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80-565: It is one of the oldest works of midrash, along with Genesis Rabbah and the Pesikta de-Rav Kahana . The midrash is quoted, perhaps for the first time, by Chananel ben Chushiel under the name "Aggadat Eichah." Many passages are quoted by R. Nathan, who invariably calls the work Megillat Eichah . The term Eichah Rabbati , which is general even now, is used to designate the many extracts in Yalkut Shimoni which have been included with

160-945: A Psalm 151 ; a Hebrew version of this was found in the Psalms Scroll of the Dead Sea Scrolls . Some versions of the Peshitta (the Bible used in Syriac churches mainly in the Middle East) include Psalms 152–155 . There are also the Psalms of Solomon , which are a further 18 psalms of Jewish origin, likely originally written in Hebrew, but surviving only in Greek and Syriac translation. These and other indications suggest that

240-594: A benediction ). These divisions were probably introduced by the final editors to imitate the five-fold division of the Torah : Many psalms (116 of the 150) have individual superscriptions (titles), ranging from lengthy comments to a single word. Over a third appear to be musical directions, addressed to the "leader" or "choirmaster", including such statements as "with stringed instruments" and "according to lilies". Others appear to be references to types of musical composition, such as "A psalm" and "Song", or directions regarding

320-418: A doxology , or a hymn of praise. There are several types of psalms, including hymns or songs of praise, communal and individual laments, royal psalms , imprecation , and individual thanksgivings. The book also includes psalms of communal thanksgiving, wisdom, pilgrimage and other categories. While many of the psalms contain attributions to the name of King David and other Biblical figures including Asaph ,

400-510: A concert of praise at the end. He concluded that the collection was redacted to be a retrospective of the failure of the Davidic covenant , exhorting Israel to trust in God alone in a non-messianic future. Walter Brueggemann suggested that the underlying editorial purpose was oriented instead towards wisdom or sapiential concerns, addressing the issues of how to live the life of faith. Psalm 1 calls

480-564: A melody recognizable as the tonus peregrinus of church and synagogue. Mitchell includes musical transcriptions of the temple psalmody of Psalms 120–134 in his commentary on the Songs of Ascents. In "The Flow of the Psalms," O. Palmer Robertson posits a thematic progression throughout the five books of Psalms, delineating distinctive characteristics and emphases: Book 1: Opposition - Predominantly attributed to David, these Psalms are perceived as

560-547: A number of minor psalm-types, including: The composition of the psalms spans at least five centuries, from the 10th-century Psalm 29 to others clearly from the post-Exilic period (i.e., not earlier than the fifth century BC). The majority originated in the southern kingdom of Judah and were associated with the Temple in Jerusalem , where they probably functioned as librettos during Temple worship . Exactly how they did so

640-457: A proem of the Pesiqta pericope 18 (p. 130b). But the author also added four proems from Lamentations Rabbah itself (29, 18, 19, 31, according to the correct enumeration), retaining the introductory formula ר ... פת , as a commentary to Lamentations 3:1,14,15; 4:12. The opinion set forth in the introduction to Buber's critical edition that the arrangement of the proems at the beginning of

720-409: A special subset of "eschatological hymns" which includes themes of future restoration (Psalm 126) or of judgment (Psalm 82). Communal laments are psalms in which the nation laments some communal disaster. Both communal and individual laments typically but not always include the following elements: In general, the individual and communal subtypes can be distinguished by the use of the singular "I" or

800-534: A third of the psalms are addressed to the Director of Music. Some psalms exhort the worshipper to sing (e.g. Pss. 33:1-3; 92:1-3; 96:1-3; 98:1; 101:1; 150). Some headings denote the musical instruments on which the psalm should be played (Pss. 4, 5, 6, 8, 67). Some refer to the Levites who sang one of eight melodies, one of which was known simply as "the eighth" ( Hebrew : sheminit ) (Pss. 6, 12). And others preserve

