Psalms Through the Centuries, Volume 3 E-Book

Susan Gillingham

• Herausgeber: John Wiley & Sons
• Kategorie: Religion und Spiritualität
• Serie: Blackwell Bible Commentaries
• Sprache: Englisch

Seitenzahl: 1223

Veröffentlichungsjahr: 2022

Beschreibung

This third volume completes the set of a groundbreaking reception history of the Psalter, the culmination of two decades' work In Volume Threeof Psalms Through the Centuries: A Reception History Commentary on Psalms 73-151, the internationally recognized biblical scholar Professor Susan Gillingham examines the Jewish and Christian cultural and reception history of Books Three to Five of the Psalter. She examines the changing ways in which psalms have been understood in translations and commentaries, liturgy and prayer, study and preaching, music and art, poetic and dramatic performance, and political and ethical discourse. Lavishly illustrated with thirty colour plates, several black and white images and a number of musical scores, this volume also includes a comprehensive glossary of terms for readers less familiar with the subject and a full, selective bibliography complete with footnote references for each psalm. Numerous links to website resources also allow readers to pursue topics at greater depth, and three clearly organized indices facilitate searches by specific psalms or authors, or types of reception for selected psalms. This structure makes the commentary easy to use, whether for private study, teaching or preaching. The book also offers: * A one-of-a-kind treatment of the reception history of the psalms that starts where most commentaries end-- beginning with the trajectory of the Psalter's multi-faceted reception over two millennia * Specific discussions of both Jewish and Christian responses to individual psalms Psalms Through the Centuries: A Reception History Commentary on Psalms 73-151, like the previous two volumes, will earn a distinctive place in the libraries of faculties, colleges, seminaries, and religious communities as well as in private collections of students and scholars of biblical studies, theology, and religion.

Leseprobe

Wiley Blackwell Bible Commentaries

Series Editors: John Sawyer, Christopher Rowland, Judith Kovacs, David M. Gunn

Editorial Board: Ian Boxall, Andrew Mein, Lena-Sofia Tiemeyer

John Through the Centuries

Mark Edwards

Revelation Through the Centuries

Judith Kovacs and Chrristopher Rowlands

Judges Through the Centuries

David M. Gunn

Exodus Through the Centuries

Scott M. Langston

Ecclesiastes Through the Centuries

Eric S. Christianson

Esther Through the Centuries

Jo Carruthers

Psalms Through the Centuries

Volume I

Susan Gillingham

Galatians Through the Centuries

John Riches

Pastoral Epistles Through the Centuries

Jay Twomey

1 & 2 Thessalonians Through the Centuries

Anthony C. Thiselton

Six Minor Prophets Through the Centuries

Richard Coggins and Jin H. Han

Lammentations Through the Centuries

Paul M. Joyce and Diana Lipton

James Through the Centuries

David Gowler

The Acts of the Apostles Through the Centuries

Heidi J. Hornik and Mikael C. Parsons

Chronicals Through the Centuries

Blaire French

Isaiah Through the Centuries

John F.A Sawyer

Psalms Through the Centuries

Volume II

Susan Gillingham

Matthew Through the Centuries

Ian Boxall

Jeremiah Through the Centuries

Mary Chilton Callaway

1,2 Peter and Jude Through the Centuries

Rebecca Skaggs

Jonah Through the Centuries

Lena-Sofia Tiemeyer

Psalms Through the Centuries

Volume III

Susan Gillingham

Psalms Through the Centuries

A Reception History Commentary on Psalms 73–151 Volume Three

Susan Gillingham

This edition first published 2022

© 2022 John Wiley & Sons Ltd

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Hardback ISBN: 9781119542254; ePub ISBN: 9781119542261; ePDF ISBN: 9781119542230; oBook ISBN: 9781119542285

Cover images: © Life of William Blake (1880), Volume 2, Job illustrations by Cygnis insignis is licensed under CC BY-SAA

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For my three grandchildrenSophia and Noah BoutayebandAyaan Gillingham-Ahmed,the next generation.

Let this be recorded for a generation to come,so that a people yet unborn may praise the Lord.(Ps. 102:18)

Contents

Cover

Series page

Title page

Copyright

Decdication

Illustrations

Preface

Abbreviations

BOOK THREE: PSALMS 73–89 Remembering, Human and Divine

Psalms 73–83: The Asaphite Collection: ‘How Long, O Lord?’

Psalms 73–77: ‘Has God Forgotten to be Gracious?’

Psalm 73: A Didactic Psalm about the Impious

Psalm 74: A Communal Lament about Ongoing Exile

Psalm 75: God’s Abode is in Zion (i)

Psalm 76: God’s Abode is in Zion (ii)

Psalm 77: An Individual Lament about Ongoing Exile

Psalms 78–83: ‘Will You be Angry Forever?’

Psalm 78: A Didactic Psalm about God’s Judgement on His People

Psalm 79: A Communal Lament about Ongoing Exile (i)

Psalm 80: A Communal Lament about Ongoing Exile (ii)

Psalm 81: God’s Abode is in Zion (i)

Psalm 82: God’s Abode is in Zion (ii)

Psalm 83: An Individual Lament about Ongoing Exile

Psalms 84–89: The Korahite Collection: ‘Will God Remember Zion?’

Psalms 84–88: ‘Restore us Again, O Lord!’

Psalm 84: Longing for the Temple

Psalm 85: Praying for National Deliverance

Psalm 86: In Memory of David

Psalm 87: God is King in Zion

Psalm 88: A Psalm of Complaint and Instruction

Psalm 89: Remembering the Covenant with David

BOOK FOUR: PSALMS 90–106 Human Transience and the Everlasting God

Psalms 90–92: God as Refuge

Psalm 90: Lamenting Human Transience

Psalm 91: God’s Promise of Protection

Psalm 92: A Thanksgiving Song for the Sabbath

Psalms 93–94, 95–100: God as King

Psalm 93: God’s Kingship is for Ever

Psalm 94: God Will Come to Judge the Nations of the Earth

Psalm 95: God’s People are Called upon to Acknowledge God as King

Psalm 96: ‘Sing to the Lord a New Song’ (i)

Psalm 97: God Reigns in Zion (i)

Psalm 98: ‘Sing to the Lord a New Song’ (ii)

Psalm 99: God Reigns in Zion (ii)

Psalm 100: The Whole Earth is Called upon to Acknowledge God as King

Psalms 101–103: God as Defender

Psalm 101: David: The Model Servant

Psalm 102: A Penitential Prayer of a Suffering Servant

Psalm 103: God’s Compassion is Everlasting

Psalms 104–106: God as Creator and Redeemer

Psalm 104: A Hymn to God as Creator

Psalm 105: A Thanksgiving Song: God as Redeemer in Israel’s History (i)

