Psalm 118, continued
For the introduction (vv. 1-4) and the Hymn (vv. 5-18), see Part 1 and 2 of this study.
Second Part: Verses 19-28
The First Part of the Psalm (vv. 5-18) constituted a hymn of thanksgiving to YHWH. The protagonist gives thanks because God has answered his prayer, rescuing him from the attacking enemies that had surrounded him. The deliverance appears to have taken the form of a military victory—or, at least, language/imagery along such lines has been utilized. It has been suggested (cf. the discussion in Parts 1 and 2) that the protagonist is the Israelite/Judean king; at the very least, the hymn evinces a royal background, whether or not a specific (historical) setting from the monarchy is intended. I do understand the hymn, in its original form, to be pre-exilic, dating from the monarchic period.
The Second Part of the Psalm (vv. 19-28) seems to describe a ritual/ceremonial occasion, set at (and within) the Jerusalem Temple precincts. If this ceremonial portion is also original (along with the hymn), then it likely contains the same royal background—with the king as the protagonist. There are numerous Psalms which involve or utilize a Temple setting, with a recurring thematic motif of the righteous coming to the Temple (and entering its courts) in order to give praise and worship to YHWH—cf. Psalms 115-116, and 5:8-9; 24:3-6; 138:1-2. Many prayer-Psalms contain this pattern: beginning with the call for YHWH to rescue the protagonist, and ending with the promise to give praise/thanks to YHWH publicly, in a communal (and ritual-liturgical) worship setting; a good number of thanksgiving Psalms utilize a comparable pattern (see Ps 30, for a good example).
Perhaps the closest parallel to Ps 118:19ff is that of Isaiah 26:1-2ff, which opens with the theme of YHWH’s strong protection, that brings victory to His people (v. 1), and then alludes to the entry of righteous into the holy city (Jerusalem, v. 2). This even includes the specific motif of a call to open the gates of the city (cp. with v. 19 of the Psalm, below). Whether or not the protagonist is to be identified with the Israelite/Judean king, he certainly functions a representative of the entire people—and, in particular, of the faithful/righteous ones among them.
Unit 1: Verses 19-21
“Open for me (the) gates of right(eous)ness—
I will come in (through) them (and) give thanks to YH!”
The parallel with Isa 26:2 has already been noted (cf. above); there the righteous ones of the people as a whole are to enter, while here it is the righteous (and victorious) protagonist. However, based on verse 15f (see Part 2), the protagonist (esp. if the king) is almost certainly accompanied by “the righteous (one)s”, as part of a ceremonial procession. This would fit both the original context of the Psalm (viz., its royal background and original/underlying traditions), and the subsequent use of it (esp. as part of the Hallel collection, 113-118) on festal occasions (notably, the great pilgrimage festivals).
The “gates” here are often assumed to be the gates of the Temple; however, Dahood (III, p. 159) is probably correct in viewing them as the city gates. We should imagine the ceremonial procession as beginning with an entry into the city of Jerusalem, and then continuing into the Temple precincts and courts. This would match the pilgrim-festival application (i.e., for Passover and Sukkot)—including, most notably, the setting for Jesus’ entry (as king) into Jerusalem (Mark 11:1-10 par), an entry which continued on to the Temple and its courts (vv. 11, 15ff par).
“This (is) the gate (leading) to YHWH—
(the) right(eous) will come in (through) it!”
This couplet is generally parallel to that of v. 19 (see above). The “gates of righteousness” are also the gates that lead to YHWH (i.e., the Temple sanctuary). This translation understands the prefixed l (of hwhyl) as being locative/directional; (similar to la#, “to[ward]”) however, it is also possible to treat it as the l indicating authorship/ownership (i.e., “belonging to”)—in other words, these gates (of the holy city and its Temple) belong to YHWH. The second line of each couplet expresses different aspects of the same basic idea—viz., the righteous enter through the gates (the imperfect verb form[s] could also indicate their intention to enter). In v. 19, it is the protagonist (presumably the king) who would enter, while, in v. 20, it is the righteous ones of the people as a whole. The king stands as the representative leader of the people.
There is also a chiasm to verses 19-20, at least in terms of certain thematic wording:
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- The gates of righteousness are to open
- allowing the people to worship YHWH
- the gates (and the Temple) belong to YHWH
- the righteous will enter through the open gates
“I will give thanks to you, because you answered me,
and (so) came to be for me as (my) salvation.”
