21. Jun, 2010 15:45 RhesT DUNSTA\Snction of Questions and Answellls. 1296. 2 Ojd Testament Worship ~ A Case Study of Psalm 24 hil J Botha, University of Pretoria 4. Introduction This generally assumed that worship in the temple in Jerusalem was dilogical in character. The Psalter contains clear examples of instances where the audience (often referred to as “Israel” is urged to respond to orto repeat what has been said by an individual speaker or a group of speakers. It is therefore no wonder that sequences of questions and answers in psalm would also be interpreted as evidence that it was used in a dialogical liturgy. Psalm 24 provides a good ex- ample: verses 7-10 of this psalm are commonly accepted to heve been part of an “enteance lisurgy” in which the Ark of the Covenant played a mle. Hans-Toechitn Kraus writes oa these verses: Aaroup of colic participants is standing atthe gates of the sanctuary. Tt wants 0 ‘seri the ‘king of glory," Yahweh Sebaoth, This group— obviously gathered for procession—is twice addressed with the question: ‘Who s the king of glory?” This involves a cule antphonal song, a liturgical ceremonial, which doubtlessly ‘connected with an entrance of the holy ak othe temple in Jerusalem (Kraus 1988:312) ‘Kraus thinks thatthe psalm is constituted from individual pisces of liturgy that all together accompanied the cultic act of bringing in the ark at the sanctuary (Kraus 1988312). Hossfeld (Hossfeld & Zenger 1993:156-15") also accepts that Ps 24:7-10 once formed part ofa gate liturgy, but he argues coxvincingly thatthe psalm in its present form is a compilation of heterogeneous elements. According to him, it consists of four separate pars: A hymnic-souncing introduction (1-2), 4 so-called entrance torah (3-5), an appropriation of the blessing (6) and the already mentioned liturgy atthe gates (7-10) He (Hossfeld 1993-157) cites the repaiton ofthe verb nia (to lift up, raise, cary) in verses 4, §, 16x) and 9(52), and the unusual constructions in which it occurs in verses 4 atd 5, as indications that the “entrance tora” (3-5) was formulated to comply with he (already exist ing) “entrance liturgy” (7-10) The “entrance torah” in verses 3-5 displays similarities with Ps 15 and Isaiah 33 and as such it would seem to reflect another liturgy (ora different part of the same liturgy, according to some), one which Would have served to regulate the entrance of worshippers to the sacred precinct. But, as was already mentioned, Kraus (1988:312) has no problem in seeing tis section as pert of the same lit egy which is effected in verses 7-10, Prior tothe entrance to the sacred area the priests would ask about the conditions for admittance tothe temple and would then provide the answer themselves. Other investigators also think of a dialogical liurgicalseting for verses 3-5, but ‘would assign the roles to other speakers: A priest asks the questions, andthe pro- spective worshipper needs to provide the answer before being admitted. James L. ‘Crenshaw (2001:158) notes on such an interpretation:‘The South African Baptist Journal of Theology “This romarkable uit hasbeen viewed as a entrance liturgy spesfying conditions for participating in cute activites at Jeroslern. According to Ws interpetation, a priest ass the question in verse three and a prospective Worshipper answers in the following verse. A satisfactory response then evokes a piesly permission 10 proceed, together witha prayer paving the way for admission into the holy place (v.56), But Crenshaw himself is seeptic about such an interpretation whete permission to enter would be the focus of verses 3-5. He (Crevshaw 2001:158) seys that, if the purpose of such liturgies was to determine who could participate in the Yah- istic cult, this one would fail miserably, since its stipulations fet conduct cover matters which cannot be evelusted objectively. As a liturgy, these verses would rather have served as a warning to the worshipper that standing before the Lord should not be taken lightly (Crenshaw 2002159). T think Crenshaw is right. What is more, we should perhaps also reconsider the function of the two parallel questions in the “entrauce liturgy” in verses 7-10 of the psalm. Psalm 24 contains four questions, two in the so-called “entrance torah,” and two in the “entrance liturgy.” and answers are prcvided to all the questions. We should be careful not to