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Psalms and Poetry bits and Pieces

-----PSALM 133: A (CLOSE) READING F. W. DOBBS-ALLSOPP PRINCETON THEOLOGICAL SEMINARY www.jhsonline.org/Articles/article_97.pdf see downalods 1 June 2012

last update 1 June 2012

The art of reading remains the paradigmatic practice of literary criticism, even (and perhaps especially) on this, the thither side of theory. The principal thrust, for example, of T. Eagleton.s recent poetry primer is to call students of literature back to the practices and habits of close reading.1 In Biblical Studies, too, there have been kindred voices raised urging scholars and students of biblical poetry to move from a preoccupation with matters of underlying structure and prosody (never irrelevant issues) to a pursuit of .the poetry per se,. a pursuit, that is, of reading.2
The politics of the poem may also fall out more allusively, more tropologically, as .ebet a m plays on *.be

a m (cf. .be

bka, Num 18:2; a m) tumbles down the

ma

bha, Num 36:8) and the image (.ebet/*.be

surface of the poem along with the yrding oil and dew, until it reaches Zion, Judah.s political capital, and .pools. there in Yahweh.s .blessing. (beraka .blessing . playing on brka .pool.; the puns were pointed out to me by R. van Lleuwyn and the political implications of the imagery by C. L. Seow)

BIBLIOTHECA SACRA 147 (July 1990) 286-308 Copyright 1990 by Dallas Theological Seminary. Cited with permission. An Exposition of Psalm 22 Mark H. Heinemann Lecturer in Practical Theology German Theological Seminary, Giessen, West Germany See downalods 1 June 2012 faculty.gordon.edu/hu/bi/Ted...Psalms/.../Heinemann-Ps22-BS.pdf

--------Listen to Psalm 1 read http://www.hebrew4christians.com/Scripture/Ketuvim/Psalms/Psalm_1/psalm_1.html Ashrei in Psalm 1 is pun on Ashur which means to strive forward. -----------------Gerald Wilson commentary on Psalms on Psalm 40 p642 says "It is interesting to note that all the verbs used to describe attempts at concealment begin with the Hebrew letter Kaph. This type of alliterative wordplay call attention to the verbs and intensifies their effect on the alert reader"

----------------From: http://www.arts.ualberta.ca/JHS/Articles/article_114.pdf The Journal of Hebrew Scriptures JAMES M. KENNEDY PSALM 29 AS SEMIOTIC SYSTEM: A LINGUISTIC READING see downloads 14 September 2010 I got this piece from my doc Humour and wordplay One of Psalm 29s enduring ambiguities is the word tAlY"a; in line 9Aa. The ambiguity this word exhibits depends on its vocalization, or lack thereof. As MT has it, it clearly means doe or hind. However, pointed

tAlyae, it suggests oaks. Kraus suggests this possibility but adds that it is problematic. In poetry, the
problematic is hardly easily dismissed. Poems are problems. If its readers entertain the plausibility of Jakobsons perspective, that it may be unintended does not diminish its significance. Indeed, in Jakobsons linguistic approach, both poets and readers can respond to the contrivances in a poems structure without uncovering its foundations.53 This is what scholars are doing when they advocate textual emendation in this casedealing with poetic ambiguity, not textual corruption.

---From: From: http://www.westminster.edu/staff/nak/courses/BibPoetry.htm See downalods 1 June 2012 Biblical Poetry

Israel's hymns, songs, and prayers conform to the general conventions of ancient Middle Eastern poetry. Poetry is concentrated language. It compresses a maximum of thought into a minimum of words. Content and form are essential in poetry, and both need to be unpacked if poetry is to be appreciated and understood. This section explains the basic features of biblical poetry

Synonymous parallelism is present when the notion of the A-line is repeated in the B-line. Pay attention, my people, to my teaching, A-line Be attentive to the words of my mouth. B-line (Psalm 78.1) In antithetic parallelism, the notion of the A-line is stated in opposite terms in the B-line. YHWH protects the way of the righteous, A-line But the way of the wicked will perish. B-line (Psalm 1.6) In formal parallelism, sometimes termed synthetic parallelism, the two lines have a formal relationship defined by rhythm or line length, but the A-line is semantically continued in the Bline. The couplet contains only one complete sentence, not two coordinated sentences, as in the other types of parallelism. The two lines are parallel in form but not in content. Like a club, sword, or sharp arrow A-line is one who bears false witness against a neighbor. B-line (Proverbs 25.18) Climactic parallelism combines synonymous and formal parallelism. The B-line echoes part of the A-line, then adds a phrase that develops the meaning and completes the sense. Accredit to YHWH, O Heavenly Ones, A-line Accredit to YHWH glory and strength. B-line (Psalm 29.1) Formal parallelism exposes a basic problem with the broad notion of parallelism. Strictly speaking, formal parallelism is semantically non-parallel parallelism, and so is not really genuine parallelism at all. Kugel (1981) challenges the traditional analysis of poetic parallelism

and argues that the A- and B-lines of a poetic couplet are not typically synonymous in meaning. He claims that we should not really talk about semantic
parallelism. Rather, the B-line was intended to be an expansion, elaboration, or seconding of the meaning of the A-line

