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Psalmi 61

¹ (Către mai marele cântăreţilor. De cântat pe instrumente cu coarde. Un psalm al lui David.) Ascultă, Dumnezeule, strigătele mele, ia aminte la rugăciunea mea!

² Dela capătul pământului strig către Tine cu inima mâhnită, şi zic: ,,Du-mă pe stânca pe care n-o pot ajunge, căci este prea înaltă pentru mine!

³ Căci Tu eşti un adăpost pentru mine, un turn tare împotriva vrăjmaşului.

⁴ Aş vrea să locuiesc pe vecie în cortul Tău: să alerg la adăpostul aripilor Tale. -

⁵ Căci Tu, Dumnezeule, îmi asculţi juruinţele, Tu îmi dai moştenirea celorce se tem de Numele Tău.

⁶ Tu adaugi zile la zilele împăratului: lungească-i-se anii pe vecie!

⁷ În veci să rămână el pe scaunul de domnie, înaintea lui Dumnezeu! Fă ca bunătatea şi credincioşia Ta să vegheze asupra lui!

⁸ Atunci voi cânta neâncetat Numele Tău, şi zi de zi îmi voi împlini juruinţele.

{"verseMap":{"1":[{"id":26605,"type":"article","type_label":"Articol","type_icon":"📖","type_color":"#d4af37","title_ro":"Music","title_en":"Music","content_ro":"<h3>MUSIC<\/h3>\nA natural human expression that probably began with speech-singing and developed into songs, which were then accompanied by instruments. Music as we know it has become quite complex, a luxury and entertainment; music in antiquity, however, was a functional expression of daily life, work, and worship.<\/p>\nThe phrase “sing to the Lord,” common to the OT (Ex 15:21; 1 Chr 16:9; Pss 68:32; 96:1-2; Is 42:10; Jer 20:13), was not unique to the Jewish nation. All religions draw on the natural human impulse to sing. The injunction “sing to the Lord” was a signal for the people to pour out their praise in song.<\/p>\nThe Bible, however, is limited in its treatment of music in ancient Israel. Since there was no written musical notation, the primary record of songs sung by the Hebrews is the collection of texts, particularly the psalms, and a few enigmatic musical instructions. The biblical writers were writing a history not of their culture but of their relationship with God; hence, their comments about music are not critical. Also, the biblical documents cover a long span of history and are grouped according to category rather than in chronological order, thus making it difficult to order the development of musical style with precision. Finally, there is the problem of understanding the biblical descriptions of music and its performance. Only in this century have scholars been able to interpret the information provided in the Bible in terms of Eastern music systems.<\/p>\nPreview<\/p>\n• Music in the Old Testament<\/p>\n• Music in the Psalms<\/p>\n• Music in the New Testament<\/p>\nMusic in the Old Testament<\/p>\nThe first musician mentioned in the Bible is “Jubal, the first musician—the inventor of the harp and flute” (Gn 4:21, nlt<\/span>). The importance of this description of a musician so early in history lies in the equality Jubal is given with his brothers Jabal, the herdsman, and Tubal-cain, the smith. Music making is recognized among the earliest professions of nomadic peoples. The name Jubal is believed to be a derivative from the Hebrew word for “ram.” The ram’s horn (<\/em>shophar<\/span>)<\/em> was an early instrument of the Jewish people and was significant in signaling important events.<\/p>\nFor the most part, the music described in early biblical history was of a functional nature. Music gained special significance as it became an important part of temple worship. Many of the descriptions of music making in ancient Israel, before David’s time, are quite utilitarian. There are accounts of music at times of farewell (Gn 31:27), at times of rejoicing and feasting (Ex 32:17-18; Is 5:12; 24:8-9), at military victories (2 Chr 20:27-28), and for work (Nm 21:17, the song of the well diggers; Is 16:10; Jer 48:33). Most of this music was probably rather crude and primitive in nature, especially the music associated with military advances, which was meant to terrify the enemy (Jgs 7:17-20). The music and dancing that greeted Moses as he descended from the mountain was described as if it sounded like “war in the camp” (Ex 32:17-18).<\/p>\nIn the early history of the Jewish people, women played an important part in the performance of music. The image of women dancing and singing for joy accompanied by percussion instruments is repeated several times: Miriam led the women in a hymn of thanksgiving after the deliverance from the Red Sea (Ex 15); Jephthah’s daughter welcomed her father in his victory (Jgs 11:34); Deborah joined with Barak in singing a song of victory (Jgs 5); and women hailed David after his defeat of the Philistines (1 Sm 18:6-7). There is little mention of women as musicians following the establishment of the temple in Jerusalem, but there are a few allusions to the fact that women did participate in singing and dancing. The account of the return from exile in Babylon includes both male and female singers (Neh 7:67), confirming that women still took part in musical performance.<\/p>\nAs Jerusalem became the religious center of the Hebrew people (950–850 BC<\/span>), the role of the professional musician became more important. The women’s songs became insignificant compared to the pomp and ceremony associated with the temple and the royal court. While the Levitical singers took most of the musical responsibility at the temple, the development of antiphonal singing allowed the people to join in on responses in the singing of psalms.<\/p>\n<h5>Musical Style and Use<\/h5>\nThe Jewish people seem to have been especially musical. Of course, they were influenced by other ancient cultures, but there is evidence that they were in demand as musicians by other peoples. According to an Assyrian document, King Hezekiah gave as tribute to King Sennacherib many male and female Jewish musicians. The Babylonians demanded that the captive Jews sing to them and entertain them (cf. Ps 137:3).<\/p>\nSince the OT’s purpose was to narrate the relationship between the Jewish nation and God, most of the references to music deal with its function in worship. However, evidence reveals that there was also a large body of secular musical literature. There may have been guilds of poets and singers early in Jewish history. The kinds of songs recorded in the early part of the OT represent a folklike poetry. The song of thanksgiving to the Lord by Moses and the people of Israel after their escape at the Red Sea is a stirring national song. Many descriptions of the biblical writers reflect the spirit of bardic song. This would be logical, as these stories were meant to be passed on. Marching songs (2 Chr 20:27-28), and songs of triumph (Jgs 5) also indicate a secular body of music.<\/p>\n<h5>Music in Worship<\/h5>\nThe singers and musicians for the temple worship were chosen from the tribe of Levi. King David assembled the Levites for a census, and out of the total of 38,000 men over the age of 30, 4,000 were chosen as musicians. These 4,000 were subsequently given specific jobs. “David and the chiefs of the service also set apart for the service certain of the sons of Asaph, and of Heman, and of Jeduthun, who should prophesy with lyres, with harps, and with cymbals. . . . The number of them along with their brethren, who were trained in singing to the Lord<\/span>, all who were skilful, was two hundred and eighty-eight” (1 Chr 25:1, 7, rsv<\/span>). The singers were further divided into 24 groups of 12 singers, who rotated in participating in the weekday, Sabbath, and high holy day services.<\/p>\nAccording to a later source, there were minimum and maximum numbers of singers and instrumentalists required at each service. The minimum number of singers was twelve, the maximum was unlimited. There had to be in attendance at least two harps but no more than six, at least two flutes but no more than twelve, a minimum of two trumpets with no maximum, and a minimum of nine lyres with no maximum. There was only one player with a pair of cymbals.<\/p>\nA singer was admitted to the Levitical choir at the age of thirty following a five-year apprenticeship (1 Chr 23:3). Five years is a relatively short time considering the amount of material these singers had to memorize (for there was no notation) and the liturgical ritual they had to master; it is speculated that they actually were in training from childhood. The Levites lived in villages outside the city wall and may have been actively involved in the musical education of their children (Neh 12:29). The Levites performed other duties connected with the sacred service, but the singers were excused from all other duties because they were on duty day and night (1 Chr 9:33). Their skills were an important part of the temple worship, and they were able to devote their entire life to the development of their musical ability. A singer served in the choir for 20 years, from age 30 to 50, and the music was of a high quality due to strict discipline and continuous practice and performance.<\/p>\nFrom the beginning of Jewish formal worship connected with the tabernacle, music and sound was important. In Exodus 28:34-35 the descriptions of Aaron’s robe include bells attached to the lower hem that sounded as he entered the Holy Place. The first liturgical music mentioned in the OT is found in 2 Samuel 6 in the descriptions of the transfer of the ark: David and the Israelites sang, played instruments, and danced to the glory of the Lord. This music bore little resemblance to the stately ceremony described later in Solomon’s temple. In 2 Chronicles 7:6, David is given recognition for inventing the musical instruments used in the temple. In the postexilic era Levitical singers are mentioned as the descendants of Asaph, the “singing master” appointed by David (Ezr 2:41; Neh 7:44; 11:22-23). From passages such as these, we have a definite indication that liturgical music and organization stemmed from David’s time.<\/p>\nThe ceremonies in the Jewish temple were organized around the sacrifice. Singing formed an integral part of the sacrificial service and was necessary to validate the sacrificial action. There were special musical settings for each sacrifice; thus the daily burnt, expiatory, and laudatory offerings and libations had individual liturgies. Particular psalms became associated with certain sacrifices as well as with certain days of the week. The psalm of the day was intoned as the high priest started to pour out the drink offering. The psalm was divided into three sections, each signaled by the blowing of the trumpets, on which signal the people would prostrate themselves. This is the only time the trumpets were used together with the other instruments in orchestral fashion on solemn occasions (2 Chr 5:12-13).<\/p>\nMusic in the Psalms<\/p>\n<h5>Musical Psalm Titles<\/h5>\nThe collection of 150 lyric poems known as the book of Psalms contains the most information on music making in ancient Israel. The Psalter contains not only religious songs but also songs that have their roots in secular or popular songs, such as work songs, love songs, and wedding songs. The majority are songs of praise, thanksgiving, prayer, and repentance. There are also historic odes that relate great national events—for example, Psalm 30, “a song at the dedication of the temple,” and Psalm 137, which portrays the sufferings of the Jews in captivity.<\/p>\nThe psalms were an important part of all the services of the temple; the Psalter became the liturgical hymnal of the Israelites. Worship included an appointed psalm for each day of the week. On the first day of the week, Psalm 24 was sung in remembrance of the first day of creation, Psalm 48 was sung on the second day, Psalm 82 on the third, Psalm 94 on the fourth, Psalm 81 on the fifth, Psalm 93 on the sixth, and Psalm 92 on the Sabbath. After the sacrificial offerings, Psalm 105:1-5 was sung at the morning service and Psalm 96 at the evening service. The Hallel psalms (Pss 113–118, 120–136, 146–148) were sung during the offering of the paschal lamb at the Passover feast.<\/p>\nWhile most of the liturgical music was performed by Levites, texts of the psalms suggest that there was also congregational participation. The forms of music found both in synagogal and ecclesiastical chant had their source in the forms of the poetic text of the psalms. The simplest is the plain psalmody sung by one person (e.g., Pss 3–5, 46). In responsorial psalmody the soloist is answered by the choir (e.g., Ps 67:1-2; the soloist sang verse 1 and the choir answered with verse 2). Antiphonal psalmody involves two groups singing alternately (e.g., Ps 103:20-22). The congregation would chant a refrain such as appears in Psalm 80: “Restore us, O God; let thy face shine, that we may be saved!” recurs throughout the psalm (rsv<\/span>).<\/p>\nEven though the synagogue had no altar for sacrifice, psalm singing retained an important place. After the Romans destroyed the temple, the worship heritage of the Jews could have been lost if the customs, including musical customs, had not become an integral part of synagogue worship.<\/p>\nThe most enigmatic part of the psalms is the headings that are not part of the poetic text. The first question is whether these should even be considered as superscripts. Greek, Latin, Hebrew, and other ancient languages were written in such a way that the text ran together without any break between chapters or paragraphs. This means that the verses, and even the division of the psalms themselves, were partially determined by copyists, chiefly the Masoretes. There is some question as to which psalms the extrapoetic texts actually belong with; they may actually be subscripts instead of superscripts. Sumerian and Babylonian poetry had information such as the name of the author, the musical instrument used for accompaniment, the tune, the purpose, and such listed at the end of the poem. Hence, some of the headings may actually be endings.<\/p>\nThe indications at the beginning of a psalm fall into three categories. They are either musical terms giving direction for the actual performance, musical cues designating the tune to which the psalm would be sung, or comments indicating the function of the psalm. These terms have been interpreted in various ways.<\/p>\nOriginally, these headings may have been marginal notes for the choir leaders. Realizing that these terms were not related to the psalm text proper, early biblical scribes may not have been overly careful with their placement in the text, which may explain some of the discrepancies among the early manuscripts—why certain words are left out in some and why terms assigned to only a few psalms may originally have been indicated on more of them.<\/p>\nAll but 50 of the psalms contain a proper name in the heading. These names possibly indicate the author; other commentators, interpreting the preposition appearing before the names to mean “for,” think the names are a dedication. Thus the title would be “A Psalm for David,” not “A Psalm of David.” This may be the case with the names of Asaph, Heman, Ethan, and especially the sons of Korah, where it would make better sense for the psalm to be written for rather than by the family. Seventy-three psalms have David’s name in the heading, hence the common reference to the Psalter as the Psalms of David. Twelve include the name of Asaph, eleven the children of Korah, two Solomon, and one each contains Moses, Heman, and Ethan.<\/p>\n<h5>Musical Terms in the Psalm Titles<\/h5>\nNumerous musical terms are included in the superscriptions to cue the kind of instrumental accompaniment, mood, and style of performance for the psalm.<\/p>\nAlamoth<\/span> is one of the most controversial terms found in the psalm headings. It appears at the beginning of Psalm 46 and also in 1 Chronicles 15:20. One meaning for the Hebrew word is “maiden,” and musicologists interpret this as an instruction that the psalm should be sung in the range of the female singing voice. The reference in Chronicles is to harps in the range of women’s voices. This interpretation does not seem to fit Psalm 46, but if we look at the preceding psalm and read the term as a subscript, it becomes logical. Psalm 45 is a song of love, actually a nuptial ode; it would be natural for women to sing the second half (vv 10-17). While there is little mention of women singing in the temple, there is speculation that young boys in training may have sung along with the Levitical singers. Also this may be a case where the term appears only once in the modern text but may have been used more often in the original. Another possible meaning for Alamoth<\/span> is “flutes,” perhaps describing the kind of musical accompaniment for the performance of the psalm.<\/p>\nGittith<\/span> is a term found in the superscriptions of Psalms 8, 81, and 84. It may be a musical cue, indicating a mood for the performance of these psalms, but a more common explanation is that it is a collective term for the stringed instruments that would have accompanied them.<\/p>\nMahalath<\/span> has been left in its original Hebrew form by early translators and is found in the headings of Psalms 53 and 88. It may have roots in the Hebrew mahaleh<\/span> “sickness” or mahot<\/span> “dance,” though neither of these words can be related to the psalm texts. Another explanation is a musical one. Mahalath<\/span> may come from the word halal<\/span> meaning “to pierce,” implying that the psalm was to be accompanied with pipes.<\/p>\nMaskil<\/span> (kjv<\/span> “Maschil”) appears in the headings of 13 psalms (Pss 32, 42, 44–45, 52–55, 74, 78, 88–89, 142). The term is probably derived from the verb sakal<\/span>,<\/em> “to have insight or comprehension,” but there is no agreement among commentators. By looking at the psalms themselves, their didactic nature and the structure of stanzas and refrains, musicologists conclude the term represents a song of praise, possibly sung by a soloist with participation by the choir.<\/p>\nMenazzeah<\/span> appears in the heading of 55 psalms. It appears 52 times in the first three books of Psalms (Pss 1–89), not at all in book four (Pss 90–106), and 3 times in book five (Pss 107–150). The most common modern translations are “to the Choirmaster” (rsv<\/span>), “to the choir director” (nasb<\/span>, nlt<\/span>), “to the director of music” (niv<\/span>), “to the chief Musician” (kjv<\/span>, nkjv<\/span>). The word is derived from the Hebrew verb nazzah<\/span>,<\/em> appearing in 1 Chronicles 23:4 and Ezra 3:8-9 in the sense of “administering.” In 1 Chronicles 15:21 the word is found in relation to leading or directing song in the temple. Menazzeah<\/span> relates to the choirmaster and represents the singer chosen to lead the music who probably was involved in rehearsing and instructing. It is now assumed that menazzeah<\/span> indicates the psalm was to be sung partially or entirely by a soloist. This is evidenced by the change in some texts from “I” where the soloist sang, to “we” where the choir or congregation sang. Psalm 5 is an example of a text divided for solo and choral singing: verses 1-3 solo; verses 4-6 choral; verses 7-8 solo; verses 9-10 choral; and verses 11-12 end the psalm with the combined soloist and choir.<\/p>\nMiktam<\/span> (kjv<\/span> “Michtam”) is another term that has no clear musical meaning, due mainly to the fact that its etymology is unknown. It occurs in Psalms 16 and 56–60, all of which have a character of lamentation or supplication. In a musical sense, it probably meant that a certain well-known tune was to be selected as the melody of the psalm.<\/p>\nMizmor<\/span> (Hebrew, meaning a song sung to instrumental accompaniment) is found nowhere else in the Bible; it is included in the superscriptions of 57 psalms. It probably indicated a song accompanied by melodic instruments as opposed to a dance song accompanied by rhythmic instruments.<\/p>\nNeginah<\/span> appears in the superscriptions of Psalms 4, 6, 54–55, 61, 67, and 76. The term neginah<\/span> and its plural neginoth<\/span> are found in Psalm 77:7, Lamentations 5:14, Isaiah 38:20, and Habakkuk 3:19. Neginah<\/span>,<\/em> from the Hebrew root naggen<\/span>,<\/em> “to touch the strings,” instructs that stringed instruments accompany the singing.<\/p>\nNehiloth<\/span> is found only in the introduction to Psalm 5 (kjv<\/span>). The origin of the word is problematic. It could come from the verb nahal<\/span>,<\/em> “to possess or inherit,” or more feasibly from halal<\/span>,<\/em> meaning “to pierce.” The latter implies the idea of a pierced instrument (the flute or pipe) to be used for accompaniment.<\/p>\nSheminith<\/span> appears in Psalms 6 and 12 and also in 1 Chronicles 15:21. The Hebrew word means literally “over the eighth.” Some scholars feel it had something to do with an octave, but the Hebrew musical language probably did not include a musical unit divided into eight parts. Other scholars interpret sheminith<\/span> as meaning an eight-stringed instrument. A more logical interpretation comes from examining its use in 1 Chronicles. In 15:20 the instructions are for musicians to play the harps according to alamoth<\/span> and in verse 21 to play the lyres according to sheminith<\/span>.<\/em> Here the terms alamoth<\/span> and sheminith<\/span> seem to be used in opposition. If alamoth<\/span> implies a register of the female voice, then sheminith<\/span> would imply a lower register. Thus, it may have been an instruction to use a lower pitched instrument for accompaniment.<\/p>\n<h5>Psalm Varieties in the Titles<\/h5>\nSome of the notes in the psalm headings are indications of the type or variety of psalm.<\/p>\nHazkir<\/span> is found in the headings of Psalms 38 and 70. According to the Targum, this is an indication that the psalm was sung at the sacrificial rite called askara<\/span> and is translated “for a memorial offering.”<\/p>\nLammed<\/span> appears in the superscription of Psalm 60 in the phrase le-lammed<\/span>,<\/em> translated “to teach.” According to tradition, this was a psalm, though undoubtedly not the only one, taught to young people as part of their education. This is another example of a term that may have been omitted from other psalms in later versions of the Psalter.<\/p>\nShiggaion<\/span> is in the heading of Psalm 7 and also in Habakkuk 3:1. The word probably comes from the Hebrew verb shagah<\/span>,<\/em> “to wander,” but may also be connected with the Assyrian liturgical term shigu<\/span>,<\/em> which represented a plaintive song in several stanzas. Biblical scholars have assumed shiggaion<\/span>,<\/em> plural shigionoth<\/span>,<\/em> was a lament or penitential song.<\/p>\nShir<\/span> is the simplest word for “song” and was probably used in the headings at an early stage of the Psalter; it is usually found with mizmor<\/span> (13 times). Fifteen psalms have this heading. It was probably the term for a specific type of praise song, usually performed by the choir.<\/p>\nShir Hamaalot<\/span> and Shir Lamaalot<\/span> occur in the headings of Psalms 120–134, which are often referred to as the Psalms of Ascent (kjv<\/span> “Psalms of Degrees”). Most explanations offered relate to the fact that the temple was situated on high ground. Often these 15 psalms are associated with the 15 steps leading from the Court of the Women to the Court of the Israelites. But most contemporary scholars believe the idea of “going up” referred to the pilgrims’ journey to Jerusalem to worship at the temple. These psalms are short, with popular appeal, making them appropriate for singing during the journey.<\/p>\nShir Hanukkat Habayit<\/span> is found only in the heading of Psalm 30. This phrase tells that the psalm was to be used for the dedication or rededication of the house of God.<\/p>\nShir-yedidot<\/span> appears only in Psalm 45. It refers to a love song that was probably sung at wedding ceremonies.<\/p>\nTefillah<\/span> is a common term for “prayer” and appears in the headings of Psalms 17, 86, 90, 102, and 142, and also in Habakkuk 3:1. The word probably refers to a specific form of poetic prayer.<\/p>\nSelah<\/span> is one of the most frequently used, but most enigmatic, terms found in the book of Psalms. It occurs in 39 psalms, appearing a total of 71 times in the Psalter—67 times within the text and 4 times at the end of a psalm. It is most frequent in the first three books. In the first book selah<\/span> appears in 9 psalms; in the second book, 17 psalms; in the third book, 11 psalms. In the fourth book it is not found at all and in the fifth book in only two psalms. Thirty-one of these psalms also include the term menazzeah<\/span> in their superscriptions, which implies that they were sung by a soloist and choir. Most commonly, selah<\/span> is interpreted as a signal for a break in the singing and possibly for an instrumental interlude. It never appears at the beginning of a psalm but only in the middle of the text or at the end. The regularity of its appearance within a psalm is not consistent, and in only a few instances do these divisions break the psalm into equal sections. Because of the random placement of the term, some scholars believe that, like the headings, selah<\/span> was not always carefully copied into the text. It may have been a note appearing only in the texts of the musicians, which would explain this inconsistency. An explanation of selah<\/span> is found in the Talmudic tradition: “Ben Azra clashed the cymbal and the Levites broke forth into singing. When they reached a break in the singing they blew upon the trumpets and the people prostrated themselves; at every break there was a blowing of the trumpet and at every blowing of the trumpet a prostration. This was the rite of the daily whole offering in the service of the House of our God.” Selah<\/span>,<\/em> then, would be an instruction for the musicians that the singing was to cease and the instrumentalists were to play.<\/p>\nThe term higgaion selah<\/span> appears once, in Psalm 9:16. The word higgaiaon<\/span> comes from the root hagah<\/span>,<\/em> “to murmur, to growl, to produce a low sound.” This may have been an instruction for the interlude to be more subdued than a normal selah<\/span>.<\/em><\/p>\n<h5>Ancient Melodies in the Titles<\/h5>\nMany psalms contain headings that are not direct musical references but are cue words to suggest well-known tunes. They probably refer either to names or the first words of popular secular songs (<\/em>makams<\/span>)<\/em> whose melodic patterns were used in singing the psalm. Many biblical scholars have tried to find hidden meaning in these headings, but most musicologists believe these are simply references or introductions to melodies.<\/p>\nAijeleth Shahar<\/span>,<\/em> in Psalm 22 (kjv<\/span>), is translated “according to The Hind of the Dawn” (rsv<\/span>), and “To the tune of ‘The Doe of the Morning’ ” (niv<\/span>), “To the tune ‘Doe of the Dawn’ ” (nlt<\/span>).<\/p>\nAl-taschith<\/span>,<\/em> in Psalms 57–59 and 75 (kjv<\/span>), is translated “To the tune ‘Do Not Destroy!’ ” (nlt<\/span>).<\/p>\nJonath-elem-rechokim<\/span>,<\/em> in Psalm 56 (kjv<\/span>), is translated “according to The Dove on Far-off Terebinths” (rsv<\/span>), and “To the tune ‘Dove on Distant Oaks’ ” (nlt<\/span>).<\/p>\nMahalath Leannoth<\/span>,<\/em> in Psalm 88, is translated “To the tune ‘The Suffering of Affliction’ ” (nlt<\/span>).<\/p>\nMuthlabben<\/span>,<\/em> in Psalm 9, is translated “To the tune ‘Death of the Son’ ” (nlt<\/span>).<\/p>\nShoshannim<\/span>,<\/em> in Psalms 45 and 69 (kjv<\/span>), is translated “To the tune ‘Lilies’ ” (nlt<\/span>).<\/p>\nShoshannim-Eduth<\/span>,<\/em> in Psalm 80 (kjv<\/span>), is translated “To the tune ‘Lilies of the Covenant’ ” (nlt<\/span>).<\/p>\nShushan-eduth<\/span>,<\/em> in Psalm 60, is translated “To the tune ‘Lily of the Testimony’ ” (nlt<\/span>).<\/p>\nThese melody types appear only in the first three books of the Psalter, and this may imply that these popular makams<\/span> had fallen into disuse by the time the final books of the Psalter were written. Other makam<\/span>-types had probably become popular, and the authors, realizing the relatively short life of a popular tune, did not include them in the headings of the Psalms but left the choice up to the performer.<\/p>\nMusic in the New Testament<\/p>\n<h5>First-Century Influences<\/h5>\n<h6>The Synagogue<\/h6>\nBy the time of Christ, the synagogue had become the chief place of worship for the Jewish people. It began as a place for study of the law but gradually became the center of worship for Jews unable to attend the temple. The liturgical service of the temple could not be duplicated in the synagogue as there was no sacrificial rite, and the music could not be exactly reproduced as there were no trained Levitical singers. Scholars do not agree about the amount of continuity between the music of the temple and the music of the synagogue, but there is evidence that certain musical practices did remain constant between the two places of worship.<\/p>\nInformation on the customs and rituals of the synagogue come from Talmudic writings. The musical elements of worship in the synagogue were the chanting of Scripture, psalmody, and spiritual songs. The choral singing of the temple was replaced by a single cantor. The cantor was a layman who, according to tradition, had to have the following qualifications: “He had to be well educated, gifted with a sweet voice, of humble personality, recognized by the community, conversant with Scripture and all the prayers; he must not be a rich man, for his prayers should come from his heart.” His most important job was the cantillation of the Law and the Prophets. A series of accents and punctuations, forerunners of actual musical notation, were indications for the cantor in the musical interpretation of the Scripture.<\/p>\nPsalm singing was gradually transplanted from the temple to the synagogue, which in turn influenced the early Christian church. Gregorian psalm tones have their roots in Hebrew psalmody.<\/p>\n<h6>Greek and Roman Cultures<\/h6>\nWhile both the temple and the synagogue were familiar to the early Christians (Acts 2:46-47; 3:1; 5:42; 9:20; 18:4; etc.), the Greek and Roman cultures also played a major part in shaping the young church. Hellenistic influences by the time of Christ had long been felt in the Middle East, and while it was strongly opposed by some Jewish leaders, the Greek arts had permeated Jewish culture. Greek philosophers considered music a cathartic force that could lead humans into metaphysical knowledge. This understanding led to the belief that music had a moral substance that could influence people to either good or evil. If this philosophy had totally encompassed Judeo-Christian thought, certainly Paul would have encouraged the use of music in the spread of the gospel. However, Paul’s omission of this theory implies that the Judeo-Christian world at that time had rejected the Greek ideal, at least in part.<\/p>\nWhile the Jewish rabbis considered music an art form for the praise of God, and while the Greek philosophers thought of it as a powerful moral force in creation, the Romans considered music mainly as entertainment. The music of the Roman games was neither religious nor philosophic and, from the accounts of witnesses, it was not technically exceptional. In the Roman Empire musicians were given a lower status and looked on as mere entertainers. One reason the early church did not include instrumental music in their worship was in reaction to the debased secular use of instruments by the Romans.<\/p>\n<h5>In the New Testament Writings<\/h5>\nOne of the few mentions of instruments in the NT is the use of flutes at a wake (Mt 9:23). As in the OT, music is associated with feasting and merrymaking (e.g., the return of the prodigal son, Lk 15:25). Five passages mention music metaphorically (Mt 6:2; 11:17; Lk 7:32; 1 Cor 13:1; 14:7-8). The most well known of these is Paul’s celebration of love in 1 Corinthians 13. The denunciation of the gong and cymbals must be understood in light of the attitude of the early Christians toward the music of the Pharisees. Here the signal instruments of the temple were used to represent pompous display of religious pietism.<\/p>\n\nMost references to music are found in the eschatological visions and prophetic passages scattered throughout the NT—most frequently in the book of Revelation (also Mt 24:31; 1 Cor 15:52; 1 Thes 4:16; Heb 12:19). Many of these descriptions have a direct association with musical references in the OT (e.g., the use of harps and trumpets and the singing of the Hallelujah). But the value of many of the passages in Revelation comes from their literary style. These doxological and psalmlike passages were probably spontaneous “spiritual songs” composed by the young church (e.g., Rv 5:9-10).<\/p>\nThe passages that mention religious or liturgical music are often more conceptual than literal. Two parallel passages describing the Last Supper (Mt 26:30; Mk 14:26) mention that Christ and his disciples sang a hymn. This is the only direct account of Jesus singing, but it is probable that when he read in the synagogue he did so in the accepted vocal style (Lk 4:16-20). There is much controversy surrounding the actual events at the Last Supper, but we can assume that the hymn sung was a traditional Jewish hymn, probably associated with the Passover.<\/p>\nFrom the account in Acts 16:25 we know that Paul and Silas sang hymns while in jail. Paul gives instruction for music making in 1 Corinthians 14:15, 26 in terms of a balance between rationalism and emotion. And, as with all the gifts of the Spirit, Paul asks that singing be done for edification.<\/p>\nIn two similar passages (Eph 5:19; Col 3:16) Paul groups together three musical terms—psalms, hymns, and spiritual songs. The singing of psalms was an obvious carryover from the synagogue, and we can assume that the early Christian psalm singing followed the Jewish style. The term for “hymns” probably refers to poetic texts, possibly modeled after the psalms, but in praise of Christ. “Spiritual songs” may refer to a spontaneous, ecstatic form of musical prayer, possibly wordless (perhaps related to glossolalia), in a style that was popular in mystical Judaism. These outbursts of song were probably melismatic (sung on one tone) and are perhaps the forerunners of the later Alleluia chant.<\/p>\n<h5>Hymnody in the New Testament<\/h5>\nIt can be assumed that the early Christians composed hymns in praise of Christ. Logically, most of the hymns found in the NT are based on Hebrew poetic psalm forms, but there is Greek and Latin influence also. The hymns from the Gospel of Luke have become well-known canticles adopted by the church: the Magnificat (Lk 1:46-55), the Benedictus (1:68-79), the Gloria (2:14) and the Nunc Dimittis (2:29-32). While patterned after the psalms of the OT, these hymns are full of confidence in the salvation of Christ and in his imminent return. Other Christological hymns found in the NT include the prologue to the Gospel of John, Ephesians 2:14-16, Philippians 2:6-11, Colossians 1:15-20, 1 Timothy 3:16, Hebrews 1:3, and 1 Peter 3:18-22.<\/p>","content_en":"<h3>MUSIC<\/h3>\nA natural human expression that probably began with speech-singing and developed into songs, which were then accompanied by instruments. Music as we know it has become quite complex, a luxury and entertainment; music in antiquity, however, was a functional expression of daily life, work, and worship.<\/p>\nThe phrase “sing to the Lord,” common to the OT (Ex 15:21; 1 Chr 16:9; Pss 68:32; 96:1-2; Is 42:10; Jer 20:13), was not unique to the Jewish nation. All religions draw on the natural human impulse to sing. The injunction “sing to the Lord” was a signal for the people to pour out their praise in song.<\/p>\nThe Bible, however, is limited in its treatment of music in ancient Israel. Since there was no written musical notation, the primary record of songs sung by the Hebrews is the collection of texts, particularly the psalms, and a few enigmatic musical instructions. The biblical writers were writing a history not of their culture but of their relationship with God; hence, their comments about music are not critical. Also, the biblical documents cover a long span of history and are grouped according to category rather than in chronological order, thus making it difficult to order the development of musical style with precision. Finally, there is the problem of understanding the biblical descriptions of music and its performance. Only in this century have scholars been able to interpret the information provided in the Bible in terms of Eastern music systems.<\/p>\nPreview<\/p>\n• Music in the Old Testament<\/p>\n• Music in the Psalms<\/p>\n• Music in the New Testament<\/p>\nMusic in the Old Testament<\/p>\nThe first musician mentioned in the Bible is “Jubal, the first musician—the inventor of the harp and flute” (Gn 4:21, nlt<\/span>). The importance of this description of a musician so early in history lies in the equality Jubal is given with his brothers Jabal, the herdsman, and Tubal-cain, the smith. Music making is recognized among the earliest professions of nomadic peoples. The name Jubal is believed to be a derivative from the Hebrew word for “ram.” The ram’s horn (<\/em>shophar<\/span>)<\/em> was an early instrument of the Jewish people and was significant in signaling important events.<\/p>\nFor the most part, the music described in early biblical history was of a functional nature. Music gained special significance as it became an important part of temple worship. Many of the descriptions of music making in ancient Israel, before David’s time, are quite utilitarian. There are accounts of music at times of farewell (Gn 31:27), at times of rejoicing and feasting (Ex 32:17-18; Is 5:12; 24:8-9), at military victories (2 Chr 20:27-28), and for work (Nm 21:17, the song of the well diggers; Is 16:10; Jer 48:33). Most of this music was probably rather crude and primitive in nature, especially the music associated with military advances, which was meant to terrify the enemy (Jgs 7:17-20). The music and dancing that greeted Moses as he descended from the mountain was described as if it sounded like “war in the camp” (Ex 32:17-18).<\/p>\nIn the early history of the Jewish people, women played an important part in the performance of music. The image of women dancing and singing for joy accompanied by percussion instruments is repeated several times: Miriam led the women in a hymn of thanksgiving after the deliverance from the Red Sea (Ex 15); Jephthah’s daughter welcomed her father in his victory (Jgs 11:34); Deborah joined with Barak in singing a song of victory (Jgs 5); and women hailed David after his defeat of the Philistines (1 Sm 18:6-7). There is little mention of women as musicians following the establishment of the temple in Jerusalem, but there are a few allusions to the fact that women did participate in singing and dancing. The account of the return from exile in Babylon includes both male and female singers (Neh 7:67), confirming that women still took part in musical performance.<\/p>\nAs Jerusalem became the religious center of the Hebrew people (950–850 BC<\/span>), the role of the professional musician became more important. The women’s songs became insignificant compared to the pomp and ceremony associated with the temple and the royal court. While the Levitical singers took most of the musical responsibility at the temple, the development of antiphonal singing allowed the people to join in on responses in the singing of psalms.<\/p>\n<h5>Musical Style and Use<\/h5>\nThe Jewish people seem to have been especially musical. Of course, they were influenced by other ancient cultures, but there is evidence that they were in demand as musicians by other peoples. According to an Assyrian document, King Hezekiah gave as tribute to King Sennacherib many male and female Jewish musicians. The Babylonians demanded that the captive Jews sing to them and entertain them (cf. Ps 137:3).<\/p>\nSince the OT’s purpose was to narrate the relationship between the Jewish nation and God, most of the references to music deal with its function in worship. However, evidence reveals that there was also a large body of secular musical literature. There may have been guilds of poets and singers early in Jewish history. The kinds of songs recorded in the early part of the OT represent a folklike poetry. The song of thanksgiving to the Lord by Moses and the people of Israel after their escape at the Red Sea is a stirring national song. Many descriptions of the biblical writers reflect the spirit of bardic song. This would be logical, as these stories were meant to be passed on. Marching songs (2 Chr 20:27-28), and songs of triumph (Jgs 5) also indicate a secular body of music.<\/p>\n<h5>Music in Worship<\/h5>\nThe singers and musicians for the temple worship were chosen from the tribe of Levi. King David assembled the Levites for a census, and out of the total of 38,000 men over the age of 30, 4,000 were chosen as musicians. These 4,000 were subsequently given specific jobs. “David and the chiefs of the service also set apart for the service certain of the sons of Asaph, and of Heman, and of Jeduthun, who should prophesy with lyres, with harps, and with cymbals. . . . The number of them along with their brethren, who were trained in singing to the Lord<\/span>, all who were skilful, was two hundred and eighty-eight” (1 Chr 25:1, 7, rsv<\/span>). The singers were further divided into 24 groups of 12 singers, who rotated in participating in the weekday, Sabbath, and high holy day services.<\/p>\nAccording to a later source, there were minimum and maximum numbers of singers and instrumentalists required at each service. The minimum number of singers was twelve, the maximum was unlimited. There had to be in attendance at least two harps but no more than six, at least two flutes but no more than twelve, a minimum of two trumpets with no maximum, and a minimum of nine lyres with no maximum. There was only one player with a pair of cymbals.<\/p>\nA singer was admitted to the Levitical choir at the age of thirty following a five-year apprenticeship (1 Chr 23:3). Five years is a relatively short time considering the amount of material these singers had to memorize (for there was no notation) and the liturgical ritual they had to master; it is speculated that they actually were in training from childhood. The Levites lived in villages outside the city wall and may have been actively involved in the musical education of their children (Neh 12:29). The Levites performed other duties connected with the sacred service, but the singers were excused from all other duties because they were on duty day and night (1 Chr 9:33). Their skills were an important part of the temple worship, and they were able to devote their entire life to the development of their musical ability. A singer served in the choir for 20 years, from age 30 to 50, and the music was of a high quality due to strict discipline and continuous practice and performance.<\/p>\nFrom the beginning of Jewish formal worship connected with the tabernacle, music and sound was important. In Exodus 28:34-35 the descriptions of Aaron’s robe include bells attached to the lower hem that sounded as he entered the Holy Place. The first liturgical music mentioned in the OT is found in 2 Samuel 6 in the descriptions of the transfer of the ark: David and the Israelites sang, played instruments, and danced to the glory of the Lord. This music bore little resemblance to the stately ceremony described later in Solomon’s temple. In 2 Chronicles 7:6, David is given recognition for inventing the musical instruments used in the temple. In the postexilic era Levitical singers are mentioned as the descendants of Asaph, the “singing master” appointed by David (Ezr 2:41; Neh 7:44; 11:22-23). From passages such as these, we have a definite indication that liturgical music and organization stemmed from David’s time.<\/p>\nThe ceremonies in the Jewish temple were organized around the sacrifice. Singing formed an integral part of the sacrificial service and was necessary to validate the sacrificial action. There were special musical settings for each sacrifice; thus the daily burnt, expiatory, and laudatory offerings and libations had individual liturgies. Particular psalms became associated with certain sacrifices as well as with certain days of the week. The psalm of the day was intoned as the high priest started to pour out the drink offering. The psalm was divided into three sections, each signaled by the blowing of the trumpets, on which signal the people would prostrate themselves. This is the only time the trumpets were used together with the other instruments in orchestral fashion on solemn occasions (2 Chr 5:12-13).<\/p>\nMusic in the Psalms<\/p>\n<h5>Musical Psalm Titles<\/h5>\nThe collection of 150 lyric poems known as the book of Psalms contains the most information on music making in ancient Israel. The Psalter contains not only religious songs but also songs that have their roots in secular or popular songs, such as work songs, love songs, and wedding songs. The majority are songs of praise, thanksgiving, prayer, and repentance. There are also historic odes that relate great national events—for example, Psalm 30, “a song at the dedication of the temple,” and Psalm 137, which portrays the sufferings of the Jews in captivity.<\/p>\nThe psalms were an important part of all the services of the temple; the Psalter became the liturgical hymnal of the Israelites. Worship included an appointed psalm for each day of the week. On the first day of the week, Psalm 24 was sung in remembrance of the first day of creation, Psalm 48 was sung on the second day, Psalm 82 on the third, Psalm 94 on the fourth, Psalm 81 on the fifth, Psalm 93 on the sixth, and Psalm 92 on the Sabbath. After the sacrificial offerings, Psalm 105:1-5 was sung at the morning service and Psalm 96 at the evening service. The Hallel psalms (Pss 113–118, 120–136, 146–148) were sung during the offering of the paschal lamb at the Passover feast.<\/p>\nWhile most of the liturgical music was performed by Levites, texts of the psalms suggest that there was also congregational participation. The forms of music found both in synagogal and ecclesiastical chant had their source in the forms of the poetic text of the psalms. The simplest is the plain psalmody sung by one person (e.g., Pss 3–5, 46). In responsorial psalmody the soloist is answered by the choir (e.g., Ps 67:1-2; the soloist sang verse 1 and the choir answered with verse 2). Antiphonal psalmody involves two groups singing alternately (e.g., Ps 103:20-22). The congregation would chant a refrain such as appears in Psalm 80: “Restore us, O God; let thy face shine, that we may be saved!” recurs throughout the psalm (rsv<\/span>).<\/p>\nEven though the synagogue had no altar for sacrifice, psalm singing retained an important place. After the Romans destroyed the temple, the worship heritage of the Jews could have been lost if the customs, including musical customs, had not become an integral part of synagogue worship.<\/p>\nThe most enigmatic part of the psalms is the headings that are not part of the poetic text. The first question is whether these should even be considered as superscripts. Greek, Latin, Hebrew, and other ancient languages were written in such a way that the text ran together without any break between chapters or paragraphs. This means that the verses, and even the division of the psalms themselves, were partially determined by copyists, chiefly the Masoretes. There is some question as to which psalms the extrapoetic texts actually belong with; they may actually be subscripts instead of superscripts. Sumerian and Babylonian poetry had information such as the name of the author, the musical instrument used for accompaniment, the tune, the purpose, and such listed at the end of the poem. Hence, some of the headings may actually be endings.<\/p>\nThe indications at the beginning of a psalm fall into three categories. They are either musical terms giving direction for the actual performance, musical cues designating the tune to which the psalm would be sung, or comments indicating the function of the psalm. These terms have been interpreted in various ways.<\/p>\nOriginally, these headings may have been marginal notes for the choir leaders. Realizing that these terms were not related to the psalm text proper, early biblical scribes may not have been overly careful with their placement in the text, which may explain some of the discrepancies among the early manuscripts—why certain words are left out in some and why terms assigned to only a few psalms may originally have been indicated on more of them.<\/p>\nAll but 50 of the psalms contain a proper name in the heading. These names possibly indicate the author; other commentators, interpreting the preposition appearing before the names to mean “for,” think the names are a dedication. Thus the title would be “A Psalm for David,” not “A Psalm of David.” This may be the case with the names of Asaph, Heman, Ethan, and especially the sons of Korah, where it would make better sense for the psalm to be written for rather than by the family. Seventy-three psalms have David’s name in the heading, hence the common reference to the Psalter as the Psalms of David. Twelve include the name of Asaph, eleven the children of Korah, two Solomon, and one each contains Moses, Heman, and Ethan.<\/p>\n<h5>Musical Terms in the Psalm Titles<\/h5>\nNumerous musical terms are included in the superscriptions to cue the kind of instrumental accompaniment, mood, and style of performance for the psalm.<\/p>\nAlamoth<\/span> is one of the most controversial terms found in the psalm headings. It appears at the beginning of Psalm 46 and also in 1 Chronicles 15:20. One meaning for the Hebrew word is “maiden,” and musicologists interpret this as an instruction that the psalm should be sung in the range of the female singing voice. The reference in Chronicles is to harps in the range of women’s voices. This interpretation does not seem to fit Psalm 46, but if we look at the preceding psalm and read the term as a subscript, it becomes logical. Psalm 45 is a song of love, actually a nuptial ode; it would be natural for women to sing the second half (vv 10-17). While there is little mention of women singing in the temple, there is speculation that young boys in training may have sung along with the Levitical singers. Also this may be a case where the term appears only once in the modern text but may have been used more often in the original. Another possible meaning for Alamoth<\/span> is “flutes,” perhaps describing the kind of musical accompaniment for the performance of the psalm.<\/p>\nGittith<\/span> is a term found in the superscriptions of Psalms 8, 81, and 84. It may be a musical cue, indicating a mood for the performance of these psalms, but a more common explanation is that it is a collective term for the stringed instruments that would have accompanied them.<\/p>\nMahalath<\/span> has been left in its original Hebrew form by early translators and is found in the headings of Psalms 53 and 88. It may have roots in the Hebrew mahaleh<\/span> “sickness” or mahot<\/span> “dance,” though neither of these words can be related to the psalm texts. Another explanation is a musical one. Mahalath<\/span> may come from the word halal<\/span> meaning “to pierce,” implying that the psalm was to be accompanied with pipes.<\/p>\nMaskil<\/span> (kjv<\/span> “Maschil”) appears in the headings of 13 psalms (Pss 32, 42, 44–45, 52–55, 74, 78, 88–89, 142). The term is probably derived from the verb sakal<\/span>,<\/em> “to have insight or comprehension,” but there is no agreement among commentators. By looking at the psalms themselves, their didactic nature and the structure of stanzas and refrains, musicologists conclude the term represents a song of praise, possibly sung by a soloist with participation by the choir.<\/p>\nMenazzeah<\/span> appears in the heading of 55 psalms. It appears 52 times in the first three books of Psalms (Pss 1–89), not at all in book four (Pss 90–106), and 3 times in book five (Pss 107–150). The most common modern translations are “to the Choirmaster” (rsv<\/span>), “to the choir director” (nasb<\/span>, nlt<\/span>), “to the director of music” (niv<\/span>), “to the chief Musician” (kjv<\/span>, nkjv<\/span>). The word is derived from the Hebrew verb nazzah<\/span>,<\/em> appearing in 1 Chronicles 23:4 and Ezra 3:8-9 in the sense of “administering.” In 1 Chronicles 15:21 the word is found in relation to leading or directing song in the temple. Menazzeah<\/span> relates to the choirmaster and represents the singer chosen to lead the music who probably was involved in rehearsing and instructing. It is now assumed that menazzeah<\/span> indicates the psalm was to be sung partially or entirely by a soloist. This is evidenced by the change in some texts from “I” where the soloist sang, to “we” where the choir or congregation sang. Psalm 5 is an example of a text divided for solo and choral singing: verses 1-3 solo; verses 4-6 choral; verses 7-8 solo; verses 9-10 choral; and verses 11-12 end the psalm with the combined soloist and choir.<\/p>\nMiktam<\/span> (kjv<\/span> “Michtam”) is another term that has no clear musical meaning, due mainly to the fact that its etymology is unknown. It occurs in Psalms 16 and 56–60, all of which have a character of lamentation or supplication. In a musical sense, it probably meant that a certain well-known tune was to be selected as the melody of the psalm.<\/p>\nMizmor<\/span> (Hebrew, meaning a song sung to instrumental accompaniment) is found nowhere else in the Bible; it is included in the superscriptions of 57 psalms. It probably indicated a song accompanied by melodic instruments as opposed to a dance song accompanied by rhythmic instruments.