Reading Shakespeare makes me a better reader of scripture. There are places in Shakespeare’s plays, especially throughout The Winter’s Tale, and in key places in Hamlet, where the language breaks down and meaning is obscured. Editors have tried to emend the text, trying to make it make sense. But I think that Shakespeare was intentional in letting the language decay and break down. The same is true in Hebrew poetry. There are places where the language breaks down, and biblical scholars have tried to emend the text to make it make sense. I think this is a mistake. One of the powers of poetry is the power to break language for the sake of truth. Example: in the final line of Psalm 88, the Hebrew breaks down. As best as I can tell, the literal Hebrew is “My companions––darkness.” Scholars and translators try to “fix” the Hebrew by inserting verbs and prepositions: “My companions *are in* darkness.” But I think the original Hebrew is intentional. The psalmist is so consumed by grief that her language itself breaks down, bordering meaninglessness and the void. Language doesn’t have to work properly in order to work effectively. And this itself is something that Psalm 88 teaches us about a life of prayer: God doesn’t want our perfect polished prayers. God hears our broken, grammatically incorrect, incoherent prayers.
In his entry for “hymn” in A Poet’s Glossary, Edward Hirsch quotes literary critic and poet Susan Stewart as saying, “Common meter [the hymn quatrain*] presents itself as the most suitable for group singing –– the coordination of song and the coordination of social life under a common temporal framework emphasize integration and solidarity.” Hirsch continues, “Think, then, of what it meant for Emily Dickinson to fracture the common measure, thus invoking the hymn tradition and responding to its communal nature with a radical individualism of her own.”