From very early times the Jews arranged the canonical books of the Old Testament into three great groups, known as “the Law, the Prophets, and the Writings.” The Psalms belonged to the last division and often gave to it its name (Lk. 24:44). There is strong evidence that in the original order of the Writings, the Psalms stood first, and not as in our present Bible, after Job. The Hebrew title “Tehillim” means “Praises,” and the book is probably so designated because of its use as the hymnbook for the religious services of the second temple. In Greek translations of the Old Testament the title is simply “The Psalms” or “The Psalter,” derived from psalla, to play an instrument. From this and other indications it appears then that the Psalms are songs intended to be accompanied by instrumental music (see 1 Chron. 16:4; 25:1; 2 Chron. 5:12-13).
On the question of inspiration we do not dwell. For the true child of God the matter is settled by the clear testimony of our Lord and His apostles. Christ not only classes the Psalms with “the law and the prophets” (Lk. 24:44), He declares that David spake “in the Spirit” (Mt. 22:43). Peter’s inspired testimony is given in 2 Peter 1:21; Paul’s in 2 Timothy 3:16-17. If the musicians came under the inspiration of God (1 Chron. 25:1), much more the psalmists themselves when they wrote.
Here then is a collection of Israel’s sacred songs, the “inspired response of the human heart to God’s revelation of Himself.”
In general character the Psalms may be classed under one or other of the following: a) a calling upon God in the direct address of petition or praise; b) a communion of the soul with God in which its emotions and experiences are expressed; c) a celebration of the works of God in nature and in history; and d) a consideration of the perplexing problems of life in relation to divine government in the world.
The Psalter rightly holds the middle place of the Bible as the heart of both Old and New Testaments. It commences with God blessing man (1:1) and ends with man blessing God (150), while in between, every degree of human experience is to be found. As one writer has so beautifully expressed it, “Man’s heart is the harp from which the divine hand produces the richest music.” Hence adversity as well as prosperity, sorrow no less than joy, may bring forth strains in minor and major keys. We find a combination of poetry and music wherein God brings all the seeming discords of life into a perfect harmony. Penitence and perplexity finally merge into perpetual praise.
The present arrangement of the Psalms is the same as in the days of our Lord (Acts 13:33). They are not in a chronological order, though David’s own book of psalms is the first of the five and the post-captivity book last. Nevertheless, each psalm is found in its suited place and in organic relation with the whole, producing “a divine harmony of moral order and spiritual affinity.”
The Psalms originated in the religious revival under David and Solomon. Additions were made during times of revival under Kings Jehoshaphat, Hezekiah, and Josiah, and the final addition during the last revival immediately following the captivity. The long periods of growing declension proved unproductive for such writings. The era before David furnishes but one or two psalms, namely 90 and 91, by Moses. Germs of song, however, existed from the beginning of Israel’s national history (see Ex. 15; Num. 6:22-25; 10:35; Jud. 5; 1 Sam. 2). The titles establish David’s authorship of the first book, and there is trace of no other author. The other psalms, though not all composed by David, are all pervaded by a Davidic spirit. In David “the sweet singer of Israel” (2 Sam. 23:1-2) were combined creative genius as a poet and inspirational gift as a prophet (Acts 2:30).
The evidence for the genuineness of the psalm titles seems overwhelming, though the writer does not propose to enter on a discussion here. Some titles are descriptive of the character of the psalm:
a) A Psalm. Both Hebrew and Greek denote a song with musical accompaniment (occurs 57 times).
b) A Song: Hebrew term is a general one for song, denoting a vocal piece. It is applied also to secular songs in the Old Testament, e.g. Amos 6:5 (R.V.). Fragments of songs are preserved in Genesis 4:3-24; 1 Samuel 18:7 and elsewhere. This occurs 30 times.
c) A Prayer: In the titles occurs five times and once in the subscript to Psalm 122 closing Book II.
d) A Praise: In a title found only above Psalm 145.
e) Maschil: Occurs 13 times. The word means “instruction,” and psalms so designated are intended to convey special teaching for the times, especially for “the wise” (Heb. maschilim) in the last days.
f) Michtam: Occurs six times with a somewhat doubtful meaning, but most probably denotes an epigrammatic composition giving maxims of faith worthy to be “engraved” on the memory.
g) A Song of Degrees, i.e., more literally “of the goings-up” (or ascents): This group is thought to be songs sung by the pilgrims on their way up to the important festivals at Jerusalem. Dr. Thirde’s suggestion is worthy of note. He connects them with the “degrees” on the sundial of Ahaz and Hezekiah’s “songs” (Isa. 38:8, 20).
