Psalm 51 Poetics

Psalm Overview

• Grammar
• Semantics
• Story behind the Psalm
• Discourse
• Poetics

About the Poetics Layer

Exploring the Psalms as poetry is crucial for understanding and experiencing the psalms and thus for faithfully translating them into another language. This layer is comprised of two main parts: poetic structure and poetic features. (For more information, click 'Expand' to the right.)

Poetic Structure

In poetic structure, we analyse the structure of the psalm beginning at the most basic level of the structure: the line (also known as the “colon” or “hemistich”). Then, based on the perception of patterned similarities (and on the assumption that the whole psalm is structured hierarchically), we argue for the grouping of lines into verses, verses into strophes, strophes into stanzas, etc. Because patterned similarities might be of various kinds (syntactic, semantic, pragmatic, sonic) the analysis of poetic structure draws on all of the previous layers (especially the Discourse layer).

Poetic Features

In poetic features, we identify and describe the “Top 3 Poetic Features” for each Psalm. Poetic features might include intricate patterns (e.g., chiasms), long range correspondences across the psalm, evocative uses of imagery, sound-plays, allusions to other parts of the Bible, and various other features or combinations of features. For each poetic feature, we describe both the formal aspects of the feature and the poetic effect of the feature. We assume that there is no one-to-one correspondence between a feature’s formal aspects and its effect, and that similar forms might have very different effects depending on their contexts. The effect of a poetic feature is best determined (subjectively) by a thoughtful examination of the feature against the background of the psalm’s overall message and purpose.

