Psalm 137
Dead Sea MSS: 11QPsa (vv. 1, 9)
This Psalm is a communal lament which has the destruction of Jerusalem and the Exile of Judah at its heart. Based on the context of vv. 1-4, it has often been assumed that Psalm was written during the exile, by a poet-composer who was present there in Babylon. However, increasingly commentators have come to prefer an early post-exilic date for the composition; see the brief discussion by Hossfeld-Zenger, pp. 513-4, for a good summary of this position. On the whole, this view would appear to be sound, though I am not at all convinced that the imprecatory verses 7-9 were necessarily added (redactionally) to an original Psalm comprised of vv. 1-6. There are enough examples of Psalms which close with imprecatory verses that Ps 137 easily could have contained something similar from the beginning. Psalm 74 has been cited as a parallel structure, with an opening lament section (vv. 1-11) followed by a call for YHWH to act (using the verb rk^z` [v. 18], as here in v. 7) in a way that brings appropriate judgment on the wicked adversaries of His people.
Both metrically and structurally, the Psalm is somewhat irregular. However, it can be rather clearly divided into two stanzas (vv. 1-4, 7-9) with an intermediary section (vv. 5-6) presented as a vow (in the form of a oath taken by the protagonist). This vow, which entails a curse-formula of self-punishment, prepares the way, thematically and rhetorically, for the imprecatory curse-wishes in vv. 7-9. The two stanzas have a similar structure and could have functioned as strophes sung to much the same melody. The metrical details will be provided in the notes below; however, as an indication of the similarity of the stanzas, one may point out that each begins with a 2-beat (2+2+2) tricolon [v. 1, 7abc], followed by a 3+2 couplet [v. 2, 7de] and another tricolon with a 2-beat rhythm [v. 3abc, 8].
Psalm 137 is justly famous, for the poignancy of its opening lament, the vivid vow made by the protagonist in vv. 5-6, and the horrific curse-wish uttered in vv. 7-9 (especially the climactic v. 9). The protagonist is presented as an eyewitness to life in exile within the Babylonian empire (represented by the capital city Babylon), while the sense of suffering and loss is captured in a wonderfully lyrical and elegiac manner. The poignant beauty of the lament is juxtaposed with the savage harshness of the final curse-wish, and, indeed, most readers today will find such imprecations quite disturbing. Modern Jews and Christians are rightly troubled (even repelled) by such expressions of vengeance, of a wish and desire to see graphic and gruesome violence done to one’s enemies. This is true of the imprecatory portions of the Psalms in general, but the problem is particularly pointed in the case of vv. 7-9 here in Psalm 137. I will offer a few thoughts on the matter at the close of the exegetical notes below.
Sadly, Psalm 137 survives in only one Qumran manuscript (11QPsa), and very little of it at that. Even so, there is at least one noteworthy textual variant, in verse 1, which is mentioned below. In the Psalter represented by 11QPsa, Psalm 137 follows Ps 139, the immediate sequence being: 139, 137, 138.
Stanza 1 (Lament): Verses 1-4
Verse 1
“Upon (the) streams of Bab-ilim,
there we sat—so even we wept,
in our remembering Ṣiyyôn.”
Metrically, this famous opening verse is a 2-beat (2+2+2) tricolon; however, its poetic structure is rather more subtle and complex than this would indicate. There is a certain chiastic structure to the verse, marked by the framing geographical references in lines 1 and 3—Babylon (capital of the great foreign empire) and Zion (i.e., Jerusalem, destroyed capital of the conquered and exiled kingdom of Israel/Judah). The central line 2 contains a pair of short staccato-like rhymed phrases (each with 4 syllables):
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- šām yāšaḇnû (“there we sat”)
- gam bāḵînû (“also/even we wept”)
Just as the protagonist (and his fellow exiles) sat there in Babylon, so they also wept. For the traditional association of the seated position (on the ground) with mourning and lamentation, see esp. Job 2:12-13; Lam 2:10; Neh 1:4; cf. Dahood, III, p. 269. The lamentation was primarily over the loss (and destruction) of the holy city of Jerusalem (Zion), and with it the Temple. The loss of Zion is compounded by the status of the people in exile—viz., away from the land. Life in a foreign land, such a long distance away from Jerusalem, makes for a double sense of loss.
