Psalm 70 Poetic Structure
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Psalm 70
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 poetic macrostructure of Psalm 70 is determined by two patterns:
- vv. 2, 6 provide frame and inclusio around the central section of three verses,[1] defined by the sequence of line-initial vocatives "God" followed by "YHWH" and the "hurry" verb phrase.
- vv. 3–5 are defined by third person plural jussives with the grammatical subject postponed in each case (often to the following poetic line) and a contrast between the distinct groups "seeking" (בקשׁ) and what they "say" (אמר).
- Due to the contrasting groups in the middle section, van der Lugt[2] prefers a two-part, symmetrical structure of vv. 2–4 followed by vv. 5–6. Auffret[3] also notes the symmetrical structure, but does not propose two parts. The formal indicators detailed above support the symmetry and divisions reflects in our visual.
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 consistently respects the major accents and pausal forms of the MT. It diverges from the lineated Babylonian manuscript BL Or 2373 only in the case of v. 3b, for which this manuscript has יִסֹּ֣גוּ אָ֭חוֹר וְיִכָּלְמ֑וּ חֲ֝פֵצֵ֗י רָעָתִֽי׃ as one line (as does the Greek tradition). Nevertheless, the pattern of the clausal subject arriving on the following line of the verbal predicate is followed also in vv. 4 and 5b.[4]
- Further differences vis-à-vis Rahlfs' LXX include the placement of the subject of v. 5c (אֹ֝הֲבֵ֗י יְשׁוּעָתֶֽךָ׃).[5] and the treatment of v. 6 as two lines of five prosodic words each.<ref>Maintaining the four-line unit of v. 6, as our preference, keeps the vocatives "God" (אֱלֹהִ֪ים) and "YHWH" (יְ֝הוָ֗ה) in their line-initial position, just as in v. 2, providing a structural inclusio for the entire psalm (see poetic macrostructure).
- ↑ Weisblit 1974, 76.
- ↑ van der Lugt 2010, 267.
- ↑ Auffret 1987, 235.
- ↑ Auffret (1987, 235) and van der Lugt (2010, 267), on the other hand, prefer to read this verse (and v. 5) as four poetic lines, dividing יֵבֹ֣שׁוּ וְיַחְפְּרוּ֮ מְבַקְשֵׁ֪י נַ֫פְשִׁ֥י, probably to follow the pattern of the second clause of the verse.
- ↑ See, however, Codex Sinaiticus, which followed the line division here.