Psalm 21 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 21

Poetic Structure

Poetic Macro-structure

• The psalm is framed by an inclusio in vv. 2, 14 יהוה בעזך (YHWH because of/in your strength). This inclusio emphasizes the unity of the psalm as a whole.
• The psalm is split between two main sections (vv. 2–7 // vv. 8–13).
  • Each section has a similar beginning.
    • Both mention YHWH’s name, the king and contain alliteration in the second lines—וב-מאד / וב-ימוט)
  • Each section has a similar ending.
    • פָּנִים + (verb) כִּי + שִׁית
  • These sections are each split into two further subsections.
    • Each subsection has six lines / three verses each.
    • Each subsection has six lines / three verses each.
    • Each of these subsections contains a כִּי clause in the initial or final bicola.
    • Each subsection has a similar ending.
    • פנים/ראש + (verb) שִׁית
      • In addition the first and second subsection share the additional similarities of בְרָכ֣וֹת and alliteration—תְ֭קַדְּמֶנּוּ / תְּחַדֵּ֥הוּ
  • The first section contains an ABC/BAC pattern that binds vv. 2-7 together.
• The psalm concludes in v. 14 with the reference back to the beginning line of the psalm.
• Considering that "the verselines form two cantos of six verselines and are concluded by a relatively separate one-line strophe. From this perspective v. 8 is the pivotal line (> 6+1+6 verselines). V. 8b is the central colon (> 13+1+13 cola)."
• v. 3: The word סֶּלָה (selah) is not understood as impacting on the structure, given that there is no clearly perceived significance as to its location here.
• v. 5: These opening lines from the second strophe where we see the life that has been granted to the king are stark contrast to the opening lines (v. 11) in the fourth strophe where the king's enemies are utterly destroyed.
• v. 8: Here there is a change again as YHWH is referred to in the third-person. An argument could be made for this verse being combined with either the preceding section or what follows. However given the location of v. 8 in the very centre of the psalm and the distinctive nature of the verse's content, it seems best to separate it into its own section.
• vv. 9-13: Multiple verbs in this section have semantic connections to actions with the hand of reaching, stretching, weaving. The use of the term שֶׁ֑כֶם (shoulder) rather than עֹרֶף (back). שֶׁ֑כֶם is connected more with the arm than עֹרֶף.
• v. 11: See note on contrast with v. 5. above.

Line Division

• There are few issues dividing this psalm into lines. Throughout, the syntax, accents, pausal forms, and manuscript traditions (with the majority of available MT manuscripts and the Greek tradition) demarcate the lines.
• v 4: There is a question as to whether פָּֽז is a pausal form; see also Song 5:15 (עַל־אַדְנֵי־פָ֑ז), Lam 4:2 (בַּפָּ֑ז), Psalm 119:127 (וּמִפָּֽז), Job 28:17 (כְּלִי־פָֽז), Prov 8:19 (וּמִפָּ֑ז), Isa 13:12 (מִפָּ֑ז) ( cf. standard, non-pausal form in Psalm 19:11 (וּמִפַּ֣ז); see also E.J. Revell, "A list of Pausal Forms in the TeNak," 32.
• v. 5a: This line contains two clauses. Although an argument could be made for v. 5a being an asyndetic relative clause, some challenges with reading it this way include the fact that the object is fronted and doesn't have the article.
• v 10: This verse is the most difficult to demarcate into lines. One difference in the manuscript tradition has Berlin, Qu. 680 (which appears to have been copied with intentionality in the placement of line breaks) splitting verse 10, so that יְהוָה is situated at the end of 10a rather than the beginning of *10b: Some manuscripts split these two lines further placing לְעֵת פָּנֶיךָ and וְתֹאכְלֵם אֵשׁ each on its own line e.g. the Madrid Manuscript (M1).
• v 10b: This line contains two clauses.

Poetic Features

1. Placing and Facing

Feature

The verb שׁית (to set, stand, place) is distributed (4x) evenly throughout the psalm and helps structure the psalm (appearing in the final bicola of each of the four main stanzas). In three of these instances it is followed by a form of פָּנִים (face) either on the same line or the coordinating line that follows. The exception to this is the first instance, where the semantically related term רֹאשׁ (head) is used instead.

For the first two instances of שׁית YHWH is the subject and the king the recipient; firstly YHWH places a crown upon the king's head and then blessings upon the king. The referent of the first occurrence of פָּנִים is YHWH, whose very presence brings joy to the king.

Though there is ambiguity as to the subject (also agent) of the final two instances of שׁית (see Exegetical Issue 1), there is a good argument for it being the king. With this understanding שׁית is used to show that the king will bring his enemies into submission and defeat them. This will take place at the time of his פָּנִים (face/presence). He will place them as a shoulder (shoulder-wise or turn them back) when he takes aim against their פָּנִים.

Effect

The use of the repeated terms in two different contexts (one of blessing, and the the other of military conflict) within the psalm helps to highlight the contrast between the placing of the king by YHWH for blessing and the placing of the enemies by the king (YHWH's anointed one) for defeat and destruction. The face of YHWH brings joy to the covenant king, and then the king's face in turn will bring fear and defeat to his enemies.

2. Not On His Watch!

Feature

There are three negated clauses in the psalm which all use the negator particle בַּל. The first instance restates the positive statement to grant the king's heart’s desire in a negative construction, not withholding his lips’ request. The second explains that, given the king's trust and YHWH's faithfulness, the king will not be shaken. Third and finally it is used to describe how, despite their best attempts, the enemies of the king will not succeed in their efforts against him.

