Gregory T.K. Wong, «Psalm 73 as Ring Composition.», Vol. 97 (2016) 16-40
This article seeks to analyse the structure of Psalm 73 as a ring composition based on characteristics identified by Mary Douglas. With special attention paid to key structural markers used throughout the psalm, it will be argued that Psalm 73 is an elegant and almost perfect ring, with the introductory and concluding sections merging into each other and closely interconnected with a middle turning point. The rest of the psalm is arranged chiastically with matching parallel sections on either side of the turning point.
PsALM 73 As rInG COMPOsITIOn 19
often described in terms similar to those for standard chiasm 9.
This explains why, when general literary scholars discuss ring composi-
tions, the examples cited are often simply standard chiastic structures 10.
Perhaps this explains the curious fact that, while biblical scholars have
been showcasing chiasm in biblical texts for over three decades, the
term “ring composition” rarely appears 11. This may well be rooted
in the desire of many biblical scholars to clearly differentiate between
an inclusio and a standard chiasm, thus avoiding the ambiguity that
accompanies the term “ring composition”.
still, is a ring composition essentially identical to standard
chiasm? On this issue, Douglas seems to have provided some valuable
insight. For although she never explicitly sets out to distinguish
between standard chiasm and ring composition, in her discussion she
seems to imply that a ring composition is not simply a standard chiasm
but rather a special form of chiasm with its own unique features.
First, while standard chiasm, like an inclusio, requires formal links
that connect the beginning and end of a pericope, a ring composition,
according to Douglas, must fulfil an additional requirement: that such
connections show a circularity that firmly ties the beginning to the
end and vice versa 12. Thus, speaking of the end of a ring, she writes
that just arriving back at the beginning by the process of inverted
ordering is not enough to produce a firm closure. Other than verbal
repetitions, there must also be thematic correspondence between
the beginning and the end, so that the beginning is specifically
designed to correspond to the end, and the end is clearly recognised as
9
see MuILenBurG, “Form Criticism ”, 9; J.r. LunDBOM, Biblical Rhetoric
and Rhetorical Criticism (hBM 45; sheffield 2013) 6. But to homeric scholar, s.
sCheIn, “The Iliad: structure and Interpretation”, A New Companion to Homer
(eds. I. MOrrIs – B. POWeLL) (Leiden 1997) 345-359, here 347, ring composition
is basically an inclusio but with the possibility of expansion into a standard chiastic
structure.
10
see, for example, J.D. nILes, “ring Composition and the structure of
Beowulf”, PMLA 94 (1979) 924-935, and s.v. TrACY, “The structures of the
Odyssey”, A New Companion to Homer (eds. I MOrrIs – B. POWeLL) (Leiden
1997) 360-379, here 363-364.
11
some of the works showcasing chiasm include: J.W. WeLCh (ed.), Chias-
mus in Antiquity. structures, Analyses, exegesis (Provo, uT 1981), and r.
MeYneT, Rhetorical Analysis. An Introduction to Biblical rhetoric (JsOTss 256;
sheffield 1998).
12
Although Douglas has not verbally highlighted this circularity, the way
she diagrams many of the rings she identifies makes this point obvious. see, for
example, DOuGLAs, Thinking in Circles, 20, 39, 48, 87, 110.