<\/p>\nNeginah<\/span> appears in the superscriptions of Psalms 4, 6, 54–55, 61, 67, and 76. The term neginah<\/span> and its plural neginoth<\/span> are found in Psalm 77:7, Lamentations 5:14, Isaiah 38:20, and Habakkuk 3:19. Neginah<\/span>,<\/em> from the Hebrew root naggen<\/span>,<\/em> “to touch the strings,” instructs that stringed instruments accompany the singing.<\/p>\nNehiloth<\/span> is found only in the introduction to Psalm 5 (kjv<\/span>). The origin of the word is problematic. It could come from the verb nahal<\/span>,<\/em> “to possess or inherit,” or more feasibly from halal<\/span>,<\/em> meaning “to pierce.” The latter implies the idea of a pierced instrument (the flute or pipe) to be used for accompaniment.<\/p>\nSheminith<\/span> appears in Psalms 6 and 12 and also in 1 Chronicles 15:21. The Hebrew word means literally “over the eighth.” Some scholars feel it had something to do with an octave, but the Hebrew musical language probably did not include a musical unit divided into eight parts. Other scholars interpret sheminith<\/span> as meaning an eight-stringed instrument. A more logical interpretation comes from examining its use in 1 Chronicles. In 15:20 the instructions are for musicians to play the harps according to alamoth<\/span> and in verse 21 to play the lyres according to sheminith<\/span>.<\/em> Here the terms alamoth<\/span> and sheminith<\/span> seem to be used in opposition. If alamoth<\/span> implies a register of the female voice, then sheminith<\/span> would imply a lower register. Thus, it may have been an instruction to use a lower pitched instrument for accompaniment.<\/p>\n<h5>Psalm Varieties in the Titles<\/h5>\nSome of the notes in the psalm headings are indications of the type or variety of psalm.<\/p>\nHazkir<\/span> is found in the headings of Psalms 38 and 70. According to the Targum, this is an indication that the psalm was sung at the sacrificial rite called askara<\/span> and is translated “for a memorial offering.”<\/p>\nLammed<\/span> appears in the superscription of Psalm 60 in the phrase le-lammed<\/span>,<\/em> translated “to teach.” According to tradition, this was a psalm, though undoubtedly not the only one, taught to young people as part of their education. This is another example of a term that may have been omitted from other psalms in later versions of the Psalter.<\/p>\nShiggaion<\/span> is in the heading of Psalm 7 and also in Habakkuk 3:1. The word probably comes from the Hebrew verb shagah<\/span>,<\/em> “to wander,” but may also be connected with the Assyrian liturgical term shigu<\/span>,<\/em> which represented a plaintive song in several stanzas. Biblical scholars have assumed shiggaion<\/span>,<\/em> plural shigionoth<\/span>,<\/em> was a lament or penitential song.<\/p>\nShir<\/span> is the simplest word for “song” and was probably used in the headings at an early stage of the Psalter; it is usually found with mizmor<\/span> (13 times). Fifteen psalms have this heading. It was probably the term for a specific type of praise song, usually performed by the choir.<\/p>\nShir Hamaalot<\/span> and Shir Lamaalot<\/span> occur in the headings of Psalms 120–134, which are often referred to as the Psalms of Ascent (kjv<\/span> “Psalms of Degrees”). Most explanations offered relate to the fact that the temple was situated on high ground. Often these 15 psalms are associated with the 15 steps leading from the Court of the Women to the Court of the Israelites. But most contemporary scholars believe the idea of “going up” referred to the pilgrims’ journey to Jerusalem to worship at the temple. These psalms are short, with popular appeal, making them appropriate for singing during the journey.<\/p>\nShir Hanukkat Habayit<\/span> is found only in the heading of Psalm 30. This phrase tells that the psalm was to be used for the dedication or rededication of the house of God.<\/p>\nShir-yedidot<\/span> appears only in Psalm 45. It refers to a love song that was probably sung at wedding ceremonies.<\/p>\nTefillah<\/span> is a common term for “prayer” and appears in the headings of Psalms 17, 86, 90, 102, and 142, and also in Habakkuk 3:1. The word probably refers to a specific form of poetic prayer.<\/p>\nSelah<\/span> is one of the most frequently used, but most enigmatic, terms found in the book of Psalms. It occurs in 39 psalms, appearing a total of 71 times in the Psalter—67 times within the text and 4 times at the end of a psalm. It is most frequent in the first three books. In the first book selah<\/span> appears in 9 psalms; in the second book, 17 psalms; in the third book, 11 psalms. In the fourth book it is not found at all and in the fifth book in only two psalms. Thirty-one of these psalms also include the term menazzeah<\/span> in their superscriptions, which implies that they were sung by a soloist and choir. Most commonly, selah<\/span> is interpreted as a signal for a break in the singing and possibly for an instrumental interlude. It never appears at the beginning of a psalm but only in the middle of the text or at the end. The regularity of its appearance within a psalm is not consistent, and in only a few instances do these divisions break the psalm into equal sections. Because of the random placement of the term, some scholars believe that, like the headings, selah<\/span> was not always carefully copied into the text. It may have been a note appearing only in the texts of the musicians, which would explain this inconsistency. An explanation of selah<\/span> is found in the Talmudic tradition: “Ben Azra clashed the cymbal and the Levites broke forth into singing. When they reached a break in the singing they blew upon the trumpets and the people prostrated themselves; at every break there was a blowing of the trumpet and at every blowing of the trumpet a prostration. This was the rite of the daily whole offering in the service of the House of our God.” Selah<\/span>,<\/em> then, would be an instruction for the musicians that the singing was to cease and the instrumentalists were to play.<\/p>\nThe term higgaion selah<\/span> appears once, in Psalm 9:16. The word higgaiaon<\/span> comes from the root hagah<\/span>,<\/em> “to murmur, to growl, to produce a low sound.” This may have been an instruction for the interlude to be more subdued than a normal selah<\/span>.<\/em><\/p>\n<h5>Ancient Melodies in the Titles<\/h5>\nMany psalms contain headings that are not direct musical references but are cue words to suggest well-known tunes. They probably refer either to names or the first words of popular secular songs (<\/em>makams<\/span>)<\/em> whose melodic patterns were used in singing the psalm. Many biblical scholars have tried to find hidden meaning in these headings, but most musicologists believe these are simply references or introductions to melodies.<\/p>\nAijeleth Shahar<\/span>,<\/em> in Psalm 22 (kjv<\/span>), is translated “according to The Hind of the Dawn” (rsv<\/span>), and “To the tune of ‘The Doe of the Morning’ ” (niv<\/span>), “To the tune ‘Doe of the Dawn’ ” (nlt<\/span>).<\/p>\nAl-taschith<\/span>,<\/em> in Psalms 57–59 and 75 (kjv<\/span>), is translated “To the tune ‘Do Not Destroy!’ ” (nlt<\/span>).<\/p>\nJonath-elem-rechokim<\/span>,<\/em> in Psalm 56 (kjv<\/span>), is translated “according to The Dove on Far-off Terebinths” (rsv<\/span>), and “To the tune ‘Dove on Distant Oaks’ ” (nlt<\/span>).<\/p>\nMahalath Leannoth<\/span>,<\/em> in Psalm 88, is translated “To the tune ‘The Suffering of Affliction’ ” (nlt<\/span>).<\/p>\nMuthlabben<\/span>,<\/em> in Psalm 9, is translated “To the tune ‘Death of the Son’ ” (nlt<\/span>).<\/p>\nShoshannim<\/span>,<\/em> in Psalms 45 and 69 (kjv<\/span>), is translated “To the tune ‘Lilies’ ” (nlt<\/span>).<\/p>\nShoshannim-Eduth<\/span>,<\/em> in Psalm 80 (kjv<\/span>), is translated “To the tune ‘Lilies of the Covenant’ ” (nlt<\/span>).<\/p>\nShushan-eduth<\/span>,<\/em> in Psalm 60, is translated “To the tune ‘Lily of the Testimony’ ” (nlt<\/span>).<\/p>\nThese melody types appear only in the first three books of the Psalter, and this may imply that these popular makams<\/span> had fallen into disuse by the time the final books of the Psalter were written. Other makam<\/span>-types had probably become popular, and the authors, realizing the relatively short life of a popular tune, did not include them in the headings of the Psalms but left the choice up to the performer.<\/p>\nMusic in the New Testament<\/p>\n<h5>First-Century Influences<\/h5>\n<h6>The Synagogue<\/h6>\nBy the time of Christ, the synagogue had become the chief place of worship for the Jewish people. It began as a place for study of the law but gradually became the center of worship for Jews unable to attend the temple. The liturgical service of the temple could not be duplicated in the synagogue as there was no sacrificial rite, and the music could not be exactly reproduced as there were no trained Levitical singers. Scholars do not agree about the amount of continuity between the music of the temple and the music of the synagogue, but there is evidence that certain musical practices did remain constant between the two places of worship.<\/p>\nInformation on the customs and rituals of the synagogue come from Talmudic writings. The musical elements of worship in the synagogue were the chanting of Scripture, psalmody, and spiritual songs. The choral singing of the temple was replaced by a single cantor. The cantor was a layman who, according to tradition, had to have the following qualifications: “He had to be well educated, gifted with a sweet voice, of humble personality, recognized by the community, conversant with Scripture and all the prayers; he must not be a rich man, for his prayers should come from his heart.” His most important job was the cantillation of the Law and the Prophets. A series of accents and punctuations, forerunners of actual musical notation, were indications for the cantor in the musical interpretation of the Scripture.<\/p>\nPsalm singing was gradually transplanted from the temple to the synagogue, which in turn influenced the early Christian church. Gregorian psalm tones have their roots in Hebrew psalmody.<\/p>\n<h6>Greek and Roman Cultures<\/h6>\nWhile both the temple and the synagogue were familiar to the early Christians (Acts 2:46-47; 3:1; 5:42; 9:20; 18:4; etc.), the Greek and Roman cultures also played a major part in shaping the young church. Hellenistic influences by the time of Christ had long been felt in the Middle East, and while it was strongly opposed by some Jewish leaders, the Greek arts had permeated Jewish culture. Greek philosophers considered music a cathartic force that could lead humans into metaphysical knowledge. This understanding led to the belief that music had a moral substance that could influence people to either good or evil. If this philosophy had totally encompassed Judeo-Christian thought, certainly Paul would have encouraged the use of music in the spread of the gospel. However, Paul’s omission of this theory implies that the Judeo-Christian world at that time had rejected the Greek ideal, at least in part.<\/p>\nWhile the Jewish rabbis considered music an art form for the praise of God, and while the Greek philosophers thought of it as a powerful moral force in creation, the Romans considered music mainly as entertainment. The music of the Roman games was neither religious nor philosophic and, from the accounts of witnesses, it was not technically exceptional. In the Roman Empire musicians were given a lower status and looked on as mere entertainers. One reason the early church did not include instrumental music in their worship was in reaction to the debased secular use of instruments by the Romans.<\/p>\n<h5>In the New Testament Writings<\/h5>\nOne of the few mentions of instruments in the NT is the use of flutes at a wake (Mt 9:23). As in the OT, music is associated with feasting and merrymaking (e.g., the return of the prodigal son, Lk 15:25). Five passages mention music metaphorically (Mt 6:2; 11:17; Lk 7:32; 1 Cor 13:1; 14:7-8). The most well known of these is Paul’s celebration of love in 1 Corinthians 13. The denunciation of the gong and cymbals must be understood in light of the attitude of the early Christians toward the music of the Pharisees. Here the signal instruments of the temple were used to represent pompous display of religious pietism.<\/p>\n\nMost references to music are found in the eschatological visions and prophetic passages scattered throughout the NT—most frequently in the book of Revelation (also Mt 24:31; 1 Cor 15:52; 1 Thes 4:16; Heb 12:19). Many of these descriptions have a direct association with musical references in the OT (e.g., the use of harps and trumpets and the singing of the Hallelujah). But the value of many of the passages in Revelation comes from their literary style. These doxological and psalmlike passages were probably spontaneous “spiritual songs” composed by the young church (e.g., Rv 5:9-10).<\/p>\nThe passages that mention religious or liturgical music are often more conceptual than literal. Two parallel passages describing the Last Supper (Mt 26:30; Mk 14:26) mention that Christ and his disciples sang a hymn. This is the only direct account of Jesus singing, but it is probable that when he read in the synagogue he did so in the accepted vocal style (Lk 4:16-20). There is much controversy surrounding the actual events at the Last Supper, but we can assume that the hymn sung was a traditional Jewish hymn, probably associated with the Passover.<\/p>\nFrom the account in Acts 16:25 we know that Paul and Silas sang hymns while in jail. Paul gives instruction for music making in 1 Corinthians 14:15, 26 in terms of a balance between rationalism and emotion. And, as with all the gifts of the Spirit, Paul asks that singing be done for edification.<\/p>\nIn two similar passages (Eph 5:19; Col 3:16) Paul groups together three musical terms—psalms, hymns, and spiritual songs. The singing of psalms was an obvious carryover from the synagogue, and we can assume that the early Christian psalm singing followed the Jewish style. The term for “hymns” probably refers to poetic texts, possibly modeled after the psalms, but in praise of Christ. “Spiritual songs” may refer to a spontaneous, ecstatic form of musical prayer, possibly wordless (perhaps related to glossolalia), in a style that was popular in mystical Judaism. These outbursts of song were probably melismatic (sung on one tone) and are perhaps the forerunners of the later Alleluia chant.<\/p>\n<h5>Hymnody in the New Testament<\/h5>\nIt can be assumed that the early Christians composed hymns in praise of Christ. Logically, most of the hymns found in the NT are based on Hebrew poetic psalm forms, but there is Greek and Latin influence also. The hymns from the Gospel of Luke have become well-known canticles adopted by the church: the Magnificat (Lk 1:46-55), the Benedictus (1:68-79), the Gloria (2:14) and the Nunc Dimittis (2:29-32). While patterned after the psalms of the OT, these hymns are full of confidence in the salvation of Christ and in his imminent return. Other Christological hymns found in the NT include the prologue to the Gospel of John, Ephesians 2:14-16, Philippians 2:6-11, Colossians 1:15-20, 1 Timothy 3:16, Hebrews 1:3, and 1 Peter 3:18-22.<\/p>","summary_ro":"MUSIC A natural human expression that probably began with speech-singing and developed into songs, which were then accompanied by instruments. Music as we know it has become quite complex, a luxury and entertainment; music in antiquity, however, was a functional expression of daily life, work, and worship. The phrase “sing to the Lord,” common to the OT (Ex 15:21; 1 Chr 16:9; Pss 68:32; 96:1-2; Is 42:10; Jer 20:13), was not unique to the Jewish nation. All religions draw on the natural human ...","summary_en":"MUSIC A natural human expression that probably began with speech-singing and developed into songs, which were then accompanied by instruments. Music as we know it has become quite complex, a luxury and entertainment; music in antiquity, however, was a functional expression of daily life, work, and worship. The phrase “sing to the Lord,” common to the OT (Ex 15:21; 1 Chr 16:9; Pss 68:32; 96:1-2; Is 42:10; Jer 20:13), was not unique to the Jewish nation. All religions draw on the natural human ...","source":"Articles\/M.xml","external_url":null,"has_map":false,"has_picture":false},{"id":27197,"type":"article","type_label":"Articol","type_icon":"📖","type_color":"#d4af37","title_ro":"Neginah*, Neginoth*","title_en":"Neginah*, Neginoth*","content_ro":"<h3>NEGINAH*, NEGINOTH*<\/h3>\nHebrew terms in the superscriptions of Psalms 4, 6, 54–55, 61, 67 and 76 (kjv<\/span>); musical cues, meaning “stringed instruments,” describing the kind of musical accompaniment for the performance of the designated psalms. See<\/em> Music.<\/p>","content_en":"<h3>NEGINAH*, NEGINOTH*<\/h3>\nHebrew terms in the superscriptions of Psalms 4, 6, 54–55, 61, 67 and 76 (kjv<\/span>); musical cues, meaning “stringed instruments,” describing the kind of musical accompaniment for the performance of the designated psalms. See<\/em> Music.<\/p>","summary_ro":"NEGINAH*, NEGINOTH* Hebrew terms in the superscriptions of Psalms 4, 6, 54–55, 61, 67 and 76 (kjv); musical cues, meaning “stringed instruments,” describing the kind of musical accompaniment for the performance of the designated psalms. See Music.","summary_en":"NEGINAH*, NEGINOTH* Hebrew terms in the superscriptions of Psalms 4, 6, 54–55, 61, 67 and 76 (kjv); musical cues, meaning “stringed instruments,” describing the kind of musical accompaniment for the performance of the designated psalms. See Music.","source":"Articles\/N.xml","external_url":null,"has_map":false,"has_picture":false},{"id":32073,"type":"article","type_label":"Articol","type_icon":"📖","type_color":"#d4af37","title_ro":"Book of Psalms","title_en":"Book of Psalms","content_ro":"<h3>PSALMS, Book of<\/h3>\nPoems sung to musical accompaniment, originally the harp. The alternative title, the Psalter, refers to a collection of songs sung to harp accompaniment. The English title, therefore, broadly defines the form employed, whereas the Hebrew title of the book, “Praises,” or “Book of Praises,” suggests the content.<\/p>\nPreview<\/p>\n• Authors<\/p>\n• Date<\/p>\n• Background<\/p>\n• Structure<\/p>\n• Canonicity<\/p>\n• Purpose and Theology<\/p>\n• Content<\/p>\nAuthors<\/p>\n<h5>The Evidence of the Titles<\/h5>\nThe Hebrew Bible credits David with 73 psalms, compared with 84 in the Septuagint and 85 in the Latin Vulgate. Korah and Asaph, the leaders of the Levitical singing groups, are connected with 11 and 12 psalms, respectively (although Ps 43 is almost certainly to be attributed to Korah also). Two psalms are ascribed to Solomon (Pss 72; 127), one to Moses (Ps 90), and one to Ethan (Ps 89), while Heman shares the credit for one psalm with the sons of Korah (Ps 88). The remainder are sometimes called “orphan psalms” because of their anonymity.<\/p>\nThe preposition “of” found in the titles (for example, “A Psalm of David”) usually indicates authorship. But in the case of groups, such as the sons of Asaph or Korah, it may simply indicate that the psalms were included in their repertoire. Less plausible is the idea that it may also be rendered “for the use of.” For example, some of the “Psalms of David” might be “for the use of” the Davidic king on some occasion.<\/p>\n<h5>Historical Allusions in the Titles<\/h5>\nMany of the titles refer to specific events in the life of David (e.g., Pss 3; 7; 18; 30; 34; 51). There is evidence that the titles were added at an early date. When the psalms were translated into Greek, there appears to have been some difficulty in translating the titles, possibly because of their antiquity. If the historical references were added at a late date, there is no reason why plausible backgrounds could not have been supplied for all the Davidic psalms, instead of only a few. Moreover, the apparent disparity between the title and the actual content of some psalms (e.g., Ps 30) indicates that the titles were supplied by those who knew about a connection unknown to a later editor. Admittedly, there are minor discrepancies between the titles and the references in the historical books. For example, in Psalm 34 David acts the madman before Abimelech, whereas in 1 Samuel it is before Achish. But probably Abimelech was the general name (like Pharaoh for the kings of Egypt) for all the Philistine kings (e.g., Gn 21:32; 26:26).<\/p>\nEvidence of authorship and historical background in the titles, therefore, may be taken as a reasonably reliable guide. But the internal difficulties, together with the freedom exercised by successive translators into Greek, Syriac, and Latin, indicates that they were not regarded as inspired.<\/p>\n<h5>The Case for Davidic Authorship<\/h5>\nFive points can be offered to support David’s authorship of several psalms:<\/p>\n1. The authenticity of David’s lament over Saul and Jonathan (2 Sm 1:19-27) is generally accepted. This indicates a deeply poetic spirit and a generous temperament that prepares us to accept those psalms ascribed to David that evidence similar characteristics. “The last words of David” is another Davidic poem in the historical books (2 Sm 23:1-7).<\/p>\n<li>2. David had a reputation as a skillful musician at Saul’s court (1 Sm 16:16-18). Amos comments on his inventiveness as a musician (Am 6:5), while the Chronicler repeatedly stresses his contribution to the musical aspect of temple worship (e.g., 1 Chr 6:31; 16:7; Ezr 3:10). The Jewish historian Josephus said that David composed songs and hymns to God in varied meters. The probability is that David, as well as amassing materials and preparing the plans for Solomon’s temple, also gave attention to the temple worship. This is his place in Jewish tradition.<\/li>\n<li>3. The early monarchy, with a freshly secured independence, national prestige, and a new prosperity, would most likely be a time of artistic creativity. David was at the heart of this movement.<\/li>\n<li>4. There is a close correspondence between David’s life as described in the historical books and certain psalms, for example, his sin concerning Bathsheba and Uriah (2 Sm 11:2–12:25) and Psalm 51, as witnessed in the title. David’s lapses and genuine repentance, as well as the varied aspects of his career—shepherd, fugitive, warrior, and so on—find expression in many of the psalms attributed to him. The correspondence between the David of the psalms and the David of the historical books is close, especially in the display of strong faith in God.<\/li>\n<li>5. Although some scholars believe that when “David” is mentioned in the NT, it is simply a reference to the book of Psalms and not an ascription of authorship, a straightforward interpretation of the NT text strengthens the case for Davidic authorship. David is specifically named as the author of various psalms in Matthew 22:41-45; Acts 1:16; 2:25, 34; Romans 4:6; 11:9.<\/li>\nIn conclusion, there is strong support for the view that the substantial nucleus of the Psalter is Davidic. Moreover, it is probable that some of the anonymous psalms were the work of the “sweet psalmist of Israel” (2 Sm 23:1). Hebrews 4:7 refers one of these, Psalm 95, to David (see also Acts 4:25 and Ps 2).<\/p>\nDate<\/p>\nOnce David’s authorship of several psalms is established, then it must follow that these psalms are dated during David’s life. Thus, most of the psalms formed the hymnbook of Israel in the period of the monarchy. Other psalms were written later. For example, Psalm 137 is clearly exilic, and Psalms 107:2-3 and 126:1 allude to the return from captivity. Psalms 44 and 79 are probably, but not conclusively, postexilic.<\/p>\nThe book of Psalms was probably the product of a considerable period of growth. The incidence of Davidic psalms in the first section indicates that it was completed early, possibly toward the end of David’s reign. The remainder of the process of compilation is difficult to reconstruct, but the fact that the titles, with their allusions to authors, events, and musical directions, become less frequent in the two final collections (Pss 90–150) lends support to the probability that the collections were combined chronologically in the sequence in which they are found today. Ezra is traditionally credited with the final grouping and editing of the psalms, a hypothesis that appears reasonable in light of his vital contribution to the systematic reshaping of the national religious life. In any case, the process was completed before the translation of the Psalter into Greek (the Septuagint) at the end of the third century BC<\/span>, since the traditional order is found there. General, but not complete, support comes also from the evidence of the Dead Sea Scrolls. At some point minor dislocations occurred. Psalms 9 and 10 may have originally formed one psalm (as in the Septuagint), and there is a strong case for combining Psalms 42 and 43.<\/p>\nBackground<\/p>\nAs the book of Psalms lies before us, its connection with temple worship is apparent. Fifty-five psalms are addressed to the choirmaster, and as we have noted, 23 or 24 are linked with the two main guilds of Levitical singers, Asaph and Korah. The musical instruments, such as stringed instruments (Ps 55 title) and flutes (Ps 5 title) are noted. Probably other terms concern musical directions: Selah<\/span>,<\/em> which occurs 71 times, may indicate a pause or crescendo; Higgaion<\/span> (Ps 9:16) may recommend a meditative attitude. Seemingly obscure references like “The Hind of the Dawn” (Ps 22 title), “Lilies” (Pss 45 title; 80 title) and “The Dove on Far-off Terebinths” (Ps 56 title) may indicate the tunes to which the psalms were to be sung. The precise meaning of other terms, such as Shiggaion<\/span> (Ps 7 title) or Alamoth<\/span> (conjecturally a choir of ladies, Ps 46 title), may also be in the realm of musical directions.<\/p>\nStructure<\/p>\nThe Psalter, possibly in conscious imitation of the five books of Moses in the Law, is divided into five sections (Pss 1–41; 42–72; 73–89; 90–106; 107–150), separated by four doxologies (41:13; 72:18-19; 89:52; 106:48). While the editorial comment in Psalm 72:20 notes that the psalms of David were ended, Davidic psalms are found later in the book (Pss 86; 101; 103), suggesting that at least some of these sections circulated independently until their inclusion in the final collection. Such independence is further indicated by the duplications in the various sections (e.g., Pss 14 and 53; 40:13-17 and 70) and by the use of different names for God, who is usually referred to as “Lord” in the first collection and as “God” in the second.<\/p>\nCanonicity<\/p>\nIn the various recensions of the third section of the Hebrew canon, the Writings or Holy Books, the book of Psalms is almost invariably placed first. It was clearly regarded as the most important book in this section, and in Luke 24:44, “Psalms” is synonymous with “Writings” as its title. While the canonicity of all the contents of the Writings was not finalized until the end of the first century AD<\/span>, it is likely that the book of Psalms was accepted as inspired long before this, probably by 300 BC<\/span>.