Psalms:
Bk 1: 1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 16 17 18 19 20 21 22 23 24 25 26 27 28 29 30 31 32 33 34 35 36 37 38 39 40 41
Bk 2: 42 43 44 45 46 47 48 49 50 51 52 53 54 55 56 57 58 59 60 61 62 63 64 65 66 67 68 69 70 71 72
Bk 3: 73 74 75 76 77 78 79 80 81 82 83 84 85 86 87 88 89
Bk 4: 90 91 92 93 94 95 96 97 98 99 100 101 102 103 104 105 106
Bk 5: 107 108 109 110 111 112 113 114 115 116 117 118 119a 119b 120 121 122 123 124 125 126 127 128 129 130 131 132
133 134 135 136 137 138 139 140 141 142 143 144 145 146 147 148 149 150
Additional Psalms: 151 152 153 154 155 156 157 158 159 160 Samuel Chronicles
Essays: Intro - Music - Form & Language
63:1 MIZMOR LE DAVID BE HEYOTO BE MIDBAR YEHUDAH
מִזְמוֹר לְדָוִד בִּהְיוֹתוֹ בְּמִדְבַּר יְהוּדָה
BN (BibleNet translation): A Mizmor for David, when he was living in the wilderness of Yehudah.
Once again we have a Psalm out of chronological order (I think I want to say "we have lost the plotology"!); this should come after Nov (1 Samuel 21) and before Naval (1 Samuel 25), though there is nothing to tell us where this stands in relation to Ziph (1 Samuel 23) or the two meetings with Sha'ul (1 Samuel 23 and 24 and). Why the disorder? I presume that originally these were the libretto for a grand opera recounting the life of David, some Kena'ani equivalent of the mediaeval Mystery and Miracle plays in Christian Europe, but when they became adopted by the Beney Yisra-El, the play was dropped, because theatre didn't accord with Temple practice, and the libretti were adapted, fitted into the Temple ceremonies as suited its needs.
Once again we have a Psalm out of chronological order (I think I want to say "we have lost the plotology"!); this should come after Nov (1 Samuel 21) and before Naval (1 Samuel 25), though there is nothing to tell us where this stands in relation to Ziph (1 Samuel 23) or the two meetings with Sha'ul (1 Samuel 23 and 24 and). Why the disorder? I presume that originally these were the libretto for a grand opera recounting the life of David, some Kena'ani equivalent of the mediaeval Mystery and Miracle plays in Christian Europe, but when they became adopted by the Beney Yisra-El, the play was dropped, because theatre didn't accord with Temple practice, and the libretti were adapted, fitted into the Temple ceremonies as suited its needs.
63:2 ELOHIM ELI ATAH ASHACHARECHA TSAM'AH LECHA NAPHSHI KAMAH LECHA VESARI BE ERETS TSI'AH VE AYEPH BELI MAYIM
אֱלֹהִים אֵלִי אַתָּה אֲשַׁחֲרֶךָּ צָמְאָה לְךָ נַפְשִׁי כָּמַהּ לְךָ בְשָׂרִי בְּאֶרֶץ צִיָּה וְעָיֵף בְּלִי מָיִם
KJ (63:1): O God, thou art my God; early will I seek thee: my soul thirsteth for thee, my flesh longeth for thee in a dry and thirsty land, where no water is;
BN: Elohim, you are my god; earnestly I will seek you [in the dawn]. {N} My soul thirsts for you, my flesh longs for you, {N}in a dry and weary land, where there is no water.
ASHACHARECHA: Is this linked to Ayelet ha Shachar, the crack of dawn of several previous Psalms? The choice of verb insists on it, and it is intrinsic and implicit in the Yehudit, which is why I have added my square bracket.
BE ERETS TSI'AH: The second part of this verse is constructed, we might say, out of a heap of broken images, where the sun beats, and the dead tree gives no shelter, the cricket no relief, and the dry stone no sound of water. But we will also see, as we read on, that Tsur Yisra-El, the rock of Israel, is there to bring fertility, even if it is only a little life with dried tubers. Because there is shadow under this red rock, and we will be invited, in different language and imagery, but with the same intent, to "come in under the shadow of this red rock".
The quotes are all from the opening of T.S. Eliot's "The Wasteland" - though I have deliberately left out the lilac trees! And should not have done - much of the language here links to Judges 9, and the war of the trees (which Tolkien also uses in his version of the Ring Cycle, "The Lord of the Rings"), which in the Celtic is called the Cad Goddeu - so it isn't entirely minus the lilacs; but the lilacs grow out of the dead land, and we have to get to the end of the Psalm before the restoration of fertility permits that. For now, it is not even Ayelet ha Shachar yet, and no flower opens until the dawn in fully broken.
