Lesson Four
Psalms Alive! (Part 2)
Exposition of the Book of Psalms:
Paragraphs of Psalms Book 2 (Psalms 42-65)
The second book in the fivefold division of the Psalms appears to be a part of a larger collection, i.e., Psalms 42-83, which uses the generic name ------ instead of the proper name Yahweh for the most part. Solomon compiled Book 2 of Psalms, so his contact with God being much less than his dad, uses the generic name for God in it. The former is used 164 times and the latter (Yahweh) only 30 times in Book 2. Within the larger collection, several smaller collections are observable: one connected with the Levitical family called the Sons of Korah; one associated with ----- and one referring to the Levitical family of Asaph. Besides these collections, Book 2 also includes one anonymous psalm and one by Solomon.
Psalms 42 and 43 are Longing for God. (; ) They were the first two psalms of the Sons of Korah in Book 2 and for the director of music in the temple. Each was a maskil (skillful or cunning psalm). Here were two poems so closely connected in content and style as to defy separation. The occurrence of the same refrain in 42:5, 11, and 43:5, the fact that Psalm 43 is without a title, (and the internal form of the two psalms all pointed to ------------ composition. The psalmist was despondent because he could not make his usual pilgrimages to the temple. He seemed to live in the northern section of Palestine, where enemies who did not share his longings for God constantly ------- him. The entire poem is one of great poetic beauty, constantly mingling longing and hope. Both were HEALING and PRAISE PSALMS (numbers one and two in Book 2).
Psalm 44 is A Plea for Justice. () It was the third psalm of the Sons of Korah in Book 2 and for the director of music in the temple. It was a maskil (skillful or cunning psalm). This psalm, national in scope, was permeated with a deep sense of self-justification. The serious calamity alluded to and the attendant humiliation are not viewed as resulting from sin but are taken as ground for ------------. The spirit of disrespectful rebuke is found nowhere else in the Psalter. No other psalm makes such claims of national fidelity to God. There is presented here another side of Israel's heart life. The abiding value lies in the emphasis upon God's ----- to help. This was the first NATIONAL LAMENT PSALM in Book 2.
Psalm 45 is The Marriage of a King. () It was the fourth psalm of the Sons of Korah in Book 2, a ------- song to [the tune of] “Lilies” for the director of music in the temple. It was a maskil (skillful or cunning psalm). Its secular nature is at once recognized. However, the event is idealized and spiritualized by a court attendant who was obviously moved by this solemn occasion. The hopelessness of identifying the king or the period in history gives a more idealized significance to it. Later Jewish interpreters made it --------- (the first Messianic PSALM and second ROYAL PSALM in Book 2), as did early Christian writers (cf. Ps. 45:6-7 and ).
Psalm 46 is A Mighty Fortress. () It was the fifth psalm of the Sons of Korah in Book 2 and for the director of music in the temple. It was an alamoth (--------------). This and the next two psalms form a trilogy of praise. The likelihood that the same historical situation provided the background for all three has caused much speculation as to the event itself. Although some great ----------- seems to be understood, the particular occasion cannot be identified. The psalmist, to encourage the people in their current crisis, used the pronounced apocalyptic elements. It was both the third PRAISE and HEALING PSALM in Book 2.
Psalm 47 is A Victorious King. () It was the sixth psalm of the Sons of Korah in Book 2 and a psalm for the director of music in the temple. This second psalm in the trilogy that expresses confidence in God amplified the thought expressed in and . It was the first ROYAL PSALM. According to the Talmud, Psalm 47 was used in later Judaism on the Jewish --------------. This psalm celebrates the enthronement of Yahweh as the King of all the earth. In its prophetic aspect, this psalm finds its fulfillment in the future ------------- of Christ. It was both the fourth PRAISE and second MESSIANIC PSALM in Book 2.
Psalm 48 is A Holy City. () It was the seventh psalm of the Sons of Korah in Book 2. The trilogy begun in Psalm 46 with emphasis on confidence in God was here concluded with a similar note of confidence. The concepts of God as Refuge in Psalm 46 and as King in 46 and 47 were both incorporated in this psalm. The --------- features were continued here, but in lesser degree. The fact that there is some historical background for the trilogy becomes more apparent. The psalm was undoubtedly used in connection with a prominent festival as first-time -------- were shown the city. It was both the fifth PRAISE and third MESSIANIC PSALM in Book 2.