Psalm 106: A Lament: God as Redeemer in Israel’s History (ii)

BOOK FIVE: PSALMS 107–151 Envisaging Restoration: The Divine Plan in History

Psalm 107: God as Redeemer in Israel’s History (iii)

Psalms 108–110: A Trilogy of Psalms Concerning David

Psalm 108: A Composite Psalm of Remembrance

Psalm 109: Living with Abuse

Psalm 110: A Psalm about Abraham, David, the Messiah and Christ

Psalms 111–112: Two Acrostic Psalms

Psalm 111: An Acrostic Psalm Concerning the Righteousness of God

Psalm 112: An Acrostic Psalm Concerning Human Righteousness

Psalms 113–118: A Liturgical Collection (i)

Psalm 113: God Elevates the Poor

Psalm 114: A Passover Psalm

Psalm 115: A Liturgy: The Lifelessness of Idols and the Life-Giving God

Psalm 116: The Fate of the Dead and the Cup of Salvation

Psalm 117: Brief Praise with Abundant Implications

Psalm 118: A Psalm with Many Voices

Psalm 119: Reflections on the Formation of Character

Psalms 120–134: A Liturgical Collection (ii)

Psalms 120–124: Arrival at Zion

Psalm 120: A Song from the Diaspora

Psalm 121: A Song of Journeying

Psalm 122: A Song of Arrival

Psalm 123: A Song Praying for Mercy

Psalm 124: A Song about National Deliverance

Psalms 125–129: Blessings from Zion

Psalm 125: A Song about Restoration (i)

Psalm 126: A Song about Restoration (ii)

Psalm 127: A Song about Security in the Home (i)

Psalm 128: A Song about Security in the Home (ii)

Psalm 129: A Song about Restoration (iii)

Psalms 130–134: Departing from Zion

Psalm 130: A Song from the Depths: The Soul and God (i)

Psalm 131: A Song of Childlike Trust: The Soul and God (ii)

Psalm 132: A Song of the Temple and the Messiah

Psalm 133: ‘Hinneh Ma Tov’: A Song about Unity in Zion

Psalm 134: ‘Hinneh Baraku’: A Song of Blessing from Zion

Psalms 135–137: A Trilogy of Psalms Concerning Restoration

Psalm 135: Praise of the Uniqueness of the Lord

Psalm 136: Thanksgiving for the Kindness of the Lord

Psalm 137: To Sing or Not to Sing? Waiting for Justice from God

Psalms 138–145: A Final Davidic Psalter

Psalm 138: In Praise of God before Gods, Kings and Angels

Psalm 139: Knowing and Being Known by God

Psalm 140: Poisoned Tongues

Psalm 141: Guarding the Tongue. An Evening Prayer

Psalm 142: Prayer for Deliverance. Another Evening Prayer

Psalm 143: God’s Righteousness and Human Unrighteousness

Psalm 144: Of Giants and Unicorns

Psalm 145: A Song of Praise at the Beginning of the End of the Psalter

Psalms 146–151: The End of the Psalter

Psalms 146–150: The Final Hallel

Psalm 146: Praise for God’s Sovereignty and His Provision for All People

Psalm 147: Praise for God’s Sovereignty and His Provision for Israel

Psalm 148: Praise Has Cosmic Implications

Psalm 149: Praise Has Political Implications

Psalm 150: Praise in Music

Psalm 151: Supernumerary: In Remembrance of David

Appendix: Psalms Numbering Table

Glossary of Terms

References

Index of Names

Psalms Index

Subject Index

End User License Agreement

List of Illustrations

Chapter 3

Figure 1 Jesus Walking on the...

Figure 2 ‘But he, being full of...

Figure 3 Michael Jessing, Ps. 80:8–9....

Figure 4 Interpretation of singing of Psalm...

Figure 5 Interpretation of singing of Psalm...

Figure 6 Roger Wagner, Ps. 89:44–45:...

Chapter 4

Figure 7 Michael Jessing: An Ecological...

Chapter 5

Figure 8 Interpretation of singing...

Figure 9 Arthur Wragg, ‘But the earth...

Figure 10 Arthur Wragg, ‘Wherewithal shall...

Figure 11 R. B. Benn, ‘I lift my...

Figure 12 Arthur Wragg, ‘Unto thee lift...

Figure 13 Interpretation of singing...

Figure 14 Arthur Wragg, ‘How long shall...

Figure 15 R. B. Benn ‘Let my prayer ...

Figure 16 Arthur Wragg, ‘I cried unto...

Figure 17 A Liturgical Score of the...

Figure 18 Arthur Wragg, ‘Put not...

Figure 19 The unexpected introduction...

Plates

Plate 1

Psalm 74: ‘God works...

Plate 2

Psalm 78: David and the Unicorn...

Plate 3

Psalm 81 (Latin 80) as the Sixth...

Plate 4

Psalm 84: A Figure points to Jerusalem...

Plate 5

Psalm 85: ‘Mercy and Truth...

Plate 6

Psalm 91: Christ tramples...

Plate 7

Psalm 95: Calls to Praise on a...

Plate 8

Psalm 98:1: Illuminated Initial...

Plate 9

Psalm 100 Reversed: The Ku Klux...

Plate 10

Psalm 102:6: The Pelican Feeds...

Plate 11

Psalm 107:

Psalms Book V Frontispiece

...

Plate 12

Psalm 107: YHWH the Provider according...

Plate 13

Psalm 107: God’s Deliverance from...

Plate 14

Psalm 109: Illustrated Initial...

Plate 15

Psalm 110: Christ at the Right...

Plate 16

Psalm 110:1 Illustrated Initial...

Plate 17

Psalm 113: A Synagogue Scene...

Plates 18 and 19

Psalm 114: The Parting of...

Plate 20

Psalm 117: A Vespers Psalm:...

Plate 21

Psalm 118:19–20: Christ...

Plate 22

Psalm 118: An invitation...

Plate 23

Psalm 124:7: Our Soul is Escaped...

Plates 24 and 25

Psalm 126, with English...

Plate 26

‘By the Waters...

Plate 27

Psalm 137:5 ‘If I forget you...

Plate 28

Psalm 148 fol. 41v: ‘Christus Rex’...

Plate 29

Psalm 149:1: ‘Sing to the Lord...

Plate 30

Psalm 150: ‘Praise the Lord!’...

