Review in: Interpretation
2005 59: 426
Review door: William
BrownGevonden op: http://int.sagepub.com/content/59/4/426.1.full.pdf+html
The
Psalms: Strophic Structure and Theological Commentary
by Samuel Terrien Eerdmans, Grand Rapids, 2003. 971 pp. $95.00. ISBN 0-8028-2605-9.
PUBLISHED POSTHUMOUSLY, this one-volume commentary is the
author's final work. Although not a crowning achievement, it is a treasure full
of diamonds in the rough. Terrien sets forth three tasks: "to ...
elucidate the theological significance of these poems," "to analyze
their strophic structure," and "to discover a link between their
archaic language and the intellectual demands of modern thinking and
spirituality" (p. xiii). His "structural analysis" enables him
to identify the strophic divisions within each psalm, as well as highlight the
"integral unity of composition." Terrien includes an all too brief
discussion of the literary integrity of the Psalter as a whole. While some
posit Psalm 73 as the Psalter's central pivot, Terrien adds Psalm 90 to the
discussion, thereby creating "two poles" around which the Psalter is
organized.
Terrien discusses in
cursory fashion the standard issues of ancient Near Eastern background, textual
transmisson, and genre. More space is devoted to the music of the psalms and
strophic structure. Although he overuses the label "sapiential" or
"wisdom" to describe many of the psalms, he is quick to claim that
the Psalter is not so much a didactic manual as a collection of sacred songs
"destined to perpetuate the art of music in nights of distress as well as
in days of serenity" (p. 24). The style of the Psalter is that of
adoration, not instruction. Even Psalm 1 is "fit to be sung, not
spoken" (p. 71). Terrien accords the office of "musician" equal
status to those of priest, prophet, and sage. The Psalter is a
"musicotheca" that provides a portrait of Israel coram deo and
a picture of divinity coram humane (p. 45). Versed in poetry and music,
the psalmists were '"theologians'
unaware" (p. 45); their "sense of wonder" and "fierceness
of emotion" underwrote the psalms (p. 61). In his theological analysis,
Terrien sifts out the theme of "Yahweh's [elusive] presence" as
central (p. 46) and proceeds to highlight the various roles God assumes in the
Psalter, from creator and judge to protector of the poor. Lamentably lacking is
an equally insightful treatment of the psalmists' view(s) of humanity.
Terrien's commentary on individual psalms begins with
translation (which lapses into King James English wherever God is addressed)
and "form." He then moves to commentary (by strophe), and concludes
with "date and theology." Terrien is particularly attuned to the
poetic contours of the psalms and their rich imagery. His theological analyses
are provocative but occasionally idiosyncratic, laden with abstract and artificially
constructed terms (some of which could be typos) bereft of explication. While
each psalm is introduced with a bibliography (which rarely goes beyond 1995),
Terrien's primary conversation partner is himself (and, by extension, Job). His
historical and theological reflections are mostly musings, frequently cast as
hypothetical suggestions. Throwing caution to the wind, Terrien dares to be
historically specific for many psalms (e.g., Psalm 45 as a "love
song" for Ahab and Jezebel). But whether you agree or disagree, his
reflections are consistently thought provoking, even if you're not sure what he
means. But, then, that's vintage Terrien.
WILLIAM BROWN
COLUMBIA THEOLOGICAL SEMINARY
DECATUR, GEORGIA
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