Psalm 114
Dead Sea MSS: 4QPse (verse 5 [possibly]); 4QPso (verse 7)
This Psalm is somewhat unusual in its dramatic historical opening and the general lack of traditional hymnic elements throughout. However, its blending of mythological-cosmological motifs (dealing with YHWH as Creator and King of the universe) together with a celebration of YHWH’s role in Israelite history is typical of numerous Psalms that we have examined. Here, this is achieved through a tight thematic structure. The outer (first and fourth) strophes (vv. 1-2, 7-8) describe Israel’s exodus from Egypt as being the result of (and accompanied by) a great theophany (manifestation of YHWH); this is an historical narrative described in mythological terms. The inner (second and third) strophes (vv. 3-4, 5-6) reverse this dynamic: a cosmological-mythic narrative of YHWH’s work as Creator, establishing an ordered universe (over which He rules), is applied to formative events in Israel’s history—viz., the crossing of the Reed Sea and the Jordan river, respectively. Parallel to the establishment of the ordered cosmos, Israel is established as a nation.
In terms of the Hallel Psalm-cycle 113-118 (see the discussion in the previous study), this cosmological treatment of Israel’s history makes for a fitting complement to Psalm 113. Indeed, some scholars have suggested that these two Psalms originally formed a single composition (cf. the discussion by Hossfeld-Zenger, pp. 188-9, referencing a recent study by Markus Witte). The allusions to the Exodus are especially suitable to a Passover (or other festal) setting, and it is not at all surprising that Psalm 114 (and the Hallel cycle as a whole) came to be sung regularly as part of the celebration of the great pilgrimage festivals (and other holy days). Like Psalm 113, this Psalm has a simple strophic structure, which, along with the composition’s vivid language and imagery, makes it easy to remember and recite.
Opinions vary considerably regarding the dating of Psalm 114. The apparent connection with the traditions of Joshua 3-5 has led commentators such as F. M. Cross (Canaanite Myth and Hebrew Epic [1973], pp. 138-9) and H-J. Kraus to attribute to it traditions associated with the pre-monarchic Gilgal shrine (though the Psalm as we have it need not be so old). The similarities with Psalm 29 might also plausibly situate it in the early Kingdom-period (perhaps 9th century, cf. Dahood, III, p. 134). The Judah/Israel dichotomy in verse 2 could indicate the time-frame of the Divided Kingdom; likewise, the emphasis on Judah (connected with the Jerusalem sanctuary) suggests a time after 721 A.D. There was a revival of cosmological mythic traditions, and with it a heady blending of myth and history, during the Exilic and early post-Exilic period, as evidenced, for example, by the Deutero-Isaian poems, the book of Ezekiel, as well as a number of the Psalms. Hossfeld-Zenger (p. 193) dates the Psalm to the post-Exilic period (fourth century B.C.). It remains a matter of speculation, but a time of composition in the late-Kingdom or Exilic period seems quite plausible, and as good a guess as any.
The Psalm is comprised of four rhythmically similar strophes, with each strophe containing two linked couplets. The first three strophes have a 3-beat (3+3) meter, while the fourth has an extended 4+3 meter.
Strophe 1: Verses 1-2
“In (the) going forth of Yisrael from Egypt,
(the) house of Ya‘aqob from a people of cruel tongue,
Yehudah came to be as His holy (place),
Yisrael (entirely as) His place of rule.”
The first line of the first couplet (v. 1) clearly refers to the Exodus, the formative event that marked the Israelite people’s ‘birth’ as a nation. The attributive verbal noun zu@l) in line 2 remains somewhat problematic. It is generally assumed to be related to the Late Hebrew noun zu^l^ (cf. zoul*; cp. Syriac le‘z¹; Jewish Aramaic az`oul*; Arabic vb la²aza), with the root zul meaning “speak strange/foreign words”. However, this root occurs nowhere else in the Scriptures, and zul here has been explained differently (by Dahood, III, p. 134) as the adjective zu^ (“strong”, esp. in the sense of “harsh, cruel”) prefixed by the preposition l= (as an emphatic particle). More probable is the explanation by Geller (pp. 191ff), that zul here means “foreign/strange speech”, but that the poet also intends a play on the word zu^—indicating that the Egyptians were both foreign and strong/cruel. Moreover, the root zul can connote the idea of “mocking” (cf. Geller, p. 192). I have captured these possible aspects or nuances of meaning with the translation “cruel tongue”.
