Psalm 7/Full

Phonology

Consonants

Definition Feature being studied	Occurrences Sections where this feature is present or absent	Clustering	Intersection	Connections	Structure
glides (י, ו)		v.6ab; vv.15b,16ab
gutturals (א, ה, ח, ע)		v.4a; vv.7c,8a,8c (line-initial ע); line initial א: vv.4b,5ab; 12ab,13a; 18ab
sibilants (ז, ס, צ/ץ, שׂ, שׁ)		v.5b (צ); v.6ab; vv.11b-12a
dentals (ד, ט, ת)		v.4a (ת); v.10c (ת); vv.17b-18a
velars (כ/ך, ג, ק)		vv.13b,14a; v.17b (קָ֜דְקֳד֗וֹ) - v.18a (כְּצִדְק֑וֹ)
liquids (ל, ר)		v.5ab; v.7bc; v.10a (ר); v.16a (ר)
nasals (מ/ם, נ/ן)		vv.8ab,9a (לְ֭אֻמִּים ...לַמָּר֥וֹם ...עַ֫מִּ֥ים)			Words with double m occur only in vv.8ab,9a. This fact may support the argument for grouping v.9a with v.8ab rather than with v.9bc.
labials (ב, פ/ף)		section 1 (vv.2-3 [פ/ף x5], esp.3a); section 3 (vv.7-8); vv.16-17a, esp.16b

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
מ + ג + liquid (ר/ל)	גָּ֭מַלְתִּי (v.5a), יִגְמָר־נָ֬א (v.10a)			The words גמל and גמר are connected phonologically as well as etymologically. The deliberate connection between v.5a and v.10a is confirmed by the repetition of רַע in these lines.

This feature is considered relevant for this psalm.,

Patterns in beginnings

Section 1

Section 2

Section 3

Section 4

Section 5

Section 6

Section 7

In vv. 4-5, 7-8, 10bc, 13-14, this feature functions to bind together adjacent bicola into a section. In vv. 2a, 4a, similar beginnings demarcate the beginning of sections. In the remaining instances (vv. 3, 11, 18), this feature strengthens the relationship between parallel lines within a bicolon.

• vv.2a,4a.

יְהוָ֣ה אֱ֭לֹהַי...חָסִ֑יתִי (v.2a)

יְהוָ֣ה אֱ֭לֹהַי...עָשִׂ֣יתִי (v.4a)

• v.3ab.

פֶּן (v.3a)

פֹּ֜רֵ֗ק (v.3b)

• vv.4ab,5a.

יְהוָ֣ה אֱ֭לֹהַי אִם־עָשִׂ֣יתִי זֹ֑את (v.4a)

אִֽם־יֶשׁ־עָ֥וֶל בְּכַפָּֽי (v.4b)

אִם־גָּ֭מַלְתִּי שֽׁוֹלְמִ֥י רָ֑ע (v.5a)

• vv.7c,8a,8b.

וְע֥וּרָה (v.7c)

וַעֲדַ֣ת (v.8a)

וְ֜עָלֶ֗יהָ (v.8b)

• v.10bc.

וּתְכוֹנֵ֪ן (v.10b)

וּבֹחֵ֣ן (v.10c)

• v.11ab.

מָֽגִנִּ֥י (v.11a)

מ֜וֹשִׁ֗יעַ (v.11b)

• vv.13a,14a.

אִם־לֹ֣א יָ֭שׁוּב (v.13a)

וְ֭לוֹ הֵכִ֣ין (v.14a)

• v.18ab.

אוֹדֶ֣ה (v.18a)

וַ֜אֲזַמְּרָ֗ה (v.18b),

Patterns in endings

Lines

• v.7bc.

צוֹרְרָ֑י

צִוִּֽיתָ׃

Words within lines

• v.2b. הוֹשִׁיעֵ֥נִי...וְהַצִּילֵֽנִי׃
• v.10c. לִ֭בּ֗וֹת וּכְלָי֗וֹת,

Similar sounds in adjacent lines

Section 1 (vv.2-3)

• repetition of צִּילֵ (vv. 2b, 3b) and the similar sounding שִׁי (vv. 2b, 3a)
• alliteration: רֹ֜דְפַ֗י / יִטְרֹ֣ף (dental [ד/ט] + ר + פ/ף)
• alliteration: כְּאַרְיֵ֣ה נַ / רֵ֗ק וְאֵ֣ין (velar + א + ר + glide + נ)
• alliteration of line initial פּ (v.3ab)

Section 2 (vv.4-6)

• repetition of אִם (vv. 4ab, 5a)
• alliteration: עָשִׂ֣יתִי זֹ֑את (sibilant [שׂ/ז] + ת)
• alliteration and rhyme (v.5ab): שֽׁוֹלְמִ֥י // צוֹרְרִ֣י (sibilant [שׁ/צ] + sonorants [למ/רר]); same vowels
• alliteration of ר (v.5ab) and צ (v.5b)
• alliteration of glides (6ab)
• rhyme + alliteration: יִֽרַדֹּ֥ף // יִרְמֹ֣ס (v.6ab)

Section 3 (vv.7-9)

• repetition of II-ו verbs with הָ ending: ק֨וּמָ֤ה (v.7a), וְע֥וּרָה (v.7c), שֽׁוּבָה (v.8b)
• alliteration (v.7ab): בְּאַפֶּ֗ךָ // בְּעַבְר֣וֹת (b + guttural [א/ע] + labial [פ/ב])
• repetition of וע at beginning of lines (7c, 8a, 8b)
• alliteration (v.8ab): לְ֭אֻמִּים // לַמָּר֥וֹם (ל + מ[x2])
• alliteration (v.8ab): תְּסוֹבְבֶ֑ךָּ // שֽׁוּבָה (sibilant [שׁ/ס] + ב)

Section 4 (vv.9b-10)

• repetition of צדק (vv. 9c, 10bd)
• alliteration of ר (v.10a)
• rhyme (v.10bc): וּתְכוֹנֵ֪ן // וּבֹחֵ֣ן
• rhyming consecutive words (v.10c): לִ֭בּ֗וֹת וּכְלָי֗וֹת

Section 5 (vv.11-14)

• assonance: long ō-vowel (vv.11-14)
• alliteration of אל/על (vv.11a, 12ab)
• alliteration of line-initial מ (v.11ab); line-final ם (v.12b); אם (v.13a)
• alliteration of שׁ (vv.11b,12a, 13ab)
• rhyme (v.12ab): שׁוֹפֵ֣ט // זֹעֵ֥ם
• repetition of line-initial לא/לו (vv.13a, 14a)
• alliteration (שׁ + dental) and assonance (long ō): יִלְט֑וֹשׁ (v.13a) // קַשְׁתּ֥וֹ (v.13b)
• repetition of כון (vv.13b, 14a)
• alliteration (velar + liquid): כְּלֵי (v.14a) // לְֽדֹלְקִ֥ים (v.14b)

Section 6 (vv.15-17)

• "Note the word play on יפל and יפעל."
• alliteration (guttural + labial + liquid): חַבֶּל (v.15a), עָ֜מָ֗ל (v.15b), יִפְעָֽל (v.16b) עֲמָל֣ (v.17a)
• alliteration (labial + liquid): בּ֣וֹר (v.16a), חְפְּרֵ֑ (v.16a), וַ֜יִּפֹּ֗ל (v.16b), בְרֹא (v.17a)
• alliteration and rhyme: עֲמָל֣וֹ (v.17a), חֲמָס֥וֹ (v.17b)
• assonance (long ō): v.17ab

Section 7 (v.18)

• assonance (long ō): v.18ab
• repetition of יהוה (v.18ab)
• alliteration of line initial א (v.18ab)
• alliteration of sibilant + מ/ם (v.18b),

Other observations

Rhythm and Line Length
The following table shows the length of each line in terms of syllables, words, and stress units. See below on line divisions.

Ref	Syllables	Words	Stress Units
2a	10	4	4
2b	14	4	3
3a	8	4	3
3b	6	3	3
4a	10	5	4
4b	7	4	2
5a	8	4	3
5b	10	3	3
6a	10	4	4
6b	7	3	3
6c	9/11	3/4	3/4
7a	8	3	3
7b	9	3	3
7c	10	4	4
8a	11	3	3
8b	9	3	3
9a	6	3	3
9b	5	2	2
9c	9	3	3
10a	7	4	3
10b	6	2	2
10c	9	3	3
10d	5	2	2
11a	7	3	2
11b	6	3	2
12a	7	3	3
12b	7	4	3
13a	8	5	4
13b	10	3	3
14a	8	4	3
14b	8	3	3
15a	7	3	2
15b	10	4	4
16a	8	3	3
16b	7	3	3
17a	8	3	3
17b	10	4	4
18a	7	3	3
18b	9	4	3

• As expected, the b-line of each bicolon is, in terms of stress units, of the same or shorter length than the a-line. The only exceptions are v.17ab (3//4), which concludes a section, and v.15ab, which opens a section.
• Terse (marked) lines cluster in the middle of the psalm (vv.9-11).
• Terse lines at v.11a and v.15a open new sections.
• v.4a and v.17b are marked for long length (17b is long relative to 17a). v.4a marks the opening of a section and v.17b marks the closing of a section.

Lexical Semantics

Difficult Words

• v.5b. וָאֲחַלְּצָ֖ה – The piel form of the verb חלץ has the concrete meaning "pull out" (Lev. 14:40, 43), which is figuratively extended in most cases (almost always in the Psalms) to mean "rescue" (i.e., "pull out" of danger; Ps. 6:5; 18:20; 34:8; 50:15; 81:8; 91:15; 116:8; 119:153; 140:2; Job 36:15). "This OT poetic usage is reflected in Phoenician theophoric names such as halsbaal (Baal has rescued)." Accordingly, the Septuagint of Psalms consistently translates the verb as either ἐξαιρέω ("pull out" – Ps. 50[49:15; 91[90]:15; 116[114]:8; 119[118]:53; 140[139]:2) or ῥύομαι ("rescue" – Ps.6:5; 18[17]:20; 34[33]:8; 60[59]:7; 81[80]:8; 108[107]:7).

In every instance, the verb refers to Yahweh rescuing his people from danger. This makes the occurrence in Ps. 7:5 unique, since, here, the agent of the verb is David, and the patient is his enemy (צֹרְרִי). The meaning "rescue" would seem to imply injustice in rescuing an enemy. Traditional solutions to this problem, ancient and modern, are discussed and critiqued by Tigay. One common approach is to interpret חלץ to mean "plunder" or "despoil." Yet "חלץ never otherwise means 'to plunder' (NRSV; cf. NIVI) in Biblical Hebrew (cf. BDB)."

Tigay's own solution, which involves a slight textual emendation, is summarized here in his own words: "The term שׁולם suggests that Ps 7:5 reflects an alliance. Extrabiblical and biblical sources show that failing to pursue the enemy of one's ally, or providing the enemy refuge, are fundamental violations of alliance duties. This is precisely what Ps 7:5b refers to when צררי is emended to צררו. The clause is now seen to deny an accusation that the speaker rescued his ally's enemy. The emended verse is to be translated, 'if I have repaid my ally with treachery and rescued his enemy...'" While the internal evidence for this view is strong and the confusion of י and ו is a common error,, there is no external evidence for reading צררו.

Goldingay, also recognizing the reference to a political alliance, offers a compelling interpretation of the text as it stands (צררי). "The second colon (v.5b) takes the point further by denying a form of capriciousness, as if disloyalty to allies were accompanied by unprincipled leniency to watchful foes, like the leniency Saul showed to Agag (1 Sam. 15). Such an act (perhaps mentioned only as a theoretical possibility) would underscore the enormity of the act referred to in the previous colon.",

References to God

Definition Feature being studied	Occurrences Sections where this feature is present or absent	Clustering	Intersection	Connections	Structure
3rd person reference to Yahweh	vv.9a, 10d?, 11-14, 18	third part of psalm	v.11 marks the shift from direct address to 3rd person reference.		Gives cohesion to vv.11-18 (see "direct address to Yahweh"). The third person reference to Yahweh in v.9a stands out among the surrounding 2nd person perspective (vv.8b,9b).
direct address to Yahweh	vv.2a, 4a, 7a, 9b, 10d?	first two parts of psalm	v.11 marks the shift from direct address to 3rd person reference.		While the whole psalm is a prayer to Yahweh (cf. v.1), Yahweh is only addressed directly in the first half of the psalm (vv.2-10). In vv.11-18, he is referred to in the third person. Verse 11 thus marks a major point of discontinuity in the psalm.
עֶלְיוֹן	v.18b		final word of psalm		The sevenfold occurrence of the divine name (יהוה) climactically concludes in the final line with this title.
אֵל	v.12b
אֱלֹהִים	vv.2a, 4a, 10d, 11a, v.12a	vv.10d-12a	beginning of section (vv.2a, 4a); cluster at section boundary (vv.10d, 11a)		anaphora (vv.2a, 4a); vv.10cd-11ab form a chiasm (anadiplosis): a וּבֹחֵ֣ן לִ֭בּ֗וֹת וּכְלָי֗וֹת b אֱלֹהִ֥ים צַדִּֽיק // b' מָֽגִנִּ֥י עַל־אֱלֹהִ֑ים a' מ֝וֹשִׁ֗יעַ יִשְׁרֵי־לֵֽב
יהוה	seven times: vv. 2a, 4a, 7a, 9ab, 18ab	vv.9, 18; absent vv.10-17	beginning of section (vv.2a, 4a, 7a, 9b, 18a); end of section (vv.9a, 18b)		The divine name appears seven times, culminating in the final line with the climactic expression שׁם יהוה עליון (v.18b). Each of the seven occurrences has structural significance, opening (vv.2a, 4a, 7a, 9b, 18a) and closing sections (vv.9a, 18b). The back-to-back occurrences in 9ab form a chiasm (anadiplosis): a יהוה b ידין עמים // b' שׁפטני a' יהוה. The occurrence in v.9a is the 4th and central occurrence, thus adding to the prominence of this line.

