Cantos and Strophes in Biblical Hebrew Poetry III: Psalms by Pieter van der Lugt

By Pieter van der Lugt

This quantity bargains with the rhetoric, the formal and thematic framework, of Psalms 90-150 (the Fourth and 5th e-book of the Psalter). it's the end of the Psalms undertaking began with Psalms 1-41, OTS fifty three (2006) , and endured with Psalms 42-89, OTS fifty seven (2010). Formal and thematic units exhibit that the psalms are composed of a constant trend of cantos (stanzas) and strophes. The formal units specially comprise quantitative stability at the point of the cantos by way of verselines, verbal repetitions, and (on the extent of the strophes) transition markers. The quantitative method of a psalm by way of verselines, cola and/or phrases quite often truly discloses a focal message. this large examine is rounded off through an up to date creation to the canto layout of biblical poetry (including the publication of activity, Lamentations, the Songs of Songs, Deutero-Isaiah and different significant poems of the Hebrew Bible).

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Extra resources for Cantos and Strophes in Biblical Hebrew Poetry III: Psalms 90–150 and Psalm 1

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The strophic structure of the first canto of Psalm 90, vv. 1–6. For the division vv. 6. 6. Wagner (2006, pp. 89) uses this particle selectively because ky in v. 11a does not fit his idea that vv. 10–13 form a relatively independent section and the subject of v. 9b is yhwh! 14 See also Booij (1994), p. 116. From a grammatical point of view, v. 9a is a relatively independent colon at the beginning of Canto II; cf. Ps. 92,9! This colon expresses the trust of the psalmist himself. Subsequently, in vv.

2. I conclude that the structure of Psalm 90 surely has concentric aspects. However, within the total framework of this composition, vv. 11–12 do not have a pivotal function. They form an integral part of the preceding verselines vv. 7–10 and, like vv. 5–6 and 16–17, function as a concluding strophe of a canto. And on the level of the composition as a whole, a linearly alternating scheme does more justice to its design than a concentric scheme: vv. c’’. 3. Note also the strophic regularity between vv.

3a and 4a resp. ; exactly lineair) vv. 5–6: prep. mn, vv. 6a+b lylh/’pl, vv. 5a and 6a resp. hrym, vv. 5b and 6b resp. (epiphora) vv. 7–8: suffix -k, vv. 8a vv. 9–10: suffix -k, vv. 10b (epiphora); see also -k in v. 10a vv. 11–13: suffix -k, vv. 12a+b (epiphora); see also tdrk in v. 13a prep. b-, vv. 12b root drk, vv. 13a! (inclusion); see also rgl in v. 12b prep. ‘l, vv. 13a! 2 psalm 91 vv. 2 prep. b- + suffix -y, vv. 16b (inclusion); see also -y in v. 14b and prep. b- in v. hw, vv. ; see also yˇsw‘ty in v.

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