The Book of Psalms

Introduction to the Psalter

Πάντα ὥσπερ ἐν μεγάλῳ τινὶ καὶ κοινῷ ταμιείῳ τῇ βίβλῳ τῶν ψαλμῶν τεθησαύρισται.

Basil

1. Position of the Psalter among the Hagiographa, and More Especially among the Poetical Books

The Psalter is everywhere regarded as an essential part of the Kethubim or Hagiographa; but its position among these varies. It seems to follow from Luke 24:44 that it opened the Kethubim in the earliest period of the Christina era.

(Note: Also from 2 Macc. 2:13, where τὰ τοῦ Δαυίδ appears to be the designation of the כתובים according to their beginning; and from Philo, De vita contempl. (opp. II 475 ed. Mangey), where he makes the following distinction νόμους καὶ λόγια θεσπισθέντα διὰ προφητῶν καὶ ὕμνους καὶ τὰ ἄλλα οἷς ἐπιστήμη καὶ εὐσέβεια συναύξονται καὶ τελειοῦνται.)

The order of the books in the Hebrew MSS of the German class, upon which our printed editions in general use are based, is actually this: Psalms, Proverbs, Job, and the five Megilloth. But the Masora and the MSS of the Spanish class begin the Kethubim with the Chronicles which they awkwardly separate from Ezra and Nehemiah, and then range the Psalms, Job, Proverbs and the five Megilloth next.

(Note: In all the Masoretic lists the twenty four books are arranged in the following order: 1) בראשׁית; 2) ואלה שׁמות; 3) ויקרא; 4) וידבר (also במדבר); 5) אלה הדברים; 6) יהושׁע; 7) שׁופטים; 8) שׁמואל; 9) מלכים; 10) ישׁעיה; 11) ירמיה; 12) יחזקאל; 13) תרי עשׂר; 14) דברי הימים; 15) תהלות; 16) איוב; 17) משׁלי; 18) רות; 19) שׁיר השׁירים; 20) קהלת; 21) קינות (איכה); 22) אחשׁורושׁ (מגלה); 23) דניאל; 24) עזרא. The Masoretic abbreviation for the three pre-eminently poetical books is accordingly, not מתא but (in agreement with their Talmudic order) אםת (as also in Chajug'), vid., Elia Levita, Masoreth ha-Masoreth p. 19. 73 (ed. Ven. 1538) ed. Ginsburg, 1867, p. 120, 248.)

And according to the Talmud (Baba Bathra 14b) the following is the right order: Ruth, Psalms, Job, Proverbs; the Book of Ruth precedes the Psalter as its prologue, for Ruth is the ancestor of him to whom the sacred lyric owes its richest and most flourishing era. It is undoubtedly the most natural order that the Psalter should open the division of the Kethubim, and for this reason: that, according to the stock which forms the basis of it, it represents the time of David, and then afterwards in like manner the Proverbs and Job represent the Chokma-literature of the age of Solomon. But it is at once evident that it could have no other place but among the Kethubim.

