Psalm 33 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 33

Poetic Structure

Poetic Macro-structure

Notes

• The Psalm may be divided into three main sections (Ross 2011, 723-4; Kraus 1988, 375-378; Craigie 2004 271; Deissler 1965, 226; Vincent 1978, 451):
  • Vv. 1-3 are a call to praise. These verses are characterized by plural imperatives and the language of song (cf. Kraus 1988, 375; Ross 2011, 723). They contain multiple lameds in 1a, 2a, 2b, 3a (Lugt 2006, 329).
  • Vv. 4-19 provide the grounds for the praise. These verses are characterized by descriptions of YHWH; there is no direct address or first-person language in this section.
  • Vv. 20-22 are personal application. This section is characterized by the first person: we, our, and us. The first two verses appear to be a direct address to the people of God, reminding them of the reasons to desire YHWH. The final verse is a direct address to YHWH.
• The opening and closing sections form an inclusio of direct address focused on the audience's response to YHWH. In the first section it is the address of the psalm leader(s) to the people, and the second is the address of the people to YHWH.
• The middle section, vv. 4-19: The verselines in vv. 4–19 "are composed of an uninterrupted series of 2-line strophes (Lugt 2006, 333). These strophes consistently display parallelism, oftentimes with a single verb serving double-duty over both clauses.
  • Vv. 4-5 contain a summary statement of YHWH's character (his "moral qualities," Hupfeld 1868, 188). Faithfulness (v. 4) and loyal-love (v. 5) are often coupled in the Psalms (Pss. 89:25; 92:3; 98:3; Vincent 1978, 447). There is parallelism of uprightness/justice (vv. 4a, 5a) and faithfulness/loyalty (vv. 4b, 5b) (Auffret 2009, 90). Ross argues that vv. 4-5 provide four attributes of YHWH that are each developed in a subsequent subsection (Ross 2011, 730), as though each phrase of these verses provided a heading for a subsection.
  • Vv. 6-12 and vv. 13-19 each begin with a reference to the heavens (Lugt 2006, 330).
    • Vv. 6-12 contains two subsections that describe the power of YHWH's word (vv. 4a, 6a) in creation (vv. 6-9) and in human history (vv. 10-12).
    • Vv. 6-9 contain the semantic domain of creation: the heavens (v. 6a), the sea waters and deeps (v. 7), and the earth (v. 8), as well as "he spoke and it was" which is a clear reference to the creation story in Gen 1.
    • Vv. 10-12 contain the nations (vv. 10a, 12a), the peoples (vv. 10b, 12b), a plan (vv. 10a, 11a) and intentions (vv. 10b, 11b). Ross argues that vv. 10-12 develops the theme that "all his work is done in faithfulness" (v. 4b) as the plan of YHWH for human history, which "will be fulfilled in spite of many human plans to oppose it" (Ross 2011, 731).
    • Verse 9 acts as a hinge verse within vv. 6-12. V. 9a describes the power of YHWH's word in creation, which is the theme of the previous three verses, while v. 9b describes the power of YHWH's word in human history, which is the theme of the following three verses. Vv. 9b and 11a are bound by the common Hebrew word עמד "stand." As Calvin writes, "For until God be acknowledged the creator and maker of the world, who will believe that He regards men's affairs, and that the state of the world is governed by His wisdom and power? And the creation of the world leads us as straight as a line to the providence of God" (Calvin 1965, 376).
  • Vv. 13-19 contains two subsections that describe YHWH's seeking justice and righteousness (vv. 5a, 13-15), and his acts of loyal love (v. 5b, 16-19).
    • Vv. 13-15 contains a cluster of verbs of perception: "looks" (v. 13a), "sees" (v. 13b), "gazes" (v. 14a), "discerns" (v. 15b). It contains the preposition "from" (מן) in ***vv. 13a and 14a and the Hebrew term kol ("all") in regular intervals, in vv. 13b, 14b, and 15b (Lugt 2006, 329). It is bound by the similar-sounding Hebrew words for "heaven" in v. 13a and "their works" in 15b (Ibid.). Ross says that vv. 13-15 develop the theme "YHWH loves righteousness and justice" from v. 5a. This love manifests itself in YHWH intently observing the activities of all of humanity from a perch of authority, to judge whether righteousness and justice are taking place.
    • Vv. 16-19 contains the root "save" (ישׁא) in vv. 16a and 17a, the word "force" (חיל) in vv. 16a and 17b, the word "great" (רב) in vv. 16a, 16b, and 17b, and the root "to deliver" (נצל) in vv. 16b and 19a. The section contains the similar sounding Hebrew words "not" (אין) and "eye" (עין) in vv. 16a and 18a (Lugt 2006, 329). Ross says that vv. 16-19 develop the theme of "YHWH's loyal love in all the world" (Ross 2011, 730). The Psalmist develops this theme of "loyal-love" (v . 18) in terms of military victory and provision against starvation.
    • V. 18 contains the "eye of YHWH," which is a clear reference to the multiple times YHWH is said to perceive in vv. 13-15. In vv. 16-19 YHWH's protection for his people comes about because of what he saw in vv. 13-15, thus binding vv. 13-19 together.
  • Vv. 6-9 are four lines, mirroring the four lines of vv. 16-19.
    • The theme is YHWH's power: over creation (vv. 6-9) and in battle (vv. 16-19).
    • In both of these subsections, the third line contains the word "fear."
    • The 3rd verse in each section is about YHWH's relationship: with humanity (v. 8) and with his people (v. 18).
  • Vv. 10-12 are three lines, mirroring the three lines of vv. 13-15.
    • The first 2 verses contain contrast
      • YHWH's plans vs. the nations' plans (vv. 10-11)
      • YHWH dwelling in heaven vs. humanity dwelling on earth (vv. 13-14).
    • The 3rd verse in the section is about YHWH's relationship: with his people (v. 12) and with all humanity (v. 15).
      • This is the inverse order of relationships described in the third verses in vv. 6-9 and vv. 16-19.

