 in § 14.2. Moreover, in vv. 1–2 the psalmist speaks
about himself (note the suffix -y), while from v. 3 onwards he is addressed
by (probably) his fellow believers.3 Vv. 3–4 are about God as a watchful
guardian, in vv. 5–6 God is a shadow, and vv. 7–8 summarize all that goes
before.4 The framework on the level of the strophes is further supported
by the parts of the body which are only mentioned in the odd lines of
the poem; see ‘yn (‘eye’), rgl (‘foot’), yd (‘hand’) and npš (‘throat’) in vv.
1, 3, 5 and 7 respectively; note that the positioning of these parts of the
body successively moves from the beginnning to the end of the verselines
in question.5 This linear pattern is strengthened by the combination of the
root šmr with the suffix -k which only occurs in vv. 3, 5, and 7.
At first sight, the canto structure of the poem (vv. 1–4.6–8) is not as
clear as that of the strophes. A division vv. 1–2.3–8, among other things
based on the switch of speaker at the interface of vv. 2 and 3, seems at
least equally well conceivable.6 The verbal recurrences do not contribute
to the canto division either; note the symmetry on the level of the entire
poem (see § 14.4.3).7 Nevertheless, we may safely assume that the psalm
divides into two regular 4-line cantos.
3
On the basis of the expression npšk (‘your soul’, v. 7b) it is inconceivable that the
psalmist is speaking in vv. 3–8; speaking about himself it is always npšy (‘my soul’).
The psalm is a staged dialogue echoing the form of a liturgy.
4
The division by Allen (2002) of vv. 3–8 into two 3-line strophes (§ 14.6) is obviously
wrong because, from a semantic point of view, vv. 5 and 6 are a coherent whole.
5
It is noticeable that Girard (1994), who consistently ignores the strophic structure
of Hebrew poetry, does not take into account the noun ‘yn (v. 1) when discussing the
framework of our psalm (note p. 297).
6
Cf. Dahood (1970), Kraus (1978), Aletti/Trublet (1983), Girard (1994), Seybold
(1996) and Willmes (1998); in this respect, see further Van Grol (1983), pp. 350–65.
7
In my opinion, however, Weber (2003, p. 279) overestimates the importance of
this symmetry for the structure of the poem as a whole at the expense of the linearly
alternating phenomena in terms of motifs.
The canto division of Psalm 121 is based on the linearly alternating

parallelism between vv. 1–4 and 5–8; cf. Lund (1942) in § 14.6. The first
canto (vv. 1–4) opens with a despairing question, arising from a concrete
situation (I suppose the situation of the exiles who want to return from
Babel to Jerusalem; see § 27.2.1 below): ‘from where will my help come?’
(v. 1b). The section winds up with a strophe expressing the generalizing
assurance that God, as Israel’s guardian, is not sleeping (v. 4). The tran-
sition marker hnh (‘behold!’), introducing the concluding verseline of the
Canto I, emphasizes this message.8
The opening strophe of Canto II refers to the dangers accompanying the
‘aliya from Babel (vv. 5–6) and therefore, like the beginning of Canto I, is
about a concrete situation. And once again the section concludes with a
generalizing assurance (vv. 7–8); note the all-embracing expressions mkl r‘
(‘from all evil’), .s’tk wbw’k (‘your going out and coming in’) and m‘th w‘d
‘wlm (‘from now on and forever’); see also the thematic correspondence
between ‘your foot’ and ‘your going out and your coming in’ (cf. § 14.4.3).
As a matter of fact, there is an accumulation of assurances; in this respect,
cf. also npšk in v. 7b (this reference to the npš of the psalmist stands out in
the poem). The positive wording of these final assurances further demon-
strates that we are dealing with a semantic intensification on the level of
the poem as a whole.9 Additionally, the regular division of the psalm in
terms of verselines (4.4 lines) coincides with a rigid regularity on word level:
vv. 1–4.5–8 > 27+ 27 words (§ 14.5).10
ing verbal repetitions: ‘yn (v. 1) > 91,8; rgl (v. 3) > 91,12; root šmr (vv.
3–8) > 91,11; .sl (v. 5) > 91,1; ymynk (v. 5) > 91,7; ywmm (v. 6) > 91,5; lylh
(v. 6) > 91,5; r‘ (v. 7) > 91,10 (r‘h). These formal correspondences reflect
the remarkable thematic similarity between Psalms 91 and 121: God pro-
tects the faithful. In both cases, this message is expressed in each of the two
cantos, the second canto intensifying the message of the first canto. And
following the first person singular expression of trust (91,1–2 and 121,1–2),
both psalms switch to a third person appeal (91,3–13 and 121,3–8).11 More-
8
For hnh marking the final verseline of a section, cf. Pss. 59,8 (the end Canto I) and
119,40 (the end of the he-canto).
9
On a macrostructural level, this rhetorical device is a basic principle of Hebrew
poetry in general, cf. e.g. Psalm 116; regarding Psalm 121, see especially Psalm 91!
10
The canto division of Psalm 121 is further supported by the analogous framework
of the 8-line sections of Psalm 119 and the 8-line compositions Psalms 126, 127, 128,
129 and 130 (cf. also Ps. 122,3–9).
11
Ceresko (1989), p. 503 n. 28, with reference to Eissfeldt (Kleine Schriften III, pp.
498–99).
over, in terms of verselines and words, both psalms divide into two equal
halves (Psalm 91 has 8+8 lines and 56+56 words). Finally, it is suggested,
that in both cases the number of words are a symbolic representation of
the most important key word of the psalm; in Psalm 91 the root h.sh (‘to
take refuge’) has the numerical value 28 (56 = 2×28) and for Psalm 121,
see § 14.5 above.
14.8 Bibliography
H.W.M. van Grol, ‘De exegeet als restaurateur en interpreet. Een verhandeling
over de bijbelse poëtica met Ps. 121 als exempel I–II’, Bijdragen 44 (1983), pp.
234–61.350–65;
—, De Versbouw in het Klassieke Hebreeuws. Fundamentele Verkenningen. I:
Metriek, Amsterdam, 1986, pp. 100–01;
J.T. Willis, ‘Psalm 121 as a Wisdom Poem’, HAR 11 (1987), pp. 435–51;
A.R. Ceresko, ‘Psalm 121. A Prayer of a Warrior?’, Biblica 70 (1989), pp.
496–510;
P.R. Davies, ‘Yahweh as Minder’, OTE 11/3 (1998), pp. 427–37;
B. Willmes, Jahwe—ein schlummernder Beschützer. Zur Exegese und zum the-
ologischen Verständnis von Psalm 121 (BThSt 35), Neukirchen-Vluyn, 1998;
W. Herrmann, ‘Die Rede von göttlichem Schlafen im Alten Testament’, UF 36
(2004), pp. 185–93;
H.-F. Richter, ‘Von den Bergen kommt keine Hilfe. Zu Psalm 121’, ZAW 116
(2004), pp. 406–08;
Th.J. Kraus, ‘“Der Herr wird Deinen Eingang und Deinen Ausgang bewahren”;
Über Herkunft und Fortleben von LXX-Psalm cxx 8a’, VT 56 (2006), pp. 58–75;
B. Becking, ‘God-Talk for a Disillusioned Pilgrim in Psalm 121’, JHS 9 (2009),
pp. 1–10;
K. Nielsen, Poetic Analysis: Psalm 121’, in J.M. LeMon and K.H. Richards
(eds.), Method Matters. FS D.L. Petersen (SBL, Resources for Biblical Study
56), Atlanta (GA), 2009, pp. 293–309;
N. Amzallag/M. Avriel, ‘Complex Antiphony in Psalms 121, 126, 128: the Steady
Responsa Hypothesis’, OTE 23/3 (2010), pp. 502–18;
W. Grimm, “Dein Schatten über deiner rechten Hand. Psalm 121 und der vierte
Schöpfungstag’, Jutta Hausmann, ‘Zur Sprachwelt von Psalm 121’, in P. Van
Hecke and Antje Labahn (eds.), Metaphors in the Psalms (BEThL 231), Leu-
ven: Peeters, 2010, pp. 47–54;
J.A. Sigurvinsson, ‘“Jahwe ist dein Hüter, dein Schatten über deiner rechten
Hand”. Parallelismus Membrorum und Kolometrie des Hebräischen am Beispiel
von Ps 121’, in Kristinn Ólason (ed.), “Ruft nicht die Weisheit . . . ?” (Spr 8,1)
(ATSAT 94), St. Ottilien: EOS Verlag, 2011, pp. 187–200.

15 Psalm 122
Structure: 2.4.4 > 2|2.2|2.2 lines (Type IIA)
I 1 śmh.ty b’mrym ly BYT YHWH nlk

2 ‘mdwt hyw rglyNW bš‘ryk YRWŠLM
II 3 YRWŠLM hbnwyh k‘yr šh.brh lh yh.dw

4 ššm ‘lw šbt.ym šbt.y yh
‘dwt lyśr’l lhdwt lšm YHWH

5 ky šmh yšbw ks’wt lmšpt. ks’wt lBYT dwyd
III 6 š’lw šlwm YRWŠLM yšlyw ’hbyk

7 yhy šlwm bh.ylk šlwh b’rmnwtyk
8 lm‘n ’h.y wr‘y ’dbrh n’ šlwm bk

9 lm‘n BYT YHWH ’lhyNW ’bqšh .twb lk
15.1 Text
V. 3b—h.brh: perf. pu‘al from the root h.br (‘verbunden sein’; HAL).
V. 4c—‘dwt lyśr’l : ‘it is a decree for Israel’ (so MT); cf. ‘dwt by‘qb (Ps. 78,5a),
‘dwt byhwsp (Ps. 81,6a) and ‘dwt/mšpt. in § 15.4.1; contra Crow (1996,
p. 45) and Booij (VT 51 [2001], pp. 262–66) who argue in favour of the
reading ‘dt lyśr’l (‘the congregation of Israel’).
V. 8: MT divides with ’atnah. after wr‘y in v. 8a.
15.2 Content
Peace for Jerusalem.
I Introduction: the pilgrims rejoice in the pilgrimage to Jerusalem
(vv. 1–2; addressed to Jerusalem).
II Jerusalem the place of pilgrimage (spoken of Jerusalem).
Jerusalem is a well constructed city, to which the tribes go up
(vv. 3–4b).
The people of Israel have to praise God for his justice (vv. 4c–5).
III Prayer for Jerusalem (addressed to Jeruzalem).
May peace be within your walls (vv. 6–7; cf. vv. 3–4b).
For the sake of my fellow believers, I bless you (vv. 8–9).

15.3.1.1 imperative: š’lw, v. 6a 15.3.1.2 none
cohortative: ’dbrh, v. 8a;
ext. // ’bqšh in v. 9b
n’, v. 8a

15.3.2.1 lm‘n, v. 9a; ext. // lm‘n in 15.3.2.2 vocative: yrwšlm, v. 2b
v. 8a

jussive: yhy, v. 7a

vv. 1–2: prep. b-, vv. 1a.2b
} chiasmus
root hlk/rgl, vv. 1b and 2a resp.
vv. 3–4b: yrwšlm/ššm ‘lw, vv. 3a and 4a resp. (alliter.; anaphora)
š-, vv. 3b.4a!
vv. 4c–5: ‘dwt/mšpt., vv. 4c and 5a resp.; cf. mšpt./‘dwt in the 2-line
strophe Ps. 81,5–6b
prep. l-, vv. 4c+d (2×).5a+b
lhdwt lšm/ks’wt lmšpt., vv. 4d and 5a resp. (alliter.)
vv. 6–7: šlwm, vv. 6a.7a (linear)
root šlh, vv. 6b.7b! (exactly linear)
’hbyk/b’rmnwtyk, vv. 6b and 7b resp. (alliter.; epiphora); see
also bh.ylk in v. 7a
vv. 8–9: lm‘n, vv. 8a.9a! (anaphora)
’dbrh/’bqšh (cohortative first person singular), vv. 8a and 9b
šlwm bk/t.wb lk, vv. 8b and 9b resp. (epiphora)

vv. 3–5 (Canto II): yrwšlm/lšm, vv. 3a and 4d resp. (alliter.; linear)
prep. l-, vv. 3b.4c–5
šm (‘there’), vv. 4a.5a! (linear); cf. also šm (‘name’)
in v. 4d (alliter.)
roots ‘lh/yšb, vv. 4a and 5a resp. (linear)
vv. 6–9 (Canto III): ’hbyk/’h.y wr‘y, vv. 6b and 8a resp. (linear)
suffix -k, vv. 6b+7a+b.8b+9b (epiphora)
šlwm b- (. . . ) -k, vv. 7a.8b (concatenation); see also
šlwm in v. 6a!, and šlwh b- . . . -k in v. 7b

vv. 1–2.4c–5.8–9: roots ’mr/dbr, vv. 1a and 8a resp.
byt + yhwh, vv. 1b.4d+5a.9a!; note byt yhwh in
vv. 1b and 9a (inclusion)
‘mdwt/‘dwt, vv. 2a and 4c resp. (alliter.)
roots ‘md/yšb, vv. 2a and 5a resp.
suffix -nw (first person plural), vv. 2a.9a!; cf. also
nlk in v. 1b
yśr’l/’h.y wr‘y, vv. 4c and 8a resp.
vv. 3–4b.6–7: yrwšlm, vv. 3a.6a
vv. 1–2.3–4b, concat.: yrwšlm, vv. 2b.3a

suffix -k (v. 2), prep. l- (v. 1)

root hyh (vv. 2.7)

Psalm 122 has 5 strophes, 10 verselines and 20 cola. Vv. 4c–5 represent the
middle strophe. The pivotal position of this strophe is supported by the
positioning of the Tetragrammaton in v. 4d: it is the centre of 3× yhwh
(note yhwh in exactly the first and the last verseline, vv. 1b and 9a!).1
Structure of strophes and cantos in terms of words: 11|11+13|10+14 =
11+24+24 (= 59 words in total). From this point of view, v. 5a is the
centre of the poem: vv. 1–4.5a.5b–9 > 27+5+27 words.2 Labuschagne
argues that the unusual scriptio plena of the name dwyd (with a yod ) in
1
However, by claiming that the psalm as a whole has a concentric structure, Fokkel-
man (MPHB II, p. 295) overestimates the meaning of vv. 4c–5 as the ‘centre of gravity’.
2
Cf. the 27+27 words determining the structure of Psalm 121 and the function of 27
words in the total structure of Psalm 118!
v. 5b (the last word of Canto II) is explained by the 24 words of Cantos

II and III, because 24 is the numerical value of dwyd (4+6+10+4).3 At
the same time, the 24 (= 2×12) words may symbolize the 12 tribes of the
people of Israel; note šbt.ym in v. 4a–b.4
The divine name, yhwh, occurs 3×: vv. 1b, 4d and 9a; in v. 4b we find
the short form yh. In v. 9a God is designated ’lhym.

Köster (1837): 1–2.3–5|6–9 (2.3.4 verses); similarly Hävernick (1849), p. 43
De Wette (1856): 1–5.6–9; similarly Herkenne (1936), Seybold (1996)
Ewald (1866), pp. 387–88: 1.2–5.6–9
Delitzsch (1894): 1–3.4–5.6–9; similarly NAB (1970)
Zenner (1906), pp. 34–35: 1–2.3–4*|6–7.8–9 (2.2|2.2 lines)
Von Faulhaber (1913), p. 5: 1–2.3–5.6–9; similarly Kraus (1978), Alonso-
Schökel/Strus (1980), Aletti/Trublet (1983), p. 97, Girard (1994),
Crow (1996), pp. 43–47, Auffret (1999), [Hossfeld]/Zenger (2008)
Duhm (1922): 1–2.3–4b.4c–5.6–7.8–9 (5×2 bicola); similarly Pannier/Renard
(1950), Jacquet (1979); cf. Szczygiel (1913), p. 15
Gunkel (1926): 1–2|3–4b.4c–5|6–7.8–9 (‘Regelmäßiger Strophenbau’); simi-
larly Gemser (1949), Beaucamp (1979), www.labuschagne.nl/ps122.pdf
Calès (1936): 1–2|3.4a–b.4c–5|6–7.8–9 (2|2.2|2.2 lines)
Kissane (1954): 1–4.5–9 (5.5 lines)
Schildenberger (1960), p. 683: 1–2|3–5.6–9 (2|4.4 lines)
Alden (1978), pp. 206–07: 1.2–3.4|5.6–7.8–9 (a.b.c|c’.b’.a’)
Fokkelman (2000), pp. 295–96: 1–2.3–4b.4c–5.6–7.8–9 (5×2 lines; a.b.c.b’.a’);
similarly Weber (2003)
Allen (2002): 1–2 |3–4b.4c–5|6–7.8–9 (note p. 213); cf. Duhm (1922)
Booij (2009): 1–3.4–5|6–7.8–9 (note pp. 170–71); cf. Delitzsch (1894)
Stocks (2012), pp. 87–95: 1–2.3–5|6–7.8–9 (2.3|2.2 lines); cf. Terrien (2003)

In terms of its total structure, Psalm 122 divides into vv. 1–2, 3–5 and
6–9 (Cantos I–III).5 In their turn, Cantos II and III consist of two 2-line
strophes, vv. 3–4b.4c–5 and 6–7.8–9 respectively.6 On a macrostructural
3
See www.labuschagne.nl/ps122.pdf, Observation 2.
4
For a similar function of the number 12, see Psalm 114, § 8.5 above.
5
For this total structure, see also Von Faulhaber, Gunkel, Calès, Schildenberger and
Allen in § 15.6; otherswise Kissane (1954) and Alden (1978).
6
For the strophic framework, see also Duhm, Gunkel, Fokkelman and Allen in § 15.6.
level, there is a conspicuous alternation of addressing Jerusalem in the

second person (vv. 1–2, 6–9) and speaking of the city in the third person
(vv. 3–5).7 When the psalmist (see śmh.ty in v. 1a and ’dbrh in v. 8a)
addresses the city in the second person he speaks as a member of a group
(see suffix -nw in vv. 2a and 9a).
According to Von Faulhaber (1913, p. 5), the tripartite structure in
question is supported by the ‘zeitlich aufeinanderfolgende Tatsachen’ (chron-
ological synthesis): vv. 1–2 are about the moment the pilgrims are entering
Jerusalem, vv. 3–5 about the impressions during their stay in the city, while
vv. 6–9 deal with the parting gesture. In the same vein [Hossfeld]/Zenger
(2008), p. 454: ‘In zeitlicher Perspektive evozieren die drei Teile von ihrer
Redesituation her Gegenwart (V 1–2), Vergangenheit (V 3–5) und Zukunft
(V 6–9).8 Crow (1996, p. 46) rightly notes that in vv. 3–5 the identity of
the speaker is not obvious. Additionally, the city is spoken of as ‘there’
(šm), perhaps an indication of distance between the speaker and the city.
Vv. 6–9 stand out by volitive verb forms: imperative (v. 6a), jussive (v. 7a),
cohortatives (vv. 8–9). The formal balance between Cantos II and III in
terms of verselines (4.4 lines) coincides with a similar number of words; the
cantos have 24 words each (§ 15.5).
The opening strophe vv. 1–2 has an introductory function.9 The verse-
lines respectively hint at two aspects of the city: a) the city as the location
of the temple area (v. 1; note byt yhwh); and b) the city as a stronghold
(v. 2; note š‘ryk ). Vv. 3–4b and 6–7 elaborate on the latter aspect, and
vv. 4c–5 and 8–9 on the former. Vv. 3–4b immediately link up with v. 2
(see yrwšlm in vv. 2b.3a) and like vv. 6–7 focus on the construction of
Jerusalem; note hbnwyh . . . h.brh lh in v. 3 and h.ylk . . . ’rmnwtyk in v. 7.
Vv. 4c–5 and 8–9 elaborate on the religious (and political) function of the
temple area; note lhdwt lšm yhwh in v. 4d and byt yhwh ’lhynw in v. 9a.10
The strophic structure of Cantos II and III is especially supported by the
verbal recurrences listed in §§ 15.4.1–2. For the division vv. 3–4b.4c–5, see
also the linear positioning of the device for staircase parallelism in vv. 4a–b
(šbt.ym // šbt.y yh) and 5 (ks’wt lmšpt. // ks’wt lbyt dwyd ). The coherence
7
V. 1 and the opening colon of Canto III (v. 6a) do not fit this scheme; here the
psalmist probably addresses his fellow citizens. Labuschagne points out that there
are exactly 26 words addressed to Jerusalem (vv. 2 and 6b–9); www.labuschagne.nl/
ps122.pdf, Observation 4.
8
For the interpretation of vv. 3–5 as an idealized retrospective of a pre-exilic situation,
see also Booij (2009), pp. 173–76, and Körting (2006), p. 30: ‘Die Begeisterung, mit der
der Psalmist dem Thema des Textes, Jerusalem, begegnet, ist authentisch, versteht sich
jedoch [. . . ] aus der Hoffnung, sich an diesen Ort zu begeben’.
9
For the introductory function of vv. 1–2, see CAS I, Ch. V, 5.2 (note 5.2.1.4 [p. 511]).
10
For the ‘political’ function of the priests, referred to in v. 5, see 2 Chron. 19,8–11.
of vv. 4c–5 is also enhanced by the semantic relationship between ‘dwt and
ks’ ; cf. the external parallelism between nkwn ks’k (‘your throne stands
firm’) and ‘dwtyk n’mnw (‘your decrees are worthy of trust’) in Ps. 93,2a.5a
resp.; see Ch. II, 4.7 above. The strophic individuality of vv. 6–7 and 8–9
is reinforced by the parallelism in terms of syntax between vv. 6 and 7 on
the one hand and vv. 8 and 9 on the other. The verbal repetitions listed in
§ 15.4.2 simultaneously reinforce the individuality of Cantos II and III.11
In terms of verbal recurrences, there is a linearly alternating parallelism
between the successive strophes: vv. 1–2|3–4b.4c–5|6–7.8–9 > a|b.a’|b’.a’’.
The pattern especially comes to light in the a-strophes, vv. 1–2, 4c–5 and
8–9; see § 15.4.3. The correspondence between vv. 1–2 and 8–9 is reinforced
by the quotations vv. 1b and 8b, which in both cases are introduced by verbs
for ‘speaking’ (’mr and dbr resp.). The parallelism between the b-strophes,
vv. 3–4b and 6–7, has a thematic basis; see above about the construction
of Jerusalem.
The quintessential thought of the psalm is to be found in its conclud-
ing strophe vv. 8–9. With the help of syntactically parallel verselines the
psalmist emphaticly blesses (note šlwm and .twb in vv. 8b.9b resp.) Jeru-
salem as the place where the entire community gathers to praise the Lord
in the temple. In this respect, note also the extension of the reference to
God in the concluding verseline of the poem: yhwh in vv. 1b.4d > yhwh
’lhynw in v. 9a.12
15.8 Bibliography
L. Alonso-Schökel/A. Strus, ‘Salmo 122: Canto al nombre de Jerusalén’, Biblica
61 (1980), pp. 234–50;
H. Donner, Aufsätze zum Alten Testament aus vier Jahrzehnten (BZAW 224),
Berlin, 1994, pp. 189–98;
A.L.H.M. van Wieringen, ‘Psalm 122: Syntax and the Position of the I-figure
and the Text-immanent Reader’, in E. Zenger (ed.), The Composition of the
Book of Psalms (BEThL 238), Leuven/ Paris/Walpole (MA): Peeters, 2010, pp.
745–54.
11
The concentric structure advocated by Fokkelman (see § 15.6) ignores the thematic
and formal coherence of vv. 3–5 and 6–9 (Cantos II and III).
12
For this device, see CAS I, Ch. V, 4.2.2 (note pp. 494–95 about the first colon of
the refrain in Psalm 80). Note also that within our composition it is only vv. 8 and 9
which have 7 words each.
16 Psalm 123
Structure: 1.2.2 lines (Type IIA)
1 ’lyk nś’ty ’t ‘yny Hyšby bšmym
2 hnh k ‘yny ‘bdym ’l yd ’dwnyhm k ‘yny šph.h ’l yd gbrth

kn ‘ynynw ’l yhwh ’lhynw ‘d šyh.nnw
3 h.nnw yhwh h.nnw ky rb śb‘nw bwz

4 rbt śb‘h lh npšnw Hl‘g Hš’nnym Hbwz lg’ywnym
16.1 Text
V. 2: the ‘ole weyored divides v. 2 after gbrth into two verselines, and the ’atnah.
divides the second verseline into two cola after ’lhynw.
V. 4c—lg’ywnym: so K (‘of the proud’); Q lg’y ywnym.
16.2 Content
Prayer for deliverance from distress (exile).
• To you, who are enthroned in heaven, I lift up my eyes (v.1; addressed
to God).
• We turn to God like a slave to his master, awaiting his favour (v. 2;
spoken about God).
• O God, show us mercy, for we are in great trouble (vv. 3–4; addressed
to God).

16.3.1.1 vocative: hyšby bšmym, v. 1b 16.3.1.2 none
hnh, v. 2a
imperative: h.nnw, v. 3a (2×)

16.3.2.1 kn beginning of line, v. 2c 16.3.2.2 none

none

v. 2: ‘ynym, v. 2a+b.2c
prep. ’l, v. 2a+b.2c
vv. 3–4: suffix -nw, vv. 3a (2×).4a
root rbh, vv. 3b.4a!
root śb‘, vv. 3b.4a!
bwz, vv. 3b.4c!

vv. 1.2.3–4: prep. ’l, vv. 1a.2 (3×)! (concatenation)
‘ynym, vv. 1a.2a+b+c! (concatenation)
h- (article), vv. 1b.4b–c (3×)! (inclusion)
hyšby bšmym/hš’nnym, vv. 1b and 4b resp. (allit.; inclusion)
suffix -h, vv. 2b.4a!
suffix -nw, vv. 2c (2×)+d.3a (2×)+4a! (concatenation)
yhwh, vv. 2c.3a! (concatenation)
’lhynw/npšnw, vv. 2c and 4a resp. (exactly linear); see also
‘ynynw in v. 2c
root h.nn + suffix -nw, vv. 2d.3a (2×)! (concatenation)

yd (v. 2a–b [2×]), prep. k- (v. 2a–b [2×])

Psalm 123 has 5 verselines and 11 cola.1 V. 2c–d is the middle verseline
(> 2+1+2 lines) and v. 2d the middle colon (> 5+1+5 cola). The middle
verseline positively asserts that the people put their hope in God. The
verseline is highlighted by the expression yhwh ’lhynw, which does not occur
elsewhere in the poem. Therefore, I consider v. 2c–d the rhetorical centre
of the composition.
Structure of strophes in terms of words: 6+18+15 (= 39 = 3×13 words
in total). Smit Sibinga has rightly pointed out that, in terms of words,
1
Similarly Labuschagne, www.labuschagne.nl/ps123.pdf; cf. Ewald (1866), Kissane
(1954) and Crow (1996) in § 16.6 below. Fokkelman (MPHB II) distinguishes 6 verselines
and 13 cola because he takes v. 2a–b as two verselines and four cola; similarly Stocks
(2012), pp. 96–99, and many others.
v. 2c is the centre of the psalm: vv. 1–2b+2c+2d–4 > 17+5+17 words.2

Because v. 2c is the main clause of the phrase v. 2c–d, this observation
underlines the rhetorical function of the middle verseline.3
The divine name, yhwh, occurs 2×: vv. 2c and 3a. In v. 3a this name is
the 26th word from the beginning of the poem and divides the composition
into 26+13 words.4 In v. 2c God is also designated ’lhym (cf. Ps. 122,9a;
Delitzsch [1894]).

Köster (1837): 1–2.3–4 (2.2 verses)
Sommer (1846), p. 112: 1.2.3–4 (1.3.3 cola); similarly Ley (1875), p. 226
Ewald (1866), pp. 371–72: 1–2.3–4 (3.2 lines)
Delitzsch (1894): 1–2.3–4 (4.3 lines); similarly Zenner (1906), pp. 112–13
Duhm (1922): 1–2a.2b–d.3–4a+c (3×2 bicola); similarly Mowinckel (1957),
p. 101, Jacquet (1979), Terrien (2003)
Gunkel (1926): 1–2.3–4a+c (4.2 bicola)
Calès (1936): 1–2a.2b–d.3–4 (2.2.2 lines)
Gemser (1949): 1–2.3–4 (4.2 lines); similarly Magne (1958), p. 190, NAB
(1970), Allen (2002)
Kissane (1954): 1.2.3–4 (1.2.2 lines)
Beaucamp (1979): 1–2a.2b–d|3–4 (4.4|4 cola); cf. Calès (1936)
Watson (1984), pp. 366–68: 1.2|3a.3b–4 (1.3|1.4 cola)
Girard (1994): 1.2a.2b.2c–d (a.b.b’.a’)|3a|3b–4; cf. Aletti/Trublet (1983)
Crow (1996): 1–2.3–4 (3.2 lines)
Auffret (1999): 1–2c.2d|3a.3b–4
Fokkelman (2000), pp. 296–97: 1.2.3–4 (1.3.2 lines); similarly Stocks (2012),
pp. 99–102
Weber (2003): 1–2.3–4 (8.5 cola)
[Hossfeld]/Zenger (2008): 1.2|3a.3b–4

There is an unlikely variety of opinions as regards the poetic structure of
Psalm 123; see § 16.6. In my opinion, we are dealing with an introductory
2
J. Smit Sibinga, ‘Gedicht en getal’, NThT 42 (1988), pp. 196–97.
3
Similarly Labuschagne, www.labuschagne.nl/ps123.pdf, Observation 1; see also CAS
II, Ch. V, 2.3.1 (pp. 520–22). This numerical approach also buttresses my colometric
division of v. 2; see § 16.1. It is only on the basis of the division into two bicola that
v. 2c as central colon coincides with the centre in terms of the number of words.
4
J. Smit Sibinga, art. cit., p. 197 n. 34.
monoline strophe (v. 1) which is followed by two 2-line strophes (vv. 2 and
3–4).5 The strophic division is based on thematic (§ 16.2) and formal (§§
16.3.1–2 and 16.4.1) considerations. The caesurae between the strophes
(vv. 1, 2, 3–4) coincide with the switches God is referred to; see § 16.2.
From the latter perspective, v. 1 matches vv. 3–4 because in these strophes
God is addressed in the second person. In v. 1 the psalmist himself is
speaking, in vv. 2–4 the community of Israel is. The prayer for deliverance
from oppression (vv. 3–4) is the generalizing development and elaboration
of v. 1. It is the thematic climax of the psalm. Simultaneously, from this
perspective the composition is open-ended, preparing the way for Psalm
124; cf. [Hossfeld]/Zenger (2008), p. 468.
The beginning of the second strophe (v. 2) is indicated by the transition
marker hnh (‘behold!’), representing an anacrusis.6 The beginning of the
third strophe (vv. 3–4) is marked by the imperatives and vocative h.nnw
yhwh h.nnw (v. 3a; § 16.3.1.1); the coherence of the strophe is unambiguously
indicated by verbal recurrences (§ 16.4.1).
The noun ‘yn (‘eye’) constitutes a remarkable concatenation between
the introductory verseline and the second strophe (v. 2); § 16.4.2. The
same applies to the root h.nn + suffix -nw : this combination constitutes a
remarkable concatenation between the second and the third strophes.
16.8 Bibliography
See Psalms 120–134, § 27.6 below.
5
For this strophic interpretation, cf. Sommer, Kissane and Fokkelman in § 16.6.
6
Similarly Watson (1984), p. 367 and Weber (2003), p. 286; for the phenomenon of
anacrusis, see also CAS I, Ch. V, 6.3 (pp. 533–35).
17 Psalm 124
1 lwly yhwh šhyh lnw y’mr n’ yśr’l
2 lwly yhwh šhyh lnw bqwm ‘lynw ’dm
3 ’ZY h.yym bl‘wnw bh.rwt ’pm bnw
4 ’ZY hmym št.pwnw nh.lh ‘br ‘l NPŠNW

5 ’ZY ‘br ‘l NPŠNW hmym hzydwnym
6 brwk yhwh šl’ ntnnw .trp lšnyhm
7 NPŠNW ks.pwr nmlt.h mph. ywqšym
hph. nšbr w’nh.nw nmlt.nw
8 ‘zrnw bšm yhwh ‘śh šmym w’rs.
17.1 Text
V. 6: MT divides with ’atnah. after yhwh in v. 6a.
17.2 Content
Blessed be the Lord who saved us.
• Were it not that it was the Lord who was with us during our distress,
then we would have been totally annihilated (vv. 1–3).
• Blessed be the Lord who saved us from primordial threats (vv. 4–6).
• Our help is from the Lord who enabled us to escape (v. 7–8).

17.3.1.1 lwly, v. 1a; ext. // lwly ’zy, v. 4a; ext. // ’zy in v. 5a
in v. 2a
n’, v. 1b 17.3.1.2 none

17.3.2.1 none 17.3.2.2 ’zy, v. 3a
brwk yhwh, v. 6a

’nh.nw, v. 7d

vv. 1–3: lwly yhwh šhyh lnw, vv. 1a.2a! (anaphora); see also bnw in
v. 3b
prep. b-, vv. 2b.3b
b- . . . ‘lynw/bl‘wnw, vv. 2b and 3a resp. (alliter.)
vv. 4–6: ’zy, vv. 4a.5a (anaphora)
hmym, vv. 4a.5b!
} chiasmus
‘br ‘l npšnw, vv. 4b.5a!
‘l npšnw/šl’ ntnnw . . . lšnyhm, vv. 4b+5a and 6 resp. (alliter.)
vv. 7–8: root mlt. (nif‘al), v. 7a.7d!
} chiasmus
ph., v. 7b.7c!

vv. 1–3.4–6.7–8: prep. b-, vv. 2b+3b.8a! (linear)
roots qwm (‘to rise up’)/zyd (‘to seethe’), vv. 2b and
5b resp. (linear)
prep. ‘l + suffix -nw, vv. 2b.4b+5a!
’zy, vv. 3a.4a (concatenation)
h.yym/hmym, vv. 3a and 4a+5b resp. (concatenation)
roots bl‘ (‘to swallow’)/t.rp (‘to tear’), vv. 3a and 6b
resp. (linear)
’pm/lšnyhm, vv. 3b and 6b resp. (linear); note suffix
-m/-hm!
npšnw, vv. 4b+5a.7a! (linear)
lšnyhm/šm . . . šmym, vv. 6b and 8 resp. (alliter.;
linear)

prep. l- (v. 6), suffix -nw (vv. 3.4.6.8), š- (v. 6)

none

Psalm 124 has 3 strophes, 9 verselines and 18 cola.1 From these perspec-
tives, vv. 4–6 are the central strophe and v. 5 is the middle verseline (>
4+1+4 lines and 8+2+8 cola). I consider vv. 4–6 the rhetorical centre of
the composition. These verses contain all the fundamental motifs which
express its focal message: portrayal of dangers (vv. 4–5), praise of God
(v. 6aA) for the deliverance from enemies (v. 6aB–b).
Structure of strophes in terms of words: 20+19+15 (= 54 = 2×27
words in total). On word level, vv. 1–4 and 5–8 form two exactly balancing
halves: > 27+27 words.2
The divine name, yhwh, occurs 4×: vv. 1, 2, 6 and 8.

Köster (1831), pp. 68–69: 1–2.3–5.6–8 (2.3.3 verses)
Köster (1837): 1–5.6–8; similarly De Wette (1856), Ewald (1866), pp.
378–79, Herkenne (1936), Pannier/Renard (1950), NAB (1970), Weber
(2003), [Hossfeld]/Zenger (2008)
Delitzsch (1894): 1–2.3–5.6–7.8; similarly Gemser (1949), Stocks (2012)
Zenner (1906), pp. 42–43: 2–5.6–8 (4.4 lines)
Briggs (1907): 1–4.6–8 (4.4 lines); similarly Mowinckel (1957), p. 102
Friedrich Delitzsch (1921), pp. 121–22: 1–2.3+5.6–7b.7c–8; similarly Duhm
Gunkel (1926): 1–2.3–5|6–7|8 (‘Keine regelmäßige Strophenbildung’)
Slotki (1932), pp. 223–26: 1–2*+3b.3a+4–5*.6–7*.8 (3.3.3.1 lines)
Calès (1936): 1–3.4–5.6–7.8 (3.2.3.1 lines; tentative)
Kissane (1954): 1.2–5.6–8 (1.4.4 lines); cf. Zenner (1906) and Allen (2002)
Beaucamp (1979): 1–2.3–5|6–7 8 (4.6|4 2 cola)
Jacquet (1979): 1–2.3–4a+5b.6–7b.7c–8 (4×2 bicola)
Aletti/Trublet (1983), pp. 97–98: 1.2.3.4|5.6.7.8 (a.b.c.d|d’.c’.b’.a’)
Girard (1994): 1–3.4–5|6.7–8 (a.b|a’.b’); cf. Auffret (1999)
Fokkelman (2003), pp. 274–77: 1–2.3–5|6–7.8 (2.3|3.1 lines)
Terrien (2003): 1–2.3–5.6–8 (2.3.3 lines)
www.labuschagne.nl/ps124.pdf: 1–2.3|4–5.6|7.8 (2.1|2.1|2.1 lines)
1
Fokkelman (MPHB III), p. 276, has also 18 cola; Weber (2003) takes v. 6 as a
tricolon, Stocks (2012), pp. 102–09, as a ‘para-tricolon’.
2
For the structuring function of the number 27 on word level, see Psalms 118, 121 and
122. Labuschagne suggests that the numerical value of the key word šmr (‘to guard’),
which determines the 54 words of Psalm 121, is also operative in Psalm 124 (www.
labuschagne.nl/ps124.pdf, Observation 3); in this respect, cf. also Ps. 121,2 with 124,8.

Psalm 124 is a literary miniature containing vivid and varied imagery within
a small scope. Fokkelman (MPHB III, p. 274) rightly notes that the begin-
ning of the psalm is characerized by a ‘play on separation and conjunction’.
It is this rhetoric peculiarity which has confused many scholars looking for
the strophic regularity of this short poem; see § 17.6. In the past, by
deleting v. 1 (Zenner, Allen), or v. 5 (Briggs, Mowinckel), scholars have
suggested that the psalm was originally composed of two 4-line strophes.
By deleting v. 4, Friedrich Delitzsch and Duhm have reconstructed four
2-line strophes; cf. also Jacquet (1979) in § 17.6.
As I shall demonstrate, the predilection of the Hebrew poets for linearly
alternating patterns to structure their literary works of art is evidently
active in Psalm 124. The psalm is composed of three 3-line strophes, vv.
1–3, 4–6 and 7–8 (cf. Psalm 113 and the three 2-line strophes of Psalm
125). These poetic sections have similar constructions and in each case
propagate the same message: it is God who saved us from disaster.
The verbal repetitions listed in § 17.4.1 unambiguously show that the
first two verselines of the strophes (vv. 1–2, 4–5 and 7) form a coher-
ent whole; note the anaphora in vv. 1–2, and the chiasmus in vv. 4–5
and 7.3 From this formal perspective, the concluding verselines vv. 3, 6
and 8, all made up of 6 words, have a relatively loose connection with
what precedes. This linearly alternating pattern between the successive
strophes is unmistakably enhanced by the linear positioning of a series
of semantic correspondences—generally recognized in the commentaries—
reinforcing the parallelism between vv. 1–3 and 4–5; note qwm/zyd, bl‘/t.rp
and ’pm/lšnyhm in § 17.4.2! The linear position of npšnw highlights the
parallelism between vv. 4–6 and 7–8.
In the opening strophe (vv. 1–3), the psalmist immediately emphasizes
that it was the Lord who had been on the side of his people to save
them from annihilation; note yhwh in vv. 1a and 2a. In terms of syntax,
vv. 1–2 constitute the protasis, while v. 3 is the indispensable apodosis.4
It is especially in the concluding verseline (v. 3) that we find an explicit
description of the threat the people of Israel was facing by their opponents.5
The following strophes metaphorically portray the threat the people of
Israel had to face (vv. 4–5 and 7). In terms of syntax, vv. 4–5 link up with
3
For the chiasmus in linearly corresponding verselines, cf. Ps. 113,2–3 and 5–6.
4
For the formal structure of the opening verselines (vv. 1–2), cf. the opening lines
of—the also thematically related—Psalm 129 (vv. 1–2).
5
In vv. 2b–3 the psalmist refers to attacks by human enemies; see ’dm in v. 2b. V. 3a
probably evokes the image of the netherworld which ‘swallows’ (root bl‘ ) its prey (Num.
16,30–33, Prov. 1,12).
the concluding verseline of the preceding strophe. That is to say, the poet
immediately opens with the apodosis, while the protasis is understood. In
other words, vv. 1–2 does a double duty.6 The repetition of ’zy at the begin-
nings of vv. 3 and 4–5 is to be taken as a daring device for concatenation.7
Different from v. 3, the threat depicted in vv. 4–5 grows to a cosmic extent
and calls to mind the primordial chaotic forces threatening God’s creation.
Subsequently, however, the psalmist abruptly praises God as Saviour (v. 6;
note yhwh in v. 6a).
The metaphor opening the third strophe (vv. 7–8) describes the threat
which had befallen the people in terms of a fowler’s trap. At the same time,
the metaphor expresses the weakness of the victim (as a bird). However,
from the first colon onwards, the psalmist makes it clear that the strophe
is about liberation; see the root mlt. (nif‘al ‘to escape’) in v. 7a+c. The
concluding verseline praises God as the people’s help and as Creator of the
universe (v. 8; note yhwh in v. 8a).8 The phrase ‘zrnw bšm yhwh (‘our help
is in the name of the Lord’) obviously refers to the opening verselines of
the psalm in which God’s help is expressed in terms fitting the meaning of
the Tetragrammaton; see šhyh lnw in vv. 1a.2a (cf. Ex. 3,14 and Hos. 1,9).
The regular and tight framework of our psalm militates against the
highly imaginative suggestions by Zenger that vv. 1 and 8 are secondary
expansions.9
The concentric aspects of Psalm 124—see the relationship between vv.
1–2.8 and the central position of vv. 4–6 (§ 17.5)—highlight the concluding
verseline of the second strophe (v. 6) as the quintessential message of the
composition: blessed be the Lord who saved us!10
6
For this rhetorical phenomenon, cf. the function of ’mr lyhwh in Ps. 91,2a and brky
npšy ’t yhwh, the opening colon of Psalm 103. These phrases do double duty at beginning
of Cantos I and II; see Ch. II, 2.7 and 14.7.1 above.
7
For this anaphoric manifestation of the device for concatenation at the interface of
successive strophes, cf. w’ny in Ps. 73,22.23 (between cantos), ’šry in Ps. 84,5.6 (between
cantos), l’ . . . // wl’ . . . in Ps. 103,9.10 (between cantos), y’mr n’ in Ps. 118,2.3–4,
‘śh in Ps. 146,6.7 (between cantos) and further CAS I, Ch. V, 3.5 (pp. 487–88). In this
respect, see also Girard (1994), p. 319, and Calès (1936) in § 17.6.
8
For v. 8b, cf. the cosmic dimension of the threat expressed in vv. 4–5.
9
Contra [Hossfeld]/Zenger (2008), pp. 478–79; cf. Allen (2002), p. 221, who takes v. 1
as a later re-interpretation, and Van der Ploeg (1974), p. 362, who deems that the psalm
is complete without v. 8. For the latter opinion, see also Girard (1994), pp. 319–20.
10
Cf. the concluding function of the blessings brwk ’lhym ’šr l’ . . . in Ps. 66,20 (the
end of the poem) and brwk yhwh in Ps. 135,21 (the final verseline of a 3-line strophe
at the end of the poem). For the concentric aspects of the tripartite framework of our
psalm, cf. also Psalm 125.
17.8 Bibliography
I.W. Slotki, ‘The Text and the Ancient Form of Recital of Psalm 24 and Psalm
124’, JBL 51 (1932), pp. 214–26;
J. Schreiner, ‘“Wenn nicht der Herr für uns wäre!” Auslegung von Psalm 124’,
BibLeb 10 (1969), pp. 16–25;
Th. Meurer and K. Kiesow, ‘Unmittelbarkeit? Überlegungen zur Korrelations-
fähigkeit alttestamentlicher Texte am Beispiel von Ps 124’, in K. Kiesow and Th.
Meurer (eds.), Textarbeit. FS P. Weimar (AOAT 294), Münster: Ugarit Verlag,
2003, pp. 311–28.

18 Psalm 125
1 hbt.h.ym bYHWH k hr .sywn l’ YMWT
. l ‘wlm yšb
2 yrwšlm hrym sbyb lh wYHWH sbyb l‘mw m‘th w‘d ‘wlm
3 ky l’ ynwh. šbt. hrš‘ ‘l gwrl hs.dyqym

lm‘n l’ yšlh.w hs.dyqym b‘wlth ydyhm
4 hyt.ybh YHWH lt.wbym wlyšrym blbwtm

5 whMT . YM ‘qlqlwtm ywlykm YHWH ’t p‘ly h’wn šlwm ‘l yśr’l
18.1 Text
V. 1: MT divides with ’atnah. after byhwh in v. 1a.
V. 5c: a relatively independent colon at the end of the poem; see § 18.7 below.
18.2 Content
God is on the side of the righteous.
• Those who trust in God will be protected by Him both now and for
ever (vv. 1–2).
• The righteous will be free from oppression (v. 3).
• O God, do good to the upright of heart; may God destroy the evildoers
(vv. 4–5).

18.3.1.1 imperative: hyt.ybh, v. 4a 18.3.1.2 none

18.3.2.1 m‘th w‘d ‘wlm, v. 2c; ext. 18.3.2.2 w- beginning of line, v. 5a
// ‘wlm in v. 1a
lm‘n, v. 3c

none

vv. 1–2: yhwh, vv. 1a.2b
} chiasmus
hr, vv. 1a.2a!
.sywn/yrwšlm, vv. 1a and 2a resp.
prep. l-, vv. 1b.2a+b
‘wlm, vv. 1b.2c!; see also l‘mw in v. 2b (alliter.)
v. 3: l’, v. 3a.3c
rš‘/‘wlh, vv. 3a and 3d resp.
} chiasmus
hs.dyqym, v. 3b.3c!
vv. 4–5: yhwh, vv. 4a.5b
} chiasmus
blbwtm/‘qlqlwtm, vv. 4b and 5a resp. (alliter.)
yšr (‘straight’)/‘qlql (‘crooked’), vv. 4b and 5a resp.

vv. 1–2.3.4–5: hbt.h.ym/hyt.ybh, vv. 1a and 4a resp. (alliter.; exactly
linear; inclusion)
yhwh, vv. 1a+2a.4a+5b! (inclusion)
ymwt./mt.ym, vv. 1b and 5a resp. (alliter.; inclusion)
yrwšlm/wlyšrym, vv. 2a and 4b resp. (alliter.; inclusion)
yrwšlm/šlwm, vv. 2a and 5c resp. (allit.; linear; inclusion)
‘mw/yśr’l, vv. 2b and 5c resp. (linear; inclusion)
b‘wlth/blbwtm, vv. 3d and 4b resp. (allit.; concatenation)

prep. b- (vv. 1a), suffix -hm/-m (vv. 3d.5b), prep. l- (vv. 3.4 [2×]), l’ (v. 1)

root .twb (v. 4 [2×]), root sbb (v. 2 [2×]), prep. ‘l (vv. 3.5)

Psalm 125 has 6 verselines and 14 (= 2×7) cola.1 From these perspectives,
v. 3 is the centre of the poem: > 2+2+2 verselines and 5+4+5 cola (and
1+1+1 strophes); similarly Fokkelman (MPHB III).
1
Fokkelman (MPHB III) has 7 verselines because he takes v. 5c as a monocolon
(p. 278). Labuschagne (www.labuschagne.nl/ps125.pdf) has 15 cola, taking v. 1 as a
tricolon. Stocks (2012), pp. 109–16, considers vv. 1 and 5a–b ‘para-tricola’.
Structure of strophes in terms of words: 18+14+15 (= 47 words in

total). Labuschagne argues that the total number of words is a sym-
bolic representation of the opening key word ‘those who trust’: hbt.h.ym >
5+2+9+8+10+13 = 47 (www.labuschagne.nl/ps125.pdf, Observation 3).
Probably, it is not by chance either that the pivotal strophe (v. 3) has 8+6
= 2×7 words.
The divine name, yhwh, occurs 4×: vv. 1, 2, 4 and 5. That is to
say, once again v. 3 is highlighted as the pivotal strophe: in each verseline
framing v. 3 the Name occurs once (> 2+0+2)!

Köster (1837): 1–3.4–5; similarly De Wette (1856), Ewald (1866), pp.
380–81, Pannier/Renard (1950), Terrien (2003)
Sommer (1846), pp. 130–31: 1–2.3.4–5 (5.4.5 cola); similarly Delitzsch (1894)
Zenner (1906), pp. 59–60: 1–2b+3a–b.3c–5b (3.3 lines)
Duhm (1922): 1–2a.2b–3b.3c–4.5 (4×2 bicola)
Gunkel (1926): 1–2b.3.4–5b (‘regelmäßige Strophenbildung’); simil. Körting
(2006), [Hossfeld]/Zenger (2008); cf. Herkenne (1936) and Riede (2008)
Calès (1936): 1–2.3.4–5b 5c (2.2.2 1 lines); similarly Mowinckel (1957),
pp. 89–90.101, and Allen (2002), pp. 224–25
Gemser (1949): 1–2.3.4–5 (2.2.2 lines); similarly Kissane (1954), NAB
(1970), www.labuschagne.nl/ps125.pdf
Alden (1978), p. 207: 1.2.3a–b|3c–d.4.5 (a.b.c|c’.b’.a’)
Beaucamp (1979): 1–2b.3|4–5b 5c (4.4|4 1 cola); cf. Calès (1936)
Jacquet (1979): 1a.2a+1bB+2b–c.3.4–5b.5c (1.2.2 bicola + 1 colon)
Aletti/Trublet (1983), p. 98: 1.2|3.4–5 (a.b|a’.b’; ‘thématique et acteurs’)
Girard (1994): 1.2|3.4.5a–b 5c (a.a’|b.c.b’ d); cf. Auffret (1999)
Fokkelman (2003), pp. 277–79: 1–2.3.4–5 (2.2.3 lines); sim. Stocks (2012)
Weber (2003): 1–2.3.4–5 (a.b.a’)

Psalm 125 is composed of three 2-line strophes; cf. the three 3-line stro-
phes of the preceding Psalm 124. This regular combination of verselines is
unambiguously supported by the verbal repetitions listed in § 18.4.1 and
often recognized (see § 18.6).
The opening strophe vv. 1–2 is characterized by metaphors referring to
the moutains and hills of the Judean landscape. The poem as a whole is an
expression of the phrase ‘and the Lord is round about his people’ (v. 2b):
the divine name, yhwh, occurs in both verselines of the first and the third
strophes and in this way encloses (is round about) the ‘righteous’ which
feature in both verselines of the pivotal strophe.2 This concentric aspect of

the overall framework of the psalm is clearly reinforced by the alliterations
listed in § 18.4.2. In this respect, Weber (2003), p. 292, rightly observes
that the ‘Vertrauens-Zusicherungen’ (vv. 1–2) and the ‘Bitten um JHWHs
entsprechendes handeln’ (vv. 4–5) complement each other.
The psalm winds up on a strong note, namely with a strophe consisting
of antithetically parallel verselines: the prayer for prosperity for the ‘upright
in heart’ (v. 4) is contrasted by the plea for the downfall of the evildoers
(v. 5a–b).3 In the context of vv. 4–5, v. 5c is a relatively individual blessing
for the people of Israel, functioning as the concluding element of a tricolon
at the end of the composition.4 In the context of the overall structure of
the composition, however, the phrase šlwm ‘l yśr’l is a summarizing echo
of v. 2a–b; for šlwm, see yrwšlm at the beginning of v. 2a, and for yśr’l, see
‘mw at the end of v. 2b (§ 18.4.2).5
The concentric aspect of the overall framework of the psalm indicates
that the quintessential message is to be found in the affirmations of the
central strophe: the righteous will be free from oppression! (see also § 18.5).
18.8 Bibliography
W. Beyerlin, Weisheitliche Vergewisserung mit Bezug auf den Zionskult. Studien
zum 125. Psalm (OBO 68), Freiburg/Göttingen, 1985;
Corinna Körting, Zion in den Psalmen (FAT 48), Tübingen, 2006, pp. 61–68.
P. Riede, ‘“Die auf JHWH vertrauen, sind wie der Berg Zion, der nicht ins
Wanken gerät” (Psalm 125,1)’, in M. Bauks et al. (eds.), Was ist der Mensch,
dass du seiner gedenkst?’ (Psalm 8,5). FS B. Janowski, Neukirchen-Vluyn,
2008, pp. 421–34.
2
Similarly Labuschagne, www.labuschagne.nl/ps125.pdf, Observation 7. For the ex-
clusive positioning of yhwh in the opening and concluding verselines of a poem, see also
Psalms 8, 23, 101 and 131; cf. further ’lhym (‘God’) in Psalm 82 and ’dny (‘Lord’) in
Psalm 90. The bipartite division of the psalm suggested by Aletti/Trublet and Girard
(see § 18.6) does no justice to its concentric framework.
3
For the negative connotation of hlk (hif‘il), see Job 12,17–20. The contrast expressed
in vv. 4–5 is typical of a wisdom poem; cf. Ps. 1,5–6. This wisdom feature does not stand
alone (Beyerlin [1985], Booij [2009], p. 188); see the similes in vv. 1 and 2, the contrasting
nouns .sdyq/rš‘ (v. 3), the root .twb (v. 4a).
4
For this phenomenon, cf. Pss. 2,12c 3,9b 7,9a 15,5c 55,24c 68,36c 103,22c 104,35c
125,5c (128,6b) 129,8c 150,6 (and Ex. 15,18)!
5
For the linear positioning of these correspondences within the strophes concerned,
cf. hbt.h.ym/hyt.ybh at the beginning of these strophes (§ 18.4.2); contra Körting (2006),
p. 67, and Zenger, who consider vv. 2c and 5c later expansions ‘die mit der Einfügung
des Psalms in die Komposition Ps 120–134 zusammenhängen’ ([Hossfeld]/Zenger [2008],
p. 491; following Crow [1996], pp. 54–58).
19 Psalm 126
I 1 bŠWB YHWH ’T ŠYBT .sywn hyynw Kh.lmym

2 ’z yml’ śh.wq pynw wlšwnnw RNH
’z y’mrw bgwym hgdyl yhwh l‘śwt ‘m ’lh

3 hgdyl yhwh l‘śwt ‘mnw hyynw śmh.ym
II 4 ŠWBH YHWH ’T ŠBYTnw K’pyqym bngb

5 hzr‘ym bdm‘h bRNH yqs.rw
6 hlwk ylk wbkh nś’ mšk hzr‘

b’ ybw’ brnh nś’ ’lmtyw
19.1 Text
V. 1a—šybt: ‘fortunes’; Dahood, Psalms III, p. 218, HAL, Crow (1996), p. 59.
Following Willi-Plein (1991), Zenger (2008, p. 501) reads šbwt.
V. 2c–d: MT divides with ’atnah. after bgwym in v. 2c; cf. Dahood, p. 220.
V. 4a—šbytnw : so Q and Fokkelman (MPHB III, p. 280 n. 31); K šbwtnw.
19.2 Content
Trust in a reversal of fortunes.
I The rejoicing of the people about the deliverance from exile (about
the past).
We rejoiced about the redemption from exile (vv. 1–2b).
The nations recognized God’s mighty works (vv. 2c–3).
II Prayer for, and trust in a reversal of fortunes (about the future).
O God, restore our fortunes (v. 4).
Those who go forth weeping, shall come back rejoicing (vv. 5–6).

19.3.1.1 ’z, v. 2c struction: hlwk ylk, v. 6a;
’lh, v. 2d ext. // b’ ybw’ in v. 6c
imperative: šwbh, v. 4a
vocative: yhwh, v. 4a 19.3.1.2 none
paronomast. infinitive con-

19.3.2.1 none 19.3.2.2 none

’z, v. 2a

vv. 2c–3: hgdyl yhwh l‘śwt ‘m, vv. 2c–d.3a!
vv. 4–5: prep. b-, vv. 4b.5a+b
v. 6: hlwk ylk wbkh/b’ ybw’, v. 6a and 6d resp. (anaphora)
roots bkh/rnn, v. 6a and 6c resp. (exactly linear)
nś’, v. 6b.6d! (exactly linear)

vv. 1–3 (Canto I): prep. b-, vv. 1a.2c (linear)
yhwh, vv. 1a.2c+3a
hyynw, vv. 1b.3b! (inclusion; at the beginning of
the b-colon)
} chiasmus
’z, v. 2a.2c! (concatenation; anaphora)
kh.lmym/śmh.ym, vv. 1b and 3b resp. (alliter.;
inclusion)
suffix -nw (first person plural), vv. 2+b.3a (linear)
roots śh.q + rnn/śmh., vv. 2a–b and 3b resp. (linear)
vv. 4–6 (Canto II): h- + the root zr‘, vv. 5a.6b!

} chiasmus (concat.)
dm‘h/bkh, vv. 5a and 6a resp.
brnh, vv. 5b.6c! (linear)

vv. 1–2b.4–5: bšwb yhwh ’t šybt/šwbh yhwh ’t šbyt-, vv. 1a and
4a resp. (anaphora)
prep. k-, vv. 1b.4b!
rnh, vv. 2b.5b
vv. 2c–3.4–5, concat.: yhwh, vv. 2c+3a.4a

suffix -nw (first person plural), vv. 3a.4a

none

Psalm 126 has 8 verselines and 16 cola.1 The caesura between Cantos I
and II (vv. 3 and 4) divides the poem into 4+4 verselines and 8+8 cola.
27+21 (= 48 words in total).2 The total of 48 words represent the numer-
ical value of rnn (20+14+14), the root of the key word rnh (‘rejoicing’,
vv. 2b.5b.6c). At the same time, 48 is also the numerical value of .sywn
(18+10+6+14) in v. 1a.3 On word level, v. 3 is the centre of the psalm:
vv. 1–2.3.4–6 > 21+6+21 words. Because this verseline expresses an im-
portant message in the context of the poem, I consider v. 3 the ‘rhetorical
centre’ of the psalm.4
The divine name, yhwh, occurs 4×: vv. 1, 2, 3 and 4.5

Köster (1837): 1–3.4–6 (3.3 verses); similarly De Wette (1856), Ewald
(1866), pp. 382–83
Sommer (1846), p. 113: 1–3.4–6 (4.4 cola!)
Delitzsch (1894): 1–3.4–6 (4.4 lines); similarly Zenner (1906), pp. 32–34,
Briggs (1907), Von Faulhaber (1913), p. 10, Gunkel (1926), Herkenne
(1936; ‘ein schönes Wortspiel zur Einleitung beider Strophen’), Pan-
nier/Renard (1950), Kissane (1954), NAB (1970), Van der Ploeg
(1974), Allen (2002), pp. 230–31, Crow (1996), pp. 58–66, Seybold
(1996), Terrien (2003), Booij (2009)
Duhm (1922): 1–2b.2c–3.4–5.6 (4×2 bicola; ‘Eins der schönsten Gedichte
[. . . ] des Psalters, sowohl nach Inhalt wie nach Form’); similarly
Mowinckel (1957), p. 101, Jacquet (1979)
Calès (1936): 1.2–3|4.5–6 (1.3|1.3 lines); similarly Prinsloo (1992), pp.
235–37, and [Hossfeld]/Zenger (2008)
1
Stocks (2012), pp. 117–25, takes vv. 1–3 as four ‘para-tricola’.
2
For the 27 words of Canto I, cf. the 2× 27 words of Psalm 124.
3
For the latter symbolic interpretation of the total of 48 words, cf. the 48 words of
Psalm 87; Labuschagne, www.labuschagne.nl/ps126.pdf, Observation 3.
4
Similarly www.labuschagne.nl/ps126.pdf, Observation 1. Following Westermann,
Prinsloo (1992, p. 238) characterizes the prayer for the reversal of fortunes in v. 4 as the
‘Mitte des Psalms’.
5
For the positioning of yhwh in vv. 2, 3, and 4, see J. Smit Sibinga, VT 38 (1988),
p. 480 n. 11.
Lund (1942), pp. 107–08: 1.2a–b.2c–3|4.5.6 (a.b.c|a’.b’.c’); cf. Prinsloo

(1992), pp. 239–40, and Auffret (1999)
Gemser (1949): 1–2b.2c–3|4–5.6 (2.2|2.2 lines); similarly Fokkelman (2003),
pp. 279–82; cf. Stocks (2012), pp. 122–25
Magne (1958), p. 191: 1–4.5–6; similarly Dahood (1970), p. 218
Kraus (1978): 1–3.4.5–6; cf. Baumann (1950), pp. 140–44
Beaucamp (1979): 1–2b.2c–3|4–5.6 (4.4|4.4 cola)
Aletti/Trublet (1983), pp. 98–99: 1.2a–b.2c–d|3a.3b.4||5a.5b|6a–b.6c–d
(a.b.c|c’.b’.a’||d.e|d’.e’); cf. Alden (1978), p. 207
Girard (1994): 1a.1b–2b.2c–d|3a.3b.4||5a.5b|6a–b.6c–d (a.b.c|c’.b’.a’||d.e|
d’.e’); cf. Aletti/Trublet (1983)
Weber (2003): 1–2b.2c–3|4–5.6 (a.b|a’.b’); cf. Amzallag/Avriel (2010), pp.
508–12

In much the same way as it holds good for the preceding Psalm 121 and
the following Psalms 127–130, the eight verselines of Psalm 126 divide into
two exactly uniform cantos of 4 verselines each, while in their turn these
cantos divide into two 2-line strophes. The bipartite division of Psalm 126
(vv. 1–3.4–6) is unambiguously indicated by the device for anaphora on
the level of the poem as a whole; see § 19.4.3.6 Lund (1942), pp. 107–08,
has rightly noted that this linear parallel feature between Cantos I and
II is reinforced by the internal chiastic arrangement of words (a.b|b.a’) in
both second verselines of the cantos, vv. 2a–b and 5, and finally by the
conspicuous external parallelism between the verselines of the concluding
strophes of the cantos, vv. 2c–3 (staircase parallelism) and 6 (anaphora);
see § 19.4.1.7
In terms of subject matter, vv. 1–3 are about God’s former great deeds
including the responses by the nations and the people of Israel, while vv.
4–6 focus on the confidence the people in distress may have in the future
on the basis of the earlier experience.8 Moreover, the stage of the cantos is
6
Most scholars agree that the correspondence between vv. 1a and 4a is to be taken
as an anaphora; see § 19.6. For the device for anaphora marking the beginnings of
successive cantos, see CAS I, Ch. V, 3.1.1.3 (pp. 470–71). Scholars like Magne, Dahood,
Aletti/Trublet and Girard, who take this correspondence as an inclusion, ignore the
uniformity of the cantos in terms of verselines and their tightly-knit inner coherence.
7
However, Lund (p. 107) mistakenly assumes that the linear parallel correspondences
between the main parts of the psalm argue against the strophic framework of the cantos;
cf. Weber (2003) in § 19.6. For the phrase hgdyl yhwh l‘śwt, cf. Joel 2,20f and 21b (subject
God); it does not appear elsewhere in the Hebrew Bible!
8
For the reference to a past restoration as the basis for a plea for restoration in the
not the same: ‘Während es im ersten Teil um JHWHs Machterweis auf die
Weltbühne geht, geht es im zweiten Teil um das bäuerliche Altagsleben’
([Hossfeld]/Zenger [2008], p. 505). The comparison between the fortunes
of the people (of Israel) and ‘the torrents in the Negeb’ (v. 4) expressing
an unexpected turn of events, functions as the perspective from which the
agricultural metaphor vv. 5–6 is to be understood.9
In terms of verbal repetitions, the cantos have a tightly-knit framework
displaying a linear and a symmetric aspect at the same time (‘symétrie
croisée’); see § 19.4.2 and for the symmetric aspect note also the underlined
words printed in bold face in the layout of the text. The linear aspect
in terms of verbal recurrences points to the regular strophic structure of
Cantos I and II; see, e.g., brnh in Canto II (and see also § 19.4.1).10 From a
thematic point of view, the internal antithetic parallelism of v. 5 preludes
on the climax of Canto II which is expressed in the concluding strophe of
the poem (v. 6; cf. vv. 2c–3). In v. 5 the metaphor of sowing (in tears)
and reaping (with rejoicing) is phrased in general terms. V. 6 elaborates
on this metaphor and consists in its entirety of the contrast between the
present grief (v. 6a–b) and the prospective joy (v. 6c–d).
19.8 Bibliography
W. Beyerlin, ‘Wir sind wie Träumende’. Studien zum 126. Psalm (SBS 89),
Stuttgart: Verlag Katholisches Bibelwerk, 1978;
J.M. Bracke, ‘šŵb šebût: A Reappraisal’, ZAW 97 (1985), pp. 233–44;
Ina Willi-Plein, ‘ŠWB ŠBWT—eine Wiedererwägung’, ZAH 4 (1991), pp. 55–71;
G.T.M. Prinsloo, ‘Analysing Old Testament poetry: An experiment in method-
ology with reference to Psalm 126’, OTE 5/2 (1992), pp. 225–51;
Responsa Hypothesis’, OTE 23/3 (2010), pp. 502–18.
future, cf. Psalm 85; note also the expression šwb šbwt in both psalms. For an overview
of the various interpretations of Psalm 126, see Prinsloo (1992), pp. 226–29.
9
In v. 4 the psalmist abruptly addresses God in the second person, while Canto I
is about God in the third person. For this phenomenon occurring at the beginning of
a main part, cf. Pss. 91,9a (the beginning of Canto II) 115,1–2 (the beginning of the
poem) and 137,7 (the beginning of Canto III); see also Ps. 125,4 (the beginning of the
third strophe).
10
For the regular strophic framework of the psalm, see also Duhm, Gemser, Beaucamp
and Weber in § 19.6.
20 Psalm 127
I 1 ’m YHWH l’ ybnh byt šw’ ‘mlw bwnyw bw

’m YHWH l’ yšmr ‘yr šw’ šqd šwmr
2 šw’ lkm mškymy qwm m’h.ry šbt

’kly lh.m h‘s.bym KN ytn lydydw šn’
II 3 hnh nh.lt YHWH bnym śkr pry hbt.n

4 kh..sym byd gbwr KN bny hn‘wrym
5 ’šry hgbr ’šr ml’ ’t ’šptw mhm

l’ ybšw ky ydbrw ’t ’wybym bš‘r
20.1 Text
V. 5: the division of the verselines after ml’ and ydbrw is supported by the
‘anaphora’ ’t ’- marking the beginning of vv. 5b and 5d (similarly Crow
[1996], p. 66, Fokkelman [MPHB III], p. 285); cf. šw’ in v. 1 and nś’ in Ps.
126,6. MT divides v. 5a–b with a rebia‘ after hgbr in v. 5a and v. 5c–d
with an ’atnah. after ybšw in v. 5c (similarly Fleming [1995], p. 435).
V. 5c—ydbrw : ‘they contend’.
20.2 Content
All depends on God’s blessing.
I Without God’s help all human endeavour is futile.
Without God’s help all human endeavour is futile (v. 1).
God helps you undeservedly (v. 2).
II Sons are a gift from God to protect the city.
Sons are a gift from God meant for protection (vv. 3–4).
Happy the man provided with such a gift (v. 5a–b); they will not
be put to shame when they contend with their enemies (v. 5c–d).

20.3.1.1 hnh, v. 3a 20.3.1.2 none
’šry, v. 5a

20.3.2.1 none 20.3.2.2 none

none

v. 1: ’m yhwh l’, v. 1a.1c! (anaphora)
byt (the temple)/‘yr (Jerusalem), vv. 1a and 1c resp. (exactly
linear); cf. 1 Kings 8,44.48 2 Kings 23,27 Jer. 26,6.9.12
šw’, v. 1b.1d (exactly linear)
v. 2: šw’/šn’, vv. 2a and 2d resp. (alliter.)
prep. l-, v. 2a.2d!
lkm/lh.m, v. 2a and 2c resp. (alliter.)
vv. 3–4 bnym, vv. 3a.4b!
v. 5: ’šry hgbr/bš‘r, v. 5a and 5d resp. (alliter.; inclusion)
’t (nota accusative) + ’-, v. 5b.5d! (exactly linear)

vv. 1–2 (Canto I): šw’, vv. 1b+1d.2a (concatenation)
roots ‘ml (‘to toil’)/‘s.b (‘to grieve’), vv. 1b and 2c
resp. (inclusion)
vv. 3–5 (Canto II): h..s/’šph, vv. 4a and 5b resp.; cf. Isa. 49,2
} chiasmus
root gbr, vv. 4a.5a!
(concatenation)
prep. b-, vv. 4a.5d (linear)

vv. 1.3–4: yhwh, vv. 1a+c.3a!
ybnh byt . . . bwnyw bw/bnym . . . byd gbwr . . . bny, vv. 1a–b
and 3–4 resp. (alliter.); cf. bnyk in Isa. 49,17 and 54,13
vv. 1.5, inclusion: l’, vv. 1a+d.5c!

šw’ ‘mlw/’šr ml’, vv. 1b and 5a resp. (alliter.)
yšmr ‘yr . . . šwmr/’šry . . . ’šr . . . bš‘r, vv. 1c–d and 5
resp. (alliter.)
‘yr/š‘r, vv. 1c and 5d resp.
vv. 2.3–4: kn, vv. 2d.4b! (concatenation)

prep. b- (v. 1)

root šmr (v. 1b–c [2×])

Psalm 127 has 8 verselines and 16 cola.1 The caesura between Cantos I
and II (vv. 2 and 3) divides the poem into 4+4 verselines and 8+8 cola.
30+27 (= 57 = 3×19 words in total).2
The divine name, yhwh, occurs 3×: vv. 1 (2×) and 3.

Köster (1837): 1–2.3–5; similarly De Wette (1856)
Sommer (1846), pp. 125–26: 1.2.3–4.5 (4.2.4.2 cola)
Ewald (1866), pp. 383–84: 1–2.3–5 (7.7 cola)
Ley (1875), p. 148: 1.2.3–4.5 (4×2 lines); similarly Mowinckel (1957),
p. 101, Pannier/Renard (1950), Jacquet (1979)
Delitzsch (1894): 1.2|3–4.5 (4.4|4.4 cola); similarly Beaucamp (1979)
Zenner (1906): 1–2; 3–5 (‘zwei selbständige Gedichte’); similarly Briggs
Duhm (1922): 1.2; 3–4.5 (2.2; 2.2 bicola); similarly Gunkel (1926)
Calès (1936): 1–2.3–5 (4.4 lines); similarly Herkenne (1936), Kissane (1954),
NAB (1970), Kraus (1978), Crow (1996), pp. 66–71, Allen (2002)
Gemser (1949): 1.2|3–4.5 (2.2|2.2 lines); similarly Terrien (2003), Stocks
(2012), pp. 131–32
Perdue (1977): 1a–b.1c–d.2|3.4.5
Girard (1994): 1a–b.1c–2|3–4.4–5 (a.b|a’.b’); cf. Auffret (1999)
Fleming (1995): 1.2|3–4.5 (a.b|a’.b’); similarly Fokkelman (2003), pp. 282–85,
and Weber (2003)
1
For the number of 16 cola, cf. Fokkelman (MPHB III), p. 285 n. 44. Taking vv.
2a–b and 5a–b as tricola, Allen (2002) and Weber (2003) have 18 cola. Stocks (2012),
pp. 126–30, takes these verselines as ‘para-tricola’.
2
For the 27 words of Canto II, cf. the first canto of Psalm 126.
Loretz (2002): 1.3–4.5 (2.2.2 lines)

[Hossfeld]/Zenger (2008): 1.2|3.4.5

Psalm 127 is composed of two 4-line cantos (vv. 1–2 and 3–5), which in their
turn divide into two 2-line strophes. This rhetorical framework is generally
recognized (see § 20.6) and unambiguously supported by thematic features
(§ 20.2) and formal devices (§§ 20.3–4). At first sight, the subject matter of
Cantos I and II is so diverse that it is sometimes suggested we are dealing
with two different poems (Zenner, Duhm, Gunkel; cf. also Booij [2009],
p. 200). The relative individuality of the cantos is reinforced by signs of
inclusion: the subject of ytn (‘he gives’) in the concluding colon of Canto I
(v. 2d) is to be found in its opening strophe v. 1 (see yhwh in vv. 1a+c)
and the subject of ydbrw (‘they contend’) in the concluding verseline of
Canto II (v. 5) is once again to be found in the opening strophe of the
canto (see bnym [‘sons’] in vv. 3a+4b). These corresponding phenomena
point to a linear parallel relationship between the cantos. Also taking into
consideration the concatenations between the inner verselines of the cantos
(§ 20.4.2), it comes to light that both cantos have a symmetric framework.
In terms of verbal repetitions on the level of the poem as a whole
(§ 20.4.3), the cantos have a linear parallel (note the correspondence be-
tween vv. 1 and 3–4)3 and a symmetric relationship (note the correspon-
dences between vv. 1.5 and kn in vv. 2.3–4) at the same time. The symmet-
ric aspect is buttressed by the concatenation based on the correspondence
between the root ntn (‘to give’) in v. 2d on the one hand and the nouns
nh.lh (‘heritage’) and śkr (‘fruit’) in v. 3 on the other.4
The linear parallel pattern between the cantos is reinforced by the ob-
servation that vv. 2 and 5 diverge from the ‘full parallel form’ of vv. 1 and
3–4 (Fleming [1995], p. 441). And it is only vv. 2 and 5 which are char-
acteristically marked out by an alliterating form of inclusion; see § 20.4.1.5
Furthermore, Fokkelman has noted that the transition markers hnh (v. 3a)
and ’šry (v. 5a), opening the strophes of the second canto and suit their
positive content, are the counterparts to the characteristic words opening
the negative (critical) strophes of the first canto. ‘The conditional aspect
of (the anaphora of) strophe 1 is contrasted with the generous hinne of
3
For the alliteration bwnym/bnym, see also Assis (2009), p. 258 n. 4.
4
For this correspondence, cf. Gen. 15,1–2; Miller (1982), pp. 127–28.
5
To achieve an alliterating inclusion in v. 2, the poet obviously resorted to the Ara-
maic spelling šn’ (BL § 62x) instead of the usual šnh (‘sleep’); cf. also Girard (1994),
p. 339 n. 3.
v. 3a, and the swearword šaw’ lakem, a near-exclamation and a near-curse,

is contrasted with the macarism in v. 5a’ (Fokkelman [MPHB III], p. 284).6
I conclude there is no reason for doubting that Psalm 127 is a coherent
composition.7 It is another literary gem among the Psalms of Ascents.
Recently, Assis rightly argued that the psalm reflects a specific historical
situation. In Canto I the psalmist declares ‘that God does not at present
wish to see the construction of the temple . . . it allows them [the people]
to accept the concept that the inability to build the Temple reflects God’s
plan’. In Canto II the ‘psalmist is telling the people to concentrate on
developing and building the family unit’ (Assis [2009], p. 271).
20.8 Bibliography
L.G. Perdue, Wisdom and Cult (SBL Dissertation Series 30), Missoula (Mon-
tana): Scholars Press, 1977, pp. 297–99;
P.D. Miller, ‘Psalm 127—The House that Yahweh Builds’, JSOT 22 (1982), pp.
119–32;
D.J. Estes, ‘Like arrows in the hand of a warrior (Psalm cxxvii)’, VT 41 (1991),
pp. 304–11;
D.E. Fleming, ‘Psalm 127: Sleep for the Fearful, and Security in Sons’, ZAW
107 (1995), pp. 435–44;
F. Sedlmeier, Jerusalem—Jahwes Bau. Untersuchungen zu Komposition und
Theologie von Psalm 147 (FzB 79), Würzburg, 1996, pp. 166–71;
Th. Booij, ‘Psalm 127,2b. A Return to Martin Luther’, Biblica 81 (2000), pp.
262–68;
O. Loretz, Psalmstudien. Kolometrie, Strophik und Theologie ausgewälter Psal-
men (BZAW 309), Berlin/New York: Walter de Gruyter, 2002, pp. 311–29;
Marianne Grohmann, Fruchtbarkeit und Geburt in den Psalmen (FAT 53), Tüb-
ingen, 2007, pp. 167–80;
E. Assis, ‘Psalm 127 and the Polemic of the Rebuilding of the Temple in the
Post Exilic Period’, ZAW 121 (2009), pp. 256–72;
—, ‘Family and Community as Substitutes for the Temple after Its Destruction.
New Readings in Psalms 127 and 133’, EThL 85/1 (2009), pp. 55–62.
6
The second strophe (v. 2) is characterized by the change from the third to the second
person and vice versa.
7
See also Miller (1982), [Hossfeld]/Zenger (2008), pp. 517–18, and Assis (2009); in
my opinion, however, Zenger underestimates the importance of the literary phenomena
(e.g. alliterations) supporting the coherence of the composition.
21 Psalm 128
I 1 ’šry KL YR’ YHWH hhlk bdrkyw

2 ygy‘ kpyk KY t’kl ’šryk wT
. WB lk
3 ’štk kgpn pryh byrkty bytk
BNYK kštly zytym sbyb lšlh.nk
II 4 hnh KY kn ybrk gbr YR’ YHWH

5 ybrkk YHWH ms.ywn [‘śh šmym w’rs.]
. WB yrwšlm
wr’h bT KL ymy h.yyk
6 wr’h BNYM lBNYK šlwm ‘l yśr’l
21.1 Text
V. 5b: the phrase ‘śh šmym w’rs. does not occur in MT; for the addition, cf.
especially Ps. 134,3 and further Pss. 121,2 124,8 (Gemser; cf. Duhm,
Gunkel, Calès and Stocks); see also § 21.5, about the 48* words.
21.2 Content
Blessing for the faithful.
I Happy are you who fear the Lord (about the present).
Happy the man who fears the Lord (vv. 1–2).
Your family blossoms in your house (v. 3).
II You will see the prosperity of Jerusalem (about the future).
The man who fears the Lord is blessed (vv. 4–5b).
Yes, you may see the prosperity of Jerusalem and your offspring
(vv. 5c–6a); peace be upon Israel (v. 6c).

