5 Woe is me, that I sojourn in.Mesech, That I dwell in the tents of Kedar? 6 My soul hath long dwelt with him that hateth peace. 7 I am for peace: but when I speak, they are for war. This and the fourteen following Psalms are designated in the titles as Songs of Degrees. The Hebrew term is an 7 shir hămmu hloth, literally song of the steps, translated in our English version song of degrees. The LXX translate the term by ᾠδή τῶν ἀναβαθμῶν, ode of the steps, and the Vulgate has carmen graduum, song of the steps. In accordance with this idea the ancient Jewish writers supposed that these Psalms were sung on fifteen stairs of the temple, leading from the court of Israel to the court of the women (vid. Mishna Sucah, cap. v. 4). But that explanation is not now received among critics as satisfactory. Luther translated the term a song in the higher choir, supposing that the poem was sung either in an elevated position, or with a loud voice. Tholuck takes the same view. Gesenius thinks that it indicates a certain number or rhythm, by which the sense ascends as it were by degrees or steps. De Wette and Winer take the same view (De Wette Einl. in das A. T. p. 289). But this characteristic is not obvious in all of this species of poetry. The most probable explanation is that of Ewald, Herder, and others, who suppose that the expression means song of the ascents, or pilgrim song, sung during the journeyings of the Israelites to Jerusalem, either from Babylon, or as they repaired to that city statedly to attend their national solemnities. Jerusalem, and especially the temple, were elevated and, going up to them was called an ascent (vid. Ez. vii. 9; xxxiv. 24; 1 Kings xii. 27, 28). In Ps. cxxvi. 2, singing occurs. The original is a derivative of ranan, signifying to sing aloud, to shout (vid. Rem. on Lev. ix. 24). In Ps. cxxxii. 9, 16, shout is employed. In both cases a derivative of ranan is found in the original. In Ps. cxxxv. 2, the term sing occurs. The original word is a deriva tive of zamar, to prune, in Peal conjugation, to sing (vid. Rem. on Ex. xv. 2). PSALM CXXXvi. 1-26. 10 give thanks unto the Lord: for he is good: For his mercy endureth forever. 2 O give thanks unto the God of gods: For his mercy endureth forever. 3 O give thanks to the Lord of lords: For his mercy endureth forever. 4 To him who alone doeth great wonders: For his mercy endureth forever. 5 To him that by wisdom made the heavens: For his mercy endureth forever. 6 To him that stretched out the earth above the waters: For his mercy endureth forever. 7 To him that made great lights: For his mercy endureth forever: 8 The sun to rule by day: For his mercy endureth forever: 9 The moon and stars to rule by night: For his mercy endureth forever: 10 To him that smote Egypt in their first-born: For his mercy endureth forever: 11 And brought out Israel from among them: For his mercy endureth forever: 12 With a strong hand, and with a stretched-out arm: For his mercy endureth forever. 13 To him which divided the Red Sea into parts: For his mercy endureth forever: 14 And made Israel to pass through the midst of it: For his mercy endureth forever: 1 15 But overthrew Pharaoh and his host in the Red Sea: For his mercy endureth forever: 16 To him which led his people through the wilderness: For his mercy endureth forever. 17 To him which smote great kings: For his mercy endureth forever: 18 And slew famous kings: For his mercy endureth forever: 19 Sihon king of the Amorites: For his mercy endureth forever: 20 And Og the king of Bashan: For his mercy endureth forever: 21 And gave their land for an heritage: For his mercy endureth forever: 22 Even an heritage unto Israel his servant: For his mercy endureth forever. 23 Who remembered us in our low estate: For his mercy endureth forever: 24 And hath redeemed us from our enemies: For his mercy endureth forever. 25 Who giveth food to all flesh : For his mercy endureth forever. 26 O give thanks unto the God of heaven: For his mercy endureth forever. This Psalm is remarkable from the fact that a burden or refrain, as it is called, occurs regularly at the end of every verse. Some biblical critics suppose that alternate or responsive choirs are indicated by it. Others think that the singers sometimes answered their own questions, and others still, that the people united in a kind of chorus. The latter is probably the correct view. The choir repeated the first part of the verse, and then the multitude joined in a chorus, and repeated the latter part of each verse. PSALM CXXXvii. 1–9. We give Herder's translation: THE CAPTIVITY IN BABYLON. 1 By the rivers of Babylon we sat down, 3 Our oppressors required of us mirth. "Sing us one of the songs of Zion." 4 How shall we sing Jehovah's song In a foreign land! 7 8 If I prefer not Jerusalem Above my highest joy. Remember, O Lord, the children of Edom. In the day of Jerusalem's affliction, When they cried “Raze it, Raze it, even to its foundation." Daughter of Babylon, the desolate, Blessed be he that requiteth thee, That requiteth thee, as thou hast done to us. 9 Happy shall he be that seizeth thy little ones, And casteth them upon the rocks. This is a beautiful Psalm of the plaintive kind. It refers directly to the captivity of the Hebrews in Babylonia. As they thought of their religious privileges in Palestine, they could not be cheerful. They could not sing the songs of Zion, nor play upon their instruments of music. They hung their harps upon the willows. Here seems to be a difficulty, as history informs us that no willows grow in Babylonia. We must then suppose that the language is figurative, and merely indicates that the Jews could neither sing, nor play on instruments. The willow tree usually grows on the banks of rivers, hence that particular tree is mentioned. This is a beautiful and pathetic elegy, flowing in the most tender and mournful strains. Harps (v. 2). These were kinnors, probably somewhat similar to harps at this day, for, at the time of the Babylonish captivity, when this Psalm is supposed to have been written, that instrument had been much improved. Its number of strings had been multiplied from three to an indefinite number. More than 500 years earlier, during the reign of David in Jerusalem, the harp had reached a high state of improvement, and, in the hands of that monarch, chanted forth elevated strains of music (vid. Rem. on Gen. iv. 21). In verses 2 and 3, sing and song are used, but are derivatives of the usual term (shir). In Psalm cxxxviii. 1 and 5, sing occurs. In verse 1, a derivative of zamar is used, meaning to sing with vociferation, to shout. In verse 5, a derivative of the usual term (shir) is employed. In Psalm cxl. 3, 5, and 8, selah occurs, probably in the sense of silence. In Psalm cxliii. 6, selah occurs, probably in the sense of halleluyah. PSALM cxliv. 1-15. A Psalm of David. 1 Blessed be the Lord my strength, |