Psalms
Hebrew Bible (Judaism) | |||||
---|---|---|---|---|---|
|
|||||
Old Testament (Christianity) | |||||
|
|||||
Bible portal | |||||
The Book of Psalms (
The book is an
While many of the psalms contain attributions to the name of
In English, the title of the book is derived from the Greek word ψαλμοί (psalmoi), meaning "instrumental music" and, by extension, "the words accompanying the music".[6] The Hebrew name of the book, Tehillim (תהילים), means "praises", as it contains many praises and supplications to God. In the Quran, the Arabic word Zabur is used in reference to the psalms.[7]
Structure
Sections
The Book of Psalms is divided into five sections, each closing with a doxology (i.e., a benediction). These divisions were probably introduced by the final editors to imitate the five-fold division of the Torah:[8]
- Book 1 (Psalms 1–41)
- Book 2 (Psalms 42–72)
- Book 3 (Psalms 73–89)
- Book 4 (Psalms 90–106)
- Book 5 (Psalms 107–150)
Superscriptions
Many psalms (116 of the 150) have individual superscriptions (titles), ranging from lengthy comments to a single word. Over a third appear to be musical directions, addressed to the "leader" or "choirmaster", including such statements as "with stringed instruments" and "according to lilies". Others appear to be references to types of musical composition, such as "A psalm" and "Song", or directions regarding the occasion for using the psalm ("On the dedication of the temple", "For the memorial offering", etc.). Many carry the names of individuals, the most common (73 psalms—75 if including the two Psalms attributed by the New Testament to David) being 'of David', and thirteen of these relate explicitly to incidents in the king's life..
Numbering
Hebrew numbering( Masoretic )
|
Greek numbering(Septuagint) |
---|---|
1–8 | 1–8 |
9–10 | 9 |
11–113 | 10–112 |
114–115 | 113 |
116 | 114–115 |
117–146 | 116–145 |
147 | 146–147 |
148–150 | 148–150 |
Psalms are usually identified by a sequence number, often preceded by the abbreviation "Ps." Numbering of the Psalms differs—mostly by one—between the Hebrew (
- Catholic official liturgical texts, such as the Roman Missal, use the Greek numbering[10]
- Modern Catholic translations often use the Hebrew numbering (noting the Greek number)
- Eastern Catholictranslations use the Greek numbering (noting the Hebrew number)
The variance between Masorah and Septuagint texts in this numeration is likely enough due to a gradual neglect of the original poetic form of the Psalms; such neglect was occasioned by liturgical uses and carelessness of copyists. It is generally admitted that Psalms 9 and 10 (Hebrew numbering) were originally a single acrostic poem, wrongly separated by Massorah and rightly united by the Septuagint and the Vulgate.[11] Psalms 42 and 43 (Hebrew numbering) are shown by identity of subject (yearning for the house of Yahweh), of metrical structure and of refrain (comparing Psalms 42:6, 12; 43:5, Hebrew numbering), to be three strophes of one and the same poem. The Hebrew text is correct in counting as one Psalm 146 and Psalm 147. Later liturgical usage would seem to have split up these and several other psalms. Zenner combines into what he deems were the original choral odes: Psalms 1, 2, 3, 4; 6 + 13; 9 + 10; 19, 20, 21; 56 + 57; 69 + 70; 114 + 115; 148, 149, 150.[12] A choral ode would seem to have been the original form of Psalms 14 and 70. The two strophes and the epode are Psalm 14; the two antistrophes are Psalm 70.[13] It is noteworthy that, on the breaking up of the original ode, each portion crept twice into the Psalter: Psalm 14 = 53, Psalm 70 = 40:14–18. Other such duplicated portions of psalms are Psalm 108:2–6 = Psalm 57:8–12; Psalm 108:7–14 = Psalm 60:7–14; Psalm 71:1–3 = Psalm 31:2–4. This loss of the original form of some of the psalms is considered by the Catholic Church's Pontifical Biblical Commission (1 May 1910) to have been due to liturgical practices, neglect by copyists, or other causes.[14]
Verse numbers were first printed in 1509.[15][16] Different traditions exist whether to include the original heading into the counting or not. This leads to inconsistent numbering in 62 psalms, with an offset of 1, sometimes even 2 verses.[17]
Additional psalms
The Septuagint, present in Eastern Orthodox churches, includes a
Primary types
Hermann Gunkel's pioneering form-critical work on the psalms sought to provide a new and meaningful context in which to interpret individual psalms—not by looking at their literary context within the Psalter (which he did not see as significant), but by bringing together psalms of the same genre (Gattung) from throughout the Psalter. Gunkel divided the psalms into five primary types:
Hymns
Hymns are songs of praise for God's work in creation or history. They typically open with a call to praise, describe the motivation for praise, and conclude with a repetition of the call. Two sub-categories are "enthronement psalms", celebrating the enthronement of Yahweh as king, and Zion psalms, glorifying Mount Zion, God's dwelling-place in Jerusalem.[18] Gunkel also described a special subset of "eschatological hymns" which includes themes of future restoration (Psalm 126) or of judgment (Psalm 82).[19]
Communal laments
Communal laments are psalms in which the nation laments some communal disaster.[20] Both communal and individual laments typically but not always include the following elements:
- address to God,
- description of suffering,
- cursing of the party responsible for suffering,
- protestation of innocence or admission of guilt,
- petition for divine assistance,
- faith in God's receipt of prayer,
- anticipation of divine response, and
- a song of thanksgiving.[21][22]
