Psalms Through the C

enturies

John Through the CenturiesMark Edwards

Revelation Through the CenturiesJudith Kovacs & Christopher Rowland

Judges Through the CenturiesDavid M. Gunn

Exodus Through the CenturiesScott M. Langston

Ecclesiastes Through the CenturiesEric S. Christianson

Esther Through the CenturiesJo Carruthers

Psalms Through the Centuries: Volume One

Susan GillinghamGalatians Through the Centuries

John RichesPastoral Epistles Through the Centuries

Jay Twomey

1 & 2 Thessalonians Through the Centuries

Anthony C. ThiseltonSix Minor Prophets Through the

CenturiesBy Richard Coggins and Jin H. Han

Lamentations Through the Centuries

Paul M. Joyce and Diana LiptonJames Through the Centuries

David GowlerThe Acts of the Apostles Through the

CenturiesHeidi J. Hornik and Mikeal C. Parsons

Chronicles Through the CenturiesBlaire French

Psalms Through the Centuries: Volume Two

Susan Gillingham

Wiley Blackwell Bible CommentariesSeries Editors: John Sawyer, Christopher Rowland, Judith Kovacs, David M. Gunn

Psalms Through the C

enturiesA

Reception H

istory Com

mentary on Psalm

s 1–72Volum

e Two

Susan Gillingham

This edition first published 2018© 2018 John Wiley & Sons Ltd

All rights reserved. No part of this publication may be reproduced, stored in a retrieval system, or transmitted, in any form or by any means, electronic, mechanical, photocopying, recording or otherwise, except as permitted by law. Advice on how to obtain permission to reuse material from this titleis available at http://www.wiley.com/go/permissions.

The right of Susan Gillingham to be identified as the author of this work has been asserted in accordance with law.

Registered OfficeJohn Wiley & Sons, Inc., 111 River Street, Hoboken, NJ 07030, USAJohn Wiley & Sons Ltd, The Atrium, Southern Gate, Chichester, West Sussex, PO19 8SQ, UK

Editorial Office9600 Garsington Road, Oxford, OX4 2DQ, UK

For details of our global editorial offices, customer services, and more information about Wiley products visit us at www.wiley.com.

Wiley also publishes its books in a variety of electronic formats and by print‐on‐demand. Some content that appears in standard print versions of this book may not be available in other formats.

Limit of Liability/Disclaimer of WarrantyWhile the publisher and authors have used their best efforts in preparing this work, they make no representations or warranties with respect to the accuracy or completeness of the contents of this work and specifically disclaim all warranties, including without limitation any implied warranties of merchantability or fitness for a particular purpose. No warranty may be created or extended by sales representatives, written sales materials or promotional statements for this work. The fact that an organization, website, or product is referred to in this work as a citation and/or potential source of further information does not mean that the publisher and authors endorse the information or services the organization, website, or product may provide or recommendations it may make. This work is sold with the understanding that the publisher is not engaged in rendering professional services. The advice and strategies contained herein may not be suitable for your situation. You should consult with a specialist where appropriate. Further, readers should be aware that websites listed in this work may have changed or disappeared between when this work was written and when it is read. Neither the publisher nor authors shall be liable for any loss of profit or any other commercial damages, including but not limited to special, incidental, consequential, or other damages.

Library of Congress Cataloging‐in‐Publication data applied for

Hardback ISBN: 9781118830567

Cover Image: P.128-1950.p5 Satan going forth from the presence of the Lord, and Job’s charity from the ‘Book of Job’, 1825 (engraving), Blake, William (1757–1827) / Fitzwilliam Musuem, University of Cambridge, UK / Bridgeman ImagesCover Design: Wiley