21.3.1.1 ’šry, v. 1a; ext. // ’šry in ext. // w- in v. 6a
v. 2b imperative: r’h, v. 5c; ext.
yr’ with object God, v. 1a // r’h in v. 6a
hnh, v. 4a
yr’ with object God, v. 4b 21.3.1.2 kn beginning of line, v. 4a
w- beginning of line, v. 5c;

21.3.2.1 brk with object Israel, v. 5a; 21.3.2.2 none
ext. // brk in v. 4a

kl ymy h.yyk, v. 5d

vv. 1–2: ’šry, vv. 1a.2b!
kl . . . hhlk/t’kl . . . lk, vv. 1 and 2 resp. (alliter.)
v. 3: ’štk/kštly, vv. 3a and 3c resp. (alliter.)
suffix -k followed by prep. k-, v. 3a.3c! (exactly linear)
suffix -k, v. 3a+b.3c+d
bytk/šlh.nk, v. 3b and 3d resp. (epiphora)
vv. 4–5b: ybrk, vv. 4a.5a!
yhwh, vv. 4b.5a
vv. 5c–6: wr’h, vv. 5c.6a! (anaphora)
yrwšlm/šlwm, vv. 5c and 6b resp. (alliter.)

vv. 1–3 (Canto I): bdrkyw/byrkty, vv. 1b and 3b resp. (alliter.; linear)
suffix -k, vv. 2a+b (2×).3 (4×; concatenation)
’šryk/’štk, vv. 2b and 3a resp. (alliter.; concaten.)
lk/lšlh.nk, vv. 2d and 3d (epiphora); note prep. l-
vv. 4–6 (Canto II): suffix -k, vv. 5a.5d+6a (concatenation)

s.ywn/yrwšlm, vv. 5a and 5c resp. (concatenation)

vv. 1–2.4–5b: ’šry/ybrk, vv. 1a+2b.4a+5a (Crow [1996], p. 73); cf. Ps.
112,1–2
yr’ yhwh, vv. 1a.4b!; see also yhwh in v. 5a!
} chiasmus
ky, vv. 2a.4a!
vv. 3.5c–6: bnyk, vv. 3c.6a!; see also bnym in v. 6a!

vv. 1–2.5c–6, inclusion: kl, vv. 1a.5d!

.twb, vv. 2b.5c!
vv. 3.4–5b, concatenation: byrkty bytk/ybrk gbr, vv. 3b and 4–5b resp.
(alliter.)

prep. b- (v. 5c), prep. l- (v. 6a)

none

Psalm 128 is composed of 8 verselines and 16* cola.1 The caesura between
the Cantos I and II divides the poem into 4+4 verselines and 8+8* cola.
Structure of strophes and cantos in terms of words: 13+10|13*+12 =
23+25* (= 48* words in total). The total number of 48 words symboli-
cally represent .sywn (18+10+6+14 = 48; v. 5a).2 The middle verselines,
expressing the gist of the poem, coincide with the centre on word level: vv.
1–3b.3c–4.5–6 > 18+12+18* words (Labuschagne, private communication).
The divine name, yhwh, occurs 3×: vv. 1, 4 and 5.

Köster (1837): 1.2–3.4.5–6 (1.2.1.2 verses); cf. Amzallag/Avriel (2010), pp.
512–15
Sommer (1846), pp. 125.127: 1–2.3|4–5a.5c–6a|6b (3.3|2.2|1 cola)
Ewald (1866), pp. 384–85: 1–4.5–6; similarly NAB (1970), Van der Ploeg
(1974); cf. Herkenne (1936), Kraus (1978), Crow (1996)
Ley (1875), pp. 226–27: 1–3.4–6 (2.2 ‘Dekameter’)
Delitzsch (1894): 1–2.3.4–6; similarly Terrien (2003)
1
For the number of 16 cola, cf. § 21.1. On the basis of MT, Labuschagne takes v. 3d,
sbyb lšlh.nk, as the meaningful centre of the psalm (> 7+1+7 cola); www.labuschagne.
2
For this symbolic interpretation of the total number of words, cf. the 48
words making up Psalms 87 and 126 (also dealing with Zion); similarly www.
labuschagne.nl/ps128.pdf, Observation 4.
Zenner (1906), pp. 36–37: 1–3.4–6 (1.3|1.3 lines); cf. Köster (1837)
Duhm (1922): 1–2.3.4–5a*.5c–6 (4×2 bicola); similarly Gunkel (1926),
Gemser (1949)
Calès (1936): 1.2–3|4.5–6 (4.4 lines); cf. Köster (1837) and Jacquet (1979)
Kissane (1954): 1.2–3.4–6* (1.3.3 lines)
Beaucamp (1979): 1–3|4–6a 6b (8|6 1 cola)
Aletti/Trublet (1983), pp. 228–232: 1.2–3.4|5–6a (a.b.a’|b’); cf. Körting
(2006)
Girard (1994): 1–2bA.2bB.3|4–5a.5c–d.6 (a.b.c|a’.b’.c’)
Allen (2002): 1–3.4–6 (note p. 243); similarly Booij (2009)
Fokkelman (2003), pp. 285–89: 1–2.3–4.5–6 (2.3.3 lines); cf. Weber (2003)
and Auffret (1999)
[Hossfeld]/Zenger (2008): 1.2–3.4|5a.5b–c.6a.6b
www.labuschagne.nl/ps128.pdf: 1.2–3.4|5–6 (1.3.1|3)

The poetic structure of this short poem has caused much confusion among
exegetes; see § 21.6. However, it stands to reason to assume that, just like
Psalms 121 126–127 and 129–130, Psalm 128 is composed of two 4-line
cantos (vv. 1–3 and 4–6), which in their turn consist of two 2-line strophes
each. The regular strophic structure of the cantos is especially supported
by the words ’šry, ybrk and wr’h which exclusively occur in vv. 1–2, 4–5b
and 5c–6 respectively (§ 21.4.1).3 The similes characterizing the verselines
v. 3a–b and 3c–d constitute a perfect external parallelism.4
The regular strophic structure militates against the interpretation of
the correspondences between vv. 1 and 4 as a device for inclusion;5 vv. 4–5
form an inseparable unity at the beginning of the second canto (vv. 4–6).
In terms of verbal repetitions, the cantos vv. 1–3 and 4–5 have a linearly
alternating and a symmetric relationship (§ 21.4.3). The linear relation-
ship (vv. 1–2.3|4–5.6 > a.b|a’.b’) is more powerful than the symmetric one
and supported by the fact that vv. 1 and 4 (speaking about mankind in
general) are cast in the third person, while vv. 2–3 and 5–6 (addressing a
3
For the anaphora wr’h marking the concluding strophe vv. 5c–6, cf. yhwh yšmr, lm‘n,
hlk ylk wbkh/b’ ybw’ and šl’/wl’ marking the concluding strophes Pss. 121,7–8 122,8–9
126,6 and 129,7–8 respectively.
4
For the regular strophic structure, see also Duhm in § 21.6; cf. Booij (2009), p. 207,
and Stocks (2012), p. 139. The concluding wish for peace upon Israel (v. 6b) is not to
be dismissed as a later addition (Weber [2003], p. 303; [Hossfeld]/Zenger [2008], p. 538),
but a genuine element of the bicolon v. 6; cf. § 21.4.1. Monocola are not found in Hebrew
poetry! Therefore, it is also warranted to assume that a colon is missing after v. 5a.
5
See Ewald, Aletti/Trublet, Fokkelman, [Hossfeld]/Zenger and Labuschagne in § 21.6.
special Israelite) in the second person.6 In addition, the a-strophes (vv. 1–2
and 4–5b*) have 13 words each (§ 21.5). The beginnings of the cantos are
highlighted by the transition markers ’šry (‘happy’) and hnh (‘behold!’),
vv. 1a and 4a respectively; cf. hnh and ’šry marking the strophes of the
second canto of Psalm 127.7
the following verbal repetitions: ’šry (vv. 1.2) > 127,5 (concatenation);
yhwh (vv. 1.4.5) > 127,1 (2×).3 (linear); root ’kl (v. 2) > 127,2; root prh
(v. 3) > 127,3; prep. k- (v. 3 [2×]) > 127,4 (use of similes); byt (v. 3) >
127,1; bnyk (vv. 3.6) > 127,3.4; hnh (v. 4) > 127,3 (exactly linear); kn (v. 4)
> 127,2.4; gbr (v. 4) > 127,5.8 From a thematic perspective, Psalms 127
and 128 form each other’s mirror image: Ps. 127,1–2 (Canto I) and 128,4–6
(Canto II) are dealing with the national concern for the city of Jerusalem,
while Ps. 127,3–5 (Canto II) and 128,1–3 (Canto I) focus on the prosperity
of the family as a sign of God’s blessing. ‘Psalm 128, like the one preceding
it, contends with the disappointment of the nation at the time of return-
ing to Zion with the non-realisation of their expectations for a great and
impressive redemption . . . The psalm suggests to those residing in Yehud
to be satisfied with building the family unit . . . the blessing of seeing the
good of Jerusalem, on the national horizon, remains as a blessing to be
fulfilled in the future’ (Assis [2009], pp. 270–71).
21.8 Bibliography
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. FS J. Muilenburg, Pittsburgh (Pennsylvania): Pickwick
Press, 1974, pp. 186–222 (note 209–10.217–18);
M.J.H. van Niekerk, ‘Psalms 127 and 128. Examples of Divergent Wisdom Views
on Life’, OTE 8 (1995), pp. 414–24;
6
For a series of cantos which are introduced by verselines speaking of mankind in
general, see Job 7,1–8.9–16.17–21 (RCPJ, pp. 90–101). Contra Körting (2006, p. 71)
who mistakenly assumes that vv. 1–4 represent the ‘Kernbestand’ of Psalm 128 and
downplays the structural function of the verbal recurrences (pointed out by Allen) as
mere ‘Stichwortverbindungen’.
7
According to Zenger the ‘LXX-Fassung’ also argues in favour of the division vv.
1–3.4–6; [Hossfeld]/Zenger (2008), p. 546.
8
For the relationship between Pss. 127 and 128, see also Miller (1982), pp. 128–30,
Auffret (1999), pp. 72–73, and Assis (2009), pp. 269–71. For the correspondences be-
tween Psalms 122 and 128, see Weber (2003), p. 304!
E. Assis, ‘Psalm 127 and the Polemic of the Rebuilding of the Temple in the
Post Exilic Period’, ZAW 121 (2009), pp. 256–72;
D. Human, ‘“From Exile to Zion”—Ethical Perspectives in the Twin Psalms 127
and 128’, OTE 22/1 (2009), pp. 63–87;
Responsa Hypothesis’, OTE 23/3 (2010), pp. 502–18.

22 Psalm 129
I 1 rbt .srrwny mn‘wry Y’MR n’ yśr’l

2 rbt .srrwny mn‘wry gm l’ yklw ly
3 ‘l gby h.ršw h.ršym h’rykw lm‘nwtm

4 YHWH .sdyq qs..s ‘bwt rš‘ym
II 5 ybšw wysgw ’h.wr kl śn’y .sywn

6 yhyw kh..syr ggwt šqdmt šlp ybš
7 šl’ ml’ kpw qws.r wh..snw m‘mr

8 wl’ ’MRW h‘brym brkt YHWH ’lykm brknw ’tkm bšm YHWH
22.1 Text
V. 3b—lm‘nwtm: so K; Q lm‘nytm.
22.2 Content
No blessings for the wicked (cf. Psalm 128).
I God is the Saviour of his people (about the past).
Despite their attacks in former times they did not prevail against
me (vv. 1–2).
The Lord has severed the cords of the wicked (vv. 3–4).
II No blessings for Zion’s enemies (about the future).
May all who hate Zion soon disappear (vv. 5–6 ).
Let there be no harvest blessings for you (vv. 7–8).

22.3.1.1 n’, v. 1b 22.3.1.2 none

22.3.2.1 gm, v. 2b 22.3.2.2 w- beginning of line, v. 8a
qdm, v. 6b
brk with object Israel, v. 8c

none

vv. 1–2: rbt .srrwny mn‘wry, vv. 1a.2a! (anaphora)
vv. 3–4: h.ršym/rš‘ym, vv. 3a and 4b resp. (alliter.)
vv. 5–6: ybšw/ybš, vv. 5a and 6b resp. (alliter.; inclusion)
vv. 7–8: šl’ ml’/wl’, vv. 7a and 8a resp. (alliter.; anaphora)

vv. 1–4 (Canto I): prep. l-, vv. 2b.3b! (concatenation)
vv. 5–8 (Canto II): š-, vv. 6b.7a! (concatenation)

vv. 1–2.5–6: yśr’l/s.ywn, vv. 1b and 5b resp. (exactly linear)
vv. 3–4.7–8: roots h.rš/qs.r, vv. 3a and 7a resp. (exactly linear); cf.
1 Sam. 8,12 and Hos. 10,13
yhwh, vv. 4a.8b+c!
vv. 1–2.7–8, inclusion: ’mr, vv. 1b.8a!

l’, vv. 2b.7a+8a!

none

Psalm 129 has 8 verselines and 17 cola. V. 5a, ybšw wysgw ’h.wr (‘may they
be put to shame and fall back’), is the middle colon (> 8+1+8 cola).1
24+28 (= 52 = 2×26 words in total).2
The divine name, yhwh, occurs 3×: vv. 4 and 8 (2×).
1
According to Labuschagne, v. 5a expresses the ‘quintessential idea of the psalm’;
2
For the number of 52 words, see also the following poem, Psalm 130!

Köster (1837): 1–4.5–8 (4.4 verses); similarly Hävernick (1849), p. 40,
De Wette (1856), Calès (1936), Kissane (1954); cf. Herkenne (1936),
Mowinckel (1957), p. 90
Ewald (1866), pp. 379–80: 1–4.5–8; similarly Pannier/Renard (1950), NAB
(1970), Van der Ploeg (1974), Kraus (1978), Allen (2002), pp. 248–49,
Weber (2003), Booij (2009)
Ley (1875), p. 175: 1–4.5–8b 8c (4.4 lines + ‘Segensspruch des Psalmisten’)
Delitzsch (1894): 1–2.3–5.6–8
Zenner (1906), pp. 113–14: 2–4.5–8b (3.4 lines)
Von Faulhaber (1913), p. 4: 1–2 // 3–4
Duhm (1922): 1–2.3–4.5–6.7–8b (4×2 bicola; ‘Wie öfter in diesen kleinen
Gedichten wird das einmal angefangene Bild in der folgende Stro-
phe 7–8 aus rein poetischen Motiven weiter ausgeführt’ [p. 441]); cf.
Jacquet (1979) and Mannati (1979), pp. 96–97
Gunkel (1926): 1–2.3–4|5–6.7–8 (‘bis auf die letzte Strophe . . . regelmäßiger
Strophenbau’); cf. Duhm (1922) and Gemser (1949)
Beaucamp (1979): 1–2.3–4|5–6.7–8b 8c (4.4|4.4 1 cola)
Aletti/Trublet (1983), pp. 99–100: 1–2.3.4|5.6–7.8 (a.b.c|a’.b’.c’; ‘thématique’)
Van der Wal (1988): 1–3.4–8b.8c; cf. Dahood (1970)
Girard (1994): 1–2.3.4.5–7.8 (a.b.c.b’.a’)
Crow (1996), pp. 81–84: 1.2–4.5.6–8 (vv. 1 and 5 are redactional)
Auffret (1999): 1–2a.2b|3.4||5.6–8b 8c (a.b|a’.b’||. . . )
Fokkelman (2003), pp. 289–91: 1–3.4–5.6–8 (3.2.3 lines)
[Hossfeld]/Zenger (2008), note p. 511: 1–2.3.4|5.6.7–8 (4.4 lines)
Stocks (2012), pp. 143–49: 1–2.3–4|5–6.7–8 (2.2|2.2 lines; v. 8 is a conclud-
ing tricolon); similarly Terrien (2003), www.labuschagne.nl/ps129.pdf

Verbal repetitions in the strict sense supporting its formal framework do
not abound in Psalm 129; see § 22.4 and cf. Psalm 120. Weber (2003, pp.
306–07) rightly notes that this lack of recurrences is compensated ‘durch
eine Vielzahl von phonologischer Muster’. The latter phenomena determine
the strophic structure from v. 3 onwards; see § 22.4.1. The opening strophe
(vv. 1–2) is characterized by an extended device for anaphora; cf. Ps. 127,1.
In addition, within Canto I there is a linear correspondence between vv. 2b
and 4, dealing with the failure of the wicked.3
3
For the regular strophic structure, see also Duhm(!), Gunkel, Beaucamp and Stocks
in § 22.6. The concatenation š- linking the strophes of Canto II (§ 22.4.2) is an echo of
On the macrostructural level of the poem, it is especially the thought

development which clearly divides the poem into two regular 4-line cantos,
vv. 1–4 and 5–8. Canto I is about God as the Saviour of his people from
vicious attacks and Canto II deals with the downfall of the enemies.4 The
portrayal of maltreatment we find in Canto I winds up with the exclamation
that God is righteous, severing the cords of the wicked (v. 4). The idea of the
failure of the wicked prepares the way for the description of their downfall
in Canto II. The perfecta which are characteristic for vv. 1–4 may indicate
that the first canto is about the past, while the imperfects/jussives opening
vv. 5 and 6 suggest that the second canto is about the future.5 That is to
say, God’s saving acts experienced in the past form the basis for the wish
that those who presently hate Zion (v. 5b) will also fail.6
The psalm as a whole, dealing with the failure of Israel’s enemies, cul-
minates in the message expressed in v. 8 that there will be no blessings for
them. The concluding tricolon formally underlines this message, as does
the repetition brk- . . . -km + yhwh occurring in v. 8b–c.7
22.8 Bibliography
M. Mannati, ‘Les psaumes graduels constituent-ils un genre littéraire distinct à
l’intérieur du psautier biblique?’, Semitica 29 (1979), pp. 85–100;
A.J.C. van der Wal, ‘The structure of Psalm cxxix’, VT 38 (1988), pp. 364–67;
staircase parallelism characterizing the Psalms of Ascents; cf. the root zr‘ in Ps. 126,4–6
and the root gbr in Ps. 127,3–5.
4
For the canto division, see also Köster, Ewald, Ley, Beaucamp, Aletti/Trublet and
Stocks in § 22.6. In terms of verbal recurrences, this division is supported by the linear
position of yhwh (§ 22.4.3); Girard (1994, p. 357) fails to fit in this repetition into his
concentric framework.
5
Similarly Crow (1996), p. 82, and [Hossfeld]/Zenger (2008), p. 511; for the sequence
past > future determining the successive cantos of the poem, cf. also Psalm 126.
6
The tight structure of the psalm argues against the opinion that vv. 1 and 5 stand
out on the basis of their ‘nationalism’ and are to be considered ‘redactional’; contra
Crow (1996), pp. 83–84 (with Allen [2002], pp. 248–49).
7
For this repetition, cf. Ps. 118,26. For v. 8 as a harvest blessing fitting the context
of v. 7, cf. Ruth 2,2–4. In both cases, the antecedent of the suffix -km (v. 8b+c) is those
‘who hate Zion’ (v. 5b); similarly [Hossfeld]/Zenger (2008), p. 563, and Booij (2009),
p. 215, otherwise Weber (2003), p. 306. For the repetitions occurring in the second and
the third colon of this concluding tricolon, see Pss. 90,17 (wm‘śh) 94,23 (ys.mytm) 99,9
(qdšw/qdwš) 150,5–6 (3× the root hll ) and cf. Pss. 24,10 27,14 37,40 112,10.
23 Psalm 130
I 1 mm‘mqym qr’tyk YHWH 2 ’DNY šm‘h bqwly

thyynh ’znyk qšbwt lqwl th.nwny
3 ’m ‘WNWT TŠMR YH ’dny my y‘md

4 KY ‘Mk hslyh.h lm‘n twr’
II 5 qwyty YHWH qwth npšy wldbrw hwh.lty

6 npšy l’DNY mŠMRYM lbqr ŠMRYM lbqr
7 yh.l yśr’l ’l YHWH KY ‘M YHWH hh.sd whrbh ‘Mw pdwt

8 whw’ ypdh ’t yśr’l mkl ‘WNTYw
23.1 Text
Vv. 1–2: the division of the lines is at variance with MT; similarly Fokkelman
(2002), Weber (2005), p. 901, and Stocks (2012).
Vv. 5–6: these verses are generally taken as tricola; Stocks (2012, pp. 150–59)
considers them two ‘para-tricola’.
23.2 Content
Protestation of trust in future restoration.
I The trust of the psalmist in God’s forgiveness (addressed to God).
O God, hear my prayer when I call to you in my distress (vv. 1–2).
Without your forgiveness a human being cannot survive (vv. 3–4).
II Call to trust in future restoration (spoken about God).
I trust in God (vv. 5–6; cf. vv. 1–2).
Let Israel wait for God, for he forgives all their iniquities and will
certainly bring about total restoration (vv. 7–8; cf. vv. 3–4).

23.3.1.1 vocative: yhwh, v. 1 my, v. 3b
vocative: ’dny, v. 2a imperative: yh.l, v. 7a
imperative: šm‘h, v. 2a vocative: yśr’l, v. 7a
vocative: yh, v. 3a
vocative: ’dny, v. 3b 23.3.1.2 none

23.3.2.1 lm‘n, v. 4b 23.3.2.2 w- beginning of line, v. 8a
hw’, v. 8a

none

vv. 1–2: suffix -k, vv. 1.2b
roots šm‘/’zn, vv. 2a and 2b resp.
šm‘h bqwly/qšbwt, vv. 2a and 2b resp. (alliter.)
qwl, vv. 2a.2c!
suffix -y, vv. 2a.2c (epiphora)
vv. 3–4: my y‘md/ky ‘mk, vv. 3b and 4a resp. (alliter.)
vv. 5–6: yhwh/’dny, vv. 5a and 6a resp. (exactly linear)
npšy, vv. 5b.6a!
prep. l-, vv. 5c.6a+b+c
wldbrw/lbqr, vv. 5c and 6b+c resp. (alliter.)
vv. 7–8: yśr’l, vv. 7a.8a!
} chiasmus
root pdh, vv. 7c.8a!
suffix -w, vv. 7c.8b
‘mw pdwt/‘wntyw, vv. 7c and 8b resp. (alliter.; epiphora)

vv. 1–4 (Canto I): suffix -k, vv. 1+2b.4a!
yhwh/yh, vv. 1.3a
} chiasmus (exactly linear)
’dny, vv. 2a.3b
prep. l-, vv. 2c.4b (exactly linear)
vv. 5–8 (Canto II): yhwh, vv. 5a.7a+b (linear)

suffix -w, vv. 5c.7c+8b!
root yh.l, vv. 5c.7a! (linear); see also qwh in v. 5a+b
prep. mn, vv. 6b.8b (linear)

vv. 1–2.5–6: yhwh, vv. 1.5a
’dny, vv. 2a.6a
suffix -y, vv. 2a+c.5b+6a!
vv. 3–4.7–8: ‘wnwt, vv. 3a.8b!

} chiasmus
ky ‘m, vv. 4a.7b!; see also ‘m in v. 7c!
yh/yhwh, vv. 3a.7a+b
hslyh.h/hh.sd, vv. 4a and 7b resp. (note the article h-!)
vv. 3–4.5–6: root šmr, vv. 3a.6b+c! (concatenation)

prep. l-, vv. 4b.5–6 (concatenation)

prep. mn (v. 1)

none

Psalm 130 has 8 verselines and 19 cola.1 From the latter perspective, the
tricolon v. 5, (‘I wait for the Lord, my soul waits, and I hope for his word’)
is the centre of the poem (> 8+3+8 cola).
23+29 (= 52 = 2×26 words in total).2 The centre of the poem on colon
level coincides with the centre in terms of words: vv. 1–4.5.6–8 > 23+6+23
words. Because the verseline expresses a fundamental theological message
we may safely assume that it represents the rhetorical centre of the psalm.3
The divine name, yhwh, occurs 4×: vv. 1, 5 and 7 (2×); in v. 3 it is
the short form yh, and in vv. 2, 3 and 6 ’dny (‘Lord’).

Köster (1837): 1–2.3–4.5–6.7–8 (4×2 verses); cf. De Wette (1856)
Hävernick (1849), p. 40: 1–4.5–8 (4.4 verses); similarly Herkenne (1936),
Schildenberger (1960), p. 675, Dahood (1970); cf. Kissane (1954)
1
Fokkelman (2002) has 18 cola because he takes v. 8 in its entirety as a single colon;
for the number of 19 cola, see also Fokkelman (MPHB II), p. 298 n. 15.
2
For the total number of 52 words, see also the preceding poem, Psalm 129!
3
Similarly Labuschagne, www.labuschagne.nl/ps130.pdf, Observation 1. Cf. Ps. 39,8,
w‘th mh qwyty ’dny // twh.lty lk hy’, as the rhetorical centre of Psalm 39; see CAS I, Ch.
III, 39.5 (p. 393).
Ewald (1866), pp. 372–73: 1–4.5–6.7–8; cf. Kraus (1978)

Ley (1875), p. 149: 1–2.3–4.5–6.7–8 (4×2 lines); similarly Gemser (1949),
Pannier/Renard (1950), Crow (1996); cf. Köster (1837)
Delitzsch (1894): 1–2.3–4|5–6.7–8 (4.4|4.5 cola); cf. Beaucamp (1979)
Zenner (1906), pp. 30–32: 1–2.3–5a|5b–6b+7a.7b–8 (2.2|2.2 bicola); cf.
Jacquet (1979)
Cornill (1920)1–2.3–4|5*–6b*.7b–8 (2.2|2.2 bicola; a.b|a’.b’; four ‘Kinastro-
phen’); cf. Gunkel (1926), Mowinckel (1957), p. 101
Duhm (1922): 1–2.3–4.5–6a.6b–7a*.7b–8 (5×2 bicola)
Calès (1936): 1–2.3–4.5–6b.6c–8 (2.2.2.3 lines); similarly NAB (1970)
Aletti/Trublet (1983), p. 100: 1–2|3.4.5–6|7a.7b–c.8 (intro|a.b.c|c’.b’.a’)
Van Grol (1986): 1–2.3–4|5–6.7–8 (2.2|2.2 lines); similarly Stocks (2012)
Marss (1988): 1–4a.4b–6b.6c–8
Girard (1994): 1.2a|2b.2c||3.4.5–6a.6b|6c.7a.7b–c.8 (a.b|b’.a’||c.d.e.f|f’.
e’.d’.c’); cf. Aletti/Trublet (1983) and Auffret (1999)
Fokkelman (2000), pp. 297–98: 1–2.3–4|5–6.7–8 (2.2|2.2 lines; a.b|a’.b’);
similarly Prinsloo (2002), Weber (2005), pp. 900–05, and Booij (2009);
cf. [Hossfeld]/Zenger (2008)
Allen (2002), pp. 253–55: 1–2|3–4.5–6.7–8 (a|b.c.b’)
Terrien (2003): 1–3.4–6.7–8 (3.3.2 lines)

The division of Psalm 130 into four (2-line) strophes, vv. 1–2, 3–4, 5–6
and 7–8, is self-evident on thematic grounds (see § 23.2) and generally
endorsed (see § 23.6). With the exception of vv. 1–2 (see § 23.1), the
Masoretic verse division coincides with the poetic verselines; that is to
say, the poem consists of an uninterrupted series of 2-line strophes. The
strophic framework is unambiguously supported by the patterns of verbal
repetitions described in §§ 23.4.1–2 and the transition markers listed in §§
23.3.1–2.
On the macrostructural level, the psalm divides into two 4-line cantos,
vv. 1–4 and 5–8. In Canto I the psalmist addresses God in the second
person, while in Canto II he exclusively speaks about God in the third
person (§ 23.2). The first canto emphatically winds up with the phrase
lm‘n twr’ (‘that you may be revered’; cf. Sedlmeier [1992], p. 483). The
bipartite division is reinforced by the verbal recurrences which occur on the
level of the poem as a whole; see § 23.4.3. This approach reveals that the
2-line strophes display a linearly alternating parallelism: vv. 1–2.3–4|5–6.
7–8 > a.b|a’.b’.4 The root šmr constitutes a concatenation (§ 23.4.3).
4
Similarly Cornill (1920!), Fokkelman, Prinsloo, Weber and Booij (see § 23.6); for
The linear parallelism between the cantos is supported by the thought

development characterizing the entire composition (§ 23.2). The a-strophes
(vv. 1–2 and 5–6) are about the individual relationship of the psalmist with
God: his prayer to God ‘out of the depths’ matches his ‘waiting (in the
night) for the morning’.5 The b-strophes (vv. 3–4 and 7–8) deal with the
forgiveness of iniquities for all people (the people of Israel).6
The tight, well-knit structure of Psalm 130 demonstrates that vv. 7–8 in
their entirety represent an original and essential element of its framework.7
The rhetorical framework of Psalm 130 is exactly similar to that of Psalms
126–129: 2.2|2.2 verselines. The 17 words of the concluding strophe 130,7–8
express the gist of the poem.8 The psalmist calls on the people of Israel to
trust in God who will surely bring about total and final restoration.9 The
the root pdh (‘to redeem’, vv. 7–8; note the repetition) demonstrates that
the psalmist is speaking about the redemption from physical distress. In
the book of Isaiah it is the captivity in Babel; cf. wpdwyy yhwh yšwbwn
(Isa. 35,10 51,11) and hqs.wr qs.rh ydy mpdwt (Isa. 50,2). In the present
context, the Psalms of Ascents, it is the aggression by political adversaries
in Jerusalem; for this interpretation, see § 27.2 below.
I conclude that the psalmist is speaking as a member of the commu-
nity who at present is also suffering as a result of Israel’s iniquities; see
mm‘mqym (‘out of the depths’) in v. 1.10 During a long period, the post-
the bipartite division, see also Hävernick, Herkenne, Van Grol in § 23.6, and cf. Zenner
(1906). The a-strophes (vv. 1–2.5–6) are further highlighted by the accumulation of the
letter qoph; see mm‘mqym in v. 1a etc. (the qoph does not occur in vv. 3–4 and 7–8).
5
The phrase wldbrw hwh.lty is in line with ldbrk yh.lty occurring in Ps. 119,74 81 114
and 147; cf. also dbr l‘bdk . . . yh.lty in Ps. 119,49. The combination of the root yh.l with
the object dbr (‘word’ [of God]) does not occur elsewhere in MT (Luyten, p. 58); cf. hn
hwh.lty ldbrykm in Job 32,11a.
6
These observations are at variance with the opinion that vv. 3–8 have a symmet-
ric/concentric structure and vv. 1–2 are a relatively individual introduction; contra
Aletti/Trublet, Girard, Auffret and Allen (following Ceresko [1976], p. 308); see § 23.6.
7
Similarly Marrs (1982), p. 90, Allen (2002), p. 254, Booij (2009), p. 222, among
others; contra C.B. Houk, ‘Syllables and Psalms. A Statistical Linguistic Analysis’,
JSOT 14 (1979), pp. 55–62 (note p. 58), Sedlmeier (1992), pp. 479–80, Seybold (1996),
and recently [Hossfeld]/Zenger (2008), p. 572, among others, who argue that vv. 7–8
represent a later application of the psalm to the community.
8
It is only in this strophe that the divine name (yhwh) occurs twice; 17 represents
the numerical value of the Tetragrammaton.
9
V. 7a is probably to be taken as a projecting colon, a kind of anacrusis, emphasizing
the call of the psalmist; cf. w’mr in Ps. 55,7–9 (the concluding strophe of Canto I; see
CAS II, pp. 122–33) and bt bbl hšdwdh in Ps. 137,8–9 (the concluding strophe of the
poem in its entirety; see below). For the device for anacrusis, see CAS I, Ch. V, 6.3 (pp.
533–35).
10
According to Weiser (1966, pp. 534), in vv. 1–4 the psalmist calls to mind the
exilic community experienced adversity and suffered through disappoint-

ment; cf. the prayers Neh. 1,4–11 and 9,5–37; see also Psalms 85 and 126.
The poet of the Psalms of Ascents calls on his fellow believers to put their
hope in God’s steadfast love (h.sd, v. 7b); this will result in final and total
restoration.
There is a conspicuous structural relationship between Psalms 130 and 25.

Both compositions have individual sections (Pss. 130,1–2.5–6 and 25,1–7.
16–21; note npšy in Pss. 130,5b.6a and 25,1.20) and generalizing ones (Pss.
130,3–4.7–8 and 25,8–11.12–15.22); cf. also mm‘mqym (‘out of the depths’;
130,1) with mms.wqwty (‘out of my distress’; 25,17). Both psalms end with
a reference to God’s redeeming the people of Israel from all their iniqui-
ties/distress, phrased in similar wordings: whw’ ypdh ’t yśr’l // mkl ‘wntyw
(130,8) and pdh ’lhym ’t yśr’l // mkl .srwtyw (25,22). The concluding verse-
lines of their first cantos also reveal conspicuous similarities: ky ‘mk hslyh.h
// lm‘n twr’ (130,11) and lm‘n šmk yhwh // wslh.t l‘wny ky rb hw’ (25,11);
note lm‘n and the root slh.; for ‘wny in 25,11b, cf. 130,3a.8b. In addition,
the phrase lm‘n twr’ (130,4b, concluding Canto I) matches lm‘n .twbk yhwh
(25,7c, concluding Canticle I.1)!11
23.8 Bibliography
C.H. Cornill, ‘Psalm 130’, in K. Marti (ed.), Beiträge zur alttestamentlichen Wis-
senschaft. FS K. Budde (BZAW 34), Giessen: A. Töpelmann, 1920, pp. 38–42;
Štefan Porúbčan, ‘The Text of Psalm CXXX 5–6’, VT 9 (1959), pp. 322–23;
P.W. Skehan, ‘Some Short Psalms’, in P.W. Skehan, Studies in Israelite Poetry
and Wisdom (CBQ Monograph Series 1), Washington (DC): Catholic Biblical
Association of America, 1971, pp. 59–63;
A.R. Ceresko, ‘The Chiastic Word Pattern in Hebrew’, CBQ 38 (1976), pp.
303–11;
H. van Grol, De Versbouw in het Klassieke Hebreeuws. Fundamentele Verken-
ningen. I: Metriek, Amsterdam, 1986, pp. 101–02;
prayer of penance he (in the past) addressed to God in awareness of his sins, in order to
acknowledge God’s merciful forgiveness before the community (in the present; vv. 5–8).
Weber (2003 and 2005, pp. 902–03) argues that vv. 1–2.5–6 are about the past and vv.
3–4.7–8 about the present. However, from Psalm 126 onwards the Psalms of Ascents
are about the post-exilic situation. The distress, which in Psalm 130 is only indicated
by the enigmatic expression mm‘mqym is the distress of the post-exilic community. The
ambiguity of Psalm 130 in form-critical terms (Nasuti [2004], pp. 96–101) is due to the
fact that the Psalms of Ascents cannot be viewed in isolation; they form an original
whole, displaying a logical development of ideas.
11
For the rhetorical structure of Psalm 25, see CAS I, Ch. III.25 (pp. 262–72).
R.R. Marrs, ‘A Cry from the Depths (Psalm 130)’, ZAW 100 (1988), pp. 81–90;
J. Tromp, ‘The Text of Psalm CXXX 5–6’, VT 39 (1989), pp. 100–03;
J. Luyten, ‘Psalm 130. Reminiscenties and connotaties’, in P.C. Beentjes et al.
(eds.), Gelukkig de mens. FS N. Tromp, Kampen, no date [circa 1990], pp. 48–61;
F. Sedlmeier, ‘“Bei dir, da ist die Vergebung, damit du gefürchtet werdest”.
Überlegungen zu Psalm 130’, Biblica 73 (1992), pp. 473–95;
Th. Booij, ‘Psalm 130:3–4. The Words and their Context’, in Janet W. Dyk
et al. (eds.), Unless some one guide me . . . FS K.A. Deurloo (ACEBT, Suppl.
Series 2), Maastricht: Shaker Publishing, 2001, pp. 237–45;
B. Weber, ‘“Wenn du Vergehen aufbewahrest . . . ” Linguistische, poetologische
und theologische Notizen zu Psalm 130’, BN 107/108 (2001), pp. 146–60;
G.T.M. Prinsloo, ‘Psalm 130. Poetic Patterns and Social Significance’, OTE 15
(2002), pp. 453–69;
M. Weber, “Aus Tiefen rufe ich dich”. Die Theologie von Psalm 130 und ihre
Rezeption in der Musik (Arbeiten zur Bibel und ihrer Geschichte 13), Leipzig:
Evangelische Verlagsanstalt, 2003;
H.P. Nasuti, ‘Plumbing the Depths: Genre Ambiguity and Theological Creativ-
ity in the Interpretation of Psalm 130’, in H. Najman and J.H. Newman (eds.),
The Idea of Biblical Interpretation. FS J.L. Kugel (SupplJSJ 83), Leiden: Brill,
2004, pp. 95–124;
Sung-Hun Lee, ‘Lament and the Joy of Salvation in the Lament Psalms’, in P.W.
Flint and P.D. Miller (eds.), The Book of Psalms. Composition and Reception
(SupplVT 99), Leiden/Boston: Brill, 2005, pp. 224–47;
B. Weber, ‘Einige poetologische Überlegungen zur Psalmeninterpretation ver-
bunden mit einer exemplarischen Anwendung an Psalm 130’, OTE 18/3 (2005),
pp. 891–906.

24 Psalm 131
Structure: 2.2.1 lines (Type IIB)
1 YHWH l’ gbh lby wl’ rmw ‘yny
wl’ hlkty bgdlwt wbnpl’wt mmny
2 ’m l’ šwyty wdwmmty npšy

kgml ‘ly ’mw kgml ‘ly npšy
3 yh.l yśr’l ’l YHWH m‘th w‘d ‘wlm
24.1 Text
V. 2c–d: ‘like a nursed infant on his mother // like a nursed infant is my
soul on me’ (a form of staircase parallelism); for gml as ‘nursed infant’
(not ‘weaned child’), see 1 Kings 11,20 (Schmidt [1934], Van Gemeren
[1982], Labuschagne [2007]). ‘MT ist beizubehalten, sowohl gegen die alten
Versionen als auch gegen die zahlreichen Textkonjekturen, die sich teilweise
an den alten Versionen inspirieren’; [Hossfeld]/Zenger (2008), p. 596.
24.2 Content
Protestation of trust in future restoration (cf. Psalm 130).
• O Lord, I do not busy myself with things too marvellous for me (v. 1).
• On the contrary, I have quieted my soul (v. 2).
• Let Israel wait for the Lord (v. 3).

24.3.1.1 vocative: yhwh, v. 1a vocative: yśr’l, v. 3a
’m l’, v. 2a! (cf. Ps. 132,3–4
and 12) 24.3.1.2 none
imperative: yh.l, v. 3a

24.3.2.1 m‘th w‘d ‘wlm, v. 3b 24.3.2.2 none

w- beginning of line, v. 1c

v. 1: wl’, v. 1b.1c; see also l’ in v. 1a
wl’/wbnpl’wt, v. 1b+1c and 1d resp. (alliter.)
v. 2: npšy, v. 2b.2d! (epiphora)

vv. 1.2.3: yhwh, vv. 1a.3a! (inclusion)
l’, vv. 1 (3×).2a! (concatenation)
prep. mn, vv. 1d.3b!
roots dmm/yh.l, vv. 2b and 3a resp.; cf. Ps. 37,7a and Lam.
3,26

none

Psalm 131 has 5 verselines and 10 cola.1 From these perspectives, v. 2a–b is
the centre of the psalm: > 2+1+2 lines and 4+2+4 cola. Moreover, in this
verseline the psalmist explicitly and positively ‘avows that he has always
remained composed, kept a low profile and quieted himself’. The framing
position of the divine name, yhwh, which only occurs in vv. 1a–b and 3
(the opening and concluding verselines) is a rhetorical image that God is
around the psalmist and underlines the confidence he may have in God’s
presence.2 Therefore, I assume that v. 2a–b represents the deliberately
designed rhetorical centre of the psalm.3
Structure of strophes and cantos in terms of words: 12+11+7 (= 30
words in total). In this respect, Labuschagne (www.labuschagne.nl/ ps131.
pdf, Observation 4) points out that 30 is the numerical value of the root
yh.l (‘to wait for in hope’; = 10+8+12), obviously a key word in the psalm;
cf. yh.l in Ps. 130,5.7.
1
Similarly Fokkelman, MPHB III, p. 293. Stocks (2012), pp. 160–62, argues that v. 2
is a tricolon; similarly Gemser (1949), p. 62.
2
For the framing positioning of the Tetragrammaton, see Psalms 8, 23, 101 and 125;
see also ’lhym (‘God’) in Psalm 82 and ’dny (‘Lord’) in Psalm 90.
3
Cf. Labuschagne, www.labuschagne.nl/ps131.pdf, Observations 1–2.

Köster (1837): 1–2.3; similarly Ewald (1866), pp. 373–74
Sommer (1846), pp. 129–30: 1.2.3 (4.2.2 cola)
De Wette (1856): no strophes; similarly Kissane (1954)
Ley (1875), p. 227: 1.2.3 (‘zwei Dekameter’ and a ‘Halbzeile’)
Delitzsch (1894): 1.2.3 (3.3.2 cola)
Zenner (1906), pp. 77–78: 1–3 (2.2.1 lines); similarly Calès (1936), Jacquet
(1979), Allen (2002), Fokkelman (2003), pp. 291–93, Weber (2003)
Duhm (1922): 1.2 (2.2 bicola; v. 3 is a later addition); similarly Delitzsch
(1921), p. 123, Pannier/Renard (1950); cf. Mowinckel (1957), p. 101
Gunkel (1926): 1–2.3 (‘Keine Strophenbildung’; v. 3 is probably a later
addition); cf. Köster (1837)
Gemser (1949): 1.2.3 (2.1.1 lines); similarly Terrien (2003)
Quell (1967): 1–2b.2c–d (3.1 1 bicola; v. 3 is a later addition); similarly
Beaucamp (1979): 1–2c 3 (6 2 cola)
Girard (1994): 1.2|3 (a.a’|b)
Stocks (2012): 1|2.3 (2|1.1 lines)
www.labuschagne.nl/ps131.pdf: 1.2|3 (2.2|1 lines)

Psalm 131 consists of two 2-line strophes (vv. 1 and 2) and a concluding
monoline strophe. The structural coherence of the individual 2-line stro-
phes is based on thematic (§ 24.1) and formal (§§ 24.3.1–2 and 24.4.1)
indications. From a thematic point of view, vv. 1 and 2 represent a kind
of antithetic parallelism: I do not rely on my own power (v. 1), but I trust
in God (v. 2).4 Like the opening strophes of Psalm 130 (vv. 1–4; Canto I),
the 2-line strophes of Psalm 131 are addressed to God and consist of 23
words. V. 3 (spoken about God) very concisely repeats and at the same
time emphasizes (note v. 3b) the focal idea of Psalm 130,5–8 (Canto II);
the exhortation to Israel to trust in God, v. 3a, is a repetition of 130,7a.
It is especially the phenomenon of the deliberately designed rhetorical
centre v. 2a–b (see § 24.5) which demonstrates that v. 3 is an original
element of this small composition and not a later addition.5
4
The metaphor of the nursing woman (v. 2c) has no factual connection with the
speaker. That is to say, the speaker/psalmist is not necessarily a woman, as is vehemently
asserted by Quell (1967, pp. 177–80; ‘Man fühlt, ohne zu wissen warum, daß im Wortlaut
das Lebensgefühl der Frau, nicht des Mannes im Spiel ist’ [p. 178]); similarly Knowles
(2006).
5
Contra Duhm, Gunkel, Quell (1967), Crow (1996), [Hossfeld]/Zenger; cf. § 24.6.
I conclude that from a structural and thematic point of view, Psalm 131
is a literary echo of Psalm 130, underlining the focal message of the latter
composition: let Israel wait for God, as I do.6 For the relationship with the
preceding psalm in terms of verbal repetitions, see: ’m (v. 2a) > 130,3a;
npšy (v. 2 [2×]) > 130,5.6; yh.l yśr’l ’l yhwh (v. 3a) > 130,7a; root yh.l (v. 3a)
> 130,5c.7a; yśr’l (v. 3a) > 130,7a.8a.
24.8 Bibliography
G. Quell, ‘Struktur und Sinn des Psalms 131’, in F. Maass (ed.), Das ferne und
das nahe Wort. FS L. Rost (BZAW 105), Berlin: Töpelmann, 1967, pp. 173–85;
H. van Grol, ‘Psalm 131, een labyrinth van verlangens’, in P.C. Beentjes et al.
(eds.), Gelukkig de mens. FS N. Tromp, Kampen, no date [circa 1990], pp. 48–61;
W. Beyerlin, Wider die Hybris des Geistes. Studien zum 131. Psalm (SBS 108),
Stuttgart, 1982;
W.A. van Gemeren, ‘Psalm 131:2—kegamul. The Problems of Meaning and
Metaphor’, Hebrew Studies 23 (1982), pp. 51–57;
B.P. Robinson, ‘Form and Meaning in Psalm 131’, Biblica 79 (1998), pp. 180–97;
W.S. Prinsloo, Die Psalms leef: ’n eksegetiese studie van psalm 3, 15, 23, 112,
126, 131, 136, 148, Pretoria: NGKB, 1991;
Melody D. Knowles, ‘A Woman at Prayer: A Critical Note on Psalm 131:2b’,
JBL 125 (2006), pp. 385–89;
C.J. Labuschagne, ‘The Metaphor of the So-Called “Weaned Child” in Psalm
cxxxi’, VT 57 (2007), pp. 114–18;
Marianne Grohmann, ‘The Imagery of the “Weaned Child” in Psalm 131’, in E.
Zenger (ed.), The Composition of the Book of Psalms (BEThL 238), Leuven/
Paris/Walpole (MA): Peeters, 2010, pp. 513–22;
B.A. Strawn, ‘A Woman at Prayer (Psalm 131,2b) and Arguments “from Paral-
lelism”’, ZAW 124 (2012), pp. 421–26.
6
Cf. Robinson (1998), pp. 191–92.195–96.
25 Psalm 132
Structure: 10.10 > 5.5|4.6 > 2.3|2.3||2.2|2.2.2 lines (Type IA)
I.1 1 zkwr YHWH LDWD ’t kl ‘nwtw

2 ’šr NŠB‘ lyhwh ndr l’byr y‘qb
3 ’M ’b’ b’hl byty ’M ’‘lh ‘l ‘rś ys.w‘y

4 ’M ’tn šnt l‘yny l‘p‘py tnwmh
5 ‘d ’ms.’ mqwm lyhwh mšknwt l’byr y‘qb
I.2 6 hnh šm‘nwh b’prth ms.’nwh bśdy y‘r

7 nbw’h l mšknwtyw nšth.wh lhdm rglyw
8 qwmh yhwh lMNWH. Tk ’th w’rwn ‘zk

9 KHNYK YLBŠW S.DQ WH . SYDYK YRNNW
10 b‘bwr DWD ‘bdk ’L TŠB pny MŠYH
.k
II.1 11 NŠB‘ YHWH LDWD ’mt L’ YŠWB mmnh

mpry bt.nk ’šyt lks’ lk
12 ’M yšmrw bnyk bryty w‘dty zw ’lmdm

gm bnyhm ‘dy ‘d yšbw lks’ lk
II.2 13 ky bh.r yhwh bs.ywn ’wh l mwšb lw

14 z’t MNWH . Ty ‘dy ‘d ph ’šb ky ’wtyh
15
.sydh brk ’brk ’bywnyh ’śby‘ lh.m
16 wKHNYH ’LBYŠ YŠ‘ WH . SYDYH RNN YRNNW
17 šm ’s.myh. qrn lDWD ‘rkty nr lMŠYH .y
18 ’wybyw ’LBYŠ bšt w‘lyw ys.ys. nzrw
25.1 Text
V. 1b—‘nwtw : infinitive pu‘al from the root ‘nh + suffix (‘his affliction’).
V. 4a—šnt: for the ending, see GKC § 80g.
V. 11a–b: MT divides with .sinnôr (postpositivus) after ’mt; for the division
after ldwd, see Fokkelman (MPHB III), p. 296 n. 64, and cf. § 25.5 about
the pivotal position of v. 11a*.
25.2 Content
God has chosen Zion as his resting-place and from there He will support
his Anointed One.
I David swore to God to find a dwelling for Him (I.1); may God enter
it and accept his Anointed One (I.2).
I.1 O God, remember David’s oath (vv. 1–2): I will not rest until
I find a dwelling for God (vv. 3–5); addressed to God.
I.2 Let us prostrate in his abode (vv. 6–7).
O God, enter your resting-place and protect your Anointed
One (vv. 8–10; addressed to God).
II God (conditionally) swore to David to maintain his dynasty (II.1; cf.
I.1) and has chosen Zion as resting-place (II.2; cf. I.2); spoken about
God.
II.1 God swore to David that his offspring will reign (v. 11).
If your sons keep my decrees, they will reign forever (v. 12).
II.2 God has chosen Zion as his resting-place (vv. 13–14).
I will bless that city abundantly (vv. 15–16).
From there I will make my Anointed One rule over his enemies
(vv. 17–18).

25.3.1.1 imperative: zkwr, v. 1a zw, v. 12b
vocative: yhwh, v. 1a paronom. infinit. constr.:
hnh, v. 6a brk ’brk, v. 15a; ext. //
imperative: qwmh, v. 8a rnn yrnnw in v. 16b
’th, v. 8b 25.3.1.2 none

25.3.2.1 b‘bwr, v. 10a antithetic parallelism,
gm, v. 12c v. 18
‘d, v. 12c
‘d, v. 14a 25.3.2.2 ’l prohibitive, v. 10b

cohortative: nbw’h . . . nšth.wh, brk with object Israel,
v. 7 v. 15a
z’t, v. 14a w- beginning of line, v. 16a

prep. l-, vv. 1a.2a+b
vv. 3–5: ’m, vv. 3a+b.4a
suffix -y, vv. 3a+b.4a+b
prep. l-, vv. 4a+b.5a+b
vv. 8–10: suffix -k, vv. 8a+b.9a+b.10a+b
v. 11: prep. l-, v. 11a.11d (2×)
} chiasmus
prep. mn, v. 11b.11c!
v. 12: bnym, v. 12a.12c!
w‘dty/‘dy ‘d, v. 12b and 12c resp. (alliter.)
suffix -m/-hm, v. 12b.12c!
vv. 13–14: ky, vv. 13a.14b!
root ’wh + suffix -h, vv. 13b.14b!
} chiasmus
root yšb, vv. 13b.14b
vv. 15–16: suffix -h (attached to the first word of the cola), vv. 15a+b.
16a+b (Fokkelman, p. 294)
brk ’brk/rnn yrnnw, vv. 15a and 16b resp.
}
’śby‘ lh.m/’lbyš yš‘, vv. 15b and 16a resp. (alliter.)
chiasmus
vv. 17–18: qrn . . . nr/nzrw, vv. 17 and 18b resp. (note also the alliter.)
lmšyh.y/’lbyš, vv. 17b.18a (alliter.)

vv. 1–5 (I.1): lyhwh, vv. 2a.5a (exactly linear); see also yhwh in v. 1a
l’byr y‘qb, vv. 2b.5b! (epiphora); cf. lks’ lk in II.1
prep. l-, vv. 1a+2a+b.4a+b+5a+b (linear)
vv. 6–10 (I.2): prep. b-, vv. 6a+b.10a (inclusion)

prep. l-, vv. 7a+b.8a (concatenation)
vv. 11–12 (II.1): lks’ lk, vv. 11d.12d! (epiphora); cf. l’byr y‘qb in I.1
vv. 13–18 (II.2): bh.r/’brk, vv. 13a and 15a resp. (alliter.; linear)
prep. l-, vv. 13b.17a+b (linear)
suffix -w, vv. 13b.18 (3×; inclusion)
ph/šm (‘there’), vv. 14b and 17a resp.
’lbyš, vv. 16a.18a! (linear)

vv. 1–10 (Canto I): yhwh, vv. 1a+2a+5a.8a; note yhwh vocative in vv.
1a and 8a! (inclusion)
dwd, vv. 1a.10a (inclusion)
suffix -w, vv. 1b.7a+b (linear)
root bw’, vv. 3a.7a!
} chiasmus (concatenation)
root ms.’, vv. 5a.6b!
root qwm, vv. 5a.8a! (linear)
mšknwt, vv. 5b.7a! (concatenation)
vv. 11–18 (Canto II): yhwh, vv. 11a.13a (linear)

ldwd, vv. 11a.17a (inclusion)
suffix -y, vv. 12a+b.17b (linear)
‘dy ‘d, vv. 12c.14a! (concatenation)
root yšb, vv. 12d.13b+14b! (concatenation)

vv. 1–5.11–12: yhwh ldwd, vv. 1a.11a!
} chiasmus; cf. n’m yhwh //
nšb‘, vv. 2a.11a!
nšb‘ yhwh in Psalm 110
’m, vv. 3a+b+4a.12a! (exactly linear)
vv. 6–10.13–18: b’prth . . . bśdy y‘r/bs.ywn vv. 6 and 13a (the only place
names in the psalm; exactly linear; Fretheim [1967])
mnwh.h, vv. 8a.14a!
khnyk ylbšw .sdq/khnyh ’lbyš yš‘, vv. 9a and 16a! resp.;
see also ’lbyš in v. 18a!
wh.sydyk yrnnw/wh.sydyh rnn yrnnw, vv. 9b and 16b!
dwd, vv. 10a.17a
mšyh., vv. 10b.17b!
vv. 6–10.11–12: suffix -h, vv. 6a+b.11b

suffix -k, vv. 8–10.11c+d+12a+d!
dwd, vv. 10a.11a (concatenation)
’l tšb/l’ yšwb, vv. 10b and 11b resp.! (concatenation)

prep. b- (vv. 3.13)

root ‘lh (vv. 3 [2×].18)

Psalm 132 has 9 strophes, 20 verselines and 40 cola.1 V. 11 represents
the middle strophe (> 4+1+4 strophes). The noun bt.n (‘womb’; v. 11c)
probably highlights its central position; see CAS II, Ch. V, 4.1.2.
Structure of strophes and cantos in terms of words: 12+22|11+18||12+
14|15+12+13 = 34+29|26+40 = 63+66 (= 129 = 43×3 words in total).
On word level, v. 11a, nšb‘ yhwh ldwd, represents the centre of the psalm (>
63+3+63 words). Labuschagne points out that 63 is the numerical value
of the 63rd word of the poem, mšyh.k (‘your anointed’; 13+21+10+8+11 =
63).2 This peculiarity may indicate the subject of God’s oath. Vv. 11c–12
and 14–18 together have exactly 52 (= 2×26) divine words.3
The divine name, yhwh, occurs 6×: vv. 1, 2, 5, 8, 11 and 13.

Köster (1837): 1–5.6–9|10–13.14–18 (5.4|4.5 verses); cf. Bee (1978)
Hävernick (1849), p. 43: 1–5.6–9.10–12|13–14.15–16.17–18 (5.4.3|2.2.2 verses)
De Wette (1856): 1–5.6–9|10–12.13–15.16–18 (5.4|3.3.3 verses)
Ewald (1866), pp. 450–52: 1–7.8–12.13–18 (14.14.12 cola)
Ley (1875), pp. 183–84: 1–5.6–10|11–13.14–18 (5.5|5.5 lines); similarly Pan-
nier/Renard (1950), Schildenberger (1960), pp. 674–75, Kruse (1983),
pp. 280–81; cf. Von Faulhaber (1913), p. 10, NAB (1970)
Delitzsch (1894): 1–5.6–10.11–13.14–18 (4×10 cola); cf. Ley (1875)
Zenner (1896): 2–5.11–12|6+13+7+14|8–10+1.15–18 (1.3|1.3||2.2||2.2|2.2
lines); similarly Zenner (1906), pp. 311–27, and Condamin (1933),
pp. 257–61
Müller (1898), pp. 7–8: 2–5.6–7.8–10+1|11–12.13–14.15–18 (8.4.8|8.4.8 cola);
cf. Zenner (1896)
Duhm (1922): 1–2.3–4.5–6.7–8.11.12.13–14.15–16.17–18 (9×2 bicola)
Gunkel (1926): 1–2.3–5.6–7.8–10|11.12.13–14.15–16.17–18 (2.3.2.3|5×2
lines); cf. Gemser (1949)
Calès (1936): 1–5.6–10|11–13.14–18 (2.2.1|2.2.1||2.2.1|2.2.1 lines)
1
As far as the number of verselines and cola concerns, similarly Fokkelman (MPHB
III), p. 299, and Stocks (2012), pp. 165–68.
2
Labuschagne, www.labuschagne.nl/ps132.pdf, Observation 1.
3
Cf. Psalm 95 with 2×17 divine words; 26 and 17 symbolically represent the Tetra-
grammaton (see Ch. I, 1.4 above).
Montgomery (1945), p. 383: 1–5.6–10.11–18 (5.5.8 verses); cf. Dahood

Kissane (1954): 1–10.11–18 (10.10 lines); cf. Herkenne (1936)
Mowinckel (1957): 1–5.6–10|11.12.13–14.15–16.17–18 (5.5|5×2 lines); cf.
Gunkel (1926)
Van der Ploeg (1974): 1–5.6–10|11–12.13–18; cf. Doeker (2002), pp. 112–18
Houk (1978): 1–5.6–10.11–12.13–14.15–16.17–18; cf. Mowinckel (1957)
Beaucamp (1979): 1.2–5|6–9.10||11.12|13–14.15–16|17–18 (10.10|8.8.4 cola)
Jacquet (1979): 1.2–5.6–9.10|11a–b.11c–12+14.15–18.13 (1.4.4.1|1.4.4.1 ll.)
Aletti/Trublet (1983), p. 47: 1–2.3–4.5–8.9.10|11a–b.11c–12.13–15.16.17–18
Huwiler (1987), pp. 201–02: 1–7.8–10|11–12.13–18 (a.b|a’.b’); cf. Crow (1996)
Nel (1988), pp. 183–85: 1–2.3–5|6.7–9|10||11a–b.11c–12|13.14–16|17–18
(a.b.c|a’.b’.c’); similarly Auwers (1996), p. 548 n. 12
Girard (1994): 1–2.3–7.8.9–10|11a–b.11c–12.13–14.15–18 (a.b.c.d|a’.b’.c’.d’)
Auffret (1999), pp. 96–110: 1–2.3–5.6–7.8–10|11–12.13–14.15–16.17–18
Allen (2002), pp. 264–66: 1|2.3–5|6.7–9|10||11a–b.11c–12|13.14–16|17–18
(1.4.4.1|4.4.2 lines)
Terrien (2003): 1–3.4–5|6–7.8–10|11–12.13–14 15–16.17–18 (3.2|3.2|3.2 2.2
lines)
Weber (2003): 1–2.3–5|6–7.8–9||10–11b.11c–12|13–14.15–16||17–18 (4.6|4.4||
4.6|4.4||4 cola; A.B|A’.B’|vv. 17–18); cf. Fokkelman (2003), pp. 293–
301, and Körting (2006), pp. 106–13
[Hossfeld]/Zenger (2008): 1.2–5|6–7.8–10||11–12|13.14.15–18 (20.20 cola;
note pp. 616.618)
Booij (2009), p. 230: 1–2.3–5.6–7.8–10|11.12.13–14.15–16.17–18 (2.3.2.3|
5×2 lines; appealing to my STR, pp. 420–24)
Barbiero (2013): 1–2.3–5|6–7.8–10||11.12|13–14.15–16.17–18 (2.3|2.3||2.2|
3×2 lines and A.B|A’.B’; appealing to my CAS II, p. 491); similarly
www.labuschagne.nl/ps132.pdf

The discussion about the structure of Psalm 132 is somehow simplified by
the circumstance that all verselines consist of two cola (bicola); cf. § 25.5.
As far as I am aware, starting from his metrical theories (see CAS I, Ch. I,
1.3 [pp. 18–19]), Ley (1875) was the first scholar to distinguish two uniform
main parts of 10 verselines each, vv. 1–10 and 11–18. Most modern scholars
agree with this view; see § 25.6. However, more or less recently it is emphat-
ically maintained by Fretheim (1967), Fokkelman (2003), pp. 293.295–96,
and Hossfeld (2006), that the break between the main parts comes after
v. 9. According to Fokkelman, the ‘dissymmetry’ of 9 and 11 verselines
is the ‘iconic representation of an uneven reciprocity. . . . King David and
God are engaged in a combat de générosité, which David loses’ (p. 293).4
Zenger points out that the various main divisions have consequences for the
interpretation of the psalm. ‘Wer die Zweiteilung V 1–9.10–18 annimmt,
versteht den Psalm insgesamt als ein zweiteiliges Bittgebet, wer (wie wir)
die Zweiteilung V 1–10.11–18 annimmt, versteht den Psalm als Proklama-
tion einer Verheißung (als Antwort auf ein Bittgebet)’; [Hossfeld]/Zenger
(2008), p. 615. From a syntactic point of view, there is a clear coherence
within vv. 8–10, while v. 11 marks a new beginning. Moreover, the division
vv. 1–10.11–18 characterizes the composition as a promise for Zion, which
perfectly fits the total structure of the Psalms of Ascents.5
The first main part, vv. 1–10 (Canto I), stands out by the prayers of
the psalmist(/the people of Israel) in vv. 1–2(/5) and 8–10 (addressed to
God). In the second main part, vv. 11–18 (Canto II), the psalmist only
speaks about God. It chiefly consists of divine oracles, containing an oath
(vv. 11c–12) and a promise (vv. 14–18) and functioning as answers to the
preceding requests. The latter quotation is an unmarked embedded speech
introduced by v. 13. Additionally, Canto I looks to the past and Canto II
is oriented to the future.
In their turn the cantos divide into two (uniform) subsections: vv. 1–5.
6–10 and 11–12.13–18. For these divisions, see especially §§ 25.2 (content)
and 25.4.2 (verbal repetitions).6
The total structure of Psalm 132 is determined by a linearly alternat-
ing parallelism between the canticles: vv. 1–5.6–10|11–12.13–18 > a.b|a’.b’.
Canticles I.1 and II.1 are about the oath David and God have sworn re-
spectively. Canticles I.2 and II.2 contain a prayer for, and a description
of God’s election of Zion as his dwelling-place respectively. This linear
pattern between the canticles in terms of subject matter is unambiguously
supported by the pattern of verbal recurrences, responsions, on the level of
the poem as a whole; § 25.4.4. It is especially the correspondences between
vv. 1–2.11a and the refrain vv. 9.16 which catch the eye.7
4
In the nineteenth century and before Ley (1875), this view was also held by Köster
(1837) and De Wette (1856), who taking the Masoretic verse as poetic building block
distinguished two uniform parts of 9 and 9 Masoretic verses. For the division vv. 1–9.
10–18, see now also Weber (2003) in § 25.6.
5
See § 27.2.1 below and cf. [Hossfeld]/Zenger (2008), pp. 615–16; see further www.
labuschagne.nl/ps132.pdf, Observation 3.
6
Similarly Van der Ploeg, [Hossfeld]/Zenger, Barbiero and Labuschagne; see § 25.6. It
has sometimes been suggested that both cantos divide into exactly uniform subsections
of 5 verselines (or ten cola) each: vv. 1–5.6–10 and 11–13.14–18; see Ley, Delitzsch and
Calès in § 25.6. The latter division is due to some systematism.
7
For the linear correspondences between Cantos I and II, cf. also Girard, Weber and
Barbiero in § 25.6; see further [Hossfeld]/Zenger (2008), pp. 615–16. On the grounds
The canticles of Canto I each consist of a 2- and a 3-line strophe:

vv. 1–2.3–5 and 6–7.8–9 respectively. For these divisions, note §§ 25.2 (con-
tent), 25.3.1.1 (transition markers) and 25.4.2 (verbal repetitions).8 Canto
II is composed of an uninterrupted series of 2-line strophes. The latter
regularity is especially based on the thematic individuality of the strophes
(§ 25.2) and the patterns of verbal recurrences listed in §§ 25.4.1–2.9
It is worth noting that in terms of verbal repetitions, the individual can-
tos (vv. 1–10 and 11–18) mainly display a symmetric design; see § 25.4.3
and note the conspicuous concatenations. The latter patterns further re-
inforce the delimitation of the main parts: dwd in vv. 1 and 10 is (among
other things) part of the symmetric design of Canto I. Finally, these main
parts themselves are ingeniously joined together by an eye-catching con-
catenation; see especially the root šwb in vv. 10 and 11 (§ 25.4.4). And
the concluding prayer of Canto I, for the sake of David not to reject the
Anointed One (v. 10), obviously preludes on the subject matter of the
following canticle (vv. 11–12).
I conclude that the poetic design of our psalm displays clear devices
for responsion, inclusion and concatenation. The abrupt transitions and
exclamations, which are often noted in this composition,10 are to be seen
in the perspective of these stylistic devices.
The quintessential thought of Psalm 132 is to be found at the end of the
cantos: God is called to enter his resting-place (vv. 8–10) and the people
of Israel are reminded of God’s promise that Zion will be the city of his
Anointed One (mšyh., vv. 17–18). These ideas mutually reinforce each other
and express the hope for a final restoration of the post-exilic community of
Israel.11 In this respect, see also the central strophe, v. 11 (§ 25.5).
of Psalm 132 as ‘eine kunstvolle Komposition’, Zenger (p. 616) rightly challenges hy-
potheses ‘über ein sukzessives Wachstum des Psalms’ (contra Seybold) and ‘über die
redaktionelle Zusammenfügung vorgegebener Textelemente’ (against Saur). For the
structuring function and ‘linear’ positioning of the refrain, see CAS I, Ch. V, 4.3.1.1
(note p. 496).
8
See also Gunkel, Terrien, Booij and Barbiero in § 25.6.
9
See also Duhm, Gunkel, Mowinckel, Beaucamp, Booij and Barbiero in § 25.6.
10
See, e.g., Kraus (1978), p. 1056: ‘Psalm mit . . . wechselvollen Zitaten, Erklärungen
und Ausrufen’; Weber (2003), p. 316: ‘Ps. 132 wirkt stark komposit’; and also Delitzsch
(1894), p. 762: ‘mühsam, hie und da unsicher kletternde[n] Fortbewegung’.
11
For the post-exilic date of Psalm 132, see Patton (1995); note p. 653. For the
eschatological perspective of this message, see Barbiero (2013) and cf. Girard (1994),
p. 380: ‘le Ps 132 aurait visé à aiguillonner l’espérance messianique d’Israël, de manière
à combattre la crise de foi profonde et durable déclenchée par l’apparente rupture de la
promesse divine faite à David’. Recently, Booij (Biblica 90 [2009], pp. 75–83) argued in
favour of a late pre-exilic provenance of the psalm.
25.8 Bibliography
T.E. Fretheim, ‘Psalm 132: A Form-critical Study’, JBL 86 (1967), pp. 289–300;
C.B. Houk, ‘Psalm 132, Literary Integrity, and Syllable-Word Structures’, JSOT
6 (1978), pp. 41–48;
—, ‘Psalm 132: Further Discussion’, JSOT 6 (1978), pp. 54–57;
R.E. Bee, ‘The Textual Analysis of Psalm 132: A Response to Cornelius B.
Houk’, JSOT 6 (1978), pp. 49–53;
C. Brekelmans, ‘Psalm 132: Unity and Structure’, Bijdragen 44 (1983), pp.
262–65;
H. Kruse, ‘Psalm cxxxii and the Royal Zion Festival’, VT 33 (1983), pp. 279–97;
Elizabeth F. Huwiler, ‘Patterns and Problems in Psalm 132’, in K.G. Hoglund
et al. (eds.), The Listening Heart. FS R.E. Murphy (JSOTS 58), Sheffield, 1987,
pp. 199–215;
Ph. Nel, ‘Psalm 132 and Covenant Theology’, in W. Claassen (ed.), Text and
Context. FS F.C. Fensham (JSOTS 48), Sheffield: Academic Press, 1988, pp.
183–91;
—, ‘Recurrence in Biblical Hebrew Poetry: An Analysis of Psalm 132’, in Poceed-
ings of the Eleventh World Congress of Jewish Studies. Division A, Jerusalem:
World Union of Jewish Studies, 1994, pp. 145–50;
Corinne L. Patton, ‘Psalm 132: A Methodological Inquiry’, CBQ 57 (1995), pp.
643–54;
J.-M. Auwers, ‘Le Psaume 132 parmi les Graduels’, RB 103 (1996), pp. 546–60;
H. Tita, Gelübde als Bekenntnis (OBO 181), Freiburg (Schweiz)/Göttingen,
2001, pp. 193–99;
M. Pietsch, ‘Dieser ist der Sproß Davids . . . ’ (WMANT 100), Neukirchen-
Vluyn: Neukirchener Verlag, 2003, pp. 123–38;
F.-L. Hossfeld, ‘König David im Wallfahrtspsalter’, in Susanne Gillmayr-Bucher
et al. (eds.), Ein Herz so weit wie der Sand am Ufer des Meerses. FS G.
Hentschel (Erfurter Theologische Studien 90), Würzburg, 2006, pp. 219–33;
H.U. Steymans, ‘David als Erzvater des Zion—Ps 132 und der Pentateuch’, in
R. Achenbach and M. Arneth (eds.), ‘Gerechtigkeit und Recht zu üben’ (Gen.
18,19). FS E. Otto, Wiesbaden: Harrassowitz, 2009, pp. 403–22;
G. Barbiero, ‘Psalm 132: A Prayer of “Solomon”’, CBQ 75 (2013), pp. 239–58.

26 Psalms 133–134
I 1 HNH mh .twb wmh n‘ym šbt ’h.ym gm yh.d

2 kšmn ht.wb ‘l hr’š yrd ‘l hzqn zqn ’hrn šyrd ‘l py mdwtyw
3 kt.l h.rmwn šyrd ‘l hrry S.YWN

ky šm .swh yhwh ’t hBRKH h.yym ‘d h‘wlm
II 1 HNH BRKW ’t yhwh kl ‘bdy yhwh

h‘mdym bbyt yhwh blylwt 2 ś’w ydkm qdš wBRKW ’t yhwh
3 ybrkk yhwh mS.YWN ‘śh šmym w’rs.
26.1 Text
133,2: a tricolon, in accordance with the Masoretic accentuation.
134,1c: probably the first colon of the second verseline of Canto II; cf. Schmidt
(1934), Calès (1936), Gemser (1949), Dahood (1970), Fokkelman (2003).
26.2 Content
Zion as the city of mutual blessings.
I God shall bless the community (133,1–3; spoken about the people).
Behold, how good it is that brothers dwell together (vv. 1–2).
In Zion the Lord shall ordain eternal blessings (v. 3).
II Call to mutual blessing (134,1–3; addressed to the community).
Behold, bless the Lord, all you servants who are in the house of
the Lord (vv. 1–2).
May the Lord bless you from Zion (v. 3; cf. 133,3).

26.3.1.1 hnh, 133,1a brk with object God, 134,1a;
mh, 133,1a (2×) ext. // brk with object
hnh, 134,1a God in v. 2b
imperative: brkw, 134,1a; vocative: ‘bdy yhwh, 134,1b
ext. // ś’w in v. 2a and
brkw in v. 2b 26.3.1.2 gm, 133,1b
iii.26 psalms 133–134 417

26.3.2.1 ‘wlm, 133,3d 26.3.2.2 none
brk with object Israel, 134,3a

none

133,1–2: .twb, vv. 1a.2a!
134,1–2: brkw ’t yhwh, vv. 1a.2b!; see also yhwh in vv. 1b+c
kl ‘bdy yhwh/h‘mdym bbyt yhwh blylwt, vv. 1b and 1c resp.
(alliter.); note the chiasmus in vv. 1–2

133,1–3 (Canto I): ’h.ym . . . yh.d/h.yym, vv. 1b and 3d resp. (alliter.;
inclusion)
prep. k-, vv. 2a.3a! (concatenation; anaphora)
kšmn/ky šm, vv. 2a and 3c resp. (allit.; exactly lin.)
prep. ‘l, vv. 2a+b+c.3b! (concatenation)
šyrd ‘l, vv. 2c.3b! (concatenation); see also yrd ‘l in
v. 2b!
134,1–3 (Canto II): root brk, vv. 1a+2b.3a! (concatenation)

yhwh, vv. 1a+b+c+2b.3a! (concatenation)

133,1–2.134,1–2: hnh, 133,1a.134,1a! (anaphora)
’h.ym/byt yhwh, 133,1b and 134,1c resp.; cf. Ps. 122,8–9
‘l py mdwtyw/h‘mdym bbyt, 133,2c and 134,1c resp.
(alliter.; linear)
133,3.134,3: .sywn, 133,3b.134,3a! (linear)

ky šm/šmym, 133,3c and 134,3b resp. (alliter.; linear)
šm .swh/ms.ywn, 133,3c and 134,3a resp. (alliter.; linear)
133,3.134,1–2: ’t (nota accusativi), 133,3c.134,1a+2b!

} chiasmus
root brk, 133,3c.134,1a+2b
(concatenation)

zqn (133,2b [2×]); totally left out of consideration

Psalms 133–134 have 7 verselines and 16 cola.1 From these numerical per-
spectives, 133,3c–d is the centre of the poem (> 3+1+3 lines and 7+2+7
cola) and simultaneously expresses a focal idea (see § 26.7).
37+23 (= 60 words in total). It is exactly in 134,1–2 with its 17 words
in which there is a conspicuous accumulation of the divine name; note 4×
yhwh.
The divine name, yhwh, occurs 6×: 133,3 and 134,1 (3×), 2 and 3.

