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- Herausgeber: John Wiley & Sons
- Kategorie: Religion und Spiritualität
- Serie: Blackwell Bible Commentaries
- Sprache: Englisch
Psalms Through the Centuries: Volume Two provides the first ever extensive commentary on the Jewish and Christian reception history of the first two books of the Psalter (Psalms 1-41 and 42-72). It explores the various uses of the Psalms, over two millennia, in translation and commentary, liturgy and prayer, study and preaching, musical composition and artistic illustration, poetic and dramatic imitation, and contemporary discourse. With lavish illustrations, using examples from both music and art, Psalms Through the Centuries: Volume Two offers a detailed commentary on each psalm, with an extensive bibliography, a large glossary of terms, and helpful indices. It is an ideal resource both for students and scholars in the academy and for lay people and ministers in church and synagogue. Psalms Through the Centuries is published within the Wiley Blackwell Commentary series. Further information about this innovative reception history series is available at www.bbibcomm.info
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Table of Contents
Cover
Title Page
Illustrations
Preface
Abbreviations
Introduction: How is a Reception History Commentary a Different Genre?
BOOK ONE: PSALMS 1–41
Psalms 1 and 2: The Prologue to the Psalter
Psalm 1: Who is the ‘Blessed Man’?
Psalm 2: Who is ‘My Son’?
PSALMS 3–41: THE FIRST DAVIDIC PSALTER
Psalms 3–14: Praying by Night and Day
Psalm 3: A ‘Morning Psalm’
Psalm 4: An ‘Evening Psalm’
Psalm 5: A ‘Morning Psalm’
Psalm 6: An ‘Evening Psalm’ of Penitence
Psalm 7: A ‘Morning Psalm’
Psalm 8: An ‘Evening Hymn of Praise’
Psalms 9 and 10: An Acrostic Psalm
Psalm 11: The ‘All‐Seeing God’
Psalm 12: ‘Flattering Lips’
Psalm 13: The Fear of Death
Psalm 14: The Fool says ‘There is no God’
Psalms 15–24: Bringing Prayer to the Temple
Psalm 15: An Entrance Liturgy
Psalm 16: Confident Trust in God
Psalm 17: Lament for Deliverance
Psalm 18: Thanksgiving for Victory
Psalm 19: A Hymn of Praise
Psalm 20: Thanksgiving for Victory
Psalm 21: Thanksgiving for Victory
Psalm 22: Lament for Deliverance
Psalm 23: Confident Trust in God
Psalm 24: An Entrance Liturgy
Psalms 25–34: Prayers and Thanks for Deliverance
Psalm 25: An Acrostic Concerning the Poor
Psalm 26: A Protest of Integrity
Psalm 27: Confidence and Complaint
Psalm 28: Lament and Thanksgiving
Psalm 29: A Hymn of Praise
Psalm 30: Thanksgiving for Healing
Psalm 31: Confidence through Fear
Psalm 32: Confession and Healing
Psalm 33: A Hymn of Praise
Psalm 34: An Acrostic concerning the Poor
Psalms 35–41: Poverty, Sickness and Trust in God
Psalm 35: Friends and Enemies
Psalm 36: The Plight of the Poor
Psalm 37: The Poor and the Land
Psalm 38: Penitence and Sickness
Psalm 39: Penitence and Human Transience
Psalm 40: Thanksgiving and Sacrifice
Psalm 41: Friends and Enemies
BOOK ONE: PSALMS 42–72
Psalms 42–49: Exile, Temple and King
Psalms 42–43: Longing for the Temple
Psalm 44: Praying for National Deliverance
Psalm 45: A Wedding Song for the King
Psalm 46: God is King in Zion
Psalm 47: God is King
Psalm 48: God is King in Zion
Psalm 49: A Psalm of Complaint and Instruction
Psalm 50: An Asaphite Psalm about Repentance and Sacrifice
PSALMS 51–72: THE SECOND DAVIDIC PSALTER
Psalm 51: ‘The Psalm of Psalms’
Psalms 52–55: Learning from the Life of David
Psalm 52: For Instruction on the ‘Deceitful Tongue’
Psalm 53: For Instruction on the ‘Fool’
Psalm 54: For Instruction on Persecution
Psalm 55: Instruction on Betrayal
Psalms 56–60: Reflecting on the Life of David
Psalm 56: Reflections on Persecution
Psalm 57: Reflections on Violence
Psalm 58: Reflections on Confronting Evil
Psalm 59: Reflections on Enemy Aggression
Psalm 60: Reflections in Times of War
Psalms 61–64: Hymnic Reflections on God’s Protection
Psalm 61: A ‘Psalm’ about Refuge in God
Psalm 62: A ‘Psalm’ about the Silence of God
Psalm 63: A ‘Psalm’ Seeking God in the Morning
Psalm 64: A ‘Psalm’ about Protection
Psalms 65–68: God’s People Sing of his Praise
Psalm 65: A Sanctuary Song about God’s Sustenance through Nature
Psalm 66: A Sanctuary Song about God’s Sustenance through History
Psalm 67: A Sanctuary Song about God’s Universal Blessings
Psalm 68: A Sanctuary Song about the Divine Warrior
Psalms 69–71: Psalms of the Righteous Sufferer
Psalm 69: Righteous Suffering of the One and the Many
Psalm 70: Righteous Suffering and the Plea for Deliverance
Psalm 71: Righteous Suffering as a Model for Faith
Psalm 72: ‘Of Solomon’: The Completion of the Prayers of David
Appendix
Psalms Numbering Table
Glossary
References
Index of Names
Psalms Index
Subject Index
End User License Agreement
List of Illustrations
Chapter 02
Figure 1
Arthur Wragg, ‘How long, my people, shall my honour suffer shame?