Set in 10/12.5pt Minion by SPi Global, Pondicherry, India

10 9 8 7 6 5 4 3 2 1

For Abbie and Esther with thanks for all your encouragement and support

Illustrations xiii

Preface xvii

Abbreviations xxi

Introduction: How is a Reception History Commentary a Different Genre? 1

Contents

viii Contents

BOOK ONE: PSALMS 1–41Davidic Piety and the Conflict of Faith and Experience 9

Psalms 1 and 2: The Prologue to the Psalter 11

Psalm 1: Who is the ‘Blessed Man’? 13

Psalm 2: Who is ‘My Son’? 25

PSALMS 3–41: THE FIRST DAVIDIC PSALTER 44

Psalms 3–14: Praying by Night and Day 46

Psalm 3: A ‘Morning Psalm’ 47

Psalm 4: An ‘Evening Psalm’ 53

Psalm 5: A ‘Morning Psalm’ 58

Psalm 6: An ‘Evening Psalm’ of Penitence 61

Psalm 7: A ‘Morning Psalm’ 68

Psalm 8: An ‘Evening Hymn of Praise’ 72

Psalms 9 and 10: An Acrostic Psalm 83

Psalm 11: The ‘All‐Seeing God’ 89

Psalm 12: ‘Flattering Lips’ 91

Psalm 13: The Fear of Death 95

Psalm 14: The Fool says ‘There is no God’ 98

Psalms 15–24: Bringing Prayer to the Temple 101

Psalm 15: An Entrance Liturgy 102

Psalm 16: Confident Trust in God 105

Contents ix

Psalm 17: Lament for Deliverance 111

Psalm 18: Thanksgiving for Victory 116

Psalm 19: A Hymn of Praise 122

Psalm 20: Thanksgiving for Victory 129

Psalm 21: Thanksgiving for Victory 133

Psalm 22: Lament for Deliverance 136

Psalm 23: Confident Trust in God 144

Psalm 24: An Entrance Liturgy 153

Psalms 25–34: Prayers and Thanks for Deliverance 163

Psalm 25: An Acrostic Concerning the Poor 164

Psalm 26: A Protest of Integrity 167

Psalm 27: Confidence and Complaint 170

Psalm 28: Lament and Thanksgiving 177

Psalm 29: A Hymn of Praise 180

Psalm 30: Thanksgiving for Healing 186

Psalm 31: Confidence through Fear 190

Psalm 32: Confession and Healing 195

Psalm 33: A Hymn of Praise 201

Psalm 34: An Acrostic concerning the Poor 205

Psalms 35–41: Poverty, Sickness and Trust in God 213

Psalm 35: Friends and Enemies 214

x Contents

Psalm 36: The Plight of the Poor 218

Psalm 37: The Poor and the Land 221

Psalm 38: Penitence and Sickness 231

Psalm 39: Penitence and Human Transience 237

Psalm 40: Thanksgiving and Sacrifice 242

Psalm 41: Friends and Enemies 248

BOOK TWO: PSALMS 42–72David and the Temple: Nostalgia and Hope 255

Psalms 42–49: Exile, Temple and King 257

Psalms 42–43: Longing for the Temple 258

Psalm 44: Praying for National Deliverance 263

Psalm 45: A Wedding Song for the King 267

Psalm 46: God is King in Zion 276

Psalm 47: God is King 284

Psalm 48: God is King in Zion 288

Psalm 49: A Psalm of Complaint and Instruction 292

Psalm 50: An Asaphite Psalm about Repentance and Sacrifice 297

PSALMS 51–72: THE SECOND DAVIDIC PSALTER 302

Psalm 51: ‘The Psalm of Psalms’ 304

Psalms 52–55: Learning from the Life of David 317

Psalm 52: For Instruction on the ‘Deceitful Tongue’ 317

Contents xi

Psalm 53: For Instruction on the ‘Fool’ 320

Psalm 54: For Instruction on Persecution 323

Psalm 55: Instruction on Betrayal 324

Psalms 56–60: Reflecting on the Life of David 330

Psalm 56: Reflections on Persecution 330

Psalm 57: Reflections on Violence 333

Psalm 58: Reflections on Confronting Evil 335

Psalm 59: Reflections on Enemy Aggression 338

Psalm 60: Reflections in Times of War 340

Psalms 61–64: Hymnic Reflections on God’s Protection 344

Psalm 61: A ‘Psalm’ about Refuge in God 344

Psalm 62: A ‘Psalm’ about the Silence of God 347

Psalm 63: A ‘Psalm’ Seeking God in the Morning 349

Psalm 64: A ‘Psalm’ about Protection 352

Psalms 65–68: God’s People Sing of his Praise 355

Psalm 65: A Sanctuary Song about God’s Sustenance through Nature 355

Psalm 66: A Sanctuary Song about God’s Sustenance through History 359

Psalm 67: A Sanctuary Song about God’s Universal Blessings 362

Psalm 68: A Sanctuary Song about the Divine Warrior 367

Psalms 69–71: Psalms of the Righteous Sufferer 374

Psalm 69: Righteous Suffering of the One and the Many 374

xii Contents

Psalm 70: Righteous Suffering and the Plea for Deliverance 379

Psalm 71: Righteous Suffering as a Model for Faith 381

Psalm 72: ‘Of Solomon’: The  Completion of the Prayers of David 386

Appendix 395

Glossary 400

References 416

Index of Names 431

Psalms Index 441

Subject Index 444

Figures

Book One

Figure 1 Arthur Wragg, ‘How long, my people, shall my honour suffer shame?’ (Ps. 4:2). Source: Wragg, A. 1934: The Psalms for Modern Life. New York: Claude Kendall. 57

