Songs of Degrees

 Song of degrees

“Song of Degrees” is the title or superscription of fifteen Psalms, 120 through 134. In English the titles are “A Song of degrees” (10), A Song of degrees of David” (4), and “A song of degrees for Solomon” (1). Each of these start with the following Hebrew superscriptions (transliterated): “Shir HaMa'aloth” (120, 123, 125-126, 128-130, 132, 134. Hebrew: שיר המעלות), “Shir LaMa'aloth” (121. Hebrew: שיר למעלות), “Shir HaMa'aloth Dovid” (122, 124, 131, 133. Hebrew: שִׁיר הַמַּעֲלוֹת לְדָוִד), “Shir HaMa'aloth Shlomo” (127. Hebrew: שִׁיר הַמַּעֲלוֹת לִשְׁלֹמֹה). 

The Song of degrees for Solomon stands in the middle of these 15 songs, with 7 songs before it and 7 songs after it. Lord (Jehovah) is found 3 times in the 127th Psalm, and 25 times in the 7 songs on each side of it.[i] Two “of David” come before the Song of degrees for Solomon, and two come after it.

 

Differences of opinion exist, but a main traditional speculation is that “It seems most probable they were designed for the use of the people when going up (cf. 1 Kings 12:27-28) to Jerusalem on the festival occasions (Deuteronomy 16:16), three times a year” (Jamieson-Faucett-Brown). John Gill mentions “...the common opinion of the Jews, and which is embraced by many Christians, and is mentioned by Jarchi, Saadiah Gaon, Kimchi, and Ben Melech, is, that these are the songs sung by the Levites, on the fifteen steps, by which they went up from the court of the women to the court of the Israelites, or came down them; and on each step sung one of these psalms.”

The use of Lord (Jehovah)

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[i] According to Palmer Robertson, there are 24 on each side (The Flow of the Psalms, O. Palmer Robertson, P&R Publishing, 2015, pp. 232–233).

Psalm 29, metered

An adaptation of Psalm 29 to 11s. meter, for the Psalter of Christ Reformed Church of Shawnee, Oklahoma (a Reformed Baptist Church holding the Second London Baptist Confession and the Regulative Principle). According to the church, “Every Psalm and Hymn contained herein uses tunes and lyrics that are in the public domain or lyrics that are written by Christ Reformed Church, and they may be used, copied, and distributed freely for public and private use. They may be sung publicly and privately, recorded, and live-streamed without any conflict except it may not be used for profit or under the guise of taking credit for it.”

1. Ascribe to the Lord, O you sons of great might,
Ascribe to the Lord strength and glorious light.
Give unto the Lord honor due to His name
And worship the Lord in your holy array.

2. The voice of the Lord thunders o’er all the seas
O’er seas is the Lord; God of glory is He.
The voice of the Lord speaks with power and might
The voice of the Lord is majestic and bright.

3. The voice of the Lord causes cedars to break;
And Lebanon, He the Lord causes to shake.
He makes Lebanon all to skip like young deer.
Like young oxen, Mount Hermon jumps back in fear.

4. The voice of the Lord flashes lightning with flame.
The wild of Kadesh the Lord shakes to its frame.
He makes deer to calve; the Lord strips forests bare.
“His glory!” all things in His temple declare.

5. The Lord sat as King at the flood of the world.
Forever He sits as the King, He the Lord!
The Lord to His people gives strength ne’er to cease.
The Lord for His people, will bless them with peace.

Suggested tune: Foundation (aka Firm Foundation or Bellevue).

By Babel’s Rivers

A couple of stanzas from Psalm 137 in The Pilgrim Psalter by Henry Ainsworth.

By Babel’s rivers, there sat we, 
yea, wept, when we did mind Zion. 
The willows that amidst it be
our harps we hanged them upon.
For songs of us there ask did they
that had us captive led along;
and mirth, they that us heaps did lay
Sing unto us some Zion’s song! 

Jehovah’s song how sing shall we;

Within a foreign people’s land?

Jerusalem, if I do thee 

Forget, forget let my right hand. 

Cleave let my tongue to my palate,

If I do not in mind thee bear,

If I Jerusalem do not 

Above my chiefest joy, prefer!

The second stanza above as originally presented, to compare updates that have been made:

Iehovahs song how sing shal wee;
Within a forreyn-people’s land?
Ierusalem, if I doo thee 
forget: forget let my right hand.,
Cleav let my tongue to my palat,
if I doo not in mind thee bear:
if I Ierusalem doo not, 
Above my chiefest joy, prefer!