’ (Ps. 4:2)
Chapter 03
Figure 2
Arthur Wragg, ‘Hide me under the shadow of thy wings
’ (Ps. 17:8)
Chapter 04
Figure 3
Arthur Wragg, ‘I had fainted, unless I had believed to see the goodness of the Lord in the land of the living
’ (Ps. 27:13)
Figure 4
Roger Wagner, Psalm 31
from The Book of Praises (1994)
Figure 5
Arthur Wragg, ‘Praise the Lord with the lyre… Sing to him a new song
’ (Ps.33:2–3)
Chapter 05
Figure 6
Arthur Wragg, ‘The Lord helps them and rescues them
’ (Ps.37:40)
Figure 7
Introduction to Stravinsky’s interpretation of Psalm 39:12–13
(*
Vulgate
38:13–14)
Figure 8
Stravinsky’s beginning of the second movement to the first oboe before Ps. 40:1
Chapter 06
Figure 9
Michael Jessing, ‘Be still and know that I am God
’ (Ps. 46:10)
Chapter 09
Figure 10
Arthur Wragg, ‘Your tongue is like a sharp razor
’ (Ps. 52:2)
Figure 11
Arthur Wragg, ‘With speech smoother than butter, but with a heart set on war
’ (Ps. 55:21)
Chapter 12
Figure 12
Psalm 67 in the form of a menorah
Chapter 14
Figure 13
Michael Jessing, ‘Give the king your justice, O God…May he judge your people with righteousness
’ (Ps. 72:1–4)
Guide
Cover
Table of Contents
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Wiley Blackwell Bible Commentaries
Series Editors: John Sawyer, Christopher Rowland, Judith Kovacs, David M. Gunn
John Through the CenturiesMark Edwards
Revelation Through the CenturiesJudith Kovacs & Christopher Rowland
Judges Through the CenturiesDavid M. Gunn
Exodus Through the CenturiesScott M. Langston
Ecclesiastes Through the CenturiesEric S. Christianson
Esther Through the CenturiesJo Carruthers
Psalms Through the Centuries: Volume OneSusan Gillingham
Galatians Through the CenturiesJohn Riches
Pastoral Epistles Through the CenturiesJay Twomey
1 & 2 Thessalonians Through the CenturiesAnthony C. Thiselton
Six Minor Prophets Through the CenturiesBy Richard Coggins and Jin H. Han
Lamentations Through the CenturiesPaul M. Joyce and Diana Lipton
James Through the CenturiesDavid Gowler
The Acts of the Apostles Through the CenturiesHeidi J. Hornik and Mikeal C. Parsons
Chronicles Through the CenturiesBlaire French
Psalms Through the Centuries: Volume TwoSusan Gillingham
Psalms Through the CenturiesA Reception History Commentary on Psalms 1–72Volume Two
Susan Gillingham
This edition first published 2018© 2018 John Wiley & Sons Ltd
All rights reserved. No part of this publication may be reproduced, stored in a retrieval system, or transmitted, in any form or by any means, electronic, mechanical, photocopying, recording or otherwise, except as permitted by law. Advice on how to obtain permission to reuse material from this titleis available at http://www.wiley.com/go/permissions.
The right of Susan Gillingham to be identified as the author of this work has been asserted in accordance with law.
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Library of Congress Cataloging‐in‐Publication data applied for
Hardback ISBN: 9781118830567
Cover Image: P.128‐1950.p5 Satan going forth from the presence of the Lord, and Job’s charity from the ‘Book of Job’, 1825 (engraving), Blake, William (1757–1827) / Fitzwilliam Musuem, University of Cambridge, UK / Bridgeman ImagesCover Design: Wiley
For Abbie and Estherwith thanks for all your encouragement and support
Illustrations
Figures
Book One
Figure 1
Arthur Wragg, ‘How long, my people, shall my honour suffer shame?’ (Ps. 4:2).
Source
: Wragg, A. 1934:
The Psalms for Modern Life
. New York: Claude Kendall.
Figure 2
Arthur Wragg, ‘Hide me under the shadow of thy wings’ (Ps. 17:8).
Source
: Wragg, A. 1934:
The Psalms for Modern Life
. New York: Claude Kendall.
Figure 3
Arthur Wragg, ‘I had fainted, unless I had believed to see the goodness of the Lord in the land of the living’ (Ps. 27:13).
Source
: Wragg, A. 1934:
The Psalms for Modern Life
. New York: Claude Kendall.
Figure 4
Roger Wagner, Psalm 31.
Source
: Wagner, R. 1994:
The Book of Praises: A Translation of the Psalms. Book One
. Oxford: The Besalel Press.
Figure 5
Arthur Wragg, ‘Praise the Lord with the lyre… Sing to him a new song’ (Ps. 33:2–3).
Source
: Wragg, A. 1934:
The Psalms for Modern Life
. New York: Claude Kendall.
Figure 6
Arthur Wragg, ‘The Lord helps them and rescues them’ (Ps. 37:40).
Source
: Wragg, A. 1934:
The Psalms for Modern Life
. New York: Claude Kendall.
Figure 7
Introduction to Stravinsky’s interpretation of Psalm 39:12–13 (
*Vulgate
38:13–14).
Source
: Public Domain/Creative Commons/Open Government (UK) Licence.
Figure 8
Stravinsky’s beginning of the second movement to the first oboe before Ps. 40:1.
Source
: Public Domain/Creative Commons/Open Government (UK) Licence.
Book Two
Figure 9
Michael Jessing, ‘Be still and know that I am God’ (Ps. 46:10).
Source
:
http://www.psalms‐mixastudio.com/psalms‐33‐48.php
.
Figure 10
Arthur Wragg, ‘Your tongue is like a sharp razor’ (Ps. 52:2).
Source
: Wragg, A. 1934:
The Psalms for Modern Life
. New York: Claude Kendall.
Figure 11
Arthur Wragg, ‘With speech smoother than butter, but with a heart set on war’ (Ps. 55:21).
Source
: Wragg, A. 1934:
The Psalms for Modern Life
. New York: Claude Kendall.
Figure 12
Psalm 67 in the form of a
menorah
.
Source:
See
https://beneisrael.wordpress.com/2013/08/21/psalm‐67‐the‐menorah‐psalm/
.
Figure 13
Michael Jessing, ‘Give the king your justice, O God… May he judge your people with righteousness’ (Ps. 72:1–4).
Source
: See
http:/www.psalms‐mixasudio.com/psalms 69‐84
.
Plates
Plate 1
Psalm 1 with Music and Art.
The Saint John’s Bible
, Donald Jackson ©2004, Saint John’s University, Collegeville, Minnesota, USA.
Plate 2
Psalm 2 through the eyes of the Nativity.
Khludov Psalter
, The State Historical Museum, Moscow, MS D 129, fol. 3v (with permission from History Museum, Moscow). Image provided by Giovanni Scorcioni,
www.FacsimileFinder.com
.
Plate 3
Psalm 16 through the eyes of the Resurrection.
Utrecht Psalter
, University Library of Utrecht, MS Bibl. Rhenotraiectinae 1 Nr 32, fol. 8r (with permission from the University Library Utrecht).
Plate 4
Psalm 18: ‘David delivered out of Many Waters’ by William Blake. Tate Gallery 02230 (with permission from Tate ©2017).
