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P

Psalm 9/Mathematical +

:Total words: 156 ::Total words w/''selah'': 159 :Middle words (78-79): הַגִּ֥ידוּ בָ֝עַמִּ֗ים (v.12b) ::Middle word w/''selah'' (80): עֲלִֽילוֹתָֽיו (v.12b) +

Psalm 7/Mathematical +

:Total: 117 ::Middle: עָלַי (v.9c) :Total (w/''selah''): 118 ::Middle: וְּכְתֻמִּי עָלַי (v.9c) :Total (w/ss + ''selah''): 124 ::Middle: שָׁפְטֵנִי יְהוָה (v.9b) +

Psalm 7/Mathematical +

:Total: 131 ::Middle: יִגְמָר (v.10a) :Total (w/''selah''): 132 ::Middle: עָלָֽי׃ יִגְמָר (vv.9c-10a) :Total (w/ss + ''selah''): 142 ::Middle: עַ֫מִּ֥ים / שָׁפְטֵ֥נִי (v.9ab) +

Psalm 7/Context +

:אֲשֶׁר־שָׁ֥ר לַיהוָ֑ה עַל־דִּבְרֵי־כ֝֗וּשׁ בֶּן־יְמִינִֽי׃ Psalm 7 is one of 13 psalms with a historical note in the superscription (cf. Pss. 3; 18; 34; 51; 52; 54; 56; 57; 59; 60; 63; 142).'"`UNIQ--ref-00000EA0-QINU`"' The usual syntactic formula used to present these historical notes is ב + infinitive construct. The only exceptions to this are Pss. 7 (אֲשֶׁר־שָׁ֥ר לַיהוָ֑ה) and 18 (אֲשֶׁ֤ר דִּבֶּ֙ר׀ לַיהוָ֗ה), which resemble one another syntactically (ליהוה (pf 3ms) אשׁר).'"`UNIQ--ref-00000EA1-QINU`"' Furthermore, "unlike the other titles, the superscriptions of Psalms 7 and 18 do not relate unambiguously to any specific event in the life of David as portrayed in the Dtr history. This fact stands in sharp contrast to every one of the other eleven syntactically identical titles."'"`UNIQ--ref-00000EA2-QINU`"' For both of these reasons, it may be concluded that "the notations of Psalms 7 and 18 do not appear to have arisen by the same hand or as a part of the same redactional or midrashic activity as did the other eleven superscriptions."'"`UNIQ--ref-00000EA3-QINU`"' This may be evidence for the antiquity of these superscriptions. Indeed, the [[#Alternative prosody and syllable counts|balanced number of syllables]] in the psalm (ss + first stanza = '''122'''; second stanza = '''47''' + '''47'''; third stanza + conclusion = '''122'''), if not a remarkable coincidence, may support the originality of the superscription as integral to the psalm itself. The identity of "Cush the Benjaminite" and the "words/events" (דברי) referred to are unknown. Some try and relate the historical note to some known person/event in the canonical history of David's life. The Targum, the Talmud and ''Midrash Tehillim'' interpret כוּשׁ as a figurative reference to Saul, son of קישׁ, the Benjaminite (Targum: על תברא דשׁאול בר קישׁ דמן שׁבט בנימן׃). The Greek translations (LXX, α', σ', θ') read χουσι, perhaps linking the name to the כוּשִׁי/הַכּוּשִׁי of 2 Sam. 18'"`UNIQ--ref-00000EA4-QINU`"' or to חוּשַׁי הָאַרְכִּי (= χουσι in LXX) in 2 Sam. 15-16; 1 Chron. 27:33.'"`UNIQ--ref-00000EA5-QINU`"' Others have taken כוּשׁ בֶּן־יְמִינִי as a reference to Shemei, the Bemjanite, who cursed David (2 Sam. 16; 19).'"`UNIQ--ref-00000EA6-QINU`"' Others assume that "the notation refers to an episode from some undetermined legendary source, a story which, though popularly told, was not consigned to the Dtr history. This solution to the problem is quick and popular, most recently represented by the commentaries of Kraus (1958, p. 56), Anderson (1972, p. 93), and Craige (1983, p. 99), but formerly proposed by Kittel (1914, p. 24), Gunkel (1926, p. 25), and Weiser (1962, p. 135) among others."'"`UNIQ--ref-00000EA7-QINU`"' This view is the least problematic and seems the most likely. Although the referents in the historical notation are mostly obscure, the superscription may provide some help in reconstructing the historical background. "What we can glean from the superscription is to be found in the words ''which he sang to the LORD concerning the words of Cush the Benjaminite.'' It is clear that the Benjaminites bore ill will to David and his reign. It is also likely from the psalm that the psalmist is crying to the Lord because of false words that have been spoken about the psalmist. It is also worth noting that the psalm was later associated with the Jewish Feast of Purim, a context in which the ill will and witness of an enemy play a key role."'"`UNIQ--ref-00000EA8-QINU`"' Apart from the superscription, details regarding the historical background of the psalm may be deduced from the psalm itself, especially vv.4-5. Craigie writes, "It is possible to form a general understanding of the substance of the false accusations from the four declarations contained in vv.4-5. (i) 'This thing' (v.4a) refers in general terms to the accusations laid against him; (ii) 'injustice' (v.4b) implies the character of the action he is said to have done. (iii) The reference to an ''ally'' (v.5a) indicates the person against whom the evil actions were said to have been done, namely a person to whom the psalmist was bound in a relationship of treaty or covenant, which should be characterized by faithfulness, not treachery. (iv) The reference to rescuing 'his (viz. the ally's) adversary' is an example of the kind of treacherous act of which the psalmist is accused, for persons or parties committed to one another in treaty were supposed also to share both friends and enemies, as illustrated in the following quotation from an ancient Hittite treaty: 'with my friend, you shall be friend, and with my enemy, you shall be enemy (''ANET'', 204)."'"`UNIQ--ref-00000EA9-QINU`"'

