The Book of Psalms

David was the penman of most of the psalms, but some evidently were composed by other writers, and the writers of some are doubtful. But all were written by the inspiration of the Holy Ghost; and no part of the Old Testament is more frequently quoted or referred to in the New. Every psalm either points directly to Christ, in his person, his character, and offices; or may lead the believer's thoughts to Him. And the psalms are the language of the believer's heart, whether mourning for sin, thirsting after God, or rejoicing in Him. Whether burdened with affliction, struggling with temptation, or triumphing in the hope or enjoyment of deliverance; whether admiring the Divine perfections, thanking God for his mercies, mediating on his truths, or delighting in his service; they form a Divinely appointed standard of experience, by which we may judge ourselves. Their value, in this view, is very great, and the use of them will increase with the growth of the power of true religion in the heart. By the psalmist's expressions, the Spirit helps us to pray. If we make the psalms familiar to us, whatever we have to ask at the throne of grace, by way of confession, petition, or thanksgiving, we may be assisted from thence. Whatever devout affection is working in us, holy desire or hope, sorrow or joy, we may here find words to clothe it; sound speech which cannot be condemned. In the language of this Divine book, the prayers and praises of the church have been offered up to the throne of grace from age to age.

Matthew Henry (1706) · public domain

INTRODUCTION

The Hebrew title of this book is Tehilim ("praises" or "hymns"), for a leading feature in its contents is praise, though the word occurs in the title of only one Psalm (the hundred forty-fifth). The Greek title (in the Septuagint, a translation made two hundred years before Christ) is psalmoi, whence our word "Psalms." This corresponds to the Hebrew word mizmoi by which sixty-five Psalms are designated in their inscriptions, and which the Syriac, a language like the Hebrew, uses for the whole book. It means, as does also the Greek name, an ode, or song, whose singing is accompanied by an instrument, particularly the harp (compare 1Ch 16:4-8; 2Ch 5:12, 13). To some Psalms, the Hebrew word (shir) "a song," is prefixed. Paul seems to allude to all these terms in Ep 5:19, "singing ... in psalms, hymns, and spiritual songs." Titles.--To more than a hundred Psalms are prefixed inscriptions, which give one or more (and in one case, [Psalm 60], all) of these particulars: the direction to the musician, the name of the author or the instrument, the style of the music or of the poetry, the subject or occasion. The authority of these inscriptions has been disputed by some writers. They say that the earliest translators, as the Greek and Syriac, evince a disregard for their authority, by variations from a proper translation of some, altering others, and, in several instances, supplying titles to Psalms which, in Hebrew, had none. It is also alleged that the subject of a Psalm, as given in the title, is often inconsistent with its contents. But those translators have also varied from a right translation of many passages in the Bible, which all agree to be of good authority; and the alleged inconsistency may be shown, on more accurate investigation, not to exist. The admitted antiquity of these inscriptions, on the other hand, and even their obscurity, raise a presumption in their favor, while such prefaces to a composition accord with the usages of that age and part of the world (compare Is 38:9). "The Chief Musician" was the superintendent of the music (compare "to oversee," 1Ch 15:21, Margin). "To" prefixed to this, means, "pertaining to" in his official character. This inscription is found in fifty-three Psalms and is attached to Habakkuk's prayer (Ha 3:1-19). The same Hebrew preposition is prefixed to the name of the author and translated "of," as "a Psalm of David," "of Asaph," except that to "the sons of Korah," it is translated "for," which is evidently wrong, as the usual direction, "to the chief musician," is given, and no other authorship intimated. On the apparent exception to this last remark, see below, and see on Psa 88:1, title. The explanations of other particulars in the titles will be given as they occur. Authors.