Property: Discussion

Usage506

FilterThe <a rel="nofollow" class="external text" href="https://www.semantic-mediawiki.org/wiki/Help:Property_page/Filter">search filter</a> allows the inclusion of <a rel="nofollow" class="external text" href="https://www.semantic-mediawiki.org/wiki/Help:Query_expressions">query expressions</a> such as <code>~</code> or <code>!</code>. The selected <a rel="nofollow" class="external text" href="https://www.semantic-mediawiki.org/wiki/Query_engine">query engine</a> might also support case insensitive matching or other short expressions like:<ul><li><code>in:</code> result should include the term, e.g. '<code>in:Foo</code>'</li></ul><ul><li><code>not:</code> result should to not include the term, e.g. '<code>not:Bar</code>'</li></ul>

Showing 20 pages using this property.

P

Psalm 4/Mathematical +

Tricola Tricola occur on the outer edges of the psalm, functioning to open and close the psalm (vv.2, 9) and introduce the address to the sons of man (v.3) *v.2abc (ABA') *v.3abc (ABB') *v.9abc (ABC) Bicola The heart of the psalm (vv.4-8) consists of 5 bicola. These are symmetrically arranged: the first two bicola (vv.4-5) are grouped together by an inclusio (ודעו / ודמו) as are the last two (vv.7-8, רבים / רבו). The shortest bicolon (v.6) is in the center. It connects lexically with the first and final lines of the psalm (צדק, בטח) and marks the transition from night (vv.4-5) to day (vv.7-8) (see [[#Figures of Speech|above]]). *v.4ab *v.5ab *v.6ab *v.7ab *v.8ab +

Psalm 8/Verbs +

Verbless Clauses *v.2b (מה) *v.2c? *v.5aα (מה) *v.5bα ([מה]) *v.10b (מה) The nouns phrases in vv.8-9 are in apposition to כֹּל (v.7b). +

Psalm 4/Verbs +

Verbless Clauses *v.3a *v.7a (ptc) Verbless clauses occur at the beginning of sections. +

Psalm 7/Lexical Semantics +

Weaponry *'''v.11a.''' The מָגֵן was a small shield (compared to the larger צִנָּה) that "could be made of wood (sometimes covered with leather) or metal. It varied in shape but was usually round."'"`UNIQ--ref-00000E14-QINU`"' For the meaning of this clause, see [[#Prepositions|below]]. *'''v.13a.''' The verb לטשׁ means "to sharpen" with reference to metal instruments such as axes and ploughs (1 Sam. 13:20), swords (Ps. 7:13), and razors (Ps. 52:4).'"`UNIQ--ref-00000E15-QINU`"' *'''v.13b.''' The verb דרך means “to tread,” and here refers specifically to “treading the bow” (2 Sam. 22:35; Isa. 5:28; 21:15; Jer. 9:3; 46:9; 50:14, 29; 51:3; Psa. 7:12; 11:2; 18:34; 37:14; Lam 2:4; 3:12). According to Pritz, this phrase “often does not refer to the drawing of the bowstring in order to shoot but rather to the method of bending the unstrung bow enough to slip the bowstring in place on the end of the bow... The underlying idea is preparing the bow for combat.”'"`UNIQ--ref-00000E16-QINU`"' This bending of the bow was done with one’s foot, hence the verb דרך. The following verb, כּוֹנֵן, is a technical term for fixing an arrow upon a bow (cf. Ps.11:2).'"`UNIQ--ref-00000E17-QINU`"' *'''v.14a.''' The noun כְּלִי often refers to weaponry.'"`UNIQ--ref-00000E18-QINU`"' This is made explicit here by the unique phrase כְּלֵי מָוֶת (lit: "instruments of death" = "weapons"). *'''v.14b.''' The verb דלק means "to burn" (intransitive).'"`UNIQ--ref-00000E19-QINU`"' "The reference may be to arrows dipped in a kind of oil or pitch and set alight before shooting."'"`UNIQ--ref-00000E1A-QINU`"' Fiery arrows may also be referred to in Ps. 76:4 by the phrase רִשְׁפֵי־קָ֑שֶׁת. +