------See downalods 1 June 2012 The Function of Paronomasia in Hebrews 10:571


1Trinity

Evangelical Divinity School, Trinity Journal Volume 13 (Trinity Evangelical Divinity School, 1992; 2002), 13:181-191.

www.michaelsheiser.com/TheNakedBible/Psalm40.pdf (MLD: cf what Wilson says at the top of this doc on Psalm 40) Karen H. Jobes The use of the Psalms in Hebrews has enjoyed considerable study in recent years. One aspect of this study has focused on why certain quotations of the OT found in Hebrews (and more generally throughout the NT) do not exactly match their OT source. Several kinds of explanations are invoked, such as the intervening influence of the LXX, the conflation of verses used to produce the quotation, the problems inherent in translating idioms from one language to another and from one culture to another, the possibility of a Hebrew text of the OT source that differs from the MT, and the simple lapse of memory of the NT author when quoting a familiar verse. The quotation of Ps 40:68 (English versification) in Heb 10:57 is one such instance where the quotation does not match the OT verse. This instance is particularly interesting, because it exhibits features of first-century rhetorical achievement that have been overlooked in previous treatments of this passage. This quotation of Ps 40:68 in Heb 10:57 includes four variations from the Masoretic text of the psalm and its extant Greek version which introduce formal semantic differences. These four variations have usually been explained one by one to show that the semantic differences are merely formal, and in no way deviate from the originalmeaning of the psalm. However, any explanation of these four variations which attempts to explain them individually overlooks the fact that these four variations are phonetically related. .. This involvement with oral techniques of rhetoric is fitting regardless of whether Hebrews was written to be delivered as a sermon or as an epistle, because both genres were presented orally in the first century. According to Quintilian, the art of the first century orator influenced the written style of language (Inst. 10.3.5). What is found in the Hebrews 10 quote of Psalm 40 is therefore consistent with a rhetorical style which was highly valued in the first century. This misquote of Psalm 40 in Hebrews 10 should caution modern readers not to impose twentieth-century standards of precision and accuracy on first-century quotations of the OT. First-century authors apparently were not motivated by the precision and accuracy demanded in quoting sources today but were conforming to different standards which may seem strange to the modern reader. If the writer of Hebrews deliberately employed these rhetorical techniques in his quotation of Psalm 40, what does it contribute to his purpose? Do these rhetorical techniques have any exegetical value for the modern interpreter? Fortunately, Quintilian also addresses the purpose of these techniques.

--------------------

The following I found on syllabus from: www.mtso.edu/pdf/Syllabus360-Spring2011.pdf (see downalods 30 May 2012) : Get: Walter Brueggemann, Bounded by Obedience and Praise:
The Psalms as Canon, JSOT 50 (1991): 63-92 Alan C. Lenzi, The Metonic Cycle, Number Symbolism, and the Placement of Psalms 19 and 119 in the MT Psalter, JSOT 34 (2010): 447-473 Michael D. Goulder, David and Yahweh in Psalms 23 and 24, JSOT 30 (2006): 463-473 [ATLA Religion Database]

Nancy L. deClaiss-Walford, An Intertextual Reading of Psalms 22, 23, and 24, in Book of Psalms (ed. Peter W. Flint et al.; Leiden: Brill, 2005), 139-152 Alan Cooper, Psalm 24:7-10: Mythology and Exegesis, JBL 102 (1983): 37-60

(see Robert B. Chisholm, "An Exegetical and Theological Study of Psalm 1812 Samuel 22" (Th. D. dissertation, Dallas Theological Seminary, 1983), 48-50, 378-79. On Ps 29 see NET Bible (Second Beta Edition), study note on Ps 29:7.); to read Chisholm dissertation online http://rarebooks.dts.edu/viewbook.aspx?bookid=1442 -----------------------

http://www.knowingthebible.net/files/documents/bible9/ see the list downloads 30 May 2012 ----http://www.knowingthebible.net/files/documents/bible9/Psalms-Worksheet.pdf see Downlaods 30 may 2012

