Psalm 19/Translation/PTS

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Read the Close-but-ClearThe Close-but-clear translation (CBC) exists to provide a window into the Hebrew text according to how we understand its syntax and word-to-phrase-level semantics. It is designed to be "close" to the Hebrew, while still being "clear." Specifically, the CBC encapsulates and reflects the following layers of analysis: grammar, lexical semantics, phrase-level semantics, and verbal semantics. It does not reflect our analysis of the discourse or of poetics. It is not intended to be used as a stand-alone translation or base text, but as a supplement to Layer-by-Layer materials to help users make full use of these resources. translation for the group to listen. Or, alternatively, use one of the audio recordings provided below. Have others listen with closed books. Consider how to listen (e.g., postured, with responses, in silence?).



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Text (Hebrew) Verse Text (CBC) The Close-but-clear translation (CBC) exists to provide a window into the Hebrew text according to how we understand its syntax and word-to-phrase-level semantics. It is designed to be "close" to the Hebrew, while still being "clear." Specifically, the CBC encapsulates and reflects the following layers of analysis: grammar, lexical semantics, phrase-level semantics, and verbal semantics. It does not reflect our analysis of the discourse or of poetics. It is not intended to be used as a stand-alone translation or base text, but as a supplement to Layer-by-Layer materials to help users make full use of these resources. Emotions (Positive) Emotions (Negative)
לַמְנַצֵּ֗חַ מִזְמ֥וֹר לְדָוִֽד 1 For the director. A psalm. By David.
הַשָּׁמַ֗יִם מְֽסַפְּרִ֥ים כְּבֽוֹד־אֵ֑ל 2a The sky is declaring God’s honor, Awe
וּֽמַעֲשֵׂ֥ה יָ֝דָ֗יו מַגִּ֥יד הָרָקִֽיעַ׃ 2b and the firmament is telling about the workmanship of his hands.
י֣וֹם לְ֭יוֹם יַבִּ֣יעַֽ אֹ֑מֶר 3a Day after day pours out speech,
וְלַ֥יְלָה לְּ֝לַ֗יְלָה יְחַוֶּה־דָּֽעַת׃ 3b and night after night imparts knowledge.
אֵֽין־אֹ֭מֶר וְאֵ֣ין דְּבָרִ֑ים 4a There is no speech, and there are no words
בְּ֝לִ֗י נִשְׁמָ֥ע קוֹלָֽם׃  4b whose sound is not being heard.
בְּכָל־הָאָ֨רֶץ ׀ יָ֘צָ֤א קַוָּ֗ם 5a Its verse line has gone forth throughout the whole earth,
וּבִקְצֵ֣ה תֵ֭בֵל מִלֵּיהֶ֑ם 5b and its words [have gone forth] throughout the edge of the world.
לַ֝שֶּׁ֗מֶשׁ שָֽׂם־אֹ֥הֶל בָּהֶֽם׃ 5c He has set up in it a home for the sun, Awe Vulnerable
וְה֗וּא כְּ֭חָתָן יֹצֵ֣א מֵחֻפָּת֑וֹ 6a and he is like a bridegroom coming out of his tent.
יָשִׂ֥ישׂ כְּ֝גִבּ֗וֹר לָר֥וּץ אֹֽרַח׃ 6b He is glad, like a warrior, to run his course.
מִקְצֵ֤ה הַשָּׁמַ֨יִם ׀ מֽוֹצָא֗וֹ 7a His starting point is from the edge of the sky,
וּתְקוּפָת֥וֹ עַל־קְצוֹתָ֑ם 7b and his turning point is at its edges,
וְאֵ֥ין נִ֝סְתָּ֗ר מֵֽחַמָּתוֹ׃ 7c and nothing is hidden from his heat.
תּ֘וֹרַ֤ת יְהוָ֣ה תְּ֭מִימָה מְשִׁ֣יבַת נָ֑פֶשׁ 8a YHWH’s instruction is perfect, restoring life.
Joy
Desire
עֵד֥וּת יְהוָ֥ה נֶ֝אֱמָנָ֗ה מַחְכִּ֥ימַת פֶּֽתִי׃ 8b YHWH’s testimony is reliable, making simpletons wise.
פִּקּ֘וּדֵ֤י יְהוָ֣ה יְ֭שָׁרִים מְשַׂמְּחֵי־לֵ֑ב 9a YHWH’s commandments are just, causing the heart to rejoice.
מִצְוַ֥ת יְהוָ֥ה בָּ֝רָ֗ה מְאִירַ֥ת עֵינָֽיִם׃ 9b YHWH’s command is flawless, giving light to the eyes.
יִרְאַ֤ת יְהוָ֨ה ׀ טְהוֹרָה֮ עוֹמֶ֪דֶת לָ֫עַ֥ד 10a Fearing YHWH is pure, enduring forever.
מִֽשְׁפְּטֵי־יְהוָ֥ה אֱמֶ֑ת צָֽדְק֥וּ יַחְדָּֽו׃ 10b YHWH’s rules are true; they are altogether right;
הַֽנֶּחֱמָדִ֗ים מִ֭זָּהָב וּמִפַּ֣ז רָ֑ב 11a those which are more desirable than gold, even much pure gold,
וּמְתוּקִ֥ים מִ֝דְּבַ֗שׁ וְנֹ֣פֶת צוּפִֽים׃ 11b and sweeter than honey, even virgin honey from the honeycomb.
גַּֽם־עַ֭בְדְּךָ נִזְהָ֣ר בָּהֶ֑ם 12a Furthermore, your servant is warned by them.
Deferential
Hopeful
Fearful
Hopeless
בְּ֝שָׁמְרָ֗ם עֵ֣קֶב רָֽב׃ 12b There is great reward in keeping them.
שְׁגִיא֥וֹת מִֽי־יָבִ֑ין 13a Who can discern mistakes?
מִֽנִּסְתָּר֥וֹת נַקֵּֽנִי׃ 13b Clear me from the guilt of hidden sins!
גַּ֤ם מִזֵּדִ֨ים ׀ חֲשֹׂ֬ךְ עַבְדֶּ֗ךָ 14a Also, prevent your servant from committing presumptuous sins!
אַֽל־יִמְשְׁלוּ־בִ֣י  14b Do not let them rule over me!
אָ֣ז אֵיתָ֑ם Then I will be blameless
וְ֝נִקֵּ֗יתִי מִפֶּ֥שַֽׁע רָֽב׃ 14c and innocent of great crime.
יִֽהְי֥וּ לְרָצ֨וֹן ׀ אִמְרֵי־פִ֡י 15a Let the words of my mouth and the meditation of my heart
וְהֶגְי֣וֹן לִבִּ֣י לְפָנֶ֑יךָ 15b be acceptable before you,
יְ֝הוָ֗ה צוּרִ֥י וְגֹאֲלִֽי׃ 15c YHWH, my rock and my redeemer!