Psalm 2/Particles +

Word-Bound Prepositions *ב (v.4a, 5ab, 9a, 11ab, 12d) **forms parallels in v.5ab and 11ab *כ (v.9b, 12c) *ל (v.4b) Independent Prepositions *אֶל (v.5a, 7ab) **forms parallel in v.7ab *מִן (v.3b, 8a) *עַל (v.2c[x2], 6b) **The two lines with עַל (v.2c, 6b) may be connected. Not only do both lines begin with the preposition, but both lines represent the only instances of enjambment in the psalm. Furthermore, both lines are the same length (4 words). +

Psalm 5/Nouns +

v.10a *The only noun in the MT with a 3ms suffix is בְּפִ֡יהוּ (v.10a). The ancient versions (G, S, T, V), along with some Masoretic manuscripts, attest to a 3mp suffix (בפיהם or בפימו). {| class="wikitable" |+ '''Noun Morphology''' |- ! Verse !! Noun !! Gender !! Number !! State !! Suffix !! Definiteness !! Root !! Syntactic Function |- | 2a || אֲמָרַ֖י || m || p || abs. || 1cs || + || אמר || O |- | || יְהוָ֗ה || || s || abs. || || + || || <big>'''voc.'''</big> |- | 2b || הֲגִֽיגִי || m || s || abs. || 1cs || + || הגג || O |- | 3a || לְק֬וֹל || m || s || cstr. || || + || קול || O |- | || מַלְכִּ֥י || m || s || abs. || 1cs || + || מלך || <big>'''voc.'''</big> |- | || וֵאלֹהָ֑י || m || p || abs. || 1cs || + || אלה || <big>'''voc.'''</big> |- | 4a || יְהוָה || || s || abs. || || + || || <big>'''voc.'''</big> |- | || בֹּ֭קֶר || m || s || abs. || || || בקר || M |- | || קוֹלִ֑י || m || s || abs. || 1cs || + || קול || O |- | 4b || בֹּ֥קֶר || m || s || abs. || || || בקר || M |- | 5a || אֵֽל || m || s || abs. || || || אלה || SC |- | || רֶ֥שַׁע || m || s || abs. || || || רשע || O (embedded) |- | 5b || רָֽע || m || s || abs. || || || רעע || S |- | 6a || עֵינֶ֑יךָ || f || p || abs. || 2ms || + || עין || M |- | 6b || כָּל || m || s || cstr. || || || כלל || O |- | || אָֽוֶן || m || s || abs. || || || און || O |- | 7a || כָ֫זָ֥ב || m || s || abs. || || || כזב || O |- | 7b || אִישׁ || m || s || cstr. || || || אישׁ || O |- | || דָּמִ֥ים || m || p || abs. || || || דמם || O |- | || וּמִרְמָ֗ה || f || s || abs. || || || רמה || O |- | || יְהוָה || || s || abs || || + || || S |- | 8a || בְּרֹ֣ב || m || s || cstr. || || + || רבב || M |- | || חַ֭סְדְּךָ || m || s || abs. || 2ms || + || חסד || M |- | || בֵיתֶ֑ךָ || m || s || abs. || 2ms || + || בית || M |- | 8b || הֵֽיכַל || m || s || cstr. || || + || היכל || M |- | || קָ֜דְשְׁךָ֗ || m || s || abs. || 2ms || + || קדשׁ || M |- | || בְּיִרְאָתֶֽךָ || f || s || abs. || 2ms || + || ירא || M |- | 9a || יהוה || || s || abs. || || + || || <big>'''voc.'''</big> |- | || בְצִדְקָתֶ֗ךָ || f || s || abs. || 2ms || + || צדק || M |- | || שׁוֹרְרָ֑י || m || p || abs. || 1cs. || + || שׁור || M |- | 9b || לְפָנַ֣י || m || p || abs. || 1cs || + || פנה || M |- | || דַּרְכֶּֽךָ || m || s || abs. || 2ms || + || דרך || O |- | 10a || בְּפִ֡יהוּ || m || s || abs. || 3ms || + || פה || SC |- | || נְכוֹנָה֘ || f || s || abs. || || || כון || S |- | 10b || קִרְבָּ֪ם || m || s || abs. || 3mp || + || קרב || S |- | || הַ֫וּ֥וֹת || f || p || abs. || || || חוה || SC |- | 10c || קֶֽבֶר || m || s || abs. || || || קבר || SC |- | || גְּרוֹנָ֑ם || m || s || abs. || 3mp || + || גרה || S |- | 10d || לְ֜שׁוֹנָ֗ם || m || s || abs. || 3mp || + || לשׁן || S |- | 11a || אֱֽלֹהִ֗ים || m || p || abs. || || + || אלה || <big>'''voc.'''</big> |- | 11b || מִֽמֹּעֲצ֪וֹתֵ֫יהֶ֥ם || f || p || abs. || 3mp || + || יעץ || M |- | 11c || בְּרֹ֣ב || m || s || cstr. || || + || רבב || M |- | || פִּ֭שְׁעֵיהֶם || m || p || cstr. || 3mp || + || פשׁע || M |- | 12a || כָל || m || s || cstr. || || || כלל || S |- | 12b || לְעוֹלָ֣ם || m || s || abs. || || || עלם || M |- | 12d || שְׁמֶֽךָ || m || s || abs. || 2ms || + || שׁם || O (embedded) |- | 13a || צַ֫דִּ֥יק || m || s || abs. || || || צדק || O |- | 13b || יְהוָ֑ה || || s || abs || || + || || <big>'''voc.'''</big> |- | || כַּ֜צִּנָּ֗ה || f || s || abs. || || + || צנן || M |- | || רָצ֥וֹן || m || s || abs. || || || רצה || M |}

