46 And about three o'clock Jesus cried out in a loud voice, "Eli, Eli, lema sabachthani?" 28 which means, "My God, my God, why have you forsaken me?" เชิงอรรถ 28 [46] Eli, Eli, lema sabachthani?: Jesus cries out in the words of Psalm 22:2, a psalm of lament that is the Old Testament passage most frequently drawn upon in this narrative. In Mark the verse is cited entirely in Aramaic, which Matthew partially retains but changes the invocation of God to the Hebrew Eli, possibly because that is more easily related to the statement of the following verse about Jesus' calling for Elijah. Souce://www.nccbuscc.org/nab/bible/matthew/matthew27.htm
Psalms From: The Columbia Encyclopedia, Sixth Edition
Psalms or Psalter , book of the Bible, a collection of 150 hymnic pieces. Since the last centuries BC, this book has been the chief hymnal of Jews, and subsequently, of Christians. The hymns are of varying date and authorship, but many are ascribed to David , and some to Asaph 1, Solomon , Moses , and the sons of Korah . Many scholars believe that some of the Psalms originated in David's time and some even earlier. Most of them, however, took their present form between c.538 BC (when the Jews returned from Babylonian exile) and c.100 BC According to the Hebrew text, the Psalms are divided into five books: Psalms 1-41; 42-72; 73-89; 90-106; 107-150. The poems vary ...
Writings n : the third of three divisions of the Hebrew Scriptures [syn: {Hagiographa}, {Ketubim}, {Writings}]
Our chief witness to Massorah is the actual text of manuscripts of the Hebrew Bible
Hebrew Bible includes the entire Old Testament with the exception of the seven deuterocanonical books, Tobias, Judith, Wisdom, Ecclesiasticus, Baruch, I and II Machabees, and the deuterocanonical portions of Esther (x, 4 to end) and Daniel (iii, 24-90; xiii; xiv). Hebrew was the original language of Ecclesiasticus, most probably also of Baruch and I Machabees, and either Hebrew or the closely allied Aramaic, of Tobias, Judith, and the additions to Esther; also, according to some, the additions to Daniel. Even if several of these books were written in Aramaic, Source://www.newadvent.org/cathen/07175a.htm
The Psalter, or Book of Psalms หรือหนังสือ บทเพลงสดุดี เป็หนังสือแรก ที่เขียน "Writings" (Kethubhim or Hagiographa), i.e. of the third section of the printed Hebrew Bible อยู่ใน ส่วนที่ 3 ของฮิบรูไบเบิ้ล ของฮิบรูไบเบิ้ล เป็นที่ยอมรับอยากมากมาย ในส่วนแรกและส่วนที่ 2
นั้นคือ กฎเกณ ระเบียบ ของประกาศก หนังสือจะเหมือนกะ ของ พระคัมภีร์ The Talmudic list 14 bThe Talmudic list (Baba Bathra 14 b) gives Ruth precedence to Psalms
เรียงลำดับต่อมาคือ บทเพลงสดุดี St. Jerome heads the "Writings" with Psalms, "Epistola ad Paulinum" (P.L., XXII, 547); with Job in his "Prologus Galeatus" (P.L., XXVIII, 555). Many Masoretic manuscripts, especially Spanish, begin the "Writings" with Paralipomena or Chronicles. German Massoretic หนังสือที่เขียนด้วยลายมือ,เอกสารเขียนด้วยมือก่อให้เกิด หนังสือ The Kethubhim ของฮิบรูไบเบิ้ล ฉบับใหม่ Septuagint[N] พระคัมภีร์ไบเบิลฉบับเก่า, แปลเป็นภาษากรีกในช่วงศตวรรษที่ 2 และ 3 ก่อนคริสตกาล และหนังสือ พระคัมภีร์ไบเบิ้ลฉบับเก่าใส่ บทเพลงสดุดี แรก ระหว่างespecially the wisdom of God ในเวลาต่อมา ใน "Cod. Alexandrinus",เป็ฯส่วนหนึ่งของ section ที่ 3 และตามด้วย ประกาศก (The Prophets) The Clementine Vulgate มี บทเพลงสดุดี และ พระคัมภีร์ไบเบิ้ลฉบับเก่า ในsection ที่ 2 ของหนังสือ
