Poetic Structure[ ]

V. 2: Most commentators note some sort of inclusio formed by the psalmist's first-person introduction and conclusion. However, there is no consensus on the precise verses identified as part of the inclusio. Proposals include:
- V. 2 // v. 18 (preferred)
- V. 2 // vv. 17–18 (Wendland)
- V. 3 // v. 18 (Craigie notes that, in support of vv. 3–18 as the "psalm proper," the opening and closing are signalled by the use of the words על-כן (“so, therefore”) (vv. 3, 18) and לעולם (“forever”) (vv. 3, 18) (Craigie, Psalms 1–50, 2nd ed., vol. 19, WBC [Nashville, TN: Nelson Reference & Electronic, 2004], 338).

V. 8: Given the structure proposed here, v. 8 is the structural centre of the psalm. It is a hinge section, pointing back to the repeated theme "righteousness" in vv. 3–7 and forward to the repeated theme "joy" in vv. 9–17. The word "God" occurs twice in this verse ("God, your God"), an unusually construction which may also underscore the centrality of this verse to the psalm.

Vv. 3, 8, 18 - note the repetition of the discourse marker עַל־כֵּן (therefore) at the beginning, middle, and end of the poem.

Vv. 11–13 are considered here as an aside to the bride, that is a section which is conceptually related to its setting but structurally separate. It has therefore not been included in the line numbers of the two main parts of the psalms (each of which has 13 lines). Supporting this identification of vv. 11–13 as an aside is a chiastic structure: vv. 10, 14, princess + gold; vv. 9, 14–15, clothes. (Not included in the visual are things brought to the king from elsewhere, palace, and joy.)

"The address to the king, interrupted by 11–13, is now resumed." (Kissane, 201).

Alternate structural proposals: Many commentators identify a two-part structure to the psalm, vv. 2–10 and vv. 11–18 (see Fokkelman and Van der Lugt). This division is largely based on the assessment that the first half is primarily about the king, and the second half is primarily about the queen (In the second canto, "the poet focuses his attention almost exclusively on the queen," Van der Lugt). This assessment does not, however, incorporate the fact that the addressee of these lines in the proposed second canto is the king himself (which Van der Lugt acknowledges, p. 42), and the wedding procession itself is depicted as an outworking of the divine joy poured out on the king.

Line Division[ ]

Description