In general, the individual and communal subtypes can be distinguished by the use of the singular "I" or the plural "we". However, the "I" could also be characterising an individual's personal experience that was reflective of the entire community.[23]
Royal psalms
Royal psalms deal with such matters as the king's coronation, marriage and battles.[20] None of them mentions any specific king by name, and their origin and use remain obscure;[24] several psalms, especially Psalms 93–99, concern the kingship of God, and might relate to an annual ceremony in which Yahweh would be ritually reinstated as king.[25]
Individual laments
Individual laments are psalms lamenting the fate of the psalmist. By far the most common type of psalm, they typically open with an invocation of God, followed by the lament itself and pleas for help, and often ending with an expression of confidence.[20]
Individual thanksgiving psalms
In individual thanksgiving psalms, the opposite of individual laments, the psalmist thanks God for deliverance from personal distress.[20]
In addition to these five major genres, Gunkel also recognised a number of minor psalm-types, including:
- communal thanksgiving psalms, in which the whole nation thanks God for deliverance;
- wisdom psalms, reflecting the Old Testament wisdom literature;
- pilgrimage psalms, sung by pilgrims on their way to Jerusalem;
- entrance and prophetic liturgies; and
- a group of mixed psalms which could not be assigned to any category.[26]
Composition
Origins
The composition of the psalms spans at least five centuries, from Psalm 29 (not later than the tenth century BC) to others clearly from the post-Exilic period (not earlier than the fifth century BC.) The majority originated in the southern kingdom of Judah and were associated with the Temple in Jerusalem, where they probably functioned as libretto during the Temple worship. Exactly how they did this is unclear, although there are indications in some of them: "Bind the festal procession with branches, up to the horns of the altar," suggests a connection with sacrifices, and "Let my prayer be counted as incense" suggests a connection with the offering of incense.[4]
According to
Influences
Some of the psalms show influences from related earlier texts from the region; examples include various
Poetic characteristics
The biblical poetry of Psalms uses parallelism as its primary poetic device. Parallelism is a kind of symmetry, in which an idea is developed by the use of restatement, synonym, amplification, grammatical repetition, or opposition.[33][34] Synonymous parallelism involves two lines expressing essentially the same idea. An example of synonymous parallelism:
- "The LORD is my light and my salvation; whom shall I fear? The LORD is the stronghold of my life; of whom shall I be afraid?" (Psalm 27:1).
Two lines expressing opposites is known as antithetic parallelism. An example of antithetic parallelism:
- "And he led them in a cloud by day/ and all the night by a fiery light" (Psalm 78:14).
Two clauses expressing the idea of amplifying the first claim is known as expansive parallelism. An example of expansive parallelism:
- "My mouth is filled with your praise/ all the day with your lauding" (Psalm 71:8).
Editorial agenda
Many scholars believe the individual Psalms were redacted into a single collection during the Second Temple period.[35] It had long been recognized that the collection bore the imprint of an underlying message or metanarrative, but that this message remained concealed, as Augustine of Hippo said, "The sequence of the Psalms seems to me to contain the secret of a mighty mystery, but its meaning has not been revealed to me." (Enarr. on Ps. 150.1) Others pointed out the presence of concatenation, that is, adjacent Psalms sharing similar words and themes. In time, this approach developed into recognizing overarching themes shared by whole groups of psalms.[36]
In 1985,
These three views—Wilson's non-messianic retrospective of the Davidic covenant, Brueggemann's sapiential instruction, and Mitchell's eschatologico-messianic programme—all have their followers, although the sapiential agenda has been somewhat eclipsed by the other two. Shortly before his untimely death in 2005, Wilson modified his position to allow for the existence of messianic prophecy within the Psalms' redactional agenda.[41] Mitchell's position remains largely unchanged, although he now sees the issue as identifying when the historical beginning of the Psalms turns to eschatology.[42]
The ancient music of the Psalms
The Psalms were written not merely as poems, but as songs for singing. According to Bible exegete
Despite the frequently heard view that their ancient music is lost, the means to reconstruct it are still extant. Fragments of temple psalmody are preserved in ancient synagogue and church chant, particularly in the
Several attempts have been made to decode the Masoretic cantillation, but the most "successful" is that of Suzanne Haïk-Vantoura (1928–2000) in the last quarter of the 20th century.[50] Her reconstruction assumes the signs represent the degrees of various musical scales – that is, individual notes – which puts it at odds with all other existing traditions, where the signs invariably represent melodic motifs; it also takes no account of the existence of older systems of notation, such as the Babylonian and Palestinian systems. Musicologists have therefore rejected Haïk-Vantoura's theories, with her results dubious, and her methodology flawed.[51] In spite of this, Mitchell has repeatedly defended it, showing that, when applied to the Masoretic cantillation of Psalm 114, it produces a melody recognizable as the tonus peregrinus of church and synagogue.[52] Mitchell includes musical transcriptions of the temple psalmody of Psalms 120–134 in his commentary on the Songs of Ascents.
