Psalm

The psalms are the production of various authors. "Only a portion of the Book of Psalms claims David as its author. Other inspired poets in successive generations added now one now another contribution to the sacred collection, and thus in the wisdom of Providence it more completely reflects every phase of human emotion and circumstances than it otherwise could." But it is specially to David and his contemporaries that we owe this precious book. In the "titles" of the psalms, the genuineness of which there is no sufficient reason to doubt, 73 are ascribed to David. Peter and John (Acts 4:25) ascribe to him also the second psalm, which is one of the 48 that are anonymous. About two-thirds of the whole collection have been ascribed to David. Psalms 39, 62, and 77 are addressed to Jeduthun, to be sung after his manner or in his choir. Psalms 50 and 73-83 are addressed to Asaph, as the master of his choir, to be sung in the worship of God. The "sons of Korah," who formed a leading part of the Kohathite singers (2 Chr. 20:19), were intrusted with the arranging and singing of Ps. 42, 44-49, 84, 85, 87, and 88. In Luke 24:44 the word "psalms" means the Hagiographa, i.e., the holy writings, one of the sections into which the Jews divided the Old Testament. (See [510]BIBLE.) None of the psalms can be proved to have been of a later date than the time of Ezra and Nehemiah, hence the whole collection extends over a period of about 1,000 years. There are in the New Testament 116 direct quotations from the Psalter. The Psalter is divided, after the analogy of the Pentateuch, into five books, each closing with a doxology or benediction: (1.) The first book comprises the first 41 psalms, all of which are ascribed to David except 1, 2, 10, and 33, which, though anonymous, may also be ascribed to him. (2.) Book second consists of the next 31 psalms (42-72), 18 of which are ascribed to David and 1 to Solomon (the 72nd). The rest are anonymous. (3.) The third book contains 17 psalms (73-89), of which the 86th is ascribed to David, the 88th to Heman the Ezrahite, and the 89th to Ethan the Ezrahite. (4.) The fourth book also contains 17 psalms (90-106), of which the 90th is ascribed to Moses, and the 101st and 103rd to David. (5.) The fifth book contains the remaining psalms, 44 in number. Of these, 15 are ascribed to David, and the 127th to Solomon. Ps. 136 is generally called "the great hallel." But the Talmud includes also Ps. 120-135. Ps. 113-118, inclusive, constitute the "hallel" recited at the three great feasts, at the new moon, and on the eight days of the feast of dedication. "It is presumed that these several collections were made at times of high religious life: the first, probably, near the close of David's life; the second in the days of Solomon; the third by the singers of Jehoshaphat (2 Chr. 20:19); the fourth by the men of Hezekiah (29, 30, 31); and the fifth in the days of Ezra." The Mosaic ritual makes no provision for the service of song in the worship of God. David first taught the Church to sing the praises of the Lord. He first introduced into the ritual of the tabernacle music and song. Divers names are given to the psalms. (1.) Some bear the Hebrew designation shir (Gr. ode, a song). Thirteen have this title. It means the flow of speech, as it were, in a straight line or in a regular strain. This title includes secular as well as sacred song. (2.) Fifty-eight psalms bear the designation (Heb.) mitsmor (Gr. psalmos, a psalm), a lyric ode, or a song set to music; a sacred song accompanied with a musical instrument. (3.) Ps. 145, and many others, have the designation (Heb.) tehillah (Gr. hymnos, a hymn), meaning a song of praise; a song the prominent thought of which is the praise of God. (4.) Six psalms (16, 56-60) have the title (Heb.) michtam (q.v.). (5.) Ps. 7 and Hab. 3 bear the title (Heb.) shiggaion (q.v.).

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 Cor. v, 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,” Heb. x, 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 iv, 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,” Gal. vi, 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 attendant. 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 Yahweh spake by me, and his word was in my tongue.’ It was the word, therefore, of Yahweh’s Spirit which was uttered by David’s tongue. But it should seem, the Spirit of Yahweh 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 Yahweh 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 Yahweh, 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.