The Journal of Hebrew Scriptures ISSN 1203-1542 http://www.jhsonline.org and http://purl.org/jhs Articles in JHS are being indexed in the ATLA Religion Database, RAMBI, and BiBIL. Their abstracts appear in Religious and Theological Abstracts. The journal is ar- chived by Library and Archives Canada and is accessible for consultation and research at the Electronic Collection site maintained by Library and Archives Canada (for a direct link, click here). VOLUME 8, ARTICLE 20 F. W. DOBBS-ALLSOPP, PSALM 133: A (CLOSE) READING 2 JOURNAL OF HEBREW SCRIPTURES PSALM 133: A (CLOSE) READING F. W. DOBBS-ALLSOPP PRINCETON THEOLOGICAL SEMINARY 1. INTRODUCTION The art of reading remains the paradigmatic practice of literary criticism, even (and perhaps especially) on this, the thither side of theory. The princi- pal thrust, for example, of T. Eagleton’s recent poetry primer is to call stu- dents of literature back to the practices and habits of close reading.1 In Bib- lical Studies, too, there have been kindred voices raised urging scholars and students of biblical poetry to move from a preoccupation with matters of underlying structure and prosody (never irrelevant issues) to a pursuit of “the poetry per se,” a pursuit, that is, of reading.2 Readings (always in the 1 How to Read a Poem (Oxford: Blackwell, 2007), 1. 2 E. L. Greenstein, “Aspects of Biblical Poetry,” Jewish Book Annual 44 (1986– 87), 42. The 1980s in particular witnessed a great amount of interest in scrutinizing key formal features (e.g., parallelism, meter, line structure) characteristic of biblical Hebrew verse, e.g., L. Alonso Schökel, A Manual of Hebrew Poetics (SubBib 11; Rome: Pontifical Biblical Institute, 1988); R. Alter, The Art of Biblical Poetry (New York: Basic Books, 1985); A. Berlin, The Dynamics of Biblical Parallelism (Blooming- ton: Indiana University, 1985); A. Cooper, “Biblical Poetics: A Linguistic Ap- proach” (unpubl. diss., Yale University, 1976); S. Geller, Parallelism in Early Biblical Poetry (HSM, 20; Missoula: Scholars, 1979); E. Greenstein, “How Does Parallelism Mean?” in A Sense of the Text (JQRSup; 1982), 40-71; D. Grossberg, Centripetal and Centrifugal Structures in Biblical Poetry (SBLMS, 39: Atlanta: Scholars, 1989); J. Kugel, Idea of Biblical Poetry (New have: Yale University, 1981); M. O'Connor, Hebrew Verse Structure (Winona Lake: Eisenbrauns, 1980); D. Pardee, Ugaritic and Hebrew Parallel- ism (VTSup 39; Leiden: Brill, 1988); W. G. E. Watson, Classical Hebrew Poetry: A Guide to Its Techniques (JSOTSup, 26; Sheffield: JSOT, 1984). So the desire for more PSALM 133: A (CLOSE) READING 3 plural) are the stuff out of which all construals of prosody and poetics are necessarily made and at the same time are what complete said construals. They are the ultimate justification of poetry, the gift of poetry. Readings of biblical poems, and especially close, deep, lusciously savored, highly imagi- native readings, are still too few in the field. Such a reading of Psalm 133 is what I aim to put on offer in the body of the essay that follows. There is no one right way of reading, no tidy, pre-set template or calcu- lus guaranteed to generate meaningful construals, sure and compelling read- ings. Reading is not an un-messy affair, not risk free. It is a practice, with many modes and an inestimable number of different and competing aims and outcomes. Proficiency (however measured) comes, much as it does in many other endeavors, through iteration and habituation, as does the pecu- liar and pleasurable satisfactions that it brings. My reading of the short Psalm 133 is here presented as but one example of what is possible, what is imaginable, what is readable. The reading itself is enacted in four main sec- tions that fall out (mostly) according to the contours of the poem’s structure as I understand it. Along the way I press two considerations more closely, both of which I believe have significance beyond a reading of Psalm 133. Neither, however, is very radical or new. The first is that poetry, at bottom, is a way of words; it is, as has often been said, a making out of words— poesy (cf. maʿăśay, Ps 45:2). And therefore any sort of maximally empa- thetic reading of a biblical poem—here a psalm—will include a close attend- ing to the words that enact that poem, words that are themselves the very means of getting from a poem’s beginning to its end—words as bearers of meaning (as they always are), rooted in a specific history and culture, and that have about them a certain “thingness,” a sound and shape, a physicality that can be repeated, played with, intensified, fractured. The main path (of reading) that I chart (and follow) through this particular piece of poetic dis- course (especially in sections two, three, and five) finds its bearings literally