Familiarize

This step assists in explaining and discussing the meaning and beauty of the psalm. Click on the titles below to expand each section.

First impressions

After listening to the guide translations, discuss the following questions:

  • What do you like about the psalm?
  • What do you find difficult to understand?
  • What do you think is beautiful in the psalm?
  • What are some of the images that the Psalmist uses?


Creative responses

Creative response #1: Comparing the sun

In v. 6, the Psalmist compares the sun to a bridegroom coming out from his chamber and to a champion, or mighty man, who rejoices to run his course. In v. 7, he goes on to describe the movement of the sun across the heaven.

  • In what way is sun is like a bridegroom coming out of his chamber? (splendor, glory)?
  • What does a champion or a warrior rejoice about when he runs his course? (power)?
  • What is it about the sun's movement across the sky that the Psalmist especially wants to emphasise? (reach)?


Psalm 19 moves from what the heavens speak about God in v. 2 to the Psalmist's prayer for himself in v. 15. As we study and learn the Psalm, we need to think about how each part of the Psalm contributes to this movement.

Activity: A mime drama about the sun

Act out a drama with four short scenes to describe the sun.

  1. The sun like a bridegroom coming out from his chamber in splendor
  2. The sun like a champion rejoicing in his strength to run his course.
  3. The sun going from one end of the heavens to the other (one way of acting this might be to use your arms to show the way the sun crosses the sky).
  4. And finally, the heat of the sun reaching everything (you could use your arms again to show the way the heat of the sun spreads out everywhere).

Creative response #2: Praising YHWH's judgments

In vv. 8-10, the Psalmist praises a number of different aspects or element of YHWH's law. The last aspect of the law that he speaks about are YHWH's judgments.

In the Bible, YHWH's judgments refer to the just laws that he gave to his people through Moses as well as to his acts of judment to punish wickedness and to rescue and redeem his people. Both kinds of judgment express YHWH's justice. In vv. 11-12, the Psalmists praises this last aspect of YHWH's law, his judgments, in three different ways.

  1. In v. 11a, he says that his judgments are more desirable than gold and then intensifies the comparison by adding even much pure gold.
  2. In v. 11b, he says they are sweeter than honey and again intensifies the comparison by adding even virgin honey from the honeycomb.
  3. In v. 12, he adds something different about YHWH's judgments when he says your servant is warned by them and there is great reward in keeping them.


Activity: A mime drama about YHWH's judgments

Act out another drama with words to show how desirable and how sweet YHWH's judgments are.

  • For v. 11a, take out an imaginary piece of gold from your pocket and place it on a table to indicate how desirable they are. Intensify the comparison by taking out many pieces of imaginary fine gold from all your pockets and from your bag to pile on top of the first piece of gold.
  • For v. 11b, dip your finger in an imaginary pot of honey and put it to your tongue to show how sweet they are. Intensify the comparison by lifting up an imaginary honeycomb and catch the drippings falling into your mouth.
  • For v. 12a-b, mime the action of receiving a warning by them and of finding a great reward in keeping them.


The Flow of Psalm 19

A Psalm in 3 parts

We started work on this psalm by looking at how it begins and ends.

  • It begins in v. 2 with the sky is declaring God’s honor
  • It ends in v. 15 with the Psalmist praying that the words of his own mouth and the meditations of his own heart should be acceptable to YHWH.


In the progress of the Psalm from its beginning in v. 2 to its end in v. 15, there are three parts. In each part, the Psalmist speaks about something different.

