Psalm 6 Verse by Verse

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Verse-by-Verse Notes (Academic)

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Welcome to the DRAFT Verse-by-Verse Notes for Psalm 6!

The Verse-by-Verse Notes present scholarly, exegetical materials (from all layers of analysis) in a verse-by-verse format. They often present alternative interpretive options and justification for a preferred interpretation. The Verse-by-Verse Notes are aimed at consultant-level users.

The discussion of each verse of this psalm includes the following items.

  1. A link to the part of the overview video where the verse in question is discussed.
  2. The verse in Hebrew and English.[1]
  3. An expanded paraphrase of the verse.[2]
  4. A grammatical diagram of the verse, which includes glosses for each word and phrase.[3]
  5. A series of notes on the verse, which contain information pertaining to the interpretation of the psalm (e.g., meaning of words and phrases, poetic features, difficult grammatical constructions, etc.).

Introduction

Before discussing Psalm 6 verse by verse, three high-level issues merit consideration:

  1. The poetic structure
  2. The background situation
  3. The emotions

Poetic Structure

The poetic structure of Psalm 6 can be visualized as follows: Psalm 006 - Poetic structure.jpg

Psalm 6 consists of four sections: vv. 2–4, vv. 5–6, vv. 7–8, vv. 9–10.[4]

  • The first and second sections are marked primarily by their similar endings. Each section ends with a question: "How long?" (v. 4b) // "Who can praise you?" (v. 6b). The questions also sound similar: עַד־מָתָי (v. 4b) // מִ֣י יוֹדֶה (v. 6b)—mem + yod + dalet.
  • The first and second sections also have similar beginnings. The first line in each section is a plea for YHWH to relent from anger. In v. 2a, the reference to "anger" is explicit, and the petition is put in negative terms: "not in anger." In v. 5a, anger is implicit, and the petition is put in positive terms: "turn back (from anger)" (cf. Exod 32:12; Ps 90). Both of these lines also have vocatives.
  • The third section (vv. 7–8) stands apart from the rest of the poem in three main ways: (1) This section contains the only three-line verse in the poem (v. 7), (2) There is no mention of YHWH's name in this section, (3) The psalmist "I" is the topic throughout this section. In fact, with the exception of the sudden reference to "adversaries" at the very end of v. 8, the psalmist is the only participant in this section.
  • The last section (vv. 9–11) is bound together by its reference to the psalmist's enemies. They are the main topic in this section.

The four sections can be grouped, such that the psalm consists of two halves: vv. 2–6, vv. 7–11 (cf. van der Lugt 2006, 126). The first two sections (vv. 2–6) can be grouped on the basis of their similar beginnings and endings. The last two sections (vv. 7–11) can be grouped on the basis of the seam that binds v. 8b to v. 9a, i.e., similar sounds (צוֹרְרָי / סוּרוּ) and reference to enemies.

Each half has the same number of words (39 words; 34 prosodic words). The two halves also have a symmetrical structure.[5] The outer sections (vv. 2–4 // vv. 9–11) each have 24 words and repeat a number of key words and themes.[6]

Psalm 6 - Poetic Feature - Repetition.jpg

The inner sections (vv. vv. 5–6 // vv. 7–8) each have 15 words and focus on the psalmist's nearness to death (see Poetic Feature #1).[7]

Psalm 6 - Poetic Feature - To death and back.jpg

Background Situation

To fully appreciate what Psalm 6 says, it is important to understand what it assumes as common ground information. The following background ideas are especially helpful for making sense of the psalm:

  • The king is God's son (cf. Pss 2:7; 89:27; 2 Sam 7:14).
  • Fathers discipline their sons when they disobey (Prov 13:24; 23:13–14; cf. 2 Sam 7:14).
  • YHWH promised never to remove his loyalty from David's house, even if David's descendants disobey: "I will be to him a father, and he shall be to me a son. When he commits iniquity, I will discipline him with the rod of men, with the stripes of the sons of men, but my steadfast love will not depart from him..." (2 Sam 7:14–15, ESV; cf. Ps 89:31–35).
  • "In the Psalms, sickness is closely linked with sin" (Pss. 41:4; 107:17-20)" (Keel 1997, 62; see also Job 4:7–11, 8:1–22, 11:13–20; cf. John 9:2).
  • The sickness of a king gives opportunity to his enemies (cf. Pss 38:13, 17; 41:6–11), who conclude that God has forsaken him (cf. Pss 3:3; 71:9–11).


When read in light of these background ideas, the psalm appears to assume the following sequence of background events: Psalm 006 - Background events.jpg

In other words, before the psalm itself begins, it seems as though David has sinned against YHWH, YHWH has begun to discipline him in anger, David is suffering sickness and dismay, and his enemies have come to take advantage of the situation. The psalm itself is David's prayer to YHWH in response to this situation. But there is also a change in the situation that occurs within the psalm itself, between v. 8 and v. 9. In v. 9, the psalmist suddenly becomes convinced that YHWH has heard his plea for mercy, and he orders his enemies to leave him. He is convinced that YHWH will heal him and that the shame and dismay which he experienced will now be felt by his enemies. This "story behind" Psalm 6 might be visualized as follows:

Psalm 006 - Summary triangle.jpg The stars on the triangle mark the points at which the psalm begins and ends. The left side of the triangle marks the "rising action" of the story, the event at the top of the triangle marks the "turning point," and the right side marks the "falling action." The theme of the story is nicely summarized by what David says in another psalm: "a moment in his anger; a lifetime in his favor" (Ps 30:6; cf. 2 Sam 7:14–15).

Emotions

Psalm 6 is remarkable for its depth and range of emotion. In vv. 2–8, the psalmist uses a variety of words to describe his miserable emotional state:

  • "languishing" (v. 3) – "results include weakness, sadness, and shame" (SDBH)
  • "[very] dismayed" (vv. 3–4) – "a great fear combined with severe distress, often accompanied by physical symptoms, such trembling and pain" (SDBH)
  • "vexation" (v. 8) – "state in which humans experience displeasure" (SDBH); "'a sense of exasperation, a bad temper,' a 'very intense emotion.' Almost always... evoked by others and leads to a reaction against them" (TDOT)

In vv. 9–11, there are no explicit emotional descriptions. But the content and the speech acts in this section imply a strong emotional shift, from negative emotion (vv. 2–8) to positive emotion (vv. 9–11). "The tone and atmosphere of the psalm change radically in these last three verses. It may have been the case that as the psalmist progressed in prayer, he eventually reached a point where faith and confidence outstripped anguish and despair."[8]

The psalm's emotional profile can be visualized as follows, using the affective circumplex. Psalm 006 - Affective Circumplex.jpg

Superscription (v. 1)

Hebrew Verse English
לַמְנַצֵּ֣חַ בִּ֭נְגִינוֹת עַֽל־הַשְּׁמִינִ֗ית מִזְמ֥וֹר לְדָוִֽד׃ 1a For thedirector,withstringed instruments,ontheoctave.A psalmbyDavid.

Diagrams Expanded Paraphrase

Expanded Paraphrase The words in <i>italics</i> provide a fuller sense of the psalm; the text itself is in <b>bold</b>.

For the director, with stringed instruments, on the octave. A psalm by David.

Notes

The superscription gives instructions for the psalm's performance as well as information about its genre and author.

  • The phrase on the octave (עַל־הַשְּׁמִינִית) (cf. Ps 12:1) is difficult to interpret. See The Meaning of הַשְּׁמִינִית in Psalm 6:1 for an in-depth discussion. In short, the word sheminith (literally: "eighth") is probably a musical term. Beyond this general claim, however, it is difficult to say much with any degree of confidence. As HALOT notes, "the final answer must remain undecided." Nevertheless, of the two main options given by translations ("eight-stringed instrument" and "octave"), the "octave" interpretation, suggested by the use in 1 Chronicles 15:21, where it is parallel to the term alamoth (עֲלָמוֹת), seems more likely. In the past, scholars had objected to this view on the grounds that the heptatonic scale was foreign to ancient Israelite music. Several 20th-century discoveries, however, provide evidence that a heptatonic scale was probably known in Mesopotamia and Ugarit at a very early time and therefore might have been known also in Israel.[9] One of these texts, the so-called Akkadian "Tuning Text", which gives detailed information about different ways to tune a lyre, appears to assume the existence of a heptatonic scale. Interestingly, another text, the 15th-century Hurrian hymn discovered at Ugarit, has an Akkadian colophon that specifies the use of one of the tunings mentioned in the "Tuning Text." It would be reasonable to guess, then, especially because the word sheminith (שְּׁמִינִית) is usually associated with "stringed instruments" (Ps 6:1; 1 Chr 15:21), that the word gives information for how the stringed instruments were to be tuned (perhaps to a lower octave).
  • If the word הַשְּׁמִינִית (lit.: "the eighth") means "the octave," then the preposition עַל probably means according to (the "Norm Sense" of עַל).[10] According to this sense of עַל, the trajector (here = stringed instruments [implied]) must meet the standard specified by the landmark (here = "the octave"). In other words, the stringed instruments should be tuned (or played) "according to the octave."
  • On the term for the director, see Lamnaṣṣēaḥ.
  • On the term by David, see Ledavid.
  • The phrase with stringed instruments (בִּנְגִינוֹת) occurs also in the superscriptions of Pss 4; 54; 55; 67; 76.