Köster (1837): no strophes
Ewald (1866), pp. 385–87: no strophes in Psalm 133; 134,1–2.3; similarly
Delitzsch (1894), Gunkel (1926)
Ley (1875), pp. 227–28.234: 133,1.2.3 (a ‘Halbzeile’ and 2 ‘Dekameter’);
134,1–3 (‘zwei Dekameter’)
Zenner (1906), pp. 35–36.55–56: 133,1–2b+3; 134,1–2.3 (1.2.1 and 2.1 lines)
Duhm (1922): 133,1–2b*.2c–3*; 134,1.2–3 (2.2 and 2.2 bicola)
Calès (1936): 133,1 2.3; 134,1–2.3 (1 1.2 and 2.1 lines)
Gemser (1949): 133,1.2a–bA.2bB–c.3a–b.3c–d; 134,1–2.3 (5×1 bicolon and
3.2 bicola)
Beaucamp (1979): 133,1 2a–b*+3a–b.3c–d; 134,1–2.3 (2 4.2 and 4.2 cola)
Jacquet (1979): 133,1.2–3b.3c–d; 134,1–2.3 (1.3.1 and 3.1 bicola)
Aletti/Trublet (1983), pp. 266–68: 133,1.2.3a–b.3c–d (a.b.b’.a’)
Girard (1994): 133,1||2a.2b–c|3a.3b||3c–d (a||b.c|b’.c’||a’); 134,1–2*.
blylwt.2|3 (a.b.a’|c)
Allen (2002): 133,1–2.3; 134,1–2.3 (3.2 and 2.1 lines)
Fokkelman (2003), pp. 301–04.304–05: 133,1.2–3b.3c–d; 134,1.2–3 (1.3.1
and 2.2 lines)
Terrien (2003): 133,1–2.3; 134,1–2.3 (3.2 and 2.2 bicola)
Weber (2003): 133,1.2–3b.3c–d (a.b.a’); 134,1–2.3 (4.2 cola)
1
Fokkelman (MPHB III, pp. 302) and Stocks (2012, pp. 170–71) take 133,2 as a
double bicolon; cf. Watson (1994), p. 410. I follow Skehan (1971, p. 62), Berlin (1987,
p. 145), Booij (2002, p. 264) and [Hossfeld]/Zenger (2008, p. 632) who take it as a
tricolon; similarly Labuschagne (www.labuschagne.nl/ps133.pdf). Stocks (2012, p. 172)
further considers 133,3c–d a ‘para-tricolon’.
iii.26 psalms 133–134 419
[Hossfeld]/Zenger (2008): 133,1.2–3b.3c–d (a.b.a’); 134,1–2.3 (1.2.1 and 2.1

lines); similarly www.labuschagne.nl/ps133–134.pdf
Stocks (2012), pp. 168–180: 133,1.2–3b.3c–d; 134,1–2.3 (1.3.1; 2.1 lines)

Psalm 133 and 134 form a single coherent composition at the end of the
cycle of the Psalms of Ascents, consisting of 7 verselines distributed over
two almost regular cantos of 4 and 3 lines. In this respect, the composition
resembles the opening psalm of the cycle, Psalm 120, constituting a kind
of inclusion (the canto design 4.3 verselines does not occur elsewhere in
Psalms 120–134). In the first canto (Psalm 133) the psalmist speaks about
his fellow believers in the third person and in Canto II (Psalm 134) he
addresses them in the second person (plural [vv. 1–2] and singular [v. 3]).
The structural unity of the psalms is highlighted by the linearly alternat-
ing pattern emerging from the recurrence of the exclamation hnh (behold!)
and the proper name .sywn; § 26.4.3 (the words do not occur elsewhere
in these psalms).2 Additionally, both cantos end on a strong note; see ‘d
h‘wlm in 133,3d (underlining the eternal experience of God’s presence) and
‘śh šmym w’rs. in 134,3b (underlining God’s all-embracing power).
This linear parallel design of the successive cantos (133,1–2.3|134,1–2.3
> A.B|A’.B’) coincides with some thematic correspondences. Pss. 133,1–2
and 134,1–2 are about the inhabitants of Zion who live in peace and praise/
bless the Lord respectively (in 134,1–2 God is the object of praise). More-
over, the smell of the fine oil (133,2) ‘steigt auf als ein Wohlgeruch zu Jhwh,
wie nach Ps 134 der Lobpreis der Knechte an ihn gerichtet ist’ (Körting
[2006], p. 157). In 133,3 and 134,3 God is the subject who blesses his peo-
ple. This basic structural pattern makes it clear that, according to the
psalmist, in the future—when God will realize the final restoration—there
will be no fundamental difference between the post-exilic community as a
social-political unity (133,1) and a cultic entity (134,1–2); both aspects are
ingeniously woven into the fabric of the text. The ‘brothers (and sisters)’
(’h.ym) who dwell together in peace (133,1) are not distinguished from the
‘servants of the Lord’ who praise the Lord in the temple (134,1–2; note
byt yhwh and qdš).3 Additionally, in this context, the reference to the beard
of the high priest is not an inappropriate element in the simile of 133,2.4
2
Zenger notes that LXX connects Psalms 133 and 134 as a pair by ‘die singuläre
Übersetzung von hnh “siehe” mit [. . . ] “siehe doch”’; [Hossfeld]/Zenger (2008), p. 657
(similarly p. 648).
3
See also Ps. 122,8–9. For blylwt in 134,1c, cf. Isa. 30,29 and Ps. 92,3.
4
The effect of v. 2c is ‘to enhance and reinforce the image of “flowing”’ (Berlin [1987],
Canto II consists of a 2-line and a mono-line strophe (134,1–2.3). The

coherence of 134,1–2 is quite obvious in terms of subject matter (§ 26.2)
and verbal repetitions (§ 26.4.1). There is general agreement about this;
see § 26.6. Nevertheless, it is important to note that—in terms of verbal
recurrences—these strophes are also linked together by some concatenations
(§ 26.4.2).
The structure of Canto I is more complicated. It is generally assumed
that the canto displays a symmetric pattern: 133,1|2.3a–b|3c–d > a|b.b’|a’.5
However, the linear correspondences between the similes 133,2 and 133,3a–b
are only external and we should not close our eyes to the thematic coher-
ences within 133,1–2 and 3. The ‘scented oil’ especially fits the idea that the
dwelling together of the people is ‘good’ (t.wb; vv. 1–2); it evokes the image
of a feast as described in Ps. 23,5–6 where the anointing of the head with oil
(v. 5c) is linear parallel with the expression wšbty bbyt yhwh (v. 6c).6 The
‘dew’ especially fits the context of ‘blessing’ (brkh; v. 3); cf. Gen. 27,27–28
and 39 Deut. 32,2 33,13.28 Hos. 14,6 Mic. 5,6. Additionally, there are
some formal indications supporting the regular framework of two successive
2-line strophes (cf. Allen and Terrien in § 26.6); see .twb in 133,1–2 and the
alliteration kšmn/ky šm marking the beginnings of the second verselines
of the strophes (§ 26.4.2). Moreover, the adverb šm (133,3c) immediately
links up with the place-name .sywn (133,3b).
The concluding verselines of the cantos, speaking about God’s blessings
for the people (133,3c–d and 134,3), express the quintessential thought of
the composition; cf. Ps. 132,15 and for 133,3c–d also § 26.5. The suffix of
the second person singular (-k ) in 134,3 probably underlines the idea(l) of
the people as a ‘close-knit’ society (gm yh.d ; 133,1b) by inclusion; cf. the
second person plural forms in 134,1–2. The root brk in 133,3c preludes on
the main theme of Psalm 134 (Canto II) and functions as a hinge between
the cantos. The composition as a whole (Psalm 133–134) represents the
concluding blessings at the end of the cycle of the Psalms of Ascents.7
p. 144). Therefore, Doyle (2001) mistakenly speaks of a ‘metaphora interrupta’, empha-

sizing the wisdom aspects of Psalm 133 and ignoring its cultic context; for the cultic
context, see also Körting (2006), pp. 156–57, and the relationship of Psalms 133–134
with Psalm 132 (cf. the concluding paragraph below).
5
See Jacquet, Aletti/Trublet, Fokkelman, Weber and Hossfeld/Zenger in § 26.6,
Körting (2006), p. 159, and cf. the verbal recurrences listed in § 26.4.2.
6
For this aspect, see further [Hossfeld]/Zenger (2008), pp. 643–46.
7
Cf. Zenger with regard to Psalm 134: ‘Ob der Psalm selbst [. . . ] als Einzellied bei
der Tempelliturgie aufgeführt wurde, ist fraglich. Er scheint eher (ebenso wie Ps 133)
von den Redaktoren als Schlusspsalm für die Sammlung Ps 120–134 erfasst worden zu
sein [. . . ], zumal Psalmensammlungen gerne mit einer Beraka/Doxologie abgeschlossen
wurden (vgl. Ps 41,14; 72,18–19; 89,53; 106,48)’; [Hossfeld]/Zenger (2008), p. 653. That
iii.26 psalms 133–134 421
the following verbal repetitions: hnh (133,1 and 134,1) > 132,6; root yšb
(133,1) > 132,12–14; ’hrn (133,2) > khnym in 132,9.16; .sywn (133,3 and
134,3) > 132,13; šm (‘there’; 133,3) > 132,17; root brk (133,3 and 134,1.2.3)
> 132,15 (2×); ‘bd (134,1) > 132,10.8
26.8 Bibliography
O. Keel, ‘Kultische Brüderlichkeit—Psalm 133’, Freiburger Zeitschrift für Philoso-
phie und Theologie 23 (1976), pp. 68–80;
D.T. Tsumura, ‘Sorites in Psalm 133,2–3a’, Biblica 61 (1980), pp. 416–17;
A. Berlin, ‘On the Interpretation of Psalm 133’, in Elaine R. Follis (ed.), Direc-
tions in Biblical Hebrew Poetry (JSOTS 40), Sheffield: JSOT Press, 1987, pp.
141–47;
W.G.E. Watson, ‘The Hidden Simile in Psalm 133’, in W.G.E. Watson, Tradi-
tional Techniques in Classical Hebrew Verse (JSOTS 170), Sheffield Academic
Press, 1994, pp. 409–11;
B. Doyle ‘Metaphora Interrupta. Psalm 133’, EThL 77 (2001), pp. 5–22;
Th. Booij, ‘Psalm 133: “Behold, how good and how pleasant”’, Biblica 83 (2002),
pp. 258–67;
E. Assis, ‘Family and Community as Substrates for the Temple after Its Destruc-
tion. New Readings in Psalms 127 and 133’, EThL 85/1 (2009), pp. 55–62;
K. Rochester, ‘The Missing Brother in Psalm 133’, ET 122 (2011), pp. 380–82.
is to say, the composition Psalms 133–134 is post-exilic and Canto I (Psalm 133) is
not about the ‘hope for the reunification of the north and south with Jerusalem as the
capital of a united kingdom’; contra Berlin (1987), p. 142.
8
‘Man kann die Abfolge Ps 132–134 geradezu als thematischen Zusammenhang lesen,
der mit Ps 132 einen pointierten Anfang hat und in Ps 134 einen vollendenden Abschluss
findet’; [Hossfeld]/Zenger (2008), p. 648.
27 The linearly alternating design of the

cycle of the Psalms of Ascents
27.1 Introduction: various combinations
It is almost generally agreed that the Psalms of Ascents (šyr hm‘lwt; Psalms
120–134) represent a distinct and coherent cycle of compositions.1 And
it is reasonable to assume that the psalms were especially composed for
this clearly demarcated series, including the relatively lengthy Psalm 132.2
Moreover, some exegetes assume that the cycle in question has a well-
proportioned structure. In that case, the individual psalms can only be
understood and regarded as deliberately positioned parts of a well thought-
out literary work of art. However, generally speaking, previous research did
not lead to a consensus of opinion regarding the overall framework of this
series. Here is an overview.
Seybold (1978), p. 72: 120–122.123–132.133–134; similarly Seybold (1979)

Beaucamp (1979), pp. 252–55: 120–122.123–128.129–134 (3.6.6 psalms);
similarly Deurloo (2000)
Auffret (1982), p. 443: 120–124.125–129.130–134 (3×5 psalms); similarly
Millard (1994); see also Auffret (1999), pp. 125–249, and Weber
(2003), p. 319
Viviers (1994), pp 284–87: 120–123.124–126|127–129||130–131.132–134
Crow (1996): 120–122.123–131.132–134 ; similarly Goulder (1998)
Satterthwaite (1999): 120–122.123–125.126–128.129–131.132–134
Allen (2002), p. 195: 120–122.123–126.127–128.129.130–134 (3.4.2.1.5 pss.)
Leuenberger (2004), pp. 308–12: 120–122.123–125.126–129.130–134
Zenger (2004): 120–124.125–129.130–134 (3×5 psalms; A.B.A’; Psalms 122
and 132 represent the central poems of A and A’ resp.); similarly
[Hossfeld]/Zenger (2008), p. 403
Gillingham (2010), pp. 94–96: 120–122.123–126|127–129|130–131.132–134
(A.B|X|B’.A’); cf. Gillingham (2004), pp. 317–20, and Viviers (1994)
1
For the special features of this series of psalms, see the seven characteristics listed
by [Hossfeld]/Zenger (2008), pp. 401–03: among other things, relatively small poems,
form-critically indetermined, conspicuous poetic technique, special expressions, many
comparisons, concentration on Zion. In this respect, see also Beaucamp (1979), Crow
(1996), pp. 129–58, Satterthwaite (1999), pp. 105–08, Zenger (2004), pp. 176–78, and
Booij (2010), pp. 241–43.
2
Similarly Beaucamp (1979), Viviers (1994) and Satterthwaite (1999), p. 113; other-
wise Zenger (2004), p. 179, who assumes that we are dealing with ‘eine Auswahl [. . . ]
aus dem Fundus der damals existierenden bzw. beliebten Wallfahrtslieder’ (similarly
[Hossfeld]/Zenger [2008], pp. 400–01).
iii.27 psalms 120–134 423
Labuschagne (2010), p. 633: 120–126.127.128–134 (7.1.7 psalms); see also

www.labuschagne.nl/psalterstructure.pdf
27.2 The linearly alternating design in thematic per-

spective
27.2.1 Thematic breaks between Sections I, II and III
All Psalms of Ascents (Psalms 120–134) have a post-exilic origin.3 The
headings of these poems, šyr hm‘lwt, are often explained as ‘pilgrim songs’.
However, the word m‘lh is never used for an ordinary pilgrimage, nor for
one of the three annual feasts.4 The headings remind us of the return to
Jerusalem from the exile in Babylon; see the expression hm‘lh mbbl in Ezra
7,9, used for a group of exiles returning to Palestine. This was also the
interpretation of the Syraic Church (Delitzsch [1894], p. 732).5
However, the cycle in its entirety does not reflect the situation of the
exile itself, but of the people who had already returned from Babylon (long
ago) and now live in Jerusalem amidst all kinds of strife and hostility.
These people did not succeed in making their dreams come true: a flour-
ishing Jewish society, within a strong city with a well-oiled priesthood in
charge within a reconstructed temple. The cycle of compositions is a liter-
ary masterpiece focussing on Zion as a city of peace. It guides its readers
‘in einer literarisch-mystagogischen Bewegung nach Jerusalem’ (Ballhorn
[2004], p. 250). In my opinion, we can only speculate about ‘der kultische
Entstehungshintergrund und die primäre Verwendung’ of the poems (con-
tra [Hossfeld]/Zenger [2008], pp. 400–01). But it is clear that the psalms
in question foster hope for final restoration of the Israelite community in
Zion. It is the aim of the great psalmist—speaking as a member of the
Jewish community—to call on his fellow believers to trust in God, who will
certainly accomplish the ‘messianic’ era. The final part of the cycle, Psalm
132–134, unambiguously stands out as a portrayal of this bright future.
In terms of subject matter, the cycle of the Psalms of Ascents divides
3
H. Viviers, ‘When was the ma‘alôt collection (Pss 120–134) written?’, HTS 50
(1994), pp. 798–811; similarly Satterthwaite (1999), pp. 116–17.
4
Cf. also Willi (2001), pp. 155–56, and Ballhorn (2004), pp. 246–50.
5
For this interpretation, see now Goulder (1998), pp. 20–21; cf. also Deurloo (2000),
pp. 79–81. According to Delitzsch (1894) this is improbable: ‘Ps. 122 setzt Bestand
und Besuch des Tempels und der h. Stadt, Ps. 134 volle Übung des Tempeldienstes
voraus’ (pp. 732–33)’; cf. also Booij (2010), p. 245. Following Gesenius (1812), Delitzsch
(1894), pp. 734–35, argues that ‘die 15 Lieder von ihrem stufenweise fortschreitenden
Gedanken-Rhythmus den Namen haben und daß also der Name [. . . ] sich [. . . ] auf den
technischen Bau bezieht’ (also referring to Köster and De Wette).
into three sections, two relatively long sections and a relatively short con-
cluding section: Psalms 120–125 (Section I; six poems), Psalms 126–131
(Section II; six poems) and Psalms 132–134 (Section III; two poems).
Psalms 120–125 (Section I) look back on the past. After descriptions
of distress amidst hostile people (Babylon; Psalms 120 and 123), this main
part is about the escape of the psalmist and his fellow believers from
Babylon (Psalms 121 and 124) and the peace they enjoy having arrived
in Jerusalem (Psalms 122 and 125). Section I reflects the provisional expe-
riences of restoration immediately after the arrival from Babylon in Judah.
From Psalm 126 onwards there is a switch in the portrayal of positive
developments. While the first canto of Psalm 126 (vv. 1–3) still speaks of
the joyful return of the exiles (from Babylon), harking back to Section I
(the past), in the second canto the community faces reality: the return from
Babylon has not been accomplished; note the passionate prayer ‘restore
our fortunes, O Lord, // like the torrents in the Negeb’ (126,4). Section
II (Psalms 126–131) is about the present. The historical context of this
section is particularly reminiscent of the situation described in the book of
Nehemiah: some significant rebuilding has been accomplished, but enemy
rule is still to be reckoned with, and there are hostile neighbours. It is
worth noting that in Psalm 129 the enemies are designated as people ‘who
hate Zion’ (v. 5), while in Psalm 120 (Section I) the psalmist was dwelling
amidst enemies in ‘Meshech’ and ‘Kedar’ (v. 5). The root šwb (‘to turn’)
is a key word in Psalm 126 (see vv. 1.4) and functions as a rhetorical
indication that we are dealing with the beginning of a new series of poems;
cf. the Greek term strophè, which means ‘turn’ (for the rhetorical function
of šwb in Psalm 132, see below). Within this actual situation of distress
the psalmist speaks of family blessings (Psalms 127–128) and forgiveness
of sins (Psalm 130) as a provisional phase in the build-up to the messianic
future. The section winds up with the repeated exhortation to trust in God
(130,7–8 and 131,3).
In Psalm 132 there is another switch in the development of ideas, which
is (once again) formally indicated by the occurrence of the key word šwb
(‘to turn’; 132,10.11).6 In Psalm 132–134 (Section III) we find descriptions
of the psalmist’s dreams regarding the messianic era, the future, with a
Davidic king on the throne in Jerusalem and a flourishing priesthood in
the temple (132), the people of Israel living together in peace (133) and
praising God (134).7
6
Apart from Psalms 126 and 132, the root šwb does not occur elsewhere in the Psalms
of Ascents!
7
For Psalms 132–134 as a relatively independent and coherent unity, see also Viviers
(1994), Crow (1996), Satterthwaite (1999) and Gillingham (2010) in § 27.1. Cf. further
iii.27 psalms 120–134 425
27.2.2 Linearly parallel designs within Sections I and II

In their turn, both Sections I and II show a definite overall framework. The
six psalms making up these sections each time display a linearly alternating
parallelism, although this pattern is more elaborate in the first than in the
second section.
27.2.2.1 Within Section I

The psalms constituting Section I conform to the following scheme: 120.121.
122|123.124.125 > a.b.c|a’.b’.c’. In broad outline, Psalms 120–122 (Subsec-
tion I.1) are cast in the words of an individual ; in Psalm 122 the psalmist
also speaks as a member of the group (note ‘our feet’ and ‘our God’ in vv.
2a and 9a resp.). And it is generally agreed that these poems describe the
course from a hostile environment (120) to the arrival in the city of God
(122).8 The same holds for Psalms 123–125 (Subsection I.2). This time, in
broad outline, the poems are cast in the words of the community (in Ps.
123,1 the psalmist speaks as an individual).
Psalm 120 (a) is the prayer of an individual and primarily consists of
concrete descriptions of distress in a hostile environment, far from Jerusalem
(note: ‘woe is me that I sojourn in Meshech // that I dwell amid the tents
of Kedar !’, v. 5). Psalm 123 (a’) explicitly ties in with these descriptions of
distress: cf. rbt śb‘h lh npšnw (123,4a) with rbt šknh lh npšy (120,6a; and
note the switch from the first person singular to the first person plural).
Psalm 123 winds up with a passionate prayer for mercy: h.nnw yhwh h.nnw
(‘show us favour, O Lord, show us favour’, v. 3a.) In Psalm 120 we find
the prayer of the psalmist in the opening strophe (‘O Lord, deliver my soul
. . . ’, v. 2a; and note, once again, the switch from the first person singular
to the first person plural).
In Psalm 121 (b) the psalmist portrays God as a Helper and watchful
Guardian on the way (to Jerusalem). In vv. 1–2 he speaks as an individual
and from v. 3 onwards he addresses his fellow believers. In Psalm 124 (b’)
[Hossfeld]/Zenger (2008), pp. 401 (‘Die letzten drei Psalmen [Ps 132–134] betonen auf-
falllend stark die Rolle der Priester].648 (‘Man kann die Abfolge Ps 132–134 geradezu als
thematischen Zusammenhang lesen, der mit Ps 132 einen pointierten Anfang hat und
in Ps 134 einen vollendenden Abschluss findet’). According to Beaucamp, Le Psautier,
1979, p. 252, ‘on s’élève ici [within the Psalms of Ascents] de l’expression de la plainte à la
bénédiction, en passant par l’affirmation d’une totale confiance de Dieu. Ce mouvement
revient trois fois: Ps 120–122 ; 123–128 ; 129–134 ’; similarly Deurloo (2000), p. 83. That
is to say, Beaucamp and Deurloo assume that it is not Psalms 132–134 which conclude
two series of relatively long sections of 6 psalms, but that it is Psalms 120–122 which
open two series of relatively long sections of 6 psalms; cf. § 27.1 above.
8
For the coherence of Psalms 120–122, see also Seybold, Beaucamp, Allen, Leuen-
berger and Gillingham in § 27.1; see also Crow (1996), pp. 171–73.
the community (note npšnw in vv. 4–5.7) affirms that it was with God’s
help that they escaped from distress. For the idea of God as a Helper, cf.
especially 121,2 (‘zry m‘m yhwh // ‘śh šmym w’rs.) with 124,8 (‘zrnw bšm
yhwh // ‘śh šmym w’rs.).
In Psalm 122 (c) we find very concrete descriptions of the city of Jeru-
salem (note š‘rym, h.yl, ’rmnwt) and Psalm 125 (c’) similarly opens with
a very precise description of that city (note yrwšlm hrym sbyb lh, v. 2a).
Psalm 125 winds up with a prayer that God may do ‘good’ to the ‘upright
of heart’ (v. 4). This prayer corresponds to the prayer for ‘peace’ for the
city of Jerusalem and for those who love this city (122,6–9); note also the
repetition of the root .twb in 122,8 and 125,4 (2×; § 27.4.2).9 Moreover,
Psalm 122 significantly concludes with an address to Jerusalem (this is
unique in the Songs of Ascents; Satterthwaite [1999], p. 119), while in
Psalm 125, significantly for the first time, we find the designation ‘Zion’ for
Jerusalem (v. 1). And to crown it all, it is worth noting that the parallelism
between Psalms 122 and 125 is strongly supported by a substantial cluster
of verbal repetitions; see yśr’l, yrwšlm, šbt., lm‘n, and the root .twb in § 27.4.2
(for yśr’l, see also 121,4 and 124,1 [linear]).
That is to say, the course from a hostile environment to the city of God
has been run twice, namely in Psalms 120–122 and once again in 123–125.10
In terms of material content, the second subsection (Psalms 123–125) can
be seen as a generalizing application of the personal experiences described
in the first subsection (Psalms 120–122). The thematic correspondences
between the successive poems of these subsections positively confirm the
relative individuality of Psalms 120–125 (Section I). For the structural co-
herence of Section I, see also the verbal repetitions listed in § 27.4.2.
27.2.2.2 Within Section II

As already indicated above (§ 27.2.1), from Psalm 126 onwards there is a
remarkable switch in the portrayal of positive developments which obvi-
ously had been taking place in the past. The message of the second section
is determined by expressions reflecting disappointment (Psalm 126) and by
constant hostility coming from outside (Psalm 129). The prayer for a rever-
sal of fortunes (Ps. 126,4) obviously arises from the present disappointment
of the people of Israel about the non-realisation of their concrete expecta-
9
‘Man kann sagen: Der “Frieden”, der in Ps 122 Jerusalem zugewünscht wird, soll
sich in Ps 125 von dort ausgehend nun über die “Gerechten” ringsum, das wahre Israel,
ausbreiten’; Weber (2003), p. 293.
10
For the linear parallel relationship between Psalms 120–122 and 123–125, see also
Satterthwaite (1999), p. 117 n. 53: Psalms 123–125 ‘in some ways recapitulate the
movement of Pss. 120–122’; cf. Deurloo (2000), p. 83.
iii.27 psalms 120–134 427
tions for a total restoration. In this context, it is not surprising that the
psalmist refers to ‘tears’ (noun dm‘h, v. 5a) and ‘weeping’ (root bkh, v. 6a).
The counterpart of Psalm 126 makes it clear that the non-realisation of the
initial expectations is caused by the opposition of wicked people, ‘who hate
Sion’ (129,5); see especially Ps. 129,1–4. Nevertheless, both psalms end on
a positive note: ‘they who sow in tears // shall reap rejoicing’ (Ps. 126,5)
and ‘all who hate Zion // will be put to shame and fall back’ (Ps. 129,5).
Within the situation of permanent distress, the psalmist tries to inspire and
encourage his community. In addition, there is a conspicuous similarity be-
tween the metaphors borrowed from agricultural experience in 126,5–6 and
129,6–7; note the root qs.r in 126,5 and 129,7 (§ 27.4.2; this root does not
occur elsewhere in the cycle).
The correspondences between Psalms 126 and 129 suggest that, like the
six psalms of Section I, the six psalms of Section II (Psalms 126–131) con-
sist of two relatively independent subsections of three poems each, Psalms
126–128 and 129–131. The confidence in a reversal of fortunes pleaded for
in Ps. 126,4 is temporarily given up. In Psalm 127–128 all political dreams
regarding a fortified city with a flourishng cult in the temple retreat into the
background, while the psalmist explains that his fellow believers should con-
centrate on family building as a provisional purpose to be realized: hnh nh.lt
yhwh bnym (127,3a) and ’štk kgpn pryh (128,3a). In view of the remarkable
correspondence of ideas and the substantial cluster of verbal repetitions
Psalms 127 and 128 are to be taken as ‘twin psalms’; see § 21.7 above,
concluding paragraph. As regards the coherence of Psalms 126–128, it is
true, in terms of verbal repetitions it is hard to find a connection between
Psalm 126 on the one hand and Psalms 127–128 on the other hand. Nev-
ertheless, it is possible that the root zr‘ (‘to sow’) occurring as a key word
in the second canto of Psalm 126 (see vv. 5a.6b) preludes on the subject of
‘offspring’ (zr‘ ) elaboreted on in Psalms 127–128; see ‘sons’ (bnym) in Pss.
127,3–4 and 128,3.6.11
In Psalm 126 the psalmist speaks as a member of the Jewish community
(note ‘we’ and ‘our’ in vv. 1–4), and in Psalm 127–128 he addresses that
group in the second person (see šw’ lkm in 127,2a and the suffix -k in Psalm
128). The following three poems stand out by the fact that their opening
verselines are cast in the first person singular; see Pss. 129,1–2 130,1–2
(and 5–6) 131,1–2.12 This is the reversal of what we found in Section
I. In Section I, it was in the first subsection (120–122) that the psalmist
expressed himself in the first person singular, while in the second subsection
11
Cf. the characterization of Psalms 126–128 by Zenger as a ‘Trias der Bilder geseg-
neten Alltagslebens’; [Hossfeld]/Zenger (2008), p. 546.
12
Similarly Satterthwaite (1999), p. 117 n. 53.
(123–125) he spoke as a member of a group. Speaking about the failing

of divine blessings for the opponents (129,8) the psalmist harks back to
the preceding Psalms 127–128 in which he portrays the blessings for the
believers; note the root brk in Pss. 129,8 [2×] and 128,5. In Psalm 130
new perspectives are opened because the psalmist—starting from his own
experience—explicitly calls on the people of Israel to trust in God who will
certainly purge out their guilt (cf. Isa. 40,1–2). In Psalm 131, a literary echo
of Psalm 130 (see § 24.7 above, concluding paragraph), the psalmist once
again points to his own attitude to underline his message that the people
of Israel should trust in God. From now on there is once again hope for
restoration, the messianic future. That is to say, Subsection II.2 (129–131)
as a whole can be read as a theological commentary on Subsection II.1
(126–128) as a whole. At the same time, Subsection II.2 preludes on the
concluding Section III, Psalms 132–134; for the message of this main part,
see above § 27.2.1.
The linear parallelism between Psalms 126–128 and 129–131 is espe-
cially based on the correspondence between Psalms 126 and 129 (see above);
to put is schematicly: 126.127–128|129.130–131 > d.e|d’.e’. This paral-
lelism is supported by some linearly positioned verbal recurrences; see the
roots ml’, qs.r, šmr, dbr and hlk in § 27.4.2 (Section II; the roots ml’ [‘to
fill’] and qs.r [‘to harvest’] do not feature elsewhere in Psalms 120–134).
27.2.2.3 Thematic cornerstones

The thematic descriptions of the linear parallelisms marking the framework
of both Sections I and II demonstrate that Psalms 120, 123, 126 and 129
represent the cornerstones of a well proportioned literary building: each of
the four poems refers to some distress experienced by the psalmist/Jewish
community (Israel); note rbt . . . , introducing a description of distress, in
Pss. 120,6 123,4 and 129,1–2.13 It is also worth noting that the root
.srr (‘to be hostile’) only occurs in Pss. 120,1 and 129,1–2 to portray the
distress of the psalmist/community. The same holds for the root śn’ (‘to
hate’); this root is only found in Pss. 120,6 and 129,5. Moreover, in 120,6
the opponents of the psalmist are characterized as people ‘who hate peace’
(śwn’ šlwm). In the context of the first subsection this obviously points to
people who do not care for Jerusalem; note the prominent function of šlwm
in Psalm 122 (§ 27.4.1). This means that the expression śwn’ šlwm exactly
corresponds to the characterization of Jerusalem’s opponents in Ps. 129,5
as people ‘who hate Sion’ (śn’y .sywn).
And departing from these experiences of distress, four times, in the
13
In my opinion, Satterthwaite (1999), pp. 123–24, mistakenly argues that there is a
deliberate correspondence between Psalms 124 and 129.
iii.27 psalms 120–134 429
following two poems the psalmist opens up new perspectives for his fellow
citizens, varying from a description of the arrival in Jerusalem (122) to
the promise of forgiveness of sins (130).14 There is a special bond between
the second and the third poems of the successive subsections. After the
descriptions of distress experienced in foreign countries (120; Subsection
I.1), from Psalm 121 onwards Jerusalem gradually comes into the picture.
And in Psalm 122 finally the peace of that city is explicitly focussed on;
see also the noun rglym in 121,3+122,2 and yśr’l in 121,4+122,4 (§ 27.4.1).
Following on the prayer for deliverance from the ‘contempt of the proud’
(123; Subsection I.2), Psalms 124 and 125 speak about this deliverance
provided by God and about His protection of the righteous respectively.
Both latter compositions consist of three regular strophes (3.3.3 and 2.2.2
verselines respectively). For the connections between Psalms 127–128 and
130–131, see § 27.2.2.2 above.
27.2.3 Linear parallelisms between Sections I, II and III

The linear parallelisms between the subsections of Sections I and II, pointed
out above, form a firm basis for my hypothesis that the Psalms of Ascents
divide into three main sections: Psalms 120–125, 126–131 and 132–134.
This hypothesis is definitely confirmed by yet another rhetorical feature, a
phenomenon covering the cycle in its entirety. In terms of subject matter
and verbal recurrences, there is also a linearly alternating parallelism be-
tween Sections I, II and III. To put it schematicly: Psalms 120–122.123–125|
126–128.129–131|132–134 > A.B|A’.B’|A’; see also Table I in § 27.3 below.
The exclusive references to the temple in each of the series of A-psalms—
note the expression byt (yhwh) in 122,1.9 127,1 134,1—perfectly fit the
overall framework. The references to God’s ‘dwelling’ in Psalm 132 (vv.
5.8.13–14) seemlessly join this observation. For the interpretation of this
structural relationship, cf. [Hossfeld]/Zenger (2008), p. 615: ‘Innerhalb
des Wallfahrtspsalters hat Psalm 132 eine in zweifacher Hinsicht hervorge-
hobene Positionierung: Zum einen liegt er auf einer Ebene mit Ps 122 und
Ps 127, die eine Jerusalem- und Tempeltheologie entwerfen, die durch Ps
132 weitergeführt und vollendet wird; zum anderen ist Ps 132 der litur-
14
In Psalms 129–131 the thematic change is highlighted by the root rbb/rbh; in Ps.
129,1–2 this root introduces the experience of distress, while in Ps. 130,7c it introduces
the promise for foregiveness. Psalms 133 and 134 (Section III) represent two successive
cantos of the same composition; see § 26 above. For the division into subsections con-
sisting of groups of three psalms, see also Satterthwaite (1999), pp. 117–27! However,
it is totally out of place, when Satterthwaite modestly remarks that ‘other views of the
structure of the Songs of Ascents are also possible’ (p. 117; with reference to the divisions
by Seybold, Beaucamp and Auffret).
gische “Höhepunkt”, auf den der Wallfahrtspsalter zuläuft und der in Ps

133–134 seinen Abschluss findet’. The correspondence between the phrases
‘mdwt/‘mdym + prep. b- Jerusalem/temple in 122,2 and 134,2 further
strengthen the structural relationship between the A-psalms. In this con-
text, it is not by chance that the psalmist pleads for peace within Jerusalem
for the sake of his ‘brothers’ (Ps. 122,8); this plea corresponds to his dream
that the citizens of Jerusalem will gather as ‘brothers’ (Ps. 133,1; the noun
’h.ym [‘brothers’] does not occur elsewhere in Psalms 120–134). The same
holds true for the reference to the ‘thrones of the house of David’ (Ps.
122,5) which are set up in Jerusalem; this phrase has its counterparts in
Ps. 132,11–12 where God swears to David that his offspring shall sit on his
‘throne’ in Zion (the noun ks’ [‘throne’] does not occur elsewhere in Psalms
120–134; cf. also yšbw ks’wt [122,5a] with yšbw lks’ [132,12d]).15
In support of the overall framework, I further assume that the A-psalms
contain an intentional correspondence between the ‘arrows of the warrior’
in Pss. 120,4 (h..sy gbwr ) and 127,4 (h..sym byd gbwr ). It means that the
sons given by God (127) will fight Israel’s enemies (120). I also see an
intentional connection between the descriptions of joy we find in Psalms
122 and 126; note the root śmh. in 122,1 and 126,3. In both cases the joy is
associated with the city of Jerusalem (śmh. does not occur elsewhere in the
cycle). In terms of verbal recurrences, there is a conspicuous parallelism
between Psalms 122 and 128, the concluding poems of Sections I and II re-
spectively; see hlk, yrwšlm, šlwm and .twb in § 27.4.3 (the linear framework).
Subsequently, the root rnn (‘to rejoice’), which dominates Psalm 126 in its
entirety, connects the first psalm of Subsection II.1 with the first psalm
of Section III, in which it also marks the boundaries of the main sections
(see Ps. 132,9.16; exactly linear; the root rnn does not occur elsewhere in
the cycle). The future joy generally predicted in Psalm 126 is made con-
crete in Psalm 132; it is the joy of the ‘loyal ones’ (h.sydym) regarding the
realization of the messianic future.
The linear parallelism on the level of the cycle as a whole, also comes
to light in the B-psalms (123–125 and 129–131). The phrase ‘and my eyes
are not haughty’ (131,1b) ties in with the metaphor describing the eyes of
the community humbly looking to God for mercy (123,2); note that this
metaphor is introduced by the phrase ‘to you I lift up my eyes’ (123,1a).
Moreover, the prayer for ‘mercy’ in 123,3 corresponds to the prayer for
15
For the parallelism between Psalms 120–122 and 132–134, cf. also Crow (1996),
pp. 171–72 (‘the whole psalms identified as redactional additions to the collection’),
and Gillingham (2010), p. 95 (‘to encourage confidence and trust in God’s presence in
Zion—a theme which comes at the beginning [120–122], in the middle [127–129] and at
the end of the collection [132–134]’); see also Gillingham (2005), p. 319.
iii.27 psalms 120–134 431
‘mercy’ in 130,2b–c (note the root h.nn in 123,2c+3a [2×].130,2c, which

does not occur elsewhere in the cycle) and to the promise that God ‘will
redeem Israel from all their iniquities’ (130,8). In this respect, cf. also the
conspicuous occurrence of the expression ’dwny in Ps. 130,2.3.6 with the
noun ’dwn in 123,2a.
I further suppose that there is a deliberate correspondence between the
psychological reflections of Psalms 125 and 131, concluding Sections I and
II respectively. The self-portrait by the psalmist as a humble person whose
‘heart is not proud’ (l’ gbh lby, 131,1a) goes back to the portrayal of the
‘righteous’ (s.dyqym, v. 3 [2×]) as ‘upright in their heart’ (yšrym blbwtm,
125,4; the noun lb does not occur elsewhere in the cycle). Additionally, in
terms of overall design Psalms 125 and 131 stand out because it is only
in these poems that the pivotal idea of trust (Pss. 125,3 and 131,2a–b) is
symbolically reinforced by the device for inclusion; note yhwh in 125,1–
2.4–5 and 131,1a.3a. In support of the demarcation of his second main part
(Psalms 125–129) Zenger (2004/2008) points out a correspondence between
‘das Motiv des Zepters der Gottlosen, das auf dem Erbland der Gerechten
lastet (Ps 125)’ and ‘das Motiv der Jochstricke der Gottlosen, mit deren
Hilfe diese das Erbland ausbeuten’ (Ps 129); [Hossfeld]/Zenger (2008), p.
403 (italics are mine [PvdL]). In my opinion, however, the exclusive repe-
tition of the noun rš‘ (‘wicked’) is to be taken as an aspect of the linear
correspondences between the B-psalms (§ 27.4.3).16
The wave-like motion between the successive main sections is corrobo-
rated by the clusters of verbal repetitions listed in § 27.4.3 (The linearly
alternating framework ). It is especially the substantial cluster of exclusive
repetitions listed in Psalms 120–122, 126–128 and 132–133 (the A-psalms)
which demonstrates that we are dealing with a deliberate device.
Alongside this linear parallelism between the main sections of the Psalms
of Ascents, in terms of verbal recurrences there are also signs of a symmet-
ric design determining the relationship between Sections I and II: Psalms
120–122.123–125|126–128.129–131|132–134 > A.B|B’.A’; see § 27.4.3 (The
symmetric framework of Sections I–II ). This symmetry coincides with the
symmetry in terms of the switches from the first person singular to the
first person plural (Section I) and from the first person plural to the first
person singular (Section II) in which the psalmist casts his poems; for these
switches, see § 27.2.2.2 above. After the preceding observations, no expla-
nation is needed to establish the linearly alternating relationships are much
more powerful than the symmetric ones.
16
As pointed out above (§ 27.2.2), the noun šbt. (Ps. 125,3) belongs to a cluster of
verbal repetitions highlighting the linear relationship between Psalms 122 and 125 (cf.
§ 27.4.2).
27.2.4 Summary
Section I: About the return from Babel to Jerusalem in the past (120–125).
I.1 (A): The individual experience of the ‘aliya from Babylon to Jeru-
salem (120–122).
The distress of the psalmist in a hostile environment (the
place is not exactly specified: mšk/qdr ; 120).
The psalmist on his way to the mountains (the place is not
specified: suspense), with God as his watchful guide (121).
The arrival in Jerusalem and praise of the city (122).
I.2 (B): Generalizing observations corresponding to I.1 (123–125).
The prayer for deliverance by the community (123).
About the escape of the community from oppression (from
which place is not specified; 124).
The righteous are safe like Zion/Jerusalem (vv. 1–2; 125).
Section II: Contending with the present disappointment about the delay
of final restoration (126–131).
II.1 (A’): Call for concentration on family building (126–128).
Retrospect on the initial joy of the community after their
deliverance (vv. 1–3); the prayer of the community for de-
liverance (v. 4) and the confidence that God will turn their
sorrow into joy (vv. 3–6; 126).
Call to concentrate on family building instead of building
the temple and the city (127).
Concentration on family building will finally bring about
blessings for Zion/Jerusalem (v. 5 [cf. 125,1–2]; 128).
II.2 (B’): New perspectives in a hopeless situation: forgiveness of iniqui-
ties (129–131).
Descriptions of distress (vv. 1–4); no blessings for the peo-
ple who hate Zion (vv. 5–8; 129).
Call by the psalmist to the people of Israel to have confi-
dence that God will forgive all Israel’s iniquities (130).
Call by the psalmist to the people of Israel to always trust
in God (131).
Section III (A’’): The dream about future restoration (132–134).
God has chosen Zion as his dwelling place and as the city
of the messianic king (132)!
God’s blessings will emanate from Zion (133–134).
iii.27 psalms 120–134 433
27.3 The linearly alternating design: numerical

perfection
Table I
Section I: Section II: Section III:

Psalms 120–125; Psalms 126–131; Psalms 132–134;
6 psalms and 45 lines; 6 psalms and 45 lines; 2 ‘psalms’ and 27 lines;
provisional experience the restoration only the dream of the messi-
of restoration; partially accomplished; anic era;
about the past about the present about the future
Subsection I.1 (A): Subsection II.1 (A’): Section III (A’’)

Psalms 120–122 Psalms 126–128 Psalms 132–134
3 psalms (25 lines) 3 psalms (24 lines) 2 ‘psalms’ (27 lines)
Subsection I.2 (B): Subsection II.2 (B’):

Psalms 123–125 Psalms 129–131
3 psalms (20 lines) 3 psalms (21 lines)
Both Sections I and II consist of 6 psalms and have 45 verselines, Section

III consists of 2 psalms (together Psalms 133 and 134 represent a single
poem) and has 27 verselines.17 That is to say, in terms of verselines,
there is a perfect balance between Sections I and II. Moreover, in terms
of verselines, there is a structural relationship between Sections I–II on
the one hand and Section III on the other: 45 and 27 are multiples of
9.18 In their turn, both Sections I and II divide into two subsections of
three psalms each: Psalms 120–122.123–125 (Subsections I.1 and I.2) and
17
The psalms of Section I have 7+8+10|5+9+6 = 25+20 = 45 verselines; the psalms
of Section II have 8+8+8|8+8+5 = 24+21 = 45 verselines; the psalms of Section III
have 20+7 = 27 verselines.
18
Cf. the numbers of words in the first three cantos of Psalm 118: 27+45+45 words
(see § 11.5 above). For a numerical perfection of series of poems in terms of verselines,
see also my RCPJ. The book of Job consists of three series of poems which have 270
verselines each (note the multiple of 9); cf. also P.W. Skehan, ‘Wisdom’s House’, in
P.W. Skehan, Studies in Israelite Poetry and Wisdom (CBQ.MS 1), Washington (DC):
Catholic Biblical Association of America, 1971, pp. 27–45. To some degree, the pattern
45.45.27 verselines resembles the canto design of the psalms which I labeled Type IIB:
in terms of verselines, two balancing cantos followed by a deviating (shorter) canto; see
Ch. IV, 2.4.3 below.
126–128.129–131 (Subsections II.1 and II.2). Within the cycle as a whole,

there are 51 (= 3×17) occurrences of the name yhwh, the short form
yh (122,4 and 130,3) not included. The distribution over the subsections
and Section III is as follows: 10+10|10+9|12. Note that in the first three
subsections the divine name occurs exactly 10×.
In terms of numbers of verselines, I note that it is only in the A-psalms
we find poems consisting of seven verselines, Psalms 120 and 133–134 (the
opening and concluding poems of the cycle; consituting an inclusion at the
same time). And it is only in the B-psalms that we find poems consisting of
five verselines, Psalms 123 and 131 (note Psalm 123 as the opening poem of
Subsection I.2 and Psalm 131 as the concluding poem of Subsection II.2).
27.4 Verbal repetitions in structural perspective

lin. frw. = linear framework
symm. frw. = symmetric framework
S. = Section
27.4.1 Within the subsections

Psalms 120–122 (I.1): šlwm + root dbr, 120,7.122,8!; see also šlwm in
120,6.122,6–7 (4×; inclusion) and dbr in S. II
rglym, 121,3.122,2; see also § 27.4.3 (lin. frw.)
yśr’l, 121,4.122,4; see also S. I
Psalms 123–125 (I.2): šmym, 123,1.124,8; see also S. I

npšnw, 123,4.124,4+5+7!; see also S. I
Psalms 126–128 (II.1): root hlk, 126,6 (2×).128.1 (inclusion); see also
Sections I and II
byt, 127,1.128,3; see also § 27.4.3 (lin. frw.)
root ’kl, 127,2c.128,2!
kn, 127,2.4.128,4; see also § 27.4.4.1
hnh, 127,3.128,4; see also § 27.4.3 (lin. frw.)
bnym, 127,3–4.128,3d+6a; see also § 27.4.3 (lin.
frw.)
root prh, 127,3.128,3; see also § 27.4.3, (lin. frw.)
root gbr, 127,4.128,4; see also S. I
’šry, 127,5a.128,1+2!
Psalms 129–131 (II.2): yh.l yśr’l ’l yhwh, 130,7.131.3!; for yśr’l, see also
129,1.130,8 and S. I; and for yh.l, see 130,5
root rbb/rbh, 129,1+2.130,7c; see also S. I
iii.27 psalms 120–134 435
27.4.2 Within the sections

Psalms 120–125 (Section I):
root ntn, 120,3+121,3.124,6; see also § 27.4.3 (lin. frw.)
root gbr, 120,4.123,2 (linear); see also II.1
root šnn, 120,4.124,6!
rbt šknh lh npšy/rbt śb‘h lh npšnw, 120,6 and 123,4 resp. (linear);
for the root rbb, see also § 27.4.3 (lin. frw.)
root nś’ + ‘yny, 121,1a.123,1a!; for nś’ and ‘yny see also § 27.4.3
(lin. frw.)
‘zry m‘m yhwh/‘zrnw bšm yhwh // śh šmym w’rs., 121,2 and
124,8! (linear); see also root ‘zr in 121,1!; for šmym, see also
123,1 and § 27.4.3 (lin. frw.)
root mwt., 121,3.125,1+5!
hnh, 121,4.123,2; see also § 27.4.3 (lin. frw.)
root hlk, 122,1.125,5 (linear); see also S. II.1
yśr’l, 121,4+122,4.124,1+125,5 (linear); see also II.2 and § 27.4.3
(lin. frw.)
yrwšlm, 122,2+3+6.125,2 (linear); see also § 27.4.3 (linear and
symmetric framework)
šbt., 122,4a+b.125,3a! (linear)
lm‘n, 122,8+9.125,3c (linear)
yhwh ’lhynw, 122,9.123,2! (concatenation)
root .twb, 122,9.125,4 (2×); see also šlwm in 122,8 and 125,5 (lin.
and concluding strophe; cf. Weber [2003], p. 293); for .twb, see
also § 27.4.3 (lin. frw.)
Psalms 126–131 (Section II):

.sywn, 126,1+128,5.129,5; see also S. III and 125,1
root ml’ (pi‘el), 126,2a+127,5a.129,7! (linear)
root gdl, 126,2c+3a.131.1c! (inclusion)
root qs.r, 126,5.129,7! (linear)
root šmr, 127,1 (2×).130,3+6 (2×; linear); note the participle in
127,1d and 130,6b; see also § 27.4.3 (lin. frw.)
n‘wrym, 127,4.129,1+2!
root bwš, 127,5.129,5; see also § 27.4.3 (lin. frw.)
root dbr, 127,5.130,5 (linear); see also I.1
root yr’, 128,1+4.130,4!
root hlk, 128,1.131,1 (linear); see also 126,6 (2×) and S. I
root brk, 128,4+5.129,8 (2×; concatenation); see also S. III
Psalms 132–134 (Section III):

hnh, 132,6.133,1+134,1; see also § 27.4.3 (lin. frw.)
.sywn, 132,13.133,3+134,3; see also S. II and § 27.4.3 (lin frw.)
root brk, 132,15 (2×).133,3.134,1–3 (3×); see also § 27.4.3
(lin. frw.)
šm (‘there’), 132,17.133,3c; see also § 27.4.3 (lin. frw.)
27.4.3 Within the cycle as a whole

The linearly alternating framework.
Exclusive repetitions in Psalms 120–122.126–128.132–134:
lšwn, 120,2+3.126,2b! (linear)
mh . . . wmh, 120,3a.133,1a!
h..sym + gbwr, 120,4.127,4!
mšk (nomen loci)/mšk (‘bag’), 120,5 and 126,6! (linear)
’hl, 120,5.132,3!
wky ’dbr/ky ydbrw, 120,7.127,5c! (the end of the poem)
root bw’, 121,1+8.126,6c (2×).132,3+7!
rglym, 121,3+122,2.132,7!
root nwm, 121,3.132,4!
blylh, 121,6.134,1!
root śmh., 122,1.126,3!; see also root rnn in 126,2+5+6 and śh.wq
in 126,2
byt (yhwh), 122,1+9.127,1.134,1!; see also byt in 121,5 128,3 and
132,3!
‘mdwt/‘mdym + prep. b- (Jerusalem/temple), 122,2.134,2!; for
the root ‘md, see also § 27.2.4.1
bš‘r, 122,2.127,5d!
‘yr, 122,3.127,1c!
šm (‘there’), 122,4a+5a.132,17+133,3c! (always referring to Zion)
root ‘lh, 122,4a.132,3!
‘dwt, 122,4c.132,12b!
ks’, 122,5 (2×).132,11d+12d!
dwyd/dwd (‘David’), 122,5.132,1+10+11+17!
’h.ym + .twb, 122,8–9.133,1–2!; see also .twb in 128,2+5 (exactly
linear) and S. I
root šwb, 126,1 (2×)+4 (2×).132,10+11b!
ph, 126,2a.133,2!
root rnn, 126,2b+5b+6c.132,9+16! (2×; exactly linear)
lh.m, 127,2c.132,15!
root ntn + šnh(/šn’ ), 127,2d.132,4!; for ntn, see also S. I
iii.27 psalms 120–134 437
pry (h)bt.n, 127,3.132,11c!; see also root prh in 128,3a!

bnym, 127,3–4+128,3c+6a (2×).132,12 (2×)!
’šr (relativum), 127,5a.132,2!
root bwš + ’wybym, 127,5c–d.132,18!; for bwš, see also S. II
ybrkk yhwh ms.ywn // ‘śh šmym w’rs., 128,5a–b*.134,3!; for ‘śh
šmym w’rs. see also S. I; for brk, see also Sections II, III and
§ 27.4.4.1
kl ymy h.yyk/h.yym ‘d h‘wlm, 128,5 and 133,3 resp.! (exactly lin.);
for h.yym, see also § 27.4.4.1
Remaining repetitions in Psalms 120–122.126–128.132–134:

root nś’, 121,1.126,6 (2×).134,2; see also S. I
root šmr, 121 (6×).127,1 (2×).132,12; see also S. II
hnh, 121,4.127,3+128,4.132,6+133,1+134,1; see also S. I
yd, 121,5.127,4.134,2; see also I.2
root hlk, 122,1.128,1 (linear); see also II.1
yrwšlm, 122,2+3+6.128,5 (exactly linear); see also Section I and
§ 27.4.3 (symm. frw.)
šlwm, 122,6–8.128,6 (exactly linear); see also 120,6–7 and S. I
roots bqš/ms.’, 122,9 and 132,5+6 resp.
Psalms 123–125.129–131:
‘yny (‘my eyes’), 123,1.131,1b; see also ‘ynym in 123,2 (3×); see
further S. I and ‘yny in § 27.4.4.1
root h.nn, 123,2c+3a (2×).130,2c!
’dwn/’dwny, 123,2a and 130,2.3.6 resp.!
root rbb/rbh, 123,3–4.129,1–2+130,7; note rbt introducing a de-
scription of distress in 123,4 and 129,1–2; see also II.2
y’mr n’ yśr’l, 124,1.129,1!; for yśr’l, see also S. I
m‘th w‘d ‘wlm, 125,2.131,3 (exactly linear); see also § 27.4.4.1
root rš‘, 125,3.129,4!
lb, 125,4.131,1! (exactly linear)
The symmetric framework of Sections I–II.

120–122.129–131 (I.1 // II.2):
root .srr, 120,1.129,1+2!
qr’ty, 120,1.130,1!
root śn’, 120,6.129,5!; cf. also ’hbyk (Jerusalem)/śn’y .sywn in
122,6 and 129,5 resp.
mkl r‘/mkl ‘wn + root šmr, 121,7.130,8! (concluding strophe)
123–125.126–128 (I.2 // II.1):

’zy/’z, 124,3+4+5 and 126,2a+2c resp.!
.sywn + yrwšlm, 125,1–2.128,5!; for .sywn, see also 126,1 (concat-
enation); for yrwšlm, see also S. I and § 27.4.3 (lin. frw.)
sbyb l-, 125,2.128,3!
šlwm ‘l yśr’l, 125,5c.128,6b! (the end of I.2 and II.1)

root ’mr (122,1.126,2), root brk (124,6), h.yym (124,3), kl (132,1.134,1), kn
(123,2), lm‘n (130,4; cf. b‘bwr in Ps. 132), m‘th w‘d ‘wlm (121,8), npšy
(120,2.121,7.130,5+6.131,2 [2×]), ‘yny (132,4), root ‘md (130,3)

gm (129,2.132,12.133,1), root hyh (122,2+7.124,1–2 [2×].126,1+3.129,6.
130,2), hr (121,1.125,1.133,3), h.sd (130,7.132,9.16), yd (121,5.123,2a+b.
125,3.127,4.134,2), šm yhwh (122,4.124,8.129,8), root yšb (122,5.123,1.125,1.
127,2.132,12–14 [3×].133,1), ‘bd (‘servant’; 123,2.132,10.134,1), root .sdq
(125,3 [2×].127,4.132,9), root qwm (124,2.127,2.132,8), root śb‘ (123,3–4
[2×].132,15)
27.5 Concluding remark

On the basis of the preceding thematic and formal observations, I conclude
that the Psalms of Ascents represent a well-proportioned literary building.
We are obviously dealing with an impressive and consciously designed work
of art. This conclusion is at odds with the redactional critical approaches
by Seybold (1978/1979) and Crow (1996). These scholars assume that
the coherence of Psalms 120–134 is based on a post-exilic redaction by
Jerusalem priests of a large amount of pre-exilic pilgrim songs, secondarily
providing the poems with a theological concentration on Zion.19
27.6 Bibliography
C.C. Keet, A Study of the Psalms of Ascents, Londen: Mitre Press, 1969;
K. Seybold, Die Wallfahrtspsalmen. Studien zur Entstehungsgeschichte von
Psalm 120–134 (BThSt 3), Neukirchen-Vluyn: Neukirchener Verlag, 1978;
—, ‘Die Redaktion der Wallfahrtspsalmen’, ZAW 91 (1979), pp. 247–68;
19
For a criticism of these theories, see also Körting (2006), pp. 132–45, [Hossfeld]/
Zenger (2008), pp. 395–97, and especially Satterthwaite (1999).
iii.27 psalms 120–134 439
E. Beaucamp, ‘L’unité du recueil des montées. Psaumes 120–134’, Studii Biblici

Franciscani 29 (1979), pp. 73–90;
P. Auffret, La sagesse a bâti sa maison: Études de structures littéraires dans
l’Ancien Testament et spécialement dans les Psaumes (OBO 49), Göttingen:
D. Grossberg, Centripetal and Centrifugal Structures in Biblical Poetry (SBL.MS
39), Atlanta (Georgia): Scholars Press, 1989, pp. 15–54;
M. Millard, Die Komposition des Psalters. Ein formgeschichtlicher Ansatz (FAT
9), Tübingen: J.C.B. Mohr, 1994, pp. 35–41.76–80;
H. Viviers, ‘The Coherence of the ma‘alôt Psalms (Pss 120–134)’, ZAW 106
(1994), pp. 275–89;
L.D. Crow, The Songs of Ascents (Psalms 120–134). Their Place in Israelite
History and Religion (SBL.DS 148), Atlanta (Georgia): Scholars Press, 1996;
M.D. Goulder, The Psalms of the Return (Book V, Psalms 107–150). Studies in
the Psalter IV (JSOTS 258), Sheffield, 1998;
P. Auffret, Là montent les tribus. Etude structurelle de la collection des psaumes
des Montées, d’Ex 15,1–18 et des rapports entre eux (BZAW 289), Berlin: de
Gruyter, 1999;
Ph.E. Satterthwaite, ‘Zion in the Songs of Ascents’, in R.S. Hess and G.J. Wen-
ham (eds.), Zion, City of Our God, Grand Rapids/Cambridge, 1999, pp. 105–128;
K.A. Deurloo, ‘Liederen van opgang uit de “ballingschap”: De Psalmen 120–134’,
in J.W. Dyk et al. (eds.), Psalmen (ACEBT 18), Maastricht: Shaker Publishing,
2000, pp. 79–87;
T. Willi, ‘Das šyr hm‘lwt. Zion und der Sitz im Leben der “Aufstiegslieder”
Psalm 120–134’, in Beat Huwyler et al. (eds.), Prophetie und Psalmen. FS K.
Seybold (AOAT 280), Münster: Ugarit-Verlag, 2001, pp. 153–62;
E. Zenger, ‘Die Komposition der Wallfahrtspsalmen Ps 120–134’, in M. Ebner
and B. Heininger (eds.), Paradigmen auf dem Prüfstand. FS K. Müller (NTA.NF
47), Münster: Aschendorff, 2004, pp. 173–98;
S.E. Gillingham, ‘The Zion Tradition and the Editing of the Hebrew Psalter’,
in J. Day (ed.), Temple and Worship in Ancient Israel (Library of Hebrew
Bible/Old Testament Studies 422), London: T&T Clark, 2005, pp. 308–41;
G.T.M. Prinsloo, ‘The Role of Space in the šyry hm‘lwt’, Biblica 86 (2005), pp.
457–77;
Th. Booij, ‘Psalm 120–136: Songs for a Great Festival’, Biblica 91 (2010), pp.
241–55;
S.E. Gillingham, ‘The Levitical Singers and the Editing of the Hebrew Psalter’,
in E. Zenger (ed.), The Composition of the Book of Psalms (BEThL 238), Leu-
ven/Paris/Walpole (MA): Peeters, 2010, pp. 91–123;
C.J. Labuschagne, ‘Significant Sub-Groups in the Book of Psalms: A New Ap-
proach to the Compositional Structure of the Psalter’, in E. Zenger (ed.), The

Composition of the Book of Psalms (BEThL 238), Leuven/Paris/Walpole (MA):
Peeters, 2010, pp. 623–34;
S.P. Stocks, The Form and Function of the Tricolon in the Psalms of Ascents.
Introducing a New Paradigm for Hebrew Poetic Line-Form, Eugene (Oregon):
Pickwick Publications, 2012.
28 Psalm 135
Structure: 7.7.7 > 4.3|5.2|4.3 > 2.2|3||2.3|2||3.1|3 lines (Type IA)
I.1 1 hllw ’t šm yhwh hllw ‘BDY yhwh

2 Š‘mdym bBYT yhwh bh..srwt BYT ’lhynw
3 hllw yh ky .twb yhwh zmrw l šmw ky n‘ym

4 ky y‘qb bh.r lw yh YŚR’L lsgltw
I.2 5 ky ’ny yd‘ty ky gdwl yhwh w’dnynw mkl ’lhym

6 KL ’ŠR h.ps. yhwh ‘ŚH bšmym wb’rs. bymym wkl thwmwt
7 m‘lh nś’ym mqs.h h’rs. brqym lmt.r ‘ŚH mws.’ RWH
. m’ws.rwtyw
II.1 8 Š hkh bkwry ms.rym m’DM ‘d bhmh

9 šlh. ’twt wmptym btwkky ms.rym bpr‘h wbkl ‘BDY w
10 Š hkh GWYM rbym whrg mlkym ‘s.wmym

11 lsyh.wn mlk h’mry wl‘wg mlk hbšn wlkl mmlkwt kn‘n
12 wntn ’rs.m nh.lh nh.lh lYŚR’L ‘mw
II.2 13 YHWH šmk l‘wlm YHWH zkrk ldr wdr

14 ky ydyn YHWH ‘mw w‘l ‘bdyw ytnh.m
III.1 15 ‘s.by hGWYM ksp wzhb M‘ŚH ydy ’DM

16 ph lhm wl’ ydbrw ‘ynym lhm wl’ yr’w
17 ’znym lhm wl’ y’zynw ’p ’yn yš RWH
. bpyhm
18 kmwhm yhyw ‘ŚYhm KL ’ŠR bt.h. bhm
III.2 19 BYT YŚR’L brkw ’t YHWH BYT ’hrn brkw ’t YHWH

20 BYT hlwy brkw ’t YHWH yr’y YHWH brkw ’t YHWH
21 brwk YHWH ms.ywn škn yrwšlm
28.1 Text
V. 5a–b: with many others, Fokkelman (MPHB II, p. 300 n. 23) takes this part
of the line as an individual colon; for my colometric division, not supported
by the Masoretic accentuation, cf. CAS I, Ch. V, 6.2.1 (pp. 528–29).
V. 6a–b: for the colometry, see the layout in BHS (similarly Fokkelman [2002]);
MT divides with ‘ole weyored after ‘śh in v. 6b (cf. Ps. 60,8a–b).
28.2 Content
Call to praise God for providing his people with a homeland.
I Call to praise God because he has chosen the people of Israel as his
possession.
I.1 Praise the Lord, for he has chosen Israel as his possession
(vv. 1–4).
I.2 The Lord, the Creator, is greater than all gods (vv. 5–7).
II Praise of God (II.2) because he has struck down Israel’s enemies
and provided his people with a homeland of their own (II.1).
II.1 He struck down Israel’s enemies in Egypt (vv. 8–9).
He struck down all kings of Canaan (vv. 10–12).
II.2 O Lord, your name endures forever; He is merciful to his
servants (vv. 13–14).
III The impotence of people who worship idols (III.1; cf. II.1) and a
concluding call to praise God.
III.1 The idols of the nations are powerless (vv. 15–17) and their
worshippers will be like them (v. 18).
III.2 O house of Israel, bless the Lord (vv. 19–21).

28.3.1.1 imperative: hllw, v. 1a+b hlwy . . . yr’y yhwh in v. 20
vocative: ‘bdy yhwh, v. 1b imperat.: brkw, v. 19a+b;
imperative: hllw, v. 3a ext. // brkw in v. 20a+b
imperative: zmrw, v. 3b brk with object God, vv.
’ny, v. 5a 19–20
yd‘ty, v. 5a
vocatives: yhwh, v. 13a+b 28.3.1.2 ‘wlm, v. 13a
vocatives: byt yśr’l . . . byt dr wdr, v. 13b
’hrn, v. 19; ext. // byt

28.3.2.1 ’p, v. 17b 28.3.2.2 w- beginning of line, v. 12a
brwk yhwh, v. 21a

vocative: ms.rym, v. 9b
yr’ with object God, v. 20b

vv. 1–2: yhwh (nomen rectum), vv. 1a+b.2a
vv. 3–4: yh, vv. 3a.4a!; see also yhwh in v. 3a
ky, vv. 3a+b.4a
prep. l-, vv. 3b.4a+b
vv. 5–7: yhwh (subject), vv. 5b.6a
prep. mn, vv. 5c.7a+c (inclusion)
kl, vv. 5c.6a+c
‘śh, vv. 6b.7b
} chiasmus
’rs., vv. 6b.7a
thwmwt/m’ws.rwtyw, vv. 6c and 7c resp. (alliter.; epiphora)
vv. 8–9: ms.rym, vv. 8a.9b!
vv. 10–12: gwy/‘m (‘people’), vv. 10a and 12b resp. (inclusion)
root mlk, vv. 10b.11a+b+c!
prep. l-, vv. 11a+b+c.12b
vv. 13–14: yhwh, vv. 13a+b.14a
l‘wlm/‘mw, vv. 13a and 14a resp. (alliter.; exactly linear)
vv. 16–17: ph, vv. 16a.17b!
lhm wl’, vv. 16a+b.17a!; see also ’yn yš in v. 17b
vv. 19–21: byt yśr’l/yr’y yhwh, vv. 19a and 20b resp.
} chiasmus
byt ’hrn/byt hlwy, vv. 19b and 20a resp.
brkw ’t yhwh, vv. 19a+b.20a+b! (epiphora); see also brwk
yhwh in v. 21a!

vv. 1–4 (I.1): hllw, vv. 1a+b.3a! (anaphora)
šm (‘name’), vv. 1a.3b (linear)
vv. 8–12 (II.1): šhkh, vv. 8a.10a! (anaphora)
bkwry ms.rym/gwym rbym, vv. 8a and 10a resp.
(alliter.; exactly linear)
kl, vv. 9c.11c
suffix -w, vv. 9c.12b (epiphora)
vv. 15–18 (III.1): root ‘śh, vv. 15b.18a (inclusion)
bpyhm/bhm, vv. 17b and 18b resp. (concatenation;
epiphora); see also hm in vv. 16–17a and 18a (2×)!

vv. 1–7 (Canto I): yhwh, vv. 1–2+3a.5b+6a
prep. b-, vv. 2a+b.6b (2×)+c
bh..srwt/mws.’ rwh. m’ws.rwtyw, vv. 2b and 7c resp.

(alliter.)
} chiasmus
’lhym, vv. 2b.5c!
’lhynw/’dnynw, vv. 2b and 5c resp.!
ky .twb yhwh . . . ky n‘ym/ky gdwl yhwh, vv. 3 and
5b resp.
suffix -w, vv. 4b.7c (epiphora); note -tw/-tyw resp.
and see also -w in vv. 3b and 4a
ky, vv. 3a+b+4a.5a+b (concatenation)
vv. 8–14 (Canto II): ‘bdyw, vv. 9c.14b! (linear)

} chiasmus
‘mw (‘his people’), vv. 12b.14a!
prep. l-, vv. 11a+b+c+12b.13a+b (concatenation)

vv. 1–4.8–12.15–18: ‘bdym, vv. 1b.9c (linear)
š-, vv. 2a.8a+10a!
yśr’l lsgltw/nh.lh nh.lh lyśr’l, vv. 4b and 12 resp.
(linear); note the chiasmus
mws.’ . . . m’ws.rwtyw/ms.wn, vv. 7c and 21a resp.
(alliter.)
’dm, vv. 8b.15b! (linear; cf. Ps. 115)
} chiasmus
gwym, vv. 10a.15a!
bhmh/bpyhm . . . bhm, vv. 8b and 17b+18b resp.
(alliter.)
vv. 13–14.19–21: yhwh, vv. 13–14 (3×).19–21 (6×)
The concentric framework.

vv. 1–4.19–21: hllw ’t . . . yhwh/brkw ’t yhwh, vv. 1a and 19–20 resp.;
see also hllw yh in v. 3a
byt, vv. 2a+b.19a+b+20a!
bbyt yhwh/ms.ywn, vv. 2a and 21a resp.
bh.r/brkw . . . brwk, vv. 4a and 19–21 resp. (alliter.)
yśr’l, v. 4b.19a
vv. 5–7.15–18: kl ’lhym/‘s.by hgwym, vv. 5c and 15a resp.

kl ’šr, vv. 6a.18b! (cf. Psalm 115)
root ‘śh, vv. 6b+7b.15b+18a! (cf. Psalm 115)
rwh., vv. 7c.17b!

’rs. (v. 12), ky (v. 14), prep. mn (vv. 8.21), šm (‘name’; v. 13)
28.4.5.2 Totally left out of consideration prep. b- (vv. 9b+c [2×]), suffix
-k (v. 13 [2×]), nh.lh (v. 12 [2×])

Psalm 135 is composed of three 7-line cantos, 9 strophes and 47 cola. Vv.
10–12 constitute the pivotal strophe of the poem as a whole (> 4+1+4
strophes and 9+3+9 verselines) and of the central Canto II (> 1+1+1
strophes and 2+3+2 verselines). Because this strophe also expresses the
focal message of the poem—note ‘and He gave their land (as) a heritage //
a heritage to Israel his people’ (v. 12)—I take it as a rhetorical centre.1
V. 4 is the middle verseline of Canto I (> 3+1+3 lines). This line, deal-
ing with God’s choice of the people of Israel, can be taken as the rhetorical
centre of the first main section (vv. 1–7). The phrase is composed of 7
words; note also that Canto I is composed of exactly 17 cola, which seals
the message by the numerical value of yhwh. V. 18 is the middle verseline
of Canto III (> 3+1+3 lines). This verseline, dealing with the fate of peo-
ple who worship idols, is to be taken as the rhetorical centre of the third
main section (vv. 15–21). Like v. 4, the phrase is composed of 7 words.
Structure of strophes and cantos in terms of words: 13+16|29||14+21|
14||24+7|25 = 29+29|35+14|31+25 = 58+49+56 (= 163 words in total).
That is to say, both Cantos II and III have a multiple of 7 words: 7×7
and 8×7 words respectively. In addition, the strophes of Canto II (vv. 8–9,
10–12 and 13–14) are also composed of multiples of 7 words: 14+21+14.
Furthermore, this approach reveals that, in terms of word count, vv. 10–12
are once again (cf. above) the centre of Canto II.2
The psalmist almost exclusively speaks about God in the third person
and it is only in v. 13 (the second last verseline of Canto II) that he directly
addresses God in the second person; this line is also composed of 7 words.3
1
Similarly Labuschagne, www.labuschagne.nl/ps135.pdf, Observation 1. For the cen-
tral position of vv. 10–12 in terms of word count, see below.
2
Strophes of 14 words do not occur elsewhere in the psalm. In my opinion, Weber
(2003, p. 327) unconvincingly argues in favour of a thematic correspondence between
vv. 8–9 and 13–14.
3
It is hardly a matter of chance that v. 13 has 26 letters. The other verselines have 156
(= 6×26 words)! For these numerical features, see also www.labuschagne.nl/ps135.pdf,
Observations 2–3.
On the basis of all these quantitative observations, I conclude that the

number 7 has a structural function in Psalm 135; see the numbers printed
in bold face.
The divine name, yhwh, occurs 15×: vv. 1 (2×), 2, 3, 5, 6, 13 (2×),
14, 19 (2×), 20 (3×) and 21; the short form yh is found in vv. 3 and 4.
That is to say, the Name occurs exactly 17×. Furthermore, it is noticeable
that these references are arranged in clusters (so rightly Van der Ploeg and
Fokkelman): there are eight references to the divine name in Canto I (vv.
1–7), three in vv. 13–14 and six in vv. 19–21. In v. 2 God is designated
’lhym and in v. 5 it is ’dny.