  • Listen to v. 2-7. What is his main subject in this first part of the Psalm? [The heavens].
  • Listen to v. 8-12. What is his main subject in this second part of the Psalm? [YHWH's law]
  • Listen to v. 13-15. Who is the main subject and what is the content of the last part of the Psalm? [YHWH's servant - the Psalmist himself - and the prayer he prays to YHWH].


In the first words of each part, the Psalmist gives us the theme of what he is going to say about his main subject in each part.

  • In Part 1, his theme is that the sky declare God's honor
  • In Part 2, his theme is nature of YHWH's law and what it does - it is perfect, giving restoration to the soul
  • In Part 3, his theme is his own sin and his desire to be innocent.



Activity: 3 parts/3 themes

Divide into 3 groups and assign one part of the Psalm to each group. A narrator from each group should say the following words in their own language while their group mimes appropriate actions.

Part 1: The sky

The sky is declaring God’s honor (v. 2)

Part 2: YHWH's law

YHWH’s instruction is perfect, restoring life (v. 8a-b)

Part 3: YHWH's servant

Who can discern mistakes? Clear me from the guilt of hidden sins! (v. 13)

Change the parts assigned to each group and perform the mime again.

Shifts within each part

In addition to the change his subject between each part of the Psalm, the Psalmist also shifts his focus within each part, in each case from the general to the specific.

In Part 1, the Psalmist begins by speaking about the sky and what it says about God.

  • Listen to vv. 2-7 again. How does the he shift his focus towards the end of these verses?
    [focus on the sun]


In Part 2, the Psalmist begins by speaking about YHWH's law.

  • Listen to vv. 8-12 again. What is the last aspect (or element) of YHWH's law that he speaks about? [YHWH's judgments]
  • The pronouns 'they' and 'them' at the end of this part all refer to YHWH's judgments. What does he say about them?


In Part 3, the Psalmist begins by asking YHWH for help with his sins.

  • Listen to vv. 13-15 again. What are the two kinds of sin for which he asks YHWH for help? [hidden sins, willful sins]
  • In the face of these two kinds of sin, what does he want YHWH to make him? [innocent, blameless…]
  • How does the focus of his prayer shift in the final verse of the Psalm? [He asks the words of his mouth and the meditation of his heart should be acceptable before YHWH, his rock and his redeemer]


Charting the Psalm

To keep track of what the Psalmist is saying in each part of the Psalm, start by making a chart with labels for his main subjects and shifts in focus in each part.

  • Write each label on a board or a blank piece of paper in your own language.
  • The labels in the third part should be from the Psalmist's point of view (first person). He is talking about himself so the labels should by my sins and the words of my mouth


Put the main subjects on the left and the shifts in focus on the right, as follows:

The heavens

The sun

YHWH's law

YHWH's judgments

My sins

The words of my mouth…
The Psalmist's final prayer

Before we look at how the Psalmist gets to his final prayer, think about what he is really saying in this prayer.

  • Is it only his words and his meditations that he is concerned about? The phrases the words of my mouth and the meditations of my heart suggest that he has more in mind than just his words and his meditations - he is asking that he himself should be acceptable to YHWH.
  • The Psalmist's real focus in his final prayer, however, is neither just on his words and meditations nor even on himself as a whole. His real focus is on YHWH his rock and his redeemer as the one who can make him and all his words and meditations acceptable to himself.


Change the final label in your chart to show the real focus of the Psalmist prayer. As before give the label from the Psalmist's own perspective, as follows:

The heavens

The sun

YHWH's law

YHWH's judgments

My sins

My rock and my redeemer

The Psalm as a whole

Before we look in more detail at the Psalmist's flow of thought through the Psalm, think about the following three question with regard to the Psalm as a whole.

What is the centre of the Psalm?
  • YHWH's law is both the centre the Psalm and the governing thought of the Psalm.
  • The Psalmist takes us from the heavens to YHWH's law in the first part of the Psalm.
  • After his meditation on the law in the central part, he then takes us from the law to his own prayer in the concluding part.


How can we pray the Psalm?
  • By introducing himself as YHWH's servant, the Psalmist invites other servant's of YHWH to enter into his prayer as co-servants.
  • As co-servants, we can learn to pray the same prayer that he prays in response both to the heaven's in Part 1 and to YHWH's law in Part 2


Christ fulfils the Psalm.

Since the Psalmist's direction of travel in the Psalm as a whole is towards his own prayer in Part 3, so the primary way in which Jesus fulfils the Psalm is in answer to that prayer.

  • The Psalmist asks YHWH to make him innocent of hidden sins and to protect him from wilful so that he might be blameless and innocent of great transgression (v13). Jesus answers that pray by taking our sins in his own body on the cross so that we might indeed be blameless and innocent of great transgression.
  • The Psalmist concludes his prayer and the Psalm as a whole by calling out to YHWH, his rock and his redeemer (v14). When Jesus, the Son of God, came to earth, died on the cross and rose again he became the rock and the redeemer to whom we may also turn for salvation and redemption.



Focus shifts

The chart of the Psalm which you made earlier shows that in the course of the Psalm, the Psalmist shifts his focus five times in all. The sequence of focus shifts is as follows:

Focus shift in Psalm 19
From The Heavens to The Sun
From The Sun to YHWH's Law
From YHWH's Law to YHWH's Judgments
From YHWH's Judgments to My Sin
From My Sin to My Rock and My Redeemer


The Psalmist introduces each of shift in focus with a more or less explicit bridge in which he introduces what he is going to speak about in the next section.

