11. 8, 10;

1. 9. At the beginning of six ll. of 4518-16 the words end in . —Ps. 143 has in ten 11. the first and last words in, before caesuras 7. 144B has assonance in every word of the tetrameter hexastich; all the words of ll. 1, 3, 5 end in ; those of 2, 4, 6 in . The later scribes and editors did not care for this ornament of style, and so obscured it and even effaced it partly by changing the order of words in the sentence, or by glosses of various kinds.

(E) The Pss. were also arranged in regular strophical organization, as was indeed almost necessary for musical rendering in early lyric forms of song. The reason why this has not been evident is that the liturgical glosses of later times have obscured or destroyed them. These strophes are of great variety as coming from so many different authors and so many different periods of time. Strophes may be simple or complex, just as in the case of parallelism of lines. The simple strophes are of few lines of one kind of parallelism. The complex strophes have more lines and two or more kinds of parallelism. In this case the connection of thought is usually clear. The strophical divisions may be determined by a more decided separation in the thought of the poem. Sometimes it is not easy to distinguish between the lesser and greater separations because of a lack of familiarity of modern scholars with the delicate shades of parallelism, which constituted the most characteristic feature of Hebrew thought; and because of the prejudices due to other rhetorical and logical uses of Western races and modern times. The simple strophes of one kind of parall. only are not common. They tend to a monotonous style. The usual method in the strophe is to combine the several kinds. This puts at the disposal of the poet a very great variety of combinations. These will appear in the commentary on the particular Pss. As Lowth well says: "A happy mixture of the several sorts gives an agreeable variety, and they serve mutually to recommend and set off one another." (Prelim. Diss. to Isaiah, p. xxvi.) I may, however, sum up the results of my investigation of the strophical structure of the Pss. as follows:

The Strs. are arranged on the same principles of parallelism as the ll., in all its varieties. Poems of single Strs. are uncommon. The most frequent structure is the pair of Strs. frequently doubled in two pairs, rarely as eight and sixteen Strs. The triplet of Strs. is also common, less frequent its multiples of six,

