Psalm 8/Full

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Hebrew (BHS)

לַמְנַצֵּ֥חַ עַֽל־הַגִּתִּ֗ית מִזְמ֥וֹר לְדָוִֽד׃ יְהוָ֤ה אֲדֹנֵ֗ינוּ מָֽה־אַדִּ֣יר שִׁ֭מְךָ בְּכָל־הָאָ֑רֶץ אֲשֶׁ֥ר תְּנָ֥ה ה֜וֹדְךָ֗ עַל־הַשָּׁמָֽיִם׃ מִפִּ֤י עֽוֹלְלִ֙ים׀ וְֽיֹנְקִים֘ יִסַּ֪דְתָּ֫ עֹ֥ז לְמַ֥עַן צוֹרְרֶ֑יךָ לְהַשְׁבִּ֥ית א֜וֹיֵ֗ב וּמִתְנַקֵּֽם׃ כִּֽי־אֶרְאֶ֣ה שָׁ֭מֶיךָ מַעֲשֵׂ֣י אֶצְבְּעֹתֶ֑יךָ יָרֵ֥חַ וְ֜כוֹכָבִ֗ים אֲשֶׁ֣ר כּוֹנָֽנְתָּה׃ מָֽה־אֱנ֥וֹשׁ כִּֽי־תִזְכְּרֶ֑נּוּ וּבֶן־אָ֜דָ֗ם כִּ֣י תִפְקְדֶֽנּוּ׃ וַתְּחַסְּרֵ֣הוּ מְּ֭עַט מֵאֱלֹהִ֑ים וְכָב֖וֹד וְהָדָ֣ר תְּעַטְּרֵֽהוּ׃ תַּ֭מְשִׁילֵהוּ בְּמַעֲשֵׂ֣י יָדֶ֑יךָ כֹּ֜ל שַׁ֣תָּה תַֽחַת־רַגְלָֽיו׃ צֹנֶ֣ה וַאֲלָפִ֣ים כֻּלָּ֑ם וְ֜גַ֗ם בַּהֲמ֥וֹת שָׂדָֽי׃ צִפּ֣וֹר שָׁ֭מַיִם וּדְגֵ֣י הַיָּ֑ם עֹ֜בֵ֗ר אָרְח֥וֹת יַמִּֽים׃ יְהוָ֥ה אֲדֹנֵ֑ינוּ מָֽה־אַדִּ֥יר שִׁ֜מְךָ֗ בְּכָל־הָאָֽרֶץ׃

Greek (Rahlfs-Hanhart LXX)

εἰς τὸ τέλος ὑπὲρ τῶν ληνῶν ψαλμὸς τῷ Δαυιδ κύριε ὁ κύριος ἡμῶν ὡς θαυμαστὸν τὸ ὄνομά σου ἐν πάσῃ τῇ γῇ ὅτι ἐπήρθη ἡ μεγαλοπρέπειά σου ὑπεράνω τῶν οὐρανῶν ἐκ στόματος νηπίων καὶ θηλαζόντων κατηρτίσω αἶνον ἕνεκα τῶν ἐχθρῶν σου τοῦ καταλῦσαι ἐχθρὸν καὶ ἐκδικητήν ὅτι ὄψομαι τοὺς οὐρανούς ἔργα τῶν δακτύλων σου σελήνην καὶ ἀστέρας ἃ σὺ ἐθεμελίωσας τί ἐστιν ἄνθρωπος ὅτι μιμνῄσκῃ αὐτοῦ ἢ υἱὸς ἀνθρώπου ὅτι ἐπισκέπτῃ αὐτόν ἠλάττωσας αὐτὸν βραχύ τι παρ᾽ ἀγγέλους δόξῃ καὶ τιμῇ ἐστεφάνωσας αὐτόν καὶ κατέστησας αὐτὸν ἐπὶ τὰ ἔργα τῶν χειρῶν σου πάντα ὑπέταξας ὑποκάτω τῶν ποδῶν αὐτοῦ πρόβατα καὶ βόας πάσας ἔτι δὲ καὶ τὰ κτήνη τοῦ πεδίου τὰ πετεινὰ τοῦ οὐρανοῦ καὶ τοὺς ἰχθύας τῆς θαλάσσης τὰ διαπορευόμενα τρίβους θαλασσῶν κύριε ὁ κύριος ἡμῶν ὡς θαυμαστὸν τὸ ὄνομά σου ἐν πάσῃ τῇ γῇ

Phonology

Vowels

Definition Feature being studied	Occurrences Sections where this feature is present or absent	Clustering	Intersection	Connections	Structure
words ending in e + u	אֲדֹנֵ֗ינוּ (v.2a), תִזְכְּרֶ֑נּוּ (v.5a), תִפְקְדֶֽנּוּ (v.5b), וַתְּחַסְּרֵ֣הוּ (v.6a), תְּעַטְּרֵֽהו (v.6b), תַּ֭מְשִׁילֵהוּ (v.7a), אֲדֹנֵ֑ינוּ (v.10a)	vv.5-7a	beginning of psalm (v.2a); end of psalm (v.10a); middle of psalm (vv.5-7a)

,

Consonants

Definition Feature being studied	Occurrences Sections where this feature is present or absent	Clustering	Intersection	Connections	Structure
velars		alliteration (vv.4-5): כִּֽי־...שָׁ֭מֶיךָ ...אֶצְבְּעֹתֶ֑יךָ ...וְ֜כוֹכָבִ֗ים...כּוֹנָֽנְתָּה׃.. כִּֽי־תִזְכְּרֶ֑נּוּ ...כִּ֣י תִפְקְדֶֽנּוּ׃		repetition of ג strengthens the connection between vv.8b-9a	Gives cohesion to vv.4-5; also, to a lesser extent, gives cohesion to vv.8-9
nasals		alliteration: vv.8-9: צֹנֶ֣ה וַאֲלָפִ֣ים כֻּלָּ֑ם וְ֜גַ֗ם בַּהֲמ֥וֹת שָׂדָֽי׃ צִפּ֣וֹר שָׁ֭מַיִם וּדְגֵ֣י הַיָּ֑ם עֹ֜בֵ֗ר אָרְח֥וֹת יַמִּֽים׃		vv.8a–9a (which both begin with צ) end in ם, as do a number of other words within vv.8-9 (וַאֲלָפִ֣ים כֻּלָּ֑ם; וְ֜גַ֗ם; שָׁ֭מַיִם ...הַיָּ֑ם; יַמִּֽים). Note the words with double מ (vv.9a//9b: שָׁ֭מַיִם//יַמִּים)	Gives cohesion to vv.8-9
gutturals		alliteration: vv.6ab: וַתְּחַסְּרֵ֣הוּ מְּ֭עַט מֵאֱלֹהִ֑ים // וְכָב֖וֹד וְהָדָ֣ר תְּעַטְּרֵֽהוּ׃
dentals		alliteration: v.6b: וְכָב֖וֹד וְהָדָ֣ר תְּעַטְּרֵֽהוּ; v.7b: שַׁ֣תָּה תַֽחַת		v.6a–v.7a. The only two lines to begin with a dental are v.6a (וַתּ) and v.7a (תּ). v.6a//v.6b The consonant ט occurs only in 6ab, with each instance of the pair preceded by the guttural ע: v.6a (מְּ֭עַט) // v.6b (תְּעַטְּ)	Gives cohesion to vv.6-7

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
three syllables (1st syl: כּ + o-vowel, 2nd syl: stressed, a-vowel; 3rd syl: תָּה)	כּוֹנָֽנְתָּה (v.4b); כֹּ֜ל שַׁ֣תָּה (v.7b)			vv.4-7. "The two verbs (2ms perfect forms of sh-u-t and k-u-n, respectively) are semantic parallels; each bears the meaning 'to set' or 'to establish.' But a certain phonetic wordplay might also be at work, as ko-nan-tah and kol-shat-tah sound very much alike, sharing two consonant and three vowel sounds."	Kraut argues that vv.4, 7 form elements D and D' in a chiasm that constitutes the whole of Psalm 8. See below on Large-scale structures.
dental (תּ/צ) + nasal (נ) + mater ה	תְּנָ֥ה (v.2c); צֹנֶ֣ה (v.8a);			It may be worth noting that the two most anomalous forms in this psalm (תְּנָה / צֹנֶה) bear some phonological resemblance to one another.
י + מ	הַשָּׁמָֽיִם (v.2c); שָׁ֭מַיִם (v.9a); הַיָּ֑ם (v.9a); יַמִּֽים (v.9b)	v.9ab		v.9a//v.9b
guttural + dental + liquid	אַדִּ֣יר (v.2b); וְהָדָ֣ר תְּעַטְּרֵֽהוּ (v.6b); אַדִּ֥יר (v.10b)	v.6b	beginning of psalm (v.2); middle of psalm (v.6); ending of psalm (v.10)	vv.2,10–vv.5-6. The words that share the sounds guttural + dental + liquid are also semantically associated by the notion of royalty. This is one of a number of features that ties the frame of the psalm (vv.2,10) to the center (vv.5-6). See also מה + א and (א + ד (+ מ/ם
נקם	וְֽיֹנְקִים֘ (v.3a); ּמִתְנַקֵּֽם (v.3c)			v.3a//v.3c
א + ר + sibilant (שׁ/צ)	הָאָ֑רֶץ (v.2b); אֲשֶׁ֥ר (v.2c); אֲשֶׁ֣ר (v.4b)				The seemingly odd use of אשׁר (v.2c) to begin the body of the psalm might be explained, at least in part, phonologically. אשׁר (v.2c) follows immediately after ארץ (v.2b). See below.
שׁ + מ/ם	שִׁ֭מְךָ (v.2b); הַשָּׁמָֽיִם (v.2c); שָׁ֭מֶיךָ (v.4a); שָׁ֭מַיִם (v.9a); שִׁ֜מְךָ֗ (v.10b)		beginning of psalm (v.2); beginning of the body of the psalm (v.2c); beginninig of new section (v.4a); ending of the body of the psalm (v.9); ending of psalm (v.10)		The sound play between שׁם and שׁמים runs throughout the psalm and appears to mark boundaries. In terms of meaning, the sound play may underscore the fact that the majesty of God's name (שֵׁם) is seen in the skies (שָׁמַיִם)
מה + א	מָֽה־אַדִּ֣יר (v.2b); מָֽה־אֱנ֥וֹשׁ (v.5a); מָֽה־אַדִּ֥יר (v.10b)		beginning of psalm (v.2); middle of psalm (v.5); ending of psalm (v.10)	vv.2,10-v.5.	The envelop of the psalm, with its focus on God's wonderful majesty (מה אדיר), is thereby tied to the center, with its focus on the wonder of humanity's place in the world (מה אנושׁ). See also below on the repetition of א + ד +/– מ/ם (vv.2,5,10)
ע + ט	מְּ֭עַט (v.6a); תְּעַטְּרֵֽהוּ (v.6b)	v.6ab		6a//6b	forms/strengthens parallelism (v.6ab)
(א + ד (+ מ/ם	אֲדֹנֵ֗ינוּ (v.2a); אַדִּ֣יר (v.2b); אָ֜דָ֗ם (v.5b); (v.9b); אֲדֹנֵ֑ינוּ (v.10a); אַדִּ֥יר (v.10b)		beginning of psalm (v.2); middle of psalm (v.5); ending of psalm (v.10)	vv.2,10-v.5. Note the phonological connection between אדנינו//אדיר (vv.2, 10) and אדם (v.5b). These are the only occurrences of א + ד throughout the psalm. The connection is even stronger in the phrase מה אדיר, where the consonants א – ד – מ are all present.	Repetition of the consonants א – ד – מ at the beginning (v.2: אדנינו מה אדיר), ending (v.10: אדנינו מה אדיר) and middle (v.5b: אדם) highlights אדם ("man") as the thematic focus of the psalm. Psalm 8 is, in short, a psalm about אדם.

