Thursday, 9 May 2013

Memorizing the Psalms - 4 (35-37, 38-41)

In this series, I am considering strategies for memorizing all the psalms of the Hebrew Psalter.

We have only a few poems remaining in Book 1, a book in which all the poems except 4 are inscribed with the name David. Of the four,
  • Psalm 10 has no inscription since it is a continuation of Psalm 9, the two forming the first acrostic (poems in which the first letters of regular sections of the poetry are in alphabetic sequence.)
  • Psalms 1 and 2 introduce the whole Psalter.
  • Psalm 33 stands out as unique. It is the first poem to use the phrase 'a new song'.  
This fourth section of Book 1 follows the acrostic Psalm 34 and ends with the wicked acrostic, Psalm 37.
רִיבָה יְהוָה אֶת יְרִיבַי 35:1Contend יהוה with my contenders
נְאֻם פֶּשַׁע לָרָשָׁע בְּקֶרֶב לִבִּי36:2An oracle on the transgression of the wicked within my heart
אַל תִּתְחַר בַּמְּרֵעִים37:1about evildoers do not burn
  • 35, contention, is a poem that will be alluded to several times in subsequent books, notably Psalms 43 and 74, thus linking Book 1 to the second poem in each of Books 2 and 3.
  • 36, an oracle is one of two in the Psalter, Psalm 110 being the other. These two are one half of the major chiasm Psalms 8(a) -- 36(b) -- 110(b) -- 144(a) providing an overarching internal structure to the Psalter within the envelope of Psalms 2 -- 149.
  • 37, an acrostic on the wicked, has an inner repetition of those waiting for יהוה who will possess the earth.
There are groups of psalms at the end of each book that work as coda for each book or as entr'acte.
  • In Book 1, this is the group Psalms 38-41. 
  • In Book 2, it is the soliloquy Psalm 71 and the hope for the king's son expressed in Psalm 72, inscribed of Solomon. 
  • In Book 3, the final corporate lament, Psalm 89 of Ethan, stands alone with respect to inscription (though it is prepared by Psalm 88). 
  • In Book 4, Psalms 104 to 106 are outside the frame formed by the two prayers 90 and 102, with the two psalms of David 101 and 103 surrounding the closing frame. 
  • In Book 5, the final series of praises, 146 to 150, follow the fourth acrostic. See this earlier post on these five psalms, also part of this series.
There are only four poems remaining in Book 1:
יְהוָה אַל בְּקֶצְפְּךָ תוֹכִיחֵנִי38:2יהוה - do not in your rage correct me
אָמַרְתִּי אֶשְׁמְרָה דְרָכַי מֵחֲטוֹא בִלְשׁוֹנִי39:2I said I will keep my ways from sin with my tongue
קַוֹּה קִוִּיתִי יְהוָה40:2waiting I await יהוה 
אַשְׁרֵי מַשְׂכִּיל אֶל דָּל41:2Happy the one giving insight to the weak
  • Psalm 38 reminds us directly of Psalm 6.
  • Psalm 39, almost comical, reports the explosive question in the human spirit.
  • Psalm 40, directly quoted in Hebrews 10:5-7 pleads for speed. Part of it is doubled in Psalm 70, joining the end of Book 1 to the end of Book 2.
  • Psalm 41 begins with the closing beatitude of Book 1, a particularly lovely experience when observed in others.

Thursday, 25 April 2013

Memorizing the Psalms - 3 (26-34)

In this series, I am considering strategies for memorizing all the psalms of the Hebrew Psalter. The first has to do with hearing the first few words of a psalm (not always unique). Along with this is the observing of a story line in the sequence of psalms.