10-12

-3.5-9a

nine, and twenty-four Strs. There are also poems of five, and its multiples, ten, fifteen, and twenty Strs. Poems of seven Strs. are uncommon. Poems of eleven and twenty-two Strs. are limited to alphabetical poems. I do not attempt to separate the glosses in the verses given below. Duplicates are not counted. (1) Poems of single Strs. are the Pilgrim Pss., 123, 125, 1271-2 1273-5 128, 131, 133, 134. There are only four others: 15, 362-5 117, 14412-15, which have special reasons. (2) Poems with a pair of Strs. are fifty in number: 1, 7, 8, 11, 13, 192-7 198-15 20, 21, 241-6 247-10 271-6 32, 366-10 39, 4014-18 (= 70), 49, 52, 54, 576. 8-12 (= 1082-5), 58, 59, 62, 65, 6613–20 72, 79, 812-66 8947-52 951-6 957-11 101, 10218-29 110, 114, 120, 121, 122, 124, 126, 129, 130, 136, 13917-22 142, 143, 1441-2. 7-11 1471-6 1477-11 150. Poems with four Strs. are thirty-one in number: 2, 3, 4, 6, 12, 26, 30, 33, 402-12 41, 44, 48, 51, 56, 603-7. 126-14 608-12a (= 1088-14) 71, 7717-20 816-15 83, 85, 91, 92, 1022-12 107, 113, 1151-8 1182-7. 132, 141, 148. Poems of eight Strs. are: 17, 68, 116; of sixteen Strs. 894-5. 18-46. (3) Poems of three Strs. are thirty-six in number: 16, 23, 25, 277-12 28, 34, 35, 42-43, 45, 46, 50, 552-3. 5596-16. 96-16. 21-24 572-5 61, 63, 64, 661-9 67, 692-7. 14-19. 30-32 76, 82, 84, 87, 88, 1159-16 11819-26 135, 137, 138, 1397-12 140, 145, 146, 14712-21 149. Poems of six Strs. are: 18, 75, 892-3, 6-15 90, 94, 1091-5. 16-18. 21-27 1391-6. 13-16. 23-24. Poems of nine Strs.: 74; of twentyfour Strs.: 105-106. (4) There are twelve poems of five Strs.: 5, 14 (= 53), 22, 29, 31, 38, 47, 698-13. 20-29 772-16 80, 86, 1096-15. There is also one of ten Strs.: 73; one of fifteen Strs.: 93 +96-100; and one of twenty: 78. (5) There are three poems of seven Strs.: 37, 103, 104. (6) Alphabetical poems are two of eleven Strs.: 111, 112; and two of twenty-two: 9-10, 119. These Strs. vary in number of 11. and in combinations of parall. The Refrains are not counted in the Strs. (1) The only apparent monostichs are in alphabetical Pss.: 25, 34, 111, 112, 145. But these are not really monostichs, but ll. grouped in several kinds of stichs: 25, 34, 145 heptastichs; 111, 112, distichs. (2) Distichs are not common in the Psalter. They are more appropriate to sentences of Wisdom. There are, however, five: 14 (= 53), 62, 661-9 III, 112. (3) Tristichs are not common: 17, 74, 75, 7717-20 87, 116. (4) The tetrastich is the most frequent lyric form. There are sixtytwo of them: 3, 4, 5, 9-10, 12, 13, 23, 26, 277-12 28, 29, 30, 4014-18 (= 70), 47, 48, 552-3. 5-9 572-5 576.8-12 (= 1082-6), 603-7. 126-14 608-12a (= 1088–14), 61, 63, 65, 73, 78, 816c-15 82, 86, 892-3. 6-15 894-5. 18-46 94, 101, 103, 105-106, 1096-15 1091-5. 16-18. 21-27 113, 1151-8 117, 11819-26 120, 121, 122, 123, 124, 125, 126, 1271-2 1273-5 128, 129, 130, 131, 132, 133, 134, 137, 1391-6. 13-16. 23-24 1397-12 13917-22 141, 1441-2. 7-11. (5) There are thirteen pentastichs: 6, 31, 32, 366-10 402-12 41, 559 96-16. 21-24 64, 67, 812-56 90, 110, 143. (6) There are forty-three hexastichs: 1, 192-7 198-15 271-6 362-5 37, 38, 46, 50, 52, 54, 56, 68, 692-7. 14-19. 80-82 698-13. 18. 20-29 76, 772-16 79, 80, 84, 85, 8947-52 92, 93 + 96–100, 951-6 957-11 1022-12 10218-29 114, 1159-16 1182-7. 10-12 135, 136, 138, 140, 14412-15 146, 1471-6 1477-11 14712-21 148, 149, 150. (7) There are nine heptastichs: 2, 25, 34, 39, 6618-20 71, 72, 91, 145. (8) There are nine octastichs: 8, 11, 16, 20, 44, 58, 83, 104, 119. (9) There is one nonastich: 42-43. (10) There are

:

seven decastichs: 7, 15, 22, 33, 35, 51, 142. (11) There are four duodecastichs 21, 59, 88, 107. (12) There are two fourteen-lined Strs.: 18, 49. (13) There are several Pss. with varying Strs., 241-6 247-10, with responsive choirs. Ps. 45 has Strs. of increasing length with Rfs. and measures varying as the Song of Deborah, Ju. 5.

