XII
SECOND MEANINGS IN THE PSALMS
In a certain sense Our Lord’s interpretation of the Psalms was common ground between Himself and His opponents. The question we mentioned a moment ago, how David can call Christ ‘my Lord’ (Mark 12:35–37), would lose its point unless it were addressed to those who took it for granted that the ‘my Lord’ referred to in Psalm 110 was the Messiah, the regal and anointed deliverer who would subject the world to Israel. This method was accepted by all. The ‘scriptures’ all had a ‘spiritual’ or second sense. Even a gentile ‘God-fearer’1 like the Ethiopian eunuch (Acts 8:27–38) knew that the sacred books of Israel could not be understood without a guide, trained in the Judaic tradition, who could open the hidden meanings. Probably all instructed Jews in the first century saw references to the Messiah in most of those passages where Our Lord saw them; what was controversial was His identification of the Messianic King with another Old Testament figure and of both with Himself.
Two figures meet us in the Psalms, that of the sufferer and that of the conquering and liberating king. In 13, 28, 55, or 102, we have the Sufferer; in 2 or 72, the King. The Sufferer was, I think, by this time generally identified with (and may sometimes have originally been intended as) the whole nation, Israel itself—they would have said ‘himself’. The King was the successor of David, the coming Messiah. Our Lord identified Himself with both these characters.
In principle, then, the allegorical way of reading the Psalms can claim the highest possible authority. But of course this does not mean that all the countless applications of it are fruitful, legitimate, or even rational. What we see when we think we are looking into the depths of Scripture may sometimes be only the reflection of our own silly faces. Many allegorical interpretations which were once popular seem to me, as perhaps to most moderns, to be strained, arbitrary, and ridiculous. I think we may be sure that some of them really are; we ought to be much less sure that we know which. What seems strained—a mere triumph of perverse ingenuity—to one age, seems plain and obvious to another, so that our ancestors would often wonder how we could possibly miss what we wonder how they could have been silly-clever enough to find. And between different ages there is no impartial judge on earth, for no one stands outside the historical process; and of course no one is so completely enslaved to it as those who take our own age to be, not one more period, but a final and permanent platform from which we can see all other ages objectively.
Interpretations which were already established in the New Testament of course have a special claim on our attention. We find in our Prayer Books that Psalm 1102 is one of those appointed for Christmas Day. We may at first be surprised by this. There is nothing in it about peace and goodwill, nothing remotely suggestive of the stable at Bethlehem. It seems to have been originally either a coronation ode for a new king, promising conquest and empire, or a poem addressed to some king on the eve of a war, promising victory. It is full of threats. The ‘rod’ of the king’s power is to go forth from Jerusalem, foreign kings are to be wounded, battle fields to be covered with carnage, skulls cracked. The note is not ‘Peace and good-will’ but ‘Beware. He’s coming’. Two things attach it to Christ with an authority far beyond that of the Prayer Book. The first of course (already mentioned) is that He Himself did so; He is the ‘lord’ whom ‘David’ calls ‘my Lord’. The second is the reference to Melchizedek (110:4). The identification of this very mysterious person as a symbol or prophecy of Christ is made in Hebrews 7. The exact form of the comment there made on Genesis 14 is of course alien to our minds, but I think the essentials can all be retained in our own idiom. We should certainly not argue from the failure of Genesis to give Melchizedek any genealogy or even parents that he has neither beginning nor end (if it comes to that, Job has no genealogy either); but we should be vividly aware that his unrelated, unaccounted for, appearance sets him strangely apart from the texture of the surrounding narrative. He comes from nowhere, blesses in the name of the ‘most high God, possessor of heaven and earth’, and utterly disappears. This gives him the effect of belonging, if not to the Other World, at any rate to another world; other than the story of Abraham in general. He assumes without question, as the writer of Hebrews saw, a superiority over Abraham which Abraham accepts. He is an august, a ‘numinous’ figure. What the teller, or last re-teller, of Genesis would have said if we asked him why he brought this episode in or where he had got it from, I do not know. I think, as I have explained, that a pressure from God lay upon these tellings and re-tellings. And one effect which the episode of Melchizedek was to have is quite clear. It puts in, with unforgettable impressiveness, the idea of a priesthood, not Pagan but a priesthood to the one God, far earlier than the Jewish priesthood which descends from Aaron, independent of the call to Abraham, somehow superior to Abraham’s vocation. And this older, pre-Judaic, priesthood is united with royalty; Melchizedek is a priest-king. In some communities priest-kings were normal, but not in Israel. It is thus simply a fact that Melchizedek resembles (in his peculiar way he is the only Old Testament character who resembles) Christ Himself. For He, like Melchizedek claims to be Priest, though not of the priestly tribe, and also King. Melchizedek really does point to Him; and so of course does the hero of Psalm 110 who is a king but also has the same sort of priesthood.
