The Relationship Between Psalm 40:14–18 and Psalm 70

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Introduction

Psalms 40:14–18 and 70 are nearly identical, yet they diverge at several points. The following table illustrates the points of difference:

Blue = text/content unique to psalm (i.e., present in one, absent on the other)
Green = differing text in corresponding locations (e.g., different names for God, verbs, etc.)
Verse Psalm 40:14–18 Psalm 70 Verse
לַ֝מְנַצֵּ֗חַ לְדָוִ֥ד לְהַזְכִּֽיר׃ 1
14 רְצֵ֣ה יְ֭הוָה לְהַצִּילֵ֑נִי יְ֝הוָ֗ה לְעֶזְרָ֥תִי חֽוּשָׁה׃ אֱלֹהִ֥ים לְהַצִּילֵ֑נִי יְ֝הוָ֗ה לְעֶזְרָ֥תִי חֽוּשָֽׁה׃ 2
15 יֵ֘בֹ֤שׁוּ וְיַחְפְּר֨וּ ׀  יַחַד֮  מְבַקְשֵׁ֥י נַפְשִׁ֗י  לִסְפּ֫וֹתָ֥הּ יִסֹּ֣גוּ אָ֭חוֹר וְיִכָּלְמ֑וּ חֲ֝פֵצֵ֗י רָעָתִֽי׃ יֵבֹ֣שׁוּ וְיַחְפְּרוּ֮ מְבַקְשֵׁ֪י נַ֫פְשִׁ֥י יִסֹּ֣גוּ אָ֭חוֹר וְיִכָּלְמ֑וּ חֲ֝פֵצֵ֗י רָעָתִֽי׃ 3
16 יָ֭שֹׁמּוּ עַל־עֵ֣קֶב בָּשְׁתָּ֑ם הָאֹמְרִ֥ים לִ֝֗י הֶ֘אָ֥ח ׀ הֶאָֽח׃ יָ֭שׁוּבוּ עַל־עֵ֣קֶב בָּשְׁתָּ֑ם הָ֝אֹמְרִ֗ים הֶ֘אָ֥ח ׀ הֶאָֽח׃ 4
17 יָ֘שִׂ֤ישׂוּ וְיִשְׂמְח֨וּ ׀ בְּךָ֗ כָּֽל־מְבַ֫קְשֶׁ֥יךָ יֹאמְר֣וּ תָ֭מִיד יִגְדַּ֣ל יְהוָ֑ה אֹֽ֝הֲבֵ֗י תְּשׁוּעָתֶֽךָ׃ יָ֘שִׂ֤ישׂוּ וְיִשְׂמְח֨וּ ׀ בְּךָ֗ כָּֽל־מְבַ֫קְשֶׁ֥יךָ וְיֹאמְר֣וּ תָ֭מִיד יִגְדַּ֣ל אֱלֹהִ֑ים אֹ֝הֲבֵ֗י יְשׁוּעָתֶֽךָ ׃ 5
18 וַאֲנִ֤י ׀ עָנִ֣י וְאֶבְיוֹן֮ אֲדֹנָ֪י יַחֲשָׁ֫ב לִ֥י עֶזְרָתִ֣י וּמְפַלְטִ֣י אַ֑תָּה אֱ֝לֹהַ֗י אַל־תְּאַחַֽר׃ וַאֲנִ֤י ׀ עָנִ֣י וְאֶבְיוֹן֮ אֱלֹהִ֪ים חֽוּשָׁ֫ה־לִּ֥י עֶזְרִ֣י וּמְפַלְטִ֣י אַ֑תָּה יְ֝הוָ֗ה אַל־תְּאַחַֽר׃ 6

A number of commentaries fail to discuss either one or the other, deeming them one and the same poem.[1] Further, the differences between the text are occasionally deemed too subtle to make a difference to translation, such as the addition of the adverb "utterly" (יַחַד֮) or the infinitive "to sweep it away" (לִסְפּ֫וֹתָ֥הּ) in the NIV of v. 15:

