Day: November 6, 2023

Notes on Prayer: 1 Kings 8 and the Role of the Temple (cont.)

In this conclusion to our series of notes on the Prayer of Solomon in 1 Kings 8, we are examining the two major themes of this Prayer (and its surrounding narrative): (1) the centralization of worship, and (2) the name of YHWH. Last week, the theme of centralization of worship was discussed; today, we will be looking at the second theme.

The name of YHWH

Throughout the Prayer, there is a strong emphasis on the Temple as the place where God’s name resides—vv. 16-20, 33, 35, 42-44, 48. In this regard, 1 Kings 8 is simply continuing an important theme and motif of the Deuteronomic history. Beginning with the book of Deuteronomy, the idea of a place for God’s name is used to designate the city of Jerusalem (and the specific site of the Temple), and, by extension, the territory/kingdom of Judah as a whole. The presence of His name indicates that YHWH has chosen Judah and Jerusalem for His dwelling-place among His people. For the key references, see Deut 12:11, 21; 14:23-24; 16:2, 6, 11; 26:2; 2 Sam 7:13; 1 Kings 9:3, 7; 11:36; 14:21; 2 Kings 21:4, 7; 23:27.

There are three principal aspects to this emphasis on YHWH’s name that need to be noted:

    1. In ancient Near Eastern thought, a person’s name stands for the person, representing and embodying his/her essential nature and character. I have discussed this in the earlier series “And You Shall Call His Name…”. There was thus a quasi-magical quality to a person’s name; in dealing with a person’s name, one could effect or relate to the actual person. This was especially true in a religious context, when dealing with the name of God.
    2. Along these same lines, the name represents the presence of the person, even when he/she cannot actually be present physically. This is equally true in the case of God. As the Prayer points out repeatedly, though YHWH actually resides in heaven (vv. 27, 30, 32, 34-36, 39, 43, 45, 49), His name resides in the Temple sanctuary.
    3. The presence of a person’s name also serves as a mark of possession or ownership. So the symbolic presence of YHWH’s name is a mark that the Temple belongs to Him; and, not only the Temple, but the sign of possession radiates outward to include the entire city of Jerusalem, the territory of Judah, and indeed the whole Kingdom of Israel. This aspect of the Temple is a sign that the people of Israel belong to YHWH, as His people. And, when the people pray in the direction of the Temple, where His name resides, they are essentially recognizing and acknowledging this fact.

When we turn to the New Testament, and the beliefs and practices of early Christians, we can see that this emphasis on the name of God has been developed and adapted in a number of interesting ways. I would point out three, in particular, that I wish to discuss briefly:

    1. Jesus as God’s chosen representative, who comes and acts “in His name”
    2. The Johannine theme that Jesus, as the Son of God, makes God the Father known to believers in the world—this can specifically be understood in terms of making known the Father’s name.
    3. The importance of the Jesus’ name—specifically for prayer, but also for other aspects of the religious life and experience of believers.

1. The principal Gospel passage(s) that expresses the idea of Jesus as a Divine representative who comes “in YHWH’s name”, involves the tradition of his entry into Jerusalem. This episode occurs in all four Gospels—both in the Synoptics (Mk 11:1-10; Matt 21:1-9; Lk 19:29-38) and the Gospel of John (12:12-15)—and essentially marks the beginning of Jesus’ Passion. In the overall Synoptic narrative, the ‘triumphal entry’ stands at the beginning of a period of teaching and ministry in Jerusalem (Mk 11:12-13:37 par) that precedes the Passion narrative.

In all four accounts of the Entry, the crowd that receives Jesus is recorded as quoting Psalm 118:26:

“Blessed (is) the (one) coming in (the) name of YHWH!”

Though there are slight variations in how this declaration is presented in each account (Mk 11:9; Matt 21:9; Lk 19:38; Jn 12:13), it is clearly part of the underlying historical tradition.

