Psalm 42

Personal Observations:

(Cut and Paste observations to points of discussion when beginning outline)

A Maskil of the sons of Korah, what is that?

v. 1-2a, The psalmist compares their need for God to a deer thirsting for water. In fact the Psalmist goes so far as to say their very soul thirsts for God; not just any God, but THE LIVING GOD

v. 2b-3, The Psalmist seeks an audience with God; this absence from God causes utter despair, they eat their very tears and are surrounded by “they,” who mocks the Psalmist with reminders of God’s absence

v. 4, What is the Psalmist remembering?

v. 4, The Psalmist used to lead worship among the nation

v. 5, The Psalmist begins to comfort themself, asking why is their soul in despair. The Psalmist calls themself to hope in God; hope leads to praise

v. 6, The Psalmist tells God how their soul is in despair. In response to this despair, the Psalmist forces themself to remember God’s presence in the land.

v. 6-7, there is a bit of heavy reference to God and the land, significance?

v. 8, ???

v. 9-10, The Psalmist is really going back and forth on this issue of abandonment and determination to praise. As per v. 9, the Psalmist is afflicted by an enemy and is feeling forgotten by God.

v. 11, Psalmist repeats the same question from v. 5 and concludes with praise.

This is somewhat comical in jumping back in the Psalms, as this very psalm reflects all of the Psalms together. Highs and lows, back to back

Subject: What am I talking about?

What does the Psalmist tell his soul to do in the midst of despair?

Complement: What exactly am I saying about what I’m talking about?

The Psalmist tells his soul to hope in God

The Big Idea:

In the midst of despair, we must secure our hope in God.

Prayer Requests & Praise Reports

Read Passage

Intro:

Book Two of the Psalter consists of . So a couple of important things to note as we dive into Book Two:

The second book varies more significantly in authorship.

As the Davidic collection of Book I closes with a doxology (41:13), a new collection of authors in this section, with the descendants of Korah being the first to open Book II.

Book I is composed of thirty-seven Davidic psalms and several anonymous psalms. Book II has eighteen Davidic psalms, seven psalms of the descendants of Korah (42–49), several anonymous psalms, one psalm ascribed to Asaph (50), and one attributed to Solomon (72).

Thus we observe that in the Elohistic Psalter (Psalms 42–83), in many instances the name Elohim occurs instead of YHWH; in some instances the name YHWH occurs instead of Elohim; and in other instances, no difference exists between the psalm(s) within the Elohistic Psalter and the duplicate psalm(s) outside it. The origins and shaping history of the Elohistic Psalter are unclear to modern students of the Hebrew Psalter. While many scholars understand the Elohistic Psalter as the product of a postexilic editing (by a community that no longer found it acceptable to vocalize the personal name of the deity), others maintain that it is simply impossible to state with certainty its origins. Theories abound, but no single one is compelling. We can simply observe the phenomenon of the use of the divine name in Psalms 42–83 and continue to wonder.

• Psalm 53, “a Maskil of David,” is almost identical to Psalm 14. The only difference between them is that wherever the name YHWH (Lord) occurs in Psalm 14 (vss. 2, 4, 6, and 7), the reader finds Elohim in Psalm 53.

• Psalm 70, a psalm “of David,” parallels vv. 13–17 of Psalm 40, also “of David.” But unlike Psalm 53, where the only divine name used is Elohim, Psalm 70 uses Elohim only in the first line of each poetic bicola. Compare, for example, Ps. 40:13 with 70:1:

Be pleased, O Lord, to deliver me.

O Lord, make haste to help me. (40:13)

Elohim, deliver me!

Lord, as my help, hurry! (70:1)

In addition, where Elohim appears in the second line of the poetic bicola in Psalm 40, in Psalm 70 it occurs as YHWH (Lord). Compare Psalm 40:17 with 70:5:

But I am poor and needy, may my Lord take thought for me!

You are my help and my deliverer; O my Elohim, do not be slow! (40:17)

But I am oppressed and needy; Elohim, hurry to me!

