Property: Discussion
From Psalms: Layer by Layer
P
*Figurative/evocative language seems especially prominent in section 3 (vv.7-8).
*Rhetorical questions mark the ends of section 1 (v.4b) and section 2 (v.6b) (ephiphora).
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*Gen. 1:26-28
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*God's anger/wrath (v.2ab) is against David's sin. This has long been recognized, and Psalm 6 has traditionally been included among the seven penitential psalms (6, 32, 38, 51, 102, 130, 143).'"`UNIQ--ref-00000D8E-QINU`"' "Broyles argues that there is no confession of sin in this psalm... (''Psalms'', p. 63). But there seems enough in this first verse to support the conclusion that the psalmist saw such a connection in his case."'"`UNIQ--ref-00000D8F-QINU`"' This conclusion is further supported by reference to 2 Sam. 7:14-15 (see [[#Reference/allusions|below]]).
*Yahweh is David's father, and David is his son. The father/son relationship is implied in the verbs of v.2ab (see [[#Difficult Words|above]]) as well as the reference to 2 Sam. 7:14-15 (see [[#Reference/allusions|below]]).
*The word חֶסֶד (v.5b) implies a covenant relationship.
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*Most of the feminine nouns in this psalm are abstract nouns (מרמה, צדקה, יראה, נכונה, מעצה, הוה).'"`UNIQ--ref-00000C55-QINU`"'
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*Shifts in topic mark the primary section divisions. See [[#Subject change|character features table]].
*These boundaries are reinforced by a number of formal features
**Morphological: ''Hiphil'' verb at the end of the first section (3d); definite article at the beginning of the first and second sections (הָאִישׁ, הָרְשָׁעִים)
**Syntactic: Verbless clauses at the beginning of the first and second sections (anaphora)
**Lexical: רשׁעים at 1a and 4a (anaphora)
**Phonological: ''inclusio'' marking boundaries of 1st section (guttural + sibilant + a/ā + ē); preponderance of glides (י,ו) in the first section, dentals the second and third sections (ד, ת); noun phrases that open each section (לֹא כֵן הָרְשָׁעִים / אַשְׁרֵי הָאִישׁ) are similar in sound (structural anaphora): repetition of consonants (א/ע, שׁ, ר) and identical pattern of stressed vowels (ā, ē).
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*The conjunction כִּי appears twice (6b, 8c), both times as a coordinating conjunction
**In the first instance (6b), כִּי is clearly causal.
**Its function in the second instance (8c) is not as clear. Elsewhere in the psalms the particle כִּי, when collocated with a perfect verbal form and subordinated to a preceding imperative directed to God, almost always has an explanatory or causal force (“for, because”) and introduces a motivating argument for why God should respond positively to the request (see Pss 5:10; 6:2; 12:1; 16:1; 41:4; 55:9; 56:1; 57:1; 60:2; 69:1; 74:20; 119:94; 123:3; 142:6; 143:8). (On three occasions the כִּי is recitative after a verb of perception [“see/know that,” see Pss 4:3; 25:19; 119:159]). If כִּי is taken as explanatory here, then the psalmist is arguing that God should deliver him now because that is what God characteristically does. However, such a motivating argument is not used in the passages cited above. The motivating argument usually focuses on the nature of the psalmist’s dilemma or the fact that he trusts in the Lord. For this reason it is unlikely that כִּי has its normal force here. Most scholars understand the particle כִּי as having an asseverative (emphasizing) function here (“indeed, yes”; NEB leaves the particle untranslated). If the particle כִּי is taken as explanatory, then the perfect verbal forms in v. 7b would describe God’s characteristic behavior. However, the particle probably has an asseverative force here. If so, the perfects may be taken as indicating rhetorically the psalmist’s certitude and confidence that God will intervene.'"`UNIQ--ref-00000AC7-QINU`"'
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*The first word of the psalm בְּקָראִי sounds like the word for 'morning' (בֹּקֶר). This may be significant given the thematic importance of time (evening/morning) in Pss.3-5 (see e.g., the repetition of בֹּקְר in the following psalm).
*Interlocking patterns of phonological inversion
**vv.2, 4: '''a''' (בְּקָרְאִ֡י) '''b''' (וּשְׁמַ֥ע) '''c''' (ְּתְּפִלָּתִֽי) '''c'''' (הִפְלָ֣ה) '''b'''' (ִ֜שְׁמַ֗ע) '''a'''' (בְּקָרְאִ֥י)
**vv.4-5: '''a''' (וּדְע֗וּ) '''b''' (רִגְז֗וּ) '''c''' (וְֽאַל־תֶּ֫חֱטָ֥אוּ) '''b'''' (אִמְר֣וּ) '''a'''' (וְדֹ֣מּוּ)
*Phonological recursion (alliteration, assonance, rhyme) within consecutive words:
**v.3c. תְּבַקְשׁ֖וּ כָזָ֣ב (labial + velar + sibilant)
**v. 5b. בִ֭לְבַבְכֶם עַֽל־מִשְׁכַּבְכֶ֗ם
**v.6a. זִבְח֥וּ זִבְחֵי
**v.8b. דְּגָנָ֖ם וְתִֽירוֹשָׁ֣ם
<u>'''Rhythm and Line Length'''</u></br>
The following table shows the length of each line in terms of syllables, words, and stress units.
