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=Superscription (v. 1)=
=Superscription (v. 1)=
Israel:  The people of Israel are never explicitly mentioned in the psalm. However, the note to the choirmaster suggests that the worshipping community is in view.
* Verse 1 provides critical clues for determining Psalm 19's participants. For example, apart from the superscription, the psalm never explicitly refers to the speaker or audience. However, the superscription credits '''David''' with writing the psalm ([[Ledavid|see this article]] for a discussion of '''לדוד'''). Additionally, the superscription refers to the '''choirmaster''', which suggests that the worshipping community is the audience in view for this psalm. However, even when the addressee shifts to YHWH at the end of the psalm, the larger audience remains the Israelite worshipping community. The table below illustrates the speaker and addressees in Psalm 19.<ref>While a hearing of this psalm which imagines the whole world as the addressee is a legitimate canonical reading in a Christian context, it likely does not reflect the original setting of the psalm. The psalm is written by David but given to the choirmaster. In this way, the superscription places the psalm squarely within the cultic context of ancient Israel. Thus, the addressee is the Israelite community.</ref>
 
DAVID AS SPEAKER Beside the superscription, the Psalm never refers to David explicitly. For the justification of seeing David as the speaker, see this article.


[[File:Training Tyler - Participants2.jpg|class=img-fluid|600px]]


=Creation's Praise (vv. 2-7)=
=Creation's Praise (vv. 2-7)=
* The tri-partite structure of the psalm is also indicated by the distribution of contextual domains. "Universe" (vv. 1-7), "Law" (vv. 8-12) mark the first two parts. The combination of "Human" (vv. 12-15), "Divine" (vv. 12-15), and "Communication" (vv. 12-15) dominate the final third. The contextual domain of "Divine" in this final portion is primarily from the reference point of the psalmist.
* Psalm 19 divides into two larger sections (vv. 2-7 and 8-15). Both of these sections, however, subdivide into two smaller units (vv. 2-5b, 5c-7, 8-12, 13-15). The distribution of repeated roots supports this outline. The table below illustrates the stair-step nature of the psalm. <ref>Some scholars divide the psalm into two main parts. Here are a few examples: Craigie describes vv. 2-7 as a hymn (i.e., praise) and vv. 8-15 as meditation. (Craigie 2004: 179) Futato describes both halves (vv. 1-6 and 7-14) as celebrations (Futato 2009: 90). Other scholars divide the psalm into three main parts: vv. 2-6, 8-12, 13-15. Willem A. VanGemeren identifies vv. 1-6 as creation praise, vv. 7-11 as a wisdom psalm, and vv. 12-14 as a prayer for forgiveness (VanGemeren 2008: 213; cf. Jacobson 2014: 203). E. W. Hengstenberg described the psalm's global speech act like this: "the description of the glory of God in creation is only an introduction to the praise of the glory of the law; and this again serves the Psalmist only as a ladder to reach his proper aim, the prayer for pardon and for moral preservation." (Hengstenberg 1863: 324)
</ref>


People living in the ancient Near East frequently believed parts of creation (e.g., sky, sun, moon, stars, etc.) were representations of deities. This psalm personifies the sky, the day/night, and the sun, but subordinates them to YHWH by insisting they declare YHWH's honor.
[[File:Training Tyler - Repeated Roots.jpg|class=img-fluid|600px]]
 


Coordinating vav conjunctions figure prominently in the first half of the psalm: 7 times in the verses 1-7. By contrast, only one coordinating vav conjunction occurs in verses 8-15.
* People living in the ancient Near East frequently believed parts of creation (e.g., sky, sun, moon, stars, etc.) represented deities. This psalm personifies the sky, the day/night, and the sun, but subordinates them to YHWH by insisting they declare YHWH's honor.


These verses (1-7) form the first major section of the Psalm (Lugt, 223). The section's focus is on multiple aspects of creation that are visible in the sky (שׁמים, רקיה, יום, לילה, שׁמשׁ) hold the verses together. The psalmist begins by stating that the heavens (שׁמים) declare God's glory. The section ends by describing how the sun moves across the heavens (שׁמים and 3mp suffixes referring to the heavens).
* Coordinating conjunctions (ו; "and") also support the proposal that Psalm 19 divides into two major sections. They figure prominently in the first half of the psalm: 7 times in verses 1-7. By contrast, only one coordinating vav conjunction occurs in verses 8-15.  
[[File:Training Tyler - Vav Conjunctions.jpg|class=img-fluid|600px]]


This section (2-5b) is marked by the frequent use of terms related to speech.
* Verses 2-7 form the first major section of the Psalm. <ref>Lugt, 223</ref> The section's focus is on multiple aspects of creation that are visible in the sky (שׁמים, רקיה, יום, לילה, שׁמשׁ) hold the verses together. The psalmist begins by stating that the heavens (שׁמים) '''declare God's glory'''. The section ends by describing how the sun moves across the heavens (שׁמים and 3mp suffixes referring to the heavens).


vv. 2-5b and 15
*Verses 2-5b emphasize speech that praises God. This theme disappears until v. 15 where it reappears at the conclusion of the poem. Verses 2-5b state that creation declares God's glory. In verse 15, the psalmist prays that his words will be pleasing to God.
Verses 2-5 emphasize speech that praises God. This theme disappears until v. 15 where it reappears at the conclusion of the poem. Verses 2-5 state that creation declares God's glory. In verse 15, the psalmist prays that his words will be pleasing to God.


vv. 2-11 Israel or Global Addressee
[[File:Training Tyler - Speech.jpg|class=img-fluid|600px]]
The psalm never explicitly identifies Israel as the addressee of David's poem. One could concievably argue that the psalm has a global audience in mind based on the universal scope presupposed in vv. 2-7. Additionally, while the torah is particular to the covenant community, this psalm describes it in a way that applies to humanity in general.
While a hearing of this psalm which imaginees the whole world as the adressee is a legitimate canoncial reading in a Christian context, it likely does not reflect the original setting of the psalm. The psalm is written by David but given to the choirmaster. In this way, the superscription places the psalm squarely within the cultic context of ancient Israel. Thus, the addressee is the Israelite community.


On the Global Speech Act Dividing into three parts
*For the majority of the psalm David is contemplative and confident (vv. 2-11). The psalm does not give us much explicit indication of emotion. The majority of the psalm's claims are made as simple fact. The primary section on the Torah (vv. 8-10) are copulative sentences. The psalmist simply asserts the truthfulness of his observations. The clearest indication of the psalmist's emotion appears in vv. 12-15. While at first he may appear to have some anxiety about his potential sinfulness, he expresses his desire through the use of imperatives and jussives. He knows YHWH can pardon him and so he implores YHWH to do exactly that. He longs to be found innocent. The graph below illustrates the psalm's emotional range.
Some scholars divide the psalm into two main parts. Here are a few examples:
Craigie describes vv. 2-7 as a hymn (i.e., praise) and vv. 8-15 as meditation. (Craigie 2004: 179)
Futato describes both halves (vv. 1-6 and 7-14) as celebrations (Futato 2009: 90)
Bratcher describes vv 1-6 a celbration hymn and vv. 7-14 ????
Other scholars divide the psalm into three main parts: vv. 2-6, 8-12, 13-15.
Willem A. VanGemeren identifies vv. 1-6 as creation praise, vv. 7-11 as a wisdom psalm, and vv. 12-14 as a prayer for forgivness. (VanGemeren 2008: 213; cf. Jacobson 2014: 203).
E. W. Hengstenberg described the psalm's global speech act like this: "the description of the glory of God in creation is only an introduction to the praise of the glory of the law; and this again serves the Psalmist only as a ladder to reach his proper aim, the prayer for pardon and for moral preservation." (Hengstenberg 1863: 324)
Conclusion
Hengstenberg's description of the psalm most closely matches the global speech act of the psalm's three major sections: description, praise, petition. Verses 2-7 do not express an opinion about creation's praise. The are simply described and stated as fact. Verses 7-12 uses adjectives frequently associated with worship and praise. Verses 13-15 switch to the psalmist's recognition of guilt and request to be pardoned and found pleasing.


