SurfTheSite
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
And in addition, an essay on its historical dating; because this can only belong to the 6th century BCE, the period between 586 and 536 to be slightly more precise, two centuries after the Nine Tribes were swallowed into the black hole of Sennacheribean history, four hundred years after David and Shelomoh (Solomon); that moment when the Babylonians conquered Yeru-Shala'im, destroyed the First Temple, took most of the Beney Yehudah and Beney Bin-Yamin into captivity in Tel Abib (the original one, in Babylon), and replaced them in Shomron (northern Yisra-El) with an Amoritic people, original name now lost, who came to be known as the Samaritans, and who spoke Aramaic, which would remain the language of the land for the next several centuries, even after the return of the Beney Yehudah and the Beney Bin-Yamin. Indeed, it is highly probable that some of the earliest Biblical stories, set in Padan-Aram (Nachor and Terach, Av-Ram and Sarai, Ya'akov's years with Lavan and his marriages to Le'ah and Rachel), belonged to these people, and only arrived in Kena'an when they were forced to move there: the tales all belong to their native land.
All of which renders as utterly absurd the ascribing of this Psalm to David in both the Septuagint and Vulgate editions.
Some Psalms are more obviously singable than others, this one works great in Caribbean English (click here), but my attempts to find a guitar or piano accompaniment in the Yehudit have thus far turned symphonic. Though in fact, after verse 3... [the Nun shifts are particularly significant in this Psalm, because the changes each time are dramatic]...
137:1 AL NAHAROT BAVEL SHAM YASHAVNU GAM BACHIYNU BE ZACHRENU ET TSI'ON
KJ: By the rivers of Babylon, there we sat down, yea, we wept, when we remembered Zion.
BN: By the rivers of Bavel, there we sat down, and wept too, when we remembered Tsi'on.
NAHAROT: Plural. Presumably the Euphrates has tributaries, even if they are just small streams that bourne in it; most major rivers do.
BAVEL: See the link.
So, the song of a people dragged away into slavery, forced to work whatever were the equivalents of the cotton and tobacco plantations of their conqueror's new world. But clearly they are managing to keep their language alive, and this is essential if a people in such a plight is going to survive. Four things are needed to provide a people with identity: land, language, history and culture. I imagine the enslaved Kohanim and Leviyim continued to pass on the knowledge of the last two to their children, if only verbally, throughout the fifty years of captivity; and were thus able to provide Ezra with a basis for the Tanach, and for the revival, when Persia conquered Babylon in 536 BCE, and gave the first Jews permission to return home.
137:2 AL ARAVIM BETOCHAH TALIYNU KINOROTEYNU
KJ: We hanged our harps upon the willows in the midst thereof.
BN: Upon the willows in its very midst, there did we hang up our harps.
ARAVIM: Could also mean "evenings" - "every evening we hung our harps..." Or is the play on words deliberate: evening is the point at which the sun ceases to turn its face to shine on us, the willow was one of the sacred trees of Yisra-Eli history (Leviticus 23:40 especially, but see also Job 40:22, Isaiah 15:7 and 44:4) ... and the weeping-willow... (in Genesis 35:8 it was a weeping-oak, but that is by-the-by).
And probably the harps were themselves made from the wood of the willow tree.
137:3 KI SHAM SHE'ELUNU SHOVEYNU DIVREY SHIR VE TOLALEYNU SIMCHAH SHIYRU LANU MI SHIR TSI'ON
KJ: For there they that carried us away captive required of us a song; and they that wasted us required of us mirth, saying, Sing us one of the songs of Zion.
BN: For there those who had led us into captivity demanded songs from us, and our tormentors insisted that we sing them joyfully: {N} "Sing us one of the songs of Tsi'on."
Actually the weeping-oak isn't at all by-the-by. It was Devorah's tree, and Devorah is the bee-goddess, associated with the beehive tombs, the ancient burial methodology of all the tumuli, where she gave her oracles and sang her own very famous song (which just happened to be a song of freedom - Judges 5). And in this verse that very Underworld is likewise alluded to: SHE'ELUNU coming from the same root that yields SHE'OL. And it is not the obvious word to use here, unless the allusion is intended. People who ask questions use LISH'OL, but people who make requests, as here, use LEVAKESH. And if they "require" it, LIDROSH.
