Psalm 9/Full

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Phonology

Consonants

Definition Feature being studied Occurrences Sections where this feature is present or absent Clustering Intersection Connections Structure
alliteration of glides (ו, י) vv.8-11 (ו as the first letter of each verse, also concentration of name יהוה) beginning of waw section (v.8a); beginning of yod section (v.18a) Gives cohesion to vv.8-11; aperture (vv.8a; 18a); see acrostic structure.
gutturals (א, ה, ח, ע) אוֹדֶ֣ה... אֲ֜סַפְּרָ֗ה... אֶשְׂמְחָ֣ה וְאֶעֶלְצָ֣ה בָ֑ךְ

אֲזַמְּרָ֖ה...עֶלְיֽוֹן׃ (vv.2-3); אוֹיְבַ֥י אָח֑וֹר (v.4a); לְעוֹלָ֥ם וָעֶֽד (v.6b); בָ֜עַמִּ֗ים עֲלִֽילוֹתָֽיו (v.12b); חָֽנְנֵ֬נִי...רְאֵ֣ה עָ֭נְיִי מִשֹּׂנְאָ֑י (v.14a); לָ֭נֶצַח יִשָּׁכַ֣ח (v.19a); אַל־יָעֹ֣ז אֱנ֑וֹשׁ (v.20)

א (vv.2-4a) beginning of psalm (vv.2-3); beginning of ח strophe (v.14a) Gives cohesion to first section (vv.2-3); aperture (v.2a [א], v.14a [ח]); anadoplosis (vv.2-4a); see acrostic structure.
alliteration of sibilants (ז, ס, צ, שׂ, שׁ) עָ֭שִׂיתָ מִשְׁפָּטִ֣י // יָשַׁ֥בְתָּ לְ֜כִסֵּ֗א שׁוֹפֵ֥ט צֶֽדֶק׃ (v.5ab); זַמְּר֗וּ ...יֹשֵׁ֣ב צִיּ֑וֹן (v.12a); בְּשַׁ֣חַת עָשׂ֑וּ // בְּרֶֽשֶׁת־ז֥וּ (v.16ab); מִשְׁפָּ֪ט עָ֫שָׂ֥ה // נוֹקֵ֣שׁ רָשָׁ֑ע (v.17ab); יָשׁ֣וּבוּ רְשָׁעִ֣ים לִשְׁא֑וֹלָה (v.18a) שׁ/שׂ (vv.17-18, 8x); ז (vv.11b-13a, x3): עָזַ֖בְתָּ, זַמְּר֗וּ, זָכָ֑ר beginning of section (v.12 [ז]) Gives cohesion to lines (vv.12a, 18a) and verses (vv.5, 16, 17); aperture (v.12 [ז]); smooths over break (הִגָּי֥וֹן סֶֽלָה) between v.17 and v.18 (overlap structure [anadiplosis]); see acrostic structure.
alliteration of liquids (ל/ר) נִלְכְּדָ֥ה רַגְלָֽם (v.16b); לֹ֣א לָ֭נֶצַח (v.19b)
alliteration of nasals (מ/ם, נ/ן) שְׁמָ֥ם מָ֜חִ֗יתָ לְעוֹלָ֥ם (v.6b); יָדִ֥ין לְ֜אֻמִּ֗ים בְּמֵישָׁרִֽים (v.9b); זַמְּר֗וּ // בָ֜עַמִּ֗ים / דָּ֭מִים (vv.12-13); חָֽנְנֵ֬נִי ... עָ֭נְיִי מִשֹּׂנְאָ֑י // מְ֜רוֹמְמִ֗י מִשַּׁ֥עֲרֵי מָֽוֶת׃ / לְמַ֥עַן (v.14ab-15a); טָ֜מָ֗נוּ נִלְכְּדָ֥ה רַגְלָֽם (v.16b) vv.12-14 Gives cohesion to lines, verses (v.14), and strophes (vv.12-13; 14-15); dense alliteration may give prominence to v.14
word beginning with ט טָבְע֣וּ // טָ֜מָ֗נוּ (v.16ab) v.16 ט strophe (vv.16-17) Gives cohesion to v.16; aperture (v.16a, טָבְע֣וּ), see acrostic structure.
alliteration of dentals (דּ/ד, תּ/ת, ט [also with ז and צ]) תָ מִשְׁפָּטִ֣י וְדִי // יָשַׁ֥בְתָּ ...שׁוֹפֵ֥ט צֶֽדֶק׃ (v.5ab); נָתַ֑שְׁתָּ אָבַ֖ד זִכְרָ֣ם (v.7b); יִשְׁפֹּֽט־תֵּבֵ֥ל בְּצֶ֑דֶק

// יָדִ֥ין (v.9ab); לְעִתּ֥וֹת בַּצָּרָֽה (v.10b); דֹרֵ֣שׁ דָּ֭מִים אוֹתָ֣ם זָכָ֑ר (v.13a); תִּקְוַ֥ת...תֹּאבַ֥ד לָעַֽד (v.19b)

dentals cluster in vv.5-7 (around where one might expect a דּ strophe) Gives cohesion to lines and verses (vv.5, 9); aperture (v.16a, טָבְע֣וּ), see acrostic structure.
alliteration of velars (כּ/כ, גּ/ג, ק) גָּעַ֣רְתָּ ג֭וֹיִם (v.6a); מִשְׂגָּ֣ב לַדָּ֑ךְ // מִ֜שְׂגָּ֗ב (v.10ab); שָׁ֜כַ֗ח צַעֲקַ֥ת (v.13b); נִלְכְּדָ֥ה רַגְלָֽם (v.16b); כָּל־גּ֜וֹיִ֗ם שְׁכֵחֵ֥י (v.18b) beginning of third strophe (v.6a, גּ); beginning of final strophe (v.20a, ק) Gives cohesion to lines and verses; marks aperture (v.6a [גּ]), see acrostic structure. The final strophe, which one might have expected to begin with כְּ based on the partial acrostic structure, instead begins with ק ("essentially different" though similar to כְּ;[1] in the LXX, כּ/כ is usually represented by a velar fricative [χ] and ק by a velar stop [κ]).
alliteration of labials (בּ/ב, פ/פּ/ף) בְּכָל־לִבִּ֑י (v.2a); אֲ֜סַפְּרָ֗ה ...נִפְ (v.2b); בְּשׁוּב־אוֹיְבַ֥י (v.4a); בְּצֶ֑דֶק//בְּמֵישָׁרִֽים (v.9ab); ְיִבְטְח֣וּ בְ֭ךָ (v.11a); בְּשַֽׁעֲרֵ֥י בַת־צִיּ֑וֹן (v.15b); בְּשַׁ֣חַת//בְּרֶֽשֶׁת (v.16ab); בְּפֹ֣עַל כַּ֭פָּיו (v.17a) vv.4-5 (בְּ strophe, where the cluster of labials is denser than any other strophe [8x]) beginning of second strophe (v.4a, בְּ) Gives cohesion to lines, verses (vv.2, 9, 16), and strophes (vv.4-5); aperture (v.4a, בְּשׁוּב־אוֹיְבַ֥י), see acrostic structure.

Phonology-consonants (Ps. 9).jpg

  • vv.2-3. "In this first strophe of the Psalm... the alphabetical form is carried out in the fullest possible way: we have four lines, each of which begins with א."[2] "The impact of this concatenation of א's is striking both aurally and visually–the beginning of this poem is underscored by means of consonance, with the five successive א's providing a pattern of shape to the opening lines of the poem... Here in the opening verses of Ps 9/10, the successive alephs seem to focus attention on the psalmist's heart-felt, exuberant praise for Yahweh... Not only does each of the five words begin with א, but each word also ends with the letter ה... In Ps. 9:2-3 this double poetic device appears to emphasize not only the beginning of the poem but also to emphasize the heart-felt praise for Yahweh's glory.."[3]


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
ל + ע + ת לעתות (v.10b), עלילותיו (v.12b)
ע + ג (the letter ע may be "a rattled, guttural g, cf. e.g. עַזָּה, LXX Γάζα, עֲמֹרָה Γόμορρα")[4] [see notes on Ps. 8:8-9). גָּעַ֣רְתָּ ג֭וֹיִם // לְעוֹלָ֥ם וָעֶֽד (v.6ab); וְעָרִ֥ים / גָּעַ֣רְתּ (vv.6a, 7b); מִ֜שְׂגָּ֗ב לְעִתּ֥וֹת (v.10b); הַגִּ֥ידוּ בָ֜עַמִּ֗ים עֲלִֽילוֹתָֽיו (v.12b); טָבְע֣וּ ג֭וֹיִם ...עָשׂ֑וּ (v.16a); ג֜וֹיִ֗ם עַל (v.20b); יֵדְע֥וּ גוֹיִ֑ם (v.21b)

,

Patterns in beginnings

  • vv.2-3. lines beginning with א
  • vv.6a,7b. lines beginning with ער/גער
  • vv.8-11. verses beginning with ו
  • v.16ab. words beginning with ט,

Patterns in endings

  • vv.2b-3a. lines ending in ךְ/ךָ
  • vv. 5-7. words ending in תָּ
  • vv.12-13. words ending in ים
  • v.15ac. lines ending in ךָ
  • vv.18-19. words ending in ים,

Similar sounds in adjacent lines

Section 1
Section 2
Section 3
Section 4
Section 5
Section 6
Section 7
Section 8
Section 9
Section 10

vv.1-2a. לַבֵּ֗ן (v.1) - לִבִּ֑י (v.2a)

Section 1 (vv.2-3)

  • vv.2-3. אוֹדֶ֣ה // אֲ֜סַפְּרָ֗ה / אֶשְׂמְחָ֣ה וְאֶעֶלְצָ֣ה // אֲזַמְּרָ֖ה
  • v.2ab. כָל // כָּל
  • v.3ab. אֶשְׂמְחָ֣ה // אֲזַמְּרָ֖ה שִׁמְךָ֣ (sibilant [ש/ז] + nasal [מ])
  • v.3ab. וְאֶעֶלְצָ֣ה // עֶלְיֽוֹן (repetition of עֶל)

Section 2 (vv.4-5)

  • vv.4-5. alliteration of ב/פ
  • v.4ab. אוֹיְבַ֥י // וְ֜יֹאבְד֗וּ
  • v.4ab. assonance: בְּשׁוּב־אוֹיְבַ֥י אָח֑וֹר // יִכָּשְׁל֥וּ וְ֜יֹאבְד֗וּ (u-class vowels)
  • v.5ab. alliteration: עָ֭שִׂיתָ מִשְׁפָּטִ֣י וְדִינִ֑י // יָשַׁ֥בְתָּ לְ֜כִסֵּ֗א שׁוֹפֵ֥ט צֶֽדֶק׃ (sibilants + dentals)

Section 3 (vv.6-7)

  • v.6ab. גָּעַ֣רְתָּ ג֭וֹיִם // לְעוֹלָ֥ם וָעֶֽד׃ (alliteration of ג/ע)
  • v.6ab. רָשָׁ֑ע // שְׁמָ֥ם (repetition of שׁ, anadiplosis)

Section 4 (vv.8-9)

  • v.8a – v.9b (abc//abc, inclusio): a וַֽ֭יהוָה b לְעוֹלָ֣ם c יֵשֵׁ֑ב // a' יָדִ֥ין b' לְ֝אֻמִּ֗ים c' בְּמֵישָׁרִֽים. The connection between a and a' is especially striking if יהוה is pronounced אדני.
  • v.8ab. לְעוֹלָ֣ם // לַמִּשְׁפָּ֣ט (repetition of ל prep.)
  • vv.8b-9a. לַמִּשְׁפָּ֣ט / יִשְׁפֹּֽט
  • vv.9b-10a. words ending with long i-vowel (hireq-yod)

Section 5 (vv.10-11)

  • v.10ab. מִשְׂגָּ֣ב לַדָּ֑ךְ // מִ֜שְׂגָּ֗ב לְעִתּ֥וֹת
  • v.11ab. יוֹדְעֵ֣י שְׁמֶ֑ךָ // עָזַ֖בְתָּ דֹרְשֶׁ֣יךָ (alliteration of ע, ד/ז, שׁ, ךָ)

Section 6 (vv.12-13)

  • vv.12-13. זַמְּר֗וּ / זָכָ֑ר
  • vv.12-13a. זַמְּר֗וּ // בָ֜עַמִּ֗ים / דָּ֭מִים (double m)

Section 7 (vv.14-15)

  • vv.14-15a. חָֽנְנֵ֬נִי... עָ֭נְיִי מִשֹּׂנְאָ֑י // מְ֜רוֹמְמִ֗י מִשַּׁ֥עֲרֵי מָֽוֶת׃ / לְמַ֥עַן (alliteration of nasals)
  • v.15ac. תְּהִלָּ֫תֶ֥יךָ // בִּישׁוּעָתֶֽךָ
  • v.15bc. בְּשַֽׁעֲרֵ֥י // בִּישׁוּעָתֶֽךָ

Section 8 (vv.16-17)

  • v.16ab. טָבְע֣וּ // טָ֜מָ֗נוּ / מִשְׁפָּ֪ט (repetition of ט)
  • v.16ab. בְּשַׁ֣חַת עָשׂ֑וּ // בְּרֶֽשֶׁת־ז֥וּ
    • "The morphological/inflected forms of the two words בְּשַׁ֣חַת and בְּרֶֽשֶׁת, both beginning and ending the same phonemically, hint at equivalence of meaning in the internal world of this poem."[5]
  • v.17ab. נ֤וֹדַ֙ע // נוֹקֵ֣שׁ
  • v.17ab. מִשְׁפָּ֪ט עָ֫שָׂ֥ה // נוֹקֵ֣שׁ רָשָׁ֑ע

Section 9 (vv.18-19)

  • v.18ab. יָשׁ֣וּבוּ רְשָׁעִ֣ים לִשְׁא֑וֹלָה // שְׁכֵחֵ֥י (repetition of שׁ)
  • v.18ab. לִשְׁא֑וֹלָה // אֱלֹהִֽים (repetition of אל)
  • v.18ab. רְשָׁעִ֣ים // גּ֜וֹיִ֗ם ... אֱלֹהִֽים׃ (repetition of ים ending)
  • vv.18b-19a. שְׁכֵחֵ֥י // יִשָּׁכַ֣ח

Section 10 (vv.20-21)

  • v.20ab. אַל // עַל
  • v.20ab. אֱנ֑וֹשׁ // יִשָּׁפְט֥וּ (repetition of שׁ, anadiplosis, cf. v.6ab)
  • v.21ac. ָ֫לָ֫הֶ֥ם // הֵ֣מָּה,

