Difference between revisions of "Psalms"

From BiblePortal Wikipedia
 
Line 1: Line 1:
== Hastings' Dictionary of the Bible <ref name="term_53509" /> ==
<p> Now, if it stood by itself, the statement at the close of &nbsp;Psalms 72:1-20 could be explained by a single process the incorporation of a previous collection consisting of &nbsp; Psalms 1:1-6; &nbsp; Psalms 2:1-12; &nbsp; Psalms 3:1-8; &nbsp; Psalms 4:1-8; &nbsp; Psalms 5:1-12; &nbsp; Psalms 6:1-10; &nbsp; Psalms 7:1-17; &nbsp; Psalms 8:1-9; &nbsp; Psalms 9:1-20; &nbsp; Psalms 10:1-18; &nbsp; Psalms 11:1-7; &nbsp; Psalms 12:1-8; &nbsp; Psalms 13:1-6; &nbsp; Psalms 14:1-7; &nbsp; Psalms 15:1-5; &nbsp; Psalms 16:1-11; &nbsp; Psalms 17:1-15; &nbsp; Psalms 18:1-50; &nbsp; Psalms 19:1-14; &nbsp; Psalms 20:1-9; &nbsp; Psalms 21:1-13; &nbsp; Psalms 22:1-31; &nbsp; Psalms 23:1-6; &nbsp; Psalms 24:1-10; &nbsp; Psalms 25:1-22; &nbsp; Psalms 26:1-12; &nbsp; Psalms 27:1-14; &nbsp; Psalms 28:1-9; &nbsp; Psalms 29:1-11; &nbsp; Psalms 30:1-12; &nbsp; Psalms 31:1-24; &nbsp; Psalms 32:1-11; &nbsp; Psalms 33:1-22; &nbsp; Psalms 34:1-22; &nbsp; Psalms 35:1-28; &nbsp; Psalms 36:1-12; &nbsp; Psalms 37:1-40; &nbsp; Psalms 38:1-22; &nbsp; Psalms 39:1-13; &nbsp; Psalms 40:1-17; &nbsp; Psalms 41:1-13; &nbsp; Psalms 42:1-11; &nbsp; Psalms 43:1-5; &nbsp; Psalms 44:1-26; &nbsp; Psalms 45:1-17; &nbsp; Psalms 46:1-11; &nbsp; Psalms 47:1-9; &nbsp; Psalms 48:1-14; &nbsp; Psalms 49:1-20; &nbsp; Psalms 50:1-23; &nbsp; Psalms 51:1-19; &nbsp; Psalms 52:1-9; &nbsp; Psalms 53:1-6; &nbsp; Psalms 54:1-7; &nbsp; Psalms 55:1-23; &nbsp; Psalms 56:1-13; &nbsp; Psalms 57:1-11; &nbsp; Psalms 58:1-11; &nbsp; Psalms 59:1-17; &nbsp; Psalms 60:1-12; &nbsp; Psalms 61:1-8; &nbsp; Psalms 62:1-12; &nbsp; Psalms 63:1-11; &nbsp; Psalms 64:1-10; &nbsp; Psalms 65:1-13; &nbsp; Psalms 66:1-20; &nbsp; Psalms 67:1-7; &nbsp; Psalms 68:1-35; &nbsp; Psalms 69:1-36; &nbsp; Psalms 70:1-5; &nbsp; Psalms 71:1-24; &nbsp; Psalms 72:1-20 by an editor who added these to &nbsp; Psalms 73:1-28; &nbsp; Psalms 74:1-23; &nbsp; Psalms 75:1-10; &nbsp; Psalms 76:1-12; &nbsp; Psalms 77:1-20; &nbsp; Psalms 78:1-72; &nbsp; Psalms 79:1-13; &nbsp; Psalms 80:1-19; &nbsp; Psalms 81:1-16; &nbsp; Psalms 82:1-8; &nbsp; Psalms 83:1-18; &nbsp; Psalms 84:1-12; &nbsp; Psalms 85:1-13; &nbsp; Psalms 86:1-17; &nbsp; Psalms 87:1-7; &nbsp; Psalms 88:1-18; &nbsp; Psalms 89:1-52; &nbsp; Psalms 90:1-17; &nbsp; Psalms 91:1-16; &nbsp; Psalms 92:1-15; &nbsp; Psalms 93:1-5; &nbsp; Psalms 94:1-23; &nbsp; Psalms 95:1-11; &nbsp; Psalms 96:1-13; &nbsp; Psalms 97:1-12; &nbsp; Psalms 98:1-9; &nbsp; Psalms 99:1-9; &nbsp; Psalms 100:1-5; &nbsp; Psalms 101:1-8; &nbsp; Psalms 102:1-28; &nbsp; Psalms 103:1-22; &nbsp; Psalms 104:1-35; &nbsp; Psalms 105:1-45; &nbsp; Psalms 106:1-48; &nbsp; Psalms 107:1-43; &nbsp; Psalms 108:1-13; &nbsp; Psalms 109:1-31; &nbsp; Psalms 110:1-7; &nbsp; Psalms 111:1-10; &nbsp; Psalms 112:1-10; &nbsp; Psalms 113:1-9; &nbsp; Psalms 114:1-8; &nbsp; Psalms 115:1-18; &nbsp; Psalms 116:1-19; &nbsp; Psalms 117:1-2; &nbsp; Psalms 118:1-29; &nbsp; Psalms 119:1-176; &nbsp; Psalms 120:1-7; &nbsp; Psalms 121:1-8; &nbsp; Psalms 122:1-9; &nbsp; Psalms 123:1-4; &nbsp; Psalms 124:1-8; &nbsp; Psalms 125:1-5; &nbsp; Psalms 126:1-6; &nbsp; Psalms 127:1-5; &nbsp; Psalms 128:1-6; &nbsp; Psalms 129:1-8; &nbsp; Psalms 130:1-8; &nbsp; Psalms 131:1-3; &nbsp; Psalms 132:1-18; &nbsp; Psalms 133:1-3; &nbsp; Psalms 134:1-3; &nbsp; Psalms 135:1-21; &nbsp; Psalms 136:1-26; &nbsp; Psalms 137:1-9; &nbsp; Psalms 138:1-8; &nbsp; Psalms 139:1-24; &nbsp; Psalms 140:1-13; &nbsp; Psalms 141:1-10; &nbsp; Psalms 142:1-7; &nbsp; Psalms 143:1-12; &nbsp; Psalms 144:1-15; &nbsp; Psalms 145:1-21; &nbsp; Psalms 146:1-10; &nbsp; Psalms 147:1-20; &nbsp; Psalms 148:1-14; &nbsp; Psalms 149:1-9; &nbsp; Psalms 150:1-6 derived from other sources. But within &nbsp; Psalms 1:1-6; &nbsp; Psalms 2:1-12; &nbsp; Psalms 3:1-8; &nbsp; Psalms 4:1-8; &nbsp; Psalms 5:1-12; &nbsp; Psalms 6:1-10; &nbsp; Psalms 7:1-17; &nbsp; Psalms 8:1-9; &nbsp; Psalms 9:1-20; &nbsp; Psalms 10:1-18; &nbsp; Psalms 11:1-7; &nbsp; Psalms 12:1-8; &nbsp; Psalms 13:1-6; &nbsp; Psalms 14:1-7; &nbsp; Psalms 15:1-5; &nbsp; Psalms 16:1-11; &nbsp; Psalms 17:1-15; &nbsp; Psalms 18:1-50; &nbsp; Psalms 19:1-14; &nbsp; Psalms 20:1-9; &nbsp; Psalms 21:1-13; &nbsp; Psalms 22:1-31; &nbsp; Psalms 23:1-6; &nbsp; Psalms 24:1-10; &nbsp; Psalms 25:1-22; &nbsp; Psalms 26:1-12; &nbsp; Psalms 27:1-14; &nbsp; Psalms 28:1-9; &nbsp; Psalms 29:1-11; &nbsp; Psalms 30:1-12; &nbsp; Psalms 31:1-24; &nbsp; Psalms 32:1-11; &nbsp; Psalms 33:1-22; &nbsp; Psalms 34:1-22; &nbsp; Psalms 35:1-28; &nbsp; Psalms 36:1-12; &nbsp; Psalms 37:1-40; &nbsp; Psalms 38:1-22; &nbsp; Psalms 39:1-13; &nbsp; Psalms 40:1-17; &nbsp; Psalms 41:1-13; &nbsp; Psalms 42:1-11; &nbsp; Psalms 43:1-5; &nbsp; Psalms 44:1-26; &nbsp; Psalms 45:1-17; &nbsp; Psalms 46:1-11; &nbsp; Psalms 47:1-9; &nbsp; Psalms 48:1-14; &nbsp; Psalms 49:1-20; &nbsp; Psalms 50:1-23; &nbsp; Psalms 51:1-19; &nbsp; Psalms 52:1-9; &nbsp; Psalms 53:1-6; &nbsp; Psalms 54:1-7; &nbsp; Psalms 55:1-23; &nbsp; Psalms 56:1-13; &nbsp; Psalms 57:1-11; &nbsp; Psalms 58:1-11; &nbsp; Psalms 59:1-17; &nbsp; Psalms 60:1-12; &nbsp; Psalms 61:1-8; &nbsp; Psalms 62:1-12; &nbsp; Psalms 63:1-11; &nbsp; Psalms 64:1-10; &nbsp; Psalms 65:1-13; &nbsp; Psalms 66:1-20; &nbsp; Psalms 67:1-7; &nbsp; Psalms 68:1-35; &nbsp; Psalms 69:1-36; &nbsp; Psalms 70:1-5; &nbsp; Psalms 71:1-24; &nbsp; Psalms 72:1-20 we have two occurrences of the same Psalm (&nbsp; Psalms 14:1-7 = &nbsp; Psalms 53:1-6 ), which in itself indicates that in &nbsp; Psalms 1:1-6; &nbsp; Psalms 2:1-12; &nbsp; Psalms 3:1-8; &nbsp; Psalms 4:1-8; &nbsp; Psalms 5:1-12; &nbsp; Psalms 6:1-10; &nbsp; Psalms 7:1-17; &nbsp; Psalms 8:1-9; &nbsp; Psalms 9:1-20; &nbsp; Psalms 10:1-18; &nbsp; Psalms 11:1-7; &nbsp; Psalms 12:1-8; &nbsp; Psalms 13:1-6; &nbsp; Psalms 14:1-7; &nbsp; Psalms 15:1-5; &nbsp; Psalms 16:1-11; &nbsp; Psalms 17:1-15; &nbsp; Psalms 18:1-50; &nbsp; Psalms 19:1-14; &nbsp; Psalms 20:1-9; &nbsp; Psalms 21:1-13; &nbsp; Psalms 22:1-31; &nbsp; Psalms 23:1-6; &nbsp; Psalms 24:1-10; &nbsp; Psalms 25:1-22; &nbsp; Psalms 26:1-12; &nbsp; Psalms 27:1-14; &nbsp; Psalms 28:1-9; &nbsp; Psalms 29:1-11; &nbsp; Psalms 30:1-12; &nbsp; Psalms 31:1-24; &nbsp; Psalms 32:1-11; &nbsp; Psalms 33:1-22; &nbsp; Psalms 34:1-22; &nbsp; Psalms 35:1-28; &nbsp; Psalms 36:1-12; &nbsp; Psalms 37:1-40; &nbsp; Psalms 38:1-22; &nbsp; Psalms 39:1-13; &nbsp; Psalms 40:1-17; &nbsp; Psalms 41:1-13; &nbsp; Psalms 42:1-11; &nbsp; Psalms 43:1-5; &nbsp; Psalms 44:1-26; &nbsp; Psalms 45:1-17; &nbsp; Psalms 46:1-11; &nbsp; Psalms 47:1-9; &nbsp; Psalms 48:1-14; &nbsp; Psalms 49:1-20; &nbsp; Psalms 50:1-23; &nbsp; Psalms 51:1-19; &nbsp; Psalms 52:1-9; &nbsp; Psalms 53:1-6; &nbsp; Psalms 54:1-7; &nbsp; Psalms 55:1-23; &nbsp; Psalms 56:1-13; &nbsp; Psalms 57:1-11; &nbsp; Psalms 58:1-11; &nbsp; Psalms 59:1-17; &nbsp; Psalms 60:1-12; &nbsp; Psalms 61:1-8; &nbsp; Psalms 62:1-12; &nbsp; Psalms 63:1-11; &nbsp; Psalms 64:1-10; &nbsp; Psalms 65:1-13; &nbsp; Psalms 66:1-20; &nbsp; Psalms 67:1-7; &nbsp; Psalms 68:1-35; &nbsp; Psalms 69:1-36; &nbsp; Psalms 70:1-5; &nbsp; Psalms 71:1-24; &nbsp; Psalms 72:1-20 at least two hymn-books are combined. Again, &nbsp; Psalms 53:1-6 differs from &nbsp; Psalms 14:1-7 by the entire absence from it of the name ‘Jahweh’ and the use in four places of the name ‘God,’ where &nbsp; Psalms 14:1-7 uses ‘Jahweh’ (EV [Note: English Version.] ‘the Lord’). So also in &nbsp; Psalms 70:1-5 = &nbsp; Psalms 40:13-17 ‘Jahweh’ is twice retained, but thrice it is replaced by ‘God.’ But the editorial activity thus implied proves on examination to have affected the entire group of &nbsp; Psalms 42:1-11; &nbsp; Psalms 43:1-5; &nbsp; Psalms 44:1-26; &nbsp; Psalms 45:1-17; &nbsp; Psalms 46:1-11; &nbsp; Psalms 47:1-9; &nbsp; Psalms 48:1-14; &nbsp; Psalms 49:1-20; &nbsp; Psalms 50:1-23; &nbsp; Psalms 51:1-19; &nbsp; Psalms 52:1-9; &nbsp; Psalms 53:1-6; &nbsp; Psalms 54:1-7; &nbsp; Psalms 55:1-23; &nbsp; Psalms 56:1-13; &nbsp; Psalms 57:1-11; &nbsp; Psalms 58:1-11; &nbsp; Psalms 59:1-17; &nbsp; Psalms 60:1-12; &nbsp; Psalms 61:1-8; &nbsp; Psalms 62:1-12; &nbsp; Psalms 63:1-11; &nbsp; Psalms 64:1-10; &nbsp; Psalms 65:1-13; &nbsp; Psalms 66:1-20; &nbsp; Psalms 67:1-7; &nbsp; Psalms 68:1-35; &nbsp; Psalms 69:1-36; &nbsp; Psalms 70:1-5; &nbsp; Psalms 71:1-24; &nbsp; Psalms 72:1-20; &nbsp; Psalms 73:1-28; &nbsp; Psalms 74:1-23; &nbsp; Psalms 75:1-10; &nbsp; Psalms 76:1-12; &nbsp; Psalms 77:1-20; &nbsp; Psalms 78:1-72; &nbsp; Psalms 79:1-13; &nbsp; Psalms 80:1-19; &nbsp; Psalms 81:1-16; &nbsp; Psalms 82:1-8; &nbsp; Psalms 83:1-18; for the difference in the use of the names ‘Jahweh’ and ‘God’ between &nbsp; Psalms 1:1-6; &nbsp; Psalms 2:1-12; &nbsp; Psalms 3:1-8; &nbsp; Psalms 4:1-8; &nbsp; Psalms 5:1-12; &nbsp; Psalms 6:1-10; &nbsp; Psalms 7:1-17; &nbsp; Psalms 8:1-9; &nbsp; Psalms 9:1-20; &nbsp; Psalms 10:1-18; &nbsp; Psalms 11:1-7; &nbsp; Psalms 12:1-8; &nbsp; Psalms 13:1-6; &nbsp; Psalms 14:1-7; &nbsp; Psalms 15:1-5; &nbsp; Psalms 16:1-11; &nbsp; Psalms 17:1-15; &nbsp; Psalms 18:1-50; &nbsp; Psalms 19:1-14; &nbsp; Psalms 20:1-9; &nbsp; Psalms 21:1-13; &nbsp; Psalms 22:1-31; &nbsp; Psalms 23:1-6; &nbsp; Psalms 24:1-10; &nbsp; Psalms 25:1-22; &nbsp; Psalms 26:1-12; &nbsp; Psalms 27:1-14; &nbsp; Psalms 28:1-9; &nbsp; Psalms 29:1-11; &nbsp; Psalms 30:1-12; &nbsp; Psalms 31:1-24; &nbsp; Psalms 32:1-11; &nbsp; Psalms 33:1-22; &nbsp; Psalms 34:1-22; &nbsp; Psalms 35:1-28; &nbsp; Psalms 36:1-12; &nbsp; Psalms 37:1-40; &nbsp; Psalms 38:1-22; &nbsp; Psalms 39:1-13; &nbsp; Psalms 40:1-17; &nbsp; Psalms 41:1-13 and &nbsp; Psalms 42:1-11; &nbsp; Psalms 43:1-5; &nbsp; Psalms 44:1-26; &nbsp; Psalms 45:1-17; &nbsp; Psalms 46:1-11; &nbsp; Psalms 47:1-9; &nbsp; Psalms 48:1-14; &nbsp; Psalms 49:1-20; &nbsp; Psalms 50:1-23; &nbsp; Psalms 51:1-19; &nbsp; Psalms 52:1-9; &nbsp; Psalms 53:1-6; &nbsp; Psalms 54:1-7; &nbsp; Psalms 55:1-23; &nbsp; Psalms 56:1-13; &nbsp; Psalms 57:1-11; &nbsp; Psalms 58:1-11; &nbsp; Psalms 59:1-17; &nbsp; Psalms 60:1-12; &nbsp; Psalms 61:1-8; &nbsp; Psalms 62:1-12; &nbsp; Psalms 63:1-11; &nbsp; Psalms 64:1-10; &nbsp; Psalms 65:1-13; &nbsp; Psalms 66:1-20; &nbsp; Psalms 67:1-7; &nbsp; Psalms 68:1-35; &nbsp; Psalms 69:1-36; &nbsp; Psalms 70:1-5; &nbsp; Psalms 71:1-24; &nbsp; Psalms 72:1-20; &nbsp; Psalms 73:1-28; &nbsp; Psalms 74:1-23; &nbsp; Psalms 75:1-10; &nbsp; Psalms 76:1-12; &nbsp; Psalms 77:1-20; &nbsp; Psalms 78:1-72; &nbsp; Psalms 79:1-13; &nbsp; Psalms 80:1-19; &nbsp; Psalms 81:1-16; &nbsp; Psalms 82:1-8; &nbsp; Psalms 83:1-18 is remarkable: in &nbsp; Psalms 1:1-6; &nbsp; Psalms 2:1-12; &nbsp; Psalms 3:1-8; &nbsp; Psalms 4:1-8; &nbsp; Psalms 5:1-12; &nbsp; Psalms 6:1-10; &nbsp; Psalms 7:1-17; &nbsp; Psalms 8:1-9; &nbsp; Psalms 9:1-20; &nbsp; Psalms 10:1-18; &nbsp; Psalms 11:1-7; &nbsp; Psalms 12:1-8; &nbsp; Psalms 13:1-6; &nbsp; Psalms 14:1-7; &nbsp; Psalms 15:1-5; &nbsp; Psalms 16:1-11; &nbsp; Psalms 17:1-15; &nbsp; Psalms 18:1-50; &nbsp; Psalms 19:1-14; &nbsp; Psalms 20:1-9; &nbsp; Psalms 21:1-13; &nbsp; Psalms 22:1-31; &nbsp; Psalms 23:1-6; &nbsp; Psalms 24:1-10; &nbsp; Psalms 25:1-22; &nbsp; Psalms 26:1-12; &nbsp; Psalms 27:1-14; &nbsp; Psalms 28:1-9; &nbsp; Psalms 29:1-11; &nbsp; Psalms 30:1-12; &nbsp; Psalms 31:1-24; &nbsp; Psalms 32:1-11; &nbsp; Psalms 33:1-22; &nbsp; Psalms 34:1-22; &nbsp; Psalms 35:1-28; &nbsp; Psalms 36:1-12; &nbsp; Psalms 37:1-40; &nbsp; Psalms 38:1-22; &nbsp; Psalms 39:1-13; &nbsp; Psalms 40:1-17; &nbsp; Psalms 41:1-13 ‘Jahweh’ occurs 272 times, ‘God’ (absolutely) 15 times; in &nbsp; Psalms 42:1-11; &nbsp; Psalms 43:1-5; &nbsp; Psalms 44:1-26; &nbsp; Psalms 45:1-17; &nbsp; Psalms 46:1-11; &nbsp; Psalms 47:1-9; &nbsp; Psalms 48:1-14; &nbsp; Psalms 49:1-20; &nbsp; Psalms 50:1-23; &nbsp; Psalms 51:1-19; &nbsp; Psalms 52:1-9; &nbsp; Psalms 53:1-6; &nbsp; Psalms 54:1-7; &nbsp; Psalms 55:1-23; &nbsp; Psalms 56:1-13; &nbsp; Psalms 57:1-11; &nbsp; Psalms 58:1-11; &nbsp; Psalms 59:1-17; &nbsp; Psalms 60:1-12; &nbsp; Psalms 61:1-8; &nbsp; Psalms 62:1-12; &nbsp; Psalms 63:1-11; &nbsp; Psalms 64:1-10; &nbsp; Psalms 65:1-13; &nbsp; Psalms 66:1-20; &nbsp; Psalms 67:1-7; &nbsp; Psalms 68:1-35; &nbsp; Psalms 69:1-36; &nbsp; Psalms 70:1-5; &nbsp; Psalms 71:1-24; &nbsp; Psalms 72:1-20; &nbsp; Psalms 73:1-28; &nbsp; Psalms 74:1-23; &nbsp; Psalms 75:1-10; &nbsp; Psalms 76:1-12; &nbsp; Psalms 77:1-20; &nbsp; Psalms 78:1-72; &nbsp; Psalms 79:1-13; &nbsp; Psalms 80:1-19; &nbsp; Psalms 81:1-16; &nbsp; Psalms 82:1-8; &nbsp; Psalms 83:1-18 ‘Jahweh’ 43 times, but ‘God’ 200 times (see Driver, <em> LOT </em> <em> [Note: OT Introd. to the Literature of the Old Testament.] </em> 6 371). Now this Elohistic Psalter, as &nbsp; Psalms 42:1-11; &nbsp; Psalms 43:1-5; &nbsp; Psalms 44:1-26; &nbsp; Psalms 45:1-17; &nbsp; Psalms 46:1-11; &nbsp; Psalms 47:1-9; &nbsp; Psalms 48:1-14; &nbsp; Psalms 49:1-20; &nbsp; Psalms 50:1-23; &nbsp; Psalms 51:1-19; &nbsp; Psalms 52:1-9; &nbsp; Psalms 53:1-6; &nbsp; Psalms 54:1-7; &nbsp; Psalms 55:1-23; &nbsp; Psalms 56:1-13; &nbsp; Psalms 57:1-11; &nbsp; Psalms 58:1-11; &nbsp; Psalms 59:1-17; &nbsp; Psalms 60:1-12; &nbsp; Psalms 61:1-8; &nbsp; Psalms 62:1-12; &nbsp; Psalms 63:1-11; &nbsp; Psalms 64:1-10; &nbsp; Psalms 65:1-13; &nbsp; Psalms 66:1-20; &nbsp; Psalms 67:1-7; &nbsp; Psalms 68:1-35; &nbsp; Psalms 69:1-36; &nbsp; Psalms 70:1-5; &nbsp; Psalms 71:1-24; &nbsp; Psalms 72:1-20; &nbsp; Psalms 73:1-28; &nbsp; Psalms 74:1-23; &nbsp; Psalms 75:1-10; &nbsp; Psalms 76:1-12; &nbsp; Psalms 77:1-20; &nbsp; Copyright StatementThese files are public domain.Text [[Courtesy]] of BibleSupport.com. Used by Permission. Bibliography InformationHastings, James. Entry for 'Psalms'. Hastings' Dictionary of the Bible. https://www.studylight.org/dictionaries/eng/hdb/p/psalms.html. 1909. </p>
       
