Psalm 30 Poetry
Psalm 30
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.
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 sub-sections, sub-sections into larger sections, etc. Because patterned similarities might be of various kinds (syntactic, semantic, pragmatic, sonic) the analysis of poetic structure draws on all of the previous layers (especially the Discourse layer).
Poetic Macro-structure
If an emendation or revocalization is preferred, that emendation or revocalization will be marked in the Hebrew text of all the visuals.
| Emendations/Revocalizations legend | |
|---|---|
| *Emended text* | Emended text, text in which the consonants differ from the consonants of the Masoretic text, is indicated by blue asterisks on either side of the emendation. |
| *Revocalized text* | Revocalized text, text in which only the vowels differ from the vowels of the Masoretic text, is indicated by purple asterisks on either side of the revocalization. |
Notes
- The numerical center of the psalm is v. 8 (with twelve lines on each side). More precisely, v. 8a has 39 prosodic word preceding and 39 prosodic words following (including v. 8b). This line represents the answer to the psalm's dilemma and could be described as "the meaningful centre on colon level,"[1] also providing the middle instance of nine occurrences of the divine name. More generally, "vs 7–8 may be considered the larger meaningful centre."[2] Nevertheless, v. 7 is what sets Psalm 30 apart from other reports of lament (see, e.g., Pss 6, 32, among others). The issue was the psalmist's arrogance, iconically reflected in being the psalm's only verse without mention of God.[3] The awareness of the reality communicated in v. 8a nullifies any arrogant claim of self-sufficiency—David's strength was entirely reliant on YHWH's favor. Structurally, the prominence of v. 7 is also supported by the the position of this key word, "favor," appearing in both vv. 6 and 8—for other correspondences between vv. 6 and 8, see Auffret (1982, 236).
- In broad terms, "scholars generally agree that the first main section ends with v. 6.[4] Nevertheless, the details of vv. 7–13 and its divisions are highly debated[5] and "present, according to commentaries, a large variety."[6] We agree with Krinetzki's[7] recognition of vv. 7–8, 9–11 and 12–13 as the main sections of the psalm's second half. Further, our analysis is similar to that of van der Lugt (2006), who notes the privileged position of vv. 12–13, which reflect the succession of events in vv. 2–6 (against the more common view of the psalm's two large sections being vv. 2–6 and 7–13; see, e.g., Malul 1996, 138).[8]
- Part of the complication regarding the psalm's poetic macrostructural analysis is, no doubt, caused by the tension between the symmetrical structure—and therefore the direct of prominence to the psalm's center—and the linear development (see the correspondences between, e.g., vv. 2–6 and 12–13.[9] Compare the poetic macrostructure of Psalm 92 in this respect.[10]
Line Divisions
Line division divides the poem into lines and line groupings. We determine line divisions based on a combination of external evidence (Masoretic accents, pausal forms, manuscripts) and internal evidence (syntax, prosodic word counting and patterned relation to other lines). Moreover, we indicate line-groupings by using additional spacing.
When line divisions are uncertain, we consult some of the many psalms manuscripts which lay out the text in lines. Then, if a division attested in one of these manuscripts/versions influences our decision to divide the text at a certain point, we place a green symbol (G, DSS, or MT) to the left of the line in question.
| Poetic line division legend | |
|---|---|
| Pausal form | Pausal forms are highlighted in yellow. |
| Accent which typically corresponds to line division | Accents which typically correspond to line divisions are indicated by red text. |
| | | Clause boundaries are indicated by a light gray vertical line in between clauses. |
| G | Line divisions that follow Greek manuscripts are indicated by a bold green G. |
| DSS | Line divisions that follow the Dead Sea Scrolls are indicated by a bold green DSS. |
| M | Line divisions that follow Masoretic manuscripts are indicated by a bold green M. |
| Number of prosodic words | The number of prosodic words are indicated in blue text. |
| Prosodic words greater than 5 | The number of prosodic words if greater than 5 is indicated by bold blue text. |
If an emendation or revocalization is preferred, that emendation or revocalization will be marked in the Hebrew text of all the visuals.
| Emendations/Revocalizations legend | |
|---|---|
| *Emended text* | Emended text, text in which the consonants differ from the consonants of the Masoretic text, is indicated by blue asterisks on either side of the emendation. |
| *Revocalized text* | Revocalized text, text in which only the vowels differ from the vowels of the Masoretic text, is indicated by purple asterisks on either side of the revocalization. |
Notes
- v. 3. G has one line for this verse, supported by the single clause; M reflects our preference, in agreement with the accents.