SYNTHESIS
[[File:Training Tyler - EMOTIONAL CIRCUMPLEX.jpg|class=img-fluid|600px]]
In my work on emotions in this psalm, I argued that David is mostly contemplative and confident for the majority of this poem (vv. 2-11). The psalm does not give us much explicit indication of emotion. The majority of the psalm's claims are made as simple fact. The primary section on the Torah (vv. 8-10) are copulative sentences. The psalmist simply asserts the truthfulness of his observations. The clearest indication of the psalmist's emotion appears in vv. 12-15. While at first he may appear to have some anxiety about his potential sinfulness, he expresses his desire through the use of imperatives and jussives. He knows YHWH can pardon him and so he implores YHWH to do exactly that. He longs to be found innocent.


I tried to capture the complexity of the psalm's structure in the way I utilized the bubbles. The left-most column has two sections. This reflects the psalm's division into general and specific revelation. The right hand side reflects the subdivisions of the psalm. vv. 2-5b and 5b-7 form two units in the first half of the poem. Verses 8-11(12) and vv. (12)13-15 divide the second half of the poem. As noted in my work on prominence, several features indicate that v. 12 is a hinge in the second half of the psalm. If you look closely, you can see that the two subsections of the blue overlap on verse 12.


==David hears the heavens communicate God's glory (vv. 2-5b)==
==David hears the heavens communicate God's glory (vv. 2-5b)==
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====Expanded Paraphrase====
====Expanded Paraphrase====
[[File:Training Tyler - 5ab Para.jpg|thumb | class=img-fluid|825px]]
[[File:Training Tyler - 5ab Para.jpg|class=img-fluid|600px]]
 
====Grammatical Diagram====
====Grammatical Diagram====
[[File:Training Tyler - 5ab.jpg|thumb|v. 5ab| class=img-fluid|825px]]
[[File:Training Tyler - 5ab.jpg|v. 5ab|class=img-fluid|600px]]
 
====Notes====
====Notes====
* The global description of the heavens' praise (i.e., '''their communication has gone out in all the earth and their words have gone out to the end of the world''') is not a one-time event. Instead, it is habitual.
*The phrase '''through all the earth''' appears before the verb in this sentence to specify the extent to which the world's communication goes out. <ref>Lunn 2006: 72-73</ref>
** The ב preposition can describe ''areas moved through'' <ref>IBHS, 196</ref>. Therefore, the phrase in 5a should be translated as '''through all the earth'''. The same is true for '''the end of the world'''.
** In this context, ארץ refers to the world. Since there is only one world, the definite article marks it as a unique referent (i.e., '''all the earth''').
**Additionally, when כל appears with a singular, definite noun, it refers to every part of the entity described (i.e., the earth).
**The concept of "all the earth" is frequently associated with YHWH's rule over the whole world. This concept appears several times with the specific Hebrew term in this verse. <ref>תבל; Jer 10:12; 51:15; Nah 1:5; Ps 9:9; 18:6; 24:1; 89:12; 93:1; 96:10; 96:13; 1 Chr 16:30-31</ref>
* The text-critical issue with '''their communication''' (קַוָּם) is the primary issue in this verse. There are two options.
**First, the word may reflect the original form of the text as it is seen in the Masoretic Text tradition. In this case, it may a have had some onomatopoeic quality as seen in Isa 28:10. <ref>DeClaissé-Walford, 205.</ref>
**Second, some translations choose to emend the text to read קוֹלָם. This assumes the scribe accidentally omitted the lāmed. The LXX (φθόγγος) and Symmachus (ἦχος) appear to support this reading. Additionally, scholars who opt for this reading argue the meaning of קַו is unclear and does not seem to fit the context. <ref>DeClaissé-Walford, 205; TWOT 791</ref>


GRAMMATICAL ANALYSIS
==David sees that the sun illuminates everything (vv. 5c-7)==
The text critical issue with קַוָּם is the primary issue in this verse. There are two options.
Option 1 (preferred): Retain the text as it is found in the MT. The word may be an example of onomatopoeia (see Isa 28:10) (DeClaissé-Walford, 205).
Option 2: Emmend the text to read קוֹלָם. This assumes the scribe accidentally omitted the lāmed. The LXX (φθόγγος) and Symmachus (ἦχος) appear to support this reading. Additionally, the meaning of קַו is unclear and does not seem to fit the context (DeClaissé-Walford, 205).
 
 
LEXICAL SEMANTICS
This term's (קַו) meaning is disputed and many translations will emend the text to the alternative term listed below. Grounds for the emendation, however, are not especially strong. An interesting verse to compare to Ps 19:5 is Isa 28:10. In Isaiah קו seems to have an onomatopoetic quality. If that is the case, the same may quality may be intended here (TWOT, 791).
 
 
PHRASE LEVEL
through all the earth: With verbs of movement, ב can describe the "areas moved through" (IBHS, 196).
In this context, ארץ refers to the whole world. Since there is only one world, the definite article marks it as a unique referent.
כל with a singular, definite noun refers to every part of the earth.
 
to the end of the world: With verbs of movement, ב can describe the goal of the movement (IBHS, 196).
 
VERBAL SEMANTICS
their communication has gone out in all the earth and their words have gone out to the end of the world: The preceding context suggests that the "going out" of the communication is not a one time event, but is habitual.
 
 
MACROSYNTAX
Coordinating a verse: The vav introduces v. 6, but the verse division here is arbitrary. The final clause in v. 5 introduces the subject (שׁמשׁ) of v. 6.
Coordinating lines: v. 3, 5, 6, 7b, 7c,
 
5a - בְּכָל־הָאָ֨רֶץ  is fronted to specify the extent to which the earth and world's communication goes out (cf., Lunn 2006: 72-73).
 
 
 
 
SPEECH ACT
 
 
5ab Declarative, Assertive, Clarifying  that the heavens' speech is global, Description for 2-7
 
SYNTHESIS
In my work on emotions in this psalm, I argued that David is mostly contemplative and confident for the majority of this poem (vv. 2-11). The psalm does not give us much explicit indication of emotion. The majority of the psalm's claims are made as simple fact. The primary section on the Torah (vv. 8-10) are copulative sentences. The psalmist simply asserts the truthfulness of his observations. The clearest indication of the psalmist's emotion appears in vv. 12-15. While at first he may appear to have some anxiety about his potential sinfulness, he expresses his desire through the use of imperatives and jussives. He knows YHWH can pardon him and so he implores YHWH to do exactly that. He longs to be found innocent.
 