--This book is often called "The Psalms of David," he being the only author mentioned in the New Testament (Lu 20:42) and his name appearing in more titles than that of any other writer. Besides about one-half of the Psalms in which it thus appears, Psalms 2 and 95 are ascribed to him (Ac 4:25 and He 4:7). He was probably the author of many others which appear without a name. He used great efforts to beautify the worship of the sanctuary. Among the two hundred eighty-eight Levites he appointed for singing and performing instrumental music, we find mentioned the "sons of Korah" (1Ch 9:19); including Heman (1Ch 6:33-38); and also Asaph (1Ch 6:39-44); and Ethan (1Ch 15:17-19). God was doubtless pleased to endow these men with the inspiration of His Spirit, so that they used those poetic talents which their connection with the kindred art of music had led them to cultivate, in the production of compositions like those of their king and patron. To Asaph are ascribed twelve Psalms; to the sons of Korah, eleven, including the eighty-eighth, which is also ascribed to Heman, that being the only instance in which the name of the "son" (or descendant) is mentioned; and to Ethan, one. Solomon's name appears before the seventy-second and hundred twenty-seventh; and that of Moses before the ninetieth. Special questions respecting authorship will be explained as they arise. Contents.--As the book contains one hundred fifty independent compositions, it is not susceptible of any logical analysis. The Jews having divided it into five books, corresponding to the Five Books of Moses (First, Psalms 1-42; Second, Psalms 43-72; Third, Psalms 73-89; Fourth, Psalms 90-106; Fifth, Psalms 107-150), many attempts have been made to discover, in this division, some critical or practical value, but in vain. Sundry efforts have been made to classify the Psalms by subject. Angus' Bible Hand Book is perhaps the most useful, and is appended. Still the Psalms have a form and character peculiar to themselves; and with individual diversities of style and subject, they all assimilate to that form, and together constitute a consistent system of moral truth. They are all poetical, and of that peculiar parallelism (see Introduction to the Poetical Books,) which distinguished Hebrew poetry. They are all lyrical, or songs adapted to musical instruments, and all religious lyrics, or such as were designed to be used in the sanctuary worship. The distinguishing feature of the Psalms is their devotional character. Whether their matter be didactic, historical, prophetical, or practical, it is made the ground or subject of prayer, or praise, or both. The doctrines of theology and precepts of pure morality are here inculcated. God's nature, attributes, perfections, and works of creation, providence, and grace, are unfolded. In the sublimest conceptions of the most exalted verse, His glorious supremacy over the principalities of heaven, earth, and hell, and His holy, wise, and powerful control of all material and immaterial agencies, are celebrated. The great covenant of grace resting on the fundamental promise of a Redeemer, both alike the provisions of God's exhaustless mercy, is set forth in respect of the doctrines of regeneration by the Spirit, forgiveness of sins, repentance toward God, and faith toward Jesus Christ, while its glorious results, involving the salvation of men "from the ends of the earth" [Ac 13:47], are proclaimed in believing, prophetic prayer and thankful praise. The personal history of the authors, and especially David's in its spiritual aspects, is that of God's people generally. Christian biography is edifying only as it is truth illustrated in experience, such as God's Word and Spirit produce. It may be factitious in origin and of doubtful authenticity. But here the experience of the truly pious is detailed, under divine influence, and "in words which the Holy Ghost" taught [1Co 2:13]. The whole inner life of the pious man is laid open, and Christians of all ages have here the temptations, conflicts, perplexities, doubts, fears, penitent moanings, and overwhelming griefs on the one hand, and the joy and hope of pardoning mercy, the victory over the seductions of false-hearted flatterers, and deliverance from the power of Satan on the other, with which to compare their own spiritual exercises. Here, too, are the fruits of that sovereign mercy, so often sought in earnest prayer, and when found, so often sung in rapturous joy, exhibited by patience in adversity, moderation in prosperity, zeal for God's glory, love for man, justice to the oppressed, holy contempt for the proud, magnanimity towards enemies, faithfulness towards friends, delight in the prosperity of Zion, and believing prayer for her enlargement and perpetuity. The historical summaries of the Psalms are richly instructive. God's choice of the patriarchs, the sufferings of the Israelites in Egypt, their exodus, temptations of God, rebellions and calamities in the wilderness, settlement in Canaan, backslidings and reformations, furnish illustrations of God's providential government of His people, individually and collectively, tending to exalt His adorable grace and abase human pride. But the promises and prophecies connected with these summaries, and elsewhere presented in the Psalms, have a far wider reach, exhibiting the relations of the book to the great theme of promise and prophecy: The Messiah and His Kingdom.