Psalm 49 is The Folly of Earthly Wealth. () It was the eighth psalm of the Sons of Korah in Book 2 and for the director of music in the temple. Psalm 49 was a moral lesson designed for all peoples. There was an avowed educational purpose throughout, in keeping with the purpose of Wisdom writers. Never did the psalmist address ---, and only twice did he mention --- by name. His purpose was to present a meditation on the riddle of life.
Psalm 50 is The Nature of True Worship. () It was the only psalm of Asaph in Book 2. This educational psalm is closer to the --------- tradition than to the Wisdom emphasis. The opening utterance of God, the emphasis upon spiritual worship, and the straightforward denunciation of the wicked pointed to a prophetic background. Acceptable worship and social morality were the two dominant themes. These correspond to the two main divisions of the Ten Commandments — man's relation to God and man's relation to ------------.
Psalm 51 is A Cry for Forgiveness. () It was the first psalm of David in Book 2 and for the director of music in the temple. The occasion was when the prophet Nathan came to him after David had committed 12. -----------------------. This was the fourth and most profound of the Penitential Psalms. The depth of individual experience, the sense of sin, and the plea for forgiveness are unsurpassed in any other psalm. This was the first psalm in another collection bearing David's name, Psalms 51-70.
Psalm 52 is The Fate of an Arrogant Sinner. () It was the second psalm of David in Book 2 and for the director of music in the temple. It was a maskil (-------------------- psalm). The occasion was when Doeg the Edomite had gone to Saul and told him: “David has gone to the house of Ahimelech” (). In this first individual lament psalm in Book 2, presented in the direct manner of the prophets, there was no appeal for God's help; only confidence that God would bring a terrible -------- to sinners. Although a particular evil individual is addressed throughout, this sinner may represent a class of evil men, with the prophet as the example of a righteous man.
Psalm 53 is The Judgment for Denying God. () It was the third psalm of David in Book 2 and for the director of music in the temple. It was to be performed with mahalath (dancing with --------). This psalm is actually another version of Psalm 14. The only significant change is that the content of 14:5-6 is here strengthened and compressed into one verse (53:6). It is possible that both of these psalms are adapted versions of an -------------. However, 53 may be simply a version of 14, adapted for some historical crisis.
Psalm 54 is A Prayer for Assistance. () It was the fourth psalm of David in Book 2 and for the director of music in the temple. It was a maskil (skillful and cunning psalm) with stringed instruments. The occasion was when the -------- had gone to Saul and said, “Is not David hiding among us?” (). Though this is the appeal of a troubled man hunted by Saul, in the characteristic form of the second individual lament PSALM in Book 2, the language and content are so general as to make it adaptable for the needs of any who are oppressed by ------- men.
Psalm 55 is A Protest Against the Wicked. () It was the fifth psalm of David in Book 2 for the director of music in the temple, a maskil (skillful and cunning psalm), accompanied with stringed instruments, and a psalm of David. Basically this is the third individual lament PSALM in Book 2 of one oppressed by ------- and deserted by -------. It was the fourth HEALING PSALM in Book 2.
Psalm 56 is The Triumph of Faith. () It was the sixth psalm of David in Book 2 and for the director of music in the temple. It was a miktam (meaning uncertain [personal prayer?]) to [the tune of] “A Dove on Distant Oaks.” The occasion was when the ----------- had seized him in Gath (). Here was the fourth individual lament PSALM in Book 2 concerning his treatment by his enemies. The distress of the psalmist, prompted by the malicious plots of crafty men, made fear inevitable. However, his trust in God -------- all fear. It was also both the sixth PRAISE and fifth HEALING PSALM in Book 2.
Psalm 57 is A Prayer for Protection. ()It was the seventh psalm of David in Book 2 for the director of music in the temple, a miktam (meaning uncertain [personal prayer?]) to [the tune of] “Do Not Destroy.” The occasion was when he had -------------- into the cave (). This was the fifth individual lament PSALM in Book 2. In spirit, content, style, and situation, Psalms 56-57 are similar. Both began with the same appeal, and both used a striking refrain as a division of structure. Verses of Psalm 57 formed a striking hymn that was repeated in . It is possible that two poems were ------ to fashion this psalm in its present form.
