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About the Discourse Layer

Our Discourse Layer includes four additional layers of analysis:

Participant analysis
Macrosyntax
Speech act analysis
Emotional analysis

For more information on our method of analysis, click the expandable explanation button at the beginning of each layer.

Participant Analysis

What is Participant Analysis?

Participant Analysis focuses on the characters in the psalm and asks, “Who are the main participants (or characters) in this psalm, and what are they saying or doing? It is often helpful for understanding literary structure, speaker identification, etc.

For a detailed explanation of our method, see the Participant Analysis Creator Guidelines.

There are # participants/characters in Psalm 51:

Profile List

Psalmist/David

Psalmist's body

"bones" (v. 10)

"tongue" (v. 16)

"mouth" (v. 17)

God

"the God who saves me" (v. 16)

"Lord" (v. 17)

Israel

"sinners" (v. 15

"transgressors" (v. 15)

"(people)" (v. 21)

Jerusalem

"Zion" (v. 20)

Psalmist's mother

Profile Notes

Psalmist / David: In Story Behind, we determined to treat David as the "I" of the psalm based on the traditional superscription. The psalmist also refers metonymically to himself when he speaks of his body in agentive terms.
God: In the version of the psalm we have today (within the context of the Elohistic psalter), God is referred to as "God," "the God who saves me," and "Lord," but never YHWH.
Israel and Jerusalem: The city Jerusalem/Zion is mentioned explicitly twice in v. 20 and may be understood to refer implicitly also to the people who inhabit the city or at least have it as their capital (= the people of Israel). Israel is never explicitly mentioned, but must be supposed by the impersonal verb יַעֲלוּ in v. 21. The "sinners" are only mentioned explicitly in v. 15, but they may also be implied as the threat in "Deliver me from bloodshed" in v. 16, depending on the interpretation of the situation in view. The text is not explicit whether these sinners are foreigners or Israelites, but their anticipated returning to the Lord suggests that these sinners constitute the restored faithful of Israel who offer right sacrifices in Jerusalem in v. 21. Thus, there seems to be an ironic blend/twist involved, where Israel and the sinners are one and the same participant, just at different points in time and in different roles (the faithless enemies become faithful worshippers). Just as David moves from sinner to restored worshipper, so also does the nation of Israel. The reference to "hearing" gladness and joy in v. 10 may also be an allusive reference to restored Israel in joyful corporate worship.
Psalmist's mother: The psalmist's mother plays only a limited background role in v. 7 (and some interpret v. 8 as referring to the mother's womb), setting the context for the psalmist's pre-natal sinfulness.

