Psalm 25 Poetry
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. |
Notes
Acrostic structure
Psalm 25 is an acrostic poem; each verse begins with a successive letter of the Hebrew alphabet. Like many biblical acrostics, however, the poem sometimes deviates from the expected alphabetic pattern. There are four points of apparent deviation:
- There is no waw verse.
- There is an additional pe verse at the end of the poem (v. 22).
- There is no qof verse.
- There are two resh verses (vv. 18–19).
The first two deviations occur also in Psalm 34, suggesting an intentional and established pattern.[1] The second two deviations are unique to Psalm 25, but they clearly contribute to the psalm's artistry, implying deliberate design rather than scribal error (see further The Missing Qof in Psalm 25:18). The double resh (vv. 18–19) (one of which has replaced the qof) stands at the center of a chiasm:[2]
A. pe (v. 16)
B. hope and rescue (vv. 15, 17)
X. double resh (vv. 18–19)
B. hope and rescue (vv. 20–21)
A. pe (v. 22)
This chiasm that spans vv. 16–22 helps to account for three of the deviations from the expected acrostic pattern. Without the double resh, the missing qof, and the additional pe at the end of the psalm, there would be no chiasm. This suggests that the poet has deliberately diverged from the standard alphabetic structure to create a chiasm. The disruption of the acrostic at the center of the chiasm (double resh and missing qof) contributes to the prominence of this center point.
One other feature related to the acrostic structure merits discussion: the order of pe (v. 16) and ayin (v. 15). Most biblical acrostics have the now-standard ayin-pe order, while several biblical acrostics have the order pe-ayin (e.g., MT Lamentations 2, 3, 4; LXX Prov 31). Scribes sometimes updated the order of these verses to reflect their preferred sequence (compare, e.g., Lam 1 in MT [ayin-pe] and 4QLam [pe-ayin]; and Prov 31 in MT [ayin-pe] and LXX [pe-ayin]). There is good evidence to suggest that this kind of updating was applied to certain psalms as well, especially Psalm 34 and Psalm 37.[3] These two psalms originally had a pe-ayin order, which has been updated to ayin-pe (and the update is reflected in all of our witnesses). Given the structural similarities between Psalm 34 and Psalm 25 – both lack a waw verse and add a pe verse; both are also written by David – it would not be surprising if Psalm 25 also originally had a pe-ayin order.[4] Indeed, a pe-ayin order results in a beautiful poetic arrangement (see the chiasm discussed above). If the traditional ayin-pe order is adopted, then the chiasm would be lost.[5]
Three part structure
In addition to the acrostic structure, the psalm is structured into three main sections: (1) alef—het (vv. 1–7); (2) tet—samek (vv. 8–14); (3) pe—taw+pe (vv. 16, 15, 17–22).[6]. Each section contains seven letters of the acrostic, except for the last section, which has an additional letter (the final pe, hence: 7+1). Despite the extra letter in the final section, this section has the same number of lines as the first section: 16 lines. (The extra lines in vv. 5, 7 contribute to this balance.)
The first section (vv. 1–7) addresses YHWH in the second person, and it is bound by an inclusio – vocative "YHWH" in vv. 1a, 7c, which functions to open and close the initial address.
The second, central section (vv. 8–14) talks about YHWH in the third person, except for the central verse of this section (v. 11), which addresses YHWH directly. This central section has an ABCXA'B'C structure that marks v. 11 as the central verse of the psalm.[7]
The final section (vv. 15, 16, 17–22) is arranged as a chiasm (see above).
The end of the final section hearkens back to the beginning of the psalm (see e.g., "my soul," "God," "hope," and "come to shame"), thus forming an inclusio around the whole poem.[8]
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. |
Notes
- With one minor exception (v. 1, see below), all of the proposed line divisions follow the the Septuagint (according to Rahlfs 1931), which preserves an ancient Hebrew tradition of line division.[9] In vv. 1–2, 5, 6, the division of the Septuagint is superior to that of the Masoretic accents (see Grammar notes). Otherwise, the proposed line divisions also follow the Masoretic accents.[10]
- vv. 1–2. The vocative אֱֽלֹהַ֗י, which the Masoretic accents group with v. 2, should be grouped rather with v. 1 (so LXX; see Grammar note).
