Psalm 149
Dead Sea MSS: 11QPsa (vv. 7-9)
Psalm 149, like all of the Psalms in the final collection (146-150) of the Psalter, is a hymn of praise to YHWH that emphasizes His Kingship over the universe (and over all humankind). However, this hymn evinces a stronger eschatological orientation, focusing (especially in the second stanza) on the realization of God’s Kingdom among the nations. This eschatological framework took root during the exile and underwent considerable development in the early post-exilic period, as the ‘New Age’ of Israel’s restoration came to be viewed as a time when the surrounding nations would join the restored Israel/Judah in acknowledging YHWH and giving worship to Him (as the supreme God and Sovereign).
These Hallelujah Psalms, along with a number of others in the Psalter (esp. the collection 93-100), share this eschatological outlook with the Prophets of the exilic and post-exilic periods—most notably, the poems of Deutero- and Trito-Isaiah (chaps. 40-55, 56-66). Commentators have noted the many similarities of thought and expression between the Hallelujah Psalms and Pss 93-100, as also in relation to Isa 40-66. Hossfeld-Zenger (p. 647) have conveniently summarized these intertextual links for Ps 149 (see also Broderson, pp. 93-8), and they will be mentioned in the notes below as well. An early post-exilic date for this Psalm (as for the collection 146-150 as whole) would seem to be quite secure, though the dating in the Maccabean period (favored by some scholars) seems rather too late; a mid-fifth century date would be more probable and makes for a reasonable estimate.
There has been some debate among commentators regarding the structure of this Psalm, with some preferring a two-stanza division (vv. 1-4, 5-9) and others a triadic three-strophe division (vv. 1-3, 4-6, 7-9); Prinsloo’s peculiar suggestion (pp. 398ff) of a two-part division (vv. 1-5, 7-9), with verse 6 as a transitional ‘hinge’ joining the two sections, is not very convincing. My own outline is as follows:
This outline produces a pair of stanzas that are thematically, poetically, and syntactically similar. Each stanza begins with a pair of couplets in which the call to praise is governed by jussive verb forms. Moreover, the first couplet presents the basis for praise and its location (i.e., in YHWH’s glorious presence), while the second couplet describes the manner of praise (with instruments in the hands of the people). The second portion of each stanza is expository, describing the relationship of YHWH (as King) to humankind—with His chosen people Israel (v. 4), and then with all of the other nations (vv. 7-9a). Framing the two stanzas is an opening couplet (v. 1) and a closing line (v. 9b) referencing the setting of the hymn—viz., the assembly of the loyal/devoted ones (<yd!ys!j&).
Unfortunately, only a small portion of Psalm 149 survives among the Dead Sea scrolls, in the Qumran manuscript 11QPsa, where it follows immediately after Ps 143. However, it likely was also present in a fragmentary manuscript from Masada (MasPsb), where it would have followed Ps 148, as in the canonical Psalter.
Introduction: Call to Worship
Verse 1
Praise YH(WH)!
“Sing (now) to YHWH a new song,
His praise in (the) assembly of (the) devout!”
The Psalmist calls on the people to give praise to YHWH with an imperative-formulation (using the verb ryv!, “sing”), following the pattern of the initial Hy` Wll=h^ exclamation. All of the Psalms in the Hallelujah collection (146-150) begin and end with this praise-exclamation, Hal®lû-Y¹h, “Praise YH(WH)!”. The verb ll^h* is not used in the couplet, but the derived noun hL*h!T= (“praise”) is present, parallel to the noun ryv! (“song”).
This particular call to praise echoes the opening of Psalms 96 and 98, resembling also Isa 42:10 (cf. Judith 16:13). Clearly, the praise and worship given to YHWH is musical in nature, involving song (like the hymn of Ps 149 itself) and performed with various musical instruments (see v. 3 below); cf. the parallel in v. 6. It is also performed in a public gathering (lh*q*), in which God’s people are assembled together; it is assumed that those who are so gathered are the ones faithful and devoted (adj. dys!j*) to YHWH. From an eschatological standpoint, the Psalmist probably envisions that the entirety of the people will be faithful to YHWH.
This couplet has an extended 4+3 meter (though this is not apparent in my translation), matching the final four-beat line of v. 9b. The remainder of the Psalm is comprised of 3-beat (3+3) couplets (+ the line in v. 9a).