The five different bridges all have the folllowing characteristics:

  • They both bring each section to a conclusion and introduce what the Psalmist is going to speak about in the following section.
  • They all involve a slowing or extension of the poetic rhythm in the previous section
  • Each bridge is acts as a signpost to the Psalmist's underlying thought and direction of travel in the progression of the Psalm.


Bridge 1: From The Heavens to The Sun

The first four verses of the Psalm are all about the words and speech of the heavens.

  • They declare God's glory, they tell of his works, they pour out speech, they reveal knowledge, although they have no words their voice is heard throughout the world.


The Psalm begins with a pattern of two lines in parallel.

  • Listen to vv. 2-7 and say when you hear him add a third line introduce the sun.


The image of a tent in the heavens is more than just a nice way of switching focus from the heavens in general to the sun in particular.

Old Testament Context

In OT cosmology, the heavens were viewed as the dwelling place of God and the (tent or tabernacle) was viewed as a mirror or a mini-version of his heavenly dwelling.

God told Moses to place his summary of the law - the 10 commandments written on two tablets of stone - in the most holy place of the tent or the tabernacle (which later became his temple).


With the bridge in the third line of v. 5, the Psalmist introduces the sun as an image the law

  • With the image of the sun the Psalmist moves on from the revelation of God's glory in the heavens to his own revelation of himself in the law.


Bridge 2: From The Sun to YHWH's Law

In the body of the stanza about the sun, the two paired lines in vv. 6-7, the Psalmist suggests that YHWH's law is like the sun:

  • in splendour, like a bridegroom coming out of his chamber;
  • in power, like a warrior or champion rejoicing to run his course;
  • and in reach, like the sun going from one end of the heavens to the other with nothing hidden from its heat.


Listen to the Psalmist's description of the sun in Stanza 2 (vv. 6-7).

  • See if you can hear the two pairs of lines and then the third line which he adds to the second pair.
  • The third line (v. 7c) and there is nothing hidden from its heat is the bridging line which connects the image of the sun in vv. 6-7 and YHWH's law in vv. 8-10.


Before we think about what the Psalmist means with the line about the heat of the sun, consider how the heat of the sun is viewed in your culture and setting.

  • Do you think of it as positive or negative?
  • What effect does it have?
  • Are you glad or sad about it, or neither?



While we may think about the heat of the sun in a number of different ways, positive and negative, the Psalmist uses the heat of the sun as an image of judgment.

Worship of the Sun in the Ancient Near East

In the culture of the Ancient Near East (when the Psalms were written), the sun was commonly worshipped as a god of glory, power and judgment. In worship poetry of the time,

  • the sun was compared to a bridegroom in glory because of the way it rises at dawn in the east.
  • It was also compared to mighty warrior in the way it crossed the heavens from one side to another.
  • But above all the sun was worshipped as the god of judgment whose light and heat fell on all mankind.



With the bridging line at the end of his description of the sun, the Psalmist introduces the theme of judgment anticipating his focus on YHWH's judgments in Part 2.

Bridge 3: From YHWH's Law to YHWH's Judgments

The Psalmist begins Part 2 with a series of 6 lines praising YHWH's law

  • Listen to vv. 8-12. See if you can hear the break and slowing of the rhythm in the sixth line about YHWH's judgments.


The first five lines of vv. 8-10 all follow exactly the same pattern with a participle verb in the final clause to describe:

  • YHWH’s instruction is perfect, restoring life
  • YHWH’s testimony is reliable, making simpletons wise.
  • YHWH’s commandments are just, causing the heart to rejoice.
  • YHWH’s command is flawless, giving light to the eyes.
  • Fearing YHWH is pure, enduring forever.


In the sixth line, he breaks his pattern and slows the rhythm with a full (finite) verb

  • YHWH’s rules are true; they are altogether right.


This sixth line forms the bridge to the Psalmist focus on YHWH's judgments at the end of Part 2

  • The subject of the sixth line (YHWH’s rules) takes over as the subject for the final section - the third-person plural references in the final part of this section refer primarily to YHWH’s rules (albeit as one element in YHWH's whole law).


Bridge 4: From YHWH's Judgments to My Sin

Listen to the Psalmist's description of YHWH's judgment in Stanza 4 (vv. 11-12) and see if you can hear how the Psalmist changes his rhythm in the final two lines.

  • those which are more desirable than gold, even much pure gold,
  • and sweeter than honey, even virgin honey from the honeycomb.
  • Furthermore, your servant is warned by them.
  • There is great reward in keeping them.


The Psalmist breaks his rhythm in the second pair of lines in number of ways

  • He makes them an addition to his previous statements by beginning them with the word Furthermore
  • He switches subject from YHWH's rules to YHWH's servant. Note the switch from the subject pronouns in the first pair of lines (they are more desirable…they are sweeter) to the object pronouns in the second pair (...is warned by them, in keeping them…)
  • He also switches in direct speech to YHWH introducing his prayer in Part 3 as the climax and prominent conclusion to his meditation on the law.


Identify the two ways in the bridging lines of v. 12 which the Psalmist says that YHWH's judgments are valuable to his servant.

