Gert T.M. Prinsloo, «The Role of Space in the twl(mh yry#$ (Psalms 120–134)», Vol. 86 (2005) 457-477
This study reads the Songs of Ascents (Psalms 120–134) from the perspective of the
concept of "space" and argues that they form as a single, interrelated unit that tells a
meaningful "story". By applying the principles of "critical spatiality" the spatial
orientation of each poem is analysed. The conclusion is reached that the poems can
be grouped together in five triads of three poems each. By mapping "space" and
relating it to the content of the poems in the context of Book V of the Psalter, the
"story" of these poems can be discerned. It is a meaningful story with a sad beginning
but a happy end. The happy end resides especially in the expectation that YHWH
"ascends" with his people towards the eschathological and Messianic future.
458 Gert T.M. Prinsloo
the progression of ideas when the collection is read as a unit in the
context of Book V of the Psalter. This study exploits one area where
there is a clear and significant progression of thought and a recurring
and theologically meaningful pattern when these poems are read as a
coherent unit, namely the concept of “space†(7).
I. “Spaceâ€: theoretical considerations
1. General observations
Narratologists emphasise the importance of the concept of “spaceâ€
in narrative art. In narratives space implies much more than “placeâ€, it
is a dimension of the story as such, present in the text even when not
mentioned explicitly for the simple reason that every story must be
situated at a place and in a space of some kind (8). Space has emotional
undertones; it contributes to the atmosphere of the story. In ancient,
written narratives the text is the actual space in which the story
exists (9). Space can be defined as “everything in the narrative that is
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cation of narrative techniques might be fruitful in discovering a “story line†in
poetic texts.
(7) According to P.M. VENTER, “Spatiality in Psalm 29â€, Psalms and liturgy
(Eds. D.J. HUMAN – C.J.A. VOS) (JSOTSS 410; London 2004) 235 the spatial
analysis of biblical literature can provide a “window†into the ancient world. Ac-
cording to C.V. CAMP, “Storied space, or, Ben Sira “tells†a “templeâ€, AAR/SBL
Annual Meeting, Constructs of the Social and Cultural Worlds of Antiquity
Group, November 20, 1999 (Hyperlink: http://www.guildzone.org) 1-18 the spa-
tial “story†of a poetic text can be a point of departure to discover the ideology of
the text.
(8) M. BAL, De theorie van vertellen en verhalen. Inleiding in de narrato-
logie (Muiderberg 41986) 101; A.P. BRINK, Vertelkunde. ‘n Inleiding tot die lees
van verhalende tekste (Pretoria – Kaapstad 1987) 107-108. G. PRINCE, Narratol-
ogy. The form and function of narrative (Janua Linguarum Series Maior 108;
Berlin – New York – Amsterdam) 32 observes that the place of narration plays
no role whatsoever in many famous narratives. It emphasises the importance of
the distinction between “place†and “spaceâ€. He states that it is practically im-
possible to narrate a series of events without establishing a set of temporal or
temporally bound relationships between narration and narrated. A narrative can-
not exist without space and time. Even if no place is explicitly mentioned the
reader constructs space in the process of reading or deduces it from the objects
mentioned and the relationship between characters and objects.
(9) L.L. THOMPSON, Introducing biblical literature. A more fantastic country
(New Jersey 1978) 3-4 emphasises that modern readers discover the world of the
Bible mainly through words. Three worlds interact in the interpretation of bibli-