63:3 KEN BA KODESH CHAZIYTIYCHA LIR'OT UZCHA U CHEVODECHA
BE ERETS TSI'AH: The second part of this verse is constructed, we might say, out of a heap of broken images, where the sun beats, and the dead tree gives no shelter, the cricket no relief, and the dry stone no sound of water. But we will also see, as we read on, that Tsur Yisra-El, the rock of Israel, is there to bring fertility, even if it is only a little life with dried tubers. Because there is shadow under this red rock, and we will be invited, in different language and imagery, but with the same intent, to "come in under the shadow of this red rock".
The quotes are all from the opening of T.S. Eliot's "The Wasteland" - though I have deliberately left out the lilac trees! And should not have done - much of the language here links to Judges 9, and the war of the trees (which Tolkien also uses in his version of the Ring Cycle, "The Lord of the Rings"), which in the Celtic is called the Cad Goddeu - so it isn't entirely minus the lilacs; but the lilacs grow out of the dead land, and we have to get to the end of the Psalm before the restoration of fertility permits that. For now, it is not even Ayelet ha Shachar yet, and no flower opens until the dawn in fully broken.
63:3 KEN BA KODESH CHAZIYTIYCHA LIR'OT UZCHA U CHEVODECHA
כֵּן בַּקֹּדֶשׁ חֲזִיתִיךָ לִרְאוֹת עֻזְּךָ וּכְבוֹדֶךָ
KJ (63:2): To see thy power and thy glory, so as I have seen thee in the sanctuary.
BN: So I have looked for you in the holy place, to see your power and your glory.
KODESH: Yes, it will come to mean the "Sanctuary", but there will have to be a Temple first, and this is David still in the wilderness of Yehudah, not yet king of Tsiklag, let alone Chevron, let alone Yeru-Shala'im, and it is his son who will build the Temple, not himself. So any "holy place" could just as well be KODESH (or KADESH), at any shrine, at any standing-stone, even in the wasteland or the wilderness.
CHAZIYTIYCHA: Eyes see, using the verb LIR'OT; but this is inner seeing, whether of the soul or the psyche. See my note to CHOZEH a couple of Psalms back (58:11). The logic of him watching for the dawn to rise is that he is praying to the sun-god, and probably he was, in the Kena'ani original. But this has removed the SHACHAR to the Temple, where it is now the SHACHARIT. We are praying, not sun-bathing.
UZCHA U CHEVODECHA: From T.S Eliot to Grahame Greene in just one verse-leap!
63:4 KI TOV CHASDECHA ME CHAYIM SEPHATAI YESHABCHUNCHA
KODESH: Yes, it will come to mean the "Sanctuary", but there will have to be a Temple first, and this is David still in the wilderness of Yehudah, not yet king of Tsiklag, let alone Chevron, let alone Yeru-Shala'im, and it is his son who will build the Temple, not himself. So any "holy place" could just as well be KODESH (or KADESH), at any shrine, at any standing-stone, even in the wasteland or the wilderness.
CHAZIYTIYCHA: Eyes see, using the verb LIR'OT; but this is inner seeing, whether of the soul or the psyche. See my note to CHOZEH a couple of Psalms back (58:11). The logic of him watching for the dawn to rise is that he is praying to the sun-god, and probably he was, in the Kena'ani original. But this has removed the SHACHAR to the Temple, where it is now the SHACHARIT. We are praying, not sun-bathing.
UZCHA U CHEVODECHA: From T.S Eliot to Grahame Greene in just one verse-leap!
63:4 KI TOV CHASDECHA ME CHAYIM SEPHATAI YESHABCHUNCHA
כִּי טוֹב חַסְדְּךָ מֵחַיִּים שְׂפָתַי יְשַׁבְּחוּנְךָ
KJ (63:2): Because thy lovingkindness is better than life, my lips shall praise thee.
BN: Because your lovingkindness is better than life itself, so shall my lips be soothed by you.
YESHABCHUNCHA: Why the sudden switch to this verb? Has it ever been used before? And it looks like a quadriliteral root - which suggests an imported foreign word. Not likely to be very popular among the basses and baritones! (Yes, we should be thinking about these things when we explore the texts of poems written to be recited or sung... CH in Yehudit is always a hard sound, as in "loch", and never a soft sound, as in either end of "church").