interpret questions and arswers automati- cally as indications of an antiphowal or dielogical liturgical setting. Even if the questions were meant to be real questions, requiring & response, they could stil serve a thetorical purpose rather than a regulatory one. In its present form, Psalm 24 is a literary text, and questions and answers often constitute a literary wech- nique of emphasis. Authors could and often would say something by formulating 2 statement in the form of a question In this short article I propsse to argue that, ‘whether they were originally supposed to be used antiphonally ot not, the ques- tions in Psalm 24 should be understood primarily as rhetorical devices which were used forthe purpose of emphasis. They serve to define whothe tve believer is and to emphasize the honour of Yahweh, the Lord who is coming this temple in Jerusalem, 2, Psalm 24 as a Literary Composition. ‘The following translation of Psalm 24 is offered forthe sake of the ensuing dis- i [orbend Aprain i AL he Las iste cath ander aes, the world and all who dwell in her; 2 for he has founded her upon the seas, tod on the rivers be bs esas er B13) Who sal ascend he mountain ofthe Lord ae who stalls inisholy pest 4 |e who has clean hands and pur ear ‘who does not long for worthless idols,A Case Study of Poa 24 and does not swear deceitful. [5 | He will cary a blessing fromthe Lord ‘and justice from the God of ks help. 6 _ | _ This is the generation of those who seek him, who search your face, namely Jacob, Sela, D_|_7_| _Liftup, gates, your heads, and be raised, eternal doors, 0 that he ean come, the king of splendour. 8 | Whois this king of splendour? The Lord, powerful and mighty, the Lord, mighty in bate, E 9 Liftup, gates, your heads, 25, lift up, eternal doors, so that he can come, the king of splendour. 10_| Who ishe, this king of splendour? ‘The Lord of armies, ie is the King of eplondour. Selah In the stichometrc layout ofthe psalm above, the fist coltmn demarcates the stanzas (I and I, the second the strophes (A to E), andthe third the verse lines (to 10), In this psalm the verse lines coincide with the verse numbers, with the exception ofthe beading which falls outside the poetic strctre “The psalm seems to contain two or three unrelated themes: The Lord is depicted asthe creator and possessor of the world (suophe A, questions are asked about the conditions for entry into the temple (strophes B and C), and the imminent entry of the Lord into the city or temple is announced (steophes D and E). Con- tinvity is provided by repetition of the name of the Lord, “Yahvch,” and by the theme of ascent/enuy tothe temple. Strophe A can be seen as the reason forthe {troduction of the theme of a Visit tothe temple, therefore stophes B and C are included with A to form stanza 1 "The name “Yahweh,” “the Lord,” indeed formed an imporant structuring ele- wnent for the poet who composed the psalm, or who brought diverse pieces of ppoctry together to create the end result. stanze I the divine tame is found in the {fist colon of each of the stiophes (A,B, and C) It therefore setves a segmenting, as well as a connecting function, Iu stanza U, the divine name is also found in cach of the strophes, but here itis encountered in the las verse line of each stro- phe (D and E). In this stanzs, the repetition of the command to the gates to “lift ‘up" their “heads,” and the parallel stractue ofthe two strophes in general serve 3The South African Baptist Journal of Theology to demarcate thems as strophes, since repetition is primarily a stucturing device in Hebrew poetry (ef. Watson 1986:275). “The two questions of stanza | further occur in an internal parallelism in the mid- dle strophe and therefore seem to form the focus ofthe stanza: Who is the person ‘who has the privilege of standing in a close relationship with the Lord, creator. possessor of the whole world? The process of defining the characteristics of such 4 petson is brought to a climax with the help ofthe demonstrative prongut “this” in verse 6. Here the acceptable individual worshipper is finaly wentified as the representative of a group of people, the “generation of those who seek” the Lord (see also Autffret 1990:103; Van der Lugt 2006:261), “The two questions of stanza II in contrast, occur in an external parallel between strophes D and B, in both instances towards the end of the