Plea (vv. 2-6)

In the first section of the psalm (vv. 2-6), the psalmist pleads for YHWH to turn from anger to mercy. The section consists of two sub-sections (vv. 2-4 // vv. 5-6), each of which follows a similar sequence. They each begin by asking YHWH to turn from anger (vv. 2a, 5a), and they each end with a question (vv. 4b, 6a). The questions even sound similar to one another: עַד מָתָי // מִי יוֹדֶה (mem + dalet + yod). These two parts of vv. 2-6 together function like an a-line and a b-line in a parallel line group. There is repetition and intensification across the two parts, and together they form a single picture. The structure might be visualized as follows: img-class=fluid

v. 2

Hebrew Verse English
יְֽהוָ֗ה אַל־בְּאַפְּךָ֥ תוֹכִיחֵ֑נִי 2a YHWH,donotcorrectmeinyouranger,
וְֽאַל־בַּחֲמָתְךָ֥ תְיַסְּרֵֽנִי׃חָנֵּ֥נִי חָנֵּ֥ 2b anddonotdisciplinemeinyourwrath.

Diagrams Expanded Paraphrase

Expanded Paraphrase The words in <i>italics</i> provide a fuller sense of the psalm; the text itself is in <b>bold</b>.

YHWH, you are my father and I, the king, am your son. I have sinned against you, and you have become angry, and you have begun to discipline me as a father disciplines his son . I accept your fatherly discipline, but I only ask that you do not correct me in your anger lest I die, and do not discipline me in your wrath.

Notes

In the opening verse of the poem, the psalmist addresses YHWH and pleads that YHWH not discipline him in anger.

  • The prepositional phrases in your anger (בְּאַפְּךָ) and in your wrath (בַּחֲמָתְךָ) are fronted for marked focus. The psalmist is not requesting that YHWH refrain from discipline per se, but that YHWH refrain from discipline in anger: "Let it not be in your anger that you discipline me!" The phrase "your anger", with the pronoun "your" presupposes that YHWH has anger, i.e., that he is angry with the psalmist.
  • The terms anger (אַף) and wrath (חֵמָה) are synonymous, and it is difficult to discern the difference in meaning.[11] Both terms refer to a "state of extreme displeasure" or "excitement" (SDBH), and both are associated with fire and heat. The second word "wrath" (חֵמָה) is slightly less common, and, given the tendency of Hebrew poetry to use more intense language in the b-line of a poetic couplet, might indicate a more intense form of anger.
  • The bet prepositional phrases "in your anger" and "in your wrath" specify the mode of the discipline/correction.[12]
  • Verse 2 uses two synonymous terms to describe YHWH's corrective action: correct me (תוֹכִיחֵנִי) and discipline me (תְיַסְּרֵנִי). SDBH defines the first term as an "action by which humans or deities inflict a penalty on others as retribution for what they have done" and the second term as an "action by which humans or deities respond to negative behavior of (other) humans by administering some sort of punishment, which may range from a verbal rebuke to physical correction." If the SDBH definitions are correct, then the use of these verbs implies some previous wrongdoing, probably on the part of the psalmist. It would seem that David has sinned against YHWH and is facing the consequences.[13]
  • These words for discipline and correction are appropriate in the context of a father-son relationship; fathers are obligated to discipline their sons when their sons disobey.[14] Because the Davidic king is YHWH's "son" (2 Sam 7:14), the parenting imagery is especially appropriate in Psalm 6:2.[15]
  • The context suggests that YHWH's correction in anger has already begun (hence his desperate state, his prayer for mercy, and his request for YHWH to "turn back [from anger]" in v. 5). Therefore, his request is that YHWH would stop correcting in anger (cf. Ps. 4:5, "stop sinning"). As Wendland writes, "The Hebrew text as rendered in English may suggest to some readers/hearers that the psalmist is praying that God would not begin to 'discipline' him. However, as v. 3 indicates, the psalmist is rather appealing that God would not continue to apply such discipline so that it seems 'wrathful' in nature."[16]

v. 3

Hebrew Verse English
נִי יְהוָה֮ כִּ֤י אֻמְלַ֫ל אָ֥נִי 3a Have mercy onme,YHWH,forIamlanguishing.
רְפָאֵ֥נִי יְהוָ֑ה כִּ֖י נִבְהֲל֣וּ עֲצָמָֽי׃וְ֭נַפְשִׁ 3b Healme,YHWH,formyboneshave become dismayed.Andmysoul

Diagrams Expanded Paraphrase

Expanded Paraphrase The words in <i>italics</i> provide a fuller sense of the psalm; the text itself is in <b>bold</b>.

Instead of anger Have mercy on me, YHWH, for I am languishing due to the sickness which you have brought on me as discipline for my sin, sickness being a common punishment for sin. Heal me, YHWH, for my bones have become dismayed. My sickness has brought me near death, and the nearness of death has made be deeply afraid and distressed.

Notes

Instead of wrathful discipline, David pleads for mercy and healing. He grounds his plea in the fact that he is languishing and dismayed, in desperate need of mercy and healing.

  • The plea for mercy (חָנֵּנִי) is a plea that YHWH turn from anger and be "favorably disposed" towards him (SDBH).
  • The two vocatives in v. 3, YHWH ...YHWH, which are clause-medial, preceding the subordinate כִּי clauses, focus the content of each subordinate clause.[17]
  • The adjective languishing (אֻמְלַל) describes a state of "weakness, sadness, and shame" as a result of being "unable to function as can be expected" (SDBH).[18] The adjective אֻמְלַל occurs only here in the Bible. But, in light of its context and its relation to the relatively common verb אמל ("languish"), its meaning here is clear.[19] According to TWOT, the root אמל "is used to express the state into which the objects of God's punishment and discipline come... Most particularly, it describes the state of Israel and its people after the punishment of God has fallen (Isa 33:9; Jer 14:2), so also, Jerusalem after the fall (Lam 2:8)."
  • In the second half of the verse, David prays with greater specificity.[20] The prayer for mercy (v. 3a) becomes a concrete prayer for healing: heal me (רְפָאֵנִי). It is debated whether the requested "healing" is literal or figurative. See our exegetical issues page, Sickness and Enemies in Psalm 6, for an in-depth discussion of the issue. In short, there is good reason to think that Psalm 6 is a prayer for healing from physical sickness. Physical sickness is suggested primarily by the language of healing and sickness within the psalm itself (e.g., 'heal me'; 'my bones'; 'my eye'; etc.). There is no clear indication that this language should be interpreted metaphorically, though this is certainly possible. That literal sickness is in view becomes even more likely when Psalm 6 is compared with the very similar psalm, Psalm 38, where sickness is clearly present. This interpretation is also supported by the fact that Hezekiah alludes to Psalm 6 (or, at least uses similar language) in his own prayer "when he was sick" (Isa 38:9-20).
  • The word dismayed (נִבְהֲלוּ), which describes an emotional state that includes fear, distress, and trembling, is a key word in this psalm. Although it is relatively rare elsewhere, it occurs three times in this psalm alone (vv. 3b, 4a, 11a). The following visual shows the distribution of repeated words and roots across the psalm. The most common words in this psalm are the divine name, the word "all" (כֹּל), and the word "dismayed" (נִבְהַל).

img-class=fluid

  • Since "dismay" is an emotion, and since bones can refer to the "seat of the emotions,"[21] it is likely that "bones" in Psalm 6 refers not only to the physical body, but (by synecdoche) to the whole person.[22] At the same time, the use of the image supports the idea that the psalmist is suffering physically. Bones were also thought to be "the seat of one's physical strength and health."[23]

v. 4

Hebrew Verse English
י נִבְהֲלָ֣ה מְאֹ֑ד וְאַתָּ֥ה 4a mysoulhas becomeverydismayed.Andyou,
יְ֝הוָ֗ה עַד־מָתָֽי׃שׁוּבָ֣ה 4b YHWH,how long?Turn back,

Diagrams Expanded Paraphrase

Expanded Paraphrase The words in <i>italics</i> provide a fuller sense of the psalm; the text itself is in <b>bold</b>.

And my soul has become very dismayed. And you, YHWH, how long will you continue to discipline me in your anger?

Notes

David continues to describe his miserable state by using even more intense language: "bones" intensifies to "soul," and "dismayed" becomes "very dismayed." These descriptions continue to demonstrate his desperate need for mercy and healing.

