III. n.m. real pl.: (1) rulers Ex. 216 227. 8. 8. 27 Jn. 58 Pss. 821. 6 1381; (2) superhuman beings, including God and angels, Gn. 127 Ps. 86 (cf. Jb. 387); (3) angels, s(~) ya Jb. 16 21 387 Gn. 62.4 (J), cf. ¤~ ~; (4) gods Pss. 868 1362; 'pyn inha 965 Dt. 614 138 +; owhx 7ɔ Pss. 95o 961 977.9 1355. (5) The God of Israel, pl. intensive, originally with article, the All Strong, retaining this mng, when the article was omitted in usage, but subsequently losing its mng. and standing as a common name for the Divine Being, like Oebs, deus, God (v. BDB.). It is used with article in only in phrs. : onban w's title of 90, anban y 873, where the article really defines the previous n. It is used in the cstr. in phr. s bs 4710, phr. of J, ba¬w, whe 4114 7218 10648 (benedictions) 598 689 697, phr. of E, Je., Chr.; apy、 inbx a poetic phr. 202 468. 12 7510 767 812.5 849 947; ybs with various sfs. 1847

א' חסרי ;42 א' צדקי ;882 א' ישועתי ;5116 א' תשועתי ;856 799 656 27 26 245 .1362 א' האלהים ;1991 א' תהלתי ;899 י' אלהי צבאות ; (?) 432 א' מעוזי ; 18 .5911

obs is used with sfs. frequently in y, because of the emphasis upon personal relations with God in lyric poetry. 38 53 187. 22. 80 252 3115 3523 409. 18 427. 12

435 592 694 714. 12. 22 8314 844. 11 862 912 9422 10433 11828 119115 14310 1451 1462; pg 424. 11 6829; abg 14610 14712; w 3781 14415; 4829 503 668 9214 957 988 1158 1165 1352 1471.7;

1832 206 404 4421 7910 1152. For other

is used alone for God in a אלהים .I. IV . אדני and יהוה with אלהים uses of

c. 180 t., elsw. c. 22 t.; v. VII. is a poetic sg. of an, used Dt. 3215. 17, and on this basis as an archaism in late poetry Pss. 1882 (for N 2 S. 2282) 5022 (gl.) 1147 (err.) 13919 (gl.). It is characteristic of Jb. (41 t.). IV. divine name, originating in Judah; syn. of Baal, used in North Israel (v. BDB.); always ỏ kúptos in §. AV., Lord, to be distinguished from LORD for 1^; also ỏ kúptos in G. The pointing was to distinguish the divine name from as applied to men. It is intensive pl. sovereign lord. In the oldest usage it was: my sovereign Lord, so 2a 162 3718 5912 863. 4. 5. 12. 15 1408; later a proper name Adonay 551o 571′ (= 717) 1084) 715. 16 8950. 61 1302. 3. 6. Its use in y elsw. is. questionable. It is not certain whether 5117 was original in either sense or a substitute for mm. substitute for an original › 4018 546 6823 901. Seventeen codd. Kenn. rd. " either precedes or follows in conflation of text for earlier Qr. 6821 697 7328 10921 1418. It is a real gl., not in ☞ 3810; and though in ✪ a gl. in 2281 3517. 22. 23 3816 398 4424 6812. 18. 33 773 (℗ Dbx) 778 868. It is part of a larger gl. in 3823 6218 6618 6820. 27 7320 7865 7912 869 9017. The tendency to use it as Qr. for min later times, and also its general use for other divine names is illustrated by these editorial changes.

.IIO יהוה

V.

VI.

3 is given 2410,

is certainly a אדני

n. m. Highest (1) name of God, Nu. 2416 Dt. 328 Ps. 1814 (= 2 S. 2214), used as an archaism 93 218 5014 7311 7711 7817 8319 911.9 922 10711 Is. 1414 La. 335. 88; with other divine names phy ↳x Gn. 1418. 19. 20. 22 Pss. 7885 875 (?), 11hy min: 718 (?) 465 (?) 478 979; mhy anhx 578 7856; (2) of rulers, either monarchs or angel princes: y a 826.