The noun rh*n*, which denotes a flowing stream of water, is often used of rivers; however, in the context of the Babylonian capital, as commentators have pointed out (e.g., Allen, p. 301; Hossfeld-Zenger, p. 512), it more properly refers to the city’s canals (cf. the use of the related Akkadian term nāru). In references to streams and rivers, etc, the preposition lu^ (“upon”) can mean “beside, next to”.
The MT reads a construct phrase “…streams of Bab-ilim”, but the Qumran manuscript 11QPsa has here a prepositional phrase “…streams in Bab-ilim”, as indicated by the prefixed preposition B= (i.e., lbbb “in Bab-ilim”). An argument can be made for the originality of this reading, since, in view of the sequence of three b letters, it is natural that one of these may have dropped out during the course of copying. Dahood (III, p. 269) argues in favor of the Qumran reading, which would yield a symmetric 7:4:4:7 syllable-count to the verse, enhancing its chiastic structure (see above).
It should also be noticed that there has been a correction within the manuscript 11QPsa. Originally it had a third person verb form in the second line (i.e., “they sat”), which a second hand corrected to a third person form (“we sat”) in agreement with the MT (and LXX).
Verse 2
“Upon (the) willows in her midst,
(there) we hung up our harps.”
The lyrical scene in v. 1 is enhanced and developed by the following couplet. The exiles are sitting (in lamentation) next to the waterways of Babylon. There are also willow (or poplar) trees in the vicinity, and they have “hung up” (vb hl*T*) their harps upon these trees. Dahood (III, p. 270) is correct is explaining the idiom of “hanging up” the harps as signifying that they are not being used (and that there is no use for them); however, contrary to his opinion, I see no reason to doubt that the picture here is of the harps actually hanging (symbolically) on the trees. The noun roNK! is a regular term for a stringed instrument (with a wooden frame), variously regarded as harp, lyre, or zither. The “harp” in this context signifies joyous music-making; the exiles have no occasion for joyful song and music, though their harps could certainly be used for the mournful music of lament, even as the Psalmist is doing here with his composition.
Metrically, the verse can be parsed as either a 3+2 or 2+2 couplet (cf. Freedman, p. 204; Allen, p. 301).
Verse 3abc
“Indeed, there they asked us,
our captors, (for) words of song,
our mockers, (for) gladness:”
This verse is another 2-beat (2+2+2) tricolon (see on v. 1 above). It provides a certain formal parallel with the opening verse, with the locative adverb <v* (“there”) in line 1 corresponding to the location of Babylon (and its waterways) in the first line of v. 1. Similarly, the “words of (joyful) song” in line 2 are juxtaposed with the mournful sitting and weeping of the exiles in v. 1. Finally, the “gladness” here in line 3 is contrasted with their mourning over the loss of Zion in v. 1; note how the “song of gladness” here is defined (in 3de) specifically as a “song of Zion”.
The Babylonians are identified by two substantive verbal adjectives (participles) which are difficult to translate. The first (in line 2) is of the verb hb*v*, which means “take captive, take into captivity”; for poetic concision I have translated the suffixed participle here as “our captors”, though properly it means “(the one)s having taken us captive”. The precise derivation and meaning of the second participle (in line 3) is uncertain. It has been explained as a poel form of the root llh (II), a qal form of llT, or a form of lth—in all of these instances (and the three verbal roots may be related) the basic meaning would seem to be something like “mock, taunt, toy with”, and this has been adopted by most commentators (cf. Allen, p. 302). By asking the Judean exiles for joyful songs, the Babylonians are cruelly mocking them—whether intentionally or unintentionally. The exiles are in mourning over their loss (esp. the loss of Zion), and are thus in no mood for songs of joy—indeed, they are unable to produce such music, having “hung up” their harps (v. 2).
Verse 3de
“Sing (now) for us
from a song of Ṣiyyôn!”
