The great Atonhymn and Psalm 104 : a comparative approach

Abstract

It is not known who the authors of either of these two poems are. In this dissertation the credit for writing the great Atonhymn is given to Pharaoh Amenhotep IV (Akhenaton). Although Psalm 104 is untitled in the Hebrew Bible, there are three sources that credit David as the author. These are a manuscript from Qumran, the Septuagint, and Wilson’s argument (see page 37). The Atonhymn worships the sun, while Psalm 104 worships the creator of the sun. Apart from this fundamental difference there are also many other important differences that have been identified. These include Deity’s origin, Deity’s providence, Deity’s love, and Deity’s relationship role. The hymn and the psalm are very similar in structure, phraseology, and style. There are many different opinions as to why there are so many similarities between the hymn and the psalm. Although they are separated by language, cultural context, and by more than half a millennium of history, it seems that the hymn did somehow come to the attention of the biblical poet. There is no consensus today among scholars about whether Psalm 104 is dependent on the great Atonhymn or not. For the diachronic analysis of Psalm 104, the following aspects are studied. The historical aspects of the Psalter, Book IV, and Psalm 104. The social and cultural contexts of David and the addressees, and the literary and redactional contexts of Psalm 101-106. During the synchronic analysis of Psalm 104, the psalm is divided into eight stanzas by using their content, pronouns, and verbs. In the content analysis of the stanzas, their different figures of speech are identified. For the diachronic analysis of the great Atonhymn, the following aspects are studied. The historical background to show that the great Atonhymn is not an original composition. The social and cultural perspectives surrounding the great Atonhymn, as well as the documentation of the hymn. During the synchronic analysis of the great Atonhymn, it is divided into fourteen stanzas by using its content. In the content analysis of the stanzas their figures of speech are identified. In the final chapter suggestions for further study are made.