== Fausset's Bible Dictionary <ref name="term_37054" /> ==
<p> (See [[David]] ; POETRY.) The [[Hebrew]] designation tehillim , "praises" or hymns," occurring only in the title of Psalm 145 and about 30 times in the body of the Psalms, applies only to some not to all the psalms. The glorification of God is the design of them all, even the penitentiary and precatory psalms; but tehilliym applies strictly to praise songs alone, tephillowt to the prayer songs; Psalm 17; Psalm 72 end, closing the second book of Psalms, Psalm 86; 90; 102 title. No one Hebrew title comprehends all. </p> <p> The Greek [[Septuagint]] has given the title "Psalms" (from psalloo "to play an instrument") applied to the whole collection. The Hebrew mizmor designates 65 psalms; in the [[Syriac]] version it comprises the whole (from zaamar "to decorate"), psalms of artificial, adorned structure (Hengstenberg). "A rhythmical composition" (Lowth). "Psalms," the designation most applicable to the whole book, means songs accompanied by an instrument, especially the harp (&nbsp;1 Chronicles 16:4-9; &nbsp;2 Chronicles 5:12-13). Shir , "a joyful thanksgiving song," is prefixed only to some. The various kinds are specified in &nbsp;Ephesians 5:19; "psalms ''(Accompanied By An Instrument)'' , hymns ''(Indirect [[Praise]] Of God)'' , ... spiritual songs ''(Joyous Lyric Pieces; Contrast '' &nbsp;Amos 8:10'')'' ." </p> <p> '''TITLES''' . Their genuineness is confirmed by their antiquity ''(Which Is [[Proved]] By Their Being Unintelligible To The Septuagint Translators Of The Hebrew Into Greek)'' , and by their presence in the greatest number of manuscripts, and in fragments of Aquila, Symmachus, and Theodotion. Their obscurity and occasional want of connection with the psalm's contents ''(As Title Psalm 34)'' are incompatible with their origination from forgers. The orientals, moreover, usually prefix titles to poems (&nbsp;Habakkuk 3:1; &nbsp;Isaiah 38:9); so David (&nbsp;2 Samuel 23:1). The enigmatical titles, found only in the psalms of David and of David's singers, accord with Eastern taste. They are too "poetical, spirited, and profound for any later collector" (Hengstenberg). So David's "bow song" (&nbsp;2 Samuel 1:18), his enigmatical designation for "the song on him expert with the bow" (&nbsp;2 Samuel 1:22). </p> <p> The historical hints in some titles give a clue to the dates. If the titles were added by later hands, how is it that they are wanting in those psalms where conjecture could most easily have had place, namely, the non-Davidic psalms of the fourth and fifth books, whereas they appear in the most regular and complete form in David's psalms, next in those of his singers? Now these are just the ones where conjecture is given no room for exercise; for the titles do not apparently illustrate these psalms, but are a memorial of the events which most deeply impressed David's own mind. In the last two books the historical occasions do not occur in the titles, because cycles of psalms mainly compose these books, and among such cycles psalms of an individual reference hardly have place. </p> <p> [[Divisions]] . Davidic basis of the whole. The Psalms form one "book"; so the Lord refers to them (&nbsp;Luke 20:42), so His apostles (&nbsp;Acts 1:20). The fathers, [[Ambrose]] (on Psalm 40) and [[Jerome]] to [[Cyprian]] (2:695), describe the Psalms as five books in one volume. Based on and corresponding to the historical Pentateuch, they form a poetical "Pentateuch" (Epiphanius, de Mens., c. 5), extending from Moses to the times of Malachi "the Hebrew history set to music an oratorio in five parts, with [[Messiah]] for its subject" (Wordsworth). The Psalms, like the Pentateuch, being used in divine worship, are the people's answer to God's address to them in the law, i.e. the expression of their pious feelings called forth by the word of God. The close of each of the five books is marked by a doxology. The "blessed be the Lord God of Israel" is taken up by Zacharias, as fulfilled in Christ (&nbsp;Leviticus 1:68-71; &nbsp;Psalms 106:48). Book I includes Psalm 1-41; Book II, Psalm 42-72; Book III, Psalm 73-89; Book IV, Psalm 90-106; Book V, Psalm 107-150. </p> <p> Book I is according to the titles Davidic; accordingly there is no trace of any author hut David. The objection from the "temple" (&nbsp;Psalms 5:7) being mentioned is groundless, for in &nbsp;1 Samuel 1:9; &nbsp;1 Samuel 3:3, it is similarly used for the tabernacle long before Solomon's temple was built. The argument for a post-Babylonian date from the phrase "bring back the captivity" (&nbsp;Psalms 14:7) is invalid; it is a Hebraism for reversing one's misfortunes (&nbsp;Job 42:10). Nor does the acrosticism in Psalm 25 prove a late date, for acrosticism appears in psalms acknowledged to be David's (Psalm 9). In Books II and III David's singers have borrowed from David ''(Excepting "A Song Of The Beloved" Psalm 45, And Psalm 46, "Upon Alamoth")'' everything peculiar in his superscriptions; see Psalm 42; 43; 44; 84; 86. "Selah" is restricted to David and his singers; but "hallelujah" is never found in his or their psalms. </p> <p> So also "to the chief musician," (committing the psalm to the music conductor to prepare for musical performance in the public service: &nbsp;1 Chronicles 15:21 Hebrew and margin, compare &nbsp;1 Chronicles 15:22,) is limited to David's and their psalms. The writer of 2 Samuel 22 evidently turned into prose David's poetical superscription (Psalm 18); so the writer of &nbsp;1 Samuel 19:11; &nbsp;1 Samuel 21:13-14; &nbsp;1 Samuel 23:19, had before him the titles of Psalm 34; 54; 59. Hezekiah's "writing" (miktab ) alludes probably to David's miktam (a "secret," or "song of deep import"), Psalm 56; 57 titles, for it was he who restored David's psalms to their liturgical use in the temple (&nbsp;2 Chronicles 29:30). This imitation of David's title, and still more the correspondence of his prayer to David's psalms (&nbsp;Psalms 102:24; &nbsp;Psalms 27:13; &nbsp;Psalms 49:1; &nbsp;Psalms 6:5; &nbsp;Psalms 30:9), is a presumption for the authenticity of David's and his singers' psalms and their titles. </p> <p> Habakkuk similarly leans upon David's superscriptions, as also upon his psalms. &nbsp;Habakkuk 3:1, "Shiggaion," compare title &nbsp;Psalms 7:1, "Son of David"; &nbsp;Habakkuk 3:19, "to the chief musician on my stringed instruments" is derived from the titles Psalm 4; 6. So the "Selah" (&nbsp;Psalms 6:9; &nbsp;Psalms 6:13) which occurs only in the psalms of David and his singers. The absence of the authors' names from most of the psalms in the fourth and fifth books implies that none of them have an individual and personal character, as the Davidic psalms have. In all such the psalmist represents the community. The later groups of psalms rest on the Davidic, and echo the poetry of David. Even in the psalms of David's singers, the authors, except [[Asaph]] (Psalm 1; 74) who was immediately associated with David, do not give their individual names. </p> <p> '''PRINCIPLE OF SELECTION.''' Not all Israel's lyric poetry but only. </p> <p> '''(1)''' such as is directly religious is included in the psalter, therefore not David's dirge over Saul and [[Jonathan]] (&nbsp;2 Samuel 1:17-27). Also </p> <p> '''(2)''' only the psalms applicable to the whole church and therefore suited to the public services of the sanctuary. The individual psalmist represents the religious community whose mouthpiece he is. &nbsp;2 Samuel 23:1; David sings in his typical and representative character; no other psalmist in the book has personal references. Hence Hezekiah's prayer (Isaiah 38) and Jonah's thanksgiving are excluded as too personal. </p> <p> '''(3)''' Only such as were composed trader the [[Holy]] Spirit's inspiration. The very musicians who founded the sacred music were inspired (&nbsp;1 Chronicles 25:1, "prophesy with harps"), much more the psalmists themselves. Asaph, the writer of some psalms, was a "seer" (&nbsp;2 Chronicles 29:30). </p> <p> David spoke "in the Spirit." Christ testifies (&nbsp;Matthew 22:41-46), He classes" the Psalms," the chief book of the chetubim or hagiographa, with "the law and the prophets" (&nbsp;Luke 24:44). The Messianic prophetic element in David leans on Nathan's prophecy (2 Samuel 7). Subsequent prophets develop David's Messianic predictions. The Psalms draw out of the typical ceremonial of the law its tuner spirit, adapting it to the various requirements of the individual and the congregation. By their help the [[Israelite]] could enter into the living spirit of the law, and realizing his need of the promised [[Saviour]] look for Him of whom the Psalms testify. They are a treasury from which we can draw the inner experiences of Old [[Testament]] saints and express our corresponding feelings, under like circumstances, in their divinely sanctioned language of praise and prayer. </p> <p> '''CLASSIFICATION''' . </p> <p> '''(1)''' Psalms of joy and gratitude, shir , lethodah "for confession" or ascription of praise (Psalm 100), tehillah (Psalm 145). </p> <p> '''(2)''' Psalms under sorrow, giving birth to prayer: tephillah , "prayer song" (Psalm 90), lehazkir "to put God in remembrance" of His people's needs (Psalm 38; 70), leanot "concerning the affliction" (Psalm 88), altaseheeth "destroy not" (Psalm 57; 58; 59). </p> <p> '''(3)''' Didactic and calmly meditative: Psalm 1; 15; 31; 49. The title [[Maschil]] is absent from some didactic psalms and present in others, because its design is to mark as didactic only those in which the "instruction" is covert and so might be overlooked. [[Thirteen]] are so designated, mostly of David's time. The later, composed in times of national peril, breathe a spirit of too intense feeling to admit of the calm didactic style. Moreover Solomon's proverbs subsequently to David took the place of the didactic psalms. But some maschil psalms still were composed, and these more lyric in tone and less sententious and maxim-like in style than Proverbs. </p> <p> [[Order]] . The Holy Spirit doubtless directed the compiler in arranging as well as the writers in composing the psalms. The first psalm begins, as the [[Sermon]] on the Mount (&nbsp;Matthew 5:3), and the second closes, with "blessed." Thus this pair, announcing the blessedness of the godly and the doom of the ungodly in the coming judgment, fitly prefaces the Psalms as John the Baptist's announcement of the final judgment preludes the gospel (Matthew 3). "A spiritual epitome of all history (Wordsworth); the godly "meditate in the law of the Lord," the ungodly "meditate a vain thing" (&nbsp;Psalms 1:2; &nbsp;Psalms 2:1). The five dosing the psalter begin and end with "hallelujah." The principle of arrangement is not: wholly chronological, though David's book of psalms is first of the five, and the post captivity book of psalms last; for Moses' psalm (Psalm 90), the oldest of all, begins the fourth book, and some of David's psalms are in the fifth. Also the 15 songs of degrees, i.e. ascents of the pilgrims to the three national feasts at Jerusalem, though written at different times, form one group. </p> <p> [[Spiritual]] affinity and the relation to one another and to the whole modify the chronological arrangement. The arrangement in some instances is so significant as to indicate, it to be the work of the Spirit, not of the collector merely. Thus, Psalm 22 portrays Messiah's death scene, Psalm 23. His rest in paradise, Psalm 24. His ascension (&nbsp;Acts 2:25-27; &nbsp;Acts 2:37). "At the time the Psalms were written" they were not of such use to those among whom they were written as they are to us, for they were written to prophesy the New Testament among those who lived under the Old Testament" ''(Augustine On Psalm 101; '' &nbsp;1 Peter 1:10-12''.)'' The one great theme ultimately meant is Christ, the antitypical David, in respect to His inner life as the Godman, and in His past, present, and future relations to the church and the world (&nbsp;Luke 24:25; &nbsp;Luke 24:27; &nbsp;Luke 24:45-46). The [[Psalter]] rightly holds the middle place of the Bible, being the heart of both Old Testament and New Testament. </p> <p> Other scriptures of the Old Testament have corresponding scriptures in the New Testament The [[Pentateuch]] and Old Testament histories answer to the [[Gospels]] and Acts; Proverbs, Ecclesiastes, and the prophets to the epistles; the Song of [[Solomon]] and Daniel to Revelation. The Psalms alone have no counterpart in the New Testament, except the songs of the Virgin, [[Zacharias]] and [[Simeon]] (Luke 1; 2), because the psalter belongs to both Testaments alike, being "the hymnbook of the universal church" (Wordsworth). There is scarcely a place in the Psalms where the voices of Christ and the church are not to be found (Augustine on Psalm 59). Christ's sufferings and conflict, ending in His reign, appear most in Books I, II; Israel's prostration in Book III; the fruits of His victory, the Lord s reign, and Israel's restoration after her past pilgrim state, in Book IV; the songs of degrees, i.e. the church's pilgrim ascents below, "coming up from the wilderness, leaning upon her Beloved," and her everlasting hallelujahs, in Book V. </p> <p> '''AUTHORS:''' David composed 80 of the Psalms, Asaph wrote four, singers of his school (See below) penned eight, the sons of [[Korah]] of David's and Solomon's times seven, Solomon two. To Jehoshaphat's time belong Psalm 47; Psalm 48; Psalm 83. (See [[Jehoshaphat]] .) The occasion of Psalm 47 was his bloodless victory over Moab, Ammon, Edom, and the Arabians, who combined to drive Judah out of their "inheritance" (&nbsp;Psalms 47:4; &nbsp;2 Chronicles 20:11). The title ascribes the psalm to "the sons of Korah," just as in &nbsp;2 Chronicles 20:19 the [[Korahites]] are in front of the Jews' army "to praise the Lord God of [[Israel]] with a loud voice on high"; so &nbsp;Psalms 47:5 answers to &nbsp;2 Chronicles 20:26. Psalm 47 was perhaps sung in the valley of Bernehah (blessing); Psalm 48 in the temple service on their return (compare &nbsp;Psalms 47:9). As Jehoshaphat was "in the fore front" of the returning people (&nbsp;2 Chronicles 20:27), so "Jehovah with the sound of a trumpet went up" to His earthly temple (&nbsp;Psalms 47:5). </p> <p> So "the fear of God was on all the kingdoms" (&nbsp;Psalms 47:8-9; compare &nbsp;2 Chronicles 20:28-29). The breaking of Jehoshaphat's [[Tarshish]] ships is alluded to &nbsp;Psalms 48:7, his ungodly alliance being as great a danger from within as the hostile invasion from without; both alike the grace of God averted. (See [[Jahaziel]] ; BERACHAH.) To the time of the overthrow of Sennacherib's host under Hezekiah belong Psalm 46; Psalm 75; Psalm 76; Psalm 87. (See [[Hezekiah]] .) To the time of the carrying away of Israel's ten tribes belong Psalm 77; Psalm 80; Psalm 81. Judah intercedes with God for her captive sister; "of Asaph" in the title may mean only that one of his school wrote under his name as the master of the school. The remaining 46, except Moses' Psalm 90, were written just before, during, and after the [[Babylonian]] captivity. As the psalms took their rise in the religious awakening under David, so the long times of growing declension subsequently were barren of additions to the psalter. The only times of such additions were those of religious revivals, namely, under Jehoshaphat, Hezekiah, and [[Josiah]] ''(To Whose [[Reign]] Probably [[Belong]] Psalm 77; Psalm 92; Psalm 100; This Series Has The Common Theme, Jehovah'S [[Manifestation]] For His People'S [[Comfort]] And Their Foes' Confusion)'' . </p> <p> The captivity taught the people a bitter but wholesome lesson; then accordingly psalmody revived. After the last new song sung to the Lord at the completion of the city walls under Nehemiah, no new psalm was composed under inspiration. The written word thenceforth took the place of the inspired speakers of prophecy and song. David gave the tone to all the succeeding psalms, so that, in a sense, he is their author. Recognition of God's retributive righteousness as a preservative against despair (in undesigned coincidence with the history, &nbsp;1 Samuel 30:6), and the sudden interposition of divine consolation amidst sorrowful complaints, are characteristic of his psalms. They are more elevated, and abound in rare forms, from whence arises their greater difficulty. He first introduced the alphabetical arrangement; also the grouping of verses with reference to numbers, and the significancy of the recurrence of the names of God; also the combining of psalms in pairs, and in larger cycles. The divine promise to his line in 2 Samuel 7 forms the basis of many of his Messianic prophecies, as Psalm 138-145; compare with &nbsp;Psalms 140:1; &nbsp;2 Samuel 22:49. </p> <p> Wordsworth suggests Psalm 41 and Psalm 71, at the close of Books I and II respectively, were written at the time of Adonijah's, Joab's, and Abiathar's conspiracy when David was old and languishing, yet "in the strength of the Lord God" enabled to rise afresh in the person of Solomon his son, whose throne in Messiah is to be everlasting, as Psalm 72 sets forth. Of Asaph's psalms, four are composed by David's chief musician: Psalm 50; Psalm 73; Psalm 78 (warning [[Ephraim]] not to rebel against God's transfer of their prerogative to [[Zion]] and Judah), Psalm 82; a didactic and prophetic character marks them all. [[Eight]] others (Psalm 74-77; Psalm 79-81; Psalm 83), marked by his name, belong to singers in later times, who regarded him as their founder, just as the sons (followers) of Korah regarded Korah. The Hebrew ''Le-'' before a name in the title designates the author. &nbsp;Psalms 74:8 answers to &nbsp;Jeremiah 52:13; &nbsp;Jeremiah 52:17; the psalmist was probably one of the few [[Jews]] left by the Chaldaeans "in the land." So also &nbsp;Psalms 79:1 alludes to the temple's "defilement" by the [[Chaldees]] (&nbsp;Jeremiah 10:25 quotes &nbsp;Psalms 79:6). </p> <p> The psalms of the sons of Korah are fourteen, of which seven belong to David's and Solomon's times, and seven to later times. Psalm 42; Psalm 43; Psalm 84; Psalm 86 ''(According To Hengstenberg, As Occurring In The [[Midst]] Of Korahitic Psalms Though Superscribed With David'S Name)'' , refer to Absaiom's rebellion; Psalm 44 on the invasion of the [[Edomites]] (&nbsp;2 Samuel 8:13; &nbsp;1 Chronicles 18:12; &nbsp;1 Kings 11:15-16); Psalm 49 of general import; Psalm 45 on King Messiah's marriage to Israel and the church, in Solomon's time; Psalm 47; Psalm 48; Psalm 83, in Jehoshaphat's time; Psalm 46; Psalm 87, refer to Sennacherib's host overthrown before Jerusalem, in Hezekiah's reign; Psalm 85; Psalm 88; Psalm 89, before the Babylonian captivity. </p> <p> Neither [[Heman]] nor the sons of Heman are named in the superscriptions, but the sons of Korah; perhaps because Heman, though musical and head of the Korahitic singers, was not also poetically gifted as was Asaph; Psalm 88, is gloom throughout, yet the title calls it (shir ) a "song" of joy; this can only refer to Psalm 89 which follows being paired with it; it was when the "anointed" of David's throne (Josiah) had his "crown profaned on the ground," being not able to" stand in the battle" (&nbsp;Psalms 89:43), and his son [[Jehoahaz]] after a three months' reign was carried to Egypt by [[Pharaoh]] [[Necho]] (&nbsp;2 Chronicles 35:20-25; &nbsp;2 Chronicles 36:1-4; &nbsp;Psalms 89:45); the title, "to the chief musician," shows the temple was standing, Josiah had just before caused a religious revival. </p> <p> '''NUMBERS IN ARRANGEMENT''' . The decalogue has its form determined by number; also the genealogy in Matthew; so the Lord's prayer, and especially the structure of the Apocalypse. So Isaiah 1 represents Israel's revolt in seven, divided into three and four, the four for the sinfulness, and the three for the revolt. And &nbsp;Isaiah 52:13-53;&nbsp;Isaiah 52:12; the introduction three verses (&nbsp;Isaiah 52:13-15) with the concluding two verses (&nbsp;Isaiah 53:11-12) making up five, the half; the main part comprises ten (&nbsp;Isaiah 53:1-10), divided into seven for Messiah's humiliation (three of which represent Messiah's sufferings, four their cause, His being our substitute) and three for His glorification (Hengstenberg). Similarly, the form of the several psalms is regulated by numbers, especially seven divided into four and three. The correctness of our division into verses is hence confirmed. The criticism too which would dismember the psalms is proved at least in their case, and in that of whatever [[Scriptures]] are arranged by numbers, to be false. </p> <p> [[Names]] or GOD. A similar proof of the correctness of the text appears in the fact that the [[Elohim]] psalms are peculiar to the first three books, those of David, Asaph, and the sons of Korah. So strange had "ΕLΟΗΙΜ " become in later times that only the [[Jehovah]] psalms of David were inserted in the later books, excepting David's Psalm 108 introductory to Psalm 109 and Psalm 110. The three form a trilogy: Psalm 108 anticipating triumph over the foe, Psalm 109 the foe's condemnation, Psalm 110 Messiah's divine kingly and priestly glory. In the fifth book Εlohim occurs only seven times, i.e. six times in Psalm 108 and once in David's Psalm 144. It is an undesigned coincidence and proof of genuineness that in independent sacred history David uses Elohim as a favorite term (2 Samuel 7; &nbsp;1 Chronicles 28:20; &nbsp;1 Chronicles 29:1). In Book I "Jehovah" occurs 272 times, Elohim 15 times; in Book II, Elohim 164 times, Jehovah 30 times; in Book III, Jehovah 44 times, Elohim 43 times; in Book IV, Jehovah 103 times, Elohim, not once; in Book V, Jehovah 236 times, Elohim 7 times. </p> <p> [[Hengstenberg]] suggests the reason of David's predilection for "Elohim." The pagan regarded Jehovah as designating the local God of Israel, but not God absolutely, possessing the whole fullness of the Godhead. So David felt it unnecessary to express "Jehovah," because He was unquestionably Israel's God; it was only contested whether He was Elohim. David boldly, in the face of mighty nations, asserts the nullity of their gods and the sole [[Godhead]] of Jehovah; compare &nbsp;Psalms 18:31, "who is Elohim but Jehovah?" Jehovah is understood before Elohim in Elohim psalms, as the doxology at the end of the second book recognizes, "blessed be Jehovah Elohim" (&nbsp;Psalms 72:18). Latterly when the falsely called Elohim of surrounding nations began to be honoured in Israel the term gave place to Jehovah for expressing the true God. Psalm 18 is "a great hallelujah, with which David retires from tide theater of life." </p> <p> '''I.''' The first book (Psalm 1-4) the Davidic-Jehovah psalms. </p> <p> '''II.''' The second book (Psalm 42-72) the Elohim psalms; namely, of David's singers, the sons of Korah (Psalm 42-49), Asaph's (Psalm 1.), then David's Elohim psalms (Psalm 51-71), Solomon's Elohim psalm (Psalm 72). </p> <p> '''III.''' Psalm 73-89, the Jehovah psalms of David's singers; of Asaph (Psalm 73; Psalm 83), of the sons of Korah (Psalm 84-89). Thus in the arrangement the Jehovah psalms (Jehovah being the fundamental name) enclose the Elohim psalms; so the first book doxology begins with Jehovah; the second has, let Jehovah Elohim be praised; the third, let Jehovah be praised. </p> <p> '''IV.''' (Psalm 90-106.) The psalms of David in the last two books are inserted as component parts into the later cycles. The subscription, &nbsp;Psalms 72:20, "the prayers of David, the son of Jesse, are ended," distinguishes the detached from the serial psalms of David; so &nbsp;Job 31:40 is not contradicted by his again speaking in Job 40; Job 42. Moses' Psalm 90 is put after David's and his singers' psalms, because David was so preeminent as the sweet psalmist of Israel. Psalm 91-100 are connected. Then follows David's trilogy, Psalm 101-103, and the trilogy of the captivity (Psalm 104-106). </p> <p> '''V.''' Psalm 107-150 are ''(Excepting David'S Psalms Incorporated)'' after the return from the captivity. The dodecad Psalm 108-119, is composed of a trilogy of David introducing nine psalms sung at laying the foundation of the second temple. Psalm 119 is the sermon ''(Composed By Ezra)'' after the Hallel, to urge Israel to regard God's word as her national safeguard. Psalm 120-134, the pilgrim songs ("songs of degrees"), namely, four psalms of David, one of Solomon, and ten nameless ones, are appropriate to the time of the interruption of the temple building. (See [[Ezra]] .) Psalm 135-146 ''(Including David'S Psalms Incorporated With The Rest)'' celebrate its happy completion. </p> <p> Psalm 147-150 were sung at the consecration of the city walls under Nehemiah. J. F. Thrupp (Smith's Bible Dictionary) maintains that as Psalm 73-83 do not all proceed from Asaph, but from members of the choir which he founded, so the psalms in Books III, IV, V, inscribed with the name of David, were written by his royal representatives for the time being ''(Hezekiah, Josiah, Zerubbabel, Etc.)'' , who prefer honouring the name of their ancestor to obtruding their own names. But why then should one of the psalms in question be inscribed with" Solomon" rather than David? The psalms accord with David's circumstances; their containing phrases of David's former psalms is not inconsistent with his authorship, as the sacred authors often repeat their own inspired words. The Chaldaisms of Psalm 139 are due to David's adapting uncommon phrases to a lofty theme. </p> <p> In 2 [[Maccabees]] the collection of David's psalms is attributed to Nehemiah. Jerome, Ep. ad Sophronium, and the Synopsis in Athanasius, ascribe the collection to Ezra, "the priest and ready scribe in the law of Moses" (&nbsp;Ezra 7:6; &nbsp;Nehemiah 8:9). ''(On Shiggaion, Etc., See The Words As They Occur.)'' Finally, if we would "taste the honey of God" we must "have the palate of faith." "Attune thy heart to the psalm. If the psalm prays, pray thou; if it mourns, mourn thou; if it hopes, hope thou; if it fears, fear thou. Everything, in the psalter, is the looking glass of the soul" ''(Augustine On Psalm 96 And Psalm 30)'' . The heart, the lips, and the life must be in accord with the psalm, to derive the full blessing. "Vita sic canta, ut nunquam sileas. " (Augustine on Psalm 146). </p>
       