This short 2-beat (2+2) colon corresponds to the couplet of v. 2, producing a harsh juxtaposition between the two verses: the Judean exiles are asked to sing a (joyful) song of Zion, but they have “hung up” their harps and are unable/unwilling to make any such music. The wording in line 2 is literally “from a song of Zion”, with a prefixed preposition /m!; this could be taken in a partitive sense (i.e., “from one of the songs of Zion”). As noted above, this “song of Zion” is understood to be a joyful song, a song of “gladness” (hj*m=c!, v. 3c). It is not entirely clear whether the Babylonians who make this request are intentionally mocking the Judean exiles; it could just as well be that they are doing it unintentionally, and simply want to hear a “song of Zion”, but such a request itself ends up becoming an oppressive taunt.
Verse 4
“(But) how can we sing
(here) a song of YHWH
upon a land that is strange?”
The lament closes with the protagonist, representing the exiles, explaining why, having “hung up” their harps (v. 2), they are unable to sing such a song as the Babylonians request (v. 3). They are in a “strange land”, far away from their homeland and the holy city of Zion. The construct expression in the third line is difficult to translate with poetic concision (“land of strangeness”, “land of stranger[s]”). Functionally, I treat the noun rk*n@ as an adjectival substantive, i.e., “that which is strange”; in combination with the noun hm*d*a& (“land”) it means “a land that is strange”. The “song of Zion” in v. 3 is here identified as a “song of YHWH” —since Jerusalem is regarded as the holy city of YHWH, with the ‘mount’ of Zion specifically as the location of the Temple sanctuary in which YHWH (symbolically and ritually) dwells among His people. Any number of Psalms, particularly those which feature Jerusalem/Zion prominently—such as the “Songs of Ascents” (Pss 120-134), recently studied—could be referred to as a “Song of Zion”.
Transition (Oath): Verses 5-6
These verses, which I take to be transitional between the two stanzas of vv. 1-4 and 7-9, function as a vow made by protagonist, by which he promises to act in a particular manner. The promise is implicit, expressed as an oath, presented in negative terms, along with a curse-formula—viz., declaring what will happen if he fails to live up to the agreed-upon promise. Such oaths (and curse-formulae) are regular features of binding agreements (i.e., covenants) in the ancient Near East, and is suggestive of a covenantal context here as well. Vows made by the Psalmist-protagonist occur relatively frequently in the Psalms and are an integral part of several different genre (including Psalms of lament and prayer-pleas for deliverance); however, these sorts of negative-condition oaths are much less common, occurring only rarely and with no exact parallel to vv. 5-6 here (for a loose parallel, with oaths made by YHWH, cf. 89:36[35]; 95:11).
For a treatment of the subject of conditional vows and oaths in the Psalms (esp. the lament-Psalms), see the essay by Tony W. Carteledge, “Conditional Vows in the Psalms of Lament: A New Approach to an Old Problem”, in The Listening Heart: Essays in Wisdom and the Psalms in honor of Roland E. Murphy, edited by Kenneth G. Hoglund, Elizabeth F. Huwiler, et al. Journal for the Study of the Old Testament [JSOT] Supplement Series 58 (JSOT Press: 1987), pp. 77-94.
Verse 5
“If I forget you, Yerušalaim,
may my right hand forget!”
As noted above, the vow/promise made by the protagonist here is implicit, made indirectly, in the form of an oath with an associated curse-formula. The protagonist calls forth a curse upon himself if he should fail to act according to the implied promise. The curse, in this instance, matches the person’s behavior, according to the lex talionis principle: if he ever forgets Jerusalem, then let his own right hand forget! This dual use of the verb jk&v* (“forget”) is clear enough, but the application in the second line has caused some difficulty for commentators, with a number of proposed solutions and emendations as a result. However, most likely, the idiom of a person’s hand ‘forgetting’ simply means that it is unable to function properly—i.e., loses its strength and ability.
As noted in the introduction above, the curse-formulae here in vv. 5-6 prepares for the imprecatory curse-wishes in the second stanza (vv. 7-9), as does the application of the lex talionis principle.
Verse 6a
“Let my tongue stick to my mouth,
if I do not remember you—”
The oath and curse formula in verse 6 is much the same as that of verse 5, but with the conditional and result clauses presented in reverse order. The idea of “forgetting” is expressed here in negative terms—i.e., “not remembering”, using the verb rk^z` (“remember, have/keep in mind”), as in verse 1 (and in v. 8, see below). The curse in v. 5 involves the inability of the person to use his hand(s); here it effectively means the inability to use his mouth (to eat/drink or to speak). The tongue will stick (vb qb^D*) to ‘the roof of his mouth’ (noun Ej@). If the lex talionis principle applies here (as it does in v. 5), then the inability of the protagonist to use his mouth may indicate that “not remembering” Jerusalem, in this context, means failing to mention (i.e., speak of) her. For this motif of the tongue sticking to the ‘roof of the mouth’, cf. also Ps 22:16[15] and Lam 4:4.
