February 2025 – Next Step Bible Study

Sunday Psalm Studies: Psalm 124

Psalm 124

Dead Sea MSS: 11QPs^a (vv. 7-8)

This is the fifth “Song of the Ascents” (tolu&M^h^ ryv!; on the heading cf. the study on Ps 120), and the final Song of the initial group of five (120-124) in the collection. As is fitting for its climactic position, this Psalm is a hymn of praise to YHWH for His saving power, and the salvation that He brings about for His people (cp. the similar thematic emphasis in Ps 129).

The Song focuses on what YHWH has done in the past, but also attests (implicitly) to the expectation that God will continue to bring deliverance to His people, so long as they remain faithful to Him (and to the covenant). This dual-aspect orientation is appropriate to the festal setting that is assumed for the collection as a whole—that is, the devout pilgrims in Jerusalem praise YHWH for all of His great saving deeds, expressing faith and hope that this Divine protection will continue. The Psalm need not be viewed in connection with any particular current event; however, if an early post-exilic date for the Song is accepted, then the deliverance mentioned in the stanzas could be related to the restoration and return of the people (for this orientation, cf. the second stanzas of Pss 120 and 123).

Psalm 124 generally follows the structural pattern of the prior four Songs. An initial unit (couplet or pair of bicola, here vv. 1-2) establishes the theme for the Song, which is then followed by two metrically similar stanzas (vv. 3-5, 7-8). This pattern has been expanded somewhat, primarily by the inclusion of a couplet (v. 6) in which the people bless YHWH. The connection between the two stanzas (apart from this blessing-couplet) is indicated by the keyword-bonding between v. 5 and v. 7, involving the noun vp#n# (which has the dual meaning of “throat/neck” and “soul”); this is another example of the step-parallelism that we have seen in the prior Songs.

The inclusion of verse 6, along with the syntactical relationship of the initial unit (vv. 1-2) to the first stanza (they form a single grammatical sentence), gives to Psalm 124 a more definite and clearly formed bipartite structure: vv. 1-5, 6-8. Correspondingly, two different thematic motifs—both quite traditional—are used to express the life-threatening danger from which the people (viz., the righteous) are rescued by YHWH. First (vv. 3-5) there is the image of raging waters that threaten to overwhelm the righteous—indeed, they are ‘up to their neck’ in the deadly waters. In the second stanza (vv. 7-8), the motif shifts to that of a trap or snare, such as a hunter (or fowler) uses to trap unsuspecting birds, etc. The emphasis in the first stanza is on the danger that threatens God’s people, while the second stanza focuses on the saving act by YHWH, by which He delivers them out of danger.

Both in terms of the depiction of danger facing the righteous, and of the hope/expectation that YHWH will rescue the righteous, this Song draws upon the traditional genres of lament- and prayer-Psalms. Many such Psalms include a section of thanksgiving and praise to YHWH; similarly, there are thanksgiving-Psalms which utilize many of the same thematic motifs and features from the lament/prayer-Psalms. In nearly all these Psalms, an individual protagonist is in view—viz., the Psalmist/protagonist as one who represents the people (esp. the righteous) as a whole (cf. Allen, pp. 219-20). Here, however, the orientation is communal—which, of course, would be fitting for the presumed festal setting of the Songs. In this regard, note the shift in the prior Ps 123, from the individual (v. 1) to the communal (vv. 2c-4); cf. also the close connection between individual and community in Psalm 122.

Metrically, the two stanzas are generally dissimilar, with the first being comprised of 3-beat (3+3) couplets, and the second being irregular by comparison (3+2, 2+2, 3+3).

Introduction: VerseS 1-2

Verse 1

“If (it had) not (been) YHWH
who was (there) for us—
(so) let Yisrael now say—”

The introduction is formed by a pair of parallel 2-beat (2+2+2) tricola, which are syntactically related to the following stanza (vv. 3-5) in that they establish a hypothetical negative conditional statement (protasis). This conditional clause is governed by the initial negative-conditional particle yl@Wl (= al@Wl, “if not…”): “if it were not that…”, “unless…”. For other occurrences of this particle in the Psalms, see 94:17; 106:23; 119:92; cf. also Isa 1:9.

The clause properly is formed by the first two lines, and it can be understood two different ways:

- “if it were not that YHWH was there for us…”
  emphasizing the fact that YHWH was acting on the people’s behalf
- “if it where not YHWH who was there for us…”
  emphasizing that YHWH is the only who could save the people

I have opted for the latter approach (cf. Dahood, III, p. 212).

Syntactically, the third line is parenthetical, but functions poetically to join v. 1 with v. 2. It also is an indicator of the liturgical use of the Song, within a corporate worship setting. The Song certainly could have been used, from the beginning, as part of the celebrations for the great pilgrimage festivals (such as Passover and Sukkot/Booths).

Verse 2

“if (it had) not (been) YHWH
who was (there) for us,
in (the) standing of men against us,”

This second tricolon (slightly irregular in meter, 2+2+3) repeats the negative conditional clause from verse 1, adding a further qualifying prepositional-verbal phrase (in the third line). This phrase positions the clause within the context of the danger facing God’s people. The lengthened (3-beat) line functions (poetically) to create a certain dramatic suspense, leading into the stanza.

The danger is described here generally by the phrase “in (the) standing against us by men” —that is, the danger comes from other human beings (“[hu]mankind”, or “man”, <d*a*). This verbal act of aggression and hostility (“standing [up]”, <Wq) against (lu^) God’s people (viz., the righteous) is characteristic of the wicked. For other instances of this use of the verb <Wq (“stand”) in the Psalms, see 3:2[1], 8[7]; 27:3, 12; 54:5[3]; 86:14; 92:12[11]; 109:28.

Stanza 1: Verses 3-5

Verse 3

“then they would have swallowed us alive,
in (the) burning of their anger on us,”

The three couplets of the stanza each begin with the adverbial particle za* (“at that time, then”), corresponding to the negative-conditional particle yl@Wl in vv. 1-2 (see above). As noted, syntactically the introduction and the stanza together form a single (conditional) sentence (“If…then…”). The two tricola of the introduction form the conditional clause (protasis), while the couplets of the stanza describe the consequences that would result (apodosis). The adverb za* is used a general sense (“then…”) to indicate the consequences if the (hypothetical) negative condition had occurred: “if YHWH had not been there for us, then…”. The form yz~a& occurs only here (vv. 3-5) in the Scriptures; however, as Allen notes (p. 219), it is attested in a Hebrew letter from the Wadi Muraba‘at (Mur 42, line 5 [c. 134-5 A.D.]), where it similarly introduces the apodosis following a (negative) conditional clause. It is also found, much earlier, in a 7th cent. B.C. Aramaic inscription.

If YHWH had not been there to help His people, exercising His saving power on behalf of the righteous, then the wicked would have “swallowed them alive”. For the use of the verb ul^B* (“swallow”) in a similar context, see Ps 35:25; whereas, in 21:10[9], it is YHWH who, in His anger, swallows up the wicked. The verb here anticipates the motif of the life-threatening waters that engulf the righteous—a traditional motif in Hebrew poetry (e.g., 69:16[15]; 88:7, 17; Job 22:11; 27:20). This motif of the dark and dangerous ‘deep waters’ served as a poetic idiom for Death and the realm of death (Sheol, the grave) generally; as a personification, Death ‘swallows’ human beings with his enormous mouth. Cf. especially Ps 18:5-6[4-5], 17[16]f [par 2 Sam 22]; 69:2-3[1-2]ff, 15-16[14-15]; Jonah 2:3, 5ff.