880-517: Is composed of two proems—that in Leviticus Rabbah and the proem in this Midrash. The numberless proems originating in the synagogal discourses of the earliest times must be regarded as the richest source upon which the collectors of the midrashim could draw. In the part of Lamentations Rabbah which contains the running commentary to the Book of Lamentations , the character of interpretation

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960-569: Is designed not to achieve favor, as such, but rather to inculcate belief in Divine Providence into one's consciousness, consistently with Maimonides ' general view on Providence . (Relatedly, the Hebrew verb for prayer, hitpalal התפלל, is in fact the reflexive form of palal פלל, to intervene, petition, judge. Thus, "to pray" conveys the connotation of "judging oneself": ultimately, the purpose of prayer— tefilah תפלה—is to transform ourselves.) New Testament references show that

1040-797: Is introduced the whole discussion of the Jerusalem Talmud on the statement of the Mishnah , "to the end of the first watch"; in connection with the words "let us lift up our heart with our hands to God in heaven" (3:41) is introduced a story from the Jerusalem Talmud Ta'anit 65a, telling how Abba bar Zabda preached on this verse during a fast-day service. It is not strange that for similar expressions, such as "en lo . . ." and "lo matz'ah manoah" occurring in Lamentations 1:2, 3, and Genesis 8:9, 11:30, Lamentations Rabbah uses

1120-529: Is on the whole the same as in Genesis Rabbah . Side by side with the simple interpretation of sentences and words, and with various midrashic explanations dating from different authors (whose comments are placed in juxtaposition), the Midrash contains aggadic passages having some sort of relation to the verse. For example, in connection with the words "at the beginning of the watches" (Lamentations 2:19)

1200-558: Is said to have approached Vespasian in his camp, should have been reproduced. The same phrase was likewise transmitted in Aramaic and Hebrew form, in Buber's edition and in the Arukh . The work begins with 36 consecutive proems forming a separate collection, certainly made by the author of the Midrash. They constitute more than one quarter of the work These proems and, perhaps, most of

1280-469: Is used as a proem in the Pesiqta pericope 11 (110a), and with a change of the proem text and of its close, proem 10 (9) of Lamentations Rabbah is found as a proem in the Pesiqta pericope 19 (137b). On the other hand, there is found embodied in the exposition of Lamentations 1:2, "she weepeth sore in the night," etc., a whole proem, the text of which is Psalms 78:7 et seq., "I remember my lute-playing in

1360-569: The tonus peregrinus melody to Psalm 114. Cantillation signs, to record the melody sung, were in use since ancient times; evidence of them can be found in the manuscripts of the oldest extant copies of Psalms in the Dead Sea Scrolls and are even more extensive in the Masoretic text , which dates to the Early Middle Ages and whose Tiberian scribes claimed to be basing their work on temple-period signs. (See Moshe ben Asher's 'Song of

1440-433: The Pesiqta fulfilling its original purpose—as a comment on Lamentations 1:2. The same is true of the commentary to Lamentations 1:21 for which there was used a proem on the Pesiqta section Isaiah 51:12, intended originally for the fourth Sabbath after Tisha B'Av, and a section which had for its text this verse of Lamentations (pericope 19, p. 138a); and also in regard to the comment to Lamentations 3:39, which consists of

1520-450: The Pesiqta de-Rab Kahana . The aggadic comment on Hosea 6:7 appears earlier as a proem to a discourse on Lamentations, and is included among the proems in this Midrash as a comment on Genesis 3:9. The close of this proem, which serves as a connecting link with Lamentations 1:1, is found also in the Pesiqta as the first proem to pericope 15 (p. 119a) to Isaiah 1:21, the Hafṭarah for

1600-708: The Psalms , or the Psalter , is the first book of the third section of the Tanakh ( Hebrew Bible ) called Ketuvim ('Writings'), and a book of the Old Testament . The book is an anthology of Hebrew religious hymns . In the Jewish and Western Christian traditions, there are 150 psalms, and several more in the Eastern Christian churches. The book is divided into five sections, each ending with

