Psalm 92 Poetics

Psalm Overview

• Grammar
• Semantics
• Story behind the Psalm
• Discourse
• Poetics

About the Poetics Layer

Exploring the Psalms as poetry is crucial for understanding and experiencing the psalms and thus for faithfully translating them into another language. This layer is comprised of two main parts: poetic structure and poetic features. (For more information, click 'Expand' to the right.)

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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 Features

In poetic features, we identify and describe the “Top 3 Poetic Features” for each Psalm. Poetic features might include intricate patterns (e.g., chiasms), long range correspondences across the psalm, evocative uses of imagery, sound-plays, allusions to other parts of the Bible, and various other features or combinations of features. For each poetic feature, we describe both the formal aspects of the feature and the poetic effect of the feature. We assume that there is no one-to-one correspondence between a feature’s formal aspects and its effect, and that similar forms might have very different effects depending on their contexts. The effect of a poetic feature is best determined (subjectively) by a thoughtful examination of the feature against the background of the psalm’s overall message and purpose.

Poetics Visuals for Psalm 92

Poetic Structure

Poetic Macro-structure

• 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.
• 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, 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.
• 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.

Line Division

• 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).

Poetic Features

1. Echoes of Genesis 1

• 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.

Feature

Psalm 92 contains a number of lexical and thematic connections to Genesis 1.

After the superscription, the first word of the body of the psalm (vv. 2-16) is טוֹב "right" (or "good"), as the predicate of a verbless clause. This same predicate governs the content of the psalm through vv. 2-4, though requiring increasingly complex elisions, reminiscent of the fragmentary וַיַּרְא אֱלֹהִים כִּי־טוֹב (lit. "and God saw that good") throughout Genesis 1.

In v. 5 the psalmist is said to rejoice בְּמַעֲשֵׂי יָדֶיךָ "in the work of your hands."

A key contrast found in the psalm is the instances of flourishing. In v. 8, the wicked are said to flourish "like a green plant" (כְּמוֹ עֵשֶׂב), while the righteous will flourish "like a palm tree" and "like a cedar tree" in v. 13 (כַּתָּמָר and כְּאֶרֶז). These two plant types are similar to those mentioned in Genesis 1. Indeed, עֵשֶׂב is a common lexeme there (see Gen 1:11, 12, 29, 30), in the expression "plants yielding seed," ESV), which is differentiated from עֵץ, the "fruit trees bearing fruit in which is their seed" (Gen 1:11, ESV).

Effect

With the mention of "the Sabbath day" in the superscription, the thematic motif of the creation account in Genesis 1 is immediately activated. There are seven instances of טוֹב in the creation account (Gen 1:4, 10, 12, 18, 21, 25, 31; cf. the poetic feature, YHWH, sevenfold) in the famous sentence fragment (lit.) "God saw that good/right," which are likewise recalled with the mention of טוֹב as the first word of the body of the psalm. Thus, vv. 2-4 affirm that the goodness/rightness God saw at creation continues to be true: the creation order is, still, right/good, governed by YHWH's loyalty and faithfulness both in the morning and at night (v. 3; cf. the similar עֶרֶב and בֹּקֶר of Gen 1).

This distinction made between עֵשֶׂב and עֵץ in Genesis 1 finds an echo in the comparison of the wicked (רְשָׁעִים) and righteous (צַדִּיק) and their respective flourishing (פרח) in vv. 8 and 13, which poetically suggests that the future flourishing of the latter group is likened to types of tree (עֵץ), whereas the flourishing of the wicked is ephemeral, as the nature of עֵשֶׂב (cf. Ps 102:5, 12) and will quickly dry up and fade, leading to destruction.

When the psalmist rejoices "in the work of your hands" (בְּֽמַעֲשֵׂה* יָדֶיךָ*), it may imply many things, among which is its reference to the original creation (cf. Ps 102:26). However, it is followed be mention of "great works" and "deep plans" (v. 6), which suggest the intricate nature of YHWH's just rule over creation: it allows for the temporary flourishing of the wicked—though this is not a threat to his injustice or outside the bounds of his purposes in creation. At the same time, it is foolish (v. 7-8) to think that this flourishing will last or in any way pose a threat to the final assertion of the psalm, that YHWH is perfectly fair, without a hint of injustice. The (temporary) flourishing of the wicked and the (lasting) flourishing of the righteous are of fundamentally different natures, "each according to their kind."

2. YHWH, sevenfold

• 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.

Feature

There are seven instances of the divine name, YHWH, in Psalm 92. They are distributed symmetrically, including both the first and last verse of the body of the psalm (vv. 2, 16) with three occurrences both before and after the central verse (v. 9), and one in the central verse. The first and final two appear in the third-person, while the inner four (vv. 5, 6, 9, 10) are second-person vocatives.

Furthermore, the body of the psalm contains seven verses both before and after the central verse (vv. 2-8, 10-16). This central verse is the only monocolon in the psalm, flanked by the only two tricola in the psalm (vv. 8, 10), making a total of seven lines.

Effect

The superscription of Ps 92 uniquely mentions the “Sabbath day,” which finds its origins in the seventh day of creation, when God had finished all his work and then rested. The many sevens in the poem around the central verse (seven instances of the divine name, seven verses, and seven lines framing it) cause the theme of “Sabbath” to reverberate loudly, highlighting the central verse: YHWH on high forever. The poetic effect is to suggest that the Sabbath the psalmist is truly celebrating is defined by YHWH being on high, exalted over creation, forever. This is often called the future Sabbath, in which there is a full rest and a complete revelation of justice—both the ultimate, final destruction of the wicked and the ultimate, eternal flourishing of the righteous.