The burning anger of the wicked suggests the intensity of their hostility toward the righteous, though this idiom is more often used of God’s anger (toward the wicked, cf. Ps 21:10[9]). The noun [a^ concretely means “nostril[s]”, and thus the poetic depiction properly is that of a person’s nostrils burning/flaring, like those of an angry bull; however, the noun had long been used in the more general (and abstract) sense of “anger”, and this translation is more suitable to the Psalm here.

Verse 4

“then the waters would have engulfed us,
a rushing torrent passed over our throat—”

As discussed above, this motif of the dangerous waters—as an idiom for both the attacks of the wicked, and for the threat of death against the lives of the righteous—is traditional and occurs with some frequency in Biblical poetry (see the cited references above). The verb [f^v* (“engulf, overflow, overwhelm”) is used in this same context in Ps 69:3[2], 16[15]; cf. also Isa 43:2. In a reversal, the language is applied to YHWH, whose wrath of judgment overwhelms and engulfs the wicked, in Isa 28:2, 15, 17-18; 30:28; Jer 47:2; Ezek 13:11ff.

The image in the second line, using the noun lj^n`, is that of a wadi—a river-bed that is dry during much of the year, but which in the (winter) season, is suddenly filled with a rushing torrent of water. The coming of such water is potentially quite dangerous, and would threaten the life of anyone caught in the midst of it.

The noun vp#n#, here and in the following vv. 5 and 7, is difficult to translate. It is usually rendered “soul”, but also has the more concrete meaning of “throat” (= “neck”). Both meanings are quite valid here, but the latter “throat/neck” seems more appropriate—both for the idea of being engulfed in water ‘up to one’s neck’, and in light of the motif of swallowing (vb ul^B*) introduced in v. 3 (cf. above).

Verse 5

“then would have passed over our neck(s)
those boiling (and raging) waters!”

The first line repeats v. 4b (cf. above); however, in anticipation of the use of vp#n# in v. 7 (see below), I have altered the translation slightly here, from “throat” to “neck”. The image, however, is exactly the same as in v. 4: the surging waters threaten to completely engulf (and thus kill) the righteous; they are literally in the waters ‘up to their neck’, even going over (lu^) their necks—to show how serious the situation is.

The syntax of the second line is a bit tricky to translate. Taken simply, the phrase is “the boiling/raging waters”. However, the double use of the definite article could be rendered other ways: e.g., in apposition (“the waters, the raging/boiling [water]s”), or in something like a construct sense, associatomh the waters with the attacks of the wicked (v. 3), “the waters (of) the raging (one)s”. The root dyz/dwz, denoting something (or someone) rising up, in a forceful or violent manner (such as, spec. the boiling of water), can connote the prideful arrogance (and violence) of the wicked (cf. also the adjective dz@, used repeatedly in Psalm 119). I have translated the double articular noun phrase emphatically.

It may be pointed out that there is a certain chiastic structure to vv. 4-5, taken together:

- the rushing/engulfing waters
  - passed over our throat/neck
  - passed over our throat/neck
- the boiling/raging waters

Blessing: Verse 6

Verse 6

“Blessed be YHWH,
who did not give us
as prey for their teeth!”

This terse 2-beat (2+2+2) tricolon introduces the second stanza, much as the tricola of vv. 1-2 introduced the first (cf. above). In terms of the connection between the two stanzas, v. 6 also functions as a kind of interlude or bridge verse. The blessing (vb Er^B*) given to YHWH here completes the implicit praise that is anticipated in vv. 1-2. It also confirms the salvation which YHWH has provided for His people; He did not allow them to be overwhelmed (and destroyed) by the wicked, thus making clear that the negative conditional clauses of vv. 1-2 are hypothetical (and contrary to fact). The acts of deliverance performed by YHWH are treated as past events—but not necessarily to be limited to specific events (cf. the discussion in the introduction to the Psalm, above). The perfect tenses are best understood in a general sense, reflecting the mighty deeds performed by YHWH at various points throughout Israelite history, but also anticipating that He will continue to protect and rescue His people in times to come.

Stanza 2: Verses 7-8

Verse 7a

“Our neck, like a bird, got away safe
from (the) snare of trap-layers;”

In the second stanza (in v. 7), the image used to depict the danger facing the righteous (from the wicked) is that of a trap (jP^) or snare (root vqy) laid so that God’s people might fall into it and be caught (and ultimately killed). The noun jP^ refers to a metal trap, specifically of the kind used to catch birds. The noun vq@om is used more generally for a trap or snare that is set, to catch prey, etc; cf. the use of [r#f# in v. 6. Here it is the verb vq^y`, as a verbal noun (participle) that is used, describing the actions being taken by the wicked (against the righteous)—they are, literally, “trap-layers”, ones setting traps so as to ensnare the righteous. This imagery is relatively frequent in the Psalms: for the noun jP^, see 69:23[22]; 91:3; 119:110; 140:6[5]; 141:9; 142:4[3]; for vq@om and the verb vq^y`, cf. 18:6[5]; 64:6; 69:23[22]; 106:36; 140:6[5]; 141:9. Similar in concept is the image of setting out a net or digging a pit in which to trap the righteous (7:16[15]; 9:16[15]; 35:7; 57:7[6], etc).

The verb fl^m* [I] (Niphal) means “get to safety, get away safe”, i.e., escape. It is one of numerous rescue-verbs regularly used in the Psalms, in the context of the salvation/deliverance YHWH provides for the righteous. Cf. 22:6[5]; 41:2; 89:49[48]; 107:20; 116:4.

Verse 7b

“the snare was shattered,
and we got away safe.”

This short 2-beat (2+2) couplet described the specific saving action of YHWH; in terms of the imagery being used, He broke apart (vb rb^v*) the trap set by the wicked, thus allowing His people to get away to safety (keeping them alive). The passive of the verb (Niphal stem) is probably best understood as an instance of the so-called Divine passive (passivum Divinum) in which God is the implied actor. The same verb (fl^m*) was used in v. 7a (cf. above); indeed, as with vv. 4-5, the two couplets in v. 7 evince a certain chiastic structure:

- Our neck/soul got away safe
  - from the trap being laid as a snare;
  - the trap was broken apart
- and we got away safe

The terseness of this couplet could be meant to depict, poetically and rhythmically, the utter simplicity with which YHWH, in His power, is able to destroy the traps set by the wicked.

Verse 8

“Help for us (rests) in (the) name of YHWH—
(the One) making (the) heavens and (the) earth!”

This final couplet, which returns to the 3+3 meter of the first stanza, brings the Psalm—and also the first group of five Songs—to a close. Rather than continuing with the thematic motif of the stanza, it echoes the initial praise given to YHWH in vv. 1-2 (and repeated in v. 6), declaring again that salvation for the people of Israel (esp. the righteous) is to be found in YHWH alone. Only He is able to rescue His people from the hostile attacks by the wicked. The reason why He has such supreme power, enabling Him so easily to destroy the plans and devices of the wicked (see the note on v. 7b above), is that He is the Creator—the One who made heaven and earth and all things. He thus has Sovereign power and authority over all things.

The manifest presence and power of YHWH, among His people, is often associated specifically with the name of YHWH. In ancient Near Eastern thought, a person’s name represents and embodies the essence of the person. Cf. the discussion on Ps 122:4 in the prior study. In particular, the name of YHWH was connected with the city of Jerusalem and His ritual/symbolic dwelling-place in the Temple sanctuary. Thus, as in 122:4, there may be an allusion here to the Jerusalem Temple, and also, presumably, to the festal pilgrimage to the Holy City.

