Psalm 6/Full

Phonology

Consonants

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
guttural + sonorant/sibilant	אַל (v.2ab), חָנֵּ֥נִי (v.3a), אֻמְלַ֫ל אָ֥נִי (v.3b), רְפָאֵ֥נִי (v.3c), עֲצָמָֽי (v.3d), חַלְּצָ֣ה (v.4a), ה֜וֹשִׁיעֵ֗נִי לְמַ֣עַן (v.4c), אֵ֣ין (v.6a), בְּֽאַנְחָתִ֗י (v.7a), אַשְׂחֶ֣ה (v.7b), עַרְשִׂ֥י אַמְסֶֽה (v.7c), עָֽשְׁשָׁ֣ה מִכַּ֣עַס עֵינִ֑י (v.8a)	sections 1-3; especially section 3; virtually absent in section 4	highlights boundary between sections 3 and 4		The sounds guttural + sonorant/sibilant give cohesion to the first three sections of the psalm. They seem to be particularly associated with the psalmist's dire situation (vv.2-3; 7-8). Where the lament is the deepest (vv.7-8), the sounds are especially prominent. When lament gives way to confidence (section 4), the sounds disappear. The sudden shift in mood is thus accompanied by a shift in sound.
sibilant + liquid (ר)	תְיַסְּרֵֽנִי (v.2b), צוֹרְרָֽי (v.8b), ס֣וּרוּ (v.9b)	vv.8b-9a			The sharp discontinuity between sections 3 and 4 (see above table cell) is smoothed over by this point of continuity. The adjacent words (צררי – סורו) is an case of anadiplosis.

See below for a phonological overview highlighting these features.
This feature is considered relevant for this psalm.,

Infrequent letters or sounds

• ג - two times
• ז - one time
• ט - one time
• צ - three times
• ק - three times
• שׂ - two times,

Similar sounds in adjacent lines

Section 1

Section 1

• Divine name (vv.2a, 3ac, 4b)
• Alliteration of א (vv.2ab, 3bc, 4ab)
• Repetition of אל (v.2ab); also, אמלל (v.3b)
• Repetition of בּ + guttural + labial (2a: בְּאַפְּ // v.2b: בַּחֲמָ)
• Repetition of ךָ ending (v.2ab)
• Final words of 2ab begin with ת and end with ני (v.2a: תוֹכִיחֵ֑נִי // v.2b: תְיַסְּרֵֽנִי)
• Repetition of נִי ending (vv. 2ab, 3abc)
• Repetition of כִּי (v.3bd)
• Repetition of אני (v.3b: אָ֥נִי; v.3c: רְפָאֵ֥נִי)
• Repetition of נבהל (vv.3d, 4a)
• Alliteration of נ + labial (ב/פ): נבהל (vv.3d, 4a), נפשׁי (v.4a)
• Line-final words with מ (vv.3d, 4ab)
• End rhyme: עֲצָמָי (v.3d), עַד מָתַי (v.4a)
• Alliteration of guttural (א/ע) + dental (ת/ד): אֹ֑ד (4a), אַתָּ (4b), עַד (4b)

Section 2

Section 2

• End rhyme: v.5a: שׁוּבָ֣ה // v.5b: חַלְּצָ֣ה
• Repetition of שִׁי (v.5bc)
• Alliteration of guttural + נ/ן (v.5c, 6a)
• Alliteration of בּ (v.6ab)
• Alliteration of מ in accented syllable (vv.5c, 6ab)
• End rhyme v.5c, חַסְדֶּֽךָ; v.6a, זִכְרֶ֑ךָ; also, לָּֽךְ (v.6b)
• Alliteration of consonantal sounds in חלץ and שׁאול (v.5, guttural + sibilant + ל)
• Rhyme: כִּ֤י (v.6a), מִ֣י (v.6b)

Section 3

Section 3

• Alliteration of gutturals, especially ע (vv.7abc, 8ab)
• Repetition of תִּי ending (v.7a: יָגַ֤עְתִּי, בְּֽאַנְחָתִ֗י; v.7b: מִטָּתִ֑י; v.7c: בְּ֜דִמְעָתִ֗י)
• Alliteration of guttural + sonorant/sibilant (v.7a: בְּֽאַנְחָתִ֗י, v.7b: אַשְׂחֶ֣ה, v.7c: עַרְשִׂ֥י אַמְסֶֽה, v.8a: עָֽשְׁשָׁ֣ה מִכַּ֣עַס עֵינִ֑י)
• Repetition of ב (vv.7abc, 8b)
• "The initial noun of this third line of the tricolon בדמעתי ֝ phonologically reflects the final באנחתי of 6a."
• Rhyme, alliteration, assonance (v.7b: אַשְׂחֶ֣ה // v.7c אַמְסֶֽה)
• Alliteration of בכל + liquids: בְכָל־לַ֭יְלָה (vv.7b), בְּכָל־צוֹרְרָֽי (v.8b)
• Alliteration of מ + dental + תִּי ending: מִטָּתִ֑י (v.7b) // בְּ֜דִמְעָתִ֗י (v.7c)
• Phonological chiasm: a אַשְׂחֶ֣ה b מִטָּתִ֑י // b’ בְּ֜דִמְעָתִ֗י a’ אַמְסֶֽה
• "Note the rhyme of the initial verbs in this bicolon": v.8a עָֽשְׁשָׁ֣ה, v.8b עָֽ֜תְקָ֗ה
• Alliteration of velars: v.8a מִכַּ֣עַס; v.8b עָֽ֜תְקָ֗ה
• “The alliterative noun צוֹרְרָֽי complements the alliterative verb עָֽשְׁשָׁ֣ה at the beginning of v. 7.”
• The last verb of section 3 (עתקה) sounds similar to the first verb (יגעתי). Both have guttural + velar + dental.

Section 4

Section 4

• Repetition of ִי ending: מִ֭מֶּנִּי (v.9a), בִּכְיִֽי (v.9b), תְּחִנָּתִ֑י (v.10a), תְּֽפִלָּתִ֥י (v.10b)
• Alliteration of velar (כ/ק) + ל (v.9a: כָּל // v.9b: ק֣וֹל; v.11a: כָּל)
• Repetition of שׁמע יהוה (vv.9b, 10a)
• Rhyme (alliteration and assonance) in תְּחִנָּתִ֑י (v.10a) and תְּֽפִלָּתִ֥י (v.10b)
• Alliteration of velar (ק/ג) + guttural (ע/ח) in יִקָּֽח׃ (v.10b) and רָֽגַע׃ (v.11b); this end rhyme is parallel to that in vv.3b/4b
• Dense alliteration of י/שׁ/ב in יֵבֹ֤שׁוּ (v.11a) // יָ֜שֻׁ֗בוּ יֵבֹ֥שׁוּ (v.11b)
  • The play on בושׁ and שׁוב is used here "to denote reversal," as a number of commentators have observed. "The compound verbal expression contains a paronomasia, yāšubû yēbōšû: the reversal of the letters mirrors the reversal the words describe.” “The reiterated verb יֵבֹ֥שׁוּ accents the psalmist’s wish, “be shamed,” and forms an ironic audible pun with the hoped-for overall outcome, as expressed in the sound-alike verb יָ֜שֻׁ֗בוּ “turn” (i.e., a great reversal in fates).”,

Other observations

Phonological Overview

Rhythm and Line Length
The following table shows the length of each line in terms of syllables, words, and stress units. The highest and lowest numbers in each category are emboldened.

Ref	Syllables	Words	Stress Units
2a	11	4	3
2b	12	3	2
3a	10	5	5
3b	13	5	5
4a	8	3	3
4b	8	4	3
5a	9	4	4
5b	9	3	3
6a	7	4	4
6b	6	4	3
7a	7	2	2
7b	9	4	3
7c	8	3	3
8a	7	3	3
8b	8	3	2
9a	10	5	4
9b	8	5	4
10a	8	3	3
10b	8	3	3
11a	14	5	4
11b	7	3	3

• According to stress units, the b-line of each verse is either the same (vv.3, 4, 7bc, 9, 10) or shorter than the a-line (vv. 2, 5, 6, 8, 11).
• v.7a. The middle line (7a) is marked in terms of length. It is unusually short (7 syllables, 2 words, 2 stress units). The fact that it is 7-syllables may be significant, given the apparent significance of the number 7 in the structuring of the psalm. (See below)
• v.7ab. "An isomorphic equivalent of the length of time in suffering being referred to is reflected orally in the lexical length of the poetic line (7b)—that is, in comparison with the shorter, 'exhausted' expression of the psalmist in v.7a."
• v.11. The difference between a given a-line and its b-line in this psalm is never more than 1 word and 2 or 3 syllables. The only exception is v.11, where the a-line is longer than the b-line by 2 words and 7 syllables. The exceptional length of v.11a leads Fokkelman, following Kraus, to "desert the Masoretes here as regards the caesura and place the subject, 'all my enemies', in the B-colon," in order to achieve "a better balance of 10 + 12 syllables." Watson, also disregarding the Masoretic accents, divides the verse as a tricolon (יֵבֹ֤שׁוּ ׀ וְיִבָּהֲל֣וּ מְ֭אֹד / כָּל־אֹיְבָ֑י / יָ֝שֻׁ֗בוּ יֵבֹ֥שׁוּ רָֽגַע׃). Yet the brevity of 11b measured against 11a may be intended to highlight the swiftness (רֶגַע) with which the enemies will be shamed and thus brings the psalm to a dramatic close.

Lexical Semantics

Difficult Words

• v.1 (ss)

שִּׁמיִ֗נית – "The meaning of the Hebrew term ְשִּׁמיִ֗נית (“sheminith”) is uncertain; perhaps it refers to a particular style of music (cf. 1 Chr. 15:21)—or to an eight-stringed instrument 'Ibn Ezra is probably right when he prefers ‘on the eighth mode,’ somewhat similar to Gregorian chant.'" "The implication may be that the musical accompaniment should be on a lower or base octave (all' ottava bassa, Delitsch, Psalm I), which would be appropriate to the solemn theme of the psalm."

