Sunday Psalm Studies: Psalm 18 – Part 1

Psalm 18

The 18th Psalm is one of the longest compositions in the Psalter. Its many archaic features, including ancient Canaanite elements, make any critical study of it challenging, as does the fact that the poem has been preserved separately as 2 Samuel 22, and the two versions must be compared. For this reason, it is necessary to divide our study into several parts, to be spread out over different Sundays. The first part will begin with an overview of the composition, and a comparative analysis of the opening verses.

Overview

Psalm 18 is unique in that a second form of it has been preserved independently, at the end of the David narratives in the books of Samuel (2 Sam 22). It would seem that Psalm 18 is closer to the original form of the poem, but this can only be established through a detailed textual comparison. This study will make use of both versions, examining each couplet and strophe in parallel, noting any key differences.

It is sometimes thought that more than one composition is involved, and that different poems were combined; most common is a two-part division into poems vv. 2-31 [1-30] and 32-51 [31-50]. Questions regarding the integrity of such a long and complex Psalm are natural enough, though ultimately speculative. As we consider each section, within the overall contours of the poem, the possibility of its composite character will be discussed.

The meter of the Psalm tends to be 3+3, utilizing the three-beat bicolon format; however, there are exceptions, including the use of 3+3+3 tricola, for example, in vv. 8-9 and 14. Attempts to emend or reconstruct points of difficulty on the basis of supposed metrical consistency are highly questionable, yet certain critical emendations are more plausible than others, and will be discussed.

The extended heading (superscription) is curious, both in form and content. After the initial address to the musical director (presumably, Heb. j^X@n~m=), it reads:

“(belonging) to (the) servant of YHWH, to Dawid, who uttered to YHWH the words of this song, in (the) day (that) YHWH pulled him away from (the) palm(s) of all his enemies and from (the) hand of lwav.”

This is nearly identical to the introduction in 2 Sam 22:1, which begins, appropriately in the context of the narrative, “And Dawid uttered to YHWH the words of this song…”. Otherwise, the only difference is a repeated use of “from the palm(s) of” instead of “from the hand of”. In Samuel, the poem serves to close the cycle of David narratives; thus its association with David is especially strong, perhaps more so than any other composition in the Psalter. The Canaanite elements in the poem certainly suggest an early date that could, on entirely objective grounds, support Davidic authorship. These details will be discussed at the appropriate points throughout our study.

The closing word of the heading, lwav, is pointed by the Masoretes as lWav*, i.e. the proper name (Saul), which could perhaps be translated literally as an abbreviated form of the phrase-name “requested (of God)”, cp. la@yT!l=a^v=. While this would allude to the famous episodes in the David narratives (1 Samuel 18-24), there is serious question as to whether lWav* is the correct pointing of the text. For example, it is odd to juxtapose Saul with “all of his enemies”, since Saul would have been counted as one of those enemies; possibly the w-conjunction has the force of “and even from the hand of Saul”, or “and especially from the hand of Saul”, but this is questionable. More to the point is the fact that the poem itself mentions not lWav* (Saul), but loav= (Sheol), and this makes a more appropriate pairing with “all of his enemies”:

“…in the day (that) YHWH pulled him away from the palm(s) of all his enemies and from the hand of Sheol [i.e. death, the grave].”

Conceivably, there is an intentional play on words (lWav*/loav=), introduced by the author of the heading.

First Part (Poem 1): Verses 2-31 [1-30]

Verses 2-4

The relationship between the two versions in these verses is complex. Vv. 2-4 form an introductory stanza of praise to YHWH. Let us compare them as they stand, beginning with Psalm 18:

“And he said:
I love you, YHWH, my strength!
YHWH (is) my rock-cleft and hill-top (site),
and my (only) means of escape,
my Mighty (One), my rock,
in which I find protection,
my shield and (the) horn of my salvation,
my place of high (walls), being (worthy) of praise!
I called to YHWH,
and from my enemies I was saved.”

Here is the same relative portion of the 2 Samuel version:

“And he said:
YHWH (is) my rock-cleft and hill-top (site),
and (the) means of escape for me,
my Mighty (One), my rock,
in which I find protection,
my shield and (the) horn of my salvation,
my place of high (walls) and my place to flee—
the (One) bringing salvation (to) me,
from violence you (have) saved me!
Being (worthy) of praise, I call to YHWH,
and (so) I am saved from my enemies.”

In their landmark study on this Psalm, F. M. Cross and D. N. Freedman present the interesting theory that verses 2-4, in both Ps 18 and 2 Sam 22, are a conflation of two different earlier forms of the introduction (see pp. 21-22 of their study). In each reconstructed form, there are six lines, with a 3+3 bicolon followed by a pair of 2+2 bicola:

Different images and motifs of protection are present in these lines. The primary emphasis is on a protective place (location) high up in the cliffs, blending with the standard ancient Near Eastern idea of the fortified hilltop site. From this wider military application, the imagery moves to the narrower focus of personal protection, over the body, etc, of the one whom YHWH delivers from danger.

Verses 5-7

A different aspect of salvation is described in this stanza, utilizing the ancient mythic-cosmic image of Death (and chaos/destruction) as a great opponent of YHWH, even as death and disorder are the opposite of life and order. I have discussed the meaning and background of the term loav= (š®°ôl, Sheol) in prior studies as well as a supplemental article; the similar term lu^Y~l!B= (b®liyya±al, Belial) was also examined briefly in an earlier article. This emphasis provides a strong argument that lwav in the superscription ought to be read as Sheol (loav=) rather than Saul (lWav*), cf. above.

“The breaking (wave)s of Death surrounded me,
the torrents of Beliyya’al (engulf)ed me (with) terror;
the twisted (cord)s of She’ol turned around me,
the snares of Death came (right) in front of me.
In th(is) tight (spot) for me, I called to YHWH,
unto my Mightiest [Elohim] I (cri)ed for help;
He heard my voice from His palace,
and my cry for help came in(to) His ears.”

Apart from some minor orthographic differences, we may note the following more substantial textual/versional points:

    • 2 Sam v. 4 begins with the particle yK! (“for”) which probably should be omitted as secondary.
    • The first line of Psa v. 4 has “twisted (cord)s” (yl@b=j#, plural construct), as in line 3, whereas 2 Sam reads “breaking (wave)s” (yr@B=v=m!), which much better suits the imagery of the couplet and is to be preferred.
    • Most commentators agree that the last line in Psa v. 7 is a conflation of two different phrases “came to(ward) His face [i.e. before Him]” and “came in(to) His ears”; the latter is the reading of 2 Sam, and probably is to be preferred. In any case, it would seem that only one of the two would have been present originally.

The remainder of the first part of the Psalm will be examined in next week’s study.

The aforementioned study by Cross and Freedman (“A Royal Song of Thanksgiving: II Samuel 22 = Psalm 18”) was originally published in the Journal of Biblical Literature [JBL] 72/1 March 1953, pp. 15-34.



Saturday Series: 2 Cor 6:14-7:1 (part 2)

This study continues our discussion last week on 2 Corinthians 6:14-7:1, a passage that is often regarded as an interpolation, due to: (a) the way that it apparently disrupts the flow of the letter between 6:13 and 7:2, and (b) the significant number of unusual words, expressions and concepts present in the section, many of which are rare or not otherwise found in Paul’s letters. I outlined five approaches or theories regarding the passage:

    • It is Pauline (i.e. authored by Paul) and in its proper place as part of single unified letter—whether defined as 2:14-7:4, all of 2 Corinthians, or something in between  [View #1]
    • It is non-Pauline, but used by Paul and in its proper location [View #2]
    • It is Pauline, but from a separate letter or writing, and has been inserted into its current location secondarily (i.e. an interpolation) [View #3]
    • It is non-Pauline, and an interpolation [View #4]
    • It is anti-Pauline (i.e. contrary to Paul’s own thought, in certain respects) and an interpolation [View #5]

The previous study examined 6:14-7:1 from the standpoint of textual criticism, especially noting 11 rare or unusual words which, taken together, make a serious argument against Pauline authorship. However, before this can be evaluated entirely, we must look at the passage from the standpoint of source criticism and form (or genre) criticism.

Source Criticism & Form/Genre Criticism

Source criticism primarily examines a passage in terms of whether it may be derived from a separate source (document) to be included within the larger literary work, and what the nature and characteristics of such a source might be. The high incidence of rare/unusual vocabulary increases the likelihood that 2 Cor 6:14-7:1 is, in some manner, derived from a separate source. This does not necessarily preclude Pauline authorship, since many commentators believe that Paul may have adapted previously existing material, using it for his own purposes—a possibility that will be discussed in due course.

The source-critical question is especially complicated, in the case of 2 Corinthians, since a good number of commentators hold that the letter itself, as we have it, is composite—a compilation of more than one letter, i.e. genuine letters (or parts of letters) written by Paul. These theories will not be discussed here (consult any reputable critical commentary for a survey), except to mention several representative views, which would divide the letter as follows:

    • 2-document—(1) chapters 1-9, and (2) chapters 10-13; this is the simplest such theory, and is held even by a number of more traditional-conservative commentators.
    • 3-document—(1) chapters 1-8; (2) chap. 9, a letter regarding the financial collection for Jerusalem; and (3) chaps. 10-13.
    • 5-document—(1) 1:1-2:13; (2) 2:14-6:13 + 7:2-16 (some would join 7:4-16 with 1:1-2:13); (3) chap. 8 and (4) chap. 9 as separate letters (perhaps sent at the same time) regarding the collection; and (5) chaps. 10-13.

Most commentators who hold the above theories (or a variation of them) regard 6:14-7:1 as a (non-Pauline) interpolation. However, before proceeding to an examination of source-critical theories, it is necessary to consider just what kind of material we are dealing with.

Form (Genre) Criticism

Form criticism analyses the shape and structure of a passage independently, as a unit, especially in terms of the common techniques, literary devices and approaches, style of writing, etc, used by authors of the time. This relates to what is called Genre criticism, analysis of the type or kind (genre) of writing represented by a particular section or passage, often expressed according to a set of standard categories. For example, a personal letter is itself a literary genre (and form), for which there have been identified a number of sub-genres. A sermon is another kind of genre, as is poetry, etc. Quite often a literary work, including letters/epistles—especially lengthier, complex letters such as Romans and 1-2 Corinthians—contain a variety of forms and genres utilized by the author.

Let us consider specifically the form of 2 Cor 6:14-7:1; last week I provided an outline of the structure of this section:

    • Initial statement (injunction)—V. 14a
    • Poetic exposition, concluding in a Scripture citation—Vv. 14b-16
    • Catena (chain) of Scripture citations—Vv. 17-18
    • Concluding exhortation—Ch. 7:1

I noted how this gives it the character of a mini-sermon or homily. Specifically, it appears to be a homiletic treatment of a particular injunction from the Torah—the prohibition(s) against the joining together of different kinds of animals (Lev 19:19; Deut 22:10). Though neither Scripture is cited explicitly, the injunction in v. 14a clearly implies the former, applying it to the life situation of believers:

You must not come to be yoked with (those who are) different, (to one)s without trust!
M¢ gínesthe heterozygoúntes apístois

The key word is the verb heterozygéœ (“join together with [something/someone] different”), one of the 11 rare/unusual words in the passage I noted last week. Almost certainly, it is drawn from the related adjective heterózygos in the Greek version (LXX) of Lev 19:19, and thus suggests that marriage and sexual intercourse (i.e. breeding of animals) is the principal association used in the application, rather than simply being under the same “yoke” (Deut 22:10). Clearly, however, the rare word heterozygéœ is fundamentally derived here from the (Greek) Old Testament. Similarly, three other rare/unusual words (all compound nouns) appear to have been introduced to express the same basic idea: (1) metoch¢¡ (“holding [something together] with [another]”), (2) sumfœ¡n¢sis (“giving voice together [i.e. agreement] with [another]”), and (3) sungkatáthesis (“setting down together with [another, i.e. in agreement]”). All three nouns essentially serve to expound/explain the idea contained in the verb heterozyg霗of being “joined together with (someone) different”.