This feature is considered relevant for this psalm.,

Infrequent letters or sounds

ט - x2 (consecutive lines [v.6ab])

ס - x2,

Patterns in beginnings

Section 1

Section 2

Section 3

Section 4

Section 5

Section 6

Lines

Lines beginning with מָה (+ alef)

• v.2b. מָֽה־אַדִּ֣יר
• v.5a. מָֽה־אֱנ֥וֹשׁ
• v.10b. מָֽה־אַדִּ֥יר

Lines beginning with תּ followed by lines beginning with כּ

• v.6a. וַתְּחַסְּרֵ֣הו
• v.6b. וְכָב֖וֹד
• v.7a. תַּ֭מְשִׁילֵהוּ
• v.7b כֹּ֝ל

This feature gives cohesion to vv.6-7.

Lines beginning with צ followed by lines beginning with g (ג/ע [the letter ע may have "a rattled, guttural g, cf. e.g. עַזָּה, LXX Γάζα, עֲמֹרָה Γόμορρα"]).

• v.8a. צֹנֶ֣ה
• v.8b. וְ֝גַ֗ם
• v.9a. צִפּ֣וֹר
• v.9b. עֹ֝בֵ֗ר

Note that lines 8b and 9a also end with the same letter (ם).
This feature, which parallels that in vv.6-7, gives cohesion to vv.8-9.

Words within lines

• v.4b. beginning with kō – וְ֝כוֹכָבִ֗ים – כּוֹנָֽנְתָּה,

Patterns in endings

Lines

Lines ending with ם

• v.2b. עַל־הַשָּׁמָֽיִם
• v.3a. וְֽיֹנְקִים֮
• v.3c. וּמִתְנַקֵּֽם
• v.6b. מֵאֱלֹהִ֑ים
• v.8a. כֻּלָּ֑ם
• v.9a. הַיָּ֑ם
• v.9b. יַמִּֽים

Lines ending with נּוּ

• v.2a. אֲדֹנֵ֗ינוּ
• v.5a. תִזְכְּרֶ֑נּוּ
• v.5b. תִפְקְדֶֽנּוּ
• v.10a. אֲדֹנֵ֑ינוּ

This is one of a number of phonological features that ties the center of the psalm (v.5) to the frame (vv.2,10). See also the Sound combinations of א + ד + מ/נ and מה + א.

Words within lines

• vv.6ab,7a. h + ū endings: וַתְּחַסְּרֵ֣הוּ (v.6a); תְּעַטְּרֵֽהוּ (v.6b); תַּ֭מְשִׁילֵהוּ (v.7a),

Similar sounds in adjacent lines

• v.2ab. alliteration: אֲדֹנֵ֗ינוּ (v.2a) – אַדִּ֣יר (v.2b)
• v.2bc. Phonologically, lines 2bc form a partial chiasmus (abc//cab).

בְּכָל־הָאָ֑רֶץ	שִׁ֭מְךָ	מָֽה־אַדִּ֣יר
עַל־הַשָּׁמָֽיִם׃	תְּנָ֥ה ה֜וֹדְךָ֗	אֲשֶׁ֥ר

a (מָֽה־אַדִּ֣יר) - a' (תְּנָ֥ה ה֜וֹדְךָ֗). The words מָֽה and תְּנָ֥ה both put the primary stress on a nasal (מ/נ) + ā-vowel (with mater ה); the words אדיר and הודך, besides being semantically related, share similar sounds: guttural (ע/ה) + dental (ד).

b (שִׁ֭מְךָ) - b' (עַל־הַשָּׁמָֽיִם). Repetition of consonants שׁ and מ/ם (see above).

c (בְּכָל־הָאָ֑רֶץ) - c' (אֲשֶׁ֥ר). Repetition of א + ר + sibilant (שׁ/ץ) (see above).

These correspondences support the MT's reading of תנה in v.2c (see below on Variants).

Structural Function: The phonological chiasm smooths over the boundary between the Psalm's prelude (v.2ab) and first major section (vv.2c-3c), creating continuity amidst discontinuity (cf. Ps. 3:3-4 and Ps. 7:10cd-11, where chiastic structures have a similar function).

• vv.2c-3. rhyme: הוֹד – עֹז (monosyllabic; guttural + o-vowel + dental [ד/ז])
• v.3abc. guttural + o-vowel: עֽוֹלְלִ֨ים (v.3a), עֹ֥ז (v.3b), א֝וֹיֵ֗ב (v.3c)
• v.3ac. alliteration: וְֽיֹנְקִים֮ (v.3a) – וּמִתְנַקֵּֽם (v.3c); rhyme: פִּי (v.3a) – בִּי (v.3c)
• v.3bc. alliteration of word-initial l: לְמַ֥עַן (v.3b), לְהַשְׁבִּ֥ית (v.3c)
• vv.4b-5a. ם אֲשֶׁ֣ר כּ (v.4b) – מָֽה־אֱנ֥וֹשׁ כִּֽ (v.5a)
• v.5ab. כִּֽי־תִזְכְּרֶ֑נּוּ (v.5a) – כִּ֣י תִפְקְדֶֽנּוּ (v.5b)
• v.6ab. וַתְּחַסְּרֵ֣הוּ (v.6a) – תְּעַטְּרֵֽהוּ (v.6b); מְּ֭עַט (v.6a) – תְּעַטְּ (v.6b)
• v.8ab. alliteration of velar + m: כֻּלָּ֑ם (v.8a) – וְ֝גַ֗ם (v.8b)
• v.9ab. alliteration of y + (double) m: שָׁ֭מַיִם (v.9a), הַיָּ֑ם (v.9a), יַמִּֽים (v.9b)
• v.10ab. alliteration: אֲדֹנֵ֗ינוּ (v.10a) – אַדִּ֣יר (v.10b),

Other observations

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	6	2	2
2b	9	5	3
2c	11	5	4
3a	9	3	3
3b	10	4	4
3c	9	3	3
4a	13	5	4
4b	11	4	4
5a	8	4	2
5b	9	4	3
6a	12	3	3
6b	11	3	3
7a	10	3	3
7b	6	4	3
8a	8	3	3
8b	7	3	3
9a	9	4	4
9b	6	3	3
10a	6	2	2
10b	9	5	3

• Terse lines with only 2 stress units occur at the beginning (v.2a), ending (v.10a), and middle (v.5a) of the poem.
• Long lines (vv.4a, 6a) open new sections.
• v.3. Following the MT's accents would give the following: 3a: 14/5/5, 3b: 6/2/2 3c: 9/3/3. This leaves v.3a as the longest line in the psalm, with 14 syllable, 5 words, and 5 stress units, more than two times the length of the following line (3b). Balance and rhythm is achieved if v.3ab is divided differently, i.e., if the division is placed after ינקים (v.3a): 3a: 9/3/3, 3b: 10/4/4, 3c: 9/3/3. According to this division, v.3a and v.3c, between which there are a several striking phonological parallels, are identical in length.

Lexical Semantics

Difficult Words

• vv.2a,10a.

אַדִּיר occurs 28 times (including Ezek. 17:8), indicating (1) what is mighty/powerful, hence magnificent/majestic/splendid/stately (mighty waters [Ex. 15:10; Ps. 93:4]; splendid vine [Ezek. 17:8]; stately tree [Ezek. 17:23; 2 Chron. 11:2]; mighty ship [Isa. 33:21]; mighty nations [Ezek. 32:18]; mighty kings [Ps. 136:18]; mighty gods [1 Sam. 4:8]; glorious military leader [Ps. 76:5]); (2) leaders/kings who are of dignity, high rank, and great military prowess, someone superior by virtue of rank, social class, rule, or strength (Jdg. 5:13, 25; Isa. 10:34 & 33:21 [of Yahweh]; Jer. 14:3; 25:34-36; 30:21; Nah. 2:6; 3:18; Ps. 16:3; Neh. 3:5; 10:30; 2 Chron. 23:20). Since Yahweh is addressed as Lord/Ruler, אַדִּיר in the context refers to his kingly majesty with the idea of "might" close to the fore. Enemies and strength are in the context.

שֵׁם – The name of God stands for God himself–his character and person–and for his reputation–his revelation of himself. In all the earth, he is, and is known as mighty–having kingly majesty.

• v.3.

עֽוֹלְלִ֙ים׀ וְֽיֹנְקִים֘ – This pair of participles may form a hendiadys: "nursing children" (cf. v.3c: "avenging enemy"). Note that, since "the Hebrew women were accustomed to suckle their children for a long period (cf. 2 Macc. 7:27), יונק may refer to "a little child which is able to lisp and speak." Alternatively, עֽוֹלְלִ֙ים׀ וְֽיֹנְקִים֘ may be a merism (cf. 1 Sam. 15:3; 22:19; Jer. 44:7).

יסד – "to found" (fix firmly, immovable, solid). יסד may also mean "appoint" and "ordain" with reference to installing into office or royal decrees (cf. 1 Chron. 9:22; Est. 1:8), but this meaning is uncommon, only found in the post-exilic books–Ps. 8 is Davidic–and does not seem to work within the context of Ps. 8:3 (עֹז).

עֹז – "stronghold." "Koehler-Baumgartner (first edition) proposes a II עֹז 'protection, refuge, shelter,' w. forms identical w. I עֹז ‘strength’, but derived fm. עוז ‘take shelter’ rather than fm. עזז ‘be strong’; this proposal has not won acceptance, and recently others have suggested for the cited passages the meaning 'fortress.'" Places where עֹז possibly/probably means "stronghold," i.e., a place of defensive/offensive power, include Jer. 16:19; Ps. 28:7-8; 46:2; 59:10, 18 (cf. Prov. 14:26; 24:5). This meaning fits the context of the usage in Ps. 8:3, where עֹז is the object of יסד ('to found' [of buildings, cities, etc.]) and where enemies are mentioned.

צוֹרְרֶיךָ – While "foes" appear often in the Psalter, this is the first (and surprising) mention of God's foes. The reference is usually explained in terms of "the foes that God overcomes in the process of creation" (cf. Ps. 74). Yet this concept of a creation conflict has been discredited in recent years. It is better to see the reference to God's enemies in light of the context of the Psalter as a book. God's enemies are those who rebel against his rule and the rule of his anointed king (cf. Ps. 2).

• v.5b.