Figure 2 Arthur Wragg, ‘Hide me under the shadow of thy wings’ (Ps. 17:8). Source: Wragg, A. 1934: The Psalms for Modern Life. New York: Claude Kendall. 115

Figure 3 Arthur Wragg, ‘I had fainted, unless I had believed to see the goodness of the Lord in the land of the living’ (Ps. 27:13). Source: Wragg, A. 1934: The Psalms for Modern Life. New York: Claude Kendall. 175

Illustrations

xiv Illustrations

Figure 4 Roger Wagner, Psalm 31. Source: Wagner, R. 1994: The Book of Praises: A Translation of the Psalms. Book One. Oxford: The Besalel Press. 195

Figure 5 Arthur Wragg, ‘Praise the Lord with the lyre… Sing to him a new song’ (Ps. 33:2–3). Source: Wragg, A. 1934: The Psalms for Modern Life. New York: Claude Kendall. 205

Figure 6 Arthur Wragg, ‘The Lord helps them and rescues them’ (Ps. 37:40). Source: Wragg, A. 1934: The Psalms for Modern Life. New York: Claude Kendall. 227

Figure 7 Introduction to Stravinsky’s interpretation of Psalm 39:12–13 (*Vulgate 38:13–14). Source: Public Domain/Creative Commons/Open Government (UK) Licence. 241

Figure 8 Stravinsky’s beginning of the second movement to the first oboe before Ps. 40:1. Source: Public Domain/Creative Commons/Open Government (UK) Licence. 247

Book Two

Figure 9 Michael Jessing, ‘Be still and know that I am God’ (Ps. 46:10). Source: http://www.psalms‐mixastudio.com/psalms‐33‐48.php. 283

Figure 10 Arthur Wragg, ‘Your tongue is like a sharp razor’ (Ps. 52:2). Source: Wragg, A. 1934: The Psalms for Modern Life. New York: Claude Kendall. 319

Figure 11 Arthur Wragg, ‘With speech smoother than butter, but with a heart set on war’ (Ps. 55:21). Source: Wragg, A. 1934: The Psalms for Modern Life. New York: Claude Kendall. 329

Figure 12 Psalm 67 in the form of a menorah. Source: See https://beneisrael.wordpress.com/2013/08/21/psalm‐67‐the‐menorah‐psalm/. 364

Figure 13 Michael Jessing, ‘Give the king your justice, O God… May he judge your people with righteousness’ (Ps. 72:1–4). Source: See http:/www.psalms‐mixasudio.com/psalms 69‐84. 391

Plates

Plate 1 Psalm 1 with Music and Art. The Saint John’s Bible, Donald Jackson ©2004, Saint John’s University, Collegeville, Minnesota, USA.

Plate 2 Psalm 2 through the eyes of the Nativity. Khludov Psalter, The State Historical Museum, Moscow, MS D 129, fol. 3v (with permission from History Museum, Moscow). Image provided by Giovanni Scorcioni, www.FacsimileFinder.com.

Illustrations xv

Plate 3 Psalm 16 through the eyes of the Resurrection. Utrecht Psalter, University Library of Utrecht, MS Bibl. Rhenotraiectinae 1 Nr 32, fol. 8r (with permission from the University Library Utrecht).

Plate 4 Psalm 18: ‘David delivered out of Many Waters’ by William Blake. Tate Gallery 02230 (with permission from Tate ©2017).

Plate 5 Psalm 19: Christ as Giant emerges from the Tent for the Sun. Eadwine Psalter, Trinity College, Cambridge MS r 17.1 (with permission from the Master and Fellows of Trinity College).

Plate 6 Psalm 22 in the Window of Redemption at Chartres Cathedral. (Photograph by Painton Cowen at www.therosewindow.com).

Plate 7 Psalm 24: Christ as Warrior and King. Utrecht Psalter, University Library of Utrecht, MS Bibl. Rhenotraiectinae 1 Nr 32, fol. 13v (with permission from the University Library Utrecht).

Plate 8 Psalm 26: ‘I will wash my hands in innocence’ and the ‘Lavabo’. St Albans Psalter, image © Hildesheim, St Godehard, taken from https://www.abdn.ac.uk/stalbanspsalter/english/commentary/page117.shtml.