"The Psalm mentions God eleven times. Ten times these denotations appear in pairs, and six of these are even anaphoric and of structural importance. Their positioning is already takes care of five strophes. Strophes 1 and 2 start with the double anaphora יהוה אלהי (plus perfect), strophes 3 and 4 have יהוה in second position after an imperative, and strophe 5 has אלהים in 11a//12a. The last pair is יהוה occurring in both halves of the concluding verse."

2a		יהוה	אֱלֹהַי
2b
3a
3b
4a		יהוה	אֱלֹהַי
4b
5a
5b
6a
6b
6c
7a		יהוה
7b
7c
8a
8b
9a		יהוה
9b		יהוה
9c
10a
10b
10c
10d			אֱלֹהִים
11a			אֱלֹהִים
11b
12a			אֱלֹהִים
12b				אֵל
13a
13b
14a
14b
15a
15b
16a
16b
17a
17b
18a		יהוה
18b		יהוה			עֶלְיוֹן

This feature is considered relevant for this psalm.,

Tetragrammaton

The tetragrammaton occurs seven times in this psalm. The climactic seventh occurrence (שֵֽׁם־יְהוָ֥ה עֶלְיֽוֹן) concludes the psalm and prepares the reader for psalm 8 (מָֽה־אַדִּ֣יר שִׁ֭מְךָ בְּכָל־הָאָ֑רֶץ). The use of אֱלֹהִים in place of יהוה in vv.10-12 may have been motivated by a desire to limit occurrences of the tetragrammaton to seven. The central occurrence of יהוה is in v.9a.,

Repeated words

Definition Feature being studied	Occurrences Sections where this feature is present or absent	Clustering	Intersection	Connections	Structure
צרר (x2)	צוֹרְרִ֣י (v.5b), צוֹרְרָ֑י (v.7b)
נצל (x2)	וְהַצִּילֵֽנִי (v.2b), מַצִּֽיל (v.3b)	beginning of psalm (vv.2-3)	last word of v.2b; last word of v.3b (and of section 1)		Gives cohesion to section 1 (vv.2-3)
רדף (x2)	מִכָּל־רֹ֝דְפַ֗י (v.2b), יִֽרַדֹּ֥ף (v.6a)	beginning of psalm (vv.2-6)			Gives cohesion to sections 1-2 (vv.2-6)
נַפְשִׁי (x2)	נַפְשִׁ֑י (v.3a), נַפְשִׁ֡י (v.6a)	beginning of psalm (vv.3-6)	closes section 1 (v.3) and section 2 (v.6)	v.3a and v.6a form a distant parallel; there are a number of correspondences between these lines	Gives cohesion to sections 1-2 (vv.2-6)
רַע (x2)	רָ֑ע (v.5a), רַ֨ע ׀ רְשָׁעִים֮ (v.10a)
ישׁע (x2)	הוֹשִׁיעֵ֥נִי (v.2b), מ֝וֹשִׁ֗יעַ (v.11b)
לבב (x2)	לִ֭בּ֗וֹת (v.10c), יִשְׁרֵי־לֵֽב (v.11b)	vv.10-11			vv.10cd-11ab form a chiasm (anadiplosis): a לִבּוֹת b אֱלֹהִים // b' אֱלֹהִים a' יִשְׁרֵי־לֵב
עמל (x2)	עָ֝מָ֗ל (v.15b), עֲמָל֣וֹ (v.17a)	section 6 (vv.15-17)			Gives cohesion to section 6 (vv.15-17)
כון (x3)	וּתְכוֹנֵ֪ן (v.10b), וַֽיְכוֹנְנֶֽהָ (v.13b), הֵכִ֣ין (v.14a)	vv.13b-14a	middle of psalm (v.10)	Yahweh will set up (כון) the righteous (v.10b) by preparing (כון) his weapons of war (vv.13b-14a)	Gives cohesion to vv.13-14
יִפְעַל (x2)	יִפְעַל (v.14b), יִפְעַל (v.16b)	vv.14-16	end of section 5 (v.14b)	(see comments on שׁוב)	(see comments on שׁוב)
שׁוב (x3)	שֽׁוּבָה (v.8b), יָשׁוּב (v.13a), יָשׁוּב (v.17a)		end of section 6 (v.17a)	Exact repetition of the form יָשׁוּב (vv.13a, 17a) forms/strengthens the connection between these verses/sections. The validity of this connection is confirmed by the exact repetition of יִפְעַל (vv.14b, 16b).	Gives cohesion to vv.13-17. Occurrences of יָשׁוּב and יִפְעַל form a chiasm that stretches across these verses: a יָשׁוּב (v.13a) b יִפְעַל (v.14b) b יִפְעַל (v.16b) a יָשׁוּב (v.17a). This feature may be intended to underscore the idea of reversal described in vv.16-17.
שׁפט (x3)	מִשְׁפָּ֥ט (v.7c), שָׁפְטֵ֥נִי (v.9b), שׁוֹפֵ֣ט (v.12a)	vv.7-12; middle of psalm (sections 3, 4, & 5)	beginning of section (v.9b)	מִשְׁפָּ֥ט צִוִּֽיתָ (v.7c) sounds similar to שׁוֹפֵ֣ט צַדִּ֑יק (v.12a); this is one of a number of apparent connections between section 3 (vv.7-8) and section 5 (vv.11-14)	Gives cohesion and prominence to the middle of the psalm.
צדק (x5)	כְּצִדְקִי (v.9c), צַדִּ֥יק (v.10b), צַדִּֽיק (v.10d), צַדִּֽיק (v.12a), כְּצִדְקוֹ (v.18a)	vv.9-12 (4x)		The first and last occurrence are clearly connected: כְּצִדְקִ֖י (v.9c) – כְּצִדְק֑וֹ (v.18a); in between, there are three occurrences of the adjective צַדִּיק (vv.10bd, 12a)	The dense repetition of the root צדק gives cohesion and prominence to the middle section of the psalm (vv.9-10). "Strophe 4 (vv.9b-10d)... is characterized by the specific technique of three times employing a keyword and spreading it over three verses. The word is derived from the root צדק and every time refers to a different person: the 'I' in 9b, the righteous person in 10b and God himself in 10d; this too is a form of distribution... To the speaker who hopes and prays for salvation through God's judgment, the concept of צדק is the ideological axis on which his argument turns. Hence, it is not surprising that 'my righteousness' (כצדקי in v.9b) receives a counterpart in the conclusion, when he thanks God for the judgment that has brought deliverance, and is כצדקו (v.18a)."

2a

2b

הוֹשִׁיעֵ֥נִי

מִכָּל־רֹ֝דְפַ֗י

וְהַצִּילֵֽנִי

3a

נַפְשִׁ֑י

3b

מַצִּֽיל

4a

4b

5a

רָ֑ע

5b

צוֹרְרִי

6a

יִֽרַדֹּ֥ף

נַפְשִׁ֑י

6b

6c

7a

7b

צוֹרְרָ֑י

7c

מִשְׁפָּ֥ט

8a

8b

שֽׁוּבָה

9a

9b

שָׁפְטֵ֥נִי

9c

כְּצִדְקִ֖י

10a

רַע

10b

צַ֫דִּ֥יק

וּתְכוֹנֵ֪ן

10c

לִ֭בּ֗וֹת

10d

צַדִּֽיק

11a

11b

מ֝וֹשִׁ֗יעַ

יִשְׁרֵי־לֵֽב

12a

שׁוֹפֵ֣ט

צַדִּ֑יק

12b

13a

יָשׁוּב

13b

וַֽיְכוֹנְנֶֽהָ

14a

הֵכִ֣ין

14b

יִפְעָֽל

15a

15b

עָ֝מָ֗ל

16a

16b

יִפְעָֽל

17a

יָשׁוּב

עֲמָל֣וֹ

17b

18a

כְּצִדְק֑וֹ

18b

This feature is considered relevant for this psalm.,

Semantically/thematically related words

Definition Feature being studied	Occurrences Sections where this feature is present or absent	Clustering	Intersection	Connections	Structure
vice	עָוֶל (v.4b), רַע (vv.5a, 10a), אָוֶן (v.15a), עָמָל (vv.15b, 17a), שֶׁקֶר (v.15b), חָמָס (v.17b)	vv.15-17			Gives cohesion to vv.15-17
weaponry	מָֽגִנִּ֥י (v.11a), חַרְבּ֣וֹ (v.13a), קַשְׁתּ֥וֹ (v.13b), כְּלֵי־מָ֑וֶת (v.14a), חִ֝צָּ֗יו (v.14b)	vv.11-14			Gives cohesion to vv.11-14

Weaponry

• v.11a. The מָגֵן was a small shield (compared to the larger צִנָּה) that "could be made of wood (sometimes covered with leather) or metal. It varied in shape but was usually round." For the meaning of this clause, see below.
• v.13a. The verb לטשׁ means "to sharpen" with reference to metal instruments such as axes and ploughs (1 Sam. 13:20), swords (Ps. 7:13), and razors (Ps. 52:4).
• v.13b. The verb דרך means “to tread,” and here refers specifically to “treading the bow” (2 Sam. 22:35; Isa. 5:28; 21:15; Jer. 9:3; 46:9; 50:14, 29; 51:3; Psa. 7:12; 11:2; 18:34; 37:14; Lam 2:4; 3:12). According to Pritz, this phrase “often does not refer to the drawing of the bowstring in order to shoot but rather to the method of bending the unstrung bow enough to slip the bowstring in place on the end of the bow... The underlying idea is preparing the bow for combat.” This bending of the bow was done with one’s foot, hence the verb דרך. The following verb, כּוֹנֵן, is a technical term for fixing an arrow upon a bow (cf. Ps.11:2).
• v.14a. The noun כְּלִי often refers to weaponry. This is made explicit here by the unique phrase כְּלֵי מָוֶת (lit: "instruments of death" = "weapons").
• v.14b. The verb דלק means "to burn" (intransitive). "The reference may be to arrows dipped in a kind of oil or pitch and set alight before shooting." Fiery arrows may also be referred to in Ps. 76:4 by the phrase ‎רִשְׁפֵי־קָ֑שֶׁת.

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
חבל	v.15a
דלק	v.14b
לטשׁ	v.13a
גמר	v.10a		middle line of psalm
פרק	v.3b

The words listed above occur 10 times or less in the Hebrew Bible. Most of these occur in the second half of the psalm. Each occurrence is tied to some phonological feature.