- v. 1. The question remains whether v. 1 should be regarded as one line (so LXX) or two lines (so, e.g., the old Babylonian manuscript: Berlin, Staatsbibliothek zu Berlin, Ms. Or. Qu. 680.). A division into two lines is preferred for the following reasons:
- (1) A two-line division would be more consistent with the rest of the psalm, both in terms of prosodic word count (2/3) and in terms of the predominance of two-line verses. By contrast, if v. 1 were a single line, it would be the only one-line verse in the psalm. It would also be the longest line in the psalm in terms of prosodic words (5).
- (2) A two-line division would create an interesting pattern, whereby the first and last line of the psalm (vv. 1, 22), along with the two middle lines (vv. 10–11) feature enjambment, where a single clause runs across two lines.
- (3) Verse 1 has an AB/AB pattern – A. To you, B. YHWH, A. I lift my soul, B. my God – which is the kind of pattern that we might expect to find across two parallel lines.
- v. 5. The division in v. 5a disagrees with the accents, but it follows the LXX, the pausal form, and Berlin Or. Qu. 680 (see Grammar note).
- v. 6. The division in v. 6 disagrees with the accents, but it follows the LXX (see Grammar note). The MT division would be more balanced in terms of prosodic words (3/3), but the preferred division results in slightly better syllabic balance.
- v. 22. As with v. 1, it is not clear whether v. 22 consists of one line or two lines. (The Septuagint manuscript tradition is divided on this point.) The accents suggest a two-line division, which would be consistent with the rest of 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.
The ABC's of Hope
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. |
Feature
Psalm 25 is an acrostic poem; each verse begins with a successive letter of the Hebrew alphabet.
Two letters are missing, however: the letter waw (see also Ps 34) and the letter qof (cf. The Missing Qof in Psalm 25:18). Interestingly, these two letters are the two main consonants in the Hebrew word for "hope" (קוה).[11] This word occurs three times in Psalm 25 (vv. 3, 5, 21), which is more than in any other psalm. In addition to the three-fold use of the word "hope" (קוה), the theme of hope is present in several other verses (vv. 1–2, 15). In fact, expressions of hope (together with the related concept of "shame") help frame the psalm (vv. 1–3, vv. 20–21).
Effect
The theme of "hope" rises to prominence by the repetition of the word "hope" itself (קוה, vv. 3, 5, 21), the expressions of hope that frame the psalm (vv. 1–3, 5, 21), and the irregularities in the psalm's acrostic structure.
The alphabet is a symbol of completeness.[12] In an acrostic poem, the poet takes a topic (e.g., Torah [Ps 119], or the virtuous woman [Prov 31]) and expounds on it completely (i.e., from every angle necessary to gain a sufficient understanding), so that the reader walks away with a high-resolution image of the topic (i.e., he/she understands it “from A to Z;” see also Pss 34, 37, 111, 112). In Psalm 25, the topic is hope: what does it look like to hope in YHWH in the midst of trouble? (For the answer to this question, see the other Poetic Features!)
Forgiveness at the Center
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. |
Feature
Psalm 25 has three main sections: vv. 1–7, 8–14, 15–22 (see Poetic Structure).
The first section (vv. 1–7) and the third section (vv. 15–22) are, for the most part, addressed to YHWH in the second person. In terms of speech acts, these sections are requests (see Speech Act Analysis). These two outer sections are also approximately the same length (16 lines, 7[+1] acrostic letters).
The central section (vv. 8–14) is unique in that it is, for the most part, a description rather than a request, and it talks about YHWH in the third person. Verse 11 stands out as the central verse in this section. Not only is it the one verse in this section that addresses YHWH directly and presents a request, but it is also the center of an ABCXABC structure: A (vv. 8, 12) = "instructs in the way;" B (vv. 9, 13) = yiqtol verbs, anaphoric references to the previous verse, bet prepositional phrase, and waw conjoined clauses; C (vv. 10, 14) = "his covenant;" X (v. 11) = direct address to YHWH. Thus, v. 11, a request for forgiveness, is at the very center of the psalm.[13] Verse 11 is also the center of the whole psalm in terms of line count, being preceded on either side by 22 lines (the number of letters in the alphabet!).