Psalm 5/Nouns +

v.10b *הַוּוֹת – It is not uncommon for abstract nouns to be expressed in plural form.'"`UNIQ--ref-00000C52-QINU`"' The use of the plural here has an architectonic function: "The variation 'singular in A-colon plus plural in B-colon' governs the five verses of 10-11 and 12cd."'"`UNIQ--ref-00000C53-QINU`"' +

Psalm 5/Nouns +

v.13b *The article in כַּ֜צִּנָּ֗ה (v.13b) is used for generic reference. This use of the article is common in similes.'"`UNIQ--ref-00000C57-QINU`"' +

Psalm 4/Summary +

v.2 --- v.4 Lexical *בְּקָרְאִי --- בְּקָרְאִי *יִשְׁמַע --- וּשְׁמַע Phonological *הִפְלָה --- תְּפִלָּתִי Morphological *Hiphil: הִפְלָה --- הִרְחַבְתָּ v.5b --- v.7a, 8a, 9a Lexical *אֹמְרִים --- אִמְרוּ (v.7a) *בְלִבִּי --- בִלְבַבְכֶם (v.8a) *אֶשְׁכְּבָה --- מִשְׁכַּבְכֶם (v.7a) Section 3 (vv.4-5) --- Section 5 (vv.7-8) Lexical *אִמְרוּ (v.5b) --- אֹמְרִים (v.7a) *בִלְבַבְכֶם (v.5b) --- בְלִבִּי (v.8a) Poetic *Architectonic: pairs of bicola bound by inclusions *Imagery: evening (vv.4-5) --> morning (vv.7-8) Prosodic *similar in length (39 syllables --- 40 syllables) Section 4 (v.6) --- Sections 1 (v.2) and 6 (v.9) Lexical *צֶדֶק --- צִדְקִי (v.2a) *לָבֶטַח --- וּבִטְחוּ (v.9c) "The words most characteristic for the positive content, צדק and בטח, which moreover are immediately next to each other in v.6, form a nerve centre in the song. They are connected to צדקי in v.2a (the very first colon) and לבטח in 9c (the very last). Thus, beginning and end of the whole are tied to the centre."'"`UNIQ--ref-00000B5E-QINU`"' Section 1 (v.2) --- Section 6 (v.9) Poetic *Tricola *The imagery of the first tricolon is that of morning (בְּקָרְאִי sounds like בֹּקֶר), while the image of the final tricolon is that of evening (יַחְדָּו אֶשְׁכְּבָה וְאִישָׁן, v.9a). Morphological *initial בְּ preposition: בְּקראי (v.2a) --- בְּשלום (v.9a) *Hiphil: הִרְחַבְתָּ (v.2b) --- תּוֹשִׁיבֵנִי (v.9c) Prosodic *A-lines of the exact same length (11 syllables, 4 words). +