Other observations

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

Ref Syllables Words Stress Units
2a 8 4 3
2b 10 3 2
3a 8 3 3
3b 8 3 3
4a 7 3 2
4b 12 3 3
5a 10 4 3
5b 9/10 4 4
6a 10 4 4
6b 10 4 4
7a 11 4 4
7b 6 2 2
7c 6 3 3
8a 8 3 3
8b 7 3 3
9a 8/9 4 3
9b 9 3 3
10a 8 4 4
10b 8 3 3
11a 12 4 4
11b 11 5 4
12a 10 4 4
12b 10 3 3
13a 9 5 4
13b 9 4 3
14a 5/6 2 2
14b 8 3 3
14c 8-10 3 3
15a 12/13 4 3
15b 6/7 3 2
15c 8 2 2
16a 9/10 4 4
16b 11/12 5 4
17a 8 4 4
17b 8/9 4 4
(17c) (5) (2) (2)
18a 9 3 3
18b 9 4 3
19a 9/10 5 5
19b 9 4 4
20a 9 5 4
20b 10 4 3
21a 8 4 4
21b 5 2 2
21c 4(6) 2(3) 2(3)
  • Average number of syllables per line (including higgayon selah and selah; following Fokkelman's method [pp.15-16]): 378/44 = 8.59
  • Average number of words per line: 195 / 44 = 4.43 (including higgayon selah and selah)
  • Average number of stress-units per line: 142–145 / 44 = 3.25–3.29 (second numbers including higgayon selah and selah)
  • All of the lines marked for shortness of length (6 [or less] syllables are found within tricola (7b, 14a, 15b, 21b)

Lexical Semantics

References to God

Definition Feature being studied Occurrences Sections where this feature is present or absent Clustering Intersection Connections Structure
עֶלְיוֹן v.3b
אֱלֹהִֽים v.18b
יהוה vv.2a, 8a, 10a, 11b, 12a, 14a, 17a, 20a, 21a vv.8-12, especially at the mid-point of the psalm (vv.11b-12a [overlap structure]); absent strophes 2-3 (vv.4-7) and strophe 8 (vv.18-19) In nearly every instance, יהוה appears as the second word in the a-line: אוֹדֶ֣ה יְ֭הוָה (v.2a); זַמְּר֗וּ לַ֭יהוָה; וִ֘יהִ֤י יְהוָ֣ה (v.10a); (v.12a); חָֽנְנֵ֬נִי יְהוָ֗ה (v.14a); נ֤וֹדַ֨ע ׀ יְהוָה֮ (v.17a); קוּמָ֣ה יְ֭הוָה (v.20a); שִׁ֘יתָ֤ה יְהוָ֨ה (v.21a). The only exceptions are v.8a and v.11b, where יהוה occurs as the first and last word respectively to form an inclusio. It marks the beginning of a strophe in the majority of cases (vv.2a, 8a, 12a, 14a, 20a) Aperture/Anaphora (vv.2a, 8a, 12a, 14a, 20a); Inclusion (vv.8a, 11b); Anadiplosis (vv.11-12)
2a יהוה
2b
3a
3b עֶלְיֽוֹן
4a
4b
5a
5b
6a
6b
7a
7b
7c
8a יהוה
8b
9a
9b
10a יהוה
10b
11a
11b יהוה
12a יהוה
12b
13a
13b
14a יהוה
14b
14c
15a
15b
15b
16a
16b
17a יהוה
17b
18a
18b אֱלֹהִֽים
19a
19b
20a יהוה
20b
21a יהוה
21b
21c


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
אֱנוֹשׁ אֱנ֑וֹשׁ (v.20a), אֱנ֖וֹשׁ (v.21c) vv.20-21 end of psalm gives cohesion to vv.20-21; forms chiasm: a אֱנ֑וֹשׁ b ג֝וֹיִ֗ם b' גוֹיִ֑ם a' אֱנ֖וֹשׁ (vv.20-21)
שַׁעַר מִשַּׁ֥עֲרֵי מָֽוֶת (v.14c), בְּשַֽׁעֲרֵ֥י בַת־צִיּ֑וֹן (v.15b) vv.14-15 contrast between the gates of death (v.14c, depicted figuratively as a place/city) and the gates of Zion (v.15b) gives cohesion to vv.14-15
ענה עניים (v.13b), עָ֭נְיִי (v.14b), ענוים (v.19b) vv.13-14 the psalmist identifies with the lowly of God's people (vv.13b, 14b), whose cries are not forgotten; general (עניים) --> particular/personal (עָ֭נְיִי) gives cohesion to vv.13-14, and/or anadiplosis (v.13: end of strophe; v.14: beginning of strophe)
שָׁכַח שָׁ֝כַ֗ח (v.13b), שְׁכֵחֵ֥י (v.18b), יִשָּׁכַ֣ח (v.19a) second half of psalm; vv.18b-19a contrast between the righteous, whom God will not forget (vv.13b, 19a), and the wicked, who forget God (v.18b) gives cohesion to vv.18-19 (argues against seeing a strophe division between these verses)
צִיּוֹן צִיּ֑וֹן (v.12a), בַת־צִיּ֑וֹן (v.15b) vv.12-15 first line of new section (v.12a) gives cohesion to vv.12-15; inclusio (vv.12a, 15b; cf. chiasm formed by praise/rescue language)
ידע יוֹדְעֵ֣י (v.11a), נ֤וֹדַ֨ע (v.17a), יֵדְע֥וּ (v.21b)
מִשְׂגָּ֣ב מִשְׂגָּ֣ב (v.10a), מִ֝שְׂגָּ֗ב (v.10b) v.10ab gives cohesion to v.10ab
הֵמָּה הֵֽמָּה (v.7c), הֵ֣מָּה (v.21c) in both cases, ending a section in the final line of a tricolon v.7 – v.21 epiphora (vv.7, 21)
זכר זִכְרָ֣ם (v.7c), זָכָ֑ר (v.13a) contrast between the wicked, who will not be remembered (v.7c), and the righteous, whom God will remember (v.13a)
לָ֫נֶצַח לָ֫נֶ֥צַח (v.7a), לָ֭נֶצַח (v.19a) contrast between the wicked, whose towns will be forever a waste-land (v.7a), and the righteous, who will not be forever forgotten (v.19a)
עד וָעֶֽד (v.6b), לָעַֽד (v.19b) contrast between the wicked, whose memory will die forever (v.6b), and the righteous, whose hope will not die forever (v.19b)
לְעוֹלָם לְעוֹלָ֥ם (v.6b), לְעוֹלָ֣ם (v.8a) vv.6-8 contrast (disjunctive waw, v.8a) between the wicked, whose name will be forever wiped from memory (v.6b), and Yahweh, who will reign forever (v.8a)
רָשָׁע רָשָׁ֑ע (v.6a), רָשָׁ֑ע (v.17b), רְשָׁעִ֣ים (v.18a) vv.17b-18a end of section (v.17b), beginning of section (v.18a), cluster around הִגָּי֥וֹן סֶֽלָה (v.17) anadiplosis (vv.17b-18a)
גּוֹיִם ג֭וֹיִם (v.6a), ג֭וֹיִם (v.16a), כָּל־גּ֝וֹיִ֗ם (v.18b), ג֝וֹיִ֗ם (v.20b), גוֹיִ֑ם (v.21b) end of psalm (vv.16-21) beginning of section (v.6a: גָּעַ֣רְתָּ ג֭וֹיִם; v.16a: טָבְע֣וּ ג֭וֹיִם) v.6a (גָּעַ֣רְתָּ ג֭וֹיִם) – v.16a (טָבְע֣וּ ג֭וֹיִם); v.20b (יִשָּׁפְט֥וּ ג֝וֹיִ֗ם) – v.21b (יֵדְע֥וּ גוֹיִ֑ם) gives cohesion to whole psalm, vv.16-21, and, especially, vv.20-21
צֶדֶק צֶֽדֶק (v.5b), בְּצֶ֑דֶק (v.9a) v.5b (שׁוֹפֵ֥ט צֶֽדֶק) – v.9a (יִשְׁפֹּֽט... בְּצֶ֑דֶק)
כִּסֵּא לְ֝כִסֵּ֗א (v.5a), כִּסְאֽוֹ (v.8b)
ישׁב יָשַׁ֥בְתָּ (v.5b), יֵשֵׁ֑ב (v.8a), יֹשֵׁ֣ב צִיּ֑וֹן (v.12a) beginning of a section (vv.8a, 12a) anaphora (vv.8a, 12a)
דִין וְדִינִ֑י (v.5a), יָדִ֥ין (v.9b)
שׁפט מִשְׁפָּטִ֣י (v.5a), שׁוֹפֵ֥ט (v.5b), לַמִּשְׁפָּ֣ט (v.8b), יִשְׁפֹּֽט (v.9a), מִשְׁפָּ֪ט (v.17a), יִשָּׁפְט֥וּ (v.20b) v.5ab, vv.8b-9a gives cohesion to the whole psalm, to v.5, and to vv.8-9
עשׂה עָ֭שִׂיתָ (v.5a), עָשׂ֑וּ (v.16a), עָ֫שָׂ֥ה (v.17a) vv.16-17 v.16a – v.17a (in both lines, עשׂה is the last word) gives cohesion to vv.16-17
פָּנֶיךָ מִפָּנֶֽיךָ (v.4b), עַל־פָּנֶֽיךָ (v.20b)
אבד וְ֝יֹאבְד֗וּ (v.4b), אִבַּ֣דְתָּ (v.6a), אָבַ֖ד (v.7c), תֹּאבַ֥ד (v.19b) vv.4-7 (3x) contrast between the wicked, who will perish (vv.4b, 6a, 7c) and the righteous, whose hope will not perish (v.19b) "The first three of these occurrences constitute another case of the rhetorical device of intensification... The first occurrence of אבד in v.4 describes the fate of the enemies... In v.6, the repetition of the term serves to emphasize Yahweh's punitive destruction and also helps to equate the psalmist's 'enemies' (v.4) with 'the nations' (גוים) and 'the wicked' (רשׁע). Then in v.7 comes the intensification... The enemy/nations/wicked is not only 'destroyed'–their very memory is 'destroyed.'"[6]
אוֹיֵב אוֹיְבַ֥י (v.4a), הָֽאוֹיֵ֨ב (v.7a)
שׁוּב בְּשׁוּב (v.4a), יָשׁ֣וּבוּ (v.18a) first word of strophe in both cases (vv.4a, 18a) v.4a – v.18a; in both cases the subject/agent is the wicked (אוֹיְבַ֥י / רְשָׁעִ֣ים). "the repetition of this term is an example of a type of intensification. That is, in v.4 the reader has to wait until vv.6-7 to discover the full extent of the destruction of the wicked enemies (the nations). In v.18, however, there is additional information, a 'heightening' (Alter), if you will, in connection with the 'turning' of the psalmist's adversaries... The reader does not have to wait further or to guess regarding the extent of their destructions."[7] anaphora (vv.4a, 18a)
שֵׁם שִׁמְךָ֣ (v.3b), שְׁמָ֥ם (v.6b), יוֹדְעֵ֣י שְׁמֶ֑ךָ (v.11b) contrast between the name of Yahweh (vv.3b, 11b) and the name of the nations (v.6b)
זמר אֲזַמְּרָ֖ה (v.3b), זַמְּר֗וּ (v.12a) beginning of section (v.12a)
אֲסַפְּרָה אֲ֝סַפְּרָ֗ה (v.2b), אֲסַפְּרָ֗ה (v.15a) v.2 (אֲ֝סַפְּרָ֗ה כָּל־נִפְלְאוֹתֶֽיךָ׃) – v.15 (אֲסַפְּרָ֗ה כָּֽל־תְּהִלָּ֫תֶ֥יךָ)
כֹּל בְּכָל־לִבִּ֑י (v.2a), כָּל־נִפְלְאוֹתֶֽיךָ (v.2b), כָּֽל־תְּהִלָּ֫תֶ֥יךָ (v.15a), כָּל־גּ֝וֹיִ֗ם (v.18b) v.2ab beginning of psalm (v.2ab) v.2 (אֲ֝סַפְּרָ֗ה כָּל־נִפְלְאוֹתֶֽיךָ׃) – v.15 (אֲסַפְּרָ֗ה כָּֽל־תְּהִלָּ֫תֶ֥יךָ)
2a בְּכָל־לִבִּ֑י
2b כָּל־נִפְלְאוֹתֶֽיךָ אֲ֝סַפְּרָ֗ה
3a
3b אֲזַמְּרָ֖ה שִׁמְךָ֣
4a בְּשׁוּב אוֹיְבַ֥י
4b וְ֝יֹאבְד֗וּ מִפָּנֶֽיךָ
5a עָ֭שִׂיתָ מִשְׁפָּטִ֣י וְדִינִ֑י
5b שׁוֹפֵ֥ט יָשַׁ֥בְתָּ לְ֝כִסֵּ֗א צֶֽדֶק
6a אִבַּ֣דְתָּ ג֭וֹיִם רָשָׁ֑ע
6b שְׁמָ֥ם לְעוֹלָ֥ם וָעֶֽד
7a הָֽאוֹיֵ֨ב לָ֫נֶ֥צַח
7b
7c אָבַ֖ד זִכְרָ֣ם
8a יֵשֵׁ֑ב לְעוֹלָ֣ם
8b לַמִּשְׁפָּ֣ט כִּסְאֽוֹ
9a יִשְׁפֹּֽט בְּצֶ֑דֶק
9b יָדִ֥ין
10a מִשְׂגָּ֣ב
10b מִשְׂגָּ֣ב
11a שְׁמֶ֑ךָ יוֹדְעֵ֣י
11b דֹרְשֶׁ֣יךָ
12a זַמְּר֗וּ יֹשֵׁ֣ב צִיּ֑וֹן
12b
13a זָכָ֑ר דֹרֵ֣שׁ
13b שָׁ֝כַ֗ח עניים
14a
14b עָ֭נְיִי
14c מִשַּׁ֥עֲרֵי
15a כָּֽל־תְּהִלָּ֫תֶ֥יךָ אֲסַפְּרָ֗ה
15b בַת־צִיּ֑וֹן בְּשַֽׁעֲרֵ֥י
15c
16a עָשׂ֑וּ ג֭וֹיִם
16b
17a עָ֫שָׂ֥ה מִשְׁפָּ֪ט נ֤וֹדַ֨ע
17b רָשָׁ֑ע
18a יָשׁ֣וּבוּ כָּל־גּ֝וֹיִ֗ם רְשָׁעִ֣ים
18b כָּל־גּ֝וֹיִ֗ם גּ֝וֹיִ֗ם שְׁכֵחֵ֥י
19a לָ֭נֶצַח יִשָּׁכַ֣ח
19b תֹּאבַ֥ד לָעַֽד ענוים
20a
20b עַל־פָּנֶֽיךָ יִשָּׁפְט֥וּ ג֝וֹיִ֗ם
21a אֱנ֑וֹשׁ
21b גוֹיִ֑ם יֵדְע֥וּ
21c אֱנ֖וֹשׁ

