Labuschagne, C.J.,

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Labuschagne, C.J.

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 University of Groningen
Psalm 148
Labuschagne, C.J.
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Labuschagne, C. J. (Author). (2008). Psalm 148.
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Download date: 11-02-2018
 Psalm 148— Logotechnical Analysis 
Guidelines 
• Please read the General Introduction as well as the Introduction to Book I and Book V. 
• For common features found in the numerical analysis charts, see the Key to the charts.   
Specific features of Psalm 148 
• Like Psalm 147, this psalm has a lucid, regular structure: 3 cantos with 7 strophes and 
14 verselines. Its tripartite canto framework is determined by the three categories of 
subjects called to praise YHWH: the celestial, the terrestrial, and the human. 
• A feature it shares with Psalms 145, 146, 147 and 150 is the skilful use of specific series 
defined by symbolic numbers: the number of fullness, 7, and the kabod number 23. 
• The coda in v. 14 is about the praise in triumph of the godfearing Israelites, which clearly 
preludes the triumphant song of praise in Psalm 149. 
Strophic structure  - Canto/Stanza boundary: || 
• Van der Lugt: 1-2, 3-4, 5-6 || 7-8, 9-10, 11-12, 13-14 (2 cantos and 7 strophes, with 14 
verselines and 30 cola). 
• Fokkelman: similarly, except that he finds 15 verselines, taking vs. 13-14 as 3 bicola 
instead of 2 tricola. 
• Labuschagne: 1-2, 3-4, 5-6 || 7-8, 9-10 || 11-12, 13-14 (3 cantos with 7 strophes, 14 
verselines and 30 cola, taking v. 14 as a coda within Strophe 7). 
Logotechnical analysis  
• Columns a and b show the number of words before and after the atnach. 
• Column c: words calling the heavens, all kings and all peoples to praise. 
• Column d: words calling the earth and all terrestrial powers and creatures to praise. 
• The numbering of the verselines coincides with that of the Masoretic verses. 
   Total a b c d 
 1 –h√y ˚l¸lah   Hallelu-yah 2 =   2 +   0
        7 imperatives ^£«yamAKHah-§im h√whÃy-te' ˚l¸lah1  5 5   5  
            in Canto I          :£yimÙr¸Gma–b ˚h˚l¸lah2 2   2 2   
     2  7 celestial subjects 1  ^wyAkA'¸lam-lAk ˚h˚l¸lah3 3 3   3   
  2      :wyA'Ab¸c-lA–k ˚h˚l¸lah4 3   3 3  
  Strophe 1 Total, v. 1-2 13 =   8 +   5 =  13 +   0 
 3    3 and 4  ^ ﬁx„r√yÃw HemeH ˚h˚l¸lah5 3 3   3   
     5      :rÙ' yEb¸kÙ–k-lA–k ˚h˚l¸lah6 4   4 4   
    4 * 6          ^£«yAmAKHah yEm¸H ˚h˚l¸lah7 3 3   3   
  7     :£«yAmAKHah lavEm reH·' £«yaGmahÃw 4   4 4  
  Total, v. 4 7 =   3 +   4 =   7 +   0
  Strophe 2 Total, v. 3-4 14 =   6 +   8 =  14 +   0
  Total, v. 1-4 27 =  14 +  13 =  27 +   0 
    5    Jussive form! ^h√whÃy £EH-te' ˚l¸lahÃy 4 4   4   
See Observation 3 below :˚'ﬂr¸b«nÃw h√Fwic '˚h yi–k 4   4 4   
6  Compare v. 13a ^£AlÙv¸l davAl £„dyim·v¬Cy¬w 3 3   3   
  :rÙb·v¬y '◊lÃw §at√n-qAx 4   4 4  
  Total, v. 6 7 =   3 +   4 =   7 +   0
  Strophe 3 Total, v. 5-6 15 =   7 +   8 =  15 +   0
  Canto I Total, v. 1-6 42 =  21 +  21 =  42 +   0 
© 2008 Casper J. Labuschagne    ps148— rev 05/09/08 5:44 PM Page 1
    7   1 imperative ^¶ÂrA'Ah-§im h√whÃy-te' ˚l¸lah 5 5     5 
          in Canto II :tÙmOh¸Gt-lAkÃw £y«ny«FnaGt 3   3   3
        7 terrestrial powers/forces Total, v. 7 8 =   5 +   3 =   0 +   8 
 8 ^rÙXy÷qÃw geleH dﬂrAb˚ HE' 4 4     4 
  :ÙrAbËd hAWOv hﬂrAv¸s ﬁx˚r 4   4   4
  Total, v. 8 8 =   4 +   4 =   0 +   8
  Strophe 4 Total, v. 7-8 16 =   9 +   7 =   0 +  16
 9       ^tÙvAbÃFg-lAkÃw £yÊrAheh 3 3     3 
         8 terrestrial subjects :£y«zﬂr·'-lAkÃw yÊr¸Kp ¶Ev 4   4   4
  Total, v. 9 7 =   3 +   4 =   0 +   7
         Vs. 7-9, logotechnical centre: Total, v. 7-9 23 =  12 +  11 =   0 +  23 
  10        107 = 42 + 23 + 42 ^hAmEh¸–b-lAkÃw h√Cyaxah 3 3     3 
  :•√nA–k rÙKpicÃw WemÂr 3   3   3
  Total, v. 10 6 =   3 +   3 =   0 +   6
  Strophe 5 Total, v. 9-10 13 =   6 +   7 =   0 +  13
  Canto II Total, v. 7-10 29 =  15 +  14 =   0 +  29 
 11 ^£yiGmu'¸l-lAkÃw ¶Âre'-yEk¸lam 4 4   4   
        8 human subjects :¶ÂrA' yEXp¸OH-lAkÃw £yÊrAW 4   4 4  
   Altogether 23 terrestrial subjects Total, v. 11 8 =   4 +   4 =   8 +   0
  Total, v. 5-11 52 =  26 +  26 =  23 +  29 
 12 ^tÙl˚t¸–b-£¬gÃw £yÊr˚xa–b 3 3   3   
  :£yÊrAvÃn-£iv £y«n‘qÃz 3   3 3  
  Total, v. 12 6 =   3 +   3 =   6 +   0
  Strophe 6 Total, v. 11-12 14 =   7 +   7 =  14 +   0
  Numerical     Total, v. 1-6 42 =  21 +  21 =  42 +   0
  Chiasmus   Total, v. 7-12 43 =  22 +  21 =  14 +  29
  Total, v. 1-12 85 =  43 +  42 =  56 +  29 
13     Compare v. 5a h√whÃy £EH-te' ˚l¸lahÃy 4 4   4   
  ^Ù–dab¸l Ùm¸H b√Fg¸W«n-yi–k 4 4   4   
  :£«yAmAHÃw ¶Âre'-lav ÙdÙh 4   4 4  
  Total, v. 13 12 =   8 +   4 =  12 +   0
  Total, v. 11-13 26 =  15 +  11 =  26 +   0
  Total, v. 1-13 97 =  51 +  46 =  68 +  29 
 14 Coda ÙGmav¸l §Âr’q £Âr√Cy¬w 3 3   3   
  wyﬂdyis·x-lAk¸l hAGlih¸Gt 3 3   3   
  :–h√y-˚l¸lah ÙbOrŸq-£av lE'ﬂr¸W«y y≈n¸bil 4 4   4  
  Total, v. 14 10 =  10 +   0 =  10 +   0
  Strophe 7 Total, v. 13-14 22 =  18 +   4 =  22 +   0
  Canto III Total, v. 11-14 36 =  25 +  11 =  36 +   0
  Total, v. 10-14 42 =  28 +  14 =  36 +   6
  Total, v. 7-14 65 =  40 +  25 =  36 +  29
  Total, v. 1-14 107 =  61 +  46 =  78 +  29 
  With the two hallelu-yahs, v. 1-14 111 =  65 +  46 
* In v. 4b, some commentators, e.g. Kraus and Fokkelman, delete reH·' as ‘superfluous’, but this 
would play havoc with the meticulously designed numerical structure of the text. 
© 2008 Casper J. Labuschagne    ps148— rev 05/09/08 5:44 PM Page 2
Observations 
1. In terms of the 107 words of the psalm, the logotechnical centre is vs. 7-9 (42 + 23 + 42), 
which is meaningful in itself, but there is a better candidate. Given the strong tripartite 
canto framework, which is fundamentally determined by the three categories of subjects 
urged to praise YHWH, the middle canto, vs. 7-10, may be considered the intentionally 
designed meaningful centre. It concerns the entire section in which the earth and all 
terrestrial forces and creatures are summoned to praise: 
Canto I    (vs. 1-6)   the celestial subjects   42 words 
Canto II   (vs. 7-10)   the terrestrial forces and creatures  29 words 
Canto III  (vs. 11-14)   the human subjects   36 words. 
