Psalm 39 Poetry
Psalm 39
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
General notes
- v. 1. For the qere לִֽידוּת֗וּן and the ketiv לידיתון, see the textual note.
- v. 14. For the revocalization *הֶשַׁ֣ע* (MT: הָשַׁ֣ע), see the lexical note.
- Scholars have interpreted the poetic macrostructure of Psalm 39 in a number of different ways. Crenshaw has recently summarized the situation: "The structure of the poem is unclear, for clues point to different ways of dividing its individual units."[1] There seem to be contradictory signals between the position of the refrains and "selahs," on the one hand (vv. 6c, 12c), and the apparent continuity between vv. 6–7 and interactional discourse marker, "But now" (v. 8) on the other hand. Only universally recognized is the introduction of vv. 2–4.
- By far the most common structure suggested by scholarship is the division of sections vv. 2–4; vv. 5–7; vv. 8–12; vv. 13–14.[2] This is largely based on the position of the vocatives at the beginning of each suggested section (see vv. 5, 8, 13) and the interpretation of thematic content.[3]
- These proposed structures intentionally overlook the contribution of the refrain and "selah" (vv. 6c, 12c), which are, by far, the most significant formal indications of the poetic macrostructure (see Raabe 1990).[4] If these refrains are given their due weight, the poem must be divided into two larger sections of vv. 2–6; vv. 7–12, with vv. 13–14 as a final section, about half the length of the other sections.[5] While typically refrains are found in section-final position (especially with an accompanying "selah"; cf. Ps 46:8, 12), Raabe notes that "One could argue that [the refrain in] 39.6c [is] section-initial."[6] Such an observation accounts for the larger section divisions in accordance with the refrains, but also allows significant continuity through vv. 6c–7.[7]
Structural observations
- vv. 2–4 are dominated by the psalmist determination to keep silence. In terms of participant analysis, YHWH is absent throughout these verses. Structurally, the section contains the inclusio of first-person verb and the prepositional phrase "with my tongue."
- vv. 5–6b contain the quoted speech introduced by the verb of speech at the end of v. 4. Structurally, the section is bound by the repetition of "my days" and the word play on the roots חדל/חלד.
- vv. 6c–12c are demarcated by the inclusio consisting of the refrain, "selah," and the word אִישׁ.
- vv. 13–14 are found outside the final refrain and "selah" (v. 12c) and are dominated by imperatival forms. As noted above, this section contains only seven lines, roughly half the length of the previous two sections.
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
- v. 1. For the qere לִֽידוּת֗וּן and the ketiv לידיתון, see the textual note.
- v. 14. For the revocalization *הֶשַׁ֣ע* (MT: הָשַׁ֣ע), see the lexical note.
- v. 2. So G, as supported by the accents. M (as attested in BL Or 2373 and Aleppo) treats the first, longer, line as two.
- vv. 4–5. The major G codices (Sinaiticus, Alexandrinus, Vaticanus) combine the last line of v. 4 and the first line of v. 5 (ἐλάλησα ἐν γλώσσῃ μου γνώρισόν μοι, κύριε, τὸ πέρας μου).
- vv. 10(-11). The G tradition seems to favor one line for verse 10, though some witnesses combine 10b (according to our preferred reading) with 11a (see Rahlfs' apparatus). The stichography of M (as attested in the Babylonian manuscripts Berlin Qu 680 and BL Or 2373; cf. also Codices Aleppo and Sassoon) is consistent with the Tiberian accents.
- v. 12. So the Babylonian (see the stichography of manuscripts Berlin Qu 680 and BL Or 2373) and Greek traditions.
- v. 13. The internal evidence of clause divisions and balance are consistent with our preferred line division, despite five-line verses being rare. The external evidence is mixed, however, with the accents supporting the combination of the first two lines (though this would result in twice as many syllables in comparison to what we understand as the third line—16 and 8, respectively). There is much variation among manuscript traditions.
- For discussion of the Greek tradition, see Barthélemy et al. (2005, xliv–xlvi). The oldest witnesses contain four lines (see, e.g., Sinaiticus, Vaticanus), but divide the syntax differently, reading הַאֲזִינָה֮ אֶֽל־דִּמְעָתִ֗י together and beginning the third line with אַֽל־תֶּ֫חֱרַ֥שׁ.
- BL Or 2373 follows the Greek tradition in this respect, yet places אַֽל־תֶּ֫חֱרַ֥שׁ on its own line and reads the final two lines as one.