Stanza 1: Verses 2-4
Verse 2
“Let Yisrael be glad in (the One hav)ing made him,
let (the) sons of Ṣiyyôn be joyous in their King!”
This initial couplet describes the praise (given to YHWH, v. 1) as joyous in character, performed with an attitude and spirit of rejoicing. The verb jm^c* denotes being glad, while the parallel lyG] alludes to a joyfulness expressed through (loud) singing and dancing; the basic denotation of lyg seems to involve movement in a circle (i.e., twirling, spinning, dancing; cf. Arabic jwl). The people of Israel here are identified with the city of Jerusalem (Zion) and the central cultic site of the Temple sanctuary—symbolic and ritual dwelling-place of YHWH where He is enthroned as King. This close association is typical of the early post-exilic period and is reflected in a number of Psalms—especially in the Songs of Ascent (120-134) and other Zion-Psalms. The term “Zion” serves to represent the people as a whole—i.e., the faithful ones, those who devoutly worship YHWH and who honor the holy city (with its Temple sanctuary).
YHWH is identified as both the Creator of the universe (including all of humankind) and its King. These two thematic points of emphasis are closely related (see, e.g., Isa 43:15) and feature in all the Psalms of this final collection (as also in Pss 93-100, etc). The substantive verbal noun (participle) hc#u), “(one) making, maker”, from the common verb hc*u* (“make, do”), is a traditional way of expressing the idea of YHWH as Creator. Here, it is apparently a plural form (with suffix, wyc^u)), which, if so, can be understood as a comprehensive/intensive plural (like the plural noun <yh!l)a$) or as a plural of majesty, i.e., “great/supreme Maker”; cf. Isa 54:5; Job 35:10, also Eccl 12:1 (with the verb ar*B*). As noted by Goulder (p. 298; cf. Allen, p. 396), all of these apparent plural forms involve YHWH’s work as Creator. However, the form could also be explained as an archaic singular which preserves the original y of a h–l root (i.e., ycu > hcu); cf. GKC §124k; the archaism of this preserved detail may still reflect specific poetic traditions regarding the theme of YHWH as Creator (Deut 32:6, etc). While YHWH is the “Maker” of all humankind, He is particularly so for His people Israel, since He also formed them as a nation; cf. Psalm 95:6; 100:3; Isa 44:2; 51:13; 54:5.
The second line features the related theme of YHWH as King; and, indeed, the Kingship of YHWH is the prominent thematic emphasis in the Psalm (as throughout Pss 146-150). His Kingship is based upon His identity as the Creator. On the specific connection of YHWH’s Kingship with Zion, see esp. the prior references in Ps 146:10; 147:13.
Verse 3
“Let them praise His name with twirling dance(s),
let them make music to Him with tambor and harp!”
While the initial couplet alludes to the basis for the praise given to YHWH, and emphasizes that it occurs in His presence (i.e., in relation to the Temple sanctuary), here in the second couplet the focus is on the manner of the praise—specifically, that it is done with dancing and music (possibly alluding to Exod 15:20). The noun rojm* denotes a dance performed in a circle, from the verbal root lwj (“turn round [in a circle], spin, twirl”), cp. the use of lyg earlier in v. 2b. The musical instruments with which the people “make music” (vb rm^z`) to YHWH are represented here by the tamborine ([T)) and harp (roNK!); cf. 147:7; 150:3-4; note also Jer 31:3-4.
In line 1, the people are called to praise the name of YHWH, which, as I have discussed, means the same thing as praising YHWH Himself; the parallelism of the lines here makes that point quite clear. It is particularly through God’s name that His people relate to Him (in worship, etc.), all the more so in light of the ancient line of tradition connecting His name with the Temple sanctuary in Jerusalem (the name symbolizing the presence of YHWH). In this regard, cf. especially the references in the Prayer of Solomon (1 Kings 8), set at the dedication of the newly-built Temple, which I have discussed in an earlier set of notes. Compare the prior references to YHWH’s name in Ps 148:5, 13; cf. also the framing references in 145:1-2, 21.
The word order in my translation of v. 3 is meant to bring out the synonymous parallelism of the couplet; however, in terms of the Hebrew word order, the verse has a chiastic structure:
-
- “Let them praise | His name
- with twirling dance(s)
- with tamborine and harp
- let them make music | to Him”
- “Let them praise | His name
Verse 4
“For YHWH (is One) taking delight in his people,
and He adorns with salvation (those) bent down!”
