Psalm 92 Test Poetic Structure
Poetic Structure
In poetic structure, we analyse the structure of the psalm beginning at the most basic level of the structure: the line (also known as the “colon” or “hemistich”). Then, based on the perception of patterned similarities (and on the assumption that the whole psalm is structured hierarchically), we argue for the grouping of lines into verses, verses into strophes, strophes into stanzas, etc. Because patterned similarities might be of various kinds (syntactic, semantic, pragmatic, sonic) the analysis of poetic structure draws on all of the previous layers (especially the Discourse layer).
Poetic Macro-structure
If an emendation or revocalization is preferred, that emendation or revocalization will be marked in the Hebrew text of all the visuals.
| Emendations/Revocalizations legend | |
|---|---|
| *Emended text* | Emended text, text in which the consonants differ from the consonants of the Masoretic text, is indicated by blue asterisks on either side of the emendation. |
| *Revocalized text* | Revocalized text, text in which only the vowels differ from the vowels of the Masoretic text, is indicated by purple asterisks on either side of the revocalization. |
- v. 5 - For the emendation of בְּֽמַעֲשֵׂה* יָדֶ֣יךָ* (MT: בְּֽמַעֲשֵׂ֖י יָדֶ֣יךָ), see the grammar notes.
- v. 11 - For the revocalization of *בְּלֹתִי* (MT: בַּ֝לֹּתִ֗י) and the emendation of *כְּשֶׁמֶן* (MT: בְּשֶׁ֣מֶן), see the exegetical issue.
Notes
- Despite the clear concentric structure (see the line-division visual), the poem is not structured exactly symmetrically, as the final discourse unit consists of four verses, while the introductory section is only three. Similarly, the phrase כל פעלי און appears in the verses preceding and following the central verse, yet two lines before and three lines after.
- Nevertheless, the most significant repeated root, יהוה, does appear exactly three times before and after (and once within) the central verse – with a total of seven, as iconic of the "Sabbath" in the superscription. Furthermore, the outer instances (vv. 1, 14, 16) mention YHWH in the third person, whereas the inner instances (vv. 5, 6, 9, 10) are addressed to YHWH in the second person (see participant analysis). Also, each half (flanking v. 9) contains 7 verses, 15 lines, and 52 words (ignoring the MT's maqqefs; Labuschagne), consisting of three poetic sections of 3-2-2 lines preceding v. 9 and 3-2-2 following (seven sections in total).
- The structure here agrees with that of Labuschnage exactly.[1]
- Fokkelman and van der Lugt's suggestion that 9-10 is a unit, such that Ps 92 is split in two halves in the same manner as Ps 91,[2] does not hold up under the tidy symmetry observed above. Furthermore, it does no justice to the 52 words observed either side of v. 9 by Labuschagne.[3]
- Auffret's suggestion that 8-10 is a unit respects the psalm's symmetry, but disregards the fact that vv. 8-9 are the cataphoric content of v. 7's זֹֽאת, while the wayyiqtols of vv. 11-12 are semantically dependent on v. 10's yiqtols.[4]
Line Divisions
(For more information, click "Line Division Legend" below.)
Line division divides the poem into lines and line groupings. We determine line divisions based on a combination of external evidence (Masoretic accents, pausal forms, manuscripts) and internal evidence (syntax, prosodic word counting and patterned relation to other lines). Moreover, we indicate line-groupings by using additional spacing.
When line divisions are uncertain, we consult some of the many psalms manuscripts which lay out the text in lines. Then, if a division attested in one of these manuscripts/versions influences our decision to divide the text at a certain point, we place a green symbol (G, DSS, or MT) to the left of the line in question.
| Poetic line division legend | |
|---|---|
| Pausal form | Pausal forms are highlighted in yellow. |
| Accent which typically corresponds to line division | Accents which typically correspond to line divisions are indicated by red text. |
| | | Clause boundaries are indicated by a light gray vertical line in between clauses. |
| G | Line divisions that follow Greek manuscripts are indicated by a bold green G. |
| DSS | Line divisions that follow the Dead Sea Scrolls are indicated by a bold green DSS. |
| M | Line divisions that follow Masoretic manuscripts are indicated by a bold green M. |
| Number of prosodic words | The number of prosodic words are indicated in blue text. |
| Prosodic words greater than 5 | The number of prosodic words if greater than 5 is indicated by bold blue text. |
If an emendation or revocalization is preferred, that emendation or revocalization will be marked in the Hebrew text of all the visuals.
| Emendations/Revocalizations legend | |
|---|---|
| *Emended text* | Emended text, text in which the consonants differ from the consonants of the Masoretic text, is indicated by blue asterisks on either side of the emendation. |
| *Revocalized text* | Revocalized text, text in which only the vowels differ from the vowels of the Masoretic text, is indicated by purple asterisks on either side of the revocalization. |
- v. 5 - For the emendation of בְּֽמַעֲשֵׂה* יָדֶ֣יךָ* (MT: בְּֽמַעֲשֵׂ֖י יָדֶ֣יךָ), see the grammar notes.
- v. 11 - For the revocalization of *בְּלֹתִי* (MT: בַּ֝לֹּתִ֗י) and the emendation of *כְּשֶׁמֶן* (MT: בְּשֶׁ֣מֶן), see the exegetical issue.
Notes
- Excluding the superscription, v. 9 lies in the center of the poem as the only monocolon, surrounded by the only two tricola, where every other verse consists of a bicolon (specifically, six from vv. 2-7 and six from vv. 11-16).
- For the lack of v. 10a, see Vaticanus. The tricola is preferred, however, in light of the other ancient versions, the majority of the textual evidence, and the Ugaritic parallel (as discussed in the exegetical issues The Syntax of Ps 92:8 and The Grammar and Meaning of Ps 92:11b.
- v. 10 - Or 2373 seems to have struggled with the tricolon here, laid out as one long line – though it does the same for v. 12's bicolon. Berlin Qu 680 also has one long line for v. 10, though it doesn't see the need to do such in v. 8's tricolon.
- v. 12 - Berlin Qu 680 has the atnakh accent under מרעים, so naturally reads all of ותבט עיני בשורי בקמים עלי מרעים as one line, leaving only תשמענה אזני in the second line of the verse (6-2). The current (3-5) is more balanced (see the gap left after בשורי in L, for example.
- v. 16 - Contra the MT's atnakh, the LXX contains צ֝וּרִ֗י in the previous line (κύριος ὁ θεός μου). On the other hand, the MT maintains a 3-3 balance and contributes to the seven appearances of the divine name as line final (with the exception of v. 5).