Psalm 4/Full

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Hebrew (BHS)

לַמְנַצֵּ֥חַ בִּנְגִינ֗וֹת מִזְמ֥וֹר לְדָוִֽד׃ בְּקָרְאִ֡י עֲנֵ֤נִי׀ אֱלֹ֨הֵ֤י צִדְקִ֗י בַּ֭צָּר הִרְחַ֣בְתָּ לִּ֑י חָ֜נֵּ֗נִי וּשְׁמַ֥ע תְּפִלָּתִֽי׃ בְּנֵ֥י אִ֡ישׁ עַד־מֶ֬ה כְבוֹדִ֣י לִ֭כְלִמָּה תֶּאֱהָב֣וּן רִ֑יק תְּבַקְשׁ֖וּ כָזָ֣ב סֶֽלָה׃ וּדְע֗וּ כִּֽי־הִפְלָ֣ה יְ֭הוָה חָסִ֣יד ל֑וֹ יְהוָ֥ה יִ֜שְׁמַ֗ע בְּקָרְאִ֥י אֵלָֽיו׃ רִגְז֗וּ וְֽאַל־תֶּ֫חֱטָ֥אוּ אִמְר֣וּ בִ֭לְבַבְכֶם עַֽל־מִשְׁכַּבְכֶ֗ם וְדֹ֣מּוּ סֶֽלָה׃ זִבְח֥וּ זִבְחֵי־צֶ֑דֶק וּ֜בִטְח֗וּ אֶל־יְהוָֽה׃ רַבִּ֥ים אֹמְרִים֘ מִֽי־יַרְאֵ֪נ֫וּ ט֥וֹב נְֽסָה־עָ֭לֵינוּ א֙וֹר פָּנֶ֬יךָ יְהוָֽה׃ נָתַ֣תָּה שִׂמְחָ֣ה בְלִבִּ֑י מֵעֵ֬ת דְּגָנָ֖ם וְתִֽירוֹשָׁ֣ם רָֽבּוּ׃ בְּשָׁל֣וֹם יַחְדָּו֘ אֶשְׁכְּבָ֪ה וְאִ֫ישָׁ֥ן כִּֽי־אַתָּ֣ה יְהוָ֣ה לְבָדָ֑ד לָ֜בֶ֗טַח תּוֹשִׁיבֵֽנִי׃

Greek (Rahlfs-Hanhart LXX)

εἰς τὸ τέλος ἐν ψαλμοῖς ᾠδὴ τῷ Δαυιδ ἐν τῷ ἐπικαλεῖσθαί με εἰσήκουσέν μου ὁ θεὸς τῆς δικαιοσύνης μου ἐν θλίψει ἐπλάτυνάς μοι οἰκτίρησόν με καὶ εἰσάκουσον τῆς προσευχῆς μου υἱοὶ ἀνθρώπων ἕως πότε βαρυκάρδιοι ἵνα τί ἀγαπᾶτε ματαιότητα καὶ ζητεῖτε ψεῦδος διάψαλμα καὶ γνῶτε ὅτι ἐθαυμάστωσεν κύριος τὸν ὅσιον αὐτοῦ κύριος εἰσακούσεταί μου ἐν τῷ κεκραγέναι με πρὸς αὐτόν ὀργίζεσθε καὶ μὴ ἁμαρτάνετε λέγετε ἐν ταῖς καρδίαις ὑμῶν καὶ ἐπὶ ταῖς κοίταις ὑμῶν κατανύγητε διάψαλμα θύσατε θυσίαν δικαιοσύνης καὶ ἐλπίσατε ἐπὶ κύριον πολλοὶ λέγουσιν τίς δείξει ἡμῖν τὰ ἀγαθά ἐσημειώθη ἐφ᾽ ἡμᾶς τὸ φῶς τοῦ προσώπου σου κύριε ἔδωκας εὐφροσύνην εἰς τὴν καρδίαν μου ἀπὸ καιροῦ σίτου καὶ οἴνου καὶ ἐλαίου αὐτῶν ἐπληθύνθησαν ἐν εἰρήνῃ ἐπὶ τὸ αὐτὸ κοιμηθήσομαι καὶ ὑπνώσω ὅτι σύ κύριε κατὰ μόνας ἐπ᾽ ἐλπίδι κατῴκισάς με

Phonology

Vowels

Definition Feature being studied	Occurrences Sections where this feature is present or absent	Clustering	Intersection	Connections	Structure
long a-vowel		vv.7b-9		Reinforces parallelism (v.8ab, 9abc)	Gives cohesion to vv.7-9
וּ ending		vv. 3b-4a(3x); vv.5-6(6x); absent in both opening and closing tricola		Reinforces connections between parallel lines (v.3bc, 5ab, 6ab, 7ab). The absence of this feature connects the first (v.2abc) and last (v.9abc) sections.	Gives cohesion to vv.3-8 and also (by its absence) to v.2 and v.9.
final hireq yod		vv.2abc - 3a (8x), v.7a(3x); absent in vv.5-6		Parallelism (v.2abc)	Gives cohesion to opening tricolon (v. 2abc); anaphora (v.3a)

This feature is considered relevant for this psalm.,

Consonants

Definition Feature being studied	Occurrences Sections where this feature is present or absent	Clustering	Intersection	Connections	Structure
sibilants (שׁ, שׂ, ז, ס, צ/ץ)		vv.6a, 9a		recursion of צ in parallel lines (v.2ab) strengthens parallelism
dentals (דּ, תּ, ט)		v.8ab(5x); v.9abc(6x)		parallelisms (v.2bc, 3bc, 8ab, 9bc); forms connection between the two imperatives וּדְעוּ and וְדֹמּוּ - both begin and end with waw and share the consonant דּ in common.	Gives cohesion to v.8 and v.9; ודעו and ודמו form an inclusio (vv.4-5)
sonorants (ר, ל, מ, נ)		v.7a(8x)
nasals (מ/ם, נ/ן)		v.5b(5x); v.7ab(8x); v.8ab(6x)		v.7b and v.8a both begin with נ	Gives cohesion to vv.7-8
line initial בּ	v.2ab, 3a, 9a		beginning of first section (v.2a), second section (v.3a), and final section (v.9a)	reinforces connection between parallel lines (v.2ab)	anaphora (v.2a, 3a, 9a)

This feature is considered relevant for this psalm.,

Sound combinations

Definition Feature being studied	Occurrences Sections where this feature is present or absent	Clustering	Intersection	Connections	Structure
בְּ first syllable + final syllable stressed hireq yod	בְּקָרְאִי (v.2a), בְּנֵי אִישׁ (v.3a), בְּקָרְאִי (v.4b)	vv.2-4	beginning of first section (v.2a); beginning of second section (v.3a)		anaphora (v.2a, v.3a)
פ + לָ	תְּפִלָּתִי (v.2c), הִפְלָה (v.4a)			occurs alongside יִשְׁמַע and בְּקָרְאִי in v.4 to form connection with v.2	Anaphora (v.2, v.4), though possibly part of a chiasm with בקראי and שׁמע.
לֵ/רֵ + נוּ	יַרְאֵנוּ (v.7a), עָלֵינוּ (v.7b)	v.7ab		parallelism (v.7ab)
dental (ט) +/– labial (ב) +/- guttural (ח)	תֶּחֱטָאוּ (v.5a), וּבִטְחוּ (v.6b), טוֹב (v.7a), לָבֶטַח (v.9c)				Gives cohesion to vv.5-9.
liquid + labial + dental	לְבָדָד (v.9b), לָבֶטַח (v.9c)	v.9bc		strengthens connection between parallel lines (v.9bc)
liquid (ר/ל) + voiced labial plosive (בּ)	רַבִּים (v.7a), בְלִבִּי (v.8a), רָבּוּ (v.8b)	vv.7-8			Gives cohesion to vv.7-8; Inclusio (רַבּ)
חוּ–	זִבְחוּ (v.6a), וּבִטְחוּ (v.6b)			parallelism (v.6ab)
labial + velar + sibilant	תְּבַקְשׁוּ כָזָב (v.3c)	v.3c(2x)
ב + ק	בְּקָרְאִי(v.2a), תְּבַקְשׁוּ (v.3c), בְּקָרְאִי (v.4b)			connection between v.2 and v.4	Gives cohesion to vv.2-4; structural anaphora (v.2, v.4).
ח/ע + נֵנִי	עֲנֵנִי(v.2a), חָנֵּנִי(v.2c); also בְּנֵי אִישׁ(v.3a) partially conforms to this pattern (same vowels & נ)	vv.2-3	beginning of first section (v.2a) and second section (v.3a)	disjunctive parallelism within a tricolon (v.2a-c)	anaphora (v.2a, 3a)

Phonological Overview

This feature is considered relevant for this psalm.,

Infrequent letters or sounds

• ג - twice
• פ - three times
• צ - three times
• שׂ - once,

Other observations

• The first word of the psalm בְּקָראִי sounds like the word for 'morning' (בֹּקֶר). This may be significant given the thematic importance of time (evening/morning) in Pss.3-5 (see e.g., the repetition of בֹּקְר in the following psalm).
• Interlocking patterns of phonological inversion
  • vv.2, 4: a (בְּקָרְאִ֡י) b (וּשְׁמַ֥ע) c (ְּתְּפִלָּתִֽי) c' (הִפְלָ֣ה) b' (ִ֜שְׁמַ֗ע) a' (בְּקָרְאִ֥י)
  • vv.4-5: a (וּדְע֗וּ) b (רִגְז֗וּ) c (וְֽאַל־תֶּ֫חֱטָ֥אוּ) b' (אִמְר֣וּ) a' (וְדֹ֣מּוּ)
• Phonological recursion (alliteration, assonance, rhyme) within consecutive words:
  • v.3c. תְּבַקְשׁ֖וּ כָזָ֣ב (labial + velar + sibilant)
  • v. 5b. בִ֭לְבַבְכֶם עַֽל־מִשְׁכַּבְכֶ֗ם
  • v.6a. זִבְח֥וּ זִבְחֵי
  • v.8b. דְּגָנָ֖ם וְתִֽירוֹשָׁ֣ם

Rhythm and Line Length
The following table shows the length of each line in terms of syllables, words, and stress units.

