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A list of all pages that have property "Discussion" with value "Didactic.". Since there have been only a few results, also nearby values are displayed.

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  • Psalm 5/Nouns  + (<u>v.10b</u> *הַוּוֹת – It is <u>v.10b</u></br>*הַוּוֹת – It is not uncommon for abstract nouns to be expressed in plural form.'"`UNIQ--ref-00000C52-QINU`"' The use of the plural here has an architectonic function: "The variation 'singular in A-colon plus plural in B-colon' governs the five verses of 10-11 and 12cd."'"`UNIQ--ref-00000C53-QINU`"'erses of 10-11 and 12cd."'"`UNIQ--ref-00000C53-QINU`"')
  • Psalm 5/Nouns  + (<u>v.13b</u> *The article in כַּ֜צִּנָּ֗ה (v.13b) is used for generic reference. This use of the article is common in similes.'"`UNIQ--ref-00000C57-QINU`"')
  • Psalm 4/Summary  + (<u>v.2 --- v.4</u></br> <u>v.2 --- v.4</u></br></br>Lexical</br>*בְּקָרְאִי --- בְּקָרְאִי</br>*יִשְׁמַע --- וּשְׁמַע </br>Phonological</br>*הִפְלָה --- תְּפִלָּתִי</br>Morphological</br>*Hiphil: הִפְלָה --- הִרְחַבְתָּ</br></br><u>v.5b --- v.7a, 8a, 9a</u></br></br>Lexical</br>*אֹמְרִים --- אִמְרוּ (v.7a)</br>*בְלִבִּי --- בִלְבַבְכֶם (v.8a)</br>*אֶשְׁכְּבָה --- מִשְׁכַּבְכֶם (v.7a)</br></br><u>Section 3 (vv.4-5) --- Section 5 (vv.7-8)</u></br></br>Lexical</br>*אִמְרוּ (v.5b) --- אֹמְרִים (v.7a)</br>*בִלְבַבְכֶם (v.5b) --- בְלִבִּי (v.8a)</br>Poetic</br>*Architectonic: pairs of bicola bound by inclusions</br>*Imagery: evening (vv.4-5) --> morning (vv.7-8)</br>Prosodic</br>*similar in length (39 syllables --- 40 syllables)</br></br><u>Section 4 (v.6) --- Sections 1 (v.2) and 6 (v.9)</u></br></br>Lexical</br>*צֶדֶק --- צִדְקִי (v.2a) </br>*לָבֶטַח --- וּבִטְחוּ (v.9c)</br>"The words most characteristic for the positive content, צדק and בטח, which moreover are immediately next to each other in v.6, form a nerve centre in the song. They are connected to צדקי in v.2a (the very first colon) and לבטח in 9c (the very last). Thus, beginning and end of the whole are tied to the centre."'"`UNIQ--ref-00000B5E-QINU`"'</br></br><u>Section 1 (v.2) --- Section 6 (v.9)</u></br></br>Poetic</br>*Tricola</br>*The imagery of the first tricolon is that of morning (בְּקָרְאִי sounds like בֹּקֶר), while the image of the final tricolon is that of evening (יַחְדָּו אֶשְׁכְּבָה וְאִישָׁן, v.9a).</br>Morphological</br>*initial בְּ preposition: בְּקראי (v.2a) --- בְּשלום (v.9a)</br>*Hiphil: הִרְחַבְתָּ (v.2b) --- תּוֹשִׁיבֵנִי (v.9c)</br>Prosodic</br>*A-lines of the exact same length (11 syllables, 4 words).בְּשלום (v.9a) *Hiphil: הִרְחַבְתָּ (v.2b) --- תּוֹשִׁיבֵנִי (v.9c) Prosodic *A-lines of the exact same length (11 syllables, 4 words).)
  • Psalm 2/Summary  + (A literary (artistic-rhetorical) translatiA literary (artistic-rhetorical) translation is required in order to match the verbal excellence of the original text. As Craigie correctly observes: “Through a variety of artistic devices, the poet has created a psalm of power and elegance, worthy of the drama of its theme.”'"`UNIQ--ref-00000A38-QINU`"' Timothy Wilt (see below, from his collection, Praise, Prayer and Protest, 3)'"`UNIQ--ref-00000A39-QINU`"' renders Psalm 2 along the lines of a poetic narrative, as suggested by Goldingay:'"`UNIQ--ref-00000A3A-QINU`"'</br>:Warlords and petty kings ally themselves and rouse their rabble. </br>::“We’ll be no one’s slaves. Let’s break away” they say, rebels </br>::Against Yahweh and the one he has chosen to rule over all.</br>:::Yahweh watches from heaven. He laughs at their delusions, </br>::for a moment, then speaks, from the holy mountain Zion: “''I''</br>::have enthroned and empowered the one to rule on my behalf.”</br>:::They freeze, terrified by his anger.</br>:::Then our kind speaks: “Yahweh has said to me: ‘Today, I </br>::Give birth to you. You are my son. Over any nation you ask</br>::from me, wherever it may be, I give you full rights. If you wish,</br>::take an iron club and smash the clay men.</br>:::“So swear allegiance to me, Yahweh’s chosen </br>::representative. And serve Yahweh as subjects a breath away </br>::from death, as ones whose slightest offense will rouse his </br>::annihilating anger.”</br>::How wonderful it is</br>::for those who come to Yahweh for protection!</br>:::::—''For the Royalty''</br></br>The second example of Psalm 2 is a “metrical version” in English composed by Fred R. Anderson.'"`UNIQ--ref-00000A3B-QINU`"' He defines this as “a poetic paraphrase of a biblical text, set in contemporary, vernacular language, versified in strict meter, and usually rhymed, so that it can be sung to a well-known tune of the same metrical setting. Metrical settings are characterized and named by the number of syllables in each line and the number of lines in each stanza (there are no limits to stanzas, but three to five are quite normal).”'"`UNIQ--ref-00000A3C-QINU`"' The meter for Psalm 2 is given as: 7.7.7.7 D – ''Aberystwyth, Hintze''.'"`UNIQ--ref-00000A3D-QINU`"'</br></br>:Why are the nations gumbling,</br>::And conspiring plots in vain?</br>:Rulers of the world rise up,</br>::Weaving webs of death and pain.</br>:Then against the Lord they cry,</br>::And against God’s Holy Son,</br>:“Let us tear their bonds from us,</br>::And with their control be done.”</br></br></br>:But the Lord has scorn on them, </br>::Laughing and enthroned on high;</br>:God brings wrath upon their work, </br>::Filled with anger God replies:</br>:“It is my own holy will</br>::That the Christ on earth shall reign,</br>:And on Zion’s holy hill</br>::My anointed I’ll maintain.”</br></br></br>:God’s decree unto the King</br>::Tells what the Lord did say:</br>:“You are my own holy child,</br>::I’ve begotten you this day.</br>:Ask of me and I will make</br>::All the nations your own stay.</br>:These possessions you shall rule, </br>::Strong as iron smashing clay.”</br></br></br>:Therefore leaders of the earth,</br>::Serve the Lord with holy fear;</br>:Trembling come before the throne, </br>::Or God’s anger will appear.</br>:Kiss God’s feet in trembling awe, </br>::Or the Lord will use the rod,</br>:Making beggars of all kings.</br>::Blest are those who trust in God.</br></br>The third and final example of a poetic translation comes from the restructuring of Psalm 2 prepared by William A. Smalley, with special emphasis upon the “expressive function” of language, that is, in an effort to recreate in English “the mood and emotional thrust of the Psalm.”'"`UNIQ--ref-00000A3E-QINU`"'</br></br>:The subject peoples are planning rebellion... </br>::Their people are plotting...</br>:::Their kings and rulers join in revolt... </br>::::“Freedom!” they say,</br>::::“Freedom from rule!”</br>::::“off with control</br>:::::of the Lord</br>:::::and the king he has chosen.”</br>::Plotting </br>::Useless plots. </br>::Why?