  • They warn him
  • In keeping them there is great reward


The two pointers in the bridging lines of v. 12 provide the key to understanding what the Psalmist says in his prayer to YHWH through to the final verse because,

  • His judgments warn him of his sin and of the seriousness of YHWH's judgment.
  • There is great reward in keeping them - in living by them - because in his judgments there is salvation and redemption as well as punishment and condemnation.


Bridge 5: From My Sin to My Rock and My Redeemer

The Psalmist begins his prayer in Part 3 with a question and answer in 2 lines (v. 13). He then immediately slows his rhythm with 3 lines in the Hebrew poetry beginning with also in v. 14,

  • Also, prevent your servant from committing presumptuous sins!
  • Do not let them rule over me!
  • Then I will be blameless
  • and innocent of great crime.


Most English translations translate the three lines of v. 14 as four lines. The effect, however, is the same. The extended and slowed rhythm prepares us for the Psalmist's shift in the focus of his prayer in the final verse. The Psalmist brings Part 3 and the whole psalm to a conclusion by shifting the focus of his request.

  • In vv. 13-14 he asked YHWH to make him blameless and innocent of sin.
  • What does he pray for in v. 15? [That the words of his mouth and the meditation of his heart should be acceptable to YHWH]


We saw earlier that although the shift in the content of the Psalmist's prayer is significant, the real focus of his final prayer is on YHWH as his rock and his redeemer.

The prayer is in 3 lines in the Hebrew poetry.

  • Let the words of my mouth and the meditation of my heart
  • be acceptable before you,
  • YHWH, my rock and my redeemer!


In these lines, the Psalmist gives prominence to his reliance on YHWH in a number of ways.

  • The compound structure of the first two lines in which the second line completes the first gives prominence to the final phrase before you which in turn leads on into the Psalmist's final address to YHWH.
  • The final line is the first and only time he addresses YHWH by name in the Psalm.
  • Previously he has only addressed YHWH by reference to his relationship to him as his servant (v. 12 Furthermore, your servant is warned by them, and v. 14, Also, prevent your servant from committing presumptuous sins!)


Final questions: The psalmist's final prayer

An Easy Question

Why do you think he calls YHWH his rock and his redeemer at the end? Choose which of the following answers is NOT correct:

  1. Because he needs a rock and a redeemer in the face of God's judgment.
  2. Because he knows that he cannot make himself blameless and innocent on his own.
  3. Because he wants to finish up and cannot think of anything else to say.

A Harder Question

In Part 1, the Psalmist talks about the heavens declaring the glory of God and the sky proclaiming the work of God's hands. In Part 2, he talks about YHWH's law by which he means YHWH's own revelation of himself to his people and of the requirements he make for them to live in covenant relationship with him. In what ways is the Psalmist's prayer in the final verse a fitting conclusion to his earlier reference in the Psalm to speech and communication?

  • He asks that the speech of his mouth, and the meditation of his own heart be acceptable before YHWH. The implication is that he wants the speech of his mouth to be in harmony with the speech of the heavens in Part 1 and the meditation of his heart to be in harmony with his understanding in Part 2 of YHWH's law as blameless and with his judgments as altogether righteous.
  • He knows that on his own he cannot achieve righteousness and so he turns to YHWH himself as his rock and his redeemer. He is the one who is able to make him blameless and innocent of great transgression.

Poetic Structure

Most interpreters of Psalm 19 agree that the psalm divides into two major sections: vv. 2-7 // vv. 8-15. These can be further divided in smaller sub-sections, based on the poetic features visualized below:

Psalm 019 - Poetic structure.jpg

Internalize

This step helps with absorbing the big picture of the psalm.

The heavens speak

Speech and communication in vv.1-4

In v.1, the Psalmist speaks about the heavens declaring and the sky telling...

  • Write on a board all the ways you in your language that you refer to speaking and communication -declaring, proclaiming, shouting, whispering, saying, informing etc… Include any figurative language or ideophones that you can think of.
  • Listen to vv.1-4 and identify all the different words, expressions and images in vv.1-4 which refer to speaking and communication.
  • In v.1, what two things do the heavens and the sky say about God?
  • In v.3, the Psalmist says that the heavens do not have speech nor words and that their voice cannot actually be heard. He seems to say the opposite thing in vv.1-2 and in v.4. How do you make sense of what he is saying?
  • In vv.1-4 if the heavens have no actual speech or words, where are actual words from God to be found later in the psalm? (YHWH's law, vv.7-9.)

In praise of the sun

In v.5, the Psalmist compares the sun to a bridegroom coming out from his chamber and to a champion, or mighty man, who rejoices to run his course. In v.6, he goes on to describe the movement of the sun across the heaven.

"Like the Sun" Poetic Feature
  • In what way is the sun like a bridegroom coming out of his chamber? (splendor, glory)
  • What does a champion or a warrior rejoice about when he runs his course? (power)
  • What is it about the sun's movement across the sky that the Psalmist especially wants to emphasise? (reach, nothing escapes heat)


For more information on the poetic use of sun imagery in Psalm 19, see the "Like the Sun" Poetic Feature.

Activity. A mime drama about the sun

Act out a drama with four short scenes to describe the sun.