Indeed, almost every word in this piece has a comparable double-meaning. SHOVEYNU, for example, is rooted in SHUV, which also means "return". Sartre's "flies" and Camus' "rats", probably Daniel's "lions" too, function in much the same manner, incorporating the hatred of the persecutor, the cry for freedom, rebelliously into the demanded piece, in such a way that your native audience understands, but your enemy audience simply doesn't have a clue. Nice work!
Some Psalms are more obviously singable than others, this one works great in Caribbean English (click here), but my attempts to find a guitar or piano accompaniment in the Yehudit have thus far turned symphonic. Though in fact, after verse 3... [the Nun shifts are particularly significant in this Psalm, because the changes each time are dramatic]...
137:1 AL NAHAROT BAVEL SHAM YASHAVNU GAM BACHIYNU BE ZACHRENU ET TSI'ON
עַל נַהֲרוֹת בָּבֶל שָׁם יָשַׁבְנוּ גַּם בָּכִינוּ בְּזָכְרֵנוּ אֶת צִיּוֹן
KJ: By the rivers of Babylon, there we sat down, yea, we wept, when we remembered Zion.
BN: By the rivers of Bavel, there we sat down, and wept too, when we remembered Tsi'on.
NAHAROT: Plural. Presumably the Euphrates has tributaries, even if they are just small streams that bourne in it; most major rivers do.
BAVEL: See the link.
So, the song of a people dragged away into slavery, forced to work whatever were the equivalents of the cotton and tobacco plantations of their conqueror's new world. But clearly they are managing to keep their language alive, and this is essential if a people in such a plight is going to survive. Four things are needed to provide a people with identity: land, language, history and culture. I imagine the enslaved Kohanim and Leviyim continued to pass on the knowledge of the last two to their children, if only verbally, throughout the fifty years of captivity; and were thus able to provide Ezra with a basis for the Tanach, and for the revival, when Persia conquered Babylon in 536 BCE, and gave the first Jews permission to return home.
137:2 AL ARAVIM BETOCHAH TALIYNU KINOROTEYNU
עַל עֲרָבִים בְּתוֹכָהּ תָּלִינוּ כִּנֹּרוֹתֵינוּ
KJ: We hanged our harps upon the willows in the midst thereof.
BN: Upon the willows in its very midst, there did we hang up our harps.
ARAVIM: Could also mean "evenings" - "every evening we hung our harps..." Or is the play on words deliberate: evening is the point at which the sun ceases to turn its face to shine on us, the willow was one of the sacred trees of Yisra-Eli history (Leviticus 23:40 especially, but see also Job 40:22, Isaiah 15:7 and 44:4) ... and the weeping-willow... (in Genesis 35:8 it was a weeping-oak, but that is by-the-by).
And probably the harps were themselves made from the wood of the willow tree.
137:3 KI SHAM SHE'ELUNU SHOVEYNU DIVREY SHIR VE TOLALEYNU SIMCHAH SHIYRU LANU MI SHIR TSI'ON
כִּי שָׁם שְׁאֵלוּנוּ שׁוֹבֵינוּ דִּבְרֵי שִׁיר וְתוֹלָלֵינוּ שִׂמְחָה שִׁירוּ לָנוּ מִשִּׁיר צִיּוֹן
KJ: For there they that carried us away captive required of us a song; and they that wasted us required of us mirth, saying, Sing us one of the songs of Zion.
BN: For there those who had led us into captivity demanded songs from us, and our tormentors insisted that we sing them joyfully: {N} "Sing us one of the songs of Tsi'on."
