Cantos and Strophes in Biblical Hebrew Poetry III: Psalms 90 150 and Psalm 1 (Oudtestamentische Studien, Old Testament Studies)
This quantity bargains with the rhetoric, the formal and thematic framework, of Psalms 90-150 (the Fourth and 5th booklet of the Psalter). it's the end of the Psalms undertaking all started with Psalms 1-41, OTS fifty three (2006), and persisted with Psalms 42-89, OTS fifty seven (2010). Formal and thematic units display that the psalms are composed of a constant development of cantos (stanzas) and strophes. The formal units specially contain quantitative stability at the point of the cantos by way of verselines, verbal repetitions, and (on the extent of the strophes) transition markers. The quantitative method of a psalm by way of verselines, cola and/or phrases more often than not basically discloses a focal message. this huge research is rounded off through an up to date advent to the canto layout of biblical poetry (including the ebook of activity, Lamentations, the Songs of Songs, Deutero-Isaiah and different significant poems of the Hebrew Bible).
Of Psalm ninety one exhibit an ideal formal and semantic parallelism, exhibiting the gadget for ‘sharpness’. the second one canto elaborates on and intensifies the most subject of the 1st canto: God protects the devoted. that's to claim, the parallelism among Cantos I and II is analogous with the parallelism that is frequently to be chanced on among successive cola: ‘A is so, and what’s extra, B is so’.21 p. 185). sixteen ‘Seine [Jahve’s] verheißungsreiche Schlußrede bildet viell. nicht zuf¨ allig eine.
And verselines, v. 12 (§ 5.5). For the connection with the previous psalm see, between different issues, the next verbal repetitions: staircase parallelism (vv. 1 and three) > 93,3 (Delitzsch, p. 606); root n´s’ (v. 2) > 93,3 (3×); g’ym (v. 2) > 93,1 (beginning of the psalm); root dk’ (v. five) > 93,3; ywm (v. thirteen) > 93,5; mwt. (v. 18) > 93,1; rb (v. 19) > 93,4; ks’ (v. 20) > 93,2.12 at the same time and as already indicated above, there's a conspicuous dating with Psalm ninety two (cf. Tate, p. 476, and.
shape a linearly alternating parallelism: vv. 1–3.4–5|6–7.8–9 > a.b|a’.b’. The cantos are concluded by way of a whole chorus (vv. five and 9). The expression hdm rglyw (‘his footstool’) in v. 5b perfecly suits the krwbym as God’s throne in v. 1b. The expression is diversified in v. 9b; now it really is hr qdˇsw (‘his holy mountain’). The latter expression completely matches v. 7b, the place the psalmist refers back to the legislation God gave to Moses. by the way, within the context of the complete poem we can also consider mount Zion (v. 2a).6.
132, and [Hossfeld]/Zenger (2008), p. fifty five, who continue that from v. 6 onwards the psalmist has in brain a unique crew; this in simple terms holds actual for vv. 10–14! 134 bankruptcy ii: fourth publication of the psalter love because it expressed itself in background, throughout the remain of the folk of Israel within the wilderness.8 Vv. 15–18 emphasize the eternal personality of God’s steadfast love and particularly specialize in the longer term generations; notice lbny bnym (‘for sons of sons’) in v. 17c. the top of Canticle I.1 is marked.
[K]). this can recommend that the predicates ´smw and mrw also are comparable. nonetheless, the strophic regularity could suggest a semantic correspondence among v. 28b and vv. 31a.34a (all those cola happen within the first verseline of successive strophes): ‘and they didn't defy His phrases’ parallels ‘He spoke and he came’. This confirms Booij’s advice (VT 39 , pp. 209–14) that ‘darkness’ (v. 28a) is the personified topic of mrw in v. 28b. For related personifications, see Pss. 43,3.