</br></br></br>:The Lord laughs on his throne. </br>::Mocks them in heaven. </br>:Furious, he terrifies them,</br>:Speaks to them, angry,</br>::"''I'' have installed the king,</br>:::Placed him on Zion,</br>:::My holy hill.” </br>:And the king announces</br>::what the Lord has declared to him: </br>:::“You are my son.</br>:::Today I became your father.</br>:Ask me for the nations, </br>::and I’ll give you them.</br>: Ask for the earth,</br>::and the whole world will be yours </br>::to rule.</br>:Break the nations in pieces </br>::Like a clay pot smashes.</br>:Rule them with a harsh king’s rule.”</br></br></br>:So listen closely, rebel kings. </br>:Watch out, you plotting rulers.</br>::Tremble!</br>:::Bow down!</br>:Serve him with fear </br>::or you will die!</br>:But people are happy </br>::who go to the Lord </br>::for protection.</br></br>Smalley concludes with several caveats regarding poetic translation.'"`UNIQ--ref-00000A3F-QINU`"'</br>*The better the poem, of course, the more subtle and powerful is its text structure ..., the tightly-knit interplay of many elements on many levels of deep and surface structure. This cannot be preserved as such in translation, but elements of deep structure which the translator keeps must be formed into a new intricate text structure in the receptor language.</br>*A dynamic equivalent translation must evoke [the original functions], and although the information content should be fully preserved in translation, it should be integrated with the expressive function, which is primary. As with all translation, this can only be done in English by changing the poetic form, and translating the meaning in terms of another surface structure than that of the original.</br>*To the degree that there is a poem in the original there should be a poem of nearly equivalent value in the receptor language if the other functions involved are also suitable to verse form in the receptor language.</br>*Translation is not an interlingual Xerox process which produces the same work of art in another language. Every piece of literary art, whether a poem or a piece of literary prose, is in some respects unique. It is a unique combination of deep and surface structure elements, and has a gestalt all its own. ... If the restructuring is done by an artist equivalent to the original artists, presumably he [she] can produce an equivalent piece of literary art with a different surface structure, but with the same content and function.</br></br></br></br><u>'''Poetic Translation by Brad Willits'''</u></br>::The kings of the earth gather together,</br>::and stand against Yahweh and his Chosen King.</br>::They declare, “We will not serve him, we will rebel.”(1)</br>::Why do the nations conspire against Him?</br>::What do the people plot their rebellion?</br>::Such action is futile! (2)</br></br>::King God in heaven laughs at them.</br>::He mocks them.</br>::He rebukes them in anger.</br>::His wrath terrifies them. (3)</br>::He declares, “I have chosen the King</br>:::On my holy hill of Zion.”</br></br>::This is how God proclaimed me to be King. (4)</br>::He said to me:</br>:::Today you become my Son.</br>:::Today I become your Father.</br>:::Ask me and I will give you the nations.</br>:::Ask me and I will give you the earth.</br>:::You will rule them with a fist of iron.</br>:::You will break them like a clay pot. (5)</br></br>::Kings and rulers, think about your decision to rebel. (6)</br>::You have been warned. (7)</br>::Serve Yahweh with fear.</br>::Be happy that you can. (8)</br>::Show him true honor and affection (9)</br>:::Lest you be destroyed in your rebellion</br>:::Since he can easily wipe you out in his wrath.</br>::Blessed are those who allow Him to protect themselves.</br></br>'''Notes about the Translation with Principles for Translators:'''</br>#the metaphor of “breaking chains and fetters” has been changed to a non symbolic statement to avoid the negative connotation of God chaining up people. </br>#Significant reordering has been done in this first stanza.</br>#Repetition of structure has been used to underline the intensity.</br>#The theme of the “declaration” connects to the previous verse, and the translation specifies that the direct quotation is the “manner” in which God made his declaration.</br>#Three parallel couplets using grammatical structure and semantic content highlight the poetical nature of the passage.</br>#The reference to “wisdom” has been changed because of its positive and noble connotation.</br>#An idiomatic phrase has been used in this line.</br>#This line tries to make sense out of the phrase “rejoice with trembling.”</br>#The significance of the “kiss” has been portrayed instead of the cultural manner in which it was originally expressed. cultural manner in which it was originally expressed.)
  • Psalm 2/Summary  + (All the antagonists engaged in this cosmicAll the antagonists engaged in this cosmic drama are introduced in vv. 1-2 and remain “on stage” throughout the semi-narrative progressions that gives the text thematic cohesion (frequently underscored by chiastic syntactic constructions) as well as performative impact and poetic appeal. as performative impact and poetic appeal.)
  • Psalm 1/Phonology  + (Alliteration with אַשְׁרֵי and the play on sounds with רָשָׁע may be the reason the relative pronoun אֲשֶׁר is used so many times (3x) within this poem.)
  • Psalm 4/Summary  + (Analysis of the pragmatic function of eachAnalysis of the pragmatic function of each section is complicated by the fact that, though the psalm is a prayer to Yahweh (תפלה, v.2c), the heart of the psalm consists of an address to humans (vv.3-6). The communicative function of these verses is thus multilayered. The psalmist's words function both as a rebuke (v.3), admonition (vv.4-5), and exhortation (v.6) to humans (בני אישׁ), and, at the same time, as a prayer to Yahweh which consists of several components common to laments, i.e., complaint (v.3), profession of trust (vv.4-5), and petition (vv.6-8?).</br></br>:Section 1 (v.2) – Invocation</br>:Section 2 (v. 3) – Rebuke / Complaint (implicit)</br>:Section 3 (vv.4-5) – Admonition / Profession of Trust (implicit)</br>:Section 4 (v.6) – Exhortation / Petition? (implicit)</br>:Section 5 (vv.7-8) – Petition</br>:Section 6 (v. 9) – Profession of Truston :Section 6 (v. 9) – Profession of Trust)
  • Psalm 2/Context  + (Anderson lists the following "direct quotaAnderson lists the following "direct quotations or specific allusions" of Psalm 2 in the NT:'"`UNIQ--ref-00000A65-QINU`"'</br>*Ps. 2:1-2 – Acts 4:25-26</br>*Ps. 2:1, 5 – Rev. 11:18</br>*Ps. 2:7 – Acts 13:33; Heb. 1:5; 5:5</br>*Ps. 2:8-9 – Rev. 2:26-27; 12:5; 19:15</br>To these may be added the words of the Father spoken at Jesus' baptism (Matt. 3:17; Mk. 1:11; Lk. 3:22) and transfiguration (Matt. 17:5; Mk. 9:7; Lk. 9:35), all of which allude to Ps. 2:7.Lk. 9:35), all of which allude to Ps. 2:7.)