A. NUMBER The printed Hebrew Bible lists 150 psalms. ฮิบบรู ไบเบิ้ลที่พิมพ์ มีบทเพลงสดุดี 150 บท จำนวนไม่น้อยกว่าฉบับMassoretic หนังสือที่เขียนด้วยลายมือ ที่เก่ากว่า Septuagint พระคัมภีร์ไบเบิ้ลฉบับเก่า ฉบับที่เขียนด้วยลายมือ (Codd. Sinaiticus, Vaticanus, and Alexandrinus)ให้มี 151 บท แต่ โดยเจตนาแจ่มแจ้ง แถลงการ นั้น บทสดุดีบทสุดท้าย ไม่เป็นที่ยอมรับทางศาสนา บทเพลงสดุดีถูกเขียนโดย David ที่เขียนด้วยลายมือท่านเอง ไม่ได้อยู่ในลำดับจำนวนบทเพลงสดุดี exothen tou arithmou
(Codd. Sinaiticus, Vaticanus, and Alexandrinus)give 151, but expressly state that the last psalm is not canonical: "This psalm was written by David with his own hand and is outside the number", exothen tou arithmou.
The Vulgate (คัมภีร์ไบเบิลภาษาละตินในศาสนาคริสต์นิกายโรมันคาทอลิก)ได้นับตามอย่างของ the Septuagint พระคัมภีร์ไบเบิลฉบับเก่า, (แปลเป็นภาษากรีกในช่วงศตวรรษที่ 2 และ 3 ก่อนคริสตกาล) แต่เว้น Ps. cli.ความแตกต่าง ในการนับ บทเพลงสดุดี ระหว่าง ฮิบรูกะ Vulgate เนื้อหา มีดังรายการต่อไปนี้
ในแนวคิดปฎิบัติตามหัวข้อ In the course of this article, เราจะตามและนับประเภทของ ฮิบรู และthe Septuagint and Vulgate แต่ละการนับมีข้อดีและข้อบกพร่อง ทั้งสอง ประเภท
The Psalter is divided into five books. Each book, save the last, ends with a doxology. These liturgical forms differ slightly. All agree that the doxologies at the end of the first three books have nothing to do with the original songs to which they have been appended. Some consider that the fourth doxology was always a part of Ps. cvi (cv) (cf. Kirkpatrick, "Psalms", IV and V, p. 6343). We prefer, with Zenner-Wiesmann (op. cit., 76) to rate it as a doxology pure and simple. The fifth book has no need of an appended doxology. Ps. cl, whether composed as such or not, serves the purpose of a grand doxology which fittingly brings the whole Psalter to its close.
(a) the author, or, perhaps, collection; ผู้เขียน (b) the historical occasion of the song; ประวัติศาสตร์ เพลงดั้งเดิมพื้นเมือง (c) its poetic characteristics; ลักษณะของกวี (d) its musical setting;บทเพลง (e) its liturgical use. พิธีกรรมที่ใช้
Al-Yeduthun, in Pss. lxii and lxxvii (lxi and lxxvi), where the preposition al might lead one to interpret Yeduthun as a musical instrument or a tune. In the title to Ps. xxxix (xxxviii), "of the Director, of Yeduthun, a song of David", Yeduthun is without al and seems to be the Director (Menaççeah) just spoken of. That David had such a director is clear from 1 Chronicles 16:41.
(b) Titles indicating the historical occasion of the song
Thirteen Davidic psalms have such titles. Pss. vii, xviii, xxxiv, lii, liv, lvi, lvii, lix, cxlii (vii, xvii, xxxiii, li, liii, lv, lvi, lviii, cxli) are referred to the time of David's persecution by Saul; Ps. lx (lix) to that of the victories in Mesopotamia and Syria; Ps. li(l) to his sin; Pss. iii and lxiii (lxii) to his flight from Absalom.
c) Titles indicating poetic characteristics of the psalm
Mizmor (; Septuagint, psalmos; Vulg., psalmus; a psalm), a technical word not used outside the titles of the Psalter; meaning a song set to stringed accompaniment. There are 57 psalms, most of them Davidic, with the title Mizmor.