תִּפְקְדֶנּוּ – "'There is probably no other Hebrew verb that has caused translators as much trouble as pqd' – despite the fact that this word is attested in most, if not all, of the ancient Semitic languages and the seeming legion of studies devoted to it... With God as Agent, פקד expresses an intense personal attention, including careful inspection, which triggers appropriate action, whether positive (i.e., assistance) or negative (i.e., punishment)." HALOT: "1. to make a careful inspection... e. to be troubled about, be concerned for (Isa. 23:17; Jer. 23:2; Zech. 11:16; Ps. 8:5).",

References to God

Definition Feature being studied	Occurrences Sections where this feature is present or absent	Clustering	Intersection	Connections	Structure
אֱלֹהִים (third person)	v.6a
אָדוֹן (second person)	vv.2a, 10a		beginning (v.2) and ending (v.10) of psalm	v.2–v.10	Inclusion
יהוה (second person)	vv.2a, 10a		beginning (v.2) and ending (v.10) of psalm	v.2–v.10	Inclusion

• The plural אֲדֹנֵינוּ is a plural of majesty or rank. It may refer to human masters (proprietors, slave-holders, husbands, prophets, governors, princes, and kings). When referring to God, it is "used to emphasize Yahweh's rule over all the world."
• אֱלֹהִים (v.6a). Bratcher and Reyburn list four common interpretations of אלהים in this verse:

1. God: the ancient Greek versions by Aquila, Symmachus, and Theodotion; Jerome; ASV, RSV, TEV.
2. "Angels": Septuagint ([ἀγγέλους] quoted in Heb. 2.7), Syriac, Targum, Vulgate; KJV, NAB, ZÜR, FRCL, NJV footnote.
3. "The gods": Dahood. NIV has 'the heavenly beings.'
4. 'A god': NEB, BJ, NJB, TOB, SPCL. Mft and NJV have 'little less than divine'; almost divine' also represents this meaning.

These four options may be boiled down to two, which, in English translation, is basically an issue of capitalization: (1) God; (2-4) god(s)/angels. "A valiant effort to support the interpretation of 'God' was made by Donald Glenn. His approach is flawed because a sentence such as ‘you (God–second person address) have made him a little lower than God (third person address)’ is ungrammatical in Hebrew.” So also Kraus: “Because the psalmist is addressing Yahweh (v.2)... we will presumably have to translate אלהים with ‘divine beings,’ ‘heavenly beings.’” However, Kraut argues that "the entire structure of the psalm is built upon the juxtaposition of God’s powers in the first part of the psalm with the powers of man in the second portion of the psalm. Therefore, when the psalmist notes that God has made man slightly less than אֱלֹהִים, the comparison can only be between the powers of God himself, specified in the previous five verses, and those that he bestowed upon mankind, to be specified in the verses that immediately follow."
This feature is considered relevant for this psalm.,

Repeated words

Definition Feature being studied	Occurrences Sections where this feature is present or absent	Clustering	Intersection	Connections	Structure
ים	וּדְגֵ֣י הַיָּ֑ם (v.9a); אָרְח֥וֹת יַמִּֽים (v.9b)	v.9	end of fourth section (vv.8-9) and the body of the psalm	forms connection between parallel lines (v.9ab)	Gives cohesion to v.9
ארץ	בְּכָל־הָאָ֑רֶץ (v.2b); בְּכָל־הָאָֽרֶץ (v.10b)		beginning (v.2) and ending (v.10) of psalm	connects opening (v.2) and closing (v.10)	Inclusion
כֹּל	בְּכָל־הָאָ֑רֶץ (v.2a); כֹּ֝ל (v.7b); כֻּלָּ֑ם (v.8a); בְּכָל־הָאָֽרֶץ (v.10b)	vv.7b-8a	beginning (v.2) and ending (v.10) of psalm; last line of 3rd section (v.7b); first line of 4th section (v.8a)	connects opening (v.2) and closing (v.10); connects sections 3 (vv.6-7) and 4 (vv.8-9).	Inclusion (vv.2b, 10b); Anadiplosis (vv.7b-8a); give cohesion to sections 3-4 (vv.6-9)
מעשׂה	מַעֲשֵׂ֣י אֶצְבְּעֹתֶ֑יךָ (v.4a); בְּמַעֲשֵׂ֣י יָדֶ֑יךָ (v.7a)			Both occurrences are plural and in the construct state with semantically and morphologically related nouns (אֶצְבְּעֹתֶ֑יךָ / יָדֶ֑יךָ). There is an "evident correspondence between מַעֲשֵׂ֣י אֶצְבְּעֹתֶ֑יךָ in verse 4 and בְּמַעֲשֵׂ֣י יָדֶ֑יךָ in verse 7, which has spurred some scholars to speculate upon the different nuances reflected by each phrase. However, the structural significance of the phrases, which help solidify the skeleton of the chiasm that is embedded within the psalm, has been largely over- looked..	These phrases "help solidify the skeleton of the chiasm that is embedded within the psalm.".
שׁמים	עַל־הַשָּׁמָֽיִם (v.2c); שָׁ֭מֶיךָ (v.4a); צִפּ֣וֹר שָׁ֭מַיִם (v.9a)		beginning of first (vv.2c-3) and second (vv.4-5) sections	Kraut argues that vv.2c-3a and v.9 constitute elements B and B' in the Psalm's chiastic structure.. Repetition of שׁמים forms one point of connection between these verses.	Anaphora (vv.2c, 4a); reinforces chiastic structure (vv.2c-3a [B] – v.9 [B']).
שׁם	שִׁמְךָ (vv.2b, 10b)		beginning (v.2) and ending (v.10) of psalm	connects opening (v.2) and closing (v.10)	Inclusion
אַדִּ֣יר	vv.2b, 10b		beginning (v.2) and ending (v.10) of psalm	connects opening (v.2) and closing (v.10)	Inclusion

2a	יהוה	אֲדֹנֵנוּ
2b			אַדִּיר	שִׁמָךָ	בכָל	הָאָרֶץ
2c							עַל־הַשָּׁמָֽיִם
3a
3b
3c
4a							שָׁ֭מֶיךָ	מַעֲשֵׂ֣י אֶצְבְּעֹתֶ֑יךָ
4b
5a
5b
6a
6b
7a								בְּמַעֲשֵׂ֣י יָדֶ֑יךָ
7b					כֹּ֝ל
8a					כֻּלָּ֑ם
8b
9a							צִפּ֣וֹר שָׁ֭מַיִם		וּדְגֵ֣י הַיָּ֑ם
9b									אָרְח֥וֹת יַמִּֽים
10a	יהוה	אֲדֹנֵנוּ
10b			אַדִּיר	שִׁמָךָ	בכָל	הָאָרֶץ

• Repetition of כֹּל (x4) emphasizes the universality of divine/human dominion. It is used twice in the frame of the psalm to refer to the scope of God's dominion (vv.2b, 10b) and twice in the body of the psalm to refer to the scope of humanity's dominion (vv.7b-8a). Alter identifies כֹּל as "the chief thematic key-word of the psalm. [God's] dominion is over all, heaven and earth, angels and men and creatures of the field and air and sea, and he places 'all' at the feet of man"
• About half of the repeated words refer to the spheres of divine/human dominion (land [ארץ] x2, sky [שׁמים] x3, sea [יָם] x2). Again, as with כֹּל (see above), the emphasis is on the universality of human/divine dominion. According to Genesis 1, God created the sky (שׁמים) on Day 2, and the land (ארץ) and seas (ימים) on Day 3. These three realms together make up the cosmos. When God creates humans on Day 6, he gives them dominion over the creatures in each of these three realms (‎Gen. 1:26 – וְיִרְדּוּ֩ בִדְגַ֙ת הַיָּ֜ם וּבְע֣וֹף הַשָּׁמַ֗יִם וּבַבְּהֵמָה֙ וּבְכָל־הָאָ֔רֶץ וּבְכָל־הָרֶ֖מֶשׂ הָֽרֹמֵ֥שׂ עַל־הָאָֽרֶץ׃).

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
ה֜וֹדְךָ֗/עֹ֥ז (cf. Ps. 96:6)	vv.2c/3b
הָאָ֑רֶץ/הַשָּׁמָֽיִם	v.2bc
תִזְכְּרֶ֑נּוּ//תִפְקְדֶֽנּוּ (cf. Ps. 106:4)	v.5ab
יָדֶ֑יךָ//רַגְלָֽיו (cf. Ps. 22:17; 31:9; 36:12; 91:21 [כַּף]; Ps. 115:7)	v.7ab
אֱנ֥וֹשׁ//אָ֝דָ֗ם (cf. Ps. 73:5; 90:3; 144:3)	v.5ab
צוֹרְרֶ֑יךָ//א֝וֹיֵ֗ב (cf. Ps. 143:12)	v.3c

,

Semantically/thematically related words

Definition Feature being studied	Occurrences Sections where this feature is present or absent	Clustering	Intersection	Connections	Structure
Words associated with ruling/royalty	אֲדֹנֵ֗ינוּ (v.2a), אַדִּ֣יר (v.2b), ה֝וֹדְךָ֗ (v.2c), עֹ֥ז (v.3b), וְכָב֖וֹד וְהָדָ֣ר (v.6b), תְּעַטְּרֵֽהוּ (v.6b), תַּ֭מְשִׁילֵהוּ (v.7a), תַֽחַת־רַגְלָֽיו (v.7b), אֲדֹנֵ֑ינוּ (v.10a), אַדִּ֥יר (v.10b)	vv.2, 6-7, 10	beginning (v.2) and ending (v.10) of psalm	Conceptual connection between divine dominion (vv.2, 10) and human dominion (vv.6-7). Yahweh rules through humans (cf. Ps. 2).	Royal language frames the psalm (vv.2, 10), give cohesion and prominence to Section 3 (vv.6-7)
Creatures	צֹנֶ֣ה וַאֲלָפִ֣ים (v.8a); בַּהֲמ֥וֹת שָׂדָֽי (v.8b); צִפּ֣וֹר שָׁ֭מַיִם וּדְגֵ֣י הַיָּ֑ם (v.9a); עֹ֝בֵ֗ר אָרְח֥וֹת יַמִּֽים (v.9b)	vv.8-9			Gives cohesion to vv.8-9. Note that the creatures mentioned in v.8 were created on Day 6 and those in v.9 were created on Day 5.
Realms of creation	ארץ (vv.2, 10); שׁמים (vv.2c, 4a, 9a); ים (v.9ab)			forms parallels between lines (v.8ab [6th-day creatures]; v.9ab [5th-day creatures]) and connections between bicola (vv.8-9)

"The unity of the psalm is... manifest by the pervasive kingship language used in the text, with all of the royal qualities being either explicitly qualities of Yahweh or qualities divinely given to others. The five words for royal qualities in the psalm are אַדִּיר, "glorious," (vv.2b,10b), הוֹד, "majesty," (v.2c), עֹז "strength" (v.3b), כָבוֹד וְהָדָר, "glory and honor" (v.6b). All of these are strong words indicating strength, power, and glory associated with God as King, Creator, and Divine Warrior. They each have shades of meaning, but they refer to essentially the same royal qualities."
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
צֹנֶה	v.8a
אֶלֶף	וַאֲלָפִ֣ים (v.8a)
עטר (piel)	תְּעַטְּרֵֽהוּ (v.6b)

• v.8a. צֹנֶה: "orthographic variant of צאנה (as in some MSS): צֹאן: either with fem. ending -eh (Bauer-L. Heb. 546m; cf. R Meter Gramm. 42.5) or archaic ending -ay > -eh (KBL; cf. Bauer-L. Heb. 587k) Ps. 8:8; perhaps a by-form of צֹנָא sf. צֹנַאֲכֶם Num. 32:24, or rd. with MSS, SamP. צאנכם (KBL; BHS): flocks.

