Psalm 100 Poetics

Psalm Overview

• Grammar
• Semantics
• Story behind the Psalm
• Discourse
• Poetics

About the Poetics Layer

Exploring the Psalms as poetry is crucial for understanding and experiencing the psalms and thus for faithfully translating them into another language. This layer is comprised of two main parts: poetic structure and poetic features. (For more information, click 'Expand' to the right.)

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 Features

In poetic features, we identify and describe the “Top 3 Poetic Features” for each Psalm. Poetic features might include intricate patterns (e.g., chiasms), long range correspondences across the psalm, evocative uses of imagery, sound-plays, allusions to other parts of the Bible, and various other features or combinations of features. For each poetic feature, we describe both the formal aspects of the feature and the poetic effect of the feature. We assume that there is no one-to-one correspondence between a feature’s formal aspects and its effect, and that similar forms might have very different effects depending on their contexts. The effect of a poetic feature is best determined (subjectively) by a thoughtful examination of the feature against the background of the psalm’s overall message and purpose.

Poetics Visuals for Psalm 100

Poetic Structure

Poetic Macro-structure

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).

• 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 Division

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).

Poetic Features

1. The Sheep and their Shepherd at the Center

Feature

It has been argued v. 3 has no central significance or prominence in the psalm (e.g. Labuschagne 2008), shifting the emphasis of the psalm away from v. 3's declaration of covenantal belonging. However, it is far more plausible to read v. 3 as "the heart of the psalm" (Howard 1997, 96). The arguments for this interpretation are as follows:

1. Surrounding Chiastic Structure: V. 3 is positioned within a chiastic structure moving out from this center point in corresponding A + A' and B + B' sections (Zenger 2005, 493). Perhaps the clearest element of this is the positioning of v. 3 immediately between two clearly corresponding clauses (v. 2b בֹּ֥אוּ לְ֝פָנָ֗יו בִּרְנָנָֽה׃ "Enter before him with exultation" and 4a בֹּ֤אוּ שְׁעָרָ֨יו ׀ בְּתוֹדָ֗ה "Enter his gates with thanksgiving"). These two clauses mirror each other very precisely, forming an inclusio around the center point of v. 3. The concentric structure as a whole can be laid out as follows (see corresponding color-visuals in the text display):
2. Verbal Pattern 3 + 1 +3: The psalm is built around 7 imperative verbs (הריעו, עבדו, באו, דעו, באו, הודו, and ברכו), with the דְּעוּ "acknowledge" of v. 3 being the middle verb in the sequence, surrounded by an inclusio-repetition of בֹּאוּ "enter".
3. Semantics of Verbs: The verb דְּעוּ "Acknowledge..." stands out semantically, as a verb of perception, from all the surrounding imperative verbs of worship (הריעו "shout joyfully" עבדו "serve" הוֹדוּ "give thanks", ברכוּ "bless) and movement (באוּ "enter" x2).
4. Personal Pronouns: v. 3 is the only place where personal pronouns appear in the psalm (הוא "he" x2, אנחנו "us")
5. Non-imperative verb: Alongside the verbal chain of 7 imperatives (see point 2 above), the only non-imperative verb that appears in the psalm is the qatal עשׂה here in v. 3 (Howard 1997, 96).
6. אלהים "God": God is referred to as יהוה YHWH all throughout the psalm, except for in v. 3 where he is referred to as אלהים "God".
7. Word Order / Pragmatics: The prominence of v. 3 is elevated by the marked word order of the casus pendens construction יהוה הוא אלהים "YHWH, he is God" (v. 3a), the fronted pronoun הוּא in הוּא עשׂנוּ "he made us" (v. 3bα), and the fronted prepositional phrase לוֹ in לוֹ אנחנו (v. 3bβ).
8. Imagery: v. 3 is the only place where imagery is used in the psalm (see the shepherding imagery in צאן מרעיתו - "flock of his pasture").
9. Word-Count: Regardless of whether one counts words with maqqef (34 words) or without (41 words), the center point of the psalm occurs in v. 3.

Effect

The number of features outlined above confirms that v. 3 is intentionally marked as central to Ps 100, and therefore, as other scholars have noted, there is reason to consider that "v. 3 contains the core of the message of Psalm 100" (Howard, 1997, 96).

In terms of Speech Act, v. 3 is a celebration of the covenant relationship between YHWH and his people. It begins with an acknowledgement of YHWH as the supreme God, followed by a celebration of YHWH as the "maker" of Israel, finishing with declarations about Israel as belonging to YHWH as his people and flock.