Poetics Visuals for Psalm 51

Poetic Structure

Poetic Macro-structure

Notes

• There is no consensus concerning the poetic structure of Psalm 51, with scholars proposing a wide variety of conflicting subdivisions (for an extensive list of proposals, see van der Lugt 2010, 97-98). This is due, in large part, because, "The poet uses so many word repetitions that on this basis alone one can find (or impute) all sorts of structures" (Fokkelman 2000, 165). The correspondence between apparent structural features and thematic movements is also often unclear. Gunkel (1926) emphasized the development of ideas within the psalm as key to its structure (so vv. 3–4|5–6.7–8|9–11.12–14|15–17.18–19 [vv. 20–21 as an addition]), which has had an important impact on subsequent analysis of the psalm (e.g., Dalglish 1962, 75-77). On the other hand, many modern scholars have prioritized poetic indications for the structure of the text. Magne (1958) and others suppose a primarily bipartite psalm (at the highest level, vv. 3-11|12-19[21]). Van der Lugt (2010, 99), however, argues that "Magne’s view regarding the organization of the verbal repetitions is not the only possible one and it does not do justice to the thematic structure of this (individual) prayer." Van der Lugt's own rhetorical analysis proposes a tripartite structure similar to Gunkel (vv. 3-8, 9-14, 15-21). The structure proposed here attempts to balance a combination of key poetic structuring devices with thematic movements, while admitting that the two are not always perfectly aligned. Our analysis is closest to Magne, except that we join v. 5 to vv. 3-4 instead of v. 6 and we incorporate vv. 20-21.
• vv. 3-11. The first half of the psalm is structurally demarcated by the chiastic repetition of מחה, כבס, חטאּּ + טהר, and ידע, as well as the frequent repetition of the root חטא (and similar sounds, as in v. 8a) and other words for wrongdoing.
• v. 5. Thematically, v. 5 could be considered part of the confession of sin that follows (vv. 6-7; so Magne joins vv. 5-6), especially if כי is understood to scope over multiple verses (e.g., vv. 5-6; see Macrosyntax). But formally, it seems to form a tight unit with vv. 3-4 (so also van der Lugt), since it repeats the final keywords for wrongdoing from vv. 3-4 in a summary pattern. V. 5 would then provide the reason for the appeal. The beginning of a new section in v. 6 could also be supported by the double fronting in v. 6a-b (see Macrosyntax) and the shift to qatal verbs. If v. 5 is joined with vv. 3-4, then the subsections of the two parts of the chiastic structure in vv. 3-11 correspond perfectly in terms of number of bicola (3+2|2+3), but then the corresponding repetitions of ידע do not occur in corresponding subsections.
• vv. 6-7. Because the chiastic structure in the first half (vv. 3-11) is perfectly balanced in terms of bicola (3+2|2+3), there is no single bicolon at the exact center of the structure. Neither does there seem to be any particular thematic prominence within the psalm as a whole for the elements near the center, such as the justice of God (v. 6c-d) or the psalmist's birth in a sinful state (v. 7). Thus, the function of the chiasm seems to be binding vv. 3-11 together as a closed unit characterized by requesting grace on the basis of confession, rather than highlighting the confession itself.
• vv. 6, 16, 21. The root צדק occurs in vv. 6, 16, and 21 and helps tie the two halves of the psalm together. Vv. 6 and 16 both occur towards the middle of their respective halves of the psalm, while v. 21 concludes the psalm. The effect is to tie the two halves together by emphasizing that--though the psalmist is sinful (vv. 3-11)--God is righteous and expects righteousness from his people.
• v. 6c. The unexpected qal infinitive בְּדָבְרֶ֗ךָ (read as a piel infinitive in the grammar layer) appears to have been assimilated to the sound pattern of the following בְשָׁפְטֶֽךָ for poetic affect, though it is not clear whether this was originally intended by the poet or an innovation of the later reading tradition.
• vv. 10-14. The inverted repetition of ששון and פנים in vv. 10-11 and vv. 13-14 are intriguing, but seems subordinated to the primary bipartite structure of the psalm. Perhaps these repetitions serve to bind the two halves of the psalm and focus on v. 12, which is often perceived as the structural and rhetorical center of the psalm.
• vv. 12-19. (Most of) the second half of the psalm is bound by an inverted repetition of לב and רוח that functions as an inclusio encompassing vv. 12-19, which reinforces these terms as key to the thematic movements in the second half of the psalm.
• vv. 12-14. The three-fold fronted repetition of רוח (see Macrosyntax) may perhaps be taken as an indication of a discourse peak.
• v. 12. Despite proposing a tripartite structure of the psalm, van der Lugt (2010, 96) argues that "a caesura between vv. 11 and 12 divides the poem into two equal halves" and supposes v. 12 to be the "pivotal cola" in the middle of the psalm and also its "rhetorical centre." Similarly, Fokkelman (165) calls it the "center of the message" with regards to contents. If the poetic structure is viewed as bipartite as in our preferred analysis, this claim may find further support. V. 12 nicely blends the appeal for cleansing (cf. the repetition of טהר, which is also in vv. 4 and 9) from sin that characterizes the first half of the psalm with the appeal for spiritual restoration that characterizes the latter half. The reintroduction of the vocative אֱלֹהִ֑ים (last mentioned in v. 3 at the start of the first section) also supports the beginning of a new section here, as may the marked word order of both lines in v. 12 (see Macrosyntax).
• vv. 15-17. In this section, the first word begins with א and the last word begins with ת, the first and last letters of the alphabet respectively. Similarly, the two words in the middle of the unexpected tricolon in the middle of the section also begin with א and ת. Such alphabetic plays are characteristic of didactic poetry, so it is perhaps not coincidental to find such features here in this section where the psalmist focuses on his teaching role.
• vv. 20-21. Though the majority of commentators take vv. 20-21 as a secondary addition to the main body of the psalm (see Psalm 51:20-21 and the Story Behind Psalm 51), Fokkelman (2000) and van der Lugt (2010) join them with vv. 18-19 in the final major section of the psalm. Whether secondary or not, vv. 20-21 were clearly written to be read with vv. 18-19, given their clusters of repeated vocabulary. With the possible exception of חפץ (cf. v. 8), however, the repetitions in vv. 20-21 do not suggest a particularly close connection with other parts of the psalm. Vv. 20-21 are located outside the inclusio of לב and רוח that bind vv. 12-19, as well as the repetition of דכה that is found near the ends of both halves of the psalm (vv. 10, 19). In this context, vv. 20-21 envision collective restoration as an extension of the personal restoration envisioned in vv. 12-19.