<\/p>\nIt must not be inferred that all the psalms had their origin in the cultic life of the community, but the sanctuary was the focal point of Israel’s worship for the greater part of the OT period. Prayer was possible elsewhere, but whenever practicable, it was customary for the worshiper to present his petitions at the main sanctuary. And thanksgiving in ancient Israel was almost invariably connected with a thank offering, vow offering, or freewill offering. The psalms could have been composed by individuals, like David, who had the requisite technical ability. And it must be appreciated that poetry, an unfamiliar medium to most Western civilizations, was the natural way for the ancient Easterner to express his emotions. Or the individual could have engaged a member of the Levitical guilds of musicians to frame either his supplication or his thanksgiving. Gradually, a comprehensive collection of psalms would be available for the use of individuals, the congregation, and even the entire nation in any conceivable situation. Once finalized, this collection served not only the subsequent needs of Israel but the devotional requirements of successive generations of Christians as well. Whatever the origin of an individual psalm, each has finally been incorporated in a cultic setting, and it may be assumed that the best of Israel’s psalmody has thus been preserved.<\/p>\nPurpose and Theology<\/p>\n<h5>The Doctrine of God<\/h5>\nIn both adversity and prosperity, the psalmists indicate a strong faith in God and a clear conception of his attributes. Understandably, anthropomorphisms (ascribing human characteristics to nonhuman things) abound, with references to God’s voice, words, ears, eyes, face, or hands and fingers. No exception needs to be taken to this. Anthropomorphisms of this kind are, in fact, widely used by present-day Christians. Their great value is that they make God real to the worshiper. How else could humans describe God, except in terms of their own understanding?<\/p>\nThe monotheism of the psalms emerges clearly in Psalms 115:3-8; 135:15-18; 139. God is viewed as the Creator (Pss 8:3; 89:11; 95:3-5), with references to the creation mythology of surrounding nations (e.g., Ps 89:10) serving merely as illustrations of his almighty creative power. He is proclaimed as the Lord of history (Pss 44, 78, 80, 81, 105, 106) and as the sovereign controller of nature (Pss 18:7; 19:1-6; 65:8-13; 105:26-42; 135:5-7). The psalmists never tired of celebrating God’s absolute greatness.<\/p>\n<h5>The Human Perspective<\/h5>\nThe Psalter is a God-centered book, but humanity has a worthy place, in spite of the vast gulf between them and their Creator (Pss 8:3-4; 145:3-4) and the limitations of their earthly life (Ps 90:9-10). By the will of God, humans occupy a responsible, mediating position between God and all other created beings (Ps 8:5-8). The relationship with a righteous God is endangered by sin (Ps 106), but God is gracious and long-suffering (Ps 103), faithful and forgiving (Ps 130). While references to the sacrificial system are not lacking (Pss 20:3; 50:8-9), the emphasis is upon a personal piety that demands obedience and a surrendered heart (Ps 40:6-8). Psalm 51 indicates a depth of sin with which the sacrificial system was totally inadequate to cope; the psalmist could only cast himself, in total penitence, upon God’s mercy. Man’s moral obligations (Pss 15; 24:3-5) and loyalty to the law (Pss 19:7-11; 119) are fully accepted. Throughout, there is the revelation of a strong personal relationship that encourages prayer and praise and invites trust.<\/p>\n<h5>The Afterlife<\/h5>\nThe Psalms maintain the traditional Hebrew view of Sheol as the abode of the departed, without distinction between the good and evil, where all but mere existence has perished. The chief complaint of the devout man was that, in Sheol, all meaningful relationship with God ceased (Pss 6:5; 88:10-12). However, it was recognized that, since God was almighty, even Sheol was not exempt from his reach (Ps 139:8). Added to this was the preciousness and strength of fellowship with God, which could not be terminated even by death. Psalms 16:9-11, 49:15, and 73:23-26 well illustrate this insight. The Psalter, therefore, witnesses to an important transitional phase in Israel’s belief.<\/p>\n<h5>Universal Recognition of God<\/h5>\nPassages like Psalms 9:11; 47:1-2, 7-9; 66:8; 67; and 117:1 call upon all nations to acknowledge and praise God and show an awareness of his sovereignty over all nations. But this universalism does not appear to involve any desire to convert the heathen nations and, indeed, it is balanced by strong particularistic elements. God’s covenant relationship with his people and his mighty deeds on their behalf are the chief items for which the praise of all nations is summoned (Pss 47:3-4; 66:8-9; 126:2). As elsewhere in the OT, the role of Israel is passive; her continued existence witnesses to God’s faithfulness and brings glory to him.<\/p>\n<h5>Lasting Value<\/h5>\nWhatever the emotion of the psalmists, be it bitter complaint, anguished lament, or joyous exultation, all the psalms reflect one or other of the many aspects of communion with God. The reader may look “into the heart of all the saints” (so said Luther) as they faced life’s experiences in the awareness of a God who was all-seeing, all-knowing, and all-powerful. The strength of that personal relationship with God that typified OT worship at its best is exemplified here, and the many echoes of the psalms elsewhere in Israel’s literature show the powerful influence of these testimonies on the faithful. The fact that, almost invariably, little specific detail is given of the psalmists’ actual conditions has made it easier for the Psalter to become the universal hymnbook and devotional treasury of God’s people, in both public and private worship, until and including the present day. Modern life, materially, is vastly different from that of ancient Israel, but God remains unchanged and so do the basic needs of the human heart. The Holy Spirit, therefore, can still use this spiritual treasury as a means of revelation and communication between God and man. Few books in the Bible have exercised so profound an influence or been so widely used.<\/p>\nContent<\/p>\n<h5>Introduction<\/h5>\nIt is more helpful to describe the psalms in categories than to explain them one by one in canonical order. The psalms can be categorized as follows:<\/p>\nPsalms of praise<\/p>\nRoyal, messianic psalms<\/p>\nPassion psalms<\/p>\nPsalms about Zion<\/p>\nLaments<\/p>\nImprecatory psalms<\/p>\nPenitential psalms<\/p>\nWisdom psalms and historical psalms<\/p>\nPsalms of trust<\/p>\n<h5>Psalms of Praise<\/h5>\nThe Hebrew title, “Praises,” defines accurately a large part of the contents of the book. Each of the first four sections concludes with a doxology, while the fifth section concludes with five psalms, each of which begins and ends with one or two “Hallelujahs.” The last of these, Psalm 150, sounds the call to total praise. God is to be praised for his being, for his great acts in creation, nature, and history on both the individual and the communal level.<\/p>\n1. Individual praise. In comparison with the number of individual laments, there are relatively few psalms in this category. Those normally included are Psalms 9, 18, 32, 34, 116, and 138. This may, in part, be due to the universal tendency to complain rather than to express thanks. But a number of the laments do, in fact, include the note of thanksgiving for the anticipated deliverance, and the normal round of congregational thanksgiving would allow the individual to express his personal praise. However, it was customary in temple worship to give a verbal act of thanksgiving before the whole assembly whenever a vow offering or a thank offering was made. Such public testimony, and the communal meal associated with this type of sacrifice, is indicated in Psalms 22:22-26; 66:13-20; 116:17-19. The inclusion of such opportunities for personal praise and testimony must have added warmth and significance to worship. Each act of deliverance and every experience of God’s mercy became part of salvation history, which was a cumulative, ongoing concept, not simply a recital of God’s deeds in earlier centuries.<\/p>\n<li>2. General communal praise. This is sometimes entitled “hymns” or “descriptive praise,” its main feature being linked to a particular act of deliverance. God is usually referred to in the third person, not directly. Psalm 103 may be taken as representative of this group. It begins and ends with individual references (vv 1-5, 22b), but the central section (esp. vv 6-14) shows that the psalmist was part of a worshiping community. There is first of all the imperative call to praise God for the full range of his mercy to each individual, including physical and spiritual deliverance and his sustaining and satisfying grace. Then the focus changes to his great works in history (vv 6-7). This forms a natural basis for the recital of those gracious qualities revealed so consistently during the course of the national history, especially his tender, fatherly care (vv 8-14). The frailty of humanity contrasts with God’s constancy (vv 15-18), and his rule, being universal and absolute (v 19), merits the praise of all things, living and inanimate, in heaven and on earth (vv 19-22). There is, however, a great number of possible variations in the way in which God is celebrated, as Psalms 113 and 136, which come within this class, illustrate.<\/li>\n<li>3. Specific communal praise. Occasionally termed “declarative praise,” this type of psalm connects with a particular outstanding evidence of God’s mercy and would most naturally follow soon after the event itself. Deliverance from an enemy provides the occasion for most of the psalms in this category (e.g., Pss 124, 129). Psalm 66:8-12, now the nucleus of an expanded recital of God’s goodness, was possibly once complete in itself. Psalms 46–48 may form a trilogy connected with the remarkable deliverance of Jerusalem from Sennacherib’s Assyrians in 701 BC<\/span> (2 Kgs 18:17–19:37). Psalm 67 was probably composed in gratitude for a particular harvest. It is easy to see how psalms of this type could, in the process of time, acquire a more general usage.<\/li>\n<li>4. Praise for the God of nature. The first part of Psalm 19 pictures the praise of God sounding from the heavens; Psalm 29 celebrates him as the God of the thunderstorm, which, sweeping in from the Mediterranean near Lebanon, pursues its awe-inspiring path southward into the wilderness of Kadesh, with the result that “in his temple” (the created world?) all are praising, “Glory, glory to the Lord<\/span>” (v 9). His sovereignty and self-sufficiency in this world are celebrated in Psalm 50:10-12; he is the God of growth and harvest (Ps 65:9-13); in Psalm 104, often called the “Hymn of Creation,” he sustains and supplies everything on the earth and in the seas and is the absolute Lord of all life (vv 29-30). There is no confusion between God and his creation; even the seemingly permanent heaven and earth will perish, but “you go on forever” (Ps 102:25-27). Nature’s role is to proclaim the glory of God (Ps 19:1) and to praise him (Ps 148). People see themselves as insignificant when set against those forces of nature, which are themselves dwarfed by God—hence, the awareness of the immeasurable gulf between God and people that God has bridged by his grace (Ps 8).<\/li>\n<li>5. Praise for God’s kingship. A relatively small group of psalms (Pss 47, 93, 96–99) celebrate the kingship of God in a way that goes beyond the ascription of praise noted in the foregoing groups. They are marked by acclamation, by both shouting and clapping when God “ascends.” Presumably, the reference is to his throne (Ps 47:1-5; cf. 99:1-2). “The Lord<\/span> reigns” (Pss 93:1; 97:1; 99:1) is the frequent cry, and the nature of his reign is extolled (Ps 99:4-5).<\/li>\n<h5>Royal, Messianic Psalms<\/h5>\nPsalms 2, 18, 20, 21, 45, 61, 72, 89, 101, 110, 132, and 144 are usually included as the royal psalms. They do not form a literary category, since psalms of various types are included, but they all have some reference to the king, the nature of his rule, and his relationship to God. Since the Davidic monarchy was terminated in 586 BC<\/span>, these psalms, almost certainly, were composed before that date. The language in these psalms often shows the king as being God’s vice-regent. For example, Psalm 45, a royal marriage psalm, contains the assertion “Your throne, O God, endures for ever and ever” (45:6). But this is best understood in terms of the throne being regarded as the Lord’s, occupied by the king as his representative. Similarly, the wording in Psalm 110:1, “Sit at my right hand,” indicates the privileges and prerogatives that the king enjoys as God’s vice-regent. The balance of the OT evidence concerning the king shows that the monarchy in Israel was qualified by the nature of God’s covenantal relationship with his people; the king did not enjoy the absolutism claimed by most of the rulers of surrounding kingdoms.<\/p>\nMost of the royal psalms can also be called messianic psalms. They were interpreted as such in the early Christian church, as witnessed in Jesus Christ’s general statement that the psalmists wrote of him (Lk 24:44) and by particular NT quotations. The main psalms concerned, and the NT references, are the following:<\/p>\n1. Psalm 2 (Acts 13:33; Heb 1:5; 5:5), while linked with the Davidic king, nevertheless speaks of a universal vindication and rule, which far transcended even David’s rule. Further, the picture of the Davidic king, anointed to rule on the earth as the representative of God, who is enthroned in heaven, strongly suggests Christ’s mediating, incarnate ministry.<\/p>\n<li>2. Psalm 45 (Heb 1:8-9), a marriage psalm for one of the Davidic kings, possibly Solomon, speaks not only of love and marriage but also a permanence and quality of rule. In the most obvious translation of verse 6, the writer addresses God, “Your divine throne endures for ever and ever.” The writer to the Hebrews clearly accepted this interpretation (Heb 1:8-9) and used it in contrast to the exalted status of even the angels, reinforcing it with two other quotations from the psalms that originally applied to God (Ps 97:7; 102:25-27; cf. Heb 1:6, 10-12).<\/li>\n<li>3. Psalm 110 is the most frequently quoted messianic psalm (Mt 22:43-45; Acts 2:34-35; Heb 1:13; 5:5-10; 6:20; 7:21). The language, speaking of the privileges, universal victory and continuing priesthood of David and his successors, would be considered hyperbolic and possibly misleading except for its fulfillment in “great David’s greater Son.” In contrast to the angels, who are privileged to stand in God’s presence (Lk 1:19), Christ the Son sits in the place of power and authority (Heb 1:13).<\/li>\nOther psalms that could also be designated messianic but are not specifically included among the royal psalms are Psalm 8 (1 Cor 15:27); Psalm 40 (Heb 10:5-10); Psalm 72, with its idealized picture of the nature, consequences, and extent of the rule of God’s representative; Psalm 118:22-23; and Psalm 132 (Acts 2:30).<\/p>\n\n<h5>Passion Psalms<\/h5>\nThe four psalms in this group (Pss 16; 22; 40; 69; some scholars would also include Pss 102; 109) may also be regarded as messianic. They connect with that line of OT prophecy that interprets the Messiah’s ministry in terms of the Suffering Servant who features prominently in Isaiah (e.g., Is 42:1-9; 52:13–53:12). Of these four, Psalm 22 is the most remarkable. Jesus recited part of it when he was on the cross (Ps 22:1; cf. Mt 27:46), and other connections with the crucifixion scene are noteworthy (e.g., Ps 22:6-8, 14-18). Some further considerations are even more significant: there is no suggestion of any awareness of sin; the suffering of the psalmist appears completely unjustified; there is no imprecatory element, even in the face of bitter persecution. This connects with the sinless Christ (2 Cor 5:21), who could even pray for his executioners (Lk 23:34). Psalm 16:10 anticipates the triumph of the incorruptible Christ over the grave (cf. Acts 2:24-31). Psalm 40:6-8 foreshadows the Incarnation and self-giving redemptive work of Christ (Heb 10:5-10). Psalm 69 refers to the isolation resulting from a commitment to God’s cause (Ps 69:8-9) and anticipates the part played by Judas in what was fundamentally God’s work in Christ (Ps 69:25-26; cf. Ps 109:8; Is 53:10; Acts 1:20).<\/p>\n<h5>Psalms about Zion<\/h5>\nThis group could have been classified as a subsection of communal praise, but due to the close historical connection between God’s choice of the house of David and Jerusalem (Pss 78:68-72; 132:11-13), and their subsequent interrelated fortunes, we consider them at this point. There was a biting satire in the request of the Babylonians to the refugees of a shattered city to “Sing us one of the songs of Zion!” (Ps 137:3, niv<\/span>), but it witnesses to the existence of such a collection. Praise of Zion was, in fact, almost synonymous with the praise of the Lord who dwelt there. Jerusalem’s continued survival, in spite of its difficulties, was ample demonstration of God’s enduring greatness (Ps 48:11-14) and peculiar affection for the city that housed his temple (Ps 87:1-3). Psalms 48, 76, 84, 87 and 122 are the main psalms in this category, but the theme itself appears widely throughout the psalms (e.g., 102:16; 125:1; 126:1-3; 133:3; 147:2). The basis of the NT concept of a heavenly Jerusalem, the spiritual home of the regenerate of all nations, finds its origin in this concept, especially in Psalm 87.<\/p>\n<h5>Laments<\/h5>\nThese are associated with specific occasions of distress and are of two types:<\/p>\n1. National. The prophetic and historical books give several examples of the kind of occasion, such as drought, locust infestation, or enemy attack, that could prompt national laments, and also the inward and outward attitudes that accompanied them (e.g., Jgs 20:23, 26; Jer 14:1-12; 36:9; Jl 1:13-14; 2:12-17; Jon 3:5). There is a regular structure in the psalms of this class: the distressing situation is first described; God is petitioned to come to the aid of his people, often with the reminder of his past mercies for Israel; finally, there is often an expression of confidence that God would heed their cry. Israel’s adversaries are clearly in mind in Psalms 14, 44, 60, 74, 80, and 83, while Psalms 58, 106, and 125 reflect situations less critical.<\/p>\n<li>2. Individual. There are so many of this type (approximately 50) that it is frequently described as the backbone of the Psalter. Their most obvious features are the sharpness of complaint and the bitterness of attack upon those responsible. As in the national laments, there is often complaint against God, especially for his lack of attention or his tardiness in intervening. The basic components of this type are almost identical to the national laments, except that they often conclude with the avowal to praise God in anticipation of deliverance (e.g., Ps 13:5-6). Frequently, the lament is accompanied by thanksgiving for the deliverance sought and experienced, as illustrated in the two sections of Psalms 22:1-21 and 28:1-9.<\/li>\n<h5>Imprecatory Psalms<\/h5>\nApproximately 20 psalms contain passionate pleas for the overthrow of the wicked, in language that is often shocking. Any instant condemnation of this attitude must, however, be tempered by certain relevant considerations:<\/p>\nThe cry for vengeance was not purely personal; it was firmly believed that God’s honor was at stake (e.g., Ps 109:21). In an age where there was a less developed view of an afterlife, it was axiomatic that rewards and punishments resulting from obedience or disobedience to God, must be observable within this lifetime. Whenever this was not apparent, it would seem that no righteous God existed, and the name of God was dishonored (e.g., Ps 74:10). This burning desire for the eradication of evil and evil men sprang from a consciousness of a moral God and virtually demanded the triumph of truth.<\/p>\nThe poetic language is also prone to hyperbole—a feature not confined to the psalms (e.g., Neh 4:4-5; Jer 20:14-18; Am 7:17). Such language is startling; indeed, part of its function was probably to startle—to express and promote a sense of outrage.<\/p>\nIn the pre-Christian period, therefore, such outbursts were not completely unjustifiable. But in the light of the fuller revelation in the NT, such an attitude cannot be condoned. The Christian is to love as Christ loved (Jn 13:34), to pray for his enemies and to forgive them (Mt 5:38-48; Col 3:13). The theme of judgment continues into the NT and is indeed heightened there, since Christ’s coming has left people without excuse to live in sin (Jn 16:8-11), but there can be no place for purely private vengeance.<\/p>\n<h5>Penitential Psalms<\/h5>\nPsalms 32, 38, 51, and 130 are the clearest examples of penitential psalms, although traditionally the church has also included Psalms 6, 102, 143, where there is no explicit confession of sin. In an age when adversity in its various forms was seen as God’s judgment for wrongdoing, the admission of distress was tantamount to a confession of guilt. In the four main examples there is an intensity of feeling and a deep sense of the enormity of sin in God’s sight, although, as elsewhere, there is no indication of specific sin, even in Psalm 51, which is surely to be connected with David’s sin against Bathsheba (2 Sm 11–12). Significantly, David bypasses the sacrificial system, which was totally inefficacious in his case, casting himself entirely on the mercy of God (Ps 51:1, 16). The burden of unconfessed sin is clearly revealed in Psalm 32, and sin’s searing and corrupting effect in Psalm 38.<\/p>\n<h5>Wisdom Psalms and Historical Psalms<\/h5>\nWhile it is accepted that prophets, priests, and wise men all functioned at the major sanctuaries, some overlap in their modes of expression is to be expected. Proverbial forms are not infrequently found in the psalms (Pss 37:5, 8, 16, 21-22; 111:10; 127:1-5). Psalm 1, probably an introduction to the whole Psalter, contrasts the diverging paths of the righteous and ungodly (cf. Ps 112), while Psalms 127 and 128 concentrate on the blessings given to the godly. Psalm 133 is written in praise of unity. The problem of explaining the sufferings of a righteous person and the apparent prosperity of evil people, dealt with in the Wisdom Literature in the book of Job and in the prophets also (e.g., Jer 12:1-4), is taken up in Psalms 37, 49, and 73.<\/p>\nThe historical psalms should be included in this category, since they underscore the lessons arising from the favored nation’s often bitter experience. It is apparent that Israel delighted in the recital of salvation history. The main psalms, and the periods covered are Psalm 78, from the exodus to the establishment of the Davidic monarchy (note the declared intention to teach in vv 1-4); Psalm 105, from Abraham to the conquest of Canaan; Psalm 106, from Egypt to the judges; and Psalm 136, from the Creation to the Promised Land.<\/p>\n<h5>Psalms of Trust<\/h5>\nWhile some of these may also be classified as laments, the dominant feature of this group is the serene trust in God revealed, which makes them particularly suitable for devotional use. Many of these psalms begin with an affirmation of gratitude to and affection for God. Psalms 23 and 27 are the outstanding examples of this type, which could also include Psalms 11, 16, 62, 116, 131, and 138.<\/p>\nConclusion<\/p>\nThe difficulties in any precise categorization of psalms are obvious; many do not neatly fall into one group—hence, the occasional overlap. What is clearly evident is a pulsating, vital devotional life that has found its clearest expression in the book of Psalms. To say that it expresses the worship and devotion of the ordinary person is a simplification; kings and priests, wise men and prophets all contributed to this remarkable collection. Yet there remains the truth that, in God’s sight, all people, regardless of human achievement or privilege, are “ordinary,” for all are sinners in need of God’s grace and goodness. So the worshiping community of ancient Israel, and the saints of every succeeding generation, in the vastness of their diversity, have found the expression of their own hearts’ condition, desires, and devotion in this unique treasury—the Psalms.<\/p>\nSee also<\/em> David; Messiah; Music; Poetry, Biblical; Singers in the Temple; Tabernacle; Temple; Wisdom; Wisdom Literature.<\/p>","content_en":"<h3>PSALMS, Book of<\/h3>\nPoems sung to musical accompaniment, originally the harp. The alternative title, the Psalter, refers to a collection of songs sung to harp accompaniment. The English title, therefore, broadly defines the form employed, whereas the Hebrew title of the book, “Praises,” or “Book of Praises,” suggests the content.<\/p>\nPreview<\/p>\n• Authors<\/p>\n• Date<\/p>\n• Background<\/p>\n• Structure<\/p>\n• Canonicity<\/p>\n• Purpose and Theology<\/p>\n• Content<\/p>\nAuthors<\/p>\n<h5>The Evidence of the Titles<\/h5>\nThe Hebrew Bible credits David with 73 psalms, compared with 84 in the Septuagint and 85 in the Latin Vulgate. Korah and Asaph, the leaders of the Levitical singing groups, are connected with 11 and 12 psalms, respectively (although Ps 43 is almost certainly to be attributed to Korah also). Two psalms are ascribed to Solomon (Pss 72; 127), one to Moses (Ps 90), and one to Ethan (Ps 89), while Heman shares the credit for one psalm with the sons of Korah (Ps 88). The remainder are sometimes called “orphan psalms” because of their anonymity.<\/p>\nThe preposition “of” found in the titles (for example, “A Psalm of David”) usually indicates authorship. But in the case of groups, such as the sons of Asaph or Korah, it may simply indicate that the psalms were included in their repertoire. Less plausible is the idea that it may also be rendered “for the use of.” For example, some of the “Psalms of David” might be “for the use of” the Davidic king on some occasion.<\/p>\n<h5>Historical Allusions in the Titles<\/h5>\nMany of the titles refer to specific events in the life of David (e.g., Pss 3; 7; 18; 30; 34; 51). There is evidence that the titles were added at an early date. When the psalms were translated into Greek, there appears to have been some difficulty in translating the titles, possibly because of their antiquity. If the historical references were added at a late date, there is no reason why plausible backgrounds could not have been supplied for all the Davidic psalms, instead of only a few. Moreover, the apparent disparity between the title and the actual content of some psalms (e.g., Ps 30) indicates that the titles were supplied by those who knew about a connection unknown to a later editor. Admittedly, there are minor discrepancies between the titles and the references in the historical books. For example, in Psalm 34 David acts the madman before Abimelech, whereas in 1 Samuel it is before Achish. But probably Abimelech was the general name (like Pharaoh for the kings of Egypt) for all the Philistine kings (e.g., Gn 21:32; 26:26).