Psalm 24 Poetry
Meeting the king
Psalm 24
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.
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 sub-sections, sub-sections into larger sections, 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. |
| Superscription | ||||
| v. 1 By David. A psalm. The earth and its fullness belong to YHWH, the world and the inhabitants in it, | YHWH's identity | YHWH is the creator of everything. |  |
reverent
|
| v. 2 because he has founded it upon the seas and keeps it established upon the currents. | ||||
| v. 3 Who may go up on the mountain of YHWH? And who may stand within his holy place? | YHWH's requirements | Only the true Jacob may enter YHWH's holy place. |  |
pensive
|
| v. 4 One with clean hands and a pure heart, who has not delighted in falsehood, nor taken an oath deceitfully. | ||||
| v. 5 He will receive blessing from YHWH and privilege from the God of his salvation. | ||||
| v. 6 Such is the generation—those seeking him, those who seek your face—of Jacob. Selah. | ||||
| v. 7 Lift up your heads, gates, and be lifted up, eternal doorways, so that the glorious king might enter! | YHWH's welcome |
True Jacob, |
 |
passionate
|
| v. 8 Who is this, the glorious king? YHWH, a mighty one and a warrior; YHWH, a battle warrior. | ||||
| v. 9 Lift up your heads, gates, and lift up, eternal doorways, so that the glorious king might enter! | ||||
| v. 10 Who is this, the glorious king? YHWH of armies, he is the glorious king. Selah. | ||||
File:Psalm 024 - Poetic structure.jpg
Notes
- Psalm 24 has two major sections (vv. 1–6, 7–10), supported by Selah.
- The psalm also has five minor sections (vv. 1–2, 3–4, 5–6, 7–8, 9–10). יְהוָה appears in the first line of the first three minor sections. With the exception of v. 8, יְהוָה is distributed equally with one occurrence in each of these five sections, which results in 3-3 in the two major sections (vv. 1-6, 7-10).
- vv. 1–2 are delimited as one grammatical sentence with end-rhyme across the four lines. It concerns YHWH's sovereign control of all creation.
- vv. 3–4 form a question and answer pair, with a number of phonetic correspondences.
- vv. 5–6 elaborate upon the answer offered in v. 4, with a number of phonetic correspondences between the two verses, as well as the anaphoric dependence of v. 6's זֶה on v. 5.
- The macrostructure provided by the two instances of Selah is unambiguous, as is the correspondence of the two "Who...?" questions in v. 3 and vv. 8, 10, and the almost verbatim repetition between vv. 7–8 and 9–10.
- The resultant structure is universally recognized and virtually taken for granted (see, e.g., Labuschagne, van der Lugt 2006, Sumpter 2014).
- One minor adaptation is suggested by Meynet (2022, 42): the eleven lines both preceding and following v. 6 seem to lead him to consider this verse a hinge between the two larger sections. Labuschagne also notes that v. 6a is the numerical center, though v. 6b "the meaningful centre in terms of the poetic structure," with its unique second-person reference to YHWH (see Participant Analysis).
- Beside our lexical and phonetic observations on the structure of vv. 3–6 noted above, Spangenberg (2011, 752) summarizes the semantic determination of their division: "The second (vv. 3–4) and third strophes (vv. 5–6) form the second stanza of the psalm (stanza B). The link between them may be presented as follows: The stanza commences with two questions (v. 3) followed by an antiphonal reply (v. 4). The antiphonal reply is completed in vv. 5–6, where the outcome of having 'clean hands and a pure heart' is described: such a person will be blessed, be conferred with integrity and join the company of those who seek him."
Line Divisions
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. |
File:Psalm 024 - line divisions.jpg
Notes
Line divisions are reflected in Rahlfs' LXX.
- v. 8-9 - BL Or 2373 only has one line for both 8a-b and 9b-c.
- v. 10 - Harley ms 5711 divides the two lines following the atnakh on צְבָא֑וֹת, though 7-4 seems like an unlikely balance and 10b is also one line in Or 2373. Alternatively, we could consider a three-line unit of 5-2-4 prosodic words (see, e.g., van der Lugt 2006, 257):
מִ֤י ה֣וּא זֶה֮ מֶ֤לֶךְ הַכָּ֫ב֥וֹד
יְהוָ֥ה צְבָא֑וֹת
ה֤וּא מֶ֖לֶךְ הַכָּב֣וֹד סֶֽלָה׃
- Nevertheless, this also seems less-than-ideally balanced and goes against the clausal structure, which is followed throughout the psalm.
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.
Lift up
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. |
File:Ps 24 - Poetic feature 1.jpg
Feature
The root נשׂא is used six times throughout Ps 24 in different stems and conjugations. Its contextual meanings range from desire something (literally, to lift up your soul to something) in v. 4, taking up, i.e., receiving in v. 5 and lifting up in vv. 7 and 9. The verticality of this verb's semantics is complemented with the עַל preposition twice in v. 2, the verbs go up (עלה) and stand (קום) in v. 3, and the mention of יְהוָ֥ה צְבָא֑וֹת, Lord of armies, in v. 10, צְבָא֑וֹת often used to speak of the stars or heavenly armies.
Effect
The repeated root hints at the UP IS POWER conceptual metaphor when supported by the verticality of the עַל prepositional phrases of v. 2, the verbs יַעֲלֶ֥ה and יָ֝קוּם of v. 3, and the connotation of the stars (above) communicated by צָבָא in יְהוָ֥ה צְבָא֑וֹת in v. 10. If forming part of a liturgical procession up to the temple mount, the repetition of נָשָׂא would iconically accompany their physical ascent.
