Psalm 3 → 7
Reasoning: 6976 Output: 5295 Total: 12271
Argument
Here are ways to argue that Psalm 7 is a deliberate “follow-up” to Psalm 3, moving the same crisis one step forward—from immediate survival and reassurance (Ps 3) to juridical vindication and retribution (Ps 7). I list the links from strongest/rarer to broader/shared features. High‑value lexical/formulaic echoes (identical or near‑identical forms) - קוּמָה יְהוָה (“Arise, YHWH”): Ps 3:8; Ps 7:7. This precise vocative-imperative collocation is a hallmark battle/judgment summons (cf. Num 10:35). Having it in both psalms is a strong editorial stitch. - הוֹשִׁיעֵנִי (“save me”): Ps 3:8; Ps 7:2. The identical Hifil imperative with 1cs suffix appears in both as the climactic plea after “Arise, YHWH.” - מָגֵן/מָגִנִּי (“shield”): Ps 3:4 “מָגֵן בַּעֲדִי”; Ps 7:11 “מָגִנִּי עַל־אֱלֹהִים.” Same noun, same role in the argument (YHWH as protective agent). - כְּבוֹדִי (“my glory/honor”): Ps 3:4 “כְּבוֹדִי וּמֵרִים רֹאשִׁי”; Ps 7:6 “וּכְבוֹדִי לֶעָפָר יַשְׁכֵּן” (in a self-imprecatory oath). The exact noun with 1cs suffix appears in both; Psalm 3 asserts that YHWH elevates the psalmist’s honor, Psalm 7 stakes that honor in an oath—if he is guilty, let it be cast to the dust. That makes Psalm 7 read as the juridical sequel to Psalm 3’s confidence. - יְהוָה אֱלֹהַי (“YHWH my God”): Ps 7 uses the double vocative twice very early (7:2,4), and Ps 3:8 pairs the same two names in immediate succession (“יְהוָה … אֱלֹהַי”) in the climactic plea. This repeated vocative pairing tightens the rhetorical voice across the two poems. - Ending doxologies/vows: Ps 3:9 “לַיהוָה הַיְשׁוּעָה; עַל־עַמְּךָ בִרְכָתֶךָ”; Ps 7:18 “אוֹדֶה יְהוָה כְּצִדְקוֹ; וַאֲזַמְּרָה שֵׁם־יְהוָה עֶלְיוֹן.” Both end with praise formulas; 3 ends with communal blessing, 7 with vowed praise to the Name—another editorial “closure” rhyme. Lexical/semantic links of medium weight (shared roots/imagery; same word-class where noted) - Sleep–awake motif across psalms: - Ps 3:6 “שָׁכַבְתִּי וָאִישָׁנָה; הֱקִיצוֹתִי” (I lay down and slept; I awoke). - Ps 7:7 “וְע֥וּרָה אֵלַי” (Awake for me). In Ps 3, the psalmist awakes; in Ps 7 he urges God to awake—precisely the next movement in a crisis: from personal repose back to divine action in court/battle. - Jaw/teeth vs. lion mouth: - Ps 3:8 “הִכִּיתָ … לֶחִי; שִׁנֵּי רְשָׁעִים שִׁבַּרְתָּ.” - Ps 7:3 “פֶּן־יִטְרֹף כְּאַרְיֵה נַפְשִׁי.” The mouth/teeth/jaw field continues; in Ps 3 God breaks the enemy’s teeth; in Ps 7 the enemy is a lion poised to tear—Psalm 7 intensifies and particularizes Ps 3’s imagery. - “Around” language from the same root: - Ps 3:7 “סָבִיב” (adverb). - Ps 7:8 “תְּסוֹבְבֶךָּ” (verb from סבב). The crisis remains a “surrounded” one, but Ps 7 shifts the circle to God: an “assembly of peoples” surrounds YHWH as judge, not David as victim—again a logical next phase. - “Salvation” theme in noun and verb: - Ps 3:3 “אֵין יְשׁוּעָתָה לוֹ בֵאלֹהִים”; 3:9 “לַיהוָה הַיְשׁוּעָה.” - Ps 7:2 “הוֹשִׁיעֵנִי”; 7:11 “מוֹשִׁיעַ יִשְׁרֵי־לֵב.” Psalm 7 answers the taunt of Ps 3:3 (“no salvation for him”) with renewed imperatives and a positive title for God as Savior. - Enemies vocabulary: - Ps 3:2,8 “צָרַי … אֹיְבַי … רְשָׁעִים.” - Ps 7:2,6 “רֹדְפַי … אוֹיֵב … רְשָׁעִים.” Same semantic field with slightly different choices; typical of editorial linking across adjacent laments. Form-critical and structural continuity - Both are individual laments with the same macro-movements: complaint → trust/confidence → divine-warrior/judge summons → resolution/doxology, and both insert Selah at climactic hinges (Ps 3: after the taunt and after the assurance; Ps 7: after the oath of innocence). This is the same “plot,” Psalm 7 simply leans harder into judicial language. - Shared divine-warrior/judge commands: - Ps 3:8 “קוּמָה יְהוָה … הִכִּיתָ … שִׁבַּרְתָּ.” - Ps 7:7–14 “קוּמָה … הִנָּשֵׂא … וְע֥וּרָה … יָדִין … שָׁפְטֵנִי … חַרְבּוֹ יִלְטוֹשׁ … קַשְׁתּוֹ דָּרַךְ.” Psalm 7 escalates the same motif from striking jaws (Ps 3) to a full arming-for-judgment scenario. Historical/life-sequence plausibility (Absalom flight → Benjaminite slander → legal vindication) - The superscriptions line up naturally in 2 Samuel’s chronology. Psalm 3 is explicitly “when he fled from Absalom his son” (2 Sam 15–17). Psalm 7 is “concerning the words of Cush the Benjaminite.” The most economical historical reading takes “Cush the Benjaminite” as a Benjaminite hostile to David—often identified with Shimei son of Gera (2 Sam 16:5–13), who cursed David during the Absalom flight and accused him of bloodguilt. Thus: - Ps 3: the night of panic has passed (“I lay down and slept; I awoke”), and the psalmist affirms protection amid many foes. - Ps 7: now David answers “words” (עַל־דִּבְרֵי) with an oath of innocence: “אִם־יֵשׁ עָוֶל בְּכַפָּי … וְכְבוֹדִי לֶעָפָר יַשְׁכֵּן” (vv. 4–6). That reads like a direct rebuttal of Shimei’s charges. The move from battlefield survival to courtroom vindication is precisely what one would expect as the Absalom crisis unfolds. - The “many say” of Ps 3:3 (“רַבִּים אֹמְרִים לְנַפְשִׁי…”) becomes the specific “words” (דִּבְרֵי) of a named adversary in Ps 7’s heading—a neat editorial narrowing from mass taunt to a concrete accuser. Thematic progression that makes Psalm 7 the “next step” after Psalm 3 - From fearlessness to forensic oath: Ps 3 achieves inner calm (sleep, unafraid of “רִבְבוֹת עָם”), while Ps 7 moves to sworn self-imprecation (vv. 4–6) and a call for God’s verdict (vv. 7–10). That is a logical movement from immediate safety to clearing one’s name. - From Zion-presence to exalted court: Ps 3:5 “מֵהַר קָדְשׁוֹ” (holy mountain) answers his cry; Ps 7:8 “וְעָלֶיהָ לַמָּרוֹם שׁוּבָה” envisions YHWH returning to the heights over an “assembly of nations” encircling Him. It is the same divine kingship relocated from refuge to courtroom throne. - From personal deliverance to universal judgment: Ps 3 ends with blessing on “your people”; Ps 7 widens to “יְהוָה יָדִין עַמִּים” and an assembly of nations (vv. 8–9). The crisis is now framed in cosmic-juridical terms. Smaller but telling links - “נַפְשִׁי” in both (Ps 3:3; Ps 7:3,6): the self is the locus of the threat and the plea. - “רֹאשׁ”/head vs. “כָּדְקֹד”/crown-of-head: Ps 3:4 “מֵרִים רֹאשִׁי”; Ps 7:17 “וְעַל קָדְקֳדוֹ חֲמָסוֹ יֵרֵד.” Head imagery arcs from the raising of the psalmist’s head (3) to the return of violence on the enemy’s head (7), a neat chiastic justice turn. - Selah placement underlines hinge-points in both: after the taunt/answer in 3; after the oath of innocence in 7. Put together, these features sketch a coherent sequence: - Psalm 3: Night of the flight. Many enemies, many words. God protects; the psalmist sleeps and awakes. Summons: “Arise, YHWH; save me,” and God smashes the immediate threat. - Psalm 7: Day of reckoning. A specific Benjaminite’s words now impugn David. He swears innocence, calls the Judge to rise and awake in anger, and asks for a public verdict before a gathered assembly. The same shield, the same salvation, the same God—now in court rather than in camp. On that reading, Psalm 7 does not merely sit near Psalm 3; it plausibly “follows on” logically and narratively, reusing marked phrases (קוּמָה יְהוָה; הוֹשִׁיעֵנִי; מָגֵן; כְּבוֹדִי), continuing and intensifying the same imagery, and moving the Absalom-flight crisis from survival to vindication.
