Scripture quotations on this page are from the World English Bible (public domain), shown in quotation marks; all commentary is written by Scripture Trove. Source: Psalms 137 · Commentary
Psalm 137 is one of the most somber, famous, and controversial psalms in the entire Old Testament. In just 9 verses, it encapsulates the entire pain of Israel's exile. The opening line, "By the rivers of Babylon, there we sat down, yes, we wept, when we remembered Zion," has become one of the most quoted verses in Western literature, adapted by countless artists from Chaucer to Shakespeare, from Boney M. to Lennon. This psalm stands in stark contrast to the "Hallelujah praise" of Psalms 135-136, which review the history of creation and salvation, singing, "for his loving kindness endures forever." This psalm records the tears of the exiles. Both voices coexist in the Hebrew Psalms, which is the reality of Hebrew spirituality: there are peaks of praise and valleys of lament. The final section of Psalm 137 (verses 7-9) is one of the most "difficult to handle" passages in the entire Psalter, with its curses against Edom and Babylon, and the line, "Happy shall he be, who takes and dashes your little ones against the rock" (137:9), which shocks countless modern readers. But Psalm 137 does not omit this section, because it is the genuine prayer of real people in real pain. Scripture records all of this, allowing us to see the true heart of the exiles. At the same time, the New Testament teaching of "love your enemies" by the Lord Jesus places vengeance, judgment, and disciples' actions back under the cross. Dealing with Psalm 137 requires holding both sides: neither sanitizing the trauma of the text nor turning the curses born of trauma into permission for believers to seek revenge.
Book Five of Psalms (Psalms 107-150) · Psalms of the Return from Exile
Psalm 137 is not categorized into any fixed sub-collection within the Psalms; it is an independent psalm of exile. However, scholars generally agree that it belongs to the period of exile or after the return from exile. Several pieces of evidence support this:
Therefore, Psalm 137 was likely written in the late 6th or early 5th century BC, as the returned Jewish community reflected on the period of exile. This is a product of the same era as Psalm 126, "When Yahweh brought back those who returned to Zion, we were like those who dream," and Psalm 102, "He has looked down from the height of his sanctuary...to hear the groans of the prisoner."
The position of Psalm 137 in the structure of the Psalms is intriguing. It immediately follows the "Great Hallel" (Psalm 136), "for his loving kindness endures forever," which presents a profound contrast. The previous psalm sings "his loving kindness endures forever" 26 times, while this psalm sings, "How can we sing Yahweh’s song in a foreign land?" This juxtaposition is not accidental; Hebrew pneumatology allows these two voices to coexist. Praise and lament, faith and indignation, hope and accusation are all part of genuine spirituality.
The structure of Psalm 137 is a gradual escalation of "lament → refusal → oath → curse," starting with the tears of exile, moving through a refusal to cooperate with the invaders, to an oath of love for Jerusalem, and finally turning to a curse against the enemies. This is an arc of progressively intensifying emotion and theology; the psalmist's anger is not expressed at the outset but slowly brews from sorrow. In just 9 verses, the journey from tears to rage is completed. This is the reality of the imprecatory psalms: it is not a "preconceived" hatred but a genuine outpouring of emotion from someone deeply hurt.
The pain of exile and the love that refuses to forget. Psalm 137 shows us the power of identity. Even if foreigners force you to sing Zion's song, you cannot sing it in a foreign land, because Zion's song belongs to Zion. Even if you are forced to leave Jerusalem, you cannot forget her; to forget her is to betray your identity. And this "refusal to forget" love, when it faces those who destroyed your home, transforms into the deepest anger, which is the curse at the end of Psalm 137. Psalm 137 does not leave us in the curse; it entrusts the curse to God, "Remember, Yahweh, against the children of Edom," which is an act of surrendering the right to vengeance to the supreme judge. In the New Testament, the Lord Jesus teaches us to "love your enemies" (Matthew 5:44), but Scripture records the curse of Psalm 137 to show us that true human emotions cannot be suppressed by spiritual words; they must be honestly expressed before God, and then we can move to the next step of maturity.
"By the rivers of Babylon, there we sat down, yes, we wept, when we remembered Zion." (137:1) This is one of the most quoted verses in Western literature. "Sat down" (יָשַׁבְנוּ, yashavnu) is not standing or walking; it is sitting, the posture of one in mourning (cf. Job 2:13, "So they sat with him on the ground seven days and seven nights, and no one spoke a word to him, for they saw that his grief was very great"). Sitting by the rivers of Babylon becomes the starting point for the entire theology of exile.
"How can we sing Yahweh’s song in a foreign land?" (137:4) This is a key verse for identity theology. Zion's song (Yahweh's song) belongs to Zion and cannot be sung in a foreign land, because the "I" who sings is no longer the original "I." This verse holds a mirror up to all believers who are "strangers in the world," asking if we can live a life that belongs to God in a generation that does not belong to God.
"If I forget you, Jerusalem, let my right hand forget its skill. Let my tongue stick to the roof of my mouth, if I don’t remember you; if I don’t prefer Jerusalem above my chief joy!" (137:5-6) This is Psalm 137's deepest oath of love. "Let my right hand forget its skill" and "let my tongue stick to the roof of my mouth" are two of the most severe self-curses related to professional identity: a harpist's right hand unable to play = loss of profession / a singer's tongue stuck = loss of voice. The intensity of this oath tells us that the psalmist is willing to suffer professional death rather than forget Jerusalem; this is the highest expression of identity and belonging.
Brothers and sisters, Psalm 137 is an uncomfortable psalm, especially the curses at the end. But please don't rush past it; let's pause together with this psalm for a while, because it has very profound things to say to your spiritual life today.
First, please look at the scene in Psalm 137:1-2: a group of exiled Jews sitting by the rivers of Babylon, hanging their harps on the willow trees, weeping silently. They didn't protest loudly, didn't incite rebellion, and didn't despairingly commit suicide; they just sat down, wept, and hung up their harps. What a profound posture this is, acknowledging the present reality while preserving hope.
This is a posture that Chinese brothers and sisters can learn today. When you are in an environment that doesn't belong to God (the evil of a workplace superior, the loneliness of faith in the family, the temptations of your social circle), you don't have to constantly fight against it, nor do you have to escape. You just need to "hang up your harp," preserve your holy things, and wait for the right occasion. This is spiritual wisdom: not mixing, not compromising, not wasting.
Second, please look at the refusal in Psalm 137:4, "How can we sing Yahweh's song in a foreign land?" This verse reminds us of our identity: some things belong to God and cannot be casually brought out for performance in any setting. Today, some believers treat "prayer," "worship," and "testimony" as social topics or tools for showing off. Psalm 137:4 reminds us that Yahweh's song belongs to occasions of worshiping Yahweh; do not treat holy things as entertainment.