Poetically, it is this celebration of v. 3 that is positioned as the center, and consequently, the climax of the joy of God's people as the "flock of his pasture." The psalm's opening words included a call to "serve (עִבְדוּ) YHWH with joy" (v. 2a). The root עבד "serve" has a wide range of meaning, from submission to a master and even slavery to generic worship and service. The opening call to "serve with joy" (or worship with joy) highlights the nature of the service described in this psalm—with joy—and v. 3 provides the rationale. They serve YHWH not out of fear but from a place of joyful covenantal belonging to the supreme God, who is in fact their maker and their shepherd.

2. Complete Worship: All that God requires

Feature

Psalm 100 is constructed around a chain of seven clause-initial imperatives calling Israel to worship YHWH, arranged in a chiastic structure as follows:

The number seven is significant: "Of the numbers that carry symbolic meaning in biblical usage, seven is the most important. It is used to signify completeness or totality" (Ryken et al., Dictionary of Biblical Imagery, 1998, 774; cf. Gen 1-2 and the seven days of creation, among many other examples).

It is possible then that Ps 100, despite its brevity, offers a total or complete presentation of how God's people should worship him, including the elements of who, whom, where, how, and why.

Who should praise God?

• Israel and all the earth (see poetic feature 3).

Whom should they praise?

• YHWH (v. 1b, 2a, 3a, 5a), who is the one supreme God (v. 3a).

Where should they praise him?

• In his presence (before his 'face') (v. 2b), entering through his gates into his courts (4a)

How should they praise him?

• With joyful shouts and submitted service (1b-2a), by entering his presence/drawing near to him (2b-4a), by acknowledging and celebrating his identity and their belonging to him (v. 3), by giving thanks, blessing his name (v. 4b), and celebrating his character (v. 5).
• All of these actions are done "with joy" (v. 2a), "exultation" (2b), "thanksgiving", and "praise" (v. 4).

Why should they praise him?

• Because they belong to him as his people and the flock of his pasture (v. 3), and because he is good, his loyalty is forever, and his faithfulness never ends (v. 5)!

Effect

Ps 100 presents a picture of worship that leads to tremendous joy ("shout joyfully" (1b), "with joy" (2a), "with exultation" (2b), "with thanksgiving...with praise" (4a)). The sevenfold imperative suggests a picture of worship constructed intentionally to convey a complete picture of worship, lacking nothing.

This builds a compelling invitation to God's people to join in worship that aligns with the who, whom, where, how and why of Ps 100:

If it is truly YHWH being worshiped (whom), by all his children on earth (who), truly entering into his presence (where), celebrating their relationship to him as his flock, and giving thanks and blessing his name with a posture of joyfully submitted service (how), because of his identity as God, his good character, and their belonging to him (why), the expected result will be great joy, exultation, and thanksgiving.

3. Double Addressee?

Feature

Most scholars argue that Ps 100 addresses either Israel alone (e.g. Gunkel 1926; Leslie 1949; Howard 1997) or all nations alone (e.g. Tate 1998; VanGemeren 2008; Jacobson 2014; Bratcher and Reyburn 1991; Delitzsch 1877; Lohfink 1990; Zenger 2000). However, it may be possible that Psalm 100 intentionally invites the possibility of both addressees, with Israel as the primary addressee and all nations ("all the earth") as the secondary addressee.

Israel: One the one hand, the psalm reads naturally as addressing Israel, using stock Israelite worship language depicting Israel entering into YHWH's courts to offer thanksgiving and praise and celebrate their covenant relationship with YHWH (for details on this implied addressee/context see The Addressee of Ps 100).

All Nations: However, despite all the elements embedding this psalm in Israelite worship, the psalm also invites a secondary re-reading with all nations of the world as its addressee. This reading is anchored in the opening vocative address to כָּל־הָאָרֶץ "all the earth" (common title for all nations - e.g. Ps 33:8; 66:1; 96:1, 9; 98:4; Gen 11:1; 41:57; 1 Sam 13:3 and more...), but in fact every single phrase in the rest of the psalm can also be read plausibly as addressing all nations (for details see The Addressee of Ps 100). Furthermore the positioning of Ps 100 as the conclusion of the universally-focused kingship psalms (93-100) invites a universal reading.

There is no single phrase in Ps 100 that exclusively implies either all nations or Israel as the addressee, and interestingly, most of the key phrases in Psalm 100 echo parallel texts addressing Israel in some cases and all nations in others. Consider the following examples:

Effect

The effect of this possible double-layering of addressee relates to the place of all nations in Israel's story. This psalm uses the most familiar stock Israelite worship language, such that any Israelite who would hear this psalm would instinctively assume it addresses them and calls them into their familiar patterns of worship. It is noteworthy that still in modern Judaism today this is one of the most popular, familiar, and well-loved psalms expressing Israel's thankful praise to their God.