Psalm 8/Phonology +

:ט - x2 (consecutive lines [v.6ab]) :ס - x2 +

Psalm 7/Mathematical +

'''CLASSIFICATION''' Monocola *v.9a?'"`UNIQ--nowiki-00000E69-QINU`"' Bicola *v.2ab *v.3ab *v.4ab *v.5ab *v.8ab *v.9bc? *v.11ab *v.12ab *v.13ab *v.14ab *v.15ab *v.16ab *v.17ab *v.18ab Tricola *v.6abc *v.7abc *v.9abc?'"`UNIQ--nowiki-00000E6A-QINU`"' Tetracola *v.10abcd *vv.13-14? Comments *'''vv.7-9''' "The BHS reflects utter chaos, as it prints 3 + 2 + 1 cola and tells us in a note that v.9a should be connected to v.7c. Careful attention to style and structure... will yield a satisfactory solution. There is an effective series of imperatives addressed to God, all Qal forms of the ע"ו group and all extended by the ending ''-a''. There are three of these: קומה, עורה, שובה. I will put these in A-cola, as this will do full justice to the next phenomenon, a contrast singular-plural. The A-cola of this L-strophe contain only singular forms, the B-cola have plurals referring to hostile or potentially dangerous masses. This is the third strophe, consisting of three bicola and including v.9a:" :ק֨וּמָ֤ה יְהוָ֙ה׀ בְּאַפֶּ֗ךָ // הִ֭נָּשֵׂא בְּעַבְר֣וֹת צוֹרְרָ֑י :וְע֥וּרָה אֵ֜לַ֗י מִשְׁפָּ֥ט צִוִּֽיתָ׃ // וַעֲדַ֣ת לְ֭אֻמִּים תְּסוֹבְבֶ֑ךָּ :וְ֜עָלֶ֗יהָ לַמָּר֥וֹם שֽׁוּבָה׃ // יְהוָה֘ יָדִ֪ין עַ֫מִּ֥ים'"`UNIQ--ref-00000E6B-QINU`"' Fokkelman's solution, however, is not without problems. In the first place, there are numerous linguistic correspondences (parallels) between v.8a and v.8b which effectively group these lines together as a bicolon. Note especially the [[#Similar sounds in adjacent lines|phonological correspondences]] that form an ''abc//abc'' relationship between these lines: וַעֲדַ֣ת//וְ֜עָלֶ֗יהָ; לְ֭אֻמִּים//לַמָּר֥וֹם; תְּסוֹבְבֶ֑ךָּ//שֽׁוּבָה. This is in keeping the accentuation of the MT. Furthermore, the final word of v.8b (שֽׁוּבָה) may form an inclusion with the first word of v.7a (ק֨וּמָ֤ה)–Yahweh's ascent, begun in v.7a, reaches its peak in v.8b–thus confirming v.8b as the end of a bicolon rather than the beginning. Verse 7c, then, is grouped with v.7ab to form a tricolon. This is suggested not only by the MT's accentuation, but also by the [[#Waw/Vav|''waw'']] that begins v.7c (וְעוּרָה). What, then, of v.9a? This unique line, with its emphatic [[#Lunn on Word order|word order]] (S V O), [[#Other observations|rhythmic cadence]] (2.2.2), and [[#Subject change|3rd person reference]] (sandwiched between 2nd person references), has correspondences with both v.8ab and v.9bc, thus functioning to bridge these two units. The double מ in עמים forms a connection with לאמים (v.8a), with which there is also a lexical connection, and למרום (v.8b). At the same time, however there are strong lexical connections in the other direction: repetition of יהוה (v.9ab); synonyms: ידין (v.9a) / שׁפטני (v.9b). Verse 9a stands in the middle of a chiasm that runs through vv.8-9: a וְ֝עָלֶ֗יהָ לַמָּר֥וֹם שֽׁוּבָה b יְהוָה֮ יָדִ֪ין עַ֫מִּ֥ים / b' שָׁפְטֵ֥נִי יְהוָ֑ה a' כְּצִדְקִ֖י וּכְתֻמִּ֣י עָלָֽי. The inner constituents of the chiasm are connected lexically (שׁפט // דין; repetition of יהוה) as well as syntactically (word order: יהוה V O // V-o יהוה). Recursion of the preposition על forms a connection between v.8b and v.9c. This chiasm is parallel to a very similar construction in vv.10cd-11ab, which has אלהים (rather than יהוה) at the center: a וּבֹחֵ֣ן לִ֭בּ֗וֹת וּכְלָי֗וֹת b אֱלֹהִ֥ים צַדִּֽיק / b מָֽגִנִּ֥י עַל־אֱלֹהִ֑ים a מ֝וֹשִׁ֗יעַ יִשְׁרֵי־לֵֽב. In conclusion, then, v.9a, which stands out in many respects (especially the 3rd person reference) and yet creates a measure of continuity between v.8ab and v.9bc, may be considered either an ''abc'' monocolon or the ''A''-line of an ''ABB''' tricolon (v.9abc). The grouping of v.9a with the following lines rather than with the preceding lines results in a [[#Alternative prosody and syllable counts|prosodic symmetry]]: vv.7-8 (47 syllables); vv.9-10 (47 syllables). '''DISTRIBUTION''' {|style="border-spacing: 10px;" |- | 2 || BICOLON |- | 3 || BICOLON |- | 4 || BICOLON |- | 5 || BICOLON |- | 6 || || TRICOLON |- | 7 || || TRICOLON |- | 8 || BICOLON |- | 9 || || TRICOLON? |- | 10 || || || TETRACOLON? |- | 11 || BICOLON |- | 12 || BICOLON |- | 13 || BICOLON |- | 14 || BICOLON |- | 15 || BICOLON |- | 16 || BICOLON |- | 17 || BICOLON |- | 18 || BICOLON |} The Psalm begins and ends with a series of bicola (vv.2-5; vv.11-18). Non-bicolic verses cluster in the middle of the psalm (vv.6-10). Tricola function to close (v.6abc) and open (v.7abc; v.9abc) sections. The psalm's only tetracolon (v.10) occurs at the middle of the psalm (v.10 is the middle verse; v.10a is the middle line), perhaps marking a peak.