== Watson's Biblical & Theological Dictionary <ref name="term_81254" /> ==
<p> The book of Psalms is a collection of hymns, or sacred songs, in praise of God, and consists of poems of various kinds. They are the productions of different persons, but are generally called the Psalms of David, because a great part of them was composed by him, and David himself is distinguished by the name of the Psalmist. We cannot now ascertain all the Psalms written by David, but their number probably exceeds seventy; and much less are we able to discover the authors of the other Psalms, or the occasions upon which they were composed. A few of them were written after the return from the Babylonian captivity. The titles prefixed to them are of very questionable authority; and in many cases they are not intended to denote the writer but refer only to the person who was appointed to set them to music. David first introduced the practice of singing sacred hymns in the public service of God; and it was restored by Ezra. The authority of the Psalms is established not only by their rank among the sacred writings, and by the unvaried testimony of ages, but likewise by many intrinsic proofs of inspiration. Not only do they breathe through every part a divine spirit of eloquence, but they contain numberless illustrious prophecies that were remarkably accomplished, and are frequently appealed to by the evangelical writers. The sacred character of the whole book is established by the testimony of our Saviour and his Apostles, who, in various parts of the New Testament, appropriate the predictions of the Psalms as obviously apposite to the circumstances of their lives, and as intentionally composed to describe them. The veneration for the Psalms has in all ages of the church been considerable. The fathers assure us, that in the earlier times the whole book of Psalms was generally learned by heart; and that the ministers of every gradation were expected to be able to repeat them from memory. These invaluable Scriptures are daily repeated without weariness, though their beauties are often overlooked in familiar and habitual perusal. As hymns immediately addressed to the Deity, they reduce righteousness to practice; and while we acquire the sentiments, we perform the offices of piety; while we supplicate for blessings, we celebrate the memorial of former mercies; and while in the exercise of devotion, faith is enlivened by the display of prophecy. [[Josephus]] asserts, and most of the ancient writers maintain, that the Psalms were composed in metre. They have undoubtedly a peculiar conformation of sentences, and a measured distribution of parts. Many of them are elegiac, and most of David's are of the lyric kind. There is no sufficient reason however to believe, as some writers have imagined, that they were written in rhyme, or in any of the [[Grecian]] measures. Some of them are acrostic; and though the regulations of the Hebrew measure are now lost, there can be no doubt, from their harmonious modulation, that they were written with some kind of metrical order; and they must have been composed in accommodation to the measure to which they were set. ( See [[Poetry Of The Hebrews]] . ) The Hebrew copies and the Septuagint version of this book contain the same number of Psalms; only the Septuagint translators have, for some reason which does not appear, thrown the ninth and tenth into one, as also the one hundred and fourteenth and one hundred and fifteenth, and have divided the one hundred and sixteenth and one hundred and forty-seventh each into two. </p> <p> It is very justly observed by Dr. Allix, that, "although the sense of near fifty Psalms be fixed and settled by divine authors, yet Christ and his [[Apostles]] did not undertake to quote all the Psalms they could, but only to give a key to their hearers, by which they might apply to the same subjects the Psalms of the same composure and expression." With regard to the Jews, [[Bishop]] Chandler very pertinently remarks, that "they must have understood David, their prince, to have been a figure of Messiah. They would not otherwise have made his Psalms part of their daily worship; nor would David have delivered them to the church to be so employed, were it not to instruct and support them in the knowledge and belief of this fundamental article. Were the Messiah not concerned in the Psalms, it would have been absurd to celebrate twice a day, in their public devotions, the events of one man's life, who was deceased so long ago, as to have no relation now to the Jews and the circumstances of their affairs; or to transcribe whole passages from them into their prayers for the coming of the Messiah." Upon the same principle it is easily seen that the objections, which may seem to lie against the use of [[Jewish]] services in [[Christian]] congregations, may cease at once. Thus it may be said, Are we concerned with the affairs of David and of Israel? Have we any thing to do with the ark and the temple? They are no more. Are we to go up to Jerusalem, and to worship on Sion? They are desolated, and trodden under foot by the Turks. Are we to sacrifice young bullocks according to the law? The law is abolished, never to be observed again. Do we pray for victory over Moab, Edom, and Philistia; or for deliverance from Babylon? There are no such nations, no such places in the world. What then do we mean, when, taking such expressions into our mouths, we utter them in our own persons, as parts of our devotions, before God? [[Assuredly]] we must mean a spiritual [[Jerusalem]] and Sion; a spiritual ark and temple; a spiritual law; spiritual sacrifices; and spiritual victories over spiritual enemies; all described under the old names, which are still retained, though "old things are passed away, and all things are become new," &nbsp;2 Corinthians 5:17 . By substituting Messiah for David, the [[Gospel]] for the law, the church Christian for that of Israel, and the enemies of the one for those of the other, the Psalms are made our own. Nay, they are with more fulness and propriety applied now to the substance, than they were of old to the "shadow of good things then to come," &nbsp;Hebrews 10:1 . For let it not pass unobserved, that when, upon the first publication of the Gospel, the Apostles had occasion to utter their transports of joy, on their being counted worthy to suffer for the name of their Lord and Master, which was then opposed by Jew and Gentile, they brake forth into an application of the second Psalm to the transactions then before their eyes, &nbsp;Acts 4:25 . The Psalms, thus applied, have advantages which no fresh compositions, however finely executed, can possibly have; since, beside their incomparable fitness to express our sentiments, they are at the same time memorials of, and appeals to, former mercies and deliverances; they are acknowledgments of prophecies accomplished; they point out the connection between the old and new dispensations, thereby teaching us to admire and adore the wisdom of God displayed in both, and furnishing while we read or sing them, an inexhaustible variety of the noblest matter that can engage the contemplations of man. </p> <p> Very few of the Psalms, comparatively, appear to be simply prophetical, and to belong only to Messiah, without the intervention of any other person. Most of them, it is apprehended, have a double sense, which stands upon this ground and foundation, that the ancient patriarchs, prophets, priests, and kings, were typical characters, in their several offices, and in the more remarkable passages of their lives, their extraordinary depressions and miraculous exaltations foreshowing him who was to arise as the head of the holy family, the great prophet, the true priest, the everlasting king. The [[Israelitish]] polity, and the law of Moses, were purposely framed after the example and shadow of things spiritual and heavenly; and the events which happened to the ancient people of God were designed to shadow out parallel occurrences, which should afterward take place in the accomplishment of man's redemption, and the rise and progress of the Christian church, ( See [[Prophecy]] . ) For this reason, the Psalms composed for the use of Israel, and by them accordingly used at the time, do admit of an application to us, who are now "the Israel of God," &nbsp;Galatians 6:16 , and to our Redeemer, who is the King of this Israel. It would be an arduous and adventurous undertaking to attempt to lay down the rules observed in the conduct of the mystic allegory, so diverse are the modes in which the Holy Spirit has thought proper to communicate his counsels to different persons on different occasions; inspiring and directing the minds of the prophets according to his good pleasure; at one time vouchsafing more full and free discoveries of future events; while, at another, he is more obscure and sparing in his intimations. From hence, of course, arises a great variety in the [[Scripture]] usage of this kind of allegory as to the manner in which the spiritual sense is couched under the other. Sometimes it can hardly break forth and show itself at intervals through the literal, which meets the eye as the ruling sense, and seems to have taken entire possession of the words and phrases. On the contrary, it is much oftener the capital figure in the piece, and stands confessed at once by such splendour of language, that the letter, in its turn, is thrown into shade, and almost totally disappears. Sometimes it shines with a constant equable light, and sometimes it darts upon us on a sudden, like a flash of lightning from the clouds. But a composition is never more truly elegant and beautiful, than when the two senses, alike conspicuous, run parallel together through the whole poem, mutually corresponding with and illustrating each other. </p> <p> Thus the establishment of David upon his throne, notwithstanding the opposition made to it by his enemies, is the subject of the second Psalm. David sustains in it a twofold character, literal and allegorical. If we read over the Psalm first with an eye to the literal David, the meaning is obvious, and put out of all dispute by the sacred history. There is indeed an uncommon glow in the expression, and sublimity in the figures; and the diction is now and then exaggerated, as it were, on purpose to intimate and lead us to the contemplation of higher and more important matters concealed within. In compliance with this admonition, if we take another survey of the Psalm, as relative to the person and concerns of the spiritual David, a nobler series of events instantly rises to view, and the meaning becomes more evident, as well as exalted. The colouring, which may perhaps seem too bold and glaring for the king of Israel, will no longer appear so, when laid upon his great antitype. After we have thus attentively considered the subject apart, let us look at them together, and we shall behold the full beauty and majesty of this most charming poem. We shall perceive the two senses very distinct from each other, yet conspiring in perfect harmony, and bearing a wonderful resemblance in every feature and lineament, while the analogy between them is so exactly preserved, that either may pass for the original, from whence the other was copied. New light is continually cast upon the phraseology, fresh weight and dignity are added to the sentiment, till gradually ascending from things below to things above, from human affairs to those which are divine, they bear the great important theme upward with them, and at length place it in the height and brightness of heaven. What has been observed with regard to this Psalm, may also be applied to the seventy-second; the subject of which is of the same kind, and treated in the same manner. Its title might be, "The Inauguration of Solomon." The scheme of the allegory is alike in both; but a diversity of matter occasions an alteration in the diction. For whereas one is employed in celebrating the magnificent triumphs of victory, it is the design of the other to draw a pleasing picture of peace, and of that felicity which is her inseparable attendent. The style is therefore of a more even and temperate sort, and more richly ornamented. It abounds not with those sudden changes of the person speaking which dazzle and astonish; but the imagery is borrowed from the delightful scenes with which creation cheers the sight, and the pencil of the divine artist is dipped in the softer colours of nature. And here we may take notice how peculiarly adapted to the genius of this kind of allegory the parabolical style is, on account of that great variety of natural images to be found in it. For as these images are capable of being employed in the illustration of things divine and human, between which there is a certain analogy maintained, so they easily afford that ambiguity which is necessary in this species of composition, where the language is applicable to each sense, and obscure in neither; it comprehends both parts of the allegory, and may be clearly and distinctly referred to one or the other. </p> <p> On this book Bishop Horsley remarks:—These Psalms go, in general, under the name of the Psalms of David. King David gave a regular and noble form to the musical part of the Jewish service. He was himself a great composer, both in poetry and music, and a munificent patron, no doubt, of arts in which he himself so much delighted and excelled. The Psalms, however, appear to be compositions of various authors, in various ages; some much more ancient than the times of King David, some of a much later age. Of many, David himself was undoubtedly the author; and that those of his composition were prophetic, we have David's own authority, which may be allowed to overpower a host of modern expositors. For thus King David, at the close of his life, describes himself and his sacred songs: "David, the son of Jesse, said, and the man who was raised up on high, the anointed of the God of Jacob, and the sweet psalmist of Israel, said, The Spirit of Jehovah spake by me, and his word was in my tongue." It was the word, therefore, of Jehovah's Spirit which was uttered by David's tongue. But it should seem, the Spirit of Jehovah would not be wanting to enable a mere man to make complaint of his own enemies, to describe his own sufferings just as he felt them, and his own escapes just as they happened. But the Spirit of Jehovah described by David's utterance what was known to that Spirit only, and that Spirit only could describe. So that, if David be allowed to have had any knowledge of the true subject of his own compositions, it was nothing in his own life, but something put into his mind by the Holy Spirit of God; and the misapplication of the Psalms to the literal David has done more mischief than the misapplication of any other parts of the Scriptures among those who profess the belief of the Christian religion. </p> <p> The Psalms are all poems of the lyric kind, that is, adapted to music, but with great variety in the style of composition. Some are simply odes. An ode is a dignified sort of song, narrative of the facts, either of public history or private life, in a highly adorned and figured style. But the figure in the Psalms is that which is peculiar to the Hebrew language, in which the figure gives its meaning with as much perspicuity as the plainest speech. </p> <p> Some are of the sort called elegiac, which are pathetic compositions upon mournful subjects. Some are ethic, delivering grave maxims of life, or the precepts of religion, in solemn, but for the most part simple, strains. Some are enigmatic, delivering the doctrines of religion in enigmata, contrived to strike the imagination forcibly, and yet easy to be understood. In all these the author delivers the whole matter in his own person. But a very great, I believe the far greater, part are a sort of dramatic ode, consisting of dialogues between persons sustaining certain characters. In these dialogue Psalms the persons are frequently the [[Psalmist]] himself, or the chorus of priests and Levites, or the leader of the [[Levitical]] band, opening the ode with a proem declarative of the subject, and very often closing the whole with a solemn admonition drawn from what the other persons say. The other persons are Jehovah, sometimes as one, sometimes as another, of the three Persons; Christ in his incarnate state, sometimes before, sometimes after, his resurrection; the human soul of Christ as distinguished from the divine essence. Christ, in his incarnate state, is personated sometimes as a priest, sometimes as a king, sometimes as a conqueror; and in those Psalms in which he is introduced as a conqueror, the resemblance is very remarkable between this conqueror in the book of Psalms and the warrior on the white horse in the book of Revelation, who goes forth with a crown on his head, and a bow in his hand, conquering and to conquer. And the conquest in the Psalms is followed, like the conquest in the Revelation, by the marriage of the conqueror. These are circumstances of similitude which, to any one versed in the prophetic style, prove beyond a doubt that the mystical conqueror is the same personage in both. </p>
       