- v. 6. G has four lines for this verse, supported by the accents (though see also v. 8); M reflects our preference, reflecting the more common two-line section.
- v. 8. Despite the accents, the two-line verse is attested in M and G.[11]
- v. 10. The Babylonian evidence (e.g., BL 2373), as well as the accents and clause divisions, support a three-line verse here. While the Greek tradition is mixed (Rahlfs has four lines, though the major codices—Sinaiticus, Alexandrinus and Vaticanus—have three). We have preferred the two-line verse, maintaining the rhythm of vv. 6, 8 and 12, especially, and the pattern of two-line verses throughout the psalm more generally.
- v. 12. So G, against the clause divisions.
- v. 13. So G and B, supported by the accents.
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.
Momentary anger; forever praise
If an emendation or revocalization is preferred, that emendation or revocalization will be marked in the Hebrew text of all the visuals.
| Emendations/Revocalizations legend | |
|---|---|
| *Emended text* | Emended text, text in which the consonants differ from the consonants of the Masoretic text, is indicated by blue asterisks on either side of the emendation. |
| *Revocalized text* | Revocalized text, text in which only the vowels differ from the vowels of the Masoretic text, is indicated by purple asterisks on either side of the revocalization. |
Feature
Verses 6a, 8b and 10b of Psalm 30 consist of short, two-word clauses lacking any conjunction.
The word "forever" appears at the beginning and end of the psalm's second half.
Effect
Although the sentence fragments of v. 6a have been described as "an unusual sentence"[12], "it must ... be said that every word is in its right place here; the poet's thought could not have been expressed more aptly."[13] This is primarily because the short, snappy, asyndetic syntax is iconic of the momentary movement into YHWH's anger (v. 6a) and out of it again, into his favor. Likewise, the anguish caused by YHWH hiding his face was short and temporary (v. 8a). The urgency of David's appeal to YHWH to hear him and heal him is also reflected in the syntactic style of v. 10b.
In contrast to the brevity expressed in these lines, the second half of the psalm is framed by the adverbials "forever." The psalmist claimed his reign would remain stable forever in his presumptuous arrogance (v. 7b) and was swiftly disciplined as a consequence. What does remain forever, however, is the praise of YHWH after passing through his discipline and into his favor.
The Pit of Forgetfulness and Silence
If an emendation or revocalization is preferred, that emendation or revocalization will be marked in the Hebrew text of all the visuals.
| Emendations/Revocalizations legend | |
|---|---|
| *Emended text* | Emended text, text in which the consonants differ from the consonants of the Masoretic text, is indicated by blue asterisks on either side of the emendation. |
| *Revocalized text* | Revocalized text, text in which only the vowels differ from the vowels of the Masoretic text, is indicated by purple asterisks on either side of the revocalization. |
Feature
The poetic section of vv. 2–4 is dominated by images of being drawn up and lifted out of Sheol, the pit.
David exhorts the faithful ones to praise YHWH's holy name (v. 5b), but instead of using the more common term, שֵׁם, the poet employs זֵכֶר, literally "memory," to speak of YHWH's "renown" (BDB) or "reputation" (DCH).
When appealing to YHWH to listen to him and heal him, David mentions "the grave" once again (though this time with the noun שַׁחַת) and refers to his own death as simply his "blood" (דָּם). This noun sounds very similar to the verb "be silent" (יִדֹּם) in the psalm's penultimate line. There are other homophonous verbs with this same root (√דמם), however: "wail, lament" (cf. Isa 23:2) and "perish" (cf. Jer 8:14).
Effect
"The pit" and "Sheol," known as the land of forgetfulness (Pss 31:13; 88:6, 13),[14] provide a prominent contrast to YHWH's holy "memory." (Indeed, "there is no memory of you in death," Ps 6:6.) In YHWH's favor, though, he did not leave David in the forgotten place, but remembered him and healed him.
"The pit," known as the place of silence (Pss 94:17; 115:17), provides a prominent contrast with those who will sing of YHWH's glory and not be silent (v. 13a). The psalmist had been at risk of his "blood" going down to the pit (v. 10a). In contrast, however, the faithful ones would neither lament nor perish, along with "those who perish in/go silently to Sheol" (Ps 31:18; יִדְּמוּ לִשְׁאוֹל)!