We have seen to date the first 10, and the second 15, continuing the theme of refuge and containing a series concerning the elect from Psalm 18-24. Here are the next 9, from Psalm 26 to Psalm 34 in book 1, ending with the third acrostic.
שָׁפְטֵנִי יְהוָה כִּי אֲנִי בְּתֻמִּי הָלַכְתִּי 26:1Judge me יהוה for I myself have walked in my completeness
יְהוָה אוֹרִי וְיִשְׁעִי מִמִּי אִירָא27:1יהוה my light and my salvation whom will I fear?
אֵלֶיךָ יְהוָה אֶקְרָא 28:1To you יהוה will I call
הָבוּ לַיהוָה בְּנֵי אֵלִים29:1Ascribe to יהוה children of gods
אֲרוֹמִמְךָ יְהוָה30:2I will exalt you יהוה 
בְּךָ יְהוָה חָסִיתִי31:2In you יהוה I take refuge
אַשְׁרֵי נְשׂוּי פֶּשַׁע32:1happy transgression borne away
רַנְּנוּ צַדִּיקִים בַּיהוָה33:1Shout for joy, righteous ones, in יהוה 
אֲבָרְכָה אֶת יְהוָה בְּכָל עֵת34:2I will bless יהוה at all times
  • Psalm 26 is bold  in our ears. Who would invite judgment? Note how it recalls the central portion of Psalm 18 and the language of Psalm 1.
  • The central verse 7 of Psalm 27, Hear יהוה my voice, I will call // and be gracious to me and answer me, repeats the requests of Psalms 3 and 4.
  • 28 is a plea that יהוה not be silent.
  • 29 responds with the voice of יהוה. Voice occurs 7 times in this poem.
  • 30 is praise for healing and the poet sings and so is also not mute.
  • 31 continues the statement of refuge and trust in יהוה.
  • 32 is cited by Paul in Romans and contains instruction concerning horses and mules. 
  • 33, a poem that has no inscription, stands out among the psalms inscribed 'of David' (3 to 41). It is the first to instruct the singing of a new song. This poem is worthy of the celebratory acrostic that follows.
  • 34, recalling the madness of taste, (the inscription and verse 9, Hebrew numbering) closes this section. Its words strongly reflect those of Psalm 33.

Monday, 15 April 2013

11X Cyril, 12X Theodoret of Cyrus

This is the last of the series, (for the moment) on Brevard Childs' The Struggle to understand ISAIAH as Christian Scripture.

Of Cyril, (c 378-444), Childs comments on the literal and spiritual senses of Scripture according to Cyril, that precisely what he means by literal is not immediately obvious. Twice Childs says that Cyril has 20 different terms for the literal and 20 different terms for the spiritual - but Childs never lists them. Perhaps this is because he is reporting on the work of Kerrigan - and reporting the work of another (as I am doing) can leave much out. But he does report a few: the literal includes what is perceived by the senses, including the legal, material prosperity, ordinary things of the earth, animals, plants, food; the spiritual includes truth, value, the hidden, the spiritual (?). This is not very helpful. Self-inclusive taxonomies are always suspect. Eventually he comes to the position of Neall - that the spiritual is Christological.
The Old Testament is certainly the source of divine illumination, but it is also accompanied by shadows. Therefore it is not to be compared with the unadulterated light radiated by Christ. Its light is compared to that of the moon, while the gospel shines with the brightness of the noonday sun... The law is perfect and imperfect as one and the same... perfect if it is understood spiritually (since it speaks to us of Christ's mystery); imperfect if the mind of those who are being instructed does not go beyond the letter...
I find this summary, quite frankly, somewhat appalling. We are being blinded by a darkness of words, and there is no fire to purge the air. If indeed God is in Christ, which I believe, then the same God is in the examples that are written for us. God lives in his metaphors and makes them real in those who seek. And of course you know that whoever seeks, finds. This is how the Spirit works, hearing and learning - not by formula and mistranslation.

Childs has better luck in my opinion with a sermon of Cyril's on the rod of Isaiah 11:3.

Of Theodoret (of Cyrus) ... I will continue my study of the ancient and modern voices of Christian prejudice at a later date - hopefully.

8X - Eusebius, 9X - Jerome, 10X - Chrysostom

I have returned my books to the library for a rest. But I must give you at least a briefest of summaries continuing the series, on Brevard Childs' The Struggle to understand ISAIAH as Christian Scripture.

Eusebius of Caesarea (c 260-340) is best known for his Ecclesiastical History and his Onomasticon, but recently "an almost complete commentary on Isaiah, long thought lost," has been discovered. In the spirit of his times, Childs writes, Eusebius "focuses his attention, above all, on showing that the message of the Old Testament was consistent in its promise of God's blessing to the nations who form God's new people into a godly polity."

I guess we shouldn't be surprised at this successionist position. It was the default position up until the middle of the last century.

Eusebius appears to have relegated allegory to the periphery of his interpretive work, but also to have used it. E.g. with respect to the prophecy concerning (not against) Egypt in Isaiah 19:1, he interprets it "according to its 'historical sense' ... as the body that he received when formed through the Holy Spirit by the blessed virgin." I suppose this is more Christological rather than allegorical, but it is not literal as is his interpretation of Isaiah 19:4, where "the hand of a hard master is literally fulfilled ... when, at the end of the Ptolemaic rule, Egypt was conquered by the Romans." And this too is long-distance (400 years) after the fact attribution, hardly a historical reading, but more a shot in the dark.

