The Book of Psalms
An Incomparable Prayer Book
A Liturgical Anthology
Many prayers and liturgical chants are scattered throughout the Bible, but the most substantial part of Israel’s praise and petition is to be found in the one hundred and fifty poetical compositions called “Psalms” after their Greek name, with “Psalter” designating the entire collection (psalt
By analogy with the five Books of the Pentateuch (the Torah), the Psalter was divided, quite arbitrarily, into five books; this division seems to go back to the third century B.C. On the other hand, three main sections can be distinguished according to the name used for God (“the Lord,” Yahweh, in the first and third sections; “God,” Elohim, in the second); the three sections are Psalms 1–41, 42–89, and 90–150.
There are also psalms that are part of less important pre-existing collections belonging to groups of cantors, such as those of Asaph (73–83) or Korah (42–50; 84–88), who had been charged with organizing the liturgical functions. In addition, the Psalter includes other distinguishable collections: the pilgrim psalms (120–134), songs of the kingdom (93–100), the canticles of Zion and the Alleluia hymns (113–119, 135–136, and 146–150).
More than one psalm already had a history and life of its own before being given its definitive text and definitive place in the Psalter as we now have it. In fact, some very ancient psalms were used and reread from century to century, adapted to new circumstances, and often revised (e.g., Pss 2; 110).
At the beginning of each psalm the Hebrew text provides some introductory notes that are still rather mysterious to us. These are the “superscriptions” or “titles.” They indicate the presumed author of the psalm, the historical circumstances that supposedly inspired it, some instructions on the musical instruments to be used, and so on. Some critics think that these superscriptions are ancient, perhaps composed before the Exile; others think that they are much later additions, inserted when the collection had already been completed. In any case, rather than giving the objective meaning of the psalm, the superscription shows how it was understood and sung at a time far removed from its origin.
Many superscriptions attribute a given psalm to David (all those of the first Book, except for 32; and others). There is no doubt that the royal musician and poet who danced before the Ark and organized Israel’s worship gave a decisive impulse to the liturgy and sacred songs, and that some of his compositions have been preserved (see 2 Sam 1:19-27; 23:1-7). Moreover, as head of Israel, David represented the entire people. Once the monarchy disappeared, he became, after the Exile, the model for believers and the type of the future Messiah, of the Jesus who would speak in the name of all the people and even of all humankind. For this reason, even if David did not himself compose any of the hundred and fifty psalms, at least in their present form (as some believe), the memory of him certainly inspired the cantors, who put his name over their own liturgical compositions.
Various Attitudes toward God
It is difficult to discern any particular order in the present sequence of the Psalter. Prayers of entreaty stand side by side with the most enthusiastic thanksgivings, just as in real life. The most that can be stated is that the burden of misfortune weighs more heavily in the first half of the Book, while praise becomes more sustained toward the end of it. In the commentary that follows, we try unobtrusively to suggest this rhythm.
Each psalm will therefore be viewed in itself without trying to establish any relationship of continuity.
The Hebrew name for the Psalter is “Book of Praises,” and in fact there are many hymns of praise. The Alleluia psalms for the most part belong to this category. Another homogeneous group of psalms acclaims the Lord as King of the people and of the universe; these are the psalms of the kingdom, the Messianic hymns (47; 93; 96; 97; 98; 99; 145). Still another group voices the love of the people for Jerusalem, the mountain on which God dwells and on which the dynasty of its Messianic King is perpetuated; we call these the Canticles of Zion (24; 46; 48; 78; 84; 87; 122).
The songs of thanksgiving expressed wonder and gratitude. Petitions, complaints, and prayers of repentance and sorrow are perhaps the most frequent subjects of the Psalms. Some songs by unhappy singers became psalms of trust and gratitude (e.g., 13; 16; 22; 23; 31; 32; etc.).
The sapiential psalms are somewhat didactic in tone. The wise men in question endeavor to penetrate the riddle of life and unveil its meaning.
Finally, there are the royal psalms: songs and prayers that focus on the king and were perhaps used, at least initially, for the festival of consecration or the anniversary of enthronement. Like the psalms of the kingdom, in the course of time these were reread in a Messianic perspective. We should also note that some psalms turn the history of Israel into a prophecy in which the lessons of the past are solemnly proclaimed on the occasion of some great feast (78; 105; 106).
The External Form
Some psalms are acrostic or alphabetical; that is, their verses (or strophes) start with a word that begins with one of the twenty-two letters of the Hebrew alphabet (in alphabetical order). This device, like others common in poetry (rhyme, strophes, etc.), has for its purpose to heighten merit, but it can result in embarrassment from the viewpoint of artistic inspiration and literary perfection.
Hope Stimulated by Remembrance of the Past
The history of the Psalms is ongoing. It is true, of course, that the Psalter reflects the spiritual adventure of the ancient People of God, with its lights and shadows. But the Jewish tradition began at a quite early date to regard this Book as the herald of a unique religious experience that looked to the Messiah as witness and privileged beneficiary of the divine work of salvation. Thus the entire Psalter, which is a synthesis of the Old Testament in the form of poetry and prayer, becomes a Messianic prayer. The Christian tradition has therefore legitimately regarded it as also a prophecy and prefiguration of Jesus, who suffers before entering into his glory (Ps 22:19 and Jn 19:24; Ps 2:1-2 and Acts 4:25-27; etc.).
Because they had been used by Jesus and were fervently recited with new understanding by the first Christian community, which had emerged from Judaism, the Psalms automatically became the prayer of the Church, as they had been that of Israel; from that time on, they have been continually prayed by the Church. The new and spiritual Jerusalem sees partially realized in itself the glory of Zion, which the chosen people saw as still in the future.
There is no feast or celebration or reading of the word of God for which the Liturgy cannot find appropriate expressions or at least allusions in the Psalms. In praying the Psalms, the children of the Church express through these imperfect but irreplaceable songs from another age, the human and supernatural experience of sorrow and joy that they, the new People of God, also have as they travel toward the radiant goal of the history of the Church and humanity: “Zion, perfect in beauty,” where “God shines forth” (Ps 50:2; Rev 21:2).
Calls for Vengeance?
At the same time, however, many of these songs are filled with curses and calls for vengeance, sometimes expressing a cruelty that is truly disconcerting (5:11; 31:18; 54:7; 83:14; 109:6f; 139:19f). We are dismayed to read: “Happy will he be who seizes your babies and smashes them against a rock!” (137:9). But we ought not be astonished by such language. The Psalms date from a time when the Gospel was not yet known; when placed on the lips of those being persecuted, they voice an urgent appeal for divine justice. (See notes on Ps 5:11; Ps 35.)
On the other hand, these vengeance psalms have a deeper meaning: at one time, they struck out against the enemies of the chosen people, the “heathen,” that is, the enemies of God; today they give voice to a different hatred, that which Christians ought to have for the evil that Jesus intended to destroy by his death and against which Paul the apostle exhorts us to fight (Eph 6:11-13).
The Book of Psalms may be divided as follows:
Prologue: (1–2)
Book I: (3–41)
Book II: (42–72)
Book III: (73–89)
Book IV: (90–106)
Book V: (107–150)