I have discussed this tradition in earlier notes and articles, and will be doing so again in Part 3 of my study on the Sukkot festival. What is most significant is how the quotation of Psalm 118:26 relates to the Messianic identity of Jesus. There were a number of Messianic figure-types current in Jewish thought and expectation, and early Christians ultimately identified Jesus with all of them. I discuss this subject at length, including treatments of the different figure-types, in the series “Yeshua the Anointed”. Regardless of which Messianic figure-type Jesus was seen as fulfilling, the principal idea is that he was God’s chosen (“anointed”) representative, whose presence and activity on earth marked the end of the current Age and the beginning of the New Age for God’s people.

In the Entry episode, it is clearly the royal/Davidic Messiah that is in view (cf. Parts 6–8 of “Yeshua the Anointed”). In this respect, the use of Psalm 118 is especially appropriate. Even though this Psalm, as one of the Hallel Psalms (113-118), came to be associated with great pilgrimage festivals (esp. Passover and Sukkot), and were sung on those occasions, it is probable that the original context of the Psalm involved the victorious return of the Israelite/Judean king to Jerusalem (after battle). For more on this, cf. my article in the series “The Old Testament and the Gospel Tradition”. Psalm 118:26 is also cited by Jesus himself, in relation to his Messianic identity, in Matt 23:39 / Lk 13:35 (“Q” tradition).

2. The Gospel of John develops the Messianic significance of coming/acting in God’s name in a distinctive way, informed by the Johannine theology (and theological idiom). In the Gospel of John, Jesus is not only the Messiah, he is also the eternal (and pre-existent) Son of God. He was sent to earth from heaven by God the Father, being given a mission from the Father to complete. This mission included speaking and acting in the Father’s name—speaking the Father’s words and doing His works (such as working healing miracles and raising the dead). Like a dutiful son, Jesus follows his father’s example, doing what he sees the Father doing, and saying what he hears the Father saying. Thus Jesus (the Son) truly represents the Father, manifesting His presence and power to people on earth.

Two specific statements by Jesus may be pointed out:

“I have come in the name of my Father…” (5:43)
“the works that I do in my Father’s name, they give witness about me” (10:25)

The Son’s mission and work on earth culminates in his sacrificial death (19:30); all of this is done in the Father’s name, and the death and resurrection (i.e., the exaltation) of the Son serves to give honor/glory to the Father (12:28, note the context of v. 13). This theme finds its fullest development in the great Discourse-Prayer of chapter 17, where Jesus specifically refers to his work in manifesting the Father’s name to believers (vv. 6, 26; cf. also 11-12):

“I made your name shine forth to the (one)s whom you gave to me out of the world” (v. 6)
“and I made known to them your name…” (v. 26)

3. Finally, it is important to consider how, for Christians, the Son’s name came to replace the Father’s name. This is particularly notable in relation to the tradition of prayer by early Christians. Even though believers were still directed to pray so as to give honor to the Father’s name (Matt 6:9 par), at an early point there came to be a strong tradition of praying (to the Father) in Jesus’ name. There is surprisingly little direct evidence for this in the New Testament itself; we see it most clearly in the Gospel of John (in the Last Discourse, 14:13-14; 15:16; 16:23-24, 26), where the tradition is rooted in the Johannine theology and Christology (i.e., the Son’s abiding relationship to the Father). Of particular importance is the idea that the Father will send the Spirit to the disciples/believers in Jesus’ name (14:26); on the sending of the Spirit as the goal (and result) of prayer, cp. the context of Luke 11:13.