Plate 5
Psalm 19: Christ as Giant emerges from the Tent for the Sun.
Eadwine Psalter
, Trinity College, Cambridge MS r 17.1 (with permission from the Master and Fellows of Trinity College).
Plate 6
Psalm 22 in the Window of Redemption at Chartres Cathedral. (Photograph by Painton Cowen at
www.therosewindow.com
).
Plate 7
Psalm 24: Christ as Warrior and King.
Utrecht Psalter
, University Library of Utrecht, MS Bibl. Rhenotraiectinae 1 Nr 32, fol. 13v (with permission from the University Library Utrecht).
Plate 8
Psalm 26: ‘I will wash my hands in innocence’ and the ‘Lavabo’.
St Albans Psalter
, image © Hildesheim, St Godehard, taken from
https://www.abdn.ac.uk/stalbanspsalter/english/commentary/page117.shtml
.
Plate 9
Psalm 27: David points to his eyes.
The History Bible of Utrecht
, 1443. Den Haag KB, 69 B 10, fol. 12v (with permission from Koninklijke Bibliotheek, Den Haag).
Plate 10
Psalm 34: David feigns madness.
Parma Psalter
, Biblioteca Paletina, Parma, MS Parm 1870 (Cod. De Rossi 510), fol. 43A (with permission from the owners of the facsimile of
The Parma Psalter
, at
www.facsimile‐editions.com
).
Plate 11
Psalm 36 in the Millennium Windows at Great Malvern Priory (published by permission of the Priory).
Plates 12 and 13
Psalm 37 on Charity and Greed. Two images from
Khludov Psalter
, The State Historical Museum, Moscow, MS D 129, fols. 35r and 35v (with permission from History Museum, Moscow). Images provided by Giovanni Scorcioni,
www.FacsimileFinder.com
.
Plate 14
Psalm 38 and the Penitent Sinner.
St Albans Psalter
, image © Hildesheim, St Godehard, taken from
https://www.abdn.ac.uk/stalbanspsalter/english/commentary/page145.shtml
.
Plate 15
Psalm 42 in the Apse Mosaic at Basilica Di San Clemente, Rome. (Permission given by the Prior of Basilica San Clemente).
Plate 16
Psalm 44: ‘The Protection of Israel’ by Marc Chagall from
Les Psaumes de David
, Gérard Cramer Editeur, Geneva, 1979. (Permission given by DACS London, 2017; image provided by Agence Photographique de le Réunion des Musées Nationaux, Paris).
Plate 17
Psalm 45: The Coronation of the Virgin Mary in a woodcut by John van Eyck (with permission of The Bodleian Libraries, University of Oxford).
Plate 18
Psalm 48: The Elevation of Zion.
Parma Psalter
, Biblioteca Paletina, Parma, MS Parm 1870 (Cod. De Rossi 510), fol. 65B (with permission from the owners of the facsimile of
The Parma Psalter
, at
www.facsimile‐editions.com
).
Plate 19
Psalm 50: Christ as the Personification of the Sun from the
Theodore Psalter
. British Library, MS 19.352, fol. 61v (with permission from the British Library Board).
Plate 20
Psalm 51: Christ cleanses the sins of a newborn Baby.
St Albans Psalter
, image © Hildesheim, St Godehard, taken from
https://www.abdn.ac.uk/stalbanspsalter/english/commentary/page171.shtml
.
Plate 21
Psalm 52: ‘He sought refuge in wealth’ (verse 7) from the
Theodore Psalter
. British Library, MS 19.352, fol. 66r (with permission from the British Library Board).
Plate 22
Psalm 53: The Court Jester of Henry VIII. from
The Psalter of Henry VIII
, British Library, Royal MS 2A XVI, fol. 63v (with permission from the British Library Board).
Plate 23
Psalm 61: Protection in Exile. Museum of Psalms; Psalm 61 according to Moshe Tzvi HaLevi Berger, all rights reserved (
www.museumofpsalms.com
, reproduced with permission).
Plate 24
Psalm 62: The Psalmist offers his small naked Body to God.
St Albans Psalter
, image © Hildesheim, St Godehard, taken from
https://www.abdn.ac.uk/stalbanspsalter/english/commentary/page189.shtml
.
Plate 25
Psalm 69: Missa Dura: The Knight, Crystal Night, House No. 5 by Mordecai Ardon. Tate Gallery 00608 (with permission from Tate ©2017).
Plate 26
Psalm 69: David in Water.
The History Bible of Utrecht
, 1443. Den Haag KB, 1939.69 B 10, fol. 21r (with permission from Koninklijke Bibliotheek, Den Haag).
Plate 27
Psalm 72: David as King, attended by Sophia and Prophecy.
Paris Psalter
, Bibliothèque nationale de France, MS Gr 139, fol. 7v (with permission from Bibliothèque nationale de France 2017).
Musical score (p. 160)
David Mitchell: An interpretation of the singing of Psalm 24 in its earliest setting. Reproduced with the kind permission of David Mitchell, Director of Music in Holy Trinity Pro‐Cathedral, Brussels; website: https://sites.google.com/site/brightmorningstar624/home.
Preface
First in the long list of the many people who have helped in this lengthy and complex project must come the Series Editors, John Sawyer and David Gunn. This commentary had several early blips—for example, whether, after Psalms through the Centuries Volume One (2008) there should be just one further volume or two—and it was the editors' unfailing support which made a three‐volume work possible. Both read the manuscript with extraordinary care, giving particular attention to the problem of the transliterations of the Hebrew and Greek. I am particularly grateful to John Sawyer for his help with rabbinic sources and to David Gunn for further suggestions about metrical psalmody and early poetic imitations of psalms. The book would be very different without their input; any remaining errors are mine.
Next, I must thank Rebecca Harkin, who was Publisher for Religion when I wrote Volume One and later was Publisher for Humanities, and so the Wiley‐Blackwell Commentaries have consistently been her remit. Working originally with Blackwell and now, some eight years later, with Wiley‐Blackwell has had its challenges, but Rebecca has been a consistent source of wisdom and good humour. Manish Luthra and Vimali Joseph have each been a mainstay in seeing the book through production, especially over the visual impact of the Plates and Figures. Carolyn Holleyman has done superb work, under pressure of very tight deadlines, with the copy‐editing.
