-Has subobject::Poetic Sections Phonology
Poetic Sections# QUERY3f1818a1b4462556a9ba36a0f10c7c6b
-Has subobject::Poetic Sections Lexical Semantics
Poetic Sections# QUERYccb13959ca540af14de72e03ec38ad65
-Has subobject::Poetic Sections Verbs
Poetic Sections# QUERY456fcb0e8186c338986de8f042a01c0d
-Has subobject::Poetic Sections Nouns
Poetic Sections# QUERYfc9dfdc208969acf31f297f495dda08e
-Has subobject::Poetic Sections Particles
Poetic Sections# QUERYf3cd16a6c635c7d2a4187dd5dc7a7208
-Has subobject::Poetic Sections Figurative
Poetic Sections# QUERY5ef90781ab03bd6189a5f9d3a2771c15
-Has subobject::Poetic Sections Context
Poetic Sections# QUERY2363fed4f5211d5bc0fb53b5394a36e8
-Has subobject::Poetic Sections Mathematical
Poetic Sections# QUERYb7f532c632e94deb6d44c2896fc8b175
-Has subobject::Poetic Sections Variants
Poetic Sections# QUERYbf2d139e5627889967b6839a678c1bb3
-Has subobject::Poetic Sections Summary
Poetic Sections# QUERY533d97ec5c0105453d5ee4e8b2517d39
Include additional notes about the feature in the space below the table. How does our analysis change when viewing aleph vs. ayin with the same vowel underneath?
How are vowels distributed throughout the poem?
Poetic Sections# 029174fb62c20ca593f8373bec23bfbe
Use computer analysis to go through each sound. Add option to look at final consonant either alone or as part of primary consonant? Significant exclusively as final in Psalm 1….
How are consonants distributed throughout the poem?
What combinations of sounds (including consonants and/or vowels) appear in significant clusters within the poem? How do these clusters intersect with the overall structure of the poem?
Poetic Sections# 1d7dc66e72dbb0c0a3a25050712f1c14
For letters/sounds (consonants or vowels) that appear relatively infrequently in this passage, how does their rareness in this text correspond with their statistical rareness in the book of Psalms, or in poetic passages, or in the OT as a whole
Poetic Sections# c75872cdc63d1696779ffdd6dcc60f40
Patterns in beginning sounds of lines (or words within lines…may overlap with distribution of consonants/vowels above)?
Poetic Sections# 2a005f6324cc6ecff403cee76c27a690
Patterns in end rhyme of lines (or words within lines)?
Similar sounds in adjacent lines (internal rhyme, etc. … may also overlap with distribution of consonants/vowels above)?
Poetic Sections# a83598da2260846c1092deca731aba82
Any other observations on how sounds are used in this passage?
Poetic Sections# 07a487abcc893f7cc7b43849d768c462
(Note: For idioms and other figures of speech, please see separate section.)
What words do you anticipate causing difficulty for translators in this passage? Please provide insights that may assist others in making translation decisions.
Poetic Sections# 7f85984d8ec2be56d0d7ad6d74538685
Analysis of references to God (appearance of one of these lexemes or variations thereof: יְהוָה אֱלֹהִים אֱלוֹהָי אֲדֹנָי אֵל ; should we also include suffixes and other pronominal references?)
To what extent does the tetragrammaton seem to function the same or differently from the appearance of other references to God? (For the Psalms that don’t include the tetragrammaton, can we still come to any tentative conclusions of which entries would have been the tetragrammaton, based on where other divine names appear? cf. especially Psalms 14 and 53.)
Poetic Sections# 84a53d667fcd41cc7c442223b02cee19
Which exact words, phrases, or word roots are repeated?
Which common word pairs or sequences appear (whether together or slightly separated, like “foot” and “hand” in Ps 121)?
Poetic Sections# 3c0b85fbd57009772c5f72aa91caed63
Which other semantically/thematically related words appear in this passage?
Poetic Sections# dbb879a7dfb424862e77a186336eeecc
Which rare words (defined as fewer than 50 occurrences) appear? Consider commenting on factors that may affect the rarity of the word, as far as we know (e.g., does the language already have a number of synonyms for the concept? does this word only appear in poetic contexts? Is the word an unlikely topic for sacred texts, and therefore possibly rare?)
Poetic Sections# 35efbb44aa90d4fdcaaf63f03e86bea7
Which of the rare words (if any) appear to be borrowed (such as ''bar'' at the end of Psalm 2)?
Poetic Sections# b7f393b772257c57b4c6f6f31dc24fd1
Any other observations regarding lexical semantics in this passage?
Distribution of verb form (tense-aspect-modality)
Poetic Sections# c4bdd16a986a78ff71169bd659d81202
Distribution of verb by person, gender, and/or number.
