Psalm 145
Dead Sea MSS: 11QPsa (vv. 1-7, 13, 14-21)
This Psalm, which has come to hold an important place in the Jewish liturgy, is a hymn of praise “celebrating the attributes of Yahweh, especially his kingship” (Dahood, III, p. 335). It is the last of the acrostic poems in the Psalter (see the earlier studies on Pss 9-10, 25, 34, 111, 112, and 119), with each couplet beginning with a different letter of the alphabet (in sequential order).
The major textual issue in this Psalm is the general absence of a couplet beginning with the letter nûn (n, = ‘n’) in the MT (it would occur between vv. 13 and 14). Such a couplet, however, does occur in one MT manuscript, and in the Greek (LXX) and Syriac versions; more importantly, it is attested in the Qumran manuscript 11QPsa. Thus, the text-critical question is: did a n-couplet drop out of the original text, or is the couplet in 11QPsa (and the Versions) an interpolation (i.e., scribal addition)? The versional evidence for the couplet is substantial, especially when considered in the light the 11QPsa manuscript. It seems that a poet as gifted as our Psalmist easily could have (and presumably would have) come up with a suitable couplet beginning with the letter n. On the other hand, there are similar instances of missing letters in the acrostics of Pss 25 and 34, and sound reasons have been adduced for deeming the 11QPsa couplet, in particular, as unlikely to be original (see Kimelman, pp. 49-50, and the note by Hossfeld-Zenger, p. 592).
Whether or not one includes the 11QPsa couplet, or a comparable n-couplet based on the Versions, affects how one views the structure of the Psalm, particularly in the latter portions. Without the restored/reconstructed n-couplet, there is an inclusive symmetry to vv. 14-20, suggesting that this unit should be treated as a stanza (which would match vv. 3-9 in length). However, if the couplet (13b) is included, then it creates a certain parallelism between vv. 13b-16 and 17-20, indicating that those verse divisions should be regarded as unit-stanzas.
In other respects, the structure of Psalm 145 has been much discussed, with quite differing views among commentators regarding how it should be divided. One point of detail that has been noted is that the three couplets of vv. 11-13 begin with the letters k, l, and m, which when reversed spell the root (ilm) denoting kingship (El#m# = “king”). This has led to the view that verses 11-13, which should be treated as a unit, lie at the center and heart of the Psalm. Weber (II, p. 367), in fact, specifically defines vv. 11-13 as the central stanza of a five-stanza structure (with a chiastic outline):
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- A: vv. 3-6
- B: vv. 7-10
- B´: vv. 14-16
- A´: vv. 17-20
Liebreich (pp. 187ff), followed by Kimelman (pp. 37-38ff), adopts a four-stanza outline (vv. 3-6, 7-9, 11-13, 14-20) with v. 10 as a central interlude. There is general agreement as to the framing inclusio of vv. 1-2 and 21 providing the introduction/conclusion to the composition. Otherwise, the debate is over how the couplets of vv. 3-20 should be divided and their structure delineated. I am inclined to adopt a two part structure, with four stanzas: two 3-couplet stanzas in the first part (vv. 4-6, 7-9), and two 4-couplet stanzas in the second part (vv. [13b]-16, 17-20). Verses 10-13 represent a central bridge stanza, in which the universal Kingship of YHWH (the main theme of the Psalms) is particularly emphasized. Verse 3, which I include as part of the introduction, in some ways stands alone as a theological declaration, the style and tone of which is repeated at various points throughout the stanzas. The alternation between second person and third person address is not at all unprecedented in the Psalms and may be taken here as reflecting a certain royal-courtly style (cf. Dahood, III, p. 338).
There is also agreement (largely) among commentators as to the relatively late (post-exilic) dating of the Psalm (cf. Hossfeld-Zenger, p. 597, for a typical summary). The acrostic format, along with certain ‘Aramaisms’ (to be given mention in the notes), and presumed inter-textual links (esp. with other Psalms and portions of the Psalter) have all been cited as evidence for a post-exilic date. The universal orientation of the Kingship-theme, whereby it is expected that all peoples/nations will (soon) come to recognize and worship YHWH, has also been regarded as typical of later theology. However, it is possible that this tendency had already begun to take root in the late monarchic (pre-exilic) period, and may be evinced, for example within the collection of Pss 93-100 where one finds a similar development of the Kingship-theme. Certainly, an emphasis on the Kingship of YHWH would have been compatible with the royal background (and setting) of many Psalms, including traditional material and genre-forms that date back to the monarchic period.