--David was God's chosen servant to rule His people, as the head at once of the State and the Church, the lineal ancestor, "according to the flesh" [Ac 2:30; Ro 1:3], of His adorable Son, and His type, in His official relations, both in suffering and in triumph. Generally, David's trials by the ungodly depicted the trials of Christ, and his final success the success of Christ's kingdom. Typically, he uses language describing his feelings, which only finds its full meaning in the feelings of Christ. As such it is quoted and applied in the New Testament. And further, in view of the great promise (2Sa 7:12-16) to him and his seed, to which such frequent reference is made in the Psalms, David was inspired to know, that though his earthly kingdom should perish, his spiritual would ever endure, in the power, beneficence, and glory of Christ's. In repeating and amplifying that promise, he speaks not only as a type, but "being a prophet, and knowing that God had sworn with an oath to him, that of the fruit of his loins, according to the flesh, he would raise up Christ to sit on his throne," he "foretold the sufferings of Christ and the glory that should follow. His incarnation, humiliating sorrows, persecution, and cruel death are disclosed in the plaintive cries of a despairing sufferer; and His resurrection and ascension, His eternal priesthood, His royal dignity, His prophetical office, the purchase and bestowal of the gifts of the Spirit, the conversion of the nations, the establishment, increase, and perpetuity of the Church, the end of time, and the blessedness of the righteous who acknowledge, and the ruin of the wicked who reject this King in Zion, are predicted in the language of assured confidence and joy." While these great themes have supplied the people of God with a popular theology and a guide in religious experience and Christian morality, clothed in the language of devotion, they have provided an inspired liturgy in which the pious, of all creeds and sects, have, for nearly three thousand years, poured out their prayers and praises. The pious Jew, before the coming of Christ, mourned over the adversity, or celebrated the future glories, of Zion, in the words of her ancient king. Our Saviour, with His disciples, sang one of these hymns on the night on which He was betrayed [Mt 26:30]; He took from one the words in which He uttered the dreadful sorrows of His soul [Mt 27:46], and died with those of another on His lips [Lu 23:46]. Paul and Silas in the dungeon [Ac 16:25], primitive Christians in their covert places of worship, or the costly churches of a later day, and the scattered and feeble Christian flocks in the prevalence of darkness and error through the Middle Ages, fed their faith and warmed their love with these consoling songs. Now, throughout the Christian world, in untold forms of version, paraphrase, and imitation, by Papists and Protestants, Prelatists and Presbyterians, Independents, Baptists, Methodists--men of all lands and all creeds, in public and private worship, God is still adored in the sentiments expressed in these venerable Psalms. From the tone of sorrow and suffering which pervade their earlier portions we are gradually borne on amid alternate conflicts and triumphs, mournful complaints and awakening confidence; as we approach the close the tones of sorrow grow feebler, and those of praise wax louder and stronger--till, in the exulting strains of the last Psalm, the chorus of earth mingles with the hallelujahs of the multitude, which no man can number, in the sanctuary above. Angus' or Bickersteth's arrangement may be profitably used as a guide for finding a Psalm on a special topic. It is a little modified, as follows:

Jamieson, Fausset & Brown (1871) · public domain

Introduction to the Book of Psalms

Section I - On the Names Given to this Book This book is termed in Hebrew ספר תהלים Sepher Tehillim, which some learned men derive from הל hal or הלל halal, to move briskly, irradiate, shine; and translate, The Book of the Shinings forth, Irradiations, Manifestations, or Displays, namely, of Divine wisdom and love exhibited in God's dealing with his chosen people, or with particular. persons, as figures, for the time being, of what should be accomplished either in the person of Christ, or in his mystical body the Church. But as halal signifies also to praise, and praise arises from a sense of gratitude, is the expression of inward joy, and was often exhibited by brisk notes, sprightly music, etc., it may be well denominated The Book of Praises, as the major part of the Psalms have for their subject the praises of the Lord. That the Psalms were sung in the Jewish service, and frequently accompanied by musical instruments, there is no doubt, for the fact is repeatedly mentioned; and hence the most ancient translation we have of the Psalms, viz., the Septuagint, as it stands in what is called the Codex Alexandrinus, is called Ψαλτηριον, The Psaltery, which is a species of musical instrument resembling the harp, according to the accounts given of it by some of the ancients. From this term came the Psalterium of the Vulgate, and our word Psalter, all of