Two Houses
If an emendation or revocalization is preferred, that emendation or revocalization will be marked in the Hebrew text of all the visuals.
| Emendations/Revocalizations legend | |
|---|---|
| *Emended text* | Emended text, text in which the consonants differ from the consonants of the Masoretic text, is indicated by blue asterisks on either side of the emendation. |
| *Revocalized text* | Revocalized text, text in which only the vowels differ from the vowels of the Masoretic text, is indicated by purple asterisks on either side of the revocalization. |
Feature
The superscription of Psalm 30 describes the psalm as "the song for the dedication of the house."
Verse 2 mentions David's enemies and verse 7 his self-assurance that he would never waver. Verse 8 clarifies that it was only YHWH's favor that provided strength for David's mountain.
The final verse mentions people praising YHWH's with the word "Glory!"
Effect
The mention of "the dedication of the house" in the superscription of Psalm 30 provides a clue regarding the interpretation of the psalm as a whole. 2 Samuel 7, the paradigmatic text for the senses of "house" in relation to David, provides two possibilities: (1) the house (temple) David desired to build for YHWH, which was then carried out by his son, Solomon; and (2) the house of David's royal dynasty. The same two possibilities exist in the present psalm.
The mention of "enemies" in v. 2 support the interpretation of the "house" as that of the Davidic line, of which David is the first king, since "the Lord had given him rest from all his enemies around him" (2 Sam 7:1, NIV). Further, "my mountain" (v. 8a), a word commonly associated with the idea of "wavering" in the previous verse (cf. Isa 54:10; Pss 46:3; 125:1), is similar to "my high places" (Ps 18:34) and supports the strength of David's reign.
Nevertheless, the mention of crying out "Glory" in the last verse alludes to the previous Psalm, which says, "in his temple everyone is saying, 'Glory!'" (Ps 29:9). Such a declaration unmistakably makes reference to the preparation of the temple (cf. Exod 40:34–35; Ezek 43:4–5; 44:4, among others).
Thus, in Psalm 30 we have the sustained tension of the two senses of the word "house," such that the psalm as a whole provides a strong intertextual allusion to 2 Samuel 7 and should be read through the lens of the Davidic covenant, which ultimately included Solomon's construction of the First Temple.[15] Just as the discipline in the face of arrogance provided a warning for all of David's descendants who would rule, it also provides a paradigm of humble worship in YHWH's temple for the entire nation.
Repeated Roots
The repeated roots table is intended to identify the roots which are repeated in the psalm.
| Repeated Roots legend | |
|---|---|
| Divine name | The divine name is indicated by bold purple text. |
| Roots bounding a section | Roots bounding a section, appearing in the first and last verse of a section, are indicated by bold red text. |
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Roots occurring primarily in the first section are indicated in a yellow box. |
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Roots occurring primarily in the third section are indicated in a blue box. |
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Roots connected across sections are indicated by a vertical gray line connecting the roots. |
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Section boundaries are indicated by a horizontal black line across the chart. |
Bibliography
- Alter, Robert. 1985. The Art of Biblical Poetry. New York, NY: Basic Books.
- Auffret, Pierre. 1982. La Sagesse a Bâti sa Maison: Etudes de structures littéraires dans l'Ancien Testament et spécialement dans les Psaumes. Göttingen: Vandenhoeck & Ruprecht.
- Bandstra, Barry. 1995. “Marking Turns in Poetic Text. ‘Waw’ in the Psalms.” Narrative and Comment: Contributions to Discourse Grammar and Biblical Hebrew, 45–52.
- Blake, Frank R. 1912. "The Hebrew Metheg," Journal of the American Oriental Society 32.1: 78–102.
- Böhler, Dieter. 2021. Psalmen 1–50. Freiburg, Basel, Wien: Herder Verlag.
- Cohen, Nava. 2019. "Psalm 30—The 'lost' Psalm of King Hezekiah?" (in Hebrew), Beit Mikra 64.1: 107–137.
- 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.
- Heuhnergard, J. 2015. "Biblical Hebrew Nominal Patterns" in J. M. Hutton & A. D. Rubin (eds.) Epigraphy, Philology, and the Hebrew Bible: Methodological Perspectives on Philological and Comparative Study of the Hebrew Bible in Honor of Jo Ann Hackett. Atlanta, GA: SBL, 25-64.
- Jenni, Ernst. 1992. Die Hebräischen Präpositionen Band 1: Die Präposition Beth. Stuttgart: W. Kohlhammer.
- Jenni, Ernst. 2000. Die Hebräischen Präpositionen Band 3: Die Präposition Lamed. Stuttgart: W. Kohlhammer.