Lexical Recursion in Psalm 9

"Each [strophe] contains two instances of a particular important word. The only time this happens halfway, in strophe 6 (the דרשׁ there is the counterpart of דרשׁ in v.11b, in the previous strophe), is amply compensated by the climax: in strophe 10 we find this form of repetition no fewer than four times."[8]

Strophe 1 – כֹּל (v.2ab)
Strophe 2 – שׁפט (v.5ab)
Strophe 3 – אבד (vv.6a, 7c)
Strophe 4 – שׁפט (vv.8b, 9a)
Strophe 5 – מִשְׂגָּב (v.10ab)
Strophe 6 – דרשׁ in v.13a as an echo of v.11b
Strophe 7 – שַׁעֲרֵי (vv.14c, 15b)
Strophe 8 – עשׂה (vv.16a, 17a)
Strophe 9 – שׁכח (vv.18b, 19a)
Strophe 10 – יהוה (vv.20a, 21a), אנושׁ (vv.20a, 21c), גוים (vv.20b, 21b), המה/להם (v.21ac)

"Strophes 2 and 4 are set apart from their environment as they contain the same five terms for the Judge on his throne and his decisive handling of justice (שׁפט, צדק, דין, ישׁב, כסא)."[9]
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
pit בְּשַׁ֣חַת (v.16a), לִשְׁא֑וֹלָה (v.18a) beginning of strophes (vv.16-17, 18-19) "There is a sarcastic wordplay in Ps. 9 between שׁחת in v.16 and שׁאול in v.18. The former term, while usually referring to a pit in which an animal can be trapped, can also be used as a synonym for death of שׁאול (see Pss 16:10; 30:10; 49:10; 55:24 and 103:4). This wordplay is sarcastic because the 'pit' made by the wicked nations for others, into which they themselves fall, foreshadows the 'pit' (Sheol) which they have not made but to which they will be turned."[10] anaphora (vv.16a, 18a); gives cohesion to vv.16-19
characterizations of the righteous לַדָּ֑ךְ (v.10a), יוֹדְעֵ֣י שְׁמֶ֑ךָ (v.11a), דֹרְשֶׁ֣יךָ (v.11b), עניים (v.13b), עָ֭נְיִי (v.14b [adj.]), אֶבְי֑וֹן (v.19a), ענוים (v.19b) vv.10-14 clusters in middle of psalm (stanzas 2-3) gives cohesion to vv.10-14 and, consequently, the two middle stanzas (vv.8-15); together, these various characterizations of the righteous merge to form a coherent picture
characterizations of the wicked אוֹיְבַ֥י (v.4a), ג֭וֹיִם (v.6a), רָשָׁ֑ע (v.6a), הָֽאוֹיֵ֨ב (v.7a), ג֭וֹיִם (v.16a), רָשָׁ֑ע (v.17b), רְשָׁעִ֣ים (v.18a), כָּל־גּ֝וֹיִ֗ם (v.18b), שְׁכֵחֵ֥י אֱלֹהִֽים (v.18b), אֱנ֑וֹשׁ (v.20a), ג֝וֹיִ֗ם (v.20b), גוֹיִ֑ם (v.21b), אֱנ֖וֹשׁ (v.21c) vv.4-7; vv.16-21 first stanza (vv.2-7); last stanza (vv.16-21) gives cohesion to vv.4-7 and vv.16-21, and, consequently, the two outer stanzas (vv.2-7, 16-21); together, these various characterizations of the wicked merge to form a coherent picture
time לְעוֹלָ֥ם וָעֶֽד (v.6b), לָ֫נֶ֥צַח (v.7a), לְעוֹלָ֣ם (v.8a), לָ֭נֶצַח (v.19a), לָעַֽד (v.19b) vv.6-8; v.19
praise אוֹדֶ֣ה (v.2a), אֶשְׂמְחָ֣ה וְאֶעֶלְצָ֣ה (v.3a), אֲזַמְּרָ֖ה (v.3b), זַמְּר֗וּ (v.12a), הַגִּ֥ידוּ (v.12b), אֲסַפְּרָ֗ה כָּֽל־תְּהִלָּ֫תֶ֥יךָ (v.15a), אָ֝גִ֗ילָה (v.15c) vv.2-3; v.12; v.15 vv.2-3 – vv.12-15 gives cohesion to vv.2-3, vv.12-v.15; forms chiasm (vv.12-15): a praise (v.12) b rescue from affliction (v.13) b' rescue from affliction (v.14) a' praise (v.15); anaphora: second half of psalm (v.12) begins with praise (cf. v.2)
cognitive (remember, forget, know) זִכְרָ֣ם (v.7c), יוֹדְעֵ֣י (v.11a), זָכָ֑ר (v.13a), לֹֽא־שָׁ֝כַ֗ח (v.13b), נ֤וֹדַ֨ע (v.17a), שְׁכֵחֵ֥י אֱלֹהִֽים (v.18b), יִשָּׁכַ֣ח (v.19a), יֵדְע֥וּ (v.21b) "Such satirical language also functions to contrast the fates of those who 'forget' God' with those who 'are remembered' by God. At the end of the day, there is a complete and profound 'reversal' of fortunes."[11]
judicial/legal מִשְׁפָּטִ֣י וְדִינִ֑י (v.5a), שׁוֹפֵ֥ט צֶֽדֶק (v.5b), לַמִּשְׁפָּ֣ט (v.8b), יִשְׁפֹּֽט־תֵּבֵ֥ל בְּצֶ֑דֶק (v.9a), יָדִ֥ין... בְּמֵישָׁרִֽים (v.9b), דֹרֵ֣שׁ דָּ֭מִים (v.13a), מִשְׁפָּ֪ט (v.17a), קוּמָ֣ה (v.20a), יִשָּׁפְט֥וּ (v.20b) vv.5, 9 gives cohesion to the whole psalm


This feature is considered relevant for this psalm.,

Other

Semantic Density

  • v.8a. ישׁב may mean either sit (=metonymy for reign [sit on a throne]) or inhabit (=inhabit a city). The former meaning is clearly in view, since the b-line refers to a throne (כסא, v.8b). And yet the latter meaning is also implied in the contrast with the enemies' cities (ערים, v.7bc). Their cities are wiped out, but Yahweh forever inhabits Zion (cf. v.12a).

Verbs

Verb forms

Definition Feature being studied Occurrences Sections where this feature is present or absent Clustering Intersection Connections Structure
Participle נִפְלְאוֹתֶֽיךָ (v.2b), אוֹיְבַ֥י (v.4a), שׁוֹפֵ֥ט (v.5b), הָֽאוֹיֵ֨ב (v.7a), יוֹדְעֵ֣י (v.11a), דֹרְשֶׁ֣יךָ (v.11b), יֹשֵׁ֣ב (v.12a), דֹרֵ֣שׁ (v.13a), מִשֹּׂנְאָ֑י (v.14b), מְ֝רוֹמְמִ֗י (v.14c), נוֹקֵ֣שׁ (v.17b) vv.11-14 gives cohesion to v.11 (plural participles) and to vv.12-14 (singular participles)
Infinitive construct בְּשׁוּב־אוֹיְבַ֥י (v.4a)
yiqtol יִכָּשְׁל֥וּ (v.4b), וְ֝יֹאבְד֗וּ (v.4b), יֵשֵׁ֑ב (v.8a), יִשְׁפֹּֽט (v.9a), יָדִ֥ין (v.9b), וְיִבְטְח֣וּ, (v.11a), יִשָּׁכַ֣ח (v.19a), תֹּאבַ֥ד (v.19b) v.4b; vv.8-11; v.19 gives cohesion to vv.8-11 and v.19; creates discontinuity with what precedes (v.8a)
qatal עָ֭שִׂיתָ (v.5a), יָשַׁ֥בְתָּ (v.5b), גָּעַ֣רְתָּ (v.6a), אִבַּ֣דְתָּ (v.6a), מָ֝חִ֗יתָ (v.6b), תַּ֥מּוּ (v.7a), נָתַ֑שְׁתָּ (v.7b), אָבַ֖ד (v.7c), כּוֹנֵ֖ן (v.8b), עָזַ֖בְתָּ (v.11b), זָכָ֑ר (v.13a), שָׁ֝כַ֗ח (v.13b), טָבְע֣וּ (v.16a), עָשׂ֑וּ (v.16a), טָ֝מָ֗נוּ (v.16b), נִלְכְּדָ֥ה (V.16b), נ֤וֹדַ֨ע (v.17a), עָ֫שָׂ֥ה (v.17a) vv.5-7; vv.16-17 gives cohesion to vv.5-7 and to vv.16-17; creates discontinuity with what precedes (v.16)
Cohortative אוֹדֶ֣ה (v.2a), אֲ֝סַפְּרָ֗ה (v.2b), אֶשְׂמְחָ֣ה וְאֶעֶלְצָ֣ה (v.3a), אֲזַמְּרָ֖ה (v.3b), אֲסַפְּרָ֗ה (v.15a), אָ֝גִ֗ילָה (v.15c) vv.2-3; v.15 The connections between vv.2-3 and vv.12, 15 is strengthened by the use of cohortatives. aperture (vv.2-3); gives cohesion to vv.2-3 and to v.15
Jussive וִ֘יהִ֤י (v.10a), יָשׁ֣וּבוּ (v.18a), אַל־יָעֹ֣ז (v.20a), יִשָּׁפְט֥וּ (v.20b), יֵדְע֥וּ (v.21b) vv.20-21 gives cohesion to vv.20-21; creates discontinuity (v.18a)
Imperative זַמְּר֗וּ (v.12a), הַגִּ֥ידוּ (v.12b), חָֽנְנֵ֬נִי (v.14a), רְאֵ֣ה (v.14b), קוּמָ֣ה (v.20a), שִׁ֘יתָ֤ה (v.21a) v.12; v.14; vv.20-21; absent in the first half of the psalm (vv.2-11) beginning of section (vv.12, 14, 20); beginning of verse (v.21) aperture (vv.12, 14, 20); gives cohesion to vv.20-21; creates discontinuity with what precedes (vv.12, 14, 20)
Volitives אוֹדֶ֣ה (v.2a), אֲ֝סַפְּרָ֗ה (v.2b), אֶשְׂמְחָ֣ה וְאֶעֶלְצָ֣ה (v.3a), אֲזַמְּרָ֖ה (v.3b), וִ֘יהִ֤י (v.10a), זַמְּר֗וּ (v.12a), הַגִּ֥ידוּ (v.12b), חָֽנְנֵ֬נִי (v.14a), רְאֵ֣ה (v.14b), אֲסַפְּרָ֗ה (v.15a), אָ֝גִ֗ילָה (v.15c), יָשׁ֣וּבוּ (v.18a), קוּמָ֣ה (v.20a), אַל־יָעֹ֣ז (v.20a), יִשָּׁפְט֥וּ (v.20b), יֵדְע֥וּ (v.21b), שִׁ֘יתָ֤ה (v.21a) vv.2-3; vv.12-15; vv.20-21 beginning (vv.2-3), middle (vv.12-15), and end (vv.20-21) of psalm; mostly in the second half of the psalm (vv.12-21) gives cohesion to vv.2-3, 12-15, 20-21; creates discontinuity (vv.12a, 14a, 18a, 20a)

"Translations sometimes render some of the yiqtols as past or future and some of the qatals as present or precative, illustrating the way readers can work with varying understandings of the balance within the psalm. I have given weight to the fact that most of the qatal clauses refer to acts of God toward the nations, the faithless, and so on, which do not directly affect the suppliant or the community for which the psalm speaks. Only in 9:4-5 does the suppliant speak of God’s acts toward “ my enemies” (in the yiqtol) and of God’s taking decisions for me. I infer that the psalm’s qatal clauses generally refer to the way God has related to Israel in the past, not least in connection with the exodus and occupation of the land. Then 9:4-5 is the exception that proves the rule. I take its yiqtols to refer to the future act that the suppliant looks for, and its qatals as perfects dependent on those futures. In the rest of the psalm, the yiqtols are statements of ongoing truth, and the qatals support these by declaring how matters have turned out in the past."[12]

v.10a. "In poetic sections, short yiqtols are sometimes used in non-jussive contexts... e.g. Pss. 25:9; 47:4; 90:3; 104:20; 107:29; Isa. 12:1 and Joel 2:2. Waltke and O'Connor (34.2.1c) wisely remark in this regard: 'These unexpected jussive forms may be due to the confusion between the form groups or to textual corruptions; or they may represent vestiges of an earlier verbal system. Some grammarians explain them on rhythmical grounds. Because of this minor formal confounding, it is best in problem passages of this nature to be governed by sense rather than by forms.'"[13]