The codex of the giving of the Law, which is the foundation of the old covenant and of the nationality of Israel, as also of all its subsequent literature, occupies the first place in the canon. Under the collective title of נביאים, a series of historical writings of a prophetic character, which trace the history of Israel from the occupation of Canaan to the first gleam of light in the gloomy retributive condition of the Babylonish Exile (Prophetae priores) is first attached to these five books of the Thra; and then a series of strictly prophetical writings by the prophets themselves which extend to the time of Darius Nothus, and indeed to the time of Nehemiah's second sojourn in Jerusalem under this Persian king (Prophetae posteriores). Regarded chronologically, the first series would better correspond to the second if the historical books of the Persian period (Chronicles with Ezra, Nehemiah, and Esther) were joined to it; but for a very good reason this has not been done. The Israelitish literature has marked out two sharply defined and distinct methods of writing history, viz., the annalistic and the prophetic. The so-called Elohistic and so-called Jehovistic form of historical writing in the Pentateuch might serve as general types of these. The historical books of the Persian period are, however, of the annalistic, not of the prophetic character (although the Chronicles have taken up and incorporated many remnants of the prophetic form of historical writing, and the Books of the Kings, vice versa, many remnants of the annalistic): they could not therefore stand among the Prophetae priores. But with the Book of Ruth it is different. This short book is so like the end of the Book of the Judges (ch. 17-21), that it might very well stand between Judges and Samuel; and it did originally stand after the Book of the Judges, just as the Lamentations of Jeremiah stood after his prophecies. It is only on liturgical grounds that they have both been placed with the so-called Megilloth (Canticles, Ruth, Lamentations, Ecclesiastes, and Esther, as they are arranged in our ordinary copies according to the calendar of the festivals). All the remaining books could manifestly only be classed under the third division of the canon, which (as could hardly have been otherwise in connection with תורה and נביאים) has been entitled, in the most general way, כתובים ,, - a title which, as the grandson of Ben-Sira renders it in his prologue to Ecclesiasticus, means simply τὰ ἄλλα πάτρια βιβλία, or τὰ λοιπὰ τῶν βιβλίων, and nothing more. For if it were intended to mean writings, written ברוח הקדשׁ, - as the third degree of inspiration which is combined with the greatest spontaneity of spirit, is styled according to the synagogue notion of inspiration-then the words ברוח הקדשׁ would and ought to stand with it.

2. Names of the Psalter

At the close of the seventy-second Psalm (72:20) we find the subscription: "Are ended the prayers of David, the Son of Jesse." The whole of the preceding Psalms are here comprehended under the name תּפלּות. This strikes one as strange, because with the exception of Psalm 17:1-15 (and further on Psalm 86; 90; 102; Psalm 142:1-7) they are all inscribed otherwise; and because in part, as e.g., Psalm 1:1-6 and Psalm 2:1-12, they contain no supplicatory address to God and have therefore not the form of prayers. Nevertheless the collective name Tephilloth is suitable to all Psalms. The essence of prayer is a direct and undiverted looking towards God, and the absorption of the mind in the thought of Him. Of this nature of prayer all Psalms partake; even the didactic and laudatory, though containing no supplicatory address-like Hannah's song of praise which is introduced with ותתפלל (1 Samuel 2:1). The title inscribed on the Psalter is תּהלּים (ספר) for which תּלּים (apocopated תּלּי deta) is also commonly used, as Hippolytus (ed. de Lagarde p. 188) testifies: Ἑεβραῖοι περιέγραψαν τὴν βίβλον Σέφρα θελείμ.

(Note: In Eusebius, vi. 25: Σέφηρ Θιλλήν; Jerome (in the Preface to his translation of the Psalms juxta Hebraicam veritatem) points it still differently: SEPHAR THALLIM quod interpretatur volumen hymnorum. Accordingly at the end of the Psalterium ex Hebraeo, Cod. 19 in the Convent Library of St. Gall we find the subscription: Sephar Tallim Quod interpretatur volumen Ymnorum explicit.)

This name may also seem strange, for the Psalms for the most part are hardly hymns in the proper sense: the majority are elegiac or didactic; and only a solitary one, Psalm 145, is directly inscribed תהלה. But even this collective name of the Psalms is admissible, for they all partake of the nature of the hymn, to wit the purpose of the hymn, the glorifying of God. The narrative Psalms praise the magnalia Dei, the plaintive likewise praise Him, since they are directed to Him as the only helper, and close with grateful confidence that He will hear and answer. The verb הלּל includes both the Magnificat and the De profundis.

The language of the Masora gives the preference to the feminine form of the name, instead of תהלים, and throughout calls the Psalter ספר תהלות (e.g., on 2 Samuel 22:5).

