Psalm 129
Dead Sea MSS: 11QPsa (vv. 1-8); 4QPse (v. 8)
Psalm 129 is the final Song of the second group of five “Songs of Ascents” (Pss 125-129). In both structure and thematic emphasis it closely resembles Psalm 124, which has a comparable position in the first group of Songs (Pss 120-124); cf. the earlier study on Ps 124. Both Psalms deal with the idea of the deliverance of God’s people from the wicked adversaries who threaten and oppress them.
The focus is 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 introduction and first stanza (vv. 1-2, 3-5) contain elements of lament, such as we typically find in the lament- and prayer-Psalms. Yet there is an equal measure of implied thanksgiving and praise to YHWH for the salvation that He brought. A shift in tone occurs with verse 5, leading into the second stanza (vv. 6-8b), as the protagonist’s prayer to YHWH becomes a curse-wish, an imprecatory call for judgment upon the wicked adversaries. This, too, is a feature that we find in a number of lament- and prayer-Psalms; indeed, there are imprecatory elements in many Psalms, where (as here) the punishment often follows the lex talionis principle (cf. the discussion in the notes below).
Commentators are generally in agreement on the bipartate structure of this Psalm. It is typically divided into two stanzas, vv. 1-4 and 5-8. However, I prefer to follow the pattern established for Psalm 124 (cf. the earlier study). An initial unit (couplet or pair of bicola, vv. 1-2) establishes the theme for the Song, which is then followed by two metrically similar stanzas (vv. 3-5, 6-8b). There is connection between the two stanzas, indicated by the comparative tone of vv. 5 and 6, and also the catchword-bonding, involving a bit of wordplay between the verbs voB and vb@y`; cf. the similar bond in Ps 124, 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 a number of the Songs.
The Psalmist speaks as an individual protagonist (“me/my”), yet the orientation is fundamentally communal, as is the case with all of the Songs of Ascent, particularly in the form in which they have come down to us. This is actually quite typical of the Psalms as whole, since the protagonist generally represents God’s people (esp. the righteous/faithful ones). Thus, the form of individual lament, with prayer for deliverance and thanksgiving, serves as a communal address to YHWH, in the context of corporate worship. The concluding blessing in v. 8c is presumably an indication of the liturgical use and application of the Song (as is the formula in v. 1a). The thematic emphasis on blessing characterizes the entire second group of Songs, as previously noted.
The reference to “Zion” in verse 5 is indicative of the Jerusalem/Zion orientation that we see throughout the Songs of Ascents. It may be evidence of redaction, though the reference could just as easily be part of the original Song, as there are numerous other Psalms with a Jerusalem/Zion emphasis. However, in the context of the Songs, YHWH’s salvation and protection of Zion is used as a way of referring to the restoration of the Land (and its people) as a whole. A post-exilic point of reference prevails for the collection, even if certain of the Songs may have originated in a pre-exilic setting.
Metrically, the first stanza of the Psalm follows the 3+2 couplet pattern established in the introduction (vv. 1-2); however, in the second stanza, we find a 3+3 meter.
For a discussion of the meaning and significance of the heading “Song of the Ascents” (tolu&M^h^ ryv!), see the earlier study on Ps 120.
Introduction: VerseS 1-2
Verse 1
“Much were they hostile to me from my youth—
(so) let Yisrael now say—”
The initial (3+2) couplet is comparable to the opening of Psalm 124 (v. 1), utilizing the same liturgical formula “(so) let Yisrael now say—”. The declaration in 124:1 (“If [it had] not [been] YHWH who was [there] for us…”) can be joined with the declaration here to express the idea of the protection and deliverance provided by YHWH for His people. The focus in Ps 124:1 was on YHWH’s protective presence, while here it is on the hostile adversaries that threaten (and attack) the people; it is YHWH’s obligation to deliver His faithful ones from such dangers. As noted above, the people are represented by an individual protagonist, possibly meant to be understood as Zion personified.
Unidentified opponents and attackers are said to have been “hostile to” (vb rr^x* II) the protagonist—a situation which has been realized for many years, since the time of the protagonist’s “youth” (“from my youth”). If Israelite history is in view, then this reference could allude to the formative period of sojourn and oppression in Egypt, out of which the covenant people of YHWH emerged. The hostility has continued for a long time, with many incidents and periods of affliction; this is all summarized under the initial adjective br^ (“much”, fem. tB^r^).
Verse 2
“much were they hostile to me from my youth,
yet they were not able to (overcome) me!”