  • The sun like a bridegroom coming out from his chamber in splendour,
  • The sun like a champion rejoicing in his strength to run his course,
  • The sun going from one end of the heavens to the other. (One way of acting this might be to use your arms to show the way the sun crosses the sky.)
  • And finally, the heat of the sun reaching everything. (You could use your arms again to show the way the heat of the sun spreads out everywhere).

YHWH's law (vv.7-9)

In vv.7-9, did you notice that in each line he says that each thing is of YHWH - it is the law of YHWH, the testimony of YHWH, the precepts of YHWH, the commandment of YHWH, the fear of YHWH and the judgments of YHWH?

Activity. YHWH's law and YHWH himself

Read out vv.7-9 for the group to hear. After each line the group should try giving the sense in their own language but replacing the term for the law with a phrase to indicate YHWH himself.

  • Start in v.7a with YHWH himself is blameless reviving the soul, then continue through the other lines in the same way.
  • In v.9a, the group can just change the phrase the fear of YHWH to the fear of YHWH himself
  • When you think about YHWH as the one who gives the law and reveals himself in the law, how does it change the way you feel about the law?

The rhythm of vv.7-9

"Complete Revelation" Poetic Feature

In vv.7-9, listen to the way that the lines follow the same rhythm or pattern. Listen for the slight change in rhythm in the last line which brings the set of 6 lines to an end.

  • YHWH’s instruction is perfect, restoring life.
  • YHWH’s testimony is reliable, making simpletons wise.
  • YHWH’s commandments are just, causing the heart to rejoice.
  • YHWH’s command is flawless, giving light to the eyes.
  • Fearing YHWH is pure, enduring forever.
  • YHWH’s rules are true; they are altogether right.


For more information on the poetic pattern of this section, see the "Complete Revelation" Poetic Feature.

Activity - Search for a pattern

See if you can identify a good pattern or rhythm in your language which will sound good for these 6 lines. (This will help in your oral translation of the psalm in the next step.)

Translating YHWH's law

Drawing on the introduction to the meaning of the different terms towards the end of Step 2, try and decide on the way you will translate the terms in your language.

Activity - find a rendering for each term

  • As you look at the meaning for each term - put your rendering of the term in your language on a board.
  • The terms law, testimony, command, and fear are all singular in the Hebrew text. The singular is important because it means the Psalmist is talking about the different things in an all-embracing way.
  • The terms precepts and judgments (which we take to refer to his just laws) are both masculine and plural. The plural is important because each is referring to a group of specific things which together describe YHWH's law.

In praise of YHWH's law (vv.10-11)

Listen again to the ways in which the Psalmist praises the YHWH's judgments, his just laws, in vv.10-11. He praises them - and by extension YHWH's law as a whole - in 3 different ways.

  • In v.10a, he says that they are more desirable than gold and then intensifies the comparison by adding than much fine gold.
  • In v.10b, he says they are sweeter than honey and again intensifies the comparison by adding than drippings from the comb.
  • In v.11, he adds something different when he says by them is your servant warned and then along with the warning they contain, in keeping them there is great reward.


Activity. A mime drama about YHWH's judgments

Act out another drama with words to show how desirable and how sweet are YHWH's judgments.

  • For v.10a, take out an imaginary piece of gold from your pocket and place it on a table to indicate how desirable they are. Intensify the comparison by taking out many pieces of imaginary fine gold from all your pockets and from your bag to pile on top of the first piece of gold.
  • For v.10b, dip your finger in an imaginary pot of honey and put it to your tongue to show how sweet they are. Intensify the comparison by lifting up an imaginary honeycomb and catch the drippings falling into your mouth.
  • For v.11a-b, mime the action of receiving a warning by them and of finding a great reward in keeping them.

YHWH's servant

What are the two kinds of sins which the Psalmist is concerned about in vv.12-13?

  • What is the difference between these two kinds of sin?
  • Make a list of hidden sins on one side of a board and of wilful sins on the other side.
  • What desire does he express in v.12 and then repeat in v.13?

The servant's final prayer

Read v.14 in the Hebrew-mirror translation and then perform a mime to express the Psalmist's request with gestures.

Compose a Song of the Psalm

Once the artist-translators have sufficiently internalised the psalm in the workshop setting, compose a song, poem, rap, chant, or prayer to express all or part of the psalm.

Before you start: Identify an appropriate style or genre

  • Participants are recommended to choose a style or genre that is relevant for the psalm and base their compositions on that style.
  • In this psalm several possible genres may be appropriate. They include praise of someone or something for their character. This may be possible to use in a composition about the heavens in vv. 2-7 and or the law based on vv. 8-12. Another genre may be one about wrongdoing and asking for forgiveness. This may be possible to use in a composition based on vv. 13-14.


If there is time, record examples from the culture. Transcribe and back translate your recordings in AVTT so that poetic devices may be analysed and identified. (This is a rich group activity if there is time)

Before moving on to Step 5, record the compositions.

  • Transcribe and back-translate them in AVTT if you plan to develop the compositions as a final product for performance and publication.
  • This will help you think about what you want to add or change after you have finished the process of checking and editing your translation. It will also allow consultants and other non-speakers of the language to give some input to their later development.

Draft an Oral Translation

To take full advantage of the oral form, avoid reverting to written Biblical text at this point. Divide into smaller groups and let one in each group read the different guide translations for the specific stanza. Together come up with an oral draft for each stanza. The oral draft can at that point be recorded and/or immediately written down (Step 6 merged with Step 5).