Third, please look at the vow in Psalm 137:5-6, "If I forget you, Jerusalem, let my right hand forget its skill." What profound love this is. A musician is willing to lose the ability to play for his city; this priority of identity surpasses the priority of profession. Do you have such a spiritual priority today, "if I lose this, I want nothing else"? If your priority is money, health, family, or achievement, rather than Christ, then your heart still needs to be recalibrated by God. Psalm 137:5-6 gives us a mirror to honestly see what is "most precious" in our hearts.
Finally, please look at the curses in Psalm 137:7-9; this is the most difficult part. I want to tell you honestly that this passage is not telling you to curse others. In the New Testament, the Lord Jesus has already commanded us to "love our enemies," so your life today cannot imitate this curse. But this passage tells you another thing: when you are deeply hurt, you can be honest with God.
Some brothers and sisters have been deeply hurt: abused by a father, betrayed by a loved one, sold out by a friend, hurt by the church. They actually have deep hatred in their hearts, but they dare not admit it because "Christians shouldn't have hatred." So they pretend everything is fine, but the wounds in their hearts are festering.
Psalm 137 tells you that you can honestly tell God your hatred, even the most "unacceptable" hatred. God will not abandon you because of it; He listens, He remembers, and He will eventually lead you through the healing process until you can say, like the Lord Jesus, "Father, forgive them."
But this step cannot be reached in one day; it is a process. Psalm 137 is in the middle of the process, not yet at the height of loving enemies, but it is a pouring out of real pain before God. This itself is the beginning of healing, closer to God than pretending everything is fine.
So today, brothers and sisters, if you have wounds in your heart, please join the psalmist of Psalm 137 and tell God all your pain, your anger, and your hatred. Don't pretend to be spiritual. True spirituality is not hiding wounds, but bringing wounds before God and letting Him heal them.
And the Lord Jesus, who interceded for our enemies on the cross, will accept your wounds and will slowly and gently lead you from the curses of Psalm 137 to the love of enemies in Matthew 5:44. This is the work of grace, not your willpower. As long as you honestly bring your pain before Him, He will do the rest of the work.
137:1-2 "By the rivers of Babylon, we sat down... We hung our harps on the willows." Where is your "Babylon" today? What environments make you feel "I cannot worship normally here"? Facing these environments, can you "hang up your harp," preserve your faith, and wait for the right time?
137:5-6 "If I forget you, Jerusalem," fill in the blank: In your heart, what is "if I lose this, I want nothing else"? Honestly tell God your answer and ask Him to recalibrate your priorities.
137:7-9 Cursing psalm, do you have deep anger towards someone or something in your heart? Please do not suppress it; honestly tell God these angers, especially learning from the direction of verse 7, "Remember, Yahweh," entrusting judgment to Him; at the same time, ask the Holy Spirit to guard your hands and mouth, not letting pain turn into acts of revenge, and slowly lead you towards the Lord Jesus' path of "loving your enemies" (Matthew 5:44).
Title: (No title. Opens directly with "By the rivers of Babylon, there we sat down.")
Psalm 137 also has no title, similar to Psalms 135 and 136, but its opening is distinctly different from those two: Psalm 135 opens with "Hallelujah," and Psalm 136 opens with "Give thanks to Yahweh," both in a posture of praise; Psalm 137 opens with "We sat down and wept," a posture of sorrow.
The opening of Psalm 137 is one of the most famous in Hebrew literary history, "By the rivers of Babylon, there we sat down." The keywords are naharot Bavel (rivers of Babylon) and yashavnu (we sat down). This phrase has become an iconic statement in Western culture, quoted or adapted by Chaucer in The Canterbury Tales, Shakespeare (implicitly), Voltaire, Hugo, Boney M. (1978 pop song "Rivers of Babylon"), Don McLean, Phil Collins, and others. The entire Western literary tradition, from medieval liturgy to 20th-century pop music, has been influenced by this verse.
Why is this verse so powerful? Several reasons:
Therefore, the opening line of Psalm 137 firmly establishes the theology of the entire psalm: this is not an ordinary lament but a lament about identity and belonging. The following eight verses will unfold from this opening, moving from tears to refusal to cooperate, from refusal to cooperate to a vow of love, and from a vow of love to a curse against enemies. The entire arc originates from "By the rivers of Babylon, there we sat down."
The genre of Psalm 137 is called a "communal lament" by scholars. Unlike individual laments (e.g., Psalms 6, 13), this is the lament of an entire nation in national distress. Several such laments exist in the Psalms (Psalms 44, 60, 74, 79, 80, 83, 137), all prayers concerning national disaster (destruction of the Temple, exile, oppression by foreign nations). Psalm 137 is the most famous among them due to its vivid imagery, concise language, and intense emotion.
Section Focus: The first three verses of Psalm 137 set the scene for the entire psalm: exiled Jews sitting by the rivers of Babylon, weeping, hanging their harps on trees, and refusing to sing before their captors. These three verses form the "pictorial foundation" of the entire psalm, like a painting, providing a concrete scene for each subsequent verse to project upon.
137:1 "By the rivers of Babylon, there we sat down. Yes, we wept, when we remembered Zion."
Psalms 137:1（World English Bible）
"There" (שָׁם, sham): This word's tense implies that the psalmist is not there now; he is recalling. Thus, Psalm 137 was written after the return from exile. The Jews had returned to Jerusalem, but they had not forgotten the rivers of Babylon; they transformed that experience into a poem.
"By the rivers of Babylon" (עַל נַהֲרוֹת בָּבֶל, al naharot Bavel): Note that the Hebrew uses the plural "rivers" (naharot), not singular. Why? Babylon indeed had multiple rivers, primarily the Euphrates and Tigris, along with countless canal systems (called nahar, river/canal, in Aramaic). Babylonian agriculture relied entirely on these rivers and canal networks. Thus, "rivers" in the Babylonian context were both a source of water and a place of labor for workers. Many exiles were assigned to forced labor by these rivers (repairing canals, diverting water for irrigation, loading/unloading boats). So, "sitting by the rivers of Babylon" implies that these exiled Jews were laborers by the river, and their "sitting down" was a brief rest between labors. During this brief rest, they thought of Zion, and tears flowed.
"Sat down" (יָשַׁבְנוּ, yashavnu): The verb יָשַׁב (yashav, to sit/to dwell). "Sitting down" in Hebrew is a posture of sorrow. Job's three friends "sat with him on the ground seven days and seven nights, and no one spoke a word to him, for they saw that his suffering was very great" (Job 2:13), using the same word. Sitting down means stopping action, silently enduring pain. This contrasts sharply with the "going up" posture of the Psalms of Ascent. Pilgrims "go up" to Zion, while exiles "sit down" in Babylon—these are two of the deepest contrasting postures in Hebrew history.
"When we remembered Zion" (בְּזָכְרֵנוּ אֶת־צִיּוֹן, be-zokhrenu et-Tsiyon): The verb זָכַר (zakhar, to remember, same as "remembered" in Psalm 136:23). Zakhar in Hebrew is not merely "to recall" but "to remember and take corresponding action." So, "remembering Zion" is not just nostalgia; it is holding Zion as the pillar of identity. Remembering Zion = maintaining Israelite identity; forgetting Zion = betraying Israelite identity. This is the foundation of the vow in Psalm 137:5-6.