== Hawker's Poor Man's Concordance And Dictionary <ref name="term_48544" /> ==
<p> The book of Psalms is called by the Jews Sepher Tihillim, which more particularly signifies, the book of psalms, or hymns of praise. But there are two other names given by the Hebrews to the psalms, [[Zemer]] and Sher. The former is taken from, a root in Hebrew signifying to prune; and the latter from a word signifying power. And hence some have thought, that as the chief scope and tendency of the psalms is to lead to Christ, the former implies his humiliation, and the latter his glory. And it is remarkable, (but whether it may be considered as confirming this opinion I do not presume to say) that when the Lord Jesus was expounding to the two disciples, in his way to Emmaus, on the morning of his resurrection, the things concerning himself, he made use of those very arguments as proofs in his humiliation, and glory of his divine mission. "Ought not Christ (said he) to have suffered these things, and to enter into his glory." (&nbsp;Luke 24:26) </p> <p> The Psalms have been generally divided into five heads, but it doth not appear that the Holy Ghost hath given any authority for this division. Taken as one grand whole, they form a complete epitome of the gospel; and from those which plainly point to Christ, and can refer to no other, we may venture to conclude that those which do not in our apprehension, the obscurity ariseth from our dulness, and not from any want of allusion to him. As to Jesus give all the prophets witness, and as the Psalms many of them are prophetical, evidently they are included. It is best in the perusal of every one of them to be on the look-out for Jesus, for precious are the things contained in the Psalms concerning him. </p> <p> On those fifteen psalms entitled A song of degrees, from &nbsp;Psalms 120:1-7 to &nbsp;Psalms 134:1-3 included, I can offer no one observation to form the least conjecture what the title means. As the Holy Ghost hath not thought proper to explain the cause for which they are so called, it should seem to be the safest plan to avoid all unprofitable enquiries, than attempt to be wise above what is written. The Psalms themselves are full of Jesus, and therefore in the discovery and enjoyment of him it will be our highest wisdom to direct our researches, praying that as often as the Holy Ghost opens any part of this precious volume to our meditation, he that hath the key of David may open our heart to the right apprehension of them, to make us wise unto salvation, through the faith that is in Christ Jesus. </p>
       
== Hastings' Dictionary of the New Testament <ref name="term_56855" /> ==
<p> ‘Psalms’ in the [[Apostolic]] Church included OT Psalms and similar hymns of praise to God, as sung to musical accompaniment. In &nbsp;1 Corinthians 14:15 St. Paul contemplates impromptu utterances under the influence of the Spirit, and appeals for the use of the reason in praise no less than in prayer. In &nbsp;1 Corinthians 14:26 he assumes that members of the congregation will bring their assembly psalms which they have composed or learnt and wish to sing with or before others. The Psalms of Solomon, which may be dated c._ 50 b.c., prove the use of sacred poetry among the Jews at this period. Forceful hymns, full of noble indignation against Roman oppression and Jewish secularity, in their praise of patience and resignation they express the feeling that Israel deserves chastening. Like the [[Benedictus]] they look for a Messiah of the house of David. But they fall short of the canticles of the NT in spiritual insight. The tone is self-righteous and sometimes fierce. </p> <p> The use of psalms in private is referred to in &nbsp;James 5:13 : ‘He that is merry let him sing psalms’ (cf. &nbsp;Ephesians 5:19). </p> <p> A. E. Burn. </p>
       
== Morrish Bible Dictionary <ref name="term_68055" /> ==
<p> This word occurs in the O.T. only in connection with the Psalms of David and those in the Book of Psalms. David is called "the sweet psalmist of Israel." &nbsp;2 Samuel 23:1 . There can be no doubt that in connection with the 'singers,' and the praising God with instruments, the Psalms were used. We read "sing psalms unto him," "Make a joyful noise unto him with psalms," etc. In N.T. days, for a time at least, the Psalms of David may have been sung by believers, but there were also hymns and spiritual songs, and it is to be remarked that in the singing at the institution of the Lord's supper a hymn (ὑμνέω) is spoken of, not a psalm (ψαλμός). See PASSOVER. The latter Greek word (besides the occurrences which refer to the Book of Psalms) is found in &nbsp;1 Corinthians 14:26; &nbsp;Ephesians 5:19; &nbsp;Colossians 3:16 . </p>
       
== Easton's Bible Dictionary <ref name="term_33116" /> ==
<li> &nbsp; Psalm 7 and &nbsp; Habakkuk 3 bear the title (Heb.) <i> [[Shiggaion]] </i> (q.v.). <div> <p> '''Copyright Statement''' These dictionary topics are from M.G. Easton M.A., D.D., Illustrated Bible Dictionary, Third Edition, published by [[Thomas]] Nelson, 1897. Public Domain. </p> <p> '''Bibliography Information''' Easton, Matthew George. Entry for 'Psalms'. Easton's Bible Dictionary. https://www.studylight.org/dictionaries/eng/ebd/p/psalms.html. 1897. </p> </div> </li>
       