The second couplet (v. 2) also has a certain dual-meaning, as Judah/Israel can refer to both the people and the land/territory. The use of the feminine noun form ht*y+h* (“she became”) suggests that the land of Judah is primarily intended; similarly, the noun hl*v*m=m# (also feminine) means “place of rule” (that is, an area over which one rules). However, the masculine noun vd#q) is more ambiguous—it could mean either “holy people” or “holy place”. The former would refer to the theophany and covenant at Sinai, at which time Israel was established as YHWH’s people and a “holy nation” (Exod 19:6). The latter would refer to the territory of Judah as a holy location, almost certainly in reference to Jerusalem as the site of the Temple sanctuary. This is in keeping with the ancient Exodus traditions (e.g., Exod 15:17), anticipating the conquest and settlement of the Promised Land.
The plural form of the noun hl*v*m=m# (i.e., literally “places of rule”) is a bit peculiar; it may be an instance of an intensive or comprehensive plural. This is essentially how I have rendered it— “entirely as His place of rule”. It is especially from Jerusalem (and the Temple sanctuary) that YHWH rules as King. In this regard, the Temple sanctuary functions as His throne. A royal theology is very much present here, as it is in many Psalms. It is here that the cosmological-mythic motifs, which dominate the remainder of the Psalm, are introduced (cf. below). In His work as Creator, YHWH, in establishing an ordered universe, also establishes His Kingship and Rule over it. In Canaanite mythic tradition, for example, Baal Haddu, after bringing order to the cosmos (by defeating the Sea [cf. below]), constructs his cosmic temple, from which he exercises rule over the cosmos. A similar cosmological framework is implicit here in Psalm 114, with the local setting of the Temple sanctuary representing the cosmic sanctuary (and taking the place of the earlier mountain locale [Sinai]).
There is a certain chiastic structure to the ethno-geographic terms used in vv. 1-2:
Israel | house of Jacob || Judah | Israel
For the expression “house of Jacob” as a traditional designation for the Israelite people, see Exod 19:3 (also Gen 46:27); it becomes more commonly used in Prophetic formulae (both of exhortation and judgment)—especially the book of Isaiah (2:5-6; 46:3; 48:1, etc).
Strophe 2: Verses 3-4
“The Sea saw, and fled (suddenly) away,
the Yarden turned around to (the) back!
The mountains leaped about like rams,
the high hills like sons of (the) flock!”
The principal point of reference in verse 3, like the prior vv. 1-2, is the historical event of the Exodus, followed by the conquest/settlement of the Land. The first line refers to the event at the Reed Sea (Exod 14-15), when the sea was driven back (by a wind from God) to allow the Israel people to cross over to freedom (Exod 14:21ff; 15:8; cf. Psalm 66:6; 78:13, 53; 106:9). The second line refers to a similar event at the crossing of the Jordan (Joshua 3), marking Israel’s entry into the Promised Land. However, this all is expressed here through allusions to cosmological myth, involving two related strands of tradition: (1) YHWH’s defeat/subduing of the the primeval waters (“the Sea”), by which He, as Creator, established an ordered cosmos, over which He exercises rule (as King); and (2) the language and imagery of storm-theophany, by which God, with His control over the waters (and the storm), makes his appearance, to which all of creation reacts with fear (and also joy). Both strands of tradition are found in numerous Psalms (and other early Hebrew poems); most notably, they are combined in Psalm 29, a composition that likely influenced the author of our Psalm. On the first line of tradition (viz., YHWH’s subduing of the Sea), cf. my earlier article “The Conflict with the Sea in Ancient Near Eastern Myth” (where other Scriptural examples are also provided).
Of special importance is the way that this mythic language/imagery is applied to the historical context of Israel’s establishment as a nation, paralleling the cosmic context of the establishment of the ordered universe (cf. 77:17[16]ff, and numerous other examples in the Psalms). YHWH rules over Israel (v. 2), just as He is King over the entire cosmos. His control over the waters is utilized on behalf of His people.