Ref	Syllables	Words	Stress Units
2a	11	4	4
2b	6	3	3
2c	10	3	3
3a	11	6	4
3b	4	2	2
3c	5	2	2
4a	11	6	4
4b	9	4	4
5a	7	3	2
5b	12	5	4
6a	5	3	2
6b	6	3	2
7a	10	5	4
7b	11	5	4
8a	8	3	3
8b	11	4	4
9a	11	4	4
9b	8	4	3
9c	7	2	2

• Lines 2a and 9a are the same length by all three measures (both are also the first lines of tricola and begin with בְּ)
• Lines 3a and 4a are the same length by all three measures
• Line 5b is, in terms of syllables, the longest line in the psalm. It is also the middle line.
• Long lines indicate breaks in the text (aperture: v.2a, 3a, 4a, 7a, 9a; closure: 5b, 8b), and the moderate lengths of v.5a and v.8a suggest continuity between these verses and the previous verses. This feature is reinforces the fact that vv.4-5 are bound together by an inclusio (ודעו / ודמו) as are vv.7-8 (רבים / רבו).
• The shortest lines in the psalm are v.3bc and v.6ab.
• The decreasing lengths of the final three lines give the psalm a sense of winding down, fitting for an evening psalm that ends in peaceful sleep.

Lexical Semantics

Difficult Words

• v.2. תְּפִלָּה usually has the sense of 'a prayer for favor and help' (or it may indicate simply a desire to be heard, a plea or request in a legal sense, cf., Job 16:17). Since Psalm 4 is a lament psalm and the context of שׁמע תפלתי is חנני, it is fitting to think of the psalmist's prayer as a prayer for grace and help.

• v.3. בְּנֵי אִישׁ – "As many commentators have pointed out, the term בְּנֵי אִישׁ, literally “sons of man” but translated here as wealthy, is most likely a term for wealthy or influential members of the community (cf. 49:2; 62:9)." There are four occurrences of this phrase in the MT (Pss. 4:3; 49:3; 62:10; Lam. 3:33). It appears to indicate people of eminence, influence and significance in distinction to בני אדם ("the common people." This is conclusively demonstrated in Ps. 62:10 where בְּנֵי אִישׁ and בני אדם are contrasted. It also answers the context of Lam. 3:33 very well and makes good sense in Ps. 49:3. A canonical reading of Psalm 4 may suggest a contrast between בְּנֵי אִישׁ and the בֶּן יהוה of Psalm 2. In Psalm 4, the son of God admonishes the sons of man.

• v.4a הִפְלָה – “The rare verb 'set apart' (הִפְלָה) otherwise occurs only in connection with YHWH's treatment of the Israelites in Egypt (Exod. 8:18; 9:4; 11:7; cf. 33:16).”

• v.4a חָסִיד – indicates a relationship, indeed a covenant, with both parties doing what is right. Eaton describes the king as "God's preeminent covenant fellow," and renders Psalm 4:4, "Yahweh has set apart a covenant fellow [i.e., the king] for himself."

• v.5b דֹמּוּ – The verb דמם here means to “be silent.” Some understand this to be the homonym, דמם, with the polarized meaning 'to wail’, which allegedly occurs in Isaiah 23:2. However, in this verse, the preceding phrase אִמרוּ בִלבַבְכֶם strongly suggests the more common meaning of דמם.

• v.6a. זִבְחֵי צֶדֶק – sacrifices that are offered according to the regulations of the law and/or sacrifices that are offered with a righteous perspective by the worshipper, i.e. sincere attitude of repentance, love for God, etc.

• v.7b נְסָה – The meaning of נְסָה is difficult to determine (see Argument map on the Grammar of Ps. 4:7b. There are at least three options.

1. First, נְסָה may be “an orthographic variation” of נְשָׂא. This view is reflected in the translations of Aquila and Theodotion (επαρον) and Jerome (leva). Although the normal form for the masculine singular imperative of נשׂא is שָׂא and not נְשָׂא (Gen. 13:14; 27:3; 31:12; 50:17; Ex. 10:17; Num. 3:40; 11:12; 31:26; Deut. 3:27; 1 Sam. 15:25; 25:28; 2 Kgs. 4:19; 9:25, 26; Ezek. 8:5; 19:1; 27:2; 28:12; 32:2; Zech. 5:5; Ps. 25:18), the form נְשָׂא does occur in Ps. 10:12. Furthermore, although “the original difference between the sounds שׂ and ס sometimes marks a distinction in meaning, e.g. סכר to close, שׂכר to hire סכל to be foolish, שׂכל to be prudent, wise... they are sometimes interchanged; as סכר for שׂכר to hire, Ezr. 4:5; שִׂכְלוּת for סִכְלוּת folly, Ec. 1:17.” Perhaps the strongest support for נְסָה as a variation of נְשָׂא is the intertextual link between Psalm 4 (especially v.7b) and the Aaronic blessing of Num. 6:24-26 (יִשָּׂא יְהוָה פָּנָיו אֵלֶיךָ).
2. A second option is to emend the vocalization (נָסָה) so as to read “the third person feminine singular perfect from נוּס ('flee').”
3. Finally, נְסָה may be a denominative form of נֵס (‘flag’). A denominative form of נֵס may be found also in Zech. 9:16 (מִתְנוֹסְסוֹת) and Psalm 60:6 (לְהִתְנוֹסֵס). This view is reflected in the Greek translations of the LXX (ἐσημειώθη) and Symmachus (επισημον ποιησον), though the LXX translation probably reflects a different vocalization (נִסָּה?). The MT vocalization might be a masculine singular imperative with a long ה ending, analogous to קְחָה (so Symmachus appears to have read it).

• v.8b. תִּירוֹשׁ – “new wine” = must, i.e. grape juice immediately after the vintage,

References to God

Definition Feature being studied	Occurrences Sections where this feature is present or absent	Clustering	Intersection	Connections	Structure
direct address to Yahweh	אֱלֹהֵי צִדְקִי (v.2a), יְהוָה (v.7b), אַתָּה יְהוָה (v.9b)		beginning of psalm (v.2a), end of psalm (v.9b)		inclusio (vv.2a, 9b)
אלהים	אֱלֹהֵי צִדְקִי (v.2a)		opening line of the psalm	Although the title אלהים does not appear again in the psalm, the noun צֶדֶק does occur in v.6a, thus forming a connection between these verses.
יהוה	יְהוָה (v.4a), יְהוָה (v.4b), אֶל־יְהוָה (v.6b), יְהוָה (v.7b), יְהוָה (v.9b)	v.4ab(2x); absent in vv.2-3			The series of exhortations (vv.4-7) to the sons of man begins and ends with third person reference to Yahweh (v.4a, v.6b)

Yahweh is addressed as אלהי צדקי. This particular phrase only occurs once in the MT. There are two options for interpreting the relationship between the constituents in this bound phrase. 1) The free member (צדקי) may be attributive ("my righteous God."). 2) The relationship may be possessive ("God of my righteousness," i.e., God adjudicates, awards, gives, maintains my legal rightness). Both essentially say the same thing, but the second option is contextually more suitable because the crisis of drought challenges David's legal rightness before God (see
This feature is considered relevant for this psalm.,

Repeated words

Definition Feature being studied	Occurrences Sections where this feature is present or absent	Clustering	Intersection	Connections	Structure
אמר	אִמְרוּ (v.5b), אֹמְרִים (v.7a)		middle line of the psalm (v.5b); beginning of section 5 (vv.7-8)	forms connection between v.5b and v.7. Note that several words from v.5b are repeated throughout the rest of the psalm.	The thematic significance of v.5b (the middle line of the psalm, also the longest line) is indicated by the fact that nearly every word of this verse is repeated (in order) in the a-line of a following verse.
בטח	וּבִטְחוּ (v.6b), לָבֶטַח (v.9c)		central section (v.6); final line (9c)	forms connection between v.6 and the final line of the psalm (v.9c). (Note that v.6 is also connected to the first line of the psalm [צדק]). Those who trust (בטח) in Yahweh (v.6b) can lie down in security (בטח, v.9c)	v.6 is in some sense the center of the psalm
בְּקָרְאִי	בְּקָרְאִי (v.2a), בְּקָרְאִי (v.4b)		beginning of psalm (v.2a); beginning of third section (v.3a)	one of several points of connection between v.2 and v.4.	anaphora
זבח	זִבְחוּ (v.6a), זִבְחֵי־צֶדֶק (v.6a)	v.6a
לֵב/לֵבָב	בִלְבַבְכֶם (v.5b), בְלִבִּי (v.8a)		middle line of the psalm (v.5b)	Connection between v.5b and v.8a. Note that several words from v.5b are repeated throughout the rest of the psalm.	The thematic significance of v.5b (the middle line of the psalm, also the longest line) is indicated by the fact that nearly every word of this verse is repeated (in order) in the a-line of a following verse.
צדק	אֱלֹהֵי צִדְקִי (v.2a), זִבְחֵי־צֶדֶק (v.6a)			forms connection between v.6 and v.2 (note that v.6 is connected to both the first and final lines of the psalm)	v.6 is in some sense the center of the psalm
רבב	רַבִּים (v.7a), רָבּוּ (v.8b)				inclusio (v.7a - v.8b); gives cohesion to these verses
שׁכב	עַל־מִשְׁכַּבְכֶם (v.5b), אֶשְׁכְּבָה (v.9a)		middle line of the psalm (v.5b); end of the psalm (v.9a)	forms connection between v.5b and v.9a. Note that several words from v.5b are repeated throughout the rest of the psalm.	Epiphora: both sections (vv.4-5, v.9) end with the image of lying down in bed. The thematic significance of v.5b (the middle line of the psalm, also the longest line) is indicated by the fact that nearly every word of this verse is repeated (in order) in the a-line of a following verse.
שׁמע	וּשְׁמַע (v.2c), יִשְׁמַע (v.4b)			one of several points of connection between v.2 and v.4	inclusio or anaphora?

