Psalm 132
Dead Sea MSS: 11QPsa (vv. 8-18)
This, the longest of the “Songs of Ascents”, is the third (central) Song the final group of five (Pss 130-134). The focus in this Song is on Jerusalem (Zion) as the city chosen by YHWH for His dwelling-place. This theme is shared by the corresponding Song in each of the first two groups (i.e., Pss 122 [study] and 127 [study]), along with the key motif of building—that is, of establishing and building up the city (its walls, etc), but most particularly, the building of the Temple as the “house” for YHWH. Psalm 132 most closely resembles Ps 122 with its emphasis on both the house/dwelling of YHWH, and on the city as the royal capital (and seat of the Judean kings who follow in the line of David, cf. 122:5).
More than any other Song in this collection, Ps 132 deals extensively with historical tradition and the Israelite/Judean royal theology. This has led to considerable debate among scholars and commentators as to the date and provenance of the Psalm. Opinions range widely, from an early pre-exilic (10th century) date, to a setting in the post-exilic period.
As examples of this extreme range of opinion, Dahood (III, p. 241f), rather typically, holds the former position (i.e., early pre-exilic), while Hossfeld-Zenger (p. 459f), also quite typically, maintains the latter view (i.e., post-exilic).
The assumption of a pre-exilic date, in the monarchic period, is often wedded to the hypothesis that Ps 132 represents an ancient liturgy—most commonly posited for the occasion of a ceremony commemorating the procession of the ark to Jerusalem in the time of David (2 Samuel 6). Such a ceremony likely would have had a strong royal orientation as well, celebrating the choice of David as king.
For a good (and representative) exposition of this ritual-liturgical interpretation, with a summary of the earlier (German) scholarship, cf. Kraus, pp. 475-9. He cites Ancient Near Eastern kingship rituals (in Egypt and Mesopotamia), with a special mention of the example of the Sumerian king Gudea of Lagash (p. 478), and the famous temple-Hymn, in which Gudea’s kingship is connected with the building of a temple-shrine. Cross (pp. 79-111, etc) deals extensively with the idea of a procession-ritual (involving the ark), and discusses Psalm 132 in the context of other Psalms (e.g., 24, 68) with a royal-ritual background. For a critical treatment of the matter, in reference to Psalm 132 (and esp. verse 8), see the article by Delbert R. Hillers, “Ritual Procession of the Ark and Ps 132”, The Catholic Biblical Quarterly [CBQ], 30 (1968), pp. 48-55. Cf. also Heinz Kruse, “Psalm cxxxii and the Royal Zion Festival”, Vetus Testamentum [VT], 33 (1983), pp. 279-97.
There can be little doubt that Psalm 132 deals with the same basic historical traditions as those recorded in 2 Samuel 6-7, but the precise relationship of the Psalm to those chapters (and the history and [Davidic] traditions preserved therein) remains a subject of some dispute. I will discuss the matter, along with some related historical- and literary-critical points, in the course of the notes.
Whatever the compositional origins of Psalm 132, its inclusion among the “Songs of the Ascents” is likely due to two factors: (1) the thematic emphasis on Jerusalem and the Temple-sanctuary of YHWH, and (2) the references and allusions to pilgrim celebrants (in vv. 6-7, 9, 15-17). If the Psalm derived from an ancient (pre-exilic) ritual-liturgical setting, then it would have been relatively easy (and natural) to adopt (and/or adapt) it for ritual (festal) use in the post-exilic context of the collection.
There is general agreement on the bi-partite division of the Psalm, though some dispute remains as to whether verse 10 belongs to the first part or the second; I follow the commentators who include it in the first part, thus creating a division of vv. 1-10, 11-18. In addition, there is a formal (though not poetic or strophic) subdivision within each part, resulting in four main sections. The structure can be outlined as follows:
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- Part 1 (vv. 1-10): David’s role in establishing the royal dwelling for YHWH in Jerusalem
(framed as a prayer to YHWH, on David’s behalf) - Part 2 (vv. 11-18): The covenant bond between YHWH and the royal city and the royal line [of David]
(framed as an answer to prayer by YHWH)
- Part 1 (vv. 1-10): David’s role in establishing the royal dwelling for YHWH in Jerusalem
Metrically, Psalm 132 consistently follows a 3-beat (3+3) couplet format, with only several (apparent) exceptions; these will be discussed in the notes.
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.