1680-474: The epode are Psalm 14; the two antistrophes are Psalm 70. It is noteworthy that, on the breaking up of the original ode, each portion crept twice into the Psalter: Psalm 14 = 53, Psalm 70 = 40:14–18. Other such duplicated portions of psalms are Psalm 108:2–6 = Psalm 57:8–12; Psalm 108:7–14 = Psalm 60:7–14; Psalm 71:1–3 = Psalm 31:2–4. This loss of the original form of some of the psalms is considered by

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1760-400: The ingathering of exiled Israel by a bridegroom-king; his establishment of a kingdom; his violent death; Israel scattered in the wilderness, regathered and again imperiled, and then rescued by a king from the heavens, who establishes his kingdom from Zion, brings peace and prosperity to the earth and receives the homage of the nations. These three views—Wilson's non-messianic retrospective of

1840-481: The morning services ( Shacharit ). The pesukei dezimra component incorporates Psalms 30, 100 and 145–150. Psalm 145 (commonly referred to as " Ashrei ", which is really the first word of two verses appended to the beginning of the Psalm), is read three times every day: once in shacharit as part of pesukei dezimrah , as mentioned; once, along with Psalm 20, as part of the morning's concluding prayers ; and once at

1920-479: The sons of Korah , and Solomon , David's authorship is not accepted by most modern Bible scholars, who instead attribute the composition of the psalms to various authors writing between the 9th and 5th centuries BC. The psalms were written from the time of the Israelite conquest of Canaan to the post-exilic period and the book was probably compiled and edited into its present form during the post-exilic period in

2000-468: The 5th century BC. In English, the title of the book is derived from the Greek word ψαλμοί ( psalmoi ), meaning 'instrumental music' and, by extension, 'the words accompanying the music'. The Hebrew name of the book, Tehillim ( תהילים ), means 'praises', as it contains many praises and supplications to God. The Book of Psalms is divided into five sections, each closing with a doxology (i.e.,

2080-628: The Babylonian Tiamat , Canaanite Yam and the Leviathan which also appears in the Hebrew Bible—is "reduced to an aquatic pet with whom YHWH can play". The biblical poetry of Psalms uses parallelism as its primary poetic device. Parallelism is a kind of symmetry in which restatement, synonym, amplification, grammatical repetition, or opposition develops an idea. Synonymous parallelism involves two lines expressing essentially

2160-595: The Book of Psalms. Some psalms are called " maskil " ( maschil ), meaning "enlightened" or "wise saying", because they impart wisdom. Most notable of these is Psalm 142 which is sometimes called the "Maskil of David"; others include Psalm 32 and Psalm 78. A special grouping and division in the Book of Psalms are fifteen psalms (Psalms 120–134) known in the construct case, shir ha-ma'aloth ("A Song of Ascents", or "A Song of degrees"), and one as shir la-ma'aloth (Psalm 121). According to Saadia Gaon , these songs differed from

2240-582: The Catholic Church's Pontifical Biblical Commission (1 May 1910) to have been due to liturgical practices, neglect by copyists, or other causes. Verse numbers were first printed in 1509. Different traditions exist whether to include the original heading into the counting or not. This leads to inconsistent numbering in 62 psalms, with an offset of 1, sometimes even 2 verses. The Septuagint, present in Eastern Orthodox churches, includes

2320-481: The Davidic covenant, Brueggemann's sapiential instruction, and Mitchell's eschatological-messianic program—all have their followers. However, the sapiential agenda has been somewhat eclipsed by the other two. Shortly before he died in 2005, Wilson modified his position to allow for the existence of messianic prophecy within the Psalms' redactional agenda. Mitchell's position remains essentially unchanged, but he now sees

2400-602: The Ezrahite (1), and Heman the Ezrahite (1). The Septuagint , the Peshitta (the Syriac Vulgate) , and the Latin Vulgate each associate several Psalms (such as 111 and 145 ) with Haggai and Zechariah . The Septuagint also attributes several Psalms (like 112 and 135 ) to Ezekiel and Jeremiah . Psalms are usually identified by a sequence number, often preceded by the abbreviation "Ps." Numbering of