Psalm 1/Context +

'''Canonical Setting''' Psalms 1 and 2 form the introduction to the Psalter. "The unique position of these two psalms at the beginning of the whole Psalter as well as Book One suggests we are likely dealing with a distinct editorial function for these psalms. While there is some textual evidence for the combination of these psalms, John T. Willis has shown conclusively that they are originally distinct compositions which function editorially as the introduction to the whole psalter and to Book One respectively."'"`UNIQ--ref-0000095F-QINU`"''"`UNIQ--ref-00000960-QINU`"' +

Psalm 6/Summary +

'''Direct Literary Translation by Ernst Wendland''' :Lord, don’t punish me in anger, :don’t chasten me in your wrath. :Rather, have mercy—I’m so weak; :heal me, for I’m feeling such pain. :Indeed, I’m sick in mind and heart— :how long then before you respond? :Come back to me, Lord, deliver me; :Save me since your love never fails. :If I’m dead, how can I worship you? :No one remembers you in the grave! :I’m truly worn out with weeping; :I cry to you day and night for aid; :my bed is drenched with my tears. :My eyes are very bleary with grief— :many enemies make it much worse. :Away with you all, you wicked fellows! :God has heard my anguished weeping. :The Lord listens to these cries for help. :He will surely respond to my prayers. :All my foes will be turned right around; :So swiftly they’re shamed and shunned! '''Poetic Translation by Ryan Sikes''' :Yahweh, my father, do not be mad. :Do not punish me in your wrath. :Be kind, Yahweh, for I am frail :Heal me, Yahweh, for my frame is ailed. :Ailed as well is my soul. :How long, Yahweh...? :Relent, Yahweh! Rescue my soul! :Save me for your loyal love. :For, in death, you are not named. :In Sheol, who can give you praise? :Exhausted by my sighs am I. :My sheets–they swim for nights and nights. :My tears dissolve my bed like ice. :My eyes–they’ve swollen twice their size. :My eyes have aged; my rivals rage. :Away with you, you wicked men! :Yahweh has listened to my lament. :Yahweh has listened to my plea. :Yahweh will respond to me. :May all my foes be ailed, be shamed! :At once, be mashed, be shamed! '''Notes for Translators''' "Among the chief functionally-oriented 'communicative clues' that translators should endeavor to reproduce idiomatically in their TL text are these: *the essential poetic structure of Psalm 6 in terms of four stanza divisions; *the sorrowful emotive overtones that run throughout the first three stanzas; *the unexpected, but strong (imperative) and motivated shift in attitude and outlook that characterizes stanza D; *the mini-climaxes in oratorical import which seem to occur at the end of each stanza, i.e., vv.4b (rhetorical question), 6b (rhetorical question), 8b (the sudden revelation that the psalmist’s suffering is social as well as physical), 11 (the thematic “turning” that occurs when the enemies are “shamed”—wordplay); *the pragmatic force (topic/focus) of the periodic, fronted nominal phrases noted in the earlier exegetical analysis (e.g., v.2ab); *the semantic implication of the occasional Hebrew conjunctive particles (e.g., the parallel כּי 'for' clauses in v.3ab 'reason,' or motivational use here); *other, deliberately positioned (fronted/backed) syntactic elements that forge contrastive or complementary linkages on the textual microstructure (e.g., the antithetical implication of the initial pronoun אַתָּה in v.4b in contrast with נַפְשִׁי in the preceding line, 4a); *the phonological and lexical reiteration which create perceptible cohesive connections throughout the psalm and hence the prayer as a whole; *a functionally-equivalent TL literary genre (along the lines of a lament with an optimistic topical surprise at the end) that can duplicate the artistry, impact, and appeal of the original Hebrew poetry on the macro-level of discourse."'"`UNIQ--ref-00000DB6-QINU`"'

