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Tehilim 63: My soul thirsts for You

תְּהִלִּים ס״ג · מִזְמוֹר לְדָוִד
Twelve verses written from a desert and remembering a sanctuary. The superscription puts David in the wilderness of Judah, and the psalm takes its images from exactly there: thirst, dry ground, night, and animals that feed on the dead. For a learner it drills one thing, the second person suffix -kha attached to a verb: I seek You, I have beheld You, I will bless You, I remember You, my lips praise You. Five different verbs, one ending. Watch also the word nefesh, soul or throat, which appears four times and changes state each time: it thirsts, it is satisfied, it clings, and at the end it is the thing the enemies are hunting.
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1
מִזְמוֹר לְדָוִד
בִּהְיוֹתוֹ בְּמִדְבַּר יְהוּדָה
מִזְמוֹר
miz-MOR
a psalm
לְדָוִד
le-da-VID
of David
A psalm of David.
בִּהְיוֹתוֹ
bih-o-TO
when he was
בְּמִדְבַּר
be-mid-BAR
in the wilderness of
יְהוּדָה
ye-hu-DA
Judah
When he was in the wilderness of Judah.
The superscription places the prayer in a named desert, which turns the thirst of the next verse into a physical fact and a figure at once.
2
אֱלֹהִים אֵלִי אַתָּה אֲשַׁחֲרֶךָּ
צָמְאָה לְךָ נַפְשִׁי כָּמַהּ לְךָ בְשָׂרִי
בְּאֶרֶץ צִיָּה וְעָיֵף בְּלִי מָיִם
אֱלֹהִים
e-lo-HIM
God
אֵלִי
e-LI
my God
אַתָּה
a-TA
You are
אֲשַׁחֲרֶךָּ
a-sha-cha-re-KA
I seek You at dawn
O God, You are my God; I search for You at first light.
צָמְאָה
tzam-A
thirsts
לְךָ
le-CHA
for You
נַפְשִׁי
naf-SHI
my soul
כָּמַהּ
ka-MAH
longs
לְךָ
le-CHA
for You
בְשָׂרִי
ve-sa-RI
my flesh
My soul thirsts for You, my flesh longs for You,
בְּאֶרֶץ
be-E-retz
in a land
צִיָּה
tzi-YA
parched
וְעָיֵף
ve-a-YEF
and weary
בְּלִי
bli
without
מָיִם
ma-YIM
water
in a parched and weary land with no water.
Three claims stacked in one breath: God addressed, soul, flesh. The land supplies the vocabulary, and the verb of seeking carries the word for dawn inside its root.
3
כֵּן בַּקֹּדֶשׁ חֲזִיתִךָ
לִרְאוֹת עֻזְּךָ וּכְבוֹדֶךָ
כֵּן
ken
so
בַּקֹּדֶשׁ
ba-KO-desh
in the sanctuary
חֲזִיתִךָ
cha-zi-ti-CHA
I have beheld You
So I have looked for You in the sanctuary,
לִרְאוֹת
lir-OT
to see
עֻזְּךָ
uz-CHA
Your strength
וּכְבוֹדֶךָ
uch-vo-de-CHA
and Your glory
to see Your strength and Your glory.
A memory of the sanctuary, recalled from its exact opposite. What was seen there is named as strength and glory, and it is what he is looking for now.
4
כִּי טוֹב חַסְדְּךָ מֵחַיִּים
שְׂפָתַי יְשַׁבְּחוּנְךָ
כִּי
ki
for
טוֹב
tov
better
חַסְדְּךָ
chas-de-CHA
is Your steadfast love
מֵחַיִּים
me-cha-YIM
than life
For Your steadfast love is better than life;
שְׂפָתַי
sfa-TAI
my lips
יְשַׁבְּחוּנְךָ
ye-shab-chun-CHA
shall praise You
my lips shall praise You.
The claim that gives the psalm its weight: a thing worth more than being alive. Everything after this verse is what a person does with such a claim.
5
כֵּן אֲבָרֶכְךָ בְחַיָּי
בְּשִׁמְךָ אֶשָּׂא כַפָּי
כֵּן
ken
so
אֲבָרֶכְךָ
a-va-rech-CHA
I will bless You
בְחַיָּי
ve-cha-YAI
while I live
So I will bless You as long as I live;
בְּשִׁמְךָ
be-shim-CHA
in Your name
אֶשָּׂא
e-SA
I will lift
כַפָּי
cha-PAI
my palms
in Your name I will lift my palms.
Blessing offered during a lifetime, since life has just been ranked second. Lifted palms are the standard posture of prayer, named here rather than described.
6
כְּמוֹ חֵלֶב וָדֶשֶׁן תִּשְׂבַּע נַפְשִׁי
וְשִׂפְתֵי רְנָנוֹת יְהַלֶּל פִּי