Sunday Psalm Studies: Psalm 123

Psalm 123

Dead Sea MSS: 11QPs^a (vv. 1-2)

This fourth of the “Songs of Ascents” (cf. the previous studies on Ps 120, 121, and 122) is one of the shortest in the collection. Its relationship to the prior Songs—and, in particular, to the festal pilgrimage setting of Ps 122—is unclear. In the context of the Song-cycle (and the first group of five Songs), Ps 123 was possibly understood as representing a liturgical setting of communal prayer, taking place in Jerusalem, on the occasion of the pilgrimage festival. In terms of genre, it is a prayer-Psalm, with lament features, containing a prayer to YHWH for deliverance.

Commentators are generally agreed on the two-part (two-stanza) structure of the Psalm. However, I prefer to treat the initial couplet in verse 1 as an introductory unit, according to the pattern outlined for the prior Pss 120-122. This introductory unit, which may also have served as a responsory (or refrain), establishes the thematic motifs for the following stanzas. The short stanzas themselves (v. 2 and 3-4) are less similar, metrically, than those of Pss 121 and 122. The first stanza consists of three bicola (3+2, 2+2, 3+2), while the second is comprised of two tricola (2+2+2, 3+2+2).

Thematically, the stanzas are linked together, by key words and motifs, in general accordance with the step/staircase-parallelism that occurs in many of these Songs. A key word or phrase from a verse or couplet (esp. in the final line) is picked up again by the one following. Specific instances of this poetic feature will be noted below.

The first stanza utilizes the motif of the master/servant relationship, with YHWH as the master and the Israelite people (men and women both) as the servants. Clearly, this thematic motif alludes to the covenant-bond established between YHWH and His people, in which YHWH is the superior party—a Sovereign who exercises complete authority over His servant-vassals. The request from the servants, emphasized in the second stanza (vv. 3-4), is for their master, YHWH, to show favor (/nj) to them, giving them help and protection in their time of distress.

The secondary motif in vv. 3-4, emphasizing the amount of affliction (i.e., scorn and contempt from the wicked) that God’s people have and endured—and for a significant length of time—suggests the possibility of an exilic (or early post-exilic) date for the Psalm.

On the superscription, which is translated “A Song of the Ascents” (tolu&M^h^ ryv!), and which heads each of the Songs in the collection, see the Introduction to the study on Psalm 120.

Introit: Verse 1

Verse 1

“Unto you I do lift up my eyes—(You)
the (One) sitting in the heavens!”

This initial couplet (3+2) seems to echo the opening of Psalm 121 (v. 1), with this motif of the protagonist “lifting up” (vb ac*n`) his eyes to the place where YHWH resides. The act of lifting one’s eyes represents a traditional image of a person seeking help and deliverance (from God) in a time of distress. As noted above, Ps 123 is essentially a prayer for deliverance. It begins (here in the introduction) with an individual (i.e., the protagonist [“I lift up my eyes”]) seeking help from YHWH; but then, in the stanzas, it becomes the voice of a communal prayer (“our eyes”). Throughout the Psalter, the protagonist tends to represent the people as a whole—and, in particular, the righteous/faithful ones of the people, those who are loyal to the covenant with YHWH (and who thus make the festal pilgrimage to Jerusalem).

In Ps 121 (cf. the earlier study), the location of YHWH’s dwelling is indentified, in mytho-poetic terms, as the great cosmic mountain that joins earth to heaven (and with its peak in heaven). Here, it is the more customary cosmological location of “the heavens” —being the upper(most) part of the cosmos. In each localization, the height, grandeur, and majestic expanse of God’s dwelling is being emphasized. The ritual-symbolic corollary for YHWH’s dwelling is, of course, the Temple sanctuary in Jerusalem, which is the destination of the festal pilgrimage. The Temple ‘mount’ of Zion corresponds with the great cosmic/heavenly mountain of God.

YHWH is enthroned in the heavens, just as He has His throne, in its local ritual-symbolic aspect, within the Temple sanctuary. He “sits” on His throne (“[You] the [One] sitting”) as King over all (Ps 2:4, etc)—and, especially, as Sovereign over His people Israel. The y– sufformative (Hireq compaginis, y-!, î-) on the participle is best understood as an archaic genitive ending (cf. Dahood, III, p. 208f), preserved in certain poetic contexts for nouns, in place of the customary construct state; cf. GKC §90, Joüon §93l-q. Its use in later Psalms may be paragogic, representing a stylistic device or one utilized to smooth and fill out the rhythm of a verse.

Stanza 1: Verse 2

Verse 2ab

“See—(just) as (the) eyes of servants
(look) to (the) hand of their lord,
(and) as (the) eyes of a serving-girl
to (the) hand of her great lady,”

The first stanza is comprised of three 3+2 couplets (following the meter of v. 1), which form a single sentence. The thematic motif of the master/servant relationship is established here in the first two couplets, as a way of expounding the key theme of “lifting up” one’s eyes (to YHWH), v. 1 (see above). Human servants similarly “lift up” their eyes to their masters; this action indicates a humble and subservient attitude that recognizes the superior authority of the master. This applies to both men and women—i.e., there are male/female servants and masters alike. Conceivably, this dual-emphasis is meant to apply the metaphor comprehensively, to all of the Israelite people, both male and female.

Though the apparent similarity in translation may suggest otherwise, different words (from entirely different roots) are rendered by “servants” (db#u#, plur.) and “serving-girl” (hj*p=v!), respectively. The feminine tr#b#G+ (= hr*yb!G=, masc. ryb!G+/rb#G#) denotes a powerful (and prominent) woman, or, in English parlance, a “great lady”, “mistress of the house(hold)”.

The plural form of the noun /oda* (“lord”) is best explained as an intensive or honorific plural (i.e., ‘plural of majesty’), which appropriately anticipates the implicit identification of YHWH as the “Lord” of Israel.

Verse 2c

“so our eyes (look) to YHWH our Mighty (One),
until (the time) when He shows us favor.”

The comparison is completed in this final couplet, identifying the Israelite/Judean people (both men and women) as the servants of YHWH. In humble obedience (and faithful service), they look to YHWH (their Lord), to be shown favor (vb /n~j*) by Him. This same verb is picked up in the first line of v. 3—another example of step- or staircase-parallelism in the Songs.

The people wait patiently for YHWH to show them favor. This is indicated simply by the preposition du^ (“until…”) and prepares for the thematic emphasis in the second stanza (see below). That the people show such patient endurance, waiting (with devout expectation) for YHWH to answer their prayer and provide deliverance, suggests a basic characteristic of faithfulness. Clearly, it is the righteous/faithful ones of Israel who are primarily in view.

On the poetic framework in this verse— “(just) as…(and) as…so…” (/K@…-K=…-K=)—Dahood (III, p. 209) notes its use in earlier Canaanite poetry, such as in the Baal Epic (Tablet VI [KTU 1.6], Col. II, lines 6-9):

“Like [k] the heart of the c[ow] for her calf,
like [k] the heart of the ew[e] for her lamb,
so [km] is the heart of An[at] for Baal.”
(Translation M. S. Smith, in Ugaritic Narrative Poetry, ed. Simon B. Parker [SBL/Scholars Press: 1997])

Stanza 2: Verses 3-4

Verse 3

“Show favor to us, O YHWH!
Show favor to us—for much
are we filled up (by) contempt!”