This feature is considered relevant for this psalm.

Verbs

Verb forms

Definition Feature being studied	Occurrences Sections where this feature is present or absent	Clustering	Intersection	Connections	Structure
short yiqtol	תְּעַטְּרֵֽהוּ (v.6b), תַּ֭מְשִׁילֵהוּ (v.7a)	vv.6b-7a			forms chiasm in Section 3 (vv.6-7), with short yiqtol verbs at center: a וַתְּחַסְּרֵ֣הוּ b תְּעַטְּרֵֽהוּ / b' תַּ֭מְשִׁילֵהוּ a' שַׁ֣תָּה
imperative	תְּנָ֥ה (v.2c?)
infinitive construct	תְּנָ֥ה (v.2c?); לְהַשְׁבִּ֥ית (v.3c)	Section 1 (vv.2c-3)	beginning of psalm (first and final lines of section 1)		Gives cohesion to first section (vv.2c-3)
participle	עֽוֹלְלִ֨ים ׀ וְֽיֹנְקִים֮ (v.3a); צוֹרְרֶ֑יךָ (v.3b); א֝וֹיֵ֗ב וּמִתְנַקֵּֽם (v.3c); עֹ֝בֵ֗ר (v.9b)	v.3 (5x); only in Sections 1 (vv.2c-3) and 4 (vv.8-9); absent sections 2-3 (vv.4-7)		v.3ac. double participles in each line (with strong phonological connection); forms connection between sections 1 and 4 and so reinforces the chiastic structure of the psalm	Gives cohesion to vv.3abc; reinforces the psalm's chiastic structure
wayyiqtol	וַתְּחַסְּרֵ֣הוּ (v.6a)		beginning of Section 3 (v.6a)		May mark prominence.
yiqtol	אֶרְאֶ֣ה (v.4a); תִזְכְּרֶ֑נּוּ (v.5a); תִפְקְדֶֽנּוּ (v.5b); תְּעַטְּרֵֽהוּ (v.6b); תַּ֭מְשִׁילֵהוּ (v.7b)	vv.4-7 (Sections 2-3); absent Sections 1 and 4	first and last words of Section 2 (vv.4-5); two middle words of Section 3 (vv.6-7)	parallel lines (v.5ab); parallel sections (2-3: vv.4-7)	Gives cohesion to sections 2-3 (vv.4-7); forms chiasm in Section 3 (vv.6-7), with yiqtol verbs at center: a וַתְּחַסְּרֵ֣הוּ b תְּעַטְּרֵֽהוּ / b' תַּ֭מְשִׁילֵהוּ a' שַׁ֣תָּה
qatal	יִסַּ֪דְתָּ֫ (v.3b); כּוֹנָֽנְתָּה (v.4b); שַׁ֣תָּה (v.7b)		the first and final finite verbs of the psalm are perfects	The three perfect verbs are connected to one another in various ways, not only by conjugation (qatal), but also by stem (doubling: יִסַּ֪דְתָּ֫, כּוֹנָֽנְתָּה), PGN (2ms), meaning ("lay a foundation", "establish", "put underneath"), and sound (כּוֹנָֽנְתָּה, כֹּ֝ל שַׁ֣תָּה).	The use of perfects with similar sounds (כּוֹנָֽנְתָּה, כֹּ֝ל שַׁ֣תָּה) in vv.4, 7 is evidence for the chiastic structure of the psalm.

Finite verb forms cluster in the middle two sections of the psalm (vv.4-7). The first section (vv.2c-3) contains a cluster of non-finite verbs (participles and infinitives) with only one finite verb, and the final section (vv.8-9) has almost no verbs at all (only the participle עֹבֵר in v.9b).

Section 1 (vv.2c-3): non-finite verbs

Section 2 (vv.4-5): finite verbs

Section 3 (vv.6-7): finite verbs

Section 4 (vv.8-9): no/non-finite verbs

• v.2c. תְּנָה – This form, if not emended (see below on Textual Criticism), has been variously interpreted as an imperative (<נתן), an infinitive construct (<נתן), or a 3fs perfect (<נתן). (See Barthélemy for a history of medieval interpretation.)

Elsewhere in the Bible, תְּנָה occurs as an imperative (instead of תֵּן) "very frequently." This view is "usually accepted." "However, the position of this imperative after אשׁר makes it a syntactically abnormal form."

The infinitive construct form of נתן is תֵּת, though the form נְתֹן occurs in Num. 20:21 and Gen. 38:9. The anomalous form in Ps. 8 (תְּנָה) finds an analogy in the form מֵרְדָה in Gen. 46:3 (רְדָה instead of רֶדֶת). So Waltke and O'Connor: “The form תְּנָה is not an anomalous imperative of נתן but an infinitive construct, as if formed from the root יתן (the verb 'to give' has this form in Phoenician); compare ירד, infinitive construct רֵדָה.” According to this interpretation, v.2c may be understood as a verbless clause (S: תנה הודך; SC [location]: על השׁמים). “It may be interpreted: O Thou whose laying of Thy glory is upon the heavens... Perhaps the author wrote תּנה הודך instead of נתתּ הודך, because he wishes to describe the setting out of the heavens with divine splendour as being constantly repeated and not as done once for all.”

The form תְּנָה may be a shortened form of נָתְנָה (cf. 2 Sam. 22:41 [תַּתָּה] vs. Ps. 18:41 [נָתַתָּה]). “Aphaeresis of a weak consonant with a full vowel” occurs in other places as well (cf. Jdgs. 19:11; Jer. 42:10; Ezek. 17:5; Hos. 11:3). “In reality, however, all these forms are to be regarded merely as old textual errors.” In either case, the occurrence of such forms elsewhere in the Hebrew Bible may support reading a 3fs perfect here, either by aphaeresis or by textual error. The subject of נתנה and the antecedent of אשׁר would be הארץ, the final word of the previous line (v.2b).

• vv.6-7. wayyiqtol - yiqtol - yiqtol - qatal. Scholars have suggested that the short yiqtol forms are actually preterites, which "would originally have been distinguished from the normal so-called imperfect by both vocalization and stress." Here, they are distinguished by the H-suffixes, which signify perfective aspect. "There are a number of instances, especially in the poetic sections, where a yiqtol is used where one would have expected a qatal/perfect. These instances are probably remnant of the non-jussive short yiqtol, a form that is also to be found in wayyiqtol." The LXX renders each form with aorists (past perfective) (ἠλάττωσας... ἐστεφάνωσας... κατέστησας... ὑπέταξας). However, as Craigie writes, "the context is ambiguous and does not require a sequence of past tenses in English; a translation rendering the sequence of verbs into English as past/future/future/past is quite possible." It is also possible that the four verbs be understood with "alternating reference to the past and the present in a way that brings out the present implications of the past act."

However the tense and aspect of these verbs are understood, it appears that the variation of forms (wayyiqtol - yiqtol - yiqtol - qatal) creates a chiastic structure (a וַתְּחַסְּרֵ֣הוּ b תְּעַטְּרֵֽהוּ / b' תַּ֭מְשִׁילֵהוּ a' שַׁ֣תָּה) that binds together vv.6-7. "The verbs in vv. 6–7 come in abbʹaʹ sequence as wayyiqtol, yiqtol, yiqtol, qatal. The arrangement thus binds vv.6–7 together."

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
1cs	אֶרְאֶ֣ה (v.4a)		beginning of Section 2 (vv.4-5)		aperture (v.4a)
2ms	יִסַּ֪דְתָּ֫ (v.3b); כּוֹנָֽנְתָּה (v.4b); תִזְכְּרֶ֑נּוּ (v.5a); תִפְקְדֶֽנּוּ (v.5b); וַתְּחַסְּרֵ֣הוּ (v.6a); תְּעַטְּרֵֽהוּ (v.6b); תַּ֭מְשִׁילֵהוּ (v.7a); שַׁ֣תָּה (v.7b)	Sections 2-3 (vv.4-7); absent section 4; only once in section 1			Gives cohesion to Sections 2-3 (vv.4-7)

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 he	תְּנָ֥ה (v.2c?)

If תְּנָ֥ה is interpreted as an imperative (see above), then this would be an incidence of paragogic he.,

Verb stem types (binyanim)

Definition Feature being studied	Occurrences Sections where this feature is present or absent	Clustering	Intersection	Connections	Structure
Hiphil	לְהַשְׁבִּ֥ית (v.3c); תַּ֭מְשִׁילֵהוּ (v.7a)
Doubling Stems (Piel, Hithpael, Polel)	יִסַּ֪דְתָּ֫ (v.3b); וּמִתְנַקֵּֽם (v.3c); כּוֹנָֽנְתָּה (v.4b); וַתְּחַסְּרֵ֣הוּ (v.6a); תְּעַטְּרֵֽהוּ (v.6b)	v.6		parallel lines (6ab)
Qal	תְּנָ֥ה (v.2c); עֽוֹלְלִ֨ים ׀ וְֽיֹנְקִים֮ (v.3a); צוֹרְרֶ֑יךָ (v.3b), א֝וֹיֵ֗ב (v.3c), אֶרְאֶ֣ה (v.4a), תִזְכְּרֶ֑נּוּ (v.5a); תִפְקְדֶֽנּוּ (v.5b); שַׁ֣תָּה (v.7b); עֹ֝בֵ֗ר (v.9b)			parallel lines (v.5ab)

,

Other

Verbless Clauses

• v.2b (מה)
• v.2c?
• v.5aα (מה)
• v.5bα ([מה])
• v.10b (מה)

The nouns phrases in vv.8-9 are in apposition to כֹּל (v.7b).

Nouns

Number

Definition Feature being studied	Occurrences Sections where this feature is present or absent	Clustering	Intersection	Connections	Structure
singular	שִׁ֭מְךָ (v.2b), בְּכָל־הָאָ֑רֶץ (v.2b), ה֝וֹדְךָ֗ (v.2c), מִפִּ֤י (v.3a), עֹ֥ז (v.3b), א֝וֹיֵ֗ב וּמִתְנַקֵּֽם (v.3c), יָרֵ֥חַ (v.4a), אֱנ֥וֹשׁ (v.5a), וּבֶן־אָ֝דָ֗ם (v.5b), מְּ֭עַט (v.6a), וְכָב֖וֹד וְהָדָ֣ר (v.6b), כֹּ֝ל (v.7b), צֹנֶ֣ה (v.8a), כֻּלָּ֑ם (v.8a), שָׂדָֽי (v.8b), צִפּ֣וֹר (v.9a), הַיָּ֑ם (v.9a), עֹ֝בֵ֗ר (v.9b), שִׁ֝מְךָ֗ (v.10b), בְּכָל־הָאָֽרֶץ (v.10b)	vv.5-6	cluster at the center of the poem with its focus on man (singular), bridging the two middle sections	reinforces connection between section 2 (vv.4-5) and section 3 (vv.6-7), the first of which asks a question and the second of which gives the answer	Gives cohesion to vv.5-6, forms a bridge between the two middle sections of the psalm. See discussion below.
dual	יָדֶ֑יךָ (v.7a), רַגְלָֽיו (v.7b)	v.7		reinforces connection between parallel lines (v.7ab)
plural	אֲדֹנֵ֗ינוּ (v.2a), הַשָּׁמָֽיִם (v.2c), עֽוֹלְלִ֨ים (v.3a), וְֽיֹנְקִים֮ (v.3a), צוֹרְרֶ֑יךָ (v.3b), שָׁ֭מֶיךָ (v.4a), מַעֲשֵׂ֣י אֶצְבְּעֹתֶ֑יךָ (v.4a), וְ֝כוֹכָבִ֗ים (v.4b), מֵאֱלֹהִ֑ים (v.5a), בְּמַעֲשֵׂ֣י יָדֶ֑יךָ (v.7a), וַאֲלָפִ֣ים (v.8a), בַּהֲמ֥וֹת (v.8b), שָׁ֭מַיִם (v.9a), וּדְגֵ֣י הַיָּ֑ם (v.9a), אָרְח֥וֹת יַמִּֽים (v.9b), אֲדֹנֵ֑ינוּ (v.10a)	v.4; vv.8-9			Number patters appear in each section of the psalm. See discussion below.

