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 465
yryv
belonging, of being at-centre, explains the urgent prayer for the “peace
of Jerusalem†(6ab). Only when peace is experienced by “those who
love you†(6b), when it is present “within your walls†(7a) and “within
your citadels†(7b) can the petitioner and his “brothers and friendsâ€
(8a) experience true communion with Yahweh. Only then will their
exile be over, their journey fruitful, their destiny positive.
Psalms 120–122 describe a journey (Psalm 121) from negative
space (Psalm 120) towards positive space (Psalm 122), an ascending
movement from the depths of despair and exile to the joyous arrival in
Jerusalem. There is a contrast between the unbearable experience of
being alone in exile (Psalm 120) and the joyful experience of being
at home in the presence of YHWH and companions in Jerusalem
(Psalm 122).
Psalm 123 picks up the theme of Psalm 120, but takes it a step
further. The poet, now spokesperson for a first person plural narrator,
experiences the “contempt†(3b, 5c) and “ridicule†of the “proud†and
“arrogant†(4). The emphasis falls on the emotional experience of
being in negative public (lived) space, the target of the contempt and
ridicule of their enemies, locked in negative circumstances. Once
again their only hope is in the possibility that the divine and human
world can interact to their benefit. They urgently call upon Yahweh’s
“mercy†(2d, 3a). But they do it with full confidence, lifting their
“eyes†to Yahweh (1a) (39) who is “enthroned in heaven†(1a) (40). Thus
they have ascended above the level of geographical Jerusalem, to
Yahweh in heaven. In Psalm 121 the petitioner lifts his eyes to the
mountains (121,1a), but above the mountains, enthroned in heaven, is
YHWH who protects Israel (121,4b). As the “eyes of servants†(2a)
and the “eyes of a maid†(2b) are expectantly raised towards their
owners (2ab), so their eyes are “upon Yahweh our God†(2c) until he
“shows us mercy†(2d). The expectation of heavenly intervention (1b)
lifts the poet from his experience of being off-centre into the divine
sphere.
This is stated pointedly in Psalm 124. Israel herself is now the
spokesperson (1b). She confesses: “If it was not Yahweh who was on
our side†(1a, 2a) when “men attacked us†(2b), all would have been
(39) A gesture of yearning and longing (KRAUS, Psalms, 437; TERRIEN,
Psalms, 818), but also of dependency (DE LIAGRE BÖHL – GEMSER, Psalmen,
177).
(40) YHWH’s majesty transcends the confines of “this†world (KRAUS,
Psalms, 437; MITCHELL, Message, 119).