By David Orton

An appreciation of the shape and artistry of texts is key to the certainty in their content material, and nowhere is that this extra obtrusive than in relation to biblical poetry. yet poetic shape can also be priceless of appreciation in its personal correct, and because the reviews during this assortment exhibit, Hebrew poetry will be noticeable as a monument to the literary-artistic fulfillment of the ancients. This assortment provides examine by way of some of the world's top Hebrew Bible students who've released their paintings within the pages of "Vetus Testamentum" in contemporary a long time. It presents a mirrored image of the continued new discoveries of the richness of the biblical textual content.

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Extra resources for Poetry in the Hebrew Bible: Selected Studies from Vetus Testamentum (Brill's Readers in Biblical Studies)

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Part VI (verses 18 and 19) is short and has only two lines of seven units each: the kings of the nations all have their houses (graves), but the King of Babylon has none. Part VII (verses 20 and 21) has six lines with the following order of units : 4 - 4 - 5 - 5 - 4 - 4 (symmetrical). The first two lines (4 - 4) declare that he will not be buried with them that have their buryingplace and nobody will know where his remains lie; after all, he has destroyed his land and killed his people. The next two lines (5 - 5) express the wish that no descendents shall be named for ever and any that are left shall be slaughtered because of the guilt of their fathers so that (the last two lines, 4 - 4 ) they may never inherit the earth and fill it with their cities.

45, 1950, especially from p. 252 onward. 4 ) Herodotus, Father of History, Oxford, 1953, especially pp. 62 — 134. 5 ) " I n the sixth and fifth centuries pedimental compositions were combined in the same larger design with friezes as on the Parthenon ; and in the Parthenon frieze itself the long processions converge on the pedimentally grouped deities on the east front, with the most important in the midst" (Herodotus, p. 63). F O R M A N D S T R U C T U R E P O E T R Y I N A N C I E N T H E B R E W ( C O N T I N U E D ) BY HANS KOSMALA Jerusalem, Isr.

The infinitive in 6bß is a disturbing element as it disrupts the smooth structure of the line, although we must admit, it is very cleverly inserted 1 ). Suppose, the infinitive heyot were not there where it is now, we would not miss anything; on the contrary, we would be highly pleased by the clarity and the flowing rhythm of a line which is in perfect keeping with the high standard of the poetic form of this piece. We suggest, therefore, to omit heyot leaving only the particle I e . This brings the prose line back to its poetic form which is, as we shall see, the form required by the structure of the poem as a whole.

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