Icons of Royal Power: Viewing the Rhetoric of the Royal Psalms in the Context of Ancient Near Eastern Royal Art Público

Purcell, Richard A. (Spring 2020)

Permanent URL: https://etd.library.emory.edu/concern/etds/h415pb55p?locale=es
Published

Abstract

This study employs Ancient Near Eastern (ANE) royal art to contextualize the literary imagery and rhetoric of the Royal Psalms (RPss). The study begins by arguing for the relevance of artistic data for interpreting the rhetoric of the RPss and noting the dearth of attention to artistic evidence in past scholarship on the RPss. The study then analyzes the rhetoric of Psalms 2, 21, 45, 72, and 110 individually in light of rhetorical themes present in ANE royal art. The study concludes with a description of the modes of rhetoric found throughout the RPss and the royal art of other ANE nations. This study engages three different methods in Hebrew Bible scholarship: iconographic-biblical exegesis, rhetorical criticism, and genre criticism as it applies to the RPss. In sum, the RPss functioned as Judah’s royal icons, complex constellations of imagery that body forth a vision of reality meant to create and sustain social identities.

Table of Contents

           List of Figures

 

           Chapter 1 – Introduction

1.1 Contextualizing the Royal Psalms

1.2 Research Question

           1.2.1 The RPss as Royal Ritual Transcripts?

           1.2.2 The RPss as Royal Inscriptions?

           1.2.3 The RPss as Poetic Royal Icons

1.3 Methodology: Employing and Extending the Iconographic-Biblical Approach

           1.3.1 Past Focus in Iconographic-Biblical Interpretation

           1.3.2 Approaching the Psalms: Building on Joel LeMon’s Attention to Constellations of Imagery

           1.3.3 Attending to Rhetorical Function

1.4 Defining Rhetoric and Past Precedents

           1.4.1 A (Very) Brief History of Rhetorical Theory

           1.4.2 Why the Language of Rhetoric?

           1.4.3 Defining Rhetoric: Key Terms and Ways of Approaching Rhetoric

           1.4.4 The Rhetoric of ANE Art and the Royal Psalms

1.5 Mapping the Study

           1.5.1 Contributions to Methodological Discourses

                       1.5.1.1 Iconographic-Biblical Exegesis: Analyzing the Rhetorical Function of Imagery

                       1.5.1.2 Genre and Function: Considering What These Texts Do

                       1.5.1.3 Royal Psalms Studies: Contextualizing the Royal Psalms

           1.5.2 The Framework

           Chapter 2 – Psalm 2: The Rhetoric of Royal Subjugation

 

2.1 Psalm 2 Overview

           2.1.1 Psalm 2 Translation

           2.1.2 Excursus: Psalm 2’s Textual Crux Interpretum

                       2.1.2.1 Rearranging and Repointing the MT

                       2.1.2.2 Working with the MT

           2.1.3 Questions of Genre, Function, and Setting

           2.1.4 The Iconic Structure of Psalm 2

2.2 Royal Art and the Rhetoric of Royal Subjugation

           2.2.1 Egyptian Royal Art

           2.2.2 Mesopotamian Royal Art

           2.2.3 Achaemenid Royal Art

           2.2.4 Syro-Palestinian Art

           2.2.5 The Rhetoric of Royal Imagery of Submission and Subjugation

2.3 Re-Reading Psalm 2: Historical-Critical, Text-Critical, and Form-Critical Questions Contextualized by ANE Royal Art

           2.3.1 Text-Critical Questions

                       2.3.1.1 Reading Verses 11b–12a (וגילו ברעדה נשׁקו בר)

                       2.3.1.2 Identifying the Primary Actor in vv. 12b–c

           2.3.2 The Psalm’s Historical Setting

           2.3.3 The Rhetoric of Psalm 2 within the Context of ANE Royal Art

           Chapter 3 – Psalm 21: Blending Royal and Divine Spheres

3.1 Psalm 21 Overview

           3.1.1 Psalm 21 Translation

           3.1.2 Questions of Genre, Function, and Setting

           3.1.3 The Iconic Structure of Psalm 21

3.2 Royal and Divine Identities and Actions Blended in ANE Royal Art

           3.2.1 Blending Identities: Deities Bestowing Divine and Royal Attributes upon the King

                       3.2.1.1 Egyptian Royal Art

                       3.2.1.2 Mesopotamian Royal Art

                       3.2.1.3 Achaemenid Royal Art

                       3.2.1.4 Syro-Palestinian Art

                       3.2.1.5 Divine Support of Royal Figures in ANE Art

           3.2.2 ANE Royal Art Blending Actions of Deities and Kings

                       3.2.2.1 Egyptian Royal Art

                       3.2.2.2 Mesopotamian Royal

                       3.2.2.3 Achaemenid Royal Art

                       3.2.2.4 Syro-Palestinian Art

                       3.2.2.5 The Rhetoric of the King and Divine Acting Together

3.3 Reading the Textual Rhetoric of Psalm 21 through the Lens of ANE Royal Art

           3.3.1 Clarifying the Relationship of King and Deity in Psalm 21

                       3.3.1.1 Verses 1–8: Overlapping Identities of King and Deity

                       3.3.1.2 Verses 9–13: Who is Acting?

           3.3.2 Genre, Setting, and Rhetorical Function of Psalm 21

           Chapter 4 – Psalm 45 and the Royal Couple: Displaying Royal Power and Progeny

 