Psalm 5/Phonology +

'''Miscellaneous''' *The first word of the psalm begins with א (alliterated in v.2a) and the last word begins with ת (alliterated in v.13ab), thus forming a phonological inclusion (cf. Psalm 1). This feature may partly explain the defamiliarized word order in v.2a (O - V - voc). '''Rhythm and Line Length''' 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 || 8 || 3 || 3 |- | 2b || 5 || 2 || 2 |- | 3a || '''12''' || '''5''' || '''5''' |- | 3b || 7 || 3 || 2 |- | 4a || 7 || 4 || 4 |- | 4b || 9 || 4 || 3 |- | 5a || 8 || '''6''' || 4 |- | 5b || 5 || 3 || 3 |- | 6a || '''13''' || '''5''' || 4 |- | 6b || 8 || 4 || 3 |- | 7a || 8 || 3 || 3 |- | 7b || '''11''' || '''5''' || 4 |- | 8a || '''13''' || '''5''' || '''5''' |- | 8b || '''14''' || '''5''' || 3 |- | 9a || '''15''' || '''5''' || '''5''' |- | 9b || 8 || 3 || 3 |- | 10a || 8 || 3 || 3 |- | 10b || 4 || 2 || 2 |- | 10c || 6 || 3 || 2 |- | 10d || 6 || 2 || 2 |- | 11a || 6 || 2 || 2 |- | 11b || 9 || 2 || 2 |- | 11c || 9 || 3 || 3 |- | 11d || 4 || 3 || 2 |- | 12a || 8 || 4 || 3 |- | 12b || 7 || 2 || 2 |- | 12c || 6 || 2 || 2 |- | 12d || '''12''' || 4 || 4 |- | 13a || '''10''' || '''5''' || 4 |- | 13b || 9 || 3 || 3 |} *There is little discernible regularity in the length of lines, which range from 4-15 syllables and 2-5 stress units. *If vv.10-12 are considered tetracola, then in nearly all of the bicola (2, 3, 4, 5, 6, 8, 9, 13), the b-line is slightly shorter than the a-line in terms of stress units. The only exception is v.7ab, (a point of discontinuity) in which the reverse is true. *Lines in the second half of the psalm (esp. vv.10-12) are, on average, shorter than those in the first half. *The three longest lines occur near/at the middle of the psalm, their lengths gradually increasing (v.7b: 11 syllables --> v.8a: 13 syllables --> v.8b: 14 syllables) and peaking at v.9a (15 syllables), the middle line of the psalm. These long lines cluster around a major sectional boundary (8b/9a).