• v.2.

תְיַסְּרֵֽנִי – "The verb יסר suggests a didactic wisdom setting, with reference perhaps to a parent disciplining a child (cf. Prov. 3:11)." This is significant, since the Davidic king (v.1, לדוד) was considered to be God's son (Ps. 2:7; cf. 2 Sam. 7:14). See below on .

• v.3.

חָנֵּנִי – "Kurt W. Neubauer has shown in a study of this verb, חנן, that its context is always the covenant relationship and that it expresses the expectant plea of the faithful servant to his master in that relationship."

אֻמְלַל – "The verb (אמל) is consistently used in those contexts in the Old Testament in which vitality and strength and fruitfulness and hope are gone: in Jeremiah 14, to describe the effects of draught and famine; in Joel 1 to describe a locust plague; in Hosea 4:3 to picture the devastating effects of evil, and in Isaiah 24, the last apocalyptic condition of earth under curse."

רְפָאֵנִי – 'The petition "heal me" does not necessarily refer to physical healing [only] but may well include every restorative work that God does upon body and soul.'"

נִבְהְלוּ – "Normally the verb בהל refers to an emotional response and means 'tremble with fear, be terrified' (see vv.4, 11)... The verb may figuratively refer to one of the effects of his physical ailment, perhaps a fever. In Ezek. 7:27 the verb describes how the hands of the people will shake with fear when they experience the horrors of divine judgment."

• v.4.

נֶפֶשׁ – "The suffixed form of נֶפֶשׁ ('inner being') is often rendered simply as a pronoun in poetic texts, but referentially it seems to denote more than this."

• v.5.

שׁוּבָה – "Terrien proposes 'Repent!' – However, it does not seem likely that this is a 'command' or that the psalmist is 'arguing with his God.' Why not? Because of the following חַסְדֶּךָ."

• v.6.

זִכְרֶךָ – "The Hebrew noun זֵכֶר ('remembrance') here refers to the 'name' of the Lord as invoked in liturgy and praise, especially during communal worship (cf. Ps. 30:4; 97:12). '"Remember"' is more than an intellectual act of mental representation. It is an intense spiritual act of bringing to mind what God has done as a basis for gratitude (cf. 111:4)' Such deliberate remembrance could even refer to 'recounting God’s great deeds in an act of worship: cf. 71:15f.; Isaiah 63:7)'"

שְׁאוֹל – see below on

• v.11.

יֵבוֹשׁוּ – "The force of בוֹשׁ is somewhat in contrast to the primary meaning of the English, 'to be ashamed,' in that the English stresses the inner attitude, the state of mind, while the Hebrew means 'to come to shame' and stresses the sense of public disgrace, a physical state.",

References to God

Definition Feature being studied	Occurrences Sections where this feature is present or absent	Clustering	Intersection	Connections	Structure
יהוה	vv.2a, 3ac, 4b, 5a, 9a, 10ab	section 1 (vv.2-4); section 4 (vv.9-11); absent in section 3 and only once in section 2			Repetition of the tetragrammaton is dense in this psalm; Yahweh's name is used 8 times. This repetition is confined largely to the outer sections. In the middle of the psalm, as the Psalmist is on the brink of Sheol, the place where Yahweh is neither remembered nor praised (v.6ab), the divine name is no where to be found. The absence of the divine name in vv.6-8 underscores the despair of these sections, whereas the dense recursion of the name in sections 1 and 4 underlines the feelings of desperation and confidence respectively.
3rd person reference to Yahweh	vv.9b, 10ab	section 4
direct address to Yahweh	vv.2a, 3ac, 4b, 5a	section 1			"The divine vocative that opens this psalm is an early indication of its urgency and intensity."

"God is second person in the first stanza; in the second stanza he is either absent (strophe 3) or third person (strophe 4)."
This feature is considered relevant for this psalm.,

Tetragrammaton

There are no other words for God in this Psalm.,

Repeated words

Definition Feature being studied	Occurrences Sections where this feature is present or absent	Clustering	Intersection	Connections	Structure
כֹּל	בְכָל־לַ֭יְלָה (v.7b), בְּכָל־צוֹרְרָֽי (v.8b), כָּל־פֹּ֣עֲלֵי אָ֑וֶן (v.9a), כָּל־אֹיְבָ֑י (v.11a)	only in second half of the psalm
שׁוב	שׁוּבָ֣ה (v.5a), יָ֝שֻׁ֗בוּ (v.11b)			section 2 --> section 4
נפשׁ	וְ֭נַפְשִׁי (v.4a), נַפְשִׁ֑י (v.5a)	vv.4-5	cluster around sectional division		anadiplosis
נבהל	נִבְהֲל֣וּ (v.3d), נִבְהֲלָ֣ה (v.4a), וְיִבָּהֲל֣וּ (v.11a)	vv.3d-4a		The occurrences of this word as well as the sections in which it occurs (section 1 -; section 4) are connected. Τhe connection is reinforced by the cooccurrence of the adverb מאד (vv.4a, 11a). The psalmist prays for a reversal, so that the pain he experiences in body and soul (3d-4a) would afflict his enemies instead (11a). "He asks the LORD to turn the tables and cause his enemies to know what absolute dread feels like—in this case, God’s judgment inflicted upon those who unjustly attack his people.
exact word repetition in adjacent lines	שָׁמַ֥ע (vv.9b, 10a); יֵבֹ֤שׁוּ (v.11ab)	vv.9-10 (section 4)			The exact repetition of word in adjacent lines occurs only the final section and underscores the psalmist's confidence in this section. "The repetition of שָׁמַע יהוה strengthens the psalmist’s assertion of the Lord’s favorable response. God’s 'hearing' an appeal implies his immediate commitment to salutary action."This is one of many features that accompanies the distinct mood of vv.9-11.
חנן (root repetition)	חָנֵּ֥נִי (v.3a), תְּחִנָּתִ֑י (v.10a)			section 1 --> section 4	The repetition of חנן in the final section (v.10a) gives resolution to the psalm's tension; Yahweh has taken up the psalmist's plea (vv.3a, 10a)

2a		יהוה
2b
3a		יהוה	חָנֵּ֥נִי
3b
3c		יהוה
3d				נִבְהֲל֣וּ
4a				נִבְהֲלָ֣ה	וְ֭נַפְשִׁי		מְאֹ֑ד
4b		יהוה
5a		יהוה				שׁוּבָ֣ה
5b					נַפְשִׁ֑י
5c
6a
6b
7a
7b								בְכָל־לַ֭יְלָה
7c
8a
8b								בְּכָל־צוֹרְרָֽי׃
9a								כָּל־פֹּ֣עֲלֵי אָ֑וֶן
9b		יהוה							שָׁמַ֥ע
10a		יהוה	תְּחִנָּתִ֑י						שָׁמַ֥ע
10b		יהוה
11a				וְיִבָּהֲל֣וּ			מְ֭אֹד	כָּל־אֹיְבָ֑י		יֵבֹ֤שׁוּ.
11b						יָ֝שֻׁ֗בוּ				יֵבֹ֥שׁוּ

• Immediately striking in the above tabulation of repeated lexemes is the absence of lexical recursion (except for כֹּל) in the middle of the psalm (vv.6-8), particularly in section 3 (vv.7-8). This section, full of rare rather than repeated vocabulary, is thereby distinguished from the rest of the psalm.
• Lexical repetition creates connections between the beginning and ending of the psalm, particularly sections 1 and 4.

This feature is considered relevant for this psalm.,

Common word pairs

Definition Feature being studied	Occurrences Sections where this feature is present or absent	Clustering	Intersection	Connections	Structure
מות // שׁאול	v.6ab
יכח // יסר	v.2a
אף // חמה	v.2a

,

Semantically/thematically related words

Definition Feature being studied	Occurrences Sections where this feature is present or absent	Clustering	Intersection	Connections	Structure
words associated with time	עַד־מָתָֽי (v.4b), בְכָל־לַ֭יְלָה (v.7b), עָֽ֝תְקָ֗ה (v.8b), רָֽגַע (v.11b)				"The psalm’s final adverbial noun רָֽגַע ('[in a] moment') contrasts markedly and thematically with close of stanza A: עַד־מָתָֽי ('how long').
words for enemies	צוֹרְרָֽי (v.8b), כָּל־פֹּ֣עֲלֵי אָ֑וֶן (v.9a), כָּל־אֹיְבָ֑י (v.11a)				"Reference to 'all my enemies' (כָּל־אֹיְבָ֑י) in v.11a forms a stanza-bounding inclusio with 'all workers of iniquity' (כָּל־פֹּ֣עֲלֵי אָ֑וֶן) in 9a and a parallel structural 'closure' with 'all my adversaries' (כָל־צוֹרְרָֽי)."

This feature is considered relevant for this psalm.,

Rare words

Definition Feature being studied	Occurrences Sections where this feature is present or absent	Clustering	Intersection	Connections	Structure
words occurring 10 times or less	אֻמְלַ֫ל (v.3b), אַשְׂחֶ֣ה (v.7b), עַרְשִׂ֥י (v.7c), אַמְסֶֽה (v.7c), עָֽשְׁשָׁ֣ה (v.8a), עָֽ֝תְקָ֗ה (v.8b)	section 3 (vv.7-8)			The clustering of rare words in the third section (vv.7-8), which corresponds with the phonological recursion of guttural + sonorant/sibilant identified above, gives this section both cohesion and prominence.