Another Johannine theme which is more firmly rooted in the wider Gospel tradition is the idea of the disciples (believers) continuing the (Messianic) mission of Jesus on earth. This goes back to the early tradition of the choosing of the Twelve and their initial mission (Mark 3:13-19; 6:7-13 pars). The disciples were specifically chosen by Jesus, and were allowed to share the same authority (and ‘anointing’) that he possessed, so that they would proclaim the good news (Gospel) and perform healing miracles, etc., in his name. The particular association with Jesus’ name is seen more clearly in the Gospel of Luke (10:17; 24:47; cp. 9:49; 21:9 pars), after which it occurs frequently throughout the book of Acts (3:6, 16; 4:7, 10, 17-18, 30; 5:28, 40-41, etc).

Part of this ministry involved the baptizing of new believers, as a ritual symbol of their belonging to Jesus, and of their participating in the life-giving power of his death and resurrection. One trusts in Jesus’ name (i.e., his identity as the Messiah and Son of God; cf. Acts 2:21, 38; 4:12; John 1:12; 2:23; 3:18), and so is baptized in that name (Matt 28:19; Acts 8:16; 10:48; 19:5; 22:16, etc). Everywhere that believers work or gather together, they are representatives of Jesus, and so act in his name (Matt 18:20; cf. 1 Cor 1:2; 5:4; Col 3:17, etc). The identity of belonging to Christ, conferred and realized through the baptism ritual, governs and informs all aspects of our life as believers.

Sunday Psalm Studies: Psalm 86 (Part 1)

Psalm 86

Dead Sea MSS: 1QPsa (vv. 5-6, 8); 4QPse (vv. 10-11); 11QPsd (vv. 11-14)

This Psalm reflects the character and tone of many of the lament–prayer Psalms we have examined. Indeed, the superscription simply designates it as a hL*p!T=, which typically refers to a petition or prayer made to God, asking him to intervene on the supplicant’s behalf. The usual term romz+m!, indicating that the Psalm is a musical composition, is absent. This could mean that Psalm 86 represents a non-musical poem-text, which one could (and presumably did) set to music.

There is a rather clear three-part structure to the poem. The first part (vv. 1-7) is a general prayer to YHWH, framed by specific requests for God to hear/answer the Psalmist’s prayer (vv. 1, 6f). In the middle section (vv. 2-5), the author bases his appeal on YHWH’s goodness and loyalty to the covenant; God’s faithfulness (to the covenant-bond) is the basis for His providing the protection that the protagonist needs.

In the second part of the Psalm (vv. 8-13), the focus shifts to a YHWH-hymn, in which the author praises YHWH, drawing upon several strands of poetic, prophetic, and wisdom tradition. The poem concludes (vv. 14-17) with another appeal to YHWH, this time more specifically as a petition with lament-features, similar to those we find throughout the Psalms. Typically, the lament section occurs at the beginning of the Psalm, not the end, so the order here is essentially reversed.

The superscription attributes Psalm 86 to David, and there are certain details and elements of the poem which do suggest that the protagonist is a king. As we have seen, many Psalms evince a royal background, to a greater or lesser degree. This does not necessarily mean that the particular Psalm originates from the monarchic (pre-exilic) period, since Psalms of later composition could still draw from older lines of poetic tradition rooted in the royal theology, and utilize the type-figure of the king who stands as the protagonist, representing the people before God. It has been suggested that Psalm 86 intentionally was meant to serve as a kind of summary of earlier Davidic Psalms, echoing, in particular, the poems placed at the close of the earlier Davidic Psalter-collections (e.g., 40-41, 69-71, 72; cf. Hossfeld-Zenger, p. 369f).

The meter of Psalm 86 appears to be irregular and mixed. Specific details will be given in the notes below.

Part 1: Verses 1-7

Verse 1

“Stretch (out), O YHWH, your ear (and) answer me,
for pressed (down) and needy (am) I.”