  • Reference Catalogue/Comment.850240  + (Another small translation bibliography, Nida School (on zotero): https://www.zotero.org/groups/166113/nidaschool/library)
  • Reference Catalogue/Comment.225474  + (Another small translation bibliography, Nida School (on zotero): https://www.zotero.org/groups/166113/nidaschool/library)
  • Reference Catalogue/Comment.304348  + (Another, much smaller, translation bibliography on zotero (Nida School): https://www.zotero.org/groups/166113/nidaschool/library)
  • Reference Catalogue/Comment.403378  + (Another, much smaller, translation bibliography on zotero (Nida School): https://www.zotero.org/groups/166113/nidaschool/library)
  • Psalm 5/Figurative  + (Anthropomorphism *Yahweh has ears (v.2a - Anthropomorphism</br>*Yahweh has ears (v.2a - הַאֲזִ֥ינָה)</br>*Yahweh has eyes (v.6a - עֵינֶ֑יךָ)</br>*Yahweh is a king (v.3a - מַלְכִּ֥י)</br>*Yahweh is a refuge (v.12a - כָל־ח֪וֹסֵי בָ֡ךְ)</br>*Yahweh inhabits a house (v.5b - יְגֻרְךָ֣; v.8a - בֵיתֶ֑ךָ)</br></br>Anthropatheia</br>*Yahweh's delight/favor (v.5a, חָפֵ֨ץ; v.13b - רָצ֥וֹן)</br>*Yahweh hates (v.6b - שָׂ֜נֵ֗אתָ; v.7b - יְתָ֨עֵ֥ב)ates (v.6b - שָׂ֜נֵ֗אתָ; v.7b - יְתָ֨עֵ֥ב))
  • Psalm 1/Visualisation.951372/Comment.329992  + (Are there two paths or just one path?)
  • Psalm 6/Nouns  + (Based on the use of suffixes alone, the psBased on the use of suffixes alone, the psalm appears to divide in two halves. 2ms suffixes appear only in the first half, while 1cs suffixes fill the second half. The first half focuses on Yahweh (2ms), beginning with his anger/wrath (v.2ab) and ends with his steadfast love (v.5b), recollection (v.6a), and praise (v.6b). In the second half, the psalmist focuses on his own sorrows., the psalmist focuses on his own sorrows.)
  • Psalm 2/Summary  + (Boundaries are marked by shifts in speaker, addressee, subject, and scene. Direct speech concludes each of the first three strophes.)
  • Psalm 1/Particles  + (Chan argues for a chiastic structure for vChan argues for a chiastic structure for vv. 1-5 (A A' B' B), where the letters (A/B) represent the subjects (righteous/wicked respectively) and the chiasm is formed by distribution of the prepositions בְּ (vv. 1-2, 5) and כְּ (vv. 3-4).'"`UNIQ--ref-0000098E-QINU`"'</br>: vv.1-2 (בְּ)</br>:: v.3 (כְּ)</br>:: v.4 (כְּ)</br>: v.5 (בְּ)בְּ) :: v.3 (כְּ) :: v.4 (כְּ) : v.5 (בְּ))
  • Psalm 3/Summary  + (Climax: v.8</br> Peak: v.9)
  • Psalm 1/Visualisation.951372/Comment.654713  + (Comment on two paths)
  • Psalm 1/Visualisation.951372/Comment.987921  + (Comment on two paths)
  • Reference Catalogue/Comment.234343  + (Consider incorporating UBS bibliographies:Consider incorporating UBS bibliographies: </br></br>(http://www.ubs-translations.org/bibliographies/).</br></br>The UBS "Bible Translation" bibliography (mostly 1960–2007) has over 5000 items: </br></br>http://www.ubs-translations.org/cgi-bin/dbman/db.cgi?db=transbib&uid=default&view_records=1&ID=*b=transbib&uid=default&view_records=1&ID=*)
  • Psalm 2/Summary  + (Craigie feels that the first “climax” of tCraigie feels that the first “climax” of the psalm occurs in v. 6: “God terrifies the earthly rulers, not with any direct threat, but simply with the announcement that he has established his king in Zion”'"`UNIQ--ref-00000A32-QINU`"'—no ordinary monarch, but one who has all the authority and power of the sole Deity, Yahweh, behind him. Craigie does not explicitly indicate where another “climax” occurs, but that must surely be in the very next verse (7), where the divine performative act is uttered: בְּנִ֥י אַ֑תָּה אֲ֜נִ֗י הַיּ֥וֹם יְלִדְתִּֽיךָ. Thus, the psalm’s emotive (6) and thematic (7) high points coincide in the center of the text, whereas the implications of this momentous divine decree is situated on the borders of the text: all impudent insurrectionists (stanza A) will be mercifully given a chance to fall into line and accept the new King’s rule (and receive a blessing, v. 12c); failing that, they must face the dire consequences of God’s righteous decrees (stanza D).</br></br>Verse 7c may be the most linguistically marked line in the psalm (verbless clause + independent pronoun + evocative language [2 Sam. 7] + figurative language [metaphor] + performative speech). This short line (4 syllables), which stands at the center of the psalm (בְּנִי is the middle word) and at the head of Yahweh's 7-line decree, makes a claim (grounded in the Davidic covenant) that is foundational to the rest of the psalm. is foundational to the rest of the psalm.)
  • Psalm 3/Nouns  + (David is the speaker throughout the Psalm,David is the speaker throughout the Psalm, though in v. 3b there is the embedded direct speech of his enemies. In vv. 5-7, the speaker alternates from 1st person in the a-lines to 3rd person in the b-lines (1 // 3 / 1 // 3 / 1 // 3). This middle section (vv. 5-7) is bracketed by David addressing Yahweh in the 2nd person (vv. 4, 8).ssing Yahweh in the 2nd person (vv. 4, 8).)
  • Psalm 8/Nouns  + (David is the speaker throughout the Psalm (v.1, לדוד). Note that David speaks on behalf of a group (1cp suffix: אדנינו [vv.2a, 10a]). Is he speaking on behalf of a congregation of Israelites, or on behalf of all humanity?)
  • Psalm 5/Nouns  + (David is the speaker throughout the entire psalm.)
  • Psalm 5/Context  + (Figures/Evocative language seem to predominate in the second half of the psalm, especially section 3 (vv.9-12). This macro-level feature may correspond to the tendency within parallel lines toward the heightening of the b-line.)