The distribution of nouns by number in the first section (vv.2c-3) forms a pattern. v.2c and v.3b each have a singular noun (עז / הוד [note the phonological connection as well]) and end with a plural noun (הַשָּׁמָֽיִם / צוֹרְרֶ֑יךָ). v.3a has a pair of plural participles (עֽוֹלְלִ֨ים ׀ וְֽיֹנְקִים֮) and v.3c has a similar-sounding pair of singular participles (א֝וֹיֵ֗ב וּמִתְנַקֵּֽם). This gives cohesion to the first section and supports the proposed division of lines.

In the second section (vv.4-5), there is a movement from plural to singular. There is a cluster of four plural nouns in v.4 but only singular nouns in v.5. The effect is to highlight the apparent insignificance of man (אֱנ֥וֹשׁ // וּבֶן־אָ֝דָ֗ם) against the vastness of the heavens (שָׁ֭מֶיךָ מַעֲשֵׂ֣י אֶצְבְּעֹתֶ֑יךָ // יָרֵ֥חַ וְ֝כוֹכָבִ֗ים).

The third section (vv.6-7) shows the opposite movement: singular (v.6) --> plural (v.7). In this way, the two sections (four bicola) at the middle of the psalm form a chiasm (see below on Large-scale structures.

Number patters give cohesion to the fourth section (vv.8-9) as well. v.8a and v.9a, which correspond phonologically, each have plural nouns sandwiched by singular nouns. Plural nouns ending in וֹת in the middle of v.8b (בַּהֲמ֥וֹת) and v.9b (אָרְח֥וֹת) form a connection between these lines.
This feature is considered relevant for this psalm.,

Gender

Definition Feature being studied	Occurrences Sections where this feature is present or absent	Clustering	Intersection	Connections	Structure
feminine	הָאָ֑רֶץ (v.2b), אֶצְבְּעֹתֶ֑יךָ (v.4a), רַגְלָֽיו (v.7b), בַּהֲמ֥וֹת (v.8a), אָרְח֥וֹת? (v.9b), הָאָֽרֶץ (v.10b)		beginning (v.2b) and ending (v.10b) of the psalm (הארץ); beginning of section 2 (v.4a), ending of section 3 (v.7b)	v.4-v.7 אֶצְבְּעֹתֶ֑יךָ (v.4a) and רַגְלָֽיו (v.7b) are morphologically (fem. pl. + sfx) and semantically related (body parts, appendages). v.8b.-v.9b. Plural nouns ending in וֹת in the middle of v.8b (בַּהֲמ֥וֹת) and v.9b (אָרְח֥וֹת) form a connection between these lines.	The connection between v.4 and v.7 reinforces the chiastic structure of the psalm.

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	הָאָ֑רֶץ (v.2b), הַשָּׁמָֽיִם (v.2c), הַיָּ֑ם (v.9a), הָאָֽרֶץ (v.10b)	beginning (v.2) and ending (vv.9-10) of psalm; absent in between	beginning of psalm (v.2b); beginning of first section (v.2c); ending of fourth section (v.9a); ending of psalm (v.10b)	Nouns with the definite article are related semantically; each refers to one of the realms of creation (cf. Gen. 1): land, sky, and sea. v.2c.-v.9a. The occurrence of the definite article in these lines (הַשָּׁמָֽיִם and הַיָּ֑ם) strengthens the connection between them. The same is true of the much more obvious connection between v.2b.-v.10b.	The connections between v.2c and v.9a (as well as v.2b and v.10b) reinforces the chiastic structure of the psalm.

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
3mp	כֻּלָּ֑ם (v.8a)
3ms	רַגְלָֽיו (v.7b)
2ms	שִׁ֭מְךָ (v.2b), ה֝וֹדְךָ֗ (v.2c), צוֹרְרֶ֑יךָ (v.3b), שָׁ֭מֶיךָ (v.4a), מַעֲשֵׂ֣י אֶצְבְּעֹתֶ֑יךָ (v.4a), יָדֶ֑יךָ (v.7a), שִׁ֝מְךָ֗ (v.10b)	vv.2-4; absent section 4 (vv.8-9)	beginning of psalm (v.2b); beginning of second section (v.4); ending of third section (v.7); ending of psalm (v.10b)	v.4-v.7 אֶצְבְּעֹתֶ֑יךָ and יָדֶ֑יךָ are related semantically as well as morphologically. These 2ms suffixed nouns help frame the middle sections of the psalm (vv.4-7)	The connection between v.4 and v.7 reinforces the chiastic structure of the psalm.
1cp	אֲדֹנֵ֗ינוּ (v.2a), אֲדֹנֵ֑ינוּ (v.10a)		beginning (v.2a) and ending (v.10a) of psalm		Inclusion (outer constituents of chiasm)

"The suffix our lord also underscores the relationship between humanity and God that is at the heart of this psalm and indeed the heart of the Psalter as a whole."
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
3ms (ה)	וַתְּחַסְּרֵ֣הוּ (v.6a), תְּעַטְּרֵֽהוּ (v.6b), תַּ֭מְשִׁילֵהוּ (v.7a)	vv.6-7a	beginning of section 3; middle of psalm	reinforces connection between parallel lines (v.6ab) and bicola (vv.6-7)	Gives cohesion to vv.6-7 (section 3)
3ms (נ)	תִזְכְּרֶ֑נּוּ (v.5a), תִפְקְדֶֽנּוּ (v.5b)	v.5	end of section 2; middle of psalm	reinforces connection between parallel lines
3ms	תִזְכְּרֶ֑נּוּ (v.5a), תִפְקְדֶֽנּוּ (v.5b), וַתְּחַסְּרֵ֣הוּ (v.6a), תְּעַטְּרֵֽהוּ (v.6b), תַּ֭מְשִׁילֵהוּ (v.7b)	vv.5-7 (middle of psalm); absent elsewhere	middle of psalm; end of section 2 (v.5); beginning of section 3 (v.6)	reinforces connection between section 2 (vv.4-5) and section 3 (vv.6-7), the first of which asks a question and the second of which gives the answer	Gives cohesion to vv.5-6, forms a bridge between the two middle sections of the psalm. (Note also the discontinuity, since the suffixes of v.5 are נ suffixes and those of v.6-7a are ה suffixes.)

This feature is considered relevant for this psalm.,

Addressee change

Yahweh is addressed throughout the psalm. "It is worth stressing that throughout the entire poem, the Creator is addressed directly and intimately: your name, you have established, your heavens, you remember them, and so on.",

Speaker change

David is the speaker throughout the Psalm (v.1, לדוד). Note that David speaks on behalf of a group (1cp suffix: אדנינו [vv.2a, 10a]). Is he speaking on behalf of a congregation of Israelites, or on behalf of all humanity?,

Subject change

Yahweh is the subject for most of the Psalm (also Yahweh's name [2b, 10b] and majesty [2c]). Section 2 is exceptional; it begins in the first person (אראה), and the subjects are David (4ab) and humanity (5aα, 5bα) in addition to Yahweh (5aβ, 5bβ).

Character Features

Ref.	Speaker	Addressee	Person	Subject/Agent
2a	David	Yahweh
2b	David	Yahweh	3	Yahweh's name
2c	David	Yahweh	3	the setting of Yahweh's majesty
3a	David	Yahweh	3	(the setting of Yahweh's majesty)
3b	David	Yahweh	2	Yahweh
3c	David	Yahweh	2	Yahweh
4a	David	Yahweh	1	David
4b	David	Yahweh	(1)	(David)
5aα	David	Yahweh	3	אנושׁ
5aβ	David	Yahweh	2	Yahweh
5bα	David	Yahweh	3	בן אדם
5bβ	David	Yahweh	2	Yahweh
6a	David	Yahweh	2	Yahweh
6b	David	Yahweh	2	Yahweh
7a	David	Yahweh	2	Yahweh
7b	David	Yahweh	2	Yahweh
8a	David	Yahweh	(2)	(Yahweh)
8b	David	Yahweh	(2)	(Yahweh)
9a	David	Yahweh	(2)	(Yahweh)
9b	David	Yahweh	(2)	(Yahweh)
10a	David	Yahweh	2
10b	David	Yahweh		Yahweh's name

,

Scene change

"Throughout the first six verses of the poem, the poet has subtly woven in a motif of vertical descent:

v.2c above heavens → v.4a heavens... moon and stars → v.6a but a little lower than heavenly beings → v.6b crowned them (a reference to the head) → v.7a hands → v.7b feet

Having descended to earth, the psalmist now changes directions and describes a horizontal vector that moves outward from human society:

sheep and oxen → beasts of the field → birds → fish → whatever passes the paths of the seas."

Particles

Prepositions

2a
2b	בְּכָל־הָאָ֑רֶץ
2c		עַל־הַשָּׁמָֽיִם
3a			מִפִּ֤י
3b				לְמַ֥עַן צוֹרְרֶ֑יךָ
3c					לְהַשְׁבִּ֥ית
4a
4b
5a
5b
6a			מֵאֱלֹהִ֑ים
6b
7a	בְּמַעֲשֵׂ֣י יָדֶ֑יךָ
7b						תַֽחַת־רַגְלָֽיו
8a
8b
9a
9b
10a
10b	בְּכָל־הָאָֽרֶץ

• vv.2c, 7b. The downward motion of the psalm is underscored by the prepositions עַל (v.2c) and תַּחַת (v.7b).
• v.6a. "חסּר מן signifies to cause to be short of, wanting in something, to deprive any one of something (cf. Ecclesiastes 4:8). מן is here neither comparative (paullo inferiorem eum fecisti Deo), nor negative (paullum derogasti ei, ne esset Deus), but partitive (paullum derogasti ei divinae naturae).",

Waw/Vav

Coordinating Words/Phrases

• v.3a: עֽוֹלְלִ֨ים ׀ וְֽיֹנְקִים֮
• v.3c: א֝וֹיֵ֗ב וּמִתְנַקֵּֽם
• v.4b: יָרֵ֥חַ וְ֝כוֹכָבִ֗ים
• v.6b: וְכָב֖וֹד וְהָדָ֣ר
• v.8a. צֹנֶ֣ה וַאֲלָפִ֣ים
• v.9a. צִפּ֣וֹר שָׁ֭מַיִם וּדְגֵ֣י הַיָּ֑ם

Coordinating Lines

• v.5a --(וּבֶן־אָ֝דָ֗ם)--> v.5b
• v.6a --(ָּוְכָב֖וֹד)--> v.6b
• v.8a --(ָּוְ֝גַ֗ם)--> v.8b

