Property: Text
From Psalms: Layer by Layer
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In the phrase '''the heart of the deepest sea''' (בלב ימים), "the heart" represents a part of the divided whole ("the sea"), and the preposition ב indicates the sphere or space, where the mountain slide into.'"`UNIQ--ref-00000000-QINU`"' +
In terms of notable vocabulary in v. 3, the verbs מור and מוט are of significance. As noted above, the ''hiphil'' inf. cons. בהמיר is understood as coming from מור I, meaning a "process by which objects take on different characteristics--to change" (''SDBH'').'"`UNIQ--ref-00000000-QINU`"' Hence, here, v. 3a should be read as "though the earth change" (cf. NRSV, NASB1995, KJ21 %5B“though the earth be removed”%5D, etc.).'"`UNIQ--ref-00000001-QINU`"' +
Another notable verb in this verse, as well as in the Psalm as a whole (vv. 3, 6, 7), is rendered here as '''topple''' (מוט). In Hebrew, it signifies a “state in which an object is not firmly fixed to the surface on which it stands so that it can move or slip” (''SDBH''; cf. ''BDB, HALOT'').'"`UNIQ--ref-00000003-QINU`"' In Ps 46:3, it indicates that even though the mountains are symbols of security and stability, they can, so to speak, lose their balance and slide into the sea (on which see further the Imagery table below). By contrast, negated and used in reference to the city of God in v. 6, מוט represents the city's secure position, that is, it will not be compromised by “moving" or "sliding”. It will stand immovable, no matter what.'"`UNIQ--ref-00000004-QINU`"' Unlike the city, however, its opponents (the kingdoms in v. 7) are said to be able to “slip” and "fall". Therefore, “%5Bt%5Dhe divine protection is here depicted as true stability in a world where powerful foreign nations are fundamentally unstable.”'"`UNIQ--ref-00000005-QINU`"' +
In CBC, v. 4 is rendered as '''Though its waters foam in rage. Though mountains quake at its surging.''' In v. 4a, the two verbs יהמו יחמרו ("foam in rage") are taken as a serial verb construction, i.e., “a sequence of verbs which act together as a single predicate. Serial verbs are always monoclausal and are pronounced as a single verb would be. The components of a serial verb construction share tense, aspect, modality, reality status, evidentiality, mood, and also polarity values. A serial verb construction typically refers to what can be conceptualized as one event, and one recognizable event type, in terms of cultural stereotypes available to the speakers. Serial verbs tend to share at least one argument. An overwhelming majority of serial verbs have a single overall argument structure, with the subjects, objects and obliques belonging to the whole construction.”'"`UNIQ--ref-00000015-QINU`"' These verbal forms (and clauses) are then taken as a semantic continuation of the events of the infinitival clauses in v. 3.'"`UNIQ--ref-00000016-QINU`"' Significantly, יהמו יחמרו is echoed in v. 7, where the nations are also said to be "roaring" or "raging". +
V. 4 contains several construct phrases (for which see also the Grammatical Diagram above). In the constituent '''its waters''' (מימיו), the suffix "its" refers back to "the sea" in v 3. and represents possession (i.e., "waters" belong to or are a constituent part of the “sea”).'"`UNIQ--ref-00000000-QINU`"' Incidentally, the plural form "seas" from v. 3 should be understood as signifying intensification, i.e., "seas"%3D"the deepest sea."'"`UNIQ--ref-00000001-QINU`"' +
In the phrase '''its surging''' (בגאותו) the third masculine singular suffix (ו) refers back to the sea as subject, indicating its turbulence (i.e., the surging which is performed by the sea). The precise function of the preposition ב in this phrase is not straightforward. Given its context, it could serve either temporally, i.e., the mountains quake ''at'' or ''when'' the surging of the sea takes place'"`UNIQ--ref-00000000-QINU`"', or instrumentally (or causatively), i.e., the mountains shake “with” (or “because of”) the sea's surging.'"`UNIQ--ref-00000001-QINU`"' In this psalm, the two uses of ב can be taken as coinciding, that is, the sea ''causes'' the mountains to move (instrumental/causative), and the mountains begin to move ''at'' the point of the sea's impact on them (temporal). +