YESHABCHUNCHA: Why the sudden switch to this verb? Has it ever been used before? And it looks like a quadriliteral root - which suggests an imported foreign word. Not likely to be very popular among the basses and baritones! (Yes, we should be thinking about these things when we explore the texts of poems written to be recited or sung... CH in Yehudit is always a hard sound, as in "loch", and never a soft sound, as in either end of "church").
But it isn't a quadrilateral root - yet again the KJ and other translators have failed to see a gerund, and thereby mis-translated it. The root is SHAVACH, which means "to soothe" - probably "to propitiate", when it is applied to the deity. David is living in the Yehudan desert, where it can easily get up into the 90s Fahrenheit - at night-time! My own memory of my first visit to that region is of waking up cold in the middle of the night, and wondering what time it was; my travelling clock had a temperature gauge as well, so I learned that it was 3.30am and 88⁰. Time to get up for breakfast, and orange-picking at 4. By 8am, when even the habituated kibbutzniks could take no more of the heat and told us to go home, it had reached 124⁰! Lips get very dry, very sore, very parched. Worse even than souls in the spiritual wasteland!
See Psalm 147:12 for a slight variation of the usage of this root. Or take a look in the Pesach Haggadah, and you will find it there as well; though on that occasion the source is Psalm 117:
HALLELU ET ADONAI – LO YISA GOY
Hallelu et Adonai, kol goyim. Shabechu hu kol ha’umim.
Ki gavar aleinu chasdo, ve-emet Adonai l’olam.
Hallelu, hallelujah, hallelu, hallelujah.Hallelu, hallelujah, hallelu, hallelujah.
Lo yisa goy el goy cherev, lo yilmadu old milchama. (4x)
Eli chemdat libi, chusa na v’-al na titalam.
Ana eli chemdat libi, chusa na v’al na titalam. (repeat)
Praise Adonai, all you nations: Praise Him, all you peoples. For His loving kindness is great toward us. His truth is everlasting. Nation will not lift up sword against nation, and never again will they learn war. My God, you are my heart’s desire. Have mercy on us and do not forsake us. Praise ADONAI! (Psalm. 117; Isaiah 2:4)
63:5 KEN AVARECHECHA VE CHAYAI BE SHIMCHA ES'A CHAPHI
כֵּן אֲבָרֶכְךָ בְחַיָּי בְּשִׁמְךָ אֶשָּׂא כַפָּי
KJ (63:4): Thus will I bless thee while I live: I will lift up my hands in thy name.
BN: So I will bless you for as long as I live; in your name I will lift up my hands.
KEN: The word for "yes" in Yehudit, though we don't often encounter it; and now for the second time in this Psalm; and on neither occasion does it appear to mean "yes".
ES'A CHAPHI: I don't think the scholars have paid anything like sufficient attention to this phrase. We know about prostration and genuflection, we know about the splitting of the fingers to make the letter Sheen (ש) for Shadai, performed at the Yevarechecha and in the Mikveh (Mr Spock uses it in "Star Trek" too), and that same Sheen will appear on the cover of most Mezuzot. But none of those are this. Are the hands being raised above the head, "reaching for the sky just to surrender" as Leonard Cohen once so beautifully expressed it? Are they being stretched out, like a Hollywood starlet on a sunset beach, to welcome and embrace the beloved - a perfect stage-direction for Lecha Dodi on a Friday evening? Was this a standard form of prayer, rather than just sitting there, as most people do, through most prayer services, passive to that point where fidgeting takes over? We simply have no evidence from the Jewish artefacts - but masses of evidence from most of the other religions!
63:6 KEMO CHELEV VA DESHEN TISB'A NAPHSHI VE SIPHTEY RENANOT YEHALEL PI
KEN: The word for "yes" in Yehudit, though we don't often encounter it; and now for the second time in this Psalm; and on neither occasion does it appear to mean "yes".
ES'A CHAPHI: I don't think the scholars have paid anything like sufficient attention to this phrase. We know about prostration and genuflection, we know about the splitting of the fingers to make the letter Sheen (ש) for Shadai, performed at the Yevarechecha and in the Mikveh (Mr Spock uses it in "Star Trek" too), and that same Sheen will appear on the cover of most Mezuzot. But none of those are this. Are the hands being raised above the head, "reaching for the sky just to surrender" as Leonard Cohen once so beautifully expressed it? Are they being stretched out, like a Hollywood starlet on a sunset beach, to welcome and embrace the beloved - a perfect stage-direction for Lecha Dodi on a Friday evening? Was this a standard form of prayer, rather than just sitting there, as most people do, through most prayer services, passive to that point where fidgeting takes over? We simply have no evidence from the Jewish artefacts - but masses of evidence from most of the other religions!