v.18a. יָשׁ֣וּבוּ – The form may be either imperfect or jussive.
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
3fs נִלְכְּדָ֥ה (v.16b), תֹּאבַ֥ד (v.19b)
2mp זַמְּר֗וּ (v.12a), הַגִּ֥ידוּ (v.12b) v.12ab middle of psalm (v.12), beginning of second half (v.12) parallel lines (12a//12b) gives cohesion to v.12; creates discontinuity with what precedes (v.12) = aperture
3ms אָבַ֖ד (v.7c), יֵשֵׁ֑ב (v.8a), כּוֹנֵ֖ן (v.8b), יִשְׁפֹּֽט (v.9a), יָדִ֥ין (v.9b), וִ֘יהִ֤י (v.10a), זָכָ֑ר (v.13a), שָׁ֝כַ֗ח (v.13b), נ֤וֹדַ֨ע (v.17a), עָ֫שָׂ֥ה (v.17a), יִשָּׁכַ֣ח (v.19a), יָעֹ֣ז (v.20a) vv.8-10 parallel lines (8a//8b; 9a//9b; 13a//13b) gives cohesion to verse (v.13ab) and stanza (vv.8-10[11])
2ms עָ֭שִׂיתָ (v.5a), יָשַׁ֥בְתָּ (v.5b), גָּעַ֣רְתָּ (v.6a), אִבַּ֣דְתָּ (v.6a), מָ֝חִ֗יתָ (v.6b), נָתַ֑שְׁתָּ (v.7b), עָזַ֖בְתָּ (v.11b), חָֽנְנֵ֬נִי (v.14a), רְאֵ֣ה (v.14b), קוּמָ֣ה (v.20a), שִׁ֘יתָ֤ה (v.21b) vv.5-7 parallel lines (5a//5b; 6a//6b; 14a//14b), parallel verses (v.20//v.21) gives cohesion to vv.5-7 and vv.20-21; creates discontinuity (with what follows: vv.11b; with what precedes: vv.14a, 20a)
3mp יִכָּשְׁל֥וּ (v.4b), וְ֝יֹאבְד֗וּ (v.4b), תַּ֥מּוּ (v.7a), וְיִבְטְח֣וּ (v.11a), טָבְע֣וּ (v.16a), עָשׂ֑וּ (v.16a), טָ֝מָ֗נוּ (v.16b), יָשׁ֣וּבוּ (v.18a), יִשָּׁפְט֥וּ (v.20b), יֵדְע֥וּ (v.21b) v.4b; v.16ab; vv.20-21 gives cohesion to lines verses (v.16ab), strophes (vv.20-21), and stanzas (vv.16-21); creates discontinuity (v.16)
1cs אוֹדֶ֣ה (v.2a), אֲ֝סַפְּרָ֗ה (v.2b), אֶשְׂמְחָ֣ה וְאֶעֶלְצָ֣ה (v.3a), אֲזַמְּרָ֖ה (v.3b), אֲסַפְּרָ֗ה (v.15a), אָ֝גִ֗ילָה (v.15c) vv.2-3; v.15 beginning of psalm (vv.2-3) strengthens connection between vv.2-3 and v.15 gives cohesion to vv.2-3 and v.15
  • vv.2-3. "Strophe 1 (vv.2-3) is characterized and syntactically governed by five I-forms of the cohortative imperfect."[14]
  • vv.4-5. "Jakobson has shown that 'an alternation of grammatical categories of person' can function as a 'means of intense dramatization' (Jakobson, "Poetry of Grammar"). In vv.4-5, such a dramatization occurs in the contrast between the third person plural in describing the activities of the wicked enemies (יִכָּשְׁל֥וּ וְ֝יֹאבְד֗וּ) and the second person in describing the activities of Yahweh (עָ֭שִׂיתָ / יָשַׁ֥בְתָּ)."[15]
  • vv.12-13. "Strophe 6 (vv.12-13) is marked off by two plural imperatives – the only passage in which a group of the poet's associates is addressed."[16]


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 אֲ֝סַפְּרָ֗ה (v.2b), אֶשְׂמְחָ֣ה וְאֶעֶלְצָ֣ה (v.3a), אֲזַמְּרָ֖ה (v.3b), אֲסַפְּרָ֗ה (v.15a), אָ֝גִ֗ילָה (v.15c), קוּמָ֣ה (v.20a), שִׁ֘יתָ֤ה (v.21a) vv.2-3; v.15; vv.20-21 beginning (vv.2-3), middle (vv.12-15), and end (vv.20-21) of psalm; mostly in the second half of the psalm (vv.12-21) parallel lines (3a//3b; 15a//15c), verses (v.2//v.3; v.20//v.21) gives cohesion to vv.2-3, 15, 20-21; creates discontinuity (v.20)


This feature is considered relevant for this psalm.,

Verb stem types (binyanim)

Definition Feature being studied Occurrences Sections where this feature is present or absent Clustering Intersection Connections Structure
Qal אֶשְׂמְחָ֣ה (v.3a), וְאֶעֶלְצָ֣ה (v.3b), בְּשׁוּב־אוֹיְבַ֥י (v.4a), וְ֝יֹאבְד֗וּ (v.4b), עָ֭שִׂיתָ (v.5a), יָשַׁ֥בְתָּ (v.5b), שׁוֹפֵ֥ט (v.5b), גָּעַ֣רְתָּ (v.6a), מָ֝חִ֗יתָ (v.6b), הָֽאוֹיֵ֨ב (v.7a), תַּ֥מּוּ (v.7a), נָתַ֑שְׁתָּ (v.7b), אָבַ֖ד (v.7c), יֵשֵׁ֑ב (v.8a), יִשְׁפֹּֽט (v.9a), יָדִ֥ין (v.9b), וִ֘יהִ֤י (v.10a), וְיִבְטְח֣וּ (v.11a), יוֹדְעֵ֣י (v.11a), עָזַ֖בְתָּ (v.11b), דֹרְשֶׁ֣יךָ (v.11b), שֵׁ֣ב (v.12a), דֹרֵ֣שׁ (v.13a), זָכָ֑ר (v.13a), שָׁ֝כַ֗ח (v.13b), חָֽנְנֵ֬נִי (v.14a?), רְאֵ֣ה (v.14b), מִשֹּׂנְאָ֑י (v.14b), אָ֝גִ֗ילָה (v.15c), טָבְע֣וּ (v.16a), עָשׂ֑וּ (v.16a), טָ֝מָ֗נוּ (v.16b), עָ֫שָׂ֥ה (v.17a), נוֹקשׁ (v.17b?), יָשׁ֣וּבוּ (v.18a), תֹּאבַ֥ד (v.19b), קוּמָ֣ה (v.20a), יָעֹ֣ז (v.20a), שִׁ֘יתָ֤ה (v.21a), יֵדְע֥וּ (v.21b) gives cohesion to the whole psalm
Niphal נִפְלְאוֹתֶֽיךָ (v.2b), יִכָּשְׁל֥וּ (v.4b), נִלְכְּדָ֥ה (v.16b), נ֤וֹדַ֨ע (v.17a), נוֹקשׁ (v.17b?), יִשָּׁכַ֣ח (v.19a), יִשָּׁפְט֥וּ (v.20b) vv.16-17; absent vv.5-15 gives cohesion to vv.16-17
Hiphil אוֹדֶ֣ה (v.2a), הַגִּ֥ידוּ (v.12b) beginning of psalm (v.2a); beginning of second half of psalm (v.12b) aperture (vv.2a, 12b)
Piel אֲ֝סַפְּרָ֗ה (v.2b), אֲזַמְּרָ֖ה (v.3b), אִבַּ֣דְתָּ (v.6a), זַמְּר֗וּ (v.12a), חָֽנְנֵ֬נִי (v.14a?), אֲסַפְּרָ֗ה (v.15a) vv.2-3 beginning of psalm (vv.2-3); beginning of stanza (v.12) strengthens connections between vv.2-3 and vv.12-15 the five piel verbs form a faint palindrome across the structure of the psalm: a אֲ֝סַפְּרָ֗ה b אֲזַמְּרָ֖ה c אִבַּ֣דְתָּ b' זַמְּר֗וּ a' אֲסַפְּרָ֗ה

v.14a. "The form חַנְנֵנִי (not חָנְנֵנִי) might be explained as imperative Piel = חַנְּנֵנִי."[17]

v.17b. Several versions (G, α', S, T) read a niphal perfect form (נוֹקַשׁ) instead of the MT's qal participle (נוֹקֵשׁ). "Interpretations as transitive active ('in his own works, he entangles the ungodly') or intransitive active ('the ungodly gets entangled in his own works') are equally possible."[18] "The intransitive verb of v.16 (טבעו) is continued in the next three cola by three Niphal forms: נלכדה – נודע – נוקשׁ. This beautiful chain is an important argument for indeed determining יקשׁ in v.17b instead of a Qal participle of נקשׁ.[19]

"Strophe 8 (vv.16-17) is dominated by passives."[20]
This feature is considered relevant for this psalm.

Nouns

Number

Definition Feature being studied Occurrences Sections where this feature is present or absent Clustering Intersection Connections Structure
plural כָּל־נִפְלְאוֹתֶֽיךָ (v.2b), אוֹיְבַ֥י (v.4a), מִפָּנֶֽיךָ (v.4b), ג֭וֹיִם (v.6a), חֳרָב֗וֹת (v.7a), וְעָרִ֥ים (v.7b), לְ֝אֻמִּ֗ים (v.9b), בְּמֵישָׁרִֽים (v.9b), לְעִתּ֥וֹת (v.10b), יוֹדְעֵ֣י (v.11a), דֹרְשֶׁ֣יךָ (v.11b), בָ֝עַמִּ֗ים (v.12b), עֲלִֽילוֹתָֽיו (v.12b), דָּ֭מִים (v.13a), עניים (v.13b), מִשֹּׂנְאָ֑י (v.14b), מִשַּׁ֥עֲרֵי (v.14c), כָּֽל־תְּהִלָּ֫תֶ֥יךָ (v.15a), בְּשַֽׁעֲרֵ֥י (v.15b), ג֭וֹיִם (v.16a), כַּ֭פָּיו (v.17b), רְשָׁעִ֣ים (v.18a), גּ֝וֹיִ֗ם (v.18b), שְׁכֵחֵ֥י אֱלֹהִֽים (v.18b), ענוים (v.19b), ג֝וֹיִ֗ם (v.20b), פָּנֶֽיךָ (v.20b), גוֹיִ֑ם (v.21b)

,

Gender

Definition Feature being studied Occurrences Sections where this feature is present or absent Clustering Intersection Connections Structure
feminine נִפְלְאוֹתֶֽיךָ (v.2b), חֳרָב֗וֹת (v.7a), וְעָרִ֥ים (v.7b), תֵּבֵ֥ל (v.9a), לְעִתּ֥וֹת בַּצָּרָֽה (v.10b), עֲלִֽילוֹתָֽיו (v.12b), צַעֲקַ֥ת (v.13b), תְּהִלָּ֫תֶ֥יךָ (v.15a), בַת (v.15b), בִּישׁוּעָתֶֽךָ (v.15c), בְּשַׁ֣חַת (v.16a), בְּרֶֽשֶׁת (v.16b), רַגְלָֽם (v.16b), כַּ֭פָּיו (v.17b), תִּקְוַ֥ת (v.19b) vv.15-16

,

Definiteness

Definition Feature being studied Occurrences Sections where this feature is present or absent Clustering Intersection Connections Structure
Proper names יהוה (vv.2a, 8a, 10a, 11b, 12a, 14a, 17a, 20a, 21a), עֶלְיוֹן (v.3b), תֵּבֵל (v.9a), צִיּוֹן (vv.12a, 15b)
Definite ה הָֽאוֹיֵ֨ב (v.7a)
Determined nouns הָֽאוֹיֵ֨ב (v.7a), לַמִּשְׁפָּ֣ט (v.8b), לַדָּ֑ךְ (v.10a), בַּצָּרָֽה (v.10b), בָ֝עַמִּ֗ים (v.12b)

,

Pronominal suffixes

Definition Feature being studied Occurrences Sections where this feature is present or absent Clustering Intersection Connections Structure
3mp שְׁמָ֥ם (v.6b), זִכְרָ֣ם (v.7c), אוֹתָ֣ם (v.13a), רַגְלָֽם (v.16b), לָ֫הֶ֥ם (v.21a) vv.6-7 gives cohesion to bicola/tricola (vv.6, 7, 16) and the final strophe (vv.20-21); gives cohesion to vv.6-7; creates suspense in v.13, where the referent of אותם (v.13a) is not revealed until the next line (v.13b)
3ms כִּסְאֽוֹ (v.8b), עֲלִֽילוֹתָֽיו (v.12b), כַּ֭פָּיו (v.17b) gives cohesion to bicola, occurring each time in the b-line with "Yahweh" as the antecedent in the a-line
2ms נִפְלְאוֹתֶֽיךָ (v.2b), בָ֑ךְ (v.3a), שִׁמְךָ֣ (v.3b), מִפָּנֶֽיךָ (v.4b), בְ֭ךָ (v.11b), שְׁמֶ֑ךָ (v.11b), דֹרְשֶׁ֣יךָ (v.11b), תְּהִלָּ֫תֶ֥יךָ (v.15a), בִּישׁוּעָתֶֽךָ (v.15c), פָּנֶֽיךָ (v.20b) vv.2-4, 11b, 15 beginning (vv.2-4) and ending (v.11b) of first half of psalm (vv.2-11) the connection formed by this feature (vv.2-4 – v.11b) is strengthened by lexical repetition (שִׁמְךָ, בָךְ/בְךָ); strengthens connection between vv.2-3 and vv.12-15 Inclusio, gives cohesion to vv.2-11
1cs לִבִּ֑י (v.2a), אוֹיְבַ֥י (v.4a), מִשְׁפָּטִ֣י וְדִינִ֑י (v.5a), עָ֭נְיִי מִשֹּׂנְאָ֑י (v.14b), מְ֝רוֹמְמִ֗י (v.14c) vv.2-5, 14 beginning of first strophe (vv.2-3), beginning of second strophe (vv.4-5), beginning of seventh strophe (vv.14-15) strengthens connection between vv.2-3 and vv.12-15 anaphora (vv.2a, 4a, 14ab)

vv.4-5. "Strophe 2 introduces the enemy, but also links up with the first by means of three I-morphemes. These representations of the speaker only occur again in strophe 7, and then disappear completely: the lyrical I disappears from the text fairly soon."[21]

v.7c. "The masculine suffixes can have cities as their antecedent. Here the Psalmist establishes a strong contrast between the cities of the enemy whose memory itself will fade and the Lord who reigns forever."[22]

v.15c. בִּישׁוּעָתֶֽךָ – "The plural suffix is sometimes found... even with the ordinary feminine ending ath (Isa. 47:13; Ezek. 35:11; Ps. 19:15; Ezra 9:15)."[23] The motivation here (בִּישׁוּעָתֶֽךָ) may be phonological: תְּהִלָּ֫תֶ֥יךָ // בִּישׁוּעָתֶֽךָ (similar endings in this ABA' tricolon).
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
1cs חָֽנְנֵ֬נִי (v.14a)

,

Addressee change

See below.
This feature is considered relevant for this psalm.,

Subject change

Character Features
Ref. Speaker Addressee Person Subject/Agent Object/Undergoer
2a David Yahweh 1 David Yahweh
2b David Yahweh 1 David Yahweh's wonders
3a David Yahweh 1 David David
3b David Yahweh 1 David Yahweh's name
4a David Yahweh 3 enemies enemies
4b David Yahweh 3 enemies enemies
5a David Yahweh 2 Yahweh David's judgment
5b David Yahweh 2 Yahweh Yahweh
6a David Yahweh 2 Yahweh nations
6b David Yahweh 2 Yahweh the wicked's name
7a David Yahweh 3 the enemy's ruins the enemy's ruins
7b David Yahweh 2 Yahweh the enemy's cities
7c David Yahweh 3 memory of the enemy's cities memory of the enemy's cities
8a David Yahweh 3 Yahweh Yahweh
8b David Yahweh 3 Yahweh Yahweh's throne
9a David Yahweh 3 Yahweh the world
9b David Yahweh 3 Yahweh peoples
10a David Yahweh 3 Yahweh Yahweh
10b David Yahweh 3 Yahweh Yahweh
11a David Yahweh 3 those who know Yahweh's name those who know Yahweh's name
11b David Yahweh 2 Yahweh those who seek Yahweh
12a David Audience 2 Audience Yahweh
12b David Audience 2 Audience Yahweh's doings
13a David Audience 3 Yahweh lowly
13b David Audience 3 Yahweh cry of the lowly
14a David Yahweh 2 Yahweh David
14b David Yahweh 2 Yahweh David's lowliness
14c David Yahweh 2 Yahweh David
15ab David Yahweh 1 David Yahweh's praises
15c David Yahweh 1 David David
16a David Yahweh 3 nations nations
16b David Yahweh 3 nations' foot nations' foot
17a David Yahweh 3 Yahweh Yahweh
17b David Yahweh 3 the wicked the wicked
18a David Yahweh 3 the wicked the wicked
18b David Yahweh 3 nations nations
19a David Yahweh 3 poor poor
19b David Yahweh 3 the lowly's hope the lowly's hope
20a David Yahweh 2/3 Yahweh/man Yahweh/man
20b David Yahweh 3 nations nations
21a David Yahweh 2 Yahweh terror for the nations
21bc David Yahweh 3 nations nations

"The poem as a whole is based on the relationships within a triangle. The corners are occupied by three parties: the lyrical I, God, and the enemies. The terms denoting people, however (i.e., I and the enemies), in a certain sense count double. The 'I' is only present in strophes 1-2 and 7, and is replaced by 'the poor', 'the needy', the 'oppressed', both singular and plural... If we want to understand what actually happens in these lyrics, and if we want to fathom their inner structure, we should take into account two identifications: I/the poor and my enemies/the peoples."[24]
This feature is considered relevant for this psalm.