Logotechnically, this larger middle passage is off-centre, but it is significantly surrounded 
by 78 (3 x 26) words. Compare the 26-word off-centre meaningful core of Psalm 146. 
:tÙmOh¸Gt-lAkÃw £y«ny«FnaGt  ^  ¶ÂrA'Ah-§im h√whÃy-te' ˚ll¸ah 7 
:ÙrAbËd hAWOv hﬂrAv¸s ﬁx˚r  ^  rÙXy÷qÃw geleH dﬂrAb˚ HE' 8 
:£y«zﬂr·'-lAkÃw yÊr¸Kp ¶Ev  ^  tÙvAbÃFg-lAkÃw £yÊrAheh 9 
:•√nA–k rÙKpicÃw WemÂr  ^  hAmEh¸–b-lAkÃw h√Cyaxah 10 
   Praise YHWH from the earth  //  you sea monsters and all you ocean depths 
   Fire and hail, snow and ice  //  gales of wind obeying his word 
   You mountains and all you hills  //  you fruit trees and all you cedars 
   You wild beasts and all you cattle  //  you creeping creatures and winged birds. 
Whether it is a matter of coincidence or not, it is interesting to note that the logotechnical 
centre (vs. 7-9) is made up of 85 (5 x 17) letters, while the meaningful core (vs. 7-10) has 
107 letters, equivalent to the total number of words in the psalm! 
2. It is difficult to tell whether the 29 words of the meaningful centre are consciously 
designed. However, this may be so, since 29 represents the numerical value of the word 
lAkÃw, ‘and all’ (6 + 11 + 12 = 29), which occurs 6 times (vs. 7b, 9a, 9b, 10a, 11a and 11b). 
The 23 words of the logotechnical centre may indeed be deliberately designed, being the 
kabod number signifying YHWH’s presence and that of his glorious name. Moreover, the 
kabod number reverberates throughout the text and recurs particularly in the total 
number of 23 terrestrial forces, creatures and humans called to praise YHWH’s name. 
Incidentally, 23 also represents the numerical value of lAk, ‘all’ (11 + 12 = 23) occurring in 
vs. 2a, 2b and 3b. In this respect, it symbolically reinforces the idea of totality and 
fullness expressed by the number of fullness, 7, which plays a crucial role in the text.  
3. The psalm is made up of 7 strophes and 14 (2 x 7) verselines; moreover, Canto I has 42 
(6 x 7) words, with 21 (3 x 7) before and 21 (3 x 7) after atnach; vs. 10-14 have likewise 
42 words, with 28 (4 x 7) before and 14 (2 x 7) after atnach. 
In addition, in Canto I, there are 7 successive occurrences of the imperative ˚l¸lah, 
‘praise’ (numbered in the chart). To achieve this, the poet used the jussive for the final 
call to the heavenly subjects (v. 5a), h√whÃy £EH-te' ˚l¸lahÃy, ‘let them praise the name of 
YHWH’. This injunction recurs in Canto III, in v. 13a, in connection with the human 
subjects. Note also that the poet employs imperatives in vs. 1a and 7a, at the beginning 
of Canto I and Canto II, to summon the celestial subjects and the terrestrial forces and 
creatures to praise, while he employs the jussive (v. 13a) for the call to human beings. 
© 2008 Casper J. Labuschagne    ps148— rev 05/09/08 5:44 PM Page 3
Unlike the terrestrial subjects, which are collectively summoned, the celestial subjects 
are individually called to praise. There are altogether 7 celestial subjects in Canto I:  
  1. all YHWH’s angels 
  2. all YHWH’s hosts 
  3. the sun 
  4. the moon 
  5. all you shining stars 
  6. you highest heavens 
  7. and you waters above the heavens. 
It is not surprising to find that the poet mentions exactly 7 terrestrial powers/forces: 
  1. you sea monsters 
  2. and all you ocean depths 
  3. you fire 
  4. you hail 
  5. you snow 
  6. you ice 
  7. you gales of wind. 
For similar series of 7 in Book V, see Psalms 105, 145, 146, 147 and 150, and for more 
examples, consult the General Introduction, “Special patterns”, “The menorah pattern”. 
4. Remarkably, when it comes to the subjects that stand, grow or live on the earth, 
mountains, hills, trees, beasts and humans, we find two series of 8. This may be 
explained as the use of the number 8 expressing the idea of extra fullness (7 + 1), but an 
alternative explanation is that the poet wanted to achieve altogether 23 terrestrial 
subjects (7 + 8 + 8 = 23). This is supported by the profuse use of this kabod number 
elsewhere in the text. 
1.  you mountains  1.  the kings of the earth    
2.  and all you hills  2.  and all the peoples 
3.  you fruit trees  3.  the princes 
4.  and all you cedars  4.  and all the rulers of the earth 
5.  you beasts   5.  the young men 
6.  and all you cattle  6.  and also the maidens 
7.  you creeping creatures 7.  the old men 
8.  and you winged birds 8.  together with the children. 
5. The unity of the entire text is reinforced by the near perfect numerical chiasmus tying 
together vs. 1-6 and vs. 7-12: 
vs. 1-6  Strophes 1-3  42 = 21a + 21b 
vs. 7-12 Strophes 4-6  43 = 22a + 21b
vs. 1-12 Strophes 1-6  85 = 43a + 42b. 
This may suggest that there is a caesura between vs. 12||13, but separating v. 13 from 
vs. 11-12 is out of the question on grounds of form (26 words) and content – v. 13 
contains the call on the afore mentioned human subjects and its motivation. A strong 
caesura is to be found between vs. 13||14 in terms of content. The entire psalm is written 
from a universal perspective, but in v. 14 the focus is specifically on Israel as YHWH’s 
special people. This means that, thematically, v. 14 stands out within the concluding 
strophe and functions as a coda.  See the General Introduction, “The use of a coda as a 
device for conclusion”. 
Given its particularistic perspective, focusing specifically on the people of Israel, the coda 
clearly preludes Psalm 149, which is a song of praise to YHWH and of vengeance on the 
foreign nations. Note the reverberation of the keyword wyﬂdyis·x, ‘his devoted’, of v. 14b in  
£yÊdyis·x, ‘the devoted’, in Psalm 149:1b and 5a. 
© 2008 Casper J. Labuschagne    ps148— rev 05/09/08 5:44 PM Page 4
6. The divine name numbers and the kabod number 23 feature in the following fashion: 
vs. 6-8  23 words in total 
vs. 7-9  23 words in total in the logotechnical centre 
vs. 5-11 52 words with 26 before and 26 after atnach 
vs. 1-12 85 (5 x 17) words in total 
vs. 11-13 26 words with 15 before and 11 after atnach 
vs. 1-13 51 (3 x 17) words before and 46 (2 x 23) after atnach 
vs. 1-13 68 (4 x 17) words calling on the heavens and on humans (Column c) 
vs. 1-14 46 (2 x 23) words after atnach 
vs. 1-14 78 (3 x 26) words altogether in Column c. 
7. The name hwhy appears 4 times (vs. 1a, 5a, 7a, 13a). The form –h√y occurs 2x (one in 
each of the hallelu-yahs).  
 