<\/p>\nEvidence of authorship and historical background in the titles, therefore, may be taken as a reasonably reliable guide. But the internal difficulties, together with the freedom exercised by successive translators into Greek, Syriac, and Latin, indicates that they were not regarded as inspired.<\/p>\n<h5>The Case for Davidic Authorship<\/h5>\nFive points can be offered to support David’s authorship of several psalms:<\/p>\n1. The authenticity of David’s lament over Saul and Jonathan (2 Sm 1:19-27) is generally accepted. This indicates a deeply poetic spirit and a generous temperament that prepares us to accept those psalms ascribed to David that evidence similar characteristics. “The last words of David” is another Davidic poem in the historical books (2 Sm 23:1-7).<\/p>\n<li>2. David had a reputation as a skillful musician at Saul’s court (1 Sm 16:16-18). Amos comments on his inventiveness as a musician (Am 6:5), while the Chronicler repeatedly stresses his contribution to the musical aspect of temple worship (e.g., 1 Chr 6:31; 16:7; Ezr 3:10). The Jewish historian Josephus said that David composed songs and hymns to God in varied meters. The probability is that David, as well as amassing materials and preparing the plans for Solomon’s temple, also gave attention to the temple worship. This is his place in Jewish tradition.<\/li>\n<li>3. The early monarchy, with a freshly secured independence, national prestige, and a new prosperity, would most likely be a time of artistic creativity. David was at the heart of this movement.<\/li>\n<li>4. There is a close correspondence between David’s life as described in the historical books and certain psalms, for example, his sin concerning Bathsheba and Uriah (2 Sm 11:2–12:25) and Psalm 51, as witnessed in the title. David’s lapses and genuine repentance, as well as the varied aspects of his career—shepherd, fugitive, warrior, and so on—find expression in many of the psalms attributed to him. The correspondence between the David of the psalms and the David of the historical books is close, especially in the display of strong faith in God.<\/li>\n<li>5. Although some scholars believe that when “David” is mentioned in the NT, it is simply a reference to the book of Psalms and not an ascription of authorship, a straightforward interpretation of the NT text strengthens the case for Davidic authorship. David is specifically named as the author of various psalms in Matthew 22:41-45; Acts 1:16; 2:25, 34; Romans 4:6; 11:9.<\/li>\nIn conclusion, there is strong support for the view that the substantial nucleus of the Psalter is Davidic. Moreover, it is probable that some of the anonymous psalms were the work of the “sweet psalmist of Israel” (2 Sm 23:1). Hebrews 4:7 refers one of these, Psalm 95, to David (see also Acts 4:25 and Ps 2).<\/p>\nDate<\/p>\nOnce David’s authorship of several psalms is established, then it must follow that these psalms are dated during David’s life. Thus, most of the psalms formed the hymnbook of Israel in the period of the monarchy. Other psalms were written later. For example, Psalm 137 is clearly exilic, and Psalms 107:2-3 and 126:1 allude to the return from captivity. Psalms 44 and 79 are probably, but not conclusively, postexilic.<\/p>\nThe book of Psalms was probably the product of a considerable period of growth. The incidence of Davidic psalms in the first section indicates that it was completed early, possibly toward the end of David’s reign. The remainder of the process of compilation is difficult to reconstruct, but the fact that the titles, with their allusions to authors, events, and musical directions, become less frequent in the two final collections (Pss 90–150) lends support to the probability that the collections were combined chronologically in the sequence in which they are found today. Ezra is traditionally credited with the final grouping and editing of the psalms, a hypothesis that appears reasonable in light of his vital contribution to the systematic reshaping of the national religious life. In any case, the process was completed before the translation of the Psalter into Greek (the Septuagint) at the end of the third century BC<\/span>, since the traditional order is found there. General, but not complete, support comes also from the evidence of the Dead Sea Scrolls. At some point minor dislocations occurred. Psalms 9 and 10 may have originally formed one psalm (as in the Septuagint), and there is a strong case for combining Psalms 42 and 43.<\/p>\nBackground<\/p>\nAs the book of Psalms lies before us, its connection with temple worship is apparent. Fifty-five psalms are addressed to the choirmaster, and as we have noted, 23 or 24 are linked with the two main guilds of Levitical singers, Asaph and Korah. The musical instruments, such as stringed instruments (Ps 55 title) and flutes (Ps 5 title) are noted. Probably other terms concern musical directions: Selah<\/span>,<\/em> which occurs 71 times, may indicate a pause or crescendo; Higgaion<\/span> (Ps 9:16) may recommend a meditative attitude. Seemingly obscure references like “The Hind of the Dawn” (Ps 22 title), “Lilies” (Pss 45 title; 80 title) and “The Dove on Far-off Terebinths” (Ps 56 title) may indicate the tunes to which the psalms were to be sung. The precise meaning of other terms, such as Shiggaion<\/span> (Ps 7 title) or Alamoth<\/span> (conjecturally a choir of ladies, Ps 46 title), may also be in the realm of musical directions.<\/p>\nStructure<\/p>\nThe Psalter, possibly in conscious imitation of the five books of Moses in the Law, is divided into five sections (Pss 1–41; 42–72; 73–89; 90–106; 107–150), separated by four doxologies (41:13; 72:18-19; 89:52; 106:48). While the editorial comment in Psalm 72:20 notes that the psalms of David were ended, Davidic psalms are found later in the book (Pss 86; 101; 103), suggesting that at least some of these sections circulated independently until their inclusion in the final collection. Such independence is further indicated by the duplications in the various sections (e.g., Pss 14 and 53; 40:13-17 and 70) and by the use of different names for God, who is usually referred to as “Lord” in the first collection and as “God” in the second.<\/p>\nCanonicity<\/p>\nIn the various recensions of the third section of the Hebrew canon, the Writings or Holy Books, the book of Psalms is almost invariably placed first. It was clearly regarded as the most important book in this section, and in Luke 24:44, “Psalms” is synonymous with “Writings” as its title. While the canonicity of all the contents of the Writings was not finalized until the end of the first century AD<\/span>, it is likely that the book of Psalms was accepted as inspired long before this, probably by 300 BC<\/span>.<\/p>\nIt must not be inferred that all the psalms had their origin in the cultic life of the community, but the sanctuary was the focal point of Israel’s worship for the greater part of the OT period. Prayer was possible elsewhere, but whenever practicable, it was customary for the worshiper to present his petitions at the main sanctuary. And thanksgiving in ancient Israel was almost invariably connected with a thank offering, vow offering, or freewill offering. The psalms could have been composed by individuals, like David, who had the requisite technical ability. And it must be appreciated that poetry, an unfamiliar medium to most Western civilizations, was the natural way for the ancient Easterner to express his emotions. Or the individual could have engaged a member of the Levitical guilds of musicians to frame either his supplication or his thanksgiving. Gradually, a comprehensive collection of psalms would be available for the use of individuals, the congregation, and even the entire nation in any conceivable situation. Once finalized, this collection served not only the subsequent needs of Israel but the devotional requirements of successive generations of Christians as well. Whatever the origin of an individual psalm, each has finally been incorporated in a cultic setting, and it may be assumed that the best of Israel’s psalmody has thus been preserved.<\/p>\nPurpose and Theology<\/p>\n<h5>The Doctrine of God<\/h5>\nIn both adversity and prosperity, the psalmists indicate a strong faith in God and a clear conception of his attributes. Understandably, anthropomorphisms (ascribing human characteristics to nonhuman things) abound, with references to God’s voice, words, ears, eyes, face, or hands and fingers. No exception needs to be taken to this. Anthropomorphisms of this kind are, in fact, widely used by present-day Christians. Their great value is that they make God real to the worshiper. How else could humans describe God, except in terms of their own understanding?<\/p>\nThe monotheism of the psalms emerges clearly in Psalms 115:3-8; 135:15-18; 139. God is viewed as the Creator (Pss 8:3; 89:11; 95:3-5), with references to the creation mythology of surrounding nations (e.g., Ps 89:10) serving merely as illustrations of his almighty creative power. He is proclaimed as the Lord of history (Pss 44, 78, 80, 81, 105, 106) and as the sovereign controller of nature (Pss 18:7; 19:1-6; 65:8-13; 105:26-42; 135:5-7). The psalmists never tired of celebrating God’s absolute greatness.<\/p>\n<h5>The Human Perspective<\/h5>\nThe Psalter is a God-centered book, but humanity has a worthy place, in spite of the vast gulf between them and their Creator (Pss 8:3-4; 145:3-4) and the limitations of their earthly life (Ps 90:9-10). By the will of God, humans occupy a responsible, mediating position between God and all other created beings (Ps 8:5-8). The relationship with a righteous God is endangered by sin (Ps 106), but God is gracious and long-suffering (Ps 103), faithful and forgiving (Ps 130). While references to the sacrificial system are not lacking (Pss 20:3; 50:8-9), the emphasis is upon a personal piety that demands obedience and a surrendered heart (Ps 40:6-8). Psalm 51 indicates a depth of sin with which the sacrificial system was totally inadequate to cope; the psalmist could only cast himself, in total penitence, upon God’s mercy. Man’s moral obligations (Pss 15; 24:3-5) and loyalty to the law (Pss 19:7-11; 119) are fully accepted. Throughout, there is the revelation of a strong personal relationship that encourages prayer and praise and invites trust.<\/p>\n<h5>The Afterlife<\/h5>\nThe Psalms maintain the traditional Hebrew view of Sheol as the abode of the departed, without distinction between the good and evil, where all but mere existence has perished. The chief complaint of the devout man was that, in Sheol, all meaningful relationship with God ceased (Pss 6:5; 88:10-12). However, it was recognized that, since God was almighty, even Sheol was not exempt from his reach (Ps 139:8). Added to this was the preciousness and strength of fellowship with God, which could not be terminated even by death. Psalms 16:9-11, 49:15, and 73:23-26 well illustrate this insight. The Psalter, therefore, witnesses to an important transitional phase in Israel’s belief.<\/p>\n<h5>Universal Recognition of God<\/h5>\nPassages like Psalms 9:11; 47:1-2, 7-9; 66:8; 67; and 117:1 call upon all nations to acknowledge and praise God and show an awareness of his sovereignty over all nations. But this universalism does not appear to involve any desire to convert the heathen nations and, indeed, it is balanced by strong particularistic elements. God’s covenant relationship with his people and his mighty deeds on their behalf are the chief items for which the praise of all nations is summoned (Pss 47:3-4; 66:8-9; 126:2). As elsewhere in the OT, the role of Israel is passive; her continued existence witnesses to God’s faithfulness and brings glory to him.<\/p>\n<h5>Lasting Value<\/h5>\nWhatever the emotion of the psalmists, be it bitter complaint, anguished lament, or joyous exultation, all the psalms reflect one or other of the many aspects of communion with God. The reader may look “into the heart of all the saints” (so said Luther) as they faced life’s experiences in the awareness of a God who was all-seeing, all-knowing, and all-powerful. The strength of that personal relationship with God that typified OT worship at its best is exemplified here, and the many echoes of the psalms elsewhere in Israel’s literature show the powerful influence of these testimonies on the faithful. The fact that, almost invariably, little specific detail is given of the psalmists’ actual conditions has made it easier for the Psalter to become the universal hymnbook and devotional treasury of God’s people, in both public and private worship, until and including the present day. Modern life, materially, is vastly different from that of ancient Israel, but God remains unchanged and so do the basic needs of the human heart. The Holy Spirit, therefore, can still use this spiritual treasury as a means of revelation and communication between God and man. Few books in the Bible have exercised so profound an influence or been so widely used.<\/p>\nContent<\/p>\n<h5>Introduction<\/h5>\nIt is more helpful to describe the psalms in categories than to explain them one by one in canonical order. The psalms can be categorized as follows:<\/p>\nPsalms of praise<\/p>\nRoyal, messianic psalms<\/p>\nPassion psalms<\/p>\nPsalms about Zion<\/p>\nLaments<\/p>\nImprecatory psalms<\/p>\nPenitential psalms<\/p>\nWisdom psalms and historical psalms<\/p>\nPsalms of trust<\/p>\n<h5>Psalms of Praise<\/h5>\nThe Hebrew title, “Praises,” defines accurately a large part of the contents of the book. Each of the first four sections concludes with a doxology, while the fifth section concludes with five psalms, each of which begins and ends with one or two “Hallelujahs.” The last of these, Psalm 150, sounds the call to total praise. God is to be praised for his being, for his great acts in creation, nature, and history on both the individual and the communal level.<\/p>\n1. Individual praise. In comparison with the number of individual laments, there are relatively few psalms in this category. Those normally included are Psalms 9, 18, 32, 34, 116, and 138. This may, in part, be due to the universal tendency to complain rather than to express thanks. But a number of the laments do, in fact, include the note of thanksgiving for the anticipated deliverance, and the normal round of congregational thanksgiving would allow the individual to express his personal praise. However, it was customary in temple worship to give a verbal act of thanksgiving before the whole assembly whenever a vow offering or a thank offering was made. Such public testimony, and the communal meal associated with this type of sacrifice, is indicated in Psalms 22:22-26; 66:13-20; 116:17-19. The inclusion of such opportunities for personal praise and testimony must have added warmth and significance to worship. Each act of deliverance and every experience of God’s mercy became part of salvation history, which was a cumulative, ongoing concept, not simply a recital of God’s deeds in earlier centuries.<\/p>\n<li>2. General communal praise. This is sometimes entitled “hymns” or “descriptive praise,” its main feature being linked to a particular act of deliverance. God is usually referred to in the third person, not directly. Psalm 103 may be taken as representative of this group. It begins and ends with individual references (vv 1-5, 22b), but the central section (esp. vv 6-14) shows that the psalmist was part of a worshiping community. There is first of all the imperative call to praise God for the full range of his mercy to each individual, including physical and spiritual deliverance and his sustaining and satisfying grace. Then the focus changes to his great works in history (vv 6-7). This forms a natural basis for the recital of those gracious qualities revealed so consistently during the course of the national history, especially his tender, fatherly care (vv 8-14). The frailty of humanity contrasts with God’s constancy (vv 15-18), and his rule, being universal and absolute (v 19), merits the praise of all things, living and inanimate, in heaven and on earth (vv 19-22). There is, however, a great number of possible variations in the way in which God is celebrated, as Psalms 113 and 136, which come within this class, illustrate.<\/li>\n<li>3. Specific communal praise. Occasionally termed “declarative praise,” this type of psalm connects with a particular outstanding evidence of God’s mercy and would most naturally follow soon after the event itself. Deliverance from an enemy provides the occasion for most of the psalms in this category (e.g., Pss 124, 129). Psalm 66:8-12, now the nucleus of an expanded recital of God’s goodness, was possibly once complete in itself. Psalms 46–48 may form a trilogy connected with the remarkable deliverance of Jerusalem from Sennacherib’s Assyrians in 701 BC<\/span> (2 Kgs 18:17–19:37). Psalm 67 was probably composed in gratitude for a particular harvest. It is easy to see how psalms of this type could, in the process of time, acquire a more general usage.<\/li>\n<li>4. Praise for the God of nature. The first part of Psalm 19 pictures the praise of God sounding from the heavens; Psalm 29 celebrates him as the God of the thunderstorm, which, sweeping in from the Mediterranean near Lebanon, pursues its awe-inspiring path southward into the wilderness of Kadesh, with the result that “in his temple” (the created world?) all are praising, “Glory, glory to the Lord<\/span>” (v 9). His sovereignty and self-sufficiency in this world are celebrated in Psalm 50:10-12; he is the God of growth and harvest (Ps 65:9-13); in Psalm 104, often called the “Hymn of Creation,” he sustains and supplies everything on the earth and in the seas and is the absolute Lord of all life (vv 29-30). There is no confusion between God and his creation; even the seemingly permanent heaven and earth will perish, but “you go on forever” (Ps 102:25-27). Nature’s role is to proclaim the glory of God (Ps 19:1) and to praise him (Ps 148). People see themselves as insignificant when set against those forces of nature, which are themselves dwarfed by God—hence, the awareness of the immeasurable gulf between God and people that God has bridged by his grace (Ps 8).<\/li>\n<li>5. Praise for God’s kingship. A relatively small group of psalms (Pss 47, 93, 96–99) celebrate the kingship of God in a way that goes beyond the ascription of praise noted in the foregoing groups. They are marked by acclamation, by both shouting and clapping when God “ascends.” Presumably, the reference is to his throne (Ps 47:1-5; cf. 99:1-2). “The Lord<\/span> reigns” (Pss 93:1; 97:1; 99:1) is the frequent cry, and the nature of his reign is extolled (Ps 99:4-5).<\/li>\n<h5>Royal, Messianic Psalms<\/h5>\nPsalms 2, 18, 20, 21, 45, 61, 72, 89, 101, 110, 132, and 144 are usually included as the royal psalms. They do not form a literary category, since psalms of various types are included, but they all have some reference to the king, the nature of his rule, and his relationship to God. Since the Davidic monarchy was terminated in 586 BC<\/span>, these psalms, almost certainly, were composed before that date. The language in these psalms often shows the king as being God’s vice-regent. For example, Psalm 45, a royal marriage psalm, contains the assertion “Your throne, O God, endures for ever and ever” (45:6). But this is best understood in terms of the throne being regarded as the Lord’s, occupied by the king as his representative. Similarly, the wording in Psalm 110:1, “Sit at my right hand,” indicates the privileges and prerogatives that the king enjoys as God’s vice-regent. The balance of the OT evidence concerning the king shows that the monarchy in Israel was qualified by the nature of God’s covenantal relationship with his people; the king did not enjoy the absolutism claimed by most of the rulers of surrounding kingdoms.<\/p>\nMost of the royal psalms can also be called messianic psalms. They were interpreted as such in the early Christian church, as witnessed in Jesus Christ’s general statement that the psalmists wrote of him (Lk 24:44) and by particular NT quotations. The main psalms concerned, and the NT references, are the following:<\/p>\n1. Psalm 2 (Acts 13:33; Heb 1:5; 5:5), while linked with the Davidic king, nevertheless speaks of a universal vindication and rule, which far transcended even David’s rule. Further, the picture of the Davidic king, anointed to rule on the earth as the representative of God, who is enthroned in heaven, strongly suggests Christ’s mediating, incarnate ministry.<\/p>\n<li>2. Psalm 45 (Heb 1:8-9), a marriage psalm for one of the Davidic kings, possibly Solomon, speaks not only of love and marriage but also a permanence and quality of rule. In the most obvious translation of verse 6, the writer addresses God, “Your divine throne endures for ever and ever.” The writer to the Hebrews clearly accepted this interpretation (Heb 1:8-9) and used it in contrast to the exalted status of even the angels, reinforcing it with two other quotations from the psalms that originally applied to God (Ps 97:7; 102:25-27; cf. Heb 1:6, 10-12).<\/li>\n<li>3. Psalm 110 is the most frequently quoted messianic psalm (Mt 22:43-45; Acts 2:34-35; Heb 1:13; 5:5-10; 6:20; 7:21). The language, speaking of the privileges, universal victory and continuing priesthood of David and his successors, would be considered hyperbolic and possibly misleading except for its fulfillment in “great David’s greater Son.” In contrast to the angels, who are privileged to stand in God’s presence (Lk 1:19), Christ the Son sits in the place of power and authority (Heb 1:13).<\/li>\nOther psalms that could also be designated messianic but are not specifically included among the royal psalms are Psalm 8 (1 Cor 15:27); Psalm 40 (Heb 10:5-10); Psalm 72, with its idealized picture of the nature, consequences, and extent of the rule of God’s representative; Psalm 118:22-23; and Psalm 132 (Acts 2:30).<\/p>\n\n<h5>Passion Psalms<\/h5>\nThe four psalms in this group (Pss 16; 22; 40; 69; some scholars would also include Pss 102; 109) may also be regarded as messianic. They connect with that line of OT prophecy that interprets the Messiah’s ministry in terms of the Suffering Servant who features prominently in Isaiah (e.g., Is 42:1-9; 52:13–53:12). Of these four, Psalm 22 is the most remarkable. Jesus recited part of it when he was on the cross (Ps 22:1; cf. Mt 27:46), and other connections with the crucifixion scene are noteworthy (e.g., Ps 22:6-8, 14-18). Some further considerations are even more significant: there is no suggestion of any awareness of sin; the suffering of the psalmist appears completely unjustified; there is no imprecatory element, even in the face of bitter persecution. This connects with the sinless Christ (2 Cor 5:21), who could even pray for his executioners (Lk 23:34). Psalm 16:10 anticipates the triumph of the incorruptible Christ over the grave (cf. Acts 2:24-31). Psalm 40:6-8 foreshadows the Incarnation and self-giving redemptive work of Christ (Heb 10:5-10). Psalm 69 refers to the isolation resulting from a commitment to God’s cause (Ps 69:8-9) and anticipates the part played by Judas in what was fundamentally God’s work in Christ (Ps 69:25-26; cf. Ps 109:8; Is 53:10; Acts 1:20).<\/p>\n<h5>Psalms about Zion<\/h5>\nThis group could have been classified as a subsection of communal praise, but due to the close historical connection between God’s choice of the house of David and Jerusalem (Pss 78:68-72; 132:11-13), and their subsequent interrelated fortunes, we consider them at this point. There was a biting satire in the request of the Babylonians to the refugees of a shattered city to “Sing us one of the songs of Zion!” (Ps 137:3, niv<\/span>), but it witnesses to the existence of such a collection. Praise of Zion was, in fact, almost synonymous with the praise of the Lord who dwelt there. Jerusalem’s continued survival, in spite of its difficulties, was ample demonstration of God’s enduring greatness (Ps 48:11-14) and peculiar affection for the city that housed his temple (Ps 87:1-3). Psalms 48, 76, 84, 87 and 122 are the main psalms in this category, but the theme itself appears widely throughout the psalms (e.g., 102:16; 125:1; 126:1-3; 133:3; 147:2). The basis of the NT concept of a heavenly Jerusalem, the spiritual home of the regenerate of all nations, finds its origin in this concept, especially in Psalm 87.<\/p>\n<h5>Laments<\/h5>\nThese are associated with specific occasions of distress and are of two types:<\/p>\n1. National. The prophetic and historical books give several examples of the kind of occasion, such as drought, locust infestation, or enemy attack, that could prompt national laments, and also the inward and outward attitudes that accompanied them (e.g., Jgs 20:23, 26; Jer 14:1-12; 36:9; Jl 1:13-14; 2:12-17; Jon 3:5). There is a regular structure in the psalms of this class: the distressing situation is first described; God is petitioned to come to the aid of his people, often with the reminder of his past mercies for Israel; finally, there is often an expression of confidence that God would heed their cry. Israel’s adversaries are clearly in mind in Psalms 14, 44, 60, 74, 80, and 83, while Psalms 58, 106, and 125 reflect situations less critical.<\/p>\n<li>2. Individual. There are so many of this type (approximately 50) that it is frequently described as the backbone of the Psalter. Their most obvious features are the sharpness of complaint and the bitterness of attack upon those responsible. As in the national laments, there is often complaint against God, especially for his lack of attention or his tardiness in intervening. The basic components of this type are almost identical to the national laments, except that they often conclude with the avowal to praise God in anticipation of deliverance (e.g., Ps 13:5-6). Frequently, the lament is accompanied by thanksgiving for the deliverance sought and experienced, as illustrated in the two sections of Psalms 22:1-21 and 28:1-9.<\/li>\n<h5>Imprecatory Psalms<\/h5>\nApproximately 20 psalms contain passionate pleas for the overthrow of the wicked, in language that is often shocking. Any instant condemnation of this attitude must, however, be tempered by certain relevant considerations:<\/p>\nThe cry for vengeance was not purely personal; it was firmly believed that God’s honor was at stake (e.g., Ps 109:21). In an age where there was a less developed view of an afterlife, it was axiomatic that rewards and punishments resulting from obedience or disobedience to God, must be observable within this lifetime. Whenever this was not apparent, it would seem that no righteous God existed, and the name of God was dishonored (e.g., Ps 74:10). This burning desire for the eradication of evil and evil men sprang from a consciousness of a moral God and virtually demanded the triumph of truth.