The verbs רעש, חמר, המה are important to the message of Psalm 46 (for the first two, see further Poetic Feature %5BIntoxication and Warfare%5D; for רעש, see %5B%5BThe Raging Waters in Ps 46:2-4%5D%5D). +
The verb רעש (''qal'', intransitive) means "to quake, shake, tremble" and "to toss, rage, undulate."'"`UNIQ--ref-00000003-QINU`"' As such, it appears with elements in creation and architectural structures (e.g., Jer 8:16; 10:10; 49:21; Isa 24:18 %5Bof the foundations of the earth%5D; Joel 2:10 %5Bof heavens%5D; Joel 4:16 %5Bof heavens and earth%5D; Jer 4:24 %5Bof mountains%5D; Ezek 26:10 %5Bof walls%5D; Am 9:1 %5Bof thresholds%5D). In Ps 46:3-4, the rhetoric of shaking is reminiscent of the shaking of the earth (cf. Isa 24:19–20) and the trembling of mountains (cf. Isa 54:10; Hag 2:6). +
The verb חמר means "to ferment, boil, or foam up" (''BDB; HALOT''), and represents the “process by which liquids form small bubbles, due to agitation or fermentation” (''SDBH''). Hence in Ps 46:4, the image associated with the waters of chaos also reflects the fermenting process in the production of wine and beer (cf. Ps 75:8).'"`UNIQ--ref-00000000-QINU`"' +
The verb המה is also of interest, as it appears twice in the psalm (vv. 4, 7). Generally, the verb connotes “an action by which humans, animals, or objects produce a variety of sounds" (''SDBH''), hence "to murmur, growl, roar, be boisterous" (''BDB''; ''HALOT''). With waters (cf. v. 4), it represents the roaring and '''raging''' of waves (e.g., Jer 5:22; 31:35; Isa 51:15), and with human subjects (cf. 7), it connotes the roaring and being tumultuous of multitudes (e.g., Isa 17:12; Jer 6:23; Jer 50:42; 51:55; cf. Ps 83:3). Of further interest here is that המה can signify being boisterous due to inebriation (Zech 9:5; Prov 20:1), on which, see further the Imagery tables and Poetic Feature 3 (Intoxication and Warfare) below.'"`UNIQ--ref-00000000-QINU`"' +
Regarding the significance of the noun '''surging''' (גאוה) in v. 4, Kraus noted that here “the archetypal flood lifts its head in ‘presumption’ and causes the hills to quake.”'"`UNIQ--ref-00000002-QINU`"' Representing the human enemy forces (cf. v. 7; %5B%5BThe Raging Waters in Ps 46:2-4%5D%5D), this behavior of the chaotic sea waters can be compared and contrasted with v. 11, wherein God is twice said "to be exalted" among the nations and in all the earth. For more on גאוה, see the Venn Diagram below:
%5B%5BFile:Psalm 046 - Frame 29.jpg%7Cclass%3Dimg-fluid%7C700px%5D%5D +
V. 5 contains several construct phrases (for which see the Grammatical Diagram above). In the constituent '''its streams''' (פלגיו), the suffix "its" represents possession, i.e., it refers to the river to which "the streams" belong or of which they are a constituent part. +
In the collocation '''the city of God''' (עיר־אלהים), the second member, "God", functions as a “possessor” of the first, that is God owns the city and the city belongs to him. +
In the '''holy dwelling''' (קדש משכני), the adjective “holy” acts as a substantive in construct with a noun.'"`UNIQ--ref-00000000-QINU`"' The plural form משכני is best understood as a plural of degree or of amplification, emphasizing the special character of this locale.'"`UNIQ--ref-00000001-QINU`"' The '''dwelling of the Most High''' (משכני עליון) further nuances the relationship between God and the city, namely, the city serves as the residence of the Most High.'"`UNIQ--ref-00000002-QINU`"' Additionally, משכני עליון stands in apposition to the preceding עיר־אלהים, once again pointing out the role played by the city, i.e., housing or accommodating its divine patron.'"`UNIQ--ref-00000003-QINU`"' +