{| class="wikitable"
|-
! Ref !! Syllables !! Words !! Stress Units
|-
| 2a || 11 || 4 || 4
|-
| 2b || 6 || 3 || 3
|-
| 2c || 10 || 3 || 3
|-
| 3a || 11 || 6 || 4
|-
| 3b || 4 || 2 || 2
|-
| 3c || 5 || 2 || 2
|-
| 4a || 11 || 6 || 4
|-
| 4b || 9 || 4 || 4
|-
| 5a || 7 || 3 || 2
|-
| 5b || 12 || 5 || 4
|-
| 6a || 5 || 3 || 2
|-
| 6b || 6 || 3 || 2
|-
| 7a || 10 || 5 || 4
|-
| 7b || 11 || 5 || 4
|-
| 8a || 8 || 3 || 3
|-
| 8b || 11 || 4 || 4
|-
| 9a || 11 || 4 || 4
|-
| 9b || 8 || 4 || 3
|-
| 9c || 7 || 2 || 2
|}
*Lines 2a and 9a are the same length by all three measures (both are also the first lines of tricola and begin with בְּ)
*Lines 3a and 4a are the same length by all three measures
*Line 5b is, in terms of syllables, the longest line in the psalm. It is also the middle line.
*Long lines indicate breaks in the text (aperture: v.2a, 3a, 4a, 7a, 9a; closure: 5b, 8b), and the moderate lengths of v.5a and v.8a suggest continuity between these verses and the previous verses. This feature is reinforces the fact that vv.4-5 are bound together by an inclusio (ודעו / ודמו) as are vv.7-8 (רבים / רבו).
*The shortest lines in the psalm are v.3bc and v.6ab.
*The decreasing lengths of the final three lines give the psalm a sense of winding down, fitting for an evening psalm that ends in peaceful sleep.
*The plural אֲדֹנֵינוּ is a plural of majesty'"`UNIQ--ref-00000F0B-QINU`"' or rank'"`UNIQ--ref-00000F0C-QINU`"'. It may refer to human masters (proprietors, slave-holders, husbands, prophets, governors, princes, and kings'"`UNIQ--ref-00000F0D-QINU`"'). When referring to God, it is "used to emphasize Yahweh's rule over all the world."'"`UNIQ--ref-00000F0E-QINU`"'
*אֱלֹהִים (v.6a). Bratcher and Reyburn list four common interpretations of אלהים in this verse:'"`UNIQ--ref-00000F0F-QINU`"'
#<u>'''God'''</u>: the ancient Greek versions by Aquila, Symmachus, and Theodotion; Jerome; ASV, RSV, TEV.
#"Angels": Septuagint ([ἀγγέλους] quoted in Heb. 2.7), Syriac, Targum, Vulgate; KJV, NAB, ZÜR, FRCL, NJV footnote.
#"The gods": Dahood. NIV has 'the heavenly beings.'
#'A god': NEB, BJ, NJB, TOB, SPCL. Mft and NJV have 'little less than divine'; almost divine' also represents this meaning.
These four options may be boiled down to two, which, in English translation, is basically an issue of capitalization: (1) God; (2-4) god(s)/angels. "A valiant effort to support the interpretation of 'God' was made by Donald Glenn.'"`UNIQ--ref-00000F10-QINU`"' His approach is flawed because a sentence such as ‘you (God–second person address) have made him a little lower than God (third person address)’ is ungrammatical in Hebrew.”'"`UNIQ--ref-00000F11-QINU`"' So also Kraus: “Because the psalmist is addressing Yahweh (v.2)... we will presumably have to translate אלהים with ‘divine beings,’ ‘heavenly beings.’”'"`UNIQ--ref-00000F12-QINU`"' However, Kraut argues that "the entire [[#Large-scale structure|structure of the psalm]] is built upon the juxtaposition of God’s powers in the first part of the psalm with the powers of man in the second portion of the psalm. Therefore, when the psalmist notes that God has made man slightly less than אֱלֹהִים, the comparison can only be between the powers of God himself, specified in the previous five verses, and those that he bestowed upon mankind, to be specified in the verses that immediately follow."'"`UNIQ--ref-00000F13-QINU`"'
*The psalm ends with a word starting with the last letter of the Hebrew alphabet (תאבד), just as it began with a word starting with the first letter (אשרי), thus forming a phonological inclusio: “The end result is that the fates of the two ways are juxtaposed by placing them at the opposite ends of the alphabet: one is beatitude, the other is perdition. ...The A—Z guide to being a commendable person” [before God]'"`UNIQ--ref-000008A0-QINU`"' (cf. Deut. 5:32-33).