The imagery in verse 4 is derived primarily from Psalm 29:6, though the “leaping about” (vb dq^r*) of the mountains and hills is a basic component of the storm-theophany tradition (see above). When YHWH appears, manifesting Himself in the storm (i.e., wind, cloud, thunder, lightning/fire), all of creation shakes/quakes (e.g., Exod 19:18; Psalm 18:8[7]ff). The verb dq^r* can also indicate a joyful response (i.e., “dance about”). Possibly there is an allusion here to the idea that, with the subduing of the Sea, as YHWH exercises His control over the waters, the dry land of the earth (and esp. the mountains and hills) becomes visible, now able to grow and become fertile (note this thematic imagery in Ps 104:7-9ff; cf. Geller, pp. 185-7).
Strophe 3: Verses 5-6
“What to you, O Sea, that you flee away (so),
O Yarden, (that) you turn round to (the) back?
(What,) O mountains (that) you leap like rams,
(and you) high hills like sons of (the) flock?”
Verses 5-6 essentially repeat vv. 3-4, but in the form of a question: Why, O nature, do you react this way? The specific expression ;L=-hm^ (“What to you…?”) can be translated idiomatically in English as “What’s (wrong) with you?”. Verse 7 gives the answer.
Strophe 4: Verses 7-8
“From before (the) face of (the) Lord, writhe, O earth,
from before (the) face of (the) Mighty (One) of Ya‘aqob—
the (One) turning the rock (into) a pool of waters,
the flinty-rock into a spring of waters!”
The reaction of the natural world (in vv. 3-6) is caused by a theophany—the manifestation and presence of YHWH. When He appears, all of the cosmos writhes (“twists”, vb lWj)—as indeed it should, in the face of its Creator and King; compare the similar command in Psalm 96:9. The reference to YHWH as the God of Jacob brings this final strophe back around to the first (vv. 1-2), and to the historical traditions of the Exodus. Verse 8 alludes in particular to the tradition in Numbers 20:2-11 (vv. 10-11; cf. also Deut 8:15), a tradition which features in several other Psalms (e.g., 78:15, 20; 105:41; cp. 107:33-35). It reflects, in a different way, YHWH’s control over the waters (cf. above). In the event at the Reed Sea, the waters “fled” and the sea was turned into dry ground; here, in reverse, the dry/rocky ground becomes a pool (with a flowing spring) of water. The same juxtaposition occurs in Psalm 78:13-16; cf. also 107:29-35.
The y-! sufformative on the participle in v. 8a is similar to instances in 113:5-6 (see the discussion in the previous study); the same arguments regarding them presumably would apply here. Also unusual is the o– suffix on the noun /y`u=m^ (“spring”) in 8b. Dahood (III, p. 137) regards it as an archaic accusative ending; Joüon discusses (in his Grammar, §93r; cf. Allen, p. 139) such rare instances of a w– ending on construct nouns, likewise explaining them as vestiges of an accusative case-ending, but which (in the poetic context) are paragogic endings, serving a phonetic or rhythmic purpose.
The couplets in the final strophe have a 4+3 meter, in contrast to the 3+3 meter of the earlier strophes, though this is not entirely reflected by the presentation of my translation above.
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- References marked “Dahood, I”, “Dahood, II” and “Dahood, III” above are to, respectively, Mitchell Dahood, S.J., Psalms I: 1-50, Anchor Bible [AB] vol. 16 (1965), Psalms II: 51-100, vol. 17 (1968), and Psalms III: 101-150, vol. 17A (1970).
- References marked “Allen” are to Leslie C. Allen, Psalms 101-150 (Revised edition), Word Biblical Commentary, vol. 21 (Zondervan: 2002/2014).
- Those marked “Hossfeld-Zenger” are to Frank-Lothar Hossfeld and Erich Zenger, Psalms 3: A Commentary on Psalms 101-150, translated by Linda M. Maloney, Hermeneia Commentary Series (Fortress Press: 2011). Cf. also the study by Erich Zenger, “A Poetical Etiology of Israel: Psalm 114 against the Background of the Kingship-of-YHWH Psalms 29 and 96-98”, in Shai le-Sara Japhet: Studies in the Bible, its Exegesis and its Language, eds. Moshe Bar-Asher, Dalit Rom-Shilom, Emmanuel Tov, and Nili Wazana (Bialik Institute, Jerusalem: 2007), pp. 381-96 (English section).
- Those marked “Geller” are to Stephen A. Geller, “The Language of Imagery in Psalm 114”, in Lingering Over Words: Studies in Ancient Near Eastern Literature in Honor of William L. Moran, eds. Tzvi Abusch, John Huehnergard, and Piotr Steinkeller (Scholars Press: 1990), pp. 179-94.
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