Here lie before you the phrases of Psalm 68 in the order of the numeric value of the words according to absolute gematria. Don't worry, I am not going to prove modulo 19 arithmetic or anything else - but it is a curiousity to see where some ideas lead. The music of this count with the colours derived by spreading the gematria over a base of 256*256*256 - approx 16 million, and anchoring tamim at red produces the spectrum shown here.
update: this blogger editor doesn't support much html - but I managed to get it to show the color below - I can see I am cycling and probably missing some of the potential spectrum.
Value - phrase - (english - count in the psalm)
7 בָּהּ (there-1)
12 הוּא (he-1)
13 אֲבִי (a father of-1)
15 יָהּ (Yah-1)
23 יֹאבְדוּ (will perish-1)
29 אֹיְבָיו (his enemies-1)
30 יְהוּדָה (Judah-1)
30 יָדָיו (their hands-1)
31 אֵל (The God of-1)
35 אוֹיְבָיו (those hostile to him-1)
36 הָאֵל (This God-2)
36 הָאֵל (the God of-2)
41 אֵלִי (my God-1)
44 לְדָוִד (Of David-1)
46 אֱלֹהֵי (the God of-1)
62 וְלֵיהוִה (and of the LORD-1)
63 דּוֹנַג (wax-1)
64 יוֹבִילוּ (will bring-1)
65 אֲדֹנָי (My Lord-5)
65 אֲדֹנָי (is the Lord-5)
65 אֲדֹנָי (my Lord-5)
65 אֲדֹנָי (the Lord-5)
65 אֲדֹנָי (to my Lord-5)
71 יוֹנָה (a dove-1)
75 לָמָּה (Why-1)
86 לָּנוּ (for us-1)
88 עוּזָּה (strengthen-1)
89 וְעֻזּוֹ (and his strength-1)
92 וְנִלְאָה (and her impatience-1)
95 סֶלָה (Selah-3)
96 סֹלּוּ (exalt-1)
100 מִנִּי (from out of-1)
100 מַלְכֵי (kings of-1)
100 מַלְכִּי (my king-1)
101 מִנֵּהוּ (his portion-1)
101 צִוָּה (commanded-1)
115 בְּעֶגְלֵי (with the calves of-1)
117 לָנוּ אֵל (is our God-1)
119 וְעִלְזוּ (and exult-1)
121 אַלְפֵי (thousands-1)
121 צְחִיחָה (in a scorched place-1)
125 כְּהִמֵּס (as melting-1)
130 סִינַי (Sinai-1)
138 וְיָנוּסוּ (and they will flee-1)
142 זֶה סִינַי (So Sinai-1)
143 נֶחְפָּה (covered-1)
144 בְּקוֹלוֹ (by his voice-1)
145 נָטְפוּ (dropped-1)
147 מוֹצִיא (delivering-1)
150 קִדְּמוּ (they precede-1)
155 קָנֶה (reeds-1)
160 כַּנְפֵי (the wings of-1)
160 לֶעָנִי (for the poor-1)
170 לִפְנֵי (in the presence of-2)
176 לְפָנָיו (in his presence-1)
178 לָנֶצַח (in perpetuity-1)
180 מִפְּנֵי (before the presence of-3)
180 מִפְּנֵי (in the presence of-3)
186 מִפָּנָיו (from his presence-1)
192 יָפוּצוּ (they will be scattered-1)
194 יֶחְפָּצוּ (they take delight-1)
205 הַר (the hill of-1)
206 יַעַלְצוּ (they will rejoice-1)
207 רָאוּ (they have seen-1)
208 קָדְקֹד (the crown of-1)
209 אַחַר (after-1)
209 בִּזַּר (he will disperse-1)
213 קוֹל עֹז (a voice of strength-1)
218 לַמְנַצֵּחַ (For the leader-1)
222 רֶכֶב (the chariot of-1)
228 בָּרְכוּ (bless you-1)
241 אָמַר (said-1)
252 לָרֹכֵב (the one riding-2)
252 לָרֹכֵב (to the one riding-2)
253 זַמְּרוּ (make music-2)
253 זַמְּרוּ (make music to-2)
257 נוֹרָא (to be feared-1)
262 הָהָר חָמַד (This hill delights-1)
266 יַעֲמָס לָנוּ (he carries us-1)
273 גְּעַר (rebuke-1)
293 מִזְמוֹר (A Psalm-1)
295 צָבָא רָב (are a great host-1)
310 שָׁי (presents-1)
312 שֶּׁבִי (you have captured-1)
313 אָשִׁיב (I will turn-2)
314 שַׁדַּי (the Almighty-1)
325 יָשְׁבוּ בָהּ (dwell there-1)
326 כּוּשׁ (Ethiopia-1)
346 שְׁמוֹ (his name-1)
352 בִּשְׁמֵי (in the heaven of-1)
355 בְשִׂמְחָה (in gladness-1)
358 מוֹשִׁיב (placing-1)
359 בַּאֲשָׁמָיו (in his offence-1)
360 שָׁלָל (the spoil-1)
363 בְּיָהּ שְׁמוֹ (by Yah his name-1)
370 צָעִיר (little-1)
376 שָׁכְנוּ (will live-1)
386 מִמְּקוֹר (from the fountain of-1)
406 אַתָּה (you-1)
406 בַקֹּדֶשׁ (in the holy-1)
406 בַּקֹּדֶשׁ (in the holy-1)
407 מְשַׂנְאָיו (those hating him-1)
410 קָדְשׁוֹ (his holiness-1)
416 גַּאֲוָתוֹ (his exaltation-1)
417 בַּיְתָה (in a household-1)
418 חַיַּת (the animal of the-1)
427 יֶאֱתָיוּ (they will come-1)
462 נְדָבוֹת (in plenty-1)
471 הֲלִיכוֹת (the walkings of-1)
481 מִפְּנֵי אֵשׁ (in the presence of fire-1)
499 צְבָאוֹת (hosts-1)
501 אַךְ (surely-1)
501 רֹאשׁ (the head of-1)
510 עָלִיתָ (you are gone up-1)
510 שִׁיר (A song-1)
510 שָׂרֵי (the princes of-2)
516 שִׁירוּ (Sing-2)
516 שִׁירוּ (sing-2)
527 אַלְמָנוֹת (widows-1)
530 לְךָ (to you-1)
531 כוֹנַנְתָּהּ (you directed-1)
533 תְּנוּ עֹז (give strength-1)
536 מַמְלְכוֹת (kingdoms of-1)
538 לָקַחְתָּ (you have received-1)
538 תְּחַלֵּק (shared-1)
541 אֲדֹנָי לַמָּוֶת (the Lord from death-1)
541 יִשְׂרָאֵל (Israel-3)
546 אֱלֹהֶיךָ (your God-1)
546 עֲלָמוֹת (the young women-1)
562 כְּלָבֶיךָ (your dogs-1)
570 נַפְתָּלִי (Naphtali-1)
575 רָעָשָׁה (quaked-1)
577 עֻזֶּךָ (your strength-1)
580 פָּעַלְתָּ (you have done-1)
582 בְּפָרֵשׂ (to spread-1)
583 בְּמַקְהֵלוֹת (in assemblies-1)
605 מֵהֵיכָלֶךָ (from your temple-1)
606 מִמְּצֻלוֹת (from the depths of-1)
607 בָּאָדָם (of humanity-1)
610 יָם (the sea-1)
610 עַמֶּךָ (your people-1)
612 בִּירַקְרַק (with yellow-green-1)
630 וְאֶבְרוֹתֶיהָ (and her feathers-1)
632 וְיָשִׂישׂוּ (and they will delight-1)
641 עַל יִשְׂרָאֵל (over Israel-1)
642 יְחִידִים (the lonely-1)
646 אֱלֹהִים (God-16)
646 אֱלֹהִים (O God-16)
659 אֱלֹהִים זוּ (O God what-1)
663 מֵאֹיְבִים (from the enemies of-1)
666 בְּצַעְדְּךָ (when you march-1)
667 אֲדֹנָי בָם (the Lord is there-1)
676 לֵאלֹהִים (to God-4)
680 בָּעֲרָבוֹת (in the deserts-1)
700 לָעָם (to the people-1)
700 מְלָכִים (kings-2)
705 הֵן (Lo-1)
708 בָּרוּךְ (Blessed-2)
708 בָּרוּךְ (bless-2)
708 קְרָבוֹת (battles-1)
712 בֵּין (between-1)
712 שָׁבִיתָ (captives-1)
713 נֹגְנִים (players-1)
715 גַּבְנֻנִּים (mountain peaks-2)
715 גַּבְנֻנִּים (of mountain peaks-2)
716 יָקוּם (will arise-1)
720 וְדַיַּן (and advocate of-1)
720 עַמִּים (peoples --2)
720 עַמִּים (the peoples-2)
724 יִדֹּדוּן (flee-2)
724 יִדֹּדוּן (to flee-2)
733 תַּשְׁלֵג (white as snow-1)
738 לְשִׁבְתּוֹ (for his dwelling-1)
745 זְבֻלוּן (Zebulun-1)
780 מִתְרַפֵּס (submitting themselves-1)
802 בִּנְיָמִן (Benjamin-1)
807 וְאַף (even-1)
815 הָרִים (O hills-1)
818 בִּמְעוֹן (in the habitation of-1)
827 אַף יְהוָה (Indeed the LORD-1)
840 לְמַעַן (so that-1)
842 יְשׁוּעָתֵנוּ (our salvation-1)
851 הַר אֱלֹהִים (The hill of God-1)
852 לְמוֹשָׁעוֹת (of salvation-1)
868 בְּצַלְמוֹן (in Salmon-1)
874 וּנְוַת בַּיִת (she who remained at home-1)
876 לַמָּרוֹם (on high-1)
879 כְּהִנְדֹּף (as driven-1)
881 אֲסִירִים (those bound-1)
882 בַכֶּסֶף (with silver-1)
896 מַתָּנוֹת (gifts-1)
897 תֹּצָאוֹת (the exeunts-1)
900 שָׁם (there-1)
903 גֶּשֶׁם (rain-1)
908 בְּתוֹךְ (in the midst of-1)
918 חַיָּתְךָ (those you gave life-1)
919 בְּטוֹבָתְךָ (of your goodness-1)
934 בַּכּוֹשָׁרוֹת (in chains-1)
940 מִצְרָיִם (Egypt-1)
953 הַמְבַשְּׂרוֹת (those publishing-1)
972 תּוֹפֵפוֹת (playing tambourine-1)
981 הֲלִיכוֹתֶיךָ (your walkings-1)
988 נַחֲלָתְךָ (your property-1)
994 מִמִּקְדָּשֶׁיךָ (from your sanctuary-1)
1008 חַשְׁמַנִּים (ambassadors-1)
1012 וְתַעֲצֻמוֹת (and numbers-1)
1020 בַּשְּׁחָקִים (in the firmament-1)
1030 יִשְׁכֹּן (will make his tent here-1)
1036 לְשׁוֹן (of the tongue of-1)
1042 מִבָּשָׁן (from Bashan-1)
1050 לִשְׁכֹּן (in the tent of-1)
1051 שִׁנְאָן (myriads-1)
1054 שְׁמֵי קֶדֶם (heavens of old-1)
1066 יְתוֹמִים (orphans-1)
1068 בִישִׁימוֹן (in a desolate place-1)
1070 עָשָׁן (smoke-1)
1076 סוֹרְרִים (the rebellious-2)
1101 אֶרֶץ (earth-1)
1106 הָאָרֶץ (the earth-1)
1110 יִתֵּן (he gives-1)
1110 שָׁרִים (singers-1)
1114 חָרוּץ (gold-1)
1130 תָּכִין (you will establish-1)
1180 רְשָׁעִים (the wicked-1)
1182 בְּרַצֵּי כָסֶף (in bits of silver-1)
1184 וְצַדִּיקִים יִשְׂמְחוּ (but the righteous will be glad-1)
1207 הַר בָּשָׁן (the hill of Bashan-2)
1212 רִבֹּתַיִם (tens of thousands-1)
1227 נֹתֵן עֹז (gives strength-1)
1232 יוֹם יוֹם (day by day-1)
1243 רִגְמָתָם (their crowd-1)
1246 עַל יְרוּשָׁלִָם (at Jerusalem-1)
1254 תִּנְדֹּף (you will drive-1)
1260 תָּנִיף (you sent-1)
1297 עֲדַת אַבִּירִים (the testimony of bulls-1)
1314 רֹדֵם שָׂרֵי (ruler the princes of-1)
1339 רַגְלְךָ בְּדָם (your foot in blood-1)
1348 תִּמְחַץ (you will wound-1)
1351 יִתֶּן אֹמֶר (gave a word-1)
1390 שְׁפַתָּיִם (the furniture-1)
1400 תְּרַצְּדוּן (be jealous-1)
1510 תָּרִיץ (will stretch-1)
1545 שֵׂעָר מִתְהַלֵּךְ (hair of one walking-1)
1639 אֱלֹהִים בְּצֵאתְךָ (God when you go forth-1)
1751 אַף שָׁמַיִם (indeed the heavens-1)
2029 אִם תִּשְׁכְּבוּן (if you lie down-1)
2105 אַךְ אֱלֹהִים יִמְחַץ (surely God will wound-1)
Saturday, September 29, 2007
Friday, September 28, 2007
Now this is fun
My alter-bloggo wrote about what it's all about - but today after a night of struggling with colour ideas, I decided it must be about colour so I brewed an algorithm to calculate the back colour of a node using the gematria value of the Hebrew consonants in the node. It is really quite remarkable and some of my early colours correspond exactly!
You can compare the colours [not any more] - left side is the gematria colour,right side is what I chose as I pondered months ago. See e.g. Psalm 8 so far. One advantage of this approach is that the colour scheme will be identical for all psalms where the same word or phrase is in the node. I can also adjust automagically the border width, the gradient colour, forecolour, and border colour as well as a number of other properties. Ideas are welcome.
I think I will try one of the word studies in Psalm 119 - ... 5 minute break ... hmmm - I will have to colour something based on root or the colours will change depending on the parsing of the words. Also if I play with forecolour, I will have to make sure it is readable against the back colour - could be a tricky calculation since colour values are subject to sudden changes.... thinking...
Here is psalm 67 with border width based on a rudimentary root algorithm. And Psalm 18. (It is just a bit over the top that the gematria of Psalm 67 supports my conjecture of identifying the 'him' with the 'produce' of the earth!)
When I look for similarities and circles - I ask if there is any significance to the same colour for different words - unlikely. But the same word repeated can be seen from colour and/or border width at a glance.
You can compare the colours [not any more] - left side is the gematria colour,
I think I will try one of the word studies in Psalm 119 - ... 5 minute break ... hmmm - I will have to colour something based on root or the colours will change depending on the parsing of the words. Also if I play with forecolour, I will have to make sure it is readable against the back colour - could be a tricky calculation since colour values are subject to sudden changes.... thinking...
Here is psalm 67 with border width based on a rudimentary root algorithm. And Psalm 18. (It is just a bit over the top that the gematria of Psalm 67 supports my conjecture of identifying the 'him' with the 'produce' of the earth!)
When I look for similarities and circles - I ask if there is any significance to the same colour for different words - unlikely. But the same word repeated can be seen from colour and/or border width at a glance.
Psalm 68
Suzanne has posted part 11 of her series on Psalm 68, this time with a translation from Mary Sidney Herbert, a creative approach in an environment influenced by my favorite metaphysical poets. I am happy to see the posts continue. Some of my questions have been addressed; some still pending. I am not looking for conclusions, simply revelling in the continuing focus on psalms around this local pool in the blogosphere.
Wednesday, September 26, 2007
Two more drafts
Thursday, September 20, 2007
Psalm 51 - is this prosody or what?