Views on the Division into 5 books
In "The Flow of the Psalms," O. Palmer Robertson posits a thematic progression throughout the five books of Psalms, delineating distinctive characteristics and emphases:[53]
Book 1: Opposition - Predominantly attributed to David, these Psalms are perceived as the earliest in origin, characterized by a focus on trust in God, with Yahweh as the dominant name.
Book 2: Communication - Despite continued opposition, this book reflects an outreach even to enemies of God. The prevalent name for God shifts to Elohim, especially when borrowing sections from Book 1. Robertson suggests Book 2 may have Northern Kingdom origins.
Book 3: Devastation - Marked by the overtaking of Jerusalem, this book holds out hope for Jacob and Joseph, possibly symbolizing the Southern and Northern kingdoms. Expressions like "trust in God" diminish.
Book 4: Maturity - Notably, with over 10 quotes from Chronicles, indicating a temporal progression beyond the initial three books.
Book 5: Consummation - Robertson proposes that the Psalms of Ascent and Hallel Psalms are post-Babylonian exile compositions, portraying a culmination of themes and perspectives
Themes and execution
Most individual psalms involve the praise of God for his power and beneficence, for his creation of the world, and for his past acts of deliverance for Israel. They envision a world in which everyone and everything will praise God, and God in turn will hear their prayers and respond. Sometimes God "hides his face" and refuses to respond, questioning (for the psalmist) the relationship between God and prayer which is the underlying assumption of the Book of Psalms.[54]
Some psalms are called "maskil" (maschil), meaning "enlightened" or "wise saying", because they impart wisdom. Most notable of these is Psalm 142 which is sometimes called the "Maskil of David"; others include Psalm 32 and Psalm 78.[55]
A special grouping and division in the Book of Psalms are fifteen psalms (Psalms 120–134) known in the construct case, shir ha-ma'aloth ("A Song of Ascents", or "A Song of degrees"), and one as shir la-ma'aloth (Psalm 121). According to
O. Palmer Robertson observes that many of the Psalms concern the subject of death and says "This unatural conclusion to every human life can be understood only in the context of the original threat to the original man: 'in the day you shall eat of it you shall surely die.'" [59] Robertson goes on to say "The anticipation from redemption fom the grave overcomes the inevitability of death. The psalmist is fully aware of his need for total deliverance from the last great enemy, and attests to expectation of deliverance."[60]
Later interpretation and influence
Overview
Individual psalms were originally hymns, to be used on various occasions and at various sacred sites; later, some were anthologised, and might have been understood within the various anthologies (e.g., ps. 123 as one of the Psalms of Ascent); finally, individual psalms might be understood within the Psalter as a whole, either narrating the life of David or providing instruction like the Torah. In later Jewish and Christian tradition, the psalms have come to be used as prayers, either individual or communal, as traditional expressions of religious feeling.[61]
Commentaries
Many authors have commented on the psalms, including:
- Hilary of Poitiers[62]
- Augustine of Hippo[63]
- Saadia Gaon[64]
- Salmon ben Jeroham[65]
- Yefet ben Ali[66]
- Rashbam[67]
- Abraham ibn Ezra[68]
- David Kimhi[69]
- Obadiah Sforno[70]
- Joseph Gikatilla[71][page needed]
- Joseph Kara[72]
- Benjamin ben Judah[73]
- Rashi[74]
- Menachem Meiri[75]
- Isaiah di Trani[76]
- Thomas Aquinas[77]
- John Calvin[78]
- Emmanuel (pseudonym), Jewish Commentary on the Psalms.[79]
- Isaac Satanow[80]
Use in Jewish ritual
Some of the titles given to the Psalms have descriptions which suggest their use in worship:
- Some bear the Hebrew description shir (שיר; Greek: ᾠδή, ōdḗ, 'song'). Thirteen have this description. It means the flow of speech, as it were, in a straight line or in a regular strain. This description includes secular as well as sacred song.
