Book Notes:
Barnes' Book Notes
Introduction to the Psalm
Section 1. "The Title to the Book of Psalm."
The general title to the Book of Psalms in Hebrew is Te hilliym , Psalms, or more fully, Sêpher Te hilliym , "Book of Psalms?" Sometimes a shorter title is used - Tilliym . Other terms are used as appropriate to particular psalms, as mizmôriym , or ׁ shı̂yriym , songs; or in the singular, mizmôr , and ׁ shı̂yr , a song. These latter titles, however, are not given to the entire collection, but to particular psalms. The former title - mizmôr - is given to Psalms 3:1-8; Psalms 4:1-8; Psalms 5:1-12; Psalms 6:1-10; Psalms 8:1-9; Ps. 9; Psalms 12:1-8; Psalms 13:1-6; Psalms 15:1-5; Psalms 19:1-14; Psalms 20:1-9; Psalms 21:1-13; Ps. 22; Psalms 23:1-6; and to 39 others, the last being Psalms 143:1-12, rendered uniformly "a psalm." The latter title, ׁ shı̂yr , occurs in Psalms 30:1-12; Ps. 45; Psalms 46:1-11; and in 27 other psalms, the last being Psalms 134:1-3, and is uniformly rendered "song," though it is sometimes connected with the word mizmôr , psalm, and rendered "A song and psalm," as in Psalms 48:1-14; Psalms 65:1-13; Ps. 66; Psalms 67:1-7; Ps. 68; Ps. 69; Psalms 75:1-10; Ps. 83; Psalms 87:1-7; Ps. 88; and in Psalms 122:1-9; Psalms 123:1-4; Psalms 124:1-8 it is connected with the word degrees: "A song of degrees."
The word Te hilliym is derived from the verb - hâlal , to praise, as in the word "Hallelujah, Praise Jehovah." The name is given to the general collection, because praise, more than anything else, is the characteristic of the book, and because the collection seems to have been designed to be used in the public praise or worship of God. They were all probably thus used in Hebrew worship.
The word "Psalms," as applied to the collection, we have derived from the Greek translation, the word ̀ psalmoi , in the plural - "psalmos" (a psalm) and "psalmoi" (psalms). This word is derived from ́ psallō , to touch, to twitch, to pluck - as the hair or beard; and then, to touch or twitch a string, "to twang," that is, to cause it to vibrate by touching or twitching it with the finger or with a "plectrum" ( ͂ plēktron ) - an instrument for striking the strings of a lyre, as a quill. Cic. N. D., 2. 59. Hence, the word is applied to instruments of music employed in praise, and then to acts of praise in general. The noun - ́ psalmos , - "psalm," means properly "a touching, twang," as of a bowstring, or of stringed instruments; then a song, as accompanying stringed instruments; and then specifically a psalm or song of praise to God. Thus, the verb - ́ psallō , - is used in the New Testament as denoting "praise" in the following places: Romans 15:9, "I will confess ... and "sing" unto Thy name;" I Corinthians 14:15, "I will sing with the spirit, and I will sing with the understanding;" Ephesians 5:19, "Singing and making melody in your heart to the Lord;" James 5:13, "Is any merry? let him sing psalms."
The verb does not elsewhere occur in the New Testament. The "noun" - ́ psalmos , - is used in the New Testament in the following places as denoting psalms in general: I Corinthians 14:26, "Every one of you hath a psalm;" Ephesians 5:19, "Speaking to yourselves in psalms;" Colossians 3:16, "Admonishing one another in psalms." In the following places it is applied in the New Testament to the Book of Psalms, considered as a collection of songs of praise; - Luke 20:42, "David himself saith in the Book of Psalms;" - Luke 24:44, "All things must be fulfilled, which were written in the law of Moses, and in the prophets, and in the Psalms, concerning me:" see the notes on that passage; - Acts 1:20, "It is written in the Book of Psalms;" - Acts 13:33, "It is also written in the second psalm." The word does not occur elsewhere in the New Testament.