==References ==
<references>


Psalms <ref name="term_56895" />
<ref name="term_53509"> [https://bibleportal.com/dictionary/hastings-dictionary-of-the-bible/psalms Psalms from Hastings' Dictionary of the Bible]</ref>
<p> <b> [[Psalms.]] </b> —In discussing the relation of Christ to the Psalms, two questions must be kept apart: (1) His use of the Psalter, (2) His presence in the Psalter. Even if we did not know, by direct quotation and indirect allusion, that the [[Psalter]] was a favourite book of Christ’s, we could have safely inferred as much from His general attitude to the [[Ot.]] The Psalter, as, on the whole, the simplest and purest expression of the devotional life of Israel, must have commended itself peculiarly to Christ. </p> <p> <b> 1. </b> The influence of the Psalter upon the mind of Jesus was probably larger and more profound than His recorded allusions to it, numerous and subtle as they are, would lead us to suppose. There were indeed elements in it which He could not have appropriated—cries for vengeance upon foes (&nbsp;Psalms 41:11 (10), cf. &nbsp;Psalms 68:24 (23)), or of an almost cruel delight at their defeat (&nbsp;Psalms 18:43 (42)), or sorrowful laments at the prospect of a death in which fellowship with God was believed to be interrupted (&nbsp;Psalms 6:6 (5) &nbsp;Psalms 39:13 (14) &nbsp;Psalms 88:11-13 (10–12)). But there were other elements which were well fitted to express, as they may have helped to nourish. His piety. Especially must He have been attracted by those psalms which breathe the spirit of quiet confidence in God: ‘Thou art my God; my times are in thy hand’ (&nbsp;Psalms 31:15 f. (&nbsp;Psalms 31:14 f.)); ‘In thy presence is fulness of joy’ (&nbsp;Psalms 16:11); ‘As for me, [[I]] am continually with thee: thou hast holden my right hand. Thou wilt guide me with thy counsel, and afterward receive me to glory’ (&nbsp;Psalms 73:23 f.). The joy which comes from fellowship with God and from the contemplation of His acts in history (95–100), the humble and childlike spirit which lifts meek eyes to the God who looks down in pity from the heavens (123, 130)—these and other such tempers and aspirations cannot have been without their influence upon the spirit of Jesus. Most welcome of all would be those fine interpretations of the character of God scattered throughout the Psalter—as of one who is not only Lord of all space and time (90, 139), but who is also ‘good and ready to forgive and rich in love to all that call upon him’ (&nbsp;Psalms 86:5, &nbsp;Psalms 103:8), who opens His hand and satisfies the desire of every living thing (&nbsp;Psalms 145:16), who is father of the fatherless and judge of the widow (&nbsp;Psalms 68:6 (5)), who rises up at the oppression of the poor and the sighing of the needy (&nbsp;Psalms 12:6 (5)). </p> <p> <b> 2. </b> But in estimating the influence of the Psalter upon Jesus, we are not left to conjecture. On many occasions—notably at the beginning and the end of His public career—He uses it directly, and expresses, sometimes the truths of His gospel, sometimes the aspirations of His soul, sometimes His premonitions of the fate of Jerusalem, almost in its very words. The [[Sermon]] on the Mount has at least half a dozen references, direct or indirect, to the Psalter; not only words of a more general kind, such as ‘Depart from me, ye workers of iniquity’ (&nbsp;Matthew 7:23 || &nbsp;Luke 13:27, cf. &nbsp;Psalms 6:9 (8)), or the allusion to [[Jerusalem]] as the ‘city of the great king’ (&nbsp;Matthew 5:35, cf. &nbsp;Psalms 48:3 (2)), but even such an assurance as that the heavenly Father feeds the birds (&nbsp;Matthew 6:26, cf. &nbsp;Psalms 147:9); and some of the [[Beatitudes]] themselves are but echoes of the Psalter, <i> e.g. </i> ‘the meek shall inherit the earth’ (&nbsp;Matthew 5:5, cf. &nbsp;Psalms 37:11 (the land)), ‘the merciful shall obtain mercy’ (&nbsp;Matthew 5:7, cf. &nbsp;Psalms 18:26 (25)). Occasionally a psalm is explicitly cited by Him, <i> e.g. </i> &nbsp;Psalms 82:6 in &nbsp;John 10:34, and even prefaced by the words, ‘Have ye never read?’ (cf. &nbsp;Matthew 21:16; &nbsp;Matthew 21:42), which assume a familiar knowledge of the book, or at least of these particular psalms (8, 118), on the part of His audience. But even where there is no such citation, the language is often saturated with reminiscences of the Psalter. There can be little doubt, <i> e.g. </i> , that ‘my soul is exceeding sorrowful’ (&nbsp;Matthew 26:38 || &nbsp;Mark 14:34) is an echo of Ps 42:6, 12, (&nbsp;Psalms 42:5; &nbsp;Psalms 42:11)), or that ‘he that eateth with me shall betray me’ (&nbsp;Mark 14:18) is an echo of &nbsp;Psalms 41:10, (9) (cf. &nbsp;John 13:18, where the treachery is expressly said to be in fulfilment of the utterance in the psalm), or that ‘they shall dash to the ground thy children within thee’ (&nbsp;Luke 19:44) is a reminiscence of &nbsp;Psalms 137:9. In the words of a psalm (&nbsp;Psalms 31:6, (&nbsp;Psalms 31:5)) Jesus commended His spirit into His Father’s hands (&nbsp;Luke 23:46). </p> <p> <b> 3. </b> These references are not quite exhaustive, but they are characteristic; and they are very significant of Christ’s general attitude to the Psalter. He makes its words of faith His own in the moment of His sorrow, He repeats its promises to those who are prepared to be His disciples (&nbsp;Luke 10:19, cf. &nbsp;Psalms 91:13; &nbsp;Matthew 5:5, cf. &nbsp;Psalms 37:11); but, with the single exception—if it be an exception—of Psalms 110, to be afterwards discussed, He does not seem directly to countenance, by His own example, that Messianic interpretation of the Psalter upon which the Church has, from her earliest days, uniformly insisted. True, it is recorded that He said that ‘all things must needs be fulfilled which are written in the law of Moses, and the prophets, and <i> the psalms </i> , concerning me’ (&nbsp;Luke 24:44). But within the teaching of Christ Himself there is no <i> certain </i> illustration of <i> specific </i> passages which He applied Messianically to Himself. And this omission would be very singular, if He had generally countenanced Messianic interpretation in the narrower sense in which that word has been commonly understood. He believed in His Messiahship, but He did not rest it upon the basis of individual passages. He claimed to fulfil the Law and the Prophets; but, judging by His general practice, this appears to imply the large fulfilment of their spirit and tendency, rather than any minute and literal fulfilment of particular words. His method of dealing with the Psalms, when controversy is involved, is well illustrated by His citation of &nbsp;Psalms 82:6 in &nbsp;John 10:34. The [[Jews]] are incensed at what they regard as His blasphemy in calling Himself the Son of God. He appeals to the psalm, to show that men exalted to high office had been in the [[Ot]] called ‘gods’; and argues that, if the title was appropriate for them, how much more for Him who had a unique commission and equipment from the Father. </p> <p> <b> 4. </b> It is instructive to turn from Christ’s use of the Psalter to that of the writers and speakers in the [[Nt;]] and, in this connexion, it is important to remember that most of their citations from the Psalter are made from the [[Lxx]] Septuagint. Occasionally this seriously affects the argument. The author of the Ep. to the Hebrews, <i> e.g. </i> (&nbsp;Hebrews 1:10-12), finds, in the great words of &nbsp;Psalms 102:26-28 (&nbsp;Psalms 102:25; &nbsp;Psalms 102:27)—‘Thou, Lord, in the beginning, didst lay the foundation of the earth, and the heavens are the works of thy hands’—an allusion to Christ. In the [[Lxx]] [[Septuagint]] it is ‘the Lord’ who is said to he everlasting, and to the author of the [[Epistle]] the Lord is Christ. But in the [[Hebrew]] psalm the address is to Jehovah, a title which no Hebrew could possibly have applied to the Messiah. Here is a case—and there are others—where the argument holds only on the basis of the Greek translation; it would be irrelevant and inapplicable on the basis of the original Hebrew (cf. &nbsp;Ephesians 4:8, &nbsp;Psalms 68:19, (&nbsp;Psalms 68:18). </p> <p> Again, with regard to the psalms customarily called Messianic, it has to be remembered that the songs of the Psalter have, generally speaking, a historical background. They spring, not perhaps always, but undoubtedly often, out of a definite historical situation; that situation, or some aspect of it, is their theme. In many psalms this is obvious (cf. Psalms 44, 83, 137); and the question may fairly be raised whether this is not also the case in the Messianic psalms. [[Doubtless]] time might prove that the meaning of a psalm was larger than the original intention of its composer: this is true more or less of all great literature. But to understand truly its deeper meaning, we must start from its original intention, and from the situation in view of which it was composed. While to some of the psalms whose subject is a king a Messianic interpretation has been assigned (cf. 2), in others the actual contents and implications of the psalm render that interpretation impossible. The ‘anointed,’ <i> e.g. </i> (Heb. ‘his Messiah,’ [[Lxx]] Septuagint ‘Christ’), in &nbsp;Psalms 20:7 (6) is almost necessarily some historical king, and the psalm appears to have been composed on the eve of a battle. If, then, in some of the psalms which deal with a ‘Messiah’ or ‘Christ,’ the reference is to a historic king of [[Israel]] or Judah, the presumption at least is raised that all the Messianic psalms may be similarly interpreted. </p> <p> The tendency to find in the Psalter predictive references to Jesus must have set in very early. In &nbsp;Matthew 13:35, <i> e.g. </i> , the parabolic method of teaching adopted by Jesus is said to be in fulfilment of the prophecy (attributed in one [[Ms]] to Isaiah), [[‘I]] will open my mouth <i> in parables </i> , [[I]] will utter things hidden from the foundation of the world.’ In point of fact these words simply form the introduction to one of the longer historical psalms (&nbsp;Psalms 78:2), and in them the [[Psalmist]] simply declares his intention to draw instruction from the ancient history of Israel. There is here no conceivable allusion to the parabolic teaching of Jesus. This interpretation would hardly even have been possible but for the [[Lxx]] Septuagint, which happens to render the Hebrew בְּמָשָׁל by ἐν ταραβολαῖς—another good illustration of the control that the [[Lxx]] Septuagint exercised over Messianic interpretation. This tendency to ‘messianize,’ wherever possible, naturally is operative also outside of the [[Nt.]] There is no warrant in its pages, <i> e.g. </i> , for referring the latter part of Psalms 24 to Christ; but the [[Fathers]] applied it to His ascension, and the <i> Te Deum </i> addresses Christ as the King of Glory. Sometimes psalms which are commonly regarded as Messianic contain sentiments which are un-Christian, and which therefore render the Messianic interpretation, in any sense worth defending, untenable. Some exegetes have even held that Psalms 18 is Messianic, in spite of such a verse as &nbsp;Psalms 18:43 (&nbsp;Psalms 18:42). Psalms 2, whose claims are much more generally allowed, contains sentiments (cf. &nbsp;Psalms 2:9) which could not legitimately be reconciled with the spirit of Him who was the Prince of peace. </p> <p> <b> 5. </b> We shall now examine the psalms which are most commonly regarded as <i> Messianic </i> —for convenience’ sake in the order in which they occur in the Psalter. </p> <p> <b> Psalms 2. </b> [[A]] study of the [[Nt]] allusions to this psalm is peculiarly instructive, as, though there is a general agreement that it is Messianic, there is considerable variety in its interpretation. One passage, indeed, does not seem even to regard the psalm as Messianic, at least in the narrower sense: in &nbsp;Revelation 2:27 the promise of &nbsp;Psalms 2:9 that the king would ‘break’ [[(Lxx]] Septuagint and [[Nt]] read ποιμανεῖ(ς), ‘shepherd,’ ‘rule,’ pointing תִּרְעֵם instead of תְּר֙עֵם) the nations with a rod of iron, as the vessels of the potter are broken, is applied, in the message addressed to Thyatira, to the [[Christian]] who overcomes and keeps the works of Christ to the end. </p> <p> This application of the passage shows that, even in very early times, the Messianic interpretation of such psalms was felt to be not the only possible one. It is just possible, however, that the words of the psalm were chosen simply because they were an apposite description of triumph. This becomes the more probable when we remember that elsewhere in this same book—&nbsp;Revelation 12:5; &nbsp;Revelation 19:15—the passage is applied Messianically. </p> <p> The first two verses of the psalm—‘Why do the heathen rage?’ etc.—are applied in &nbsp;Acts 4:25 f. to the combination of Herod, Pilate, the Romans, and the Jews, against ‘thy holy servant Jesus,’ who is clearly therefore regarded as the king celebrated in the psalm. The verse which the [[Nt]] most frequently lays under contribution is &nbsp;Acts 4:7 ‘Thou art my son; this day have [[I]] begotten thee.’ This verse, or the first part of it, underlies Nathanael’s confession (&nbsp;John 1:49), Peter’s confession (&nbsp;Matthew 16:16), the high priest’s question (&nbsp;Matthew 26:63), and the voice which is said to have been heard on the occasion of the [[Baptism]] (&nbsp;Matthew 3:17 = &nbsp;Mark 1:11 = &nbsp;Luke 3:22) and the [[Transfiguration]] (&nbsp;Matthew 17:5 = &nbsp;Mark 9:7 = &nbsp;Luke 9:35). According to the Codex Bezae in &nbsp;Matthew 3:17, the words heard on the occasion of the baptism were, ‘Thou art my son, this day have [[I]] begotten thee.’ This attests the belief in some quarters that the [[Divine]] sonship of Jesus, which the psalm is supposed to foreshadow, dated from the day of His baptism. But in &nbsp;Acts 13:33 St. Paul regards the Psalmist’s utterance as fulfilled not in the baptism, but in the resurrection of Jesus; and this view appears to underlie the Apostle’s statement in &nbsp;Romans 1:4 that it was by the resurrection that Jesus was declared to be the Son of God with power. The verse is further applied in &nbsp;Hebrews 1:5 (cf. &nbsp;Hebrews 5:5) as a proof of the superiority of Jesus to the angels. In the Hebrew [[Ot,]] however, the term literally translated ‘sons of God’ is applied to supernatural beings whether they be regarded as gods or angels; cf. &nbsp;Job 1:6; &nbsp;Job 2:1, where the [[Lxx]] Septuagint renders by οἱ ἄγγελοι τοῦ θεοῦ. As, however, there are passages in which even the [[Lxx]] Septuagint speaks of these beings as ‘sons of God’ (&nbsp;Psalms 29:1; &nbsp;Psalms 89:6), we must assume, if the writer has not forgotten them, that he is laying particular stress on the latter half of the verse, ‘this day have [[I]] begotten thee.’ According to the Epistle, however, Jesus took part in the Creation, and was pre-existent before all eternity (&nbsp;Hebrews 1:2; &nbsp;Hebrews 1:10); consequently we must suppose that the ‘begetting to-day’ refers to His eternal generation. See art. Begetting. </p> <p> Here, then, are three different interpretations of the verse within the [[Nt:]] the Divine sonship of the [[Messiah]] is variously connected with His baptism, His resurrection, or His eternal generation. These interesting fluctuations of opinion are possible only because the historical interpretation of the psalm is ignored. The phrase ‘son of God’ did not necessarily imply [[Divinity]] in the technical sense, for we find it applied even to the people (&nbsp;Exodus 4:22), and we have already seen how Jesus argues (&nbsp;John 10:34) from the acknowledged application of the term to human beings. In truth, the psalm seems to be addressed to some actual king of Judah, and to express the assurance of his victory and dominion, possibly on the occasion of his coronation. The day on which he was begotten as a son of God is the day on which he was installed in his regal dignity as the representative of Jehovah, the King and Father of His people. It is, we must admit, by no means impossible, especially when we consider the soaring language of the psalm, that its subject is not any reigning king, but some king yet to be; this would be the case if the psalm belongs, as it may, to the post-exilic period, when the monarchy was no more. But in neither case can it be strictly regarded as referring to Jesus, partly because the establishment of the king upon the holy hill of [[Zion]] would have no relevance in His case; partly because the conception of His function as dashing His enemies in pieces is un-Christian. Besides, as we have seen, the [[Nt]] itself is not agreed as to the precise incident which the psalm is supposed to prefigure. But its solemn and emphatic predication of the Divine sonship of the king, possibly also its outlook upon a world-wide dominion, made it natural, and almost inevitable, under the conditions of early Christian interpretation, that it should he regarded as, in some sense, a prediction of Jesus. </p> <p> <b> Psalms 8. </b> It is interesting to compare the use made of this psalm by Jesus with that made elsewhere in the [[Nt.]] &nbsp;Psalms 5:3 (2) ‘Out of the mouth of babes and sucklings,’ etc., is quoted by Him against the chief priests (&nbsp;Matthew 21:16), who murmur when they hear the children cry ‘Hosanna.’ The [[Nt]] follows the [[Lxx]] Septuagint, which reads ‘praise’ instead of the Hebrew ‘strength,’ ‘bulwark’; but the <i> essential </i> meaning of the psalm is finely brought out by the citation—the power, on the one hand, or the insight, on the other, of the children (cf. for a very similar thought, &nbsp;Matthew 11:25). In &nbsp;Hebrews 2:6-8, however (cf. &nbsp;1 Corinthians 15:27 f.), ‘Thou madest him a little (or ‘for a little while’) lower than the angels,’—vv. &nbsp;Psalms 8:5-6 of the psalm are interpreted as referring to Jesus, because the supremacy which, in the psalm, is asserted of the ‘son of man’ is not, as a matter of fact, true of the human race, but it is true of Jesus. This is a noble application of the passage, full of poetic and spiritual insight; but it does not justify us in supposing that the psalm was, in its original intention, Messianic. The Psalmist is undoubtedly thinking of the human race, he marvels at the love of the great God towards His apparently insignificant creature in making him lord of all. ‘Thou hast put <i> all </i> things under his feet.’ To the Psalmist this supremacy is a fact: he is content with man as he finds him, and he is not thinking of One in whom this lordship would be more perfectly realized. </p> <p> <b> Psalms 16. </b> In &nbsp;Acts 2:25-28 (cf. &nbsp;Acts 13:35-37) St. Peter quotes four verses of the psalm (&nbsp;Psalms 16:8-11) in confirmation of the resurrection of Christ. The crucial verse is &nbsp;Acts 2:27 ‘Thou wilt not leave my soul unto Hades, neither wilt thou give thy holy one to see corruption.’ It is not quite certain whether the psalm is individual or collective. If it be collective, this verse implies no more than an assured faith in the future of Israel; if, however, it be individual, the speaker is probably expressing his own faith in immortality, though a more meagre meaning has been put upon the words, as if he were simply expressing his confidence in his recovery from a severe illness, or perhaps in his immunity from the sudden death which overtakes the wicked. In any case ‘thy holy one’—an unfortunate translation—is undoubtedly the speaker himself. He is Jehovah’s <i> hâsîd </i> , that is, a bond of love subsists between him and his God; and, in virtue of this bond, he is sure that [[Sheol]] cannot be his ultimate fate,—he will overleap it, and be received into glory (&nbsp;Psalms 73:24). The last word of &nbsp;Psalms 16:10 שׁחַח, which means ‘pit,’ was, however, unfortunately rendered by [[Lxx]] Septuagint διαφθορά, ‘corruption’; and part of St. Peter’s argument, as of St. Paul’s in &nbsp;Acts 13:35-37, depends upon the mistranslation. The argument is that, as the Psalmist himself ‘saw corruption’ (&nbsp;Acts 13:36), he was really speaking, not of himself, but, prophetically, of Jesus, who saw no corruption. The psalm is therefore regarded as a prophecy of the resurrection of Christ, though it is, in reality, only a devout believer’s confession of faith in his own immortality. But it is only fair to notice that, while the form of the argument in Acts is Jewish, and rests, in part, upon a mistranslation, in substance the argument is sound. What the psalm essentially asserts is, that where a bond of love subsists between God and a man, death has no power to destroy the man— <i> a fortiori </i> in the case of <i> the </i> Man. ‘It was not possible that <i> He </i> should be conquered by <i> him </i> ’ (&nbsp;Acts 2:24)—such a one as Jesus by such an antagonist as death. </p> <p> <b> Psalms 22. </b> Nothing is more natural than that the early [[Christians]] should have interpreted this psalm Messianically, or that that interpretation should have persisted throughout the whole history of the Christian Church. It is not only that echoes of it are heard in the [[Passion]] story of the Gospels,—in the parting of His garments and the casting of the lot for His raiment (&nbsp;Matthew 27:35 = &nbsp;Mark 15:24 = &nbsp;Luke 23:34, &nbsp;Psalms 22:19 (18)), the shaking of the heads of the passers-by (&nbsp;Matthew 27:39 = &nbsp;Mark 15:29 = &nbsp;Luke 23:35, &nbsp;Psalms 22:8 (7)), the mocking cry, ‘He trusted in God, let him deliver him’ (&nbsp;Matthew 27:43, &nbsp;Psalms 22:9 (8)),—but Jesus Himself upon the cross used at least the opening words of the psalm (&nbsp;Matthew 27:46 = &nbsp;Mark 15:34), and the parting of His garments is expressly said in &nbsp;John 19:24 to have taken place that the scripture might be fulfilled. It must be admitted that there is often a very startling similarity between the details of the psalm and the narrative of the Gospels. Still, many of those details are not strictly applicable to the crucifixion. [[Alike]] in the sufferings, in the triumphant issue from them, and in the contemplated conversion of the world which is to be produced by that triumph (&nbsp;John 19:28 (27)), this psalm very powerfully recalls the [[Suffering]] [[Servant]] of Deutero-Isaiah; and the theme of both is doubtless the same, that is, the people, or at least the pious kernel of Israel. More important, however, than the similarity of detail just alluded to, striking as that is, is the large and profound insight of the psalm. It is all aglow with the consciousness that suffering means, in the end, not defeat, but victory, and that the Suffering Servant, so far from being crushed, will one day win the whole world to Himself. These truths, of course, find their highest and truest exemplification in Jesus. </p> <p> &nbsp;Psalms 34:21 (20). According to &nbsp;John 19:36 the legs of Jesus were not broken, in order that the scripture might be fulfilled, [[‘A]] bone of him shall not be broken.’ In the psalm the verse is intended to express the general care which [[Jehovah]] exercises over the righteous, and therefore it could hardly be regarded as an apt citation in connexion with the crucifixion of Jesus; but more probably it is intended to be, primarily, a reminiscence of &nbsp;Exodus 12:46, &nbsp;Numbers 9:12, which prescribe that the bones of the [[Paschal]] lamb shall not be broken. In that case the quotation would convey to a [[Jewish]] ear the subtle reminder that Jesus was the true Paschal lamb. </p> <p> <b> Psalms 40. </b> In &nbsp;Hebrews 10:5-7 part of this psalm (&nbsp;Hebrews 10:7-9 (6–8)) is quoted, and interpreted as a prayer of Christ on coming into the world; and here, again, a large part of the argument turns upon the faulty text of the [[Lxx]] Septuagint. The author is arguing that the continual sacrifices of the [[Ot]] dispensation have been for ever abolished by the one sacrifice of Christ. In <i> the body </i> which God prepared for Him, He perfectly fulfilled the Divine will by the sacrifice of Himself. But the words ‘a body didst thou prepare for me,’ which the author adopts from the [[Lxx]] Septuagint, do not represent the Heb. of &nbsp;Psalms 40:7 (6), which reads, ‘ <i> ears </i> hast thou digged for me.’ Fortunately the origin of the mistake is not far to seek. The word for ‘ears’ is [[Ωτια,]] and for ‘body’ [[Σωμα.]] The [[Σ]] at the end of ΗθΕΑΗΣΑΣ was apparently duplicated, and then the following [[Ωτια]] was easily transformed into [[Ωμα;]] so that out of an originally correct translation, ‘ears,’ a new word arose, which unhappily lent itself to a dogmatic interpretation almost the opposite of that intended by the Psalmist. His point is that God demands not sacrifice but obedience—the ready ear to hear; the point in the Epistle is, not the ever-recurring sacrifice, but the one sacrifice of Christ’s body. As, however, the ethical worth, in one of its aspects, of Christ’s sacrifice was the perfect obedience which it illustrated, we may say that here, as in the case of Psalms 16, the conclusion is essentially sound, though the argument is fallacious, at least in so far as it rests upon a mistranslation. Historically considered, the psalm appears to be a prayer expressing the mingled feelings of the people after their return from exile. It is one of the three great psalms (cf. 50, 51) which emphatically assert the superiority of obedience and contrition over sacrifice. </p> <p> &nbsp;Psalms 41:10 (9). In the [[Gospel]] of John, as in the Epistle to the Hebrews, there is a strong tendency towards the Messianic interpretation of passages in which, to say the least, that interpretation is not necessary. According to &nbsp;John 13:18 the treachery of [[Judas]] is said to have taken place in accordance with the scripture, which must be fulfilled, ‘He that eateth my bread lifted up his heel againstme.’ In other words, &nbsp;Psalms 41:10 (9) is supposed to have Christ for its theme. That this is impossible, however, is clearly shown by the very verse of the psalm which follows the quotation, ‘Thou, Jehovah, have mercy upon me, and raise me up, that [[I]] may requite them.’ It is much more probable that Jesus simply used the words which St. Mark records of Him,—words, no doubt, suggested by the psalm, ‘One of you shall betray me, even he that eateth with me.’ He may have cited the words of the psalm as apposite rather than prophetic. </p> <p> <b> Psalms 45. </b> For long Psalms 45 has enjoyed among Christian expositors the reputation of celebrating the love of Christ for His Church. But a glance at the psalm is enough to show that it, like others, has its roots in history; the pointed and definite reference to ‘the daughter of Tyre’ renders any other interpretation extremely improbable. It is apparently a song in celebration of the marriage of some king of Israel or Judah with a foreign princess. &nbsp;Psalms 45:7 f. (6 f.)—‘Thy throne, [[O]] God, is for ever and ever,’ etc.—are cited in &nbsp;Hebrews 1:8 f. and interpreted as referring to the Son. [[Considering]] that shortly before, &nbsp;Hebrews 5:2, and immediately after, &nbsp;Hebrews 5:10, the author of the Epistle touches upon the pre-existence of Christ, the direct naming of the royal subject of the psalm as ‘God’ would be peculiarly welcome. With what admirable cogency could the psalm thus be interpreted of Christ, and how little could it be fairly referred to any one else! For the passages which some have adduced to prove that אֱלֹהִים could stand for ‘judges’ (cf. &nbsp;Exodus 22:7 f.)—though they do not really prove as much—would in any case be insufficient to show that an ordinary human king could be addressed in the word <i> [[Elohim]] </i> ; the king of the psalm must therefore be Divine. It has been conjectured, however, with great acuteness and probability, that instead of אלהים ‘God,’ the original reading was יהיה ‘shall be’ (יִהְיָה). This may have been carelessly read as יהוה, and then altered by the Elohistic redactors of Psalms 42-83 to אלהים. In that case the important dogmatic text, ‘Thy throne, <i> [[O]] God </i> , is for ever and ever,’ becomes the innocent assertion that ‘thy throne <i> shall be </i> for ever and ever,’ and with the change in the text, the Messianic interpretation vanishes, especially as the next verse speaks of his companions. Of a human king this is intelligible, but who would the companions of the Messiah be? </p> <p> <b> Psalms 69. </b> It might seem surprising that a psalm marked by so vindictive a spirit as Psalms 69 should ever have been interpreted Messianically, but several of its verses are even in the [[Nt]] brought into relation with Christ. In his usual manner St. John (&nbsp;John 19:28-30) sees in the offering of vinegar to Jesus on the cross a fulfilment of scripture, that is, of &nbsp;Psalms 69:22 (21) (cf. &nbsp;Mark 15:36, &nbsp;Luke 23:36), while St. Matthew (&nbsp;Matthew 27:34; &nbsp;Matthew 27:48), who parallels the language of the psalm still more closely by speaking of the gall, does not explicitly connect the incident with the psalm, though doubtless it was in his mind. The zeal with which Jesus drove the money-changers out of the Temple, is said in &nbsp;John 2:17 to have reminded the disciples of &nbsp;John 5:10 (9) of the psalm; and &nbsp;Romans 15:3, where the second half of this verse is quoted, shows that St. Paul interpreted the psalm Messianically (but cf. &nbsp;Romans 11:9 f. with &nbsp;Psalms 69:23 f. (22 f.)). In &nbsp;Acts 1:20, &nbsp;Psalms 69:26 (25) and &nbsp;Psalms 109:8 are regarded as inspired predictions of the fate of Judas (&nbsp;Acts 1:16). Two difficulties, however, stand in the way of interpreting this psalm Messianically: (1) It plainly reflects a contemporary historical situation; it is the product of a time when Judah is in misery and her cities are in ruins (&nbsp;Psalms 69:36 (35)); and (2) its fierce vindictive tone (cf. &nbsp;Acts 5:24) is altogether unlike the spirit of Him who said, ‘Father, forgive them.’ The similarity of incidents in the life of Jesus to certain features of the psalm may have led to its Messianic application; but it has nothing like the claims to such a distinction which Psalms 22 has. </p> <p> <b> Psalms 72. </b> The [[Nt]] lends hardly any support to the Messianic interpretation of this psalm, though this interpretation has found much favour with Christian expositors. The description of the gifts of gold that were brought to the infant Jesus (&nbsp;Matthew 2:11) perhaps recalls, in part, the language of the psalm, cf. psalm, cf. psalm, cf. &nbsp;Psalms 72:10 f., &nbsp;Psalms 72:15; but in spite of the extravagant language of psalm, cf. &nbsp;Psalms 72:8-11 (which are possibly, as some hold, a later insertion, added after the psalm began to be interpreted Messianically), it was, in all probability, originally only a prayer for some historic king. psalm, cf. &nbsp;Psalms 72:15, in which prayer is to be continually offered for the royal subject of the psalm, shows that the Messianic interpretation is hardly admissible. </p> <p> <b> Psalms 110. </b> No psalm is so frequently laid under contribution in the [[Nt]] as Psalms 110, [[V.]] 1, <i> e.g. </i> , is referred to, directly or allusively, in &nbsp;Matthew 22:44; &nbsp;Matthew 26:64, &nbsp;Mark 12:36; &nbsp;Mark 14:62; &nbsp;Mark 16:19, &nbsp;Luke 20:42 f., &nbsp;Luke 22:69, &nbsp;Acts 2:34 f., &nbsp;Acts 5:31, &nbsp;Acts 7:55 f., &nbsp;Romans 8:34, &nbsp;1 Corinthians 15:25, &nbsp;Ephesians 1:20, &nbsp;Colossians 3:1, &nbsp;1 Peter 3:22, &nbsp;Hebrews 1:3; &nbsp;Hebrews 1:13; &nbsp;Hebrews 8:1; &nbsp;Hebrews 10:12 f., &nbsp;Hebrews 12:2; and v. 4 in &nbsp;Hebrews 5:6; &nbsp;Hebrews 6:20; &nbsp;Hebrews 7:11; &nbsp;Hebrews 7:17; &nbsp;Hebrews 7:21 etc. The first verse is interpreted of Jesus, who, as the Messiah, is bidden by the Lord ( <i> Jehovah </i> in the Hebrew) to sit at His right hand till He has vanquished all His enemies; while, according to the Ep. to the Heb., He is also the priest for ever after the order of Melchizedek. Other priesthoods were transitory, His is eternal and inalienable (&nbsp;Hebrews 7:16; &nbsp;Hebrews 7:24). The use of the psalm made by Christ, together with the very deliberate, if not solemn words in which He introduces the citation, certainly raise a strong presumption that He regarded the psalm as Messianic. But in this connexion two things have to be remembered: (1) that this allusion springs from an atmosphere of controversy, and (2) that the <i> essential </i> meaning of Christ is independent of the Messianic view of the psalm. (1) As against the Pharisees, the citation had a peculiar relevance and propriety. Christ desires them to feel that they have not carefully considered the consequences of their views regarding the Messiah. (2) The real intention of Christ is to suggest the indefeasible superiority of the spiritual to the material. Starting from the conception of sonship, the [[Pharisees]] ended in thoughts of a material and political kingdom like David’s, whereas, had they considered the sense in which the Messiah was David’s Lord, they would have found themselves in a spiritual sphere. </p> <p> It is certainly very difficult to resist the impression that the psalm is Maccabaean. Without laying too much stress upon the singular fact that the initial letters of each verse from &nbsp;Psalms 110:1 b to &nbsp;Psalms 110:4, שמען, spell the word Simon, the historical implications of the psalm point very powerfully to the Maccabaean period. It implies that the king celebrated also bore the title of priest, and not till that period could this have been appropriately said of any ruler. The language of the opening verse, which, in the Hebrew, runs ‘Oracle of Jehovah to my lord,’ most naturally suggests that the psalm is composed by a poet in honour of his king, whom he calls ‘my lord,’ and for whom he foretells victory. But the vigorous language of &nbsp;Psalms 110:6 hardly seems compatible with the idea that its theme is Christ. </p> <p> The use made of the psalm by St. Peter in &nbsp;Acts 2:34 f. is thoroughly analogous to his use of Psalms 16. Immediately after arguing that Psalms 16, with its seeming prophecy of the resurrection, could not refer to David because he ‘both died and was buried,’ the [[Apostle]] goes on to argue that Psalms 110 must also be referred to some other than David, because ‘he did not ascend into the heavens.’ But in truth the sitting at the right hand of God is simply a pictorial way of suggesting an idea similar to that of &nbsp;Psalms 2:7, where a historical king is called the son of God. The grandeur of the phrase ‘sitting at the right hand of God,’ the contemplated completeness of the king’s victory, the union in his person of the offices or priest and king, and the mysterionsness that gathered round the person and the priesthood of Melchizedek, all combined to make the Messianic interpretation easy and all but inevitable. </p> <p> <b> Psalms 118. </b> With this psalm as with Psalms 8, Jesus assumed a certain familiarity on the part of His audience (&nbsp;Matthew 21:42 ‘Did ye never read?’). His use of it strongly suggests, though perhaps it hardly compels, the belief that He regarded it as Messianic. With the words, ‘Blessed is he that cometh in the name of the Lord’ (&nbsp;Psalms 118:26), He was acclaimed by the multitudes as He entered Jerusalem (&nbsp;Matthew 21:9; &nbsp;Matthew 21:15 = &nbsp;Mark 11:9 f. = &nbsp;Luke 19:38 = &nbsp;John 12:13), and in the same words He ends His lament over Jerusalem (&nbsp;Matthew 23:39). The saying that ‘the stone which the builders rejected is become the head of the corner’ (&nbsp;Psalms 118:22), is also understood to find its fulfilment in Him (&nbsp;Matthew 21:42 = &nbsp;Mark 12:10 f. = &nbsp;Luke 20:17; cf. &nbsp;Acts 4:11, &nbsp;1 Peter 2:4; &nbsp;1 Peter 2:7). In the psalm, the reference appears to be to Israel, despised yet victorious; but as the career of Jesus is the most perfect illustration of the principle pictorially expressed in the saying, the citation is thoroughly in keeping with the spirit of the psalm, though it cannot be regarded as a prediction. Similarly, ‘Blessed is he that cometh in the name of the Lord,’ is more strikingly appropriate to Jesus than even to the original subject of the psalm. </p> <p> <b> 6. </b> In conclusion, it may be said that the exegetical methods and the Messianic outlook of the early Church rendered it very natural that they should find in the Psalter, as in other parts of the [[Ot,]] predictions of incidents in the life of Christ, or that psalms descriptive, on the one hand, of malignant persecution and agonized suffering, or embodying, on the other hand, a large outlook upon a universal dominion, should be claimed for Him. Usually there is an appropriateness, sometimes very striking, in the application to Him of passages in the Psalter which, for various reasons, can seldom, if ever, be with any plausibility regarded as predictions of Him. Often, as we have seen, a psalm can be regarded as Messianic only by ignoring its historical background (Psalms 69), or by selecting and emphasizing certain verses while ignoring others that suggest an inadequate or unworthy view of the Messiah (Psalms 2). There are undoubtedly in the Psalter many true foreshadowings of Christ; but, speaking broadly, it is in its general spirit rather than in its isolated expressions that we may find Him. Of course, it has been commonly urged that a psalm may be typically Messianic though it is not prophetic; but it may be questioned whether it is worth while to interpret literature in this fashion. Christ’s own use of the Psalter is strikingly different from the occasional use of it, <i> e.g. </i> , in the Book of the Acts. He did not commend His Messiahship after the fashion in which His [[Apostles]] sometimes do. [[Profound]] as is the insight with which they often cite and apply the Psalter, very much more than the [[Master]] do the disciples emphasize the letter, sometimes even the letter of an inadequate translation. From His use of it we learn to find in the Psalter a support of the devotional life rather than a mainstay of Messianic argument. </p> <p> Literature.—Binnie, <i> The Psalms, their History, Teaching, and Use </i> , pp. 155–217; Alexander, <i> [[Witness]] of the Psalms to Christ and [[Christianity]] </i> ( <i> [[Bl]] </i> [Note: [[L]] Bampton Lecture.] , 1876); Jennings and Lowe, <i> The Psalms, with Introductions and Critical Notes </i> , vol. i. ch. iv.; Kirkpatrick, <i> The Psalms </i> (Cambridge Bible), Introduction, ch. viii.; Cheyne, <i> The Christian Use of the Psalms </i> ; [[A.]] [[B.]] Davidson, <i> Biblical and Literary Essays </i> , pp. 139–193; Briggs, ‘The Psalms,’ 2 vols. ( <i> [[Icc]] </i> [Note: [[Cc]] International Critical Commentary.] ) 1906–7, esp. Introd. p. ci ff. Allusions to the Psalter in [[Nt]] are collected in Alexander’s <i> Witness of the Psalms </i> , pp. 257–264; but they can be most profitably studied in Toy, <i> [[Quotations]] in the [[Nt]] </i> ; Hühn, <i> Die messianischen Weissagungen </i> , 2 Theil, ‘Die Alttestamentlichen Citate und Reminiscenzen im [[Nt;]] Dittmar, <i> Vetus Testamentum in Novo </i> . </p> <p> John [[E.]] M‘Fadyen. </p>
       