The repetition of the declaration from verse 1 (cp. Ps 124:1-2), here qualifies it, in dramatic fashion. In spite of the repeated and prolonged hostility from these (unnamed) adversaries, they were not able to defeat the protagonist. This presumably needs to be understood in an absolute and final sense, since the Israelite/Judean people suffered many defeats from hostile adversaries and foreign enemies during their history. Another line of interpretation would explain this statement in terms of the absolute protection that YHWH provides for His people, so long as they remain faithful to Him. That is, the protection prevails specifically for the righteous/faithful ones, who are represented here (as often in the Psalms) by the protagonist.
Stanza 1: Verses 3-5
Verse 3
“Upon my back, (the one)s plowing plowed,
(and) made long their furrows.”
The agricultural imagery that features prominently in the second stanza (cf. below) is introduced here in the first, as a way of depicting figuratively (but graphically and vividly) the attacks and oppression of the wicked upon the righteous (i.e., the protagonist as representative of the [righteous] people of God). Their hostile (and violent) attacks are compared with the act of men plowing the land, digging their tools into the ground (the root vr^j* [I] fundamentally means “cut in”). The Qumran manuscript 11QPsa, followed by the LXX, reads “(the) wicked” (plur., <yuvr), rather than “(one)s plowing” (<yvrj); however, most commentators prefer the MT. Yet, there can be no doubt that the hostile adversaries are to be identified and characterized as wicked.
The severity and intensity of the attacks is indicated in the second line by the image of digging long furrows. The noun hn`u&m^ occurs only here (and 1 Sam 14:14). Its meaning can be determined by the context, but also by the cognate words ‘nt in Ugaritic and ma‘nātu in Arabic. The LXX and Syriac version apparently did not understand the word, and either related it to /wu (in the sense of “iniquity”) or hwnu (“submission”); cf. Allen, p. 246. The noun hn`u&m^ is locative, from the root hnu I, and properly refers to the place, at the end of the row, where one turns around the plow.
In this comparative imagery, the ‘ground’ in which the digging/cutting is done is identified as the “back” of the protagonist, suggesting a severe act of violence.
Verse 4
“(Yet) YHWH (is) right, (and) has cut (through)
(the) rope of (the) wicked (plowmen)!”
There is a bit of conceptual wordplay between the idea of cutting (i.e., digging/plowing) into the ground (vb vr^j* I) and cutting through (vb Jx^q*), i.e., severing, the “rope” used by the wicked to harness their ‘plow’ (that is, to the yoke-animal[s]). By severing this rope, the plow is made ineffective, and so the wicked are not able to continue their violent act of ‘plowing’ (i.e., digging/cutting into the “back” of the righteous). Thus, they are not able to prevail over the righteous (cf. the wording in v. 2, above).
This action by YHWH is a reflection of His character as qyD!x*—a fundamental attribute of God. The basic meaning of qyD!x* is “right”, but it can also mean “righteous”, in an ethical-religious context, or “just, lawful” in a legal context, or even “faithful, loyal”, in the context of the covenant. All of these aspects and nuances of meaning apply, though here it is perhaps the latter (viz., covenant loyalty) that is primarily in view. The protection and deliverance that YHWH provides for His people fundamentally reflects His loyalty to the covenant bond.
I parse this verse as another 3+2 couplet; however, it is possible to divide it as an irregular 2+3 couplet, which many commentators seem to prefer:
“(Yet) YHWH (is) right,
(and) has cut (the) rope of (the) wicked”
Verse 5
“(So) may they be put to shame and turned back—
all (those) showing hatred of Ṣiyyôn!”
Another bit of conceptual wordplay is involved here, between the verb gWs (“go back”, along with the adverb roja*, “behind, [to the] back”) and the noun hn`u&m^ (v. 3) as denoting the place where one “turns back” the plow. Thus, the punishment of the wicked by YHWH reflects their evil action—as they “turn back (i.e., around)” the plow at the end of each row to continue ‘digging’, so YHWH will make them “turn back” for good, in shame, being forced to cease their attacks. This shift in tone (i.e., an imprecatory curse-wish by the protagonist) serves as an effective transition to the second stanza, where this language dominates. The imperfect verb forms in vv. 5-6 should be read as jussives with precative (imprectory) force.
The hostility of the wicked toward the righteous protagonist is here described as “hatred of Zion”, indicating, again, how the protagonist represents the people (righteous ones) as a whole. The city of Jerusalem (Zion), the holy city of God, also—and especially in these Songs—serves to represent the land and people as a whole.