"A key poetic device in Psalm 4 is the way in which key words or roots are repeated, often endowing the psalm with a sense either of contrast or of reversal."
"The poetic structure of the psalm is particularly distinctive, and though the psalm lacks any clear metrical balance, the poet has achieved striking effect in the repeated use of the same words, or words derived from the same root... The psalm is so closely integrated by the use of double terms that the structure cannot easily be determined." Despite the difficulty, there does appear to be some order to the lexical repetition, as the following table and graphic demonstrate. Several observations can be made:

• v.6 is distinguished, through lexical recursion, as the center of the psalm. The word צדק (v.6a) appears in the first line of the psalm (2a), and the root בטח (v.6b) appears in the last line of the psalm.
• Repeated words/roots are concentrated in the middle of the psalm (vv. 4-6). Three lexemes from vv.1-3 (בקראי, שׁמע, צדק) are here repeated, and four which are repeated in vv. 8-9 appear here for the first time (לב, שׁכב, בטח, אמר).
• Nearly every word in v. 5b (אמר, לבב, שׁכב) is repeated in the following verses (vv.7-8) in the order in which they appeared in v.5b. אמר (v.5b) recurs in v.7a; לב recurs in v.8a; and שׁכב recurs in v.9a. This reinforces the thematic significance of v.5b, which also happens to be the middle/longest line of the psalm.
• Recursion of רבב (vv.7a, 8b) forms an inclusion.
• Lexical recursion/repetition connects v.2 and v.4 (בקראי, שׁמע).

Lexical Recursion

1
2a	בְּקָרְאִי	צִדְקִי
2b
2c			וּשְׁמַע
3a
3b
3c
4a				יהוה
4b	בְּקָרְאִי		יִשְׁמַע	יהוה
5a
5b					אִמְרוּ	בִלְבַבְכֶם	מִשְׁכַבְכֶם
6a		צֶדֶק
6b				יהוה					וּבִטְחוּ
7a					אֹמְרִים						רַבִּים
7b				יהוה
8a						בְלִבִּי
8b											רַבּוּ
9a							אֶשְׁכְּבָה
9b				יהוה
9c									לָבֶטַח

This feature is considered relevant for this psalm.,

Common word pairs

Word pairs in Psalm 4 occur consecutively rather than in parallel lines:

• בִלְבַבְכֶם עַל־מִשְׁכַּבְכֶם (v.5b; cf. Hos. 4:17)
• דְּגָנָם וְתִירוֹשָׁם (v.8b),

Rare words

There is relatively little rare vocabulary in this psalm (contrast with Psalm 6). The only word that occurs less than 10 times is הִפְלָה (v.4a).

Verbs

Verb forms

Definition Feature being studied	Occurrences Sections where this feature is present or absent	Clustering	Intersection	Connections	Structure
infinitive	בְּקָרְאִי (v.2a), בְּקָרְאִי (v.4b)		first word of psalm	connects v.2 and v.4	anaphora
imperative	עֲנֵנִי (v.2a), חָנֵּנִי (v.2c), וּשְׁמַע (v.2c), וּדְעוּ (v.4a), רִגְזוּ (v.5a), אִמְרוּ (v.5b), וְדֹמּוּ (v.5b), זִבְחוּ (v.6a), וּבִטְחוּ (v.6b), נְסָה (v.7b),	v.2, vv.4-6; absent in v.3 and vv.8-9	beginning of psalm (v.2); first word of third section (v.4a); last word of third section (v.5b)		Gives cohesion to v.2 and vv.4-6
jussive	וְאַל־תֶּחֱטָאוּ (v.5a)	only v.5a	the middle verb of the psalm
yiqtol	תֶּאֱהָבוּן (v.3b), תְּבַקְשׁוּ (v.3c), יִשְׁמַע (v.4b), יַרְאֵנוּ (v.7a), וְאִישָׁן (v.9a), תּוֹשִׁיבֵנִי (v.9c)	vv.3, 9		parallelism (v.3bc, 9ac); parallel with qatal (v.4ab)	Gives cohesion to vv.3, 9
qatal	הִרְחַבְתָּ (v.2b), הִפְלָה (v.4a), נָתַתָּה (v.8a), רָבּוּ (v.8b)			parallelism (v.8ab); strengthens connection between v.2 and v.4

v.2b. הִרְחַבְתָּ – Some scholars have argued that the qatal verb in v.2b (הִרְחַבְתָּ) is precative, "a directive mood that signals that the utterance is a request." The qatal verb in v.2b fits the criteria proposed by Buttenwieser, namely, that precatives are "invariably found alternating with the imperfect or the imperative." Goldingay argues that "the broader as well as the narrower context of the psalm supports the precative understanding," since there is no other "prayer" (תפלה, v.2c) in the psalm. However, as in every other case of the so-called precative qatal, "it is also possible to postulate that one of the more typical senses of the qatal/perfect (e.g., present perfect) is involved." In v.2b, the psalmist looks to past deliverance to ground his present requests (v.2ac). The psalmist's "prayer" (תפלה, v.2c) comes in v.7b as the king here takes up the priestly benediction of Num. 6.
This feature is considered relevant for this psalm.,

Person, gender and number

Definition Feature being studied	Occurrences Sections where this feature is present or absent	Clustering	Intersection	Connections	Structure
3rd person	הִפְלָה (v.4a), יִשְׁמַע (v.4b), יַרְאֵנוּ (v.7a), רָבּוּ (v.8b)	v.4; vv.7-8; absent elsewhere	beginning of sections 3 (v.4a) and 5 (v.7a)	parallelism (v.4ab)	Gives cohesion to v.3 and vv.7-8, which begin and end in 3rd person.
2ms	עֲנֵנִי (v.2a), הִרְחַבְתָּ (v.2b), חָנֵּנִי (v.2c), וּשְׁמַע (v.2c), נְסָה (v.7b), נָתַתָּה (v.8a), תּוֹשִׁיבֵנִי (v.9c)	v.2; absent vv.3-6	beginning and ending of psalm		gives cohesion to v.2, vv.7-8; forms inclusio (v.2a, 9c)
1cs	אֶשְׁכְּבָה (v.9a), וְאִישָׁן (v.9a)	only in v.9a	beginning of final section
2mp	תֶּאֱהָבוּן (v.3b), תְּבַקְשׁוּ (v.3c), וּדְעוּ (v.4a), רִגְזוּ (v.5a), וְאַל־תֶּחֱטָאוּ (v.5a), אִמְרוּ (v.5b), וְדֹמּוּ (v.5b), זִבְחוּ (v.6a), וּבִטְחוּ (v.6a)	vv.4-6			Gives cohesion to vv.4-6, the address to the sons of men

This feature is considered relevant for this psalm.,

Paragogic letters

Definition Feature being studied	Occurrences Sections where this feature is present or absent	Clustering	Intersection	Connections	Structure
paragogic he	אֶשְׁכְּבָה (v.9a)		beginning of final section (v.9a)
paragogic nun	תֶּאֱהָבוּן (v.3b)

,

Verb stem types (binyanim)

Definition Feature being studied	Occurrences Sections where this feature is present or absent	Clustering	Intersection	Connections	Structure
Qal		The imperatives in vv.5-6 "have all been carefully selected from the Qal register."
Piel	תְּבַקְשׁוּ (v.3c)
Hiphil	הִרְחַבְתָּ (v.2b), הִפְלָה (v.4a), יַרְאֵנוּ (v.7a), תּוֹשִׁיבֵנִי (v.9c)		beginning of sections (v.4a; v.7a); final word of psalm (v.9c)	Verses 2-4 are connected in a number of ways (phonological, lexical, morphological). The recursion of the Hiphil stem strengthens this connection. The same is true of verses 2 and 9.

Verb Morphology

Verse	Verb	Stem	Conjugation	Person	Gender	Number	Paragogic Suffix	Pronominal Suffix	Root
2a	בְּקָרְאִי	Q	inf. cst.					1cs	קרא
	עֲנֵנִי	Q	impv.	2	m	s		1cs	ענה
2b	הִרְחַבְתָּ	H	qatal	2	m	s			רחב
2c	חָנֵּנִי	Q	impv.	2	m	s		1cs	חנן
	וּשְׁמַע	Q	waw + impv.	2	m	s			שׁמע
3b	תֶּאֱהָבוּן	Q	yiqtol	2	m	p			אהב
3c	תְּבַקְשׁוּ	D	yiqtol	2	m	p			בקשׁ
4a	וּדְעוּ	Q	waw + impv.	2	m	p			ידע
	הִפְלָה	H	qatal	3	m	s			פלה
4b	יִשְׁמַע	Q	yiqtol	3	m	s			שׁמע
	בְּקָרְאִי	Q	inf. cst.					1cs	קרא
5a	רִגְזוּ	Q	impv.	2	m	p			רגז
	וְאַל־תֶּחֱטָאוּ	Q	jus.	2	m	p			חטא
5b	אִמְרוּ	Q	impv.	2	m	p			אמר
	וְדֹמּוּ	Q	waw + impv.	2	m	p			דמם
6a	זִבְחוּ	Q	impv.	2	m	p			זבח
6b	וּבִטְחוּ	Q	waw + impv.	2	m	p			בטח
7a	אֹמְרִים	Q	ptc.		m	p			אמר
	יַרְאֵנוּ	H	yiqtol	3	m	s		1cp	ראה
7b	נְסָה	Q	impv.	2	m	s			נשׂא/נֵס?
8a	נָתַתָּה	Q	qatal	2	m	s			נתן
8b	רָבּוּ	Q	qatal	3	m	p			רבב
9a	אֶשְׁכְּבָה	Q	cohortative	1	c	s			שׁכב
	וְאִישָׁן	Q	weyiqtol	1	c	s			ישׁן
9c	תּוֹשִׁיבֵנִי	H	yiqtol	2	m	s		1cs	ישׁב

This feature is considered relevant for this psalm.,

Other

Verbless Clauses

• v.3a
• v.7a (ptc)

Verbless clauses occur at the beginning of sections.