The third section (vv. 15–22) has a chiastic structure. The outer sections of the chiasm (vv. 16, 22) begin with pe and similar sounds: פְּנֵה־אֵלַי (v. 16), פְּדֵה אֱלֹהִים.[14] The innermost sections of the chiasm (vv. 18–19) are verses that begin with רְאוּ ("look at"). The other verses in the chiasm (vv. 15, 17 // vv. 20–21) use language of hope and rescue. The center of this chiasm (vv. 18–19) contains another request for forgiveness (v. 18b). Thus, the two most explicit requests for forgiveness in the psalm (see also vv. 6–7) are placed in structurally prominent positions. The fact that v. 18 begins with a resh instead of the expected letter, qof, further contributes to the prominence of this verse.
Effect
The poetic structure highlights the theme of forgiveness. Although forgiveness is only mentioned in two verses (vv. 11, 18b), these verses (especially v. 11) are located at central, prominent positions within the poem. The poem is clearly drawing attention to the theme of forgiveness.
But why highlight forgiveness in this way, especially when the psalmist was facing the more immediate problem of violence from enemies (vv. 2b, 19)? Perhaps it is because the psalmist realized that the root of his problem was his sin, and, therefore, the deepest and ultimate solution to his problem was not rescue from his enemies but the forgiveness of his sin. The psalmist seems to have realized that his enemies were only a symptom of a deeper problem, namely, his sin (see esp. 2 Sam 7:14; 1 Kgs 2:1–4; Ps 89:20–38; cf. Deut 28; 32; etc.).
As Calvin explains in his commentary on this psalm, "David, in order to obtain assistance from God, first acknowledges that God had justly made use of this as a means of chastising and punishing him for his sins; and, therefore, he prays for their forgiveness, that he may at once enjoy assurance of the divine favor, and obtain deliverance."[15]
By placing forgiveness at the center, the psalmist teaches those who hope in YHWH (see v. 3a) to view their troubles through a covenantal lens (see e.g., Deut 28). Covenant disobedience leads to many troubles. Therefore, if Israel is to be redeemed "from all their troubles" (v. 22), YHWH must forgive their sins (see Jer 31:31–34).
YHWH's Ancient Paths
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. |
Feature
Psalm 25 has numerous linguistic and thematic correspondences to Exodus 32–34. These chapters describe the story of the golden calf, the renewal of the Sinai covenant, and the revelation of YHWH's character as a god who is "abounding in loyalty and faithfulness, forgiving guilt, rebellion, and sin" (Exod 34:6).
The two most prominent connections between Psalm 25 and Exodus 32–34 are as follows: 1. The request, "Show me your ways" (Ps 25:4; Exod 33:13). These are the only two verses in the Bible in which this precise request occurs (הוֹדִיעֵנִי + דְּרָכֶיךָ) (cf. Ps 103:7). The fact that דרך is the most repeated root in Psalm 25 (with the exception of the divine name) further strengthens the connection. 2. The request "would you forgive my/our guilt" (Ps 25:11; Exod 34:9). These are the only two places in the Bible where the expression וְסָלַחתָּ לַעֲוֹן occurs (weqatal second person singular). The centrality of Psalm 25:11 (see the Poetic Feature Forgiveness at the Center) serves to highlight the connection.
In addition to these prominent connections, a number of other key terms and roots occur in both passages, e.g., "faithfulness," "loyalty," "compassion," "mercy," "goodness," "name," "covenant," "face," "guilt," "sin," and "rebellion."