Particles

Negative markers

  • v.11b. לֹֽא־עָזַ֖בְתָּ
  • v.13b. לֹֽא־שָׁ֝כַ֗ח
  • v.19b. לֹ֣א לָ֭נֶצַח יִשָּׁכַ֣ח
  • v.20a. אַל־יָעֹ֣ז

The four negative clauses happen to form a kind of chiasm: a לֹֽא־עָזַ֖ b לֹֽא־שָׁ֝כַ֗ח b' לֹ֣א...יִשָּׁכַ֣ח a' אַל־יָעֹ֣ז,

Independent personal pronouns

  • v.7c. הֵמָּה
  • v.9a. וְה֗וּא
  • v.21c. הֵמָּה

There is a clear connection between v.7c and v.21c. Both end with the pronoun הֵמָּה and thus conclude a tricolon and a stanza (epiphora). This feature argues strongly for the MT line division. The 3ms personal pronoun (הוּא) in v.9a, with its antecedent in v.8a (יהוה), binds v.9 to v.8 (cohesion).,

Prepositions

2a בְּכָל־לִבִּ֑י
2b
3a בָ֑ךְ
3b
4a בְּשׁוּב־אוֹיְבַ֥י
4b מִפָּנֶֽיךָ
5a
5b לְ֝כִסֵּ֗א
6a
6b לְעוֹלָ֥ם
7a לָ֫נֶ֥צַח
7b
7c
8a לְעוֹלָ֣ם
8b לַמִּשְׁפָּ֣ט
9a בְּצֶ֑דֶק
9b בְּמֵישָׁרִֽים
10a לַדָּ֑ךְ
10b בַּצָּרָֽה לְעִתּ֥וֹת
11a בְ֭ךָ
11b
12a לַ֭יהוָה
12b בָ֝עַמִּ֗ים
13a
13b
14a
14b מִשֹּׂנְאָ֑י
14c מִשַּׁ֥עֲרֵי מָֽוֶת
15a
15b בְּשַֽׁעֲרֵ֥י בַת־צִיּ֑וֹן
15c בִּישׁוּעָתֶֽךָ
16a בְּשַׁ֣חַת
16b בְּרֶֽשֶׁת
17a
17b בְּפֹ֣עַל כַּ֭פָּיו
18a לִשְׁא֑וֹלָה
18b
19a לָ֭נֶצַח
19b לָעַֽד
20a
20b עַל־פָּנֶֽיךָ
21a
21b
21c
  • Parallelisms: ל//ל (vv.8ab, 10ab, 19ab); ב//ב (vv.9ab, 16ab); ל//ב (v.12ab); מ//מ (v.14bc)
  • vv.5-8. Cluster of ל prepositions.
  • vv.15-16. Cluster of בּ prepositions, בְּשַֽׁעֲרֵ֥י (v.15b), בִּישׁוּעָתֶֽךָ (v.15c), בְּשַׁ֣חַת (v.16a), בְּרֶֽשֶׁת (v.16b); note repetition of בּ + שׁ sounds. This feature give cohesion to vv.15-16 (note also the cluster of feminine nouns) and smooths over the break between these strophes, forming an overlap structure (anadiplosis).
  • vv.18-19. Cluster of ל prepositions, gives cohesion to this strophe (vv.18-19).,

Waw/Vav

The conjunction waw occurs 9x in this psalm, exclusively in the first half of the psalm (vv.2-11). This feature gives cohesion to vv.2-11, where waw occurs in every verse except the first (v.2), and to vv.12-21, where waw does not occur at all. In almost every case, waw creates continuity. In v.8a (ויהוה, disjunctive waw), the conjunction indicates a contrast (discontinuity) and signals the onset of a new stanza (vv.8-11), in which each verse (vv.8, 9, 10, 11) begins with waw (see acrostic structure).

Coordinating Words/Phrases within a Line

  • v.3a: אֶשְׂמְחָ֣ה וְאֶעֶלְצָ֣ה
  • v.4b: יִכָּשְׁל֥וּ וְ֝יֹאבְד֗וּ
  • v.5a: מִשְׁפָּטִ֣י וְדִינִ֑י
  • v.6b: לְעוֹלָ֥ם וָעֶֽד

Coordinating Lines

  • v.7a --(waw + noun [וְעָרִ֥ים)--> v.7b

Coordinating Units (Bicola) within a Section

  • v.8 --(waw + pronoun [וְה֗וּא)--> v.9
  • v.9 --(waw + jussive [וִ֘יהִ֤י)--> v.10
  • v.10 --(waw + yiqtol/jussive [וְיִבְטְח֣וּ)--> v.11

Coordinating Stanzas

  • vv.4-7--(waw + noun = disjunctive waw [וַֽ֭יהוָה])--> vv.8-11,

Other particles

  • v.5 (כִּי). Consequence (v.4) – action (v.5). David's enemies will turn, stumble, and perish (v.4), because Yahweh has enacted judgment (v.5). Gives cohesion to strophe (vv.4-5).
  • v.11b (כִּי). Exhortation (v.11a) – reason (v.11b). They should trust in Yahweh (v.11a), because he has not forsaken those who seek him (v.11b). Gives cohesion to verse (v.11).
  • v.13 (כִּי). Exhortation (v.12ab) – reason (v.13). Praise Yahweh (v.12ab), because he remembers (v.13a) and does not forget (v.13b) the lowly. Gives cohesion to strophe (vv.12-13).
  • v.15 (לְמַעַן). Petition (v.14) – reason/purpose (v.15). Rescue me, so that I may praise you (v.15). Gives cohesion to strophe (vv.14-15).
  • v.19 (כִּי). Consequence (v.4) – fact (v.5). The wicked will return to Sheol (v.18), because the poor will not remain abandoned (v.19). Gives cohesion to strophe (vv.18-19).,

Other

  • v.16b. The demonstrative זוּ is used "somewhat frequently in poetic language to introduce both dependent and independent relative clauses.[25]

Figurative

Anthropomorphism

The metaphor, "Yahweh is Judge" (see judicial language), is an entailment of the metaphor, "Yahweh is King" (see especially vv.5b, 8ab; cf. the blending of royal and judicial language in Ps. 72:1-2). As King, Yahweh gives victory on the battlefield, brings justice to the world, and provides refuge for the oppressed.

Mathematical

Fokkelman's prosody and syllable counts

The following table is from Fokkelman's Major Poems of the Hebrew Bible Volume 2, Appendix I.[26]

Strophe Verse Syllables per word Syllables per line Syllables per strophe
1 2 2.2.2.2 / 4.1.5 8 + 10 = 18
3 3.4.1 / 4.2.2 8 + 8 = 16 34
2 4 2.3.2 / 4.4.4 7 + 12 = 19
5 1.3.3.3 / 3.3.2.1 10 + 9 = 19 38
3 6 3.2.3.2 / 2.3.3.2 10 + 10 = 20
7 3.2.3.2 / 3.3.2.2 10 + 10 = 20 40
4 8 2.3.3.2 / 2.3.2 10 + 7 = 17
9 2.2.2.2 / 2.3.4 8 + 9 = 17 34
5 10 2.2.2.2 / 2.3.3 8 + 8 = 16
11 4.2.3.3 / 1.1.3.4.2 12 + 11 = 23 39
6 12 3.3.2.2 / 3.3.4 10 + 10 = 20
13 1.2.2.2.2 / 1.2.3.3 9 + 9 = 18 38
7 14 3.2.2.2.4 / 4.3.1 13 + 8 = 21
15 2.4.1.5 / 3.1.2.3.5 12 + 14 = 26 47
8 16 3.2.2.2 / 2.1.3.3.2 9 + 11 = 20
17 2.2.2.2 / 2.2.2.2 8 + 8 = 16 36
9 18 3.3.3 / 1.2.3.3 9 + 9 = 18
19 1.1.2.3.2 / 2.3.2.2 9 + 9 = 18 36
10 20 2.2.1.2.2 / 4.2.1.3 9 + 10 = 19
21 2.2.2.2 / 3.2.2.2 8 + 9 = 17 36
  • "Psalm 9 has 378 syllables, Ps. 10 has 351. The entire poem as 81 cola with 729 syllables; average number of syllables per colon 9.00."[27]
  • "Ps. 9 contains four strophes showing an internal symmetry, as they have the same figure for both their verses, increasing by one point in the series:"[28]
Strophe 4: 17 + 17
Strophe 9: 18 + 18
Strophe 2: 19 + 19
Strophe 3: 20 + 20
  • Fokkelman counts v.13b as 1.2.3.3, but, by his own method, צַעֲקַ֥ת has only 2 syllables (cf. מִשַּׁ֥עֲרֵי in v.14b).,

Cola distribution

2 BICOLON
3 BICOLON
4 BICOLON
5 BICOLON
6 BICOLON
7 TRICOLON
8 BICOLON
9 BICOLON
10 BICOLON
11 BICOLON
12 BICOLON
13 BICOLON
14 TRICOLON
15 TRICOLON
16 BICOLON
17 BICOLON
18 BICOLON
19 BICOLON
20 BICOLON
21 TRICOLON

Fokkelman maintains that "Psalm 9 exclusively consists of bicola."[29]

  • Tricola in v.7 and v.21, each preceded by a series of five bicola, function structurally to mark closure. In addition to the prosodic similarity of these lines (MT accents: ole we yored, athnach, silluq), both end with the pronoun הֵמָּה (epiphora).
  • The ABA' tricolon in v.15 has the same basic prosodic structure (MT accents: ole we yored, athnach, silluq). It functions similarly to mark closure and perhaps also to mark a climax.[30],

Chiasms

Strophe

  • vv.4-7. a אוֹיְבַ֥י b וְ֝יֹאבְד֗וּ c מִשְׁפָּטִ֣י c' שׁוֹפֵ֥ט b' אִבַּ֣דְתָּ a' הָֽאוֹיֵ֨ב. The enemies (a) are destroyed (b) as the result of God's judgment (c). Part of the pattern appears to continue in the following verses (7c-9): b אָבַ֖ד c לַמִּשְׁפָּ֣ט c יִשְׁפֹּֽט
  • vv.6-7. abb'a'
  • vv.18-19. abb'a',

Word order

v.8a. Topic focus: ויהוה; Constituent focus: לעולם. The marked word order highlights a contrast: the nations, along with their names and the very memory of their cities are destroyed (vv.4-7), but Yahweh, on the other hand, dwells/reigns forever.,

Lunn on Word order

The following table has been adapted from Nicholas Lunn's Word-Order Variation in Biblical Hebrew Poetry, Appendix 2.[31] For a key to the various symbols and abbreviations, click here.

