Notes—Tyler

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.
3. An expanded paraphrase of the verse.
4. A grammatical diagram of the verse, which includes glosses for each word and phrase.
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)

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.

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.

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.

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.

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).

This section (2-5b) is marked by the frequent use of terms related to speech.

vv. 2-5b and 15 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 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 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 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)

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

Grammatical Diagram

v. 5ab

Notes

GRAMMATICAL ANALYSIS 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

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

Grammatical Diagram

Notes

LEXICAL ANALYSIS

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 (Jeremias, 250; Pritchard, 391; Sarna, 172).

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).

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). 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. 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).

PHRASE LEVEL 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)

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).

STORY BEHIND 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.	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

Grammatical Diagram

Notes

GRAMMATICAL ANALYSIS 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 Declarative, assertive, specifying the limits of the sun declarative assertive, claiming the universal impact of the sun

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.

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

Legends

Grammatical diagram

Visualization	Description
	The clause is represented by a horizontal line with a vertical line crossing through it, separating the subject and the verb.
	The object is indicated by a vertical line that does not cross the horizontal line of the clause. Infinitives and participles may also have objects. If the direct object marker (d.o.m.) is present in the text, it appears in the diagram immediately before the object. If the grammar includes a secondary object, the secondary object will appear after the object, separated by another vertical line that does not cross the horizontal line of the clause.
	The subject complement follows the verb (often omitted in Hebrew) separated with a line leaning toward the right. It can be a noun, a whole prepositional phrase or an adjective. The later two appear modifying the complement slot.
	When a noun further describes or renames the object, it is an object complement. The object complement follows the object separated by a line leaning toward the right.
	In a construct chain, the noun in the absolute form modifies the noun in the construct form.
	Participles are indicated in whatever position in the clause they are in with a curved line before the participle. Participles can occur as nominal, where they take the place of a noun, predicate, where they take the place of a verb, or attributive, where they modify a noun or a verb similar to adjectives or adverbs.
	Infinitives are indicated by two parallel lines before the infinitive that cross the horizontal line. Infinitive constructs can appear as the verb in an embedded clause. Infinitive absolutes typically appear as an adverbial.
	The subject of the infinitive often appears in construct to it. In this situation, the infinitive and subject are diagrammed as a construct chain.
	The object of the infinitive is indicated by a vertical line that does not cross the horizontal line of the infinitival clause.
	Modifiers are represented by a solid diagonal line from the word they modify. They can attach to verbs, adjectives, or nouns. If modifying a verb or adjective, it is an adverb, but if modifying a noun, it is an adjective, a quantifier, or a definite article. If an adverb is modifying a modifier, it is connected to the modifier by a small dashed horizontal line.
	Adverbials are indicated by a dashed diagonal line extending to a horizontal line. These are nouns or infinitives that function adverbially (modifying either a verb or a participle), but are not connected by a preposition.
	Prepositional phrases are indicated by a solid diagonal line extending to a horizontal line. The preposition is to the left of the diagonal line and the dependent of the preposition is on the horizontal line. They can modify verbs (adverbial) or nouns (adjectival).
	Embedded clauses are indicated by a "stand" that looks like an upside-down Y. The stand rests in the grammatical position that the clause fulfills. Extending from the top of the stand is a horizontal line for the clause. If introduced by a complementizer, for example כִּי, the complementizer appears before the stand. Embedded clauses can stand in the place of any noun.
	When clauses are joined by a conjunction, they are compound clauses. These clauses are connected by a vertical dotted line. The conjunction is placed next to the dotted line.
	Within a clause, if two or more parts of speech are compound, these are represented by angled lines reaching to the two compound elements connected by a solid vertical line. If a conjunction is used, the conjunction appears to the left of the vertical line. Almost all parts of speech can be compound.
	Subordinate clauses are indicated by a dashed line coming from the line dividing the subject from the predicate in the independent clause and leading to the horizontal line of the subordinate clause. The subordinating conjunction appears next to the dashed line.
	Relative clauses also have a dashed line, but the line connects the antecedent to the horizontal line of the relative clause. The relative particle appears next to the dashed line.
	Sentence fragments are represented by a horizontal line with no vertical lines. They are most frequently used in superscriptions to psalms. They are visually similar to discourse particles and vocatives, but most often consist of a noun phrase (that does not refer to a person or people group) or a prepositional phrase.
	In the body of the psalm, a horizontal line by itself (with no modifiers or vertical lines) can indicate either a discourse particle or a vocative (if the word is a noun referring to a person or people group). A discourse particle is a conjunction or particle that functions at the discourse level, not at the grammatical level. Vocatives can appear either before or after the clause addressed to them, depending on the word order of the Hebrew.
	Apposition is indicated by an equal sign equating the two noun phrases. This can occur with a noun in any function in a sentence.

Hebrew text colors
Default preferred text	The default preferred reading is represented by a black line. The text of the MT is represented in bold black text.
Dispreferred reading	The dispreferred reading is an alternative interpretation of the grammar, represented by a pink line. The text of the MT is represented in bold pink text, while emendations and revocalizations retain their corresponding colors (see below).
Emended text	Emended text, text in which the consonants differ from the consonants of the Masoretic text, is represented by bold blue text, whether that reading is preferred or dispreferred.
Revocalized text	Revocalized text, text in which only the vowels differ from the vowels of the Masoretic text, is represented by bold purple text, whether that reading is preferred or dispreferred.
(Supplied elided element)	Any element that is elided in the Hebrew text is represented by bold gray text in parentheses.
( )	The position of a non-supplied elided element is represented by empty black parentheses. For example, this would be used in the place of the noun when an adjective functions substantivally or in the place of the antecedent when a relative clause has an implied antecedent.

Gloss text colors
Gloss used in the CBC	The gloss used in the Close-but-Clear translation is represented by bold blue text.
Literal gloss >> derived meaning	A gloss that shows the more literal meaning as well as the derived figurative meaning is represented in blue text with arrows pointing towards the more figurative meaning. The gloss used in the CBC will be bolded.
Supplied elided element	The gloss for a supplied elided element is represented in bold gray text.

Shapes and colours on grammatical diagram

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

Expanded paraphrase

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

Expanded Paraphrase Legend

Expanded paraphrase legend
Close but Clear (CBC) translation	The CBC, our close but clear translation of the Hebrew, is represented in bold text.
Assumptions	Assumptions which provide background information, presuppositions, entailments, and inferences are represented in italics.