You are my helper and my deliverer! Lord, do not delay! (70:5)

• Psalms 57:7–11 and 60:5–12 are taken from Psalm 108, or Psalm 108 is made up of Pss 57:7–11 and 60:5–12. Interestingly, the divine names used in Psalms 57 and 60 occur exactly as they do in Psalm 108.

Thus we observe that in the Elohistic Psalter (Psalms 42–83), in many instances the name Elohim occurs instead of YHWH; in some instances the name YHWH occurs instead of Elohim; and in other instances, no difference exists between the psalm(s) within the Elohistic Psalter and the duplicate psalm(s) outside it. The origins and shaping history of the Elohistic Psalter are unclear to modern students of the Hebrew Psalter. While many scholars understand the Elohistic Psalter as the product of a postexilic editing (by a community that no longer found it acceptable to vocalize the personal name of the deity), others maintain that it is simply impossible to state with certainty its origins. Theories abound, but no single one is compelling. We can simply observe the phenomenon of the use of the divine name in Psalms 42–83 and continue to wonder.

Like Book One, Book Two consists mainly of laments (twenty out of thirty-one psalms or 65 percent)

So a good question might be, “Who are the sons of Korah?” According to 1 Chronicles, the Korahites were temple keepers and temple singers during the reigns of David and Solomon (; ). The Korahites are listed in as one of the five major levitical families, but in the book of Chronicles, they generally appear as a subgroup of the Kohathites (, ; ).

Book Two opens with a collection of Psalms of the Sons of Korah (Psalms 42–49), and the Korahites, in fact, sing the first community lament of the Psalter:

Yet you have rejected and you reproach us;

you do not go forth with our armies.

You cause us to turn back from an oppressor,

and the ones who hate us have plundered for themselves.

You give us like a flock of sheep as food,

and among the nations you have scattered us. (44:9–11)

is a psalm of Asaph. Asaph was, according to , the eponymous ancestor of a guild of singers and musicians who, along with the Korahites, served at the temple in Jerusalem during the reigns of David and Solomon.

When the priests came out of the holy place (for all the priests who were present had sanctified themselves without regard to their divisions), and all the levitical singers, Asaph, Heman, and Jeduthun, their sons and kindred, arrayed in fine linen, with cymbals, harps, and lyres, stood east of the altar with one hundred twenty priests blowing trumpets, then the trumpeters and singers made themselves heard in unison in praise and thanksgiving to the Lord. (2 Chr. 5:11–13)

Fifteen psalms of David appear in the middle of Book Two (Psalms 51–65). Fourteen of them are laments. Eight are connected, in their superscriptions, with particular events in the life of David. These psalms remind readers once again that David’s life was one of turmoil and strife; but they also depict for readers a king who loved the Lord and strove to serve the Lord with great fervor.

O God, you are my God, I seek you;

my soul thirsts for you;

my flesh faints for you;

like a dry and weary land with no water.

So I envisioned you in the sanctuary;

beholding your power and glory;

for your hesed is better than life;

my lips shall praise you.

So I will bless you all my life;

and in your name, I will lift up my hands. (63:1–4)

Not all scholars agree. James Sanders maintains that the editors of the Psalter purposefully drew attention to very specific events in the life of David, situations with which they expected their readers to be familiar:

Book Two ends with Psalm 72, a psalm “of Solomon.” It is classified as a royal psalm, and its words call on God to bestow upon the new king all of the attributes required to make the king successful in his reign.

Does not such editorial work indicate the intense interest of redactors in date lines and historical contexts? They seem to be saying fairly clearly, if the reader wants to understand the full import for his or her (later) situation of what Scripture is saying, he or she had best consider the original historical context in which this passage scored its point.

Therefore, according to Sanders, the superscriptions do matter, especially in the case of the thirteen psalms that refer to specific events in the life of David. The superscriptions call readers to go back and review the stories and think about the characters and emotions, the actions and the outcomes. Then, when readers return to the psalms, they are able to ask themselves, “How do the psalms express the emotions and outcomes of the characters and events of those stories?” The contexts of the superscriptions provide initial “hooks” on which readers can “hang” the psalms and ponder on their words as they attempt to appropriate their messages into their own lives.