VII. The group of Elohistic Pss. is composed of selections:

יהוה an original

(a) From 42-48, 49 (?). These use on 36 t.; some doubtless glosses, a few possibly original in K, but the great majority editorial substitutions for I was retained in the Rf. 468. 12, but in 489 it is a gl. in 429 469 478. 6 482 is either a gl. or a substitution of later editors for the abs of E. In the Pss. of K not in E, 7 is used: 848. 10 (all glosses v.9 is txt. err. for

.18 .4 .2.v יהוה צבאות 12 .12 .3.v יהוה or txt. err.), but י' אלהים צ' is not used in 85 (but אלהים .6 .2.v יהוה is used 873, but האלהים .' אלהי צבאות

was

min) v.2. 8. 9. 18, 4x7 v.9), or in 88 (?), but m v.2. 10. 14. 15. There can be no doubt, therefore, that was the divine name of K, and that substituted for it by the editor of E.

(b) From were taken 51-65, 68-70, 72. In these, one is used 102 t. is used: 548 5517. 23 5611 587 594. 9 6411 6817 6914. 17. 32. 84 702. 6. All these are glosses, or substitutions of a still later editor. It is evident that one of 53 has been substituted for n of 14. In most other cases it was so also; for in the other Pss. of, is used but 15 t.: 38 511 710. 11. 12 918 104. 13 141. 2. 5 2522 362. 8 1449; besides 6 t.in 1082. 6. 8. 12. 12. 14 +, which is a mosaic of two Elohistic Pss. v.3. 4. 5. 8. 9. 12. 15

אדני ,17 .11 .6 .1.v יהוה 14 .10 .8.v אלהים Ps. 86 uses

This Ps. is also a mosaic of glosses of different date. The Pss. of in E also use N 5117 546 5510 5710 5912 6213 6812. 18. 20. 23. 27. 33. 697 are conflations of

אלהים צבאות .is gl 6821 י' אדני

596 and a

late scribes. Dan 7218 is conflation in the doxology.

(c) All of that have been preserved were taken up into E: 50, 73-83. The separation of 50 from the group was not made in E, but by a later editor. These Pss. used the divine name on 40 t. is used 501 7418 759 7612 784. 21 795 8111. 16 8317. 19, in all cases either glosses themselves or in larger

אלהים צבאות .7328 אדני יהוה ;7912 7865 7738 7320 is used אדני glosses. Besides

808. 15, and as a 805. 2) were originally (d) The orphan Pss. 66, 67, 71, use a 18 t., only 711; a later substitution for × used v.11. 12. 17. 18. 19. 19 and 7 in v.5. 16 belong to different ll. is used 6618. These Pss. in E doubtless followed 72. It is improbable that an editor who kept the Pss. of K and A together would not have done the same with the Pss. of . These were the only Pss. not in B, K, A. Pss. 66 and 67 were in M of the early Greek period; Ps. 71 in its original form, v.4-9. 14-19, from the Greek period. The Psalter of E could not therefore have been earlier, or indeed much later.

§ 33. Fifty-five (57) Psalms have in their titles a reference to the director or choir master, which indicates that they were taken from a major Psalter which bore this title. They were collected in the middle Greek period in Palestine, as a prayer book for the synagogues, selected from the previous minor Psalters.