In Psalm 6, rare words (those occurring 10 times or less) cluster in the third section of the psalm (vv. 7-8). This section, which is indeed the “emotional peak (or nadir!)” of the psalm, is marked by dense alliteration as well as by rare vocabulary. The striking recurrence of gutturals + sonorants/sibilants (בְּֽאַנְחָתִ֗י, אַשְׂחֶ֣ה, עַרְשִׂ֥י אַמְסֶֽה, עָֽשְׁשָׁ֣ה מִכַּ֣עַס עֵינִ֑י), which gives the section cohesion and prominence, may explain the unique choice of words; these have been chosen, at least in part, for the sake of their sounds.

• v.7b. שׂחה

The verb שׂחה occurs three times in the Hebrew Bible (Isa. 25:11 [qal, x2]; Ps. 6:7 [hiphil]). In the qal stem, it means “to swim.” The Hiphil is causative: “to cause to swim” i.e., “to flood/drench.” So Vulgate [Hebrew] (natare faciam – “make swim/float”). Both the LXX and Aquila understand the word to mean “bathe” (λούσω/πλύνω).

• v.7c. ערשׂ

The noun עֶרֶשׂ, a synonym of מִטָּה, מִשְׁכָּב, and יָצוּעַ, refers to a “couch” or a “divan.” This was a raised (Ps. 132:3) and covered (Prov. 7:16) platform, used during sleep, sex (Prov. 7:16; Song 1:16), and sickness (Ps. 6:7; 41:4). “The Semites from Canaan did not usually sleep on raised beds, but rather on skins spread on the floor. When the bed was a piece of raised furniture, it took a form similar to beds used in most cultures today.”

• v.7c. מסה

The verb מסה (cf., מסס) occurs only in the hiphil stem (Josh. 14:8; Ps. 6:7; 39:12; 147:18). It means literally to “melt” or to “dissolve into liquid” (cf., the melting of ice in Ps. 147:18). In Psalm 6, it is used in the hyperbolic image of a flood of tears turning a couch to liquid. So LXX (βρέχω – “make wet,” cf. Lk. 7:38), Aquila (τήκω – “melt”), Targum (טמשׁ – “immerse”), and Vulgate (rigabo – “make wet”).

• v.8a. עשׁשׁ

The verb עשׁשׁ occurs three times in the Bible, only in the Psalms (Ps. 6:8 [עֵינִי]; 31:10 [עֵינִי], 11 [עֲצָמַי]) in the qal stem. It is a stative verb (Ps. 31:11, עָשֵׁשָׁה). It’s precise meaning is uncertain. HALOT gives the following options, “(a) to become dark, clouded is acceptable for Ps. 6:8 and 31:10, and (b) to be weak is not necessarily excluded; on the other hand (c) to decompose is only relevant for Ps. 31:11; in all instances (d) to swell up is possible and therefore to be preferred.” In Ps. 6:8, the first option is reflected in the Targum (חשׁך) and the Vulgate (caligavit), and the fourth option seems to have been taken by Symmachus (ἐφλεγμαίνω).

• v.8b. עתק

The verb עתק, occurring four times in the qal stem (Ps. 6:8; Job 14:18; 18:4; 21:7), has the concrete meaning “move (away)” (Job 14:18; 18:4). This is metaphorically extended to mean “move on in years” i.e., “to be/grow old” (Ps. 6:8; Job 21:7). So LXX (ἐπαλαιώθην, “I have grown old”). The experiencer of the verb in Ps. 6:8 is either the Psalmist’s eye (עתקה // עיני; MT, Syriac, Targum), which has become worn out by so much crying, or the Psalmist himself (עתקתי; LXX, Aquila, Symmachus, Vulgate [Hebrew]). (See below on )
This feature is considered relevant for this psalm.,

Other

• "Peter Craigie observes that Psalm 6 'contains a high percentage of formulaic language' in common with other psalms and OT literature. This 'common language gives the psalm a familiar flavor, but at the same time it is distinctive by virtue of the power and pathos of its lamentation.'"

Verbs

Verb forms

Definition Feature being studied	Occurrences Sections where this feature is present or absent	Clustering	Intersection	Connections	Structure
imperative	‎חָנֵּנִי (v.3a), ‎רְפָאֵנִי (v.3b), ‎שׁוּבָה (v.5a), ‎חַלְּצָה (v.5a), ‎הוֹשִׁיעֵנִי (v.5b), ‎סוּרוּ (v.9a)	v.3; v.5	opens sections 2 (vv.5-6) and 4 (vv.9-11)		anaphora
yiqtol	יוֹדֶה (v.6b), אַשְׂחֶה (v.7b), אַמְסֶֽה (v.7c), יִקָּח(v.10b)
qatal	נִבְהֲלוּ (v.3b), נִבְהֲלָה (v.4a), יָגַ֤עְתִּי(v.7a), עָֽשְׁשָׁה (v.8a), עָֽתְקָה (v.8b), שָׁמַ֥ע (v.9b), שָׁמַע (v.10a)	vv.8-11
volitives	תוֹכִיחֵנִי (v.2a), ‎תְיַסְּרֵנִי(v.2b),‎ חָנֵּנִי (v.3a), ‎רְפָאֵנִי (v.3b), ‎שׁוּבָה (v.5a), ‎חַלְּצָה (v.5a), ‎הוֹשִׁיעֵנִי (v.5b), ‎סוּרוּ (v.9a), ‎יֵבֹשׁוּ (v.11a), ‎וְיִבָּהֲלוּ (v.11a),‎יָשֻׁבוּ (v.11b), ‎יֵבֹשׁוּ(v.11b)	vv.2-3, 5, 11	Opens sections 1, 2, and 4. Closes psalm.		Volitives are used to mark the opening of new sections (anaphora, vv.2, 5, 9). Section 3, which is unique in a number of ways (e.g., 1cs verbs, rare vocabulary, vivid imagery, emotional despair), is the only exception to this pattern.
jussive	‎תוֹכִיחֵנִי (v.2a), ‎תְיַסְּרֵנִי(v.2b),‎יֵבֹשׁוּ (v.11a), ‎וְיִבָּהֲלוּ (v.11a),‎יָשֻׁבוּ (v.11b), ‎יֵבֹשׁוּ(v.11b)	v.2; v.11	Opens and closes psalm (vv. 2,11)	Parallelisms (v.2ab; v.11ab)	This feature binds the whole psalm together in an inclusion.

• v.10b. "The prefixed verbal form 'has accepted' may be interpreted as a preterite here; it is parallel to a perfect and refers to the fact that the LORD has responded favorably to the psalmist’s request. On the other hand, a translation like NIV’s 'accepts' also conveys the correct idea (see Craigie, Psalms, 95)." The LXX translates the verb as past perfective (aorist): προσεδέξατο. Yet there is nothing in the context that demands interpreting the verb as a preterite. יִקַּח may function as a simple future, per the more typical use of yiqtol. At the same time, the qatal form שָׁמַע might indicate present rather than past tense, since it is a stative verb (like יָדַע, the qatal form of which is usually present tense). "Stative verbs express perfective aspect that should be translated with the present." The verse might then be translated, "Yahweh hears my plea; Yahweh will receive my prayer."
• v.11. "The four prefixed verbal forms in this verse (11ab) are best understood as jussives and form a powerful doubled close to the psalm. The psalmist concludes his 'prayer' with an imprecation, calling divine punishment down on his enemies." That the LXX interprets these four verbs as jussives is apparent from its choice of the optative mood (αἰσχυνθείησαν καὶ ταραχθείησαν... ἀποστραφείησαν καὶ καταισχυνθείησαν).

This feature is considered relevant for this psalm.,

Person, gender and number

This feature is considered relevant for this psalm.,

Verb stem types (binyanim)

Verb Morphology

Verse	Verb	Stem	Conjugation	Person	Gender	Number	Paragogic Suffix	Pronominal Suffix	Root
2a	תוֹכִיחֵ֑נִי	H	jus	2	m	s			יכח
2b	תְיַסְּרֵֽנִי	D	jus	2	m	s			יסר
3a	חָנֵּ֥נִי	Q	impv		m	s			חנן
3b	רְפָאֵ֥נִי	Q	impv		m	s			רפא
	נִבְהֲל֣וּ	N	qatal	3	c	p			בהל
4a	נִבְהֲלָ֣ה	N	qatal	3	f	s			בהל
5a	שׁוּבָ֣ה	Q	impv		m	s	ה		שׁוב
	חַלְּצָ֣ה	D	impv		m	s	ה		חלץ
5b	ה֝וֹשִׁיעֵ֗נִי	H	impv		m	s		1cs	ישׁע
6b	יֽוֹדֶה	H	yiqtol	3	m	s			ידה
7a	יָגַ֤עְתִּי	Q	qatal	1	c	s			יגע
7b	אַשְׂחֶ֣ה	H	yiqtol	1	c	s			שׂחה
7c	אַמְסֶה	H	yiqtol	1	c	s			מסה
8a	עָֽשְׁשָׁ֣ה	Q	qatal	3	f	s			עשׁשׁ
8b	עָֽ֝תְקָ֗ה	Q	qatal	3	f	s			עתק
9a	ס֣וּרוּ	Q	impv		m	p			סור
9b	שָׁמַ֥ע	Q	qatal	3	m	s			שׁמע
10a	שָׁמַ֣ע	Q	qatal	3	m	s			שׁמע
10b	יִקָּֽח׃	Q	yiqtol	3	m	s			לקח
11a	ַֽיֵבֹ֤שׁוּ	Q	jus	3	m	p			בושׁ
	וְיִבָּהֲל֣וּ	N	weyiqtol	3	m	p			בהל
11b	יָ֝שֻׁ֗בוּ	Q	jus	3	m	p			שׁוב
	יֵבֹ֥שׁוּ	Q	jus	3	m	p			בושׁ

This feature is considered relevant for this psalm.