The only untitled psalm in Book Two is Psalm 71, an individual lament, which may be read as the supplication of an aged person that God not forget or forsake:

God, you have taught me from my youth;

and still I proclaim your wonders.

Even until old age and gray hair,

O God, do not forsake me,

until I can declare your strength,

to all generations to come, your power.…

Though you caused me to see great troubles and calamities;

you revive me again;

from the depths of the earth you will again bring me back. (71:17–18, 20)

Book Two ends with Psalm 72, a psalm “of Solomon.” It is classified as a royal psalm, and its words call on God to bestow upon the new king all of the attributes required to make the king successful in his reign.

Book Two is a moving and poignant segment of the story of the Psalter. It opens with King David in the background and the temple singers at the forefront. David steps forward again in and 68–70, but the reader is constantly reminded of the humanness of the great king (—Bathsheba, 56—the Philistines, 57—hiding from Saul). The book concludes with abrupt finality, ending the celebration of David’s kingship that has dominated the first two books of the Psalter.

as long as the moon, through all generations.

May he descend like rain upon mown grass;

like showers that water the earth.

May righteousness flourish in his days;

and much well-being until the moon is no more.…

May the kings of Tarshish and the islands return tribute;

and kings of Sheba and Seba present gifts.

May all the kings fall down before him;

David, the psalm-singer of ancient Israel, will move to the background of the Psalter in Books Three and Four. Only one psalm in Book Three is attributed to David () and only two in Book Four ( and 103). Other voices will dominate as the Psalter moves through the story of the life of ancient Israel.

may all the nations serve him. (72:5–7, 10–11)

Book Two of the Psalter closes with the usual doxology:

The alert reader will note—even in English translation—a radical change in reference to God beginning with this psalm and continuing through . The significant difference observed between this group of psalms and those that precede and follow is in the name applied to the deity. Outside this group, the use of the direct divine name Yahweh (“Lord”) is by far the most common designation. In , however, the more generic designation Elohim (“God”) outstrips the appearance of Yahweh. While the reason for this difference is not yet satisfactorily explained, it is common to refer to this segment of the larger collection as the “Elohistic Psalter” because of the predilection for Elohim.

Blessed be the Lord God, the God of Israel,

marks the beginning of what is commonly known as the Elohistic Psalter (), so named because of its somewhat distinct use of the divine name. In the Hebrew Psalter, the name most frequently used for God is the tetragrammaton YHWH (translated in English Bibles as “LORD”). But in , the name used most frequently is Elohim (ʾelōhîm, translated in English Bibles as “God”).

Probably most interesting, marks the beginning of what is commonly known as the Elohistic Psalter (), so named because of its somewhat distinct use of the divine name. In the Hebrew Psalter, the name most frequently used for God is the tetragrammaton YHWH (translated in English Bibles as “LORD”). But in , the name used most frequently is Elohim (ʾelōhîm, translated in English Bibles as “God”).

who alone does wondrous deeds.

Blessed be his glorious name forever;

Now concerning

May his glory fill all the earth. Amen and Amen. (72:18–19; cf. 41:13; 89:52; 106:48)

We see that is identified as a Maskil (lit., “enlightenment” or “to impart wisdom”), a type of psalm focusing specifically on instruction in practical wisdom or contemplation.

Book Two is a moving and poignant segment of the story of the Psalter. It opens with King David in the background and the temple singers at the forefront. David steps forward again in Psalms 51–65 and 68–70, but the reader is constantly reminded of the humanness of the great king (Psalm 51—Bathsheba, 56—the Philistines, 57—hiding from Saul). The book concludes with abrupt finality, ending the celebration of David’s kingship that has dominated the first two books of the Psalter:

The prayers of David, son of Jesse, are completed. (72:20)

Rydelnik, M., Vanlaningham, M., Barbieri, L. A., Boyle, M., Coakley, J., Dyer, C. H., … Zuber, K. D. (2014). Psalms. In The moody bible commentary (p. 788). Chicago, IL: Moody Publishers.