  • The phrase my soul (נַפְשִׁי) is an emotionally charged way of speaking of oneself, and, in English, it is often translated with the pronoun "I." The phrase here is fronted before the verb for marked topic: "and as for my soul (וְנַפְשִׁי), it is very dismayed." In the previous verse (v. 3), he talks about himself generally ("I") and about his bones ("my bones"). Now, in v. 4a he talks about his soul. With this new marked topic comes an expectation of some new information: "and as for my soul..." But this expectation is subverted when the previous line is repeated nearly verbatim—only the situation is intensified (מאֹד). Despite the new topic, the discourse goes nowhere (but down!) and leaves the reader (along with the psalmist) asking, "how long?" (v. 4b).[24]
  • The pronoun you (אַתָּ) is fronted for a contrastive topic shift. As Wendland notes, "the pronoun [you"] (v. 4b) forcefully contrasts with ["my soul"] in the preceding line (v. 4a), as the two protagonists, divine and human, are syntactically placed into prominent opposition."[25]
  • The psalmist does not actually complete his thought in v. 4b. And you, YHWH, how long? is a sentence fragment. The broken grammar reflects the psalmist's state of dismay. If we had to supply the implied information to make a full clause, we might say, "and you, YHWH, how long will you continue to discipline me in your anger?"[26] But the psalm itself leaves the clause incomplete.[27]
  • In the Masoretic Text, there is a ketiv/qere in v. 4b – a case of dissonance between the consonantal text (the ketiv = "what is written") and the reading tradition (the qere, "what is read"), represented by the vocalization. The consonantal text (the ketiv) here reads ואת, and the vocalization (the qere) reads וְאַתָּ (i.e., וְאַתָּה). There is probably no difference in meaning between these two forms, only a difference in spelling. The ketiv ואת is to be regarded as a defectively written 2ms pronoun: and you (וְאַתָּ).[28]
  • The question how long? (עַד־מָתָי) is a rhetorical question. It is not an attempt to elicit information but an expression of dismay and frustration.
  • In John 12:27, Jesus appears to allude to v. 4a when he says "Now my soul is deeply troubled" (NLT).[29]

v. 5

Hebrew Verse English
יְ֭הוָה חַלְּצָ֣ה נַפְשִׁ֑י ה֝וֹשִׁיעֵ֗ 5a YHWH.Rescuemysoul.Save
נִי לְמַ֣עַן חַסְדֶּֽךָ׃כִּ֤י אֵ֣ין 5b mefor the sake ofyourloyalty.Forthere is no

Diagrams Expanded Paraphrase

Expanded Paraphrase The words in <i>italics</i> provide a fuller sense of the psalm; the text itself is in <b>bold</b>.

Turn back from your anger, YHWH. Rescue my soul from death. Help me for the sake of your loyalty. You made a covenant with me, and you are committed to fulfilling your covenant obligations. You have said that your loyalty would never depart from my house.

Notes

The psalmist once again pleads with YHWH to turn from anger and rescue him (cf. vv. 2–3). He now bases his plea on YHWH's loyalty.

  • The verb translated as turn back (שׁוּבָה) has been interpreted to mean either "return (from absence)" (NLT) or "relent (from anger)" (NET). See the exegetical issue page, The Meaning of שׁוּבָה in Psalm 6:5, for an in-depth discussion of the issue. In short, the plea for YHWH to "turn" is most likely a request for YHWH to change the course of his activity — to turn from anger to mercy, from punishment to healing (cf. vv. 2–3). This well-attested meaning of the word שׁוּב (cf. Isa 63:17; Ps 90:13; Exod 32:12; etc.) is the most appropriate meaning in the context of Psalm 6, in which the psalmist's basic problem is not that YHWH is absent, but that YHWH is angry and actively inflicting punishment (vv. 2–4).
  • The vocative YHWH in v. 5a occurs in second position, either for clause-division or, more likely, to indicate increasing intensity and urgency between the two imperatives.
  • The requests for YHWH to rescue and save are, specifically, requests for YHWH to rescue him from death (cf. v. 6). The GNT makes this assumption explicit when it says, "rescue me from death."
  • The preposition because of (לְמַעַן) "functions to designate a causal relation."[30]
  • The psalmist grounds his plea in YHHW's loyalty (חַסְדֶּךָ), which recalls YHWH's promise to David in 2 Samuel 7: "I will be his father, and he will be my son. When he does wrong, I will punish him (וְהֹֽכַחְתִּיו) with a rod wielded by men, with floggings inflicted by human hands. But my love (וְחַסְדִּי) will never be taken away from him, as I took it away from Saul, whom I removed from before you" (2 Sam 7:14-15, NIV). The term "loyalty" (NIV: "love"), which occurs in both passages, refers to a "state in which humans or deities are committed towards fulfilling their obligations and show that by their actions" (SDBH). SDBH suggests "loyalty" as a possible English gloss.

v. 6

Hebrew Verse English
בַּמָּ֣וֶת זִכְרֶ֑ךָ בִּ֝שְׁא֗וֹל 6a commemoration ofyouintheworldofthedead.InSheol,
מִ֣י יֽוֹדֶה־לָּֽךְ׃יָגַ֤עְתִּי׀ 6b whopraisesyou?I have grown weary

Diagrams Expanded Paraphrase

Expanded Paraphrase The words in <i>italics</i> provide a fuller sense of the psalm; the text itself is in <b>bold</b>.

You should act because I am close to death. And if I die, I will not be able to praise you, For there is no commemoration of you in the world of the dead. In Sheol, who praises you? No one praises you in Sheol.

Notes

The psalmist gives another reason why YHWH should turn and rescue him: if he does not, then the psalmist will die and will be unable to worship YHWH with the community.

  • The discourse particle for (כִּי) marks v. 6 as the grounds for the plea in v. 5. If YHWH does not rescue David from death, then he will die. And, if he dies, he will not be able to praise YHWH, because the dead, by virtue of being cut off from congregational worship in the temple, cannot praise YHWH. And YHWH desires praise. Therefore, the psalmist argues, YHWH should rescue him from death.
  • The world of the dead (מָוֶת, lit: "death") was "considered to be a remote place, deep in the earth, with power over humankind, without remembrance, without praising God" (SDBH). The word is parallel to the proper noun Sheol (שְׁאוֹל), a place of great depth (Deut 32:22), guarded by gates (Isa 38:10), associated with darkness (Job 17:13), dust (Job 17:16), and silence (Ps 31:18).[31]
  • The article on the noun "death >> world of the dead"—"the world of the dead" (GNT)—probably indicates uniqueness; there is only one world of the dead.
  • The word translated as mention (זִכְרֶךָ) is an important word in the psalm.[32] It refers to an "action by which memories of certain divine activities are celebrated in word or song" (SDBH). The NLT translation, therefore, is somewhat misleading: "For the dead do not remember you." As Childs notes, the psalmist "suffers not because of the inability to remember YHWH in death, as the word is often translated. Rather, the parallelism ["who can praise you?"] indicates that the problem arises from the failure of the dead to share in the praise of Yahweh which characterizes Israel's worship (cf. Ps 88.11; Isa 38:18)."[33] The Septuagint translator accurately communicates this meaning by choosing a Greek word that implies speaking (μνημονεύω) rather than a word that describes a purely mental activity (μιμνήσκομαι, which is how the translator usually translates זכר).[34]
  • Significantly, the noun זֵכֶר can also refer to an "appellation through which one can be remembered" (SDBH). It is often a synonym of the word "name" (שֵׁם).[35] This is significant in Psalm 6, because in vv. 7-8, where the psalmist's suffering is at its deepest, the psalm never mentions YHWH's name. In vv. 2-6, he mentions YHWH's name five times. But in vv. 7-8, it is as though David has descended into the world of the dead, the place where YHWH is neither named nor praised. But then in the fourth section (vv. 9-11), David regains energy, confidence, and authority, and he proclaims YHWH's name three times, as though he has come back from the dead. The NIV nicely captures the meaning and poetic significance by translating אֵין...זִכְרֶךָ as "no one proclaims your name" (NIV).

Psalm 6 - Poetic Feature - To death and back.jpg

  • The question in v. 6b, who can praise you?, is a rhetorical question. The psalmist is making a strong claim: "no one can praise you there." The interrogative form is poetically significant, however, because it parallels the interrogative in v. 4b. Both vv. 2-4 and vv. 5-6 thus end with a question, a note of unresolved desperation and uncertainty.
  • In the context, the yiqtol verb יוֹדֶה implies ability: "who can praise you?" (NLT, cf. NJPS, CSB).[36]
  • The lamed prepositional phrase you (לָךְ), modifying the verb "praise" (ידה), refers to the recipient of the praise.[37]

Death (vv. 7-8)

This section (vv. 7-8) stands out in a number of ways.

