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Psalm 113 is a hymn of praise within the ‘Hallel’ collection (Psalms 113-118). Traditionally recited during significant Jewish holidays, especially Passover, this psalm is prayed in liturgical practices of both Judaism and Christianity. The psalm’s composition, themes, and stylistic elements reflect its historical and religious context and spiritual and literary significance.
Historical And Liturgical Context
The composition of Psalm 113 is commonly attributed to the post-exilic period, a time when the Israelite community was re-establishing itself following the Babylonian exile. This era was marked by renewed emphasis on identity and communal worship. The psalm’s inclusion in the Hallel psalms, which are recited during Passover, aligns the psalm with celebration of the Exodus — in Jewish history symbolizing deliverance and divine intervention.
Structure And Literary Style
Literary structure and style of Psalm 113 are central to the psalm as a hymn of praise:
Inclusio Structure: Psalm 113 employs an inclusio structure, opening and closing with ‘Hallelujah’ (Praise the LORD). This bracketing serves to unify the psalm and emphasize its primary theme of unceasing praise. Nancy deClaissé-Walford, a noted scholar, observes that Psalms 111 and 112 are ‘summary statements of what faith is all about: who God is and what humans must do in response to God’.
Symmetry And Contrast: The psalm’s symmetry, portraying God’s transcendence and immanence, highlights His supreme majesty and intimate concern for humanity. The contrast between these aspects is a central theme, underscoring breadth of God’s nature.
Poetic Devices: The psalm uses parallelism and rhythm, characteristic of Hebrew poetry. These elements enhance the psalm’s recitation and musical rendition, contributing to the psalm’s role in worship and liturgy.
Rhythmic And Musical Qualities: Rhythmic flow of the psalm, suited for chant or song, demonstrates the musicality inherent in the Psalms. This aspect has made Psalm 113 a vital part of communal and individual worship.
Imagery And Symbolism: The psalm expresses vivid imagery of God’s stooping to look upon heaven and earth, and the transformation of a barren woman into a joyful mother, to convey spiritual truths about God’s power and compassion.
Themes And Theological Implications
Psalm 113’s themes are both universal and specific:
Divine Transcendence And Immanence: Portrayal of God as transcendent yet intimately involved in worldly affairs is a key theological aspect of the psalm.
Universal Call To Praise: Psalm 113 extends a call for universal praise to God, transcending cultural and temporal boundaries.
Social Justice: Depiction of God as the uplifter of the poor and needy reflects a divine concern for social justice, an enduringly relevant theme.
Role Of Women: The final verse’s focus on the barren woman highlights the value of women and their roles in society and within the divine plan.
Contemporary Relevance
Today, Psalm 113 remains a source of inspiration and comfort. Its themes resonate with modern concerns of social justice, equality, and spiritual searching. The psalm’s call for universal praise speaks to a globally interconnected world, reminding us of our shared spiritual heritage.
Psalm 113 | King James Audio Bible
Praise ye the LORD. Praise, O ye servants of the LORD, praise the name of the LORD.
Blessed be the name of the LORD from this time forth and for evermore.
From the rising of the sun unto the going down of the same the LORD’S name is to be praised.
The LORD is high above all nations, and his glory above the heavens.
Who is like unto the LORD our God, who dwelleth on high,
Who humbleth himself to behold the things that are in heaven, and in the earth!
He raiseth up the poor out of the dust, and lifteth the needy out of the dunghill;
That he may set him with princes, even with the princes of his people.
He maketh the barren woman to keep house, and to be a joyful mother of children. Praise ye the LORD.
Psalm 113 | King James Audio Bible
Divine Transcendence And Immanence: The psalm illustrates God’s supreme majesty and His intimate involvement in the world.
Universal Praise: Psalm 113 calls for global praise to God, transcending cultural and temporal boundaries.
Social Justice And Compassion: The psalm highlights God’s concern for the marginalized, particularly the poor and needy.
God’s Power To Transform: The psalm portrays God’s ability to dramatically change lives, as seen in lifting the needy and transforming the barren woman into a joyful mother.
Celebration Of Women: The psalm acknowledges the significant role and value of women in society and in the divine plan.
Righteousness Of God: Psalm 113 reflects on the enduring righteousness of God mirrored in the actions and lives of the righteous.
Blessing of the Righteous: There is a focus on the blessings and prosperity that accompany righteous living.
Enduring Nature of Praise: The psalm underscores the everlasting aspect of praising God, from the present into eternity.
Contrast Between Divine And Human: By highlighting God’s attention to the humble and lowly, the psalm contrasts the divine perspective with human viewpoints.
Liturgical Significance: The placement of Psalm 113 in the context of Hallel psalms underlines its importance in Jewish liturgical traditions, especially during Passover.
