Psalm 45 Poetry
Royal wedding song
Psalm 45
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
Significant macrostructural indicators discussed by a number of commentators involve an inclusio formed by the psalmist's first-person speech in vv. 2 and 18. Some have attempted to include the structural function of עַל־כֵּן,[1] such that the initial element of the inclusio would include vv. 2-3, as we have preferred.
Alternatively, Fokkelman[2] and van der Lugt[3] discern two halves thematically divided by concerns of the king (vv. 2-10) followed by that of the bride and the wedding (vv. 11-18). Nevertheless, this does not account for the king as the addressee in vv. 14-18, and the thematic shift in the final two verses.
Preferable, then, is the A-B-A // A'-B'-A' structure outlined above, in which the עַל־כֵּן and forever of vv. 3 and 8 form an inclusio, which then finds its conclusion in vv. 17–18.
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
- The line division above reflects Rahlfs' edition of the LXX, with the exception of where there are textual differences between the LXX and MT (see 11b, 14b-15; the LXX's line division of vv. 12b-13 is preferred, however—see the grammar notes) and v. 18, for which the following trifold division is found:
- I shall profess your name in all generations. (אַזְכִּ֣ירָה שִׁ֭מְךָ בְּכָל־דֹּ֣ר וָדֹ֑ר)
- Therefore peoples will praise you (עַל־כֵּ֥ן עַמִּ֥ים יְ֝הוֹדֻ֗ךָ)
- forever and ever. (לְעֹלָ֥ם וָעֶֽד׃)
- v. 4 - Contra the accents of the Tiberian tradition (see, e.g., Codex Aleppo), the Babylonian manuscript Berlin QU 680 contains the division:
- חֲגֽוֹר־חַרְבְּךָ֣ עַל־יָרֵ֣ךְ
- גִּבּ֑וֹר ה֝וֹדְךָ֗ וַהֲדָרֶֽךָ׃
- v. 10 - Contra the accents of the Tiberian tradition (see, e.g., Codex Aleppo), the Babylonian manuscript Berlin QU 680 contains the division:
- בְּנ֣וֹת מְ֭לָכִים בְּיִקְּרוֹתֶ֑יךָ נִצְּבָ֥ה
- שֵׁגַ֥ל לִֽ֝ימִינְךָ֗ בְּכֶ֣תֶם אוֹפִֽיר׃
- The implied syntax could involve the princesses standing (with the third feminine singular passive, נִצְּבָ֥ה).
- v. 15 - Contra the accents of the Tiberian tradition (see, e.g., Codex Aleppo), the Babylonian manuscript BL Or 2373 contains only a two-line verse:
- לִרְקָמוֹת֮ תּוּבַ֪ל לַ֫מֶּ֥לֶךְ
- בְּתוּל֣וֹת אַ֭חֲרֶיהָ רֵעוֹתֶ֑יהָ מ֖וּבָא֣וֹת לָֽךְ׃
- v. 15 - The manuscript Berlin QU 680 seems to follow the LXX's syntax of v. 15 (see the grammar notes), with the division
- לִרְקָמוֹת֮ תּוּבַ֪ל לַ֫מֶּ֥לֶךְ בְּתוּל֣וֹת
- אַ֭חֲרֶיהָ רֵעוֹתֶ֑יהָ מ֖וּבָא֣וֹת לָֽךְ׃
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.
A Perfect Match
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. |
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Feature
The psalmist uses a number of repeated verbal roots, lexemes, and associated ideas and images to describe both the king and his bride.
Key roots include: יפה (BEAUTY, vv. 3, 12) and שׂמח (JOY, vv. 9, 16). Key associated ideas and images include: gladness (vv. 8, 16); fine clothing (vv. 9, 14–15); and wealth (vv. 10, 14), in particular, gold (vv. 10, 14).
Furthermore, both the king and his bride are addressed by a series of exhortations followed by a result (vv. 4–6; 11–13).
Effect
Although the main focus of Psalm 45 is the king himself, his new bride also plays an important role in the psalm. By describing the bride with the same language used for the king, the psalm highlights the appropriateness of the marriage. They are an attractive, joyful, and wealthy royal pair. The bride is the ideal match for the ideal king.
Engaging the Senses
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. |
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Feature
Psalm 45 contains an unusually high number of references to physical senses, in particular sight, sound, and smell. The middle verse of the psalm, v. 9, features all three of these senses. All these sensual experiences are described in highly positive terms.
Effect
The repetition of these sensory descriptions highlights the wealth of the king, the uniqueness of the occasion and the luxury of the royal wedding. The audience is drawn in to the description both of the king and his wedding preparations, as well as the new bride and her wedding preparations.
King Forever and Everywhere
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. |
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Feature
Psalm 45 is the only psalm in the Psalter that is addressed to the human king. The psalm uses an array of loanwords from distinct geographical origins, lexemes indicating international reach, as well as temporal adverbs, to describe the king's reign.
- As discussed in the poetic macrostructure, the first "forever" (v. 3c) provides an inclusio with that of v. 7a. Further, the entire section of vv. 2–8 finds its correspondence in the final two verses, indicated by "forever and ever" in v. 18b.
- A number of references indicate the international reach of the king's reign, such as the prepositional phrase "over all the earth" (v. 17), the noun "people[s]" (vv. 6, 13, 18), "ivory" (v. 9), which was of foreign origin, and the gold of Ophir (v. 10)
- Other nouns denoting objects of foreign origin are indeed loanwords, such as Ethiopian/Arabian "aloes and cassia" (v. 9)[4] as well as the Akkadian-origin שֵׁגַל for the queen mother (v. 10).
Effect
Psalm 45's repeated use of foreign words or words denoting foreign goods, as well as the temporal adverbs, stresses the geographic extent and temporal endurance of the king's reign.
Not only will peoples fall under his dominion (v. 6), but, indeed, peoples will praise him forever and ever (v. 18). Even the main event of the psalm—the king's wedding—is of international nature, with the richest of people paying homage to both him and his bride, with the result that their offspring will spread his dominion and righteous rule throughout the earth.
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. |
=Notes
- By far the most commonly occurring root in Ps 45 is מלךְ, occurring 8x. This is not surprising, given that the king and his dynasty is praised throughout the poem.
- Near repetition occurs 4 times (spanning two verses).
Bibliography