(Note: It is an erroneous opinion of Buxtorf in his Tiberias and also of Jewish Masoretes, that the Masora calls the Psalter הלילא (hallla). It is only the so-called Hallel, Psalm 113-119, that bears this name, for in the Masora on 2 Samuel 22:5; Psalm 116:3 is called הברו דהלילא (the similar passage in the Hallel) in relation to Psalm 18:5.)

In the Syriac it is styled ketobo demazmûre, in the Koran zabûr (not as Golius and Freytag point it, zubûr), which in the usage of the Arabic language signifies nothing more than "writing" (synon. kitâb: vid., on Psalm 3:1), but is perhaps a corruption of mizmor from which a plural mezâmir is formed, by a change of vowels, in Jewish-Oriental MSS. In the Old Testament writings a plural of mizamor does not occur. Also in the post-biblical usage mizmorı̂m or mizmoroth is found only in solitary instances as the name for the Psalms. In Hellenistic Greek the corresponding word ψαλμοί (from ψάλλειν equals זמּר) is the more common; the Psalm collection is called βίβλος ψαλμῶν (Luke 20:42; Acts 1:20) or ψαλτήριον, the name of the instrument (psantêrı̂n in the Book of Daniel)

(Note: Νάβλα - say Eusebius and others of the Greek Fathers - παρ ̓ Ἑβραίοις λέγεται τὸ ψαλτήριον ὃ δὴ μόνον τῶν μουσικῶν ὀργάνων ὀρθότατον καὶ μὴ συνεργούμενον εἰς ἦχον ἐκ τῶν κατωτάτω μερῶν, ἀλλ ̓ ἄνωθεν ἔχων τὸν ὑπηχοῦντα χαλκόν. Augustine describes this instrument still more clearly in Psalm 42:1-11 and elsewhere: Psalterium istud organum dicitur quod de superiore parte habet testudinem, illud scilicet tympanum et concavum lignum cui chordae innitentes resonant, cithara vero id ipsum lignum cavum et sonorum ex inferiore parte habet. In the cithern the strings pass over the sound-board, in the harp and lyre the vibrating body runs round the strings which are left free (without a bridge) and is either curved or angular as in the case of the harp, or encompasses the strings as in the lyre. Harps with an upper sounding body (whether of metal or wood, viz., lignum concavum i.e., with a hollow and hence sonorous wood, which protects the strings like a testudo and serves as tympanum) are found both on Egyptian and on Assyrian monuments. By the psalterium described by Augustine, Casiodorus and Isidorus understand the trigonum, which is in the form of an inverted sharp-cornered triangle; but it cannot be this that is intended because the horizontal strings of this instrument are surrounded by a three-sided sounding body, so that it must be a triangular lyre. Moreover there is also a trigon belonging to the Macedonian era which is formed like a harp (vid., Weiss' Kostmkunde, Fig. 347) and this further tends to support our view.)

being transferred metaphorically to the songs that are sung with its accompaniment. Psalms are songs for the lyre, and therefore lyric poems in the strictest sense.

3. The History of Psalm Composition

Before we can seek to obtain a clear idea of the origin of the Psalm-collection we must take a general survey of the course of the development of psalm writing. The lyric is the earliest kind of poetry in general, and the Hebrew poetry, the oldest example of the poetry of antiquity that has come down to us, is therefore essentially lyric. Neither the Epos nor the Drama, but only the Mashal, has branched off from it and attained an independent form. Even prophecy, which is distinguished from psalmody by a higher impulse which the mind of the writer receives from the power of the divine mind, shares with the latter the common designation of נכּא (1 Chronicles 24:1-3), and the psalm-singer, משׁרר, is also as such called חזה (1 Chronicles 25:5; 2 Chronicles 29:30; 2 Chronicles 35:15, cf. 1 Chronicles 15:19 and freq.); for just as the sacred lyric often rises to the height of prophet vision, so the prophetic epic of the future, because it is not entirely freed from the subjectivity of the prophet, frequently passes into the strain of the psalm.