Section 2. "The Authors of the Psalm."
The Psalms thus collected into a book are by no means the production of one poet or one age. They stretch through a long period of Jewish history, certainly from the time of Moses to the time of the return from the captivity of Babylon, and probably later, and they are modified by all the varieties incident to the peculiarities of their respective authors; to individual and national history; to the times in which they were composed. So many of them, however, are the composition of David, that it is customary to speak of them as "The Psalms of David," though it is probable that not much more than half of the psalms in the collection were written by him. Of the 150 psalms comprising the collection, according to the enumeration in the Hebrew manuscripts, not quite one half are usually ascribed to him. According to DeWette, 74; to Kennicott, 66; to DeRossi, 67; to Rosenmuller and Eichhorn, 71; and to Hengstenberg, 80. It is probable, however, that a portion of the psalms to which no name is prefixed in the title - but how great a portion it is impossible now to determine - is the production of David. Still, so many are known to have been composed by him, and he was so eminent as a poet, as to justify the language which is so frequently employed when they are called familiarly "The Psalms of David."
The following persons are mentioned in the titles as authors of psalms:
(1) One psalm Ps. 90 is ascribed to Moses. In regard to the question whether this is to be regarded as a composition of Moses, see the notes on the psalm. No other psalm in the collection is ascribed to him, though not a few specimens of his poetry are preserved in the Pentateuch. Why this was not incorporated with his other writings, or how it was preserved until it obtained a permanent place in the Book of Psalms, cannot now be determined.
(2) David occupies a prominent position as the author of many of the psalms in the collection, but, as has been remarked above, critics are divided in opinion as to the exact number that should be ascribed to him. In the Hebrew inscriptions of the Psalms, 68 are attributed to him. The difference between this number and that noted above in regard to the opinions of DeWette, Kennicott, DeRossi, Rosenmuller, Eichhorn, Hengstenberg, and others, arises from the variations in the manuscripts in respect to these inscriptions; the different value attached to these inscriptions by various critics; the fact that some psalms, though without a title in the Hebrew, are supposed to be so certainly the production of David as to make it proper to ascribe them to him; and the fact that some of the psalms ascribed to him are supposed by different writers to belong to a later period of the Jewish history than his time, and that, consequently, the title by which they are attributed to David is an error. There is every reason to suppose that some of the psalms now without a title are the composition of David, though it is not known, and cannot now be known, why they are not ascribed to him in the titles of the psalms themselves. In consequence of these facts, it is impossible now to determine with exact precision how many of the psalms are to be ascribed to David; though the number is undoubtedly so great that he is to be regarded as the principal author of the collection.
(3) Twelve of the psalms, Ps. 50; Ps. 73; Ps. 74; Psalms 75:1-10; Psalms 76:1-12; Ps. 77; Ps. 78; Psalms 79:1-13; Ps. 80; Ps. 81; Psalms 82:1-8; Ps. 83; are ascribed to Asaph. These, it will be seen, occupy a place together in the collection Ps. 63-83, with the exception of Psalms 1:1-6. The reason for this arrangement cannot now be known. DeWette (Einleitung, III. iii.) supposes that, with the exception of Psalms 1:1-6. and Ps. 73, these are improperly ascribed to Asaph, as, in his view, they pertain to later times of the Jewish history, Ps. 74; Psalms 79:1-13 to the destruction of the temple and the city; Ps. 80 to the Exile, etc. Compare the notes on the introduction to those psalms (Ps. 74; Ps. 79; Ps. 80).