Köster (1837): 1–2.3–7.8–12.13–14; 15–18.19–21 (2.5.5.2; 4.3 verses; vv.
15–21 are probably ‘ein bloss liturgischer Zusatz’)
De Wette (1856): 1–3|4–6.7–9.10–12|13–15.16–18|19–21 (7×3 verses)
Ewald (1866), pp. 517–18: 1–7.8–14.15–21 (7.7.7 verses)
Delitzsch (1894): 1–4.5–7.8–9.10–12.13–14.15–18.19–21
Zenner (1906), pp. 198–200: 1–3.4–6|7–14|15–16+18.19–21 (3.3|8|3.3 lines)
Gunkel (1926): 1–2.3–4|5–6.7.8–9.10–12|13–14.15–18|19–20 (‘Keine ganz
regelmäßige Strophenbildung’); similarly Gemser (1949); cf. Duhm
Calès (1936): 1–2.3–4.5–7|8–9.10–11.12–14|15–16.17–18.19–21 (7.7.7 lines)
Herkenne (1936): 1–4.5–7.8–12.13–18.19–20(21); cf. Dahood (1970)
Baumann (1949–’50), p. 148: 1–2.3–4|5–6b.7+6c.8–9.10+12|13–14.19–20
(8×2 lines)
Kissane (1954): 1–4.5–7.8–11.12–14.15–18.19–21 (4.3.4.3.4.3 lines)
Schildenberger (1960), p. 686: 1–3|4–7.8–9.10–12.13–14.15–18|19–21
(3|4.7.4|3 lines; a|b.c.d.e.b’|a’)
NAB (1970): 1–4|5–7.8–14.15–18|19–21; cf. Pannier/Renard (1950)
Van der Ploeg (1974): 1–4|5–7.8–9.10–12|13–14.15–18|19–21; cf. Gunkel
Alden (1978), pp. 207–08: 1–4.5–14|15–18.19–21 (a.b|b’.a’)
Kraus (1978): 1–4|5–7.8–12.13–14.15–18|19–21 (a|b.c.d.b’|a’)
Beaucamp (1979): 1–2.3–4|5–6b.7+6c|8–9a+c.10+12||13–14.15–17.18|
19–20.21 (4.4|4.4|4.4||4.6.2|4.2 cola); cf. Baumann (1949–’50)
Jacquet (1979): 1–2.3–5 6–7*|8–9.10–12*.13–14|15–18 19–20.21 (2.3
3 [tricola]|2.4.2|4 2.1 bicola; ‘un poème composite’ [p. 557])
Aletti/Trublet (1983), p. 100: 1–3.4–12.13.14–18.19–21 (a.b.a’.b’.a’’)
Ravasi (1984): 1–4|5–7.8–14.15–18 |19–21
Alonso-Schökel (1993): 1–3.4.5.6–7|8–12.13.14.15–18.19–21 (a.b.c.d|d’.c’.
b’.e.a’; see Auffret [1995], pp. 191–92)
Girard (1994): 1–3.4–5.6–7.8–9|10–11.12–14.15–18.19–21 (a.b.c.d|d’.b’.c’.a’)
Auffret (1995), pp. 191–201: 1–3.4|5–7.8–11||12.13.14|15–18|19–21 (a.b|c.c’||

b’.a’.b’’|c’’|a”)
Fokkelman (2000), pp. 298–300: 1–2.3–4|5–7.8–9.10–12|13–14.15–18.19–21
(2.2|3.2.3|2.4.3 lines)
Allen (2002): 1–4.5–7.8–14.15–18.19–21 (a.b.c.b’.a’; note pp. 288–90); cf.
Kraus (1978)
Terrien (2003): 1–2.3–5|6–7.8–9|10–12.13–15|16–18.19–21 (2.3|3.3|3.3|3.3
lines)
Weber (2003): 1–4|5–7|8–9.10–12.13–14|15–18|19–21 (A.B.C.B’.A’)
[Hossfeld]/Zenger (2008): 1–2.3.4||5–7|8–9.10–12.13–14|15–18||19–20.21
www.labuschagne.nl/ps135.pdf : 1–2.3–4|5–7||8–9.10–12|13–14||15–17.18|
19–21 (7.7.7 lines); cf. Calès (1936) and my STR (1980), pp. 425–30

Psalm 135 is an anthology which borrows many of its verselines from other
texts we find in the Hebrew Bible, especially from other psalms (note Psalm
115), from Deuteronomy and Jeremiah.4 At the same time, this does not
alter the fact that it is an original, coherent and well-balanced composi-
tion. The psalmist has used already existing materials and arranged these
anew to express his special message. In terms of subject matter and verbal
repetitions, Psalm 135 displays some clearly marked out sections consist-
ing of two to five verselines: vv. 1–4, 5–7, 8–12, 13–14, 15–18 and 19–21;
see §§ 28.2 (Content), 28.4.1–2 (Verbal repetitions) and cf. § 28.6 (Various
divisions).5 However, there are various ideas about the rhetorical connec-
tions between these short pericopes. So, the following question has to be
answered: in which way do these thematic units make up the overall design
of the composition?
As far as the macrostructure of Psalm 135 is concerned, exegetes re-
cently tend to agree that the poem in its entirety has a symmetric or at
least a concentric structure; see § 28.6. According to Alden (1978), the axis
of symmetry is to be found between vv. 14 and 15, according to Alonso-
Schökel (1993) between vv. 7 and 8, according to Girard (1994) between
vv. 9 and 10, and according to Auffret (1995) between vv. 11 and 12.6 This
4
See e.g. Allen (2002), pp. 287–88, and [Hossfeld]/Zenner (2008), pp. 662–63.
5
The poetic verselines of Psalm 135 exactly coincide with the Masoretic verse di-
visions. Kissane’s division vv. 8–11.12–14 is based on his supposed second basic type
of strophic structure: alternating strophes of equal length; see CAS I, Ch. I, 3.2.1 (pp.
46–47). Such a systematism is also to be found in the 7×3 verses supposed by De Wette;
cf. further Zenner and Baumann.
6
In the past, the Companion Bible (1914) put the axis of symmetry between v. 13a
and 13b (Auffret [1995], p. 191).
means that there is no consensus at all with regard to the basic form of the
symmetric overall design of our psalm.
Schildenberger (1960) assumed that the thematic sections pointed out
above display a concentric pattern; he was followed by Kraus (1978), Allen
(1983/2002), Ravasi (1984), Weber (2003) and [Hossfeld]/Zenger (2008).7
The inclusion constituted by the exhortations to praise the Lord in vv. 1–4
and 19–21 is on the surface of the text. Therefore, according to Zenger, the
psalm ‘besteht aus den drei deutlich markierten Teilen V 1–4.5–18.19–21’.8
Subsequently, the description of the impotence of the idols (vv. 15–18) is
alleged to have its counterpart in the confession by the psalmist that God is
greater than all gods (vv. 5–7); note ky ’ny yd‘ty // ky gdwl yhwh // w’dynw
mkl ’lhym (v. 5). There are conspicuous clusters of verbal recurrences which
may support these thematic correspondences, see § 28.4.4 (The concentric
framework).
However, the concentric(/symmetric) interpretations of the overall de-
sign of our psalm fail to note the perfect numerical regularity in terms
of verselines on canto level and do no justice to the linearly alternating
framework which simultaneously pervades the entire poem.
The description of the verbal recurrences in § 28.4.3 indicates that vv.
1–4 and 5–7 constitute a coherent whole (canto) of 7 verselines. That is to
say, the confession of the psalmist that yhwh surpasses all gods (vv. 5–7)
is a further motivation for the call to praise in vv. 1–2; cf. vv. 3–4.9 The
exclusive repetition of the expressions ‘bdyw and ‘mw (§ 28.4.3) formally
connect up vv. 8–12 and 13–14 into another main part (canto) of 7 verse-
lines.10 Moreover, the observation that God ‘has mercy with his servant’
(w‘l ‘bdyw ytnh.m, v. 14b) especially fits the context of God who struck
down the Canaanite kings in order to provide his people with a homeland
of their own (vv. 8–12; note v. 12). The expressions for a long time (l‘wlm
and ldr wdr ) characterizing v. 13 also indicate that vv. 13–14 represent
a relative closure. That is to say, the doxology vv. 13–14 functions as
the concluding climax of vv. 8–12.11 For the relativum š- highlighting the
opening strophes of the second canto (see vv. 8 and 10), cf. ’šr marking the
7
Cf. also NAB (1970) and Aletti/Trublet (1983) in § 28.6; Schildenberger’s strophic
division vv. 1–3.4–7 (3.4 lines) is obviously based on some systematism in order to create
a perfect balance in terms of verselines as well; cf. vv. 15–18.19–21 (4.3 lines).
8
[Hossfeld]/Zenger (2008), p. 661; cf. Schildenberger, Kraus and Ravasi in § 28.6.
9
For the repeated calls to praise God (vv. 1–4) followed by a motivation like vv. 5–7,
cf. Ps. 95,1–2.3–5 (Canto I).
10
Note that vv. 8–14 are often considered the pivotal section of the concentric design;
cf. NAB, Kraus, Allen, Ravasi, Weber and [Hossfeld]/Zenger in § 28.6.
11
Contra Gunkel, Baumann, Van der Ploeg, Beaucamp and Fokkelman who unite vv.
13–14 with the description of the impotence of the idols in vv. 15–18; see § 28.6.
beginning of a new canto in Ps. 64,4 and Job 8,14.12 It is true that there
are no clear thematic or formal indications either which support vv. 15–21
as an individual 7-line canto.
The deciding factor supporting the regular canto structure 7.7.7 lines
(vv. 1–7, 8–14 and 15–21), already surmised by Ewald (1866) and Calès
(1936),13 is the linearly alternating correspondences characterizing the poem
as a whole on a macrostructural level: vv. 1–4.5–7|8–12.13–14|15–18.19–21
> a.b|a’.b’|a’’.b’’. In terms of verbal repetitions this linear parallelism is
most obvious in the a-sections (Canticles I.1, II.1 and III.1); note š-, yśr’l
combined with sglh (‘possession’) and nh.lh (‘heritage’) respectively, ’dm and
gwym in § 28.4.4 (The linear framework). These verbal repetitions high-
light, among other things, the thematic relationship between the concluding
verselines of Canticle I.1 and II.1: God has chosen the people of Israel as his
possession (v. 4) and provided them with a homeland (heritage; v. 12).14
And the failure of Israel’s opponents (vv. 8–12) matches the impotence of
their gods and of the people who worship them (vv. 15–18);15 note the
repetition of the nouns ’dm (‘man’) and gwym (‘nations’). The b-sections
vv. 13–14 and 19–21 (Canticles II.2 and III.2) are conspicuously marked by
clusters of the Tetragrammaton, highlighting these strophes as concluding
doxologies; the divine name, yhwh, does not occur in vv. 8–12 and 15–18!
Furthermore, the motif of God’s everlasting name and fame (v. 13; Can-
ticle II.2), all-embracing in terms of time, has its counterpart in v. 5b–c
(Canticle I.2) expressing God’s greatness above all gods, all-embracing in
terms of creative power.16
12
For Ps. 64,4, see CAS II, Ch. II.22 (pp. 199–205), and for Job 8,14, see 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 (CAS II, Ch. III.6 [note p. 360 n. 10]) and
Job 9,15.17 (RCPJ, Part II.8 [pp. 110–23]); see also š- in Ps. 136,23.
13
See also my STR (1980), pp. 425–30, and Labuschagne in § 28.6.
14
Fokkelman (MPHB II, p. 299) mistakenly argues that the corresponding verselines
mark the end of the first and the second main parts (stanzas) of the psalm.
15
In Psalm 115 there are five verselines portraying the failure of the gods and their
worshippers (vv. 4–8; Canticle I.2). Obviously in order to fit the canto length of 7
verselines, in Psalm 135 this description is shortened by one line (Psalm 115 has 8-
lines cantos). In Psalm 115 the description concerned functions as a prelude on the
exhortation to trust in yhwh (vv. 9–11, Canticle II.1; see Ch. III.9 above), while in
Psalm 135 the description (vv. 15–18; Canticle III.1) reinforces the linearly corresponding
Canticle II.1 (vv. 8–12) about the failure of Israels enemies. In other words, in Psalm
115 it is the second part of the concluding verseline (kl ’šr bt.h. bhm, v. 8b) which has
a structural function within the poem as a whole, while in Psalm 135 this function is
fulfilled by v. 18a (kmwhm yhyw ‘śyhm).
16
For poems consisting of three regular cantos, I can point to Psalms 18 (2.15.15.15.5),
31 (9.9.9.2 lines), 44 (2.8.8.8.2 lines), 55 (8.8.8.4 lines), 118 (4.8.8.8.1 lines), 137 (4.4.4
lines) and 139 (5.6.6.6 lines); cf. Ch. IV.1 below. Poems like these also occur in the book
For the relationship with the preceding composition (Psalms 133–134) see,
among other things, the following verbal repetitions: vv. 1–2 > 134,1–2;
‘bdym (vv. 1.9.14) > 134,1; .twb // n‘ym (v. 3) > 133,1; ‘śh bšmym wb’rs.
(v. 6b) > 134,3b; yd (v. 15) > 134,2; ph (vv. 16.17) > 133,2; ’hrn (v. 19) >
133,2; brwk yhwh ms.ywn (v. 21) > 134,3a (linear). In terms of verselines,
the 7-line cantos of Psalm 135 link up with the 7 verselines of the preceding
poem.
ing verbal repetitions: kl ’šr (vv. 6.18) > 115,3.8; v. 6a–b > 115,3; v. 6b
> 115,15b; ’dm (vv. 8.15) > 115,4.16; šmk (v. 13) > 115,1; vv. 15–17 >
115,4–6; v. 18 > 115,8; vv. 19–20 > 115,9–11.12–13. Note also structural
function of the number 7 described in §§ 9.5 and 28.5.17
28.8 Bibliography
191–201;
Ruth Scoralick, ‘Hallelujah für einen gewalttätigen Gott? Zur Theologie von
Psalm 135 und 136’, BZ 46 (2002), pp. 253–72.
of Job: Job 8 (6.6.6.3 lines), 11 (6.6.6.2 lines), 15,2–16 (5.5.5 lines), 23 (1.5.5.5 lines),
28 (4.8.8.8 lines), 30 (9.8.8.8 lines); cf. my RCPJ, pp. 462–63.
17
See also Auffret (1995), pp. 160–61.
29 Psalm 136
Structure: 9.13.4 > 3.6|6.7|4 > 3|3.3||3.3|3.4||4 lines (Type IIB)
I.1 1 HWDW Lyhwh ky .twb ky l‘wlm h.sdw

2 HWDW L’lhy h’lhym ky l‘wlm h.sdw
3 HWDW L’dny h’dnym ky l‘wlm h.sdw
I.2 4 l‘śh npl’wt GDLWT lbdw ky l‘wlm h.sdw

5 l‘śh hšmym btbwnh ky l‘wlm h.sdw
6 lrq‘ h’RS. ‘l hmym ky l‘wlm h.sdw
7 l‘śh ’wrym GDLYM ky l‘wlm h.sdw

8 ’t hšmš lmmšlt bywm ky l‘wlm h.sdw
9 ’t hyrh. wkwkbym lmmšlwt blylh ky l‘wlm h.sdw
II.1 10 lmkh ms.rym bbkwryhm ky l‘wlm h.sdw

11 wyws.’ yśr’l mtwkm ky l‘wlm h.sdw
12 byd h.zqh wbzrw‘ nt.wyh ky l‘wlm h.sdw
13 lgzr ym swp lgzrym ky l‘wlm h.sdw

14 wh‘byr yśr’l btwkw ky l‘wlm h.sdw
15 wn‘r pr‘h wh.ylw bym swp ky l‘wlm h.sdw
II.2 16 lmwlyk ‘mw bmdbr ky l‘wlm h.sdw

17 lmkh mlkym GDLYM ky l‘wlm h.sdw
18 wyhrg mlkym ’dyrym ky l‘wlm h.sdw
19 lsyh.wn mlk h’mry ky l‘wlm h.sdw

20 wl‘wg mlk hbšn ky l‘wlm h.sdw
21 wntn ’RS.m lnh.lh ky l‘wlm h.sdw

22 nh.lh l yśr’l ‘bdw ky l‘wlm h.sdw
III 23 šbšplnw zkr lnw ky l‘wlm h.sdw

24 wyprqnw ms.rynw ky l‘wlm h.sdw
25 ntn lh.m lkl bśr ky l‘wlm h.sdw

26 HWDW L’l hšmym ky l‘wlm h.sdw
29.1 Text
V. 4a—gdlwt: does not occur in 11QPsa and some ancient translations.
29.2 Content
Thanksgiving to God for providing his people with a homeland.
I Thanksgiving to God (I.1) who demonstrates his unsurpassed maj-
esty in creation (I.2).
I.1 Give thanks to the Lord who surpasses all gods (vv. 1–3).
I.2 He created heaven and earth (vv. 4–6).
He created the sun, the moon and the stars (vv. 7–9).
II (Thanksgiving to God) who delivered Israel from Egypt (II.1) and
provided them with a land of their own (II.2).
II.1 He delivered Israel from Egypt (vv. 10–12).
He made Israel pass through the Sea of Reeds (vv. 13–15).
II.2 He led his people through the wilderness (v. 16).
He struck down great kings (vv. 17–20).
And he gave their land as a heritage to Israel (vv. 21–22).
III Summarizing thanksgiving to God.
He is our Saviour (vv. 23–24; cf. vv. 10–22).
Give thanks to the God of heaven who provides for all flesh
(vv. 25–26; cf. vv. 1–9).

29.3.1.1 imperative: hwdw, v. 1a; 29.3.1.2 none
ext. // hwdw in vv. 2a
and 3a

29.3.2.1 ‘wlm, v. 26b; ext. // ‘wlm 29.3.2.2 w- beginning of line, v. 15a;
in vv. 1–25 ext. // w- in v. 14a
imperative: hwdw, v. 26a

w- beginning of line, v. 11a w- beginning of line, v. 20a

vv. 1–3: hwdw l-, vv. 1a.2a.3a (anaphora)
’lhy h’lhym/’dny h’dnym, vv. 2a and 3a resp.
vv. 4–6: l‘śh, vv. 4a.5a (anaphora)
prep. l-, vv. 4a (2×).5a.6a
hšmym/h’rs., vv. 5a and 6a resp. (linear)
hšmym/hmym, vv. 5a and 6a resp. (alliter.); see also h’rs. in
v. 6a
vv. 7–9: prep. l-, vv. 7a.8a.9a
’t hšmš/’t hyrh., v. 8a and 9a resp.! (anaphora)
lmmšlt/lmmšlwt, vv. 8a.9a!
bywm/blylh, vv. 8a and 9a resp. (exactly linear)
vv. 10–12: prep. b-, vv. 10a.12a (2×; inclusion)
suffix -hm/-m, vv. 10a.11a! (exactly linear)
vv. 13–15: ym swp, vv. 13a.15a! (inclusion)
wh‘byr/wn‘r pr‘h, vv. 14a and 15a resp. (alliter.; anaphora)
prep. b-, vv. 14a.15a
} chiasmus
suffix -w, vv. 14a.15a
vv. 16–18: prep. l-, vv. 16a.17a (anaphora)
lmwlyk/lmkh mlkym/mlkym, vv. 16a, 17a and 18a resp.
(alliter.); note mlkym in vv. 17a.18a!
bmdbr/’dyrym, vv. 16a and 18a resp. (alliter.)
mlkym gdlym/mlkym ’dyrym, vv. 17a.18a (exactly linear)
vv. 19–20: prep. l-, vv. 19a.20a
mlk h-, vv. 19a.20a! (linear)
vv. 21–22: prep. l-, vv. 21a.22a
} chiasmus
nh.lh, vv. 21a.22a!
vv. 23–24: suffix -nw, vv. 23a (2×).24a (2×)!
vv. 25–26: prep. l-, vv. 25a.26a

vv. 4–9 (I.2): l‘śh, vv. 4a+5a.7a! (anaphora); see also l- in v. 6a
prep. l-, vv. 4–6.7–9 (concatenation)
gdlwt/gdlym, vv. 4a.7a (linear)
hšmym/hšmš, vv. 5a and 8a resp. (alliter.; linear)
prep. b-, vv. 5a.8a+9a
vv. 10–15 (II.1): prep. l-, vv. 10a.13a (2×; anaphora)

ms.rym/pr‘h, vv. 10a and 15a (inclusion)
wyws.’ yśr’l mtwkm/wh‘byr yśr’l btwkw, vv. 11a and

14a resp. (exactly linear)
prep. b-, vv. 10a+12a (2×).14a+15a
vv. 16–22 (II.2): prep. l-, vv. 16a+17a.19a (anaphora); see also prep. l-
in vv. 21–22
‘mw/yśr’l ‘bdw, vv. 16a and 22a resp. (inclusion)
mlk, vv. 17a+18a.19a+20a! (concatenation)
lsyh.n/nh.lh, vv. 19a and 21a+22a resp. (alliter.)
w- beginning of the line, vv. 18a.20a (exactly linear)
w- beginning of the line, vv. 20a.21a (anaphora;
concatenation)

vv. 1–9 (Canto I): prep. l-, vv. 1–3.4–6+7–9 (concatenation)
vv. 10–22 (Canto II): lmkh, vv. 10a.17a! (linear)

ms.rym/’rs.m, vv. 10a and 21a resp. (alliter.; incl.)
bbkwryhm/bmdbr, vv. 10a and 16a resp. (alliter.;
exactly linear); note the prep. b-
yśr’l, vv. 14a.22a (linear); see also yśr’l in v. 11
vv. 23–26 (Canto III): prep. l-, vv. 23a.25a+26a

vv. 1–3.10–15.23–26: hwdw l-, vv. 1–3.26a! (inclusion)
’lhy ’lhym/’l, vv. 2a and 26a resp.!
ms.rym/ms.rynw, vv. 10a and 24a resp.
(alliter.)
vv. 4–9.16–22: root gdl, vv. 4a+7a.17a!

lbdw/‘bdw, vv. 4a and 22a resp. (alliter.)
’rs., vv. 6a.21a!
mšl/mlk, vv. 8–9 and 17–20 resp.!

none

root gzr (v. 13 [2×]), root ntn + prep. l- (vv. 21.25), hšmym (vv. 5.26)

Psalm 136 has 10 strophes, 26 verselines and 52 cola. Poems consisting
of exactly 26 verselines (and 52 cola) do not occur elsewhere in the book
of Psalms! In this respect, it is also remarkable that the divine name,
yhwh, only occurs in the very first verseline of our poem (v. 1; cf. 15×
yhwh in Psalm 135).1 The number 26 being a symbolic representation
of the Tetragrammaton (10+5+6+5),2 we are dealing with two coinciding
phenomena both emphasizing that the entire poem is to be considered a
praise of the Lord.
Structure of strophes and cantos in terms of words: 19|20+21||19+21|18
+12+12|11+13 = 19+41|40+42|24 = 60+82+24 (= 166 words in total).
Labuschagne takes v. 26 as a coda and states that in terms of word count
vv. 10–15 represent the numerical centre of vv. 1–25 (> 60+40+60 words);
in addition, he considers vv. 13–15 the middle strophe and the ‘meaningful
centre’ of the poem, among other things, highlighted by the inclusion ym
swp (vv. 13.15).3
The divine name, yhwh, occurs in v. 1; in v. 3 it is ’dny. In v. 2 God
is designated ’lhym and in v. 26 ’l.

Köster (1837): 1–4.5–9.10–22.23–26
De Wette (1856): no strophes; similarly Macholz (2000), pp. 180–81
Ewald (1866), pp. 518–19: 1–18 (6×3 verses).19–26 (4×2 verses); similarly
Gunkel (1926) and Gemser (1949)
1
Psalm 136 shares this phenomenon with Psalm 50. In Psalms 64 and 73 yhwh only
occurs in the concluding verseline; for its rhetorical function in Ps. 64,11, see CAS II,
Ch. II, 22.5 (note p. 202 n. 4). In Psalm 150 the divine name, in its shortened form yh,
is only found at the very end of the psalm (kl hnšmh thll yh, v. 6). For the name yhwh
highlighting the rhetorical centre of a poem, see CAS II, Ch. V, 2.1; in Psalm 42–43, 58
and 77 the divine name only occurs in this centre (in Psalm 77 it is yh).
2
In his commentary on the Jewish Prayer book (Spain 1340), R. David ben Yosef
ben David Abudirham notes with regard to Psalm 136: ‘This Psalm contains 26 verses
like the number of the divine name y-h-w-h which is 26’ (with thanks to Yakob Bazak
[Jerusalem]; private communication); see also Schedl (1986), pp. 490.492, Auffret (1997),
p. 12, and Scoralick (2002), p. 260.
3
See www.labuschagne.nl/ps136.pdf, Observation 1. Weber (2003, p. 331) maintains
that ‘die Exodus-Stanze III [vv. 10–16] betont in der Mitte des Psalms figuriert’; cf.
Montgomery (1945) in § 29.6.
Delitzsch (1894): 1–18 (6×6 cola).19–26 (2×8 cola); similarly Booij (2009);
cf. Ewald (1866)
Zenner (1906), pp. 109–10: 1–6.7–20*.21–26 (3 bicola.5 tricola.3 bicola)
Von Faulhaber (1913), p. 6: 5–9.10–22 (synthetic parallelism)
Duhm (1922): 1–3.4–6.7–9.10–12.13–15.16–18.19–20*.21–23.24–26 (9×3 bi-
cola; similarly Jacquet (1979); cf. Mowinckel (1957), p. 102
Calès (1936): 1–3|4–6.7–9|10–12.13–15|16–18.19–20.21–22|23–25.26
(3.6.6.7.4 lines); cf. Human (2004), www.labuschagne.nl/ps136.pdf
Herkenne (1936): 1–3|4–9|10–15.16–22.23–24|25–26; cf. Kittel (1929)
Montgomery (1945), p. 383: 1–3.4–9.10–16.17–22.23–26 (3.6.7.6.4 lines)
Kissane (1954): 1–3.4–9.10–15.16–20*.21–24.25–26*
Dahood (1970): 1–3.4–9.10–22.23–25.26 ; cf. NAB (1970)
Van der Ploeg (1974): 1–3.4–6.7–9.10–12.13–15.16–18.19–22.23–25.26
(6×3.4.3.1 lines); similarly Pannier/Renard (1950)
Auffret (1977): 1–3 ||4–6.7–9||10–12.13–15|16|17–20.21–22||23–24.25||26
(A||B||C||c.b||a; p. 9)
Alden (1978), p. 208: 1–3.4–9.10–16|17–20.21–25.26 (a.b.c|c’.b’.a’)
Beaucamp (1979): 1–3 4–6.7–9|10–12.13–15|17–19.20–22|23–25 26 (3 3.3|
3.3|3.3|3 1 lines); cf. Beaucamp (1968), p. 211
Aletti/Trublet (1983), p. 100: 1–3.4–9.10–22|23–24.25.26 (a.b.c.|c’.b’.a’)
Bazak (1985): 1–3.4–6.7–9|10–12.13–15.16–18|19–22|23–26 (3×3|3×3|4|4 ll.)
Schedl (1986): 1–3.4–9.10–15.16–22.23–25.26 (3|6.6.7|1 > 22+4 lines)
Girard (1994): 1–3||4–9.10–16|17–20.21–25||26 (a||b.c|c’.b’||a’); cf. Alden
Allen (2002): 1–3|4.5–6.7–9|10–12.13–15.16|17–18.19–20.21–22|23–24.25.26
(3|1.2.3|3.3.1|2.2.2|2.1.1 lines; A.B.C.D.c.b.a; note pp. 295–97); cf.
Montgomery (1945)
Fokkelman (2003), pp. 307–12: 1–3.4–6.7–9|10–12.13–15|16–18.19–20|
21–22.23–24.25–26 (3.3.3|3.3|3.2|2.2.2 lines); cf. Ewald (1866)
Terrien (2003): 1–3 4–6.7–9.10–12.13–15.16–18.19–22.23–26 (3 5×3.2×4
bicola)
Weber (2003): 1–3.4–9.10–16.17–22.23–26
[Hossfeld]/Zenger (2008): 1–3|4–9.10–16.17–22.23–25|26; cf. Girard (1994)

For several reasons, Psalm 136 is a singular composition: (a) the divine
name only occurs in its first verseline, (b) it has exactly 26 lines (for these
phenomena, see § 29.5) and (c) its rhetorical structure is exclusively based
on the first cola (before the ’atnah.) of its verselines, the second cola (after
the ’atnah.) forming some kind of refrain, an uninterrupted series of the
phrase ky l‘wlm h.sdw (‘his steadfast love is eternal’). Especially in view
of the latter phenomenon, Psalm 136 is not paradigmatic for the overall
design of classical Hebrew poetry.
This does not alter the fact that, to some degree, Psalms 135 and 136
are to be seen as twins (‘Zwillingspsalmen’). Like Psalm 135, in terms
of subject matter, Psalm 136 divides into some clearly discernible main
sections: vv. 1–3, 4–9, 10–15, 16–22 and 23–26 (see § 29.2); this is almost
generally agreed (see § 29.6). And in both cases, these sections contain
exhortations to praise/thank God, descriptions of God’s creative power and
the beginnings of Israel’s history. However, there are exegetes, especially
in recent times, who argue that the third section winds up with v. 16 (‘who
led his people through the wilderness, . . . ’) and the fourth section starts
with v. 17.4 In this respect, they point to the expression lmkh (‘who struck
down’; vv. 10 and 17) which should exactly mark the beginnings of two
successive main parts (vv. 10–16 and 17–22). The latter observation is a
rather mechanical, rash application of a formal aspect (verbal repetition)
of the overall structure of our psalm.
From v. 4 onwards the preposition l- followed by an active participle
marks the beginnings of a new (3-line) strophe. It is not contested that
the repetition of l‘śh in vv. 4 and 5 marks the beginning of vv. 4–6 (by
anaphora). Therefore, in terms of strophic regularity, it is most logical to
assume that v. 16 marks the beginning of the 3-line strophe vv. 16–18; note
the preposition l- and the alliteration lmwlyk/lmkh in v. 16–17 (anaphora).
In addition, the duo pr‘h wh.ylw (‘Pharaoh and his army’) in the third line
of vv. 13–15 matches the duplications hyrh. wkwkbym (‘the moon and the
stars’) and byd h.zqh wbzrw‘ nt.wyh (‘with a strong hand and outstreched
arm’) that take place in the concluding verselines of vv. 7–9 and 10–12
respectively; such duplications do not occur elsewhere in the psalm.5 In
this respect, cf. also the repetitions of the nota accusativi ’t and w- at
the beginnings of the second an the third verselines of vv. 7–9 and 13–15
respectively. For the formal coherence of vv. 16–18, see further § 29.4.1
(verbal repetitions). That is to say, from a structural point of view, (a)
v. 16 belongs to the following verselines and (b) up to and including v. 18
the psalm is composed of an uninterrupted series of 3-line strophes.6
As far as the overall design of our psalm is concerned, I assume that,
in accordance with the thematic overall structure of Psalm 135, the call
4
See Montgomery, Alden, Girard, Allen, Weber and [Hossfeld]/Zenger in § 29.6.
5
Cf. Fokkelman (MPHB III), p. 307 n. 1.
6
Similarly Ewald, Delitzsch, Duhm, Calès, Van der Ploeg, Bazak, Fokkelman and
Terrien; see § 29.6. For the 3-line strophes vv. 7–9, 10–12 and 13–15, see also P.D. Miller,
‘Synonymous-Sequential Parallelism in the Psalms’, Biblica 61 (1980), pp. 256–60 (note
pp. 258–59).
to praise God (vv. 1–3) together with the description of God’s creative
power (vv. 4–9) form a coherent whole, Canto I (cf. Ps. 135,1–4 and 5–7;
Canto I).7 The descriptions of Israel’s deliverance from Egypt (vv. 10–15)
and God’s striking down great kings in order to provide his own people
with a land of their own (vv. 16–22) form the second main part, Canto II
(cf. Ps. 135,8–12; Canticle II.1). For the verbal recurrences supporting the
formal coherence of vv. 10–22, see § 29.4.3.8 Both vv. 10–15 and 16–22
have two introductory participles which are preceded by the preposition l-;
see vv. 10a.13a (Canticle II.1) and vv. 16a.17a (Canticle II.2).
The beginning of Canto III (vv. 23–26) as a relatively individual main
part is unambiguously marked by the relativum š-, referring to God, in
v. 23a (cf. Ps. 135,8.10). Moreover, it is only in vv. 23–24 that the psalmist
speaks as member of his community; note the suffix -nw (‘our’/‘us’; 4×).
The concluding Canto III has a summarizing function. In retrograde mo-
tion, vv. 23–24 (about the deliverance of Israel from its enemies) refer to
Canto II (vv. 10–22) and vv. 25–26 (about God providing for all living and
the call to give thanks) refer to Canticles I.2 and I.1 respectively.9
In terms of verbal repetitions, the overall framework of the psalm is
determined by signs of a linearly alternating parallelism between the cantos:
vv. 1–3.4–9|10–15.16–22|23–26 > a.b|a’.b’|a’’; see § 29.4.4.10
29.8 Bibliography
L. Alonso-Schökel, ‘Psalmus 136 (135)’, VD 45 (1967), pp. 129–38;
P. Auffret, ‘Note sur la structure littéraire du Psaume 136’, VT 27 (1977), pp.
1–12;
J. Bazak, ‘The geometric-figurative structure of Psalm cxxxvi’, VT 35 (1985),
7
See also Bazak (1985) and Fokkelman (2003) in § 29.6. Fokkelman calls vv. 1–9 ‘the
most hymnic stanza’ of the psalm (p. 308). For the relationship between Psalms 135
and 136, see also Scoralick (2002), pp. 264–72, [Hossfeld]/Zenger (2008), pp. 670–71,
and Booij (2010), pp. 249–50.
8
See also Köster (1837), Von Faulhaber (1913), Dahood (1970), Auffret (1977) and
Aletti/Trublet (1983) in § 29.6.
9
According to Macholz, the universal aspects of vv. 4–9 and 25 do not correspond be-
cause ‘Schöpfung und Erhaltung’ are Loci of christian theology. Subsequently, Macholz
(2000, pp. 185–86) frankly admits that he does not understand v. 25 in the context of
Psalm 136; cf. also Scoralick (2002), pp. 263–64 and 268(!). For the summarizing func-
tion of Canto III, the ‘half-long’ concluding canto of the basic canto pattern Type IIB,
see CAS I, Ch. V, 5.2.2 (note 5.2.2.2 The summary with a doxology motif, pp. 515–16)
and cf. Auffret (1977), Aletti/Trublet (1983) and Allen (2002) in § 29.6.
10
hšmym and the expression ntn . . . l-, occurring in vv. 23–26, fall outside the scope
of the linear overall pattern; see § 29.4.5.2. This is probably due to the summarizing
character of Canto III; cf. CAS I, Ch. V, 5.2.2.6 (pp. 518–20).
pp. 129–38;
C. Schedl, ‘Die alphabetisch-arithmetische Struktur von Psalm cxxxvi’, VT 36
(1986), pp. 489–94;
J.F.J. von Rensburg, ‘History as Poetry: A Study of Psalm 136’, in J.J. Burden
et al. (eds.), Exodus 1–15: Text and Context (OTSSA/OTWSA 29), Pretoria,
1987, pp. 80–90;
P. Auffret, ‘Rendez Grâce au Seigneur! Étude structurelle du Psaume 136’, BN
86 (1997), pp. 7–13;
C. Macholz, ‘Psalm 136. Exegetische Beobachtungen mit methodologischen
Seitenblicken’, in E. Blum (ed.), Mincha. FS R. Rendtorff, Neukirchen-Vluyn:
Neukirchener Verlag, 2000, pp. 177–86;
Ruth Scoralick, ‘Hallelujah für einen gewalttätigen Gott? Zur Theologie von
Psalm 135 und 136’, BZ 46 (2002), pp. 253–72;
D.J. Human, ‘Psalm 136: A Liturgy with Reference to Creation and History’,
in D.J. Human and C.J.A. Vos (eds.), Psalms and Liturgy (JSOTS 410), Lon-
don/New York, 2004, pp. 73–88;
Th. Booij, ‘Psalm 120–136: Songs for a Great Festival’, Biblica 91 (2010), pp.
241–55.
30 Psalm 137
Structure: 4.4.4 > 2.2|2.2|2.2 lines (Type IA)
I 1 ‘l nhrwt BBL šm yšbnw gm bkynw bZKRnw ’t s.ywn

2 ‘l ‘rbym btwkh tlynw knrwtynw
3 ky šm š’lwnw šwbynw dbry ŠYR

wtwllynw ŚMH .H ŠYRW LNW mŠYR s.ywn
II 4 ’yk NŠYR ’T ŠYR YHWH ‘l ’dmt nkr

5 ’m ’škh.k yrwšlm tškh. ymyny
6 tdbq lšwny lh.ky ’m l’ ’zkrky

’m l’ ’‘lh ’T YRWŠLM ‘l r’š ŚMH
. Ty
III 7 ZKR YHWH lbny ’dwm ’T ywm YRWŠLM

h’mrym ‘rw ‘rw ‘d hyswd bh
8 bt BBL hšdwdh ’šry šyšlm lk ’t gmwlk šgmlt LNW

9 ’šry šy’h.z wnps. ’t ‘llyk ’l hsl‘
30.1 Text
V. 3a–b: for my colometric division, which is not supported by the Masoretic
accentuation, see also Freedman (1971), pp. 191–93, and Fokkelman (2002).
V. 3c—wtwllynw : ‘and those who dragged/bound us’ (from the root tll ); see
G.A. Rensburg (1993), pp. 396–99, with reference to Guillaume, JBL 75
(1956), pp. 143–44 (similarly Booij [2009], p. 268).
V. 8a—hšdwdh: ‘you (doomed to be) devastated’ (so MT); cf. Freedman (1971),
pp. 202–03, and Rabe, BN 78 (1995), pp. 84–103.
30.2 Content
I/we will never forget Jerusalem.
I Introduction: the mocking exhortation to sing a joyful song.
Living in Babylon, we could only weep thinking about (devas-
tated ) Zion and did not make music (vv. 1–2).
Nevertheless, we were asked to sing a joyful song about Zion (v. 3).
II Transitional deliberation: I/we will never forget Jerusalem.
We cannot sing a song for God on foreign soil, because I cannot
forget (devastated ) Jerusalem (vv. 4–5).

Jerusalem is the foremost subject of my joyful songs (v. 6).
III Concluding song: revenge for the destruction of Jerusalem.
O God, remember the derisive attitude of the Edomites calling
for the devastation of Jerusalem (v. 7).
O daughter of Babylon, happy the man who repays you the way
you have treated us (vv. 8–9).

30.3.1.1 ’yk, v. 4a ’šry, v. 8b; ext. // ’šry in
imperative: zkr, v. 7a v. 9a
vocative: bt bbl, v. 8a 30.3.1.2 gm, v. 1b

30.3.2.1 none 30.3.2.2 imperative: šyrw, v. 3d
w- beginning of line, v. 3c

vocative: yrwšlm, v. 5a
imperative: ‘rw, v. 7c (2×)

vv. 1–2: prep. ‘l, vv. 1a.2a (anaphora)
prep. b-, vv. 1c.2a
bzkrnw/knrwtynw, vv. 1c and 2b resp. (alliter.); note the suffix
-nw
v. 3: suffix -nw (first person pl.), v. 3a+b.3c+d
root šyr, v. 3b.3d (2×)
vv. 4–5: ’yk nšyr/’m ’škh.k, vv. 4a and 5a resp. (alliter.; anaphora)
v. 6: ’m l’, v. 6b.6c!
vv. 8–9: ’šry š-, vv. 8b.9a! (exactly linear); see also š- in v. 8c!
suffix -k, vv. 8b+c.9b
’t, vv. 8c.9b (exactly linear)

vv. 1–3 (Canto I): šm (‘there’), vv. 1b.3a! (linear)
yšbnw/šwbynw, vv. 1b and 3b resp. (alliter; linear)
suffix -nw (first person pl.), vv. 1–2.3 (concatenation)
roots bkh/śmh., vv. 1b and 3c resp. (inclusion)
.sywn, vv. 1c.3d! (inclusion)
tlynw/wtwllynw, vv. 2b and 3c resp. (alliter.; linear)
vv. 4–6 (Canto II): nšyr ’t šyr/’t yrwšlm, vv. 4a and 6c resp. (alliter.;
inclusion)
prep. ‘l, vv. 4b.6d (inclusion; exactly linear); see also
root ‘lh in v. 6c
’m, vv. 5a.6b+c! (concatenation)
yrwšlm, vv. 5a.6c (exactly linear)
roots škh./zkr, vv. 5a+b and 6b resp. (concatenation)
suffix -k/-ky, vv. 5a.6b (concatenation)
suffix -y, vv. 5b.6a (2×)+c! (concatenation)
vv. 7–9 (Canto III): prep. l-, vv. 7a.8b+c (linear)

bn/bt, vv. 7a and 8a resp. (linear)
’t, vv. 7b.8c+9b
yrwšlm/šyšlm, vv. 7b and 8b resp. (alliter.; linear)
‘d hyswd/hšdwdh, vv. 7d and 8a resp. (allit.; concat.)

vv. 1–2.4–5.7: ‘l nhrwt bbl/‘l ’dmt nkr, vv. 1a and 4b resp.
bzkrnw . . . knrwtynw/nkr, vv. 1–2 and 4b resp. (alliter.)
root zkr, vv. 1c.7a
btwkh/bh, vv. 2a and 7d resp.
yhwh, vv. 4a.7a!
’dmt nkr/zkr . . . ’dwm, vv. 4b and 7a resp. (alliter.;
chiasmus); note the root ’dm (‘to be red’)
vv. 3.6.8–9: š’lwnw/lšwny, vv. 3a and 6a resp. (alliter.)

śmh.h, vv. 3c.6d!
lnw, vv. 3d.8c!
r’š/’šry, vv. 6c and 8b+9a resp. (alliter.)
The symmetric framework

vv. 1–2.8-9, inclusion: bbl, vv. 1a.8a!
vv. 3.4–5, concatenation: root šyr, vv. 3 (3×).4a (2×)!
vv. 6.7, concatenation: root zkr, vv. 6b.7a

’t + yrwšlm, vv. 6c.7b!

’t (nota accusativi; v. 1), prep. l- (v. 6)

root gml (v. 8c [2×]), ‘rw (v. 7c [2×]), root škh. (v. 5 [2×])

Psalm 137 has six strophes, 12 verselines and 26 cola.1 These numbers rein-
force the pivotal position of the second canto (vv. 4–6; > 2+2+2 strophes,
4+4+4 lines and 9+8+9 cola). Vv. 5–6b represent the middle verselines
of Canto II and of the entire poem: vv. 1–4.5–6b.6c–9 > 5+2+5 lines and
11+4+11 cola. It is only in these verselines that the psalmist directly ad-
dresses Jerusalem in the second person.2 In a relatively concise form, the
lines express the focal message of the psalm: woe is me, O Jerusalem, if I
should forget your ruins (v. 5) and your (former) beauty (v. 6a–b)! There-
fore, the 11 words of vv. 5–6b are to be taken as the rhetorical centre of
the psalm.3 The 26 cola are a symbolic representation of the divine name;
cf. the 26 verselines and 52 cola of Psalm 136 and note § 29.5.
Structure of strophes and cantos in terms of words: 15+12|13+14|13+
17 > 27+27+30 (= 84 = 12×7 words in total).
The divine name, yhwh, occurs twice: vv. 4 and 7.
1
Freedman (1971), Halle/McCarthy (1981), Fokkelman (MPHB II [note p. 302]
and 2002) and Labuschagne (www.labuschagne.nl/ps137.pdf) also distinguish 26 cola!
For a criticism of the colometric division of vv. 6a–b and 7c–d by Freedman, see
Halle/McCarthy (1981), pp. 162–63.
2
For this device highlighting the numerical centre of a poem, cf. CAS II, Ch. V.5 (pp.
550–51; about the switch in the way God is referred to in the numerical centre of some
psalms).
3
Similarly Labuschagne, www.labuschagne.nl/ps137.pdf, Observation 1. For my in-
terpretation of vv. 5–6b, see § 30.7 below. Cf. Terrien (p. 865): ‘its central core, [. . . ]
(vv. 4–6), provides the key to the meaning of the whole psalm, the memory of Zion’.

Köster (1837): 1–4.5–9 (4.5 verses)
Meier (1853), pp. 45–46: 1–3.4–6.7–8 (12.12.12)
De Wette (1856): 1–3.4–6.7–9 (3.3.3 verses); similarly Ewald (1866), pp.
391–93 (3×3 verses ‘mit 7 gliedern’)
Ley (1875), p. 229: 1–3.4–6.7–8.9 (3×2 ‘Dekameter’ and a final verse)
Delitzsch (1894): 1–2.3.4–5.6|7.8–9 (6×4 cola, with reference to E. Taube)
Zenner (1906), pp. 88–90: 1–2.3–4|5–6b.7–8 (2.3|2.3 lines)
Von Faulhaber (1913), p. 15: 1–2.3.4–5.6.7.8–9 (‘Subjektswechsel’)
Gunkel (1926): 1–2.3.4–5.6.7.8–9* (‘Textänderungen um des Verses willen
sind unnötig . . . . Regelmäßige Strophenbilding’ !); cf. Duhm (1922)
Condamin (1933), pp. 180–81: 1–3.4–6.7–9 (1.3|1.3|2.2 lines); cf. De Wette
Calès (1936): 1–2.3|4–5.6|7.8–9 (2.2|2.2|2.2 lines); similarly Gemser (1949),
Terrien (2003) and Becking (2009), pp. 191–202
Pannier/Renard (1950): 1–4.5–6.7–9; similarly Magne (1958), pp. 194–
95, Girard (1994), Savran (2000), p. 43, Körting (2006); cf. Dahood
(1970), Kellermann (1978), pp. 48–51, Kraus (1978) and Booij (2009)
Kissane (1954): 1–3.4–6.7–9 (4.4.4 lines); similarly Schildenberger (1960),
p. 675, Mowinckel (1957), pp. 54–55; cf. Herkenne (1936), NAB (1970)
and Weber (2003)
Freedman (1971): 1–2.3.4–6.7.8–9 (5.4.8.4.5 cola; a.b.x.b’.a’); cf. Van der
Ploeg (1974), Auffret (1980/1997), Halle/McCarthy (1981)
Alden (1978), p. 208: 1a.1b–2.3|4.5–7.8–9 (a.b.c|c’.b’.a’)
Beaucamp (1979): 1b–2.3|4–5.6|7.8a–b+9 (4.4|4.4|4.4 cola); cf. Calès (1936)
Jacquet (1979): 1–2*.3–4.5–6.7.8–9* (3×3.2.2 bicola)
Aletti/Trublet (1983), p. 101: 1–4.5–6.7–9 (a.b.a’); cf. Pannier/Renard
Fokkelman (2000), pp. 301–02: 1–2.3–4.5–6.7.8–9 (2.3.3.2.2 lines; a.b.x.b’.a’);
cf. Aletti/Trublet (1983) and www.labuschagne.nl/ps137.pdf
Allen (2002): 1–2.3–4|5–6|7.8–9 (5.3.4 lines; note pp. 305–06); similarly
Bar-Efrat (1997), p. 4, and Couffignal (2007); cf. Fokkelman (2000)
Loretz (2002): 1a–bA+2.3a–b+x|x+4.5+6b+6a|7.8b–9 (2.2|2.2|2.2 bicola)
[Hossfeld]/Zenger (2008): 1–2.3.4|5.6|7.8

In terms of ‘strophic’ structure, Psalm 137 shows a rigid regularity. It is
composed of a series of three 4-line cantos, vv. 1–3, 4–6 and 7–9, which in
their turn consist of two 2-line strophes each, vv. 1–2.3, 4–5.6 and 7.8–9.4
4
For the rigid regularity, cf. also § 30.5 above. For poems consisting of three regular
cantos, I can point to Psalms 18 (2.15.15.15.5), 31 (9.9.9.2 lines), 44 (2.8.8.8.2 lines), 55
This regular skeleton does not restrict the psalmist and is not a sign of an
inferior poetic work of art. To the contrary, the fixed framework gives the
psalmist the opportunity to make abundantly use of all kinds of stylistic
devices. Within the compass of a relatively limited number of verselines,
the poem displays an intricate web of responsions, inclusions, concatena-
tions, corresponding phrases and grammatical constructions attesting to
the craftsmanship of its author.
Each canto has its own thematic individuality; cf. § 30.2. The opening
Canto I (vv. 1–3) is a retrospective of the distress experienced by the Jewish
community living in exile in Babylon. The adverb šm (vv. 1b.3a) indicates
a spatial distance. This means that the poem is composed by people who
had returned to Jerusalem. The description of the distress culminates in
the quotation of the call by the captors in Babylon for a (joyful) song about
Zion: ‘sing for us one of the songs of Zion’ (v. 3d).
Canto II (vv. 4–6) is an intermediate deliberation of the Jewish people
about the question how to react to this call for a song. It opens with the
transition marker ’yk (‘how!?’, v. 4a) characterizing the canto as a lament.5
In terms of subject matter, the opening rhetorical question v. 4 immediately
goes back to the quotation concluding the preceding canto: it is impossible
for us to be glad on foreign soil. In v. 5 the psalmist switches from the first
person plural to the first person singular and in vv. 5–6b directly addresses
Jerusalem in the second person (cf. § 30.5 above). In this way, he expresses
and emphasizes the individual emotions of his fellow believers.
Then, in the concluding Canto III (vv. 7–9) we find the song proper
about Zion.6 However, this song is totally different from what the captors
in Babylon asked for. It is not a traditional innocent and joyful song but an
unexpected brand-new composition about revenge. Its first strophe calls to
God to remember the Edomites exhorting for the devastation of Jerusalem
(v. 7). And it culminates in the beatification of the man who crushes
Babylon’s babies (vv. 8–9).7
(8.8.8.4 lines), 118 (4.8.8.8.1 lines), 135 (7.7.7 lines) and 139 (5.6.6.6 lines); cf. Ch. IV.1
below. Poems like these also occur in the book of Job: Job 8 (6.6.6.3 lines), 11 (6.6.6.2
lines), 15,2–16 (5.5.5 lines), 23 (1.5.5.5 lines), 28 (4.8.8.8 lines), 30 (9.8.8.8 lines); cf. my
RCPJ, pp. 462–63.
5
For ’yk introducing a lament, see e.g. also Isa. 14,4.12. In its long form (’ykh) the
transition marker opens most poems in the book of Lamentations (Lam. 1,1 2,1 and
4,1); see also Isa. 1,21.
6
With reference to V. Propp, Couffignal (2007, p. 61) characterizes vv. 1–4 as ‘Méfait’
and vv. 7–9 (its logical answer) as ‘Réparation du Méfait’. As far as I can see, v. 4 does
not fit the characterization concerned.
7
Sometimes, it is mistakenly suggested that the preceding Canto II also represents a
song about Zion; so e.g. Savran (2000) and Becking (2009). Vv. 7–9 are surely not an
The first canto (vv. 1–3) is clearly demarcated by a special device for
inclusion; see .sywn at the very end of its first and last verselines (vv. 1c and
3d).8 Apart from this device for inclusion, in terms of verbal repetitions,
linear features dominate (see § 30.4.2).9 The latter observation also holds
for the concluding Canto III (vv. 7–9; see § 30.4.2). In terms of verbal
repetitions, the pivotal Canto II (vv. 4–6) is almost totally characterized
by symmetric features (see once again § 30.4.2).
The regular canto structure is supported by a linearly alternating pat-
tern of verbal recurrences on the level of the poem as a whole: vv. 1–2.3|
4–5.6|7.8–9 > a.b|a’.b’|a’’.b’’; note the expressions ‘l nhrwt bbl /‘l ‘dmt nkr
and yhwh in the first lines of the cantos; the concluding lines of Cantos I
and II are marked by the root śmh.. In addition, G.A. Rendsburg (1993),
p. 399, calls attention to an important observation made by David Qimh.i
in his commentary on the Psalms: it is the ‘hand’ (v. 5b) that strings the
‘lyre’ (v. 2b) and the ‘tongue’ (v. 6a) that ‘sings the song’ (v. 3d).10 This
linearly alternating pattern in terms of verbal recurrences has a thematic
counterpart which I did not discuss above describing the thematic individ-
uality of the successive cantos. Nevertheless, this thematic alternation is
of crucial importance for understanding the sudden reversal of sentiment
about Jerusalem in the central Canto II (vv. 4–6): in vv. 4–5 the impos-
siblity of singing about Jerusalem is emphasized, while according to v. 6
Jerusalem is the main subject of joyful songs.11 The cantos alternatingly
deal with Jerusalem as a devastated and an undamaged city.
In the first strophe of Canto III (v. 7) God is called on to remember
the ruins of Jerusalem. This explains why the exiles in Babylon had been
weeping when remembering Jerusalem (vv. 1–2): the first strophe of Canto I
speaks of the recollection of devastated Jerusalem. This interpretation also
matches the first strophe of Canto II (vv. 4–5). V. 5 reinforces the lament of
v. 4: we cannot be glad on foreign soil (v. 4), especially not when thinking
of devastated Jerusalem (v. 5).
The second strophe of Canto I (v. 3) speaks of the exhortation by the
editorial expansion (contra [Hossfeld]/Zenger, p. 688); Freedman (1971, p. 188) rightly

notes: ‘If in fact the end product is the work of a later editor, we can only marvel at
his skill in erasing all the usual signs of such activity’. For the canto division, see also
Meier, De Wette, Condamin, Calès, Kissane, Beaucamp and Loretz in § 30.6.
8
For this significant device for inclusion, see CAS I, Ch. V, 3.4 (pp. 483–87) and
further mšyh.k in Ps. 89,39–52 (Canto III) and dbrk in Ps. 119,9–16 (Canto II).
9
G.A. Rendsburg (1993), pp. 398–99, rightly observes that in v. 3c the poet deliber-
ately chose the rare verb tll (‘to drag/bind’): ‘by utilizing tôlālênû, the poet created an
excellent example of assonance with tālı̂nû, “we hanged,” in v. 2’.
10
Similarly Becking (2009), pp. 193.199.
11
About this question, see also Savran (2000), pp. 49–53.
captors of the exiles to sing joyful songs about Zion. This means that the
songs had to recollect the undamaged city as it was in the past. The latter
idea obviously matches the subject matter of the second strophe of Canto
II (v. 6). This strophe is about the joyful songs the Jewish community sings
about the undamaged city of Jerusalem as it was in the past (and will be
in the future).12 And finally, the joy spoken about in the second strophes
of Cantos I and II fits the beatification of the man who crushes Babylon’s
babies, expressed in the second strophe of Canto III (vv. 8–9). Lenowitz
(1987, p. 154), demonstrates that vv. 8–9 is a sort of ‘mock-śimh.â’.13
Freedman (1971) has emphasized the concentric aspects of the poem.14
Apart from the repetition of the name bbl in the outer strophes (vv. 1a.8a),
there are the quotations of enemies with plural imperatives in the strophes
immediately preceding and following the core section vv. 4–6; see šyrw and
‘rw ‘rw in vv. 3d and 7c respectively. Furthermore, the preposition ‘l pre-
ceding a genitival phrase in vv. 4b.6d marks the boundaries of the central
canto by inclusion; for the positioning at the end of the opening and con-
cluding verselines, cf. .sywn in Canto I. And to crown it all, the chiastic
structure of the phrases vv. 5–6b in the centre of the poem, exclusively ad-
dressed to Jerusalem (cf. § 30.5), seamlessly joins this concentric design.15
These concentric aspects do not harm the linearly alternating features de-
scribed above. The features in question not only peacefully coexist but
reinforce the poetic power of expression and rhetorical coherence of the
composition (‘symétrie croisée’).
From Pannier/Renard (1950) onwards (as far as I can see), a number of
scholars rashly argue that the break between the first and the second canto
comes after v. 4: vv. 1–4 is spoken by the community in the first person
plural, while in vv. 5–6 the psalmist speaks in the first person singular.16
However, this structural approach is clearly in conflict with the rhetorical
connections described above. In addition, the repetition of the root šyr (‘to
sing’) at the interface of Cantos I and II (concatenation) has its counterparts
in the repetitions of the root zkr and the name yrwšlm at the interface of
12
In this respect, it is important to note that the root zkr (v. 6b), in contrast to the
use of the verb in the opening strophes of Cantos I and III (vv. 1c and 7a), does not
refer to a mental activity but to an actual mentioning of Jerusalem; cf. e.g. Jer. 20,9
(zkr // dbr ) Ps. 63,7 (zkr // hgh). In this case, zkr has the connotation of ‘praising’;
cf. zkrw in Ps. 105,5 (externally // šyrw in 105,2).
13
Cf. also Girard (1994), p. 414: ‘Israël ne pourra exprimer musicalement sa joie qu’au
jour où les ennemis de Babylone se réjouiront de la démolir’.
14
Cf. also Aletti/Trublet and Fokkelman in § 30.6.
15
See also Freedman (1971) in § 30.6.
16
For this division, see Pannier/Renard, Aletti/Trublet, Allen and [Hossfeld]/Zenger
in § 30.6; cf. also Köster and Fokkelman.
Cantos II and III. In terms of word count, the canto division vv. 1–3.4–6 is
reinforced by the exactly corresponding number of 27 words (see § 30.5).17
The strophic structure of the cantos is based on thematic (see above)
and formal considerations (§§ 30.4.1–2). In this respect, it is noticeable
that in most cases the successive cola within a verseline do not display a
parallelismus membrorum in the strict sense (synonymous); v. 7c–d may be
an exception.18 However, instead of an internal parallelism there is ample
evidence of external parallelism between successive verselines! In the first
strophe (vv. 1–2) this external parallelism is highlighted by the repetition
of the preposition ‘l at the beginnings of the verselines (anaphora), in vv.
8–9 by the repetitions of ’šry š- and the nota objecti ’t in exactly linear
positioning.19 In v. 3, the first colon of the second verseline (v. 3c) seman-
tically matches the second colon of the first line (v. 3b); see also w- at the
beginning of the second line as a uniting element. The same applies to v. 6:
v. 6c semantically matches v. 6b (and note ’m l’ in both cola). h’mrym at
the beginning of v. 7c harks back to bny ’dwm in v. 7a.20
For the relationship with the preceding psalm, see (among other things)
the following verbal repetitions: zkr (vv. 1.6.7) > 136,23; btwkh (v. 2) >
136,14; lnw (vv. 3.8) > 136,23.21
30.8 Bibliography
D.N. Freedman, ‘The Structure of Psalm 137’, in H. Goedicke (ed.), Near Eastern
Studies, FS W.F. Albright, Baltimore: John Hopkins Press, 1971, pp. 187–205;
U. Kellermann, ‘Psalm 137’, ZAW 90 (1978), pp. 43–58;
P. Auffret, ‘Essai sur la structure littéraire du Psaume 137’, ZAW 92 (1980), pp.
346–377;
M. Halle and J.J. McCarthy, ‘The Metrical Structure of Psalm 137’, JBL 100
(1981), pp. 161–67;
W.H. Shea, ‘Qinah Meter and Strophic Structure in Psalm 137’, in R. Ahroni
(ed.), Biblical and Other Studies. FS S.H. Blank, Winona Lake, 1984, pp.
199–214;
17
In this respect, cf. also Auffret (1997) contra Girard (1994).
18
‘Le parallélisme des membres de vers est synthétique ou complémentaire, comme il
l’est ordinaire dans la qinâh’; Calès (1936), p. 537. There is no reason to assume with
Renfroe (1988; note p. 526) that vv. 4 and 7–9 represent some sort of poetic prose.
19
For the anacrusis bt bbl hšdwdh, see CAS I, Ch. V, 6.3 (pp. 533–35).
20
For the regular strophic structure, see also Delitzsch, Von Faulhaber, Gunkel, Calès,
Beaucamp and Loretz in § 30.6; cf. further Freedman (1971).
21
For some conspicuous parallels between Psalms 2 and 137, see Auffret (1980), pp.
376–77.
Birgit Hartberger, ‘An den Wassern von Babylon . . . ’: Psalm 137 auf dem Hin-
tergrund von Jeremia 51, der biblischen Edom-Traditionen und babylonischer
Originalquellen (BBB 63), Frankfurt a.M.: Peter Hannstein Verlag, 1986;
H. Lenowitz, ‘The Mock-Śimh.â of Psalm 137, in Elaine R. Follis (ed.), Directions
in Biblical Hebrew Poetry (JSOTS 40), Sheffield: JSOT Press, 1987, pp. 149–59;
F. Renfroe, ‘Persiflage in Psalm 137’, in L. Eslinger and G. Taylor (eds.), Ascribe
Unto the Lord. FS P.C. Graigie (JSOTS 67), Sheffield, 1988, pp. 509–27;
G.A. Rendsburg and Susan L. Rendsburg, ‘Physiological and Philological Notes
to Psalm 137’, JQR 83 (1993), pp. 385–99;
P. Auffret, ‘Souviens-toi, YHWH! Étude structurelle du Psaume 137. Réponses
et compléments’, BZ NF 41 (1997), pp. 250–52;
S. Bar-Efrat, ‘Love of Zion: A Literary Interpretation of Psalm 137’, in M. Co-
gan et al. (eds.), Tehilla le-Moshe. FS M. Greenberg, Winona Lake (Indiana):
S. Segert, ‘Poetry and Arithmetic: Psalms 29 and 137’, in A. Lange et al. (eds.),
Mythos im Alten Testament und seiner Umwelt. FS H.-P. Müller (BZAW 278),
Berlin: de Gruyter, 1999, pp. 165–81;
G. Savran, ‘“How Can We Sing a Song of the Lord?” The Strategy of Lament
in Psalm 137’, ZAW 112 (2000), pp. 43–58;
T. Krüger, ‘“An den Strömen von Babylon . . . ”. Erwägungen zu Zeitbezug und
Sachverhalt in Psalm 137’, in R. Bartelmus and N. Nebes (eds.), Sachverhalt und
Zeitbezug. FS A. Denz, Wiesbaden, 2001, pp. 79–84;
R. Couffignal, ‘Approches nouvelles du Psaume 137’, ZAW 119 (2007), pp. 59–74;
K. Barker, ‘Divine Illocutions in Psalm 137: A Critique of Nicholas Wolterstorff’s
“Second Hermeneutic”’, Tyndale Bulletin 60 (2009), pp. 1–14;
B. Becking, ‘Does Exile Equal Suffering? A Fresh Look at Psalm 137’, in B.
Becking and D. Human (eds.), Exile and Suffering (OTS 50), Brill: Leiden,
2009, pp. 183–202.
31 Psalm 138
I 1 ’WDK [YHWH ] bKL lby [KY ŠM‘T ’MRY PY ]

ngd ’lhym ’zmrk 2 ’šth.wh ’l hykl qdšk
w ’wdh ’t šmk ‘l H
. SDK w‘l ’mtk
KY HGDLT ‘l KL šmk ’mrtk
3 bywm qr’ty wt‘nny trhbny bnpšy ‘z
II 4 YWDWK YHWH KL mlky ’rs. KY ŠM‘W ’MRY PYk

5 wyšyrw bdrky yhwh KY GDWL kbwd yhwh
6 ky rm yhwh wšpl yr’h wgbh mmrh.q yyd‘
7 ’m ’lk bqrb .srh th.yny ‘l ’p ’yby tšlh. ydk wtwšy‘ny ymynk

8 yhwh ygmr b‘dy yhwh H . SDK l‘wlm m‘śy ydyk ’l trp
31.1 Text
V. 1a—yhwh: so 11QPsa and the ancient translations (does not occur in MT).
V. 1b: for this colon, see LXX (it does not occur in MT) and cf. v. 4b; similarly
Mowinckel (1957), p. 13, and Girard (1994), p. 425; Duhm (1922), p. 454,
and Calès (1936), p. 541, transpose it to the end of v. 1 (see further § 31.7).
V. 3b—trhbny: ‘you inspired me’; meaning uncertain (so JPS; similarly HAL).
V. 6b—yyd‘ : imperfect third person singular of yd‘ ; see GKC § 69b n. 1.
Vv. 7–8: two tricola (cf. Duhm, Calès and Mowinckel in § 31.6); the colometric
division of these verselines is clearly indicated by the Masoretic accentua-
tion: there is an ‘ole wejored at the end of the first colon and an ’atnah. at
the end of the second colon; cf. CAS I, Ch. V, 6.1 (note p. 524).
31.2 Content
Thanksgiving of an individual for deliverance from distress.
I Thanksgiving of an individual.
I give thanks to you, O Lord (vv. 1–2a).
I give thanks to you because, on the basis of your steadfast love,
in times of distress you provided me with strength (vv. 2b–3).
II Generalizing extrapolations.
All kings of the earth give thanks to you, O Lord (v. 4); because
high as the Lord is, he looks upon the lowly (vv. 5–6).
Whenever I experience trouble, you help me; O Lord, your stead-
fast love is everlasting (vv. 7–8).

31.3.1.1 vocative: yhwh, v. 1a* 31.3.1.2 none
w- beginning of line, v. 2b

31.3.2.1 ‘wlm, v. 8b 31.3.2.2 vocative: yhwh, v. 8b
’l prohibitive, v. 8c


vv. 1–2a: ’wdk/’zmrk, v. 1a and 1c resp.; see also suffix -k in v. 2a
vv. 2b–3: šmk, v. 2b.2e!
suffix -k, vv. 2b+c (2×).2e (2×)
prep. ‘l, v. 2c.2e (exactly linear); see also w‘l in v. 2e
’mtk/’mrtk, v. 2c and 2e resp. (alliter.; epiphora)
vv. 4–6: yhwh, vv. 4a.5a+b.6a
ky, vv. 4b.5b.6a! (linear)
vv. 7–8: prep. b-, vv. 7a.8a
yd + suffix -k, vv. 7b.8c!; see also ymynk in v. 7c

vv. 1–3 (Canto I): ’wdh, vv. 1a.2b (anaphora)
b- . . . lby/bnpšy, vv. 1a and 3b resp. (inclusion);
see also prep. b- in v. 3a
kl, vv. 1a.2e
ky, vv. 1b*.2d
root ’mr, vv. 1b*.2e
vv. 4–8 (Canto II): pyk/ymynk, vv. 4b and 7c resp. (epiphora)

prep. b-, vv. 5a.7a+8a

vv. 1–2a.4–6: ’wdk/ywdwk yhwh + kl, vv. 1a.4a! (anaphora)!; see also
suffix -k in v. 4b
ky šm‘t ’mry py/ky šm‘w ’mry pyk, vv. 1b*.4b (exactly
linear)
roots zmr/šyr, vv. 1c and 5a resp.
vv. 2b–3.7–8: h.sdk, vv. 2c.8b! (linear); note h.sdk w‘l/l‘wlm (alliter.)
prep. ‘l, vv. 2c+e [2×].7b!
suffix -ny, vv. 3a+b.7a+c!
bnpšy/b‘dy, vv. 3b and 8a resp.
vv. 2b–3.4–6: ky + root gdl, vv. 2d.5b! (concatenation)

yhwh (v. 8 [2×])

none

Psalm 138 has 10 verselines and 22* cola.1 In v. 4 we find the middle cola:
vv. 1–3.4.5–8 > 10*+2+10 cola. These cola, about all kings of the earth
praising the words spoken by God, represent the rhetorical centre of the
psalm. This centre is further highlighted by the fact that within the strophe
vv. 4–6 it is only the opening verseline v. 4 which is explicitly addressed to
God; note yhwh vocative in v. 4a (vv. 5–6 are spoken about God).2
Structure of strophes in terms of words: 15*+19|24+22 = 34*+46 (=
80* words in total).
The divine name, yhwh, occurs 7*×: vv. 1*, 4, 5 (2×), 6 and 8 (2×).
1
Fokkelman (MPHB III; note pp. 314–15 n. 17) has 21 cola; he does not follow LXX
in v. 1b, takes v. 2d–e as a single colon and considers v. 7 two bicolic verselines; for the
latter colometric division, see also Allen (2002, p. 311) and Hossfeld/[Zenger] (2008, pp.
703–04). Labuschagne (www.labuschagne.nl/ps138.pdf) has 9 verselines and 21 cola; he
follows LXX in v. 1b (note his Specific features of Psalm 138!), but subsequently regards
v. 1a–c as a tricolon and v. 2 as two bicola (cf. Fokkelman).
2
For this device highlighting the rhetorical centre, cf. CAS II, Ch. V.5 (pp. 550–51).
Similarly Labuschagne (Observation 1); Aletti/Trublet and Weber consider vv. 4–6 the
consciously designed central strophe of the poem; see § 31.6.

Köster (1837): 1–3.4–6.7–8; similarly De Wette (1856), Kraus (1978)
Hävernick (1849), p. 43: 1–3.4–6.7–8 (3.3.2 verses)
Ewald (1866), pp. 402–04: 1–3.4–6.7–8 (7.6.6 cola)
Delitzsch (1894): 1–2.3–6.7–8
Zenner (1906), pp. 85–86: 1–2.3+7|4–6.8+7 (3.2|3.2 lines)
Von Faulhaber (1913), p. 15: 1–3.4–6.7–8 (‘Subjektschalipha’)
Szczygiel (1913), p. 133: 1–3.4–6.7–8 (1–3 // 7–8)
Duhm (1922): 1*.2a–c.2d–3.4–5a.5b–6.7.8 (7×1 tricolon); similarly Jacquet
Gunkel (1926): 1–3.4–6.7–8 (‘Keine regelmäßige Strophenbildung’); simi-
larly Herkenne (1936), Pannier/Renard (1950), NAB (1970)
Calès (1936): 1*.2a–c.2d–3|4–5a.5b–6|7.8 (3.2.2 tricola); cf. Duhn (1922)
Kissane (1954): 1–3.4–6.7–8 (3.3.3 lines); similarly Fokkelman (2003), pp.
312–15
Mowinckel (1957), pp. 13–14: 1*–2c.2d–3*.4–6.7–8 (4×2 tricola)
Beaucamp (1979): 1a 1b–3.4–6.7–8b 8c (1 6.6.6 1 cola)
Aletti/Trublet (1983), p. 102: 1–2.3.4–6.7.8 (a.b.a’.b’.a’’)
Girard (1994): 1*–2c.2d–3|4–5a.5b–8 (a.b|a’.b’)
Allen (2002): 1–3.4–6.7–8 (4.3.3 lines; note p. 314); similarly Gemser (1949)
Terrien (2003): 1–2.3–5.6–7 8 (3.3.3 bicola and a tricolon)
Weber (2003): 1–3.4–6.7–8 (a.b.a’)
Auffret (2005): 1–2.3.4–5|6||7a–bA|7bB–c.8a–b.8c (a.b.a’|a’’||b’|b’’.a’’’.b’’’)
Hossfeld/[Zenger] (2008): 1–2.3|4–5.6|7.8
www.labuschagne.nl/ps138.pdf: 1–3|4–6.7–8 (4|3.2 lines)

It is almost generally agreed that Psalm 138 consists of three ‘strophes’, vv.
1–3, 4–6 and 7–8; see § 31.6.3 In my opinion, we should follow LXX and
insert a complete colon after v. 1a; see § 31.1.4 This insertion has major
consequences for our perception of the overall structure of the composition.
If we consider v. 1b (LXX) an original element then it is possible to take
vv. 1–2a as an individual strophe (consisting of two bicola) and vv. 2b–3
3
Kissane and Fokkelman assume that these strophes consist of three verselines each;
see Kissane (1954) in § 31.6. However, there is much uncertainty with regard to the
colometry of especially vv. 1–2 and 7–8; cf. § 31.5. In the preceding century, Duhm, Calès
and Mowinckel assumed that the poem was originally composed of an uninterrupted
series of tricola; see § 31.6.
4
‘On voit mal comment le traducteur grec aurait pu inventer cet ajout de toutes
pièces’; Girard (1994), p. 425.
as another individual strophe (consisting of three bicola).5 Vv. 1–2a are

especially about the thanksgiving of the supplicant in God’s temple. Like
the preceding strophe, vv. 2b–3 opens with a form of the root ydh (hiph‘il
‘to give thanks’), a device for anaphora. However, unlike vv. 1–2a, vv. 2b–3
especially deal with the motivation of the thanksgiving: on the grounds of
God’s steadfast love towards the supplicant, God answered his prayer and
provided him with new strength. Taken together, strophes vv. 1–2a and
2b–3 form a coherent thematic unity, Canto I. This canto is in its entirety
addressed to God.
From v. 4 onwards, we are dealing with the second main part of the
psalm, Canto II (vv. 4–8). In terms of verbal repetitions, vv. 1a–b and
4 function as a refrain-like verseline opening the successive cantos; see
§ 41.4.3.6 Canto II is characterized by generalizing statements based on
the experience of the supplicant described in Canto I (extrapolations).7
Like the first canto, Canto II divides into two strophes, vv. 4–6 and 7–8
(this is uncontested; see § 31.6). These strophes are formally demarcated
by the alternation between cola which address God in the second person
(vv. 4 and 7+8b–c) and cola in which God is spoken about in the third
person (vv. 5–6 and 8a); note the linearly alternating pattern.
In terms of subject matter, vv. 4–6 are about the thanksgiving of all
the kings of the earth because of God’s care for the lowly, notwithstanding
his majesty and exaltedness.8 This is an extrapolation as far as place is
concerned; cf. vv. 1–2a about the thanksgiving in God’s temple. Vv. 7–8
express the supplicant’s conviction that God will grant him life whenever
he faces his enemies; God’s steadfast love is everlasting (v. 8b). This is an
extrapolation as far as time is concerned; cf. vv. 2b–3 about an experience
in the past.9 V. 8c stands out in the psalm as a whole as a concluding plea
5
Most scholars take v. 2d–e as a single colon, but Allen (2002), p. 310, rightly con-
siders the phrase in question (ky hgdlt ‘l kl šmk ’mrtk ) a bicolic verseline; cf. NAB.
6
In most cases a refrain comes at the end of successive main parts of a poem. Refrains
opening main parts especially feature in the fifth book of the Psalter; see CAS I, Ch. V,
4.3.1.2 (p. 497). In Psalm 140 vv. 2 and 5a–b open two successive 3-line strophes.
7
At the beginning of the nineteenth century, Zenner already had an idea of the bi-
partite structure of our psalm: ‘Die beiden Strophen sind parallel: die erste ist spezieller
und handelt (im zweiten Teil) von der Vergangenheit, die zweite ist allgemeiner und geht
auf die Zukunft’ (Zenner [1906], p. 86); cf. Girard (1994), pp. 430–31.
8
I consider v. 6b an antithetic parallel to wšpl yr’h (‘yet the lowly he sees’, v. 6aB),
with Allen (2002, p. 312) and Booij (2009, p. 278); pace Fokkelman (MPHB III, pp.
313–14) and Hossfeld/[Zenger] (2008, pp. 704–05), who maintain that wgbh (‘and lofty’)
in v. 6b is a second nominal predicate for God.
9
Vv. 7–8 represent a purely tricolic strophe; see § 31.1 and similarly Seybold (1996),
p. 511. For purely tricolic strophes concluding a psalm, see CAS I, Ch. V, 6.2.1 (pp.
528–29); note Pss. 3,8–9 19,14–15 22,30–31 27,13–14 62,12–13 64,10–11 99,8–9
for God’s permanent help.

That is to say, the description of Psalm 138 in terms of subject matter
reveals that Cantos I and II display a linearly alternating parallelism: vv.
1–2a.2b–3|4–6.7–8 > a.b|a’.b’. This pattern simultaneously supports my
strophic division of the first canto! The linear parallelism between the
cantos is buttressed by a similar design in terms of verbal repetitions; see
§ 31.4.3 and cf. Girard (1994) in § 31.6. In terms of strophic structure, the
poem as a whole shows a symmetric framework: there are two 5-line cantos
(cf. Zenner [1906]) consisting of 2.3 and 3.2 verselines respectively.10
The poem as a whole displays all kinds of quasi-alphabetic acrostic
devices. It opens with a verb beginning with an ’aleph (’wdk ) and closes
with a verb beginning with a taw (trp).11 The concluding strophe (vv.
7–8) has exactly 22 words (§ 31.5), matching the number of letters of the
Hebrew alphabet, and (in my opinion) there are exactly 22* cola.
31.8 Bibliography
P. Auffret, ‘Tu me feras vivre. Étude structurelle du psaume 138’, OTE 18/3
(2005), pp. 472–81.
111,9–10 112,9–10 and 148,13–14.

10
The symmetry is reinforced by the repetition of ky + the root gdl (vv. 2d.5b). The
symmetric pattern 2.3|3.2 lines also occurs in Psalm 47 (see CAS II, Ch. II.5); in Psalms
6, 16 and 20 we find the symmetric pattern 3.2|2.3 verselines (see CAS I, Ch. III).
11
Seybold (1996), p. 512, and Weber (2003) p. 339; for this phenomenon, see also
Psalms 1, 5, 70, 79 and 112(!).
32 Psalm 139
Structure: 11.12 > 5.6|6.6 > 3.2|2.2.2||2.2.2|2.2.2 lines (Type IB)
I.1 1 YHWH H 2
. QRTNY WTD‘ ’TH YD‘T šbty wQWMy bnth lR‘Y mrh.q
3 ’rh.y wrb‘y zryt wKL DRKy hsknth
4 KY ’yn mlh blšwny hn YHWH YD‘T KLh
5 ’h.wr wqdm .srtny wtšt ‘ly kpkh

6 PL’YH D‘T mmny nśgbh l’ ’wkl lh
I.2 7 ’nh ’lk mrwh.k w’nh mpnyk ’brh.

8 ’m ’sq šmym šm ’th w’s.y‘h š’wl hnk
9 ’Ś’ knpy šh.r ’šknh b’h.ryt ym

10 gm šm ydk TNH . NY wt’h.zny ymynk
11 W’MR ’k h.šk yšwpny wlylh ’wr b‘dny

12 gm h.šk l’ yh.šyk MMK wlylh kywm y’yr kh.šykh k’wrh
II.1 13 KY ’TH qnyt klyty tskny bbt.n ’my

14 ’wdk ‘l KY nwr’wt nplyty NPL’YM m‘śyk wnpšy YD‘T m’d
15 l’ nkh.d ‘s.my MMK ’šr ‘śyty bstr rqmty bth.tywt ’rs.

16 glmy r’w ‘ynyk w ‘l sprk KLm yktbw ymym ys.rw w l’ ’h.d
[bhm
17 wly mh yqrw R‘Yk ’l mh ‘s.mw r’šyhm
18 ’sprm mh.wl yrbwn hqys.ty w‘wdy ‘mk
II.2 19 ’m tqt.l ’lwh rš‘ w’nšy dmym swrw mny

20 ’šr Y’MRk lmzmh NŚ’ lšw’ ‘dyk
21 hlw’ mśn’yk YHWH ’śn’ wbTQWMMYk ’tqwt..t

22 tklyt śn’h śn’tym l’wybym hyw ly
23 H
. QRNY ’l WD‘ lbby bh.nny WD‘ śr‘py
24 W r’h ’m DRK ‘s.b by wNH . NY bDRK ‘wlm
32.1 Text
Vv. 1–2: an opening tricolon; for this line division, which is at variance with
MT, see CAS I, Ch. V, 6.1 (pp. 524–25).
V. 6a—pl’yh: so K; Q ply’h.
V. 11a—w’mr : ‘if I should say’ (‘previously, in verse 8f., hypothetical imperfects
are used’; GKC § 111x ); pace Booij (2005), pp. 4–5, who—refering to w’mr
in Pss. 55,7 and 77,11—takes it as a ‘statement about an actual saying’.
V. 11a—yšwpny: ‘it assaults/attacks me’ (so Booij [2005], p. 4; similarly HAL).
V. 16a—glm: ‘Formloses’ (‘Embryo’; HAL).
V. 16c—wl’ : so K; Q wlw.
V. 20b—‘dyk : ‘against you’ (cf. BHS); MT reads ‘ryk (‘your enemies/cities’).
32.2 Content
Hymn on God’s omniscience and the avowal of loyalty by an individual.
I God fathoms me (I.1); I cannot hide from his omnipresence (I.2).
I.1 O Lord, you read my thoughts and trace my every movement
(vv. 1–4).
Concluding reflection: you hedge me in (v. 5); I cannot un-
derstand (v. 6).
I.2 I cannot escape you, neither in heaven nor in Sheol (vv. 7–8).
You guide me wherever I go (vv. 9–10).
Concluding reflection: even in the dark I cannot hide from you
(v. 11); the dark is light for you (v. 12).
II God fashioned my inmost parts (II.1); protestation of loyalty to God
and concluding prayer for guidance (II.2).
II.1 You created me in my mother’s womb; therefore, I give thanks
to you (vv. 13–14).
The beginning of my life is an open book for you (vv. 15–16).
Concluding hymn: O God, how vast are your thoughts in their
totality (vv. 17–18).
II.2 O God, make the wicked perish (vv. 19–20).
O Lord, I hate your adversaries (vv. 21–22).
Concluding prayer : O God, examine my thoughts and be-
haviour (vv. 23–24; cf. vv. 1–4).