The Pilgrim Psalter

In connection with the 400th anniversary of the Pilgrim landing in Plymouth, Sister Mary Huffman of Birmingham, Alabama has republished The Pilgrim Psalter by Henry Ainsworth (originally, The Book of Psalmes, Englished both in Prose and Metre. With Annotations, opening the words and sentences by conference with other Scriptures. Amsterdam: Giles Thorp, 1612). In December of 1620, the Mayflower Compact Pilgrims arrived in Plymouth Harbor. In their worship, they used Ainsworth’s Psalter.

Description from The Psalter Company website:

The Pilgrim Psalter (originally titled “The Book of Psalms, Englished in Prose and Meter”) was produced by Henry Ainsworth in 1612. Ainsworth was a Hebrew scholar and Bible teacher among the English Separatists in Amsterdam. Ainsworth’s metrical translations of the Psalms are remarkably faithful to the Hebrew text, and he set them to many of the standard tunes of the Reformation era. The Pilgrims began using this Psalter while living in Amsterdam, and they carried it with them on the Mayflower. It was used in Plymouth until the colony ceased to be independent in 1692. It is here newly reprinted with updated spelling and musical notation, along with a historical introduction explaining its history, features, use, and lasting influence.

ISBN: 978-1-7369918-0-0
Publisher: The Psalter Company, LLC
Binding: Hardcover, Cloth
Pages: 446
Dimensions: 9 1/4" X 6 1/4" X 1 1/4"
Price: $20 each of $325 for a case of eighteen​

Sister Huffman is a devoted Christian and talented musician well-qualified to edit this edition. In addition to the metered psalms and accompanying tunes, the front material has 60 pages, including:

• An endorsement from Colonel John Eidsmoe, Board of Directors of the Plymouth Rock Foundation
  
• Foreword by Gary Marks, minister emeritus of the Church of the Pilgrimage
  
• The original preface by Henry Ainsworth
• Introduction by Mary Huffman, explaining the Pilgrim history as well as the psalms and tunes of the psalter
• A brief essay on the worship of the Pilgrims, by Paul Jehle, President of the Plymouth Rock Foundation

The bulk of the book – 358 pages – contains Ainsworth’s translations of the Psalms in meter, with accompanying tunes. There are, of course, 150 psalms. Each is provided with a tune – some with more than one tune. This new work presents these psalms not just as historical material, but as songs for the churches to sing. The modernizing of spelling and updating of how the tune is presented will aid in this. The Pilgrim Psalter could be used exclusively by churches that want to sing the Psalms only. It could be used as a hymnal supplement in churches that would not want to sing the Psalms exclusively.
 
The back material includes a writing by Ainsworth on the life and work of David; a biography of Ainsworth; information on the tune sources; and a bibliography.

To truly understand the heart, mind, and soul of the Pilgrims, we need to understand their music...Through their music they received comfort, assurance, and inspiration to their quest and pursue their vision. And their music was not the chanting of monks, the cantatas of Bach, the oratorios of Handel. Their music was plain and simple, sung without musical accompaniment, assembled in the Reformation Psalters, and based upon the word of God, particularly the Psalms. John Eidsmoe, “Endorsement”

To combine all these factors and considerations of Hebrew and English poetry in a consistent way throughout the entirety of the 150 Psalms is no small task. Indeed, while other English Psalters have achieved more polish by English standards, none has achieved more accuracy with the Hebrew in wording and structure, and in such a systematic and comprehensive way, and still with a remarkably intact English poetic structure. Mary Huffman, p. xxxii

The mark of the Reformation and doctrine of the Priesthood of the Believer restored the concept that the choir was the congregation, and thus the Pilgrims’ focus was on the participation of the people in worship. Paul Jehle, p. lx

This work provides continuity by making good use of The Music of the Pilgrims by Waldo Selden Pratt – a book published in 1921 (Boston: Oliver Ditson Co) on the occasion of the 300th anniversary of the Pilgrims and Plymouth Rock.

The book is very handsomely done! I highly recommend it. If you are a collector of song books, it will make a nice addition to your collection. If you are a student of church history and/or American history, you will want this book. If you are looking for songs to sing – The Pilgrim Psalter has them.
 