Poetic Sections# fd8fbc12566715cdc80f090bc4b2d482
Incidence of paragogic ''nun'' or ''he'' (Robar p. 180)
Poetic Sections# 5c2a1573fc8cc8136a64597c1ceb8d11
Poetic Sections# be54844be6c541d87b220430094cdde3
Distribution of verb stem types (''binyanim'')
Any other verb-related observations for this passage?
Poetic Sections# 69105c9b4771f4ea87c7a6813d85a8bc
Poetic Sections# 2700ff268581fb8e46a293371aeb982a
Poetic Sections# 4d975e635c44e815ae562bd4f3ef5eab
How are nouns distributed by definiteness?
Poetic Sections# d825a031babcd70b21fece5b501ca598
What pronominal suffixes appear in the passage? (May be on nouns or on infinitives.) Use one line in the table for each individual suffix, then comment on the distribution of all suffixes collectively throughout the passage.
Poetic Sections# ee3f40fbb042c0415e7ee12219b17503
Poetic Sections# cdd4172c6197f88b2969e737a0abe601
Distribution of possessives (whether by suffix, ''yesh'', or -ל)
Poetic Sections# 258ced869e176ec22a0d0a05d7218434
At what points in the passage does the addressee change (self, God, evil men, community, other, or ambiguous)—and how do those changes intersect with the overall structure of the poem?
At what points in the passage does the speaker change (I vs. we vs. ambiguous)—and how do those changes intersect with the overall structure of the poem?
Poetic Sections# 2f7e40f960bf23b82f77e23d678578ec
At what points in the passage does the subject (agent) of the sentence change? Other semantic roles (like patient) that change? (Question: Worth an RRG or semantic/Kroeger-style analysis?)
At what points in the passage does the scene/location change?
Distribution of negative markers (לֹֽא אַל אֵין בַּל לְבִלְתִּי)
Poetic Sections# 3da6565f403dceb17c4e32ac8ec637c9
Distribution of independent personal pronouns
Poetic Sections# 9c38d674175ea09984c7d0b6f419d61d
Distribution of prepositions, both independent and word bound (cf. beg/end use of בַּ in Psalm 13)
Poetic Sections# 9151fc53983d463728ceec856fb5aedd
Distribution of other particles (אַךְ הֵן הִנֵּה גַּם כֵּן כִּי עַתָּה פֶּן לְמַעַן אִם לוּ\לוּלֵא, etc)—what thoughts might similar particles be connecting?
Poetic Sections# b985b3066d7c0dc050a66e77163f1c22
Any indication that content vs. non-content words are distributed in a way that supports the structure of the poem as a whole?
Poetic Sections# ebf5a3a1c9a514ee0ec19e8b2cd63a21
Any other observations on how particles are used in this passage?
Poetic Sections# 35f86d3f892542f7396c2bb6cd096a37
Poetic Sections# cc8497009966cd6ddd299fb254af03de
Poetic Sections# cc2ea06188c2ae92949b31c5a12dcaea
Poetic Sections# 9e00837f87bf2ae34268e4d38a0592f3
Synecdoche (part for whole: Jerusalem for inhabitants of)
Poetic Sections# 1065edbd903d2f3dc78c547c1e7d2ea6
Merism (outer limits for whole: Dan to Beersheba)
Poetic Sections# 907a6dccc3862480fa6b448568c9ce57
Personification (abstract concepts do things, cf. righteousness in Psalm 85)
Poetic Sections# 9b9ffd6f7a54b6778931cc8b31ef9e88
Poetic Sections# 0e27ea2e927b1500dfbebb68885865ae
Apostrophe (direct address to inanimate object or absent person)
Poetic Sections# c26a6615e0b6790c84616fb63394cdb1
Poetic Sections# d9c998385c2c05cb5df837d99b840c7c
Sarcasm, irony (verbal, intratextual, intertextual), etc.
Poetic Sections# 39ea5aa90757119415d15bd93f7a8f82
Poetic Sections# 236d5dd98b80fa388793a949ed8f47a4
Idioms (distinguish between fossilized vs. still idiomatic)
Poetic Sections# 3c31b68286f7509aa0bcf76d4ef88744
What translation advice would you offer for specific figures of speech identified above?
Poetic Sections# fc897a4f4d1c5f1f3076bc928006414f
Do figures of speech collectively seem to be involved in defining the overall structure of the poem?
Poetic Sections# e0958b520af81766b3ca15ca25e4bea5
What historical background information do we have from the psalm or elsewhere in Scripture about the context of this psalm?
Poetic Sections# b5debe02e33b5c5858e72fe71cdaa4de
What cultural background information would assist readers in understanding this psalm?
Poetic Sections# f8e47121b13d7be9b2feea3bb2967250
What information is left implicit in the original text that may need to be made explicit in translations?
Poetic Sections# 2c47af2963ebae68f8ba346cff921597
Incidence of broad reference/allusions (words/phrases pointing to other places in the OT, especially first 5 books, cf. Turner 2017)?