Nouns

Number

Definition Feature being studied	Occurrences Sections where this feature is present or absent	Clustering	Intersection	Connections	Structure
plural	עֲצָמָֽי (v.3b), צוֹרְרָֽי (v.8b), פֹּ֣עֲלֵי (v.9a), אֹיְבָ֑י (v.11a)	vv.8b-9a	cluster around major sectional boundary (vv.8b-9a)		Creates a measure of continuity at the boundary of the final two sections

,

Gender

Definition Feature being studied	Occurrences Sections where this feature is present or absent	Clustering	Intersection	Connections	Structure
feminine	בַּחֲמָתְךָ֥ (v.2b), עֲצָמָֽי (v.3b), וְ֭נַפְשִׁי (v.4a), נַפְשִׁ֑י (v.5a), בְּֽאַנְחָתִ֗י (v.7a), מִטָּתִ֑י (v.7b), בְּ֝דִמְעָתִ֗י (v.7c), עַרְשִׂ֥י (v.7c), עֵינִ֑י (v.8a), תְּחִנָּתִ֑י (v.10a), תְּֽפִלָּתִ֥י (v.10b)	section 3 (vv.7-8)		parallel feminine nouns: 7abc, 10ab; feminine/masculine parallels: 2ab, 4ab.	Microstructural significance: forms parallelilsm; Macrostructural significance: distinguishes section 3 (vv.7-8)

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	בַּמָּ֣וֶת (v.6a)

The common noun מָוֶת occasionally takes the definite article (e.g., 1 Sam 20:13; Ruth 1:7; Isa. 25:8; Hab. 2:5; Ps. 13:4; 68:21; 116:15; Job 27:15; Cant. 8:6; Lam. 1:20). This represents the generic use of the article. "Abstract terms, referring to... states, also take the generic article.",

Pronominal suffixes

Definition Feature being studied	Occurrences Sections where this feature is present or absent	Clustering	Intersection	Connections	Structure
1cs	עֲצָמָֽי (v.3b), וְ֭נַפְשִׁי (v.4a), נַפְשִׁ֑י (v.5a), בְּֽאַנְחָתִ֗י (v.7a), מִטָּתִ֑י (v.7b), בְּ֝דִמְעָתִ֗י (v.7c), עַרְשִׂ֥י (v.7c), עֵינִ֑י (v.8a), צוֹרְרָֽי׃ (v.8b), מִ֭מֶּנִּי (v.9a), בִּכְיִֽי׃ (v.9b), תְּחִנָּתִ֑י (v.10a), תְּֽפִלָּתִ֥י (v.10b), אֹיְבָ֑י (v.11a)	second half of the psalm (vv.7-11), esp. v.7	beginning and ending of sections 3 and 4
2ms	בְּאַפְּךָ֥ (v.2a), בַּחֲמָתְךָ֥ (v.2b), חַסְדֶּֽךָ׃ (v.5b), זִכְרֶ֑ךָ (v.6a), לָּֽךְ (v.6b)	only in the first half of the psalm (vv.2-6)	beginning of psalm (v.2ab); ending of second section / first half (v.6ab)

Based on the use of suffixes alone, the psalm appears to divide in two halves. 2ms suffixes appear only in the first half, while 1cs suffixes fill the second half. The first half focuses on Yahweh (2ms), beginning with his anger/wrath (v.2ab) and ends with his steadfast love (v.5b), recollection (v.6a), and praise (v.6b). In the second half, the psalmist focuses on his own sorrows.
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
2ms	זִכְרֶ֑ךָ (v.6a), לָּֽךְ׃ (v.6b)	v.6
1cs	תוֹכִיחֵ֑נִי (v.2a), תְיַסְּרֵֽנִי׃ (v.2b), חָנֵּ֥נִי (v.3a), רְפָאֵ֥נִי (v.3b), ה֝וֹשִׁיעֵ֗נִי (v.5b)	vv.2-5; absent in second half of psalm (vv.7-11)

Object suffixes appear only in the first half of the psalm, sections 1 (vv.2-4) and 2 (vv.5-6).
This feature is considered relevant for this psalm.,

Addressee change

Character Features

Ref.	Speaker	Addressee	Person	Subject/Agent
2a	David	Yahweh	2	Yahweh
2b	David	Yahweh	2	Yahweh
3a	David	Yahweh	2	Yahweh
3b	David	Yahweh	1	David
3c	David	Yahweh	2	Yahweh
3d	David	Yahweh	1	David
4a	David	Yahweh	3	David's נֶפֶשׁ
4b	David	Yahweh	2	Yahweh
5a	David	Yahweh	2	Yahweh
5b	David	Yahweh	2	Yahweh
6a	David	Yahweh	3	Remembrance of Yahweh
6b	David	Yahweh	3	מִי
7a	David	Yahweh	1	David
7b	David	Yahweh	1	David
7c	David	Yahweh	1	David
8a	David	Yahweh	1	David's eye
8b	David	Yahweh	1	David or David's eye
9a	David	פעלי און	2	פעלי און
9b	David	פעלי און	3	Yahweh
10a	David	פעלי און	3	Yahweh
10b	David	פעלי און	3	Yahweh
11a	David	Yahweh	3	איבי
11b	David	Yahweh	3	איבי

This feature is considered relevant for this psalm.,

Subject change

This feature is considered relevant for this psalm.

Particles

Negative markers

Distribution

2a		אַל
2b		אַל
3a
3b
4a
4b
5a
5b
6a			אֵין
6b
7a
7b
7c
8a
8b
9a
9b
10a
10b
11a
11b

,

Independent personal pronouns

Distribution

2a		אַל
2b		אַל
3a
3b
4a
4b
5a
5b
6a			אֵין
6b
7a
7b
7c
8a
8b
9a
9b
10a
10b
11a
11b

• repetition of אַל in v.2ab opens psalm on a somber note and strengthens the opening parallelism,

Prepositions

Distribution

2a		בְּאַפְּךָ֥
2b		בַּחֲמָתְךָ֥
3a
3b
4a
4b			עַד־מָתָֽי׃
5a
5b				לְמַ֣עַן חַסְדֶּֽךָ׃
6a		בַּמָּ֣וֶת
6b		בִּ֝שְׁא֗וֹל			לָּֽךְ׃
7a		בְּֽאַנְחָתִ֗י
7b		בְכָל־לַ֭יְלָה
7c		בְּ֝דִמְעָתִ֗י
8a						מִכַּ֣עַס
8b		בְּכָל־צוֹרְרָֽי׃
9a						מִ֭מֶּנִּי
9b
10a
10b
11a
11b

Clustering

• Prepositions cluster in the middle of the psalm (vv.6-8).
• The preposition בְּ occurs eight times in this psalm, clustering in vv.6-7 where it occurs in five consecutive lines. Parallel beth prepositions also connect v.2ab.

Structural Significance

• On a micro-structural level, the recursion of beth prepositions strengthens parallelisms (vv. 2, 6) and gives cohesion to certain repetition groups (vv. 2, 6, 7).
• On a macro-structural level, the cluster of beth prepositions around a major boundary in the middle of the poem (vv.6-7) forms an overlap structure (anadiplosis). This has the effect of smoothing over the discontinuity between v.6 and v.7 and tying the two halves of the psalm into a cohesive whole.

• v.2ab. "Whether the ְבּ of both cola has an instrumental (e.g., Pro. 3:11-12; Job 5:17) or causal (Ps. 38:1, 39:11) sense is difficult to determine; perhaps both are intended, an instance of intentional poetic ambiguity—or 'semantic density' of expression: 'Do not rebuke me by means of//because of your anger!'"
• v.7a. The בְּ preposition in this line "may be understood to indicate the condition or the cause, and in this case possibly both.",

Waw/Vav

Waw is relatively rare in this psalm, occurring only 4 times. The small cluster in v.4 is notable. Both lines begin with וְ + noun/pronoun, making for a strong contrast "as the two protagonists, divine and human, are syntactically placed into prominent opposition."

Coordinating Words/Phrases

• v.11a: verbs יֵבֹ֤שׁוּ ׀ וְיִבָּהֲל֣וּ

Coordinating Lines

• v.2a --(וְֽאַל)--> v.2b
• v.4a --(ָּוְאַת)--> v.4b

Coordinating Verses

• v.3 --(וְ֭נַפְשִׁי)--> v.4,

Other particles

• v.3. כִּי – "[The psalmist's] cry is correspondingly motivated by the two subsequent כִּי clauses that refer to his frail physical condition."
• v.5. לְמַעַן – "The psalmist appeals to the LORD for deliverance from his illness on the basis of God’s 'steadfast covenantal fidelity' (חֶסֶד) to his people—even when they have sinned against him in some way."
• v.9b. כִּי – "The כִּי motivational clause seems to bear some contextually derived asseverative force here as well—a connotation that is reinforced by the next, semantically parallel line (10a)."

Figurative

Metaphor

• v.2ab. Conceptual metaphor: Yahweh is a father who disciplines (יסר // יכח) his son, the king (cf. Ps. 2:7)
• v.8b. "The eyes 'grow weak' because they are figuratively 'old.'",

Metonymy

• v.6a. "'Death here refers metonymically to the realm of death where the departed spirits reside." Death (מָוֶת) does indeed sometimes refer to a place (cf. Ps. 9:14, "death's gates"). That this is the case here may be suggested by the parallel שְׁאוֹל. However, the (generic) use of the definite article (בַּמָּוְת) may suggest that death here refers to a state rather than a place.
• v.9b. "The sound of my weeping" is metonymic for the Psalmist's multiplied agonies and perhaps also for his prayer to Yahweh.,

Synecdoche

• v.3. "The 'bones' are viewed here as representing the entire body (synecdoche), which has been gravely affected by his illness."
• v.8. The eye may stand for the whole physical/emotional state of the psalmist.,

Anthropomorphism

• v.2. Yahweh disciplines (see above).
• vv.9b-10. Yahweh hears.,

Apostrophe

• v.9. The psalmist turns to address his enemies in the final climactic section of the psalm. "The subsequent context shows the language to be that of defiance and triumph. He orders them off with all their menaces and taunts and disheartening speeches. He says, I will listen to you no longer; I will be distressed by you no more; you have tormented me long enough; I am myself again; take yourselves off; for the Lord hath heard the voice of my weeping.,

Hyperbole

• v.7b. "Lit., 'I cause to swim through all the night my bed'—a graphic image of physical and mental suffering."
• v.7c. His tears are so numerous as to dissolve his couch into liquid.
• v.8ab. His eye has swelled an aged.,

Rhetorical questions

Rhetorical questions conclude the first two sections of the psalm (structural epiphora).

