Ps. 81.1-3 (the overflow)

Sing out in exultation / to God our strength
shout for joy / to the God of Jacob
Take up a song / sound a timbrel
play a melodious lyre / with the harp
blow a horn / at the new moon
at the full moon / for the day of our festival. 

The festival. As the final verse makes clear, there is a context to this psalm. It is a festival and it appears to be a specific one (the festival of booths). In the immediately following verses we discover that this festival is one that has been decreed by God “when he, the God of Jacob, went out against the land of Egypt.” This festival, therefore, is one embedded within a story, in particular it is one that celebrates the deliverance of Israel from Egypt. This is exodus-praise, redemption-praise. More to the point: the festival perpetuates, makes present, that realm of exodus-praise. It is not simply a memory but a participating within that festival of deliverance. 

Appointed. It is important to note that this festival is not simply one that man spontaneously develops in response to God. It is, rather, one appointed by God for Israel. In this way, by the fact that it is a festival ordained by God, it is a sacred festival; it moves within the realm of sacred time and space which is why we say that it is a ‘participatory’ festival. Within the realm of the sacred the past can be made present; it can be perpetuated; it becomes an aspect of God’s forever. Were the festival simply a response on man’s part it would reside only in the realm of memory with no sacramental connection to the past; when, however, it is made sacred (“appointed”) by God, the festival itself becomes something like a sacrament, a participation in that which it represents (the “exodus festival”). In a very real sense, it becomes a gift. 

Overflow. Here, this ‘realm of the sacred’ is, explicitly, the realm of the festive. In many other psalms we have had the chance to reflect on this. One thing we have noticed is that the psalmist, when attempting to convey this festal aspect, often resorts to images of prodigality and abundance. Language falters, trips over itself and becomes (exuberantly) repetitive. It becomes liturgical as well in its rhythms. This type of ‘overflow’ often stands in stark contrast to language employed regarding God’s anger and wrath which exhibits a very controlled and formal arrangement. Often the ‘festal language’ is over twice as long as the section on wrath. The language itself is prodigal and lavish. A point we have made is that there is an intense sense on the part of the psalmist that festal and prodigal nature of God’s presence is something that is always-already more than can be contained. It enters into the realm of glory and beauty. All of this is found in the opening lines. There are no less than five commands issued within six lines: sing, shout, take up a song, play a lyre, blow a horn. And many of these are clearly calls for powerful expressions: “exultation”, “shout”. There is the sense that the people are (to be) overcome with joy. They are to be ‘ecstatic’ (outside themselves). In this sense, the people themselves will come to exhibit the ‘overflow’ contained within the festival. They themselves will overflow; they will be ‘more-than-themselves’.  Again, however, this ecstasy is not without content. It is rooted in the exodus; it is a thanks-giving. It is here that minor point (of large significance) needs to be made: the exodus was not, primarily, aimed at the freedom of Israel but, rather, at liturgy. Freedom may have been necessary but it was penultimate. The goal was Israel entering liturgy to God. In a sense, then, this festival itself becomes the making-present of the exodus goal. In this festival, in this liturgical abundance, Israel is, in a very real sense, becoming herself.  And yet, as we will see, contained within this festival is the reality-of-Israel; she, Adam-like, upon receipt of the festival must be immediately reminded of her failings and encouraged to make penance for it. 

Song. It is an interesting fact that the presence of music pervades these lines, whether vocal or instrumental. One thing we have seen in other psalms, particularly those related to redemption from sickness and death (Psalm 6, for example) is the theological geography of praise: in Sheol there is nothing but silence and noise; on earth there is the possibility of entering into liturgy; in heaven, nearly every vision is saturated with liturgical praise. We might say that ‘heaven’, where God is the God of Hosts, is almost identified with liturgical celebration to God. If so, then this festival is, in its sacred appointment, and in some sense, a participating in that heavenly realm. It is heaven-in-earth (something that the Temple very clearly is; that liturgical center of Israel).