Plate 9 Psalm 27: David points to his eyes. The History Bible of Utrecht, 1443. Den Haag KB, 69 B 10, fol. 12v (with permission from Koninklijke Bibliotheek, Den Haag).

Plate 10 Psalm 34: David feigns madness. Parma Psalter, Biblioteca Paletina, Parma, MS Parm 1870 (Cod. De Rossi 510), fol. 43A (with permission from the owners of the facsimile of The Parma Psalter, at www.facsimile‐editions.com).

Plate 11 Psalm 36 in the Millennium Windows at Great Malvern Priory (published by permission of the Priory).

Plates 12 Psalm 37 on Charity and Greed. Two images from and Khludov Psalter, The State Historical Museum, Moscow, 13 MS D 129, fols. 35r and 35v (with permission from History Museum, Moscow). Images provided by Giovanni

Scorcioni, www.FacsimileFinder.com.Plate 14 Psalm 38 and the Penitent Sinner. St Albans Psalter, image

© Hildesheim, St Godehard, taken from https://www.abdn.ac.uk/stalbanspsalter/english/commentary/page145.shtml.

Plate 15 Psalm 42 in the Apse Mosaic at Basilica Di San Clemente, Rome. (Permission given by the Prior of Basilica San Clemente).

Plate 16 Psalm 44: ‘The Protection of Israel’ by Marc Chagall from Les Psaumes de David, Gérard Cramer Editeur, Geneva, 1979. (Permission given by DACS London, 2017; image provided by Agence Photographique de le Réunion des Musées Nationaux, Paris).

xvi Illustrations

Plate 17 Psalm 45: The Coronation of the Virgin Mary in a woodcut by John van Eyck (with permission of The Bodleian Libraries, University of Oxford).

Plate 18 Psalm 48: The Elevation of Zion. Parma Psalter, Biblioteca Paletina, Parma, MS Parm 1870 (Cod. De Rossi 510), fol. 65B (with permission from the owners of the facsimile of The Parma Psalter, at www.facsimile‐editions.com).

Plate 19 Psalm 50: Christ as the Personification of the Sun from the Theodore Psalter. British Library, MS 19.352, fol. 61v (with permission from the British Library Board).

Plate 20 Psalm 51: Christ cleanses the sins of a newborn Baby. St Albans Psalter, image © Hildesheim, St Godehard, taken from https://www.abdn.ac.uk/stalbanspsalter/english/commentary/page171.shtml.

Plate 21 Psalm 52: ‘He sought refuge in wealth’ (verse 7) from the Theodore Psalter. British Library, MS 19.352, fol. 66r (with permission from the British Library Board).

Plate 22 Psalm 53: The Court Jester of Henry VIII. from The Psalter of Henry VIII, British Library, Royal MS 2A XVI, fol. 63v (with permission from the British Library Board).

Plate 23 Psalm 61: Protection in Exile. Museum of Psalms; Psalm 61 according to Moshe Tzvi HaLevi Berger, all rights reserved (www.museumofpsalms.com, reproduced with permission).

Plate 24 Psalm 62: The Psalmist offers his small naked Body to God. St Albans Psalter, image © Hildesheim, St Godehard, taken from https://www.abdn.ac.uk/stalbanspsalter/english/commentary/page189.shtml.

Plate 25 Psalm 69: Missa Dura: The Knight, Crystal Night, House No. 5 by Mordecai Ardon. Tate Gallery 00608 (with permission from Tate ©2017).

Plate 26 Psalm 69: David in Water. The History Bible of Utrecht, 1443. Den Haag KB, 1939.69 B 10, fol. 21r (with permission from Koninklijke Bibliotheek, Den Haag).

Plate 27 Psalm 72: David as King, attended by Sophia and Prophecy. Paris Psalter, Bibliothèque nationale de France, MS Gr 139, fol. 7v (with permission from Bibliothèque nationale de France 2017).

Musical score (p. 160)

David Mitchell: An interpretation of the singing of Psalm 24 in its earliest setting. Reproduced with the kind permission of David Mitchell, Director of Music in Holy Trinity Pro-Cathedral, Brussels; website: https://sites.google.com/site/brightmorningstar624/home.

First in the long list of the many people who have helped in this lengthy and complex project must come the Series Editors, John Sawyer and David Gunn. This commentary had several early blips—for example, whether, after Psalms through the Centuries Volume One (2008) there should be just one further volume or two—and it was the editors’ unfailing support which made a three‐volume work possible. Both read the manuscript with extraordinary care, giving particular attention to the problem of the transliterations of the Hebrew and Greek. I am particularly grateful to John Sawyer for his help with rabbinic sources and to David Gunn for further suggestions about metrical psalmody and early poetic imitations of psalms. The book would be very different without their input; any remaining errors are mine.