strophe, where they serve to enhance the technique of delayed identification. The reme Yahweh ap- pears as the answer to these questions, and this name is consequestly found at the end of strophe D ((wice) and also atthe end of strophe E. Its occurrence at the boginning of strophe A and at the end of strophe E simultaneously constitutes a framing of the psalm, forming an “inclusion,” thereby emphasizing th impor tance of "the Lord” in the composition In the case of stanza I, identification thus also reaches a climax at the end of the stanza, similar to stanza 1. Compare “This i ..” in verse Ga with “be is." in verse 10e. The poet further makes use of Steigerung (intensification: the ques tion “Who is this king of splendour” (v8 is expanded ioto “Who i he, tis king of splendous” (with repeated use of the demonstrative pronoun, ¥. 10); while the answer "ihe Lord, powerful and mighty, the Lord mighty in bate” (v. 8) is coxpanded into “the Lord of armies, he is the king of splendour” (with repetition ‘of a part of the question and emphatic use of the personal pronoun “he” in the very last colon). The focus of slance IL thus seems to be explicit identification of ‘Yahweh, the Lord, asthe king of splendour. A similar conclusion is reached by ‘Van der Lugt (2006:261). If what has been said above is sepresented graphically, the fllowing scheme appears: I A ‘The Lord 2 for he ... B | 3 | Whashell... theLord .. and who shal? 4 | ‘He who has ... and ..., who does not ... and doey | not. © [S| He wil ftom the Dora 6 | this. ir DP 7] Lik oad be ied tr ng of pen 8 ‘Who is this king of splendour? The Lord ... theA Case Stuy of Psalm 24 {| Lord [ez 9 | _Liftup...and iftup ... the kng of splendour 10 | Who ise, sis king of splendour? The Lord he is the king of splendour. __heistheking of splendour ‘The frst stanza thus centres on “identification” of the true believer, while the second stanza centres on “identification” ofthe true “king of splendour" Identifi- cation does not, however, imply thatthe identities of dese persons axe unkown. Icrather implies that their profiles should be delineated and their characteristics highlighted. Juxtaposing the two stanzas then serves to establish a close connec- tion between the Lord and his worshippers; especially since siophe A has already Identified the Lord as the possessor of the whole earth and all who dwell in it He is shown to be the rightful owner of the earth because he isthe ereator and sustainer of all creation. This hysnnic praise ofthe Lotd in verses 1 and 2s later echoed in stanza Il inthe ttle “king of splendou.” ‘The structure of each stanza in Psalm 24 and the parallels between the two stan? 2a thus suggest thatthe fonction ofthe questions in both main segments is that ‘of emphasis, and not enquiry for regulatory purposes. Questions which serve to ‘emphasise can be described as rhetorical devices, and it is ox the pragmatics of such techniques that I would like to focus subsequently. 8, The Questions in Psaim 24 as a Rhetorical Technique, Strictly speaking, a thetorical question is “the posing of a question which requires no answer since either the speaker or the listener (or even borh of them) alteady knows the answer” (Watson 1986:338).In a typical rhetorical question, the im- plied answer would often simply be “yes” or “ao,” so that the question would be tantamoust to an emphatic efirmation (if the answer is “yes") or an emphatic denial (f the answer i no”). A broader definition ofa rhetorical question would be, however, that is any question asked not for information but to produce effect (Allen 1984:641). While a question is usually employed to extract information, & ‘hetorical question is used to convey or cal attention to information, expressing the speaker's attitudes and opinions (cf. De Regt 1996:52). Tre pragmatic effect of a rhetorical question is thus the same as that ofan emphatic statement. ‘The fact that the questions in Psalm 24 all have answers would seem to sug- gest that they are real questions and not shetoreal questions. Psalin 24:3 would have contained real rhetorical questions, one might argue, ifthe stanza ended at verse 3:“Who can ascend the mountain of the Lord, and who can rise in his holy place?” This would then have had the implied answer: “No one.” The descrip- tion “holy place” would have implied that no one could hope to have the right .0 ascend to