Sample Recording, Psalm 33 from The Pilgrim Psalter

God’s Glory in His Works

Another text found in The Psalter With Responsive Readings[i] is “Lord, Our Lord, Thy Glorious Name.” The hymn expresses how excellent the Lord’s name is in all the earth. The text is based in Psalm 8:1-6, 9, in 7s. meter, doubled. This metrical psalm praises the excellent name of the Lord, and his wondrous works. In The Psalter With Responsive Readings it appears with the tune Thanksgiving by Walter Bond Gilbert (1929-1910).

1. Lord, our Lord, thy glorious Name

All thy wondrous works proclaim;

In the heavens with radiant signs

Evermore thy glory shines. (v. 1)

Infant lips Thou dost ordain

Wrath and vengeance to restrain;

Weakest means fulfill Thy will,

Mighty enemies to still. (v. 2)

2. Moon and stars in shining height

Nightly tell their Maker’s might; (v. 3)

When thy wondrous heavens I scan,

Then I know how weak is man. (v. 4)

What is man that he should be

Loved and visited by Thee,

Raised to an exalted height,

Crowned with honor in Thy sight? (vs. 4-5)

3. With dominion crowned he stands

O’er the creatures of Thy hands;

All to him subjection yield

In the sea and air and field. (v. 6)

Lord, our Lord, Thy glorious Name

All Thy wondrous works proclaim;

Thine the Name of matchless worth,

Excellent in all the earth. (v. 9)

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[i] John McNaugher, Chairman (1857-1947), Pittsburgh, PA: The United Presbyterian Board of Publication, 1912.

God the Source of Joy

“Almighty God, Thy Lofty Throne/God the Source of Joy” (stanza 10 below) is a text based on Psalm 89:14-18, and found in The Psalter With Responsive Readings,[i] with the tune Lux Cœlestis by Henry Basford. It is perhaps more often sung with the tune Winchester New. The hymn praises God for the mercy and justice, truth and grace, faithfulness and judgment. Fifteen long meter metrical stanzas based on Psalm 89 follow:

1. My song forever shall record

The tender mercies of the Lord;

Thy faithfulness will I proclaim,

And every age shall know Thy name. (v. 1)

2. I sing of mercies that endure,

For ever builded firm and sure,

Of faithfulness that never dies,

Established changeless in the skies. (v. 2)

3. Behold God’s truth and grace displayed,

For He has faithful covenant made,

And He has sworn that David’s Son

Shall ever sit upon his throne. (vs. 3-4)

4. The heavens shall join in glad accord

To praise Thy wondrous works, O Lord;

Thy faithfulness shall praise command

Where holy ones assembled stand. (v. 5)

5. Who in the heavenly dwellings fair

Can with the Lord Himself compare?

Or who among the mighty shares

The likeness that Jehovah bears. (v. 6)

6. With fear and reverence at His feet

God’s holy ones in council meet;

Yea, more than all about His throne

Must He be feared, and He alone. (v. 7)

7. O Thou Jehovah, God of Hosts,

What mighty one Thy likeness boasts?

In all Thy works and vast designs

Thy faithfulness forever shines. (v. 8)

8. The swelling sea obeys Thy will,

Its angry waves Thy voice can still;

Thy mighty enemies are slain,

Thy foes resist Thy power in vain. (v. 9)

9. The heavens and earth, by right divine,

The world and all therein, are Thine;

The whole creation’s wondrous frame

Proclaims its Maker’s glorious Name. (v. 11)

10. Almighty God, Thy lofty throne

Has justice for its cornerstone,

And shining bright before Thy face

Are truth and love and boundless grace. (vs. 13-14)

11. With blessing is the nation crowned

Whose people know the joyful sound;

They in the light, O Lord, shall live,

The light Thy face and favor give. (v. 15)

12. Thy Name with gladness they confess,

Exalted in Thy righteousness;

Their fame and might to Thee belong,

For in Thy favor they are strong. (vs. 16-17)

13. All glory unto God we yield,

Jehovah is our help and shield;

All praise and honor we will bring

To Israel’s Holy One, our King. (v. 18)

14. For Him My mercy shall endure,

My covenant made with Him is sure;

His throne and race I will maintain

Forever, while the heavens remain. (vs. 28-29)

15. Blessed be the Lord for evermore,

Whose promise stands from days of yore.

His word is faithful now as then;

Blessed be His name. Amen, Amen. (v. 52)

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[i] John McNaugher, Chairman (1857-1947), Pittsburgh, PA: The United Presbyterian Board of Publication, 1912.