Effect
In v. 6, the psalmist appeals to YHWH's compassion and acts of loyalty, "because they have been around forever" (v. 6b). Indeed, the psalmist seems to be thinking specifically of the story of Exodus 32–34, when YHWH forgave his people's sin on the basis of his compassion and loyalty and renewed his covenant with them. The psalmist (David, see v. 1) stands in the place of Moses and intercedes on behalf of the people (see v. 22), requesting YHWH's forgiveness and guidance. The people – and, indeed, the psalmist himself – have sinned (vv. 7, 18) and, therefore, they have come into trouble (vv. 17, 22). Their only hope for rescue is forgiveness (see the Poetic Feature Forgiveness at the Center), and the only basis for forgiveness is YHWH's "name" (v. 11a), that is, his character. Thankfully, YHWH's character, which he revealed to Moses at Sinai, has not changed. Therefore, YHWH can forgive his people now, just as he forgave them then. His loyalty and compassion are not relics of the past; they are the only hope for the future.
Repeated Roots
The repeated roots table is intended to identify the roots which are repeated in the psalm.
Mini-Story
Notes
- The divine name occurs 10 times, possibly 11 (see textual note on v. 21), and only in the first 15 verses.
- Several repeated roots (נֶפֶשׁ ,נשׂא ,אֱלֹהִים ,בושׁ ,איב ,כלל ,קוה) cluster in the first and last five verses of the psalm, forming an inclusio.
- Besides the divine name, the most repeated root in the psalm is דרך (six times: vv. 4, 5, 8, 9a, 9b, 12).
- Other repeated roots include:
- four-five times
- כל (vv. 3, 5, 10, 18, 22)
- בושׁ (vv. 2, 3a, 3b, 20)
- three times
- נפשׁ (vv. 1, 13, 20)
- אלהים (vv. 1, 5, 22)
- קוה (vv. 3, 5, 21)
- למד (vv. 4, 5, 9)
- זכר (vv. 6, 7a, 7b)
- חסד (vv. 6, 7, 10)
- חטא (vv. 7, 8, 18)
- ענה (vv. 9a, 9b, 18)
- two times
- נשׂא (vv. 1, 18)
- איב (vv. 2, 19)
- ידע (vv. 4, 14)
- ארח (vv. 4, 10)
- אמת (vv. 5, 10)
- טוב (vv. 8, 13)
- ירה (vv. 8, 12)
- נצר (vv. 10, 21)
- ברית (vv. 10, 14)
- רבב (vv. 11, 19)
- ירא (vv. 12, 14)
- יצא (vv. 15, 17)
- צרר (vv. 17, 22)
- ראה (vv. 18, 19)
- four-five times
Bibliography
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- Baethgen, Friedrich. 1904. Die Psalmen. Göttingen: Vandenhoeck & Ruprecht.
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- Doyle, Brian. 2001. “Just You, and I, Waiting - The Poetry of Psalm 25.” OTE 14 (2): 199–213.
- First, Mitchell. 2014. “Using the Pe–Ayin Order of the Abecedaries of Ancient Israel to Date the Book of Psalms.” Journal for the Study of the Old Testament 38 (4): 471–85.
- Freedman, David Noel. 1992. "Patterns in Psalms 25 and 34", in Priests, Prophets, and Scribes JSOT 149, Sheffield: Sheffield Academic Press.
- Gentry, Peter J., and Stephen J. Wellum. 2012. Kingdom Through Covenant: A Biblical-Theological Understanding of the Covenants. Crossway.
- Gesenius, W. Donner, H. Rüterswörden, U. Renz, J. Meyer, R. (eds.). 2013. Hebräisches und aramäisches Handwörterbuch über das Alte Testament. Berlin: Springer.
- Gottwald, Norman K. 2010. Studies in the Book of Lamentations. Eugene, Oregon: Wipf and Stock.
- Jerome. 2022. Jerome, Epistle 106 (On the Psalms). Translated by Michael Graves. The Society of
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- Hardy, H. H. 2022. The Development of Biblical Hebrew Prepositions. Ancient Near East Monographs 28. SBL Press.
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- Ibn Ezra. [ttps://www.sefaria.org/Ibn_Ezra_on_Psalms?tab=contents Ibn Ezra on Psalms].
- Jenni, Ernst. 1992. Die Hebräischen Präpositionen Band 1: Die Präposition Beth. W. Kohlhammer.
- ————. 1994. Die Hebräischen Präpositionen Band 2: Die Präposition Kaph. W. Kohlhammer.