I tried to capture the complexity of the psalm's structure in the way I utilized the bubbles. The left-most column has two sections. This reflects the psalm's division into general and specific revelation. The right hand side reflects the subdivisions of the psalm. vv. 2-5b and 5b-7 form two units in the first half of the poem. Verses 8-11(12) and vv. (12)13-15 divide the second half of the poem. As noted in my work on prominence, several features indicate that v. 12 is a hinge in the second half of the psalm. If you look closely, you can see that the two subsections of the blue overlap on verse 12.
 
 
 
==David sees that the sun illuminates everything==


===vv. 5c-6===
===vv. 5c-6===
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====Expanded Paraphrase====
====Expanded Paraphrase====
[[File:Training Tyler - 5c-6 Para.jpg|thumb| class=img-fluid|825px]]
[[File:Training Tyler - 5c-6 Para.jpg| class=img-fluid|600]]
 
====Grammatical Diagram====
====Grammatical Diagram====
[[File:Training Tyler - 5c-6.jpg|thumb | class=img-fluid|825px]]
[[File:Training Tyler - 5c-6.jpg| class=img-fluid|600]]
 
====Notes====
====Notes====


LEXICAL ANALYSIS
*The sun binds these verses (5c-7) together. Following the reference to שׁמשׁ in v. 5c, third-person singular verbs and 3ms suffixes repeatedly refer back to the sun in vv. 6-7. It has important connections with the second half of the psalm (vv. 8-15) as illustrated in the following table and described further below.
 
[[File:Training Tyler - Poetic feature -2.jpg| class=img-fluid|600]]
This term (חֻפָּת) is commonly translated as "bridal chamber." It is not well-attested in the Hebrew Bible (Isa 4:5; Joel 2:16; and Ps 19:6). In Isa 4:5, YHWH places a canopy (חֻפָּה) over all of Jerusalem. He does so to protect the city from heat during the day and from storms (Isa 4:6). The reference to widows looking for marriage in Isa 4:1 and the reference to the daughters of Zion suggest that the bridal chamber is in view even in this verse. חֻפָּה is in parallel with חֶדֶר in Joel 2:16. In that verse, the bridegroom is in the “room” (חֶדֶר) and the bride is in the bridal chamber (חֻפָּה).
*The law, which figures prominently in vv. 8-11 (תורה, עדות, פקוד, מצוה, ירא יהוה, and משׁפט), is described in terms that carry multiple resonances. On one level, they refer to attributes commonly associated with the law. On another level, they resemble attributes associated other ANE sun deities. Like the sun, the Torah gives life (v. 8a - משׁיבת נפשׁ). Like the sun, the Torah is permanent and reliable (נאמנה - v. 8b) Like the sun, the Torah's brilliance (ברה - cf. LXX τηλαυγής) illuminates one's vision (v. 9b - מאירת עינים). The fear of the Lord (יראת יהוה) is not just pure, but radiant (טהורה - cf. Ex 24:10; Ps 139:45). The Torah lasts forever, just as the sun does (v. 10a - עומדת לעד - cf. Ps 72:5; 89:36-37). The desirability of the Torah is compared to things in nature that are golden like the sun: gold (זהב) and honey (דבשׁ).
 
*Terms associated with the sun also appear in vv. 12-13. The psalmist is warned/illuminated by the teaching of the Torah (זהר). In the end, no sins can be hidden (v. 13) from the Torah just as nothing hides from the suns heat (v. 7).
In addition to its usage in marriage contexts, חֻפָּה occurs with שֶּׁמֶשׁ in Egyptian literature. In “Prayer to the Gods of the Night,” an Old Babylonian prayer contains the following line: “Shamash has betaken himself to his chamber.” Alfred Jeremias argues this passage refers to Shamash returning to Aya at night after leaving every morning. This image is similar to the sun's movement as described in the next verse (Jeremias, 250; Pritchard, 391; Sarna, 172).
*When the many double entendres of vv. 8-11 are recognized, the unity of the Psalm is heightened and its theological value for ancient Near Eastern audiences is elevated. While the sun and the law seem like two unrelated topics, vv. 8-12 repeatedly draw attention to their similar effects on humanity. In the ancient Near East, sun deities (e.g., שׁמשׁ) were frequently described in ways similar to Psalm 19. The sun is like a warrior and bridegroom moving across the sky. Additionally, the sun is the arbiter of justice over the earth.
 
* Several features suggest v. 5c belongs with v. 6.
YHWH or some act of his is always the object of this verb (יָשִׂ֥ישׂ) in the Psalter (Ps 35:9; 40:17; 68:4; 70:5; 119:14; 119:162). The psalmist or the people are usually the subject of the verb. In Psalm 19:6, however, שֶּׁמֶשׁ is the implied subject. Rolf Jacobson argues this instance "is an allusion to the praise that creation gives to its Creator" (Jacobson, 208).
** '''For the sun''' (לַ֝שֶּׁ֗מֶשׁ) appears before the verb, which marks a topic shift in the psalm. The clause answers the question, "What about the sun?" <ref>Khan 2020: 370</ref>
 
** V. 6 begins with a vav conjunction ('''and''') that coordinates the clause with the preceding line (i.e., 5c). The sun (שׁמשׁ) is the antecedent of the pronoun in v. 6 (ה֗וּא).  
This noun (גִבּוֹר), in its various forms, occurs frequently in the Hebrew Bible (328 times). As John Oswalt notes, the term is well-attested across the various Semitic languages and its meaning is stable relating to being strong, especially in relation to warfare (Oswalt, 148).
**5C According to the Masoretic tradition, לַ֝שֶּׁ֗מֶשׁ שָֽׂם־אֹ֥הֶל בָּהֶֽם belongs with the two preceding lines as evidenced by the sôp̄ pāsûq (:) following the final mem. Modern translations either treat 5c as the first in a tricola with v. 6 (cf., NIV, ESV, JPS 1985, DHH), or treat 5c as a monocola (NCV, NRSV). Conceptually, the line makes more sense with v. 6-7 whose subject is the sun's movement. Additionally, the macro-structure of the Psalm supports treating 5c-6 as a tri-colon. The first section of the Psalm (v. 2-7) ends with two tricola (vv. 5c-6, 7) and the final section of the Psalm likewise ends with two tri-cola (vv. 14-15).<ref>Sommer 2015: 380</ref>
The comparison between the sun (שֶּׁמֶשׁ) and the strong one (גִבּ֗וֹר) in this verse is similar to descriptions of the sun deity in Assyrian and Egyptian literature (Tallqvist, 107f3; ANET, 365; Sarna: 172). This image is captured best with translations like “champion” (NIV, NJB, TOB, PDV, NFC, and “hero” (CEV, JPS 1985, Luther 2017, HFA, NGB, ELB, ZUR, S21), or “warrior/victor” (NBS, GNB, BDS, NVI). Translations which use “athlete” or “runner” (GNT, NLT, DHH, BTX4) draw out the sun’s movement in the passage.
[[File:Training Tyler - Tricola.jpg| class=img-fluid|600]]
Mirroring the LXX (γίγας), the Vulgate translates this word as giants (gigans). Symmachus, however, has ἰσχυρός which can refer to the strength of transcendent beings (BDAG, 483).
*Sun worship was common in the ancient Near East. The descriptions of the sun in this psalm are common tropes found in other ANE cultures designed to extol the greatness of the sun itself. Psalm 19, however, uses these tropes to provide an example of how creation declares YHWH's honor.  
 