Returning to the structure of the section, the exposition in vv. 14b-16 is unquestionably poetic, and really ought to be presented as such when the text is quoted or translated. It follows ancient and traditional conventions for Semitic (i.e. Hebrew and Aramaic) poetry, which utilizes a bicolon (couplet, 2-line) format, with consistent parallelism (i.e. the second line restates and reinforces the first). This poetic exposition in vv. 14b-16, though given in Greek (translation?), reflects this same basic pattern. There are three couplets (6 lines), concluding with a Scripture citation; to illustrate this, I give the first line of each couplet in bold:

“For what holding (is there) with [i.e. between] justice and lawlessness,
or what common (bond is there) with [i.e. between] light and darkness?
15And what voice (sounding) together (is there) of (the) Anointed (One) toward Belîal,
or what portion for (the one) trusting with (the one) without trust?
16And what setting down together (is there) for the shrine of God with images?
for you are the shrine of (the) living God, even as God said that
‘I will make (my) house among them and will walk about among (them),
and I will be their God and they will be my people.'”

As is readily apparent, the parallelism runs through all three couplets; but in the first two couplets the parallelism is specifically synonymous (i.e. second line restates the first), while in the third couplet it is synthetic (i.e. second line builds upon the first).

The Scripture citation in verse 16 leads into a chain (catena) of citations, such as we find frequently in Jewish (and Christian) writings of the period. It was a common technique, used in both preaching and teaching (and as a memory device), bringing together various Scripture passages seen as related to the subject at hand. Paul himself used this catena technique a number of times in the undisputed letters, especially in Romans (3:10-18; 9:25-29; 10:15-21; 11:8-10, 26, 34-35; 15:9-12). However, some would claim that the citation style here is foreign to Paul. The specific Scriptures cited appear to be:

Finally, we have the concluding exhortation in 7:1—a message by the preacher applying the exposition more directly to the life situation of believers. How does the form and genre of the section—a homiletic exposition using poetry and a Scripture chain (catena) device—relate to the question of source/authorship? I would make the following points:

    • The structure of the section fits that of a self-contained mini-sermon or homily, which does not obviously relate, either in language or theme, to the surrounding context. However, Paul was certainly capable of, and adept at, applying passages from the Pentateuch/Torah, in a homiletic (midrashic) fashion, to fit the circumstances of believers in Christ—see esp. the notable examples in 1 Cor 10:1-13 and Galatians 3:6-18; 4:21-31. These examples are more extensive (and obviously Pauline) than that of 2 Cor 6:14-7:1.
    • Much of the rare/unusual vocabulary is tied to author’s citations and allusions to the Old Testament Scriptures (Greek LXX), especially the verb heterozygéœ in the opening injunction (drawn from Lev 19:19), and the divine title Pantokrátœr in the citation of v. 16 (from 2 Sam 7:8ff). As noted above, three other rare compound nouns appear to have been introduced specifically to expound the verb heterozygéœ in the poetic section of vv. 14b-16. As a point of information, it may be noted that Paul does not make use of any of these particular Scriptures elsewhere in his letters.
    • The unusual vocabulary and manner of expression is also due to the poetic character of the exposition in vv. 14b-16, which continues, in part, into the Scripture chain of vv. 17-18. Paul typically does not write in poetry, and, where it does occur in his letters, it would seem to be largely due to: (1) quotation and allusion to Scriptural poetry, or (2) inclusion of pre-existing (early Christian) hymn or creedal forms. The last point may be debated, but it is the view of many commentators regarding, for example, the Christological statements in Romans 1:3-4 and Philippians 2:6-11 (see also Col 2:15-20; 1 Tim 3:16).
    • Moreover, the style of poetic, comparative expression in vv. 14b-16 is traditional, examples of which can be seen in a number of Jewish writings of the period. An interesting parallel may be seen in the deutero-canonical book of Sirach 13:2, 17ff:
      “What common (bond) does an earthen (pot) share toward a (metal) basin?” (v. 2, cp. 2 Cor 6:14c)
      “What common (bond) does a wolf share with a lamb?…” (v. 17)
      “What peace (is there for) a hyena toward a dog?…” (v. 18)
      On parallels in the Qumran texts and the Testaments of the Twelve Patriarchs, see below.

With this in mind, let us turn again to the question of 6:14-7:1 as deriving from a separate (non-Pauline) source.

Source Criticism

Considered on its own merits, what we can say about 6:14-7:1 is that it represents an early Jewish-Christian homiletic exposition of a command from the Torah. It was written/composed by someone familiar with Jewish preaching/teaching techniques and devices, and the conventions of Semitic (Hebrew/Aramaic) poetry. It is not entirely certain whether it was originally composed in Hebrew/Aramaic (and subsequently translated), or in Greek, the latter being more likely. Even for a native Greek speaker, the conventions of Semitic poetry could be learned through familiarity with the Greek (Septuagint) version of the Old Testament. When we come to examine the literary style and content of the section more closely, it will become even more clear that the orientation of 6:14-7:1 is fundamentally Jewish—i.e. Jewish Christian. The theme of ritual purity in the section confirms this, and is one of the aspects that makes commentators question authorship by Paul. However, in most respects, Paul, as author/composer of the section, would fit the criteria indicated above. Thus, we can consider the following source-critical theories:

    1. 6:14-7:1 represents traditional Jewish (Jewish Christian) homiletical material adapted and included by Paul in his letter (either 2 Corinthians itself or a separate letter of which it is comprised).
    2. It is from an entirely separate (Jewish Christian) document, or literary work, which has been included as part of 2 Corinthians, presumably under the (mistaken) belief that it was part of his Corinthian correspondence.
    3. It is purely Paul’s own (inspired) composition and reflects no separate ‘source’ at all.

The last theory would be the standard traditional-conservative view, one held by very few critical commentators. Given the unusual vocabulary of the passage, its self-contained poetic-homiletic character, and other Jewish-Christian points of emphasis (to be examined in the next study [cf. below]) which seem at odds, to some extent, with Paul’s thought and manner of expression in his other letters, the existence of a distinct source seems more likely. For many scholars, there are extensive parallels to be found in other Jewish writings of the period—especially certain of the Qumran (Dead Sea Scroll) texts, and a collection of writings known as the “Testaments of the Twelve Patriarchs”—and that 2 Cor 6:14-7:1 evinces at least as close an affinity to these as it does to the letters of Paul. This evidence will be examined in the next study, as well as in a supplemental article. In preparation, I would ask you to consider carefully the following points (and questions):

    • The motif of ritual purity that runs through the section, and which is applied to the separation of believers from non-believers. It is expressed most directly in the closing exhortation of 7:1. Does this agree with what Paul teaches, and how he communicates it, in his other letters? Why or why not?
    • This separation/purity theme is part of a strongly dualistic (Christian) worldview. To what extent does this fit Paul’s own view and manner of expression? In particular, does the use of the contrasting nouns dikaiosýn¢ (“righteousness, justice”) and anomía (“lawlessness”) here accord with Paul’s thought and theology?
    • The name Belíal (here in the variant spelling Belíar) is not used anywhere else by Paul in his letters (nor anywhere in the New Testament at all), even in similar contexts where he might have had occasion to use it; but it does occur frequently in Jewish writings of the period, such as the Qumran texts and the “Testaments of the Twelve Patriarchs” (for more on this, read my supplemental article). If 6:14-7:1 comes from Paul, how is this to be explained?

Note on “Sheol”

In the recent study on Psalm 6, the usage of the term loav= (š®°ôl, sheol) was noted, being the first such occurrence in the Psalter as we have it. As this term will be encountered in other Psalms, and, indeed, is found relatively frequently in Old Testament poetry, I felt it was worth devoting a special study to it. The word loav= occurs 66 times in the Old Testament Scriptures, primarily in poetry (16 in the Psalms, 9 in Job, 9 in Proverbs, 10 in Isaiah, 5 in Ezekiel, and 5 in the Minor Prophets). The context of how it is used makes clear that it is a (poetic) term for the realm of death and the dead, occasionally used as a personification of death (and the grave) itself. However, in spite of this, the actual origins and derivation of loav= remain quite uncertain. It is clearly an ancient, traditional Hebrew word, and yet there are no clear parallels or cognate examples from other Semitic languages of the period (i.e. Akkadian, Ugaritic, etc).

Etymology

The most obvious association for loav= would be with the common root lav, which has the basic meaning “ask, inquire” (cf. Akkadian ša°¹lu, “ask, decide”, etc). Unfortunately, it is hard to see exactly how the word, as it is used in the Old Testament, might relate to this root. One suggestion is that it refers to the realm of death (or the “underworld”) as a “place of interrogation”, i.e. where the deceased is judged and called to account (examined). Another possibility is that it relates to the idea of “asking/inquiring of the dead”, i.e. necromancy and the consulting of spirits (of the dead). Admittedly, such a connection is quite speculative, and far from convincing.

Another conceivable derivation, and one adopted by a number of commentators today, is from the root huv I (vb ha*v* š¹°â), which indicates ruin, devastation, destruction—cf. the related nouns hY`a!v= (š®°iyyâ), /oav* (š¹°ôn)—the final lamed (l, l) being an example paragogic epenthesis (insertion of a letter at the end of a word to aid in pronunciation). According to this theory, loav= would fundamentally mean something like “(land) of ruin”, “desolate (land)”.

Less plausible attempts have been made over the years to connect the word with different ancient Semitic roots (real or putative), but none have achieved any real acceptance by scholars. For a good survey of this evidence, consult the major critical dictionaries such as the Theological Dictionary of the Old Testament (TDOT) and the Anchor Bible Dictionary (article “Dead, Abode of the”).

Old Testament Usage

While loav= occurs primarily in Old Testament poetry, there are a few instances in the historical books (8 total) where it is included as part of the traditional narrative. Most notably, there are four occurrences in the Joseph narratives, referring to the sorrow and misfortune that will accompany the aged Jacob when he dies (to meet his son[s] in the realm of death). In Gen 37:35 (following the reported death of Joseph), we read:

“And all his sons and all his daughters stood up to sigh (with) [i.e. console] him, and he refused to be (consol)ed, and said that ‘I will go down to my son mourning, (down) to Še’ol!’ And his father wept (for) him.” (cf. also Gen 42:38; 44:29, 31)

In Numbers 16:30, 33 (the episode of Korah’s rebellion), the emphasis is on the sudden destruction, from natural disaster (brought about by YHWH as punishment), which will befall the rebels and send them “down to Sheol”:

“But if YHWH (should) exercise creation (over the) created (thing), and the ground opens its mouth and swallows them (up)—and all the (ones who are) for them—and they go down living to Še’ol, then you will know that these men (have) despised YHWH!” (v. 30)

The contrast clearly is with the natural death most humans experience (v. 29). Similarly in 1 Kings 2:6, 9, there is a contrast between dying in peace and as the result of violence, etc. Thus, in all these instances, loav= is used in connection with the idea of a person dying under unusual or unfortunate circumstances.

Perhaps the oldest occurrence of loav=, in terms of the age of the preserved text, is in the so-called “Song of Moses” (Deut 32), dated by many commentators (on objective grounds) to perhaps the 12th-11th century B.C. (cf. my recent Saturday Series studies on the Song, esp. on vv. 15-25). The two bicolons (couplets) in verse 22 use the image of a blazing wildfire to illustrate the burning anger of God (YHWH) when he acts in judgment (on Israel, for violating the covenant):

For a fire has sparked in my nostril(s)
and burns until the depths of Še’ôl,
and it consumes the earth and its produce
and blazes (to) the base of the hills!

Other examples from early poetry, preserved in the context of the traditional (historical) narrative are: 1 Samuel 2:6 (Song of Hannah) and 2 Samuel 22:6 (Song of David). The first of these follows closely the idea of God’s judgment (in its violent aspect) and power over the created order (life and death), as expressed in the Song of Moses and the episode of Numbers 16 (cf. above); indeed the statement in 1 Sam 2:6 echoes that of Deut 32:39b. In the Song of David (2 Sam 22:6), loav= is clearly used as a colorful (hyperbolic) reference to the violent turmoil and (destructive) danger the poet (David) faces; note the parallelism in the bicola of vv. 5-6, which is both synonymous (second line [in italics] stating and intesifying the imagery of the first)—

“For the breaking (wave)s of death surrounded me,
the torrents of Beliyya’al struck me with fear;
the twisting (cord)s of Še’ol swirled around me,
the ensaring (trap)s of death hit (right) in front of me.

but also chiastic:

    • waves of death
      • torrents of Beliyya’al
      • swirling bonds/pains of Še’ol
    • snares of death

When we turn to the remainder of occurrences in Old Testament poetry, we may divide these as follows: (a) Psalms and the book of Job, (b) Wisdom literature (Proverbs), and (c) in the Prophets.