- Fifty-eight Psalms bear the description mizmor (מזמור; ψαλμός), a lyric ode, or a song set to music; a sacred song accompanied with a musical instrument.
- Psalm 145 alone has the designation tehillah (תהלה; ὕμνος), meaning a song of praise; a song the prominent thought of which is the praise of God.
- Thirteen psalms are described as maskil ('wise'): 32, 42, 44, 45, 52–55, 74, 78, 88, 89, and 142. Psalm 41:2, although not in the above list, has the description ashrei maskil.
- Six Psalms (16, 56–60) have the title michtam (מכתם, 'gold').[81] Rashi suggests that michtam refers to an item that a person carries with him at all times, hence, these Psalms contain concepts or ideas that are pertinent at every stage and setting throughout life, deemed vital as part of day-to-day spiritual awareness.[82]
- chapter 3)[83] bears the title shigayon (שיגיון). There are three interpretations:[84] (a) According to Rashi and others, this term stems from the root shegaga, meaning "mistake"—David committed some sin and is singing in the form of a prayer to redeem himself from it; (b) shigayon was a type of musical instrument; (c) Ibn Ezra considers the word to mean "longing", as for example in the verse in Proverbs 5:19[85]tishge tamid.
Psalms are used throughout traditional
When a
Many Jews complete the Book of Psalms on a weekly or monthly basis. Each week, some also say a Psalm connected to that week's events or the
The reading of psalms is viewed in Jewish tradition as a vehicle for gaining God's favor. They are thus often specially recited in times of trouble, such as poverty, disease, or physical danger; in many synagogues, Psalms are recited after services for the security of the
In Christian prayer and worship
Paul the Apostle quotes psalms (specifically Psalms 14 and 53, which are nearly identical) as the basis for his theory of original sin, and includes the scripture in the Epistle to the Romans, chapter 3.
Several conservative Protestant denominations sing only the Psalms (some churches also sing the small number of hymns found elsewhere in the Bible) in worship, and do not accept the use of any non-Biblical hymns; examples are the Reformed Presbyterian Church of North America, the Presbyterian Reformed Church (North America) and the Free Church of Scotland (Continuing).
- Psalm 22 is of particular importance during the season of Lent as a Psalm of continued faith during severe testing.
- Psalm 23, The LORD is My Shepherd, offers an immediately appealing message of comfort and is widely chosen for church funeral services, either as a reading or in one of several popular hymn settings;
- Psalm 51, Have mercy on me O God, called the Miserere from the first word in its Latin version, in both Divine Liturgy and Hours, in the sacrament of repentance or confession, and in other settings;
- Psalm 82 is found in the Book of Common Prayer as a funeral recitation.
- Psalm 137, By the rivers of Babylon, there we sat down and wept, the Eastern Orthodox Church uses this hymn during the weeks preceding Great Lent.
- Psalm 145 by title 'A psalm of praise", is an accrostic of praise and David's final Psalm. Verses from it are frequently used in many contemporary worship songs and read by many contemporary worship leaders in services.
New translations and settings of the Psalms continue to be produced. An individually printed volume of Psalms for use in Christian religious rituals is called a Psalter.
Imam-ud-Din Shahbaz (or ID Shahbaz) was a Punjabi evangelist and a poet.His notable work is the first metrical translation of the Psalms in Punjabi known as Punjabi Zabur. For last 100 years, Punjabi Zabur are being used as an essential part of singing and praising in majority of Urdu & Punjabi Churches around the globe.
Furthermore, psalms often serve as the inspiration for much of modern or contemporary Christian worship music in a variety of styles. Some songs are entirely based on a particular psalm or psalms, and many quote directly from the Book of Psalms (and other parts of the Bible).[90]
Eastern Orthodox Christianity
At Vespers and Matins, different kathismata are read at different times of the liturgical year and on different days of the week, according to the Church's calendar, so that all 150 psalms (20 kathismata) are read in the course of a week. During Great Lent, the number of kathismata is increased so that the entire Psalter is read twice a week. In the twentieth century, some lay Christians have adopted a continuous reading of the Psalms on weekdays, praying the whole book in four weeks.
Aside from kathisma readings, Psalms occupy a prominent place in every other Orthodox service including the
Oriental Christianity
Several branches of
Catholic usage
The Psalms have always been an important part of
The work of Bishop Richard Challoner in providing devotional materials in English meant that many of the psalms were familiar to English-speaking Catholics from the eighteenth century onwards. Challoner translated the entirety of the Little Office into English, as well as Sunday Vespers and daily Compline. He also provided other individual Psalms such as 129/130 for prayer in his devotional books. Bishop Challoner is also noted for revising the Douay–Rheims Bible, and the translations he used in his devotional books are taken from this work.
