and their Selahs may be later still. The use of ́d in 688. 33 is probably due to error, v.33 to txt. err. (v. Ps.), and v.8 to err. of transposition, as ́D stands here in the midst of a citation from Dt. 545. It may have stood originally at end of citation, or else of Str., or it may be due to dittog. So many uses of the term in this Ps. have been preserved in the different Versions, that it is difficult to form any opinion as to its genuineness in H. was used in all three of the major Psalters. (1) There are 28 (26) of the Selah Pss. in M: 3-4, 7 (☞), 9, 20-21, 24, 39, 47–50, 62, 66–68, 75-77, 80 (✪), 82–85, 87-88, 140, 143. The term is used in these Pss.: (a) at close of Str.: 3-4, 9, 24, 39, 47-48, 50, 66–67, 76–77, 80, 82-84, 87, 140 (19 Pss.); and prob. also in 625 667 6820 754 before the insertion of gl. (b) Regardless of measure: 204 218 4914 672 849 853 876 888. 11 1436 (9 Pss.). As this usage could hardly have come from the same hand, it must be regarded as later than M. (c) At close of gloss in 4916 629 661. These gls. are all from time of E or later, so that these Selahs could not have been in M. The characteristic use of D in the Mizmorim is therefore at the close of Str., and the editor of M, when he would shorten a Ps., did so by leaving off one or more Strs. (2) There are 29 of the Selah Pss. in DR. All of these are found in M save: 44, 46, 52, 54, 55, 57, 59, 60, 61, 81 (10 Pss.). In this collection D stands: (a) at close of Str.: in 4, 9, 39, 46–47, 52, 59–60, 62, 66–68, 75–77, 80 (G), 84, 140 (18 Pss.). Four of these Pss. were not in : 46, 52, 59, 60. DR seems therefore to have continued the use of ' begun in M. To these may be added Pss. 545 615, as prob. antedates gl., and stood originally at end of Str. The use in 558 574a is doubtful, as has been seen, and may be rather that of (c) or (b) regardless of measure: 20, 21, 49, 52, 67, 84, 85, 88 (8 Pss.). All of these are in M save 52; but as it seems unreasonable to ascribe a regard for measure and a disregard of it to the same editor, it is necessary to consider this usage as later than M, and hence as due to R. It is true that two of the examples given in Pss. of f are lacking in DR, 876 1436; but 87 has another Selah at close of Str., so that the use of the term in v.6 must in any case be due to a later hand. As to 1436, there is no special propriety in the use of ́D here, and if genuine, it may well be late. A similar use is to be found in 32, one of two Selah Pss. outside the major Psalters. (c) At the close of gl.: 44o 4916 5520 577 629 664 818. All of these Selahs are in Pss. of DK; but, as has been shown, they can hardly be separated from their gls. and must therefore belong to the time of E or later. The Selahs added by BK seem to have been placed with less regard for the strophical organisation of the Ps. than was shown by M, the musical or liturgical interest being paramount. It is worthy of note that has added musical notes to the titles of many of the Selah Pss., including all those wanting in M, excepting 52, 61, and 44 (whose D is too late for DK). (3) Twenty-four of the Selah Pss. appear in E: 44, 46–50, 52, 54-55, 57, 59-62, 66-68, 75-77, 80-83. All of these Pss. are also in K save 48, 50, 82, 83, which are Pss. of M and use only at close of Str. There seems to be no independent use of in E apart from gls. All the examples of ' at end of gl. are in Pss. of E: 449 4916 5520 577 629 664 818.

These could hardly have been earlier than E, and may all have been later. The Selahs in 4916 5520 577 629 818 are possibly due to E. Those in 44o 66a seem to be from a later hand. It is possible that E is responsible for some of the gls. inserted between Selah and the last 1. of the Str. in Pss. of R. If E added any Selahs to his Psalter, he did so only at the close of gls. Thus of the three distinct uses of 'D, one is characteristic of each of the major Psalters. There remain for consideration 2 Pss. excluded from the major Psalters: 32, 89. Both are Maskilim; 32 was in, and 89 was a pseudonym. In 324 'D stands at close of Str.; so also in v.7, the gl. being a later insertion. In v.5 Selah appears in the midst of a Str., though at an appropriate place in liturgical use. This Selah is doubtless later than the others. The usage of the Ps. corresponds with that of M, DR. It is classed among the Mizmorim in A. 89 is a composite Ps. 89' is from the time of the Exile, 89o from the late Greek period. This Ps. and 24a are the only Selah Pss. later than the major Psalters. All of the Selahs in 89 stand at the close of Strs, The ' in 89o and that at the close of 24a imply a continuation of the use of the term through the Greek period. Additional late uses are furnished by the Versions. ✪ always translateṣ nho by diáfaλμa, interlude (917 diaþáλμaTos). It omits the term from 39 2410 4612 at close of Ps., and would doubtless have done so in 921, if it had not combined 9-10 in one. also omits

from 8811, but some cod. H and P give it in 8813. gives ́D in 57a instead of 544, and in 615a instead of 615h. It also inserts the term in 22 3411 5015 684.14 808 9415. Of these, Pss. 2, 34, 94 certainly represent a late Alexandrian usage. Other uses are to be found in codd. of H and P, and in Psalterium Vetus. The Psalter of Solomon uses diáfaðμa in 1781 1810. Many codd. begin a new Ps. at the latter passage. The use in 1781 corresponds with those in the Psalter. It is evident that this editor must have understood the mng. and use of Selah; so also the later scribes of G. There are additional uses of the term in the Jewish Liturgy. The Selahs in the third and eighteenth benedictions of Shemoneh Esreh or Eighteen Benedictions stand in the earliest portions of the Liturgy, and are, in all likelihood, genuine and ancient.