Shir (; Septuagint, ode; Vulg., Canticum; a song), a generic term used 30 times in the titles (12 times together with Mizmor), and often in the text of the Psalms and of other books. In the Psalms (xlii, 9; lxix, 31; xxviii, 7) the song is generally sacred; elsewhere it is a lyric lay (Genesis 31:27; Isaiah 30:29), a love poem (Cant., i, 1.1), or a bacchanalian ballad (Isaiah 24:9; Ecclesiastes 7:5).
Maskil (; Septuagint, synedeos, or eis synesin; Vulgate intellectus or ad intellectum), an obscure form found in the titles of 13 psalms (xxxii, xlii, xliv, xlv, lii, lv, lxxiv, lxxviii, lxxxviii, lxxxix, cxliv). (a) Gesenius and others explain "a didactic poem", from Hiph'il of (cf. Psalm 32:8; 1 Chronicles 28:19); but only Pss. xxxii and lxxviii are didactic Maskilim. (b) Ewald, Riehm and others suggest "a skilful artistic song", from other uses of the cognate verb (cf. 2 Chronicles 30:22; Psalm 47:7); Kirkpatrick things "a cunning psalm" will do. It is difficult to see that the Maskil is either more artistic or more cunning than the Mizmor. (c) Delitzch and others interpret "a contemplative poem"; Briggs, "a meditation". This interpretation is warranted by the usage of the cognate verb (cf. Isaiah 41:20; Job 34:27), and is the only one that suits all Maskilim.
Tephillah (); Septuagint, proseuche; Vulg., oratio; a prayer), the title to five psalms, xvii, lxxxvi, xc, cii, cxlii (xvi, lxxv, lxxxix, ci, cxli). The same word occurs in the conclusion to Bk. II (cf. Ps. lxxii, 20), "The prayers of David son of Yishai have been ended". Here the Septuagint hymnoi (Vulgate, laudes) points to a better reading, , "praise".
Tehillah (; Septuagint, ainesis; Vulg., laudatio; "a song of praise"), is the title only of Psalm 145.
Mikhtam (; Septuagint, stelographia or eis stelographian; Vulg., tituli inscriptio or in tituli inscriptionem), an obscure term in the title of six psalms, xvi, lvi-lx (xv, lv-lix), always to "of David". Briggs ("Psalms", I, lx; New York, 1906) with the Rabbis derives this title from , "gold". The Mikhtamim are golden songs, "artistic in form and choice in contents".
Shiggayon (; Septuagint merely psalmos; Vulg., psalmus; Aquila, agnonma; Symmachus and Theodotion, hyper agnoias; St. Jerome, ignoratio or pro ignoratione), occurs only in the title to Ps. vii. The root of the word means "to wander", "to reel", hence, according to Ewald, Delitzch, and others, the title means a wild dithyrambic ode with a reeling, wandering rhythm.
(d) Titles indicating the musical setting of a psalm (a specially obscure set)
Eight titles may indicate the melody of the psalm by citing the opening words of some well-known song:
Nehiloth (; Septuagint and Theodotion, hyper tes kleronomouses; Aquila, apo klerodosion; Symmachus, hyper klerouchion; St. Jerome, super haereditatibus; Vulg., pro ea quae haereditatem consequitur), occurs only in Ps. v. The ancient versions rightly derive the title from , "to inherit"; Baethgen ("Die Psalmen", 3rd ed., 1904, p. xxxv) thinks Nehiloth was the first word of some ancient song; most critics translate "with wind instruments" wrong assuming that Nehiloth means flutes (, cf. Is. xxx, 29).