What type of figure of speech? 1. 1:4:1-2 2. 2:9:2 3. Psalm 3:6 4. 5:12:2 www.mishicot-stpeter.org/home/.../The%20Psalter%20Introduction.p... See downalods 30 may 2012 The Psalter Introduction Now read the poetic account: Judges 5:24-27. Note a number of things. How many verbs are used to describe the killing of Sisera by Jael? How many verbs are used to describe the dying of Sisera? So what? (This is the first of the so what questions that will litter this study. Get used to them.) How do these two accounts of the same incident illustrate the difference between the prose and poetry of Scripture? Most poetry common in our culture today is identified by the rhyming and/or the meter. Both of these features are absent in Hebrew poetry in its translated forms. (Whether or not they are present in the original Hebrew is debatable.) How wonderful that the LORD would choose poetry forms therefore, for his Word that can be translated! The forms common in the Psalms include parallelism, strophes and stanzas, acrostics, stylistic features, figures of speech, and sound effects. Well consider each of these.. ..

Parallelism
1. Synonymous Psalm 19:8, 9 Incomplete 24:1 Gapping 9:19 Climactic 93:3 2. Antithetic Psalm 1:6 3. Synthetic, growing, formal 1:1-2 Illustration, comparison, or contrast 4:7 Reason for the first statement 4:8 --------------------From: Common Figures of Speech in the Bible See downalods 30 may 2012 22. Synthetic Parallelism: The second line further develops and goes further than the idea of the first. Psalm 95:3 For the LORD is the great God,

the great King above all gods. 23. Emblematic Parallelism: One line conveys an image, the other an explanation. Psalm 23:2-3 He makes me lie down in green pastures, he leads me beside quiet waters, he restores my soul. 24. Antithetical Parallelism: The second line contrasts the first. Psalm 1:6 For the LORD watches over the way of the righteous, but the way of the wicked will perish

----See downloads 10 May 2012 Studies in Poetry by Robert W. Watson www.smarrpublishers.com/T-6021.pdf A poem should not be seen as an ambiguous writing where millions of different interpretations are possible. Also, the greatness of a poem is not left to the whims and preferences of individual readers. I find it amusing whenever a student remarks that he thinks a particular poem is stupid, even though the poem has been recognized by millions as a great poem. When I ask him why he dislikes the poem, I receive a response that is either, I dont know; I just dont like it, or I cant understand it. But judging poetry is like anything else: you must have some knowledge about the subject before you can offer an intelligent opinion. If I were to ask you to give me your opinion about the strength and durability of a bridge that we were going to build across a river, you would be unable to tell me what I need to know unless you are familiar with the engineering required to construct a bridge. I am not saying that you should like every classical piece of literature or poetry. However, you should at least make a concentrated effort to understand why people throughout the years have considered certain works to have enduring value. if you wish to convey information that teaches and edifies, then prose is the best method to communicate your ideas to others. However, beauty cannot be described like a mathematical formula; it must be experienced. Therefore, good poetry is about meaningful experiences. The poem does not describe to us the experience, but rather allows us to participate in the experience. Good poetry challenges our souls, not just our intellect. Of the two following poems, which one is the better one? The Eagle I saw the golden eagle glide Across on every windy breath; Majestic with outstretched wings, Like stretched out arms in shameful death. Above he hovered oer his realm A lord who views his earth below Reminding me of heavens King, From Whom all wondrous pleasures flow. The Eagle He clasps the crag with crooked hands; Close to the sun in lonely lands, Ringed with the azure world, he stands. The wrinkled sea beneath him crawls; He watches from his mountain walls, And like a thunderbolt he falls

---------- ----Downalods 10 May 2012 Poetic Devices A POET IS LIMITED in the materials he can use in creating his works: all he has are words to express his ideas and feelings. These words need to be precisely right on several levels at once: they must sound right to the listener even as they delight his ear they must have a meaning which might have been unanticipated, but seems to be the perfectly right one they must be arranged in a relationship and placed on the page in ways that are at once easy to follow and assist the reader in understanding they must probe the depths of human thought, emotion, and empathy, while appearing simple, selfcontained, and unpretentious -------------A metaphor involves a direct or implied comparison of two unlike things. "We are His people and the sheep of His pasture" (Ps. 100:3). Litotes involves belittling or the use of a negative statement to affirm a truth. Personification "The waters saw You, O God; the waters saw You" (Ps. 77:16). INTRODUCTION TO Biblical Interpretation DR. WILLIAM W. KLEIN DR. CRAIG L. BLOMBERG DR. ROBERT L. HUBBARD, JR See downalods 24 May 2012 Via sabda media