Ps 145 is preserved extensively in the Qumran manuscript 11QPsa. Apart from the key textual issue regarding the missing n-couplet (v. [13b]) in the MT, there are a number of variant readings, most of which are minor but some worthy of mention (and will be mentioned in the notes). Of special interest is repeated refrain that runs through the Psalm, after each couplet, much as in the manner of Ps 136; the text of this refrain (i.e., congregational response), which surely reflects an early liturgical adaptation of the composition, follows the second line of vv. 1-2 (see below):
“Blessed be YHWH and blessed be His name,
(in)to (the) distant (future) even unto (the end)!”
The character of Ps 145 as a hymn of praise is indicated by the designation in the heading of the work as a hL*h!T (I), a “(song of) praise” (the reading hlpt, “prayer/petition” in 11QPsa is presumably a scribal error). The heading also contained a traditional Davidic attribution (“[belonging] to David”).
The meter of this Psalm is irregular, including a roughly similar number of 3+3, 4+3, and 3+4 couplets. The relatively large number of irregular 3+4 couplets is unusual.
Introduction: Verses 1-3
“I will lift you high [;m=m!ora&], my Mightiest, O King,
and bless your name (in)to (the) distant (future), to (the end)!”
The Psalm of praise begins in formal fashion, adopting a royal-courtly style. The verb <Wr (“be high”) in the Polel stem means “bring/raise/lift high” (i.e., exalt, extol); it is applied to the praise and honor of YHWH (as High God and King) on numerous occasions—cf. Exod 15:2; Isa 25:1; Ps 30:2[1]; 34:4[3], 99:5, 9; 107:32; 118:28. The occurrences in 99:5, 9 are particularly close to the usage here, in terms of thematic emphasis—viz., focus on the universal Kingship of YHWH, as Creator and Sovereign over the universe.
The prefixed –h (on the noun El#m#, “king”), which normally functions as a definite article, here has vocative force (“O king!”), as most commentators recognize.
The blessing (vb Er^B*) offered to YHWH in the second line was incorporated into the refrain that runs through the Psalm in the Qumran manuscript 11QPsa; the utilization of such a refrain (as a congregational response) reflects an early liturgical adaptation of the composition (cf. the refrain of Ps 136).
Dahood (III, pp. 334, 336) curiously treats the line in v. 1 differently from that in v. 2; in v. 1, the temporal-durative nouns <l*ou (“distant [future]”) and du^ (“unto [the end]”) are regarded as Divine titles (“Eternal [One]”, “Everlasting [One]”), seen as matching the titles “Mightiest” (i.e., God) and “King”, whereas the same terms in v. 2 retain their temporal significance (matching the expression “in every day”).
Metrically, this verse is a long and irregular 3+4 couplet; it is the first of five such 3+4 couplets in the Psalm (including the following v. 2).
“With every [lk*B=] day (indeed) I will bless you,
and praise your name (in)to (the) distant (future), to (the end)!”
This second couplet mirrors the first, both metrically (3+4) and in terms of its orientation. The second line is nearly identical to that of v. 1, substituting the verb ll^h* (“praise”) for Er^B* (“bless”). Indeed, the use of praise/bless verbs are presented in reverse order (from that of v. 1)—i.e., Er^B* in line 1, rather than line 2. The Psalmist-protagonist declares that he will praise YHWH “with every day” that comes; the prefixed B= preposition (essentially for the acrostic pattern [b-couplet]) could also be rendered “on” or “in”, i.e., during the course of each day.
“Great [lodG`] (is) YHWH, and very much (to be) praised,
and His greatness—there is no searching (it out)!”
This third couplet unexpectedly introduces a shift—from a second person address (unto YHWH) to a third person declaration about YHWH. While such alternation of person (2nd/3rd) may be intended to imitate a certain formalism of royal-courtly style, it also functions here to introduce a theological declaration, in which the attributes of YHWH are highlighted. This theological thread will run through the stanzas of the Psalm.
The particular attribute in focus here is the greatness of YHWH, as expressed by the adjective lodG` and the related noun hL*WdG+. The noun is relatively rare, and, of the 12 other occurrences, half are in books (Esther, Chronicles) from the exilic or post-exilic period. The emphasis on the unsearchability (“there is no searching [it]”)—viz., YHWH’s greatness is so vast that it is not possible to search it out, so deep that one cannot fathom its depths—also seems to reflect a relatively late (and theologically developed) Wisdom-sentiment (cf. Job 5:9; Isa 40:28). The first line closely resembles the opening line of Ps 48 (v. 1).
Dahood (III, p. 336) here regards the adverb da)m= (“very much”) as another Divine title (see above on v. 1), rendering it as “the Grand”; he treats the adverb similarly in a number of other instances in the Psalms.
Metrically, this verse is a 4+3 couplet, balancing the irregular 3+4 couplets of vv. 1-2.
Stanza 1: Verses 4-6
“Circle [roD] to circle, let them (all) laud your works,
and your mighty deeds put out in front!”