© 2008 
Dr. C.J. Labuschagne 
Brinkhorst 44 
9751 AT  Haren (Gron) 
The Netherlands 
labuschagne.cj@planet.nl 
 
Senior Lecturer in Semitic Languages (retired), 
University of Pretoria, South Africa 
and  
Professor of Old Testament (retired), 
University of Groningen, The Netherlands 
 
 
© 2008 Casper J. Labuschagne    ps148— rev 05/09/08 5:44 PM Page 5


Psalm 148

ARTS repository - University of Groningen

   University of GroningenPsalm 121Labuschagne, C.J.IMPORTANT NOTE: You are advised to consult the publisher's version (publisher's PDF) if you wish to cite fromit. Please check the document version below.Document VersionPublisher's PDF, also known as Version of recordPublication date:2009Link to publication in University of Groningen/UMCG research databaseCitation for published version (APA):Labuschagne, C. J. (2009). Psalm 121. s.n.CopyrightOther than for strictly personal use, it is not permitted to download or to forward/distribute the text or part of it without the consent of theauthor(s) and/or copyright holder(s), unless the work is under an open content license (like Creative Commons).The publication may also be distributed here under the terms of Article 25fa of the Dutch Copyright Act, indicated by the “Taverne” license.More information can be found on the University of Groningen website: https://www.rug.nl/library/open-access/self-archiving-pure/taverne-amendment.Take-down policyIf you believe that this document breaches copyright please contact us providing details, and we will remove access to the work immediatelyand investigate your claim.Downloaded from the University of Groningen/UMCG research database (Pure): http://www.rug.nl/research/portal. For technical reasons thenumber of authors shown on this cover page is limited to 10 maximum.Download date: 08-09-2023© 2012 Casper J. Labuschagne    ps121— rev 04/20/12 7:45 AM Page 1 Psalm 121— Logotechnical Analysis Guidelines  Please read the General Introduction as well as the Introduction to Book I and Book V.  For common features found in the numerical analysis charts, see the Key to the charts.   Specific features of Psalm 121  This psalm is a classic example of a particularly regular numerical composition. On all levels, it divides into two exactly equal parts (vs. 1-4 and 5-8): 1 + 1 cantos, 2 + 2 strophes, 4 + 4 verselines, 8 + 8 cola and 27 + 27 words. It shares the feature of having a bipartite structure with a considerable number of psalms – for examples, consult the General Introduction, p. 9f.   A special feature of Psalm 121 is that the two parts have identical compositional formulae, namely 27 = 16a + 11b. Compare Psalms 6, 20, and 79, which divide similarly into two parts with identical compositional formulae – see Observation 3 in my Analysis of Psalm 6.   The 54 words of the psalm proper are apparently defined by the fact that 54 is the numerical value of the keyword , ‘guard, keep’ (21 + 13 + 20 = 54). This is most appropriate in a psalm about YHWH as Israel’s Guardian. In this respect, the psalm does not stand alone – for more examples, see the General Introduction, “The numerical value of a keyword in the text”, p. 13ff. Strophic structure  - Canto/Stanza boundary: ||   Van der Lugt: 1-2, 3-4 || 5-6, 7-8 (2 cantos with 4 strophes, 8 verselines and 16 cola).  Fokkelman and Labuschagne: similarly. Logotechnical analysis   Columns a and b show the number of words before and after the atnach.  Column c: words in part 1, Canto I; Column d: words in part 2, Canto II.  The numbering of the verselines coincides with that of the Masoretic verses.    Total a b c d  1  2 =   2 +   2   ^ 4 4   4      3   3 3     Total, v. 1 7 =   4 +   3 =   7 +   0  2 ^ 3 3   3      3   3 3     Total, v. 2 6 =   3 +   3 =   6 +   0   Strophe 1 Total, v. 1-2 13 =   7 +   6 =  13 +   0  3 ^ 4 4   4            =  54 (21+13+20)  3   3 3             See Observation 3 Total, v. 3 7 =   4 +   3 =   7 +   0   Total, v. 1-3 20 =  11 +   9 =  20 +   0  4 ^ 5 5   5      2   2 2     Total, v. 4 7 =   5 +   2 =   7 +   0   Strophe 2 Total, v. 3-4 14 =   9 +   5 =  14 +   0   Canto I Total, v. 1-4 27 =  16 +  11 =  27 +   0  © 2012 Casper J. Labuschagne    ps121— rev 04/20/12 7:45 AM Page 2  5 ^ 2 2     2    5   5   5  The 14 middle words: 20 + 14 + 20 Total, v. 5 7 =   2 +   5 =   0 +   7  The 2 middle verselines: 3 + 2 + 3 Total, v. 4-5 14 =   7 +  7 +   7 +  7  The 4 middle cola:  6 + 4 + 6 Total, v. 1-5 34 =  18 +  16 =  27 +   7  6  4 4     4    2 2     2   Total, v. 6 6 =   6 +   0 =   0 +   6   Strophe 3 Total, v. 5-6 13 =   8 +   5 =   0 +  13  7 ^ 4 4     4    3   3   3   Total, v. 7 7 =   4 +   3 =   0 +   7  8 ^ 4 4     4    3   3   3   Total, v. 8 7 =   4 +   3 =   0 +   7   Strophe 4 Total, v. 7-8 14 =   8 +   6 =   0 +  14   Total, v. 6-8 20 = 14 +   6 =   0 +  14   Canto II Total, v. 5-8 27 =  16 +  11 =   0 +  27   Total, v. 4-8 34 =  21 +  13 =   7 +  27    Total, v. 1-8 54 =  32 +  22 =  27 +  27    Including the heading, v. 1-8 56 =  34 +  22 =  29 +  27 Observations 1. The psalm divides into two equal halves in terms of cantos, strophes, verselines, cola and words. The two cantos have identical compositional formulae determined by atnach: Canto I   vs. 1-4 2 strophes 4 verselines 8 cola    27 = 16 + 11 words  Canto II  vs. 5-8 2 strophes 4 verselines 8 cola    27 = 16 + 11 words. The exceptionally regular structure of the psalm manifests itself also on strophic level:   Strophe 1   vs. 1-2 13 words   Strophe 2   vs. 3-4 14 words   Strophe 3   vs. 5-6 13 words   Strophe 4   vs. 7-8 14 words. It is worth noting that, like its predecessor, the psalm is to a great extent structured by the number of fullness, 7 (marked bold in the chart). 2. The 2 middle verselines and 4 middle cola astride the arithmetic centre of the psalm, coinciding with the 14 middle words, vs. 4-5, may be regarded as the consciously designed meaningful centre expressing the gist of the poem (54 = 20 + 14 + 20):    ^      ^    Behold, he never slumbers, never sleeps  //  the Guardian of Israel.  YHWH is your Guardian  //  YHWH is your shade on your right hand. The meaningful centre is ‘embraced’ by 34 (2 x 17) words: 20 + 14 = 34 = 14 + 20. Though it may just be coincidence, the 14-word centre has exactly 49 (7 x 7) letters. Note also the beautiful chiastic word-structure of the four cola: 5 + 2 and 2 + 5 words.  © 2012 Casper J. Labuschagne    ps121— rev 04/20/12 7:45 AM Page 3 3. There is nothing significant about the two identical compositional formulae, but they may have been designed in this fashion in order to achieve the final compositional formula:     54 = 32 + 22, which contains the kabod number 32, symbolizing YHWH’s presence. The fact that the inclusion of the heading brings the total number of words before atnach up to 34 (2 x 17) may just be coincidence, seeing the (almost)  stereotyped 2-word heading.  Ten of the fifteen Songs of Ascents have 2-word headings. Cf. Observation 4 in my Analysis of Psalm 120. The total number of words, 54, however, is indeed significant. It represents the numerical value of the root , ‘guard, keep’ (21 + 13 + 20 = 54), which appears no less than 6 times in the poem (vs. 3b, 4b, 5a, 7a, 7b, 8a). Seeing the verbal content of the psalm dealing with YHWH the Guardian,  must be regarded as a key-word of paramount importance. This explains the choice of the author for 54 words, showing at the same time that the number 27 as such has no numerical significance.  It is interesting to note that Psalm 124, another psalm about YHWH’s guardianship, is likewise made up of 54 words. See “Specific feature of Psalm 124” and Observation 3 in my Analysis of Psalm 124. Compare also the 54 words surrounding the meaningful centre of the cognate Psalm 127 – see Observation 1 in my Analysis of Psalm 127. Moreover, as Pieter van der Lugt has noted recently (private communication) the use of the numerical value (54) of the key-word  to structure the text here is very similar to the use of 56, the numerical value of the complementary key-word , ‘to take refuge’, in Psalm 91. This means that there is a close relationship between the two psalms. 4. Given the exceptionally regular structure of the psalm, it is not surprising to find barely any divine name numbers woven into the text. We encountered a similar situation in Psalm 120. The 17 words before atnach in vs. 4-7 may be mere coicidence. That there are 34 (2 x 17) words in vs. 1-5 and vs. 4-8 is apparently not caused by conscious design, but is contingent on the fact that vs. 5 and 4 happen to have 7 words, and the fixed number 27 (in  1-4 and 5-8) + 7 = 34. 5. The name  appears 5 times (vs. 2a, 5a, 5b, 7a and 8a), which brings the total number of occurrences of the divine name in Psalms 120 and 121 to exactly 7.  © 2012 Dr. C.J. Labuschagne Brinkhorst 44 9751 AT  Haren (Gron) The Netherlands labuschagne.cj@gmail.com    Senior Lecturer in Semitic Languages (retired), University of Pretoria, South Africa and  Professor of Old Testament (retired), University of Groningen, The Netherlands   