Actually the weeping-oak isn't at all by-the-by. It was Devorah's tree, and Devorah is the bee-goddess, associated with the beehive tombs, the ancient burial methodology of all the tumuli, where she gave her oracles and sang her own very famous song (which just happened to be a song of freedom - Judges 5). And in this verse that very Underworld is likewise alluded to: SHE'ELUNU coming from the same root that yields SHE'OL. And it is not the obvious word to use here, unless the allusion is intended. People who ask questions use LISH'OL, but people who make requests, as here, use LEVAKESH. And if they "require" it, LIDROSH.
Indeed, almost every word in this piece has a comparable double-meaning. SHOVEYNU, for example, is rooted in SHUV, which also means "return". Sartre's "flies" and Camus' "rats", probably Daniel's "lions" too, function in much the same manner, incorporating the hatred of the persecutor, the cry for freedom, rebelliously into the demanded piece, in such a way that your native audience understands, but your enemy audience simply doesn't have a clue. Nice work!
SHOVEYNU: And the word also echoes YASHAVNU in verse 1. And now that we have registered that these are all deliberate word-games, why would they say YASHAVNU anyway? They aren't "sitting down" to perform this for their conquerors, and they certainly have no intention of "settling" in this land, if it's avoidable. Not at all, their aspiration is to "return" (LASHUV) to their homeland, and the homeland in Yehudit is... YISHUV.
And just imagine if, of all the "songs of Tsi'on" that they could have chosen, they did choose Devorah's, which the Babylonians would not have understood, and laughed to hear these slaves singing in their silly foreign language. While the singers were laughing back. Look at Judges 5. Right from the opening phrase, in verse 2.
137:4 EYCH NASHIR ET SHIR YHVH AL ADMAT NECHER
KJ: How shall we sing the LORD'S song in a strange land?
BN: But how can we sing a song of YHVH in a foreign land?
Exactly as I just described it above, that's how! And then take the opportunity of the invitation to say what follows, the greatest expression of patriotic commitment ever uttered.
And just imagine if, of all the "songs of Tsi'on" that they could have chosen, they did choose Devorah's, which the Babylonians would not have understood, and laughed to hear these slaves singing in their silly foreign language. While the singers were laughing back. Look at Judges 5. Right from the opening phrase, in verse 2.
TOLALEYNU: Echoing TALIYNU in the previous verse, though that latter is a real word, while the one here is actually made up, using the Tav-prefix to achieve it (LETADLEK in modern Ivrit makes a good comparison: invented at the time of the Entebbe raid when the planes had to be refuelled in mid-air). Possibly the root was YALAL, but if so, this is its only usage, in any construction. Much more likely they were playing with Tola'at Shani (Exodus 26:1), which is the scarlet of the curtains in the Tabernacle (simply Tol'a in Isaiah 1:18), rooted in the word Tol'a, which means "a worm" - click here. And Tol'a too has his connections with the Underworld - the captives would have regarded Bavel as being precisely that: Hell, in our terms.
137:4 EYCH NASHIR ET SHIR YHVH AL ADMAT NECHER
אֵיךְ נָשִׁיר אֶת שִׁיר יְהוָה עַל אַדְמַת נֵכָר
KJ: How shall we sing the LORD'S song in a strange land?
BN: But how can we sing a song of YHVH in a foreign land?
Exactly as I just described it above, that's how! And then take the opportunity of the invitation to say what follows, the greatest expression of patriotic commitment ever uttered.
NACHAR: Yes, foreign, but NACHRI is used as an equivalent of "heathens" and "worshippers of false gods" on any number of occasions in the Tanach.
137:5 IM ESHKACHECHA YERU-SHALA'IM TISHKACH YEMIYNI
KJ: If I forget thee, O Jerusalem, let my right hand forget her cunning.
BN: If I forget you, Yeru-Shala'im, let my right hand forget [her cunning].
Of all the word-plays and double-meanings throughout this Psalm, none more potent than this one: go back to several previous occasions when I have explained the YAMIN, Bin-Yamin, the last of the twelve sons, and therefore the inheritor in a world of primogeniture; Bin-Yamin who provided the first king of Yisra-El, Sha'ul; Bin-Yamin in whose tribal territory the city of Yeru-Shala'im is located; Bin-Yamin the "right hand" on which the risen Christ sat after ascending into the heavens: Earth as the right hand of the sun-god (the moon sits on the left hand and fills the northern sky, where the sun never travels)... this is not just the ability to write which would be forgotten if Yeru-Shala'im were forgotten, but history, culture, religion, language, homeland: everything.
