Thijs Booij, «Psalm 118 and Form Criticism», Vol. 96 (2015) 351-374
Psalm 118 was recited in the time of Nehemiah. The speaker in the first person singular passages is Israel's representative. The psalm, a communal song of thankfulness, belongs to a group of texts related to Succoth (Psalms 65; 66; 67; 98; 107; 124; 129; Isaiah 12; 25,1-5). These texts, dating from the later post-exilic period, do not constitute a welldelineated literary genre. Psalm 118 and Isaiah 12; 25,1-5, however, constitute a special category. Psalm 118,24 refers to Succoth as the time when YHWH judges the world and decides on the nation's well-being (v. 25) for the year to come.
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that in this verse gx refers to the festal sacrifices 27. In Exod 23,18
the “fat” is indeed that of sacrificial animals, and the “dung” of
sacrificial animals may be referred to in Mal 2,3; but this is not to
say that in these texts gx is anything other than “festival”. In Psalm
118 it may be taken as “festal dance” or “dance procession” (cf. ggx
as “reel” in 1 Sam 30,16; Ps 107,27, and see 2 Sam 6,14-17; Ps
42,5); on the analogy of hmxlm rsa, “join battle” (1 Kgs 20,14;
2 Chr 13,3), gx rsa can be understood as “open the festal dance”.
Following Greek and Latin translators, we may take ~ytb[ as the
plural of tbo[', “leafy”, which here would denote the bundles of
twigs carried about, according to later traditions, at Succoth 28 (cf.
Lev 23,40); the preposition b may be taken as “with” (cf. e.g. Josh
22,8; Judg 15,1). The preposition d[ in xbzmh twnrq-d[ cannot be
meant here, logically, in a vertical sense. It serves, rather, to mark
the end of the space within which participants in the procession had
to line up (cf. Ps 26,6). The reason why the horns of the altar are
mentioned is that they were eye-catching elements (cf. Ezek 43,15).
For these reasons I contend that “up to the horns of the altar” stands
for “as far as the place where the horns of the altar protrude”.
The rebuilding of the wall of Jerusalem was completed on 25
Elul 444 BC (Neh 6,15). So the psalm may have served at Succoth
shortly after that date. The metaphor of the stone in Ps 118,22 may
have been suggested by the recent building activities 29.
III. Festal Rite, Festal Notion
Succoth, a “festival of ingathering”, was celebrated in the
autumn, after the harvesting of grapes and olives and before the
27
Thus e.g. J. GOLDINGAY, Psalms III: Psalms 90–150 (Grand Rapids, MI
2008) 364.
28
Symmachus: sundh,sate evn panhgu,rei puka,smata, “in the festal
meeting tie up the leafy [branches]”. In that interpretation, ~ytb[ is to be read
as ~yTibu[]. The Secunda transcribing the Taw in ~tyb[ as a double consonant
confirms this reading.
29
See A.F. KIRKPATRICK, The Book of Psalms (Cambridge 1902) 693-694;
COHEN, Psalms, 393; M.L. BRENNER, The Song of the Sea: Ex 15:1-21
(BZAW 195; Berlin – New York 1991) 62-65. M. BERDER, “La pierre rejetée
par les bâtisseurs”. Psaume 118,22-23 et son emploi dans les traditions juives
et dans le Nouveau Testament (Paris 1996) 89.