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Psalm 55 –Turmoil
TEXT (for Hebrew text, see end)
1. For the leader; with instrumental music. A maskil.1 Of David.
2. Give ear, O God, to my prayer; hide not Yourself from my plea;
3. attend to me and answer me. I am agitated as I complain, I am in turmoil
4. at the voice of the enemy, because of the oppression of the wicked; for they bring down trouble upon me and furiously harass me.
5. My heart writhes within me; deathly terrors fall upon me.
6. Fear and trembling invade me; horror overwhelms me.
7. I said, “Would that I had wings, like a dove! I would fly away and [there] dwell;
8. behold, I would flee far away; I would lodge in the wilderness. Selah
9. I would make haste to my refuge from the sweeping, tempestuous wind.
10. O LORD, confound and confuse their speech! For I see Violence and Strife in the city;
11. day and night they make rounds on its walls; Trouble and Mischief are within2 it.
12. Ruin is within it. Fraud and Deceit never depart from its square.
13. In fact, it is not an enemy who taunts me—I could bear that; it is not my adversary who deals insolently with me—I could hide from him;
14. but it is you, a man who is my peer, my companion, my friend;
15. he, who together with me shared sweet fellowship; we walked amidst the assembly in God’s house.
16. May He incite death against them; may they descend alive into Sheol! For wherever they reside, evils are within them.
17. But I call to God; the LORD will save me.
18. Evening and morning and noon, I complain and am in turmoil, and He hears my voice.
19. He redeems my life, unharmed, from the battle against me; indeed, many were against me.
20. May the Deity, who is enthroned from of old, hear and humble them—Selah—for they never change; they have no fear of God.
21. He stretched out his hand against his ally, he violated his covenant;
22. his mouth was smoother than butter, but battle was in his heart; his words were softer than oil, but they were drawn swords.
23. Cast your burden on the LORD and He will sustain you; He will never let the righteous man fall down.
24. As for You, O God, You will make them descend to the lowest Pit; those murderous, deceitful men shall not live out half their days. As for me, I place my trust in You.
Notes
1. Meaning uncertain.
2. “Within” in this and subsequent verses is of the same root as "battle,” vv. 19 and 22.
COMMENTARY
Mistakenly, some find Psalm 55 hopelessly erratic, one of a few psalms that “intersperse the many different elements seemingly at random” (Gillingham, p. 218). However, side by side with an eclectic use of repetition and word plays (reflecting turmoil, as we shall see), the poet uses strikingly sharp imagery and metaphor to portray a clear background, which is revealed in well-defined sections. Once these are noted, the complex use of language and order is seen to be a tempest of intertwined powerlessness, trauma, and hope. (See “Additional Notes” for attribution of credit for many of the insights below.)
The Account
1. The Plea, Reflecting the Condition (vv. 2–6) – It is common for psalms of lament to first request that God hear the speaker’s plea, but in this case the speaker includes an extended, chilling self-description: “agitated…turmoil… oppression… trouble … furiously harass… heart writhes… terrors fall… fear and trembling invade… horror overwhelms.” Here there are no repetitions, just a long, nightmarish chain. The troubles derive from the outside: they “are brought down…, fall upon…, invade…, and overwhelm.” That invasion is successful, for the internal description is unsettling: he is “agitated…, in turmoil…, writhing…, and overwhelmed.”
2. The Virtual City (vv. 10b–12) – The city described here is a horror. Seven personified evils reside within it, circle it, and inhabit its every corner. There is no escape. As Bail (see Additional Notes) points out, this is the antithesis of all that a city is supposed to be: a secure refuge from dangers without, with the walls protecting everything within. The speaker is trapped.
3. The Virtual Desert (vv. 7–9) – The speaker's desperation is starkly reflected in the first solution, a fantasy of the ability to fly. He would find a new “dwelling” (v. 7, the verb indicating a permanent abode) in the desert, which, in fact, sometimes serves in the Bible as temporary refuge, but is hardly a dwelling place. Indeed, this solution implies a reversal of accepted expectations. The desert is a land of danger and non-human habitation. Thus the inverse image of the city leads to an inverse image of the desert. As to its “virtual” status, based on flying, it is noteworthy that not one of the terms in verses 7–9 is repeated elsewhere in the poem, as if it is cut off from all reality.