Poetic Sections# ca3b8e67be411ce4852798e262a3dff6
Which parts of this psalm, if any, are quoted directly or seemingly alluded to by NT authors? (How highly linguistically marked are the words or lines referenced? Cf. the middle verses from Psalm 8 or the “cornerstone” verse from Psalm 118.)
Poetic Sections# 526e30bab49da060bcb7b5c86cf91827
Anything else that should be included regarding the broader context of this psalm?
Poetic Sections# 8dafca4bbe939172cd14c3019d4cc4b9
Fokkelman’s work on prosody and syllable counts
Do you have commentary/alternate proposed suggestions regarding Fokkelman’s syllable counts?
How would we propose distributing cola (monocolons, bicolons, tricolons, and tetracolons) in this psalm? Please explain any decisions that might have alternate options.
Poetic Sections# 89db3ec6e974101abb02484a28cfb46b
How would we propose classifying parallelisms in this psalm? How does the distribution of different types of parallelism intersect with the overall structure of the poem?
Poetic Sections# bdd3f3c7cd6d8db0bdba84b6caeb41fa
Poetic Sections# 0a560696ad13ccace54bc4793de3dfae
Where do quotations/direct speech appear?
Poetic Sections# fea07527ad4a2692077a832ed4f41683
What chiasms do you observe on the clause/colon level in this poem (anything within a monocolon, bicolon, tricolon, or tetracolon)?
Poetic Sections# 1af2c08bc1287a7575fa016e1695e46c
Comment on any unusual, repetitive, or otherwise marked word order
Poetic Sections# 76f6962554be88fbc0ca8b61f42a9832
Lunn’s work on word order, with commentary
What's the middle word if words are considered units connected with maqqef [high hyphen] and how (if at all) does that middle word intersect with other features analyzed and/or the overall structure of the poem?
Poetic Sections# 06a7cfe1fb8be7da767ba7a385e052aa
What’s the middle word if all lexemes are considered independent units and how (if at all) does it intersect with other features analyzed and/or the overall structure/theme of the poem?
Poetic Sections# 1f1a6a48a88d03ee9d1dbff5740ea3fe
Based on your division of lines, what is the middle line and how does it intersect with the other features and overall structure of the poem? (Or is there another line with higher marking in terms of poetic features?)
What kinds of variants appear in texts for this psalm?
Poetic Sections# f41dfe089165df655ef6640f6bbe34f1
How does our analysis of the above features inform likely solutions to these questions?
Poetic Sections# b7ccf7f5b2c8c30bf02cb1136bc82fc0
What are your proposed line divisions for this text? (If we provide a pre-generated version from Fokkelman, Wendland, the computer, etc.: Which differences would you propose from the already provided version?) Provide explanations for divisions that might be debated.
What are your proposed section divisions for the text? Provide explanations for divisions that might be debated.
Poetic Sections# ef3bcc5b44c94299948b706e17d74c2d
What is the communicative function of the poem as a whole? Of each of the sections you’ve identified?
Poetic Sections# 0a7a1783e9707c2645ccde08a6a45975
What is the range of possible emotions that might be behind the poem? Please explain how these emotions change at different points or for different sections throughout the poem.
Poetic Sections# 2893716f8667e47aadefd7aa1b1ab6e9
What features provide cohesion to the text (either as a whole, or within sections)?
What features give discontinuity, marking boundaries? (What changes happen between sections of the text)?
Poetic Sections# 392ac68afec4d05b5b597bbd720e841d
Where, if at all, do you notice multiple special features clustering in the poem?
Poetic Sections# 1dc04ca5d65983736902d8eb1db8b495
Where, if at all, do you notice the absence of special features?
Poetic Sections# c8c7c104e1bda48284bea86fff804ba7
Based on your analysis, what would you consider the most prominent line(s) and/or section(s) in the text?
Poetic Sections# 53cba5d0ab706420b77fb306d15232e6
What would you consider the main message of the text, the primary thought an audience should take away from it?
What connections are made poetically, semantically, grammatically, or emotionally between specific lines or sections in the text? (Which lines/sections are marked by similar features?)
Poetic Sections# aacab3b92e71342d5ad92b930c5b216a
What large-scale structure(s) do you see in this text? (Chiastic of the whole poem or of sections of any size (ABCB'A')? Far parallelism (ABA'B')? Other?)
Poetic Sections# 6be3117775babf0ec603b37537d182f9
Taking all of the above information into consideration, what is your proposed (formal or dynamic) translation for this psalm into one of your primary languages?
Poetic Sections# b9fbe235aacc5d75f6b222cb69dc93dd
What outline or visual representation would you suggest for this text? (You can write things out as text and/or upload a .jpg picture file if you’d like.)
Poetic Sections# 12ac01042fd42e56b96cee45ad6d088d