(a) Psalms and the book of Job

The word loav= occurs 16 times in the Psalms, and 9 times in the poetic dialogues of Job. Much of this poetry appears to be quite early, and/or preserving genuinely archaic features. The data from the Psalms may be summarized as follows:

    • as a general (poetic) term for the realm of the dead
    • in the context of suffering/misfortune leading or drawing a person to death
    • imagery related to the fate of the wicked

This largely confirms the usage and range of meaning indicated above. With regard to the first point, laov= as a basic poetic term for death and the realm of the dead, this is more or less present throughout; perhaps the clearest examples would be in 6:6[5]; 49:15[14]; 139:8; 141:7 (cf. also Song 8:6). However, in many of the Psalms, the idea is connected with suffering and distress facing the Psalmist, by which his very life is in danger and on the verge of death (88:4[3], etc). Whether this should be taken literally or figuratively, it is part of the motif of a hope for deliverance which is integral to those Psalms (cf. the study on Psalm 6). In Psalm 49:16[15] and 89:49[48], we read of the “hand [dy`] of Š®°ôl“, referring to its power to grasp/keep hold of the dead, or to bring a person down into the grave. A similar anthropomorphic image involves Š®°ôl as one who devours (49:15[14]), possessing a wide mouth (hP#, 141:7) along with a ravenous appetite. This sort of personification of death and the grave was common to Ancient Near Eastern (religious) thought, and the idiom was retained in Israelite tradition and poetry (cf. on Psalm 5:10[9] in my recent study). A more objective image was that of a deep pit (30:4[3]; 86:13), or ropes/bonds which hold the deceased tight (18:6[5]; 116:3). With regard to death and the grave (i.e. loav=) as the fate of the wicked, sometimes indicating an unnatural or violent death (as in Num 16:30ff, etc), this is expressed clearly in 9:18[17]; 31:18[17]; 49:15[14]; 55:16[15].

In the book of Job, laov= tends to be used more figuratively as an image of deep darkness (i.e. characteristic of the realm of death)—11:3; 14:13; 17:13. However, the basic association with the actual death of a person, and fate of the grave, is also very much present, as fits the general narrative context of Job’s suffering (7:9f; 17:13, 16; 21:13). The association with the fate of the wicked, mentioned in examples above, is also seen in 24:19. Of special interest is Job 26:5-6, where there is evidence of a more precise concept of the realm of death as a “netherworld” located under the earth. Here loav= is paired with the term /oDb^a& (¦»addôn, cf. Prov 15:11; 27:20; and also Job 28:22; 31:12; Ps 88:12), probably meant to indicate the decay and destruction characteristic of the grave.

(b) Wisdom literature (Proverbs)

The word laov= occurs 9 times in Proverbs (also once in Ecclesiastes [9:10]); however one dates the various Proverbs, they certainly utilize much ancient (poetic) imagery to make an ethical point. We have, for example, the motif of Death/Sheol as a ravenous, devouring person (1:12; 27:20; 30:16), used to illustrate human greed and wickedness, etc. Indeed, abandoning the way of wisdom, and taking the way of sin and folly instead, leads to Š®°ôl (5:5; 7:27; 9:18)—another adaptation of traditional imagery involving Š®°ôl and the fate of the wicked (cf. above). There is also a wisdom-variation of the Psalmist’s plea for deliverance from death (cf. examples above), with the exhortation to avoid the fate of Š®°ôl by adopting the course of wisdom and prudence (15:24; 23:14). The maxim in Eccl 9:10 is similar to the Psalmist’s statement in 6:6[5].

(c) The Prophetic Oracles (esp. Isaiah and Ezekiel)

There are 20 occurrences of loav= in the Prophetic writings—10 in Isaiah, 5 in Ezekiel, and another 5 in the Minor Prophets (Hosea, Amos, Jonah, Habakkuk). The references in Ezekiel (31:15-17; 32:21, 27) are interesting in that they likely represent the most recent occurrences in the Old Testament, perhaps reflecting the intentional use of older (archaic) imagery.

In Isaiah 5:14 we find again the traditional image of the wide mouth and devouring appetite of Death/Sheol; whereas in 7:11 (cf. also 57:9) it is simply the depth of it (in contrast with the height of heaven) that is emphasized. Š®°ôl features in two noteworthy nation-oracles: against Babylon (chap. 14 [vv. 9, 11, 15]) and against Jerusalem itself (chap. 28 [vv. 15, 18]). In 14:9ff we have another example of Š®°ôl as the fate of the wicked; while in 28:15ff this is played on in the opposite sense—the people of Jerusalem believe they will be able to avoid the fate of death and destruction. Isa 38:10ff simply utilizes loav= in the basic sense as the realm of death, the sentiment expressed in v. 18 being similar to that of Psalm 6:6[5].

The traditional imagery of the depth of Š®°ôl, and its devouring appetite, occur again in Amos 9:2 and Habakkuk 2:5. Two other references in the Minor Prophets are especially noteworthy:

    • The opening of the poem in Jonah 2:2-9, very much of a kind with many Psalms in which the protagonist asks YHWH for deliverance from the danger and distress he faces (cf. above):
      “I called out to YHWH from (the things) pressing on me, and he answered me;
      from the belly of Še’ol I (call)ed for help, and You heard my voice.”
    • In Hosea 13:14, the word occurs twice, in parallel couplets, which form a declaration (or question) by YHWH, the interpretation of which, in context, continues to be debated. Reading the first couplet as a declaration, we have:
      “From the hand of Še’ol I will pay to release them,
      from death I will redeem them (as my kin)—
      where (are) your deadly (blow)s, Death?
      where your destroying (power), Še’ol?
      —(their) gasping (for sorrow) is hid from my eyes.”
      Paul makes use of the second couplet in 1 Cor 15:55.

LXX and influence on the New Testament

In the Greek Septuagint (LXX), laov= is translated by a%|dh$ (hád¢s), a word used almost exclusively for that purpose in the LXX. It is often transliterated in English as “Hades”, while the common translation “Hell” is quite inappropriate. In my view, it is better to translate literally as “(the) Unseen (place, i.e. of the dead)”, especially since the realm of the dead is the basic meaning, in context, for Hebrew laov=. The label “unseen” is also appropriate for the characteristic of the realm of the dead as a dark, shadowy place beneath the earth.

This word a%|dh$ occurs 10 times in the New Testament. In the book of Revelation (1:18; 6:8; 20:13-14), it is virtually synonymous with “death” (qa/nato$). Acts 2:31 simply comes via the citation of Psalm 16:10 (v. 27), where a%|dh$ = loav= as the grave in which bodies decay. The occurrence in the saying of Jesus (“Q” [Matt 11:23; Lk 10:15]) also draws upon traditional imagery, though with a contrast between Heaven above and Š®°ôl below (cf. Isa 7:11). Only in two instances do we find a more decidedly negative aspect and connotation of the term, perhaps a bit more akin to the idea of “hell” in English:

    • In Jesus’ words to Peter in Matt 16:18, he states that “the gates of a%|dh$ will not have strength against it”—that is, against his e)kklhsi/a, i.e. believers, those called out to join together as his followers. This could be taken to refer to the powers of evil, etc, though it could just as easily be understood in the more traditional sense of Hades/Sheol as the realm of death—i.e. that Jesus’ disciples will have power over death, and the kind of illness, etc, that brings people to the point of death.
    • A sense of a%|dh$ closer to our conception of “hell” is found in Lk 16:23, within the parable of the Rich Man and Lazarus. However, even here, the term need not mean anything more than the place of the dead. The best way to view the scene described by Jesus, in my view, is that both men are in the Unseen realm (i.e. Hades)—i.e. both are dead—but within this realm there is a great separation. The Rich Man is in torment, while Lazarus enjoys (apparently) a more pleasant existence in “Abraham’s lap”. Even so, it is likely that a%|dh$ here draws upon one traditional aspect of loav= mentioned above—as signifying the fate of the wicked. It is this aspect that gave rise to our standard conception of “hell”, and the use of that word, however inappropriate, to translate both a%|dh$ and loav=.

Conclusion

The evidence examined above demonstrates, rather conclusively, I think, the basic range of meaning for the word loav= in the Old Testament, even if its fundamental (original) meaning and derivation remain uncertain. This may be summarized as follows:

    1. It refers generally to death and the realm of the dead, i.e. where the dead reside—both for the grave in the narrower sense, and in the wider sense of a dark, shadowy place of existence (for the dead) beneath the earth.
    2. This foreboding aspect, along with the universality of death, led to imagery emphasizing the all-consuming power of Š®°ôl, and the force by which it grabs hold of people. Sometimes, but not always, this was expressed by way of mythological personification—Death/Sheol as a person—a common ancient mode of expression, especially in poetry, which was preserved in the Old Testament.
    3. Quite often, the word loav= was used specifically in association with death (and the danger of death) experienced in the midst of suffering and misfortune of various kinds (including violence).
    4. As an extension of this, wicked and violent persons were seen especially as belonging to Š®°ôl, which also would be their fate—perhaps through an unnatural or violent death brought about by God’s judgment.
Note on loav= and the Afterlife

One striking fact, which many Jews and Christians today are bound to find troubling, is that, in all these references to Death and Š®°ôl in the Old Testament, there are precious few examples which indicate a specific belief in an afterlife. The references to Š®°ôl, insofar as they describe an afterlife at all, do not go much beyond the basic ancient Near Eastern concept of a dark, shadowy place where the dead have only a limited sort of existence. Even passages which refer to God delivering one up from Š®°ôl (e.g. Psalm 16:10; 49:16[15]; Hos 13:14) do not indicate anything like the idea of resurrection or promise of a future life in heaven; for the most part, they simply refer to deliverance from death in the present. The righteous person, loyal to YHWH, is being pulled down into Š®°ôl, in danger of death, and is saved by God—at least, that is the idea, expectation, and hope expressed in such passages. It is only in later Israelite and Jewish tradition that we find more clearly a belief in the resurrection of the dead, along with a blessed life in heaven (with God) for the righteous. Daniel 12:2, however one dates the book of Daniel, would seem to represent the earliest certain example. By the first centuries B.C./A.D., the belief was quite widespread, enough so that, in the 1st century A.D., the Sadducean denial of resurrection was worthy of comment (Mark 12:18 par; Acts 23:8; Josephus Antiquities 18.16). Earlier evidence for belief in actual resurrection from the dead is ambiguous at best; commentators would cite examples such as Hos 6:1-3; Isa 26:19; Ezek 37:13-14—these refer primarily, in context, to national restoration, but may draw upon a more basic idea of bodily resurrection. Hope for the possibility of personal immortality—dwelling with God in Heaven—without experiencing death at all, may have been present in early Israelite thought as well (cf. Psalm 16:10, etc, and the examples of Enoch & Elijah).