The credit of calling the attention of scholars to the strophical organisation of Hebrew poetry is usually given to Köster (Das Buch Hiob und der Prediger Solomos nach ihrer strophischen Anordnung, 1813; Die Psalmen nach ihrer strophischen Anordnung, 1837; and especially Die Strophen oder Parallelismus der Verse der Heb. Poesie, S. K. 1831). But in fact many older scholars had recognised the strophe and antistrophe in Hebrew poetry; so especially Anton. Even Lowth pointed out that there were stanzas of different numbers of lines (Prelim. Diss. to Isaiah). Köster builds on Lowth's system of parallelism and maintains that groups of verses are arranged on the same principles of parallelism as the verses themselves, and thus he gets various kinds of strophic parallelism corresponding with the various kinds of parallels of lines. He distinguishes (1) word strophes, (2) thought strophes, (a) synonymous, (6) antithetical, (c) synthetic, and (ɗ) identical. In this he is essentially correct. De Wette, in the fourth edition of his Commentary, 1836, recognises that about all the Psalms are divided into strophes; so Ewald, Olshausen, Delitzsch, and others in their Commentaries. There were, however, great differences of opinion as to the principles for determining the strophical organisation, as these scholars, one and all, made the strophical divisions dependent upon their opinions of the most important breaks in the thought of the poems. If they had built on Köster they would have been more successful. D. H. Müller (Die Propheten in ihrer ursprünglichen Form, 1895, Strophenbau und Responsion, 1898) classified the strophes under the terms, responsion, concatenation, and inclusion. As I said in 1899 (SHS. 399) : "There is nothing new in his theory but the terminology and some of the illustrations. Responsion is simply the antithetical parallelism of strophes, concatenation is the stairlike parallelism of lines used in strophical relations, and inclusion is the introverted parallelism of strophes. I have taught all this for thirty years and given the doctrine of the strophe in the writings above referred to." Müller was hardly justified in objecting to Zenner (Chorgesänge im Buche der Psalmen, 1896) as appropriating his ideas, for they were common property, the inevitable result of the application, since Köster, of the principles of parallelism to strophes. Rather Müller himself was to blame for not properly recognising the work of his predecessors, which would have shown him that his views were not as original as he supposed.

(F) There are also Refrains which some poets use in connection with the various strophes of their poems. These are of several kinds: (a) they are often identical in thought and expression; ()the thought is the same but its expression varies; (c) the

thought and expression both vary; (d) a number of Pss. were composed and arranged for singing by responsive choirs; and (e) some for solo voices and choruses.

(a) Ps. 39 has 2 Str. 75 with identical Rf. 15; Ps. 42-43 has 3 Str. 95 with identical Rf. 35. The following also have identical Rfs.: 46, 49, 56, 59, 62, 80, 85, 116, 144a. (b) Ps. 8 has an identical couplet of Rf.; but it is before the first Str. and after the second Str., on the principle of inclusion or introverted parallelism, so 57B(= 1084), cf. 58. Ps. 107 has double Rfs. (c) Ps. 45 has 3 Str. of increasing length, 2, 6, 18, with a Rf. of one line at the close of each beginning with an identical term, but varying in thought and expression in other respects. Ps. 664 has two Str. couplets, each introduced by a Rf. varying only in expression. The following Pss. are uniform in structure, with varying Rfs., 50, 84. (d) Pss. 20, 21 were sung by responsive choirs. The Rfs. vary in expression. They are trimeter couplets following 2 Str. 83 in Ps. 20, and 2 Str. 123 in Ps. 21. Ps. 247-10 was also arranged for responsive choirs with Rfs. in which there is identical expression in part, and in part variation. Pss. 118A 118B were also arranged for responsive choirs. (e) Ps. 15 has a couplet of inquiry, followed by a decalogue of moral requirement and a monostich of conclusion. Ps. 241-6 has a similar variety of inquiry, response, and statement. The recognition of Refrains and responsive choirs in the Psalter has been quite general. But there has been a great difference of opinion as to particular Pss. Zenner (Chorgesänge im Buche der Psalmen, 1896) pushes responsion to extraordinary lengths, and includes in his scheme a large number of Pss. that give no other suggestion of responsive choirs than the principle of responsion, which is, as we have seen, rather a characteristic of one kind of parallelism of Strophes as well as lines of Hebrew poetry. At the same time it is quite possible that the choirs of temple and synagogues made a more extended use of responsive singing than has ordinarily been supposed. This feature of responsion of Strophes certainly made such responsive singing easier; cf. Condamin, Le Livre d'Isaie, 1905. The attempt of Baumann (ZDMG. 1905, S. 129 sq.) to discredit the Rf. is based on false conceptions of the nature of a Rf., and is made in such a way as to discredit rather the author.