I will praise thee

Psalm 138

A Psalm of David.

1 I will praise thee with my whole heart:
before the gods will I sing praise unto thee.
2 I will worship toward thy holy temple, and praise thy name
for thy lovingkindness and for thy truth:
for thou hast magnified thy word above all thy name.
3 In the day when I cried thou answeredst me,
and strengthenedst me with strength in my soul.

4 All the kings of the earth shall praise thee, O Lord,
when they hear the words of thy mouth.
5 Yea, they shall sing in the ways of the Lord:
for great is the glory of the Lord.
6 Though the Lord be high, yet hath he respect unto the lowly:
but the proud he knoweth afar off.
7 Though I walk in the midst of trouble, thou wilt revive me:
thou shalt stretch forth thine hand against the wrath of mine enemies,
and thy right hand shall save me.
8 The Lord will perfect that which concerneth me:
thy mercy, O Lord, endureth for ever:
forsake not the works of thine own hands.

A Sweet Psalm by a Sweet Psalmist

As everyone knows, the Psalm specially devoted to the Law is 119, the longest in the whole collection. And everyone has probably noticed that from the literary or technical point of view, it is the most formal and elaborate of them all. The technique consists in taking a series of words which are all, for purposes of this poem, more or less synonyms (word, statutes, commandments, testimonies, etc.), and ringing the changes on them through each of its eight-verse sections — which themselves correspond to the letters of the alphabet. (This may have given an ancient ear something of the same sort of pleasure we get from the Italian metre called the Sestina, where instead of rhymes we have the same end words repeated in varying orders in each stanza.) In other words, this poem is not, and does not pretend to be, a sudden outpouring of the heart like, say, Psalm 18. It is a pattern, a thing done like embroidery, stitch by stitch, through long, quiet hours, for love of the subject and for the delight in leisurely, disciplined craftsmanship. 

C.S. Lewis in ‘Sweeter Than Honey,’ from Reflections on the Psalms (1958) 

Categories of Psalm Superscriptions

Since the superscriptions of the Psalms are “valuable guides” that “give accurate and reliable information,” categorizing them may be helpful to the Bible student for gleaning information and understanding. In An Introduction to the Old Testament Poetic Books (Revised and Expanded, Chicago, IL: Moody Publishers, 2007, pp. 143-145), C. Hassell Bullock says concerning the titles or superscriptions of the Psalms that “We can distinguish five different categories among the titles in the Hebrew (and English) Bible”:

1. Authorship
2. Historical origin
3. Literary features
4. Liturgical use
5. Musical notations

In his “Introduction to the Psalms,” F. A. Leslie (The Abingdon Bible Commentary, New York, NY: Abingdon Press, 1929, pp. 509ff.) gives 4 categories:

1. Technical designations
2. Explanation of purpose
3. Cultic (i.e., with reference to religious rites and ceremonies)
4. Musical references

Using these and other categorizations as a guide – and not being a scholar – I have developed the following categories that work for my simpler understanding.

1. Personal information
2. Historical information
3. Functional information
4. Ceremonial information
5. Musical information

Personal information. Information about people. The superscriptions with personal information are those that relate the psalm to a particular person – A Psalm of David, A Psalm of Asaph, A Psalm for Solomon, etc. These may indicate the author (as in the case of David; Cf. Matthew 22:42-45, Acts 1:16), or perhaps someone the psalm is written for or dedicated to (Cf. Psalm 72). More than one person may be mentioned, but there is usually one central figure. Many of the superscriptions fit this category.

Historical information.  The superscriptions with historical information establish the setting of the time when or circumstances under which the psalm was written. There are 14 of these superscriptions, all of which are Psalms by David – 3, 7, 18, 30, 34, 35, 51, 52, 56, 57, 59, 60, 63, and 142.

Functional information. The superscriptions with functional information outline a genre, use or purpose – such as describing the psalm as prayer (86, 90, 102, 142), praise (100, 145), thanksgiving (99, in the Septuagint). The maschil superscriptions apparently mean an instructive or didactic hymn. In Psalm 47:7 the related term sakal is rendered “with understanding.”

Ceremonial information. The superscriptions with ceremonial information suggest relevant times and uses for the psalm. For example, Psalm 92 is “A Psalm or Song for the sabbath day.” Psalm 38 and Psalm 70 are “to bring to remembrance.”