The protagonist expresses clearly the reasons why he wishes (and intends) to enter the city (and go to the Temple), in order to give thanks (or praise, vb hd*y`) to YHWH. It is because (yK!) YHWH answered his prayer (v. 5), protecting and rescuing him, and giving to him victory over his enemies. This is the guiding theme and subject of the hymn (vv. 5-18). On the specific idiom of YHWH “becoming” the Psalmist’s salvation (hu*Wvy+), cf. verse 14 (discussed in Part 2). As previously mentioned, the noun hu*Wvy+ can also carry the meaning “safety, protection”, and even “victory”.
Unit 2: Verses 22-25
“(The) stone (which) the builders rejected
has become as (the) head of the corner.”
This proverbial-sounding couplet begins the second unit (or stanza) of this section. The illustration emphasizes the manner, and the conditions, in which YHWH acted to save (and bring victory to) the king-protagonist and his people. The motif in the first line, of “(the) stone the builders rejected”, should be understood in general terms, and not pressed too far in its specificity. The basic idea is that the people doing the building (verbal noun [participle]), rejected (vb sa^m*) certain stones during the process of construction; then, once the building was complete, a rejected stone was chosen to be the crowning “head of the corner” for the edifice. Probably the expression “head of the corner” refers to a capstone or cornice, rather than a foundational ‘cornerstone’ per se. This has led certain commentators (e.g., Hossfeld-Zenger, p. 242) to interpret the verse within the post-exilic context of the rebuilding of Jerusalem (and the Temple); the crowning “head of the corner” would then mark the completion of the (re)building.
In terms of the royal background proposed for the hymn (and, presumably, this ceremonial section), the proverb-illustration would have to be understood in the sense of the Israelite/Judean king being “rejected” by the surrounding nations (perhaps those which had previously been vassals or allies, cp. the setting of Psalm 2 [on which, cf. the earlier study]). More broadly, it can refer to the way that various nations have despised Israel/Judah (as the verb sa^m* can also mean “despise”); such an interpretive paradigm could apply to any number of periods or moments in Israelite/Jewish history.
It would seem that, from a relatively early period (cp. Zech 4:7), this verse—and the motif of the “stone” —was given a Messianic interpretation. This is very much in accordance with, for example, the highly interpretive rendering of the Aramaic Targum, which speaks of David as the “son” who had been rejected, only later to be raised by God to a position of rule. Early Christians, of course, applied the verse to Jesus (as the Davidic Messiah), an application which goes back to Gospel tradition, and the parable of Jesus in Mark 12:1-12 par (vv. 10-11); cf. also 1 Peter 2:6-7f, where it was joined (based on the common “stone” motif) with Isa 28:16 (and 8:14f, cp. Matt 21:44). The early Christians would seem to have understood the “head of the corner” as a foundational cornerstone (cf. Eph 2:20).
For a fine study of v. 22, and the “stone” motif, cf. the article by Michael Cahill, “Not a Cornerstone! Translating Ps 118, 22 in the Jewish and Christian Scriptures”, Revue Biblique 106 (1999), pp. 345-57.
“(It was) from YHWH (that) this came to be—
(and) it is (something) wonderful in our eyes!”
The Psalmist makes two points in this couplet: (1) that YHWH was the cause of the ‘rejected’ stone becoming the crowning “head of the corner”, and (2) that it was something wonderful/marvelous (vb al*P*, Niphal). In the context of the Psalm, this is another way of referring to the mighty deeds performed by YHWH in protecting and rescuing His people. The language could allude great historical events (e.g., the event at the Reed Sea) in the history of Israel (according to Scriptural tradition), or to the more localized context of a military victory on behalf of the king and people. If an exilic (or post-exilic) setting is assumed, then it could describe (or anticipate) the restoration of Israel.
The fact that the protagonist (and his people, the righteous ones) have seen these things, experiencing the protection and salvation provided by YHWH, leads them to come to Jerusalem, in a great procession, to worship and give praise to Him.
As in vv. 19-20 (see above), there is a certain thematic chiasm across verses 22-23:
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- The rejected stone was unacceptable ‘in the eyes’ of the builders
- yet it came to be as the head of the corner |
- this came to be as a result of YHWH’s action
- and it appears as something wonderful “in our eyes”
“This (is) the day YHWH made (it happen)—
let us spin (for joy) and be glad in it!”