Hebrew	Line	English
לַמְנַצֵּ֗חַ מִזְמ֥וֹר לְדָוִֽד׃	1	For the music director. A psalm. By David.
בְּֽבוֹא־אֵ֭לָיו נָתָ֣ן הַנָּבִ֑יא	2a	When Nathan the prophet came to him,
כַּֽאֲשֶׁר־בָּ֝֗א אֶל־בַּת־שָֽׁבַע׃	2b	when he had had sexual intercourse with Bathsheba.
חָנֵּ֣נִי אֱלֹהִ֣ים כְּחַסְדֶּ֑ךָ	3a	Show mercy to me, God, according to your loyalty;
כְּרֹ֥ב רַ֝חֲמֶ֗יךָ מְחֵ֣ה פְשָׁעָֽי׃	3b	according to your abundant compassion wipe away my transgressions.
הֶ֭רֶב כַּבְּסֵ֣נִי מֵעֲוֺנִ֑י	4a	Wash me thoroughly from my iniquity, and cleanse me
וּֽמֵחַטָּאתִ֥י טַהֲרֵֽנִי׃	4b	my iniquity, and cleanse me from my sin,
כִּֽי־פְ֭שָׁעַי אֲנִ֣י אֵדָ֑ע	5a	because I am [continually] aware of my transgressions,
וְחַטָּאתִ֖י נֶגְדִּ֣י תָמִֽיד׃	5b	and my sin is constantly in front of me.
לְךָ֤ לְבַדְּךָ֨ ׀ חָטָאתִי֮	6a	Against you alone I have sinned, and I have done what is evil in your
וְהָרַ֥ע בְּעֵינֶ֗יךָ עָ֫שִׂ֥יתִי	6b	and I have done what is evil in your eyes, such that you are in the
לְ֭מַעַן תִּצְדַּ֥ק בְּדָבְרֶ֗ךָ	6c	in your eyes, such that you are in the right whenever you speak,
תִּזְכֶּ֥ה בְשָׁפְטֶֽךָ׃	6d	in the right whenever you speak, [and such that] you are faultless whenever you judge.
הֵן־בְּעָו֥וֹן חוֹלָ֑לְתִּי	7a	Look, I was born in iniquity,
וּ֝בְחֵ֗טְא יֶֽחֱמַ֥תְנִי אִמִּֽי׃	7b	and in guilt my mother conceived me.
הֵן־אֱ֭מֶת חָפַ֣צְתָּ בַטֻּח֑וֹת	8a	Look, you desire truth in the covered places,
וּ֝בְסָתֻ֗ם חָכְמָ֥ה תוֹדִיעֵֽנִי׃	8b	and you make me know wisdom in the closed-off place.
תְּחַטְּאֵ֣נִי בְאֵז֣וֹב וְאֶטְהָ֑ר	9a	purify me with hyssop, so that I will be clean;
תְּ֝כַבְּסֵ֗נִי וּמִשֶּׁ֥לֶג אַלְבִּֽין׃	9b	wash me, so that I will be whiter than snow.
תַּ֭שְׁמִיעֵנִי שָׂשׂ֣וֹן וְשִׂמְחָ֑ה	10a	make me hear gladness and joy;
תָּ֝גֵ֗לְנָה עֲצָמ֥וֹת דִּכִּֽיתָ׃	10b	bones that you have crushed might rejoice.
הַסְתֵּ֣ר פָּ֭נֶיךָ מֵחֲטָאָ֑י	11a	Hide your face from my sins,
וְֽכָל־עֲוֺ֖נֹתַ֣י מְחֵֽה׃	11b	and wipe away all my iniquities.
לֵ֣ב טָ֭הוֹר בְּרָא־לִ֣י אֱלֹהִ֑ים	12a	Create a clean heart for me, God,
וְר֥וּחַ נָ֝כ֗וֹן חַדֵּ֥שׁ בְּקִרְבִּֽי׃	12b	and renew a steadfast spirit within me.
אַל־תַּשְׁלִיכֵ֥נִי מִלְּפָנֶ֑יךָ	13a	not cast me away from before you,
וְר֥וּחַ קָ֝דְשְׁךָ֗ אַל־תִּקַּ֥ח מִמֶּֽנִּי׃	13b	from before you, and do not take your holy spirit away from me.
הָשִׁ֣יבָה לִּ֭י שְׂשׂ֣וֹן יִשְׁעֶ֑ךָ	14a	Restore to me the gladness that results from your salvation,
וְר֖וּחַ נְדִיבָ֣ה תִסְמְכֵֽנִי׃	14b	and [would you please] support me with a willing spirit.
אֲלַמְּדָ֣ה פֹשְׁעִ֣ים דְּרָכֶ֑יךָ	15a	I intend to teach transgressors your ways,
וְ֝חַטָּאִ֗ים אֵלֶ֥יךָ יָשֽׁוּבוּ׃	15b	to teach transgressors your ways, so that sinners will turn back to you.
הַצִּ֘ילֵ֤נִי מִדָּמִ֨ים ׀ אֱֽלֹהִ֗ים	16a	Deliver me from bloodshed, God, the God who saves me, [so that] my
אֱלֹהֵ֥י תְּשׁוּעָתִ֑י	16b	me from bloodshed, God, the God who saves me,
תְּרַנֵּ֥ן לְ֝שׁוֹנִ֗י צִדְקָתֶֽךָ׃	16c	tongue will shout for joy about your righteousness.
אֲ֭דֹנָי שְׂפָתַ֣י תִּפְתָּ֑ח	17a	Lord, [would you please] open my lips,
וּ֝פִ֗י יַגִּ֥יד תְּהִלָּתֶֽךָ׃	17b	you please] open my lips, so that my mouth will report praise concerning you.
כִּ֤י ׀ לֹא־תַחְפֹּ֣ץ זֶ֣בַח וְאֶתֵּ֑נָה	18a	For you do not delight in sacrifice[s], or else I would give
ע֝וֹלָ֗ה לֹ֣א תִרְצֶֽה׃	18b	you are not pleased with burnt offering[s].
זִֽבְחֵ֣י אֱלֹהִים֮ ר֪וּחַ נִשְׁבָּ֫רָ֥ה	19a	sacrifices [acceptable to] God are broken spirit[s];
לֵב־נִשְׁבָּ֥ר וְנִדְכֶּ֑ה	19b	a broken and crushed heart,
אֱ֝לֹהִ֗ים לֹ֣א תִבְזֶֽה׃	19c	God, you do not despise.
הֵיטִ֣יבָה בִ֭רְצוֹנְךָ אֶת־צִיּ֑וֹן	20a	Do good to Zion in accord with what pleases you;
תִּ֝בְנֶ֗ה חוֹמ֥וֹת יְרוּשָׁלִָֽם׃	20b	build the walls of Jerusalem.
אָ֤ז תַּחְפֹּ֣ץ זִבְחֵי־צֶ֭דֶק עוֹלָ֣ה וְכָלִ֑יל	21a	Then you will delight in right sacrifices, in burnt offering[s] and whole offering[s];
אָ֤ז יַעֲל֖וּ עַל־מִזְבַּחֲךָ֣ פָרִֽים׃	21b	you will delight in right sacrifices, in burnt offering[s] and whole offering[s]; then [people] will offer up bulls on your altar.

v. 4. For the vocalization of the ketiv הַרְבֵּה, see grammar note on v. 4 (MT qere: הֶ֭רֶב).
v. 6. For the revocalization of בְּדַבֵּרְךָ, see grammar note on v. 6 (MT: בְּדָבְרֶ֗ךָ).
v. 8. For the revocalization of וּבַסָּתֻם, see grammar note on v. 8 (MT: וּ֝בְסָתֻ֗ם).