63:6 KEMO CHELEV VA DESHEN TISB'A NAPHSHI VE SIPHTEY RENANOT YEHALEL PI
כְּמוֹ חֵלֶב וָדֶשֶׁן תִּשְׂבַּע נַפְשִׁי וְשִׂפְתֵי רְנָנוֹת יְהַלֶּל פִּי
KJ (63:5): My soul shall be satisfied as with marrow and fatness; and my mouth shall praise thee with joyful lips:
BN: My soul will be satisfied by milk and fruit; and my mouth will praise you with joy upon my lips.
CHALEV: with a Chet (ח), not Chalev with a Kaf (כ); but aurally the confusion is unavoidable, because Kalev with a Kaf is regularly softened to Chalev with a Chaf, depending on which letter immediately precedes it. Kalev ben Yephuneh, the spy who inherited Chevron, and whose descendants disputed the Davidic kingship of that city, himself exemplifies this.
CHALEV: with a Chet (ח), not Chalev with a Kaf (כ); but aurally the confusion is unavoidable, because Kalev with a Kaf is regularly softened to Chalev with a Chaf, depending on which letter immediately precedes it. Kalev ben Yephuneh, the spy who inherited Chevron, and whose descendants disputed the Davidic kingship of that city, himself exemplifies this.
As to CHALEV itself, the word here. Translating it as "marrow" misses the point. Yes, he is probably hungry too, and wants breakfast, so something with marrow in it, and something with "fatness" like a fried egg... but this is not what the Psalm is saying. He wants to get out of the wasteland of the wilderness, and into the land of fertility, so what he wants is milk and honey, not marrow and fatness. The honey may have to wait. Milk in Yehudit is CHALAV (Exodus 3:17).
DESHEN: "Fruit" may be stretching it, but it is something liquid that he is seeking, and those oranges are still very much in my memory. DESHEN can mean "fatty", but the fat is the juice of the meat, and DESHEN can also mean "juicy", or "rich" or even "sumptuous" - see Job 36:16, or Isaiah 55:2.
RENANOT: These are the praises, not the YESHABCHUNCHA of verse 3. You can't pray meaningfully when the lips are dry; so first the soothing of the lips, then the moistening of the tongue with liquid - milk or juice, at breakfast-time - and now the mouth is ready to sing out the praises. Simple, if you follow the text in verse order.
RENANOT: These are the praises, not the YESHABCHUNCHA of verse 3. You can't pray meaningfully when the lips are dry; so first the soothing of the lips, then the moistening of the tongue with liquid - milk or juice, at breakfast-time - and now the mouth is ready to sing out the praises. Simple, if you follow the text in verse order.
63:7 IM ZECHARTIYCHA AL YETSU'AI BE ASHMUROT EHGEH BACH
אִם זְכַרְתִּיךָ עַל יְצוּעָי בְּאַשְׁמֻרוֹת אֶהְגֶּה בָּךְ
KJ (62:6): When I remember thee upon my bed, and meditate on thee in the night watches.
BN: In my remembering you when I lie in bed, and when I meditate on you while during the night-watches.
All the above has been in the future tense: "I will", "I shall". When the dawn comes. When the sun rises.
ASHMUROT: Probably he means the times when he wakes cold in the night and checks the sand-clock at his bedside. If he was himself on "night-watch" or "night-guard duty", that would be rendered as MISHMAROT.
EHGEH: That sheva is curious here; pronounced or silent? It should be silent (grammatically it should be silent; spiritually, and therefore musically, it absolutely has to be silent).
63:8 KI HAYIYTA EZRATAH LI U VE TSEL KENAPHEYCHA ARANEN
63:8 KI HAYIYTA EZRATAH LI U VE TSEL KENAPHEYCHA ARANEN
כִּי הָיִיתָ עֶזְרָתָה לִּי וּבְצֵל כְּנָפֶיךָ אֲרַנֵּן
KJ (63:7): Because thou hast been my help, therefore in the shadow of thy wings will I rejoice.
BN: For you have been my help, and in the shadow of your wings do I rejoice.
