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Number

plural

 DefinitionOccurrencesClusteringIntersectionConnectionsStructure
Psalm 9/Nounspluralכָּל־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)


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Gender

feminine

 DefinitionOccurrencesClusteringIntersectionConnectionsStructure
Psalm 9/Nounsfeminineנִפְלְאוֹתֶֽיךָ (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


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Definiteness

Proper names, Definite ה, Determined nouns

 DefinitionOccurrencesClusteringIntersectionConnectionsStructure
Psalm 9/NounsProper names
Definite ה
Determined nouns		יהוה (vv.2a, 8a, 10a, 11b, 12a, 14a, 17a, 20a, 21a), עֶלְיוֹן (v.3b), תֵּבֵל (v.9a), צִיּוֹן (vv.12a, 15b)
הָֽאוֹיֵ֨ב (v.7a)
הָֽאוֹיֵ֨ב (v.7a), לַמִּשְׁפָּ֣ט (v.8b), לַדָּ֑ךְ (v.10a), בַּצָּרָֽה (v.10b), בָ֝עַמִּ֗ים (v.12b)


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Pronominal suffixes

3mp, 3ms, 2ms, 1cs, Pronominal suffixes

 DefinitionOccurrencesClusteringIntersectionConnectionsStructure
Psalm 9/Nouns3mp
3ms
2ms
1cs
Pronominal suffixes		שְׁמָ֥ם (v.6b), זִכְרָ֣ם (v.7c), אוֹתָ֣ם (v.13a), רַגְלָֽם (v.16b), לָ֫הֶ֥ם (v.21a)
כִּסְאֽוֹ (v.8b), עֲלִֽילוֹתָֽיו (v.12b), כַּ֭פָּיו (v.17b)
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)
לִבִּ֑י (v.2a), אוֹיְבַ֥י (v.4a), מִשְׁפָּטִ֣י וְדִינִ֑י (v.5a), עָ֭נְיִי מִשֹּׂנְאָ֑י (v.14b), מְ֝רוֹמְמִ֗י (v.14c)		vv.6-7
vv.2-4, 11b, 15
vv.2-5, 14		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
strengthens connection between vv.2-3 and vv.12-15		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)
gives cohesion to bicola, occurring each time in the b-line with "Yahweh" as the antecedent in the a-line
Inclusio, gives cohesion to vv.2-11
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."'"`UNIQ--ref-00001056-QINU`"'

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."'"`UNIQ--ref-00001057-QINU`"'

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)."'"`UNIQ--ref-00001058-QINU`"' The motivation here (בִּישׁוּעָתֶֽךָ) may be phonological: תְּהִלָּ֫תֶ֥יךָ // בִּישׁוּעָתֶֽךָ (similar endings in this ABA' tricolon).

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Suffixes as objects

1cs

 DefinitionOccurrencesClusteringIntersectionConnectionsStructure
Psalm 9/Nouns1csחָֽנְנֵ֬נִי (v.14a)


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Possessives

 DefinitionOccurrencesClusteringIntersectionConnectionsStructure
Psalm 9/Nouns


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Addressee change

Addressee change

See below. See below.

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Speaker change

 DefinitionOccurrencesClusteringIntersectionConnectionsStructure
Psalm 9/Nouns


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Subject change

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."'"`UNIQ--ref-0000105E-QINU`"'

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."'"`UNIQ--ref-0000105E-QINU`"'

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Scene change

Bibliography

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