Guide

Cover

Serious page

Title page

Copyright

Dedication

Table of Contents

Illustrations

Preface

Abbreviations

Begin Reading

Appendix: Psalms Numbering Table

Glossary of Terms

References

Index of Names

Psalms Index

Subject Index

End User License Agreement

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Illustrations

Figures

Book Three (Psalms 73–89

Figure 1 Jesus Walking on the Water in a Storm. Source: Wagner, R. 2020. The Book of Praises. Translations from the Psalms. Norwich: Canterbury Press.

Figure 2 ‘But he, being full of compassion, forgave their iniquity and destroyed them not’. (Ps. 78:38). Source: Wragg, A. 1934: The Psalms for Modern Life. New York: Claude Kendall.

Figure 3 Michael Jessing, Ps. 80:8–9. The Vine with Human Figures. Source: http://www.psalms-mixastudio.com/psalms-69-84.php.

Figure 4 Interpretation of singing of Psalm 82 in its earliest setting. Reproduced with the kind permission of David Mitchell, Director of Music in Holy Trinity Pro-Cathedral, Brussels; website https://brightmorningstar.org/wp-content/uploads/2020/06/Ps-082.pdf.

Figure 5 Interpretation of singing of Psalm 87 in its earliest setting. Reproduced with the kind permission of David Mitchell, Director of Music in Holy Trinity Pro-Cathedral, Brussels; website https://brightmorningstar.org/wp-content/uploads/2020/06/Ps-087.pdf

Figure 6 Roger Wagner, Ps. 89:44–45: The King and the Cross. Source: Wagner, R. 2013. The Book of Praises: A Translation of the Psalms. Book Three. Oxford: The Besalel Press.

Book Four (Psalms 90–106)

Figure 7 Michael Jessing: An Ecological Interpretation of Psalm 104. Source: http://www.psalms-mixastudio.com/psalms-101-116.php.

Book Five (Psalms 107–151)

Figure 8 Interpretation of singing of Psalm 114 in its earliest setting. Reproduced with the kind permission of David Mitchell, Director of Music in Holy Trinity Pro-Cathedral, Brussels; website https://brightmorningstar.org/wp-content/uploads/2020/06/Ps-114.pdf.

Figure 9 Arthur Wragg, ‘But the earth hath he given to the children of men’ (Ps. 115:16). Source: Wragg, A. 1934: The Psalms for Modern Life. New York: Claude Kendall.

Figure 10 Arthur Wragg, ‘Wherewithal shall a young man cleanse his way?’ (Ps. 119:9). Source: Wragg, A. 1934: The Psalms for Modern Life. New York: Claude Kendall.

Figure 11 R. B. Benn, ‘I lift my eyes unto the mountains: from where shall my help come?’ (Ps. 121:1). Source: Benn, R. B. 1970. Les Psaumes. Lyon: Musee des Beaux-Arts.

Figure 12 Arthur Wragg, ‘Unto thee lift I up mine eyes, O thou that dwellest in the heavens’ (Psalm 123:1). Source: Wragg, A. 1934: The Psalms for Modern Life. New York: Claude Kendall.

Figure 13 Interpretation of singing of Psalm 134 in its earliest setting. Reproduced with the kind permission of David Mitchell, Director of Music in Holy Trinity Pro-Cathedral, Brussels; website https://brightmorningstar.org/wp-content/uploads/2020/06/Ps-134.pdf.

Figure 14 Arthur Wragg, ‘How long shall we sing the Lord’s song in a strange land?’ (Ps. 137:4). Source: Wragg, A. 1934: The Psalms for Modern Life. New York: Claude Kendall.

Figure 15 R. B. Benn ‘Let my prayer be set forth before thee as incense; and the lifting up of my hands as the evening offering’ (Ps 141:1‒2). Source: Benn, R. B. 1970. Les Psaumes. Lyon: Musee des Beaux-Arts.

Figure 16 Arthur Wragg, ‘I cried unto thee, O Lord: I said, Thou art my refuge and my portion in the land of the living’ (Ps. 142:5). Source: Wragg, A. 1934: The Psalms for Modern Life. New York: Claude Kendall.

Figure 17 A liturgical Score of the Ashrei (Psalm 144:15). Taken from F. L. Cohen (ed.) 1993:181. Source Massey, A., website https://alexandermassey.com/ashrei-yoshvei-veitecha)

Figure 18 Arthur Wragg, ‘Put not your trust in princes, nor in the son of man, in whom there is no help. His breath goeth forth, he returneth to earth; in that very day his thoughts perish’ (Ps. 146:34). Source: Wragg, A. 1934: The Psalms for Modern Life. New York: Claude Kendall.

Figure 19 The unexpected introduction to Psalm 150 by Ivor Stravinsky. Source: Public Domain/Creative Commons/Open Government (UK) Licence.

Plates

Plate 1 Psalm 74: ‘God works Salvation in the Midst of the Earth: The Birth of Christ.’ From The Eadwine Psalter, Trinity College M.17.1, fol. 128v (with permission from the Master and Fellows of Trinity College).

Plate 2 Psalm 78: David and the Unicorn. From TheStuttgart Psalter, Württembergische Landesbibliothek Stuttgart, Cod. Bibl M 23, fol. 108v (with permission from Württembergische Landesbibliothek, Stuttgart).

Plate 3 Psalm 81 (Latin 80) as the Sixth Liturgical Division: a Rotund Psalmist plays his Vielle to God. MS Canon Liturg 151, fol. 146v (with permission of The Bodleian Libraries, University of Oxford).

Plate 4 Psalm 84: A Figure points to Jerusalem’s Palaces and Towers. From The Parma Psalter, Biblioteca Paletina, Parma, MS Parm 1870 (Cod. De Rossi 510), fol. 119v (with permission from the owners of the facsimile of The Parma Psalter, at www.facsimile-editions.com).

Plate 5 Psalm 85: ‘Mercy and Truth are Met Together…’ . William Blake, c.1803, © Victoria and Albert Museum no. 9287 (with permission from the Victoria and Albert Museum, London).

Plate 6 Psalm 91: Christ tramples on a Lion and Serpent-Dragon: a Political Reading. Cover of The Douce Ivory, MS Douce 176 (with permission of The Bodleian Libraries, University of Oxford).

Plate 7 Psalm 95: Calls to Praise on a Shofar. From The Parma Psalter, Biblioteca Paletina, Parma, MS Parm 1870 (Cod. De Rossi 510), fol. 136v (with permission from the owners of the facsimile of The Parma Psalter, at www.facsimile-editions.com).