Psalm 3/Phonology +

'''Overview''' This text manifest much sonic correspondence, including semantic symbolism (e.g., “rise up”— enemies, 1b, versus Yahweh, 7a), frequent rhyme patterns (e.g., formed by the pronominal suffix "me/my", e.g., v. 2) and an irregular but audible lineal rhythmic flow. '''Miscellaneous Notes''' *'''v.8c.''' alliteration of dentals + plosive velars creates a sound of striking which reflects the semantic content '''Rhythm and Line Length''' The following table shows the length of each line in terms of syllables, words, and stress units. Syllable counts are from Fokkelman (and are thus based on his slightly emended text [see [[#Fokkelman's prosody and syllable counts|below]]]),'"`UNIQ--ref-00000A78-QINU`"' and stress-unit counts are from Craigie.'"`UNIQ--ref-00000A79-QINU`"' If any particular line stands out according to two or more of these measurements, that line is considered marked. Lines 8a, 8b, 8c, and 9b are marked in this respect. {| class="wikitable" |- ! Ref !! Syllables !! Words !! Stress Units |- | 2a || 7 || 4 || 3 |- | 2b || 6 || 3 || 3 |- | 3a || 8 || 3 || 3 |- | 3b || 9 || 4 || 3 |- | 4a || 9 || 4 || '''4''' |- | 4b || 8 || 3 || 3 |- | 5a || 7 || 4 || 3 |- | 5b || 8 || 3 || 3 |- | 6a || 9 || 3 || 3 |- | 6b || '''11''' || 4 || 3 |- | 7a || 7 || 4 || 3 |- | 7b || 8 || 4 || '''4''' |- | 8a || '''4''' || '''2''' || '''2''' |- | 8b || 7 || '''2''' || '''2''' |- | 8c || '''11''' || '''6''' || 3 |- | 8d || 9 || 3 || 3 |- | 9a || 7 || '''2''' || '''2''' |- | 9b || 9 || 3 || '''2''' |} *Poetic “terseness” is clearly audible throughout the psalm, for example: (a) verbless cola in vv. 2, 4; (b) all other clausal (cola) units are relatively short (in comparison with prose); (c) there are few inter-clausal connectives (conjunctions)—thus, the ones that do occur are significant (e.g., כִּי in vv. 6b and 8c).

Psalm 7/Phonology +

'''Rhythm and Line Length''' The following table shows the length of each line in terms of syllables, words, and stress units. See below on [[#Line divisions|line divisions]]. {| class="wikitable" |- ! Ref !! Syllables !! Words !! Stress Units |- | 2a || 10 || 4 || 4 |- | 2b || '''14''' || 4 || 3 |- | 3a || 8 || 4 || 3 |- | 3b || '''6''' || 3 || 3 |- | 4a || 10 || '''5''' || 4 |- | 4b || 7 || 4 || '''2''' |- | 5a || 8 || 4 || 3 |- | 5b || 10 || 3 || 3 |- | 6a || 10 || 4 || 4 |- | 6b || 7 || 3 || 3 |- | 6c || 9/'''11''' || 3/4 || 3/4 |- | 7a || 8 || 3 || 3 |- | 7b || 9 || 3 || 3 |- | 7c || 10 || 4 || 4 |- | 8a || '''11''' || 3 || 3 |- | 8b || 9 || 3 || 3 |- | 9a || '''6''' || 3 || 3 |- | 9b || '''5''' || '''2''' || '''2''' |- | 9c || 9 || 3 || 3 |- | 10a || 7 || 4 || 3 |- | 10b || '''6''' || '''2''' || '''2''' |- | 10c || 9 || 3 || 3 |- | 10d || '''5''' || '''2''' || '''2''' |- | 11a || 7 || 3 || '''2''' |- | 11b || '''6''' || 3 || '''2''' |- | 12a || 7 || 3 || 3 |- | 12b || 7 || 4 || 3 |- | 13a || 8 || '''5''' || 4 |- | 13b || 10 || 3 || 3 |- | 14a || 8 || 4 || 3 |- | 14b || 8 || 3 || 3 |- | 15a || 7 || 3 || '''2''' |- | 15b || 10 || 4 || 4 |- | 16a || 8 || 3 || 3 |- | 16b || 7 || 3 || 3 |- | 17a || 8 || 3 || 3 |- | 17b || 10 || 4 || 4 |- | 18a || 7 || 3 || 3 |- | 18b || 9 || 4 || 3 |} *As expected, the b-line of each bicolon is, in terms of stress units, of the same or shorter length than the a-line. The only exceptions are v.17ab (3//4), which concludes a section, and v.15ab, which opens a section. *Terse (marked) lines cluster in the middle of the psalm (vv.9-11). *Terse lines at v.11a and v.15a open new sections. *v.4a and v.17b are marked for long length (17b is long relative to 17a). v.4a marks the opening of a section and v.17b marks the closing of a section.

