Psalm 137


Psalm 137 is the 137th psalm of the Book of Psalms, beginning in English in the King James Version: "By the rivers of Babylon, there we sat down". The Book of Psalms is part of the third section of the Hebrew Bible, and a book of the Christian Old Testament. In the slightly different numbering system used in the Greek Septuagint and Latin Vulgate translations of the Bible, this psalm is Psalm 136. In Latin, it is known by the incipit, "Super flumina Babylonis". The psalm is a communal lament about remembering Zion, and yearning for Jerusalem while dwelling in exile during the Babylonian captivity.
The psalm forms a regular part of liturgy in [|Jewish], Eastern Orthodox, [|Catholic], Lutheran, Anglican and other Protestant traditions. It has often been set to music and paraphrased in hymns.

Context and content

After Nebuchadnezzar II's successful siege of Jerusalem in 597 BC, and subsequent campaigns, inhabitants of the Kingdom of Judah were deported to Babylonia, where they were held captive until some time after the Fall of Babylon. The rivers of Babylon are the Euphrates river, its tributaries, and the Tigris river.
Psalm 137 is a hymn expressing the yearnings of the Jewish people during their Babylonian exile. In its whole form of nine verses, the psalm reflects the yearning for Jerusalem as well as hatred for the Holy City's enemies with sometimes violent imagery.
Rabbinical sources attributed the poem to the prophet Jeremiah, and the Septuagint version of the psalm bears the superscription: "For David. By Jeremias, in the Captivity."

Verses 1–4

The early lines of the psalm describe the sadness of the Israelites in exile, while remembering their homeland, weeping and hanging their harps on trees. Asked to "sing the Lord's song in a strange land", they refuse.
Methodist writer Joseph Benson reflects on the "inexpressible pathos... in these few words! How do they, at once, transport us to Babylon, and place before our eyes the mournful situation of the Israelitish captives! Driven from their native country, stripped of every comfort and convenience, in a strange land among idolaters, wearied and broken-hearted, they sit in silence by those hostile waters." He argues that the reference to harps reflects "all instruments of music" and that the words can probably be interpreted to mean that the singers were Levites used to the performance of music in the service of the temple.

Verses 5–6

In verses 5–6 the speaker turns into self-exhortation to remember Jerusalem:

Verses 7–9

The psalm ends with prophetic predictions of violent revenge.

Liturgical uses

Judaism

The psalm is customarily recited on Tisha B'Av and by some during the nine days preceding Tisha B'Av, commemorating the destruction of the Temples in Jerusalem.
Psalm 137 is traditionally recited before the Birkat Hamazon on a weekday. However, on Shabbat and Jewish holidays, and at the celebratory meal accompanying a Jewish wedding, brit milah, or pidyon haben, Psalm 126 is recited before the Birkat Hamazon instead.
Verses 5 and 6 are customarily said by the groom at Jewish wedding ceremony shortly before breaking a glass as a symbolic act of mourning over the destruction of the Temple. Verse 7 is found in the repetition of the Amidah on Rosh Hashanah.
Psalm 137 is one of the ten Psalms of the Tikkun HaKlali of Rebbe Nachman of Breslov.

Eastern Orthodox Church

In the Eastern Orthodox Church, Psalm 136 is part of the nineteenth Kathisma division of the Psalter, read at Matins on Friday mornings, and on Wednesdays and Fridays during Lent, at Matins and the Third Hour, respectively.
It is also chanted solemnly at Matins on the last 1 to 3 Sundays before Lent, with the refrain, ''Alleluia.''

Coptic Orthodox Church

In the Agpeya, the Coptic Church's book of hours, this psalm is prayed in the office of Compline and the third watch of the Midnight office. It is also in the prayer of the Veil, which is generally prayed only by monks.

Western Christianity

In following the Rule of Saint Benedict, the Catholic Church had Super flumina Babylonis set in the Roman Breviary for Vespers on Wednesdays. In the Roman Missal of 1962, the first verse of was the Offertory for the Mass on the 20th Sunday after Pentecost.
After the Second Vatican Council, the last three verses of the psalm were deleted from liturgical books because their contents were seen as incompatible with the 'Gospel message'. In the three-year cycle of texts for the Mass of Paul VI, promulgated in 1970 and called the Ordinary Form, this psalm is read on Laetare Sunday of Year B.
As with the reforms in the Catholic Church, the 1962 Book of Common Prayer used by the Anglican Church of Canada has also removed the last three verses.
In Lutheranism, a well-known hymn based on the psalm has been associated with a Gospel reading in which Jesus foretells and mourns the Destruction of Jerusalem.

Translations, versifications and settings

The psalm has been set to music by many composers. Many settings omit the last verse. The hymnwriter John L. Bell comments alongside his own setting of this Psalm: "The final verse is omitted in this metricization, because its seemingly outrageous curse is better dealt with in preaching or group conversation. It should not be forgotten, especially by those who have never known exile, dispossession or the rape of people and land."

