Lesson Five
Psalms Alive! (Part 2)
Exposition of the Book of Psalms:
Paragraphs of Psalms Book 2 (Psalms 66-72)
Psalm 66 is A Song of Deliverance. () It was the first --------- psalm in Book 2 and a song for the director of music in the temple. This was the eighth PRAISE PSALM in Book 2. Psalm 66 was both ------------- and individualistic in its presentation of thanksgiving. Verses relate to the nation but also reach out to the world, while verses 13-20 refer to the personal life of the psalmist. The corporate experience of the nation formed an excellent background for the individual experience of the author.
Psalm 67 is A Hymn for a Harvest Festival. () It was the second anonymous psalm and song in Book 2 for the director of music in the temple, using -------- instruments. This was the ninth PRAISE PSALM in Book 2. This brief psalm of thanksgiving was remarkable for its beauty, its simplicity, and its world outlook. The occasion for its use was probably to be seen in verse 6, where the climax was expressed in terms of harvest 5------------. The hymn may well have been a part of the music for the Feast of Pentecost or the Feast of Tabernacles.
Psalm 68 is God's Victorious March. () It was the sixteenth psalm of David in Book 2 and a song for the director of music in the temple. This psalm was composed of such diverse elements as to defy classification. Verses 1-18 were basically an ode, while verses 19-35 resembled more closely a ----. It was a medley of songs and hymns. The dominant theme appeared to be God's march as ------ both past, present, and future (fourth MESSIANIC PSALM in Book 2). The background of the material was to be seen in the totality of Israel's history, rather than in a specific deliverance. It was the tenth PRAISE PSALM in Book 2.
Psalm 69 is A Prayer for Retribution. () It was the seventeenth psalm of David in Book 2 and for the director of music in the temple, to [the tune of] “Lilies.” David, in the depths of ------- and agony, here lamented his case. His persecution was viewed as a result of his religious convictions. With fervor he pleaded for retribution upon his persecutors. Because of his worried state of mind, his mood changed often. However, his despair became -------, and his complaint became praise after he voiced his innermost feelings. It was the tenth INDIVIDUAL LAMENT, third Imprecatory, eleventh PRAISE, fifth MessiaNIC, and seventh HEALING PSALM in Book 2.
Psalm 70 is A Cry for Immediate Help. () It was the eighteenth psalm of David in Book 2 and a petition for the director of music in the temple. This psalm was the eleventh individual lament psalm in Book 2, which also occurred as part of Psalm 40 (vss. ). Here the name for God had been changed from Yahweh (God’s proper name) to 10. ------ (God’s generic name), and some slight variations in wording are evident. Its presence as a separate psalm may indicate that it was found in both of the basic collections already mentioned, or that it was detached from Psalm 40 for liturgical use in the temple.
Psalm 71 is The Confidence of an Aged Saint. () It was the third anonymous psalm in Book 2 and has no heading. Here is the twelfth individual lament psalm in Book 2 of one who had suffered --------------- in his many years upon earth. Persecutions, sickness, calamities, and trials had added gray hairs to his head. Yet he had maintained his close relation to God since ---------. His appeal for help once more is based upon the blessings of past experience. His desire was to live long enough to teach the present generation something of what life had taught him. It was also the twelfth PRAISE and eighth HEALING PSALM in Book 2.
Psalm 72 is Blessings on the King. () This is the ---------- by Solomon in the book of Psalms, the prayer of a loyal subject who desired God's richest blessing upon a young king. All of the hopes of the nation rested on this king, who was God's representative. The description was inspired by --------------- or accession, but it may have been applied to more than one king in its historic use. There is throughout a picture of an ideal king, and thus the psalm has Messianic significance. It was also the sixth MESSIANIC and thirteenth PRAISE PSALM in Book 2.
Paragraphs of Psalms Book 3 (Psalms 73-89)
The third major division in the Psalter, which is much shorter than the previous two books, includes only seventeen psalms. The first eleven are connected with the name of Asaph, who was one of the chief ------------------- under David's rule. The other two chief musicians of David were ---------------, each of whom is connected with a psalm in this book. One psalm is referred to David, while the remaining four psalms are associated with the Levitical sons of Korah. Just as the sons of Korah formed a Levitical guild, so Asaph's sons continued to occupy places of musical leadership.