Nouns

Number

Definition Feature being studied	Occurrences Sections where this feature is present or absent	Clustering	Intersection	Connections	Structure
plural	אֱלֹהֵי (v.2a), בְּנֵי (v.3a), זִבְחֵי (v.6a), רַבִּים (v.7a), פָּנֶיךָ (v.7b)		appears to occur at or near boundaries: beginning of psalm (v.2a); beginning of address to sons of man (v.3a); end of address to sons of man (v.6a); beginning of section (v.7a)

This feature is considered relevant for this psalm.,

Gender

Definition Feature being studied	Occurrences Sections where this feature is present or absent	Clustering	Intersection	Connections	Structure
feminine	תְּפִלָּתִי (v.2c), לִכְלִמָּה (v.3a), אוֹר? (v.7b), שִׂמְחָה (v.8a), מֵעֵת (v.8b)	vv.2c-3a; vv.7-8	occurs around first sectional boundary (vv.2c, 3a)

This feature is considered relevant for this psalm.,

Definiteness

Definition Feature being studied	Occurrences Sections where this feature is present or absent	Clustering	Intersection	Connections	Structure
definite article	בַּצָּר (v.2b)

This is a generic article where adjective > abstract substantive (cf. הָרַע, Jdg. 3:7),

Pronominal suffixes

Definition Feature being studied	Occurrences Sections where this feature is present or absent	Clustering	Intersection	Connections	Structure
3mp	דְּגָנָם (v.8b), וְתִירוֹשָׁם (v.8b)	v.8b
2mp	בִלְבַבְכֶם (v.5b), מִשְׁכַּבְכֶם (v.5b)	v.5b

Noun Morphology

Verse	Noun	Gender	Number	Suffix	"Declension"	Definiteness	Root
2a	אֱלֹהֵי	m	p		voc. cstr.	+
	צִדְקִי	m	s	1cs	abs.	+	צדק
2b	בַּצָּר	m	s		abs.	+	צרר
2c	תְּפִלָּתִי	f	s	1cs	abs.	+	פלל
3a	בְּנֵי	m	p		voc. cstr.		בן
	אִישׁ	m	s		abs.		אישׁ
	כְבוֹדִי	m	s	1cs	abs.	+	כבד
	לִכְלִמָּה	f	s		abs.		כלם
3b	רִיק	m	s		abs.		ריק
	כָזָב	m	s		abs.		כזב
4a	יְהוָה	m	s		abs.	+
	חָסִיד	m	s		abs.		חסד
4b	יְהוָה	m	s		abs.	+
5b	בִלְבַבְכֶם	m	s	2mp	abs.	+	לבב
	מִשְׁכַּבְכֶם	m	s	2mp	abs.	+	שׁכב
6a	זִבְחֵי	m	p		cst.		זבח
	צֶדֶק	m	s		abs.		צדק
6b	יְהוָה	m	s		abs.	+
7a	רַבִּים	m	p		abs.		רבב
	טוֹב	m	s		abs.		טוב
7b	אוֹר	m or f	s		cst.	+	אור
	פָּנֶיךָ	m	p	2ms	abs.	+	פנה
	יְהוָה	m	s		voc. abs.	+
8a	שִׂמְחָה	f	s		abs.		שׂמח
	בְלִבִּי	m	s	1cs	abs.	+	לבב
8b	מֵעֵת	f	s		abs.		ענה
	דְּגָנָם	m	s	3mp	abs.	+	דגן
	וְתִירוֹשָׁם	m	s	3mp	abs.	+	ירשׁ
9a	בְּשָׁלוֹם	m	s		abs.		שׁלם
9b	יְהוָה	m	s		voc. abs.	+
	לְבָדָד	m	s		abs.		בדד
9c	לָבֶטַח	m	s		abs.		בטח

This feature is considered relevant for this psalm.,

Suffixes as objects

Definition Feature being studied	Occurrences Sections where this feature is present or absent	Clustering	Intersection	Connections	Structure
1cs	עֲנֵנִי (v.2a), חָנֵּנִי (v.2c), תּוֹשִׁיבֵנִי (v.9c)	absent vv.3-8	first and last line of the psalm	This features strengthens the connection between the first and final tricola.	Inclusio

This feature is considered relevant for this psalm.,

Addressee change

• Yahweh (v.2)
• בני אישׁ (vv.3-6)
• Yahweh (vv.7-9)

This feature is considered relevant for this psalm.,

Speaker change

The Psalmist (David?) is the speaker throughout most of the Psalm.

The only exception is found in v.7, where the direct speech of רַבִּים is introduced. It is not immediately clear where the quotation ends. Is it limited v.7a or does it included v.7b? Goldingay argues that “the immediate context makes it easier to decide between these possibilities. Both cola refer to 'we' and it is natural with NRSV to read the whole verse as referring to the same 'we'; it is the transition to verse 8 that marks the transition from 'we' to ‘I.’ Hypothesizing a transition to the suppliant's words within verse 7 works against the poetry.” Yet it seems more likely to take the words of v.7b as the psalmist's own petition. The psalm is a תפלה (v.2), yet outside of the invocation (v.2) there is no explicit petition. This apparent problem, which Goldingay himself wrestles with, is resolved if v.7b is understood as the central petition of the psalm. In v.7b, the king/psalmist, whose power in prayer is disputed (v.4ab) because of the current crisis (see below), takes on the role of a priest (cf. Num.6:22-27; note the king's priestly office in Ps.110) and successfully intercedes on behalf of the people.

Character Features

Ref.	Speaker	Addressee	Person	Subject	Object
2a	David	Yahweh	2	Yahweh	David
2b	David	Yahweh	2	Yahweh	David
2c	David	Yahweh	2	Yahweh	David / David's prayer
3a	David	בני אישׁ	2	בני אישׁ	David's honor
3b	David	בני אישׁ	2	בני אישׁ	רִיק
3c	David	בני אישׁ	2	בני אישׁ	כָזָב
4aα	David	בני אישׁ	2	בני אישׁ
4aβ	David	בני אישׁ	3	Yahweh	חָסִיד
4b	David	בני אישׁ	3	Yahweh
5a	David	בני אישׁ	2	בני אישׁ
5b	David	בני אישׁ	2	בני אישׁ
6a	David	בני אישׁ	2	בני אישׁ	זִבְחֵי־צֶדֶק
6b	David	בני אישׁ	2	בני אישׁ	Yahweh
7aα	David	Yahweh	3	אֹמְרִים
7aβ	בני אישׁ	בני אישׁ	3	מִי us
7b	David or בני אישׁ?	Yahweh or בני אישׁ?	2 or 3?	Yahweh or "light of Yahweh's face"?	us
8a	David	Yahweh	2	Yahweh	joy in Davids heart
8b	David	Yahweh	3	דְְּגָנָם וְתִירוֹשָׁם
9a	David	Yahweh	1	David
9b	David	Yahweh	2
9c	David	Yahweh	2	Yahweh	David

This feature is considered relevant for this psalm.

Particles

Negative markers

• אַל תֶּחֱטָאוּ (v.5a),

Independent personal pronouns

• אַתָּה (v.9b),

Prepositions

2a	ב
2b	ב	ל
2c
3a		ל	עד
3b
3c
4a		ל
4b	ב			אל
5a
5b	ב				על
6a
6b				אל
7a
7b					על
8a	ב
8b						מן
9a	ב
9b		ל
9c		ל

ב

• A בְּ preposition initiates both the opening and closing tricola (vv.2a, 9a). A contrast is indicated: the psalm begins in calling out (בקראי) and distress (בצר) and ends in peace (בשׁלום)
• ב + קראי connects v.2 and v.4
• ב + לב connects v.5b and v.8a

ל

• ל prepositions (along with phonological alliteration) closely join v.9b (לבדד) and v.9c (לבטח)

מִן

• This preposition in Ps. 4:7 is often understood to indicate comparison. However, occurring as it does with a noun indicating time (עֵת), it more probably indicates "detachment from a point in time." The phrase מֵעֵת occurs also in Isa. 48:16; Ezek. 4:10, 11; 1 Chron. 9:25, and in each case the preposition functions temporally. Ps. 4:8 might therefore be translated, "You have put joy in my heart // ever since their grain and wine increased," or "You put joy in my heart // when their grain and wine increased." In other words, the many (רבים) who are calling on Yahweh (v.7ab) have had their prayer answered and have experienced Yahweh's blessing on their harvest. This gives the psalmist joy (v.8ab). (This interpretation follows from the likely fact that the speaker in v.7b is the same as in v.7a; see above.),

Waw/Vav

Coordinating Words

• v.2c. חָנֵּנִי וּשְׁמַע
• v.5a. רִגְזוּ וְאַל־תֶּחֱטָאוּ
• v.5b. אִמְרוּ בִלְבַבְכֶם עַל־מִשְׁכַּבְכֶם וְדֹמּוּ
• v.8b. דְּגָנָם וְתִירוֹשָׁם
• v.9a. אֶשְׁכְּבָה וְאִישָׁן

Coordinating Lines

• v.6a --waw + impv.--> 6b

Coordinating Units

• v.3abc --waw + impv.--> v.4ab

Waw + imperative (v.4a) may be used to "express inferences." On the other hand, the waw may be "disjunctive." Thus a marginal reading in the LXX tradition translates it as αλλα. Other features in the text appear to support a seam in the text at this point (e.g.., the length of v.4a, the anaphoric repetition of words (בקראי, שׁמע), and the inclusio that binds together vv.4-5 (ודעו --- ודמו) as a section.,