Saturday Series: Deuteronomy 32:26ff, 43

In the recent Saturday studies, we have been exploring the great poem known as the “Song of Moses” in Deuteronomy 32, using it was a way to consider, and demonstrate, how principles and methods of critical analysis apply to a particular passage (here, involving ancient Hebrew poetry). Last week, I discussed verses 15-25 in some detail; today, I wish to bring this exploration of the Song of Moses to a conclusion. There will be three parts to this study:

    • a survey/summary of verses 26-42
    • an examination of verse 43, and
    • a brief consideration of the poem in relation to verses 44ff that follow

Verses 26-42

First, a reminder of the structure of the bulk of the poem:

    • 4-18: God’s covenant with His people Israel, and their violation of the covenant
      —The Creator God (YHWH) as their Father (vv. 4-6)
      —His choice of Israel as His people, becoming their God (vv. 7-9)
      —His protection and guidance during the Exodus and wilderness travels (vv. 10-14)
      —His people turned away from Him, worshiping foreign gods (vv. 15-18)
    • 19-42: God’s punishment of His people, and their subsequent deliverance
      —Punishment for violation of the covenant (vv. 19-25)
      —Concern for how this will be perceived by Israel’s enemies (vv. 26-31)
      —Plans to bring punishment on Israel’s enemies in turn (vv. 32-35)
      —Ultimate justice/deliverance for His people, and judgment on His enemies (vv. 36-41)

Verses 26-42 belong to this second division; vv. 19-25 (discussed last week) narrate the punishment to be brought on the people as a result of their violation of the covenant. That this punishment would be both severe and deadly is clear enough from the dramatic language and imagery used. However, it would not result in the complete destruction of the people, nor is their any hint of a future Exile. Instead, we see in verses 26ff a theme of deliverance emerge. It follows the same line of thought as in the Golden Calf narrative in Exodus 32ff—Israel will suffer a devastating punishment, ceasing to be God’s people in the way that they were under the covenant bond; at the same time, because of YHWH’s own goodness and mercy, and through the intercession of Moses, the people will not be cut off completely, but will be restored to YHWH as His people under the covenant. Just as Moses appealed to YHWH’s honor, referring to how this punishment on Israel would be perceived by the surrounding nations (Exod 33:13-16), so we find the same thought expressed emphatically in the Song; indeed, it is a theme that dominates vv. 26-42.

Central to the entire poem is the contrast between YHWH and the deities recognized by other nations; it is the same contrast that effectively separates Israel (as YHWH’s own people) from the other peoples (who ‘belong’ to other deities, see the discussion on verse 8). Because of this, YHWH (and His own honor) cannot allow the nations to triumph over Israel completely, though they may attack and inflict immense suffering and destruction on the people and land (vv. 23-25). This is expressed in the opening lines of this portion of the poem (vv. 26-27), and could (almost) be understood as reflecting a kind of personal insecurity on the part of YHWH:

I said “I shall split them to pieces,
stop (all) memory of them for man(kind)!”
were it not [i.e. except] that I feared provoking the enemy,
lest (those) oppressing them look at (this),
lest they say “Our hand is lifted high—
and YHWH did not make all this (happen)!”

The focus is on curbing the wicked/fleshly ambitions and aspirations of the surrounding nations. However, to understand the lines correctly in context, we must realize the true significance of this aspect. The success of the other nations (over Israel) might lead people everywhere to think that their deities were equal (or superior) to YHWH. Thus the rhetoric and mode of expression here is fundamentally theological. The declaration in verse 31, expressing the thought of the poet/people rather than YHWH’s own pronouncement in the prior lines, is a good example:

For not like our Rock is their ‘Rock’
nor (the one)s our enemies (trust as) guardians.

The precise meaning and syntax of the second line is uncertain, but poetic parallelism suggests that the plural noun (or participle) p®lîlîm should be related to Akkadian palilu used as an epithet of deities (JPS:Tigay, pp. 310, 404). “Rock” (‚ûr) of course is used as a divine name throughout the poem, parallel with °E~l (“Mighty [One]”, i.e. God). Another example of the same sort of contrast is seen in the taunt by YHWH in verse 37ff, part of the announcement of judgment on the nations that shapes the remaining lines:

He [i.e. YHWH] will say, “Where are their ‘Mighty Ones’,
the ‘Rock’ in whom they sought protection
…?”

This expresses again the principle that the deities worshiped by the nations are not “Mighty” (°¢l, i.e. God) in the same sense that YHWH is. Even more pointed is the declaration in verse 39a:

“See then that I—I am He
and there are no ‘Mighty Ones’ with me”

While it would be a mistake to read this as a statement of absolute monotheism, it does point in that direction. Certainly it reflects the principle expressed in the first command of the Decalogue, which is central to Israelite monotheism (Exod 20:2-3; Deut 5:6-7). It is never quite stated in Deuteronomy that the deities of the surrounding nations do not exist, only that they are not comparable to YHWH and do not have anything like the same power or nature (Deut 3:24, etc). God’s ultimate judgment on the surrounding nations is essentially a condemnation of their deities, and a demonstration of their weakness compared to YHWH. Indeed, it is clear from the second bicolon (and concluding colon) in verse 39 that only YHWH truly has the power to give life and take it away (i.e. through the disasters to come in time of Judgment):

(For) I bring death and give life,
I smashed (them) and I will heal

A final thought in the poem—a warning to all people—is that YHWH’s judgment is universal, it applies both to the nations and also to His own people Israel when they violate the covenant (v. 41b, see also v. 43 below):

I will return vengeance for the (one)s oppressing me,
and for the (one)s hating me I will complete (it in turn)

The idea of reciprocity is important, and is central, indeed, to the ancient covenant idea—punishment is made according to the nature and mode of the crime, the violation being “paid back” in kind. The closing bicola of verse 42 offer a final, graphic expression of the divine Judgment.

Verse 43

With regard to the textual situation surrounding the closing lines of the poem (v. 43), I discussed that in some detail in an earlier study, and will only summarize it here. The bicolon parallelism, used consistently throughout the poem, is largely missing from v. 43, which, in the Masoretic Text, consists of 2 bicola (4 lines). Yet there is parallelism overlapping in the second and third cola, suggesting that the text may be corrupt, with perhaps two lines missing (just prior and after):

Make a shout (then), (you) nations, (for) His people,
{missing line?}
For He will take vengeance (for) the blood of His servants,
and return vengeance for the (one)s oppressing Him.
{missing line?}
and will wipe away [i.e. cleanse] His people’s land!”

This would seem to be confirmed, rather decisively, I think, by the Qumran manuscript 4QDeutq, as well as in the Greek Septuagint version. The text of verse 43 in this Qumran MS has three bicola (6 lines), which much more accurately preserve the consistent parallelism of the poem (differences with MT indicated by italics):

Make a shout, O heavens, with Him!
Bow (down) to Him, all (you) Mighty Ones!
For he will take vengeance (for) the blood of His sons,
and return vengeance to the (one)s oppressing Him.
He will treat those who reject Him (as they deserve),
and will wipe away [i.e. cleanse] His people’s land

Based on the evidence from the Septuagint, it is possible that the original text read “sons of the Mightiest” (b®nê °E_lœhîm) rather than “Mighty Ones” (°§lœhîm). The reading of the Septuagint for the first bicolon actually appears to be a conflation of two variant Hebrew versions, one corresponding to a text like 4QDeutq, and the other a precursor of the MT—resulting in four lines:

Be of a good mind [i.e. rejoice], O heavens, at once with Him,
Kiss toward [i.e. worship] Him, all (you) sons of God!
Be of a good mind [i.e. rejoice], O nations, with His people,
and let all the Messengers of God strengthen themselves in Him!

Clearly, in the Qumran MS, divine/heavenly beings are being addressed, which makes a fitting parallel to the opening address of the poem (v. 1). In the MT, and the second part of the conflate Septuagint text, it is the nations, who ‘belong’ to those divine beings, who are being addressed. In terms of the overall message of the poem, both aspects go hand in hand. However, if we adopt the text of 4QDeutq, with its emphasis on the relationship of YHWH to the other ‘deities’ (an aspect that is mitigated in the MT), then the coda of verse 43 actually functions effectively as a kind of summary of the entire poem:

    • Bicolon 1: Address to the heavens and divine/heavenly beings
      • Parallel to the opening address (vv. 1-3) and first section(s) of the poem, which establish the contrast between YHWH and the deities of the other nations (vv. 4-9ff)
    • Bicolon 2: Promise to pay back the suffering inflicted upon Israel (by other peoples) during the time of judgment
      • Parallel to the central sections focusing on Israel’s violation of the covenant, judgment upon them, and subsequent restoration (vv. 15-25ff)
    • Bicolon 3: The declaration of universal judgment on those who reject YHWH, with a promise of restoration/vindication for Israel
      • Parallel to the closing sections of the poem (vv. 26-42, esp. verses 36-42)

Conclusion

Finally, it is worth noting the relationship of the poem to the narration that follows in verses 44-47ff. It picks up the Deuteronomic narrative from where it left off (at the end of chapter 31), continuing with the same line of thought. The purpose (and importance) of the poem is re-stated, setting it in context with the book of Deuteronomy as a whole. The “all these words” and “this Instruction” refer to everything recorded in the book of Deuteronomy—all of Moses’ discourses to the people, together with the poem of chapter 32—all of which is aimed at exhorting the people to be loyal to the covenant with YHWH, adhering to the terms of the covenant, outlined in the Instruction (tôrâ, Torah):

“…You should charge your sons [i.e. children] to watch [i.e. take care] to do all the words [i.e. everything as it is stated] in this Instruction.”

According to the ancient Near Eastern religious-cultural mindset, abiding by the terms of the covenant was of the utmost importance. Violation of them was thought to result (potentially) in terrible consequences, including death and destruction, suffering and disease, etc—the judgment of God (or the divine powers) released upon those who break the agreement. This is expressed most clearly in the vivid and graphic language of the poem (see above), but also in the closing words of the narrative here:

“For (indeed) it is not an empty word for you—it (is) your (very) life! and by this word you will lengthen (your) days upon the land which you are crossing over the Yarden {Jordan} there to possess.”

That is to say, if the people of Israel (and their descendants) will adhere faithfully to the Instruction, the terms of the covenant, then they will live long and secure in their Promised Land.

References marked “JPS:Tigay” above are to The JPS Torah Commentary: Deuteronomy <yrbd, commentary by Jeffrey H. Tigay (Jewish Publication Society: 1996).

* * * * * *

This concludes our study on the Song of Moses in Deuteronomy 32. Next week, I will begin exploring a particularly interesting (and difficult) passage from the letters of Paul—namely the excursus in 2 Corinthians 6:14-7:1, long a focus for much scholarly debate regarding its origins, authorship, and purpose in 2 Corinthians. It should prove most valuable as a way of demonstrating how various critical theories and approaches to the text are vital to a sound examination and understanding of the Scriptures as we have them. I would ask that you read through the letter, paying close attention to the language Paul uses, and to the line of argument that runs through the main sections. Consider how 6:14-7:1 fits into the context of the letter. Does it seem at all out of place? Do the images and language differ noticeably from what Paul using elsewhere in the letter? Try skipping over the passage, reading from 6:13 to 7:2ff—what effect does this have of the line of thought and argument in these chapters? We will begin exploring these questions in detail here…next Saturday.

Saturday Series: Deuteronomy 32:15-18ff

Deuteronomy 32:15-18ff

As we proceed through the Song of Moses (Deut 32), it is worth keeping in mind the structure of this great poem, as I have outlined it previously:

    • 1-3: Opening (exordium)—Call to Creation (heaven and earth)
    • 4-18: God’s covenant with His people Israel, and their violation of the covenant
      —The Creator God (YHWH) as their Father (vv. 4-6)
      —His choice of Israel as His people, becoming their God (vv. 7-9)
      —His protection and guidance during the Exodus and wilderness travels (vv. 10-14)
      —His people turned away from Him, worshiping foreign gods (vv. 15-18)
    • 19-42: God’s punishment of His people, and their subsequent deliverance
      —Punishment for violation of the covenant (vv. 19-25)
      —Concern for how this will be perceived by Israel’s enemies (vv. 26-31)
      —Plans to bring punishment on Israel’s enemies in turn (vv. 32-35)
      —Ultimate justice/deliverance for His people, and judgment on His enemies (vv. 36-41)
    • 43: Conclusion—Call to the Nations

The bulk of the poem is made up of two sections,  each focusing on one side of the (religious) history of Israel and its covenant with YHWH. The first section (vv. 4-18, discussed in the recent studies) summarizes Israelite history through the people’s settlement in the Promised Land, together with their subsequent violation of the covenant (vv. 15-18). The second section (vv. 19-42) similarly summarizes the judgment that will come upon Israel for violating the covenant, along with its aftermath. The core of this narrative of covenant violation/punishment lies at the very center of the poem (vv. 15-25), and is likewise central, in terms of theme and theology, to the book of Deuteronomy as a whole. It also happens to be one of the most vivid and colorful portions of the text, full of many striking poetic details and devices, some of which we will be discussing below. However, when considering the post-settlement context of verses 15-18ff, we are immediately confronted by an important historical-critical issue with regard to both the poem and the book of Deuteronomy itself; even though this was touched upon in an earlier study, it is worth discussing it again briefly here.