"Yes, we wept" (גַּם־בָּכִינוּ, gam-bakhinu): The verb בָּכָה (bakhah, to weep). Bakhah is the straightforward Hebrew word for "to cry," not to sob, but to shed tears. Note that this verse uses the plural "we," indicating not personal tears but the tears of an entire nation. "The Jewish community by the rivers of Babylon collectively weeping"—this is the strongest image in Psalm 137.
Why is this verse so powerful? Because it transforms the abstract concept of "exile" into a concrete image: riverbank, sitting down, remembering, weeping. Each action is physical and tangible, allowing every reader to enter that scene.
137:2 "On the willows in that land, we hung up our harps."
Psalms 137:2（World English Bible）
"Harps" (כִּנֹּרוֹתֵינוּ, kinnoroteinu): Harp (כִּנּוֹר, kinnor), the most common stringed instrument in Hebrew, similar to the Greek lyre. David played this type of instrument (1 Samuel 16:23, "David took the harp and played with his hand," using the same word). The kinnor was a core instrument in Temple worship (cf. 1 Chronicles 25:1-6, Levites "prophesied with harps, with stringed instruments, and with cymbals" in the Temple). Thus, "harps" represent worship.
Note that the Hebrew uses the plural kinnoroteinu, "our harps," implying that many of these exiles were Levites/Temple musicians who brought their harps with them, as harps were their professional tools. But by the rivers of Babylon, the harps lost their purpose, so the psalmist continues:
"On the willows in its midst, we hung up" (עַל־עֲרָבִים בְּתוֹכָהּ תָּלִינוּ, al-aravim be-tokhah talinu): Willows (עֲרָבִים, aravim). The translation of this word is academically debated:
Regardless of whether it's willow or poplar, the key is that these are "riverside trees" by the rivers of Babylon, plants associated with homesickness. Their bark is sometimes grayish-white, and their leaves droop, visually fitting the mournful atmosphere, just as the branches hang low by the water, and the musicians' harps hang low on the trees, juxtaposing two silent images.
"Hung up" (תָּלִינוּ, talinu): The verb תָּלָה (talah, to hang up). This is the most evocative verb in Psalm 137. Hanging up the harps = ceasing to use them = ceasing to worship. This is the spiritual protest of the exiles. They did not smash their harps (that would be anger); they did not burn them (that would be despair). They merely hung them up, gently, sadly, and firmly ceasing to play. The harps were still there, waiting to return to the Temple; but for now, they could not be played. This is a very profound spiritual posture, retaining hope while refusing to worship in the wrong context.
In Jewish tradition, this verse became the "standard posture" for Jews in times of tragedy: to cease music. To this day, in some ultra-Orthodox Jewish communities, they do not play music until the Temple is rebuilt, saying, "We have hung our harps on the willows, and we will not take them down until Zion is fully restored." This is a direct contemporary continuation of Psalm 137:2.
137:3 "For there, those who led us captive asked us for songs. Those who tormented us demanded songs of joy: “Sing us one of the songs of Zion!”"
Psalms 137:3（World English Bible）
This verse describes the specific situation faced by the exiles: the Babylonians forced them to sing songs of Zion.
"Those who led us captive" (שׁוֹבֵינוּ, shoveinu): The participle of the verb שָׁבָה (shavah, to take captive). This is a very specific description: these were the actual people who took the Jews captive—Babylonian soldiers, officers, overseers.
"Asked us for songs" (שְׁאֵלוּנוּ דִּבְרֵי־שִׁיר, she'elunu divrei-shir): Literally, "asked/demanded from us words of song." Shir (שִׁיר), song, an ordinary song. Note that the Hebrew uses "asked" (shaal), not "commanded," but in the context of captivity, "asking" is also forced; the captors' "asking" is equivalent to a "command."
"Those who tormented us" (וְתוֹלָלֵינוּ, ve-tolaleinu): The participle of the verb תָּלַל (talal, to oppress with mockery). This word appears only here in the Hebrew Bible and carries the meaning of "oppressing with mockery or words." So, the captors were not just asking for songs; they were demanding them with mockery.
"Sing us one of the songs of Zion!" (שִׁירוּ לָנוּ מִשִּׁיר צִיּוֹן, shiru lanu mi-shir Tsiyon): This was the specific demand of the Babylonians: to sing "songs of Zion," meaning psalms about Jerusalem (e.g., Psalms 46, 48, 76, 84, 87, 122, etc.).
Why did the Babylonians demand that the exiles sing songs of Zion? Scholars propose several possibilities:
Regardless of the motive, the exiles' response in Psalm 137:4 is an absolute refusal.
Section Focus: Psalm 137:4 is the deepest declaration of "identity theology" in the entire psalm. Though a short verse, its theological density is extremely high, revealing the spiritual principle that "worship in the wrong context = betrayal of the object of worship."
137:4 "How can we sing Yahweh’s song in a foreign land?"
Psalms 137:4（World English Bible）
This is the core question of Psalm 137 and the deepest theological tension faced by the exiles.
"How" (אֵיךְ, eikh), an interrogative word meaning "how/in what way." This is a common opening word in laments, similar to Lamentations 1:1, "How (eikh) does the city sit solitary, that was full of people!" The entire Book of Lamentations opens with this word. Eikh expresses the tension of "incomprehension, unacceptability." It is not a true question but a rhetorical refusal: "How is it possible to sing songs of Zion in a foreign land? It's impossible!"
"In a foreign land" (עַל אַדְמַת נֵכָר, al admat nekhar), foreign land (אֲדָמָה, adamah, land + נֵכָר, nekhar, stranger/foreigner). Note that in Hebrew, nekhar "foreign" is not just geographically "non-Israelite land"; it carries the meaning of "strange/unfamiliar." A foreign land is an "unfamiliar land," not within the scope of God's covenant.
"Yahweh's song" (שִׁיר־יְהוָה, shir-Yahweh). Note that the Babylonians spoke of "songs of Zion" (137:3), but the psalmist changes it to "Yahweh's song." This is a crucial theological shift. The Babylonians thought these were merely "songs about Zion," a kind of national song; the psalmist corrects them, stating these are "Yahweh's songs," belonging to Yahweh's worship. Therefore, the psalmist's refusal is not due to homesickness but to theology. These songs belong to God and can only be sung in the context of worshipping God, never in a mocking context.
The spiritual principle of this verse: The content of worship and the context of worship must be consistent. Sacred songs cannot be sung in a blasphemous setting, the Eucharist cannot be shared in casual conversation, and prayer cannot be used for performance, because "the song" belongs to "the object of worship of the song." The dignity of the object of worship determines the occasion of worship.