Verse 6b
“if I do not bring up Yerušalaim (to be)
upon (the) head of my gladness!”
The condition from v. 6a continues here, providing further explanation as to what it means to “remember” Jerusalem. It is essentially defined as ‘lifting up’ Jerusalem to be at the “head” (var)) of the Psalmist’s gladness (hj*m=c!, same noun used in v. 3c, see above). The expression “head of gladness” indicates being at the forefront of a person’s joy and praise, which would include singing “songs of Zion” such as the Judean exiles are not willing/able to do during the time of lament (vv. 1-4). This could imply that the setting of vv. 5-6 may be post-exilic, as suggested in the Introduction. Having returned from exile, and having experienced the loss of Zion, the protagonist vows always to remember her, making her the focus of his joy and praise, and his worship of YHWH. We may consider, in this context, the setting of the Songs of Ascents collection, with its emphasis on Jerusalem (and the pilgrimage festivals) as a focal point both of national identity and communal worship.
Metrically, verse 5 is a 2-beat (2+2) couplet, while verse 6 is comprised of two 3+2 couplets.
Stanza 2 (Curse-Wish): Verses 7-9
Verse 7abc
“Remember, O YHWH,
for (the) sons of Edôm
(the) day of Yerušalaim—”
In the initial portion of the curse-wishes in stanza 2, the protagonist calls on YHWH to bring judgment against the Edomites (“sons of Edom”). As in verses 1 and 6a, the verb rk^z` (“remember, bring to mind, have/keep in mind”) is used, but in rather a different sense. In the introduction, I noted the parallel with Psalm 74 (v. 18), where the protagonist similarly calls on YHWH to “remember” the wickedness and violence done against His people (cf. also 89:51[50]), and to respond accordingly by bringing judgment against those hostile enemies (viz., among the surrounding nations). The “day of Jerusalem” is the day of the city’s conquest and destruction (see esp. Obadiah 12) by the Babylonians in 587/6 B.C.; Edom’s response to the conquest of Judah/Jerusalem, and their role in it, is similarly condemned in Obadiah 10-14.
The use of the preposition l= in line 2 (“for the sons of Edom”) essentially means “against the sons of Edom”. The very different explanation by Dahood (III, p. 272), treating the l as a vocative particle, whereby the protagonist addresses the curse directly to the Edomites, it not particularly convincing.
As in the first stanza (see on v. 1 above), this second stanza opens with a 2-beat (2+2+2) tricolon.
Verse 7de
“the (one)s saying ‘Lay bare, lay (her) bare
unto the (very) foundation of her!'”
The solidarity of the Edomites with the Babylonians in their destruction of Jerusalem is clearly expressed here. The use of the verb hr*u* (“uncover, lay bare”), with its connotations of nakedness and shame, in the context of a city personified as a female, almost certainly is meant to allude to the imagery of sexual mistreatment and violence against women. This shameful violence perpetrated against Jerusalem will, according to the curse-wish of the protagonist, be turned against the “daughter” Babylon (see below on vv. 8-9). The Edomites, by proxy and association, are to share in the judgment and punishment YHWH will bring against the Babylonians.
Verse 8
“Daughter Bab-ilim, the destroyer:
Happy (the one) who fulfills to you
your dealing which you dealt to us!”
The lex talionis principle of judgment (see above on vv. 5-6) is particularly clear in this imprecatory curse-wish formula against Babylon. Even though YHWH is no longer being directly addressed, it should be understood that the protagonist is still calling upon YHWH to bring the judgment against Babylon. Babylon will be dealt with (root lmg in line 3) according to the way that the Babylonians dealt with Jerusalem—viz., the city will be conquered and destroyed (militarily) by an invading army. This judgment is based upon Babylon’s own conduct and will be completed and fulfilled (vb <lv) against her as ‘payment’ in return.