32.3.1.1 vocative: yhwh, v. 1 cohortative: ’šknh, v. 9b
yd‘ with subject God, vv. 1 w- beginning of line, v. 11a
and 2a ’mr imperf. 1 sing., v. 11a
’th, v. 2a ’k, v. 11a
’nh, v. 7a+b ’th, v. 13a
w- beginning of line, v. 17a imperative: h.qrny, v. 23a;

mh, v. 17a+b ext. // r’h in v. 24a
vocative: ’l (‘God’), v. 17a vocative: ’l (‘God’), v. 23a
vocative: ’lwh, v. 19a imperative: d‘, v. 23a+b
vocat.: ’nšy dmym, v. 19b imperative: bh.nny, v. 23b;
imperative: swrw, v. 19b ext. // nh.ny in v. 24b
h- interrogative, v. 21a
vocative: yhwh, v. 21a 32.3.1.2 none

32.3.2.1 gm, v. 10a 32.3.2.2 hn, v. 4b
gm, v. 12a vocative: yhwh, v. 4b
m’d, v. 14c yd‘ with subject God, v. 4b
‘wd, v. 18b w- beginning of line, v. 24a
‘wlm, v. 24b

’th, v. 8a hn, v. 8b

vv. 1–4: yhwh, vv. 1.4b (inclusion)
root yd‘, vv. 1+2a.4b (inclusion); note yd‘t in vv. 2a and 4b
šbty wqwmy/’rh.y wrb‘y, vv. 2a and 3a resp.
kl, vv. 3b.4b
vv. 5–6: suffix -ny, vv. 5a.6a (exactly linear)
vv. 11–12: root h.šk, vv. 11a.12a (2×)+c!
wlylh, vv. 11b.12b! (exactly linear)
root ’wr, vv. 11b.12b+c!; see also w’mr in v. 11a (alliter.)
vv. 13–14: ky, vv. 13a.14a
klyty/nplyty, vv. 13a and 14a resp. (alliter.; exactly linear)
vv. 15–16: l’ nkh.d/wl’ ’h.d, vv. 15a and 16c resp. (alliter.)
prep. b-, vv. 15b+c.16c
vv. 17–18: roots ‘s.m/rbh, vv. 17b and 18a resp.
vv. 19–20: w’nšy/nś’ lšw’, vv. 19b and 20b resp. (alliter.; exactly lin.)
vv. 21–22: hlw’/l’wybym, vv. 21a and 22b resp. (alliter.)
}chiasmus
mśn’yk . . . ’śn’/śn’h śn’tym, vv. 21a and 22a resp.!
vv. 23–24: lbby/‘s.b by, vv. 23a and 24a resp. (alliter.; exactly linear)
bh.nny/wnh.ny b-, vv. 23b and 24b resp. (alliter.; exactly lin.)

vv. 1–6 (I.1): root yd‘, vv. 1–4.6a (inclusion)
šbty wqwmy . . . ’rh.y wrb‘y/’h.wr wqdm, vv. 2a+3a and
5a resp. (linear)
prep. l-, vv. 2b.6b
prep. mn, vv. 2b.6a
’rh.y/’h.wr, vv. 3a and 5a resp. (alliter.)
klh/’wkl lh, vv. 4b and 6b resp. (alliter.; epiphora);
note the suffix -h!
vv. 7–12 (I.2): prep. mn, vv. 7a+b.12a (inclusion); cf. Canticle I.1
mpnyk/knpy, vv. 7b and 9a resp.
} chiasmus (alliter.;
’brh./b’h.ryt, vv. 7b and 9b resp.
linear)
šm (‘there’), vv. 8a.10a! (linear); see also šmym in
v. 8a (alliter.)
hnk/ymynk, vv. 8b and 10b resp. (alliter.; epiphora);
note the suffix -k
prep. b-, vv. 9b.11b (linear)
gm, vv. 10a.12a! (exactly linear)
vv. 13–18 (II.1): klyty/‘s.my, vv. 13a and 15a resp. (linear)
prep. b-, vv. 13b.15b+c+16c
prep. ‘l, vv. 14a.16b (linear)
}
nwr’wt/r’w, vv. 14a and 16a resp. (alliter.; linear)
chiasmus
m‘śyk/‘mk, vv. 14b and 18b resp. (alliter.; linear);
note the suffix -k
root ‘śh, vv. 14b.15b! (concatenation)
‘s.m (‘bone structure’)/‘s.m (‘to be numerous’), vv. 15a
and 17b! (linear)
root spr + suffix -m, vv. 16b.18a! (linear)
suffix -hm, vv. 16c.17b (epiphora; concatenation)
vv. 19–24 (II.2): ’m, vv. 19a.24a (inclusion); cf. mn in Canticles I.1–2
tqt.l/’tqwt..t, vv. 19a and 21b resp. (alliter.; linear)
vocatives ’lwh/yhwh/’l, vv. 19a, 21a and 23a resp.
(linear)
prep. l-, vv. 20a+b.22b (2×; linear)
nś’/śn’, vv. 20b and 21–22 resp. (alliter.; concat.)
ly/by, vv. 22b and 24a resp. (linear)

vv. 1–12 (Canto I): ’th, vv. 2a.8a (linear)
mrh.q/mrwh.k, vv. 2b and 7a resp. (alliter.; linear)
’rh.y/b’h.ryt, vv. 3a and 9b resp. (alliter.)
hn, vv. 4b.8b! (linear)
root ’h.r, vv. 5a.9b!
roots .swr (‘to besiege’)/šwp (‘to attack’) + suffix
-ny, vv. 5a and 11a resp. (exactly linear)
kpkh/ydk . . . ymynk, vv. 5b and 10 resp.
mmny/mmk, vv. 6a and 12a resp.
} chiasmus (ex-
l’, vv. 6b.12a
actly linear)
vv. 13–24 (Canto II): klyty/tklyt, vv. 13a and 22a resp. (alliter.)
l’, vv. 15a+16c.21a (lw’ ; linear)
prep. mn, vv. 15a+18a.19b (concatenation)
’šr, vv. 15b.20a!
root r’h, vv. 16a.24a!
w- at the beginning of the line, vv. 17a.24a (lin.)
ly, vv. 17a.22b!
r‘ym (‘thoughts’)/śr‘pym (‘thoughts’), vv. 17a
and 23b resp. (linear)
’l (‘God’, vocative), vv. 17a.23a! (linear)

vv. 1–6.13–18: ’th, vv. 2a.13a (exactly linear)
yd‘t, vv. 2a+4b.14c! (exactly linear)
r‘ (‘thought’), vv. 2b.17a!
kl, vv. 3b+4b.16b!
hsknth/tskny, vv. 3b and 13b resp. (alliter.; exactly
linear)
ky, vv. 4a.13a+14a! (exactly linear)
prep. ‘l, vv. 5b.14a+16b!
root pl’, vv. 6a.14b!; see also nplyty (from the root pl’
or plh) in v. 14a
vv. 7–12.19–24: ’m, vv. 8a.19a+24a!

root nś’, vv. 9a.20b!
root nh.h + suffix -ny, vv. 10a.24b!
w- at the beginning of the line, vv. 11a.24a (exactly

linear)
root ’mr, vv. 11a.20a!
prep. ‘d, vv. 11b.20b*!

vv. 1–6.19–24: yhwh (vocative), vv. 1+4b.21a!
root h.qr + suffix -ny, vv. 1.23a!
root yd‘, vv. 1–6.23a+b
root qwm, vv. 2a.21b!
bnth lr‘y/wd‘ śr‘py, vv. 2b and 23b resp.
drk, vv. 3b.24a+b!; see also ’rh. in v. 3a
mmny/mny, vv. 6a.19b!
vv. 7–12.13–18: mmk, vv. 12a.15a!

prep. b- (vv. 4a.21b.24a+b), suffix -k, suffix -m (v. 22a), suffix -y/-ny

’nh (v. 7 [2×]), prep. k- (v. 12 [3×]), mh (v. 17 [2×])

represent the central strophe (> 5+1+5 strophes). The pivotal position of
this strophe is highlighted by the motif of thanksgiving; note ’wdk (‘I give
you thanks’) in v. 14 and cf. ywdwk (‘they give you thanks’) opening the
rhetorical centre Ps. 138,4! V. 13 is the middle verseline (> 11+1+11
lines). This line consists of 26 (14+12) letters. V. 13b, tskny bbt.n ’my
(‘you knit me in the womb of my mother’) is the numerical centre in terms
of cola (> 25+1+25 cola). To put it otherwise, v. 13b is ‘embraced’ by
26 cola on both sides! Its pivotal position is highlighted by the word bt.n
1
Similarly Fokkelman (MPHB II), p. 518. From v. 3 onwards the poetic verselines
coincide with the Masoretic verses; for vv. 1–2, see § 32.1. The colometry of the tricola
vv. 12, 14 and 15 is in line with the Masoretic accentuation: there is an ‘ole wejored at
the end of the first colon and an ’atnah. at the end of the second colon; cf. CAS I, Ch.
V, 6.1 (note p. 524). Labuschagne (www.labuschagne.nl/ps139.pdf) has 24 verselines
and 52 cola, taking v. 16c as an individual bicolic verseline, which is in line with the
Masoretic accentuation (note the ’atnah. after ys.rw ); similarly Booij (2005), p. 18.
(‘womb’) in the very centre of the phrase, pointing to an inner organ of the
body.2 Because this colon expresses a focal idea in our psalm, phrased in
its most succinct form, I consider v. 13b a rhetorical centre.
Structure of strophes and cantos in terms of words: 24+13|14+12+17||
17+22+14|14+12+15 = 37+43|53+41 = 80+94 (= 174 = 6×29 words in
total). From this perspective, after v. 13 the poem divides into two exactly
equal halves: vv. 1–13.14–24 > 87+87 words. Because vv. 13 and 14a–b
each consist of 7 words, on word level vv. 13–14b are the centre of the
psalm: vv. 1–12.13–14b.14c–24 > 80+14+80 words.3
The divine name, yhwh, occurs 3×: vv. 1, 4 and 21. In vv. 17 and 23
God is designated ’l, and in v. 19 ’lwh.

Köster (1831), pp. 56–59: 1–2.3–4.5–6|7–8.9–10.11–12|13–14.15–16.17–18|
19–20.21–22.23–24 (4×6 verses)
Hävernick (1849), p. 41: 1–6.7–12.13–18.19–24 (4×6 verses); similarly Wette
(1856), Ewald (1866), pp. 430–36, Pannier/Renard (1950)
Ley (1875), pp. 188–89: 1–6.7–12.13–16.17–22.23–24 (4×6.2 lines)
Delitzsch (1894): 1–12.13–18.19–24 (no strophes)
Zenner (1906), pp. 69–71: 1–6.7–12.13+14c–18.19–24 (4.2|4.2|4.2|4.2 lines)
Duhm (1922): 1–2.3–4.5–6.7–8.9–10.11–12b.14a–b+13.14c–15.16.17–18.
19–20.21–22.23–24 (13×2 bicola)
Gunkel (1926): 1+4.2–3.5–6|7–8.9–10.11–12|13–14b.14c–15.16|17–18||19–20.
21–22.23–24 (‘Deutliche Strophenbildung’)
König (1927), pp. 127–40: 1–6.7–12.13–18.19–24 (‘vier logische Strophen’);
similarly Koole (1966), p. 180 (a.b|b’.a’), NAB (1970), Kraus (1978),
Aletti/Trublet (1983), pp. 102–03, Maré (2010), p. 695
Condamin (1933), pp. 182–86: 1–2.3–4.5–6|7–8.9–10.11–12|13–14b.14c–15.
16|17–18.19–20|21–22.23–24 (2.2.2|2.2.2|2.2.2|2.2|2.2 lines); cf. Gunkel
Calès (1936): 1–4.5–6|7–10.11–12|13–15.16|17–18.19–22|23–24 (4×6.2 lines);
cf. Ley (1875) and Krašovec (1974), pp. 225–27
Herkenne (1936): 1–6.7–12.13–18*.19–24 (‘vier, fast gleichmässig lange
Strophen . . . die 1. und 3. mit einem Ausruf am Ende [V.6. 17f.]’)
Montgomery (1945), p. 383: 1–5.6–11.12–18.19–24 (5.6.7.6 lines)
2
For the latter device highlighting the numerical centre of a poem, see CAS II, Ch.
V, 4.1 (pp. 543–44); cf. J. Smit Sibinga, ‘Gedicht en getal’, NThT 42 (1988), p. 196.
3
Labuschagne (www.labuschagne.nl/ps139.pdf, Observation 2) notes that the latter
feature gives prominence to the middle strophe (vv. 13–14), which he takes as the ‘con-
sciously designed meaningful centre’. The strophes vv. 7–8, 17–18 and 19–20 also have
exactly 14 words. In this respect, it is worth noting that vv. 7–8 and 19–20 are the first
strophe of a canticle; cf. vv. 13–14.
Gemser (1949): 1–2*.3–4.5–6|7–8.9–10.11–12|13–14b.14c–15.16|17–18|

19–20.21–22.23–24 (3×2|3×2|3×2|2|3×2 lines); cf. Gunkel (1926)
Kissane (1954): 1–7.8–12*.13–18*.19–24 (4×6 lines)
Dahood (1970): 1.2–6.7–12.13–16.17–22.23–24 ; cf. A. Wagner (2007)
Holman (1971): 1–6.7–9|10|11–14.15–18||19–20.21–22.23–24 (a.b|x|b’.a’||
c.d.c’)
Van der Ploeg (1974): 1–6|7–12|13–16.17–18|19–22.23–24
Beaucamp (1979): 1 2–5.7–10.11–12b+13+15a–b.15c–18.19–22 23–24
Jacquet (1979): 1–2.3–4.5–6|7–8.9–10.11–12b|13–14b.14c–15.16|17–18.
23–24|19–20.21–22 (13×2 bicola)
Girard (1994): 1–3.4–5.6–10.11|12.13–15.16.17–18||19–20.21|22.23–24 (a.b.
c.d|d’.c’.b’.a’||e.f|f’.e’); cf. Holman (1971)
Auffret (1997): 1–5.6.7–12.13–14|15–16.17–18.19–22.23–24 (‘symétrie
croisée’: a.b.c.d|d’.c’.b’.a’ and a.b.c.d|a’.b’.c’.d’)
Fokkelman (2000), pp. 303–05: 1–3.4–6|7–8.9–10.11–12|13–14.15–16.17–18|
19–20.21–22|23–24 (2.3|2.2.2|2.2.2|2.2|2 lines)
Allen (2002): 1–6.7–14b.14c–18|19–24 (note pp. 320–23)
Terrien (2003): 1.2–4.5–6|7.8–10.11–12|13.14–16.17–18|19.20–33.23–24
(4×6 lines; 6 = 1.3.2 lines)
Weber (2003): 1–6.7–12.13–16.17–22.23–24 (A.B.A’B’ vv. 23–24)
Hossfeld/[Zenger] (2008): 1.2–5.6|7.8–10.11–12|13–16.17–18|19–20.21–22.
23–24 (‘vier gleich lange Strophen von je sechs Versen’ [p. 720])
Auffret (2010): 1–5.6.7–10|11–12|13–14.15–16.17–18.19–22.23–24 (A.X.A’)
www.labuschagne.nl/ps139.pdf: 1–4.5–6|7–8.9–10.11–12|13–14.15–16.17–18|
19–20.21–22.23–24 (3.2|3×2|2.3.2|3×2 lines)

Psalm 139 is composed of four almost uniform sections, canticles, vv. 1–6,
7–12, 13–18 and 19–24.4 This division is indicated by the patterns of verbal
recurrences within the canticles which positively support their structural in-
dividuality (§ 32.4.2). Some of these repetitions exclusively occur within a
specific canticle; see e.g. šm (‘there’) and gm (‘also’) in vv. 7–12 (Canticle
I.2), and the root spr (‘to count’) in vv. 13–18 (Canticle II.1). The bound-
aries of Canticles I.1.and I.2 are demarcated by the preposition mn and
those of Canticle II.2 by ’m.5
4
For this division, see also Köster, Hävernick, Zenner, König, Herkenne, Van der
Ploeg, Terien, Hossfeld/[Zenger] and Labuschagne in § 32.6.
5
The lengthening of the verselines from two to three cola in vv. 14–16 and the hym-
nic character of vv. 17–18 made some scholars assume that the third canto concludes
with v. 16; see Ley, Gunkel, Condamin, Calès, Gemser, Dahood and Weber in § 32.6.
The canticles mostly consist of an uninterrupted series of three 2-line

strophes, a correspondence in terms of structural design further supporting
their delimitation. The opening canticle, consisting of a 3- and a 2-line stro-
phe (vv. 1–4 and 5–6 respectively), is an exception. The strophic regularity
is based on thematic (§ 32.2) and formal (§ 32.3 [transition markers] and
§§ 32.4.1–2 [verbal repetitions]) considerations. There are a conspicuous
number of linearly external correspondences within the strophes (between
successive verselines); see e.g. wlylh in vv. 11–12 (§ 32.4.1). The linear pat-
terns of verbal repetitions between successive strophes, listed in § 32.4.2,
are numerous as well and further underscore the strophic framework of the
canticles; see e.g. the root spr + suffix -m in vv. 13–18. In this respect, see
also the thematic correspondence between vv. 13b and 15b–c: the psalmist
is created in a secret place. And to crown it all, in terms of transition mark-
ers, the contrary indications (§ 32.3.3) are conspicuously few compared to
the numerous markers highlighting the beginnings and the ends of the stro-
phes. Moreover, in Canticle II.2 (vv. 19–24) the designations for God in
the vocative marking the beginnings of the strophes (§ 32.3.1.1) coincide
with the linear pattern of verbal recurrences (§ 32.4.2).6
It is especially in terms of subject matter that the successive canti-
cles display a linearly alternating parallelism: vv. 1–6.7–12|13–18.19–24 >
a.b|a’.b’ (cf. Weber [2003]). In this respect, it is to be noted that the con-
cluding strophe of each canticle has a relatively individual position contain-
ing a personal reflection on the message of the canticle (generally speaking);
see § 32.2 and note w’mr and wly in vv. 11a and 17a respectively.7 In vv.
1–6 the psalmist recognizes God’s omniscience as far as his personal life
is concerned (vv. 1–4). V. 5, the second to the last line of the section,
speaking about God surrounding the psalmist, preludes on the theme of
the following canticle. The root .swr (‘to besiege’, v. 5a) and the phrase
‘and you lay your hand upon me’ (v. 5b) express intimidation and reveal
that God’s presence frightens the psalmist.8 The canticle winds up with
However, the linear verbal repetitions within Canticle II.1 and within Canto II (note w-
at the beginning of the line, r‘ym/śr‘pym and ’l [‘God’] in § 32.4.3) refute their opinion.
For the rhetorical function of the praise in v. 14, see § 32.5!
6
Cf. ’lhym vocative in the concluding canto of Psalm 71 (vv. 17–24); see CAS II,
Ch. II.29. For the strophic regularity of Psalm 139, see also Köster, Duhm, Gunkel,
Condamin, Jacquet, Fokkelman and Labuschagne in § 32.6. However, Fokkelman
(MPHB II, p. 303) mistakenly argues that vv. 4–6 represent a poetic unity (cf. also
Girard [1994]); v. 4, which is still about God’s fathoming the supplicant, matches vv.
1–3. In addition, Fokkelman’s statement that yhwh in v. 21 should be deleted (p. 303
n. 29) is refuted by the rhetorical design of vv. 19–24.
7
Cf. Zenner (1906), Herkenne (1936) and Van der Ploeg in § 32.6; see also Irsigler
(2002), pp. 232–37, Booij (2005), pp. 15–16, and Hossfeld/[Zenger] (2008), pp. 719.720.
8
So Groß (1987), pp. 152–53, Mazor (1997), p. 262, and A. Wagner (2007), pp. 95–96;
a verseline in which the psalmist aknowledges his own intellectual limita-

tions: he is unable to understand the reality of God’s presence (v. 6); ‘der
bedrohliche Ton ist hier deutlich spürbar’ (Wagner [2007], p. 96).
Taking into account the intimidating aspect of v. 5, it is not surprising
that the second canticle, vv. 7–12, opens with a verseline about ‘running
away’ from this ever-present God (note v. 7b and cf. Jonah 1,3.10). Simul-
taneously, the psalmist acknowledges the impossibility of hiding from God;
even in the underworld he cannot escape from him (vv. 8b and 11–12; cf.
Job 26,6). Vv. 11–12, which extensively deal with the contrasting themes
of h.šk (‘darkness’)/lylh (‘night’) on the one hand and ’wr (‘light’) on the
other, express the apex of this idea. The supplicant recognizes that even in
the dark God’s all penetrating light should surely reveal his true character
(see Prov. 15,11 and cf. Job 38,12–15).9 That is to say, Canticle I.2 almost
in its entirety shows that he is scared by the idea of God’s omnipresence.
The positive connotations of the root nh.h (‘to guide’) in v. 10a prelude on
the concluding strophe of the linear parallel Canticle II.2 (see v. 24b).
From v. 13 onwards all negative feelings with regard to God’s omni-
science and omnipresence have disappeared. In other words, after v. 12
there is a major thematic break in the composition. Vv. 13–18 abound
with praises of God.10 In vv. 13–16 the supplicant thanks God as his Cre-
ator in the womb of his mother and positively confesses that God knows his
inmost parts from the beginning. In this way, God’s intimate relationship
with him is once more (cf. Canticle I.1) underlined.11 The reference to the
creation of his ‘kidneys’ (v. 13a) perfectly fits this context because these
organs are the seat of conscience which lies open to God (Jer. 20,12). The
correspondence between Canticles I.1 and II.1 is reinforced by the motif of
God’s foreknowledge referred to in vv. 4 and 16b–c. The canticle winds up
with a strophe in which the supplicant praises God (vv. 17–18), simulta-
neously acknowledging his own limitations (v. 18a; cf. v. 6).12 The strophe
concludes with a colon speaking of the ‘awakening’ (hiph‘il of the root qys.)
pace Booij (2005), p. 5. For v. 5b, cf. e.g. Ps. 32,4 and Job 13,21.
9
For w’mr opening a concluding (3-line) strophe, see also Pss. 55,7 and 77,1.
10
Baumann (1951, p. 189) rightly points out that from v. 13 onwards there is a
‘Veränderung der Blickrichtung’: ‘Die Stimmung schlägt um’; similarly Groß (1987,
p. 157). Cf. Mazor (1997, p. 262) who speaks about a ‘swinging rhetorical pendulum’
characterizing the entire psalm and which consists of two different attitudes of the
psalmist toward God: ‘one an ardent admiration, the other complaint and even recoil’.
11
Dahood (Psalms III, p. 285) notes: ‘When describing God as the Creator and
Provider [. . . ], the poet implicitly resumes the thought of vss. 2–6, since these divine
attributes imply universal knowledge’.
12
For hymnic phrases concluding main parts of a poem, see Psalms 31, 35 and 71;
note CAS II, Ch. II, 29.7 (pp. 277–81). Cf. also ky l’ yd‘ty sprwt (Ps. 71,15c) with ’sprm
mh.wl yrbwn (Ps. 139,18a).
of the supplicant in God’s presence. The correspondences between Psalms

17 and 139 suggest that we are dealing with a rhetorical device for round-
ing off a main poetic section, cf. ’śb‘h bhqys. tmwntk concluding Psalm 17
(v. 8b; the last colon of Canticle II.2).13
Canticle II.1 functions as a preparation to the protestations of loyalty
which are phrased in Canticle II.2 (vv. 19–24). With the appeal for the
extinction of the wicked, opening the concluding canticle (vv. 19–20), the
psalmist makes it clear that he is on God’s side (Allen [2002], p. 330;
Irsigler [2002], p. 236). In vv. 21–22 he explicitly expresses his loyalty to
God. ‘Der Hass auf die Jahwegegner ist sicherlich als das Gegenstück zur
liebevollen Hinwendung des Beters zu Jahwe [. . . ] zu verstehen’ (A. Wagner
[2007], p. 111 n. 54); similarly Peels (2008), p. 43: ‘The explicit rejection
of the wicked even through an imprecation indicates the poet’s position
and emphasises his loyalty to YHWH’ (‘a confession in the negative mode’,
p. 45). In addition, in v. 19b the supplicant urges the ‘men of blood’ to
depart from him; cf. also Köckert (2010), p. 425. This means that the
b-canticles also stand out by their speaking of the (supposed) activities by
the supplicant with regard to God, in two different directions indeed. In vv.
7–12 he considered the possibility of running away from God, while in vv.
19–24 he turns to God, so to speak (and moves away from the wicked).14
On the other hand, Canticles I.1 and II.1 (the a-canticles) are dominated
by God’s activities. With the concluding plea to scrutinize his thoughts
and behaviour (vv. 23–24) the psalmist finally shows his sincere intentions.
The poem as a whole characteristically concludes with a reference to the
concept of the two ways; note drk . . . drk in v. 24 and cf. Ps. 1,6 (and Prov.
12,28)!15 At the same time, the thematic references in vv. 23–24 to the first
strophe of the psalm (vv. 1–4) marks the boundaries of the composition
as whole by the device for inclusion (see § 32.2).16 In terms of verbal
13
In this respect, cf. also Pss. 16,11c 17,7 21,7 and 140,14b (speaking about God’s
presence) at the end of a canto. Expressing a general feeling, A. Wagner (2007, p. 100
n. 25) sighs: ‘Die Rolle des Erwachens ist m.E. völlig unklar’. For an enumeration of
the verbal repetitions between Psalms 17 and 139, see the concluding paragraph below;
however, different from Psalm 17, protestations of innocence do not occur in Psalm 139
(otherwise Gunkel, Mowinckel, Dahood, Allen).
14
It is often supposed that vv. 19–22 point to an attack of the wicked on the supplicant,
charging him with idolatry (cf. vv. 19b and 24a); see Allen (2002), p. 325. In my opinion,
however, there are no clear references to such a charge; cf. also Booij (2005), pp. 15–16.
15
The antithetical concept of the right and the bad way concluding a poem is an
indication of the influence by wisdom tradition; about this aspect of Psalm 139, see
Koole (1966), pp. 179–80, and cf. Kuntz (1974), pp. 202.207–08.
16
That is to say, vv. 23–24 do double duty. Scholars like Ley (1875), Calès (1936),
Dahood (1970), Fokkelman (2000) and Weber (2003), who consider these verses a rela-
tively independent strophe at the end of the composition (see § 32.6), ignore the function
recurrences, the correspondences between vv. 1–4 and 23–24 represent only
a part of the impressive cluster of repetitions occurring in vv. 1–6 and
19–24; see § 32.4.4 (The symmetric framework).
The thematic alternation between the canticles and the obvious tran-
sition after v. 12, as far as the feelings of the psalmist toward God are
concerned, demonstrate that Psalm 139 consists of two main parts, cantos,
vv. 1–12 and 13–24. This overall design is supported by the (patterns of)
verbal repetitions within vv. 1–12 and 13–24 (§ 32.4.3) and on the level of
the composition as a whole (§ 32.4.4, The linear framework).17
My rhetorical approach militates against all those views which divide
Psalm 139 differently into two main parts, vv. 1–18 and 19–24, highlighting
vv. 19–24 as a problematic section or maintaining that the latter section
provides the key to the interpretation of vv. 1–18 (Würthwein [1957]). Fol-
lowing Gunkel, Holman (1971) maintains that ‘the section vss. 19–24 is
marked by strong activity in opposition to the contemplation in vss. 1–18’
(pp. 301–02); note, however, the verbs expressing activity in vv. 7–10. Hol-
man (pp. 299 and 306) further argues that Psalm 139 does not display
a ‘strophic structure’ because ‘the themes of flight and creation of man’
should be ‘subordinate to the major concentric structure (vss. 1–18)’. In
vv. 1–18 ‘literary criteria’ (italics are mine; PvdL) are supposed to point to
a concentric design with v. 10 as pivotal verseline (see § 32.6). For the main
division vv. 1–18 and 19–24, see now also Girard and Allen in § 32.6.18
From a thematic perspective, Psalm 139 has two focal points. The
supplicant’s submission to God’s omniscience, concisely expressed in the
framing strophes vv. 1–4 and 23–24, represents one of them. The hymn on
of these verses as a thematic climax within Canticle II.2.

17
Cf. Auffret (1997) in § 32.6. Nevertheless, it is telling that—as far as his method-
ological approach is concerned—this scholar in his second(!) detailed investigation still
ignored the major ceasura after v. 12: ‘La distinction entre les deux parties ne se fait
donc ni entre 16 et 17, comme nous le proposions dans La Sagesse, ni entre 18–19
comme le tenaient, après d’autres, Holman and Girard, mais entre 14 et 15’ (Auffret
[1997], p. 18). In his most recent investigation (2010), Auffret considers vv. 11–12 the
pivotal unit of the composition. Allen (2002, p. 323), erroneously maintains that there
is ‘no structural indication’ of a break after v. 12; however, note the responsions ’th, yd‘t
and ky at the beginnings of Cantos I and II. As is the case in v. 4a, ky at the beginning
of Canto II (v. 13a) has an emphatic function (cf. cf. Job 28,1 and ’k in Ps. 73,1); contra
Köckert (2010, p. 422) who assumes that ky in v. 13a introduces ‘den gesamten dritten
Teil [vv. 13–18] als Begründung für den zweiten [vv. 7–12]’.
18
Mazor (1997, pp. 265–66) likewise shows to miss the overall flow of the thought
development of the psalm, when he considers vv. 19–24 a deus ex machina functioning
as a ‘thematic-compositional device which stops the pendulum’s movement’ of vv. 1–18.
For the main division vv. 1–18.19–24, see also the references listed by A. Wagner (2007),
pp. 100-01 n. 26.
God as the Creator of the psalmist in the pivotal strophe vv. 13–14 is the
other.
the following verbal repetitions: root yd‘ (vv. 1–6.23) > 138,6; mrh.q (v. 2)
> 138,6; drk (vv. 3.24 [2×]) > 138,5; ’lk (v. 7) > 138,7; ydk (v. 10) >
138,7.8; ymynk (v. 10) > 138,7; ’wdk (v. 14) > 138,1.2.4; m‘śyk (v. 14)
> 138,8 (m‘śy ydyk ); npšy (v. 14) > 138,3; root r’h (vv. 16.24) > 138,6;
’wybym (v. 22) > 138,7; lbby (v. 23) > 138,1; ‘wlm (v. 24) > 138,8 (linear!).
For the relationship with Psalm 17, see (among other things) the following
verbal repetitions: root qwm (vv. 2.21) > 17,7.13 (note tqwmmym in 139,21
and mtqwmmym in 17,7); ’rh. (v. 3) > 17,4; mpnyk (v. 7) > 17,2.9.13.15
(note mlpnyk in v. 2); knpym (v. 9) > 17,8; ymynk (v. 10) > 17,7; root ’mr
(vv. 11.20) > 17,6; lylh (vv. 11.12) > 17,3; npšy (v. 14) > 17,9.13; ‘ynyk
(v. 16) > 17,2.8.11 (note ‘ynyk in v. 2); root qys. hiph‘il (v. 18) > 17,15; rš‘
(v. 19) > 17,9.13; lbby (v. 23) > 17,3 (lby); root bh.n (v. 23) > 17,3.
32.8 Bibliography
E. Baumann, ‘Der 139. Psalm—Ein Bekenntnis der Metanoia’, EvTh 11 (1951),
pp. 187–90;
E. Würthwein, ‘Erwägungen zu Psalm 139’, VT 7 (1957), pp. 165–82;
J.L. Koole, ‘Quelques remarques sur Psaume 139’, in W.C. van Unnik and A.S.
van der Woude (eds.), Studia Biblica et Semitica, FS Th.C. Vriezen, Wagenin-
gen: Veenman, 1966, pp. 176–80;
J. Holman, ‘The Structure of Psalm CXXXIX’, VT 21 (1971), pp. 298–310;
J. Krašovec, ‘Die polare Ausdruckweise im Psalm 139’, BZ 18 (1974), pp. 224–48;
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. FS J. Muilenburg, Pittsburgh, 1974, pp. 186–222;
W. Groß, ‘Von YHWH belagert. Zu Ps 139,1–12’, in E. Paul and A. Stock
(eds.), Glauben ermöglichen. FS G. Stachel, Mainz, 1987, pp. 149–59 (now in
W. Groß, Studien zur Priesterschrift und zu alttestamentlichen Gottesbildern
[SBS 30], Stuttgart, 1999, pp. 173–83);
P. Auffret, ‘O Dieu, connais mon coeur: étude structurelle du Psaume cxxxix’,
VT 47 (1997), pp. 1–22;
Y. Mazor, ‘When Aesthetics Is Harnessed to Psychological Characterization—
“Ars Poetica” in Psalm 139’, ZAW 109 (1997), pp. 260–71;
W.P. Brown, ‘Creatio Corporis and the Rhetoric of Defense in Job 10 and Psalm
139’, in W.P. Brown and S.D. McBride (eds.), God Who Creates. FS W.S.
Towner, Grand Rapids/Cambridge: W.B. Eerdmans, 2000, pp. 107–24;

H. Irsigler, ‘Psalm 139 als Gebetsprozess’, in H. Irsigler (ed.), Wer darf hinauf-
steigen zum Berg JHWHs? FS S.Ö. Steingrı́msson (ATSAT 72), St. Ottilien,
EOS Verlag, 2002, pp. 223–64;
Carolyn Pressler, ‘Certainty, Ambiguity, and Trust: Knowledge of God in Psalm
139’, in B.A. Strawn and Nancy R. Bowen (eds.), A God So Near. FS P.D.
Miller, Winona Lake (Indiana): Eisenbrauns, 2003, pp. 91–99;
J. Maier, ‘Die Feinde Gottes. Auslegungsgeschichtliche Beobachtungen zu Ps
139,21–22’, in J. Maier, Studien zur jüdischen Bibel und ihrer Geschichte (Studia
Judaica 21), Berlin: de Gruyter, 2004, pp. 405–24;
Th. Booij, ‘Psalm cxxxix: text, syntax, meaning’, VT 55 (2005), pp. 1–19;
J. Holman, ‘Are Idols Hiding in Psalm 139:20?’, in B. Becking and E. Peels
(eds.), Psalms and Prayers (OTS 55), Leiden/Boston: Brill, 2007, pp. 119–28;
A. Wagner, ‘Permutatio religionis—Ps. cxxxix und der Wandel der israelitischen
Religion zur Bekenntnisreligion’, VT 57 (2007), pp. 91–113 (now in A. Wagner,
Beten und Bekennnen. Über Psalmen, Neukirchen-Vluyn: Neukirchener Verlag,
2008, pp. 123–43);
E. Peels, ‘“I Hate Them with Perfect Hatred” (Psalm 139:21–22)’, Tyndale Bul-
letin 59/1 (2008), pp. 35–51;
H. Simian-Yofre, ‘Il Salmo 139: ringraziamento o ribellione?’, RivB 57/3–4
(2009), pp. 299–310;
P. Auffret, ‘Connais mon coeur! Nouvelle étude structurelle du Psaume 139’,
OTE 23/2 (2010), pp. 215–34;
M. Köckert, ‘Ausgespäht und überwacht, erschreckend wunderbar geschaffen:
Gott und Mensch in Psalm 139’, ZThK 107 (2010), pp. 415–47;
L.P. Maré, ‘Creation Theology in Psalm 139’, OTE 23/3 (2010), pp. 693–707.
33 Psalm 140
Structure: 6.6.2 > 3.3|3.3|2 lines (Type IIB)
I 2 h.ls.ny YHWH m’dm R‘ m’YŠ H . MSYM tns.rny

3 ’šr h.šbw R‘WT blb kl YWM ygrw mlh.mwt
4 šnnw LŠWNm kmw nh.š h.mt ‘kšwb th.t ŚPTYMW (slh)
5 šmrny yhwh mydy RŠ‘ m’yš h.msym tns.rny

’šr h.šbw ldh.wt p‘my 6
.tmnw g’ym ph. ly wh.blym
pršw ršt lyd m‘gl mqšym štw ly (slh)
II 7 ’MRTY lYHWH ’ly ’th h’zynh YHWH qwl th.nwny

8 YHWH ’dny ‘z yšw‘ty skth lr’šy bYWM nšq
9 ’l ttn YHWH m’wyy RŠ‘ zmmw ’l tpq yrwmw (slh)
10 r’š msby ‘ml ŚPTYMW ykswmw

11 ymyt.w ‘lyhm gh.lym b’š yplm bmhmrwt bl yqwmw
12 ’YŠ LŠWN bl ykwn b’rs. ’YŠ H
. MS R‘ ys.wdnw lmdh.pt
III 13 YD‘TY ky y‘śh YHWH dyn ‘ny mšpt. ’bynym

14 ’k .sdyqym ywdw lšmk yšbw yšrym ’t pnyk
33.1 Text
V. 3b—ygrw : pi‘el from the root grh (‘to incite’); cf. Prov. 15,18 and 28,25. MT
reads ygwrw (from the root gwr [‘to attack’]).
Vv. 5–6: MT reads two tricola (similarly Hossfeld/[Zenger] and Labuschagne;
cf. BHS). I take these lines as 3 bicola; for v. 5c as the opening colon of a
new line, see v. 3a (with Calès, NAB, Fokkelman [2002], and others).
V. 10b—ykswmw : so K; Q yksymw.
V. 11a—ymyt.w : so K; Q ymwt.w (cf. Ps. 55,4).
V. 11—b’š yplm: ‘Der Absatz fällt nach dem Versmass hinter b’š’ (Gunkel;
cf. the layout in BHS). MT takes these words as an independent colon;
similarly Fokkelman (2003), p. 316 n. 25 (nevertheless, on p. 317 [n. 30] he
questions the correctness of this decision).
V. 13a—yd‘ty: so Q and the ancient versions; K yd‘t.
V. 13a—yhwh: the last word of the first colon (enjambement; cf. the layout in
BHS, Weber and Ps. 135,6). MT divides with ’atnah. after ‘ny in v. 13b
(similarly Hossfeld/[Zenger] and Labuschagne).
33.2 Content
The prayer of an individual for deliverance from enemies.
I Descriptions of distress, introduced by prayers for deliverance.
O Lord, rescue me from my enemies who attack me with their
words (vv. 2–4).
O Lord, rescue me from my enemies who have laid traps for me
(vv. 5–6).
II Protestations of confidence and pleas for ruin of the enemies.
O Lord, I trust in you; rescue me from my enemies (vv. 7–9).
May my enemies by cast in their own pits (vv. 10–12).
III Generalizing conclusion: the poor may have hope for salvation (v. 13;
cf. vv. 7–9) and the righteous will praise the Lord (v. 14).

33.3.1.1 imperative: h.ls., v. 2a vocative: yhwh, v. 7b; ext.
vocative: yhwh, v. 2a // yhwh ’dny in v. 8a
imperative: šmr, v. 5a and yhwh in v. 9a
vocative: yhwh, v. 5a yd‘ty, v. 13a
’mrty, v. 7a
’th, v. 7a 33.3.1.2 none
imperative: h’zynh, v. 7b

33.3.2.1 slh, v. 4b 33.3.2.2 ’l prohibitive, v. 9a+b
slh, v. 6c ’k, v. 14a
slh, v. 9b
’t pnyk, v. 14b

kl ywm, v. 3b

vv. 2–4: root r‘ ‘, vv. 2a.3a
h.šbw/‘kšwb, vv. 3a and 4b resp. (alliter.)
mlh.mwt/h.mt . . . th.t śptymw, vv. 3b and 4b resp. (alliter.)
vv. 5–6: yd, vv. 5a.6b! (inclusion)

ly, vv. 6a.6c!; see also l- . . . -y in v. 5c and lyd in v. 6b
vv. 7–9: prep. l-, vv. 7a.8b
yhwh vocative, vv. 7b.8a.9a; see also ’dny vocative in v. 8a
and yhwh in v. 7a
vv. 10–12: ‘ml/‘lyhm, vv. 10b and 11a resp. (alliter.)
śph/lšwn, vv. 10b and 12a resp. (inclusion); cf. v. 4
b’š/b’rs., vv. 11a and 12a resp. (alliter; exactly linear)
prep. b-, vv. 11a+b.12a (linear)
} chiasmus
bl, vv. 11b.12a!

vv. 2–6 (Canto I): h.ls.ny yhwh m’dm r‘/šmrny yhwh mydy rš‘, vv. 2a
and 5a resp.! (anaphora)
m’yš h.msym tns.rny, vv. 2b.5b! (exactly linear)
’šr h.šbw, vv. 3a.5c! (exactly linear)
4× the letter š, vv. 4.6b–c (alliter.; linear)
slh, vv. 4b.6c (epiphora)
vv. 7–12 (Canto II): prep. l-, vv. 7a+8b.12b (inclusion)

suffix -y, vv. 7a+b+8a+b.10a (linear)
r’š, vv. 8b and 10a resp.!
yrwmw/yqwmw, vv. 9b and 11b resp.

vv. 2–4.7–9.13–14: yhwh, vv. 2a.7–9.13a
prep. b-, vv. 3a.8b (exactly linear)
ywm, vv. 3b.8b! (exactly linear)
mlh.mh/nšq, vv. 3b and 8b resp. (exactly linear)
slh, vv. 4b.9b (exactly linear)
’mrty/yd‘ty, vv. 7a and 13a resp.! (anaphora)
’dny/dyn, vv. 8a and 13b resp. (alliter.)
yrwmw/yšrym, vv. 9b and 14b resp. (alliter.)
vv. 5–6.10–12: ldh.wt p‘my/lmdh.pt, vv. 5c and 12b resp. (alliter.)

The symmetric framework of Cantos I–II.
vv. 2–4.10–12: root r‘ ‘, vv. 2a+3a.12b!
’yš, vv. 2b.12a+b
h.ms, vv. 2b.12b

blb/bl, vv. 3a and 11b+12a resp. (alliter.)
lšwn, vv. 4a.12a!
} chiasmus; see also suffix -m in
śptymw, vv. 4b.10b!
v. 4a, suffix -mw in v. 10b, suffix -hm in v. 11a, and
cf. -mw in v. 4a
vv. 5–6.7–9: rš‘, vv. 5a.9a!

prep. l-, vv. 5c–6.7a+8b (concatenation)

prep. l- (v. 14)

’l prohibitive (v. 9 [2×]), suffix -k (v. 14 [2×])

Vv. 7–9 represent the middle strophe (> 2+1+2 strophes). In terms of
verselines and cola, vv. 7–8 are the numerical centre of the composition (>
6+2+6 lines and 12+4+12 cola).2
Structure of strophes and cantos in terms of words: 23+23|25+23|16
= 46+48+16 (= 110 = 10×11 words in total).
The divine name, yhwh, occurs 7×: vv. 2, 5, 7 (2×), 8, 9 and 13. Also
taking into account that the number of verselines and cola are multiples of
7, I conclude that this number has a structural function in the poem.
The accumulation of the Tetragrammaton in vv. 7–8 reinforces their
central position (see above); note yhwh in vv. 7a+b and 8a. In addition,
this high density of the divine name in vv. 7–8 has a pivotal position in
the series of 7 occurrences of yhwh in the psalm as a whole (> 2+3+2).
And to crown it all, it is only in vv. 7–8 that we find the personal pronoun
’th, referring to God (v. 7a), and the designation ’dny (‘Lord’; v. 8a).3
1
The psalm is composed of an uninterrupted series of bicola; for vv. 5–6, see § 33.1.
Fokkelman (MPHB II) also has 14 verselines, but has doubts about the correct colo-
metric division of v. 11 (see § 33.1); he distinguishes 28/29 cola. Labuschagne (www.
labuschagne.nl/ps140.pdf) has 13 lines and 30 cola, taking vv. 4, 5, 6 and 12 as tricola.
2
Cf. Allen (2002), p. 335, and www.labuschagne.nl/ps140.pdf, Observation 1.
3
For the rhetorical function of these phenomena, see further CAS II, Ch. V (note pp.
513–14).
The whole complex of formal devices demonstrates that the prayer for
deliverance (v. 7b) and the psalmist’s protestation of trust (vv. 7a and 8)
are to be taken as the deliberately designed rhetorical centre of Psalm 140.

Saalschütz (1825), p. 119: 2–4.5–6.7–9. . . (6.6.6. . . cola!); cf. Von Faulhaber
(1913), pp. 8.10
Köster (1837): 2–4.5–6.7–9.10–12.13–14 (3.2.3.3.2 verses); cf. Montgomery
(1945), p. 383, and Dahood (1970)
Sommer (1846), pp. 57–58: 2–4.5–6.7–9|10–12.13–14 (6.6.6|5.4 cola)
Hävernick (1849), p. 42: 2–4.5–6.7–9.10–12.13–14 (4×6.4 cola); similarly
Ewald (1866), pp. 153–55, and Beaucamp (1979); cf. Delitzsch (1894)
and Van der Ploeg (1974)
De Wette (1856): 2–4.5–6|7–9.10–12|13–14 (3.2|3.3|2 verses); similarly Hoss-
feld/[Zenger] (2008) and www.labuschagne.nl/ps140.pdf; cf. Gunkel
(1926), Jacquet (1979), Seybold (1996), Riede (2000), pp. 248–49,
Terrien (2003)
Müller (1898), pp. 61–63: 2–4.5–6.7–9.10–12 (4×6 cola; vv. 13–14 ‘ein
Zusatz’); cf. Grimme (1902), p. 164
Zenner (1906): 2–4.5–6|7–9|10–12a.12b–14 (3.3|3|3.3 lines)
Duhm (1922): 2–4.5–6.7–9.10–12a.12b–14 (5×3 bicola); cf. Zenner (1906),
Pannier/Renard (1950), Mowinckel (1957), p. 102
Calès (1936): 2–4.5–6.7–9.10–12.13–14 (4×3.2 lines); similarly Gemser
(1949); cf. Hävernick (1849)
Herkenne (1936): 2–6.7–12.13–14; similarly Kraus (1978), Ravasi (1984)
Kissane (1954): 2–4.5–7.8–11.12–14 (4×3 lines)
NAB (1970): 2–4.5–8.9–11.12–14 (3.5.3.3 lines)
Aletti/Trublet (1983), p. 27: 2.3–4.5.6|7–8.9–12.13–14 (a.b.a’.b’|c.b’’.c’)
Lohfink (1990), pp. 105–06: 2–4.5–6|7–8.9–12.13–14 (3.2|2.4.2 lines)
Alonso-Schökel (1993): 2–6.7–8|9–12.13–14 (a.b|a’.b’; see Auffret [1995],
p. 203); similarly Girard (1994)
Auffret (1995): 2.3–4|5a–b.5c–6||7–8.9|10–12.13–14
Allen (2002): 2–4.5–6|7–8|9–12.13–14 (a.b|x|b’.a’; note pp. 334–36)
Fokkelman (2003), pp. 315–18: 2–4.5–6.7–9|10–12.13–14 (3.3.3|3.2 lines)
Weber (2003): 2–4.5–6|7–9.10–12|13–14 (6.6|6.6|4 cola; a.b|b’.a’ vv. 13–14)

In the nineteenth and at the beginning of the twentieth century biblical
scholars almost unanimously assumed that Psalm 140 is composed of the
sections vv. 2–4, 5–6, 7–9, 10–12 en 13–14. And, additionally, most of them
linked this division to a regular strophic structure; see § 33.6. However, in
the second part of the twentieth century this approach has lost popularity.4
Subsequently, in recent times the traditional view is gaining the sympathy
of biblical scholars once again.5 I shall demonstrate that the latter view,
which divides the psalm into a series of 3-line strophes (winding up with a
2-line strophe), most appropriately reproduces the rhetorical structure of
the composition.
From a form-critical perspective, our psalm displays the basic pattern
of an individual lament: descriptions of distress (vv. 2–6, Canto I), prayers
for ruin of the enemies (vv. 7–12, Canto II) and a vow of thanksgiving
(vv. 13–14, Canto III).6 In addition, Booij (2009, p. 302) rightly notes
that vv. 7–12 (Canto II) function as an intensification of vv. 2–6 (Canto I)
supported by the protestations of confidence (vv. 7a and 9) and the call for
divine attention (v. 7b).
Both Cantos I and II divide into two 3-line strophes, vv. 2–4.5–6 and
7–9.10–11 respectively. The conspicuous amount of exclusive corresponding
words and phrases demonstrate that vv. 2–4 and 5–6 constitute a parallelis-
mus stropharum; see § 33.4.2.7 In terms of subject matter, the attacks by
the enemies portrayed in vv. 5–6 are more ‘external’ (‘traps’, ‘net’) com-
pared to the verbal attacks spoken about in vv. 2–4 (‘tong’, ‘lips’). From a
thematic point of view, vv. 7–9 and 10–12 display an antithetic parallelism:
in vv. 7–9 the supplicant expresses his trust that God will rescue him, while
in vv. 10–12 he deals with the extinction of his enemies; cf. § 33.2. At the
same time, vv. 10–12 make concrete the pleas from especially v. 9.8 The
strophic division of the cantos is clearly supported by the enigmatic term
slh marking the end of three successive strophes, vv. 2–4, 5–6 and 7–9
(§ 33.3.2.1). This formal device exactly coincides with the vocative yhwh
marking the beginnings of the strophes in question (§ 33.3.1.1). More-
over, the repeated (vocative) yhwh functions as a verbal recurrence which
highlights the strophic individuality of vv. 7–9 (§ 33.4.1). Vv. 10–12 con-
trast with the preceding strophes because God is spoken about in the third
person; see yplm (‘may he cast them’) in v. 11b.
Vv. 13–14 constitute a concluding 2-line strophe which is dominated
4
See Kissane, NAB, Aletti/Trublet, Alonso-Schökel, Auffret and Allen in § 33.6.
5
See Fokkelman, Terrien, Weber, Hossfeld/[Zenger] and Labuschagne in § 33.6.
6
Cf. Gunkel (1926), p. 594, and Hossfeld/[Zenger] (2008), p. 736. For this description
in terms of form criticism, see also Psalm 69 in CAS II, Ch. II.27 (pp. 248–66); for the
canto division, see also De Wette, Gunkel, Herkenne and Weber in § 33.6.
7
Cf. the opening 3-line strophes in Psalm 21 (vv. 2–4.5–7; see CAS I, Ch. III.21 [pp.
232–38]). Note also the number of 23 words both vv. 2–4 and 5–6 consist of (§ 33.5).
8
Van der Ploeg (1974), p. 450, Hossfeld/[Zenger] (2008, p. 739).
by generalizing statements, including a doxology.9 In v. 13 God is spoken

about in the third person (cf. vv. 10–12) and in v. 14 explicitly addressed in
the second person (cf. v. 2–9). In terms of verbal repetitions, this strophe
seamlessly joins the linearly alternating pattern structuring the psalm in
its entirety; note yhwh and ’mrty/yd‘ty in § 33.4.3 (The linear framework;
’mrty [‘I say’] and yd‘ty [‘I know’] stand out in the poem as the only verbs
in the first person singular [perfect qal]). The protestations of trust in vv.
7–9 and the generalizing conclusion that God renders justice to the poor,
phrased in v. 13, perfectly fit this linear design.
Alongside a linear pattern of verbal repetitions, the strophes of Cantos
I–II also display a symmetric design; see § 33.4.3 (The symmetric frame-
work). The cluster of verbal recurrences which occur in vv. 2–4 and 10–12
most clearly demonstrate this symmetry (cf. Ps. 141,3–10).10 Vv. 13–14
are not a part of the symmetric framework, but positively fit the linear
framework of the composition (see above).
following verbal repetitions: ’yš (vv. 2.5.12) > 139,19; lb (v. 3) > 139,23;
lšwn (vv. 4.12) > 139,4; rš‘ (vv. 5.9) > 139,19; yd (v. 6) > 139,10; ’mrty
(v. 7) > 139,11; ’l (’God’; v. 7) > 139,17.23; ’th (v. 7) > 139,2.8.13; root
skk (v. 8) > 139,13; root qwm (v. 11) > 139,2.21; b’rs. (v. 12) > 139,15;
yd‘ty (v. 13) > 139,6.14; ’k (v. 14) > 139,11; root ydh (v. 14) > 139,14;
pnyk (v. 14) > 139,7.
33.8 Bibliography
1898, pp. 61–63;
N. Lohfink, Lobgesänge der Armen. Studien zum Magnificat, den Hodajot von
Qumran und einigen späten Psalmen (SBS 143), Stuttgart, 1990, pp. 103–07;
202–17;
M.R. Hauge, Between Sheol and Temple. Motiv Structure and Function in the
I-Psalms (JSOTS 178), Sheffield, 1995, pp. 9–37;
P. Riede, Im Netz des Jägers. Studien zur Feindmetaphorik des Individual-
psalmen (WMANT 85), Neukirchen-Vluyn, 2000, pp. 247–52.
9
For concluding ‘half-long’ cantos containing a doxology, see CAS I, Ch. V, 5.2.2.1
(pp. 513–15).
10
See also Weber (2003) in § 33.6.
34 Psalm 141
I 1 yhwh qr’tyk h.wšh LY h’zynh qwly bqr’y lk

2 tkwn TPLTY qt.rt lpnyk mś’t kpy mnh.t ‘rb
II 3 šyth yhwh ŠMRH LPY ns.rh ‘l dl śpty

4 ’l tt. lby ldbr r‘ lht‘wll ‘llwt bRŠ‘
’t ’yšym P‘LY ’WN wbl ’lh.m bMN‘MY hm
5 yhlmny .sdyq h.sd wywkyh.ny šmn r’š

’l yny r’šy KY ‘wd wTPLTY br‘wtyhm
III 6 nšmt.w bydy sl‘ špt.yhm wšm‘w ’mry ky N‘MW

7 kmw plh. wbq‘ b’rs. npzrw ‘s.myhm LPY š’wl
8 KY ’lyk yhwh ’dny ‘yny bkh h.syty ’l t‘r npšy

9 ŠMRny mydy ph. yqšw LY wmqšwt P‘LY ’WN
10 yplw bmkmryw RŠ‘YM yh.d ’nky ‘d ’‘bwr
34.1 Text
V. 5: two bicola; note the conjunction w- opening v. 5b and 5d (cf. vv. 4d,
6b and 9b; similarly Fokkelman [2002!]). Taking into account the ’atnah.,
Labuschagne (www.labuschagne.nl/ps141.pdf, Observ. 1) divides v. 5c–d
after r’šy in v. 5c. The verse is generally considered a tricolon.
V. 7b—‘s.myhm: ‘their bones’ (with LXX and Peshitta; see also § 34.7 below).
MT reads ‘s.mynw (‘our bones’); similarly Barthélemy (2005), p. 864.
34.2 Content
The prayer of an individual for deliverance from opponents.
I Introduction: O God, hear my prayer (vv. 1–2).
II Dissociation from men who are evildoers.
O Lord, keep me from evil behaviour (vv. 3–4).
When a righteous man reproves me, I willingly accept it (v. 5a–c);
and I dissociate myself from the evildoers (v. 5d).
III Prayer for downfall of the wicked and deliverance of the supplicant.
Let they and their unjust judges be severely punished (vv. 6–7).
I trust in you, O Lord (v. 8); rescue me from the traps set for
me by the wicked (vv. 9–10).

34.3.1.1 vocative: yhwh, v. 1a imperative: ns.rh, v. 3b
imperative: h.wšh, v. 1a vocative: yhwh ’dny, v. 8a
imperative: h’zynh, v. 1b ’l prohibitive, v. 8b
imperative: šyth, v. 3a; ext.
’l prohibitive in v. 4a 34.3.1.2 none

34.3.2.1 ‘wd, v. 5c 34.3.2.2 ’l prohibitive, v. 5c
’nky, v. 10b

imperative: šmr, v. 9b

vv. 1–2: qr’tyk/qt.rt lpnyk, vv. 1a and 2a resp. (alliter.)
prep. l- + suffix -k, vv. 1b.2a!; see also suffix -k in v. 1a
vv. 3–4: prep. l-, vv. 3a.4a+b
lpy/p‘ly, vv. 3a and 4c resp. (alliter.; inclusion)
lby ldbr/wbl ’lh.m b-, vv. 4a and 4d resp. (alliter.)
v. 5: r’š, vv. 5b.5c!
vv. 6–7: niph‘al of the roots šmt. and pzr at the beginning of a colon,
vv. 6a and 7b resp.
bydy sl‘/lpy š’l, vv. 6a and 7b resp. (alliter.)
suffix -hm, vv. 6a.7b*
vv. 8–10: šmrny/rš‘ym, vv. 9a and 10a resp. (alliter.)

vv. 3–5 (Canto II): šmrh/šmn r’š, vv. 3a and 5b resp. (alliter.; linear)
lpy . . . p‘ly/tplty, vv. 3a+4c and 5d resp. (alliter.)
’l prohibitive, vv. 4a.5c; see also bl in v. 4d
root r‘ ‘, vv. 4a.5d!
prep. b- . . . suffix -hm, vv. 4d.5d (epiphora)
mn‘mym/r‘wt, vv. 4d and 5d resp. (epiphora)
vv. 6–10 (Canto III): nšmt.w b-/yplw b-, vv. 6a and 10a resp. (inclusion;
exactly linear)
ydym, vv. 6a.9a!
ky, vv. 6b.8a (linear)
lpy š’wl/’l . . . npšy, vv. 7b and 8b resp. (alliter.;
exactly linear; concatenation)

vv. 1–2.5.8–10: -k (h), vv. 1–2.8a+b!

ly, vv. 1a.9a!
tplty, vv. 2a.5d!
qt.rt lpnyk . . . mnh.h/šmn r’šy, vv. 2 and 5b resp.
‘rb/br‘wtyhm/‘d ’ ‘bwr, v. 2b, 5d and 10b resp. (alliter.;
epiphora!)
wywkyh.ny/yh.d ’nky, vv. 5b and 10b resp. (alliter.)
šmn r’š/šmrny . . . rš‘ym, vv. 5b and 9a+10a (alliter.)
ky, vv. 5c.8a
ky ‘wd/’nky ‘d ’ ‘bwr, vv. 5c and 10b resp. (exactly lin.)
vv. 3–4.6–7: lpy, vv. 3a.7b!

} chiasmus
root n‘m, vv. 4d.6b!
śpty/špt.y-, vv. 3b and 6a resp. (alliter.)
roots dbr/’mr, vv. 4a and 6b resp.!
The symmetric framework of Cantos II–III.
vv. 3–4.8–10: yhwh (vocative), vv. 3a.8a

šmr, vv. 3a.9a!
rš‘, vv. 4b.10a!
} chiasmus
p‘ly ’wn, vv. 4c.9b!
vv. 5.6–7: roots .sdq/špt., vv. 5a and 6a resp.!

ky, vv. 5c.6b
tplty/lpy, vv. 5d and 7b resp.
suffix -hm, vv. 5d.6a+7b*

’l prohibitive (v. 8), prep. b- (v. 8), suffix -y

root qr’ (v. 1 [2×]), root yqš (v. 9 [2×])

From all these perspectives, v. 5 represents the pivot of the composition (>
2+1+2 strophes, 5+2+5 lines and 10+4+10 cola). From a thematic point
of view, v. 5 stands out as protestation of innocence; therefore, I consider
it the rhetorical centre of the psalm.2
16+36+41 (= 93 = 31×3 words in total).3
The divine name, yhwh, occurs 3×: vv. 1, 3 and 8. In v. 8 God is also
designated ’dny (‘Lord’). The vocative yhwh ’dny probably highlights v. 8
as the pivotal verseline of Canto II (vv. 6–10; > 2+1+2 lines and 4+2+4
cola); cf. the vocative yhwh dny in Ps. 140,7–8. Additionally, Smit Sibinga
(NThT 42 [1988], pp. 198–99) points out that ‘yny in v. 8a is the pivotal
word in vv. 6–10 (> 20+1+20 words).4 These observations underscore the
structural unity of vv. 6–10 (cf. further § 34.7 below).

Köster (1837): 1–2.3–5.6–7.8–10 (2.3.2.3 verses; ‘Das Schema ist sehr regel-
mässig’ [p. 442])
De Wette (1856): 1–4.5–7.8–10 (‘Drei ungleiche Strophen’)
Ewald (1866), pp. 155–59: 1–2|3–4.5–7|8–10 (2|3.3|3 lines)
Delitzsch (1894): 1–2.3–4.5–7.8–10
Zenner (1906), pp. 101–02: 1–2.3–4|5–6.8–10 (2.3|2.3 lines)
Duhm (1922): 1–2.3–4b.5.4c–d+6.7–8.9–10 (6×2 bicola); cf. Mowinckel
(1957), p. 85
Gunkel (1926): 1–2.3–4b.4c–5c.5d–7.8–10
Calès (1936): 1–2.3–4.5–7.8–10 (2.3.3.3 lines); cf. Delitzsch (1894), Seybold
Gemser (1949): 1–2.3–5c.5d–7*.8–10 (2.3.3.3 lines); cf. Calès (1936)
1
Similarly Fokkelman (MPHB II, p. 305), and Labuschagne (www.labuschagne.nl/
ps141.pdf). The psalm consists of an uninterrupted series of bicola (similarly Weber
[2003]); cf. Psalm 140.
2
See also www.labuschagne.nl/ps141.pdf, Observ. 1, and cf. Weber (2003, p. 353).
3
According to Smit Sibinga (NThT 42 [1988], pp. 198–99), v. 5 is the centre of the
psalm on word level (> 41+13+41 words). However, this calculation also includes the
two words of the heading, mzmwr ldwd.
4
For the noun ‘yn (‘eye’) highlighting a central element, see CAS II, Ch. V, 4.2.1 (pp.
545–46).
Kissane (1954): 1–4b.4c–6.7–10 (3×4 lines); similarly Schildenberger (1960)

NAB (1970): 1–2.3–7.8–10; similarly Radebach-Huonker (2010), p. 206
Beaucamp (1979): 1–2 3–4b.4c–5b.6–7* 8–10 (4 4.4.4* 6 cola)
Jacquet (1979): 1–2.3–4b.4c–d+5c–d*.6–7.8–9.10 (5×2 bicola.1 bicolon)
Aletti/Trublet (1983), p. 103: . . . 3–5.6–10
Tournay (1983), p. 333: 1–2.3–4b.4c–5b+d.6–7.8–9.10 (5×4.2 cola)
Ravasi (1984): 1–2.3–5.6–7|8.9.10 (a.b.c|a’.b’.c’)
Girard (1994): 1–4c.4d–5|6.7–10 (a.b|b’.a’)
Auffret (1995), pp. 218–31: 1–2.3–5b|5c.6–7||8–10 (a.b|a’.b’||c) > 1–2.
3–5b.5c.6–7|8a–bA.8bB–9.10a.10b (X.Y.x.Z|X.Y.z.y)
Fokkelman (2000), pp. 305–07: 1–2.3–4.5–6.7–8.9–10 (2.3.3.2.2 lines)
Allen (2002): 1–2.3–6.7–10 (note pp. 342–43)
Sticher (2002), pp. 279–80: 1–2|3–4.5.6–7|8–9.10
Terrien (2003): 1–2 3–4.5–6.7–9 10 (2 3.3.3 1 bicola)
Weber (2003): 1–3.4|5|6–7.8–10 (6.4|4|4.6 cola; a.b|c|b’.a’)
Hossfeld/[Zenger] (2008): 1.2.3–4|5.6–7|8.9–10 (A.B.A’; note pp. 745–46)
Settembrini (2010), p. 715: 1–2|3.4–5.6–8|9–10
www.labuschagne.nl/ps141.pdf: 1–2.3–4|5.6–7|8–10 (2.3|2.2|3 lines)

§ 34.6 makes it clear that, different from Psalm 140, the structure of Psalm
141 has been much disputed among biblical scholars for about two cen-
turies.5 The supposed (thematic) combinations of its ten Masoretic verses
are perplexing indeed. This state of affairs clearly shows that a one-sided
concentration on the thematic aspects of the composition in order to de-
termine its rhetorical framework leads nowhere. However, in my opinion,
the formal aspects of our poem sufficiently make good the obscurity in
terms of thought development. In this respect, it is especially the device
for epiphora which has a decisively framing function, not only on the level
of the cantos but on that of the strophes as well.6 Our psalm is composed
5
‘Im Unterschied zu Ps 140 sind die Vorschläge zur Gliederung von Ps 141 sehr
unterschiedlich, was wohl auch mit den Textschwierigkeiten der V 5–7 zusammenhängt’;
Hossfeld/[Zenger] (2008), p. 745 (see also Allen [2002], p. 342). In this respect, it is
also remarkable that Fokkelman (MPHB II) only discusses the strophic structure of the
psalm, but leaves aside the framework of the cantos (‘stanzas’).
6
At the same time, I realize that my statement is not supported by recent struc-
tural investigations; cf. e.g. Aletti/Trublet, Girard, Auffret, Fokkelman, Allen and
Hossfeld/[Zenger] in § 34.6. In support of his structural division, Hossfeld appeals to
Gerstenberger’s approach which ‘gegenüber den vielen anderen Vorschlägen den Vorteil
hat, am Text entlang formale Indizien (italics are mine; PvdL) auszuwerten, ohne zu
schnell mit dem Inhalt zu argumentieren’; Hossfeld/[Zenger] (2008), p. 745.
of two successive uniform main parts (cantos) of 5 verselines (bicola) each,

vv. 3–6 and 7–10.7 These cantos are introduced by a ‘half-long’ canto in
which the supplicant exclusively turns to God with his plea, vv. 1–2.8
In terms of verbal repetitions, the composition in its entirety primarily
shows a linearly alternating parallelism: vv. 1–2|3–4.5|6–7.8–10 > a|b.a’|
b’.a’’; see § 34.4.3 (The linear framework). The end of the three succes-
sive cantos is highlighted by the alliteration ‘rb, br‘wtyhm and ‘d ’ ‘bwr
respectively!9 The verbal recurrences tplty (‘my prayer’) in the concluding
verselines of Cantos I and II, and lpy/n‘m (chiasmus) in the first strophes
of Cantos II and III (note lpy and the root n‘m in the opening verselines of
Cantos II and III respectively) perfectly fit the linear pattern.
This linear parallelism on macrolevel is supported by thematic corre-
spondences. In vv. 1–2, 5d and 8a (the a-strophes) we find descriptions of
the prayer of the psalmist. In addition, from a semantic perspective, the
expression qt.rt lpnyk (‘incense before you’; v. 2a) is beautifully matched by
šmn r’š (‘oil for the head’; v. 5b); both expressions have a festive connota-
tion (cf. also § 34.4.3). The avowal of honesty (v. 5; the rhetorical centre
of the poem) corresponds to the protestation of confidence in God (v. 8bA;
in the rhetorical centre of Canto III).10 In the b-strophes, vv. 3–4 and 6–7,
it is the prayer ‘let not my heart incline to evil speaking’ (v. 4a) which
matches the phrase ‘and they hear that my words are sweet’ (v. 6b).
From a formal perspective, the strophic structure of Canto II is (once
again) highlighted by the device for epiphora; note bmn‘myhm/br‘wtyhm
in vv. 4d and 5d respectively (§ 34.4.2).11 The correspondence in question
suggests that v. 5d is not an intercessory prayer (contra Hossfeld/[Zenger],
Booij) but a protestation by which the psalmist dissociates himself from
the evil deeds of the wicked spoken about in v. 4: ‘and my prayer is against
their evil deeds’ (cf. Delitzsch, Allen and JPS).
The epiphora highlighting the strophic structure of Canto III is based
on the antithetical parallel between vv. 7b and 10b: let the bones of the
wicked be scattered at the mouth of Sheol (v. 7b), while I myself survive
7
Cf. Aletti/Trublet (1983) in § 34.6; nevertheless, the argumentation is weak.
8
For such introductory half-long cantos, cf. Pss. 5,2–4 and 64,2–3; see CAS I, Ch. V,
5.2.1.2 (p. 510). Cf. also Köster, Ewald, Delitzsch, Zenner, Duhm, Gunkel, etc. in § 34.6.
9
For the device for epiphora, highlighting the end of successive main parts, see CAS I,
Ch. V, 3.2.1.3 (p. 479); note the alliteration wl’ y‘bwr/yśr’l ‘m qrbw in Ps. 148,6.14!
10
For vv. 5 and 8 as rhetorical centres, cf. § 34.5 above.
11
This obvious correspondence (see also Booij [2009], pp. 310–11) is ignored by Fokkel-
man who takes the repetition of the root n‘m as a device for epiphora marking the end
of his second and third strophes (vv. 3–4 and 5–6; MPHB II, pp. 305–06). For the device
for epiphora, highlighting the end of successive strophes, see CAS I, Ch. V, 3.2.1.2 (pp.
478–79).
(v. 10b). The (formal) correspondences between vv. 6a and 7b strongly

underscore the structural unity of vv. 6–7; see § 34.4.1.12 It is almost
generally agreed that vv. 8–10 are a relatively individual 3-line strophe in
which the prayers for deliverance of the supplicant and the downfall of the
enemies are matching motifs. The vocative yhwh ’dny (v. 8a) introduces
the various pleas (§ 34.3.1.1). The concluding strophe is characteristically
rounded off by an antithetic parallelism: let the wicked perish, while I
myself survive (v. 10; cf. Ps. 1,6).
Independent from and alongside the linear pattern of verbal repetitions
determining the framework of the poem as a whole, there is also a symmet-
ric design (‘symétrie croisée’). However, the symmetry is limited to Cantos
II–III (cf. the symmetry in Cantos I–II of the preceding psalm); note the
correspondences occurring in the strophes vv. 3–4 and 8–10 (see § 34.4.3
[The symmetric design]). The symmetric design is reinforced by the struc-
ture of the strophes in terms of verselines: vv. 3–4.5|6–7.8–10 > 3.2|2.3
lines. Furthermore, within Cantos II–III it is only in vv. 3–4 and 8–10 that
the supplicant explicitly invokes God to reinforce his prayers (vv. 3a.8a).
Nevertheless, the linear framework of the composition is not only more pow-
erful than the symmetric one, but also more revealing for the interpretation
of the text. The latter framework is to be taken as an additional embellish-
ment especially to distinguish its main parts from the introductory vv. 1–2.
following remarkable cluster of verbal repetitions: h’zynh (v. 1) > 140,7
(the beginning of a canto); qwl (v. 1) > 140,7 (the beginning of a canto);
root kwn (v. 2) > 140,12 (the end of a canto); pnyk (v. 2) > 140,14 (con-
catenation); root šyt (v. 3) > 140,6; root šmr (vv. 3.9) > 140,5; root ns.r (v.
3) > 140,2.5; śptym (v. 3) > 140,4.10; lb (v. 4) > 140,3; root r‘ ‘ (vv. 4.5)
> 140,2.3.12; rš‘ (vv. 4.10) > 140,5.9 (symmetric positioning); ’yš (v. 4)
> 140,2.5.12 (2×); .sdyq (v. 5) > 140,14; r’š/r’šy (v. 5) > 140,8; root špt.
(v. 6) > 140,13; root ’mr (v. 6) > 140,7 (the beginning of a canto); b’rs.
(v. 7) > 140,12; yhwh ’dny (v. 8) > 140,8; šmrny mydy (v. 9) > 140,5; ph.
. . . ly (v. 9) > 140,6; mqšwt (v. 9) > 140,6; v. 10a > 140,11b (note the root
npl + suffix b-).
A numerical approach to Psalms 140 and 141 in terms of verselines
further underscores the coherence between the successive poems. From
this perspective, Ps. 140,13–14 (Canto III) represents a central strophe
12
The correspondences indicate that v. 7b is about the downfall of the evildoers; cf.
§ 34.1. For the (thematic) coherence of vv. 6 and 7, see also Köster, Jacquet, Auffret,
Weber, Hossfeld/[Zenger], among others, in § 34.6; contra Duhm, Kissane, Girard,
Fokkelman(!) and Allen(!).
framed by 12 verselines and 24 cola on either side. From a thematic point

of view, 140,13–14 stand out because it is only in this strophe that we find
generalizing utterances of trust and praise.13
34.8 Bibliography
R.J. Tournay, ‘Psaume CXLI. Nouvelle interprétation’, RB 90 (1983), pp. 321–33;
B. Hartmann, ‘Exegetische und religionsgeschichtliche Studie zu Psalm 141:5d–7’,
in J.W. van Henten et al. (eds.), Tradition and Re-interpretation in Jewish and
Early Christian Literature. FS J.C.H. Lebram (SPB 36), Brill: Leiden, 1986,
pp. 27–37;
218–35;
Philo, 2002, pp. 277–84;
Th. Booij, ‘Psalm 141: A Prayer for Discipline and Protection’, Biblica 86/1
(2005), pp. 97–106;
Chr. Radebach-Huonker, Opferterminologie im Psalter (FAT II.44), Tübingen:
Mohr Siebeck, 2010, pp. 205–15;
M. Settembrini, ‘The Snares Laid for the Faithful Lips: Hellenistic Apostasy in
Psalm 141’, in E. Zenger (ed.), The Composition of the Book of Psalms (BEThL
238), Leuven/Paris/Walpole (MA): Peeters, 2010, pp. 711–22.
13
For the conspicuous correspondences between Psalms 140 and 141, see also Delitzsch
(1894), Auffret (1995), pp. 231–35, and Weber (2003), p. 353.
35 Psalm 142
I 2 qwly ’L YHWH ’Z‘Q qwly ’L YHWH ’th.nn

3 ’špk lpnyw śyh.y .srty lpnyw ’gyd
4 bht‘t.p ‘LY rwh.y w’TH yd‘t ntybty
b’rh. zw ’hlk .tmnw ph. ly

5 hbyt. ymyn wr’h w’yn ly mkyr
’bd mnws MMNY w’yn dwrš lNPŠY
II 6 Z‘QTY ’LY k YHWH ’mrty ’TH mh.sy h.lqy b’rs. hh.yym

7 hqšybh ’L rnty ky dlwty m’d
hs.ylny mrdpy ky ’ms.w MMNY
8 hws.y’h mmsgr NPŠY lhwdwt ’t šmk

by yktrw .sdyqym ky tgml ‘LY
35.1 Text
V. 5d—w’yn: see BHS and cf. w’yn in v. 5b; MT reads ’yn.
35.2 Content
I Descriptions of prayer and distress.
From my distress I call to God (vv. 2–3); I trust in you (v. 4a–b).
I am in danger and nobody helps me (vv. 4c–5; being abandoned).
II Prayer for deliverance; promise of thanksgiving (addressed to God).
O Lord, I trust in you (v. 6b–c); hear my prayer and deliver me
from my enemies (vv. 6a+7).
Rescue me, so that I can praise you in the midst of the righteous
(v. 8; being surrounded, cf. v. 5).