- Khan, Geoffrey. 2026. “Yiqtol,” in G. Khan et al. (eds.) The Cambridge Grammar of Biblical Hebrew. University of Cambridge & Open Book Publishers.
- Kim, Young Bok. 2022. “Hebrew Forms of Address: A Sociolinguistic Analysis.” PhD, University of Chicago.
- Kohler, Ludwig. 1954. Hebrew Man. Abingdon Press.
- Lane, Daniel. 2000. “The Meaning and Use of the Old Testament Term for ‘Covenant’ (Berit): With Some Implications for Dispensationalism and Covenant Theology.” PhD, Trinity International University.
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- Midrash Tehillim.
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- Sikes, Ryan, and Drew Longacre. 2025. “Restoring the ʿAyin Section of Psalm 37: A Text-Critical and Poetic-Structural Analysis.” Textus 34 (2): 122–49.
- Soll, Will. 1992. “Acrostic.” In Anchor Bible Dictionary, edited by David Noel Freedman, vol. 1.
- Theodoret. 2001. Commentary on the Psalms. Translated by Robert C. Hill. The Fathers of the Church 101. Catholic University of America Press.
- Tsumura, David Toshio. 2023. Vertical Grammar of Parallelism in Biblical Hebrew. Ancient Israel and Its Literature 47. SBL Press.
- Watson, Wilfred G. E. 2001. Classical Hebrew Poetry: A Guide to Its Techniques. T & T Clark. London ; New York: T & T Clark.
- Weber, Beat. 2016. Werkbuch Psalmen. 1: Die Psalmen 1 bis 72, zweite aktualisierte Auflage. Stuttgart: Verlag W. Kohlhammer.
- Widder, Wendy L. 2014. “To Teach” in Ancient Israel: A Cognitive Linguistic Study of a Biblical Hebrew Lexical Set. Beihefte zur Zeitschrift für die alttestamentliche Wissenschaft 456. De Gruyter.
- Zulker, Andrew C. R. 2025. “The Semitic *wa and *pa of Apodosis: Pragmatics, Syntax, and Diachrony of Two Non-Coordinating ’And’s.” PhD., The University of Chicago.
Footnotes
- ↑ Cf. Freedman 1992, 127: "If these phenomena had turned up in only one psalm, we might wonder about accidental omissions and possible inadvertencies, but when there are two psalms with so many identical points in common, it is clear that a deliberate program of alteration and adaptation has taken place in both cases."
- ↑ Note also that the divine name occurs in v. 15a. If it occurs also in v 21 (cf. LXX; see textual note), then this would significantly enhance the chiastic connection between these two verses.
- ↑ See Sikes and Longacre 2025, §3; cf. First 2014; see The Text and Meaning of Psalm 34:18.
- ↑ Cf. First 2014, 480–481.
- ↑ See further The Missing Qof in Psalm 25:18: Ayin-Pe or Pe-Ayin?.
- ↑ Cf. Weber 2016, §25. See also van der Lugt 2006, 270, who notes that "there is some unanimity among scholars who have studied the macrostructure of this psalm in distinguishing three main sections: vv. 1–7, 8–14/15, 15/16–21."
- ↑ Cf. Hossfeld 1993, 161; Doyle 2001, 200, 204.
- ↑ For a survey of other structural proposals, see van der Lugt 2006, §25. Van der Lugt's own analysis divides the text into three main parts: vv. 1–11; vv. 12–21; v. 22. In his view, the traditional tripartite analysis does not give due weight to the correspondences between vv. 6–7 and vv. 10–11.
- ↑ See Sikes 2025; Albrecht 2025.
- ↑ As interpreted by de Hoop and Sanders 2022.
- ↑ Cf. Benun 2006, §3.
- ↑ See Gottwald 1954, 23-32; cf. Soll 2001, I.58-59; Watson 2001, 197-199.
- ↑ Cf. Hossfeld 1993, 161; Doyle 2001, 200, 204; van der Lugt 2006, 272.
- ↑ On the order pe-ayin, see The Missing Qof in Psalm 25:18.
- ↑ Calvin.