The time of Moses was the period of Israel's birth as a nation and also of its national lyric. The Israelites brought instruments with them out of Egypt and these were the accompaniments of their first song (Exodus 15) - the oldest hymn, which re-echoes through all hymns of the following ages and also through the Psalter (comp. Exodus 15:2 with Psalm 118:14; Exodus 15:3 with Psalm 24:8; Exodus 15:4, Exodus 14:27 with Psalm 136:15; Exodus 15:with Psalm 78:13, Exodus 15:11 with Psalm 77:14; Psalm 86:8; Psalm 89:7.; Exodus 15:13, Exodus 15:17 with Psalm 78:54, and other parallels of a similar kind). If we add to these, Psalm 90 and Deuteronomy 32, we then have the prototypes of all Psalms, the hymnic, elegiac, and prophetico-didactic. All three classes of songs are still wanting in the strophic symmetry which characterises the later art. But even Deborah's song of victory, arranged in hexastichs, - a song of triumph composed eight centuries before Pindar and far outstripping him, - exhibits to us the strophic art approximating to its perfect development. It has been thought strange that the very beginnings of the poesy of Israel are so perfect, but the history of Israel, and also the history of its literature, comes under a different law from that of a constant development from a lower to a higher grade. The redemptive period of Moses, unique in its way, influences as a creative beginning, every future development. There is a constant progression, but of such a kind as only to develope that which had begun in the Mosaic age with all the primal force and fulness of a divine creation. We see, however, how closely the stages of this progress are linked together, from the fact that Hannah the singer of the Old Testament Magnificat, was the mother of him who anointed, as King, the sweet singer of Israel, on whose tongue was the word of the Lord.

In David the sacred lyric attained its full maturity. Many things combined to make the time of David its golden age. Samuel had laid the foundation of this both by his energetic reforms in general, and by founding the schools of the prophets in particular, in which under his guidance (1 Samuel 19:19.), in conjunction with the awakening and fostering of the prophetic gift, music and song were taught. Through these coenobia, whence sprang a spiritual awakening hitherto unknown in Israel, David also passed. Here his poetic talent, if not awakened, was however cultivated. He was a musician and poet born. Even as a Bethlehemite shepherd he played upon the harp, and with his natural gift he combined a heart deeply imbued with religious feeling. But the Psalter contains as few traces of David's Psalms before his anointing (vid., on Psalm 8:1-9; Psalm 144:1-15) as the New Testament does of the writings of the Apostles before the time of Pentecost. It was only from the time when the Spirit of Jahve came upon him at his anointing as king of Israel, and raised him to the dignity of his calling in connection with the covenant of redemption, that he sang Psalms, which have become an integral part of the canon. They are the fruit not only of his high gifts and the inspiration of the Spirit of God (2 Samuel 23:2), but also of his own experience and of the experience of his people interwoven with his own. David's path from his anointing onwards, lay through affliction to glory. Song however, as a Hindu proverb says, is the offspring of suffering, the חloka springs from the חoka. His life was marked by vicissitudes which at one time prompted him to elegiac strains, at another to praise and thanksgiving; at the same time he was the founder of the kingship of promise, a prophecy of the future Christ, and his life, thus typically moulded, could not express itself otherwise than in typical or even consciously prophetic language. Raised to the throne, he did not forget the harp which had been his companion and solace when he fled before Saul, but rewarded it with all honour. He appointed 4000 Levites, the fourth division of the whole Levitical order, as singers and musicians in connection with the service in the tabernacle on Zion and partly in Gibeon, the place of the Mosaic tabernacle. These he divided into 24 classes under the Precentors, Asaph, Heman, and Ethan equals Jeduthun (1 Chronicles 25 comp. 1 Chronicles 15:17.), and multiplied the instruments, particularly the stringed instruments, by his own invention (1 Chronicles 23:5; Nehemiah 12:36)

(Note: I tended, says David in the Greek Psalter, at the close of Ps, my father's sheep, my hands made pipes (ὄργανον equals עוגב) and my fingers put together (or: tuned) harps (ψαλτήριον equals נבל) cf. Numeri Rabba c. xv. (f. 264a) and the Targum on Amos 6:5.).

