Psalm 70 Poetry
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Psalm 70
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 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).
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.
Psalm 40 and Psalm 70
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
Psalm 40:14–18 and Psalm 70 are almost identical texts. Though not a certainty, there is good reason to believe that Psalm 70 is an older poem that the author of Psalm 40 has drawn from and adapted for his purposes. (See the full discussion in The Relationship Between Psalm 40:14–18 and Psalm 70.)
- There is variation in the divine names employed in the two passages.
- There are additional words in Psalm 40:14–18 that do not appear in Psalm 70.
- There are different verbs and syntactic constructions used to create connections with earlier parts of Psalm 40.
Effect
The lack of the imperative "be pleased" (Ps 40:14) in Psalm 70:2 increases the urgency of the request to "hurry," which is backwards gapped in the first line of the poem. The lack of יַחַד "utterly" and לִסְפּוֹתָהּ "to sweep it away" add urgency to the situation in Psalm 70—less words communicating more efficiently.
The original place of "may they retreat" in Psalm 70, adapted to "may they be appalled" in Psalm 40, highlights the military nature of the threat in Psalm 70.
The repetition of "hurry to me," adapted to the more difficult construction, יַחֲשָׁב לִי "may he have regard for me" in Psalm 40:18, provides a strong poetic inclusio for the psalm and, once again, stresses the urgency of the situation in Psalm 70.
Since Psalm 70 falls within the so-called "Elohistic Psalter,"[6] the use of אֱלֹהִים is to be expected. Significant, then, is the decision to leave יְהוָה in Psalm 70:6 (replaced by the more personal אֱלֹהַי "my God" in Psalm 40:18). David appeals to the covenant name of God in both vv. 2 and 6, again contributing to the strong inclusio of the poetic macrostructure, but also trusting that his covenant God would keep his covenant promises.
Taken together, the original form of Psalm 70 communicates much more urgency than that of Psalm 40, with intentional military language and added use of the covenant name of God, even within the so-called "Elohistic Psalter."
Come and go
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 psalmist asks YHWH to hurry to him and hurry to rescue him three times in Psalm 70 (twice in v. 2—though the imperative is backwards gapped in the first line—and once in v. 6). Further, the final plea in v. 6 is the counterpart of "hurrying," that is, "do not delay."
In the psalm's central section (vv. 3–5), the psalmist makes three requests of YHWH concerning his enemies. Two of these consist of "being turned back" and "retreating."
Effect
The psalm moves from (1) the introduction of the psalmist's urgent desperation for YHWH's presence to (2) the central section of the psalm, relating his desire for YHWH to disappoint his enemies to such an extent that they would leave him, retreating in shame from him, (3) back to the final verse with another plea for YHWH to hurry to him. The psalmist desires distance from his shamed enemies, but this desire is both preceded and followed by his desire of proximity to YHWH.
They say this; they say that
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
In the central section of Psalm 70 (vv. 3–5), the actions of the enemies and the faithful community are contrasted in both their actions and speech.
The enemies seek David's life; the faithful community seek YHWH. The enemies use their speech ("say") to mock David in his vulnerable state; when David is rescued, the faithful community will use their speech ("say") to praise YHWH.
Effect
In contrasting both the enemies and faithful community's actions and words, David's rhetoric makes powerfully clear that his people are YHWH's people and enemies are YHWH's enemies. The enemies' speech is oriented to David and his harm, whereas the speech of the faithful is oriented to YHWH, implying proper perspective.
If you "seek David's life," you show yourself to be the opposite type of person who would "seek YHWH." If you mock David you show yourself to be the opposite type of person who would praise YHWH for his salvation. The psalm's audience desires to be counted among those seeking and praising YHWH, and therefore would not oppose or mock David.
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. |
 |
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
The repeated roots of Psalm 70 determine, quite unambiguously, the poetic macrostructure of the psalm.
- There is an inclusio in vv. 2, 6, including the vocatives with both "God" and "YHWH" (in precisely that order), accompanied by an appeal to "hurry" and "help/aid."
- In the central section of the psalm (vv. 3–5), there is a contrast between those who seek David's life and those who seek YHWH. The former group mock David, while the latter will praise God when they see the David's deliverance.
Bibliography
- Auffret, Pieere. 1987. "«Les oreilles, tu me (les) as ouvertes». Étude Structurelle du Psaume 40(et du Ps 70)," Nouvelle Revue Théologique 109.2: 220–245.
- Firth, David G. 2022. "A Poem in Two Contexts: Psalm 40:14–18 and Psalm 70 in their Canonical Setting," Journal for Semitics 31.2: 12 pages. https://doi.org/10.25159/2663-6573/12042
- Atkinson, Ian. 2025. "Poetic Patterns and Constituent Order in Biblical Hebrew," Hebrew Studies 66: 99–123.
- Croft, William. 2022. Morphosyntax: Constructions of the World's Languages. Cambridge: Cambridge University Press.
- Sjörs, Ambjörn. Forthcoming. "Infinitive Construct," in G. Khan (ed.) Cambridge Grammar of Biblical Hebrew. Cambridge: University of Cambridge and Open Book Publishers.
- Ibn Ezra, Abraham. Ibn Ezra on Psalms.
- Keel, Othmar. 1997. The Symbolism of the Biblical World: Ancient Near Eastern Iconography and the Book of Psalms. Winona Lake, IN: Eisenbrauns.
- Kim, Young Bok. 2022. "Hebrew Forms of Address: A Sociolinguistic Analysis." Ph.D. dissertation, University of Chicago.
- Malbim. Malbim on Psalms.
- Meiri, Menachem. Meiri on Psalms.
- Mowinckel, Sigmund. 1962. The Psalms in Israel’s Worship. Oxford: Blackwell.
- Radak. Radak on Psalms.
- Tate, Marvin E. 1998. Psalms 51-100. Dallas, TX: Word Books.
- Van der Lugt, Pieter. 2010. Cantos and Strophes in Biblical Hebrew Poetry II: Psalms 42-89. Leiden: Brill.
- Weisblit, Shlomo. 1974. "Psalm 70–a Personal Prayer" (Hebrew), Beit Mikra 20.1: 76–78.
Footnotes
- ↑ 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.
- ↑ Pss 42–83; for a recent overview, see Wardlaw 2015, 1–15.