The second stanza is comprised of a pair of tricola. Verse 3 is typically treated as a 3-beat (3+3) bicolon, but the rhythm seems to be better served by parsing the verse as a 2-beat (2+2+2) tricolon; cf. Dahood, III, pp. 208-9. The verb that closed verse 2 (cf. above), /n~j* (“show favor”), is picked up here at the beginning of v. 3. Indeed, it forms the essence of the people’s prayer to YHWH, being repeated (for emphasis) in line 2. As faithful and devoted servants, they hope (and expect) that their Master (YHWH) will show favor to them. As verse 4 makes clear, this entails delivering them from the disgraceful treatment that they have long suffered (at the hands of the wicked).

The noun zWB (translated here “contempt”) is used to express this disgraceful treatment. The people have long experienced such disgrace, and have had it piled on them in abundance. The point is made emphatically here, both by the adjective br^ (“many, much, abundant”) and the use of the verb ub^c*, which basically means “eat/drink one’s fill” (i.e., to the point of being fully satisfied); in a pejorative or negative sense, we might say “gorge” or “stuff (oneself)”. I have rendered the verbal phrase above as “we are filled up (by/with) contempt”, so as to capture this basic idea of eating/drinking one’s fill; however, the mood of the people might be better expressed by a glossed translation like “we have had our fill of (all this) contempt!” —i.e., they are sick and tired of it, and want it to end. As noted above, this may allude to the historical context of the Exile (or of the early post-Exilic period).

Dahood (III, p. 209) treats the adjective br^ as a Divine title, meaning something like “Great (One)”, and the preceding yK! as an emphatic particle. Admittedly, this produces a more precise parallel for the first two lines—

“Show favor to us, O YHWH!
Show favor to us, Great (Lord)”

however, the verse then loses much of its poetic tension and vigor.

Verse 4

“Much (indeed) has our very soul filled up
(on) the derision by th(ose) at ease,
the contempt from (those) risen high!”

The verb ub^c* from verse 3c is picked up here in v. 4a—another instance of the so-called staircase parallelism. The adjective br^ (“much, many”) is also repeated, for emphasis. The very soul of the people (esp. the righteous ones) has had its fill (i.e., had enough) of the contempt (zWB, again from v. 3) and scornful derision (gu^l^) they have long endured at the hands of the wicked. Whether this refers to the people’s place among the nations (i.e., during the exile), or to that of the righteous among the wicked/corrupt portions of the Israelite/Judean people, is not entirely clear. Both social situations could well apply, especially if the Psalm is dated to the post-exilic period. The situation described in the book of Nehemiah (chaps. 2-4 and 5) has been proposed as a possible point of comparison; cf. Hossfeld-Zenger, p. 346.

The wicked are described by a pair of characteristic (verbal) adjectives. The first is /n`a&v^, from the root /av, denoting people or are resting secure and at ease. While this may indicate a certain negligence in matters of righteousness (such as toward the regulations and duties of the Torah), it also suggests that the apparent security of these people has come about as a result (and consequence) of their wicked attitude and behavior. For similar occurrences of the adjective, cf. Job 12:5; Isa 32:9, 11, 18; 37:29 (par 2 Kings 19:28); Amos 6:1; in Zech 1:15, it is specifically the surrounding nations who are resting secure (in their wickedness).

The second adjective is /oya&G~ (read the MT Ketib, rather than the Qere), denoting people who have “risen high” (vb ha^G`). This may be an indication of their social status (possibly alluding to riches and position achieved through wicked means), but just as likely is a reference to their attitude and conduct, coming as a result of their inflated sense of self-importance. There is a strong connotation of pride and haughtiness (i.e., high-mindedness) in this terminology; in English idiom, we might refer to such people pejoratively as “high and mighty”.

The construct expression in line 2 is a subjective genitive, meaning that it is the people resting secure and “at ease” who are doing the mocking of God’s people. In line 3, the same is expressed by the preposition l=, indicating the source or agency of the contempt—viz., it is coming from those who are ‘high and mighty’. Such a dualistic contrast, between the righteous and the wicked, is characteristic of many Psalms. In particular, the lowliness and humility of the righteous is contrasted with the high position and scornful pride of the wicked.

The people of God—the righteous and faithful ones—long to be delivered from such mistreatment and abuse at the hands of the wicked. In this regard, the noun vp#n#, in the context of the imagery used in vv. 2-4, has multiple nuances of meaning. The noun tends to be translated flatly as “soul”, but it also carries the more concrete meaning of “throat”, a meaning that occurs most often in poetry. Similarly, and by extension, it can mean “appetite”, and both of these meanings— “throat” and “appetite” —are appropriate to the idiom of being ‘stuffed full’ (i.e., eating/drinking one’s fill), as expressed by the verb ub^c* (see above). The sense of “appetite” leads naturally to the connotative meaning “longing, desire”, which is also appropriate to the overall thrust of vv. 2-4—viz., the intense longing of the righteous to be delivered from the baleful and oppressive influence of the wicked. Perhaps, in the end, the translation “soul” best captures all these different aspects of meaning.

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).

Sunday Psalm Studies: Psalm 122

Psalm 122

Dead Sea MSS: 11QPs^a (vv. 1-9); 4Q522 (vv. 1-9)

This third of the “Songs of Ascents” (cf. the previous studies on Ps 120 and 121) is the first specifically to mention Jerusalem (or Zion). Its setting also clearly relates to the tradition of the pilgrimage to Jerusalem (for the great festivals, esp. Passover and Sukkot/Booths). Most commentators generally assume that this religious setting applies to all of the Songs, but it is particularly prominent here. Jerusalem/Zion becomes a more dominant theme and feature of the Songs beginning with Ps 125; but it is worth noting that, if one divides the collection into three parts (three groups of five, 120-124, 125-129, 130-134), the central Psalm of each group—122, 127, 132—focuses on Jerusalem as the holy city of God.

Structurally, Psalm 122 follows the same general pattern as the prior Pss 120 and 121. An introductory unit (vv. 1-2), which may have functioned as a responsory (or refrain), is followed by a pair of stanzas (vv. 3-5, 6-9) that are metrically similar. The introduction establishes the theme for the Song which is then expounded and developed in the stanzas. This basic outline (and two-stanza) division has been recognized by numerous commentators (e.g., Gunkel, Kraus), and is followed by the more recent commentaries of Allen, Crow, Hossfeld-Zenger, and others. Dahood (III, p. 203f) presents a different two-stanza division: vv. 1-4a, 6-9, with vv. 4b-5 as an intervening bridge-unit.

The study by Luis Alonso-Schökel and Andrzej Strus (“Salmo 122: Canto al nombre de Jerusalén”, Biblica 61 [1980], pp. 234-50) offers the interesting suggestion that the two parts (stanzas) of the Psalm are related to the two components of the traditional etymology of “Jerusalem” (<l^v*Wry+) as the “city” (ryu!) of “peace” (<olv*); cf. Crow, pp. 45-6. The first stanza (vv. 3-5) does, in fact, focus the establishment of Jerusalem as the holy city, the city of YHWH and the religious center for His people. Similarly, the second stanza (vv. 6-9) does feature the theme of peace—both for the city itself (vv. 6-7), and for those who are devoted to it (vv. 8-9), such as those who faithfully make the pilgrimage.