<\/p>\nThe poetic language is also prone to hyperbole—a feature not confined to the psalms (e.g., Neh 4:4-5; Jer 20:14-18; Am 7:17). Such language is startling; indeed, part of its function was probably to startle—to express and promote a sense of outrage.<\/p>\nIn the pre-Christian period, therefore, such outbursts were not completely unjustifiable. But in the light of the fuller revelation in the NT, such an attitude cannot be condoned. The Christian is to love as Christ loved (Jn 13:34), to pray for his enemies and to forgive them (Mt 5:38-48; Col 3:13). The theme of judgment continues into the NT and is indeed heightened there, since Christ’s coming has left people without excuse to live in sin (Jn 16:8-11), but there can be no place for purely private vengeance.<\/p>\n<h5>Penitential Psalms<\/h5>\nPsalms 32, 38, 51, and 130 are the clearest examples of penitential psalms, although traditionally the church has also included Psalms 6, 102, 143, where there is no explicit confession of sin. In an age when adversity in its various forms was seen as God’s judgment for wrongdoing, the admission of distress was tantamount to a confession of guilt. In the four main examples there is an intensity of feeling and a deep sense of the enormity of sin in God’s sight, although, as elsewhere, there is no indication of specific sin, even in Psalm 51, which is surely to be connected with David’s sin against Bathsheba (2 Sm 11–12). Significantly, David bypasses the sacrificial system, which was totally inefficacious in his case, casting himself entirely on the mercy of God (Ps 51:1, 16). The burden of unconfessed sin is clearly revealed in Psalm 32, and sin’s searing and corrupting effect in Psalm 38.<\/p>\n<h5>Wisdom Psalms and Historical Psalms<\/h5>\nWhile it is accepted that prophets, priests, and wise men all functioned at the major sanctuaries, some overlap in their modes of expression is to be expected. Proverbial forms are not infrequently found in the psalms (Pss 37:5, 8, 16, 21-22; 111:10; 127:1-5). Psalm 1, probably an introduction to the whole Psalter, contrasts the diverging paths of the righteous and ungodly (cf. Ps 112), while Psalms 127 and 128 concentrate on the blessings given to the godly. Psalm 133 is written in praise of unity. The problem of explaining the sufferings of a righteous person and the apparent prosperity of evil people, dealt with in the Wisdom Literature in the book of Job and in the prophets also (e.g., Jer 12:1-4), is taken up in Psalms 37, 49, and 73.<\/p>\nThe historical psalms should be included in this category, since they underscore the lessons arising from the favored nation’s often bitter experience. It is apparent that Israel delighted in the recital of salvation history. The main psalms, and the periods covered are Psalm 78, from the exodus to the establishment of the Davidic monarchy (note the declared intention to teach in vv 1-4); Psalm 105, from Abraham to the conquest of Canaan; Psalm 106, from Egypt to the judges; and Psalm 136, from the Creation to the Promised Land.<\/p>\n<h5>Psalms of Trust<\/h5>\nWhile some of these may also be classified as laments, the dominant feature of this group is the serene trust in God revealed, which makes them particularly suitable for devotional use. Many of these psalms begin with an affirmation of gratitude to and affection for God. Psalms 23 and 27 are the outstanding examples of this type, which could also include Psalms 11, 16, 62, 116, 131, and 138.<\/p>\nConclusion<\/p>\nThe difficulties in any precise categorization of psalms are obvious; many do not neatly fall into one group—hence, the occasional overlap. What is clearly evident is a pulsating, vital devotional life that has found its clearest expression in the book of Psalms. To say that it expresses the worship and devotion of the ordinary person is a simplification; kings and priests, wise men and prophets all contributed to this remarkable collection. Yet there remains the truth that, in God’s sight, all people, regardless of human achievement or privilege, are “ordinary,” for all are sinners in need of God’s grace and goodness. So the worshiping community of ancient Israel, and the saints of every succeeding generation, in the vastness of their diversity, have found the expression of their own hearts’ condition, desires, and devotion in this unique treasury—the Psalms.<\/p>\nSee also<\/em> David; Messiah; Music; Poetry, Biblical; Singers in the Temple; Tabernacle; Temple; Wisdom; Wisdom Literature.<\/p>","summary_ro":"PSALMS, Book of Poems sung to musical accompaniment, originally the harp. The alternative title, the Psalter, refers to a collection of songs sung to harp accompaniment. The English title, therefore, broadly defines the form employed, whereas the Hebrew title of the book, “Praises,” or “Book of Praises,” suggests the content. Preview • Authors • Date • Background • Structure • Canonicity • Purpose and Theology • Content Authors The Evidence of the Titles The Hebrew Bible credits David with 73...","summary_en":"PSALMS, Book of Poems sung to musical accompaniment, originally the harp. The alternative title, the Psalter, refers to a collection of songs sung to harp accompaniment. The English title, therefore, broadly defines the form employed, whereas the Hebrew title of the book, “Praises,” or “Book of Praises,” suggests the content. Preview • Authors • Date • Background • Structure • Canonicity • Purpose and Theology • Content Authors The Evidence of the Titles The Hebrew Bible credits David with 73...","source":"Articles\/P.xml","external_url":null,"has_map":false,"has_picture":false},{"id":49408,"type":"study_note","type_label":"Notă de studiu","type_icon":"📝","type_color":"#06b6d4","title_ro":"Notă de studiu: Psalmi 61:1","title_en":"Study Note: Psalmi 61:1","content_ro":"Pss 61–63<\/strong> In these royal prayers, the psalmist longs for God’s presence. All three psalms concern themselves with the king’s security.<\/p>","content_en":"Pss 61–63<\/strong> In these royal prayers, the psalmist longs for God’s presence. All three psalms concern themselves with the king’s security.<\/p>","summary_ro":"Pss 61–63 In these royal prayers, the psalmist longs for God’s presence. All three psalms concern themselves with the king’s security.","summary_en":"Pss 61–63 In these royal prayers, the psalmist longs for God’s presence. All three psalms concern themselves with the king’s security.","source":"StudyNotes.xml","external_url":null,"has_map":false,"has_picture":false},{"id":49409,"type":"study_note","type_label":"Notă de studiu","type_icon":"📝","type_color":"#06b6d4","title_ro":"Notă de studiu: Psalmi 61:1","title_en":"Study Note: Psalmi 61:1","content_ro":"Ps 61<\/strong> The lamenting psalmist petitions God to protect him and lead him into his presence (61:4-5). He prays for God to extend and protect the king’s rule and makes vows to praise God.<\/p>","content_en":"Ps 61<\/strong> The lamenting psalmist petitions God to protect him and lead him into his presence (61:4-5). He prays for God to extend and protect the king’s rule and makes vows to praise God.<\/p>","summary_ro":"Ps 61 The lamenting psalmist petitions God to protect him and lead him into his presence (61:4-5). He prays for God to extend and protect the king’s rule and makes vows to praise God.","summary_en":"Ps 61 The lamenting psalmist petitions God to protect him and lead him into his presence (61:4-5). He prays for God to extend and protect the king’s rule and makes vows to praise God.","source":"StudyNotes.xml","external_url":null,"has_map":false,"has_picture":false},{"id":77034,"type":"study_note","type_label":"Notă de studiu","type_icon":"📝","type_color":"#06b6d4","title_ro":"Notă de studiu: Psalmi 61:1","title_en":"Study Note: Psalmi 61:1","content_ro":"Pss 61–63<\/strong> In these royal prayers, the psalmist longs for God’s presence. All three psalms concern themselves with the king’s security.<\/p>","content_en":"Pss 61–63<\/strong> In these royal prayers, the psalmist longs for God’s presence. All three psalms concern themselves with the king’s security.<\/p>","summary_ro":"Pss 61–63 In these royal prayers, the psalmist longs for God’s presence. All three psalms concern themselves with the king’s security.","summary_en":"Pss 61–63 In these royal prayers, the psalmist longs for God’s presence. All three psalms concern themselves with the king’s security.","source":"StudyNotes.xml","external_url":null,"has_map":false,"has_picture":false},{"id":77035,"type":"study_note","type_label":"Notă de studiu","type_icon":"📝","type_color":"#06b6d4","title_ro":"Notă de studiu: Psalmi 61:1","title_en":"Study Note: Psalmi 61:1","content_ro":"Ps 61<\/strong> The lamenting psalmist petitions God to protect him and lead him into his presence (61:4-5). He prays for God to extend and protect the king’s rule and makes vows to praise God.<\/p>","content_en":"Ps 61<\/strong> The lamenting psalmist petitions God to protect him and lead him into his presence (61:4-5). He prays for God to extend and protect the king’s rule and makes vows to praise God.<\/p>","summary_ro":"Ps 61 The lamenting psalmist petitions God to protect him and lead him into his presence (61:4-5). He prays for God to extend and protect the king’s rule and makes vows to praise God.","summary_en":"Ps 61 The lamenting psalmist petitions God to protect him and lead him into his presence (61:4-5). He prays for God to extend and protect the king’s rule and makes vows to praise God.","source":"StudyNotes.xml","external_url":null,"has_map":false,"has_picture":false},{"id":104660,"type":"study_note","type_label":"Notă de studiu","type_icon":"📝","type_color":"#06b6d4","title_ro":"Notă de studiu: Psalmi 61:1","title_en":"Study Note: Psalmi 61:1","content_ro":"Pss 61–63<\/strong> In these royal prayers, the psalmist longs for God’s presence. All three psalms concern themselves with the king’s security.<\/p>","content_en":"Pss 61–63<\/strong> In these royal prayers, the psalmist longs for God’s presence. All three psalms concern themselves with the king’s security.<\/p>","summary_ro":"Pss 61–63 In these royal prayers, the psalmist longs for God’s presence. All three psalms concern themselves with the king’s security.","summary_en":"Pss 61–63 In these royal prayers, the psalmist longs for God’s presence. All three psalms concern themselves with the king’s security.","source":"StudyNotes.xml","external_url":null,"has_map":false,"has_picture":false},{"id":104661,"type":"study_note","type_label":"Notă de studiu","type_icon":"📝","type_color":"#06b6d4","title_ro":"Notă de studiu: Psalmi 61:1","title_en":"Study Note: Psalmi 61:1","content_ro":"Ps 61<\/strong> The lamenting psalmist petitions God to protect him and lead him into his presence (61:4-5). He prays for God to extend and protect the king’s rule and makes vows to praise God.<\/p>","content_en":"Ps 61<\/strong> The lamenting psalmist petitions God to protect him and lead him into his presence (61:4-5). He prays for God to extend and protect the king’s rule and makes vows to praise God.<\/p>","summary_ro":"Ps 61 The lamenting psalmist petitions God to protect him and lead him into his presence (61:4-5). He prays for God to extend and protect the king’s rule and makes vows to praise God.","summary_en":"Ps 61 The lamenting psalmist petitions God to protect him and lead him into his presence (61:4-5). He prays for God to extend and protect the king’s rule and makes vows to praise God.","source":"StudyNotes.xml","external_url":null,"has_map":false,"has_picture":false},{"id":132286,"type":"study_note","type_label":"Notă de studiu","type_icon":"📝","type_color":"#06b6d4","title_ro":"Notă de studiu: Psalmi 61:1","title_en":"Study Note: Psalmi 61:1","content_ro":"Pss 61–63<\/strong> In these royal prayers, the psalmist longs for God’s presence. All three psalms concern themselves with the king’s security.<\/p>","content_en":"Pss 61–63<\/strong> In these royal prayers, the psalmist longs for God’s presence. All three psalms concern themselves with the king’s security.<\/p>","summary_ro":"Pss 61–63 In these royal prayers, the psalmist longs for God’s presence. All three psalms concern themselves with the king’s security.","summary_en":"Pss 61–63 In these royal prayers, the psalmist longs for God’s presence. All three psalms concern themselves with the king’s security.","source":"StudyNotes.xml","external_url":null,"has_map":false,"has_picture":false},{"id":132287,"type":"study_note","type_label":"Notă de studiu","type_icon":"📝","type_color":"#06b6d4","title_ro":"Notă de studiu: Psalmi 61:1","title_en":"Study Note: Psalmi 61:1","content_ro":"Ps 61<\/strong> The lamenting psalmist petitions God to protect him and lead him into his presence (61:4-5). He prays for God to extend and protect the king’s rule and makes vows to praise God.<\/p>","content_en":"Ps 61<\/strong> The lamenting psalmist petitions God to protect him and lead him into his presence (61:4-5). He prays for God to extend and protect the king’s rule and makes vows to praise God.<\/p>","summary_ro":"Ps 61 The lamenting psalmist petitions God to protect him and lead him into his presence (61:4-5). He prays for God to extend and protect the king’s rule and makes vows to praise God.","summary_en":"Ps 61 The lamenting psalmist petitions God to protect him and lead him into his presence (61:4-5). He prays for God to extend and protect the king’s rule and makes vows to praise God.","source":"StudyNotes.xml","external_url":null,"has_map":false,"has_picture":false},{"id":62571,"type":"theme_note","type_label":"Temă biblică","type_icon":"🎯","type_color":"#ef4444","title_ro":"Royal Psalms","title_en":"Royal Psalms","content_ro":"<h3>Royal Psalms<\/h3>\nThe royal psalms<\/em> all have some reference to the king, the nature of his rule, and his relationship to God. Psalms 2, 18, 20, 21, 45, 61, 72, 89, 101, 110, 132, and 144 are usually regarded as the royal psalms.<\/p>\nBelief in God’s kingship is the foundation of the royal psalms (see Ps 2). Each king in David’s dynasty served as messianic agent—i.e., he represented God’s kingship. As God’s representative, the Davidic king was expected to uphold the qualities of justice, righteousness, faithfulness, and peace (72:1-3).<\/p>\nThe royal psalms express the hope and aspirations of the dynasty of David. But with its corruption and failure, the dynasty came to an apparent end (89:38-45). Yet hope remained alive for the future of a king descended from David who would serve as God’s agent. The royal psalms maintain this hope for a king whose perfect obedience would guarantee the continuity of David’s dynasty and the perpetual benefits of his reign.<\/p>\nIn this sense, the royal psalms may also be called messianic psalms<\/em> in that they express hope in a messianic agent, an ideal king descended from David. Jesus stated that the psalmists wrote of him (Luke 24:44), and other NT writers affirmed the identification of Jesus as the Messiah. Some of the most significant links to Christ are as follows:<\/p>\n<li>Psalm 2 is associated with Israel’s king, the descendant of David. Nevertheless, it speaks of a universal vindication and rule that far transcends even David’s or Solomon’s reigns (see Acts 13:33; Heb 1:5; 5:5).<\/li>\n<li>Psalm 45 is a marriage psalm for one of the Davidic kings, possibly Solomon, yet it speaks of a permanent rule (45:6).<\/li>\n<li>Psalm 110 is the most frequently quoted messianic psalm (see Matt 22:43-45; Acts 2:34-35; Heb 1:13; 5:5-10; 6:20; 7:21). It speaks of the privileges, universal victory, and continuing priesthood of David and his successors. Such language would be hyperbole, and possibly misleading, except for its fulfillment in Jesus. In contrast to the angels who are privileged to stand in God’s presence (see Luke 1:19), Christ the Son sits in the place of power and authority over all things at God’s right hand (Heb 1:13).<\/li>\nPassages for Further Study<\/strong><\/p>\nPss 2; 18; 20; 21; 45; 61; 72; 89; 101; 110; 132; 144; Acts 2:34-35; 13:33; Heb 1:5, 13; 5:5-10<\/p>","content_en":"<h3>Royal Psalms<\/h3>\nThe royal psalms<\/em> all have some reference to the king, the nature of his rule, and his relationship to God. Psalms 2, 18, 20, 21, 45, 61, 72, 89, 101, 110, 132, and 144 are usually regarded as the royal psalms.<\/p>\nBelief in God’s kingship is the foundation of the royal psalms (see Ps 2). Each king in David’s dynasty served as messianic agent—i.e., he represented God’s kingship. As God’s representative, the Davidic king was expected to uphold the qualities of justice, righteousness, faithfulness, and peace (72:1-3).<\/p>\nThe royal psalms express the hope and aspirations of the dynasty of David. But with its corruption and failure, the dynasty came to an apparent end (89:38-45). Yet hope remained alive for the future of a king descended from David who would serve as God’s agent. The royal psalms maintain this hope for a king whose perfect obedience would guarantee the continuity of David’s dynasty and the perpetual benefits of his reign.<\/p>\nIn this sense, the royal psalms may also be called messianic psalms<\/em> in that they express hope in a messianic agent, an ideal king descended from David. Jesus stated that the psalmists wrote of him (Luke 24:44), and other NT writers affirmed the identification of Jesus as the Messiah. Some of the most significant links to Christ are as follows:<\/p>\n<li>Psalm 2 is associated with Israel’s king, the descendant of David. Nevertheless, it speaks of a universal vindication and rule that far transcends even David’s or Solomon’s reigns (see Acts 13:33; Heb 1:5; 5:5).<\/li>\n<li>Psalm 45 is a marriage psalm for one of the Davidic kings, possibly Solomon, yet it speaks of a permanent rule (45:6).<\/li>\n<li>Psalm 110 is the most frequently quoted messianic psalm (see Matt 22:43-45; Acts 2:34-35; Heb 1:13; 5:5-10; 6:20; 7:21). It speaks of the privileges, universal victory, and continuing priesthood of David and his successors. Such language would be hyperbole, and possibly misleading, except for its fulfillment in Jesus. In contrast to the angels who are privileged to stand in God’s presence (see Luke 1:19), Christ the Son sits in the place of power and authority over all things at God’s right hand (Heb 1:13).<\/li>\nPassages for Further Study<\/strong><\/p>\nPss 2; 18; 20; 21; 45; 61; 72; 89; 101; 110; 132; 144; Acts 2:34-35; 13:33; Heb 1:5, 13; 5:5-10<\/p>","summary_ro":"Royal Psalms The royal psalms all have some reference to the king, the nature of his rule, and his relationship to God. Psalms 2, 18, 20, 21, 45, 61, 72, 89, 101, 110, 132, and 144 are usually regarded as the royal psalms. Belief in God’s kingship is the foundation of the royal psalms (see Ps 2). Each king in David’s dynasty served as messianic agent—i.e., he represented God’s kingship. As God’s representative, the Davidic king was expected to uphold the qualities of justice, righteousness, f...","summary_en":"Royal Psalms The royal psalms all have some reference to the king, the nature of his rule, and his relationship to God. Psalms 2, 18, 20, 21, 45, 61, 72, 89, 101, 110, 132, and 144 are usually regarded as the royal psalms. Belief in God’s kingship is the foundation of the royal psalms (see Ps 2). Each king in David’s dynasty served as messianic agent—i.e., he represented God’s kingship. As God’s representative, the Davidic king was expected to uphold the qualities of justice, righteousness, f...","source":"ThemeNotes.xml","external_url":null,"has_map":false,"has_picture":false},{"id":90197,"type":"theme_note","type_label":"Temă biblică","type_icon":"🎯","type_color":"#ef4444","title_ro":"Royal Psalms","title_en":"Royal Psalms","content_ro":"<h3>Royal Psalms<\/h3>\nThe royal psalms<\/em> all have some reference to the king, the nature of his rule, and his relationship to God. Psalms 2, 18, 20, 21, 45, 61, 72, 89, 101, 110, 132, and 144 are usually regarded as the royal psalms.<\/p>\nBelief in God’s kingship is the foundation of the royal psalms (see Ps 2). Each king in David’s dynasty served as messianic agent—i.e., he represented God’s kingship. As God’s representative, the Davidic king was expected to uphold the qualities of justice, righteousness, faithfulness, and peace (72:1-3).<\/p>\nThe royal psalms express the hope and aspirations of the dynasty of David. But with its corruption and failure, the dynasty came to an apparent end (89:38-45). Yet hope remained alive for the future of a king descended from David who would serve as God’s agent. The royal psalms maintain this hope for a king whose perfect obedience would guarantee the continuity of David’s dynasty and the perpetual benefits of his reign.<\/p>\nIn this sense, the royal psalms may also be called messianic psalms<\/em> in that they express hope in a messianic agent, an ideal king descended from David. Jesus stated that the psalmists wrote of him (Luke 24:44), and other NT writers affirmed the identification of Jesus as the Messiah. Some of the most significant links to Christ are as follows:<\/p>\n<li>Psalm 2 is associated with Israel’s king, the descendant of David. Nevertheless, it speaks of a universal vindication and rule that far transcends even David’s or Solomon’s reigns (see Acts 13:33; Heb 1:5; 5:5).<\/li>\n<li>Psalm 45 is a marriage psalm for one of the Davidic kings, possibly Solomon, yet it speaks of a permanent rule (45:6).<\/li>\n<li>Psalm 110 is the most frequently quoted messianic psalm (see Matt 22:43-45; Acts 2:34-35; Heb 1:13; 5:5-10; 6:20; 7:21). It speaks of the privileges, universal victory, and continuing priesthood of David and his successors. Such language would be hyperbole, and possibly misleading, except for its fulfillment in Jesus. In contrast to the angels who are privileged to stand in God’s presence (see Luke 1:19), Christ the Son sits in the place of power and authority over all things at God’s right hand (Heb 1:13).<\/li>\nPassages for Further Study<\/strong><\/p>\nPss 2; 18; 20; 21; 45; 61; 72; 89; 101; 110; 132; 144; Acts 2:34-35; 13:33; Heb 1:5, 13; 5:5-10<\/p>","content_en":"<h3>Royal Psalms<\/h3>\nThe royal psalms<\/em> all have some reference to the king, the nature of his rule, and his relationship to God. Psalms 2, 18, 20, 21, 45, 61, 72, 89, 101, 110, 132, and 144 are usually regarded as the royal psalms.<\/p>\nBelief in God’s kingship is the foundation of the royal psalms (see Ps 2). Each king in David’s dynasty served as messianic agent—i.e., he represented God’s kingship. As God’s representative, the Davidic king was expected to uphold the qualities of justice, righteousness, faithfulness, and peace (72:1-3).<\/p>\nThe royal psalms express the hope and aspirations of the dynasty of David. But with its corruption and failure, the dynasty came to an apparent end (89:38-45). Yet hope remained alive for the future of a king descended from David who would serve as God’s agent. The royal psalms maintain this hope for a king whose perfect obedience would guarantee the continuity of David’s dynasty and the perpetual benefits of his reign.<\/p>\nIn this sense, the royal psalms may also be called messianic psalms<\/em> in that they express hope in a messianic agent, an ideal king descended from David. Jesus stated that the psalmists wrote of him (Luke 24:44), and other NT writers affirmed the identification of Jesus as the Messiah. Some of the most significant links to Christ are as follows:<\/p>\n<li>Psalm 2 is associated with Israel’s king, the descendant of David. Nevertheless, it speaks of a universal vindication and rule that far transcends even David’s or Solomon’s reigns (see Acts 13:33; Heb 1:5; 5:5).<\/li>\n<li>Psalm 45 is a marriage psalm for one of the Davidic kings, possibly Solomon, yet it speaks of a permanent rule (45:6).<\/li>\n<li>Psalm 110 is the most frequently quoted messianic psalm (see Matt 22:43-45; Acts 2:34-35; Heb 1:13; 5:5-10; 6:20; 7:21). It speaks of the privileges, universal victory, and continuing priesthood of David and his successors. Such language would be hyperbole, and possibly misleading, except for its fulfillment in Jesus. In contrast to the angels who are privileged to stand in God’s presence (see Luke 1:19), Christ the Son sits in the place of power and authority over all things at God’s right hand (Heb 1:13).<\/li>\nPassages for Further Study<\/strong><\/p>\nPss 2; 18; 20; 21; 45; 61; 72; 89; 101; 110; 132; 144; Acts 2:34-35; 13:33; Heb 1:5, 13; 5:5-10<\/p>","summary_ro":"Royal Psalms The royal psalms all have some reference to the king, the nature of his rule, and his relationship to God. Psalms 2, 18, 20, 21, 45, 61, 72, 89, 101, 110, 132, and 144 are usually regarded as the royal psalms. Belief in God’s kingship is the foundation of the royal psalms (see Ps 2). Each king in David’s dynasty served as messianic agent—i.e., he represented God’s kingship. As God’s representative, the Davidic king was expected to uphold the qualities of justice, righteousness, f...","summary_en":"Royal Psalms The royal psalms all have some reference to the king, the nature of his rule, and his relationship to God. Psalms 2, 18, 20, 21, 45, 61, 72, 89, 101, 110, 132, and 144 are usually regarded as the royal psalms. Belief in God’s kingship is the foundation of the royal psalms (see Ps 2). Each king in David’s dynasty served as messianic agent—i.e., he represented God’s kingship. As God’s representative, the Davidic king was expected to uphold the qualities of justice, righteousness, f...","source":"ThemeNotes.xml","external_url":null,"has_map":false,"has_picture":false},{"id":117823,"type":"theme_note","type_label":"Temă biblică","type_icon":"🎯","type_color":"#ef4444","title_ro":"Royal Psalms","title_en":"Royal Psalms","content_ro":"<h3>Royal Psalms<\/h3>\nThe royal psalms<\/em> all have some reference to the king, the nature of his rule, and his relationship to God. Psalms 2, 18, 20, 21, 45, 61, 72, 89, 101, 110, 132, and 144 are usually regarded as the royal psalms.<\/p>\nBelief in God’s kingship is the foundation of the royal psalms (see Ps 2). Each king in David’s dynasty served as messianic agent—i.e., he represented God’s kingship. As God’s representative, the Davidic king was expected to uphold the qualities of justice, righteousness, faithfulness, and peace (72:1-3).<\/p>\nThe royal psalms express the hope and aspirations of the dynasty of David. But with its corruption and failure, the dynasty came to an apparent end (89:38-45). Yet hope remained alive for the future of a king descended from David who would serve as God’s agent. The royal psalms maintain this hope for a king whose perfect obedience would guarantee the continuity of David’s dynasty and the perpetual benefits of his reign.