Grace Theological Journal 5.2 (1984) 247-269
[Cited with permission from Grace Theological Seminary;
digitally prepared for use at Gordon and Grace Colleges and elsewhere]
RESTORATION AND ITS BLESSINGS:
A THEOLOGICAL ANALYSIS
OF PSALMS 51 AND 32
JACK BARENTSEN
Psalms 51 and 32 arose out of the same historical circumstances
but reflect a different time of composition. Both psalms, however, are
highly structured; this is indicated by various features such as paral-
lelism and chiasm, repetition of key terminology, and important
structural markers. These point to a twofold division in each psalm.
The second division of each psalm contains the main thrust in the
flow of thought, so that renewal and praise (Psalm 51) and teaching
sinners God's ways (Psalm 32) are the prominent ideas.
This essay uses structural analysis as a tool for contextual analy-
sis of the two psalms. John Callow's A Semantic Structure Analysis
of Second Thessalonians1 serves as the model for the work under-
taken here. The advantage of structural analysis is its assumption that
human thought is organized; thus, an analysis of the structure of bib-
lical texts should prove very helpful as a tool for biblical theology
(see appendix).
* * *
INTRODUCTION
Methodology
THE task of combining exegesis and theology is one of the most
difficult but also one of the most fruitful challenges in biblical
studies. It requires the interpreter to make the detailed observations
resulting from exegesis yield theological conclusions, while avoiding
the proof-texting method typical of some systematic theologies. I
have therefore endeavored in this study to avoid details which would
distract from the goal of contributing to a biblical theology of sin and
l Ed. by Michael F. Kopesec (Dallas: Summer Institute of Linguistics, 1982).
248 GRACE THEOLOGICAL JOURNAL
man, while elaborating on those details which support my reconstruc-
tion of the flow of thought in the psalms.
In order to avoid unnecessary detail, a method of contextual
analysis as developed by associates of Wycliffe Bible Translators will
be used.2 Accordingly, the structure of the psalms is analyzed first.
The results of this analysis are presented in an overview chart which
indicates the relationships between the various constituents (that is,
divisions, subdivisions, etc.) of the psalms.
After the structural analysis, the flow of thought of the psalms is
surveyed in order to arrive at an understanding of the meaning. How-
ever, since it exceeds the boundaries of this study to delineate all the
evidence for a proper understanding of the psalms, only evidence
relevant to the biblical theological argument will be adduced. The
results of this analysis of meaning are synthesized in a thematic out-
line. This outline contains constituent titles, which identify the number
of verses concerned, the type of unit these verses represent (division,
section, paragraph cluster, paragraph, etc.; these units do not neces-
sarily conform to the more technical use in Callow's Second Thessa-
lonians, but rather serve here as convenient labels for the hierarchy of
constituents), and the role this constituent plays in the flow of
thought of the psalms, indicated by the term "role." The outline also
describes the contents of each constituent, the "constituent theme."
These themes differ from common phrase outlines in that they repre-
sent both in form and wording the content of the verses; that is, the
themes will consist of full sentences of a grammatical structure analo-
gous to the verses represented. This will in turn provide the appro-
priate basis for a theological analysis of the psalms.
Background of Psalms 51 and 32
These psalms have traditionally been identified as two of the
seven penitential psalms.3 The others are Psalms 6, 38, 102, 130, and
143. Of these, Psalm 51 is perhaps one of the finest examples of a
penitential psalm, while Psalm 32, although more didactic, still fits
the same mold.
Psalm 51, as shown by vv 1-2,4 concerns David's sin with Bath-
sheba which is described in 2 Samuel 11 and for which David was
rebuked by the prophet Nathan in the 12th chapter. Although these
titles may not be original with the composition of the psalms, they at
least represent an early tradition. Assuming an early date for the
2 See Callow, Second Thessalonians, 1-15.
3 Norman Snaith, The Seven Psalms (London: Epworth, 1964) 9,
4 Throughout, the Hebrew verse enumeration will be followed. Thus, the title will
include vv 1-2, while the psalm itself starts with v 3 and runs through v 21.
BARENTSEN: PSALMS 51 AND 32 249
psalm and Davidic authorship, there is no problem accepting the
accuracy of the title.