- Keel, Othmar. 1997. The Symbolism of the Biblical World: Ancient Near Eastern Iconography and the Book of Psalms. Translated by Timothy J. Hallett. Winona Lake: Eisenbrauns.
- Kim, Young Bok. 2022. Hebrew Forms of Address: A Sociolinguistic Analysis. PhD. dissertation, University of Chicago.
- Krinetzki, Leo. 1961. "Psalm 30 (29): in stilistisch-exegetischer Betrachtung," Zeitschrift für katholische Theologie 83.3: 345–360.
- Labuschagne, Psalm 30 Logotechnical Analysis.
- Loader, James A. 2003. "Psalm 30 read twice and understood two times," OTE 16.2: 291–308.
- Malul, Meir. 1996. "Chapter 30" (in Hebrew). Pages 138–142 in Psalms: Volume 1. Olam HaTaNaKh. Tel Aviv: דודזון–עתי.
- Mowinckel, Sigmund. 1962. The Psalms in Israel's Worship. Oxford: Blackwell.
- Penney, Jason 2026. "Piel," in Geoffrey Khan et al. (eds.) Cambridge Grammar of Biblical Hebrew. Cambridge: University of Cambridge & Open Book.
- Rashi. Rashi on Psalms.
- Saadia = Qafaḥ, Yosef. 1965. The Psalms with Translation and Commentary of Saadia Gaon (in Hebrew). Jerusalem: The American Academy for Jewish Research.
- Sommer, Benjamin D. 2022. "Form and Flexibility: A Commentary on Psalm 30." Pages 150–180 in David gavra tava. Festschrift in honor of David Marcus. Journal of the Ancient Near Eastern Society: Special Supplement. New York, NY: Jewish Theological Seminary.
- Staszak, Martin. 2024. The Preposition Min. Stuttgart: Kohlhammer.
- van der Lugt, Pieter. 2006. Cantos and Strophes in Biblical Hebrew Poetry: with Special Reference to the First Book of the Psalter. Leiden: Brill.
- Zoref, Arye. 2023. "Dedication of the House for David or a Cure from Illness? Psalm 30 in Medieval Jewish Exegesis" (in Hebrew), Beit Mikra 68.1: 144–176.
Footnotes
- ↑ Labuschagne, Logotechnical Analysis, 1.
- ↑ Ibid.
- ↑ Cohen 2019, 109.
- ↑ van er Lugt 2006, 306.
- ↑ For a list of previous analyses, see van der Lugt 2006, 304–305.
- ↑ Auffret 1982, 231; "La détermination des unités dans le psaume 30 présente selon les commentaires une grande variété."
- ↑ Krinetzki 1961, 357.
- ↑ Van der Lugt's more precise division, though, differs slightly from ours (he argues for section of vv. 7–9, 10–11, 12–13, resulting in sections containing 3–2–3–2–2 verses, whereas we prefer 3-2-2-3-2, with a structural symmetry between the 3-2-2-3 of vv. 2–11). Ḥakham (1979, 160), without recognizing the quoted speech throughout vv. 10–11, suggests the second half should consist of the two sections vv. 7–10 and vv. 11–13. (Auffret's dismay involves the fact that, besides vv. 3–4, only vv. 10–11 have escaped scholars' attempts to place section divisions between individual verses—if he discovered Ḥakham's commentary he would have been further disappointed. Of course, if the Greek text were followed—see the textual note—v. 11 would indeed provide the same indicative verbs forms as v. 12 and 11–13 would naturally provide the final section.)
- ↑ For the AB//AB of vv. 2–6, 12–13, see the larger inclusio observations on the entire psalm and the verb pair זמר, ידה in vv. 5, 13.
- ↑ On the cohortative inclusio, cf. Psalm 118:28: אֵלִ֣י אַתָּ֣ה וְאוֹדֶ֑ךָּ אֱ֝לֹהַ֗י אֲרוֹמְמֶֽךָּ.
- ↑ Sommer (2022, 168) claims the traditional reading of the syntax—see the exegetical issue— would require enjambment, apparently analyzing the verse as either three or four lines.
- ↑ Jenni 2012
- ↑ Krinetzki 1961, 355; Man muß also sagen: jedes Wort steht hier an seinem Platz, der Gedanke des Dichters konnte nicht treffender als so ausgedrückt werden.
- ↑ Cf. Keel 1997, 64, 69.
- ↑ Further, though later tradition assigned this psalm to the Hanukkah festival (Soferim 18:3) as a celebration of the Second Temple, this sense is by no means absent in the text of the psalm itself, as clear from v. 13.