Bible Commentaries
Psalms

PSALMS

XI

AN INTRODUCTION TO THE BOOK OF PSALMS

According to my usual custom, when taking up the study of a book of the Bible I give at the beginning a list of books as helps to the study of that book. The following books I heartily commend on the Psalms:

1. Sampey’s Syllabus for Old Testament Study. This is especially good on the grouping and outlining of some selected psalms. There are also some valuable suggestions on other features of the book.

2. Kirkpatrick’g commentary, in "Cambridge Bible for Schools and Colleges," is an excellent aid in the study of the Psalter.

3. Perowne’s Book of Psalms is a good, scholarly treatise on the Psalms. A special feature of this commentary is the author’s "New Translation" and his notes are very helpful.

4. Spurgeon’s Treasury of David. This is just what the title implies. It is a voluminous, devotional interpretation of the Psalms and helpful to those who have the time for such extensive study of the Psalter.

5. Hengstenburg on the Psalms. This is a fine, scholarly work by one of the greatest of the conservative German scholars.

6. Maclaren on the Psalms, in "The Expositor’s Bible," is the work of the world’s safest, sanest, and best of all works that have ever been written on the Psalms.

7. Thirtle on the Titles of the Psalms. This is the best on the subject and well worth a careful study.

At this point some definitions are in order. The Hebrew word for psalm means praise. The word in English comes from psalmos, a song of lyrical character, or a song to be sung and accompanied with a lyre. The Psalter is a collection of sacred and inspired songs, composed at different times and by different authors.

The range of time in composition was more than 1,000 years, or from the time of Moses to the time of Ezra. The collection in its present form was arranged probably by Ezra in the fifth century, B.C.

The Jewish classification of Old Testament books was The Law, the Prophets, and the Holy Writings. The Psalms was given the first place in the last group.

They had several names, or titles, of the Psalms. In Hebrew they are called "The Book of Prayers," or "The Book of Praises." The Hebrew word thus used means praises. The title of the first two books is found in Psalms 72:20: "The prayers of David the son of Jesse are ended." The title of the whole collection of Psalms in the Septuagint is Biblos Psalman which means the "Book of Psalms." The title in the Alexandrian Codex is Psalterion which is the name of a stringed instrument, and means "The Psalter."

The derivation of our English words, "psalms," "psalter," and "psaltery," respectively, is as follows:

1. "Psalms" comes from the Greek word, psalmoi, which is also from psallein, which means to play upon a stringed instrument. Therefore the Psalms are songs played upon stringed instruments, and the word here is used to apply to the whole collection.

2. "Psalter" is of the same origin and means the Book of Psalms and refers also to the whole collection.

3. "Psaltery" is from the word psalterion, which means "a harp," an instrument, supposed to be in the shape of a triangle or like the delta of the Greek alphabet. See Psalms 33:2; Psalms 71:22; Psalms 81:2; Psalms 144:9.

In our collection there are 150 psalms. In the Septuagint there is one extra. It is regarded as being outside the sacred collection and not inspired. The subject of this extra psalm is "David’s victory over Goliath." The following is a copy of it: I was small among my brethren, And youngest in my father’s house, I used to feed my father’s sheep. My hands made a harp, My fingers fashioned a Psaltery. And who will declare unto my Lord? He is Lord, he it is who heareth. He it was who sent his angel And took me from my father’s sheep, And anointed me with the oil of his anointing. My brethren were goodly and tall, But the Lord took no pleasure in them. I went forth to meet the Philistine. And he cursed me by his idols But I drew the sword from beside him; I beheaded him and removed reproach from the children of Israel.

It will be noted that this psalm does not have the earmarks of an inspired production. There is not found in it the modesty so characteristic of David, but there is here an evident spirit of boasting and self-praise which is foreign to the Spirit of inspiration.

There is a difference in the numbering of the psalms in our version which follows the Hebrew, and the numbering in the Septuagint. Omitting the extra one in the Septuagint, there is no difference as to the total number. Both have 150 and the same subject matter, but they are not divided alike.

