(prayer of David)


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Psalm 17 is a first-person appeal that emphasizes the body, just like Psalm 16. Like Psalm 15, however, it appeals not to joy but to justice, which the moral deserve. Though the psalm is a prayer, its guiding images are not auditory but visual, its unity the watchfulness of the Lord’s face.
It starts with—and later returns to—the figure of the Lord’s ear, so common in psalms and prayers: “pay attention… perk ear” (1), “spread your ear to me | hear what I say” (6). But it is the rest of the body that stands out in this psalm: the Lord’s face (2, 15), the mouth and lips (3, 4), heart (3), feet (5, 11), hand (7, 14), the neck or throat (the nefesh, 9,13), the “innards” (lit. “fat,” 10), the belly (14), and the open-ended “form” with which the psalm ends (15).
Even more, we see eyes. “Let your eyes notice | what’s plumb,” the speaker prays in verse 2. Eyes replace ears, “what’s plumb” translates the horizontal balance of “what’s just” (1a) to the vertical axis of uprightness. Even more significantly, the Lord’s being asked to “notice” (chezeh) becomes, over the course of the psalm, “let me notice your face” (15). It’s not that eyes appear often in the poem. It’s how they look out, what they see. There are the fixed eyes of the stalking enemies, “their eyes they set | on crouching to the earth” (11). More impressively, there is that unforgettable line, so beautiful in both Hebrew and the well-known English: shamreini ke-ishon bat-ayin, lit. “guard me like the little man, daughter of the eye”; in the King James, “Keep me as the apple of the eye” (8a). The verb means to keep watch, and the metaphor aims to capture how very closely the speaker wants the Lord to watch: “don’t shoot until you see the whites of their eyes.” But it’s not the whites of the eyes here, it’s some quintessence of them, the pupil, the aqueous humor. I first had “like the soft of the eye,” but that’s not it. I see it now: the tiny reflection of oneself in another’s pupil, hence the very human “little man” and “daughter” all powerfully condensed in half a line: “like a figure in an eye.”
That recognition, that the center of the psalm features not just an eye, but the speaker seeing their own reflection in an eye of the Lord—or the Lord seeing the Lord’s reflection in the speaker’s eye—helps make sense of the prayer’s last line: “let me notice your face | let me be surfeited to wake | your form” (15). In contrast to both enemies, who are preoccupied with death, “mortality their share” (14b), and the “living,” who are satisfied with reproduction (their bellies stuffed full of children), the speaker is satisfied “with what’s just” (15a). But justice is now not abstract. It’s intimate, and momentous: that overfull moment on waking when one sees oneself a likeness in a beloved’s eye. The last line is literally “let me be stuffed full to awake your likeness.” It parses so many ways without the need for imposed, anachronistic doctrines of immortality. Let me be full of waking, in front of your likeness, as your likeness, with your likeness. Let me be full, to awaken your image, to awaken before your image, to awaken as your image.
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17:1 Hear, Lord… The language is stereotypical, but the rhythm is potent. Each half-line builds nicely, from three two-syllable words to two three-syllable words, two four-syllable words, back to three two-syllable words.
17:1-2 perk ear… let your eyes notice In addition to the semantic parallel of ear/eyes, there’s a play on words between ha’azinah, “perk ear,” and techezenah, “let… notice.”
17:7 mark your acts of care I.e., make your caring stand out
17:8 Watch me | like a figure in an eye Both halves of the line are visual. See the Psalm 17 note for a discussion.
17:10 Their innards | they sealed The word chelbamov seems to refer to the abdomen, perhaps abdominal fat, which would have not been culturally scorned. The image of closing is clear, even if the exact meaning isn’t. The enemies cinched themselves tight against the speaker and raised their voices.
17:12 like a young male lion At two or three, male lions look and behave differently from both cubs and fully grown males. Adult males bear impressive manes and live in their territorial pride with a few other adult males, more adult females, and their young. As male cubs mature, they have to venture off on their own to claim new territory. Thus the movement from “a lion” to “a young male lion” is meaningful, from the settled to the rangy, from the protective to the aggressive, from the plural community to the singular predator.
17:14 from men… The whole verse is troublesome. (1) The word translated “from men,” mimtim, might derive not from mat, male, but from mot, death. That would make the first two lines a repeated request to kill them, which is certainly possible, given the sword in verse 13. (2) “Mortality their share” is mecheled chelqam, which others parse differently. The JPS version is compelling: “from men whose share in life is fleeting.” This translation sees bachayyim, “the living,” as belonging to the next part. (3) “And your treasure/ you fill their belly” is syntactically ambiguous, but the contrast is clear between the “vile” of verse 13 and the abundance of the last part of this verse.
17:15 Let me be surfeited to wake | your form Like those in verse 14, whose bellies are full of children who themselves are full, the speaker is overfull with the Lord’s face, ”your form.” See the Psalm 17 note for a discussion of this verse.