word by word. And yet if poems are all about words, they are often also more than the sum of their words, and this is the second (larger) consideration to be pressed (especially in the short section four). In the end, though a poem is a making of and through words, what is ultimately made—the poem—does not lie in the words alone but emerges, as well, because of them and in be- tween them, literally, in the case of our ancient psalm, in the spaces of unin- scribed text that isolate and surround its words. Here, then, I also want to claim some significance for poetry’s sometimes distinctive (though not nec- essarily unparalleled) way of embodying knowledge. The final upshot of how Psalm 133, for example, engages, interrupts, breaks into the world is something more than a mathematical summing of its component words. This accounts, I believe, for a good part of this psalm’s appeal and satisfac- tion.3 attention to be paid to the biblical poems themselves and to the reading of these poems is understandable. 3 The essay has benefited from the insight and input of many, for which I am 4 JOURNAL OF HEBREW SCRIPTURES 2. AN OPENING EXULTATION The only claim made in the short Psalm 133 comes in the opening couplet (bicolon)4 where the beauty of brothers dwelling together is extolled. What is most striking about this claim is its unmistakable hyperbole and its thor- oughgoing aesthetic character. As J. Culler observes, lyric discourse gener- ally exhibits a strong attraction to extravagance, exaggeration, sublimity: “the tiger is not just orange but ‘burning’” and “the wind is the very ‘breath of Autumn’s being.’”5 In the first line of our poem the hyperbolic register is signaled by the twofold use of the exclamatory mah6 (“How!”), headed by the presentative hinnê (“Wow!”).7 If the semantics of such an additive strat- egy appears “strangely redundant,”8 a more satisfying sum is achieved when the arithmetic is factored in terms of rhetorical force. One plus one plus one, in this (new) poetic math, yields a threefold underscoring of the attrac- most grateful. Faculty and student colleagues at Princeton Theological Seminary have patiently and generously engaged it on more than one occasion. I presented versions of the essay on a number of occasions, including at the Lenox House Col- loquium and as the 2008 presidential address at the MARSBL. Special thanks to Simi Chavel, Elaine James, Tod Linafelt, Leong Seow, and Ray van Leeuwen. All of these have made this a much more compelling piece. 4 Lineation of biblical Hebrew poems always requires specification. Which is to say that it is not a given. Two important sources of evidence for line structure in the Psalms come in the accents and page layout preserved in the various Masoretic manuscripts. In both Aleppo and B 19 A, normally each columnar line contains two poetic lines (or parts thereof) separated by a varying span of uninscribed text (space permitting). This ideal, of course, is not always ideally realized. The blank space between the two lines of the first couplet is minimal (but noticeable) in both Aleppo and B 19 A as the scribes endeavor to get the complete couplet on one columnar line. Spacing between poetic lines is not typically shown in 11QPsa—it is written chiefly in a prose format. However, there is a significant amount of unin- scribed space separating the first two poetic lines of this psalm—a significant junc- ture, too, in my reading of the poem. 5 Literary Theory: A Very Short Introduction (Oxford: Oxford University. 1997), 72. 6 Transliteration after the example of mah-šĕmô in SBL Handbook (§5.1.1.4(5)). 7 For a good orientation to the force and syntax of both exclamatory māh/mâ and presentative hinnê in Biblical Hebrew, see IBHS §§18.3f, 40.2.1a–c. 8 E. S. Gerstenberger, Psalms, Part 2, and Lamentations (FOTL 15; Grand Rapids: Eerdmans, 2001), 371. PSALM 133: A (CLOSE) READING 5 tion of brothers dwelling together. Indeed, this piling up of exclamatory particles coupled with the withholding of the object of admiration means that the resulting surfeit of exultation seems to explode from the line as auditors move onto the second line in search of the unnamed topic so ex- travagantly hymned. Perhaps the closest parallel to the line comes in Song 7:7 (cf. 4:10), mah-yāpît mah-nā̄ʿamtā “How beautiful are you, how pleasant...!” The phrasing itself nicely throws into relief the added rhetorical force of hinnê in Ps 133:1,9 but it is the obviousness of this line’s aesthetic interest that proves so crucial for our appreciation of Psalm 133 more generally. As the line in the Song is said of the Shulammite, we easily acquiesce to its defining aesthetic bent—after all she is repeatedly admired and found beautiful by her lover throughout the Song (e.g., 1:15; 4:1–7; 7:2).