Psalm 6 Poetry
The sound of my weeping
Psalm 6
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.
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 sub-sections, sub-sections into larger sections, 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 Macro-structure
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. |
| v. 1 For the director. With stringed instruments. According to the octave. A psalm. By David. | Superscription | |||
| v. 2 YHWH, do not correct me in your anger, and do not discipline me in your wrath! | Plea |
YHWH, have mercy!
“My soul has become very dismayed. |
 |
dismay (distress
and fear) |
| v. 3 Have mercy on me, YHWH, for I am languishing! Heal me, YHWH, for my bones have become dismayed! | ||||
| v. 4 And my soul has become very dismayed. And you, YHWH ... How long? | ||||
| v. 5 Turn back, YHWH! Rescue my life! Save me because of your loyalty! |
YHWH, turn!
| |||
| v. 6 For there is no commemoration of you in the world of the dead. In Sheol, who can praise you? | ||||
| v. 7 I have grown weary because of my groaning. I drench my bed every night. I dissolve my couch with my tears. | Death | There is no commemoration of you in the world of the dead. |
 | |
| v. 8 My eye has wasted away because of vexation. It has become weak because of all my adversaries. | ||||
| v. 9 Get away from me, all you who do evil! For YHWH has heard the sound of my weeping. | Answer |
YHWH has heard!
“May all my enemies be very dismayed… |
 |
triumph
|
| v. 10 YHWH has heard my plea for mercy. YHWH will accept my prayer. | ||||
| v. 11 May all my enemies be shamed and very dismayed! May they turn back! May they be shamed in a moment! | ||||
Notes
- Psalm 6 consists of four sections: vv. 2–4, vv. 5–6, vv. 7–8, vv. 9–10 (cf. van der Lugt 2006, 126; Weber 2016, 65–66).
- The first and second sections are marked primarily by their similar endings. Each section ends with a question: "How long?" (v. 4b) // "Who can praise you?" (v. 6b). The questions also sound similar: עַד־מָתָי (v. 4b) // מִ֣י יוֹדֶה (v. 6b)—mem + yod + dalet.
- The first and second sections also have similar beginnings. The first line in each section is a plea for YHWH to relent from anger. In v. 2a, the reference to "anger" is explicit, and the petition is put in negative terms: "not in anger." In v. 5a, anger is implicit, and the petition is put in positive terms: "turn back (from anger)" (cf. Exod 32:12; Ps 90). Both of these lines also have vocatives.
- The third section (vv. 7–8) stands apart from the rest of the poem in three main ways: (1) This section contains the only three-line verse in the poem (v. 7), (2) There is no mention of YHWH's name in this section, (3) The psalmist "I" is the topic throughout this section. In fact, with the exception of the sudden reference to "adversaries" at the very end of v. 8, the psalmist is the only participant in this section.
- The last section (vv. 9–11) is bound together by its reference to the psalmist's enemies. They are the main topic in this section.
- The four sections can be grouped, such that the psalm consists of two halves: vv. 2–6, vv. 7–11 (cf. van der Lugt 2006, 126). The first two sections (vv. 2–6) can be grouped on the basis of their similar beginnings and endings. The last two sections (vv. 7–11) can be grouped on the basis of the seam that binds v. 8b to v. 9a, i.e., similar sounds (צוֹרְרָי / סוּרוּ) and reference to enemies.
- Each half has the same number of words (39 words; 34 prosodic words). The two halves also have a symmetrical structure (cf. Weber 2016, 66). The outer sections (vv. 2–4 // vv. 9–11) each have 24 words and repeat a number of key words and themes (see Poetic Feature #3). The inner sections (vv. vv. 5–6 // vv. 7–8) each have 15 words and focus on the psalmist's nearness to death (see Poetic Feature #1; cf. Hossfeld and Zenger 1993, 67).
Line Divisions
Line division divides the poem into lines and line groupings. We determine line divisions based on a combination of external evidence (Masoretic accents, pausal forms, manuscripts) and internal evidence (syntax, prosodic word counting and patterned relation to other lines). Moreover, we indicate line-groupings by using additional spacing.