  • Ps 40:15a: Let those be put to shame and disappointed altogether who seek to snatch away to snatch away my life (ESV)
  • Ps 40:15a: May all who want to take my life be put to shame and confusion (NIV)
  • Ps 70:3a: May those who want to take my life be put to shame and confusion (NIV)

Other translations seem to treat the textual difference as errors and harmonize one passage towards the other, such as the insistence upon "be appalled" in the RSV for both "let them be appalled" (יָ֭שֹׁמּוּ) in 40:16 and "let them turn back" (יָ֭שׁוּבוּ) in 70:4.[2]

  • Ps 40:16: Let them be appalled because of their shame who say to me, “Aha, Aha!” (RSV)
  • Ps 70:4: Let them be appalled because of their shame who say, “Aha, Aha!” (RSV)
  • Ps 70:4: Let them turn back because of their shame who say, “Aha, Aha!” (ESV)

The reconstruction of a common poem from which the two are derived is an overly speculative endeavor. Further, the number and concentration of textual differences between the two passages are unlikely to have been caused by accidental scribal errors. Thus, here we will focus on the contribution of each text in its own literary context,[3] discussing only the probability of derivation one from the other. In other words, drawing upon clues found in the poems themselves in their present form, one can postulate whether

  1. Psalm 70 originally began as its own poem, which was added to Psalm 40:1–13, or
  2. Psalm 70 later borrows the final section of Psalm 40 (vv. 14–18) to compose a slight adaptation of it.

Though not conclusive, such clues highlight significant points of prominence brought about by intentional scribal behavior (see the poetic feature, Psalm 40 and Psalm 70). We investigate possibilities 1. and 2. in the argument maps below.

Argument Maps

Psalm 40:14–18 original

Some argue that Psalm 40:14–18 was the original poetic composition, which Psalm 70 later borrows and adapts. 


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[Psalm 40:14–18]: The portion of Psalm 40 (vv. 14–18) that closely resembles Psalm 70 is original to psalm 40 and has been placed in a new literary context as an independent poem (Delitzsch 1871, 287–288 :C:; Kirkpatrick 1895, 407 :C:; Weisman 1996, 290 :C:; Craigie 2004, 314 :C:).#dispreferred
 + <Common poetic structure>: The movement from praise to complaint/lament in Psalm 40 is intentional and represents a common structure in Book 1 of the Psalms.#dispreferred
  + [Common poetic structure]: Compare the praise (40:1–12) followed by lament (40:13–18) with the praise (Ps 9) followed by lament (Ps 10) and praise (Ps 27:1–6) followed by lament (Ps 27:7–14).#dispreferred
 + <Elohistic Psalter>: There is a prevalence of the use of אֱלֹהִים in Psalm 70 where Psalm 40 uses יְהוָה, which is evidence of later redaction and editorial activity.#dispreferred
  + [Elohistic Psalter]: See, e.g., אֱלֹהִים for יְהוָה in 70:1, 5, 6 (cf. 40:14, 17, 18).#dispreferred
  <_ <Consistency>: This pattern is not consistent in Psalm 70, since Psalm 70:6 uses "YHWH" (יְ֝הוָ֗ה) where Psalm 40:18 has "my God" (אֱ֝לֹהַ֗י).
  <_ <Literary structure>: The pattern of interchange between אֱלֹהִים and יְהוָה in Psalm 70 is intentional and contributes to the Psalm's poetic structure.
 + <Generalized language>: Psalm 70 is a simplified and democratized version of Psalm 40:14–18 for personal ritual use (Weisman 1996, 290 :C:), "likely dating from a period when royal psalms and liturgies were no longer in use" (Craigie 2004, 314 :C:).#dispreferred
  - <Earlier general form>: Psalm 70 is an earlier, more formulaic poem, to which Psalm 40:14–18 has added personal touches.
 + <Rare terms and difficult language>: Psalm 40:14–18 contains more difficult language, which is more likely to be original than a later adaptation.#dispreferred
  + [Rare terms and difficult language]: See, e.g., the comparatively rare term "my Lord" (אֲדֹנָ֪י) in Psalm 40:18 for "God" (אֱלֹהִ֪ים) in Psalm 70:6 and "he will have regard for me" (יַחֲשָׁ֫ב לִ֥י) in Psalm 40:18 for "hurry to me" (חֽוּשָׁ֫ה־לִּ֥י) in Psalm 70:6). #dispreferred
  <_ <Poetic cohesion>: The verb "he will have regard" (יַחֲשָׁ֫ב) has been intentionally selected (as a later adaption from "hurry," חֽוּשָׁ֫ה) to create a literary connection with "your thoughts" (מַחְשְׁבֹתֶ֗יךָ) in Psalm 40:6.
 - <Verbal exchange>: The original יָ֭שׁוּבוּ of Psalm 70:4 has been replaced by יָ֭שֹׁמּוּ in Psalm 40:16, to avoid the apparent semantic repetition, since יָ֭שׁוּבוּ lacks significant semantic contribution when following יִסֹּ֣גוּ אָ֭חוֹר (Delitzsch 1871, 288 :C:).
 - <Verse 13>: Verse 13 also contributes to the lament of Ps 40(:13–18), so would have been brought over to Psalm 70 also, if Psalm 70 was a later borrowing of parts of Psalm 40.
  - <Psalm 70 poetic macrostructure>: The borrowing of Psalm 40:13 was not necessary to create the clean poetic macrostructure contained in the present form of Psalm 70.#dispreferred