My sabbatical leave and research assistance for Volume Two has been in part financed by the University of Oxford and Worcester College. I want to thank the Faculty of Theology and Religion for allowing me two terms' research leave, especially Alison Broadby for her administrative support. I am equally grateful to the John Fell Fund of the University of Oxford for resourcing substitute teaching and research assistance, and at Worcester College to the Bartlett Sisters' Theology Fund, supported mainly by alumni. Particular thanks are due at Worcester to Rhian Perridge, Phillipa Tarver, Scott Scullion, Trish Pease, Carmy Strzelecki, Elizabeth Smith and Emma Standhaft for their various forms of administrative support. My third source of funding was The St Luke's Foundation, and I thank David Benzie and the trustees for their most generous support towards the production of the images.
Any work on reception history requires inter‐disciplinary collaboration. I am particularly indebted to three close colleagues in Oxford. Peter Groves read the manuscript giving attention to my use of the church fathers and modern theologians, as well as my citations of English poets. Matthew Cheung‐Salisbury read the commentary with his expert eye for Christian liturgy and music. John Barton, who has supported my work for more years than I can remember, looked at the text from the viewpoint of a biblical scholar. Any existing errors are my responsibility alone.
Two Oxford projects have encouraged my work—The Centre for Reception History of the Bible, directed by Chris Joynes, and The Oxford Research Centre for the Humanities (TORCH) which sponsors the Oxford Psalms Network. I am particularly grateful to my fellow‐coordinators, Francis Leneghan and Helen Appleton, for new insights into the reception of the psalms in medieval English literature.
Two other communities, through their music, have enabled me to appreciate the psalms in a different context: I am grateful for the superb singing of the choir of Worcester College Oxford, and for the continuous chanting of psalmody by the new choir of St. Barnabas Church, Oxford.
I have been working on this commentary, amidst other publications, since 2008. Natasha O'Hear was my first research assistant, and after two years' sterling service she handed on to Holly Morse, who worked with me until 2016. I owe a great debt to Holly, for she was in large measure responsible for assembling, then processing the data for me to use within the commentary: her organisational skills and artistic expertise were invaluable. John Ritzema and Danny Crowther have worked with me for the last year, contributing to the final stages of the publication. All have been indispensable in helping to speed up the process of preparing a somewhat challenging manuscript.
Collaboration outside Oxford has involved many colleagues. They include Eberhard Bons (Stuttgart), for invaluable resources on the Septuagint version of the Psalms; Laurence Clémencau (Villefontaine), for online resources for patristic commentaries and illuminated manuscripts; †Peter Flint (Vancouver), for resources on the Psalms scrolls at Qumran; †Erich Zenger (Münster), †Frank‐Lothar Hossfeld (Bonn), Bernd Janowski (Tübingen), Friedhelm Hartenstein (München), Hermann Spieckermann (Göttingen), Beat Weber (Liestal), Johannes Bremer (Bochum), Till Steiner (Jerusalem), Stefan Attard (Malta), Giovanni Barbiero (Rome), Bill Bellinger and Dennis Tucker (Baylor), William Brown (Columbia), and Dirk Human, Alphonso Groenewald, and Philip Botha (Pretoria) for their various contributions on the literary and theological shaping of the Psalter which marks the first vital stage of the reception history process. Robert Atwell, Bishop of Exeter, has been a constant source of encouragement in matters liturgical, as also was †Geoffrey Rowell (Chichester). Jonathan Magonet (Leo Baeck College, London) has been most generous in offering his own resources on Jewish liturgy. Those who have advised on and contributed images of the psalms include Elizabeth Solopova (Oxford), especially on Latin illuminated Psalters; Frans Sellies (Utrecht), for extra insights into the Utrecht Psalter; Ed van der Vlist (Koninklijke Bibliotheek, The Hague) for many online resources of fourteenth and fifteenth century Psalters; Mordechai Balouka (Jerusalem), for information and images of the Museum of Psalms; Michael Falter (London), for regular access to facsimiles of illuminated Jewish Psalters and Prayer Books; Roger Wagner (Oxford), and Michael Jessing (Peebles), for freely allowing me to print their own individual images of psalms. Those who have helped me with their musical expertise in psalmody include Jonathan Arnold and Alexander Massey (Oxford), Howard Goodall (London), David Mitchell (Brussels), Siobhan Dowling‐Long (Cork) and John Sawyer (Amble).
The Preface for Volume One concluded with thanking my immediate family, and it is appropriate that I end similarly here. My daughters have moved on, but I frequently visit The Hague, where Abbie, Omar and Sophia now live, and use it as a base for writing and research. Esther now works between the UK and Brazil: she too has shown an extraordinary belief in a project which has taken so long to materialise. Equally remarkable is the confidence of my husband Dick, who has travelled with me, both literally and metaphorically, for many years in this project, accommodating my constant distractions. Since his retirement in 2011 he has used much of his time to support me in so many practical ways, as well as reading the first draft of the manuscript with a scrupulous eye to detail. I dedicated my last volume to him, ‘my fiercest critic and closest friend’. It is appropriate that I dedicate this second volume to Abbie and Esther, in gratitude for their similar loving support: this project has been consuming, but their role has been to remind me that there are other important concerns even beyond the reception history of the Psalms.
Abbreviations
ACCS
Ancient Christian Commentary on Scripture
ACTP
Ambrose:
Commentary on Twelve Psalms
ACW
Ancient Christian Writers
ALW
Archiv für Liturgiewissenschaft
AnSac
Analecta sacra et classica spicilegio solesmensi
BASOR
Bulletin of the American Schools of Oriental Research
BBB
Bonner biblische Beiträge
BHT
Beiträge zur historischen Theologie
Bib
Biblica
CBQ
Catholic Biblical Quarterly
CCL
Corpus Christianorum Series Latina (Turnhout, Belgium: Brepols 1953–)
EETS
Early English Texts Society
Est Bib
Estudios bíblicos
Exp
Expositor
FAT
Forschungen zum Alten Testament
FC
Fathers of the Church: A New Translation (Catholic University of America Press, Washington, D.C.; 45 volumes)
FRLANT
Forschungen zur Religion und Literatur des Alten und Neuen Testaments
HBTh
Horizons in Biblical Theology
HeyJ
Heythrop Journal
HKAT
Handkommentar zum Alten Testament
HSS
Harvard Semitic Monographs
HTR
Harvard Theological Review
HTS
Harvard Theological Studies
HUCA
Hebrew Union College Annual
JBL
Journal of Biblical Literature
JHS
Journal of Hebrew Scriptures
JQR
Jewish Quarterly Review
JSNTSS
Journal for the Study of the New Testament Supplement Series
JSOTSS
Journal for the Study of the Old Testament Supplement Series
JTS
Journal of Theological Studies
KAT
Kommentar zum Alten Testament
KHAT
Konkordanz zum Hebräischen Alten Testaements
LCC
The Library of Christian Classics (Philadelphia: Westminster Press, 1953–1966; 26 vols.)