From an historical-critical standpoint, there are three primary historical layers (or levels) that must be considered:

    • The Mosaic setting of the book, as presented in 1:1-5 and throughout, placed just before Moses’ own death and prior to the people crossing the Jordan into the Land of Promise proper. The Song of Moses is clearly set within this historical-narrative framework (see chap. 31).
    • The date of the poem, as established (as far as possible) by objective criteria and critical method, independent of the narrative framework and related traditions
    • The date of the book of Deuteronomy, i.e. its composition, which may cover multiple versions or editions of the book

For traditional-conservative commentators who accept the entire book, with little or no qualification, as representing the authentic words of Moses (and other genuine Mosaic traditions), these three layers essentially collapse into one—all of Deuteronomy, including the poem, more or less dates from the time of Moses. Critical commentators, however, tend to look at each layer on its own terms, which means considering the date and composition of the poem quite apart from its place within the Mosaic setting of the historical-narrative framework of Deuteronomy.

The results of such critical analysis—examination of vocabulary, poetic style and form, the imagery and religious-theological concepts used, etc—have generally pointed to a relatively early date for the poem, in the mind of most scholars. A number of features would, indeed, seem to be characteristic of the earliest poetry preserved in the Old Testament; certain parallels with the language and thought found in the narratives in the book of Judges (e.g., Judges 5:8; 10:14 etc), suggest a comparable time-frame for the poem, i.e. in the period of the Judges (11th century B.C.?). This would likely represent the latest date-range for the poem in its original form, and its old/archaic features could conceivably go back earlier, to the 12th or even 13th century.

By contrast, most critical scholars date the book of Deuteronomy as a whole to the Kingdom period. The soundest such critical theory would, I think, posit an earlier/original form of the book (10th/9th century?) which was subsequently modified under the influence of Josiah’s reforms (late 7th century), along with possible later additions as well. Thus, if we consider the three layers above, from a modern critical standpoint, a fairly reasonable dating would be:

    • The Mosaic setting of the book—presumably mid-late 13th century
    • The date of the poem—12th-11th century
    • The composition of Deuteronomy—10th-9th century, with subsequent revisions and additions (7th century and following)

Now, let us apply this critical analysis to the poem—in particular, to the post-settlement context of vv. 15-18ff. If we take the historical-narrative framework of Deuteronomy at face value (i.e., the time of Moses, generally prior to settlement), then these verses, along with similar portions elsewhere in the book (such as in chapter 31), reflect divine prophecy, God’s revelation (through Moses) of what will take place in the future. If, on the other hand, we were to adopt some form of the critical theory outlined above, then such passages would have to be read as representing an historical situation which had already occurred, and which has been projected back into the Mosaic setting of the book (i.e. as an ex eventu prophecy, after the fact). Interestingly, if we accept the relatively early date of the poem itself (for which there is strong evidence on objective grounds), then we find ourselves somewhere between these two approaches—i.e. the prophecy of Israel’s violation of the covenant would have to refer to events which would, apparently, have occurred during the period of the early Israelite confederacy documented in the book of Judges. Certainly, the book of Judges records the influence of Canaanite religious-cultural influence on Israel at a number of points, and is part of the narrative structure of the book (see 2:1-5, 11ff). Many of the details in the book of Judges appear to be quite authentic to the period, reflecting a time when Israelite monotheism (featuring exclusive worship of YHWH) was still trying to gain a strong foothold within the larger Canaanite (polytheistic) religious environment.

This, indeed, seems to be what the Song of Moses is describing—an initial turning away, under Canaanite (and other non-Israelite) religious influence, but not yet a development of the full-fledged syncretism we find during the Kingdom period. And, while this turning away was already prefigured in several traditional episodes from the Mosaic period (e.g., the Golden Calf and Baal-peor episodes, Exod 32; Num 25), it would not be fully realized until a somewhat later time. The history of Israel in Samuel-Kings, influenced by the book of Deuteronomy in this regard, adopts a similar framework, recording history from the standpoint of whether, or to what extent, Israel and its rulers were faithful to the covenant with YHWH or violated it by worshiping deities other than YHWH.

Verses 15-18

Let us now turn to consider verses 15-18 and 19-25 of the poem. It may help to see these together in translation; here I offer a rather literal (but reasonably poetic) rendering:

And (then) the straight (one) grew fat and kicked—
you became fat, swollen, filled (with food)—
and he left the Mighty (One who) made him,
and treated the Rock of his salvation like a fool!
They made him red(-faced) with strange (thing)s,
with disgusting things they provoked him;
they slaughtered to šedim (who are) not Mighty,
(but are) ‘Mighty Ones’ not known to them—
new (one)s (who) came from near(by),
(whom) your fathers did not recognize.
You forgot the Rock (who) gave birth to you,
and neglected the Mighty One writhing (in birth of) you!

And (so) YHWH saw (it) and spurned,
from (such) provocation, his sons and daughters—
and He said:
“I will hide my face from them,
let me see what follows (for) them!
For they (are) a circle (of) overturning—
sons (with) no firmness in them!
They made me red(-faced) with the non-Mighty,
provoked me with their puffs of breath;
and (now) I will turn them red with a non-People,
(and) provoke them with a nation of fool(s)!
For a fire has sparked in my nostril(s)
and burns until the depths of Še’ôl,
and it consumes the earth and its produce
and blazes (to) the base of the hills!
I will gather (up) evils upon them,
I will finish (all) my arrows on them—
hunger (that) sucks out,
and a burning (that) devours,
and a bitter dead(ly poi)son,
and (the) tooth of wild (beast)s will I send on them
with the heat of crawlers in the dust.
(In the street) outside the sword brings loss,
and terror (inside the) enclosed (room),
even (to) chosen (son) and virgin (daughter),
the suckling (child) with grey-haired man (together).

The language is rough and vivid throughout, something which is often lost in most English translations; I have tried to retain and capture this roughness (even harshness) of expression from the Hebrew. Such a mode of expression is altogether appropriate, from the standpoint of the subject matter—a description of Israel’s violation of the covenant, and the resulting judgment which YHWH will bring upon them. It is here that we turn again to form criticism and literary criticism, to see how the distinctive form and style of this poetry relates to the meaning and purpose of the text. Let us first examine verses 15-18, a sequence of 6 bicola (= 12 lines) which more or less follow the 3-beat (3+3) meter of the poem consistently, with clear use of parallelism (both synonymous and synthetic) throughout. The first bicolon is striking in the way that the address shifts suddenly from third person to second person:

And (then) the straight (one) grew fat and kicked—
you became fat, swollen, filled (with food)

This would be an example of a kind of synthetic parallelism, in which the second line builds dramatically on the first. The people are referenced by the descriptive title y®š¥rûn, presumably meaning something like “the straight (one)” or “the (up)right (one)”; y¹š¹r (“straight, right”) was used as a characteristic of YHWH in verse 4. In context, the title is used ironically, referring to what the people of Israel should have been—straight and loyal followers of the binding agreement (covenant) with God. Instead, they “grew fat” and “kicked” (like an unruly animal); this behavior is clearly related to the people’s feeding on the richness of the land (vv. 13-14), whether understood in a literal or symbolic sense. It is this aspect upon which the second line builds, with a repetitive staccato-like sequence of three verbs, which are almost impossible to translate accurately into English—

š¹mant¹ ±¹»ît¹ k¹´ît¹

literally, it would be something like: “you grew fat, you became swollen, you became full”. The precise meaning of the last verb (k¹´â) is uncertain, but most likely the three verbs are more or less synonymous, referring to the idea of Israel “becoming fat“. The shift to second person (“you”), something which occurs at several points in the poem, serves as an important reminder of the purpose of the poem, within the setting of Deuteronomy (chap. 31)—as a means of instructing all Israelites in future generations (“you”). The remaining 5 bicola (10 lines) essentially expound the first; the second and sixth (vv. 15b, 18) are similar and form an inclusio, framing the lines:

and he left the Mighty (One who) made him,
and treated the Rock of his salvation like a fool!
…..
You forgot the Rock (who) gave birth to you,
and neglected the Mighty One writhing (in birth of) you!

This repeats the central theme in the opening lines (vv. 4-6) of the section, that of YHWH as Creator and Father of humankind (and esp. of Israel). The title “Rock” (‚ûr) alternates with the Divine name/title “Mighty One” (°E~l / °E_lôah). The latter bicolon (v. 18) introduces the striking motif of YHWH as mother giving birth, i.e. writhing (vb. µyl) in labor pains. This makes all the more cruel the people’s abandonment of YHWH, who endured such pains in giving birth to them. In between, these six lines (3 bicola, vv. 16-17) give a summary description of Israel’s violation of the covenant, defined unmistakably in terms of worship of deities other than YHWH:

They made him red(-faced) with strange (thing)s,
with disgusting things they provoked him;
they slaughtered to šedim (who are) not Mighty,
(but are) ‘Mighty Ones’ not known to them—
new (one)s (who) came from near(by),
(whom) your fathers did not recognize.

The first bicolon is a clear example of synonymous parallelism, with the second line essentially re-stating the first, intensifying the image. The last two bicola are more complex, emphasizing two interrelated points: (1) these other deities are lesser than YHWH and not “God” (lit. Mighty One) in the same way, and (2) they are “new” and previously unknown to Israel, presumably meaning that they reflect the local religious environment in Canaan (i.e. “from near[by]”). I have left the noun š¢d (plural š¢dîm) untranslated above; it seems to refer to deities in a general sense, akin to the word daimœn in Greek. The derivation and meaning of the last verb (´¹±ar) is also uncertain; I have tentatively followed the Septuagint translation, relating it to the Semitic root š±r (“know, perceive”), which provides a parallel to the idea of the deities as “not known” among Israelites prior to their entry into Canaan.

Verses 19-25

As in the preceding section, the first bicolon (v. 19) sets the theme, and the remaining lines provide the exposition. Here this format is used for a dramatic narrative purpose: the expository lines represent the direct words of YHWH, introduced (in the poem as we have it) by an additional word (“and he said”) which disrupts the meter. The tension in these lines is reflected in the opening bicolon in which the matter of YHWH’s judgment on Israel is stated:

And (so) YHWH saw (it) and spurned,
from (such) provocation, his sons and daughters—

I have retained the structure of the bicolon—note the apparent awkwardness in the line division, something which is glossed over (and lost) in most translations in the attempt to provide more readable English. In the Hebrew as we have it, there is an emphasis on the word mika±as (“from [the] provocation”) which disrupts the poetic flow and injects a discordant tone into this section of the poem, entirely keeping with the ominous subject. In the first two bicola of YHWH’s declaration (v. 20) we have his own announcement of the judgment that is described in v. 19:

I will hide my face from them,
let me see what follows (for) them!
For they (are) a circle (of) overturning—
sons (with) no firmness in them!

The first couplet (bicolon) provides an extreme example of synthetic parallelism—the second line literally refers to the consequence and result of the first (God hiding his face), and almost reads like a taunt. The noun °aµ®rî¾ with suffix could also be translated “their end” (i.e., “let me see what their end [is]”); this would fit the actual syntax better, but risks losing the important idea that the terrible fate for the people follows (root °µr) as a direct result of the action of YHWH hiding his face from them. In the ancient religious mindset, this image of God “hiding his face” essentially means a removal of the divine power that protects and preserves the life of humankind on earth.

The second bicolon is a standard example of synonymous parallelism, with the noun dôr set parallel to b¹nîm (“sons”, i.e. the people as a whole). I have translated dôr according to its fundamental meaning (“circle”, i.e. circle of life), though it is usually rendered “generation” (“they are a generation of…”), but the phrase could also be translated (“thei[rs] is an Age of…”. The basic reference is to the people alive during a particular period of time, but also to their connectedness as a common people. The root h¹¸ak (“turn [over], overturn”), here as the substantive noun tahp¥kâ, connotes both the idea of perversion and destruction—i.e., the people both turned away from the truth and broke the covenant bond. This was an indication of their lack of true loyalty (lit. “firmness”, °¢mûn) to God and to the covenant.