Psalm 2/Summary +

A literary (artistic-rhetorical) translation is required in order to match the verbal excellence of the original text. As Craigie correctly observes: “Through a variety of artistic devices, the poet has created a psalm of power and elegance, worthy of the drama of its theme.”'"`UNIQ--ref-00000014-QINU`"' Timothy Wilt (see below, from his collection, Praise, Prayer and Protest, 3)'"`UNIQ--ref-00000015-QINU`"' renders Psalm 2 along the lines of a poetic narrative, as suggested by Goldingay:'"`UNIQ--ref-00000016-QINU`"' :Warlords and petty kings ally themselves and rouse their rabble. ::“We’ll be no one’s slaves. Let’s break away” they say, rebels ::Against Yahweh and the one he has chosen to rule over all. :::Yahweh watches from heaven. He laughs at their delusions, ::for a moment, then speaks, from the holy mountain Zion: “''I'' ::have enthroned and empowered the one to rule on my behalf.” :::They freeze, terrified by his anger. :::Then our kind speaks: “Yahweh has said to me: ‘Today, I ::Give birth to you. You are my son. Over any nation you ask ::from me, wherever it may be, I give you full rights. If you wish, ::take an iron club and smash the clay men. :::“So swear allegiance to me, Yahweh’s chosen ::representative. And serve Yahweh as subjects a breath away ::from death, as ones whose slightest offense will rouse his ::annihilating anger.” ::How wonderful it is ::for those who come to Yahweh for protection! :::::—''For the Royalty'' The second example of Psalm 2 is a “metrical version” in English composed by Fred R. Anderson.'"`UNIQ--ref-00000017-QINU`"' He defines this as “a poetic paraphrase of a biblical text, set in contemporary, vernacular language, versified in strict meter, and usually rhymed, so that it can be sung to a well-known tune of the same metrical setting. Metrical settings are characterized and named by the number of syllables in each line and the number of lines in each stanza (there are no limits to stanzas, but three to five are quite normal).”'"`UNIQ--ref-00000018-QINU`"' The meter for Psalm 2 is given as: 7.7.7.7 D – ''Aberystwyth, Hintze''.'"`UNIQ--ref-00000019-QINU`"' :Why are the nations gumbling, ::And conspiring plots in vain? :Rulers of the world rise up, ::Weaving webs of death and pain. :Then against the Lord they cry, ::And against God’s Holy Son, :“Let us tear their bonds from us, ::And with their control be done.” :But the Lord has scorn on them, ::Laughing and enthroned on high; :God brings wrath upon their work, ::Filled with anger God replies: :“It is my own holy will ::That the Christ on earth shall reign, :And on Zion’s holy hill ::My anointed I’ll maintain.” :God’s decree unto the King ::Tells what the Lord did say: :“You are my own holy child, ::I’ve begotten you this day. :Ask of me and I will make ::All the nations your own stay. :These possessions you shall rule, ::Strong as iron smashing clay.” :Therefore leaders of the earth, ::Serve the Lord with holy fear; :Trembling come before the throne, ::Or God’s anger will appear. :Kiss God’s feet in trembling awe, ::Or the Lord will use the rod, :Making beggars of all kings. ::Blest are those who trust in God. The third and final example of a poetic translation comes from the restructuring of Psalm 2 prepared by William A. Smalley, with special emphasis upon the “expressive function” of language, that is, in an effort to recreate in English “the mood and emotional thrust of the Psalm.”'"`UNIQ--ref-0000001A-QINU`"' :The subject peoples are planning rebellion... ::Their people are plotting... :::Their kings and rulers join in revolt... ::::“Freedom!” they say, ::::“Freedom from rule!” ::::“off with control :::::of the Lord :::::and the king he has chosen.” ::Plotting ::Useless plots. ::Why? :The Lord laughs on his throne. ::Mocks them in heaven. :Furious, he terrifies them, :Speaks to them, angry, ::"''I'' have installed the king, :::Placed him on Zion, :::My holy hill.” :And the king announces ::what the Lord has declared to him: :::“You are my son. :::Today I became your father. :Ask me for the nations, ::and I’ll give you them. : Ask for the earth, ::and the whole world will be yours ::to rule. :Break the nations in pieces ::Like a clay pot smashes. :Rule them with a harsh king’s rule.” :So listen closely, rebel kings. :Watch out, you plotting rulers. ::Tremble! :::Bow down! :Serve him with fear ::or you will die! :But people are happy ::who go to the Lord ::for protection. Smalley concludes with several caveats regarding poetic translation.'"