Al-tashheth [; Septuagint, Aquila, Symmachus, peri aphtharsias, except Ps. lxxv, Symmachus, peri aphtharsias; St. Jerome, ut non disperdas (David humilem et simplicem); Vulg., ne disperdas or ne corrumpas], in Pss. lvii-lix, lxxv (lvi-lviii, lxxiv), meaning "destroy not", may be the beginning of a vintage song referred to in Is., lxv, 8. Symmachus gives, in title to Ps. lvii, peri tou me diaphtheires; and in this wise suggests that originally preceded .
Al-Muth-Labben (; Septuagint, hyper ton kyphion tou yiou; Vulg., pro occultis filii, "concerning the secret sins of the son"; Aquila, hyper akmes tou hiou, "of the youth of the son"; Theodotion, hyper akmes tou hyiou, "concerning the maturity of the son") in Ps. ix, probably means "set to the tune 'Death Whitens'".
Al-ayyeleth hasshahar (; Septuagint, hyper tes antilepseos tes heothines; Vulg., pro susceptione matutina, "for the morning offering"; Aquila, hyper tes elaphou tes orthines; Symmachus, hyper tes boetheias tes orthines, "the help of the morning"; St. Jerome, pro cervo matutino), in Ps. xxii (xxi, very likely means "set to the tune 'The Hind of the Morning'".
Al Shoshannim in Pss. xlv and lxix (xliv and lxviii), Shushan-eduth in Ps. lx (lix), Shoshannim-eduth in Ps. lxxx (lxxix) seem to refer to the opening of the same song, "Lilies" or "Lilies of testimony". The preposition is al or el. The Septuagint translates the consonants hyper ton Alloiothesomenon; Vulg., pro iis qui commutabuntur, "for those who shall be changed".
Al Yonath elem rehoqim, in Ps. lvi (lv) means "set to 'The dove of the distant terebinth'", or, according to the vowels of Massorah, "set to 'The silent dove of them that are afar'". The Septuagint renders it hyper tou laou tou apo ton hagion memakrymmenou; Vulg., pro populo qui a sanctis longe factus est, "for the folk that are afar from the sanctuary". Baethgen (op. cit., p. xli) explains that the Septuagint understands Israel to be the dove; reads elim for elem, and interprets the word to mean gods or sanctuary.
'Al Mahalath (Ps. liii), Mahalath leannoth (Ps. lxxxviii) is transliterated by the Septuagint Maeleth; by Vulg., pro Maeleth. Aquila renders epi choreia, "for the dance"; the same idea is conveyed by Symmachus, Theodotion, Quinta, and St. Jerome (pro choro). The word 'Al is proof that the following words indicate some well-known song to the melody of which Pss. liii and lxxxviii (lii and lxxxvii) were sung.
'Al-Haggittith, in titles to Pss. viii, lxxxi, lxxxiv (vii, lxxx, lxxxiii). The Septuagint and Symmachus, hyper ton lenon; Vulg., and St. Jerome, pro torcularibus, "for the wine-presses". They read gittoth, pl. of gath. The title may mean that these psalms were to be sung to some vintage-melody. The Massoretic title may mean a Gittite instrument (Targ., "the harp brought by David from Gath"), or a Gittite melody. Aquila and Theodotion follow the reading of Masorah and, in Ps. viii, translate the title hyper tes getthitidos; yet this same reading is said by Bellarmine ("Explanatio in Psalmos", Paris, 1889), I, 43) to be meaningless.
One title probably means the kind of musical instrument to be used.
Neginoth (; Septuagint, en psalmois, in Ps. iv, en hymnois elsewhere; Vulg., in carminibus; Symmachus, dia psalterion; St. Jerome, in psalmis) occurs in Pss. iv, vi, liv, lxvii, lxxvi (iv, vi, liii, liv, lxvi, lxxv). The root of the word means "to play on stringed instruments" (1 Samuel 16:16-18, 23). The title probably means that these psalms were to be accompanied in cantilation exclusively "with stringed instruments". Ps. lxi (lx) has Al Neginath in its title, and was perhaps to be sung with one stringed instrument only.