- Berlin Qu 680 reads שִֽׁמְעָ֥ה־תְפִלָּתִ֨י ׀ יְהוָ֡ה וְשַׁוְעָתִ֨י ׀ הַאֲזִינָה֮ as one line, but combines אֶֽל־דִּמְעָתִ֗י אַֽל־תֶּ֫חֱרַ֥שׁ כִּ֤י גֵ֣ר אָנֹכִ֣י עִמָּ֑ךְ as the second line, for a three-line verse with two significantly long first line (4 and 6 prosodic words, with 16 and 15 syllables, respectively).
- v. 14. The G tradition is divided between reading v. 14 as one line or two, as our preferred reading (see Rahlfs' apparatus).
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.
Abel, Adam, and image
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
Both refrains of Psalm 39 contain the words "a breath" (הֶבֶל) and "person" (אָדָם). These words are identical to names in Genesis 1–4, Abel and Adam.
The word הֶבֶל is repeated in v. 7c, following mention of man walking around "as a shadow" (בְּצֶלֶם), which is identical to the word used in Genesis 1:26–27, "in the image."
Outside of this psalm, the verb שׁעה is only found 12 times in the Bible, including Genesis 4:4–5: "The Lord looked with favor (וַיִּשַׁע) on Abel and his offering, but on Cain and his offering he did not look with favor (שָׁעָה)" (NIV). Psalm 39:14 is the only instance in the hiphil binyan.
Effect
There are numerous intertextual and lexical connections with the creation of humanity and its destiny to die (Genesis 3),[8] as well as the unfortunate end to Abel's life (Genesis 4). Even though humanity is created "in the image" (בְּצֶלֶם) of God in Genesis 1:26–27, ironically, they walk around "as a shadow" (בְּצֶלֶם) in Psalm 39:7a.
There was hope when God looked in favor (שׁעה) on Abel's offering (Gen 4:4). The psalmist, however, reflects on Abel's premature end—in contrast to Cain's survival and resulting dynasty (Gen 4:17)—and laments the apparent injustice continuing down to his day,[9] as he is on the same path to being cut off prematurely if YHWH does not intervene. He asks only that YHWH remove his gaze—that which is causing his affliction—so the psalmist can enjoy the fullness of life brief life before the inevitable that awaits him: death.
Life—and poetry—cut short
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
The poetic macrostructure of Psalm 39 is primarily informed by the presence of a refrain found in vv. 6c and 12c.
The poetic section preceding the refrain has 13 lines, another 13 lines are found between the refrains, and the final section of the poem consists of 7 lines.
The first refrain (v. 6c) has an extra word both at the beginning and end, in comparison to that of v. 12c.
Effect
The refrains decrease from seven words (including the "selah") in v. 6c, to five words in v. 12c. Further, the final section is significantly shorter than the previous two. These features communicate both the lack of closure to the psalm and the brevity of life spoken of therein. Rather than dedicate space to restoration and praise, as is typical of other lament psalms, Psalm 39 requests only a brief time of respite before the psalmist "passes on and is no more." Just like Abel, hinted at by the repetition of הֶבֶל in the psalm's refrain, David pleas with YHWH that he not be cut off before his fullness of days, as Abel was.
The sound of silence
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
In Psalm 39:2–4, the psalmist commits to keeping silent in his state of suffering, but cannot keep his speech in. He reiterates his previous commitment in v. 10a.
By the end of the psalm (v. 13), he requests YHWH not be silent at his weeping. His hope is that YHWH will grant him some relief before he passes away.
Effect
The intense focus on the psalmist's efforts to keep silent, which ultimately became too much for him (vv. 2–4), primes the reader's sensitivity to the theme of silence throughout the rest of the psalm. Indeed, the verb "I was mute" (נֶאֱלַמְתִּי) is repeated in vv. 3a, 10a. It is striking, therefore, that one of the psalmist's final appeals, alongside "hearing and listening," is that YHWH not "keep silent at my weeping" (v. 13c). When he has no more to offer—whether words or silence—there remains only a glimmer of hope in YHWH's character as one who is eternal and will not, ultimately, be silent.
Is the psalmist's hope (v. 8) for full restoration, so that his mouth will be full of praise once again? This does not seem to be the case in Psalm 39, as we reach the final line: "I will pass away and be no more." The psalmist is aware of and miserably complains about both his own transience and that of humanity in general (see vv. 5–7, 12). After receiving relief from his affliction, without YHWH's further intervention, he is resigned that only the place of silence (see Pss 94:17; 115:17) awaits him.
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. |
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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. |
- A line of division based on repeated roots has been discerned between vv. 5–6 (largely due to the unique repetitions in the first half—שׁמר and לשׁון— and the roughly inclusio structure of many roots appearing only from v. 6, repeated throughout vv. 12–14). This repetition is largely determined by the similarities between vv. 6c and 12c, however.