Many modern commentators consider Psalm 122 to be post-exilic (cf. Crow, p. 47), but a pre-exilic date seems just as possible. The question of dating depends, at least in part, on the relationship of Ps 122 to the other ‘Zion Songs’ in the Psalter (e.g., 46, 48, 76, 84); cf. Allen, pp. 212-3; Hossfeld-Zenger, pp. 336-337. One may also note the similarity between the call in v. 1 and that of Isa 2:3 (Mic 4:2). Clearly there is a dependency of some sort between these texts; most likely, they are all dependent upon a common line of tradition.

Ps 122 is one of only two Songs (in the MT) with an additional superscription—the traditional attribution of “(belonging) to David” (cf. also 124:1). However, this attribution is not present in all manuscripts, and is absent from the LXX.

Metrically, the Psalm follows a 3+2 couplet pattern, with two exceptions (noted below).

Textually, it is noteworthy that this Psalm is preserved more or less complete (and largely intact) in two different Qumran manuscripts (11QPs^a and 4Q522). This allows us the rare opportunity (in the case of the Psalms) to compare any variant readings (here mainly in 11QPs^a) against a separate Qumran manuscript.

Introit: Verses 1-2

Verse 1

“I was glad with (those) saying (then) to me,
‘(To the) house of YHWH we go!'”

This first couplet expresses the willingness (and eagerness) of people to embark on the journey (presumably the festal pilgrimage) to Jerusalem, and, ultimately, to the Temple (the “house of YHWH”). As noted above, one can compare the declaration in Isa 2:3/Mic 4:2. Along the lines of this parallel, most commentators and translators treat the imperfect verb form in line 2 (“we will go”) as a cohortative (“let us go…!”); this is acceptable, but cf. Dahood, III, p. 204 for an argument against such a rendering.

Those who make the pilgrimage journey to Jerusalem are here implicitly identified with the faithful/righteous ones of Israel, marked by their devotion to the festivals and their faithfulness to the covenant (with its Torah). In particular, they are filled with devotion for the holy city (and the Temple), and long to enter it. The protagonist of the Psalm thus identifies himself with the faithful/righteous ones, by stating that he was glad (jm^c*) when they expressed this devout intent (to journey to Jerusalem), and was specifically glad with (B=) them. There is a definite solidarity among the righteous in this regard, being of the same heart and mind.

Verse 2

“Standing (indeed) are our feet
in your gates, Yerušalaim!”

There is some question as how best to translate the perfect tense of the verb of being (Wyh*) in the first line: past tense (“they were”) or present tense (“they are”). The present tense seems preferable, since it provides the proper complement to verse 1, where we see the intent of the righteous to embark on the journey to Jerusalem. Here, in verse 2, the pilgrims are in Jerusalem, having made the journey. If the past tense is to be employed, then a relative-temporal rendering, such as that used by Crow (p. 43f), would seem to be required, joining v. 2 syntactically with v. 1: “I was glad…(when) our feet were standing…”. Possibly, a sense of anticipation of the arrival in Jerusalem is what is being conveyed by the perfect tense; this could be expressed in English either by the past or present tense:

- “…(soon enough) our feet were standing in your gates…!”
- “…(soon) our feet are [i.e. will be] standing in your gates…!”

Because of the character of these faithful/righteous ones, they will make the journey to Jerusalem; thus there is certainty that they are going to be standing within the gates of the city.

Stanza 1: Verses 3-5

Verse 3

“Yerušalaim, the (one) built as a city,
bound herself (together) as one,”

The syntax of this initial couplet of the first stanza is a bit difficult, and not altogether clear, as the different translations—ancient and modern—attest. The MT can be followed, and, I think, is to be preferred. The apparently simple and generic language used by the Psalmist belies the religious and theological significance of the verse.

First, there is the passive participle hy`WnB= (“[hav]ing been built”), the feminine gender referring to the city of Jerusalem, which traditionally (esp. in poetry) can be personified (like all cities) as a woman. The participle here is a verbal adjective, with an appropriately dual-layered meaning. The adjective can be emphasized: viz., Jerusalem as a city that is well-built, or built (i.e., established) by God. On the other had, the verbal aspect may be in view: focusing on the process by which the city (and its Temple) was built during the reigns of David and Solomon (cf. Psalm 132). The definite article is part of the personification of the city, “the (one) who…”; one may also treat the article in this regard like a relative pronoun (cf. Dahood, III, p. 204f).

It hardly seems necessary to state the obvious, i.e., referring to Jerusalem as a “city” (ryu!), yet this designation has deeper significance than is immediately apparent. To begin with, one may mention again the theory that the two parts of the Psalm function as an exposition of the traditional two-part etymology of the name “Jerusalem” —viz., the “city” (ryu!) of “peace”; cf. the Introduction above. Thus the establishment of Jerusalem as a city (ryu!K=)—specifically the holy city, and the city of YHWH—is the theme of the first stanza.

The relative particle (v#) at the beginning of the second line indicates, poetically, that this line further describes the nature and character of Jerusalem as the holy city. A second passive verbal adjective is used, parallel with hy`WnB= (“built”) in line 1: hr*B=j% (“bound/joined [together]”). In addition to being built (i.e., established), it is also bound and joined (vb rb^j*) together. There are several aspects of meaning to this attribute. First, it can allude to the fortified and protected character of the city (cf. the theme of protection in Psalm 121 [study]). Second, the root rbj can be used in the context of an alliance or covenant-bond, etc.; the place of Jerusalem in the covenant, particularly with the regard to the prescribed duties of journeying to the city for the three great pilgrimage festivals (cf. above), makes this aspect of meaning quite pertinent.

Finally, the Psalmist may be emphasizing the unified character of the city, suggesting its wholeness and completeness (viz., as the city of YHWH), but also reflecting the bond of unity of the people of God (that is, the righteous/faithful ones, cf. above on v. 1). This aspect is further expressed by the adverb wD*j=y~ (“as one, together”) that concludes the verse. Also the reflexive suffixed preposition Hl*, basically meaning (in context), “herself” (“to/for herself”) indicates how this unity and completion applies to the city—viz., she herself is complete. The Qumran manuscript has a masculine suffix (ol), which suggests that it could refer to YHWH as the builder and/or the one to whom the city belongs, i.e., “bound (together) to/for Him”. Dahood, III, p. 205, explains the preposition the same way, while maintaining the MT reading.

Verse 4a

“where (all the) staffs (of Yisrael) go up,
(all the) staffs of YH(WH)—”

Syntactically, verse 4a continues verse 3, introduced by a second relative particle (v#). The combination <V*v# means “(to) which (place) there”; poetic concision, in English, virtually requires the translation “where”, i.e., the place where all the tribes of Israel “go up” (vb hl*u*) as the destination of their journey. The noun fb#v@ (“staff”) is, of course, the traditional designation for the individual tribal groups of Israel (i.e., their tribal staffs). These tribes are specifically the “tribes of YHWH”, indicating the religious identity of Israel as the people of God. On the allusion to the covenant bond, between YHWH and Israel in verse 3b, and the place of Jerusalem in that regard, see above.

On the traditional use of the verb hl*u* for the journey to Jerusalem, and the significance of this verbal root in the heading for the Songs (i.e., the noun hl*u&m^), see the Introduction to the study on Ps 120.

Verse 4b

“a witnessed (decree) for Israel, to give thanks
to (the) name of YHWH (there).”