Psalm 9/Phonology +

'''Rhythm and Line Length''' 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 || 8 || 4 || 3 |- | 2b || 10 || 3 || '''2''' |- | 3a || 8 || 3 || 3 |- | 3b || 8 || 3 || 3 |- | 4a || 7 || 3 || '''2''' |- | 4b || '''12''' || 3 || 3 |- | 5a || 10 || 4 || 3 |- | 5b || 9/10 || 4 || 4 |- | 6a || 10 || 4 || 4 |- | 6b || 10 || 4 || 4 |- | 7a || '''11''' || 4 || 4 |- | 7b || '''6''' || '''2''' || '''2''' |- | 7c || '''6''' || 3 || 3 |- | 8a || 8 || 3 || 3 |- | 8b || 7 || 3 || 3 |- | 9a || 8/9 || 4 || 3 |- | 9b || 9 || 3 || 3 |- | 10a || 8 || 4 || 4 |- | 10b || 8 || 3 || 3 |- | 11a || '''12''' || 4 || 4 |- | 11b || '''11''' || 5 || 4 |- | 12a || 10 || 4 || 4 |- | 12b || 10 || 3 || 3 |- | 13a || 9 || 5 || 4 |- | 13b || 9 || 4 || 3 |- | 14a || '''5/6''' || '''2''' || '''2''' |- | 14b || 8 || 3 || 3 |- | 14c || 8-10 || 3 || 3 |- | 15a || '''12/13''' || 4 || 3 |- | 15b || '''6/7''' || 3 || '''2''' |- | 15c || 8 || 2 || '''2''' |- | 16a || 9/10 || 4 || 4 |- | 16b || '''11/12''' || 5 || 4 |- | 17a || 8 || 4 || 4 |- | 17b || 8/9 || 4 || 4 |- | (17c) || (5) || (2) || (2) |- | 18a || 9 || 3 || 3 |- | 18b || 9 || 4 || 3 |- | 19a || 9/10 || '''5''' || '''5''' |- | 19b || 9 || 4 || 4 |- | 20a || 9 || 5 || 4 |- | 20b || 10 || 4 || 3 |- | 21a || 8 || 4 || 4 |- | 21b || '''5''' || '''2''' || '''2''' |- | 21c || '''4(6)''' || 2(3) || 2(3) |} *Average number of syllables per line (including ''higgayon selah'' and ''selah''; following Fokkelman's method [pp.15-16]): 378/44 = 8.59 *Average number of words per line: 195 / 44 = 4.43 (including ''higgayon selah'' and ''selah'') *Average number of stress-units per line: 142–145 / 44 = 3.25–3.29 (second numbers including ''higgayon selah'' and ''selah'') *All of the lines marked for shortness of length (6 [or less] syllables are found within tricola (7b, 14a, 15b, 21b)

Psalm 8/Phonology +

'''Rhythm and Line Length''' The following table shows the length of each line in terms of syllables, words, and stress units. The highest and lowest numbers in each category are emboldened. {| class="wikitable" |- ! Ref !! Syllables !! Words !! Stress Units |- | 2a || '''6''' || '''2''' || '''2''' |- | 2b || 9 || 5 || 3 |- | 2c || 11 || '''5''' || 4 |- | 3a || 9 || 3 || 3 |- | 3b || 10 || 4 || 4 |- | 3c || 9 || 3 || 3 |- | 4a || '''13''' || '''5''' || 4 |- | 4b || 11 || 4 || 4 |- | 5a || 8 || 4 || '''2''' |- | 5b || 9 || 4 || 3 |- | 6a || '''12''' || 3 || 3 |- | 6b || 11 || 3 || 3 |- | 7a || 10 || 3 || 3 |- | 7b || '''6''' || 4 || 3 |- | 8a || 8 || 3 || 3 |- | 8b || 7 || 3 || 3 |- | 9a || 9 || 4 || 4 |- | 9b || '''6''' || 3 || 3 |- | 10a || '''6''' || '''2''' || '''2''' |- | 10b || 9 || 5 || 3 |} *Terse lines with only 2 stress units occur at the beginning (v.2a), ending (v.10a), and middle (v.5a) of the poem. *Long lines (vv.4a, 6a) open new sections. *'''v.3.''' Following the MT's accents would give the following: 3a: 14/5/5, 3b: 6/2/2 3c: 9/3/3. This leaves v.3a as the longest line in the psalm, with 14 syllable, 5 words, and 5 stress units, more than two times the length of the following line (3b). Balance and rhythm is achieved if v.3ab is [[#Line divisions|divided differently]], i.e., if the division is placed after ינקים (v.3a): 3a: 9/3/3, 3b: 10/4/4, 3c: 9/3/3. According to this division, v.3a and v.3c, between which there are a several striking [[#Similar sounds in adjacent lines|phonological parallels]], are identical in length. +

Psalm 7/Verbs +

'''Verbless Clauses''' *v.3b (אֵין) *v.4b (יֵשׁ) *v.10d *v.11ab *v.12ab Verbless clauses cluster near the middle of the psalm in vv.10d-12, highlighting a major division (v.10d / v.11a). These lines are marked for their terseness (see [[#Other observations|above]]). +

Psalm 5/Verbs +

'''Verbless Clauses''' *v.5a *10a *10b *10c The negated verbless clauses in v.5 and v.10 are parallel in the macrostructure of the psalm. Within the two parallel sections that constitute the body of the psalm (section 2: vv.4-8; section 3: vv.9-12), v.5a opens section 2.2, and v.10a opens section 3.2. +