Until the
introduced in 1974 distributed the psalms over a four-week cycle. Monastic usage varies widely. Some use the four-week cycle of the secular clergy, many retain a one-week cycle, either following St Benedict's scheme or another of their own devising, while others opt for some other arrangement.Official approval was also given to other arrangements[Notes 1] by which the complete Psalter is recited in a one-week or two-week cycle. These arrangements are used principally by Catholic contemplative religious orders, such as that of the Trappists.[Notes 2]
The General Instruction of the Liturgy of the Hours, 122 sanctions three modes of singing/recitation for the Psalms:
- directly (all sing or recite the entire psalm);
- antiphonally(two choirs or sections of the congregation sing or recite alternate verses or strophes); and
- responsorially(the cantor or choir sings or recites the verses while the congregation sings or recites a given response after each verse).
Of these three the antiphonal mode is the most widely followed.[citation needed]
Over the centuries, the use of complete Psalms in the liturgy declined. After the Second Vatican Council (which also permitted the use of vernacular languages in the liturgy), longer psalm texts were reintroduced into the Mass, during the readings. The revision of the Roman Missal after the Second Vatican Council reintroduced the singing or recitation of a more substantial section of a Psalm, in some cases an entire Psalm, after the first Reading from Scripture. This Psalm, called the Responsorial Psalm, is usually sung or recited responsorially, although the General Instruction of the Roman Missal, 61 permits direct recitation.
Lutheran and Reformed usage
Following the
By the 20th century, they were mostly replaced by hymns in church services. However, the Psalms are popular for private devotion among many Protestants and still used in many churches for traditional worship.[92] There exists in some circles a custom of reading one Psalm and one chapter of Proverbs a day, corresponding to the day of the month.
Metrical psalms are still widely sung in many
Anglican usage
Anglican chant is a method of singing prose versions of the Psalms.
In the early 17th century, when the
In Great Britain, the 16th-century Coverdale psalter still lies at the heart of daily worship in Cathedrals and many parish churches. The new Common Worship service book has a companion psalter in modern English.
The version of the psalter in the American Book of Common Prayer prior to the 1979 edition is the Coverdale psalter. The Psalter in the American Book of Common Prayer of 1979 is a new translation, with some attempt to keep the rhythms of the Coverdale psalter.
Islam
According to the Islamic holy book, the
Psalms in the Rastafari movement
The Psalms are one of the most popular parts of the Bible among followers of the Rastafari movement.[98] Rasta singer Prince Far I released an atmospheric spoken version of the psalms, Psalms for I, set to a roots reggae backdrop from The Aggrovators.
Psalms set to music
Multiple psalms as a single composition
Psalms have often been set as part of a larger work. The psalms feature large in settings of
- Orlande de Lassus—1584
- Melodie na psałterz polski by Mikołaj Gomółka—c. 1600
- Psalmen Davids (1619), Symphoniae sacrae I (1629) and Becker Psalter (1661) by Heinrich Schütz
- Chandos Anthems by George Frideric Handel—1717–18
- Drei Psalmen (1849) by Felix Mendelssohn
- Eighteen Liturgical Psalms by Louis Lewandowski—1879
- Biblické písně by Antonín Dvořák—1894
- Le Roi David by Arthur Honegger—1921
- Symphony of Psalms (38, 39, 150) by Igor Stravinsky—1930
- Chichester Psalms by Leonard Bernstein—1965
- Tehillim by Steve Reich—1981
- Four Psalms (114, 126, 133, 137) by John Harbison—1998
Individual psalm settings
There are many settings of individual psalms. One of the better known examples is Gregorio Allegri's
See also
- Exclusive psalmody
- History of music in the biblical period
- Penitential Psalms
- Psalm of communal lament
- Selah
- Zabur
- Genevan Psalter
- Pesher
Notes
- ^ See "Short" Breviaries in the 20th and early 21st century America Archived 18 January 2006 at the Wayback Machine for an in-progress study
- ^ See for example the Divine Office schedule at New Melleray Abbey
References
- ISBN 9780870997778. Retrieved 5 March 2018 – via Internet Archive.
- Longman Pronunciation Dictionary. Pearson.
- ^ Mazor 2011, p. 589.
- ^ a b Kselman 2007, p. 775.
- ^ a b Berlin & Brettler 2004, p. 1282.
- ^ Murphy 1993, p. 626.
- ^ "The Bible - Google Books". Retrieved 24 September 2022.
- ^ Bullock 2004, p. 58.
- ^ Hayes 1998, pp. 154–55.
- ^ For example "Psalmus 117" in Vigilia Paschalis in Nocte Sancta, 66
- ^ Clifford 2010, p. 773.
- ^ Zenner 1896.
- ^ Zenner, J.K., and Wiesmann, H., Die Psalmen nach dem Urtext, Munster, 1906, 305
- ^ Catholic Encyclopedia, The Biblical Commission, published by New Advent, accessed 19 November 2021
- ^ A Cyclopedia of Biblical Literature,... Illustrated by Numerous Engravings. Mark H. Newman. 1845.