 
<ref name="term_37054"> [https://bibleportal.com/dictionary/fausset-s-bible-dictionary/psalms Psalms from Fausset's Bible Dictionary]</ref>
== References ==
       
<references>
<ref name="term_81254"> [https://bibleportal.com/dictionary/watson-s-biblical-theological-dictionary/psalms Psalms from Watson's Biblical & Theological Dictionary]</ref>
<ref name="term_56895"> [https://bibleportal.com/dictionary/hastings-dictionary-of-the-new-testament/psalms+(2) Psalms from Hastings' Dictionary of the New Testament]</ref>
       
<ref name="term_48544"> [https://bibleportal.com/dictionary/hawker-s-poor-man-s-concordance-and-dictionary/psalms Psalms from Hawker's Poor Man's Concordance And Dictionary]</ref>
       
<ref name="term_56855"> [https://bibleportal.com/dictionary/hastings-dictionary-of-the-new-testament/psalms Psalms from Hastings' Dictionary of the New Testament]</ref>
       
<ref name="term_68055"> [https://bibleportal.com/dictionary/morrish-bible-dictionary/psalms Psalms from Morrish Bible Dictionary]</ref>
       
<ref name="term_33116"> [https://bibleportal.com/dictionary/easton-s-bible-dictionary/psalms Psalms from Easton's Bible Dictionary]</ref>
       
</references>
</references>

Latest revision as of 09:33, 13 October 2021

Hastings' Dictionary of the Bible [1]

Now, if it stood by itself, the statement at the close of  Psalms 72:1-20 could be explained by a single process the incorporation of a previous collection consisting of   Psalms 1:1-6;   Psalms 2:1-12;   Psalms 3:1-8;   Psalms 4:1-8;   Psalms 5:1-12;   Psalms 6:1-10;   Psalms 7:1-17;   Psalms 8:1-9;   Psalms 9:1-20;   Psalms 10:1-18;   Psalms 11:1-7;   Psalms 12:1-8;   Psalms 13:1-6;   Psalms 14:1-7;   Psalms 15:1-5;   Psalms 16:1-11;   Psalms 17:1-15;   Psalms 18:1-50;   Psalms 19:1-14;   Psalms 20:1-9;   Psalms 21:1-13;   Psalms 22:1-31;   Psalms 23:1-6;   Psalms 24:1-10;   Psalms 25:1-22;   Psalms 26:1-12;   Psalms 27:1-14;   Psalms 28:1-9;   Psalms 29:1-11;   Psalms 30:1-12;   Psalms 31:1-24;   Psalms 32:1-11;   Psalms 33:1-22;   Psalms 34:1-22;   Psalms 35:1-28;   Psalms 36:1-12;   Psalms 37:1-40;   Psalms 38:1-22;   Psalms 39:1-13;   Psalms 40:1-17;   Psalms 41:1-13;   Psalms 42:1-11;   Psalms 43:1-5;   Psalms 44:1-26;   Psalms 45:1-17;   Psalms 46:1-11;   Psalms 47:1-9;   Psalms 48:1-14;   Psalms 49:1-20;   Psalms 50:1-23;   Psalms 51:1-19;   Psalms 52:1-9;   Psalms 53:1-6;   Psalms 54:1-7;   Psalms 55:1-23;   Psalms 56:1-13;   Psalms 57:1-11;   Psalms 58:1-11;   Psalms 59:1-17;   Psalms 60:1-12;   Psalms 61:1-8;   Psalms 62:1-12;   Psalms 63:1-11;   Psalms 64:1-10;   Psalms 65:1-13;   Psalms 66:1-20;   Psalms 67:1-7;   Psalms 68:1-35;   Psalms 69:1-36;   Psalms 70:1-5;   Psalms 71:1-24;   Psalms 72:1-20 by an editor who added these to   Psalms 73:1-28;   Psalms 74:1-23;   Psalms 75:1-10;   Psalms 76:1-12;   Psalms 77:1-20;   Psalms 78:1-72;   Psalms 79:1-13;   Psalms 80:1-19;   Psalms 81:1-16;   Psalms 82:1-8;   Psalms 83:1-18;   Psalms 84:1-12;   Psalms 85:1-13;   Psalms 86:1-17;   Psalms 87:1-7;   Psalms 88:1-18;   Psalms 89:1-52;   Psalms 90:1-17;   Psalms 91:1-16;   Psalms 92:1-15;   Psalms 93:1-5;   Psalms 94:1-23;   Psalms 95:1-11;   Psalms 96:1-13;   Psalms 97:1-12;   Psalms 98:1-9;   Psalms 99:1-9;   Psalms 100:1-5;   Psalms 101:1-8;   Psalms 102:1-28;   Psalms 103:1-22;   Psalms 104:1-35;   Psalms 105:1-45;   Psalms 106:1-48;   Psalms 107:1-43;   Psalms 108:1-13;   Psalms 109:1-31;   Psalms 110:1-7;   Psalms 111:1-10;   Psalms 112:1-10;   Psalms 113:1-9;   Psalms 114:1-8;   Psalms 115:1-18;   Psalms 116:1-19;   Psalms 117:1-2;   Psalms 118:1-29;   Psalms 119:1-176;   Psalms 120:1-7;   Psalms 121:1-8;   Psalms 122:1-9;   Psalms 123:1-4;   Psalms 124:1-8;   Psalms 125:1-5;   Psalms 126:1-6;   Psalms 127:1-5;   Psalms 128:1-6;   Psalms 129:1-8;   Psalms 130:1-8;   Psalms 131:1-3;   Psalms 132:1-18;   Psalms 133:1-3;   Psalms 134:1-3;   Psalms 135:1-21;   Psalms 136:1-26;   Psalms 137:1-9;   Psalms 138:1-8;   Psalms 139:1-24;   Psalms 140:1-13;   Psalms 141:1-10;   Psalms 142:1-7;   Psalms 143:1-12;   Psalms 144:1-15;   Psalms 145:1-21;   Psalms 146:1-10;   Psalms 147:1-20;   Psalms 148:1-14;   Psalms 149:1-9;   Psalms 150:1-6 derived from other sources. But within   Psalms 1:1-6;   Psalms 2:1-12;   Psalms 3:1-8;   Psalms 4:1-8;   Psalms 5:1-12;   Psalms 6:1-10;   Psalms 7:1-17;   Psalms 8:1-9;   Psalms 9:1-20;   Psalms 10:1-18;   Psalms 11:1-7;   Psalms 12:1-8;   Psalms 13:1-6;   Psalms 14:1-7;   Psalms 15:1-5;   Psalms 16:1-11;   Psalms 17:1-15;   Psalms 18:1-50;   Psalms 19:1-14;   Psalms 20:1-9;   Psalms 21:1-13;   Psalms 22:1-31;   Psalms 23:1-6;   Psalms 24:1-10;   Psalms 25:1-22;   Psalms 26:1-12;   Psalms 27:1-14;   Psalms 28:1-9;   Psalms 29:1-11;   Psalms 30:1-12;   Psalms 31:1-24;   Psalms 32:1-11;   Psalms 33:1-22;   Psalms 34:1-22;   Psalms 35:1-28;   Psalms 36:1-12;   Psalms 37:1-40;   Psalms 38:1-22;   Psalms 39:1-13;   Psalms 40:1-17;   Psalms 41:1-13;   Psalms 42:1-11;   Psalms 43:1-5;   Psalms 44:1-26;   Psalms 45:1-17;   Psalms 46:1-11;   Psalms 47:1-9;   Psalms 48:1-14;   Psalms 49:1-20;   Psalms 50:1-23;   Psalms 51:1-19;   Psalms 52:1-9;   Psalms 53:1-6;   Psalms 54:1-7;   Psalms 55:1-23;   Psalms 56:1-13;   Psalms 57:1-11;   Psalms 58:1-11;   Psalms 59:1-17;   Psalms 60:1-12;   Psalms 61:1-8;   Psalms 62:1-12;   Psalms 63:1-11;   Psalms 64:1-10;   Psalms 65:1-13;   Psalms 66:1-20;   Psalms 67:1-7;   Psalms 68:1-35;   Psalms 69:1-36;   Psalms 70:1-5;   Psalms 71:1-24;   Psalms 72:1-20 we have two occurrences of the same Psalm (  Psalms 14:1-7 =   Psalms 53:1-6 ), which in itself indicates that in   Psalms 1:1-6;   Psalms 2:1-12;   Psalms 3:1-8;   Psalms 4:1-8;   Psalms 5:1-12;   Psalms 6:1-10;   Psalms 7:1-17;   Psalms 8:1-9;   Psalms 9:1-20;   Psalms 10:1-18;   Psalms 11:1-7;   Psalms 12:1-8;   Psalms 13:1-6;   Psalms 14:1-7;   Psalms 15:1-5;   Psalms 16:1-11;   Psalms 17:1-15;   Psalms 18:1-50;   Psalms 19:1-14;   Psalms 20:1-9;   Psalms 21:1-13;   Psalms 22:1-31;   Psalms 23:1-6;   Psalms 24:1-10;   Psalms 25:1-22;   Psalms 26:1-12;   Psalms 27:1-14;   Psalms 28:1-9;   Psalms 29:1-11;   Psalms 30:1-12;   Psalms 31:1-24;   Psalms 32:1-11;   Psalms 33:1-22;   Psalms 34:1-22;   Psalms 35:1-28;   Psalms 36:1-12;   Psalms 37:1-40;   Psalms 38:1-22;   Psalms 39:1-13;   Psalms 40:1-17;   Psalms 41:1-13;   Psalms 42:1-11;   Psalms 43:1-5;   Psalms 44:1-26;   Psalms 45:1-17;   Psalms 46:1-11;   Psalms 47:1-9;   Psalms 48:1-14;   Psalms 49:1-20;   Psalms 50:1-23;   Psalms 51:1-19;   Psalms 52:1-9;   Psalms 53:1-6;   Psalms 54:1-7;   Psalms 55:1-23;   Psalms 56:1-13;   Psalms 57:1-11;   Psalms 58:1-11;   Psalms 59:1-17;   Psalms 60:1-12;   Psalms 61:1-8;   Psalms 62:1-12;   Psalms 63:1-11;   Psalms 64:1-10;   Psalms 65:1-13;   Psalms 66:1-20;   Psalms 67:1-7;   Psalms 68:1-35;   Psalms 69:1-36;   Psalms 70:1-5;   Psalms 71:1-24;   Psalms 72:1-20 at least two hymn-books are combined. Again,   Psalms 53:1-6 differs from   Psalms 14:1-7 by the entire absence from it of the name ‘Jahweh’ and the use in four places of the name ‘God,’ where   Psalms 14:1-7 uses ‘Jahweh’ (EV [Note: English Version.] ‘the Lord’). So also in   Psalms 70:1-5 =   Psalms 40:13-17 ‘Jahweh’ is twice retained, but thrice it is replaced by ‘God.’ But the editorial activity thus implied proves on examination to have affected the entire group of   Psalms 42:1-11;   Psalms 43:1-5;   Psalms 44:1-26;   Psalms 45:1-17;   Psalms 46:1-11;   Psalms 47:1-9;   Psalms 48:1-14;   Psalms 49:1-20;   Psalms 50:1-23;   Psalms 51:1-19;   Psalms 52:1-9;   Psalms 53:1-6;   Psalms 54:1-7;   Psalms 55:1-23;   Psalms 56:1-13;   Psalms 57:1-11;   Psalms 58:1-11;   Psalms 59:1-17;   Psalms 60:1-12;   Psalms 61:1-8;   Psalms 62:1-12;   Psalms 63:1-11;   Psalms 64:1-10;   Psalms 65:1-13;   Psalms 66:1-20;   Psalms 67:1-7;   Psalms 68:1-35;   Psalms 69:1-36;   Psalms 70:1-5;   Psalms 71:1-24;   Psalms 72:1-20;   Psalms 73:1-28;   Psalms 74:1-23;   Psalms 75:1-10;   Psalms 76:1-12;   Psalms 77:1-20;   Psalms 78:1-72;   Psalms 79:1-13;   Psalms 80:1-19;   Psalms 81:1-16;   Psalms 82:1-8;   Psalms 83:1-18; for the difference in the use of the names ‘Jahweh’ and ‘God’ between   Psalms 1:1-6;   Psalms 2:1-12;   Psalms 3:1-8;   Psalms 4:1-8;   Psalms 5:1-12;   Psalms 6:1-10;   Psalms 7:1-17;   Psalms 8:1-9;   Psalms 9:1-20;   Psalms 10:1-18;   Psalms 11:1-7;   Psalms 12:1-8;   Psalms 13:1-6;   Psalms 14:1-7;   Psalms 15:1-5;   Psalms 16:1-11;   Psalms 17:1-15;   Psalms 18:1-50;   Psalms 19:1-14;   Psalms 20:1-9;   Psalms 21:1-13;   Psalms 22:1-31;   Psalms 23:1-6;   Psalms 24:1-10;   Psalms 25:1-22;   Psalms 26:1-12;   Psalms 27:1-14;   Psalms 28:1-9;   Psalms 29:1-11;   Psalms 30:1-12;   Psalms 31:1-24;   Psalms 32:1-11;   Psalms 33:1-22;   Psalms 34:1-22;   Psalms 35:1-28;   Psalms 36:1-12;   Psalms 37:1-40;   Psalms 38:1-22;   Psalms 39:1-13;   Psalms 40:1-17;   Psalms 41:1-13 and   Psalms 42:1-11;   Psalms 43:1-5;   Psalms 44:1-26;   Psalms 45:1-17;   Psalms 46:1-11;   Psalms 47:1-9;   Psalms 48:1-14;   Psalms 49:1-20;   Psalms 50:1-23;   Psalms 51:1-19;   Psalms 52:1-9;   Psalms 53:1-6;   Psalms 54:1-7;   Psalms 55:1-23;   Psalms 56:1-13;   Psalms 57:1-11;   Psalms 58:1-11;   Psalms 59:1-17;   Psalms 60:1-12;   Psalms 61:1-8;   Psalms 62:1-12;   Psalms 63:1-11;   Psalms 64:1-10;   Psalms 65:1-13;   Psalms 66:1-20;   Psalms 67:1-7;   Psalms 68:1-35;   Psalms 69:1-36;   Psalms 70:1-5;   Psalms 71:1-24;   Psalms 72:1-20;   Psalms 73:1-28;   Psalms 74:1-23;   Psalms 75:1-10;   Psalms 76:1-12;   Psalms 77:1-20;   Psalms 78:1-72;   Psalms 79:1-13;   Psalms 80:1-19;   Psalms 81:1-16;   Psalms 82:1-8;   Psalms 83:1-18 is remarkable: in   Psalms 1:1-6;   Psalms 2:1-12;   Psalms 3:1-8;   Psalms 4:1-8;   Psalms 5:1-12;   Psalms 6:1-10;   Psalms 7:1-17;   Psalms 8:1-9;   Psalms 9:1-20;   Psalms 10:1-18;   Psalms 11:1-7;   Psalms 12:1-8;   Psalms 13:1-6;   Psalms 14:1-7;   Psalms 15:1-5;   Psalms 16:1-11;   Psalms 17:1-15;   Psalms 18:1-50;   Psalms 19:1-14;   Psalms 20:1-9;   Psalms 21:1-13;   Psalms 22:1-31;   Psalms 23:1-6;   Psalms 24:1-10;   Psalms 25:1-22;   Psalms 26:1-12;   Psalms 27:1-14;   Psalms 28:1-9;   Psalms 29:1-11;   Psalms 30:1-12;   Psalms 31:1-24;   Psalms 32:1-11;   Psalms 33:1-22;   Psalms 34:1-22;   Psalms 35:1-28;   Psalms 36:1-12;   Psalms 37:1-40;   Psalms 38:1-22;   Psalms 39:1-13;   Psalms 40:1-17;   Psalms 41:1-13 ‘Jahweh’ occurs 272 times, ‘God’ (absolutely) 15 times; in   Psalms 42:1-11;   Psalms 43:1-5;   Psalms 44:1-26;   Psalms 45:1-17;   Psalms 46:1-11;   Psalms 47:1-9;   Psalms 48:1-14;   Psalms 49:1-20;   Psalms 50:1-23;   Psalms 51:1-19;   Psalms 52:1-9;   Psalms 53:1-6;   Psalms 54:1-7;   Psalms 55:1-23;   Psalms 56:1-13;   Psalms 57:1-11;   Psalms 58:1-11;   Psalms 59:1-17;   Psalms 60:1-12;   Psalms 61:1-8;   Psalms 62:1-12;   Psalms 63:1-11;   Psalms 64:1-10;   Psalms 65:1-13;   Psalms 66:1-20;   Psalms 67:1-7;   Psalms 68:1-35;   Psalms 69:1-36;   Psalms 70:1-5;   Psalms 71:1-24;   Psalms 72:1-20;   Psalms 73:1-28;   Psalms 74:1-23;   Psalms 75:1-10;   Psalms 76:1-12;   Psalms 77:1-20;   Psalms 78:1-72;   Psalms 79:1-13;   Psalms 80:1-19;   Psalms 81:1-16;   Psalms 82:1-8;   Psalms 83:1-18 ‘Jahweh’ 43 times, but ‘God’ 200 times (see Driver, LOT [Note: OT Introd. to the Literature of the Old Testament.] 6 371). Now this Elohistic Psalter, as   Psalms 42:1-11;   Psalms 43:1-5;   Psalms 44:1-26;   Psalms 45:1-17;   Psalms 46:1-11;   Psalms 47:1-9;   Psalms 48:1-14;   Psalms 49:1-20;   Psalms 50:1-23;   Psalms 51:1-19;   Psalms 52:1-9;   Psalms 53:1-6;   Psalms 54:1-7;   Psalms 55:1-23;   Psalms 56:1-13;   Psalms 57:1-11;   Psalms 58:1-11;   Psalms 59:1-17;   Psalms 60:1-12;   Psalms 61:1-8;   Psalms 62:1-12;   Psalms 63:1-11;   Psalms 64:1-10;   Psalms 65:1-13;   Psalms 66:1-20;   Psalms 67:1-7;   Psalms 68:1-35;   Psalms 69:1-36;   Psalms 70:1-5;   Psalms 71:1-24;   Psalms 72:1-20;   Psalms 73:1-28;   Psalms 74:1-23;   Psalms 75:1-10;   Psalms 76:1-12;   Psalms 77:1-20;   Copyright StatementThese files are public domain.Text Courtesy of BibleSupport.com. Used by Permission. Bibliography InformationHastings, James. Entry for 'Psalms'. Hastings' Dictionary of the Bible. https://www.studylight.org/dictionaries/eng/hdb/p/psalms.html. 1909.