Psalm 9/Summary +

Acrostic Structure The acrostic "was an artistic device, which provided the poet with a distinctive framework within which to express his thought."'"`UNIQ--ref-00000FCF-QINU`"' "The following alphabetic acrostics occur in Hebrew: Nah. 1:2-8; Pss. 9; 10; 25; 34; 37; 111; 112; 119; 145; Prov. 31:10-31; Lam. 1-4; Sir. 51:13-20."'"`UNIQ--ref-00000FD0-QINU`"' The acrostic structure of Psalm 9 is as follows: :א (vv.2-3) :ב (vv.4-5) :ג (vv.6-7) ::ד (vv.5-7?)* ::ה (v.7?)* :ו (vv.8-11)* :ז (vv.12-13) :ח (vv.14-15) :ט (vv.16-17) :י (vv.18-19) ::כ (v.19, vv.20-21?)* *The third strophe (ג, vv.6-7) is "perhaps intended to represent ד and ה" as well.'"`UNIQ--ref-00000FD1-QINU`"' Dentals happen to cluster in vv.5-7 (see [[#Consonants|above]]), and words beginning with ה begin (הָאוֹיֵב) and end (הֵמָּה) v.7. Both of these words in v.7 are syntactically abnormal and may represent deliberate attempts to use the letter ''He''. הָאוֹיֵב is the only occurrence of definite ה in the psalm and the only line beginning with ה. *The ''waw'' section is twice as long as the other sections (vv.8-11). *In v.20, "the poet takes a leap to ק which, however, seems to be a substitute for the כ which one would expect to find."'"`UNIQ--ref-00000FD2-QINU`"' See above on [[#Consonants|phonology]]. כְּ does begin v.19. However, v.19 is bound together with v.18 (see [[#Chiasms|chiastic structure]]). It is often assumed that the incompleteness of this acrostic structure is the result of textual corruption.'"`UNIQ--ref-00000FD3-QINU`"' "It would be most natural to assume either editorial modification, or textual corruption (at a very early date) to account for such divergences from the norm."'"`UNIQ--ref-00000FD4-QINU`"' Hence, "many are the attempts to repair the damage to this alphabet acrostic."'"`UNIQ--ref-00000FD5-QINU`"' However, incomplete acrostic poems are not uncommon. "Some of the acrostic poems use only half of the alphabet; Nah. 1:2-8 goes from א to ? ט; Ps. 9 covers the first half of the alphabet, Ps. 10 (it would seem) the second... Partial acrostics also occur, for example Ps. 145:11-13 (within a complete acrostic) and Song 4:9-11... Also Psalm 155."'"`UNIQ--ref-00000FD6-QINU`"' Some otherwise complete acrostic poems omit a letter or two (Ps. 25 [ק, ו]; Ps. 34 [ו]; Ps. 37 [ע]; Ps. 145 [נ]), though some of these omissions may be the result of textual corruption. Thus, at least half of acrostic poems in the MT Psalter are "incomplete" (Pss. 9; 10; 25; 34; 37; 145). Only Psalms 111, 112, and 119 have all 22 letters. This fact, in conjunction with the apparent artistry of Ps. 9 in its present form as demonstrated in the preceding analysis, may lead to the conclusion that "the non-appearance of certain consonantal signs as strophe openers need not be the result of textual corruption. The text of Ps.9/10 is nearly immaculate."'"`UNIQ--ref-00000FD7-QINU`"' Why, then, are certain letters omitted in Ps. 9? If it is not the result of textual corruption, and if we assume that it is not arbitrary, then what is the purpose? The letters which are omitted or otherwise marked are דּ (missing), ה (beginning v. 7, though not a new strophe), and כּ (beginning v.19, though not a new strophe). Is it a coincidence that these letters spell out דַּךְ ("oppressed") or, if ה is included, הַדַּךְ ("the oppressed", cf. Ps. 9:10)? This is a key word in Pss. 9-10 (9:10; 10:18; verbal form [דכה] in 10:10) and is otherwise rare in the Hebrew Bible (Ps. 74:21; Prov. 26:28). The word דַּךְ appears in the ''waw'' strophe, which is the only letter-strophe marked for its double length (vv.8-11). Thus, every variation in the acrostic structure of Ps. 9 may be explained in terms of this feature; the structure is designed to draw attention to the thematic significance of "the oppressed" (הַדַּךְ). This feature is not without parallel in other ANE literature. "''Sentence-acrostics'' or ''name-acrostics'' are to be found in Akkadian."'"`UNIQ--ref-00000FD8-QINU`"' Ps. 9, by contrast, forms a ''word-acrostic'', and not by those letters which are present, but by those which are absent or otherwise marked. Relationship to Psalm 10 "The principal problem pertaining to Pss. 9 and 10 concerns whether they should be treated as a unity, namely a single acrostic psalm, or whether they should be treated as separate and independent psalms."'"`UNIQ--ref-00000FD9-QINU`"' Psalm 9 is connected to Psalm 10 in a number of ways. The following points are observed by Kraus'"`UNIQ--ref-00000FDA-QINU`"' and Craigie.'"`UNIQ--ref-00000FDB-QINU`"' #A single (impartial) acrostic structure runs through both psalms. #Some ancient versions (LXX, Vulgate) and Hebrew manuscripts (cf. DeRossi) present Pss. 9-10 as a single psalm. #Psalm 10 has no superscription. #Similar words and concepts appear in both psalms. "The acrostic pattern in Pss 9 and 10, although incomplete, suggests these two poems are a single unit in their final, canonical form... Hanson affirmed the unity of these psalms by listing keywords that occur not just in one but in both of these psalms."'"`UNIQ--ref-00000FDC-QINU`"' Yet "Ps 9 is not in any way wanting in internal roundness and finish."'"`UNIQ--ref-00000FDD-QINU`"'