- There is also a significant structural repetition of being struck dumb, which occurs on both sides of the line of symmetry.
- The divine name occurs towards the end of each half.
Bibliography
- Alonso Schökel, Luis. 1988. "Todo Adán es Abel: Salmo 39," Estudios Bíblicos 46: 269–282.
- Atkinson, Ian. 2025. "Parentheticals in Biblical Hebrew Prophetic and Poetic Literature." Vetus Testamentum. doi:10.1163/15685330-bja10226
- Auffret, Pierre. 1990. "'Car toi, tu as agi' Étude structurale du psaume 39," Bijdragen 51 no. 2: 118–138.
- Barthélemy, Dominique, et al. 2005. Critique textuelle de l’Ancien Testament: Tome 4. Psaumes. Fribourg / Göttingen: Vandenhoeck Ruprecht.
- Bauer, Hans and Leander Pontus. 1922. Historische Grammatik der Hebräischen Sprache des Alten Testamentes. Halle: Max Niemeyer.
- Beuken, Willem A. 2020. From Servant of YHWH to Being Considerate of the Wretched: The Figure David in the Reading Perspective of Psalms 35-41 MT. Leuven: Peeters.
- Blau, Joshua. 2010. Phonology and Morphology of Biblical Hebrew: an Introduction. University Park, PA: Pennsylvania State University Press.
- Böhler, Dieter. 2021. Psalmen 1–50. Freiburg, Basel, Wien: Herder Verlag.
- Botha, Phil. 2017. "Psalm 39 and its Place in the Development of a Doctrine of Retribution in the Hebrew Bible," OTE 30.2: 240–264.
- Bratcher, Robert G. and Reyburn, William David. 1991. A Translator’s Handbook on the Book of Psalms, UBS Handbook Series. New York, NY: United Bible Societies.
- Brockelmann, Carl. 1956. Hebräische Syntax. Neukirchen: Verlag der Buchhandlung des Erziehungsvereins.
- Cohen, Shaye J. D., Goldenberg, Robert and Lapin, Hayim (eds). 2022. The Oxford Annotated Mishna: A New Translation of the Mishna with Introductions and Notes. Oxford: Oxford University Press.
- Cohen-Tzemach, David. 1996. "Chapter 39" (Hebrew). Pages 172–175 in Psalms: Volume 1. Olam HaTaNaKh. Tel Aviv: דודזון–עתי.
- Crenshaw, James L. 2012. "The Journey from Voluntary to Obligatory Silence (Reflections on Psalm 39 and Qoheleth)." Pages 177–191 in Focusing Biblical Studies: The Crucial Nature of the Persian and Hellenistic Periods. Essays in Honor of Douglas A. Knight. Edited by Jon L. Berquist and Alice Hunt. New York, NY: Bloomsbury.
- Croft, William. 2022. Morphosyntax: Constructions of the World's Languages. Cambridge: Cambridge University Press.
- Delitzsch, Franz. 1871. Biblical Commentary on the Psalms: Vol. 2. Edinburgh: T&T Clark.
- Dobbs-Allsopp, Frederick. W. 2005. Hebrew Inscriptions: Texts from the Biblical Period of the Monarchy. New Haven, CT: Yale University Press.
- Fassberg, Steven E. 2019. An Introduction to the Syntax of Biblical Hebrew (Hebrew). Jerusalem: Bialik Institute.
- Fokkelman, Jan P. 2003. Major Poems of the Hebrew Bible: at the Interface of Prosody and Structural Analysis. Volume III: The Remaining 65 Psalms. Assen: Royal Van Gorcum.
- Gauthier, Randall X. 2014. Psalms 38 and 145 of the Old Greek Version. Leiden: Brill.
- Gesenius 2013 = Gesenius, W. Donner, H. Rüterswörden, U. Renz, J. Meyer, R. (eds.). 2013. Hebräisches und aramäisches Handwörterbuch über das Alte Testament. 18. Auflage Gesamtausgabe. Berlin: Springer.
- Ḥakham, Amos. 1979. The Book of Psalms: Books 1-2 (Hebrew). Jerusalem: Mossad Harav Kook.
- Hoftijzer, J. & Jongeling, K 1995. Dictionary of the North-West Semitic Inscriptions. Leiden: Brill.
- Ibn Ezra, Abraham. Ibn Ezra on Psalms.
- Jastrow, Marcus. 1903. A Dictionary of the Targumim, the Talmud Babli and Yerushalmi, and the Midrashic Literature. London: W.C. Luzac & Co.
- Khan, Geoffrey. 2026. "Yiqṭol," in The Cambridge Grammar of Biblical Hebrew. Edited by Geoffrey Khan et al. Cambridge: University of Cambridge and Open Book Publishers.
- Khan, Geoffrey. 2026. "Qaṭal," in The Cambridge Grammar of Biblical Hebrew. Edited by Geoffrey Khan et al. Cambridge: University of Cambridge and Open Book Publishers.
- Kirkpatrick, Alexander, F. 1897. The Book of Psalms with Introduction and Notes. Cambridge: Cambridge University Press.
- Koev, Todor. 2022. Parenthetical Meaning. Oxford Studies in Semantics and Pragmatics. Oxford: Oxford University Press.
- Kynes, Will. 2012. My Psalm Has Turned into Weeping: Job's Dialogue with the Psalms. Berlin: De Gruyter.
- Malbim. Malbim on Psalms.
- Mena, Andrea K. 2012. “The Semantic Potential of עַל in Genesis, Psalms, and Chronicles.” MA Thesis, Stellenbosch University.
- Messarra, John A. 2020. An Investigation of וְעַתָּה: Beyond the Temporal/Logical Bifurcation. MA Thesis, Stellenbosch University.
- Mowinckel, Sigmund. 1962. The Psalms in Israel’s Worship. Two Volumes. Translated by D. R. Ap-Thomas. Oxford: Blackwell.
- Notarius, Tania. 2013. The Verb in Archaic Biblical Poetry: A Discursive, Typological, and Historical Investigation of the Tense System. Leiden: Brill.
- Porty, Tova. 2001. "The Image of the Moth: A Window into a Wisdom Psalm (Ps 39)" (Hebrew). Pages 319–331 in Homage to Shmuel: Studies in the World of the Bible. Edited by Z. Talshir, S. Yona and D. Sivan. Jerusalem: Bialik Institute.
- Qafaḥ, Yosef. 1965. The Psalms with Translation and Commentary of Saadia Gaon (Hebrew). Jerusalem: The American Academy for Jewish Research.
- Raabe, Paul R. 1990. Psalm Structures : A Study of Psalms with Refrains. Sheffield: Sheffield Academic Press.
- Radak. Radak on Psalms.
- Ramond, Sophie. 2017. "L'expérience du Temps Éprouvé et le Registre Sapientiel du Psaume 39," Revue Biblique 124, no. 4: 490–506.
- Sjörs, Ambjörn & Canu Højgaard, Christian. 2026. "Oblique Arguments," in The Cambridge Grammar of Biblical Hebrew. Edited by Geoffrey Khan et al. Cambridge: University of Cambridge and Open Book Publishers.
- van der Lugt, Pieter. 2006. Cantos and Strophes in Biblical Hebrew Poetry: with Special Reference to the First Book of the Psalter. Leiden: Brill.
- Weiss, Meir. 1994. "Psalm 39" (Hebrew). Pages 627–646 in The Bible in Light of its Interpreters. Sarah Kamin Memorial Volume. Edited by Sara Japhet. Jerusalem: Magnes Press.
- Weitzman, Michael. P. 1999. The Syriac Version of the Old Testament: An Introduction. Cambridge: Cambridge University Press.
Footnotes
- ↑ Crenshaw 2012, 181.
- ↑ See, e.g., Auffret (1990); Botha (2017); Beuken (2020, 60–61); Böhler (2021, 710). A slight variation is found in van der Lugt's (2006, 390) estimation of the final two sections as vv. 8–11 and vv. 12–14.
- ↑ Alternatively, an ABAB structure has been proposed, consisting of vv. 2–4; vv. 5–7; vv. 8–10; vv. 11–14 (see Kirkpatrick 1897, 202–203). On the other hand, Ḥakham (1979, 233) suggests a three-part division between the sections vv. 2–4; vv. 5–7; vv. 8–14.
- ↑ In the other direction, van der Lugt claims that the observation of the refrains "does not satisfy. In terms of subject matter v. 7 belongs to v. 6. Additionally, v. 8 clearly represents a break in the development of the thought content" (2006, 395).
- ↑ See also Ramond 2017. Raabe notes that "the psalmists exhibit a strong sense of symmetry. They work with stanzas of equal size or with half-stanzas plus full-stanzas in a given psalm" (Raabe 1990, 175). He, therefore, considers the final section of Psalm 39 as a "half-stanza."
- ↑ Raabe 1990, 166.
- ↑ Cf. Fokkelman's observation: "the traditional verse division of v.7 is misguided ... if we obey the anaphora governing a series of three successive cola, starting in v.6c with the particle ʾak" (Fokkelman 2003, 60).
- ↑ "The psalmist’s agony is caused by his awareness of the effects of sin which he understands to be the root cause of human frailty" (Botha 2017, 246).
- ↑ See further Alonso Schökel 1988.