The next two couplets (bicola) show a more complex parallelism, making use of wordplay that is difficult to capture in English:

They made me red(-faced) with the non-Mighty,
provoked me with their puffs of breath;
and (now) I will turn them red with a non-People,
(and) provoke them with a nation of fool(s)!

Here, again, the parallelism (of form and style) is used to convey a very specific message: the punishment for Israel matches their crime (an extension of the ancient lex talionis principle). The parallelism in this regard is exact, something which may easily be lost in English translation:

    • Verb 1 (q¹na°):
      they made me red [i.e. with jealousy]…” (and so)
      “…I will make them red [with jealousy]”
      • Modifier 1 (b®lœ°, “with no”):
        “with (the) non-Mighty [°¢l]”, i.e. what is not God (not YHWH)
        “with (a) non-People [±¹m]”, i.e. not the people of YHWH
    • Verb 2 (k¹±as):
      “they provoked me…” (and so)
      “…I will provoke them”
      • Modifier 2 (“with [] [things that are ’empty’]”):
        “with their puffs of breath [ha»lîm]”, a derisive term for the worship of other deities and associated ‘idolatry’
        “with a nation of fool[s]”, i.e. a foolish nation (that worships other deities)

What follows in the remaining lines (vv. 22-25) is a graphic description of the coming judgment. It begins with a powerful image of a wildfire, in a pair of bicola (4 lines) where each line builds—an example of how poetic form (here the synthetic parallelism of the bicolon format) serves to paint a visual picture (of a growing/spreading fire):

For a fire has sparked in my nostril(s)
and burns until the depths of Še’ôl,
and it consumes the earth and its produce
and blazes (to) the base of the hills!

The first couplet actually could be viewed as a kind of antithetic paralellism—i.e. from one extreme to its opposite. The first begins in the nostrils of YHWH, and reaches all the way to the deepest place under the earth (in š§°ôl, the realm of death and the dead). If this shows the fire’s spread vertically, from highest above to deepest below, the second couplet shows its horizontal spread—over the entire face of the land, covering it up to the base of the mountains. In verse 23, the imagery shifts from a natural disaster (wildfire) to that of a military attack—YHWH will shoot evils (i.e. misfortune, suffering, death, etc) upon the people like arrows, and so extensive will be the judgment that God will exhaust the entire complement of arrows:

I will gather (up) evils upon them,
I will finish (all) my arrows on them

These evils/arrows are presented in verses 24-25, with a descriptive sequence that strains and twists the poetic meter and rhythm; this is again an example of how a disruption of a common poetic format can be used to make a dramatic point. First in verse 24 there is a dual image of plague/disease and attack from deadly/poisonous animals:

hunger (that) sucks out,
and a burning (that) devours,
and a bitter dead(ly poi)son,
and (the) tooth of wild (beast)s will I send on them
with the heat of crawlers in the dust.

The removal of YHWH’s protection (“I will hide my face”, v. 20) means that the people are vulnerable to the dangerous elements of the natural world. Moreover, in the ancient religious mindset, disease and famine, etc, were often seen as the result of divine anger and punishment on humankind, and so we find the same expressed repeatedly in the Old Testament. Even when subsidiary divine (or semi-divine) beings were involved (pestilence personified, Reše¸), according to the tenets of Israelite monotheism, it was YHWH (in his anger) who is responsible for sending these evils (“I will send on them”). Along with this, Israel also can no longer rely on YHWH’s protection from human enemies, and verse 25 gives a capsule portrait of the people hiding in fear as enemy forces attack:

(In the street) outside the sword brings loss,
and terror (inside the) enclosed (room),
even (to) chosen (son) and virgin (daughter),
the suckling (child) with grey-haired man (together).

The historical narratives in both the book of Judges and the “Deuteronomic History” of Samuel–Kings are replete with numerous examples which illustrate this idea. Indeed, the primary vehicle for God’s judgment upon Israel were the various peoples around them, each of which could fit the description of a “non-People” or “nation of fools” in the sense that they operated from a polytheistic religious point of view, worshiping deities other than YHWH. This is fundamental to the message of the poem, and much of the book of Deuteronomy as well, as we have seen. Central to the binding agreement (covenant) between YHWH and Israel is the idea that they will remain loyal to Him, and will not violate the bond by turning aside to embrace the religious beliefs and practices of the surrounding nations.

I hope that the analysis above demonstrates the importance that different aspects of Biblical criticism an elucidate important details of the text, especially in the distinctive (and often difficult) area of Old Testament poetry. Next week, we will conclude this study on the Song of Moses, by looking briefly at the following lines of verses 26-42, before delving more deeply into the closing lines in verse 43.

Saturday Series: Deuteronomy 32:7-9ff

In this Saturday Series study, we continue through the great poem “the Song of Moses” in Deuteronomy 32, as a way of demonstrating how the different areas of Biblical Criticism (discussed in previous studies) relate to an analysis and understanding of the the text as a whole. In the previous Saturday study, we looked at verses 4-6; now we proceed to verses 7-9 and lines following (down through verse 18). Verses 4-18 actually form a major section of the poem, as indicated from the earlier outline I presented:

1-3: Opening (exordium)—Call to Creation (heaven and earth)

4-18: God’s covenant with His people Israel, and their violation of the covenant
—The Creator God (YHWH) as their Father (vv. 4-6)
—His choice of Israel as His people, becoming their God (vv. 7-9)
—His protection and guidance during the Exodus and wilderness travels (vv. 10-14)
—His people turned away from Him, worshiping foreign gods (vv. 15-18)

The lines of vv. 4-18 comprise a summary of Israelite history, the parameters of which raise interesting (and important) historical-critical and literary-critical questions (see further below).

Verses 7-9

From the opening theme of YHWH as the Creator and Father of Israel (and all humankind), the poem progresses to the choice of Israel as the unique people of YHWH. Here are the lines in translation:

7Remember the days of (the) distant (past),
consider the years age(s) and age(s past);
ask your father and he will put (it) before you,
your old men and they will show (it) to you.
8In the Highest’s giving (property to the) nations,
in his separating (out) the sons of man,
he set up (the) boundaries of the peoples,
according to the count of the sons of the Mightiest.
9Yet YHWH’s (own) portion is His people,
Ya’aqob His own property measured (out).

The verse numbering accurately reflects the division of this section:

    • A call to remember and repeat (through oral tradition) the account of Israel’s history (v. 7)
    • The dividing of humankind into the nations/peoples (v. 8)
    • Israel as YHWH’s own nation/people (v. 9)

Verse 7 functions as the trope that sets the poetic/rhythmic pattern (a pair of 3-beat [3+3] bicola) for the section, followed by the (narrative) trope in verse 8, and a single bicolon theological trope emphasizing the covenant with YHWH (v. 9). The exhortation in v. 7 is entirely in keeping with the traditional narrative setting in chapter 31 (discussed previously), with an emphasis on the need to transmit the (Mosaic) instruction, contained in the book of Deuteronomy, to the generations that follow. In particular, Israel is to preserve and transmit the poem of chap. 32.

In an earlier study, I examined the text-critical question in verse 8, arguing that the reading in the Qumran manuscript 4QDeutj, and reflected in the Septuagint (LXX) Greek, is more likely to be original. The idea that the number of the nations (trad. 70) was made according to the number of Israelites (“sons of Israel“, b®nê yi´r¹°¢l), has always seemed a bit odd. Even prior to the discovery of the Dead Sea manuscripts, some commentators felt that the Hebrew underlying the LXX (“sons of God”, Grk. “Messengers [i.e. Angels] of God”) would be the better reading. The MS 4QDeutj gives support to this (b®nê °§lœhîm, “sons of the Mightiest [i.e. God]”). However, it is the context of both the poem and the book of Deuteronomy which seems to provide decisive evidence in favor of this reading:

    1. A careful study of the poem reveals a contrast between YHWH (Israel’s God) and the foreign deities of the surrounding nations—this is a central theme that runs through the poem, especially in vv. 15ff. It is also a primary aspect of the Deuteronomic teaching and theology, both in the book itself, and as played out in the “Deuteronomistic History” of Samuel–Kings. Turning away from proper worship of YHWH, to the deities of the surrounding peoples, is the fundamental violation of the covenant which brings judgment to Israel.
    2. The closest parallel, in 4:19-20, indicates that the nations belong to other ‘deities’ (such as those powers seen as connected with the heavenly bodies), while Israel alone belongs to YHWH. The wording in the poem, assuming the LXX/Qumran reading to be correct, likely expresses this in a more general way. The expression “sons of God” is an ancient Semitic/Canaanite idiom, referring to gods/deity generally, but also specifically in relation to the Creator °El (the “Mighty One”). In the subsequent development of Israelite monotheism, there was no place for any other deities, and the concept shifted to heavenly beings simply as servants or “Messengers” (i.e. angels) of YHWH (the Creator, identified with °El).

Indeed, what we see in vv. 8-9 is this contrast played out as a key theological principle: (a) the nations and their ‘deities’ (distinct from the Creator YHWH), and (b) Israel who belongs to YHWH. Note the chiasm in verse 8 when the LXX/Qumran reading is adopted:

    • The Highest (±Elyôn)
      • the nations [70]
        • separating the sons of man (ethnicity)
        • setting boundaries for the people (territory)
      • the sons (of God) [trad. 70]
    • The Mightiest (°Elœhîm)

While this is the situation for the other peoples, for Israel it is different (v. 9)—they have a direct relationship with the Creator YHWH:

    • YHWH’s (own) portion [µ¢leq]
      • Israel (“His people”) / Jacob
    • His (own) property measured out [µe»el naµ­¦lâ]

And it is this relationship that is expounded in verses 10ff.

Verses 10-14

A brief history of Israel is narrated in vv. 10-18, which may be divided into two sections (see the outline above):

    • His protection and guidance during the Exodus and wilderness travels (vv. 10-14)
    • His people turned away from Him, worshiping foreign gods (vv. 15-18)

Verses 10-14 is itself divided into two portions, 4 bicola each, with a YHWH-theological bicolon (v. 12, compare v. 9) in between. Here is my translation of vv. 10-12:

10He found him in the open land,
and in an empty howling waste(land);
He encircled him, watched him (carefully),
watched over him like the center of His eye.
11Like an eagle stirred (to guard) his nest,
(who) hovers over the young of his (nest),
He spread out his wings and took him (in),
carried him upon the strength of his (wing)s.
12By Himself did YHWH lead him,
and no foreign ‘Mighty One’ was with him!

Thematically we may divide the two portions as follows:

    • Vv. 10-11—The finding/choosing and rescue of Israel [Exodus]
      • Image of eagle swooping down to pick up its young (v. 11)
      • The eagle flying back up to place its young in a high/safe location (v. 13)
    • VV. 13-14—The settlement of Israel in a good/fertile land

This narrative poetry works on a number of levels, as we can see by the inset imagery of the eagle’s protection of its young, with a descent/ascent motif. In addition, there are all sorts of colorful details in vv. 10-18 which could be subject to a rich historical-critical analysis. While this is beyond the scope of this study, it would be worth comparing these lines to the narrative of the Exodus and Settlement in the Pentateuch, as well as other poetic treatments of the same (or similar) historical traditions. Let us briefly examine the language used in verse 10.