Book 3 was compiled during the period of the exile in Babylon (586-538 B.C.). This does not mean that all these Psalms were written then, but ---------. Those with the notation, “for the director of music in the temple,” would have been Psalms originally for use in temple worship, well ---------------- (thus brought with them into Babylon) or expecting the return from exile and restored temple worship.
Psalm 73 is The Trial of Faith. () This is the first Psalm of Asaph in Book 3. Here is yet another approach to the problem of the prosperity of the wicked. Although his own suffering troubled the psalmist, he was more perplexed by the ------------------ of the wicked. This psalm goes deeper into the problem than do Psalms 37 and 49, and the author found peace in -------------------- with God. It may be classified as a song of trust, with overtones that link it with the Wisdom writers. The educational purpose is evident throughout, but it is interwoven with the confession of a man whose faith had been sorely tested.
Psalm 74 is An Appeal for Vindication. () This was the second Psalm of Asaph in Book 3, a maskil (a skillful or cunning psalm). This psalm was the expression of national lament (first NATIONAL LAMENT PSALM in Book 3) by Israel in the wake of extreme disaster. The feeling was widespread that God had ---------------------- His people. The destruction of the city and the temple suggest the occasion of the -------------------. This is the only time known when the temple was burned to the ground. The conditions were similar to those described in the book of Lamentations.
Psalm 75 is The Gratitude of the Nation. () It was the third Psalm of Asaph in Book 3 and for the director of music in the temple [to the tune of] “--------------” (not in all Bibles). While the opening of this psalm was an expression of --------------------- (only thanks PSALM in Book 3), and the conclusion was related to an individual, the central portion is difficult to classify. This psalm exhibits careful poetic arrangement as well as definite progression of thought.
Psalm 76 is A Song of Victory. () It was the fourth Psalm of Asaph in Book 3 and for the director of music in the temple, using stringed instruments. This song is closely related to Psalms 46, 48, and 75 in its celebration of a ----------------. Many commentators seek the common background for these four pieces in the defeat of the --------- in 701 B.C. Even though some historical event may have inspired the original poem, the present psalm seems to have been adapted for temple worship.
Psalm 77 is Remembering God's Works. () It was the fifth Psalm of Asaph in Book 3 and for the director of music in the temple, Jeduthun (one of David’s ---------------). Lament was intermingled with praise in this psalm. The opening verses (1-9) were the individual lament (first INDIVIDUAL lament PSALM in Book 3) of a man, who may have represented the nation in affliction. The later verses (10-20) were --------------- (first PRAISE PSALM in Book 3), which clearly complemented the opening section. Verses express a different mood and exhibit a different style and rhythm from the rest of the psalm.
Psalm 78 is Wisdom from History. () This was the sixth Psalm of Asaph in Book 3, a maskil (a skillful or cunning psalm). Here is a good example of the ----------- purposes of the Wisdom writers. God's wonderful acts of deliverance, blessing, and guidance were recalled to serve as a lesson for the psalmist's generation. The teaching was directed toward the inhabitants of Judah, illustrating God's choice of Jerusalem and the Davidic line as recipients of His promises instead of the tribe of -------, which disqualified itself by rebellion.
Psalm 79 is A Prayer for Vengeance. () This was the seventh Psalm of Asaph in Book 3. It was both the first IMPRECATORY and second NATIONAL LAMENT PSALM in Book 3. This psalm was the collective lament of the community of Jerusalem in a time of national disaster. The description of the defiling of the temple and the devastation of the city points to a serious destruction, such as the ------------------- in 586 B.C. There is here close affinity to the background of Psalm 74, where the Babylonian destruction seems most appropriate. The Jews have long connected these two poems for use on the fast day, which commemorates the ---------------- of Jerusalem, in 586 B.C. and in A.D. 70.
Psalm 80 is A Plea for Restoration. () It was the eighth Psalm of Asaph in Book 3 and for the director of music in the temple [to the tune of] “The Lilies of the Covenant.” Here was another expression of national lament (third NATIONAL LAMENT PSALM in Book 3) in a time of distress. The psalmist had sincere interest in the ---------------- either as an outsider or as an inhabitant of that area. The former is probably the case, for the distress appears to be associated with the -----. The irregular recurrence of a refrain, in verses 3, 7, and 19, with an abbreviated form in verse 14, makes the structure of this psalm difficult to explain.