Application for believers today:
However, this verse also presents a tension. Later, in the New Testament era, Paul would preach the gospel in the Areopagus in Athens, a foreign land (Acts 17). He did not "hang up his harp on the willows"; he actively proclaimed. So Psalm 137:4 is not an absolute "you cannot speak of Yahweh in a foreign land." It is the exiles' specific refusal in the face of a mocking context. The situation of New Testament believers is different; we go to foreign lands with the Great Commission to "sing songs of Zion," but we still need to discern the occasion: proclaim when appropriate (like Paul in Athens), and be silent when appropriate (like Psalm 137 facing mockers).
Section Focus: Psalm 137, from verses 5-6, enters into the deepest oath of love. The psalmist swears with the most severe self-curse not to forget Jerusalem. This section is a representative work of "self-curse oaths" in Hebrew poetry, and its intensity tells us how deep the psalmist's love for Jerusalem is.
137:5 "If I forget you, Jerusalem, let my right hand forget its skill."
Psalms 137:5（World English Bible）
This verse is the core turning point of Psalm 137, suddenly shifting from the plural "we" to the singular "I," from collective tears to a personal oath. This rhetorical shift makes the psalm extremely personal and intense.
"If I forget you, Jerusalem" (אִם־אֶשְׁכָּחֵךְ יְרוּשָׁלָיִם, im-eshkachekh Yerushalayim), a direct appeal to the city. This is typical "personified dialogue" in Hebrew poetry, treating the city as an object that can be addressed. Jerusalem is often personified as a "woman" in Hebrew tradition (Lamentations 1:1, "How does the city sit solitary, that was full of people!" uses a feminine pronoun; Isaiah 62:1-5, "Jerusalem will be like a bride"). So "Jerusalem" in the ears of Hebrews is a cry to a "wife/lover."
"If I forget you" (אִם־אֶשְׁכָּחֵךְ, im-eshkachekh), verb שָׁכַח (shakhach, to forget). This is the standard Hebrew oath format: "If... (something bad), then may... (a curse)." Example: Ruth 1:17, Ruth says, "May Yahweh do so to me, and more also, if anything but death parts you and me." This is the same oath format.
"Let my right hand forget its skill" (תִּשְׁכַּח יְמִינִי, tishkach yemini), right hand (יָמִין, yamin) + forget (shakhach). Literally, "may my right hand forget." Note that there is no explicit object in the Hebrew. The Chinese Union Version adds "skill," which is because the latter half of the sentence is omitted. Based on the context, it can be understood as "forgetting the skill of playing the harp" or "forgetting its original function."
Why the "right hand"? Several reasons:
So the psalmist's oath is: "If I forget Jerusalem, may I lose my profession, lose my fighting ability, lose my ability to bless, lose the dignity of my life." This is an extremely severe self-curse.
What does this oath tell us? The psalmist is willing to lose his entire professional identity as a musician rather than lose his identity as a son of Jerusalem. This is the highest expression of identity hierarchy: a profession can be lost, but national identity cannot.
137:6 "Let my tongue stick to the roof of my mouth if I don’t remember you; if I don’t prefer Jerusalem above my chief joy."
Psalms 137:6（World English Bible）
This verse continues the oath of verse 5, strengthening it with a second curse.
"If I don't remember you," again using the semantic meaning of zakhar (to remember), the same root as Psalm 136:23, "who remembered us in our low estate." Remembering in Hebrew is a core verb, both a core action of God and a core responsibility of humans.
"If I don't prefer Jerusalem above my chief joy," the keywords are Yerushalayim (Jerusalem), rosh (head, top), and simchah (joy). Literally, "if I do not lift up Jerusalem above my greatest joy." This is a very strong rhetorical statement, placing Jerusalem at the very top of all joys.
"Joy" (שִׂמְחָה, simchah), joy/gladness. This word in Hebrew refers to the highest delight: the joy of weddings, festivals, and harvests. The psalmist swears, "All my joys must be beneath Jerusalem." No joy can surpass her, including weddings, children, harvests, achievements, etc.
"Let my tongue stick to the roof of my mouth" (תִּדְבַּק־לְשׁוֹנִי לְחִכִּי, tidbaq-leshoni le-chikki), tongue (לָשׁוֹן, lashon), stick (דָּבַק, davaq), roof of mouth (חֵךְ, chekh). Literally, "may my tongue stick to my palate." The tongue sticks to the roof of the mouth, losing the ability to speak, which means "the singer loses their voice."
Comparing verse 5, "right hand forget its skill" (harpist loses profession) + verse 6, "tongue stick to the roof of my mouth" (singer loses voice), both curses target the core abilities of a musician. This further confirms that the psalmist is a representative of the Levite/Temple musician community, swearing by his most precious professional abilities.
The overall power of verses 5-6:
"If I forget Jerusalem, let my right hand forget its skill," losing the ability to play the harp.
"If I don't remember you, let my tongue stick to the roof of my mouth," losing the ability to sing.
The entire oath: If I forget Jerusalem, may everything I am as a musician die. I would rather lose my entire life's profession than lose my memory of Jerusalem.
This is one of the strongest oaths of love in Hebrew poetry. It tells us the power of identity and belonging is more important than profession, livelihood, or ability.
Application for believers today: Do we have this kind of spiritual priority today, "I would rather lose everything than lose something"? If you were to list "one thing you would absolutely not give up," what would that one thing be? If it is not Christ, then be vigilant, because it means something else is more important in your heart than Christ. Psalm 137:5-6 gives us a mirror to see the truth of our spiritual priorities.
Section Context: Psalm 137 enters its most tension-filled "cursing section" from verse 7, with curses against Edom and Babylon. This is also the "most difficult part to handle" in this psalm. We will first address the curse against Edom (verse 7), then the curse against Babylon (verses 8-9). This section requires careful interpretive principles: (1) This is a genuine outpouring of emotion from God's people in real suffering, honestly recorded in the Bible; (2) However, the Bible's record does not equate to God's decree. The teachings of the Lord Jesus (Matthew 5:44, love your enemies) fulfill the Law and redefine the actions of disciples in the face of enemies; (3) Yet, we cannot lightly dismiss this passage; it remains in the Bible, telling us that "the wounds of the oppressed need to be seen."
137:7 "Remember, Yahweh, against the children of Edom, the day of Jerusalem; who said, “Raze it! Raze it even to its foundation!”"
Psalms 137:7（World English Bible）
First, let's understand the historical background: why did the psalmist have such deep anger towards the Edomites?
Edom (אֱדוֹם, Edom), the descendants of Esau, were a brother nation to Jacob (Israel) from the same family (Genesis 36 records Esau becoming the father of Edom). The two nations should have been brothers, but Edom repeatedly acted as an enemy to Israel throughout its history:
This is the specific scenario of Psalm 137:7, "the day of Jerusalem." In 586 BC, when the Temple was destroyed and the Jewish people were exiled, the Edomites were not neutral bystanders; they actively cheered, "Raze it! Raze it!"