this plac. Isaiah 33:14 provides an example of exe:tly such thetorical ‘questions: The sinners in Zion ae afi; trembling has seized the godess: "Who aroug ws enn dwell (gs) withthe consuming fe? Who among us cx dwell “gwi) with everlasting borings” In this case, the implied answer clearly is “no one.” This is made clear by the de- 5‘The South African Baptist Journal of Theology scription of those who ask these questions as being “afraid” and seized by “trem- bling.” And yet, fs 33:15 then proceeds to describe someone witha very similar code of conduct than the person who is described in Psalm 24, and concludes in verse 16 that such a person will “dwell (y8kn) on the heights” He who walks righteously and spks upright, who despises the gan of oppres~ sions, who shakes his hands est thy hold bribe, who stops his eas from hear ing of bloodshed and sts his eyes from looking on evil," he will dwell on the eights his place of defense wil be the fortresses of rocks; is bead wll be given hi; is water wil be sre. In the ease offs 33 itis not perfectly clear that verses 15-16 form an answer to the rhetorical questions of verse 14, but the wordplay involving tie verbs (‘g¥) (to dwell asa sojourner") and (y8k) (“to dwell as an inhabitant’) does suggest {hat this isthe case. It thus seems that chetorical questions are indeed sometimes answered! Because of the way in which the two stanzas of Psalm 24 are constructed, and in view of the parallel to the frst stanza of Psalm 24 found in Iaiah 33:14-16, it seams reasonable to conclude that the questions in Psalm 24°3 constitute @ rhetorical technique which draws attention to the high ethical standards required from the worshipper who intends to visit the temple. According to Lausberg, (1998:539), a question is used as a figure “when it discards its proper dialogue function and is included ia the speech as a device of pathos or as a means of sharpening the line of thought.” The questions in verse 3 serve to cal attention to the definition of the true believe, climaxing in the “appropriation” ofthe blessing in verse 6. The author could have used a statement to introduce the description of the religious profile ofa believer, such as: “The following characteristics describe the ethical conduct ofthe true worshipper of the Lore.” But he chose to introduce {he description with a set of two questions. Why would helshe do this? Because questions and answers are more dramatic than straightforward statements. They ae @ more lively form of communication and they force the audience to think about possible answers even as an answer is being formulated for them, ‘As it tums out, the answer given to the questions in verse 3 imply a process of self-evaluation, one which is based on the conscience of the believer rather than ‘on an objective evaluation by a priest. Figurative language is used (the expres- sions “clean hands’ and a “pure heest” are not to be understood literally), and this demonstrates the intention of the author to express an abstract idea moze “tangi- ble,” This strengthens the notion that the questions did not seek a verbal response from the audience or another speaker, but an inner response of sof-evaluation agtinst the standard which is held up for te audience. I isin this sense that one can describe the questions in verse 3 as thetorical devices ‘The questions in stanza Il similarly function as a strategy of emphasis. They form part ofthe device of delayed identification which serves here co focus the attention ofthe audience oo the honour of the Lord, The two paraliel strophes of {he stanza each begins with two imperatives addressod to the gates ofthe city or the doors of the temple to “lift up” their “heads” and to “lift” themselves up. The “eads" could possibly seferto the lintels, so thet the command would imply that 6A Case Study of Psalm 24 an object which is physically too large for the opening has to enter, The peral- lel description ofthe “gates” as “eternal doors” which have tolift themselves up (hile doors and gates all turned on sockets above and below) implies thatthe problem encountered at the entry is not the result of a fault ic the design of the sles, but i the result of the extraordinary size or importance ofthe object that has to enter. This “object” is referred to a8 the “king of splendour or the “king of glory.” The venerable “eternal” gates, which by