Psalm 81 is A Warning from Experience. () It was the ninth Psalm of Asaph in Book 3 and for the director of music in the temple, using gittith (meaning uncertain [winepress or special instrument]). A -------------- opened this psalm, and a prophetic utterance concluded it. A solemn festival would be a logical time for such a recital of God's relation to Israel. The special term for festival, the blowing of the trumpet, the references to the new moon and to the full moon probably give the poem double reference to the Feast of -------- and the Feast of -----------.
Psalm 82 is The Final Authority. () This was the tenth Psalm of Asaph in Book 3. A scene of judgment upon injustice was set forth in this didactic poem. The proper interpretation of the entire psalm rests on the identity of the second '------ in verse 1. Some commentators translate it literally as gods and relate it to a concept of subordinate gods in a heavenly council. Others translate it as “angels” and connect it with a less polytheistic concept. Still other interpreters translate it as “judges” and make it refer to the ----------------------- at the time. The last interpretation seems preferable.
Psalm 83 is Judgment upon the Nations. () This was the eleventh Psalm of Asaph in Book 3, a typical national lament (fourth NATIONAL LAMENT PSALM in Book 3) in a time of ------------. Since the enemies of Israel were automatically the enemies of God, the name of God (Yahweh) was at stake. The occasion cannot be identified with certainty, because at no period in Israel's history had such a confederation of nations existed. The psalm may refer to an event unrecorded elsewhere in Israel's history, or it may list tribal groups, which merely gave ------------- in a time of crisis. This was also the second imprecatory Psalm of Book 3.
Psalm 84 is A Joyful Pilgrimage. () It was the first Psalm of the Sons of Korah in Book 3 and for the director of music in the temple, using gittith (meaning uncertain [winepress or special instrument]). This was the ----------------- whose goal was almost reached. There is throughout a sense of peace and communion which transcends the ritual and other outward features of worship. While the poem reflects the sentiments of pilgrims of any age, it appears to come from the period of the monarchy at a time when the -------------------------.
Psalm 85 is A Cry for Pardon. () It was the second Psalm of the Sons of Korah in Book 3 and for the director of music in the temple. Though basically a national lament (fifth NATIONAL LAMENT PSALM in Book 3), this psalm had a strong --------- element as well. The first section (vv. 1-3) appeared to refer to the return from captivity, but these verses were idealized beyond the known situation of those days. The psalmist used this ideal picture to show the sharp contrast with the present and the assurance for the ------. It was also the first Messianic PSALM in Book 3.
Psalm 86 is A Prayer for God's Favor. () It was the first and only psalm of David in Book 3. Perhaps its placement among the Korahite psalms was because those who arranged the Psalter perceived a thematic link between vs. 9 and 87:4. In Psalm 86 we recognize the sincere prayer of an individual who was in -----------------. The general nature of his distress makes the message apply to any person in -------. There was also a messianic (second Messianic PSALM in Book 3) hope expressed within this prayer. It was the second HEALING PSALM in Book 3.
Psalm 87 is The City of God. () This was the third Psalm of the Sons of Korah in Book 3. The psalmist sang a song in praise (second PRAISE PSALM in Book 3) of Zion as the center of worship for the world. The abrupt, terse style, which identifies the psalm with prophetic oracles, also renders several phrases obscure and difficult. The pronounced universalism points to the author's contact with the --------------. The mention of Egypt and Babylon together as world powers suggests the period of the ----- as the occasion of composition of the poem.
Psalm 88 is The Darkness of Despair. () It was a Psalm of the Sons of Korah, whose director of music was Heman the Ezrahite, who wrote his only psalm in Book 3 for the director of music in the temple, according to mahalath leannoth (dancing with --------). This was a maskil (a skillful or cunning psalm). This individual lament (second INDIVIDUAL lament PSALM in Book 3) and prayer completely engulfed the psalmist in gloom and despair and ended without an answer or even a ---------------.
Psalm 89 is An Appeal to God's Promises. () It was a maskil (a skillful or cunning psalm) of Ethan the Ezrahite (his first and only psalm). This psalm was basically an individual lament by one who speaks for the nation (thus the sixth NATIONAL LAMENT PSALM in Book 3). The actual lament is prefaced by a lengthy ------------, which consisted of a hymn of praise and an oracle. These divergent elements have suggested to some commentators that this piece is a composite of two or three original poems. While it is possible that the author incorporated existing poems, the subject matter is arranged in a logical manner. The hymn and oracle both presented the basis for the ------. It was a MessiaNIC PSALM (third in Book 3).