David, the psalm-singer of ancient Israel, will move to the background of the Psalter in Books Three and Four. Only one psalm in Book Three is attributed to David () and only two in Book Four ( and 103). Other voices will dominate as the Psalter moves through the story of the life of ancient Israel.

This is a psalm that should be read with . This isn’t the first time we’ve encountered something like this, if you will recall , our introduction to the Psalter or . So while the two psalms can be sung individually, they are in fact two parts of a single, close-knit poem, one of the most sadly beautiful in the Psalter. We really do not know why they were divided.

As a single composition, the unified psalm offers the following three sections:

The psalmist longs to meet God and to relive the lost joy of communion within the festivities of temple worship (42:1–5)

downcast and removed from the temple, he feels overwhelmed and forgotten by God—taunted and oppressed by his enemies (42:6–11)

he pleads for vindication, seeking divine guidance for a return to the temple and the joyful presence of God (43:1–5).

To provide some context, this is the lament of a temple singer exiled in the north near the rising of the Jordan, who longs to be back at God’s house, and turns his longing into resolute faith and hope in God himself.

Now concerning Psalm 42

These two psalms are certainly one and we cannot tell why they were divided. A balanced refrain unites three stanzas of similar length (42:6, 11; 43:5); there are links of wording, e.g. in the first two stanzas, ‘while they say’ etc. (3, 10); in the second and third, ‘mourning’ (42:9; 43:2); and there is unity and development of theme. (a) In 42:1–5 (‘faith longing’), past memories sharpen present pain. The metaphor of drought (1, 2) expresses a deep longing for God. (b) In 42:6–11 (‘faith reviving’), the metaphor of storm (7) expresses present distresses but faith sees the breakers as the Lord’s breakers, his love remains (8), he is still my Rock (9). (c) In 43:1–5 (‘faith responding’) the metaphor of a search party (3) expresses assurance for the future. The God who is even now a stronghold will bring him back home (3–4).

Many situations can be imagined for this psalm. The writer recalls temple services as things of the past (42:4); he is now in the far north of Palestine (42:6); only an act of God can bring him back (43:3); he is surrounded by triumphalist, taunting foes (42:3, 9–10). Any occasion when an enemy took and deported captives (e.g. 2 Ki. 14:14; 24:14), would be appropriate.

When the Soul Pants (v. 1-4)

When the Soul Despairs (v. 5-8)

When the Soul Hopes (v. 9-11)

When the Soul Pants (v. 1-5)

When the Soul Pants (v. 1-4)

v. 1-2a, The psalmist compares their need for God to a deer thirsting for water. In fact the Psalmist goes so far as to say their very soul thirsts for God; not just any God, but THE LIVING GOD

This image of a thirsty deer illustrates the urgency of the psalmist’s craving for God, which is essential to life, just as water is to the deer. The psalmist’s specific comparison of the deer to my soul (rather than the more general “to me”) also indicates God’s nurture extends not merely to physical needs but more significantly to spiritual needs (cf. my soul vv. 2a, 4a, 5a, 6a, 11a).

Few images in the Psalter exceed the beauty of the opening lines of this psalm. The “soul” (nepeš) of the psalmist “pants” for God like a deer for scarce water in the midst of drought. Here Yahweh is seen as the source of life and refreshment that satisfies the longing of the psalmist to “meet with God.” The emphasis is not just on his utter dependence on God for life (while that is, of course, assumed); it is rather the joy and pleasure of being in God’s presence that the psalmist misses and longs to restore...The image of thirst is instructive. The deer “thirsts” for streams of water as the psalmist’s soul “thirsts” for God.