However, the opening vocative address to "all the earth" invites a re-reading of the psalm. There is a plausible way to read this vocative without making all nations the addressee (see Speech Act notes), but the combination of "all the earth" as a common label for all nations, the many allusions to verses addressing all nations, and the position at the end of the kingship psalms make all nations also a plausible addressee.

Re-reading Ps 100 with all nations as the addressee transforms the meaning of the psalm, as the invitation becomes one to all nations to "enter his gates with thanksgiving and his courts with praise" and to join alongside YHWH's people Israel worshiping their God in the temple.

This invokes the prophetic expectation throughout the Hebrew Bible of the nations acknowledging and worshiping YHWH, the God of Israel (Ps. 22:27-28; 67:2-7; 96:7-9; 98:4-6; Isa 11:10; 19:19-25; 25:6-7; 56:6-8; 66:23; Jer 3:17-18; 12:14-16; Zech 2:10-12; 8:22-23; 14:16), coming towards and entering into YHWH's house (Isa 56:6-8; Ps 96:7-9; Isa 2:2-3//Mic 4:1-2), and identifying along with Israel as YHWH's people (Zech 2:15[11]; Ps 102:19; 47:10; Isa 19:25; Jer 12:14-16).

Repeated Roots

The repeated roots table is intended to identify the roots which are repeated in the psalm.

For legend, click "Expand" to the right

Legend for Repeated Roots

Analysis of the repeated roots in Ps. 100 points to an ABA'B' pattern. In both A and A' there is repetition of תודה and בוא. In B and B' there is repetition of כי and ה׳ in close proximity. Although this arrangement is not perfectly clean (e.g. with the double repetition of ה׳ also in the A section, or with the addition of הודו in 4c), these exact and almost exact repetitions seems to make a strong case for this arrangement.

Prominence

Legend

• not most prominent
• tertiary prominence
• secondary prominence
• primary prominence

Many many elements point to the whole of v. 3 as the point of peak prominence in Ps 100. This is then framed by the matching lines on either side of it (2b and 4a), as if these were a gradual incline rising and falling on either side of the peak height of prominence in v. 3.

Bibliography

Bratcher, Robert G., and William D. Reyburn. 1991. A Handbook on Psalms. UBS Handbook Series. New York: United Bible Societies.

Delitzsch, Franz. 1877. Biblical Commentary on the Psalms: Vol. 3. Edinburgh: T&T Clark.

Hossfeld, Frank-Lothar, and Erich Zenger. 2005. Psalms 2: A Commentary on Psalms 51-100. Translated by Linda M. Maloney. Hermeneia. Minneapolis, MN: Fortress.

Girard, Marc. 1984. Les Psaumes: Analyse Structurelle et Interprétation. Vol. 1. 3 vols. Paris: Cerf.

Gunkel, Hermann. 1926. Die Psalmen. 4th ed. Göttinger Handkommentar Zum Alten Testament 2. Göttingen: Vandenhoeck & Ruprecht.

Howard, David, Jr. 1997. The Structure of Psalms 93–100. Biblical and Judaic Studies 5. Winona Lake: Eisenbrauns.

Kraus, Hans-Joachim. 1993. Psalms 60-150: A Continental Commentary. Minneapolis, MN: Fortress.

Labuschagne, Casper J. 2008. “Psalm 100 - Logotechnical Analysis.” Numerical Features of the Psalms and Other Selected Texts. August 5, 2008.

Leslie, Elmer. 1949. The Psalms: Translated and Interpreted in the Light of Hebrew Life and Worship. Nashville; New York: Abingdom Press.

Lohfink, Norbert. 1990. “Die Universalisierung der ‘Bundesformel’ in Ps 100,3.” ThPh 65:172–83.

Lohfink, Norbert, and Erich Zenger. 2000. The God of Israel and the Nations: Studies in Isaiah and the Psalms. Translated by Everett Kalin. Collegeville, Minnesota: The Liturgical Press.

Lugt, Pieter van der. 2013. Cantos and Strophes in Biblical Hebrew Poetry III: Psalms 90–150 and Psalm 1. Vol. 3. 3 vols. Oudtestamentische Studiën 63. Leiden: Brill.

Tate, Marvin E. 1998. Psalms 51-100. WBC 20. Dallas, Tex: Word Books.

VanGemeren, Willem A. 2008. The Expositor’s Bible Commentary: Psalms. Edited by Tremper Longman and David E. Garland. Rev. ed. Vol. 5. Grand Rapids: Zondervan.