Psalm 121

   University of GroningenPsalm 123Labuschagne, C.J.IMPORTANT NOTE: You are advised to consult the publisher's version (publisher's PDF) if you wish to cite fromit. Please check the document version below.Document VersionPublisher's PDF, also known as Version of recordPublication date:2009Link to publication in University of Groningen/UMCG research databaseCitation for published version (APA):Labuschagne, C. J. (2009). Psalm 123. s.n.CopyrightOther than for strictly personal use, it is not permitted to download or to forward/distribute the text or part of it without the consent of theauthor(s) and/or copyright holder(s), unless the work is under an open content license (like Creative Commons).The publication may also be distributed here under the terms of Article 25fa of the Dutch Copyright Act, indicated by the “Taverne” license.More information can be found on the University of Groningen website: https://www.rug.nl/library/open-access/self-archiving-pure/taverne-amendment.Take-down policyIf you believe that this document breaches copyright please contact us providing details, and we will remove access to the work immediatelyand investigate your claim.Downloaded from the University of Groningen/UMCG research database (Pure): http://www.rug.nl/research/portal. For technical reasons thenumber of authors shown on this cover page is limited to 10 maximum.Download date: 09-09-2023© 2012 Casper J. Labuschagne    ps123— rev 05/24/12 10:42 AM Page 1 Psalm 123— Logotechnical Analysis Guidelines  Please read the General Introduction as well as the Introduction to Book I and Book V.  For common features found in the numerical analysis charts, see the Key to the charts.   Specific features of Psalm 123  As in Psalm 122, the structure of the poem is determined by the direction of address.   As in Psalms 121 and 122, the numerical values of keywords define the total number of words: in this case, the two words , ‘to YHWH’ (v. 2e) represent the well-known YHWH-echad formula: 39 = 13 + 26. See Observation 3.  The 5 words of v. 2e constitute the meaningful centre on word level: 39 = 17 + 5 + 17.  Strophic structure    Van der Lugt and Labuschagne: 1, 2, 3-4 (3 strophes, 5 verselines, 11 cola, taking v. 2 as 2 bicolic verselines).  Fokkelman: 1, 2, 3-4 (3 strophes, with 6 verselines and 13 cola (taking v. 2 as 3 bicolic verselines). Logotechnical analysis   Columns a and b show the number of words before and after the atnach.  Column c: words addressed to God; d: words spoken about God.  The numbering of the verselines is shown in brown.    Total a b c d  1  2 =   2 +   0   ^  4 4   4      2   2 2     Strophe 1 Total, v. 1 6 =   4 +   2 =   6 +   0  2   6 6     6  =   5 5     5           13 + 26 = 39 ^  5 5     5      Middle words  39 = 17 + 5 + 17     2   2   2         Strophe 2,  Total, v. 2 18 =  16 +   2 =   0 +  18  3 ^  3 3   3      4   4 4     Total, v. 3 7 =   3 +   4 =   7 +   0   Total, v. 1-3 31 =  23 +   8 =  13 +  18  4   4 4   4     ^ 2 2   2      2   2 2     Total, v. 4 8 =   6 +   2 =   8 +   0   Strophe 3 Total, v. 3-4 15 =   9 +   6 =  15 +   0   Total, v. 1-4 39 =  29 +  10 =  21 +  18   Including the heading, v. 1-4 41 =  31 +  10 © 2012 Casper J. Labuschagne    ps123— rev 05/24/12 10:42 AM Page 2 Observations 1. The 5 middle words, v. 2c, constitute the meaningful centre on word level, which is strongly buttressed by being flanked by 17 words on either side (39 = 17 + 5 + 17):  So our eyes are turned to YHWH our God. Their pivotal position is additionally reinforced by the fact that they fall within the middle verseline (5 = 2 + 1 + 2), which is the meaningful centre on verseline level:  ^   So our eyes are turned to YHWH our God  //  until he have mercy upon us. V. 2 constitutes the middle of the three strophes.  2. As in many psalms, the direction of address determines the basic structure of the psalm: v. 1     addressed to God  1 verseline 2 cola   6 words v. 2     spoken about God  2 verselines 4 cola 18 words vs. 3-4     addressed to God  2 verselines 5 cola 15 words. This means that there are strong caesurae between vs. 1||2 and 2||3, which cannot be ignored in search of the compositional structure. 3. As in the two preceding psalms, the numerical value of a keyword to determine the total number of words is used here as well. In this case, it concerns the two words , ‘to YHWH’, positioned within the logotechnical centre. Taken together, their numerical value is 39: (1 + 12) + (10 + 5 + 6 + 5) = 13 + 26, which constitutes the well-known YHWH-echad formula. 4. The name  occurs 2x (vs. 2c and 3a), and the word  , ‘our God’, 1x (v. 2e), as in Psalm 122.  © 2012 Dr. C.J. Labuschagne Brinkhorst 44 9751 AT  Haren (Gron) The Netherlands labuschagne.cj@gmail.com    Senior Lecturer in Semitic Languages (retired), University of Pretoria, South Africa and  Professor of Old Testament (retired), University of Groningen, The Netherlands   