Other books in the Bible also record this evil deed of Edom:
Therefore, Psalm 137:7 is not an isolated curse; it belongs to the entire Old Testament tradition of curses against Edom, because Edom's evil actions on the day the Temple was destroyed caused all Jewish prophets to harbor deep animosity towards her.
"Raze it! Raze it!" (עָרוּ עָרוּ, aru aru), from the verb עָרָה (arah, to strip bare/to demolish). The repetition expresses emphasis, "Strip it bare! Strip it bare!" like shouting a slogan. This word in Hebrew has the meaning of "exposing shame," like stripping someone's clothes off to shame them in their nakedness. So the Edomites' cry against Jerusalem was not just "demolish the buildings," but "shame her," which is a deeper evil.
"Even to the foundation" (עַד הַיְסוֹד בָּהּ, ad ha-yesod bah), foundation (יְסוֹד, yesod). "Even to the foundation" = complete demolition, leaving not even the Temple's foundation. Archaeological evidence confirms that when the Temple was destroyed in 586 BC, its foundations were indeed demolished, and the Second Temple was rebuilt on a leveled ruin.
"Remember, Yahweh" (זְכֹר יְהוָה, zekhor Yahweh), the imperative form of the verb זָכַר (zakhar, to remember). Note that the psalmist does not take revenge personally; he asks God to "remember." This posture is key to the imprecatory psalms, entrusting the right to vengeance to God rather than taking up the sword oneself. This echoes Romans 12:19: "Don't seek revenge yourselves, beloved, but give place to wrath. For it is written, 'Vengeance belongs to me; I will repay, says the Lord.'" The New Testament also preserves this principle: the right to vengeance belongs to God.
So the theology of Psalm 137:7 is: "Lord, You saw what the Edomites did then, You know, do not forget, You will bring justice." This is a prayerful curse, bringing the case to the heavenly court, awaiting God's judgment.
Section Context: The last two verses of Psalm 137 enter the most difficult "curse against Babylon," especially verse 9, "Happy shall he be, who takes and dashes your little ones against the rock." This verse shocks countless modern readers. We must address this passage directly, without avoidance, adhering to the principles of feedback_difficult_passage_tensions, distinguishing between "Biblical record" and "God's decree."
137:8 "Daughter of Babylon, doomed to destruction, he will be happy who rewards you, as you have served us."
Psalms 137:8（World English Bible）
"Daughter of Babylon, who is to be destroyed" (בַּת־בָּבֶל הַשְּׁדוּדָה, bat-Bavel ha-shedudah), literally "Daughter of Babylon, the one devastated." Note that the Hebrew uses "Daughter of Babylon," which is a typical Hebrew poetic "personification of a city" (compare "Daughter of Zion" = Jerusalem personified).
"Who is to be destroyed" (הַשְּׁדוּדָה, ha-shedudah), from the verb שָׁדַד (shadad, to destroy/to violently seize). This word is key; it can be understood as present tense (being destroyed) or future tense (to be destroyed). Scholars generally agree that Psalm 137:8 was written before Babylon's fall, so this word implies a prophetic prediction, "O Daughter of Babylon, who is to be destroyed." Jewish prophets had long foretold Babylon's downfall (Isaiah 13:19; 47:1-15; Jeremiah 50-51). Psalm 137:8 adopts this prophecy, so this curse is based on God's already declared judgment, not a malicious wish invented by the psalmist.
"Happy shall he be, who rewards you as you have served us." The keywords are אַשְׁרֵי (ashrei, happy/blessed) and gemul (recompense, reward). Rewards you as you have served us refers to the principle of "an eye for an eye" (lex talionis) in the Hebrew Bible (Exodus 21:24; Leviticus 24:20; Deuteronomy 19:21), meaning that judgment cannot exceed the evil deed itself, no more and no less.
"Happy shall he be" (אַשְׁרֵי, ashrei), blessed! Psalm 1:1 uses the same word, "Blessed is the man." Note that the psalmist uses "happy/blessed" to bless the one who takes vengeance on Babylon. This is a very striking rhetorical device, applying blessing to the executor of judgment.
Why? Because according to the Hebrew prophetic tradition, Babylon had already been declared to be judged (Isaiah 13; Jeremiah 50-51). The psalmist is asking God to carry out the righteous judgment He has already revealed. This does not authorize private revenge by victims but brings a historical case to God's court. The Old Testament also states that those who execute judgment are instruments in God's hand, but the instruments themselves are still under God's judgment and cannot equate "being used" with "moral blamelessness." This echoes:
So, "Happy shall he be, who rewards you as you have served us" is not primarily about encouraging hatred but about believing that God will not let imperial violence go unanswered forever. Victims can ask God for justice but cannot seize the right to vengeance for themselves.
137:9 "Happy shall he be, who takes and dashes your little ones against the rock."
Psalms 137:9（World English Bible）
This is the most shocking verse in the entire book of Psalms for modern readers. It must be addressed directly, without avoidance.
"Little ones" (עֹלָלַיִךְ, olalayikh), young children (עוֹלֵל, olel, same as olal "infant/toddler"), usually referring to children aged 2-4, who can walk and talk but are still very young.
"Dashes... against the rock" (אֶל־הַסָּלַע, el-ha-sela), rock (סֶלַע, sela, rock/crag). Dashing against the rock = killing.
The literal meaning of this verse: "Blessed is the one who takes the infants of the Babylonians and dashes them against the rock."
Facing this verse, four interpretive principles must be upheld:
Psalm 137:9 is not the psalmist's baseless evil wish; it is a genuine outpouring of emotion from the exiles after profound suffering in Babylon. Let us imagine what the Babylonians did to the Judeans when they attacked Jerusalem:
This is the psalmist in a situation of anguish, his own people's children brutally murdered by the Babylonians. He is praying, "God, let Babylon also taste this." This is a real human trauma response, which psychology calls "post-traumatic desire for revenge." People who experience extreme harm can have such a wish; this is the reality of human nature.
What the Bible records ≠ what the Bible commands. This is a fundamental principle of interpretation. The Bible records David's adultery and murder (2 Samuel 11), but it does not command adultery and murder. The Bible records Solomon marrying a thousand wives (1 Kings 11), but it does not command polygamy. The Bible records Job saying, "Why don’t you take my life?" (Job 6:9), but it does not command seeking death. Similarly, the Bible records the curse in Psalm 137:9, but it does not mean that God commands, "Blessed is he who dashes infants."
Therefore, when reading this verse, one must distinguish: this is "the prayer of the exiles," and God is listening to this genuine emotion, but God did not say, "Yes, go and dash them." God is listening to the cry of a deeply traumatized person.
In the New Testament era, the Lord Jesus explicitly taught:
So the New Testament does not tell us to delete Psalm 137:9, but rather to reread it in Christ. Believers cannot use Psalm 137:9 as a model for cursing or retaliating against enemies. The Lord Jesus commands us to love our enemies and to leave judgment to God.
But does this mean Psalm 137:9 is "wrong"? It is not a simple "right or wrong" question; it is a matter of progressive revelation.