Fausset's Bible Dictionary [2]

(See David ; POETRY.) The Hebrew designation tehillim , "praises" or hymns," occurring only in the title of Psalm 145 and about 30 times in the body of the Psalms, applies only to some not to all the psalms. The glorification of God is the design of them all, even the penitentiary and precatory psalms; but tehilliym applies strictly to praise songs alone, tephillowt to the prayer songs; Psalm 17; Psalm 72 end, closing the second book of Psalms, Psalm 86; 90; 102 title. No one Hebrew title comprehends all.

The Greek Septuagint has given the title "Psalms" (from psalloo "to play an instrument") applied to the whole collection. The Hebrew mizmor designates 65 psalms; in the Syriac version it comprises the whole (from zaamar "to decorate"), psalms of artificial, adorned structure (Hengstenberg). "A rhythmical composition" (Lowth). "Psalms," the designation most applicable to the whole book, means songs accompanied by an instrument, especially the harp ( 1 Chronicles 16:4-9;  2 Chronicles 5:12-13). Shir , "a joyful thanksgiving song," is prefixed only to some. The various kinds are specified in  Ephesians 5:19; "psalms (Accompanied By An Instrument) , hymns (Indirect Praise Of God) , ... spiritual songs (Joyous Lyric Pieces; Contrast  Amos 8:10) ."

TITLES . Their genuineness is confirmed by their antiquity (Which Is Proved By Their Being Unintelligible To The Septuagint Translators Of The Hebrew Into Greek) , and by their presence in the greatest number of manuscripts, and in fragments of Aquila, Symmachus, and Theodotion. Their obscurity and occasional want of connection with the psalm's contents (As Title Psalm 34) are incompatible with their origination from forgers. The orientals, moreover, usually prefix titles to poems ( Habakkuk 3:1;  Isaiah 38:9); so David ( 2 Samuel 23:1). The enigmatical titles, found only in the psalms of David and of David's singers, accord with Eastern taste. They are too "poetical, spirited, and profound for any later collector" (Hengstenberg). So David's "bow song" ( 2 Samuel 1:18), his enigmatical designation for "the song on him expert with the bow" ( 2 Samuel 1:22).

The historical hints in some titles give a clue to the dates. If the titles were added by later hands, how is it that they are wanting in those psalms where conjecture could most easily have had place, namely, the non-Davidic psalms of the fourth and fifth books, whereas they appear in the most regular and complete form in David's psalms, next in those of his singers? Now these are just the ones where conjecture is given no room for exercise; for the titles do not apparently illustrate these psalms, but are a memorial of the events which most deeply impressed David's own mind. In the last two books the historical occasions do not occur in the titles, because cycles of psalms mainly compose these books, and among such cycles psalms of an individual reference hardly have place.

Divisions . Davidic basis of the whole. The Psalms form one "book"; so the Lord refers to them ( Luke 20:42), so His apostles ( Acts 1:20). The fathers, Ambrose (on Psalm 40) and Jerome to Cyprian (2:695), describe the Psalms as five books in one volume. Based on and corresponding to the historical Pentateuch, they form a poetical "Pentateuch" (Epiphanius, de Mens., c. 5), extending from Moses to the times of Malachi "the Hebrew history set to music an oratorio in five parts, with Messiah for its subject" (Wordsworth). The Psalms, like the Pentateuch, being used in divine worship, are the people's answer to God's address to them in the law, i.e. the expression of their pious feelings called forth by the word of God. The close of each of the five books is marked by a doxology. The "blessed be the Lord God of Israel" is taken up by Zacharias, as fulfilled in Christ ( Leviticus 1:68-71;  Psalms 106:48). Book I includes Psalm 1-41; Book II, Psalm 42-72; Book III, Psalm 73-89; Book IV, Psalm 90-106; Book V, Psalm 107-150.

Book I is according to the titles Davidic; accordingly there is no trace of any author hut David. The objection from the "temple" ( Psalms 5:7) being mentioned is groundless, for in  1 Samuel 1:9;  1 Samuel 3:3, it is similarly used for the tabernacle long before Solomon's temple was built. The argument for a post-Babylonian date from the phrase "bring back the captivity" ( Psalms 14:7) is invalid; it is a Hebraism for reversing one's misfortunes ( Job 42:10). Nor does the acrosticism in Psalm 25 prove a late date, for acrosticism appears in psalms acknowledged to be David's (Psalm 9). In Books II and III David's singers have borrowed from David (Excepting "A Song Of The Beloved" Psalm 45, And Psalm 46, "Upon Alamoth") everything peculiar in his superscriptions; see Psalm 42; 43; 44; 84; 86. "Selah" is restricted to David and his singers; but "hallelujah" is never found in his or their psalms.

So also "to the chief musician," (committing the psalm to the music conductor to prepare for musical performance in the public service:  1 Chronicles 15:21 Hebrew and margin, compare  1 Chronicles 15:22,) is limited to David's and their psalms. The writer of 2 Samuel 22 evidently turned into prose David's poetical superscription (Psalm 18); so the writer of  1 Samuel 19:11;  1 Samuel 21:13-14;  1 Samuel 23:19, had before him the titles of Psalm 34; 54; 59. Hezekiah's "writing" (miktab ) alludes probably to David's miktam (a "secret," or "song of deep import"), Psalm 56; 57 titles, for it was he who restored David's psalms to their liturgical use in the temple ( 2 Chronicles 29:30). This imitation of David's title, and still more the correspondence of his prayer to David's psalms ( Psalms 102:24;  Psalms 27:13;  Psalms 49:1;  Psalms 6:5;  Psalms 30:9), is a presumption for the authenticity of David's and his singers' psalms and their titles.

Habakkuk similarly leans upon David's superscriptions, as also upon his psalms.  Habakkuk 3:1, "Shiggaion," compare title  Psalms 7:1, "Son of David";  Habakkuk 3:19, "to the chief musician on my stringed instruments" is derived from the titles Psalm 4; 6. So the "Selah" ( Psalms 6:9;  Psalms 6:13) which occurs only in the psalms of David and his singers. The absence of the authors' names from most of the psalms in the fourth and fifth books implies that none of them have an individual and personal character, as the Davidic psalms have. In all such the psalmist represents the community. The later groups of psalms rest on the Davidic, and echo the poetry of David. Even in the psalms of David's singers, the authors, except Asaph (Psalm 1; 74) who was immediately associated with David, do not give their individual names.

PRINCIPLE OF SELECTION. Not all Israel's lyric poetry but only.

(1) such as is directly religious is included in the psalter, therefore not David's dirge over Saul and Jonathan ( 2 Samuel 1:17-27). Also

(2) only the psalms applicable to the whole church and therefore suited to the public services of the sanctuary. The individual psalmist represents the religious community whose mouthpiece he is.  2 Samuel 23:1; David sings in his typical and representative character; no other psalmist in the book has personal references. Hence Hezekiah's prayer (Isaiah 38) and Jonah's thanksgiving are excluded as too personal.

(3) Only such as were composed trader the Holy Spirit's inspiration. The very musicians who founded the sacred music were inspired ( 1 Chronicles 25:1, "prophesy with harps"), much more the psalmists themselves. Asaph, the writer of some psalms, was a "seer" ( 2 Chronicles 29:30).

David spoke "in the Spirit." Christ testifies ( Matthew 22:41-46), He classes" the Psalms," the chief book of the chetubim or hagiographa, with "the law and the prophets" ( Luke 24:44). The Messianic prophetic element in David leans on Nathan's prophecy (2 Samuel 7). Subsequent prophets develop David's Messianic predictions. The Psalms draw out of the typical ceremonial of the law its tuner spirit, adapting it to the various requirements of the individual and the congregation. By their help the Israelite could enter into the living spirit of the law, and realizing his need of the promised Saviour look for Him of whom the Psalms testify. They are a treasury from which we can draw the inner experiences of Old Testament saints and express our corresponding feelings, under like circumstances, in their divinely sanctioned language of praise and prayer.

CLASSIFICATION .

(1) Psalms of joy and gratitude, shir , lethodah "for confession" or ascription of praise (Psalm 100), tehillah (Psalm 145).

(2) Psalms under sorrow, giving birth to prayer: tephillah , "prayer song" (Psalm 90), lehazkir "to put God in remembrance" of His people's needs (Psalm 38; 70), leanot "concerning the affliction" (Psalm 88), altaseheeth "destroy not" (Psalm 57; 58; 59).

(3) Didactic and calmly meditative: Psalm 1; 15; 31; 49. The title Maschil is absent from some didactic psalms and present in others, because its design is to mark as didactic only those in which the "instruction" is covert and so might be overlooked. Thirteen are so designated, mostly of David's time. The later, composed in times of national peril, breathe a spirit of too intense feeling to admit of the calm didactic style. Moreover Solomon's proverbs subsequently to David took the place of the didactic psalms. But some maschil psalms still were composed, and these more lyric in tone and less sententious and maxim-like in style than Proverbs.

Order . The Holy Spirit doubtless directed the compiler in arranging as well as the writers in composing the psalms. The first psalm begins, as the Sermon on the Mount ( Matthew 5:3), and the second closes, with "blessed." Thus this pair, announcing the blessedness of the godly and the doom of the ungodly in the coming judgment, fitly prefaces the Psalms as John the Baptist's announcement of the final judgment preludes the gospel (Matthew 3). "A spiritual epitome of all history (Wordsworth); the godly "meditate in the law of the Lord," the ungodly "meditate a vain thing" ( Psalms 1:2;  Psalms 2:1). The five dosing the psalter begin and end with "hallelujah." The principle of arrangement is not: wholly chronological, though David's book of psalms is first of the five, and the post captivity book of psalms last; for Moses' psalm (Psalm 90), the oldest of all, begins the fourth book, and some of David's psalms are in the fifth. Also the 15 songs of degrees, i.e. ascents of the pilgrims to the three national feasts at Jerusalem, though written at different times, form one group.

Spiritual affinity and the relation to one another and to the whole modify the chronological arrangement. The arrangement in some instances is so significant as to indicate, it to be the work of the Spirit, not of the collector merely. Thus, Psalm 22 portrays Messiah's death scene, Psalm 23. His rest in paradise, Psalm 24. His ascension ( Acts 2:25-27;  Acts 2:37). "At the time the Psalms were written" they were not of such use to those among whom they were written as they are to us, for they were written to prophesy the New Testament among those who lived under the Old Testament" (Augustine On Psalm 101;  1 Peter 1:10-12.) The one great theme ultimately meant is Christ, the antitypical David, in respect to His inner life as the Godman, and in His past, present, and future relations to the church and the world ( Luke 24:25;  Luke 24:27;  Luke 24:45-46). The Psalter rightly holds the middle place of the Bible, being the heart of both Old Testament and New Testament.

Other scriptures of the Old Testament have corresponding scriptures in the New Testament The Pentateuch and Old Testament histories answer to the Gospels and Acts; Proverbs, Ecclesiastes, and the prophets to the epistles; the Song of Solomon and Daniel to Revelation. The Psalms alone have no counterpart in the New Testament, except the songs of the Virgin, Zacharias and Simeon (Luke 1; 2), because the psalter belongs to both Testaments alike, being "the hymnbook of the universal church" (Wordsworth). There is scarcely a place in the Psalms where the voices of Christ and the church are not to be found (Augustine on Psalm 59). Christ's sufferings and conflict, ending in His reign, appear most in Books I, II; Israel's prostration in Book III; the fruits of His victory, the Lord s reign, and Israel's restoration after her past pilgrim state, in Book IV; the songs of degrees, i.e. the church's pilgrim ascents below, "coming up from the wilderness, leaning upon her Beloved," and her everlasting hallelujahs, in Book V.

AUTHORS: David composed 80 of the Psalms, Asaph wrote four, singers of his school (See below) penned eight, the sons of Korah of David's and Solomon's times seven, Solomon two. To Jehoshaphat's time belong Psalm 47; Psalm 48; Psalm 83. (See Jehoshaphat .) The occasion of Psalm 47 was his bloodless victory over Moab, Ammon, Edom, and the Arabians, who combined to drive Judah out of their "inheritance" ( Psalms 47:4;  2 Chronicles 20:11). The title ascribes the psalm to "the sons of Korah," just as in  2 Chronicles 20:19 the Korahites are in front of the Jews' army "to praise the Lord God of Israel with a loud voice on high"; so  Psalms 47:5 answers to  2 Chronicles 20:26. Psalm 47 was perhaps sung in the valley of Bernehah (blessing); Psalm 48 in the temple service on their return (compare  Psalms 47:9). As Jehoshaphat was "in the fore front" of the returning people ( 2 Chronicles 20:27), so "Jehovah with the sound of a trumpet went up" to His earthly temple ( Psalms 47:5).

So "the fear of God was on all the kingdoms" ( Psalms 47:8-9; compare  2 Chronicles 20:28-29). The breaking of Jehoshaphat's Tarshish ships is alluded to  Psalms 48:7, his ungodly alliance being as great a danger from within as the hostile invasion from without; both alike the grace of God averted. (See Jahaziel ; BERACHAH.) To the time of the overthrow of Sennacherib's host under Hezekiah belong Psalm 46; Psalm 75; Psalm 76; Psalm 87. (See Hezekiah .) To the time of the carrying away of Israel's ten tribes belong Psalm 77; Psalm 80; Psalm 81. Judah intercedes with God for her captive sister; "of Asaph" in the title may mean only that one of his school wrote under his name as the master of the school. The remaining 46, except Moses' Psalm 90, were written just before, during, and after the Babylonian captivity. As the psalms took their rise in the religious awakening under David, so the long times of growing declension subsequently were barren of additions to the psalter. The only times of such additions were those of religious revivals, namely, under Jehoshaphat, Hezekiah, and Josiah (To Whose Reign Probably Belong Psalm 77; Psalm 92; Psalm 100; This Series Has The Common Theme, Jehovah'S Manifestation For His People'S Comfort And Their Foes' Confusion) .

The captivity taught the people a bitter but wholesome lesson; then accordingly psalmody revived. After the last new song sung to the Lord at the completion of the city walls under Nehemiah, no new psalm was composed under inspiration. The written word thenceforth took the place of the inspired speakers of prophecy and song. David gave the tone to all the succeeding psalms, so that, in a sense, he is their author. Recognition of God's retributive righteousness as a preservative against despair (in undesigned coincidence with the history,  1 Samuel 30:6), and the sudden interposition of divine consolation amidst sorrowful complaints, are characteristic of his psalms. They are more elevated, and abound in rare forms, from whence arises their greater difficulty. He first introduced the alphabetical arrangement; also the grouping of verses with reference to numbers, and the significancy of the recurrence of the names of God; also the combining of psalms in pairs, and in larger cycles. The divine promise to his line in 2 Samuel 7 forms the basis of many of his Messianic prophecies, as Psalm 138-145; compare with  Psalms 140:1;  2 Samuel 22:49.

Wordsworth suggests Psalm 41 and Psalm 71, at the close of Books I and II respectively, were written at the time of Adonijah's, Joab's, and Abiathar's conspiracy when David was old and languishing, yet "in the strength of the Lord God" enabled to rise afresh in the person of Solomon his son, whose throne in Messiah is to be everlasting, as Psalm 72 sets forth. Of Asaph's psalms, four are composed by David's chief musician: Psalm 50; Psalm 73; Psalm 78 (warning Ephraim not to rebel against God's transfer of their prerogative to Zion and Judah), Psalm 82; a didactic and prophetic character marks them all. Eight others (Psalm 74-77; Psalm 79-81; Psalm 83), marked by his name, belong to singers in later times, who regarded him as their founder, just as the sons (followers) of Korah regarded Korah. The Hebrew Le- before a name in the title designates the author.  Psalms 74:8 answers to  Jeremiah 52:13;  Jeremiah 52:17; the psalmist was probably one of the few Jews left by the Chaldaeans "in the land." So also  Psalms 79:1 alludes to the temple's "defilement" by the Chaldees ( Jeremiah 10:25 quotes  Psalms 79:6).

The psalms of the sons of Korah are fourteen, of which seven belong to David's and Solomon's times, and seven to later times. Psalm 42; Psalm 43; Psalm 84; Psalm 86 (According To Hengstenberg, As Occurring In The Midst Of Korahitic Psalms Though Superscribed With David'S Name) , refer to Absaiom's rebellion; Psalm 44 on the invasion of the Edomites ( 2 Samuel 8:13;  1 Chronicles 18:12;  1 Kings 11:15-16); Psalm 49 of general import; Psalm 45 on King Messiah's marriage to Israel and the church, in Solomon's time; Psalm 47; Psalm 48; Psalm 83, in Jehoshaphat's time; Psalm 46; Psalm 87, refer to Sennacherib's host overthrown before Jerusalem, in Hezekiah's reign; Psalm 85; Psalm 88; Psalm 89, before the Babylonian captivity.

Neither Heman nor the sons of Heman are named in the superscriptions, but the sons of Korah; perhaps because Heman, though musical and head of the Korahitic singers, was not also poetically gifted as was Asaph; Psalm 88, is gloom throughout, yet the title calls it (shir ) a "song" of joy; this can only refer to Psalm 89 which follows being paired with it; it was when the "anointed" of David's throne (Josiah) had his "crown profaned on the ground," being not able to" stand in the battle" ( Psalms 89:43), and his son Jehoahaz after a three months' reign was carried to Egypt by Pharaoh Necho ( 2 Chronicles 35:20-25;  2 Chronicles 36:1-4;  Psalms 89:45); the title, "to the chief musician," shows the temple was standing, Josiah had just before caused a religious revival.

NUMBERS IN ARRANGEMENT . The decalogue has its form determined by number; also the genealogy in Matthew; so the Lord's prayer, and especially the structure of the Apocalypse. So Isaiah 1 represents Israel's revolt in seven, divided into three and four, the four for the sinfulness, and the three for the revolt. And  Isaiah 52:13-53; Isaiah 52:12; the introduction three verses ( Isaiah 52:13-15) with the concluding two verses ( Isaiah 53:11-12) making up five, the half; the main part comprises ten ( Isaiah 53:1-10), divided into seven for Messiah's humiliation (three of which represent Messiah's sufferings, four their cause, His being our substitute) and three for His glorification (Hengstenberg). Similarly, the form of the several psalms is regulated by numbers, especially seven divided into four and three. The correctness of our division into verses is hence confirmed. The criticism too which would dismember the psalms is proved at least in their case, and in that of whatever Scriptures are arranged by numbers, to be false.

Names or GOD. A similar proof of the correctness of the text appears in the fact that the Elohim psalms are peculiar to the first three books, those of David, Asaph, and the sons of Korah. So strange had "ΕLΟΗΙΜ " become in later times that only the Jehovah psalms of David were inserted in the later books, excepting David's Psalm 108 introductory to Psalm 109 and Psalm 110. The three form a trilogy: Psalm 108 anticipating triumph over the foe, Psalm 109 the foe's condemnation, Psalm 110 Messiah's divine kingly and priestly glory. In the fifth book Εlohim occurs only seven times, i.e. six times in Psalm 108 and once in David's Psalm 144. It is an undesigned coincidence and proof of genuineness that in independent sacred history David uses Elohim as a favorite term (2 Samuel 7;  1 Chronicles 28:20;  1 Chronicles 29:1). In Book I "Jehovah" occurs 272 times, Elohim 15 times; in Book II, Elohim 164 times, Jehovah 30 times; in Book III, Jehovah 44 times, Elohim 43 times; in Book IV, Jehovah 103 times, Elohim, not once; in Book V, Jehovah 236 times, Elohim 7 times.

Hengstenberg suggests the reason of David's predilection for "Elohim." The pagan regarded Jehovah as designating the local God of Israel, but not God absolutely, possessing the whole fullness of the Godhead. So David felt it unnecessary to express "Jehovah," because He was unquestionably Israel's God; it was only contested whether He was Elohim. David boldly, in the face of mighty nations, asserts the nullity of their gods and the sole Godhead of Jehovah; compare  Psalms 18:31, "who is Elohim but Jehovah?" Jehovah is understood before Elohim in Elohim psalms, as the doxology at the end of the second book recognizes, "blessed be Jehovah Elohim" ( Psalms 72:18). Latterly when the falsely called Elohim of surrounding nations began to be honoured in Israel the term gave place to Jehovah for expressing the true God. Psalm 18 is "a great hallelujah, with which David retires from tide theater of life."

I. The first book (Psalm 1-4) the Davidic-Jehovah psalms.

II. The second book (Psalm 42-72) the Elohim psalms; namely, of David's singers, the sons of Korah (Psalm 42-49), Asaph's (Psalm 1.), then David's Elohim psalms (Psalm 51-71), Solomon's Elohim psalm (Psalm 72).

