Psalm 86, continued
Part 2: Verses 8-13
(For Part 1, see the previous study.)
“There is none like you among the Mighty (one)s,
my Lord, and there is no(thing) like your works!”
This second section of the Psalm shifts from a prayer to a hymn in praise of YHWH. The focus in the initial verse is the familiar theme of the incomparability of YHWH—His uniqueness and superiority over every other god or divine being. This reflects the qualified monotheism of Israelite religion in the period of the Judges and the (early) Kingdom period. YHWH’s incomparability is expressed, in each line, by the use of the negative particle /y]a^, which typically has a privative force, indicating absence or lack. This particle tends to function as a substantive verbal element (or as an adverb), with the meaning “there is no…”.
I have presented the verse as a 3-beat (3+3) couplet, but it might be more accurate to treat it as a 2-beat (2+2+2) tricolon, which better brings out the chiastic parallelism:
- “There is no one like you
- among the Mighty (one)s, my Lord,
- and there is no(thing) like your works”
- “There is no one like you
“All (the) nations that you have made
shall come and shall bow down
before your face, O my Lord,
and shall give weight to your name.”
Metrically, I parse this verse as a slightly irregular (3+2+2+2) quatrain; dividing it into a quatrain with primarily 2-beat lines fits the rhythm/meter of the Psalm as a whole.
The nations are here regarded as among the great “works” of YHWH (“that you have made”). His supremacy lies principally in the fact that He is the supreme Creator—who created all of humankind, the nations and their people. For this reason, all the nations should recognize and acknowledge Him as the Mightiest and Greatest One; worship of YHWH should not be limited to the Israelite people alone. The verse speaks of a future time with the nations will come and bow down before YHWH. This is an important theme in the Prophetic writings of the exilic and post-exilic periods. In these prophetic poems and oracles, it is envisioned that representatives of the nations will come to Jerusalem to pay homage to the (restored) Israelite/Judean kingdom; in the process, they will acknowledge and worship Israel’s God, YHWH. See, for example, Isaian passages such as 2:1-4 (par Mic 4:1-5); 42:1-6ff; 49:6-7, 22-23; 56:6-8; 60:3-16; 66:12ff, 18-21; the close of the book of Zechariah (14:16-21) contains an especially notable prophecy on this theme.
In the final line, the verb db^K* (Piel, “give weight, make heavy”) is used in its typical figurative sense of “give honor”, i.e., considering (someone) worthy or of value. The nations will give honor to YHWH’s name, which implies a ritual or symbolic honoring of YHWH Himself. On the relation of a person’s name to the person, in ancient Near Eastern thought, cf. the introduction to my earlier series “And You Shall Call His Name…”.
Dahood (II, p. 294) gives an interesting alternative reading of this verse, treating the relative particle rv#a& as conditional, and thus rendering the first line as a conditional clause: “When you act, the nations will come…”.
“For great you (are indeed),
and a worker of wonders—
you, O Mightiest—you alone!”
The Psalmist takes over the worship of YHWH now, in the present, acknowledging His greatness (adj. lodG`). There is emphatic force to the initial particle yK!, and it would be possible (but not necessary) to translate the line as “how great you (are)”. YHWH’s works (v. 8) include creation (i.e., of humankind and the nations, v. 9), but also the wonders (toal*p=n]) He has performed—specifically, on behalf of His people during their history. Through these supernatural and miraculous deeds, YHWH also shows Himself to be incomparable, and far superior to all other deities (“you alone”, ;D#b^l=).
Metrically, I take this verse to be an irregular 2+2+3 tricolon. If one were to combine verses 9 and 10 together, there would be a sequence of five 2-beat lines bracketed by a pair of 3-beat lines. Thematically and poetically, it would be possible to combine the verses in this way.
“Direct me, O YHWH, in your way,
(that) I may walk in firmness for you only,
(with) my heart fearing your name.”
Embedded in this hymnic section, is a separate prayer-request by the Psalmist to YHWH. He asks God to “direct” him on the path. The verb hr*y` denotes throwing or shooting (an arrow, etc), often in the symbolic or figurative sense of showing a direction; in association with the ethical-religious motif of a path (in which one must ‘walk’), this idea of pointing a direction essentially means “instruct, teach”. Such a meaning of the verb is embedded in the derived noun hr*oT (i.e., “instruction”).