Coordinating Sections

• vv.4-5 --(וַתְּחַסְּרֵ֣הוּ)--> vv.6-7,

Other particles

2a
2b	מָֽה־אַדִּ֣יר
2c		אֲשֶׁ֥ר
3a
3b
3c
4a			כִּֽי־אֶרְאֶ֣ה
4b		אֲשֶׁ֣ר
5a	מָֽה־אֱנ֥וֹשׁ		כִּֽי־תִזְכְּרֶ֑נּוּ
5b			כִּ֣י תִפְקְדֶֽנּוּ
6a
6b
7a
7b
8a
8b				וְ֝גַ֗ם
9a
9b
10a
10b	מָֽה־אַדִּ֥יר

• vv.2b,5a,10b. - מָה – "The psalmist does not ask, 'Who are human beings?' even though 'who' is the normal pronoun for animate beings. Rather, the poet uses מה, the pronoun normally reserved for inanimate objects. The resulting connotation is derisive: 'What are measly human beings...?'" "The interrogative pronoun מה that occurs in the first and last lines of the psalm, occurs here in the middle of the psalm. The result is a poetic echo between the start, middle, and end of the psalm." "Thus vv. 5 and 6 form the central point of the psalm."
• v.2c. אֲשֶר as a relative is somewhat awkward as the antecedent would be either the pronominal suffix on שִׁמךָ or the vocative יהוה אדנינו. It is quite possible that אֲשֶׁר is a causal conjunction (LXX: ὅτι). "The start of the body of the proper is striking as the first word of strophe 2 is the relative pronoun. This means there is a certain enjambment on the transition from envelope to the body of the poem, but that is neither unique nor illegal. Beginning a strophe with אשׁר is uncommon, but it does happen elsewhere: Pss.71:20, 89:22a and 105:9a." Note the phonological connection between אשׁר and ארץ, which might explain this unexpected use of אשׁר.
• v.4a. כִּי is cataphoric; v.4ab forms the protasis and v.5ab the apodosis. "Instead of the apodosis I exclaim which we should expect, the exclamation itself follows."

Figurative

Metaphor

• vv.2c-3. The (mouth=)words of children (v.3a) are the foundations of a (עז=)stronghold (v.3b). Just as יסד refers to the first stage of the building process (Josh 6:26 & 1 Kgs. 16:34 //hanging doors = final stage of building; 1 Kgs. 5:31; Zech. 4:9 //בִּצַּע = "finish"; Ezra 4:10-11), so childhood is the first stage of human development. If childhood represents the foundation of the fortress, then full-grown man/humanity (אדם/אנושׁ) represents the completed fortress. Yahweh will have stopped his enemies (v.3c) when humanity achieves complete dominion over the earth.,

Metonymy

• v.3a. "At the physical level the mouth is a metonym for a person's speech." This is the most likely interpretation if עֽוֹלְלִ֙ים׀ וְֽיֹנְקִים֘ is interpreted as a merism. However, if עֽוֹלְלִ֙ים׀ וְֽיֹנְקִים֘ is a hendiadys ("nursing children"), then mouth might be a metonym for a sucking.
• v.3b. עֹז may be metonymic for praise, i.e., "praise for the manifestation and putting forth of God's strength" (cf. Ps. 29:1); so LXX (αἶνον). However, עֹז is more likely to refer to a physical structure ("stronghold") than an abstract quality ("strength") (see above).,

Synecdoche

• v.3a. "Children" (עֽוֹלְלִ֙ים׀ וְֽיֹנְקִים֘) stand for the whole of humanity, as the weakest part of humanity. This verse thus sets forth the theme of the psalm: divine majesty through human weakness.,

Merism

• v.3a. The phrase עֽוֹלְלִ֙ים׀ וְֽיֹנְקִים֘ includes older children (עֽוֹלְלִ֙ים) and younger children (וְֽיֹנְקִים֘) and probably refers to children as a whole (cf. 1 Sam. 15:3; 22:19; Jer. 44:7).,

Anthropomorphism

• vv.2-10. Yahweh is a king. His majesty fills heaven and earth (vv.2-3a). Like earthly kings, he has vengeful enemies (v.3bc), and he has built a fortress in order to stop their attacks (v.3bc). He has delegated his royal authority to human beings (vv.6-7).
• v.4a. Yahweh has fingers.
• v.7a. Yahweh has hands.,

Rhetorical questions

v.5. "The first stanza swells to its finale with the question that is posed in v.5. This daunting question... is the axis on which the poem pivots.",

Idioms

• v.7b. To be under one's feet is to be in subjection to their authority. "Feet... figure in situations in which someone has authority over a person or place... Vanquished enemies are under the feet of their conquerors (Josh. 10:24; 1 Kings 5:3; Ps. 8:6; 45:5; 110:1; Isa. 49:23; 60:14; Mal. 4:3)."

Context

Cultural background

"Many in Israel and among her neighbors worshipped the heavenly bodies as divine bodies. In this pagan conception, the heavenly orbs were endowed with sentience, power, and identity. Here, they are merely objects that testify to their Creator’s glory — indeed, the psalmist belittles them by calling them the works of your fingers." "The second stanza begins with the assertion that God has made human beings but a little lower than heavenly beings. This phrase plays on the ancient Near Eastern concept of the heavenly luminaries as divine beings."

"Both art and text throughout the ancient world indicate that the phrase “to place under the feet” was understood as symbolic of the authority given to kings" (cf. Ps. 110).,

Reference/allusions

• Gen. 1:26-28,

Alluded to in NT

Ps. 8:3ab

• LXX: ἐκ στόματος νηπίων καὶ θηλαζόντων κατηρτίσω αἶνον
• Matt. 21:16 (quotation [LXX]): ἐκ στόματος νηπίων καὶ θηλαζόντων κατηρτίσω αἶνον

Ps. 8:7b

• LXX: πάντα ὑπέταξας ὑποκάτω τῶν ποδῶν αὐτοῦ
• 1 Cor. 15:27 (quotation): πάντα γὰρ ὑπέταξεν ὑπὸ τοὺς πόδας αὐτοῦ.
• Eph. 1:22 (allusion): καὶ πάντα ὑπέταξεν ὑπὸ τοὺς πόδας αὐτοῦ

Ps. 8:5-6, 7b

• LXX: τί ἐστιν ἄνθρωπος ὅτι μιμνῄσκῃ αὐτοῦ, ἢ υἱὸς ἀνθρώπου ὅτι ἐπισκέπτῃ αὐτόν; ἠλάττωσας αὐτὸν βραχύ τι παρ᾽ ἀγγέλους δόξῃ καὶ τιμῇ ἐστεφάνωσας αὐτόν... πάντα ὑπέταξας ὑποκάτω τῶν ποδῶν αὐτοῦ
• Heb. 2:6-8 (quotation [LXX]): τί ἐστιν ἄνθρωπος ὅτι μιμνῄσκῃ αὐτοῦ, ἢ υἱὸς ἀνθρώπου ὅτι ἐπισκέπτῃ αὐτόν; ἠλάττωσας αὐτὸν βραχύ τι παρ᾽ ἀγγέλους, δόξῃ καὶ τιμῇ ἐστεφάνωσας αὐτόν, πάντα ὑπέταξας ὑποκάτω τῶν ποδῶν αὐτοῦ.

The NT is clear in its interpretation of this psalm as messianic. Modern scholarship, on the other hand, would disagree with this interpretation. Kraus, for example, writes that "in Psalm 8 there is not even a trace of this eschatological-messianic message of the NT." Even an evangelical commentator like Allen Ross says that "the psalm is not a messianic psalm." Such a reading is, according to Craigie, "not evidently implicit in the psalm in its original meaning and context."

Despite what modern scholarship claims, a careful reading of Psalm 8 in its original context and co-text (the book of Psalms) suggests that the Psalm is indeed messianic. The following points are worth consideration in this regard.

1. The Psalter is a messianic book.
2. Psalm 8 was written by King David (לדוד, v.1), Yahweh's anointed king (=משׁיח, Messiah).
3. In Psalm 8, David writes about the universal dominion given to humanity (cf. Gen. 1:26-28).
4. David himself was promised universal dominion (cf. Ps. 2:7-9).
5. For this reason, David appeared to view himself (and his offspring) as a new kind of Adam (cf. Ps. 2:6 [נָסַכְתִּי, a metallurgical term that recalls the creation of Adam as God's צלם]).
6. Adam's rule was over all animals (Ps. 8:8-9); David's rule was to be over all nations (Ps. 2:8-9). In the book of Psalms (as elsewhere in the Bible [cf. Daniel 7], David's enemies are depicted metaphorically as animals (e.g., Ps. 22:13-14).
7. David knew that this universal rule would not be realized in his lifetime, but in that of his offspring (2 Sam. 7:12).,

Other

Canonical Context

Psalm 8 follows closely after Psalm 7, in which the psalmist ends with a vow to praise the "name of Yahweh, Most High" (7:18), having used the name יהוה seven times. Psalm 9 begins, similarly, with a vow to praise "your name, Most High" (7:3). Psalm 8, situated between these two vows of praise, is, accordingly, an ode to Yahweh's name (8:2, 10).

If Psalms 1-2 (without superscriptions) are excluded as introductory, then Psalm 8 is the sixth psalm in the Psalter, following a series of five lament psalms (3, 4, 5, 6, 7). This placement may reflect the fact that humans, the focus of Psalm 8, were created on the sixth day of creation (cf. Gen. 1).

Psalms 3-8 are connected in an interesting and often overlooked way. Images of morning and evening alternate in each psalm.

Psalm 3 – morning (cf. 3:6)

Psalm 4 – evening (cf. 4:9)

Psalm 5 – morning (cf. 5:4)

Psalm 6 – evening (cf. 6:7)

Psalm 7 – morning (cf. 7:7)

Psalm 8 – evening (cf. 8:4)

The blessed man meditates on Yahweh's instruction "day and night" (‎יומם ולילה). The order of these first 8 psalms may be designed with this in mind.