III. Psalm 73-89, the Jehovah psalms of David's singers; of Asaph (Psalm 73; Psalm 83), of the sons of Korah (Psalm 84-89). Thus in the arrangement the Jehovah psalms (Jehovah being the fundamental name) enclose the Elohim psalms; so the first book doxology begins with Jehovah; the second has, let Jehovah Elohim be praised; the third, let Jehovah be praised.

IV. (Psalm 90-106.) The psalms of David in the last two books are inserted as component parts into the later cycles. The subscription,  Psalms 72:20, "the prayers of David, the son of Jesse, are ended," distinguishes the detached from the serial psalms of David; so  Job 31:40 is not contradicted by his again speaking in Job 40; Job 42. Moses' Psalm 90 is put after David's and his singers' psalms, because David was so preeminent as the sweet psalmist of Israel. Psalm 91-100 are connected. Then follows David's trilogy, Psalm 101-103, and the trilogy of the captivity (Psalm 104-106).

V. Psalm 107-150 are (Excepting David'S Psalms Incorporated) after the return from the captivity. The dodecad Psalm 108-119, is composed of a trilogy of David introducing nine psalms sung at laying the foundation of the second temple. Psalm 119 is the sermon (Composed By Ezra) after the Hallel, to urge Israel to regard God's word as her national safeguard. Psalm 120-134, the pilgrim songs ("songs of degrees"), namely, four psalms of David, one of Solomon, and ten nameless ones, are appropriate to the time of the interruption of the temple building. (See Ezra .) Psalm 135-146 (Including David'S Psalms Incorporated With The Rest) celebrate its happy completion.

Psalm 147-150 were sung at the consecration of the city walls under Nehemiah. J. F. Thrupp (Smith's Bible Dictionary) maintains that as Psalm 73-83 do not all proceed from Asaph, but from members of the choir which he founded, so the psalms in Books III, IV, V, inscribed with the name of David, were written by his royal representatives for the time being (Hezekiah, Josiah, Zerubbabel, Etc.) , who prefer honouring the name of their ancestor to obtruding their own names. But why then should one of the psalms in question be inscribed with" Solomon" rather than David? The psalms accord with David's circumstances; their containing phrases of David's former psalms is not inconsistent with his authorship, as the sacred authors often repeat their own inspired words. The Chaldaisms of Psalm 139 are due to David's adapting uncommon phrases to a lofty theme.

In 2 Maccabees the collection of David's psalms is attributed to Nehemiah. Jerome, Ep. ad Sophronium, and the Synopsis in Athanasius, ascribe the collection to Ezra, "the priest and ready scribe in the law of Moses" ( Ezra 7:6;  Nehemiah 8:9). (On Shiggaion, Etc., See The Words As They Occur.) Finally, if we would "taste the honey of God" we must "have the palate of faith." "Attune thy heart to the psalm. If the psalm prays, pray thou; if it mourns, mourn thou; if it hopes, hope thou; if it fears, fear thou. Everything, in the psalter, is the looking glass of the soul" (Augustine On Psalm 96 And Psalm 30) . The heart, the lips, and the life must be in accord with the psalm, to derive the full blessing. "Vita sic canta, ut nunquam sileas. " (Augustine on Psalm 146).

Watson's Biblical & Theological Dictionary [3]

The book of Psalms is a collection of hymns, or sacred songs, in praise of God, and consists of poems of various kinds. They are the productions of different persons, but are generally called the Psalms of David, because a great part of them was composed by him, and David himself is distinguished by the name of the Psalmist. We cannot now ascertain all the Psalms written by David, but their number probably exceeds seventy; and much less are we able to discover the authors of the other Psalms, or the occasions upon which they were composed. A few of them were written after the return from the Babylonian captivity. The titles prefixed to them are of very questionable authority; and in many cases they are not intended to denote the writer but refer only to the person who was appointed to set them to music. David first introduced the practice of singing sacred hymns in the public service of God; and it was restored by Ezra. The authority of the Psalms is established not only by their rank among the sacred writings, and by the unvaried testimony of ages, but likewise by many intrinsic proofs of inspiration. Not only do they breathe through every part a divine spirit of eloquence, but they contain numberless illustrious prophecies that were remarkably accomplished, and are frequently appealed to by the evangelical writers. The sacred character of the whole book is established by the testimony of our Saviour and his Apostles, who, in various parts of the New Testament, appropriate the predictions of the Psalms as obviously apposite to the circumstances of their lives, and as intentionally composed to describe them. The veneration for the Psalms has in all ages of the church been considerable. The fathers assure us, that in the earlier times the whole book of Psalms was generally learned by heart; and that the ministers of every gradation were expected to be able to repeat them from memory. These invaluable Scriptures are daily repeated without weariness, though their beauties are often overlooked in familiar and habitual perusal. As hymns immediately addressed to the Deity, they reduce righteousness to practice; and while we acquire the sentiments, we perform the offices of piety; while we supplicate for blessings, we celebrate the memorial of former mercies; and while in the exercise of devotion, faith is enlivened by the display of prophecy. Josephus asserts, and most of the ancient writers maintain, that the Psalms were composed in metre. They have undoubtedly a peculiar conformation of sentences, and a measured distribution of parts. Many of them are elegiac, and most of David's are of the lyric kind. There is no sufficient reason however to believe, as some writers have imagined, that they were written in rhyme, or in any of the Grecian measures. Some of them are acrostic; and though the regulations of the Hebrew measure are now lost, there can be no doubt, from their harmonious modulation, that they were written with some kind of metrical order; and they must have been composed in accommodation to the measure to which they were set. ( See Poetry Of The Hebrews . ) The Hebrew copies and the Septuagint version of this book contain the same number of Psalms; only the Septuagint translators have, for some reason which does not appear, thrown the ninth and tenth into one, as also the one hundred and fourteenth and one hundred and fifteenth, and have divided the one hundred and sixteenth and one hundred and forty-seventh each into two.

It is very justly observed by Dr. Allix, that, "although the sense of near fifty Psalms be fixed and settled by divine authors, yet Christ and his Apostles did not undertake to quote all the Psalms they could, but only to give a key to their hearers, by which they might apply to the same subjects the Psalms of the same composure and expression." With regard to the Jews, Bishop Chandler very pertinently remarks, that "they must have understood David, their prince, to have been a figure of Messiah. They would not otherwise have made his Psalms part of their daily worship; nor would David have delivered them to the church to be so employed, were it not to instruct and support them in the knowledge and belief of this fundamental article. Were the Messiah not concerned in the Psalms, it would have been absurd to celebrate twice a day, in their public devotions, the events of one man's life, who was deceased so long ago, as to have no relation now to the Jews and the circumstances of their affairs; or to transcribe whole passages from them into their prayers for the coming of the Messiah." Upon the same principle it is easily seen that the objections, which may seem to lie against the use of Jewish services in Christian congregations, may cease at once. Thus it may be said, Are we concerned with the affairs of David and of Israel? Have we any thing to do with the ark and the temple? They are no more. Are we to go up to Jerusalem, and to worship on Sion? They are desolated, and trodden under foot by the Turks. Are we to sacrifice young bullocks according to the law? The law is abolished, never to be observed again. Do we pray for victory over Moab, Edom, and Philistia; or for deliverance from Babylon? There are no such nations, no such places in the world. What then do we mean, when, taking such expressions into our mouths, we utter them in our own persons, as parts of our devotions, before God? Assuredly we must mean a spiritual Jerusalem and Sion; a spiritual ark and temple; a spiritual law; spiritual sacrifices; and spiritual victories over spiritual enemies; all described under the old names, which are still retained, though "old things are passed away, and all things are become new,"  2 Corinthians 5:17 . By substituting Messiah for David, the Gospel for the law, the church Christian for that of Israel, and the enemies of the one for those of the other, the Psalms are made our own. Nay, they are with more fulness and propriety applied now to the substance, than they were of old to the "shadow of good things then to come,"  Hebrews 10:1 . For let it not pass unobserved, that when, upon the first publication of the Gospel, the Apostles had occasion to utter their transports of joy, on their being counted worthy to suffer for the name of their Lord and Master, which was then opposed by Jew and Gentile, they brake forth into an application of the second Psalm to the transactions then before their eyes,  Acts 4:25 . The Psalms, thus applied, have advantages which no fresh compositions, however finely executed, can possibly have; since, beside their incomparable fitness to express our sentiments, they are at the same time memorials of, and appeals to, former mercies and deliverances; they are acknowledgments of prophecies accomplished; they point out the connection between the old and new dispensations, thereby teaching us to admire and adore the wisdom of God displayed in both, and furnishing while we read or sing them, an inexhaustible variety of the noblest matter that can engage the contemplations of man.

Very few of the Psalms, comparatively, appear to be simply prophetical, and to belong only to Messiah, without the intervention of any other person. Most of them, it is apprehended, have a double sense, which stands upon this ground and foundation, that the ancient patriarchs, prophets, priests, and kings, were typical characters, in their several offices, and in the more remarkable passages of their lives, their extraordinary depressions and miraculous exaltations foreshowing him who was to arise as the head of the holy family, the great prophet, the true priest, the everlasting king. The Israelitish polity, and the law of Moses, were purposely framed after the example and shadow of things spiritual and heavenly; and the events which happened to the ancient people of God were designed to shadow out parallel occurrences, which should afterward take place in the accomplishment of man's redemption, and the rise and progress of the Christian church, ( See Prophecy . ) For this reason, the Psalms composed for the use of Israel, and by them accordingly used at the time, do admit of an application to us, who are now "the Israel of God,"  Galatians 6:16 , and to our Redeemer, who is the King of this Israel. It would be an arduous and adventurous undertaking to attempt to lay down the rules observed in the conduct of the mystic allegory, so diverse are the modes in which the Holy Spirit has thought proper to communicate his counsels to different persons on different occasions; inspiring and directing the minds of the prophets according to his good pleasure; at one time vouchsafing more full and free discoveries of future events; while, at another, he is more obscure and sparing in his intimations. From hence, of course, arises a great variety in the Scripture usage of this kind of allegory as to the manner in which the spiritual sense is couched under the other. Sometimes it can hardly break forth and show itself at intervals through the literal, which meets the eye as the ruling sense, and seems to have taken entire possession of the words and phrases. On the contrary, it is much oftener the capital figure in the piece, and stands confessed at once by such splendour of language, that the letter, in its turn, is thrown into shade, and almost totally disappears. Sometimes it shines with a constant equable light, and sometimes it darts upon us on a sudden, like a flash of lightning from the clouds. But a composition is never more truly elegant and beautiful, than when the two senses, alike conspicuous, run parallel together through the whole poem, mutually corresponding with and illustrating each other.

Thus the establishment of David upon his throne, notwithstanding the opposition made to it by his enemies, is the subject of the second Psalm. David sustains in it a twofold character, literal and allegorical. If we read over the Psalm first with an eye to the literal David, the meaning is obvious, and put out of all dispute by the sacred history. There is indeed an uncommon glow in the expression, and sublimity in the figures; and the diction is now and then exaggerated, as it were, on purpose to intimate and lead us to the contemplation of higher and more important matters concealed within. In compliance with this admonition, if we take another survey of the Psalm, as relative to the person and concerns of the spiritual David, a nobler series of events instantly rises to view, and the meaning becomes more evident, as well as exalted. The colouring, which may perhaps seem too bold and glaring for the king of Israel, will no longer appear so, when laid upon his great antitype. After we have thus attentively considered the subject apart, let us look at them together, and we shall behold the full beauty and majesty of this most charming poem. We shall perceive the two senses very distinct from each other, yet conspiring in perfect harmony, and bearing a wonderful resemblance in every feature and lineament, while the analogy between them is so exactly preserved, that either may pass for the original, from whence the other was copied. New light is continually cast upon the phraseology, fresh weight and dignity are added to the sentiment, till gradually ascending from things below to things above, from human affairs to those which are divine, they bear the great important theme upward with them, and at length place it in the height and brightness of heaven. What has been observed with regard to this Psalm, may also be applied to the seventy-second; the subject of which is of the same kind, and treated in the same manner. Its title might be, "The Inauguration of Solomon." The scheme of the allegory is alike in both; but a diversity of matter occasions an alteration in the diction. For whereas one is employed in celebrating the magnificent triumphs of victory, it is the design of the other to draw a pleasing picture of peace, and of that felicity which is her inseparable attendent. The style is therefore of a more even and temperate sort, and more richly ornamented. It abounds not with those sudden changes of the person speaking which dazzle and astonish; but the imagery is borrowed from the delightful scenes with which creation cheers the sight, and the pencil of the divine artist is dipped in the softer colours of nature. And here we may take notice how peculiarly adapted to the genius of this kind of allegory the parabolical style is, on account of that great variety of natural images to be found in it. For as these images are capable of being employed in the illustration of things divine and human, between which there is a certain analogy maintained, so they easily afford that ambiguity which is necessary in this species of composition, where the language is applicable to each sense, and obscure in neither; it comprehends both parts of the allegory, and may be clearly and distinctly referred to one or the other.

On this book Bishop Horsley remarks:—These Psalms go, in general, under the name of the Psalms of David. King David gave a regular and noble form to the musical part of the Jewish service. He was himself a great composer, both in poetry and music, and a munificent patron, no doubt, of arts in which he himself so much delighted and excelled. The Psalms, however, appear to be compositions of various authors, in various ages; some much more ancient than the times of King David, some of a much later age. Of many, David himself was undoubtedly the author; and that those of his composition were prophetic, we have David's own authority, which may be allowed to overpower a host of modern expositors. For thus King David, at the close of his life, describes himself and his sacred songs: "David, the son of Jesse, said, and the man who was raised up on high, the anointed of the God of Jacob, and the sweet psalmist of Israel, said, The Spirit of Jehovah spake by me, and his word was in my tongue." It was the word, therefore, of Jehovah's Spirit which was uttered by David's tongue. But it should seem, the Spirit of Jehovah would not be wanting to enable a mere man to make complaint of his own enemies, to describe his own sufferings just as he felt them, and his own escapes just as they happened. But the Spirit of Jehovah described by David's utterance what was known to that Spirit only, and that Spirit only could describe. So that, if David be allowed to have had any knowledge of the true subject of his own compositions, it was nothing in his own life, but something put into his mind by the Holy Spirit of God; and the misapplication of the Psalms to the literal David has done more mischief than the misapplication of any other parts of the Scriptures among those who profess the belief of the Christian religion.

The Psalms are all poems of the lyric kind, that is, adapted to music, but with great variety in the style of composition. Some are simply odes. An ode is a dignified sort of song, narrative of the facts, either of public history or private life, in a highly adorned and figured style. But the figure in the Psalms is that which is peculiar to the Hebrew language, in which the figure gives its meaning with as much perspicuity as the plainest speech.

Some are of the sort called elegiac, which are pathetic compositions upon mournful subjects. Some are ethic, delivering grave maxims of life, or the precepts of religion, in solemn, but for the most part simple, strains. Some are enigmatic, delivering the doctrines of religion in enigmata, contrived to strike the imagination forcibly, and yet easy to be understood. In all these the author delivers the whole matter in his own person. But a very great, I believe the far greater, part are a sort of dramatic ode, consisting of dialogues between persons sustaining certain characters. In these dialogue Psalms the persons are frequently the Psalmist himself, or the chorus of priests and Levites, or the leader of the Levitical band, opening the ode with a proem declarative of the subject, and very often closing the whole with a solemn admonition drawn from what the other persons say. The other persons are Jehovah, sometimes as one, sometimes as another, of the three Persons; Christ in his incarnate state, sometimes before, sometimes after, his resurrection; the human soul of Christ as distinguished from the divine essence. Christ, in his incarnate state, is personated sometimes as a priest, sometimes as a king, sometimes as a conqueror; and in those Psalms in which he is introduced as a conqueror, the resemblance is very remarkable between this conqueror in the book of Psalms and the warrior on the white horse in the book of Revelation, who goes forth with a crown on his head, and a bow in his hand, conquering and to conquer. And the conquest in the Psalms is followed, like the conquest in the Revelation, by the marriage of the conqueror. These are circumstances of similitude which, to any one versed in the prophetic style, prove beyond a doubt that the mystical conqueror is the same personage in both.

Hawker's Poor Man's Concordance And Dictionary [4]

The book of Psalms is called by the Jews Sepher Tihillim, which more particularly signifies, the book of psalms, or hymns of praise. But there are two other names given by the Hebrews to the psalms, Zemer and Sher. The former is taken from, a root in Hebrew signifying to prune; and the latter from a word signifying power. And hence some have thought, that as the chief scope and tendency of the psalms is to lead to Christ, the former implies his humiliation, and the latter his glory. And it is remarkable, (but whether it may be considered as confirming this opinion I do not presume to say) that when the Lord Jesus was expounding to the two disciples, in his way to Emmaus, on the morning of his resurrection, the things concerning himself, he made use of those very arguments as proofs in his humiliation, and glory of his divine mission. "Ought not Christ (said he) to have suffered these things, and to enter into his glory." ( Luke 24:26)

The Psalms have been generally divided into five heads, but it doth not appear that the Holy Ghost hath given any authority for this division. Taken as one grand whole, they form a complete epitome of the gospel; and from those which plainly point to Christ, and can refer to no other, we may venture to conclude that those which do not in our apprehension, the obscurity ariseth from our dulness, and not from any want of allusion to him. As to Jesus give all the prophets witness, and as the Psalms many of them are prophetical, evidently they are included. It is best in the perusal of every one of them to be on the look-out for Jesus, for precious are the things contained in the Psalms concerning him.

On those fifteen psalms entitled A song of degrees, from  Psalms 120:1-7 to  Psalms 134:1-3 included, I can offer no one observation to form the least conjecture what the title means. As the Holy Ghost hath not thought proper to explain the cause for which they are so called, it should seem to be the safest plan to avoid all unprofitable enquiries, than attempt to be wise above what is written. The Psalms themselves are full of Jesus, and therefore in the discovery and enjoyment of him it will be our highest wisdom to direct our researches, praying that as often as the Holy Ghost opens any part of this precious volume to our meditation, he that hath the key of David may open our heart to the right apprehension of them, to make us wise unto salvation, through the faith that is in Christ Jesus.

Hastings' Dictionary of the New Testament [5]

‘Psalms’ in the Apostolic Church included OT Psalms and similar hymns of praise to God, as sung to musical accompaniment. In  1 Corinthians 14:15 St. Paul contemplates impromptu utterances under the influence of the Spirit, and appeals for the use of the reason in praise no less than in prayer. In  1 Corinthians 14:26 he assumes that members of the congregation will bring their assembly psalms which they have composed or learnt and wish to sing with or before others. The Psalms of Solomon, which may be dated c._ 50 b.c., prove the use of sacred poetry among the Jews at this period. Forceful hymns, full of noble indignation against Roman oppression and Jewish secularity, in their praise of patience and resignation they express the feeling that Israel deserves chastening. Like the Benedictus they look for a Messiah of the house of David. But they fall short of the canticles of the NT in spiritual insight. The tone is self-righteous and sometimes fierce.

The use of psalms in private is referred to in  James 5:13 : ‘He that is merry let him sing psalms’ (cf.  Ephesians 5:19).

A. E. Burn.

Morrish Bible Dictionary [6]

This word occurs in the O.T. only in connection with the Psalms of David and those in the Book of Psalms. David is called "the sweet psalmist of Israel."  2 Samuel 23:1 . There can be no doubt that in connection with the 'singers,' and the praising God with instruments, the Psalms were used. We read "sing psalms unto him," "Make a joyful noise unto him with psalms," etc. In N.T. days, for a time at least, the Psalms of David may have been sung by believers, but there were also hymns and spiritual songs, and it is to be remarked that in the singing at the institution of the Lord's supper a hymn (ὑμνέω) is spoken of, not a psalm (ψαλμός). See PASSOVER. The latter Greek word (besides the occurrences which refer to the Book of Psalms) is found in  1 Corinthians 14:26;  Ephesians 5:19;  Colossians 3:16 .

Easton's Bible Dictionary [7]

  •   Psalm 7 and   Habakkuk 3 bear the title (Heb.) Shiggaion (q.v.).

    Copyright Statement These dictionary topics are from M.G. Easton M.A., D.D., Illustrated Bible Dictionary, Third Edition, published by Thomas Nelson, 1897. Public Domain.

    Bibliography Information Easton, Matthew George. Entry for 'Psalms'. Easton's Bible Dictionary. https://www.studylight.org/dictionaries/eng/ebd/p/psalms.html. 1897.

    • References

    1. ↑ Psalms from Hastings' Dictionary of the Bible
    2. ↑ Psalms from Fausset's Bible Dictionary
    3. ↑ Psalms from Watson's Biblical & Theological Dictionary
    4. ↑ Psalms from Hawker's Poor Man's Concordance And Dictionary
    5. ↑ Psalms from Hastings' Dictionary of the New Testament
    6. ↑ Psalms from Morrish Bible Dictionary
    7. ↑ Psalms from Easton's Bible Dictionary
    Retrieved from "http://wiki.bibleportal.com/index.php?title=Psalms&oldid=318287"