The Psalmist wishes to walk in “firmness” (tm#a#) on the path—that is, firmly, with a sure step, showing himself faithful and trustworthy as a follower of YHWH. The noun tm#a# can also connote truthfulness. I have chosen to vocalize djy in line 2 as the adverb dj^y~, rather than the MT dj@y~ (imperative of the verb dj^y`). I translate it as “alone, only”, parallel with dbl in v. 10—that is, the Psalmist wishes to be faithful to YHWH alone, even as he acknowledges that YHWH alone is the Mightiest One. However, it would also be possible to translate the adverb here as “altogether” (i.e., completely).
As I interpret the verse, metrically it is a 3-beat (3+3+3) tricolon.
“I will throw you, my Lord (and) Mightiest,
(praise) with all of my heart,
and will give your name weight for ever!”
I view verse 12 as being dependent upon the Psalmist’s request in v. 11—i.e., “Instruct me…(and then) I will throw you praise…”; however, for poetic concision I have omitted a glossed “then” from the beginning of the first line. There is a parallelism between the opening verbs of vv. 11 and 12: both (hr*y`, hd*y`) essentially mean “throw” —as YHWH “throws” direction to the Psalmist (i.e., instructs him), then he, in turn, will “throw” praise to YHWH. For a musician-composer, praise in song is an especially appropriate means by which to show one’s gratitude. On the idiom of “giving weight” (vb db^K*) to God’s name, cf. above on verse 9; as the nations will all come to worship and honor YHWH’s name in the future, so the Psalmist, being among the righteous/faithful ones of Israel, does so now in the present.
The final word <l*oul= is a prepositional expression that literally means “into/unto (the) distant (future)”; for poetic concision, I have translated it here more conventionally, as “forever”. Metrically, this verse, again, is irregular, being a 3+2+3 tricolon; it is also possible to read it as an extended 4+3 bicolon, which would represent more precisely the poetic parallelism in the verse. Eliminating either yn]d)a& (“my Lord”) or yh^l)a$ (“my Mighty [One]”, i.e., my God) from the first line would tighten the rhythm, and would make a couplet format more tenable.
“For (indeed) your goodness is great over me,
and you shall snatch me from Še’ôl below!”
The first line of verse 13 echoes that of v. 10 (cf. above), as the Psalmist declares that YHWH’s goodness (ds#j#) is great (lodG`), even as earlier he declared that YHWH Himself was great. The noun ds#j# fundamentally means “goodness, kindness”; however, as I have discussed repeatedly, in the context of a covenant-bond, it frequently connotes “faithfulness, loyalty, devotion”, and so it does regularly throughout the Psalms. YHWH is loyal to the binding agreement (covenant) with His people, and, when they are faithful and loyal as well, He is obligated (as the Sovereign) to provide blessings and protection.
This protection includes deliverance from danger and threat of death, whether by human adversary or illness/disease, etc. The danger to the Psalmist here is described in terms of being pulled down into Še’ôl (loav=), a term used frequently in the Psalms (and on which cf. my earlier note). The verb lx^n` (“snatch away,” i.e., out of danger) also occurs often in the Psalms.
This allusion to danger provides a transition to the final section of the Psalm, which returns to the prayer-petition emphasis of section 1, but with a stronger tone of lament.
Metrically, this verse is a 4-beat (4+4) couplet.
Part 3: Verses 14-17
“O Mightiest, boiling (one)s stand against me,
and a meeting of terrible (one)s seeks my Soul—
indeed, they do not set you in front of them!”
Typical of the lament-sections of the Psalms is this opening reference to a group of nameless adversaries who threaten the Psalmist. While the specific motif may be widespread, the adjectives used to describe the adversaries here are less common. The first, dz@, literally means “boiling (over),” in a negative sense—whether boiling over with rage, or with pride, etc; it occurs 8 times in the Psalms (out of 13 in the OT), but 6 of these are in Ps 119; the only other occurrence is in 19:14 . The second adjective, Jyr!u*, means “terrible, terrifying”, often implying the threat or possibility of violence. Elsewhere in the Psalms, this adjective occurs only in 37:35 and 54:5 .