Of Jerome, the part I noted on my first reading remains the highlight for me. That is his careful attention to grammar and philology. So in Isaiah 6:6, he recognizes an ambiguity "of whether the seraphim covered God's face and feet or their own with their wings". The KJV preserves the ambiguity. Most other translations switch to plural their rather than his. Ottley notes that the LXX switches to the plural. But Isaiah needs protection from the fire, so it would make sense that the angels who always behold the face of God, would cover his face on behalf of the human.

Of the honey-tongued Chrysostom, his concern with the poor and the helpless speaks well of him. With respect to allegory in relation to the Song of the Vineyard (Isaiah 5), he writes: "We ourselves are not the lords over the rules of interpretation, but must pursue scriptures' understanding of itself, and in that may make use of the allegorical method. ... This is everywhere a rule in Scripture: when it wants to allegorize, it tells the interpreters of the allegory, so that the passage will not be interpreted superficially. ... For Chrysostom, a proper use of allegory is to recognize the figurative dimension implied by the text itself."

Saturday, 13 April 2013

How does Arabic poetry behave as rhetoric compared to Hebrew poetry?

Y'all know of course that Arabic and Hebrew are cognate languages.

Many Arabic and Hebrew words are the same. The prepositions and pronouns behave similarly, and verbal forms are not too dissimilar. E.g. your house:
Modern Standard Arabic certainly contains enclitic pronouns. These are pronouns that function syntactically like independent morphemes but which are phonologically dependent upon other morphemes. Enclitics come after their host morpheme (as opposed to proclitics and mesoclitics which do what their names imply). So, in Arabic you have bayt-u-ka (house-Nominative-marker-2nd person masculine singular pronoun) = your house. [from Dr. Marcus Tomalin via email.]
Another example is seen in the first word below: bismi - in the name of bi-sm-i. prefix b, the same as Hebrew meaning 'in', root sm, similar to the Hebrew shem, suffix i, like the Hebrew construct. The text below is the first four words of the Koran. In English: In the name of Allah, compassionate, merciful. [updated]

Over the past several weeks I have had conversations with a colleague about Arabic so I have begun to experiment a little. I have organized my software to present Arabic in its tables (having learned a little about the alphabet over the last week or two) so that I can perform some rhetorical analysis on the words, somewhat like this.

Word123VsRoot
بِسْمِ
░
1سمو
اللَّهِ
░
1اله
الرَّحْمَنِ
░
1رحم
الرَّحِيمِ
░
1رحم

I haven't much data yet.  If you would like to submit some data, please leave me a comment. I need about 70 words to do a proper experiment. For each Arabic word, I need the word, and the root of the word in Arabic and in transcription (or do just the Arabic - I may be able to figure the transcription out myself - good exercise).



Friday, 12 April 2013

The God of war and violence

There is an exploration about God and violence here. In order to keep 'inspiration', the writer, Jeremy Myers, has to invoke a bit of double-think. That God inspired the error in Scripture.

I agree that this gets around the problem but what does it mean but that we have to put our brains in gear to read history. (Scripture is historical - but much of it didn't happen of course.)

Jeremy recognizes that the theological advice of Job's friends is suspect. This is the first step towards reading Job as parable. Yes, the man there was from the land of Uz is a parable, a once-upon-a-time story. The second step is to see in the opening of Job a direct confrontation with the theology of Deuteronomy 28. Ticciati (Job and the Disruption of Identity) contends that what is "at stake in the book of Job is ... the Deuteronomic Covenant itself." So this book has much in common with e.g. Psalm 89 where the promises to David are questioned. Job can even be seen as an image of Israel during its trial in exile. Just to touch on the direct allusions to the covenant, consider the successive destruction of Job's livestock and children, Deuteronomy 28:31-32 and the final straw, Job 2:7 echoes Deuteronomy 28:35. All this in the context of blessings and cursings.

The third step is to realize that the book of Job describes itself as parable. Therefore the 'history' is irrelevant. What is history about Job is that this discourse was written some 2500 or so years ago. They wrote literature in those days too. Job is a literary setup to argue a point or two of theology.  To read it as life is to make it a horror story. Such a reading completely undermines the tenderness in this text.