Evaluation
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Prompt
Consider Psalm 3 and Psalm 7 (reproduced below). What arguments could you make to justify that Psalm 7 logically follows on from Psalm 3? Consider stylistic similarities, similarities of form, similarities of vocab or ideas, shared roots (if you're doing the search in Hebrew), connections to sequences of events common in ancient Israelite life, mythology or history shared by the two psalms. Rarer words are more significant than commoner words. Identical forms are more significant than similar forms. The same word class is more significant than different word classes formed from the same root. Identical roots are more significant than suppletive roots. Psalm 3: Psalm 3 1. מִזְמ֥וֹר לְדָוִ֑ד בְּ֝בָרְח֗וֹ מִפְּנֵ֤י ׀ אַבְשָׁל֬וֹם בְּנֽוֹ׃ 2. יְ֭הוָה מָֽה־ רַבּ֣וּ צָרָ֑י רַ֝בִּ֗ים קָמִ֥ים עָלָֽי׃ 3. רַבִּים֮ אֹמְרִ֢ים לְנַ֫פְשִׁ֥י אֵ֤ין יְֽשׁוּעָ֓תָה לּ֬וֹ בֵֽאלֹהִ֬ים סֶֽלָה׃ 4. וְאַתָּ֣ה יְ֭הוָה מָגֵ֣ן בַּעֲדִ֑י כְּ֝בוֹדִ֗י וּמֵרִ֥ים רֹאשִֽׁtי׃ 5. ק֖dוֹלִי אֶל־ יְהוָ֣ה אֶקְרָ֑א וַיַּֽעֲנֵ֨נִי מֵהַ֖ר קָדְשׁ֣וֹ סֶֽלָה׃ 6. אֲנִ֥י שָׁכַ֗בְתִּי וָֽאִ֫ישָׁ֥נָה הֱקִיצ֑וֹתִי כִּ֖י יְהוָ֣ה יִסְמְכֵֽנִי׃ 7. לֹֽא־ אִ֭ירָא מֵרִבְב֥וֹת עָ֑ם אֲשֶׁ֥ר סָ֝בִ֗יב שָׁ֣תוּ עָלָֽtי׃ 8. ק֘וּמָ֤ה יְהוָ֨ה ׀ הוֹשִׁ֘יעֵ֤נִי אֱלֹהַ֗י כִּֽי־ הִכִּ֣יתָ אֶת־ כָּל־ אֹיְבַ֣י לֶ֑חִי שִׁנֵּ֖י רְשָׁעִ֣ים שִׁבַּֽרְתָּ׃ 9. לַיהוָ֥ה הַיְשׁוּעָ֑ה עַֽל־ עַמְּךָ֖ בִרְכָתֶ֣ךָ סֶּֽלָה׃ Psalm 7: Psalm 7 1. שִׁגָּי֗וֹן לְדָ֫וִ֥ד אֲשֶׁר־ שָׁ֥ר לַיהוָ֑ה עַל־ דִּבְרֵי־ כ֝֗וּשׁ בֶּן־ יְמִינִֽי׃ 2. יְהוָ֣ה אֱ֭לֹהַי בְּךָ֣ חָסִ֑יתִי הוֹשִׁיעֵ֥נִי מִכָּל־ רֹ֝דְפַ֗י וְהַצִּילֵֽנִי׃ 3. פֶּן־ יִטְרֹ֣ף כְּאַרְיֵ֣ה נַפְשִׁ֑י פֹּ֝רֵ֗ק וְאֵ֣ין מַצִּֽיל׃ 4. יְהוָ֣ה אֱ֭לֹהַי אִם־ עָשִׂ֣יתִי זֹ֑את אִֽם־ יֶשׁ־ עָ֥וֶל בְּכַפָּֽי׃ 5. אִם־ גָּ֭מַלְתִּי שֽׁוֹלְמִ֥י רָ֑ע וָאֲחַלְּצָ֖ה צוֹרְרִ֣י רֵיקָֽם׃ 6. יִֽרַדֹּ֥ף אוֹיֵ֨ב ׀ נַפְשִׁ֡י וְיַשֵּׂ֗ג וְיִרְמֹ֣ס לָאָ֣רֶץ חַיָּ֑י וּכְבוֹדִ֓י ׀ לֶעָפָ֖ר יַשְׁכֵּ֣ן סֶֽלָה׃ 7. ק֘וּמָ֤ה יְהוָ֨ה ׀ בְּאַפֶּ֗ךָ הִ֭נָּשֵׂא בְּעַבְר֣וֹת צוֹרְרָ֑י וְע֥וּרָה אֵ֝לַ֗י מִשְׁפָּ֥ט צִוִּֽיתָ׃ 8. וַעֲדַ֣ת לְ֭אֻמִּים תְּסוֹבְבֶ֑ךָּ וְ֝עָלֶ֗יהָ לַמָּר֥וֹם שֽׁוּבָה׃ 9. יְהוָה֮ יָדִ֢ין עַ֫מִּ֥ים שָׁפְטֵ֥נִי יְהוָ֑ה כְּצִדְקִ֖י וּכְתֻמִּ֣י עָלָֽי׃ 10. יִגְמָר־ נָ֬א רַ֨ע ׀ רְשָׁעִים֮ וּתְכוֹנֵ֢ן צַ֫דִּ֥יק וּבֹחֵ֣ן לִ֭בּ֗וֹת וּכְלָי֗וֹת אֱלֹהִ֥ים צַדִּֽיק׃ 11. מָֽגִנִּ֥י עַל־ אֱלֹהִ֑ים מ֝וֹשִׁ֗יעַ יִשְׁרֵי־ לֵֽב׃ 12. אֱ֭לֹהִים שׁוֹפֵ֣ט צַדִּ֑יק וְ֝אֵ֗ל זֹעֵ֥ם בְּכָל־ יֽוֹם׃ 13. אִם־ לֹ֣א יָ֭שׁוּב חַרְבּ֣וֹ יִלְט֑וֹשׁ קַשְׁתּ֥וֹ דָ֝רַ֗ךְ וַֽיְכוֹנְנֶֽהָ׃ 14. וְ֭לוֹ הֵכִ֣ין כְּלֵי־ מָ֑וֶת חִ֝צָּ֗יו לְֽדֹלְקִ֥ים יִפְעָֽל׃ 15. הִנֵּ֥ה יְחַבֶּל־ אָ֑וֶן וְהָרָ֥ה עָ֝מָ֗ל וְיָ֣לַד שָֽׁקֶר׃ 16. בּ֣וֹר כָּ֭רָֽה וַֽיַּחְפְּרֵ֑הוּ וַ֝יִּפֹּ֗ל בְּשַׁ֣חַת יִפְעָֽל׃ 17. יָשׁ֣וּב עֲמָל֣וֹ בְרֹאשׁ֑וֹ וְעַ֥ל קָ֝דְקֳד֗וֹ חֲמָס֥וֹ יֵרֵֽד׃ 18. אוֹדֶ֣ה יְהוָ֣ה כְּצִדְק֑וֹ וַ֝אֲזַמְּרָ֗ה שֵֽׁם־ יְהוָ֥ה עֶלְיֽוֹן׃