The final couplet is expository, explaining further the reason why the people give praise to YHWH. As their God, and within the covenant bond He has established with them, YHWH looks fondly on His people, taking delight (vb hx*r*) in them and in doing good on their behalf. This implies the many different blessings that YHWH provides for His people, insofar as they loyal to Him and faithful to the covenant (cf. Leviticus 26; Deuteronomy 28); see Psalm 147:11. These blessings include protection and deliverance (i.e., salvation, hu*Wvy+); YHWH will protect and rescue His people from all the dangers they might face (such as from the hostile nations, cf. Stanza 2 below). This salvation effectively serves as an adornment (vb ra^P*) that gives beauty and honor to the people; cf. Isa 60:9; 61:3 (rap specifically is connected with a headdress/turban). Quite often in the Psalms, YHWH is praised primarily because of salvation He has provided (whether to the individual righteous person or to the people collectively); particularly relevant are the references in Ps 96:2; 98:2f; and cf. Isa 44:23; 49:13.
Throughout the Psalms, the adjective wn`u` (cf. also yn]u*) is used as a designation for the righteous ones. It denotes a person who is “bent down”, either as the result of enduring affliction and oppression, or in terms of a characteristic humility and devout ‘lowliness’. Both aspects of meaning apply to the righteous, and both are likely in view here. The need for salvation implies some measure of oppression (from the nations, etc.), while the fact that YHWH acts to save them indicates that the people are demonstrating devotion and faithfulness. For this thematic motif, see esp. the earlier Ps 147:6, 11.
The participle (of the verb hx*r*) in line 1 can be understood in a simple active/dynamic present sense (“[He] is taking delight”), which might be translated in the present tense (“He takes delight”); however, such substantive participles, when applied to YHWH in the Psalms, often express a fundamental characteristic and regular/habitual behavior, and I have translated it above in that manner: “[He] (is the One) taking delight”.
While the first stanza (and esp. verse 4) certainly refers to past acts of deliverance on behalf of Israel, I do not find here a specific allusion to the Exodus (as a primary point of reference), such as Ceresko (pp. 181-4) suggests. The best argument in favor of the Exodus-proposal would be the possible allusion to Exod 15:20 in verse 3 (mentioned above).
Stanza 2: Verses 5-9a
Verse 5
“Let (the) devoted (one)s rejoice in weight (of honor),
let them ring out upon (the) places where they lay!”
This first couplet of the second stanza corresponds with v. 2 in stanza 1 (see above). However, the precise meaning (in relation to that earlier couplet) is uncertain. Particularly problematic is the mention of “places of laying-down/reclining” (bk*v=m!), usually understood in the sense of “beds, couches” (Ps 4:5[4]; 36:5[4], etc.), though such a meaning (at first glance) seems rather out of place here. Allen (p. 400) understands the locative noun here in the context of the righteous laying down (prostrate) in worship and humble devotion, either with specific reference to v. 4b or to the scene in v. 2 (i.e., worshiping in the presence of YHWH). While the latter would make for a rather fitting parallel to verse 2 (with the dobK* [“weight”] being that of YHWH), it does not particularly suit the parallelism of the couplet itself.
Ceresko (pp. 185ff) argues that verse 5 is the central ‘pivot’ verse of the Psalm, and that the noun dobK* (“weight”, i.e., honor, glory) stands at the very center of the composition, which would tend to confirm that this “weight” (of honor/glory) is that of YHWH rather than of the righteous (see below). He notes that there are 76 syllables prior to the word dobK* and 75 following it. Also, like Dahood (III, p. 357), Ceresko treats the noun as a Divine title (“Weighty [i.e., Glorious] One”), a suggestion originally made decades earlier by J. Böhmer.
Another possibility is to view the reclining places (i.e., couches) as places of honor and prestige, in which the righteous are able to relax, having been delivered from the oppression of their enemies, etc. This would provide a fitting (if somewhat oblique) parallel to dobK* in line 1; in this case, dobK* would refer to the “weight” (i.e., of honor, glory, esteem) that God’s people have received (implied in v. 4).