  • Psalm 8/Verbs  + (Finite verb forms cluster in the middle twFinite verb forms cluster in the middle two sections of the psalm (vv.4-7). The first section (vv.2c-3) contains a cluster of non-finite verbs (participles and infinitives) with only one finite verb, and the final section (vv.8-9) has almost no verbs at all (only the participle עֹבֵר in v.9b).</br>:Section 1 (vv.2c-3): non-finite verbs</br>::Section 2 (vv.4-5): finite verbs</br>::Section 3 (vv.6-7): finite verbs</br>:Section 4 (vv.8-9): no/non-finite verbs</br></br>*'''v.2c.''' תְּנָה – This form, if not emended (see below on [[#Variants|Textual Criticism]]), has been variously interpreted as an imperative (<נתן), an infinitive construct (<נתן), or a 3fs perfect (<נתן). (See Barthélemy for a history of medieval interpretation.'"`UNIQ--ref-00000F2B-QINU`"') </br>:Elsewhere in the Bible, תְּנָה occurs as an imperative (instead of תֵּן) "very frequently."'"`UNIQ--ref-00000F2C-QINU`"' This view is "usually accepted."'"`UNIQ--ref-00000F2D-QINU`"' "However, the position of this imperative after אשׁר makes it a syntactically abnormal form."'"`UNIQ--ref-00000F2E-QINU`"' </br>:The infinitive construct form of נתן is תֵּת,'"`UNIQ--ref-00000F2F-QINU`"' though the form נְתֹן occurs in Num. 20:21 and Gen. 38:9. The anomalous form in Ps. 8 (תְּנָה) finds an analogy in the form מֵרְדָה in Gen. 46:3 (רְדָה instead of רֶדֶת). So Waltke and O'Connor: “The form תְּנָה is not an anomalous imperative of נתן but an infinitive construct, as if formed from the root יתן (the verb 'to give' has this form in Phoenician); compare ירד, infinitive construct רֵדָה.”'"`UNIQ--ref-00000F30-QINU`"' According to this interpretation, v.2c may be understood as a verbless clause (S: תנה הודך; SC [location]: על השׁמים). “It may be interpreted: ''O Thou whose laying of Thy glory is upon the heavens''... Perhaps the author wrote תּנה הודך instead of נתתּ הודך, because he wishes to describe the setting out of the heavens with divine splendour as being constantly repeated and not as done once for all.”'"`UNIQ--ref-00000F31-QINU`"'</br>:The form תְּנָה may be a shortened form of נָתְנָה (cf. 2 Sam. 22:41 [תַּתָּה] vs. Ps. 18:41 [נָתַתָּה]). “Aphaeresis of a weak consonant with a full vowel” occurs in other places as well (cf. Jdgs. 19:11; Jer. 42:10; Ezek. 17:5; Hos. 11:3).'"`UNIQ--ref-00000F32-QINU`"' “In reality, however, all these forms are to be regarded merely as old textual errors.”'"`UNIQ--ref-00000F33-QINU`"' In either case, the occurrence of such forms elsewhere in the Hebrew Bible may support reading a 3fs perfect here, either by aphaeresis or by textual error. The subject of נתנה and the antecedent of אשׁר would be הארץ, the final word of the previous line (v.2b).</br>*'''vv.6-7.''' ''wayyiqtol'' - ''yiqtol'' - ''yiqtol'' - ''qatal''. Scholars have suggested that the short ''yiqtol'' forms are actually preterites, which "would originally have been distinguished from the normal so-called imperfect by both vocalization and stress."'"`UNIQ--ref-00000F34-QINU`"' Here, they are distinguished by the H-suffixes, which signify perfective aspect.'"`UNIQ--ref-00000F35-QINU`"' "There are a number of instances, especially in the poetic sections, where a ''yiqtol'' is used where one would have expected a ''qatal''/perfect. These instances are probably remnant of the non-jussive short ''yiqtol'', a form that is also to be found in ''wayyiqtol''."'"`UNIQ--ref-00000F36-QINU`"' The LXX renders each form with aorists (past perfective) (ἠλάττωσας... ἐστεφάνωσας... κατέστησας... ὑπέταξας). However, as Craigie writes, "the context is ambiguous and does not require a sequence of past tenses in English; a translation rendering the sequence of verbs into English as ''past/future/future/past'' is quite possible."'"`UNIQ--ref-00000F37-QINU`"' It is also possible that the four verbs be understood with "alternating reference to the past and the present in a way that brings out the present implications of the past act."'"`UNIQ--ref-00000F38-QINU`"' </br>:However the tense and aspect of these verbs are understood, it appears that the variation of forms (''wayyiqtol'' - ''yiqtol'' - ''yiqtol'' - ''qatal'') creates a chiastic structure ('''a''' וַתְּחַסְּרֵ֣הוּ '''b''' תְּעַטְּרֵֽהוּ / '''b'''' תַּ֭מְשִׁילֵהוּ '''a'''' שַׁ֣תָּה) that binds together vv.6-7. "The verbs in vv. 6–7 come in ''abbʹaʹ'' sequence as wayyiqtol, yiqtol, yiqtol, qatal. The arrangement thus binds vv.6–7 together."'"`UNIQ--ref-00000F39-QINU`"'inds vv.6–7 together."'"`UNIQ--ref-00000F39-QINU`"')
  • Psalm 1/Mathematical  + (Fokkelman claims that "Psalm 1 is a compleFokkelman claims that "Psalm 1 is a completely bicolic poem."'"`UNIQ--ref-000008FE-QINU`"' Alternatively, it seems that v.1 and v.3 might be analyzed as tetracola, since v.1c is, in many ways, parallel to v.1b, as is v.3c to v.3b. The first section (vv.1-3) would thus consist of the following: tetracolon, bicolon, tetracolon. The second section (vv.4-5) would consist of two bicola, and third section (v.6) of a single bicolon.d third section (v.6) of a single bicolon.)
  • Psalm 2/Mathematical  + (Fokkelman counts 28 cola in Psalm 2, whichFokkelman counts 28 cola in Psalm 2, which gives the perfect 8.00 when dividing 224 (syllables). However, the delineation below [[#Line divisions|below]] divides the text into 30 cola. If this is accepted, then the number of cola over syllables in psalm 2 is not a perfect integer. If, however, the number of syllables in psalm 2 are added to those of psalm 1 (224 + 144 = 368) and the total is divided by the total number of lines (16 + 30 = 46), then the result is the perfect integer 8.00.en the result is the perfect integer 8.00.)