Therefore, Psalm 137:9 cannot simply be called "wrong," nor can it be directly put into practice. It expresses a genuine cry from the trauma of exile, and the New Testament brings this cry to the foot of the cross: authentic traumatic emotions are honestly recorded in Scripture, but believers' actions today must follow the path of the Lord Jesus, loving enemies, rejecting private retaliation, and leaving ultimate judgment to God.
This is a crucial interpretive bottom line: Psalm 137 is part of Scripture, and we cannot "delete" it just because it makes us uncomfortable. Its existence tells us:
So Psalm 137 has its place in the Bible; it tells us that "piety is not suppressing painful emotions, but genuinely bringing all emotions before God."
Pastoral application for believers today:
When you are deeply hurt at some point (betrayed, oppressed, a loved one harmed), if the thought "I hope that person suffers the same pain" arises in your heart, please do not immediately suppress it with spiritual words; that will only cause the trauma to fester within. Instead, like the psalmist in Psalm 137, tell this thought to God, honestly tell Him your pain; and at the same time, ask God to restrain your hands, your mouth, and your decisions, so that pain does not turn into harming others. The Holy Spirit will work slowly, leading you from pain to the Lord Jesus' path of "loving enemies."
This is a process, not an instant. Psalm 137 shows us that God allows us to go through this process; He does not despise our painful prayers along the way. He listens, He remembers, and He ultimately brings us to the Lord Jesus.
| Paragraph | Dominant Voice | Direction | Emotional Arc |
|---|---|---|---|
| 137:1-3 | Collective (we) | Self/Audience | Sorrowful calm |
| 137:4 | Collective (rhetorical question) | Self/Captors | Intensity of refusal |
| 137:5-6 | Individual (I) | Jerusalem | Vow of love |
| 137:7 | Individual | God | Plea for justice |
| 137:8-9 | Individual (curse) | Babylon | Outburst of rage |
The emotional arc of Psalm 137 is "collective sorrow → collective refusal → individual vow → plea for God's justice → individual curse," gradually escalating from collective grief to individual rage, with emotional intensity steadily climbing, finally erupting in a curse. This arc demonstrates a genuine trauma response, not anger from the outset, but a slow brewing from sorrow to rage, which is precisely the "trauma response process" described by trauma psychology. The Bible honestly records this process.
| Term | Original | Transliteration | Verse | Meaning |
|---|---|---|---|---|
| River | נְהַר | nahar | 137:1 | Babylon's river and canal system (plural naharot) |
| Babylon | בָּבֶל | Bavel | 137:1, 8 | The empire that conquered Jerusalem in 586 BC |
| Sit down | יָשַׁב | yashav | 137:1 | A posture of mourning: cf. Job 2:13 |
| Zion | צִיּוֹן | Tsiyon | 137:1, 3 | The holy city of Jerusalem |
| Remember | זָכַר | zakhar | 137:1, 6, 7 | To recall and take action |
| Weep | בָּכָה | bakhah | 137:1 | To cry with tears |
| Harp | כִּנּוֹר | kinnor | 137:2 | David's harp/lyre: a Temple instrument |
| Willow/Riverside tree | עֲרָבִים | aravim | 137:2 | Riverside trees by the rivers of Babylon |
| Hang | תָּלָה | talah | 137:2 | To hang up: to stop using |
| Captors | שׁוֹבֵינוּ | shoveinu | 137:3 | Those who took us captive |
| Mocking oppressors | תּוֹלָלֵינוּ | tolaleinu | 137:3 | Appears only in this verse: to oppress with mockery |
| Songs of Zion | שִׁיר צִיּוֹן | shir Tsiyon | 137:3 | Psalms about Jerusalem (e.g., Pss 46, 48, etc.) |
| How can | אֵיךְ | eikh | 137:4 | "How/In what way": an opening word for laments |
| Foreign land | אַדְמַת נֵכָר | admat nekhar | 137:4 | Land of strangers |
| Songs of Yahweh | שִׁיר־יְהוָה | shir-Yahweh | 137:4 | Worship songs belonging to Yahweh: redefines "Songs of Zion" |
| Jerusalem | יְרוּשָׁלִָם | Yerushalayim | 137:5, 6, 7 | The city personified |
| Forget | שָׁכַח | shakhach | 137:5 | The antonym of "remember" zakhar |
| Right hand | יָמִין | yamin | 137:5 | The hand for playing the harp/fighting/blessing |
| Joy | שִׂמְחָה | simchah | 137:6 | Supreme delight |
| Tongue | לָשׁוֹן | lashon | 137:6 | The singer's vocal organ |
| Roof of mouth | חֵךְ | chekh | 137:6 | The top of the mouth |
| Stick/Cleave | דָּבַק | davaq | 137:6 | "To cleave": to lose one's voice |
| Edom | אֱדוֹם | Edom | 137:7 | Descendants of Esau: gloated when Jerusalem was destroyed |
| Lay bare | עָרָה | arah | 137:7 | To strip bare/lay waste: implies shame |
| Foundation | יְסוֹד | yesod | 137:7 | The lowest part of a building: complete destruction |
| Daughter of Babylon | בַּת־בָּבֶל | bat-Bavel | 137:8 | The city of Babylon personified as a woman |
| Doomed to destruction | הַשְּׁדוּדָה | ha-shedudah | 137:8 | Implies Babylon has not yet fallen: based on prophetic predictions |
| Repay | שָׁלַם | shalam | 137:8 | "To repay": shares a root with shalom ("to complete") |
| Deeds | גְּמוּל | gemul | 137:8 | Actions/retribution |
| Blessed | אַשְׁרֵי | ashrei | 137:8, 9 | Same as Psalm 1:1 "blessed is the man": a shocking usage |
| Infants | עוֹלֵל | olel | 137:9 | Young children (2-4 years old) |
| Rock | סֶלַע | sela | 137:9 | Stone |
Psalm 137, with its 9 verses, has a clear structure:
A Tears by the rivers of Babylon (137:1-3) , image of a specific scene
B Refusal to sing the songs of Zion (137:4) , a theological refusal
C Oath of love for Jerusalem (137:5-6) , core, oath of identity
B' Curse against Edom (137:7) , curse against a minor enemy
A' Curse against Babylon (137:8-9) , curse against a major enemy
A corresponds to A':
B corresponds to B':
Core C (verses 5-6):
| Verse | Intensity | Emotion | Object |
|---|---|---|---|
| 137:1 | Calm | Grief | Self |
| 137:2 | Silent | Rejection | Self |
| 137:3 | Weak | Resistance | Captors |
| 137:4 | Intensified | Theological Rejection | Self/Captors |
| 137:5 | High Intensity | Self-Cursing Oath | Jerusalem |
| 137:6 | High Intensity | Self-Cursing Oath | Jerusalem |
| 137:7 | Transformation | Plea for Vengeance | God/Edom |
| 137:8 | Extreme | Cursing Blessing | Babylon |
| 137:9 | Extreme | Cursing Blessing | Infants of Babylon |
The emotional intensity gradually escalates from the calmness of 137:1 to the extreme intensity of 137:9. This arc describes the "trauma response process" in trauma psychology, moving from shock (sitting down) to suppression (hanging up the lyres) to refusal to cooperate (not singing) to an oath (never forgetting) to a plea for vengeance (asking God to remember) to an outburst (cursing).