**Notice that YHWH and the sun are distinct. <ref>cf. The Ta'anakh cult stand; The Seal of Ashna; Sommer, 2015: 383</ref> The sun dwells in the skies, which YHWH made for it<ref>cf. Goldingay, 289; Bellinger, 2023, 360</ref>
PHRASE LEVEL
**Furthermore, the sun does not warrant its own glory. Instead, it represents an example of how the skies declare God's glory (cf., v. 2). <ref>Note numerous passages that associate the sun with God's glory: Isa 60:1; Num 6:24-26; Ezek 43:2; Additionally, Isa 62:5 describes God as a bridegroom rejoicing over Israel. cf. Wagner 1999: 252; Wilson 2014: Psalm 19:4</ref>
to run his course: This infinitive construct may identify the purpose of the warrior's rejoicing. He is rejoicing because he is able to run his course (IBHS 36.2.3.d)
* This term (חֻפָּת) is commonly translated as "bridal chamber." It is not well-attested in the Hebrew Bible (Isa 4:5; Joel 2:16; and Ps 19:6). In Isa 4:5, YHWH places a canopy (חֻפָּה) over all of Jerusalem. He does so to protect the city from heat during the day and from storms (Isa 4:6). The reference to widows looking for marriage in Isa 4:1 and the reference to the daughters of Zion suggest that the bridal chamber is in view even in this verse. חֻפָּה is in parallel with חֶדֶר in Joel 2:16. In that verse, the bridegroom is in the “room” (חֶדֶר) and the bride is in the bridal chamber (חֻפָּה).
 
**In addition to its usage in marriage contexts, חֻפָּה occurs with שֶּׁמֶשׁ in Egyptian literature. In “Prayer to the Gods of the Night,” an Old Babylonian prayer contains the following line: “Shamash has betaken himself to his chamber.” Alfred Jeremias argues this passage refers to Shamash returning to Aya at night after leaving every morning. This image is similar to the sun's movement as described in the next verse. <ref>Jeremias, 250; Pritchard, 391; Sarna, 172</ref>
to their end: The critical apparatus of the BHS proposes emmending על to עד so as to better capture the terminus of the sun's movement. While there is no verb of movement in this clause, the sun's movement is clearly intended by תקופת. See the lexical notes for a discussion of this term's relationship to verbs of movement. (Joüon, §34.b) Waltke notes "With some verbs of motion על has a terminative sense” (IBHS, 216).
* YHWH or some act of his is always the object of the word for '''rejoices''' (יָשִׂ֥ישׂ) in the Psalter (Ps 35:9; 40:17; 68:4; 70:5; 119:14; 119:162). The psalmist or the people are usually the subject of the verb. In Psalm 19:6, however, שֶּׁמֶשׁ is the implied subject. Rolf Jacobson argues this instance "is an allusion to the praise that creation gives to its Creator". <ref>Jacobson, 208</ref>
 
* The word for '''warrior''' (גִבּוֹר), in its various forms, occurs frequently in the Hebrew Bible (328 times). As John Oswalt notes, the term is well-attested across various Semitic languages and its meaning is stable relating to being strong, especially concerning warfare. <ref>Oswalt, 148</ref>
STORY BEHIND
**The comparison between the '''sun''' (שֶּׁמֶשׁ) and the '''warrior''' (גִבּ֗וֹר) in this verse is similar to descriptions of the sun deity in Assyrian and Egyptian literature <ref>Tallqvist, 107f3; ANET, 365; Sarna: 172</ref>. This image is captured best with translations like “champion” (NIV, NJB, TOB, PDV, NFC, and “hero” (CEV, JPS 1985, Luther 2017, HFA, NGB, ELB, ZUR, S21), or “warrior/victor” (NBS, GNB, BDS, NVI). Translations that use “athlete” or “runner” (GNT, NLT, DHH, BTX4) draw out the sun’s movement in the passage. Mirroring the LXX (γίγας), the Vulgate translates this word as giants (''gigans''). Symmachus, however, has ἰσχυρός which can refer to the strength of transcendent beings. <ref>BDAG, 483</ref>
ASSUMPTIONS
YHWH and the sun are distinct. (cf. The Ta'anakh cult stand; The Seal of Ashna, (Sommer, 2015: 383)
The sun dwells in the skies.
YHWH made a dwelling place for the sun.
LOCAL GROUND
The sun is an example of how the skies declare God's glory (cf. Wilson, 2014: Psalm 19:4)
YHWH provides the sun's dwelling place. (cf. Goldingay, 289; Bellinger, 2023, 360)
PLAYGROUND
YHWH is superior to the sun.
The sun is akin to God's glory (Isa 60:1; Numb 6:24-26; Ezek 43:2; Wagner, 1999: 252).
(God created the sun
God created the skies.
 
PLAYGROUND
The sun imitates God who is a bridegroom who rejoices over Israel (Isa 62:5; cf. Wagner, 1999: 252)
 
ASSUMPTIONS
The groom comes out of his marriage chamber (cf. Joel 2:16).
LOCAL GROUND
The bridegroom goes into his marriage chamber.
 
PLAYGROUND
The sun imitates God, who is a strong warrior (cf. Ps 84:12; Wagner, 1999: 252).
A warrior starts to run his race
A warrior finishes running his race
 
BACKGROUND IDEAS
Sun worship was common in the ancient Near East. The descriptions of the sun in this psalm are common tropes found in other ANE cultures designed to extol the greatness of the sun itself. Psalm 19, however, uses these tropes to provide an example of how creation declares YHWH's honor.
 
MACROSYNTAX
5c - לַ֝שֶּׁ֗מֶשׁ - This fronted constituent is a marked topic. It can be classified as a predication with broad focus. The clause answers the question, "what about the sun?" (Khan 2020: 370)
 
POETIC FEATURES
5C According to the Masoretic tradition, לַ֝שֶּׁ֗מֶשׁ שָֽׂם־אֹ֥הֶל בָּהֶֽם belongs with the two preceding lines as evidenced by the sôp̄ pāsûq (:) following the final mem. Modern translations either treat 5c as the first in a tricola with v. 6 (cf., NIV, ESV, JPS 1985, DHH), or treat 5c as a monocola (NCV, NRSV). Conceptually, the line makes more sense with v. 6-7 whose subject is the sun's movement. Additionally, the macro-structure of the Psalm supports treating 5c-6 as a tri-colon. The first section of the Psalm (v. 2-7) ends with two tricola (vv. 5c-6, 7) and the final section of the Psalm likewise ends with two tri-cola (vv. 14-15).
 
The sun binds these verses (5c-7) together. Following the reference to שׁמשׁ in v. 5c, the third person singular verbs and 3ms suffixes repeatedly refer back to the sun.
 
vv. 6-7 and 14-15 Each half of the psalm ends with two tricola. Excluding the superscription, the rest of the psalm is marked by bi-cola. Sommer argues this consistent pattern marks the end of each main section of the psalm (Sommer 2015: 380).
 
Feature
The sun (שׁמשׁ) figures prominently in vv. 5c-7. God (אל) placed a tent (אהל) in the skies for the sun. The sun is described as a bridegroom (חתן) going out of his wedding chamber (חפה) and eagerly running his course (ארח = path across the sky) like a warrior (גבור). The sun's movement across the sky means that every part of creation feels its heat (v. 7).
 