Plate 8 Psalm 98:1: Illuminated Initial ‘C’. Christ the Architect of the Universe, holding a Compass from The Bromheim Psalter MS Ashmole 1523, fol. 116v. (with permission of The Bodleian Libraries, University of Oxford).

Plate 9 Psalm 100 Reversed: The Ku Klux Klan deny Mercy and Justice. Philip Evergood, 1938–9, Jewish Museum New York No. 27477 (© Photo SCALA, Florence, with permission of Scala Group S.p.a.).

Plate 10 Psalm 102:6: The Pelican Feeds her Young as Christ feeds his Church. From The Theodore Psalter, British Library MS 19352, fol. 134r (with permission from the British Library Board).

Plate 11 Psalm 107: Psalms Book V Frontispiece. Donald Jackson, Scribe with Sally Mae Joseph. © 2004, The Saint John’s Bible, Saint John’s University, Collegeville, Minnesota, USA. Used by permission. All rights reserved.

Plate 12 Psalm 107: YHWH the Provider according to Moshe Tzvi HaLevi Berger, all rights reserved (www.museumofpsalms.com, reproduced with permission).

Plate 13 Psalm 107: God’s Deliverance from Storms at Sea. Thomas Denny: a stained glass window at the church of St. Mary, Whitburn, Durham Diocese (with permission of the Vicar and PCC of St. Mary’s Church, Whitburn).

Plate 14 Psalm 109: Illustrated Initial ‘D’. Judas, betrayer of Christ, hangs himself. From Le Psautier de Bertin, BMB MS 20 fol. 122v. (with permission of Bibliothèque municipal de Boulogne-sur-Mer).

Plate 15 Psalm 110: Christ at the Right Hand of the Father, in Conversation. From The History Bible, KB69B 10 fol. 31r. (with permission of the Koninklijke Bibliotheek, The Hague).

Plate 16 Psalm 110:1 Illustrated Initial ‘D’. Christ in Judgement Summons the Dead from their Graves. From TheOmer Psalter MS 39810 fol. 120r (with permission from the British Library Board).

Plate 17 Psalm 113: A Synagogue Scene illustrating the Celebration of Passover. From The Barcelona Haggadah, Catalonia, Add 14761 fol. 65v (with permission from the British Library Board).

Plates 18 and 19 Psalm 114: The Parting of the Waters, with English and19 and Hebrew text: God’s Creative Care. © Psalm 114, Hebrew and English illuminations, from I Will Wake the Dawn: Illuminated Psalms, by Debra Band. Jewish Publication Society, 2007 (with permission of the author).

Plate 20 Psalm 117: A Vespers Psalm: The Presentation of Mary in the Temple, holding the Hebrew text of Psalm 117. Alessandro Allori (1598). Altarpiece in the Duomo in Lucca. (© simonemphotography123.com).

Plate 21 Psalm 118:19–20: Christ Rides through the Gates of Jerusalem. From TheTheodorePsalter, British Library MS 19352, fol. 157v (with permission from the British Library Board).

Plate 22 Psalm 118: An invitation to Enter God’s Gates with Thanksgiving. From The Oppenheimer Siddur (Bodleian Ms. Opp. 776 Fol. 79b it).

Plate 23 Psalm 124:7: Our Soul is Escaped like a Bird out of the Snare of the Fowlers. © Benn, Les Psaumes. Lyon: Musee des Beaux-Arts, 1970 (no page numbers).

Plates 24 and 25 Psalm 126, with English and Hebrew text: © Psalm 126, Hebrew and English illuminations, from I Will Wake the Dawn: Illuminated Psalms, by Debra Band. Jewish Publication Society, 2007 (with permission of the author).

Plate 26 ‘By the Waters of Babylon’. From TheEadwine Psalter, Trinity College M.17.1, fol. 243v (with permission from the Master and Fellows of Trinity College).

Plate 27 Psalm 137:5 ‘If I forget you, O Jerusalem…’. Mosaic of Psalm 137 in the Chagall State Hall, Knesset (© ADAGP, Paris and DACS, London, 2020 ).

Plate 28 Psalm 148 fol. 41v: ‘Christus Rex’. From Les Très Riches Heures de Duc de Berry, Musée Condé Chantilly (© with permission from the Agence Photographique de la Réunion des musées nationaux).

Plate 29 Psalm 149:1: ‘Sing to the Lord a New Song’. From The Parma Psalter, Biblioteca Paletina, Parma, MS Parm 1870 (Cod. De Rossi 510), fol. 213b (with permission from the owners of the facsimile of The Parma Psalter, at www.facsimile-editions.com).

Plate 30 Psalm 150: ‘Praise the Lord!’. Marc Chagall’s stained glass window at Chichester Cathedral (© ADAGP, Paris and DACS, London, 2020).

Preface

It was almost twenty-five years ago when my initial conversations with Christopher Rowland and John Sawyer resulted in a contract to produce a volume on the Psalms in the Blackwell Bible Commentary Series. It took two years of research to recognise the size of a project which was to examine the Jewish and Christian reception history of the Book of Psalms over two and a half millennia. The first step required setting up a data base, both digitally and in hard copy, which would organise the vast amount of material into time periods and types of reception. Even with the support of several short-term research assistants, and two sabbaticals, I was not able to start writing what would become Volume One until 2004. Very soon I realised that this publication could not be an actual commentary: it was a distinctive cultural history of the Psalter, referring to selected psalms as examples of different types of reception.

Before submitting that manuscript I had to seek permission to extend this work to a second volume which would then become the commentary. Hence the title Psalms through the Centuries: Volume One for the 2008 publication. It then became clear that I could not write any commentary until I had created another data base, psalm by psalm, adapting the earlier prototype. There was no other Psalms Commentary like it to use as a model, so the preparation time, even given two more sabbaticals and several effective research assistants, took far longer than anticipated. The contract for the entire commentary (Volume Two), was mainly achieved through the mediation of the then Old Testament editors of the Wiley Blackwell Bible Commentary Series, John Sawyer (Newcastle) and David Gunn (Fort Worth), but it was ultimately dependent upon the extraordinary support of the then Publisher for Religion, Rebecca Harkin.

Using the general chronological and geographical framework established in Volume One, the commentary required a particular format for each psalm. I start by assessing each psalm as part of the process of compilation of the Psalter as a whole, for this represents the earliest stage of its reception in Hebrew; I then look at corresponding evidence from the Dead Sea Scrolls; this leads on to examining reception through translation, especially the Greek and Latin versions, which witness to both Jewish and Christian reception; I then turn to the Christian commentary tradition in the New Testament, Church Fathers, and Medieval and Reformation Commentators, and similarly the Jewish commentary tradition in the Midrash Tehillim, the Mishnah, the Targums, and Medieval Commentators. After this I assess non-verbal reception, especially the vast number of illustrated Psalters from the ninth-century onwards, both in the West and the East, at this point mainly Christian. This is followed by an evaluation of musical reception history, particularly from the fifteenth-century onwards, and thence to an assessment of poetic imitations of the psalms and their use in literature and film. At the final stage I explore the different sorts of discourse which develops from the seventeenth-century onwards—political, ethical, historical, and social.