Part 1: Verses 1-10
Section 1: David’s Vow to YHWH (vv. 1-5)
Verse 1
“May you have in mind, YHWH, for David
all his (willingness) to lower himself—”
In terms of the initial section of the Psalm, this first couplet is introductory; in point of fact, it, along with the closing v. 10, functions to frame the entire first part of the Psalm. The verses together serve to frame vv. 2-9 as a prayer to YHWH, made on David’s behalf. This suggests that vv. 1 and 10 have a literary (and redactional) purpose, as a way of adapting and incorporating earlier traditional material. Possibly this could relate to the original liturgical function of the Psalm, whereby the people (and/or the current king as officiant) makes this prayer on behalf of David and his (royal) descendants, effectively praying for the continuation of the Davidic line (an important theme of the second part, vv. 11-18).
The use of the verb rk^z` (“have in mind, remember”) + the preposition l= (in reference to a specific person) is not especially common, but it does occur in similar prayer-contexts, where God is asked to ‘pay to back’ to certain people in regard to things that they have done—either positively (Neh 13:14) or negatively (Ps 137:7). Dahood (III, p. 242) explains the l= as vocative, understanding the address as being to David, rather than YHWH: “Remember YHWH, O David…!” This line of interpretation also colors Dahood’s peculiar explanation of otoNu% in the second line.
The suffixed (verbal) noun otoNu% is a Pual infinitive of the verb hn`u* (II), with the basic meaning “bend down [low]”, which can be understood either in terms of suffering and affliction, or with the more positive nuance of humility. The normal passive sense of the Pual would mean that David “was bent down” (i.e., by another), suggesting a state of oppression or affliction. However, the context here makes a reflexive meaning more likely—either (i) self-affliction, in the sense of laboring hard, or (ii) humbling oneself, such as in service to God. The use of the related yn]u* in 1 Chron 22:14 indicates that the emphasis is on committed effort and hard work; for the specific sense of self-affliction, cf. Lev 23:27, 29.
The meter of v. 1 is a shortened 3+2 couplet, which runs contrary to the 3+3 format throughout the Psalm. For this reason, a number of commentators have suggested that a word may have dropped out from the second, and propose the addition of something like hb*ofl= (“for good”); cf. Crow, p. 99, citing the article by H. Kruse, “Psalm cxxxii and the Royal Zion Festival”, Vetus Testamentum [VT], 33 (1983), p. 281. Unfortunately, this verse does not survive among the Qumran manuscripts, so it is not possible to make a textual comparison in this instance.
Verse 2
“how he made affirmation seven-fold to YHWH,
made a vow to the Strong (One) of Ya‘aqob:”
This second couplet marks the beginning of the first section proper, introducing the oath/vow made by David, which the Psalmist presents in the following vv. 3-5. The verb ub^v* (Niphal) is the regular terminology in the Scriptures for swearing an oath. The precise etymology and derivation is uncertain, other than it is presumably related to the number seven (ubv), and (likely) to the idea of doing or affirming something seven-fold. The parallel verb rd^n` in the second line denotes making a vow (to YHWH), regarding something which one is committed to doing.
The expression “Strong (One) [ryb!a*] of Jacob” is a title for YHWH (cf. Gen 49:24; Isa 1:24; 49:26; 60:16), expressing His covenant-bond with Israel (Jacob). The epithet ryb!a* (“strong/mighty [one]”) is conceptually related (and similar) to the noun la@ (“mighty [one]”), used as a Divine name/title (“Mighty [One]”, i.e., God). The substantive adjective ryba can specifically refer to a powerful animal, such as a bull, where it is vocalized as the noun ryB!a^. Ancient Israelites not infrequently described El-YHWH as a great Bull, drawing upon familiar mytho-religious imagery (from Canaan and elsewhere in the ancient Near East). The imagery was controversial, and was seen by many as especially problematic when extended to a visual depiction (and/or embodiment) of YHWH, as in the famous (or infamous) instances described in Exod 32:4ff; 1 Kings 12:28. It has been suggested that the effective title “Bull of Jacob” indicates the northern provenance of Psalm 132, or that it draws upon northern traditions (such as the bull-iconography of the shrines at Bethel and Dan).
Verse 3
“(See) if I will come in(to the) tent of my house,
if I will go up upon (the) couch of my spread,”
As noted above, verses 3-5 express the oath/vow made by David (v. 2). It utilizes the conditional particle <a! (“if”) as an effective negative formulation, which we would tend to translate with a negative particle in English—i.e., “(See) if [<a!] I will…!” = “I will not…!”
This vow serves as example of ‘self-denial’, viz., the lowering of himself (v. 1), that David underwent. He promises that he will not enjoy the comfort of his bedchamber, until he fulfills what he has vowed to YHWH (v. 5). The expression “tent of my house” probably refers specifically to the canopy of his royal bedroom (cf. Dahood, III, p. 243, who cites Prov 7:17; 27:23); certainly the expression in the second line, “couch of my spread”, refers to a luxurious bed (cf. Deut 3:11; Prov 7:16; Song 1:16; Amos 3:12; 6:4). The idiom of “going up on one’s couch [i.e., bed, cru]” is known in Ugaritic (Aqhat, tablet I, col. 1, line 38-9).