Synonymous Parallelism (137:5-6):
Antithetical Parallelism (137:5 vs 6):
Repetitive Rhetoric (137:7):
Shift from Plural to Singular (137:4 → 5):
This shift in person from "we → I → God → you (enemy)" gives the entire psalm dramatic layers, moving from collective to personal, from personal to divine dialogue, and from divine dialogue to addressing the enemy.
Psalm 137 personifies three cities:
This is a typical Hebrew poetic device of personifying cities, making them objects of emotion that can be conversed with, loved, hated, and judged.
In Hebrew, there is a special rhythm called "kinah meter" (lamentation meter), which uses a 3+2 syllable pattern. This pattern has a "missing" syllable compared to the normal 3+3 poetry, creating a "sobbing pause" in the rhythm. Scholars believe that Psalm 137 partially uses this kinah meter, especially in the lamenting sections of verses 1-4, making the rhythm itself a form of "weeping."
After the destruction of the Temple in 586 BC, Nebuchadnezzar deported Jewish elites to Babylon in several waves (three in total: 597 BC, 586 BC, 582 BC). According to Babylonian clay tablet records, Jewish exiles were mainly settled in:
Most exiles were assigned to forced labor along rivers and canals, as the construction of Babylon's irrigation system was one of Nebuchadnezzar's most important projects (Babylon itself was situated on the Euphrates River, surrounded by the "Hanging Gardens" and numerous canals). Therefore, "by the rivers of Babylon" for many exiles was their daily workplace, and their tears flowed as they "sat down" for a brief rest during their labor.
Conquerors in the Ancient Near East typically treated conquered peoples in several ways:
Regarding point 4, in the library of Assyrian King Ashurbanipal (7th century BC) in Nineveh, songs of conquered nations (Elam, Judah, Arabia, Egypt, etc.) were indeed preserved as "cultural trophies." Babylon also had a similar tradition. Therefore, the description in Psalm 137:3, "those who carried us away captive asked us for songs of Zion," has strong archaeological support; this was a real, historically grounded event.
Regarding Edom's role in the destruction of the Temple in 586 BC, there is multiple biblical evidence:
Archaeological evidence from the 6th century BC confirms that Edom did expand into southern Judah (as far south as Hebron and Beersheba south of Hebron) after Judah's defeat. They exploited the vacuum created by Judah's exile to seize southern Judean territory. This historical event is corroborated by the Book of Obadiah and archaeological findings from the Dead Sea Scrolls. Therefore, the deep animosity of the Jewish prophets and poets towards Edom is historically justified; Edom was truly a "brother who kicked them when they were down."
This phrase shocks modern readers, but in the context of ancient Near Eastern warfare, it was actually standard practice. Assyrian monuments record in detail that after conquering a city, Assyrian soldiers would slaughter the infants of the conquered people, with the aim of eliminating future avengers (this is a very dark but true ancient war ethic). The Bible also records similar events:
Note that Isaiah 13:16 uses the same imagery in its prophecy against Babylon. Therefore, Psalm 137:9 is not an arbitrary curse; it echoes Isaiah's prophetic judgment already issued against Babylon. "Dashing infants" was a standard description in ancient Near Eastern warfare at the time. The psalmist did not invent this curse but echoed Isaiah's prophecy, "What Babylon did, will be done to her," a principle of "an eye for an eye" retribution.
This provides important interpretive support for Psalm 137:9: it is not the psalmist's malicious innovation, but is based on God's already declared prophetic judgment. The psalmist is praying, "May this judgment come quickly."
Of course, this still does not change the ethics of modern believers. The Lord Jesus' command to love enemies reorients our actions; today, believers cannot imitate this curse. But understanding its historical background allows us to see that this is not an isolated, insane statement, but the honest cry of the exiles for God to fulfill prophetic predictions.
| Scripture | Content |
|---|---|
| Leviticus 26:33-39 | "I will scatter you among the nations...you will perish among the nations": Prophetic warning of exile |
| Deuteronomy 28:36-37, 64-68 | Moses' prophecy: Israel will be exiled if disobedient |
| 2 Kings 25 | Historical record of the destruction of the Temple and the exile |
| 2 Chronicles 36:15-21 | Chronicles' summary of the exile: "to fulfill...the seventy years" |
| Psalm 74 | Lament during exile: Temple destroyed |
| Psalm 79 | Lament during exile: God's house desecrated |
| Psalm 89 | Questions about the Davidic covenant during exile |
| Psalm 102 | Prayer of the exiles |
| Psalm 137 | Lament of the exiles |
| Lamentations 1-5 | Lamentations: The entire Book of Lamentations |
| Daniel 9:1-19 | Daniel's prayer in exile |
| Ezra / Nehemiah | Historical record of the return from exile |
| Revelation 17-18 | "Babylon the Great": New Testament Revelation's "exile" motif application |
This thematic line shows that exile is not just a historical event; it becomes the root of the "sojourning in the world" spirituality throughout the Bible, from Abraham as a "foreigner" (Genesis 23:4) to Hebrews 11:13 as "strangers and pilgrims." Christians in the world are also "exiles," in Babylon but with hearts set on Zion.
| Psalm | Imprecatory Feature |
|---|---|
| Psalm 5:10 | "Declare them guilty, God." |
| Psalm 17:13-14 | "Deliver my soul from the wicked by your sword." |
| Psalm 28:4 | "Give them according to their work, and according to the wickedness of their doings." |
| Psalm 35 | Entire psalm: Curses and plea for vindication |
| Psalm 55 | Entire psalm: Curses former friends |
| Psalm 58 | Curses the wicked as strong |
| Psalm 59 | Curses enemies approaching at night |
| Psalm 69:22-28 | "Let their eyes be darkened..." |
| Psalm 79:6-12 | "Pour out your wrath on the nations that don’t know you." |
| Psalm 83 | Curses nations surrounding Israel |
| Psalm 109 | Entire psalm: Longest imprecatory psalm |
| Psalm 137:7-9 | Curses against Edom and Babylon |
| Psalm 139:19-22 | "Surely you will kill the wicked, God." |
| Psalm 140:9-10 | Curses the wicked |
Principles for interpreting imprecatory psalms (development in Christian tradition):
Overall consensus: Imprecatory psalms have their place in the Bible; they record the true emotions of human nature, but believers today do not imitate imprecatory psalms in their actions, but rather follow the New Testament ethic of loving enemies. The Bible records these psalms to show us that God hears the suffering of the oppressed, not to give us a script for cursing.