When line divisions are uncertain, we consult some of the many psalms manuscripts which lay out the text in lines. Then, if a division attested in one of these manuscripts/versions influences our decision to divide the text at a certain point, we place a green symbol (G, DSS, or MT) to the left of the line in question.
| Poetic line division legend | |
|---|---|
| Pausal form | Pausal forms are highlighted in yellow. |
| Accent which typically corresponds to line division | Accents which typically correspond to line divisions are indicated by red text. |
| | | Clause boundaries are indicated by a light gray vertical line in between clauses. |
| G | Line divisions that follow Greek manuscripts are indicated by a bold green G. |
| DSS | Line divisions that follow the Dead Sea Scrolls are indicated by a bold green DSS. |
| M | Line divisions that follow Masoretic manuscripts are indicated by a bold green M. |
| Number of prosodic words | The number of prosodic words are indicated in blue text. |
| Prosodic words greater than 5 | The number of prosodic words if greater than 5 is indicated by bold blue text. |
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. |
Notes
- Our proposed line division agrees completely with the pausal forms (cf. Revell 1981), the stich divisions in the Greek Psalter (cf. Sikes 2025), and the Masoretic accents (cf. de Hoop and Sanders 2022, §6).
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.
To death and back
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. |
Feature
- YHWH's name appears eight times throughout the psalm, but it is conspicuously absent from the third section (vv. 7–8). This section follows the psalmist's statement that "there is no commemoration of YHWH in the world of the dead" (v. 6a). (Note that the word "commemoration" [זֵכֶר] can also mean "name" [see, e.g., Exod 3:15].)
Effect
- In vv. 7–8, it is as though David has descended into the world of the dead, the place where YHWH is neither named or praised. It is a place of darkness ("night") watery chaos ("tears"/"drench"/"dissolve") (cf. Jonah 2:3–10).
- In the fourth section (vv. 9-11), David regains energy, confidence, and authority, and he proclaims YHWH's name three times. It is as though he has come back from the dead.
The heights of poetry & the depths of pain
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. |
Feature
The third section (vv. 7–8) stands out in a number of ways:
- There is an abundance of figurative language and imagery: weary sighing (7a), the darkness of "night" (v. 7b), a flood of tears that causes his bed to dissolve (7bc), an eye that wastes away (8ab).
- Verse 7 is the only three-line verse in the Psalm. Verse 7a is the middle line of the Psalm, and it is also the shortest (2 words, 7 syllables)
- Rare words (words occurring ten times or less in the Bible) cluster in this section (indicated by italics): אַשְׂחֶה (3x), עַרְשִׂי (10x), אַמְסֶה (4x), עָשְׁשָׁה (3x), עָתְקָה (9x).
- This is the most phonologically marked section in the psalm. There is dense alliteration: m + t + b + guttural (indicated with green boxes) and s/sh/th + guttural (indicated with pink boxes).
- There is the sudden mention of "adversaries" at the end of the section (delayed identification).
- The word "all" or "every" (כָל) is repeated (indicated with a circle). The words "night" (לַיְלָה) and "adversaries" (צוֹרְרָי) also sound similar; both words have a pair of liquids (l, r) and a yod.
Effect
- The effect is to draw attention to this third section of the poem. David, on the brink of death, reaches to the heights of poetic/rhetorical technique in order to express the depths of his suffering in a last-ditch effort to persuade YHWH to rescue him.
Repetition, resolution, reversal
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. |
Feature
The first section (vv. 2–4) and the last section (vv. 9–11) correspond to one another. Not only are they the same length (3 verses, 6 lines, 24 words), but they are also similar in content and sounds:
- v. 2 יסר ("discipline") and contextual domain BEHAVIOR ("discipline")
- v. 3 "Have mercy (חנן), YHWH"; "Heal me, YHWH."
- v. 4 "very dismayed" (נִבְהֲלָה מְאֹד) / "how long?" (time)
- v. 9 סור ("move away") and contextual domain BEHAVIOR ("evil")
- v. 10 "YHWH... my supplication" (חנן); "YHWH... my prayer."
- v. 11 "very dismayed" (וְיִבָּהֲלוּ מְאֹד) / "in a moment" (time)
Effect
- Structurally, the first section (vv. 2–4) and the last section (vv. 9–11) stand in symmetrical relationship to one another. The parallels help to define the structure of the Psalm.
- The effect of the repetition in the last section is to highlight the complete resolution and reversal of the situation. David's prayer has been heard, his question of "how long?" has been answered—"in a moment!"—and the deep dismay that he experienced is now felt by his enemies on whom YHWH's punishment rightfully falls.
Repeated Roots
The repeated roots table is intended to identify the roots which are repeated in the psalm.
| Repeated Roots legend | |
|---|---|
| Divine name | The divine name is indicated by bold purple text. |
| Roots bounding a section | Roots bounding a section, appearing in the first and last verse of a section, are indicated by bold red text. |
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Roots occurring primarily in the first section are indicated in a yellow box. |
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Roots occurring primarily in the third section are indicated in a blue box. |
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Roots connected across sections are indicated by a vertical gray line connecting the roots. |
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Section boundaries are indicated by a horizontal black line across the chart. |
Bibliography
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