Verse 4
“if I will give sleep to my (own) two eyes,
(or) to my fluttering (lid)s (their) slumber,”
The self-denial involved in David’s vow extends from the comfort of his bed (v. 3) to even any restful sleep at all. The parallelism of “sleep/slumber” and “eyes/eyelids” is basic and straightforward (cf. Prov 6:4). The same pairing of “sleep” (hn`v@, vb /v^y`) and “slumber” (hm*WnT=) also occurs in Ugaritic (Kirta, tablet I, col. 1, lines 31-32, 33-35). The form of the noun used here (tnv), with the ending t-*, may be an instance of the archaic feminine ending (t-), even as the cognate word in Ugaritic is šnt; cf. Dahood, III, p. 243, and note also the phenomenon in Hebrew of occasional t-* endings (in place of h-*) in poetic contexts, GKC §80g, Joüon §89n.
The noun [u^p=u^ is presumably derived from the root [Wu [I] (“fly [about]”), and thus is taken to denote a person’s fluttering eyelids. However, some commentators (cf. Dahood, III, p. 244) maintain that [upu properly denotes the pupil of the eye.
There is an interesting parallel in the case of the Sumerian king Gudea of Lagash (noted above), regarding a similar devout/religious zeal in building a temple: “to build a house for his king [i.e., god] he does not sleep by night, he does not slumber at midday” (cited by O. Keel, The Symbolism of the Biblical World: Ancient Near Eastern Iconography and the Book of Psalms [Seabury: 1978], pp. 269-70; cf. Allen, p. 270).
Verse 5
“until I should find a standing-place for YHWH,
a dwelling-place for the Strong (One) of Ya‘aqob!”
The conclusion of the oath (following the conditional declarations of vv. 3-4) here states what David vowed to do for YHWH: to find a place for Him. A pair of common locative nouns are utilized (as indicated by the –m preformative): (a) <oqm*, which means “standing place” (i.e., place to stand, <wq); and (b) /K*v=m!, “dwelling place” (i.e., place in which to dwell, /kv). In the context of ancient Israelite religious tradition, the noun /K*v=m! came to be used specifically for the Tent-shrine (i.e., Tabernacle) of YHWH. In such a context, the sanctuary of the shrine is paramount, as representing the place where God is manifestly present (ritually and symbolically). This applies just as well to the sanctuary of the Temple, and to the preliminary Tent which David established in Jerusalem (cf. 2 Sam 6:15ff; 7:2ff).
The plural of the noun /K*v=m! (lit., “dwelling places”) here (and in v. 7) could be taken as an instance of an intensive or superlative plural (i.e., majestic/glorious dwelling). Dahood (III, p. 244; cf. I, 262 [on Ps 43:3]) cites it as an example of the Canaanite (Ugaritic) tendency to use plural nouns and place names with singular meaning. Cross (p. 95) understands the plural here in terms of an “encampment”, i.e., a group of tent-dwellings taken collectively.
Interestingly, there is no indication elsewhere in Scripture of such a vow being made by David regarding the construction of a dwelling-place for YHWH (and his ‘throne’ upon/above the ark, vv. 7-8, 13ff). However, that David had this intention is clearly expressed on several occasions—cf. 2 Sam 7:2-3 par; 1 Kings 8:17; 1 Chron 22:7; 28:2.
For the expression “the Strong (One) [ryb!a*] of Jacob”, as a title of YHWH, see above on v. 2.
This study will continue in Part 2.
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- References marked “Dahood, I”, “Dahood, II” and “Dahood, III” above are to, respectively, Mitchell Dahood, S.J., Psalms I: 1-50, Anchor Bible [AB] vol. 16 (1965), Psalms II: 51-100, vol. 17 (1968), and Psalms III: 101-150, vol. 17A (1970).
- Those marked “Kraus” are to Hans-Joachim Kraus, Psalmen, 2. Teilband, Psalmen 60-150, 5th ed., Biblischer Kommentar series (Neukirchener Verlag: 1978); English translation in Psalms 60-150, A Continental Commentary (Fortress Press: 1993).
- Those 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).
- Those marked “Cross” are to Frank Moore Cross, Canaanite Myth and Hebrew Epic: Essays in the History of the Religion of Israel (Harvard University Press: 1973). Psalm 132 is discussed on pages 94-97, 232-238, 244-248.