While נשׂא is diverse in its semantic range, and indeed in its use within Ps 24, the psalm leaves no doubt that, if creation was established upon the waters (i.e., from above), and the Lord resides up on his holy mountain, the true king will arrive from above to be enthroned. This is confirmed in vv. 7-10 and all doubt is put aside by the time we reach יְהוָ֥ה צְבָא֑וֹת in v. 10. The readers of the psalm, instead of lifting up their souls to deceit, i.e., desiring idols, would do well to lift up their gaze to the true king in proper worship and to open their whole beings (וְהִנָּשְׂאוּ ,v. 7b) in welcoming reception to his arrival.
A double approach
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. |
File:Ps 24 - Poetic feature 2.jpg
Feature
Almost all of the content in Ps 24 is made up of pairs on various structural levels. This ranges from individual noun phrases, in the case of vv. 1, 4a and 6, to clauses, as in vv. 2, 3, 4, etc., and even to full strophes, in the case of the symmetry between vv. 7-8 and vv. 9-10. The two מִי questions of v. 3 are matched by the those of vv. 8 and 10. Although the מִי questions of vv. 8 and 10 could also be considered a pair, within their own strophes they are structurally independent, so they actually break the pattern in their respective verses. Besides these latter מִי questions, the only full lines left out of this pattern of pairs are the weyiqtol clauses of v. 7c and v. 9c, and the final verbless clause of v. 10.
Effect
Although parallelism is the hallmark of Biblical Hebrew poetry and thus expected to be common, its structural function in Ps 24 is far from average. Iconically, it effectively represents the two sides of a reciprocal approach in the psalm: on the one hand, by the human king and his people towards YHWH in vv. 3-6, and on the other hand, the glorious king, YHWH, towards his people in vv. 7-10. Where the pattern is broken, perhaps by the final two מִי questions, but more clearly by the weyiqtol clause in both v. 7c and v. 9c, and most certainly by the uniqueness of the final line of the psalm, we are led to the climax of this glorious king's entrance as יְהוָ֥ה צְבָא֑וֹת, YHWH of armies. Indeed, the "For what?" of the two imperatives in vv. 7a-b and 9a-b are important enough to say וְ֝יָב֗וֹא מֶ֣לֶךְ הַכָּבֽוֹד (so that the glorious king might enter) twice, which leads to the question, "Well, who is he?" twice. This question is answered twice in v. 8, while יְהוָ֥ה צְבָא֑וֹת in the second line of v. 10, the only bicolon in vv. 7-10, is sufficient closure.
The final "who"
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. |
File:Ps 24 - Poetic feature 3.jpg
Feature
Psalm 24 begins by declaring that all creation belongs to YHWH (v. 1), because he and he alone established it upon the waters, indicated by the focus-fronted ה֭וּא, as discussed at macrosyntax.
There is a syntactic development between the two מִי questions of vv. 8 and 10. The first "Who is this...? is simply posed as a verbless clause מִ֥י זֶה֮, while v. 10 employs the so-called pronominal copula, הוּא, such that "Who is this...? is communicated by מִ֤י ה֣וּא זֶה֮. Similarly, the answer in v. 10 left-dislocates יְהוָ֥ה צְבָא֑וֹת "YHWH of armies," which is resumed by the pronoun ה֤וּא "he."
Effect
Why the importance of YHWH's ownership and authority over creation, as indicated by the focus-fronted ה֭וּא (v. 2)? The answer begins to unfold when we are invited to answer the question מִ֥י זֶה֮ מֶ֤לֶךְ הַכָּ֫ב֥וֹד in v. 8, with the language of mighty one and battle warrior. But, a more obvious allusion to YHWH's creative activity occurs in the final line. Along with the extensive repetition of both question and answer throughout vv. 7-10, the pronominal copula and left-dislocation provide two instances of added הוּא in v. 10a and 10b (in comparison with v. 8). This slows down the audience's processing to further consider this glorious king's identity as יְהוָ֥ה צְבָא֑וֹת, a term used for both and the lord of a mighty army (see Judg 5:20; Amos 4:13) and of the stars (see Ps 33:6 with its Gen 1 allusion), as well as YHWH's creative power itself (as in Amos 5:9; 9:5-6). Thus, we reach a climactic and satisfying closure for the contents of vv. 1-2 in the very last line of the psalm.
Repeated Roots
The repeated roots table is intended to identify the roots which are repeated in the psalm.
| Repeated Roots legend | |
|---|---|
| Divine name | The divine name is indicated by bold purple text. |
| Roots bounding a section | Roots bounding a section, appearing in the first and last verse of a section, are indicated by bold red text. |
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Roots occurring primarily in the first section are indicated in a yellow box. |
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Roots occurring primarily in the third section are indicated in a blue box. |
 |
Roots connected across sections are indicated by a vertical gray line connecting the roots. |
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Section boundaries are indicated by a horizontal black line across the chart. |
Notes
- The divine name יְהוָה occurs three times either side of the point of division (v. 7; see poetic structure).
- The verbal root נשׂא occurs six times in total—twice before the point of division and four times after.
- Due to the nature of vv. 7-10, there is a large cluster of repeated roots especially co-occurring in the repetitive vv. 7 and 9, while the phrase מֶלֶךְ הַכָּבוֹד repeats also in vv. 8 and 10.
Bibliography
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