Preface

xviii Preface

Next, I must thank Rebecca Harkin, who was Publisher for Religion when I wrote Volume One and later was Publisher for Humanities, and so the Wiley‐Blackwell Commentaries have consistently been her remit. Working originally with Blackwell and now, some eight years later, with Wiley‐Blackwell has had its challenges, but Rebecca has been a consistent source of wisdom and good humour. Manish Luthra and Vimali Joseph have each been a mainstay in seeing the book through production, especially over the visual impact of the Plates and Figures. Carolyn Holleyman has done superb work, under pressure of very tight deadlines, with the copy‐editing.

My sabbatical leave and research assistance for Volume Two has been in part financed by the University of Oxford and Worcester College. I want to thank the Faculty of Theology and Religion for allowing me two terms’ research leave, especially Alison Broadby for her administrative support. I am equally grateful to the John Fell Fund of the University of Oxford for resourcing substitute teaching and research assistance, and at Worcester College to the Bartlett Sisters’ Theology Fund, supported mainly by alumni. Particular thanks are due at Worcester to Rhian Perridge, Phillipa Tarver, Scott Scullion, Trish Pease, Carmy Strzelecki, Elizabeth Smith and Emma Standhaft for their various forms of administrative support. My third source of funding was The St Luke’s Foundation, and I thank David Benzie and the trustees for their most generous support towards the production of the images.

Any work on reception history requires inter‐disciplinary collaboration. I  am particularly indebted to three close colleagues in Oxford. Peter Groves read the manuscript giving attention to my use of the church fathers and modern theologians, as well as my citations of English poets. Matthew Cheung‐Salisbury read the commentary with his expert eye for Christian liturgy and music. John Barton, who has supported my work for more years than I can remember, looked at the text from the viewpoint of a biblical scholar. Any existing errors are my responsibility alone.

Two Oxford projects have encouraged my work—The Centre for Reception History of the Bible, directed by Chris Joynes, and The Oxford Research Centre for the Humanities (TORCH) which sponsors the Oxford Psalms Network. I  am particularly grateful to my fellow‐coordinators, Francis Leneghan and Helen Appleton, for new insights into the reception of the psalms in medieval English literature.

Two other communities, through their music, have enabled me to appreciate the psalms in a different context: I am grateful for the superb singing of the choir of Worcester College Oxford, and for the continuous chanting of psalmody by the new choir of St. Barnabas Church, Oxford.

I have been working on this commentary, amidst other publications, since 2008. Natasha O’Hear was my first research assistant, and after two years’

Preface xix

sterling service she handed on to Holly Morse, who worked with me until 2016. I owe a great debt to Holly, for she was in large measure responsible for assem-bling, then processing the data for me to use within the commentary: her organisational skills and artistic expertise were invaluable. John Ritzema and Danny Crowther have worked with me for the last year, contributing to the final stages of the publication. All have been indispensable in helping to speed up the process of preparing a somewhat challenging manuscript.

Collaboration outside Oxford has involved many colleagues. They include Eberhard Bons (Stuttgart), for invaluable resources on the Septuagint version of the Psalms; Laurence Clémencau (Villefontaine), for online resources for patristic commentaries and illuminated manuscripts; †Peter Flint (Vancouver), for resources on the Psalms scrolls at Qumran; †Erich Zenger (Münster), †Frank‐Lothar Hossfeld (Bonn), Bernd Janowski (Tübingen), Friedhelm Hartenstein (München), Hermann Spieckermann (Göttingen), Beat Weber (Liestal), Johannes Bremer (Bochum), Till Steiner (Jerusalem), Stefan Attard (Malta), Giovanni Barbiero (Rome), Bill Bellinger and Dennis Tucker (Baylor), William Brown (Columbia), and Dirk Human, Alphonso Groenewald, and Philip Botha (Pretoria) for their various contributions on the literary and theo-logical shaping of the Psalter which marks the first vital stage of the reception history process. Robert Atwell, Bishop of Exeter, has been a constant source of encouragement in matters liturgical, as also was †Geoffrey Rowell (Chichester). Jonathan Magonet (Leo Baeck College, London) has been most generous in offering his own resources on Jewish liturgy. Those who have advised on and contributed images of the psalms include Elizabeth Solopova (Oxford), espe-cially on Latin illuminated Psalters; Frans Sellies (Utrecht), for extra insights into the Utrecht Psalter; Ed van der Vlist (Koninklijke Bibliotheek, The Hague) for many online resources of fourteenth and fifteenth century Psalters; Mordechai Balouka (Jerusalem), for information and images of the Museum of Psalms; Michael Falter (London), for regular access to facsimiles of illuminated Jewish Psalters and Prayer Books; Roger Wagner (Oxford), and Michael Jessing (Peebles), for freely allowing me to print their own individual images of psalms. Those who have helped me with their musical expertise in psalmody include Jonathan Arnold and Alexander Massey (Oxford), Howard Goodall (London), David Mitchell (Brussels), Siobhan Dowling‐Long (Cork) and John Sawyer (Amble).