Here is a picture of psalm 51 - colors muted - in the form of 4 stanzas English-Hebrew here, French-Hebrew here. If you are interested - count the versets, lines, strophes etc and see if I have followed John's general rule. I have to admit it is not that easy to juggle and occasionally I feel a bit arbitrary. The stanzas appear to have some conceptual coherence. [French courtesy of Les psaumes redécouverts (51-100) by Marc Girard, Bellarmin 1994]
Now to content - I have not marked enough of the Hebrew sound patterns though my coloring on the original is fantastical. There are the obvious four words for sin, guilt, transgression, and evil where in translation we must find equivalent differences. Then there are less obvious verbal repetitions which even in my raw translation of 9 months ago I have used creative synonyms instead of the same word (but the colors are consistent). E.g. I translated מְחֵה as blot out and erase. I have sinned against this poem in so doing. It is part of a 4-word concentric form that should be maintained: in the English blot out - wash - purify - know - know - pure - wash - erase. That must have been deliberate.
The edge of this circle intersects with the last stanza through sacrificial imagery - offer-rejoice-crush (not symmetric). This in turn surrounds the poet's prayer for renewal - clean heart, new spirit, not to be abandoned.
There are then more subtle relations: like face, eyes, presence, in front of / make evident ... and hide / hidden wisdom, the crushed bones = contrite heart.
I know this psalm in my body and life better perhaps than any - but I cannot translate it yet. I know from John's post that neither Alter nor Kugel is satisfactory. I will try later - how much later I am not sure. I know that if the concentric structure I have already pointed out is to be preserved, then those words must not be used synonymously anywhere else in the circles. And verses 6-8 are the critical centre - what is it that they mean? That God is just and David agrees. That David recognizes his emptiness from his beginnings. That God will teach him yet - wisdom secretly.
Now to content - I have not marked enough of the Hebrew sound patterns though my coloring on the original is fantastical. There are the obvious four words for sin, guilt, transgression, and evil where in translation we must find equivalent differences. Then there are less obvious verbal repetitions which even in my raw translation of 9 months ago I have used creative synonyms instead of the same word (but the colors are consistent). E.g. I translated מְחֵה as blot out and erase. I have sinned against this poem in so doing. It is part of a 4-word concentric form that should be maintained: in the English blot out - wash - purify - know - know - pure - wash - erase. That must have been deliberate.
The edge of this circle intersects with the last stanza through sacrificial imagery - offer-rejoice-crush (not symmetric). This in turn surrounds the poet's prayer for renewal - clean heart, new spirit, not to be abandoned.
There are then more subtle relations: like face, eyes, presence, in front of / make evident ... and hide / hidden wisdom, the crushed bones = contrite heart.
I know this psalm in my body and life better perhaps than any - but I cannot translate it yet. I know from John's post that neither Alter nor Kugel is satisfactory. I will try later - how much later I am not sure. I know that if the concentric structure I have already pointed out is to be preserved, then those words must not be used synonymously anywhere else in the circles. And verses 6-8 are the critical centre - what is it that they mean? That God is just and David agrees. That David recognizes his emptiness from his beginnings. That God will teach him yet - wisdom secretly.
My quote of the day
'The Psalms make it possible to say things that are otherwise unsayable'
In this brief rewiew of Goldingay's Psalms 1993. HT to Mark Goodacre. I don't know if it's always free - but it is today.
Wednesday, September 19, 2007
Working on book 1
Psalm -30 September 2007 (97)
Psalm -32 September 2007 (110)
Psalm -34 September 2007 (165)
Psalm -37 September 2007 (298)
My random walk continues. I notice a couple of words recurring in recent psalms - variations on כּרת (cut) in psalms 34 and 37 and on תָּם (complete).
Cut and complete are terms used with the covenant of circumcision. 'Cut off' in psalm 37 is repeatedly used to mean destroyed, removed. In Psalm 34, the righteous are said to have great evil. Well we know this in ourselves. And look at how much trouble David gets into. The LORD saves the righteous, but the same evil (the same word that is) slays the wicked. It seems to me that that the only resolution is for both the righteous and the wicked to be in this cut covenant as the Psalms and the Prophets so clearly state must be the case. This imaged-reality providing such a complete cut for all is included in the work (the acts) of God in Christ expressed in and from the Psalms and the Prophets in the NT and encompassing circumcision, passover, atonement, and in fact every aspect of offering that is expressed with such depth in TNK. Truly the faith of the covenant people expressed in TNK is beautiful.
Psalm -32 September 2007 (110)
Psalm -34 September 2007 (165)
Psalm -37 September 2007 (298)
My random walk continues. I notice a couple of words recurring in recent psalms - variations on כּרת (cut) in psalms 34 and 37 and on תָּם (complete).
Cut and complete are terms used with the covenant of circumcision. 'Cut off' in psalm 37 is repeatedly used to mean destroyed, removed. In Psalm 34, the righteous are said to have great evil. Well we know this in ourselves. And look at how much trouble David gets into. The LORD saves the righteous, but the same evil (the same word that is) slays the wicked. It seems to me that that the only resolution is for both the righteous and the wicked to be in this cut covenant as the Psalms and the Prophets so clearly state must be the case. This imaged-reality providing such a complete cut for all is included in the work (the acts) of God in Christ expressed in and from the Psalms and the Prophets in the NT and encompassing circumcision, passover, atonement, and in fact every aspect of offering that is expressed with such depth in TNK. Truly the faith of the covenant people expressed in TNK is beautiful.
Friday, September 14, 2007
Experimental Table of Contents
I have a new table of contents for the psalm diagrams - more compact - experimental - any artists out there with ideas?
Thursday, September 13, 2007
Ah, bright wings
A new table of contents emerging in my dreams - every one of its 300+ entries a bright star, a coat of many colours. Will I find it?
John has been encouraging us to learn to see without the Masoretic markings - perhaps it is the next necessary step. What patterns can I recognize without the points? Certainly plurals, often i and o vowels where the 'letter' is waw or yod - essentially a mater. There was a rule on pronouncing the leading waw - usually ve but sometimes u or va depending on what followed - I have forgotten. And when is the suffix waw like an O or like U? - it's a game of word recognition. How little we need to see a word in our native writing system. How we can struggle with the strange tongue? (Psalm 114 - In Exitu Israel de Aegypto, domus Iacob de populo barbaro.)
My ultimate table of contents will have to be at least 306 entries - two each per psalm (4 each for 119?) - each psalm with 2 diagrams: one in raw form exploring the inner verbal structure and one in prosodic form, compact, and without vowel points. The challenge for the ah-bright-wings of the table of contents is to fit 300+ links into a viewable form.
The silver dove with gold pinions of psalm 68 - is that the gift of the Spirit? If so, it would pair with verse 19. Here's a rough cut
יב )aDonAY YITEn )omER
אֲדֹנָי יִתֶּן אֹמֶר
My Lord gave a word
HàmbàsROth TsAbA) RAb
הַמְבַשְּׂרוֹת צָבָא רָב
the women publishing are a great host
יג màLkèY TsbA)Oth YIDoDUn YIDoDUn
מַלְכֵי צְבָאוֹת יִדֹּדוּן יִדֹּדוּן
kings of hosts gallop away (YIDoDUn YIDoDUn, YIDoDUn YIDoDUn)
UnVàth BàYIth TXàLèQ ShALAL
וּנְוַת בַּיִת תְּחַלֵּק שָׁלָל
she who remained at home shared the spoil
יד )Im TIShkbUn BèYn ShphàTAYIm
אִם תִּשְׁכְּבוּן בֵּין שְׁפַתָּיִם
if you rest between the ash-heaps
kànphèY YOnAH nEXPAH bàkESEph
כַּנְפֵי יוֹנָה נֶחְפָּה בַכֶּסֶף
- the wings of a dove covered with silver
V)EbROthEYHA BiRàQRàQ XARUTs
וְאֶבְרוֹתֶיהָ בִּירַקְרַק חָרוּץ
and her feathers with yellow-green gold
טו BphARès ShàDàY mLAkim BAH TàShLèg BTsàLmOn
בְּפָרֵשׂ שַׁדַּי מְלָכִים בָּהּ תַּשְׁלֵג בְּצַלְמוֹן
the Almighty will spread the kings there white as snow in Salmon
טז HàR )eLoHim HàR BAShAn HàR GàbnuNim HàR BAShAn
הַר אֱלֹהִים הַר בָּשָׁן הַר גַּבְנֻנִּים הַר בָּשָׁן
The hill of God the hill of Bashan the hill of mountain peaks the hill of Bashan
יז LAMAH TRàTsDUn HARim GàbnuNim
לָמָּה תְּרַצְּדוּן הָרִים גַּבְנֻנִּים
Why be jealous O hills of mountain peaks
HAHAR XAmàD )eLoHim LShIbTO
הָהָר חָמַד אֱלֹהִים לְשִׁבְתּוֹ
This hill is God's delight for his dwelling
)àph YY YIShkon LAnETsàX
אַף יְהוָה יִשְׁכֹּן לָנֶצַח
Indeed, the LORD will make his tent here in perpetuity
יח REkEb )eLoHim RIBothàYIm )àLphèY ShIn)An
רֶכֶב אֱלֹהִים רִבֹּתַיִם אַלְפֵי שִׁנְאָן
the chariot of God - tens of thousands, thousands, myriads
)aDonAY bAm SinàY BàQoDESh
אֲדֹנָי בָם סִינַי בַּקֹּדֶשׁ
the Lord is there, [as at] Sinai, in the holy place
יט `ALithA LàMAROm ShAbithA ShEbi
עָלִיתָ לַמָּרוֹם שָׁבִיתָ שֶּׁבִי
you are gone up on high captives you have captured
LAQàXTA màTAnOth BA)ADAm
לָקַחְתָּ מַתָּנוֹת בָּאָדָם
you have received the gifts of humanity
V)àph SORRim LIShkon YAH )eLoHim
וְאַף סוֹרְרִים לִשְׁכֹּן יָהּ אֱלֹהִים
even the rebellious, in the tent of Yah God
------------------------------------------------
New and changed diagrams in the last 10 days
Psalm -28 September 2007 (96)
Psalm -68 September 2007 (310)
Psalm 108 September 2007 (98)
Psalm 110 September 2007 (65)
Psalm 111 September 2007 (74)
Psalm 112 September 2007 (79)
Psalm 113 September 2007 (60)
Psalm 114 September 2007 (52)
Psalm 115 May 2007 (135)
Psalm 116 August 2007 (131)
Psalm 117 March 2007 (17)
Psalm 135 August 2007 (167)
Psalm 144 September 2007 (130)
Psalm 146 May 2007 (85)
Psalm 147 June 2007 (141)
Psalm 148 June 2007 (111)
Psalm 149 July 2007 (63)
Psalm 150 December 2006 (37)
Because the Holy Ghost over the bent World broods with warm breast and with ah! bright wings.
Gerard Manley Hopkins
John has been encouraging us to learn to see without the Masoretic markings - perhaps it is the next necessary step. What patterns can I recognize without the points? Certainly plurals, often i and o vowels where the 'letter' is waw or yod - essentially a mater. There was a rule on pronouncing the leading waw - usually ve but sometimes u or va depending on what followed - I have forgotten. And when is the suffix waw like an O or like U? - it's a game of word recognition. How little we need to see a word in our native writing system. How we can struggle with the strange tongue? (Psalm 114 - In Exitu Israel de Aegypto, domus Iacob de populo barbaro.)
My ultimate table of contents will have to be at least 306 entries - two each per psalm (4 each for 119?) - each psalm with 2 diagrams: one in raw form exploring the inner verbal structure and one in prosodic form, compact, and without vowel points. The challenge for the ah-bright-wings of the table of contents is to fit 300+ links into a viewable form.
The silver dove with gold pinions of psalm 68 - is that the gift of the Spirit? If so, it would pair with verse 19. Here's a rough cut
יב )aDonAY YITEn )omER
אֲדֹנָי יִתֶּן אֹמֶר
My Lord gave a word
HàmbàsROth TsAbA) RAb
הַמְבַשְּׂרוֹת צָבָא רָב
the women publishing are a great host
יג màLkèY TsbA)Oth YIDoDUn YIDoDUn
מַלְכֵי צְבָאוֹת יִדֹּדוּן יִדֹּדוּן
kings of hosts gallop away (YIDoDUn YIDoDUn, YIDoDUn YIDoDUn)
UnVàth BàYIth TXàLèQ ShALAL
וּנְוַת בַּיִת תְּחַלֵּק שָׁלָל
she who remained at home shared the spoil
יד )Im TIShkbUn BèYn ShphàTAYIm
אִם תִּשְׁכְּבוּן בֵּין שְׁפַתָּיִם
if you rest between the ash-heaps
kànphèY YOnAH nEXPAH bàkESEph
כַּנְפֵי יוֹנָה נֶחְפָּה בַכֶּסֶף
- the wings of a dove covered with silver
V)EbROthEYHA BiRàQRàQ XARUTs
וְאֶבְרוֹתֶיהָ בִּירַקְרַק חָרוּץ
and her feathers with yellow-green gold
טו BphARès ShàDàY mLAkim BAH TàShLèg BTsàLmOn
בְּפָרֵשׂ שַׁדַּי מְלָכִים בָּהּ תַּשְׁלֵג בְּצַלְמוֹן
the Almighty will spread the kings there white as snow in Salmon
טז HàR )eLoHim HàR BAShAn HàR GàbnuNim HàR BAShAn
הַר אֱלֹהִים הַר בָּשָׁן הַר גַּבְנֻנִּים הַר בָּשָׁן
The hill of God the hill of Bashan the hill of mountain peaks the hill of Bashan
יז LAMAH TRàTsDUn HARim GàbnuNim
לָמָּה תְּרַצְּדוּן הָרִים גַּבְנֻנִּים
Why be jealous O hills of mountain peaks
HAHAR XAmàD )eLoHim LShIbTO
הָהָר חָמַד אֱלֹהִים לְשִׁבְתּוֹ
This hill is God's delight for his dwelling
)àph YY YIShkon LAnETsàX
אַף יְהוָה יִשְׁכֹּן לָנֶצַח
Indeed, the LORD will make his tent here in perpetuity
יח REkEb )eLoHim RIBothàYIm )àLphèY ShIn)An
רֶכֶב אֱלֹהִים רִבֹּתַיִם אַלְפֵי שִׁנְאָן
the chariot of God - tens of thousands, thousands, myriads
)aDonAY bAm SinàY BàQoDESh
אֲדֹנָי בָם סִינַי בַּקֹּדֶשׁ
the Lord is there, [as at] Sinai, in the holy place
יט `ALithA LàMAROm ShAbithA ShEbi
עָלִיתָ לַמָּרוֹם שָׁבִיתָ שֶּׁבִי
you are gone up on high captives you have captured
LAQàXTA màTAnOth BA)ADAm
לָקַחְתָּ מַתָּנוֹת בָּאָדָם
you have received the gifts of humanity
V)àph SORRim LIShkon YAH )eLoHim
וְאַף סוֹרְרִים לִשְׁכֹּן יָהּ אֱלֹהִים
even the rebellious, in the tent of Yah God
------------------------------------------------
New and changed diagrams in the last 10 days
Psalm -28 September 2007 (96)
Psalm -68 September 2007 (310)
Psalm 108 September 2007 (98)
Psalm 110 September 2007 (65)
Psalm 111 September 2007 (74)
Psalm 112 September 2007 (79)
Psalm 113 September 2007 (60)
Psalm 114 September 2007 (52)
Psalm 115 May 2007 (135)
Psalm 116 August 2007 (131)
Psalm 117 March 2007 (17)
Psalm 135 August 2007 (167)
Psalm 144 September 2007 (130)
Psalm 146 May 2007 (85)
Psalm 147 June 2007 (141)
Psalm 148 June 2007 (111)
Psalm 149 July 2007 (63)
Psalm 150 December 2006 (37)
Because the Holy Ghost over the bent World broods with warm breast and with ah! bright wings.