Line Division

• v. 4. For the vocalization of the ketiv הַרְבֵּה, see grammar note on v. 5 (MT qere: הֶ֭רֶב).
• v. 6. For the revocalization of בְּדַבֵּרְךָ, see grammar note on v. 6; MT:
• v. 8. For the revocalization of וּבַסָּתֻם, see grammar note on v. 8 (MT: וּ֝בְסָתֻ֗ם).

Notes

• Clear cases of enjambment across bicola include: vv. 4-5 and v. 6.
• v. 6c-d. While the Masoretic accents do not clearly indicate a minor break here, the graphic layout of the Aleppo could suggest this. With G, the parallel structure of the lines seems to require a subdivision of this verse here (so also van der Lugt).
• v. 16. The poetic position of אֱלֹהֵ֥י תְּשׁוּעָתִ֑י is difficult. The Masoretic accents suggest a minor break between אֱלֹהֵ֥י תְּשׁוּעָתִ֑י and הַצִּ֘ילֵ֤נִי מִדָּמִ֨ים׀ אֱֽלֹהִ֗ים, which is also graphically indicated in the layout in Sassoon 1053. On the other hand, the Aleppo codex and G join them graphically into a single line. The appositional phrase throws off the balance of lines (5:3) if joined to v. 16a, which would be by far the longest line in the psalm by syllable count. If this line originally read יהוה אֱלֹהֵ֥י תְּשׁוּעָתִ֑י before the Elohistic redaction, then the line may have been slightly shorter in terms of syllable count, but still longer than expected. If אֱלֹהֵ֥י תְּשׁוּעָתִ֑י is treated as a separate poetic line as here, then this would be one of only a few possible cases of a tricolon in this psalm, which everywhere else consists of clear bicola. Van der Lugt separates אֱלֹהֵ֥י תְּשׁוּעָתִ֑י as its own half-line, plausibly joining v. 16c with v.17a-b as a tricolon, which seems difficult with the intervening vocative אֲ֭דֹנָי. A similar question arises with the analysis of the appositional עוֹלָ֣ה וְכָלִ֑יל in v. 21a and the long line in v. 19b-c.
• v. 18a. The MT accents and pausal form (and the graphic layout of the Aleppo codex, Sassoon 1053, and G) read וְאֶתֵּ֑נָה with v. 18a (so also van der Lugt). Some modern translations read וְאֶתְּנָה with v. 18b (e.g., NRSV), which may yield somewhat better line balance. If וְאֶתֵּ֑נָה is read with v. 18a, the lines are somewhat imbalanced with 4:3 prosodic words, but only if לֹא־תַחְפֹּ֣ץ is read as one prosodic word and לֹ֣א תִרְצֶֽה as two with the MT (inconsistently). If these two phrases are treated similarly, then we would have either a 4:2 or 5:3 imbalance in terms of prosodic words, which seems unexpected and potentially problematic given the established patterns in the psalm. If the non-pausal וְאֶתְּנָה is read with v. 18b yields and לֹ֣א תִרְצֶֽה is read as one prosodic unit as is לֹא־תַחְפֹּ֣ץ in v. 18a, then the verse would have a perfect 3:3 balance. Nevertheless, by syllable count, the imbalance is minimal, and both כִּ֤י ׀ לֹא־תַחְפֹּ֣ץ זֶ֣בַח (consisting of 5 or 6 syllables) and ע֝וֹלָ֗ה לֹ֣א תִרְצֶֽה (consisting of 5 syllables) are roughly the same, in which case וְאֶתְּנָה could go with either line. Thus, in this case, the argument from line balance does not seem compelling enough to outweigh the strong consensus of the reading tradition.
• v. 19b-c. After v. 16a-b (and similar to v. 21a), לֵב־נִשְׁבָּ֥ר וְנִדְכֶּ֑ה אֱ֝לֹהִ֗ים לֹ֣א תִבְזֶֽה would be the longest line in the psalm in terms of syllable count. Thus, the Masoretes have broken this string up into two parts with the atnach accent, yielding an unusual tricolon (cf. v. 16; so also van der Lugt). This minor division also appears to be indicated in the graphic layout of the Aleppo Codex. In contrast, G reads v. 19b-c as a single poetic line. Breaking v. 19b-c apart works very well metrically, but creates an awkward semantic break with poetic enjambment. Van der Lugt alternatively suggests that נִשְׁבָּ֥ר וְ could be omitted on quantitative grounds, leaving a bicolon (96).
• vv. 20-21. These lines are notably longer than the average line length throughout vv. 1-19, both in terms of prosidic words and syllable counts (so also van der Lugt). This could be considered support for interpreting these lines as secondary to the main body of the psalm, but such need not be the case. This tension would be somewhat alleviated if עוֹלָ֣ה וְכָלִ֑יל were read as the second line of a tricolon with G, against the MT division. For the similar breaking of long lines, see. vv. 16 and 19.