The Preface for Volume One concluded with thanking my immediate family, and it is appropriate that I end similarly here. My daughters have moved on, but I frequently visit The Hague, where Abbie, Omar and Sophia now live, and use it as a base for writing and research. Esther now works between the UK and Brazil: she too has shown an extraordinary belief in a project which has taken so long to materialise. Equally remarkable is the confidence of my husband

xx Preface

Dick, who has travelled with me, both literally and metaphorically, for many years in this project, accommodating my constant distractions. Since his retire-ment in 2011 he has used much of his time to support me in so many practical ways, as well as reading the first draft of the manuscript with a scrupulous eye to detail. I dedicated my last volume to him, ‘my fiercest critic and closest friend’. It is appropriate that I dedicate this second volume to Abbie and Esther, in gratitude for their similar loving support: this project has been consuming, but their role has been to remind me that there are other important concerns even beyond the reception history of the Psalms.

ACCS Ancient Christian Commentary on ScriptureACTP Ambrose: Commentary on Twelve PsalmsACW Ancient Christian WritersALW Archiv für LiturgiewissenschaftAnSac Analecta sacra et classica spicilegio solesmensiBASOR Bulletin of the American Schools of Oriental ResearchBBB Bonner biblische BeiträgeBHT Beiträge zur historischen TheologieBib BiblicaCBQ Catholic Biblical QuarterlyCCL Corpus Christianorum Series Latina (Turnhout, Belgium: Brepols

1953–)

Abbreviations

xxii Abbreviations

EETS Early English Texts SocietyEst Bib Estudios bíblicosExp ExpositorFAT Forschungen zum Alten TestamentFC Fathers of the Church: A New Translation (Catholic University of

America Press, Washington, D.C.; 45 volumes)FRLANT Forschungen zur Religion und Literatur des Alten und Neuen

TestamentsHBTh Horizons in Biblical TheologyHeyJ Heythrop JournalHKAT Handkommentar zum Alten TestamentHSS Harvard Semitic MonographsHTR Harvard Theological ReviewHTS Harvard Theological StudiesHUCA Hebrew Union College AnnualJBL Journal of Biblical LiteratureJHS Journal of Hebrew ScripturesJQR Jewish Quarterly ReviewJSNTSS Journal for the Study of the New Testament Supplement SeriesJSOTSS Journal for the Study of the Old Testament Supplement SeriesJTS Journal of Theological StudiesKAT Kommentar zum Alten TestamentKHAT Konkordanz zum Hebräischen Alten TestaementsLCC The Library of Christian Classics (Philadelphia: Westminster

Press, 1953–1966; 26 vols.)MusicLett Music and LettersNPNF 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 StudiesNRSV New Revised Standard VersionOTE Old Testament Essays. The Old Testament Society of Southern

Africa (OTSSA)PG Patrologiae cursus completus. Series Graeca. Ed. J.‐P. Migne. Paris:

Migne, 1857–1886. 166 vols.PIBA The Proceedings of the Irish Biblical AssociationPL 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.

Abbreviations xxiii

RB Revue BibliqueRevQ Revue de QumranSBLDS Society of Biblical Literature Dissertation SeriesSBLMS Society of Biblical Literature Monograph SeriesSBLSCS Society of Biblical Literature Septuagint and Cognate StudiesSJT Scottish Journal of TheologySNT Schriften des Neuen TestamentsStPat Studia PatristicaStTh Studia TheologicaThLZ Theologische LiteraturzeitungTU Texte und Untersuchungen zur Geschichte der altchristlichen

LiteraturVT Vetus TestamentumWGRW Writings from the Greco‐Roman World. Ed. R.F. Hock. Atlanta:

Society of Biblical Literature, 2001WSA Works of St. Augustine: A Translation for the Twenty‐First Century.