Musical information. The superscriptions with musical information are believed to contain notes on how psalm should be played and/or sung. These references are somewhat obscure to us today. For example, six superscriptions – 4, 6, 54, 55, 67, 76 – contain the prepositional phrase “on Neginoth,” meaning songs with instrumental accompaniment or “on stringed instruments,” as it in rendered in Habakkuk 3:19. Another musical term is “upon Sheminith.” In Notes on the Bible, Albert Barnes tells us “The word Sheminith - שׁמינית shemı̂ynı̂yth - means properly ‘the eighth,’ and corresponds exactly to our word ‘octave,’ the eighth.”

The categories are not mutually exclusive, but overlapping. The Psalm 54 superscription illustrates this well, containing four of the five categories: “To the chief Musician[i] on Neginoth [musical], Maschil [functional], A Psalm of David [personal], when the Ziphims came and said to Saul, Doth not David hide himself with us? [historical].”

Perhaps my growing awareness of the meaning of these superscriptions will provide some help to the readers of this blog.

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[i] “To the chief Musician” may also contain some musical reference, but might be considered dedicatory as well.

Random facts and figures about the Psalms

When preparing an answer for the question about superscriptions in the Psalms I did some research which confirmed information and ideas I had, plus gathering new information. Some of that information is placed in this blog post for a source of information for others.

Hebrew Name: תְּהִלִּים‎‎ or תהילים‎, Tehillim, (meaning “praises” or “songs of praise”)

Septuagint Name:  Ψαλμοὶ (plural of psalm, meaning, perhaps originally, “a song sung to the harp”) (Apparently called Psalterion in the Codex Alexandrinus, which I have not seen)
Latin Name: Liber Psalmorum (book of Psalms)

English Name: Psalms (meaning “sacred songs” to most English-speakers)

Though not noticeable in the English Bible, the Book of Psalms is usually considered to be divided into five sections, as follows:

• Book I, Psalms 1–41 (v. 13 Blessed be the Lord God of Israel from everlasting, and to everlasting. Amen, and Amen.)
• Book II, Psalms 42–72 (v. 19-20 And blessed be his glorious name for ever: and let the whole earth be filled with his glory; Amen, and Amen. The prayers of David the son of Jesse are ended)
• Book III, Psalms 73–89 (v. 52 Blessed be the Lord for evermore. Amen, and Amen.)
• Book IV, Psalms 90–106 (v. 48 Blessed be the Lord God of Israel from everlasting to everlasting: and let all the people say, Amen. Praise ye the Lord.)
• Book V, Psalms 107–150 (v. 6 Let every thing that hath breath praise the Lord. Praise ye the Lord.)

Thus, each book closes with a benediction of blessing, praise and/or agreement (amen). Some students of the Bible believe this five section division is designed on the basis of the five-fold division of the Torah (the five books of Moses: Genesis, Exodus, Leviticus, Numbers, Deuteronomy).

There are 150 biblical psalms in the Old Testament book of Psalms. 34 of the Psalms carry no introductory inscription whatsoever. 116 of them have some kind of title or superscription.[i] 16 of these 116 have an inscription which is only a general or musical reference such as “psalm” or “prayer.” 100 of these 116 Psalms mention the name of the author – or in some cases possibly a person it was written “to” or “for”.[ii] Of the superscribed Psalms:

• 73 of these are “of David.”[iii]
• 12 of these are “of Asaph.” (1 Chronicles 15:16-18)
• 11 of these are “for the sons of Korah.” (1 Chronicles 9:19)
• 2 of these are “for Solomon.”
• 1 of these is “of Moses.”
• 1 of these is “of Ethan the Ezrahite” (1 Chronicles 15:17; 1 Kings 4:31)

In addition to these, others are mentioned. “Maschil of Heman the Ezrahite” (1 Chronicles 15:19; 1 Kings 4:31) is mentioned in one of the psalms that is “for the sons of Korah.” “To Jeduthun” (1 Chronicles 16:40-42; 1 Chronicles 25:1) is mentioned in two of the psalms of David and one of the psalms of Asaph. King Saul is mentioned in the superscriptions of 5 psalms – Psalm 18, Psalm 52, Psalm 54, Psalm 57, and Psalm 59.

Psalms are attributed to David elsewhere in the Bible, which confirm or add information (since four are not attributed to him in the superscriptions in the book of Psalms).