The following scheme shows the division according to our version and also the Septuagint: Psalms 1-8 in the Hebrew equal 1-8 in the Septuagint; 9-10 in the Hebrew combine into 9 in the Septuagint; 11-113 in the Hebrew equal 10-112 in the Septuagint; 114-115 in the Hebrew combine into 113 in the Septuagint; 116 in the Hebrew divides into 114-115 in the Septuagint; 117-146 in the Hebrew equal 116-145 in the Septuagint; 147 in the Hebrew divides into 146-147 in the Septuagint; 148-150 in the Hebrew equal 148-150 in the Septuagint.

The arrangement in the Vulgate is the same as the Septuagint. Also some of the older English versions have this arangement. Another difficulty in numbering perplexes an inexperienced student in turning from one version to another, viz: In the Hebrew often the title is verse I, and sometimes the title embraces verses 1-2.

The book divisions of the Psalter are five books, as follows:

Book I, Psalms 1-41 (41 chapters)

Book II, Psalms 42-72 (31 chapters)

Book III, Psalms 73-89 (17 chapters)

Book IV, Psalms 90-106 (17 chapters)

Book V, Psalms 107-150 (44 chapters)

They are marked by an introduction and a doxology. Psalm I forms an introduction to the whole book; Psalm 150 is the doxology for the whole book. The introduction and doxology of each book are the first and last psalms of each division, respectively.

There were smaller collections before the final one, as follows:

Books I and II were by David; Book III, by Hezekiah, and Books IV and V, by Ezra.

Certain principles determined the arrangement of the several psalms in the present collection:

1. David is honored with first place, Book I and II, including Psalms 1-72.

2. They are grouped according to the use of the name of God:

(1) Psalms 1-41 are Jehovah psalms;

(2) Psalms 42-83 are Elohim-psalms;

(3) Psalms 84-150 are Jehovah psalms.

3. Book IV is introduced by the psalm of Moses, which is the first psalm written.

4. Some are arranged as companion psalms, for instance, sometimes two, sometimes three, and sometimes more. Examples: Psalms 2 and 3; 22, 23, and 24; 113-118.

5. They were arranged for liturgical purposes, which furnished the psalms for special occasions, such as feasts, etc. We may be sure this arrangement was not accidental. An intelligent study of each case is convincing that it was determined upon rational grounds.

All the psalms have titles but thirty-three, as follows:

In Book I, Psalms 1; 2; 10; 33, (4 are without titles).

In Book II, Psalms 43; 71, (2 are without titles).

In Book IV, Psalms 91; 93; 94; 95; 96; 97; 104; 105; 106, (9 are without titles).

In Book V, Psalms 107; III; 112; 113; 114; 115; 116; 117; 118; 119; 135; 136; 137; 146; 147; 148; 149; 150, (18 are without titles).

The Talmud calls these psalms that have no title, "Orphan Psalms." The later Jews supply these titles by taking the nearest preceding author. The lack of titles in Psalms 1; 2; and 10 may be accounted for as follows: Psalm 1 is a general introduction to the whole collection and Psalm 2 was, perhaps, a part of Psalm 1. Psalms 9-10 were formerly combined into one, therefore Psalm 10 has the same title as Psalm 9.

QUESTIONS

1. What books are commended on the Psalms?

2. What is a psalm?

3. What is the Psalter?

4. What is the range of time in composition?

5. When and by whom was the collection in its present form arranged?

6. What the Jewish classification of Old Testament books, and what the position of the Psalter in this classification?

7. What is the Hebrew title of the Psalms?

8. Find the title of the first two books from the books themselves.

9. What is the title of the whole collection of psalms in the Septuagint?

10. What is the title in the Alexandrian Codex?

11. What is the derivation of our English word, "Psalms", "Psalter", and “Psaltery,” respectively?

12. How many psalms in our collection?

13. How many psalms in the Septuagint?

14. What about the extra one in the Septuagint?

15. What is the subject of this extra psalm?

16. How does it compare with the Canonical Psalms?

17. What is the difference in the numbering of the psalms in our version which follows the Hebrew, and the numbering in the Septuagint?