The Psalmist’s petition to YHWH is expressed in traditional (and typical) language. In the first line he calls on God to “stretch out” (vb hf*n`) His ear, an idiom for hearing/listening, and to answer the prayer. In the second line, the protagonist identifies himself by the traditional pair of adjectives yn]u* (“pressed [down]”, i.e., oppressed/afflicted, and in a low state) and /oyb=a# (“needy,” implying a low and poor condition). These are characteristics of the righteous, and often their use assumes hostility toward the righteous and persecution (by the wicked). For other occurrences of this pair, see 35:10; 37:14; 40:18 [17]; 70:6 [5]; 72:12; 74:21; 109:16, 22; 140:13 [12].

It is worth mentioning the alliteration in verse 1, particularly in the second line; to highlight this, I give the relevant portion here with an accompanying transliteration:

yn]a* /oyb=a# yn]u* yK! yn]n@u&
±¦n¢nî kî ±¹nî °e»yôn °¹nî

Metrically, this verse is a 4+3 couplet.

Verse 2

“May you guard my soul,
for (one) devoted (am) I;
may you save your servant,
O you my Mighty (One),
coming to You for refuge!”

The meter of this verse can be seen as problematic, especially if one attempts to treat it as a couplet. I choose to read it, without emendation, as a series of 2-beat lines—a 2+2 bicolon, followed by a 2+2+2 tricolon. The units are parallel, in that each is governed by an imperative in the first line:

    • hr*m=v*— “may you guard my soul”
    • uv^oh— “may you save your servant…”

These actions reflect the essence of the Psalmist’s prayer. Also, in each unit, there is an expression of the basis for his appeal to YHWH—namely, his faithfulness and loyalty to the covenant. Such loyalty would mean that the protagonist (the vassal) is due the protection that YHWH (the Sovereign) is obligated to provide. By calling himself God’s servant, this loyalty is implied; and it is made explicit in the first couplet by the claim “I am devoted [dys!j*]”. The adjective dys!j*, like the related noun ds#j#, denotes showing goodness/kindness to a person; as I have discussed repeatedly, in the context of the covenant, it also connotes faithfulness, loyalty and devotion. The adjective typically carries this meaning in the Psalms; I have translated it here as “devoted”.

The last line of the tricolon also indicates the Psalmist’s loyalty. He describes himself as one “coming to you for refuge”. The substantive participle j^f@oBh^ is used (“the [one] seeking refuge”). The verb jf^B* occurs frequently in the Psalms (46 times, out of 120 in the OT), part of the vocabulary referring to the righteous person seeking/finding refuge under the protection that YHWH provides. The prepositional expression ;yl#a@ (“to you”) emphasizes that the Psalmist is coming to YHWH for protection, seeking refuge in Him. The phrase also implies the idea of trusting in YHWH—viz., he comes to YHWH for protection because he trusts in Him—and is a further indication of the Psalmist’s faithfulness.

Verse 3

“May you show me favor, my Lord,
for (it is) to you (that) I call out,
(indeed) all the day (long)!”

I view this verse as another 2-beat (2+2+2) tricolon, matching that of verse 2b (cf. above). Again there is an imperative in the first line (“may you show favor…”, vb /n~j*), comprising the Psalmist’s request, along with an expression of his faithfulness/loyalty to God. The second line matches the third line of the previous tricolon:

    • “coming to you [;yl#a@] for refuge”
    • “(it is) to you [;yl@a@] (that) I call out”

Again, the Psalmist trusts in YHWH (as his Lord/God), which is why he comes to Him and prays (“calls out,” vb ar*q*) to Him. The protagonist’s trust and faithfulness is also indicated by the claim that he does this continually (“all the day [long]”).

Verse 4

“Make glad (the) soul of your servant,
for (it is) to you, my Lord,
(that) I lift up my soul.”