In David's time there were three places of sacrifice: on Zion beside the ark (2 Samuel 6:17.), in Gibeon beside the Mosaic tabernacle (1 Chronicles 16:39.) and later, on the threshing-floor of Ornan, afterwards the Temple-hill (1 Chronicles 21:28-30). Thus others also were stimulated in many ways to consecrate their offerings to the God of Israel. Beside the 73 Psalms bearing the inscription לדוד, - Psalms the direct Davidic authorship of which is attested, at least in the case of some fifty, by their creative originality, their impassioned and predominantly plaintive strain, their graceful flow and movement, their ancient but clear language, which becomes harsh and obscure only when describing the dissolute conduct of the ungodly-the collection contains the following which are named after contemporary singers appointed by David: 12 לאסף (Psalm 50; Psalm 78:1-83:18), of which the contents and spirit are chiefly prophetic, and 12 by the Levite family of singers, the בני־קרה (Psalm 42-49; Psalm 84:1-85:13; Psalm 87:1-88:18, including Psalm 43:1-5), bearing a predominantly regal and priestly impress. Both the Psalms of the Ezrahite, Psalm 88 by Heman and Psalm 89 by Ethan, belong to the time of Solomon whose name, with the exception of Psalm 72, is borne only by Psalm 127:1-5. Under Solomon psalm-poesy began to decline; all the existing productions of the mind of that age bear the mark of thoughtful contemplation rather than of direct conception, for restless eagerness had yielded to enjoyable contentment, national concentration to cosmopolitan expansion. It was the age of the Chokma, which brought the apophthegm to its artistic perfection, and also produced a species of drama. Solomon himself is the perfecter of the Mashal, that form of poetic composition belonging strictly to the Chokma, Certainly according to 1 Kings 5:12 [Hebr.; 1 Kings 4:32, Engl.] he was also the author of 1005 songs, but in the canon we only find two Psalms by him and the dramatic Song of Songs. This may perhaps be explained by the fact that he spake of trees from the cedar to the hyssop, that his poems, mostly of a worldly character, pertained rather to the realm of nature than to the kingdom of grace.

Only twice after this did psalm-poesy rise to any height and then only for a short period: viz., under Jehoshaphat and under Hezekiah. Under both these kings the glorious services of the Temple rose from the desecration and decay into which they had fallen to the full splendour of their ancient glory. Moreover there were two great and marvellous deliverances which aroused the spirit of poesy during the reigns of these kings: under Jehoshaphat, the overthrow of the neighbouring nations when they had banded together for the exstirpation of Judah, predicted by Jahaziel, the Asaphite; under Hezekiah the overthrow of Sennacherib's host foretold by Isaiah. These kings also rendered great service to the cause of social progress. Jehoshaphat by an institution designed to raise the educational status of the people, which reminds one of the Carlovingian missi (2 Chronicles 17:7-9); Hezekiah, whom one may regard as the Pisistratus of Israelitish literature, by the establishment of a commission charged with collecting the relics of the early literature (Proverbs 25:1); he also revived the ancient sacred music and restored the Psalms of David and Asaph to their liturgical use (2 Chronicles 29:25.). And he was himself a poet, as his מכתב (מכתם?) (Isaiah 38) shows, though certainly a reproductive rather than a creative poet. Both from the time of Jehoshaphat and from the time of Hezekiah we possess in the Psalter not a few Psalms, chiefly Asaphic and Korahitic, which, although bearing no historical heading, unmistakeably confront us with the peculiar circumstances of those times.

(Note: With regard to the time of Jehoshaphat even Nic. Nonne has acknowledge this in his Diss. de Tzippor et Deror (Bremen 1741, 4to.) which has reference to Psalm 84:4.)