  1. There is an abundance of figurative language and imagery: weary sighing (7a), the darkness of "night" (v. 7b), a flood of tears that causes his bed to dissolve (7bc), an eye that wastes away (8ab).
  2. Verse 7 is the only three-line verse in the Psalm. Verse 7a is the middle line of the Psalm, and it is also the shortest (2 words, 7 syllables)
  3. Rare words (words occurring ten times or less in the Bible) cluster in this section (indicated by italics): אַשְׂחֶה (3x), עַרְשִׂי (10x), אַמְסֶה (4x), עָשְׁשָׁה (3x), עָתְקָה (9x).
  4. This is the most phonologically marked section in the psalm. There is dense alliteration: m + t + b + guttural (indicated with green boxes) and s/sh/th + guttural (indicated with pink boxes).
  5. There is the sudden mention of "adversaries" at the end of the section (delayed identification).
  6. The word "all" or "every" (כָל) is repeated (indicated with a circle). The words "night" (לַיְלָה) and "adversaries" (צוֹרְרָי) also sound similar; both words have a pair of liquids (l, r) and a yod.

Psalm 006 - PF2.jpg


The effect of these features is to draw attention to this section of the poem. David, on the brink of death, reaches to the heights of poetic/rhetorical technique in order to express the depths of his suffering in a last-ditch effort to persuade YHWH to rescue him.

v. 7

Hebrew Verse English
בְּֽאַנְחָתִ֗י אַשְׂחֶ֣ה בְ 7a because ofmygroaning.I drenchmycouchevery
כָל־לַ֭יְלָה מִטָּתִ֑י בְּ֝דִמְעָתִ֗ 7b mycoucheverynight.Withmytears
י עַרְשִׂ֥י אַמְסֶֽה׃עָֽשְׁשָׁ֣ה מִ 7c mytearsI meltmybed.Myeyehas wasted awaybecause of

Diagrams Expanded Paraphrase

Expanded Paraphrase The words in <i>italics</i> provide a fuller sense of the psalm; the text itself is in <b>bold</b>.

See the desperateness of my situation; see how close to death I am. I have grown weary because of my groaning. I drench my bed every night. With my tears I melt my couch. It is as though I am already in Sheol, the place where you are not named.

Notes

This highly marked verse begins the third section of the psalm, where YHWH's name is not mentioned (cf. v. 6). It is as though the psalmist is already experiencing the pains of Sheol," a place associated with darkness and chaotic waters.

  • The bet prepositional phrase in v. 7a (בְּאַנְחָתִי) indicates cause: because of my groaning or "from my groaning" (NIV, CSB, cf. NLT).[38]
  • The verb drench (אַשְׂחֶה v. 7b) occurs only three times in the Hebrew Bible and only here in the hiphil stem.[39] Because in the qal stem it means “to swim,”[40] in the hiphil stem, it probably means “to cause to swim,”[41] which is probably a hyperbolic way of saying “to flood/drench.”[42]
  • We would normally expect the phrase every night (בְכָל־לַיְלָה), which is phonetically heavier, more morphologically complex, and less discourse-accessible than "my bed," to occur at the end of the sentence. The fact that it occurs before the object ("my bed") probably indicates scalar focus: every single night.
  • The verb melt (אַמְסֶה v. 7c) occurs a few other times in the Bible, mostly in the Psalms.[43] It means literally to “melt” or to “dissolve into liquid” (e.g. 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.[44] Together, the words "melt" and "drench" dramatically depict the psalmist adrift in a watery chaos. His tears drench his bed (v. 7b), and then the bed itself turns into water (v. 7c).
  • Verse 7 uses two different words to describe the place where the psalmist sleeps: my bed (מִטָּתִי) and my couch (עַרְשִׂי). The mention of a "bed"/"couch" supports the idea that the psalmist is a king, i.e., "David" (v. 1), since "in the ancient Near East a bed was a piece of luxury furniture... Ordinary individuals slept on the ground on spreads or rugs, covered with a cloak (Jgs. 4:18; Ex. 22:26–27)."[45] The mention of a "bed" also supports the idea that the psalmist is suffering from some sickness (see above), since beds were sometimes associated with sickness (cf. 2 Kgs 1:4; Ps 41:4). The two words ("bed" and "couch") probably have the same referent, and it is difficult to discern a difference in meaning. TDOT suggests that the first word, "bed" (מִטָּה), which is the more common word, "refers to a bed with a wooden frame," while the second word, "couch" (עֶרֶשׂ) "denotes a more luxurious bed with frame, cushions, and the like."[46]

v. 8

Hebrew Verse English
כַּ֣עַס עֵינִ֑י עָֽ֝תְקָ֗ה 8a Myeyehas wasted awaybecause ofvexation.It has become weak
בְּכָל־צוֹרְרָֽי׃ס֣וּרוּ 8b because ofallmyadversaries.Move away

Diagrams Expanded Paraphrase

Expanded Paraphrase The words in <i>italics</i> provide a fuller sense of the psalm; the text itself is in <b>bold</b>.

My eye has wasted away because of vexation. It has become weak because of all my adversaries. I am vexed because of my enemies, who have exacerbated the situation. They have interpreted my sickness as a sign of sin and divine rejection, and they seek to take advantage of my weak position.

Notes

David continues to vividly portray his desperate situation. He introduces a new emotion ("vexation") as well as a new participant ("my adversaries"). These adversaries, who have come to take advantage of his apparent fall from divine favor, further contribute to the deterioration of his health.

  • A person's eye was viewed as an indicator of a person's health - "sparkling when the body is healthy and strong, but dim when weak or sick" (SDBH).
  • The verb has wasted away (עָשְׁשָׁה) occurs three times in the Bible, only in the Psalms and only in the qal stem.[47] It is a stative verb.[48] In each instance, the subject is either "my eye" (Pss 6:8; 31:10) or "my bones" (Ps 31:11). The precise meaning of the word 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.”[49]
  • The min prepositional phrase in v. 8a (מִכַּעַס) indicates cause: "by vexation" (NJPS) or "because of grief" (KJV, ESV). Note that the prepositional phrase in the following line (בְּכָל־צוֹרְרָי) also indicates cause, though it uses a different preposition (בְּ): "because of all my adversaries." Staszak argues that there is a meaningful difference between the use of bet and min to express cause: "The difference is defined by the question of dominance: Prepositional constructions with מִן express causes of full dominance over a logical target point... מִן marks dominant causes, whereas ב marks non-dominant causes which do not have full effect" (Staszak 2024, 128). Applied to Psalm 6, this would mean that "vexation" (כַּעַס) rather than "adversaries" is the dominant cause of the psalmist's deteriorating condition.
  • The verb has become weak (עָתְקָה), which occurs only here in the Psalms,[50] appears to have the concrete meaning “move (away).”[51] In Job 21:7, this meaning is metaphorically extended to mean “move on in years,” i.e., “to be/grow old." In Psalm 6:8, there appears to be a further metaphorical extension, based on the association between old age and weakness: "move on --> grow old --> become weak."[52] SDBH defines this use of the word as a "process by which parts of the body lose strength and therefore become unable to function well; ◄ caused by grief or illness."
  • Instead of עָתְקָה, several of the early versions have a first-person verb: "I have become weak" (עָתַקְתִּ?).[53] According to Barthélemy et al, these versions "represent a simplified text that accurately resolved the synecdoche in the MT [i.e., the eye stands figuratively for the whole person], which they considered too bold. However, the parallel that this synecdoche creates between the two verbs is very much in line with Hebrew poetry."[54]
  • The bet prepositional phrase in v. 8b (בְּכָל־צוֹרְרָי) indicates cause: "because of all my foes" (ESV, NIV, NJPS; cf. NLT, KJV, CSB, GNT, NET).[55]
  • The identity of the psalmist's adversaries is not immediately clear. See Sickness and Enemies in Psalm 6 for an in-depth discussion of the issue. In short, comparison between Psalm 6 and Psalm 38 (which is very similar yet more detailed) suggests that the psalmist's adversaries come as a result of the sickness and thus contribute further to his suffering. As Waltke writes, "His enemies interpret [his sickness] as God's curse that validates their rejection of him as 'I AM's' chosen king."[56] The relationships among the three main participants in the psalm (David, YHWH, and the enemies) might be visualized as follows:

img-class=fluid

Answer (vv. 9-11)

There are several correspondences between this final section (vv. 9-11) and the psalm's first section (vv. 2-4). Not only are they the same length (3 verses, 6 lines, 24 words), but they are also similar in content and sounds:

v. 2 יסר ("discipline") and contextual domain BEHAVIOR ("discipline")
v. 3 "Have mercy (חנן), YHWH"; "Heal me, YHWH."
v. 4 "very dismayed" (נִבְהֲלָה מְאֹד) / "how long?" (time)
v. 9 סור ("move away") and contextual domain BEHAVIOR ("evil")
v. 10 "YHWH... my supplication" (חנן); "YHWH... my prayer."
v. 11 "very dismayed" (וְיִבָּהֲלוּ מְאֹד) / "in a moment" (time)

Psalm 6 - Poetic Feature - Repetition.jpg

Structurally, the first section (vv. 2–4) and the last section (vv. 9–11) stand in symmetrical relationship to one another. The parallels help to define the structure of the Psalm.