This poem challenges the convention that poetry must rely on embellishment, elaborate imagery, or artifice to be meaningful or beautiful. Herbert begins with rhetorical questions that critique the idea that only fiction or outward, artificial beauty can be the subjects of verse: ‘Who says that fictions only and false hair / Become a verse? Is there in truth no beauty?’ This opening begins the thought of Herbert’s argument that truth and simplicity have their inherent worth in poetry [ … ]
Augustine’s meditation draws on the conviction that the Church stands as both the fulfilment of Israel’s hope and the visible sign of God’s promises realised in history. His opening phrase, As we have heard, so also have we seen, comes directly from Psalm 48 (/Vg. 47), a psalm celebrating Zion as the city of God. In its original Old Testament setting, the psalm rejoices in Jerusalem’s security and God’s protection; Augustine applies it to the Church, understood as the true and enduring ‘city of the Lord of hosts’ [ … ]
We process. Glass exhibition cases, old reliquaries. A forearm here; here a nun’s fingertip. In chapel, at a glance, there are the usual faces. But they all stand to attention. Jonathan breaks from the procession to – fire the organ with oomph and dignity: Ride on! ride on in majesty! The angel-squadrons of the sky look down with sad and wondering eyes to see the approaching sacrifice. When we’ve done the readings, the Arch holds that tree in his hands to deliver the homily. He rocks quietly on his feet, some few seconds, as if balance defeated it. A way you might affect as the Spirit moves… Copying. Then he says: ‘Our palm fronds may seem to us today rather dry. I mean this not in a literal sense, but by the standards of those who originally lined the roadways in order to welcome Jesus into Jerusalem, as they proclaimed Jesus to be the Messiah, who would be clambering up and ripping their palm branches fresh from off the trees. I think perhaps also our faith is somewhat distant from that of the people there on that highroad into Jerusalem, and something of our sense of the meaning has shifted in vividness from what it was then. And of course the expectation of all those many people is markedly different, but in many important respects the same. There are the same essential qualities to all our faith in God, which springs complete from our humanity, and that is one and the same in value for all of us, and time is consistent on this point. So then, let us renew the fullness of Catholic faith, and let us ask the Lord’s blessing as we embark upon our Holy Week. ‘Our Lord enters into Jerusalem in order to refresh us. He is to die in order that we may have life. There is a living reality here, both spiritual and as entangled in the joy of our daily living. We have Ladies’ Day where I grew up. They still have it, and they close the roads off, and little children parade, dressed-up like spring brides. When I was a boy, there was a May Day festival, and there was a May pole on the field, with the people dancing, like Morris dancers might be one way of visualizing this if you’ve never seen it, with their ribbons tied onto the top of the May pole, and they would weave around each other, dressing the pole, which is what we called it. It was like a dance with red and white and blue ribbons all hung off of the top of the May pole, which stood there all year, only like a telegraph pole, but it was concreted in, and then there was a slide, and swings – one baby-swing and two you could have a go at – terrible health and safety but that’s what it was in those days. ‘There was a round-a-bout – we used to run it round and round to try to get it off its central axis. It were rusty as anything and creaked like mad – on concrete. And climb up where it was all greased up at the top. Ruth, who was big as the next four of us, used to sit there sucking on the lollipops we nicked for her from Raddies, and she’d direct matters. We were trying to destroy it, and get it to dislodge from its central axis, and fly away – roll off into that farmer’s field, which he only ever kept for silage, but we never succeeded. There was a car someone had left there so we spent forever smashing that up, until someone who lived in one of the houses there took exception to our doing that, so he put thick grease under the door handles and gave us a right talking to. ‘It would only be a few stands, hot-dogs and things like that. The man selling the hot dogs would have his records on full blast. There’d be a couple of set-up stalls. Air-rifles – that sort of thing. But we all had them, and we all went shooting, of course, if not with twelve bores then with smaller gauge. Or pay a pound – I have no idea how much it was in actual fact then – it might have only been a few pennies – and we’d get all that time smashing up the crockery the man would put up for us to smash on the dressers. That was my particular favourite thing to do at these festivals, by the way, in case you were wondering. You got a little bucket of so many cricket balls. ‘I dread to think what went into those hot dogs. Probably EE rules would forbid it now. But it was a fair mix in those days. A lot of young people then were C of E. We’ve done a lot to hang onto our young people, which is a tremendous encouragement when you consider how things are, while in recent decades the Church of England hasn’t been so successful. People still want it on feast days and what are essentially now civic celebrations. It’s strange to see, though, how all the little stands there people have are run by the police and people like that along those lines. There’s no May pole. That was a sort of faith that ran and ran beneath all the theoreticals of it in the 1960s and the 1970s and into the 1980s. The May pole isn’t there now in the particular place I’m thinking of. Considering May poles were officially suppressed hundreds of years ago – as a part of the protestant reformation. One or two of you are probably thinking I’m remembering things from that time! ‘I should have liked to say that those processionals were so hardwired into us, that even after the last thirty years, when I became a bishop, they are still with us. They were […]
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