Two titles seem to refer to pitch. Al-Alamoth (Psalm 46), "set to maidens", i.e., to be sung with a soprano or falsetto voice. The Septuagint renders hyper ton kryphion; Vulg., pro occultis, "for the hidden"; Symmachus, hyper ton aionion, "for the everlasting"; Aquila, epi neanioteton; St. Jerome, pro juventutibus, "for youth".
Al-Hassheminith (Pss. vi and xii), "set to the eighth"; Septuagint, hyper tes ogdoes; Vulg., pro octava. It has been conjectured that "the eighth" means an octave lower, the lower or bass register, in contrast with the upper or soprano register. In I Pr., xv, 20-21, Levites are assigned some "with psalteries set to 'Alamoth'" (the upper register), others "with harps set to Sheminith" (the lower register).
Source://www.newadvent.org/cathen/12533a.htm
Written by Walter Drum. Transcribed by Thomas M. Barrett. Dedicated to the memory of Rev. A.J. Maas, S.J. The Catholic Encyclopedia, Volume XII. Published 1911. New York: Robert Appleton Company. Nihil Obstat, June 1, 1911. Remy Lafort, S.T.D., Censor. Imprimatur. +John Cardinal Farley, Archbishop of New York
ในการสรุปจากหัวข้อข้างบน ไม่เพียงแค่ ชาวยิว และชาวคริส พระคัมภีร์พันธสัญญาเก่า เป็นการเปิดเผยความจริงของ การประพันธ์ บทเพลงสดุดี อย่างสำคัญที่สุด ของหัวเรื่อง. ที่ปรากฎเหล่านี้ พิจารณาว่า ความหลากหลายของบทเพลงสดุดี เป็ฯพิเศษ ในหนังสือ 1-3 คือ David Asaph the Korah Solomon Moses and others.
James J. Tissot (1836-1902, French artist and illustrator), detail of "David Singing" (1896-1900), watercolor. Psalms 57:7. Larger image.
(1) David .
มี 73 หัวเรื่องของบทเพลงสดุดี ใน Massoretic เนื้อหาต้นฉบับ และ บางบท ที่ปรากฎใน Septuagint[N] พระคัมภีร์ไบเบิลฉบับเก่า, แปลเป็นภาษากรีกในช่วงศตวรรษที่ 2 และ 3 ก่อนคริสตกาล David กะคือผู้ประพันธ์ cf. Pss. iii-xli (iii-xl), i.e. all of Bk. I save only x and xxxiii; Pss. li-lxx (l-lxix), except lxvi and lxvii, in Bk. II; Ps. lxxxvi (lxxxv) of Bk. III; Ps. ciii (cii) in Bk. IV; Pss. cviii-cx, cxxii, cxxiv, อักษรโรมันอ่านไม่ออกงะ
"And David spoke to Jahweh the words of this song in the day that Jahweh saved him from the grasp of his foes and out of the hands of Saul, and he said: 2. Jahweh is my Cliff, my Fortress, my Way of Escape, 3. My God, my Rock to Whom I betake me, My Shield, the Horn of my salvation, my Tower. My Refuge, my Saviour, from wrong dost Thou save me. 4. Shouting praise, I cry to Jahweh, And from my foe I get salvation".
เชิงอรรถ รายชื่อการจัดกลุ่มหมวดหมู่ นักร้อง 24 ในพระวิหารและสมดุลกะ24 ของกลุ่ม นักบวช (1 Chron 24:4-19). 9 ชื่อสุดท้ายใน 1 Chron 25:4ที่ปรากฎเป็นกลุ่มพิเศษ ดั้งเดิมที่แยกออกมา ในส่วนขอเพลงสรรเสริญ,เพลงสวด,บทสวดสรรเสริญพระเจ้า กับการเปล่งเสียง เบาเบา "Have mercy on me, O LORD," "Have mercy on me," "You are my God," "I magnify," "I extol the help of . . . ," "Sitting in adversity," "I have fulfilled," "He made abundant," and "Visions."
Asaph is accredited, by the titles, with twelve psalms, l, lxxiii-lxxxiii (xlix, lxxii-lxxxii).