The law, which figures prominently in vv. 8-11 (תורה, עדות, פקוד, מצוה, ירא יהוה, and משׁפט), is described in terms that carry multiple resonances. On one level, they refer to attributes commonly associated with the law. On another level, they resemble attributes associated other ANE sun deities. Like the sun, the Torah gives life (v. 8a - משׁיבת נפשׁ). Like the sun, the Torah is permanent and reliable (נאמנה - v. 8b) Like the sun, the Torah's brilliance (ברה - cf. LXX τηλαυγής) illuminates one's vision (v. 9b - מאירת עינים). The fear of the Lord (יראת יהוה) is not just pure, but radiant (טהורה - cf. Ex 24:10; Ps 139:45). The Torah lasts forever, just as the sun does (v. 10a - עומדת לעד - cf. Ps 72:5; 89:36-37). The desirability of the Torah is compared to things in nature that are golden like the sun: gold (זהב) and honey (דבשׁ).
 
Terms associated with the sun also appear in vv. 12-13. The psalmist is warned/illuminated by the teaching of the Torah (זהר). In the end, no sins can be hidden (v. 13) from the Torah just as nothing hides from the suns heat (v. 7).
 
Effect
When the many double entendres of vv. 8-11 are recognized, the unity of the Psalm is heightened and its theological value for ancient Near Eastern audiences is elevated.
 
While the sun and the law seem like two unrelated topics, vv. 8-12 repeatedly draw attention to their similar effects on humanity.
 
In the ancient Near East, sun deities (e.g., שׁמשׁ) were frequently described in ways similar to Psalm 19. The sun is like a warrior and bridegroom moving across the sky. Additionally, the sun is the arbiter of justice over the earth.
 
Psalm 19 subordinates the sun to YHWH. The sun is one part of the skies that worship God. YHWH, not the sun, is the arbiter of justice through the Torah.
 
PARTICIPANT ANALYSIS
The Sun: This psalm personifies the sun using themes found in other ancient religions' description of the sun deity Shamash. However, in the context of this psalm, the sun is not a deity. It is a servant that reveals God's goodness. It is analagous to YHWH's instruction in this psalm, which also reveals God's goodness to people.
 
Israel:  The people of Israel are never explicitly mentioned in the psalm. However, the note to the choirmaster suggests that the worshipping community is in view.
 
DAVID AS SPEAKER Beside the superscription, the Psalm never refers to David explicitly. For the justification of seeing David as the speaker, see this article.
 
vv. 2-11 Israel or Global Addressee
The psalm never explicitly identifies Israel as the addressee of David's poem. One could concievably argue that the psalm has a global audience in mind based on the universal scope presupposed in vv. 2-7. Additionally, while the torah is particular to the covenant community, this psalm describes it in a way that applies to humanity in general.
While a hearing of this psalm which imaginees the whole world as the adressee is a legitimate canoncial reading in a Christian context, it likely does not reflect the original setting of the psalm. The psalm is written by David but given to the choirmaster. In this way, the superscription places the psalm squarely within the cultic context of ancient Israel. Thus, the addressee is the Israelite community.
 
EMOTIONAL ANALYSIS
David knows the skies' extent.
David sees the sun.
God is king over all the earth and everything in it.
God put the sun in the sky.
God is superior to the sun.
David feels confident that God rules the world.
David believes that all creation should praise God.
David trusts that God is superior to the sun (i.e., Shamash).
David clarifies the global extent of creation's praise.
David claims the sun is subordinate to God.
David is contemplative about creation and the Torah.
David reflects on creation.
The concept of "all the earth" is frequently associated with YHWH's rule over the whole world (asdf). This concept appears several times with the specific Hebrew term in this verse (תבל; Jer 10:12; 51:15; Nah 1:5; Ps 9:9; 18:6; 24:1; 89:12; 93:1; 96:10; 96:13; 1 Chr 16:30-31).
God created the sun (Gen 1:16; Ps 74:16; 136:8) and the sun does what God wills it to do (cf. Josh 10:12-13; Ps 50:1; 104:19; 148:3)
This psalm uses personification extensively. The psalmist does not appear as an active figure until verse 12. Consequently, the column for "the psalmist does" can only be filled in by appeal to speech act or implication in vv. 2-11.
The cumulative effect of this psalm suggests that David is contemplative of creation and Torah. No single noun, verb, or phrase reflects this idea explicitly. However, the comprehensive manner in which David describes the heavens and the Torah suggests contemplation.
 
Additionally, David's confidence in his claims is reflected in the straightforward manner with which they are made.
 
David compares the sun to a bridegroom.
David compares the sun to a warrior.
The sun is comparable to a bridegroom and warrior.
The sun rejoices to praise God.
David compares the sun to figures that are joyful.
See lexical analysis and Poetic Feature #2
 
SPEECH ACT ANALYSIS
Declarative, Assertive, Comparing the sun to a bridegroom
Declarative, Assertive, Comparing the sun to a warrior
 
SYNTHESIS
In my work on emotions in this psalm, I argued that David is mostly contemplative and confident for the majority of this poem (vv. 2-11). The psalm does not give us much explicit indication of emotion. The majority of the psalm's claims are made as simple fact. The primary section on the Torah (vv. 8-10) are copulative sentences. The psalmist simply asserts the truthfulness of his observations. The clearest indication of the psalmist's emotion appears in vv. 12-15. While at first he may appear to have some anxiety about his potential sinfulness, he expresses his desire through the use of imperatives and jussives. He knows YHWH can pardon him and so he implores YHWH to do exactly that. He longs to be found innocent.
 
I tried to capture the complexity of the psalm's structure in the way I utilized the bubbles. The left-most column has two sections. This reflects the psalm's division into general and specific revelation. The right hand side reflects the subdivisions of the psalm. vv. 2-5b and 5b-7 form two units in the first half of the poem. Verses 8-11(12) and vv. (12)13-15 divide the second half of the poem. As noted in my work on prominence, several features indicate that v. 12 is a hinge in the second half of the psalm. If you look closely, you can see that the two subsections of the blue overlap on verse 12.
 
 


===v. 7===
===v. 7===
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====Expanded Paraphrase====
====Expanded Paraphrase====
[[File:Training Tyler - 7 para.jpg|thumb| class=img-fluid|825px]]
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====Grammatical Diagram====
====Grammatical Diagram====
[[File:Training Tyler - 7.jpg|thumb| class=img-fluid|825px]]
[[File:Training Tyler - 7.jpg|class=img-fluid|600px]]
 
====Notes====
====Notes====


GRAMMATICAL ANALYSIS
*The critical apparatus of the BHS proposes emending על to עד so as to better capture the terminus of the sun's movement. While there is no verb of movement in this clause, the sun's movement is clearly intended by תקופת. Waltke notes "With some verbs of motion על has a terminative sense.” <ref>cf. BHRG §39.20.3.a; IBHS, 216</ref>
Some manuscripts have עד. The LXX has ἕως. This emmendation is unnecessary, however, because the preposition עַל can indicate movement (see BHRG §39.20.3.a)
 
 
LEXICAL ANALYSIS
סתר - In verse 7, the psalmist says that nothing can hide from the heat of the sun. In verse 13, the psalmists asked to be considered innocent of hidden sins. In combination, it seems that the psalmist knows that God is like the sun and no hidden sin will escape his judgment. Therefore, the psalmists asks to be considered innocent of any errors or hidden sins.
 