It seems best to treat v. 4b as part of a single syntactical unit (sentence) covering all of vv. 3-4 (cf. above). This couplet particular qualifies and expands upon the statement in v. 4a, regarding the religious duty for all Israelites to journey to Jerusalem, at least three times a year, for the pilgrimage festivals. Here in v. 4b, this is specified—the pilgrimages being described as a covenant duty. The noun tWdu@ (“witness”) is used to express this. In such a context, it alludes to the Torah regulations and requirements as representing the terms of the covenant, which have been solemnly witnessed to by both YHWH and the people. The noun tWdu@ (together with the related hd*u@) was used repeatedly in this same context in Psalm 119 (cf. the Introduction and Conclusion of that study, as well as the notes on each Stanza).
Instead of tWdu@, the Qumran manuscript 11QPs^a has hd*u@, presumably the word (I) meaning “assembly”, i.e., the gathered assembly of the Israelite tribes.

The verb hd*y`, denoting a confession of praise and/or thanksgiving (to God), is a regular term for the worship of YHWH, and is used in this general sense, but in the specific context of the festival celebrations in Jerusalem. In the ancient Near Eastern (and Israelite) cultural-religious milieu, to give worship to the name of YHWH, essentially means the same as worshiping YHWH Himself—the name being a representative embodiment of the person (cf. the introduction to my earlier series “And You Shall Call His Name…”).

However, there was a special significance to the name of YHWH in association with Jerusalem and the Temple sanctuary, as expressed particularly in the book of Deuteronomy and the Deuteronomic Tradition. Note, especially, the references to this line of tradition in the Prayer of Solomon at the dedication of the Temple (in 1 Kings 8); cf. my earlier notes on this passage. The Temple sanctuary, within the wider locale of the city of Jerusalem (and the Temple ‘mount’ of Zion), was the place where YHWH was present, by way of His name residing there.

Verse 5

“For there (also) they sat—
(on) thrones for judgment,
thrones for (the) house of David.”

This final verse departs from the 3+2 couplet pattern. It can be parsed as a 4+3 bicolon, though an irregular 2+2+3 tricolon is perhaps more appropriate. It is not entirely clear whether the “thrones” in lines 2 and 3 are the subject of the verb Wbv=y` (“they sat”) or, rather, refer to the location(s) where the Israelite rulers sat. Both are possible, but the latter seems more suitable to the context. The importance of Jerusalem, at least in the mind of the Psalmist, relates not only to the Temple as the center of religious life and worship (v. 4), but also to its place as the capital of the Israelite kingdom. The Israelite/Judean royal theology, found throughout the Psalms, is particularly prominent in those which focus on Jerusalem/Zion. This emphasis, here in v. 5, could be an indication of a pre-exilic date for the Psalm; however, the traditional royal background continued to be employed (and re-interpreted) in Psalms and other poetic texts, even later on, throughout the exilic and post-exilic periods.

Stanza 2: Verses 6-9

Verse 6

“Ask (for the) full peace of Yerušalaim—
(those) loving you shall rest secure.”

Three of the four couplets in this stanza utilize the noun <olv*, a word with a relatively wide semantic range, but which, unfortunately, is often translated flatly as “peace”. Its proper denotation is something like “fullness, completion”, often indicating wholeness, in the sense of health, welfare, etc.—all its varying aspects (“peace” being just one of them). However, even in English, the word “peace” can carry a comprehensive meaning. Thus, it is acceptable to translate <olv* as “peace” in these verses, so long as a comprehensive meaning is understood—health, welfare, security, prosperity, etc. I have tried to indicate this here initially by the rendering “(the) full peace”, but, for poetic concision, “peace” is used in the following verses. There is similar range of meaning applied to the root hl*v* (“rest, be at ease”), which I translate here initially as “rest secure”. Not only is there an alliterative assonance between these roots, there may also be a distant etymological relationship (involving the shared two consonants lv).

The Israelite people are called upon to ask (YHWH) for the welfare and “peace” of Jerusalem; indeed, the righteous and devout among the people will make this very request of God. Their righteous devotion is indicated by the (traditional) characteristic verbal adjective of “loving” —that is, loving YHWH; such people love God and are devoted to His city. Those who pray for the wholeness (health, peace, security) of Jerusalem, will themselves be blessed (by God) with the same.

As an indication of the assonant alliteration employed by the Psalmist here, note the first four words of the verse:

Wyl*v=y] <l*v*Wry+ <olv= Wla&v^
ša°¦lû š®lôm y®rûš¹l¹im yišl¹yû

Verse 7

“May there be peace in your walls round about,
security in (all of) your palace-forts!”

The peace and security of Jerusalem (same roots <lv and hlv) are here emphasized in relation to the city’s fortifications. The surrounding outer walls (and ramparts) are mentioned in the line 1, while the fortified dwellings (i.e., palaces) are mentioned in line 2. This is not merely a reference to the actual fortifications as they were constructed. Rather, there is a long religious and theological tradition tied to this idea of Jerusalem as a fortified citadel. I discuss this in the study on Psalm 121, where this aspect of ‘mount’ Zion (Jerusalem) is present in the overriding theme of Divine protection—viz., the protection that YHWH provides for His people (the righteous/faithful ones) under the covenant. There is peace and security within the walls of YHWH’s holy city, and the righteous pray that this will be maintained (through maintenance of the covenant-bond).

The similarity—in both form and meaning—between <lv and hlv makes it understandable that copyists might accidentally write one in place of the other. This seems to have occurred in v. 7b of the Qumran manuscript 4Q522, where <olv* is repeated (from line 1) instead of ho`l=v*; similarly, <olv* occurs again in v. 9b in place of bof (“good”).

Verse 8

“For the sake of my brothers and my friends,
I must speak out: ‘Peace (be) with you!'”

The peace and security associated with the holy city applies, by extension, to all the people. This bond of unity, between city and people, was expressed as a key theme, in stanza 1 (see above). There are both religious (v. 4) and political (v. 5) aspects to this bond. Jerusalem was to be the center of Israel’s religious life, as attested by the pilgrimage journey to celebrate the festivals; at the same time, it was also the capital city of the Israelite kingdom. The protagonist is compelled to pray for the welfare of Jerusalem because he also seeks the welfare of his “brothers and friends/neighbors” —that is, his fellow Israelites. In particular, his bond is with those who are similarly faithful and devoted to the covenant with YHWH (see above on vv. 1-2).

Dahood (III, p. 207) suggests that the “brothers and friends” are those who were unable to make the pilgrimage journey to Jerusalem. It is also possible to read the second line differently, so that, rather than quoting a peace-greeting, the protagonist promises to speak a prayer or blessing of peace (for his “brothers and friends”) when he arrives in Jerusalem (“in you”): “I will speak peace (to/for them) in you”. Cf. Hossfeld-Zenger, p. 333.

Metrically, this verse (in the MT) diverges from the 3+2 pattern, being a 3-beat (3+3) couplet. Some commentators have proposed deleting the emphatic particle an`– (an omission which finds textual support in the manuscript 11QPs^a). However, as Dahood (III, p. 207) notes, the even syllable count (8:8) of the MT could be seen as favoring inclusion of the particle.

Verse 9

“For (the) house of YHWH our Mightiest (One),
I will seek (out the) good for you.”

At the heart of the holy city is the Temple, the “house” of YHWH. The holiness of the city is due principally to the existence of the Temple sanctuary, as the symbolic and ritual dwelling for YHWH (particularly, His name, cf. above on v. 4b). For this reason, the protagonist (like all the righteous) has the Temple prominently in mind when he/she seeks for the welfare and peace of the city. Both verses 8 and 9 begin with the composite preposition /u^m^l=, which roughly corresponds to “for the sake of” or “on account of” (“because of”) in English. I translated it as “for the sake of” in v. 8, but here, in the interests of poetic concision, I have shortened it to “for” (= “for the sake of”).