Verbs

Verb forms

Definition Feature being studied	Occurrences Sections where this feature is present or absent	Clustering	Intersection	Connections	Structure
participle	רֹ֝דְפַ֗י (v.2b), פֹּ֝רֵ֗ק (v.3b), מַצִּֽיל׃ (v.3b), שֽׁוֹלְמִ֥י (v.5a), צוֹרְרִ֣י (v.5b), אוֹיֵ֨ב (v.6a), צוֹרְרָ֑י (v.7b), וּבֹחֵ֣ן (v.10c), מ֝וֹשִׁ֗יעַ (v.11b), שׁוֹפֵ֣ט (v.12a), זֹעֵ֥ם (v.12b), לְֽדֹלְקִ֥ים (v.14b),	vv.10-12
volitives	הוֹשִׁיעֵ֥נִי (v.2b), וְהַצִּילֵֽנִי (v.2b), יִֽרַדֹּ֥ף (v.6a), וְיַשֵּׂ֗ג (v.6a), וְיִרְמֹ֣ס (v.6b), יַשְׁכֵּ֣ן (v.6c), ק֘וּמָ֤ה (v.7a), הִ֭נָּשֵׂא (v.7b), וְע֥וּרָה (v.7c), תְּסוֹבְבֶ֑ךָּ (v.8a), שֽׁוּבָה (v.8b), שָׁפְטֵ֥נִי (v.9b), יִגְמָר־נָ֬א (v.10a), וּתְכוֹנֵ֪ן (v.10b), אוֹדֶ֣ה (v.18a?), וַ֝אֲזַמְּרָ֗ה (v.18b)	vv.2, 6-10; absent vv.11-17			Volitives bookend the first two sections (vv.2-6) and predominate in the following two sections (vv.7-10) as the psalmist calls on Yahweh to bring judgment. The verbs in vv. 11-17 are modally indicative.
cohortative	אוֹדֶ֣ה (v.18a?), וַ֝אֲזַמְּרָ֗ה (v.18b)	v.18	conclusion of psalm
jussive	יִֽרַדֹּ֥ף (v.6a), יַשְׁכֵּ֣ן (v.6c), תְּסוֹבְבֶ֑ךָּ (v.8a), יִגְמָר־נָ֬א (v.10a)	absent in second half of psalm (unless the yiqtol forms in v.17 are interpreted as jussives)
imperative	הוֹשִׁיעֵ֥נִי (v.2b), וְהַצִּילֵֽנִי (v.2b), ק֘וּמָ֤ה (v.7a), הִ֭נָּשֵׂא (v.7b), וְע֥וּרָה (v.7c), שֽׁוּבָה (v.8b), שָׁפְטֵ֥נִי (v.9b)	v.2, vv.7-9; absent in second half of psalm	beginning of section 3 (vv.7-9a) and section 4 (vv.9b-10)		Gives cohesion and prominence to vv.7-9
yiqtol	יִטְרֹ֣ף (v.3a), יִֽרַדֹּ֥ף (v.6a), יַשְׁכֵּ֣ן (v.6c), תְּסוֹבְבֶ֑ךָּ (v.8a), יָדִ֪ין (v.9a), יִגְמָר (v.10a), יָ֭שׁוּב (v.13a), יִלְט֑וֹשׁ (v.13a), יִפְעָֽל (v.14b), יְחַבֶּל (v.15a), יִפְעָֽל (v.16b), יָשׁ֣וּב (v.17a), יֵרֵֽד (v.17b), אוֹדֶ֣ה (v.18a)	vv.13-17			chiasm (vv.13-14): a yiqtol b qatal b qatal a yiqtol; following the chiasm, there is an alternation of form in vv.15-17: yiqtol (v.15), qatal (v.16), yiqtol (v.17)
weyiqtol	וְיַשֵּׂ֗ג (v.6a), וְיִרְמֹ֣ס (v.6b), וּתְכוֹנֵ֪ן (v.10b)	v.6
weqatal	וְהָרָ֥ה (v.15b), וְיָ֣לַד (v.15b)	v.15
wayyiqtol	וָאֲחַלְּצָ֖ה (v.5b), וַֽיְכוֹנְנֶֽהָ (v.13b), וַֽיַּחְפְּרֵ֑הוּ (v.16a), וַ֝יִּפֹּ֗ל (v.16b)	v.16
qatal	חָסִ֑יתִי (v.2a), עָשִׂ֣יתִי (v.4a), גָּ֭מַלְתִּי (v.5a), צִוִּֽיתָ׃ (v.7c), דָ֝רַ֗ךְ (v.13b), הֵכִ֣ין (v.14a), כָּ֭רָֽה (v.16a)	3 times in the first third (vv.2-6); 3 times the last third (vv.11-18); only once in the middle (צִוִּֽיתָ), not in a main clause; absent vv.8-12	beginning of section 1 (v.2a) and section 2 (v.4a)		anaphora (vv.2a, 4a); chiasm (vv.13-14): a yiqtol b qatal b qatal a yiqtol; following the chiasm, there is an alternation of form in vv.15-17: yiqtol (v.15), qatal (v.16), yiqtol (v.17)

The following table portrays the distribution of verb forms. Modal verbs are marked red.

2a	חָסִ֑יתִי
2b		הוֹשִׁיעֵ֥נִי...וְהַצִּילֵֽנִי	רֹ֝דְפַ֗י
3a				יִטְרֹ֣ף
3b			פֹּ֝רֵ֗ק... מַצִּֽיל
4a	עָשִׂ֣יתִי
4b
5a	גָּ֭מַלְתִּי		שֽׁוֹלְמִ֥י
5b	וָאֲחַלְּצָ֖ה
6a			אוֹיֵ֨ב	יִֽרַדֹּ֥ף...וְיַשֵּׂ֗ג
6b				וְיִרְמֹ֣ס
6c				יַשְׁכֵּ֣ן
7a		ק֘וּמָ֤ה
7b		הִ֭נָּשֵׂא	צוֹרְרָ֑י
7c	צִוִּֽיתָ	וְע֥וּרָה
8a				תְּסוֹבְבֶ֑ךָּ
8b		שֽׁוּבָה
9a				יָדִ֪ין
9b		שָׁפְטֵ֥נִי
9c
10a				יִגְמָר־נָ֬א
10b				וּתְכוֹנֵ֪ן
10c			וּבֹחֵ֣ן
10d
11a
11b			מ֝וֹשִׁ֗יעַ
12a			שׁוֹפֵ֣ט
12b			זֹעֵ֥ם
13a				יָ֭שׁוּב...יִלְט֑וֹשׁ
13b	דָ֝רַ֗ךְ וַֽיְכוֹנְנֶֽהָ
14a	הֵכִ֣ין
14b			לְֽדֹלְקִ֥ים	יִפְעָֽל
15a				יְחַבֶּל
15b				וְהָרָ֥ה...וְיָ֣לַד
16a	כָּ֭רָֽה וַֽיַּחְפְּרֵ֑הוּ
16b	וַ֝יִּפֹּ֗ל			יִפְעָֽל
17a				יָשׁ֣וּב
17b				יֵרֵֽד
18a				אוֹדֶ֣ה
18b				וַ֝אֲזַמְּרָ֗ה

This feature is considered relevant for this psalm.,

Person, gender and number

Definition Feature being studied	Occurrences Sections where this feature is present or absent	Clustering	Intersection	Connections	Structure
3ms/3fs	יִטְרֹ֣ף (v.3a), יִֽרַדֹּ֥ף (v.6a), וְיַשֵּׂ֗ג (v.6a), וְיִרְמֹ֣ס (v.6b), יַשְׁכֵּ֣ן (v.6c), תְּסוֹבְבֶ֑ךָּ (v.8a), יָדִ֪ין (v.9a), יִגְמָר (v.10a), יָ֭שׁוּב (v.13a), יִלְט֑וֹשׁ (v.13b), דָ֝רַ֗ךְ (v.13b), וַֽיְכוֹנְנֶֽהָ (v.13b), הֵכִ֣ין (v.14a), יִפְעָֽל (v.14b), יְחַבֶּל (v.15a), וְהָרָ֥ה (v.15b), וְיָ֣לַד (v.15b), כָּ֭רָֽה (v.16a), וַֽיַּחְפְּרֵ֑הוּ (v.16a), וַ֝יִּפֹּ֗ל (v.16b), יִפְעָֽל (v.16b), יָשׁ֣וּב (v.17a), יֵרֵֽד (v.17b)	v.6; vv.13-17			Gives cohesion to vv.13-17
2ms	הוֹשִׁיעֵ֥נִי (v.2b), וְהַצִּילֵֽנִי (v.2b), ק֘וּמָ֤ה (v.7a), הִ֭נָּשֵׂא (v.7b), וְע֥וּרָה (v.7c), צִוִּֽיתָ (v.7c), שֽׁוּבָה (v.8b), שָׁפְטֵ֥נִי (v.9b), וּתְכוֹנֵ֪ן (v.10b)	middle of psalm (vv.7-10, esp. v.7)
1cs	חָסִ֑יתִי (v.2a), עָשִׂ֣יתִי (v.4a), גָּ֭מַלְתִּי (v.5a), וָאֲחַלְּצָ֖ה (v.5b), אוֹדֶ֣ה (v.18a), וַ֝אֲזַמְּרָ֗ה (v.18b)	beginning (vv.2-5) and ending (v.18) of psalm; absent vv.6-17	first and last verb of psalm (v.2a, 18b)		Inclusion (vv.2a, 18b).

The distribution of PNG (note the clusters identified above) illuminates a chiastic structure:

1cs (vv.2-5)

3ms (v.6)

2ms (vv.7-10)

3ms (vv.13-17)

1cs (v.18)

The psalmist begins by desperately seeking refuge in Yahweh (v.2a) and ends by confidently praising his name (v.18a). The turning point happens at the height of his prayer, where he calls on Yahweh to act (vv.7-10). Before this, enemies threaten his life (v.6); after this his enemies receive their due (vv.13-17).
This feature is considered relevant for this psalm.,

Paragogic letters

Definition Feature being studied	Occurrences Sections where this feature is present or absent	Clustering	Intersection	Connections	Structure
paragogic ה	וָאֲחַלְּצָ֖ה (v.5b), ק֘וּמָ֤ה (v.7a), וְע֥וּרָה (v.7c), שֽׁוּבָה (v.8b), וַ֝אֲזַמְּרָ֗ה (v.18b)	vv.7-8	beginning of section 3 (v.7a); end of psalm (v.18b)	The three long imperatives (ק֘וּמָ֤ה- וְע֥וּרָה-שֽׁוּבָה) are closely connected by their morphology and their proximity to one another.	The series of long qal imperatives (II-waw) gives cohesion and prominence to vv.7-8.

This feature is considered relevant for this psalm.,

Long wayyiqtol

Definition Feature being studied	Occurrences Sections where this feature is present or absent	Clustering	Intersection	Connections	Structure
וָאֲחַלְּצָ֖ה ?	v.5b?

,

Verb stem types (binyanim)

Definition Feature being studied	Occurrences Sections where this feature is present or absent	Clustering	Intersection	Connections	Structure
Niphil	הִ֭נָּשֵׂא (v.7b)
Hiphil	הוֹשִׁיעֵ֥נִי (v.2b), וְהַצִּילֵֽנִי (v.2b), מַצִּֽיל (v.3b), וְיַשֵּׂ֗ג (v.6a), יַשְׁכֵּ֣ן (v.6c), מ֝וֹשִׁ֗יעַ (v.11b), הֵכִ֣ין (v.14a), אוֹדֶ֣ה (v.18a)	vv.2-3, 6; absent in middle of psalm (vv.7-10)	beginning and ending of sections 1-2 (vv.2-6); beginning of section 5 (v.11); initiates concluding bicolon of psalm (v.18)
Doubling stems (Piel/Polel/Poel)	וָאֲחַלְּצָ֖ה (v.5b), יִֽרַדֹּ֥ף (v.6a?), צִוִּֽיתָ (v.7c), תְּסוֹבְבֶ֑ךָּ (v.8a), וּתְכוֹנֵ֪ן (v.10b), וַֽיְכוֹנְנֶֽהָ (v.13b), יְחַבֶּל (v.15a), וַ֝אֲזַמְּרָ֗ה (v.18b)
Qal	חָסִ֑יתִי (v.2a), רֹ֝דְפַ֗י (v.2b), יִטְרֹ֣ף (v.3a), פֹּ֝רֵ֗ק (v.3b), עָשִׂ֣יתִי (v.4a), גָּ֭מַלְתִּי (v.5a), שֽׁוֹלְמִ֥י (v.5a), יִֽרַדֹּ֥ף (v.6a?), אוֹיֵ֨ב (v.6a), וְיִרְמֹ֣ס (v.6b), ק֘וּמָ֤ה (v.7a), צוֹרְרָ֑י (v.7b), וְע֥וּרָה (v.7c), שֽׁוּבָה׃ (v.8b), יָדִ֪ין (v.9a), שָׁפְטֵ֥נִי (v.9b), יִגְמָר (v.10a), וּבֹחֵ֣ן (v.10c), שׁוֹפֵ֣ט (v.12a), זֹעֵ֥ם (v.12b), יָ֭שׁוּב (v.13a), יִלְט֑וֹשׁ (v.13a), דָ֝רַ֗ךְ (v.13b), לְֽדֹלְקִ֥ים (v.14b), יִפְעָֽל (v.14b), וְהָרָ֥ה (v.15b), וְיָ֣לַד (v.15b), כָּ֭רָֽה (v.16a), וַֽיַּחְפְּרֵ֑הוּ (v.16a), וַ֝יִּפֹּ֗ל (v.16b), יִפְעָֽל (v.16b), יָשׁ֣וּב (v.17a), יֵרֵֽד (v.17b)				The qal stem (34x vs 17x non-qal) predominates in this psalm (contrast with Psalm 5, where there is an equal number of qal and non-qal verbs).

• v.6a. יִרַדֹּ֥ף is a mixed form, "combining the readings of יִרְדֹּף (impf. Qal) and יְרַדֵּף (impf. Piel).",

Other

Verbless Clauses

• v.3b (אֵין)
• v.4b (יֵשׁ)
• v.10d
• v.11ab
• v.12ab

Verbless clauses cluster near the middle of the psalm in vv.10d-12, highlighting a major division (v.10d / v.11a). These lines are marked for their terseness (see above).