Effect

Although the subject in each instance of a negated clause changes, in each case the result of the action is to the benefit of the king. This is seen firstly in that on YHWH's watch he has held nothing back that the king has asked from him (אֲרֶ֥שֶׁת שְׂ֝פָתָ֗יו בַּל־מָנַ֥עְתָּ), not only delivering him from trouble when he asked but also bestowing upon him unending blessings. Secondly, we see that, through his trusting in YHWH (having previously experienced the faithfulness of the Most High and understanding it to be an ongoing reality), he will not be shaken through future trials on his own watch as king (בְחֶ֥סֶד עֶ֝לְי֗וֹן בַּל־יִמּֽוֹט). Finally, the enemies themselves, despite their best efforts, are unable to succeed in their hostile plans towards the king. During this king's rule (watch), he has the support and blessing of YHWH, and on YHWH's watch no enemy can overcome his anointed king.

Note

The particle בַּל "is used as a sentential negative in poetry as an analogue to לֹא in narrative. It is used especially before a yiqtol/imperfect verb, in particular the Niphal form of מ-ו-ט 'shake' (for reasons which are not readily transparent)." Gary Rendsburg asserts that many Biblical examples containing בל are of Northern Israeli Hebrew (IH) origin rather than Judahite Hebrew, which would mean there is less significance to the presence of בַּל here. Though Ps. 21 doesn't appear in the specific list of Psalms that he identifies as IH. However, the change in subject and systematic placing of the three negated clauses still remains strong support for the inclusion of this as a poetic feature.

3. From Strength To Strength

Feature

The psalm is framed by an inclusio (vv. 2, 14) which includes the identical phrase יְֽהוָ֗ה בְּעָזְּךָ֥ translated as "YHWH because of/in your strength". In the introductory line this strength is the grounds for the king's rejoicing, while in the concluding verse it is the reason for why the congregation should join together in exalting YHWH. Apart from these two occurrences the word עֹז (strength) appears nowhere else in the psalm, but the theme of strength extends throughout, in the use of various connected nouns and verbal actions (Bratcher-Reyburn 1991, 204). In vv. 3-7 YHWH is the subject and agent of these verbal actions (one exception is in v. 10b where fire is the subject). We then see a transition in the centre verse of the psalm (v. 8) through a change in subject as the king who has received the benefits of YHWH's strength is acknowledged as trusting in YHWH and we see that through the faithfulness of YHWH this covenant king will not be shaken. Now from vv. 9-13 onwards the king is predominantly the subject of the verbal actions that firstly see his enemies brought under his control with terms connected to strength and finally ends in their ultimate defeat. The king's reign endures (v. 5) while even his enemies posterity is utterly destroyed (v. 11).

Effect

The inclusio "YHWH in your strength" draws our attention to a key theme of the psalm which is "YHWH's strength." This is the very thing we see in the opening lines that the king rejoices in. YHWH's strength is seen in reference to the historical deliverance of the king, his extended life, and all manner of blessings which have been bestowed upon him. We see that from YHWH's strength the king who is YHWH's anointed leader draws his strength for victory on the battle field. But as the psalm closes the congregation recognise that ultimately even the strength that has been granted to the king has YHWH as its ultimate source and YHWH is the one who is to be praised, as the congregation anticipate a comprehensive victory over their enemies.

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

• There are multiple roots that are distributed throughout, especially יהוה and שׁית but also the repeated presence of the conjunction כִּי and the particle of negation בַּל. The preposition על is repeated and present both prior to the line of symmetry and after. An interesting observation on the 3 uses of this preposition is that in each case a different participant is its object. The root פנה is also repeated both sides of the line of symmetry.
• The repetition of the root עֹז and יהוה at the beginning and end of the psalm form a potential inclusio to investigate.
• There are six pairs of roots שׂמח,מלך,ישׁע,נתן,ברך,עד that are only present in the first half, and these tend to be separated from each other, in each case with at least a verse between them. However, the two pairs of roots מצא ,אשׁ that only appear after the symmetry are each repeated within the very same verse.
• A line of symmetry has been drawn between verse 7 and 8 due to the final root of several repeated roots that are only found in the first part of the psalm. This final root ends in verse 7, while two new roots appear doubled in verse 9 and 10 respectively. In the case of הַמֶּלֶךְ in v. 8 it looks to start the second half of the psalm rather than close off the first.

Bibliography

Bratcher, Robert G., and William D. Reyburn. 1991. A Translator's Handbook on the Book of Psalms. UBS Handbook Series. New York.

Craigie, Peter C. 2004. Word Biblical Commentary: Psalms 1–50. 2nd ed. Vol. 19. Nashville, TN: Nelson Reference & Electronic.

Goldingay, John. 2006. Psalms: Psalms 1-41. Vol. 1. BCOT. Grand Rapids,MI: Baker Academic.

Lugt, Pieter van der. 2006. Cantos and Strophes in Biblical Hebrew Poetry: With Special Reference to the First Book of the Psalter. Vol. 1. 3 vols. Oudtestamentische Studiën 53. Leiden: Brill.

Terrien, Samuel L. 2003. The Psalms: Strophic Structure and Theological Commentary. ECC. Grand Rapids: Eerdmans.

Van der Merwe, Christo H. J., Jacobus A. Naudé, and Jan H. Kroeze. 2017. A Biblical Hebrew Reference Grammar. 2nd ed. New York: Bloomsbury T&T Clark.