It’s easier to understand when you see the Psalm and my song side by side as in this PDF. The first two strophes are less clear, but with a bit of imagination, I recast the first strophe’s protection and refuge as the womb and the sacrifices to false gods in strophe two as the sins of youth. Working your way backward, you can see further life milestones: the growth of wisdom (strophe 4) and earthly blessings (strophe 3). It is very clear in the last two strophes, which focus on the grave and eternal life. As I meditated on the Psalm it suddenly struck me that it closely follows the span of human life. In broad strokes, the Psalm begins its focus on things of earth and moves toward heaven. Samuel Terrien proposes that Psalm 16 is made up of 6 strophes, with the first three mirroring the last three. Instead, it goes a layer deeper, into the Psalm’s structure. It uses none of the “protect me, God” or “path of life” phrases that other settings of this Psalm use. The conclusion is that the Psalm is a recalibration of liturgical material in terms of a grasp of the structure of the divine economy.This song chronicles a life from birth to death under God’s care.Īt first glance, it may seem like the song has little to do with the Psalm 16. In this article, a poetic analysis is proposed that goes beyond those proffered thus far by looking at the way in which the ‘poetic function’ creates a degree of ‘narrative’ self-referentiality within the psalm, in particular through its representation of time and space. Various poetic clues indicate that these two entrance scenes have been intentionally brought into parallelism with each other, yet no satisfactory answer has been presented as to the meaning of this manoeuvre. 7-10 God himself is about to access the same location. 3-6, human beings desire access to God within the sanctuary, whereas in vv. Most unusual, however, is the juxtaposition of the final two stanzas, for they seem to cancel each other out. Psalm 24 is often seen to be a ‘baffling’ psalm due to the juxtaposition of what seems to be thematically and structurally disparate material (creation, vv. There is a progressive descent from the opening exclamation to the dismayed and powerlessly whispered conclusion in which »a dark place« occupies the foreground. And yet, the situation is expressed via details of the psalm’s structure, including the alternating sonic expressions of first and second person suffixes. Because of the divine silence, dialogue does not take place. The vocative expression in the opening line,»Yhwh, God of my salvation!«, already marks an important moment in this process. The ways in which sonic figures can serve to counter traumatic need in the psalm are discussed. 2, 10, and 14), they actualize the whole: Despite darkness and the lack of a reply, they keep the direct address to YHWH as the »God of my salvation!« (2a) alive.– Based on this structual analysis, the subsequent study of the poetics and especially the ound patterns and other stylistic figures of Psalm 88 further contributes to its interpretation. 3, 11, and 15 are to be understood as quotable coordinated »prayers within a prayer.« Along with the recurrent apostrophes of God (vv. The psalm-halves, which contribute to the alternating structure of the whole (ABA’B’), correspond and complete one another (a diptych).– The speaker reviews the past and reports on the persistent suffering and prayer which is his. Two stanzas make up the psalm’s first half (a canto), and two stanzas make up its second half (a second canto). The final strophe (3:7-8) gives a repeated prayer and an affirmation of. Strophe three (3:5-6) shows the peace that results from his prayer. Strophe two (3:3-4) records his initial prayer. Two bicola consistently combine to form a strophe, and two, sometimes three strophes form stanzas. After the superscription, which gives us the circumstances, the psalm falls into four strophes of two verses each. Ps 88 consists of two cantos (2–10a|10b–19), four stanzas, ten strophes, and twenty bicola.
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