Gerard Manley Hopkins
Tuesday, September 11, 2007
A few more psalms drafted
Psalm 108 September 2007 (98)
Psalm 110 September 2007 (65)
Psalm 111 September 2007 (74)
Psalm 144 September 2007 (130)
I haven't spent much time with these psalms yet. It's the nature of drafting. I am sensitive to the fact that my memory grows slowly and I may be doing things in ways that disable my thinking - but I will learn at the pace I am directed in - brain cells take time to grow.
I have noticed that there are places where my translations are woefully inconsistent in word usage - like spelling hallelujah in 3 different ways - and debating whether or not to translate it - Praise Yah or Praise the LORD - I think not this last. Maybe untranslated completely? - Hallu Yah. (Hello?) All these things are in database tables so are in principle directly accessible to me - but only as a hacker DBA. So maybe I will suggest some tool improvements when the next release of the diagram software is available - like a global change across diagrams...
Psalm 110 September 2007 (65)
Psalm 111 September 2007 (74)
Psalm 144 September 2007 (130)
I haven't spent much time with these psalms yet. It's the nature of drafting. I am sensitive to the fact that my memory grows slowly and I may be doing things in ways that disable my thinking - but I will learn at the pace I am directed in - brain cells take time to grow.
I have noticed that there are places where my translations are woefully inconsistent in word usage - like spelling hallelujah in 3 different ways - and debating whether or not to translate it - Praise Yah or Praise the LORD - I think not this last. Maybe untranslated completely? - Hallu Yah. (Hello?) All these things are in database tables so are in principle directly accessible to me - but only as a hacker DBA. So maybe I will suggest some tool improvements when the next release of the diagram software is available - like a global change across diagrams...
Sunday, September 09, 2007
The precipices in Psalm 68
I suppose I should be cautious, for I don't think we ever exhaust the 'meaning' or the application of a psalm. This is not just a matter of translation, but of the work of the psalm in our lives, a liturgy of transformation, our smoke dissipating in the presence of fire. But still I am asking, what parts of the psalm do I seem to 'understand' and what parts are difficult to understand?
Some of my questions are simple.
1. There are a number of repeated words - as if this poet likes to repeat words. Are some of them figures of speech or common conventions or are they innovations in the poet's language?
2. The word Adonai gets frequent use. Is this a northern convention? (Does Korah own a piece of this psalm?)
3. Of the difficulties: verses 14, 21, 24, and perhaps 31 stand out for me.
Returning to my original purpose in examining the psalms: how would a first century writer such as the writer of the Epistle to the Hebrews read the psalm - would he or she see our difficulties? This writer used words from the psalms as dialogue between the Father and the Son. Is there any hint of such dialogue in Psalm 68? It can be granted that the original poet(s) would not have had such an explicit referent - but are there hints that allow for such a possibility at a different level of apprehension than that of the first century?
Taking just verse 14 (13 in English)
אִם תִּשְׁכְּבוּן בֵּין שְׁפַתָּיִם
)Im tishkbun bein shepataim
Available translations:
Weiser: Do you want to camp among the sheepfolds?
Dahood: O that they would empty out between the sheepfolds.
Jerusalem Bible (1962): Meanwhile you others were lolling in the sheepfolds.
KJV: Though ye have lien among the pots.
RSV: though they stay among the sheepfolds.
Iyov's post of Alter's translation: If you lie down among sheepfolds . . .
Robert Davidson: no translation given - only notes
It's a rather wide field of possibilities. The woman of the prior verse is described as נְוַת (nvat). I think this is being read as a singular participle, a word that suggests a pastoral environment. BDB translates 'she that is abiding at home'.
Here is the phrase in its wider context:
Weiser
The Lord gives utterance with a loud voice
great is the host of maidens who bring glad tidings
The kings of the armies flee, they flee,
and the women at home divide the spoil
Do you want to camp among the sheepfolds?
Weiser's next sentence is not a sentence - it is meaningless to me - it must have lost in the translation from the German.
The wings of a dove covered with silver
and its pinions with green gold,
when the almighty scattered kings therein
thou causest (sic) snow to fall on Zalmon.
Dahood
Let the Lord send forth the word
rejoicing a numerous host.
May the kings of the hosts bow themselves, bow themselves,
the country's pasture land share the boon;
O that they would empty out between the sheepfolds!
The wings of the dove are plated with silver,
and her pinions with yellow gold.
When Shaddai covered the kings,
then snow fell on Zalmon.
Alter
The Master gives word
--the women who bear tidings are a great host:
"The kings of armies run away, run away,
and the mistress of the house shares out the spoils."
If you lie down among sheepfolds . . .
The wings of the dove are inlaid with silver,
and her pinions with precious gold.
When Shaddai scattered the kings there,
it snowed on Zalmon.
(What would Handel do with these!)
The simplest resolution - to guess at the meaning - seems to be to take the approach that contrasts the women (singular or plural?) with the kings fleeing, and the threats with the division of booty which is then perhaps referred to in "the wings of a dove covered with silver, and her feathers with yellow gold." This, Weiser suggests, is what the RSV has done, allowing a reading similar to KJV but without the period at the end of the prior verse.
The women at home
divide the spoil,
though they stay among the sheepfolds --
the wings of a dove covered with silver,
its pinions with green gold.
It is an obscure verse - as dark as that mountain at Salmon. I leave this one as unresolved for the moment - all questions outstanding. Maybe the dish ran away with the spoon. Perhaps we are missing the irony or humour in the piece.
Some of my questions are simple.
1. There are a number of repeated words - as if this poet likes to repeat words. Are some of them figures of speech or common conventions or are they innovations in the poet's language?
2. The word Adonai gets frequent use. Is this a northern convention? (Does Korah own a piece of this psalm?)
3. Of the difficulties: verses 14, 21, 24, and perhaps 31 stand out for me.
Returning to my original purpose in examining the psalms: how would a first century writer such as the writer of the Epistle to the Hebrews read the psalm - would he or she see our difficulties? This writer used words from the psalms as dialogue between the Father and the Son. Is there any hint of such dialogue in Psalm 68? It can be granted that the original poet(s) would not have had such an explicit referent - but are there hints that allow for such a possibility at a different level of apprehension than that of the first century?
Taking just verse 14 (13 in English)
אִם תִּשְׁכְּבוּן בֵּין שְׁפַתָּיִם
)Im tishkbun bein shepataim
Available translations:
Weiser: Do you want to camp among the sheepfolds?
Dahood: O that they would empty out between the sheepfolds.
Jerusalem Bible (1962): Meanwhile you others were lolling in the sheepfolds.
KJV: Though ye have lien among the pots.
RSV: though they stay among the sheepfolds.
Iyov's post of Alter's translation: If you lie down among sheepfolds . . .
Robert Davidson: no translation given - only notes
It's a rather wide field of possibilities. The woman of the prior verse is described as נְוַת (nvat). I think this is being read as a singular participle, a word that suggests a pastoral environment. BDB translates 'she that is abiding at home'.
Here is the phrase in its wider context:
Weiser
The Lord gives utterance with a loud voice
great is the host of maidens who bring glad tidings
The kings of the armies flee, they flee,
and the women at home divide the spoil
Do you want to camp among the sheepfolds?
Weiser's next sentence is not a sentence - it is meaningless to me - it must have lost in the translation from the German.
The wings of a dove covered with silver
and its pinions with green gold,
when the almighty scattered kings therein
thou causest (sic) snow to fall on Zalmon.
Dahood
Let the Lord send forth the word
rejoicing a numerous host.
May the kings of the hosts bow themselves, bow themselves,
the country's pasture land share the boon;
O that they would empty out between the sheepfolds!
The wings of the dove are plated with silver,
and her pinions with yellow gold.
When Shaddai covered the kings,
then snow fell on Zalmon.
Alter
The Master gives word
--the women who bear tidings are a great host:
"The kings of armies run away, run away,
and the mistress of the house shares out the spoils."
If you lie down among sheepfolds . . .
The wings of the dove are inlaid with silver,
and her pinions with precious gold.
When Shaddai scattered the kings there,
it snowed on Zalmon.
(What would Handel do with these!)
The simplest resolution - to guess at the meaning - seems to be to take the approach that contrasts the women (singular or plural?) with the kings fleeing, and the threats with the division of booty which is then perhaps referred to in "the wings of a dove covered with silver, and her feathers with yellow gold." This, Weiser suggests, is what the RSV has done, allowing a reading similar to KJV but without the period at the end of the prior verse.
The women at home
divide the spoil,
though they stay among the sheepfolds --
the wings of a dove covered with silver,
its pinions with green gold.
It is an obscure verse - as dark as that mountain at Salmon. I leave this one as unresolved for the moment - all questions outstanding. Maybe the dish ran away with the spoon. Perhaps we are missing the irony or humour in the piece.
Wednesday, September 05, 2007
Some Commentaries on psalm 68
I looked at a dozen books referring to psalm 68 last night. Unfortunately Fokkelman does not treat this psalm. From him I would expect a serious structural argument and lots of counting. I brought home Weiser (1962), Dahood (1968), and Robert Davidson (1998). We know that Dahood will give us some alternatives to think about. For instance, with respect to two of the occurrences of Elohim, he suggests that the lamedh of verse 5 is a vocative lamedh - and to be fair, he justifies it with an appeal to the parallel in verse 33 (suggesting things with structure is at least a visible reason).
The transcriptions are copied per his text - so no practice working back to the Hebrew letters - maybe John can help here.
So verse 5 becomes:
Sing, O gods, chant, O his heavens,
[shemo becomes shamaw - defective spelling]
pave the highway for the Rider of the Clouds [cf Isaiah 40:3]
Delight in Yahweh and exult before him
[beyah shemo makes no sense according to Dahood - so it becomes beyah semu, qal masculine plural of *ysm - my old Jerusalem Bible has the same 'correction'.]
and verse 33
O kings of the earth, sing,
O gods, sing praises to the Lord
Behold the Rider of his heavens,
the primeval heavens
Weiser is more traditional. All three have the rider upon the clouds - not the desert.
Much to learn here - pondering ...
(At least I didn't bring home the Commentary on the Psalms from primitive and mediaeval writers : and from the various office-books and hymns of the Roman, Mozarabic, Ambrosian, Gallican, Greek, Coptic, Armenian, and Syriac rites / by J.M. Neale and R.F. Littledale. The imaging of Christ in the psalter knows no bounds in the heights of Christendom.)
The transcriptions are copied per his text - so no practice working back to the Hebrew letters - maybe John can help here.
So verse 5 becomes:
Sing, O gods, chant, O his heavens,
[shemo becomes shamaw - defective spelling]
pave the highway for the Rider of the Clouds [cf Isaiah 40:3]
Delight in Yahweh and exult before him
[beyah shemo makes no sense according to Dahood - so it becomes beyah semu, qal masculine plural of *ysm - my old Jerusalem Bible has the same 'correction'.]
and verse 33
O kings of the earth, sing,
O gods, sing praises to the Lord
Behold the Rider of his heavens,
the primeval heavens
Weiser is more traditional. All three have the rider upon the clouds - not the desert.
Much to learn here - pondering ...
(At least I didn't bring home the Commentary on the Psalms from primitive and mediaeval writers : and from the various office-books and hymns of the Roman, Mozarabic, Ambrosian, Gallican, Greek, Coptic, Armenian, and Syriac rites / by J.M. Neale and R.F. Littledale. The imaging of Christ in the psalter knows no bounds in the heights of Christendom.)
More on Psalm 68
I have attempted to massage the psalm according to the prosodic general rule. You can see it here. I hope you will agree that the stress-units, versets, lines and strophes are viewable. By painting the Hebrew and English differently instead of as a mirror, I think I have allowed some viewing of both internal and external structures together.
I have altered some parts of the translation from the raw word for word which the draft represented. I have sometimes used normal English word order and I have allowed the jussive to replace the indicative as suggested by John and most of the translations I have seen. I have no compunction about praying in this fashion - let your requests be made known.... Equally, I am always aware that salvation must be the result for the enemies I have created if it is to be for me as rebellious (I fit verse 22 - you cannot escape these psalms). Our salvation requires that we be conformed to the scattering of our pretensions by the exaltation of Christ on the cross and at the right hand of the Holy. There is nothing better that I can desire for my enemies.
My results:
section 1: 1-11, 3 stanzas, 3, 3, and 2 strophes, 11 lines.
section 2: 12-26, 3 stanzas 2, 2, and 3 strophes, 15 lines.
section 3: 27 to 36, 2 stanzas, 3 and 2 strophes, 12 lines - the last very short, only one verset.
John counted 52 lines - so I must have put some 2's into 3's. He also did not split the sections where I did.
(The computer counted a total of 310 words including the inscription. My section word counts appear to be 88, 124, and 90. Section 1 and 3 are equal in length apart from the 2 word final verset.)
God's chariot is in the centre of each section. Emphasis in section 1 is on presence (faces). Section 2 has the rare language of wounding - מחץ - (machats). The same rare word for wound is twice in Psalm 110 (5,6). (Deuteronomy 32:39 is particularly instructive - approaching as it does the for us central issue of theodicy. I kill, and I make alive; I wound, and I heal: neither [is there any] that can deliver out of my hand.) Section 3 is bound by the word bless, and has an emphasis on strength.
I searched out a number of commentaries last night and will report a few of them later. If I were looking for unity, which some of the commentaries deny, I would want to be convinced based on the inclusios and emphases in the text. The prosodic structure might also provide confirmation.
I have altered some parts of the translation from the raw word for word which the draft represented. I have sometimes used normal English word order and I have allowed the jussive to replace the indicative as suggested by John and most of the translations I have seen. I have no compunction about praying in this fashion - let your requests be made known.... Equally, I am always aware that salvation must be the result for the enemies I have created if it is to be for me as rebellious (I fit verse 22 - you cannot escape these psalms). Our salvation requires that we be conformed to the scattering of our pretensions by the exaltation of Christ on the cross and at the right hand of the Holy. There is nothing better that I can desire for my enemies.
My results:
section 1: 1-11, 3 stanzas, 3, 3, and 2 strophes, 11 lines.
section 2: 12-26, 3 stanzas 2, 2, and 3 strophes, 15 lines.
section 3: 27 to 36, 2 stanzas, 3 and 2 strophes, 12 lines - the last very short, only one verset.
John counted 52 lines - so I must have put some 2's into 3's. He also did not split the sections where I did.
(The computer counted a total of 310 words including the inscription. My section word counts appear to be 88, 124, and 90. Section 1 and 3 are equal in length apart from the 2 word final verset.)
God's chariot is in the centre of each section. Emphasis in section 1 is on presence (faces). Section 2 has the rare language of wounding - מחץ - (machats). The same rare word for wound is twice in Psalm 110 (5,6). (Deuteronomy 32:39 is particularly instructive - approaching as it does the for us central issue of theodicy. I kill, and I make alive; I wound, and I heal: neither [is there any] that can deliver out of my hand.) Section 3 is bound by the word bless, and has an emphasis on strength.
I searched out a number of commentaries last night and will report a few of them later. If I were looking for unity, which some of the commentaries deny, I would want to be convinced based on the inclusios and emphases in the text. The prosodic structure might also provide confirmation.
Monday, September 03, 2007
Psalm 68
I have a few more psalms drafted
Psalm -68 September 2007 (310) update: see also prosodic
Psalm -86 August 2007 (147)
Psalm 103 August 2007 (167)
Psalm 116 August 2007 (131)
Psalm 68 is the subject of several recent posts from Suzanne, John, and Lingamish who allows the psalm to stand as "one of the most difficult of all psalms to understand and interpret".