For a Jewish convert to Christianity this was extremely important and removed a difficulty. He might be brought to see how Christ was the successor of David; it would be impossible to say that He was, in a similar sense, the successor of Aaron. The idea of His priesthood therefore involved the recognition of a priesthood independent of and superior to Aaron’s. Melchizedek was there to give this conception the sanction of the Scriptures. For us gentile Christians it is rather the other way round. We are more likely to start from the priestly, sacrificial, and intercessory character of Christ and under-stress that of king and conqueror. Psalm 110, with three other Christmas Psalms, corrects this. In 45 we have again the almost threatening tone: ‘Gird thee with thy sword upon thy thigh, O thou most mighty . . . thy right hand shall teach thee terrible things . . . thy arrows are very sharp’ (4–6). In 89 we have the promises to David (who would certainly mean all, or any, of David’s successors, just as ‘Jacob’ can mean all his descendants). Foes are to fall before him (24). ‘David’ will call God ‘Father’, and God says ‘I will make him my first-born’ (27, 28), that is ‘I will make him an eldest son’, make him my heir, give him the whole world. In 132 we have ‘David’ again; ‘As for his enemies, I shall clothe them with shame, but upon himself shall his crown flourish’ (19). All this emphasises an aspect of the Nativity to which our later sentiment about Christmas (excellent in itself) does less than justice. For those who first read these Psalms as poems about the birth of Christ, that birth primarily meant something very militant; the hero, the ‘judge’ or champion or giant-killer, who was to fight and beat death, hell and the devils, had at last arrived, and the evidence suggests that Our Lord also thought of Himself in those terms. (Milton’s poem on the Nativity well recaptures this side of Christmas.)
The assignment of Psalm 683 to Whitsunday has some obvious reasons, even at a first reading. Verse 8, ‘The earth shook and the heavens dropped at the presence of God, even as Sinai also was moved,’ was, no doubt, for the original writer a reference to the miracles mentioned in Exodus, and thus foreshadows that very different descent of God which came with the tongues of fire. Verse 1 is a beautiful instance of the way in which the old texts, almost inevitably charge themselves with the new weight of meaning. The Prayer Book version gives it as ‘The Lord gave the word, great was the company of the preachers.’ The ‘word’ would be the order for battle and its ‘preachers’ (in rather a grim sense) the triumphant Jewish warriors. But that translation appears to be wrong. The verse really means that there were many to spread ‘word’ (i.e., the news) of the victory. This will suit Pentecost quite as well. But I think the real New Testament authority for assigning this Psalm to Whitsund
ay appears in verse 18 (in the Prayer Book, ‘Thou art gone up on high, thou hast led captivity captive, and received gifts for men’). According to the scholars the Hebrew text here means that God, with the armies of Israel as his agents, had taken huge masses of prisoners and received ‘gifts’ (booty or tribute) from men. St Paul, however (Eph. 4:8) quotes a different reading: ‘When He ascended up on high He led captivity captive and gave gifts to men.’ This must be the passage which first associated the Psalm with the coming of the Holy Ghost, for St Paul is there speaking of the gifts of the Spirit (4–7) and stressing the fact that they come after the Ascension. After ascending, as a result of ascending, Christ gives these gifts to men, or receives these gifts (notice how the Prayer Book version will now do well enough) from His Father ‘for men’, for the use of men, in order to transmit them to men. And this relation between the Ascension and the coming of the Spirit is of course in full accordance with Our Lord’s own words, ‘It is expedient for you that I go away, for if I go not away the Comforter will not come unto you’ (John 16:7); as if the one were somehow impossible without the other, as if the Ascension, the withdrawal from the space-time in which our present senses operate, of the incarnate God, were the necessary condition of God’s presence in another mode. There is a mystery here that I will not even attempt to sound.