Although I began writing up this commentary in 2011, I decided at the same time to undertake a more experimental work on just two psalms, looking at their reception history as comprehensively as possible. A Journey of Two Psalms: The Reception of Psalms 1 and 2 in Jewish and Christian Tradition was published by Oxford University Press in 2013. Its length was 140,000 words, and even allowing 70,000 words for each psalm, it was thirty-five times as much as I could allow for each of the 150 psalms in this present project. So for this Wiley-Blackwell commentary I tried to be as selective as possible, but by the time I had reached Psalm 89 the length was well over the limit originally agreed, and by 2015 it became clear that the commentary needed to be extended to a third volume. Understandably, these were difficult negotiations, and again I was extremely grateful to John Sawyer, David Gunn, Christopher Rowland, and Rebecca Harkin (in her new role as Publisher for Humanities) for being so persistent on my behalf. Volume Two was published in 2018, actually finishing at Psalm 72 to achieve the required word count: Psalm 89 would have been a more natural place, coming at the end of Book Three, but this was not a time to argue for niceties.1

As I gained speed from experience, Volume Three has taken only three years to write. The format is as for Volume Two, except that here I often approach more contentious psalms thematically, selecting two or three key issues arising from their reception, integrating these themes into the template outlined above. This third volume has been supported by two younger editors representing the Wiley Blackwell Commentary Series, Andrew Mein (St. Andrews) and Lena-Sofia Tiemeyer (Örebro). Their different skills have vastly improved this present manuscript: Lena has given it meticulous attention to detail and Andrew has brought to it many linguistic, musical and historical insights. I am equally grateful to Catriona King, now Director of the Global Publishing Team at John Wiley & Sons, and also to Juliet Booker, who did so much to promote the publication of Volume Two and prepare the way for Volume Three. Hannah Lee has taken important initiatives in the editorial management of this volume, and to my great relief both the copy-editor for Volume Two (Carolyn Holleyman) and the indexer for that volume (Caroline Jones) agreed to use their skills in this present volume as well.

Over this twenty-five year period it is difficult to single out the legacy of particular research assistants on this third volume. John Ritzema (London) and Natasha O’Hear (St. Andrews) deserve special mention, but Holly Morse (Manchester) undoubtedly stands out: she worked on the data base for both Volumes One and Two, and her contribution in matters of art history has been invaluable for Volume Three as well. Danny Crowther (Oxford) has also done sterling work, complementing Holly in his text-critical skills and in his passion for early Jewish reception. He has honed the data-base, making it more easy to access, managed the bibliographical resources, prepared many of the resources psalm by psalm, and has read through the text more times than I can remember. Lucinda Armstrong, undergraduate at Worcester and now a doctoral student, stepped in at the last minute to undertake some final proof-reading. I am grateful she did. Finally, I am also indebted to Eleanor Vivian, another undergraduate student turned graduate, now researching at Birmingham University, for her eagle eye for detail and her work on tedious end-projects such as the Glossary, list of Abbreviations, and the final Bibliography. It is now becoming a cliché, but it is nevertheless sincere: the mistakes that remain are solely my responsibility.

Volume Three was begun in employment and completed in retirement. In 2018 Worcester College and the Faculty of Theology and Religion together granted me one essential, final sabbatical. I owe a huge debt to Peter Groves for having taken on administrative and tutorial responsibilities in my absence: Peter’s insights at the academic level have provided a vital support throughout the entire project. I am also grateful for the use of the Bartlett Sisters’ Theology Fund, supported mainly by alumni from Worcester College, for this has paid for much of my research assistance. Various College Officers and Fellows at Worcester played a major part in launching this third volume: for all their practical support in so many ways my thanks extend to Afifi Al-Akiti, Mark Bainbridge, Coleen Day, Scott Scullion, Elizabeth Smith, Emma Standhaft, Carmy Strzelecki, and Phillipa Tarver.

Post retirement I have been dependent for ongoing funding from the trustees of the St. Luke’s College Foundation, Exeter. David Benzie and his trustees provided for the costs of the permissions and the production of images, and then also for payment of the indexing and other research assistance costs. Their continual support throughout this entire project has been vital.

Academic colleagues in the Faculty of Theology and Religion here at Oxford have provided much specialist advice. Above all I have valued the support of John Barton—mentor, colleague, and friend of over forty years. Other Faculty members who have also given this project their support in different ways include Hywel Clifford, John Day, John Goldingay, John Jarick, Justin Jones, Laura Quick, Frances Roach, Deborah Rooke, Katherine Southwood, and Jenn Strawbridge. Outside my Faculty Matthew Cheung-Salisbury has been a continuous source of encouragement: his unfailing patience has vastly improved my account of the musical and liturgical reception of different psalms. Outside Oxford, Nicolas Bell, Librarian of Trinity College, Cambridge, has offered me invaluable advice about various illustrated Psalters: the Eadwine Psalter appears many times in this volume and has been used in two of the Plates.

Two Oxford-based research centres have continued to provide new incentives. The Centre for the Reception History of the Bible has broadened my horizons of what reception is and does, and I am grateful to Chris Joynes, its director, for the opportunity to speak there and to learn from other projects. The Psalms Network which works under the auspices of The Oxford Research Centre in the Humanities (‘TORCH’) has been a major inspiration, not least through working with my co-founders, Francis Leneghan and Helen Appleton, whose expertise in Medieval English Literature as it impinges on the Book of Psalms has taught me much. Together we have produced a wide variety of events concerned with all aspects of the reception of psalmody, some of which have been incorporated here. Other TORCH members who deserve mention are Elizabeth Solopova (Oxford) who helped with my research on illuminated Psalters, and Beatrice Groves (Oxford) who has been a conversation partner on the psalms in Early Modern literature. Other members have freely allowed their own work to be used in this book: Roger Wagner (Oxford) and Michael Jessing (Peebles) have produced some of the artwork; David Mitchell (Brussels) has produced musical scores intuiting ancient psalmody; Alexander Massey (Oxford) has made invaluable contributions on Jewish psalmody; and Edward Clarke (Oxford) has offered several of his poems. Howard Goodall’s memorable performance and explanation of his own psalm compositions through the auspices of TORCH made me work on the relevant psalms in a new way, and Andy Mackay (Roxy music), also associated with TORCH, prompted me to study the reception history of other psalms in a different context, namely for his performance ‘3 Psalms’ at Southbank.