nho is imv. ho to lift up (the voice in praise), cf. Ps. 685 and it indicates that a benediction might be sung after the pericope thus designated. The explanations of Ew. " 'loud," a strengthening of the voice or instruments, De. forte, as opposed to piano, Bö. “a playing with full power," do not suit all the passages where it is used, and imply a use of instrumental music which is not justified by the titles of the Pss., or, by their contents. The explanation of Ges., after Rosenmüller, deriving it from prest, be quiet, and thinking of a pause, is conjectural, and does not explain the problem. Fürst, followed by Ley, derives from ho separate, and thinks it indicates section. None of these theories explain the Jewish traditions. Z, O, usually follow in the rendering diayaλua. does not translate, but omits. Susually abbreviates. diávaλua indicates an interlude, but does not imply its purpose. Aq. del followed by Quinta, Sexta, S occasionally, and always by

I semper, iugiter, also T and Jewish tradition cannot be explained by any of the older theories. A hint is, however, given by Jerome in his letter to Marcella (Ep. 28), where he compares the use of the word with that of Amen or Shalom to mark the end of a passage and confirm its contents. So Jacob of Edessa, as cited by Bar Heb. in his Com. on Ps. 101 in a passage quoted but not understood by Bä. (Lagarde's Praetermissorum, p. 109). The del = Dby was an abbreviation of the second line of the couplet of the Benediction oby by, used for the benediction itself, which was to be sung at this place. This interpretation for Selah agrees with and harmonises the ancient traditions, the Alexandrian and the Palestinian; it is in accordance with the most natural explanation of the Hebrew word, and it accounts for every instance of its use as standing at the close of a pericope or liturgical selection.

$42. The Psalter in the middle of the second century, shortly before its translation into Greek, was divided into five books, after the division of the Pentateuch, and was numbered as 150 psalms, with variation of numbering to suit the variations needed for the three years' course of Sabbath readings.

The division of the Psalter into five books was doubtless made to accord with the five-fold division of the Law, and was in some way connected with the five great feasts of Judaism. Subsequently the Five Rolls were arranged in the same way and assigned for reading at these feasts. The second division of the Psalter was divided into two at 72, and a doxology was inserted. The third division of the Psalter was also divided at 106 and a doxology added.

The Pss. of are 150 in number. But, as we have seen, the numbering in differs from that in . This has caused endless confusion in citations, as Jewish and Protestant Vrss. and usage follow ; Roman Catholics, Greeks, and Orientals 6. But neither H nor number according to the originals. The arrangement of the numbering of both was for liturgical purposes. The differences appear: (1) at Ps. 10 (H), which in goes with 9, but in is separated. This makes number one less than 1 until we come to (2) 114 (H), which is combined with 115 to make 113 of 6. But this difference is at once adjusted in (3) 116 of H, which combines 114, 115 of 6. The difference of one now continues till (4) 147 of , which combines 146, 147 of 6. The concluding Pss., 148-150, have the same number. We then have in four cases variations which make it possible to number the Pss. from 148 to 152. These variations were probably indicated in Mss. which lie at the basis of and G. They remind us of the 153 lections of the Thorah, the oldest division of sections, made for a three years' course of Sabbath readings. It is probable that the numbering of the Pss. and the variations recognised was for the same purpose. Each reading of the Thorat

had its accompanying Ps. It should be noted that ✪ adds Ps. 151, which evidently is a late composition, probably to give an additional variation for Sabbath readings. It was originally written in Hebrew, and describes the anointing of David and his combat with Goliath. It was probably of Maccabean origin.

§ 43. The Psalter represents many centuries of growth in the historical origin both of its Psalms, extending from the time of David to the Maccabean period, and of the various minor and major Psalters through which they passed, from the early Persian to the late Greek period, before the present Psalter was finally edited and arranged, in the middle of the second century B.C.

We may assign seven Pss. in their original form to the early Hebrew monarchy, before Jehoshaphat: 7, 13, 18, 23, 24o 60o 110; seven to the middle monarchy: 3, 20, 21, 27a 45, 58, 61; and thirteen to the late monarchy: 2, 19a 28, 36a 46, 52, 54, 55, 56, 60o 62, 72, 87; thus twenty-seven to the period of the Hebrew monarchy. During the Exile thirteen were composed: 42-43, 63, 74, 77° 79, 81o 82, 84, 88, 89o 90, 137, 142. In the early Persian period there was a great outburst of psalmody. As many as thirty-three Pss. were composed: 4, 6, 9-10, 11, 12, 14 (=53), 16, 17, 22, 25, 31, 32, 34, 35, 37, 38, 39, 41, 57" 59, 64, 69° 70 (= 40") 75, 76, 78, 80, 83, 101, 109a 140, 143, 144a. This was due to several influences. The conquest of Babylon by Cyrus, which aroused the enthusiasm of the exilic Isaiah, called forth lyric songs. The rebuilding of the altar and temple, with the restoration of the worship in Jerusalem, as it was accompanied by prophetic voices, so also by those of lyric poets. The struggles of the pious with the unfaithful in the community, and with the neighbouring little nations, whose jealousy and hatred constantly interfered with the growth and prosperity of the people in Jerusalem, also naturally expressed itself in song. Toward the close of this period the collection of Miktamim, or golden poems, was made after the example of the older collection of the book of Yashar. To the middle Persian period, the times of Nehemiah, we may assign sixteen Pss. : 5, 8, 15, 26, 29, 30, 40* 47, 51, 5, 65, 66 69° 138, 139° I4I ; to the late Persian period, in which internal and external trouble was renewed, eleven Pss.: 27° 36° 44, 48, 49, 50, 68, 81a 85, 89a 102a. In this last period the collection of Maskilim, or religious medita