It is most prob; and my inf.

to the sadness of these Pss. MT. nne n. cstr. before inf. is improbable. ✪rd. nhạc, Aq. éπì xopelą, so essentially 0, 2, 3, from ↳↳n. able that we should rd. nḥnn n.f. wounding, trouble, from cstr. ny suffer affliction. Two words only of the original are preserved, For wounding, suffering affliction. It is transliterated in RV.

(e) Ps. 22 has in the title n n by hind of the dawn. The third word is missing. We might supply the vb. leaps, thinking of the fresh vigour of the hind in the early morning; but that does not suit the character of the Ps. It is more appropriate to think of the hind hunted to death in the early morning. and Midrash regard it as referring to the lamb of the morning sacrifice. But it is improbable that the hind would represent the lamb. The hind was not used for sacrifice in the OT. This Ps. was in B, M, DR.

adds to Ps. 70 the title eis rò Zŵσal μe Kúpiov, save me, O Lord, showing that another tone was added at so late a date. For it is improbable that it was original and was omitted from the text in H.

(g)nnan hy is in the title of Ps. 8 of , M, 81 of A, and 84 of K, M. and Σ vrèρ тŵv λnvŵv; so V, I, pro torcularibus, for the wine presses, reading nina, refers therefore to a harvest song at the vintage or treading of grapes. This suits the triumphant, joyous character of these Pss., and is probably correct. They were to be sung to the tone of some well-known vintage song. Aq., O, have in Ps. vwèp tŷs yetôltidos, but the Syr.-Hex. of Aq. in 81 and 84 ἐπὶ τοῦ ληνοῦ οἱ ἐπὶ τῶν ληνῶν. This is more probable than a Gittite musical instrument. "the harp which David brought from Gath," or a tone of Gath, the march of the Gittite guard (2 S. 1518), explanation of na MT., both equally improbable.

а

(h) by in 62 of B, M, μm by in 77 of A, M, S in 39 of TM, M, all doubtless refer to the same thing.in 39 is doubtless err. for by, and the variation of and i in the penult is a variation of MT., not of the original of . It is probable that Jeduthun, the choir master, is referred to, v. I Ch. 1641 253 2 Ch. 512, or his choir, 1 Ch. 251.3 2 Ch. 2914 Ne. 1117; but it is improbable that this name is in apposition with nan as De., in which case by would be err. for; rather it refers to a tone of this choir. The reference to a lily-shaped musical instrument of some Rabbis, though followed by Ges., is without justification.

(2) There are two voices referred to, the falsetto and the bass.

(a) nohy by is in the title of Ps. 46, tetrameter of K. interprets it as Vπèρ тŵν KρVρlwv = pro arcanis, deriving from hy n.f. in the sense of secret, hidden. This was interpreted as in a gentle, quiet style. Σ vπÈρ Tŵν alwvlwv derives as pl. of , ever, in the late sense of ages. Aq. éπì veavioTýTwv and I pro juventutibus follow MT. and derive from by n.f. abst., youth. These last are nearer the correct view, for the explanation is found in I Ch. 1520, where it refers to the maidenlike style. Some think of maidens, as Ps. 6826, where they play upon timbrels in the march of Yahweh; but maidens took no part in the service of song. Bö. thinks of the tenor voice; but more probably it was the falsetto male voice. At the end of Ps. 4815 mphy seems

out of place. It probably belongs to 49, from the title of which it has been detached by error, the by being omitted as supposed dittog., or for the opposite reason. It is also probable that ja n by in the title of Ps. 9 belongs here. It is usually interpreted on the basis of MT. as a reference to a tone in accordance with (1); this tone being designated by two words of the first line, "Death to the son," or, " Death for the son"; but this is in itself improbable and has no support in Vrss., which all rd. лby. ☞ vπèρ TŵV κpvølwv τοῦ υἱοῦ, Αq. νεανιότητος τοῦ υἱοῦ, θ ὑπὲρ ἀκμῆς τοῦ υἱοῦ. These are doubtless correct as to the form. But then we must follow them in interpreting it in

the same way as in 46, and refer it to the falsetto voice. 1 is then the fuller designation, showing that it was the maidenlike voice of a son, thinking of a boy or a youth.

(6) nyown by is in the titles of Pss. 6, 12, both prayers of M and . interprets it as vπèp tŷs ỏydbns, on the octave, so V pro octava. This is doubtless correct, as it is in accord with 1 Ch. 1521, which refers to the lower octave or the bass voice. The opinion of some that it refers to an instrument of eight strings is a mere conceit, without support in the OT.

(3) There are references to two kinds of musical instruments — stringed instruments and wind instruments.

