Category: Psalms

A Concise Interpretation of Psalm 42 & 43

Psalm 42-43 is a lament.[1] The psalmist[2] mourns because he cannot worship his Savior and God (42:5,11; 43:5) in Jerusalem. It seems–though the text is silent–that he has been forced away from Jerusalem and his enemies are oppressing him (42:9).

The first stanza of the psalm (vs. 1-5) demonstrates that the writer’s thirst for God only accentuates as he remembers “the former festival blessings” (vs. 4).[3] For the psalmist, nothing will satiate his intense thirst, but His own God (vs. 1). The words panting (vs. 1) and thirsting (vs. 2) are synonymous. They express the same desire. Though God is presently absent from the psalmist, the psalmist does not declare as the fool (Psalm 14:1) that there is no god, rather, he declares that God is a living God (vs. 2). The geographical distance from Jerusalem leads the author to burst into poetry. In verse three, he declares that his tears have been his food day and night. In the midst of his hunger, sorrow, anguish, and distance from his place of worship, his enemies deride him asking for his god to appear on his behalf. This parallels Elijah’s enemies taunting him and asking his god to act (I Kings 18). There can be no doubt that Satan made use of such means as these to fan the flame that consumed him with grief.[4] Like Job, he is overcome with grief.

Verse four is the glorious memory of the days when he and the body of Hebrew worshipers would freely walk to the house of God. It is remarkable to note that the psalmist is not remembering the entertainments or pleasures of his former days, but he remembers the free access he had to God. This fear of the psalmist has been abolished in the New Covenant. When our Lord Jesus torn the veil, he granted his covenant people free access to the Father (Romans 5:1,2; Hebrews 10:19-22). This access is no longer restricted to a geographical location. Both Jew and Gentile may come in by faith (Romans 5) and in union with Christ in baptism (Romans 6).

The author’s refrain in 42:5,11 and 43:5 reminds the reader that the worshiper will inevitably suffer and be downcast, but there is confidence that hope in God will bring salvation and deliverance. In the words of Job, “though He slays me, I will hope in Him” (Job 13:15).

In the second stanza (vs. 6-11), the psalmist mourns greatly. He uses various metaphors to expound upon his pain. In verse six, he remembers God. It is often when the Christian remembers God’s faithfulness that he is closest to His Redeemer (Psalm 77). In the same way adults remember their childhood memories in a favorite place, the psalmist with even greater intensity remembers the mountains and locations that were so dear to his worship context.

In verse seven, the poet begins to use the vastness of figurative language. In the midst of great trouble, he writes that “all your waves and breakers have swept over me.” The overwhelming waters of chaos constitute a well-known image of despair and trouble in the Bible.[5] The experience of the psalmist is similar to Jonah’s experience from inside the fish in Jonah chapter two. The agony is so intense that the author uses the image of a great tempest. To the Hebrew mind, the sea contained monsters. Hence, it was the most horrific of all places. The psalmist puts himself in that situation. This metaphor is carried into the New Covenant revelation St. John received while in Patmos. St John expounds upon the beauty of the New Heavens and New Earth with the promise that there will be no longer any sea (Rev. 21:1). This is the promise God’s people will inherit when our Lord returns in triumph.

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[1] See section on the harmony of these two psalms for proof that they were originally one, as such, I will treat them as one song.[2] Calvin argues that David was the author since “…he was the teacher generally of the whole Church, and a distinguished instrument of the Spirit.” Calvin’s Commentaries, Vol. 5 (Grand Rapids: Baker Books, 2003), 127. Matthew Henry argues similarly in his commentary.

[3] Walter A. Elwell, ed., Evangelical Commentary on the Bible. (Grand Rapids: Baker Books, 1989), 380.

[4] Calvin’s Commentaries, Vol. 5 (Grand Rapids: Baker Books, 2003), 130-131.

[5] Pratt 847.