כְּמוֹ
kmo
as with
חֵלֶב
CHE-lev
fat
וָדֶשֶׁן
va-DE-shen
and rich food
תִּשְׂבַּע
TIS-ba
is satisfied
נַפְשִׁי
naf-SHI
my soul
My soul is filled as with fat and rich food,
וְשִׂפְתֵי
ve-sif-TEI
and with lips of
רְנָנוֹת
re-na-NOT
glad songs
יְהַלֶּל
ye-HA-lel
praises
פִּי
pi
my mouth
and my mouth praises with lips of glad song.
Satisfaction described in the vocabulary of the altar and the feast, by a man in a place with no water. The hunger is answered in words, not food.
7
אִם זְכַרְתִּיךָ עַל יְצוּעָי
בְּאַשְׁמֻרוֹת אֶהְגֶּה בָּךְ
אִם
im
when
זְכַרְתִּיךָ
ze-char-ti-CHA
I remember You
עַל
al
upon
יְצוּעָי
ye-tzu-AI
my bed
When I remember You on my bed,
בְּאַשְׁמֻרוֹת
be-ash-mu-ROT
in the watches of the night
אֶהְגֶּה
eh-GE
I murmur
בָּךְ
bach
about You
I murmur over You through the night watches.
The scene shifts to night and to a bed. The prayer leaves the remembered sanctuary for the one place where nobody is watching.
8
כִּי הָיִיתָ עֶזְרָתָה לִּי
וּבְצֵל כְּנָפֶיךָ אֲרַנֵּן
כִּי
ki
for
הָיִיתָ
ha-yi-TA
You have been
עֶזְרָתָה
ez-ra-TA
a help
לִּי
li
to me
For You have been my help,
וּבְצֵל
uv-TZEL
and in the shadow of
כְּנָפֶיךָ
kna-fei-CHA
Your wings
אֲרַנֵּן
a-ra-NEN
I sing for joy
and in the shadow of Your wings I sing for joy.
The reason given is help already received, not rescue expected. The wings are a bird's over the nest before they are anything else.
9
דָּבְקָה נַפְשִׁי אַחֲרֶיךָ
בִּי תָּמְכָה יְמִינֶךָ
דָּבְקָה
dav-KA
clings
נַפְשִׁי
naf-SHI
my soul
אַחֲרֶיךָ
a-cha-rei-CHA
after You
My soul clings close behind You;
בִּי
bi
me
תָּמְכָה
tam-CHA
holds
יְמִינֶךָ
ye-mi-ne-CHA
Your right hand
Your right hand holds me up.
Two clauses describing one grip from both ends: the soul holding on from below, the right hand holding up from above.
10
וְהֵמָּה לְשׁוֹאָה יְבַקְשׁוּ נַפְשִׁי
יָבֹאוּ בְּתַחְתִּיּוֹת הָאָרֶץ
וְהֵמָּה
ve-he-MA
but they
לְשׁוֹאָה
le-sho-A
for ruin
יְבַקְשׁוּ
ye-vak-SHU
seek
נַפְשִׁי
naf-SHI
my life
But those who seek my life, to ruin it,
יָבֹאוּ
ya-vo-U
they shall go
בְּתַחְתִּיּוֹת
be-tach-ti-YOT
into the depths of
הָאָרֶץ
ha-A-retz
the earth
shall go down into the depths of the earth.
The enemies appear only now, in the last three verses, and they are described going down in the same breath in which the speaker is held up.
11
יַגִּירֻהוּ עַל יְדֵי חָרֶב
מְנָת שֻׁעָלִים יִהְיוּ
יַגִּירֻהוּ
ya-gi-ru-HU
they shall hand him over
עַל
al
by
יְדֵי
ye-DEI
the hands of
חָרֶב
CHA-rev
the sword
They shall be handed over to the power of the sword;
מְנָת
me-NAT
the portion of
שֻׁעָלִים
shu-a-LIM
foxes
יִהְיוּ
yih-U
they shall be
they shall be a portion for foxes.
The fate is left in the passive, with no named agent and no gloating. What the verse describes is a battlefield after everyone has gone.
12
וְהַמֶּלֶךְ יִשְׂמַח בֵּאלֹהִים
יִתְהַלֵּל כׇּל הַנִּשְׁבָּע בּוֹ
כִּי יִסָּכֵר פִּי דוֹבְרֵי שָׁקֶר
וְהַמֶּלֶךְ
ve-ha-me-LECH
and the king
יִשְׂמַח
yis-MACH
shall rejoice
בֵּאלֹהִים
be-lo-HIM
in God
But the king shall rejoice in God;
יִתְהַלֵּל
yit-ha-LEL
shall glory
כׇּל
kol
every
הַנִּשְׁבָּע
ha-nish-BA
one who swears
בּוֹ
bo
by Him
all who swear by Him shall glory,
כִּי
ki
for
יִסָּכֵר
yi-sa-CHER
shall be stopped
פִּי
pi
the mouth of
דוֹבְרֵי
dov-REI
those who speak
שָׁקֶר
SHA-ker
falsehood
for the mouth of liars shall be stopped.
The psalm closes by stepping out of the first person to speak of the king in the third. The last thing granted to the enemy is silence.