<\/p>\nIn this sense, the royal psalms may also be called messianic psalms<\/em> in that they express hope in a messianic agent, an ideal king descended from David. Jesus stated that the psalmists wrote of him (Luke 24:44), and other NT writers affirmed the identification of Jesus as the Messiah. Some of the most significant links to Christ are as follows:<\/p>\n<li>Psalm 2 is associated with Israel’s king, the descendant of David. Nevertheless, it speaks of a universal vindication and rule that far transcends even David’s or Solomon’s reigns (see Acts 13:33; Heb 1:5; 5:5).<\/li>\n<li>Psalm 45 is a marriage psalm for one of the Davidic kings, possibly Solomon, yet it speaks of a permanent rule (45:6).<\/li>\n<li>Psalm 110 is the most frequently quoted messianic psalm (see Matt 22:43-45; Acts 2:34-35; Heb 1:13; 5:5-10; 6:20; 7:21). It speaks of the privileges, universal victory, and continuing priesthood of David and his successors. Such language would be hyperbole, and possibly misleading, except for its fulfillment in Jesus. In contrast to the angels who are privileged to stand in God’s presence (see Luke 1:19), Christ the Son sits in the place of power and authority over all things at God’s right hand (Heb 1:13).<\/li>\nPassages for Further Study<\/strong><\/p>\nPss 2; 18; 20; 21; 45; 61; 72; 89; 101; 110; 132; 144; Acts 2:34-35; 13:33; Heb 1:5, 13; 5:5-10<\/p>","content_en":"<h3>Royal Psalms<\/h3>\nThe royal psalms<\/em> all have some reference to the king, the nature of his rule, and his relationship to God. Psalms 2, 18, 20, 21, 45, 61, 72, 89, 101, 110, 132, and 144 are usually regarded as the royal psalms.<\/p>\nBelief in God’s kingship is the foundation of the royal psalms (see Ps 2). Each king in David’s dynasty served as messianic agent—i.e., he represented God’s kingship. As God’s representative, the Davidic king was expected to uphold the qualities of justice, righteousness, faithfulness, and peace (72:1-3).<\/p>\nThe royal psalms express the hope and aspirations of the dynasty of David. But with its corruption and failure, the dynasty came to an apparent end (89:38-45). Yet hope remained alive for the future of a king descended from David who would serve as God’s agent. The royal psalms maintain this hope for a king whose perfect obedience would guarantee the continuity of David’s dynasty and the perpetual benefits of his reign.<\/p>\nIn this sense, the royal psalms may also be called messianic psalms<\/em> in that they express hope in a messianic agent, an ideal king descended from David. Jesus stated that the psalmists wrote of him (Luke 24:44), and other NT writers affirmed the identification of Jesus as the Messiah. Some of the most significant links to Christ are as follows:<\/p>\n<li>Psalm 2 is associated with Israel’s king, the descendant of David. Nevertheless, it speaks of a universal vindication and rule that far transcends even David’s or Solomon’s reigns (see Acts 13:33; Heb 1:5; 5:5).<\/li>\n<li>Psalm 45 is a marriage psalm for one of the Davidic kings, possibly Solomon, yet it speaks of a permanent rule (45:6).<\/li>\n<li>Psalm 110 is the most frequently quoted messianic psalm (see Matt 22:43-45; Acts 2:34-35; Heb 1:13; 5:5-10; 6:20; 7:21). It speaks of the privileges, universal victory, and continuing priesthood of David and his successors. Such language would be hyperbole, and possibly misleading, except for its fulfillment in Jesus. In contrast to the angels who are privileged to stand in God’s presence (see Luke 1:19), Christ the Son sits in the place of power and authority over all things at God’s right hand (Heb 1:13).<\/li>\nPassages for Further Study<\/strong><\/p>\nPss 2; 18; 20; 21; 45; 61; 72; 89; 101; 110; 132; 144; Acts 2:34-35; 13:33; Heb 1:5, 13; 5:5-10<\/p>","summary_ro":"Royal Psalms The royal psalms all have some reference to the king, the nature of his rule, and his relationship to God. Psalms 2, 18, 20, 21, 45, 61, 72, 89, 101, 110, 132, and 144 are usually regarded as the royal psalms. Belief in God’s kingship is the foundation of the royal psalms (see Ps 2). Each king in David’s dynasty served as messianic agent—i.e., he represented God’s kingship. As God’s representative, the Davidic king was expected to uphold the qualities of justice, righteousness, f...","summary_en":"Royal Psalms The royal psalms all have some reference to the king, the nature of his rule, and his relationship to God. Psalms 2, 18, 20, 21, 45, 61, 72, 89, 101, 110, 132, and 144 are usually regarded as the royal psalms. Belief in God’s kingship is the foundation of the royal psalms (see Ps 2). Each king in David’s dynasty served as messianic agent—i.e., he represented God’s kingship. As God’s representative, the Davidic king was expected to uphold the qualities of justice, righteousness, f...","source":"ThemeNotes.xml","external_url":null,"has_map":false,"has_picture":false},{"id":145449,"type":"theme_note","type_label":"Temă biblică","type_icon":"🎯","type_color":"#ef4444","title_ro":"Royal Psalms","title_en":"Royal Psalms","content_ro":"<h3>Royal Psalms<\/h3>\nThe royal psalms<\/em> all have some reference to the king, the nature of his rule, and his relationship to God. Psalms 2, 18, 20, 21, 45, 61, 72, 89, 101, 110, 132, and 144 are usually regarded as the royal psalms.<\/p>\nBelief in God’s kingship is the foundation of the royal psalms (see Ps 2). Each king in David’s dynasty served as messianic agent—i.e., he represented God’s kingship. As God’s representative, the Davidic king was expected to uphold the qualities of justice, righteousness, faithfulness, and peace (72:1-3).<\/p>\nThe royal psalms express the hope and aspirations of the dynasty of David. But with its corruption and failure, the dynasty came to an apparent end (89:38-45). Yet hope remained alive for the future of a king descended from David who would serve as God’s agent. The royal psalms maintain this hope for a king whose perfect obedience would guarantee the continuity of David’s dynasty and the perpetual benefits of his reign.<\/p>\nIn this sense, the royal psalms may also be called messianic psalms<\/em> in that they express hope in a messianic agent, an ideal king descended from David. Jesus stated that the psalmists wrote of him (Luke 24:44), and other NT writers affirmed the identification of Jesus as the Messiah. Some of the most significant links to Christ are as follows:<\/p>\n<li>Psalm 2 is associated with Israel’s king, the descendant of David. Nevertheless, it speaks of a universal vindication and rule that far transcends even David’s or Solomon’s reigns (see Acts 13:33; Heb 1:5; 5:5).<\/li>\n<li>Psalm 45 is a marriage psalm for one of the Davidic kings, possibly Solomon, yet it speaks of a permanent rule (45:6).<\/li>\n<li>Psalm 110 is the most frequently quoted messianic psalm (see Matt 22:43-45; Acts 2:34-35; Heb 1:13; 5:5-10; 6:20; 7:21). It speaks of the privileges, universal victory, and continuing priesthood of David and his successors. Such language would be hyperbole, and possibly misleading, except for its fulfillment in Jesus. In contrast to the angels who are privileged to stand in God’s presence (see Luke 1:19), Christ the Son sits in the place of power and authority over all things at God’s right hand (Heb 1:13).<\/li>\nPassages for Further Study<\/strong><\/p>\nPss 2; 18; 20; 21; 45; 61; 72; 89; 101; 110; 132; 144; Acts 2:34-35; 13:33; Heb 1:5, 13; 5:5-10<\/p>","content_en":"<h3>Royal Psalms<\/h3>\nThe royal psalms<\/em> all have some reference to the king, the nature of his rule, and his relationship to God. Psalms 2, 18, 20, 21, 45, 61, 72, 89, 101, 110, 132, and 144 are usually regarded as the royal psalms.<\/p>\nBelief in God’s kingship is the foundation of the royal psalms (see Ps 2). Each king in David’s dynasty served as messianic agent—i.e., he represented God’s kingship. As God’s representative, the Davidic king was expected to uphold the qualities of justice, righteousness, faithfulness, and peace (72:1-3).<\/p>\nThe royal psalms express the hope and aspirations of the dynasty of David. But with its corruption and failure, the dynasty came to an apparent end (89:38-45). Yet hope remained alive for the future of a king descended from David who would serve as God’s agent. The royal psalms maintain this hope for a king whose perfect obedience would guarantee the continuity of David’s dynasty and the perpetual benefits of his reign.<\/p>\nIn this sense, the royal psalms may also be called messianic psalms<\/em> in that they express hope in a messianic agent, an ideal king descended from David. Jesus stated that the psalmists wrote of him (Luke 24:44), and other NT writers affirmed the identification of Jesus as the Messiah. Some of the most significant links to Christ are as follows:<\/p>\n<li>Psalm 2 is associated with Israel’s king, the descendant of David. Nevertheless, it speaks of a universal vindication and rule that far transcends even David’s or Solomon’s reigns (see Acts 13:33; Heb 1:5; 5:5).<\/li>\n<li>Psalm 45 is a marriage psalm for one of the Davidic kings, possibly Solomon, yet it speaks of a permanent rule (45:6).<\/li>\n<li>Psalm 110 is the most frequently quoted messianic psalm (see Matt 22:43-45; Acts 2:34-35; Heb 1:13; 5:5-10; 6:20; 7:21). It speaks of the privileges, universal victory, and continuing priesthood of David and his successors. Such language would be hyperbole, and possibly misleading, except for its fulfillment in Jesus. In contrast to the angels who are privileged to stand in God’s presence (see Luke 1:19), Christ the Son sits in the place of power and authority over all things at God’s right hand (Heb 1:13).<\/li>\nPassages for Further Study<\/strong><\/p>\nPss 2; 18; 20; 21; 45; 61; 72; 89; 101; 110; 132; 144; Acts 2:34-35; 13:33; Heb 1:5, 13; 5:5-10<\/p>","summary_ro":"Royal Psalms The royal psalms all have some reference to the king, the nature of his rule, and his relationship to God. Psalms 2, 18, 20, 21, 45, 61, 72, 89, 101, 110, 132, and 144 are usually regarded as the royal psalms. Belief in God’s kingship is the foundation of the royal psalms (see Ps 2). Each king in David’s dynasty served as messianic agent—i.e., he represented God’s kingship. As God’s representative, the Davidic king was expected to uphold the qualities of justice, righteousness, f...","summary_en":"Royal Psalms The royal psalms all have some reference to the king, the nature of his rule, and his relationship to God. Psalms 2, 18, 20, 21, 45, 61, 72, 89, 101, 110, 132, and 144 are usually regarded as the royal psalms. Belief in God’s kingship is the foundation of the royal psalms (see Ps 2). Each king in David’s dynasty served as messianic agent—i.e., he represented God’s kingship. As God’s representative, the Davidic king was expected to uphold the qualities of justice, righteousness, f...","source":"ThemeNotes.xml","external_url":null,"has_map":false,"has_picture":false}],"2":[{"id":49410,"type":"study_note","type_label":"Notă de studiu","type_icon":"📝","type_color":"#06b6d4","title_ro":"Notă de studiu: Psalmi 61:2","title_en":"Study Note: Psalmi 61:2","content_ro":"61:2<\/strong> the ends of the earth:<\/em> This expression has the connotation of a cry that comes from a place far away from God. • The psalmist’s heart is overwhelmed<\/em> with deep anguish.<\/p>","content_en":"61:2<\/strong> the ends of the earth:<\/em> This expression has the connotation of a cry that comes from a place far away from God. • The psalmist’s heart is overwhelmed<\/em> with deep anguish.<\/p>","summary_ro":"61:2 the ends of the earth: This expression has the connotation of a cry that comes from a place far away from God. • The psalmist’s heart is overwhelmed with deep anguish.","summary_en":"61:2 the ends of the earth: This expression has the connotation of a cry that comes from a place far away from God. • The psalmist’s heart is overwhelmed with deep anguish.","source":"StudyNotes.xml","external_url":null,"has_map":false,"has_picture":false},{"id":77036,"type":"study_note","type_label":"Notă de studiu","type_icon":"📝","type_color":"#06b6d4","title_ro":"Notă de studiu: Psalmi 61:2","title_en":"Study Note: Psalmi 61:2","content_ro":"61:2<\/strong> the ends of the earth:<\/em> This expression has the connotation of a cry that comes from a place far away from God. • The psalmist’s heart is overwhelmed<\/em> with deep anguish.<\/p>","content_en":"61:2<\/strong> the ends of the earth:<\/em> This expression has the connotation of a cry that comes from a place far away from God. • The psalmist’s heart is overwhelmed<\/em> with deep anguish.<\/p>","summary_ro":"61:2 the ends of the earth: This expression has the connotation of a cry that comes from a place far away from God. • The psalmist’s heart is overwhelmed with deep anguish.","summary_en":"61:2 the ends of the earth: This expression has the connotation of a cry that comes from a place far away from God. • The psalmist’s heart is overwhelmed with deep anguish.","source":"StudyNotes.xml","external_url":null,"has_map":false,"has_picture":false},{"id":104662,"type":"study_note","type_label":"Notă de studiu","type_icon":"📝","type_color":"#06b6d4","title_ro":"Notă de studiu: Psalmi 61:2","title_en":"Study Note: Psalmi 61:2","content_ro":"61:2<\/strong> the ends of the earth:<\/em> This expression has the connotation of a cry that comes from a place far away from God. • The psalmist’s heart is overwhelmed<\/em> with deep anguish.<\/p>","content_en":"61:2<\/strong> the ends of the earth:<\/em> This expression has the connotation of a cry that comes from a place far away from God. • The psalmist’s heart is overwhelmed<\/em> with deep anguish.<\/p>","summary_ro":"61:2 the ends of the earth: This expression has the connotation of a cry that comes from a place far away from God. • The psalmist’s heart is overwhelmed with deep anguish.","summary_en":"61:2 the ends of the earth: This expression has the connotation of a cry that comes from a place far away from God. • The psalmist’s heart is overwhelmed with deep anguish.","source":"StudyNotes.xml","external_url":null,"has_map":false,"has_picture":false},{"id":132288,"type":"study_note","type_label":"Notă de studiu","type_icon":"📝","type_color":"#06b6d4","title_ro":"Notă de studiu: Psalmi 61:2","title_en":"Study Note: Psalmi 61:2","content_ro":"61:2<\/strong> the ends of the earth:<\/em> This expression has the connotation of a cry that comes from a place far away from God. • The psalmist’s heart is overwhelmed<\/em> with deep anguish.<\/p>","content_en":"61:2<\/strong> the ends of the earth:<\/em> This expression has the connotation of a cry that comes from a place far away from God. • The psalmist’s heart is overwhelmed<\/em> with deep anguish.<\/p>","summary_ro":"61:2 the ends of the earth: This expression has the connotation of a cry that comes from a place far away from God. • The psalmist’s heart is overwhelmed with deep anguish.","summary_en":"61:2 the ends of the earth: This expression has the connotation of a cry that comes from a place far away from God. • The psalmist’s heart is overwhelmed with deep anguish.","source":"StudyNotes.xml","external_url":null,"has_map":false,"has_picture":false},{"id":63355,"type":"theme_note","type_label":"Temă biblică","type_icon":"🎯","type_color":"#ef4444","title_ro":"The Heart in the Psalms","title_en":"The Heart in the Psalms","content_ro":"<h3>The Heart in the Psalms<\/h3>\nThe Hebrew words leb<\/span> and lebab<\/span> (both meaning “heart”) are hard to translate because they rarely refer to the physical human heart. Rather, these terms usually refer to the center of one’s being, an image for a person’s thought life, reflections, and will. The story of the heart reveals a person’s commitment and direction in life.<\/p>\nThe hearts of the wicked are cunning and scheming (Ps 58:2; 64:6; 140:2). The wicked are deceptive, hypocritical, greedy, jealous, and lacking in integrity (10:3; 28:3; 41:6; 55:21; 62:4; 141:4). As time goes on, they become more arrogant, callous, and stubborn (14:1; 17:10; 73:7; 78:8; 81:12; 95:8, 10; 101:5; 119:70). The wicked are only committed to themselves (78:37), and their destructive way of life (5:9) leads to their own destruction.<\/p>\nMeanwhile, the psalmists openly confess their sorrow, trouble, anguish, and despair (13:2; 22:14; 25:17; 38:8, 10; 40:12; 55:4; 61:2; 69:20; 73:21, 26; 109:22; 143:4; 147:3). Through their pain, their hearts grow. They pray intensely (62:8; 119:145), long for God (84:2), trust in him (28:7), and open their hearts to God’s examination (7:9; 17:3; 26:2; 139:1-6, 23). Their commitment does not waver, and their hearts are pure (24:4; 51:10; 73:1, 13) and contented (131:1), even when broken. As their broken hearts (34:17-18; 51:17) are healed by the Lord (147:3), they become strong, confident (27:3, 14; 31:24; 57:7; 108:1; 112:7-8; 138:3), and full of life (22:26; 69:32). In the end, the Lord satisfies them and gives them the desires of their hearts (20:4; 21:2; 37:4). This fills the godly with joy and praise (4:7; 9:1; 13:5; 16:7, 9; 19:8; 30:11-12; 33:21; 86:12; 89:50; 102:4; 105:3; 111:1; 119:7, 111; 138:1).<\/p>\nPassages for Further Study<\/strong><\/p>\nPss 7:9; 9:1; 13:2; 14:1; 16:7-9; 17:3; 19:8; 20:4; 21:2; 22:14, 26; 24:4; 26:2; 27:3, 14; 28:3, 7; 33:21; 34:17-18; 37:4; 38:8, 10; 51:10, 17; 55:4, 21; 57:7; 58:2; 61:2; 62:4, 8-10; 64:6; 69:20; 73:1, 7, 13, 21, 26; 78:8, 37; 81:12; 84:2; 86:12; 89:50; 95:8, 10; 102:4; 108:1; 109:22; 111:1; 119:70, 111, 145; 131:1; 138:1; 139:1-24; 140:2; 147:3<\/p>","content_en":"<h3>The Heart in the Psalms<\/h3>\nThe Hebrew words leb<\/span> and lebab<\/span> (both meaning “heart”) are hard to translate because they rarely refer to the physical human heart. Rather, these terms usually refer to the center of one’s being, an image for a person’s thought life, reflections, and will. The story of the heart reveals a person’s commitment and direction in life.<\/p>\nThe hearts of the wicked are cunning and scheming (Ps 58:2; 64:6; 140:2). The wicked are deceptive, hypocritical, greedy, jealous, and lacking in integrity (10:3; 28:3; 41:6; 55:21; 62:4; 141:4). As time goes on, they become more arrogant, callous, and stubborn (14:1; 17:10; 73:7; 78:8; 81:12; 95:8, 10; 101:5; 119:70). The wicked are only committed to themselves (78:37), and their destructive way of life (5:9) leads to their own destruction.<\/p>\nMeanwhile, the psalmists openly confess their sorrow, trouble, anguish, and despair (13:2; 22:14; 25:17; 38:8, 10; 40:12; 55:4; 61:2; 69:20; 73:21, 26; 109:22; 143:4; 147:3). Through their pain, their hearts grow. They pray intensely (62:8; 119:145), long for God (84:2), trust in him (28:7), and open their hearts to God’s examination (7:9; 17:3; 26:2; 139:1-6, 23). Their commitment does not waver, and their hearts are pure (24:4; 51:10; 73:1, 13) and contented (131:1), even when broken. As their broken hearts (34:17-18; 51:17) are healed by the Lord (147:3), they become strong, confident (27:3, 14; 31:24; 57:7; 108:1; 112:7-8; 138:3), and full of life (22:26; 69:32). In the end, the Lord satisfies them and gives them the desires of their hearts (20:4; 21:2; 37:4). This fills the godly with joy and praise (4:7; 9:1; 13:5; 16:7, 9; 19:8; 30:11-12; 33:21; 86:12; 89:50; 102:4; 105:3; 111:1; 119:7, 111; 138:1).<\/p>\nPassages for Further Study<\/strong><\/p>\nPss 7:9; 9:1; 13:2; 14:1; 16:7-9; 17:3; 19:8; 20:4; 21:2; 22:14, 26; 24:4; 26:2; 27:3, 14; 28:3, 7; 33:21; 34:17-18; 37:4; 38:8, 10; 51:10, 17; 55:4, 21; 57:7; 58:2; 61:2; 62:4, 8-10; 64:6; 69:20; 73:1, 7, 13, 21, 26; 78:8, 37; 81:12; 84:2; 86:12; 89:50; 95:8, 10; 102:4; 108:1; 109:22; 111:1; 119:70, 111, 145; 131:1; 138:1; 139:1-24; 140:2; 147:3<\/p>","summary_ro":"The Heart in the Psalms The Hebrew words leb and lebab (both meaning “heart”) are hard to translate because they rarely refer to the physical human heart. Rather, these terms usually refer to the center of one’s being, an image for a person’s thought life, reflections, and will. The story of the heart reveals a person’s commitment and direction in life. The hearts of the wicked are cunning and scheming (Ps 58:2; 64:6; 140:2). The wicked are deceptive, hypocritical, greedy, jealous, and lackin...","summary_en":"The Heart in the Psalms The Hebrew words leb and lebab (both meaning “heart”) are hard to translate because they rarely refer to the physical human heart. Rather, these terms usually refer to the center of one’s being, an image for a person’s thought life, reflections, and will. The story of the heart reveals a person’s commitment and direction in life. The hearts of the wicked are cunning and scheming (Ps 58:2; 64:6; 140:2). The wicked are deceptive, hypocritical, greedy, jealous, and lackin...","source":"ThemeNotes.xml","external_url":null,"has_map":false,"has_picture":false},{"id":90981,"type":"theme_note","type_label":"Temă biblică","type_icon":"🎯","type_color":"#ef4444","title_ro":"The Heart in the Psalms","title_en":"The Heart in the Psalms","content_ro":"<h3>The Heart in the Psalms<\/h3>\nThe Hebrew words leb<\/span> and lebab<\/span> (both meaning “heart”) are hard to translate because they rarely refer to the physical human heart. Rather, these terms usually refer to the center of one’s being, an image for a person’s thought life, reflections, and will. The story of the heart reveals a person’s commitment and direction in life.<\/p>\nThe hearts of the wicked are cunning and scheming (Ps 58:2; 64:6; 140:2). The wicked are deceptive, hypocritical, greedy, jealous, and lacking in integrity (10:3; 28:3; 41:6; 55:21; 62:4; 141:4). As time goes on, they become more arrogant, callous, and stubborn (14:1; 17:10; 73:7; 78:8; 81:12; 95:8, 10; 101:5; 119:70). The wicked are only committed to themselves (78:37), and their destructive way of life (5:9) leads to their own destruction.<\/p>\nMeanwhile, the psalmists openly confess their sorrow, trouble, anguish, and despair (13:2; 22:14; 25:17; 38:8, 10; 40:12; 55:4; 61:2; 69:20; 73:21, 26; 109:22; 143:4; 147:3). Through their pain, their hearts grow. They pray intensely (62:8; 119:145), long for God (84:2), trust in him (28:7), and open their hearts to God’s examination (7:9; 17:3; 26:2; 139:1-6, 23). Their commitment does not waver, and their hearts are pure (24:4; 51:10; 73:1, 13) and contented (131:1), even when broken. As their broken hearts (34:17-18; 51:17) are healed by the Lord (147:3), they become strong, confident (27:3, 14; 31:24; 57:7; 108:1; 112:7-8; 138:3), and full of life (22:26; 69:32). In the end, the Lord satisfies them and gives them the desires of their hearts (20:4; 21:2; 37:4). This fills the godly with joy and praise (4:7; 9:1; 13:5; 16:7, 9; 19:8; 30:11-12; 33:21; 86:12; 89:50; 102:4; 105:3; 111:1; 119:7, 111; 138:1).<\/p>\nPassages for Further Study<\/strong><\/p>\nPss 7:9; 9:1; 13:2; 14:1; 16:7-9; 17:3; 19:8; 20:4; 21:2; 22:14, 26; 24:4; 26:2; 27:3, 14; 28:3, 7; 33:21; 34:17-18; 37:4; 38:8, 10; 51:10, 17; 55:4, 21; 57:7; 58:2; 61:2; 62:4, 8-10; 64:6; 69:20; 73:1, 7, 13, 21, 26; 78:8, 37; 81:12; 84:2; 86:12; 89:50; 95:8, 10; 102:4; 108:1; 109:22; 111:1; 119:70, 111, 145; 131:1; 138:1; 139:1-24; 140:2; 147:3<\/p>","content_en":"<h3>The Heart in the Psalms<\/h3>\nThe Hebrew words leb<\/span> and lebab<\/span> (both meaning “heart”) are hard to translate because they rarely refer to the physical human heart. Rather, these terms usually refer to the center of one’s being, an image for a person’s thought life, reflections, and will. The story of the heart reveals a person’s commitment and direction in life.<\/p>\nThe hearts of the wicked are cunning and scheming (Ps 58:2; 64:6; 140:2). The wicked are deceptive, hypocritical, greedy, jealous, and lacking in integrity (10:3; 28:3; 41:6; 55:21; 62:4; 141:4). As time goes on, they become more arrogant, callous, and stubborn (14:1; 17:10; 73:7; 78:8; 81:12; 95:8, 10; 101:5; 119:70). The wicked are only committed to themselves (78:37), and their destructive way of life (5:9) leads to their own destruction.<\/p>\nMeanwhile, the psalmists openly confess their sorrow, trouble, anguish, and despair (13:2; 22:14; 25:17; 38:8, 10; 40:12; 55:4; 61:2; 69:20; 73:21, 26; 109:22; 143:4; 147:3). Through their pain, their hearts grow. They pray intensely (62:8; 119:145), long for God (84:2), trust in him (28:7), and open their hearts to God’s examination (7:9; 17:3; 26:2; 139:1-6, 23). Their commitment does not waver, and their hearts are pure (24:4; 51:10; 73:1, 13) and contented (131:1), even when broken. As their broken hearts (34:17-18; 51:17) are healed by the Lord (147:3), they become strong, confident (27:3, 14; 31:24; 57:7; 108:1; 112:7-8; 138:3), and full of life (22:26; 69:32). In the end, the Lord satisfies them and gives them the desires of their hearts (20:4; 21:2; 37:4). This fills the godly with joy and praise (4:7; 9:1; 13:5; 16:7, 9; 19:8; 30:11-12; 33:21; 86:12; 89:50; 102:4; 105:3; 111:1; 119:7, 111; 138:1).<\/p>\nPassages for Further Study<\/strong><\/p>\nPss 7:9; 9:1; 13:2; 14:1; 16:7-9; 17:3; 19:8; 20:4; 21:2; 22:14, 26; 24:4; 26:2; 27:3, 14; 28:3, 7; 33:21; 34:17-18; 37:4; 38:8, 10; 51:10, 17; 55:4, 21; 57:7; 58:2; 61:2; 62:4, 8-10; 64:6; 69:20; 73:1, 7, 13, 21, 26; 78:8, 37; 81:12; 84:2; 86:12; 89:50; 95:8, 10; 102:4; 108:1; 109:22; 111:1; 119:70, 111, 145; 131:1; 138:1; 139:1-24; 140:2; 147:3<\/p>","summary_ro":"The Heart in the Psalms The Hebrew words leb and lebab (both meaning “heart”) are hard to translate because they rarely refer to the physical human heart. Rather, these terms usually refer to the center of one’s being, an image for a person’s thought life, reflections, and will. The story of the heart reveals a person’s commitment and direction in life. The hearts of the wicked are cunning and scheming (Ps 58:2; 64:6; 140:2). The wicked are deceptive, hypocritical, greedy, jealous, and lackin...","summary_en":"The Heart in the Psalms The Hebrew words leb and lebab (both meaning “heart”) are hard to translate because they rarely refer to the physical human heart. Rather, these terms usually refer to the center of one’s being, an image for a person’s thought life, reflections, and will. The story of the heart reveals a person’s commitment and direction in life. The hearts of the wicked are cunning and scheming (Ps 58:2; 64:6; 140:2). The wicked are deceptive, hypocritical, greedy, jealous, and lackin...","source":"ThemeNotes.xml","external_url":null,"has_map":false,"has_picture":false},{"id":118607,"type":"theme_note","type_label":"Temă biblică","type_icon":"🎯","type_color":"#ef4444","title_ro":"The Heart in the Psalms","title_en":"The Heart in the Psalms","content_ro":"<h3>The Heart in the Psalms<\/h3>\nThe Hebrew words leb<\/span> and lebab<\/span> (both meaning “heart”) are hard to translate because they rarely refer to the physical human heart. Rather, these terms usually refer to the center of one’s being, an image for a person’s thought life, reflections, and will. The story of the heart reveals a person’s commitment and direction in life.<\/p>\nThe hearts of the wicked are cunning and scheming (Ps 58:2; 64:6; 140:2). The wicked are deceptive, hypocritical, greedy, jealous, and lacking in integrity (10:3; 28:3; 41:6; 55:21; 62:4; 141:4). As time goes on, they become more arrogant, callous, and stubborn (14:1; 17:10; 73:7; 78:8; 81:12; 95:8, 10; 101:5; 119:70). The wicked are only committed to themselves (78:37), and their destructive way of life (5:9) leads to their own destruction.