By Les D. Maloney
A observe Fitly Spoken explores major poetic units in the 4 alphabetic acrostic psalms present in e-book I of the Psalter. nearly all of scholarly opinion has been that those acrostics are poetically and artistically poor as a result of the writers’ and editors’ preoccupation with the alphabetic development. not like this view, A notice Fitly Spoken proposes that the acrostic trend contributes to, instead of detracts from, the poetic artistry of those psalms. so one can advertise a holistic, canonical studying of the 4 acrostic poems inside booklet I of the Psalter, this research additionally examines the linguistic and grammatical connections in the textual content. this sort of shut interpreting again and again demonstrates the emotive energy and the mind's eye of this literature in contradiction to its supposedly stiff, wood nature. A notice Fitly Spoken is attuned to the common performs on be aware and sound that take place all through those 4 poems and as such will be helpful in graduate classes on biblical interpretation, Hebrew poetry, or the Psalms.
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Additional info for A Word Fitly Spoken: Poetic Artistry in the First Four Acrostics of the Hebrew Psalter (Studies in Biblical Literature, Volume 119)
This psalm is no thanksgiving song, and it is also not a hymn and not a wisdom song. 93 16 A Word Fitly Spoken Thus Crüsemann puts forth the idea that in the acrostics there is a mixture of types and so one cannot legitimately place each of them into one of the main types established by form-critical analysis. , laments, hymns, thanksgiving songs, wisdom psalms, etc). Crüsemann’s focus, however, is still primarily form-critical and historical and not literary or poetic. He places the movement towards the “mixture” of forms/types within the wisdom schools.
The functions just listed have to do with emphasis in one fashion or another. 21 In Ps 9:2–3 this double poetic device appears to emphasize not only the beginning of the poem but also to emphasize the heart-felt praise for Yahweh’s glory. The second and third poetic devices to be noted in Ps 9 are to be found in vv 4–7, 18–19 and involve the artistic component of repetition. According to N. H. 22 There also appears to be chiastic-type paralleling involved in the repetition of key terms in the verses following v 4 and also v 18.
70 Rudolf Kittel’s commentary of 1914 is also important for this survey. Kittel drafts several excurses on important topics as he works his way through the Psalter. One such brief excursus addresses the question of the rationale behind the alphabetic acrostics. 71 Nevertheless, he does not believe that is the primary function. Instead, the acrostic pattern was used by the psalmists because of the magical connotations associated with the alphabet in antiquity. He says: Finally, probably the origin of the acrostic in magical practice, however, has already been forgotten—the attaching of value to letters as such and in addition their fitting together of certain words, for example, sacred names.