2480-548: The Hebrew Psalter proposed—by parallel with other ancient Near Eastern hymn collections—that psalms at the beginning and end (or "seams") of the five books of Psalms have thematic significance, corresponding in particular with the placement of the royal psalms. He pointed out that there was a progression of ideas from adversity through the crux of the collection in the apparent failure of the covenant in Psalm 89, leading to

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2560-447: The Midrash as referring to how the people of Jerusalem were "great in intelligence". This interpretation is then expounded by the telling of eleven stories in which Jerusalemites outwit Athenians . In the view of Galit Hasan-Rokem, Athenians are chosen for this purpose as they were themselves seen as paragons of wisdom; "by telling of the life of Jerusalem before the destruction, the stories recreate what has been lost, not only to enhance

2640-412: The Psalms concern the subject of death and says "This unatural conclusion to every human life can be understood only in the context of the original threat to the original man: 'in the day you shall eat of it you shall surely die.'" Robertson goes on to say "The anticipation from redemption fom the grave overcomes the inevitability of death. The psalmist is fully aware of his need for total deliverance from

2720-399: The Psalms differs—mostly by one—between the Hebrew ( Masoretic ) and Greek (Septuagint) manuscripts. Protestant translations ( Lutheran , Anglican , Calvinist ) use the Hebrew numbering, but other Christian traditions vary: The variance between Masorah and Septuagint texts in this numeration is likely enough due to a gradual neglect of the original poetic form of the Psalms; such neglect

2800-506: The Psalter. Gunkel divided the psalms into five primary types: Hymns are songs of praise for God's work in creation or history. They typically open with a call to praise, describe the motivation for praise, and conclude with a repetition of the call. Two sub-categories are "enthronement psalms", celebrating the enthronement of Yahweh as king, and Zion psalms, glorifying Mount Zion , God's dwelling-place in Jerusalem. Gunkel also described

2880-546: The Sabbath before Tisha B'Av. The same is the case with the second and fourth proems in the Pesiqta , which are identical with the fourth and third (according to the correct enumeration) of the proems to Lamentations Rabbah ; the fifth in the Pesiqta (120b-121b), which corresponds to the second in this Midrash, has a defective ending. With a change in the final sentences, the first proem in Lamentations Rabbah

2960-481: The Southern and Northern kingdoms. Expressions like "trust in God" diminish. Book 4: Maturity - Notably, with over 10 quotes from Chronicles , indicating a temporal progression beyond the initial three books. Book 5: Consummation - Robertson proposes that the Psalms of Ascent and Hallel Psalms are post-Babylonian exile compositions, portraying a culmination of themes and perspectives Most individual psalms involve

3040-583: The Vine' colophon to the Codex Cairensis). Several attempts have been made to decode the Masoretic cantillation, but the most "successful" is that of Suzanne Haïk-Vantoura (1928–2000) in the last quarter of the 20th century. Her reconstruction assumes the signs represent the degrees of various musical scales – that is, individual notes – which puts it at odds with all other existing traditions, where

3120-741: The Wikimedia System Administrators, please include the details below. Request from 172.68.168.133 via cp1102 cp1102, Varnish XID 560874890 Upstream caches: cp1102 int Error: 429, Too Many Requests at Thu, 28 Nov 2024 07:48:17 GMT Psalms The Book of Psalms ( / s ɑː ( l ) m z / SAH(L)MZ , US also / s ɔː ( l ) m z / SAW(L)MZ ; Biblical Hebrew : תְּהִלִּים , romanized:  Tehillīm , lit.   'praises'; Ancient Greek : Ψαλμός , romanized :  Psalmós ; Latin : Liber Psalmorum ; Arabic : زَبُورُ , romanized :  Zabūr ), also known as