For the many and varied attempts otherwise to explain the use of bk*v=m! here, see Hossfeld-Zenger, p. 642; Goulder, p. 299; and Broderson, pp. 101-3. Ceresko (p. 186f) takes bk*v=m! in its ordinary domestic sense (i.e., “bed”) and claims that the lines of the couplet represent a distinction (for the righteous) of public (line 1) vs. private worship. The idea that the devout ones will be faithful to YHWH, worshiping him even at night (in the privacy of their bedrooms), does appear as an occasional point of emphasis in the Psalms (cf. 4:5[4]). Ceresko points to Micah 2:1 (cf. Psalm 36:5[4]) where there is a contrast between the wicked planning evil “upon their beds” and the righteous in the assembly of YHWH (v. 5).
Verse 6
“(Let) high praises of (the) Mighty (One be) in their throat,
and (let there be) a two-mouthed sword in their hand—”
As Allen (p. 396) notes (citing Joüon §§155n, 163b), a nominal clause can have jussive force; in light of the tacit parallel with v. 3 in Stanza 1 (see above), I so understand and translate the verse.
There is no problem with the first line, which continues the focus on giving praise to YHWH—and, particularly, of singing praises loudly and jubilantly to Him (i.e., exalting praises are in the people’s throat [/orG`]). The difficulty comes in the second line: in what sense is the image of the “two-mouthed [i.e., two-edged] sword” to be taken? Is it a metaphor for praise? Has the scene suddenly switched to a military camp in which the people are preparing for holy battle? Is there an allusion to a ritual ‘sword-dance’, in the manner that many interpreters understand the reference in Song 7:1 [6:13]?
In verse 3, the people have musical instruments in their hands, while here, in the parallel couplet of the second Stanza, they hold swords—i.e., instruments of war. Yet the swords could also be used in a praise-context in a manner comparable to the tamborine, etc.—that is, used to make a loud ringing noise. Indeed, the parallel with verse 3 forces one to consider seriously the possibility that swords here serve strictly a symbolic and ritual purpose in the public assembly.
At the same time, there is unquestionably militaristic imagery that follows in vv. 7ff, and many commentators assume that the setting of the stanza (if not the entire Psalm) is that of an impending battle against the nations. However, if this is so, the battle must be understood in an eschatological context—that is, the great ‘day of YHWH’ when He brings judgment against the nations. It is perhaps assumed that God’s people (the righteous ones) will assist or otherwise act on YHWH’s behalf in bringing this about (through battle). Another possibility is that the sword represents the people’s solidarity with YHWH, giving praise to Him in anticipation of the judgment that He is about to bring against the nations. Almost certainly, the Psalm here is drawing upon ‘holy war’ tradition, in which the Israelite people would on occasions engage in bloody battle (with YHWH’s power working on their side) against other nations, but it is not entirely certain how concrete the imagery is meant to be applied in this instance. Cf. Mowinckel, pp. 295-6.
Verse 7
“(so as) to make retribution on the nations,
reprisals (in judgment) on the peoples;”
Verses 7-9 are expository, just like verse 4 was for the first stanza (see above). While verse 4 emphasized YHWH’s relationship to His people (Israel), here the focus is on His relationship to the surrounding nations. YHWH delivered His people (v. 4), ultimately restoring them (to their land, etc.) and ushering in a New Age. And, in this New Age, Israel’s restoration is to be following by the great Judgment—the day of YHWH—against all the other nations. Both of these eschatological events—the restoration of Israel and the judgment of the nations—demonstrate YHWH’s supreme power as King over the universe.
Syntactically, the two couplets of vv. 7-8, as well as the closing line of v. 9a, take the form of infinitive purpose/result clauses—i.e., “in order to…”, “so as to…”. The syntactical connection between vv. 7ff and the previous line (in v. 6b) certainly seems to suggest that God’s people (i.e., the righteous ones) will use the ‘two-edged sword’ in their hands to execute the judgment against the nations. Whether an actual, concrete military battle—between Israel and the nations—was envisioned by the Psalmist is harder to say.