Line Division

Poetic Features

1. Absence of YHWH

Feature

YHWH appears as a participant in every verse of this psalm except vv. 16-17 and v. 19. Verse 19 is not a complete sentence since it only contains infinitive verbs, and is therefore dependent upon v. 18, which mentions YHWH. This leaves vv. 16-17 as the only verses in the psalm that do not have YHWH as a participant. This makes them stand out within the psalm.

Immediately following vv. 16-17, the psalmist calls the audience to attention with a הִנֵּה discourse particle ("Consider", v. 18a).

Effect

After exclusively positive verses about YHWH for the whole psalm so far, there is an emotional shift in vv. 16-17, in which his name is entirely absent. There is nothing positive in the verses, which provide exclusively false hopes for victory.

This serves multiple functions. In addition to the explicit assertion about where people should not place their trust, the absence of YHWH is associated with the absence of victory. This creates a kind of poetic pause, which contrasts strongly with the command in v. 18 for the audience’s attention with a הִנֵּה.

If the standard sources of military strength (kings, warriors and horses) are not guarantors of victory, then the challenge of vv. 18-19 is more powerful. The call to consider that YHWH is paying attention may suggest that people were tempted to do the opposite: to trust in military strength, to doubt YHWH’s attentiveness, and to seek alternative means of rescue. Without directly accusing anybody of such a thought, the poetry of vv. 16-19 powerful argues both against all human means and for strict dependence on YHWH alone.

2. The Unexpected Enemies

Feature

At a macrosyntactic level, v. 10a is a thetic statement within the discourse of the psalm, meaning that it presents a unitary state of affairs that is unexpected and new. There are no overt clues in the first 9 verses of the psalm that the nations are a concern, that they have a plan, or that YHWH has thwarted their plan.

Additionally, the name YHWH is fronted at the very beginning of v. 10a, and this is the only time this phenomenon happens within the psalm, despite YHWH's name appearing 13 times. The result is prosodic stress: "YHWH thwarted the nations plan."

Furthermore, this instance of YHWH's name is the central appearance in the psalm. YHWH's name occurs 6 times before and 6 times after v. 10a.

Effect

At a structural level, YHWH’s name occurs 6 times in vv. 1-9 and 6 times in vv. 11-22. Six occurrences, in Hebrew poetry, is distinctively “imperfect,” meaning that both sections need the occurrence of YHWH in v. 10a in order to achieve a perfect seven occurrences of the divine name. Thus, verse 10a structurally binds the psalm together in the middle. The centrality of the divine name draws attention to v. 10a within the entire discourse of the psalm. At a thematic level, v. 10a brings unexpected information to the discourse. Enemy plans and intentions in need of thwarting have not been explicitly mentioned.

At a thematic level, v. 10a brings unexpected information to the discourse. Enemy plans and intentions in need of thwarting have not been explicitly mentioned.

As so many times in the Psalms, enemies did not need to be explicitly mentioned in order to nonetheless be present. Though present, they equally did not need to be feared, because YHWH would always thwart them.

This psalm draws on Creation (showing God’s absolute sovereignty), the Flood (God’s triumph over evil) and the Red Sea (God’s triumph over Egypt) to assert YHWH’s supreme power and authority on earth. The importance of God’s power over creation (vv. 4-9) is to establish his equal power over enemies and their plans (vv. 10-15): YHWH sees all and takes responsibility for his own, who fear him (vv. 16-19).

This is not simply a hymn in praise of YHWH. It reassures those singing that YHWH always has (and always will) thwart enemy plans. That is what gives them cause to rejoice even while they long and wait for him.