`UNIQ--ref-0000001B-QINU`"' *The better the poem, of course, the more subtle and powerful is its text structure ..., the tightly-knit interplay of many elements on many levels of deep and surface structure. This cannot be preserved as such in translation, but elements of deep structure which the translator keeps must be formed into a new intricate text structure in the receptor language. *A dynamic equivalent translation must evoke [the original functions], and although the information content should be fully preserved in translation, it should be integrated with the expressive function, which is primary. As with all translation, this can only be done in English by changing the poetic form, and translating the meaning in terms of another surface structure than that of the original. *To the degree that there is a poem in the original there should be a poem of nearly equivalent value in the receptor language if the other functions involved are also suitable to verse form in the receptor language. *Translation is not an interlingual Xerox process which produces the same work of art in another language. Every piece of literary art, whether a poem or a piece of literary prose, is in some respects unique. It is a unique combination of deep and surface structure elements, and has a gestalt all its own. ... If the restructuring is done by an artist equivalent to the original artists, presumably he [she] can produce an equivalent piece of literary art with a different surface structure, but with the same content and function. '''Poetic Translation by Brad Willits''' ::The kings of the earth gather together, ::and stand against Yahweh and his Chosen King. ::They declare, “We will not serve him, we will rebel.”(1) ::Why do the nations conspire against Him? ::What do the people plot their rebellion? ::Such action is futile! (2) ::King God in heaven laughs at them. ::He mocks them. ::He rebukes them in anger. ::His wrath terrifies them. (3) ::He declares, “I have chosen the King :::On my holy hill of Zion.” ::This is how God proclaimed me to be King. (4) ::He said to me: :::Today you become my Son. :::Today I become your Father. :::Ask me and I will give you the nations. :::Ask me and I will give you the earth. :::You will rule them with a fist of iron. :::You will break them like a clay pot. (5) ::Kings and rulers, think about your decision to rebel. (6) ::You have been warned. (7) ::Serve Yahweh with fear. ::Be happy that you can. (8) ::Show him true honor and affection (9) :::Lest you be destroyed in your rebellion :::Since he can easily wipe you out in his wrath. ::Blessed are those who allow Him to protect themselves. '''Notes about the Translation with Principles for Translators:''' #the metaphor of “breaking chains and fetters” has been changed to a non symbolic statement to avoid the negative connotation of God chaining up people. #Significant reordering has been done in this first stanza. #Repetition of structure has been used to underline the intensity. #The theme of the “declaration” connects to the previous verse, and the translation specifies that the direct quotation is the “manner” in which God made his declaration. #Three parallel couplets using grammatical structure and semantic content highlight the poetical nature of the passage. #The reference to “wisdom” has been changed because of its positive and noble connotation. #An idiomatic phrase has been used in this line. #This line tries to make sense out of the phrase “rejoice with trembling.” #The significance of the “kiss” has been portrayed instead of the cultural manner in which it was originally expressed.