Notes

vv. 5, 7. These are the only verses in the entire psalm where God does not appear as a participant. The textual absence of God may be iconic for his felt absence (or at least distance) due to the psalmist's sinfulness.
vv. 15, 21. If the sinners mentioned in v. 15 are the faithful of restored Israel in v. 21, then vv. 15-21 begin and end with references to Israel.
v. 16. For אֱלֹהֵי תְּשׁוּעָתִי, the entire phrase is an appellation for God, but the 1cs suffix within it refers to the psalmist.
v. 20. According to Ross (2019), Jerusalem is a metonymic reference to David himself, but this seems both unwarranted and unparalleled.

Participant Relations Diagram

The relationships among the participants may be abstracted and summarized as follows:

Participant Analysis Summary Distribution

Macrosyntax

What is Macrosyntax?

Macrosyntax Diagram

Legend

Macrosyntax legend
Vocatives	Vocatives are indicated by purple text.
Discourse marker	Discourse markers (such as כִּי, הִנֵּה, לָכֵן) are indicated by orange text.
	The scope governed by the discourse marker is indicated by a dashed orange bracket connecting the discourse marker to its scope.
	The preceding discourse grounding the discourse marker is indicated by a solid orange bracket encompassing the relevant clauses.
Subordinating conjunction	The subordinating conjunction is indicated by teal text.
	Subordination is indicated by a solid teal bracket connecting the subordinating conjunction with the clause to which it is subordinate.
Coordinating conjunction	The coordinating conjunction is indicated by blue text.
	Coordination is indicated by a solid blue line connecting the coordinating clauses.
	Coordination without an explicit conjunction is indicated by a dashed blue line connecting the coordinated clauses.
	Marked topic is indicated by a black dashed rounded rectangle around the marked words.
	The scope of the activated topic is indicated by a black dashed bracket encompassing the relevant clauses.
Marked focus or thetic sentence	Marked focus (if one constituent) or thetic sentences^[1] are indicated by bold text.
	Frame setters^[2] are indicated by a solid gray rounded rectangle around the marked words.
[blank line]	Discourse discontinuity is indicated by a blank line.
[indentation]	Syntactic subordination is indicated by indentation.
	Direct speech is indicated by a solid black rectangle surrounding all relevant clauses.
(text to elucidate the meaning of the macrosyntactic structures)	Within the CBC, any text elucidating the meaning of macrosyntax is indicated in gray text inside parentheses.

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.

(Click diagram to enlarge)

There are no notes on divisions for this psalm.