The first line should be understood as referring to the “day” when YHWH acted to save/rescue His people. Similarly, the people will rejoice and be glad because of what YHWH has done. It is possible to explain the final prepositional oB as “in Him” (i.e., in YHWH), for what He has done.
There is a certain parallelism between the couplets of v. 23 and v. 24. The subject in the first line of each is represented by a demonstrative:
-
- “This [taz)] came to be from YHWH”
- “This [hz#] is the day YHWH did (it)”
The feminine taz) refers to the thing that YHWH did (presumably alluding back to the feminine hu*Wvy+, “salvation”, i.e., saving action), while the masculine hz# refers to the moment or time (<oy, “day”) when He did it.
Continuing the parallelism, the second lines of each couplet are also similar in theme and emphasis.
“Oh YHWH, please bring salvation (again)!
Oh YHWH, please bring prosperity (to us)!”
This unit, or stanza (vv. 22-25), concludes with a dual request (petition) to YHWH, marked by the particle of entreaty (an`). Given the salvation/victory that YHWH has already brought (and which is now being celebrated), it seems somewhat strange that the protagonist here would ask YHWH to bring salvation again. But this is perhaps to be understood in the sense of “continue to keep us safe”. It is paired with the idea of bringing prosperity (vb jl^x*), tying the concept of salvation (i.e., safety/protection) to that of blessing—both being covenant obligations of YHWH toward the faithful ones of His people. Each of the verbs is in the Hiphil (causative) stem, i.e., “make/keep safe, bring salvation”, “make prosperous, bring prosperity”.
Another possible interpretive approach would be to treat the salvation described in the hymn (vv. 5-18) as representing the historical past, while the ritual/ceremonial section in vv. 19-28 seeks to have realized a similar salvation for the people in the present (and future).
As a different explanation, it has been suggested that the prayer here (for salvation/prosperity) is tied specifically to a seasonal prayer for rain; this certainly would fit the traditional Sukkot festival setting for the Psalm (esp. vv. 19-28), see below. Cf. the article by Jakob J. Petuchowski, “‘Hoshi‘a na’ in Psalm CXVIII 25,—A Prayer for Rain”, Vetus Testamentum 5 (1955), pp. 266-71.
Unit 3: Verses 26-28
“Blessed (is) the (one) coming in (the) name of YHWH!
We (all) bless you [pl.] from (the) house of YHWH!”
If we may assume a ritual progression across the three units (or stanzas) of this section, then the procession, having initially entered through the city gates (unit 1), has now reached the temple. Again the singular-plural dichotomy (i.e., king-protagonist and righteous ones) from earlier in the Psalm is maintained, with the singular (“the [one] coming…”) in line 1, and the plural (“we bless you [plur.]…”) in line 2. Probably the scenario would have the king at the head, leading the procession, with the people (“the righteous ones”) following. The verb aoB (+ prep. B=), used earlier in vv. 19-20, again refers to the procession entering; the righteousness of those entering is indicated by the expression “in the name of YHWH” —viz., those who belong to YHWH (as His faithful/loyal people), and who worship Him with devotion. The expression “from the house of YHWH” is parallel, with YHWH’s name being especially connected with the Temple (“house”) in Israelite religious tradition. It is a thematic connection that is particularly emphasized in Deuteronomy (and the Deuteronomic history), illustrated most notably in the Prayer of Solomon (at the dedication of the Temple, 1 Kings 8 [on which, cf. my earlier series of notes]).
On a textual note, the Qumran manuscript 11QPsa originally read “We bless you in/by (the) name [<vb]…”, but then the additional word was marked (as erroneous) by a later hand.
Line 2 references two groups—one approaching (and entering) the Temple, and the other greeting them (“We bless you…”) from within the Temple courts. The ones within the Temple may represent a group of priests; if these verses were part of a liturgy, then a chorus of priests may have sung/recited the line(s).