Ed. J.E. Rotelle. Hyde Park, NY: New City Press, 1995–WUNT Wissenschaftliche Untersuchungen zum Neuen TestamentZAW Zeitschrift für die alttestamentliche WissenschaftZThK Zeitschrift für Theologie und Kirche

Psalms Through the Centuries: A Reception History Commentary on Psalms 1–72, Volume Two, First Edition. Susan Gillingham. © 2018 John Wiley & Sons Ltd. Published 2018 by John Wiley & Sons Ltd.

This book is not a typical commentary. First, it does not include the usual historical–critical explanation of the text. So it does not focus primarily on how the text might have been assembled, neither does it provide an exegesis of every difficult word, verse by verse, in a particular psalm. Nor does it seek to give answers about the date, or provenance, or the original purpose of a single psalm. There is some emphasis on all these issues, but only when they are relevant to the reception history of a particular psalm in its earliest stages, Jewish or Christian. Furthermore, this is not a classical ‘devotional’ commen-tary. It does not focus exclusively on the spiritual value of the psalms as prayers of faithful Jews and Christians. There is a good deal of interest in such matters, from the point of view of both Jewish and Christian reception, but there is more to the commentary than this perspective alone. Thirdly, this is not a typi-cal literary–theological commentary. The interest is only in part in the analysis of the words of the text; it is also about a psalm’s later performance through liturgy, music and art. So although there are discussions of, for example, the possible strophes of each psalm, and of the way the language of any one psalm is echoed in psalms before and after it, this serves only as a starting point for its developing reception history. The literary interests are actually found more in a psalm’s reception in later literature (especially after the early Middle Ages, and in English).

So what then is this commentary about? It starts where most commentaries end: it examines interpretations of the psalms after their composition up to the

Introduction: How is a Reception History Commentary a Different Genre?

2 Introduction

present day, and examines their later reception in both Jewish and Christian tradition. It is always in search of a different perspective, another insight, some-thing hidden and then uncovered by the later accretions of interpretation.

This volume is based on the first two books of the Psalter—Psalms 1–41 and 42–72. This takes us almost to the mid‐point of the one hundred and fifty psalms.i Each book is subdivided into smaller collections: the Table of Contents makes these divisions clear. For each psalm, I use a similar method, which follows seven interrelated stages.

The first stage is a focus on the compilation of a collection of psalms, because the placing of each psalm in the Psalter as a whole signifies the first stage in its reception history. This is why I begin by comparing the linguistic equivalences between one psalm and its neighbours, to illustrate that the reception of a psalm into a larger collection has not been accidental.ii This is also why I spend some time discussing the division of the psalms into two books (1–41; 42–72), and the different collections within these books, and the different arrangements of psalms within these collections. I do not believe a psalm can be understood as an isolated unit independent of its neighbours. Thus reception history starts with the process of compilation.

The second stage is about Jewish reception from the second century bce onwards. It includes early translations of each psalm in Greek, as well as differ-ent Hebrew versions in the *Qumran Scrolls. The focus is on examples which have a trajectory in later reception history. This then leads to a consideration of other aspects of Jewish reception history, including the Aramaic paraphrase of the psalms in the *Targum and the use of the psalms in rabbinic sources such as the *Talmud (and within this, the *Mishnah), the *Midrash Tehillim, and medieval commentaries by, for example, *Rashi and *Kimhi.

Jewish and Christian commentators are often in dialogue with one another, so the third stage examines the reception of a particular psalm in Christian tradition. This starts with the New Testament, and progresses to look at read-ings of the psalms by the church fathers and medieval commentators, writing in both Latin and Greek. So this also includes looking at the (Christian) Latin translation of the (previously Jewish) Greek translation. The final part of this third stage looks at a huge span of Christian commentary starting with the early church, then the so‐called early Middle Ages (c. 600–1300), the later Middle Ages (c.1300–1500) up to the early Modern Period in the mid‐seventeenth century.

i Volume Three will cover Books Three (Psalms 73–89); Four (Psalms 90–106) and Five (Psalms 107–150).ii I also examine, where relevant, the headings to a psalm, because these additional titles to the psalms often highlight the differences between Jewish and Christian interpretations.

Introduction 3

Compilation, translation and commentary are, however, not the entire story. A large proportion of this work looks at the more practical and aesthetic modes of reception. Hence the fourth stage examines various prominent adaptations of a psalm (or a psalm verse) through Jewish and Christian liturgy from as early as the third century up to the present day. The fifth stage traces its representa-tion in Christian and Jewish art, starting with ninth‐century *Carolingian and Byzantine illuminated manuscripts and also discussing, where relevant, later paintings, woodcuts, and sketches and more contemporary artistic interpretations. The sixth stage assesses significant Jewish and Christian musical arrangements of each psalm. These are usually compositions from the Renaissance and Reformation experimentation to the present day, and this leads to a considera-tion of the very different forms of a psalm when it is adapted for a performance in a church, synagogue, theatre or concert hall.

