Psalm 100 Test Poetic Structure
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Psalm 100/Test/Poetic Structure
His Joyful Flock
Psalm 100
Poetic Structure
In poetic structure, we analyse the structure of the psalm beginning at the most basic level of the structure: the line (also known as the “colon” or “hemistich”). Then, based on the perception of patterned similarities (and on the assumption that the whole psalm is structured hierarchically), we argue for the grouping of lines into verses, verses into strophes, strophes into stanzas, etc. Because patterned similarities might be of various kinds (syntactic, semantic, pragmatic, sonic) the analysis of poetic structure draws on all of the previous layers (especially the Discourse layer).
Poetic Macro-structure
If an emendation or revocalization is preferred, that emendation or revocalization will be marked in the Hebrew text of all the visuals.
| Emendations/Revocalizations legend | |
|---|---|
| *Emended text* | Emended text, text in which the consonants differ from the consonants of the Masoretic text, is indicated by blue asterisks on either side of the emendation. |
| *Revocalized text* | Revocalized text, text in which only the vowels differ from the vowels of the Masoretic text, is indicated by purple asterisks on either side of the revocalization. |
Notes
Vv. 1-4 // v. 5 (Concentric ABCB'A' structure // Closing Statement)
- Many scholars (der Lugt 2014, Gunkel 1926, Calès 1936, Girard 1994) have argued for a linear ABA'B' structure in Ps 100 (A-vv. 1-2 | B-v. 3 | A'-v. 4 | B'-v. 5) . This is based on the following observations:
- 1. Praise (A + A') > Motivation (B + B'): der Lugt (2014, 103-104) points out that both A sections (vv. 1-2 and v. 4) are about praising God and entering his presence (vv. 1-2 "shout joyfully", "serve", "enter before him" v. 4 "enter his gates/courts", "give thanks", "bless"). The motivation for these calls to to praise are given in the B sections, with v. 3 providing a "retrospective" (der Lugt 2014, 104) reference to YHWH as creator, and v. 5 referencing YHWH's character.
- 2. כִּי ki and macro-syntactic structure: Although they have completely different semantic functions, the particle כִּי begins both of the B sections (v. 3a and v. 5a). This places the A sections on the main line and each of the B sections in subordination, creating a symmetrical ABA'B' pattern.
- 3. Phonological Correspondence: There is a potential phonological correspondence between the last line of each colon, with ע-וְ-מ-תוֹ being repeated in the same order (v. 3c עַ֝מּ֗וֹ וְצֹ֣אן מַרְעִיתֽוֹ׃ parallel with v. 5c: וְעַד־דֹּ֥ר וָ֝דֹ֗ר אֱמוּנָתֽוֹ׃).
- However, it is preferable to see Ps 100 as arranged around a main division between vv. 1-4 and v. 5 (Howard 1997, 97), with vv. 1-4 comprising a concentric ABCB'A' structure, while v. 5 stands outside of that structure as a closing statement providing grounds for all the words of vv. 1-4.
- Main Division (vv. 1-4 | v. 5): This overall arrangement is based on the following observations:
- 1. Concentric unity of vv. 1-4: Vv. 1-4 are arranged as a tightly bound concentric unit (see next section below), leaving v. 5 outside this structure.
- Positioning of בֹּאוּ repetition: Although further details are provided below, it is important to highlight that the most salient feature of the concentric structure is the repetition of בֹּאוּ "enter" in v. 2b and v. 4a, with the remainder of those clauses mirroring each other exactly (see details below). This clear inclusio strengthens the case of a concentric ABCB'A' structure over a linear ABAB structure, because this pair is placed at the end of the the first half of the inclusio and the beginning of the second half. If the structure was truly linear (ABAB), then one would expect this most salient repetition to be either at the beginning of both of the A sections, or at the end of both.
- 2. Lineation: Vv. 1-4 consists of three tricola, while v. 5 stands out as the only bicolon (see notes in line division visual) (Howard 1997, 97).
- 3. Semantics: The semantic content of v. 5 provides a concluding כִּי ki statement which provides the causal grounds for all that which came before it (i.e. all 7 imperatives in vv. 1-4 are founded in YHWH's goodness, loyalty, and faithfulness celebrated in v. 5) (Howard 1997, 97).