Before you start drafting - Identify poetic devices in your language

Look at the transcriptions of music, poems or other performances from your culture that you made in Step 4.

  • Look for instances where there is a strange word-order, not the usual. Sometimes it would work to use some unusual word-order in your language as well. Experiment a bit with different word-orders and see what sounds the most beautiful, the most poetic.
  • Look for other poetic devices in your transcriptions of the performances and ask yourselves how you might use or adapt them in this Psalm.



The following notes suggest a few things in each stanza which the translators should keep in mind as they compose an oral draft. See the notes on the Hebrew text in Appendix B for further comments on some of the points made here and for other suggestions.

Important notes for facilitators

Facilitators should have the guide translations in Appendix A in front them when they help the Psalmist-translators to think about things they should consider in preparing their oral draft.

  • The notes in this section suggest just a few things for each stanza.
  • See the notes on the Hebrew text in Appendix B for further comments on some of the points made here, and for other suggestions.
  • It is very important that facilitators should prepare beforehand and that they decide for themselves what information to give the Psalmists. You should try to give the information you think most important in your own words, not just read out the notes from here or elsewhere.



Stanza 1, vv. 2-5

Verse 2. The Psalm begins with a chiasm in the Hebrew poetry in which the Psalmist inverts the phrase order of the first line (subject - participle verb - object phrase) in the second line (object phrase - participle verb - subject.)

The heavens - are declaring - glory of God

works of his hands - are telling - the sky.

See if you can find a poetic structure with a similar dramatic effect to start the Psalm.

Take care with who or what is speaking in each line and try to capture the rich variety in the way the Psalmist refers to speech and communication.

  • In v. 2a, it is the heavens which declare...
  • In v. 2b it is the sky which tells....
  • In v. 3a, it is day then day which pours forth speech and in v. 3b night then night which reveals knowledge.
  • In vv. 4-5 the speaker is once again the heavens (although in v. 4 they have no actual speech or words).


Verse 4 begins with the surprise statement that There is no speech are there are no words. The Psalmist is saying that the heavens don't actually speak or articulate words. Verse 4b reinforces his point, their voice is never heard. In v. 5, the Psalmist nevertheless insists that their voice goes out into all the earth. You may want to make the contrast in the statements in v. 4 and v. 5 clear in some way. One way of doing this would be to start v. 5 with a connector like Yet..., But still, However..., Nevertheless...

Verse 5. Try to find a change in rhythm to express the switch to God as the actor in the third line, for the sun, he (God) has pitched a tent in them (the heavens).

Stanza 2, vv. 6-7

Verse 6 picks up its subject, the sun, from the bridging line at the end of v. 5. Find a way of keeping the connection.

  • Although the Hebrew text drops the verb 'to be' in the opening line of v. 6 (And he (is) like...) you may want to use it. If you do this, experiment with reinforcing the connection with v. 5c by starting with an emphatic pronoun (And he, he is like...)
  • You may also want to experiment with removing the connector And and start the line with a double pronoun He, he is like...
  • You might even want to name the sun again in v. 6a (And) the sun, he is like...


Verse 7 contains a chiasm in which the locative phrase, from the ends of the heavens is front-shifted to the beginning of the first line and is mirrored by the locative phrase up to their ends at the end of the second line.


a. From the ends of the heavens - his going out,
b. his circuit - up to their ends

  • Try to make your translation of the first two lines of v. 7 a tight unit (as in the Hebrew text) to give prominence to the final line as an additional statement: and nothing is hidden from his heat.


Stanza 3, vv. 8-10

Verses 8-10. Keep the same sentence structure through the 6 parallel lines. You do not have to follow the structure of the Hebrew poetry. You should determine what is the best way to express the lines in your own poetry.

  • If you have already started Psalm 119, make sure your rendering of the 6 different terms is consistent.
  • It is important to keep the repeated reference to YHWH in each line.
  • Each of the first five lines contains a description of what the different aspects of YHWH's law are like as well as what they do.
  • The sixth line starts the same way but then breaks the pattern with a full verb in the second half they are righteous altogether.


Stanza 4, vv. 11-12

The pronouns they and them in v. 11 and 12 should refer to YHWH's judgments (his just decrees).

Verse 12 and Verse 14. In the Hebrew text, both verses begin with `gam 'also'`. Keep the idea of adding something to what has been already said in both verses.

Verse 12. In the Hebrew poetry, the first line of v. 12 ends ...by them and the second line begins in keeping them... Try to find a good balance between the lines in your translation.

Stanza 5 and 5, vv. 13-14 and v. 15

Verses 13-14. The Psalmist speaks of two kinds of sin. Hidden sins are sins which he does not recognise as sins. Think of examples that you would include in this category of sins and then decide how to refer to them. The second kind of sins are sins of pride. In contrast with hidden sins, these are sins which the Psalmist knows about but does anyway. They are wilful sins in the sense that he does them in his pride, putting his will above YHWH's will. So he asks YHWH to hold him back or restrain him from these kinds of sin.

Verses 13-14. There are two ideas in vv. 13 and 14 which are closely related but need to be kept distinct.