STORY BEHIND
LOCAL GROUND
The sun moves to the other end of the sky each day before disappearing again at night (AEL 2:87)
 
LOCAL GROUND
Since the sun maneuvers across the whole sky, no part of creation is hidden from it (cf. AEL 2:87)
The sun knows all things because it is located in the skies and traverses the whole horizon (cf. Sommer, 2015: 385)
 
MACROSYNTAX
7a - מִקְצֵ֤ה הַשָּׁמַ֨יִם is fronted to specify the sun's course (v. 6) (cf., Lunn 2006: 72-73).
 
EVIDENCE FOR PARAGRAPH BETWEEN 7 AND 8
Vv. 1-7 utilize coordination frequently. That almost completely disappears beginning in v. 8 to the end of the psalm.
 
 
PARTICIPANT ANALYSIS
vv. 2-11 Israel or Global Addressee
The psalm never explicitly identifies Israel as the addressee of David's poem. One could concievably argue that the psalm has a global audience in mind based on the universal scope presupposed in vv. 2-7. Additionally, while the torah is particular to the covenant community, this psalm describes it in a way that applies to humanity in general.
While a hearing of this psalm which imaginees the whole world as the adressee is a legitimate canoncial reading in a Christian context, it likely does not reflect the original setting of the psalm. The psalm is written by David but given to the choirmaster. In this way, the superscription places the psalm squarely within the cultic context of ancient Israel. Thus, the addressee is the Israelite community.
 
EMOTIONAL ANALYSIS
David describes the sun's trajectory.
David recognizes the sun's reach.
The sun crosses over the whole earth and impacts everything.
The sun is an example of how the skies' praise God.
David feels unable to hide.
David specifies the global reach of the sun.
David claims that nothing can be hidden from the sun's heat.


SPEECH ACT ANALYSIS
*In verse 7, the psalmist says that nothing can '''be hidden''' (סתר) from the heat of the sun. In verse 13, the psalmists asked to be considered innocent of hidden sins. The psalmist knows that God is like the sun and no hidden sin will escape his judgment. Therefore, the psalmist asks to be considered innocent of any errors or hidden sins. <ref> cf. AEL 2:87; Sommer 2015: 385</ref>
Declarative, assertive, specifying the limits of the sun
declarative assertive, claiming the universal impact of the sun


SYNTHESIS
* The psalmist emphasizes the sun's movement across the sky by placing '''from the end of the skies''' before the verb in v. 7a. <ref>cf., Lunn 2006: 72-73</ref>
In my work on emotions in this psalm, I argued that David is mostly contemplative and confident for the majority of this poem (vv. 2-11). The psalm does not give us much explicit indication of emotion. The majority of the psalm's claims are made as simple fact. The primary section on the Torah (vv. 8-10) are copulative sentences. The psalmist simply asserts the truthfulness of his observations. The clearest indication of the psalmist's emotion appears in vv. 12-15. While at first he may appear to have some anxiety about his potential sinfulness, he expresses his desire through the use of imperatives and jussives. He knows YHWH can pardon him and so he implores YHWH to do exactly that. He longs to be found innocent.


I tried to capture the complexity of the psalm's structure in the way I utilized the bubbles. The left-most column has two sections. This reflects the psalm's division into general and specific revelation. The right hand side reflects the subdivisions of the psalm. vv. 2-5b and 5b-7 form two units in the first half of the poem. Verses 8-11(12) and vv. (12)13-15 divide the second half of the poem. As noted in my work on prominence, several features indicate that v. 12 is a hinge in the second half of the psalm. If you look closely, you can see that the two subsections of the blue overlap on verse 12.
*This verse plays an important role in the message of Psalm 19. David describes the trajectory of the sun and recognizes its all-encompassing reach. Since he was likely aware of how other cultures deified the sun, David recognized similarities between YHWH's all-encompassing presences and the sun's global reach. Just as David feels unable to hide from the sun's heat, he knows that God knows all of his sins: even the hidden ones. By the end of this psalm, David will long to be pardoned by YHWH and to please YHWH with his speech. That longing is born out of his observation in v. 7.


I combined two icons to reflect the suns path each day.




*


*
=Legends=
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{{Grammatical Legend}}
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{{Phrasal Legend}}

Latest revision as of 17:56, 9 June 2025


Back to Psalm 19 overview page.

Welcome to the DRAFT Verse-by-Verse Notes for Psalm 19!

The Verse-by-Verse Notes present scholarly, exegetical materials (from all layers of analysis) in a verse-by-verse format. They often present alternative interpretive options and justification for a preferred interpretation. The Verse-by-Verse Notes are aimed at consultant-level users.

The discussion of each verse of this psalm includes the following items.

  1. A link to the part of the overview video where the verse in question is discussed.
  2. The verse in Hebrew and English.[1]
  3. An expanded paraphrase of the verse.[2]
  4. A grammatical diagram of the verse, which includes glosses for each word and phrase.[3]
  5. A series of notes on the verse, which contain information pertaining to the interpretation of the psalm (e.g., meaning of words and phrases, poetic features, difficult grammatical constructions, etc.).


Superscription (v. 1)

  • Verse 1 provides critical clues for determining Psalm 19's participants. For example, apart from the superscription, the psalm never explicitly refers to the speaker or audience. However, the superscription credits David with writing the psalm (see this article for a discussion of לדוד). Additionally, the superscription refers to the choirmaster, which suggests that the worshipping community is the audience in view for this psalm. However, even when the addressee shifts to YHWH at the end of the psalm, the larger audience remains the Israelite worshipping community. The table below illustrates the speaker and addressees in Psalm 19.[4]

Training Tyler - Participants2.jpg

Creation's Praise (vv. 2-7)

  • Psalm 19 divides into two larger sections (vv. 2-7 and 8-15). Both of these sections, however, subdivide into two smaller units (vv. 2-5b, 5c-7, 8-12, 13-15). The distribution of repeated roots supports this outline. The table below illustrates the stair-step nature of the psalm. [5]

Training Tyler - Repeated Roots.jpg


  • People living in the ancient Near East frequently believed parts of creation (e.g., sky, sun, moon, stars, etc.) represented deities. This psalm personifies the sky, the day/night, and the sun, but subordinates them to YHWH by insisting they declare YHWH's honor.
  • Coordinating conjunctions (ו; "and") also support the proposal that Psalm 19 divides into two major sections. They figure prominently in the first half of the psalm: 7 times in verses 1-7. By contrast, only one coordinating vav conjunction occurs in verses 8-15.

Training Tyler - Vav Conjunctions.jpg

  • Verses 2-7 form the first major section of the Psalm. [6] The section's focus is on multiple aspects of creation that are visible in the sky (שׁמים, רקיה, יום, לילה, שׁמשׁ) hold the verses together. The psalmist begins by stating that the heavens (שׁמים) declare God's glory. The section ends by describing how the sun moves across the heavens (שׁמים and 3mp suffixes referring to the heavens).
  • Verses 2-5b emphasize speech that praises God. This theme disappears until v. 15 where it reappears at the conclusion of the poem. Verses 2-5b state that creation declares God's glory. In verse 15, the psalmist prays that his words will be pleasing to God.

Training Tyler - Speech.jpg

  • For the majority of the psalm David is contemplative and confident (vv. 2-11). The psalm does not give us much explicit indication of emotion. The majority of the psalm's claims are made as simple fact. The primary section on the Torah (vv. 8-10) are copulative sentences. The psalmist simply asserts the truthfulness of his observations. The clearest indication of the psalmist's emotion appears in vv. 12-15. While at first he may appear to have some anxiety about his potential sinfulness, he expresses his desire through the use of imperatives and jussives. He knows YHWH can pardon him and so he implores YHWH to do exactly that. He longs to be found innocent. The graph below illustrates the psalm's emotional range.

