By Pieter van der Lugt
This quantity offers with the poetic framework and fabric content material of the second one and 3rd Books of the Psalter (Psalms 42-72 and 73-89). it's a continuation of the Psalms undertaking begun in OTS fifty three (2006).
Formal and thematic units display that the psalms are composed of a constant trend of cantos (stanzas) and strophes. The formal units contain quantitative stability at the point of cantos by way of the variety of verselines, verbal repetitions and transition markers. A quantitative structural method additionally is helping to spot the focal message of the poems. Introductions to the layout of biblical poetry and the rhetorical centre of the psalms finish this huge examine. The 3rd quantity, facing the Fourth and 5th Books of the Psalter (Psalms 90-106 and 107-151), is in training.
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Additional resources for Cantos and Strophes in Biblical Hebrew Poetry II: Psalms 42–89
This function exactly parallels that of the pronoun z’t in v. 18a, which summarizes the section vv. 10–17. Therefore, I conclude that z’t in v. 1 above. In the context of an oath, the particle ’m in v. 21a means ‘(surely) not’ (cf. Ps. 89,36). V. 21 is a main clause: ‘Surely, we have not forgotten the name of our God, nor . . ’. At the same time, vv. 21 and 22 are closely connected: in both verselines the poet speaks about God in the third person in a context where God is clearly addressed (in the second person).
13a vv. 14–17: t´symnw, vv. 15a! (anaphora) suffix -nw, vv. rp, vv. 17a! (inclusion; linear) pnym, vv. 17b vv. 18–21: suffix -nw, vv. 2 psalm 44 27 l’, vv. nw, vv. 21a (inclusion) ˇsqrnw/’ˇsrynw, vv. 18b and 19b resp. k, 18b and 19b resp. (epiphora); see also -k, v. 18a vv. /lmh, vv. 22a and 25a resp. (inclusion; exactly linear); see also lmh in v. 24a! ky, vv. 23a roots ‘lm/str, vv. 22b and 25a resp. , vv. 24b and 25b resp. snw, vv. 24b and 25b resp. ; epiphora) vv. 2 prep. l-, vv. 27a+b suffix -nw, vv.
In vv. ). Summarizing: vv. 9 For the relationship between vv. 2. The strong cohesion within vv. 18–25 suggests that we are dealing with an 8-line canto; cf. vv. 10–17. Vv. 26–27 represent a relatively independent unit. These verselines represent a concluding 2-line canto, functioning as a coda. This coda echos ideas we find in vv. 23–24: we are facing death, therefore, stand up (O God); cf. 10 Recent structural analysis seems to refute my strophic division vv. 3–5 and 6–9. Craigie, appealing to the alternation of speakers, discerns in vv.