In the first stanza, the Psalmist calls on people everywhere, from generation to generation (lit., “circle to circle”), to join him in giving praise to YHWH. The verb jb^v* (I) is a relatively rare praise term, one which is thought to be an Aramaic loanword, or reflecting Aramaic influence (and thus evidence for an exilic/post-exilic date for the Psalm); apart from four other occurrences in the Psalms (63:4[3]; 106:47; 117:1; 147:12), the other three are in late texts (Eccl 4:2; 8:15; 1 Chron 16:35). I agree with Allen (p. 367) that the imperfect verb forms in vv. 4-6f should be rendered as jussives (i.e., “let them…!”, “may they…!”).
It is particularly the mighty deeds of YHWH that are to be praised. Typically, this refers to His acts as Creator, but also to the great things that He has done on behalf of His people, Israel, throughout their history (most notably, in the Exodus and the Conquest/Settlement of the Land); see, for example, Ps 77:11-15 and 78:4ff. The verb dg~n` (Hiphil) means “put/bring in front”, in the sense (here and in similar praise and confessional contexts) of making something known, presenting it to people (viz., putting it in front of them).
“(The) honor [rd^h&] (and) weight of your majesty may they speak,
even (as) your wondrous deeds I will utter!”
This second couplet builds upon the first. By lauding and declaring (publicly) the mighty deeds of YHWH, people will honor Him (viz., His majesty/splendor [doh] as King). The nouns rd*h* and dobK*, both of which (in this context) essentially mean “honor” are vocalized in the MT as a double-construct form (viz., “[the] honor of [the] weight of your majesty”), but they are perhaps better understood as a hendiadys-pairing (“[the] honor [and] weight…”); either way, the expression indicates a double-honor, and one that is especially grand.
Instead of the MT yrbdw (“and words of”), the Qumran manuscript 11QPsa reads a verb form wrbdy (“they will speak”). This reading is supported by the Greek (LXX) and Syriac versions, and is perhaps to be preferred (cf. Allen, p. 367). I have tentatively adopted it in the translation above; it has the advantage of continuing the thought from v. 4, with the Psalmist calling on people everywhere to give honor and praise to YHWH. Metrically, it produces a 4+3 couplet, matching that of v. 4. The 3-beat second line more appropriately begins with a prefixed w-conjunction, which the same manuscript (11QPsa) also attests to; I translate the conjunction above in the emphatic-relational sense of “even (as)…”.
According to this reading, in verse 5, the Psalmist specifically calls on people to join him (i.e., the righteous one[s] of Israel) in giving praise/honor to YHWH. He, too, is uttering (vb j^yc!) words of praise, extolling YHWH especially for all His mighty deeds. It has been suggested that, in such a musical-poetic context as here in the Psalms, the verb j^yc! II, with its relatively wide semantic range (i.e., “utter, talk, converse, ponder, meditate, muse”, etc), could carry the specific meaning “compose” —viz., compose a hymn (such as this very Psalm) on the greatness of YHWH; cf. its use in Ps 77:4, 7, 13 and 105:2; note also the occurrences in Ps 119 (vv. 15, 23, 27, 48, 78, 148) and 143:5.
“And (the) strength of your fearsome (deed)s let them tell,
while (all) your great (work)s I will recount!”
This final couplet of the stanza mirrors that of the prior v. 5, adding further support to the reading of that verse according to the text of 11QPsa (see above). Again, the Psalmist calls on the people(s) to praise YHWH, declaring especially all His great and mighty deeds. The strength (zWzu$) of these deeds is particularly emphasized, as also the fact that they are truly fearsome—the passive participle of the verb ar@y` denoting something that should be feared, that is deserving of fear (and thus also of honor and reverence, etc). The mighty deeds performed by YHWH—both as Creator and the Savior/Protector of His people—are a primary reason why He Himself is to be honored and feared, acknowledged and venerated by all people.
The theme of YHWH’s greatness (see above on v. 3) punctuates the close of this stanza, as the key root ldg occurs again, in the suffixed plural form of the noun hl*WdG= [Kethib], i.e., “your great works/deeds”.
The hn– sufformative on the first person singular verb in line 2 (“I will recount”) is perhaps best explained as an instance of an energic n, as suggested by Dahood (III, p. 337; cf. Allen, p. 367). However, the survival and/or existence of an energic (volitive) mood in Biblical Hebrew remains a point of debate among linguists and commentators.
Stanza 2: Verses 7-9
“(With) memory [rk#z@] of your great goodness may they gush,
and of your righteousness let them ring out:”
In the second stanza, the Psalmist continues calling on people everywhere to give praise and honor to YHWH (as King). However, now the focus shifts, from the mighty deeds of YHWH to his fundamental attributes and characteristics (cf. verse 3).