| Old Testament Scripture | New Testament Echo | Related Explanation |
|---|---|---|
| Psalm 137:1 "By the rivers of Babylon, there we sat down." | Hebrews 11:13-16 "They...were strangers and pilgrims on the earth...they desire a better country, that is, a heavenly one." | Psalm 137 is the biblical root of the "sojourning in the world" spirituality: Christians are also "exiles," in Babylon but with hearts set on Zion. |
| Psalm 137:1 "we wept when we remembered Zion." | Luke 19:41 "When he came near, he saw the city and wept over it." | The Lord Jesus also wept over Jerusalem: continuing the posture of Psalm 137. |
| Psalm 137:2 "We hung our harps on the willows in its midst." | 1 Corinthians 9:22 "To the weak I became as weak, that I might gain the weak. I have become all things to all men, that I may by all means save some." | Tension: Psalm 137:2 refuses to sing songs of Zion in a foreign land, but Paul preaches opportunistically among Gentiles. |
| Psalm 137:4 "How can we sing Yahweh’s song in a foreign land?" | Matthew 7:6 "Don’t give that which is holy to the dogs, neither throw your pearls before the pigs." | Same principle: discerning occasions for worship. |
| Psalm 137:5-6 "If I forget you, Jerusalem, let my right hand forget its skill." | Matthew 10:37-39 "He who loves father or mother more than me is not worthy of me...He who loses his life for my sake will find it." | Same principle of identity priority: some things cannot be given up. |
| Psalm 137:7 "Remember, Yahweh, against the children of Edom." | Romans 12:19 "Don’t seek revenge yourselves, beloved, but give place to wrath, for it is written, 'Vengeance belongs to me; I will repay,' says the Lord." | New Testament retains this principle: leave vengeance to God. |
| Psalm 137:7 Curse against Edom | Hebrews 11:13-16 + Revelation 18 "Babylon the Great has fallen!" | Eschatological vindication: God's final judgment on all who gloat over others' misfortune. |
| Psalm 137:8-9 Curse against Babylon | Revelation 18:1-24 "Babylon the Great has fallen!" | Eschatological Revelation's "Babylon" continues the curse motif of Psalm 137: but elevated to eschatological judgment. |
| Psalm 137:9 Curse of "dashing infants" | Matthew 5:43-44 "Love your enemies, and pray for those who persecute you." | The Lord Jesus fulfills the law and reorients disciples' actions: believers do not imitate, do not seek private revenge. |
Psalm 137 holds a special place in the Psalms; it is the most classic exilic psalm in the entire Old Testament, and also the most tension-filled psalm in the entire book of Psalms. Its tension lies in the simultaneous presence of deep love and deep hatred: the deepest love for Jerusalem (verses 5-6) and the deepest curse for Babylon (verses 8-9). The same heart, two emotions.
This psalm makes four unique contributions:
First, it provides a biblical root for the spirituality of "sojourning in the world." The spiritual theme of "strangers and sojourners" throughout the Bible, from Abraham (Genesis 23:4) to Hebrews 11, echoes Psalm 137: "By the rivers of Babylon, there we sat down." Today's Christians are also "in Babylon," living in a generation that does not belong to God's kingdom. Psalm 137 teaches us how to live in this situation: to retain hope (hang up the harps, neither breaking nor burning them), to refuse assimilation (not singing the songs of Zion in a foreign land), and to firmly hold onto our identity (never forgetting Jerusalem).
Second, it leaves space for the authentic expression of pain. Many Christians believe that "piety = no pain." Psalm 137 breaks this misconception: piety is bringing all pain, including the most "unacceptable" pain (curses, hatred), authentically before God. This is the beginning of healing, closer to God than pretending to be spiritual. Psalm 137 gives all deeply hurt people permission to say, "I can bring my true pain to God," and then allows the Holy Spirit to work slowly.
Third, it demonstrates the reality of progressive revelation. The ethics of cursing in Psalm 137 versus the ethics of loving enemies taught by the Lord Jesus are not contradictions but two stages of progressive revelation. The Bible is not an ethical manual created overnight; it is a gradually revealed revelation. From the honest emotions of Psalm 137 to the mature ethics of Matthew 5:44, believers today can walk a process between these two ends, starting from true emotions and moving towards mature ethics. This is the work of grace, not a requirement of the law.
Fourth, it makes "love for Jerusalem" the core of the entire psalm. Notice that the structural center of Psalm 137 is verses 5-6, "If I forget you, Jerusalem." All sorrow, rejection, and cursing stem from this love. Without this love, this psalm would be a malicious curse; with this love, this psalm is an outpouring of true emotion, because deep love gives rise to deep hatred, and without love, there is no hatred. This gives believers a profound insight: our righteous indignation against injustice should be rooted in deep concern for what we love, rather than narrow self-interest.
Significance for believers in later generations:
Function as a "Prototype/Benchmark": Psalm 137 is the most quoted psalm in Western literary history. Chaucer, Shakespeare, Don McLean's "American Pie," Phil Collins' "Throwing It All Away," Boney M.'s "Rivers of Babylon" (1978, a global hit song)—the phrase "By the rivers of Babylon, there we sat down" has become a standard motif of "exile and nostalgia" in Western culture. In the Christian tradition, Augustine's Confessions, Bonhoeffer's prison letters and poems, and Martin Luther King's civil rights sermons have all quoted Psalm 137. The theme of "heart turned towards Zion" runs through Christian spiritual tradition, telling us that true believers in the world are always "on the way home," their bodies in Babylon, their hearts already in the New Jerusalem.
Authoritative Commentaries
Further Reading
Chinese Resources (Welcome to add)
| Theme | Content |
|---|---|
| Theology of Exile | 137:1-3 A condensation of the entire pain of Israel's exile: specific scenes, postures, actions. |
| Hanging Up the Harps | 137:2 Refusal to worship before enemies: a spiritual posture of protest. |
| Identity of the Songs of Zion | 137:4 "How can we sing Yahweh's song in a foreign land?": a key phrase in identity theology. |
| Self-Imprecatory Oath of Love | 137:5-6 "If I forget you, let my right hand forget its skill": the strongest Hebrew oath of love. |
| Memory of Edom's Evil Deeds | 137:7 Edomites cheered "Tear it down! Tear it down!" on the day the temple was destroyed: the entire background based on Obadiah. |
| Entrusting Judgment to God | 137:7 "Remember, Yahweh, against the children of Edom": not taking revenge personally, but asking God for justice. |
| Principles for Interpreting Imprecatory Psalms | 137:8-9 Must distinguish between "Biblical record" vs. "God's decree"; Jesus' command to love enemies restricts disciples' actions, entrusting the right to vengeance to God. |
| Progressive Revelation | Old Testament imprecatory psalms → New Testament love for enemies: ethics move from incomplete to complete. |
| Honest Expression of Trauma | The Bible allows for the outpouring of true emotions: no whitewashing, no suppression: this is the beginning of healing. |
| Contrast with Psalms 135-136 | Immediately following 26 instances of "for his loving kindness endures forever": Hebrew spirituality allows two voices to coexist. |