Nouns

Number

Definition Feature being studied	Occurrences Sections where this feature is present or absent	Clustering	Intersection	Connections	Structure
dual	בְּכַפָּֽי (v.4b)
plural	אֱ֭לֹהַי (v.2a), רֹ֝דְפַ֗י (v.2b), אֱ֭לֹהַי (v.4a), חַיָּ֑י (v.6b), בְּעַבְר֣וֹת צוֹרְרָ֑י (v.7b), לְ֭אֻמִּים (v.8a), עַ֫מִּ֥ים (v.9a), רְשָׁעִים֮ (v.10a), לִ֭בּ֗וֹת וּכְלָי֗וֹת (v.10c), אֱלֹהִ֥ים (v.10d), אֱלֹהִ֑ים (v.11a), יִשְׁרֵי־לֵֽב (v.11b), אֱ֭לֹהִים (v.12a), כְּלֵי־מָ֑וֶת (v.14a), חִ֝צָּ֗יו (v.14b), לְֽדֹלְקִ֥ים (v.14b)	vv.10, 14		p//p: אֱ֭לֹהַי // רֹ֝דְפַ֗י (v.2), לִ֭בּ֗וֹת וּכְלָי֗וֹת // אֱלֹהִ֥ים (v.10cd), אֱלֹהִ֑ים // יִשְׁרֵי־לֵֽב (v.11), כְּלֵי־מָ֑וֶת // חִ֝צָּ֗יו לְֽדֹלְקִ֥ים (v.14); s//p: נַפְשִׁ֡י // חַיָּ֑י // וּכְבוֹדִ֓י (v.6), בְּאַפֶּ֗ךָ // בְּעַבְר֣וֹת צוֹרְרָ֑י (v.7ab), לְ֭אֻמִּים // לַמָּר֥וֹם (v.8), עַ֫מִּ֥ים // נִי (v.9ab), רְשָׁעִים֮ // צַ֫דִּ֥יק (v.10ab)

,

Gender

Definition Feature being studied	Occurrences Sections where this feature is present or absent	Clustering	Intersection	Connections	Structure
feminine	נַפְשִׁ֑י (v.3a), זֹ֑את (v.4a), בְּכַפָּֽי (v.4b), נַפְשִׁ֡י (v.6a), לָאָ֣רֶץ (v.6b), בְּעַבְר֣וֹת (v.7b), וַעֲדַ֣ת (v.8a), לִ֭בּ֗וֹת וּכְלָי֗וֹת (v.10c), חַרְבּ֣וֹ (v.13a), קַשְׁתּ֥וֹ (v.13b), בְּשַׁ֣חַת (v.16b)			f//f: זֹ֑את // בְּכַפָּֽי (v.4), חַרְבּ֣וֹ // קַשְׁתּ֥וֹ (v.13); f//m: לָאָ֣רֶץ // לֶעָפָ֖ר (v.6bc), בְּאַפֶּ֗ךָ // בְּעַבְר֣וֹת (v.7ab), בּ֣וֹר // בְּשַׁ֣חַת (v.16)

,

Definiteness

Definition Feature being studied	Occurrences Sections where this feature is present or absent	Clustering	Intersection	Connections	Structure
definite article	לָאָ֣רֶץ (v.6b), לֶעָפָ֖ר (v.6c), לַמָּר֥וֹם (v.8b)			The determined nouns in v.6bc are parallel. There is a distant connection between these nouns (v.6bc) and the other determined noun (לַמָּרוֹם) in v.8b. All three nouns are prefixed with the ל preposition and refer to locations (ground, dust, high-place). The locations referred to in v.6bc are low, whereas v.8b refers to "the high place" (see below.

• v.8b. The definite article on לַמָּרוֹם may signal uniqueness and have a superlative sense ("the highest place").

This feature is considered relevant for this psalm.,

Pronominal suffixes

Definition Feature being studied	Occurrences Sections where this feature is present or absent	Clustering	Intersection	Connections	Structure
3ms	חַרְבּ֣וֹ (v.13a), קַשְׁתּ֥וֹ (v.13b), חִ֝צָּ֗יו (v.14b), עֲמָל֣וֹ בְרֹאשׁ֑וֹ (v.17a), קָ֝דְקֳד֗וֹ חֲמָס֥וֹ (v.17b), כְּצִדְק֑וֹ (v.18a)	vv.13-18; absent vv.2-12			Gives cohesion to vv.13-18
2ms	בְּאַפֶּ֗ךָ (v.7a)
1cs	אֱ֭לֹהַי (v.2a), רֹ֝דְפַ֗י (v.2b), נַפְשִׁ֑י (v.3a), אֱ֭לֹהַי (v.4a), בְּכַפָּֽי (v.4b), שֽׁוֹלְמִ֥י (v.5a), צוֹרְרִ֣י (v.5b), נַפְשִׁ֡י (v.6a), חַיָּ֑י (v.6b), וּכְבוֹדִ֓י (v.6c), צוֹרְרָ֑י (v.7b), כְּצִדְקִ֖י (v.9c), וּכְתֻמִּ֣י (v.9c), מָֽגִנִּ֥י (v.11a)	vv.2-6; absent vv.12-18			Gives cohesion to vv.2-6

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
3fs	וַֽיְכוֹנְנֶֽהָ (v.13b)
3ms	וַֽיַּחְפְּרֵ֑הוּ (v.16a)
2ms	בְּךָ֣ (v.2a), תְּסוֹבְבֶ֑ךָּ (v.8a)
1cs	הוֹשִׁיעֵ֥נִי (v.2b), רֹ֝דְפַ֗י (v.2b), וְהַצִּילֵֽנִי (v.2b), שָׁפְטֵ֥נִי (v.9b)		beginning of first section (v.2) and middle section (v.9b)

,

Subject change

Character Features

Ref.	Speaker	Addressee	Person	Subject/Agent	Object/Undergoer
2a	David	Yahweh	1	David	David
2b	David	Yahweh	2	Yahweh	David
3a	David	Yahweh	3	pursuers	David's נֶפֶשׁ
3b	David	Yahweh	3	pursuers	David's נֶפֶשׁ
4a	David	Yahweh	1	David	זֹאת
4b	David	Yahweh	3	אָוֶל	David's hands
5a	David	Yahweh	1	David	David's friend
5b	David	Yahweh	1	David	David's enemy
6a	David	Yahweh	3	enemy	David's נֶפֶשׁ
6b	David	Yahweh	3	enemy	David's life
6c	David	Yahweh	3	enemy	David's glory
7a	David	Yahweh	2	Yahweh	Yahweh
7b	David	Yahweh	2	Yahweh	Yahweh
7c	David	Yahweh	2	Yahweh	Yahweh
8a	David	Yahweh	3	עֲדַת לְאֻמִּים	David
8b	David	Yahweh	2	Yahweh	Yahweh
9a	David	Yahweh	3	Yahweh	עמִּים
9b	David	Yahweh	2	Yahweh	David
9c	David	Yahweh	2	Yahweh	David
10a	David	Yahweh	3	wickedness	wickedness
10b	David	Yahweh	2	Yahweh	צַדִּיק
10c	David	Yahweh	3	Yahweh	לִבּוֹת וּכְלָיוֹת
10d	David	Yahweh	3	Yahweh
11a	David	Yahweh	3	David's shield	David's shield
11b	David	Yahweh	3	Yahweh	יִשְׁרֵי־לֵב
12a	David	Yahweh	3	Yahweh
12b	David	Yahweh	3	Yahweh
13a	David	Yahweh	3	Yahweh	Yahweh's sword
13b	David	Yahweh	3	Yahweh	Yahweh's bow
14a	David	Yahweh	3	Yahweh	Yahweh's weapons
14b	David	Yahweh	3	Yahweh	Yahweh's arrows
15a	David	Yahweh	3	the wicked	אָוֶן
15b	David	Yahweh	3	the wicked	עָמָל / שֶׁקֶר
16a	David	Yahweh	3	the wicked	בּוֹר
16b	David	Yahweh	3	the wicked	the wicked
17a	David	Yahweh	3	the wicked's עָמָל	the wicked
17b	David	Yahweh	3	the wicked's חָמָס	the wicked
18a	David	Yahweh	1	David	Yahweh
18b	David	Yahweh	1	David	Yahweh's name

This feature is considered relevant for this psalm.,

Scene change

The first part of the psalm (vv.2-6) ends down in the "ground//dust" (v.6). In the next verse, the scene shifts as Yahweh is called to "get up", "wake up, and ascend to "the highest place" to judge the peoples (vv.7-10). In vv.11-17, the scene returns to the ground, where Yahweh takes his place on the battle-field to enact the judgment he has decreed. The wicked dig holes//pits in the ground only to fall in them (v.16). The final word of this section is יֵרֵד (v.17b, "go down"). Yahweh's judgment thus brings a great reversal. While Yahweh is not yet up, David's life nears the dust (v.6). But when Yahweh rises to the highest place (vv.7-8), the wicked go down (vv.16-17).

Particles

Negative markers

• v.3a. – פֹּ֝רֵ֗ק וְאֵ֣ין מַצִּֽיל
• v.13a. – אִם־לֹ֣א יָ֭שׁוּב,

Independent personal pronouns

No independent personal pronouns in this psalm.,

Prepositions

2a	בְּךָ֣
2b		מִכָּל־רֹ֝דְפַ֗י
3a			כְּאַרְיֵ֣ה
3b
4a
4b	בְּכַפָּֽי
5a
5b
6a
6b				לָאָ֣רֶץ
6c				לֶעָפָ֖ר
7a	בְּאַפֶּ֗ךָ
7b	בְּעַבְר֣וֹת
7c					אֵ֝לַ֗י
8a
8b				לַמָּר֥וֹם		וְ֝עָלֶ֗יהָ
9a
9b
9c			כְּצִדְקִ֖י וּכְתֻמִּ֣י			עָלָֽי
10a
10b
10c
10d
11a						עַל־אֱלֹהִ֑ים
11b
12a
12b	בְּכָל־יֽוֹם
13a
13b
14a				וְ֭לוֹ
14b				לְֽדֹלְקִ֥ים
15a
15b
16a
16b	בְּשַׁ֣חַת
17a	בְרֹאשׁ֑וֹ
17b						וְעַ֥ל קָ֝דְקֳד֗וֹ
18a			כְּצִדְק֑וֹ
18b

Connections

• כְּצִדְקִ֖י (v.9c) - כְּצִדְק֑וֹ (v.18a)
• לָאָ֣רֶץ // לֶעָפָ֖ר (v.6bc) - לַמָּר֥וֹם (v.8b)

Comments

• v.7c. עוּרָה אֵלַי – The preposition אֶל may be used with active and stative intransitive verbs to indicate the direction in which an activity/state is performed/experienced (Gen. 42:28; 43:33; Jdg. 14:5; 15:14; 19:3; Isa. 11:10; 13:8; 41:1; Jer. 41:7; 2 Chron. 31:1). The clause עוּרָה אֵלַי might thus be translated, "wake up turned towards me" (i.e., "wake up ready to act on my behalf"). Barthélemy suggests the translation, "eveille-toi en ma faveur" ("wake up in my favor"). The LXX reads אֵלִי (ὁ θεός μου) instead of אֵלַי (see below).
• v.9c. וּכְתֻמִּ֣י עָלָֽי – The prepositional phrase עָלָֽי in this line has been interpreted and emended in a number of ways. According to Ross, "it could be taken with an understood jussive, 'Let it be done to me,' or it may simply be 'my integrity which is within me.'" This latter option is taken by the Vulgate (simplicitatem meam quae est in me) as well as Aquila and Symmachus (την απλοτητα μου την επ εμοι). A third option is to read עלי as a divine title, "Most High," instead of a preposition. A fourth option, similar to the first, is to acknowledge the ellipsis of a verb (2ms impv) in this line (עָלָֽי [x] וּכְתֻמִּ֣י). The Targum has ‎פרע ("pay/punish"). The verb גמל, often used with the preposition עַל, has also been suggested. The verb שׁפט (v.9b) is unlikely, as it does not occur with the preposition על.

The unexpected use of עלי here might be explained in terms of the text's poetic structure. Verses 8b-9c form a chiasm: a וְ֝עָלֶ֗יהָ לַמָּר֥וֹם שֽׁוּבָה b יְהוָה֮ יָדִ֪ין עַ֫מִּ֥ים / b' שָׁפְטֵ֥נִי יְהוָ֑ה a' כְּצִדְקִ֖י וּכְתֻמִּ֣י עָלָֽי. The inner constituents of the chiasm are connected lexically (שׁפט // דין) as well as syntactically (word order: יהוה V O // V-o יהוה). Recursion of the preposition על forms a connection between v.8b and v.9c. This chiasm is parallel to a very similar construction in vv.10cd-11ab: a וּבֹחֵ֣ן לִ֭בּ֗וֹת וּכְלָי֗וֹת b אֱלֹהִ֥ים צַדִּֽיק / b' מָֽגִנִּ֥י עַל־אֱלֹהִ֑ים a' מ֝וֹשִׁ֗יעַ יִשְׁרֵי־לֵֽב. If v.9c is connected chiastically to v.8b, then the poetic structure may support reading the prepositional phrase in v.9c with the verb שׁוּב/שׁוּבָה (v.8b) implied/elided: a וְ֝עָלֶ֗יהָ לַמָּר֥וֹם שֽׁוּבָה b יְהוָה֮ יָדִ֪ין עַ֫מִּ֥ים / b' שָׁפְטֵ֥נִי יְהוָ֑ה כְּצִדְקִ֖י a' וּכְתֻמִּ֣י [שֽׁוּבָה] עָלָֽי.

• v.11a. מָֽגִנִּ֥י עַל־אֱלֹהִ֑ים – "my shield is on God", i.e., "God is my shield-bearer." BHS, BDB and HALOT propose reading עָלַי, but the evidence weighs heavily in favor of עַל (see below). For a shield to be "on" (עַל) someone is for it to be worn by that person (cf. 1 Chron. 18:7). Thus, in Ps. 7:11, God is depicted as wearing David's shield, acting as his shield-bearer (cf. Goliath's shield bearer in 1 Sam. 17:41).,

Waw/Vav

Waw appears 22 times in the MT of this psalm. This is a large number compared with other nearby psalms of similar length: Ps. 5 (7x); Ps. 9 (9x); Ps 10 (11x); Ps. 17 (x3). Waw functions consistently in this psalm to mark continuity, grouping lines into bicola (vv.5, 8, 9bc[?], 12, 15, 16, 17, 18), tricola (vv.6, 7), and tetracola (v.10), and grouping units into sections (vv.7-8; 13-14). The absence of waw (vv.4ab, 7ab, 9ab, 10d-12a) indicates discontinuity and cooccurs with section divisions.