Ref. Text Constituent Order Colon-Type
2 ‎אוֹדֶ֣ה יְ֭הוָה בְּכָל־לִבִּ֑י / אֲ֝סַפְּרָ֗ה כָּל־נִפְלְאוֹתֶֽיךָ׃ V O M / V O CAN/CAN
3 ‎אֶשְׂמְחָ֣ה וְאֶעֶלְצָ֣ה בָ֑ךְ / אֲזַמְּרָ֖ה שִׁמְךָ֣ עֶלְיֽוֹן׃ V w-V M / V O [Voc] CAN2/CAN
4 ‎בְּשׁוּב־אוֹיְבַ֥י אָח֑וֹר / יִכָּשְׁל֥וּ וְ֝יֹאבְד֗וּ מִפָּנֶֽיךָ׃ M(Inf S M) / V w-V M Inf/CAN2
5 ‎כִּֽי־עָ֭שִׂיתָ מִשְׁפָּטִ֣י וְדִינִ֑י / יָשַׁ֥בְתָּ לְ֝כִסֵּ֗א שׁוֹפֵ֥ט צֶֽדֶק׃ C-V O w-O / V M VPt O CAN/CAN-Ptcp
6 גָּעַ֣רְתָּ ג֭וֹיִם אִבַּ֣דְתָּ רָשָׁ֑ע / שְׁמָ֥ם מָ֝חִ֗יתָ לְעוֹלָ֥ם וָעֶֽד׃ V O V O / O V M CAN2/MKD
7 הָֽאוֹיֵ֨ב ׀ תַּ֥מּוּ חֳרָב֗וֹת לָ֫נֶ֥צַח / וְעָרִ֥ים נָתַ֑שְׁתָּ אָבַ֖ד זִכְרָ֣ם הֵֽמָּה׃ S V Comp M / w-O V V S MKD/MKD-CAN
8 וַֽ֭יהוָה לְעוֹלָ֣ם יֵשֵׁ֑ב / כּוֹנֵ֖ן לַמִּשְׁפָּ֣ט כִּסְאֽוֹ׃ w-S M V / V M O MKD/CAN
9 וְה֗וּא יִשְׁפֹּֽט־תֵּבֵ֥ל בְּצֶ֑דֶק // יָדִ֥ין לְ֝אֻמִּ֗ים בְּמֵישָׁרִֽים׃ w-SPn V O M / V O M MKD//CAN
10 וִ֘יהִ֤י יְהוָ֣ה מִשְׂגָּ֣ב לַדָּ֑ךְ // מִ֝שְׂגָּ֗ב לְעִתּ֥וֹת בַּצָּרָֽה׃ w-V S Comp M / Comp M CAN//Gap
11 וְיִבְטְח֣וּ בְ֭ךָ יוֹדְעֵ֣י שְׁמֶ֑ךָ / כִּ֤י לֹֽא־עָזַ֖בְתָּ דֹרְשֶׁ֣יךָ יְהוָֽה׃ w-V M S / C VNg O [Voc] CAN/CAN
12 זַמְּר֗וּ לַ֭יהוָה יֹשֵׁ֣ב צִיּ֑וֹן / הַגִּ֥ידוּ בָ֝עַמִּ֗ים עֲלִֽילוֹתָֽיו׃ V M VPt / V M O CAN-Ptcp/CAN
13 כִּֽי־דֹרֵ֣שׁ דָּ֭מִים אוֹתָ֣ם זָכָ֑ר / לֹֽא־שָׁ֝כַ֗ח צַעֲקַ֥ת עניים C-SPt O V / VNg O DEF/CAN
14 חָֽנְנֵ֬נִי יְהוָ֗ה / רְאֵ֣ה עָ֭נְיִי מִשֹּׂנְאָ֑י מְ֝רוֹמְמִ֗י מִשַּׁ֥עֲרֵי מָֽוֶת׃ V-o [Voc] / V O M [Voc] CAN/CAN
15 ‎לְמַ֥עַן אֲסַפְּרָ֗ה כָּֽל־תְּהִלָּ֫תֶ֥יךָ בְּשַֽׁעֲרֵ֥י בַת־צִיּ֑וֹן // אָ֝גִ֗ילָה בִּישׁוּעָתֶֽךָ׃ C V O M // V M CAN//CAN
16 טָבְע֣וּ ג֭וֹיִם בְּשַׁ֣חַת עָשׂ֑וּ // בְּרֶֽשֶׁת־ז֥וּ טָ֝מָ֗נוּ נִלְכְּדָ֥ה רַגְלָֽם׃ V S M [R] V // M-R V V S CAN2R//Nom-CANR2
17 ‎נ֤וֹדַ֨ע ׀ יְהוָה֮ מִשְׁפָּ֪ט עָ֫שָׂ֥ה / בְּפֹ֣עַל כַּ֭פָּיו נוֹקֵ֣שׁ רָשָׁ֑ע הִגָּי֥וֹן סֶֽלָה׃ V S M [R] V / M V S Selah CAN2[R]/MKD
18 יָשׁ֣וּבוּ רְשָׁעִ֣ים לִשְׁא֑וֹלָה / כָּל־גּ֝וֹיִ֗ם שְׁכֵחֵ֥י אֱלֹהִֽים׃ V S M / S CAN/Nom
19 כִּ֤י לֹ֣א לָ֭נֶצַח יִשָּׁכַ֣ח אֶבְי֑וֹן // תִּקְוַ֥ת ענוים תֹּאבַ֥ד לָעַֽד׃ C MNg V S // S V M DEF//DEF
20 ‎קוּמָ֣ה יְ֭הוָה / אַל־יָעֹ֣ז אֱנ֑וֹשׁ / יִשָּׁפְט֥וּ ג֝וֹיִ֗ם עַל־פָּנֶֽיךָ׃ V [Voc] / VNg S / V S M CAN/CAN/CAN
21 שִׁ֘יתָ֤ה יְהוָ֨ה ׀ מוֹרָ֗ה לָ֫הֶ֥ם / יֵדְע֥וּ גוֹיִ֑ם / אֱנ֖וֹשׁ הֵ֣מָּה סֶּֽלָה׃ V [Voc] O M / V S / Comp S Selah CAN/CAN/Nom
  • The DEF colon in v.13 marks closure.[32]
  • The DEF//DEF [chiastic] colon arrangement in v.19 marks closure.[33],

Middle word (maqqef)

Total words: 142
Total words w/selah: 145
Middle words (71-72): צִיּ֑וֹן // הַגִּ֥ידוּ (v.12ab)
Middle word w/selah (73): בָ֝עַמִּ֗ים (v.12b)

The two middle words (צִיּ֑וֹן // הַגִּ֥ידוּ) correspond exactly with the psalm's middle lines.,

Middle word (independent lexemes)

Total words: 156
Total words w/selah: 159
Middle words (78-79): הַגִּ֥ידוּ בָ֝עַמִּ֗ים (v.12b)
Middle word w/selah (80): עֲלִֽילוֹתָֽיו (v.12b),

Middle line

Total lines: 44
Middle lines: v.12ab.
זַמְּר֗וּ לַ֭יהוָה יֹשֵׁ֣ב צִיּ֑וֹן // הַגִּ֥ידוּ בָ֝עַמִּ֗ים עֲלִֽילוֹתָֽיו׃

This line is marked by several features:

  • 2mp Imperatives (זַמְּר֗וּ // הַגִּ֥ידוּ)
  • non-qal verbal stems (piel // hiphil)
  • tetragrammaton (לַיהוָה)
  • cluster of repeated words in the a-line: זמר (cf. 3ab), ישׁב (cf. 8a), צִיּוֹן (cf. 15b)
  • thematically important proper nouns, Yahweh and Zion.
  • only unique words (not repeated) in the b-line
  • alliteration in the b-line: הַגִּ֥ידוּ בָ֝עַמִּ֗ים עֲלִֽילוֹתָֽיו

Variants

Kinds of variants

"The poem is a three-quarter instead of a complete alphabetical acrostic principle, as 16 of the 22 letters are used. The non-appearance of certain consonantal signs as strophe openers need not be the result of textual corruption. The text of Ps.9/10 is nearly immaculate... Moreover, Nic H. Ridderbos in BZAW 117 p.141, note 4, points out dass unvollständige akrostichische Gedichte keine Ausnahme darstellen. He provides some instances."[34]

The following is from Barthélemy's Critique textuelle de l’Ancien Testament volume on the Psalms.[35] For a key to the various symbols and abbreviations, click here.

Ps 9,2(1) אוֹדֶה {B} MT, Gal, Hebr, S, T // facil-styl: G clav אוֹדְךָ

Ps 9,7-8(6-7) הֵמָּה: וַיהיָה {B} MT, εβρ // facil-synt: α', σ', ε', ς', Hebr, T / abr-elus: S / err-voc: G

Ps 9,14(13) מִשֹּׂנְאַי {A}

Ps 9,17(16) נוֹקֵשׁ {C} MT // exeg: G, α', Hebr, S, T

Two additional variants are provided by 11QPsc.[36]

9,5 ושׁבתה

9,5 שׁפטתה

Summary

Line divisions

Lines marked with an asterisk (*) are disputed.

לַ֭מְנַצֵּחַ עַלְמ֥וּת לַבֵּ֗ן מִזְמ֥וֹר לְדָוִֽד׃
2a אוֹדֶ֣ה יְ֭הוָה בְּכָל־לִבִּ֑י
2b אֲ֜סַפְּרָ֗ה כָּל־נִפְלְאוֹתֶֽיךָ׃
3a אֶשְׂמְחָ֣ה וְאֶעֶלְצָ֣ה בָ֑ךְ
3b אֲזַמְּרָ֖ה שִׁמְךָ֣ עֶלְיֽוֹן׃
4a בְּשׁוּב־אוֹיְבַ֥י אָח֑וֹר
4b יִכָּשְׁל֥וּ וְ֜יֹאבְד֗וּ מִפָּנֶֽיךָ׃
5a כִּֽי־עָ֭שִׂיתָ מִשְׁפָּטִ֣י וְדִינִ֑י
5b יָשַׁ֥בְתָּ לְ֜כִסֵּ֗א שׁוֹפֵ֥ט צֶֽדֶק׃
6a גָּעַ֣רְתָּ ג֭וֹיִם אִבַּ֣דְתָּ רָשָׁ֑ע *
6b שְׁמָ֥ם מָ֜חִ֗יתָ לְעוֹלָ֥ם וָעֶֽד׃
7a הָֽאוֹיֵ֙ב׀ תַּ֥מּוּ חֳרָב֗וֹת לָ֫נֶ֥צַח
7b וְעָרִ֥ים נָתַ֑שְׁתָּ *
7c אָבַ֖ד זִכְרָ֣ם הֵֽמָּה׃ *
8a וַֽ֭יהוָה לְעוֹלָ֣ם יֵשֵׁ֑ב *
8b כּוֹנֵ֖ן לַמִּשְׁפָּ֣ט כִּסְאֽוֹ׃
9a וְה֗וּא יִשְׁפֹּֽט־תֵּבֵ֥ל בְּצֶ֑דֶק
9b יָדִ֥ין לְ֜אֻמִּ֗ים בְּמֵישָׁרִֽים׃
10a וִ֨יהִ֤י יְהוָ֣ה מִשְׂגָּ֣ב לַדָּ֑ךְ
10b מִ֜שְׂגָּ֗ב לְעִתּ֥וֹת בַּצָּרָֽה׃
11a וְיִבְטְח֣וּ בְ֭ךָ יוֹדְעֵ֣י שְׁמֶ֑ךָ
11b כִּ֤י לֹֽא־עָזַ֖בְתָּ דֹרְשֶׁ֣יךָ יְהוָֽה׃
12a זַמְּר֗וּ לַ֭יהוָה יֹשֵׁ֣ב צִיּ֑וֹן
12b הַגִּ֥ידוּ בָ֜עַמִּ֗ים עֲלִֽילוֹתָֽיו׃
13a כִּֽי־דֹרֵ֣שׁ דָּ֭מִים אוֹתָ֣ם זָכָ֑ר
13b לֹֽא־שָׁ֜כַ֗ח צַעֲקַ֥ת עֲנָיִים׃
14a חָֽנְנֵ֬נִי יְהוָ֗ה *
14b רְאֵ֣ה עָ֭נְיִי מִשֹּׂנְאָ֑י *
14c מְ֜רוֹמְמִ֗י מִשַּׁ֥עֲרֵי מָֽוֶת׃
15a לְמַ֥עַן אֲסַפְּרָ֗ה כָּֽל־תְּהִלָּ֫תֶ֥יךָ *
15b בְּשַֽׁעֲרֵ֥י בַת־צִיּ֑וֹן *
15c אָ֜גִ֗ילָה בִּישׁוּעָתֶֽךָ׃ *
16a טָבְע֣וּ ג֭וֹיִם בְּשַׁ֣חַת עָשׂ֑וּ
16b בְּרֶֽשֶׁת־ז֥וּ טָ֜מָ֗נוּ נִלְכְּדָ֥ה רַגְלָֽם׃
17a נ֤וֹדַ֙ע׀ יְהוָה֘ מִשְׁפָּ֪ט עָ֫שָׂ֥ה
17b בְּפֹ֣עַל כַּ֭פָּיו נוֹקֵ֣שׁ רָשָׁ֑ע
הִגָּי֥וֹן סֶֽלָה׃
18a יָשׁ֣וּבוּ רְשָׁעִ֣ים לִשְׁא֑וֹלָה
18b כָּל־גּ֜וֹיִ֗ם שְׁכֵחֵ֥י אֱלֹהִֽים׃
19a כִּ֤י לֹ֣א לָ֭נֶצַח יִשָּׁכַ֣ח אֶבְי֑וֹן
19b תִּקְוַ֥ת עֲנִויִּם תֹּאבַ֥ד לָעַֽד׃
20a קוּמָ֣ה יְ֭הוָה אַל־יָעֹ֣ז אֱנ֑וֹשׁ
20b יִשָּׁפְט֥וּ ג֜וֹיִ֗ם עַל־פָּנֶֽיךָ׃
21a שִׁ֨יתָ֤ה יְהוָ֙ה׀ מוֹרָ֗ה לָ֫הֶ֥ם
21b יֵדְע֥וּ גוֹיִ֑ם *
21c אֱנ֖וֹשׁ הֵ֣מָּה סֶּֽלָה׃ *

Watson recognizes a total of 44 lines (22 bicola), "which is what could be expected if each letter [א – כ] were assigned four cola (11 x 4 = 44)."[37] Each verse consists of two lines (cola), except vv.6, 7, 14, 15, each of which have three lines. Fokkelman divides each of these verses (vv.6, 7, 14, 15) into two lines (bicola), thus arriving at 40 lines (20 bicola) for the total.[38]

  • vv.6-7. The first issue here is whether הֵמָּה ends the final line of v.7 (MT [silluq]; also, G, T, V [S omits המה entirely]) or begins the first line of v.8 (so BHS). It most likely ends the line for the following reasons: (1) The external evidence (MT, G, T, V) supports this division; (2) Verses 8,9,10,11 each begin with the letter waw. This unity is disrupted if המה begins v.8a; (3) The unity of vv.8-11 as they stand is further indicated by an inclusio (יהוה, first word of v.8a and last word of v.11b); (4) The pronoun הֵמָּה concludes the psalm (v.21), making a structurally parallel occurrence (at the end of a section = epiphora) more likely. Note also the prosodic similarities between v.7 (4 words / 5 words) and v.21 (4 words / 5 words), which also have the same set of accents in the MT. With regard to its syntactic function, הֵמָּה "serves to give strong emphasis to [the] suffix of the same person which precedes [זִכְרָם]" (right dislocation).[39]
  • vv.14-15. "The poet regularly employs the technique of placing two verbal predicates in one colon, and usually such a colon also shows a balance of two clauses of two words each. Thanks to this circumstance we may safely consider 9:14-15 bicola. Thus is seems characteristic of this (seventh) strophe to make long cola.[40],

Section divisions

Section 1 (vv.2-3)
Section 2 (vv.4-5)
Section 3 (vv.6-7)
Section 4 (vv.8-9)
Section 5 (vv.10-11)
Section 6 (vv.12-13)
Section 7 (vv.14-15)
Section 8 (vv.16-17)
Section 9 (vv.18-19)
Section 10 (vv.20-21),

Communicative function

Section 1 (vv.2-3): Praise
Section 2 (vv.4-5): Profession
Section 3 (vv.6-7): Profession
Section 4 (vv.8-9): Profession
Section 5 (vv.10-11): Profession
Section 6 (vv.12-13): Exhortation
Section 7 (vv.14-15): Petition
Section 8 (vv.16-17): Profession
Section 9 (vv.18-19): Profession
Section 10 (vv.20-21): Petition,

Cohesion

First Level (Strophe)

Section 1 (vv.2-3)

Section 2 (vv.4-5)

Section 3 (vv.6-7)

Section 4 (vv.8-9)

Section 5 (vv.10-11)

Section 6 (vv.12-13)

Section 7 (vv.14-15)

Section 8 (vv.16-17)

Section 9 (vv.18-19)

Section 10 (vv.20-21)


Second Level (Stanza)

Sections 2-3 (vv.4-7)

Sections 4-5 (vv.8-11)

Sections 6-7 (vv.12-15)

Sections 8-9 (vv.16-19)


Third Level (Part)

Sections 1-5 (vv.2-11)

Sections 6-10 (vv.12-21)

Main message

Yahweh, as king, gives justice to the oppressed.