For some time the mantra - psalms are more than poems - has been in my head - with instruction to write. What shall I write? Psalms happen to you. Poems can be interpreted. Sometimes when I approach a psalm, I deliberately ask that it not 'happen' to me (now that I know this truth). But equally - let Psalm 139 happen and 86 and let us be able to know the signs of the times.
If I had to note a suggestion I received while musing so far, I would reference Christopher Smart and the Jubilate Agno Fragment B, 2 (set in part by Benjamin Britten)
For at that time malignity ceases and the devils themselves are at peace. (Check this poem out if you don't know it.) Even the rebellious get a benefit in Psalm 68. Do you know anywhere else that this happens?
My draft of Psalm 68 identifies a few structural aspects - perhaps they will help in the understanding:
The word I translated presence (literally faces) occurs 8 times in the first 9 verses. If this psalm isn't something about presence, I would be surprised. This word does not occur again - so if it is a prelude, it is not balanced. If not perhaps there is a centre in the first 9 verses to look for. It is likely balanced by the end sections on strength (6 uses in the last 8 verses).
Selah interrupts a thought each time it occurs - so it is not marking cadences as it often does.
Sing, make music, and God riding a chariot occur twice - once in the desert, the second time in the heavens - the centre of the concentric structure on strength.The centre also encompasses the fate of the kings who are the ones singing and making music to God at the end. So the righteous of verse 4 are not parochial. A third referent to the chariot is in the middle section.
The place of God's holiness occurs 4 times.
God as El, Eli, Elohim, Elohay (31 times), Yah(2), YHWH (2), Shaddai (1), Adonai(7) - I wonder about the density (12.5%) and variety of the names of God in the Psalm.
Verse 12 - My Lord gave a word; those publishing are a great host
This verse seems to head the rest of the poem. The content is about kings fleeing and yet further on kings returning with gifts and homage. In the middle is where the triumph of God is recorded: Adonai desires to make his permenant home on mount Zion, Even the rebellious are in the tent of Yah Elohim.
Verse 21(20) may be the centre of the poem - I have no idea what to do with the last word of that verse which I have rendered exeunts.The tetragrammeton occurs only here.
verse 22-24 uses rare language (= Psalm 110).
There are many allusions that are used by New Testament writers.
There are some really odd verses that maybe if they happen to you, you will sing about. So what does it mean to lie down between the whatevers - as KJV has it - though ye have a lien among the pots! Or what has the snow of Salmon to do with kings? (Except as an image of forgiveness of course).
I look forward to future posts and resolution of some of these difficulties - maybe.
Psalm -68 September 2007 (310) update: see also prosodic
Psalm -86 August 2007 (147)
Psalm 103 August 2007 (167)
Psalm 116 August 2007 (131)
Psalm 68 is the subject of several recent posts from Suzanne, John, and Lingamish who allows the psalm to stand as "one of the most difficult of all psalms to understand and interpret".
For some time the mantra - psalms are more than poems - has been in my head - with instruction to write. What shall I write? Psalms happen to you. Poems can be interpreted. Sometimes when I approach a psalm, I deliberately ask that it not 'happen' to me (now that I know this truth). But equally - let Psalm 139 happen and 86 and let us be able to know the signs of the times.
If I had to note a suggestion I received while musing so far, I would reference Christopher Smart and the Jubilate Agno Fragment B, 2 (set in part by Benjamin Britten)
For at that time malignity ceases and the devils themselves are at peace. (Check this poem out if you don't know it.) Even the rebellious get a benefit in Psalm 68. Do you know anywhere else that this happens?
My draft of Psalm 68 identifies a few structural aspects - perhaps they will help in the understanding:
The word I translated presence (literally faces) occurs 8 times in the first 9 verses. If this psalm isn't something about presence, I would be surprised. This word does not occur again - so if it is a prelude, it is not balanced. If not perhaps there is a centre in the first 9 verses to look for. It is likely balanced by the end sections on strength (6 uses in the last 8 verses).
Selah interrupts a thought each time it occurs - so it is not marking cadences as it often does.
Sing, make music, and God riding a chariot occur twice - once in the desert, the second time in the heavens - the centre of the concentric structure on strength.The centre also encompasses the fate of the kings who are the ones singing and making music to God at the end. So the righteous of verse 4 are not parochial. A third referent to the chariot is in the middle section.
The place of God's holiness occurs 4 times.
God as El, Eli, Elohim, Elohay (31 times), Yah(2), YHWH (2), Shaddai (1), Adonai(7) - I wonder about the density (12.5%) and variety of the names of God in the Psalm.
Verse 12 - My Lord gave a word; those publishing are a great host
This verse seems to head the rest of the poem. The content is about kings fleeing and yet further on kings returning with gifts and homage. In the middle is where the triumph of God is recorded: Adonai desires to make his permenant home on mount Zion, Even the rebellious are in the tent of Yah Elohim.
Verse 21(20) may be the centre of the poem - I have no idea what to do with the last word of that verse which I have rendered exeunts.
verse 22-24 uses rare language (= Psalm 110).
There are many allusions that are used by New Testament writers.
There are some really odd verses that maybe if they happen to you, you will sing about. So what does it mean to lie down between the whatevers - as KJV has it - though ye have a lien among the pots! Or what has the snow of Salmon to do with kings? (Except as an image of forgiveness of course).
I look forward to future posts and resolution of some of these difficulties - maybe.
Sunday, August 26, 2007
Milestone
I have now read through and drafted 49.9% 50.6% of the verses of the psalter. When I began, I figured it would be a 6 year project. And it still will be, but getting to draft is going faster than I anticipated. The whole experience as blogged is a record of a bootstrap process on learning Hebrew though using modern technology rather than quill pen - some day I will reflect on what I have learned. There were a few really helpful people last fall that did not laugh me off the street - particularly note Peter Kirk and Joel Hoffman and Harold Holmyard on b-hebrew. I took a couple of classes at my local synagogue on prayerbook Hebrew that also helped the hearing process.
The psalms in draft are in various states: a few (e.g. psalm 2, 16, 19) have been discussed on other blogs, so I have studied them further and refined my translation or justified my choices through structural analysis.
A few of the early ones are filled with colour - some of it apparently random! (But there was a reason for each one). Some later ones like 119 are also coloured and variously imaged to try to see through them.
When I began, I thought form and genre criticism was the important thing - I don't think so any more. What is the point of knowing a form when they are all so intense and unique? Does it help carry them around? Even the history is of limited value. The coherence of the psalter is in the covenant dialogue by many poets over a long period. It appears to have a shape - just judging by the use of the divine name - but that too, likely deliberate by collection, may not be of much import.
There are one or two (19, 46) also where I have attempted recently to show the prosodic structure laid out by John Hobbins providing such a depth of form for consideration - but by no means easy to model. This kind of analysis should contribute to some naming - much as we can recognize a sonnet whether of Donne or Shakespeare. It is early days for this but I hope our interactions will bear the maturing fruit of diligence without excessive pain.
I have enjoyed this project and hope to continue to enjoy it. If there is a word of encouragement to another, then I am also encouraged. Do learn the language if you are only thinking about it. As my son-in-law said to me, it will change your life.
Psalm --1 August 2006 (67)
Psalm --2 August 2006 (108)
Psalm --3 September 2006 (70)
Psalm --4 October 2006 (77)
Psalm --5 October 2006 (111)
Psalm --6 November 2006 (84)
Psalm --7 November 2006 (142)
Psalm --8 September 2006 (77)
Psalm --9 November 2006 (165)
Psalm -10 November 2006 (162)
Psalm -11 November 2006 (68)
Psalm -12 November 2006 (79)
Psalm -13 January 2007 (55)
Psalm -14 / -53 January 2007 (93)
Psalm -15 January 2007 (55)
Psalm -16 January 2007 (97)
Psalm -17 February 2007 (124)
Psalm -18 May 2007 (397)
Psalm -19 January 2007 (126) prosodic
Psalm -20 May 2007 (70)
Psalm -21 May 2007 (104)
Psalm -22 April 2007 (253)
Psalm -23 September 2006 (52)
Psalm -24 May 2007 (89)
Psalm -25 May 2007 (159)
Psalm -26 June 2007 (85)
Psalm -27 July 2007 (149)
Psalm -29 June 2007 (91)
Psalm -42 January 2007 (132)
Psalm -43 February 2007 (59)
Psalm -44 June 2007 (197)
Psalm -45 June 2007 (160)
Psalm -46 September 2006 (99) prosodic
Psalm -47 May 2007 (77)
Psalm -48 June 2007 (111)
Psalm -51 December 2006 (153) French
Psalm -52 July 2007 (90)
Psalm -54 July 2007 (62)
Psalm -55 July 2007 (193)
Psalm -67 December 2006 (53)
Psalm -73 December 2006 (193)
Psalm -84 June 2007 (116)
Psalm -85 June 2007 (96)
Psalm -86 August 2007 (...)
Psalm -87 June 2007 (54)
Psalm -89 December 2006 (384)
Psalm -90 May 2007 (140)
Psalm -91 May 2007 (112)
Psalm -92 May 2007 (112)
Psalm 100 December 2006 (44)
Psalm 107 January 2007 (278)
Psalm 115 May 2007 (135)
Psalm 117 March 2007 (17)
Psalm 118 March 2007 (198)
Psalm 119-A-H March 2007 (241)
Psalm 119-K-* July 2007 (305)
Psalm 119-Ts-T July 2007 (292)
Psalm 119-V-Y July 2007 (258)
Psalm 120 June 2007 (51)
Psalm 121 May 2007 (56)
Psalm 122 June 2007 (62)
Psalm 123 May 2007 (41)
Psalm 124 May 2007 (57)
Psalm 125 June 2007 (49)
Psalm 126 June 2007 (50)
Psalm 127 June 2007 (60)
Psalm 128 June 2007 (47)
Psalm 129 August 2007 (54)
Psalm 130 August 2007 (54)
Psalm 131 August 2007 (33)
Psalm 132 August 2007 (131)
Psalm 133 May 2007 (40)
Psalm 134 April 2007 (25)
Psalm 135 August 2007 (167)
Psalm 136 August 2007 (166)
Psalm 137 August 2007 (84)
Psalm 138 September 2006 (75)
Psalm 139 August 2007 (177)
Psalm 145 September 2006 (161)
Psalm 146 May 2007 (85)
Psalm 147 June 2007 (141)
Psalm 148 June 2007 (111)
Psalm 149 July 2007 (63)
Psalm 150 December 2006 (37)
The psalms in draft are in various states: a few (e.g. psalm 2, 16, 19) have been discussed on other blogs, so I have studied them further and refined my translation or justified my choices through structural analysis.
A few of the early ones are filled with colour - some of it apparently random! (But there was a reason for each one). Some later ones like 119 are also coloured and variously imaged to try to see through them.
When I began, I thought form and genre criticism was the important thing - I don't think so any more. What is the point of knowing a form when they are all so intense and unique? Does it help carry them around? Even the history is of limited value. The coherence of the psalter is in the covenant dialogue by many poets over a long period. It appears to have a shape - just judging by the use of the divine name - but that too, likely deliberate by collection, may not be of much import.
There are one or two (19, 46) also where I have attempted recently to show the prosodic structure laid out by John Hobbins providing such a depth of form for consideration - but by no means easy to model. This kind of analysis should contribute to some naming - much as we can recognize a sonnet whether of Donne or Shakespeare. It is early days for this but I hope our interactions will bear the maturing fruit of diligence without excessive pain.
I have enjoyed this project and hope to continue to enjoy it. If there is a word of encouragement to another, then I am also encouraged. Do learn the language if you are only thinking about it. As my son-in-law said to me, it will change your life.
Psalm --1 August 2006 (67)
Psalm --2 August 2006 (108)
Psalm --3 September 2006 (70)
Psalm --4 October 2006 (77)
Psalm --5 October 2006 (111)
Psalm --6 November 2006 (84)
Psalm --7 November 2006 (142)
Psalm --8 September 2006 (77)
Psalm --9 November 2006 (165)
Psalm -10 November 2006 (162)
Psalm -11 November 2006 (68)
Psalm -12 November 2006 (79)
Psalm -13 January 2007 (55)
Psalm -14 / -53 January 2007 (93)
Psalm -15 January 2007 (55)
Psalm -16 January 2007 (97)
Psalm -17 February 2007 (124)
Psalm -18 May 2007 (397)
Psalm -19 January 2007 (126) prosodic
Psalm -20 May 2007 (70)
Psalm -21 May 2007 (104)
Psalm -22 April 2007 (253)
Psalm -23 September 2006 (52)
Psalm -24 May 2007 (89)
Psalm -25 May 2007 (159)
Psalm -26 June 2007 (85)
Psalm -27 July 2007 (149)
Psalm -29 June 2007 (91)
Psalm -42 January 2007 (132)
Psalm -43 February 2007 (59)
Psalm -44 June 2007 (197)
Psalm -45 June 2007 (160)
Psalm -46 September 2006 (99) prosodic
Psalm -47 May 2007 (77)
Psalm -48 June 2007 (111)
Psalm -51 December 2006 (153) French
Psalm -52 July 2007 (90)
Psalm -54 July 2007 (62)
Psalm -55 July 2007 (193)
Psalm -67 December 2006 (53)
Psalm -73 December 2006 (193)
Psalm -84 June 2007 (116)
Psalm -85 June 2007 (96)
Psalm -86 August 2007 (...)
Psalm -87 June 2007 (54)
Psalm -89 December 2006 (384)
Psalm -90 May 2007 (140)
Psalm -91 May 2007 (112)
Psalm -92 May 2007 (112)
Psalm 100 December 2006 (44)
Psalm 107 January 2007 (278)
Psalm 115 May 2007 (135)
Psalm 117 March 2007 (17)
Psalm 118 March 2007 (198)
Psalm 119-A-H March 2007 (241)
Psalm 119-K-* July 2007 (305)
Psalm 119-Ts-T July 2007 (292)
Psalm 119-V-Y July 2007 (258)
Psalm 120 June 2007 (51)
Psalm 121 May 2007 (56)
Psalm 122 June 2007 (62)
Psalm 123 May 2007 (41)
Psalm 124 May 2007 (57)
Psalm 125 June 2007 (49)
Psalm 126 June 2007 (50)
Psalm 127 June 2007 (60)
Psalm 128 June 2007 (47)
Psalm 129 August 2007 (54)
Psalm 130 August 2007 (54)
Psalm 131 August 2007 (33)
Psalm 132 August 2007 (131)
Psalm 133 May 2007 (40)
Psalm 134 April 2007 (25)
Psalm 135 August 2007 (167)
Psalm 136 August 2007 (166)
Psalm 137 August 2007 (84)
Psalm 138 September 2006 (75)
Psalm 139 August 2007 (177)
Psalm 145 September 2006 (161)
Psalm 146 May 2007 (85)
Psalm 147 June 2007 (141)
Psalm 148 June 2007 (111)
Psalm 149 July 2007 (63)
Psalm 150 December 2006 (37)
Psalm 137
There was a long - very long - dozens of posts - talk on the Biblical Studies list about Psalm 137. It culminated with a post from Chris Heard that knocked my socks off.
The last verses of the Psalm are not a plea for vindictiveness but a matching of the mockery of the beginning. The poet turns his own beloved letters of fire into darts. The weaned child plays at the hole of the asp indeed.
גָּמַל is a word I first met in Gimel, part 3 of Psalm 119 as gmol which I rendered grow for the G for my exercise in keeping the acrostic. Notice also the use of Shalom, of course.
At the beginning of this Psalm, the exploitative, insincere, forced, and mocking request of the captors for a song when the instruments are hung on a weeping tree, is met poetically at the end of the psalm with a melody that is played on the tenderest of lutes, the human body as giver of milk to the helpless.