Training Tyler - EMOTIONAL CIRCUMPLEX.jpg


David hears the heavens communicate God's glory (vv. 2-5b)

v. 5ab

v. Hebrew Close-but-Clear
5a בְּכָל־הָאָ֨רֶץ ׀ יָ֘צָ֤א קַוָּ֗ם. Their communication goes through all the earth.
5b וּבִקְצֵ֣ה תֵ֭בֵל מִלֵּיהֶ֑ם. and their words [go out] to the end of the world.

Expanded Paraphrase

Training Tyler - 5ab Para.jpg

Grammatical Diagram

v. 5ab

Notes

  • The global description of the heavens' praise (i.e., their communication has gone out in all the earth and their words have gone out to the end of the world) is not a one-time event. Instead, it is habitual.
  • The phrase through all the earth appears before the verb in this sentence to specify the extent to which the world's communication goes out. [7]
    • The ב preposition can describe areas moved through [8]. Therefore, the phrase in 5a should be translated as through all the earth. The same is true for the end of the world.
    • In this context, ארץ refers to the world. Since there is only one world, the definite article marks it as a unique referent (i.e., all the earth).
    • Additionally, when כל appears with a singular, definite noun, it refers to every part of the entity described (i.e., the earth).
    • The concept of "all the earth" is frequently associated with YHWH's rule over the whole world. This concept appears several times with the specific Hebrew term in this verse. [9]
  • The text-critical issue with their communication (קַוָּם) is the primary issue in this verse. There are two options.
    • First, the word may reflect the original form of the text as it is seen in the Masoretic Text tradition. In this case, it may a have had some onomatopoeic quality as seen in Isa 28:10. [10]
    • Second, some translations choose to emend the text to read קוֹלָם. This assumes the scribe accidentally omitted the lāmed. The LXX (φθόγγος) and Symmachus (ἦχος) appear to support this reading. Additionally, scholars who opt for this reading argue the meaning of קַו is unclear and does not seem to fit the context. [11]

David sees that the sun illuminates everything (vv. 5c-7)

vv. 5c-6

v. Hebrew Close-but-Clear
5c לַ֝שֶּׁ֗מֶשׁ שָֽׂם־אֹ֥הֶל בָּהֶֽם׃. He placed a tent for the sun in them.
6a וְה֗וּא כְּ֭חָתָן יֹצֵ֣א מֵחֻפָּת֑וֹ. And it is like a bridegroom who goes out from his chamber.
6b יָשִׂ֥ישׂ כְּ֝גִבּ֗וֹר לָר֥וּץ אֹֽרַח׃. It rejoices like a warrior to run its course.

Expanded Paraphrase

600

Grammatical Diagram

600

Notes

  • The sun binds these verses (5c-7) together. Following the reference to שׁמשׁ in v. 5c, third-person singular verbs and 3ms suffixes repeatedly refer back to the sun in vv. 6-7. It has important connections with the second half of the psalm (vv. 8-15) as illustrated in the following table and described further below.

600

  • The law, which figures prominently in vv. 8-11 (תורה, עדות, פקוד, מצוה, ירא יהוה, and משׁפט), is described in terms that carry multiple resonances. On one level, they refer to attributes commonly associated with the law. On another level, they resemble attributes associated other ANE sun deities. Like the sun, the Torah gives life (v. 8a - משׁיבת נפשׁ). Like the sun, the Torah is permanent and reliable (נאמנה - v. 8b) Like the sun, the Torah's brilliance (ברה - cf. LXX τηλαυγής) illuminates one's vision (v. 9b - מאירת עינים). The fear of the Lord (יראת יהוה) is not just pure, but radiant (טהורה - cf. Ex 24:10; Ps 139:45). The Torah lasts forever, just as the sun does (v. 10a - עומדת לעד - cf. Ps 72:5; 89:36-37). The desirability of the Torah is compared to things in nature that are golden like the sun: gold (זהב) and honey (דבשׁ).
  • Terms associated with the sun also appear in vv. 12-13. The psalmist is warned/illuminated by the teaching of the Torah (זהר). In the end, no sins can be hidden (v. 13) from the Torah just as nothing hides from the suns heat (v. 7).
  • When the many double entendres of vv. 8-11 are recognized, the unity of the Psalm is heightened and its theological value for ancient Near Eastern audiences is elevated. While the sun and the law seem like two unrelated topics, vv. 8-12 repeatedly draw attention to their similar effects on humanity. In the ancient Near East, sun deities (e.g., שׁמשׁ) were frequently described in ways similar to Psalm 19. The sun is like a warrior and bridegroom moving across the sky. Additionally, the sun is the arbiter of justice over the earth.
  • Several features suggest v. 5c belongs with v. 6.
    • For the sun (לַ֝שֶּׁ֗מֶשׁ) appears before the verb, which marks a topic shift in the psalm. The clause answers the question, "What about the sun?" [12]
    • V. 6 begins with a vav conjunction (and) that coordinates the clause with the preceding line (i.e., 5c). The sun (שׁמשׁ) is the antecedent of the pronoun in v. 6 (ה֗וּא).
    • 5C According to the Masoretic tradition, לַ֝שֶּׁ֗מֶשׁ שָֽׂם־אֹ֥הֶל בָּהֶֽם belongs with the two preceding lines as evidenced by the sôp̄ pāsûq (:) following the final mem. Modern translations either treat 5c as the first in a tricola with v. 6 (cf., NIV, ESV, JPS 1985, DHH), or treat 5c as a monocola (NCV, NRSV). Conceptually, the line makes more sense with v. 6-7 whose subject is the sun's movement. Additionally, the macro-structure of the Psalm supports treating 5c-6 as a tri-colon. The first section of the Psalm (v. 2-7) ends with two tricola (vv. 5c-6, 7) and the final section of the Psalm likewise ends with two tri-cola (vv. 14-15).[13]