The significance of word order in Ps 51 is very difficult to determine, and bicola where both the A and B poetic lines follow the normal or "canonical" VSO word order are in the minority (vv. 6c-d, 9, 10, 16, 18, 20, 21). Ps 51 has many examples where the A line retains normal word order, but the order of the B line (or at least some of its constituents) is inverted to create a sort of chiastic parallel structure (e.g., vv. 3, 4, 11, 13, 14, 15, 19). On the other hand, when the A line does not follow canonical word order, the B line generally follows the A line in departing from the expected word order (vv. 6a-b, 7, 8, 12, 17). This creates a situation where the B lines are predominantly in non-canonical order, contrary to normal expectations. In only one case does the B line show canonical order when the A line does not (v. 5), but here the B line is a verbless clause. Buth (1992) attempts to explain all of the examples of non-canonical word order as pragmatic marking of topic and/or focus, supposing the fronted elements on inverted B lines to be marked topics that resume the most prominent focal material from the A line (and thus can be considered focus as well). But Lunn (2006) argues that these explanations are forced and do not account for the full range of permissible differences in word order in poetic texts that are stylistic in nature and do not indicate information structure. In agreement with Lunn, this pattern of inverted chiastic word order in B lines is so prominent and not obviously information structural in nature that such examples will generally be treated as poetic and stylistic rather than pragmatic.
v. 3. כְּרֹ֥ב רַ֝חֲמֶ֗יךָ is fronted to create an inverted sequence of adverbials and verbs in a sort of chiasm (so Lunn), rather than for any information structural reason (contra Buth).
v. 4. The adverb הַרְבֵּה is fronted for marked focus, emphasizing the extent of the desired cleansing (so Buth). Lunn treats it as a verb in canonical order (see grammatical note on Ketiv/Qere reading). מֵחַטָּאתִ֥י is fronted to create an inverted sequence of adverbials and verbs in a sort of chiasm (so Lunn), rather than for any information structural reason (contra Buth).
v. 5. The פְ֭שָׁעַי, which has been mentioned in the previous discourse, is fronted to indicate a topic shift (so Buth), where the following verses expound on the psalmist's sin. אֲנִ֣י is grammatically unnecessary, but does fill out the length of the A line nicely. Buth (1992, 90) makes a plausible case that it is fronted for marked focus, stressing the psalmist's person in this verse in anticipation of a contrast with לְךָ֤ לְבַדְּךָ֨ in the following verse. Furthermore, since the imperatives in vv. 3-4 presuppose God's knowledge of David's sin, the אֲנִ֣י adds that David also is aware of his own sin (an indirect confession), thus serving as adequate grounds for imperatives.
v. 6. The adverbial phrase לְךָ֤ לְבַדְּךָ֨ has been fronted for marked focus (so Buth), highlighting that the psalmist's sin was against God himself. While this is often understood as a hyperbolic statement that the sin is against God only, it may rather be better read as against God especially with an emphasis on the gravity of sinning against one as high as God himself. The phrase הָרַ֥ע בְּעֵינֶ֗יךָ is similarly marked focus, stressing that the psalmist's deeds were evil in God's sight, rather than acceptable. Buth treats הָרַ֥ע בְּעֵינֶ֗יךָ as topic that repeats the salient information from 6a, but semantically it cannot be considered a repetition of לְךָ֤ לְבַדְּךָ֨, and the verb עָ֫שִׂ֥יתִי is too light to serve as the only focal content of the clause. The fronting of constituents in both lines may increase the prominence of the verse and support the idea of a paragraph division here.
v. 7. בְּעָו֥וֹן is fronted for marked focus, correcting the possible presupposition that David was born in innocence. The בְחֵ֗טְא is fronted on the pattern of בְּעָו֥וֹן and may be marked focus (contra Buth, who prefers topic), adding another description of the sinful state in which the psalmist was conceived/born.
v. 8. The אֱ֭מֶת is fronted for marked focus, contrasting what God desires with what the psalmist has done (so Buth). The phrase וּבַסָתֻם is fronted for marked topic (so Buth), indicating the shift in topic from the God who desires faithfulness to the location where the psalmist hopes to be instructed. The fronting of חָכְמָ֥ה is for marked focus (so Buth), stressing that wisdom is what the psalmist hopes to be instructed in. The word order also creates an inverted poetic pattern.
v. 9. The מִשֶּׁ֥לֶג is fronted to create a closely parallel poetic sequence in v. 9 with the adverbials in the middle of the verbs, rather than for any information structural reason (e.g., indicating the full extent to which the psalmist will be made white) (contra Lunn).
v. 11. The phrase כָל־עֲוֺ֖נֹתַ֣י is fronted to create an inverted poetic sequence in a sort of chiasm (so Lunn), rather than for any information structural reason (contra Buth).
vv.12-14. The three-fold fronting of רוח in this verse may possibly be taken as marking a discourse peak.
v. 12. The phrases לֵ֣ב טָ֭הוֹר and ר֥וּחַ נָ֝כ֗וֹן are fronted for marked focus, indicating what should be created and renewed respectively. Buth (1992, 90) takes the former as marked topic, defaulting to the less salient topic over focus when both seem possible. The fronting of constituents in both lines may increase the prominence of the verse and support the idea of a paragraph division here.
v. 13. The phrase ר֥וּחַ קָ֝דְשְׁךָ֗ is fronted to create an inverted poetic sequence in a sort of chiasm (so Lunn), rather than for any information structural reason (contra Buth).
v. 14. The phrase ר֖וּחַ נְדִיבָ֣ה is fronted to create an inverted poetic sequence in a sort of chiasm (so Lunn), rather than for any information structural reason (contra Buth).
v. 15. The אֵלֶ֥יךָ may be placed before the verb to create an inverted poetic sequence in a sort of chiasm (so Lunn), rather than for any information structural reason (contra Buth).
v. 18. The ע֝וֹלָ֗ה is fronted to create an inverted sequence of verbs and objects in a sort of chiasm (so Lunn), rather than for any information structural reason (contra Buth).
v. 19. The phrase לֵב־נִשְׁבָּ֥ר וְנִדְכֶּ֑ה is fronted to create an inverted poetic sequence in a sort of chiasm (so Lunn), rather than for any information structural reason (contra Buth). This chiastic structure is further supported by the clause-medial vocatives and the phonetic correspondence between זִבְחִי and תִבְזֶֽה.

v. 3. The clause-medial vocative אֱלֹהִ֣ים introduces God as the addressee and may serve to focus the preceding חָנֵּ֣נִי (cf. Miller 2010, 357).
v. 12. The post-clausal vocative אֱלֹהִ֑ים helps delimit the poetic lines (cf. Miller 2010, 360-363), and it repeats the addressee after a long section where the addressee is left implied, possibly resuming it for a new section of the psalm.
v. 16. The post-clausal אֱֽלֹהִ֗ים אֱלֹהֵ֥י תְּשׁוּעָתִ֑י helps delimit the poetic lines, which is true even if אֱלֹהֵ֥י תְּשׁוּעָתִ֑י is its own line as part of a tricolon (cf. Miller 2010, 360-363). In conjunction with a return to directive verbal forms, it also repeats the addressee after several verses where the addressee is left implied.
v. 17. The pre-clausal vocative אֲ֭דֹנָי grabs the attention of the addressee and makes explicit that the Lord is the subject of the following verbs (cf. Kim 2022, 213-217). This avoids ambiguity by clearly marking the resumption of 2ms forms after this pattern has been interrupted by a 3fs verb in the previous line. The vocative could also be understood as a marker of a new section, but thematic continuities make this difficult to accept.
v. 17. The שְׂפָתַ֣י is fronted for marked topic to indicate that the psalmist is shifting to talking about a new oral body part with which to praise God. Buth (1992, 90) similarly takes this as topic, defaulting to the less salient topic over focus when both seem possible. The פִ֗י is fronted for marked topic, indicating that the following clause relates to the action of the mouth. Fronting of constituents in two consecutive lines in vv. 6 and 12 have been interpreted as beginning new sections, but this is thematically difficult to argue for v. 17.
v. 19. The clause-medial אֱ֝לֹהִ֗ים in v. 19b may simply be part of the inverted sequence in the b-line corresponding the אֱלֹהִים֮ in the a-line.