- 4. Common Structural Pattern: The addition of a closing ki statement to provide causal grounds for the whole psalm is a common pattern in Hebrew poetry. In this structure the final ki statement always stands outside the poetic structure of the preceding verses (see e.g. Scriptura poetic structure for Pss 1, 5, and 11).
- 1. Concentric unity of vv. 1-4: Vv. 1-4 are arranged as a tightly bound concentric unit (see next section below), leaving v. 5 outside this structure.
- vv. 1-4 (Concentric ABCB'A' structure): Vv. 1-4 seem to be arranged according to a concentric structure (Zenger 2005, 493), with corresponding sections (A + A', B + B') moving inwards towards a center point in v. 3. This concentric structure can be outlined as follows:
V. 3 as center point
- It has been argued v. 3 has no central significance in the psalm (e.g. Labuschagne 2008). However, it is far more plausible to read v. 3 as "the heart of the psalm" (Howard 1997, 96). These features pointing to v. 3 as the center of the psalm align with the way the content of v. 3 expresses concisely the overall message of the psalm. For details and arguments supporting this interpretation, see poetic features 1 and 2.
V. 5 and v. 3
- Although the primary arrangement seems to be the two main sections of vv. 1-4 and v. 5 separated out as a closing statement grounding all that came before, the visual above still represents the (secondary) correspondence between v. 5 and v. 3.
Line Divisions
(For more information, click "Line Division Legend" below.)
Line division divides the poem into lines and line groupings. We determine line divisions based on a combination of external evidence (Masoretic accents, pausal forms, manuscripts) and internal evidence (syntax, prosodic word counting and patterned relation to other lines). Moreover, we indicate line-groupings by using additional spacing.
When line divisions are uncertain, we consult some of the many psalms manuscripts which lay out the text in lines. Then, if a division attested in one of these manuscripts/versions influences our decision to divide the text at a certain point, we place a green symbol (G, DSS, or MT) to the left of the line in question.
| Poetic line division legend | |
|---|---|
| Pausal form | Pausal forms are highlighted in yellow. |
| Accent which typically corresponds to line division | Accents which typically correspond to line divisions are indicated by red text. |
| | | Clause boundaries are indicated by a light gray vertical line in between clauses. |
| G | Line divisions that follow Greek manuscripts are indicated by a bold green G. |
| DSS | Line divisions that follow the Dead Sea Scrolls are indicated by a bold green DSS. |
| M | Line divisions that follow Masoretic manuscripts are indicated by a bold green M. |
| Number of prosodic words | The number of prosodic words are indicated in blue text. |
| Prosodic words greater than 5 | The number of prosodic words if greater than 5 is indicated by bold blue text. |
If an emendation or revocalization is preferred, that emendation or revocalization will be marked in the Hebrew text of all the visuals.
| Emendations/Revocalizations legend | |
|---|---|
| *Emended text* | Emended text, text in which the consonants differ from the consonants of the Masoretic text, is indicated by blue asterisks on either side of the emendation. |
| *Revocalized text* | Revocalized text, text in which only the vowels differ from the vowels of the Masoretic text, is indicated by purple asterisks on either side of the revocalization. |
Notes
1a | 1b-2
- Although the Masoretic versification places הָרִ֥יעוּ לַ֝יהוָ֗ה כָּל־הָאָֽרֶץ in v. 1, separating it from what follows, it is preferable group this line with v. 2 as the first line of a tricolon (der Lugt 2014, 101, Labuschagne 2008). This cleanly places the superscription outside the poetic structure and aligns with the other tricola in the psalm.
V. 5 - bicolon or tricolon?
- Many have argued that v. 5 should be read as a tricolon (e.g. Zenger 2005, 492 and der Lugt 2014, 101-103. See der Lugt 2014, 101-103 for complete bibliography). The primary reason for this reading is the alignment it creates with the remainder of the psalm, which has three clear tricola.
- However, it is preferable to read v. 5 as a bicolon (e.g. Kraus 1993, 273-274, Tate 1998, 533. See der Lugt 2014, 101-103 for complete bibliography). The reasons for reading a bicolon are (1) the way it creates a balanced pattern of syllables (9 + 9), (2) the support of the Masoretic accents and (3) the LXX manuscript evidence, and (4) the way it separates v. 5 out from the remainder of the poetic structure, with its three tricola, aligning with the understanding of v. 5 as a closing statement providing grounds for the whole psalm (for further details on this see notes on poetic structure).