Streams of running water that continue to flow even during the dry seasons are often called “living waters” since they are the source of life. The psalmist is most likely drawing that parallel here. He longs for God as the source of life. This is confirmed by the appearance in 42:8 of the almost identical phrase “the God of my life.”

v. 2b-3, The Psalmist seeks an audience with God; this absence from God causes utter despair, they eat their very tears and are surrounded by “they,” who mocks the Psalmist with reminders of God’s absence

v. 4, The Psalmist used to lead worship among the nation

v. 5, The Psalmist begins to comfort themself, asking why is their soul in despair. The Psalmist calls themself to hope in God; hope leads to praise

The phrase the living God links to Israel’s encounter with the Lord at the fiery mountain when God made Himself known in a powerful, personal way (, ; ; cf. , ). In his time of need, David recalled his struggle and said, My tears have been my food day and night, as he constantly prayed. The wording in v. 4 (procession, thanksgiving, keeping festival) is suggestive of the Feast of Booths, which was one of Israel’s three pilgrimage festivals (the other two being Passover and Pentecost) and was specifically intended as a time of thanksgiving for God’s protective care of the Israelites during their 40-year sojourn in the desert ().

Few images in the Psalter exceed the beauty of the opening lines of this psalm. The “soul” (nepeš) of the psalmist “pants” for God like a deer for scarce water in the midst of drought. Here Yahweh is seen as the source of life and refreshment that satisfies the longing of the psalmist to “meet with God.” The emphasis is not just on his utter dependence on God for life (while that is, of course, assumed); it is rather the joy and pleasure of being in God’s presence that the psalmist misses and longs to restore...The image of thirst is instructive. The deer “thirsts” for streams of water as the psalmist’s soul “thirsts” for God. Streams of running water that continue to flow even during the dry seasons are often called “living waters” since they are the source of life. The psalmist is most likely drawing that parallel here. He longs for God as the source of life. This is confirmed by the appearance in 42:8 of the almost identical phrase “the God of my life.”

Rydelnik, M., Vanlaningham, M., Barbieri, L. A., Boyle, M., Coakley, J., Dyer, C. H., … Zuber, K. D. (2014). Psalms. In The moody bible commentary (p. 796). Chicago, IL: Moody Publishers.

The image of thirst is instructive. The deer “thirsts” for streams of water as the psalmist’s soul “thirsts” for God. Streams of running water that continue to flow even during the dry seasons are often called “living waters” since they are the source of life. The psalmist is most likely drawing that parallel here. He longs for God as the source of life. This is confirmed by the appearance in 42:8 of the almost identical phrase “the God of my life.”

Wilson, G. H. (2002). Psalms (Vol. 1, p. 670). Grand Rapids, MI: Zondervan.

Point 2 (v. 5-8)

When the Soul Despairs (v. 6-8)

v. 5, The Psalmist begins to comfort themself, asking why is their soul in despair. The Psalmist calls themself to hope in God; hope leads to praise

v. 6, The Psalmist transitions from this discussion of despair to tell God how their soul is in despair.

The psalmist portrayed the depth of his need for and trust in God’s nurture by asking “Why are you in despair?” (v. 5) rather than trusting in the Lord. He reminded himself, “Hope in God, for I shall again praise Him” (v. 5).

v. 6-7, there is a bit of heavy reference to God and the land

v. 8, ???

From the land of the Jordan. This reference seems to intend a location to the north, outside the land of Israel, toward the source of the Jordan River. Whether the place is the real setting of the psalmist or a metaphor for isolation, distance, or exile is uncertain. But the implication is clear: Prevented by distance (physical, emotional, or spiritual) from participating in the restoring worship of the community, the psalmist turns to the author of life himself.

v. 7, The Psalmist is near being wiped out

Deep calls to deep. In a rather enigmatic mixing of water metaphors, the psalmist combines reference to the chaotic waters subdued at creation (the “deep”), the tumbling waterfalls of the source of the Jordan (“the roar of your waterfalls”), and the threatening pounding of ocean waves to depict an overwhelming sense of oppression. These powerful waters have swept over and threaten to carry him away…

42:8. The psalmist was confident of God’s fatherly protection and care. His statement that the Lord will command (send forth His love, like a military messenger to do His will) His lovingkindness to care for him indicates the psalmist’s confidence (see comments on ). Furthermore, the Lord’s care is continual, in the daytime … in the night.