18. What is the arrangement in the Vulgate?

19. What other difficulty in numbering which perplexes an inexperienced student in turning from one version to another?

20. What are the book divisions of the Psalter and how are these divisions marked?

21. Were there smaller collections before the final one? If so, what were they?

22. What principles determined the arrangement of the several psalms in the present collection?

23. In what conclusion may we rest concerning this arrangement?

24. How many of the psalms have no titles?

25. What does the Talmud call these psalms that have no titles?

26. How do later Jews supply these titles?

27. How do you account for the lack of titles in Psalms 1; 2; 10?

XII

AN INTRODUCTION TO THE BOOK OF PSALMS (CONTINUED)

The following is a list of the items of information gathered from the titles of the psalms:

1. The author: "A Psalm of David" (Psalms 37).

2. The occasion: "When he fled from Absalom, his son" (Psalms 3).

3. The nature, or character, of the poem: –

(1) Maschil, meaning "instruction," a didactic poem (Psalms 42).

(2) Michtam, meaning "gold," "A Golden Psalm"; this means excellence or mystery (Psalms 16; 56-60).

4. The occasion of its use: "A Psalm of David for the dedication of the house" (Psalms 30).

5. Its purpose: "A Psalm of David to bring remembrance" (Psalms 38; 70).

6. Direction for its use: "A Psalm of David for the chief musician" (Psalms 4).

7. The kind of musical instrument:

(1) Neginoth, meaning to strike a chord, as on stringed instruments (Psalms 4:1).

(2) Nehiloth, meaning to perforate, as a pipe or flute (Psalms 5).

(3) Shoshannim, Lilies, which refers probably to cymbals (Psalms 45; 69).

8. A special choir:

(1) Sheminith, the "eighth," or octave below, as a male choir (Psalms 6; 12).

(2) Alamoth, female choir (Psalms 46).

(3) Muth-labben, music with virgin voice, to be sung by a choir of boys in the treble (Psalms 9).

9. The keynote, or tune:

(1) Aijeleth-sharar, "Hind of the morning," a song to the melody of which this is sung (Psalms 22).

(2) Al-tashheth, "Destroy thou not," the beginning of a song the tune of which is sung (Psalms 57; 58; 59; 75).

(3) Gittith, set to the tune of Gath, perhaps a tune which David brought from Gath (Psalms 8; 81; 84).

(4) Jonath-elim-rehokim, "The dove of the distant terebinths," the commencement of an ode to the air of which this song was to be sung (Psalms 56).

(5) Leannoth, the name of a tune (Psalms 88).

(6) Mahalath, an instrument (Psalms 53); Leonnoth-Mahaloth, to chant to a tune called Mahaloth.

(7) Shiggaion, a song or a hymn.

(8) Shushan-Eduth, "Lily of testimony," a tune (Psalms 60). Note some examples: (1) "America," "Shiloh," "Auld Lang Syne." These are the names of songs such as we are familiar with; (2) "Come Thou Fount of Every Blessing" and "There Is a Fountain Filled with Blood," are examples of sacred hymns.

10. The liturgical use, those noted for the feasts, e.g., the Hallels and Hallelujah Psalms (Psalms 146-150).

11. The destination, as "Song of Ascents" (Psalms 120-134)

12. The direction for the music, such as Selah, which means "Singers, pause"; Higgaion-Selah, to strike a symphony with selah, which means an instrumental interlude (Psalms 9:16).

The longest and fullest title to any of the psalms is the title to Psalm 60. The items of information from this title are as follows: (1) the author; (2) the chief musician; (3) the historical occasion; (4) the use, or design; (5) the style of poetry; (6) the instrument or style of music.

The parts of these superscriptions which most concern us now are those indicating author, occasion, and date. As to the historic value or trustworthiness of these titles most modern scholars deny that they are a part of the Hebrew text, but the oldest Hebrew text of which we know anything had all of them. This is the text from which the Septuagint was translated. It is much more probable that the author affixed them than later writers. There is no internal evidence in any of the psalms that disproves the correctness of them, but much to confirm. The critics disagree among themselves altogether as to these titles. Hence their testimony cannot consistently be received. Nor can it ever be received until they have at least agreed upon a common ground of opposition.