  • Psalm 3/Verbs  + (For every four consecutive Qal verbs, therFor every four consecutive Qal verbs, there is one Hiphil verb. The pattern (<span style="color:#008000"> Q </span>, <span style="color:#008000"> Q </span>, <span style="color:#008000"> Q </span>, <span style="color:#008000"> Q </span>, <span style="color:#0000FF"> H </span>) is repeated three times before the Psalm ends with two ''hiphil'' verbs and a ''piel'' verb.</br></br>{| class="wikitable"</br>|+'''Verb Morphology'''</br>|-</br>! Verse !! Verb !! Stem !! Conjugation !! Person !! Gender !! Number !! Paragogic Suffix !! Pronominal Suffix !! Root</br>|-</br>| 1 (ss) || בּבֹרְחוֹ || <span style="color:#008000"> Q </span> || inf. const. || || || || || 3ms || ברח</br>|-</br>| 2a || רַבּוּ || <span style="color:#008000"> Q </span> || qatal || 3 || c || p || || || רבב</br>|-</br>| 2b || קָמִים || <span style="color:#008000"> Q </span> || ptc || || m || p || || || קוּם</br>|-</br>| 3a || אֹמְרִים || <span style="color:#008000"> Q </span> || ptc || || m || p || || || אמר</br>|-</br>| 4b || מֵרִים || <span style="color:#0000FF"> H </span> || ptc || || m || s || || || רוּם</br>|-</br>| 5a || אֶקְרָא || <span style="color:#008000"> Q </span> || yiqtol || 1 || c || s || || ||קרא</br>|-</br>| 5b || וַיַּעֲנֵנִי || <span style="color:#008000"> Q </span> || wayyiqtol || 3 || m || s || || 1cs || ענה</br>|-</br>| 6a || שָׁכַבְתִּי || <span style="color:#008000"> Q </span> || qatal || 1 || c || s || || || שׁכב</br>|-</br>| 6b || וָאִישָׁנָה || <span style="color:#008000"> Q </span> || wayyiqtol || 1 || c || s || ה || || ישׁן</br>|-</br>| 6c || הֱקִיצוֹתִי || <span style="color:#0000FF"> H </span> || qatal || 1 || c || s || || ||קיץ</br>|-</br>| 6d || יִסְמְכֵנִי || <span style="color:#008000"> Q </span> || yiqtol || 3 || m || s || || 1cs || סמך</br>|-</br>| 7a || אִירָא || <span style="color:#008000"> Q </span> || yiqtol || 1 || c || s || || || ירא</br>|-</br>| 7b || שָׁתוּ || <span style="color:#008000"> Q </span> || qatal || 3 || c || p || || || שׁית</br>|-</br>| 8a || קוּמָה || <span style="color:#008000"> Q </span> || <big>'''impv'''</big> || || m || s || ה || || קוּם</br>|-</br>| 8b || הוֹשִׁיעֵנִי || <span style="color:#0000FF"> H </span> || <big>'''impv'''</big> || || m || s || || 1cs || ישׁע</br>|-</br>| 8c || הִכִּיתָ || <span style="color:#0000FF"> H </span> || qatal || 2 || m || s || || || נכה</br>|-</br>| 8d || שִבַּרְתָּ || <span style="color:#FF0000"> D </span> || qatal || 2 || m || s || || || שׁבר</br>|}r:#0000FF"> H </span> || <big>'''impv'''</big> || || m || s || || 1cs || ישׁע |- | 8c || הִכִּיתָ || <span style="color:#0000FF"> H </span> || qatal || 2 || m || s || || || נכה |- | 8d || שִבַּרְתָּ || <span style="color:#FF0000"> D </span> || qatal || 2 || m || s || || || שׁבר |})
  • Psalm 1/Visualisation.951372/Comment.978857  + (How does the third section fit in?)
  • Psalm 1/Visualisation.951372/Comment.254589  + (How does the third section fit in?)
  • Psalm 1/Visualisation.951372/Comment.549443  + (I like the background sense of the tree flourishing, and then the dryness and emptiness of the chaff being scattered. Is this one path that goes through both of them, or just the idea of a path that is relevant to both?)
  • Psalm 1/Visualisation.951372/Comment.534571  + (I like the background sense of the tree flourishing, and then the dryness and emptiness of the chaff being scattered. Is this one path that goes through both of them, or just the idea of a path that is relevant to both?)
  • Psalm 7/Mathematical  + (If the [[#Line divisions|division of lines]]If the [[#Line divisions|division of lines]] is correct, then the middle line is v.10a: </br>:יִגְמָר־נָ֬א רַ֨ע ׀ רְשָׁעִים֮</br>This line has 7 syllables (cf. the middle in Ps. 6 [6:7a]) as well as some other distinguishing features: alliteration of ר; rare vocabulary (גמר); deontic modality; the particle נָא.</br></br>"The central strophe also contains the middle one of the 19 verses. This is v.10ab, which now strikes us as it shows the balance (= the word pair) of 'the wicked' versus 'the righteous.' Thus, the central verse also reflects what the poem is about: God, as a judge, shows whose side he is no by condemning the villain(s) and vindicating the speaker."'"`UNIQ--ref-00000E7A-QINU`"'the speaker."'"`UNIQ--ref-00000E7A-QINU`"')
  • Psalm 6/Mathematical  + (If the [[#Line divisions|division of lines]]If the [[#Line divisions|division of lines]] is correct, then the poem consists almost completely of bicola with one tricolon at the center (v.7). The tricolon has an aesthetic function as it results in 21 lines with the shortest line (v.7a, 7 syllables) at the middle. It also has a discourse function, highlighting the unique contents of section 3 (vv.7-8) and of v.7 in particular.ction 3 (vv.7-8) and of v.7 in particular.)
  • Psalm 4/Mathematical  + (If the inclusio binding together vv.4-5 is recognized (ודעו / ודמו), then ''selah'' occurs at sectional divisions (cf. Ps. 3). *v.3b (end of line/section) *v.5b (end of line/section))
  • Psalm 8/Verbs  + (If תְּנָ֥ה is interpreted as an imperative (see [[#Verb forms|above]]), then this would be an incidence of paragogic ''he''.)