That Psalm has led us through some complications; those in which Christ appears as the sufferer are very much easier. And it is here too that the second meaning is most inevitable. If Christ ‘tasted death for all men’, became the archetypal sufferer, then the expressions of all who ever suffered in the world are, from the very nature of things, related to His. Here (to speak in ludicrously human terms) we feel that it needed no Divine guidance to give the old texts their second meaning but would rather have needed a special miracle to keep it out. In Psalm 22, the terrible poem which Christ quoted in His final torture, it is not ‘they pierced my hands and my feet’ (17), striking though this anticipation must always be, that really matters most. It is the union of total privation with total adherence to God, to a God who makes no response, simply because of what God is: ‘and thou continuest holy’ (3). All the sufferings of the righteous speak here; but in 40:15, all the sufferings of the guilty too—‘my sins have taken such hold upon me that I am not able to look up.’ But this too is for us the voice of Christ, for we have been taught that He who was without sin became sin for our sakes, plumbed the depth of that worst suffering which comes to evil men who at last know their own evil. Notice how this, in the original or literal sense, is hardly consistent with verses 8 and 9, and what counterpoint of truth this apparent contradiction takes on once the speaker is understood to be Christ.
But to say more of these suffering Psalms would be to labour the obvious. What I, at any rate, took longer to see was the full richness of that Christmas Psalm we have already mentioned, Psalm 45,4 which shows us so many aspects of the Nativity we could never get from the carols or even (easily) from the gospels. This in its original intention was obviously a laureate ode on a royal wedding. (We are nowadays surprised to find that such an official bit of work, made ‘to order’ by a court poet for a special occasion, should be good poetry. But in ages when the arts had their full health no one would have understood our surprise. All the great poets, painters, and musicians of old could produce great work ‘to order’. One who could not would have seemed as great a humbug as a captain who could navigate or a farmer who could farm only when the fit took him.) And simply as a marriage ode— what the Greeks call an Epithalamium—it is magnificent. But it is far more valuable for the light it throws on the Incarnation.
Few things once seemed to me more frigid and far-fetched than those interpretations, whether of this Psalm or of the Song of Songs, which identify the Bridegroom with Christ and the bride with the Church. Indeed, as we read the frank erotic poetry of the latter and contrast it with the edifying headlines in our Bibles, it is easy to be moved to a smile, even a cynically knowing smile, as if the pious interpreters were feigning an absurd innocence. I should still find it very hard to believe that anything like the ‘spiritual’ sense was remotely intended by the original writers. But no one now (I fancy) who accepts that spiritual or second sense is denying, or saying anything against, the very plain sense which the writers did intend. The Psalm remains a rich, festive Epithalamium, the Song remains fine, sometimes exquisite, love poetry, and this is not in the least obliterated by the burden of the new meaning. (Man is still one of the primates; a poem is still black marks on white paper.) And later I began to see that the new meaning is not arbitrary and springs from depths I had not suspected. First, the language of nearly all great mystics, not even in a common tradition, some of them Pagan, some Islamic, most Christian, confronts us with evidence that the image of marriage, of sexual union, is not only profoundly natural but almost inevitable as a means of expressing the desired union between God and man. The very word ‘union’ has already entailed some such idea. Secondly, the god as bridegroom, his ‘holy marriage’ with the goddess, is a recurrent theme and a recurrent ritual in many forms of Paganism—Paganism not at what we should call its purest or most enlightened, but perhaps at its most religious, at its most serious and convinced. And if, as I believe, Christ, in transcending and thus abrogating, also fulfils, both Paganism and Judaism, then