The seventh stage is to examine, where appropriate, the various imitations and interpretations of a particular psalm in English, from the early modern period up to present times. This might be through old English *Glosses in early Medieval Psalters, or through poetry and drama from the later Middle Ages onwards, or through political, social or gendered discourse; it also includes any pertinent English translations as well as modern imitations in poetry, and of course this includes examples from both Jewish and Christian tradition.

This, then, is a skeletal outline of the method I use for each individual psalm. But who is this commentary for?—Its purpose is in part to bridge the gap between the academy and the synagogue or church: so it is directed at two dif-ferent kinds of reader. The first is a more academic person: this includes not only those who are working on the psalms (and so would appreciate a different and broader perspective on a specific academic project) but also those who are working on a different aspect of reception (and so would use a study of the psalms as a specific point of reference for a larger project). The second type of reader is anyone who enjoys reading, using, praying, and disseminating the psalms; their concerns are more pastoral and confessional, and in this respect their interests coincide with the ways faithful Jews and Christians through the centuries have used the psalms in this way as well.

This dual readership poses something of a problem. The academically involved reader would expect, for example, my references to psalm texts to be precise in their enumeration—for the Hebrew, Greek, Latin and Aramaic are notoriously different from the English psalm numbers and verses—but those more interested in the more practical dissemination of the psalms would find such academic detail somewhat alienating. Similarly academic colleagues would expect extensive references to Rabbinic, Patristic, Medieval and Reformation sources, yet I have tried to simplify the references where too much precision might estrange other readers. This also applies to the use of liturgical sources, and

4 Introduction

to citations relating to illuminated manuscripts, to musical composers, and to the poetry of the psalms expressed in different ways in English: a more general read-ership could again find some of this extraneous detail over‐intrusive. Some compromise is therefore necessary, and I have addressed this in the following ways.

The first challenge concerns the different versions of the psalms in different languages and the use of different numbers for the psalms and their verses. I offer as an Appendix a chart of the versification of psalms, with the NRSV as the normative text. Hence I only use the variant versification and psalm num-bers (in parenthesis) when I am explicitly citing a psalm verse in the Hebrew, Greek, Latin and Aramaic. Otherwise I use only the NRSV psalm numbers and verses: those who wish for more consistency can consult the Appendix. Related to this, when citing a word in another language, particularly when that script is not the same as the English alphabet, this is presented in its transliterated form, in italics. A connected issue is knowing which actual Greek or Latin or Aramaic version to use: the best known version in Greek, for example, is the *Septuagint, but other Greek versions seem to be cited in the New Testament, and there is also the Old Greek Psalter and works by *Origen. My preference is to cite from the Septuagint translation.iii Similarly the preferential Latin version I cite is *Jerome’s *Vulgate: this is not to overlook the several other versions in circulation before and after Jerome, and I recognise that the Vulgate is one of three versions which he translated.iv As for the Aramaic *Targums, I have chosen to use, pri-marily, the work edited by D.M. Stec.v Finally, as far as the English version is concerned, for reasons of space I have not been able to print out the NRSV text, but readers are advised to read this commentary with that edition beside them.

A second problem has been trying to account for the early Jewish and Christian liturgical uses of psalmody. There are several works which discuss the general use of the psalms in worship.vi Nevertheless, we know very little about the specific use of psalmody in the ancient synagogue traditions and in the early Roman and Orthodox Rites in western and eastern Christendom. Hence I have considered it wiser to omit material when I could not be confident of its purported source. I did, however, decide to use Neale and Littledale’s four‐volume Commentary on the Psalms from Primitive and Medieval Writers, published between 1874–79. I am indebted to this work, partly because nothing more recent is quite like it, but I have used it with some caution. It is clear now that we know very little of the *Mozarabic, *Ambrosian or *Gregorian liturgies themselves, even though it is possible to speak of, for example, psalms being

iii For a brief account of these issues see Gillingham 2008:8–9. iv For a brief account of Jerome’s different translations of the Psalms see Gillingham 2008:31–37. v See Stec 2004. For a brief account of this edition and the various versions of Targums, see Gillingham 2008:71–72. vi For example, Donin 1980; Reif 1993; Elbogen 1993; Lamb 1962; Box 1996; Pickett 2002; Trudinger 2004.