Argument Mapn0Psalm 40:14–18The portion of Psalm 40 (vv. 14–18) that closely resembles Psalm 70 is original to psalm 40 and has been placed in a new literary context as an independent poem (Delitzsch 1871, 287–288 🄲; Kirkpatrick 1895, 407 🄲; Weisman 1996, 290 🄲; Craigie 2004, 314 🄲).n1Common poetic structureCompare the praise (40:1–12) followed by lament (40:13–18) with the praise (Ps 9) followed by lament (Ps 10) and praise (Ps 27:1–6) followed by lament (Ps 27:7–14).n4Common poetic structureThe movement from praise to complaint/lament in Psalm 40 is intentional and represents a common structure in Book 1 of the Psalms.n1->n4n2Elohistic PsalterSee, e.g., אֱלֹהִים for יְהוָה in 70:1, 5, 6 (cf. 40:14, 17, 18).n5Elohistic PsalterThere is a prevalence of the use of אֱלֹהִים in Psalm 70 where Psalm 40 uses יְהוָה, which is evidence of later redaction and editorial activity.n2->n5n3Rare terms and difficult languageSee, e.g., the comparatively rare term "my Lord" (אֲדֹנָ֪י) in Psalm 40:18 for "God" (אֱלֹהִ֪ים) in Psalm 70:6 and "he will have regard for me" (יַחֲשָׁ֫ב לִ֥י) in Psalm 40:18 for "hurry to me" (חֽוּשָׁ֫ה־לִּ֥י) in Psalm 70:6). n10Rare terms and difficult languagePsalm 40:14–18 contains more difficult language, which is more likely to be original than a later adaptation.n3->n10n4->n0n5->n0n6ConsistencyThis pattern is not consistent in Psalm 70, since Psalm 70:6 uses "YHWH" (יְ֝הוָ֗ה) where Psalm 40:18 has "my God" (אֱ֝לֹהַ֗י).n6->n5n7Literary structureThe pattern of interchange between אֱלֹהִים and יְהוָה in Psalm 70 is intentional and contributes to the Psalm's poetic structure.n7->n5n8Generalized languagePsalm 70 is a simplified and democratized version of Psalm 40:14–18 for personal ritual use (Weisman 1996, 290 🄲), "likely dating from a period when royal psalms and liturgies were no longer in use" (Craigie 2004, 314 🄲).n8->n0n9Earlier general formPsalm 70 is an earlier, more formulaic poem, to which Psalm 40:14–18 has added personal touches.n9->n8n10->n0n11Poetic cohesionThe verb "he will have regard" (יַחֲשָׁ֫ב) has been intentionally selected (as a later adaption from "hurry," חֽוּשָׁ֫ה) to create a literary connection with "your thoughts" (מַחְשְׁבֹתֶ֗יךָ) in Psalm 40:6.n11->n10n12Verbal exchangeThe original יָ֭שׁוּבוּ of Psalm 70:4 has been replaced by יָ֭שֹׁמּוּ in Psalm 40:16, to avoid the apparent semantic repetition, since יָ֭שׁוּבוּ lacks significant semantic contribution when following יִסֹּ֣גוּ אָ֭חוֹר (Delitzsch 1871, 288 🄲).n12->n0n13Verse 13Verse 13 also contributes to the lament of Ps 40(:13–18), so would have been brought over to Psalm 70 also, if Psalm 70 was a later borrowing of parts of Psalm 40.n13->n0n14Psalm 70 poetic macrostructureThe borrowing of Psalm 40:13 was not necessary to create the clean poetic macrostructure contained in the present form of Psalm 70.n14->n13