In terms of the original context of the Psalm (and its royal background), the “(one) coming in the name of YHWH” refers to the faithful (and victorious) king. This led naturally to a Messianic interpretation, which was applied, in early Christian tradition, to the person of Jesus (as the Davidic Messiah). Verse 26 (along with v. 25) features prominently in the Gospel Tradition, connected with the ‘triumphal entry’ of Jesus into Jerusalem (Mark 11:9-10 par; cf. also Matt 23:39; Lk 13:35). See the article in the series “The Old Testament in the Gospel Tradition”, and also Parts 6–8 of the series “Yeshua the Anointed”, along with the supplemental note on “The One Coming”.
As previously mentioned, from a relatively early time, the Psalm came to be reinterpreted according to its festival setting, with v. 26 applied to the pilgrims coming into Jerusalem for the festivals of Passover and Sukkot, etc. See Part 1 of the article on the Sukkot festival.
“(The) Mighty (One is) YHWH,
(and) He has brought light to us!”
The first half of verse 27 is a short 2-beat (2+2) couplet, presumably describing (in at least a shorthand way) a ceremony that occurs in the Temple—confession/praise of YHWH, accompanied (probably) by a ritual/ceremonial action. The first line is best understood as a confessional declaration, acknowledging YHWH as the one true God (to be worshiped by Israel), and that, as such, He has the power to protect and save His people.
The motif of YHWH bringing (i.e. shining) light upon His people is traditional, connected with the ceremonial priestly blessing (Num 6:25-26, cf. Psalm 67:1; 80:3, 7, 19). The shining of light refers to the active/manifest presence of YHWH, and the providential protection and blessing that He provides.
In later Israelite/Jewish tradition, a lamp-lighting ritual was performed as part of the Sukkot ceremonies (see Mishnah tractate Sukkah 5.2-3ff); possibly v. 27a alludes to an ancient seminal form of such a ritual. Cf. the light motif utilized by Jesus in his Sukkot Discourse (John 8:12ff).
“Bind (the) processional with woven (branch)es,
up to (the) horns of the place of slaughter!”
This second couplet (3+2) has proven difficult to interpret (and translate). The main uncertainty regards the specific contextual meaning of gj^, which signifies a festival (esp. a pilgrimage festival). Does it refer to a festal procession, or to a sacrifice offered during the festival? (on the latter, cf. Exod 23:18). If the former, then the “woven/twined (strand)s” (<ytb)u&) would presumably refer to ropes/cords used to “bind” (vb rs^a*) the offering until reaching the altar (lit. “place of [ritual] slaughter”); if the latter, then the <yt!b)u& could be festive branches, such as those traditionally used during Sukkot (Lev 23:40, etc; cf. Part 1 of the article on Sukkot). Dahood (III, p. 160) offers an intriguing solution, by redividing the Hebrew (<ytbu bgj, instead of <ytbub gj); then he would correlate bgj with Syriac µugb¹ (“shrine”, cp. Arabic µij¹b), explaining the couplet as an exhortation to adorn the courtyard (up to the altar) with festive branches.
The Qumran manuscript 11QPsa reads a plural construct noun (yrwsa, i.e., “bindings of”) instead of the imperative (Wrs=a!, “bind…!”); almost certainly this is a copyist’s mistake.
It seems best to understand gj^ in terms of a festal procession. This would be in accordance with the basic meaning of the ggj root, and would also fit the overall scenario in vv. 19-28, which seems to describe a procession. Beginning at the city gates, it now, at its climax, reaches the sacrificial altar (“up to the place of slaughter”) in the Temple courtyard.
“My Mighty (One) you (are), and I give you thanks!
“My Mightiest (One), I do lift you high!”
The stanza, and the ceremonial section as a whole, concludes with this declaration of praise to YHWH. As in v. 27a (cf. above), it combines a confession of YHWH (as the one true God, worshiped by the righteous), with thanksgiving (line 1) and praise (line 2) to Him. Both of the related Divine terms/titles la@ (°E~l) and <yh!l)a$ (°E_lœhîm) are used, synonymously, with little or no difference in meaning.
The meter of this couplet (3+2) matches that of v. 27b.
Conclusion: Verse 29
“Give thanks to YHWH, that (He is) good—
His loyalty (lasts) to (the) distant (future)!”
The Psalm concludes just as it began; indeed, verse 29 is identical with verse 1 (cf. Part 1). This exhortation and call to praise YHWH frames the entire Psalm, and helps to set it within the liturgical (worship) context of the Hallel (Praise) collection.
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).
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).