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).
Those marked “Crow” are to Loren D. Crow, The Songs of Ascents (Psalms 120-134): Their Place in Israelite History and Religion. SBL Dissertation Series 148 (Society of Biblical Literature: 1996).

Sunday Psalm Studies: Psalm 121

Psalm 121

Dead Sea MSS: 11QPs^a (vv. 1-8)

Psalm 121 is the second of the “Songs of Ascents”, the first (Ps 120) having been discussed in the previous study. The nature and character of this collection was addressed briefly in that prior study, and will be discussed in greater detail once the remaining studies (on Pss 121-134) have been completed. All of these Psalms are superscribed with the same heading; however, the MT of Ps 121 has a slightly different form of the expression: “A song for the ascents” (tolu&M^l^ ryv!), using the preposition l, rather than, “A song of the ascents” (tolu&M^h^ ryv!). This may represent a simple error by the MT (cp. the Qumran manuscript 11QPs^a), or it could be a stylistic variation, with use of the preposition l to produce a genitive expression that would correspond to the construct tolu&M^h^ ryv! (cf. Dahood, III, p. 200). On the other hand, the form with the preposition could be also meant to clarify the expression, explaining that this Psalm (like all the songs of the collection) was intended to be sung on the “ascents” —that is, the journeys to Jerusalem, esp. for the pilgrimage festivals (cf. Allen, p. 204). Interestingly, 11QPs^a also contains one instance of this form of the expression, but as the heading of Ps 123, rather than 121.

The Psalm is essentially a hymn extolling YHWH for the protection that He provides to the righteous. This theme is applied in an exhortational and didactic manner, instructing the people of God, and urging them to trust in YHWH. This theme of Divine protection features in many of the Psalms, being tied to a closely related emphasis on faithfulness to the covenant. According to the covenant that YHWH established with His people Israel, He has promised to provide blessing and protection for the people, so long as they fulfill their own covenant obligations (as laid out in the precepts and regulations of the Torah). The Psalms utilize a number of protection-verbs and similar terminology, the most notable here being the verb rm^v* (“guard”), with YHWH as the subject; it occurs six times in Ps 121. Given the connection that some commentators have found between the Songs of Ascents and the Priestly blessing of Numbers 6:24-26 (cf. the Introduction in the previous study), it is worth noting the first line of that blessing:

“May YHWH bless you and guard you”
;r#m=v=y]w+ hwhy ;kr#b^y+

As Ps 121 occurs toward the beginning of the collection, which otherwise may be read as a song-cycle patterned after the journey to Jerusalem (on occasion of the religious festivals), it is understandable that some commentators have interpreted the religious instruction in Ps 121 in the context of a pilgrim setting out on the journey to the holy city. The setting for the Psalm has also been situated at the end of the journey, upon the arrival in Jerusalem. Various liturgical applications have been suggested for the verses and stanzae as well. Cf. Allen, p. 204f, and Hossfeld-Zenger, pp. 317ff.

It seems best to maintain the two-stanza structure that has been outlined by numerous commentators (e.g., Allen, pp. 205-6). According to this division, verses 1-2 represent the initial hymnic portion (an introit, if you will), perhaps drawn from earlier Psalm-compositions (or patterned after them). The initial couplet (v. 1) of Psalm 120 holds a similar place (cf. the previous study). The two stanzas that follow, in vv. 3-5 and 6-8, expound upon the traditional Psalm-message of the introduction. The stanzas have a common meter: a 3+2 couplet, followed by a pair of 2-beat (2+2+2) tricola. The introit (vv. 1-2) is comprised of a pair of 3-beat (3+3) couplets. If the Psalm was meant to be sung antiphonally, then vv. 1-2 may represent the responsory, or refrain, with the stanzas functioning as the main verses.

This Psalm features the same step– or staircase-parallelism noted in Ps 120 (see the discussion in the previous study). Instances in Ps 121, discussed in the notes below, are: (i) the noun rz#u@ (“help”) in v. 1b/2a, (ii) the verb <Wn (“sleep/slumber”) in v. 3b/4a, (iii) the verb rm^v* (“guard”) in v. 4b/5a, and again (as a verbal noun, “guardian”) in v. 5b/6a, and in v. 7b/8a.

Introit: Verses 1-2

Verse 1

“I lift up my eyes to the (great) mountain,
from whence comes (the) help for me.”

Many Psalms feature a prayer for deliverance, in which the protagonist calls upon YHWH, asking for help in his time of distress. This genre was utilized (being subsequently interpreted/applied) in Psalm 120 (cf. the previous study), and is also at work here, drawing upon the verbal root rzu (“give help”). The noun rz#u@ (“help”) occurs in the second line of v. 1, and again in the first line of v. 2 (an instance of the staircase-parallelism that occurs throughout the Songs of Ascents, cf. above). The suffixed form yr!z+u# can be translated “my help”, but it seems best to render it here in the sense of “(the) help for me”, which also better suits the rhythm of the lines; it would also be possible to understand the suffix in a dative sense (i.e., “[the] help [coming] to me”, cf. Dahood, III, p. 200).

The second line could be read as a question: “From where does the help for me come?” However, the poetic unity of the Introit is, I think, better served, by treating the prepositional-adverbal particle /y]a^m@ (“from where”) as a relative particle (“…the mountain, from where…”) rather than an interrogative. Indeed, the first line clearly established the place “from where” the protagonist’s help comes—namely, the mountain of God.

The text has a plural noun <yr!h* (“mountains, hills”), but I have chosen to treat this as an intensive plural (or, possibly, a ‘plural of majesty’, cf. Dahood, III, p. 200)—referring to the mountain of God, that great and mighty (and highest) mountain where YHWH Himself dwells. In accordance with ancient Canaanite religious and cosmological-mythic tradition, the Creator ’El resides upon a great mountain (also depicted as a domed tent), and the Hebrew-speaking Israelites applied this traditional imagery to YHWH in their poetry. The mountain where the Creator (and King) dwells is a cosmic mountain, spanning the distance between heaven and earth; it can also be symbolized and represented (ritually) by any number of select local mountains, including a modestly elevated hilltop site such as that of Jerusalem (i.e., ‘mount’ Zion). This motif of turning one’s attention to the mountain of God foreshadows the important place of Jerusalem/Zion in the Songs (beginning with Ps 125).

The “mountain” as a source of help and protection can be understood on several levels. First, it signifies the dwelling place of God, and, of course, YHWH is the ultimate source of help for the protagonist, as the Introit declares (see esp. verse 2, below). Second, the greatness, might, and exalted position (height) of the mountain symbolizes the power of YHWH, and His ability to give the necessary help and protection. Finally, the foreshadowing allusion to Jerusalem/Zion is particularly appropriate with regard to this theme of protection. The cities of ancient Syria-Palestine, particularly during the Bronze Age, were actually small fortified citadels, set upon a hill or raised mound. The majority of the population (of the individual city-state) did not live within the city walls, but would seek refuge (i.e., protection) behind them in time of danger or crisis. The elevated location of these citadels gave them something of the character of a ‘mountain’, being high up and difficult to access, and thus providing a place of refuge and protection. The original Canaanite site of Jerusalem/Zion was just such a citadel location, which Israel inherited and then (eventually) greatly expanded. The tradition of the citadel as a place of refuge/protection remained attached to Jerusalem in ancient Israelite thought, and is expressed (as such) at many points in the Psalms and elsewhere in Old Testament poetry.