KENAPHEYCHA: Those wings again; at least the fourth time in Book 2. I guess for a person who is living in a state of perpetual flight, and using tents, images of birds' wings and tent flaps are entirely poetilogical.
63:9 DAVKAH NAPHSHI ACHAREYCHA BI TAMCHAH YEMIYNECHA
KENAPHEYCHA: Those wings again; at least the fourth time in Book 2. I guess for a person who is living in a state of perpetual flight, and using tents, images of birds' wings and tent flaps are entirely poetilogical.
63:9 DAVKAH NAPHSHI ACHAREYCHA BI TAMCHAH YEMIYNECHA
דָּבְקָה נַפְשִׁי אַחֲרֶיךָ בִּי תָּמְכָה יְמִינֶךָ
KJ (63:8): My soul followeth hard after thee: thy right hand upholdeth me.
BN: My soul cleaves to you; your right hand holds me tight.
DAVKAH: How do we get from this usage to the one in modern Ivrit (I have commented on this previously and shall simply link you back to that, here)? The short answer is that the root DAVAK means "to cling" - "glue" in modern Ivrit is DEVEK. And anyway, unless I am mistook, modern Davkah is spelled, davkah you might well say, with a double-Vav and not a Vet. Different word.
DAVKAH: How do we get from this usage to the one in modern Ivrit (I have commented on this previously and shall simply link you back to that, here)? The short answer is that the root DAVAK means "to cling" - "glue" in modern Ivrit is DEVEK. And anyway, unless I am mistook, modern Davkah is spelled, davkah you might well say, with a double-Vav and not a Vet. Different word.
NAPHSHI: Have I commented on this before, that I think NEPHESH should be rendered as "spirit" rather than "soul" - though that does then leave open a question about how to translate RU'ACH (see my notes at Genesis 1:2).
ACHAREYCHA: The phrase, literally translated, should read "my soul cleaves to you from behind", which may not sound as it is meant to in English.
YEMIYNECHA: Yet again that allusion to the "right hand", with its inexorable Christian associations, but first and foremost the Yosephite-Benjamite.
63:10 VE HEMAH LE SHO'AH YEVAKSHU NAPHSHI YAVO'U BE TACHTIYOT HA ARETS
63:10 VE HEMAH LE SHO'AH YEVAKSHU NAPHSHI YAVO'U BE TACHTIYOT HA ARETS
וְהֵמָּה לְשׁוֹאָה יְבַקְשׁוּ נַפְשִׁי יָבֹאוּ בְּתַחְתִּיּוֹת הָאָרֶץ
KJ (63:9): But those that seek my soul, to destroy it, shall go into the lower parts of the earth.
BN: But those who seek my soul, in order to destroy it, they shall descend into the nethermost parts of the Earth.
SHO'AH: Yes, the same word used today for the Nazi Holocaust.
TACHTIYOT: This is theologically more important than might at first appear; the root is TACHAT (תהת) = "below" or "under"”, so we have a first ever indication in the Tanach of an "underworld", a place "below the Earth", where She'ol as the Yisra-Eli Hades is generally not geographically located so much as metaphorical, and like most of the Heraklean, Osiric and Tammuzian myths takes place in apparently real locations on the surface of the Earth; only in later European (Norse in particular) mythology does Hel, later Hell, become fixed in the Netherworld below - or rather inside - the earth/Earth, and then the Adversary (ha Satan) can be transformed into the Devil, and Good v Evil presented in the dualistic, and nominative, form that we have today.
TACHTIYOT: This is theologically more important than might at first appear; the root is TACHAT (תהת) = "below" or "under"”, so we have a first ever indication in the Tanach of an "underworld", a place "below the Earth", where She'ol as the Yisra-Eli Hades is generally not geographically located so much as metaphorical, and like most of the Heraklean, Osiric and Tammuzian myths takes place in apparently real locations on the surface of the Earth; only in later European (Norse in particular) mythology does Hel, later Hell, become fixed in the Netherworld below - or rather inside - the earth/Earth, and then the Adversary (ha Satan) can be transformed into the Devil, and Good v Evil presented in the dualistic, and nominative, form that we have today.
But the key to this lies in a pre-Christian understanding of that Underworld. This is a Psalm set in the wasteland. At night, in Winter, Nature sleeps, but doesn't actually die. Down there, below the soil, the worms (envisaged as giant serpents, even dragons, in the fables, but mostly they are very small worms) are busy, biodegrading all the dead matter, turning it into nitrogen-rich mulch, getting ready to breed lilacs out of the dead land, tomorrow morning, or next Spring.
