The potential success of rhetorical critricism lies in the fact that thedevices and symmetries that are present in a poem are not merely deco-rationsesthetically pleasing ornaments surrounding the meaningbutare pointers or signs which indicate what the meaning is.
To understandhow a poem is constructed is to begin to understand what it expresses. Lowth, De sacra poesi hebraeorum Oxford, University Press, , p. Berlin, 'The Rhetoric of Psalm ', in A. Kort and S. It has become clear in recent years that the phenomenon ofparallelism and repetition in the Psalter must be extended beyond thatof individual poems to the surrounding psalms and finally the entirecollection.
The ordering and shaping of the collection casts the individ-ual psalms in a new light, even beyond that discerned through rhetoricalcriticism. Such a focus moves from what the individual poem expressesto a meaning implied by the final compilation, the latter becoming asingle 'text'.
Consequently, the study of the final shape of the Psalter issimply a recognition that parallelism is not restricted to the individualpoem. Muilenburg's challenge thirty years ago was to supplement formcriticism with rhetorical criticism, or in his own words, 'form criticismand beyond'. The original dissertation from which this work is derived examinedparallelism and repetition from the level of individual cola whereabundant phonetic or sound repetition was observed , to bicola oroccasional tricola , verse paragraphs, strophes, complete psalms, andfinally the stretch of psalms from 73 to 89 known as Book III.
Often rhetorical analysis of individual poems contributes to under-standing their role in the continuing dialogue that is Book III.
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Forinstance, the rhetorical analysis of Psalm 79 leaves vv. Similarily, the first rhetorically defined strophe of Psalm 73 is the mostdirect response to the previous Psalm 72, while the last two strophes of73 clearly anticipate Form criticism is a method of recategorizing the psalms according to genre,. Psalms 86 and 88 are classified as individuallaments, but in the present study an analysis will be made to understand why Ps. A form critic would presumably lumpPss.
Study of the canonical shape of the Psalter was greatly advancedmore than a decade ago in a study by Gerald Wilson. Without denying theexistence of previous collections, I feel it is possible to show that thefinal form of MT is the result of a purposeful, editorial activity whichsought to impart a meaningful arrangement which encompassed thewhole. As can be seen, much of his attention was directed to the superscrip-tions numbers , which are especially relevant to Book III.
Therethe superscriptions contain authorship ascriptions which serve also tobind or separate psalm groups. Psalm 72, the final psalm of Book IIrefers to Solomon, while Psalm 73, the beginning of Book III, containsno link to the previous psalm either in author designation or genre. Thiscorresponds to the book division indicated by the doxology at the endof Psalm There are, nonetheless, highly instructive verbal parallelsbetween 72 and 73 revealing the contrast between eschatologicalpromises in the former to the present distress of the latter.
A recent work edited by J. McCann is another sign of the interestgrowing in the final shape of the Psalter. As Walter Brueggemann there. Through the structure given to the book, the redactor of the Psalter hastherefore quite clearly revealed his interpretation of the Psalms. In thisregard it is worth noting first of all that the Psalter now no longer appearsas a more or less ordered collection of individual psalms, but rather has. More recently Erich Zenger and Frank-Lothar Hossfeld have begun acommentary on the psalms in which the canonical shaping is taken veryseriously:.
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This recent interest in the final shape has not been without itsscattered precursors. In the last century Franz Delitzsch addressed theissue in the introduction of his commentary, under the title 'Arrange-.
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Brueggemann, 'Response to James L. Mays, "The Question of Con-text" ', in J. McCann ed. Author's translation of 'Durch die dem Buch gegebene Rahmung la'Bt derRedaktor des Psalters also recht deutlich seine Auffassung von den Psalmen erken-nen.
The Shape and Message of Book III (Psalms 73-89) (JSOT Supplement)
An ihr ist zunachst bemerkenswert, daB der Psalter nun nicht la'nger als einemehr oder weniger geordnete Ansammlung von einzelnen Psalmen erscheint, son-dern als ein Buch, ein Ganzes vorgestellt wird. Emerton ed. Brill, , pp. Author's translation of 'Das biblische Buch der Psalmen ist eine Zusam-menstellung von poetischen Texten unterschiedlicher Herkunft und Zeit, dieeinerseits als Einzeltexte und andererseits als Teiltexte grb'Berer Psalmengruppenbzw. Hossfeldand E. Emmanuel Cassutto referred to Delitzsch in anaddress where he explored the arrangement of the psalms, and lamentedthe fact that Delitzsch's comments were forgotten by most commenta-tors.
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Have an Access Token? Enter your access token to activate and access content online. Please login and go to your personal user account to enter your access token. Have Institutional Access? Forgot your password? PDF Preview. Table of Contents. Related Content. By focusing the analysis on variant readings and textual difficulties, the study arrives at a better understanding of these manuscripts as representatives of both the text and the content of Lamentations. Author: Edward Glenny. This book offers a thorough analysis of the translation technique and theology of LXX-Amos, which will be valuable for those studying LXX-Amos and for those doing textual criticism in the Hebrew text of Amos.
It analyzes the literalness of the translation, the rendering of difficult and unknown words, and the rendering of visually ambiguous phenomena, like homonyms, homographs, and word divisions. The evidence suggests the translator worked from a text very similar to the MT.