- ^ "Erste Versnummerierungen (Verszählungen in gedruckten Bibelausgaben des 16. Jahrhunderts". www.wlb-stuttgart.de. Retrieved 8 July 2020.
- ^ "Psalm 12 in 5 languages :: BibleServer". www.bibleserver.com. Retrieved 8 July 2020.
- ^ Day 2003, pp. 11–12.
- ^ Bray 1996, p. 400.
- ^ a b c d Day 2003, p. 12.
- ^ Coogan, M. A Brief Introduction to the Old Testament: The Hebrew Bible in its Context. (Oxford University Press: Oxford 2009) p. 370
- ^ Murphy 1993, p. 627.
- ^ Bray 1996, p. 416.
- ^ Berlin & Brettler 2004, p. 1285, note to ps.2.
- ^ Kselman 2007, p. 776.
- ^ Day 2003, p. 13.
- Baba Bathra14b–15a)
- ^ Simon 1982, pp. 237–243.
- ^ Simon 1982, p. 162.
- ^ Alter 2007, pp. 98–99.
- ^ Psalms 104:26
- ^ Alter 2007, pp. xiv–xv.
- ^ Coogan, M. A Brief Introduction to the Old Testament: The Hebrew Bible in its Context. (Oxford University Press: Oxford 2009). p. 369;
- ^ Kugel, James L. The Idea of Biblical Poetry. (Baltimore: Johns Hopkins University Press 1981)
- ^ Haley, Kevin Joseph (7 December 2012). 'In the Midst of the Congregation I Will Praise You' (Ps 22:23b): The Reinterpretation of the Psalms of the Individual in Judaism and Christianity (Doctor of Philosophy (Theology) thesis). University of Notre Dame. Retrieved 19 December 2023.
- ^ C. Westermann, The Living Psalms (trans. J.R. Porter; Edinburgh: T. & T. Clark, 1989; M.E. Tate, Psalms 51–100 (Waco, TX: Word, 1990).
- ^ G.H. Wilson, The Editing of the Hebrew Psalter (Chico, CA: Scholars Press, 1985).
- ^ W. Brueggemann, 'Bounded by Obedience and Praise: The Psalms as Canon', JSOT 50:63–92.
- ^ B.S. Childs, Introduction to the Old Testament as Scripture (Philadelphia: Fortress, 1979) 511–18; J.L. Mays, '"In a Vision": The Portrayal of the Messiah in the Psalms', Ex Auditu 7: 1–8; J. Forbes, Studies on the Book of Psalms (Edinburgh: T. & T. Clark, 1888).
- ^ D.C. Mitchell, The Message of the Psalter: An Eschatological Programme in the Book of Psalms, JSOT Supplement 252 (Sheffield: Sheffield Academic Press, 1997).
- ^ G.H. Wilson, 'King, Messiah, and the Reign of God: Revisiting the Royal Psalms and the Shape of the Psalter' in P.W. Flint and P.D. Miller (eds.), The Book of Psalms: Composition and Reception (Leiden: Brill, 2005).
- ^ He has expanded his views on some subjects; see '"God Will Redeem My Soul From Sheol": The Psalms of the Sons of Korah', JSOT 30 (2006) 365–84; 'Lord, Remember David: G.H. Wilson and the Message of the Psalter', Vetus Testamentum 56 (2006) 526–48; The Songs of Ascents (Campbell: Newton Mearns, 2015) 211–16; 36–44.
- ^ Saadia 2010, p. 33.
- ^ Saadia 2010, pp. 61, 70.
- ^ Saadia 2010, pp. 127–28, 150.
- ^ According to Saadia, the word is derived from the Hebrew root אלם, signifying a "mute," or person who cannot speak. Although the word עלמות as spelt in the psalm is with the Hebrew character ʻayin (ע), and the Hebrew word for "mute" is spelt with the Hebrew character aleph (א), the two letters are interchangeable.
- ^ Saadia 2010, pp. 65, 130.
- ^ Werner, The Sacred Bridge (New York: Columbia University Press, 1957) 419, 466.
- ^ For discussion on the origins and antiquity of the Masoretic cantillation, see D.C. Mitchell, The Songs of Ascents (Campbell: Newton Mearns 2015): 122-137.
- ^ S. Haïk-Vantoura, La musique de la Bible révélée (Robert Dumas: Paris, 1976); Les 150 Psaumes dans leurs melodies antiques (Paris: Fondation Roi David, 1985).
- ^ Dalia Cohen and Daniel Weill. "Progress in Deductive Research on the Original Performance of Tiberian Accents (Te'amim)." Proceedings of the Ninth World Conference of Jewish Studies, Division D, Vol. II (Jerusalem, 1986): 265–80; cf. also, e.g., the review by P.T. Daniels, Journal of the American Oriental Society, Vol. 112, No. 3 (Jul.–Sep., 1992), p. 499.