The Lord directs his love … his song is with me. In the midst of the drowning flood, God throws the psalmist a lifeline. Swept away, taunted that God is not present, longing to see God but far removed from all the familiar and comforting rituals that made God seem so real, he discovers an island in the midst of the sea. God is the “Rock” who provides firm footing and protection.

Deep calls to deep. In a rather enigmatic mixing of water metaphors, the psalmist combines reference to the chaotic waters subdued at creation (the “deep”), the tumbling waterfalls of the source of the Jordan (“the roar of your waterfalls”), and the threatening pounding of ocean waves to depict an overwhelming sense of oppression. These powerful waters have swept over and threaten to carry him away.

In the midst of the swirling turmoil of suffering, the psalmist encounters something almost unexpected. His thrashing hand grips the line of God’s “love [ḥesed]” (42:8), God’s faithful, committed, covenant love that endures forever. It is no accident that here alone in this first psalm of the Elohistic Psalter, the name of Israel’s covenant God, Yahweh (“Lord”), appears. It is as if the two belong together; Yahweh and ḥesed cannot be separated. The “living God” of 42:2 becomes the “God of my life” in 42:8, and a song wells up within the psalmist, even in the midst of the dark.

Rydelnik, M., Vanlaningham, M., Barbieri, L. A., Boyle, M., Coakley, J., Dyer, C. H., … Zuber, K. D. (2014). Psalms. In The moody bible commentary (pp. 796–797). Chicago, IL: Moody Publishers.

Wilson, G. H. (2002). Psalms (Vol. 1, pp. 672–673). Grand Rapids, MI: Zondervan.

Point 3 (v. 9-11)

When the Soul Hopes (v. 9-11)

v. 9-10, The Psalmist is really going back and forth on this issue of abandonment and determination to praise. As per v. 9, the Psalmist is afflicted by an enemy and is feeling forgotten by God.

Why have you forgotten me? Still, no matter how powerful, the song does not remove the darkness, nor does it take away the suffering. God is the rock, the island of safety in the storm, but the psalmist still feels forgotten, longing for God’s presence. Mourning and mortal agony are still real experiences, and the enemy’s taunt still has power: “Where is your God?”

v. 11, Psalmist repeats the same question from v. 5 and concludes with praise.

42:9–11. Despite his expression of confidence in God, David openly admitted his struggles and asked: Why have You forgotten me? Why do I go mourning because of the oppression of the enemy? David realized his circumstances were causing his enemies (those who do not know the Lord) to mock: Where is your God? (see comments on ). Ultimately the psalm ends with David’s admonition/encouragement to himself: Hope in God, despite any circumstances, for I shall yet praise Him. He identified the Lord as the help of his countenance and his God.

Why have you forgotten me? Still, no matter how powerful, the song does not remove the darkness, nor does it take away the suffering. God is the rock, the island of safety in the storm, but the psalmist still feels forgotten, longing for God’s presence. Mourning and mortal agony are still real experiences, and the enemy’s taunt still has power: “Where is your God?”

draws to an end with the repetition of the earlier refrain. Left as it is, the psalm offers but a somber hope, of a song breaking into the darkness and yet unable to vanquish the dark as does the light of Jesus in John’s Gospel. In a sense, the song testifies to the light, but the psalmist must still wait in the darkness.

Wilson, G. H. (2002). Psalms (Vol. 1, pp. 673–674). Grand Rapids, MI: Zondervan.

The Big Idea:

In the midst of despair, we must secure our hope in God

draws to an end with the repetition of the earlier refrain. Left as it is, the psalm offers but a somber hope, of a song breaking into the darkness and yet unable to vanquish the dark as does the light of Jesus in John’s Gospel. In a sense, the song testifies to the light, but the psalmist must still wait in the darkness.

Psalm 42

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