Psalm 32 is also Davidic, but the title does not include informa-
tion about the setting as does the title of Psalm 51. Most commenta-
tors associate this psalm with the same series of events relating to
David's sin. But there is a clear difference of style and mood between
the two psalms. It seems that Psalm 51 represents the immediate out-
cry of David after Nathan's rebuke, while Psalm 32 was composed
later after more reflection on these experiences.
This connection can be substantiated internally. In Ps 51:15,
David vows to teach sinners God's ways upon being granted the res-
toration of the joy of his salvation. In Ps 32:8 David fulfills this vow
by giving instruction in the way people should walk.5 Other observa-
tions also suggest this. Psalm 32 is more didactic, with its well
thought-out contrasts, while Psalm 51 seems more emotional. This
would indicate that Psalm 32 was written after some reflection upon
the event, while Psalm 51 mirrors David's turmoil in guilt. It is there-
fore reasonable to believe that Psalm 51 is the earlier of the two
compositions.
On the other hand, it must be noted that the emotional flavor of
Psalm 51 does not imply a lack of reflection. Dalglish, in his monu-
mental work on this psalm, has pointed out many parallels with
other ancient Near Eastern literature, Egyptian as well as Sumero-
Akkadian.6 Thus, it may well be that Psalm 51 belongs in a category
of highly structured literature apparently common throughout the
ancient Near East; this kind of composition used certain traditional
expressions to indicate submission to a superior and repentance on
the part of a subordinate.
But if "the Hebrew psalms of lamentation are indebted to the
Sumero-Accadian, they have in turn contributed their own most de-
finitive creativity in their formulation."7 Thus, none of the theological
biases of the ancient Mesopotamian religions need have influenced
Hebrew common Psalmody. In addition, even if Psalm 51 follows a
traditional pattern, that does not diminish the emotional value of the
poem. Rather, it heightens the genius of the poet who was able to use
certain set forms to convey such deep emotional struggles.
In this study, ancient Near Eastern parallels will not be consid-
ered, not because they may not be valuable, but because they are not
germane to our topic.
5 See F. Delitzsch, Biblical Commentary on the Psalms, vol. 1, trans. F. Bolton, in
Biblical Commentary on the Old Testament (reprint; Grand Rapids: Eerdmans, 1970)
398.
6 Edward R. Dalglish, Psalm Fifty-One in the Light of Ancient Near Eastern Pat-
ternism (Leiden: E. J. Brill, 1962).
7 Ibid., 277.
250 GRACE THEOLOGICAL JOURNAL
PSALM 51
Structural Analysis: Divisions of the Psalm
Many expositors of Psalm 51 (as well as of many other passages
in Scripture) fail to account for the structure simply because they do
not recognize it. For instance, Harrison8 states that rigid analysis of
the psalm is difficult because of the emotional upheaval. "David inter-
mingled and repeated the petitions which clamored for utterance." It
is quite true that Psalm 51 is strongly emotional, but this does not
imply that the psalm was "blurted out" as it came to David's mind.
Dalglish takes another approach. Analyzing the literary features
of Psalm 51 in the light of ancient Near Eastern parallels, he develops
a strophic structure based on observations about meter, and on this
builds an outline to describe the logical flow of thought in the psalm.9
Although this approach has a certain validity, a more careful analysis
can be done on the basis of the internal coherence of the text. First,
to build an outline on strophic structure is somewhat hazardous
because of the uncertainties about meter and strophes in Hebrew poe-
try. Instead, an analysis of the parallelisms in the psalm is likely to
yield more accurate results. Second, word repetition within the psalm
is not accounted for in Dalglish's method. But repetition of key terms,
coupled with the use of structural markers such as "therefore," "since,"
"and," and so on, is one of the more obvious tools available to the
poet.
There is little doubt that there are three main divisions in the
psalm. Vv 1-2 are recognized as the title and setting, while vv 20-21
are generally seen as material extraneous to the psalm proper. Some
even go so far as to state that the last two verses are a later liturgical
addition;10 even if this is not true, it must be acknowledged that
vv 20-21 manifest a shift in thought from the body of the psalm,
vv 3-19.
The main body of the psalm rather easily falls into two sections.
The shift of terminology from one section to the other is the clearest
distinguishing feature of the two sections. Vv 3-9 are primarily con-
cerned with sin, purity, and cleansing, while vv 12-19 are more
concerned with restoration and renewal of heart and spirit, as the
following list based on Auffret's analysis shows:11
8 E. F. Harrison, "A Study of Psalm 51," BSac 92 (1935) 29.
9 Dalglish, Psalm Fifty-One, 77-81.
l0 Ibid.,77.