The effect of the repetition in the last section is to highlight the complete resolution and reversal of the situation. David's prayer has been heard, his question of "how long?" has been answered—"in a moment!"—and the deep dismay that he experienced is now felt by his enemies on whom YHWH's punishment rightfully falls.

v. 9

Hebrew Verse English
מִ֭מֶּנִּי כָּל־פֹּ֣עֲלֵי אָ֑וֶן כִּֽי־שָׁמַ֥ע 9a fromme,allworkers ofevil.ForYHWHhas heard
יְ֝הוָ֗ה ק֣וֹל בִּכְיִֽי׃שָׁמַ֣ע יְ֭הוָה 9b YHWHhas heardthe sound ofmyweeping.YHWHhas heard

Diagrams Expanded Paraphrase

Expanded Paraphrase The words in <i>italics</i> provide a fuller sense of the psalm; the text itself is in <b>bold</b>.

YHWH promised that his loyalty would not move away from me. So, in my authority as the king, with YHWH still on my side, I say, Move away from me, all workers of evil. You have done evil in God's sight by opposing his anointed king. And, by opposing YHWH's anointed, you have opposed YHWH himself. For YHWH has not rejected me. Instead, he has heard the sound of my weeping.

Notes

In v. 9, the tone shifts dramatically, as the psalmist orders his enemies to leave and triumphantly proclaims that YHWH has heard the sound of his weeping.

  • David suddenly turns to address his enemies as you who do evil (פֹּעֲלֵי אָוֶן). This sudden turning of the speaker to address an imaginary audience is a rhetorical device known as rhetorical device known as "apostrophe" (Greek for "turning away"). "It is a sudden breaking off in the course of speech, diverting it to some new person or thing."[57]
  • The vocative in v. 9a is clause-medial, preceding the subordinate כִּי clause, and it focuses the content of the subordinate clause.[58]
  • The sudden shift in emotion (from fear, distress, and grief to confidence, vindication, and triumph) along with the repeated mention of YHWH's name gives the impression of a literary resurrection from the dead. In the world of the dead, there is no mention of YHWH's name (v. 6; note the absence of YHWH's name in vv. 7–8). When the psalmist emerges from death, he proclaims YHWH's name three times (vv. 9b–10).
  • In v. 3, David prayed for YHWH to have mercy on him (חָנֵּנִי) and for YHWH to heal him (רְפָאֵנִי). In terms of the poetic structure, v. 10 mirrors v. 3, so that David's plea for mercy (תְּחִנָּתִי v. 10a) refers to his plea for YHWH to have mercy (v. 3a), and his prayer (תְּפִלָּתִי v. 10b) refers to his prayer for healing (v. 10b).
  • Jesus alludes to this verse in the New Testament. In Matthew 7:23, he says "Then I will tell them plainly, ‘I never knew you. Away from me, you evildoers!’" (NIV; cf. Luke 13:27).

v. 10

Hebrew Verse English
תְּחִנָּתִ֑י יְ֝הוָ֗ה תְּֽפִלָּתִ֥ 10a mysupplication.YHWHwill acceptmyprayer.
י יִקָּֽח׃יֵבֹ֤שׁוּ׀וְיִבָּהֲל֣וּ 10b will acceptmyprayer.Letallmyenemiesbe shamedandverydismayed.

Diagrams Expanded Paraphrase

Expanded Paraphrase The words in <i>italics</i> provide a fuller sense of the psalm; the text itself is in <b>bold</b>.

YHWH has heard my supplication. He will turn from anger and have mercy. YHWH will take up my request. He will heal me. This means that I will be vindicated, and it will become clear that YHWH has not rejected me as king. And, when I am vindicated, then you will be shown to be in the wrong, having opposed YHWH's rightful king. YHWH will punish you, and you will be exposed as evil-doers and public failures.

Notes

The psalmist, given new life, continues to proclaim YHWH's name and celebrate YHWH's gracious response to his plea.

  • In v. 10, the poet uses both a past tense qatal form, has heard (שָׁמַע), and future tense yiqtol form, will accept (יִקָּח).[59] In v. 3, David prayed for YHWH to have mercy on him (חָנֵּנִי) and for YHWH to heal him (רְפָאֵנִי). In terms of the poetic structure (see note above on vv. 9-11), verse 10 mirrors verse 3, so that David's plea for mercy (תְּחִנָּתִי v. 10a) refers to his plea for YHWH to have mercy (v. 3a), and his prayer (תְּפִלָּתִי v. 10b) refers to his prayer for healing (v. 10b). By the time the psalmist reaches v. 10, YHWH has granted the first of these requests (hence, v. 10a is past tense: "YHWH has heard my supplication" = YHWH has taken up a merciful disposition), but he has not yet granted the second request for healing (hence, v. 10b is future tense: "YHWH will accept my prayer" = YHWH will heal me).

v. 11

Hebrew Verse English
מְ֭אֹד כָּל־אֹיְבָ֑י יָ֝שֻׁ֗בוּ יֵבֹ֥שׁוּ רָֽגַע׃ 11a allmyenemiesbe shamedandverydismayed.Let them turn back.Let them be shamedinan instant.

Diagrams Expanded Paraphrase

Expanded Paraphrase The words in <i>italics</i> provide a fuller sense of the psalm; the text itself is in <b>bold</b>.

YHWH, according to your justice Let all my enemies be shamed and very dismayed just as I was shamed and dismayed. Let them turn back. Let them be shamed in an instant.

Notes

Now confident in YHWH's favor, the psalmist calls on YHWH to deal justly with his enemies. They will experience shame and dismay just as he was shamed and dismayed. This complete reversal will happen "in a moment," even as his earlier suffering seemed to have no end (cf. v. 4b).

  • The verbs in this verse, Let... be shamed and very dismayed... Let them turn... be shamed... could be either future indicatives (cf. NIV: "...will be overwhelmed with shame and anguish; they will turn back and suddenly be put to shame") or jussives (cf. NLT: "May all my enemies be disgraced and terrified. May they suddenly turn back in shame"). We have followed the ancient versions in understanding these verbs as jussives. The LXX, for example, translates this verse as follows: "May all my enemies be ashamed (αἰσχυνθείησαν) and be very much troubled (ταραχθείησαν); may they be turned back (ἀποστραφείησαν) and, in a moment, be very much put to shame (καταισχυνθείησαν)" (NETS).[60]
  • The reversal of fortunes is underscored by the reversal of letters in v. 11b (שׁוּב // בוּשׁ).