Psalm 3/Mathematical +

Bicola *v.2ab *v.3ab *v.4ab *v.5ab *v.6ab *v.7ab *v.8ab? *v.8cd? *v.9ab Alternatively, v. 8 may be an A/B/B' tricolon. The question is whether the first two clauses of v. 8 are to be considered as two cola or as a single colon. If parallelism (semantic and syntactic) is "the principal guide,"'"`UNIQ--ref-00000AED-QINU`"' then the former option is to be preferred. The length of the lines, in this case, is admittedly short – 8a would be the shortest in the psalm – yet not much shorter, in terms of syllables, than the lines in v. 9. The short length of v. 8a (4 syllables) falls within the range proposed by Fokkelman'"`UNIQ--ref-00000AEE-QINU`"' and may be explained as an indication of discontinuity (peak/climax?) in the text. Perhaps the ''paseq'' after יהוה supports the decision to see a division at this point? If the text is divided at this point, then the four lines should probably distributed into two bicola, though a tetracolon may also be a possibility. +

Psalm 8/Mathematical +

Bicola *v.2ab *vv.2c,3a *v.3bc *v.4ab *v.5ab *v.6ab *v.7ab *v.8ab *v.9ab *v.10ab For the division and distribution of lines in vv.2-3, see [[#Line divisions|below]]. +

Psalm 5/Mathematical +

Bicola Section 1 (vv.2-3), Section 2 (vv.4-8), and Section 4 (v.13) consist completely of bicola. *v.2ab *v.3ab *v.4ab *v.5ab *v.6ab *v.7ab *v.8ab *v.13ab Tricola This ABA tricolon begins the second half of the psalm *v.9abc Tetracola Tetracola cluster in Section 3 (vv.9-12) of the psalm. That these should be regarded as tetracola rather than bicola is supported by the MT's accents as well as the numerous features that gives cohesion to these correspondence groups. In each case, the b-line (10b, 11b, 12b) is so closely connected to the following line (10c, 11c, 12c) so as to make a bicolic division unlikely. *v.10abcd **abb'a' chiasm ('''a''': unsteady mouth, '''b''': insides [קרב], '''b'''': throat [=קבר], '''a'''': slippery tongue) *v.11abcd **v.11bc: abb'a' chiasm ('''a''': V [יִפְּלוּ֘] '''b''': M [מִֽמֹּעֲצ֪וֹתֵ֫יהֶ֥ם] '''b'''': M [בְּרֹ֣ב פִּ֭שְׁעֵיהֶם] '''a'''': V [הַדִּיחֵ֑מוֹ]) **the interconnectedness of these lines is supported by the recursion of ''hiphil'' 2ms Imperatives in both 11a and 11c. *v.12abcd **abb'a' chiasm ('''a''': w-V Sptc [וְיִשְׂמְח֙וּ כָל־ח֪וֹסֵי בָ֡ךְ], '''b''': M V ['''לְעוֹלָ֣ם '''יְ֭רַנֵּנוּ], '''b'''': V M [וְתָסֵ֣ךְ''' עָלֵ֑ימוֹ'''], '''a'''': w-V Sptc [וְֽיַעְלְצ֥וּ בְ֜ךָ֗ אֹהֲבֵ֥י שְׁמֶֽךָ]) +

Psalm 8/Context +

Canonical Context Psalm 8 follows closely after Psalm 7, in which the psalmist ends with a vow to praise the "name of Yahweh, Most High" (7:18), having used the name יהוה seven times. Psalm 9 begins, similarly, with a vow to praise "your name, Most High" (7:3). Psalm 8, situated between these two vows of praise, is, accordingly, an ode to Yahweh's name (8:2, 10). If Psalms 1-2 (without superscriptions) are excluded as introductory, then Psalm 8 is the sixth psalm in the Psalter, following a series of five lament psalms (3, 4, 5, 6, 7). This placement may reflect the fact that humans, the focus of Psalm 8, were created on the sixth day of creation (cf. Gen. 1). Psalms 3-8 are connected in an interesting and often overlooked way. Images of morning and evening alternate in each psalm. :Psalm 3 – morning (cf. 3:6) :Psalm 4 – evening (cf. 4:9) :Psalm 5 – morning (cf. 5:4) :Psalm 6 – evening (cf. 6:7) :Psalm 7 – morning (cf. 7:7) :Psalm 8 – evening (cf. 8:4) The blessed man meditates on Yahweh's instruction "day and night" (יומם ולילה). The order of these first 8 psalms may be designed with this in mind. +