Psalm 70 original (preferred)

Some argue that Psalm 70 was the original poetic composition, which the author of Psalm 40 adapts and adds to the end of vv. 1–13. 


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[Psalm 70]: Psalm 70 is the original poem, which was later used and adapted by the author of Psalm 40 (Briggs and Briggs 1906, 357 :C:; Auffret 1987 :A:; Kraus 1993, 67 :C:; Tate 1998, 204 :C:; Zenger 2005, 188 :C:; Böhler 2021, 740 :C:).
 + <Poetic structure>: Psalm 70 has a cohesive and self-contained poetic macrostructure, which hints at its existence as an original, independent composition.
  <_ <Psalms 70–71>: Psalm 70 belongs to the single poem of Psalms 70–71 (Ḥakham 1979, 421 :C:).#dispreferred
  <_ <Brevity>: "In comparison with other prayer songs, the unusual brevity and terseness of Psalm 70 is conspicuous" (Kraus 1993, 67 :C:).#dispreferred
   <_ <Poetic iconicity>: "The brief form of this psalm speaks to its function, a plea for God to hurry to the aid of the one suffering" (deClaisse-Walford and Tanner 2014, 563 :C:).
 + <Additions>: There are numerous additions in Psalm 40:14–18 vis-à-vis Psalm 70, likely added by the author of Psalm 40 as semantic resonances with earlier portions of the psalm.
  + [Additions]: See, e.g., רְצֵ֣ה in v. 14 (cf. לַֽעֲשֽׂוֹת־רְצוֹנְךָ֣ in v. 9); יַחַד֮ and לִסְפּ֫וֹתָ֥הּ in v. 15 and לִ֝֗י in v. 16.
 + <More difficult syntax>: Psalm 70 begins with backwards-gapping of the imperative "hurry" (חֽוּשָֽׁה; see grammar notes), whereas Psalm 40 simplifies the syntax by providing רְצֵ֣ה in the first line of v. 14.
 + <Generalized language in Ps 70>: Psalm 70 is a more formulaic poem, to which Psalm 40:14–18 has added personal touches.
  - <Later generalization>: Psalm 70 is a later adaptation of Psalm 40:14–18 serving a more generalized, post-monarchic audience (Weisman 1996, 290 :C:; Craigie 2004, 314 :C:). #dispreferred
  + [Personalized language in Ps 40]: See, e.g., the addition of "to me" (לִ֝֗י) in Psalm 40:16 and the use of "my God" (אֱ֝לֹהַ֗י) in Psalm 40:18 for "YHWH" (יְ֝הוָ֗ה) in Psalm 70:6.


