Psalm 8/Phonology
From Psalms: Layer by Layer
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) |
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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 |
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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."[1] | Kraut argues that vv.4, 7 form elements D and D' in a chiasm that constitutes the whole of Psalm 8. See below on . | ||
| 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
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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"][2]).
- 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 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 ).
- 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.