With the exception of these two periods of revival the latter part of the regal period produced scarcely any psalm writers, but is all the more rich in prophets. When the lyric became mute, prophecy raised its trumpet voice in order to revive the religious life of the nation, which previously had expressed itself in psalms. In the writings of the prophets, which represent the λεῖμμα χάριτος in Israel, we do indeed find even psalms, as Jonah 2:1-10, Isaiah 12:1-6; Habakkuk 3:1, but these are more imitations of the ancient congregational hymns than original compositions. It was not until after the Exile that a time of new creations set in.

As the Reformation gave birth to the German church-hymn, and the Thirty years' war, without which perhaps there might have been no Paul Gerhardt, called it into life afresh, so the Davidic age gave birth to psalm-poesy and the Exile brought back to life again that which had become dead. The divine chastisement did not fail to produce the effect designed. Even though it should not admit of proof, that many of the Psalms have had portions added to them, from which it would be manifest how constantly they were then used as forms of supplication, still it is placed beyond all doubt, that the Psalter contains many psalms belonging to the time of the Exile, as e.g., Psalm 102. Still far more new psalms were composed after the Return. When those who returned from exile, among whom were many Asaphites,

(Note: In Barhebraeus on Job and in his Chronikon several traditions are referred to "Asaph the Hebrew priest, the brother of Ezra the writer of the Scriptures.")

again felt themselves to be a nation, and after the restoration of the Temple to be also a church, the harps which in Babylon hung upon the willows, were tuned afresh and a rich new flow of song was the fruit of this re-awakened first love. But this did not continue long. A sanctity founded on good works and the service of the letter took the place of that outward, coarse idolatry from which the people, now returned to their fatherland, had been weaned while undergoing punishment in the land of the stranger. Nevertheless in the era of the Seleucidae the oppressed and injured national feeling revived under the Maccabees in its old life and vigour. Prophecy had then long been dumb, a fact lamented in many passages in the 1st Book of the Maccabees. It cannot be maintained that psalm-poesy flourished again at that time. Hitzig has recently endeavoured to bring forward positive proof, that it is Maccabean psalms, which form the proper groundwork of the Psalter. He regards the Maccabean prince Alexander Jannaeus as the writer of Psalm 1:1-6 and Psalm 2:1-12, refers

The exclamatory אשׁרי, as also Psalm 32:2; Psalm 40:5; Proverbs 8:34, has Gaja (Metheg) by the Aleph, and in some Codd. even a second by שׁ, because it is intended to be read asherê as an exception, on account of the significance of the word (Baer, in Comm. ii. 495). It is the construct of the pluralet. אשׁרים (from אשׁר, cogn.ישׁר, כּשׁר, to be straight, right, well-ordered), and always in the form אשׁרי, even before the light suffixes (Olsh. 135, c), as an exclamation: O the blessedness of so and so. The man who is characterised as blessed is first described according to the things he does not do, then (which is the chief thought of the whole Ps.) according to what he actually does: he is not a companion of the unrighteous, but he abides by the revealed word of God. רשׁעים are the godless, whose moral condition is lax, devoid of stay, and as it were gone beyond the reasonable bounds of true unity (wanting in stability of character), so that they are like a tossed and stormy sea, Isaiah 57:20.;

(Note: Nevertheless we have not to compare רעשׁ, רגשׁ, for רשׁע, but the Arabic in the two roots Arab. rs' and rsg shows for רשׁע the primary notion to be slack, loose, in opposition to Arab. tsdq, צדק to be hard, firm, tight; as Arab. rumhun tsadqun, i.e., according to the Kamus Arab. rmh ṣlb mtı̂n mstwin, a hard, firm and straight spear. We too transfer the idea of being lax and loose to the province of ethics: the difference is only one of degree. The same two primary notions are also opposed to one another in speaking of the intellect: Arab. hakuma, wise, prop. thick, firm, stout, solid, and Arab. sachufa, foolish, simple, prop. thin, loose, without stay, like a bad piece of weaving, vid., Fleischer's translation of Samachschari's Golden Necklace pp. 26 and 27 Anm. 76. Thus רשׁע means the loose man and indeed as a moral-religyous notion loose from God, godless comp. Bibl. Psychol. p. 189. transl.].)