4.1 Psalm 45 Overview

           4.1.1 Psalm 45 Translation

           4.1.2 Questions of Genre, Function, and Setting

           4.1.3 The Iconic Structure of Psalm 45

4.2 Royal Power Expressed through Violence, Eroticism, and Fecundity: The Royal Couple in ANE Art

           4.2.1 Egyptian Royal Art

           4.2.2 Mesopotamian Royal Art

           4.2.3 Achaemenid Art

           4.2.4 Syro-Palestinian Art

           4.2.5 The Rhetorical Display of the Royal Couple in ANE Royal Art

4.3 Re-Reading Psalm 45: Interpreting Constructions of Royal Identity

           4.3.1 Royal Intimacy Amidst Royal Violence? The Sensibility of Psalm 45’s Literary Imagery

           4.3.2 Psalm 45: Genre, Setting, and Rhetorical Function

           Chapter 5 – Psalm 72 and the Righteous King: Crushing Chaos and Extending Cosmic Fecundity

5.1 Psalm 72 Overview

           5.1.1 Psalm 72 Translation

           5.1.2 Questions of Genre, Function, and Setting

           5.1.3 The Iconic Structure of Psalm 72

5.2 The King and Righteous Order: Imagery of Subjugation, Fertility, and Just Reign in ANE Royal Art

           5.2.1 Egyptian Royal Art

           5.2.2 Mesopotamian Royal Art

           5.2.3 Achaemenid Royal Art

           5.2.4 Syro-Palestinian Art

           5.2.5 The Rhetorical Display of the King as the Source of Fertility in ANE Royal Art

5.3 Re-Reading Psalm 72: A Royal Rhetoric of Order and Life

           5.3.1 The Coherence of Psalm 72’s Literary Imagery

           5.3.2 Psalm 72: Genre, Setting, and Rhetorical Function

           Chapter 6 – Psalm 110 and the King as Priest: Patterns of Cultic and Martial Royal Imagery in Art and Text

 

6.1 Psalm 110 Overview

           6.1.1 Psalm 110 Translation

           6.1.2 The King as Priest in Psalm 110:4? A Contrast of Violent Action and Priestly Status

           6.1.3 The Iconic Structure of Psalm 110

6.2 ANE Priest-Kings: Royal Cultic Action Amidst Scenes of Martial Action

           6.2.1 Egyptian Royal Art

           6.2.2 Assyrian Royal Art

           6.2.3 Achaemenid Royal Art

           6.2.4 Syro-Palestinian Art

           6.2.5 The Rhetorical Display of the King Performing Cultic and Martial Actions

6.3 Cultic Action amidst Martial Imagery: The Rhetoric of Psalm 110

           Chapter 7 – Attending to Judah’s Royal Rhetoric in light of ANE Royal Art

7.1 The Rhetoric of Royal Subjugation

           7.1.1 Subjugation in Egyptian Royal Art

           7.1.2 Subjugation in Mesopotamian Royal Art

           7.1.3 Subjugation in Achaemenid Royal Art

           7.1.4 Subjugation in Syro-Palestinian Royal Art

           7.1.5 Subjugation in the Literary Imagery of the RPss

7.2 The Rhetoric of Blending Royal and Divine Actors

           7.2.1 Divine-Royal Blending in Egyptian Royal Art

           7.2.2 Divine-Royal Blending in Mesopotamian Royal Art

           7.2.3 Divine-Royal Blending in Achaemenid Royal Art

           7.2.4 Divine-Royal Blending in Syro-Palestinian Art

           7.2.5 Divine-Royal Blending in the Literary Imagery of the RPss

7.3 The Rhetoric of Violence and Eroticism in the Display of the Royal Couple

           7.3.1 The Royal Couple in Egyptian Royal Art

           7.3.2 The Royal Couple in Neo-Assyrian Royal Art

           7.3.3 The Royal Couple in Achaemenid Royal Art

           7.3.4 The Royal Couple in Syro-Palestinian Art

           7.3.5 The Royal Couple in the Literary Imagery of Psalm 45

7.4 The Rhetoric of Crushing Chaos to Extend Fertility

           7.4.1 Subjugation and Fecundity in Egyptian Royal Art

           7.4.2 Subjugation and Fecundity in Mesopotamian Royal Art

           7.4.3 Subjugation and Fecundity in Achaemenid Royal Art

           7.4.4 Subjugation and Fecundity in Syro-Palestinian Art

           7.4.5 Subjugation and Fecundity in the Literary Imagery of the RPss

7.5 The Rhetoric of Royal Priestly Actions Amidst Royal Violence

           7.5.1 The King as Priest and Warrior in Egyptian Royal Art

           7.5.2 The King as Priest and Warrior in Neo-Assyrian Royal Art

           7.5.3 The King as Priest and Warrior in Achaemenid Royal Art

           7.5.4 The King as Priest and Warrior in Syro-Palestinian Art

           7.5.5 The King as Priest and Warrior in the Literary Imagery of Psalm 110

7.6 Reflections: The Royal Psalms as Judean Royal Icons

           7.6.1 Reimagining the Royal Psalms: Icons of Royal Identity

           7.6.2 Defining the Rhetoric of Royal Psalms and ANE Royal Art

           7.6.3 Reflections on Methodological Contributions

                       7.6.3.1 Expanding the Iconographic-Biblical Approach

                       7.6.3.2 Supporting Broader Approaches to Rhetoric with Visual and Textual Data from the ANE

                       7.6.3.3 Expanding How We Contextualize the Royal Psalms: Issues of Identity and Function

           Bibliography

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