which are deduced from the verb ψαλλω, to sing, as the voice no doubt always accompanied this instrument, and by it the key was preserved and the voice sustained. A Psalm is called in Hebrew מזמור mizmor, from זמר zamar, to cut off, because in singing each word was separated into its component syllables, each syllable answering to a note in the music. General Division of the Book The Hebrews divide the Psalms into five books, and this division is noticed by several of the primitive fathers. The origin of this division is not easily ascertained; but as it was considered a book of great excellence, and compared for its importance to the Pentateuch itself, it was probably divided into five books, as the law was contained in so many volumes. But where the divisions should take place the ancients are not agreed; and some of them divide into three fifties rather than into five parts; and for all these divisions they assign certain allegorical reasons which merit little attention. The division of the Hebrews is as follows: - Book I. From Psa 1:1-6 to Psa 41:1-13 inclusive. Book II. From Psa 42:1-11 to Psalm 72 inclusive. Book III. From Psalm 73 to Psalm 89 inclusive. Book IV. From Psalm 90 to Psalm 106 inclusive. Book V. From Psalm 107 to Psa 150:1-6 inclusive. The First, Second, and Third Books end with Amen and Amen; the Fourth, with Amen and Hallelujah, the Fifth, with Hallelujah. But the Psalms themselves are differently divided in all the Versions, and in many MSS. This is often very embarrassing to the reader, not only in consulting the Polyglots, but also in referring to theological works, whether of the Greek or Latin Church, where the Psalms are quoted; the Greek ecclesiastical writers following the Septuagint; and those of the Latin Church, the Vulgate. I shall lay a proper table of these variations before the reader, remarking first, that though they differ so much in the division of the Psalms, they all agree in the number one hundred and fifty. A Table of the Differences in Dividing the Psalms Between the Hebrew Text and the Ancient Versions, Syriac, Septuagint, Chaldee, Arabic, Aethiopic, and Vulgate In the above versions Psalm 9 and 10 make only Psalm 9. Hence there is one Psalm less in the reckoning as you proceed to Psa 114:1-8, 115, which make Psa 113:1-9 in all those versions. Hence two Psalms are lost in the reckoning. Psalm 116 is divided at Psa 116:9, the versions beginning Psalm 115 at Psa 115:10. Hence one Psalm is gained on the above reckoning. Psalm 119 makes Psalm 118 in all the versions. Psalm 147 they divide at Psa 147:11, and begin Psalm 147 with Psa 147:12. Here then the reckoning becomes equal, and all end alike with Psa 150:1-6. ' In the Syriac, Septuagint, Aethiopic, and Arabic, there is what they call an extra-numeral Psalm, said to have been composed by David after his victory over Goliath. A translation of this will be found at the close of these notes. The Hebrew MSS. agree often with the versions in uniting Psalms which the common Hebrew text has separated, and thus often support the ancient versions. These things shall be considered in the course of the notes. On the Compilation of the Book, and the Authors to whom the Psalms Have Been Attributed After having said so much on the name and ancient divisions of this important book, it may be necessary to say something in answer to the question, "Who was the author of the Book of Psalms?" If we were to follow the popular opinion, we should rather be surprised at the question, and immediately answer, David, king of Israel! That many of them were composed by him, there is no doubt; that several were written long after his time, there is internal evidence to prove; and that many of them were written even by his contemporaries, there is much reason to believe. That the collection, as it now stands, was made long after David's death, is a general opinion among learned men; and that Ezra was the collector and compiler is commonly believed. Indeed all antiquity is nearly unanimous in giving Ezra the honour of collecting the different writings of Moses and the prophets, and reducing them into that form in which they are now found in the Holy Bible, and consequently the Psalms among the rest. See this subject treated at large in the preface to Ezra, etc. In making this collection it does not appear that the compiler paid any attention to chronological arrangement. As he was an inspired man, he could judge of the pieces which came by Divine inspiration, and were proper for the general edification of the Church of God. The writer of the Synopsis, attributed to St. Athanasius, says that the friends of King Hezekiah chose one hundred and fifty Psalms out of the number of three thousand which David had composed, and that they suppressed the rest: he says farther, that this is written in the Chronicles; but it is not found in the Chronicles which we now have, though it might have been in other Chronicles which that author had seen. That some