The noun hm*q=n] can mean “vengeance, revenge”, but it can also carry the more juridical sense of “retribution”; given the judgment-context of these verses, I have rendered it here as “retribution”. In Israelite historical tradition, hm*q=n] occurs on several occasions in reference to Israel’s execution of vengeance (and judgment) against the wicked/oppressive nations (Num 31:2-3; Judg 11:36; 2 Sam 22:48). It occurs more frequently in the book of Jeremiah (9 times), and particularly within the oracle of judgment against Babylon (50:16, 28; 51:6, 11, 36); cf. also the nation-oracle references in Ezek 25:14-15, 17. These exilic-era references illustrate the seminal eschatological theme of the “day of YHWH”, in which, with the coming of the New Age (of Israel’s restoration), YHWH will judge all of the nations; this theme would undergo considerable development in the post-exilic period—a development that is surely reflected here in Ps 149. The noun hm*q=n] occurs three other times in the Psalms: in 18:48[47] (par 2 Sam 22:48), where it is the Davidic king specifically who acts to bring judgment/vengeance on the nations; 79:10, where it is declared that YHWH will avenge the violence perpetrated against His people (and the poor/righteous ones); and, finally, at the beginning of Ps 94 (v. 1), which is very close to the thematic context of Ps 149—expressing the eschatological expectation that YHWH, as King, will exercise judgment against all the nations (and their kings).
The parallel noun (in line 2) is hj*k@oT, from the verb jk^y` (“argue, dispute, prove [right/wrong],” often, “reprove, rebuke”). The common sense of “rebuke” can carry the harsher negative/penal meaning of “punishment”, such as is the case here; I have translated the plural above as “reprisals”. The related noun tj^k@oT occurs more frequently, especially in Proverbs in the disciplinary sense of a corrective rebuke, but also (occasionally) in a judgment-context—cf. Ezek 5:15; 25:17. The specific noun hj*k@oT occurs just three other times in Scripture (2 Kings 19:3 / Isa 37:3; Hos 5:9), all of which refer to judgment against Israel, while here it is to judgment against the nations; perhaps there is an implicit allusion to vindication against the nations for their role in the judgment(s) brought upon Israel/Judah.
For the idea of the eschatological Judgment on the nations specifically as a “day of vengeance”, see Isa 61:2; 63:4; cf. also Mic 5:14.
Textual Note on v. 7b
The WLC and BHS editions of the text read <yma lB (“not peoples”), while the Aleppo Codex parses differently, <ymalB (“on [the] peoples”). This confusion, due to the fact that the nouns hM*a% and <a)l= both essentially mean “(group of) people, tribe, nation”, also seems to occur in Ps 44:15[14]; 57:10[9]; 108:4[3]. Here, the parallelism of the lines in v. 7 argues strongly—one might say, decisively—in favor of the reading <ymalB: that is, the plural noun <yM!a%l= with the prefixed preposition B=. However, <yma lB (“not peoples”) is certainly the more difficult reading (lectio difficilior) and therefore should not be summarily dismissed. Possibly the Psalmist is employing a bit of wordplay that might allow for recognitions of both ways of reading the text. Insofar as <yma lB is to be regarded as valid, the implication may be that the other nations, because of their wickedness, are to be considered non-peoples, their status as such being confirmed by YHWH in the Judgment. On the idea of the nations—i.e., those worshipping ‘idols’ and deities other than YHWH—as non-peoples, cf. Deuteronomy 32:21. See the discussion by Broderson, pp. 104-5.
Verse 8
“to bind their kings with (heavy) fetters
and their weighty (one)s with bonds of iron;”
If there is a military battle whereby the nations are subdued, the Psalmist makes no mention of it, except allusively by way of suggestion; instead, he moves immediately to the result (i.e., result-infinitive) of the subduing judgment-action. The kings and other rulers/leaders of the nations are taken prisoner, bound (vb rs^a*) with heavy chains. This is certainly to be understood as an important stage, or aspect, of the eschatological judgment—cf. Isa 24:21-22; 41:15ff; note also the language in Nahum’s judgment oracle against Assyria (Nineveh), 3:10. There may be a specific allusion here to Psalm 2:2-3.
In the second line, the substantive verbal adjective (pass. participle), “weighty [i.e., honored] (one)s”, from the verb db^K*, is parallel with “kings” in line 1. Possibly, the two terms are precisely synonymous (i.e., both referring to the kings); more likely, however, the pairing is a merismus that covers all of the nation’s leading/prominent individuals. Clearly, there is an intentional echo of the use of the related noun (dobK*) in v. 5. The “weight” (i.e., glory/honor) given by the nations to their leaders is contrasted with that of the King YHWH (and His people).
Verse 9a
“to make on them (the) judgment (that is) written!”