vv. 7–8. The mirative particle הֵן is placed at the beginning of both verses 7 and 8. These particles call God (the addressee) to pay attention to the confession (v. 7) and prepare him to receive the plea (vv. 9–14) by pointing out both God's and the psalmist's commensurate desires for inner wisdom and faithfulness. A similar repetition of discourse particles is also found at the end of the psalm (v. 21). The combination of mirative particles and vocatives justifies treating these verses as a separate paragraph macrosyntactically, even though semantically they seem closely related to what precedes (and potentially what follows).
v. 18. The כִּ֤י functions as discourse particle introducing the entire description of the psalmist's sacrifice in vv. 18–19; for discourse כי, see Locatell 2017. A close causal connection between vv. 17-18 would be difficult to argue, since it is not clear why God's lack of desire for sacrifice should be the reason for the psalmist's praise. The reasoning only becomes clear with the self-offering in v. 19, which then connects back to vv. 12-14. Thus, the causal relationship seems to have a larger scope than only vv. 17-18.
v. 21. The discourse particle אָז is placed at the beginning of both lines in v. 21. These repeated temporal deictics emphatically point to the futurity of the restoration that is envisioned in these verses (as opposed to the psalmist's contemporary present), and may also hint that these future offerings are the logical result of the prospering of Zion. A similar repetition of discourse particles is also found at the end of the confession (vv. 5–8).

v. 5. Based on the thematic similarities of vv. 5-6 as confessions, one could argue that the כִּֽי here functions as a discourse particle introducing the entire section of confession in vv. 5–6 (possibly also vv. 7–8). However, in poetic structure we noted a concluding repetition that more closely bound v. 5 to vv. 3-4. The double fronting in v. 6 may also be an indication that a new section begins with v. 6.
v. 9. The conjunctions ו in this verse are syntactically coordinating, but indicate a semantics of purpose/result.
v. 15. The conjunction ו in this verse is syntactically coordinating, but indicates a semantics of purpose/result.
v. 17. The conjunction ו in this verse is syntactically coordinating, but indicates a semantics of purpose/result.

Speech Act Analysis

What is Speech Act Analysis?

The Speech Act layer presents the text in terms of what it does, following the findings of Speech Act Theory. It builds on the recognition that there is more to communication than the exchange of propositions. Speech act analysis is particularly important when communicating cross-culturally, and lack of understanding can lead to serious misunderstandings, since the ways languages and cultures perform speech acts varies widely.

For a detailed explanation of our method, see the Speech Act Analysis Creator Guidelines.

Summary Visual
Analysis Chart

Summary Visual

Speaker	Verses	Macro Speech Acts		Addressee

Psalmist /David	v. 1 For the music director. A psalm. By David.	Superscription (vv. 1–2)		God
	v. 2 When Nathan the prophet came to him, when he had had sexual intercourse with Bathsheba.	Superscription (vv. 1–2)

	v. 3 Show mercy to me, God, according to your loyalty; according to your abundant compassion wipe away my transgressions.	PLEA FOR CLEANSING (vv. 3–11)
	v. 4 Wash me thoroughly from my iniquity, and cleanse me from my sin,	Wash me thoroughly from my iniquity!
	v. 5 because I am [continually] aware of my transgressions, and my sin is constantly in front of me.		Confession Against you alone I have sinned.
	v. 6 Against you alone I have sinned, and I have done what is evil in your eyes, such that you are in the right whenever you speak, [and such that] you are faultless whenever you judge.
	v. 7 Look, I was born in iniquity, and in guilt my mother conceived me.
	v. 8 Look, you desire truth in the covered places, and you make me know wisdom in the closed-off place.
	v. 9 [Would you please] purify me with hyssop, so that I will be clean; [would you please] wash me, so that I will be whiter than snow.
	v. 10 [Would you please] make me hear gladness and joy; [so that] the bones that you have crushed might rejoice.
	v. 11 Hide your face from my sins, and wipe away all my iniquities.

	v. 12 Create a clean heart for me, God, and renew a steadfast spirit within me.	PLEA FOR SPIRITUAL TRANSFORMATION (vv. 12–17)
	v. 13 Do not cast me away from before you, and do not take your holy spirit away from me.	Create a clean heart for me, God!
	v. 14 Restore to me the gladness that results from your salvation, and [would you please] support me with a willing spirit.		Supporting statements I intend to teach transgressors your ways.
	v. 15 I intend to teach transgressors your ways, so that sinners will turn back to you.
	v. 16 Deliver me from bloodshed, God, the God who saves me, [so that] my tongue will shout for joy about your righteousness.
	v. 17 Lord, [would you please] open my lips, so that my mouth will report praise concerning you.

	v. 18 For you do not delight in sacrifice[s], or else I would give [them]; you are not pleased with burnt offering[s].	PLEA FOR NATIONAL RESTORATION (vv. 18–21)
	v. 19 The sacrifices [acceptable to] God are broken spirit[s]; a broken and crushed heart, God, you do not despise.	Do good to Zion!
	v. 20 Do good to Zion in accord with what pleases you; [would you please] build the walls of Jerusalem.		Supporting statement The sacrifices (acceptable to) God are broken spirit(s) You will delight in right sacrifices
	v. 21 Then you will delight in right sacrifices, in burnt offering[s] and whole offering[s]; then [people] will offer up bulls on your altar.