Argument Mapn0Psalm 70Psalm 70 is the original poem, which was later used and adapted by the author of Psalm 40 (Briggs and Briggs 1906, 357 🄲; Auffret 1987 🄰; Kraus 1993, 67 🄲; Tate 1998, 204 🄲; Zenger 2005, 188 🄲; Böhler 2021, 740 🄲).n1AdditionsSee, e.g., רְצֵ֣ה in v. 14 (cf. לַֽעֲשֽׂוֹת־רְצוֹנְךָ֣ in v. 9); יַחַד֮ and לִסְפּ֫וֹתָ֥הּ in v. 15 and לִ֝֗י in v. 16.n7AdditionsThere are numerous additions in Psalm 40:14–18 vis-à-vis Psalm 70, likely added by the author of Psalm 40 as semantic resonances with earlier portions of the psalm.n1->n7n2Personalized language in Ps 40See, e.g., the addition of "to me" (לִ֝֗י) in Psalm 40:16 and the use of "my God" (אֱ֝לֹהַ֗י) in Psalm 40:18 for "YHWH" (יְ֝הוָ֗ה) in Psalm 70:6.n9Generalized language in Ps 70Psalm 70 is a more formulaic poem, to which Psalm 40:14–18 has added personal touches.n2->n9n3Poetic structurePsalm 70 has a cohesive and self-contained poetic macrostructure, which hints at its existence as an original, independent composition.n3->n0n4Psalms 70–71Psalm 70 belongs to the single poem of Psalms 70–71 (Ḥakham 1979, 421 🄲).n4->n3n5Brevity"In comparison with other prayer songs, the unusual brevity and terseness of Psalm 70 is conspicuous" (Kraus 1993, 67 🄲).n5->n3n6Poetic iconicity"The brief form of this psalm speaks to its function, a plea for God to hurry to the aid of the one suffering" (deClaisse-Walford and Tanner 2014, 563 🄲).n6->n5n7->n0n8More difficult syntaxPsalm 70 begins with backwards-gapping of the imperative "hurry" (חֽוּשָֽׁה; see grammar notes), whereas Psalm 40 simplifies the syntax by providing רְצֵ֣ה in the first line of v. 14.n8->n0n9->n0n10Later generalizationPsalm 70 is a later adaptation of Psalm 40:14–18 serving a more generalized, post-monarchic audience (Weisman 1996, 290 🄲; Craigie 2004, 314 🄲). n10->n9


Conclusion (B-)

The observations in the argument maps above can in no way be considered conclusive. Nevertheless, the evidence leans slightly towards the finding that Psalm 70 existed as an independent poem drawn upon and adapted by the author of Psalm 40. There are a number of additions to the text of Psalm 70 found in Psalm 40, many of which add a personal touch to the more generalized poem of Psalm 70. While some argue that Psalm 70 is a later adaptation for a generalized, post-monarchic readership, we find it more plausible that the poem with the more generalized language was earlier. Furthermore, a number of the adaptations and additions create poetic cohesion through connections to earlier parts of Psalm 40, while the completely balanced and intentional poetic macrostructure of Psalm 70 further supports its status as an independent poem.[4]