3200-475: The Yerushalmi, and that Genesis Rabbah must also be considered as of earlier date, not so much because it was drawn upon, as because of the character of the proem collection in Lamentations Rabbah . Like Genesis Rabbah, Lamentations Rabbah is of Judean origin, and rich in foreign words, especially Koine Greek . It certainly is not strange that the "Vive domine imperator!" with which Yohanan ben Zakkai

3280-510: The address to "sons of God" at the opening "[is] best thought of [as] the flickering literary afterlife of a polytheistic mythology" but that "belief in them...is unlikely to have been shared by the scribal circles that produced Psalms ". The contrast between the Psalmist's theology and the surrounding area's polytheistic religion is well seen in Psalms 104:26,<refr> Psalms 104:26 </ref> in which locals' mythical fierce sea-god—such as

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3360-456: The annotations, which are arranged in the sequence of the verses, originated in the discourses of which, in olden times, the Book of Lamentations had been the subject. The aggadic explanation of this book—which is a dirge on the destruction of the First and Second Temples and the national destruction that came along with it—was treated by scholars as especially appropriate to Tisha B'Av , to

3440-564: The collection bore the imprint of an underlying message or metanarrative , but that this message remained concealed, as Augustine of Hippo said, "The sequence of the Psalms seems to me to contain the secret of a mighty mystery, but its meaning has not been revealed to me" ( Enarr. on Psalms 150:1). Others pointed out the presence of concatenation—that is, adjacent Psalms sharing similar words and themes. In time, this approach developed into recognizing overarching themes shared by whole groups of psalms. In 1985, Gerald H. Wilson 's The Editing of

3520-403: The context), Seir, not Ishmael, is mentioned in connection with Edom in this passage to 1:14. Zunz's other arguments likewise fail to prove such a late date for the Midrash, especially since Zunz himself concludes that the authorities mentioned therein by name are not later than the Jerusalem Talmud. All that can be definitely stated is that Lamentations Rabbah was edited after the completion of

3600-431: The current Western Christian and Jewish collection of 150 psalms were selected from a wider set. Hermann Gunkel 's pioneering form-critical work on the psalms sought to provide a new and meaningful context in which to interpret individual psalms—not by looking at their literary context within the Psalter (which he did not see as significant), but by bringing together psalms of the same genre ( Gattung ) from throughout

3680-493: The day of the destruction of the Temple, and to the evening before Tisha B'Av. The sources from which Jerusalem Talmud drew must have been accessible to the author of Lamentations Rabbah , which was certainly edited some time after the completion of the former, and which probably borrowed from it. In the same way older collections must have served as the common source for Lamentations Rabbah , Genesis Rabbah , and especially for

3760-460: The earliest Christians used the Psalms in worship, and the Psalms have remained an important part of worship in most Christian Churches. The Eastern Orthodox , Catholic , Presbyterian , Lutheran and Anglican Churches have always made systematic use of the Psalms, with a cycle for the recitation of all or most of them over the course of one or more weeks. In the early centuries of the Church, it

3840-495: The earliest in origin, characterized by a focus on trust in God, with Yahweh as the dominant name. Book 2: Communication - Despite continued opposition, this book reflects an outreach even to enemies of God. The prevalent name for God shifts to Elohim, especially when borrowing sections from Book 1. Robertson suggests Book 2 may have Northern Kingdom origins. Book 3: Devastation - Marked by the overtaking of Jerusalem, this book holds out hope for Jacob and Joseph, possibly symbolizing

3920-625: The entire Book of Psalms prior to the morning service, on the Sabbath preceding the calculated appearance of the new moon . The reading of psalms is viewed in Jewish tradition as a vehicle for gaining God's favor. They are thus often specially recited in times of trouble, such as poverty, disease, or physical danger; in many synagogues, Psalms are recited after services for the security of the State of Israel . Sefer ha-Chinuch states that this practice

4000-403: The explanations of Genesis Rabbah 38 and 33, or that in the Lamentations Rabbah the same aggadah is found three times. For example, the same aggadah is used to explain the three passages Lamentations 1:1, 2:4, and 2:5, in each of which the word "like" occurs; the same comment is applied both to 3:53 and 3:56; a sentence of Shimon ben Lakish is used five times; and the explanation for reversing