16th to 18th centuries

Latin settings as four-part motets were composed by Costanzo Festa, Nicolas Gombert, Giovanni Pierluigi da Palestrina and Orlando di Lasso. Philippe de Monte and Tomás Luis de Victoria set the text for eight parts. French Baroque settings were written by Henry Dumont, Marc-Antoine Charpentier, 2 settings, H.170 and H.171-H.171 a, Charles-Hubert Gervais, Michel-Richard Delalande S.13. and François Giroust.
Wolfgang Dachstein's "An Wasserflüssen Babylon", a German rhymed paraphrase and setting of the psalm, was first published in 1525. It was soon adopted as a Lutheran hymn, and appeared in publications such as the Becker Psalter. A manuscript written in the early 17th century and a 1660s print illustrate that Dachstein's version of the psalm was adopted in Ashkenazi culture. Four-part chorale settings of Dachstein's hymn were realised by, among others, Johann Hermann Schein and Heinrich Schütz. Schütz also set Luther's prose translation of Psalm 137, and another setting, SWV 242, for the Becker Psalter, published first in 1628. Organ compositions based on Dachstein's hymn include Johann Adam Reincken's An Wasserflüssen Babylon, and one of Johann Sebastian Bach's Great Eighteen Chorale Preludes.
The first composition in Eustache Du Caurroy's Meslanges de la musique, published in 1610, a year after the composer's death, is "Le long des eaux, ou se bagne", a six-part setting of Gilles Durant de la Bergerie's paraphrase of Psalm 137. Salamone Rossi set the psalm in Hebrew for four parts. Matthew Locke's Super flumina Babylonis motet is an extended setting of the first nine verses of the psalm. The psalm's first two verses were used for a musical setting in a round by English composer Philip Hayes. William Billings adapted the text to describe the British occupation of Boston in his anthem "Lamentation over Boston".
Artemy Vedel composed two choral concertos based on the psalm in Ukrainian, Na rekakh Vavilonskikh.

19th century

's "We sat down and wept by the waters", a versified paraphrase of Psalm 137, was published in his Hebrew Melodies in 1815. The poetry was set by, among others, Isaac Nathan and Samuel Sebastian Wesley. The poem was translated in French by Alexis Paulin Paris, and in German by Adolf Böttger. A German translation by, "An Babylons Wassern gefangen", was set by Carl Loewe. Another German translation was set by Ferruccio Busoni.
Psalm 137 was the inspiration for the famous slave chorus "Va, pensiero" from Verdi's opera Nabucco. Charles-Valentin Alkan's piano piece Super flumina Babylonis: Paraphrase, Op. 52, is in the printed score preceded by a French translation of Psalm 137. Charles Gounod set "Près du fleuve étranger", a French paraphrase of the psalm, in 1861. In 1866 this setting was published with Henry Farnie's text version, as "By Babylon's wave: Psalm CXXXVII".
In 1863, Gabriel Fauré wrote a Super Flumina Babylonis for mixed chorus and orchestra. Peter Cornelius based the music of his paraphrase of Psalm 137, "An Babels Wasserflüssen", Op. 13 No. 2, on the "Sarabande" of Bach's third English Suite. Czech composer Antonín Dvořák set verses 1–5 to music as No. 7 of his Biblical Songs.

20th and 21st centuries

20th and 21st-century settings based on, or referring to, Psalm 137 include:
  • Super flumina Babylonis for mixed choir and organ, by Jules Van Nuffel.
  • In William Walton's Belshazzar's Feast, a 1931 cantata, a version of the opening section is set to music, as if sung by the Israelite captives in Babylon.
  • The second of the Two Psalms by Harry Partch is "By the Rivers of Babylon", which he recorded in 1942 in a version for voice, chromelodeon and adapted viola.
  • An English setting by David Amram, for solo soprano and SSAA choir.
  • "Rivers of Babylon", in part based on the opening verses of the Psalm, is a Rastafarian song written and recorded by Brent Dowe and Trevor McNaughton of the Jamaican reggae group The Melodians in 1970. It is featured in the 1972 film The Harder They Come and well known through its hit single 1978 rendition by Boney M. In 1992, the rock/reggae group Sublime released a live cover of the song on their 40oz. to Freedom album. U Roy, I Roy, Ras Michael and Brent Dowe also released adaptations of the Psalm
  • Sinead O Connor recorded a version of the Melodians' adaption of the Psalm with bassist Robbie Shakespeare on her 2007 album, Theology
  • The psalm was set, as On the Willows, in the Stephen Schwartz Broadway musical Godspell.
  • Don McLean covered Hayes's round as "Babylon", which was the final track on his 1971 album American Pie. Another cover of the round was featured at the end of the episode "Babylon" during the first season of Mad Men.
  • Estonian composer Arvo Pärt composed An den Wassern zu Babel saßen wir und weinten in 1976.
  • In 1981, Herbert Sumsion composed In Exile, a motet for double choir on verses 1–6, premiered at the Gloucester Cathedral.
  • The Judy Hauff composition Wood Street in The Sacred Harp is a setting of the psalm in the rendition from Tate and Brady’s New version of the Psalms of David
  • The psalm was the inspiration for Leonard Cohen's "By the Rivers Dark" on his 2001 album Ten New Songs.
  • Psalm 137:5–6 is the basis for the chorus of Matisyahu's single "Jerusalem".
  • Psalm 137 is the central text of John Tavener's "Lament for Jerusalem – a mystical love song".
  • The artist Fernando Ortega based the song "City of Sorrows" on Psalm 137.
  • "I Hung My Harp Upon the Willows" is a song by The Trashcan Sinatras about poet Robert Burns.
  • It is referenced in The Mountain Goats' "September 15th 1983" off of Heretic Pride.
  • Psalm 137:1–4 is the basis for "By These Rivers" for solo recorder by Gilad Hochman.
  • Song published by Joshua Aaron. Joshua Aaron - Bring Us Back Psalm 137. Retrieved 23 May 2024 – via YouTube.
  • Poem by John Beecher, ''If I Forget Thee, O Birmingham!''