Psalm 123

University of Groningen Digital Archive

© 2012 Casper J. Labuschagne    ps127— rev 03/24/12 7:58 PM  Page 1 
Psalm 127— Logotechnical Analysis 
Guidelines 
  Please read the General Introduction as well as the Introduction to Book I and Book V. 
  For common features found in the numerical analysis charts, see the Key to the charts.   
Specific features of Psalm 127 
  The psalm attributed to king Solomon is positioned at the very centre of the 15 Songs of 
Ascents flanked by 7 psalms on either side (15 = 7 + 1 + 7). In terms of the 101 verses of 
the Songs, 127:4 constitutes the middle verse (101 = 50 + 1 + 50), which happens to be 
the  51
st  verse,  the  number  representing  the  letter  value  of  (21+12+13+5=51). 
Moreover, in terms of words, the last two words of 127:3b constitute the arithmetic centre 
of the 15 Songs (810 = 404 + 2 + 404): ,’the fruit of the womb’. For the location 
of this centre, see especially footnote 1 in my analysis of Psalm 119. 
  This psalm has virtually the same structure as Psalm 126 and Psalm 121 – 2 cantos, 4 
strophes, 8 verselines and 16 cola. The theme of Psalm 121, the guardianship of YHWH, 
who never sleeps, is reiterated here, both in terms of content, and logotechnically.  
  The 3-word meaningful centre of the psalm,  ‘he provides his beloved 
with sleep’, is surrounded by 54 words (57 = 27 + 3 + 27), which is the numerical value of 
the keyword  , ‘guard’,  in Psalm 121. Formally, the 3-word centre functions as a 
hinge between the two parts of the poem. At the same time, the interpretation of the 
psalm entirely hinges on the correct understanding of the meaningful centre. 
  The psalm also resembles Psalm 124, e.g., in the triple repetition of , , , ‘in 
vain… in vain… in vain…’ Compare , ‘then… then… then…’ in Psalm 124.  
Strophic structure  - Canto/Stanza boundary: ||  
  Van der Lugt and Fokkelman: 1, 2 || 3-4, 5 (2 cantos, 4 strophes, 8 verselines, 16 cola; 
both divide the two bicolic verselines 5ab and 5cd into 4 + 3 and 4 + 3 words). 
  Labuschagne: similarly, except that I divide verselines 5ab and 5cd into 2 + 5 and 2 + 5 
words, taking the atnach in MT into account. 
Logotechnical analysis  
  Columns a and b show the number of words before and after the atnach. 
  Column c: words expressing the main idea; d: words elaborating on the main idea. 
  The numbering of the verselines is shown in brown. 
      Total  a  b  c  d 
  1    3  =   3  +   0 
       5  5     5    
    ^  4  4     4    
      , ‘guard’, = 54      5     5  5    
      See Observation 1    3     3  3    
    Strophe 1  Total, v. 1  17  =   9  +   8  =  17  +   0 
  2     4  4        4 
      2  2        2 
Middle word: 57=28+1+28  ^   3  3        3 
Middle 3 words: 27 + 3 + 27    4     4     4 
    Strophe 2  Total, v. 2  13  =   9  +   4  =   0  +  13 
    Canto I  Total, v. 1-2  30  =  18  +  12  =  17  +  13 © 2012 Casper J. Labuschagne    ps127— rev 03/24/12 7:58 PM  Page 2 
  3  ^   4  4        4 
      3     3     3 
  4  ^   3  3        3 
      3     3     3 
    Strophe 3  Total, v. 3-4  13  =   7  +   6  =   0  +  13 
    Total, v. 2-4  26  =  16  +  10  =   0  +  26 
   5 *     2  2        2 
      5  5       5 
    ^   2  2        2 
      5     5     5 
    Strophe 4  Total, v. 5  14  =   9  +   5  =   0  +  14 
    Canto II  Total, v. 3-5  27  =  16  +  11  =   0  +  27 
    Total, v. 1-5  57  =  34  +  23  =  17  +  40 
    With the heading, v. 1-5  60  =  37  +  23 
*  In v.  5cd, my  colon  division  is  determined  by  the  placement  of  atnach:  7  =  2  +  5  words. 
Accordingly, the preceding verseline, v. 5ab, may also be divided into 7 = 2 + 5. See my remark at 
the bottom of the chart in my Analysis of Psalm 126. 
Observations 
1.  The logotechnical centre of the 57-word psalm is , ‘to his beloved’ (28 + 1 + 28), in 
v. 2d, but the meaningful centre is to be found by including one word on either side of the 
pivot (27 + 3 + 27): 
 ‘he provides his beloved with sleep.’ 
The fact that the 3-word meaningful centre is surrounded by 54 words (27 + 27) need not 
be a matter of coincidence, for 54 is the gematric value of the keyword , ‘guard’, in 
Psalm 121 (and Psalm 124), with which the present psalm has close ties. First, it has a 
similar structure: 2 cantos, 4 strophes, 8 verselines and 16 cola. Second, the leading 
theme of Psalm 121, the guardianship of YHWH, who never sleeps, reverberates here 
(cf. v. 1c-d), particularly in the meaningful centre. Moreover, the idea that YHWH is the 
only  helper  in  Psalm  121  is  reiterated  here:  without  the  help  of  YHWH  all  human 
endeavour is futile. See Observation 3 in my Analysis of Psalm 121. 
2.  The carefully contrived pivotal positioning of the three words at the boundary between 
Canto I (vs. 1-3) and Canto II deserves special attention, because the phrase appears 
to be the hinge between the two parts of the poem. Canto I is concerned with the human 
activities  of  building,  guarding,  toil  and  labour.  Canto  II  is  about  having  children, 
particularly sons, who can help safeguard the family from outside attacks. 
The interpretation of the psalm hinges on the correct understanding of the 3-word phrase 
in the meaningful centre, and more specifically, the word , ‘sleep’. In my opinion, the 
word  ‘sleep’  is  grammatically  the  object  of  the  verb  ‘give’,  and  not  an  adverbial 
accusative meaning ‘in sleep’, as found in most modern translations and advocated by 
the great majority of scholars. The rendering in the NRSV, “for he gives sleep to his 
beloved”, is an exception among the versions I scrutinized.  
For a recent overview of the status quaestionis, see Th. Booij, “Psalm 127,2b: a Return to Martin Luther”, in 
Biblica 81 (2000), pp. 262-268. Having written this Observation, I later found some references in Booij’s 
article to a few modern scholars, who understand the text, in my view, correctly: V. Hamp, “Der Herr gibt es 
den Seinen im Schlaf’, Ps 127,2d” in: Festschrift für J. Ziegler (FzB 2, Würzburg 1972); O. Keel, “Psalm 127: 
Ein Lobpreis auf Den, der Schlaf und Kinder gibt”, in: Festschrift für Notker Füglister, Würzburg 1991; and 
D.E. Fleming, “Psalm 127: Sleep for the Fearful, and Security in Sons”, in: ZAW 107 (1995). Last, but not 
least,  V.  Stümke,  Den  Seinen  gibt  der  Herr…den  Schlaf,  Waltrop  1998.  See  also  Frans  Croese’s 
‘Toelichting’ (2010): www.totlofvangod.nl/ © 2012 Casper J. Labuschagne    ps127— rev 03/24/12 7:58 PM  Page 3 
I see no reason for translating the phrase in another way than it stands: “Accordingly, he 
gives his beloved sleep”, or “Accordingly, he provides his beloved with sleep”. Neither is 
their any evidence for the supposition that  here means something else than ‘sleep’ in 
the literal sense of the word. Sleep is clearly considered a gift from God as a reward for a 
hard day’s labour: the struggler and the toiler may enjoy a good night’s rest in confidence 
that God watches over them - against the backdrop of Psalm 121! Why should we find a 
matter, plain in itself, perplexing? 
Attempts  by  scholars  to  find  a  meaning  for    other  than  ‘sleep’  are  anything  but 
convincing, such as M. Dahood’s proposal (Anchor Bible, 1969): ‘prosperity’ and J.A. 
Emerton’s suggestion: ‘high estate, or honour’ (VT 24, 1974, pp. 15-31), arguing that we 
have to do with a completely different root. Frankly, I fail to see any connection between 
‘prosperity’ or ‘honour’ and the thought content of Canto I.  
In my view,  denotes ‘sleep’ and nothing else, which means that I also reject the 
connotation ‘sexual union’ suggested by F. Bussby (JThS 35 (1934), pp. 306-307). The 
context clearly shows that the word is used here in its primary, literal sense: sleep. This 
is evidently the case in Canto I: it means a good night’s sleep after the labour and toil of 
the day. However, being the hinge between Cantos I and II, the word alludes to what 
Canto II is all about: having progeny. And, as everybody knows – the Biblical writers are 
perfectly frank about this – getting progeny starts in bed with sexual intercourse between 
man and wife. In my opinion, it is due to this allusive function in this particular context 
that it is spelled differently, , instead of  as it is spelled elsewhere in the OT.  
Therefore, we need not go as far afield as Dahood and Emerton do in looking for the 
precise connotation of  here. The thought content of Canto II indicates that the word 
‘sleep’ implies sexual union, the prerequisite for having offspring. It does not necessarily 
follow that  denotes, or actually means, sexual union, because this would simply not 
fit the thought content of Canto I. Therefore, the connotation ‘sexual intercourse’ should 
be rejected out of hand. The word can  imply, or  allude to,  sexual intercourse in the 
perception  of  the  reader/listener,  without  really  meaning  sexual  intercourse,  or  even 
having such an inherent figurative or metaphorical connotation, as suggested by Bussby. 
The same applies to       ς used in the LXX, which simply means ‘sleep’. It is only in 
later texts that it came to adopt a figurative sense (e.g., in Wisdom 4:6 and 7:2).   
The figurative sense is seriously considered by Christensen, who translates: “Thus he 
will give to his beloved sleep (i.e., sexual intimacy)”  -  see also Observation 2 in his 
Analysis of Psalm 127. Let me sum up my interpretation of the word :  
First, I consider the translation ‘in sleep’ incorrect and reject all theories endeavouring to 
find a meaning for  other than ‘sleep’.  
Second, in terms of the thought content of Canto I, signifies ‘sleep’ in the primary, 
literal sense of the word, ‘a good night’s sleep’, the builder’s, the guard’s, the struggler’s 
and the toiler’s nocturnal rest. That is to say, ‘sleep’ as a primary gift from God: the 
blessed inactivity associated with sleep that entails recreation.  
Third, in terms of the thought content of Canto II, however, clearly(and only!) does 
not  denote,  but  only  alludes  to  ‘sleep’  in  the  sense  of  ‘sleep  with’,  ‘having  sexual 
intercourse.’ That is to say, ‘sleep’ as an additional gift from God: the blessed activity that 
entails  procreation,    ‘the  fruit  of  the  womb’,  ‘sons’  as  the  ‘inheritance  from 
YHWH’ (v. 3). Most significantly, as I have shown above, these two words are positioned 
at the mathematical centre of the 15 Songs of Ascents (810 = 404 + 2 + 404). 
3.  Canto I, with 17 words in v. 1 and 13 in v. 2, has been designed to reflect the alternative 
YHWH-’echad formula, 30 = 17 + 13 (see also Psalm 128), obviously to emphasize that 
all human endeavour is futile without the blessing of the One and Only true God. As in 
Psalm 121, YHWH is also here visualized as the Guardian who never sleeps. © 2012 Casper J. Labuschagne    ps127— rev 03/24/12 7:58 PM  Page 4 
The  presence  of  YHWH  is  additionally  underscored  by  the  divine  name  number  26 
featuring in the total number of words in vs. 2-4, and by the overall compositional formula 
57 = 34 + 23, with 34 (2 x 17) words before and 23 after atnach. 
4.  The pivotal word in the meaningful centre of the psalm, , ‘to his beloved’, relates 
primarily to Solomon and his successors, but it also applies to any human being who 
trusts in YHWH – not only Solomon or the king, as some scholars contend.  
Significantly, some Hebrew manuscripts, the LXX, the Syriac Version and Jerome read 
the plural form: ‘to his beloved ones’. In my opinion, the editors of the Psalter understood 
the word as a subtle reference to Solomon - being a pun with yedido, ‘his beloved’ and 
Jedidiah, Solomon’s secondary name. When they added , ‘for Solomon’, to the 2-
word heading which is to be found in most psalms in this corpus, they obviously recalled 
2  Sam.  12:24-25.  There  it  is  said  that  David  had  sexual  intercourse  with  his  wife 
Bathsheba who bore him a son, whom he called Solomon. 
And because YHWH loved him, he sent a message to Nathan the prophet that for 
YHWH’s sake he should be given the name Jedidiah. 
See Observation 4 in my Analysis of Psalm 124 in connection with the 3-word heading. 
5.  Strophe 1 stands out as an introduction to the discourse. It is made up of  17 words 
(Column c), leaving 40 words to the elaboration on the leading idea (Column d).  
6.  The name  occurs 3x (vs. 1a, 1c and 3a). 
 
 
© 2012 
Dr. C.J. Labuschagne 
Brinkhorst 44 
9751 AT  Haren (Gron) 
The Netherlands 
labuschagne.cj@gmail.com   
 
Senior Lecturer in Semitic Languages (retired), 
University of Pretoria, South Africa 
and  
Professor of Old Testament (retired), 
University of Groningen, The Netherlands 
 