Legends

Grammatical diagram

  Grammatical Diagram Legend

Visualization Description
Legends - Clause.png
 The clause is represented by a horizontal line with a vertical line crossing through it, separating the subject and the verb.
Legends - Object.png
 The object is indicated by a vertical line that does not cross the horizontal line of the clause. Infinitives and participles may also have objects. If the direct object marker (d.o.m.) is present in the text, it appears in the diagram immediately before the object. If the grammar includes a secondary object, the secondary object will appear after the object, separated by another vertical line that does not cross the horizontal line of the clause.
Legends - Subject complement-1.png
 The subject complement follows the verb (often omitted in Hebrew) separated with a line leaning toward the right. It can be a noun, a whole prepositional phrase or an adjective. The later two appear modifying the complement slot.
Legends - Object complement.png
 When a noun further describes or renames the object, it is an object complement. The object complement follows the object separated by a line leaning toward the right.
Legends - Construct Chain.png
 In a construct chain, the noun in the absolute form modifies the noun in the construct form.
Legends - Participle.png
 Participles are indicated in whatever position in the clause they are in with a curved line before the participle. Participles can occur as nominal, where they take the place of a noun, predicate, where they take the place of a verb, or attributive, where they modify a noun or a verb similar to adjectives or adverbs.
Legends - Infinitive.png
 Infinitives are indicated by two parallel lines before the infinitive that cross the horizontal line. Infinitive constructs can appear as the verb in an embedded clause. Infinitive absolutes typically appear as an adverbial.
Legends - Subject of Infinitive 1.png
 The subject of the infinitive often appears in construct to it. In this situation, the infinitive and subject are diagrammed as a construct chain.
Legends - Object of Infinitive.png
 The object of the infinitive is indicated by a vertical line that does not cross the horizontal line of the infinitival clause.
Legends - Modifiers 1.png
 Modifiers are represented by a solid diagonal line from the word they modify. They can attach to verbs, adjectives, or nouns. If modifying a verb or adjective, it is an adverb, but if modifying a noun, it is an adjective, a quantifier, or a definite article. If an adverb is modifying a modifier, it is connected to the modifier by a small dashed horizontal line.
Legends - Adverbial.png
 Adverbials are indicated by a dashed diagonal line extending to a horizontal line. These are nouns or infinitives that function adverbially (modifying either a verb or a participle), but are not connected by a preposition.
Legends - Prepositional Phrase.png
 Prepositional phrases are indicated by a solid diagonal line extending to a horizontal line. The preposition is to the left of the diagonal line and the dependent of the preposition is on the horizontal line. They can modify verbs (adverbial) or nouns (adjectival).
Legends - Embedded Clause 1.png
 Embedded clauses are indicated by a "stand" that looks like an upside-down Y. The stand rests in the grammatical position that the clause fulfills. Extending from the top of the stand is a horizontal line for the clause. If introduced by a complementizer, for example כִּי, the complementizer appears before the stand. Embedded clauses can stand in the place of any noun.
Legends - Compound clauses.png
 When clauses are joined by a conjunction, they are compound clauses. These clauses are connected by a vertical dotted line. The conjunction is placed next to the dotted line.
Legends - Compound elements 2.png
 Within a clause, if two or more parts of speech are compound, these are represented by angled lines reaching to the two compound elements connected by a solid vertical line. If a conjunction is used, the conjunction appears to the left of the vertical line. Almost all parts of speech can be compound.
Legends - Subordinate clause.png
 Subordinate clauses are indicated by a dashed line coming from the line dividing the subject from the predicate in the independent clause and leading to the horizontal line of the subordinate clause. The subordinating conjunction appears next to the dashed line.
Legends - Relative Clause 1.png
 Relative clauses also have a dashed line, but the line connects the antecedent to the horizontal line of the relative clause. The relative particle appears next to the dashed line.
Legends - Sentence fragment.png
 Sentence fragments are represented by a horizontal line with no vertical lines. They are most frequently used in superscriptions to psalms. They are visually similar to discourse particles and vocatives, but most often consist of a noun phrase (that does not refer to a person or people group) or a prepositional phrase.
Legends - Discourse particle&Vocative.png
 In the body of the psalm, a horizontal line by itself (with no modifiers or vertical lines) can indicate either a discourse particle or a vocative (if the word is a noun referring to a person or people group). A discourse particle is a conjunction or particle that functions at the discourse level, not at the grammatical level. Vocatives can appear either before or after the clause addressed to them, depending on the word order of the Hebrew.
Legends - Apposition.png
 Apposition is indicated by an equal sign equating the two noun phrases. This can occur with a noun in any function in a sentence.
Hebrew text colors
Default preferred text The default preferred reading is represented by a black line. The text of the MT is represented in bold black text.
Dispreferred reading The dispreferred reading is an alternative interpretation of the grammar, represented by a pink line. The text of the MT is represented in bold pink text, while emendations and revocalizations retain their corresponding colors (see below).
Emended text Emended text, text in which the consonants differ from the consonants of the Masoretic text, is represented by bold blue text, whether that reading is preferred or dispreferred.
Revocalized text Revocalized text, text in which only the vowels differ from the vowels of the Masoretic text, is represented by bold purple text, whether that reading is preferred or dispreferred.
(Supplied elided element) Any element that is elided in the Hebrew text is represented by bold gray text in parentheses.
( ) The position of a non-supplied elided element is represented by empty black parentheses.
For example, this would be used in the place of the noun when an adjective functions substantivally or in the place of the antecedent when a relative clause has an implied antecedent.
Gloss text colors
Gloss used in the CBC The gloss used in the Close-but-Clear translation is represented by bold blue text.
Literal gloss >> derived meaning A gloss that shows the more literal meaning as well as the derived figurative meaning is represented in blue text with arrows pointing towards the more figurative meaning. The gloss used in the CBC will be bolded.
Supplied elided element The gloss for a supplied elided element is represented in bold gray text.

Shapes and colours on grammatical diagram

Visualization Description
3 Legends - Prepositional Phrase.png
 The prepositional phrase is indicated by a solid green oval.
3 Legends - Construct Chain.png
 The construct chain is indicated by a solid yellow oval.
3 Legends - phrase-level ו.png
 When the conjunction ו appears at the phrase-level (not clause-level), it is indicated by a solid light purple oval.
3 Legends - Article.png
 The article is indicated by a solid blue oval.

Expanded paraphrase

(For more information, click "Expanded Paraphrase Legend" below.)

Expanded paraphrase legend
Close but Clear (CBC) translation The CBC, our close but clear translation of the Hebrew, is represented in bold text.
Assumptions Assumptions which provide background information, presuppositions, entailments, and inferences are represented in italics.

Bibliography

Alter, Robert. 2011. The Art of Biblical Poetry. Impression. Edinburgh: Clark.
Anderson, A. A. 1972. The Book of Psalms. Vol. 1. NCBC. Greenwood, SC: Attic.
Baethgen, Friedrich. 1904. Die Psalmen. Göttingen: Vandenhoeck und Ruprecht.
Barthélemy, Dominique, Norbert Lohfink, Alexander R. Hulst, William D. McHardy, H. Peter Rüger, and James A. Sanders. Critique Textuelle de l’Ancien Testament 4: Psaumes. Edited by Stephen Desmond Ryan and Adrian Schenker. Orbis biblicus et orientalis, 50,4. Fribourg: Academic Press, 2005.
Bratcher, Robert G., and William D. Reyburn. 1991. A Handbook on Psalms. UBS Handbook Series. New York: United Bible Societies.
Bullinger, E. W. 1898. Figures of Speech Used in the Bible: London: Eyre & Spottiswoode.
Childs, Brevard S. 1962. Memory and Tradition in Israel. Studies in Biblical Theology 37. Naperville: Alec R. Allenson Inc.
Cook, John A. The Biblical Hebrew Verb: A Linguistic Introduction. Learning Biblical Hebrew. Grand Rapids: Baker Academic, 2024.
Craigie, Peter C. 1983. Psalms 1–50. WBC 19. Waco, TX: Word.
Foxvog, D. A., and A. D. Kilmer. 1979. “Music.” In The International Standard Bible Encyclopedia.
Gentry, Peter. 2019. “A Preliminary Evaluation and Critique of Prosopological Exegesis.” SBJT 23, no. 2.
Hardy, H.H. The Development of Biblical Hebrew Prepositions. Ancient Near East Monographs 28. Atlanta: SBL Press, 2022.
Hossfeld, Frank-Lothar, and Erich Zenger. 1993. Die Psalmen I: Psalm 1–50. Neue Echter Bibel. Würzburg: Echter.
Jenni, Ernst. Die Hebräischen Präpositionen Band 1: Die Präposition Beth. Stuttgart: W. Kohlhammer, 1992.
Keel, Othmar. 1997. The Symbolism of the Biblical World: Ancient Near Eastern Iconography and the Book of Psalms. Winona Lake, Ind: Eisenbrauns.
Kilmer, A.D., R.L. Crocker, and R. R. Brown. 1976. Sounds from Silence : Recent Discoveries in Ancient Near Eastern Music. Berkeley: Bit Enki publications.
Kim, Young Bok. “Hebrew Forms of Address: A Sociolinguistic Analysis.” PhD, University of Chicago, 2022.
Kraus, Hans-Joachim. 1988. Psalms 1-59 : A Commentary. Minneapolis : Augsburg Pub. House.
Kuckhoff, Antonius. 2011. Psalm 6 und die Bitten im Psalter: ein paradigmatisches Bitt-und Klagegebet im Horizont des Gesamtpsalters. Bonner Biblische Beiträge 160. Göttingen/Bonn: Vandenhoeck & Ruprecht/Bonn University Press.
Lewis, Theodore J. 1992. “Dead, Abode of The.” In Anchor Bible Dictionary, II:101–5. New York: Doubleday.
van der Lugt, Pieter. Cantos and Strophes in Biblical Hebrew Poetry: With Special Reference to the First Book of the Psalter. Vol. 1. Oudtestamentische Studiën 53. Leiden: Brill, 2006.
Mena, Andrea K. "The Semantic Potential of עַל in Genesis, Psalms, and Chronicles." MA Thesis. Stellenbosch University, 2012.
Mowinckel, Sigmund. 1962. The Psalms in Israel’s Worship. Oxford: Blackwell.
Radak. Radak on Psalms.
Rashi. Rashi on Psalms.
Rogerson, J.W., and J.W. McKay. 1977. Psalms. Vol. 1. The Cambridge Bible Commentary on the New English Bible. Cambridge: Cambridge University Press.
Smith, Jannes. "Psalm 6: A Commentary on the Text-as-Produced."
Staszak, Martin. The Preposition Min. Beiträge zur Wissenschaft vom Alten und Neuen Testament (BWANT) 246. Stuttgart: Kohlhammer, 2024.
Waltke, Bruce K. 2014. The Psalms as Christian Lament: A Historical Commentary. Grand Rapids, Michigan: William B. Eerdmans Publishing Company.
Weber, Beat. Werkbuch Psalmen. 1: Die Psalmen 1 bis 72, zweite, aktualisierte Auflage. Stuttgart: Verlag W. Kohlhammer, 2016.
Wendland, Ernst R. 2019. “‘Do the Dead Praise God?’ A Literary-Structural Analysis and Translation of Psalm 6.” In Ancient Texts and Modern Readers: Studies in Ancient Hebrew Linguistics and Bible Translation, edited by Gideon Kotzé, Christian S. Locatell, and John A. Messarra, 228–245. Leiden: Brill.