implication ave proved to be sufficient during @spau of hundreds of yeas, ere not large (or worthy) enough for the entry of the glorious king. ‘The commend to such inanimate objects is not to be understood as a real com- ‘mand. It constitutes anthropomorphism, an ths is employed forthe sake of em. Phasis. The audience is forced to reflect on the reason for the command to the gates, The words “heads,” “eternal,” and “splendour” all provide clues as to why the command is given ~ the gates are not sufficient to accommodate the mag- nifcence of the approaching entourage. The gates could also “lift” their heads 48a sign of respect and recognitioa ofthe honour of the persor who approaches, ‘Whichever way it is imezpreted, a metaphor is formed. This is once again figu. tative language, suggesting that the author wants to explain something rather ‘than repeat a real command toa gate (0 “open itself.” By now the audience has ‘no doubt about whom the approaching king might be. A real question about his identity coold perhaps be expected from the least knowledgeable member of the audience, but definitely not from a gatekeeper who controls sccess to the holy city o the temple. The question merely serves to expsess in an amphaic way the fact which has been anticipated since the frst command tothe gates was given: it {is the Lord himself who is coming, ‘The answers given tothe questions about the identity of the approaching king ‘hus strengtten the notion thatt isnot physical limits that hinders the entry ofthe ‘king, but his extraordinary splendour that renders them unworthy, however ven ‘rable and honourable they may be. Notably, the answers have a strong military ting to them. Tae approaching King is the Lord, “powerful and mighty,” “mighty in battle,” and “the Lord of armies.” These titles imply thatthe approaching king has earned his splendour through that which he has achieved on the battlefield ‘The title “Yahweh of armies” is associated with the Lord's act of saving in the past, but inthe Psalms it sometimes also expresses the desire thatthe Lord will ‘once again save Isre! from her enemies (cf. Ps 59:6 and 80:20) Put in other ‘words, the Lord is described in Psalm 24 as the warrior who has defeated his enemies and deserves so much praise thatthe magnificent gates of Jerusalem of the lage doors of the temple seem inadequate to aocornmadate him. The message that is emphasised with the help of the sequence of commands, questions, and ‘emphatic answers given to the questions, is thatthe Lord is abgut to meet with the congregation of worshippers, and that they should realise what a privilege it is to stand face to face withthe king of glory 4, The Liturgical Setting of Psalm 24, tis doubtful whether the litorgical setting of Psalm 24 in its present form, ox that‘The South African Baptist Journal of Theology of any of its wo main sections, was at the gales of the temple or the city. The answer to the question about who may go upto the holy mountain of the Lord is probably too long to have been required from a prospective worshipper at the doors of the temple or the gate of the temple court before entrance is allowed Psalm 15:1 is often quoted as a pasalel to Psalm 24:3, There, te sioilar ques- tions about who may visit and stay atthe teraple are diected to the Lord. If such ‘question is put to the Lord — and itis understood as a real question rather than a rhetorical technique ~ the answer would certainly not come from a worshipper, but from an official speaking on behalf of the Lov. 1 think that a one-sided approach which has laid too much stress on the impor- tance of feasts and rituals in the cult of Ancient Jrael has led us to confuse the shetorical devices in Psalm 24 with remnants offfamatic . The liturgical setting ‘ofthe psalm is probably to be sought within the temple or another place of wor- ship, where the same speaker asks questions and answers them forthe sake of strengthening the consensus ofthe community about what itis that characterises them and distinguishes them from others. This function ofthe questions in verse 3 was strengthened when the editors ofthe Psalter in post-eilic tines inserted an “appropriation” after the blessing contained in verse 5. The generic worsbipper with s high moral standard is consequently now identified in verse 6 as the repre- sentative of a group of people, the “seckers” of the