Psalm 127

NARCIS 

  
 University of Groningen
Psalm 140
Labuschagne, C.J.
IMPORTANT NOTE: You are advised to consult the publisher's version (publisher's PDF) if you wish to cite from
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Labuschagne, C. J. (Author). (2008). Psalm 140.
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Psalm 140— Logotechnical Analysis 
Guidelines 
• Please read the General Introduction as well as the Introduction to Book I and Book V. 
• For common features found in the numerical analysis charts, see the Key to the charts.   
Specific features of Psalm 140 
• There is a close relationship between Psalm 140 and Psalms 91 and 110, which are 
specifically devoted to the security and safety of the king in time of conflict and war. In 
the meaningful centre of Psalm 140, trust in YHWH is phrased as a prayer directly 
addressed to him - in much the same way as in Psalm 91. 
• The psalm has a lucid strophic structure, which is determined by the use of the kabod 
number 23 and neatly demarcated in MT by the three selahs. Psalm 140 is the first 
psalm after Psalm 89 having the selah device. 
Strophic structure  - Canto/Stanza boundary: ||  
• Van der Lugt: 2-4, 5-6 || 7-9, 10-12 || 13-14 (3 cantos and 5 strophes, with 14 verselines 
and 28 cola, regarding vs. 5-6 and 10-12 as 3 bicola). 
• Fokkelman: similarly, except that he finds 29 cola; like Van der Lugt, he regards vs. 5-6 
and 10-12 as 3 verselines, but takes v. 11 as a tricolon; moreover, he moves the last 
word of v. 9 to v. 10a). 
• Labuschagne: cantos and strophes similarly as Van der Lugt, but I find 13 verselines and 
30 cola, taking vs. 4 and 12 as tricola because of the atnach, which is in both verses 
disregarded by Van der Lugt and Fokkelman; I also differ from them in taking vs. 5-6 as 
two tricola. 
Logotechnical analysis  
• Columns a and b show the number of words before and after the atnach. 
• Column c: words addressed to God; d: words spoken about God. 
• The numbering of the verselines is shown in brown. 
   Total a b c d 
 1 :d«wﬂd¸l rÙmÃzim ﬁxEFc¬n¸mal  Heading, v. 1 3 =   3 +   0
 2 ^vﬂr £ﬂdA'Em h√whÃy y«nEc¸Glax 1 4 4   4   
  :y«n„r¸cÃniGt £yisAm·x Hyi'Em 3   3 3  
  Total, v. 2 7 =   4 +   3 =   7 +   0 
 3 ^bEl¸–b tÙvﬂr ˚b¸HAx reH·' 2 4 4   4   
  :tÙmAx¸lim ˚r˚g√y £Ùy-lA–k 4   4 4  
  Total, v. 3 8 =   4 +   4 =   8 +   0 
 4 HAx√n-Ùm¸–k £√nÙH¸l ˚nœnAH 3 4 4   4   
  ^b˚H¸kav tam·x 2 2   2   
  :hAles ÙmyEtAp¸W taxaGt 2   2 2  
  Total, v. 4 8 =   6 +   2 =   8 +   0
  Total, v. 3-4 16 =  10 +   6 =  16 +   0
  Strophe 1 Total, v. 2-4 23 =  14 +   9 =  23 +   0 
© 2008 Casper J. Labuschagne    ps140— rev 05/09/08 5:39 PM Page 1
 5 vAHﬂr y„dyim h√whÃy y«n„r¸mAH 4 4 4   4   
  ^y«n„r¸cÃniGt £yisAm·x Hyi'Em 3 3   3   
  :yAmAv¸Kp tÙxËdil ˚b¸HAx reH·' 4   4 4  
  Total, v. 5 11 =   7 +   4 =  11 +   0
  Total, v. 2-5 34 =  21 +  13 =  34 +   0 
 6  yil xaKp £yi'≈g-˚n¸mAX 5 4 4   4   
  ^l√Fg¸vam-d¬y¸l teHÂr ˚WËrAKp £yilAb·x¬w 5 5   5   
  :hAles yil-˚tAH £yiHŸqOm 3   3 3  
  Total, v. 6 12 =   9 +   3 =  12 +   0
  Strophe 2 Total, v. 5-6 23 =  16 +   7 =  23 +   0
  Canto I Total, v. 2-6 46 =  30 +  16 =  46 +   0 
    7   Middle 14 words: ^hAGtA' yilE' h√whyal yiGtËramA' 6 4 4  2   2 
        110 = 48+14+48 :y√n˚n·xaGt lÙq h√whÃy h√ny«z·'ah 4   4 4            
Middle cola: 30 = 13 + 4 + 13 Total, v. 7 8 =   4 +   4 =   6 +   2 
    8   Two middle words: ^yitAv˚HÃy zOv y√nOd·' hiÙhÃy 7 4 4  4    
         110 = 54 + 2 + 54 :qeH√n £Ùy¸–b yiH'◊r¸l hAtO–kas 4   4 4  
         Middle verseline: 13 = 6 + 1 + 6 Total, v. 8 8 =   4 +   4 =   8 +   0
        Total, v. 7-8 16 =   8 +   8 =  14 +   2 
 9 ^vAHﬂr y≈Cy¬w·'am h√whÃy §EGtiGt-la' 8 5 5  5   0 
  :hAles ˚m˚r√y qEpAGt-la' ÙmAmÃz 4   4 4  0
      Total, v. 9 9 =   5 +   4 =   9 +   0
              Middle strophe: Strophe 3 Total, v. 7-9 25 =  13 +  12 =  23 +   2 
 10 ^yA–bis¸m H'◊r 9 2 2    2  
  :ÙmE–sakÃy ÙmyEtAp¸W lam·v 3   3  3 
  Total, v. 10 5 =   2 +   3 =   0 +   5 
 11 ^£EliKp¬y HE'A–b £yilAx∆Fg £ehyEl·v ˚XÙGm«y 10 5 5    5  
  :˚m˚q√y-la–b tÙrOm·ham¸–b 3   3  3 
  Total, v. 11 8 =   5 +   3 =   0 +   8 
 12 ¶ÂrA'A–b §Ù–k«y-la–b §ÙHAl Hyi' 11 5 5    5  
  ^vﬂr sAmAx-Hyi' 3 3    3  
  :tOpExËdam¸l F˚nÂd˚cÃy 2   2  2
  Total, v. 12 10 =   8 +   2 =   0 +  10
  Strophe 4 Total, v. 10-12 23 =  15 +   8 =   0 +  23
  Canto II Total, v. 7-12 48 =  28 +  20 =  23 +  25 
 13 ^y«nAv §yÊ–d h√whÃy heW·v¬y-yi–k yiGt¸vﬁd√y 12 6 6    6  
  :£y«nOy¸be' XaKp¸Him  2   2  2 
  Total, v. 13 8 =   6 +   2 =   0 +   8
  Total, v. 11-13 26 =  19 +   7 =  0 +  26
  Total, v. 10-13 31 =  21 +  10 =   0 +  31 
 14           ^ßem¸Hil ˚dÙy £y÷qyÊ–dac ™a' 13 4 4   4   
  :ßy∆nAKp-te' £yÊrAHÃy ˚b¸H≈y 4   4 4  
  Total, v. 14 8 =   4 +   4 =   8 +   0
  Canto III   Strophe 5 Total, v. 13-14 16 =  10 +   6 =   8 +   8
  Total, v. 12-14 26 =  18 +   8 =   8 +  18
  Total, v. 7-14 64 =  38 +  26 =  31 +  33
  Total, v. 2-14 110 =  68 +  42 =  77 +  33 
  With the heading and hAles (3x), v. 1-14 116 =  71 +  45 
© 2008 Casper J. Labuschagne    ps140— rev 05/09/08 5:39 PM Page 2
Observations 
1. The two middle words are y√nOd·' hiÙhÃy, ‘YHWH, my Lord’, in v. 8a (110 = 54 + 2 + 54).    
By adding 6 words on either side, we find 14 words addressed to YHWH that constitute 
the meaningful centre on word level, vs. 7-8 (110 = 48 + 14 + 48). However, there is a 
better candidate on colon level, which includes the 2-word introduction to the prayer, the 
middle 4 cola of vs. 7-8 falling within the middle strophe, vs. 7-9 (30 = 13 + 4 + 13). The 
centre is highlighted by the fact that it is flanked by 13 cola and ‘embraced’ by 17 cola. 
:y√n˚n·xaGt lÙq h√whÃy h√ny«z·'ah ^ hAGtA' yilE' h√whyal yiGtËramA' 
      :qeH√n £Ùy¸–b yiH'◊r¸l hAtO–kas ^ yitAv˚HÃy zOv y√nOd·' hiÙhÃy 
 I say to YHWH: “You are my God! // Hear, YHWH, my plea for mercy. 
 YHWH, my Lord, my strong deliverer, you shield my head on the day of battle.” 
Though this centre is in itself meaningful, it is also likely that the author consciously 
designed the entire 25-word central strophe, vs. 7-9, to be the meaningful centre. It may 
not simply be a matter of chance that the central strophe is surrounded by 85 (5 x 17) 
words (110 = 46 + 25 + 39).  
This larger meaningful centre, dealing with the security of the speaker (king David), 
recalls Psalms 91 and 110, which are also particularly concerned with the security and 
personal safety of the king in time of war. Being a direct address to God, the meaningful 
centre is phrased in much the same way as that of Psalm 91. The direct address to God 
is a powerful rhetorical device to express the idea of personal trust in God. Therefore, 
Psalm 140 may be regarded as a prayer for the personal safety of the king in battle. See 
Observations 1-3 in my Analysis of Psalm 91 and Observations 3-4 in that of Psalm 110. 
2. Psalm 140 is the first psalm after Psalm 89 in which the selah (3x) emerges. It is here 
clearly a demarcating device helping to define the strophic structure: 
Strophe 1 vs. 2-4      + selah 3 verselines 7 cola 23 words 
Strophe 2 vs. 5-6     + selah 2 verselines 6 cola 23 words 
Strophe 3 vs. 7-9     + selah 3 verselines 6 cola 25 (2 + 23) words 
Strophe 4 vs. 10-12  3 verselines 7 cola 23 words 
Strophe 5 vs. 13-14  2 verselines 4 cola 16 words.   
The use of 23 words (representing the glory of YHWH, which signifies his presence) in 
no less than four strophes, underscores the present strophic structure, which has been 
recognized by the great majority of scholars. 
For a survey of the occurrences of selah, a brief discussion and relevant literature, see 
Pieter van der Lugt, Cantos and Strophes, pp. 560-561. 
3. The change from words directly addressed to God to words spoken about him structure 
the text in the following way: 
vs. 2-6  Prayer: description of the hostility toward the speaker 46 w. 
vs. 7  Words spoken about God        2 w. 
vs. 7-9  Prayer: plea to God for mercy and deliverance  23 w. 
vs. 10-13 Words spoken about God      31 w. 
vs. 14  Prayer: the just and upright shall praise God    8 w. 
vs. 2-14 The psalm as a whole     77   +  33 w. 
This seems to suggest that the author endeavoured to achieve exactly 77 words 
addressed directly to God (Column c): the product of 7, the number of fullness and 11, 
the number of fulfilment. Because there are 110 (10 x 11) words in total, the 33 words 
spoken about God (Column d) are also a multiple of 11.  
These 33 words are to be regarded as a kind of interior monologue in which the speaker 
utters a self-reflection in the presence of God. Compare Ps. 141:5-7 and 142:4c-5 – see 
Observation 2 in my Analysis of Psalm 141, and Observation 4 in that of Psalm 142. 
© 2008 Casper J. Labuschagne    ps140— rev 05/09/08 5:39 PM Page 3
4. The divine name numbers 17 and 26 and the kabod number 23 are woven into the fabric 
of the text to signify YHWH’s presence: 
vs. 2-4  23 words in total (Strophe 1) 
vs. 5-6  23 words in total (Strophe 2) 
vs. 2-5  34 (2 x 17) words in total 
vs. 7-9  23 words addressed to God (Strophe 3) 
vs. 10-12 23 words in total (Strophe 4) 
vs. 11-13 26 words in total 
vs. 12-14 26 words in total 
vs. 7-14 26 words after atnach 
vs. 2-14 68 (4 x 17) words before atnach. 
5. The name hwhy appears 7 times (vs. 2a, 5a, 7a, 7b, 8a, 9a, and 13a), y√nOd·' 1x (v. 8a), 
and yilE', ‘my God’, 1x (v. 7a).  
 