Speech Act Analysis Chart

The following chart is scrollable (left/right; up/down).

Legend

Verse	Hebrew	CBC	Sentence type	Illocution (general)	Illocution with context	Macro speech act	Intended perlocution (Think)	Intended perlocution (Feel)	Intended perlocution (Do)
Verse number and poetic line	Hebrew text	English translation	Declarative, Imperative, or Interrogative Indirect Speech Act: Mismatch between sentence type and illocution type	Assertive, Directive, Expressive, Commissive, or Declaratory Indirect Speech Act: Mismatch between sentence type and illocution type	More specific illocution type with paraphrased context	Illocutionary intent (i.e. communicative purpose) of larger sections of discourse These align with the "Speech Act Summary" headings	What the speaker intends for the address to think	What the speaker intends for the address to feel	What the speaker intends for the address to do

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.

Verse	Text (Hebrew)	Text (CBC) The Close-but-clear translation (CBC) exists to provide a window into the Hebrew text according to how we understand its syntax and word-to-phrase-level semantics. It is designed to be "close" to the Hebrew, while still being "clear." Specifically, the CBC encapsulates and reflects the following layers of analysis: grammar, lexical semantics, phrase-level semantics, and verbal semantics. It does not reflect our analysis of the discourse or of poetics. It is not intended to be used as a stand-alone translation or base text, but as a supplement to Layer-by-Layer materials to help users make full use of these resources.	Sentence type	Illocution (general)	Illocution with context	Macro speech act		Intended perlocution (Think)	Intended perlocution (Feel)	Intended perlocution (Do)	Speech Act Notes
1	לַמְנַצֵּ֗חַ מִזְמ֥וֹר לְדָוִֽד׃	For the music director. A psalm. By David.	Superscription
2	בְּֽבוֹא־אֵ֭לָיו נָתָ֣ן הַנָּבִ֑יא	When Nathan the prophet came to him,
	כַּֽאֲשֶׁר־בָּ֝֗א אֶל־בַּת־שָֽׁבַע׃	when he had had sexual intercourse with Bathsheba.
3	חָנֵּ֣נִי אֱלֹהִ֣ים כְּחַסְדֶּ֑ךָ	Show mercy to me, God, according to your loyalty;	Imperative	Directive	Requesting mercy	Pleading for cleansing	Pleading for cleansing	God will acknowledge David's desire for cleansing	God will feel compassion towards David	God will cleanse David from sin
	כְּרֹ֥ב רַ֝חֲמֶ֗יךָ מְחֵ֣ה פְשָׁעָֽי׃	according to your abundant compassion wipe away my transgressions.	Imperative	Directive	Requesting cleansing
4	הַרְבֵּה כַּבְּסֵ֣נִי מֵעֲוֺנִ֑י	Wash me thoroughly from my iniquity,	Imperative	Directive	Requesting cleansing
	וּֽמֵחַטָּאתִ֥י טַהֲרֵֽנִי׃	and cleanse me from my sin,	Imperative	Directive	Requesting cleansing
5	כִּֽי־פְ֭שָׁעַי אֲנִ֣י אֵדָ֑ע	because I am [continually] aware of my transgressions,									• v. 5. This verse is joined with vv. 3-4 in a single compound, complex sentence with a single predominant speech act. Nevertheless, by providing the grounds for the opening plea for cleansing and expressing recognition of the psalmist's ever-present sin, v. 5 serves as implicit confession that transitions nicely into the confession proper in vv. 6-7.
	וְחַטָּאתִ֖י נֶגְדִּ֣י תָמִֽיד׃	and my sin is constantly in front of me.
6	לְךָ֤ לְבַדְּךָ֨ ׀ חָטָאתִי֮	Against you alone I have sinned,	Declarative	Assertive	Acknowledging God's right assessment of sin	Confessing sin		God will acknowledge the sincerity of David's confession	God will feel compassion towards David	God will forgive David's sin
	וְהָרַ֥ע בְּעֵינֶ֗יךָ עָ֫שִׂ֥יתִי	and I have done what is evil in your eyes,	Declarative	Assertive	Acknowledging God's right assessment of sin
	לְ֭מַעַן תִּצְדַּ֥ק בְּדָבְרֶ֗ךָ	such that you are in the right whenever you speak,	Declarative	Assertive	Acknowledging God's right assessment of sin
	תִּזְכֶּ֥ה בְשָׁפְטֶֽךָ׃	[and such that] you are faultless whenever you judge.	Declarative	Assertive	Acknowledging God's right assessment of sin
7	הֵן־בְּעָו֥וֹן חוֹלָ֑לְתִּי	Look, I was born in iniquity,	Declarative	Expressive	Lamenting sinful condition
	וּ֝בְחֵ֗טְא יֶֽחֱמַ֥תְנִי אִמִּֽי׃	and in guilt my mother conceived me.	Declarative	Expressive	Lamenting sinful condition
8	הֵן־אֱ֭מֶת חָפַ֣צְתָּ בַטֻּח֑וֹת	Look, you desire truth in the covered places,	Declarative	Assertive	Explaining that truthful self-awareness is what God desires						• v. 8. This reading understands v. 8b as a request for wisdom (see exegetical issue). As such, it serves as preparatory grounds (paralleling v. 5) for the following plea. If v. 8 is read rather as a present habitual general truth statement, then v. 8 asserts God's desire for truthful confession as grounds for acceptance of the psalmist's confession.