Figures of Speech

The reader, thus far, has only been exposed to a limited amount of literary styles due to the limitation of this paper. In one sense, this reveals the breadth and depth of Biblical revelation. Furthermore, it is a challenge to interpreters at all levels. Trained scholars have great responsibility to interpret—in light of the various features of Biblical poetry—the text. This in turn, will serve as tools in the shelf of younger scholars. The laity, also, is behooved to learn how to better understand Biblical poetry. The diversity of psalm types may seem overwhelming to the beginner, but as in any discipline, the student is called to careful study; especially since the topic at hand is the word of the living God. The rewards of careful exegesis are many. As Bandstra observes, “the variety and range of psalm types opens a window on the spiritual life of faithful Israel.”[1] Hence, a proper understanding of the Psalms will open a window on the spiritual life of God’s people as well. The more the reader understands God’s revelation, the more he will understand himself.

Figures of speech are the most prevalent in the Hebrew Scriptures among the variety and range of psalm types. These figures adorn the Psalter in glorious ways. Perhaps this is what makes the psalms so memorable and endearing to the reader. Who can ever forget the language of Psalm 23: “The Lord is my shepherd and I shall not want.” Figures of speech communicate truth in a much more profound manner than literal language. They are used out of the ordinary. They are uttered in ways that resonate with the human heart. The psalms offer through these speeches meaning and comfort. Marva Dawn expresses well our need when she writes: “We need good news that isn’t just trite folk wisdom slapped on superficially in a meaningless attempt to help us feel better.”[2]

There are various figures of speech in the Psalms. Particularly, Psalm 42 uses both similes and metaphors. A simile is intended to be self-explanatory; it compares a literal item/person with something figurative.[3] Further, it uses connecting words such as “like” or “as.” The text of Psalm 42 begins with a simile. Verse one reads: As the deer pants for the water brooks, So my soul pants for You, O God.[4] The verse begins with the connecting word “as.” From the start, the psalmist is interested in captivating the mind with rich analogies/comparisons. The panting of a deer is likened to the panting of a human soul after his God. Anyone reading the psalm with minimal knowledge of the extreme nature of thirst understands the psalmist’s intent. Hence, similes are intended to paint mental pictures for the reader. Once more, this demonstrates the necessity to recognize the figures of speech as a significant part of Hebrew poetry.

Another well-known figure of speech in the psalms is the metaphor. A metaphor is a comparison by direct assertion. Metaphors are used when a writer wishes to describe one thing using something else. As Longman writes concerning the descriptions of God in the Psalms: “He is a shield, a fortress, a rock, a storm cloud, a shepherd, a warrior, an archer, a chariot rider, a king and so much more. Unless we understand how imagery works, we will miss much of the message of the psalms.”[5] Unlike similes, a metaphor asserts without the use of connecting words. Hence, “God is a shield,” not “God is like a shield.”

The psalmist lament in verse nine of chapter 42 uses the first metaphor. God is the Rock to the psalmist. If the writer inquires about being forgotten, he does not ask a finite being, but rather he asks his God, who is firm on His promises.[6] The same idea is used again in chapter 43 verse two. God is the stronghold to the psalmist. The poet must plead his case with a solid and strong advocate on his side. Metaphors such as these reveal that the author’s lament is grounded on confidence that his God is sovereign over his circumstances.[7]

 

                                Parallelism

Professor Tremper Longman notes that “the single most common characteristic of Hebrew poetry is repetition, usually called parallelism.”[1] In its simplest form, parallelism is when two lines say the same thing with different words, though modern research proves that the second phrase always carries forward the thought from the first phrase. Generally, the second line tends to clarify or heighten the first line. This is abundant throughout the Psalms. An example of this is found in Psalm 21:1.