*'''v. 1a.''' אַשְׁרֵי הָאִישׁ ("the ''blessings'' of the man") sounds like אֲשֻׁרֵי הָאִישׁ ("the ''footsteps'' of the man), a likely wordplay given the pathway imagery in v.1 (...אשׁר לא הלך). "Given the controlling metaphor of a journey in this poem, as indicated by the threefold repetition of the word דרך (“way”; vv. 1a, 6a, 6b) and the reference to walking (v. 1a), the אשרי formula is especially appropriate in the title of the poem since the term, whatever its etymology, recalls the verb אשר, which means “walk” (''qal'') and “make way, lead” (''piel''). Note the frequent association of אשׁרי with walking (Pss 89:16; 119:1; 128:1; Prov 20:7) and with a journey (Pss 84:6; 119:1; 128:1; Prov 8:32)."'"`UNIQ--ref-000008A1-QINU`"' The connection between אַשְׁרֵי and אֲשֻׁרֵי may be etymological (thus, possibly a root-play) as well as phonological. "The Hebrew root אשר is related to Arabic ''<sup>)</sup>atara'' (“to make a mark/an impression”), which in the fourth form means “prefer, select, honor.” Hence, one finds the Arabic term ''''<sup>)</sup>atirun'' (“honored, favored”). One may surmise, therefore, that the original sense of Hebrew אשר is “mark (leave a trace/footprint),” hence “step, walk’ (''qal'', Prov 9:6), and so the ''piel'' אשר means “lead” (Isa 1:17; 3:12; 9:16) but also “declare (someone as being) ahead,” thus, to be admired, envied, or congratulated."'"`UNIQ--ref-000008A2-QINU`"'
*'''v. 2.''' Word play on יהוה (v.2a) and יהגה (v.2b)
*'''vv. 2-3.''' "the word-play on חפץ and צלח interchange ח with ץ"'"`UNIQ--ref-000008A3-QINU`"'
*'''v. 5b.''' the phrase בַּעֲדַת צַדִּיקִים sounds like the earlier phrase בַּעֲצַת רְשָׁעִים (v. 1). This phonological correspondence highlights the contrast between the righteous and the wicked: the righteous do not "walk" in the עֲצַת רְשָׁעִים, and the sinners will not stand in the עֲדַת צַדִּיקִים.
<div class="responsive-img">[[File:Psalm 1 Sound (Floor).jpg|Phonological Overview]]</div>
*The whole Psalm is written in the 3rd person. See [[#Subject change|character features table]].
*Strophe A (vv. 1-3) describes the “righteous” individual, who avoids sin (1), seeks God’s word and will (2), and is “blessed” by God (3). From another perspective, this “righteous” person (cf. vv. 5-6) is first defined in negative terms (what he does not do), then in positive terms (his/her godly behavior), and thirdly in figurative terms (a fruitful tree). Thus, this godly person’s character and conduct are in focus throughout— as is the “Law” (תּוָֹרה), or covenantal instructions of the Lord (significantly repeated in the center of this initial strophe, v. 2ab).
**'''v.1.''' Parallel prepositional phrases; parallel motion verbs.
**'''v.2.''' Continued fronting of prepositional phrases (2x in v. 1, 2x in v. 2). Contrast with “where” (בְּ) the righteous one is “living”: “with the evil one” vs. “the Law.”
*Strophe B (vv. 4-5) describes the wicked (הָרְשָׁעִים), who, like the righteous in the first section, are described in terms of what they are like (v. 4 [≈]) and what they will not do (v. 5 [-]).
*The psalm concludes with a short summary strophe (C, v. 6) that only now introduces the superintending divine agent (יְהוָה), whose guiding “Torah” principles govern everything in life for all people—one way, or the other! “God—the ‘proper subject’ of all theology—finally is named as an actor.”'"`UNIQ--ref-00000978-QINU`"' The verse proceeds climactically to distinguish Yahweh’s attitude and actions with regard to the wicked and the righteous—a thematic antithesis that is highlighted by the chiastic word order and syntax of this final verse:
:'''A''' [positive]: transitive verb + subject (YHWH) – '''B''': “way of the righteous” (object) // '''B’''': [negative]: “way of the wicked” (subject) – '''A’''': intransitive verb.