  • The first is the idea of innocence… Try and keep the two references to being innocent in vv. 13-14. In v. 13b, the psalmist asked to be made or declared innocent of hidden sins. In v. 14c, he expresses the desire to be innocent of great transgressions.
  • The second is the idea of being perfect (or blameless). In v. 14b, the Psalmist starts by saying then I will be perfect/blameless... and continues the line and innocent of great transgression. You should use the same word here as in v. 8 where the Psalmist says The Law of YHWH (is) perfect (or blameless).


Transcribe a Written Draft

Transcribe the recordings of each section/stanza onto paper or a computer and add a word-for-word back translation.

  • Be careful about spelling and punctuation and line divisions.
  • Keep the same line divisions in both your transcription and your back translation.
  • Check your transcription and your back translation.
  • In AVTT, open a new passage for Step 9 and make a blank recording (a second or two without any speech). This will open transcription and back translation boxes in that passage. Copy the transcription and the back translation of your translation into the new step. This will be the place you make changes as you go through Steps 7 and 8 and edit your translation.

Exegetical Context Check

The purpose of this step is to check the content for faithfulness and trustworthiness to the original Hebrew, the interlinear, and other versions in use in the area.

Activity

Check for content faithfulness; do an exegetical check. Compare the draft with the guide translations given in Appendix A and the Hebrew and interlinear in Appendix B and adjust the text as necessary.

Exegesis Checklist

Summary story triangle from the Story Behind the Psalm

Give special attention to:

  • Stanza 1. The different words for speaking and communicating in vv.1-4
  • Stanza 1. The contrast between there not being any speech or words and nothing being heard in v3 and yet the heaven's voice going out into all the world in v.4.
  • Stanza 2. The terms for bridegroom, warrior/champion/mighty one, the athlete's course and the suns circuit.
  • Stanza 3. The distinction between the different terms for the law.
  • Stanza 4. The pronouns should refer to YHWH's judgments (the last of the 6 descriptions of YHWH's law in vv.7-9).
  • Stanza 5. The idea of the question Who can discern his errors? being answered by a request Make me innocent of hidden faults.
  • Stanza 6. Do not collapse into one the two ideas in v.14 of the words of my mouth and meditations of my heart
  • Stanza 6. The rendering of rock and redeemer


For more information on the original context of Psalm 19, see the Story Behind the Psalm.

Poetry Check

Attention now needs to be given to the poetic devices found in the Hebrew, as well as poetic devices found in the receptor language that might not have been used in the Hebrew text (or might have served a different function).

Activity

Compare the compositions from Step 4 with the draft. See if there are any features from the compositions that can be used in the final official version.

Poetry Checklist

Line division from Psalm 19 Poetics

Give special attention to:

  • The slowing down and or extension of the rhythm in the bridging devices in vv. 5, 7, 12, 14, and the ending device of v. 15 (see notes in Step 5).
  • The inversions and word order shifting to give balance between lines a and b, e.g. in vv. 2, 7, 12, 15.
  • The parallelism between the 6 lines in praise of YHWH's law in vv. 8-10.
  • The intensification in the descriptions of YHWH's judgments as more to be desired than gold, than much fine gold and as sweeter than honey, than drippings from the comb.


For more information on the poetry of Psalm 19, see the Poetics Page.

Finalizing an Authenticated Translation

Preparation of the final version which will serve as an authorized translation, that in turn will serve as the basis for performing the psalm in the community. You should attempt Steps 7 and 8 on your own, but a consultant will need to check your translation with you before you record your performances in Step 10.

Things to Work on for Finalizing Your Translation

  • Add verse numbers to both transcription and back translation.
  • Add stanza breaks.
  • As you edit your text, make sure the changes are included in your back translation.
  • Spelling, word division, and punctuation. To gain group participation, have a different person read out each verse and confirm that the group is ready to move on before you move to the next verse.
  • Do not get stuck on variant spellings or pronunciation of words!
  • Check line division in each verse. Have a different person reading in each stanza for the group as you go through and confirm or change the line breaks.
  • Work through the translation verse by verse, checking the exegesis and poetry (You can do Steps 7 and 8 in two different stages or you can do them together).
  • After you have worked through a stanza, a different reader should read out the edited text as fluently as possible to check that it sounds good.
  • Watch out for the following:
    • A. Things that are missing.
    • B. Things that are wrong.
    • C. Things that could be improved.

Perform the Psalm in Your Community

Performance 1: Dramatic Reading (Audio)

Record an audio version of a dramatic reading of the final authenticated version of the psalm using one or more voices. The performance must follow the authenticated version word for word.

Performance 2: Dramatic Performance (Audio & Video)

Divide the psalm and each person learn their part. Then record a dramatic performance of the psalm without the text in hand (either on phone or on paper). Feel free to adapt the authenticated version, including adding poetic and dramatic features beyond it. Record your performance in audio and video.

Performance 3: Song or Hymn (Audio & Video)

Record a song or hymn based on all or part of the psalm. You can develop the compositions you recorded in Step 4 for this purpose. Make changes to reflect what you've learned as you've worked through Steps 5-9. Record audio and video as above.

Performance 4: Short Chorus (Audio & Video)

Record a short chorus of one or two verses—something catchy and highly memorable. Record audio and video as above. If possible, invite a group of children to learn and perform the chorus as well.