A Table of Titles to the Psalms
The titles of the Psalms have been regarded as inseparable from the sacred text, and too weighty in their import to be omitted in this work. They arc of great utility to the singer, as they point out with precision in the fewest words the character of the pieces over which they were set: and although some of the technical terms employed in them are involved in doubt, their sense, in general, is obvious. They have been taken from an able and lucid translation of the Psalms by Prof. J. A. Alexander, of the Princeton Theological Seminary, to which the Author has made many stanzas to conform; thus accounting for any apparent discrepancy between them and the English Bible.
Psalms 1, 2, 10, 37, 43, 71, 91, 93, 94, 95, 96, 97, 99, 104, 105, 106, 107, 111, 112, 113, 114, 115, 116, 117, 118, 119, 135, 136, 137, 146, 147, 148, 149, and 150, have no titles. But Psalms 1 and 2 may be regarded as a preface, or in a musical sense, a prelude to the whole; which, according to custom will give them to David as author, his name standing over the next. Psalm 10 may be viewed as belonging to 9, the two forming a pair or double Psalm: 33 as belonging to 32 in the same manner: 37 to 36, in which the wicked delineated in the former are put in contrast with the righteous in the latter. Psalm 43 form an appendix to 42: 71 an amplification to 70, and 91 to that of 90. Psalm 93 may be considered as a closing piece to 92 or as an introduction to 94: it may have been placed there for both purposes. Psalms 95 and 96, 97 and 98, 99 and 100, may be regarded as pairs. Psalm 104 beginning like 103, seems naturally enough to be an enlargement of the same subject.
Psalms 34, 56, 89, 11, 12, 13, 15, 20, 21, 24 and 61, are entitled, A Psalm of David: 19, 22, 23, 29, 31, 38, 39, 40, 41, 51, 54, 55, 62, 63, 64, 65, 101, 108, 109, 110, 139, 140, 141, and 133 are entitled, A Psalm by David; 14, 25, 26, 27, 28, 32, 34, 35, 38, 41, 52, 53, 54, 55, 57, 58, 59, 60, 69, 70, 103, 138, and 144, are entitled by David, the word psalm or song being understood: 7 Shiggaion of David: 16 Michtam of David: 18 and 36 by a Servant of Jehovah, by David: 17 and 86 A Prayer, by David, 144 Maschil, by David, a Prayer: and 30 A Psalm a Song of Dedication for the House, by David; 68 by David.—A Psalm of Praise: 145 Praise by David: 122, 124, 131 and 133 a Song of the Ascents, by David: 38 and 70, To remind: 57 Destroy not: 60 a Mystery—to be learnt, by David.
Psalm 72 is entitled by Solomon: 127 a Song of the Ascents. By, Solomon: 88 by Heman the Ezrahite: 89 Maschil.—By Ethan the Ezrahite: 90 by Moses the man of God.
Psalms 50, 73, 74, 75, 76, 77, 78, 79, 80, 81, 82 and 83, bear the name of Asaph, either as author or chief singer, most likely the former, as 75, 76, 80 and 81 are inscribed to the chief musician, and 77 to the chief musician over the choir of Jeduthun. 50, 73, 79 and 82, are entitled a Psalm, by Asaph: 83 a Song—A Psalm by Asaph: 75 and 76 a Psalm by Asaph: 78 by Asaph—a Psalm: a Song: 74 and 78 Maschil—By Asaph: 71 on the Gittith, by Asaph: 80 as to lilies—A Testunony—By Asaph—A Psalm.
Psalms 42, 44, 45, 46, 47, 48, 49, 84, 85, 87 and 88 are inscribed to or for the Sons of Korah; of which 42, 44, 45, 40, 47 and 49 are to the chief musician. To the Sons of Korah: Maschil is affixed to 42 and 44: Upon lilies, Maschil—A Song of the Beloved, to 45: Upon Alamoth, a Song, to 46: On the Gittith, to 84: a Pa.—A Song, to 87, and a Song, a Ps. To 88.
Some of the senses which the technical terms employed in the titles of the Psalms are supposed to convey, are the following:
Al-muth-labbin. The self-destruction of the wicked—or death of the sinner. Ps. 9.
Al-tashheth. Destroy not. Ps. 57, 58, 69 and 75.
Jeduthun. One of the chief singers of David, meaning probably a family of singers of that name. Ps. 39, 62 and 77.
Mahalath. The subject of the Psalm concerning the wicked. Ps. 53 : Concerning afflictive sickness, Ps. 88.
Maschil. An instructive or didactic poem. Ps. 32, 42, 44, 45, 52, 63, 74, 78, 79 and 142.
Michtam. To hide—a mystery or secret. Ps. 16, 56, 58 and 59.
Nehiloth. Flutes or wind instruments. (H. Ainsworth, 1626.) More probably it relates to the subject of the Ps. as to the lots or des- tinies of the righteous and the wicked. Ps. 5.
On the Hind of the Morning. Hind—a poetical figure for suffering innocence—morning—relief after long distress. Ps. 22.
Shiggaion. Wandering or error. Ps. 9.
Sons of Korah. These were a family of Levitical singers.
Song of the Ascents. Set over Psalms from 120 to 134 inclusive—sung during the periodical journeyings of the Jews to Jerusalem at the times of their great festivals.
To or for the Chief Musician. This inscription shows that the Psalms over which it is placed were intended for permanent public use, and not merely private purposes. Ps. 4, 5, 6, 8, 9, 11, 12, 13, 14, 18, 19, 20, 21, 22, 31, 36, 39, 40, 41, 44, 51, 52, 53, 54, 55, 56, 57, 58, 59, 60, 61, 62, 64, 65, 66, 67, 68, 69, 70, 75, 76, 80, 81, 84, 85, 86, 109, 139 and 140. To the Sons of Korah is added to the Chief Musician, in Ps. 42, 44, 45, 46, 47 and 49.
With or on Stringed Instruments. Ps. 46, 54, 55, 61, 67, 76.
Upon Alamoth. Virgins or young women—denoting soprano or female voices. Ps. 46.
Upon the Eighth. From the plaintive tone of the Psalms, it would seem to imply in a subdued voice, perhaps an octave below the usual pitch. Ps. 6 and 12.
Upon the Gittith. An instrument of music or style of song borrowed from Gath. Ps. 8, 81 and 84.
Upon Jonath-elem-rehokim. Jonath—a dove, an emblem of suffering innocence—elem—silent, uncomplaining—rehokim—distant, or foreign. Ps 56.
Upon Lilies. An instrument of peculiar loveliness; or relating to a subject of which the lily is a fitting poetical emblem: as song of the beloved Ps. 45; or to delightful consolations and deliverances expected or hoped for, Ps. 69; or lily of Testimony—beauty of the divine law, Ps. 60 and 80.