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	2ab	2.4 / 1.2.2.2.2	6 + 9 = 15	15
2	2c3a	2.2.3.1.3 / 2.3.4	11 + 9 = 20	39
	3bc	3.1.2.4 / 3.2.4	10 + 9 =19
3	4	1.2.3.2.5 / 2.4.2.3	13 + 11 = 24	41
	5	1.2.1.4 / 2.2.1.4	8 + 9 = 17
4	6	6.2.4 / 3.3.5	12 + 11 = 23	40
	7	5! 3.3 / 1.2.1.2	11 + 6 = 17
5	8	2.4.2 / 2.3.2	8 + 7 = 15	30
	9	2.2.3.2 / 2.2.2	9 + 6 = 15
6	10	2.4 / 1.2.2.2.2	6 + 9 = 15	15

• "20 cola with 180 syllables; average per colon 9.00, per verse 18 syllables"
• "If we have v.7a start with a simple waw, parallel to the narrative form that opens v.6a, the full glory of the numerical perfection of this poem is revealed."
• "Strophe 4 has the biblical number 40 as a syllable total, and strophes 2 and 3 take their cue from this with the figures 39 and 41, which complement one another."
• "The envelope consists of 15 + 15 = 30 syllables, exactly the same number as strophe 5. Each of the verses of strophe 5 also has 15 syllables."
• "The fact that strophes 3 and 4 belong together as question and answer is also reflected in their lengths. Both units consist of a long and short verse: 24 + 17 in strophe 3, and 23 + 17 in strophe 4.",

Cola distribution

Bicola

• v.2ab
• vv.2c,3a
• v.3bc
• v.4ab
• v.5ab
• v.6ab
• v.7ab
• v.8ab
• v.9ab
• v.10ab

For the division and distribution of lines in vv.2-3, see below.,

Classifying parallelisms

"The famous cry of amazement over God's singling out of man (line 5) is a particularly striking instance of the intuition of counterpoint that often guided biblical poets in their occasional use of static semantic parallelism. In every other line of the poem, there is dynamic movement between the versets: specification, focusing, heightening, or sequentiality. Here, by contrast, at the exact thematic center and in the fifth of the poem's ten lines, semantic movement is slowed to allow for the strong, stately emphasis of virtual synonymity, noun for noun and verb for verb in the same syntactical order.",

Chiasms

• v.6ab. abb'a'
• v.7ab. abb'a',

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	‎יְהוָ֤ה אֲדֹנֵ֗ינוּ מָֽה־אַדִּ֣יר שִׁ֭מְךָ בְּכָל־הָאָ֑רֶץ / אֲשֶׁ֥ר תְּנָ֥ה ה֜וֹדְךָ֗ עַל־הַשָּׁמָֽיִם׃	[Voc] Q-Comp S M / C Inf S M	Nom/Inf
3	מִפִּ֤י עֽוֹלְלִ֙ים׀ וְֽיֹנְקִים֘ יִסַּ֪דְתָּ֫ עֹ֥ז לְמַ֥עַן צוֹרְרֶ֑יךָ / לְהַשְׁבִּ֥ית א֜וֹיֵ֗ב וּמִתְנַקֵּֽם׃	M V O M / Inf O w-O	MKD/Inf
4	כִּֽי־אֶרְאֶ֣ה שָׁ֭מֶיךָ מַעֲשֵׂ֣י אֶצְבְּעֹתֶ֑יךָ / יָרֵ֥חַ וְ֜כוֹכָבִ֗ים אֲשֶׁ֣ר כּוֹנָֽנְתָּה׃	C-V O O / O w-O R V	CAN/Nom(CANR)
5	מָֽה־אֱנ֥וֹשׁ כִּֽי־תִזְכְּרֶ֑נּוּ // וּבֶן־אָ֜דָ֗ם כִּ֣י תִפְקְדֶֽנּוּ׃	Q-S C-V-o // w-S C V-o	Nom-CAN//Nom-CAN
6	וַתְּחַסְּרֵ֣הוּ מְּ֭עַט מֵאֱלֹהִ֑ים // וְכָב֖וֹד וְהָדָ֣ר תְּעַטְּרֵֽהוּ׃	w-V-o M // w-O w-O V-o	CAN//DEF
7	תַּ֭מְשִׁילֵהוּ בְּמַעֲשֵׂ֣י יָדֶ֑יךָ / כֹּ֜ל שַׁ֣תָּה תַֽחַת־רַגְלָֽיו׃	V-o M / O V M	CAN/MKD
8	צֹנֶ֣ה וַאֲלָפִ֣ים כֻּלָּ֑ם / וְ֜גַ֗ם בַּהֲמ֥וֹת שָׂדָֽי׃	O w-O / w-O P	Nom/Nom
9	צִפּ֣וֹר שָׁ֭מַיִם / וּדְגֵ֣י הַיָּ֑ם עֹ֜בֵ֗ר אָרְח֥וֹת יַמִּֽים׃	O / w-O VPt O	Nom/Nom
10	יְהוָ֥ה אֲדֹנֵ֑ינוּ מָֽה־אַדִּ֥יר שִׁ֜מְךָ֗ בְּכָל־הָאָֽרֶץ׃	V S O // S O V	Nom

,

Middle word (maqqef)

Total number of words (ss excluded): 62

Middle words: כִּ֣י תִפְקְדֶֽנּוּ (v.5b),

Middle word (independent lexemes)

Total number of words (ss excluded): 72

Middle words: וּבֶן־אָ֜דָ֗ם,

Middle line

Total number of lines: 20

Middle lines:

וּבֶן־אָ֝דָ֗ם כִּ֣י תִפְקְדֶֽנּוּ׃ (v.5b)

וַתְּחַסְּרֵ֣הוּ מְּ֭עַט מֵאֱלֹהִ֑ים (v.6a)

Variants

Kinds of variants

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 8,2(1) תְּנָה {D} MT // exeg?: G, σ', Hebr, S, T

Ps 8,3(2) יִסַּדְתָּ עֹז {B} MT, α', σ', T // exeg: G, Hebr

Summary

Line divisions

2a‎ יְהוָ֤ה אֲדֹנֵ֗ינוּ

2b מָֽה־אַדִּ֣יר שִׁ֭מְךָ בְּכָל־הָאָ֑רֶץ

2c אֲשֶׁ֥ר תְּנָ֥ה ה֜וֹדְךָ֗ עַל־הַשָּׁמָֽיִם׃

3a מִפִּ֤י עֽוֹלְלִ֙ים׀ וְֽיֹנְקִים֘

3b יִסַּ֪דְתָּ֫ עֹ֥ז לְמַ֥עַן צוֹרְרֶ֑יךָ

3c לְהַשְׁבִּ֥ית א֜וֹיֵ֗ב וּמִתְנַקֵּֽם׃

4a כִּֽי־אֶרְאֶ֣ה שָׁ֭מֶיךָ מַעֲשֵׂ֣י אֶצְבְּעֹתֶ֑יךָ

4b יָרֵ֥חַ וְ֜כוֹכָבִ֗ים אֲשֶׁ֣ר כּוֹנָֽנְתָּה׃

5a מָֽה־אֱנ֥וֹשׁ כִּֽי־תִזְכְּרֶ֑נּוּ

5b וּבֶן־אָ֜דָ֗ם כִּ֣י תִפְקְדֶֽנּוּ׃

6a וַתְּחַסְּרֵ֣הוּ מְּ֭עַט מֵאֱלֹהִ֑ים

6b וְכָב֖וֹד וְהָדָ֣ר תְּעַטְּרֵֽהוּ׃

7a תַּ֭מְשִׁילֵהוּ בְּמַעֲשֵׂ֣י יָדֶ֑יךָ

7b כֹּ֜ל שַׁ֣תָּה תַֽחַת־רַגְלָֽיו׃

8a צֹנֶ֣ה וַאֲלָפִ֣ים כֻּלָּ֑ם

8b וְ֜גַ֗ם בַּהֲמ֥וֹת שָׂדָֽי׃

9a צִפּ֣וֹר שָׁ֭מַיִם וּדְגֵ֣י הַיָּ֑ם

9b עֹ֜בֵ֗ר אָרְח֥וֹת יַמִּֽים׃

10a יְהוָ֥ה אֲדֹנֵ֑ינוּ

10b מָֽה־אַדִּ֥יר שִׁ֜מְךָ֗ בְּכָל־הָאָֽרֶץ׃

• v.3. The Masoretic accents suggest a line division after יִסַּ֪דְתָּ֫ עֹ֥ז (note עולה ויורד, which is "used to mark the main verse division"). This division appears to be followed by the ancient versions.
  

However, there is a strong argument to be made for dividing the first line of v.3 after וְֽיֹנְקִים֘ (as above) rather than after עֹז. The first line of argument is prosodic. The MT division leaves v.3a as the longest line in the psalm (14 syllables, 5 words, 5 stress units), more than twice as long as v.3b (6/2/2) and significantly longer than v.3c (9/3/3). If, however, the division is placed after ינקים, then a balanced rhythm is achieved (v.3a: 9/3/3, v.3b: 10/4/4, v.3c: 9/3/3). Note that v.3a and v.3c are identical in length (9 syllables, 3 words, 3 stress-units). This prosodic identity is reinforced by a number of other correspondences, both phonological (a פִּי b עוֹ c ינקים // a' בִּית b' אוֹ c' ומתנקם) and morphological (participles: עֽוֹלְלִ֙ים׀ וְֽיֹנְקִים֘ // א֜וֹיֵ֗ב וּמִתְנַקֵּֽם). These parallels are brought into sharp focus when the line is divided as above (note especially the similar endings [epiphora]: v.3a: וְֽיֹנְקִים֘; v.3c: וּמִתְנַקֵּֽם). Similarly, there are correspondences between v.2c and v.3b. The words הוֹד (v.2c) and עז (v.3b) are connected phonologically as well as lexically. The two lines, furthermore, are similar in length (v.2c: 11/5/4; v.3b: 10/4/4), each having 4 stress-units. The number of correspondences among vv.2c-3c (v.2c-->v.3b; v.3a-->v.3c) suggest that these four lines together form a section, each half forming a bicolon. This is the way in which the rest of the psalm is structured as well (see Section divisions and Cohesion); lines are paired into bicola, which are paired into sections (quatrains). The lines of the first section (quatrain) are thus divided as follows:

מפי עוללים וינקים	//	אשׁר תנה הודך על השׁמים
להשׁבית אויב ומתנקם	//	יסדת עז למען צורריך

"The B-cola now have a word pair each; although one is in the plural and the other in the singular, together they are four collectives. Syntactically, these half-verses are no more than complements. The core clauses to which they form explanations are in the A-cola, with perfect forms in front positions [Fokkelman reads תנה as תֻּנָּה, pual perfect of תנה]. Immediately following there the subject/object, with the monosyllables הוֹד and עֹז, which correspond in sound and meaning and both honour the deity, and finally a prepositional word group."

A significant number of modern translations have adopted this same division (AT, NEB, JB, RSV, TEV). This division between v.3a and v.3b is also presented in the Leningrad Codex (by a space in the manuscript).,

Section divisions

Structure of Psalm 8

Prelude (v.2ab)

Section 1 (vv.2c-3c)

Section 2 (vv.4-5)

Section 3 (vv.6-7)

Section 4 (vv.8-9)

Postlude (v.10)

OR

First two lines (Inclusio, 2ab)

Stanza A (2c-3)

Stanza B (4-9)

Last two lines (Inclusio, 10)

These two proposals are not necessarily contradictory. One may maintain a four-part structure (1st proposal) while asserting that the strongest division in the psalm is between vv.3-4 (2nd proposal). These structures have been harmonized in the diagram to the right.

Keil and Delitzsch object to grouping v.2c with the first strophe in the body of the poem on the grounds that "אשׁר is not rightly adapted to begin a strophe." However, while "beginning a strophe with the word אשׁר is uncommon... it does happen elsewhere: Pss. 71:20, 89:22a, and 105:9a." There is good reason to think that it happens here as well (see the argument above).,

Communicative function

Psalm 8 is a hymn of praise, written "in direct address to God, the only such hymn in the Old Testament composed completely in the form of such address." See below on Genre.,

Range of emotions

Prelude (v.2ab): Admiration

Section 1 (vv.2c-3c): Admiration + Surprise

Section 2 (vv.4-5): Admiration + Awe + Amazement

Section 3 (vv.6-7): Admiration + Amazement

Section 4 (vv.8-9): Admiration + Amazement

Postlude (v.10): Admiration,

Prominence

Repetition of מָה (vv.2b,5a,10b) marks vv.5-6 as "the central point of the psalm. The balanced poetic lines in v.5 and v.6 stand out in the middle of the psalm. Verse 6 is connected to v.5 by the unusual appearance in poetry of the waw-conjunction with an imperfect verb form at the beginning of v.6, which emphasizes the verse. Further, the chiastic structure of v.6 tends to make it as the focal point of the psalm... In addition, there is a rhyming of the last syllables of the verbs in vv.5-6, רֶנּוּ and דֶנּוּ followed by רֵהוּ and רֵהוּ that increases the force of the statements. Also, Øystein Lund argues that v.5 is based on the statements in vv.3-4, and that vv.6-7 form a continuation of the wonder expressed in v.5."