- ^ D.C. Mitchell, The Songs of Ascents: Psalms 120 to 134 in the Worship of Jerusalem's temples (Campbell: Newton Mearns 2015); 'Resinging the Temple Psalmody', JSOT 36 (2012) 355–78; 'How Can We Sing the Lord's Song?' in S. Gillingham (ed.), Jewish and Christian Approaches to the Psalms (Oxford University Press, 2013) 119–133.
- ISBN 978-1-62995-133-1, pp. 8-22
- ^ Berlin & Brettler 2004, p. 1284.
- ISBN 9780195351019.
- ^ a b Saadia 2010, p. 31.
- ^ 1 Chronicles 16:5
- ^ Saadia 2010, pp. 31-32 (note 77).
- ISBN 978-1-62995-133-1
- ^ Roberson (2013), p. 35.
- ^ Kselman 2007, pp. 776–78.
- ^ Comments on the Psalms of Hilary of Poitiers, fourth century, Paris, Editions du Cerf, 2008, collection Christian sources No. 515
- ^ Discourse on the Psalms, of St. Augustine, the fourth century, 2 vols., Collection "Christian Wisdom", Editions du Cerf
- OCLC 741065024.
- ^ Jeroham, Salmon ben (1956). The Arabic Commentary of Salmon Ben Yeruham the Karaite on the Book of Psalms, Chapters 42-72 (in Hebrew). Dropsie College for Hebrew and Cognate Learning.
- ^ Bassor, Yaphet ben Heli (1846). Rabbi Yapheth ben Heli Bassorensis Karaïtae in librum Psalmorum comentarii Arabici e duplici codice mss. Bibliothecae Regiae Parisiensis edidit specimen et in Latinum convertit L. Bargès,... (in Latin). Excudebant Firmin Didot Fratres.
- JSTOR 23607121.
- ISBN 978-1-934843-30-7.
- ^ Kimhi, David (1919). The Longer Commentary of R. David Ḳimḥi on the First Book of Psalms (I-X, XV-XVII, XIX, XXII, XXIV). Society for Promoting Christian Knowledge.
- ISSN 1872-471X.
- ^ Simon 1982.
- ^ "MikraotGedolot – AlHaTorah.org". mg.alhatorah.org (in Hebrew). Retrieved 29 November 2023.
- ^ Binyamin ze'ev yitrof: Notes from various authors on Psalms, Job, the Megilloth (except Ruth) and Ezra. (1878) Amsterdam: Levisson
- ISBN 978-0-8276-0872-6.
- ^ Meiri, Menahem ben Selomo (1936). Commentarius Libri Psalmorum (in Latin). Mekize Nirdamim.
- ^ תורת חיים - תהלים: על פי המסורה של כתר ארם צובה ... ועם פירושי הראשונים: רס"ג ... רש"י ... ראב"ע ... רי"ד ... רד"ק ... המאירי ... ספורנו ... ועם פירוש מצודת דוד ומצודת ציון (in Hebrew). 2018.
- ^ Commentary on the Psalms (up to Psalm 54) St. Thomas Aquinas, 1273, Editions du Cerf, 1996
- ^ Comment psalms of John Calvin, 1557
- ^ Emmanuel, Commentaire juif des psaumes, Editions Payot, 1963
- ^ "ספר" תהלים: עם פירוש הרשב"ם הנמצא בברלין בכ"י בבית עקד הספרים אשר להמלך . (in Hebrew). דפוס ג' האלצינגער. 1816.
- ^ DLC (27 August 2006). "Hebrew Language Detective: katom". Balashon. Retrieved 19 September 2012.
- ^ "Daily Tehillim". Daily Tehillim. Retrieved 16 April 2014.
- ^ "Habakkuk 3 / Hebrew – English Bible / Mechon-Mamre". Mechon-mamre.org. Retrieved 17 March 2013.
- ^ "ארכיון הדף היומי". Vbm-torah.org.
- ^ "Proverbs 5:19 A loving doe, a graceful deer-may her breasts satisfy you always, may you ever be captivated by her love". Bible.cc. Retrieved 19 September 2012.
- ^ "ספר החינוך - אהרן, הלוי, מברצלונה, מיחס לו; שעוועל, חיים דב, 1906-1982; רוזנס, יהודה בן שמואל, 1657-1727; ברלין, ישעיה בן יהודה, 1725-1799 (page 637 of 814)". Hebrewbooks.org.
- Jewish services § Philosophy of prayer
- ^ Tom Meyer. "Saint Sabas and the Psalms" (PDF). Etrfi.org. Retrieved 14 July 2018.
- ISBN 978-0-8028-2727-2.