• 2 Samuel 22 is the same song as Psalm 18, and is attributed to David in both places.
• 1 Chronicles 16:8-22 can be found in Psalm 105:1-15, and is attributed to David in 1 Chronicles 16:7.
• 1 Chronicles 16:23-33 can be found in much the same form as Psalm 96, and is attributed to David in 1 Chronicles 16:7.
• 1 Chronicles 16:34-36, which is attributed to David in 1 Chronicles 16:7, is very similar to Psalm 106:1, 47-48.
• Acts 4:25 suggests that David wrote Psalm 2 (which is without a superscription).
• Hebrews 3:7 and Hebrews 4:7 suggest that David wrote Psalm 95 (which is without a superscription; cf. vs. 7-11).
• Matthew 22:43-44, Mark 12:36, Luke 20:42 and Acts 2:34-35 agree that David wrote Psalm 110 (which we know from the superscription).
• Acts 2:25-28 agrees that David wrote Psalm 16 (which we know from the superscription).
• Romans 4:6-8 agrees that David wrote Psalm 32 (which we know from the superscription).
• Romans 11:9 agrees that David wrote Psalm 69 (which we know from the superscription).
• Acts 1:16-20 mentions what the Holy Ghost by the mouth of David spake, agreeing with the attributions of  Psalm 41, Psalm 69 and Psalm 109 (Cf. 41:9; 69:25; 109:8).

Bob Utley cites perceived contradictions against the superscriptions being part of the inspired original, writing, “It seems that at least two of them disagree with other canonical texts.”[iv]

• Title Psalm 34 vs. 1 Samuel 21:10ff – the name of the Philistine king is different, Abimelech vs. Achish. An objection based on name differences is fairly light, considering how many people in the Bible had more than one name. But, most likely in this case, Achish is the name of the king and Abimelech is a title for Philistine kings (Cf. Genesis 20:2; Genesis 26:1).
• Title of Psalm 56 vs. 1 Samuel 21:10 – Utley asks “how did David get to Gath?” I must admit that I neither understand this objection nor see any contradiction.
• Title of Psalm 60 vs. 2 Samuel 8:13 and 1 Chronicles 18:12 – the number of enemies killed. It is common for modern scholars to claim numerical discrepancies in the text of the Old Testament are copyist errors and move on (though not the best way, imo). Here Utley applies a higher standard to the Psalm superscription than he would to the rest of the Old Testament. Others have dealt with the discrepancies in various ways. For example, Johann Peter Lange writes, “The difference in numbers also (here and in Chron. eighteen thousand, in Psalm 60. twelve thousand) is unimportant; there is no need to suppose an error of copyist in the last passage (Ew.) to explain it. It receives a simple explanation from the various statements about the battle in different authorities. In the last German-French war the reports of the numbers of killed or prisoners often differed by thousands. How much more might such differences arise at a time when so exact countings were not provided for.” Both Ellicott and the Pulpit Commentary see it as two separate battles in the same war. The so-called discrepancies of these passages extend beyond the superscription of Psalm 60, and have been dealt with by numerous conservative commentators.

The superscriptions of the Psalms in the Septuagint use the following words (see below) for songs, which compare interestingly with terminology found in Ephesians 5:19 (ψαλμοις, υμνοις and ωδαις πνευματικαις) and in Colossians 3:16 (ψαλμοις, υμνοις and ωδαις πνευματικαις).[v]

• ψαλμος (Psalms 3-9, 11-15, 19-25, 29-31, 38-41, 43-44, 46-51, 62-68, 73, 75-77, 79-85, 87-88, 92, 94, 98-101, 108-110, 139-141, 143)
• συνεσιν (Psalms 32, 42, 44-45, 52-55, 74, 78, 88-89, 142)
• υμνοις (Psalms 6, 54-55, 61, 67, 76)
• ωδη (Psalms 4, 18, 30, 39, 45, 48, 65-68, 75-76, 83, 87-88, 91-93, 95-96, 108, 120-134)

I hope these random facts and figures prove interesting and useful to you.

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[i] There are more superscriptions in the Greek LXX (Septuagint) than are found in the Hebrew Masoretic text or English Bible translations.

[ii] Search and comparisons made with the King James Bible published Cambridge University Press and used at Biblegateway.com.

[iii] The preposition “l” (in “ledawid”) in a superscription relates the psalm to David in some way. The most likely way of understanding this is the attribution of authorship to David. It can possibly mean “to David” or “for David” instead of “of” or “by” – but we know from elsewhere in the Bible that David was a singer and composer. For example, 2 Samuel 23:1-3 and 1 Chronicles 16:7.