(4) Eleven of the psalms, Psalms 42:1-11; Ps. 44; Ps. 45; Psalms 46:1-11; Psalms 47:1-9; Psalms 48:1-14; Ps. 49; Psalms 84:1-12; Psalms 85:1-13; Psalms 87:1-7; Ps. 88; are ascribed to "the sons of Korah," as the authors, or are "for the sons of Korah." See the notes to the introduction of Psalms 42:1-11. It is not certain whether these were composed by "the sons of Korah," or were composed for "the sons of Korah;" that is, for the company of musicians to whom the direction of the music in the temple was confided. It is obvious, however, that if the meaning is that they were composed by "the sons of Korah," this furnishes no information as to the individual authorship of the psalms. By which one of them they were composed, or whether by more than one, of course is not indicated by a title so general. DeWette supposes that most of these psalms pertain to the times of the Exile, or to a later period. There is nothing very unique in the character of these psalms; nothing which in themselves could lead us to conclude that they were composed by those to whom they are ascribed, rather than by David or Asaph.
(5) Two psalms, Ps. 88; Ps. 89 are ascribed to a person called "The Ezrahite." One of these, Ps. 88, is ascribed to" the Ezrahite," and the other, Ps. 89, to Ethan the Ezrahite." The former of these is also reckoned among those which pertain to the "sons of Korah." Ethan and Heman were probably, however, different persons, to each of whom the name "Ezrahite" might for some reason be applied. In I Kings 4:31, they are mentioned among others as remarkable for their wisdom: "For he, Solomon, was wiser than all men; than Ethan the Ezrahite, and Heman, and Chalcol, and Darda, the sons of Mahol." In I Chronicles 2:6, they are mentioned as "sons of Zerah:" "Zimri, and Ethan, and Heman, and Calcol, and Dara." In I Chronicles 6:33, a Heman is mentioned as one of the "sons of the Kohathites:" "Heman, a singer, the son of Joel." So, in I Chronicles 15:17, he is mentioned in connection with Ethan, who is there said to be the son of Kushaiah; and in I Chronicles 15:19, he is mentioned as associated with Asaph and Ethan: "So the singers, Heman, Asaph, and Ethan, were appointed to sound with cymbals of brass." In I Chronicles 25:1, Helman is mentioned with Jeduthun, as one of those whose sons "should prophesy with harps, with psalteries, and with cymbals." He is there referred to as associated with Asaph. Compare II Chronicles 5:12; II Chronicles 29:13-14; II Chronicles 35:15. Ethan is twice mentioned - I Kings 4:31 as above, as a wise man, and I Chronicles 2:6, as above. Compare the notes on the introduction to Ps. 88; Ps. 89.
(6) Two of the psalms, Ps. 72 and Psalms 127:1-5, are ascribed to Solomon, or are "for Solomon." See the notes on the titles to those psalms (Ps. 72; Ps. 127). It cannot be positively determined whether those psalms are his composition, or whether they were composed with reference to him or for him. The latter would seem to be the more probable opinion in regard to Ps. 72, so far as can be determined from the contents of the psalm; but still there is nothing which absolutely prevents us from ascribing the two to him as the author.
(7) Fifteen of the psalms, Ps. 120-134, are entitled "Songs of Degrees." Of these, four are ascribed to David and one to Solomon. The names of the authors of the others are not mentioned. Compare the introduction to the notes on Psalms 120:1-7. They are grouped together because they appear to have been used on certain special occasions, rather than from anything special in the psalms themselves.
(8) Some of the psalms are ascribed in the Septuagint translation to Jeremiah, to Ezekiel, to Haggai, and to Zechariah. As there is nothing corresponding to this in the Hebrew titles, this must have been, of course, mere conjecture or tradition.
(9) There remains a pretty large number of the collection the names of whose authors are not mentioned; and, of course, there are now no means of determining the question in regard to the authorship. Such are s. 150. These, it will be seen, are irregularly scattered through the book, though they are, for the most part, near its close.
In regard to the origin and authority of the titles to the several psalms, see section 4.
Section 3. "The Formation of the Collection and Arrangement of the Book of Psalm."