63:11 YAGIYRUHU AL YEDEY CHAREV MENAT SHU'ALIM YIHEYU
63:11 YAGIYRUHU AL YEDEY CHAREV MENAT SHU'ALIM YIHEYU
יַגִּירֻהוּ עַל יְדֵי חָרֶב מְנָת שֻׁעָלִים יִהְיוּ
KJ (63:10): They shall fall by the sword: they shall be a portion for foxes.
BN: They shall be hurled to the power of the sword; they shall provide a meal for foxes.
SHU'ALIM: Not She'ol, which is spelled with an Aleph (א), but like Chalev in verse 6, it is a word that we are bound to mis-hear if it is placed carefully in a context that ensures we do so. So the TACHTIYOT in the previous verse set up the sound-play here.
And why foxes? The colour of the sun, are foxes. But look right there, in the wilderness of Yehudah, a little south of David's cave, which is at Adul-Am; closer to Timnah, in Judges 15:4-5 to be precise, where Shimshon (Samson), the sun-hero, "went and caught three hundred foxes, and took firebrands, and turned the foxes tail to tail, and put a firebrand in the midst between two tails, And when he had set the brands on fire, he let them go into the standing corn of the Pelishtim, and burnt up both the shocks, and also the standing corn, with the vineyards and olives." For a fuller explanation, see my commentary at the link, but in brief: tales of the sun-god, making the wasteland and the wilderness in which David is currently to be found. The original Guy Faux, actually.
63:12 VE HA MELECH YISMACH B'ELOHIM YIT'HALEL KOL HA NISHB'A BO KI YISACHER PI DOVREY SHAKER
And why foxes? The colour of the sun, are foxes. But look right there, in the wilderness of Yehudah, a little south of David's cave, which is at Adul-Am; closer to Timnah, in Judges 15:4-5 to be precise, where Shimshon (Samson), the sun-hero, "went and caught three hundred foxes, and took firebrands, and turned the foxes tail to tail, and put a firebrand in the midst between two tails, And when he had set the brands on fire, he let them go into the standing corn of the Pelishtim, and burnt up both the shocks, and also the standing corn, with the vineyards and olives." For a fuller explanation, see my commentary at the link, but in brief: tales of the sun-god, making the wasteland and the wilderness in which David is currently to be found. The original Guy Faux, actually.
63:12 VE HA MELECH YISMACH B'ELOHIM YIT'HALEL KOL HA NISHB'A BO KI YISACHER PI DOVREY SHAKER
וְהַמֶּלֶךְ יִשְׂמַח בֵּאלֹהִים יִתְהַלֵּל כָּל הַנִּשְׁבָּע בּוֹ כִּי יִסָּכֵר פִּי דוֹבְרֵי שָׁקֶר
KJ (63:11): But the king shall rejoice in God; every one that sweareth by him shall glory: but the mouth of them that speak lies shall be stopped.
BN: But the king shall rejoice in Elohim. {N} Every one who swears by him shall glory. For the mouths of those who speak lies shall be stopped. {P}
I haven't asked this on previous occasions, but should have done, and shall now: is the number of verses in the Yehudit text deliberate? Twelve, after all, is a significant number, in any Yisra-Eli or Jewish context, but especially the Davidic. And do we lose that significance in the English when, as KJ does, the first verse is merged with the title and the number of verses thereby reduced by one? Imagine doing this with a Sonnet.
Psalms:
Bk 1: 1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 16 17 18 19 20 21 22 23 24 25 26 27 28 29 30 31 32 33 34 35 36 37 38 39 40 41
Bk 2: 42 43 44 45 46 47 48 49 50 51 52 53 54 55 56 57 58 59 60 61 62 63 64 65 66 67 68 69 70 71 72
Bk 3: 73 74 75 76 77 78 79 80 81 82 83 84 85 86 87 88 89
Bk 4: 90 91 92 93 94 95 96 97 98 99 100 101 102 103 104 105 106
Bk 5: 107 108 109 110 111 112 113 114 115 116 117 118 119a 119b 120 121 122 123 124 125 126 127 128 129 130 131 132
133 134 135 136 137 138 139 140 141 142 143 144 145 146 147 148 149 150
Additional Psalms: 151 152 153 154 155 156 157 158 159 160 Samuel Chronicles
Essays: Intro - Music - Form & Language
Copyright
© 2022 David Prashker
All
rights reserved
The
Argaman Press
No comments:
Post a Comment