11 Auffret, "Note sur la Structure litteraire de PS LI 1-19," VT 26 (1976) 145.
BARENTSEN: PSALMS 51 AND 32 251
VV 3-9 vv 12-19
fwp -- 3, 5 bl -- 12, 19
Nvf -- 4, 7 Hvr -- 12, 13, 14, 19
xFH -- 4, 5, 6, 7, 9 xrb -- 12
fr -- 6 wdH -- 12
sbk -- 4, 9 bvw -- 14, 15
rhF -- 4, 9
In addition to these differences in terminology, note that vv 12-19
contain another theme (not elaborated by Auffret). Nww (vv 10, 14)
and HmW (v 10) speak of joy and gladness; dml (v 15) and Nnr (v 16)
expand the theme by turning joy into testimony; hlht and hpw (v 17)
further the idea by turning to praise; and NypH and hcr (v 18) with the
negation of hzb (v 19) show how these things are desired by God.
This survey of terminology shows that the movement of the psalm
is from pardon of sin in vv 3-9 to the restoration of the heart in
vv 12-19.12 But the latter section also describes in considerable detail
man's reactions to God's restoration. The theme, then, may be more
appropriately identified as praise resulting from God's restoration of
the soul.
So far, vv 10-11 have not been considered. These verses seem
out of place, because v 10 already is concerned with joy, the theme of
vv 12-19, while v 11 still cries out for forgiveness, the theme of vv 3-
V 11 uses xFH and Nvf, as in vv 4, 5, 6, 7, 9, and the term hHm, also
found in v 3; v 10 has Nww and hkz, found in vv 14 and 19 respec-
tively.13 It is therefore reasonable to identify vv 10-11 as the hinge of
the psalm. The main sections of the central division are therefore 3-9,
11 and 10, 12-19.
Auffret has pointed out that the unity of the first section is main-
tained by parallelisms between 3-4 and 8-9 on the one hand, and
5-6a and 6b-7 on the other. The relationship between vv 4 and 9 is
shown by the use of the same words--sbk, xFH and rhF. The rela-
tionship between vv 3 and 8 is through similar terms, dsH of v 3 cor-
responding with tmx in v 8, and MmHr in v 3 corresponding with hmkH
in v 8.14 Thus the structure is parallel in an a-b-a-b pattern.
The internal structure of vv 5-7, however, is not parallel, but
chiastic. In vv 5 and 7 the first person singular is prominent in both
independent pronouns and verbal forms, while in 6a-6b, the second
person singular is more prominent (although one verb is still in first
12 Ibid.
13 Ibid., 145-46.
14 Ibid., 142.
252 GRACE THEOLOGICAL JOURNAL
Constituent Organization
CHART I: Overview of Psalm 51
person by way of transition).15 The structure here is chiastic in an
a-b-b-a pattern. A key to distinguishing the transition from vv 3-4 to
vv 5ff. is the use of yKi, which is often an indicator of the transition
from introduction to body. Here yKi answers the question "Why?"--
that is, why the forgiveness is necessary.16
The basis of unity in the second section is similar. Vv 12 and 19
have Hvr and bl, in common, while Hvr reoccurs in v 13, and v 18
introduces Hbz, which also occurs in v 19. Thus, vv 12-13, 18-19
form a unit and are arranged chiastically (a-b-b-a).
Vv 14 and 16a share YW', while v 15, with fwP and xFH, uses
antonyms of qdc found in 16b, thus showing a parallel arrangement
(a-b-b-a).17
These structures with their parallel and chiastic patterns are
shown in Chart I.
15 Ibid., 145.
16 Dalglish, Psalm Fifty-One, 104.
17 Auffret, "Note," 143-44.
BARENTSEN: PSALMS 51 AND 32 253
It is interesting to note the many synonymous parallelisms in
Psalm 51, especially since this feature is different from Psalm 32,
where most terminological relationships are contrastive. This survey
has also shown that the psalm is highly structured, and consequently
that there is no basis for the idea that because the psalm is emotional,
it is unstructured. The task at hand is to show how the meaning is
packaged within this structure.
Reconstruction of the Meaning: The Unity of the Psalm
The main purpose of this part of the study is to determine how