My membership of two societies has also been invaluable in this long-term project. The Society for Old Testament Study, for which I served as President from 2018 to 2019, has been an important resource in bringing together colleagues with distinctive sorts of expertise; they include James Aitken (Cambridge), Margaret Barker (Borrowash), Richard Briggs (Durham), David Clines (Sheffield), Katharine Dell (Cambridge), Graham Davies (Cambridge), David Firth (Bristol), Bill Goodman (Sheffield), Charlotte Hempel (Birmingham), Alastair Hunter (Glasgow), Philip Johnston (Cambridge), Paul Joyce (London), Shioban Dowling-Long (Cork), Heather McKay (Edge Hill), Jonathan Magonet (London), Sean Maher (Carlow), James Patrick (Oxford), Cat Quine (Nottingham), David Reimer (Edinburgh), David Shepherd (Dublin), Rebecca Watson (Market Harborough), Jenni Williams (Oxford), Hugh Williamson (Oxford) and Paul Winchester (Oxford). The Psalms Section of the Society for Biblical Literature has also been an ongoing resource: I am grateful for the support of Karl Jacobson (Minneapolis), Rolf Jacobson (Minnesota), Chris Jones (Jefferson City), Joel LeMon (Atlanta), and Brent Strawn (Durham, NC), and most especially Melody Knowles (Alexandria).

The legacies of †Erich Zenger, †Klaus Seybold, †Peter Flint, and †Frank-Lothar Hossfeld have been considerable, as my footnotes amply testify. Between the publication of Volume Two and Volume Three I have participated in various psalms projects globally, some in memoriam of these extraordinary colleagues, and hearing and giving papers and producing articles have offered me further insights in writing up the commentary. Colleagues who have been especially important include Johannes Bremer (Bochum), Alma Brodersen (Bern), Susan Docherty (Birmingham), Christian Frevel (Bochum), Erhard Gerstenberger (Marburg), Friedhelm Hartenstein (München), Bernd Janowski (Tübingen), Corinna Körting (Hamburg), Beate Kowalski (Dortmund), Dominik Markl (Rome), Nancy Rahn (Bern), Jonathan Schnocks (Münster), Till Steiner (Jerusalem), Åke Viberg (Stockholm), Beat Weber (Liestal), David Willgren (Örebro), and Alexandra Grund-Wittenberg (Marburg). My greatest debt, however, is to Hermann Spieckermann (Göttingen) for his insights, friendship, good humour, and continuous support. Collaborative work with American colleagues especially through the Society of Biblical Literature has also been important over these years, especially with Debra Band (Washington DC), Bill Bellinger (Baylor), Joseph Blenkinsopp (Notre Dame), William Brown (Columbia), Walter Brueggemann (Decatur), Dennis Tucker (Baylor), Clinton McCann (Saint Louis), Jamie McClung (Georgia), and Nancy deClaissé-Walford (Atlanta). I have been associated with Pro-Psalms, Faculty of Theology and Religion, University of Pretoria SA for nearly fifteen years, when I first became a research associate, and I acknowledge the continuing support of Dirk Human, Alphonso Groenewald, and Philip Botha. Finally, in giving named papers for Stefan Attard (Malta), and Giovanni Barbiero (Rome) I have gained invaluable insights from their advice and friendship.

Retirement meant a slight shift from academic community to church, not least because of my ordination to the Permanent Diaconate in 2018. Reception history is very much about performance as well as a written script, and the congregation at St. Barnabas’ Church have received, especially through Zoom during Lockdown, more papers on the Psalms than they probably would have chosen, but their support through conversations in the church and pub has been immeasurable. I am enormously grateful to Fr. Christopher Woods, who has trained me as a Deacon whilst understanding that I needed much time and space for academic work. In these latter stages he has been an exceptionally supportive colleague and friend. At the Diocesan level, +Steven, Bishop of Oxford, also the holder of a doctorate in the psalms, has been a seminal influence in challenging me to view the reception history of psalmody in a contemporary setting, especially during Lockdown. The community of Benedictines at Mucknell Abbey has been an important reminder of psalmody and the Opus Dei. I have also given several papers on the psalms before and during the Covid-19 pandemic at Exeter Cathedral, where I am Canon Theologian, and equally significant have been conversations with +Robert, Bishop of Exeter, Jonathan and Pamela Greener, Christopher Palmer, Morwenna Ludlow, and Clare Bryden.

Family members have grown old since the inception of this project. Volume One was dedicated to my long-suffering husband, Dick Smethurst, and I am as grateful now as then for his unfailing practical love and patient support. Volume Two was dedicated to my daughters, Abbie and Esther, who in their earlier years earned money to travel by working on the ever-expanding data base, and up to the present day their loving encouragement has kept me going. It seems appropriate to maintain family interests, and so in a work about reception through the centuries I am dedicating Volume Three to the next generation—to my three lovely grandchildren, Sophia and Noah Boutayeb, and Ayaan Gillingham-Ahmed.

1

John Sawyer sadly died in January 2022, so never saw the final publication of Volume Three, despite his ongoing investment in it. I owe him a good deal.

Abbreviations

All English citations are taken from the New Revised Standard Version and the enumeration of psalms and psalm verses follows that version unless otherwise stated. An Appendix is given on pp. 454–458

which indicates the different numbering of the psalms and psalm verses in the Hebrew, Greek and Latin versions respectively, and where these versions are cited directly in the text this enumeration is also given

.

A Glossary of Terms is found on pp. 459–472. Each

word or phrase explained in the Glossary is indicated with an asterisk (*) the first time it occurs in the commentary for each individual psalm

.

All websites were checked during January 2022 and were fully accessible up to that time.

Abbreviations

ABC

Anchor Bible Commentary

ACCS

Ancient Christian Commentary on Scripture

ACTP

Ambrose:

Commentary on Twelve Psalms

ACW

Ancient Christian Writers

AIL

Ancient Israel and its Literature

ALW

Archiv für Liturgiewissenschaft

AnSac

Analecta sacra et classica spicilegio solesmensi

.