บทเพลงสดุดีเหล่านี้ แสดงความเป็นธรรมชาติและ เข้ากับ การแพร่หลาย แตกแยกเกี่ยวกับช่วงเวลาในประวัติศาสตร์ ของชาวยิว Ps. lxxxiii (lxxxii), ถึงแม้ว่า ได้กำหนดจาก Briggs ("Psalms", New York, 1906, p. lxvii)ช่วงเวลาในประวัติศาสตร์ ตอนต้นของชาวเปอร์เซียน ได้เคยประพันธ์ ที่ปรากฎถึงความหายนะ โดยการกระทำของชาว Assyrian ได้รุกราน of Tiglath-pileser III in 737 B.C. Ps. lxxiv (lxxiii) และประพันธ์โดย as Briggs เป็ฯการสัญนิฐานคาดเดา ระหว่างช่วงเวลา the Babylonian Exile, หลังจากปี 586 B.C. Asaph was a Levite, the son of Barachias (1 Chronicles 6:39), and one of the three chiefs of the Levitical choir (1 Chronicles 15:17). The "sons of Asaph" were set aside "to prophesy with harps and with psalteries and with cymbals" (1 Chronicles 25:1). มันเป็นข้อเท็จจริงที่น่าจะเป็นไปได้ สมาชิกของครอบครัวรวบรวมแต่งเพลงบทเพลงสดุดี ในภายหลัง Asaph psalter เค้าโครงบทเพลงสดุดีของ Asaph เหล่านี้เป็นรูปแบบใช้ประจำ จุดประสงค์เป็นการกล่าวถึง ประวัติศาสตร์ของอิสราเอล ซึ่งเกี่ยวกับการสอน (โดยเฉพาะทางด้านศีลธรรม)ความประเสริฐ,ความดีเลิศ,ความสูงส่ง,ความสูงสุด และใน style ของ ความรุนแรง ความดุเดือด , การอธิบายของ ชัยชนะ และ การเข้าใจ ของความปลื้มปิติยินดี การมีจิตใจดี ของพระเป็นเจ้า
Captive musicians from the siege of Lachish sing praises to the conqueror. Detail of relief from SW Palace of Sennacherib at Nineveh, ca. 701 BC British Museum, London. Larger image.
(3) The Sons of Korah.
The Sons of Korah มี 11 บทของบทเพลงสดุดี-- xlii-xlix, lxxxiv, lxxxv, lxxxvii, lxxxviii (xli-xlviii, lxxxiii, lxxxiv, lxxxvi, lxxxvii). The Korahim were a family of temple singers (2 Chronicles 20:19).
It can scarcely be that each psalm of this group was jointly composed by all the sons of Korah; each was rather composed by some member of the guild of Korah; or, perhaps, all were gathered from the various sources into one liturgical hymnal by the guild of the sons of Korah. At all events, there is a oneness of style to these hymns which is indicative of oneness of Levitical spirit.
ลักษณะสำคัญของ the Korahite psalms กะคือ ความรักที่ยิ่งใหญ่ของพระเป็นเจ้า , ความปรารถนา สักการะเคารพ ของประชากรอิสราเอล , ความเชื่อความวางใจในพระเป็ฯเจ้าสูงสุด คือพระยาเวห์ และบทกวีที่เป็นศิลปะที่งดงามอย่างลงตัวและสมดุลย์ จากแนวคิดของประวัติศาสตร์ their Messianic ได้กล่าวถึงบทเพลงสดุดีเคย ปรากฎ the days of Isaias และการกลับมาจากการเนรเทศ
The 91st Psalm has always fascinated me because of the military stories of such incredible promises of safety, both total and absolute, from every threat and danger.
This poem was composed by Moses.
4) Moses. Moses is in the title of Ps. xc (lxxxix). St. Augustine (P.L., XXXVII, 1141) does not admit Mosaic authorship; St. Jerome (P.L., XXII, 1167) does. The author imitates the songs of Moses in Deut., xxxii and xxxiii; this imitation may be the reason of the title.