The tricolon format of verse 4 matches that of verse 3, though the meter differs slightly (3+2+2). Again, the Psalmist’s request is reflected by the opening imperative in the first line (“[may you] make glad…”, vb jm^c*); in other words, his soul will be made glad when God answers his prayer and acts on his behalf. Note the further parallelism between vv. 3-4:

    • “…my lord,
      for (it is) to you (that) I call out”
    • for (it is) to you, my lord,
      (that) I lift up my soul”

There is also a certain chiasmus to verse 4 involving the motif of “my soul”:

    • “make glad (the) soul of your servant
      • for (it is) to you, my Lord
    • (that) I lift up my soul”
Verse 5

“Indeed, you, my Lord,
(are) good and forgiving,
and abundant in devotion,
to all (those) calling on you.”

It is possible to parse this verse as a 4-beat (4+4) couplet, however it seems better to continue with the 2-beat line format of the previous verses and to treat it as a 2-beat (2+2+2+2) quatrain. The unit breaks from the series of imperatives in vv. 1-4; the Psalmist pauses his petition to declare and affirm the goodness (adj. bof) and loyalty (ds#j#) of YHWH. As noted above, the noun ds#j# fundamentally means “goodness, kindness”, but also carries the meaning “faithfulness, loyalty, devotion,” especially in a covenantal context. In keeping with the translation of the adjective dys!j* as “devoted” above (v. 2), I translate ds#j# here as “devotion”.

The Psalmist adds the idea of YHWH showing mercy by forgiving (jls) the sins of those who are faithful/loyal to Him. It is thus hoped by the protagonist that YHWH will overlook any sins he may have committed; as one of the righteous, the Psalmist would have confessed and acknowledged any sin, and taken the (ritual) steps needed to atone for any (unintentional) misdeeds. The righteous/faithful ones, among whom the Psalmist identifies himself (as a representative), are characterized as those “calling out” to YHWH in trust and hope.

Verse 6

“Turn your ear, O YHWH, to my prayer,
and hear (the) voice of my (plea)s for favor.”

This couplet echoes the initial line of verse 1 (cf. above), calling on YHWH to ‘bend’ His ear to the Psalmist’s prayer and hear/answer it. The use of the verb /z~a* (Hiphil, “give/turn [one’s] ear”) matches the idiom “stretch out the ear” (vb hf*n` + /z#a)) in v. 1. This call for YHWH to hear the Psalmist’s petition thus frames the prayer. The verb translated “hear,” bv^q* (Hiphil), would perhaps be more properly rendered “attend to” or “pay attention to”.

Verse 7

“In (the) day of my distress, I call to you—
(O) that you would answer me!”

As verse 6 matches the first line of verse 1, so verse 7 thematically matches the second line:

“for I (am) pressed (down) and needy”

The adjective yn]u* in verse 1 means “pressed (down)”, but could also be rendered “hard-pressed”, which would perhaps be a closer fit to the distress (hr*x*) the Psalmist mentions here. Both terms convey the idea of pressure or stress that a person experiences. The Psalmist’s distress (“day of my distress”), which is indicated here as being the occasion and reason for his prayer to YHWH, will be developed as a principal theme in the third and final part of the Psalm.

The final line could be translated “for you (are sure to) answer me”, treating the perfect tense of the verb /n~u* as a gnomic perfect—i.e., something that God is sure to do, as a reflection of His (eternal) character. However, it seems better to translate the verb as a precative perfect, as an expression of the Psalmist wish and hope (and expectation) for what will happen; cf. Dahood, II, p. 294. In such an instance, the particle yK! would be emphatic, not causal, with a similar precative force (“O, that…!”).

The remainder of the Psalm (Parts 2 and 3, vv. 8-17) will be discussed in next week’s study.

References marked “Dahood, I” and “Dahood, II” above are to, respectively, Mitchell Dahood, S.J., Psalms I: 1-50, Anchor Bible [AB] vol. 16 (1965), and Psalms II: 51-100, vol. 17 (1968).
Those marked “Hossfeld-Zenger” are to Frank-Lothar Hossfeld and Erich Zenger, Psalms 2: A Commentary on Psalms 51-100, translated from the German by Linda M. Maloney, Hermeneia Commentary series (Fortress Press: 2005).