Coordinating Words/Phrases within a Line

• v.9c(?): כְּצִדְקִ֖י וּכְתֻמִּ֣י
• v.10c: לִ֭בּ֗וֹת וּכְלָי֗וֹת

Coordinating Clauses within a Line

• v.2b: הוֹשִׁיעֵ֥נִי...וְהַצִּילֵֽנִי
• v.3b: פֹּ֝רֵ֗ק וְאֵ֣ין מַצִּֽיל
  • וְאֵין + participle often indicates "subordinate circumstantial or descriptive clauses."
• v.6a: יִֽרַדֹּ֥ף...וְיַשֵּׂ֗ג
• v.13b: דָ֝רַ֗ךְ וַֽיְכוֹנְנֶֽהָ
• v.15b: וְהָרָ֥ה...וְיָ֣לַד
• v.16a: כָּ֭רָֽה וַֽיַּחְפְּרֵ֑הוּ

Coordinating Lines

• v.5a --(wayyiqtol verb [וָאֲחַלְּצָ֖ה)--> v.5b
• v.6a --(weyiqtol verb [וְיִרְמֹ֣ס])--> v.6b
• v.6b --(waw + noun [וּכְבוֹדִ֓י])--> v.6c
• v.7b --(waw + impv [וְע֥וּרָה])--> v.7c
  • This waw suggests that v.7c is to be grouped with v.7ab to form a tricolon.
• v.8a --(waw + prepositional phrase [וְ֝עָלֶ֗יהָ])--> v.8b
• v.9b(?): --(waw + noun phrase [וּכְתֻמִּ֣י])--> v.9c(?)
• v.10a --(weyiqtol verb [וּתְכוֹנֵ֪ן])--> v.10b
• v.10b --(waw + participle [וּבֹחֵ֣ן])--> v.10c
  • This waw is omitted in some manuscripts and versions (see below on ). Its presence may suggest that v.10cd be grouped with v.10ab to form a tetracolon. The semantic value of waw here is ambiguous. Citing this verse as a possible example, GKC notes that clauses beginning with waw may sometimes give the reason for a preceding proposition (cf. Ps. 60:13; 108:13).
• v.12a --(waw + noun [וְ֝אֵ֗ל])--> v.12b
• v.15a --(weqatal verb [וְהָרָ֥ה)--> v.15b
• v.16a --(wayyiqtol verb [וַ֝יִּפֹּ֗ל)--> v.16b
• v.17a --(waw + prepositional phrase [וְעַ֥ל קָ֝דְקֳד֗וֹ])--> v.17b
• v.18a --(waw + cohortative [וַ֝אֲזַמְּרָ֗ה])--> v.18b

Coordinating Units within a Section

• v.7 --(waw + noun phrase [וַעֲדַ֣ת לְ֭אֻמִּים)--> v.8
• v.13 --(waw + prepositional phrase [וְ֭לוֹ)--> v.14,

Other particles

2a
2b
3a	פֶּן
3b
4a		אִם
4b		אִם
5a		אִם
5b
6a
6b
6c
7a
7b
7c
8a
8b
9a
9b
9c
10a			נָא
10b
10c
10d
11a
11b
12a
12b
13a		אִם
13b
14a
14b
15a				הִנֵּה
15b
16a
16b
17a
17b
18a
18b

• אִם clusters in vv.4-5.

Its reappearance in v.13a along with a negative marker (only in vv.3a, 13a) may indicate a structural connection between the first (vv.2-6) and final (vv.11-17) major sections (stanzas) of the psalm.

• נָא occurs in the middle line of the psalm (v.10a)
• הנה (v.15a) initiates a new section (vv.15-17).

Figurative

Metaphor

• v.2a. Yahweh is a refuge.
• v.2b. The image of "pursuers" (רדפים) may be metaphorical.
• v.15. "The origin of the wicked person's sin is described in the metaphor of conception and pregnancy... As a woman labors painfully, yet lovingly, with the child soon to be delivered, so too does the unrepentant sinner with his iniquity."
• v.16. "The poet turns to another metaphor, in which he makes clear the course that evil runs; the wicked person falls into the pit he was digging for others.",

Simile

• v.3.‎ כְּאַרְיֵה – David's pursuers are compared to "a lion" (cf. 10:9; 17:12; 22:13, 21; 35:17; 57:4; 58:6). "Of all the animal species profiled in the Psalter, the most common is the lion." "The Israelites based their opinion of the lion on their encounters with it as pastoralists (Amos 5:19). They knew the lion as a ruthless, almost unstoppable killer, taking from the flock at will." Lion imagery, therefore, "heightens the psalmist's helplessness before the overwhelming power of the enemy, like prey before a predator. The enemy exhibits a fearsome combination of stealth and aggression. As consummate predators, the wicked are cast as eminently bloodthirsty, reveling in the destruction of the weak.",

Metonymy

• v.4b. Hands (כפים) are metonymic for doing/acting ("a metonymy of cause"): "If there is injustice in my hands" = "If I have acted unjustly."
• v.6ab. Ground/Dust (ארץ // עפר) are metonymic for defeat and death – "a metonymy of adjunct for the grave."
• v.6c. Honor (כבוד) stands for the person ("Metonymy of the effect") and "emphasizes the noblest part of a person (cf. Ps. 4:2; 16:9; 30:12).
• v.7a. Rising (קוּם) is metonymic for taking action, in this case, judicial action (vv.7c-8). In Psalm 76, God, the judge (שֹׁפֵט), rises (קוּם) for the judgment (לַמִּשְׁפָּט) to rescue the poor in the land (Ps. 76:10).
• v.10c. "Hearts/minds and kidneys" (לבות וכליות) are metonymic for people's innermost thoughts and desires.,

Synecdoche

• vv.3a, 6a. The נֶפֶשׁ stands for the whole person.
• v.4b. אִֽם־יֶשׁ־עָ֥וֶל בְּכַפָּֽי׃ – "Hands" represent the whole person – "a kind of Metonymy or Synecdoche, by which a part of a person is put for the whole."
• v.17. The head (ראשׁ // קדקד) stands for the whole person.,

Anthropomorphism

• v.7. עוּרָה – "Wake up" implies that God is sleeping and thus draws on the motif of the sleeping warrior (cf. Ps. 78:65-66).
• vv.7-14. Yahweh is a righteous judge (v.12, שֹׁפֵט). Rising up (v.7a), he decrees judgment (v.7c) and presides over the "assembly of peoples" (vv.8-9a). His judgment is upright, upholding the righteous (vv.9, 10b) and putting an end to wickedness (v.10a). This judicial imagery (vv.7-12) is blended with battle imagery (vv.11-14), as the Judge takes up sword and bow against the wicked. The two metaphorical schemas (Yahweh as Judge; Yahweh as Warrior) are intrinsically related: Israel's pre-monarchical judges (שֹׁפְטִים) were political/military leaders who enacted משׁפט on the battlefield (e.g., Jdg. 2:9-10) as well as in the courtroom (e.g., Jdg. 3:5). In Israel, "the civil officer (the שׁפט) had the executive as well as judicial powers. He also executed or caused to be executed judicial decisions." Thus, in the book of Judges, שֹׁפֵט is practically synonymous with מוֹשִׁיעַ (Jdg. 2:16; 3:9, 15; etc.). This is the case also in Psalm 7: מ֝וֹשִׁ֗יעַ יִשְׁרֵי־לֵֽב (v.11b) / אֱ֭לֹהִים שׁוֹפֵ֣ט צַדִּ֑יק (v.12a).
  

The target domain for Yahweh's warring against the wicked is the dynamistic process described in vv.15-17. "One must observe the juxtaposition of the description of Yahweh as warrior (vss. 13f.) with that of the dynamistic process (vss.15-17). This very juxtaposition implies that the dynamistic process, though expressed in impersonal terms, is in reality the outward form which Yahweh’s warfare takes. Yahweh the warrior, cartying out his legal sentence, masquerades, as it were, in the dynamic. The omission of specific mention of him has a particular intention: it highlights the inevitability, equivalence, orderedness and even mysteriousness of the process; it stresses that such perversions of order as underlie this text boomerang upon the perpetrator."

Context

Figures of Speech

"The poetic language is colorful and effective, employing the simile of a fierce lion (v.3), the imagery of divine weapons (vv.13-14), and the metaphor of conception and pregnancy to describe the manner in which a person conceives evil and creates deception."

In addition to these images, spatial imagery runs throughout the poem, defining its structure and underlining its message.

The first stanza (vv.2-6) ends with the image of "ground" (לָאָרֶץ) // "dust" (לֶעָפָר) (v.6bc), metonymic for defeat and death. The last word of this section is ישׁכן ("lie down). From this low-point, the psalm rises progressively to a peak in the second stanza (vv.7-10). Yahweh is called to "rise" (קוּמָה, the first word of this section), to "be lifted" (הִנָּשֵׂא), to "wake" (שׁוּבָה) and to return "to the highest place" (לַמָּרוֹם; note morphological similarities to לָאָרֶץ and לֶעָפָר) from which to judge the world (v.9a). "The upward movement has been motivated by God's anger, aims at pronouncing judgment, and ends up at God's throne." The third stanza (vv.11-17) returns down to the land as Yahweh executes the judgment he has decreed. The downward motion is emphasized as the wicked "dig" a "hole" (בּוֹר, v.16a) and "fall down" (נפל) into a "pit" (שַׁחַת, v.16b), where their violence "descends" upon them (יֵרֵד, the final word of this section). The psalm concludes with praise to יהוה עליון, "Most High" being the final word of the psalm.

Spatial imagery thus defines the basic three-part structure of the psalm:

I. The Psalmist is brought down (vv.2-6)

a. (vv.2-3)

b. (vv.4-6)

II. Yahweh goes up to the highest place (vv.7-10)

c. (vv.7-8)

d. (vv.9-10)

III. The enemies are brought down (vv.11-17)

e. (vv.11-14)

f. (vv.16-17)

Praise to the Most High God (v.18)

This interrelated complex of images underlines the message of the Psalm: When Yahweh judges the world, there is a great reversal whereby everything is set right. The righteous are brought up from the dust, and the wicked fall down into pits. In other words, when Yahweh goes up, the righteous also go up, and the wicked go down.,

Historical background

אֲשֶׁר־שָׁ֥ר לַיהוָ֑ה עַל־דִּבְרֵי־כ֝֗וּשׁ בֶּן־יְמִינִֽי׃

Psalm 7 is one of 13 psalms with a historical note in the superscription (cf. Pss. 3; 18; 34; 51; 52; 54; 56; 57; 59; 60; 63; 142). The usual syntactic formula used to present these historical notes is ב + infinitive construct. The only exceptions to this are Pss. 7 (אֲשֶׁר־שָׁ֥ר לַיהוָ֑ה) and 18 (‎אֲשֶׁ֤ר דִּבֶּ֙ר׀ לַיהוָ֗ה), which resemble one another syntactically (ליהוה (pf 3ms) אשׁר). Furthermore, "unlike the other titles, the superscriptions of Psalms 7 and 18 do not relate unambiguously to any specific event in the life of David as portrayed in the Dtr history. This fact stands in sharp contrast to every one of the other eleven syntactically identical titles." For both of these reasons, it may be concluded that "the notations of Psalms 7 and 18 do not appear to have arisen by the same hand or as a part of the same redactional or midrashic activity as did the other eleven superscriptions." This may be evidence for the antiquity of these superscriptions. Indeed, the balanced number of syllables in the psalm (ss + first stanza = 122; second stanza = 47 + 47; third stanza + conclusion = 122), if not a remarkable coincidence, may support the originality of the superscription as integral to the psalm itself.
The identity of "Cush the Benjaminite" and the "words/events" (דברי) referred to are unknown. Some try and relate the historical note to some known person/event in the canonical history of David's life. The Targum, the Talmud and Midrash Tehillim interpret כוּשׁ as a figurative reference to Saul, son of קישׁ, the Benjaminite (‎Targum: על תברא דשׁאול בר קישׁ דמן שׁבט בנימן׃). The Greek translations (LXX, α', σ', θ') read χουσι, perhaps linking the name to the כוּשִׁי/הַכּוּשִׁי of 2 Sam. 18 or to חוּשַׁי הָאַרְכִּי (= χουσι in LXX) in 2 Sam. 15-16; 1 Chron. 27:33. Others have taken כוּשׁ בֶּן־יְמִינִי as a reference to Shemei, the Bemjanite, who cursed David (2 Sam. 16; 19). Others assume that "the notation refers to an episode from some undetermined legendary source, a story which, though popularly told, was not consigned to the Dtr history. This solution to the problem is quick and popular, most recently represented by the commentaries of Kraus (1958, p. 56), Anderson (1972, p. 93), and Craige (1983, p. 99), but formerly proposed by Kittel (1914, p. 24), Gunkel (1926, p. 25), and Weiser (1962, p. 135) among others." This view is the least problematic and seems the most likely.
Although the referents in the historical notation are mostly obscure, the superscription may provide some help in reconstructing the historical background. "What we can glean from the superscription is to be found in the words which he sang to the LORD concerning the words of Cush the Benjaminite. It is clear that the Benjaminites bore ill will to David and his reign. It is also likely from the psalm that the psalmist is crying to the Lord because of false words that have been spoken about the psalmist. It is also worth noting that the psalm was later associated with the Jewish Feast of Purim, a context in which the ill will and witness of an enemy play a key role."