35.3.1.1 zw, v. 4c imperative: hws.y’h, v. 8a
’mrty, v. 6b 35.3.1.2 imperative: hs.ylny, v. 7c;
’th, v. 6b ext. // hqšybh, v. 7a

35.3.2.1 none 35.3.2.2 ’th, v. 4b
yd‘ with subject God, v. 4b
m’d, v. 7b
imperatives: hbyt. . . . wr’h, v. 5a

vv. 2–4b: śyh.y/rwh.y, vv. 3a and 4a resp. (alliter.; exactly linear)
vv. 4c–5: ly, vv. 4d.5b!; see also lnpšy in v. 5d
ymyn/mmny, v. 5a and 5c resp. (alliter.)
w’yn, v. 5b.5d*! (linear)
vv. 6–7: prep. ’l, vv. 6a.7a (linear)
’mrty/rnty, vv. 6b and 7a resp. (alliter.)
ky, v. 7b.7d (exactly linear)

vv. 2–5 (Canto I): prep. b-, vv. 4a.4c (concatenation)
rwh.y/npšy, vv. 4a and 5d resp. (linear)
w- at the beginning of the second colon, vv. 4b.
5b+d* (exactly linear)
ntyb/’rh., v. 4b and 4c resp. (concatenation)
vv. 6–8 (Canto II): suffix -k, vv. 6a.8b! (linear)

prep. b-, vv. 6c.8c (inclusion)
ky, vv. vv. 7b+d.8d! (exactly linear)
dlwty/lhwdwt, vv. 7b and 8b resp. (alliter.)
prep. mn, vv. 7c+d.8a (concatenation)

vv. 2–4b.6–7: prep. ’l, vv. 2a+b.6a+7a! (linear)
yhwh, vv. 2a+b.6a! (linear)
’z‘q/z‘qty, vv. 2a and 6a resp.! (linear)
śyh.y/mh.sy, vv. 3a and 6b resp. (alliter.)
’th, vv. 4b.6b!
vv. 4c–5.8: ly mkyr/by yktrw, vv. 5b and 8c resp. (alliter.)

npšy, vv. 5d.8a!
vv. 2–4b.8: ‘ly, vv. 4a.8d (inclusion)
vv. 4c–5.6–7: mnws/mh.sh, vv. 5c and 6b resp. (concatenation)

mmny, vv. 5c.7d! (concat.); see also suffix -ny in v. 7c

suffix -y (vv. 4b.7a+c), prep. l- (v. 8b)

qwly (v. 2 [2×]), lpnyw (v. 3 [2×])

Psalm 142 has 4 strophes, 11 verselines and 23 cola.1 V. 5c–d is the middle
verseline (> 5+1+5 lines) and v. 5d the pivotal colon (> 11+1+11 cola).
Fokkelman (MPHB II, p. 308) characterizes v. 5d as the ‘nadir of loneliness’.
38+32 (= 70 = 10×7 words in total). On word level, v. 5c–d is once again
the centre of the psalm: vv. 2–5b.5c–d.6–8 > 32+6+32 words! Here we also
find a succinct description of the psalmist’s hopeless situation. Therefore,
the line can be taken as the rhetorical centre of the poem.2
The divine name, yhwh, occurs 3×: vv. 2 (2×) and 6 (cf. Psalm 141).
35.6 Various Divisions

Köster (1837): 2–4.5.6–8 (3.1.3 verses)
De Wette (1856): 2–5.6–8; similarly Von Faulhaber (1913), pp. 10.18 (’’-
responsio and ‘Personenwechsel’), Watson (1984), pp. 289–90, and
Booij (2009)
Ewald (1866), pp. 159–60: 2–4.5–6.7–8 (6.6.6 cola)
Delitzsch (1894): 2–4b.4c–5.6.7–8
1
Fokkelman (2002) has 10 verselines, taking vv. 3–4a and 4b–d as tricola; similarly
Kissane (1954).
2
Similarly www.labuschagne.nl/ps142.pdf, Observation 1; cf. Köster (1837) in § 35.6
below. Labuschagne (Observation 2) further notes that the 32 words flanking the rhetor-
ical centre represent the noun kbwd (20+2+6+4 = 32) and, in this way, symbolically
express that God surrounds the supplicant in his situation of distress. According to
Hossfeld/[Zenger] (2008, pp. 754–55), the tricolon v. 6 is a pivotal element in the frame-
work of the poem; it is called a ‘Zentrales Vertrauensbekenntnis’. In this respect, Weber
speaks of a ‘Scharnier’ in the middle verseline highlighted by ’th (‘You’) exactly in the
centre of the line (4+1+4 words).
Zenner (1906), pp. 102–03: 2–3.4+5c–d+b|6–7a.7b–8 (2.3|2.3 lines)

Duhm (1922): 2–4b.4c–5.6–7b.7c–8 (4×3 bicola); similarly Gunkel (1926),
Mowinckel (1957)
Calès (1936): 2–4b.4c–6.7–8 (3.4.4 lines); similarly Basson (2008), p. 264
Herkenne (1936): 2–4b.4c–5.6–7.8; cf. Delitzsch (1894)
Gemser (1949): 2–4b|4c–5|6.7.8
Pannier/Renard (1950): 2–3.4–5.6–8; similarly Kraus (1978)
Kissane (1954): 2–5.6–8 (5.5 lines); similarly Schildenberger (1960), p. 675
Dahood (1970): 2–3.4–8
NAB (1970): 2–4b.4c–5.6–8
Van der Ploeg (1974): 2–4b.4c–5.6.7.8a–b.8c–d
Beaucamp (1979): 2 3–4a.4b–d|5a+c–d.6 7 8 (2 4×3 4 4 cola)
Jacquet (1979): 2–3.4.5.6*.7.8 (6×2 bicola)
Aletti/Trublet (1983), p. 103: 2–4b.4c–5|6–7b.7c–8 (a.b|a’.b’)
Ravasi (1984): 2–4b|4c–5.6–8a|8b–d (a|b.c|a’)
Auffret (1995), pp. 236–46: 2–3.4a.4b.4c–d.5a.5b–d|6a|6b.6c.7a–b.7c–d.8a.
8b–d (a.b.c.d.c’.b’|a’|. . . )
Girard (1994): 2–3.4.5|6a.6b–c.7–8 (a.b.c|a’.b’.c’); cf. Aletti/Trublet (1983)
Fokkelman (2000), pp. 307–08: 2–4a.4b–5|6–7.8 (2.3|3.2 lines; a.b|b’.a’)
Allen (2002): 2–3.4.5|6.7–8b.8c–d (2.2.2|1.3.1 lines; note pp. 346–47)
Terrien (2003): 2–4b.4c–5.6–8b 8c–d (3.3.3 1 lines)
Weber (2003): 2–3.4.5|6.7.8 (a.b.c|a’.b’.c’)
Hossfeld/[Zenger] (2008): 2–3.4–5|6|7–8b.8c–d
www.labuschagne.nl/ps142.pdf: 2–3|4–5|6.7.8 (2|4|1.2.2 lines)

Psalm 142 is composed of two almost uniform cantos of 6 and 5 verselines
respectively, vv. 2–5 and 6–8. The bipartite framework of our psalm is
almost unambiguously supported by a linearly alternating pattern of ver-
bal recurrences on the level of the poem as a whole: vv. 2–4b.4c–5|6–7.8
> a.b|a’.b’; see § 35.4.3.3 This linear parallelism between the cantos coin-
cides with some thematic correspondences. The protestation of confidence
phrased in v. 6b–c obviously matches v. 4a–b. And in both cases the sup-
plicant directly addresses God; note ’th (‘You’) in vv. 4b and 6b (cf. vv. 2–3
in which God is spoken about in the third person). For the formal relation-
ship between the a-strophes, see further the 20 words both strophes consist
of (§ 35.5). The concluding strophes of the cantos contain antithetical mo-
tifs. In vv. 4c–5 the psalmist emphasizes that he is completely abandoned
3
Cf. also De Wette, Zenner, Kissane, Aletti/Trublet, Girard, Allen and Weber in
§ 35.6.
(by his fellow believers; note the reference to the ‘righteous’ in the parallel
strophe, v. 8c). In v. 8 he states that the .sdyqym (‘the righteous people’)
shall gather around him; cf. Basson (2008), p. 266.
The cantos display an uninterrupted series of three 3-line strophes (vv.
2–4b, 4c–5 and 6–7) and a concluding strophe of two verselines (v. 8). The
first strophe of Canto I (vv. 2–4b) is a description of the prayer of the
supplicant from a situation of distress (s.rty [‘my distress’], v. 3b). We are
still kept guessing about the source of the distress (cf. Ps. 141,1–2). In vv.
2–3 the supplicant speaks about God in the third person. The strophe is
rounded off on a strong note: v. 4a–b is a declaration of confidence in which
God is addressed in the second person. In the second strophe (vv. 4c–5)
we find concrete descriptions of distress: people have hidden a trap for the
supplicant and nobody cares about him. There is no explicit indication of
the direction of address, notwithstanding the imperatives in v. 5a. Like
vv. 2–4b, the second strophe is rounded off on a strong note, namely the
description of distress in the pivotal verseline of the composition, v. 5c–d (cf.
§ 35.5). The concluding verselines in question contain clearly contrasting
ideas: notwithstanding my troubles God cares (v. 4a–b), while nobody
cares (v. 5c–d). This antithetic correspondence is a linear parallel aspect
of the strophic framework of Canto I.4 Simultaneously, the reference to the
path of the psalmist at the end of the first strophe preludes on the portrayal
of distress opening the second strophe; note ntybty (‘my path’, v. 4b) and
b’rh. zw ’hlk (‘in the way along I walk’, v. 4c). The Masoretic verse division
also reflects the smooth transition from the first to the second strophe.
From the beginning of the second canto onwards the supplicant con-
sistently addresses God in the second person; note yhwh vocative in v. 6a.
The opening verselines of the first strophe of the canto (vv. 6–7b) hark
back to the first strophe of Canto I. Subsequently, in v. 7c–d we find the
prayer for deliverance: rescue me from my mighty persecutors. The first
colon of the second strophe (v. 8a) ties in with this prayer (cf. the tran-
sition from the first to the second strophe in Canto I) in order to hint at
the thanksgiving by the supplicant when God will have been gracious to
him (v. 8b–d). The strophic structure of Canto II is buttressed by some
linearly positioned verbal recurrences; see § 35.4.2. This formal parallelism
coincides with the exclusive mention of the supplicant’s enemies (rdpym
[‘persecutors’]) and fellow believers (s.dyqym [‘righteous ones’]) in exactly
corresponding positions; see the last words of the first cola of the conclud-
ing verselines of the strophes (vv. 7c and 8c respectively). In addition, the
noun msgr (‘prison’, v. 8a) may evoke the connotation of ‘Sheol’ (Dahood
4
For the strophic framework of Canto I, cf. also Delitzsch, Duhm, Herkenne, Gemser,
NAB, Van der Ploeg, Aletti/Trublet, Ravasi, Fokkelman and Terrien in § 35.6.
Psalms III, pp. 318–19). In that case, there is also a linear (antithetic) cor-
respondence with ’rs. hh.yym (‘the land of the living’, v. 6c).5
the following verbal repetitions: qwly (v. 2 [2×]) > 141,1 (the beginning of
a canto); lpny- (v. 3) > 141,2; ph. . . . ly (v. 4) > 141,9; npšy (v. 5.8) >
141,8 (the concluding strophe of a canto); ’lyk (v. 6) > 141,8; root ’mr +
b’rs. (v. 6) > 141,6b–7a (the beginning of a canto); root h.sh (v. 6) > 141,8;
.sdyq (v. 8) > 141,5.
35.8 Bibliography
236–48;
Kathrin Liess, Der Weg des Lebens. Psalm 16 und das Lebens- und Todesver-
ständnis der Individualpsalmen (FAT II.5), Tübingen, 2004, pp. 174–78;
A. Basson, ‘Image Schemata of Containment and Path as Underlying Structures
for Core Metaphors in Psalm 142’, OTE 21/2 (2008), pp. 261–72.
5
Note the corresponding positioning of the expression b’rs. h.yym in Ps. 27,13: at the
end of the first (tricolic) verselines of a new canto. Note also the expressions m’rs. h.yym
and b’rs.wt hhh.yym at the very end of the first canto in Pss. 52,7 and 116,9 respectively!
Basson (2008, pp. 268–69) sees a deliberate correspondence between ph. (‘trap’; v. 4d)
and msgr (‘prison’; v. 8a), because both nouns should allude to the abode of dead.
36 Psalm 143
Structure: 8.8.2 > 4.4|4.4|2 > 2.2|2.2||2.2|2.2||2 lines (Type IIB)
I.1 1 YHWH ŠM‘ tplty h’zynh ’l th.nwny

b’mntk ‘NNY BS.DQTK [H . Yny]
2 w’L tbw’ bmšpt. ’t ‘BDK
ky l’ YS.DQ lPNYK Kl H.Y
I.2 3 ky rdp ’WYB NPŠY dk’ l’rs. h.yty

hwšybny bmh.škym kmty ‘wlm
4 wtt‘t.p ‘ly RWH

.Y btwky yštwmm lby
5 zkrty ymym mqdm hgyty bkl p‘lk bM‘ŚH YDYk ’śwh.h.
II.1 6 prśty YDY ’lyk NPŠY k ’rs. ‘yph lk (slh)

7 mhr ‘NNY YHWH klth RWH.Y
’L tstr PNYK mmny wnmšlty ‘m yrdy bwr

8 HŠMY‘ny bbqr H
. SDK ky bk bt.h.ty
II.2 hwdy‘ny drk zw ’lk ky ’lyk nś’ty NPŠY

9 hs.ylny m’YBY yhwh ’lyk ksty
10 lmdny l‘ŚWT rs.wnk ky ’th ’lwhy

RWH. k .twbh tnh.ny b’rs. myšwr
III 11 lm‘n šmk YHWH TH . Yny BS.DQTK tws.y’ ms.rh NPŠY

12 wbH SDK ts myt ’YBY wh’bdt KL .srry NPŠY ky ’ny ‘BDK
. .
36.1 Text
V. 1d: in my opinion, v. 1 has to be filled out with a verb parallel to ‘nny (cf.
šm‘ // h’zynh in v. 1a–b). For bs.dqtk h.yny (‘by your justice give me life’),
see Ps. 119,40b and its structural function pointed out in § 36.7 below.
V. 6b—’rs. ‘yph: ‘parched land’; Paas (ZAW 113 [2001], pp. 415–18) reads ‘land
of haze’.
V. 9b—ksty: cf. BHS.
V. 10c–d: for the colometry, see also BHS; MT divides with ’atnah. after .twbh
in v. 10c.
36.2 Content
I Prayer to be heard (I.1) and description of distress (I.2).
I.1 O Lord, hear my prayer and answer me (v. 1).
Do not enter into judgment with me; no creature is righteous
before you (v. 2).
I.2 Enemies are after my life (v. 3).
I meditate on your saving actions (vv. 4–5).
II Prayer to be heard (II.1) and for deliverance from enemies (II.2).
II.1 I am longing for you; O Lord, hasten to answer me (vv.
6–7b).
Do not hide your face from me, but show me your loving
kindness; I have confidence in your saving answer (vv. 7c–8b).
II.2 Show me the way I must take and deliver me from my enemies,
O Lord (vv. 8c–9).
Teach me to do your will and lead me on level ground (v. 10).
III Summary: prayer for deliverance from distress (v. 11) and for the
extinction of the adversaries (v. 12).

36.3.1.1 vocative: yhwh, v. 1a imperative: hwdy‘, v. 8c;
imperative: šm‘, v. 1a; ext. ext. // hs.yl in v. 9a
// ‘nn in v. 1c zw, v. 8c
imperative: h’zynh, v. 1b imperative: lmd, v. 10a
w- beginning of line, v. 2a ’th, v. 10b
’l prohibitive, v. 2a vocative: yhwh, v. 11a
’l prohibitive, v. 7c 36.3.1.2 lm‘n, v. v. 11a

36.3.2.1 ‘wlm, v. 3d 36.3.2.2 imperative: hšmy‘, v. 8a
qdm, v. 5a w- beginning of line, v. 12a
’ny, v. 12c

slh, v. 6b vocative: yhwh, v. 7a
imperative: mhr, v. 7a vocative: yhwh, v. 9a

v. 1: th.nwny/h.yny, v. 1b and 1d* resp. (alliter.; epiphora); see
also suffix -y in v. 1a+c
vv. 8c–9: ’lyk, vv. 8d.9b; see also ’lk in v. 8c (alliter.)
vv. 11–12: bs.dqtk/bh.sdk, vv. 11b and 12a resp.
tws.y’ ms.rh/ts.myt, vv. 11b and 12a resp. (alliter.)
ms.rh npšy/s.rry npšy, vv. 11b and 12b resp. (exactly linear)

vv. 1–2 (I.1): ’l (prep.)/’l (prohib.), vv. 1b and 2a resp. (alliter.; lin.)
prep. b-, vv. 1c+d.2a (concatenation)
root .sdq, vv. 1d.2c (linear)
suffix -k, vv. 1c+d.2b+c (concatenation)
root h.yh, vv. 1d*.2d (epiphora)
vv. 3–5 (I.2): npšy . . . h.yty/rwh.y . . . lby, vv. 3a–b and 4 resp.
(exactly linear)
prep. b-, vv. 3c.4b+5b+c (concatenation)
‘wlm/mqdm, vv. 3d and 5a resp. (linear)
vv. 6–8b (II.1): ‘nny/hšmy‘ny, vv. 7a and 8a resp. (linear)
vv. 8c–10 (II.2): hwdy‘ny/lmdny, vv. 8c and 10a resp. (anaphora)
ky, vv. 8d.10b (exactly linear)

vv. 1–5 (Canto I): th.nwny/h.yty, vv. 1b and 3b resp. (alliter.; exactly
linear)
root h.yh, vv. 1d*+2d.3b (concat.; exactly linear)
w- beginning of the line, vv. 2a.4a (exactly linear)
ky, vv. 2c.3a (concatenation; exactly linear)
kl, vv. 2d.5b (linear)
vv. 6–10 (Canto II): ’lyk, vv. 6a.8d+9b! (linear)

npšy, vv. 6b.8d (linear)
’rs., vv. 6b.10d
rwh., vv. 7b.10c
yhwh vocative, vv. 7a.9a (exactly linear)
roots str/ksh (‘to conceal’), vv. 7c and 9b resp.
(concatenation)
perfectum hiph‘il + suffix -ny, vv. 8a.8c+9a
(anaphora; concatenation); see also lmdny in

v. 10a and tnh.ny in v. 10c
prep. b-, vv. 8a+b.10d (linear)
ky, vv. 8b.8d+10b (concatenation); cf. Canto I

vv. 1–2.6–8b.11–12: yhwh vocative, vv. 1a.7a.11a

root šm‘, vv. 1a.8a!
} chiasmus
‘nny, vv. 1c.7a! (exactly linear)
prep. ’l, vv. 1b.6a (linear)
th.nwny/th.yny, vv. 1b and 11a resp. (alliter.); cf.
h.yny in v. 1d*
bs.dqtk, vv. 1d.11b!; see also the root .sdq in v. 2c(!),
the noun mšpt. in v. 2a(!) and bh.sdk in v. 12a
root h.yh, vv. 1d*+2d.11a
’l prohibitive, vv. 2a.7c! (exactly linear)
‘bdk, vv. 2b.12c!
ky, vv. 2c.8b (linear); see also ky in v. 12c
lpnyk/lk, vv. 2c and 6b resp.
pnyk, vv. 2c.7c! (linear)
kl, vv. 2d.12b
npšy, vv. 6b.11b+12b (linear)
h.sdk, vv. 8a.12a!; cf. ’mntk in v. 1c
vv. 3–5.8c–10: ky, vv. 3a.8c (linear); see also ky in v. 10b

’wyb, vv. 3a.9a
} chiasmus (linear)
npšy, vv. 3a.8d
rwh., vv. 4a.10c
} chiasmus (linear)
root ‘śh, vv. 5c.10a!
vv. 3–5.6–8b: bmh.škym/bbqr, vv. 3c and 8a resp.

prep. k-, vv. 3d.6b!
mty ‘wlm/yrdy bwr, vv. 3d and 7d resp.
rwh.y, vv. 4a.7b!
} chiasmus
ydym, vv. 5c.6a!
p‘lk/‘yph lk, vv. 5b and 6b resp. (alliter.; exactly linear)
suffix -k, vv. 5b+c.6a+b+7c+8a
vv. 8c–10.11–12: ’yby, vv. 9a.12a!

ky ’th ’lwhy/ky ’ny ‘bdk, vv. 10b and 12c resp.
tnh.ny/th.yny, vv. 10c and 11a resp. (alliter.)
prep. b-, vv. 10d.11b+12a

’rs. (v. 3b), suffix -y/-ny, suffix -k (vv. 5b+c.8b.10a+c.11a), prep. l- (vv.
3b.10a.11a)

prep. mn (vv. 5a.7c.9a.11b)

Psalm 143 has 9 (= 3×3) strophes, 18 (= 6×3) verselines and 38 cola.1
From these perspectives, vv. 6–7b represent the pivot of the psalm: >
4+1+4 strophes, 8+2+8 lines and 17+4+17 cola! Because this pivotal
strophe can be seen as a concise summary of the main theme of the com-
position (I am longing for you; O Lord, hasten to answer me) I consider it
the rhetorical centre.2 The enigmatic term slh at the end of v. 6 divides the
psalm into two uniform halves of 9 (= 3×3) verselines and 19 cola each.
Structure of strophes and cantos in terms of words: 10*+11|11+15||12+
14|13+11||18 = 21*+26|26+24|18 = 47*+50+18 (= 115* = 5×23 words
in total).3
The divine name, yhwh, occurs 4×: vv. 1, 7, 9 and 11. In v. 10b God
is designated ’lwhym.

Köster (1837): 1–2.3–4.5–6|7–8.9–10.11–12 (3×2|3×2 verses)
De Wette (1856): 1–3.4–6|7–9.10–12 (3.3|3.3 verses)
1
Fokkelman has 16 verselines and 35 cola, taking v. 1 as a tricolon and v. 2 as a
bicolon (note MPHB III, p. 318). Labuschagne (www.labuschagne.nl/ps143.pdf) has 17
verselines because (with Fokkelman, and many others) he considers v. 1 a tricolon.
2
According to Labuschagne (Observation 1), v. 7a–b represents the middle verseline
(> 8+1+8 lines); ‘the passionate plea for help by the speaker [. . . ] aptly expresses the
gist of the psalm’. Terrien (2003, p. 893) considers v. 7 a pivotal strophe (cf. § 36.6
below) and calls it a ‘core petition’. Fokkelman (MPHB III, p. 320) argues that his
fifth strophe (vv. 8–9) is a ‘nerve centre’ because it refers to both vv. 5–6 and 11–12; cf.
Auffret (2003) in § 36.6 below.
3
For the multiple of 23 words, cf. www.labuschagne.nl/ps142.pdf, Observations 2–3.
Ewald (1866), pp. 509–11: 1–4.5–9.10–12 (‘das mass dieser wenden [ist]
nicht streng’)
Delitzsch (1894): 1–3.4–6|7–8.9–12
Grimme (1902), p. 164: 1–2.3–4*.5–6|7–8*.9–10*.11–12*
Zenner (1906), pp. 176–77: 1–3c.4–5a+5c–6|7–8|9–10.11–12 (3.3|4|3.3 lines)
Duhm (1922): 1.2.3.4–5b.5c–7a.7b–d*.8.9–10b.10c–11a.11b–12 (10×2)
Gunkel (1926): 1–2.3–4.5–6|7.8–9.10.11–12
Calès (1936): 1–2.3–4.5–6|7–8b.8c–10b.10c–12 (3.3.2|3.3.3 lines); cf.
Mowinckel (1957)
Herkenne (1936): 1–6.7–12; similarly Pannier/Renard (1950)
Gemser (1949): 1–2|3–4|5–6|7.8–9|10.11–12 (2|2|2|2.3|2.2 lines)
Kissane (1954): 1–5.6–8.9–12 (3×5 lines); similarly Schildenberger (1960)
NAB (1970): 1–2.3–6.7–9.10–12
Van der Ploeg (1972): 1–2.3–4.5–6.7–8.9–12
Alden (1978), pp. 208–09: 1–2.3a.3b.3c–d.4.5|6.7a–b.7c–d.8.9.10–12 (a.b.c.d.
e.f|f’.e’.d’.c’.b’.a’)
Beaucamp (1979): 1–2.3–4.5–6|7.8.9a+10.11–12b 12c (3×5|4×4 1 cola)
Jacquet (1979): 1–2.3–4.5–6|7.8.9+12a–b.10.11+12c (3× [1 tricolon + 1
bicolon]|5×2 bicola)
Schildenberger (1981): 1–3.4–6.7–8b.8c–10b.10c–12
Aletti/Trublet (1983), p. 104: 1–2.3–4.5–6.7|8.9.10.11–12 (a.b.b’.a’|c.d.c’.d’)
Auffret (1995), pp. 249–61: 1–2.3–4.5–6.7|8.9.10a–b.10c–d|11–12 (vv. 1–7|
a.b.a’.b’|vv. 11–12)
Girard (1994): 1–2.3–6|7–10.11–12 (a.b|b’.a’ and a.b|a’.b’); cf. Ravasi (1984)
Allen (2002): 1–2.3–4.5–6|7–9.10–12 (note pp. 354–55); cf. Kittel (1929)
Auffret (2003): 1–3.4–6.7–8|9|10.11a.11b–12 (a.b.c|x|c’.b’.a’; ‘le v. 9 se lit
au centre d’une symétrie concentrique à onze termes’ [p. 383])
Fokkelman (2003), pp. 318–21: 1–2.3–4.5–6|7.8–9|10.11–12 (2.3.2|2.3|2.2
lines; vv. 1–2.a.b|a’.b’|a’’.b’’)
Terrien (2003): 1–2.3–4.5–6|7|8.9–10.11–12 (a.b.c|d|c’.b’.a’)
Weber (2003): 1–2.3–4.5–6|7.8–9.10|11–12 (a.b.c|a’.b’.c’|vv. 11–12)
Hossfeld/[Zenger] (2008): 1.2|3–4.5.6||7.8–10b|10c–d.11.12
www.labuschagne.nl/ps143.pdf: 1–2|3–4.5–6||7.8.9–10||11–12 (3|3.2||2.2.3||
2 lines)

Biblical scholars often assume that Psalm 143 divides into two main parts,
vv. 1–6 and 7–12.4 In support of this opinion, they appeal to the term
4
See Köster, De Wette, Delitzsch, Grimme, Gunkel, Calès, Herkenne, Beaucamp,
Jacquet, Girard, Allen and Hossfeld/[Zenger] in § 36.6; cf. also the tripartite division by
slh at the end of v. 6, the phrase ‘hasten to answer me, O Lord’ (note
the imperative and the vocative) at the beginning of v. 7, and the corre-
spondences between this phrase and v. 1. However, taking into account all
formal and semantic devices which occur in this ingenious composition,5 I
conclude that there is a first main break after v. 5 and a second main break
after v. 10.6
In terms of verbal recurrences, it is the word npšy (‘my soul’) which not
only features conspicuously (5×; vv. 3a, 6b, 8d, 11b and 12b) but also plays
an important part in the process of recognizing the macrostructure of our
poem. It divides the composition into an uninterrupted series of four 4-line
canticles (vv. 1–2, 3–5, 6–8b and 8c–10) and a concluding 2-line canto (vv.
11–12); note npšy in the opening verselines of vv. 3–5, 6–8b and 8c–10.
Within the concluding canto vv. 11–12 the expression occurs precisely at
the end of the second cola of both verselines; note the exactly corresponding
position in canticle vv. 8c–10 (at the end of the first verseline).
From a thematic perspective, the 4-line canticles represent relatively
individual unities. In vv. 1–2 (the first canticle) the supplicant addresses
God with his pleas to be heard (v. 1) and acknowledges that from a juridical
perspective he is not in the right before God (v. 2). The second canticle is a
description of the distress he experiences by enemies; he is at death’s door
(vv. 3–4). The canticle is appropriately rounded off by a tricolon (v. 5; cf.
v. 12) in which the supplicant praises God’s marvellous deeds; cf. Ps. 77,13,
the concluding verseline of the second canto (vv. 8–13).7
The portrayal of the stretching out of the hands and the longing for
God in the opening verseline of the third canticle (v. 6) introduces the
supplicant’s pleas to be heard in the opening cola of the following verselines
(vv. 7a+c+8a).8 The expressions ‘nny (‘answer me’) and hšmy‘ny (‘let me
hear’) obviously refer to the external parallelism of the roots šm‘ and ‘nn in
v. 1 (note the chiasmus; § 36.4.4) and highlights the thematic individuality
of the canticle. In v. 7b and 7d we find allusions to the dreadful situation
of the psalmist, which is already known from the preceding canticle. The
third canticle is concluded on a strong note, namely by a statement of
confidence (v. 8b). From v. 8c onwards, the psalmist does not pray to be
Weber and Labuschagne.

5
‘Riche en récurrences, le Ps 143 a de quoi mettre à l’épreuve le praticien de l’analyse
structurelle’ (Girard [1994], p. 477).
6
For the break after v. 5, cf. Kissane (1954) and Alden (1978) in § 36.6.
7
For the canto division of Psalm 77, see CAS II, Ch. III.5 (pp. 332–41). With refer-
ence to Ps. 77,5–6, Hossfeld erroneously argues that Ps. 143,5 does not have a positive
meaning; Hossfeld/[Zenger] (2008), p. 763.
8
That is to say, it is also in terms of subject matter that v. 6 does not belong to the
preceding verselines (as is generally maintained; see above).
heard in general terms any longer, but begs for a concrete action by God.
In vv. 8c and 10 he pleads for divine guidance on the path of life. And
in v. 9 his prayer deals with the deliverance from enemies. The second
cola of the opening verselines (vv. 8d and 9b) match the opening colon of
the preceding Canticle II.1 (v. 6a). In the phrases concerned the psalmist
declares that he puts his hopes in God (note the repetition of ’lyk [‘to you’];
§ 36.4.3). The confession that yhwh is the God of the psalmist (v. 10b)
anticipates his final confession ‘for I am your servant’ (v. 12c).
The latter confession is an element of the concluding canto (vv. 11–12).
This summarizing canto is characterized by an intensification of the pre-
ceding prayers. Its opening verseline (v. 11) is a prayer for deliverance from
serious distress; for the prayer for deliverance, cf. v. 9a, and for the serious
distress, cf. vv. 3–4 and 7b+d. In v. 12a–b the supplicant for the first time
explicitly asks for the extinction of his enemies.9
The structuring function of npšy (see above) is unambiguously rein-
forced by a linearly alternating pattern of verbal repetitions on the level
of the poem as a whole: vv. 1–2.3–5|6–8b.8c–10|11–12 > a.b|a’.b’|a” (see
§ 36.4.4, The linear framework).10 The latter recurrences demonstrate
that—as far as the macrodesign of our psalm is concerned—we are deal-
ing with the well-known standard pattern Type IIB: a series of uniform
cantos (vv. 1–5 and 6–10) which are rounded off by a ‘half-long’ canto
(vv. 11–12).11 In terms of verbal repetitions, it is worth noting that the
transition from the first to the second canticle of both Cantos I and II is
highlighted by the device for concatenation based on the recurrence of the
particle ky (§ 36.4.3).
The linear pattern of verbal recurrences on the level of the poem as
a whole coincides with a similar pattern in terms of subject matter. The
semantic correspondence between the prayers to be heard in Canticles I.1
and II.1 (vv. 1–2 and 6–8b respectively) is not to be missed; see above
and § 36.2. The prayer for deliverance from enemies in Canticle II.2 (vv.
8c–10; note v. 9a) corresponds to the description of persecution by enemies
in Canticle I.2 (vv. 3–5; note v. 3).
Alongside the linearly alternating correspondences between the succes-
sive canticles pointed out above, there are also signs of symmetry: vv. 1–2.
3–5|6–8b.8c–10|11–12 > a.b|b’.a’|a”.12 The prayers for guidance we find in
9
For vv. 11–12 as a relatively individual (‘half-long’) canto at the end of the composi-
tion, cf. also Auffret (1995), Weber and Labuschagne in § 36.6; otherwise Auffret (2003).
For such half-long cantos concluding the main parts of a poem, see further CAS I, Ch.
V, 5.2.2 (note § 5.2.2.3 [pp. 516–17]).
10
Cf. Girard and Weber in § 36.6.
11
For this overall pattern, see Ch. IV, 2.4.3 below.
12
For the symmetric design, cf. also Alden (1978) in § 36.6, and with respect to the
Canticle II.2 (vv. 8c and 10) obviously hark back to the confession of going
astray in Canticle I.1 (v. 2). Additionally, on the basis of the he-strophe of
Psalm 119 we may assume a structural relationship between these prayers
and the plea bs.dqtk h.yny (‘by your justice give me life’) in v. 1d*. The first
canticle (Ps. 119,33–36) is a plea for guidance (note vv. 33a and 35a), while
the second canticle (Ps. 119,37–40) is characterized by the prayers ‘give me
life’ (see vv. 37b and 40b); see Ch. III, 12.2.5 above. The descriptions of
distress in 143,7b+d (Canticle II.1) clearly match the portrayal of distress
in vv. 3–4 (Canticle I.2): the supplicant is at death’s door. In terms of
verbal recurrences there are some repetitions which exclusively occur in
Canticles I.2 and II.1; see § 36.4.4, The symmetric framework (note rwh.y
and ydym). Moreover, both Canticles I.2 and II.1 consist of exactly 26
words. For the symmetry between Canticle II.2 and Canto III, note ’yby
(‘my enemies’).
In addition, each canticle of Psalm 143 is composed of two 2-line stro-
phes. For Canticle I.1, note the thematic individuality of vv. 1 and 2
(§ 36.2). The responsions listed in § 36.4.2 support the strophic structure
of Canticle I.2. The exactly linear position of the conjunction w- at the be-
ginning of vv. 2 and 4 (§ 36.4.3) enhances the latter framework. The linear
correspondence between ‘nny (‘answer me’) and hšmy‘ny (‘let me hear’)
underscores the strophic structure of Canticle II.1 (§ 36.4.2); for the exter-
nal parallelism, cf. v. 1. The exactly linear position of ’l prohibitive at the
beginning of vv. 2 and 7c (§ 36.4.4) further buttresses the latter structure.
For the strophic regularity of Canticle II.2, see especially the exactly linear
positions of ky and yhwh vocative listed in §§ 36.4.2 and 36.4.3 respectively.
the following verbal repetitions: th.nwny (v. 1) > 142,2 (note the exactly
linear positioning); root .sdq (vv. 1.2.11) > 142,8; lpnym (v. 2) > 142,3 (2×);
root h.yh (vv. 2.3.11) > 142,6; root rdp (v. 3) > 142,7; npšy (vv. 3.6.8.11.12)
> 142,5.8 (note the function on the macrostructural level); v. 4a > 142,4a;
mmny (v. 7) > 142,5.7; v. 8c > 142,4c; ’lyk (vv. 8d.9b) > 142,6; hs.ylny
(v. 9) > 142,7; šmk (v. 11) > 142,8; v. 11b > 142,8a; root ys.’ (hiph‘il) +
prep. mn (v. 11) > 142,8; root .srh (vv. 11.12) > 142,3; root ’bd (v. 12) >
142,5.
36.8 Bibliography
J. Schildenberger, ‘Psalm 143: Von Verzagheit zu Vertrauen’, Erbe und Auftrag
57 (1981), pp. 202–204;
‘symétrie croisée’, see also Girard (1994), p. 479.
P. Auffret, Merveilles à nos yeux. Etude structurelle de vingt psaumes dont celui
249–61;
—, Que seulement de tes yeux tu regardes . . . Etude structurelle de treize psaumes
(BZAW 330), Berlin/New York: Walter de Gruyter, 2003, pp. 359–83;
Monika Müller, ‘Die Vergewisserung einer Beziehung. Eine Auslegung zu Ps 143
und seine liturgische Verortung’, BN 151 (2011), pp. 71–94.
37 Psalm 144
Structure: 10.10 > 5.5|4.6 > 3.2|2.3||2.2|2.2.2 lines (Type IA)
I.1 1 brwk yhwh .swry Hmlmd ydy lqrb ’s.b‘wty lmlh.mh

2 h.sdy wms.wdty mśgby wmplt.y ly
mgny wbw h.syty Hrwdd ‘MYM th.ty
3 yhwh mh ’dm wtd‘hw bn ’nwš wth.šbhw

4 ’dm lhbl dmh ymyw ks.l ‘wbr
I.2 5 YHWH ht. šmyk wtrd g‘ bhrym wy‘šnw

6 brwq brq wtpys.m šlh. h..syk wthmm
7 šlh. ydyk mmrwm PS.NY WHS.YLNY

mmym rbym MYD BNY NKR
8 ’ŠR PYHM DBR ŠW’ WYMYNM YMYN ŠQR
II.1 9 ’lhym šyr h.dš ’šyrh lk bnbl ‘śwr ’zmrh lk

10 Hnwtn tšw‘h lmlkym H pws.h ’t dwd ‘bdw mh.rb r‘h
11 PS.NY WHS.YLNY MYD BNY NKR

’ŠR PYHM DBR ŠW’ WYMYNM YMYN ŠQR
II.2 12 ’šr bnynw knt.‘ym mgdlym bn‘wryhm

bnwtynw kzwyt mh..tbwt tbnyt hykl
13 mzwynw ml’ym mpyqym mzn ’l zn

14
.s’wnnw m’lypwt mrbbwt bh.ws.wtynw ’lwpynw msblym
’yn prs. w’yn yws.’t w’yn .swh.h brh.btynw

15 ’šry h‘M škkh lw ’šry h‘M šYHWH ’lhyw
37.1 Text
V. 2d—‘mym: ‘peoples’, see BHS and 11QPsa . Codex L reads ‘my (‘my people’);
cf. Barthélemy (2005), p. 872.
37.2 Content
A prayer of the messianic king for the defeat of his enemies and for the
prosperity of his people.
I Praise of God for the defeat of enemies (I.1) and prayer for deliver-
ance from distress (I.2).
I.1 Blessed be God who helped me to defeat my enemies (vv.
1–2).
O Lord, a human being is too vulnerable that you should
regard him (vv. 3–4).
I.2 O Lord, scatter my opponents (vv. 5–6).
Rescue me from people who speak and deal falsely (vv. 7–8).
II Praise of God and prayer for deliverance from distress (II.1; summa-
ry of Canto I); concluding plea for prosperity/blessings (II.2).
II.1 O God, I praise you, because you give victory to kings (vv.
9–10; cf. vv. 1–2).
Rescue me from unfaithful men (v. 11; cf. vv. 7–8).
II.2 May our sons and daughters prosper (v. 12).
May our storehouses be full and our cattle be fertile and strong
(vv. 13–14a).
May the people live in peace (vv. 14b–15).

37.3.1.1 brwk yhwh, v. 1a imperative: ps.h, v. 7b
vocative: yhwh, v. 3a imperative: hs.yl, v. 7b
mh, v. 3a vocative: ’lhym, v. 9a
yd‘ with subject God, v. 3a cohortative: ’šyrh, v. 9a
vocative: yhwh, v. 5a cohortative: ’zmrh, v. 9b
imperative: ht., v. 5a; ext. imperative: ps.h, v. 11a
// brwq in v. 6a imperative: hs.yl, v. 11a
imperative: g‘, v. 5b; ext.
// šlh. in v. 6b 37.3.1.2 none
imperative: šlh., v. 7a
37.3.2.1 none 37.3.2.2 ’šry, v. 15a+b
none

vv. 1–2: suffix-y, vv. 1–2 (10×)!
article h- + participle, vv. 1b.2d (inclusion)

h.sdy/h.syty, v. 2a and 2c resp. (alliter.)
vv. 3–4: mh ’dm/dmh, vv. 3a and 4a resp. (alliter.)
’dm, vv. 3a.4a!
suffix -hw/-w, vv. 3a+b and 4b resp.
vv. 7–8: yd, v. 7a.7d
prep. mn, v. 7a.7c+d
mmrwm/mmym rbym, v. 7a and 7c resp. (alliter.)
vv. 9–10: prep. l-, vv. 9a+b.10a; note lk . . . lk/lmlkym in vv. 9 and
10a (alliter.)
v. 12: bnym/bnwt, v. 12a and 12c resp. (linear)
prep. k-, v. 12a.12c (linear)
vv. 13–14a: ml’ym/m’lypwt, v. 13a and 13c resp. (alliter.; linear)
vv. 14b–15: ’yn [. . . w’yn] . . . w’yn/’šry . . . ’šry, vv. 14b–c and 15 resp.
(note the linear positioning at the beginning of the cola)

vv. 1–4 (I.1): yhwh, vv. 1a.3a (linear)
prep. l-, vv. 1b+c+2b.4a (inclusion)
suffix -w, vv. 2c.4b (linear)
vv. 5–8 (I.2): šmym/mrwm, vv. 5a and 7a resp. (linear)
suffix -k, vv. 5a+6b.7a (concatenation)
wtpys.m/ps.ny, vv. 6a and 7b resp. (alliter.)
} chiasmus
šlh., vv. 6b.7a!
(concatenation)
suffix -m, vv. 6a+b.8b (linear); see also -hm in v. 8a
vv. 9–11 (II.1): ps.h, vv. 10b.11a (concatenation)
prep. mn, vv. 10c.11b (concatenation)
vv. 12–15 (II.2): ’šr/’šry, vv. 12a and 15a+b resp. (alliter.; inclusion)
-nw (suffix first person plural), vv. 12a+12c.
13a+13c+13d+14a.14c!
prep. k-, vv. 12a+c.15a (inclusion)
kzwyt/mzwynw, vv. 12c and 13a resp. (alliter.; concat.)
bh.ws.wtynw/brh.btynw, vv. 13d and 14b resp. (exactly
linear; concatenation); note the prep. b-

vv. 1–8 (Canto I): yhwh, vv. 1a.5a (linear); see also yhwh in v. 3a
yd, vv. 1b.7a+d (inclusion)
roots plt. (pi‘el)/ns.l (hiph‘il), vv. 2b and 7b resp.
(inclusion)
prep. b-, vv. 2c.5b (linear)

bn, vv. 3b.7d (linear)
‘mym/-m (suffix), vv. 2d* and 6a+b resp. (linear;
contra Fokkelman [MPHB II], p. 309 n. 59)
hbl (‘breath’)/šw’ (‘vanity’), vv. 4a and 8a resp.
(linear)
vv. 9–15 (Canto II): ’lhym, vv. 9a.15b! (inclusion)

šyr . . . ’šyrh/’šry . . . ’šry, vv. 9a and 15 resp.
(alliter.; inclusion); cf. also ‘śwr ’zmrh in v. 9b
and CAS I, Ch. III, 33.4.4 (The linear frame-
work; p. 330!)
prep. b-, vv. 9b.12b (linear); cf. also b- in vv. 13d
and 14b
h- (article), vv. 10a+b.15a+b (inclusion)
bn, vv. 11b.12a(+c) (concatenation)
’šr, vv. 11c.12a (concatenation; anaphora)
suffix -hm, vv. 11c.12b (concatenation); see also
suffix -m in v. 11d

vv. 1–4.9–11: article h- + participle, vv. 1b+2d.10a+b! (linear); cf.
article h- in v. 15a+b
qrb . . . mlh.mh/h.rb, vv. 1b–c and 10c resp. (linear)
lmlh.mh/lmlkym, vv. 1c and 10a resp. (alliter; linear)
hrdwd/dwd ‘bdw, vv. 2d and 10b resp. (alliter.; linear)
vv. 5–8.12–15: yhwh, vv. 5a.15b

bhrym/bn‘wryhm, vv. 5b and 12b resp. (alliter.; linear)
mmym rbym/mrbbwt, vv. 7c and 13d resp. (alliter.); note
the root rbb/rbh and see also mmrwm in v. 7a

vv. 1–4.12–15: brwk yhwh/’šry h‘m, vv. 1a and 15a+b resp.
suffixes -y/-nw, vv. 1–2 and 12–15 resp.!
ly/lw, vv. 2b and 15a resp.
suffix -w referring to God, vv. 2c.15a+b!
‘m (‘people’), vv. 2d.15a+b!
bn, v. 3b.12a+c
prep. k-, vv. 4b.12a+c+15a!

‘wbr/bn‘wryhm, vv. 4b and 12b resp. (alliter.)
vv. 5–8.9–11: suffix -k, vv. 5a+6b+7a.9a+b!

h..s/h.rb, vv. 6b and 10c resp. (the only weapons which
are mentioned; Auffret [2010], p. 515)
ps.ny whs.ylny (. . . ) myd . . . šqr, vv. 7b+7d–8.11!

prep. mn (v. 13b)

’yn, (v. 14b–c [3×]), ’šry (v. 15 [2×]), root šyr (v. 9a [2×]), root ’lp/’lp (vv.
13c.14a)

Psalm 144 has 9 (= 3×3) strophes, 20 verselines and 43 cola.1 Vv. 9–10
represent the central strophe (> 4+1+4 strophes) and v. 9a, ’lhym šyr h.dš
’šyrh lk (‘O God, I will sing a new song to you’), is the middle colon (>
21+1+21 cola).2
12|10+12+15 = 32+30|30+37 = 62+67 (= 129 = 3×43 words in total); for
the multiple of 43 words, cf. the number of cola!3 On word level, Canticles
I.2 and II.1 are exactly equal; both have 30 (= 10×3) words.4 Additionally,
in terms of the number of words, v. 9a is once again the centre of the
composition: vv. 1–8.9a.9b–15 > 62+5+62 words. Because the psalmist’s
1
Similarly Labuschagne, www.labuschagne.nl/ps144.pdf; pace Fokkelman who—
taking v. 7 as a tricolon and vv. 10c–11b (with many others) as a bicolon—has 19
verselines consisting of 41 cola and maintains that the ‘figure 41 for the cola is secure’
(MPHB II, p. 310). Booij (VT 59 [2009], pp. 179–80) rightly points out that mh.rb r‘h
(‘from the evil sword’; v. 10c), in accordance with the Masoretic verse division, belongs
to the preceding clause; similarly Hossfeld/[Zenger] (2008), p. 777. I conclude that the
imperatives ps.ny whs.ylny (v. 11a) represent an independent colon. Consequently, the
same goes for ps.ny whs.ylny in v. 7; that is to say, v. 7 is to be taken as two (bicolic)
verselines (similarly Allen [2002], p. 358, and note Dahood, Psalms III, pp. 330–31).
2
Fokkelman calls vv. 9–10b the ‘focal point of the composition’ (MPHB II, p. 309)
and rightly notes that v. 9a ‘is the only half-verse of five words’ (MPHB II, p. 309 n. 59;
all other cola have less words).
3
Including the heading, there are 130 (= 5×26) words.
4
Cf. the 26 words in the middle canticles of Psalm 143!
intention to praise God (v. 9a) is very meaningful in the context of the
poem, I take it as the rhetorical centre. The pivotal position of the phrase
is further emphasized by its concentric word pattern: a.b.c.b’.a’.5
The divine name, yhwh, occurs 4×: vv. 1, 3, 5 and 15. In vv. 9 and
15 God is designated ’lhym.

Köster (1837): 1–2.3–4.5–6.7–8|9–11.12–14.15 (4×2|3.3.1 verses)
De Wette (1856): 1–4.5–8.9–11.12–15 (‘Vielleicht vier ungleiche Strophen’)
Ewald (1866), pp. 511–12 and 78–81: 1–4.5–8.9–11; 12–14 (15)
Delitzsch (1894): 1–2.3–4.5–8.9–11; 12–15
Zenner (1906), pp. 147–48: 1–4.5–8|9–11|12–13b.13c–15 (4.4|4|3.3 lines)
Duhm (1922): 1*.2.5–6. . . ; 9–10.11; 12.13.14b–15 (3×2 bicola; 2.2 bicola;
3×2 bicola)
Gunkel (1926): 1.2.3–4.5–6.7–8*.9–10 (‘Keine regelmäßige Strophenbil-
dung’); 12.13a*.13b–14.15 (‘Strophenbildung liegt nicht vor’)
Calès (1936): 1–2.3–4.5–6.7–8.9–10.11; 12–15 (6×2; 7 lines)
Herkenne (1936): 1–4.5–8*; 9–10.12–14.15
Baumann (1949–’50), pp. 148–51: 1+2d|3–4|5–6.10c–11|9–10b (5×2 lines)
Gemser (1949): 1.2|3–4|5–6.7–8|9–10b.10c–11|12.13.14–15 (1.2|2|2.3|2.2|
2.2.2 lines)
Pannier/Renard (1950): 1–2+refrain.3–8.9–11; 12–15
Kissane (1954): 1–2.3–8|9–11.12–15 (3.6|3.6 lines); cf. König (1927), pp.
364–67, NAB (1970)
Mowinckel (1957), pp. 45–47: 1*.2.3–4.5–6.7*.10c–11.9–10b (cf. Baumann
[1949–’50]); 12.13.14a*.14b–15 (7×2 bicola; 4×2 bicola)
Beaucamp (1979): 1 2.3–4.5–6.7a–b+7d–8.9–10b 12–14.15 (3 5×4 6.2)
Jacquet (1979): 1*.2|3–4.5–6.7b–8.7a+10c+11a*.9+11b–d (8×2 bicola);
12.13.14.15 (4×1 bicolon)
Ravasi (1984): 1–2.3–4|5–6.7–8.9–10.11||12–14.15
Girard (1994): 1–2.3.4.5–7a|7b–8.9a.9b.10–11 (a.b.b’.a’|c.d.d’.c’); vv. 12–15
Fokkelman (2000), pp. 308–10: 1–2.3–4|5–6.7–8|9–10b.10c–11|12.13–14a.
14b–15 (3.2|2.2|2.2|2.2.2 lines; a.b|a’.b’|a’’.b’’|vv. 12–15)
Allen (2002): no strophes (p. 362)
Terrien (2003): 1–2.3–5.6–8|9|10–11.12–13b.13c–15 (a.b.c|d|c’.b’.a’)
Weber (2003): 1.2.3–4|5–6.7–8|9–10b.10c–11|12.13–14a.14b–15 (A.B.B’.A’)
Hossfeld/[Zenger] (2008): 1.2|3.4|5–6.7.8|9.10.11|12–14|15
Auffret (2010): 1–2.3–4|5–6|7–8|9|10–11.12–15
5
Similarly Labuschagne, www.labuschagne.nl/ps144.pdf, Observation 1; see further
CAS II, Ch. V, 3.2 (pp. 538–42).
www.labuschagne.nl/ps144.pdf: 1–2||3–4|5–6.7–8|9–10.11||12.13.14–15 (3||

2|2.3|2.2|2.2.2 lines)

At first sight, Psalm 144 consists of two—from a thematic perspective—
rather incoherent sections, vv. 1–11 (prayers for deliverance from enemies)
and 12–15 (prayers for the prosperity of the community). However, differ-
ent from former exegetes, recent commentaries and special studies gener-
ally assume that the sections concerned represent an original composition.
Notwithstanding the fact that, according to me, the overall design of this
poem is rather exceptional, my rhetorical approach positively sustains the
latter opinion.6
In terms of material content, apart from the caesura after v. 11, within
vv. 1–11 two more breaks are to be found in our psalm: one after v. 4
and one after v. 8. That is to say, Psalm 144 divides into four almost
regular units (canticles), vv. 1–4, 5–8, 9–11 and 12–15.7 The first canticle
(vv. 1–4) is a praise of God for the defeat of surrounding nations. In the
second canticle (vv. 5–8) the psalmist pleads for deliverance from foreign
opponents. The third canticle (vv. 9–11) has a ‘resumptive role’ (Allen
[2002], p. 362); it summarizes the messages of the preceding canticles: vv.
9–10 summarizes the first and v. 11 consists of verbatim repetitions from
the second canticle (note vv. 7–8). The fourth canticle (vv. 12–15) is a plea
for prosperity and peace.8
On a macrostructural level the psalm divides into two uniform main
parts (cantos) of 10 verselines each, vv. 1–8 and 9–15. The beginnings of
6
For the latter opinion, see e.g. Kraus (1978), p. 1125 (with reference to Psalm 72),
Tournay (1984), and Hossfeld/[Zenger] (2008), p. 779 (‘anzunehmen, dass der Psalm
von vorneherein als Einheit konzipiert wurde’). Holtz (2008) has pointed out that in
Mesopotamian royal ideology the concepts of the king as a warrior and provider often
occur in one and the same inscription. However, notwithstanding the parallels in ques-
tion, Holtz suggests that the redactor of our psalm has joined a ‘prayer for military
victory and a description of agricultural prosperity into one composition’ (2008, p. 380).
7
Cf. Köster, De Wette, Ewald, Delitzsch, Zenner, Herkenne, Gemser, Kissane, Fokkel-
man, Weber and Hossfeld/[Zenger] in § 37.6.
8
For the relative pronoun ’šr at the beginning of this canticle, cf. ’šr in Ps. 64,4 (at
the beginning of Canto II; see CAS II, pp. 199–205) and in Job 8,14 (at the beginning
of Canto III; see RCPJ, pp. 102–09); see also š- in Ps. 135,8.10 (at the beginnings of
the strophes of Canticle II.1; see Ch. III.28 above). In v. 15 the psalmist does not speak
anymore as a member of the community (as is the case in vv. 12–14) but addresses it
in the third person. Nevertheless, the concluding beatitude is to be taken as an integral
part of the canticle; in this respect, cf. Ex. 15,18(!) Pss. 2,12c 15,5c 55,24c 68,36c
103,22c 125,5c and 128,6b.
both Cantos I and II are highlighted by a praise of God (vv. 1–2 and 9–10
respectively).9 For vv. 9–10 at the beginning of a canto, cf. Isa. 42,10 at
the beginning of Canto III (42,1–4.5–9.10–12), Pss. 33,1–3, 96,1–3, 98,1–2,
149,1–2 (note šyr h.dš in Isa. 42,10 Pss. 33,3a 96,1a 98,1a 149,1a), 89,2–5
(note dwd ‘bdy in v. 4b) and 18,47–49 at the beginning of Canto V (note
h’l hnwtn in v. 48a; CAS I, Ch. III.18). This means that within the overall
framework of the composition, the summarizing third canticle (vv. 9–11)
functions as an introduction to the concluding fourth canticle (vv. 12–15).10
The coherence of Canto I (vv. 1–8) is supported by the generally recog-
nized intertextual similarities between Psalms 144 and 18. In this respect,
see the following correspondences: v. 1a > 18,3b+47a; v. 1b–c > 18,35a;
v. 2a–b > 18,3a; v. 2b–c > 18,3b–c; v. 2d > 18,48b; v. 5a > 18,10a; v. 6
> 18,15; v. 7a > 18,17a; v. 7b–c > 18,17b–18a; vv. 7d.11a > 18,45b–46a;
v. 10a–b > 18,51.11 Note also the structural function of the article h- fol-
lowed by a participle; for Psalm 144, see § 37.4.4 above (The linear frame-
work), and for Psalm 18, see h’l hm’zrny/hnwtn at the beginnings of Cantos
IV and V (vv. 33a.48a; CAS I, Ch. III, 18.4.3 [p. 210]). It is noticeable that
the correspondences in question are concentrated in Canto I (vv. 1–8) and
(with one exception; see v. 10a–b) do not occur in Canto II. On the other
hand, the coherence of the second canto (vv. 9–15) is supported by the ref-
erences to Psalm 33 which conspicuously mark the boundaries of this main
part. V. 9 obviously refers to Ps. 33,3a.2b and v. 15b varies Ps. 33:12a. On
the basis of these correspondences, Booij aptly argues that vv. 12–15 repre-
sent ‘an original part of the text indeed’.12 Moreover, Girard (1994, p. 491)
suggests a thematic relationship between vv. 9–11 and 12–15: ‘L’idéologie
davidique (cf. v. 10ab) n’est peut-être pas sans rapport avec l’idéal de
prospérité suggéré aux v. 12–15, surtout dans le contexte théologique de
l’attente messianique qui s’est développée en Israël après l’exil, suit à la
9
For this bipartite division of the psalm as a whole, see also Köster (1837) and
Kissane (1954) in § 37.6. ‘Bei diesem Gedicht wird [. . . ] die Bitte durch eine auf
glücklicher Erfahrung sich aufbauende verherrlichende Chrakteristik Gottes eingeleitet
(V. 1–8), und dann wird diese nächstliegende Bitte um Errettung aus dem Kampfe
mit trügerischen Fremdvölkern zum Anknüpfungspunkt für ein allgemeineres Gebet um
allseitige Segnung des Jahwevolkes gemacht (V. 9–15)’; König (1927), p. 366. For the
structure 10.10 > 5.5|4.6 lines, cf. the similarity with Psalm 132 (5.5|4.6 lines).
10
Pace Hossfeld/[Zenger] (2008), p. 778, where with regard to vv. 9–10 it is maintained:
‘Es steht hier weder am Anfang eines Lob- und Dankliedes wie in Ps 33 und 96 noch am
Ende wie in Ps 18,50 sondern mitten im Psalm’. For the summarizing character of vv.
9–11 at the beginning of a canto, cf. Pss. 49,14–15 73,12 and 74,10–11; see CAS II, pp.
77, 304 and 310 respectively.
11
Cf. Girard (1994), p. 488 n. 1, Saur (2004) and Klingbeil (2010), pp. 127–28.
12
Booij, VT (2009), p. 175, with reference to M.D. Goulder, The Psalms of the Return,
Sheffield, 1998, p. 271.
chute (définitive) de la monarchie’.

In terms of verbal repetitions, the coherence of the first canto is sup-
ported by a mainly linear pattern of verbal correspondences, while the co-
herence of the second canto is especially supported by a symmetric design
(note ’lhym); see § 37.4.3.13
On the level of the composition as a whole, it is once again particularly
the symmetric design in terms of verbal recurrences which demonstrates
that vv. 12–15 are an orignal part of the psalm; see § 37.4.4 (The symmet-
ric framework) and note the semantic correspondence brwk yhwh/’šry h‘m
(‘blessed be the Lord’/‘happy the people’) at the beginnings of the open-
ing and concluding verselines respectively (see also ‘m [‘people’] in vv. 2d
and 15).14 In terms of word count, the correspondence between the middle
Canticles I.2 and II.1 is reinforced by the 30 words both canticles consist of
(§ 37.5). In addition, I would tentatively suggest that the 37 words of vv.
12–15 symbolically represent the noun hbl (‘breath’) in v. 4a (in gematria
hbl is 5+2+30 = 37). On the basis of this supposed formal relationship,
we may probably conclude that the confession about God’s care for mortal
men (vv. 3–4; cf. Ps. 8,5) preludes on the plea for prosperity and peace (vv.
12–15).
And to crown it all, it is hardly to be ignored that v. 9a is a consciously
designed central colon (see § 37.5). This only holds good when the plea for
prosperity (vv. 12–15) is an original element of the psalm.
the following verbal repetitions: root lmd (v. 1) > 143,10; yd (vv. 1.7.11) >
143,5.6; h.sd (v. 2) > 143,8.12; hs.ylny (vv. 7.11) > 143,9; lk . . . lk (v. 9) >
143,6 (’lyk . . . lk ; the beginning of the second canto!); ‘bd (v. 10) > 143,2.12.
37.8 Bibliography
W.S. Towner, ‘“Blessed Be Yahweh” and “Blessed Art Thou, Yahweh”: The
Modulation of a Biblical Formula’, CBQ 30 (1968), pp. 386–99;
R.J. Tournay, ‘Le Psaume CXLIV: Structure et Interprétation’, RB 91 (1984),
pp. 520–30;
13
In addition, for šyr h.dš . . . ’šry (144,9a.15 resp.), cf. Ps. 40,4a.5a resp.
14
‘The poet blesses God, because He blesses his people’ (Fokkelman [MPHB II],
p. 308). For the correspondence brwk yhwh/’šry h‘m, cf. the linear positioning of the
phrases ’brk ’t yhwh and ’šry hgbr in Ps. 34,2.9 (Canto I; see CAS I, p. 337). As regards
the repetition of the noun ‘m (‘people’), we are obviously dealing with a deliberate de-
vice because in Ps. 33,12a, the intertextual corresponding colon of v. 15a, we read gwy
(‘nation’). For the thematic relationship between vv. 1–4 and 12–15, see also Weber
(2003), p. 363.
O. Loretz, Die Königspsalmen. Die altorientalisch-kanaanäische Königstradition

in jüdischer Sicht, Teil 1 (UBL 6), Münster, 1988, pp. 177–208;
Jannie H. Hunter, ‘Interpretationstheorie in der postmodernen Zeit. Suche
nach Interpretationsmöglichkeiten anhand von Psalm 144’, in K. Seybold and
E. Zenger (eds.), Neue Wege der Psalmenforschung. FS W. Beyerlin (HBS 1),
Freiburg i.Br., 1994, pp. 45–62;
K. Seybold, ‘Formen der Textrezeption in Psalm 144’, in R.G. Kratz et al. (eds.),
Schriftauslegung in der Schrift. FS O.H. Steck (BZAW 300), Berlin/New York:
de Gruyter, 2000, pp. 281–89;
Sh.E. Holtz, ‘The Thematic Unity of Psalm cxliv in Light of Mesopotamian
Royal Ideolgy’, VT 58 (2008), pp. 367–80;
Th. Booij, ‘Psalm 144: Hope of Davidic Welfare’, VT 59 (2009), pp. 173–80;
B. Weber, ‘Ein neues Lied’, BN 142 (2009), pp. 39–46;
P. Auffret, ‘O bonheurs du peuple dont Yhwh est le Dieu. Nouvelle étude struc-
turelle du psaume 144’, VT 60 (2010), pp. 505–17;
M.G. Klingbeil, ‘Metaphors That Travel and (Almost) Vanish: Mapping Dia-
chronic Changes in the Intertextual Usage of the Heavenly Warrior Metaphor in
Psalms 18 and 144’, in P. Van Hecke and Antje Labahn (eds.), Metaphors in the
Psalms (BEThL 231), Leuven: Peeters, 2010, pp. 115–34.
38 Psalm 145
Structure: 9.4.9 > 4.5|4|4.5 > 2.2|3.2||1.2.1||2.2|2.3 lines (Type III); alpha-
betic acrostic
I.1 1 ’rwmmk ’lwhy hMLK w’BRKH ŠMk L‘WLM W‘D

2 BKL ywm ’BRKK w’HLLH ŠMk L‘WLM W‘D
3 Gdwl yhwh wMHLL m’d wl gdltw ’yn h.qr

4 DWR LDWR yšbh. M‘ŚYK WGBWRTYK ygydw
I.2 5 HDR KBWD hwdk wdbry npl’wtyk ’śyh.h

6 W‘zwz nwr’tyk Y’MRW w gdwltyk ’sprnh
7 Zkr rb t.wbk yby‘w ws.dqtk yrnnw
8 H
. nwn wrh.wm yhwh ’rk ’pym w gdl h.sd
9 T
. wb YHWH LKL wrh.myw ‘l KL M‘ŚYW
II 10 Ywdwk YHWH KL M‘ŚYK wh.sydyk YBRKWKH
11 KBWD MLKWTk Y’MRW WGBWRTK ydbrw

12 Lhwdy‘ lbny h’dm GBWRTYw wKBWD HDR MLKWTw
13 MLKWTk MLKWT Kl ‘LMYM wmmšltk BKL DWR WDWR
III.1 [N ’mn yhwh BKL dbryw wh.syd BKL M‘ŚYW]

14 Swmk YHWH LKL hnplym wzwqp LKL hkpwpym
15 ‘yny kl ’lyk yśbrw w’th nwtn lhm ’t ’klm b‘tw

16 Pwth. ’t ydk wmśby‘ lkl h.y rs.wn
III.2 17 S.dyq yhwh BKL drkyw wh.syd BKL m‘śyw

18 Qrwb yhwh lkl qr’yw lkl ’šr yqr’hw b’mt
19 Rs.wn yr’yw y‘śh w ’t šw‘tm yšm‘ wywšy‘m

20 Šwmr yhwh ’t kl ’hbyw w ’t kl hrš‘ym yšmyd
21 THLT yhwh ydbr py wYBRK kl bśr ŠM qdšw L‘WLM W‘D
38.1 Text
V. 13c–d: see BHS, 11QPsa and § 38.7 below; pace Ravasi (Salmi III ), p. 916,
Kimelman (1994), pp. 49–51, and Booij (2009), p. 346.
V. 16a—’t: so MT; 11QPsa reads ’th ’t (for ’th, cf. also BHS). Taking into
account the symmetric aspects of the psalm, note the 31 words of vv. 5–9
and 13c*–16 (§ 38.5), the latter reading is rather improbable.
38.2 Content
Praise of the majesty of God’s kingship and of his goodness for the weak.
I Praise of the majesty of God’s kingship.
I.1 I praise you, my God, O King (vv. 1–2; addressed to God).
The Lord is great; all people laud you (vv. 3–4; in v. 3 God
is spoken about and in v. 4 he is addressed to).
I.2 I myself and the community speak about your great deeds
(vv. 5–7; addressed to God).
The Lord is abounding in loving kindness and his mercy is
upon all creation (vv. 8–9; spoken about God).
II Your faithful ones praise your eternal kingship, O Lord (vv. 10 and
13a–b); they make known the majesty of your kingship to all men
(vv. 11–12); addressed to and spoken about God.
III Praise of God’s goodness for his (faithful) creatures.
III.1 The Lord supports all who stumble (vv. 13c*–14; spoken
about God).
You satisfy the desire of all creatures (vv. 15–16; addressed
to God).
III.2 The Lord is faithful in all he does and near to all who call
on him (vv. 17–18; spoken about God).
He saves those who love him and destroys the wicked
(vv. 19–20; spoken about God); I speak of the praise of the
Lord and all creatures bless him (v. 21; spoken about God).

38.3.1.1 vocative: ’lwhy hmlk, v. 1a vocative: yhwh, v. 10a
cohortative: ’brkh, v. 1b; brk with object God, v. 10b
ext. // ’hllh in v. 2b ’th, v. 15b
brk with object God, v. 1b; yr’ with object God, v. 19a
ext. // v. 2a
cohortative: ’śyh.h, v. 5b 38.3.1.2 none

38.3.2.1 kl ywm, v. 2a dwr wdwr, v. 13b
‘wlm w‘d, v. 2b; ext. // ‘wlm w‘d, v. 21c
‘wlm w‘d in v. 1b
dwr ldwr, v. 4a 38.3.2.2 .twb beginning of line, v. 9a
kl ‘lmym, v. 13a brk with object God, v. 21b

m’d, v. 3a w- beginning of line, v. 6a

vv. 1–2: ’rwmm/’hllh, vv. 1a and 2b resp.
} chiasmus
’brk(h) , vv. 1b.2a
suffix -k, vv. 1a+b.2a+b
w’brkh/w’hllh, vv. 1b and 2b resp. (exactly linear)
šmk l‘wlm w‘d, vv. 1b.2b (epiphora)
vv. 3–4: prep. l-, vv. 3b.4a
vv. 5–7: suffix -k, vv. 5a+b.6a+b.7a+b
roots dbr/’mr, vv. 5b and 6a resp.
y’mrw/yby‘w, vv. 6a and 7a resp. (exactly linear)
vv. 8–9: root rh.m, vv. 8a.9b!
yhwh, vv. 8a.9a
vv. 11–12: kbwd + mlkwt, vv. 11a.12b
} chiasmus
gbwrt, vv. 11b.12a
vv. 13c*–14: yhwh, vv. 13c*.14a (exactly linear)
kl . . . kl, vv. 13c–d*.14 (exactly linear)
vv. 15–16: suffix -k, vv. 15a.16a
prep. l-, vv. 15b.16b
’t, vv. 15b.16a
vv. 17–18: yhwh, vv. 17a.18a (exactly linear)
prep. b-, vv. 17a+b.18b
kl . . . kl, vv. 17.18
vv. 19–21: w’t, vv. 19b.20b (exactly linear); see also ’t in v. 20a
šw‘tm yšm‘ wywšy‘m/hrš‘ym yšmyd, vv. 19b and 20b resp.
(alliter.; epiphora); see also šwmr in v. 20a and šm
qdšw in v. 21b
yhwh, vv. 20a.21a (exactly linear)
kl, vv. 20a+b.21b

vv. 1–4 (I.1): root hll, vv. 2b.3a (concatenation)
vv. 5–9 (I.2): root gdl, v. 6b.8b
.twb, vv. 7a.9a! (linear)
vv. 13c*–16 (III.1): prep. b-, vv. 13c*+d*.15b (linear)
dbryw/yśbrw, vv. 13c* and 15a resp. (exactly linear)
suffix -w, vv. 13c*+d*.15b (linear)
lkl, vv. 14a+b.16b (linear); see also prep. l- in v. 15b
(concatenation)
vv. 17–21 (III.2): suffix -w, vv. 17a+b+18a.19a+20a+21b; see also
suffix -hw in v. 18b
root ‘śh, vv. 17b.19a (linear)
yhwh, vv. 17a+18a.20a+21a
prep. l-, vv. 18a+b.21c (linear)

vv. 1–9 (Canto I): ’rwmmk . . . ’brkk/’śyh.h . . . ’sprnh, vv. 1a+2a
and 5b+6b resp. (linear); note the first per-
son singular
suffix -k, vv. 1–2+4a–b.5–7 (concatenation)
prep. l-, vv. 1–2+3–4.9a
root gdl, vv. 3a+b.6b+8b!
yhwh, vv. 3a.8a+9a (linear)
suffix -w, vv. 3b.9b (linear)
m‘śym, vv. 4a.9b (linear)
vv. 10–13b (Canto II): kl m‘śyk/kl ‘lmym, vv. 10a and 13a resp. (at
the end of the first colon of the line; note
also the alliter.; inclusion)
suffix -k, vv. 10 (3×).11 (2×).13a–b (2×); see
also -kh in v. 10b
mlkwt, vv. 11a+12b.13a (2×)! (concatenation)
vv. 13c*–21 (Canto III): n’mn yhwh bkl dbryw/s.dyq yhwh bkl drkyw, vv.
13c* and 17a resp. (exactly linear); see also
yhwh in vv. 14a.18a+20a+21a
root ’mn, vv. 13c*.18b! (linear)
root dbr, vv. 13c*.21a (inclusion)
wh.syd bkl m‘śyw, vv. 13d*.17b (exactly linear)
lkl, vv. 14a+b.18a+b (linear); for lkl in v. 16b
see § 38.4.2 above

kl (without a prep.), vv. 15a.20–21 (linear)
w’th/w’t, vv. 15b and 19b+20b resp. (alliter.;
exactly linear)
suffix -m, vv. 15b.19b (2×); see also -hm
in v. 15b (linear)
’t (nota accusativi), vv. 15b+16a.19b+20a+b
(linear)
yd/ph (body parts), vv. 16a and 21a resp.
(exactly linear)
rs.wn, vv. 16b.19a! (linear)

vv. 1–4.10–13b.17–21: suffix -y, vv. 1a.21a!
root mlk, vv. 1a.11a+12b+13a (2×)!
root brk, vv. 1b+2a.10b.21b!
šm (‘name’), vv. 1b+2b.21b!
l‘wlm w‘d, vv. 1b+2b.21c!; see also kl ‘lmym in
v. 13a!
bkl, vv. 2a.13b.17a+b
root hll, vv. 2b+3a.21a!
yhwh, vv. 3a.10a.17a+18a+20a+21a
suffix -w, vv. 3b.17a+b+18a+19a+20a+21b; see
also -hw in v. 18b
dwr ldwr/dwr wdwr, vv. 4a and 13b resp.!
m‘śyk, vv. 4a.10a!; see also m‘śym in v. 17b
wgbwrtyk, vv. 4b.11b!; see also gbwrt in v. 12a!
h.sydym/yr’ym . . . ’hbym, vv. 10b and 19a+20a
vv. 8–9.13c*–14: h.sd, vv. 8b.13d*

yhwh lkl, vv. 9a.14a!; see also yhwh in vv. 8a.13c*
and lkl in v. 14b
kl m‘śyw, vv. 9b.13d*!; see also -w in v. 13c*
vv. 8–9.10, concatenation: yhwh, vv. 8a+9a.10a

h.sd, vv. 8b.10b
kl, vv. 9a+b.10a
m‘śym, vv. 9b.10a
vv. 12–13b.13c*–14, concatenation: bkl, vv. 13b.13c*+d*

Remaining cluster of verbal repetitions.

vv. 5–9.10–13b: hdr, vv. 5a.12b!
kbwd, vv. 5a.11a+12b!
root dbr, vv. 5a.11b
y’mrw, vv. 6a.11a!

suffix -w (v. 12 [2×]), prep. l- (v. 12a [2×])

root yr’ (vv. 6.19), root .sdq (vv. 7.17), root qr’ (v. 18 [2×])

Psalm 145 has 11 strophes, 22* verselines and 45* cola. Vv. 11–12 repre-
sent the middle strophe and the middle verselines (> 5+1+5 strophes and
10+2+10* lines). V. 12a is the central colon (> 22+1+22* cola).
12+8||14*+17|15+27 = 27+31|26|31*+42 = 58+26+73* (= 157* words
in total).1 The central position of vv. 10–13b (> 9+4+9* verselines) is
reinforced by the 26 words the section consists of, symbolically representing
the name yhwh (note the divine name in the opening colon v. 10a).2
The divine name, yhwh, occurs 10×: vv. 3, 8, 9, 10, 13c*, 14, 17, 18,
20 and 21. In v. 1a God is designated ’lhym.