Stanza 2: Verses 6-8b
Verse 6
“May they come to be as the grass on rooftops,
which, before (one) pulls (it), has withered,”
The second stanza consists of an imprecatory curse-wish (i.e., punishment from YHWH upon the wicked) that essentially expounds and develops the wish in v. 5 (see above). It utilizes agricultural imagery comparable to that of vv. 3ff, so as to make the punishment fit the crime. That is to say, the punishment matches, in a certain sense, the actions taken by the wicked, according to the lex talionis legal principle of judgment. Such a principle governs many of the imprecatory sections in the Psalms—the evil conduct of the wicked comes back upon them, in the form of a judgment that resembles their own behavior.
Here the image is that of grass that grows in the dirt upon the flat rooftop (gG`) of a house. In such a setting, because there is little depth to the soil, the grass withers quickly and dies (cp. Mark 3:5-6 par). Cf. the same basic imagery in 2 Kings 19:26.
There are a number of different ways that commentators understand and translate the second line. Based on the aforementioned parallel in 2 Kings 19:26, some are inclined to emend the verb [l^v* (“pull out”) here to [d^v* (“scorch”, i.e., dry out with heat). While this makes for a consistent image, it is somewhat incompatible with overall thematic imagery in the stanza as a whole (cf. below). In order to retain the MT, but to make the verb [l^v* better fit the context (and grammar) of the verse, it is given the meaning “draw up” (i.e., grow up). However, the basic meaning of [l^v*, in this context, clearly is “pull out” (i.e., pluck, harvest). Dahood (III, p. 232) would repoint [lv here as a participle ([l@v), “[one] pulling out, [one] plucking”), along with the preposition hm*d=q^ (“before, in front of”) understood in a spatial sense:
“which, in front of (the one) pulling (it), has withered”
The treatment by Hossfeld-Zenger (p. 407) seems to me much preferable; they render the verb form [l^v* impersonally, “(one) pulls (it) out” (i.e., “it is pulled out”), with the preposition hm*d=q^ understood temporally. I have followed this approach:
“which, before (one) pulls (it) out, has withered”
As noted in the Introduction to the Psalm above, there is a bit of wordplay between vv. 5 and 6, with the imperfect form of the verb voB (“be put to shame”), Wvb)y@ (y¢»œšû) in v. 5 resembling the form of the verb vb@y` (y¹»¢š, “dry up, wither”), in v. 6.
Verse 7
“which cannot fill his palm, the (one) cutting,
or his lap, the (one) gathering sheaves,”
The imagery from verse 6 is extended here, from the rooftops to the wider (agricultural) setting of the fields which are plowed, etc (cf. verse 3). Because the grain (= grass, v. 6) withers and dies early, there is virtually nothing to harvest. The one coming to cut down the stalks of grain can barely find enough to fill the palm of his hand, and the one gathering up (and then binding) the sheaves of grain has nothing to carry. The second line is a bit difficult to translate. The noun /x#j@ (= /x#j)) denotes the receiving of something, which one takes in and guards/treats with care (cf. Akkadian ḫaṣānu, and the noun ḫiṣnu, “protection”). The cognate verb in Arabic (and Ethiopic), ḥaḍama, can specifically mean “carry in one’s arms”, which is presumably the basic action indicated here. The only other occurrences of the noun are in Isa 49:22 and Neh 5:13 (cf. also Prov 30:4); the context suggests that one’s “bosom” or “lap” is basically intended, possibly even the ‘fold’ of one’s garment. For poetic concision, I have translated /x#j) here as “lap”.
Verse 8ab
“and they do not say, the (one)s passing by,
‘(The) blessing of YHWH (be) to you!'”
The parallel in Ruth 2:4 suggests that the concluding couplet contains a traditional greeting given to those engaged in the harvest. Since, in the judgment-scenario depicted here in vv. 6-8b, there is no harvest (for the wicked), those who pass by have no occasion to offer this blessing in greeting. The implication is that the judgment that comes upon the wicked is a curse, and not a blessing, from YHWH. For the covenant-setting of such blessings and curses, see esp. Leviticus 26 and Deuteronomy 28. For the wicked, ultimately there is no blessing.
Conclusion: Verse 8c
“We bless you in (the) name of YHWH!”
By contrast, the righteous are blessed by YHWH, and are able to receive blessings (in YHWH’s name) from others. While this concluding line fits well with the preceding couplet, it is best treated separately, as a concluding declaration of blessing. It has a liturgical function, comparable to the initial formula “let Israel now say” in v. 1.
Blessing is a thematic emphasis that runs throughout the second group of Songs; see esp. the conclusion of the previous Psalm 128 (v. 5f). It is tied to the site/city of Zion, as being under the protection and care of YHWH. In this regard, as previously noted, Zion represents the land and people as a whole. Insofar as the people are faithful to YHWH, they will be under His covenant protection, and will experience blessings within the protected ‘space’ of “Zion”, secure and having been delivered from all enemies and adversaries.
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).