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.
466 Gert T.M. Prinsloo
lost. And “all†is described in mythological terms as being “swallowed
alive†(3a), “engulfed by water†(4a), “swept over by a torrent†(4b)
and by “raging waters†(5b). These images are symbols of the power
of death, destruction, indeed of l/av] itself (41). Were it not for YHWH
enthroned in heaven (123,1) the petitioners would have descended into
the depths of lwav. But praise Yahweh (6a)! He “did not give us as prey
to their teeth†(6b). His presence made “escape†(7c) from death and
destruction possible, as a bird who has escaped from the “fowlers’
snare†(7a) (42). The poem ends with exactly the same words as in
Psalm 121,2ab. Help comes from Yahweh (8a) because his presence
brings about the meeting of heaven and earth. And as in Psalm 121 the
latter half of the poem suggests movement. Space is depicted in
dynamic terms: They are “like a bird escaping from the fowlers’ snareâ€
(7a); but “the snare has been broken†(7b) “and we have escaped†(7c).
This time, however, the journey is not merely from exile to Jerusalem,
but from death to life, from lwav to µymv!
Psalm 125 is parallel to Psalm 122 in the sense that “Jerusalem†is
explicitly mentioned. But here “Mount Zion†(1b) or “Jerusalem†(2a)
is an abstract, imagined entity, the symbol of the presence and
protection of YHWH (2b) (43). Those who “trust in Yahweh†(1a) can
experience the physical and emotional security of his presence. It
transcends time (2c) because YHWH “surrounds his people†(2b). The
first half of Psalm 125 thus describes abstract, positive public space.
In the second half of the poem the emphasis moves towards the
physical, imagined and lived space of those who trust him, of his
people. They are under the hegemony of the “wicked†(3a). However,
YHWH’s protective presence provides the assurance that “the sceptre
of the wicked will not remain on the land allotted to the righteousâ€
(3ab). This would be a ghastly scenario, because there would be real
danger that “the righteous stretch out their hands in evil†(3c). This
possibility explains the urgent prayer that YHWH “do good†(4a) to
“those who are good†(4a) and “upright in their heart†(4b) but
“banish†(5b) “those who turn to crooked ways†(5a) “together with
the evildoers†(5b). The poem ends with the prayer: “Peace be upon
(41) KRAUS, Psalms, 441; GOULDER, Psalms of the return, 54; HUNTER,
Psalms, 201.
(42) HUNTER, Psalms, 201 points to parallel expressions in Prov 1,8-19 and
sees in the contrast between flight into the air and descent into the waters a
merism symbolising life and death.
(43) HUNTER, Psalms, 205.