Property: Structure
From Psalms: Layer by Layer
This is a property of type Text.
P
Perhaps this feature is meant to draw attention to the foreign word בַּר (v.12a). At the very least, this feature may partially explain why the author chose to use בַּר instead of בֵּן +, Is this alliteration meant to draw attention to thematic significance of the word מלך? Perhaps this explains why the psalmist has chosen to use מוֹ suffixes in v.5. +
It might mark points of thematic discontinuity/peak. +
Kraut argues that vv.4, 7 form elements D and D' in a chiasm that constitutes the whole of Psalm 8. See below on [[#Large-scale structures|Large-scale structures]]. +, The seemingly odd use of אשׁר (v.2c) to begin the body of the psalm might be explained, at least in part, phonologically. אשׁר (v.2c) follows immediately after ארץ (v.2b). See [[#Similar sounds in adjacent lines|below]]. +, The sound play between שׁם and שׁמים runs throughout the psalm and appears to mark boundaries. In terms of meaning, the sound play may underscore the fact that the majesty of God's name (שֵׁם) is seen in the skies (שָׁמַיִם) +, …
May mark the thematic significance of this word +
Microstructural significance: forms parallelilsm; Macrostructural significance: distinguishes section 3 (vv.7-8) +
Microstructure: forms parallel lines into units (bicola). Macrostructure: epiphora (v.3, v.9). +
Microstructure: structures lines 8ab into a unit. Macrostructure: may mark the emotional climax of the psalm. +, structures lines into units (bicola; vv.6ab, 8cd). On a macrostructural level, may form inclusio: the first (רַבּוּ) and final verbs of the psalm are qatal (שִבַּרְתָּ). +, gives cohesion to first section (vv.2-3); anadiplosis (v.3a, 4b) +
The ''qal'' stem (34x vs 17x non-''qal'') predominates in this psalm (contrast with Psalm 5, where there is an equal number of ''qal'' and non-''qal'' verbs). +
The clustering of rare words in the third section (vv.7-8), which corresponds with the phonological recursion of guttural + sonorant/sibilant identified [[#Sound combinations|above]], gives this section both cohesion and prominence. +
The connection between v.4 and v.7 reinforces the [[#Large-scale structures|chiastic structure]] of the psalm. +
The connection between בַּעֲצַת(v.1b) and בַּעֲדַת (v.5b) suggests a correspondence between these lines. +
The connections between v.2c and v.9a (as well as v.2b and v.10b) reinforces the [[#Large-scale structures|chiastic structure]] of the psalm. +
The distribution of verb stems in this psalm "might seem normal, since more than two-thirds of all verbs in the Hebrew Bible are ''qal'', and ''hiphil'' is the next most common stem. The ''hiphil'' in 1:3[d], however, not only stands in contrast to the consistent ''qals'' in the rest of the poem but also concludes its first main section, the 'happy man' (1a-3e)."<ref>Frederic Putnam, “Working with Biblical Hebrew Poetry,” in ''Basics of Hebrew Discourse,'' edited by Miles van Pelt (Grand Rapids: Zondervan Academic, 2019), 184-185.</ref> +
anadiplosis +, The repetition of חנן in the final section (v.10a) gives resolution to the psalm's tension; Yahweh has taken up the psalmist's plea (vv.3a, 10a) +, The exact repetition of word in adjacent lines occurs only the final section and underscores the psalmist's confidence in this section. "The repetition of שָׁמַע יהוה strengthens the psalmist’s assertion of the Lord’s favorable response. God’s 'hearing' an appeal implies his immediate commitment to salutary action."'"`UNIQ--ref-00000D18-QINU`"'This is one of many features that accompanies the distinct mood of vv.9-11. +
The recursion of the divine name יהוה as a vocative at the beginning of a line (vv. 4a, 9a) marks the onset of the two major sections in the body of the psalm (S.1: vv.4-8; S.2: vv.9-12). If the divine name occurs also at the end of v.11d (so LXX), then it functions in this verse as well as in v.7b to close the parallel sub-sections 2.3 and 3.3. +
The series of long ''qal'' imperatives (II-''waw'') gives cohesion and prominence to vv.7-8. +