AOAT

Alter Orient und Altes Testament

ATANT

Abhandlungen zur Theologie des Alten und Neuen Testaments

BASOR

Bulletin of the American Schools of Oriental Research

BBB

Bonner biblische Beiträge

BETL

Bibliotheca Ephemeridum Theologicarum Lovaninensium

BHT

Beiträge zur historischen Theologie

Bib

Biblica

BTT

Bible de tous les temps

BThSt

Biblisch-theologische Studien

BZ

Biblische Zeitschrift

BZAW

Beihefte zur Zeitschrift fur die alttestamentliche Wissenschaft

CBQ

Catholic Biblical Quarterly

CCL

Corpus Christianorum Series Latina (Turnhout, Belgium: Brepols. 1953–)

CTJ

Calvin Theological Journal

CurTM

Currents in Theology and Mission

EETS

Early English Texts Society

EJL

Early Judaism and its Literature

Est Bib

Estudios bíblicos

EV

English Version

Exp

Expositor

ExpTim

Expository Times

FAT

Forschungen zum Alten Testament

FC

Fathers of the Church: A New Translation (Catholic University of America Press, Washington, DC: 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

JANES

Journal of the Ancient Near Eastern Society

JBL

Journal of Biblical Literature

JHS

Journal of Hebrew Scriptures

JQR

Jewish Quarterly Review

JSNTSup

Journal for the Study of the New Testament Supplement Series

JSOT

Journal for the Study of the Old Testament

JSOTSup

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.)

LHBOTS

The Library of Hebrew Bible/Old Testament Studies

LNTS

Library of New Testament Studies

MusicLett

Music and Letters

NCB

New Century Bible Commentary

NICOT

New International Commentary on the Old Testament

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

OBO

Orbis biblicus et orientalis

OECS

Oxford Early Christian Studies

OrChrAn

Orientalia Christiana Analecta

OTE

Old Testament Essays

. (The Old Testament Society of Southern Africa [OTSSA])

OtSt

Oudtestamentische Studiën

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

RES

The Review of English Studies

RevQ

Revue de Qumran

SBB

Stuttgarter biblische Beiträge

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

StBibLit

Studies in Biblical Literature

STDJ

Studies on the Texts of the Desert of Judah

STSA

Studi e testo di storia antica

StPat

Studia Patristica

StTh

Studia Theologica

SymS

SBL Symposium Series

TGUOS

Transactions of the Glasgow University Oriental Society

TNTC

Tyndale New Testament Commentaries

ThLZ

Theologische Literaturzeitung

TS

Theological Studies

TU

Texte und Untersuchungen zur Geschichte der altchristlichen Literatur

UCOP

University of Cambridge Oriental Publications

VT

Vetus Testamentum

VTSup

Supplements to Vetus Testamentum

WBC

Word Biblical Commentary

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–

WTJ

Westminster Theological Journal

WUNT

Wissenschaftliche Untersuchungen zum Neuen Testament

YJS

Yale Judaica Series

ZAW

Zeitschrift für die alttestamentliche Wissenschaft

ZThK

Zeitschrift für Theologie und Kirche

Abbreviations of Greek and Latin Works

Justin Martyr

1 Apol.

First Apology

Dial.

Dialogue with Trypho

Augustine of Hippo

Enarrat. Ps.

Enarrationes in Psalmos/ Expositions on the Psalms

Civ.

The City of God

Conf.

Confessions

Origen

Sel. Ps.

Selection from the Psalms

Cassiodorus

Exp. Ps.

Expositio psalmorum/ Explanation of the Psalms

Theodoret

Com. Ps.

Commentary on the Psalms

Eusebius

Com. Ps.

Commentary on the Psalms

Basil

Hom. Ps

.

Homilies on the Psalms

Jerome

Tract. Ps

.

Tractus in Psalmos

Ambrose

Exp in Ps

Explanations of Psalms

Athanasius

Interp. Ps

.

Interpretation of the Psalms

Abbreviations of Talmudic and Mishnaic Works

Avot

.

Pirkei Avot

Ber

.

b.Berakhot

Sop

.

Sopherim

Ros Has

.

b.Rosh HaShanah

Sanh

.

b.Sanhedrin

BOOK THREE: PSALMS 73–89 Remembering, Human and Divine

Book Three is a selection of seventeen psalms, mainly communal in tone, whose shared themes include the destruction of the temple, the dispersion of the people and the humiliation of the king. Two early crises seem to have given rise to the composition and preservation of these psalms: the defeat of the northern kingdom by Assyria (722–21 BCE), and the defeat of the southern kingdom of Judah by Babylon (597–96 and 587–86 BCE). As for their reception history, most of these psalms have been interpreted further in the light of other later crises, such as the desecration of the Temple under Antiochus Epiphanes in c. 167 BCE, the fall of Jerusalem under Titus in 70 CE, the fall of Rome in 410 CE, the fate of Jerusalem during the Crusades in 1099 CE and 1187 CE, and, later, the fate of Constantinople in 1204 CE and 1453 CE. The earliest Assyrian and Babylonian crises nevertheless left an indelible mark on these psalms: often these two invasions merge together, sometimes reflecting in part a northern Israelite experience,1 and sometimes in part a southern Judean one.2 The theme of exile dominates this entire collection—a theme which is developed further in the seventeen psalms of Book Four. But whereas some answers are offered in Book Four, here in Book Three, the questions about theodicy, almost always from the point of view of the entire people, are more prominent.3 Here the psalmists wrestle with the problems of injustice, both human and divine, alongside the importance (and problem) of memory in recalling the past, asking whether God has forgotten them because they had forgotten God.4

Again the process of compilation constitutes the first stage of reception. In this case, the compilers seem to have arranged Book Three as a series of questions. ‘Has God forgotten to be gracious?’, and ‘How Long, O Lord?’, and ‘Will you be angry for ever?’ emerge frequently in these psalms (see for example 77:7–9; 79:5; 80:4; 82:2; 89:46), and whenever a partial answer is given, it is overtaken by further questions in a following psalm. Two main collections are discernible here seen in the headings ‘A Psalm of Asaph’ (73–83) and ‘A Psalm of the Sons of Korah’ (84, 85 and 87). Those with less clear headings (86, 88 and 89) may have other *Korahite associations; this would explain why they have been included into these collections. The *Asaphite collection has two sub-groups of five psalms (73–77 and 79–83), with Psalm 78, a more didactic psalm, playing a pivotal role at the heart of the whole collection, reflecting on the importance of remembering God’s covenant, first with Moses and then with David. The Korahite collection comprises six psalms (counting in Psalms 86, 88 and 89 here). Psalm 89, at the very end of Book Three, might be compared to Psalm 78: it also takes up the theme of remembering, but the focus here is only on God’s covenant with David, and (unlike Psalm 78) it ends with a cry of desolation because God seems to have forgotten (89:38–51) rather than remembered (78:67–72).5 The following analysis will start with the placing of individual psalms into coherent collections, noting that this work by the compilers marks the first stage in the process of reception.