Psalm 21 is David’s song of deliverance. The first line celebrates the victory over God’s enemies. It reads: “O LORD, in Your strength the king will be glad (21:1a)” The second line heightens and parallels the same idea: “And in Your salvation how greatly he will rejoice! (21:1b).” There is great similarity in both lines. The first line speaks of strength, while the second line likens strength to salvation. Again, in the first line, the king will be glad, whereas the second line states that he will greatly rejoice. They are both similar ideas, though the second line carries the thought further by stating that the king was not simply glad, he rejoiced greatly in the salvation of the LORD.[2]In short, as Longman summarizes, “A, what’s more B.”[3]

Parallelism served as a learning tool to the Hebrews, who were mostly illiterate. Hence, parallelism helped express their deepest longings in simple language. This form of poetry can be seen in many ways. There are synonymous, antithetic, emblematic, synthetic, and other forms of parallelism. Two forms of parallelism most conspicuous in Psalm 42 and 43 are the emblematic and synonymous.

The emblematic form of parallelism employs a metaphor. The first line will indicate something literal (ex. I will go to the house of the Lord) and the second line will employ a metaphor (ex. God is my rock). Psalm 42:1 provides a simple illustration of emblematic parallelism. The text reads: “As the deer pants for the water brooks, So my soul pants for You, O God.”[4] The first line of this verse presents a literal analogy. The summer season brings about excruciating heat for the animals. The deer is in no better condition than any other. When the deer is hunted by other animals or by humans, it strives with all its might to find refuge. The water brooks provide not only refreshment, but an escape. To reach the water brooks is a matter of survival. This literal analogy is followed by the second line. This second part employs a metaphor. In the same manner a deer seeks passionately for the water brooks for survival and refreshment, so too, our souls pant for God. The psalmist experiences the same longing as the deer. It is only in the presence of God that he finds refreshment and security.

Another form of parallelism present in Psalm 42 is synonymous parallelism. This occurs when two or more lines are expressing the same idea in different words.[5] The refrain of this psalm (42:5;11; 53:5) provides an excellent example of synonymous parallelism. The psalmist writes: “Why are you so downcast, O my soul? Why so disturbed within me?” The psalmist laments over his distress with these questions. They are synonymous, though the psalmist expresses himself using different words. The psalmist is both downcast (first line) and disturbed (second line). His pain is so great that he waxes poetically. The indication is that the psalmist, under inspiration, is writing not only concerning his own pain, but also the pain of his people. His very being is disturbed and downcast. In the midst of this agony, the writer still hopes in God. He sees by faith, and not by sight.[6]

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[1] Tremper Longman III, How to Read the Psalms. (Downwer Grove: IVP, 1988). 93.[2] Note that the “strength” spoken in the first part is carried further in the text to mean “salvation.”

[3] Longman 98.

[4] This quotation is taken from the NASB.

[5] John D. Currid, from Judges through Poets course. Audio Lecture 10B.

[6] Tremper Longman uses Psalm 2 as another example of synonymous parallelism, in How to Read the Psalms, 99. If synthetic parallelism is a valid form, then Psalm 43:1 may be an example. “Plead my cause against an ungodly nation; rescue me from deceitful and wicked man.” The pleading of the psalmist is a pleading to be rescued from the ungodly nation, which are composed of deceitful and wicked man. The second line completes or supplements the first.

                                 Strophic Structure

Since much of Hebrew poetry is hymnody, strophic structures are bound to occur with great frequency. A strophic structure is when a series of verses often in paralleled structures combine into one group.[1] There are two simple ways to identify a strophic structure. They are through the use of “refrain” and “alphabetic acrostic.” A “refrain” is also called a “chorus.” It is similar to the repeated parts of a hymn after each verse.[2] An example of this can be found throughout the Psalter, but most notably in Psalm 136. The Psalm uses the refrain “His lovingkindness is everlasting” in all 26 verses. Another example of a strophic structure is “alphabetic acrostic.” This refers to a poem in which each successive line or verse begins with each successive letter of the Hebrew alphabet.[3] The most familiar example is found in Psalm 119. Each section of the 176 verses is led by a letter of the Hebrew alphabet. Professor John Currid argues that these psalms are “for remembrance and it is also ornamental, decorative.”[4] These psalms were meant to be sung, recited, and remembered. They were cries of joy and sorrow from a people who hungered after their God. The modern church has forgotten our history; the psalms leave us no excuse. As James Adams has written in his insightful book War Psalms of the Prince of Peace, “The Christian Church has lost its military vision because the pulpit has been ashamed of the battle cries from the Psalms.”[5]