חטּאים (from the sing. חטּא, instead of which חטא is usually found) sinners, ἁμαρτωλοί, who pass their lives in sin, especially coarse and manifest sin; לצים (from לוּץ, as מת from מוּת) scoffers, who make that which is divine, holy, and true a subject of frivolous jesting. The three appellations form a climax: impii corde, peccatores opere, illusores ore, in accordance with which עצה (from יעץ figere, statuere), resolution, bias of the will, and thus way of thinking, is used in reference to the first, as in Job 21:16; Job 22:18; in reference to the second, דּרך mode of conduct, action, life; in reference to the third, מושׁב which like the Arabic mglis signifies both seat (Job 29:7) and assembling (Psalm 107:32), be it official or social (cf. Psalm 26:4., Jeremiah 15:17). On הלך בּ, in an ethical sense, cf. Micah 6:16; Jeremiah 7:24. Therefore: Blessed is he who does not walk in the state of mind which the ungodly cherish, much less that he should associate with the vicious life of sinners, or even delight in the company of those who scoff at religion. The description now continues with כּי אם (imo si, Ges. 155, 2, 9): but (if) his delight is, equals (substantival instead of the verbal clause:) he delights (חפץ cf. Arab. chfd f. i. with the primary notion of firmly adhering, vid., on Job 40:17) in תורת ה, the teaching of Jahve, which is become Israel's νόμος, rule of life; in this he meditates profoundly by day and night (two acc. with the old accusative terminations am and ah). The perff. in Psalm 1:1 describe what he all along has never done, the fut. יהגּה, what he is always striving to do; הגה of a deep (cf. Arab. hjj, depressum esse), dull sound, as if vibrating between within and without, here signifies the quiet soliloquy (cf. Arab. hjs, mussitando secum loqui) of one who is searching and thinking.

With והיה,

(Note: By the Sheb stands Metheg (Gaja), as it does wherever a word, with Sheb in the first syllable, has Olewejored, Rebia magnum, or Dech without a conjunctive preceding, in case at least one vowel and no Metheg-except perhaps that standing before Sheb compos. - lies between the Sheb and the tone, e.g., ננתּקה (with Dech) Psalm 2:3, ואענהוּ Psalm 91:15 and the like. The intonation of the accent is said in these instances to begin, by anticipation, with the fugitive ĕ.)

in Psalm 1:3, the development of the אשׁרי now begins; it is the praet. consec.: he becomes in consequence of this, he is thereby, like a tree planted beside the water-courses, which yields its fruit at the proper season and its leaf does not fall off. In distinction from נטוּע, according to Jalkut 614, שׁתוּל means firmly planted, so that no winds that may rage around it are able to remove it from its place (אין מזיזין אתו ממקומו). In פּלגי מים, both מים and the plur. serve to give intensity to the figure; פּלג (Arab. fal'g, from פלג to divide, Job 38:25) means the brook meandering and cleaving its course for itself through the soil and stones; the plur. denotes either one brook regarded from its abundance of water, or even several which from different directions supply the tree with nourishing and refreshing moisture. In the relative clause the whole emphasis does not rest on בּעתּו (Calvin: impii, licet praecoces fructus ostentent, nihil tamen producunt nisi abortivum), but פּריו is the first, בּעתּו the second tone-word: the fruit which one expects from it, it yields (equivalent to יעשׂה it produces, elsewhere), and that at its appointed, proper time ( equals בּעדתּו, for עת is equals עדת or עדת, like רדת, לדת, from ועד), without ever disappointing that hope in the course of the recurring seasons. The clause ועלהוּ לא יבּול is the other half of the relative clause: and its foliage does not fall off or wither (נבל like the synon. Arab. dbl, from the root בל).

