The Book of Psalms is a compilation of several ancient collections of Hebrew songs and poems for use in congregational worship, as well as in private devotion. In some collections the ancient compilers gathered together mostly David’s superb songs. In others they drew from a variety of authors such as Moses, Asaph, Heman, the sons of Korah, Solomon, and Ethan. Many are from unnamed sources. Jewish scholars called these “orphan psalms.”
The Ugaritic texts, when contrasted with the more recent Dead Sea Scrolls, show that the imagery, style, and parallelisms of some of the psalms reflect a very ancient Canaanite style and vocabulary. The Book of Psalms, then, reflects the worship, devotional life, and religious sentiment of approximately one thousand years of Israel’s history.
The Hebrew title of this book, Sepher Tehillim, means “Book of Praises.” The Greek titles, Psalmoi or Psalterion, denote a poem that is to be accompanied by a stringed instrument. However, the Psalter contains more than temple songs and hymns of praise. It includes elegies, laments, personal and national prayers, petitions, meditations, instructions, historical anthems, and acrostic tributes to noble themes.
In its final form in our canon of Scripture, the Book of Psalms is subdivided into five smaller books. Each book is a compilation of several ancient collections of songs and poems. A fitting doxology has been placed at the end of each book by its editors. In Book One (Ps. 1—41) most of the songs are attributed to David. Book Two (Ps. 42—72) is a collection of songs by, of, or for David, the sons of Korah, Asaph, and Solomon, with four anonymously written. Book Three (Ps. 73—89) is marked by a large collection of Asaph’s songs. He was King David’s choirmaster (1 Chr. 16:4–7). Although most psalms in Book Four (Ps. 90—106) are without given authors, David and Moses are contributors. More of David’s songs are found in Book Five (Ps. 107—150). The series of songs called the Egyptian Hallel (Ps. 113—118) is found here as well. The final songs (Ps. 146—150) in Book Five are known as the “Great Hallel” series. Each song begins and ends with the Hebrew exclamation of praise, “Hallelujah!”
The word selah appears seventy-one times in the Psalms and has various translations. It comes from a root meaning “to lift up.” It might be a Hebrew equivalent of several more common musical terms. It may indicate an increase in volume, as in the musical notations “crescendo” or “forte.” It could also be the equivalent of a musical pause, rest, or interlude, suggesting a period of silence. The technical musical term, “rest,” calls for silence whereas the term “fermata” refers to a prolonged pitch. The use of selah in a psalm possibly signified a break in the singing for prostrations. Although we do not know the specific meaning of the term, the contexts seem to imply an instruction to pause for reflection on what has been said in preparation for what will follow. In Psalm 9:16, David seems to call the reader/hearer to both pause and meditate. He uses the terms higgaion and selah before continuing to the next section, which likewise concludes with another reflective directive, selah.
Instead of a rhyming of sounds, Hebrew poetry and song are marked by parallelism, or rhyming of thoughts. Most parallelisms are couplets that state synonymous thoughts in each line (36:5). Others are antithetic, where the second line states the negative of the preceding line (20:8). There are also constructive or synthetic couplets, which tend to add to, or build on to, a thought (19:8, 9). A few parallelisms are causal, revealing the justification for the first line (31:21). Sometimes parallelism involves three lines (1:1), four lines (33:2, 3), or more.
Also, throughout the centuries the Psalms have been a source of personal inspiration and spiritual strength. In the course of dealing with the adversities of life, people are often frustrated by not being able to express adequately their emotional pain or mental anguish. The Psalms release us from that frustration. With emotionally drenched complaints, humble confessions, desperate pleas, penitent prayers, or screams of pain, the writers of the Psalms skillfully expose and express the yearnings of our deepest thoughts. This use of the Psalms is often the first step toward our own deliverance. By song and Spirit they comfort the lonely, strengthen the weary, bind the brokenhearted, and turn the eyes of the downcast up toward their Creator. Hope returns, faith is renewed, and life again becomes bearable.
The first Christian churches comprised mainly Jewish people, so it was natural that they incorporate the singing of psalms, hymns, and spiritual songs into their worship (Col. 3:16). Throughout the centuries, in most of the major Christian denominations, hymnbooks composed mostly of psalms set to cultural music patterns have been used in congregational singing. In modern times, churches continue to draw from the Book of Psalms for songs of worship. The worship of the Christian church incorporates not only the lyrics and instruments of the Psalms, but involves clapping (47:1), lifting up hands (141:2), bowing (95:6), standing (134:1), shouting (47:1), and dancing (149:3).
Approximately half of the Old Testament references to the Messiah quoted by New Testament writers are from the Book of Psalms. The apostles saw prophetic reference in this book to Christ’s birth (Acts 13:33), His lineage (Matt. 22:42, 43), His zeal (John 2:17), His teaching by parables (Matt. 13:35), His rejection (Matt. 21:42), His priesthood (Heb. 5:6), His betrayal by Judas (John 13:18), His vicarious suffering (Rom. 15:3), His triumphant resurrection (Acts 2:25–28), ascension (Acts 2:34), and reign (1 Cor. 15:27), as well as many other aspects of His ministry.
Some of the prophetic references to Christ are typical, that is, symbolic shadows of future realities. Other references are direct prophetic statements. Either way, the interpretation of these psalms as messianic is verified by Jesus’ own words in Luke 24:44, where He declared that the Psalms spoke concerning Him.
The Book of Psalms, and the principles of worship they reflect, minister to the soul of man and to the heart of God because they are the product of the work of the Holy Spirit. David, the major contributor to the Book of Psalms, was anointed by the Holy Spirit (1 Sam. 16:13). Not only was this anointing for kingship, but it was for the office of a prophet (Acts 2:30); and the prophetic statements he recorded were by the power of the Holy Spirit (Luke 24:44; Acts 1:16). In fact, the lyrics of his songs were composed by the inspiration of the Spirit (2 Sam. 23:1, 2), as were his plans for appointing chief musicians and choirs with their accompanying orchestras (1 Chr. 28:12, 13).
Thus the Psalms are unique and vastly different from the works of secular composers. Both may reflect the depths of agony experienced by the tormented human spirit, with all its pathos, and express the rapturous joy of the freed soul, yet the Psalms move to a higher plane by the creative anointing of the Holy Spirit.
Specific statements show that the Holy Spirit is at work in creating life (104:30); that He faithfully accompanies the believer (139:7); that He guides and instructs (143:10); that He sustains the penitent (51:11, 12); and that He interacts with the rebellious (106:33). ~NSFL PS 1-150