Here, the greatness of YHWH is expressed through the term br (“many, much, abundance”), though it is not entirely clear whether the MT vocalization (as an adjective, br^, “abundant”) should be followed or the text revocalized as a noun br) (“abundance”); cf. Allen, p. 367, and compare the similar wording in Isa 63:7. Dahood (III, p. 337) characteristically treats br here as a Divine title, i.e., “Great (One), Master”.
The relatively rare verb ub^n`, which colorfully denotes “gush (forth)” (i.e., as water from a spring), does not normally occur as a praise-term. Rather, it tends to be used as wisdom-term in Scripture, including in the Psalms (cf. 19:3[2]; 78:2; 119:171); elsewhere, its use is limited to the Wisdom-texts of Proverbs (1:23; 15:2, 28; 18:4) and Ecclesiastes (10:1). The mouth/lips of the righteous “gush” forth wisdom, while those of the wicked spout foolish and impious things (Ps 59:8[7]; 94:4). By contrast, the verbal root /n~r* (“ring out”) is a frequent praise-term in the Psalms.
The key attributes of YHWH mentioned here (as worthy of praise) are His goodness (bof) and right(eous)ness (hq*d*x=)—both referenced many times in the Scriptures, including dozens of references in the Psalms.
“Showing favor [/WNj^] and deep love (is) YHWH,
long in (His) nostrils and great in kindness.”
This couplet is taken from the famous declaration of Exod 34:6, though with slightly different wording (cp. a similar application in Ps 86:5, 15), including the replacement of br^ (“abundant”) with the keyword ld)G` (“great”); cf. Num 14:19. Here the declaration takes the effective form of a confession of faith which the faithful ones are expected to make (as part of their veneration of YHWH). YHWH shows deep love (adj. <Wjr^) and care toward His people and is favorable (adj. /WNj^) toward them (i.e., will show them favor). In this regard, He will frequently hold back His anger toward them, extending His kindness/goodness (ds#j#) to them instead. The expression “long of nostrils” (<y]P^a^ Er#a#) is a colorful idiom that alludes to the depiction of anger in terms of a snorting/raging bull, etc. The hot steam that would normally be snorted out is held back and stored away in the ‘long nostrils’. Correspondingly, a person who is quick to anger, snorting it out immediately, is a person “short of nostrils”. In ancient Semitic (Canaanite) religious tradition, as inherited by Israel, the God El (= El-YHWH) was often described or depicted as a bull (e.g., Gen 49:24; Ps 132:2, 5; Isa 49:26; 60:16; cf. also Exod 32:4; 1 Kings 12:28, and 7:25).
This central couplet has an irregular 3+4 meter (see above on vv. 1-2), in between the two ‘regular’ three-beat (3+3) couplets of vv. 7 and 9. The metrical patterns of this second stanza are not as easily rendered in translation as those of stanza 1 (see above).
“Good (is) YHWH toward all the (peoples),
and His great love (is) over all His works.”
In this final couplet, it is declared that the goodness (bot, v. 7) and deep love (<jr, v. 8) of YHWH extends to all peoples, and not only to the people of Israel. This continues a universalistic orientation of the Psalm—and particularly here in these first two stanzas, in which the Psalmist calls on people everywhere, in all times (‘generation to generation’), to worship YHWH, giving honor and praise to Him. This universalism is rooted in the Kingship theme of the Psalm; since YHWH is King over all creation, all the peoples in the world should acknowledge His rule and give Him the praise and honor that He is due. Compare the universalism (similarly tied to the Kingship of YHWH) that pervades the collection of Pss 93-100, with its concluding declaration in 100:5.
The plural form of the noun <j^r^ is best regarded as an intensive/comprehensive plural, though it could also refer to the various manifestations of YHWH’s love and care for humankind. Human beings, to be sure, are among the created “works” of YHWH, over which His great love extends.
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The remainder of the Psalm (vv. 10-21) will be examined in Part 2 of this study.
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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 “Weber, I”, “Weber, II” and “Weber, III” above are to, respectively, Beat Weber, Werkbuch Psalmen (Verlag W. Kohlhammer), I. Psalmen 1 bis 72 (2001), II. Psalmen 73 bis 150 (2003, 2016), III. Theologie und Spiritualität des Psalters und seiner Psalmen (2010).
- Those marked “Liebreich” are to Leon J. Liebreich, “Psalms 34 and 145 in the Light of Their Key Words”, Hebrew Union College Annual 27 (1956), pp. 181-92.
- Those marked “Kimelman” are to Reuven Kimelman, “Psalm 145: Theme, Structure, and Impact, Journal of Biblical Literature [JBL] 113 (1994), pp. 37-58.