David is the author of more than half the entire collection, the arrangement of which is as follows:

1. Seventy-three are ascribed to him in the superscriptions.

2. Some of these are but continuations of the preceding ones of a pair, trio, or larger group.

3. Some of the Korahite Psalms are manifestly Davidic.

4. Some not ascribed to him in the titles are attributed to him expressly by New Testament writers.

5. It is not possible to account for some parts of the Psalter without David. The history of his early life as found in Samuel, 1 and 2 Kings, and 1and 2 Chronicles, not only shows his remarkable genius for patriotic and sacred songs and music, but also shows his cultivation of that gift in the schools of the prophets. Some of these psalms of the history appear in the Psalter itself. It is plain to all who read these that they are founded on experience, and the experience of no other Hebrew fits the case. These experiences are found in Samuel, 1 and 2 Kings, and 1 and 2 Chronicles.

As to the attempt of the destructive critics to rob David of his glory in relation to the Psalter by assigning the Maccabean era as the date of composition, I have this to say:

1. This theory has no historical support whatever, and therefore is not to be accepted at all.

2. It has no support in tradition, which weakens the contention of the critics greatly.

3. It has no support from finding any one with the necessary experience for their basis.

4. They can give no reasonable account as to how the titles ever got there.

5. It is psychologically impossible for anyone to have written these 150 psalms in the Maccabean times.

6. Their position is expressly contrary to the testimony of Christ and the apostles. Some of the psalms which they ascribe to the Maccabean Age are attributed to David by Christ himself, who said that David wrote them in the Spirit.

The obvious aim of this criticism and the necessary result if it be Just, is a positive denial of the inspiration of both Testaments.

Other authors are named in the titles, as follows: (1) Asaph, to whom twelve psalms have been assigned: (2) Mosee, Psalm 90; (3) Solomon, Psalms 72; 127; (4) Heman, Psalm 80; (5) Ethem, Psalm 89; (6) A number of the psalms are ascribed to the sons of Korah.

Not all the psalms ascribed to Asaph were composed by one person. History indicates that Asaph’s family presided over the song service for several generations. Some of them were composed by his descendants by the game name. The five general outlines of the whole collection are as follows:

I. By books

1. Psalms 1-41 (41)

2. Psalms 42-72 (31)

3. Psalms 73-89 (17)

4. Psalms 90-106 (17)

5. Psalms 107-150 (44)

II. According to date and authorship

1. The psalm of Moses (Psalms 90)

2. Psalms of David:

(1) The shepherd boy (Psalms 8; 19; 29; 23).

(2) David when persecuted by Saul (Psalms 59; 56; 34; 52; 54; 57; 142).

(3) David the King (Psalms 101; 18; 24; 2; 110; 20; 20; 21; 60; 51; 32; 41; 55; 3, 4; 64; 62; 61; 27).

3. The Asaph Psalms (Psalms 50; 73; 83).

4. The Korahite Psalms (Psalms 42; 43; 84).

5. The psalms of Solomon (Psalms 72; 127).

6. The psalms of the era of Hezekiah and Isaiah (Psalms 46; 47; 48)

7. The psalms of the Exile (Psalms 74; 79; 137; 102)

8. The psalms of the Restoration (Psalms 85; 126; 118; 146-150)

III. By groups

1. The Jehovistic and Elohistic Psalms:

(1) Psalms 1-41 are Jehovistic;

(2) Psalms 42-83 are Elohistic Psalms;

(3) Psalms 84-150 are Jehovistic.

2. The Penitential Psalms (Psalms 6; 32; 38; 51; 102; 130; 143)

3. The Pilgrim Psalms (Psalms 120-134)

4. The Alphabetical Psalms (Psalms 9; 10; 25; 34; 37; 111:112; 119; 145)

5. The Hallelujah Psalms (Psalms 11-113; 115-117; 146-150; to which may be added Psalms 135) Psalms 113-118 are called "the Egyptian Hallel"

IV. Doctrines of the Psalms

1. The throne of grace and how to approach it by sacrifice, prayer, and praise.

2. The covenant, the basis of worship.

3. The paradoxical assertions of both innocence & guilt.

4. The pardon of sin and justification.

5. The Messiah.

6. The future life, pro and con.

7. The imprecations.

8. Other doctrines.

V. The New Testament use of the Psalms

1. Direct references and quotations in the New Testament.

2. The allusions to the psalms in the New Testament. Certain experiences of David’s life made very deep impressions on his heart, such as: (1) his peaceful early life; (2) his persecution by Saul; (3) his being crowned king of the people; (4) the bringing up of the ark; (5) his first great sin; (6) Absalom’s rebellion; (7) his second great sin; (8) the great promise made to him in 2 Samuel 7; (9) the feelings of his old age.