Other particles

• כִּי (v.9b)

Figurative

Metaphor

• v.2b. צר, רחב – Spacial metaphors. Narrowness = distress, trouble; spaciousness = relief, ease.
• v.7b. אור פניך – "The metaphor of light, as applied to the deity, draws much of its source from solar imagery, itself rich in associations. Most generally, light signifies flourishing life, 'the light of life' (Ps. 56:13), and, thus, shares special affinity with the Author of life. To ascribe light to God is to acknowledge the fullness of life that God imparts to creation." In Ps. 4, the light of God's face "conveys agricultural bounty.".,

Metonymy

• v.5a. רִגְזוּ – trembling is a metonymy of adjunct for deep emotion. It is most often associated with the emotion of fear, though sometimes it is used for anger (cf. LXX ὀργίζεσθε, so also Eph. 4:26). David is instructing the men of rank to "stand in awe" (KJV) at the deeds of Yahweh in history and to carefully consider and ponder things before acting rashly and sinfully. Paul's citation does not substantiate the LXX as the correct interpretation of רגז Ps. 4. Rather, what both Ps. 4:5 and Eph. 4:26 have in common is the curbing and limitation of sinful tendencies by prayer and reflection and before sundown as Ps. 4:9 shows.
• v.5b. “be silent” = listen to God’s conviction instead of defending your own evil behavior
• v.6a. זִבְחוּ– offering sacrifices is metonymic for worship, though it may also be a metaphor for contrition (cf. Ps. 51:19)
• v.7a. טוֹב is metonymic for rain (cf. Jer. 5:24-25; Ps. 85:13). The "grain" and "new wine" (v.8) create a context which warrant understanding טוב as rain in v.7. See historical background.
• v.7b. פנים – face is metonymic for presence
• v.8b. דגנם ותירושׁם – grain and wine are metonymic for abundance/wealth. The reference is to “an abundant harvest of grain and grapes (for wine).”
• v.9a. אשׁכבה ואישׁן – lying down to sleep is metonymic for security (cf. v.9c); “sleep in peace” = denotes safety that allows people to sleep without worry since they are safe,

Anthropomorphism

• v.2b. God enlarges.
• v.2c, 4b. God hears.
• v.7b. God has a face.,

Apostrophe

• vv.3-6. The heart of the psalm consists of an extended apostrophe, a direct address to בְּנֵי אִישׁ.,

Rhetorical questions

There are two rhetorical questions in this psalm (3 according to the LXX):

• v.3. The first question (עַד מֶה), which the psalmist poses to בני אישׁ, functions as a rebuke.
  • The LXX has two questions in this verse, ἕως πότε (עד מה) in v.3a and ἵνα τί (למה) in v.3b, since it apparently read כבדי לב למה for כבדי לכלמה (see #Variants).
• v.7a. The second question (מִי), raised by "many" (בני אישׁ = רַבִּים?), expresses a wish. This question seems to reflect a context where people were in despair and feeling like things were not going well in their lives.

These two questions frame the series of imperatives at the heart of the psalm (vv.4-6).,

Idioms

• v.5b. The phrase אמר בלב, though not technically an idiom (it is neither syntactically anomalous nor lexically unique), is a multiword figure of speech that appears often in the Psalms (Ps. 4:5; 10:6,11,13; 14:1; 35:25; 53:2; 74:8) as well as in other books of the Hebrew Bible (Gen. 17:17; 27:41; Deut. 7:17; 8:17; 9:4; 18:21; 1Kgs. 12:26; Isa. 14:13; 47:8,10; 49:21; Jer. 5:24; 13:22; Obad. 1:3; Zeph. 1:12; 2:15; Zech. 12:5; Qoh. 2:1,15; 3:17,18; Est. 6:6). It means "to think to oneself," i.e., reflect on your actions whether they were “godly” or not.

Barré notes a potential problem with the use of this idiom here. Every other occurrence of the idiom in the Hebrew Bible "is followed immediately by oratio recta. The same holds true of instances of the idiom in later Jewish literature or the NT. This is true also of the Akkadian cognate qabu ina libbi (with variants) — it likewise introduces direct speech. The only conclusion that can be drawn from this evidence is that biblical Hebrew אמר בלב functions as a formula introducing direct speech. The fact that in Ps 4,5 no such speech occurs in conjunction with this idiom makes its presence in this verse highly suspect."

Context

Figures of Speech

• vv.4-5, bound by an inclusio (ודעו / ודמו) evoke images of eerie quietude (דמם) and darkness (משׁכב), as people lie on their beds at night in contemplative silence. By contrast, vv.7-8, also bound by an inclusio (רבים / רבו) introduce the contrasting image of light (אור) which gives sight (יראנו) and life/abundance (רבב). In other words, vv.7-8 represent the dawning of day upon the darkness of night (vv.4-5). The pivotal point between the two is v.6 (the center of the psalm: צדק [cf.v.2a], בטח [cf.v.9c]) which depicts a turning to Yahweh with worship (v.6a) and trust (v.6b). Repentance (v.6) hastens the dawn – the transition from a life of darkness and silence (vv.4-5) to one of light and blessing (vv.7-8).
• The themes of darkness/evening and light/morning, which are prominent in vv.4-8, appear at the beginning and end of the psalm as well. The first word of the psalm (בְּקָרְאִי) sounds like the word for "morning" (בֹּקֶר), and the final verse of the psalm (v.9) evokes the image of evening (אשׁכבה ואישׁן). The Psalm thus alternates between images of morning and evening:

Morning (v.2)

Evening (vv.4-5)

Morning (vv.7-8)

Evening (v.9)

• figurative/evocative language is concentrated in v.5, perhaps marking the thematic peak of the psalm.
  • metonymy: רגזו
  • idom: אמרו בלבבכם
  • imagery: lying down to sleep (cf. v.9); silence,

Historical background

The King is the one who is speaking in this Psalm. In fact, he is the subject, the “I” and the “we,” in almost all of the Psalms, as I believe Eaton has shown successfully in his book, Kingship and the Psalms.
What is the crisis behind the lament? I suggest that a crisis of drought, or a lack of rain, makes the diverse details of the Psalm hang together very well. We note in verse 7, “Many are saying, ‘Who can show us any good?’ ” The word “good” is a metonymy for rain, which is absolutely crucial to an agricultural economy in the land of Palestine. Rain is essential for crops, for the flocks and herds, and above all for human survival. It is the good par excellence. It is the key to the Good Life. This interpretation of Psalm 4:7 can be corroborated from parallel passages of Scripture. First consider Jeremiah 5:24, 25:

They do not say to themselves,

‘Let us fear the LORD our God,

who gives autumn and spring rains in season,

who assures us of the regular weeks of harvest.’

Your wrongdoings have kept these away;

your sins have deprived you of good (NIV).

Here we can see that the word “good” is parallel to the “autumn and spring rains in season” as well as to “the regular weeks of harvest.” Consequently the term “good” is employed by Jeremiah as a metonymy for rain. Secondly, notice the same thing in Psalm 85:12(13) - “The LORD will indeed give what is good, and our land will yield its harvest” (NIV). Once again we see that “good” is parallel to the word “harvest.”
In the ancient Near East the king was held responsible for the rain.
The crisis of drought, however, is only the beginning of the problem. The central issue is the danger of turning to false gods or idolatry. Look at verse 3.

How long, O men, will you turn my

glory into shame?

How long will you love delusions and

seek false gods? SELAH (NIV)

A number and variety of derogatory expressions for idolatry are employed in the Old Testament:

1. אָוֶן = nothing: Isaiah 41:29, Hosea 12:12, I Samuel 15:23, Isaiah 1:13, 66:3, Zechariah 10:2
2. אֱלִֹיל = weak/worthless thing: Leviticus 19:4, 26:1, Isaiah 2:8, 18, 20bis, Psalm 96:5 (= I Chronicles 16:26), Psalm 97:7
3. הֶבֶל = breath/vapour: Jeremiah 10:15, 16:19, 51:18, Deuteronomy 32:21, I Kings 16:13, 26, Jeremiah 8:19, 10:8, 14:22, Psalm 31:7, Jonah 2:9 (all plural; for singular see 2 Kings 17:15 and Jeremiah 2:5 and cf. Jeremiah 10:15, 16:19, and 51:18)
4. רִיק = emptiness: Psalm 4:2 - Note the association of הבל and ריק in Isaiah 30:7 and 49:4
5. כָזָב = lie: Amos 2:4, Psalm 40:5
6. שָׁוְא = emptiness: Jeremiah 18:15, Jonah 2:9, Psalm 31:7
7. שֶׁקֶר = falsehood: Jeremiah 10:14, 51:17, Isaiah 44:20

These terms all refer to idols as deception or non-entities.
In addition, note that the verbs used in Psalm 4:2 are appropriate for idolatry. The verb אהב is occasionally used of idolatrous worship (cf. Hosea 4:18 and Jeremiah 8:2) and the verb בקשׁ is frequently used of seeking God, often in a cultic setting Thus the language of Psalm 4:3 lends itself much more suitably to the idea that the men of rank are resorting to idolatry rather than the interpretation that they are receiving false and unfounded accusations against David and his reputation.
The Canaanites worshipped Baal, the son of Dagon. Also known as Hadad, Baal was the rain god, or the god of the storm. A stele found in the temple at the ancient city of Ugarit pictures Baal as a handsome young man standing strong, grasping a forked spear in his left hand and brandishing a club over his head with his right. His club represents thunder; his lance represents lightning. The horns of his helmet are the horns of a bull, his cult symbol, which represents life and fertility. There were other gods too, in the ancient Near East which represented fertility and life. David, the King, attacks these false gods as a delusion and a lie. How appropriate to the situation of Psalm 4 are the words of the prophet Jeremiah:

“... My people have exchanged their Glory

for worthless idols.

