Abstract: In this essay Stephen Ricks takes a close look at the literary structure of a psalm, reintroducing us to chiasmus both in modern and ancient texts, including the Book of Mormon, then uses this literary structure to show how the psalm contains the basic historic credo of the Israelites, as seen in Deuteronomy and mirrored in 1 Nephi 17. Ricks then goes on to show how an essential part of the psalm is a covenant (“a binding agreement between man and God, with sanctions in the event of the violation of the agreement”), which ties it back to the temple. Ricks shows this by pointing out the points of covenant: Preamble, review of God’s relations with Israel, terms of the covenant, formal witnesses, blessings and curses, and reciting the covenant and depositing the text. This form is maintained in Exodus 19, 20, 23, and 24, and in the Book of Mormon in Mosiah 1-6. Psalm 105 follows this form, too. In the sacrament prayers, which in Mormon understanding is a covenant, points 1 to 5 are also present.
[Editor’s Note: Part of our book chapter reprint series, this article is reprinted here as a service to the LDS community. Original pagination and page numbers have necessarily changed, otherwise the reprint has the same content as the original.
See Stephen D. Ricks, “Psalm 105: Chiasmus, Credo, Covenant, and Temple,” in Temple Insights: Proceedings of the Interpreter Matthew B. Brown Memorial Conference, “The Temple on Mount Zion,” 22 September 2012, ed. William J. Hamblin and David Rolph Seely (Orem, UT: The Interpreter Foundation; Salt Lake City: Eborn Books, 2014), 157–170. [Page 372]Further information at https://interpreterfoundation.org/books/temple-insights/.]
Psalm 105 provides an intriguing array of literary and theological themes: chiasmus, the historical credo, covenant, and — looming in the background, only occasionally mentioned but clearly understood and accepted — the temple. Each of these themes is eminently worthy of examination, and while I will discuss each, I will focus on the covenant in this psalm.
Chiasmus as a Poetic Form in Ancient Near Eastern Literature
Chiasmus is a poetic form based on reverse parallelism that is frequently found in the poetry of the ancient Near East as well as of the classical world — even, incidentally, in Sanskrit literature — as the studies edited by John W. Welch have shown.1 Yelland, Jones, and Easton’s Handbook of Literary Terms defines chiasmus as “a passage in which the second part is inverted and balanced against the first. Chiasmus is thus a type of antithesis:
A wit with dunces, and a dunce with wits (Pope).
Flowers are lovely, love is flowerlike (Coleridge).”2
We can see an example of chiastic structure in the nursery rhyme, “Hickory, Dickory, Dock”:
(a) Hickory, dickory, dock
(b) The mouse ran up the clock
(c) The clock struck one
(b’) The mouse ran down
(a’) Hickory, dickory, dock
The parts of the chiastic structure are indicated with the letters in parentheses. The central element of the chiasmus, “The clock struck one,” is indicated with a (C).
A chiastic pattern also emerges from Psalm 124:7, where we read:
We are like a bird(a) Escaped from the fowler’s trap;
(b) The trap broke
(a’) And we escaped
[Page 373]Chiasmus in the Book of Mormon. Among the numerous poetic patterns in the Book of Mormon