[iv] Though he says two, he lists three; Introduction to the Psalms

[v] The list is based on The Titles of the Psalms in the Septuagint. I have not checked it for errors, but believe it is correct or substantially so. Psalm numbers are those of the Septuagint, which differ slightly with the English Bible numbering.

What are the notes at the beginning of some of the Psalms

Question: What are the notes at the beginning of some of the Psalms? For example, Psalm 3 has a note that says “A Psalm of David, when he fled from Absalom his son.”

These notes are found in all English Bibles (that I have checked) on 116 of the 150 Psalms.[i] These notes are usually called “superscriptions”[ii] or “titles”. Unlike the subscriptions at the end of the letters of Paul, most conservative biblical scholars have accepted them as part of the inspired text. Steven J. Cole in Psalms An Overview: God’s Inspired Hymnbook writes, “Many psalms contain a superscription, which sometimes identifies the author, the historical setting, and other features. For example, Psalm 3 begins, ‘A Psalm of David, when he fled from Absalom.’ These psalm titles are a part of the original Hebrew text (they are verse 1 in Hebrew, thus making the Hebrew verse numbering differ in many places from the English) and are just as inspired as the rest of the psalm.” On the other hand, in his Introduction to the Psalms on the same web site, Bob Utley presents a more modern critical view, “I think they [titles or superscriptions, rlv] are not inspired. I will not comment on them in this commentary.”

These statements by Cole and Utley reveal the basic views on the topic – (1.) that they are in Masoretic text (Hebrew) and the Septuagint (Greek translation of the Old Testament) and are, therefore, canonical; or (2.) that they were not part of the text of the original writers, were added later and, therefore, should not be viewed as inspired. In The Authenticity of the Psalm Titles, James H. Fraser expands and categorized seven views as “representative of some of the attitudes of scholars toward the psalm titles”: the Inspired Scripture View, Authentic-Tradition View, Critical-Tradition View, Psalter-Compilation View, Midrashic-Exegesis View, Cultic-Setting View, and Higher-Critical View.[iii]

I was brought up in a tradition that views these superscriptions as part of the original text[iv] – and yet sometimes inconsistently might not read or refer to them when studying a Psalm. If they are original and inspired, then we should not ignore them, even if in some cases we don’t understand them. If we consider these inscriptions inspired, what proof might help sustain that view? Here are some considerations.

Internal/biblical evidence (New Testament references)

New Testament passages refer to David as the author of certain psalms, which authorship is maintained in the superscription. For examples:

In Luke 20:42 Jesus refers to Psalm 110 and says “David himself saith in the book of Psalms.” Only in the superscription and nowhere else in the text of the psalm does it state that David wrote the psalm. Jesus’ use of the emphatic Greek personal pronoun αὐτὸς (autos, himself) emphasizes he intends Davidic authorship specifically and not just as a general relationship between David and the Psalms. We observe the same thing in Peter’s reference to Psalm 110 as recorded in Acts 2:34-35.

Both Peter and Paul cite Psalm 16 (v. 10; in Acts 2:29-32 and Acts 13:35-36), making the point that David himself was speaking, but that he was not speaking of himself. That David was the author/composer of this psalm occurs only in the superscription and not in the text of the psalm itself.

Internal/biblical evidence (Old Testament similarities)

The superscription of Psalm 18 is “To the chief Musician, A Psalm of David, the servant of the Lord, who spake unto the Lord the words of this song in the day that the Lord delivered him from the hand of all his enemies, and from the hand of Saul: And he said…” This is also found in 2 Samuel 22:1-2, where it is included as part of the inspired text introducing this song: “And David spake unto the Lord the words of this song in the day that the Lord had delivered him out of the hand of all his enemies, and out of the hand of Saul: and he said…” This clarifies the superscription as part of the scriptural introduction to the song. [bold emphasis mine]

Other Old Testament passages of songs bear similarities to the Psalm superscriptions and are part of the inspired text.

• Habakkuk 3:1 “A prayer of Habakkuk the prophet upon Shigionoth.”
• Habakkuk 3:19 “…To the chief singer on my stringed instruments.”
• Isaiah 38:9 and Isaiah 38:20 show Hezekiah’s psalm beginning with an inscription of information on the author and historical setting.