4080-415: The fate of the psalmist. By far the most common type of psalm, they typically open with an invocation of God, followed by the lament itself and pleas for help, and often ending with an expression of confidence. In individual thanksgiving psalms, the opposite of individual laments, the psalmist thanks God for deliverance from personal distress. In addition to these five major genres, Gunkel also recognised

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4160-405: The immediate family, usually in shifts, but in contemporary practice this service is provided by an employee of the funeral home or chevra kadisha . Many Jews complete the Book of Psalms on a weekly or monthly basis. Each week, some also say a Psalm connected to that week's events or the Torah portion read during that week . In addition, many Jews (notably Lubavitch , and other Chasidim ) read

4240-625: The issue as identifying when the historical beginning of the Psalms turns to eschatology. The Psalms were written not merely as poems, but as songs for singing. According to Bible exegete Saadia Gaon (882–942) who served in the geonate of Babylonian Jewry, the Psalms were originally sung in the Temple precincts by the Levites , based on what was prescribed for each psalm (lineage of the singers, designated time and place, instruments used, manner of execution, etc.), but are permitted to be randomly read by anyone at any time and in any place. More than

4320-407: The large collections on 2:2 and 1:16: "For these things I weep; mine eye, mine eye runneth down with water." These collections, as well as the long passage on 1:5 ("her enemies prosper"), giving so many accounts of the sufferings of Israel, including the times of the Temple in Jerusalem and the fateful Bar Kokhba revolt , are the most impressive in Lamentations Rabbah ; they form an integral part of

4400-407: The last great enemy, and attests to expectation of deliverance." Individual psalms were originally hymns, to be used on various occasions and at various sacred sites; later, some were anthologised, and might have been understood within the various anthologies (e.g., ps. 123 as one of the Psalms of Ascent); finally, individual psalms might be understood within the Psalter as a whole, either narrating

4480-540: The life of David or providing instruction like the Torah. In later Jewish and Christian tradition, the psalms have come to be used as prayers, either individual or communal, as traditional expressions of religious feeling. Many authors have commented on the psalms, including: Some of the titles given to the Psalms have descriptions which suggest their use in worship: Psalms are used throughout traditional Jewish worship . Many complete Psalms and verses from Psalms appear in

4560-484: The middle of the first millennium C.E.". Leopold Zunz concluded that "the last sections were added later" and, furthermore, "that the completion of the whole work must not be placed before the second half of the seventh century," because the empire of the Arabians is referred to even in a passage of the first chapter. However, according to a reading of Salomon Buber 's edition (which is the only correct one as shown by

4640-437: The midrashic comments (without the proems). Without these stories the differences in size of the several chapters would have been less apparent, even if (as was perhaps the case) the first chapter, in the form in which the author knew it, offered more opportunity for comments than did the other chapters. Book of Baruch ( Catholic and Eastern Orthodox ) Genesis Rabbah Too Many Requests If you report this error to

4720-468: The morning and evening services. There is a Minhag (custom) to recite Psalm 30 each morning of Chanukkah after Shacharit: some recite this in place of the regular "Psalm for the Day", others recite this additionally. When a Jew dies, a watch is kept over the body and tehillim (Psalms) are recited constantly by sun or candlelight, until the burial service. Historically, this watch would be carried out by

4800-522: The name for ancient eastern modes, like ayelet ha-shachar (hind of the dawn; Ps. 22); shoshanim / shushan ( lilies / lily ; Pss. 45; 60), said to be describing a certain melody; or ʻalmuth / ʻalamoth ( mute ; Pss. 9, 46), which, according to Saadia Gaon, is "a silent melody, nearly inaudible." Despite the frequently heard view that their ancient music is lost, the means to reconstruct it are still extant. Fragments of temple psalmody are preserved in ancient synagogue and church chant, particularly in