The green foliage is an emblem of faith, which converts the water of life of the divine word into sap and strength, and the fruit, an emblem of works, which gradually ripen and scatter their blessings around; a tree that has lost its leaves, does not bring its fruit to maturity. It is only with וכל, where the language becomes unemblematic, that the man who loves the Law of God again becomes the direct subject. The accentuation treats this member of the verse as the third member of the relative clause; one may, however, say of a thriving plant צלח, but not הצליח. This Hiph. (from צלח, Arab. tslh, to divide, press forward, press through, vid., Psalm 45:5) signifies both causative: to cause anything to go through, or prosper (Genesis 34:23), and transitive: to carry through, and intransitive: to succeed, prosper (Judges 18:5). With the first meaning, Jahve would be the subject; with the third, the project of the righteous; with the middle one, the righteous man himself. This last is the most natural: everything he takes in hand he brings to a successful issue (an expression like 2 Chronicles 7:11; 2 Chronicles 31:21; Daniel 8:24). What a richly flowing brook is to the tree that is planted on its bank, such is the word of God to him who devotes himself to it: it makes him, according to his position and calling, ever fruitful in good and well-timed deeds and keeps him fresh in his inner and outward life, and whatsoever such an one undertakes, he brings to a successful issue, for the might of the word and of the blessing of God is in his actions.

The ungodly (הרשׁעים, with the demonstrative art.) are the opposite of a tree planted by the water-courses: they are כּמּץ, like chaff (from מוּץ to press out), which the wind drives away, viz., from the loftily situated threshing-floor (Isaiah 17:13), i.e., without root below, without fruit above, devoid of all the vigour and freshness of life, lying loose upon the threshing-floor and a prey of the slightest breeze-thus utterly worthless and unstable. With על־כּן an inference is drawn from this moral characteristic of the ungodly: just on account of their inner worthlessness and instability they do not stand בּמּשׁפּט. This is the word for the judgment of just recompense to which God brings each individual man and all without exception with all their words (Ecclesiastes 12:14), - His righteous government, which takes cognisance of the whole life of each individual and the history of nations and recompenses according to desert. In this judgment the ungodly cannot stand (קוּם to continue to stand, like עמד Psalm 130:3 to keep one's self erect), nor sinners בּעדת צדיקים. The congregation (עדה( noi equals ‛idah, from ועד, יעד) of the righteous is the congregation of Jahve (עדת ה), which, according to its nature which is ordained and inwrought by God, is a congregation of the righteous, to which consequently the unrighteous belong only outwardly and visibly: ου ̓ γὰρ πάντες οἱ ἐξ Ἰσραήλ οὗτοι Ἰσραήλ, Romans 9:6. God's judgment, when and wheresoever he may hold it, shall trace back this appearance to its nothingness. When the time of the divine decision shall come, which also separates outwardly that which is now inwardly separate, viz., righteous and unrighteous, wheat and chaff, then shall the unrighteous be driven away like chaff before the storm, and their temporary prosperity, which had no divine roots, come to a fearful end. For Jahve knoweth the way of the righteous, יודע as in Psalm 37:18; Matthew 7:23; 2 Timothy 2:19, and frequently. What is intended is, as the schoolmen say, a nosse con affectu et effectu, a knowledge which is in living, intimate relationship to its subject and at the same time is inclined to it and bound to it by love. The way, i.e., the life's course, of the righteous has God as its goal; God knows this way, which on this very account also unfailingly reaches its goal. On the contrary, the way of the ungodly תּאבד, perishes, because left to itself, - goes down to אבדּון, loses itself, without reaching the goal set before it, in darkest night. The way of the righteous only is דּרך עולם, Psalm 139:24, a way that ends in eternal life. Psalm 112:1-10 which begins with אשׁרי ends with the same fearful תאבד.