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.
The Role of Space in the twl[mh 463
yryv
long†(6a) amongst those “who hate peace†(6b). He is “peace-lovingâ€
(7a) but lives amongst people who are always ready “for war†(7b).
His only hope is the fact that once he “cried†(1b) “to YHWH†(1a)
and YHWH “answered†(1b) (30). Once the mythological world
touched the human, concrete world, therefore he can urgently pray
“YHWH save me!†(2a), and expect that his enemies will become the
target of “sharp arrows of a warrior†(4a) with “burning coals of the
broom tree†(4b).
Psalm 121 contains numerous hints that the poet is “on the moveâ€
or “ascending†(31). The poem describes a journey from negative to
positive space, from being off-centre to being at-centre, with emphasis
upon a physical journey. The rhetorical question in 1ab hints at this
journey. A first person singular narrator describes his reality with the
words: “I lift my eyes to the mountains†(1a). In the same breath he
asks: “where does my help comes from?†(1b). Although confronted
by obstacles and danger (32), he is on the move upwards. The sense of
movement is emphasised by expressions such as “he will not let your
foot slip†(3a) and “YHWH protects your coming and your goingâ€
(8a). His answer: “My help is from Yahweh who made heaven and
earth†(2ab) indicates the possibility that the human and divine plane
can intersect (cf. 120,1a-2a) to the benefit of the petitioner. The
positive meeting between the human and divine spheres is emphasised
in numerous ways: by means of the repetition of the Leitwort rmv (cf.
3b.4b.5a.7a.7b.8a); the assurance that YHWH does not “slumberâ€
(30) 1ab is regarded as a recollection of past redemption, 2ab as a plea for
help in a current crisis. The same pattern occurs in Psalm 126 (cf. HUNTER,
Psalms, 193).
(31) Formcritical studies classify the poem as a cultic dialogue between peti-
tioner and priest at the occasion of the farewell from the sanctuary after a pil-
grimage festival (cf. GUNKEL, Psalmen, 539; KRAUS, Psalms, 427). Read in iso-
lation the interpretation is possible. Reading Psalm 121 as part of the “story†of
the twl[mh yryv indicates that it is not a liturgy, but a description of the dangerous
and uncertain journey (cf. DEISSLER, Psalmen, 493; MITCHELL, Message, 118;
GOULDER, Psalms of the return, 42).
(32) Some interpret “mountains†as a reference to the dwellings of gods (cf.
S. TERRIEN, The Psalms. Strophic structure and theological commentary (Critical
Eerdmans Commentary; Grand Rapids 2003) 812 who sees a veiled reference to
the danger of syncretism in 1a). Others interpret the reference literally — the
mountains are obstacles, symbols of danger (cf. DEISSLER, Psalmen, 495; K.
SEYBOLD, Die Psalmen (HAT I/15; Tübingen 1996) 478. ZENGER, “Zion als
Ortâ€, 105 interprets it metaphorically as everything that endangers the life of the
petitioner.