	וּ֝בְסָתֻ֗ם חָכְמָ֥ה תוֹדִיעֵֽנִי׃	and you make me know wisdom in the closed-off place.	Declarative	Assertive	Explaining that God desires and provides the internal wisdom to recognize personal sin
9	תְּחַטְּאֵ֣נִי בְאֵז֣וֹב וְאֶטְהָ֑ר	[Would you please] purify me with hyssop, so that I will be clean;	Imperative	Directive	Requesting cleansing	Pleading for cleansing		God will acknowledge David's desire for cleansing	God will feel compassion towards David	God will cleanse David from sin	• The use of directive yiqtols have been described here as imperative and directive, rather than as indirect speech acts, since this seems to be a modal possibility of the yiqtol, rather than a question (e.g., "Would you please?") or statement (e.g., "you will...") per se.
	תְּ֝כַבְּסֵ֗נִי וּמִשֶּׁ֥לֶג אַלְבִּֽין׃	[would you please] wash me, so that I will be whiter than snow.	Imperative	Directive	Requesting cleansing
10	תַּ֭שְׁמִיעֵנִי שָׂשׂ֣וֹן וְשִׂמְחָ֑ה	[Would you please] make me hear gladness and joy;	Imperative	Directive	Requesting joy						• The use of directive yiqtols have been described here as imperative and directive, rather than as indirect speech acts, since this seems to be a modal possibility of the yiqtol, rather than a question (e.g., "Would you please?") or statement (e.g., "you will...") per se.
	תָּ֝גֵ֗לְנָה עֲצָמ֥וֹת דִּכִּֽיתָ׃	[so that] the bones that you have crushed might rejoice.									• v. 10b. The verb תָּגֵלְנָה is here treated as semantically indicating result dependent upon v. 10a, but it could alternatively be understood syntactically as its own imperative + directive + requesting speech act.
11	הַסְתֵּ֣ר פָּ֭נֶיךָ מֵחֲטָאָ֑י	Hide your face from my sins,	Imperative	Directive	Requesting overlooking of sins
	וְֽכָל־עֲוֺ֖נֹתַ֣י מְחֵֽה	and wipe away all my iniquities.	Imperative	Directive	Requesting cleansing
12	לֵ֣ב טָ֭הוֹר בְּרָא־לִ֣י אֱלֹהִ֑ים	Create a clean heart for me, God,	Imperative	Directive	Requesting spiritual transformation	Pleading for spiritual transformation	Pleading for personal transformation	God will acknowledge David's desire for spiritual transformation	God will feel compassion towards David	God will transform David's heart
	וְר֥וּחַ נָ֝כ֗וֹן חַדֵּ֥שׁ בְּקִרְבִּֽי׃	and renew a steadfast spirit within me.	Imperative	Directive	Requesting spiritual transformation
13	אַל־תַּשְׁלִיכֵ֥נִי מִלְּפָנֶ֑יךָ	Do not cast me away from before you,	Imperative	Directive	Requesting continued presence
	וְר֥וּחַ קָ֝דְשְׁךָ֗ אַל־תִּקַּ֥ח מִמֶּֽנִּי׃	and do not take your holy spirit away from me.	Imperative	Directive	Requesting continued presence
14	הָשִׁ֣יבָה לִּ֭י שְׂשׂ֣וֹן יִשְׁעֶ֑ךָ	Restore to me the gladness that results from your salvation,	Imperative	Directive	Requesting joy
	וְר֖וּחַ נְדִיבָ֣ה תִסְמְכֵֽנִי׃	and [would you please] support me with a willing spirit.	Imperative	Directive	Requesting spiritual transformation						• The use of directive yiqtols have been described here as imperative and directive, rather than as indirect speech acts, since this seems to be a modal possibility of the yiqtol, rather than a question (e.g., "Would you please?") or statement (e.g., "you will...") per se.
15	אֲלַמְּדָ֣ה פֹשְׁעִ֣ים דְּרָכֶ֑יךָ	I intend to teach transgressors your ways,	Declarative	Commissive	Committing to instruct sinners	Vowing to instruct sinners		God will acknowledge David's heart motivation of glorifying God	God will be pleased with David's desire to glorify him	God will restore David	• v. 15a. The verb אֲלַמְּדָה "I intend to teach" is cohortative in form and understood here as a weaker commissive than yiqtol "I will teach," since it seems contingent upon the requested restoration of the psalmist and focuses on the psalmist's intention/will rather than certainty about the future. This statement of intention functions pragmatically as a vow.
	וְ֝חַטָּאִ֗ים אֵלֶ֥יךָ יָשֽׁוּבוּ׃	so that sinners will turn back to you.	Declarative	Assertive	Explaining intended results of instruction
16	הַצִּ֘ילֵ֤נִי מִדָּמִ֨ים ׀ אֱֽלֹהִ֗ים	Deliver me from bloodshed, God,	Imperative	Directive	Requesting deliverance from danger	Requesting help to praise God		God will acknowledge David's desire to praise him	God will be pleased with David's desire to praise him	God will restrain David from sin
	אֱלֹהֵ֥י תְּשׁוּעָתִ֑י	the God who saves me,
	תְּרַנֵּ֥ן לְ֝שׁוֹנִ֗י צִדְקָתֶֽךָ׃	[so that] my tongue will shout for joy about your righteousness.	Declarative	Assertive	Explaining desired results of deliverance