• v.4b. עַד־מָתָֽי׃ – "Although questions beginning 'How long?' recur (e.g., Pss. 74:10; 80:4 [5]; 82:2; 94:3), and there are others where the phrase stands alone (90:13; Isa. 6:11; Jer. 23:26), in its disjointedness this is the starkest and most urgent."
• v.6b. מִ֣י יֽוֹדֶה־לָּֽךְ׃ – "In Sheol, the dark and unknown place of the dead, who would be able to praise God? Obvious answer: Nobody! (a rhetorical question). The RQ marker מִי emphatically matches the preceding reason כִּי marker.",

Idioms

• v.8a. "Lit., 'my eye wastes away'—presumably (metaphorically speaking) from losing so much fluid through the shedding of tears (cf. the English idiom, 'I cried my eyes out')!"
• v.10b. To "take" (לקח) a petition is to accept it as satisfactory and to grant what is requested (cf. Ex. 22:10, accepting an oath).

Context

Figures of Speech

• Figurative/evocative language seems especially prominent in section 3 (vv.7-8).
• Rhetorical questions mark the ends of section 1 (v.4b) and section 2 (v.6b) (ephiphora).,

Historical background

"There is no reason why the psalm could not have come from the life of David, even though it is impossible to identify an experience in his life that would be the setting.",

Cultural background

• Sheol (v.6, שְׁאוֹל) – "According to common OT belief (though there are exceptions, e.g., 23:6), those who descend into the realm of death/Sheol are cut off from God’s mighty deeds and from the worshiping covenant community that experiences divine intervention (Pss. 30:9; 88:10-12; Isa. 38:18). In his effort to motivate a positive divine response, the psalmist reminds God that he will receive no praise or glory if he allows the psalmist to die. Dead men do not praise God!

Sheol is a proper name for "the underworld." It is depicted as a place of great depth (e.g., Deut. 32:22), guarded by gates (e.g., Isa. 38:10), associated with darkness (e.g., Job 17:13), dust (e.g., Job 17:16), and silence (e.g., Ps. 31:18). Contrary to the view that Sheol is a name for the underworld, R.L. Harris has argued that Sheol is a poetic synonym for קֶבֶר, referring merely to the grave. "Its usage does not give us a picture of the state of the dead in gloom, darkness, chaos, or silence, unremembered, unable to praise God, knowing nothing... Rather, this view gives us a picture of a typical Palestinian tomb, dark, dusty, with mingled bones and where 'this poor lisping stammering tongue lies silent in the grave.'"

• Enemies (vv.8-11) – "The reference to 'enemies' may reflect the popular, but erroneous opinion that sick people were great sinners and hence being punished by God (e.g., Job 4:7-11, 8:1-22, 11:13-20). On the other hand, Terrien suggests that 'the poet is the victim of sorcerers...professional magicians' (The Psalms, 114), but this is rather too specific and unsupportable by the textual evidence." Since the psalmist is also the king (v.1, לדוד), the enemies may have been political adversaries, whether inside or outside of David's kingdom, seeking to take advantage of the king's illness.,

Implicit information

• God's anger/wrath (v.2ab) is against David's sin. This has long been recognized, and Psalm 6 has traditionally been included among the seven penitential psalms (6, 32, 38, 51, 102, 130, 143). "Broyles argues that there is no confession of sin in this psalm... (Psalms, p. 63). But there seems enough in this first verse to support the conclusion that the psalmist saw such a connection in his case." This conclusion is further supported by reference to 2 Sam. 7:14-15 (see below).

• Yahweh is David's father, and David is his son. The father/son relationship is implied in the verbs of v.2ab (see above) as well as the reference to 2 Sam. 7:14-15 (see below).

• The word חֶסֶד (v.5b) implies a covenant relationship.,

Reference/allusions

• 2 Sam. 7:14-15a
  

‎ אֲנִי֙ אֶהְיֶה־לּ֣וֹ לְאָ֔ב וְה֖וּא יִהְיֶה־לִּ֣י לְבֵ֑ן אֲשֶׁר֙ בְּהַ֣עֲוֹת֔וֹ וְהֹֽכַחְתִּיו֙ בְּשֵׁ֣בֶט אֲנָשִׁ֔ים וּבְנִגְעֵ֖י בְּנֵ֥י אָדָֽם׃ וְחַסְדִּ֖י לֹא־יָס֣וּר מִמֶּ֑נּוּ

In 2 Sam. 7, Yahweh promises to be a father to David and his descendants (2 Sam. 7:14a; cf. Ps. 2:7) and to discipline them (וְהוֹכַחְתִּיו) when they sin (7:14b). In Psalm 6, King David (v.1, לדוד) prays that Yahweh's discipline (v.2a, תוֹכִיחֵנִי) would not be carried out in wrath. Presumably, David had committed some iniquity (עֲוֹן, cf. 2 Sam. 7:14), and Yahweh responded with discipline according to the covenant. Yet just as Yahweh promised, "I will discipline him... but my love (חֶסֶד) will not leave him" (2 Sam. 7:14-15), so David appeals to Yahweh's חֶסֶד as the basis for his plea (v.5b). In addition to these connections, note the similarity between Ps. 6:9 [סוּרוּ מִמֶּנִּי] and 2 Sam. 7:15 [יָסוּר מִמֶּנּוּ].),

Alluded to in NT

• Ps. 6:4-5. In John 12:27, Jesus takes the lament of Psalm 6 on his own lips to express his anguish before the passion. Interestingly, while he prays the lament part of the psalm (v.4), he refuses to pray the petitionary part (v.5). Unlike his ancestor David, Jesus does not ask to be delivered from death. Instead, he embraces his Father's will that he should die.

Ps. 6:4-5 (Heb): וְ֭נַפְשִׁי נִבְהֲלָ֣ה מְאֹ֑ד... ה֝וֹשִׁיעֵ֗נִי

Ps. 6:4-5 (OG):καὶ ἡ ψυχή μου ἐταράχθη σφόδρα... σῶσόν με

Jn. 12:27: Νῦν ἡ ψυχή μου τετάρακται, καὶ τί εἴπω; πάτερ, σῶσόν με ἐκ τῆς ὥρας ταύτης; ἀλλὰ διὰ τοῦτο ἦλθον εἰς τὴν ὥραν ταύτην

• Ps. 6:9. These words will be spoken by the risen Christ against his enemies (i.e., all who do not do God's will) on the day of judgment.

Ps. 6:9 (Heb): ‎ס֣וּרוּ מִ֭מֶּנִּי כָּל־פֹּ֣עֲלֵי אָ֑וֶן

Ps. 6:9 (OG): ἀπόστητε ἀπ᾽ ἐμοῦ πάντες οἱ ἐργαζόμενοι τὴν ἀνομίαν

Matt. 7:23: ἀποχωρεῖτε ἀπ᾽ ἐμοῦ οἱ ἐργαζόμενοι τὴν ἀνομίαν.

Luke 13:27: ἀπόστητε ἀπ᾽ ἐμοῦ πάντες ἐργάται ἀδικίας.

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	2.1.4.4 / 2.5.5	11 + 12 = 23	62
	3	3.2.1.2.2 / 4.2.1.3.3	10 + 13 = 23
	4	3.3.2 / 3.2.1.2	8 + 8 = 16
2	5	2.2.4!2 / 4.2.3	10 + 9 = 19	32
	6	1.1.2.3 / 2.1.2.1	7 + 6 = 13
3	7	3.4 / 2.2.2.3 / 4.2.2	7 + 9 + 8 = 24	39
	8	3.2.2 / 3.2.3	7 + 8 = 15
4	9	2.3.1.3.1 / 1.2.2.1.2	10 + 8 = 18	56
	10	2.2.4 / 2.4.2	8 + 8 = 16
	11	3.5.2 / 1.3.3.4!1	10 + 12 = 22

• "21 cola with 189 syllables; average per colon 9.00."
• "If, supported by some Versiones, we add a simple w^e- to the second verbs of v.5a and v.11b, the poem yields a total of 189 syllables, which, after division by the number of cola, results in an exact 9."
• The figure of 14 syllables for v.11a is considerable. If we desert the Masoretes here as regards the caesura and place the subject, 'all my enemies', in the B-colon, we get a better balance of 10 + 12 syllables. Not only do these figures fit those of vv.2, 3 and 5, but they also bring out the striking agreement between the words of 11a and those of 4a, and the B-cola now each start with two words as their subjects.",

Alternative prosody and syllable counts

"The diachronic, precatory development of Psalm 6 in terms of stanzas is accompanied by an interesting chiastic correspondence with regard to lexical length, with two shorter poetic units surrounded by matching longer ones: A: general appeal (24 lexical units) – B: specific appeal (15) – C: mournful motivation (15) – D: assertive trusting testimony (24). The psalm’s lexical midpoint then occurs on the border between verses 6 and 7, with 39 words in each half. This verbal symmetry is simply another aspect of the text’s overall artistic structural design.,