Lord. The ethical requitements for a visit to the temple now serve as the defining characteristics of those who “seek the face” ofthe Loid. This designation is known wo be a selt-description of the “humble” or “meek” (a religious category of people) who played an impottant role ia the final editing of the Psalter (cf. Ps 22:27 and 69-33 for examples). The addition of verse 6 thus contextualises the questions in verse 3 as an iraplict call toccomply with the moral standard set out in verse 4. ‘The need for complying with such a high moral standard was already binted atin the hymnie introduction tothe psalm, Strophe A describes the Lord as the realor-possessor of the whole earth. In accordance with the ancient world view, and in line with the account of creation in Genesis 1, the Lord’ ae of creation is seen to have consisted of a separation of dry land ffom bodies of surface water, as well asthe subjection and containment ofthe sinister waters under the fat disc of cath. To meet the Creator of the cosmos in his temple requirs high ethical standards ‘The need for complying with such high moral stendards as axe described in verse dis then emphasised greatly by the juxtaposing of strophe IL With the help of imperatives directed tothe gates of Jerusalem and/or the doors ofthe temple, the expectation is created thatthe Lord, the highest king of the whole world, is about to return to the holy city. He is referred to in ap anticipatory manner as the “king of splendour.” The expectation expressed in Psalm 24is thus comparable to Isaiah 52:7-9 where an announcement is made to Jerusalem thatthe Lord is king ‘and that he is sbout to return to Zion, The tile “king of splendou:” in Psalm 24 sharpens the interest ofthe audience to know why the Lord is called by this name and how he has earned this title, Through a process of delayed identification, in which aquestion is twice asked abovt the ideatity ofthe “king of splendous,”" he is 8A Case Study of Psalin 24 ‘emphatically identified as the Lord who has saved his people from their enemies {through military intervention (ef. Isaiah 52:10, “the Lord has bred his holy arm in the sight of all the nations”), The questions do not serve asa means of control ‘over who may enter the holy city, butrather to announce in ar emphatic way that the Lord is about to return to Jerusalem to meet with those who have accepted and remained true to his code of conduc, and to grant them the blessing promised inverse 5, Inexilic and postexilic worship, Psalin 24 was used as past cf a small collection of psalms which thus formed its primary literary and liturgical context. Psalm 24 was namely selected dusing the exile (at that time it did not yet include the ap- ‘ropration ofthe “seekers ofthe Lord” inv. 6) as one ofthe “sornerstones" of an arrangement of psalms running from Pselm 15 to Psalm 24 (Hossfeld & Zenger 1993:12-13). The psalms in this collection forms a concenttic pattern (15 corre: sponds to 24, 16 o 23, 17 t 22, and 18 to 21 together with 20), so that Psalm 19 assumes the middle position of this collection. From the centrality of Psalm 19, a8 well as the similarities between Psalms 15 and 24, it become clear thatthe col- lection as a whole was designed to define the ideal ighteous person who receives help an salvation from the Lord (Hossfeld & Zenger 1995:13). Such a pessoa Would be one who lives in recognition of the Lord's principles for ordetiog the World and human life as these principles are revealed in creation and Torah (ef. Ps 19, with links to both Ps 15 and Ps 24). Psalm 24 forms the climax of ths calle. tion, since it ends with the promise that the Lord will come tothe congtegation of those who comply with the code spelled out in Psalms 15, 19, and 24 5. Conclusion ‘The questions and angwers in Psalm 24 have probably been misconstrued as real, questions which supposedly had the function of regulating the access of wor- shippers to the temple and of establishing the identity of would-be entrant into the holy city. Apart from the fac that these two scenes can hurdly be envisaged 4s two parts of the same cereatony, the structure of both stanzas of the psalm strongly suggests thatthe function of the questions was that of emphasis rather than control over access. The four questions in Psalm 24 ate consequently to be interpreted as ehetorical devices which served the function of emphasis