3. Justice from on high

• 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.

Feature

Besides those mentioned in YHWH, sevenfold, there are a number of other structural indications that v. 9 is the central verse of the psalm, with both vv. 2-8 and 10-16 in a symmetrical relationship. These include:

• The infinitive "to declare" in both vv. 3 and 16
• The evildoers mentioned in vv. 8 and 10
• And the flourishing of the wicked and righteous in vv. 8 and 13-14, respectively.

Nevertheless, a quick glance at the psalm shows the imprecise nature of this symmetry, as well as a number of features of linear development and repetition between the two sections of vv. 2-8 and 10-16:

• The infinitive "to declare" is found in the second verse of the first section, though the last verse of the second section
• The flourishing of the wicked is mentioned once in the final verse of the first section, though the flourishing of the righteous is mentioned twice in the fourth and fifth verses of the second section
• The evildoers are mentioned one line away from v. 9 in 8b, though two lines away in 10c
• The discourse marker, כִּי, appears once in the middle of the first section, though twice immediately at the beginning of the second section
• There is a pattern of movement from singular to plural throughout the psalm on a micro level (vv. 5-6, 7-8, 13-15)

Effect

From the outer bounds of declaring YHWH's loyalty, faithfulness (v. 3) and justice (v. 16), past the symmetric layers of the apparent flourishing of the wicked (v. 8a) and the future flourishing of the righteous (vv. 13-14), and the inner layers of the evildoers (vv. 8, 10), all highlight v. 9. The only two tricola of the psalm (vv. 8, 10) also flank the central verse as the unique monocolon in the body of the psalm. Structurally, v. 9 gains unrivaled prominence as the psalm's central reminder—namely, that YHWH executes perfect justice from his holy mountain (Isa 11:1-9; 57:15; Amos 1:2; Ps 2:6; 3:5; 43:3; 97:8; 99; 102:20-22). It is YHWH's position on high forever, that is, his prerogative to enact justice, that guarantees the evildoers' flourishing will be temporary (v. 8) and they will ultimately be scattered (v. 10). It is YHWH's position on high forever that provides cause for the righteous to praise, though the precise reason is not entirely clear until the last verse. In the last verse, the message of the psalm comes full circle: when YHWH deals out justice from on high, such that the wicked are destroyed but the righteous flourish, there is a purpose for the righteous flourishing: in order to praise him and declare him to be just. Because YHWH is just, the wicked flourish only temporarily and the righteous flourish forever. The righteous flourish in order to declare him to be just. It is a virtuous cycle and the message to which the psalm returns to time and time again, as vv. 2-8 anticipate its reality and vv. 10-16 look back on its assertion.

Along with the (imperfect) symmetrical structure, there is also a linear progression that drives the psalm forward, not only to v. 9 but all the way to the end. The effect is to impel the reader through the temporary flourishing of the wicked until, finally, they have perished and the righteous alone are left to flourish, vigorous and fresh in old age. The climax for the linear progression is the declaration of v. 16—YHWH is, in fact, fair. His justice is unthreatened by enemies or fears of perceived injustice. The linear structure, as noted, is seven verses (2-8), a single verse (9), and seven more verses (10-16). The first seven present us with the first Sabbath week, that of observed and experienced reality in a (seemingly) unjust world, before YHWH is exalted on high forever (v. 9). The second set of seven verses (10-16) build upon the idea that YHWH is judging on high, urging us ever forward in time, oriented towards the future Sabbath when, at the end of this "week," he will still be exalted on high forever. The intensification from singular to plural, one כִּי to two, and one mention of flourishing to two indicate that this flourishing will last, not simply ephemerally, as a green plant, but into long life, characteristic of that in the new heavens and new earth (cf. Isa 65:20). The final step of the flourishing of the righteous is their declaration of YHWH's perfect justice, arriving at the end of another seven verses (symbolizing seven days and bringing us to another Sabbath). The content of the declarations remains the same: v. 9, with YHWH on high forever. Thus, the linearity and symmetry converge as the psalm returns to the end of another seven (Sabbath) and praises him as exalted once again, because it is right to do so.

If the declaration of vv. 2-4 were in anticipation, the declaration of v. 16 is the culmination, when everything is seen and known. His completed works will display his perfect justice, and his people can both praise him now for that and eagerly look forward to their own experience of the ultimate justice.

Repeated Roots

The repeated roots table is intended to identify the roots which are repeated in the psalm.

For legend, click "Expand" to the right

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Repeated Roots Mini-story

Bibliography

Auffret, P. 1993. Voyez de Vos Yeux: Étude Structurelle de Vingt Psaumes dont le Psaume 119. Leiden: Brill.

Fokkelman, J. P. 2003. Major Poems of the Hebrew Bible: at the Interface of Prosody and Structural Analysis. Vol. III: The Remaining 65 Psalms. Assen: Royal van Gorcum, 177-181.

Friedmann, Jonathan, L. 2020. "Psalm 92, Shabbat, and the Temple," JBQ 48, no. 4: 245-252.

Labuschagne, C. J. 2012. Psalm 92 – Logotechnical Analysis.

Tucker Jr., W. Dennis. 2019. “The Ordered World of Psalm 92,” OTE 32, no. 2: 358-377.

van der Lugt, P. 2013. Cantos and Strophes in Biblical Hebrew Poetry III: Psalms 90-150 and Psalm 1. Leiden: Brill, 37-46.