CHAPTER SEVEN General Rules of Hermeneutics-Old Testament Poetry Comprising about one-third of the entire Bible, poetry is the second most common literary feature. It even abounds outside the so-called poetical books like Psalms, Job, Song of Solomon, and Lamentations. Old Testament narrative books periodically present long sections of poetry, and most prophetic oracles take poetic form.2 Also, contrary to a common impression, poetry dots the pages of the NT, in original forms as well as in quotations of the 0T.3 Small wonder that Ryken warns, There is no book in the Bible that does not require the ability to interpret poetry to some degree, because every book includes some figurative language. Some years ago, we heard a preacher contrast the views of self-esteem of Norman Vincent Peale and the Apostle Paul. After arguing that Pauls view was the superior one, he commented, Thats what makes Paul so appealing and Peale so appalling. That delightful line employed wordplay (also called paronomasia, or more commonly, a pun). Hebrew poetry also uses the familiar sound device of wordplay. 35 In the most common form, a poet pairs up two or more words that differ in one of their three consonants. For example, observe how Isaiah concluded his song about Israel as a vineyard that Yahweh planted to produce good fruit (Isa 5:7):

And he [Yahweh] looked for justice (mishpat), but saw bloodshed (mishpach); for righteousness (tsedaqa) but heard cries of distress ( tseaqa). The device called metonymy features the substitution of a word or idea for one closely associated with it. In other words, the substitute serves as a verbal stand-in representing the other. Note these examples of metonymy (cf. the metonymic word in italics)? You prepare a table before me in the presence of my enemies. (Psa 23:5a) The psalm does not say that God will make the psalmist a brand new piece of furniture to impress his enemies; rather, table substitutes for the bountiful meal that a host spreads across it. MLD: This is where Table stands for the food which will be placed on it and also where table represents the whole of Gods provision and sustaining power in the midst of ones enemies. In this way it is layered metonymy. But a table is not part of the feast or food so its not a synecdoche. Your prepare a roast in the presence of enemies would be synecdoche since roast would be a part for the whole. Like a simile, a metaphor also draws a comparison between two things however, the metaphor draws the correspondence more bluntly. Omitting the words like or as, it states straightforwardly A is B. So, the psalmist solemnly affirms: Your word is a lamp to my feet and a fight for my path. (Psa 119:105, our italics) The writer compares Gods word to a lamp illuminating a dark path. As a lamp helps a traveller stay safely on the path, so the word illuminates believers on what lifestyle pleases God. In another example, the prophet Zephaniah describes the civic leaders of Jerusalem: Her officials are roaring lions, her rulers are evening wolves, who leave nothing for the morning. (Zeph 3:3, OL italics) What a vivid picture of political tyrants! They are hungry animals recklessly roving Jerusalem day and night, terrifying her inhabitants, and preying on her weak. Their appetite so drives them that they never delay their destruction. The devices of simile and metaphor certainly dominate biblical poetry, but readers must also be aware of several other common figures of speech. By personification a poet writes about something nonhuman-an inanimate object or abstract idea-as if it were human. This figure of speech enables the poet to make the subject vivid and concrete. Biblical poets use it in several ways. Sometimes they employ personification to bring an abstract idea to life. Consider this example: Send forth your light and your truth, let them guide me; let them bring me to your holy mountain, to the place where you dwell. (Psa 43:3) The device of apostrophe closely resembles that of personification. Indeed, poets frequently employ both in the same context (see the examples below). Apostrophe is a direct address to someone or something absent as though it were present. Typically, it appears suddenly in a context, as if the poet, overcome by emotions, blurts out his address. The thing addressed may be an abstract idea or an inanimate object. Apostrophe serves a twofold purpose: to give vent to strong feelings and to generate a sense of excitement. We occasionally use apostrophe ourselves. For example, arriving home from work, parents discover that their kids have left the family kitchen a mess. As if the offenders were present, the parents say, You kids are in big trouble now! Again, safely out of earshot of the boss a frustrated employee might explode, Im going to get you for this, boss.1 Examine the addressees and emotions evident in these three biblical examples: Therefore, you kings, be wise; be warned, you rulers of the earth. (Psa 2:lO)

To do so, the reader might study the outline to answer questions like the following: 1. What comes first in the poem? What comes last? Why? 2. What comes in the middle of the poem? Why? 3. What organizing principle underlies its structure (e.g., liturgical practices, thematic development, etc.)? 4. What is the poems main theme(s)? 5. How does each sense unit contribute to its thematic development? 6. What is the poems intention or purpose (i.e., What did the poet hope to accomplish?)?

7. What is its main point?


In sum, analysis of a poems structure is more than an academic exercise. Applied carefully, it provides readers with a helpful tool of interpretation. In fact, one may also apply this same method-the preparation of a literary outline-to nonpoetic texts. In such cases, however, the outline would describe its subparts though not as poetic sense units. Our method provides a way for readers to break a text down into its constituent parts. Awareness of those parts gives readers the basis.

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