Ps 136:1

“To continue with our subject, let us take in our hands and examine this psalm, which the pure and stainless souls sing to God, saying, "By the rivers of Babylon, there we sat down; we wept, when we remembered Zion. We hanged our harps on the willows in the midst thereof," clearly giving the name of harps to their bodies, which they hung on the branches of chastity, fastening them to the wood that they might not be snatched away and dragged along again by the stream of incontinence. For Babylon, which is interpreted "disturbance" or "confusion," signifies this life around which the water flows, while we sit in the midst of the water that flows round us, as long as we are in the world, the rivers of evil always beating on us. Wherefore, also, we are always fearful, and we groan and cry with weeping to God, that our harps may not be snatched off by the waves of pleasure and slip down from the tree of chastity.”

“Observe "the waters of Babylon." "The waters of Babylon" are all things which here are loved, and pass away. ...But then other citizens of the holy Jerusalem, understanding their captivity, mark how the natural wishes and the various lusts of men hurry and drag them hither and thither, and drive them into the sea; they see this, and they throw not themselves into the waters of Babylon, but "sit down and weep," either for those who are being carried away by them, or themselves whose deserts have placed them in Babylon, but sitting, that is, humbling themselves. O holy Sion, where all stands firm and nothing flows! Who hath thrown us headlong into this? Why have we left thy Founder and thy society? Behold, placed where all things are flowing and gliding away, scarce one, if he can grasp the tree, shall be snatched from the stream and escape. Humbling ourselves then in our captivity, let us "sit by the waters of Babylon," let us not dare to plunge ourselves in those streams, nor to be proud and lifted up in the evil and sadness of our captivity, but let us sit, and so weep. Let us sit "by" the waters, not beneath the waters, of Babylon; such be our humility, that it overwhelm us not. Sit "by" the waters, not "in" the waters, not "under" the waters; but yet sit, in humble fashion, talk not as thou wouldest in Jerusalem. ...For many weep with the weeping of Babylon, because they rejoice also with the joy of Babylon. When men rejoice at gains and weep at losses, both are of Babylon. Thou oughtest to weep, but in the remembrance of Sion. If thou weepest in the remembrance of Sion, thou oughtest to weep even when it is well with thee in Babylon.”

“For Jeremias. For the time of Jeremias, and the captivity of Babylon. (Challoner) — Or “of” ( Jeremiæ. ; Haydock) Jeremias; on which subject he composed his Lamentations, as the Septuagint thus insinuate. (Worthington) — The title may be a later insertion, and is not the same in all the Greek or Latin copies. It is wholly omitted in Hebrew, &c. Theodoret blames those who have written the name of Jeremias, as he was never at Babylon. (Calmet) — He might send the psalm to the captives, (Grotius) though it were written by David, (Gerer.) who was a prophet. See Psalm lxxviii. (Berthier) — The captives express their sentiments at Babylon, (Bossuet) or at their return; (Calmet) and thus, under the figure of the earthly Jerusalem, (Berthier) aspire to heaven. (St. Augustine) — Rivers. Euphrates, &c. The Jews retired to such places to pray. (Philo, con. Flac.) (Acts xvi. 13.) (Haydock) — Sion, and all the ceremonies of religion. (Worthington)”

