(Arr. by Bobby McFerrin; ©1989 ProbNoblem Music/BMI)
The Lord is my Shepard, I have all I need,
She makes me lie down in green meadows,
Beside the still waters, She will lead.
She restores my soul, She rights my wrongs,
She leads me in a path of good things,
And fills my heart with songs.
Even though I walk, through a dark and dreary land,
There is nothing that can shake me,
She has said She won't forsake me,
I'm in her hand.
She sets a table before me, in the presence of my foes,
She anoints my head with oil,
And my cup overflows.
Surely, surely goodness and kindness will follow me,
All the days of my life,
And I will live in her house,
Forever, forever and ever.
Glory be to our Mother, and Daughter,
And to the Holy of Holies,
As it was in the beginning, is now and ever shall be,
World, without end. Amen
When you say "Psalm", this is the one most people will think of. You're likely to hear it in depictions of funerals in movies and on tv. Granted, you're much more likely to hear the King James' Version than this one. But you get the point.
The Psalms have survived a number of different translations, and variations. Some translations are better than others; some seem dead (e.g., the Revised English Bible). But the music of the psalms still shines through even the flattest translation.
McFerrin's version of the 23rd Psalm, included on his album
Medicine Music, is very nice. Musically, he works with a relatively limited scale, similar to plain song or chant. The power of the song, musically, is in the harmonies realized within that limited scale.
Poetically, it's a nice variation of the original. Since McFerrin dedicates the piece to his mother, it makes since to use the feminine pronoun when referring to the divinity. Since I believe the Godhead either transcends gender, or incorporates both genders, I don't mind the use of the pronoun.
There is one striking difference between McFerrin's version and the original - his is in third person throughout. If you read the
original, you'll notice the pronoun changes from "he" in the first three lines to "you" from the fourth line to the end.
There is another subtle shift in the poem, which we might miss. In the first four lines, the speaker is (by inference) a sheep. If the Lord is the speaker's shepherd, then the speaker is a metaphorical sheep. Then comes the fifth line "You annoint my head with oil". A sheep's head is not normally annointed with oil - this is an action performed for kings (e.g., David).
The dominant structure of the psalms is chiastic. That is, the first half of a line makes a statement, and the second half repeats it in a different way. It's as though you were shouting the line across a chasm, and the echo had a mind of its own. For example, the second line of Psalm 24: "For [the Lord] hath founded [the earth] upon the seas / and established it upon the floods." (KJV)
The "echoes" in the 23rd Psalm are more subtle than normal. For example, "He maketh me to lie down in green pastures; / he leadeth me beside the still waters" is an echo of theme rather than of meaning.
I've begun to suspect that a similar chiasm exists within certain psalms as a whole. That the second half of a psalm is intended to comment on the first half. In this instance, verses 5 and 6 are a reflection, if you will, of verses 3 and 4 (with verse 1 being an introduction). Obviously, it's not an exact reflection. The juxtaposition of "king" and "sheep" forces the reader to compare and contrast the ideas. How might a king be like a sheep?
The psalm implies, through this juxtaposition, that even a king relies on God as a sheep depends for its survival on the shepherd. Even the king, who is narrating this psalm, accepts a position of vulnerability.
As Dylan sings, "Even the President of the United States must sometimes stand naked."
Post #1472
The poem as it appears in my Moleskine Notebook. Two bits unrelated to the poem have been whited out: my last name, and a friend's contact information.