MusicLett
Music and Letters
NPNF
A Select Library of the Nicene and Post‐Nicene Fathers of the Church (eds. P. Schaff et al., Buffalo: The Christian Literature Company, 1886. 14 vols.)
NTS
New Testament Studies
NRSV
New Revised Standard Version
OTE
Old Testament Essays.
The Old Testament Society of Southern Africa (OTSSA)
PG
Patrologiae cursus completus. Series Graeca.
Ed. J.‐P. Migne. Paris: Migne, 1857–1886. 166 vols.
PIBA
The Proceedings of the Irish Biblical Association
PL
Patrologiae cursus completus. Series Latina.
Ed. J.‐P. Migne. Paris: Migne, 1844–1864. 221 vols.
POG
The Proof of the Gospel.
Eusebius. 2 vols. Trans. W.J. Ferrar. London: SPCK, 1920.
RB
Revue Biblique
RevQ
Revue de Qumran
SBLDS
Society of Biblical Literature Dissertation Series
SBLMS
Society of Biblical Literature Monograph Series
SBLSCS
Society of Biblical Literature Septuagint and Cognate Studies
SJT
Scottish Journal of Theology
SNT
Schriften des Neuen Testaments
StPat
Studia Patristica
StTh
Studia Theologica
ThLZ
Theologische Literaturzeitung
TU
Texte und Untersuchungen zur Geschichte der altchristlichen Literatur
VT
Vetus Testamentum
WGRW
Writings from the Greco‐Roman World.
Ed. R.F. Hock. Atlanta: Society of Biblical Literature, 2001
WSA
Works of St. Augustine: A Translation for the Twenty‐First Century.
Ed. J.E. Rotelle. Hyde Park, NY: New City Press, 1995–
WUNT
Wissenschaftliche Untersuchungen zum Neuen Testament
ZAW
Zeitschrift für die alttestamentliche Wissenschaft
ZThK
Zeitschrift für Theologie und Kirche
Introduction: How is a Reception History Commentary a Different Genre?
This book is not a typical commentary. First, it does not include the usual historical–critical explanation of the text. So it does not focus primarily on how the text might have been assembled, neither does it provide an exegesis of every difficult word, verse by verse, in a particular psalm. Nor does it seek to give answers about the date, or provenance, or the original purpose of a single psalm. There is some emphasis on all these issues, but only when they are relevant to the reception history of a particular psalm in its earliest stages, Jewish or Christian. Furthermore, this is not a classical ‘devotional’ commentary. It does not focus exclusively on the spiritual value of the psalms as prayers of faithful Jews and Christians. There is a good deal of interest in such matters, from the point of view of both Jewish and Christian reception, but there is more to the commentary than this perspective alone. Thirdly, this is not a typical literary–theological commentary. The interest is only in part in the analysis of the words of the text; it is also about a psalm’s later performance through liturgy, music and art. So although there are discussions of, for example, the possible strophes of each psalm, and of the way the language of any one psalm is echoed in psalms before and after it, this serves only as a starting point for its developing reception history. The literary interests are actually found more in a psalm’s reception in later literature (especially after the early Middle Ages, and in English).
So what then is this commentary about? It starts where most commentaries end: it examines interpretations of the psalms after their composition up to the present day, and examines their later reception in both Jewish and Christian tradition. It is always in search of a different perspective, another insight, something hidden and then uncovered by the later accretions of interpretation.
This volume is based on the first two books of the Psalter—Psalms 1–41 and 42–72. This takes us almost to the mid‐point of the one hundred and fifty psalms.i Each book is subdivided into smaller collections: the Table of Contents makes these divisions clear. For each psalm, I use a similar method, which follows seven interrelated stages.
The first stage is a focus on the compilation of a collection of psalms, because the placing of each psalm in the Psalter as a whole signifies the first stage in its reception history. This is why I begin by comparing the linguistic equivalences between one psalm and its neighbours, to illustrate that the reception of a psalm into a larger collection has not been accidental.ii This is also why I spend some time discussing the division of the psalms into two books (1–41; 42–72), and the different collections within these books, and the different arrangements of psalms within these collections. I do not believe a psalm can be understood as an isolated unit independent of its neighbours. Thus reception history starts with the process of compilation.
The second stage is about Jewish reception from the second century BCE onwards. It includes early translations of each psalm in Greek, as well as different Hebrew versions in the *Qumran Scrolls. The focus is on examples which have a trajectory in later reception history. This then leads to a consideration of other aspects of Jewish reception history, including the Aramaic paraphrase of the psalms in the *Targum and the use of the psalms in rabbinic sources such as the *Talmud (and within this, the *Mishnah), the *Midrash Tehillim, and medieval commentaries by, for example, *Rashi and *Kimḥi.
Jewish and Christian commentators are often in dialogue with one another, so the third stage examines the reception of a particular psalm in Christian tradition. This starts with the New Testament, and progresses to look at readings of the psalms by the church fathers and medieval commentators, writing in both Latin and Greek. So this also includes looking at the (Christian) Latin translation of the (previously Jewish) Greek translation. The final part of this third stage looks at a huge span of Christian commentary starting with the early church, then the so‐called early Middle Ages (c. 600–1300), the later Middle Ages (c.1300–1500) up to the early Modern Period in the mid‐seventeenth century.
Compilation, translation and commentary are, however, not the entire story. A large proportion of this work looks at the more practical and aesthetic modes of reception. Hence the fourth stage examines various prominent adaptations of a psalm (or a psalm verse) through Jewish and Christian liturgy from as early as the third century up to the present day. The fifth stage traces its representation in Christian and Jewish art, starting with ninth‐century *Carolingian and Byzantine illuminated manuscripts and also discussing, where relevant, later paintings, woodcuts, and sketches and more contemporary artistic interpretations. The sixth stage assesses significant Jewish and Christian musical arrangements of each psalm. These are usually compositions from the Renaissance and Reformation experimentation to the present day, and this leads to a consideration of the very different forms of a psalm when it is adapted for a performance in a church, synagogue, theatre or concert hall.