4. The Reversed Relationship (vv. 13–15; 21) – The cycle of reversal finds its origin in the nature of the “enemy,” who was at one time the closest of friends, a confidant. In verse 21, all terms testify to the perfidy: this "friend" stretches out his hand against (meaning to harm grievously) and violated a covenant (a dreadful step, undermining society). Emphasizing the irony, the root meaning for “ally,” the term used for the speaker, is ironically shalom, “peace.” All is as it should not be.
Moreover, the terms of description of this former friend are also not echoed anywhere in the poem (with one exception – “enemy”). Recalling that the desert description has no echo and is isolated as fantasy, one wonders (there is certainly no basis for certainty) if the poet places this friend, or even the very idea of friendship, in the same fantastical category.
5. The Span of Time – The physical scope of the city finds its counterpart in the time references, which are equally encompassing and inescapable. “Day and night” and “evening, morn, and noon” (vv. 11, 18), the speaker faces an enemy who “never changes” (v. 20). As there is no corner to which the speaker can flee, so there is no moment of respite.
Thus the account of what happened reflects desperation, powerlessness, and near hopelessness.
The Speaker
Psalm 55 is an overheard monologue, mostly addressed to God. The poem conveys the speaker’s self-concept, emphasized by the frequently repeated root, k-r-v, appears in two homonyms. The six uses are “within” (vv. 5, 11, 12, 16) and “battle” (vv. 19, 22), which, combined, encapsulate the internal turmoil.
The speaker and his mindset are at the poem's core. Of greatest interest, perhaps, is the relationship the speaker has or seeks with God in light of his perceived situation. Unlike his grim but essentially static feeling, the relationship shows evolvement. From the desperate but general opening, the petitioner moves on to a direct request to “confound” their speech (v. 10) and an indirect (third-person) request for their early deaths (v. 16), leading to an expression of great confidence (vv. 17–19). An indirect request that He “humble” them (v. 20) leads to a recommendation of dependence on God (v. 23, and perhaps one can understand that at least one of the addressees is himself). Verse 24 uses parallel terms for the speaker and God (“as for You… as for me”), reflecting a newly discovered self-dignity, which enables him to survive in all the darkness. God in this last verse will accept the request for early death for these scoundrels, and the speaker places his trust in God. There is of course a lingering doubt in the last verse, because the two acts are set in parallel terms. Does the text imply that the speaker will be able to place his faith in Him only if God’s plays out his role?
The Use of Language in Light of Turmoil
All of the above is presented fairly clearly in the psalm. However, the turmoil is reflected in the use of language; most psalms exhibit one approach or another to the use of words, either emphasizing repetition of the use of a variety of terms. Psalm 55 is eclectic. Both repetitions and the use of synonyms in parallel situations are utilized and, then, for a different effect in each instance. Further, whereas there is an indication of a subdivision (here into two sections, in other psalms two or more), it does not hold for all the details. Other literary techniques are also used, but with no consistency. There is occasional alliteration, echoing, and punning.
I here cite selected examples of literary usages.
Repetition – Above I noted the key word repetition, k-r-v (“within, battle”). Some repetitions contrast, as follows. The “enemy” is a cause of distress, but “enemies” are much less of a problem than friends turned adversaries (vv. 4, 13); they “bring down” trouble but God does not let the righteous man “fall down” (same root – vv. 4, 23); his “death” is compared to theirs (vv. 5, 16), as is his “heart” (vv. 5, 22); his “fear” is set against their not “fearing” God (vv. 6, 20); and the presence of violence “day” and night leads to their not living out their “days” (vv. 11, 24). Other repetitions primarily reinforce the imagery: “trouble” (vv. 4, 11), “hear” (vv. 18, 20), “deceit” (vv. 12, 24), and “descend” (vv. 16, 24). The repetition of three terms, “complain,” “turmoil,” “voice,” (vv. 3–4 and 18) would seem to create two sections. If the second section begins in verse 17, then “You” frames the second half, which is marked by greater confidence. (As stated, however, the two halves are insufficiently differentiated to confirm that the division was purposeful.)