in & reflective service of worship sather than screening instruments in @ hypothetical liturgy at the doors of the temple. Together the questions served ta confirm the ‘moral requirements of a dedicated worshipper and the reasoas for maintaining such a high standard of ethical conduct, Itis because the God wihom the faithful ‘worship isthe Lord, the creator-sustainer ofthe earth. He is aio the watrior God ho will vanquish the enemies of tsrae] and will return triumpbantly to the tem- ple to distribute his blessings tothe faithful, and to hand down the justice which be has promised. Rhetorical end other questions are a neglected technique of emphasis which could be put to good use in modern Christian worship. As is demonstrated by Psalm 24, questions and answers could be used to sharpen te attentiveness of the audience, It could serve to emphasize the responsibility of believers to com‘The South African Baptist Journal of Theology ply with an ethical code of conduct by reminding them of the requirements for a meeting with the Almighty Creator and Saviour God. It could also be used to emphasize the awe and wonder believers should experience when they consider the privilege of meeting with God in a liturgical context 6. Notes 1 Bxarmples are to be found in Psalm 106:48 (let all the people sty, “Amen”), and Psalm 118:2 (let Least say, “is loving-kindness is everlasting”) Psalms 124 and 129 are qualified es communal confessions by an introductory speacer who also asks “Itael” to “say” the words ofthe psalm. Reftans, such as the one which is repeated ster each verse in Psalm 136 ("Truly his steadfast love endures fer ever", ate also taken as proof that the audionce joined in actively in worship (Won 1986-78-79), ‘S. Mowinekel made a connect between the pals and a supposed procession dut- ing he hypothetical ascension to the throne ofthe Lond Gunkel accepted the idea of ‘procession, bucthought ofthe relevant festival asthe supposed New Year's Festival, ct. Loretz (1988:249-250), Loretz also accepts that vv. 7-10 orgizete ftom & song ‘used ring procession and that its purpose was o ein entry into che sanctuary, but Aves not see a connection with the Atk ofthe Lord (Loretz (988:258). He thinks of 2 procession with «throne or wagon, possibly witha statue on it (Lore, 1988:268), ‘Alan Cooper proposes a mythological solution: The “erernal gates" age the gates of the netherworld which most open to allow God to emerge from the nether word ito his sanctuary after he descended there, and the gatekoapers seek to determine the Identity ofthe conquering deity (Cooper 1983:44). ‘There are also those who understand the question about enty as coming fom the rospective worshipper ina kiud of entrance liturgy, with te priest then sesponding ‘witha list of the requirements. CI. Schneider (1995:175) wo cits this interpretation, but does not support it ‘Translations ofthe psalm almost invariably change the text of Codex Leningrodensis from yvpn to wopn and translate “who does not lift up his sol to falsehood.” This ‘reading is supported by the Caizo Geniza fragmentary codex, 26 well as many He- brew manuscripts and ancient translations. The txt of Codex Leningradensis Would imply that a seference is made to the Decalogue. tn both versions (3x 20 and Di 3), the expression auvvl =v afn is used to express the action of “taking the name ofthe ‘Lord in vin,” Bx 23:1 also forbid spreading a false report withthe words “awl [my aft al", Bckart Otto considers Psilm 24:4 2 move orginal version ofthe probbition {ound inthe Decelogue,naiely «prohitition against profenation of he person of te Lord in magical practices (ct. Otto 1986:165). Iti probably best tc understand this part ofthe verse as a reference to idols (falsehood often refers to idols inthe He. brow Bible), so thatthe pronouncement fonns an antithesis to Pati 25:1 where the ‘uppliant says “to you lift up my sul,” expressing & longing and twstin the Lor, ‘The second person sufix atached to “face” could be understood #5 @ reference to “Jacob” ~ thus asa vocative addressing “Jacob” or Israel. This is the way in which ‘Hossfld understands te form, taking the subject of “who search” sa reference 19 he proselytos who would join Israel in worship. The parallel between "seek" and arch” (Kwo synonyms arc used) however, Soom 10 suggest rather that “your face” is parallel 0 “him” which mean that ita