The Jewish Talmud (Cod. Berachot, 1, 9) ascribes the formation of the Psalter, or the assembling of the Book of Psalms, to David. It is unnecessary to remark that this cannot be a correct opinion, since many of the psalms are indubitably of a later date than the time of David. Most of the Christian fathers, and many critics of modern times, ascribe the collection and arrangement of the Book to Ezra, and this is now regarded as the most probable opinion; and if so the whole collection must have been formed about 450 years before Christ. But though this may be regarded as the correct opinion in regard to the completion of the whole as it now stands, yet there is evidence in the psalms themselves of the existence of smaller collections made before from which the general one was ultimately formed. By whom those smaller collections were made is not now known, nor can it be ascertained what changes may have been made in them when the general collection was formed.
The Book is divided in the Hebrew text into five minor books or collections, sufficiently marked in their character, and so indicated at the close of each as to make it every way probable that these may have been "published," so to speak, in the form of different books, or that the later were additions to the first collection or volume. This division is found also in the Septuagint version - a fact which proves that it existed as early as the year 200 b.c. These portions bear marks of being not "arbitrary" divisions made at the time when the general collection was formed, but distinct and independent collections by different persons. The grouping is not precisely accurate, that is, in the first part, the "Psalms of David" Ps. 1-41, not all the psalms of David are included; and there are a few that are not ascribed to him in the title; but still it was so complete at the time, probably, as to make it proper to regard it as a collection of "his" psalms in respect to the purpose for which that collection was made.
The first book embraces the first 41 psalms, and was, probably, a collection of David' s psalms as such, although it does not embrace by any means all that he wrote, probably not all that were extant at the time when the collection was made. The "close" of this "book" is indicated by the words "Amen, and Amen," Psalms 41:13. All the psalms in this collection, except Psalms 1:1-6; Psalms 2:1-12; Ps. 10; Ps. 33; are expressly ascribed to David, and it is every way probable that all were composed by him. In many manuscripts, in the Septuagint, and in the Latin Vulgate, the first psalm is united with the second (as are, also, in other parts of the general collection, Psalms 42:1-11 and Psalms 43:1-5; and Ps. 116 and Psalms 117:1-2). It is probable that this collection was early made, though DeWette has endeavored to show that it could not have been until after the exile, since he supposes that Psalms 14:1-7 and Ps. 44 were composed after that event. Of this, however, there is no evidence. Of course it is impossible to determine by whom this collection was made. It has been supposed by some that it was as early as the time of Hezekiah, and that it was prepared under his direction, as he is known to have ordered a collection of the proverbs of Solomon to be made and written out Proverbs 25:1; and as II Chronicles 29:30 he "commanded the Levites to sing praise unto the Lord with the words of David." (Kitto, Encyclopedia)
The second book in the general collection comprises Ps. 42-72. This collection is made up of the psalms of "the sons of Korah," Ps. 42-49; of one of the psalms of Asaph, Ps. 50; of 19 psalms of David; of two whose authors are not named; and of one inscribed "to Solomon," or "for Solomon," Ps. 72. At the end of this collection Psalms 72:20 the following notice is given: "The prayers of David, the son of Jesse, are ended;" and some have supposed that this was the close of the entire psalms preceding it, as one book or collection, Ps. 1-72. Carpzov, Introduction ii. 107. But that this was a different collection, or that there were two collections made by different persons, seems evident from the fact that Psalms 53:1-6 is the same as Psalms 14:1-7; with only slight variations - the variations consisting mainly in the fact that the word 'Elohiym is used as the name of God in the latter, in the place of Yahweh in the former. It cannot be supposed that a collector would have used the same psalm with such a variation in the same collection. So also Psalms 70:1-5 is only a repetition of Psalms 40:13-17, with only a similar change.