Poetic Features

1. Complete Confession

Feature

The first half of the psalm (vv. 3-11) is bound together by a chiasm with the inverted repetition of the key words מחה, כבס, חטא+טהר, and ידע. Furthermore, the key words given in the A lines in vv. 3-6 are repeated in the B lines in vv. 7-11.

The central part of this section is less obviously chiastic, since the keyword repetition does not continue as distinctly in the central section of vv. 6-7. Nevertheless, vv. 5b, 6a, and 7b use the root חטא, and v. 6b uses the word עין "eye" which is graphically/orally similar to the word עון "iniquity" in 7a. Sometimes v. 6 (or part thereof, especially 6c-d, which is the center of vv. 6-7) is identified as the center of the chiasm. Quantitatively, however, there is no central verse. Instead, the chiasm is divided into two equal parts with five bicola each.

The central vv. 6-7 are relatively prominent in the first half. Not only are they focused in the chiasm, but they also are among the most emotionally charged and hyperbolic verses in the entire psalm.

Effect

The primary effects of this chiasm are to tie vv. 3-11 closely together as a coherent poetic unit and to highlight the central emotional peak of the psalm in vv. 6-8. This unit is characterized by corresponding pleas for cleansing at the beginning and end of the section, with a central confession providing the grounds for the pleas.

Plea (vv. 3-5)

 Confession (v. 6)

 Confession (vv. 7-8)

Plea (vv. 9-11)

The chiasm gives the impression of a complete plea for cleansing that is well-grounded in honest confession (see especially v. 8). It is as if the psalmist has iconically presented the perfection of his confession and plea by encapsulating it in a complete structural form. He has done everything he can to confess his sins and ask God for cleansing, and now it is in God's hands whether and how to answer.

The psalmist begins with a desperate plea (vv. 3-5). Then he moves into the central (and structurally prominent) part of the chiasm (vv. 6-7), which consists of a vivid confession that admits the sin (v. 6a-b), recognizes the righteousness of God's judgment (v. 6c-d), and expresses in hyperbolic terms the overwhelming pervasiveness of the sin (vv. 5, 7). Because of the emotional and hyperbolic language, as well as the mirative particle הן, vv. 6-8 can be understand as the emotional peak of the psalm, in contrast to the main discourse/thematic peak in vv. 12-14. The concluding plea (vv. 9-11) repeats the elements of the initial plea in reverse order, bringing the whole section to a close, suggesting denouement and resolution on the part of the psalmist. Vv. 9-10 also begin to emphasize positive states envisioned for the future in anticipation of later developments in the psalm. Thus, vv. 9-11 reflect a lowering level of emotional intensity before the major turning point in v. 12.