  • Psalm 6/Lexical Semantics  + (In Psalm 6, rare words (those occurring 10In Psalm 6, rare words (those occurring 10 times or less) cluster in the third section of the psalm (vv. 7-8). This section, which is indeed the “emotional peak (or nadir!)”'"`UNIQ--ref-00000D1E-QINU`"' of the psalm, is marked by dense alliteration as well as by rare vocabulary. The striking recurrence of gutturals + sonorants/sibilants (בְּֽאַנְחָתִ֗י, אַשְׂחֶ֣ה, עַרְשִׂ֥י אַמְסֶֽה, עָֽשְׁשָׁ֣ה מִכַּ֣עַס עֵינִ֑י), which gives the section cohesion and prominence, may explain the unique choice of words; these have been chosen, at least in part, for the sake of their sounds.</br></br>*'''v.7b.''' שׂחה</br>The verb שׂחה occurs three times in the Hebrew Bible (Isa. 25:11 [qal, x2]; Ps. 6:7 [hiphil]). In the qal stem, it means “to swim.”'"`UNIQ--ref-00000D1F-QINU`"' The Hiphil is causative: “to cause to swim” i.e., “to flood/drench.”'"`UNIQ--ref-00000D20-QINU`"' So Vulgate [Hebrew] (''natare faciam'' – “make swim/float”). Both the LXX and Aquila understand the word to mean “bathe” (λούσω/πλύνω).</br></br>*'''v.7c.''' ערשׂ</br>The noun עֶרֶשׂ, a synonym of מִטָּה, מִשְׁכָּב, and יָצוּעַ, refers to a “couch” or a “divan.”'"`UNIQ--ref-00000D21-QINU`"' This was a raised (Ps. 132:3) and covered (Prov. 7:16) platform, used during sleep, sex (Prov. 7:16; Song 1:16), and sickness (Ps. 6:7; 41:4). “The Semites from Canaan did not usually sleep on raised beds, but rather on skins spread on the floor. When the bed was a piece of raised furniture, it took a form similar to beds used in most cultures today.”'"`UNIQ--ref-00000D22-QINU`"'</br></br>*'''v.7c.''' מסה</br>The verb מסה (cf., מסס) occurs only in the hiphil stem (Josh. 14:8; Ps. 6:7; 39:12; 147:18). It means literally to “melt” or to “dissolve into liquid” (cf., the melting of ice in Ps. 147:18). In Psalm 6, it is used in the hyperbolic image of a flood of tears turning a couch to liquid. So LXX (βρέχω – “make wet,” cf. Lk. 7:38), Aquila (τήκω – “melt”), Targum (טמשׁ – “immerse”), and Vulgate (''rigabo'' – “make wet”).</br></br>*'''v.8a.''' עשׁשׁ</br>The verb עשׁשׁ occurs three times in the Bible, only in the Psalms (Ps. 6:8 [עֵינִי]; 31:10 [עֵינִי], 11 [עֲצָמַי]) in the qal stem. It is a stative verb (Ps. 31:11, עָשֵׁשָׁה). It’s precise meaning is uncertain. HALOT gives the following options, “(a) to become dark, clouded is acceptable for Ps. 6:8 and 31:10, and (b) to be weak is not necessarily excluded; on the other hand (c) to decompose is only relevant for Ps. 31:11; in all instances (d) to swell up is possible and therefore to be preferred.”'"`UNIQ--ref-00000D23-QINU`"' In Ps. 6:8, the first option is reflected in the Targum (חשׁך) and the Vulgate (''caligavit''), and the fourth option seems to have been taken by Symmachus (ἐφλεγμαίνω).</br></br>*'''v.8b.''' עתק</br>The verb עתק, occurring four times in the qal stem (Ps. 6:8; Job 14:18; 18:4; 21:7), has the concrete meaning “move (away)” (Job 14:18; 18:4).'"`UNIQ--ref-00000D24-QINU`"' This is metaphorically extended to mean “move on in years” i.e., “to be/grow old” (Ps. 6:8; Job 21:7). So LXX (ἐπαλαιώθην, “I have grown old”). The experiencer of the verb in Ps. 6:8 is either the Psalmist’s eye (עתקה // עיני; MT, Syriac, Targum), which has become worn out by so much crying, or the Psalmist himself (עתקתי; LXX, Aquila, Symmachus, Vulgate [Hebrew]). (See below on [[#Variants|Variants]]))
  • Psalm 9/Summary  + (Lines marked with an asterisk (*) are dispLines marked with an asterisk (*) are disputed.</br>:לַ֭מְנַצֵּחַ עַלְמ֥וּת לַבֵּ֗ן מִזְמ֥וֹר לְדָוִֽד׃</br>:2a אוֹדֶ֣ה יְ֭הוָה בְּכָל־לִבִּ֑י </br>:2b אֲ֜סַפְּרָ֗ה כָּל־נִפְלְאוֹתֶֽיךָ׃</br>:3a אֶשְׂמְחָ֣ה וְאֶעֶלְצָ֣ה בָ֑ךְ </br>:3b אֲזַמְּרָ֖ה שִׁמְךָ֣ עֶלְיֽוֹן׃ </br>:4a בְּשׁוּב־אוֹיְבַ֥י אָח֑וֹר </br>:4b יִכָּשְׁל֥וּ וְ֜יֹאבְד֗וּ מִפָּנֶֽיךָ׃</br>:5a כִּֽי־עָ֭שִׂיתָ מִשְׁפָּטִ֣י וְדִינִ֑י </br>:5b יָשַׁ֥בְתָּ לְ֜כִסֵּ֗א שׁוֹפֵ֥ט צֶֽדֶק׃ </br>:6a גָּעַ֣רְתָּ ג֭וֹיִם אִבַּ֣דְתָּ רָשָׁ֑ע *</br>:6b שְׁמָ֥ם מָ֜חִ֗יתָ לְעוֹלָ֥ם וָעֶֽד׃ </br>:7a הָֽאוֹיֵ֙ב׀ תַּ֥מּוּ חֳרָב֗וֹת לָ֫נֶ֥צַח </br>:7b וְעָרִ֥ים נָתַ֑שְׁתָּ *</br>:7c אָבַ֖ד זִכְרָ֣ם הֵֽמָּה׃ *</br>:8a וַֽ֭יהוָה לְעוֹלָ֣ם יֵשֵׁ֑ב *</br>:8b כּוֹנֵ֖ן לַמִּשְׁפָּ֣ט כִּסְאֽוֹ׃</br>:9a וְה֗וּא יִשְׁפֹּֽט־תֵּבֵ֥ל בְּצֶ֑דֶק </br>:9b יָדִ֥ין לְ֜אֻמִּ֗ים בְּמֵישָׁרִֽים׃ </br>:10a וִ֨יהִ֤י יְהוָ֣ה מִשְׂגָּ֣ב לַדָּ֑ךְ </br>:10b מִ֜שְׂגָּ֗ב לְעִתּ֥וֹת בַּצָּרָֽה׃</br>:11a וְיִבְטְח֣וּ בְ֭ךָ יוֹדְעֵ֣י שְׁמֶ֑ךָ </br>:11b כִּ֤י לֹֽא־עָזַ֖בְתָּ דֹרְשֶׁ֣יךָ יְהוָֽה׃ </br>:12a זַמְּר֗וּ לַ֭יהוָה יֹשֵׁ֣ב צִיּ֑וֹן </br>:12b הַגִּ֥ידוּ בָ֜עַמִּ֗ים עֲלִֽילוֹתָֽיו׃</br>:13a כִּֽי־דֹרֵ֣שׁ דָּ֭מִים אוֹתָ֣ם זָכָ֑ר </br>:13b לֹֽא־שָׁ֜כַ֗ח צַעֲקַ֥ת עֲנָיִים׃</br>:14a חָֽנְנֵ֬נִי יְהוָ֗ה *</br>:14b רְאֵ֣ה עָ֭נְיִי מִשֹּׂנְאָ֑י *</br>:14c מְ֜רוֹמְמִ֗י מִשַּׁ֥עֲרֵי מָֽוֶת׃</br>:15a לְמַ֥עַן אֲסַפְּרָ֗ה כָּֽל־תְּהִלָּ֫תֶ֥יךָ *</br>:15b בְּשַֽׁעֲרֵ֥י בַת־צִיּ֑וֹן *</br>:15c אָ֜גִ֗ילָה בִּישׁוּעָתֶֽךָ׃ *</br>:16a טָבְע֣וּ ג֭וֹיִם בְּשַׁ֣חַת עָשׂ֑וּ </br>:16b בְּרֶֽשֶׁת־ז֥וּ טָ֜מָ֗נוּ נִלְכְּדָ֥ה רַגְלָֽם׃</br>:17a נ֤וֹדַ֙ע׀ יְהוָה֘ מִשְׁפָּ֪ט עָ֫שָׂ֥ה </br>:17b בְּפֹ֣עַל כַּ֭פָּיו נוֹקֵ֣שׁ רָשָׁ֑ע </br>::הִגָּי֥וֹן סֶֽלָה׃</br>:18a יָשׁ֣וּבוּ רְשָׁעִ֣ים לִשְׁא֑וֹלָה </br>:18b כָּל־גּ֜וֹיִ֗ם שְׁכֵחֵ֥י אֱלֹהִֽים׃</br>:19a כִּ֤י לֹ֣א לָ֭נֶצַח יִשָּׁכַ֣ח אֶבְי֑וֹן </br>:19b תִּקְוַ֥ת עֲנִויִּם תֹּאבַ֥ד לָעַֽד׃</br>:20a קוּמָ֣ה יְ֭הוָה אַל־יָעֹ֣ז אֱנ֑וֹשׁ </br>:20b יִשָּׁפְט֥וּ ג֜וֹיִ֗ם עַל־פָּנֶֽיךָ׃ </br>:21a שִׁ֨יתָ֤ה יְהוָ֙ה׀ מוֹרָ֗ה לָ֫הֶ֥ם </br>:21b יֵדְע֥וּ גוֹיִ֑ם *</br>:21c אֱנ֖וֹשׁ הֵ֣מָּה סֶּֽלָה׃ *</br></br>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)."'"`UNIQ--ref-00000FC0-QINU`"' 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.'"`UNIQ--ref-00000FC1-QINU`"'</br></br>*'''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).'"`UNIQ--ref-00000FC2-QINU`"'</br>*'''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.'"`UNIQ--ref-00000FC3-QINU`"'ke long cola.'"`UNIQ--ref-00000FC3-QINU`"')