It may be "suggested" that these two collections may have been subsequently "united," and may have constituted as one before the more general collection was made. Thus, the natural "close" of this collection, as of the first collection Psalms 41:13, would be with the words "Amen, and Amen," Psalms 72:19. To the "entire" collection - the two combined - these words may have been added Psalms 72:20, "The prayers of David, the son of Jesse, are ended," meaning that "now" an entire and complete collection of the Psalms of David had been made in the "two" combined; or, that "as many had been combined for public worship as were then intended to be used in that service." This idea would not prevent the supposition that there may have been at that time, in fact, other psalms of David in existence; or that they might have been subsequently introduced into the worship of God in "other" collections.
The third book Ps. 73-89 consists in part Ps. 73-83 of psalms of Asaph, and in part Ps. 84-89 of the psalms of the sons of Korah, including one of David Ps. 86. The book contains none of the psalms of David, with the exception of Ps. 86; and therefore the notice is given at the end of the second book Psalms 72:20, that "the prayers of David, the son of Jesse, are ended." It was evidently the design of the author of the compilation at the "close" of that book not to admit in the following book any of the psalms of David; perhaps it was the intention "not" to collect anymore of the psalms of David for the purpose of public worship. Possibly, as DeWette (Einleitung, p. 21) suggests, the author of the collection in the third book put the notice at the end of the second book that David' s psalms ended there, it being his intention to make a collection of another kind. when this collection was made is unknown. From Psalms 85:1-13 it would seem probable that it was made as late as the return from the captivity at Babylon. That psalm may have been written by one of the company called "the sons of Korah;" or it may have been composed for their use in the sanctuary. This collection closes, like the two former, with the expressive "Amen, and Amen," Psalms 89:52,
The fourth collection Ps. 90-106 is made up wholly of anonymous psalms, with the exception of Ps. 90, which is ascribed to Moses, and Psalms 101:1-8; Ps. 103; which are ascribed to David. They are psalms which have almost no local references or allusions, which might, for the most part, have been composed in any country or at any period of the world; and which, in their structure and allusions, give no indication of their authors or of the circumstances which led to their composition. Their authorship, except in the three instances above mentioned, cannot now be ascertained; nor is it necessary to determine that question in order fully to understand and appreciate them. They were manifestly designed for public worship, and probably written with the intention of being so used. This book closes Psalms 106:48 with the expression "Amen, Hallelujah."
The fifth and last book Ps. 107-150, is miscellaneous in its character, and seems to have been intended to be a collection of all the scattered psalms which would be proper for public worship, which had not found a place in the other collections. Part (Psalms 108:1-13; Ps. 109; Psalms 110:1-7; Psalms 122:1-9; Psalms 124:1-8; Psalms 131:1-3; Psalms 133:1-3; the four last being among the "Songs of Degrees," Psalms 138:1-8; Ps. 139; Psalms 140:1-13; Psalms 141:1-10; Psalms 142:1-7; Psalms 143:1-12; Psalms 144:1-15; Ps. 145) are ascribed to David. Part Ps. 120-134 consist of the "Songs of Degrees." The rest Ps. 107; Psalms 111:1-10; Psalms 112:1-10; Psalms 113:1-9; Psalms 114:1-8; Ps. 115; Ps. 116; Psalms 117:1-2; Ps. 118; Ps. 119; Ps. 135; Ps. 136; Psalms 137:1-9; Psalms 146:1-10; Ps. 147; Psalms 148:1-14; Psalms 149:1-9; Psalms 150:1-6 are anonymous. By whom, and when this last collection was made is unknown. It may without improbability, however, be supposed perhaps that it was made by the person (Ezra?) who undertook to collect into one the entire "books" already existing, and who found many psalms that had not been included by the collectors of the previous books, and who, therefore, grouped all these together in a single book, to be added in the general collection to those which had been already classified and arranged.
Section 4. "The Titles to the Several Psalm."
All the psalms, except Ps. 34, now have in the Hebrew titles or superscriptions. Some, however, reckon only 25 exceptions, as, according to their view, the phrase, "Hallelujah," " Praise ye the Lord," occurring at the commencement of several of the psalms, is regarded by them as a title or superscription. The more correct supposition, however, undoubtedly is to regard that phrase as a part of the psalm. To each one of these exceptions the Talmud gives the name of "Orphan Psalms."