Psalms 73–83: The Asaphite Collection: ‘How Long, O Lord?’

Looking at the first part of Book Three, it seems that the editors carefully combined the end of the so-called ‘Davidic Psalter’ (Psalms 51–72) in Book Two with the beginning of Book Three. Psalm 72 (Book Two) reflects positively on the importance of justice whilst 73 (Book Three) considers the consequences of injustice in the world. Both 73:3 and 72:3 contrast the ‘prosperity’ (shalom) of the faithful people and the wicked; and 73:6, 72:14, 73:8 and 72:4 speak of the effects of ‘violence’ (ḥamas) and ‘oppression’ (‘osheq) on the poor.

The entire *Asaphite collection (Psalms 73–83), set in the heart of the entire Psalter, is possibly the oldest part of it. As we have noted, it has many references to the northern kingdom (and so some of it must precede 721–22 BCE when the kingdom fell), and its nationalistic and militarist focus, reminiscent of the prophetic voice in this period, suggests some psalms were composed before the exile. It is a coherent collection, set in two parts (73–77, 78–83) to which Psalm 50 also belongs: as noted in Volume Two, the Second Davidic Psalter (51–72) is enclosed by Asaphite psalms (50, 73–83).6

Psalms 73–77: ‘Has God Forgotten to be Gracious?’

Psalms 73–77, the first *Asaphite sub-group, is a collection with several internal correspondences. For example, Psalms 73 and 74 each reflect on the absence of God, from a context of violence and blasphemy. 73 is a psalm of instruction; 74 is a communal lament. 75 and 76 are set as two divine responses to these questions, affirming that God’s presence is still in Zion. 77 is an individual lament.7 The theme of ‘violence’ (ḥamas) in 73:6 is continued in 74:20; 73:23 speaks of being held by God’s ‘right hand’ (yad-yemini) whilst 74:11 asks why God has withdrawn his ‘hand’ (yad); 73:17 refers to God in his sanctuary (miqdeshe-’el, or ‘the sanctuaries of God’) and 74:7 also refers to the sanctuary (miqdashekha, or ‘your sanctuary’) which has been set on fire. Other shared themes in the entire collection are of a common experience of God’s anger (Pss. 74:1; 75:8; and 76:7); an affirmation of God’s Name (Pss. 74:10, 18, 21; 75:1; and 76:1); and pleas to God to judge fairly (Pss. 74:22; 75:2, 7; 76:8–9). Other inter-psalm connections include the term ‘God of Jacob’ in 75:9 and 76:6, the centrality of Zion in 74:2 and 76:2, and the pleas to God not to forget (’al-tishkaḥ, or ‘do not forget!’) in Pss. 74:23 and 77:9.

Psalm 73: A Didactic Psalm about the Impious

Psalm 73 stands not only at the beginning of Book Three but close to the centre of the Psalter. It is both protest and affirmation: it questions the rewards for obedient faith expressed in Psalm 1 (see 73:2–14) yet it ultimately affirms the vision of Psalm 150 where God is praised (see 73:23–26).8 It contains three strophes (vv. 1–12; 13–17; and 18–28), each starting with ‘truly, indeed’ (’ak). Verses 1–17 reflect on the problems and possibilities of the injustice in the world, whilst verses 18–28 address God: here there is an unusual ‘vision’ of God and some rare reflections about life beyond death. In terms of its reception history, it stands somewhat apart from the other psalms in the *Asaphite collection because of its more personal nature and its consideration of universal themes of justice.

The first issue in its reception is one of translation in the first verse: is God good ‘to Israel’ or ‘to the upright’? Some manuscripts divide these words differently in Hebrew, and because the vowels were a later addition it is possible to insert different vowels or break the line in a different place—both of which change the meaning.9 ‘God is good to Israel, to the pure in heart’ (tob leyisra’el elohim: lebarei lebab), which the Greek translation also follows, gives the psalm a more national tenor; ‘God is good to the upright, Elohim to the pure in heart’ (tob leyasar ’el: elohim lebarei lebab) suggests more individual concerns. Given that all the other Asaphite psalms have more communal interests, ‘to Israel’ is probably preferable; but the psalm is undoubtedly more personal than the others, and this small issue of translation can change the emphasis and so the reception of the psalm.

The first part of verse 4 presents another problem: the Hebrew reads literally ‘for they have no torment in their death’, although the NRSV reads ‘For they have no pain’ (with no reference to death). The Greek however translates ‘torment’ as ananeusis, a feminine noun found nowhere else in the *Septuagint, probably from the verb ‘to refuse, reject’ and a loose translation of the Greek would be, literally, ‘There is no refusal for their death’, that is ‘For they refuse death’. The *Vulgate reads this a little differently: ‘non est respectus morti eorum’ which could mean, simply, ‘they have no care about their death’.10 This could however be translated (in the light of the interest in death in verses 23–24) as ‘the wicked will not return from death’ which alters the meaning altogether.11

Another example is an additional phrase in the Greek at the end of the psalm (not brought out in the NRSV) which gives the psalm a more national bias: the final phrase reads ‘to tell of all your works in the gates of the daughter Sion’.12

*Targum reads verse 1 as being about ‘Israel’, and the mockery and pride of the ‘wicked’ in verses 2–9 relate to the Gentiles who threaten the entire people. Verse 10 is amended to read ‘Therefore he is returning for the sake of the people of the Lord, and they shall strike them with hammers and cause many tears to run down’. Verses 18–20 are also about the Gentiles: ‘…as a dream from a drunken man who awakens, O Lord, at the day of the great judgement when they awake from their graves, with anger you will despise their image.’13 Here a personal reading has been absorbed into a communal one.

There is no evidence of this psalm in the New Testament. Later Christian commentary is not very creative with it, although, unlike Jewish readings, the psalm is usually seen in more personal terms in its view of the good life in the face of death. According to *Ambrose, it is about ‘growth in moral perfection’: it is important to rejoice in chastisement, knowing that future consolation will come, for the peace of sinners is deceptive.14 Ambrose also ‘Christianises’ the psalm by reading the reference to God holding the psalmist’s ‘right hand’ (verse 23), as meaning our holding of Christ’s right hand, so that we possess Christ alone in heaven.15 *Augustine is mainly interested in the moral impact of this psalm: he compares verses 15–20 (describing the fate of the wicked) with the parable of Abraham and Lazarus in Luke 16:20–31.16