Cola distribution

If the division of lines is correct, then the poem consists almost completely of bicola with one tricolon at the center (v.7). The tricolon has an aesthetic function as it results in 21 lines with the shortest line (v.7a, 7 syllables) at the middle. It also has a discourse function, highlighting the unique contents of section 3 (vv.7-8) and of v.7 in particular.,

Classifying parallelisms

v.3. "The syntactic, morphological, and phonological (i.e., rhymed) parallelism involving an initial imperative followed by a vocative in the two cola of v.3 serves to audibly heighten the deep pathos of the psalmist’s appeal... We note also the typical poetic heightening or specification that occurs in the second parallel line (3b).",

Chiasms

• vv.3b-4a. AB//B'A chiasm joining two verses. Function: gives cohesion to section 1

a נִבְהֲל֣וּ b עֲצָמָֽי / b' וְ֭נַפְשִׁי a' נִבְהֲלָ֣ה

• vv.4ab-5a. AB//B'A' chiasm joining two sections (anadiplosis). Function: gives cohesion to sections 1-2 (first half of psalm)

a ...וְ֭נַפְשִׁי b ...ואת יְ֝הוָ֗ה / b' שׁוּבָ֣ה יְ֭הוָה a' חַלְּצָ֣ה נַפְשִׁ֑י

• v.7bc. AB//B'A' chiasm based primarily on phonology. Function: marks prominence

a אַשְׂחֶ֣ה b מִטָּתִ֑י // b' בְּ֝דִמְעָתִ֗י a' אַמְסֶֽה

• v.10ab. ABC//BC'A' partial chiasm, based on grammar, semantics, and phonology.

a שָׁמַ֣ע b יְ֭הוָה c תְּחִנָּתִ֑י // b' יְ֝הוָ֗ה c' תְּֽפִלָּתִ֥י a' יִקָּֽח׃

"A chiastic arrangement of syntactic constituents reinforces the psalmist’s confident claims: Verb + Voc/Nobj (10a) // Voc/Nobj + Verb (10b), as does the similar sounding key nominal expressions that reference his appeal: תְּחִנָּתִ֑י and תְּֽפִלָּתִ֥י.",

Word order

• v.2ab. "The negativized adjunct (prepositional) phrases in 2a and 2b are both fronted (topical focus) before the respective verbs, seemingly to accent the Lord’s 'anger' (apparent punishment) that the psalmist feels in his desperate plight. The implication appears to be that the psalmist feels that God is disciplining him for some wrongdoing by bringing a life-threatening illness upon him (vv. 3-8), though there is no reference to any explicit sin in the psalm (cf. Pss. 32:5, 38:1-3)." "Separating the negative from the verb...is very unusual and adds to this emphasis" "The word order of the Hebrew shows quite clearly that the psalmist initially asks, not that Yahweh not chasten him, but that Yahweh not do so in anger and wrath."
• v.3. "The two negative appeals of v.2 are balanced and complemented by a pair of positive correspondents in v.3, but now, contrastively, the two verbs appear in clause-initial position."
• v.4a. "[נֶפֶשׁ] is fronted here as an instance of constituent focus: Over and above his desperate physical condition (v.3), his entire ‘life-force’, or psyche (וְנַפְשִׁי), has been adversely (מְאֹד) affected!" "The pronoun אַתָּה forcefully contrasts with נַפְשִׁי in the preceding line (4a), as the two protagonists, divine and human, are syntactically placed into prominent opposition. In addition, the broken syntax of 4b mimics the psalmist’s shattered physical and mental state. He addresses Yahweh forthrightly as well as forcefully with the initial vocative pronoun (ַ֯אַתָּה), which is itself truncated, but then simply cries out with a brief, but poignant, (rhetorical) question: How long will this (i.e., his suffering) continue—OR—How long will it take YHWH to respond to his dire situation? 'Because of the intensity of his emotions, [the psalmist] cannot complete his thought (cf. 31:1, 35:17, 74:10, et al.)'"
• v.5. "A reversal in the order of participant reference marks the boundary with continuity between stanzas A and B, i.e., נַפְשִׁי...יהוה in v. 4a; cf. 3ab (a literary device termed 'anadiplosis,' or the 'overlap construction')." "The two protagonists in this passionate prayer are foregrounded at the end of each line of v.5, with “my life” (psalmist) being utterly dependent on “your faithful love” (Yahweh).
• v.7. "[v.7c] as a whole figuratively parallels the preceding line (7b) through constituent focus (front- shifting), the non-verbal elements (בְּ֝דִמְעָתִ֗י עַרְשִׂ֥י) serving to accent the psalmist’s deepest, darkest emotions."
• v.10. "The initial pairing of יְ֝הוָ֗ה תְּֽפִלָּתִ֥י may be construed as an instance of topic focus combined with constituent focus.",

Lunn on Word order

The following table has been adapted from Lunn. For a key to the various symbols and abbreviations, click here.

Ref.	Text	Constituent Order	Colon-Type
2	‎יְֽהוָ֗ה אַל־בְּאַפְּךָ֥ תוֹכִיחֵ֑נִי // וְֽאַל־בַּחֲמָתְךָ֥ תְיַסְּרֵֽנִי׃	[Voc] MNg V-o // w-MNg V-o	MKD//MKD
3	// ‎חָנֵּ֥נִי יְהוָה֘ כִּ֤י אֻמְלַ֫ל אָ֥נִי // רְפָאֵ֥נִי יְהוָ֑ה כִּ֖י נִבְהֲל֣וּ עֲצָמָֽי׃	V-o [Voc] C Comp SPn // V-o [Voc] C V S //	CAN/Nom//CAN//CAN//
4	‎וְ֭נַפְשִׁי נִבְהֲלָ֣ה מְאֹ֑ד / וְאַתָּ יְ֜הוָ֗ה עַד־מָתָֽי׃	w-S V M // w-SPn [Voc] Q	DEF/Nom
5	‎שׁוּבָ֣ה יְ֭הוָה חַלְּצָ֣ה נַפְשִׁ֑י / ה֜וֹשִׁיעֵ֗נִי לְמַ֣עַן חַסְדֶּֽךָ׃	V [Voc] V O / V-o M	CAN2/CAN
6	כִּ֤י אֵ֣ין בַּמָּ֣וֶת זִכְרֶ֑ךָ // בִּ֜שְׁא֗וֹל מִ֣י יֽוֹדֶה־לָּֽךְ׃	C ENg Comp S // M Q V-O	Nom//MKD
7	יָגַ֤עְתִּי׀ בְּֽאַנְחָתִ֗י / אַשְׂחֶ֣ה בְכָל־לַ֭יְלָה מִטָּתִ֑י // בְּ֜דִמְעָתִ֗י עַרְשִׂ֥י אַמְסֶֽה׃	V M / V M O // M O V	CAN/CAN//DEF
8	עָֽשְׁשָׁ֣ה מִכַּ֣עַס עֵינִ֑י // עָֽ֜תְקָ֗ה בְּכָל־צוֹרְרָֽי׃	V M S // V M	CAN//CAN
9	ס֣וּרוּ מִ֭מֶּנִּי כָּל־פֹּ֣עֲלֵי אָ֑וֶן / כִּֽי־שָׁמַ֥ע יְ֜הוָ֗ה ק֣וֹל בִּכְיִֽי׃	V M [Voc] / C-V S O	CAN/CAN
10	שָׁמַ֣ע יְ֭הוָה תְּחִנָּתִ֑י // יְ֜הוָ֗ה תְּֽפִלָּתִ֥י יִקָּֽח׃	V S O // S O V	CAN//DEF
11	יֵבֹ֤שׁוּ׀ וְיִבָּהֲל֣וּ מְ֭אֹד כָּל־אֹיְבָ֑י / יָ֜שֻׁ֗בוּ יֵבֹ֥שׁוּ רָֽגַע׃	V w-V M S / V V M	CAN2//CAN2

• Lunn argues that the SV word order in v.4a is not pragmatically marked, since, in his view, 4a constitutes the b-line of 3b in an embedded parallelism.,

Middle word (maqqef)

Total: 69
Middle: יֽוֹדֶה־לָּֽךְ׃ (v.6b),

Middle word (independent lexemes)

Total: 78
Middle: לָךְ (v.6b); יָגַעְתִּי (v.7a)
The number of independent lexemes is distributed equally across the two halves of the poem (39 words, 39 words) and symmetrically across the poem's four sections (A: 24 words; B: 15 words; C: 15 words; D: 24 words). The middle words thus coincide with the middle division of the psalm's sections. See and .,

Middle line

Total: 21 (7x3). See .
Middle line: יָגַ֤עְתִּי ׀ בְּֽאַנְחָתִ֗י (seven syllables).

The middle line (v.7a) is the shortest line in the psalm (7 syllables, 2 words, 2 stress-units). In Psalms 3, 4, and 5, the middle line is the longest line in the psalm.

Variants

Kinds of variants

• v.3a. The tetragrammaton is omitted in some medieval Hebrew manuscripts.
• v.3b. The tetragrammaton is omitted in a few medieval Hebrew manuscripts as well as in the LXX manuscript, Codex Vaticanus.

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 6,8(7) עָתְקָה {B} MT, S, T // facil-styl: G, α', σ', Hebr.,

Likely solutions

• v.3ab. The above analysis has demonstrated the symmetrical structure of the poem based on its word count. The number of independent lexemes is distributed equally across the two halves of the poem (39 words, 39 words) and symmetrically across the poem's four sections (A: 24 words; B: 15 words; C: 15 words; D: 24 words). This feature argues for the originality of the tetragrammaton in both v.3a and v.3b. See and .