The seventh stage is to examine, where appropriate, the various imitations and interpretations of a particular psalm in English, from the early modern period up to present times. This might be through old English *Glosses in early Medieval Psalters, or through poetry and drama from the later Middle Ages onwards, or through political, social or gendered discourse; it also includes any pertinent English translations as well as modern imitations in poetry, and of course this includes examples from both Jewish and Christian tradition.
This, then, is a skeletal outline of the method I use for each individual psalm. But who is this commentary for?—Its purpose is in part to bridge the gap between the academy and the synagogue or church: so it is directed at two different kinds of reader. The first is a more academic person: this includes not only those who are working on the psalms (and so would appreciate a different and broader perspective on a specific academic project) but also those who are working on a different aspect of reception (and so would use a study of the psalms as a specific point of reference for a larger project). The second type of reader is anyone who enjoys reading, using, praying, and disseminating the psalms; their concerns are more pastoral and confessional, and in this respect their interests coincide with the ways faithful Jews and Christians through the centuries have used the psalms in this way as well.
This dual readership poses something of a problem. The academically involved reader would expect, for example, my references to psalm texts to be precise in their enumeration—for the Hebrew, Greek, Latin and Aramaic are notoriously different from the English psalm numbers and verses—but those more interested in the more practical dissemination of the psalms would find such academic detail somewhat alienating. Similarly academic colleagues would expect extensive references to Rabbinic, Patristic, Medieval and Reformation sources, yet I have tried to simplify the references where too much precision might estrange other readers. This also applies to the use of liturgical sources, and to citations relating to illuminated manuscripts, to musical composers, and to the poetry of the psalms expressed in different ways in English: a more general readership could again find some of this extraneous detail over‐intrusive. Some compromise is therefore necessary, and I have addressed this in the following ways.
The first challenge concerns the different versions of the psalms in different languages and the use of different numbers for the psalms and their verses. I offer as an Appendix a chart of the versification of psalms, with the NRSV as the normative text. Hence I only use the variant versification and psalm numbers (in parenthesis) when I am explicitly citing a psalm verse in the Hebrew, Greek, Latin and Aramaic. Otherwise I use only the NRSV psalm numbers and verses: those who wish for more consistency can consult the Appendix. Related to this, when citing a word in another language, particularly when that script is not the same as the English alphabet, this is presented in its transliterated form, in italics. A connected issue is knowing which actual Greek or Latin or Aramaic version to use: the best known version in Greek, for example, is the *Septuagint, but other Greek versions seem to be cited in the New Testament, and there is also the Old Greek Psalter and works by *Origen. My preference is to cite from the Septuagint translation.iii Similarly the preferential Latin version I cite is *Jerome’s *Vulgate: this is not to overlook the several other versions in circulation before and after Jerome, and I recognise that the Vulgate is one of three versions which he translated.iv As for the Aramaic *Targums, I have chosen to use, primarily, the work edited by D.M. Stec.v Finally, as far as the English version is concerned, for reasons of space I have not been able to print out the NRSV text, but readers are advised to read this commentary with that edition beside them.
A second problem has been trying to account for the early Jewish and Christian liturgical uses of psalmody. There are several works which discuss the general use of the psalms in worship.vi Nevertheless, we know very little about the specific use of psalmody in the ancient synagogue traditions and in the early Roman and Orthodox Rites in western and eastern Christendom. Hence I have considered it wiser to omit material when I could not be confident of its purported source. I did, however, decide to use Neale and Littledale’s four‐volume Commentary on the Psalms from Primitive and Medieval Writers, published between 1874–79. I am indebted to this work, partly because nothing more recent is quite like it, but I have used it with some caution. It is clear now that we know very little of the *Mozarabic, *Ambrosian or *Gregorian liturgies themselves, even though it is possible to speak of, for example, psalms being sung to Gregorian and Ambrosian plainsong, or to psalms influencing Mozarabic collects. So instead I refer more generally to ‘the Roman Rite’ when referring to western liturgies, of which the so‐called Mozarabic, Ambrosian and Gregorian liturgies are little more than ‘dialects’, and to refer to just ‘the Orthodox Rite’ when referring to the liturgies of the East.vii
A third decision was whether to use the sources for Jewish and Christian commentators in URL formats. Online versions might not always offer the best translations, but they do provide an easily accessible source, and the more advanced reader would know which hard‐copy resource to consult. So I use many online sources, also including those of illuminated manuscripts, or of different musical compositions. The advantage of a digital version is that readers can then view the text, see the image, and hear the music as well.
A fourth decision has been to offer the reader a fairly detailed Glossary. Even here it was difficult to know how to make the selection, and how to pitch a reader’s familiarity with, for example, Christian heresies, or Jewish liturgical terms, or musical and artistic terminology. But the advantage of a Glossary is that, having cited a particular commentator or heresy (and this is clear in the text by the use of an asterisk next to the term), it needs no further repetition when the same individual, or theological term, or illustrated Psalter occurs several times in later psalms. Those who have no need for this can put the asterisk aside and read on; but those who might need further clarification can at least turn to the Glossary, which has over three hundred entries for this volume alone.viii
Two earlier publications have been a vital preparation for this work. My The Psalms Through the Centuries Volume One is a companion for this commentary and it offers a broader chronological and geographical overview of the reception of the Psalter as a whole.ix And A Journey of Two Psalms: The Reception of Psalms 1 & 2 in Jewish and Christian Tradition, which looks at the reception history of just two psalms in considerable detail, uses a similar methodology to the one described above, and this provided a ‘micro’ assignment for the ‘macro’ analysis of the other hundred and forty‐eight psalms, where of course there is much less attention to detail.x
A Journey of Two Psalms could afford to be reasonably comprehensive in its assessment of the reception history of just two psalms. In this volume, however, working with approximately fifty times fewer words per psalm, there has inevitably been more selectivity.