As the preceding verses, v. 6 contains several construct phrases (for which see further the Grammatical Diagram above). The constituent '''in the midst of it''' (בקרבה) signifies the presence of God ''in'' his city and among his residence; again, the preposition ב here indicates “the idea of being or moving within some definite region, or some sphere of space.”'"`UNIQ--ref-00000004-QINU`"' +
In the collocation '''at the approach of morning''' (לפנות בקר), literally, "in the turning of %5Bor which is performed by%5D morning", the preposition ל is used temporally, appearing a number of times in constructions similar to לפנות בקר and signifying the “turn toward, approach, of some specific time."'"`UNIQ--ref-00000003-QINU`"' Of interest for Psalm 46 is that in HB, early morning is closely associated with warfare, both with the time of aggression and attacks (e.g., Josh 8:10-14; Jdg 9:33) and the time of deliverance (e.g., Exod 14:27-28; Isa 17:12–14; 29:5-7; 37:36; Ps 5:4; 30:5; 130:6). +
As previously discussed (see notes for v. 3), the verb "to move/topple" is of particular significance to the message of the psalm. Here it applies to the city of God, representing its security. +
In '''with his %5BGod's%5D voice''' (בקולו), the only construct phrase in v. 7, the preposition ב is instrumental, i.e., it represents "the means or instrument %5Bor even the personal agent%5D, as something with which one has associated himself in order to perform an action”.'"`UNIQ--ref-00000000-QINU`"' Here, it would be God using his voice as an instrument, literally, "giving with his voice", which in turn can be read as '''he %5BGod%5D thundered with his voice.''''"`UNIQ--ref-00000001-QINU`"'
Such description of God and the use of his voice coheres well with a number of extra-biblical accounts related to storm deities and their manifestations. E.g., an Akkadian inscription which speaks of the Babylonian storm-god Adad as the one "... at whose voice the mountains rock the seas swell" (The Kurbaail Statue of Shalmaneser 111, 1.6). Or "Ishkur . . . great storm, . . . who masses the clouds, at his rushing in the storm wind he causes the earth to tremble. In broad heaven he is a mighty wind which roars, whose %5Brum%5Dble is abundance. At his roar the land and the great mountains are afraid. . . At his thundering (over) the sea (and) covering the land with ra<diance>, great (hail)stones rain" (Sin-Iddinam).'"`UNIQ--ref-00000002-QINU`"' Using his voice in v. 7, God not only defeats the city's enemies but also, potently, impacts the whole earth, that is, he makes it '''melt''' (מוג).'"`UNIQ--ref-00000003-QINU`"' +
The verb מוג represents a “process by which a relatively hard object becomes softer” (''SDBH''). In HB, it often indicates helplessness and terror, especially in “holy war” traditions.'"`UNIQ--ref-00000000-QINU`"' Hence, it describes a "process by which people are strongly affected by fear" and lose courage (literally, their "heart" or "soul" can melt; ''SDBH''). With "earth" as its subject, מוג signifies melting or dissolving of the earth in response to theophanies, in response to God’s punitive actions (e.g., Am 9:5). In v. 7, amidst the turmoil orchestrated by human forces, God raises his voice (cf. Ps 29; the Ugaritic texts %5Be.g., ''CTA'' 4.v. 70%5D), and “the very earth, which is the setting for the power of human states, 'melts' beneath them (v 7d).”'"`UNIQ--ref-00000001-QINU`"' +
V. 8 contains several construct phrases (for which see the Grammatical Diagram above). The name יהוה צבאות is thought to be short for '''YHWH, the God of Hosts.''''"`UNIQ--ref-00000000-QINU`"' In "the God of Hosts" (reconstructed as אלהי צבאות), the first member, "God", would be the one who possesses and commands heavenly hosts or armies.'"`UNIQ--ref-00000001-QINU`"' In the name יהוה צבאות, the two elements are in apposition, with the second member, "%5Bthe God of%5D Hosts", specifying the status or role (or even characteristic) of the first member, "YHWH" (and "God"). In other words, God here is cast as a warrior who leads his heavenly armies into battle.'"`UNIQ--ref-00000002-QINU`"' Without restoring "the God of", some, however, render this name as "Yhwh Armies"'"`UNIQ--ref-00000003-QINU`"' and others take it as "YHWH of Hosts". +