This concluding line echoes verse 7, thus forming an inclusio for vv. 7-9 as a poetic unit. The specific idiom of “make judgment” (vb hc*u* + fP*v=m!) means execute judgment, i.e., acting to establish justice and right order (cf. Ps 9:5[4]; Lam 3:59). The passive participle of the verb bt^K* (“write”), i.e., “(hav)ing been written”, functions as a modifying adjective—i.e., a judgment that has been written. This presumably refers to the judgment of the nations as a decree issued by YHWH (as King and Judge), which then the holy/righteous ones will carry out (v. 6b ff). There are allusions to such a role for the righteous in the Prophetic texts (e.g., Isa 26:5-6; 41:15; Ezek 25:13-14; Mic 4:13; Zechariah 9-12), though the idea becomes more prominent subsequently in Jewish eschatology and apocalyptic, as (for example) in 1 Enoch 48:9; 91:12 and, notably, the Qumran War Scroll; cf. Hossfeld-Zenger, p. 650.
Conclusion
Verse 9b
“A splendid honor this (is) for all (the) devout (one)s!”
Praise YH(WH)!
The second line of verse 9 can be understood two ways: (1) in connection with the judgment of the nations in Stanza 2, whereby one could read v. 9 as a couplet (with v. 9b corresponding to v. 5); and (2) as a conclusion to the Psalm as a whole, in which case the line corresponds to the opening call to praise in verse 1. The parallel with v. 1 is established by the use of the substantive plural adjective <yd!ys!j&, “(the) devoted (one)s”, rendered above (in v. 1) as “(the) devout. This is a regular designation for the righteous ones of Israel, those who are faithful/loyal to YHWH and devoted to the covenant. The setting of the Psalm is the congregation/assembly of the righteous ones of Israel; though, as I noted above, within the eschatological orientation of the Psalm, the composer presumably expects the entire people to be righteous/devout.
Just as the past acts of protection and deliverance (salvation), performed by YHWH on behalf of His people, result in their honor/glory (vv. 4-5), so it will be for them with regard to the judgment of the nations. In the previous world order, the nations and their kings held greater positions of honor and power; this will no longer be so in the New Age, as the restored Israel (i.e., the Community of the righteous) will hold the highest position of honor/power over the nations that have been defeated/subdued in the Judgment.
In verse 5, the noun is dobK*, while here in v. 9b it is rd*h*; in the context of the Psalm, these are nearly synonymous terms, as both essentially mean “honor”. The noun rd*h* also suggests the idea of beauty and adornment, echoing the use of ra^P* in verse 4; this aspect of meaning is often translated as “splendor”. But rd*h* also can connote the idea of “majesty”, which is fully in keeping with the theme of YHWH as King; by extension, this sense of Divine royalty comes to be applied to the restored (and righteous) people of God in the New Age.
In the Qumran manuscript 11QPsa, there is a couplet rather than a single line here for v. 9b (which would match the couplet in v. 1):
“A splendid honor this (is) for all (the) devout (one)s,
for (the) sons of Yisrael (the) people of His holiness!”
-
- 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 “Goulder” are to Michael D. Goulder, The Psalms of the Return: Book V, Psalms 107–150, Journal for the Study of the Old Testament Supplement Series 258 (Sheffield Academic Press: 1998).
- Those marked “Broderson” are to Alma Broderson, The End of the Psalter: Psalms 146-150 in the Masoretic Text, the Dead Sea Scrolls, and the Septuagint, Beihefte zur Zeitschrift für die alttestamentliche Wissenschaft [BZAW] 505 (Walter de Gruyter: 2017).
- Those marked “Ceresko” are to A. R. Ceresko, “Psalm 149: Poetry, Themes (Exodus and Conquest),” Biblica 67 (1986), pp. 179-94.
- Those marked “Prinsloo” are to W. S. Prinsloo, “Psalm 149: Praise Yahweh with Tambourine and Two-edged Sword,” Zeitschrift für die alttestamentliche Wissenschaft [ZAW] 109 (1997), pp. 395-407.
- Those marked “Mowinckel” are to Sigmund Mowinckel, Psalm Studies, 2 volumes, translated by Mark E. Biddle from the original German publications, Psalmenstudien [6 vols] (1921-4). Society of Biblical Literature [SBL] History of Biblical Studies 2 (SBL Press: 2014).