References

6


Legends

Grammatical diagram

  Grammatical Diagram Legend

Visualization Description
Legends - Clause.png
 The clause is represented by a horizontal line with a vertical line crossing through it, separating the subject and the verb.
Legends - Object.png
 The object is indicated by a vertical line that does not cross the horizontal line of the clause. Infinitives and participles may also have objects. If the direct object marker (d.o.m.) is present in the text, it appears in the diagram immediately before the object. If the grammar includes a secondary object, the secondary object will appear after the object, separated by another vertical line that does not cross the horizontal line of the clause.
Legends - Subject complement-1.png
 The subject complement follows the verb (often omitted in Hebrew) separated with a line leaning toward the right. It can be a noun, a whole prepositional phrase or an adjective. The later two appear modifying the complement slot.
Legends - Object complement.png
 When a noun further describes or renames the object, it is an object complement. The object complement follows the object separated by a line leaning toward the right.
Legends - Construct Chain.png
 In a construct chain, the noun in the absolute form modifies the noun in the construct form.
Legends - Participle.png
 Participles are indicated in whatever position in the clause they are in with a curved line before the participle. Participles can occur as nominal, where they take the place of a noun, predicate, where they take the place of a verb, or attributive, where they modify a noun or a verb similar to adjectives or adverbs.
Legends - Infinitive.png
 Infinitives are indicated by two parallel lines before the infinitive that cross the horizontal line. Infinitive constructs can appear as the verb in an embedded clause. Infinitive absolutes typically appear as an adverbial.
Legends - Subject of Infinitive 1.png
 The subject of the infinitive often appears in construct to it. In this situation, the infinitive and subject are diagrammed as a construct chain.
Legends - Object of Infinitive.png
 The object of the infinitive is indicated by a vertical line that does not cross the horizontal line of the infinitival clause.
Legends - Modifiers 1.png
 Modifiers are represented by a solid diagonal line from the word they modify. They can attach to verbs, adjectives, or nouns. If modifying a verb or adjective, it is an adverb, but if modifying a noun, it is an adjective, a quantifier, or a definite article. If an adverb is modifying a modifier, it is connected to the modifier by a small dashed horizontal line.
Legends - Adverbial.png
 Adverbials are indicated by a dashed diagonal line extending to a horizontal line. These are nouns or infinitives that function adverbially (modifying either a verb or a participle), but are not connected by a preposition.
Legends - Prepositional Phrase.png
 Prepositional phrases are indicated by a solid diagonal line extending to a horizontal line. The preposition is to the left of the diagonal line and the dependent of the preposition is on the horizontal line. They can modify verbs (adverbial) or nouns (adjectival).
Legends - Embedded Clause 1.png
 Embedded clauses are indicated by a "stand" that looks like an upside-down Y. The stand rests in the grammatical position that the clause fulfills. Extending from the top of the stand is a horizontal line for the clause. If introduced by a complementizer, for example כִּי, the complementizer appears before the stand. Embedded clauses can stand in the place of any noun.
Legends - Compound clauses.png
 When clauses are joined by a conjunction, they are compound clauses. These clauses are connected by a vertical dotted line. The conjunction is placed next to the dotted line.
Legends - Compound elements 2.png
 Within a clause, if two or more parts of speech are compound, these are represented by angled lines reaching to the two compound elements connected by a solid vertical line. If a conjunction is used, the conjunction appears to the left of the vertical line. Almost all parts of speech can be compound.
Legends - Subordinate clause.png
 Subordinate clauses are indicated by a dashed line coming from the line dividing the subject from the predicate in the independent clause and leading to the horizontal line of the subordinate clause. The subordinating conjunction appears next to the dashed line.
Legends - Relative Clause 1.png
 Relative clauses also have a dashed line, but the line connects the antecedent to the horizontal line of the relative clause. The relative particle appears next to the dashed line.
Legends - Sentence fragment.png
 Sentence fragments are represented by a horizontal line with no vertical lines. They are most frequently used in superscriptions to psalms. They are visually similar to discourse particles and vocatives, but most often consist of a noun phrase (that does not refer to a person or people group) or a prepositional phrase.
Legends - Discourse particle&Vocative.png
 In the body of the psalm, a horizontal line by itself (with no modifiers or vertical lines) can indicate either a discourse particle or a vocative (if the word is a noun referring to a person or people group). A discourse particle is a conjunction or particle that functions at the discourse level, not at the grammatical level. Vocatives can appear either before or after the clause addressed to them, depending on the word order of the Hebrew.
Legends - Apposition.png
 Apposition is indicated by an equal sign equating the two noun phrases. This can occur with a noun in any function in a sentence.
Hebrew text colors
Default preferred text The default preferred reading is represented by a black line. The text of the MT is represented in bold black text.
Dispreferred reading The dispreferred reading is an alternative interpretation of the grammar, represented by a pink line. The text of the MT is represented in bold pink text, while emendations and revocalizations retain their corresponding colors (see below).
Emended text Emended text, text in which the consonants differ from the consonants of the Masoretic text, is represented by bold blue text, whether that reading is preferred or dispreferred.
Revocalized text Revocalized text, text in which only the vowels differ from the vowels of the Masoretic text, is represented by bold purple text, whether that reading is preferred or dispreferred.
(Supplied elided element) Any element that is elided in the Hebrew text is represented by bold gray text in parentheses.
( ) The position of a non-supplied elided element is represented by empty black parentheses.
For example, this would be used in the place of the noun when an adjective functions substantivally or in the place of the antecedent when a relative clause has an implied antecedent.
Gloss text colors
Gloss used in the CBC The gloss used in the Close-but-Clear translation is represented by bold blue text.
Literal gloss >> derived meaning A gloss that shows the more literal meaning as well as the derived figurative meaning is represented in blue text with arrows pointing towards the more figurative meaning. The gloss used in the CBC will be bolded.
Supplied elided element The gloss for a supplied elided element is represented in bold gray text.

Shapes and colours on grammatical diagram

  Phrasal Diagram Legend

Visualization Description
3 Legends - Prepositional Phrase.png
 The prepositional phrase is indicated by a solid green oval.
3 Legends - Construct Chain.png
 The construct chain is indicated by a solid yellow oval.
3 Legends - phrase-level ו.png
 When the conjunction ו appears at the phrase-level (not clause-level), it is indicated by a solid light purple oval.
3 Legends - Article.png
 The article is indicated by a solid blue oval.

Expanded paraphrase

  Legend

Expanded paraphrase legend
Close but Clear (CBC) translation The CBC, our close but clear translation of the Hebrew, is represented in bold text.
Assumptions Assumptions which provide background information, presuppositions, entailments, and inferences are represented in italics.