(a) is in the titles of Pss. 4, 6, 54, 55, 67, 76, with a of accompani ment, and in 61 (sg.) with "y. Of these, 54, 55, were Maskilim; 4, 6, 67, 76, in ff; 4, 6, 54, 55, in ; 76 in A; 4, 6, 54, 55, 61, are prayers; 67, a hymn; 76, a poem. They are of different measures. has év vμvous in 6, 54, 55, 61, 67, 76, and èv Yaλμoîs in 4. The form is pl. f. of ara n.f. stringed instrument. ¡ vb. denom. Pi. to play on stringed instruments, □ players on stringed instruments, Ps. 6826. Hb. 31. 19 have in 6 the same word, doubtless in both cases, correct for . These seven Pss. and Hb. 3 were to be accompanied by stringed instruments, such as the lyre and harp.

(6) nnn is in the title of Ps. 5, a morning prayer of M and . It is interpreted by @ and e as ὑπὲρ τῆς κληρονομούσης, 3 pro ea quae hereditatem consequitur, Aq., Z, I, pro hereditatibus, all deriving the form as pl. n.f. from

inherit. The is doubtless variation for by as often. No reasonable explanation of this term has yet been given. It is probable that it is a n. formed by from >^, a variation of ʼn the reed pipe, as Hu., or abstr., as De., Moll., for flute playing, cf. 1 S. 105 1 K. 140 Is. 3029. It is probable that instruments of the class of the pipe or simple flute are referred to.

(c) It is noteworthy that these references are not only few, but in general terms, and that no particular musical instrument is referred to. The music especially characteristic of festivals in the temple worship does not appear. The music was probably that of a simple orchestra of two or four pieces of the lighter string and wind instruments, and not the louder music used in the temple courts. And it is also probable that musical instruments were seldom used in the synagogues, or we would have had more assignments of this kind. (d) There is little reference to musical instruments in the earlier minor Psalters. There is no reference in BB, for 579 = 1088 = 1449 were not originally

in B (v. § 27). In A the only reference is in 8134 to a new moon celebration, doubtless in the temple courts, with the use of the band the harp and lyre, the two chief kinds of stringed instruments usually associated; the ¬w the horn, and the timbrel. In 43 the is used in temple worship; so in the orphan 332 921 both and 23. This probably represents the ordinary worship of the Greek period. On great occasions, such as feasts or celebrations of victories, more instruments of music were used; so in the royal advent Ps. 476 () the D, and in 985-6 the 1, the D, and the Пn the straight trumpet. In the Maccabean Hallels a greater number and variety of instruments appear; due to the reorganisation of the temple worship with greater pomp than ever before. 1477 mentions only the 15, 1498 the and, but 1508-5 the and b, the ¬ and г, and also the instruments not mentioned earlier any the small organ, o stringed instruments, and obxbx cymbals. The Pss. also mention the use of musical instruments by minstrels apart from public worship; so the in 495 of K (?) and in the orphan 1372; and both the ¬ and bɔɔ in the orphan 7122 579 (= 1088 1449 all glosses).

=

§ 35. A collection of Hallels, or songs of praise, was made for the temple service in the Greek period. It was subsequently enlarged in the Maccabean period. These Psalms have in their titles the term Hallelujah.

הַלְלוּיָהּ The term

=Praise ye Yah is found at the close of Pss. 104, 105, 115, 116, 117, and the beginning of Pss. 111, 112, and at both beginning and end of Pss. 106, 113, 135, 146, 147, 148, 149, 150. ℗ gives it also at the beginning of 105, 107, 114, 116, 117, 118, 119, 136. In the case of 105, 107, 114, 116, 117, 136, it seems to have been detached by error from the beginning of these Pss. and attached to the close of the previous Pss. in H. All of these Pss. are Hallels except 118 and 119, which are only so given in 6, the former being a triumphal Maccabean song, the latter the great alphabetical praise of the Law. Both of these were regarded as Hallels in later usage. These Hallels are in the present Psalter in four groups: 104-107, 111-117, 135-136, 146-150. This separation was due to the final editor of the Psalter. 104-107 constitute a tetralogy, 104 being a Ps. of creation, 105 telling the early history of Israel, 106 of the Exodus, 107 of the Restoration. The second group begins with 111-112, a pair complementary in subject and alphabetic in structure; 113 begins the special Hallel of the great feasts, according to later liturgical assignment. At the Passover the order was 113-114 before supper, 115-118 after supper. In the third group 136 is the ordinary Great Hallel, with its Rf. repeated twenty-six times in the present Ps., though the earliest text was much simpler. In later times Pss. 119-136 were likewise called the Great Hallel in distinction from the ordinary Hallel 113–118. The last group of Hallels consisted of the doxologies 146-150. All of these Hallels except 147,

149, belong to the Greek period and were doubtless in their original form in the collection of that period, composed for public use by the choirs especially on the great feasts. The collection consisted of sixteen Pss. A Maccabean editor added 147, 149. The final editor of distributed these Hallels in the

present four groups.