Psalm 2/Summary +

All the antagonists engaged in this cosmic drama are introduced in vv. 1-2 and remain “on stage” throughout the semi-narrative progressions that gives the text thematic cohesion (frequently underscored by chiastic syntactic constructions) as well as performative impact and poetic appeal. +

Psalm 1/Phonology +

Alliteration with אַשְׁרֵי and the play on sounds with רָשָׁע may be the reason the relative pronoun אֲשֶׁר is used so many times (3x) within this poem. +

Psalm 4/Summary +

Analysis of the pragmatic function of each section is complicated by the fact that, though the psalm is a prayer to Yahweh (תפלה, v.2c), the heart of the psalm consists of an address to humans (vv.3-6). The communicative function of these verses is thus multilayered. The psalmist's words function both as a rebuke (v.3), admonition (vv.4-5), and exhortation (v.6) to humans (בני אישׁ), and, at the same time, as a prayer to Yahweh which consists of several components common to laments, i.e., complaint (v.3), profession of trust (vv.4-5), and petition (vv.6-8?). :Section 1 (v.2) – Invocation :Section 2 (v. 3) – Rebuke / Complaint (implicit) :Section 3 (vv.4-5) – Admonition / Profession of Trust (implicit) :Section 4 (v.6) – Exhortation / Petition? (implicit) :Section 5 (vv.7-8) – Petition :Section 6 (v. 9) – Profession of Trust +

Psalm 2/Context +

Anderson lists the following "direct quotations or specific allusions" of Psalm 2 in the NT:'"`UNIQ--ref-00000A65-QINU`"' *Ps. 2:1-2 – Acts 4:25-26 *Ps. 2:1, 5 – Rev. 11:18 *Ps. 2:7 – Acts 13:33; Heb. 1:5; 5:5 *Ps. 2:8-9 – Rev. 2:26-27; 12:5; 19:15 To these may be added the words of the Father spoken at Jesus' baptism (Matt. 3:17; Mk. 1:11; Lk. 3:22) and transfiguration (Matt. 17:5; Mk. 9:7; Lk. 9:35), all of which allude to Ps. 2:7. +

R

Reference Catalogue/Comment.850240 +

Another small translation bibliography, Nida School (on zotero): https://www.zotero.org/groups/166113/nidaschool/library +

Reference Catalogue/Comment.225474 +

Another small translation bibliography, Nida School (on zotero): https://www.zotero.org/groups/166113/nidaschool/library +

Reference Catalogue/Comment.304348 +

Another, much smaller, translation bibliography on zotero (Nida School): https://www.zotero.org/groups/166113/nidaschool/library +

Reference Catalogue/Comment.403378 +

Another, much smaller, translation bibliography on zotero (Nida School): https://www.zotero.org/groups/166113/nidaschool/library +

P

Psalm 5/Figurative +

Anthropomorphism *Yahweh has ears (v.2a - הַאֲזִ֥ינָה) *Yahweh has eyes (v.6a - עֵינֶ֑יךָ) *Yahweh is a king (v.3a - מַלְכִּ֥י) *Yahweh is a refuge (v.12a - כָל־ח֪וֹסֵי בָ֡ךְ) *Yahweh inhabits a house (v.5b - יְגֻרְךָ֣; v.8a - בֵיתֶ֑ךָ) Anthropatheia *Yahweh's delight/favor (v.5a, חָפֵ֨ץ; v.13b - רָצ֥וֹן) *Yahweh hates (v.6b - שָׂ֜נֵ֗אתָ; v.7b - יְתָ֨עֵ֥ב) +

Psalm 1/Visualisation.951372/Comment.329992 +

Are there two paths or just one path? +