At times, the poet prefers new terminology instead of repetition when he returns to an almost identical concept, including the descent to the Pit (vv. 15, 24) and the encompassing time parameters (vv. 11, 18). The use of varied methods, I suggest, reflects the internal state of the speaker: distressed, distraught, and disoriented. This is also reflected in isolated other literary usages, such as the following. There is at least one alliterative string of four uses of the letter aleph at the beginning of a word (first four words, v. 17, which possibly begin the second half.). There are at least two echoing phrases: “deathly terrors” (aimot mavet, v. 5) and “sweeping, tempestuous” (so’ah misa’ar, v. 9).
What Happened?
As in most cases in Psalms, the specific history is missing. (Many interpreters see this absence of particulars as testimony to the desire that these poems be available as liturgy.) Bail (see below) has shown sensitive understanding of Psalm 55 in her suggestion that the psalm might reflect the words of a victim of rape. (The Hebrew certainly allows for such an interpretation, though the mixture of singular and plural for the evildoers would have to indicate condemnation not only of a perpetrator, but also of a society that enables and protects him.) It does befit the circumstance. There is much turmoil in the face of intractable evil here, perpetrated by one close to the victim (as are most rapes), accompanied by a sense of powerlessness and leading to violent wishes for the perpetrator(s). This victim cries out to God, and finds some respite in that act. It is a chilling and a moving statement. Readers can easily empathize, but hopefully do not have occasion to associate. (The idea that a woman might have written the psalm encounters centuries of opposite assumptions about biblical authorship. While the Bible itself hints at occasional literary and leadership roles for women, we simply do not yet know enough of antiquity to draw clear conclusions. In any case, even if secondary, the application to the circumstance of rape is certainly appropriate.)
* * * * * * * *
Additional Notes
I am indebted for some of the interpretations above to the following article: Ulrike Bail, “‘O God Hear My Prayer’: Psalm 55 and Violence against Women,” in Athalya Brenner and Carole Fontaine, eds., Wisdom and Psalms: A Feminist Companion to the Bible, second series (Sheffield: Sheffield Academic Press, 1998), pp. 242–263, in particular for the concepts (and detail) of the description of the city and the desert, including the desert’s virtual character.
There are several difficult terms in Psalm 55, although their interpretation does not alter any of what is said above. In one extended case, however, verses 19b–20, variations could have some influence on one’s reading of the psalm, so I note them here. Verse 19b as translated above refers to the enemy. It is possible to apply the same words to otherwise unnamed allies of the speaker, “for many were with me”: that is, God saved me by giving me many allies. Verse 20 is read above as a hope for the future, but can equally legitimately be read as either factual present or future. The verse is even more complex (including the rare appearance of “selah” in the middle). “He shall humble them” could be “he shall answer them” with a reference to the good people, not the evil ones. “They never change” is interpreted by some as “they will have no one to replace them,” that is, as a punishment, they will have no heirs. (Despite the plausibility of these alternatives, I stand by my translation and my interpretation.)
Psalm 55 evidently includes two references to Pentateuchal examples of extreme evil. The reference in verse 16 to live descent to Sheol evidently reflects the death of the rebel Korah (Num. 16:30, which also includes the term “confound,” used here in v. 10) and their “not fearing God,” verse 20, possibly reflects the arch-enemy Amalek (Deut. 25:18).
