Between Sheol and Temple: Motif Structure and Function in by Martin Ravndal Hauge

By Martin Ravndal Hauge

As opposed to conventional cultic and sociological interpretations of the 'I' Psalms, this unique learn stresses the 'I' as a literary determine. but nonetheless, the ancient curiosity of the conventional versions is retained, the following with emphasis on 'original' functionality and motive. there's a universal set of crucial motifs with regards to the 'I'-figure, most simply discernible whilst touching on different types of locality. The 'I' is depicted in a sacred panorama of contrasting localities-'Sheol' and 'Temple' hooked up by means of the concept that of 'Way'. This motif constitution deploys an ideological language within which the 'I' determine is an embodiment of a non secular paradigm, that attests a technique of actualization and integration. The religiosity of those texts is of a paranormal personality, pointing to a few non secular perform of severe own personality aimed toward adventure of a divine fact. without doubt the social place of such adventure used to be one of the elite, yet a few texts trace at a potential 'democratization' of the spiritual perform they portray.

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Extra resources for Between Sheol and Temple: Motif Structure and Function in the I-Psalms (The Library of Hebrew Bible - Old Testament Studies)

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Thus, the prayer represents the indirect application—in subjunctive form—of the religious truths confessed in the hymn. The use of the nominal qualifications—which 'really' belong to the stating sentences in the third person—in the introductory prayer v. 11 is a concrete expression for the material connection between the paradigmatic situation as stated in vv. 8-10 and the individual situation of the I in v. 12. Within this compositional development, the prayer represents an application in subjunctive form; the I asking for the fate of the paradigmatic figures.

13a and v. 9a related to the following sentences, these elements point to a composition of four parts: vv. 2-4 (2 line MT), vv. 4 (3 line)-8, vv. 9-12, and v. 13. This would suggest a formal structure of I-forms, beatitudes, I-forms, beatitude (with the third-person statement v. 12 preparing the final beatitude). In any case, this relationship shows that vv. 5 and 6ff. do not refer to sociological phenomena of different groups of people. The two beatitudes are materially parallel, referring to the same type of blessed person.

In the introductory prayer v. 11, the nominal terms 'those who know you' and 'the upright in heart' correspond to the qualifications of Psalms 140 and 84. In the present context of prayer and the preceding hymn (cf. below), the sentences are closely related. And the relationship is stressed by the concluding sentence v. 13, where the term 'those who do evil' corresponds negatively to the nominal qualifications of v. 11. Given this background, we can conclude that the individual forms represent some common basic material.

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