The last verses of the Psalm are not a plea for vindictiveness but a matching of the mockery of the beginning. The poet turns his own beloved letters of fire into darts. The weaned child plays at the hole of the asp indeed.
גָּמַל is a word I first met in Gimel, part 3 of Psalm 119 as gmol which I rendered grow for the G for my exercise in keeping the acrostic. Notice also the use of Shalom, of course.
At the beginning of this Psalm, the exploitative, insincere, forced, and mocking request of the captors for a song when the instruments are hung on a weeping tree, is met poetically at the end of the psalm with a melody that is played on the tenderest of lutes, the human body as giver of milk to the helpless.
Saturday, August 25, 2007
Psalm 19 prosody
How do you love me - can I count the ways?I have to confess, I am not as convinced by counting as by inner structures. And I had some difficulty applying the general rule. But I have given it a detailed try here. I find it difficult to think in the full structure and the line lengths are often quite varied. Were these to underlie a performance feature, then I think I would be convinced.
Psalm 19: [link is full size] 2 Sections; 4 stanzas [2 each] ;
section 1: stanzas 1-2 verses 2-7
stanza 1 - 3 strophes
6 lines with verset counts [2/2, 2/2], [2/2, 2/2], [2/2/3, 2/2/3],
stanza 2 - 2 strophes
4 lines [2/2,2/3],[3/2,3/3] - this makes a very long line.
section 2: stanza 3 - 3 strophes
9 lines [3/2,3/2,3/2], [3/2, 3/2,3/2], [2/2,2/2, 3/3]
stanza 4 - 2 strophes
5 lines [3/3,2/2,2/2/3],[2/2/2,2/2]
(The colors are over the top - I can eliminate them all with a keystroke but I am sort of fond of my little suns and sunspots.)
Psalm 19 and the works of the Lord
John has written a translation of Psalm 19 which with the wisdom of his general rule of prosodic structure I hope to reveal further.
The Psalm has an obvious relationship to Psalms 1 and 119 but it also has a surprising relationship to Galatians (for me) in view of the two phrases of Paul that we traditionally interpret negatively and a third that is revealed by Psalm 19. The negatives have been slightly reframed by my reviews of Frymer-Kensky in which I note how Rav Simlai's interpretation of Habbakuk 2:4
The following image shows why prosodic structure alone is not sufficient as a means to the end of translation.
Catching the centre point of the Hebrew will be difficult in English because of word order - subject verb predicate - but it must be done.
How about
The Psalm has an obvious relationship to Psalms 1 and 119 but it also has a surprising relationship to Galatians (for me) in view of the two phrases of Paul that we traditionally interpret negatively and a third that is revealed by Psalm 19. The negatives have been slightly reframed by my reviews of Frymer-Kensky in which I note how Rav Simlai's interpretation of Habbakuk 2:4
perhaps sheds light on some of the polemics of Paul that should be seen as positive towards Jewish tradition: e.g. that if a Gentile is circumcised, he is obligated to keep all the Torah (Galatians 5:3). Also the issue of completing in the flesh what was begun in the spirit (Galatians 3:3).Psalm 19 has a surprising relationship with Galatians 3:10-14. Bear with the chasm that my motorcycle has just jumped - I think it will become clearer that there is a bridge. I could not have picked a more contentious phrase to associate with Psalm 19. Let the thinking begin. After a full exploration of both prosodic structure and internal structure set up between the glory of God, the works of his hands, and the love of Torah in the second part of the Psalm, we will be able to better consider the potential for reframing the polemics of Paul - not that they are not contentious - but let's get the real contention out on the table - and in this case it is both an operating table and an altar of sacrifice.
The following image shows why prosodic structure alone is not sufficient as a means to the end of translation.
Catching the centre point of the Hebrew will be difficult in English because of word order - subject verb predicate - but it must be done.
How about
The heavens declare the glory of God,
the work of his hands, revealed by the firmament.
Wednesday, August 22, 2007
Practising a new not quite skill
Looking at the prosody alone and following the rule of 2 or 3, I have divided verse 2 (1) and 12 (11) as above. I picked verse 12 since there is a verbal connection with verse 2 - but the prosody is different.
For Suzanne at BBB.
Tuesday, August 21, 2007
It's a strophe!
Born from the collocation of lines and versets. I think I understand. All those other things we see are named in ways that do not reveal this pattern underlying the poem. The prior posts represent the learning - and how hard it is (for me at least) to see just by reading or from someone telling me - even when it is well written and well told with great accuracy. Here is the picture with a few things removed.
Stichoi can go - they are a Homeric measurement. Cola can go - they are not so clearly defined. The Strict layer hypothesis is fine but it is I think at a lower level of the structures than the eye (or ear) needs. And it provides too many words. What is left is John's hypothesis. We may still have 'verses' and parts but there is something else that is regular and somehow, strengthening. And stress-units are divided into syllables.
In the Isaiah 40:3 passage we have 5 versets
קוֹל קוֹרֵא
בַּמִּדְבָּ פַּנּוּ
דֶּרֶךְ יְהוָה
יַשְּׁרוּ בָּעֲרָבָה
מְסִלָּה לֵאלֹהֵינוּ
in two lines
קוֹל קוֹרֵא בַּמִּדְבָּ פַּנּוּ דֶּרֶךְ יְהוָה
יַשְּׁרוּ בָּעֲרָבָה מְסִלָּה לֵאלֹהֵינוּ
making one strophe.
The stress units are what we think of as 'words' - things delineated by a space.
How important the inner structure becomes to see the meaning - for the containing structure does not show it. I expect the performance - phonologically - must allow the unambiguous hearing of the inner structure.
Stichoi can go - they are a Homeric measurement. Cola can go - they are not so clearly defined. The Strict layer hypothesis is fine but it is I think at a lower level of the structures than the eye (or ear) needs. And it provides too many words. What is left is John's hypothesis. We may still have 'verses' and parts but there is something else that is regular and somehow, strengthening. And stress-units are divided into syllables.
In the Isaiah 40:3 passage we have 5 versets
קוֹל קוֹרֵא
בַּמִּדְבָּ פַּנּוּ
דֶּרֶךְ יְהוָה
יַשְּׁרוּ בָּעֲרָבָה
מְסִלָּה לֵאלֹהֵינוּ
in two lines
קוֹל קוֹרֵא בַּמִּדְבָּ פַּנּוּ דֶּרֶךְ יְהוָה
יַשְּׁרוּ בָּעֲרָבָה מְסִלָּה לֵאלֹהֵינוּ
making one strophe.
The stress units are what we think of as 'words' - things delineated by a space.
How important the inner structure becomes to see the meaning - for the containing structure does not show it. I expect the performance - phonologically - must allow the unambiguous hearing of the inner structure.
Language about Lines
Once more to look at differing sets of terms for describing the container structures in a poem. Our traditional visual absorption of Biblical poetry, if we are lucky enough not to get just a square borderless box with letters in it, includes words, lines, and verses in psalms. Occasionally an extra space will demarcate a set of verses. Sometimes a Psalm will be divided into parts. None of these divisions obeys the 'general rule' of Hobbins. In the glossary and other articles on poetic structure at his site, he also uses the terms of other scholars. I have noted a couple I have heard or seen where I think they might lie in relation to what our eyes observe on the typical page.
Some Bibles do use indentation to show that the words are in poetry. While this is helpful in reading, the indentation and line lengths I have noted seem to be arbitrary, one might say without rhyme or reason. Sometimes these visual constraints are determined by paper size and other publishing considerations. And of course there are the translation issues that are unavoidably complex.
If I have these right, [update - and I don't - see later post] then the lines of Isaiah 40 in my previous post are lines = phonological phrases = cola [wrong - they are versets; lines combine them]. These are the units I will try to put in 'one' box in revised diagrams. My draft diagrams are at the even lower than verset or prosodic word layer (sort of).
If the general rule is right, then Psalm 119 should divide nicely into sections (perhaps enjambed over parts) and stanzas. We'll see when it comes off the back burner.
The other thing to notice is that it is hard to concentrate on more than 3 levels at once.
Monday, August 20, 2007
Seeing Definitions
I am left-brained. The right brain (supposedly) can also process information, but does it differently. 
My eldest son sees
but I read.
He processes in three dimensions
but chokes on dragon's teeth.
I elaborate with letters
but put all mechanical things together backwards.
a b
c d
a' b'
- d'
c d''
- b''
Yet I can learn from a diagram. Here's one expressing the continuum from apposition to hypotaxis. What's that? you ask. I don't know yet, but here it is.
Now about all those other words that we use to describe textual art, I think I am seeing two global structures as I intimated in my last two notes: the container external structure and the contained inner structure. The containers seem more useful for carrying around the text by description. The inner structures seem more useful for discovering meaning. I am not a professional linguist, so most of the terminology is new to me.
First about inner structure: parallelism qualifies, as does the continuum of apposition above. Apposition is a category of parallelism. I have not yet seen a perfect taxonomy of types of parallelism. Another inner structure is repetition of a word or set of words. Repetition of two words in reverse order is named after the letter Chi. The rhetorical technique of parallelism combined with chiasm can disambiguate meaning. An example is Isaiah 40:
ג קוֹל קוֹרֵא--בַּמִּדְבָּ פַּנּוּ דֶּרֶךְ יְהוָה יַשְּׁרוּ בָּעֲרָבָה מְסִלָּה לֵאלֹהֵינוּ.
a voice cries in the wilderness prepare the way of the LORD
make plain in the desert a highway for our God.
The first phrase is ambiguous - is the voice in the wilderness or is it the way of the LORD that is to be prepared in the wilderness? The parallel phrase makes the meaning clear.
a voice cries
in the wilderness
prepare ...
make plain
in the desert ...
Whether this is prose or poetry or could be described as a verset or colon or stich or whatever, this structure sets up the intention of the words. The communication of meaning is the purpose. I am beginning to think that the containing structure, in contrast, is there for assisting hearing and memorization rather than directly contributing to meaning. As such it has a complementary usage. Well designed containers are also coherent: relating to one aspect or object. (How useful being trained in software is sometimes.)
Being either foolish or brave, let's try and decide what the prosodic structure is for this verse.
קוֹל קוֹרֵא
בַּמִּדְבָּ פַּנּוּ
דֶּרֶךְ יְהוָה
יַשְּׁרוּ בָּעֲרָבָה
מְסִלָּה לֵאלֹהֵינוּ
If this is poetry and I was to follow the general rule (the rule of 2 or 3), I would have to divide it as above.
a voice cries
in the wilderness prepare
the way of the LORD
make plain in the desert
a highway for our God
In just using text, not a diagram, I am reducing my scope for painting to html in a limited and defective editor. But for a short line we can still see clearly an internal structure to the word units:
a, b,
c, d,
e, f,
d', c',
e', f'
where the apostrophe indicates the same concept in this case in a synonym. I am not ready to name these pieces. Maybe in the next note after more study and examples.
Source for these musings is from John Hobbin's Glossary and the article on Poetic Structure - both requiring more than one day's reflection. (I admit to reading them two or three times this year, but they went in one eye and out the other.)
Sunday, August 19, 2007
Applying the theoretical structures to Psalm 46
In my usual fashion of 'showing my bookwork', I am putting my questions and a fresh diagram on the blog.
I have tried to apply some of the structures. I am confused. [update: eureka} Are stress-units = syllables? [NO] Do some of the container structures co-incide in a small poem? [not relevant]
How useful are the a,b,c etc if the arrows or colours in a diagram show the concentric structures? I am showing all chiasms with arrows. No need for the x. Is enjambment only when a sentence stops in the middle of a line?
What does strophe correspond to? seems to be close to the traditional 'verse' [NO]. And line seems to be what Fokkleman calls a colon [NO].
How could one show a significant feature - like the 7 x Elohim in this poem - I have used colour - but does it need more. It is the real outer framework. God for us, YHWH of hosts with us. (You might almost call it a latticework - since I think there is both love and mighty warrior in this poem - both centres are of love. That's why I coloured them green - of still waters and green pastures.)
I have also suggested some translation changes - picky - but I want to avoid the English 'generic' definite article if there is no definite in Hebrew, at least where possible. I must admit Desist and stand have something going for them - but I wonder if there are additional possibilities - like Be still / exalt / lift up - is there a significance to the pronoun? Who speaks? The Captain of the Hosts?
Where are the strophes and do they follow the 2/3 rule? [update: please see later posts on the emerging understanding of these terms]
I have tried to apply some of the structures. I am confused. [update: eureka} Are stress-units = syllables? [NO] Do some of the container structures co-incide in a small poem? [not relevant]
What does strophe correspond to? seems to be close to the traditional 'verse' [NO]. And line seems to be what Fokkleman calls a colon [NO].
How could one show a significant feature - like the 7 x Elohim in this poem - I have used colour - but does it need more. It is the real outer framework. God for us, YHWH of hosts with us. (You might almost call it a latticework - since I think there is both love and mighty warrior in this poem - both centres are of love. That's why I coloured them green - of still waters and green pastures.)
I have also suggested some translation changes - picky - but I want to avoid the English 'generic' definite article if there is no definite in Hebrew, at least where possible. I must admit Desist and stand have something going for them - but I wonder if there are additional possibilities - like Be still / exalt / lift up - is there a significance to the pronoun? Who speaks? The Captain of the Hosts?
Where are the strophes and do they follow the 2/3 rule? [update: please see later posts on the emerging understanding of these terms]
What to See in a Psalm
In my last notes, I began to explore the container structures that John Hobbin's has pointed to and the problem of managing the complexity of presenting multiple factors in a psalm. What sorts of factors outside of structure could be represented visually for a psalm?
John in this essay cites Collins: "The line is made up different layers – grammatical structure, semantic structure, stress patterns, syllable counts, alliteration." We now routinely note that on the surface of a psalm there are parallels. The meaning intended by the parallel is often disambiguated or confirmed by chiasm, and may be obscured or elaborated by enjambment. Groups of word pairings in reverse sequence extend chiasm to concentric structure often literally encompassing a single (e.g. Psalm 67) or dual centre (at least that is what I see in Psalm 46 so far). Concentricity is potentially independent of the container structure. Both of these are very visual images for describing units of aural performance. It is likely that what we 'see' must also work for the ear.
Perhaps this can be summed up with another quotation from the above essay:
John posted his translation and notations with respect to Psalm 46 here. With that preamble, it is time for some questions on Psalm 46 to see if there can be a visual mapping of the superscripts, subscripts, and coded messages he has put to the left of the Hebrew.
It is easier to do than to say - so I will draw first and describe later. But if you have any ideas, do let me know. For instance, rather than letting me guess the container structure (section / strophe, etc), leave a comment. And if you have any questions or suggestions on John's translation, leave him a comment here.
John in this essay cites Collins: "The line is made up different layers – grammatical structure, semantic structure, stress patterns, syllable counts, alliteration." We now routinely note that on the surface of a psalm there are parallels. The meaning intended by the parallel is often disambiguated or confirmed by chiasm, and may be obscured or elaborated by enjambment. Groups of word pairings in reverse sequence extend chiasm to concentric structure often literally encompassing a single (e.g. Psalm 67) or dual centre (at least that is what I see in Psalm 46 so far). Concentricity is potentially independent of the container structure. Both of these are very visual images for describing units of aural performance. It is likely that what we 'see' must also work for the ear.
Perhaps this can be summed up with another quotation from the above essay:
Language in general and poetry in particular display iterative, constraint-governed patterns at the levels of phonology, prosodic hierarchy, stress alignment, lexical, grammatical, and rhetorical stress, morphology, syntax, sentence intonation, discourse grammar, and grouping and closure preferences.If we add apposition, syndetic coordination, and hypotaxis sequences, we have between 17 and 24 characteristics of a psalm that might be shown.