2. Iconic Removal of Sin

Feature

The first part of the psalm (vv. 3-11) is replete with lexical repetitions of words for wrongdoing, including פשע, עון, חטא(ה), and רע. On the other hand, none of these roots occur in the second half of the psalm (vv. 12-21) except in vv. 15-16 (including דָּמִים in v. 16, for which see Verse-by-Verse notes), where they refer not to the psalmist, but other sinners who will need cleansing in the hypothetical future.

Effect

The effect of this poetic feature is to iconically represent the removal of the psalmist's sin. In the first half of the psalm (vv. 3-11), the psalmist is overwhelmed by the pervasiveness of his sin. But in the second half of the psalm (vv. 12-21) he never mentions his personal sin again. It is as if the psalmist's plea for cleansing has been effective. The psalmist overcomes his overwhelming feelings of guilt and begins to anticipate a more hopeful future as a pure worshipper.

3. From Contrition to Community

Feature

The entirety of Psalm 51 is in the form of a personal lament in the mouth of an individual "I." Explicit first person self-references occur throughout the psalm up through v. 18, but there is no need to see a change of speaker anywhere in vv. 19-21. Nevertheless, starting in v. 15 and continuing to the end of the psalm, there is a marked emphasis on corporate worship. V. 15 announces the psalmist's intention to instruct a plurality of others (= "sinners") in repentance and right worship, who presumably become the restored community of Zion who offer pleasing sacrifices to God in vv. 19-21. Furthermore, vv. 16-17 express the psalmist's own desire to be able to praise the Lord audibly, presumably also in the context of a gathering for corporate worship. The context of joyful corporate worship may already be anticipated by the reference to "hearing" gladness and joy in v. 10, which seems to imply the presence of joyful others. With the possible exception of v. 10, the individual and corporate words overlap only in vv. 15-18.

Effect

The effect of this poetic feature is to bring out the corporate ramifications for the restoration of the individual requested in vv. 12-14. The distribution of first person and plural references iconically represents the transition from the concerns of the individual to those of the community, as the individual instructs the community and then gradually fades into the background of communal worship that is pleasing to God.

Up until v. 15, the psalmist is entirely inwardly self-focused, dwelling on his internal wrestling with sin and desire for personal spiritual transformation. But v. 15 signals a shift towards a new, outward-looking orientation, where the psalmist is interested in praising God and leading others to repentance and right worship. Vv. 15-17 introduce this shift by expressing the psalmist's desire to praise God and instruct sinners. Vv. 18-19 establish the right posture for pleasing spiritual worship, which the psalmist hopes to exemplify and teach to the sinners mentioned in v. 15. And vv. 20-21 conclude the psalm with a plea for collective restoration so that others will put into practice the lessons learned and offer right sacrifices that are pleasing to God.

The right (communal) worship referred to in vv. 15-21 is presented as a powerful motivation for God to act on behalf of the psalmist, but also reflects the psalmist's developing thought and shifting focus from the self towards others, especially God himself who deserves the worship and praise. If the psalmist is functioning as a leader of the people, then corporate restoration may even have been a major motivating principle from the start, rather than an afterthought.

4. From Cleansing Sin to Restoring the Spirit

Feature

The first half of the psalm (vv. 3-11) is thematically dominated by pleas for cleansing from sin, picturing sin and guilt as something negative that needs to be removed. The center of this section is an emotionally charged and hyperbolic confession and lament about the overwhelming pervasiveness of the psalmist's sin and the righteousness of God's judgment that heightens the need for cleansing (vv. 6-8).

The psalm pivots at v. 12, which is at the center of the psalm both positionally and rhetorically (so also Fokkelman 2000, 165; Labuschagne 2008, observation 1; Van der Lugt 2010, 96). V. 12 is at or near the midpoint of the psalm and is the start of the second major structural division of the psalm (vv. 12-17) and the transition point where sin is iconically removed. V. 12 begins with fronted focal elements in both the A and B lines. Finally, the threefold fronted repetition of רוח in the B lines of vv. 12-14 indicates a marked prominence for these verses, which could be considered the thematic peak of the discourse with v. 12 as the key pivot point.