In these four lines (a pair of 3+3 bicola), there is expressed the theme of YHWH finding/choosing Israel as his people. It is a poetic description, and not tied to any one historical tradition. The main motif is the desert setting, an image which would appear repeatedly in Israelite/Jewish thought over the centuries. It is a multi-faceted (and multivalent) image; here I would highlight the following aspects and associations:

    • The idea of a formless wasteland echoes the Ancient Near Eastern cosmology and, specifically, the Creation account preserved in Genesis 1. The same word tœhû (WhT)) occurs in Gen 1:2, describing the condition of the universe (“heaven and earth”) prior to the beginning of Creation proper (i.e. the ordering of the universe, in the context of Genesis 1). In the Ancient Near Eastern cosmology, this primeval condition is typically understood as a dark watery mass (and so also in Gen 1:2); here, however, this tœhû (emphasizing formlessness and chaos/confusion) is applied to the desolation of the desert (as a “wasteland”).
    • The allusion to creation means that, in a real sense, the people of Israel comes into existence (or is ‘born’) in the desert. This can be understood from several perspectives:
      (a) The ‘desert’ setting of Egypt and the Exodus, out of which the people truly came (as in a birth)
      (b) The religious ‘birth’ of Israel in connection with Sinai—introduction of YHWH, the meaning/significance of His name, place of His manifestation, etc (Exod 3; 19ff)
      (c) The period of labor in the wanderings throughout the Sinai desert, during which the people of Israel came to be ‘born’

Each bicolon of verse 10 illustrates a different side of this setting, from the standpoint of Israel’s relationship to YHWH:

    • Bicolon 1 (10a)—the emptiness, danger, etc. of the desert/wasteland
    • Bicolon 2 (10b)—the complete care and protection given by YHWH

It is a stark contrast—i.e. the world with and without God’s presence—and one that is enhanced by the parallelism that is characteristic of ancient Hebrew poetry. This parallelism is built into the 3-beat bicolon meter and structure of the poem, and which is typical of much ancient Semitic/Canaanite poetry. In an earlier study, I demonstrated this meter/structure visually; however, let us consider verse 10 in particular. As indicated above, the verse is made up of a pair of bicola (i.e. four lines), each with three stressed syllables, or beats. There is a definite parallelism in each bicolon, with the second line (colon) parallel to the first. Here is a breakdown of the lines, with the parallelism indicated by indenting the second colon (as is commonly done in translations of poetry); the specific points of parallelism are marked by italics:

    • “He found him in the open land,
      Yimƒ¹°¢¡nû b®°éreƒ mi¼b¹¡r
      • and in an empty howling waste(land);
        û»¾œ¡hû y®l¢¡l y®šimœ¡n
    • He encircled him, watched him (carefully),
      y®sœ»»énhû¡ y®bônn¢¡hû
      • watched over him like the center of His eye.
        yiƒrénhû k®°îšôn ±ênô

The parallelism in vv. 10-12 would be called synonymous—the second line essentially restating the first, but with a greater intensity or pointedness. For example, in the first line of 10a, the common word mi¼b¹r (rB*d=m!) is used; originally indicating something like “remote, far back/away (place)”, it typically refers to the open space of the desert or wilderness. However, in the second line (10b), a more graphic description of this desert region follows, utilizing all three words of the line: (a) tœhû (“formless, cf. above), (b) y®l¢l (“howling”), and (c) y®šîmœn (“desolate/waste [land]”). The sequence of words together gives a vivid sense of chaos and danger. Similarly, in 10c, YHWH’s action is straightforward: “He encircled him, he watched him (carefully)”, with two suffixed verb forms, creating a calm, stable rhythm, as though resolving the harshness of 10b. This is followed (in 10d) by a more intimate and personalized description: “he watched over him like the center [°îšôn] of his eye“.

In vv. 13-14, the parallelism shifts to what is commonly referred to as synthetic parallelism—whereby the second line builds on the first, developing the thought in a more complex way. Consider, for example, the first bicolon (two lines) in verse 13:

    • “He made him sit upon the heights of the earth,
      • and he would eat (the) produce of the land.”

The waw-conjunction is epexegetical, indicating the purpose or result of YHWH’s action in the first line—i.e. “and then [i.e. so that] he [i.e. Israel] would eat…”. Moreover, Israel’s position in the heights (like an eagle) makes it possible for him to feast on the fruit produced in the fertile open land (´¹d¹y) down below. This imagery of the richness of the land continues on through the remainder of vv. 13-14, each bicolon developing in a similar fashion, concluding with a single extra line, for effect (v. 14e): “and the blood of grape(s) you drink, bubbling (red)!”. The shift from “he” to “you” makes this final line more dramatic and jarring, as also the slightly ominous allusion (“blood…red”) to the judgment theme that follows in vv. 15ff.

In the middle of the four tropes of vv. 10-14, dividing the two sections precisely, is a middle trope, a single bicolon, that is decidedly theological, and perfectly placed at the center of the poetic narrative. It is especially important, in that it looks back upon the opening portions of the poem, and ahead to the key (dualistic) themes that dominate the remainder. It is worth examining v. 12 briefly:

    • By Himself did YHWH lead him,
      YHWH b¹¼¹¼ yanµenû
      • and no foreign ‘Mighty One’ was with him!
        w®°ên ±immô °¢l n¢k¹r

This parallelism could be called both synonymous and antithetic—the second line essentially restates the first, but also makes the opposite point, i.e. it was YHWH and not any other foreign ‘God’. Conceptually, this can be illustrated by way of chiasm:

    • YHWH (the true Mighty One)
      • by Himself, separate [b¹¼¹¼]
        • He led/guided (Israel)
      • there was no (other) [°ên] with Him [±immô]
    • a foreign ‘Mighty One’ [°E~l]

This contrast between YHWH and the other ‘deities’ of the surrounding nations, already emphasized in vv. 8-9 (see above), will take on even greater prominence in the remainder of the poem. This will be discussed in more detail in the next study, but it is worth considering verses 15-18, at least briefly, in this light.

Verses 15-18

If verses 10-11 essentially describe the Exodus, and verses 13-14 Israel’s settlement in the Promised Land, then, it would seem, that what follows in vv. 15ff would refer to Israel’s conduct after the people had settled in the land. However, in terms of the setting within the book of Deuteronomy, which is presented as representing Moses’ words prior to the settlement, these lines would have to be taken as prophetic—foretelling the people’s future violation of the covenant, a violation already prefigured in the Golden Calf episode and other failures during the wilderness period. This raises again the historical-critical question regarding the date of composition, both of the poem and the book of Deuteronomy as a whole. I will touch upon the question further in the next study. Here, for the moment, it is sufficient to consider the poetic and thematic structure of these lines, which I view as another sequence of 4 bicola (vv. 15-17a), with a concluding bicolon pair (vv. 17b-18) that echoes the opening lines of this section (vv. 4-6, 7-9).

    • Statement of Israel’s rebellion, forsaking YHWH, their God and Rock (v. 15)
    • Description of the rebellion—worshiping other ‘deities’ (vv. 16-17a)
    • Concluding trope on their abandoning YHWH (vv. 17b-18)

It is possible to view this as a chiasm:

    • Israel forsakes their Mighty One (God) and Rock (v. 15)
      • Turning to worship false/foreign deities (vv. 16-17a)
    • You have forgotten your Mighty One (God) and Rock (vv. 17b-18)

As in verse 14e (also 15b), the sudden shift from third person (“he/they”) to second person address (“you”) is striking, and serves as a reminder of the poem’s stated purpose (within Deuteronomy) as an instruction (and warning) to future generations of Israelites. The poetic language in vv. 16-17a is especially difficult, and appropriately so given the subject matter; however, the form of the lines is actually quite clear, with a fine symmetry:

    • “They stirred Him (to anger) with strange (thing)s,
      • (indeed) with disgusting things they provoked Him;
    • They slaughtered to ‘powers’ (that are) not Mighty,
      • (but are) ‘Mighty Ones’ not known to them”

The first bicolon has a precise synonymous parallelism, with two ways of saying that the people provoked YHWH with foreign/pagan religious behavior, described by the euphemisms “strange (thing)s” (z¹rîm) and “disgusting things” (tô±¢»œ¾). The second bicolon builds on the first, explaining the behavior more directly. It is stated that “they slaughtered (sacrificial offerings) to š¢¼îm“, the word š¢¼ (dv@) being rather difficult to translate in English. It is a basic Semitic term referring to deities or divine powers generally, corresponding more or less with the Greek daimœn (dai/mwn). From the standpoint of Israelite covenantal theology, and especially the theological outlook of the book of Deuteronomy, worship (in any manner) of any deity besides YHWH represents a flagrant violation of the covenant. Given the common syncretic (and syncretistic) tendencies in ancient Near Eastern (polytheistic) religion, a blending of Canaanite religious elements with the worship of YHWH would have been quite natural, and difficult for the people of Israel to resist. This is why the point is hammered home so often in the book of Deuteronomy, as also in the “Deuteronomic History” and the messages of the Prophets. The repeated warning was necessary because of the dangers of cultural accomodation, and the tendencies in Canaanite society which could not but exert influence on the people of Israel.

With these thoughts in mind, I would ask that you read through the remainder of the poem, examining the language and imagery, the progression of thought and expression, most carefully. In the next study, I hope to provide a survey of verses 19-42 in light of the section we have studied here (especially verses 15-18). We will focus on several verses and lines in more detail, again illustrating how a sound critical approach to Scripture helps give us a much more thorough understanding of the text as it has come down to us.

Saturday Series: Deuteronomy 32:1-43 (continued)

Deuteronomy 32:1-43

This week we continue the previous discussion of the “Song of Moses” in Deuteronomy 32, where we looked at the passage from the standpoint of textual criticism. Now we move into other areas of analysis—form, source, and historical criticism.

Form Criticism

The “Song of Moses” is a poem, and, as poetry, represents a distinct form (and genre) in comparison with the surrounding material (forms of narrative prose, etc). It essentially follows the style and pattern of much early Hebrew poetry, as preserved in the Pentateuch and other historical books, as well as in the earlier layers of the Psalms. It also shares many features in common with ancient Near Eastern (especially Canaanite) religious poetry. The poetic texts from Ugarit (14th-13th cent. B.C.) provide a rich source for comparison with the oldest Hebrew poems in the Scriptures, of which the “Song of Moses” is a clear example.

We find here two primary features characteristic of early Hebrew poetry: (1) a bicolon format and meter with three beats (or stress units), and (2) linguistic and thematic parallelism in each line (bicolon). On the first item, even if you do not read Hebrew, you can see the 3:3 bicolon format presented clearly in modern editions of the text. The half-lines (cola) are set side by side; for example, here are the opening lines (first three verses) in Hebrew, followed by the same text in transliteration:

You should be able to see the three stress-units in each half line (colon), often visible as three words; this meter in a bicolon format is typically indicated as 3:3.

The second characteristic mentioned above is parallelism; that is, the second half line (colon) is parallel to the first, restating the idea or image, with some variation or difference in emphasis. This can be seen in an English translation of the first four bicola (vv. 1-3, see above):

    • “Give ear, O heavens, and I will open to speak,
      —and hear, O earth, the words of my mouth!
    • Let my instruction drip as rain-fall,
      —let my speech trickle down as dew-cover,
    • As showers upon the sprouting grass,
      —as (many rain)drops upon the fresh plants.
    • For the name of YHWH I call (out)
      —(You) set (out) greatness for our God!”

There are different sorts of parallelism. Most common is synonymous parallelism, where the second half-line is more or less equivalent in form and meaning to the first. This properly characterizes the first three bicola above. Often the parallelism extends to each of the three elements (or stress units) in order. I indicate this by color-coding the first line and adding the Hebrew (in transliteration):

    • Give ear [ha°¦zînû], O heavens [haš¹mayim], and I will open to speak [w~°¦¼abb¢râ],
      and hear [w®¾išma±], O earth [h¹°¹reƒ], the words of my mouth [°imrê-¸î]!

The fourth bicolon above is an example of synthetic parallelism, where the second half-line builds upon the first, intensifying the thought, and, occasionally, pointing in a slightly different direction—”I call the name of YHWH”, and so you, also, must “set/give greatness to our God”! The third type of parallelism, antithetic—i.e. the second half-line making an opposite (though related) point from the first—is rather rare in the poem; an example would be verse 27b:

    • “Lest they say, ‘Our hand raised (this)’
      —and ‘It is not YHWH (who) has done all this (work)’!”

The formal structure/meter and parallelism, when applied consistently throughout a poem (as here in Deut 32), actually proves quite useful for commentators and textual critics, since it allows them to detect places where the text, as it has come down to us, may be confused or corrupt. A disruption in the poetic pattern can be an indication of possible corruption (see the previous discussion on verse 43). Caution is required in this area of analysis, however, since poetry is not always absolutely consistent, and a poet may, on occasion, break or bend the rules to achieve a certain effect.