- ^ Sarah Eekhoff Zylstra. "Let's Sing the Songs Jesus Sang". Retrieved 8 January 2020.
- ISBN 978-0-8014-8113-0.
- ^ "The Psalms of David – Sung a cappella". Thepsalmssung.org. Retrieved 16 April 2014.
- ^ Concise Encyclopedia of Islam, C. Glasse, Messenger
- Sale's Text, Preliminary Discourse, and Notes. London: Kegan Paul, Trench, Trubner, and Co.
- ^ A-Z of Prophets in Islam and Judaism, B.M. Wheeler, Apostle
- ISBN 9783832541514p. 98 (German)
- ^ "Psalms". Oxford Center for Islamic Studies. Archived from the original on 26 July 2018.
- ^ Murrell, Nathaniel Samuel. "Tuning Hebrew Psalms to Reggae Rhythms". Archived from the original on 23 November 2005. Retrieved 11 February 2008.
Bibliography
- ISBN 9780393062267.
- ISBN 9780195297515.
- Bray, G. (1996). Biblical Interpretation: Past and Present. Intervarsity Press.
- Bullock, C. Hassell (2004). Encountering the Book of Psalms: A Literary and Theological Introduction. Baker Academic. ISBN 9780801027956.
- Clifford, Richard J. (2010). "Psalms". In Coogan, Michael David; Brettler, Marc Zvi; Newsom, Carol Ann (eds.). The New Oxford Annotated Bible: New Revised Standard Version: with the Apocrypha: an Ecumenical Study Bible. Oxford University Press. ISBN 9780195289558.
- ISBN 9780567084545.
- Harris, Stephen L. (1985). Understanding the Bible. Mayfield.
- Hayes, John H. (1998). "The Songs of Israel". In McKenzie, Steven L.; Graham, Matt Patrick (eds.). The Hebrew Bible Today: An Introduction to Critical Issues. Westminster John Knox Press. ISBN 9780664256524.
- Kselman, John S. (2007). "Psalms". In Coogan, Michael David; Brettler, Marc Zvi; Newsom, Carol Ann (eds.). The New Oxford Annotated Bible with the Apocryphal/Deuterocanonical Books. Oxford University Press. ISBN 978-0-19-528880-3.
- Mazor, Lea (2011). "Book of Psalms". In Berlin, Adele; Grossman, Maxine (eds.). The Oxford Dictionary of the Jewish Religion. Oxford University Press. ISBN 9780199730049.
- ISBN 978-1-85075-689-7.
- Mitchell, David C. (2015). The Songs of Ascents: Psalms 120 to 134 in the Worship of Jerusalem's Temples. Campbell: Newton Mearns.
- Murphy, Roland E. (1993). "Psalms". In Coogan, Michael D.; Metzger, Bruce (eds.). The Oxford Companion to the Bible. Oxford University Press. ISBN 9780199743919.
- Prinsloo, Willem S. (2003). "Psalms". In Dunn, James D. G.; Rogerson, John William (eds.). Eerdmans Commentary on the Bible. Eerdmans. ISBN 9780802837110.
- OCLC 741156698.
- OCLC 10751226.
- ISBN 9788195254613.
- Zenner, Johannes Konrad (1896). Die Chorgesänge im Buche der Psalmen: ihre Existenz und ihre Form nachgewiesen. Herder.
External links
- TehillimForAll to read Psalms (Tehillim) together with others
- Tehillim Online to read psalms of David in Hebrew or transliterated.
- Learn Tehillim Online to read and hear TEHILIM OF THE DAY in Hebrew.
- Full reading and translation of all 150 Psalms
- Psalms from Dead Sea Scrolls (Psalms 151–154)
- Book of Psalms Audiobook—King James Version
- Psalms public domain audiobook at LibriVox Various versions
Translations
- Jewish translations:
- Tehillim—Psalms (Judaica Press) translation [with Rashi's commentary] at Chabad.org
- Christian translations:
Commentary and others
- Online encyclopedia
- "Psalms." Encyclopædia Britannica Online.
- Jewish
- reading of Tehillim—Psalms and many explanation.
- Psalms (Judaica Press) translation [with Rashi's commentary] at Chabad.org
- Penetrating beneath the surface level of the Tehillim—Psalms
- Reading of Tehillim—Psalms in ancient tunes and explanation. Also a free series that teaches how to read the cantilation notes of Psalms
- Christian
- St. Augustine of Hippo (1888). . Translated by Philip Schaff.
- Spurgeon, Charles H. (1885). The Treasury of David.
- Commentary on the Psalms by Gordon Churchyard, at www.easyenglish.bible
- Introduction to the Psalms by Wilbert R. Gawrisch
- Introduction to the Psalms a Forward Movement publication
- Fordham, David, ed. (October 1986), The Book of Psalms: In the Authorized Version (illuminated ed.), ISBN 978-0805000467.