Bibliography

Footnotes

6

  1. ↑ The Hebrew text comes from Open Scriptures Hebrew Bible, which presents the text of the Leningrad Codex (the Masoretic text). The English text is our own "Close-but-clear" translation (CBC). The CBC is a “wooden” translation that exists to provide a window into the Hebrew text. It is essentially an interlinear that has been put into English word-order. It is also similar to a “back-translation” (of the Hebrew) often used in Bible translation checking. It is important to remember that the CBC is not intended to be a stand-alone translation, but is rather a tool for using the Layer by Layer materials. The CBC is used as the primary display text (along with the Hebrew) for most analytical visualisations. It is also used as the display text for most videos.
  2. ↑ A legend for the expanded paraphrase is available near the bottom of this page, in the section titled "Legends."
  3. ↑ Legends for both the grammatical diagram and the shapes and colours on the grammatical diagram are available near the bottom of this page, in the section titled "Legends."
  4. ↑ Cf. van der Lugt 2006, 126; Weber 2016, 65–66.
  5. ↑ Cf. Weber 2016, 66.
  6. ↑ Cor more information on these connections, see Poetic Feature #1, also discussed in the verse-by-verse introduction to vv. 9–11.
  7. ↑ Cf. Hossfeld and Zenger 1993, 67. For more details, see Poetic Feature #1, also discussed in connection with v. 6.
  8. ↑ Craigie 1983, 94.
  9. ↑ Cf. Kilmer 1976; Foxvog and Kilmer 1979.
  10. ↑ See Mena 2012 §5.4.10.
  11. ↑ See the entry on אָנַף in TDOT for a discussion of all of the OT words for "anger."
  12. ↑ Cf. BHRG §39.6(4).
  13. ↑ This inference is supported by comparison to similar Psalms (Pss 38; 41) in which sin is explicit. Other commentators have made this same point. E.g., NET Bible note on v. 2: “The implication is that the psalmist has sinned, causing God to discipline him.” Cf. Anderson 1972, 88; Rogerson & McKay 1977, 32; Kraus 1988, 162; et al. Furthermore, the following verses imply that the psalmist is suffering from sickness, and "in the Psalms, sickness is closely linked with sin" (Pss 41:4; 107:17-20) (Keel 1997, 62).
  14. ↑ Cf. Prov 13:24; 23:13-14; 2 Sam 7:14
  15. ↑ Cf. 2 Sam 7:14; Ps 2:7. "The Canaanite and ANE culture shows that the notion of the king as a son of god was well established" (Gentry 2019).
  16. ↑ Wendland 2019, 234. Waltke comes to the same conclusion: "Since the rest of the psalm shows he is under discipline, the negative particle for urgent petition is better glossed 'stop'" (2014, 55).
  17. ↑ Kim 2022, 235-237.
  18. ↑ The Septuagint translates it with a Greek word (ἀσθενής) that means "..without strength, weak..... in body, feeble, sickly" (LSJ).
  19. ↑ See also the adjective אֲמֵלָל, "feeble, weak," in Neh 3:34.
  20. ↑ This increased specificity across parallel lines is characteristic of Biblical Hebrew poetry. Cf. Alter 2011.
  21. ↑ Cf. HALOT, TWOT. E.g., Ps. 51:10
  22. ↑ Cf. SDBH's entry (f): "literally: (one's) bones, extended to denote the entire person; hence: a reference to one's self."
  23. ↑ Cf. NIDOTTE.
  24. ↑ Alternatively, the fronting of נַפְשִׁי could be considered an instance of additive focus: "my soul, too (in addition to my bones), has become very dismayed." Alternatively, Lunn (2006, 234–235) argues that v. 3bβ and v. 4a form a line-pair in which the non-default word order in v. 4a creates a symmetrical pattern with v. 3bβ: A. "dismayed" B. "my bones" // B. "my soul" A. "very dismayed."
  25. ↑ Wendland 2019, 231.
  26. ↑ Similarly, Baethgen 1904, 14: "How long [will you be angry]?" Cf. Ps 79:5 – עַד־מָ֣ה יְ֭הוָה תֶּאֱנַ֣ף לָנֶ֑צַח. See also Ps 89:47. Radak: "[how long] will you crush me with sickness and not heal me?" (תדכאני בחליים ולא תרפאני); Rashi: "[how long] will you look without healing?" (תביט ואינך רופא).
  27. ↑ Cf. GKC §147c; see also Ps 90:13.
  28. ↑ Cf. LXX: καὶ σύ. Compare the form אַתְּ in Num 11:15, which must be 2ms according to the context. In this case, however, the Masoretes vocalize it as though it were a feminine pronoun. The Masoretic note on אַתְּ in Num 11:15 says, "three times with a masculine sense" (cf. Ezek 18:14). Interestingly, the Qumran composition 4QCatenaA quotes Psalm 6 but has ועתה ("and now") instead of ואת/אתה ("and you"). The reading ועתה is secondary, but it demonstrates that, already at this early date, ואת was pronounced with a final "ah" sound (וְאַתָּה).
  29. ↑ The Greek text in John reads, Νῦν ἡ ψυχή μου τετάρακται. Cf. the LXX of Ps 6:4a: καὶ ἡ ψυχή μου ἐταράχθη.
  30. ↑ Hardy 2022, 161.
  31. ↑ See Lewis 1992, 101-105. R.L. Harris has argued that Sheol is a poetic synonym for קֶבֶר ("grave"), referring merely to the grave. "Its usage does not give us a picture of the state of the dead in gloom, darkness, chaos, or silence, unremembered, unable to praise God, knowing nothing... Rather, this view gives us a picture of a typical Palestinian tomb, dark, dusty, with mingled bones and where 'this poor lisping stammering tongue lies silent in the grave'" (TWOT).
  32. ↑ The Masoretic Text vocalizes זכרך as a noun: "mention of you" (זִכְרֶ֑ךָ). By contrast, the Septuagint appears to vocalize זכרך as a participle (זֹכְרֶךָ): "in death there is no one who makes mention of you (ὁ μνημονεύων σου)" (NETS). Perhaps the translator was influenced by the verbal idea in the second half of the verse ("who can praise you?") (cf. Smith). The later Greek translators Aquila and Symmachus revise the Septuagint translation towards the traditional Hebrew reading (Aquila: μνήμη σου; Symmachus: ἀνάμνησίς σου; see also Jerome [Hebr.]: recordatio).
  33. ↑ Childs 1962, 71.
  34. ↑ Cf. Smith.
  35. ↑ E.g., Exod 3:15; Isa 26:8; Pss 30:5; 97:12; 102:13; 135:13; Job 18:17; Prov 10:7. Cf. Childs 1962, 71.
  36. ↑ Cf. Cook 2024, 209.
  37. ↑ See also Pss 33:2; 75:2; 79:13; 92:2; 100:4; 105:1; 119:62, etc.
  38. ↑ So Jenni 1992, 111.
  39. ↑ Isa 25:11 [qal, x2]; Ps 6:7 [hiphil].
  40. ↑ Cf. BDB, HALOT, SDBH.
  41. ↑ Cf. Jerome's translation from the Hebrew text: natare faciam ("make swim/float").
  42. ↑ Cf. BDB, HALOT, SDBH. Cf. LXX (λούσω, "wash") and Aquila (πλύνω, "wash").
  43. ↑ Josh 14:8; Pss 6:7; 39:12; 147:18.
  44. ↑ This literal meaning is preserved in the highly literal translation of Aquila (τήκω – “melt”). Other ancient translations give a more figurative sense: LXX (βρέχω – “make wet”), Targum (טמשׁ – “immerse”), Jerome (rigabo – “make wet”).
  45. ↑ TDOT entry on עֶרֶשׂ.
  46. ↑ TDOT entry on עֶרֶשׂ.
  47. ↑ Pss 6:8; 31:10, 11.
  48. ↑ Cf. the form עָשֵֽׁשׁוּ in Ps 31:11.
  49. ↑ 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).
  50. ↑ Cf. Job 14:18; 18:4; 21:7.
  51. ↑ BDB, HALOT.
  52. ↑ In Job 21:7, old age is accompanied by strength: "Why do the wicked go on living, grow old, even increase in power? (עָתְקוּ גַּם־גָּבְרוּ חָיִל)" But this passage implies that the strength that the wicked experience in old age is surprising and not the norm. (Note the focus particle "even" [גַּם].) Thus, the exception proves the rule: old age, indicated by the verb עתק, is typically associated with weakness.
  53. ↑ So LXX: ἐπαλαιώθην; Aquila: μετήρθην; Symmachus: ἐτριβανώθην; Jerome (Hebr.): consumptus sum.The Targum (איתבליאת) and the Peshitta (ܘܐܬܕܠܚܬ) have third-person verbs, thus agreeing with the MT.
  54. ↑ Barthélemy et al 2005, 11–12, translation by Deep-L. Cf. Kuckhoff 2011, 28. For similar cases of the eye standing for the whole person, see e.g., Ps 119:82, 148.
  55. ↑ So Jenni 1992, 111.
  56. ↑ Waltke 2014, 52.
  57. ↑ Bullinger 1898, 901. Other examples of apostrophe in the Psalms include Pss 2:10-12 and 4:3-6.
  58. ↑ Kim 2022, 235-237.
  59. ↑ On the prototypical tense values of qatal and yiqtol, see BHRG §19.1.5.
  60. ↑ See also Aquila (optative: κατασπουδασθείσαν) and Jerome (subjunctives). The NET Bible argues in a note for an indicative reading: "In the structure of the Psalm, this verse is either another petition or a statement of confidence. If a petition, the four prefixed verbal forms in this verse should be understood as jussives. By form, many prefixed verbs can be either imperfect or jussive. But the third verb in the series, יָשֻׁבוּ (yashuvu), can be distinguished as an imperfect by its qibbuts theme vowel, and is not a jussive (which would have had a qamets hatuph or holem). Expecting all four verbs to be the same due to parallelism leads to the conclusion that this section is a statement of confidence, in which the imperfect verbs should be treated as future." But the NET note is mistaken in claiming that "יָשֻׁבוּ can be distinguished as an imperfect." The form יָשֻׁבוּ, like all of the other verbs in this verse, could be either imperfect or jussive (see e.g., the clearly jussive וְיָשֻׁבוּ in Jonah 3:8; cf. the short wayyiqtol form וַיָּשֻׁבוּ which occurs over 50 times in the Bible.