♦ PARDES analysis: פרדס

The four levels of Jewish reading of the sacred text: פשט Peshat (literal meaning), רמז Remez (symbolic allusion), דרש Drash (midrashic interpretation), סוד Sod (mystical meaning). The word פרדס means "orchard", each level is a fruit.

פשט · Peshat: literal meaning

The psalm is one continuous address, and it travels through the body. It begins in the throat with thirst, צָמְאָה (tzam-a, v.2), moves out to the flesh, then to the lips and the mouth in verses 4 to 6, then to a bed at night in verse 7, then to a hand holding the speaker upright in verse 9. Only in verse 10 does anyone else enter, and the enemies are shown going down into the earth in the same movement in which the speaker is held. The final verse steps out of the first person for the king, and it is the psalm's only sentence about the public world.

רמז · Remez: allusion

אֲשַׁחֲרֶךָּ (a-sha-cha-re-ka, v.2) is the crux. Its root can be read as the ordinary verb for seeking, and it is also the root of the noun for dawn, so translators split between I seek You earnestly and I seek You at daybreak. Both are defensible from the consonants, and both suit a psalm that will name the night watches later. חֵלֶב (che-lev, v.6) is the fat of an animal, the portion burned on the altar, so the satisfaction of verse 6 is described with the vocabulary of an offering by a man with neither altar nor water. Verse 11 gathers the difficulties: יַגִּירֻהוּ (ya-gi-ru-hu, v.11) is rare enough that translations disagree over whether the sense is poured out, handed over or hurled, and שֻׁעָלִים (shu-a-lim, v.11) is the ordinary word for foxes, though most modern readings take it here as jackals, which are the scavengers a battlefield actually attracts.

דרש · Drash: midrashic reading

The plural in בְּאַשְׁמֻרוֹת (be-ash-mu-rot, v.7), the night watches, drew a discussion of its own: the Talmud at Berakhot 3a preserves a dispute over whether the night divides into three watches or four. The superscription sends the reader back to the books of Samuel, but it does not say which flight is meant, and commentators split between David hiding from Saul and David leaving Jerusalem during Absalom's revolt. Either way verse 12 is read as the sentence of a man who holds a crown and has no throne, and the sanctuary of verse 3 as a memory rather than a building he can walk into, which makes the whole psalm a model for prayer said in the wrong place.

סוד · Sod: mystical reading

חַסְדְּךָ (chas-de-cha, v.4), better than life, is the line the mystical reading turns on. If that love is worth more than existence, then existence is not the highest term, and the thirst of verse 2 stops being a lack to be fixed and becomes the accurate perception of a soul that has ranked its wants correctly. The dry land of צִיָּה (tzi-ya, v.2) is then a condition rather than a geography, the state in which nothing at all is available except the wanting. דָּבְקָה (dav-ka, v.9), clinging, is the verb Genesis uses for a man joined to his wife and Deuteronomy for holding fast to God, and the two halves of verse 9 describe that single bond from both directions: the soul reaching up from below, the right hand holding from above.

Hebrew text: Miqra according to the Masorah (MAM), after the Aleppo Codex, via Sefaria, CC BY-SA. English: The Holy Scriptures, a New Translation (JPS 1917), via Sefaria, public domain. Transliteration generated by this site's own engine (assets/translit.js).