For Christians who read the Scriptures largely (or entirely) in translation, there is a tendency to focus on the underlying message of text, rather than the form and style in which the message is expressed. And yet, the form and style are important, and cannot be ignored. If the inspired author and/or speaker made use of poetry, this is certainly significant, and is, in fact, fundamental to the meaning of the passage. However, many poetic elements and characteristics (in Hebrew poetry, especially) are almost impossible to preserve in an English translation, without seriously distorting the sense of the text. These features include wordplay, assonance (i.e. similar sounding words), alliteration, rhythm, and rhyme. A couple examples of alliterative wordplay are (note the bold italics):

    • V. 17a:
      yizb®hû laš¢¼îm lœ° °§lœah °§lœhîm lœ° y®¼¹±ûm
      “they sacrificed to spirits (that are) not-God(s),
      (to) Gods they did not know”
    • V. 21a:
      h¢m qin°ûnî »®lœ°-°¢l ki±¦sûnî b®ha»lêhem
      “they provoked me (to jealousy) with (what is) not-God,
      (and) provoked me (to anger) with their empty-breaths”

Many other examples could be given; an instance of end rhythm/rhyme can be seen in verse 2b (above):

    • ki´±îrim ±¦lê-¼eše°
      w®½ir»î»îm ±¦lê-±¢´e»
      “As showers upon the sprouting grass,
      and as (many rain)drops upon the fresh plants”

All of this becomes lost in translation, but it is important to keep such things in mind, and to study these features as part of the passage, as far as it is possible for you to do so. The wordplay and alliteration in vv. 17a and 21a (above) is used to make an ironic contrast, and to drive home a vital point. Moreover, the various instances of rhythm, rhyme, and assonance, etc, apart from their artistic significance, were valuable as a way to help people learn and transmit the poem. If you read Hebrew at all, I am confident that careful study of these poetic details in the text will help you learn it better as well.

Next week, we will continue on, examining the poem in terms of source- and historical-criticism. In preparation, you should study chapters 31 and 32 in context. Does anything you find in the Song of Moses surprise you in light of its place within the structure of the book? What are the key themes and how are they expressed in comparison with the rest of the (prose) narrative? Keep these things in mind as you study the text…and I will see you next Saturday.

Saturday Series: Deuteronomy 32:1-43

Deuteronomy 32:1-43

I have chosen the great poem in Deuteronomy 32 as a way to demonstrate Old Testament criticism involving Hebrew poetry. It is often referred to as the “Song of Moses”, while in Hebrew tradition it is known by the opening word Ha°¦zînû, “Give ear…”. As with our earlier study on Exodus 32-34, I will be examining this section according to different areas or aspects of Biblical criticism—

    • Textual criticism
    • Form criticism
    • Source criticism
    • Historical criticism

followed by a brief exegetical survey of the text as it has come down to us, according to what is typically called Literary criticism.

Textual Criticism

An important component and emphasis of textual criticism is the determination, as far as it is possible, of the most likely original form of the text. This is based on the fundamental premise that the text has experienced corruption at numerous points during the process of transmission. The word “corruption” can be misleading, suggesting a moral failing; but this is not at all what the word means in the context of the science of textual criticism. Textual corruption simply means that the original text (as authored/intended) has been altered in some way at various points (variation units). This alteration may have been intentional, or, much more frequently, occurred by accident. The alteration may be limited to particular manuscripts (or manuscript groups), or, in some instances, has been preserved in the main line of transmission of the text as it has come down to us. In the case of the Old Testament, this main line of transmission is identified as the “Masoretic Text” (MT). Before the discovery of the Dead Sea Scrolls (especially the texts from Qumran), the oldest copies of the Hebrew text were from the 9th-10th century A.D.—many centuries after even the latest of the Scriptures were composed. The Dead Sea Scrolls have changed the textual picture considerably. While the Scripture texts from Qumran (and other sites) have confirmed the general reliability of the Masoretic Text, they have also brought up many differences, including numerous points at which the Qumran MSS agree with the Greek version (and/or the Samaritan Pentateuch) against the MT. In such instances, the readings of the Qumran copies must be given most serious consideration.

A particular problem related to Hebrew poetry in the Old Testament, is that the poetic portions often contain older or archaic language which can be difficult to recognize and interpret. This was probably as true for ancient copyists, working centuries after the poems were originally composed, as it is for scholars today. There are many points in Old Testament poetry where the text appears to be corrupt. It is often difficult to be sure, since the confusion may be the result of a genuine word, phrase or syntactical construct, which is unknown or unintelligible to us today. However, a comparison with the Greek version (Septuagint), and, more importantly, the Dead Sea Scrolls, can help to clarify some of these difficulties, and to confirm points at which the Masoretic Text may indeed be corrupt.

There are three points in the Song of Moses were there is evidence for textual corruption, and/or variant readings. Let us look briefly at each of them in turn.

Deut 32:5

The first line (colon) in verse 5 appears to make very little sense as it has come down to us:

Šiµ¢¾ lô lœ° b¹n¹w mûm¹m
literally: “he made ruin to/for him his sons their blemish”

If you go to this verse in your English Bible, you will likely see a footnote indicating that the Hebrew is obscure or uncertain. As noted above, this is frequently the case in Old Testament poetry. There are hundreds of verses or lines where we simply do not know for certain what the Hebrew of the Masoretic Text (MT) means, or how to translate and interpret it, or whether the apparent confusion is the result of textual corruption. The Rabbis noted the difficult syntax of this verse and sought variously to explain the MT, without any emendation. For example, Nahmanides explains it along the lines of: “their blemish caused them [i.e. the Israelites] to act corruptly toward Him” so that, as a result, “they are not His sons”.

Many critical commentators believe that the verse, as it has come down to us, is corrupt. One suggestion (cf. J. Tigay, Deuteronomy: JPS Torah Commentary [1996], p. 301) is that originally the line read something like—

šiµ¦¾û lô b¹n¹w °¢m¥n
“His sons ruined (their) firmness [i.e. loyalty] to Him”

or, possibly:

šiµ¦¾û lœ°-b¹n¹w °¢m¥n
“(the ones who are) not-His-sons ruined (their) firmness [i.e. loyalty] to Him”

Admittedly, this would make a better fit with the second half of the line, but it remains quite speculative.

The Greek version (Septuagint, LXX) is somewhat confusing as well:

h¢mártosan ouk autœ¡ tékna mœm¢tá
perhaps: “they sinned, children (of) blame (who are) not to me [i.e. not mine]”

Unfortunately, verse 5 is not present among the manuscript fragments of Deuteronomy preserved at Qumran, so there is no help from that side in elucidating the Hebrew syntax. One must always be cautious in emending the text that has come down to us (i.e. the Masoretic text), especially when there is no clear manuscript support for such emendation. On the other hand, it is equally wrong to accept the MT blindly, ignoring places where the received text is difficult or unintelligible. Here textual criticism reaches it finest, and most challenging, point.

Deut 32:8

The Masoretic Text (MT) of these lines in verse 8 reads:

B®hanµ¢l ±Elyôn gôyim
b®ha¸rî¼ô b®nê °¹¼¹m
yaƒƒ¢» g®»¥lœ¾ ±ammîm
l®mi´par b®nê Yi´r¹°¢l

“In the Most High’s giving posessions (to) the nations,
in His breaking apart [i.e. separating] the sons of man,
He set the boundaries of the peoples,
to the count [i.e. number] of the sons of Israel.”

The last line has always struck commentators as a bit peculiar. Since the context overall suggests the dispersal of the nations (following the traditions in Genesis 10-11), occurring long before Israel was a people, establishment of the traditional number of nations (seventy, according to Gen 10) in terms of the number of Israel’s descendants (Exod 1:1-5; Deut 10:22, etc) seems somewhat out of place. Many commentators were drawn to the alternate reading in the Greek version (Septuagint, LXX), which, instead of “according to the sons of Israel”, reads “according to the Messengers of God” (katá arithmón angélœn Theoú). This version of the text finds confirmation in one of the Deuteronomy manuscripts from Qumran (4QDeutj):


l®mi´par b®nê °E_lœhîm

“…(according) to the count [i.e. number] of the sons of God

The expression “sons of God” is an ancient Semitic term for divine beings—”gods” generally, in Canaanite religion. Within the context of Israelite monotheism, this idea was modified so as to refer to heavenly beings, i.e. Angels (“Messengers”), who are not to be worshiped as gods. A traditional number of seventy such beings goes all the way back to ancient Canaanite religious lore, and was preserved in Israelite and Jewish writings. This variant reading would seem to be confirmed again by the context of verse 8 within the Song. An important theme throughout, as we shall see, is the need for Israel to serve and worship only Yahweh, and not to follow after the other nations, who worship other ‘deities’ (such as represented by the sun, moon, and other heavenly bodies). While the other nations may have been allotted to various heavenly beings, Israel is God’s own portion (v. 9). Elsewhere in Deuteronomy (4:19-20) we find similar language to 32:8-9, which suggests again that the reading of 4QDeutj may be original (see further below, on verse 43). Indeed, a tradition reflecting this reading is preserved in Jewish writings, such as the Targum Pseudo-Jonathan and the “Sayings of Rabbi Eliezer” (chap. 24). The Targum makes reference to “the seventy angels, princes of the nations”, in the context of the the Tower of Babel episode and the dispersal of the nations. For a good discussion, see J. Tigay, Deuteronomy: JPS Torah Commentary (1996), pp. 514-5 (Excursus 31).

Deut 32:43

Here is another example where the Masoretic text appears to be corrupt, in this instance due, it would seem, to a portion of the verse having dropped out. Here is the MT as it has come down to us (for the moment, I give it only in translation):

“Cry out, O nations, (to) His people!
For he will take vengeance (for) the blood of His servants
and return vengeance to His opponents,
and will cover [i.e. wipe away, cleanse] His people’s land.”

Commentators have noticed the lack of poetic parallelism in the first lines, quite in contrast to the style and technique used consistently throughout the poem, and raising the possibility that the MT is incomplete. Indeed, the Greek version is more complete, and, in part, this has been confirmed by the Qumran manuscript 4QDeutq, where v. 43 reads as follows (note the differences in italics):

“O heavens, cry out [i.e. rejoice] with Him!
Bow (down) to Him, all gods [lit. Mighty Ones]!
For he will take vengeance (for) the blood of His sons,
and return vengeance to His opponents,
He will treat those who reject Him (as they deserve),
and will cover [i.e. wipe away, cleanse] His people’s land.”

This preserves more accurately the three-beat bicolon (3:3) strophic structure and parallelism characteristic of the rest of the poem. The Septuagint Greek is more expansive, which could indicate its secondary character. The first lines, in particular, appear to conflate (combine) the text from 4QDeutq and MT:

“Be of good mind [i.e. rejoice], O heavens, with Him,
and kiss toward [i.e. worship] Him, all (you) sons of God!
Be of good mind [i.e. rejoice], O nations, with His people,
and let all the Messengers of God strengthen themselves in Him!
…”

It is easy to see how the word °§lœhîm (“gods”, LXX “sons of God”), along with the line containing it, might have dropped out or been omitted during the process of transmission. It could have been misunderstood as supporting polytheism in some way (i.e. the existence of other deities), even if here the plural °§lœhîm (lit. “mighty ones”, in the sense of “divine beings”) is referring to heavenly beings (Messengers/Angels) and not pagan deities as such. The LXX wording (“sons of God”) more accurately reflects the typical Hebrew usage in the Old Testament (see Psalm 29:1, etc; but note Psalm 97:7). In favor of the Septuagint reading is the close association of the nations and the deities (or Angels), such as we saw in what is likely the original reading of verse 8 (above). Yet the Qumran text strikes me as being more precise and favorable to the ancient poetic (and religious) outlook. The call to the heavens also serves as a fitting conclusion, functioning as a parallel to the opening words of the poem (v. 1, “Give ear, O heavens…”).

I hope that this demonstrates some of the issues involved with the study of Old Testament poetry, especially in a poem as old as the Song of Moses appears to be. Textual and interpretive difficulties abound, and must not be glossed over or ignored. Continue to study and meditate on this great poem, and we will continue with our discussion next week, picking up with the remaining areas of critical analysis which need to be explored (such as form- and source-criticism). I will see you here again next week.