reference to the Laud. A snitch from third person to second person forms where the Lord is involved iy not that wneoraaon,A Case Study of Psalm 24 ‘This is sometimes described as “iterragatio,” whercas a rhetorical question requit- ing more special answer is described a8 "guzesiuum." Cf, Lausberg (1998341) Gitay similarly argues thot the use of metaphor ia Psa | shows a tendency to dem- ‘onstrate, "to make a certain abstact idea tangible.” Gitay(1996:233) Altuough he describes the questions in wv. 7-10 a9 “titual questions.” Wilson (2002453) insists that the questions are not eal questions of identity, but a ecinique to delay entrance “so thatthe claims of Yahweh can be repeated in evermore exalted form inthe following verses.” ‘The doors ofthe temple ar also sometimes refered to a3 “gates” (cf. Ps 1004), although “gates” are more typically used for entrances into a city or encampment, of even to designate sluices According to Wilson (2002454), the image of the venerable doots “lifting” their “theads” could also simply signify the hope and joy sunounding the return of the ‘Laid. This possbily is fss likely, however, since it scems tha the command to the gates to lift their heads is a precondition for the coming, Joyful cecogriton of his coming would not be such a condition, while inadequacy would be. Rhetorical questions ofthe seme frm (“Who islcap ..") are often used in the Psalter forthe same purposes asthe questions found in Psalm 24, Instances whet the pur [pose isto express the privilege or danger of human contact with God etn be found in Poalm 15:1(:2), 768, 130:3, and 147:17. Rhetorical questions with ym which expess the incomparable nature ofthe Lord ar fou in Psalm 18:32, 35:10, 71:19, ‘TH, 89:7 and 9, ond also 11355 7. Bibilography Alea RE (0) 1984 The Pocket Oxford Dictionary of Cerrnt Eng ‘sh, iste by FG and 1 W Fowler Sov- eath Ein, Oxford Clarerlen Press ‘AvfietP 1990 "Qui este oi de ploie?” Etude strctuelle is Ps. 24 Reme Thomise 90/1, 101-108 Cooper 1983 Ps 247-10: Mythology and Exegesis. Journal of Biblical Leraue 100, 37-60, Crenshaw 31 2001 The Psans. An Introduction. Grand Rapids: Eerdmans DeRegtLy 1996 Diseourse Implications of Rhetorical Ques tions in Job, Deuteronomy snd the Minor Prophets, in De Regt, LJ, De Waard, J and Fokkelmin, J? (ed) Literary Siucure and ‘Rhetorical Soategics inthe Hebrew Bible, 5 78. Assen: Van Gorcum. DeRegt LI De Waard & Fokkelman Peds), 1996 Literary structure and rhetorical strategies tn ‘he Hebrew Bide, Assen. Van Goren ESV-TheEnglsh 2001 - by Crossway BookulGood News. Standaed Version, Publishers, Wheaton, TL Copyright July Guay 1996 Psalm 1 and the Rhetoie of Religious Argo ‘mentation, io De Regt L J, De Waard J and aThe South African Baptist Journal of Theology Hossfel, PL de ZengerE Hossfeld FL Kraus, HJ Lavsberg H Lausterg H Loreez 0 Owe Schneider D Van der Luge P Watson WGE Wilson GH 1993 1993) 1988 1967 1998 1988 1936, 1995 2006 1986 Fokkelman J P (eds), Lilerery Structure and Rctorical Stravegies the Hebrew Bible, 232-240, Assen: Van Gorcun, Die Psalmer I. Psaen 1-50. Warzburg: Bees (ie Neue Echter Bibel). Psalm 24, in Hosstel, Frank Lothar & Zenger, Erich 1993, Die Psalmen 1 Psalm }-50, 156 G1, Wareburg: Echles. (Die Neue Echier Bibel), Psals 1-59. & Commentary. Translated by Hilton C Oswald. Minneapo is: Augsburg Elementederiterarisehen Rletorik, Machen: Heber, Handbook of Literary Rhetoric. A Foundation for Literary Study. Bated by Onn, David E & Andersoa, R Dean. Treaslated by Matthew T Bliss, Annemiek Jansen, & David E Orton Leiden: Bil, Uparit-Terteu nd Thhonsbestelgangspsainen, Die Metamorphoses des Regenspenders Bast Jaane (Ps 247-10; 29; 47; 95, 95-100 sowie Ps ‘717-20; 114), Miter: Ugei-Vrlag, Ugari- ‘sch Bibishe Literatur 7). ‘Kultus und Ethos in Jerus‘emer Theologie. Ein Beitrag zu theologisehen Begrindung der thik im Alten Testunent. Zedschrif fir die Alttestamenticke Wissenscheft 98, 161-179. ‘Das Buck der Psalmen, |. Til Psa 1 bis 50. Zurich: R Brockhaus, (Wuppertaler Stodi- eabibed. Cantor and Sirophes in Biblical Hebrew Po- ry with Special Reference the First Book ofthe Psalter. Leidea: Bil Classical Hebrew Poetry. A guide tits Tech- higues. Steff: JSOT Pres. Clounal forthe ‘Snudy ofthe Old Testament Supplement Series 26) Paolms, Volume 1. The NIV Application Com: ‘mervary. From biblical text 1» contemporary life. Grand Rapids: Zondevan,