Due to the unfortunate division in our English Bibles between Psalm 42 and 43, this strophic structure is somewhat broken. Nevertheless, if the reader assumes this to be one hymn, the prevalent refrain of this psalm is found in chapter 42:5 and 11 and 43:5. Since this is one hymn, it can be divided in three stanzas or strophes. The refrain serves as a divider between each strophe. It is divided in the following manner: Psalm 42:1-5, Psalm 42:6-11, and Psalm 43 serves as the final strophe.

The first strophe is a lament. The psalmist hungers to be near his God in Jerusalem. In the second strophe, the psalmist laments once again over his despair.[6] The third and final strophe in chapter 43 concludes with confidence. The psalmist desires to return to the place of worship. This is an individual lament, though it is intended as a communal lament. According to Tullock, “The lament of the individual had the same basic form that communal laments had.”[7] The psalmist expresses what every covenant member desired: to be in the holy mountain (43:3).

Again, Tullock observes that confidence is a subclass of the psalms of lament. It is then appropriate that Psalm 43 ends with confidence that the writer will “go to the altar of God, To God my exceeding joy; And upon the lyre I shall praise You, O God, my God” (43:4). This confidence ends with the reality of the refrain that one day the psalmist will praise God unhindered by present circumstances.

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[1] John D. Currid, from Judges through Poets course. Audio Lecture 11A.[2] Since much of Hebrew strophes are like hymns, I offer this simple example. One of my favorite hymns is entitled: Christ Shall Have Dominion, based on Psalm 72. The refrain of that hymn is: “Christ shall have dominion over land and sea, earth’s remotest regions shall his empire be.” Revised Trinity Hymnal, 439.[3] John D. Currid, from Judges through Poets course. Audio Lecture 10B.

[4] Ibid.

[5] James E. Adams, War Psalm of the Prince of Peace (Phillipsburg, New Jersey: P&R, 1991), 77.

[6] Psalm 42:7 reads: “… all your waves and breakers have swept over me (NIV).” The waves indicate chaos. The psalmist is troubled and his soul is downcast (vs. 6).

[7] John H. Tullock, The Old Testament Story. Fifth Ed. (Upper Saddle River, New Jersey: Prentice Hall, 2000), 338.

The Psalter is at the heart of Biblical Christianity. It enlivens the soul and gives greater fullness to Biblical Revelation. It is impossible to conceive of special revelation apart from the Songs of Zion.[1] Furthermore, in the words of Professor Bruce Waltke:

The Psalter advances significantly the Bible’s message that God’s kingdom is irrupting into the world for his glory and our good.[2]

Indeed the hymnody of the church has been enriched when she sings from God’s songbook.[3] In a powerful way, God’s kingdom irrupts through songs of praise and lament.

The Psalter serves as a corporate call to worship. It is a strong rebuke to our individualistic society because it demands a corporate response. The people of God are drawn to the God of the Psalms. He is their creator and the heavens tell of his glory (Ps.19:1). The earth stands still at his majesty (Ps. 68:34) and the kingdoms of this world will be the kingdoms of our God (Ps. 110).