© 2008 
Dr. C.J. Labuschagne 
Brinkhorst 44 
9751 AT  Haren (Gron) 
The Netherlands 
labuschagne.cj@planet.nl 
 
Senior Lecturer in Semitic Languages (retired), 
University of Pretoria, South Africa 
and  
Professor of Old Testament (retired), 
University of Groningen, The Netherlands 
 
© 2008 Casper J. Labuschagne    ps140— rev 05/09/08 5:39 PM Page 4


Psalm 140

  
 University of Groningen
Psalm 149
Labuschagne, C.J.
IMPORTANT NOTE: You are advised to consult the publisher's version (publisher's PDF) if you wish to cite from
it. Please check the document version below.
Document Version
Publisher's PDF, also known as Version of record
Publication date:
2008
Link to publication in University of Groningen/UMCG research database
Citation for published version (APA):
Labuschagne, C. J. (Author). (2008). Psalm 149.
Copyright
Other than for strictly personal use, it is not permitted to download or to forward/distribute the text or part of it without the consent of the
author(s) and/or copyright holder(s), unless the work is under an open content license (like Creative Commons).
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If you believe that this document breaches copyright please contact us providing details, and we will remove access to the work immediately
and investigate your claim.
Downloaded from the University of Groningen/UMCG research database (Pure): http://www.rug.nl/research/portal. For technical reasons the
number of authors shown on this cover page is limited to 10 maximum.
Download date: 11-02-2018
Psalm 149— Logotechnical Analysis 
Guidelines 
• Please read the General Introduction as well as the Introduction to Book I and Book V. 
• For common features found in the numerical analysis charts, see the Key to the charts.   
Specific features of Psalm 149 
• Psalm 149, the fourth Hallelu-yah Psalm, is the follow-up to its predecessor, where it is 
clearly preluded in the coda, as we have seen. It shares several features with the other 
psalms in the sub-group of 146-150, suggesting that they stem from the same hand. 
• The 60-word psalm, as it stands in Codex L, is a numerical composition of exceptional 
quality based on the intentional reading £yiGmu'-la–b, ‘non-nations’, in v. 7b (two words!).  
• The canto structure of the 60-word text is primarily determined by the two leading 
themes: the praises due to YHWH (Canto I), and the execution of judgement on the 
foreign nations (Canto II). The significant numerical structure and several literary devices 
underscore the delimitation of the two cantos. 
• The numerical value of the keyword £yÊdyis·x ‘the faithful’, positioned at the arithmetic 
centre of the text (v. 5a), defines its total number of words: 60 (8+15+10+4+10+13). 
Strophic structure  - Canto/Stanza boundary: || 
• Van der Lugt: 1-2, 3-4 || 5-6, 7-9 (2 cantos with 4 strophes, 9 verselines and 18 cola). 
• Fokkelman: similarly. 
• Labuschagne: 1-3, 4-5 || 6, 7-9 (2 cantos with 4 strophes, 9 verselines and 18 cola). 
Logotechnical analysis  
• Columns a and b show the number of words before and after the atnach. 
• Column c: words of praise to YHWH; d: words about vengeance on the nations. 
• The numbering of the verselines coincides with that of the Masoretic verses. 
   Total a b c d 
 1 –h√y ˚l¸lah  Hallelu-yah 2 =   2 +   0
  ^HﬂdAx ryiH h√whyal ˚ryiH 4 4   4   
            £yÊdyis·x = 60 :£yÊdyis·x lahŸqi–b ÙtAGlih¸Gt 3   3 3  
      (8+15+10+4+10+13 = 60)       Total, v. 1 7 =   4 +   3 =   7 +   0 
 2 ^wyAWOv¸–b lE'ﬂr¸W«y xam¸W«y 3 3   3   
  :£A–k¸lam¸b ˚ly«g√y §ÙCyic-y≈n¸–b 4   4 4  
  Total, v. 2 7 =   3 +   4 =   7 +   0
   Total, v. 1-2 14 =   7 +   7 =  14 +   0 
 3 ^lÙxAm¸b Ùm¸H ˚l¸lahÃy 3 3   3   
  :Ùl-˚r¸Gm¬zÃy rÙFnikÃw •Ot¸–b 4   4 4  
  Total, v. 3 7 =   3 +   4 =   7 +   0
  Strophe 1 Total, v. 1-3 21 =  10 +  11 =  21 +   0 
 4 ^ÙGmav¸–b h√whÃy hecÙr-yi–k 4 4   4   
  :hAv˚Hyi–b £y«w√n·v rE'ApÃy 3   3 3  
  Total, v. 4 7 =   4 +   3 =   7 +   0 
   5  Middle words (v. 5a): ^dÙbAk¸–b £yÊdyis·x ˚z¸lv¸¬y 3 3   3   
          59 = 28 + 3 + 28  :£AtÙb¸–k¸Him-lav ˚nÃFnﬁrÃy 3   3 3  
       Middle verseline and cola (v. 5) Total, v. 5 6 =   3 +   3 =   6 +   0
  Strophe 2 Total, v. 4-5 13 =   7 +   6 =  13 +   0
  Canto I Total, v. 1-5 34 =  17 +  17 =  34 +   0 
© 2008 Casper J. Labuschagne   ps149— rev 06/01/08 12:05 PM Page 1
 6 ^£√nÙrÃgi–b lE' tÙm¸mÙr 3 3     3 
  :£ﬂd√y¸–b tÙCyipyiKp bÂrexÃw 3   3   3
  Strophe 3 Total, v. 6 6 =   3 +   3 =   0 +   6
  Total, v. 3-6 26 =  13 +  13 =  20 +   6 
    7  * ^£«yÙFga–b hAm“qÃn tÙW·val 3 3     3 
  : £yiGmu'-la–b ]£yiGmu'¸la–b[ tOxEkÙGt 3/2   3   3/2
  Total, v. 7 6/5 =   3 +   3/2 =   0 +   6/5
  Total, v. 1-7 46/45 =  23 +  23/22 =  34 +  12/11 
 8 ^£y÷–q«z¸–b £ehyEk¸lam rOs¸'el 3 3     3 
  :l∆zËrab yElb¸ak¸–b £ehy„d¸–b¸k«nÃw 3   3   3
  Total, v. 8 6 =   3 +   3 =   0 +   6
  Total, v. 1-8 52/51 =  26 +  26/25 =  34 +  18/17 
 9 b˚tA–k XAKp¸Him £ehA–b tÙW·val 4 4     4 
  :–h√y-˚l¸lah   wyﬂdyis·x-lAk¸l '˚h rﬂdAh 4 4     4
  Total, v. 9 8 =   8 +   0 =   0 +   8
  Strophe 4 Total, v. 7-9 20/19 =  14 +   6/5 =   0 +  20/19
         Numerical Chiasmus v. 1-5 34 =  17 +  17 =  34 +   0
  Canto II Total, v. 6-9 26/25 =  17 +   9/8 =   0 +  26/25
   Total, v. 1-9 60/59 =  34 +  26 =  34 +  26/25 
  With the two halllelu-yahs, v. 1-9 64/63 =  38 +  26/25 
* For the enigmatic words £yiGmu'-la–b, ‘non-nations’, of the Leningrad Codex in v. 7b (occurring also in 
Psalms 44:15, 57:10, and 108:4), see the note at the end of the chart in my Analysis of Psalm 44. 
In Pss. 44:15, 57:10 and 108:4, I have chosen to read and count £yiGmu'-la–b as a single word, £yiGmu'¸la–b. 
In Psalm 149, however, the logotechnical evidence strongly suggests that the word was consciously 
intended to be read as two words, giving 60 words in total, instead of 59. In my view, it was 
deliberately written as two words to make the denigrating wordplay more concrete. It is important to 
note that the two-word reading is most functional in the context of Psalm 149, being perfectly in line 
with the leading theme of the second half of the psalm (vs. 6-9): wreaking vengeance on the foreign 
nations. This seems to suggest that the 2-word tradition originated in Psalm 149 and that the other 
instances, in Psalms 44, 57 and 108, were written in Codex L accordingly as two words.  
In my analysis, I shall discuss both the 59-word and the 60-word text. Van der Lugt and Fokkelman 
count 59 words, leaving a 60-word text completely out of consideration. Christensen, on the other 
hand, does not consider a 59-word text, but analyses a 64-word text (the 60 words of the psalm as it 
stands in Codex L + the 4 words in the two hallelu-yahs) – see his logoprosodic analysis on 
www.bibal.net/.  
Observations 
1. In terms of the 60 words of the Codex L text, the logotechnical middle is to be found in v. 