We may classify the Davidic Psalms according to these experiences following the order of time, thus:

1. His peaceful early life (Psalms 8; 19; 29; 23)

2. His persecution by Saul (Psalms 59; 56; 34; 7; 52; 120; 140; 54; 57; 142; 17; 18)

3. Making David King (Psalms 27; 133; 101)

4. Bringing up the ark (Psalms 68; 24; 132; 15; 78; 96)

5. His first great sin (Psalms 51; 32)

6. Absalom’s rebellion (Psalms 41; 6; 55; 109; 38; 39; 3; 4; 63; 42; 43; 5; 62; 61; 27)

7. His second great sin (Psalms 69; 71; 102; 103)

8. The great promise made to him in 2 Samuel 7 (Psalms 2)

9. Feelings of old age (Psalms 37)

The great doctrines of the psalms may be noted as follows: (1) the being and attributes of God; (3) sin, both original and individual; (3) both covenants; (4) the doctrine of justification; (5) concerning the Messiah.

There is a striking analogy between the Pentateuch and the Psalms. The Pentateuch contains five books of law; the Psalms contain five books of heart responses to the law.

It is interesting to note the historic controversies concerning the singing of psalms. These were controversies about singing uninspired songs, in the Middle Ages. The church would not allow anything to be used but psalms.

The history in Samuel, 1 and 2 Kings, and 1 and 2 Chronicles, and in Ezra and Nehemiah is very valuable toward a proper interpretation of the psalms. These books furnish the historical setting for a great many of the psalms which is very indispensable to their proper interpretation.

Professor James Robertson, in the Poetry and Religion of the Psalms constructs a broad and strong argument in favor of the Davidic Psalms, as follows:

1. The age of David furnished promising soil for the growth of poetry.

2. David’s qualifications for composing the psalms make it highly probable that David is the author of the psalms ascribed to him.

3. The arguments against the possibility of ascribing to David any of the hymns in the Hebrew Psalter rests upon assumptions that are thoroughly antibiblical.

The New Testament makes large use of the psalms and we learn much as to their importance in teaching. There are seventy direct quotations in the New Testament from this book, from which we learn that the Scriptures were used extensively in accord with 2 Timothy 3:16-17. There are also eleven references to the psalms in the New Testament from which we learn that the New Testament writers were thoroughly imbued with the spirit and teaching of the psalms. Then there are eight allusions ’to this book in the New Testament from which we gather that the Psalms was one of the divisions of the Old Testament and that they were used in the early church.

QUESTIONS

1. Give a list of the items of information gathered from the titles of the psalms.

2. What is the longest title to any of the psalms and what the items of this title?

3. What parts of these superscriptions most concern us now?

4. What is the historic value, or trustworthiness of these titles?

5. State the argument showing David’s relation to the psalms.

6. What have you to say of the attempt of the destructive critics to rob David of his glory in relation to the Psalter by assigning the Maccabean era as the date of composition?

7. What the obvious aim of this criticism and the necessary result, if it be just?

8. What other authors are named in the titles?

9. Were all the psalms ascribed to Asaph composed by one person?

10. Give the five general outlines of the whole collection, as follows: I. The outline by books II. The outline according to date and authorship III. The outline by groups IV. The outline of doctrines V. The outline by New Testament quotations or allusions.

11. What experiences of David’s life made very deep impressions on his heart?

12. Classify the Davidic Psalms according to these experiences following the order of time.

13. What the great doctrines of the psalms?

14. What analogy between the Pentateuch and the Psalms?

15. What historic controversies concerning the singing of psalms?

16. Of what value is the history in Samuel, 1 Kings and 2 Chronicles, and in Ezra and Nehemiah toward a proper interpretation of the psalms?

17. Give Professor James Robertson’s argument in favor of the Davidic authorship of the psalms.

18. What can you say of the New Testament use of the psalms and what do we learn as to their importance in teaching?

19. What can you say of the New Testament references to the psalms, and from the New Testament references what the impression on the New Testament writers?

20. What can you say of the allusions to the psalms in the New Testament?