One decision has been how to determine the balance between the eastern and western reception history of psalmody. I have had to focus increasingly on the western tradition of reception, given that the ultimate destination is the reception of the psalms in English. This has been difficult, because the early origins and development are obviously from the ancient Near East and the Levant, and much of the early Jewish and Christian commentary tradition I refer to here is from these sources, whether from ‘Palestine’ and ‘Babylon’ in Jewish tradition, or from (for example) Antioch and Alexandria in Christian tradition. An engagement with eastern Christian reception is vital when assessing liturgical and artistic examples of psalmody: for example, many of the most significant ninth‐century psalms manuscripts are from Byzantium. One casualty, however, has been any real focus on the Syriac tradition, especially the *Peshitta Psalter. Occasionally I consider some of its psalm headings, for they reveal a fascinating variety of interpretations.xi Hence the context of this reception history, at least from the ninth century onwards, becomes increasingly western as the language medium progresses from Latin to English. A very different second casualty related to this is a lack of engagement with many examples from the Third World: the bias in this commentary is British, European, and American. It would have been an impossible task in the space allowed to add anything like a ‘global commentary’.xii
Another issue in selecting material is more about history than geography, and that has been in determining how much material to use from a particular period. I decided to focus on aspects of reception which have stood the test of time, partly because they have provided the foundation for some of the newer developments today. This is why I spend some time discussing the translations, metrical paraphrases, and liturgical experimentation of the Psalms up to the sixteenth and seventeenth centuries before I look at the developments from the eighteenth century up to the present day.xiii I have also had to be pragmatic in some choices: for example, I have had to use illuminated Psalters which have a secure online presence, because I wanted readers to view these for themselves.xivI have been similarly selective in offering musical arrangements of psalms: partly this is because early church and synagogue music is difficult to cite with any confidence, and partly it is the reverse problem of the sheer profusion of musical material on the psalms from the sixteenth century onwards. Metrical psalmody, for example, whether it is Calvinist, Scottish, English and American, has a vast repertoire and much is available online. So I only refer to specific metrical psalms when there is an interesting paraphrase or the arrangement is significant from a reception history perspective. The same is the case with other musical arrangements of psalms for more traditional liturgical occasions, and also with those poetic imitations of psalms which were so popular in the sixteenth and seventeenth centuries: if there is a different, well‐known example, I usually cite it, but it would be impossible to refer to everything.
Hence I have not been able to use as many recent or contemporary examples of reception as readers might like. I can hardly deny that a huge sea‐change has taken place in the reception of psalmody over the last century or so, but my aim is to offer a much broader perspective of interpretation. Where relevant I do offer examples of contemporary liturgical innovations and modern translations of the psalms, both in Jewish and Christian tradition, because these illustrate that the language of the psalms has now to be open to gender inclusivity and has to be more politically sensitive. But the number of versions of the Psalms which one could now use, whether for private prayer, public worship or literary enjoyment is again vast and I have had to be selective.
What I do present from a contemporary perspective is the more recent ideological criticism of some of the psalms, partly because this often reverses a long‐standing tradition of interpretation and so makes us think about these texts from a different viewpoint. So I sometimes give examples from more recent political and social commentators; I present the views of those who question centuries of assumptions about the ‘maleness’ of the psalms; and I include those writers who are critical of earlier anti‐Semitic and anti‐Christian interpretations. Mostly I have left the reader to form their own view of these observations: my own concern is to produce a reception history which was as varied and multi‐faceted as possible.
As the commentary has progressed, I have become increasingly aware of specific themes in the reception of particular psalms. First, some psalms bear witness to the very different (often bitter and conflicting) Jewish and Christian interpretations. Secondly, other psalms have an unusual theological, political or ethical trajectory, usually with respect to particular verses, and this dominates the psalm’s reception. Thirdly, some psalms consistently reflect more universal concerns, and these bring together the persuasions of different faiths, whilst still allowing for the integrity of one particular faith‐reading. I make clear these particular themes by way of conclusion to each individual psalm.
It is clear that some psalms are more rich in reception than others: there is an inevitable unevenness in the length of each psalm commentary, and by this the reader can ascertain the most significant psalms, some of which they might not have expected.
So what I offer is what I have referred to elsewhere as an ‘anthology with a purpose’.xv I leave it to the reader to decide whether my selection from the huge reserves of the reception of psalmody has been worth the effort.
Notes
i
Volume Three will cover Books Three (Psalms 73–89); Four (Psalms 90–106) and Five (Psalms 107–150).
ii
I also examine, where relevant, the headings to a psalm, because these additional titles to the psalms often highlight the differences between Jewish and Christian interpretations.
iii
For a brief account of these issues see Gillingham 2008:8–9.
iv
For a brief account of Jerome’s different translations of the Psalms see Gillingham 2008:31–37.
v
See Stec 2004. For a brief account of this edition and the various versions of
Targums
, see Gillingham 2008:71–72.
vi
For example, Donin 1980; Reif 1993; Elbogen 1993; Lamb 1962; Box 1996; Pickett 2002; Trudinger 2004.
vii
I am indebted to Matthew Cheung‐Salisbury for his advice here.
viii
I have not included terms in the Glossary which I only use once or twice, instead giving information about them in the commentary itself.
ix
See Gillingham 2008.
x
See Gillingham 2013(c).
xi
An important paper in this respect is by Taylor 2006: 365–78.
xii
Another mode of reception which is not as rich as one might have expected is Jewish reception in art, and, until modern times, also in music. On this issue see Gillingham 2008: 104–113, 163–66, 239–240, 290–93.
xiii
For an account of the more recent translations and liturgical adaptations of various psalms see Gillingham 2008:246–54 and 254–66.
xiv
The website
http://ica1.princeton.edu/
is an excellent resource for specific images of many Byzantine Psalters, such as
Khludov, Pantokrator
and
Hamilton
. But this usually requires institutional access, and because many readers have not such retrieval, I have usually omitted the more specific URL references to these Psalters. Instead I have referred readers to other Byzantine Psalters held by the British Library, such as the
Theodore Psalter
, which is available on the ‘turning pages’ of that website. See, for example,
http://www.bl.uk/manuscripts/Viewer.aspx?ref=add_ms_19352_f049v
, which refers to fol. 49v.
xv
See Preface to
Psalms through the Centuries
, paperback version, 2012.
BOOK ONE: PSALMS 1–41Davidic Piety and the Conflict of Faith and Experience
Psalms 1 and 2: The Prologue to the Psalter
Psalm 1, with its singular verbs and its solo voice, is about any individual who is devoted to the study of the law. By contrast, in Psalm 2 the subject is a specific individual, namely the king, and addresses three audiences—the Gentile nations (twice), the nation of Israel, and the king. In Psalm 1, God is found wherever the Torah is read; in Psalm 2, God is found in Zion and the Temple. Psalm 1 has been influenced by the moral teaching found, for example, in Deuteronomy and Proverbs, with the emphasis on personal responsibility; Psalm 2 has echoes of the teaching of the eighth century prophets, with the emphasis on divine retribution on foreign nations.1 So why should such different psalms be read together as one composite psalm?