The

The Pss. with are scattered through the Psalter. term means, Belonging to the Director." These Pss. were taken from a Psalter bearing the Director's name. Thirty-five of the

fifty-four Mizmorim were probably taken as a basis. To these were added sixteen Pss. from D, four (5) from K, and one from A. As no Ps. later than the previous minor Psalters was used, it is probable that the collection was made in the middle Greek period, not long after M. As the divine name Yahweh was retained, this Psalter was doubtless collected in Palestine. The term Director also suggests the period of the Chronicler, who alone elsewhere uses the term. The great majority of these Pss. are prayers. The collection was, therefore, like, designed as a prayer-book for use in the synagogues. Hb. 3 also attaches as part of the title of the song therein contained. This was originally a part of the Psalter of the Director (R) and was subsequently removed to Hb. The Psalter of DR must therefore have been earlier than the final editing of Hb. and the close of the Canon of the Prophets. This also points to the middle Greek period, prior to Simon II. 219-198 B.C.

Пp is Pi. ptc. with prep. from л vb. denom. of пx, v. 96. The vb. is not used in Qal, but only in Pi., with the exception of a single Niph. ptc. nny, Je. 85, enduring (of apostasy), and in Pi. only in Chr. and titles of Pss., in the mngs. act as overseer, superintendent, director : (1) in building or repairing the temple, c. by 2 Ch. 21 Ezr. 38.9, c.2 Ch. 3413, c. ↳ inf. 2 Ch. 217, abs. 2 Ch. 3412; (2) in the ministry of the temple, c. by I Ch. 234; (3) in the organised liturgical service, I Ch. 1521, six of them overseeing the basses, nupun by, leading them with , and eight over the sopranos, by by, leading them with harps (v. § 34). Heman, Asaph, and Ethan were over them all, leading with cymbals. This doubtless represents the temple service of the middle Greek period, and it is altogether probable that my in the titles of the Pss. has the same meaning, especially as these and other musical terms are associated with it in the titles. We may therefore take it as meaning director, or choir master. The preposition has the same meaning here as in other uses in the titles, and indicates that these Pss. were taken from a Psalter collected under the name of the Director or choir master. The modern view that ↳ indicates assignment to the care of the choir master is improbable, because, as Ols. says, this was a matter of course, and would not be specified in titles. And this would not explain its use in some Pss. rather than in others. interprets nsin as late form for ny = els tò téλos. This is explained by Eusebius and Theodoret in an eschatological sense: unto the end (of the world). T renders Na to sing in liturgy, taking it as Aram. inf. with the mng. use constantly, perpetually, thinking of perpetual use in the liturgy. The explanation of De., "for the accomplishment, fulfilment, rendering fully," is improbable. It seems most probable that and T agree in thinking of these Pss. as selected for

perpetual use unto the end, in the liturgy. Another tradition is given in Aq. τῷ νικοποιῷ, Σ ἐπινικίος, θ εἰς τὸ νίκος, 3 victore. These follow a conceit of the school of Rabbi Akiba (due probably to the Messianic hopes of that period) that they were the triumphal songs of Israel. But this does not suit the character of these Pss., which are prayers rather than hymns. The T preserves the older tradition of G, which is essentially correct so far as the use of the collection is concerned, though it misses the exact sense of the term which is given by the Chronicler.

Fifty-five Pss. have ns in the titles. To these we may add 10 and 43, which belong to the previous Pss., 9 and 42. Of these thirty-five were Mizmorim: 4-6, 8-10, 12-13, 19–22, 31, 39-41 of ; 47, 49 (?) of ; 51, 62, 64, 65 of; 66–67 orphans; 68 of ₪ (?) (v. § 27); 75-77, 80 of A; 84-85, 88 (?) (v. § 28) of ; 109, 139-140 of . To these were added sixteen Pss. from (four Maskilim, 52–55, five Miktamim, 56–60; one Shir, 18, and six others, 11, 14, 36, 61, 69–70); moreover five (six) Pss. were added from ; (four (five) Maskilim, 42-45, 88, and the Shir, 46); one also from A, 81. All of these Pss. were used in previous Psalters, though they were adapted by this editor for use in his time. These Pss. are chiefly prayers, the great majority of them, thirty-three, being of this kind, as compared with eleven hymns and thirteen religious poems. This Psalter was therefore essentially a prayer book, on the basis of the earlier and M, for use in the synagogues of the Greek period. This is confirmed by the fact that nyan, in the sense of director or choir master, is characteristic of the service of the temple as described by Chr. 1 Ch. 15, and belongs to his period. It is used elsewhere only in Hb. 319, as part of the title of that ode which, doubtless also originally was in R, but was separated from it and inserted in Hb. The collection of the Twelve Minor Prophets was closed and fixed in the Canon in the time of Ben Sira (BS. 4910) because he mentions the Twelve by, that technical name. Daniel 92 seems to imply that the Canon of the Prophets was closed. The Psalter of the Director must therefore have been made in the middle Greek period.