Scriptural collections were made under the influence and by the order of Hezekiah, we learn from Pro 25:1 : 'These are also proverbs of Solomon, which the men of Hezekiah, king of Judah, copied out." But whether these were employed on the writings of the father, as they were on those of the son, we cannot tell. The above authority is too slender to support any building of magnitude. The only method we have of judging is from the internal evidence afforded by several the Psalms themselves, and from the inscriptions which many of them bear. As far as time and facts are concerned, many of them can be traced to the days of David, and the transactions which then occurred, and in which he bore so eminent a part. But there are others in which we find no note of time, and no reference to the transactions of David's reign. As to the inscriptions, they are of slender authority; several of them do not agree with the subject of the Psalm to which they are prefixed, and not a few of them appear to be out of their places. In one of the prologues attributed to St. Jerome, but probably of Eusebius, at the end of Vol. II. of St. Jerome's Works by Martinay, we find a table in which the whole Book of Psalms is dissected, showing those which have inscriptions, those which have none, and those to which the name of a particular person, as author, is prefixed. I shall give these in gross, and then in detail: Psalms without any name prefixed, 17; Psalms with an inscription, 133; in all 150. These are afterwards divided into those which bear different kinds of titles, without names; and those which have names prefixed. I shall give these from the Quintuplex Psalterium, fol. Paris, 1513, as being more correct than in the edition of Jerome, by Martinay. No Inscription 1, 2, 32, 42, 70, 90, 92, 93, 94, 95, 96, 97, 98, 99, 103, 115, 136, 147 18 David's 3, 4, 5, 6, 7, 8, 9, 10, 11, 12, 13, 14, 15, 16, 17, 18, 19, 20, 21, 22, 23, 24, 25, 26, 27, 28, 29, 30, 31, 33, 34, 33, 35, 36, 37, 38, 39, 40, 50, 51, 52, 53, 54, 55, 56, 57, 58, 59, 60, 61, 62, 63, 64, 67, 68, 69, 85, 100, 102, 107, 109, 133, 137, 139, 140, 141, 142, 143, 144 70 Solomon's 71, 124 2 Sons of Korah 41, 43, 44, 45, 46, 47, 48, 83, 84, 86 10 Asaph 49, 72, 73, 74, 75, 76, 77, 78, 79, 80, 81, 82 12 Heman 87 1 Ethan 88 1 Moses 89 1 No Name SpecifiedA Song or PsalmA Song or PsalmA Psalm or SongA Prayer of the Afflicted 656691101 4 Hallelujah 104, 105, 106, 110, 111, 112, 113, 114, 116, 117, 118, 134, 135, 145, 146, 148, 149, 150 18 Psalms of Degrees 119, 120, 121, 122, 123, 124, 125, 127, 128, 129, 130, 131, 132 13 Grand Total 150 Supping that the persons already mentioned are the authors of those Psalms to which their names are prefixed, there are still fifty-three, which, as bearing no proper name, must be attributed to uncertain authors, though ii is very probable that several of them were made by David. The reader will observe that as the preceding enumeration is taken from the Vulgate, consequently it is not exactly the same with ours: but the rules already given at page 200, will enable him to accommodate this division to that in our common Bibles, which is the same with that in the Hebrew text. In order to make the preceding table as correct as possible, I have carefully collated that in the Benedictine edition of St. Jerome's Works, with professedly the same table in the Quintuplex Psalter, in both of which there are several errors. In the Works, though all the numbers are given at large, as primus, decimus, centesimus, &c, yet the sum total, under each head, rarely agrees with the items above it. This was so notoriously the table in Jerome's Works, that I thought best to follow that in the Psalter above mentioned, which had been carefully corrected by Henry Stephens. After all, this table gives but small satisfaction, when we come to collate it with the Psalms in the Hebrew text, or as they stand in our common English Bible. That nothing might be wanting, I have made an analysis of the whole from our present text, collating this with the Hebrew where I was in doubt; and by this the reader will see how greatly these tables differ from each other; and that many Psalms must now come under different arrangement, because of their different titles, from that which they had in St. Jerome's time. For instance, in St. Jerome's time there were seventy, or, as in some copies, seventy-two Psalms that had the name of David in the inscriptions; at present there are seventy-three thus inscribed in the Hebrew text. The blessedness of the righteous shown, in his avoiding every appearance of evil, Psa 1:1. In his godly use of the law of the Lord, Psa 1:2 This farther pointed out under the metaphor of a good tree planted in a good well-watered soil, Psa 1:3. The opposite state of the ungodly pointed out, under the metaphor of chaff driven away by the wind, Psa 1:4. The miserableness of sinners, and the final happiness of the godly, Psa 1:5, Psa 1:6.

Adam Clarke (1831) · public domain