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 473
yryv
authority, he finds peace (Ps 122). Psalm 123 makes it clear that the
danger is not yet averted. Still the petitioners experience contempt and
ridicule. Therefore they symbolically ascend to heaven in complete
confidence that YHWH will have mercy upon them. Psalm 124
emphasises the point that Israel would have plunged into the depths of
lwav had it not been for the saving presence of YHWH. That saving
presence is like the mountains surrounding Jerusalem. YHWH
surrounds his people (Ps 125).
Psalms 126–128 emphasises the saving presence of YHWH both
in form and in content. Formally the three poems form an inclusion,
with the saving acts of YHWH originating in Zion forming the
protective “arms†around the small individual performing his mundane
tasks of sowing and reaping, building a house and raising a family. In
a sense these three poems form the hart of the collection.
Psalm 129 picks up the theme of Psalm 125. But for the protective
presence of YHWH, Israel would have been annihilated by wicked
people. But YHWH is righteous; he cuts the cord of the wicked. As in
Psalm 124, the poet plunges into the depths of lwav in Psalm 130. Sin
causes a total breakdown in his relationship with YHWH. That
relationship can only be restored because of YHWH’s willingness to
forgive. Only then can the poet find complete contentment in the arms
of YHWH (Ps 131).
Psalms 132–134 are similar to the opening triad. Psalm 132
emphasises the importance of Jerusalem as cultic and political centre
(cf. Ps 122), the focal point of Israel’s hopes and aspirations. From
Jerusalem brothers living together in harmony can expect YHWH’s
blessing (Ps 133) and constantly live in his presence (Ps 134). The
positive space of Psalm 134 stands in stark contrast to the negative
space of Psalm 120. The circle has been completed. A real pilgrimage
to Jerusalem and the temple became a spiritual pilgrimage from
lwavitoiµymv, an ascent into the arms of YHWH (65).
The spatial “map†of the twl[mh yryv can thus be plotted as follows:
(65) WILLI, “Das twl[mh ryvâ€, 157 points to the fact that the Songs of Ascents
move from the fringes of Palestine (Ps 120,5) through the Negeb (Ps 126,4) and
Ephrata (Ps 132,6) to Hermon far in the north (Ps 133,3) but always within the
context of the centrality of Zion.