Be appalled at this, O heavens,

and shudder with great horror,”

declares the Lord.

“My people have committed two sins:

They have forsaken me,

the spring of living water,

and have dug their own cisterns,

broken cisterns that cannot hold water.”

(Jeremiah 2:11-13, NIV)

In a land where rain is absolutely essential for survival it is no wonder that the LORD is spoken of as “the fountain of living water” (Jeremiah 2:13, 17:13). Consider too, the words of the prophet Zechariah.

Ask the LORD for rain in the springtime;

it is the LORD who makes the storm clouds.

He gives showers of rain to men,

and plants of the field to everyone.

The idols speak deceit,

diviners see visions that lie;

they tell dreams that are false,

they give comfort in vain.

Therefore the people wander like sheep

oppressed for lack of a shepherd.

(Zechariah 10:1,2, NIV)

Here the prophet Zechariah addresses the people in much the same way that the King speaks to his nobles in Psalm 4:2.,

Cultural background

"The original thrust and context of the psalm remain uncertain.",

Reference/allusions

There are a number of allusions to the Aaronic blessing of Num. 6:24-26‎: יְבָרֶכְךָ֥ יְהוָ֖ה וְיִשְׁמְרֶֽךָ׃
יָאֵ֙ר יְהוָ֧ה׀ פָּנָ֛יו אֵלֶ֖יךָ וִֽיחֻנֶּֽךָּ׃
יִשָּׂ֙א יְהוָ֤ה׀ פָּנָיו֙ אֵלֶ֔יךָ
וְיָשֵׂ֥ם לְךָ֖ שָׁלֽוֹם׃

• v.2c. חנני (Num. 6:25, ויחנך)
• v.7b. נסה עלינו אור פניך (Num. 6:25, יאר יהוה פניו אליך; Num. 6:26, ישׂא יהוה פניו אליך)
  • the two petitions (Num. 6:25a, 26a) are conflated in a single petition (Ps.4:7b)
• v.9c. שׁלום (Num. 6:26b, שׁלום)

See also Ps. 44:3, 80:3, 7, 19, 119:135, Dt 32:20<--this last point by Brad.Willits-->,

Alluded to in NT

The Old Greek translation of Psalm 4:5 (ὀργίζεσθε καὶ μὴ ἁμαρτάνετε) is quoted by Paul in Eph. 4:26. Interestingly, Paul expands on the quotation, adding what may be his own interpretation: ὁ ἥλιος μὴ ἐπιδυέτω ἐπὶ τῷ παροργισμῷ ὑμῶν. He draws on the image of the setting sun which is already implicit in this evening psalm (v.5b, 9). Verse 5 of Psalm 4 is indeed the most linguistically marked verse in the Psalm (it occurs in the middle of the psalm and contains a cluster of repeated words and figurative/evocative language), though 5a, quoted in Ephesians, is less marked than 5b.,

Other

Canonical Context
Psalm 4 has a number of connections to Psalm 3. These are primarily lexical; a number of words (קרא, ענה, שׁכב, ישׁן, רבב) and exact phrases (כְּבוֹדִי, רַבִּים אְמְרִים) appear in both psalms. Furthermore, both psalms have a related set of images at their center (middle line): lying down to sleep (3:6a; 4:5) and waking up again (3:6b). The two psalms have thus been viewed as a morning and evening psalm respectively. There may also be a connection with Psalm 2: "The strong admonition delivered [by the son of God] to the 'sons of men' is comparable to the warning which the king utters to 'the kings and judges of the earth' in Psalm 2."

Mathematical

Fokkelman's prosody and syllable counts

The following table is from Fokkelman's Major Poems of the Hebrew Bible Volume 2, Appendix I.

Strophe	Verse	Syllables per word	Syllables per line	Syllables per strophe
1	2	3.3.3.2 / 2.3.1 / 3.3.4	11 + 6 + 10 = 27	27
2	3	2.1.1.1.3.3 / 3.1.3.2	11 + 9 = 20	40
	4	3.1.2.2.2.1 / 2.2.3.2	11 + 9 = 20
3	5	2.2.3 / 2.3.1.3.3	7 + 12 = 19	30
	6	2.2.1 / 3.1.2	5 + 6 = 11
4	7	2.3.1.3.1 / 2.3.1.3.2	10 + 11 = 21	40
	8	3.2.3 / 2.3.4.2	8 + 11 = 19
5	9	3.2.3.3 / 1.2.2 / 3.2.4	11 + 5 + 9 = 25	25

• "This Psalm shares its total of 18 cola with Pss.1 and 3."
• "Remarkably, five out of the nine verses consist of ten words."
• "Strophes 2 and 4, the pair flanking the centre, have exactly the same number of syllables. In strophe 2 there is even a symmetry in the cola, as vv.3 and 4 both have figures 11 + 9."
• The number 11 is popular here: it occurs no less than six times.",

Cola distribution

Tricola
Tricola occur on the outer edges of the psalm, functioning to open and close the psalm (vv.2, 9) and introduce the address to the sons of man (v.3)

• v.2abc (ABA')
• v.3abc (ABB')
• v.9abc (ABC)

Bicola
The heart of the psalm (vv.4-8) consists of 5 bicola. These are symmetrically arranged: the first two bicola (vv.4-5) are grouped together by an inclusio (ודעו / ודמו) as are the last two (vv.7-8, רבים / רבו). The shortest bicolon (v.6) is in the center. It connects lexically with the first and final lines of the psalm (צדק, בטח) and marks the transition from night (vv.4-5) to day (vv.7-8) (see above).

• v.4ab
• v.5ab
• v.6ab
• v.7ab
• v.8ab,

Selah

If the inclusio binding together vv.4-5 is recognized (ודעו / ודמו), then selah occurs at sectional divisions (cf. Ps. 3).

• v.3b (end of line/section)
• v.5b (end of line/section),

Quotations / direct speech

v.7a. The words of רַבִּים are quoted in this line. (See above on #Speaker change),

Elision

• v.3a. Implied 2mp transitive verb.,

Lunn on Word order

The following table has been adapted from Nicholas Lunn's Word-Order Variation in Biblical Hebrew Poetry, Appendix 2. For a key to the various symbols and abbreviations, click here.

Ref.	Text	Constituent Order	Colon-Type
2	‎בְּקָרְאִי עֲנֵנִי אֱלֹהֵי צִדְקִי / בַּצָּר הִרְחַבְתָּ לִּי / חָנֵּנִי וּשְׁמַע תְּפִלָּתִי	M(Inf) V-o [Voc] / M V M / V-o w-V O	CAN/CAN/CAN2
3	‎בְּנֵי אִישׁ עַד־מֶה כְבוֹדִי לִכְלִמָּה / תֶּאֱהָבוּן רִיק // תְּבַקְשׁוּ כָזָב סֶלָה	[Voc] Q S Comp / V O // V O Selah	Nom/CAN//CAN
4	‎וּדְעוּ כִּי־הִפְלָה יְהוָה חָסִיד לוֹ / יְהוָה יִשְׁמַע בְּקָרְאִי אֵלָיו	w-V C-V S O M / S V M(Inf) M	CAN2/MKD
5	‎רִגְזוּ וְאַל־תֶּחֱטָאוּ / אִמְרוּ בִלְבַבְכֶם עַל־מִשְׁכַּבְכֶם וְדֹמּוּ סֶלָה	V w-Vneg / V M M w-V Selah	CAN2CAN2
6	זִבְחוּ זִבְחֵי־צֶדֶק / וּבִטְחוּ אֶל־יְהוָה	V O / w-V M	CAN/CAN
7	רַבִּים אֹמְרִים / מִי־יַרְאֵנוּ טוֹב / נְסָה־עָלֵינוּ אוֹר פָּנֶיךָ יְהוָה	S Vptc / Q-V-o O / V-M O [Voc]	Ptcp/CAN/CAN
8	נָתַתָּה שִׂמְחָה בְלִבִּי // מֵעֵת דְּגָנָם וְתִירוֹשָׁם רָבּוּ	V O M / C S w-S V	CAN/MKD
9	בְּשָׁלוֹם יַחְדָּו אֶשְׁכְּבָה וְאִישָׁן / כִּי־אַתָּה יְהוָה לְבָדָד לָבֶטַח תּוֹשִׁיבֵנִי	M V w-V / C-Spn [Voc] M M V-o	MKD-CAN/DEF?

,

Middle word (maqqef)

• total: 62; middle: אִמְרוּ בִלְבַבְכֶם
• total w/selah: 64; middle: אִמְרוּ בִלְבַבְכֶם,

Middle word (independent lexemes)

• total: 71; middle: בִלְבַבְכֶם
• total w/selah: 73; middle: עַל,

Middle line

v.5b. אִמְרוּ בִלְבַבְכֶם עַל־מִשְׁכַּבְכֶם וְדֹמּוּ
This line is marked in other ways as well:

• It is the longest line in the psalm (12 syllables). Note that this was the case also for Psalm 3.
• It contains a higher concentration of repeated lexical items than any other line. The roots אמר, לבב, and שׁכב are repeated throughout the rest of the psalm in the same order in which they occur in v.5b. Each repeated root appears in the a-line of a succeeding bi/tricolon: אמר is repeated in v.7a, לבב in v.8a, and שׁכב in v.9a.
• The image of lying down in bed is a thematically important image in this evening psalm. The psalm concludes with the same image (v.9).

In conclusion, v.5b may be regarded as the thematic peak of the psalm.

Variants

Kinds of variants

The following is from Barthélemy's Critique textuelle de l’Ancien Testament volume on the Psalms. For a key to the various symbols and abbreviations, click here.