V. 12 prompts a shift from a focus on cleansing of sin to a focus on creating new and positive states and events throughout the second half of the psalm (vv. 12-21). V. 12 restates the psalmist's desire for purity, but does so by positively reframing the plea as a request for God to create a new heart and spirit (both boxed in blue) for him. Vv. 13-14 further stress the need for "spirit" by emphasizing God's holy spirit and the psalmist's willing spirit as necessary for the desired restoration. The rest of vv. 12-21 are dominated by positive references to anticipated good states, emotions, and actions. This is anticipated already by two features. First, v. 9 anticipates purity as a future positive state resulting from cleansing, even though purity remains within the semantic domain of cleansing (boxed in red). Second, the request for joy in v. 10, together with a corresponding request for joy in v. 14 that envelops vv. 11-13, serves to further put the focus on v. 12 as the major pivot point.

Effect

The effect of this poetic feature is to highlight a major reorientation in the psalmist as the psalm progresses. This reorientation is emphatically marked by the discourse peak of vv. 12-14, which is the turning point in the whole psalm and introduces the crucial theme of the restored heart and spirit that is so essential for both personal and collective restoration.

At first the psalmist is totally consumed with dealing with his sin and having it removed. With that sufficiently addressed, the psalmist is prepared to look ahead hopefully to a more positive future where God creates something new and good. The first half is essentially subtractive and negative in orientation, while the second half is additive and positive. In the first half, the psalmist is largely a passive patient in the act of expiation, whereas in the second half the psalmist takes on a more active role as co-agent with God as part of a process of restoration and spiritual transformation into a right worshipper. All of this is accomplished through the repeated theme of the spirit, whereby the psalmist's spirit is made steadfast and willing by God's empowering holy spirit and is, therefore, made into the type of spirit that is acceptable to God (v. 19).

Repeated Roots

(For more information, click "Repeated Roots Legend" below.)

Repeated Roots Legend

Repeated Roots legend
Divine name	The divine name is indicated by purple text.
	Roots occurring only in the first half of the psalm are indicated in a green box.
	Roots occurring only on the second half of the psalm are indicated in a blue box.
	Roots occurring in both halves of the psalm are indicated in a black box.
	Roots connected across sections are indicated by a vertical black line connecting the roots.
	The Mid-point for the repeated roots is indicated by a horizontal black line across the chart.

Notes

• Over the course of the whole psalm, repeated roots give more of an impression of a cascading effect than of symmetry, chiasm, or inclusio.
• From v. 10a, a large number of new repeated roots begin occurring that are found only in the second half of the psalm.
• A certain (imperfect) symmetry may be discernible centered around the break between vv. 7b and 8a, with many of the same roots repeated in an inverted fashion. This pattern may extend until v. 12b, which then crosses over the dividing line observed in v. 10a.
• Vv. 20–21 do not evidence inclusio with the beginning of the psalm, but do continue the cascading pattern of the psalm well and are closely tied to vv. 18–19 with repeated roots.
• The divine name אֱלֹהִים is used throughout the psalm, as is expected in the Elohistic Psalter.

Bibilography

Dalglish, Edward R. 1962. Psalm Fifty-One in the Light of Ancient Near Eastern Patternism. Leiden: Brill.

Fokkelman, J.P. 2000. Major Poems of the Hebrew Bible at the Interface of Prosody and Structural Analysis, Volume II: 85 Psalms and Job 4-14. Assen: Van Gorcum.

Gunkel, Hermann. 1926. Die Psalmen. HKAT II.2. Göttingen: Vandenhoeck & Ruprecht.

Magne, Jean. 1958. "Répétition de mots et exégèse dans quelques Psaumes et le Pater." Biblica 39: 177–97.

Van der Lugt, Pieter. 2010. Cantos and Strophes in Biblical Hebrew Poetry II: Psalms 42-89. OtSt 57. Leiden: Brill.