John posted his translation and notations with respect to Psalm 46 here. With that preamble, it is time for some questions on Psalm 46 to see if there can be a visual mapping of the superscripts, subscripts, and coded messages he has put to the left of the Hebrew.
It is easier to do than to say - so I will draw first and describe later. But if you have any ideas, do let me know. For instance, rather than letting me guess the container structure (section / strophe, etc), leave a comment. And if you have any questions or suggestions on John's translation, leave him a comment here.
Beauty, Structure, and Space
I have a theory that Beauty is a function of 2 and 3.
1. Suppose we have an unlimited set of 2's and 3's. 2 and 3 are Fibonacci numbers. Add them together (2 of them) and it makes 5. Add the previous to the two (three of them - 1 2 and 2 3's) and you have 8. 8:5 (or 5:8) is a good approximation of the golden mean as seen by our eyes.
Pleasing proportion is in the ratio of two consecutive Fibonacci numbers (1:1, 1:2, 2:3, 3:5, 5:8, converging on the Golden Mean).
2. And take 3 2's as in 2 to the third power 2x2x2 - again you have 8, one more than the conventional comfort zone for short term memory of simple things (7 being 2 2s added to a 3), the point +/- 2 of our tolerance for breadth - things that have to be seen all at once.
Comfortable reading requires space - a maximum list length without a break is 2**3 +/- 2. If the list is complex, limit to 5, if simple, stretch to 9.
3. Consider 3 alone. This is the comfortable maximum nesting level. Your reader will forget the top of the argument by the time you reach the 4th subdivision of your paragraph structure. We can go visually and intellectually much deeper than 3, but our concurrent consciousness of more than 3 complex things seems limited. (This is why the structure of Romans is difficult for us. It has a length of 10 at depth level 4, a depth of 5, and a sustained sequence of 55 questions essentially without a break.)
Beauty is a function of proportion and complexity (breadth and depth) - so when writing, what should we do with our words and images to enable understanding? Chunk them, group them, and place them in recognizable relationship to each other in 2s and 3s. Curious that John Hobbin's theory of ancient prosodic structure conforms to these guidelines in his choice of 2 and 3 when measuring verse and if we stay above the syllable level. Qinah meter conforms most closely at the syllable level.
These principles have emerged for me from long experience in software engineering. They are not limits to complexity but guides to effective communication. They have wide application. It is one reason why software cannot be complete as a one-person effort. (That's for zhubert.) Yet do not despair, though we must have 2 or 3, we are also made safe even in solitude -
Psalm 4 - לְבָדָד לָבֶטַח תּוֹשִׁיבֵנִי
in separation, in safety, you make me live
(per Fokkelman's interpretation).
1. Suppose we have an unlimited set of 2's and 3's. 2 and 3 are Fibonacci numbers. Add them together (2 of them) and it makes 5. Add the previous to the two (three of them - 1 2 and 2 3's) and you have 8. 8:5 (or 5:8) is a good approximation of the golden mean as seen by our eyes.
Pleasing proportion is in the ratio of two consecutive Fibonacci numbers (1:1, 1:2, 2:3, 3:5, 5:8, converging on the Golden Mean).
2. And take 3 2's as in 2 to the third power 2x2x2 - again you have 8, one more than the conventional comfort zone for short term memory of simple things (7 being 2 2s added to a 3), the point +/- 2 of our tolerance for breadth - things that have to be seen all at once.
Comfortable reading requires space - a maximum list length without a break is 2**3 +/- 2. If the list is complex, limit to 5, if simple, stretch to 9.
3. Consider 3 alone. This is the comfortable maximum nesting level. Your reader will forget the top of the argument by the time you reach the 4th subdivision of your paragraph structure. We can go visually and intellectually much deeper than 3, but our concurrent consciousness of more than 3 complex things seems limited. (This is why the structure of Romans is difficult for us. It has a length of 10 at depth level 4, a depth of 5, and a sustained sequence of 55 questions essentially without a break.)
Beauty is a function of proportion and complexity (breadth and depth) - so when writing, what should we do with our words and images to enable understanding? Chunk them, group them, and place them in recognizable relationship to each other in 2s and 3s. Curious that John Hobbin's theory of ancient prosodic structure conforms to these guidelines in his choice of 2 and 3 when measuring verse and if we stay above the syllable level. Qinah meter conforms most closely at the syllable level.
These principles have emerged for me from long experience in software engineering. They are not limits to complexity but guides to effective communication. They have wide application. It is one reason why software cannot be complete as a one-person effort. (That's for zhubert.) Yet do not despair, though we must have 2 or 3, we are also made safe even in solitude -
Psalm 4 - לְבָדָד לָבֶטַח תּוֹשִׁיבֵנִי
in separation, in safety, you make me live
(per Fokkelman's interpretation).
Friday, August 17, 2007
Prosody
John Hobbins has summarized the work of Benjamin Harshav on the relationships among the parts of ancient poems here. It's a seven-layer dip using these words. [I have added what I think the traditional names are for possible further clarity] 
Stress-units are further subdivided into[update: equivalent to] syllables. That is a lesson in the early chapters of Lambdin - and not too easy to master for a novice. Understanding a syllable in Hebrew is tricky - when does a shwa contribute to the syllable count for instance? The regularities are not easily named. The table below relates the three lowest levels of the now 8-part structure. I think I copied the numbers accurately. (Click for a larger image).
Stress-units are further subdivided into
Psalmody 50%
Just squeaked in over 50% drafted (77/153 - 119 is in four sections) with the three-verse Psalm of ascent 131. What does that first verse mean? Was the worshipper recognizing a lack of readiness for the liturgy to come?
Wednesday, August 15, 2007
Late night thoughts on rereading Psalm 46
Psalm 46 is a favorite among Anglican choirs with its three-fold chorus traditionally sung to unison and descant. The Lord of Hosts is with us, the God of Jacob is our refuge. But there are not three chrouses, only two. The Anglicans have turned a bi-centred poem into a sequential thought process. The first chorus is represented by 'Selah' only. It is very tempting to add the chorus, but it obscures the double centre of the piece. The first opening brackets are in the word sequence: earth-moved-murmuring - with centre in 'she shall not be moved' - and the closing brackets are in reverse: murmuring-moved-earth. The second centre is between the two sequences: nations-earth-chorus - with centre at the Lord's doings - then nations-earth-chorus.
John Hobbins has much more to teach us about the structure - but our success as learners and his as teacher depends on our understanding the superscripts and subscripts of his annotations. I hope I can learn what he means and morph the codes into a visual representation. I have to admit it is not a short term goal. My original draft of this poem, done in September 2006, was among my first 4 or 5 psalms, an early part of this bootstrap process. Now, almost a year later, I can begin to read and appreciate the colometry which John's version engages with such fluidity. Like Secundus, I was deaf to the word and needed visual aids to teach me. Now I have a limited feel for the sounds though I cannot hear or read them with fluency. I took the liberty of collecting John's translation into a diagram showing the Hebrew and English together.
As I lay awake in the early morning, I thought about the words I fought with back in September - שַׁמּוֹת בָּאָרֶץ - (shmot b'aretz). The Anglican psalter has the lovely - what wonders he has wrought upon the earth. But the word is unmistakeably desolations. I mistranslated it as fertility(!) - and often have thought of the fruitfulness that comes out of the desolation of the cross. But will the word stretch to its opposite? There appears to be no justification for my earlier thought in any dictionary I can find even though the three cola following the statement are all works of peace. Let's have Anglican chant for the briefest of translations capturing the shortness of the twos and threes of the Hebrew:
I know I am in danger of reading this Christologically - but I am following in the footsteps of the NT writers. In Hebrews, the entire dialogue between the Father and the Son is taken from the Psalter. What is the dialogue between the Father and the Son in this Psalm? Or what works of the Lord are being referred to that really make a difference? Does Psalm 46 stand behind John 5? If you do not believe me, at least believe the works that the Father has given me to do (John 10:22 referring back to the issue of witness in John 5). Clearly, I can ask anyone who would ask me concerning the Messianic age, why war has not ceased. The psalmist has said it is done and bids us to look to the work of YHWH in the doing of it. The required 2 and 3 witnesses are in the microstructures of the poem.
John Hobbins has much more to teach us about the structure - but our success as learners and his as teacher depends on our understanding the superscripts and subscripts of his annotations. I hope I can learn what he means and morph the codes into a visual representation. I have to admit it is not a short term goal. My original draft of this poem, done in September 2006, was among my first 4 or 5 psalms, an early part of this bootstrap process. Now, almost a year later, I can begin to read and appreciate the colometry which John's version engages with such fluidity. Like Secundus, I was deaf to the word and needed visual aids to teach me. Now I have a limited feel for the sounds though I cannot hear or read them with fluency. I took the liberty of collecting John's translation into a diagram showing the Hebrew and English together.
As I lay awake in the early morning, I thought about the words I fought with back in September - שַׁמּוֹת בָּאָרֶץ - (shmot b'aretz). The Anglican psalter has the lovely - what wonders he has wrought upon the earth. But the word is unmistakeably desolations. I mistranslated it as fertility(!) - and often have thought of the fruitfulness that comes out of the desolation of the cross. But will the word stretch to its opposite? There appears to be no justification for my earlier thought in any dictionary I can find even though the three cola following the statement are all works of peace. Let's have Anglican chant for the briefest of translations capturing the shortness of the twos and threes of the Hebrew:
who makes wars ceaseBut it is the double use of the verb 'to lift up' that further grabs my attention. Traditionally this verb is translated as 'exalted' - I will be exalted among the nations and I will be exalted in the earth. Now there's a good religious word. John has 'stands above'. I chose lift up because of the desolation of the Anointed having been lifted up from the earth for me, among all those that fear him.
to the ends of the earth
the bow he breaks
the spear he snaps
wagons he burns in fire.
I know I am in danger of reading this Christologically - but I am following in the footsteps of the NT writers. In Hebrews, the entire dialogue between the Father and the Son is taken from the Psalter. What is the dialogue between the Father and the Son in this Psalm? Or what works of the Lord are being referred to that really make a difference? Does Psalm 46 stand behind John 5? If you do not believe me, at least believe the works that the Father has given me to do (John 10:22 referring back to the issue of witness in John 5). Clearly, I can ask anyone who would ask me concerning the Messianic age, why war has not ceased. The psalmist has said it is done and bids us to look to the work of YHWH in the doing of it. The required 2 and 3 witnesses are in the microstructures of the poem.
Themes in a picture
The thematic image I started yesterday is (sort of) complete. I am musing on what it might mean. The psalm is surely complex and an act of love. I can't say much more except that it was difficult to keep my eyes straight and some of the boxes are probably missed - and I really need to recolor most of parts 6 through 22 since I was woefully inconsistent in my observations of structures in them - kept getting stuck in parts 1 to 5. The thematic map will help in the second pass at correction - but I think I will leave Psalm 119 for a while to ferment...
Tuesday, August 14, 2007
Pascal
I have used a prayer of Pascal at Compline occasionally - the one in the Oxford Book of Prayer - about fire. Here is his take on Psalm 119 (he obviously did more than wager):
Cette supplication déroule lentement ses 176 versets en un long récitatif et n'est en son fond que la même protestation d'amour indéfiniment répétée sous diverses formes. *
"This supplication unrolls slowly its 176 verses in a long recitative and is at its base but the same protestation of love repeated without limitation in diverse forms."
O that the trace of your love should be treated with such a pedestrian translation. By my measure, joy is the first and love the last of the great themes that the Psalmist introduces in this work. I am half-way through a new diagram showing the distribution of my selected themes. I find it interesting also that in many of the briefs I browsed in the library this evening, it was noted that the 8 keywords are all synonyms for law - I wonder if this is helpful. I noted that at least one other translates imrah as promise as I have done. But what was the state of the written or oral Torah at the time the psalm was written that the psalmist should see 8 synonyms? I think it is more a matter of passion than definition.
In my selected themes, I have ended with love, but there are other repeated words that the psalmist uses after the introduction of love in part 6 - not many, but perhaps strength, thankfulness, fear, knowledge. I had to pause somewhere at least for the moment.
There is no doubt this psalmist has known trouble. Little doubt to me that he also prays for his enemies (not, on the surface, nice prayers - but what do you expect!)
O that the trace of your love should be treated with such a pedestrian translation. By my measure, joy is the first and love the last of the great themes that the Psalmist introduces in this work. I am half-way through a new diagram showing the distribution of my selected themes. I find it interesting also that in many of the briefs I browsed in the library this evening, it was noted that the 8 keywords are all synonyms for law - I wonder if this is helpful. I noted that at least one other translates imrah as promise as I have done. But what was the state of the written or oral Torah at the time the psalm was written that the psalmist should see 8 synonyms? I think it is more a matter of passion than definition.
In my selected themes, I have ended with love, but there are other repeated words that the psalmist uses after the introduction of love in part 6 - not many, but perhaps strength, thankfulness, fear, knowledge. I had to pause somewhere at least for the moment.
There is no doubt this psalmist has known trouble. Little doubt to me that he also prays for his enemies (not, on the surface, nice prayers - but what do you expect!)
*Pascal: (Cited in Les Psaumes, Desclée de Brouwer - no specific reference given.)
Thursday, August 09, 2007
Psalm 119 - theme and variations
I have been dreaming this psalm. There are patterns, some more obvious than others, some small, some related to what one might call a springboard word - a word introduced and then elaborated on in subsequent parts. Whether these are deliberate on the part of the writer(s) or not, I am not yet 'sure'. The pattern of the missing nouns is there of course as described in this earlier post.
I have coloured the themes as they appear - see what you think of the patterns and presentation (an acrostic coat of many colours). I have missed some - feel free to point them out and I will adjust the diagrams.
Excluding the main nouns, here are the colours I have used:
forecolor red - indicates completion achieved or presupposed
blue - indicates continuing action (walk הלכ hlk, keep שׁמר shmr)
gold - teaching/learning (למד lmd)
purple - aspects of the heart
green - observed (נצר ntsr)
grey with red bordercolor - human emotion - delight and shame
backcolor without gradient - shows one of the big 8 - definitions here
backcolor with gradient
grey - 'will not forget' - often in a negative/positive contrast in the verse
red - the life motif
pink - being/soul (somewhat negative to begin with) and righteousness (צדק tsedeq)
green - troubles
teal - covenant mercy and correction (חסד chesed)
There are additional motifs I have not yet coloured - love, hope, trust, faith, superlatives [to the max מאד m)od]
Promise motif and servant are connected by the same colour scheme - I think the completion and salvation theme are also connected as noted in the earlier posts.
If a border color = main noun color (the big 8) - it is often a verb used with one of the main 8 nouns - explored in this post. (Note there are other nouns belonging to God that are significant - e.g. truth and faithfulness.)
connectors - fat - first diagram only - show connections among the big 8 (and occasional displaced nodes)
thin connectors - show some displacement of words when required for the acrostic in English
thin connectors of various colours - show individual part structures and some interpart connections.
One thing I am imagining is the emergence of a motif and its continuance - when is it first mentioned - when is it last mentioned and what if any significance for the poet's thought this tells us. E.g.
Righteousness is in part 1 and 22
The life/live motif begins in part 3 with servant and continues to part 22
Teaching goes from 1 to 22
The human emotion of delight is noted in part 2 and continues to 22
Covenant mercy - in contrast, does not appear till part 6.
The jpgs are large - be patient and the reward will come :) - hopefully someone will get some enjoyment from them besides me.
I have coloured the themes as they appear - see what you think of the patterns and presentation (an acrostic coat of many colours). I have missed some - feel free to point them out and I will adjust the diagrams.