5a: the two words dÙbAk¸–b £yÊdyis·x, ‘the faithful in glory’ (60 = 29 + 2 + 29), but they do not 
meet the requirement for meaningful centre. A 59-word text, however, appears to have a 
most appropriate and probably conciously designed meaningful centre: the three words 
in v. 5a (59 = 28 + 3 + 28): 
^dÙbAk¸–b £yÊdyis·x ˚z¸lv¸¬y  Let the faithful exult in glory! 
The meaningful centre on word level falls within the middle verseline coinciding with the 
two middle cola v. 5, which buttresses its meaningfulness:  
:£AtÙb¸–k¸Him-lav ˚nÃFnﬁrÃy  ^  dÙbAk¸–b £yÊdyis·x ˚z¸l¸v¬y 
  Let the faithful exult in glory //  let them sing for joy on their beds. 
The image of the rejoicing faithful certainly represents the gist of the psalm, which is a 
triumphant song of praise: the faithful may rejoice and rest assured that under all 
circumstances YHWH, their Maker and Saviour, is with them.  
© 2008 Casper J. Labuschagne   ps149— rev 06/01/08 12:05 PM Page 2
2. The word £yÊdyis·x, ‘the faithful’, occurring also in vs. 1b and 9b, where it functions as an 
inclusion, occupies pride of place in the artithmetic middle of the text, which is not 
surprising, because it is a keyword of paramount importance. This is underscored by the 
fact that its numerical value, 60 (8 + 15 + 10 + 4 + 10 + 13) corresponds precisely with 
the number of words in the text as it stands in Codex L, reading £yiGmu'-la–b as two words.  
Let us now examine the 60-word text logotechnically and in terms of content. 
3. The 60-word text divides into two parts (cantos), tied together by a numerical chiasmus 
demonstrating their literary unity – see the chart:  
vs. 1-5    Call to Israel to praise and to rejoice in YHWH’s glory: 34 (17 + 17) words 
vs. 6-9    Filled with joy, they are urged to wreak vengeance: 26 (17 + 9) words. 
Canto I is exclusively concerned with praises of YHWH and the joy of the faithful ones in 
his glory. The delimitation of Canto I is corroborated by its 34 words carefully contrived to 
have 17 words before and 17 after atnach. It is additionally demarcated by the apparent 
inclusion formed by the keyword £yÊdyis·x , the faithful’, in v. 1b and v. 5a, and by the fact 
that it is concluded by an explicit reference to the ‘glory’ of YHWH (v. 5a).  
In Canto II we have a totally different situation: this part of the psalm deals with the stark 
reality of the precarious position of the faithful in  the world: having to execute judgement 
on the foreign nations threatening their existence. To this end, their point of departure is 
the “exaltation of God in their throats and a sword of mouths in their hand” (v. 6b). This 
metaphor signifies their first and foremost weapons, which I shall briefly explain below. 
The outcome of the struggle will be “the ‘glory’ (‘honour’, rﬂdAh) for all his faithful” (v. 9b).  
Therefore, in my judgement, the major caesura in the text is to be found between vs. 5||6 
and not between vs. 4||5, as many scholars, including Van der Lugt and Fokkelman, 
contend. V. 6, at the beginning of Canto II, represents the nexus between the two distinct 
parts and also marks the turning-point in the text.  
The interpretation of the psalm hinges on the correct understanding of the image in 
question, to which W.S. Prinsloo and Joshua Berman have recently contributed.∗ Though 
I do not agree with their division of the text, vs. 1-6a and vs. 6b-9, assuming with the 
New American Bible a break between vs. 6a||6b, their other insights proved to be helpful.  
In my opinion, v. 6 as a whole represents the nexus between Canto I and Canto II – and 
not particularly v. 6b, as claimed by Berman. V. 6a concludes the purely laudatory 
activity of the organs of speech, while v. 6b introduces a metaphorical activity: the ‘sword 
of mouths’, signifying the potency of speech as a weapon. At the same time, it denotes 
the primary instrument for the execution of justice, the conventional double- (or multi-) 
edged sword, to be followed by chains and iron shackles.  
The delimitation of Canto II, vs. 6-9, is logotechnically supported by its 26 words, with 17 
before and 9 after atnach. In addition, it is concluded by the rﬂdAh (‘glory’, ‘adornment’), of 
YHWH’s faithful (v. 9b), precisely as YHWH’s dÙbAk (‘glory’) concludes Canto I (v. 5a).  
                                                
∗ W.S. Prinsloo, “Psalm 149: Praise Yahweh with Tambourine and Two-edged Sword”, ZAW 109 
(1997), pp. 395-407, and Joshua Berman, “The ‘Sword of Mouths’ (Jud. iii 16; Ps. cxlix 6; Prov. v 4): A 
Metaphor and its Ancient Near Eastern Context”, VT 52 (2002), pp. 291-303. 
© 2008 Casper J. Labuschagne   ps149— rev 06/01/08 12:05 PM Page 3
The 7 acts performed by the faithful – arranged in a menorah pattern with the 
punishment of the peoples at the centre - are additional evidence for the unity of Canto II: 
 1. they have exaltations in their throats (v. 6a) 
   2.   they have a sword of mouths in their hands (v. 6b) 
    3.    they will wreak vengeance on the nations (v. 7a) 
     4.     and punishment on the peoples (v. 7b) 
    5.    they will bind their kings with chains (v. 8a) 
   6.   and their nobles with iron shackles (v. 8b) 
7. they will execute the judgement decreed against them (v. 9a). 
V. 9b, which does not feature in the series of the 7 acts, is clearly designed as a coda. 
Compare the coda of Psalm 148 – see Observation 5 in my Analysis of Psalm 148. 
4. In the 60-word text, the kabod number 23 and the divine name numbers feature in the 
following way: 
vs. 1-5  34 words in total, with 17 before and 17 after atnach 
vs. 3-6  26 words in total 
vs. 1-7  46 words in total, with 23 before and 23 after atnach 
vs. 1-8  52 words in total, with 26 before and 26 after atnach 
vs. 6-9  26 words in total, with 17 before atnach 
vs. 1-9  34 (2 x 17) words before and 26 after atnach 
vs. 1-9  34 (2 x 17) words in Column c and 26 in Column d.  
5. The explicit reference to the dance and its accompanying musical instruments in v. 3 
clearly serves to prelude the 10 musical instruments in Psalm 150. There we find two 
animated instruments: the ‘dance’ (the 5th), and ‘everything with breath’ (the 10th). 
Compare Observation 4 in my Analysis of Psalm 150.  
6. The name hwhy appears 2x (vs. 1a an 4a) and lE' once (v. 6a); the form –h√y occurs 2x (in 
each of the two hallelu-yahs). 
  
© 2008 
Dr. C.J. Labuschagne 
Brinkhorst 44 
9751 AT  Haren (Gron) 
The Netherlands 
labuschagne.cj@planet.nl 
 
Senior Lecturer in Semitic Languages (retired), 
University of Pretoria, South Africa 
and  
Professor of Old Testament (retired), 
University of Groningen, The Netherlands 
 
 
© 2008 Casper J. Labuschagne   ps149— rev 06/01/08 12:05 PM Page 4


Psalm 149

Psalm 145

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