Ps 4,3(2) כְבוֹדִי לִכְלִמָּה {C} MT, σ', S, T // err-voc: α', Hebr / err-graph: G clav כִּבְדֵי לֵב לָמָּה

Ps 4,4(3) הִפְלָה {A} MT, S, T // usu: G, Gal, Hebr, clav הִפְלִיא.

Ps 4,5(4) אִמְרוּ {A},

Likely solutions

• v.5b. The analysis above strongly confirms the reading אִמְרוּ. Every lexical item in the first clause of v.5b (אמר, לב, שׁכב) is repeated in the a-lines of the following units (vv.7a, 8a, 9a) in the order in which they occur in v.5b. Emendations only distort this intricate design.

Summary

Line divisions

לַמְנַצֵּחַ בִּנְגִינוֹת מִזְמוֹר לְדָוִד

2a בְּקָרְאִי עֲנֵנִי אֱלֹהֵי צִדְקִי

2b בַּצָּר הִרְחַבְתָּ לִּי

2c חָנֵּנִי וּשְׁמַע תְּפִלָּתִי

3a בְּנֵי אִישׁ עַד־מֶה כְבוֹדִי לִכְלִמָּה

3b תֶּאֱהָבוּן רִיק

3c תְּבַקְשׁוּ כָזָב סֶלָה

4a וּדְעוּ כִּי־הִפְלָה יְהוָה חָסִיד לוֹ

4b יְהוָה יִשְׁמַע בְּקָרְאִי אֵלָיו

5a רִגְזוּ וְאַל־תֶּחֱטָאוּ

5b אִמְרוּ בִלְבַבְכֶם עַל־מִשְׁכַּבְכֶם וְדֹמּוּ סֶלָה

6a זִבְחוּ זִבְחֵי־צֶדֶק

6b וּבִטְחוּ אֶל־יְהוָה

7a רַבִּים אֹמְרִים מִי־יַרְאֵנוּ טוֹב

7b נְסָה־עָלֵינוּ אוֹר פָּנֶיךָ יְהוָה

8a נָתַתָּה שִׂמְחָה בְלִבִּי

8b מֵעֵת דְּגָנָם וְתִירוֹשָׁם רָבּוּ

9a בְּשָׁלוֹם יַחְדָּו אֶשְׁכְּבָה וְאִישָׁן

9b כִּי־אַתָּה יְהוָה לְבָדָד

9c לָבֶטַח תּוֹשִׁיבֵנִי,

Section divisions

Section 1 (v.2)

Section 2 (v. 3)

Section 3 (vv.4-5)

Section 4 (v.6)

Section 5 (vv.7-8)

Section 6 (v. 9)

Key to the structure of the psalm is the recognition of the inclusions that form section 3 (vv.4-5, וּדְעוּ / וְדֹמּוּ) and section 4 (vv.7-8, רַבִּים / רַבּוּ). The latter is more obvious and has been noticed by a number of commentators. The former requires explanation. וּדעוּ is the first word of v.4, and וְדֹמּוּ is the last word of v.5. The two words are connected in the following ways.

1. Morphological: Qal 2mp imperatives beginning with waw; furthermore, both are irregular verbs in which one letter has been omitted.
2. Phonological: both begin and end with waw; both have the consonant ד
3. Semantic: both are stative verbs
4. Orthographic: there is only one letter difference between the two (ודעו / ודמו); the two words share 3/4 letters in common.

The binding together of vv.4-5 by inclusion is further supported by an analysis of line length (see above on Rhythm and Line Length), imagery (see below on ), and the occurrence of selah (see above).

The terse bicolon of v.6, sandwiched between the two inclusions (vv.4-5; vv.7-8), is distinguished as the center of the psalm by lexical recursion. The word צדק (v.6a) appears in the first line of the psalm (v.2a), and the word בטח (v.6b) appears in the final line of the psalm (v.9c). This centrality of v.6 would appear to confirm the structure outlined above.

Once these inclusions are recognized, the rest of the sectional boundaries become apparent. The only remaining question is whether or not there is a sectional division between v.2 and v.3. The absence of a division here would lend greater symmetry to the structure of the psalm (the sections would form a chiasm with v.6 at the center). On the other hand, other features strongly suggest a division at v.3.

The above division complements the concentric dialogic structure of the psalm.

I. ADDRESS TO YAHWEH

A Section 1 (v.2)

II. ADDRESS TO HUMANS

B Section 2 (v.3)

C Section 3 (vv.4-5)

D Section 4 (v.6)

III. ADDRESS TO YAHWEH

C' Section 5 (vv.7-8)

A'Section 6 (v.9),

Communicative function

Analysis of the pragmatic function of each section is complicated by the fact that, though the psalm is a prayer to Yahweh (תפלה, v.2c), the heart of the psalm consists of an address to humans (vv.3-6). The communicative function of these verses is thus multilayered. The psalmist's words function both as a rebuke (v.3), admonition (vv.4-5), and exhortation (v.6) to humans (בני אישׁ), and, at the same time, as a prayer to Yahweh which consists of several components common to laments, i.e., complaint (v.3), profession of trust (vv.4-5), and petition (vv.6-8?).

Section 1 (v.2) – Invocation

Section 2 (v. 3) – Rebuke / Complaint (implicit)

Section 3 (vv.4-5) – Admonition / Profession of Trust (implicit)

Section 4 (v.6) – Exhortation / Petition? (implicit)

Section 5 (vv.7-8) – Petition

Section 6 (v. 9) – Profession of Trust,

Range of emotions

The intensity, or aggressiveness, of the psalmist's emotions wanes as the psalm unfolds. The psalm begins in angry disgust (v.3) and ends in serene sleep (v.9) as anger (vv.3-5), met with trust (v.4), gives way to joy (vv.7-8) and serenity (v.9). In this evening psalm, the psalmist does not let the sun go down on his anger (Eph. 4:26).

Section 1 (v.2) – Anticipation & Trust
Section 2 (v. 3) – Anger & Disgust
Section 3 (vv.4-5) – Anger & Trust
Section 4 (v.6) – Anticipation & Joy
Section 5 (vv.7-8) – Anticipation (v.7) --> Joy (v.8)
Section 6 (v. 9) – Serenity & Trust,

Cohesion

Section 1 (v.2)

• Poetic: Tricolon (ABA')
• Phonology: final hireq yod; line initial בְּ preposition (v.2ab)
• Verbs: Qal, Imperatives, 2ms
• Nouns: 2nd person address to Yahweh, 1cs pronominal suffix

Section 2 (v. 3)

• Poetic: Tricolon (ABB')
• Lexical Semantics: lines ending in semantically similar nouns: כלמה ("shame"), ריק ("emptiness"), כזב ("falsehood")
• Verbs: Qal, yiqtol, 2mp
• Nouns: 2nd person address to בני אישׁ
• Figurative: rhetorical questions

Section 3 (vv.4-5)

• Poetic: inclusio (ודעו / ודמו); bicolic
• Verbs: Qal, Imperatives, 2mp; stative verbs (ודעו, ודמו)
• Nouns: 2nd person address to בני אישׁ
• Figurative: evocative imagery (contemplative silence, lying in bed, quaking in anger/fear)
• Prosodic: unmarked line length at vv.4b-5a

Section 4 (v.6)

• Poetic: tersness; parallelism
• Phonology: חוּ–
• Nouns: 2nd person address to בני אישׁ
• Verbs: Qal, Imperatives, 2mp

Section 5 (vv.7-8)

• Poetic: inclusio (רבים / רבו); bicolic
• Phonology: nasals; long a-vowel; liquid (ר/ל) + voiced labial plosive (בּ)
• Character Features: alternation of person to form chiasm: 3//2 2//3
• Figurative: positive evocative imagery; goodness (v.7a), light (v.7b), joy (v.8a), abundance of grain and wine (v.8b)
• Prosodic: unmarked line length at vv.7b-8a

Section 6 (v. 9)

• Poetic: Tricolon (ABC)
• Nouns: 2nd person address to Yahweh
• Particles: כִּי (v.9b)
• Figurative: image of lying down to sleep,

Discontinuity & boundaries

Section 1 (v.2) --> Section 2 (v.3)

• change in addressee
• direct address (בְּנֵי אִישׁ)
• verbless clause (v.3a)
• phonological anaphora: בְּ + stressed hireq yod
• Line length: 11 syllables. (cf. v.2a)
• rhetorical question

Section 2 (v.3) --> Section 3 (vv.4-5)

• selah
• opening of inclusio (וּדְעוּ / וְדֹמּוּ)
• disjunctive waw
• imperative
• Hiphil (anaphora, cf. v.2b)
• reference to Yahweh (2x)
• lexical recursion (בקראי, שׁמע – anaphora, cf. v.2ac)
• phonological recursion (בקראי, שׁמע, פל, אל – anaphora, cf. v.2ac)
• Line length: 11 syllables. (cf. v.2a, 3a)

Section 3 (vv.4-5) --> Section 4 (v.6)

• closing of inclusio (וּדְעוּ / וְדֹמּוּ)
• selah (v.5b)
• shift in line length (12 syllables [v.5b] --> 5 syllables [v.6a])
• evocative imagery (v.5b): night-time silence (epiphora, cf. v.9)
• shift in mood (shaking, anger, somber reflection at night --> worshiping and trusting in Yahweh)

Section 4 (v.6) --> Section 5 (vv.7-8)

• opening of inclusio (רַבִּים / רַבּוּ)
• shift in addressee (v.6 concludes the address to בני איש)
• participial clause (v.7a)
• line length: 10 syllables (v.7a)
• direct speech
• rhetorical question (v.7a)

Section 5 (vv.7-8) --> Section 6 (v.9)

• closing of inclusio (רַבִּים / רַבּוּ)
• length of lines: 11 syllables (v.8b; v.9a)
• phonological anaphora: בְּ (v.9a; cf. v.2a, 3a)
• marked word order (בשׁלום יחדו)
• direct address to Yahweh (v.9b),

Feature clustering

vv.5b-6ab

v.5b. אִמְרוּ בִלְבַבְכֶם עַל־מִשְׁכַּבְכֶם וְדֹמּוּ

• position: middle line of the psalm
• length: longest line in the psalm (12 syllables)
• imperatives (2x)
• figurative language: idiom (אמרו בלבבכם)
• evocative language (silence, beds, nighttime, darkness)
• lexical recursion: nearly every word/root in this line (אמר, לבב, שׁכב) recurs in the following lines (אמר v.7a, לבב v.8a, שׁכב v.9a)

v.6ab. זִבְחוּ זִבְחֵי־צֶדֶק // וּבִטְחוּ אֶל־יְהוָה

• position: center of the psalm's structure (see below); the pivotal verse between section 3 (vv.4-5) and section 5 (vv.7-8)
• lexically connected to the first (צדק) and final (בטח) lines of the psalm
• repetition of זבח
• repetition of חוּ–
• imperatives
• terseness
• reference to Yahweh,

Prominence

v.5b
v.6ab,

Main message

Through the powerful prayer of the prophet-priest king, Yahweh's blessing dawns on those who repent and trust in him.