Köster (1837): no strophes; similarly Delitzsch (1894), NAB (1970); cf.
Ballhorn (2004), pp. 285–88
Hävernick (1849), p. 41: 1–7.8–14.15–21 (7.7.7 verses); cf. Pannier/Renard
De Wette (1856): 1–7.8–13.14–20.21; cf. Gemser (1949)
Ewald (1866), pp. 519–21: 7×3 lines (including v. 13c–d*) + 3 cola; simi-
larly Terrien (2003)
1
Fokkelman (MPHB II, p. 519) has only 153 words in total because he deletes hwdk
in v. 5a (pp. 312.314), lhm in v. 15b (p. 315), and does not recognize l‘wlm w’d (v. 21c)
as part of the song (p. 313 n. 68).
2
Similarly Labuschagne, www.labuschagne.nl/ps145.pdf, Observation 2. Fokkelman
(MPHB II, p. 311) and Labuschagne further note that the middle letters, when read in
reverse, make the word mlky (‘my king’); cf. Watson (1981), pp. 101–02, Lindars (1989),
p. 28, and Kimelman (1994), p. 45.
Zenner (1906), pp. 200–202: 1–4.5–8|9–12|13a–d*+14–16.17–21 (4.4|4|5.5)

Duhm (1922): 1–2.3–4.5–6. . . 18–19.20–21 (11×2 bicola)
Gunkel (1926): 1–3|4–9|10–12.13a–d*+14–20|21
Calès (1936): 1–2.3–6.7–10|11–13b|13c–d*+14–16.17–20.21 (2.4.4|3|4.4.1
lines; vv. 11–13b ‘strophe intermédiaire’); similarly Weber (2003)
Herkenne (1936): 1–2.3–6.7–10.11–13b.13c–d*+14–20.21
Kissane (1954): 1–2.3–7.8–12.13a–d*+14–16.17–21 (2.4×5 lines)
Liebreich (1956), pp. 187–90: 1–2|3–6.7–9|10|11–13b.14–20|21; cf. Kimel-
man (1994): vv. 3–6.7–9 [. . . ] 11–13b.14–20 > a.b|a’.b’; 4.3|3.7 lines
Schildenberger (1960), pp. 686–687: 1–3.4–6.7–9.10–13b.13c–d*+14–16.
17–20.21 (3.3.3.4.4.4.1 lines)
Beaucamp (1979): 1–3.4–6|7–9.10–12||13a–b|13c–d*+14.15–16|17–18.19–20|
21a–b 21c (6.6|6.6||2|4.4|4.4|2 1 cola)
Jacquet (1979): 1–3.4–5.6–7.8–9.10–11.12–13b.13c–d*+14.15–16.17–18.
19–20.21 (3.9×2.1 bicola)
Aletti/Trublet (1983), pp. 55–57: 1 2–6.7–9.10–13|14–16.17–18.19–20 21
(v. 1 a.b.a’|c.b’.c’ v. 21)
Bazak (1985), pp. 476–83: 1–3.4–6.7–9.10–12|13a–b+14–15|16–18.19–21
(7×3 bicola; a.b.c.a’|X|c’.b’); cf. Ewald (1866)
Lindars (1989): 1–2.3–6.7–9|10.11–13b.13c–d*|14–16.17–20.21 (2.4.3|1.3.1|
3.4.1 lines; ‘the division into stanzas is arbitrary, because they tend
to overlap’ [p. 28])
Girard (1994): 1–3 4a.4b–6.7–8|9–10.11–12.13a–d*||13c–d*+14.15–16|
17–18.19–20 21 (a b.c.d|d’.c’.b’||e.f|e’.f’ a’)
Fokkelman (2000), pp. 310–16: 1–2.3–4|5–7.8–9|10–13b|13c–d*+14.15–16|
17–18.19–20 21a–b (2.2|3.2|4|2.2|2.2 1 lines; a.b|a’.b’|M|c.d|c’d’ a’’)
Allen (2002): 1–6.7–9|10–13b.13c–d*+14–21b 21c (A.B|A’.B’ v. 21c; note
pp. 368–69; ‘genre and stylistics share in elucidating the psalm’s struc-
ture’ [p. 369])
Hossfeld/[Zenger] (2008): 1.2–3.4–6.7–9.10–13b|14–20.21
Declaissé-Walford (2012), p. 65: 1–2.3–9.10.11–13d*.14–20.21 (a.b.a’.c’.b’.a’’)
www.labuschagne.nl/ps145.pdf: 1–2.3|4–7.8–9|10–11.12.13a–b|13c–d*+14.
15–16|17–20.21

Psalm 145 is an alphabetic acrostic consisting of 22 verselines. In MT
the nun-line is missing, but on the basis of LXX, Peshitta and 11QPsa it
can safely be completed. And as will be demonstrated below, the line in
question (v. 13c–d*) perfectly fits the macrostructure of the composition;
cf. especially v. 17.3 Furthermore, the poem stands out because it abounds
with verbal recurrences (note the repetitions of the root mlk, of the root ‘śh,
the noun kl [19×] and the Tetragrammaton), a feature which has already
intrigued many scholars.
The macrostructure of Psalm 145 is determined by the 26-word central
section vv. 10–13b, in which the entire creation and the faithful ones are
called to praise God in order to make known his eternal kingship to hu-
manity in general.4 This pivotal 4-line section, which is also marked by a
concentric strophic framework (1.2.1 verselines; see § 38.2 and Fokkelman
[MPHB II], pp. 314–15), represents a relatively independent canto (Canto
II). It is enveloped by a 9-line canto at both sides, vv. 1–9 and 13c*–21; >
9|1.2.1|9 verselines.5 The latter cantos are tightly structured and consist
of two canticles each, vv. 1–4.5–9 and 13c*–16.17–21. The canticles con-
cerned display a linearly alternating parallelism: vv. 1–2.3–4|5–7.8–9 and
vv. 13c*–14.15–16|17–18.19–21 > a.b|a’.b’.6
In the opening strophe of the first canto (vv. 1–2) the psalmist empha-
sizes that he praises God at all times. In the structurally corresponding
strophe vv. 5–7 he once again speaks about his praise of God (vv. 5b.6b)
and at the same time refers to the community participating in his praise
(vv. 6a.7a.7b).7 In the strophes concerned God is consistently addressed
in the second person. The second strophes of Canticles I.1 and I.2 (vv.
3–4 and 8–9), in general terms (more or less ‘objectively’) speak about the
reason for the praise: God is great (v. 3) and has compassion with his whole
creation (vv. 8–9). In these strophes God is particularly spoken about in
the third person.8 V. 4 is an exception; in this concluding verseline of Can-
3
Similarly Fokkelman, MPHB II, p. 310. It is true that the omission of the nun-line
by a copier is hardly accounted for; however, for a comparable phenomenon, see Ps.
138,1b* (cf. 138,1a–b with 138,4).
4
Similarly Auffret (1981), p. 26 (and [1998], p. 72), and Fokkelman (MPHB II; note
p. 311); cf. Berlin (1985), p. 20 (‘the heart of the psalm’). According to Zenner (1906),
vv. 9–12 is a ‘Wechselstrophe’ (‘es ist die Verherrlichung des Jahvereiches’ [p. 202]), and
Calès (1936) considered vv. 11–13b a ‘strophe intermédiaire’ (phrasing the ‘idée centrale
du poème’ [p. 603]; Weber [2003], p. 367: ‘die Mittelstanze’). According to Lindars
(1979), p. 26, the central section consists of vv. 10–13d*.
5
For this concentric design, cf. the overall structure of Psalm 72: 8|1.2.1|8 verselines.
6
Similarly Fokkelman, MPHB II, pp. 313–15! For the linear correspondences between
Canticles III.1 and III.2, see also Girard (1994), pp. 500–01.
7
From a thematic perspective, v. 7 obviously belongs to the preceding verselines (cf.
Booij [2009], pp. 347.350); the repetition of .twb (vv. 7a.9a) is a responsion highlighting
the concluding verselines of successive strophes (§ 38.4.2) and is not to be taken as a
device for inclusion (contra the majority of exegetes; see § 38.6).
8
The structural interpretations by Bazak (1985) and Labuschagne (www.labuschagne.
nl/ps145.pdf, Observation 5) are, each in their own way (cf. § 38.6), fundamentally based
ticle I.1 the psalmist addresses God in the second person and in terms of
subject matter prepares the way for vv. 5–7. This interpretation of v. 4 is
supported by the linear pattern of verbal repetitions between the canticles;
see § 38.4.3 and note m‘śym (‘works’) in the concluding verselines of the
canticles (vv. 4.9).9
The concluding strophe of the first canto, about God’s compassion with
his entire creation (vv. 8–9), preludes on the main theme of the conclud-
ing Canto III (vv. 13c*–21), which is especially about God’s care for all
creatures. As regards the canticle division of Canto III, in Canticle III.1
(vv. 13c*–16) the psalmist speaks of God’s unconditional care for his crea-
tures, while Canticle III.2 (vv. 17–21) reveals that this care especially con-
cerns those who fear him (note vv. 18b.19a.20a) and excludes the ‘wicked’
(v. 20b).10 Different from Canto I, in Canto III it is in the opening strophes
of the canticles that the psalmist more or less ‘objectively’ speaks about
God’s qualities in general terms (see vv. 13c–d*.17 and cf. vv. 3.8–9). And
different from the second strophes of the canticles of Canto I (vv. 3–4.8–9),
it is in the second strophe of Canticle III.1 (vv. 15–16) that he addresses
God in the second person and in the second strophe of Canticle III.2 (v. 21)
that he praises God as an individual (cf. vv. 5–7 and 1–2 resp.).
The bipartite division of Canto III, is (once again; cf. Canto I) unam-
biguously supported by a linear pattern of verbal recurrences; note the
refrain wh.syd bkl m‘śyw (‘and faithful in all his works’; vv. 13d*.17b) high-
lighting the opening verselines of the canticles and the noun rs.wn (‘desire’)
in the second strophes of the canticles (see § 38.4.3). The semantic cor-
respondence between the opening cola of the canticles (vv. 13c* and 17a)
completes the refrain and reinforces its structuring function.
The symmetry between the canticles of Canto I and III in terms of
subject matter (and direction of address) described above (vv. 1–2.3–4|
5–7.8–9|10–13b|13c*–14.15–16|17–18.19–21 > a.b|c.d|X|d’.c’|b’.a’) is rein-
forced by a conspicuous (concentric) pattern in terms of verbal repetitions;
see § 38.4.4 (the concentric framework) and note the pattern vv. 1–4.10–
13b.17–21 > A.A’.A’’.11 That is to say, the distinct device for inclusion
on the switch between words addressed to God and spoken about him. Fokkelman
(MPHB II, p. 311) notes that there are exactly 11 verselines in which God is third
person, and 11 which address him in the second person.
9
Cf. also Booij (2009), p. 347. For the strophic framework of Canticle I.1, cf. also
the first canto of Psalm 96 which consists of two 3-line strophes (vv. 1–3 and 4–6); the
first strophe is a call to praise (cf. Ps. 145,1–2) and the second strophe, opening with
the phrase ky gdwl yhwh wmhll m’d (cf. 145,3a), provides the reason for this praise (see
Ch. II.7 above). Ps. 145,3a also occurs at the beginning of Psalm 48 (v. 2a).
10
‘Gott liebt alle, aber nicht jeden!’; Hossfeld/[Zenger] (2008), p. 796.
11
For the pattern vv. 1–4.10–13b.17–21 > A.A’.A’’, cf. the concentric frameworks of
highlighting the boundaries of the composition as a whole (note the noun

šm [‘name’], the expression l‘wlm w‘d [‘for ever and ever’], and the root hll
[‘to praise’]) is only an aspect of an all-embracing phenomenon.12 The 31
words of Canticles I.2 and II.1 (vv. 5–9 and 13c*–16), which immediately
envelop the pivotal Canto II, further reinforce the concentric framework of
the psalm; see § 38.5.13 And to crown it all, as already noted, the pivotal
Canto II itself also has a concentric design (1.2.1 verselines).
The concentric pattern of verbal recurrences on the level of the compo-
sition in its entirety highlights its quintessential train of thought. In the
first colon of Canticle I.1 (v. 1a) God is called mlk (‘King’). The root mlk
(‘to be king’) is a most important root connecting the opening canticle with
the pivotal Canto II. This canto is marked by the fourfold reiteration of
the noun mlkwt (‘kingship’). Simultaneously, it is in the first verseline of
Canto II that the psalmist for the first time explicitly speaks about the
people who acknowledge God’s kingship; note h.sydyk (‘your faithful ones’;
v. 10b). And finally, it is in the concluding Canticle III.2 that the psalmist
elaborates on these people in particular, the people who truly love God.
Psalm 145 contains an obvious intertextual allusion to Psalm 103; cf. 145,8
with 103,8.14 The relationship between the compositions in question also
comes to light on a macrostructural level. As has been pointed out in
Ch. II.14.7.3 above, in the a-canticles of Psalm 103 the praise of God is
Psalms 58 (CAS II, Ch. II, 16.4.3 [p. 152]), 72 (CAS II, Ch. II, 30.4.4 [p. 286]), and
148 (§ 41.4.3 below); see also the structural function of h.sydym (‘faithful ones’) in Ps.
149,1.5.9. It is true that vv. 5–9 and 10–13b display a cluster of verbal repetitions (see
§ 38.4.4) which do not fit the concentric framework on the level of the poem as whole.
In this respect, Weber (2003, p. 367) aptly remarks that the centre of the poem reveals
a culmination of terms for God’s exaltedness; however, he fails to note that at the same
time the centre contains the germ which is elaborated on in the concluding canticle (see
below; cf. also Lindars [1989], p. 26).
12
Although, in terms of subject matter, the concluding tricolon v. 21 (as a praise of
God) does not smoothly fit vv. 17–20 (which portray God’s care for the people who fear
him), from a structural point of view, the verseline as a whole is to be taken as an integral
part of Canto III (see the root dbr in vv. 13c*.21a) and especially of the concluding
strophe (note the responsion of the body parts yd/ph [§ 38.4.3] and šm qdšw fitting
the alliterations which mark vv. 19–21 [§ 38.4.1]). For the relatively loose connection
between the concluding verseline and the preceding canticle, cf. the concluding verseline
of the preceding poem, Ps. 144,15, and of the following psalms, Ps. 146,10 and 148,14.
13
Cf. the 26 words of the middle canticles of Psalm 143 and the 30 words of the
middle canticles of Psalm 144.
14
See also Ex. 34,6 Num. 14,18 Joel 2,13 Jonah 4.2 and Ps. 86,15. However, Ps.
145,8bB stands out because it reads wgdl h.sd instead of wrb h.sd. The reading wgdl h.sd
of Ps. 145,8bB is obviously adapted to its rhetorical context; see the root gdl in vv. 3
and 6 (§ 38.4.3; otherwise Kimelman [1994], pp. 43–44).
adopted by successively broader circles. The same thematic progression

is to be found in Psalm 145: in vv. 1–2 it is the individual psalmist who
praises God, in vv. 5–7 this praise is adopted by the community, in the
pivotal Canto II (vv. 10–13) it is the whole creation which partakes in the
praise of the Lord’s kingship (v. 10; and the community is characterized as
‘faithful ones’) and in the end ‘all flesh’ praises God (v. 21b).15 In addition,
both compositions consist of 22 verselines (Psalm 103 is an alphabetizing
poem), and the boundaries of both compositions are clearly highlighted by
the device for inclusion (note brky npšy ’t yhwh in Psalm 103 and l‘wlm w‘d
in Psalm 145).
V. 13a–b > Dan. 3,33 4,31 and 6,27; vv. 15–16 > Ps. 104,27–28.
38.8 Bibliography
P.A. Munch, ‘Die alphabetische Akrostichie in der jüdischen Psalmendichtung’,
ZDMG 90 (1936), pp. 703–10;
L.J. Liebreich, ‘Psalms 34 and 145 in the Light of Their Key Words’, HUCA 27
(1956), pp. 181–92;
P. Auffret, ‘Essai sur la structure littéraire du Psaume 145’, in A. Caquot and
M. Delcor (eds.), Mélanges bibliques et orientaux. FS H. Cazelles (AOAT 212),
Neukirchen-Vluyn, 1981, pp. 15–31;
W.G.E. Watson, ‘Reversed Rootplay in Psalm 145’, Biblica 62 (1981), pp. 101–02;
J. Bazak, ‘Structural Geometric Patterns in Biblical Poetry’, Poetics Today 6
(1985), pp. 475–502;
A. Berlin, ‘The Rhetoric of Psalm 145’, in Ann Kort and S. Morschauser (eds.),
Biblical and Related Studies. FS S. Iwry, Winona Lake (Indiana), 1985, pp. 17–22;
B. Lindars, ‘The structure of Psalm cxlv’, VT 39 (1989), pp. 23–30;
R. Kimelman, ‘Psalm 145: Theme, Structure, and Impact’, JBL 113 (1994), pp.
37–58;
J. Chinitz, ‘Psalm 145: Its Two Faces’, JBQ 24 (1996) pp. 229–32;
P. Auffret, ‘Qu’ils disent la gloire de ton règne! Étude structurelle du psaume
145’, ScEs 50 (1998), pp. 57–78;
Ch. Wyckoff, ‘Have We Come Full Circle Yet? Closure, Psycholinguistics and
Problems of Recognition with the Inclusio’, JSOT 30/4 (2006), pp. 475–505
(note pp. 490–92);
Th. Booij, ‘Psalm cxlv: David’s Song of Praise’, VT 58 (2008), pp. 633–37;
Nancy L. Declaissé-Walford, ‘Psalm 145: All Flesh Will Bless God’s Holy Name’,
CBQ 74 (2012), pp. 55–66.
15
Cf. Girard (1994), pp. 498–99.502, Liebreich (1956), p. 187, Kimelman (1994), pp.
40–41, and Declaissé-Walford (2012), pp. 59.65.
39 Psalm 146
I 1 hlly npšy ’t yhwh 2 ’hllh yhwh bh.yy ’zmrh l’LHY B‘WDY
II 3 ’l tbt.h.y bndybym bbn ’dm š’yn lw tšw‘h

4 ts.’ rwh.w yšb l’dmtw bywm hhw’ ’bdw ‘štntyw
5 ’šry š’L y‘qb b‘zrw śbrw ‘l yhwh ’LHYw

6 ‘ŚH šmym w’rs. ’t hym w’t kl ’šr bm hŠMR ’mt L‘WLM
III 7 ‘ŚH mšpt. l‘šwqym ntn lh.m lr‘bym yhwh mtyr ’swrym
8 yhwh pqh. ‘wrym yhwh zqp kpwpym yhwh ’hb .sdyqym
9 yhwh ŠMR ’t grym ytwm w’lmnh Y‘WDD wdrk rš‘ym y‘wt

10 ymlk yhwh L‘WLM ’LHYk .sywn LDR WDR
39.1 Text
Vv. 1–2: an opening tricolon; for this interpretation, which deviates from MT,
see CAS I, Ch. V, 6.1 (note pp. 524–25); similarly Calès (1936), Kissane
(1954), Schildenberger (1960), Allen (2002).
Vv. 6–9: four successive tricola, in accordance with the Masoretic verse division
and accentuation; cf. CAS I, Ch. V, 6.1 (note p. 524) and § 39.7 below
(contra the general opinion and pace Fokkelman’s pretended ‘sensitive ear
for the anaphoric sequences and rhymes’ [MPHB II, p. 316]).
V. 10b—wdr : MT + hllw yh.
39.2 Content
God is a faithful Saviour.
I Introduction: self-exhortation to praise God.
II Theme: a human being should seek refuge in God.
Put not your trust in mortal princes (vv. 3–4).
Happy is he whose hope is in the ever faithful God (vv. 5–6).
III Development: praise of God as Saviour of the poor and oppressed.
The Lord is the Saviour of the oppressed and loves the righteous
(vv. 7–8).
The Lord takes care of the poor and thwarts the way of the
wicked (v. 9); O Zion, may your God reign forever (v. 10).

39.3.1.1 imperative: hlly, v. 1 ’l prohibitive, v. 3a
vocative: npšy, v. 1 ’šry, v. 5a
cohortative: ’hllh, v. 2a
cohortative: ’zmrh, v. 2b 39.3.1.2 none

39.3.2.1 ‘wd, v. 2b dr wdr, v. 10b
hw’, v. 4b
‘wlm, v. 6c 39.3.2.2 vocative: .sywn, v. 10b
‘wlm, v. 10a

none

vv. 3–4: prep. b-, vv. 3b.4b (exactly linear); see also b- in v. 3a
bn ’dm/’dmtw, vv. 3b and 4a resp.!
prep. l-, vv. 3b.4a
tšw‘h/‘šntyw, vv. 3b and 4b resp. (alliter.; epiphora)
vv. 5–6: ’šry/’šr, vv. 5a and 6b resp. (alliter.)
vv. 7–8: roots špt./s.dq, vv. 7a and 8c resp.
-qym, vv. 7a.8c (end of the colon)
} chiasmus
-wrym, vv. 7c and 8a resp. (end of the colon)
-bym/-pym, vv. 7b and 8b resp. (exactly linear)
vv. 9–10: w’lmnh y‘wdd/l‘wlm, vv. 9b and 10a resp. (alliter.)

vv. 3–6 (Canto II): prep. b-, vv. 3–4.6b (inclusion)
š- (relative pronoun), vv. 3b.5a! (linear)
prep. l-, vv. 3b+4a.6c (inclusion)
suffix -w, vv. 3b+4 (3×).5 (3×)! (concatenation)
article h-, vv. 4b.6b+c (linear)
vv. 7–10 (Canto III): prep. l-, vv. 7a+b.10a+b (inclusion)

.sdyqym/rš‘ym, vv. 8c and 9c resp. (concatenation;
linear)

vv. 1–2.5–6.9–10: vocative npšy/s.ywn, vv. 1a and 10b resp. (inclusion)

’t (nota accusativi), vv. 1.6b (2×).9a!
’lhym, vv. 2b.5b.10b!; see also ’l (‘God’) in v. 5a!
b‘wdy/l‘wlm/ldr wdr, vv. 2b, 6c, 10b resp. (epiphora);
see also bh.yy in v. 2a and l‘wlm in v. 10a
root ‘wd, vv. 2b.9b!
y‘qb/s.ywn, vv. 5a and 10b resp.
šmr, vv. 6c.9a!; see also rš‘ym in v. 9c and ’zmrh in
v. 2b (alliter.)
vv. 3–4.7–8: prep. l-, vv. 3b+4a.7a+b
vv. 1–2.3–4: prep. l-, vv. 2b.3b+4a (concatenation)
vv. 3–4.9–10: ndybym/rš‘ym, vv. 3a and 9c resp. (Weber [2003], p. 371)

ndyb/root mlk, vv. 3a and 10a resp.
vv. 5–6.7–8: ‘śh, vv. 6a.7a! (concatenation; exactly linear)

prep. l-, vv. 6c.7a+b (concatenation)

none

root hll (vv. 1.2), suffix -y (vv. 1–2 [4×]), yhwh (vv. 1–10 [9×])

Psalm 146 has 5 strophes, 9 verselines and 23 cola.1 V. 6 is the mid-
dle verseline (> 4+1+4 lines). V. 6c, hšmr ’mt l‘wlm (‘who keeps faith
forever’), is the middle colon (> 11+1+11 cola). This generally phrased
1
Fokkelman (MPHB II) has 11 verselines and 24 cola because he includes the heading
hllw yh as an opening colon, considers vv. 7–8a as two bicola, and takes vv. 8b–9a.9b–c
as a tricolon and a bicolon respectively.
message expresses the gist of the poem in its most succinct form; moreover,
the three letters of the meaningful noun ’mt (‘faith’) constitute the pivotal
word. Therefore, v. 6c is to be regarded as the rhetorical centre of the
composition.2
10+36+35 (= 81 = 9×9 words in total).3
The divine name, yhwh, occurs 9× (cf. the numbers of verselines and
words): vv. 1, 2, 5, 7, 8 (3×), 9 and 10. In vv. 2, 5 and 10 God is designated
’lhym (3×); in v. 5 it is ’l. I conclude that the number 9 has a structuring
function in this composition; see the numbers in bold face.4

Köster (1837): 1–2.3–4.5–6.7–8.9–10 (5×2 verses)
Hävernick (1849), p. 41: 1–5.6–10 (5.5 verses)
De Wette (1856): 1–5.6–7.8–10
Ewald (1866), pp. 521–22: 1–4.5–7b.7c–10 (7.7.7 cola); cf. Delitzsch (1894)
Ley (1875), pp. 200–01: 1–3.4–5.6–7.8–9.10 (4×2 lines and a ‘Schlussvers’)
Zenner (1906), pp. 97–98: 2–6b.6c–8b+9a–b+10 (5.5 lines); cf. Hävernick
Duhm (1922): 1–2.3–4.5–6b.6c–7.8a–b+9a–b.8c+9c+10 (6×2 bicola)
Gunkel (1926): 1–2.3–4.5–6b.6c–7b.7c+8a–b.9a–b+8c+9c.10
Calès (1936): 1–2.3–4.5–7b.7c–9.10 (1.2.3.3.1 lines); cf. Fokkelman (2000),
pp. 316–17, Terrien (2003)
Herkenne (1936): 1–2*.3–6b.6c–9.10
Gemser (1949): 1–4.5–7b.7c–9 10 (4.4.4 1 lines); cf. Ewald (1866) and
Pannier/Renard (1950)
Kissane (1954): 1–2.3–6.7–9.10 (1.5.5.1 lines)
Schildenberger (1960), p. 684: 1–4.5–7b.7c–9.10 (3.3.3.1 lines); cf. Calès
Van der Ploeg (1974): 1–2.3–4.5–9.10; similarly Kraus (1978); cf. NAB
2
Note also the article h- opening the colon; similarly Meynet (1998), p. 264 (cf. § 39.6
below). Labuschagne, opts in favour of the 7 cola of vv. 5–7b as meaningful centre
(www.labuschagne.nl/ps146.pdf, Observation 1). According to Gunkel (1926, p. 613),
it is the ‘Segensspruch’ v. 5 which is ‘der eigentliche Mittelpunkt des Psalms’ (similarly
[Hossfeld]/Zenger [2008], p. 813).
3
This means that v. 6c is enveloped by 78 (= 3×26) words: vv. 1–6b.6c.7–10 >
43+3+35 words (43+35 = 78). For the structuring function of the number 26, see also
www.labuschagne.nl/ps146.pdf, Observations 3 and 5.
4
Labuschagne (www.labuschagne.nl/ps146.pdf, Observation 4) notes that the psalm
is also made up of 4×9×9 letters! Also taking into account the strategic positioning
of the references to a ‘long time’ at the end of the first, pivotal, and final verselines
(vv. 1c.6c.10b; see also § 39.7 below), I tenatively suggest that the ‘geometric pattern’
highlights the 9 lights of the Chanukah Lampstand; cf. the positioning of h.sydym within
the framework of Psalm 149.
Alden (1978), p. 209: 1.2.3–4|5–9.10a.10b (a.b.c|c’.b’.a’)

Beaucamp (1979): 1 2|3–4.5–6b+7a–b.7c–8b.8c–9b|10 (1 2|4.6.3.3|2 cola)
Jacquet (1979): 2.3–5.6–7b+9b.7c–8b+9a+8c+9c.10 (1.3×3.1 bicola)
Kselman (1988), pp. 591–92: 1–2.3–4.5–8b.8c–9.10 (2.2.5.2.1 lines; a.b.c.b’.a’)
Auffret (1990): 1–2|3–5.6–7b.7c–8b.8c–9|10
Lohfink (1990), pp. 109–11: 1–2 ||3.4|5.6–9||10 (R||a.b|a’.b’||R’); similarly
Girard (1994): 1–2 3–5||6a–b.6cA.6cB|7–8.9.10 (vv. 1–2 3–5||a.b.c|a’.b’.c’)
Meynet (1998), pp. 262–64: 1.2.3–6b|6c|7–9.10.hllw yh (a.b.c|X|c’.b’.a’)
Allen (2002): 1–2.3–6b.6c–9.10 (1.4.4.1 lines; note p. 377); cf. Herkenne
(1936), Kissane (1954)
Weber (2003): 1–2 |3–4.5–6|7–8a.8b–9|10 (3|4.5|4.5|2 cola; R|a.b|b’.a’|R’)
www.labuschagne.nl/ps146.pdf: 1–2.3–4|5–7b|7c–9.10 (1.2|3|3.1 lines)

Generally speaking, biblical scholars do not have a clear concept nor a
unanimous judgement with regard to the overall structure of Psalm 146;
see § 39.6. Given this state of affairs, it may be clear that a purely semantic
or form-critical approach (cf. § 39.2) does not help much in determining
the poetic framework of the composition. Obviously, we have to look for
literary or rhetorical devices which mark the boundaries of the successive
(main) sections. And in my opinion, the poet of our psalm has not made
sparing use of such indications.
On the level of the composition as a whole, it is the references to a ‘long
time’ which are deliberately woven into the fabric of the text in order to
mark the end of two uniform 4-line cantos and an introductory ‘oneliner’;
see b‘wdy (‘as long as I last’), l‘wlm (‘forever’) and ldr wdr (‘for generation
after generation’) concluding vv. 1–2, 3–6 and 7–10 respectively (§ 39.4.3
[the linear framework]).5 This linear aspect on the macrostructural level
is reinforced by the chiastic positioning of the word ’lhym (‘God’) and the
participle šmr (‘protecting’) in vv. 5–6 and 9–10.6
As is often assumed, the self-exhortation to praise the Lord (vv. 1–2)
represents a relatively independent introductory element; see § 39.6. Sub-
sequently, my approach demonstrates that (a) there is a major break after
v. 6 (including v. 6c; similarly Kissane and Weber [§ 39.6]) and (b) v. 10 is
an integral part of the hymnic section vv. 7–9 (Canto III).7 As a result, the
5
For such epiphoric patterns, see CAS I, Ch. V, 3.2.1.3 (p. 479)!
6
Allen (2002, p. 377) mistakenly considers the repetition of šmr a device for inclusion.
7
For v. 6c as an integral part of v. 6a–b, see also Fokkelman (MPHB II), pp. 316–17,
and [Hossfeld]/Zenger (2008), p. 813. The position of ‘śh mšpt. l‘šwqym (v. 7a) at the
praise of God’s kingship at the end of Canto III (v. 10) linearly corresponds
to the praise of God as Creator of the universe at the end of Canto II (v. 6)
and also to the exhortation to praise in vv. 1–2 (note npšy and .sywn in
the vocative [vv. 1 and 10b respectively]). Similarly, the praise of God as
Saviour of the poor and oppressed (vv. 7–8/9, at the beginning of Canto III)
antithetically corresponds to the statement that it is unwise to seek refuge
in mortal ‘princes’ (vv. 3–4/5, at the beginning of Canto II). I conclude
that from a formal as well as from a semantic point view our psalm dis-
plays a clear linearly alternating framework: vv. 1–2|3–4.5–6|7–8.9–10 >
a|b.a’|b’.a’’. Within this structure the participle ‘śh (‘making’) at the very
beginnings of vv. 6 and 7 functions as a hinge between the main parts
Cantos II and III.8 Canto I (vv. 1–2) is dominated by the suffix of the first
person singular (-y; 4×), Canto II by suffixes of the third person singular
(see -w in § 39.4.2) and plural (see -m in v. 6b), while Canto III concludes
with the suffix of the second person singular (see -k in v. 10b).
Both 4-line Cantos II and III consist of two 2-line strophes. As regards
the strophes of Canto II, Gunkel (1926) correctly noted that in both cases
there is a short motivation: ‘princes’ are mortal men (v. 4; added to the
‘Mahnung’ v. 3) and God is the always reliable Creator of the universe (v. 6;
added to the ‘Segensspruch’ v. 5); cf. Allen (2002), p. 377. That is to say,
from a rhetorical perspective, in their turn, the strophes of this canto once
again display a linearly alternating parallelism: vv. 3–4.5–6 > a.b|a’.b’.
This rhetorical design is supported by a subtle pattern of verbal recur-
rences; see the relative pronoun š- and the article h- in § 39.4.2.9 Taking
them as they are, the strophes represent a literary form of chiaroscuro:
against the dark background of the relative impotence of earthly rulers
(vv. 3–4) God’s everlasting reliability (vv. 5–6) lightens all the more. For
the strophic division, see also the verbal repetitions within the strophes
(§ 39.4.1) and the transition markers listed in § 39.3 (note ’šry in v. 3a).
The strophic structure of Canto III is partially based on analogy. At
beginning of Canto II is to be compared with that of the intertextual corresponding

verseline Ps. 103,6, opening Canticle I.2 (see Ch. II.14 above). From Ley (1875) onwards,
v. 10 is generally taken as an independent concluding element (corresponding to v. 1;
see § 39.6). According to Gunkel (1926), the ‘Hauptstück’ (vv. 3–9) divides into two
sections, vv. 3–6b (a ‘Mahnung’ [vv. 3–4] and a ‘Segensspruch’ [vv. 5–6b]) and 6c–9
(a hymn). However, for v. 10 as an integral part of the concluding canto, cf. also the
concluding verselines of the preceding psalms, Psalms 144 and 145, and Ps. 148,14.
8
Similarly Allen (2002), p. 377, and Weber (2003), p. 371. For comparable cases of
this special device, see Pss. 73,22.23 (w’ny), 84,5.6 (’šry) and 103,9.10 (l’ // wl’ ); cf.
further CAS I, Ch. V, 3.5 (pp. 487–88).
9
The repetition of the article h- once again shows that v. 6c belongs to Canto II, as
the apex of the idea of God’s reliability.
first sight, from a purely thematic perspective, vv. 7–9 seem to represent a
coherent unit (God supports the needy). However, the overall design of the
poem indicates that v. 9 together with v. 10 represent a concluding 2-line
strophe; note the linear pattern of verbal repetitions listed in § 39.4.3 (vv.
1–2.5–6.9–10). On the other hand, vv. 7–8 also represent a coherent unit;
note the symmetric positioning of the plural endings of the people who
are supported by the Lord, described in § 39.4.1: -qym > -bym > -wrym
<> -wrym > -pym > -qym.10 The strophe in its entirety deals especially
with the return from exile (cf. Isa. 42,7 49,9a.10a 61,1f), while v. 9a–b is
especially about the social aspect of God’s reliability, his care for strangers,
orphans and widows (cf. Deut. 10,18). That is to say, as is the case in Canto
II, the third canto is also determined by an antithetic relationship between
the strophes: God loves the ‘righteous’ (v. 8c), but thwarts the path of the
‘wicked’ (v. 9c); cf. Ps. 1,6!11
the following verbal repetitions: h.y (v. 2) > 145,16; ’lhy (v. 2) > 145,1
(linear); bn ’dm (v. 3) > 145,12; root śbr (v. 5) > 145,15; root ‘śh (vv.
6.7) > 145,4.9.10.13d*.17.19; ’mt (v. 6) > 145,13c*.18; l‘wlm (vv. 6.10) >
145,1.2.21; root šmr (vv. 6.9) > 145,20; zqp . . . kpwpym (v. 8) > 145,14
(the expression does not occur elsewhere; cf. Ps. 57,7); root ’hb (v. 8)
> 145,20; root .sdq (v. 8) > 145,7.17; drk (v. 9) > 145,17; wdrk rš‘ym
y‘wt (v. 9c) > 145,20b (second to the last line); root mlk (v. 10) > 145,1
(‘inclusion’).11–13.12
39.8 Bibliography
J.S. Kselman, ‘Psalm 146 in Its Context’, CBQ 50 (1988), pp. 587–99;
P. Auffret, ‘“Il règne, YHWH, pour toujours”. Étude structurelle du Psaume
146’, RT 90 (1990), pp. 623–33;
D. Karasszon, ‘Bemerkungen zum Psalm 146’, in K.D. Schunk and M. Augustin
(eds.), Goldene Äpfel in silbernen Schalen (BEATAJ 20), Frankfurt a.M.: Lang,
1992, pp. 123–27.
10
This pattern once more underlines that vv. 7–8 are to be considered two successive
tricola. The colon v. 7c, for the first time opening with yhwh, is the concluding high
point of the verseline; similarly, v. 8c is the generalizing conclusion of its verseline.
11
Note the linear positioning of the phrases at the interface of the strophes at the end
of the verselines; cf. the participle ‘śh at the interface of Cantos II and III, at the very
beginnings of the verselines concerned!
12
See also [Hossfeld]/Zenger (2008), pp. 821–22; for more intertextual allusions, see
Kselman (1988), pp. 589–90, and [Hossfeld]/Zenger (2008), pp. 814–15.
40 Psalm 147
Structure: 6.6.9 > 3.3|3.3|3.3.3 lines (Type IB)
I 1 KY .twb ZMRH ’LHYNW KY n‘ym n’wh THLH

2 bwnh YRWŠLM yhwh ndh.y YŚR’L ykns
3 Hrp’ lšbwry lb wmh.bš l‘s.bwtm
4 mwnh mspr lkwkbym LKLm šmwt YQR’

5 gdwl ’dwnynw wrb kh. ltbwntw ’yn mspr
6 m‘wdd ‘NWYM yhwh mšpyl rš‘ym ‘dy ’rs.
II 7 ‘NW l yhwh btwdh ZMRW l’LHYNW bknwr

8 Hmksh šmym b‘bym Hmkyn l’rs. mt.r
Hms.myh. hrym h..syr [w‘śb l‘bdt h’dm]
9 NWTN lbhmh lh.mh lbny ‘rb ’šr YQR’W

10 l’ bgbwrt hsws yh.ps. l’ bšwqy h’yš yrs.h
11 rws.h yhwh ’t yr’yw ’t hmyh.lym lh.sdw
III 12 ŠBH
. Y YRWŠLM ’t yhwh HLLY ’LHYk .sywn
13 KY h.zq bryh.y š‘ryk brk bnyk bqrbk
14 Hśm gbwlk šlwm h.lb h..tym yśby‘k
15 hšlh. ’mrtw ’rs. ‘d mhrh yrws. dbrw

16 hNTN šlg ks.mr kpwr k’pr ypzr
17 mšlyk qrh.w kptym lpny qrtw my y‘md
18 yšlh. dbrw wymsm yšb rwh.w yzlw mym

19 mgyd dbrw ly‘qb h.qyw wmšpt.yw lYŚR’L
20 l’ ‘śh kn LKL gwy wmšpt.ym bl yd‘wm
40.1 Text
V. 1a—ky: an emphatic particle at the beginning of the poem (Allen [2002],
[Hossfeld]/Zenger [2008]); cf. Job 28,1 and ’k in Ps. 73,1 (contra Fokkelman
[MPHB II], p. 318 n. 79, and Ballhorn [2004], p. 310).
V. 1b—n’wh: infinitive pi‘el; see J. Blau, VT 4 (1954), pp. 410–11.
V. 8d: the colon is missing in MT, but see LXX* and Ps. 104,14b; for this
reconstruction, cf. also Ps. 128,5b 138,1b and 145,13c–d. See further the
multiple of 7 words the psalm now consists of (§ 40.5).
V. 20b—yd‘wm: MT + hllw yh.
40.2 Content
Praise of God by the community for his goodness for the people of Israel.
I Praise of God as Israel’s Saviour (in particular) and as Creator.
It is pleasant to praise our God (v. 1), because he cares for the
people of Israel (vv. 2–3).
He is a mighty Creator (vv. 4–5); he sustains the lowly and casts
the wicked to the ground (v. 6).
II Praise of God for his care for man and beast (generally phrased).
Praise our God (v. 7), because he is the Provider of rain which
makes the earth fertile (v. 8).
He provides the animals with food (v. 9); he has no delight in
demonstrations of power, but is pleased with those who hope for
his loving kindness (vv. 10–11).
III Praise of God for his goodness for the people of Israel (in particular).
Jerusalem, praise God (v. 12), for he cares for you and your in-
habitants (vv. 13–14).
His word causes the wintry cold (vv. 15–17; the negative effect).
He has proclaimed his word to the people of Israel (vv. 18–19;
the positive effect), and not to other people (v. 20).

40.3.1.1 .twb beginning of line, v. 1a imperative: hlly, v. 12b
imperative: ‘nw, v. 7a vocative: .sywn, v. 12b
imperative: zmrw, v. 7b
imperative: šbh.y, v. 12a 40.3.1.2 none
vocative: yrwšlm, v. 12a

40.3.2.1 none 40.3.2.2 my, v. 17b

brk with object Israel, v. 13b

vv. 1–3: yrwšlm/lšbwry lb wmh.bš, vv. 2a and 3 resp. (alliter.)
vv. 4–5: mspr, vv. 4a.5b!

prep. l-, vv. 4b.5b (exactly linear); see also l- in v. 4a
vv. 7–8: prep. l-, vv. 7a+b.8b+d*
hm-, vv. 8a.8c (anaphora); see also v. 8b
vv. 9–11: prep. l-, vv. 9a+b.11b (inclusion)
lbhmh lh.mh/hmyh.lym lh.sdw, vv. 9a and 11b resp. (alliter.;
inclusion)
root rs.h, vv. 10b.11a! (concatenation)
vv. 12–14: yrwšlm/šlwm, vv. 12a and 14a resp. (inclusion)
suffix -k, vv. 12b.13a+b (2×).14a+b!
vv. 15–17: h- (article) + participle, vv. 15a.16a (anaphora)
hšlh./mšlyk, vv. 15a and 17a resp. (alliter.; inclusion [exactly
linear])
suffix -w, vv. 15a+b.17a+b (inclusion)
prep. k-, vv. 16a+b.17a!
vv. 18–20: dbrw, vv. 18a.19a (linear)
suffix -w, vv. 18a+b.19a+b (2×)
prep. l-, vv. 19a+b.20a
wmšpt.ym, vv. 19b.20b!

vv. 1–6 (Canto I): ’lhynw/’dwnynw, vv. 1a and 5a resp.
} inclusion
yhwh, vv. 2a.6a
n‘ym/‘nwym, vv. 1b and 6a resp. (alliter.; incl.)
n’wh/mwnh, vv. 1b and 4a resp. (alliter.; linear)
bwnh/ltbwntw, vv. 2a and 5b resp. (allit.; linear)
prep. l-, vv. 3a+b.4a+b+5b (concatenation)
lšbwry lb wmh.bš/mšpyl rš‘ym, vv. 3 and 6b resp.
(alliter.; linear)
suffix -m, vv. 3b.4b (concatenation)
vv. 7–11 (Canto II): prep. l-, vv. 7a+b+8b+d*.9a+b+11b (concaten.)

yhwh, vv. 7a.11a (inclusion)
prep. b-, vv. 7a+b+8a.10a+b
h’dm/h’yš, vv. 8d* and 10b resp.; see also the
article h- in v. 11b
vv. 12–20 (Canto III): .sywn/y‘qb, vv. 12b and 19a resp. (‘inclusion’; cf.
Psalm 146, § 39.4.3, the linear framework)
h- (article) + participle, vv. 14a.15a+16a (con-
catenation; anaphora)
root šlh., vv. 15a.18a! (anaphora); cf. also šbh.y
yrwšlm in v. 12a (alliter.; anaphora)
dbrw, vv. 15b.18a+19a! (linear); see also ’mrtw
in v. 15a!
suffix -w, vv. 15–17.18–19 (concatenation)
prep. l-, vv. 17b.19a+b+20a (linear)
my y‘md/yd‘wm, vv. 17b and 20b resp. (alliter.;
epiphora)

vv. 1–3.7–8.12–14: ky, vv. 1a+b.13a!
root zmr, vv. 1a.7b!
’lhym, vv. 1a.7b.12b!; note ’lhynw in vv. 1a and 7b
n‘ym n’wh/‘nw, vv. 1b and 7a resp. (alliter.)
root hll, vv. 1b.12b! (linear)
yrwšlm, vv. 2a.12a!
h- (article) + participle at the beginning of a colon,
vv. 3a.8 (3×).14a
imperatives ‘nw/šbh.y, vv. 7a and 12a resp. (ana-
phora); see also twdh in v. 7a
yhwh, vv. 7a.12a (linear); see also yhwh in v. 2a
‘śb/yśby‘k, vv. 8d* and 14b resp. (alliter.; linear)
vv. 4–6.9–11.15–17: root qr’, vv. 4b.9b! (exactly linear)

suffix -w, vv. 5b.11a+b.15–17
m‘wdd/my y‘md, vv. 6a and 17b resp. (allit.; linear)
‘dy/‘d, vv. 6b and 15b resp.
} chiasmus
’rs., vv. 6b.15a
root ntn, vv. 9a.16a!
rws.h/yrws., vv. 11a and 15b resp. (alliter.)
vv. 4–6.9–11.18–20: lkl, vv. 4b.20a!

suffix -w, vv. 5b.11a+b.18–19
m‘wdd/yd‘wm, vv. 6a and 20b resp. (alliter.)
mšpyl/mšpt.ym, vv. 6b and 19b+20b resp. (alliter.)
l’, vv. 10a+b.20a!; see also ’yn/bl, vv. 5b and 20b!
vv. 1–3.18–20: yśr’l, vv. 2b.19b! (inclusion)
vv. 4–6.7–8: yhwh, vv. 6a.7a

’rs., vv. 6b.8b
roots ‘nh (‘to be afflicted’)/‘nh (‘to sing’), vv. 6a.7a
vv. 9–11.12–14: bnym, vv. 9b.13b!

yhwh, vv. 11a.12a
’t (nota accusativi), vv. 11a+b.12a!

suffix -m (v. 18; partially left out of consideration)

Psalm 147 has 7 strophes, 21 (= 3×7) verselines and 42* (= 6×7) cola.1 In
terms of strophes, verselines and cola, vv. 9–11 are the centre of the poem
(> 3+1+3 strophes, 9+3+9 lines and 18+6+18 cola). The pivotal position
vv. 9–11 is highlighted by the expressions yr’yw (‘those who fear him’) and
h.sdw (‘his loyal love’) in its concluding verseline (v. 11). Moreover, it
is only this pivotal strophe which has exactly 22 words (see below). The
number 22 symbolizes completeness (cf. the number of letters of the Hebrew
alphabet). It is noticeable that a comparable going together of highlighting
features also occurs in the concluding strophe of Psalm 148 (vv. 13–14); cf.
the expressions yr’yw/h.sdw with h.sydyw (‘his faithful ones’) in Ps. 148,14b
and, like vv. 9–11, the concluding strophe of Psalm 148 has 22 words.
Structure of strophes and cantos in terms of words: 19+20|18*+22|20+
20+21 = 39+40*+61 (= 140* = 20×7 words in total). I conclude that
the number 7 has a structural function in this psalm; see the numbers
in bold face.2 In terms of words, v. 10b (l’ bšwqy h’yš yrs.h [‘he does
not take pleasure in the legs of men’]) is the centre of the composition:
vv. 1–10a.10b.11–20 > 68*+4+68 words. Probably, it is not by chance
that 68 is a multiple of 17 (68 = 4×17), symbolically representing the
Tetragrammaton.
1
Fokkelman (MPHB II) has 41 cola, taking v. 8 as a tricolon, following MT.
2
Note also that the calls to praise, opening Cantos I–III (vv. 1.7.12), consist of 21
words. These observations underscore the addition of a colon at the end of v. 8 (cf.
§ 40.1). For the structural function of 7 in the successive cantos, see further Labuschagne,
The divine name, yhwh, occurs 5×: vv. 2, 6, 7, 11 and 12. In vv. 1, 7,
and 12 God is designated ’lhym, in v. 5 ’dwny.

Köster (1837): 1–6|7–11|12–18.19–20 (6.5.6.2 verses; vv. 16–17 one verse!)
De Wette (1856): no divisions
Ewald (1866), pp. 522–23: 1–6.7–11.12–20 (12.11.18 cola; basis 12.12.12)
Ley (1875), pp. 189–91: 1–6.7–11.12.13–18.19–20 (6.6.1.6.2 lines)
Zenner (1906), pp. 202–04: 1–5.7–11|12–13+6+14|15–17.18–20 (5.5|4|3.3)
Duhm (1899): 1–3.4–6; 7–8b.8c–9.10–11; 12–14.15–17.18–20
Duhm (1922): 1–2.3+6; 7+4.5+8a–b.8c–d*+9.10–11; 12–13.14–15.16+18.
19–20 (2.2; 4×2; 4×2 bicola)
Gunkel (1926): 1–6.7–11.12–20; similarly Gemser (1949), NAB (1970), Van
der Ploeg (1974), Kraus (1978), Allen (2002; note pp. 383–84); cf.
Delitzsch (1894) and Herkenne (1936)
Calès (1936): 1.2–3.4–5.6|7.8*–9.10–11|12–14.15–18.19–20 (6.6.9 lines); cf.
Pannier/Renard (1950), TOB (1978), Viviers (2008), p. 173
Kissane (1954): 1–3.4–6.7–8*.9–11.12–14.15–17.18–20 (7×3 lines); simi-
larly Mowinckel (1957), p. 102
Beaucamp (1979): 1–3.4–6|7–8*.9–11|12–14.15–17.18–20 (6.6|6.6|6.6.6 cola);
similarly www.labuschagne.nl/ps147.pdf; cf. Kissane (1954)
Jacquet (1979): 1–3.4–6|7–8b.8c*–9.10–11|12–14.15–17.18–20 (3.3|3×2|3×3)
Aletti/Trublet (1983), p. 104: 1.2–3.4–5.6|7.8–9.10–11|12.13–14.15–18.
19–20 (a.b.c.d|a’.c’.d’|a’’.b’.c’’.b’’); cf. Calès (1936)
Lohfink (1990), pp. 116–17: 1.2–3.4–9.10–11|12.13–14.15–18.19–20 (a.b.d.c|
a’.b’.c’.d’)
Risse (1995), pp. 26–32: 1.2–3.4–5.6|7.8–9.10–11; 12.13–14.15–18.19–20
(1.2.2.1|1.2.2; 1.2.4.2 verses; a.b.c.d|a’.c’.d’; a’’.b’.c’’.d’’); similarly
[Hossfeld]/Zenger (2008); cf. Ravasi (1984) and Girard (1994)
Fokkelman (2000), pp. 317–20: 1–3.4–6|7–8.9–11|12–14.15–17.18–20 (3.3|
2.3|3.3.3; a.b|a’.b’|a’’.b’’.b’’’; including hllw yh in v. 1); similarly
Weber (2003)
Terrien (2003): 1 2–3.4–5.6–7.8–9.10–11.12–13.14–15.16–17.18–19 20
(1 9×2 1 lines)

It is generally agreed that Psalm 147 is composed of three main parts
(cantos), vv. 1–6, 7–11, 12–20; see § 40.6. The opening verseline of Canto I
(v. 1) is a recommendation to praise God (cf. Ps. 92,2–3) and is followed by
the praise itself, hymnic descriptions of God’s goodness and power. Hymnic
descriptions like these also occur as substantial elements in Cantos II and
III. However, in the latter main parts these descriptions are introduced by
explicit exhortations to sing a song of praise; see vv. 7 and 12 respectively
(cf. further § 40.2). The ends of Cantos II and III are highlighted by an
antithetic parallelism between their concluding verselines (vv. 10–11 and
19–20 respectively). In Canto I the antithetic parallelism is confined to the
cola of its concluding line (v. 6; see § 40.2).3 In addition, the people who
hope for God’s loyal love (v. 11) are identical with the lowly (v. 6a). The
concluding strophes of the cantos are also marked by verbal repetitions in
the narrowest sense; see mspr in vv. 4–6, the root rs.h in vv. 9–11, dbrw
and wmšpt.ym in vv. 18–20 (§ 40.4.1). And to crown it all, the tripartite
framework is clearly supported by the linearly alternating pattern of verbal
repetitions listed in § 40.4.3; note ky, the root zmr, ’lhym, the root hll and
yrwšlm in the opening strophes of the cantos, vv. 1–3.7–8.12–14.4
As far as the strophic structure of the cantos is concerned, there are no
problems with regard to Cantos I and III. These main parts consist of series
of 3-line strophes.5 The strophes of Canto I are marked by the concluding
refrain-like idea that God supports the downtrodden; see vv. 3 and 6a.
In Canto III the 3-line strophe vv. 12–14 obviously represents a thematic
unity (§ 40.2); it is only in these lines that Jerusalem is addressed in the
second person (see also the suffix -k in § 40.4.1). The strophic structure
of the third canto is further based on the linearly parallel pattern of the
verbal repetitions which occur in vv. 15–17 and 18–20; note the anaphora
and the epiphora (see § 40.4.2).6 These concluding strophes also constitute
an antithetic parallelism; see § 40.2 and cf. Zenner (1906) in § 40.6.
The strophic structure of Canto II is partially based on analogy. From
a purely thematic perspective, it is natural to assume an irregular division
into four and two verselines (vv. 7–9.10–11). The regular framework 3.3
lines (vv. 7–8.9–11) is corroborated by several linear parallel phenomena
3
Similarly Girard (1994), pp. 520–21, and Allen (2002), pp. 383–84. By the way,
taken for its own, the reference to the downfall of the wicked in v. 6b is already an
indication of the end of a poetic section.
4
Cf. Aletti-Trublet (1983), Risse (1995) and Fokkelman (2000) in § 40.6. This pattern
of verbal recurrences positively demonstrates that vv. 12–20 form an integral and original
part of the composition, and are not to be seen as a later expansion (similarly Allen
[2002]); pace Lohfink (1990), pp. 115–16, Risse (1995), pp. 191–93, Sedlmeier (1996),
27–29, and recently [Hossfeld]/Zenger (2008), pp. 826–28.
5
See also Duhm (1899), Kissane, Beaucamp, Jacquet, Fokkelman and Weber in § 40.6.
6
The anaphoric correspondence ‘harbours the poetical suggestion that Israel [. . . ]
should be softened/melted down by the word of God’; Fokkelman (MPHB II), p. 319.
Contra Girard (1994), p. 521, who takes the repetition of šlh. and dbrw as an inclusion;
cf. also Lohfink (1990), p. 119, and Viviers (2008), p. 175.
on the level of the poem as a whole. First, the repetitions of the roots qr’
(‘to call’) and ntn (‘to give’), which occur in the second strophes of Cantos
I and III (vv. 4 and 16 respectively) and which are chiastically positioned
in v. 9 (exactly at the beginning and the end of the verseline), suggest
that v. 9 is part of the second strophe of Canto II (its opening verseline);
see § 40.4.3 (the linear framework). Second, the article h- introducing a
participle at the beginning of three successive cola in v. 8 marks the end of
a 3-line strophe; cf. hrp’ and hśm opening vv. 3 and 14 respectively.7 Third,
the concluding colon of the first strophe of Canto III (v. 14b) speaks about
God’s care for his people in terms of providing them with food. This is
also the case in the reconstructed colon v. 8d* (‘and herbage for the service
of man’). The semantic correspondence further suggests that v. 8d* is the
concluding colon of the first strophe of Canto II.
Compared with Cantos I and II, the third canto (vv. 12–20) is length-
ened by a 3-line strophe.8 This lengthening has an intensifying function.
In accordance with the linear pattern of verbal repetitions on the level of
the poem in its entirety (§ 40.4.3), the concluding strophes of the cantos
(vv. 4–6, 9–11 and 18–20) express the messages of the main parts. The
quintessential message of the composition is phrased in its concluding stro-
phe, vv. 18–20: God is especially to be praised because he has revealed his
Torah (note the repetitions of dbrw and mšpt.yw ) to the people of Israel ex-
clusively. This idea is prepared by vv. 9–11, which is deliberately designed
as the pivotal strophe of the psalm; see § 40.5 above. God’s salutary word
(v. 18) corresponds to the ‘bread’ he gives to the beasts and Jacob/Israel
(v. 19) represents the people who (should) fear him (v. 11).
following verbal repetitions: root zmr (v. 1.7) > 146,2; ’lhym (vv. 1.7.12) >
146,2.5.10; root hll (vv. 1.12) > 146,1.2; m‘wdd (v. 6) > 146,9; rš‘ym (v. 6)
> 146,9; ’rs. (vv. 6.8.15) > 146,6; šmym (v. 8) > 146,4; ’dm (v. 8*) > 146,3;
nwtn . . . lh.mh (lbny ‘rb; v. 9) > 146,7b (lr‘bym; note the alliteration); bnym
(v. 9.13) > 146,3; .sywn (v. 12) > 146,10; rwh.w (v. 18) > 146,4; y‘qb (v. 19)
> 146,5; mšpt. (vv. 19.20) > 146,7; ‘śh (v. 20) > 146,6a.7a.9
7
Cf. also Fokkelman (MPHB II), pp. 318–19, and Beaucamp (1979) in § 40.6.
8
Cf. Psalm 148 in which the second canto, compared with Canto I, is lengthened by
a 2-line strophe.
9
For the literary references to Deut. 4, Isa. 40–66, Psalms 33 81 104 136, and
the book of Job, see Risse (1995), pp. 69–97, and Allen (2002), pp. 384–85. ‘The psalm
seems to be the product of an interweaving of passage with passage in almost midrashic
fashion’ (Allen [2002], p. 385).
40.8 Bibliography
P. Auffret, Hymnes d’Égypte et d’Israël. Études de structures littéraires (OBO
34), Fribourg (Suisse)/Göttingen, 1981, pp. 121–31;
S. Risse, ‘Gut ist es, unserem Gott zu singen’: Untersuchungen zu Psalm 147
(MThA 37), Altenberge: Oros, 1995;
F. Sedlmeier, Jerusalem—Jahwes Bau. Untersuchungen zu Komposition und
Theologie von Psalm 147 (FzB 79), Würzburg: Echter Verlag, 1996;
J. Limburg, ‘Quoth the Raven: Psalm 147 and the Environment’, in B.A. Strawn
and Nancy R. Bowen (eds.), A God So Near. FS P.D. Miller, Winona Lake
(Indiana): Eisenbrauns, 2003, pp. 101–11;
H. Viviers, ‘Why is Psalm 147 Still “Catchy”?’, in R.L. Foster and D.M. Howard
(eds.), My Words are Lovely. Studies in the Rhetoric of the Psalms (Library
of Hebrew Bible/Old Testament Studies 467), London/New York: T&T Clark,
2008, pp. 171–86;
K. Seybold, ‘Textgenetische Hintergründe des 147. Psalms’, in Carmen Diller et
al. (eds.), Studien zu Psalmen und Propheten. FS H. Irsigler (HBS 64), Freiburg:
Herder, 2010, pp. 151–63.
41 Psalm 148
Structure: 6.8 > 2.2.2|2.2.2.2 lines (Type IB)
I 1 HLLW ’t yhwh MN Hšmym hllwhw bMRWMYM

2 hllwhw kl ml’kyw hllwhw kl .sb’yw
3 hllwhw šmš wyrh. hllwhw kl kwkby ’wr

4 hllwhw šmy hšmym whmym ’šr m‘l hšmym
5 YHLLW ’t ŠM yhwh KY hw’ .swh wnbr’w

6 Wy‘mydm l‘d l‘wlm h.q ntn wl’ y‘bwr
II 7 HLLW ’t yhwh MN H ’rs. tnynym wkl thmwt

8 ’š wbrd šlg wqyt.wr rwh. s‘rh ‘śh dbrw
9 hhrym wkl gb‘wt ‘s. pry wkl ’rzym

10 hh.yh wkl bhmh rmś ws.pwr knp
11 mlky ’rs. wkl l’mym śrym wkl špt.y ’rs.

12 bh.wrym wgm btwlwt zqnym ‘m n‘rym
13 YHLLW ’t ŠM yhwh KY nśgb ŠMw lbdw hwdw ‘l ’rs. wšmym

14 WYRM qrn l‘mw THLH lkl h.sydyw lbny yśr’l ‘m qrbw
41.1 Text
V. 2b—s.b’yw : so Q; K .sb’w.
V. 6b—h.q ntn wl’ y‘bwr : ‘he made a rule and it will not change’; see Hillers
(1978), p. 326, and cf. Esther 1,19 (wyktb bdty prs wmdy wl’ y‘bwr ).
V. 14c—qrbw : MT + hllw yh.
41.2 Content
Call to the heavens and the earth to praise the Lord.
I Call to the heavens to praise the Lord:
praise the Lord, all his angels (vv. 1–2);
praise him, heavenly bodies and heaven itself (vv. 3–4);
praise the Lord, for he is the Creator (vv. 5–6; motive for praise).
II Call to the earth to praise the Lord:
praise the Lord, chaotic powers (of the netherworld; vv. 7–8);
mountains and all living creatures on earth (vv. 9–10);
rulers as well as subjects (vv. 11–12);

praise the Lord, for he is exalted and protects his people Israel
(vv. 13–14; motive for praise).

41.3.1.1 imperative: hllw, v. 1a+b; jussive: yhllw, v. 5a
ext. // hllw in v. 2a+b imperative: hllw, v. 7a
imperative: hllw, v. 3a+b; vocat.: tnynym wkl thmwt,
ext. // hllw in v. 4a v. 7b; ext. // vocatives
vocative: šmš wyrh., v. 3a; in vv. 8–12
ext. // šmy hšmym in jussive: yhllw, v. 13a
v. 4a
vocat.: kl kwkby ’wr, v. 3b; 41.3.1.2 none
ext. // hmym in v. 4b

41.3.2.1 ‘d, v. 6a 41.3.2.2 w- beginning of line, v. 6a
‘wlm, v. 6a w- beginning of line, v. 14a
gm, v. 12a

vocative: kl ml’kyw, v. 2a
vocative: kl .sb’yw, v. 2b
hw’, v. 5b

vv. 1–2: hllwhw, vv. 1b.2a+b; see also hllw in v. 1a (anaphora)
vv. 3–4: hllwhw, vv. 3a.4a (anaphora); see also hllwhw in v. 3b
šmš/šmy hšmym, vv. 3a and 4a resp. (alliter.)
vv. 5–6: wnbr’w/y‘bwr, vv. 5b and 6b resp. (alliter.; epiphora)
vv. 9–10: h- (article), vv. 9a.10a (anaphora)
wkl, vv. 9a+b.10a
‘s. pry/ws.pwr, vv. 9b and 10b resp. (alliter.)
vv. 13–14: root hll, vv. 13a.14b; cf. also the root ydh in v. 13c
roots śgb (‘to be high’)/rwm (‘to rise’), vv. 13b and 14a resp.;
cf. Isa. 2,11 26,5 33,5
suffix -w, vv. 13b (2×)+c.14a+b+c

prep. l-, vv. 13b.14a+b+c

vv. 1–6 (Canto I): ’t (. . . ) yhwh, vv. 1a.5a (linear)
prep. mn + hšmym, vv. 1a.4b; see also šmy hšmym
in v. 4a and hmym in v. 4b
hllwhw, vv. 1b+2a+b.3a+b+4a! (concatenation);
see also hllw in v. 1a
kl, v. 2a+b.3b (concatenation)
’wr/wnbr’w, vv. 3b and 5b resp. (alliter.; exactly
linear)
vv. 7–14 (Canto II): root hll, vv. 7a.13a (exactly linear)
’t (. . . ) yhwh, vv. 7a.13a (linear)
’rs., vv. 7a.11a+b.13c! (linear)
suffix -w, vv. 8b.13b (2×)+c+14a+b+c
wkl internally // wkl, vv. 9.11! (linear); see also
wkl in vv. 7b and 10a! and kl in v. 14b
‘m (‘with’)/‘m (‘people’), vv. 12b and 14a+c resp.
(alliter.; linear)

vv. 1–2.7–8.13–14: hllw ’t yhwh, vv. 1a.7a! (anaphora); see also the root
hll in vv. 13a+14b
mn hšmym/mn h’rs., vv. 1a and 7a resp.! (exactly
linear); see also ’rs. wšmym in v. 13c
root rwm, vv. 1b.14a!
mrwmym/thmwt, vv. 1b and 7b resp. (exactly linear)
ml’kyw/‘śh dbrw, vv. 2a and 8b resp. (linear)
suffix -w, vv. 2a+b.8b.13–14!

vv. 5–6.13–14: yhllw ’t šm yhwh, vv. 5a.13a! (exactly linear); see also
šm in v. 13b! and root hll in v. 14b
ky, vv. 5b.13b! (exactly linear)
w- beginning of the line, vv. 6a.14a! (exactly linear)
wy‘mydm/wyrm (imperfect consecutive hiph‘il, 3rd p.
masc. sing.), vv. 6a and 14a resp. (exactly linear)
prep. l-, vv. 6a (2×).13b+14a+b+c!

l‘d l‘wlm/l‘mw, vv. 6a.14a (alliter.; exactly linear)
y‘bwr/‘m qrbw, vv. 6b and 14c resp. (allit.; epiphora)
41.4.4 Remaining verbal repetitions (left out of consideration)

prep. ‘l (vv. 4b.13c), ‘m (‘people’; v. 14 [2×])

Vv. 7–8 constitute the middle strophe and the central verselines (> 3+1+3
strophes and 6+2+6 lines respectively).
14+22 = 42+65 (= 107 words in total).2 It is probably not by chance
that vv. 7–8, the centre of the psalm in terms of strophes and verselines,
is enveloped by multiples of 7 words at each side: vv. 1–6.7–8.9–14 >
42+16+49 words (cf. the multiple of 7 words Psalm 147 consists of). In
my opinion, the number 7 has a structural function in this composition.3
The divine name, yhwh, occurs 4×: vv. 1, 5, 7 and 13.

Köster (1837): 1–6|7–13.14
Hävernick (1849), p. 42: 1–6.7–12.13–14 (6.6.2 verses or 12.12.6 cola); sim-
ilarly Ewald (1866), pp. 526–28; cf. König (1927), pp. 242–44
Meier (1853), pp. 90–93: 1–2.3–4.5–6|7–8.9–10.11–12 (8.8.8|8.8.8; vv. 13–14
are ‘ein späterer, matter Anhang’)
De Wette (1856): 1–6.7–14; similarly Delitzsch (1894), Pannier/Renard
Ley (1875), pp. 191–92: 1–6.7–12.13–14 (6.6.3 lines)
Zenner (1906), pp. 273–76: 1–4+8.5–6|7+9–12.13–14||149,1–4||. . . (5.2|5.2||
4||. . . lines); cf. Kissane (1954), Jacquet (1979)
1
Fokkelman (MPHB II) has 15 verselines, taking vv. 13–14 as three bicola. Ruppert
(1987), pp. 280–81, notes that there are 30 addressees called to praise in the vocative
(7 in Canto I); similarly Fokkelman [MPHB II], p. 321, [Hossfeld]/Zenger [2008], p. 842,
and cf. www.labuschagne.nl/ps148.pdf, Observation 4. The coincidence between the
numbers of cola and addressees which are called to praise (among other things; see
§ 41.7 below) militates against the opinion that v. 14b–c is ‘eine, freilich ausführlich,
dem Metrum des Psalms angepaßte Unterschrift’; contra Ruppert (1978), pp. 277–78.
2
According to Fokkelman (MPHB II), ’šr in v. 4b is redundant and secundar; there-
fore, he counts 106 words.
3
For the important role of 7 in our psalm, see also Labuschagne, www.labuschagne.
Duhm (1922): 1–2.3–4.5–6.7–8.9–10.11–12.13+14b (7×2 bicola)

Gunkel (1926): 1–2.3–4.5–6|7–8.9–10.11–12.13–14a.14b–c (3×2|4×2.1 bi-
cola); cf. Mowinckel (1957), pp. 86.102 (8×2 bicola)
Calès (1936): 1–2.3–4.5–6|7–8.9–10.11–12.13–14 (3×2|4×2 lines); similarly
Gemser (1949), Terrien (2003)
Schildenberger (1960), pp. 680–81: 1–2.3–4.5–6|7–8.9–10.11–12.13–14 (3×2|
2.2.2.3 lines); similarly Fokkelman (2000), pp. 320–22; cf. Allen (2002;
6.8 lines, note pp. 390–92)
Dahood (1970): 1–6.7.8–13b.13c–14
Van der Ploeg (1974): 1–6.7–13 (v. 14 epilogue); similarly Von Faulhaber
(1913), p. 10; cf. Hillers (1978), pp. 327–28
Beaucamp (1979): 1–2.3–4|5–6||7–8.9–10.11–12|13.14; cf. Prinsloo (1992),
pp. 56–60
Auffret (1982): 1–4|5–6||7–8.9–10.11–12|13–14 (4|2||2.2.2|2 lines)
Aletti/Trublet (1983), p. 104: 1–5a.5b–6|7–13a.13b–14 (a.b|a’.b’)
Ruppert (1987), pp. 278–80: 1–2.3–4.5–6|7–8.9–10.11–12.13–14a (3×2|4×2)
Girard (1994): hllw yh 1b–4.5a.5b–6|7–12.13a.13b–14c hllw yh (a b.c.d|
b’.c’.d’ a’)
Weber (2003): 1–2.3–4.5–6|7–8.9–10.11–12|13–14 (3×4|3×4|6 cola)
[Hossfeld]/Zenger (2008): 1–2.3–4.5–6|7–8.9–10.11–12.13 (14a.14b–c,
‘Schluss-Koda’)
www.labuschagne.nl/ps148.pdf: 1–2.3–4.5–6|7–8.9–10|11–12.13–14 (3×2|
2.2|2.2 lines); cf. Kittel (1929), Schmidt (1934), NAB (1970)

Biblical scholars almost unanimously agree that, in broad outline, Psalm
148 divides into two main sections (cantos), vv. 1–6 and 7–13/14; see § 41.6.
There has always been much discussion with regard to the function of the
concluding verseline of Canto II (v. 14) in the context of the composition
as a whole.4 Canto I opens with an exhortation to the heavens to praise
God (v. 1a), and Canto II with an exhortation to the earth to praise God
(v. 7a). The phrasings of these exhortations are almost identical (šmym >
’rs.). Moreover, the concluding words of the opening verselines in ques-
tion represent an obvious merism: mrwmym (‘heights’; v. 1b) and thmwt
(‘depths’; v. 7b).5 That is to say, vv. 1 and 7 function as refrain-like
4
Note Mowinckel (1957), p. 86, Ruppert (1987), p. 278 n. 8, Prinsloo (1992), p. 52,
[Hossfeld]/Zenger (2008), pp. 844–46; cf. Meier, Duhm, Van der Ploeg in § 41.6. Because,
including vv. 13–14, the main parts form unbalanced sections in terms of verselines and
cola, it is sometimes suggested that v. 8 belongs to Canto I; see Zenner (1906) in § 41.6.
5
For this structural device, cf. CAS I, Ch. V, 3.1.2.2 (p. 472). Dahood (Psalms III,
pp. 353–54) rightly assumes that v. 7 refers to the netherworld (similarly Schmidt [1934],
verselines at the beginnings of the main parts.6 The semantic parallelism

between ml’kyw (‘his angels/messengers’; v. 2a) and ‘śh dbrw (‘that exe-
cutes his word’; v. 8b) reinforces the correspondences between the opening
verselines of the cantos; for the parallelism ml’kyw/‘śh dbrw, see Ps. 103,20!
In their turn, in terms of subject matter, the cantos consist of unin-
terrupted series of 2-line strophes (§ 41.2). Following Ruppert (1978, pp.
279–80), Zenger states that there is a deliberate distribution of the 7 stro-
phes over the cantos: the three strophes of Canto I are supposed to refer to
the ‘Symbolzahl für die Heiligkeit des Himmels’, and the four strophes of
Canto II to the ‘Symbolzahl für die Gesamtheit der Erde’ (the four quarters
of the compass; [Hossfeld]/Zenger [2008], p. 841); cf. also Brüning (1996).
The strophic structure of Canto II is supported by some linearly positioned
verbal recurrences (responsions); note ’t (. . . ) yhwh, ’rs. and wkl . . . wkl
in § 41.4.2.7 Taken as two successive tricola, vv. 13–14 smoothly fit these
responsions and the rhythm of the 2-line strophic structure of Cantos I and
II.8 For the internal coherence of vv. 13–14 in terms of verbal correspon-
dences, note the root hll and the suffix -w in § 41.4.1.9
To crown it all, taking into account the correspondences between vv. 5–6
and 13–14 (see § 41.4.3, the linear framework), it is out of the question that
vv. 13–14 in their entirety form an integral part of Psalm 148 and represent
the concluding strophe of Canto II; cf. Aletti/Trublet and Girard in § 41.6.
In this respect, note the exactly linearly parallel features: yhllw ’t šm yhwh
ky (‘let them praise the name of the Lord, for’; vv. 5.13), the imperfects
consecutive hiph‘il, 3rd person masculine singular wy‘mydm/wyrm (vv. 6a
and 14a respectively),10 and the alliteration y‘bwr/‘m qrbw (vv. 6b and 14c
p. 256, and cf. Ps. 71,20!); pace Allen (2002), p. 390, who follows Hillers (1978), p. 328.
6
For opening refrains, cf. CAS I, Ch. V, 4.3.1.2 (p. 497).
7
For this regular strophic framework of the cantos, cf. also Meier, Duhm, Gunkel,
Calès, Schildenberger, Beaucamp, Auffret, Ruppert, Weber, [Hossfeld]/Zenger and
Labuschagne in § 41.6.
8
The internal parallelism l‘mw // lkl h.sydyw // lbny yśr’l shows that v. 14 is a tri-
colon. V. 13 uncomplicatedly joins this colometric design. My colometric interpretation
of vv. 13 and 14 is in line with the Masoretic verse division; see also Zenner (1906), Calès
(1936), www.labuschagne.nl/ps148.pdf in § 41.6; similarly Hillers (1978), p. 324, Auffret
(1982), pp. 386.393–94, [Hossfeld]/Zenger (2008), p. 846 (contra Ley [1875], Schilden-
berger [1960], BHS (1969), Dahood [Psalms III ], p. 351, Ruppert [1987], Prinsloo [1992],
p. 47, and Fokkelman [MPHB II], p. 321, who take vv. 13–14 as 3 bicola).
9
Cf. Prinsloo (1992), pp. 52–53, and Allen (2002), pp. 389–90.
10
See also my STR (1980), pp. 469.470, and Ballhorn (2004), p. 320 n. 841. Allen
(2002), p. 391, rightly notes that this correspondence ‘has often been overlooked’. For
the conjunction w- opening the concluding verselines of successive cantos, see also Pss.
31,9.15 41,7.13 50,6.15 72,8.11.17c–d 73,11.22.28 (note w’ny in vv. 22.28) 87,5.7; cf.
further CAS I, Ch. V, 3.2.2.2 (p. 481).
respectively) highlighting the very end of the cantos (epiphora).11 This

means that v. 14b–c is not an ‘Unterschrift’ (Gunkel, Kraus; cf. MacKenzie
[1970], Ruppert [1987]), nor is v. 14 an editorial addition with a bridging
function ‘die den ihr vorgegebenen “Schöpfungshymnus” Ps 148,1–13 in
das Schluss-Hallel integriert’ ([Hossfeld]/Zenger [2008], p. 840; see also pp.
845–46; cf. Van der Ploeg). It is a well-known (although not generally rec-
ognized) phenomenon in Hebrew poetry that the concluding colon/verseline
of a composition phrases a relatively individual message, while from a struc-
tural point of view such a colon/verseline represents an integral part of its
strophic framework.12 Vv. 13–14 represent a concluding tricolic strophe of
two verselines.13 This extension of Canto II, compared with Canto I, in
terms of strophes and cola has an intensifying function; cf. Canto III in the
preceding composition, Psalm 147. In terms of subject matter, vv. 13–14
phrase the quintessential thought of Psalm 148: God protects his people
Israel. It is the final motivation for the calls to praise the Lord in vv. 1–4
and 7–12; cf. Isa. 44,23 49,13 Ps. 96,11–13. The elevation of the name of
the Lord (v. 13a–b; note the root śgb) comes to light in God’s elevation
of his people Israel (v. 14a; note the root rwm).14 The strophe has 22 (=
2×11; § 41.5) words, symbolzing the idea of completeness (cf. the number
of letters of the Hebrew alphabet).
Alongside the linear correspondences on the level of the poem as a whole
between vv. 5–6 and 13–14, vv. 13–14 also show undeniable references to
the opening strophes of the cantos, vv. 1–2 and 7–8; see the root hll (‘to
praise’) in vv. 1a.7a.13a+14b, šmym (‘heavens’) in vv. 1a.13c, the root
rwm in vv. 1b.14a, ’rs. (‘earth’) in vv. 7a.13c, and the suffix -w (‘his’) in vv.
2a+b.8b.13–14 (§ 41.4.3; the concentric framework). The cluster of these
11
For the latter device, see CAS I, Ch. V, 3.2.1.3 (p. 479). The linear parallelism be-
tween Cantos I and II also argues against suggestions for taking vv. 11–14 (Labuschagne)
or vv. 13–14 (Hävernick, Ley, Weber) as relatively individual main parts.
12
For this phenomenon, see especially the concluding verselines of the preceding
poems, Pss. 144,15 145,21 146,10; cf. further CAS I, p. 105 n. 6, with reference to
Ps. 2,12c and S. Risse, ‘Gut ist es, unserem Gott zu singen’: Untersuchungen zu Psalm
147 (MThA 37), Altenberge, 1995, pp. 227–33.
13
For poems which are concluded by a strophe consisting of tricola only, see e.g. Psalms
111, 112 and 138; cf. further CAS I, Ch. V, 6.2.1 (pp. 528–29).
14
The parallelism between the cola of v. 14 indicates that thlh (‘praise’/‘renown’/
‘glory’, v. 14b) is an apposition to qrn (‘horn’) in v. 14a: ‘for the glory of’ (JPS); it
is not the people of Israel itself which is called to praise the Lord. ‘Il y a coı̈ncidence
entre auteurs de la louange et bénéficiaires des dons divins de 1–4 à 5–6, mais non pas
de 7–12 à 13–14. Ainsi Israël se trouve-t-il mis en valeur comme premier destinataire de
la faveur divine, ce dont ont à rendre grâce tous les rois de la terre et même la création’;
Auffret (1982), p. 402. For vv. 13–14 as the final motivation for the calls to praise the
Lord, see also Ballhorn (2004), pp. 314–22.
references underlines the central position vv. 7–8.15
the following verbal repetitions: hll (vv. 1–5.7.13.14) > 147,1.12 (note thlh
in 147,1 and 148,14; inclusion); šmym (vv. 1.4 [2×].13) > 147,8; kwkbym
(v. 3) > 147,4; šm (‘name’; vv. 5.13 [2×]) > 147,4; ky (vv. 5.13) > 147,1.13
(determining the macrostructure); root ‘md (v. 6) > 147,17; h.q (v. 6) >
147,19; ’rs. (vv. 7a.11 [2×].13) > 147,6.8.15; šlg (v. 8) > 147,16; rwh. (v. 8)
> 147,18; ‘śh (v. 8) > 147,20; dbrw (v. 8) > 147,15.18.19; hrym (v. 9) >
147,8; bhmh (v. 10) > 147,9; root špt. (v. 11) > 147,19.20; lkl (v. 14) >
147,4.20 (linear); h.sd (v. 14) > 147,11 (concluding line of a canto); yśr’l
(v. 14) > 147,2.19 (at the end and the beginning of the cantos resp.); qrb
(v. 14) > 147,13.
In addition, like Psalm 147, our psalm is composed of an uninterrupted
series of 7 regular strophes. And as is the case in Psalm 147, compared to
the preceding canto(s), the concluding canto is lengthened by a complete
strophe.
41.8 Bibliography
R.A.F. MacKenzie, ‘Ps 148,14bc: Conclusion or Title?’, Biblica 51 (1970), pp.
221–24;
D.R. Hillers, ‘A Study of Psalm 148’, CBQ 40 (1978), pp. 323–34;
P. Auffret, La sagesse a bâti sa maison. Études de structures littéraires dans
l’Ancien Testament et spécialement dans les Psaumes (OBO 49), Fribourg (Suisse)
and Göttingen, 1982, pp. 383–404;
J.-L. Cunchillos, ‘Le Psaume 148: Hymn à un Dieu inaccessible’, in Proceedings
of the eighth World Congress of Jewish Studies, Jerusalem, 1982, pp. 51–56;
L. Ruppert, ‘Aufforderung an die Schöpfung zum Lob Gottes. Zur Literar-,
Form-, und Traditionskritik von Psalm 148’, in E. Haag and F.-L. Hossfeld (eds.),
Freude an der Weisung des Herrn. FS H. Groß (SBB 13), Stuttgart, 2nd edn
1987, pp. 275–96;
W.S. Prinsloo, ‘Structure and Cohesion of Psalm 148’, OTE 5 (1992), pp. 46–63;
Ch. Brüning, ‘Psalm 148 und das Psalmenbeten’, MThZ 47 (1996), pp. 1–12;
H. Viviers, ‘’N Eko-bilike beoordeling van Psalm 148’, HTS 60 (2004), pp.
815–30;
Z. Zieba, ‘The Poetic Devices in Psalm 148’, PJBR 8 (2009), pp. 5–15.
15
For this phenomenon, cf. the structural function of h.sydym (‘faithful ones’) in the
following poem (Ps. 149,1.5.9); for concentric designs in terms of verbal repetititons, see
also CAS II, Ch. II, 16.4.3 (with reference to Psalm 58), CAS II, Ch. II, 30.4.4 (with
reference to Psalm 72), § 38.4.4 above (with reference to Psalm 145).
566 chapter iii: fifth book of the psalmter
42 Psalm 149
I 1 šyrw l yhwh šyr h.dš thltw bqhl H
. SYDYM
2 yśmh. yśr’l b‘ŚYw bny .sywn ygylw bMLKm
3 yhllw šmw bmh.wl btp wknwr yzmrw lw

4 ky rws.h yhwh b‘mw yp’r ‘nwym byšw‘h
II 5 y‘lzw H
. SYDYM bkbwd yrnnw ‘l mškbwtm
6 rwmmwt ’l bgrwnm wh.rb pypywt bydm
7 l‘ŚWT nqmh bgwym twkh.t bl’mym

8 l’sr MLKYhm bzqym wnkbdyhm bkbly brzl
9 l‘ŚWT bhm mšpt. ktwb hdr hw’ lkl H
. SYDYw
42.1 Text
V. 2a—b‘śyw : ‘in its Maker’; archaic spelling (cf. GK § 124k ).
V. 7b—bl’mym: Codex L reads bl ’mym; for this word division, see Babiero/
Pavan, ZAW 124 (2012), pp. 598–603.
42.2 Content
Call to the people of Israel to praise the Lord and to wreak vengeance.
I Call to praise the Lord for his salvation.
Let the people of Israel publicly praise the Lord (vv. 1–2);
he brings about salvation for the lowly of his people (vv. 3–4).
II Exhortation to the faithful to shout for joy and wreak vengeance.
Let the faithful shout for joy in private and take a sword in their
hands (vv. 5–6; cf. vv. 1–2),
to wreak vengeance on the nations and their kings (vv. 7–9a; cf.
vv. 3–4); this is the glory for all the faithful (v. 9b).