  • Psalm 1/Lexical Semantics  + (More complete explanations of the words usMore complete explanations of the words used in Psalm 1 can be found in the UBS Translators Handbook on the Psalms'"`UNIQ--ref-000008AD-QINU`"' and in commentaries like the ''Word Biblical Commentaries'' series.'"`UNIQ--ref-000008AE-QINU`"' A few words that may cause difficulties for translators are highlighted here.</br></br>'''v. 1'''</br>*אַשְׁרֵי הָאִישׁ – (see [[#Rare words|below]])</br></br>*ְהָלַך – (see [[#Semantically/thematically related words|below]])</br></br>*עֵצָה – This word most often refers to the “counsel” or “guidance” one receives from others. To “walk in the advice of the wicked” means to allow their evil ideas to impact and determine one’s behavior.</br></br>*רְשָׁעִים – (see [[#Repeated words|below]])</br></br>*דֶּרֶךְ – (see [[#Repeated words|below]])</br></br>*עָמַד – (see [[#Semantically/thematically related words|below]])</br></br>*מוֹשָׁב – (see [[#Repeated words|below]])</br></br>*לֵצִים – (see [[#Semantically/thematically related words|below]])</br></br>*יָשָב – (see [[#Repeated words|below]])</br></br>'''v. 2'''</br>*תּוֹרָה – (see [[#Repeated words|below]])</br></br>*יֶהְגֶּה – The word הָגָה is not as much ‘meditate’ but ‘mutter.’ The idea is not that the blessed person thinks on the law day and night, but the law is actually on his or her lips. The problem with the translation into English is that ‘he mutters his law’ does not sound like a good thing necessarily. Something like ‘muses’ might be better or ‘chews on’, but both of these miss the muttering component. It might be best to put a footnote with ‘muse’ to indicate that speaking is involved. It has been translated "meditate/think about (ESV, NRSV, NASB, NIV, NET, NLT, CEV) < "study" (NJPS, TEV).</br></br>'''v. 3'''</br>*עֵץ – (see [[#Semantically/thematically related words|below]])</br></br>*שָׁתוּל – (see [[#Rare words|below]])</br></br>*פַּלְגֵי מַיִם – (see [[#Semantically/thematically related words|below]])</br></br>*בְּעִתּוֹ – (see [[#Semantically/thematically related words|below]])</br></br>'''v. 4'''</br>*מֹץ – (see [[#Semantically/thematically related words|below]])</br></br>'''v. 5'''</br>*מִשְׁפָּט – It is difficult to tell whether מִשְׁפָּט means ‘lawcourt’ (as in the place) or as referring to the act of making a ruling. Both are possible. The former is suggested by the parallel to בַּעֲדַת, but the latter fits the context as well.</br></br>*יָקֻמוּ – (see [[#Semantically/thematically related words|below]])</br></br>*עֵדָה – This concept is not necessarily limited to a local assembly of people, like a local synagogue. It may refer to the regular public meetings at the sanctuary (tabernacle or temple) as well. It is normally a large crowd of people.</br></br>'''v. 6'''</br>*יוֹדֵעַ – To “know a way” means, in its most basic sense, “to recognize-acknowledge a pathway, route, or prescribed way of life” (see Jos. 3:4, Job 21:14, Ps. 67:2, Isa. 42:16, Jer. 5:4-5). In the OT and a covenantal context, the verb ידע has a relational implication: Yahweh in personal relationship with his faithful people. When the stative ידע is used verbally as a participle, it may mean ‘care for’ (see Prov. 12:10; 29:7). In this case, the “way of the godly” is not their behavior, but their course of life or destiny. Alternatively, the word may indicate familiarity and suggest that God walks with the righteous on their pathway. It could also refer to the Lord recognizing the behavior of the godly and, by metonymy, rewarding their godliness with security and prosperity (“the LORD rewards the behavior of the godly”). It has been translated "knows" (ESV, NASB), "watches over/guards/protects" (NRSV, NIV, NET, NLT), "guides" (TEV), "cherishes" (NJPS).</br></br>*צַדִּיקִים – (see [[#Repeated words|below]])</br></br>*תֹּאבֵד – (see [[#Semantically/thematically related words|below]]))
  • Psalm 3/Mathematical  + (Naturally, the entire psalm is expressed aNaturally, the entire psalm is expressed as direct speech, a prayer to the Lord, especially vv. 2 and 8; moreover, it also incorporates a direct quote that ironically (but typically for psalmic discourse) illustrates popular negative opinion about the psalmist (v. 3b).</br></br>Jacobson makes the following generalization about the ''discourse'' function of enemies' speech directed against the psalmist: "Because enemy quotations in which the enemies attack the Psalmist are both less frequent and more subtle than the quotations in which the enemies attack God, less uniform conclusions can be drawn about their formal role. These quotations do not seem to occur as the culmination of the they-complaint nor do they function as significantly at the turning point of the psalm. Nor does the content of these quotations play a central role in the psalms in which they occur."'"`UNIQ--ref-00000AF2-QINU`"' Psalm 3 appears to be an exception to Jacobson's general observation, since in Psalm 3 the enemies' speech (v. 3b) does appear at the culmination of the complaint (vv. 2-3), a turning point in the psalm.</br></br>Jacobson also comments on the ''rhetorical'' function of enemies' speech directed against the psalmist: "When the psalmist quotes words in which the enemy originally performed an illocutionary act, the psalmist is re-performing that original illocutionary action for her current audience–God–in order to persuade God (perlocutionary act) to answer her prayer."'"`UNIQ--ref-00000AF3-QINU`"' her prayer."'"`UNIQ--ref-00000AF3-QINU`"')
  • Psalm 7/Particles  + (No independent personal pronouns in this psalm.)