Part of the theological problem is a set of words which are indefinable: God, spirit, divine, inspired, etc. These rapidly become a house of cards within our thought process, because in thinking, writing, and conversation, the indefinable is poorly used.  Example: use the divine passive (safe) rather than God as subject of a sentence (unsafe).  The divine passive is safe because the actor remains indeterminate.  Theological discourse is a knife-edge.

So what do I do with my warrior King? (Exodus 15:3).
יְהוָ֖ה אִ֣ישׁ מִלְחָמָ֑ה יְהוָ֖ה שְׁמֹֽו. 
And what will I do with Amalek? (Exodus 17:16).
וַיֹּ֗אמֶר כִּֽי־יָד֙ עַל־כֵּ֣ס יָ֔הּ מִלְחָמָ֥ה לַיהוָ֖ה בַּֽעֲמָלֵ֑ק מִדֹּ֖ר דֹּֽר
This is a fascinating phrase - literally: And he said, for the hand on the throne of Yah (not the full name) is war in Amalek from generation to generation.

(Whose hand is on the throne of Yah?) I also ponder that command among many to destroy the Amalekites. Surely we have here a comment that borders on allegory directly in the Scripture itself - just as Job attacks the assumptions of Deuteronomy.  If you will have it, Egypt is the world, and Amalek the flesh. But the allegory is a rationalization (slight improvement on double-think). We must somehow find the tenderness in the warrior.

I said in a recent post,
The character of the Lord is again determined by his actions, frequently listed in the psalms, and never (outside the recitals of the canonical history and the eschatological hope) are they violent or creating the poor and the displaced. The God who promises is not a God who fulfills promises by violence.
Then I said - I had work to do to substantiate this. Well, I think I can. There is this way of putting it:

The God who becomes incarnate takes all violence into himself. (Careful, this is not a long distance cop-out).

So - who is this God who becomes incarnate? When did this God start doing this? God's violence is attributed to God by the Biblical writers. From the point of view of Israel, escape from slavery was God's work. Egypt reaped its just reward. (And God was grieved.) Once redeemed, the people rebel and spend some time reaping their own consequences. (And God was grieved. Read Psalm 78.) Their weakness is exemplified in the objectivized enemy, Amalek.

Yet God still plants the people in their land. In the land, enemies abound, troubles are plentiful, the people want a king, and the king takes full advantage of power. (And God was grieved.) The line of kings fails (Psalm 89). The people are exiled. Turning the captivity of Israel is frequent in the psalms (e.g. 14, 53, one of the doubled psalms). The destruction of the enemy is Israel's prayer but it takes time to realize how much of the enemy is in themselves.

We have this canonical history, a history of a rebellious and self-serving people with rebellious and self-serving leaders and a history of violent redemption attributed to God. Is this to be an example of redemption for the world, an example of good and evil, of love and destruction, of merciful and merciless? What else does one do with children who have to learn good and evil? What then are we to learn from this canonical example, wrenched out of a violent history?

Why should we have any hope with such an example? Perhaps it is just the wonder of the tenderness that is shown to us through others who care. Is the final hope still subject to violence because the violent and self-serving still manage to get their way in this life?  What is the consequence? The destruction of the earth as described by Isaiah 24:6 - probably reflecting an observer in war.  I noted the rhetoric of this passage here. You can ignore the funny letters - just look at the shape. 24:6 is right in the middle - and does it not describe the lust for wealth and the consequence for the earth and for us?  Do not our actions today result in injustice that will bring about a similar result?

Who will deliver us then?  The God who takes on the consequences of all violence? That is the theory of the incarnation but maybe there is no deus ex machina acting here, but rather the God of Psalm 146 - whose present action is restoration and healing and who achieves this result through the actions of a people who have learned mercy (Psalm 149). If we imitate those actions in the ongoing present tense that are attributed to God, then we too will be taking on the healing of the world rather than its destruction.

But wait - what if I don't want to, um, take on the violence of this world? It's more than a bit inconvenient. I prefer to use avoidance strategies. There is an argument for delay. Healing takes time too. Wait for the right time, but obey the command when it comes - Don't be like horse and mule (Psalm 32). In the canonical story of the new song, even Jesus slipped away from the crowds (who would have thrown him off a cliff, Luke 4:29), or let others take the heat when the moment was not right (as at the death of the innocents when Rachel was weeping for her children, Matthew 2:18).