17	אֲ֭דֹנָי שְׂפָתַ֣י תִּפְתָּ֑ח	Lord, [would you please] open my lips,	Imperative	Directive	Requesting help to praise						• The use of directive yiqtols have been described here as imperative and directive, rather than as indirect speech acts, since this seems to be a modal possibility of the yiqtol, rather than a question (e.g., "Would you please?") or statement (e.g., "you will...") per se.
	וּ֝פִ֗י יַגִּ֥יד תְּהִלָּתֶֽךָ׃	so that my mouth will report praise concerning you.	Declarative	Assertive	Explaining intended results of request						• v. 17. While v. 17a-b could be read with v. 16c as a three-fold result. But the vocative at the beginning of v. 17a would be very disruptive on this interpretation, and it suggests rather that the psalmist is calling the Lord to pay attention to a request in v. 17a. Reading v. 17a as a directive is also the most satisfying explanation for the purpose clause in v. 17b, which seems to require something stronger than a future indicative verb in v. 17a. Thus, v. 17 continues the theme of v. 16c not by elaborating with a series of results but rather by repeating the pattern of plea plus purpose/result. The request to open the psalmist's lips in v. 17a is implicitly a call for help in parallel to v. 16a.
18	כִּ֤י ׀ לֹא־תַחְפֹּ֣ץ זֶ֣בַח	For you do not delight in sacrifice[s],	Declarative	Assertive	Explaining grounds for request for clean heart and help to praise	Acknowledging the inadequacy of sacrifices	Pleading for national restoration	God will acknowledge David's right understanding of worship	God will be pleased with David's understanding of worship	God will restore David	• v. 18a. The verb וְאֶתֵּנָה commits the psalmist to offering a sacrifice in the counter-factual situation that God desires sacrifice. One might paraphrase, "(If sacrifices were acceptable,) I would offer (them)" >> "I will not offer sacrifices, because they would not be acceptable anyways."
	וְאֶתֵּ֑נָה	or else I would give [them];	Declarative	Commissive	Hypothetically committing to offer sacrifice
	ע֝וֹלָ֗ה לֹ֣א תִרְצֶֽה׃	you are not pleased with burnt offering[s].	Declarative	Assertive	Explaining grounds for request for clean heart and help to praise
19	זִֽבְחֵ֣י אֱלֹהִים֮ ר֪וּחַ נִשְׁבָּ֫רָ֥ה	The sacrifices [acceptable to] God are broken spirit[s];	Declarative	Assertive	Explaining grounds for request for a clean heart and help to praise	Implicitly offering a broken spirit in hopes of approval		God will acknowledge David's understanding of spiritual worship	God will be pleased with David's understanding of worship	God will restore David
	לֵב־נִשְׁבָּ֥ר וְנִדְכֶּ֑ה	a broken and crushed heart,	Declarative	Assertive	Explaining grounds for request for a clean heart and help to praise
	אֱ֝לֹהִ֗ים לֹ֣א תִבְזֶֽה׃	God, you do not despise.
20	הֵיטִ֣יבָה בִ֭רְצוֹנְךָ אֶת־צִיּ֑וֹן	Do good to Zion in accord with what pleases you;	Imperative	Directive	Requesting national restoration	Pleading for national restoration		God will acknowledge David's desire to offer right sacrifices to God	God will be pleased with David's desire to worship	God will restore Jerusalem
	תִּ֝בְנֶ֗ה חוֹמ֥וֹת יְרוּשָׁלִָֽם׃	[would you please] build the walls of Jerusalem.	Imperative	Directive	Requesting national restoration						• The use of directive yiqtols have been described here as imperative and directive, rather than as indirect speech acts, since this seems to be a modal possibility of the yiqtol, rather than a question (e.g., "Would you please?") or statement (e.g., "you will...") per se.
21	אָ֤ז תַּחְפֹּ֣ץ זִבְחֵי־צֶ֭דֶק עוֹלָ֣ה וְכָלִ֑יל	Then you will delight in right sacrifices, in burnt offering[s] and whole offering[s];	Declarative	Assertive	Explaining reason for national restoration						• vv. 20-21. These verses work out the corporate application of the generalized principles established in vv. 18-19 in the form of the personal lament. God does not delight in sacrifices (alone), but only accepts a humble heart (vv. 18-19). Thus, when Israel is restored and comes with humble hearts, then their sacrifices will please God (vv. 20-21).
	אָ֤ז יַעֲל֖וּ עַל־מִזְבַּחֲךָ֣ פָרִֽים׃	then [people] will offer up bulls on your altar.	Declarative	Assertive	Explaining reason for national restoration

Emotional Analysis

What is Emotional Analysis?

This layer explores the emotional dimension of the biblical text and seeks to uncover the clues within the text itself that are part of the communicative intent of its author. The goal of this analysis is to chart the basic emotional tone and/or progression of the psalm.

For a detailed explanation of our method, see the Emotional Analysis Creator Guidelines.

Analysis
Think-Feel-Do