Psalm 24:1-2: Creation, Chaos, and Sovereignty
Section 1: Yahweh as Sovereign Owner of All Creation
The first verse is composed of a synonymous parallelism, the effect of which is to proclaim Yahweh’s absolute ownership of everything in creation, particularly “all who live in it” (Hb’( ybev.yOæw>)). The Hebrew stresses the divine name hwhy by situating it at the front of the sentence; the earth belongs to Yahweh and no other. This emphatic declaration becomes more significant with the substantiatory claim of verse two.
The yKi indicates the subsequent statement serves as a substantiation of the preceding assertion. He is the sovereign owner because He has subdued the forces of chaos in the world, establishing the world upon (l[;) them.[1]
Like the first, the second verse is composed of a synonymous parallelism. The first line of the parallelism proclaims that Yahweh founded the world upon ~y”, a Canaanite deity and cosmic opponent which Yahweh elsewhere is said to have subdued (Ps. 8:27-29). In Canaanite mythology, Baal defeats ~y” in a cosmic battle for sovereignty. But here the claims given to Baal are transplanted to Yahweh. The claims of Baal and ~y” to sovereignty are denied and neither is given authority, neither will threaten Yahweh’s sovereignty. Yahweh, not Baal, defeats ~y” and retains kingship (7-10).[2]
The Qal verb (Hd”_s’y>) is a Complete Perfect, indicating an accomplished action with the entire sequence of events in view.[3] The significance of this is brought to light by the main verb in the parallel statement, h’n<)n>Aky>, a Progressive[4] Imperfect, which indicates the action of “establishing” is still underway. In other words, there is an already-not-yet aspect to the psalm. From “already” standpoint, the world is already founded upon the waters and Yahweh is, therefore, the owner of all things. From the standpoint of the “not yet,” the forces of chaos are still be subdued, but Yahweh owns all things based on the inevitability of that defeat.
The first verse, substantiated by the second, serves as the general assertion that governs and is particularized in the final two sections of the psalm. In other words, Yahweh’s sovereignty over all creation signifies, first, that creation is not morally neutral because Yahweh is not morally neutral. Therefore all creatures who wish to approach Yahweh must possess moral perfection. Second, Yahweh’s sovereignty over all creation naturally moves into the kingship metaphor which is connected in this psalm with a title of warfare.
[1] It should be noted that the psalm does not indicate any sort of cosmic battle. Though the metaphor of Yahweh as warrior arises within the third section of the psalm, there is no indication, as in Canaanite religion, that Yahweh created the world in the aftermath of battles with other gods. There is some indication elsewhere of a cosmic battle, but the other gods lose their power in Hebrew theology, not only because Yahweh is said to have subdued them, but more particularly because He does so in a way that demythologizes and disarms them, demonstrating they have nothing more than false claims to ownership and authority.
[2] This comment also serves to relativize the claims of kingship by earthly rulers, including Israelite ones. James Luther Mays, Psalms. (Louisville: John Knox Press, 1994), 120.
[3] Bill T. Arnold & John H. Choi, A Guide to Biblical Hebrew Syntax.( New York: Cambridge University Press, 2003), 55.
[4] The other possibility here, and maybe the more likely one, is that this Qal Imperfect with the was consecutive is a Preterite, which would suggest that the Imperfect is merely a stylistic change for the poet, but the meaning would essentially be parallel to that of the previous Qal verb.
Psalm 24: Introduction and Structure
INTRODUCTION AND BACKGROUND
Most scholars agree that the 24th Psalm, despite its ambiguous compositional history, was employed in processional ceremonies pertaining to the return of the Ark to Jerusalem.[1] The antiphonal aspects of the Psalm, composing of two-thirds of its content, suggest a dramatic, liturgical movement between the priests within the city gates and those who bore the Ark back into the city.[2]
Traditionally, scholars thought the psalm originated in the initial relocation of the Ark from the residence of Obed-edom to Jerusalem by King David (2 Sam. 6:12). This association most likely accounts for the ascription, “A Psalm of David” (rAmðz>miñ dwI©d”l.), and while the psalm may have ancestry in that event and the early monarchy,[3] the ascription must nevertheless be questioned. The most likely explanation of authorship and composition is exilic or pre-exilic[4] monarchial priests.[5]
With that background in place, the remainder of these posts will concern themselves with working from within the text itself, beginning with a brief sketch of the structure of the psalm and concluding with a lengthier set of comments on the noteworthy features. The persistent premise throughout is that the proclamation pertaining to Yahweh’s acts in creation are the controlling thought for the entire psalm. The moral requirements and the kingship metaphor and inseparably linked to the idea of Yahweh’s defeat of the forces of chaos in creation.
STRUCTURE
The structure of the 24th Psalm is straightforward, splitting into three distinct elements: First, verses 1-2 herald Yahweh’s sovereign ownership of all creation. Second, verses 3-6 reveal the moral requirements of those who aspire to admission into the “holy place.” Finally, verses 7-10 are a declaration of the identity of the “King of Glory” as “Yahweh Sabaoth.”
While the structure of the psalm is easy enough to examine, the thematic intention of its arrangement is the crux of the interpretive process.[6] Most scholars suggest the central subject matter of the psalm is Yahweh’s kingship, secured in the first section by His subdual of the forces of chaos, strengthened in the second section by the maintenance of His moral requirements, and finally in the overt announcement of his kingship in the third section.
The principal theme, connected of course with Yahweh’s kingship, is Yahweh as creator. This theme substantiates the kingship metaphor, not the other way around. Thus Yahweh’s creative activities have exegetical priority in that all that follows should be read though that lens. This is supported, most specifically, in the first two verses, which, as I will argue, form a general assertion which gets particularized throughout the entirety of the psalm.
[1] One of the key indicators suggesting the connection between this psalm and the Ark is the divine title “Yahweh Sabaoth.” This was a popular designation when referring to Yahweh’s warrior-like actions, which were often associated with the presence of Ark of the Covenant during battle.
[2] Related to this, it has been suggested that this Psalm was a hymn used during the procession whereby the two voices the antiphonal liturgy are actually two choirs of alternating singers. Mitchell Dahood, Psalms I: 1-50. The Anchor Bible: Vol. 16. (New Haven: Yale University Press, 2006), 151.
[3] Anchoring the psalm in the early monarchy helps explain the otherwise unknown title “King of Glory” in vs. 7-10. Even if the psalm is not in its final compositional stage in the early monarchy, it seems clear enough that aspects of it go back that far. The priests in the early monarchy would have easily linked the rise of the monarchy with Yahweh’s kingship.
[4] Furthermore, a pre-exilic dating is indicated by the fact that the employment of antiphonal liturgical movements in this Psalm are well attested to long before the Exile and are imitated by both the prophets Micah and Hosea. Hermann Gunkel, An Introduction to the Psalms. (Macon: Mercer University Press, 1998), 318.
[5] Walther Eichrodt, Theology of the Old Testament. Vol. 1, (Philadelphia: The Westminster Press, 1960), 196. Eichrodt also suggests the psalm is related to the royal festivals on Zion where by there was a “visitation of the people by their God.” The purpose was not to re-enthrone Yahweh, but to reaffirm Yahweh’s election of Zion and the establishment of Israel’s king (127).
[6] Gerald H. Wilson, Psalms. Vol. 1, (Grand Rapids: Zondervan, 2002), 446.