  • Psalm 1/Lexical Semantics  + (No other words for God.)
  • Psalm 1/Particles  + (No personal pronouns in this psalm! Perhaps because it is short? Search how many psalms have no pronouns, or pronouns per word average across the psalms.)
  • Psalm 1/Visualisation.951372/Comment.55893  + (Not sure how well this will work)
  • Psalm 6/Nouns  + (Object suffixes appear only in the first half of the psalm, sections 1 (vv.2-4) and 2 (vv.5-6).)
  • Psalm 1/Visualisation.951372/Comment.794864  + (One path or two paths?)
  • Psalm 1/Figurative  + (Psalm 1 begins (v. 1) and ends (v. 6) with the conceptual metaphor LIFE is a PATHWAY (דֶּרָךְ).)
  • Psalm 1/Mathematical  + (Psalm 1 contains 6 parallelisms: *'''v. 1.Psalm 1 contains 6 parallelisms:</br>*'''v. 1.''' Parallelism of similarity, with a structure of intensification: from walking to standing to sitting, from counsel to way to scoffers.</br>*'''v. 3.''' Parallelism of specification, planted to yielding fruit (which most normally do) to not withering (which less do), to prospering. It is a structure of intensification.</br>*'''v. 4.''' Parallelism of addition/expansion, extra information about the wicked is added.</br>*'''v. 5.''' Parallelism of similarity, the wicked and sinners are synonymous, a word-pair, and although judgment and congregation are not synonymous, but indirectly related concepts of the gathering of the righteous.</br>*'''v. 6.''' Parallelism of similarity indicated with contrast, with chiasm, contrasting the righteous and the wicked and the end destination of each. The parallelism does not seem to be tight but there must be a general idea of prosperity for the righteous and destruction for the wicked.</br>**"The bicolic v. 6 serves as a summary by giving the competitors one half-verse each. Besides balance, there is also disruption of balance. God is on the side of the righteous, which makes the latter the target and grammatical object of God's interest. In the final clause, the other is degraded so far that he is neither grammatical subject nor object any more. His 'way' is a dead end: by using an intransitive verb, the original Hebrew suggests that misconduct is a process without God, which by itself and autonomously leads to a painful end."'"`UNIQ--ref-00000900-QINU`"'</br>{|style="margin: auto;"</br>|+'''v.1.'''</br>|-</br>| || || <span style="color:#0000FF">אַ֥שְֽׁרֵי־הָאִ֗ישׁ אֲשֶׁ֤ר׀</span></br>|-</br>| <span style="color:#A52A2A"><sup>c</sup>רְשָׁ֫עִ֥ים</span> || <span style="color:#FFA500"><sup>b</sup>בַּעֲצַ֪ת</span> || <span style="color:#008000"><sup>a</sup>לֹ֥א הָלַךְ֘</span></br>|-</br>| <span style="color:#008000"><sup>a</sup>לֹ֥א עָמָ֑ד</span> || <span style="color:#A52A2A"><sup>c'</sup>חַ֭טָּאִים</span> || <span style="color:#FFA500"><sup>b'</sup>וּבְדֶ֣רֶךְ</span></br>|-</br>| <span style="color:#008000"><sup>a</sup>לֹ֣א יָשָֽׁב׃</span> || <span style="color:#A52A2A"><sup>c'"`UNIQ--nowiki-00000901-QINU`"'</sup>לֵ֜צִ֗ים</span> || <span style="color:#FFA500"><sup>b'"`UNIQ--nowiki-00000902-QINU`"'</sup>וּבְמוֹשַׁ֥ב</span></br>|}</br>{|style="margin: auto;"</br>|+'''v.2.'''</br>|-</br>| || <span style="color:#FF0000"><sup>b</sup>חֶ֫פְצ֥וֹ</span> || <span style="color:#0000FF"><sup>a</sup>בְּתוֹרַ֥ת יְהוָ֗ה</span> || כִּ֤י אִ֥ם</br>|-</br>| <sup>c</sup>יוֹמָ֥ם וָלָֽיְלָה׃ || <span style="color:#FF0000"><sup>b'</sup>יֶהְגֶּ֗ה</span> || <span style="color:#0000FF"><sup>a'</sup>וּֽבְתוֹרָת֥וֹ</span></br>|}</br>{|style="margin: auto;"</br>|+'''v.5.'''</br>|-</br>| <span style="color:#C71585"><sup>c</sup>בַּמִּשְׁפָּ֑ט</span> || <span style="color:#A52A2A"><sup>b</sup>רְ֭שָׁעִים</span> || <span style="color:#FF0000"><sup>a</sup>לֹא־יָקֻ֣מוּ</span> || עַל־כֵּ֤ן׀</br>|-</br>| <span style="color:#C71585"><sup>c'</sup>בַּעֲדַ֥ת צַדִּיקִֽים׃</span> || <span style="color:#FF0000"><sup>a'</sup>⟨ ⟩</span> || <span style="color:#A52A2A"><sup>'b</sup>וְ֜חַטָּאִ֗ים</span></br>|}</br>{|style="margin: auto;"</br>|+'''v.6.'''</br>|-</br>| <span style="color:#FF0000"><sup>d</sup>צַדִּיקִ֑ים</span> || <span style="color:#008000"><sup>c</sup>דֶּ֣רֶךְ</span> || <span style="color:#9932CC"><sup>b</sup>יְ֭הוָה</span> || <span style="color:#0000FF"><sup>a</sup>יוֹדֵ֣עַ</span> || כִּֽי־</br>|-</br>| || <span style="color:#0000FF"><sup>a'</sup>תֹּאבֵֽד׃</span> || <span style="color:#FF0000"><sup>d'</sup>רְשָׁעִ֣ים</span> || <span style="color:#008000"><sup>c'</sup>וְדֶ֖רֶךְ</span></br>|}'b</sup>וְ֜חַטָּאִ֗ים</span> |} {|style="margin: auto;" |+'''v.6.''' |- | <span style="color:#FF0000"><sup>d</sup>צַדִּיקִ֑ים</span> || <span style="color:#008000"><sup>c</sup>דֶּ֣רֶךְ</span> || <span style="color:#9932CC"><sup>b</sup>יְ֭הוָה</span> || <span style="color:#0000FF"><sup>a</sup>יוֹדֵ֣עַ</span> || כִּֽי־ |- | || <span style="color:#0000FF"><sup>a'</sup>תֹּאבֵֽד׃</span> || <span style="color:#FF0000"><sup>d'</sup>רְשָׁעִ֣ים</span> || <span style="color:#008000"><sup>c'</sup>וְדֶ֖רֶךְ</span> |})