Wednesday, 10 April 2013

Memorizing the Psalms - 2 (11-25)

The Psalter is a poetic record of a story -
  • of an invitation (1-2), a king-poet-musician-beloved named David (whose psalms dominate Book 1 - 3 to 32, 34 to 41 and who has at least 1 psalm in every book), 
  • a people who are in exile but who continue in hope (42-72), 
  • a people whose monarchy failed (73-89), 
  • a people who pray in the spirit and tradition of Moses and whose Ruler is Yhwh (90-106), 
  • a people who have learned mercy and can administer it under the instruction of their covenant with this God (107-150).
Each of these groupings is bounded by a doxology. But the chunks are too big to memorize all at once. It's a month's food. Indigestion follows if one tries to eat it all at once. In my first post on this subject, I noted the coherence of the first lines for the first 10 psalms. Each of Books 1 and 5 contains four strategically placed acrostic poems.  Psalms 9-10 are the first acrostic. The next step then in Book 1 then is from Psalm 11 to 25, the second acrostic. Here are the snippets of the first verses.
בַּיהוָה חָסִיתִי11:1In יהוה I take refuge
הוֹשִׁיעָה יְהוָה כִּי גָמַר חָסִיד12:2Save יהוה for obliterated is the merciful one
עַד אָנָה יְהוָה תִּשְׁכָּחֵנִי 13:2How long please יהוה will you forget me?
אָמַר נָבָל בְּלִבּוֹ14:1Senseless said in its heart
יְהוָה מִי יָגוּר בְּאָהֳלֶךָ15:1יהוה who will guest in your tent?
שָׁמְרֵנִי אֵל כִּי חָסִיתִי בָךְ16:1Keep me O God for I take refuge in you.
שִׁמְעָה יְהוָה צֶדֶק17:1Hear יהוה righteousness
אֶרְחָמְךָ יְהוָה חִזְקִי18:2I am passionate about you יהוה my courage
הַשָּׁמַיִם מְסַפְּרִים כְּבוֹד אֵל19:2The heavens recount the glory of God
יַעַנְךָ יְהוָה בְּיוֹם צָרָה20:2יהוה answer you in the day of trouble
יְהוָה בְּעָזְּךָ יִשְׂמַח מֶלֶךְ21:2יהוה in your strength a king is glad
אֵלִי אֵלִי לָמָה עֲזַבְתָּנִי22:2My God, My God, why have you forsaken me?
יְהוָה רֹעִי23:1יהוה is my shepherd
לַיהוָה הָאָרֶץ24:1The earth is יהוה's
לְדָוִד אֵלֶיךָ יְהוָה נַפְשִׁי אֶשָּׂא אֱלֹהַי 25:1א I will lift up my self to you יהוה my God
One of the things you notice right away is that the Hebrew verses have different numbers from the English. The first text beyond the inscription is sometimes part of verse 1 and sometimes verse 2 (or even as far away as verse 3). The reason for this is that the inscription may be a complete musical phrase in itself (as in Psalm 12) or it may be just the beginning of a musical phrase (as in Psalm 14). I have not retained the whole verse as a mnemonic. Remember how short the Latin titles for the psalms are. So these 15 psalms reduce to a short list.

Which of these psalms reflect something of the first 10? See the  first post. Notice how

  • 11 and 16 recall the refuge of Psalm 7. Refuge, a desirable outcome (see the closing verses of Psalms 2 and 5), is a learned experience that we will see at the beginning of several Psalms. 
  • 12 is a plea for salvation for even the elect is obliterated. The inner frame is the children of humanity, recalling Psalm 8.
  • 13 asks how long please? 
  • 14 describes the senseless - for whom God is of no account. 
  • 15 recalls Psalm 1 as if the sequence is responding to that invitation.
  • 16 notes God's role in the act of refuge.
  • 17 reveals much of the poet's desire, the poet defines righteousness. The central verse again concerns refuge.
  • 18 has a unique passion. 
  • 19 is about creation (and Torah). 
  • 20 is a prayer for the king. 
  • 21 is the response. 
  • 22 is trouble but ends in worship. 
  • 23 is respite. 
  • 24 records who owns the land and a triumphant entry commanding the gates to lift up their heads. 
  • 25 is the celebratory acrostic. Notice the immediate reference to lift up in Psalm 24 and the closing reference to refuge. 

A question arises - why are these poems in this order? The whole sequence is framed by refuge. In addition, Psalms 18 to 24 introduce passion, teaching, prayer, response, trouble, respite, and triumph. A central component for consideration is the section from Psalm 18, verses 20 to 25. You will find it here as part of my presentation on the structure of the Psalter.