(a) The "authorship" of these titles is unknown, and cannot now be ascertained. They are found in the Hebrew; but it is not to be supposed that, so far as the "name" of the author of the psalm is concerned, or so far as they are intended to indicate the author, they were prefixed to the psalm by the authors themselves. The Psalms are not of the nature of epistles or histories, and it cannot be supposed that the author would prefix his name to a mere poem or hymn. The probability, therefore, is, that they were prefixed to the psalms as they came into common use, or by the collectors of the several books, or the collector of the entire book, either as indicating what was the common opinion on the subject of the authorship, and the occasion on which they were composed, or as an inspired record in regard to that authorship and design. The question "by whom" they were prefixed is, however, a point which cannot now be determined. If it were possible to ascertain that, it would do much to determine their authority and worth, but the estimate of their value must now be settled by some other method than this.
(b) These titles are of great "antiquity." The fact that they are found in the Hebrew manuscripts proves this, for there are no Hebrew manuscripts, however ancient, without them. They are found, with some variations, in the Septuagint; and it is thus certain that they existed before that translation was made. This point is also confirmed by the fact that the translators of the Septuagint have, in some instances, copied the Hebrew words in Greek letters, without attempting to translate them; and that, in other instances, the titles which they use are translations of the Hebrew words, and show that they must have been made from a Hebrew original. These facts, however, would not make it necessary to suppose that they had been prefixed by the writers themselves, nor would it be "necessary" to suppose that they were prefixed before the time when the psalms were collected - either the separate books, or the general collection.
(c) The "design" of these titles is either to designate the author of the psalm, or the occasion on which it was composed, or the chief singer to whom it was dedicated, and to whom it seems to have been committed to set it to appropriate music - that is, to arrange the music for a public use of the psalm; or the style of the poetry; or the instrument which was to be used; or the "tune" which was to be sung. Some of the titles simply designate the author, as in many of those ascribed to David; some describe at length the occasion on which they were written, as Ps. 18; Psalms 30:1-12; Ps. 51; Psalms 52:1-9; Psalms 56:1-13; etc. Some combine several of these things together, the author, the occasion, the style of the poetry, the music to be used, etc., as Psalms 52:1-9; Psalms 53:1-6; Psalms 54:1-7; Ps. 55; Psalms 56:1-13. The longest and fullest of these titles is that prefixed to Psalms 60:1-12; where we have the dedication to the chief musician, the name of the author, the style of the poetry, the design of the psalm, the instrument of music to be employed, and the historical occasion on which the psalm was composed.
(d) It is very difficult at this distance of time to explain the "meaning" of many of these titles, and critics have differed very materially in their conjectures on this subject. The difficulty arises in a considerable degree from our ignorance in regard to the temple-music, and to the instruments which were employed. The difficulty is the same which would exist two or three thousand years from the present time in explaining a book, now familiar, containing "tunes" of music, and a reference to the instruments of music which are now employed in the public service of God. It might be difficult, if not impossible, so to describe the exact instrument of music used as to be intelligible to a future age; and it would be obviously impossible to explain satisfactorily the "names" of many of the "tunes" which are now in common use - as "Mear," "Martin' s," "Russia, "Windham," "Lenox." The difficulty, as has been remarked above, was felt even at the time when the Septuagint version was made, as in several instances the authors of that version have not attempted even to translate the title, but have expressed it in Greek letters answering to the Hebrew. Coverdale, who translated the Bible in 1535, felt the difficulty to be so great that he has omitted nearly all the titles except the names of the authors. In these notes, as far as an explanation can now be given that is satisfactory or probable, it will be offered in the exposition of the particular psalms.