There is some question surrounding the participle of the verb dd^v* (“destroy”) in line 1. In the MT it is a passive participle (hd*WdV=h^), but some commentators (e.g., Dahood, III, p. 273) prefer the treatment and/or vocalization of it as an active form (hd*odV*h^). In terms of the lex talionis principle in the curse-wish, both are possible (and viable). Babylon could be identified as “the destroying (one)”, i.e., “the destroyer”, “the one who destroys”; at the same time, her judgment could also be referred to here by calling her “the one being destroyed”, i.e., “the one who will be destroyed”. Just as Babylon destroyed Jerusalem, so she also will be destroyed. I have opted, tentatively, for the active participle, while recognizing that the passive vocalization in the MT is entirely valid.
On the beatitude-formula in this curse wish, introduced by the construct word/form yr@v=a^ (“[O the] happiness of…!”, i.e., “happy the one who…!”), see the earlier study on Psalm 1, and the supplemental note in the series on the Beatitudes of Jesus. The curse-wish is thus formed by way of a blessing formula; in particular, happiness is called forth for the people (viz., the soldiers of the invading army) who bring the destruction upon Babylon.
Verse 9
“Happy (the one) who takes hold and dashes
your suckling (babe)s against the rock!”
The curse wish, phrased as a blessing (beatitude) formula, continues from verse 8. It expresses the formula, related as it is to the destruction of Babylon (by an invading army), in grim and horrific detail. It is this particular aspect of the curse wish of vv. 7-9 which is so disturbing and repellent to readers today, and (especially) to the sensibilities of modern Christians. The language and imagery of the verse is clear enough—as clear as it is troubling. It is based upon the conduct of invading armies in ancient Near Eastern warfare—that is, wars of conquest and extermination in which the entire population (including women and children) may be targeted for gruesome slaughter. On the expression of this elsewhere in poetry, see, e.g., Hosea 10:14; Lam 2:21; for the specific image of infants being “dashed (to pieces)”, cf. Isa 13:16; Nah 3:10.
In considering how modern readers (especially Christians) should respond to such savage imprecatory language in the Psalms, it is important to remember, first, that the protagonist in the Psalms frequently expresses feelings and emotions—such as doubt, fear, frustration, anger, hatred—which, while quite real and legitimate, are not necessarily to be admired or emulated. The thought and feeling expressed in the Psalms encompasses the entire spectrum of experience among the Israelite people. Moreover, this occurs within ancient Near Eastern conventions and lines of tradition which are quite foreign to (most of) us today. Modern-day Christians are under no obligation to adopt or accept cultural standards and practices from the ancient Near East, even though they may be employed or documented within the Scriptures. The use of harsh imprecatory language and curse-formulae is one such example of conventional practice and a mode of expression from the ancient Near East which the Biblical authors and speakers frequently employ.
At the same time, there are certain aspects of the imprecatory portions of the Psalms which ought to be recognized, and which might even be applied by Christians to their own life setting and experience. Two aspects, in particular, should be emphasized: (a) the value (and even the need) to call upon YHWH to bring judgment against human wickedness (including the cruel use of violence by human governments and armies, etc); and (b) the validity of the lex talionis principle of judgment. Both of these aspects are present in nearly all the imprecatory passages in the Psalms, including here in vv. 7-9. The lex talionis principle, in particular, is emphasized here (as noted above), and is worthy of further consideration—as enacted by God, not by us as believers in Christ. All judgment belongs to God, and it is righteous, and Christians may rightly pray for God to bring His righteous judgment about. The rightness and justice of God’s judgment against wickedness involves punishment that matches the crime (viz., the lex talionis principle), even as the New Testament authors admit, in confirmation of the Psalms and elsewhere in Scripture (e.g., the nation-oracles of the Prophets, etc)—cf. James 2:13, and throughout Revelation 17-18 (with allusions to Jeremiah 50-51).
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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 “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 “Freedman” are to David Noel (D. N.) Freedman, “The Structure of Psalm 137”, in Near Eastern Studies in Honor of William Foxwell Albright, ed. Hans Goedicke (Johns Hopkins University Press, 1971) 187–205, reprinted in Freedman, Pottery, Poetry, and Prophecy: Studies in Early Hebrew Poetry (Eisenbrauns: 1980), pp. 302-21.