There are in fact several thematic connections between Psalms 1 and 2. In Psalm 1, the model individual meditates by day and night on the Torah of the Lord (be‐torat yhwh) and is contrasted with the wicked people around him; in Psalm 2, the ideal king is invited to trust in the decree of God (ḥoq yhwh) and is contrasted with the hubris of the Gentile nations surrounding him. A sequential reading of the psalms suggests that the king, too, should be subject to the Torah.2 Psalm 1 ends with the judgment on all the wicked, and Psalm 2 ends with the judgment on the hostile nations. Furthermore, the fate of the godless is described in eschatological terms: Ps. 1:4 offers the image of chaff, with its associations with harvesting at the day of judgment, whilst Ps. 2: 4–5 depicts God, seated on his heavenly throne, judging the nations.
Throughout their reception these two psalms have frequently been read as a composite unit. One example is a *Qumran psalms scroll, 4Q174, where both psalms are cited together with their apparent interest in the Temple as a conjoining theme.3 Similarly in several manuscripts of Acts 13:33, Psalm 2 is cited as ‘the first psalm’.4 Early commentators such as *Justin Martyr, in 1 Apol. 40.8–10 (c. 150 CE) read Psalms 1 and 2 as one continuous narrative of salvation, seeing the first psalm about Christ crucified ‘on the tree’, and the second psalm as the reason for this—the conspiracy against Christ by Herod, Pilate, and the Jews.5 Similarly *Hippolytus of Rome (c. 170–235) views Psalm 1 as a prophecy about the birth of Christ, ‘the blessed Man’, and Psalm 2 as a prophecy about Christ’s passion and death.6 Jewish commentators similarly read the two psalms together: in Berakot 9b–10a, in the Babylonian *Talmud we read: ‘Happy is the man’ and ‘Why are the nations in an uproar’ which form one chapter.’7 Similarly *Midrash Tehillim views Psalms 1 and 2 as both referring to the enemies of the Jewish people.8
The ‘prayers of David’ do not begin until Psalm 3, leaving Psalms 1 and 2 out of the sequence. So when were these psalms added to the Psalter? Psalm 2, untitled, has correspondences with Psalms 41 (at the end of Book One), 72 (at the end of Book Two) and 89 (at the end of Book Three). It is likely that Psalm 2 was chosen to introduce Books One to Three, before the addition of Psalm 1. Its purpose was to announce the rise of the Davidic dynasty and so give the first three books, which end with the demise of David, a royal focus.9
Once the Psalter had further evolved into five books, imitating the five books of the Law, Psalm 1 was probably added, giving the Psalter overall a complementary ‘Torah’ emphasis.10 Additions were probably made to Psalm 2 (in verses 10–12, whose textual difficulties suggest some redaction) to create a clearer correspondence between these first two psalms. Three of the linguistic similarities between Psalms 1 and 2 actually occur in 2:10–12 (derek [‘way’] in 1:6 and 2:12; ʾabad [‘perish’] in 1:6 and 2:12; and ʾashere/ ʾashre [‘blessed’] in 1:1 and 2:12). 2:10 and 2:2 have clear correspondences in their concern for the foreign kingdoms and Israel’s God, so verses 10–12 create a good conclusion.
Psalm 1: Who is the ‘Blessed Man’?
Because Psalm 1 is one of the latest psalms in the Psalter, it has links with earlier texts but has not influenced any other biblical texts.11 Its primary relationship is with Psalm 2: as well as the links between 1:1, 6 and 2:10–12 referred to above, we may also note the use of the root y‐sh‐b to depict the seat of the scoffers in Ps. 1:2 (twice), echoed in Ps. 2:4 which describes God sitting ‘enthroned’ (yashab); the use of hagah to describe the reflective murmuring on God’s Law in Ps. 1:2 and to depict the sinister growlings of the nations in Ps. 2:1; the use of yomam (‘by day’) in Ps. 1:2 and ha‐yom (‘this day’) in 2:7. As with the correspondences noted above, it is difficult to know whether these affinities were due to coincidence or redaction; all we can conclude is that the compilers intentionally connected these psalms together.
An early stage of reception of Psalm 1 is the *Septuagint translation.12 At least one shift in theology is visible: an emphasis on a future eschatological hope.13 This is evident in verse 5, where the Hebrew lo'‐yaqumu reshaʿim ba‐mishpaṭ (‘the wicked will not stand’) {is translated as ouk anastēsontai asebeis en krisei. The Hebrew qum suggests the idea of the wicked not ‘standing up’—in the sense of ‘not enduring’—at the time when justice is meted out; the use of anistēmi in the Greek suggests the idea of ‘rising’ (from the dead) when judgment comes.
In *Targum Psalms one notable difference is in verse 1 (‘Blessed is the man who does not walk in the counsel of the wicked, nor stand in the way of sinners, nor sit at table in the company of scoffers’) where the verb s‐ḥ‐r (‘sit’) has been used instead of y‐sh‐b and this implies an idiom ‘sit around to dine’.14 This is about shunning ‘table fellowship’ with those who ‘scoff’ at the Torah: it suggests the fragile Jewish/Gentile relationships at a later time.15
Another difference is in verse 5 where a future interpretation is evident in the phrase ‘the wicked will not be acquitted in the great day of judgement’. Like the Septuagint, Targum Psalms makes the fate of the wicked (Gentiles) clear: they will not only fail to be acquitted in any human (Jewish) court of justice, but they also will not be acquitted in the divine judgement, in the Last Days.
In *Midrash Tehillim over half the commentary on Psalm 1 offers different answers to the question: ‘Who is the blessed man?’ (Ps. 1:1). Seven models of ‘blessedness’ are given.16 The first is Adam, before he sinned in the garden of Eden; then Noah, who is called righteous (Gen. 6:9) and who (according to Gen. Rab. 16:6) mediates the seven laws even the Gentiles are to live by; another is Abraham, ‘who did not walk with the sinners of Babel, nor stand with those at Sodom, nor sit with scornful Abimelech…’ Moses, however, is not the ‘blessed man’. Instead, he imparts blessings: ‘Moses blessed Israel with the words Blessed art thou, O Israel (Deut. 33:29), so David blessed Israel with the words Blessed is the man.’ Two other examples of ‘blessedness’ are the Levites and, surprisingly, the sons of Korah. The seventh figure of blessedness is unnamed, for it is any righteous, law‐abiding Jew (Ps. 84:13) for whom the Torah is the Tree of Life.
*Rashi reads the first psalm in the light of the entire Psalter.17 Much of his commentary uses Midrash Tehillim:
