Psalm 3 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 3

Poetic Structure

Poetic Macro-structure

Notes

• The psalm divides into four sections (vv. 2-3, 4-5, 6-7, 8-9). Other scholars have argued for a division into three sections (vv. 2-4, 5-7, 8-9). In our view, the division into four sections better accounts for the discourse markers and repetitions in the psalm than the division into three sections (see notes below). Scholars who argue for the three-section division are right to note the continuity between v. 3 and v. 4 (see esp. the similar sounds between אֹמְרִ֪ים לְנַ֫פְשִׁ֥י and וּמֵרִ֥ים רֹאשִֽׁי; also the 2nd person address to YHWH), but this continuity is not strong enough to override the strong discontinuity between v. 3 and v. 4. Instead, the continuity functions at a higher level, creating a seam across disparate sections, binding the first section (vv. 2-3) to the two middle sections (vv. 4-7).
• The four-fold division is supported by the following:
  • It accounts for obvious shifts in topic, emotion, and speech act:
    • vv. 2-3—topic: enemies; emotion: distress; speech act: describing the distressing situation
    • vv. 4-5—topic: YHWH ("You"); emotion: confidence; speech act: declaring confidence in YHWH
    • vv. 6-7—topic: David ("I"); emotion: confidence; speech act: demonstrating confidence in YHWH
    • vv. 8-9—topic: YHWH; emotion: confidence, triumph; speech act: asking YHWH to help.
  • It accounts for the occurrences of selah, which helps to mark the end of sections 1, 2, and 4 (vv. 3b, 5b, 9b).
  • It accounts for the occurrences of the divine name as a vocative, at the beginning of sections 1, 2, and 4 (vv. 2a, 4a, 8a).
  • It results in a balanced structure. Each section is near the same length (4 lines, 14 words / 4 lines, 14 words / 4 lines, 14 words / 4+1 lines, 14+1 words). It is interesting to note that the recurring number 14 is the numerical value of David's name: dalet = 4; waw = 6; dalet = 4).
  • It accounts for the most striking repetitions and similarities in the psalm.
    • The first section is bound together by similar content (repetition of root רבב, enemies as topic) as well as a possible inclusio ("YHWH... God").
    • The second and third sections share similar beginnings; both begin with an independent personal pronoun (v. 4a: "you;" v. 6a: "I"). "You" (= YHWH) is the topic of the second section (vv. 4-5). "I" (= David) is the topic of the third section (vv. 6-7). These two sections also share a similar mood (confidence) and have a similar rhetorical function (declaring/demonstrating confidence in YHWH).
    • The first section (vv. 2-3) and the two middle sections (vv. 4-7) are bound together by an inclusio (vv. 2, 7: "many... against me") and by a phonological seam (vv. 3-4, similar sounds between אֹמְרִ֪ים לְנַ֫פְשִׁ֥י and וּמֵרִ֥ים רֹאשִֽׁי).
    • The final section (vv. 8-9) is bound together by the repetition of the root ישע (vv. 8a, 9a) and by its total word-count (15 words) which closely matches that of the previous sections. (The preceding sections create an expectation for a section of similar length.) The beginning of the final section is marked by the appearance of a three-line verse (v. 8) and a cluster of imperatives and a vocative (v. 8a). The final section also parallels the first section (vv. 2-3) in a number of ways. (See Poetic Features.)

Line Division

Notes

• Line divisions agree completely with the Septuagint according to Rahlfs edition and with the Masoretic accents as interpreted by de Hoop and Sanders (2022).

Poetic Features

1. Rise and Save

Feature

There are three words that appear only in the first section (vv. 2-3) and the final section (vv. 8-9) of the psalm: “rise”, “victory”/“save”, “God.”

The root for "victory/save" (ישע) is especially marked in this Psalm. Not only does it occur three times, but it occurs in unique forms. In v. 3 it has a unique suffix (יְֽשׁוּעָ֓תָה) and prosodic prominence (rare accent [shalshelet qatan] and occurrence of nesigah [shifting forward of the stress]). In v. 9 it occurs with the full definite article (הַיְשׁוּעָ֑ה, the only word in the Psalm with the full article).

Effect

The repetition of key words in this last section resolves the crisis and sets the record straight. The enemies may have been "rising" in v. 2, but they are no match for YHWH when, in v. 8, he is called to "rise." The enemies might say in v. 3 that “there is no victory/salvation for him in God,” but it is in vain: for David calls upon his “God” (v. 8) to “save” him, revealing the truth that, yes, there is indeed victory/salvation for him, because “victory/salvation belongs to YHWH” (v. 9a), and YHWH is his God.

Thus, the repetition sets up a contrast between the enemies' view of the situation and the reality of the situation. The enemies may act and speak as they like, but they are powerless when faced with YHWH. He will do as he pleases, and he will have the last word.

2. The Sounds of Silencing

Feature

Verse 8 stands out in a number of ways:

• Poetic structure (the only three-line verse in the Psalm).
• Graphic imagery (striking jaws and breaking teeth).
• Dense alliteration (hard k in 8b [x3]; sh in 8c [x3]; both of which echo sounds in "rise" and "save" in 8a).
• Clustering of imperatives (8a), the only imperatives in the psalm.
• Chiastic patterning of v. 8bc based on syntax and semantics (a strike, b enemies, c jaw // c' teeth, b' wicked, a' shatter).

Effect

The effect of this clustering of poetic features is to draw attention to this climactic point in the psalm, where David calls on YHWH to take action against his enemies.

The repetition of the hard k sound in 8b mimics the sound of striking (also the repetition of the t sound in this line, as well as the ח sound), while the repetition of sh in 8c mimics the silence experienced by the now toothless enemies.

Just as YHWH has struck and silenced every one of David's enemies in the past, so David calls on him to do it again. Those who mock him and his God (cf. v. 3) will be shamed and silenced.

3. Response to Taunts

Feature

The first words of the second section (vv. 4-5) echo the last words of the first section (vv. 2-3). The words אֹמְרִים לְנַפְשִׁי in v. 3a are similar to וּמֵרִים רֹאשִׁי in v. 4b both in terms of sound (me + rim + shi) and morphology (participles). Similarly, the ending of יְֽשׁוּעָ֓תָה in v. 3b sounds like אַתָּ֣ה in v. 4a, and the words אֱלֹהִים (v. 3b) and יְהוָה (v. 4a) are semantically similar. There is also a subtle end-rhyme between אֵין and מָגֵן.

Effect

In terms of structure, this feature creates a chiasm (abba), which functions as a seam across the first two sections of the Psalm, binding them together into a larger whole. (See Poetic Structure.)

Rhetorically, the repetition of sounds (in reverse order) represents an undoing of the enemies' words. "The enemies' taunt that there is no salvation for the psalmist in God (v. 3) is answered in chiastic form by the psalmist's confident assertion of Yahweh's power to protect him ( v. 4)."

Repeated Roots

Notes

• The divine name יְהוָה occurs six times.
• The repeated word סֶלָה occurs three times and defines three groups: vv. 2-3 [excluding v. 1 as superscription]; vv. 4-5; vv. 6-9. Most of the repeated roots, occur in the first and last group. There are no repeated roots in vv. 4-6, except for the divine name.
• A cluster of repeated roots occurs in vv. 2-3 and vv. 7-9:
  • רבב (vv. 2-3, 7) x4
  • ישׁע (vv. 3, 8-9) x3
  • קום (vv. 2, 8) x2
  • אלהים (vv. 3, 8) x2
• The word עָם repeats only in the last three verses of the psalm.
• The word יְשׁוּעָה is especially marked. Not only does the root ישׁע occur three times (vv. 3, 8-9), but the first occurrence has a rare morphology (יְשׁוּעָתָה) and the last occurrence has the definite article (הַיְשׁוּעָה).

Bibliography

de Hoop, Raymond, and Paul Sanders. 2022. “The System of Masoretic Accentuation: Some Introductory Issues.” Journal of Hebrew Scriptures 22.

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. Studia Semitica Neerlandica. Van Gorcum.

Hossfeld, Frank-Lothar, and Erich Zenger. 1993. Die Psalmen I: Psalm 1–50. Neue Echter Bibel. Würzburg: Echter.

Kirtchuk, Pablo. 2011. “Onomatopoeia & Phono-Iconicity in Hebrew.”

Kselman, John. 1987. “Psalm 3: A Structural and Literary Study.” The Catholic Biblical Quarterly 49 (4): 572–80.

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.

Weber, Beat. 2016. Werkbuch Psalmen. 1: Die Psalmen 1 bis 72. Zweite aktualisierte Auflage. Stuttgart: Verlag W. Kohlhammer.