Apart from the superscription, details regarding the historical background of the psalm may be deduced from the psalm itself, especially vv.4-5. Craigie writes, "It is possible to form a general understanding of the substance of the false accusations from the four declarations contained in vv.4-5. (i) 'This thing' (v.4a) refers in general terms to the accusations laid against him; (ii) 'injustice' (v.4b) implies the character of the action he is said to have done. (iii) The reference to an ally (v.5a) indicates the person against whom the evil actions were said to have been done, namely a person to whom the psalmist was bound in a relationship of treaty or covenant, which should be characterized by faithfulness, not treachery. (iv) The reference to rescuing 'his (viz. the ally's) adversary' is an example of the kind of treacherous act of which the psalmist is accused, for persons or parties committed to one another in treaty were supposed also to share both friends and enemies, as illustrated in the following quotation from an ancient Hittite treaty: 'with my friend, you shall be friend, and with my enemy, you shall be enemy (ANET, 204)."

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	2.3.2.3 / 4.2.3.5	10 + 14 = 24
	3	1.2.3.2 / 2.2.2	8 + 6 = 14	38
2	4	2.3.1.3.1 / 1.1.1.3	10 + 6 = 16
	5	1.3.3.1 / 5.3.2	8 + 10 = 18	59
	6	2.2.2.3 / 3.2.2 / 4.3.2	9 + 7 + 9 = 25
3	7ab	2.2.4 / 3.3.3	8 + 9 = 17
	7c8a	2!2.2.3 / 3.3.5	9 + 11 = 20	52
	8b9a	4.3.2 / 2.2.2	9 + 6 = 15
4	9bc	3.2.3 / 4.2	8 + 6 = 14
	10ab	2.1.1.3 / 4.2	7 + 6 = 13	41
	cd	3.2.4 / 3.2	9 + 5 = 14
5	11	3.1.3 / 2.2.1	7 + 5 = 12
	12	3.2.2 / 2.2.2.1	7 + 7 = 14	26
6	13	1.1.2.2.2 / 2.2.5	8 + 9 = 17
	14	2.2.2.1 / 2.4.2	7 + 8 = 15	32
7	15	2.3.1 / 2!2.3.1	6 + 8 =14
	16	1.2.5 / 3.2.2	8 + 7 = 15	47
	17	2.3.3 / 2.3.3.2	8 + 10 = 18
8	18	2.2.3 / 5.1.2.2	7 + 10 = 17	17

• "39 cola with 312 syllables; average per colon 8.00."
• "The anaphora of the III-ו imperatives is a stylistic aspect that supports my suggestion to delete ו at the beginning of v.7c (as do LXX and Peshitta), and verse such as Job 15:35 is helpful when (supported by some MSS and LXX) we do the same in v.15b. One result of this is an increase in power for v.15. After these two minimal touch-ups, which do not affect the meaning at all, the poem a 312 syllables and an average of exactly 8.00 syllables for its 39 cola.",

Alternative prosody and syllable counts

The two middle sections of the psalm are the same length.

Section 3 (vv.7-8). - 47 syllables

Section 4 (vv.9-10). - 47 syllables

Section 6 (vv.15-17) also has 47 syllables

If every syllable in the psalm is counted, including סלה (v.6c) and those in the superscription (v.1), a neat prosodic symmetry results.

SS (v.1) + Stanza I (vv.2-6) = 122 syllables

Stanza II (vv.7-10) = 47 syllables (vv.7-8) + 47 syllables (vv.9-10)

Stanza III (vv.11-17) + Conclusion (v.18) = 122 syllables,

Cola distribution

CLASSIFICATION

Monocola

• v.9a?*

Bicola

• v.2ab
• v.3ab
• v.4ab
• v.5ab
• v.8ab
• v.9bc?
• v.11ab
• v.12ab
• v.13ab
• v.14ab
• v.15ab
• v.16ab
• v.17ab
• v.18ab

Tricola

• v.6abc
• v.7abc
• v.9abc?*

Tetracola

• v.10abcd
• vv.13-14?

Comments

• vv.7-9

"The BHS reflects utter chaos, as it prints 3 + 2 + 1 cola and tells us in a note that v.9a should be connected to v.7c. Careful attention to style and structure... will yield a satisfactory solution. There is an effective series of imperatives addressed to God, all Qal forms of the ע"ו group and all extended by the ending -a. There are three of these: קומה, עורה, שובה. I will put these in A-cola, as this will do full justice to the next phenomenon, a contrast singular-plural. The A-cola of this L-strophe contain only singular forms, the B-cola have plurals referring to hostile or potentially dangerous masses. This is the third strophe, consisting of three bicola and including v.9a:"

ק֨וּמָ֤ה יְהוָ֙ה׀ בְּאַפֶּ֗ךָ // הִ֭נָּשֵׂא בְּעַבְר֣וֹת צוֹרְרָ֑י

וְע֥וּרָה אֵ֜לַ֗י מִשְׁפָּ֥ט צִוִּֽיתָ׃ // וַעֲדַ֣ת לְ֭אֻמִּים תְּסוֹבְבֶ֑ךָּ

וְ֜עָלֶ֗יהָ לַמָּר֥וֹם שֽׁוּבָה׃ // יְהוָה֘ יָדִ֪ין עַ֫מִּ֥ים

Fokkelman's solution, however, is not without problems. In the first place, there are numerous linguistic correspondences (parallels) between v.8a and v.8b which effectively group these lines together as a bicolon. Note especially the phonological correspondences that form an abc//abc relationship between these lines: וַעֲדַ֣ת//וְ֜עָלֶ֗יהָ; לְ֭אֻמִּים//לַמָּר֥וֹם; תְּסוֹבְבֶ֑ךָּ//שֽׁוּבָה. This is in keeping the accentuation of the MT. Furthermore, the final word of v.8b (שֽׁוּבָה) may form an inclusion with the first word of v.7a (ק֨וּמָ֤ה)–Yahweh's ascent, begun in v.7a, reaches its peak in v.8b–thus confirming v.8b as the end of a bicolon rather than the beginning.
Verse 7c, then, is grouped with v.7ab to form a tricolon. This is suggested not only by the MT's accentuation, but also by the waw that begins v.7c (וְעוּרָה).
What, then, of v.9a? This unique line, with its emphatic word order (S V O), rhythmic cadence (2.2.2), and 3rd person reference (sandwiched between 2nd person references), has correspondences with both v.8ab and v.9bc, thus functioning to bridge these two units. The double מ in עמים forms a connection with לאמים (v.8a), with which there is also a lexical connection, and למרום (v.8b). At the same time, however there are strong lexical connections in the other direction: repetition of יהוה (v.9ab); synonyms: ידין (v.9a) / שׁפטני (v.9b). Verse 9a stands in the middle of a chiasm that runs through vv.8-9: a וְ֝עָלֶ֗יהָ לַמָּר֥וֹם שֽׁוּבָה b יְהוָה֮ יָדִ֪ין עַ֫מִּ֥ים / b' שָׁפְטֵ֥נִי יְהוָ֑ה a' כְּצִדְקִ֖י וּכְתֻמִּ֣י עָלָֽי. The inner constituents of the chiasm are connected lexically (שׁפט // דין; repetition of יהוה) as well as syntactically (word order: יהוה V O // V-o יהוה). Recursion of the preposition על forms a connection between v.8b and v.9c. This chiasm is parallel to a very similar construction in vv.10cd-11ab, which has אלהים (rather than יהוה) at the center: a וּבֹחֵ֣ן לִ֭בּ֗וֹת וּכְלָי֗וֹת b אֱלֹהִ֥ים צַדִּֽיק / b מָֽגִנִּ֥י עַל־אֱלֹהִ֑ים a מ֝וֹשִׁ֗יעַ יִשְׁרֵי־לֵֽב. In conclusion, then, v.9a, which stands out in many respects (especially the 3rd person reference) and yet creates a measure of continuity between v.8ab and v.9bc, may be considered either an abc monocolon or the A-line of an ABB' tricolon (v.9abc). The grouping of v.9a with the following lines rather than with the preceding lines results in a prosodic symmetry: vv.7-8 (47 syllables); vv.9-10 (47 syllables).

DISTRIBUTION

2	BICOLON
3	BICOLON
4	BICOLON
5	BICOLON
6		TRICOLON
7		TRICOLON
8	BICOLON
9		TRICOLON?
10			TETRACOLON?
11	BICOLON
12	BICOLON
13	BICOLON
14	BICOLON
15	BICOLON
16	BICOLON
17	BICOLON
18	BICOLON

The Psalm begins and ends with a series of bicola (vv.2-5; vv.11-18). Non-bicolic verses cluster in the middle of the psalm (vv.6-10). Tricola function to close (v.6abc) and open (v.7abc; v.9abc) sections. The psalm's only tetracolon (v.10) occurs at the middle of the psalm (v.10 is the middle verse; v.10a is the middle line), perhaps marking a peak.,

Selah

• v.6c. Selah marks a major break in this psalm.,

Lunn on Word order

The following table has been adapted from Nicholas Lunn's Word-Order Variation in Biblical Hebrew Poetry, Appendix 2. For a key to the various symbols and abbreviations, click here.

Ref.	Text	Constituent Order	Colon-Type
2	‎יְהוָ֣ה אֱ֭לֹהַי בְּךָ֣ חָסִ֑יתִי / הוֹשִׁיעֵ֥נִי מִכָּל־רֹ֜דְפַ֗י // וְהַצִּילֵֽנִי׃	[Voc] M V / V-o M // w-V-o	MKD/CAN//CAN
3	‎פֶּן־יִטְרֹ֣ף כְּאַרְיֵ֣ה נַפְשִׁ֑י / פֹּ֜רֵ֗ק וְאֵ֣ין מַצִּֽיל׃	C V M O / VPt w-ENg SPt	CAN/Ptcp-Nom
4	‎יְהוָ֣ה אֱ֭לֹהַי אִם־עָשִׂ֣יתִי זֹ֑את // אִֽם־יֶשׁ־עָ֥וֶל בְּכַפָּֽי׃	[Voc] C-V O // C-E-S Comp	CAN//Nom
5	‎אִם־גָּ֭מַלְתִּי שֽׁוֹלְמִ֥י רָ֑ע // וָאֲחַלְּצָ֖ה צוֹרְרִ֣י רֵיקָֽם׃	C-V O O // w-V O M	CAN//CAN
6	יִֽרַדֹּ֥ף אוֹיֵ֙ב׀ נַפְשִׁ֡י וְיַשֵּׂ֗ג / וְיִרְמֹ֣ס לָאָ֣רֶץ חַיָּ֑י // וּכְבוֹדִ֓י׀ לֶעָפָ֖ר יַשְׁכֵּ֣ן סֶֽלָה׃	V S O w-V / w-V M O // w-O M V Selah	CAN2/CAN//DEF
7ab	ק֨וּמָ֤ה יְהוָ֙ה׀ בְּאַפֶּ֗ךָ // הִ֭נָּשֵׂא בְּעַבְר֣וֹת צוֹרְרָ֑י	V [Voc] M // V M	CAN//CAN
7cd	וְע֥וּרָה אֵ֜לַ֗י / מִשְׁפָּ֥ט צִוִּֽיתָ׃	w-V [Voc] / O V	CAN/MKD
8	וַעֲדַ֣ת לְ֭אֻמִּים תְּסוֹבְבֶ֑ךָּ / וְ֜עָלֶ֗יהָ לַמָּר֥וֹם שֽׁוּבָה׃	w-S V-o / w-M M V	MKD/DEF
9	יְהוָה֘ יָדִ֪ין עַ֫מִּ֥ים / שָׁפְטֵ֥נִי יְהוָ֑ה כְּצִדְקִ֖י וּכְתֻמִּ֣י עָלָֽי׃	S V O / V-o [Voc] M w-M	MKD/CAN
10	יִגְמָר־נָ֬א רַ֙ע׀ רְשָׁעִים֘ / וּתְכוֹנֵ֪ן צַ֫דִּ֥יק / וּבֹחֵ֣ן לִ֭בּ֗וֹת וּכְלָי֗וֹת אֱלֹהִ֥ים צַדִּֽיק׃	V-M S / w-V O / w-VPt O w-O S	CAN/CAN/Ptcp
11	מָֽגִנִּ֥י עַל־אֱלֹהִ֑ים / מ֜וֹשִׁ֗יעַ יִשְׁרֵי־לֵֽב׃	S Comp / VPt O	Nom/Ptcp
12	אֱ֭לֹהִים שׁוֹפֵ֣ט צַדִּ֑יק / וְ֜אֵ֗ל זֹעֵ֥ם בְּכָל־יֽוֹם׃	S Comp // w-VPt O	Nom/Ptcp
13	אִם־לֹ֣א יָ֭שׁוּב / חַרְבּ֣וֹ יִלְט֑וֹשׁ // קַשְׁתּ֥וֹ דָ֜רַ֗ךְ וַֽיְכוֹנְנֶֽהָ׃	C-VNg / O V // O V w-V-o	CAN/MKD//MKD-CAN
14	וְ֭לוֹ הֵכִ֣ין כְּלֵי־מָ֑וֶת / חִ֜צָּ֗יו לְֽדֹלְקִ֥ים יִפְעָֽל׃	w-M V O / O M V	DEF/DEF
15	‎הִנֵּ֥ה יְחַבֶּל־אָ֑וֶן // וְהָרָ֥ה עָ֜מָ֗ל // וְיָ֣לַד שָֽׁקֶר׃	H V-O // w-V O // w-V O	CAN//CAN//CAN
16	בּ֣וֹר כָּ֭רָֽה וַֽיַּחְפְּרֵ֑הוּ / וַ֜יִּפֹּ֗ל בְּשַׁ֣חַת יִפְעָֽל׃	O V w-V-o / w-V M [R] V	MKD/CAN2R
17	‎יָשׁ֣וּב עֲמָל֣וֹ בְרֹאשׁ֑וֹ // וְעַ֥ל קָ֜דְקֳד֗וֹ חֲמָס֥וֹ יֵרֵֽד׃	V S M // w-M S V	CAN//DEF
18	אוֹדֶ֣ה יְהוָ֣ה כְּצִדְק֑וֹ // וַ֜אֲזַמְּרָ֗ה שֵֽׁם־יְהוָ֥ה עֶלְיֽוֹן׃	V O M // w-V O	CAN//CAN