“To the chief musician” may indicate that the particular psalm to which it is appended originally belonged to a “Preceptor’s Collection.” It occurs 55 times and only in the psalms of David and his singers. With regard to the typical bearing we surely see in “the Chief Musician,” our Lord Jesus Christ, who is both Leader of the heavenly praises (Ps. 22:22) and at the same time the blessed Object and End of all true worship.
Mention may be made here of the word, “Selah,” which appears 71 times, though not in the titles. It is characteristic of the psalms of David and his singers, Asaph, Heman and Jeduthun (cf. Hab. 3). The word is derived from “salah,” to pause, or “salal,” to lift up, and may bear both meanings. In use it is closely bound up with the structure and appears to call attention to some important connection between what precedes and what follows, by way of contrast or of amplification. It has to do with the meaning rather than the music, the matter rather than the melody, thus affording instruction to the hearers rather than direction to the singers. “Selah” often but not invariably divides a composition into strophes.
From indications in the titles as well as from internal evidence and comparison with the records in the historical books, it is often possible to fix the date of particular psalms with more or less certainty. An insight into the circumstances giving rise to the production seldom fails to throw additional light on the sentiments of the psalm. As already noticed, various periods up to the return of the remnant from the Babylonian captivity and immediately succeeding times are represented in the Psalter. Not a few scholars think that Ezra the Scribe was the last compiler of the Book of Psalms in its present form.
For a true understanding of the Psalms, it is necessary to study them from three distinct viewpoints: the Primary Association, or historical aspect; the Prophetic Anticipation, or typical aspect; and the Personal Application, or devotional aspect.
Regarding the Messianic Psalms, it is necessary to utter a word of warning. The appropriation of a whole psalm to Christ because a portion of it is cited in the New Testament as referring to Him may lead one into serious error.
In studying the Psalms from the devotional viewpoint it is of the utmost importance to recognize that the true scope of the book is earthly and that the people of God in it are earthly. This has been emphasized in the preceding paragraph. It is a very serious mistake to apply indiscriminately to Christians certain passages which belong only to the age of Law and to a future day when the suffering remnant of Israel will be moved by the Spirit of God to use language fully in accord with the character of the dispensation in which they live. The believer’s hope today is different, for he will be delivered from his enemies by being taken up from their midst (1 Thess. 4:16), whereas the Jew will be delivered only by the destruction of his enemies.
If the above be always borne in mind, the child of God will find in the Psalms a mine of wealth inexhaustible in its supply to meet his daily needs. The book provides “a treasury of devotion for the saints of every age.” Here are sentiments which have discovered “an echo in the hearts of men of all nationalities.” There is hardly a phase of human experience that does not strike a chord in this song book. Representing in his own person “the righteous principle assailed by the ungodly,” or one suffering under the disciplinary hand of God, David teaches the faithful how to conduct themselves in trial. His faith is often seen addressing itself to, and triumphing over his fears. Many of the intensely personal details given in the Psalms find a peculiar suitability in private approach to God. The biographies of a host of departed saints of God and the testimonies of a multitude of living believers witness to this.
A brief outline of the five books viewed from the prophetic standpoint is now given. The first psalm or psalms in each book form a kind of preface (see center chart). In general some great truth or historical fact as to the Messiah or the remnant, or both, is introduced and then a series of psalms follows, expressing the feelings and sentiments of the remnant in connection with it; in short, a revelatfon to the remnant followed by the remnant’s response.
Some Classics on the Psalms:
J. G. Bellett, Short Meditations on the Psalms, Morrish
A. G. Clarke, Analytical Studies in the Psalms, Ritchie
A. C. Gaebelein, The Book of Psalms, Loizeaux
A. Maclaren, Psalms (3 vols.), Hodder & Stoughton
A. Pridham, Notes on the Psalms, James Nesbit
G. Scroggie, The Psalms, Pickering & Inglis
C. H. Spurgeon, The Treasury of David (7 vols.), Funk
T. E. Wilson, The Messianic Psalms, Loizeaux