In later liturgical use 118 and 119 were regarded as Hallels and still later 120-134. The technical terms of the Hallels are ,

.Pss . ברכו I.); for) 32 $ . יָה for ;1 $ . תהלה and הלל For ברכו and הודו

513 1847. Hiph. imv. 2 pl. ‡ [7]. Qal is not in, but only Hiph. †(1) confess, a late usage Ps. 325, cf. Pr. 2818 1 K. 883. 85 = 2 Ch. 624. 28. (2) praise: (a) the king Ps. 4518, the rich 4919; elsw. (b) Yahweh in the ritual: c. acc. 718 92 10980 1111, 11819, "o 449 548 998 1382 1428,

896; sfs. referring to an 1850 287 3010. 18 3518 426. 12 434.5 5211 5710 674. 4. 6.6 7122 7611 8612 8811 1084 11821. 28 1197 1381.4 13914 14510; c. ↳, mms 332 922 1051 1061 1071. 8. 15. 21.81 1181.29 1361, cf. v.2.8. 26, 10647 1224 14014; sfs. referring to Yahweh 66(?), cf. Is. 3818, Pss. 752. 2 7918 1004 11962;

.9712 305 לזכר קדשו .abs

§ 36. A collection of songs for the use of pilgrims on their way to the three great feasts was made in the middle Greek period. These Psalms have in their titles," Songs of Pilgrimage."

Pss. 120-134 have in their titles by. This is rendered in G ¿dh тŵv åvaßaðμŵv, ode of ascents, and I canticum graduum, gradual psalms, Αq., Σ εἰς τὰς ἀναβάσεις, θ ᾆσμα τῶν ἀναβάσεων. These variations have given rise to three different theories: (1) The phrase refers to the fifteen steps in the temple leading up from the court of the women to the court of the men of Israel upon which these Pss. were chanted; so Lyra, Luther, Horsley, Gr. The Talmud indeed mentions these Pss. in that connection (Middoth, II. 5, Sukka, 51 b), but simply to compare them with those steps on which the music resounded on the first day of the feast of Tabernacles; it does not explain the Pss. as used thereon (v. De., p. 780). Furthermore, the contents of these Pss. were not suited to that purpose. They are not temple Pss. (2) The term has metrical significance indicating the stairlike parallelism, advancing by steps or degrees; so Ges., Köster, De., Moll., De W. This is a modern theory based on the fact that this method of parallelism is frequently used in these Pss. But it is not used in them all, and not in a thoroughgoing manner in any; and certainly not to such an extent as to give titles to the group. There are other Pss. which use this method of parallelism in a more thoroughgoing manner, v. § 12. (3) The term refers to the ascents of pilgrimage (a) and the ancient Fathers thought of the ascent from the Babylonian exile. Ew., in 1839, called them "the songs of the homeward marches." (b) Agel. lius, Herder, Eichhorn, Ew. in 1866, and most modern scholars, think of the ascents to the feasts of the Law. Street thought that they were simply processionals. Is. 3029 Ps. 425 shew that it was the custom to make pilgrimages to

the temple with song and music, and even sacred dances and shoutings. We would expect, therefore, that a collection of songs suitable for this purpose would be made. These songs have a common social and patriotic character. They are all hexameters composed of one or more hexastichs. They could all have been sung to the same tone. They were all composed in the Greek period, except 129, which is Maccabean. It is probable that this last Ps. was added to the collection, which originally consisted of fourteen Pss. made in the middle Greek period.

§ 37. A considerable number of Psalms, especially those of the Greek period, did not find their way into any of the minor or major Psalters, but were used at last by the editor of the present Psalter.

(a) Ps. 1, composed in the middle Greek period, is didactic in character. It was probably used for the first time by the editor of the Psalter as its introduction.

(b) Ps. 33 was probably from the Maccabean period. It was given its present position by the final editor of the Psalter.

(c) The pseudonyms, Pss. 88, 89, 90, 102 (v. § 30), were given their present position by the final editor.

(d) Ps. 91 was probably from the early Greek period. It was given its present position because it was conceived as a counterpart to 90.

(e) Ps. 92 was probably from the later Greek period. It was originally a song composed for liturgical use. Its contents justify its present position.

(ƒ) Pss. 94, 95, were probably from the Greek period. They were given their present position for liturgical reasons.

(g) Pss. 93, 96–100, were originally one great advent hymn from the early Greek period. It was broken up into little Pss. for liturgical purposes

(v. § 13).

(h) Pss. 86, 103, 145, from the late Greek period, were given their present position because of resemblances to Pss. of, and, for that reason, quently crept into the titles.

subse

(i) Ps. 137 from the early exile was not taken up into any of the earlier Psalters because of its inappropriateness for worship. It was used by the final editor of the Psalter as an ancient piece which he thought should be preserved. It was inserted after 136 as an appropriate place, on account of the historical references in both Pss.

§ 38. The editor of the present Psalter used the two major Psalters as the nucleus of his work. The Babylonian Elohistic Psalter, 42-83, was placed in the middle, and appropriate Pss. 84-89 were added thereto. The first part was based on the Palestinian Director's Psalter, in which were inserted chiefly Psalms from the Davidic Psalter.

The third part was arranged about