“Beginning with perfects, the Psalm has the appearance of being a Psalm not belonging to the Exile, but written in memory of the Exile. The bank of a river, like the seashore, is a favourite place of sojourn of those whom deep grief drives forth from the bustle of men into solitude. The boundary line of the river gives to solitude a safe back; the monotonous splashing of the waves keeps up the dull, melancholy alternation of thoughts and feelings; and at the same time the sight of the cool, fresh water exercises a soothing influence upon the consuming fever within the heart. The rivers of Babylon are here those of the Babylonian empire: not merely the Euphrates with its canals, and the Tigris, but also the Chaboras (Chebar) and Eulaeos ('Ulai), on whose lonesome banks Ezekiel (Eze 1:3) and Daniel (ch. Dan 8:2) beheld divine visions. The שׁם is important: there, in a strange land, as captives under the dominion of the power of the world. And גּם is purposely chosen instead of ו: with the sitting down in the solitude of the river's banks weeping immediately came on; when the natural scenery around contrasted so strongly with that of their native land, the remembrance of Zion only forced itself upon them all the more powerfully, and the pain at the isolation from their home would have all the freer course where no hostilely observant eyes were present to suppress it. The willow (צפצפה) and viburnum, those trees which are associated with flowing water in hot low-lying districts, are indigenous in the richly watered lowlands of Babylonia. ערב (ערבה), if one and the same with Arab. grb, is not the willow, least of all the weeping-willow, which is called ṣafsâf mustahı̂ in Arabic, "the bending-down willow," but the viburnum with dentate leaves, described by Wetzstein on Isa 44:4. The Talmud even distinguishes between tsaph-tsapha and ‛araba, but without our being able to obtain any sure botanic picture from it. The ערבה, whose branches belong to the constituents of the lulab of the Feast of Tabernacles (Lev 23:40), is understood of the crack-willow [Salix fragilis], and even in the passage before us is surely not distinguished with such botanical precision but that the gharab and willow together with the weeping-willow (Salix Babylonica) might be comprehended under the word ערבה. On these trees of the country abounding in streams the exiles hung their citherns. The time to take delight in music was past, for μουσικὰ ἐν πένθει ἄκαιρος διήγησις, Sir. 22:6. Joyous songs, as the word שׁיר designates them, were ill suited to their situation. In order to understand the כּי in Psa 137:3, Psa 137:3 and Psa 137:4 must be taken together. They hung up their citherns; for though their lords called upon them to sing in order that they might divert themselves with their national songs, they did not feel themselves in the mind for singing songs as they once resounded at the divine services of their native land. The lxx, Targum, and Syriac take תּוללינוּ as a synonym of שׁובינוּ, synonymous with שׁוללינוּ, and so, in fact, that it signifies not, like שׁולל, the spoiled and captive one, but the spoiler and he who takes other prisoners. But there is no Aramaic תּלל = שׁלל. It might more readily be referred back to a Poel תּולל (= התל), to disappoint, deride (Hitzig); but the usage of the language does not favour this, and a stronger meaning for the word would be welcome. Either תּולל = תּהולל, like מהולל, Psa 102:9, signifies the raving one, i.e., a bloodthirsty man or a tyrant, or from ילל, ejulare, one who causes the cry of woe or a tormentor, - a signification which commends itself in view of the words תּושׁב and תּלמיד, which are likewise formed with the preformative ת. According to the sense the word ranks itself with an Hiph. הוליל, like תּועלת, תּוכחה, with הועיל and הוכיח, in a mainly abstract signification (Dietrich, Abhandlungen, S. 160f.). The דּברי beside שׁיר is used as in Psa 35:20; Psa 65:4; Psa 105:27; Psa 145:5, viz., partitively, dividing up the genitival notion of the species: words of songs as being parts or fragments of the national treasury of song, similar to משּׁיר a little further on, on which Rosenmller correctly says: sacrum aliquod carmen ex veteribus illis suis Sionicis. With the expression "song of Zion" alternates in Psa 137:4 "song of Jahve," which, as in Ch2 29:27, cf. Ch1 25:7, denotes sacred or liturgical songs, that is to say, songs belonging to Psalm poesy (including the Cantica). Before Psa 137:4 we have to imagine that they answered the request of the Babylonians at that time in the language that follows, or thought thus within themselves when they withdrew themselves from them. The meaning of the interrogatory exclamation is not that the singing of sacred songs in a foreign land (חוצה לארץ) is contrary to the law, for the Psalms continued to be sung even during the Exile, and were also enriched by new ones. But the shir had an end during the Exile, in so far as that it was obliged to retire from publicity into the quiet of the family worship and of the houses of prayer, in order that that which is holy might not be profaned; and since it was not, as at home, accompanied by the trumpets of the priests and the music of the Levites, it became more recitative than singing properly so called, and therefore could not afford any idea of the singing of their native land in connection with the worship of God on Zion. From the striking contrast between the present and the former times the people of the Exile had in fact to come to the knowledge of their sins, in order that they might get back by the way of penitence and earnest longing to that which they had lost Penitence and home-sickness were at that time inseparable; for all those in whom the remembrance of Zion was lost gave themselves over to heathenism and were excluded from the redemption. The poet, translated into the situation of the exiles, and arming himself against the temptation to apostasy and the danger of denying God, therefore says: If I forget thee, O Jerusalem, ימיני תּשׁכּח. תּשׁכּח has been taken as an address to Jahve: obliviscaris dexterae meae (e.g., Wolfgang Dachstein in his song "An Wasserflssen Babylon"), but it is far from natural that Jerusalem and Jahve should be addressed in one clause. Others take ימיני as the subject and תּשׁכּח transitively: obliviscatur dextera mea, scil. artem psallendi (Aben-Ezra, Kimchi, Pagninus, Grotius, Hengstenberg, and others); but this ellipsis is arbitrary, and the interpolation of מנּי after ימיני (von Ortenberg, following Olshausen) produces an inelegant cadence. Others again assign a passive sense to תשׁכח: oblivioni detur (lxx, Italic, Vulgate, and Luther), or a half-passive sense, in oblivione sit (Jerome); but the thought: let my right hand be forgotten, is awkward and tame. Obliviscatur me (Syriac, Saadia, and the Psalterium Romanum) comes nearer to the true meaning. תּשׁכּח is to be taken reflexively: obliviscatur sui ipsius, let it forget itself, or its service (Amyraldus, Schultens, Ewald, and Hitzig), which is equivalent to let it refuse or fail, become lame, become benumbed, much the same as we say of the arms of legs that they "go to sleep," and just as the Arabic nasiya signifies both to forget and to become lame (cf. Gesenius, Thesaurus, p. 921b). La Harpe correctly renders: O Jerusalem! si je t'oublie jamais, que ma main oublie aussi le mouvement! Thus there is a correspondence between Psa 137:5 and Psa 137:6 : My tongue shall cleave to my palate if I do not remember thee, if I do not raise Jerusalem above the sum of my joy. אזכּרכי has the affixed Chirek, with which these later Psalms are so fond of adorning themselves. ראשׁ is apparently used as in Psa 119:160 : supra summam (the totality) laetitiae meae, as Coccejus explains, h.e. supra omnem laetitiam meam. But why not then more simply על כּל, above the totality? ראשׁ here signifies not κεφάλαιον, but κεφαλή: if I do not place Jerusalem upon the summit of my joy, i.e., my highest joy; therefore, if I do not cause Jerusalem to be my very highest joy. His spiritual joy over the city of God is to soar above all earthly joys.”