Verse 2

“(Truly the) help for me (comes) from YHWH,
(the One) making (the) heavens and (the) earth!”

The cosmological aspect of YHWH’s mountain dwelling (cf. above) is indicated here by the reference to YHWH as the Creator. The first line makes clear that it is indeed YHWH who is the source of help (and protection) for the protagonist, with YHWH being the one who dwells/resides on the great mountain (even as He does in Jerusalem [i.e., mount Zion]).

Stanza 1: Verses 3-5

With the Introit having established YHWH as the source of help and protection for the people of Israel, this theme is expounded and applied in the two stanzas that follow. In particular, the people are instructed and exhorted to trust in YHWH as their protector.

Verse 3

“He will not give your foot to the (place of) slipping—
(the One) guarding you does not slumber!”

Each of the stanzas begins with a 3+2 couplet, which expounds the theme (and theological statement) presented in the Introit (vv. 1-2, cf. above). As Israel’s protector (i.e., source of protection), YHWH is trustworthy and can be relied upon. This is expressed two ways. In the first line, the protection is described in terms of making a person’s footing secure, so that he/she will not stagger or slip down, and thus come to harm. The root fWm is used for this idea of stumbling/slipping; the specific manner of expression, using the noun fom, could simply refer to the act of slipping (i.e., verbal noun), but it is also possible that we have an allusion to the place of slipping, being a veiled reference to Death/Sheol (and the threat/danger of death), cf. Dahood, III, p. 200f. There is an obvious wordplay between fom (mô‰) and the word for death (cstr. tom, mô¾).

YHWH’s reliability as protector is also expressed in terms of His alertness and attentiveness (i.e., to His people’s need); in this regard, to state it negatively, He does not “slumber” (vb. <Wn), that is, He does not “sleep” on the job. Contrast this characteristic of YHWH with that of unreliable human guardians (cf. Isa 56:10; Nah 3:18). One is also reminded of Elijah’s famous taunt to the priests of Baal in 1 Kings 18:27. The verb <Wn is picked up again in the first line of v. 4 (cf. below), another example of the step/staircase-parallelism featured in these Psalms.

The protection YHWH provides is summarized by the verbal noun (participle) rm@v) (“[one] guarding”, i.e., guardian), a fundamental characteristic of YHWH defining who He is and what He does, in relation to His people. This is the first of six occurrences of the verb rm^v* (“guard”) in the Psalm.

The negative particle la^, which is often used in imperatives or negative wishes, is used here in a declarative context, for emphasis, in place of the normal particle al).

Verse 4

“See, He does not slumber,
and does not sleep (either)—
(the One) guarding Yisrael!”

The message in v. 3b is repeated and reinforced here, using the verb /v@y` (“sleep”) along with <Wn (“slumber”). As noted above, the Divine protection is bestowed on those who are faithful to the covenant. However, this qualification of covenant-loyalty, while implicit in the Psalm, is not particularly emphasized. Rather, the focus is on the communal dimension—viz., the covenant was established between YHWH and His people (Israel), and He will remain their protector, as long as they are faithful. Here Israel is the specific object of the verb rm^v* (“guard”, v. 3).

Verses 4 and 5 are both 2-beat (2+2+2) tricola, as are the comparable verses (7 and 8) in the second stanza (cf. below).

Verse 5

“YHWH (is the One) guarding you,
YHWH, your (protective) shade,
(there) upon your right hand!”

If the communal aspect of the covenant-bond was in view in v. 4 (cf. above), here we find the individual aspect—viz., the individual Israelite, the righteous one among God’s people. The second person suffixes in all the lines are singular.

The verbal noun rm@v) (“[one] guarding, guardian”) in the first line is picked up from the last line of the prior verse (another instance of the step/staircase-parallelism). The protection YHWH provides is expressed particularly in terms of protective shade (lx@)—that is, from the oppressive heat and glare of the sun, which can symbolize disease, attacks by the wicked, and other sources of affliction for the righteous. The noun lx@ was used memorably in Psalm 91 (v. 1); for other occurrences referring to the idea of Divine protection, cf. 17:8; 36:8[7]; 57:2[1]; 63:8[7].

For the idea in the final line, of YHWH being at the “right hand” (lit., “hand of the right [side]”) of the righteous, cf. Ps 16:8; 73:23; 109:31; Isa 41:13. YHWH stands right next to the faithful ones, providing protection (i.e., protective shade) over them.

The Qumran manuscript 11QPs^a includes the word hlylb (“at night” or “in the night”) at the beginning of the first line; this is presumably an erroneous scribal addition, possibly in anticipation of its occurrence in v. 6b. However, it should be noted that, structurally, v. 5 in 11QPs^a is rather different, being clearly a 3-beat (3+3) bicolon, rather than a 2+2+2 tricolon:

“In the night, YHWH (is the One) guarding you,
(and) your shade (there) upon your right hand.”

The absence of the Divine name (hwhy) at the beginning of the first line of v. 8 (cf. below) in this same manuscript suggests that v. 8 is meant to be read as a 3+3 bicolon.

Stanza 2: Verses 6-8

Verse 6

“By day, the sun shall not strike you,
nor (the) moon in the night.”

The initial couplet of the second stanza picks up from v. 5 (cf. above) the theme of YHWH providing protective shade (lx@) for the righteous. This shade protects them from the heat and light of the sun during the day. The inclusion of the parallel with the moon suggests that the shade is also meant to hide the righteous, so they cannot be seen by the wicked, etc. Alternately, the moon was associated with certain kinds of ailments, including mental disease and madness, implying attacks or influence by evil spirits; this ancient and traditional (if rather superstitious) association is preserved by the connotations of the verb selhnia/zomai (be “moonstruck”) in Greek (cf. the usage in Matt 4:24; 17:15). Note the clear and vivid parallel in Ps 91:5-6.

Like the first verse of the first stanza (v. 3, cf. above), the meter of v. 6 is 3+2. The correspondence between a literal English translation and the Hebrew allows the couplet to be rendered more compactly than I was able to in v. 3.

Dahood (III, p. 201) points out a certain chiastic structure to this verse; note the parallelism:

- By day
  - the sun
    - shall not strike you
  - and the moon
- in the night

Verse 7

“(Indeed,) YHWH will guard you
from all (manner of) evil—
He will guard your (very) soul.”

Here in this next verse, the specific motif of protection (utilized in vv. 5 and 6) has broadened to become a general and comprehensive statement of YHWH’s role as protective guardian for His people. The declaration that YHWH will guard (vb rm^v*) occurs in lines 1 and 3, framing the tricolon, while the absolute qualification “from all evil” occurs at the center (line 2). The promise is that YHWH will protect the righteous from every kind of evil that might threaten them.

Verse 8

“YHWH (He) will (truly) guard
your going out and coming (in),
from now until (the) distant (future).”

The comprehensiveness of YHWH’s protection (v. 7) is further expanded upon here, by emphasizing: (i) every aspect of the faithful person’s daily life (“going out” and “coming [in]”), and (ii) that it will extend from the present all the way into the distant future (<l*ou)—that is, for the rest of a person’s life, and even for generations to come. This temporal designation may also allude to the blessed afterlife, as it seems to on a number of occasions elsewhere in the Psalms.

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).