4880-402: The night," etc.; this proem contains also the final sentence which serves as introduction to the section Isaiah 49:14, and it is known from the Pesiqta pericope 17 to be a proem to a discourse on this section, which is intended for the second "consolatory Sabbath" after Tisha B'Av. From this, it becomes evident that the collector of the Lamentations Rabbah used the aggadic exposition—found in

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4960-492: The occasion for using the psalm ("On the dedication of the temple", "For the memorial offering", etc.). Many carry the names of individuals, the most common (73 psalms—75 if including the two Psalms attributed by the New Testament to David) being 'of David', and thirteen of these relate explicitly to incidents in the king's life. Others named include Asaph (12), the sons of Korah (11), Solomon (2), Moses (1), Ethan

5040-461: The order and putting the letter פ before ע is given twice. Lamentations Rabbah comments on every verse in Lamentations, except a few verses in chapter 3. Its commentary often involves stories, some of them far longer than the verses of Lamentations they comment on. For example, the words "the populous city, the city great among the nations" in Lamentations 1:1 are vividly interpreted in

5120-495: The other Biblical books. In Lamentations Rabbah itself, the sources are almost always missing. The names Midrash Eichah , Midrash Kinot , Megillat Kinot , are also found in the old authors. In Yalkut Shimoni , there are likewise long extracts from a Midrash on Lamentations published under the name Midrash Zutta . According to Galit Hasan-Rokem , Lamentations Rabbah was composed in Roman Palestine "approximately in

5200-557: The other psalms in that they were to be sung by the Levites in a "loud melody" ( Judeo-Arabic : בלחן מרתפע ‎). Every psalm designated for Asaph (e.g. Psalms 50, 73–83) was sung by his descendants while making use of cymbals , in accordance with 1 Chronicles 16:5. Every psalm wherein is found the introductory phrase "Upon Mahalath" (e.g. Psalms 53 and 88) was sung by the Levites by using large percussion instruments having wide and closed bezels on both sides and beaten with two wooden sticks. O. Palmer Robertson observes that many of

5280-608: The pain of its absence but also to awaken joy at what once was". Several of the stories belong to folktale types attested widely in Eurasia, such as Aarne-Thompson tale-types AT 655 "The Wise Brothers", AT 655A "The Strayed Camel and the Clever Deductions". and AT 1533 "The Wise Carving of the Fowl". To some verses (2:20, 3:51, 4:13,18,19) are added the stories to which they were referred, even though they are also found in

5360-530: The plural "we". However, the "I" could also be characterising an individual's personal experience that was reflective of the entire community. Royal psalms deal with such matters as the king's coronation, marriage and battles. None of them mentions any specific king by name, and their origin and use remain obscure; several psalms, especially Psalms 93–99, concern the kingship of God, and might relate to an annual ceremony in which Yahweh would be ritually reinstated as king. Individual laments are psalms lamenting

5440-419: The praise of God for his power and beneficence, for his creation of the world, and for his past acts of deliverance for Israel. They envision a world in which everyone and everything will praise God, and God in turn will hear their prayers and respond. Sometimes God "hides his face" and refuses to respond, questioning (for the psalmist) the relationship between God and prayer which is the underlying assumption of

5520-482: The reader to a life of obedience; Psalm 73 (Brueggemann's crux psalm) faces the crisis when divine faithfulness is in doubt; Psalm 150 represents faith's triumph when God is praised not for his rewards but for his being. In 1997, David. C. Mitchell's The Message of the Psalter took a quite different line. Building on the work of Wilson and others, Mitchell proposed that the Psalter embodies an eschatological timetable like that of Zechariah 9–14. This programme includes

5600-513: The same idea. An example of synonymous parallelism: Two lines expressing opposites is known as antithetic parallelism . An example of antithetic parallelism: Two clauses expressing the idea of amplifying the first claim is known as expansive parallelism. An example of expansive parallelism: Many scholars believe the individual Psalms were redacted into a single collection during the Second Temple period. It had long been recognized that