Though the Psalms are perhaps the most familiar to modern readers, it does not mean that modern readers grasp its significance, or further, the proper hermeneutic to understanding the Psalter. This paper attempts to shed light on two Psalms: Chapters 42 and 43.[4]

The Harmony of Psalms 42 and 43

The reader will note from a first glimpse of these two psalms that there is a certain harmony between them. Almost all psalms are accompanied by a brief statement called the “superscription” or a “title.” In some cases, superscriptions also indicate the authorship of the psalm. For instance, the title of Psalm 52 reads: “For the director of music. A maskil of David. When Doeg the Edomites had gone to Saul and told him: ‘David has gone to the house of Ahimelech.’ “[5] In this Psalm, the superscription reveals not only the Davidic authorship, but also the circumstance surrounding the psalm. Some scholars argue that the superscriptions are later additions to the Psalms. As evidence, scholars cite superscriptions that appear to be dated differently from the content of the psalm itself[6] and that the superscriptions do not harmonize with the content of the psalm. Though a minority view, it is best to understand these superscriptions as authentic.[7] For instance, Paul’s quotation of Psalm 32 in Romans 4 affirms Davidic authorship. However, Psalm 32 says nothing about Davidic authorship, but the superscription identifies the psalm as authored by David. Hence, Paul must have trusted the titles as authentic parts of the psalm itself.[8]

Psalm 42 introduces Book II of the Psalter that takes the reader to Psalm 72.[9] Its subscription reads: “For the director of music. A maskil of the Sons of Korah.”[10] Psalm 43 lacks a title. For this reason-and others-many have concluded that the absence of a title in a section where almost every psalm is titled, means that these two psalms were originally one. Furthermore, a common refrain of lament is repeated thrice in Psalm 42:5,11 and 43:5:

Why are you in despair, O my soul?
And why have you become disturbed within me?
Hope in God, for I shall again praise Him
For the help of His presence.[11]

These reasons affirm the harmony/unity of these psalms.

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[1] Some months ago, Professor Dr. W. Robert Godfrey was asked what book he would take to a desert island. His answer was unequivocally the Psalter.[2] Bruce K. Waltke, An Old Testament Theology (Grand Rapids, MI: Zondervan, 2007), 870.[3] This is not an indication that the Psalter is the only hymnody of the church, nevertheless, in some cases it has become a forgotten hymnal. I strongly urge a return to them.[4] This paper will use various translations in the process, though the NASB will be used with greater frequency, since it was Professor Currid’s main translation during the course.

[5] Pratt, Richard, ed. Spirit of the Reformation Study Bible: NIV (Grand Rapids: Zondervan, 2003), 858.

[6] Kirkpatrick argues that Psalm 69 was written after David’s death, hence it cannot be a legitimate part of the Psalter. See John D. Currid, from Judges through Poets course notes (Audio Lecture 13B)

[7] Professor Currid persuaded me of this position in his audio lecture 13A and B. See also Waltke’s brief defense of the superscriptions in his new Theology of the Old Testament. Bruce K. Waltke, An Old Testament Theology (Grand Rapids, MI: Zondervan, 2007), 871-874.

[8] Professor Currid also defends this position by citing OT examples and extra-biblical examples for the authenticity of the superscriptions. Waltke notes that like Psalms 42-43, Psalms 9-10 were also “unified psalms and later divided for liturgical reasons…” Waltke, K. Bruce, An Old Testament Theology (Grand Rapids, MI: Zondervan, 2007), 884.

[9] The Psalms is divided into five books: 1-41; 42-72; 73-89;90-106; and 107-50.

[10] Richard Pratt, ed. Spirit of the Reformation Study Bible: NIV (Grand Rapids: Zondervan, 2003), 846.

[11] Quotation from the New American Standard of the Bible.

Psalm 129 is a Psalm of great comfort to the church of Christ. Amidst turmoil, God promises that the enemies of Zion¹ will be put to shame and turned backward.² God promises that His glorious church ever shall prevail. As Calvin so perfectly summarized the purpose for the church’s suffering:

…that God subjects his Church to divers troubles and affections, to the end he may the better prove himself her deliverer and defender.³

Footnotes

1. Zion hear is a metaphor for where the reign of God is manifested, namely, among the church of God. [↩ back]
2. Psalm 129:5 [↩ back]
3. Commentary on Psalm 129 [↩ back]