600

  • Sun worship was common in the ancient Near East. The descriptions of the sun in this psalm are common tropes found in other ANE cultures designed to extol the greatness of the sun itself. Psalm 19, however, uses these tropes to provide an example of how creation declares YHWH's honor.
    • Notice that YHWH and the sun are distinct. [14] The sun dwells in the skies, which YHWH made for it[15]
    • Furthermore, the sun does not warrant its own glory. Instead, it represents an example of how the skies declare God's glory (cf., v. 2). [16]
  • This term (חֻפָּת) is commonly translated as "bridal chamber." It is not well-attested in the Hebrew Bible (Isa 4:5; Joel 2:16; and Ps 19:6). In Isa 4:5, YHWH places a canopy (חֻפָּה) over all of Jerusalem. He does so to protect the city from heat during the day and from storms (Isa 4:6). The reference to widows looking for marriage in Isa 4:1 and the reference to the daughters of Zion suggest that the bridal chamber is in view even in this verse. חֻפָּה is in parallel with חֶדֶר in Joel 2:16. In that verse, the bridegroom is in the “room” (חֶדֶר) and the bride is in the bridal chamber (חֻפָּה).
    • In addition to its usage in marriage contexts, חֻפָּה occurs with שֶּׁמֶשׁ in Egyptian literature. In “Prayer to the Gods of the Night,” an Old Babylonian prayer contains the following line: “Shamash has betaken himself to his chamber.” Alfred Jeremias argues this passage refers to Shamash returning to Aya at night after leaving every morning. This image is similar to the sun's movement as described in the next verse. [17]
  • YHWH or some act of his is always the object of the word for rejoices (יָשִׂ֥ישׂ) in the Psalter (Ps 35:9; 40:17; 68:4; 70:5; 119:14; 119:162). The psalmist or the people are usually the subject of the verb. In Psalm 19:6, however, שֶּׁמֶשׁ is the implied subject. Rolf Jacobson argues this instance "is an allusion to the praise that creation gives to its Creator". [18]
  • The word for warrior (גִבּוֹר), in its various forms, occurs frequently in the Hebrew Bible (328 times). As John Oswalt notes, the term is well-attested across various Semitic languages and its meaning is stable relating to being strong, especially concerning warfare. [19]
    • The comparison between the sun (שֶּׁמֶשׁ) and the warrior (גִבּ֗וֹר) in this verse is similar to descriptions of the sun deity in Assyrian and Egyptian literature [20]. This image is captured best with translations like “champion” (NIV, NJB, TOB, PDV, NFC, and “hero” (CEV, JPS 1985, Luther 2017, HFA, NGB, ELB, ZUR, S21), or “warrior/victor” (NBS, GNB, BDS, NVI). Translations that use “athlete” or “runner” (GNT, NLT, DHH, BTX4) draw out the sun’s movement in the passage. Mirroring the LXX (γίγας), the Vulgate translates this word as giants (gigans). Symmachus, however, has ἰσχυρός which can refer to the strength of transcendent beings. [21]

v. 7

v. Hebrew Close-but-Clear
7a מִקְצֵ֤ה הַשָּׁמַ֨יִם ׀ מֽוֹצָא֗וֹ Its starting point is from the end of the skies.
7b וּתְקוּפָת֥וֹ עַל־קְצוֹתָ֑ם and its turning point is to their end.
7c וְאֵ֥ין נִ֝סְתָּ֗ר מֵֽחַמָּתוֹ׃ and nothing is hidden from its heat.

Expanded Paraphrase

Training Tyler - 7 para.jpg

Grammatical Diagram

Training Tyler - 7.jpg

Notes

  • The critical apparatus of the BHS proposes emending על to עד so as to better capture the terminus of the sun's movement. While there is no verb of movement in this clause, the sun's movement is clearly intended by תקופת. Waltke notes "With some verbs of motion על has a terminative sense.” [22]
  • In verse 7, the psalmist says that nothing can be hidden (סתר) from the heat of the sun. In verse 13, the psalmists asked to be considered innocent of hidden sins. The psalmist knows that God is like the sun and no hidden sin will escape his judgment. Therefore, the psalmist asks to be considered innocent of any errors or hidden sins. [23]
  • The psalmist emphasizes the sun's movement across the sky by placing from the end of the skies before the verb in v. 7a. [24]
  • This verse plays an important role in the message of Psalm 19. David describes the trajectory of the sun and recognizes its all-encompassing reach. Since he was likely aware of how other cultures deified the sun, David recognized similarities between YHWH's all-encompassing presences and the sun's global reach. Just as David feels unable to hide from the sun's heat, he knows that God knows all of his sins: even the hidden ones. By the end of this psalm, David will long to be pardoned by YHWH and to please YHWH with his speech. That longing is born out of his observation in v. 7.


Legends

Grammatical diagram

  Grammatical Diagram Legend

Shapes and colours on grammatical diagram

Visualization Description
3 Legends - Prepositional Phrase.png
The prepositional phrase is indicated by a solid green oval.
3 Legends - Construct Chain.png
The construct chain is indicated by a solid yellow oval.
3 Legends - phrase-level ו.png
When the conjunction ו appears at the phrase-level (not clause-level), it is indicated by a solid light purple oval.
3 Legends - Article.png
The article is indicated by a solid blue oval.

Expanded paraphrase

(For more information, click "Expanded Paraphrase Legend" below.)

Bibliography

Footnotes

  1. The Hebrew text comes from Open Scriptures Hebrew Bible, which presents the text of the Leningrad Codex (the Masoretic text). The English text is our own "Close-but-clear" translation (CBC). The CBC is a “wooden” translation that exists to provide a window into the Hebrew text. It is essentially an interlinear that has been put into English word-order. It is also similar to a “back-translation” (of the Hebrew) often used in Bible translation checking. It is important to remember that the CBC is not intended to be a stand-alone translation, but is rather a tool for using the Layer by Layer materials. The CBC is used as the primary display text (along with the Hebrew) for most analytical visualisations. It is also used as the display text for most videos.
  2. A legend for the expanded paraphrase is available near the bottom of this page, in the section titled "Legends."
  3. Legends for both the grammatical diagram and the shapes and colours on the grammatical diagram are available near the bottom of this page, in the section titled "Legends."
  4. While a hearing of this psalm which imagines the whole world as the addressee is a legitimate canonical reading in a Christian context, it likely does not reflect the original setting of the psalm. The psalm is written by David but given to the choirmaster. In this way, the superscription places the psalm squarely within the cultic context of ancient Israel. Thus, the addressee is the Israelite community.
  5. Some scholars divide the psalm into two main parts. Here are a few examples: Craigie describes vv. 2-7 as a hymn (i.e., praise) and vv. 8-15 as meditation. (Craigie 2004: 179) Futato describes both halves (vv. 1-6 and 7-14) as celebrations (Futato 2009: 90). Other scholars divide the psalm into three main parts: vv. 2-6, 8-12, 13-15. Willem A. VanGemeren identifies vv. 1-6 as creation praise, vv. 7-11 as a wisdom psalm, and vv. 12-14 as a prayer for forgiveness (VanGemeren 2008: 213; cf. Jacobson 2014: 203). E. W. Hengstenberg described the psalm's global speech act like this: "the description of the glory of God in creation is only an introduction to the praise of the glory of the law; and this again serves the Psalmist only as a ladder to reach his proper aim, the prayer for pardon and for moral preservation." (Hengstenberg 1863: 324)
  6. Lugt, 223
  7. Lunn 2006: 72-73
  8. IBHS, 196
  9. תבל; Jer 10:12; 51:15; Nah 1:5; Ps 9:9; 18:6; 24:1; 89:12; 93:1; 96:10; 96:13; 1 Chr 16:30-31
  10. DeClaissé-Walford, 205.
  11. DeClaissé-Walford, 205; TWOT 791
  12. Khan 2020: 370
  13. Sommer 2015: 380
  14. cf. The Ta'anakh cult stand; The Seal of Ashna; Sommer, 2015: 383
  15. cf. Goldingay, 289; Bellinger, 2023, 360
  16. Note numerous passages that associate the sun with God's glory: Isa 60:1; Num 6:24-26; Ezek 43:2; Additionally, Isa 62:5 describes God as a bridegroom rejoicing over Israel. cf. Wagner 1999: 252; Wilson 2014: Psalm 19:4
  17. Jeremias, 250; Pritchard, 391; Sarna, 172
  18. Jacobson, 208
  19. Oswalt, 148
  20. Tallqvist, 107f3; ANET, 365; Sarna: 172
  21. BDAG, 483
  22. cf. BHRG §39.20.3.a; IBHS, 216
  23. cf. AEL 2:87; Sommer 2015: 385
  24. cf., Lunn 2006: 72-73