137:6 TIDBAK LESHONI LE CHIKI IM LO EZKERECHI IM LO A'ALEH ET YERU-SHALA'IM AL ROSH SIMCHATI
KJ: If I do not remember thee, let my tongue cleave to the roof of my mouth; if I prefer not Jerusalem above my chief joy.
BN: If I do not remember you, let my tongue cleave to the roof of my mouth;{N} if I do not set Yeru-Shala'im above my chiefest joy.
IM LO A'ALEH ET YERU-SHALA'IM: If YEMIYNI was brilliant, this may actually be even better. We have just explored a dozen Psalms that are known as "Shirey Ma'alot", and are all about the different ways of "going-up" to Yeru-Shala'im, whether in the Temple or the modern synagogue, from elsewhere in the land to the capital, or in the sense that it is used in the Diaspora, in the places of captivity, of "making aliyah", returning from exile to the Yishuv, the motherland. So we are supposed to translate this exactly as we do; but we also hear it very differently, and in what we hear this becomes the Zionist hymn par excellence: "nothing matters more than going home to Jerusalem" - and the [N] break in the music to prepare for it, presumably in the form of a crescendo.
EZKERECHI: An uusual form of the future tense that we have seen on several occasions in these Psalms, but rarely elsewhere in the Tanach.
137:7 ZECHOR YHVH LIVNEY EDOM ET YOM YERUSHALA'IM HA OMRIM ARU ARU AD HA YESOD BAH
KJ: Remember, O LORD, the children of Edom in the day of Jerusalem; who said, Rase it, rase it, even to the foundation thereof.
BN: Remind the Beney Edom, YHVH, of Yom Yeru-Shala'im; {N} and how they cried: "Rase it, rase it, even to the very foundations".
This phrase will come back to haunt the Yehudim five hundred years later, when the Idumean (Edomite) King Herod is set on the throne, by the same Romans who will soon afterwards destroy both the Temple and the city of Yeru-Shala'im.
And then this phrase will come back to haunt the Yehudim another two thousand years later, when Hamas and Hezbolah and the Iranian Revolutionary Guard, and the followers of BDS, raise the same cry yet again (and no, I shall not hyperlink to any of them; if you want to know more about them, look them up for yourself).
137:8 BAT BAV-EL HA SHEDUDAH ASHREY SHE YESHALEM LACH ET GEMULECH SHE GAMALT LANU
KJ: O daughter of Babylon, who art to be destroyed; happy shall he be, that rewardeth thee as thou hast served us.
BN: O daughter of Babylon, you remain to be destroyed; {N} happy shall he be, who repays you just as you have served us.
137:5 IM ESHKACHECHA YERU-SHALA'IM TISHKACH YEMIYNI
אִם אֶשְׁכָּחֵךְ יְרוּשָׁלִָם תִּשְׁכַּח יְמִינִי
KJ: If I forget thee, O Jerusalem, let my right hand forget her cunning.
BN: If I forget you, Yeru-Shala'im, let my right hand forget [her cunning].
Of all the word-plays and double-meanings throughout this Psalm, none more potent than this one: go back to several previous occasions when I have explained the YAMIN, Bin-Yamin, the last of the twelve sons, and therefore the inheritor in a world of primogeniture; Bin-Yamin who provided the first king of Yisra-El, Sha'ul; Bin-Yamin in whose tribal territory the city of Yeru-Shala'im is located; Bin-Yamin the "right hand" on which the risen Christ sat after ascending into the heavens: Earth as the right hand of the sun-god (the moon sits on the left hand and fills the northern sky, where the sun never travels)... this is not just the ability to write which would be forgotten if Yeru-Shala'im were forgotten, but history, culture, religion, language, homeland: everything.