The final line identifies these opponents as unquestionably wicked—they do not set YHWH “in front of them”, as their God and Sovereign. This distinguishes the wicked from the righteous, and is main the reason why the wicked desire to attack and harm the righteous.
“But you, my Lord, (are)
Mighty of love and favor,
long in (your) nostrils,
and Great of goodness and trust.”
This verse is a tight 2-beat quatrain—or, we might say, a 2-beat (2+2+2) tricolon, with an introductory line. The introductory line addresses YHWH: “But you, my Lord…”. The remaining three lines describe the attributes and characteristics of YHWH. Lines two and four are parallel, framing the description:
- “Mighty of | love | and favor”
- “Great of | goodness | and trust”
The parallel terms la@ and br^ can either be viewed as construct adjectives (“mighty of…”, “great of…”), or as comparable substantives functioning as Divine titles (“Mighty [One] of…”, “Great [One] of…”). Both approaches are entirely valid. The term <Wjr* denotes the possession and/or exhibiting of a deep love; it is comparable to the parallel noun ds#j# (“goodness, kindness, devotion”). There is a similar parallel between /WNj^ (“[showing] favor”) and tm#a# (“firmness,” spec. the sense of faithfulness, trustworthiness, truthfulness). All of these terms essentially allude to YHWH’s faithfulness to the covenant-bond with His people, and to the blessings which He provides. For poetic concision (required by the short 2-beat lines), I have simplified and shortened these terms in the translation above.
The third line (and the central line of the tricolon) contains a distinctive Hebrew idiom. The expression is “long of nostrils” (<y]P^a^ Er#a#), referring to the nostrils (their burning, flaring) as a symbolic expression of anger. Thus to be long in one’s nostrils is the opposite of being “short” in them—that is, one is not quick to anger. The expression connotes the idea of patience, and is often translated (not inappropriately) as “longsuffering”; many translations render the expression as “slow to anger”.
“(So) turn to me and show me favor!
Give (now) strength to your servant,
and give safety to (the) son of your trust!”
Since YHWH is Mighty in showing favor (/WNj^, v. 15), the Psalmist, in his time of need, calls on YHWH now to show him favor (vb /n~j*). The related call for God to “turn” (vb hn`P*) to the Psalmist is another way of asking Him to hear and answer his prayer (cf. on vv. 1, 6 in the previous study). The prayer would be answered if/when YHWH protects and rescues the Psalmist from his enemies, and from the danger that threatens him (v. 13, cf. above). Here, this protection is described by the parallel actions of “give strength” (vb /t^n` + zu)) and “give safety/salvation” (vb uv^y` Hiphil). In protecting/rescuing the Psalmist, the “strength” that YHWH gives is His own (“your strength”).
Again, it is important to remember of the covenantal context of the language in this petition. The Psalmist can request (and expect) Divine protection, because he has been faithful to the covenant-bond, and so YHWH (as Sovereign) is obligated to provide protection. The Psalmist’s loyalty is here indicated by the parallel expressions “your servant” and “son of your firmness” (i.e., your faithful son). Almost certainly, the MT is incorrect in the vocalization of the final word ;t#m*a& (“your maidservant [?]”); it should be vocalized ;T#m!a& (“your firmness”, cf. Dahood, II, p. 296), echoing the use of tm#a# in verse 11 (cf. above) and the final line of v. 15. As previous noted, tm#a# connotes faithfulness, trustworthiness, truthfulness; for poetic concision, I have translated it above in the line as “trust” (“son of your trust,” i.e., your trustworthy son).
“Make with me a sign of (your) good (favor),
and let (those) hating me see (it) and be shamed!
(Oh,) that you, YHWH,
would help me and comfort me!”
The Psalmist here further asks that there be some “sign” (toa) that accompanies the act of rescue by YHWH—a clear indication that it was YHWH who did this good thing (hb*of), and that the reason why the Psalmist was delivered was that he was shown favor by God. Upon seeing this sign, the Psalmist’s enemies will come to shame (vb vWB).
The Psalm concludes with a terse renewed plea by the Psalmist, calling on YHWH to give him help (vb rz~u*) and comfort (vb <j^n`). It is best to treat these perfect verb forms as precative perfects, expressing the Psalmist wish (and expectation) for what will happen. In this regard, the yK! particle should be read as emphatic and exclamatory—i.e., “Oh, that…!”.
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).