5680-423: The same poem. The Hebrew text is correct in counting as one Psalm 146 and Psalm 147. Later liturgical usage would seem to have split up these and several other psalms. Zenner combines into what he deems were the original choral odes: Psalms 1, 2, 3, 4; 6 + 13; 9 + 10; 19, 20, 21; 56 + 57; 69 + 70; 114 + 115; 148, 149, 150. A choral ode would seem to have been the original form of Psalms 14 and 70. The two strophes and

5760-485: The signs invariably represent melodic motifs; it also takes no account of the existence of older systems of notation, such as the Babylonian and Palestinian systems. Musicologists have therefore rejected Haïk-Vantoura's theories, with her results dubious, and her methodology flawed. In spite of this, Mitchell has repeatedly defended it, showing that, when applied to the Masoretic cantillation of Psalm 114, it produces

5840-505: The start of the afternoon service . On Festival days and Sabbaths, instead of concluding the morning service, it precedes the Mussaf service. Psalms 95–99, 29, 92, and 93, along with some later readings, comprise the introduction ( Kabbalat Shabbat ) to the Friday night service. Traditionally, a different "Psalm for the Day"— Shir shel yom —is read after the morning service each day of

5920-712: The three sons of Korah . According to Abraham ibn Ezra , the final redaction of the book was made by the Men of the Great Assembly . Some of the psalms show influences from related earlier texts from the region; examples include various Ugaritic texts and the Babylonian Enūma Eliš . These influences may be either of background similarity or of contrast. For example, Psalm 29 shares characteristics with Canaanite religious poetry and themes. Not too much should be read into this, however. Robert Alter points out that

6000-465: The week (starting Sunday, Psalms: 24, 48, 82, 94, 81, 93, 92). This is described in the Mishnah (the initial codification of the Jewish oral tradition ) in the tractate Tamid . According to the Talmud, these daily Psalms were originally recited on that day of the week by the Levites in the Temple in Jerusalem. From Rosh Chodesh Elul until Hoshanah Rabbah , Psalm 27 is recited twice daily following

6080-506: The work was made by a later editor, who included the marked comments of the Midrash as proems, and who, after prefixing the introductory formula to a comment on Ecclesiastes Rabbah 12:1 et seq., used it as a proem for Lamentations Rabbah 24 (23), is entirely wrong. There can be no doubt that precisely the opposite process has taken place. The entire interpretation in Ecclesiastes Rabbah 12:1-7, which consists of two versions,

6160-462: The work, like the interesting sagas and stories to on the greatness of the city of Jerusalem and the intelligence of her inhabitants. In connection with "the sons of Zion, the splendid ones" (4:2), the Midrash tells of social and domestic customs. The stories of Lamentations Rabbah fill over fifteen columns of the Venice edition (about eleven in the first chapter), and include more than one-fourth of

6240-472: Was expected that any candidate for bishop would be able to recite the entire Psalter from memory, something they often learned automatically during their time as monks . Christians have used Pater Noster cords of 150 beads to pray the entire Psalter. Paul the Apostle quotes psalms (specifically Psalms 14 and 53 , which are nearly identical) as the basis for his theory of original sin , and includes

6320-596: Was occasioned by liturgical uses and carelessness of copyists. It is generally admitted that Psalms 9 and 10 (Hebrew numbering) were originally a single acrostic poem, wrongly separated by Massorah and rightly united by the Septuagint and the Vulgate. Psalms 42 and 43 (Hebrew numbering) are shown by identity of subject (yearning for the house of Yahweh), of metrical structure and of refrain (comparing Psalms 42:6, 12; 43:5, Hebrew numbering), to be three strophes of one and

6400-517: Was unclear, but there are indications in some of them: "Bind the festal procession with branches, up to the horns of the altar" suggests a connection with sacrifices, and "Let my prayer be set forth before you as incense" suggests a connection with the offering of incense. According to Jewish tradition , the Book of Psalms was composed by the First Man ( Adam ), Melchizedek , Abraham , Moses , David , Solomon , Heman , Jeduthun , Asaph , and

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