137:6 TIDBAK LESHONI LE CHIKI IM LO EZKERECHI IM LO A'ALEH ET YERU-SHALA'IM AL ROSH SIMCHATI
תִּדְבַּק לְשׁוֹנִי לְחִכִּי אִם לֹא אֶזְכְּרֵכִי אִם לֹא אַעֲלֶה אֶת יְרוּשָׁלִַם עַל רֹאשׁ שִׂמְחָתִי
KJ: If I do not remember thee, let my tongue cleave to the roof of my mouth; if I prefer not Jerusalem above my chief joy.
BN: If I do not remember you, let my tongue cleave to the roof of my mouth;{N} if I do not set Yeru-Shala'im above my chiefest joy.
IM LO A'ALEH ET YERU-SHALA'IM: If YEMIYNI was brilliant, this may actually be even better. We have just explored a dozen Psalms that are known as "Shirey Ma'alot", and are all about the different ways of "going-up" to Yeru-Shala'im, whether in the Temple or the modern synagogue, from elsewhere in the land to the capital, or in the sense that it is used in the Diaspora, in the places of captivity, of "making aliyah", returning from exile to the Yishuv, the motherland. So we are supposed to translate this exactly as we do; but we also hear it very differently, and in what we hear this becomes the Zionist hymn par excellence: "nothing matters more than going home to Jerusalem" - and the [N] break in the music to prepare for it, presumably in the form of a crescendo.
EZKERECHI: An uusual form of the future tense that we have seen on several occasions in these Psalms, but rarely elsewhere in the Tanach.
137:7 ZECHOR YHVH LIVNEY EDOM ET YOM YERUSHALA'IM HA OMRIM ARU ARU AD HA YESOD BAH
זְכֹר יְהוָה לִבְנֵי אֱדוֹם אֵת יוֹם יְרוּשָׁלִָם הָאֹמְרִים עָרוּ עָרוּ עַד הַיְסוֹד בָּהּ
KJ: Remember, O LORD, the children of Edom in the day of Jerusalem; who said, Rase it, rase it, even to the foundation thereof.
BN: Remind the Beney Edom, YHVH, of Yom Yeru-Shala'im; {N} and how they cried: "Rase it, rase it, even to the very foundations".
This phrase will come back to haunt the Yehudim five hundred years later, when the Idumean (Edomite) King Herod is set on the throne, by the same Romans who will soon afterwards destroy both the Temple and the city of Yeru-Shala'im.
And then this phrase will come back to haunt the Yehudim another two thousand years later, when Hamas and Hezbolah and the Iranian Revolutionary Guard, and the followers of BDS, raise the same cry yet again (and no, I shall not hyperlink to any of them; if you want to know more about them, look them up for yourself).
137:8 BAT BAV-EL HA SHEDUDAH ASHREY SHE YESHALEM LACH ET GEMULECH SHE GAMALT LANU
בַּת בָּבֶל הַשְּׁדוּדָה אַשְׁרֵי שֶׁיְשַׁלֶּם לָךְ אֶת גְּמוּלֵךְ שֶׁגָּמַלְתְּ לָנוּ
KJ: O daughter of Babylon, who art to be destroyed; happy shall he be, that rewardeth thee as thou hast served us.
BN: O daughter of Babylon, you remain to be destroyed; {N} happy shall he be, who repays you just as you have served us.
BAT BAVEL: Not terribly meaningful in itself, but the Yehudim present at the performance would understand the echo. Bat Tsi'on - click here.
SHEDUDAH: The vengeance imagined by Devorah (see verse 3), but also El Shadai, Av-Ram's name for the deity. The echo is with SHADAYIM, which are the breasts; so there is also a sense of Bat Bavel being a rather pre-pubescent creature, intellectually and culturally speaking!
YESHALEM: Playing with the word Yeru-Shala'im - one of the seven hillside towns that were conurbated to form Yeru-Shala'im was named Shalem, and it was that town's name that was retained for the city's name: Ir (city of) Shalem in its multiple plural form.
Do these GEMULECH and GAMALT connect back to the GAMUL and GIMEL and GAMAL of my comment in several earlier Psalms? There, the word was used for breast-feeding, and for the reaping of the harvest. Metaphorically here.