3. YHWH's Nation

Feature

At the centre point of Psalm 33 word play is employed juxtaposing the nations of the earth and the LORD and his nation.

V. 10 speaks of the nations' plan and intentions, which are contrasted with YHWH's plan and intentions in the next verse (v. 11).

V. 10 also refers specifically to the the nations (גוים) and peoples (עמים), which are contrasted with Israel, YHWH's nation (הגוי) and people (העם) in v. 12.

These verses are positioned at the structural centre of the psalm. Verses 11-12 are both preceded and followed by 10 verselines consisting of 72 words (van der Lugt 2006, 331).

This centre point may also be framed by further mirroring devices, with repeated expressions including the word "all" (כֹּל).

In v. 4b and v. 15b we have the repeated phrase all work(s). In 4b the all the work is YHWH's, while in 15b they are all the works of people. This appears to be a deliberate contrast.

Furthermore, in v. 8 all people are twice exhorted to fear YHWH, while and 14-15 YHWH twice regards all people. Thus, there is a deliberate contrast between all people beholding and fearing YHWH and YHWH regarding all people.

The distribution of these "all" terms appears in abb||bba sequence enclosing the centre point of vv. 10-12.

Effect

The word play in these central verses present a reversal, where the nations' plan and intentions do not last, but are thwarted.

This reversal is placed at the structural centre of the psalm as it also reflects the central message of the psalm to trust in YHWH's plan instead of military strength. This theme is also prominent in the contrast between vv. 16-17, which describes the futility of conventional warfare, and vv. 18-19, which advocates waiting on YHWH to save.

Furthermore, the repetitions of כל which sandwich the central verses illustrate the comprehensiveness of YHWH's ability to thwart the nations. The phrases "all the earth", "all dwellers of... " in vv. 8//13-14 highlight the scope of YHWH's power, while the repeition of כל in vv. 4b//15b demonstrates its effectiveness...this applies to every action (i.e., "work) undertaken by everybody!

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

Bibliography

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Briggs, Charles A., and Emilie Briggs. 1906. A Critical and Exegetical Commentary on the Book of Psalms. Vol. 1 of ICC. Edinburgh: T & T Clark.

Calvin, John. 1965. A Commentary on the Psalms. Edited by T.H.L. Parker. Translated by Arthur Golding. Vol. 1. London: Camelot Press Ltd.

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

DeClaisse-Walford, Nancy L., Rolf A. Jacobson, and Beth LaNeel Tanner. 2014. The Book of Psalms. New International Commentary on the Old Testament. Grand Rapids, MI: Eerdmans.

Deissler, Alfons. 1956. “Der Anthologische Charakter des Psalmes 33 (32).” Pages 225–33 in Mélanges Bibliques: Rédigés en L’Honneur de Andre Robert. Edited by Pierre Casetti et al. Travaux de l’Institut Catholique de Paris: 4. Paris: Bloud & Gay.

Duhm, Bernhard. 1899. Die Psalmen. Vol. XIV of Kurzer Hand-Commentar Zum Alten Testament. Leipzig und Tübingen: Mohr (Paul Siebeck).

Fokkelman, J.P. 2000. Major Poems of the Hebrew Bible: At the Interface of Prosody and Structural Analysis (Vol 2: 85 Psalms and Job 4–14). Vol. 2 of Studia Semitica Neerlandica. Van Gorcum.

Hupfeld, Hermann. 1868. Die Psalmen. Vol. 2. Gotha: Friedrich Andreas Perthes.

Keil, Carl Friedrich, and Franz Delitzsch. 1996. Commentary on the Old Testament. Peabody, MA: Hendrickson.

Kraus, Hans-Joachim. 1988. Psalms 1-59 : A Commentary. Minneapolis: Augsburg Pub. House.

Labuschagne, C.J. 2020. "Numerical Features of the Psalms, a Logotechnical Quantitative Structural Analysis", https://doi.org/10.34894/XBDUJJ, DataverseNL, V1; ps033.pdf.

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

Podechard, Emmanuel. 1949. Le Psautier: notes critiques: Psaumes 1-75. Vol. 1 of Bibliotèque de la Faculté Catholique de Théologie du Lyon 4. Lyon: Facultés Catholiques.

Ross, Allen P. 2011. A Commentary on the Psalms, Volume 1 (1-41). Kregel Exegetical Library. Grand Rapids: Kregel Publications.

Vincent, Jean Marcel. 1978. “Recherches Exégétiques Sur Le Psaume 33.” 28 Vetus Testamentum: 442–54.

Witte, Markus. 2002. “Das Neue Lied--Beobachtungen Zum Zeitverständnis von Psalm 33” Zeitschrift Für Die Alttestamentliche Wissenschaft 114: 522–41.