Excluding the main nouns, here are the colours I have used:
forecolor red - indicates completion achieved or presupposed
blue - indicates continuing action (walk הלכ hlk, keep שׁמר shmr)
gold - teaching/learning (למד lmd)
purple - aspects of the heart
green - observed (נצר ntsr)
grey with red bordercolor - human emotion - delight and shame
backcolor without gradient - shows one of the big 8 - definitions here
backcolor with gradient
grey - 'will not forget' - often in a negative/positive contrast in the verse
red - the life motif
pink - being/soul (somewhat negative to begin with) and righteousness (צדק tsedeq)
green - troubles
teal - covenant mercy and correction (חסד chesed)
There are additional motifs I have not yet coloured - love, hope, trust, faith, superlatives [to the max מאד m)od]
Promise motif and servant are connected by the same colour scheme - I think the completion and salvation theme are also connected as noted in the earlier posts.
If a border color = main noun color (the big 8) - it is often a verb used with one of the main 8 nouns - explored in this post. (Note there are other nouns belonging to God that are significant - e.g. truth and faithfulness.)
connectors - fat - first diagram only - show connections among the big 8 (and occasional displaced nodes)
thin connectors - show some displacement of words when required for the acrostic in English
thin connectors of various colours - show individual part structures and some interpart connections.
One thing I am imagining is the emergence of a motif and its continuance - when is it first mentioned - when is it last mentioned and what if any significance for the poet's thought this tells us. E.g.
Righteousness is in part 1 and 22
The life/live motif begins in part 3 with servant and continues to part 22
Teaching goes from 1 to 22
The human emotion of delight is noted in part 2 and continues to 22
Covenant mercy - in contrast, does not appear till part 6.
The jpgs are large - be patient and the reward will come :) - hopefully someone will get some enjoyment from them besides me.
Thursday, August 02, 2007
MS Repair
I repaired the defective summary diagram of the keywords of Psalm 119 and the counts - poor old ayin got left out completely. You can clearly see what was missing since I left the borders in on the image.
I will be staying in a beautiful hotel on Central Park with a room overlooking the park for the next 5 days and I am not taking a computer. So I will get way behind on my google reader and I will spend what time I have with pen and paper writing whatever happens and hearing my daughter's work at the girls choir school she is teaching at St Thomas's, Fifth Ave. where I will be for evensong today, if all goes as planned ...
Blessings to all the bloggers and readers
I will be staying in a beautiful hotel on Central Park with a room overlooking the park for the next 5 days and I am not taking a computer. So I will get way behind on my google reader and I will spend what time I have with pen and paper writing whatever happens and hearing my daughter's work at the girls choir school she is teaching at St Thomas's, Fifth Ave. where I will be for evensong today, if all goes as planned ...
Blessings to all the bloggers and readers
Wednesday, August 01, 2007
Still more on the keywords of Psalm 119
I thought it was time I looked up the meaning of these words in my BDB which I have lugged around with me on the road these past 4 weeks.
Here's a bit about each:
תורה [torah] BDB direction, instruction, law - it is always tricky to find anything in BDB. This one is listed on page 435 under the yod - that's Bingo for you. Is it related to early rain (yoreh)? or throw or shoot (yarah)? It lists below teacher (moreh). I would never have thought of looking up torah under i in an English dictionary! At its simplest, it is an ordinary word meaning the instruction of a mother for her child, or a father, or the sages, or a poet.
עדה [edah] testimony - I found this under ayin as expected. ayin-daleth has lots of meanings - time related, perpetuity, even to, up to, until, during, while ..., booty! Then several pages later, I find ayin-daleth with a tsere under the ayin - aha, testimony, witness, , evidence. While these can be applied with due solemnity to the testimony of the ancient stories, I also find resonances of two or three witnesses, the subject of John 5. I admit to showing my bias here, but the problem we have with testimony is just that - believing it. I see I (correctly but accidentally) listed the feminine noun above (with the 'ah' ending). BDB has a distinction of 13 times this word in the plural, and 8 times also in the plural a slight variation on the same word (edut). The observable difference in the psalm escapes me.
אמרה [imrah] word, promise - there are quite a few words in the class aleph-mem-resh - this one based on the verb to speak, utter, etc, others based on the idea of a bond. BDB does give promise as a possible translation - so I am not beyond the pale.
פקּד [piqud] precept - In this form, the word always plural only appears in the psalms (19, 103, 111, 119) 21/24 times in psalm 119. It is as it sounds, good advice, it appears to agree with other roots PQD - the verb, attend to, visit, muster, appoint and the nouns PQDH oversight, or PQYD - commissioner, overseer. The precept is the thing appointed, God's precepts are the charges laid upon us.
חק [chuq] statute - nothing too surprising here either - something prescribed, a decree, a due, related to the verb, inscribe, decree and the issues of being just, right, obligatory, etc. Interesting that these are not legal - but perhaps they also encompass those uninscribed but expected behavioural aspects of family and cultural life... God's statutes, which make the heart complete, are what direct in God's way as opposed to what may be the cultural or social way which may not make the heart complete.
מצוה [mitsvah] commandment - Loving of Torah embraces all the variations we have seen in this Psalm. Doing of Mitsvot reflects the Deuteronomy passage - we will do them and we will understand. Some readings of Paul make appreciating this love and this doing difficult. Naturally, this word does not appear under M but under Ts from the root TsVH to command (and other things). It is a command. I always think of command as meaning co-mandere - you have a mandate to work with someone. It is always an invitation for me. Nonetheless, I do not consider some Mitsvot as part of my work but this is a subject of a more complex essay still to be written.
משׁפּט[mishpat] judgment - lesson learned, I looked under shpt and lo and behold, there was mshpt! Derived from the verb to judge, or govern. God is a good governor by all accounts from the psalm.
דבר [dabar] word, thing. Primarily word, the same root as the verb to speak, can also mean a matter, an affair, a thing about which one speaks - a frequent word, pages on it in the BDB.
So I have traced some of the verbs used in the psalm, and I have a better idea of the meaning of the nouns - now to consider the impact. What is the impact of the engagement with the God of Israel?
It is substantial. Whoever, by whatever stripe, knows it, will not ever be disappointed. The psalmist has much to say about the impact on him and his prayers for others, even his enemies. This is a third essay on the psalm which I will leave till I have mused further...
Here's a bit about each:
תורה [torah] BDB direction, instruction, law - it is always tricky to find anything in BDB. This one is listed on page 435 under the yod - that's Bingo for you. Is it related to early rain (yoreh)? or throw or shoot (yarah)? It lists below teacher (moreh). I would never have thought of looking up torah under i in an English dictionary! At its simplest, it is an ordinary word meaning the instruction of a mother for her child, or a father, or the sages, or a poet.
עדה [edah] testimony - I found this under ayin as expected. ayin-daleth has lots of meanings - time related, perpetuity, even to, up to, until, during, while ..., booty! Then several pages later, I find ayin-daleth with a tsere under the ayin - aha, testimony, witness, , evidence. While these can be applied with due solemnity to the testimony of the ancient stories, I also find resonances of two or three witnesses, the subject of John 5. I admit to showing my bias here, but the problem we have with testimony is just that - believing it. I see I (correctly but accidentally) listed the feminine noun above (with the 'ah' ending). BDB has a distinction of 13 times this word in the plural, and 8 times also in the plural a slight variation on the same word (edut). The observable difference in the psalm escapes me.
אמרה [imrah] word, promise - there are quite a few words in the class aleph-mem-resh - this one based on the verb to speak, utter, etc, others based on the idea of a bond. BDB does give promise as a possible translation - so I am not beyond the pale.
פקּד [piqud] precept - In this form, the word always plural only appears in the psalms (19, 103, 111, 119) 21/24 times in psalm 119. It is as it sounds, good advice, it appears to agree with other roots PQD - the verb, attend to, visit, muster, appoint and the nouns PQDH oversight, or PQYD - commissioner, overseer. The precept is the thing appointed, God's precepts are the charges laid upon us.
חק [chuq] statute - nothing too surprising here either - something prescribed, a decree, a due, related to the verb, inscribe, decree and the issues of being just, right, obligatory, etc. Interesting that these are not legal - but perhaps they also encompass those uninscribed but expected behavioural aspects of family and cultural life... God's statutes, which make the heart complete, are what direct in God's way as opposed to what may be the cultural or social way which may not make the heart complete.
מצוה [mitsvah] commandment - Loving of Torah embraces all the variations we have seen in this Psalm. Doing of Mitsvot reflects the Deuteronomy passage - we will do them and we will understand. Some readings of Paul make appreciating this love and this doing difficult. Naturally, this word does not appear under M but under Ts from the root TsVH to command (and other things). It is a command. I always think of command as meaning co-mandere - you have a mandate to work with someone. It is always an invitation for me. Nonetheless, I do not consider some Mitsvot as part of my work but this is a subject of a more complex essay still to be written.
משׁפּט[mishpat] judgment - lesson learned, I looked under shpt and lo and behold, there was mshpt! Derived from the verb to judge, or govern. God is a good governor by all accounts from the psalm.
דבר [dabar] word, thing. Primarily word, the same root as the verb to speak, can also mean a matter, an affair, a thing about which one speaks - a frequent word, pages on it in the BDB.
So I have traced some of the verbs used in the psalm, and I have a better idea of the meaning of the nouns - now to consider the impact. What is the impact of the engagement with the God of Israel?
It is substantial. Whoever, by whatever stripe, knows it, will not ever be disappointed. The psalmist has much to say about the impact on him and his prayers for others, even his enemies. This is a third essay on the psalm which I will leave till I have mused further...
Tuesday, July 31, 2007
More about the keywords of Psalm 119
It is rare that I have sung more than one or two parts of Psalm 119 at one sitting. Usually the choir master spares the singers such a long journey. On some special occasions like tenebrae, one might sing many psalms, but still no single run at such a long psalm.
It is a psalm that bears meditation. I have not seen a compelling commentary on it (though I may have missed one in all those books I have looked at). Here's what I am learning about it - starting at the most elementary statistical level.
The counts of the words - the noun keywords are as follows:
תורה [torah] law, teaching, instruction (23)
עדה [edah] testimony (23)
אמרה [imrah] word, promise (18)
פקּד [piqud] precept (21)
חק [chuq] statute (22)
מצוה [mitsvah] commandment (21)
משׁפּט[mishpat] judgment (23)
דבר [dabar] word, thing (22)
The counts are variable. This editor does not support tables, so the summary is a bit awkward to format:
part
---trh-`dh- imrh-pqd-chq-mtsvt-mshpt-dbr
01 - 1 --- 1 --- 0 --- 1 --- 2 --- 1 ---- 1 ---- 0 - 7 missing 2
02 - 0 --- 1 --- 1 --- 1 --- 2 --- 1 ---- 1 ---- 2 - 9 missing 1
03 - 1 --- 2 --- 0 --- 0 --- 1 --- 2 ---- 1 ---- 1 - 8 missing 2
04 - 1 --- 1 --- 0 --- 1 --- 1 --- 1 ---- 1 ---- 2 - 8 missing 1
05 - 1 --- 1 --- 1 --- 1 --- 1 --- 1 ---- 1 ---- 0 - 7 missing 1
06 - 1 --- 1 --- 1 --- 1 --- 1 --- 2 ---- 1 ---- 1 - 9
07 - 3 --- 0 --- 1 --- 1 --- 1 --- 0 ---- 1 ---- 1 - 8 missing 2
08 - 1 --- 1 --- 1 --- 1 --- 1 --- 1 ---- 1 ---- 1 - 8
09 - 1 --- 0 ---1 --- 1 --- 2 --- 1 ---- 0 ---- 1 - 7 missing 2
10 - 1 --- 1 --- 1 --- 1 --- 1 --- 1 ---- 1 ---- 1 - 8
11 - 1 --- 1 --- 1 --- 1 --- 1 --- 1 ---- 1 ---- 1 - 8
12 - 1 --- 1 --- 0 --- 2 --- 0 --- 1 ---- 1 ---- 1 - 7 missing 2
13 - 1 --- 1 --- 1 --- 2 --- 0 --- 1 ---- 1 ---- 1 - 8 missing 1
14 - 1 --- 1 --- 0 --- 1 --- 1 --- 0 ---- 2 ---- 2 - 8 missing 2
15 - 1 --- 1 --- 1 --- 0 --- 2 --- 1 ---- 1 ---- 1 - 8 missing 1
16 - 1 --- 1 --- 1 --- 1 --- 1 --- 1 ---- 1 ---- 0 - 7 missing 1
It is a psalm that bears meditation. I have not seen a compelling commentary on it (though I may have missed one in all those books I have looked at). Here's what I am learning about it - starting at the most elementary statistical level.
The counts of the words - the noun keywords are as follows:
תורה [torah] law, teaching, instruction (23)
עדה [edah] testimony (23)
אמרה [imrah] word, promise (18)
פקּד [piqud] precept (21)
חק [chuq] statute (22)
מצוה [mitsvah] commandment (21)
משׁפּט[mishpat] judgment (23)
דבר [dabar] word, thing (22)
The counts are variable. This editor does not support tables, so the summary is a bit awkward to format:
part
---trh-`dh- imrh-pqd-chq-mtsvt-mshpt-dbr
01 - 1 --- 1 --- 0 --- 1 --- 2 --- 1 ---- 1 ---- 0 - 7 missing 2
02 - 0 --- 1 --- 1 --- 1 --- 2 --- 1 ---- 1 ---- 2 - 9 missing 1
03 - 1 --- 2 --- 0 --- 0 --- 1 --- 2 ---- 1 ---- 1 - 8 missing 2
04 - 1 --- 1 --- 0 --- 1 --- 1 --- 1 ---- 1 ---- 2 - 8 missing 1
05 - 1 --- 1 --- 1 --- 1 --- 1 --- 1 ---- 1 ---- 0 - 7 missing 1
06 - 1 --- 1 --- 1 --- 1 --- 1 --- 2 ---- 1 ---- 1 - 9
07 - 3 --- 0 --- 1 --- 1 --- 1 --- 0 ---- 1 ---- 1 - 8 missing 2
08 - 1 --- 1 --- 1 --- 1 --- 1 --- 1 ---- 1 ---- 1 - 8
09 - 1 --- 0 ---1 --- 1 --- 2 --- 1 ---- 0 ---- 1 - 7 missing 2
10 - 1 --- 1 --- 1 --- 1 --- 1 --- 1 ---- 1 ---- 1 - 8
11 - 1 --- 1 --- 1 --- 1 --- 1 --- 1 ---- 1 ---- 1 - 8
12 - 1 --- 1 --- 0 --- 2 --- 0 --- 1 ---- 1 ---- 1 - 7 missing 2
13 - 1 --- 1 --- 1 --- 2 --- 0 --- 1 ---- 1 ---- 1 - 8 missing 1
14 - 1 --- 1 --- 0 --- 1 --- 1 --- 0 ---- 2 ---- 2 - 8 missing 2
15 - 1 --- 1 --- 1 --- 0 --- 2 --- 1 ---- 1 ---- 1 - 8 missing 1
16 - 1 --- 1 --- 1 --- 1 --- 1 --- 1 ---- 1 ---- 0 - 7 missing 1
17 - 1 --- 1 --- 1 --- 1 --- 1 --- 1 ---- 1 ---- 1 - 8
18 - 1 --- 2 --- 1 --- 1 --- 0 --- 1 ---- 1 ---- 1 - 8 missing 1
19 - 1 --- 2 --- 1 --- 0 --- 1 --- 1 ---- 1 ---- 1 - 8 missing 1
20 - 1 --- 1 --- 2 --- 1 --- 1 --- 0 ---- 2 ---- 1 - 9 missing 1
21 - 2 --- 2 --- 1 --- 1 --- 0 --- 1 ---- 1 ---- 1 - 9 missing 1
22 - 0 --- 2 ---1 --- 1 --- 1 --- 2 ---- 1 ---- 1 - 9 missing 1
19 - 1 --- 2 --- 1 --- 0 --- 1 --- 1 ---- 1 ---- 1 - 8 missing 1
20 - 1 --- 1 --- 2 --- 1 --- 1 --- 0 ---- 2 ---- 1 - 9 missing 1
21 - 2 --- 2 --- 1 --- 1 --- 0 --- 1 ---- 1 ---- 1 - 9 missing 1
22 - 0 --- 2 ---1 --- 1 --- 1 --- 2 ---- 1 ---- 1 - 9 missing 1
tot -23--23 --18 --21 --23 --21 ---23 ---23 --
The poet didn't care to be exact in the use of the 8 words. Only parts 8, 10, 11, and 17 use all 8 words exactly once. [not 5] but 4/22 for perfection! There is a thought of perfection in the poetry which we will eventually get to (expecto patronem). [part 16 is missing in the image - too many late nights]
I find it curious that the word which I have rendered 'promise' is used significantly fewer times than the others. (KJV renders DBR and IMRH both as 'word' - I think this obscures something.)The word salvation is used 5 or maybe 6 times. The two together would balance the form slightly better. Because I am not presupposing that I understand what these words mean, I want to look now at the verbs that are used with them to see what separation and what overlap there is.