Secondary Literature

Auffret, Pierre. 1987. "«Les oreilles, tu me (les) as ouvertes». Étude structurelle du Psaume 40 (et du Ps 70)," Nouvelle Revue Théologique 109(2): 220–245.
Böhler, Dieter. 2021. Psalmen 1–50. Freiburg, Basel, Wien: Herder Verlag.
Briggs, Charles A. & Briggs, Emilie G. 1906. A Critical and Exegetical Commentary on the Book of Psalms. Volume 1. New York, NY: C. Scribner’s Sons.
Briggs, Charles A. & Briggs, Emilie G. 1907. A Critical and Exegetical Commentary on the Book of Psalms. Volume 2. New York, NY: C. Scribner’s Sons.
Craigie, Peter C. 2004. Psalms 1–50. Second edition. Nashville, TN: Nelson.
deClaissé-Walford, Nancy & Tanner, Beth. 2014. “Book Two of the Psalter: Psalms 42–72,” in The Book of Psalms (NICOT). Grand Rapids, MI; William B. Eerdmans Publishing Company.
Delitzsch, Franz. 1871. Biblical Commentary on the Psalms: Vol. 2. Edinburgh: T&T Clark.
Goldingay John. 2006. Psalms 1–41. Grand Rapids, MI: Baker Academic.
Ḥakham, Amos. 1979. The Book of Psalms: Books 1–2 (in Hebrew). Jerusalem: Mossad Harav Kook.
Hossfeld, Frank-Lothar and Zenger, Erich. 2003. "The So-Called Elohistic Psalter: A New Solution for an Old Problem." Pages 35–51 in A God So Near: Essays on Old Testament Theology in Honor of Patrick D. Miller. Edited by Brent A. Strawn and Nancy R. Bowen. Winona Lake, IN: Eisenbrauns.
Kraus, Hans-Joachim, 1993. A Continental Commentary: Psalms 1–59. Minneapolis, MN: Fortress Press.
Kirkpatrick, Alexander, F. 1895. The Book of Psalms with Introduction and Notes: Books II and III. Cambridge: Cambridge University Press.
Tate, Marvin E. 1998. Psalms 51–100. Dallas, TX: Word Incorporated.
Wardlaw, Terrance Randall. 2015. Elohim within the Psalms: Petitioning the Creator to Order Chaos in Oral-Derived Literature. London: Bloomsbury T & T Clark.
Weisman, Zeev. 1996. "Chapter 70" (in Hebrew). Pages 290–291 in Psalms: Volume 1. Olam HaTaNaKh. Tel Aviv: דודזון–עתי.
Zenger, Erich. 2005. "Psalm 70." Pages 186–191 in Frank-Lothar Hossfeld and Erich Zenger, Psalms 2: A Commentary on Psalms 51-100, trans. Linda M. Maloney. Minneapolis, MN: Fortress Press.

References

Choose a PsalmNavigate Psalm 40

40:14–18"–18" can not be assigned to a declared number type with value 14.

  1. ↑ Briggs and Briggs, for example, provide only the following for Ps 70: "Ps. 70 is a prayer used Ps. 40:14–18, where it has been considered" (1907, 124). On the other hand, Kraus opts not to discuss Ps 40:14–18 with his commentary on Ps 40: "For the interpretation of vv. 13–17[14–18], cf. Psalm 70" (1993, 428).
  2. ↑ Of course, the possibility exists that a scribal error has occurred due to the graphical similarities between the letters bet and mem in ישמו and ישבו.
  3. ↑ That is, both texts are analyzed synchronically in their received state, being in good textual condition.
  4. ↑ The question of Psalms 70–71 as an individual poem (see Ḥakham 1979, 421) will be explored in an exegetical issue for Psalm 70. Further, while the variation of divine names is noteworthy, one expects אֱלֹהִים to be favored in the so-called "Elohistic Psalter" (Pss 42–83; for a recent overview, see Wardlaw 2015, 1–15), such that these choices do not support borrowing in one direction or the other. Of course, the presence of יהוה in these passages (see, e.g., Ps 70:2, 6), while not totally out of place, is very much intentional. Some have argued that its presence is particularly theologically charged in its literary context. See, for example, Wardlaw's interpretation: "the interchange between the אלהים and יהוה ... further warrants the argument that the use of אלהים within the Elohistic Psalter at-large is not linguistically arbitrary, but rather is laden with theological import" (2015, 112; cf. Hossfeld and Zenger 2003, 5). On the other hand, we find the intentional placement of יהוה in the case of Psalm 70 more plausible on the grounds of poetic macrostructure ("God ... YHWH" in v. 2 is followed by "God ... YHWH" in v. 6–the first and last verses of the body of the psalm).