• v.8. The DEF colon in v.8b indicates closure.
• v.14. The DEF cola in v.14ab indicate closure.
• v.17. - "The consituent order of this bicolon is VSM//MSV. forming a three member chiastic arrangement: abc//cba [cf. v.6bc]. Such three-part inversions, the selected data informs us, do not occur in Hebrew poetry as often as is commonly supposed.",

Middle word (maqqef)

Total: 117

Middle: עָלַי (v.9c)

Total (w/selah): 118

Middle: וְּכְתֻמִּי עָלַי (v.9c)

Total (w/ss + selah): 124

Middle: שָׁפְטֵנִי יְהוָה (v.9b),

Middle word (independent lexemes)

Total: 131

Middle: יִגְמָר (v.10a)

Total (w/selah): 132

Middle: עָלָֽי׃ יִגְמָר (vv.9c-10a)

Total (w/ss + selah): 142

Middle: עַ֫מִּ֥ים / שָׁפְטֵ֥נִי (v.9ab),

Middle line

If the division of lines is correct, then the middle line is v.10a:

יִגְמָר־נָ֬א רַ֨ע ׀ רְשָׁעִים֮

This line has 7 syllables (cf. the middle in Ps. 6 [6:7a]) as well as some other distinguishing features: alliteration of ר; rare vocabulary (גמר); deontic modality; the particle נָא.

"The central strophe also contains the middle one of the 19 verses. This is v.10ab, which now strikes us as it shows the balance (= the word pair) of 'the wicked' versus 'the righteous.' Thus, the central verse also reflects what the poem is about: God, as a judge, shows whose side he is no by condemning the villain(s) and vindicating the speaker."

Variants

Kinds of variants

The following is from Barthélemy's Critique textuelle de l’Ancien Testament volume on the Psalms.

Ps 7,7(6) אֵלַי {B} MT, Hebr, S, T // facil-styl: G clav אֵלִי

Ps 7,8(7) שׁוּבָה {A}

Ps 7,11(10) עַל {A} MT, G, Hebr, T // facil-styl: S om

Ps 7,12(11) וְאַל {B} MT // exeg: Hebr , T / err-voc: S clav וְאַל / glos: G

Other variants, not listed by Barthélemy include:

Ps 7,10 וּבֹחֵן MT, T // בֹּחֵן G, θ', S, Hebr

Summary

Line divisions

2a יְהוָ֣ה אֱ֭לֹהַי בְּךָ֣ חָסִ֑יתִי

2b הוֹשִׁיעֵ֥נִי מִכָּל־רֹ֜דְפַ֗י וְהַצִּילֵֽנִי׃

3a פֶּן־יִטְרֹ֣ף כְּאַרְיֵ֣ה נַפְשִׁ֑י

3b פֹּ֜רֵ֗ק וְאֵ֣ין מַצִּֽיל׃

4a יְהוָ֣ה אֱ֭לֹהַי אִם־עָשִׂ֣יתִי זֹ֑את

4b אִֽם־יֶשׁ־עָ֥וֶל בְּכַפָּֽי׃

5a אִם־גָּ֭מַלְתִּי שֽׁוֹלְמִ֥י רָ֑ע

5b וָאֲחַלְּצָ֖ה צוֹרְרִ֣י רֵיקָֽם׃

6a יִֽרַדֹּ֥ף אוֹיֵ֙ב׀ נַפְשִׁ֡י

6b וְיַשֵּׂ֗ג וְיִרְמֹ֣ס לָאָ֣רֶץ חַיָּ֑י

6c וּכְבוֹדִ֓י׀ לֶעָפָ֖ר יַשְׁכֵּ֣ן סֶֽלָה׃

7a ק֨וּמָ֤ה יְהוָ֙ה׀ בְּאַפֶּ֗ךָ

7b הִ֭נָּשֵׂא בְּעַבְר֣וֹת צוֹרְרָ֑י

7c וְע֥וּרָה אֵ֜לַ֗י מִשְׁפָּ֥ט צִוִּֽיתָ׃

8a וַעֲדַ֣ת לְ֭אֻמִּים תְּסוֹבְבֶ֑ךָּ

8b וְ֜עָלֶ֗יהָ לַמָּר֥וֹם שֽׁוּבָה׃

9a יְהוָה֘ יָדִ֪ין עַ֫מִּ֥ים

9b שָׁפְטֵ֥נִי יְהוָ֑ה

9c כְּצִדְקִ֖י וּכְתֻמִּ֣י עָלָֽי׃

10a יִגְמָר־נָ֬א רַ֙ע׀ רְשָׁעִים֘

10b וּתְכוֹנֵ֪ן צַ֫דִּ֥יק

10c וּבֹחֵ֣ן לִ֭בּ֗וֹת וּכְלָי֗וֹת

10d אֱלֹהִ֥ים צַדִּֽיק׃

11aמָֽגִנִּ֥י עַל־אֱלֹהִ֑ים

11bמ֜וֹשִׁ֗יעַ יִשְׁרֵי־לֵֽב׃

12aאֱ֭לֹהִים שׁוֹפֵ֣ט צַדִּ֑יק

12bוְ֜אֵ֗ל זֹעֵ֥ם בְּכָל־יֽוֹם׃

13a אִם־לֹ֣א יָ֭שׁוּב חַרְבּ֣וֹ יִלְט֑וֹשׁ

13b קַשְׁתּ֥וֹ דָ֜רַ֗ךְ וַֽיְכוֹנְנֶֽהָ׃

14a וְ֭לוֹ הֵכִ֣ין כְּלֵי־מָ֑וֶת

14b חִ֜צָּ֗יו לְֽדֹלְקִ֥ים יִפְעָֽל׃

15a הִנֵּ֥ה יְחַבֶּל־אָ֑וֶן

15b וְהָרָ֥ה עָ֜מָ֗ל וְיָ֣לַד שָֽׁקֶר׃

16a בּ֣וֹר כָּ֭רָֽה וַֽיַּחְפְּרֵ֑הוּ

16b וַ֜יִּפֹּ֗ל בְּשַׁ֣חַת יִפְעָֽל׃

17a יָשׁ֣וּב עֲמָל֣וֹ בְרֹאשׁ֑וֹ

17b וְעַ֥ל קָ֜דְקֳד֗וֹ חֲמָס֥וֹ יֵרֵֽד׃

18a אוֹדֶ֣ה יְהוָ֣ה כְּצִדְק֑וֹ

18b וַ֜אֲזַמְּרָ֗ה שֵֽׁם־יְהוָ֥ה עֶלְיֽוֹן׃

• v.7c

Do these two clauses (וְע֥וּרָה אֵ֜לַ֗י / מִשְׁפָּ֥ט צִוִּֽיתָ׃) make up one line or two lines? Both the Aleppo Codex and the Leningrad Codex have a space between these clauses, suggesting a line division. Alternatively, the Greek codices, Siniaticus and Vaticanus, present these clauses as one line, which corresponds to the translation: מִשְׁפָּ֥ט is translated as an adjunct in the dative case and ‎צִוִּֽיתָ as a relative clause (ἐξεγέρθητι... ἐν προστάγματι ᾧ ἐνετείλω).

• v.9bc

Should this line be divided after יְהוָ֑ה or after כְּצִדְקִ֖י? The accentuation (athnah) suggests the former; attention to parallelism (כצדקי // כתמי; possible ellipsis of verb in v.9c: שׁפטני // [שׁוב] עלי) suggests the latter. Siniaticus and Vaticanus break after κατὰ τὴν δικαιοσύνην μου (כְּצִדְקִי). But the fact that צדק appears in the b-line of the two following bicola (10b, 10d) may support grouping it with the b-line in this bicolon as well.,

Section divisions

There are three main parts to the psalm, each of which consists of two sections:

Superscription (v.1)

Part 1 (vv.2-6)

Section 1 (vv.2-3)

Section 2 (vv.4-6)

Part 2 (vv.7-10)

Section 3 (vv.7-8)

Section 4 (vv.9-10)

Part 3 (vv.11-17)

Section 5 (vv.11-14)

Section 6 (vv.15-17)

Concluding 7th Section (v.18)

• For the reasoning behind these divisions, see below on and .
• See how this three-part division corresponds to the psalm's Imagery.
• For the grouping of v.9a with vv.9b-10 rather than with vv.7-8, see above on .

The number 7 is significant in the structure of the psalm (cf. Psalm 6). There are 7 sections, 7 occurrences of Yahweh's name, and the middle line of the psalm (v.10a) has 7 syllables.

Craigie's two-fold division of the psalm (Section 1: vv.2-11; Section 2: vv.12-18) is not supported by the evidence (see below on cohesion and ).,

Communicative function

Rolf Jacobson, who argues for the same basic three-fold division, classifies the three stanzas in terms of their communicative function:

St. 1 Appeal for rescue and vow of innocence (vv. 2-6)

St. 2 Appeal for vindication and justice (vv. 7-10)

St. 3 Confession of trust in God’s righteousness (vv. 11-17)

Closing vow to praise (not a full stanza) (v. 18)

Goldingay notes the same basic sequence of rhetorical movements. "[The Psalm] comprises an opening plea (vv. 2–3), a declaration of innocence (vv. 4–6), a more urgent and extensive plea for action (vv. 7–10), an act of praise at who Yhwh is (vv. 11–17), and a promise of thanksgiving when deliverance has come (v. 18)."

Similarly, Bratcher and Reyburn outline the psalm as follows. "The psalmist begins by asking God to save him from his enemies, who threaten him with death (vv.2-3); this is followed by a strong protestation of his innocence (vv.4-6). He calls upon God to judge him and pronounce him innocent (vv.7-10), after which he declares that God is ready to punish evildoers (vv.10-13). Following a description of how the wicked bring disaster on themselves (vv.15-17), the psalmist closes with a prayer of thanks, certain that God will answer him (v.18)."

The rhetorical movements may be mapped onto to each part and section as follows:

Superscription (v.1)

Part 1: Invocation & Vow of Innocence (vv.2-6)

Invocation (vv.2-3): Profession of Trust (v.2a) --> Petition (v.2b-3b)

Vow of Innocence (vv.4-6): If... (vv.4-5) --> Imprecation (v.6)

Part 2: Petition (vv.7-10)

General Petition (vv.7-8)

Declaration (v.9a)

Specific Petition (vv.9b-10)

Part 3: Profession of Trust (vv.11-17)

in Yahweh's Judgment in Preparation (vv.11-14)

in Yahweh's Judgement in Action (vv.15-17)

Praise/Thanks (v.18)

Note the uniqueness of v.9a, which stands at the center of the psalm.,

Range of emotions

The Psalmist's prayer begins with fear (vv.2-3) and ends with joyful expectation (v.18). Trust in Yahweh is the fulcrum by which this change is wrought. The basic movement may be (over)simplified as follows:

Fear --> Anger --> Trust --> Anticipation --> Joy.

A more detailed analysis may be mapped onto the psalm's outline:

Part 1 (vv.2-6)

Section 1 (vv.2-3) – Fear + Trust

Section 2 (vv.4-6) – Fear + Disgust + Anger

Part 2 (vv.7-10)

Section 3 (vv.7-8) – Anger + Anticipation

Section 4 (vv.9-10) – Anticipation + Trust

Part 3 (vv.11-17)

Section 5 (vv.11-14) – Trust + Anticipation

Section 6 (vv.15-17) – Trust + Anticipation

Concluding 7th Section (v.18) – Joy + Trust + Anticipation,

Cohesion

PART 1 (vv.2-6)

• Reference to God as יהוה אלהי (vv.2a, 4a)
• : רדף (vv.2b, 6a); נפשׁי (vv.3a, 6a)
• Verb PGN: 1cs (vv.2, 4-5); 3ms (vv.3, 6)
• Inclusio: Hiphil volitives (vv.2b, 6ac)
• : 1cs
• Scene/Imagery: low, ground

Section 1 (vv.2-3)

• : Invocation
• Phonology: repetition of צִּילֵ (vv. 2b, 3b) and שִׁי (vv. 2b, 3a); alliteration: רֹ֜דְפַ֗י / יִטְרֹ֣ף (vv.2b-3a)
• : נצל (vv.2b, 3b)

Section 2 (vv.4-6)

• : Vow of Innocence
• Phonology: repetition of אִם (vv. 4ab, 5a); see also on .