§ 34. The Director attached to his prayer book instructions to the choir with reference to the tones, the voices, and the musical instruments to be used in the rendering of certain psalms in public worship.

Twenty-nine of the Pss. of DR have musical directions attached. Several tones are mentioned to which special Pss. were to be sung, indicated usually by the initial words of some familiar song. There are several special references to the kind of voice that was most appropriate. There are also several kinds of musical instruments mentioned as suitable for accompanying the singing. These are, in all cases, special directions. Where such do not

appear, it is a reasonable inference that the choirs were left free in their choice in these respects. This collection of DR was doubtless made for the use of some great synagogue in Jerusalem, where it was possible to fulfil these directions. There is no reference to those instruments of music that were especially characteristic of the feasts and of the more ornate worship in the temple.

Inasmuch as all the musical directions are attached to Pss. of K, it is reasonable to suppose that they were first attached to this Psalter. They are of three kinds: (1) designation of tone or melody, (2) of voice, (3) of musical instrument.

(1) The tones are usually referred to by the use of initial words of some well-known song, in accordance with an ancient usage which continues until the present time. The preposition precedes these words, with the mng. in accordance with, after (the tone of). In some cases is used instead of it, in accordance with a not infrequent misuse of this prep. for by (v. BDB.).

(a) nnun x is used in the titles of Pss. 57–59, Miktamim of ¶, and 75 of A. The is pointed as negative in MT., and so the two words seem to mean Destroy not; but the omission of by is striking and improbable. It should be

for by as usual, and the original piece probably began with Destroy, referring to enemies of the nation. RV. does not translate, but transliterates. These Pss. have a variety of measures. It is hardly possible that the reference could have been to a melody. It was doubtless to a tone for cantilation, as the tones of the early synagogue and early Church, which are capable of use in pieces of different measure and different strophical length.

(6) oipan obe naby is in the title of the Miktam, Ps. 56. The first line of the piece referred to was probably, The silent dove of them that are afar off, as in RV.m. RV. transliterates, but does not translate. ånd tŵv åylwv μeμaкрνμμévov=for the people removed far from the sanctuary, is doubtless a paraphrase.

Tèρ TOû XAoû TOû

(c) my pw by is in the title of Ps. 60, a trimeter Miktam of is in the title of Ps. 45, Maskil of K, and of 69 of B; my ow he is in the title of 80 of A. These all undoubtedly refer to the same piece, a Ps. in praise of the Law, whose first line was, my testimony is a beautiful anemone. The view that it referred to an instrument of music shaped like a lily has nothing in its favour, not even the mng. "lily," which cannot be proved in the usage of this word. The pl. is the pl. of intensity, “beautiful anemone.” It is not translated in the text of RV., but RV.m has it essentially as I have given it. ( ὑπὲρ τῶν ἀλλοιωθησομένων οι τοῖς ἀλλοιωθησομένοις = for those who shall be changed, is a misinterpretation.

in the על מחלת לענות in the title of 53, a Maskil of ma, and על מחלת (4)

title of 88, Maskil of Heman, both in DR, are doubtless the same. Ο ὑπὲρ Μαελὲθ τοῦ ἀποκριθῆναι takes the first word as a proper name and the second as inf. cstr. my answer, respond. Aq., 0, 3, “for the dance," is inappropriate