5) Solomon. Solomon is in the titles to Pss. lxxii and cxxvii (lxxi and cxxvi), probably for a similar reason.
Ethan, in the title of Psalm 89, should probably be Idithun. The Psalter of Idithun, of Yeduthun, contained also Psalms 39, 62 and 77.
WITNESS OF THE NEW TESTAMENT.
To Catholics, believing as they do fully in the Divinity of Christ and inerrancy of Holy Writ, New Testament citations render Pss. ii, xvi, xxxii, xxxv, lxix, cix, cx (ii, xv, xxxi, xxxiv, lxviii, cviii, cix) Davidic without the shadow of a doubt. When the Pharisees said that the Christ was the Son of David, Jesus put them the question: "How then doth David in spirit call him Lord, saying: The Lord said to my Lord" (cf. Matthew 22:43-45; Mark 12:36-37; Luke 20:42-44; Psalm 110:1). There can be here no question of the name of a collection "of David". Nor is there question of a collection when St. Peter, on the first Pentecost in Jerusalem, says: "For David ascended not into heaven; but he himself said: The Lord said to my Lord etc." (Acts 2:34). Davidic authorship is meant by Peter, when he cites Pss. lxix (lxviii), 26, cix (cviii), 8, and ii, 1-2 as "from the mouth of David" (Acts 1:16; 4:25). And when the chief Apostle has quoted Ps. xvi (xv), 8-11, as the words of David, he explains how these words were intended by the dead patriarch as a prophecy of centuries to come (Acts 2:25-32). St. Paul's testimony is conclusive, when he (Romans 4:6; 11:9) assigns to David parts of Pss. xxxii, xxxv, and lxix ( xxxi, xxxiv, lxviii). A non-Catholic might object that St. Paul refers to a collection called "David", especially as such a collection seems clearly meant by "in David", en Daveid of Heb., iv, 7. We answer, that this is an evasion: had St. Paul meant a collection, he would have dictated en Daveid in the letter to the Romans.
Written by Walter Drum. Transcribed by Thomas M. Barrett. Dedicated to the memory of Rev. A.J. Maas, S.J. The Catholic Encyclopedia, Volume XII. Published 1911. New York: Robert Appleton Company. Nihil Obstat, June 1, 1911. Remy Lafort, S.T.D., Censor. Imprimatur. +John Cardinal Farley, Archbishop of New York
CANONICITY Christian canon A. The Christian Canon of the Psalms presents no difficulty; all Christians admit into their canon the 150 psalms of the Canon of Trent; all reject Ps. cli of the Septuagint, probably a Machabean addition to the canon.
The Biblical Commission (1 May, 1910) ไม่อนุญาติให้เสนอเรียบเรียงใหม่ ในเนื้อหาของ Machabean psalms nor will Drive, Delitzsch, Perowne, Renan, and many other critical scholars. "Had so many psalms dated from this age, it is difficult not to think that they would have borne more prominent marks of it in their diction and style" (Driver, "Introduction to their Literature of the Old Testament", New York, 1892, 365). Pss. xliv, lxxiv, lxxix, and lxxxiii, which Delitzsch and Perowne on historical grounds admit to be Machabean, occasion to Davison (Hastings, "Dict. of the Bible", IV, 152) "unquestionable difficulties arising from their place in the second and third books".
There are no certain proofs that these or any psalms are Machabean. The Biblical Commission does not, on this account, deny any of the psalms are Machabean; it leaves that question still open. In the matter of redaction, it allows that "for liturgical or musical or other unknown reasons, psalms may have been split up or joined together" in course of time; and that "there are other psalms, like the Miserere mei, Deus [Ps. li], which, in order that they might be better fitted to the historical circumstances and the solemnities of the Jewish people, were slightly re-edited and changed by the omission or addition of a verse or two, so long as the inspiration of the entire text remains intact". That is the important thing; the doctrine of the inspiration of Holy Writ must not suffer in the least. How, then, is the doctrine of the inspiration of the entire text kept intact? Were the previous redactors inspired? Nothing has been determined by any authority of the Church in these matters. We incline to the opinion that God inspired the meanings of the Psalms as originally written, and in like manner inspired every redactor who gathered and edited these songs of Israel until the last inspired redactor set them together in their present form.