Summary

Line divisions

2a יְֽהוָ֗ה אַל־בְּאַפְּךָ֥ תוֹכִיחֵ֑נִי
2b וְֽאַל־בַּחֲמָתְךָ֥ תְיַסְּרֵֽנִי׃
3a חָנֵּ֥נִי יְהוָה֘ כִּ֤י אֻמְלַ֫ל אָ֥נִי
3b רְפָאֵ֥נִי יְהוָ֑ה כִּ֖י נִבְהֲל֣וּ עֲצָמָֽי׃
4a וְ֭נַפְשִׁי נִבְהֲלָ֣ה מְאֹ֑ד
4b וְאַתָּ יְ֜הוָ֗ה עַד־מָתָֽי׃
5a שׁוּבָ֣ה יְ֭הוָה חַלְּצָ֣ה נַפְשִׁ֑י
5b ‎ה֜וֹשִׁיעֵ֗נִי לְמַ֣עַן חַסְדֶּֽךָ׃
6a כִּ֤י אֵ֣ין בַּמָּ֣וֶת זִכְרֶ֑ךָ
6b בִּ֜שְׁא֗וֹל מִ֣י יֽוֹדֶה־לָּֽךְ׃
7a יָגַ֤עְתִּי׀ בְּֽאַנְחָתִ֗י
7b אַשְׂחֶ֣ה בְכָל־לַ֭יְלָה מִטָּתִ֑י
7c בְּ֜דִמְעָתִ֗י עַרְשִׂ֥י אַמְסֶֽה׃
8a עָֽשְׁשָׁ֣ה מִכַּ֣עַס עֵינִ֑י
8b עָֽ֜תְקָ֗ה בְּכָל־צוֹרְרָֽי׃
9a ס֣וּרוּ מִ֭מֶּנִּי כָּל־פֹּ֣עֲלֵי אָ֑וֶן
9b כִּֽי־שָׁמַ֥ע יְ֜הוָ֗ה ק֣וֹל בִּכְיִֽי׃
10a שָׁמַ֣ע יְ֭הוָה תְּחִנָּתִ֑י
10b יְ֜הוָ֗ה תְּֽפִלָּתִ֥י יִקָּֽח׃
11a יֵבֹ֤שׁוּ׀ וְיִבָּהֲל֣וּ מְ֭אֹד כָּל־אֹיְבָ֑י
11b יָ֜שֻׁ֗בוּ יֵבֹ֥שׁוּ רָֽגַע׃

"The total of 21 cola is safe, as the vast majority of witnesses confirms it." This same 21-line division finds external support in the ancient Greek codices, Sinaiticus and Vaticanus. It has internal support in the resulting beauty of the structure (21 = 7 x 3; middle line: 7 syllables).

• v.3. Should this verse be divided into four lines (1 clause = 1 line) or two? With regard to manuscript evidence, both divisions are attested. Division into four lines may be supported by Codex Leningradensis, which has a space between חָנֵּ֥נִי יְהוָה֘ and כִּ֤י אֻמְלַ֫ל אָ֥נִי. The spacing of the Aleppo Codex suggests division into two lines, as does the division of Sinaiticus and Vaticanus. The Masoretic accentuation might support either decision; the primary division (ole weyored) is between 3a and 3b (above) with secondary divisions (tsinnor and athnah) after יהוה in each half.

• v.11. The exceptional length of v.11a (14 syllables) leads Fokkelman, following Kraus, to "desert the Masoretes here as regards the caesura and place the subject, 'all my enemies', in the B-colon," in order to achieve "a better balance of 10 + 12 syllables." He has not quite deserted the Masoretes with this decision, since Codex Leningradensis has a large space between יֵבֹ֤שׁוּ׀ וְיִבָּהֲל֣וּ מְ֭אֹד and כָּל־אֹיְבָ֑י יָ֜שֻׁ֗בוּ יֵבֹ֥שׁוּ רָֽגַע׃, reflecting the very same division. The scribe of the Aleppo Codex also appeared to struggle with the division of this line. יֵבֹ֤שׁוּ appears as its own line, followed by וְיִבָּהֲל֣וּ מְ֭אֹד כָּל־אֹיְבָ֑י (space) יָ֜שֻׁ֗בוּ יֵבֹ֥שׁוּ רָֽגַע׃. Watson divides the verse as a tricolon (יֵבֹ֤שׁוּ ׀ וְיִבָּהֲל֣וּ מְ֭אֹד / כָּל־אֹיְבָ֑י / יָ֝שֻׁ֗בוּ יֵבֹ֥שׁוּ רָֽגַע׃).,

Section divisions

"The text appears to divide itself topically and functionally into four stanzas—two longer outer poetic units, which focus on Yahweh, and two shorter inner ones, which focus on the psalmist himself: A (1-3), B (4-5), C (6-7), and D (8-10). Most commentators combine stanzas B and C into a single poetic unit, e.g., Craigie, Psalms, 92; deClaissé et al, Book of Psalms, 102; Goldingay, Psalms, 135; Brueggemann and Bellinger, Psalms, 50." The dynamics of this discourse, however, favors four distinct poetic segments."

Stanza A (vv.2-4)

Stanza B (vv.5-6)

Stanza C (vv.7-8)

Stanza D (vv.9-11),

Communicative function

"The rhetorical movement of these four units may be described as follows:

In stanza A the psalmist plaintively lays out his desperate situation before Yahweh: spiritually (v.2, God is angry), physically (v.3, the psalmist’s body is weak), and psychologically (v.4, he is terrified)—the three conditions seemingly representing a consequential progression. Pragmatically, a pair of negative appeals to God (v. 2) are followed by two positive correspondents (v.3), and then a summary, as it were, of his dreadful state that ends in the formulaic עַד־מָתָֽי (v.4), i.e., 'how long' will I have to endure such trauma?! Reinforcing his urgent plea, the psalmist invokes the divine covenantal name in every verse of this strophe, four times in total. Whatever the cause of his pitiful condition, the Lord God was the psalmist’s only viable solution.

A much more specific and logically supported appeal to the LORD to act on the psalmist’s behalf begins stanza B, with three imperatives packed into v.5: “turn" (שׁוּבָה) – “rescue” (ַחַלְּצָה) – “deliver” me (ה֝וֹשִׁיעֵ֗נִי)! The requested actions are all based on that essential covenantal relationship that binds the believer with his God in the OT, namely, the key concept of “steadfast faithfulness” (חֶסֶד), which forcefully ends the verse. In the next bicolon then, the psalmist offers another cogent reason (leading off with a consequential כִּי , v. 6a) to motivate Yahweh’s positive response: a person cannot praise and glorify God if s/he is dead—the fundamental connection between deity and worshiper would be broken! (6b).

Stanza C leads off with the longest line of the psalm, a tricolon. This segment expresses a doleful dirge that summarizes the psalmist’s wretched personal (physical and psychological) condition as well as his adverse social situation. He is in a miserable mental state (7), and now suddenly it appears as if many hostile adversaries or simply pestering onlookers vex him (8b), as in the case of Job (e.g., 30:1-15). These sad lines, coupled with those of stanza B include 'the three relational parties that are often names in prayers for help: God (you), the psalmist (I), and the enemies.' The lament reaches its emotional peak (or nadir!) in the tricolon of v. 6 and its pitiful verbal pictures of a grievously ill and sorrowful psalmist.

An almost shocking shift in topic and tone begins the final stanza D (v.9a), which creates a dramatic pause and shift of perspective within the prayer. The basic pragmatic pattern of imperative followed by rationale continues, as in the two preceding stanzas A and B, but now the psalmist unexpectedly turns upon the hostile “mischief- makers” (פֹּ֣עֲלֵי אָ֑וֶן) just mentioned in v.8b and orders them to “get out!” (ס֣וּרוּ). How could he be so bold under the circumstances? Three subsequent cola say essentially the same thing: “Yahweh has answered my prayer!” (9b-10)—either by means of some miraculous act of restoration (from an apparent illness), or through confident anticipation, a personal reaching out in faith to what he’s sure will soon happen. In any case, the psalm’s final line proclaims the Lord’s judgment upon his erstwhile enemies, who will end up being publicly humiliated as a result of the psalmist’s divine vindication (v.11).",

Range of emotions

The mixed feelings of fear, sadness, and anticipation that characterize the first half of the psalm (vv.2-6) give way to pure grief in section 3 (vv.7-8), the “emotional peak (or nadir!)” of the psalm. It is as though the psalmist is already experiencing the grief of Sheol (v.6b). At the onset of section 4 (vv.9-11), "the tone and atmosphere of the psalm change radically." Paralyzed grief gives way to animated anger and confident vigilance.

Section 1 (vv.2-4) – Sadness/Grief + Fear

Section 2 (vv.5-6) – Sadness + Fear + Anticipation

Section 3 (vv.7-8) – Grief

Section 4 (vv.9-11) – Disgust + Anger + Vigilance,

Cohesion

Section 1 (vv.2-4)

• character features: 2nd person address to Yahweh
• fourfold repetition of the tetragrammaton (vv.2a, 3ab, 4a)
• emotional: sadness/grief + fear
• pragmatic: invocation & complaint
• lexical semantics: repetition of נבהל (vv.3b, 4a)
• architectonic: parallelism (vv.2ab, 3ab; 4ab); chiasm connecting v.3b and v.4a (see above)
• prosodic: 24 words

Section 2 (vv.5-6)

• character features: 2nd person address to Yahweh
• emotional: sadness/grief + anticipation
• pragmatic: petition (v.5) + basis (v.6)
• discourse words: vv.5-6 connected by כִּי
• architectonic: parallelism (vv.5ab, 6ab)
• prosodic: 15 words

Section 3 (vv.7-8)
Strophe 3 "is a nocturne and is characterized by the description of personal misery, with a chain of prepositional adjuncts, rhymes and five verbal predicates; three of these are perfect forms and surround the other two, which are situated in the chiasm of v.7bc."