we may expect that He fulfils this side of it too. This, as well as all else, is to be ‘summed up’ in Him. Thirdly, the idea appears, in a slightly different form, within Judaism. For the mystics God is the Bridegroom of the individual soul. For the Pagans, the god is the bridegroom of the mother-goddess, the earth, but his union with her also makes fertile the whole tribe and its livestock, so that in a sense he is their bridegroom too. The Judaic conception is in some ways closer to the Pagan than to that of the mystics, for in it the Bride of God is the whole nation, Israel. This is worked out in one of the most moving and graphic chapters of the whole Old Testament (Ezek. 16). Finally, this is transferred in the Apocalypse from the old Israel to the new, and the Bride becomes the Church, ‘the whole blessed company of faithful people’. It is this which has, like the unworthy bride in Ezekiel, been rescued, washed, clothed, and married by God—a marriage like King Cophetua’s. Thus the allegory which at first seemed so arbitrary—the ingenuity of some prudish commentator who was determined to force flat edifications upon the most unpromising texts—turned out, when you seriously tugged at it, to have roots in the whole history of religion, to be loaded with poetry, to yield insights. To reject it because it does not immediately appeal to our own age is to be provincial, to have the self-complacent blindness of the stay-at-home.
Read in this sense, the Psalm restores Christmas to its proper complexity. The birth of Christ is the arrival of the great warrior and the great king. Also of the Lover, the Bridegroom, whose beauty surpasses that of man. But not only the Bridegroom as the lover, the desired; the Bridegroom also as he who makes fruitful, the father of children still to be begotten and born. (Certainly the image of a Child in a manger by no means suggests to us a king, giant-killer, bridegroom, and father. But it would not suggest the eternal Word either—if we didn’t know. All alike are aspects of the same central paradox.) Then the poet turns to the Bride, with the exhortation, ‘forget also thine own people and thy father’s house’ (11). This of course has a plain, and to us painful, sense while we read the Psalm as the poet probably intended it. One thinks of home-sickness, of a girl (probably a mere child) secretly crying in a strange hareem, of all the miseries which may underlie any dynastic marriage, especially an Oriental one. The poet (who of course knew all about this—he probably had a daughter of his own) consoles her: ‘Never mind, you have lost your parents but you will presently have children instead, and children who will be great men.’ But all this has also its poignant relevance when the Bride is the Church. A vocation is a terrible thing. To be called out of nature into the supernatural life is at first (or perhaps not quite at first—the wrench of the parting may be felt later)
a costly honour. Even to be called from one natural level to another is loss as well as gain. Man has difficulties and sorrows which the other primates escape. But to be called up higher still costs still more. ‘Get thee out of thy country, and from thy kindred, and from thy father’s house,’ said God to Abraham (Gen. 12:1). It is a terrible command; turn your back on all you know. The consolation (if it will at that moment console) is very like that which the Psalmist offers to the bride: ‘I will make of thee a great nation.’ This ‘turn your back’ is of course terribly repeated, one may say aggravated, by Our Lord—‘he that hateth not father and mother and his own life’. He speaks, as so often in the proverbial, paradoxical manner; hatred (in cold prose) is not enjoined; only the resolute, the apparently ruthless, rejection of natural claims when, and if, the terrible choice comes to that point. (Even so, this text is, I take it, profitable only to those who read it with horror. The man who finds it easy enough to hate his father, the woman whose life is a long struggle not to hate her mother, had probably best keep clear of it.) The consolation of the Bride, in this allegory, consists, not (where the mystics would put it) in the embraces of the Spouse, but in her fruitfulness. If she does not bear fruit, is not the mother of saints and sanctity, it may be supposed that the marriage was an illusion—for ‘a god’s embraces never are in vain’.