Psalms Introduction
Introduction
The Hebrew Psalter numbers 150 songs. The corresponding number in the Septuagint differs because of a different division of certain Psalms. Hence the numbering in the Greek Psalter (which was followed by the Latin Vulgate) is usually one digit behind the Hebrew. In the New American Bible the numbering of the verses follows the Hebrew numbering; many of the traditional English translations are often a verse number behind the Hebrew because they do not count the superscriptions as a verse.
The superscriptions derive from pre-Christian Jewish tradition, and they contain technical terms, many of them apparently liturgical, which are no longer known to us. Seventy-three Psalms are attributed to David, but there is no sure way of dating any Psalm. Some are preexilic (before 587), and others are postexilic (after 539), but not as late as the Maccabean period (ca. 165). The Psalms are the product of many individual collections (e.g., Songs of Ascents, Ps 120–134), which were eventually combined into the present work in which one can detect five “books,” because of the doxologies which occur at 41:14; 72:18–19; 89:53; 106:48.
Two important features of the Psalms deserve special notice. First, the majority were composed originally precisely for liturgical worship. This is shown by the frequent indication of liturgical leaders interacting with the community (e.g., Ps 118:1–4). Secondly, they follow certain distinct patterns or literary forms. Thus, the hymn is a song of praise, in which a community is urged joyfully to sing out the praise of God. Various reasons are given for this praise (often introduced by “for” or “because”): the divine work of creation and sustenance (Ps 135:1–12; 136). Some of the hymns have received a more specific classification, based on content. The “Songs of Zion” are so called because they exalt Zion, the city in which God dwells among the people (Ps 47; 96–99). Characteristic of the songs of praise is the joyful summons to get involved in the activity; Ps 104 is an exception to this, although it remains universal in its thrust.
Another type of Psalm is similar to the hymn: the thanksgiving Psalm. This too is a song of praise acknowledging the Lord as the rescuer of the psalmist from a desperate situation. Very often the psalmist will give a flashback, recounting the past distress, and the plea that was uttered (Ps 30; 116). The setting for such prayers seems to have been the offering of a todah (a “praise” sacrifice) with friends in the Temple.
There are more Psalms of lament than of any other type. They may be individual (e.g., Ps 3–7; 22) or communal (e.g., Ps 44). Although they usually begin with a cry for help, they develop in various ways. The description of the distress is couched in the broad imagery typical of the Bible (one is in Sheol, the Pit, or is afflicted by enemies or wild beasts, etc.)—in such a way that one cannot pinpoint the exact nature of the psalmist’s plight. However, Ps 51 (cf. also Ps 130) seems to refer clearly to deliverance from sin. Several laments end on a note of certainty that the Lord has heard the prayer (cf. Ps 7, but contrast Ps 88), and the Psalter has been characterized as a movement from lament to praise. If this is somewhat of an exaggeration, it serves at least to emphasize the frequent expressions of trust which characterize the lament. In some cases it would seem as if the theme of trust has been lifted out to form a literary type all its own; cf. Ps 23, 62, 91. Among the communal laments can be counted Ps 74 and 79. They complain to the Lord about some national disaster, and try to motivate God to intervene in favor of the suffering people.
Other Psalms are clearly classified on account of content, and they may be in themselves laments or Psalms of thanksgiving. Among the “royal” Psalms that deal directly with the currently reigning king, are Ps 20, 21, and 72. Many of the royal Psalms were given a messianic interpretation by Christians. In Jewish tradition they were preserved, even after kingship had disappeared, because they were read in the light of the Davidic covenant reported in 2 Sm 7. Certain Psalms are called wisdom Psalms because they seem to betray the influence of the concerns of the ages (cf. Ps 37, 49), but there is no general agreement as to the number of these prayers. Somewhat related to the wisdom Psalms are the “torah” Psalms, in which the torah (instruction or law) of the Lord is glorified (Ps 1; 19:8–14; 119). Ps 78, 105, 106 can be considered as “historical” Psalms. Although the majority of the Psalms have a liturgical setting, there are certain prayers that may be termed “liturgies,” so clearly does their structure reflect a liturgical incident (e.g., Ps 15, 24).
It is obvious that not all of the Psalms can be pigeon-holed into neat classifications, but even a brief sketch of these types help us to catch the structure and spirit of the Psalms we read. It has been rightly said that the Psalms are “a school of prayer.” They not only provide us with models to follow, but inspire us to voice our own deepest feelings and aspirations.
First Book—Psalms 1–41
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Psalms Introduction: NABRE
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Confraternity of Christian Doctrine, Inc
Psalm Introduction
Introduction
The Book of Psalms has often been called the hymnbook and prayer book of the Bible. The individual psalms were written in the meter and style of classical Hebrew poetry and set for singing as part of public worship. But many of them also can double as personal prayers, read or recited privately. The total number of psalms in this collection is 150 representing a variety of types: laments, songs of thanksgiving and praise of God, pilgrimage songs, wisdom songs, songs of Zion, and songs for the king's enthronement. They also include prayerful songs for God's help, for (personal and national) rescue from disaster, and for forgiveness. They cover a wide range of subjects and express a wide range of emotion. The longest psalm (119) extols the joys and benefits of studying Torah (God's instructions and commandments).
This collection of 150 psalms, however, is not generally organized by “types” or subjects, with the exception of the “Songs of Degrees (Ascent)” (120–134), which were sung by those making pilgrimages up to Jerusalem. Instead, the various types of psalms are simply gathered into five sections, perhaps in recognition of the five books comprising the Torah (Pentateuch): Book I (1–41); Book II (42–72); Book III (73–89); Book IV (90–106); and Book V (107–150). The division between each section is distinctly marked: the final verse of the last psalm in each section concludes with an expression of praise of God and a double or single “Amen” (for example, see the KJV at 41.13, “Amen, and Amen”). Because the language of the psalms is so evocative of the human spirit and trust in God, so worshipful and even healing, these songs of praise and prayer have been at the center of worship and liturgy for Jews and Christians for centuries. Psalms is the most frequently quoted book in the entire Bible, and the New Testament has over 250 allusions to the psalms.
Because the psalms were all composed in Hebrew poetry, this collection is also much valued by scholars as a source for the study of Hebrew poetry and its central feature—poetic parallelism. Unlike English poetry, this style prizes the artful “rhyming” of thoughts, not sounds. This can be seen, for example, in 145.14: “The Lord upholdeth all that fall, / and raiseth up all those that be bowed down.” In this system the parallel line echoes or modifies the preceding line in a way that more richly enhances the meaning. Parallelism can also introduce expansions or even contradictions in the parallel line to good effect. For readers, attention to the ways in which the psalms use this poetic feature can be very helpful to understanding. In the KJV most parallelisms occur within a single verse, but some may span two or more verses (e.g., 101.2b,3; 114.5,6).
Outline
Book I (1.1—41.13)
Book II (42.1—72.20)
Book III (73.1—89.52)
Book IV (90.1—106.48)
Book V (107.1—150.6)
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King James Version 1611, spelling, punctuation and text formatting modernized by ABS in 1962; typesetting © 2010 American Bible Society.