"In Psalm 8, as in many chiastic arrangements, the key verses appear in the middle of the psalm precisely because the remainder of the psalm is a carefully structured shell that frames the vital elements in the center.",

Main message

Yahweh's majesty is manifested (surprisingly) in weak humanity.,

Large-scale structures

Inclusion (vv.2ab, 10ab).
"A perfect circle is closed: the majesty of God, affirmed at the beginning, restated verbatim at the end, but with the sense accrued through the intervening eight lines of what concretely it means for His name to be majestic throughout the earth" The "sense accrued" throughout the psalm is surprising. The opening declaration of Yahweh's majesty (v.2ab) is expounded, perhaps unexpectedly, with images of helpless children (v.3) and frail humans (v.5). When the same words are repeated in v.10, the meaning has developed in a surprising way: Yahweh's royal majesty is manifested in weakness.

Concentric Pattern I (ABCC'B'A')
"Verses 2ab and 10 form an unmistakable inclusion: the envelope containing what I will now call the body of the poem. This body is highly regular, as it consists of four S-strophes with a quartet of cola each. Two strophes full of collectives (vv.2c-3c and 8-9) circle round the core that presents a type of soliloquy, structured as question (vv.4-5 = strophe 3) and answer (strophe 4, vv.6-7). Thus, at strophe level there is a concentric ABC-C'B'A' pattern."

Terrien proposes the same concentric structure:

Prelude: The Marvel of the Name (v.2ab)

Strophe I: The Majesty of God (vv.2c-3)

Strophe II: The Fragility of Man (vv.4-5)

Strophe III: The Greatness of Man (vv.6-7)

Strophe IV: The Service of the Animals (vv.8-9)

Postlude: The Marvel of the Name (v.10)

"The prelude and postlude, in mirror identity, form with the four quatrains two kinds of chiasmus, which situate humankind in their fragility and greatness between the majesty of God and the abundance of animal food for the survival of human beings."

Concentric Pattern II (ABCDEE'D'C'B'A')
Kraut breaks down this concentric structure in even greater detail:

A. יְהוָ֤ה אֲדֹנֵ֗ינוּ מָֽה־אַדִּ֣יר שִׁ֭מְךָ בְּכָל־הָאָ֑רֶץ

B. אֲשֶׁ֥ר תְּנָ֥ה ה֜וֹדְךָ֗ עַל־הַשָּׁמָֽיִם׃ מִפִּ֤י עֽוֹלְלִ֙ים׀ וְֽיֹנְקִים֘

C. יִסַּ֪דְתָּ֫ עֹ֥ז לְמַ֥עַן צוֹרְרֶ֑יךָ לְהַשְׁבִּ֥ית א֜וֹיֵ֗ב וּמִתְנַקֵּֽם׃

D. כִּֽי־אֶרְאֶ֣ה שָׁ֭מֶיךָ מַעֲשֵׂ֣י אֶצְבְּעֹתֶ֑יךָ יָרֵ֥חַ וְ֜כוֹכָבִ֗ים אֲשֶׁ֣ר כּוֹנָֽנְתָּה׃

E. מָֽה־אֱנ֥וֹשׁ כִּֽי־תִזְכְּרֶ֑נּוּ וּבֶן־אָ֜דָ֗ם כִּ֣י תִפְקְדֶֽנּוּ׃

E'. וַתְּחַסְּרֵ֣הוּ מְּ֭עַט מֵאֱלֹהִ֑ים וְכָב֖וֹד וְהָדָ֣ר תְּעַטְּרֵֽהוּ׃

D'. תַּ֭מְשִׁילֵהוּ בְּמַעֲשֵׂ֣י יָדֶ֑יךָ כֹּ֜ל שַׁ֣תָּה תַֽחַת־רַגְלָֽיו׃

C'. צֹנֶ֣ה וַאֲלָפִ֣ים כֻּלָּ֑ם וְ֜גַ֗ם בַּהֲמ֥וֹת שָׂדָֽי׃

B'. צִפּ֣וֹר שָׁ֭מַיִם וּדְגֵ֣י הַיָּ֑ם עֹ֜בֵ֗ר אָרְח֥וֹת יַמִּֽים׃

A'. יְהוָ֥ה אֲדֹנֵ֑ינוּ מָֽה־אַדִּ֥יר שִׁ֜מְךָ֗ בְּכָל־הָאָֽרֶץ׃

"The symmetry coursing through Psalm 8 is actually an elaborately conceived chiastic structure with five elements in each half of the chiasm (see above). The chiasm can be identified on the basis of two sorts of indications in corresponding chiastic elements, which I will call 'parallel language' and 'conceptual parallels.'" The parallel language is emboldened above. Some of the conceptual parallels are summarized below:

B/B' – "Elements B and B' share a common theme. Each expresses the extent of a dominion: God’s or man’s, respectively." Furthermore, mention of prattling children corresponds to that of chirping birds, and "sucklings" corresponds to fish who make a sucking motion. "God’s mastery over the babbling and sucking humans (B) is compared with man’s mastery over the babbling and sucking creatures of the animal kingdom (B’)."

C/C' – "In each element, three beings (or groups of beings) are identified. In C, God is said to have overcome three types of adversaries: צורר, אויב ומתנקם. In C’, which describes man’s dominion over the animal kingdom, three types of animals are listed: צנה ואלפים, and בהמות." Note also the phonological correspondences: צנה - צורר (beginning with tsade); אויב - ואלפים (beginning with alef); גם in v.9b sounds like קם in v.3c.

D/D' – "Yet again, invocation of God’s dominion in the first half of the psalm (D) is paralleled in the second half of the psalm by invocation of man’s God-granted dominion over the natural world (D’).,

Translation

Poetic Translation by Ryan Sikes

Yahweh our master,

Your name is majestic in all the earth!

Your royal worth is exalted* above the skies

At the cries of children.

You founded a fortress because of your foes

To stop a vengeful villain.

When I look at the skies, your hand-work of art,

The moon and stars installed,

How small is man to receive your regard!

The son of man, your call!

Yet you made him just shy of one deified,

With dignified honor his crown.

You give him reign over all your hands made.

Under his feet lay all down.

All kinds of livestock – cattle and sheep,

Even the beasts untamed

The birds of the sky, the fish of the sea

That travel the ocean’s ways.

Yahweh our master,

Your name is majestic in all the earth!,

Outline or visual representation

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

I. God is great and His name is majestic as evidenced by. (1-3)

A. The Heavens.

B. The praise of His children.

C. His greatest creation, mankind.

II. Man is God’s greatest creation. (3-8)

A. God thinks on him and cares for him.

B. Man is just a little lower than the angels.

C. Man is crowned with glory and majesty.

D. Man rules over the work of God’s hands.

E. All things are under his feet–animals, birds, and fish.

III. God is great: The psalm closes by repeating the opening declaration. (9)

Authorship

This Psalm was authored by David.

Genre

Psalm 8 is widely regarded as a Hymn/Song of Praise. "Yet it has an originality and distinctiveness which defy any attempt to categorize the psalm with respect to precise forms and substance."

In terms of emic genre, Psalm 8 is classified as a מִזְמוֹר.

Lineation

Proposed lineation	Line	Supporting evidence	Conflicting evidence
לַמְנַצֵּ֥חַ עַֽל־הַגִּתִּ֗ית מִזְמ֥וֹר לְדָוִֽד׃	ss	s Hev* Alp Vat-Sin Amt
יְהוָ֤ה אֲדֹנֵ֗ינוּ מָֽה־אַדִּ֣יר שִׁ֭מְךָ בְּכָל־הָאָ֑רֶץ	v. 2a	a Vat-Sin Amt*	Amt Alp
אֲשֶׁ֥ר תְּנָ֥ה ה֝וֹדְךָ֗ עַל־הַשָּׁמָֽיִם׃	v. 2b	P s Vat-Sin Amt Alp
מִפִּ֤י עֽוֹלְלִ֨ים׀ וְֽיֹנְקִים֮ יִסַּ֪דְתָּ֫ עֹ֥ז	v. 3a	oy Vat-Sin Amt	Alp
לְמַ֥עַן צוֹרְרֶ֑יךָ	v. 3b	a Vat-Sin Alp*	Amt
לְהַשְׁבִּ֥ית א֝וֹיֵ֗ב וּמִתְנַקֵּֽם׃	v. 3c	s Vat-Sin Amt*	Alp
כִּֽי־אֶרְאֶ֣ה שָׁ֭מֶיךָ מַעֲשֵׂ֣י אֶצְבְּעֹתֶ֑יךָ	v. 4a	a Vat-Sin Alp	Amt
יָרֵ֥חַ וְ֝כוֹכָבִ֗ים אֲשֶׁ֣ר כּוֹנָֽנְתָּה׃	v. 4b	P s Hev* Vat-Sin Amt* Alp
מָֽה־אֱנ֥וֹשׁ כִּֽי־תִזְכְּרֶ֑נּוּ	v. 5a	a Vat-Sin Amt Alp
וּבֶן־אָ֝דָ֗ם כִּ֣י תִפְקְדֶֽנּוּ׃	v. 5b	s Hev* Vat-Sin Amt Alp
וַתְּחַסְּרֵ֣הוּ מְּ֭עַט מֵאֱלֹהִ֑ים	v. 6a	a Vat-Sin Amt Alp
וְכָב֖וֹד וְהָדָ֣ר תְּעַטְּרֵֽהוּ׃	v. 6b	s Hev* Vat-Sin Amt Alp
תַּ֭מְשִׁילֵהוּ בְּמַעֲשֵׂ֣י יָדֶ֑יךָ	v. 7a	a Vat-Sin Amt Alp
כֹּ֝ל שַׁ֣תָּה תַֽחַת־רַגְלָֽיו׃	v. 7b	s Hev* Vat-Sin Amt Alp
צֹנֶ֣ה וַאֲלָפִ֣ים כֻּלָּ֑ם	v. 8a	a Vat-Sin	Amt Alp
וְ֝גַ֗ם בַּהֲמ֥וֹת שָׂדָֽי׃	v. 8b	P s Hev* Vat-Sin Amt* Alp*
צִפּ֣וֹר שָׁ֭מַיִם וּדְגֵ֣י הַיָּ֑ם	v. 9a	a Vat-Sin Alp	Amt
עֹ֝בֵ֗ר אָרְח֥וֹת יַמִּֽים׃	v. 9b	s Hev* Vat-Sin Amt	Alp
יְהוָ֥ה אֲדֹנֵ֑ינוּ מָֽה־אַדִּ֥יר שִׁ֝מְךָ֗ בְּכָל־הָאָֽרֶץ׃	v. 10a	s Hev* Alp* Vat-Sin	a Amt