The author of these essays is Rabbi Benjamin Segal, former president of the Schechter Institute of Jewish Studies in Jerusalem Jerusalem
HEBREW TEXT
(א) לַמְנַצֵּחַ בִּנְגִינֹת מַשְׂכִּיל לְדָוִד:
(ב) הַאֲזִינָה אֱלֹהִים תְּפִלָּתִי וְאַל תִּתְעַלַּם מִתְּחִנָּתִי:
(ג) הַקְשִׁיבָה לִּי וַעֲנֵנִי אָרִיד בְּשִׂיחִי וְאָהִימָה:
(ד) מִקּוֹל אוֹיֵב מִפְּנֵי עָקַת רָשָׁע כִּי יָמִיטוּ עָלַי אָוֶן וּבְאַף יִשְׂטְמוּנִי:
(ה) לִבִּי יָחִיל בְּקִרְבִּי וְאֵימוֹת מָוֶת נָפְלוּ עָלָי:
(ו) יִרְאָה וָרַעַד יָבֹא בִי וַתְּכַסֵּנִי פַּלָּצוּת:
(ז) וָאֹמַר מִי יִתֶּן לִי אֵבֶר כַּיּוֹנָה אָעוּפָה וְאֶשְׁכֹּנָה:
(ח) הִנֵּה אַרְחִיק נְדֹד אָלִין בַּמִּדְבָּר סֶלָה:
(ט) אָחִישָׁה מִפְלָט לִי מֵרוּחַ סֹעָה מִסָּעַר:
(י) בַּלַּע אֲדֹנָי פַּלַּג לְשׁוֹנָם כִּי רָאִיתִי חָמָס וְרִיב בָּעִיר:
(יא) יוֹמָם וָלַיְלָה יְסוֹבְבֻהָ עַל חוֹמֹתֶיהָ וְאָוֶן וְעָמָל בְּקִרְבָּהּ:
(יב) הַוּוֹת בְּקִרְבָּהּ וְלֹא יָמִישׁ מֵרְחֹבָהּ תֹּךְ וּמִרְמָה:
(יג) כִּי לֹא אוֹיֵב יְחָרְפֵנִי וְאֶשָּׂא לֹא מְשַׂנְאִי עָלַי הִגְדִּיל וְאֶסָּתֵר מִמֶּנּוּ:
(יד) וְאַתָּה אֱנוֹשׁ כְּעֶרְכִּי אַלּוּפִי וּמְיֻדָּעִי:
(טו) אֲשֶׁר יַחְדָּו נַמְתִּיק סוֹד בְּבֵית אֱלֹהִים נְהַלֵּךְ בְּרָגֶשׁ:
(טז) ישימות }יַשִּׁי מָוֶת{ עָלֵימוֹ יֵרְדוּ שְׁאוֹל חַיִּים כִּי רָעוֹת בִּמְגוּרָם בְּקִרְבָּם:
(יז) אֲנִי אֶל אֱלֹהִים אֶקְרָא וַיהֹוָה יוֹשִׁיעֵנִי:
(יח) עֶרֶב וָבֹקֶר וְצָהֳרַיִם אָשִׂיחָה וְאֶהֱמֶה וַיִּשְׁמַע קוֹלִי:
(יט) פָּדָה בְשָׁלוֹם נַפְשִׁי מִקְּרָב לִי כִּי בְרַבִּים הָיוּ עִמָּדִי:
(כ) יִשְׁמַע אֵל וְיַעֲנֵם וְיֹשֵׁב קֶדֶם סֶלָה אֲשֶׁר אֵין חֲלִיפוֹת לָמוֹ וְלֹא יָרְאוּ אֱלֹהִים:
(כא) שָׁלַח יָדָיו בִּשְׁלֹמָיו חִלֵּל בְּרִיתוֹ:
(כב) חָלְקוּ מַחְמָאֹת פִּיו וּקְרָב לִבּוֹ רַכּוּ דְבָרָיו מִשֶּׁמֶן וְהֵמָּה פְתִחוֹת:
(כג) הַשְׁלֵךְ עַל יְהֹוָה יְהָבְךָ וְהוּא יְכַלְכְּלֶךָ לֹא יִתֵּן לְעוֹלָם מוֹט לַצַּדִּיק:
(כד) וְאַתָּה אֱלֹהִים תּוֹרִדֵם לִבְאֵר שַׁחַת אַנְשֵׁי דָמִים וּמִרְמָה לֹא יֶחֱצוּ יְמֵיהֶם וַאֲנִי אֶבְטַח בָּךְ:
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