PART 2 (vv.7-10)

• : Petition
• Reference to God as יהוה (vv.7a, 9ab)
• Lexical Recursion: צדק (vv.9c, 10bd); שׁפט (vv.7c, 9b)
• Deontic Modality
• Imperatives
• Verb PGN: 2ms verbs
• Scene/Imagery: height
• Yahweh as Judge (courtroom)
• Chiasm (vv.8b-9c) connecting sections 3-4: a וְ֝עָלֶ֗יהָ b יְהוָה֮ c יָדִ֪ין עַ֫מִּ֥ים / c' שָׁפְטֵ֥נִי b' יְהוָ֑ה a' עָלָֽי

Section 3 (vv.7-8)

• Inclusio: ק֨וּמָ֤ה (v.7a) – שֽׁוּבָה (v.8b)
• Phonology: repetition of II-ו verbs with הָ ending: ק֨וּמָ֤ה (v.7a), וְע֥וּרָה (v.7c), שֽׁוּבָה (v.8b); repetition of וע at beginning of lines (vv.7c, 8a, 8b)
• Paragogic ה (vv.7-8)
• Waw connecting vv.7-8
• Prosody: 47 syllables

Section 4 (vv.9-10)

• Prosody: 47 syllables (cf. section 3)

PART 3 (vv.11-17)

• : Profession of Trust
• Third person reference to God
• אלהים used in place of יהוה (vv.11-12)
• Lexical Repetition to form chiasm: a יָשׁוּב (v.13a) b יִפְעַל (v.14b) b יִפְעַל (v.16b) a יָשׁוּב (v.17a)
• Indicative Modality
• Verb PGN: 3ms verbs (vv.13-17); verbless clauses (vv.11-12) are also third person
• : 3ms (vv.13-17)
• Scene/Imagery: low, ground
• Waw connecting vv.13-14
• Yahweh as Judge (battlefield)
• Bicola (vv.11-17)

Section 5 (vv.11-14)

• Words for weaponry: מָֽגִנִּ֥י (v.11a), חַרְבּ֣וֹ (v.13a), קַשְׁתּ֥וֹ (v.13b), כְּלֵי־מָ֑וֶת (v.14a), חִ֝צָּ֗יו (v.14b)

Section 6 (vv.15-17)

• Phonology: alliteration (guttural + labial + liquid): חַבֶּל (v.15a), עָ֜מָ֗ל (v.15b), יִפְעָֽל (v.16b) עֲמָל֣ (v.17a); (labial + liquid w/o guttural): בּ֣וֹר (v.16a), חְפְּרֵ֑ (v.16a), וַ֜יִּפֹּ֗ל (v.16b), בְרֹא (v.17a)
• No explicit Reference to God
• : עמל (vv.15b, 17a)
• Words for vice: אָוֶן (v.15a), עָמָל (vv.15b, 17a), שֶׁקֶר (v.15b), חָמָס (v.17b)

CONCLUSION
Section 7 (v.18)

• : Praise
• Phonology: assonance (long ō); alliteration of line initial א (v.18ab)
• Emphatic repetition of Yahweh's name
• Verb PGN: 1cs verbs
• Cohortatives,

Discontinuity & boundaries

The strongest divisions in the poem are those that divide the three major parts:

PART 1 (vv.2-6) --> PART 2 (vv.7-10)

• סלה (v.6c)
• Tricola (vv.6-7)
• Shift in Subject/Agent: David/Enemies --> Yahweh
• Shift in Undergoer: David --> Yahweh
• Shift in : vow of innocence --> petition
• Shift in Verb PGN: 1cs/3ms --> 2ms
• Shift in emotion: Fear + Disgust + Anger --> Anger + Anticipation + Trust
• Shift in scene/imagery: lying down in the dust (v.6) --> rising up to the highest place (vv.7-8)
• Imperative with paragogic suffix (v.7a)
• Divine name (v.7a)

PART 2 (vv.7-10) --> PART 3 (vv.11-17)

• Verbless clauses (vv.11-12)
• Terse lines (vv.11-12)
• Shift in Verb PGN: 2ms --> 3ms. "The third stanza is notable for its linguistic shift from the second person prayer of stanza 2 to third person confession."
• Shift in : petition --> profession
• Shift in type of cola: Tricola (vv.7, 9) + Tetracola (v.10) --> Bicola (vv.11-17)
• Shift in scene/imagery: up high --> down low
• Shift in imagery: judgment in the courtroom --> judgment on the battlefield
• Clustered repetition of אלהים (vv.10d-12)

The strong break between Part 2 and Part 3 is smoothed over by a chiasm that connects these two parts (anadiplosis): a וּבֹחֵ֣ן לִ֭בּ֗וֹת וּכְלָי֗וֹת b אֱלֹהִ֥ים צַדִּֽיק // b' מָֽגִנִּ֥י עַל־אֱלֹהִ֑ים a' מ֝וֹשִׁ֗יעַ יִשְׁרֵי־לֵֽב (cf. Psalm 3:3-4, where a chiasm has a similar function).

Weaker boundaries also exist between the sections within each part:

PART 1 (vv.2-6)

Section 1 (vv.2-3) --> Section 2 (vv.4-6)

• Shift in : invocation --> vow of innocence
• Repetition of יהוה אלהי (vv.2a, 4a; anaphora)
• 10-syllable lines (vv.2a, 4a; anaphora)
• Phonological recursion (anaphora): יהוה אלהי...חסיתי (v.2a) // יהוה אלהי... עשׂיתי (v. 4a)

PART 2 (vv.7-10)

Section 3 (vv.7-8) --> Section 4 (vv.9-10)

• Divine name (v.9a)
• Word order: MKD/DEF cola (v.8ab) to indicate closure
• Tricolon (v.9)
• Note that the boundary between these sections is smoothed over by a chiastic connection (see ).

PART 3 (vv.11-17)

Section 5 (vv.11-14) --> Section 6 (vv.15-17)

• Shifts in subject/agent and object/undergoer: Yahweh --> the wicked
• Word order: DEF/DEF cola (v.14ab) to indicate closure
• הִנֵּה (v.15a)
• Terse line (v.15a)
• Shift in imagery: war --> pregnancy,

Prominence

v.9a is the thematic peak of the psalm.

יהוה ידין עמים

This line is marked in a number of ways:

• Center of the psalm's large-scale structure
• Middle occurrence (4/7) of the divine name (יהוה)
• Marked word order (S V O)
• Terse rhythmic cadence (2.2.2)
• 3rd person reference sandwiched between 2nd person references,

Main message

Yahweh is the just judge of the world.,

Large-scale structures

The three main parts of the psalm reflect an ABA' pattern (see especially ):

Superscription (v.1)

A (vv.2-6)

B (vv.7-10)

A' (vv.11-17)

Concluding Praise (v.18)

In the first part (A, vv.2-6), the Psalmist is unjustly targeted by his enemies. In the third part (A', vv.11-17), his enemies are justly targeted by Yahweh. This reversal results from the middle part (B, vv.7-10), where Yahweh ascends for judgment.

The middle part (B, vv.7-10) consists of two sections (vv.7-8; vv.9-10), each with 47 syllables. The centerpiece of this center section is v.9a: יהוה ידין עמים, with its emphatic word order (S V O), terse rhythmic cadence (2.2.2), and 3rd person reference (sandwiched between 2nd person references). It stands as a triumphant declaration between the psalmist's general appeal for Yahweh to ascend for judgment (vv.7-8) and the more specific appeal that Yahweh bring justice to his own personal situation (vv.9b-10).,

Translation

Poetic Translation by Ryan Sikes

²Yahweh, my God, I’ve sheltered in you.

Save me! Give rescue from those in pursuit.

³Lest like a lion they prey on my life.

Pouncing and tearing with no help in sight.

⁴Yahweh, my God, if I have done this.

If there is in my hands injustice.

⁵If I have treated my friend with disdain.

And rescued my foe meanwhile for no gain.

⁶Then let an enemy pursue me and take

My life to the ground and crush

And bury my honor deep down in the dust.

⁷Get up, Yahweh, in your wrath!

Rise up to the rage of my foes!

Wake up for me with judgment decreed!

⁸Assemble the peoples around your throne

Return over them to the highest peak.

⁹Yahweh judges the world.

Yahweh, give justice to me!

Judge by my righteous integrity.

¹⁰Oh, that all evil would come to an end,

And you would establish the righteous!

The one who tests hearts and minds is

A God who is righteous.

¹¹My battle shield is on God’s arm

Who saves the upright in heart from harm.

¹²God–he is a judge who’s upright.

A god who scolds each day and night.

¹³Surely, again, he will sharpen his sword

He’s stepped on his bow; prepared it for war.

¹⁴He’s readied his deadly weapons to slay

And fashions his arrows to fiery flames.

¹⁵Look! The wicked are pregnant with doom!

Harm is conceived; guile exits the womb!

¹⁶He hollowed a cistern and dug it down deep

And fell in the pit he had hidden for me.

¹⁷His harm will come back upon his own crown.

On his own head, his violence comes down.

¹⁸I will praise Yahweh, for he is upright!

I will sing of the name of Yahweh Most High!,

Outline or visual representation

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

I. A supplication. (1-9)

A. Save me. (1-2,6-9)

1. I have taken refuge in you.

2. Save me and deliver me from those who pursue me.

3. Lest, like a lion, he tear my soul, drag me away, and there is none to deliver.

B. Search me. (3-4)

1. If I have done this.

2. If I have acted unjustly.

3. If I have rewarded my friend with evil.

4. If I have plundered my adversary without cause.

C. Stop me, if I am guilty of these things. (5)

1. Let the enemy pursue and overtake my soul.

2. Let him trample my life to the ground.

3. Let him lay my honor in the dust.

II. A strategy in the face of slander. (6-11)

A. The Lord will arise and act against the rage of the enemy.

B. He will judge the enemy: He is a righteous, indignant judge.

C. He will reign over all the congregation.

D. He will vindicate the righteous man of integrity.

E. Evil will end and righteousness will be established.

F. A righteous God will try both hearts and minds.

G. God will be a shield to the righteous.

H. He will save the upright.

III. A sad cycle. (12-16)

If a wicked man does not repent:

A. God will prepare spiritual artillery to use against him:

1. A sword (the Word).

2. A bow.

3. Deadly weapons.

4. Fiery shafts (arrows that will never miss the mark).

B. The cycle of sin:

1. Like a birth: The evil man will travail in wickedness, conceiving mischief, and birthing falsehood.

2. Like bait: He will dig a pit, but fall into it himself.

3. Like a boomerang: His evil and violence will turn on him (cave in on him, since he is in a pit!)

IV. Because of this, the psalmist. (17)

A. Thanks God for what He does.

B. Praises Him for Who He is.

Authorship

This Psalm was authored by David.

Genre

Etic Genre
Psalm 7 is a Lament, though the particular kind of lament is disputed. It has been "traditionally identified as an individual lament" A number of scholars have argued that the setting for the prayer is an "institution of Gottesgericht administered in the Temple" (cf. 1 Kgs. 8:31f).
Mowinckel, however, classifies this psalm as a "national lament" in the 1st-person singular. Some "I-laments, and particularly such as use martial terms and metaphors, are actually national psalms of lamentation speaking of national and political conflicts, the speaker being the king of the people or one of the leading men of the congregation... This explanation readily suggests itself, for instance, in psalms in which Yahweh is called upon to interfere against the 'peoples' or the 'nations' (as in 7.7ff; 56:8; 59:4, 6, 9) or in which there is an emphasis on Yahweh's power as lord and judge of the earth and of the peoples." Eaton affirms and emphasizes the royal interpretation: "Only Yahweh's anointed could appropriately invoke the world-dominating epiphany to bring his personal salvation. But this royal element should not be insulated from the rest of the psalm, where in fact there are indications of threatening war (vv.11 and 13f) and of the psalmist's military capacity (vv. 5, 11) and 'glory' (v.6)." The political/covenantal language in v.5 would seem to support this interpretation, as does the plain attribution to David in the superscription (v.1).

Emic Genre
The song is classified as a שִׁגָּיוֹן (v.1), a term that occurs only here and in Hab. 3:1 (pl., שִׁגְיֹנוֹת). "The etymology and exact meaning of the sbst. (it is a technical term for a specific type of cultic song) are unknown." Uncertainty regarding the meaning of this word goes back to the earliest translations:

LXX: ψαλμὸς (most often found as translation of מִזְמוֹר)

α': ἀγνόημα (<שָׁגָה)

σ': ὑπὲρ ἀγνοίας (<שָׁגָה)

θ': ὑπὲρ ἀγνοίας (<שָׁגָה)

V (Hebr): pro ignoratione (<שָׁגָה)

T: ‎ תירגמא 1 דאודיתא 2 דאוריתא

S: omit

Given the indeterminacy of biblical usage and ancient translation, scholars have turned to cognate languages for answers. Some relate it to the Akkadian word for "lamentation" (šigû),, some to the Arabic word sajā(w), and others to the Hebrew word שׁגה ('stagger, wander') to indicate a "wild passionate song, with rapid changes of rhythm", a "tune full of variations of tone, time and style of execution" and/or "various meter."