Many psalms display characteristics that are – in literary theory – associated with performance texts like “dramas”. The criteria for this are that texts feature a “lexis” (direct speech out of the mouth of a discernible character), an “opsis” (elements evoking a scenery etc., often presented in direct speech), and plot structures (not only story plots, but also character development and the like). Many psalms fit this criterology, even though some more than others, as well as partially with some very unique characteristics. Still, this allows for understanding several psalms as miniature “verbally presented stages”. The implications of this basal communicative structure are explored in this contribution, a major of which pertains to the recent discussion on identification potentials: In some psalms the lyrical subject is an offer to identify with, whereas in others – the ones discussed here – it is better understood as opposite to the recipient.

在文学理论中，许多诗篇都表现出与表演剧本（如“戏剧”）相关的特征。这样做的标准是，文本具有“词汇”（直接从可辨认人物的嘴里出来的直接语音），“ opsis”（opsis）（常常以直接语音形式出现的引起风景的元素等）和情节结构（不仅故事情节，还有人物发展等等）。尽管许多诗篇比其他诗篇更为重要，但部分诗篇也具有某些非常独特的特征。尽管如此，这仍允许将几个诗篇理解为微型的“口头呈现的阶段”。在此文稿中探讨了这种基本的交流结构的含义，其中的一个主要内容是有关识别潜能的最新讨论：在某些诗篇中，抒情主题是一种与他人识别的提议，