TEXT บทเพลงสดุดีดั้งเดิมถูกเขียนโดยตัวอักษร ฮิบรู ได้แก่ที่เราเห็นไม่เพียงแค่ บนเหรียญกษาปน์ หรือ สิ่งที่เจียรไน บนจารึก เนื้อหา ลงมา ในตารางตัวอักษร อาราเมอิก แค่ฉบับ the pre-Massoretic text. Thus far no pre-Massoretic manuscript of the Psalms has been discovered. The Massoretic text has been preserved in more than 3400 manuscripts,
of which none is earlier than the ninth century and only nine or ten are earlier than the twelfth (see MANUSCRIPTS OF THE BIBLE). These Massoretic manuscripts represent two slightly variant families of one tradition -- the texts of Ben Asher and of Ben Naftali. Their variations are of little moment in the interpretation of the Psalms. The study of the rhythmic structure of the Psalms, together with the variations between Massorah and the versions, have made it clear that our Hebrew text is far from perfect, and that its points are often wrong. The efforts of critics to perfect the text are at times due to no more than a shrewd surmise. The metrical mould is chosen; then the psalm is forcibly adapted to it. It were better to leave the text in its imperfect condition than to render it worse by guess-work. The decree of the Biblical Commission is aimed at those to whom the imperfections in the Massoretic Text are an occasion, though no excuse, for countless conjectural emendations, at times wild and fanciful, which nowadays pass current as critical exegesis of the Psalms.
VII. POETIC FORM A. PARALLELISM Parallelism (q.v.) is the principle of balance which is admitted by all to be the most characteristic and essential feature of the poetic form of the Psalms. By synonymous, synthetic, antithetic, emblematic, stair-like, or introverted parallelism, thought is balanced with thought, line with line, couplet with couplet, strophe with antistrophe, in the lyric upbuilding of the poetic picture or imprecation or exhortation.
B. METRE Is there metre in the Psalms? The Jews of the first century A.D. thought so. Flavius Josephus speaks of the hexameters of Moses (Antiq., II, xvi, 4; IV, viii, 44) and the trimeters and tetrameters and manifold meters of the odes and hymns of David (Antiq., VII, xii, 3). Philo says that Moses had learned the "theory of rhythm and harmony" (De vita Mosis, I, 5). Early Christian writers voice the same opinion. Origen (d. 254) says the Psalms are in trimeters and tetrameters (In Ps. cxviii; cf. Card. Pitra, "Analecta Sacra", II, 341); and Eusebius (d. 340), in his "De Praeparatione evangelica", XI, 5 (P.G., XXI, 852), speaks of the same metres of David. St. Jerome (420), in "Praef. ad Eusebii chronicon" (P.L., XXVII, 36), finds iambics, Alcaics, and Sapphics in the psalter; and, writing to Paula (P.L., XXII, 442), he explains that the acrostic Pss. cxi and cxii (cx and cxi) are made up of iambic trimeters, whereas the acrostic Pss. cxix and cxlv (cxviii and cxliv) are iambic tetrameters. Modern exegetes do not agree in this matter. For a time many would admit no metre at all in the Psalms. Davison (Hast., "Dict. of the Bible", s. v.) writes: "though metre is not discernible in the Psalms, it does not follow that rhythm is excluded". This rhythm, however, "defies analysis and systematization". Driver ("Introd. to Lit. of O. T.", New York, 1892, 339) admits in Hebrew poetry "no metre in the strict sense of the term". Exegetes who find metre in the Psalms are of four schools, according as they explain Hebrew metre by quantity, by the number of syllables, by accent, or by both quantity and accent.
Orchestra and four vocal Choir - *Latin* Recorded for the Anniversary of the Pope Benedict XVI April 19 This is the Anthem of the Vatican City. The Songs are called Inno e Marcia Pontificale ...
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