*Many other phonological linkages involving similar sounds and repeated lexical items traverse the psalm, thus knitting the text audibly into a harmonious lyric, yet pervasively didactic whole.
*Total words: 77
*Middle (39th) word: '''בְּנִי'''
This is indeed one of the most thematically important words/lines in the psalm.
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*Total words: 91
*Middle (46th) word: אָמַר
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*Translate as a “conceptual metaphor”
**Walk, stand, sit = relationship, being under the influence of
**What would be a conceptual metaphor appropriate for this comparison of lives led?
***It could be a different set altogether
***It could be a rendition of the ones being used (e.g. walking = walking together for a chat; sitting = sitting together in pleasant conversation; etc.)
*Translate with agricultural metaphors if it fits the culture. Otherwise use something else.
**Trees, fruit vs. chaff
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*Yahweh (v.2)
*בני אישׁ (vv.3-6)
*Yahweh (vv.7-9)
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*lines ending in liquid + ay diphthong (v.2ab, 7b)
*lines ending in hireq yod (vv.3ab-4ab, 6b, 8c)
*words ending in ים- (vv.2b-3ab, 4b, 8d)
*last word of 4a and first word of 4b end in דִי-
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*total: 55; middle: שָׁכַבְתִּי
*total w/selah: 58; middle: וָֽאִישָׁנָה הֱקִיצוֹתִי
*total w/ superscription and selah: 64; middle: מֵהַר קָדְשׁוֹ
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*total: 61; middle: וָֽאִישָׁ֥נָה
*total w/selah: 64; middle: שָׁכַבְתִּי וָֽאִישָׁנָה
*total w/superscription and selah: 70; middle: קָדְשׁוֹ סֶלָה
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*total: 62; middle: אִמְרוּ בִלְבַבְכֶם
*total w/selah: 64; middle: אִמְרוּ בִלְבַבְכֶם
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*total: 71; middle: בִלְבַבְכֶם
*total w/selah: 73; middle: עַל
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*v. 4 (c’) corresponds to v. 3 (c) in terms of imagery (כְּעץ / כַּמֹּץ). This connect is strengthened by morphology (כְּ) and phonology (monosyllabic noun w/final ץ). The “wicked” are briefly (a single colon), but graphically described (4) in agricultural imagery that forges a contrastive connection with v. 3. A sonic similarity is also forged between the two nouns “tree” (עֵץ) and “chaff” (מֹץ).
*v. 5 (a’) corresponds to v. 1 (a) syntactically (V[NEG] [S] M<sup>ב</sup>), lexically (the verbs indicate motion [הלך/עמד/ישׁב // קום], and the nouns רשׁעים and חטאים appear in both verses), and phonologically (בַּעֲצַת – בַּעֲדַת). In verse 5, there is a motion verb (יָקֻ֣מוּ) that is similar to the three verbs in verse 1, but here it describes a motion that the wicked cannot "do". The ultimate fate of the ungodly is summarized in a communal, now also judicial scene (5) that recalls that of v. 1.
*That v. 2 (b), the positive description of the righteous, has no correspondent in the 2nd section is significant. The Torah has no place in the wicked person’s life. This is the fundamental distinction between the righteous and the wicked.
*Verses 2 and 6 are connected in special ways (as shown by the blue type in the above table)—they both begin with the same introductory word in Hebrew (כי ‘for’), feature sets of parallel words (תורה ‘law’ in verse 2, דרך ‘path’ in verse 6), and are the only two verses in the poem without the Hebrew negative particle (לא ‘no/not’). Perhaps most importantly, these two verses are the only ones that mention God’s covenant Name. What happens in verse 2 seems to affect what happens in verse 6—so, those who delight in the Torah are known by God, but those without Him will perish. (Driving the point home, the author of the psalm omits God’s Name from the second half of verse 6, embodying the grim future of those who do not have God in their lives. Without Him, their way ends in destruction, a reality which the line artistically reflects by simply leaving Him out of the picture.) So, our translators need to know to connect verses 2 and 6 in their translations. This connection is noted by Chan, who writes, "Syntagmatically, יהוה only occurs in v. 6 and v. 2. In the latter reference, יהוה is collocated with the Torah."'"`UNIQ--ref-00000981-QINU`"'. According to Chan, this connection suggests that "the Torah of Yahweh, the object of meditation by any person, serves as a pointer to Yahweh himself. In other words, the ''revelatory'' aspect of the Torah is stressed, that the Torah reveals who God is or what his plans are."'"`UNIQ--ref-00000982-QINU`"'
The following propositional analysis shows how the lines and sections of the Psalm are connected semantically:
[[File:Propositional Analysis of Psalm 1.jpg|border|Propositional Analysis]]