<\/p>\nMeanwhile, the psalmists openly confess their sorrow, trouble, anguish, and despair (13:2; 22:14; 25:17; 38:8, 10; 40:12; 55:4; 61:2; 69:20; 73:21, 26; 109:22; 143:4; 147:3). Through their pain, their hearts grow. They pray intensely (62:8; 119:145), long for God (84:2), trust in him (28:7), and open their hearts to God’s examination (7:9; 17:3; 26:2; 139:1-6, 23). Their commitment does not waver, and their hearts are pure (24:4; 51:10; 73:1, 13) and contented (131:1), even when broken. As their broken hearts (34:17-18; 51:17) are healed by the Lord (147:3), they become strong, confident (27:3, 14; 31:24; 57:7; 108:1; 112:7-8; 138:3), and full of life (22:26; 69:32). In the end, the Lord satisfies them and gives them the desires of their hearts (20:4; 21:2; 37:4). This fills the godly with joy and praise (4:7; 9:1; 13:5; 16:7, 9; 19:8; 30:11-12; 33:21; 86:12; 89:50; 102:4; 105:3; 111:1; 119:7, 111; 138:1).<\/p>\nPassages for Further Study<\/strong><\/p>\nPss 7:9; 9:1; 13:2; 14:1; 16:7-9; 17:3; 19:8; 20:4; 21:2; 22:14, 26; 24:4; 26:2; 27:3, 14; 28:3, 7; 33:21; 34:17-18; 37:4; 38:8, 10; 51:10, 17; 55:4, 21; 57:7; 58:2; 61:2; 62:4, 8-10; 64:6; 69:20; 73:1, 7, 13, 21, 26; 78:8, 37; 81:12; 84:2; 86:12; 89:50; 95:8, 10; 102:4; 108:1; 109:22; 111:1; 119:70, 111, 145; 131:1; 138:1; 139:1-24; 140:2; 147:3<\/p>","content_en":"<h3>The Heart in the Psalms<\/h3>\nThe Hebrew words leb<\/span> and lebab<\/span> (both meaning “heart”) are hard to translate because they rarely refer to the physical human heart. Rather, these terms usually refer to the center of one’s being, an image for a person’s thought life, reflections, and will. The story of the heart reveals a person’s commitment and direction in life.<\/p>\nThe hearts of the wicked are cunning and scheming (Ps 58:2; 64:6; 140:2). The wicked are deceptive, hypocritical, greedy, jealous, and lacking in integrity (10:3; 28:3; 41:6; 55:21; 62:4; 141:4). As time goes on, they become more arrogant, callous, and stubborn (14:1; 17:10; 73:7; 78:8; 81:12; 95:8, 10; 101:5; 119:70). The wicked are only committed to themselves (78:37), and their destructive way of life (5:9) leads to their own destruction.<\/p>\nMeanwhile, the psalmists openly confess their sorrow, trouble, anguish, and despair (13:2; 22:14; 25:17; 38:8, 10; 40:12; 55:4; 61:2; 69:20; 73:21, 26; 109:22; 143:4; 147:3). Through their pain, their hearts grow. They pray intensely (62:8; 119:145), long for God (84:2), trust in him (28:7), and open their hearts to God’s examination (7:9; 17:3; 26:2; 139:1-6, 23). Their commitment does not waver, and their hearts are pure (24:4; 51:10; 73:1, 13) and contented (131:1), even when broken. As their broken hearts (34:17-18; 51:17) are healed by the Lord (147:3), they become strong, confident (27:3, 14; 31:24; 57:7; 108:1; 112:7-8; 138:3), and full of life (22:26; 69:32). In the end, the Lord satisfies them and gives them the desires of their hearts (20:4; 21:2; 37:4). This fills the godly with joy and praise (4:7; 9:1; 13:5; 16:7, 9; 19:8; 30:11-12; 33:21; 86:12; 89:50; 102:4; 105:3; 111:1; 119:7, 111; 138:1).<\/p>\nPassages for Further Study<\/strong><\/p>\nPss 7:9; 9:1; 13:2; 14:1; 16:7-9; 17:3; 19:8; 20:4; 21:2; 22:14, 26; 24:4; 26:2; 27:3, 14; 28:3, 7; 33:21; 34:17-18; 37:4; 38:8, 10; 51:10, 17; 55:4, 21; 57:7; 58:2; 61:2; 62:4, 8-10; 64:6; 69:20; 73:1, 7, 13, 21, 26; 78:8, 37; 81:12; 84:2; 86:12; 89:50; 95:8, 10; 102:4; 108:1; 109:22; 111:1; 119:70, 111, 145; 131:1; 138:1; 139:1-24; 140:2; 147:3<\/p>","summary_ro":"The Heart in the Psalms The Hebrew words leb and lebab (both meaning “heart”) are hard to translate because they rarely refer to the physical human heart. Rather, these terms usually refer to the center of one’s being, an image for a person’s thought life, reflections, and will. The story of the heart reveals a person’s commitment and direction in life. The hearts of the wicked are cunning and scheming (Ps 58:2; 64:6; 140:2). The wicked are deceptive, hypocritical, greedy, jealous, and lackin...","summary_en":"The Heart in the Psalms The Hebrew words leb and lebab (both meaning “heart”) are hard to translate because they rarely refer to the physical human heart. Rather, these terms usually refer to the center of one’s being, an image for a person’s thought life, reflections, and will. The story of the heart reveals a person’s commitment and direction in life. The hearts of the wicked are cunning and scheming (Ps 58:2; 64:6; 140:2). The wicked are deceptive, hypocritical, greedy, jealous, and lackin...","source":"ThemeNotes.xml","external_url":null,"has_map":false,"has_picture":false},{"id":146233,"type":"theme_note","type_label":"Temă biblică","type_icon":"🎯","type_color":"#ef4444","title_ro":"The Heart in the Psalms","title_en":"The Heart in the Psalms","content_ro":"<h3>The Heart in the Psalms<\/h3>\nThe Hebrew words leb<\/span> and lebab<\/span> (both meaning “heart”) are hard to translate because they rarely refer to the physical human heart. Rather, these terms usually refer to the center of one’s being, an image for a person’s thought life, reflections, and will. The story of the heart reveals a person’s commitment and direction in life.<\/p>\nThe hearts of the wicked are cunning and scheming (Ps 58:2; 64:6; 140:2). The wicked are deceptive, hypocritical, greedy, jealous, and lacking in integrity (10:3; 28:3; 41:6; 55:21; 62:4; 141:4). As time goes on, they become more arrogant, callous, and stubborn (14:1; 17:10; 73:7; 78:8; 81:12; 95:8, 10; 101:5; 119:70). The wicked are only committed to themselves (78:37), and their destructive way of life (5:9) leads to their own destruction.<\/p>\nMeanwhile, the psalmists openly confess their sorrow, trouble, anguish, and despair (13:2; 22:14; 25:17; 38:8, 10; 40:12; 55:4; 61:2; 69:20; 73:21, 26; 109:22; 143:4; 147:3). Through their pain, their hearts grow. They pray intensely (62:8; 119:145), long for God (84:2), trust in him (28:7), and open their hearts to God’s examination (7:9; 17:3; 26:2; 139:1-6, 23). Their commitment does not waver, and their hearts are pure (24:4; 51:10; 73:1, 13) and contented (131:1), even when broken. As their broken hearts (34:17-18; 51:17) are healed by the Lord (147:3), they become strong, confident (27:3, 14; 31:24; 57:7; 108:1; 112:7-8; 138:3), and full of life (22:26; 69:32). In the end, the Lord satisfies them and gives them the desires of their hearts (20:4; 21:2; 37:4). This fills the godly with joy and praise (4:7; 9:1; 13:5; 16:7, 9; 19:8; 30:11-12; 33:21; 86:12; 89:50; 102:4; 105:3; 111:1; 119:7, 111; 138:1).<\/p>\nPassages for Further Study<\/strong><\/p>\nPss 7:9; 9:1; 13:2; 14:1; 16:7-9; 17:3; 19:8; 20:4; 21:2; 22:14, 26; 24:4; 26:2; 27:3, 14; 28:3, 7; 33:21; 34:17-18; 37:4; 38:8, 10; 51:10, 17; 55:4, 21; 57:7; 58:2; 61:2; 62:4, 8-10; 64:6; 69:20; 73:1, 7, 13, 21, 26; 78:8, 37; 81:12; 84:2; 86:12; 89:50; 95:8, 10; 102:4; 108:1; 109:22; 111:1; 119:70, 111, 145; 131:1; 138:1; 139:1-24; 140:2; 147:3<\/p>","content_en":"<h3>The Heart in the Psalms<\/h3>\nThe Hebrew words leb<\/span> and lebab<\/span> (both meaning “heart”) are hard to translate because they rarely refer to the physical human heart. Rather, these terms usually refer to the center of one’s being, an image for a person’s thought life, reflections, and will. The story of the heart reveals a person’s commitment and direction in life.<\/p>\nThe hearts of the wicked are cunning and scheming (Ps 58:2; 64:6; 140:2). The wicked are deceptive, hypocritical, greedy, jealous, and lacking in integrity (10:3; 28:3; 41:6; 55:21; 62:4; 141:4). As time goes on, they become more arrogant, callous, and stubborn (14:1; 17:10; 73:7; 78:8; 81:12; 95:8, 10; 101:5; 119:70). The wicked are only committed to themselves (78:37), and their destructive way of life (5:9) leads to their own destruction.<\/p>\nMeanwhile, the psalmists openly confess their sorrow, trouble, anguish, and despair (13:2; 22:14; 25:17; 38:8, 10; 40:12; 55:4; 61:2; 69:20; 73:21, 26; 109:22; 143:4; 147:3). Through their pain, their hearts grow. They pray intensely (62:8; 119:145), long for God (84:2), trust in him (28:7), and open their hearts to God’s examination (7:9; 17:3; 26:2; 139:1-6, 23). Their commitment does not waver, and their hearts are pure (24:4; 51:10; 73:1, 13) and contented (131:1), even when broken. As their broken hearts (34:17-18; 51:17) are healed by the Lord (147:3), they become strong, confident (27:3, 14; 31:24; 57:7; 108:1; 112:7-8; 138:3), and full of life (22:26; 69:32). In the end, the Lord satisfies them and gives them the desires of their hearts (20:4; 21:2; 37:4). This fills the godly with joy and praise (4:7; 9:1; 13:5; 16:7, 9; 19:8; 30:11-12; 33:21; 86:12; 89:50; 102:4; 105:3; 111:1; 119:7, 111; 138:1).<\/p>\nPassages for Further Study<\/strong><\/p>\nPss 7:9; 9:1; 13:2; 14:1; 16:7-9; 17:3; 19:8; 20:4; 21:2; 22:14, 26; 24:4; 26:2; 27:3, 14; 28:3, 7; 33:21; 34:17-18; 37:4; 38:8, 10; 51:10, 17; 55:4, 21; 57:7; 58:2; 61:2; 62:4, 8-10; 64:6; 69:20; 73:1, 7, 13, 21, 26; 78:8, 37; 81:12; 84:2; 86:12; 89:50; 95:8, 10; 102:4; 108:1; 109:22; 111:1; 119:70, 111, 145; 131:1; 138:1; 139:1-24; 140:2; 147:3<\/p>","summary_ro":"The Heart in the Psalms The Hebrew words leb and lebab (both meaning “heart”) are hard to translate because they rarely refer to the physical human heart. Rather, these terms usually refer to the center of one’s being, an image for a person’s thought life, reflections, and will. The story of the heart reveals a person’s commitment and direction in life. The hearts of the wicked are cunning and scheming (Ps 58:2; 64:6; 140:2). The wicked are deceptive, hypocritical, greedy, jealous, and lackin...","summary_en":"The Heart in the Psalms The Hebrew words leb and lebab (both meaning “heart”) are hard to translate because they rarely refer to the physical human heart. Rather, these terms usually refer to the center of one’s being, an image for a person’s thought life, reflections, and will. The story of the heart reveals a person’s commitment and direction in life. The hearts of the wicked are cunning and scheming (Ps 58:2; 64:6; 140:2). The wicked are deceptive, hypocritical, greedy, jealous, and lackin...","source":"ThemeNotes.xml","external_url":null,"has_map":false,"has_picture":false}],"4":[{"id":49411,"type":"study_note","type_label":"Notă de studiu","type_icon":"📝","type_color":"#06b6d4","title_ro":"Notă de studiu: Psalmi 61:4","title_en":"Study Note: Psalmi 61:4","content_ro":"61:4<\/strong> The poet longs for God’s presence and seeks entrance into God’s home on earth for divine protection and care. To be received into God’s sanctuary<\/em> (literally tent<\/em>) is the greatest good (see 15:1; 23:6; 24:3-6). The Hebrew word translated sanctuary<\/em> recalls the Tabernacle and the tent that David built for the Ark (1 Chr 15:1). See also study note on John 1:14. • The shelter of your wings<\/em> symbolizes God’s protection and care (see Pss 9:9; 17:8).<\/p>","content_en":"61:4<\/strong> The poet longs for God’s presence and seeks entrance into God’s home on earth for divine protection and care. To be received into God’s sanctuary<\/em> (literally tent<\/em>) is the greatest good (see 15:1; 23:6; 24:3-6). The Hebrew word translated sanctuary<\/em> recalls the Tabernacle and the tent that David built for the Ark (1 Chr 15:1). See also study note on John 1:14. • The shelter of your wings<\/em> symbolizes God’s protection and care (see Pss 9:9; 17:8).<\/p>","summary_ro":"61:4 The poet longs for God’s presence and seeks entrance into God’s home on earth for divine protection and care. To be received into God’s sanctuary (literally tent) is the greatest good (see 15:1; 23:6; 24:3-6). The Hebrew word translated sanctuary recalls the Tabernacle and the tent that David built for the Ark (1 Chr 15:1). See also study note on John 1:14. • The shelter of your wings symbolizes God’s protection and care (see Pss 9:9; 17:8).","summary_en":"61:4 The poet longs for God’s presence and seeks entrance into God’s home on earth for divine protection and care. To be received into God’s sanctuary (literally tent) is the greatest good (see 15:1; 23:6; 24:3-6). The Hebrew word translated sanctuary recalls the Tabernacle and the tent that David built for the Ark (1 Chr 15:1). See also study note on John 1:14. • The shelter of your wings symbolizes God’s protection and care (see Pss 9:9; 17:8).","source":"StudyNotes.xml","external_url":null,"has_map":false,"has_picture":false},{"id":77037,"type":"study_note","type_label":"Notă de studiu","type_icon":"📝","type_color":"#06b6d4","title_ro":"Notă de studiu: Psalmi 61:4","title_en":"Study Note: Psalmi 61:4","content_ro":"61:4<\/strong> The poet longs for God’s presence and seeks entrance into God’s home on earth for divine protection and care. To be received into God’s sanctuary<\/em> (literally tent<\/em>) is the greatest good (see 15:1; 23:6; 24:3-6). The Hebrew word translated sanctuary<\/em> recalls the Tabernacle and the tent that David built for the Ark (1 Chr 15:1). See also study note on John 1:14. • The shelter of your wings<\/em> symbolizes God’s protection and care (see Pss 9:9; 17:8).<\/p>","content_en":"61:4<\/strong> The poet longs for God’s presence and seeks entrance into God’s home on earth for divine protection and care. To be received into God’s sanctuary<\/em> (literally tent<\/em>) is the greatest good (see 15:1; 23:6; 24:3-6). The Hebrew word translated sanctuary<\/em> recalls the Tabernacle and the tent that David built for the Ark (1 Chr 15:1). See also study note on John 1:14. • The shelter of your wings<\/em> symbolizes God’s protection and care (see Pss 9:9; 17:8).<\/p>","summary_ro":"61:4 The poet longs for God’s presence and seeks entrance into God’s home on earth for divine protection and care. To be received into God’s sanctuary (literally tent) is the greatest good (see 15:1; 23:6; 24:3-6). The Hebrew word translated sanctuary recalls the Tabernacle and the tent that David built for the Ark (1 Chr 15:1). See also study note on John 1:14. • The shelter of your wings symbolizes God’s protection and care (see Pss 9:9; 17:8).","summary_en":"61:4 The poet longs for God’s presence and seeks entrance into God’s home on earth for divine protection and care. To be received into God’s sanctuary (literally tent) is the greatest good (see 15:1; 23:6; 24:3-6). The Hebrew word translated sanctuary recalls the Tabernacle and the tent that David built for the Ark (1 Chr 15:1). See also study note on John 1:14. • The shelter of your wings symbolizes God’s protection and care (see Pss 9:9; 17:8).","source":"StudyNotes.xml","external_url":null,"has_map":false,"has_picture":false},{"id":104663,"type":"study_note","type_label":"Notă de studiu","type_icon":"📝","type_color":"#06b6d4","title_ro":"Notă de studiu: Psalmi 61:4","title_en":"Study Note: Psalmi 61:4","content_ro":"61:4<\/strong> The poet longs for God’s presence and seeks entrance into God’s home on earth for divine protection and care. To be received into God’s sanctuary<\/em> (literally tent<\/em>) is the greatest good (see 15:1; 23:6; 24:3-6). The Hebrew word translated sanctuary<\/em> recalls the Tabernacle and the tent that David built for the Ark (1 Chr 15:1). See also study note on John 1:14. • The shelter of your wings<\/em> symbolizes God’s protection and care (see Pss 9:9; 17:8).<\/p>","content_en":"61:4<\/strong> The poet longs for God’s presence and seeks entrance into God’s home on earth for divine protection and care. To be received into God’s sanctuary<\/em> (literally tent<\/em>) is the greatest good (see 15:1; 23:6; 24:3-6). The Hebrew word translated sanctuary<\/em> recalls the Tabernacle and the tent that David built for the Ark (1 Chr 15:1). See also study note on John 1:14. • The shelter of your wings<\/em> symbolizes God’s protection and care (see Pss 9:9; 17:8).<\/p>","summary_ro":"61:4 The poet longs for God’s presence and seeks entrance into God’s home on earth for divine protection and care. To be received into God’s sanctuary (literally tent) is the greatest good (see 15:1; 23:6; 24:3-6). The Hebrew word translated sanctuary recalls the Tabernacle and the tent that David built for the Ark (1 Chr 15:1). See also study note on John 1:14. • The shelter of your wings symbolizes God’s protection and care (see Pss 9:9; 17:8).","summary_en":"61:4 The poet longs for God’s presence and seeks entrance into God’s home on earth for divine protection and care. To be received into God’s sanctuary (literally tent) is the greatest good (see 15:1; 23:6; 24:3-6). The Hebrew word translated sanctuary recalls the Tabernacle and the tent that David built for the Ark (1 Chr 15:1). See also study note on John 1:14. • The shelter of your wings symbolizes God’s protection and care (see Pss 9:9; 17:8).","source":"StudyNotes.xml","external_url":null,"has_map":false,"has_picture":false},{"id":132289,"type":"study_note","type_label":"Notă de studiu","type_icon":"📝","type_color":"#06b6d4","title_ro":"Notă de studiu: Psalmi 61:4","title_en":"Study Note: Psalmi 61:4","content_ro":"61:4<\/strong> The poet longs for God’s presence and seeks entrance into God’s home on earth for divine protection and care. To be received into God’s sanctuary<\/em> (literally tent<\/em>) is the greatest good (see 15:1; 23:6; 24:3-6). The Hebrew word translated sanctuary<\/em> recalls the Tabernacle and the tent that David built for the Ark (1 Chr 15:1). See also study note on John 1:14. • The shelter of your wings<\/em> symbolizes God’s protection and care (see Pss 9:9; 17:8).<\/p>","content_en":"61:4<\/strong> The poet longs for God’s presence and seeks entrance into God’s home on earth for divine protection and care. To be received into God’s sanctuary<\/em> (literally tent<\/em>) is the greatest good (see 15:1; 23:6; 24:3-6). The Hebrew word translated sanctuary<\/em> recalls the Tabernacle and the tent that David built for the Ark (1 Chr 15:1). See also study note on John 1:14. • The shelter of your wings<\/em> symbolizes God’s protection and care (see Pss 9:9; 17:8).<\/p>","summary_ro":"61:4 The poet longs for God’s presence and seeks entrance into God’s home on earth for divine protection and care. To be received into God’s sanctuary (literally tent) is the greatest good (see 15:1; 23:6; 24:3-6). The Hebrew word translated sanctuary recalls the Tabernacle and the tent that David built for the Ark (1 Chr 15:1). See also study note on John 1:14. • The shelter of your wings symbolizes God’s protection and care (see Pss 9:9; 17:8).","summary_en":"61:4 The poet longs for God’s presence and seeks entrance into God’s home on earth for divine protection and care. To be received into God’s sanctuary (literally tent) is the greatest good (see 15:1; 23:6; 24:3-6). The Hebrew word translated sanctuary recalls the Tabernacle and the tent that David built for the Ark (1 Chr 15:1). See also study note on John 1:14. • The shelter of your wings symbolizes God’s protection and care (see Pss 9:9; 17:8).","source":"StudyNotes.xml","external_url":null,"has_map":false,"has_picture":false}],"5":[{"id":49412,"type":"study_note","type_label":"Notă de studiu","type_icon":"📝","type_color":"#06b6d4","title_ro":"Notă de studiu: Psalmi 61:5","title_en":"Study Note: Psalmi 61:5","content_ro":"61:5<\/strong> you have heard my vows:<\/em> The psalmist’s vows might also be a part of ceremonial sacrifices (66:13-15; 76:11; 116:14, 18). He praises and thanks God for his rescue. • The inheritance<\/em> refers to the promise of the land (see Ps 60), the sacredness of the Temple, the joy of God’s presence (119:111), or any similar reward (16:6; 37:9, 11, 18, 22, 29, 34; 127:3).<\/p>","content_en":"61:5<\/strong> you have heard my vows:<\/em> The psalmist’s vows might also be a part of ceremonial sacrifices (66:13-15; 76:11; 116:14, 18). He praises and thanks God for his rescue. • The inheritance<\/em> refers to the promise of the land (see Ps 60), the sacredness of the Temple, the joy of God’s presence (119:111), or any similar reward (16:6; 37:9, 11, 18, 22, 29, 34; 127:3).<\/p>","summary_ro":"61:5 you have heard my vows: The psalmist’s vows might also be a part of ceremonial sacrifices (66:13-15; 76:11; 116:14, 18). He praises and thanks God for his rescue. • The inheritance refers to the promise of the land (see Ps 60), the sacredness of the Temple, the joy of God’s presence (119:111), or any similar reward (16:6; 37:9, 11, 18, 22, 29, 34; 127:3).","summary_en":"61:5 you have heard my vows: The psalmist’s vows might also be a part of ceremonial sacrifices (66:13-15; 76:11; 116:14, 18). He praises and thanks God for his rescue. • The inheritance refers to the promise of the land (see Ps 60), the sacredness of the Temple, the joy of God’s presence (119:111), or any similar reward (16:6; 37:9, 11, 18, 22, 29, 34; 127:3).","source":"StudyNotes.xml","external_url":null,"has_map":false,"has_picture":false},{"id":77038,"type":"study_note","type_label":"Notă de studiu","type_icon":"📝","type_color":"#06b6d4","title_ro":"Notă de studiu: Psalmi 61:5","title_en":"Study Note: Psalmi 61:5","content_ro":"61:5<\/strong> you have heard my vows:<\/em> The psalmist’s vows might also be a part of ceremonial sacrifices (66:13-15; 76:11; 116:14, 18). He praises and thanks God for his rescue. • The inheritance<\/em> refers to the promise of the land (see Ps 60), the sacredness of the Temple, the joy of God’s presence (119:111), or any similar reward (16:6; 37:9, 11, 18, 22, 29, 34; 127:3).<\/p>","content_en":"61:5<\/strong> you have heard my vows:<\/em> The psalmist’s vows might also be a part of ceremonial sacrifices (66:13-15; 76:11; 116:14, 18). He praises and thanks God for his rescue. • The inheritance<\/em> refers to the promise of the land (see Ps 60), the sacredness of the Temple, the joy of God’s presence (119:111), or any similar reward (16:6; 37:9, 11, 18, 22, 29, 34; 127:3).<\/p>","summary_ro":"61:5 you have heard my vows: The psalmist’s vows might also be a part of ceremonial sacrifices (66:13-15; 76:11; 116:14, 18). He praises and thanks God for his rescue. • The inheritance refers to the promise of the land (see Ps 60), the sacredness of the Temple, the joy of God’s presence (119:111), or any similar reward (16:6; 37:9, 11, 18, 22, 29, 34; 127:3).","summary_en":"61:5 you have heard my vows: The psalmist’s vows might also be a part of ceremonial sacrifices (66:13-15; 76:11; 116:14, 18). He praises and thanks God for his rescue. • The inheritance refers to the promise of the land (see Ps 60), the sacredness of the Temple, the joy of God’s presence (119:111), or any similar reward (16:6; 37:9, 11, 18, 22, 29, 34; 127:3).","source":"StudyNotes.xml","external_url":null,"has_map":false,"has_picture":false},{"id":104664,"type":"study_note","type_label":"Notă de studiu","type_icon":"📝","type_color":"#06b6d4","title_ro":"Notă de studiu: Psalmi 61:5","title_en":"Study Note: Psalmi 61:5","content_ro":"61:5<\/strong> you have heard my vows:<\/em> The psalmist’s vows might also be a part of ceremonial sacrifices (66:13-15; 76:11; 116:14, 18). He praises and thanks God for his rescue. • The inheritance<\/em> refers to the promise of the land (see Ps 60), the sacredness of the Temple, the joy of God’s presence (119:111), or any similar reward (16:6; 37:9, 11, 18, 22, 29, 34; 127:3).<\/p>","content_en":"61:5<\/strong> you have heard my vows:<\/em> The psalmist’s vows might also be a part of ceremonial sacrifices (66:13-15; 76:11; 116:14, 18). He praises and thanks God for his rescue. • The inheritance<\/em> refers to the promise of the land (see Ps 60), the sacredness of the Temple, the joy of God’s presence (119:111), or any similar reward (16:6; 37:9, 11, 18, 22, 29, 34; 127:3).<\/p>","summary_ro":"61:5 you have heard my vows: The psalmist’s vows might also be a part of ceremonial sacrifices (66:13-15; 76:11; 116:14, 18). He praises and thanks God for his rescue. • The inheritance refers to the promise of the land (see Ps 60), the sacredness of the Temple, the joy of God’s presence (119:111), or any similar reward (16:6; 37:9, 11, 18, 22, 29, 34; 127:3).","summary_en":"61:5 you have heard my vows: The psalmist’s vows might also be a part of ceremonial sacrifices (66:13-15; 76:11; 116:14, 18). He praises and thanks God for his rescue. • The inheritance refers to the promise of the land (see Ps 60), the sacredness of the Temple, the joy of God’s presence (119:111), or any similar reward (16:6; 37:9, 11, 18, 22, 29, 34; 127:3).","source":"StudyNotes.xml","external_url":null,"has_map":false,"has_picture":false},{"id":132290,"type":"study_note","type_label":"Notă de studiu","type_icon":"📝","type_color":"#06b6d4","title_ro":"Notă de studiu: Psalmi 61:5","title_en":"Study Note: Psalmi 61:5","content_ro":"61:5<\/strong> you have heard my vows:<\/em> The psalmist’s vows might also be a part of ceremonial sacrifices (66:13-15; 76:11; 116:14, 18). He praises and thanks God for his rescue. • The inheritance<\/em> refers to the promise of the land (see Ps 60), the sacredness of the Temple, the joy of God’s presence (119:111), or any similar reward (16:6; 37:9, 11, 18, 22, 29, 34; 127:3).<\/p>","content_en":"61:5<\/strong> you have heard my vows:<\/em> The psalmist’s vows might also be a part of ceremonial sacrifices (66:13-15; 76:11; 116:14, 18). He praises and thanks God for his rescue. • The inheritance<\/em> refers to the promise of the land (see Ps 60), the sacredness of the Temple, the joy of God’s presence (119:111), or any similar reward (16:6; 37:9, 11, 18, 22, 29, 34; 127:3).<\/p>","summary_ro":"61:5 you have heard my vows: The psalmist’s vows might also be a part of ceremonial sacrifices (66:13-15; 76:11; 116:14, 18). He praises and thanks God for his rescue. • The inheritance refers to the promise of the land (see Ps 60), the sacredness of the Temple, the joy of God’s presence (119:111), or any similar reward (16:6; 37:9, 11, 18, 22, 29, 34; 127:3).","summary_en":"61:5 you have heard my vows: The psalmist’s vows might also be a part of ceremonial sacrifices (66:13-15; 76:11; 116:14, 18). He praises and thanks God for his rescue. • The inheritance refers to the promise of the land (see Ps 60), the sacredness of the Temple, the joy of God’s presence (119:111), or any similar reward (16:6; 37:9, 11, 18, 22, 29, 34; 127:3).","source":"StudyNotes.xml","external_url":null,"has_map":false,"has_picture":false}]},"labels":{"article":"Articol","map":"Hartă","chart":"Diagramă","textbox":"Notă explicativă","picture":"Imagine","profile":"Profil","study_note":"Notă de studiu","theme_note":"Temă biblică"},"icons":{"article":"📖","map":"🗺️","chart":"📊","textbox":"💡","picture":"🖼️","profile":"👤","study_note":"📝","theme_note":"🎯"},"typeColors":{"article":"#d4af37","map":"#2d7d46","chart":"#3b82f6","textbox":"#8b5cf6","picture":"#ec4899","profile":"#f59e0b","study_note":"#06b6d4","theme_note":"#ef4444"}}

Psalmi 61

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Psalmi 61

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