Connections between sections

Section 2 (vv.4-5) – Section 9 (vv.18-19)

Section 3 (vv.6-7) – Section 8 (vv.16-17)

v. 5 – vv.8-9

v.7 – v.21,

Large-scale structures

Acrostic Structure
The acrostic "was an artistic device, which provided the poet with a distinctive framework within which to express his thought."[41] "The following alphabetic acrostics occur in Hebrew: Nah. 1:2-8; Pss. 9; 10; 25; 34; 37; 111; 112; 119; 145; Prov. 31:10-31; Lam. 1-4; Sir. 51:13-20."[42] The acrostic structure of Psalm 9 is as follows:

א (vv.2-3)
ב (vv.4-5)
ג (vv.6-7)
ד (vv.5-7?)*
ה (v.7?)*
ו (vv.8-11)*
ז (vv.12-13)
ח (vv.14-15)
ט (vv.16-17)
י (vv.18-19)
כ (v.19, vv.20-21?)*
  • The third strophe (ג, vv.6-7) is "perhaps intended to represent ד and ה" as well.[43] Dentals happen to cluster in vv.5-7 (see above), and words beginning with ה begin (הָאוֹיֵב) and end (הֵמָּה) v.7. Both of these words in v.7 are syntactically abnormal and may represent deliberate attempts to use the letter He. הָאוֹיֵב is the only occurrence of definite ה in the psalm and the only line beginning with ה.
  • The waw section is twice as long as the other sections (vv.8-11).
  • In v.20, "the poet takes a leap to ק which, however, seems to be a substitute for the כ which one would expect to find."[44] See above on phonology. כְּ does begin v.19. However, v.19 is bound together with v.18 (see chiastic structure).

It is often assumed that the incompleteness of this acrostic structure is the result of textual corruption.[45] "It would be most natural to assume either editorial modification, or textual corruption (at a very early date) to account for such divergences from the norm."[46] Hence, "many are the attempts to repair the damage to this alphabet acrostic."[47] However, incomplete acrostic poems are not uncommon. "Some of the acrostic poems use only half of the alphabet; Nah. 1:2-8 goes from א to ? ט; Ps. 9 covers the first half of the alphabet, Ps. 10 (it would seem) the second... Partial acrostics also occur, for example Ps. 145:11-13 (within a complete acrostic) and Song 4:9-11... Also Psalm 155."[48] Some otherwise complete acrostic poems omit a letter or two (Ps. 25 [ק, ו]; Ps. 34 [ו]; Ps. 37 [ע]; Ps. 145 [נ]), though some of these omissions may be the result of textual corruption. Thus, at least half of acrostic poems in the MT Psalter are "incomplete" (Pss. 9; 10; 25; 34; 37; 145). Only Psalms 111, 112, and 119 have all 22 letters. This fact, in conjunction with the apparent artistry of Ps. 9 in its present form as demonstrated in the preceding analysis, may lead to the conclusion that "the non-appearance of certain consonantal signs as strophe openers need not be the result of textual corruption. The text of Ps.9/10 is nearly immaculate."[49]

Why, then, are certain letters omitted in Ps. 9? If it is not the result of textual corruption, and if we assume that it is not arbitrary, then what is the purpose? The letters which are omitted or otherwise marked are דּ (missing), ה (beginning v. 7, though not a new strophe), and כּ (beginning v.19, though not a new strophe). Is it a coincidence that these letters spell out דַּךְ ("oppressed") or, if ה is included, הַדַּךְ ("the oppressed", cf. Ps. 9:10)? This is a key word in Pss. 9-10 (9:10; 10:18; verbal form [דכה] in 10:10) and is otherwise rare in the Hebrew Bible (Ps. 74:21; Prov. 26:28). The word דַּךְ appears in the waw strophe, which is the only letter-strophe marked for its double length (vv.8-11). Thus, every variation in the acrostic structure of Ps. 9 may be explained in terms of this feature; the structure is designed to draw attention to the thematic significance of "the oppressed" (הַדַּךְ). This feature is not without parallel in other ANE literature. "Sentence-acrostics or name-acrostics are to be found in Akkadian."[50] Ps. 9, by contrast, forms a word-acrostic, and not by those letters which are present, but by those which are absent or otherwise marked.

Relationship to Psalm 10
"The principal problem pertaining to Pss. 9 and 10 concerns whether they should be treated as a unity, namely a single acrostic psalm, or whether they should be treated as separate and independent psalms."[51]

Psalm 9 is connected to Psalm 10 in a number of ways. The following points are observed by Kraus[52] and Craigie.[53]

  1. A single (impartial) acrostic structure runs through both psalms.
  2. Some ancient versions (LXX, Vulgate) and Hebrew manuscripts (cf. DeRossi) present Pss. 9-10 as a single psalm.
  3. Psalm 10 has no superscription.
  4. Similar words and concepts appear in both psalms.

"The acrostic pattern in Pss 9 and 10, although incomplete, suggests these two poems are a single unit in their final, canonical form... Hanson affirmed the unity of these psalms by listing keywords that occur not just in one but in both of these psalms."[54]

Yet "Ps 9 is not in any way wanting in internal roundness and finish."[55],

Outline or visual representation

(This began as Wendland's Expository Outline[56], but may be adapted.)

I. What the psalmist will do. (1-2)

A. Give thanks to the Lord with all his heart.
B. Tell of all His wonders.
C. Be glad and exult in Him.
D. Sing praises to His name.

II. Why the psalmist will do it. (3-6)

A. Because his enemies turn back, stumble, and perish.
B. Because his cause is maintained by God.
C. Because God is on the throne and judges rightly.
D. Because He has rebuked the heathen, destroyed the wicked, and put out their name for ever and ever.
E. Because destructions on the enemy are perpetual, and their cities and memorials are perished with them.

III. The Lord... (7-10)

A. Shall endure for ever.
B. Has prepared His throne for judgment.
1. He will judge the world in righteousness.
2. He will minister judgment to the people in uprightness.
C. Will be a refuge for the oppressed in times of trouble.
D. Will not forsake those who seek Him and put their trust in His name.

IV. Sing praises to the Lord and declare his deeds. (11-12)

A. He remembers your enemy.
B. He does not forget the cry of the afflicted.

V. An appeal. (13-14)

A. Have mercy upon me, O Lord.
B. Consider my trouble which I suffer of them that hate me.
C. Lift me up from the gates of death that I may shew forth all Thy praise in the gates of the daughter of Zion.
D. Let me rejoice in Thy salvation.

VI. The heathen. (15)

A. The heathen are sunk down in the pit that they made.
B. Their own foot is taken in the net which they hid.

VII. The wicked. (16-17)

A. Are snared by the work of his own hands.
B. Shall be turned into hell, and all the nations that forget God.

VIII. The needy. (18)

A. Shall not always be forgotten.
B. The expectation of the poor shall not perish for ever.

IX. A final appeal. (19-20)

A. Arise, O Lord; let not man prevail.
B. Let the heathen be judged in Thy sight.
C. Put them in fear, O Lord.
D. Let the nations know themselves to be but men.


Authorship

This Psalm was authored by David.

Genre

Psalm 9(-10?) is classified as a מִזְמוֹר in the superscription.

It is a psalm of lament, though it has elements of praise psalms (vv.2-3 [personal vow/proclamation of praise], 12-13 [public exhortation to praise]). "It is not unusual for the psalm of petition or lament to commence with a laudatory introduction."[57] Indeed, the genres of lament and eulogy (praise) "are best studied in conjunction with one another, not as rigidly defined structural categories, but as rather flexible and overlapping sets of formal and functional features."[58] Ps(s). 9-10 belong to a "series of I–psalms, which apparently are quite personal, but in reality are national psalms."[59] This is because the Psalmist (the "I") is the king (cf. v.1, לדוד). "In the royal manner, the psalmist speaks of these enemies [the גוים] as 'mine,' and the theme of his personal salvation is woven into the national concern."[60]

Lineation

Proposed lineation Line Supporting evidence Conflicting evidence
לַ֭מְנַצֵּחַ עַלְמ֥וּת לַבֵּ֗ן מִזְמ֥וֹר לְדָוִֽד׃ v. 1 s Alp Or2373 Vat-Sin-Alx Amt
אוֹדֶ֣ה יְ֭הוָה בְּכָל־לִבִּ֑י v. 2a a Alp Or2373 Vat-Sin-Alx Amt
אֲ֝סַפְּרָ֗ה כָּל־נִפְלְאוֹתֶֽיךָ׃ v. 2b s Alp Or2373 Vat-Alx Amt
אֶשְׂמְחָ֣ה וְאֶעֶלְצָ֣ה בָ֑ךְ v. 3a P a Alp Or2373 Vat-Sin-Alx Amt
אֲזַמְּרָ֖ה שִׁמְךָ֣ עֶלְיֽוֹן׃ v. 3b s Alp Or2373 Vat-Sin-Alx Amt
בְּשׁוּב־אוֹיְבַ֥י אָח֑וֹר v. 4a a Alp Or2373 Vat-Sin-Alx Amt
יִכָּשְׁל֥וּ וְ֝יֹאבְד֗וּ מִפָּנֶֽיךָ׃ v. 4b s Alp Or2373 Vat-Sin-Alx Amt
כִּֽי־עָ֭שִׂיתָ מִשְׁפָּטִ֣י וְדִינִ֑י v. 5a a Or2373 Vat-Sin-Alx Amt
יָשַׁ֥בְתָּ לְ֝כִסֵּ֗א שׁוֹפֵ֥ט צֶֽדֶק׃ v. 5b s Alp Or2373 Vat-Sin-Alx Amt
גָּעַ֣רְתָּ ג֭וֹיִם אִבַּ֣דְתָּ רָשָׁ֑ע v. 6a a Alp Or2373 Vat-Sin-Alx Amt
שְׁמָ֥ם מָ֝חִ֗יתָ לְעוֹלָ֥ם וָעֶֽד׃ v. 6b P s Alp Or2373 Vat-Sin-Alx Amt
הָֽאוֹיֵ֨ב׀ תַּ֥מּוּ חֳרָב֗וֹת לָ֫נֶ֥צַח v. 7a oy Alp Amt Vat-Sin-Alx[61]
וְעָרִ֥ים נָתַ֑שְׁתָּ v. 7b a Alp Or2373[62] Vat-Sin-Alx* Amt C
אָבַ֖ד זִכְרָ֣ם הֵֽמָּה׃ v. 7c s Alp Or2373* Vat-Sin-Alx Amt
וַֽ֭יהוָה לְעוֹלָ֣ם יֵשֵׁ֑ב v. 8a a Alp Or2373 Vat-Sin-Alx Amt
כּוֹנֵ֖ן לַמִּשְׁפָּ֣ט כִּסְאֽוֹ׃ v. 8b s Alp Or2373 Vat-Sin-Alx Amt
וְה֗וּא יִשְׁפֹּֽט־תֵּבֵ֥ל בְּצֶ֑דֶק v. 9a a Alp Or2373 Vat-Sin-Alx Amt
יָדִ֥ין לְ֝אֻמִּ֗ים בְּמֵישָׁרִֽים׃ v. 9b s Alp Or2373 Vat-Sin-Alx Amt
וִ֘יהִ֤י יְהוָ֣ה מִשְׂגָּ֣ב לַדָּ֑ךְ v. 10a P a Alp Or2373 Vat-Sin-Alx Amt
מִ֝שְׂגָּ֗ב לְעִתּ֥וֹת בַּצָּרָֽה׃ v. 10b s Alp Or2373 Vat-Sin-Alx Amt
וְיִבְטְח֣וּ בְ֭ךָ יוֹדְעֵ֣י שְׁמֶ֑ךָ v. 11a P a Alp Or2373 Vat-Sin-Alx Amt
כִּ֤י לֹֽא־עָזַ֖בְתָּ דֹרְשֶׁ֣יךָ יְהוָֽה׃ v. 11b s Or2373 Vat-Sin-Alx Amt
זַמְּר֗וּ לַ֭יהוָה יֹשֵׁ֣ב צִיּ֑וֹן v. 12a a Alp Or2373 Vat-Sin-Alx Amt
הַגִּ֥ידוּ בָ֝עַמִּ֗ים עֲלִֽילוֹתָֽיו׃ v. 12b s Alp Or2373 Vat-Sin-Alx Amt
כִּֽי־דֹרֵ֣שׁ דָּ֭מִים אוֹתָ֣ם זָכָ֑ר v. 13a P a Or2373 Vat-Sin-Alx Amt Alp[63]
לֹֽא־שָׁ֝כַ֗ח צַעֲקַ֥ת עֲנִיִּים׃ v. 13b s Alp* Or2373 Vat-Sin-Alx Amt
חָֽנְנֵ֬נִי יְהוָ֗ה רְאֵ֣ה עָ֭נְיִי מִשֹּׂנְאָ֑י v. 14a P a Or2373 Vat-Sin Alx* Amt Alx[64]
מְ֝רוֹמְמִ֗י מִשַּׁ֥עֲרֵי מָֽוֶת׃ v. 14b s Alp Or2373 Vat-Sin-Alx Amt
לְמַ֥עַן אֲסַפְּרָ֗ה כָּֽל־תְּהִלָּ֫תֶ֥יךָ v. 15a oy Alp Vat-Alx Sin[65] Amt[66]
בְּשַֽׁעֲרֵ֥י בַת־צִיּ֑וֹן v. 15b a Alp Vat-Alx Sin* Amt*
אָ֝גִ֗ילָה בִּישׁוּעָתֶֽךָ׃ v. 15c P s Alp Or2373* Vat-Sin Amt Alx[67]
טָבְע֣וּ ג֭וֹיִם בְּשַׁ֣חַת עָשׂ֑וּ v. 16a a Alp Or2373 Vat-Sin Alx* Amt Alx[68]
בְּרֶֽשֶׁת־ז֥וּ טָ֝מָ֗נוּ נִלְכְּדָ֥ה רַגְלָֽם׃ v. 16b s Alp Or2373 Vat-Sin-Alx Amt
נ֤וֹדַ֨ע׀ יְהוָה֮ מִשְׁפָּ֪ט עָ֫שָׂ֥ה v. 17a oy Vat-Sin-Alx Alp[69] Amt[70]
בְּפֹ֣עַל כַּ֭פָּיו נוֹקֵ֣שׁ רָשָׁ֑ע הִגָּי֥וֹן סֶֽלָה׃ v. 17b s Alp* Or2373* Vat-Sin-Alx Amt*[71]
יָשׁ֣וּבוּ רְשָׁעִ֣ים לִשְׁא֑וֹלָה v. 18a a Alp Or2373 Vat-Sin-Alx Amt
כָּל־גּ֝וֹיִ֗ם שְׁכֵחֵ֥י אֱלֹהִֽים׃ v. 18b s Alp* Or2373 Vat-Sin-Alx Amt Alp[72]
כִּ֤י לֹ֣א לָ֭נֶצַח יִשָּׁכַ֣ח אֶבְי֑וֹן v. 19a a Alp Or2373 Vat-Sin-Alx Amt
תִּקְוַ֥ת עֲנָוִים תֹּאבַ֥ד לָעַֽד׃ v. 19b s Alp Or2373 Vat-Sin-Alx Amt
קוּמָ֣ה יְ֭הוָה אַל־יָעֹ֣ז אֱנ֑וֹשׁ v. 20a a Alp* Or2373 Vat-Sin-Alx Amt Alp[73]
יִשָּׁפְט֥וּ ג֝וֹיִ֗ם עַל־פָּנֶֽיךָ׃ v. 20b s Alp Or2373 Vat-Sin-Alx Amt
שִׁ֘יתָ֤ה יְהוָ֨ה׀ מוֹרָ֗ה לָ֫הֶ֥ם v. 21a oy Or2373 Vat-Sin-Alx Amt
יֵדְע֥וּ גוֹיִ֑ם אֱנ֖וֹשׁ הֵ֣מָּה סֶּֽלָה׃ v. 21b s Alp* Or2373 Vat-Sin-Alx Amt*[74]