§ 13. Several Pss. give evidence that they were parts of longer

Pss.

(1) Pss. 9 and 10 were originally one alphabetical Ps., as indeed they are given in 6, V, and in the uses of the Roman Catholic, Greek, and Syriac Churches, making a difference of numbering of one less Ps. from Pss. 10-113. Ps. 9 in the order of the alphabet reaches the Str. with , Ps. 10 begins with > and continues the alphabetical structure to the end. However, there are several Strs. in which the letter has been lost, partly through mistake, partly from the intentional substitution of other words and sentences by editors.

(2) Pss. 42 and 43 were originally one. This is evident from the Rf., which comes twice in 42 and once in 43, and from the fact that the measures, strophical organisation, and entire character of the Pss. are the same. (3) Pss. 93, 96-100 were originally parts of a great royal advent Ps. of fifteen trimeter hexastichs. It was broken into six Pss., and these were edited with many changes for liturgical purposes. Even in in twelve codd. 93 is part of 92, in nine codd. 95 of 94, in four codd. 96 of 95, in fourteen codd. 97 of 96, in eight codd. 99 of 98. (4) Pss. 105 and 106 were originally one, each having twelve trimeter tetrastichs. (5) also divides 116 and 147 into two Pss. each, followed by V, so that 117-147 H, EV*., are numbered differently from 6, V. 148–150 have the same number in all.

§ 14. Many Pss. are composite of two or more original Pss. or parts of Pss. combined for liturgical purposes. Usually the original Pss. were of different poetic structure, and they are combined in various ways by editorial seams.

(1) Ps. 19 is composed of an early trimeter morning hymn in praise of the sun, v.2-7, and a late pentameter in praise of the divine Law, v.8-15. (2) Ps. 24 is composed of an original choral, v.7-10, and a later ethical Ps., v.1-6. (3) Ps. 40 is composed of an original Ps., v.2-12, of four pentameter pentastichs, to which was appended v.18 sq. = = Ps. 70 with editorial modifications. (4) Ps. 60 is composed of v.8-124, an ancient piece, and v.3-7. 126-14, a more modern one. Ps. 108 is composed of v.16 578-12 and v.7-14 = 607-14, not that this Ps. actually used parts of 57 and 60, but that it used one of the originals of each of these Pss. (5) Ps. 89 is composed of a paraphrase of the Davidic covenant in four parts, each of four trimeter tetrastichs, v.4-5. 18-46; a much later tetrameter poem of six tetrastichs in praise of the fidelity of Yahweh in the creation and government of the world, v.2-3. 6-15. These were combined at a still later date, and given a conclusion of two tetrameter hexastichs expressing an intense longing for divine interposition, v.47–52. (6) ☎, S, and even Ki. combine 114 with 115 in their 113; but in fact 115 is composed of four trimeter tetrastichs, v.1-8, and three trimeter hexastichs, v.9–16. (7) The following Pss. are also composite of two or three earlier Pss.: 27, 36, 55, 57, 66, 69, 77, 81, 95, 102, 109, 118, 127, 139, 144, 147.

§ 15. Many early Pss. have been adapted by editors of the several minor and major Psalters for later use by glosses of various kinds. These are usually in different measures from those of the Pss.; and frequently the persons and numbers of nouns and verbs differ from those of the original poems, as if the editors would carefully distinguish their additions from the originals.