Here is the summary - my understanding of the verbs may also be questionable - so how will I surround the chariots (of fire) to see the centre of the meaning? Every one of these 8 things belongs to God but the poet has use of them (except maybe the promise) - the verbs are somewhat easy to see in Hebrew in this summary diagram:
תורה [torah] - something you walk in with others (הַהֹלְכִים), something you see wonders in, it graces you, you can observe it and watch over it (guard), it is not to be fallen away from, some forsake it, the psalmist does not ignore it, it is delight (4x), it has its opposite - the pits, it is loved (3x), the psalmist has not forgotten it (2x), some do not keep (=watch over, guard) it, it is truth, some are far from it.
The positives outweigh the negatives. Even the allusions to the psalmist's enemies and troubles (which the psalmist does not avoid aligning with himself) - are in themselves possibly hopeful. 8 of the 23 verbs are more than positive, invoking the most cherished, delight, love, and wonder.
עדה [edah] - These 'testimonies' are also observed (2x). The poet rejoices, has delight, sticks to them, is heartened by them, speaks about them, turns his steps to them, knows them, keeps them, pays attention to them, are meditation (2x) for him, they are taken, loved, are wonderful, righteous, known from of old, not wavered from, savoured, and kept. I see I have been unable to completely distinguish NSTR (נֹצְרֵי) and SHMR (אֶשְׁמְרָה) in my translations - what do they mean? Are they similar?
It is hard to assess the difference from Torah. Because the poet speaks about the testimonies and does not say he speaks about Torah, then he is silent about his greater delight. So it might be that testimony is more public. Let's see if there are other clues.
אמרה [imrah] This is something hidden in the heart, held up by God to his servant inspiring awe, something that puts salvation in parallel with steadfast love, gives life (2x), stands on its own as holding God to mercy, guards and strengthens the individual, the psalmist faints for it, it is as honey to his mouth, supports him, he wants God to place his steps in it, smeltered it is צְרוּפָה (I needed an 's'), bears meditation, inspires singing, and will be spoken about - like the testimony.
The poet didn't care to be exact in the use of the 8 words. Only parts 8, 10, 11, and 17 use all 8 words exactly once. [not 5] but 4/22 for perfection! There is a thought of perfection in the poetry which we will eventually get to (expecto patronem). [part 16 is missing in the image - too many late nights]
I find it curious that the word which I have rendered 'promise' is used significantly fewer times than the others. (KJV renders DBR and IMRH both as 'word' - I think this obscures something.)The word salvation is used 5 or maybe 6 times. The two together would balance the form slightly better. Because I am not presupposing that I understand what these words mean, I want to look now at the verbs that are used with them to see what separation and what overlap there is.
Here is the summary - my understanding of the verbs may also be questionable - so how will I surround the chariots (of fire) to see the centre of the meaning? Every one of these 8 things belongs to God but the poet has use of them (except maybe the promise) - the verbs are somewhat easy to see in Hebrew in this summary diagram:
תורה [torah] - something you walk in with others (הַהֹלְכִים), something you see wonders in, it graces you, you can observe it and watch over it (guard), it is not to be fallen away from, some forsake it, the psalmist does not ignore it, it is delight (4x), it has its opposite - the pits, it is loved (3x), the psalmist has not forgotten it (2x), some do not keep (=watch over, guard) it, it is truth, some are far from it.
The positives outweigh the negatives. Even the allusions to the psalmist's enemies and troubles (which the psalmist does not avoid aligning with himself) - are in themselves possibly hopeful. 8 of the 23 verbs are more than positive, invoking the most cherished, delight, love, and wonder.
עדה [edah] - These 'testimonies' are also observed (2x). The poet rejoices, has delight, sticks to them, is heartened by them, speaks about them, turns his steps to them, knows them, keeps them, pays attention to them, are meditation (2x) for him, they are taken, loved, are wonderful, righteous, known from of old, not wavered from, savoured, and kept. I see I have been unable to completely distinguish NSTR (נֹצְרֵי) and SHMR (אֶשְׁמְרָה) in my translations - what do they mean? Are they similar?
It is hard to assess the difference from Torah. Because the poet speaks about the testimonies and does not say he speaks about Torah, then he is silent about his greater delight. So it might be that testimony is more public. Let's see if there are other clues.
אמרה [imrah] This is something hidden in the heart, held up by God to his servant inspiring awe, something that puts salvation in parallel with steadfast love, gives life (2x), stands on its own as holding God to mercy, guards and strengthens the individual, the psalmist faints for it, it is as honey to his mouth, supports him, he wants God to place his steps in it, smeltered it is צְרוּפָה (I needed an 's'), bears meditation, inspires singing, and will be spoken about - like the testimony.
This is worth real consideration to say the least. The verbs applied to it are different from the first two words we have considered. I feel overfilled by this piling on of uniqueness.
פקּד [piqud] These are kept (SHMR 3x), mused on (2x), they direct discernment, are longed for and sought, kept (NTSR 2x), and others keep (SHMR) them, the poet does not leave them, wishes never to forget them (2x), has sought them, has diligence to them, did not depart from them, loves and chooses them.
These seem useful though I don't find quite the same degree of fire as directed to the 18 instances of promise.
חק [chuq] These too are kept (SHMR 2x), taught (4x + 3x teach), meditated on (=mused 2x), needing help, sung about, make the heart complete (there's that word), not forgotten (2x), to be done, to be looked to, not to stray from, kept (NTSR), and some do not seek them.
חק [chuq] These too are kept (SHMR 2x), taught (4x + 3x teach), meditated on (=mused 2x), needing help, sung about, make the heart complete (there's that word), not forgotten (2x), to be done, to be looked to, not to stray from, kept (NTSR), and some do not seek them.
Sounds like something may be missed here - it's about the ongoing teaching (7/21 uses). Perhaps the reality of the covenant dialogue is here including the wonder of testimony and torah and the exaltation of the promise of salvation.
Can you believe there are still three more keywords to take in! 8 is beyond my comfortable complexity limit.
מצוה [mitsvah] These are something to look to, to avoid straying from (2x), a plea that they not be hidden (a wrestler here), to be run, to go in a path, to lift up hands to, to keep (SHMR), to believe (a haphax), that the human will teach! They are faithful, wide and great, make one wiser than ones enemies, to be observed (NTSR), are desired, a delight, truth, to be done, are righteous, and not to be forgotten.
משׁפּט[mishpat] These are to be learned (2x), declared by the human, are longed for, agreed with, are good, are hoped for, brought to presence (ZKR), are a product of God's righteousness (5x), desired for persecutors (love your enemies), they stand, the human must not turn aside, they are feared, presented to others who love the name, they are straightforward, they give life (2x), are a source of aid!
There is much to unpack here.
דבר [dabar] Finally, the word, is kept (SHMR 3x), not forgotten, strengthens, gives life (2x), is trusted, gives hope (4x), is how God deals with his servant, is set in heaven, lamp to the feet, must penetrate (I needed a P), some forget it, is waited for, is truth, inspires awe, gives understanding.
דבר [dabar] Finally, the word, is kept (SHMR 3x), not forgotten, strengthens, gives life (2x), is trusted, gives hope (4x), is how God deals with his servant, is set in heaven, lamp to the feet, must penetrate (I needed a P), some forget it, is waited for, is truth, inspires awe, gives understanding.
The variety and overlap betray a grasp of personal and dialogic language in the poet. There is almost too much to grasp at once.
About those keywords
There is something very deliberate about Psalm 119, the psalter within the psalter. Of the 8 keywords, only three four verses out of 176 do not use at least one of them. I have spread them out in a line showing all (most of) the verbs that are used with each keyword in an effort to distinguish their meaning by their usage. I know I should have used column rather than line design - but more later...
Sunday, July 29, 2007
Historical Criticism, Faith, and Writing Psalms
Where is the blog world going?
Five converging thoughts and more - or are they diverging...
James Tabor writes about the recently discussed day of infamy with a well-reasoned exposure of his historical methodological assumptions: Q and Paul are pre 70, early non-Pauline views are lost (citing Crossan's the dark period 30-50), the Gospel and anything else that alludes to the destruction is post 70. That is an oversimplification of what he has written but I think catches the essence. James probably didn't notice, but some time ago in a post on incarnational theology I thought one of his posts' assumptions about Paul materially wrong. But I can't prove it - that's the nature of assumption and the limitation of communication by words.
Kevin Edgecomb recommends The Canon Debate by McDonald and Sanders (not related to me - I don't spell that way). There was a discussion of canon a few months ago stimulated by John Hobbins. What a way to learn! Many of the questions raised are long-standing.
Kevin also talks about the one Author and unity within the canonical writings.
And before I read any of these morning posts, I had been lying on my bed in the twilight (as the Psalmist describes in several places) wondering (if you say God is out of the discussion) or in dialogue with my LORD, (if God is in) how the Psalms got written. Were there versions? (See the theological engineering discussion). Was there Peer review? How do we fare today as each one brings a psalm or a revelation to the table? Lingamish has provided an interesting example of how the blog world can react and respond. Doug at Metacatholic and many others - even academics! - have posted poetry over the past few months.
Addendum: while browsing Mark Goodacre's latest blogroll, I found this poetic post.
Thank you all for such stimuli.
Five converging thoughts and more - or are they diverging...
James Tabor writes about the recently discussed day of infamy with a well-reasoned exposure of his historical methodological assumptions: Q and Paul are pre 70, early non-Pauline views are lost (citing Crossan's the dark period 30-50), the Gospel and anything else that alludes to the destruction is post 70. That is an oversimplification of what he has written but I think catches the essence. James probably didn't notice, but some time ago in a post on incarnational theology I thought one of his posts' assumptions about Paul materially wrong. But I can't prove it - that's the nature of assumption and the limitation of communication by words.
Kevin Edgecomb recommends The Canon Debate by McDonald and Sanders (not related to me - I don't spell that way). There was a discussion of canon a few months ago stimulated by John Hobbins. What a way to learn! Many of the questions raised are long-standing.
Kevin also talks about the one Author and unity within the canonical writings.
And before I read any of these morning posts, I had been lying on my bed in the twilight (as the Psalmist describes in several places) wondering (if you say God is out of the discussion) or in dialogue with my LORD, (if God is in) how the Psalms got written. Were there versions? (See the theological engineering discussion). Was there Peer review? How do we fare today as each one brings a psalm or a revelation to the table? Lingamish has provided an interesting example of how the blog world can react and respond. Doug at Metacatholic and many others - even academics! - have posted poetry over the past few months.
Addendum: while browsing Mark Goodacre's latest blogroll, I found this poetic post.
Thank you all for such stimuli.
Saturday, July 28, 2007
Psalm 119 drafted
I have finished a first draft of psalm 119 - some of the starting letters are a bit odd. Attempting the acrostic in English is over the top. But I did it! The last parts are here.
I laughed out load (but not in derision!) at the final verse, I wasn't expecting it after all those promises and petitions that he would finally end with : I have gone astray like a sheep that is lost, seek your servant, for I have not forgotten your commandments. The word for lost is a bit stronger - perished perhaps is more accurate - but now the draft is done, the real work begins. Do you think there is any structure in this psalm? Apart from the obvious 22x8 acrostic of course.
I laughed out load (but not in derision!) at the final verse, I wasn't expecting it after all those promises and petitions that he would finally end with : I have gone astray like a sheep that is lost, seek your servant, for I have not forgotten your commandments. The word for lost is a bit stronger - perished perhaps is more accurate - but now the draft is done, the real work begins. Do you think there is any structure in this psalm? Apart from the obvious 22x8 acrostic of course.
Searching for strophes
A new drawing of Psalm 67 has appeared. I didn't know I was going to do it, but my eye fell on psalm 67 as I was returning Les psaumes redécouverts by Marc Girard to the library, and instead of returning it, I renewed it. So this morning instead of finishing a draft of Psalm 119, I revisited Psalm 67 and it stood up and said hello!
The centre of the psalm is absolutely identified by the structure. It is the most loving statement reflecting Abraham's question to God - shall not the judge of all the earth do right! (I want to warn those who use that little clicky thing on your blogs - the related links may not be what you would desire - like visits to pagan temples and such.)
Having found the centre, the relationships in and between the external strophes are inviting. See if you agree with me (and Jerome) in discovering some of them by studying the links I have drawn. Tell me please what you think.
I am indebted to Girard for the detailed confirmation and correction of some of my structure. I do not agree with Girard as to where the strophes are or what is the macro chiasm. He has A (2-3) B (4), C(5), B (6), A (7-8). I have A(1-2), B(3-4), C(5), B(6), A(7-8). Three reasons: 1. the Selah - aha another use of Selah - similar to psalm 46 where a 3-fold and 2-fold structure are both present. and 2. the repeated earth forms the outer fragile container for the centre. and 3 - it is a song. Girard ignores the titles - not a good idea.
I have always sung psalm 67 as if poetry were linear just because there seemed to be a chorus. Poetry, clearly, is circular, as is time. And what is the centre of time? - the lamb that was slain before the foundation of the world, the cross radiating to both past and future, the shining countenance of God - diametrically linked to the produce of the earth. The cross is a singularity - by man came also the resurrection from the dead. Come Hebraists, humour me, where are the strophes et pourquoi?
The centre of the psalm is absolutely identified by the structure. It is the most loving statement reflecting Abraham's question to God - shall not the judge of all the earth do right! (I want to warn those who use that little clicky thing on your blogs - the related links may not be what you would desire - like visits to pagan temples and such.)
Having found the centre, the relationships in and between the external strophes are inviting. See if you agree with me (and Jerome) in discovering some of them by studying the links I have drawn. Tell me please what you think.
I am indebted to Girard for the detailed confirmation and correction of some of my structure. I do not agree with Girard as to where the strophes are or what is the macro chiasm. He has A (2-3) B (4), C(5), B (6), A (7-8). I have A(1-2), B(3-4), C(5), B(6), A(7-8). Three reasons: 1. the Selah - aha another use of Selah - similar to psalm 46 where a 3-fold and 2-fold structure are both present. and 2. the repeated earth forms the outer fragile container for the centre. and 3 - it is a song. Girard ignores the titles - not a good idea.
I have always sung psalm 67 as if poetry were linear just because there seemed to be a chorus. Poetry, clearly, is circular, as is time. And what is the centre of time? - the lamb that was slain before the foundation of the world, the cross radiating to both past and future, the shining countenance of God - diametrically linked to the produce of the earth. The cross is a singularity - by man came also the resurrection from the dead. Come Hebraists, humour me, where are the strophes et pourquoi?
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