• character features: 1st person; no mention of Yahweh
• emotional: deep grief
• pragmatic: lament
• verbs: assertive modality (no volitives)
• nouns: feminine nouns
• figurative language (esp. hyperbole); evocative language; graphic imagery
• phonology: alliteration of guttural + sonorant/sibilant; repetition of תִּי (see above)
• lexical semantics: rare vocabulary (see above)
• architectonic: parallelism (vv.7abc, 8ab); chiasm at center (v.7bc)
• prosodic: 15 words

Section 4 (vv.9-11)

• character features: enemies as addressee (vv.9-10) and subject (vv.9a; 11ab [inclusio]); 3rd person reference to Yahweh (vv.9a-10ab)
• emotional: anger + confident expectation
• pragmatic: command/rebuke (v.9a) + profession (vv.9b-10ab) + petition (v.11ab)
• discourse words: כִּי connecting vv.9b-10ab with v.9a.
• lexical semantics: repetition of כֹּל, שׁמע, יֵבֹשׁוּ
• architectonic: parallelism (vv.9ab, 10ab, 11ab)
• prosodic: 24 words,

Discontinuity & boundaries

"Four strophes clearly emerge in this psalm, the first and second ending in typical Hebraic fashion with a question, the first, second, and fourth beginning, equally typically, with imperatives."

• Anaphora – "Strophes 1, 2, and 4 start with a command (in prohibitive form in v.2)."
• Epiphora – Sections 1 and 2 are concluded with rhetorical questions.

Section 1 --> Section 2

• rhetorical question (v.4b, ephiphora)
• broken-off sentence (v.4b)
• imperatives (v.5a, anaphora)
• direct address to Yahweh (v.5a)

Section 2 --> Section 3

• rhetorical question (v.6b, ephiphora)
• shift to 1st person
• terse line (7a: 2 words, 7 syllables)
• tricolon

Section 3 --> Section 4
"An almost shocking shift in topic and tone begins the final stanza D (v.9a), which creates a dramatic pause and shift of perspective within the prayer."

• 2ms imperative (anaphora)
• (addressee change (apposition)
• emotional change,

Feature clustering

Section 3, especially v.7bc (see below),

Prominence

Section 3 stands out in several ways:

• There is an abundance of figurative/evocative language: weary sighing (7a), drowning/melting a bed with tears (7bc), eye swelling/aging (8ab).
• The first line of the section (7a) is the middle line of the psalm; it is also the shortest (7-syllables).
• The section begins with a tricolon (v.7abc), the only non-bicolic verse in the psalm.
• Deep emotional grief characterizes this section.
• ) cluster in this section.
• It is the most phonologically marked section in the psalm: dense alliteration (guttural + sonorant/sibilant); repetition of תִּי (see above).
• The chiasm of v.7bc may be the most complex construction in the entire psalm (numerous linguistic correspondences)
• The section is uniquely 1st person; no mention of Yahweh (as though already in Sheol, cf. 6b)
• There is a unique cluster of feminine nouns,

Connections between sections

• v.4 (section 1) --> v.11 (section 4)

"Verse 11 is a subtle counterpart to v.4. Both verses conclude a strophe. In vv.4a and 11a bhl first works against the speaker, then against the enemies, and is both times emphasized by מאד. In the B-colon that follows in both cases, there are polar notions of time: 'how long?' the poet asks in strophe 1, elliptically, and in 11b ignominy comes 'in an instant.'" Note also the phonological similarities between וְ֭נַפְשִׁי and יֵבֹ֤שׁוּ (glide + labial + sibilant), the first words of each verse.

v.4. ‎וְ֭נַפְשִׁי נִבְהֲלָ֣ה מְאֹ֑ד // וְאַתָּ יְ֜הוָ֗ה עַד־מָתָֽי׃

v.11. ‎יֵבֹ֤שׁוּ׀ וְיִבָּהֲל֣וּ מְ֭אֹד כָּל־אֹיְבָ֑י // יָ֜שֻׁ֗בוּ יֵבֹ֥שׁוּ רָֽגַע׃,

Large-scale structures

"This poem has a tight structure with two stanzas of two strophes each, which mirror each other as 3 + 2 and 2 + 3 verses. The words support the symmetry with their own balance: 24 + 15 and 15 + 24. The fine measures of the two halves are almost the same: 94 and 95 syllables... The central position is occupied by death and illness, in strophes 2 and 3. Flanking these are two supplications (in view of the root חנן) by the speaker. He is panicking and terrified (bhl, strophe 1: vv.3b and 4a) and wishes his enemies the same (bhl, strophe 4)."

Section 1 (3 verses; 24 words)

Section 2 (2 verses; 15 words)

Section 3 (2 verses; 15 words)

Section 4 (3 verses; 24 words),

Translation

Direct Literary Translation by Ernst Wendland

Lord, don’t punish me in anger,

don’t chasten me in your wrath.

Rather, have mercy—I’m so weak;

heal me, for I’m feeling such pain.

Indeed, I’m sick in mind and heart—

how long then before you respond?

Come back to me, Lord, deliver me;

Save me since your love never fails.

If I’m dead, how can I worship you?

No one remembers you in the grave!

I’m truly worn out with weeping;

I cry to you day and night for aid;

my bed is drenched with my tears.

My eyes are very bleary with grief—

many enemies make it much worse.

Away with you all, you wicked fellows!

God has heard my anguished weeping.

The Lord listens to these cries for help.

He will surely respond to my prayers.

All my foes will be turned right around;

So swiftly they’re shamed and shunned!

Poetic Translation by Ryan Sikes

Yahweh, my father, do not be mad.

Do not punish me in your wrath.

Be kind, Yahweh, for I am frail

Heal me, Yahweh, for my frame is ailed.

Ailed as well is my soul.

How long, Yahweh...?

Relent, Yahweh! Rescue my soul!

Save me for your loyal love.

For, in death, you are not named.

In Sheol, who can give you praise?

Exhausted by my sighs am I.

My sheets–they swim for nights and nights.

My tears dissolve my bed like ice.

My eyes–they’ve swollen twice their size.

My eyes have aged; my rivals rage.

Away with you, you wicked men!

Yahweh has listened to my lament.

Yahweh has listened to my plea.

Yahweh will respond to me.

May all my foes be ailed, be shamed!

At once, be mashed, be shamed!

Notes for Translators
"Among the chief functionally-oriented 'communicative clues' that translators should endeavor to reproduce idiomatically in their TL text are these:

• the essential poetic structure of Psalm 6 in terms of four stanza divisions;
• the sorrowful emotive overtones that run throughout the first three stanzas;
• the unexpected, but strong (imperative) and motivated shift in attitude and outlook that characterizes stanza D;
• the mini-climaxes in oratorical import which seem to occur at the end of each stanza, i.e., vv.4b (rhetorical question), 6b (rhetorical question), 8b (the sudden revelation that the psalmist’s suffering is social as well as physical), 11 (the thematic “turning” that occurs when the enemies are “shamed”—wordplay);
• the pragmatic force (topic/focus) of the periodic, fronted nominal phrases noted in the earlier exegetical analysis (e.g., v.2ab);
• the semantic implication of the occasional Hebrew conjunctive particles (e.g., the parallel כּי 'for' clauses in v.3ab 'reason,' or motivational use here);
• other, deliberately positioned (fronted/backed) syntactic elements that forge contrastive or complementary linkages on the textual microstructure (e.g., the antithetical implication of the initial pronoun אַתָּה in v.4b in contrast with נַפְשִׁי in the preceding line, 4a);
• the phonological and lexical reiteration which create perceptible cohesive connections throughout the psalm and hence the prayer as a whole;
• a functionally-equivalent TL literary genre (along the lines of a lament with an optimistic topical surprise at the end) that can duplicate the artistry, impact, and appeal of the original Hebrew poetry on the macro-level of discourse.",

Outline or visual representation

(This began as Wendland's Expository outline, but may be adapted.)

I. David’s appeal. (1-7)

A. What he wants. (1-2,4-5)

1. Do not:

a. Rebuke me in anger.

b. Chasten me in Thy wrath.

2. Do heal my spiritual and physical conditions:

a. Have mercy: I am weak.

b. Heal me: My bones are vexed.

c. Heal me: My soul is greatly vexed.

d. Deliver and save me: For thy mercy’s sake.

B. How long? (3)

C. Why he wants it. (3,6-7)

1. Because of God’s loving kindness.

2. Because he can’t remember or praise God if He is dead.

(Remember: This was prior to the death and resurrection of Christ. Death is different now.)

3. He is weary with sighing, crying, and grieving.

Tears are liquid prayers. Weeping is a universal language.

4. The battle is aging him.

II. David’s assurance. (8-10)

A. Those who work iniquity will depart.

B. The Lord has heard his weeping.

C. The Lord has heard his supplication.

D. The Lord receives his prayer.

E. The enemy will:

1. Be ashamed.

2. Be vexed.

3. Turn back from pursuing him.

Authorship

This Psalm was authored by David.

Genre

Etic Genre
"Psalm 6 may be classified as a 'lament,' or 'psalm of petition,' since a fervent appeal to the LORD for help dominates the first portion of the prayer (vv.2-5), as marked by a vocative (יהוה) in each of the four bicola, and two of them in v.3. This psalm is often included among the so-called 'Penitential Psalms' (along with Pss. 32, 38, 51, 102, 130, 143), but there is no explicit confession of sin (whether specific or general), nor is there any plea for God’s forgiveness (cf. 25:7, 18). Craigie proposes that perhaps 'the palmist prays not to be rebuked or chastised for bringing this problem to God in prayer,' for God may have had a good reason for allowing this illness to afflict him (Psalms, 92).

Emic Genre
Psalm 6 is classified as a מִזְמוֹר in the superscription.