References

  1. ↑ GKC, 6m.
  2. ↑ Franz Delitzsch, Biblical Commentary on the Psalms, trans. Francis Bolton, vol. 1, 3 vols., Biblical Commentary on the Old Testament 19 (Grand Rapids: William B. Eerdmans Publishing Company, 1952).
  3. ↑ Les D. Maloney, A Word Fitly Spoken: Poetic Artistry in the First Four Acrostics of the Hebrew Psalter, Vol. 119 in Studies in Biblical Literature (New York: Peter Lang Publishing, 2009), 25-27.
  4. ↑ GKC, 6e.
  5. ↑ Les D. Maloney, A Word Fitly Spoken: Poetic Artistry in the First Four Acrostics of the Hebrew Psalter, Vol. 119 in Studies in Biblical Literature (New York: Peter Lang Publishing, 2009), 31.
  6. ↑ Les D. Maloney, A Word Fitly Spoken: Poetic Artistry in the First Four Acrostics of the Hebrew Psalter, Vol. 119 in Studies in Biblical Literature (New York: Peter Lang Publishing, 2009), 31.
  7. ↑ Les D. Maloney, A Word Fitly Spoken: Poetic Artistry in the First Four Acrostics of the Hebrew Psalter, Vol. 119 in Studies in Biblical Literature (New York: Peter Lang Publishing, 2009), 27-28.
  8. ↑ J.P. Fokkelman, Major Poems of the Hebrew Bible: At the Interface of Prosody and Structural Analysis, Vol. 2 (Assen: Van Gorcum, 2000), 75.
  9. ↑ J.P. Fokkelman, Major Poems of the Hebrew Bible: At the Interface of Prosody and Structural Analysis, Vol. 2 (Assen: Van Gorcum, 2000), 74.
  10. ↑ Les D. Maloney, A Word Fitly Spoken: Poetic Artistry in the First Four Acrostics of the Hebrew Psalter, Vol. 119 in Studies in Biblical Literature (New York: Peter Lang Publishing, 2009), 25.
  11. ↑ Les D. Maloney, A Word Fitly Spoken: Poetic Artistry in the First Four Acrostics of the Hebrew Psalter, Vol. 119 in Studies in Biblical Literature (New York: Peter Lang Publishing, 2009), 32.
  12. ↑ John Goldingay, Psalms, Vol. 1, in Baker Commentary on the Old Testament Wisdom and Psalms (Baker Academic, 2006), 167.
  13. ↑ BHRG, 19.4.
  14. ↑ J.P. Fokkelman, Major Poems of the Hebrew Bible: At the Interface of Prosody and Structural Analysis, Vol. 2 (Assen: Van Gorcum, 2000), 74.
  15. ↑ Les D. Maloney, A Word Fitly Spoken: Poetic Artistry in the First Four Acrostics of the Hebrew Psalter, Vol. 119 in Studies in Biblical Literature (New York: Peter Lang Publishing, 2009), 27.
  16. ↑ J.P. Fokkelman, Major Poems of the Hebrew Bible: At the Interface of Prosody and Structural Analysis, Vol. 2 (Assen: Van Gorcum, 2000), 75.
  17. ↑ GKC, 20b.
  18. ↑ Dominique Barthélemy, Critique textuelle de l’Ancien Testament: Tome 4. Psaumes, https://doi.org/10.5167/uzh-150304
  19. ↑ J.P. Fokkelman, Major Poems of the Hebrew Bible: At the Interface of Prosody and Structural Analysis, Vol. 2 (Assen: Van Gorcum, 2000), 75.
  20. ↑ J.P. Fokkelman, Major Poems of the Hebrew Bible: At the Interface of Prosody and Structural Analysis, Vol. 2 (Assen: Van Gorcum, 2000), 75.
  21. ↑ J.P. Fokkelman, Major Poems of the Hebrew Bible: At the Interface of Prosody and Structural Analysis, Vol. 2 (Assen: Van Gorcum, 2000), 74.
  22. ↑ Dominique Barthélemy, Critique textuelle de l’Ancien Testament: Tome 4. Psaumes, https://doi.org/10.5167/uzh-150304
  23. ↑ GKC, 91l.
  24. ↑ J.P. Fokkelman, Major Poems of the Hebrew Bible: At the Interface of Prosody and Structural Analysis, Vol. 2 (Assen: Van Gorcum, 2000), 76-77.
  25. ↑ GKC, 138g.
  26. ↑ J.P. Fokkelman, Major Poems of the Hebrew Bible: At the Interface of Prosody and Structural Analysis, Vol. 2 (Assen: Van Gorcum, 2000), 394.
  27. ↑ Fokkelman, Major Poems, 395.
  28. ↑ Fokkelman, Major Poems, 74.
  29. ↑ Fokkelman, Major Poems, 73.
  30. ↑ Wilfred G.E. Watson, Classical Hebrew Poetry: a Guide to its Techniques (Sheffield: Sheffield Academic Press, 2001), 181-183.
  31. ↑ Nicholas Lunn, Word-Order Variation in Biblical Hebrew Poetry: Differentiating Pragmatics and Poetics (Milton Keynes: Paternoster, 2006).
  32. ↑ Nicholas Lunn, Word-Order Variation in Biblical Hebrew Poetry: Differentiating Pragmatics and Poetics (Milton Keynes: Paternoster, 2006), 190.
  33. ↑ Nicholas Lunn, Word-Order Variation in Biblical Hebrew Poetry: Differentiating Pragmatics and Poetics (Milton Keynes: Paternoster, 2006), 176.
  34. ↑ J.P. Fokkelman, Major Poems of the Hebrew Bible: At the Interface of Prosody and Structural Analysis, Vol. 2 (Assen: Van Gorcum, 2000), 72.
  35. ↑ Dominique Barthélemy, Critique textuelle de l’Ancien Testament: Tome 4. Psaumes, https://doi.org/10.5167/uzh-150304
  36. ↑ Eugene Ulrich, The Biblical Qumran Scrolls: Transcriptions and Variants, Vol. 3: Psalms-Chronicles (Leiden: Brill, 2013), 628.
  37. ↑ Wilfred G.E. Watson, Classical Hebrew Poetry: a Guide to its Techniques (Sheffield: Sheffield Academic Press, 2001), 192.
  38. ↑ J.P. Fokkelman, Major Poems of the Hebrew Bible: At the Interface of Prosody and Structural Analysis, Vol. 2 (Assen: Van Gorcum, 2000), 72.
  39. ↑ GKC, 135f.
  40. ↑ J.P. Fokkelman, Major Poems of the Hebrew Bible: At the Interface of Prosody and Structural Analysis, Vol. 2 (Assen: Van Gorcum, 2000), 72.
  41. ↑ Peter Craigie, Psalms. 1-50, Word Biblical Commentary (Waco: Word Books, 1983), 129.
  42. ↑ Wilfred G.E. Watson, Classical Hebrew Poetry: a Guide to its Techniques (Sheffield: Sheffield Academic Press, 2001), 192.
  43. ↑ Franz Delitzsch, Biblical Commentary on the Psalms, trans. Francis Bolton, vol. 1, 3 vols., Biblical Commentary on the Old Testament 19 (Grand Rapids: William B. Eerdmans Publishing Company, 1952).
  44. ↑ Franz Delitzsch, Biblical Commentary on the Psalms, trans. Francis Bolton, vol. 1, 3 vols., Biblical Commentary on the Old Testament 19 (Grand Rapids: William B. Eerdmans Publishing Company, 1952).
  45. ↑ e.g., Robert Gordis, “Psalm 9-10: A Textual and Exegetical Study,” in The Jewish Quarterly Review 48, no. 2 (October 1957): 104–22.
  46. ↑ Peter Craigie, Psalms. 1-50, Word Biblical Commentary (Waco: Word Books, 1983), 129.
  47. ↑ Patrick William Skehan, “Broken Acrostic and Psalm 9,” in The Catholic Biblical Quarterly 27, no. 1 (January 1965): 1–5.
  48. ↑ Wilfred G.E. Watson, Classical Hebrew Poetry: a Guide to its Techniques (Sheffield: Sheffield Academic Press, 2001), 199.
  49. ↑ J.P. Fokkelman, Major Poems of the Hebrew Bible: At the Interface of Prosody and Structural Analysis, Vol. 2 (Assen: Van Gorcum, 2000), 72.
  50. ↑ Wilfred G.E. Watson, Classical Hebrew Poetry: a Guide to its Techniques (Sheffield: Sheffield Academic Press, 2001), 192.
  51. ↑ Peter Craigie, Psalms. 1-50, Word Biblical Commentary (Waco: Word Books, 1983), 116.
  52. ↑ Hans-Joachim Kraus, Psalms 1-59: A Commentary, trans. Hilton Oswald (Minneapolis: Augsburg Publishing House, 1988), 191.
  53. ↑ Peter Craigie, Psalms. 1-50, Word Biblical Commentary (Waco: Word Books, 1983), 116.
  54. ↑ Les D. Maloney, A Word Fitly Spoken: Poetic Artistry in the First Four Acrostics of the Hebrew Psalter, Vol. 119 in Studies in Biblical Literature (New York: Peter Lang Publishing, 2009), 25.
  55. ↑ Franz Delitzsch, Biblical Commentary on the Psalms, trans. Francis Bolton, vol. 1, 3 vols., Biblical Commentary on the Old Testament 19 (Grand Rapids: William B. Eerdmans Publishing Company, 1952).
  56. ↑ Ernst Wendland, Expository Outlines of the Psalms, https://www.academia.edu/37220700/Expository_Outlines_of_the_PSALMS
  57. ↑ Sigmund Mowinckel, The Psalms in Israel's Worship, Vol. 1 (Oxford: Blackwell, 1962), 95.
  58. ↑ Ernst Wendland, Studies in the Psalms (Dallas: SIL International, 2017), 85.
  59. ↑ Sigmund Mowinckel, The Psalms in Israel's Worship, Vol. 1 (Oxford: Blackwell, 1962), 219.
  60. ↑ John Eaton, Kingship and the Psalms (London: SCM Press, 1976), 32.
  61. ↑ τοῦ ἐχθροῦ ἐξέλιπον αἱ ῥομφαῖαι εἰς τέλος καὶ πόλεις καθεῖλες // ἀπώλετο τὸ μνημόσυνον αὐτῶν μετʼ ἤχους
  62. ↑ no (room for) space in ms, but sihpa accent on נָתַ֑שְׁתָּ
  63. ↑ כִּֽי־דֹרֵ֣שׁ דָּ֭מִים // אוֹתָ֣ם זָכָ֑ר לֹֽא־שָׁ֝כַ֗ח // צַעֲקַ֥ת עֲנִיִּים׃
  64. ↑ ἐλέησόν με κύριε ἰδὲ τὴν ταπείνωσίν μου // ἐκ τῶν ἐχθρῶν μου
  65. ↑ ὅπως ἂν ἐξαγγείλω πάσας τὰς αἰνέσεις σου ἐν ταῖς πύλαις τῆς θυγατρὸς Σιων // ἀγαλλιάσομαι ἐπὶ τῷ σωτηρίῳ σου
  66. ↑ ut narrem laudes tuas in portis filiae sion // exultabo in salutari tuo
  67. ↑ ἀγαλλιάσομαι ἐπὶ τῷ σωτηρίῳ σου (the following is indented on a new row) ἐνεπάγησαν ἔθνη
  68. ↑ ...ἐνεπάγησαν ἔθνη // ἐν διαφθορᾷ ἧ ἐποίησαν
  69. ↑ // נ֤וֹדַ֨ע׀ יְהוָה֮
  70. ↑ end of line, but following line indented: ...faciens / in operem...
  71. ↑ no הִגָּי֥וֹן סֶֽלָה׃
  72. ↑ כָּל־גּ֝וֹיִ֗ם // שְׁכֵחֵ֥י אֱלֹהִֽים׃
  73. ↑ קוּמָ֣ה יְ֭הוָה // אַל־יָעֹ֣ז אֱנ֑וֹשׁ
  74. ↑ semper following the next line (10:1a)
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