42.3.1.1 imperative: šyrw, v. 1a; jussive: yzmrw, v. 3b
ext. // jussives yśmh. in jussive: y‘lzw, v. 5a
v. 2a and ygylw in v. 2b jussive: yrnnw, v. 5b
jussive: yhllw, v. 3a; cf. Ps.
148,5.13 42.3.1.2 none

42.3.2.1 hw’, v. 9b 42.3.2.2 none

none

vv. 1–2: suffix -w, vv. 1b.2a
vv. 3–4: suffix -w, vv. 3a+b.4a
vv. 5–6: suffix -m, vv. 5b.6b (epiphora); see also -m in v. 6a
vv. 7–9: l‘śwt, vv. 7a.9a! (exactly linear; inclusion); see also l’sr in v. 8a
(anaphora; note prep. l- + infinitive qal) and prep. l- in v. 9b
bgwym/bzqym/bl’mym, vv. 7a and 8a resp. (alliter.; exactly lin.)
suffix -hm, vv. 8a+b.9a!
roots kbd/hdr, vv. 8b and 9b resp.

vv. 1–4 (Canto I): roots šyr/zmr, vv. 1a (2×) and 3a resp.
} chiasmus
root hll, vv. 1b.3a!
(linear)
prep. l-, vv. 1a.3b (linear); note lyhwh/lw (semantic
equivalent)
yhwh, vv. 1a.4a! (inclusion)
suffix -w, vv. 1b+2a.3a+b+4a (concatenation)
bqhl h.sydym/b‘mw, vv. 1b and 4a resp. (inclusion);
cf. also ‘nwym in v. 4b
b‘śyw/b‘mw [. . . ] byšw‘h, vv. 2a and 4 resp. (alliter.;
linear; note the prep. b- and the suffix -w in vv.
2a.4a)
vv. 5–9 (Canto II): h.sydym, vv. 5a.9b (inclusion)

} chiasmus
root kbd, vv. 5a.8b!
kbwd/hdr, vv. 5a and 9b resp. (inclus.); cf. Ps. 8,6b
‘l mskbwtm/l‘śwt bhm mšpt. ktwb, vv. 5b and 9a resp.
(alliter.; inclusion); cf. Fokkelman (MPHB III)
bgrwnm/bgwym, vv. 6a and 7a resp. (alliter.; concat-
enation)

vv. 1–2.5–6: h.sydym, vv. 1b.5a (linear)
suffix -m, vv. 2b.5b+6a+b!
vv. 3–4.7–9: b‘m/bgwy, vv. 4a and 7a resp.!

b‘mw/lkl h.sydyw, vv. 4a and 9b resp.
roots p’r (pi‘el)/kbd, vv. 4b and 8b resp.; cf. Isa. 60,13
vv. 1–2.7–9, inclusion: h.sydym, vv. 1b.9b

} chiasmus
mlk, vv. 2b.8a!
root ‘śh, vv. 2a.7a+9a!
vv. 3–4.5–6, concat.: roots p’r (pi‘el)/kbd, vv. 4b.5a resp.

} chiasmus
‘nywm/h.sydym, vv. 4b.5a resp.
42.4.4 Remaining verbal repetitions (partially left out of con-

sideration)
prep. b-, suffix -w (v. 9)

Psalm 149 has 4 strophes, 9 (= 3×3) verselines, 18 (= 6×3) cola. In terms
of verselines and cola, v. 5 is the centre of the psalm (> 4+1+4 lines and
8+2+8 cola respectively).
Structure of strophes and cantos in terms of words: 14+14|12+19*
= 28+31* (= 59* words in total).1 From this perspective, v. 5a (y‘lzw
h.sydym bkbwd ) is the centre of the psalm (> 28+3+28* words); note the
multiples of 7.2 The pivotal positioning of v. 5a is reinforced by the fact
that the middle word of this colon (and of the psalm as a whole), h.sydym,
also strategically features at the end of the first and the last verselines (vv.
1b and 9b). Because v. 5a succinctly phrases a major idea of the poem,
I consider it the rhetorical centre of the composition.3
1
Labuschagne has 60 words; he argues that the reading bl ’mym (‘non nations’; v. 7)
in Codex L is a deliberate decision to achieve the numerical value of the key word
h.sydym (‘faithful ones’; 8+15+10+4+10+13 = 60); see www.labuschagne.nl/ps149.pdf,
Observation 2.
2
In addition, Ravasi (1984, p. 987) notes that in vv. 1–5 there are 7 imperative/jussive
verbs which call to praise (similarly Ceresko [1986], p. 178), and in vv. 6–9 Labuschagne
counts 7 acts performed by the faithful (www.labuschagne.nl/ps149.pdf, Observation 3).
For the structural function of the number 7, see also Psalms 147 and 148.
3
Cf. www.labuschagne.nl/ps149.pdf, Observation 1. This quantitative structural ap-
The divine name, yhwh, occurs 2×: vv. 1 and 4; see further the desig-
nation ’l (‘God’) in v. 6a.

Köster (1837): 1–4.5–9
Hävernick (1849), p. 41: 1.2–5.6–9 (1.4.4 verses)
De Wette (1856): 1–3.4–9
Ewald (1866), pp. 525–26: 1–3.4–6.7–9 (3.3.3 verses); similarly Ley (1875),
pp. 155–56, Duhm (1899), König (1927), pp. 244–45, Kittel (1929),
Pannier/Renard (1950), Kissane (1954), Mowinckel (1957), p. 102,
Schildenberger (1960), p. 675, Beaucamp (1968), Jacquet (1979), Loretz
(2002), Weber (2003)
Delitzsch (1894): 1–5.6–9; similarly Auffret (1995)
Zenner (1906), pp. 273–76: . . . 148,13–14||149,1–4||5–9.150,1–6 (. . . 2||4||5|5)
Duhm (1922): 1–2.3–4.5–6.148,14a+c+149,7.8–9 (5×2 bicola)
Gunkel (1926): 1–4.5–9 (4.5 lines; ‘auch hier sind die Versuche, das Ganze
in gleichbleibende Strophen zu teilen [. . . ] gescheitert’); similarly
Herkenne (1936), Gemser (1949), Van der Ploeg (1974), Kraus (1978),
Ravasi (1984), pp. 986–88, Allen (2002), p. 398, Ballhorn (2004),
p. 323, Booij (2009); cf. Köster (1837)
NAB (1970): 1–6a.6b–9
Alden (1978), pp. 209–10: 1a.1b.2–3.4|5–6|7.8.9a.9b (a.b.c.d|e|d’.c’.b’.a’)
TOB (1978): 1–2.3–4.5–9
Beaucamp (1979): 1–2.3–4.5–6|7–9 (4.4.4|6); otherwise Beaucamp (1968)!
Aletti/Trublet (1983), p. 105: 1–3.4|5–6.7–9 (a.b|a’.b’); cf. Calès (1936)
Ceresko (1986): 1–4|5.6–8
Lohfink (1990), p. 121: 1–3|4||5.6–9a|9b (6.2|9.1 cola; a.b|a’.b’)
Girard (1994): hllw yh|1.2.3|4|5–6.7–8.9|hllw yh (a|b.c.d|e|d’.c’.b’|a’)
Prinsloo (1997): 1–5.6.7–9 (v. 6 is the nexus or linking verse); cf. Berman
(2012), pp. 294–95
Fokkelman (2003), pp. 321–24: 1–2.3–4|5–6.7–9 (2.2|2.3 lines)
Terrien (2003): 1–2.3–4.5–6.7–9 (2.2.2.3 bicola); cf. Fokkelman (2003)
[Hossfeld]/Zenger (2008): 1–3.4|5–6.7–8.9
www.labuschagne.nl/ps149.pdf: 1–3.4–5|6.7–9 (3.2|1.3 lines; 34.26 words);
cf. Delitzsch (1894)
proach militates against structural interpretations in which vv. 5–6 is the centre of the
poem (Alden), or v. 4 (Girard), or v. 6 (Prinsloo [note pp. 405–06]; pace Labuschagne,
Observation 3).

From the nineteenth century onwards until recently, biblical scholars with
an open eye for strophic stuctures in Hebrew poetry have often argued that
Psalm 149 is composed of a small uninterupted series of three 3-line stro-
phes; see Ewald (1866) in § 42.6. However, this structural interpretation
ignores the major caesura which occurs after v. 4.4 In the first main part
(vv. 1–4; Canto I) the people of Israel is called to praise God for the sal-
vation he brings about for them (v. 4), while in the second main part (vv.
5–9; Canto II) it is the people themselves, specificially the h.sydym (‘faithful
ones’), who have to bring about the victory (cf. § 43.2).
The exhortations to rejoyce in vv. 1 and 5 function as refrain-like verse-
lines which open the cantos. In addition, the expressions bqhl h.sydym (‘in
the congregation of the faithful’) and ‘l mškbwtm (‘upon their couches’) con-
cluding these lines represent a kind of merism (publicly and in private).5
The cantos culminate in their concluding verselines (vv. 4 and 9). More
specifically, the concluding colon of Canto II (v. 9b) resumes the thought
of the concluding colon of Canto I (v. 4b).6 That is to say, in terms of se-
mantics the cantos display a linearly alternating parallelism (a.b|a’.b’); see
also Aletti/Trublet (1983) and Lohfink (1990) in § 42.6. This linear pattern
is supported by some verbal correspondences on the level of the poem as
a whole (§ 42.4.3). As part of this design, the suffix of the third person
singular in h.sydyw (‘his faithful ones’; v. 9b) naturally harks back to yhwh
in v. 4a; note further the correspondence between b‘mw (‘in his people’)
and lkl h.sydyw (‘for all his faithful’) in vv. 4a and 9b respectively.
As is the case in the second canto of Psalm 147 (vv. 7–11), the bound-
aries of Canto I are marked by the recurrence of the Tetragrammaton
(cf. h.sydym in Canto II); compare especially ‘nw lyhwh/rws.h yhwh in Ps.
147,7.11 with šyrw lyhwh/ky rws.h yhwh in Ps. 149,1.4. For more symmetric
correspondences, see § 42.4.2. Also in terms of strophic design, Canto I has
a tight structure. The repetition of the root hll (‘to praise’; § 42.4.2) is
a responsion highlighting the opening verselines of the 2-line strophes vv.
1–2 and 3–4. These opening lines speak about praising God with songs
of joy, while the second verselines of the strophes (vv. 2 and 4) contain a
motivation for this praise: God is Israel’s ‘Maker’ and ‘King’ (v. 2); and
4
See alo Gunkel (1926) and [Hossfeld]/Zenger (2008), p. 858. The overall division
‘relies on form-critical considerations’; Allen (2002), p. 398, and see also Girard (1994),
pp. 542–44 (pace Prinsloo [1997], p. 400).
5
Ceresko (1986), pp. 186–87, and Prinsloo (1997), p. 403.
6
Dahood, Psalms III, p. 358; cf. [Hossfeld]/Zenger (2008), p. 859. For v. 9b as an
integral part of the concluding strophe (vv. 7–9), cf. CAS I, p. 105 n. 6 (with reference
to Ps. 2,12c).
he brings about ‘victory’ for his downtrodden people (v. 4; the apex of the
canto). The semantic equivalence lyhwh/lw (vv. 1a.3b; § 42.4.2) perfectly
comply with this wave-like motion. In other words, especially in terms of
semantics, the strophes of Canto I (once again; cf. the overall design of the
composition) have a linearly alternating aspect (a.b|a’.b’). Both strophes
consist of 14 words (§ 42.5).
Within Canto II, vv. 7–9 are clearly made into a relatively individual
unit by the device for anaphora, while the repetition of the suffix -m sup-
ports the coherence of vv. 5–6 (§ 42.4.1). The strophes are closely connected
by enjambement (see § 42.2). For the formal coherence of the canto, see
further § 42.4.2.7
The composition as a whole stands out by a conspicuous concentric
pattern in terms of verbal recurrences; note h.sydym (‘faithful ones’) in the
outer and middle verselines, vv. 1.5.9 (cf. § 42.5 above). Moreover, it is
precisely in vv. 1.5.9 that the preposition b- occurs only once (vv. 1b.5a.9a),
while in all other verselines it occurs twice (both in the a- and the b-
colon). The exclusive verbal repetitions which feature in vv. 1–2 and 7–9
(see § 42.4.3) further underscore this concentric aspect.8
Compared with Canto I, the concluding canto of Psalm 149 is length-
ened by one verseline.9 This lengthening is a device for intensification,
highlighting the final message of the composition: ‘the poet reminds Israel
that its true glory lies in executing Yahweh’s decrees regarding the heathen
nations’ (Dahood, Psalms III, p. 358).
the following verbal repetitions: šyrw (v. 1) > hllw in 148,1.7 (linear); thlh
(v. 1) > 148,14 (concatenation); h.sydym (vv. 1.5.9) > 148,14 (concatena-
tion); yśr’l (v. 2) > 148,14 (concatenation); root ‘śh (vv. 2.7.9) > 148,8;
mlk (vv. 2.8) > 148,11; yhllw šmw (v. 3) > 148,5.13a–b (linear); ky (v. 4) >
148,5.13 (linear); ‘mw (v. 4) > 148,14 (linear); root rwm (v. 6) > 148,1.14;
l’mym (v. 7) > 148,11; root špt. (v. 9) > 148,11; hw’ (v. 9) > 148,5; lkl
7
For the strophic structure of Cantos I and II, see also Beaucamp, Fokkelman and
Terrien in § 42.6.
8
The strategic positioning of the noun h.sydym in the 9 verselines of Psalm 149 gives
food for thought. I tentatively suggest that this ‘geometric pattern’ highlights the 9
lights of the Chanukah Lampstand; cf. the menorah pattern in Psalm 67 (see CAS II,
Ch. II.25 [pp. 223–28]). If this idea has an element of truth in it, it can breathe new life
into the once prevalent interpretation which connects Psalm 149 with the Maccabean
revolts (Duhm [1922], pp. 482–84; for qhl h.sydym [Ps. 149,1b], cf. 1 Macc. 2,42). For
this once prevalent interpretation, see now also Leuenberger (2010), with an appeal to
1 ApcHen 90,19 91,12 and 2 Macc. 15,16.
9
Cf. the lengthening of the concluding cantos of Psalms 147 and 148.
h.sydyw (v. 9) > 148,14 (linear). In this respect, note further the structural
function of the number 7 (see § 42.5) and the lengthening of the second
cantos in Psalms 149 and 148.10
42.8 Bibliography
H. Gunkel, ‘Psalm 149’, in C. Adler and A. Ember (eds.), Oriental Studies. FS
P. Haupt, Baltimore, 1926, pp. 47–57;
A.R. Ceresko, ‘Psalm 149: Poetry, Themes (Exodus and Conquest), and Social
Function’, Biblica 67 (1986), pp. 177–94;
B. Gosse, ‘Le Psaume cxlix et la réinterpr’etation post-exilique de la tradition
proph’etique’, VT 44 (1994), pp. 259–63;
278–84;
W.S. Prinsloo, ‘Psalm 149: Praise Yahweh with Tambourine and Two-edged
Sword’, ZAW 109 (1997), pp. 395–407;
E. Zenger, ‘Die Provokation des 149. Psalms’, in R. Kessler et al. (eds.), ‘Ihr
Völker alle, klatscht in die Hände!’. FS E.S. Gerstenberger, Münster: LIT-
Verlag, 1997, pp. 181–94;
J. Stautermeister, ‘Psalm 149,6 und die Diskussion um das sogenannte “waw
adaequationis”’, BN 101 (2000), pp. 64–80;
J Berman, ‘The “sword of mouths” (Jud. iii 16; Ps. cxlix 6; Prov. v 4): a
metaphor and its ancient near eastern context’, VT 52 (2002), pp. 291–303;
M. Leuenberger, ‘“. . . und ein zweischneidiges Schwert in ihrer Hand” (Ps 149,6):
Beobachtungen zur theologiegeschichtlichen Verortung von Ps 149’, in E. Zenger
(ed.), The Composition of the Book of Psalms (BEThL 238), Leuven/Paris/
Walpole (MA): Peeters, 2010, pp. 635–42.
10
For intertextual allusions between Psalm 149 on the one hand and Psalms 96 98
Isa. 60–61 on the other, see Allen (2002), p. 397, and Ballhorn (2004), p. 324.
43 Psalm 150
Structure: 2.3 lines (Type IB)
1 HLLW ’L bqdšw hllwhw brqy‘ ‘z w
2 hllwhw bgbwrtyw hllwhw krb gdl w
3 hllwhw btq‘ šwpr hllwhw bnbl wknwr

4 hllwhw btp wmh.wl hllwhw bmnym w‘wgb
5 hllwhw bs.ls.ly šm‘ hllwhw bs.ls.ly trw‘h 6 kl hnšmh THLL YH
43.1 Text
No remarks.
43.2 Content
Concluding exhortation to praise God.
• Praise God in his holy abode in accord with his power and greatness
(vv. 1–2; about above).
• Let all living ceatures praise God with all sorts of instruments (vv. 3–6;
about below ).

43.3.1.1 imperative: hllw, v. 1a+b; 43.3.1.2 none
ext. // all imperatives in
vv. 2–5

43.3.2.1 none 43.3.2.2 none

none

vv. 1–2: suffix -w, vv. 1a+b.2a+b! (epiphora)
‘zw/gbwrtyw, vv. 1b and 2a resp.
vv. 3–5: btq‘ šwpr/šm‘ [. . . ] trw‘h, vv. 3a and 5 resp. (alliter.; inclusion)

vv. 1–2.3–6: hllw/thll, vv. 1a and 6 resp.! (inclusion)
’l (‘God’)/yh, vv. 1a and 6 resp.! (inclusion)
hllwhw, vv. 1b–2.3–5 (concatenation)
bgbwrtyw/bs.ls.ly trw‘h, vv. 2a and 5b resp. (alliter.; linear)

prep. b- (totally left out of consideration)

Psalm 150 has 5 verselines and 11 cola.1 V. 3 is the middle verseline (>
2+1+2 lines) and v. 3b is the middle colon (> 5+1+5 cola).
Structure of strophes in terms of words: 11+22 (= 33 = 3×11 words
in total). Because the number 11 (note the numbers printed in bold face)
symbolically represents the idea of ‘completeness’ (see the introductory
chapter ‘Methodology’, § 1.4 above), the weaving of it into the structure
of this poem is very functional: Psalm 150 finalizes the Psalter as a whole.
In addition, Labuschagne has discovered that the strophes (vv. 1–2 and
3–6) are composed of 52 and 104 letters respectively. Both numbers are
multiples of 26, in gematria representing the Tetragrammaton. That is to
say, in a symbolic way the divine name is woven into the fabric of the text
of each individual strophe!2
1
In accordance with the number of cola, there are also 11 occurrences of the root
hll (‘to praise’). Within Psalm 150 the continuous recurrence of this root functions as
a pedal point supporting the concluding chords of the Psalter as a whole praising God.
Fokkelman (MPHB II) considers hllw yh at the beginning and the end of the psalm
individual cola and organic elements of the composition (cf. Girard in § 43.6); he counts
7 verselines and 13 cola. However, in this respect Fokkelman is not consistent: in the
preceding psalms (146–149) he does not always include the editorial exhortations hllw
yh and in 2002 (The Psalms in Form) he does not include hllw yh at the beginning of
Psalm 150!
2
www.labuschagne.nl/ps150.pdf, Observation 3. These unambiguous and objective
quantitative observations, in which the expression hllw yh framing the psalm is left
out of consideration(!), contradict Fokkelman’s statement that the ‘Hallelujah-envelope
does count, as part of the poem and in a numerical sense’ (MPHB II, pp. 322–23). In
support of this conviction, Fokkelman has two arguments: ‘the twelve occurrences of the
imperative of hll, and the score for the norm figure 8, which only becomes apparent if by
including the envelope we arrive at 13 cola for 104 sylables’ (MPHB II, p. 323 n. 97). For
a discussion of the ‘Zahlensymbolik’ of our psalm, see also Mathys (2000), pp. 331–33,
The divine name, yh, occurs in v. 6; in v. 1 God is designated ’l.

Köster (1837): 1–2.3–6; similarly Seybold (1996)
De Wette (1856): no strophes; similarly Ewald (1866), p. 528, Gemser
(1949), Kissane (1954), Kraus (1978)
Ley (1875), pp. 149–50: 1–2.3–4.5–6+hllw yh (3×2 bicola); similarly Duhm
(1922), Mowinckel (1957), pp. 86–87, Terrien (2003)
Delitzsch (1894): 1–5.6
Zenner (1906), pp. 273–76: . . . ||149,1–4||5–9.150,1–6 (. . . ||4||5|5 lines)
Gunkel (1926): no divisions (‘Regelmäßiger Strophenbau tritt nicht hervor’)
Calès (1936): 1.2–5.6
Beaucamp (1979): 1–2.3–5 6 (4.6 1 cola)
Jacquet (1979): 1–2.3–5.6* (2.3.1 bicola); cf. Beaucamp (1979)
Girard (1994): hllw yh.1–2|3–6.hllw yh
Auffret (1995): 1.2.3–5.6
Fokkelman (2000), pp. 322–23: hllw yh+1–2.3–6+hllw yh (3.4 lines)
Allen (2002): 1–2.3–5.6 (note pp. 402–03); similarly [Hossfeld]/Zenger (2008);
cf. Beaucamp (1979)
Weber (2003): 1–2|3–5.6
www.labuschagne.nl/ps150.pdf: 1–2.3–6 (2.3 lines; 4.7 cola; 11.22 words;
52.104 letters)

Psalm 150 divides into two almost regular strophes of 2 and 3 verselines
respectively (vv. 1–2 and 3–6).3 This division is primarily based on seman-
tic considerations: vv. 1–2 are about the praise of God in his holy abode
above (note brqy‘ [‘in the firmament’]; v. 1b) and contain a motivation for
this praise (‘in accord with his mighty acts’/‘immense greatness’; v. 2);
vv. 3–6, on the other hand, speak of his praise on earth below (note ‘ev-
and [Hossfeld]/Zenger (2008), p. 675. In this respect, Zenger assumes that the 11 cola,
which in his opinion divide into 4-6-1 (vv. 1–2.3–5.6), represent the whole earth (the four
quarters of the compass) and ‘das Wochenschema [. . . ], wodurch das als siebtes Glied
genannte Gotteslob “allen Atems” zusätzlich eine besondere Dignität [. . . ] erhält’ (6-1);
cf. Girard (1994), pp. 547–48. In my opinion, this reasoning is unfounded (among other
things because vv. 1–2 is not about the earth but about heaven) and rather fanciful.
3
For this division, see also Köster, Girard, Fokkelman, Weber and Labuschagne in
§ 43.6.
ery breath’; v. 6) and the instruments accompanying this praise (§ 43.2).4

Zenger rightly notes that the preposition k- in v. 2b functions as a ‘Struk-
tursignal’, marking the end of the first strophe (vv. 1–2).5 Moreover, the
‘blast of the horn’ (tq‘ šwpr ; v. 3a) is very meaningful in the opening colon
of the following strophe. ‘Der Schofar [. . . ] bildet das Anfangssignal, jenen
Ruf, der Neues verkündet’; Ballhorn (2004), p. 350.
It is further to be noted that, from a formal perspective, vv. 1–2 stand
out by the repetition of the possessive suffix -w (§ 43.4.1). Moreover,
the quantitative observations in terms of the number of words and let-
ters strongly support the thematic break after v. 2: vv. 1–2.3–6 > 11+22
words and 52+104 letters (see § 43.5). In my opinion, the going together
of these symbolic numbers, which exactly fit the strophic structure of the
composition(!), cannot be dismissed as a coincidence. We are obviously
dealing with consciously designed literary devices providing the text with
deeper meaningful layers and enriching it with at first sight unexpected
messages. These techniques show the crafsmanship of the Hebrew poets
in the service of the glory of the Lord. And to crown it all, the inter-
pretation of 11 as symbolically representing the idea of ‘completeness’ (cf.
the 22 letters of the Hebrew alphabet!) is corroborated by the following
observation.
The boundaries of the psalm as a whole are highlighted by the device for
inclusion; see hllw ’l (‘praise God’) and thll yh (‘let [every breath] praise the
Lord’) in vv. 1a and 6 respectively. In this respect, it is worth noting that
the imperative hllw without the suffix -hw (v. 1a) and the jussive thll (v. 6)
do not occur elsewhere in the poem; the same applies to the designations
for God, ’l and yh. Furthermore, Ceresko (2006) rightly points out that the
reader is surprised by the use of the designation ’l (‘God’) as object of the
verb hll rather than yhwh at the very beginning of the psalm. However,
paired with its final words, thll yh, ‘one discovers a potential alphabetic
feature’ consisting of an opening phrase in which the second word begins
with an ’aleph and a closing expression in which the second to the last word
begins with a taw.6
4
The correspondences between this composition and Psalm 148 are well-known; note
the repetition of hllwhw at the beginning of the cola in Psalm 150 and 148,1–4. In my
opinion, as far as the overall design of these psalms is concerned, the correspondences
include the exhortations to praise God in the heaven and on earth respectively; contra
[Hossfeld]/Zenger (2008), p. 877. In this respect, cf. further Weber (2003), p. 385.
5
[Hossfeld]/Zenger [2008], pp. 872.873; see also Schweizer (1977), p. 41, and Girard
(1994), pp. 546.548.
6
Ceresko (2006), p. 42; see now also www.labuschagne.nl/ps150.pdf, Observation 1.
For this way of ‘alphabetic thinking’, cf. Psalms 1 5 70 79 (note ’lhym and thltk ) 112
and 138.
Compared with the opening strophe, the second strophe is lengthened

by one verseline. This structural design is in accordance with what we
found in the preceding psalms.7 Once again, this extension has an inten-
sifying function. The summarizing concluding colon v. 6c represents the
apex of the final strophe: ‘let all/every breath praise yh’. As third colon of
the concluding verseline, v. 6c is an integral part of the concluding strophe.8
the following verbal repetitions: ’l (‘God’; v. 1) > 149,6; wknwr (v. 3) >
149,3; mh.wl (v. 4) > 149,3; kl (v. 6) > 149,9 (linear).
43.8 Bibliography
H. Schweizer, ‘Form und Inhalt. Ein Versuch gegenwärtige methodische Dif-
ferenzen durchsichtiger und damit überwindbar zu machen. Dargestellt anhand
von Ps 150’, BN 3 (1977), pp 35–47;
H. Seidel, ‘Ps. 150 und die Gottesdienstmusik in Altisrael’, NThT 35 (1981), pp.
89–100;
Sh. Talmon, ‘Fragments of a Psalms Scroll from Massada, MPsb (Massada 1103–
1742)’, in M. Brettler and M. Fishbane (eds.), Minh.ah le-Nah.um. FS N.M.
Sarna (JSOTS 154), Sheffield: JSOT Press, 1993, pp. 318–27;
284–87;
H.P. Mathys, ‘Psalm cl’, VT 50 (2000), pp. 329–44;
P. Auffret, ‘Par le tambour et par le danse. Étude structurelle du Psaume 150’,
EThR 77 (2002), pp. 257–61;
A.R. Ceresko, O.S.F.S., ‘Endings and Beginnings: Alphabetic Thinking and the
Shaping of Psalms 106 and 150’, CBQ 68 (2006), pp. 32–46.
7
See the lengthening of the concluding cantos in Psalms 147, 148 and 149.
8
For this structural phenomenon, cf. Ps. 2,12c 3,9b 7,9a 15,5c 55,24c 68,36c 103,22c
104,35c 125,5c (cf. 128,6b) 129,8c (cf. also 20,6c, marking the end of Canto I); against
Mowinckel (1957), pp. 88–91, and [Hossfeld]/Zenger (2008), p. 874 (cf. also Delitzsch,
Calès, Beaucamp, Allen and Auffret in § 43.6). ‘Alle Psalmen des Schlußhallel weisen die
eigentümliche Besonderheit auf, daß sie ihren Scopus nicht in der Überschrift, sondern
im jeweils letzten Vers tragen’; Ballhorn (2004), p. 355.
578 chapter iii: afterthought
44 An afterthought: Psalm 1
Structure: 2.3.2 (Type III)
1 ’ŠRY h’yš ’šr L’ HLK B‘S.T RŠ‘YM wBDRK H .T
. ’YM L’ ‘MD wBMWŠB LS.YM
2 KY ’M btwrt YHWH h.ps.w wbtwrtw yhgh ywmm wlylh [L’ YŠB
3 whyh k‘s. štwl ‘l plgy mym ’šr pryw ytn b‘tw

w‘lhw l’ ybwl wkl ’šr y‘śh ys.lyh.
4 l’ KN hRŠ‘YM KY ’M kms. ’šr tdpnw rwh.
5 ‘l KN L’ YQWMW RŠ‘YM BMŠPT wH

. .T. ’YM B‘DT s.dyqym
6 KY ywd‘ YHWH DRK s.dyqym wDRK RŠ‘YM T’BD
44.1 Text
V. 1: colometric division in accordance with the Masoretic accentuation.
44.2 Content
The way of wicked people is doomed, as opposed to that of the righteous.
• Theme: happy the man who does not take advice from wicked people,
but meditates on God’s Torah (vv. 1–2); about behaviour.
• Development: he shall be like a fruitful tree (v. 3); the wicked on the
other hand shall be like chaff which the wind drives away (v. 4); about
fortunes and phrased in metaphors from plant world.
• Generalizing conclusion (dénouement): the wicked shall perish (vv.
5+6b), while God protects the righteous (v. 6a).

44.3.1.1 ’šry, v. 1a ‘l kn, v. 5a
w- beginning of the line, v. 3a;
ext. // w- in v. 3c 44.3.1.2 none

44.3.2.1 ywmm wlylh, v. 2b 44.3.2.2 none
(l’ ) kn beginning of the line,
v. 4a
iii.44 psalm 1 579

none

vv. 1–2: wb- at the beginning of the second colon, vv. 1b.2b (exactly
linear); see also wb- in v. 1c!
vv. 3–4: w-, vv. 3a.3c (anaphora); see also w- at the beginning of the
colon in v. 3d
prep. k-, vv. 3a.4b! (inclusion); note also the alliter. k‘s./kms.
štwl ‘l plgy/w‘lhw l’ ybwl, vv. 3aB and 3c resp. (alliter.; linear)
’šr, vv. 3b.3d.4b
l’, vv. 3c.4a
vv. 5–6: roots qwm (‘to arise’)/’bd (‘to go down’), vv. 5a and 6b resp.;
cf. Prov. 28,28
rš‘ym, vv. 5a.6b
} chiasmus
.sdyqym, vv. 5b.6a!

vv. 1–2.5–6: ’šry/t’bd, vv. 1a and 6b resp. (inclusion); note ’aleph
and taw as the first letters of the framing words; see
§ 44.7 below
l’ hlk . . . l’ ‘md . . . l’ yšb/l’ yqwm, vv. 1a–c and 5a resp.!
(linear)
b‘s.t rš‘ym/b‘dt .sdyqym, vv. 1a and 5b resp. (linear);
note also the alliter. in b‘s.t/b‘dt and see furhter bdrk
h..t’ym [. . . ] bmwšb ls.ym/rš‘ym bmšpt. in vv. 1b–c and
5a resp. (linear)
drk, vv. 1b.6a+b! (inclusion)
h..t’ym, vv. 1b.5b! (linear)
yhwh, vv. 2a.6a! (linear)
vv. 1–2.3–4.5–6: rš‘ym, vv. 1a.4a.5a+6b! (concatenation)

ls.ym/ys.lyh., vv. 1c and 3d resp. (alliter.)
ky ’m, vv. 2a.4b!; see also ky in v. 6a! (linear)
prep. ‘l, vv. 3a.5a! (linear); see also ‘lh (‘foliage’), v. 3c
b‘tw/b‘dt, vv. 3b and 5b resp. (alliter.; linear)
l’ kn/kn l’, vv. 4a and 5a resp.! (concatenation)

’šr (v. 1a), prep. b- (vv. 1b.1c.2a.2b.5a), w- at the beginning of the colon
(v. 3d)

suffix -w (vv. 2a+b.3b+c [-hw ].4b [-nw ]), root yšb (v. 1c [2×]), twrh (v. 2
[2×])

Psalm 1 has 7 verselines and 15 cola.1 From these perspectives, v. 3c–d is
the central verseline (> 3+1+3 verselines) and v. 3c the pivotal colon (>
7+1+7 cola).
Strophic structure in terms of words: 24+26+17 (= 67 words in total).
From this point of view, the seven words of v. 3b–c (‘which brings forth its
fruit in due season and whose foliage does not fade’) constitute the centre
of the poem (> 30+7+30 words).2 However, it is worth noting that the
pivotal verseline (v. 3c–d) is also composed of 7 words and additionally
consists of 26 (11+15) letters (v. 3b–c has 25 letters).3 Moreover, v. 3d
is the only colon in the central strophe vv. 3–4 which plainly phrases the
fortunes of the ‘righteous’ (without using the metaphor from plant world):
‘and all he does prospers’ !4 Therefore, I take v. 3c–d as the rhetorical
centre of the psalm.
The divine name, yhwh, occurs 2×: vv. 2 en 6.5
1
Fokkelman has 8 verselines and 16 cola because (with many others) he takes vv. 1a
as a bicolon. For the number of 15 cola, see also Möller (1931), pp. 3–4!
2
See also Labuschagne, www.labuschagne.nl/ps001.pdf, Observation 1.
3
For pivotal verselines consisting of 26 letters, see also Pss. 11,4 (26+26 letters), 39,8
(15+11 letters), and 40,7b–c (11+15 letters). The concluding verseline of Psalm 1 (v. 6)
has also 7 words, but in terms of 26 letters v. 3c–d is unique: vv. 1.2.3a–b have 55.37.34
letters respectively and vv. 4.5.6 have 28.36.32 letters respectively. For the consciously
designed central position of kl in terms of the 26 letters (> 12+2+12 letters), see § 44.7.
4
For this rhetorical phenomenon, cf. the pivotal verseline Ps. 7,5, like Ps. 1,3c–d con-
sisting of 7 words within a strophe of 26 words (cf. Ps. 1,3–4) and concretely expressing
the innocence of the psalmist, and the pivotal words Ps. 23,4d (> 26+3+26 words),
explicitly speaking about God’s presence; see CAS I, Ch. III.7 and III.23 (note pp. 135
and 255 respectively).
5
The numbers of words in vv. 3–4 and 5–6 (26 and 17 words respectively) may
additionally represent the Tetragrammaton. Labuschagne notes that vv. 2–3 and 4–6
also have 26 words (www.labuschagne.nl/ps001.pdf, Observation 4).
iii.44 psalm 1 581

Köster (1837): 1–3.4–6 (3.3 verses); similarly De Wette (1856), Ewald
(1866), pp. 218–20
Ley (1887): 1–2.3–4.5–6 (3.‘3’.2 lines); cf. Haupt (1903), pp. 130–32, König
(1927), pp. 90–91, Van Uchelen (1971)
Delitzsch (1894): 1–3.4–6 (9.6 cola); cf. Delitzsch (1921), pp. 91–92
Zenner (1906), pp. 54–55: 1–2.3a–c.4–6 (3.2.3 lines)
Duhm (1922): 1–2.3+6a.4–5+6b (2×3 bicola.2 tricola)
Gunkel (1926): 1–3.4–6 (4.3 lines); cf. Kittel (1929), Pannier/Renard (1950),
Kuntz (1974), pp. 220–21, Ravasi (1985)
Möller (1931), pp. 3–4: 1–2.3–4.5–6 (2.2.2 verses and 5.6.4 cola[!]); cf. Botha
(1991), pp. 387–88
Condamin (1933), pp. 120–21: 1–2.3|4.5–6 (2.1|1.2 lines)
Lund (1933), pp. 294–95: 1–2.3a–c.3d|4a.4b.5–6 (a.b.c|c’.b’.a’; 6.3.1|1.2.4
cola); cf. Vogels (1979)
Calès (1936): 1–2.3.4–6 (3.3.3 lines); similarly Kissane (1953); cf. Van der
Ploeg (1971)
Böhl (1946): 1–2.3|4–5.6 (3.2|2.2 lines)
Kraft (1938): 1–2.3.4–6 (3.2.3 lines); similarly Fokkelman (2000/2002); cf.
Zenner (1906) and Calès (1936)
Mowinckel (1957), p. 23: 1–2.3–4a.4b–6 (3.3.3 bicola)
Magne (1958), pp. 191–92: 1–3|4–5.6 (10|4.2 cola)
Kunz (1963): 1–2.3.4–6 (4.2|4|2.4 cola); cf. Kraft (1938)
Kosmala (1966), pp. 177–78: ’šry h’yš.1.2.3a.3b–d.4a.4b.5–6 (1.3.2.1.3.1.1.4)
Ridderbos (1972): 1–3.4–5|6a.6b (4.2.1 lines; A.B|a’.b’; note p. 120 n. 3);
similarly Kraus (1978), Willis (1979), pp. 396–401, Aletti/Trublet
(1983), pp. 60–61, Craigie (1983), Krašovec (1984), pp. 111–12, Weber
(2001/2006/2012), [Hartenstein]/Janowski (2012), pp. 11–18; cf. Botha
(1991), p. 391, and [Hossfeld]/Zenger (1993)
Alden (1974), p. 14: 1–2.3|4.5–6 (a.b|b’.a’); cf. Lund (1933)
Jacquet (1975): 1a.1b–2.3a–c.4–5.6 (1.2.2.2.1 bicola)
Beaucamp (1976): 1 2–3b.4–5|6 (4 4.4|2 cola)
Merendino (1979), pp. 46–47: 1a–b+2.3a*+3b*|4.5 6 (a.b|b’.a’ v. 6)
Durlesser (1984): 1.2–4.5 6 (a.b.a’ v. 6)
Girard (1996): 1.2.3|4a.ky ’m.4b–5 6a.6b (a.b.c|a’.b’.c’ d.d’); cf. Ridderbos
(1972) and Seybold (1996)
Terrien (2003): 1–2.3.4–6 (2.2.2 lines); cf. Kraft (1938) and Kunz (1963)
www.labuschagne.nl/ps001.pdf: 1–2.3.4–6 (2.1.3 lines); cf. Terrien (2003)

There is a multitude of opinions with regard to the poetic framework of
Psalm 1; see § 44.6 above. By far the most widely held strophic analysis
consists of a twofold division into three Masoretic verses each: the enduring
prosperity of the righteous (vv. 1–3), and the speedy ruin of the wicked (vv.
4–6).6 The weakness of this division has already been pointed out by König
(1927): ‘die Absicht des Dichters war nicht diese, daß er in V. 1–3 allein
den Gesetzesfreund und in V. 4–6 allein den Gesetzesverächter schildere’
(p. 90).7 A comparison between Ps. 1,1–4 and Jer. 17,5–8, two texts with
very similar turns of phrase, may illustrate the correctness of this remark.
In the latter pericope it is obvious that the first 3-line strophe (vv. 5–6)
deals with the wicked and the second 3-line strophe (vv. 7–8) with the
righteous:8
5 ’rwr hgbr ’šr ybt.h. b’dm wśm bśr zr‘w wmn yhwh yswr lbw
6 whyh k‘r‘r b‘rbh wl’ yr’h ky ybw’ .twb
wškn h.rrym bmdbr ’rs. mlh.h wl’ tšb
7 brwk hgbr ’šr ybt.h. byhwh whyh yhwh mbt.h.w

8 whyh k‘s. štwl ‘l mym w‘l ywbl yšlh. šršyw wl’ yr’ ky yb’ h.m
whyh ‘lhw r‘nn wbšnt bs.rt l’ yd’g wl’ ymyš m‘śwt pry
Ridderbos (1972) considered Ps. 1,6 a relatively individual concluding

verseline.9 The cola of this verseline are supposed to linearly summarize
the preceding sections vv. 1–3 and 4–5. In this respect, Weber (2001/2006)
speaks of a ‘“Trichter”-Struktur’ (vv. 1–3.4–5.6 > 10.5.2 cola). This view
has become rather popular in modern times (see Ridderbos [1972] in § 44.6).
However, this refinement of the bipartite division, vv. 1–3.4–6, only par-
6
See Köster, Delitzsch, Gunkel, Condamin, Lund, Böhl, Magne, Alden, Merendino
and Girard in § 44.6. Lund (1933), Alden (1974), and Merendino (1979) also argued that,
in terms of ideas, this bipartite division displays a symmetric design; cf. the distribution
of verselines assumed by Condamin (1933).
7
Similarly Möller (1931, p. 4): ‘Diese Teilung läßt sich aber nicht durchführen, da
einerseits auch V.1 von dem Gottlosen und andererseits auch V.6 von dem Gerechten
reden’.
8
So rightly Durlesser (1984), pp. 38–41. For a comparable phenomenon, cf. Psalm
92: in terms borrowed from plant world(!), vv. 6–8 (Canticle I.2) speak about the fate of
the wicked, while vv. 13–16 (Canticle II.2) are about the succes of the righteous (see Ch.
II.3 above). In this respect, cf. also M. Weiss, ‘Die Methode der “Total-Interpretation”’,
in Congress Volume Uppsala 1971 (SupplVT 22), Leiden: Brill, 1972, pp. 88–112 (note
pp. 106–12), and Krašovec (1984), pp. 108–12.
9
Similarly Beaucamp (1976), Merendino (1979), Durlesser (1984) and Girard (1996);
see § 44.6.
iii.44 psalm 1 583
tially meets König’s objection: in v. 1 the behaviour of the wicked is brought

to the fore and in v. 5b the psalmist speaks of the righteous. Moreover,
this design fails to do justice to the structural coherence of vv. 5 and 6.
In my opinion, Psalm 1 is a highly sophisticated composition, opening
the book of Psalms. Its concentric design is one of the most conspicuous
features in terms of structure. Vv. 3–4 represent a pivotal 3-line strophe
and stand out on the grounds of their allegorical character. This 3-line
strophe is enveloped by 2-line strophes at both sides, vv. 1–2 and 5–6.10
The poetic verselines of these strophes are determined by the well-known
device for parallelismus membrorum11 and, in most cases, coincide with
the Masoretic verses. These verses represent relatively individual syntactic
and semantic units. V. 3 is an exception. The syntax and parallel ideas
which determine the structure of this Masoretic verse indicate that we are
dealing with four cola.12 I suppose that these cola represent two bicola and
display an enjambement between vv. 3a–b and 3c–d.13 V. 3aA (whyh k‘s.)
is probably a projecting phrase at the beginning of the strophe, a device
for anacrusis; see also ’šry h’yš at the beginning of v. 1.14 In accordance
with the Masoretic accentuation, v. 1 is to be taken as a tricolon; the ‘ole
weyored after rš‘ym and the ’atnah. after ‘md mark the end of the first and
the second colon respectively.15
Departing from this colometric interpretation, all pieces of this ‘sacred
10
For this strophic division (leaving the concentric design in terms of verselines out of
consideration), see also Ley (1887) and Möller (1931) in § 44.6.
11
Weber (2001), p. 49, mistakenly argues that our psalm is dominated by ‘ein
aufzählender, verkettender Stil [. . . ] mit einem Überfliessen der Kolon- und Versein-
heiten’; cf. also Bullough, who speaks in this respect of ‘plain rhythmic prose’ (1967,
p. 45), Loretz (2002, p. 21: ‘kommentierte anthologische Kette von Zitaten’), and more
recently [Hartenstein]/Janowski (2012, p. 12: ‘ein anthologischer, verkettender Stil’).
Such characterizations positively apply to e.g. Psalm 110, but certainly not to Psalm 1.
12
For the colometric division of v. 3 into four cola, see also Möller (1931), Böhl (1946,
p. 42), Ridderbos (1972, p. 119), Fokkelman (MPHB II, p. 54), Weber (2001, p. 48).
13
For the device for enjambement at the interface of successive verselines, see Pss.
3,2–3 6,3–4 7,4–5 10,8c–9 29,1–2 57,2 63,2 67,7–8 73,23–24 74,22–23 85,9
(similarly Fokkelman, MPHB II, p. 240 n. 45) 89,12–13.37–38 92,9–10(!) 96,1–2.7–8
98,5–6 106,23 107,6–7 110,1 112,7–8 127,2 129,6–7 130,1–2(!) 140,5–6 (2×) 141,4
145,15–16(!) 148,7–8 and Isa. 50,7; cf. further my STR (1980), pp. 192–94. In CAS I,
Ch. III.1 (pp. 93–99), I rather dogmatically took it for granted that, like the other
Masoretic verses, Ps. 1,3 in its entirety represent an individual poetic verseline.
14
For this device, see CAS I, Ch. V, 6.3 (pp. 533–35) and cf. also STR (1980), p. 194.
15
For this accentuation of a tricolon, see also Pss. 12,6.7 14,3.4 16,11 24,8.10 27,11.14
35,15 (First Book of the Psalter). For the Masoretic accentuation of tricola, cf. further
CAS I, Ch. V, 6.1 (pp. 522–25). From a semantic point of view, Janowski (2008, p. 204)
points to ‘die Stilform eines klimaktischen Bewegungsablaufs mit den Phasen Gehen >
Stehen > Sitzen’; otherwise [Hartenstein]/Janowski (2012), pp. 12–13.
puzzle’ fall into place. In terms of verbal repetitions (and semantic equiv-
alences), vv. 1–2 and 5–6 display an impressive cluster of exclusive linear
correspondences; see § 44.4.2 (vv. 1–2.5–6). That is to say, vv. 1.2|3–4|5.6
> a.b|X|a’.b’. These linear correspondences are in line with a thematic ap-
proach. In v. 1 we are informed about the situations in which the righteous
man is not found, while v. 5 tells us where the wicked do not ‘stand’ (root
qwm). In the second verselines of the strophes in question the attention of
the righteous is focused on God’s Torah (v. 2), while the attention of God
is focused on the righteous (v. 6a). This structural pattern reinforces the
concentric aspect of the poem in terms of verselines (2.3.2 lines).16 It needs
no explanation that the noun drk (‘way’) occurring in the middle colon of
the first verseline (v. 1b) and in both cola of the concluding line (vv. 6a+b)
unambiguously fits this concentric design.
The same applies to the alphabetizing device based on the correspon-
dence between the opening and concluding words ’šry (‘happy’) and t’bd
(‘she goes down’) exactly demarcating the boundaries of the composition
as a whole. These words begin with an ’aleph and a taw respectively, the
first and the final letters of the Hebrew alphabet; in this respect, note
also the alliteration ’šry h’yš ’šr opening the poem.17 This alphabetiz-
ing device—and as a consequence the concentric design of the psalm as a
whole—is further reinforced by the middle position of the word kl in the
pivotal versline v. 3c–d (> 12+2+12 letters; see § 44.5). In the context of
the alphabetizing acrostic, this is a remarkable phenomenon because the
letters kaph and lamed also constitute the middle letters of the Hebrew
alphabet (the 11th and 12th letter respectively)18 and may support the
interpretation of the alphabetizing device as a means to express the idea of
‘comprehensiveness’ !
That is to say, the concentric aspects of Psalm 1 in terms of verbal
correspondences coincide with the pivotal position of the verseline v. 3c–d,
which (in the first place) has been established on the grounds of numerical
observations (§ 44.5). Moreover, the subject of the ‘prosaic’ phrase ‘and all
16
For the pattern a.b [. . . ] a’.b’ framing the centre of a composition, see also Psalm
72; note CAS II, Ch. II, 30.4.4 (the linear framework; p. 285) and 30.7 (p. 291).
17
For this (now generally recognized) acrostic device, see Pannier/Renard (1950),
p. 26, and N.H. Ridderbos (1972), p. 88. The same phenomenon occurs in Psalms 5, 70,
79, 112 (note ’šry and t’bd ), 138 and 150. Cf. also ’šry in Ps. 119,1–2 and the root ’bd
in Ps. 119,92.95.176 highlighting the parallelism between the Introduction (vv. 1–16) on
the one hand and Parts I.3 (vv. 81–96) and II.3 (vv. 161–176) on the other (see § 12.5.7
above).
18
Cf. klw b‘šn klw (Ps. 37,20c) as the pivotal words (and pivotal colon) of the middle
verselines of the alphabetic acrostic Psalm 37 (> 7+3+7 words); see CAS I, Ch. III.37
(pp. 367–80).
iii.44 psalm 1 585
he does prospers’ (v. 3d; note y‘śh [‘he does’]) is to be found in the opening
and concluding strophes, vv. 1–2 and 5–6; note h’yš (‘the man’) and .sdyqym
(‘righteous ones’) in vv. 1a and 6a. This means that, Psalm 1 is determined
by a ‘geometric pattern’ based on the strategic positioning of vv. 1a, 3d and
6a. These cola function as the literary cornerstones on which the poem is
founded. They more or less succinctly portray the destiny (‘das Ergehen’)
of the ‘righteous’: he is ‘happy’ (v. 1a), he has success (v. 3d), and he is
protected by God (v. 6a).19 The strategic positioning of vv. 1a.3d.6a at the
beginning of the framing verselines and at the end of the middle verseline
suggests that we are dealing with a deliberately designed menorah pattern
(there are 7 verselines).20
Within this basic concentric framework pointing to the success of the
righteous, the psalmist pays ample attention to the fate of the wicked.
The description of this fate is systematically intertwined into the strophic
framework of the composition. Within the metaphors from the plant world
(vv. 3–4) the description of the fate of the wicked constitutes the conclud-
ing verseline (v. 4), and points to the decline of his life. This concluding
verseline linearly corresponds to the concluding verseline of the following
strophe (vv. 5–6) explicitly speaking of his inglorious end (note v. 6b). The
latter message is introduced by the description of the situations in which
the wicked do not ‘stand’ (v. 5; for the linear correspondence with v. 1, in
which the wicked is already brought to the fore, see above). The structural
coherence of vv. 5–6 is (apart from the linear correspondences between vv.
1–2 and 5–6; see above) also based on the chiastic position of the nouns
rš‘ym and .sdyqym; see further § 44.4.1.21
19
For this ‘geometric pattern’, cf. the positioning of the expressions for a ‘long time’
at the end of the framing and pivotal verselines of Psalm 146 (vv. 1.6.10), and the
positioning of h.sydym (‘righteous ones’) at the end of the framing verselines and at the
beginning of pivotal line of Psalm 149 (vv. 1.5.9). The term ‘geometric pattern’ I borrow
from Bazak; see J. Bazak, ‘The geometric-figurative structure of Psalm cxxxvi’, VT 35
(1985), pp. 129–38.
The concentric features of Psalm 1 demonstrate that there is no reason at all to
consider v. 3d a gloss, as suggested by Zenner (1906, p. 54), Gunkel (1926, p. 4), Kraus
(1978, pp. 138–39), Jacquet (1975), and BHS (with reference to Josh. 1,8).
20
For the menorah-psalm par excellence, see Psalm 67; CAS II, Ch. II.25 (pp. 223–28).
In support of his ‘Stanze I’ (vv. 1–3), Weber time and again (2001/2006/2012) argues
that it is ‘chiastisch angelegt’: vv. 1aA (’šry h’yš).1aB–c.2.3a–c.3d (wkl ’šr y‘śh ys.lyh.)
> a.b.c.b’.a’). Within this pattern ‘die doppelte Tora-Aussage’ (v. 2) is the centre and
in this way is supposed to focus on the ‘Quelle, Grund und Herkunft des Gerecht-Seins’
(2001, p. 49); similarly [Hartenstein]/Janowski (2012), pp. 12–14. This interpretation,
however, ignores the concentric aspects pervading Psalm 1 in its entirety.
21
For the summarizing character of this concluding strophe, cf. e.g. Pss. 112,9–10 and
143,11–12; see further CAS I, Ch. V, 5.2.2.2–3 (pp. 515–17). According to Möller (1931,
Alongside the numerous and clearly symmetric aspects which determine

the architecture of Psalm 1, there is also a linear development in terms of
subject matter: theme > development > conclusion (see § 44.2). More-
over, as has already rightly been observed by Möller (1931, pp. 3–4), from
a thematic point of view, there is a smooth transition from one strophe
to the other: ‘Der Schluß der ersten Strophe (V.2) und der Anfang der
zweiten Strophe (V.3) handelt von dem Gerechten, während der Schluß der
2. Strophe (V.4) und der Anfang der 3. Strophe (V.5) von dem Gottlosen
sprechen’.
44.8 Bibliography
P. Haupt, ‘The Poetic Form of the First Psalm’, AJSL 19 (1903), pp. 129–42;
L. Kunz, ‘Zur Liedgestalt der ersten fünf Psalmen’, BZ 7 (1963), pp. 261–70;
S. Bullough, ‘The Question of Metre in Psalm i’, VT 17 (1967), pp. 42–49;
C. Schedl, ‘Psalm 1 und die altjüdische Weisheitsmystiek’, in W. Voigt (ed.),
XVII Deutscher Orientalistentag vom 21. bis 27. Juli 1965 in Würzburg, Wies-
baden: Franz Steiner Verlag, 1969, pp. 318–33;
R. Lack, ‘Le psaume 1—une analyse structurale’, Biblica 57 (1976), pp. 154–67;
R.P. Merendino, ‘Sprachkunst in Psalm i’, VT 29 (1979), pp. 45–60;
W. Vogels, ‘A Structural Analysis of Psalm 1’, Biblica 60 (1979), pp. 410–16;
J.T. Willis, ‘Psalm 1—An Entity’, ZAW 91 (1979), pp. 381–401;
J.A. Durlesser, ‘Poetic style in Psalm 1 and Jeremiah 17:5–8. A rhetorical criti-
cal study’, Semitics 9 (1984), pp. 30–48;
P.J. Botha, ‘The junction of the two ways: the structure and theology of Psalm 1’,
OTE 4 (1991), pp. 381–96;
P. Tagliacarne, ‘Grammatik und Poetik: Überlegungen zur Indetermination in
Psalm 1’, in W. Gross and Th. Seidl (eds.), Text, Methode und Grammatik. FS
W. Richter, St. Ottilien: EOS-Verlag, 1991, pp. 549–59;
K. Nielsen, ‘Sigmund Mowinckel—and Beyond’, SJOT 11 (1997), pp. 200–09;
J.F.D. Creach, ‘Like a Tree Planted by the Temple Stream: The Portrait of the
Righteous in Psalm 1:3’, CBQ 61 (1999), pp. 34–46;
P. Auffret, ‘Comme un arbre . . . . Étude structurelle du Psaume 1’, BZ 45 (2001),
pp. 256–64;
Phil. J. Botha, ‘Intertextuality and the interpretation of Psalm 1’, OTE 18
(2005), pp. 503–20;
B. Russell, ‘Psalm 1 as an Interpreter of Scripture’, Irish Biblical Studies 26
(2005), pp. 170–93;
B. Weber, ‘Psalm 1 and its Function as a Directive into the Psalter and towards
p. 3), vv. 5–6 stand out in Psalm 1 because they speak about the destiny of the righteous
and the wicked from an eschatological perspective.
iii.44 psalm 1 587
a Biblical Theology’, OTE 19/1 (2006), pp. 237–60;

B. Janowski, ‘“Wie ein Baum an Wasserkanälen.” Psalm 1 als Tor zum Psalter’,
in B. Janowski, Die Welt als Schöpfung (BThAT 4), Neukirchen-Vluyn, 2008,
pp. 199–218;
R. Mosis, ‘Rat von Frevlern und Weisung des Herrn. Beobachtungen zu Psalm
1,1–2’, TThZ 118 (2009), pp. 16–35;
L.R. Martin, ‘Delighting in Torah: The Affective Dimension of Psalm 1’, OTE
23/3 (2010), pp. 708–27;
B. Weber, ‘“Dann wird er sein wie ein Baum . . . ” (Psalm 1,3). Zu den Sprach-
bildern von Psalm 1’, OTE 23/2 (2010), pp. 406–26;
F. Hartenstein/B. Janowski, Psalmen (BK XV.1; Lieferung 1), Neukirchen-
Vluyn: Neukirchener Verlag, 2012;
B. Weber, ‘“Like a Bridge Over Troubled Water . . . ”. Weisheitstheologische
Wegmarkierungen im Psalter’, in Angelika Berlejung and R. Heckl (eds.), Ex
oriente Lux. FS R. Lux, Leipzig: Evangelische Verlagsanstalt, 2012, pp. 289–306.
For the commentaries and special studies by Kraft (1938), Van Uchelen (1971),
Craigie (1983), Hossfeld/Zenger (1993), see the general bibliography in CAS I,
pp. 575–81.
Chapter IV
The Canto Design of Biblical Hebrew Poetry

in Terms of Verselines
Introduction
In the fourth chapter of each of the preceding volumes of my Cantos and

Strophes in Biblical Hebrew Poetry (OTS 53 and 57), especially dealing
with Psalms 1–41 and 42–89 respectively, I presented a general outline of
the canto design of all the poems we find in the book of Psalms.1 In the
course of my most recent investigations, the discussion of the structures
of Psalms 90–150 and Psalm 1, I have had to make some—in a number of
cases substantial (see e.g. Psalms 119, 124 and 138)—alterations in previ-
ously presumed structural designs. Therefore, it is now fitting to provide
an updated general outline of these structures on the level of the cantos
and the strophes in the book of Psalms (§§ 1.1–5). This outline is followed
by a slightly revised and updated systematic overview regarding the canto
design of the psalms in terms of verselines (§§ 2.1–6). Moreover, there are
additional paragraphs with a preliminary exploration of basic canto pat-
terns outside the book of Psalms.
1
Cf. CAS I, Chs. IV.1 (pp. 420–26) and V.1 (pp. 437–44), and CAS II, Ch. IV (pp.
485–503).
590 chapter iv: design of hebrew poetry
1 General outline
The following overview offers a general outline of the most fundamental
aspects of the design of the biblical psalms. The numbering of the psalms
is followed by a formalized presentation in the second and third columns
denoting the number of verselines of the cantos and strophes, and 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: 2.3.2 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 591
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 > 2.2|2.2|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|
2.2 15–16.17–18||19–20.21–22
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 > 3×2|3×2||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: 16.80.80 > 16|32.32.16|32. vv. 1–2.3–4.5–6.7–8|9–10.11–12.13–14.
32.16 15–16||17–18.19–20.21–22. etc.
120: 4.3 > 2.2|2.1 vv. 1–2.3–4|5–6.7
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: 3.3.3 vv. 1–3.4–6.7–8
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|4–5b*.5c–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
133–134: 4.3 > 2.2|2.1 133,1–2.3|134,1–2.3
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: 9.13.4 > 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: 5.5 > 2.3|3.2 vv. 1–2a*.2b–3|4–6.7–8
139: 11.12 > 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|3.2 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||13c–14.
2.3 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 Outcome
The total number of compositions is 148. The poems do not always coincide
with the Masoretic divisions between successive psalms. The distribution
of these 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 di-

vide into two independent poems, while Pss. 9–10 constitute a single
poem);
2. Book II (Psalms 42–72) has 30 poems (Psalms 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 42 poems (Psalm 117 is not

an individual composition but a concluding 2-line doxology (cf. Ps.
72,18–19) and Psalms 133–134 constitute a single poem).
That is to say, the Psalter has 42+30+17+17+42 = 148 compositions.

iv.2 cantos and verselines 597
2 Canto design in terms of verselines

2.1 Introduction
Searching for particular patterns in the design of biblical Hebrew 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 often found indeed 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 completely arbitrary: 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 manifests itself in an unmistakable
way.3
Relatively small psalms (consisting of two or three strophes only) do
not display a higher structural level. In these cases the strophic structure
is to be taken as the canto design at the same time; in other words, the
strophic structure coincides with the division into 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 patterns 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 Ch. III.28 above.
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 RCPJ, pp. 460–66. The regularity on canto level is generally ignored by Fokkelman
in his MPHB I–IV.
4
This phenomenon applies to Psalms 1 7,2–9a (7A) 11 13 15 67 87 93 100 113
123 124 125 131 and 150; 15 psalms in total.
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).
2.2 Ps. 100 7.7 Pss. 56, 57, 85
2.2.2 Pss. 13, 87, 125 7.7.7 Ps. 135
3.3.3 Pss. 113, 124 8.8 Pss. 62, 79, 91
4.4 Pss. 3, 4, 12, 40B, 61, 10.10 Pss. 40A, 88, 132, 144
70, 82, 110, 114, 121, 11.11 Ps. 33
126, 127, 128, 129, 130 18.18 Ps. 68
4.4.4 Ps. 137 20.20 Pss. 9–10
5.5 Pss. 6, 8, 16, 20, 47, 138 21.21 Ps. 37
6.6 Pss. 2, 36, 41, 63, 76, 97
The group of poems with a completely regular design on the macrostruc-
tural level include 49 compositions, which amounts to 33.1% of all the
psalms. Most of these poems have two regular cantos. Two poems in this
category display a series of three regular cantos, namely Psalms 135 (7.7.7
verselines) and 137 (4.4.4 verselines); in this respect, cf. also Psalms 13, 87,
113, 124 and 125, which are composed of three uniform strophes.
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). There are only five of such poems in total, that
is 13.9% of the 36 poems in the book of Job displaying a canto structure.6
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.
In Deutero-Isaiah (Isaiah 40–55) we find several poems which are ex-

clusively composed of exactly uniform 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),
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), 49,14–21 (structure: 7.7 lines; vv. 14–18.19–21), 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), Jer. 18,19–23 (structure: 5.5 lines; vv.
19–21.22–23), 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 six 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. However, as a rule, the diver-
gence in question does not exceed one verseline. That is to say, there is an
‘extra’ or a ‘missing’ verseline in the first or in the final canto (Type IB).
In Psalms 77 and 147 the regular cantos are concluded by a canto that 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
6.6.8 Ps. 77 7.8.8 Ps. 94
6.6.5 Pss. 42–43 8.8.9 Ps. 71
These six poems represent 4% of all the psalms. In Psalm 94, where
the irregular canto opens the poem, the divergent canto is by one verseline
shorter than the following regular cantos. When the irregular canto con-
cludes the poem, this canto is generally longer than the preceding regular
cantos; see Psalms 65, 71, 77 and 147. In Psalms 42–43 the concluding
canto is by one verseline shorter than the preceding regular cantos. Gen-
erally speaking: within this group of psalms, the cantos are lengthened in
the progression of the compositions (Psalms 42–43 are 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 (struc-
ture: 8.10 lines) and 101 (structure: 8.6 lines). In the longish composition
Psalm 89 the divergence between the second and the third canto amounts
to even six verselines (structure: 18.20.14 lines).7 The following list gives
a systematic overview of the psalms concerned.
2.3 Pss. 15, 93, 150 6.5 Ps. 46, 142 9.8 Ps. 45
3.4 Ps. 54 6.7 Ps. 108 9.8.6 Ps. 74
4.3 Pss. 120, 133–134 6.7.5 Ps. 90 9.10 Ps. 116
4.5 Ps. 149 6.8 Pss. 32, 96, 148 10.12 Ps. 34
5.4 Ps. 23 7.8 Pss. 39, 84, 92 11.12 Ps. 139
5.6 Pss. 52, 75, 95 8.6 Ps. 101 18.17 Ps. 104
5.7 Ps. 98 8.9 Ps. 17 18.20.14 Ps. 89
6.4 Ps. 99 8.10 Ps. 83
This group of compositions displaying an almost regular design on the
macrostructural level comprise 33 poems, representing 22.3% of all the
psalms. The psalms of this group generally consist of only two cantos
(Psalms 74, 89 and 90 are exceptions). In 21 cases the second canto is
longer than the first; such poems include Psalms 17 32 34 39 52 54 75
83 84 92 95 96 98 108 116 139 148 and 149. In nine psalms composed
of only two cantos the second canto is shorter than the following one; such
7
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).
poems include Psalms 23 45 46 99 142 101 104 120 and 133–134. In

sum: in most psalms of Type IB composed 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 (or strophes). Taken together, we are dealing
with (6 + 33 =) 39 psalms. This number amounts to 26% of all the 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).8
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),9 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 5,8–30 (structure: 13.12.12 lines; vv.
8–17.18–24.25–30), Jer. 17,5–18 (structure: 10.11 lines; vv. 5–11.12–18),
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).
8
For a discussion of these structures, see RCPJ, pp. 165–75, 299–308, 335–47 and
439–43.
9
See P. van der Lugt, ‘“Ik ga voor u uit . . . ” Retorische structuur en numerieke
perfectie in Jesaja 44:24–45:8’, in K. Spronk et al. (eds), Studies uit de Kamper School.
FS W. van der Meer, Bergambacht: Uitgeverij 2VM, 2010, pp. 73–85.
2.4 Type IIA/B/C: the 2.4.4, 4.4.2 and 2.4.4.2 canto

design
2.4.1 Introduction
There is yet another relatively large group of psalms displaying a character-
istic design. I class this group under the basic patterns 2.4.4 (Type IIA),
4.4.2 (Type IIB) and 2.4.4.2 (Type IIC) 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 does not occur within the successive main cantos.10
• Second, the number of verselines of the canto in question does 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.
• Third, in a few psalms there is probably yet another deliberately
designed 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. 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).
As is also the case in the 4.4 canto design, it may happen that the long
cantos of the basic patterns Type IIA/B/C do not exactly balance in terms
of the number of verselines, but differ by one or more lines (cf. Type IB,
10
For a divergent canto interrupting the regular cantos, see § 2.5 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).
§ 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).
In Psalm 50 the opening 6-line canto clearly exceeds half the length of
the longest of the main cantos, which consists of nine verselines. Never-
theless, I reckon the canto structure of Psalm 50 to the basic pattern 2.4.4
because of its 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).
1.2.2 Ps. 123 4.8.9 Ps. 49
1.4.4 Ps. 146 6.9.8 Ps. 50
2.4.4 Pss. 24, 64, 122 6.19.20 Ps. 105
2.5.5 Ps. 141 11.33.33 Ps. 78
3.6.6 Ps. 5 16.80.80 Ps. 119
This group of psalms comprise 12 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 of Psalms 49 and 105 are 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).
2.2.1 Ps. 131 6.6.3 Ps. 48
4.4.2 Pss. 14, 53, 111, 112 6.7.7.2 Ps. 27
5.5.1 Ps. 7B 7.7.2 Ps. 81
5.5.2 Pss. 26, 30, 60 7.7.3 Ps. 86
6.6.1 Ps. 21 8.8.2 Pss. 115, 143
6.6.2 Ps. 140 8.8.3 Ps. 59
12
For the thematic individuality of the opening half-long canto, see CAS I, Ch. V,
5.2.1.1–4 (pp. 507–11).
8.8.4 Ps. 80 10.10.1 Ps. 25

8.8.8.4 Ps. 55 11.11.6 Ps. 73
9.9.9.2 Ps. 31 12.11.6 Ps. 102
9.9.4 Ps. 103 12.12.6 Ps. 109
9.10.4 Ps. 38 14.16.8 Ps. 69
9.13.4 Ps. 136
This group of psalms comprises 29 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 2.4:1).
To sum up, there are (12 + 29 =) 41 psalms which begin or conclude with
a ‘half-long canto’; this number amounts to 27.7% of all the psalms.
Most poems in these categories (Type IIA/B) have two regular or almost
regular ‘long cantos’. Psalms 27, 31 and 55 are composed of three uniform
cantos. These poems 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 respectively.
2.4.5 The 2.4.4.2 canto design

In five psalms there is a ‘half-long canto’ preceding and following the long
cantos at the same time; basic pattern 2.4.4.2 verselines (Type IIC).
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
2.15.15.15.5 Ps. 18
This type of design (featuring in 5 poems) represents 3.4% of all the psalms
with a canto structure. It is a salient point that three of these psalms
have three long cantos (Psalms 18, 44 and 118). In Psalm 107 the main
cantos display a lengthening in the progression of the composition (19 >
20 verselines). In Psalm 106 we are dealing with a decrease in the number
of verselines (20 > 19 verselines).
Outside the book of Psalms the 2.4.4.2 canto design is found in Deutero-
nomy 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.
2.5 Type III: concentric canto designs

2.5.1 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) cantos
envelop a canto that has a (significantly) different number of verselines; ba-
sic pattern 4.X.4 verselines. The following list gives a systematic overview
of the psalms concerned.
2.3.2 Pss. 1, 7A, 67 8.3.8 Ps. 66
3.2.3 Ps. 11 8.4.8 Ps. 72
5.1.5 Ps. 58 9.4.9 Ps. 145
5.3.5 Ps. 28 10.12.10 Ps. 22
2.6.2 Ps. 29 12.8.11 Ps. 35
7.6.7 Ps. 51
Within this group of 13 psalms (8.8% of all the psalms) 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 1 7A 22 67 and 29. In
the remaining eight psalms this concentric scheme is reversed. That is to
say, the pivotal canto is mostly shorter than the framing ones. In Psalms 1
7A 11 67 and 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).
2.5.2 Outside the book of Psalms: a preliminary exploration

In the book of Job there are some telling examples of concentric canto
designs: Job 9 (structure: 11.12.11 lines), 22 (structure: 10.9.10 lines) and
31 (structure: 12.16.12 lines).14
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]).
2.6 Summary
I conclude that the Hebrew poets used a limited number of basic canto pat-
terns 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. Despite
the fact that they imposed particular restrictions on themselves, they freely
varied them, with the result that already on the level of the overall frame-
work hardly any two poems of some length have exactly the same canto
structure in terms of verselines.
14
See RCPJ, pp. 110–23, 255–64 and 348–61 respectively.
ABBREVIATIONS
ÄAT Ägypten und Altes Testament

AB Anchor Bible
ACEBT Amsterdamse Cahiers voor Exegese van de Bijbel en zijn Tra-
dities
AJSL American Journal of Semitic Languages and Literature
ANVAO Avhandlinger utgitt av Det Norske Videnskaps-Akademi i Oslo
AOAT Alter Orient und Altes Testament
ATD Das Alte Testament Deutsch
ATSAT Arbeiten zu Text und Sprache im Alten Testament
AThANT Abhandlungen zur Theologie des Alten und Neuen Testaments
BBB Bonner Biblische Beiträge
BEATAJ Beiträge zur Erforschung des Alten Testaments und des Antiken
Judentums
BEThL Bibliotheca Ephemeridum Theologicarum Lovaniensium
BHS Biblia Hebraica Stuttgartensia
BibLeb Bibel und Leben
BiblSt Biblische Studien
BJS Biblical and Judaic Studies
BK Biblischer Kommentar
BN Biblische Notizen
BOT Boeken van het Oude Testament
BThB Biblical Theology Bulletin
BThSt Biblisch-Theologische Studien
BThAT Beiträge zur Theologie des Alten Testaments
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
CAS II P. van der Lugt, Cantos and Strophes in Biblical Hebrew
Poetry, Psalms 42–89 (OTS 57), Leiden/Boston: Brill, 2010
CBQ Catholic Biblical Quarterly
COT Commentaar op het Oude Testament
DJD Discoveries in the Judaean Desert
EstBı́b Estudios Bı́blicos
EstEcl Estudios Eclesiásticos
ET The Expository Times
EThL Ephemerides Theologicae Lovanienses
608 abbreviations
EThR Études théologiques et religieuses

EvTh Evangelische Theologie
FAT Forschungen zum Alten Testament
FoOr Folia Orientalia
FOTL The Forms of the Old Testament Literature
FRLANT Forschungen zur Religion und Literatur des Alten und Neuen
Testaments
FzB Forschung zur Bibel
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
HAR Hebrew Annual Review
HAT Handbuch zum Alten Testament
HBS Herders biblische Studien
HCOT Historical Commentary on the Old Testament
HK Göttinger Handkommentar zum Alten Testament
HS Die heilige Schrift des Alten Testaments
HSS Harvard Semitic Studies
HThK.AT Herders theologischer Kommentar zum Alten Testament
HThR Harvard Theological Review
HTS Hervormde Teologiese Studies
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
JHS Journal of Hebrew Scriptures
JNES Journal of Near Eastern Studies
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
JQR Jewish Quarterly Review
JSJ Journal for the Study of Judaism
JSOT Journal for the Study of the Old Testament
JSOTS Journal for the Study of the Old Testament, Supplement
Series
JSS Journal of Semitic Studies
KAT Kommentar zum Alten Testament
KHC Kurzer Hand-commentar zum Alten Testament
KV Korte Verklaring van de Heilige Schrift
abbreviations 609
LXX Septuaginta
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
MThA Münsteraner theologische Abhandlungen
MThSt Münchener theologische Studien
MThZ Münchener theologische Zeitschrift
NAB New American Bible
NBG Vertaling 1951 van het Nederlands Bijbelgenootschap
NBV Nieuwe Bijbelvertaling, Nederlands Bijbelgenootschap, 2004
NTA Neutestamentliche Abhandlungen
NThT Nederlands Theologisch Tijdschrift
OBO Orbis Biblicus et Orientalis
OTE Old Testament Essays
OTS Oudtestamentische Studiën/Old Testament Studies
OTWSA Oud-Testamentiese Werkgemeenskap van Suid-Afrika
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
RThom Revue Thomiste
SBB Stuttgarter biblische Beiträge
SBL Society of Biblical Literature
SBS Stuttgarter Bibelstudien
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
610 abbreviations
SupplVT Supplements to Vetus Testamentum

ThB Theologische Bücherei
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
UBL Ugaritisch-Biblische Literatur
UF Ugarit-Forschungen
VD Verbum domini
VT Vetus Testamentum
WBC Word Biblical Commentary
WMANT Wissenschaftliche Monographien zum Alten und Neuen
Testament
WZKM Wiener Zeitschrift für die Kunde des Morgenlandes
ZAH Zeitschrift für Althebraistik
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.
612 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 613
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’.
‘symétrie croisée’: two individual patterns of formal and/or semantic
correspondences framing a poetic section in a linear and a symmetric
614 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.
Allen, L.C. Psalms 101–150 (WBC 21), Waco (Texas): Word Books, 1983;
revised edition 2002.
E. Ballhorn, Zum Telos des Psalters. Der Textzusammenhang des Vierten
und Fünften Psalmenbuches (Ps 90–150) (BBB 138), Berlin/Wien:
Philo & Philo, 2004.
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).
616 bibliography
Booij, Th. Psalmen III (81–110) (POT), Nijkerk: G.F. Callenbach, 1994.
— Psalmen IV (111–150) (POT), Kampen: Kok, 2009.
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.
Condamin, A. Poèmes de la Bible. Avec une introduction sur la strophique
hébraı̈que, Paris: Gabriel Beauchesne et ses Fils, 2nd edn 1933.
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, 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), Tübingen: J.C.B. Mohr (Paul Siebeck),
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Cantos and Strophes

in Biblical Hebrew Poetry III

H.F. Van Rooy

The titles published in this series are listed at brill.com/ots

Psalms 90–150 and Psalm 1

Pieter van der Lugt

Van der Lugt, Pieter.

Copyright 2014 by Koninklijke Brill NV, Leiden, The Netherlands.

This book is printed on acid-free paper.

Chapter II: The Fourth Book of the Psalter 13

11 Psalm 100 101

12 Psalm 101 106

13 Psalm 102 113

14 Psalm 103 126

15 Psalm 104 140

16 Psalm 105 155

17 Psalm 106 171

Chapter III: The Fifth Book of the Psalter 189

1 Psalm 107 189

2 Psalm 108 205

3 Psalm 109 211

4 Psalm 110 225

5 Psalm 111 235

6 Psalm 112 243

7 Psalm 113 251

8 Psalm 114 256

9 Psalm 115 262

10 Psalm 116 271

11 Psalm 118 283

12 Psalm 119 296

12.4 Quantitative structural aspects . . . . . . . . . . . . . . . . 328

13 Psalm 120 346

14 Psalm 121 350

15 Psalm 122 356

16 Psalm 123 362

17 Psalm 124 366

18 Psalm 125 372

19 Psalm 126 376

20 Psalm 127 381

21 Psalm 128 386

22 Psalm 129 392

23 Psalm 130 396

24 Psalm 131 403

25 Psalm 132 407

26 Psalms 133–134 416

27 The linearly alternating design of the cycle of the

28 Psalm 135 441

29 Psalm 136 451

30 Psalm 137 460

31 Psalm 138 470

32 Psalm 139 476

33 Psalm 140 490

34 Psalm 141 497

35 Psalm 142 505

36 Psalm 143 511

37 Psalm 144 521

38 Psalm 145 531

39 Psalm 146 542

40 Psalm 147 549

41 Psalm 148 558

42 Psalm 149 566

43 Psalm 150 573

44 An afterthought: Psalm 1 578