Therefore, Trust in Yahweh! (v.6b). This is the center of the psalm and perhaps the primary thought an audience should take away from it. It is Yahweh – not any other god – who rains blessing on his people (see historical background), and he does so through the mediation of his priest-king.,

Connections between sections

v.2 --- v.4
Lexical

• בְּקָרְאִי --- בְּקָרְאִי
• יִשְׁמַע --- וּשְׁמַע

Phonological

• הִפְלָה --- תְּפִלָּתִי

Morphological

• Hiphil: הִפְלָה --- הִרְחַבְתָּ

v.5b --- v.7a, 8a, 9a
Lexical

• אֹמְרִים --- אִמְרוּ (v.7a)
• בְלִבִּי --- בִלְבַבְכֶם (v.8a)
• אֶשְׁכְּבָה --- מִשְׁכַּבְכֶם (v.7a)

Section 3 (vv.4-5) --- Section 5 (vv.7-8)
Lexical

• אִמְרוּ (v.5b) --- אֹמְרִים (v.7a)
• בִלְבַבְכֶם (v.5b) --- בְלִבִּי (v.8a)

Poetic

• Architectonic: pairs of bicola bound by inclusions
• Imagery: evening (vv.4-5) --> morning (vv.7-8)

Prosodic

• similar in length (39 syllables --- 40 syllables)

Section 4 (v.6) --- Sections 1 (v.2) and 6 (v.9)
Lexical

• צֶדֶק --- צִדְקִי (v.2a)
• לָבֶטַח --- וּבִטְחוּ (v.9c)

"The words most characteristic for the positive content, צדק and בטח, which moreover are immediately next to each other in v.6, form a nerve centre in the song. They are connected to צדקי in v.2a (the very first colon) and לבטח in 9c (the very last). Thus, beginning and end of the whole are tied to the centre."

Section 1 (v.2) --- Section 6 (v.9)
Poetic

• Tricola
• The imagery of the first tricolon is that of morning (בְּקָרְאִי sounds like בֹּקֶר), while the image of the final tricolon is that of evening (יַחְדָּו אֶשְׁכְּבָה וְאִישָׁן, v.9a).

Morphological

• initial בְּ preposition: בְּקראי (v.2a) --- בְּשלום (v.9a)
• Hiphil: הִרְחַבְתָּ (v.2b) --- תּוֹשִׁיבֵנִי (v.9c)

Prosodic

• A-lines of the exact same length (11 syllables, 4 words).,

Large-scale structures

See section divisions above.

A Section 1 (v.2)

B Section 2 (v.3)

C Section 3 (vv.4-5)

D Section 4 (v.6)

C' Section 5 (vv.7-8)

A'Section 6 (v.9),

Translation

Poetic Translation by Ryan Sikes

When I call, respond to me, my God of righteousness.

In my distress, you gave relief.

Be kind; hear my request.

Sons of men, how long will you make my honor disgrace,

Embrace what is hollow,

Follow what is fake?

Know that Yahweh singles out the godly as his own.

Yahweh hears me when to him I groan.

Tremble! Do not err!

Lie in silence! Think with care!

Make your sacrifices right

And trust in Yahweh!

There are many saying, “Who will satisfy our want?

Shine on us, oh Yahweh, like the morning sun!”

You’ve made my heart to overflow with joyful ecstasy

Ever since the time you made their grain and wine increase.

When I lie down for the night, I will sleep in peace,

For you, Yahweh, and you alone,

Make me rest at ease.

Poetic Translation by Brad Willits
Title: Turn to God

Oh Just God, listen to my cry for help.

Come to my aid in your mercy.

You look at mankind and say,¹

“How long with you reject my powerful help

Instead of calling on that which is powerless?

How long will you be deceived by that which is weak

Claiming to be powerful?”²

I assure you my brothers³

That God loves those who love him.⁴

I know this personally.⁵

He responds when I call Him.

When you get angry, refrain from lashing out.

Stay calm and reflect on what is best.

Offer to God a righteous behavior.⁶

Trust that he will see you through.

Many of you are wondering

where can we find something beautiful in this life.

My response to you is wrapped up in this prayer:⁷

Oh God Yahweh, shine your beauty down on my brothers

As you have upon me.

You have given me great joy

Like an abundant harvest, like an amazing vintage.

You give me peaceful rest⁸

As only you the Great Protector Yahweh can.

Footnotes

1. Added to clarify the speaker
2. Tried to underline the powerful-weakness contrast between Yahweh and false “gods”. Kept the notion of “gods” broader than idols or entities called deities.
3. The reference to “my brothers” serves to show the reader who the Psalmist is speaking to.
4. Focused on the idea that “godly people” love God; and that he responds to that love with loving assistance. This seems to fit the theme of the Psalm, though it is clear that the relationship is broader than that.
5. Underlining the personal component of the Psalmist who is passing on his experience.
6. Maintains the concept of sacrifice with the verb “offer” in a somewhat veiled fashion, and interprets this according to the immediate context of anger and not lashing out.
7. Added in order to combine the notion of answering the question of people wondering where “good” can come from and the Psalmists prayer (i.e. Shine…) along side his personal experience.
8. The idea of “peaceful rest” communicates the concept better to the modern reader rather than the literal action of “sleeping.”,

Outline or visual representation

Outline 1

1. Calling Out in Distress; opening address to Yahweh (v.2)

2. Rebuking the Sons of Men; opening address to בני איש (v.3)

3. Contemplative Silence at Night (vv.4-5, ודעו / ודמו)

4. Repentance (v.6)

5. Abundance in the Morning (vv.7-8, רבים / רבו)

6. Lying Down in Peace (v.9)

Outline 2

Human Request: Give me relief

God’s response: Turn to me

Psalmist’s elaboration on advantages of turning to God

A - Yahweh hears our call (personalized)

B - Proper behavior to receive his blessings: do not sin, seek God, sacrifice, trust God

C - Psalmist’s prayer for all men (universal - use of “us”)

B - Psalmist’s declaration of the joy and peace God gives

A - Psalmist’s prayer for his own personal safety (personalized)

Outline 3

I. The call. (1)

A. What it is based on: Distress.

B. What distress accomplishes in the psalmist’s life.

II. The questions. (2)

A. How long will honor be a reproach?

B. How long will you love what is worthless?

C. How long will you seek after leasing? (Leasing means lies.)

III. The conclusion. (3)

A. God sets apart the Godly for Himself.

B. God hears them when they call.

IV. Based on this, the instructions are: (4-5)

A. Stand in awe.

B. Sin not.

C. Commune with your own heart upon your bed.

D. Be still.

E. Offer the sacrifices of righteousness.

F. Put your trust in the Lord.

V. The challenge and response. (6-8)

A. The challenge: Many are asking “Who will show us any good?”

B. The response.

1. The countenance of God resting on him.

2. Gladness of heart (more than those who rejoice at harvest time).

3. Peace and rest.

4. Dwelling in safety.

Figure 1

Text (NIV)	Parallelisms + Sub-division titles
Title: Life turned to Yahweh
For the director of music. With stringed instruments. A Psalm of David.	Addressee and Author. Musical information.
	Request for relief from distress
1 Answer me when I call to you,
O my righteous God.
Give me relief from my distress:
Be merciful to me and hear my prayer.
	Divine rebuke of false gods
2 How long, O men, will you turn my glory into shame?	Parallel 1: How long + wrong doing
How long will you love delusions and seek false gods?	Parallel 1: How long + wrong doing
Selah	Psalmist “personal” declaration
3 Know that Yahweh has set apart the godly for himself;
Yahweh will hear when I call to him.
	Psalmist exhortation to turn to Yahweh
4 In your anger do not sin;
When you are on your beds,
Search your hearts and be silent.
Selah
5 Offer right sacrifices
And trust in Yahweh.
	Psalmist declaration of joy and peace available in trusting in Yahweh
6 Many are asking, “Who can show us any good?”
Let the light of your face shine upon us, O Yahweh.
7 You have filled my heart with greater joy
Than when their grain and new wine abound.
8 I will lie down and sleep in peace,
For you alone, O Yahweh,
Make me dwell in safety.

Authorship

This Psalm was authored by David.

Genre

Psalm 4 is classified in the superscription as a מִזְמוֹר (v.1). The psalmist himself refers to his words as a תְּפִלָּה (v.2c).

Psalm 4 does not easily fit the etic categories of genre generally used in the interpretation of the psalms. It has traditionally been classified as an individual lament. The difficulty with this categorization is that the defining characteristic of a lament is "a decided emphasis upon the element of petition." Psalm 4, by contrast, does not appear to emphasize this element. The only petition after the invocation in v.2 is the priestly prayer of v.7b, though some think that this is to be included in the direct speech introduced in v.7a. Some have therefore identified the psalm as a psalm of trust.