These instances (2 Samuel 22:1-2; Isaiah 38:9,20; Habakkuk 3:1,19) occur outside the book of Psalms. Consistency suggests that in all places these should be read and included as inspired Scripture. Other biblical song/poetic evidence outside the Psalter/Psalms that should be considered include: Exodus 15:1 (Moses’ song), Exodus 15:21 (Miriam’s song), 1 Samuel 2:1 (Hannah’s prayer) and 2 Samuel 1:17ff (David’s lament).

External evidence (related to the Old Testament)

Students of the titles have called attention to several external factors that support viewing the superscriptions in the Psalms as part of Scripture.

The structure and style of the Hebrew Bible. According to Fraser, the Hebrew Bible “incorporates them into the text of the psalm so that when the verses were numbered in the sixteenth century they were counted as the first verse or part of the first verse. Thus, indicating that in the Massoretic tradition of the Hebrew Bible they were regarded as an integral part of the text.”[v]

Translation in the Septuagint. The fact that “some of the psalm titles (e.g. 46 & 58) were merely transliterated by the translators of the Greek Septuagint (c. 300-250 B.C.)” suggests at least the antiquity of the superscriptions because “their meaning had already been lost by the time of the Septuagint.”[vi]

Presence in the Dead Sea Scrolls. J. H. Fraser writes that “the Dead Sea Scrolls have become crucial in the study of the OT text and in determining the validity of the psalm titles as they are found in the MT.” Though Utley claims “the Psalms found in the Dead Sea Scrolls do not have these titles and superscriptions,”[vii] Fraser says these Dead Sea texts “are found to be in essential agreement with the MT in the assignment of titles to the various psalms they contain except for a few minor variations.”[viii] He even provides an appendix comparing the Masoretic and Dead Sea superscriptions.[ix]

Concluding thoughts

External evidence is not convincing in itself, but supports the internal evidences we find in the Bible. The internal evidence displays use of superscriptions in biblical writings outside the Psalms, as well as New Testament support for the authority of the superscriptions. “The titles are valuable guides to the interpretation of the Psalter. They give accurate and reliable information concerning the authors, historical settings and liturgical use of the psalms in question.” That being true, we should use them as guides. In his Bible commentary Matthew Henry writes, “The title of this psalm and many others is as a key hung ready at the door, to open it, and let us into the entertainments of it; when we know upon what occasion a psalm was penned we know the better how to expound it.” The superscriptions are intimate parts of the Psalms to which they are attached. We should not lock the door and throw away the key![x]

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[i] 34 of the Psalms carry no inscription whatsoever, 16 have an inscription which a general reference such as “psalm” or “prayer.” 100 Psalms mention the name of the author (or in some cases possibly a dedicatee). 73 of these Psalms are attributed to David. There are more attributions in the Greek LXX (Septuagint) than are in the Hebrew Masoretic text or English Bible translations.

[ii] Merriam-Webster: “1:  something written or engraved on the surface of, outside, or above something else.”

[iii] The Authenticity of the Psalm Titles, James H. Fraser, Master of Theology thesis, Grace Theological Seminary, May 1984, pp. 4-11

[iv] J. W. Thirtle describes the traditional position this way: “In days gone by, reverent souls who found a mystery in every word of Holy Scripture, regardless of text or version, approached the Psalm inscriptions in the same submissive spirit as they studied the Inspired Word itself, assured that each and every title had some message to deliver in harmony with the general trend of Revealed Truth.” (The Titles of the Psalms Their Nature and Meaning Explained, James William Thirtle, London: Henry Froude, 1904, p. 1 )

[v] The Authenticity of the Psalm Titles, p. 3

[vi] What Should We Do with Those Psalm Headings? A Theory; Fraser states, “Some of the terms used in the titles had lost their meaning by the time the LXX translation was made, indicating that the liturgical instructions of the titles had been in disuse for years.” (Introduction)

[vii] Introduction to the Psalms; Utley also claims “that at least two of them disagree with other canonical texts”: Psalm 34’s title vs. 1 Sam. 21:10ff and Psalm 56’s title vs. 1 Sam. 21:10. These raise questions, but ultimately are no more difficult than other textual difficulties we encounter in Old Testament interpretation.

[viii] The Authenticity of the Psalm Titles, p. 15

[ix] The Authenticity of the Psalm Titles, p. 89ff.

[x] Matthew Henry, Commentary of the Whole Bible, Volume III, McLean, VA: McDonald Publishing Co., n.d., p. 247