137:9 ASHREY SHE YO'CHEZ VE NIPETS ET OLALAYICH EL HA SALA
KJ: Happy shall he be, that taketh and dasheth thy little ones against the stones.
BN: O how happy he shall be, who takes your little ones, and dashes them against the rock. {P}
On the surface this last verse is a disappointment: the dream of return to the land transformed into mere brutal vengeance. But it is actually much richer and more complex than that. The dashing of the little ones against the rocks had been prevalent in Moloch-worship in Tsi'on for centuries until David captured the city, tore down the monolithic ikon of Moloch known as the Tsi'un, and forbade the ritual sacrificing of children, which had literally been a dashing on the rocks, from the summit of the hill of Tophet down into the Valley of Hinnom (whence the later notion of Gehenna - Gey Hinnom = Valley of Hinnom, and it was a very hellish place indeed with all those strewn bodies). Under David, and afterwards, goats were sacrificed in the same place instead of firstborn children, and that goat became known as the Azaz-El. In modern Judaism Tashlich, the throwing of sins onto flowing water at the New Year, reflects this practice, and the practice of Kapparot at Yom Kippur likewise. In the Christian realm, and from exactly the same place, now known as Calvary, the last of the first-born beloved sons was sent to his death, very much the scapegoat, the Azaz-El, though not by dashing against the rocks: in his case, by crucifixion.
But, as noted above, these practices were brought to an end by David (some later kings ephemerally revived them), and the tale of the Akeda - the aborted sacrifice of Yitschak - in Genesis 22, confirms its end as far as Jewish law is concerned. So there is the suggestion of revenge, but apparently there is also its prohibition.
For the Tsi'un, see my notes on the Akeda, at Genesis 22, and for stoning as a punishment, see my notes at Leviticus 20:2.
Do these GEMULECH and GAMALT connect back to the GAMUL and GIMEL and GAMAL of my comment in several earlier Psalms? There, the word was used for breast-feeding, and for the reaping of the harvest. Metaphorically here.
137:9 ASHREY SHE YO'CHEZ VE NIPETS ET OLALAYICH EL HA SALA
אַשְׁרֵי שֶׁיֹּאחֵז וְנִפֵּץ אֶת עֹלָלַיִךְ אֶל הַסָּלַע
KJ: Happy shall he be, that taketh and dasheth thy little ones against the stones.
BN: O how happy he shall be, who takes your little ones, and dashes them against the rock. {P}
On the surface this last verse is a disappointment: the dream of return to the land transformed into mere brutal vengeance. But it is actually much richer and more complex than that. The dashing of the little ones against the rocks had been prevalent in Moloch-worship in Tsi'on for centuries until David captured the city, tore down the monolithic ikon of Moloch known as the Tsi'un, and forbade the ritual sacrificing of children, which had literally been a dashing on the rocks, from the summit of the hill of Tophet down into the Valley of Hinnom (whence the later notion of Gehenna - Gey Hinnom = Valley of Hinnom, and it was a very hellish place indeed with all those strewn bodies). Under David, and afterwards, goats were sacrificed in the same place instead of firstborn children, and that goat became known as the Azaz-El. In modern Judaism Tashlich, the throwing of sins onto flowing water at the New Year, reflects this practice, and the practice of Kapparot at Yom Kippur likewise. In the Christian realm, and from exactly the same place, now known as Calvary, the last of the first-born beloved sons was sent to his death, very much the scapegoat, the Azaz-El, though not by dashing against the rocks: in his case, by crucifixion.
But, as noted above, these practices were brought to an end by David (some later kings ephemerally revived them), and the tale of the Akeda - the aborted sacrifice of Yitschak - in Genesis 22, confirms its end as far as Jewish law is concerned. So there is the suggestion of revenge, but apparently there is also its prohibition.
For the Tsi'un, see my notes on the Akeda, at Genesis 22, and for stoning as a punishment, see my notes at Leviticus 20:2.
SurfTheSite
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
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