Psalm 58 is A Protest Against Injustice. () It was the eighth psalm of David in Book 2 and for the director of music in the temple. It was a miktam (meaning uncertain [personal prayer?]) to [the tune of] “Do Not Destroy.” This was the sixth individual lament PSALM in Book 2 of one indignant over the lack of --------------------. He saw tyranny and oppression as the rule in society rather than the exception. He was especially concerned with the 21. ---------- of justice by earthly rulers or judges. It is difficult, however, to determine whether he referred to the leaders of Israel or to foreign rulers (cf. Psalm 82). It was also the first Imprecatory Psalm in Book 2.
Psalm 59 is A Prayer for Rescue. () It was the ninth psalm of David in Book 2 and for the director of music in the temple. It was a miktam (meaning uncertain [personal prayer?]) to [the tune of] “--------------.” Though this psalm was basically the seventh individual lament PSALM in Book 2, it had overtones that adapted it to national use as well. There are points of similarity with Psalms 55 and 58. The picture of oppression was again dominant, as was the ---------- attitude of the writer. It was also the second Imprecatory Psalm in Book 2.
Psalm 60 is A Plea for Ultimate Victory. () It was the tenth psalm of David in Book 2 and for the director of music in the temple. It was a miktam (meaning uncertain [personal prayer?]) to [the tune of] “The Lily of the Covenant.” The occasion was when he fought -------- and when Joab returned and struck down twelve thousand Edomites in the Valley of Salt (2 Sam. 8 and 1 Chron. 18). Because of the evident disaster facing the nation, and because of the frequent plurals, this psalm should be classed as the second national lament psalm in Book 2. Public complaint was voiced at the beginning and at the end of the psalm, and a separate oracle of God is placed in the middle. The psalm ended on a note of ----------. Verses 6-12 were repeated by the author of .
Psalm 61 is A Prayer for a King. () It was the eleventh psalm of David in Book 2 and for the director of music in the temple, using stringed instruments. This psalm was the earnest lamentation and appeal of one who was away from ---------. The end of the earth need not refer to a remote area, because the yearning to be back home --------- the distance. Although an enforced exile may be the lot of the psalmist, it is not required by this phrase. It was the eighth individual lament and sixth HEALING PSALM in Book 2.
Psalm 62 is An Unshakable Faith. () It was the twelfth psalm of David in Book 2 and for the director of music in the temple, for Jeduthun, one of David’s ---------------- There was an element of lamentation in the opening verses of this outstanding song of passive trust, and an educational purpose in the closing verses. However, the dominant note of trust and confidence was evident throughout. The author was a man of authority whose position was threatened. Though his opponents were from various lifestyles, he viewed them all as utterly ---------.
Psalm 63 is A Thirst for God. () It was the thirteenth psalm of David in Book 2 and occurred when he was in the Desert of Judah (; ; ). Like the preceding psalm, this is a song of trust, based upon a -------------- to God. The psalmist was obviously in exile or banished from his home. His deep desire to share in public worship was partially satisfied by his fellowship with God in meditation. This song is an excellent example of the highest type of personal and ----------------- in Israel. It was the seventh PRAISE PSALM in Book 2.
Psalm 64 is An Appeal for Assistance. () It was the fourteenth psalm of David in Book 2 and for the director of music in the temple. The familiar plea for help was heard again in this ninth individual lament psalm in Book 2. The plight of the psalmist was ---------, although there is no reference here to physical harm. His enemies schemed and slandered secretly rather than coming out in open opposition. After enumerating and describing their wicked deeds, the psalmist expressed his --------- that God will judge them rightly.
Psalm 65 is A Hymn of Thanksgiving. () It was the fifteenth psalm of David in Book 2 and a song for the director of music in the temple. This was the only THANKS PSALM in Book 2. As a thanksgiving psalm this was a remarkable review of God's ----------------- with the children of men. A spirit of universalism breaks the bounds of narrow nationalism in Israel. This hymn was closely connected with a thanksgiving festival at the ------, either composed for or inspired by such an occasion.