(e) There has been a wide difference of opinion respecting the "authority" of these titles. Not a few modern critics, especially German critics, regard them as of no authority, and argue in respect to the authorship of the psalms, and the time and occasion on which they were composed, as if no such titles were found in the Hebrew. By most of the ancient critics they were considered as genuine, and as having equal authority with the psalms themselves. They were wholly rejected at the close of the fourth century by Theodore of Mopsuestia, one of the ablest and most judicious of the ancient interpreters. Rosenmuller, Hist. Interp. Librorum Sacrorum, P. III, p. 256. Tholuck and Hengstenberg admit their authority. The "objections" to the authority of the title are such as these:
(1) That the "subscriptions" at the close of the epistles in the New Testament are now regarded as of no historical value, and it is asked why may not the same conclusion be adopted in regard to the titles "prefixed" to the psalms?
(2) that the ancient versions, the Syriac and the Greek especially, exhibit them with great variations, often altering the Hebrew, and sometimes giving a heading where the Hebrew has none. It is asked whether these ancient translators would have taken such liberties if the titles had been considered sacred like the psalms themselves? (Kitto). - It is added on this point, that "if ever Ezra settled them, the variations in versions and manuscripts have tended since to make them doubtful." Eichhorn, "Einleitung," III, p. 490.
(3) It is argued that the titles are at variance with the contents of the psalms. Thus, it is alleged that sometimes the name of the author is incorrectly given, "as when David is named over the psalms referring to the captivity," as in Psalms 14:1-7; Ps. 25; Ps. 51; Ps. 69. It is also alleged that Ps. 139 cannot be David' s, since it is not free from Aramaisms. It is also said that the occasion on which a psalm was composed is not always correctly specified, as in Psalms 30:1-12.
It is to be observed, however, that these writers sometimes assume that a psalm refers to the time of the exile when it would be possible to explain it on the supposition that it was composed at an earlier date; and that it is not always safe to argue from the internal evidence of a psalm against the inscription. A critic affixes his own interpretation to a psalm, and then adopts that as a basis of argument in regard to its origin; whereas often, possibly in all cases, if the inscription were assumed to be correct, it would not be difficult to explain the psalm, by fair rules of interpretation, in accordance with that supposition.
On the whole, it seems to me that these inscriptions are to be regarded as a part of the inspired record, and as having the authority of inspiration. The fact that they are found in the Hebrew - that they can be traced back to the earliest periods when we have any knowledge of the Hebrew text - that they have come down to us with that text - furnishes proof which it seems we cannot now set aside; that they are to be regarded as a part of the text, and that they should not be rejected, except as any other portion of the Hebrew text should be rejected, i. e., only when it can be demonstrated that an error has crept into the text by the fault of transcribers.
Section 5. "The General Character of the Book of Psalm."
The Psalms are mostly lyrical poetry, that is, poetry adapted to the harp or lyre; to be used in connection with instrumental music; to be "sung," not "read." Such poetry was common among the ancients, as it is among the moderns. Anacreon, Alcaeus, Stesichous, Sappho, and Horace were eminent among the ancients as "lyric" poets; and the numerous writers of "songs," sacred and secular, among the moderns, are to be ranked in the same class. The phrase "lyric poetry" now, however, is frequently applied to that species of poetry which "directly expresses the individual emotions of the poet" (Webster).
Lyric poetry is, for the most part, an expression of deep feeling, and has its foundation in feeling or emotion. It is not so much the fruit of the understanding as of the heart; not so much the creation of the imagination as the utterance of deep personal emotion. It embraces in its design and nature all kinds of feeling, and may be joyous, pensive, desponding, triumphant, according to the feelings of the author, or to the occasion, for all these utterances may be sung, or may be set to music, the varying tones of music being adapted to express them all. Hence, in the Psalms, 150 in number, and composed by a considerable variety of individuals, and on many different occasions, we have the varied feelings of trouble, anguish, fear, hope, joy, trust, thankfulness, devotion to
