Psalms:
Bk 1: 1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 16 17 18 19 20 21 22 23 24 25 26 27 28 29 30 31 32 33 34 35 36 37 38 39 40 41
Bk 2: 42 43 44 45 46 47 48 49 50 51 52 53 54 55 56 57 58 59 60 61 62 63 64 65 66 67 68 69 70 71 72
Bk 3: 73 74 75 76 77 78 79 80 81 82 83 84 85 86 87 88 89
Bk 4: 90 91 92 93 94 95 96 97 98 99 100 101 102 103 104 105 106
Bk 5: 107 108 109 110 111 112 113 114 115 116 117 118 119a 119b 120 121 122 123 124 125 126 127 128 129 130 131 132
133 134 135 136 137 138 139 140 141 142 143 144 145 146 147 148 149 150
Additional Psalms: 151 152 153 154 155 156 157 158 159 160 Samuel Chronicles
Essays: Intro - Music - Form & Language
147:1 HALELU YAH KI TOV ZAMRAH ELOHEYNU KI NA'IM NA'VAH TEHILAH
הַלְלוּ יָהּ כִּי טוֹב זַמְּרָה אֱלֹהֵינוּ כִּי נָעִים נָאוָה תְהִלָּה
KJ: Praise ye the LORD: for it is good to sing praises unto our God; for it is pleasant; and praise is comely.
BN: Hallelu Yah; {N} for it is good to sing praises to our gods; indeed it is pleasant, and praise is fitting.
YAH: As well as the link, see my many previous notes on the original female-male, and Psalm 135:3 for the meaning of NA'IM. Also see verse 13 of this Psalm.
147:2 BONEH YERUSHALA'IM YHVH NIDCHEY YISRA-EL YECHANES
בּוֹנֵה יְרוּשָׁלַםִ יְהוָה נִדְחֵי יִשְׂרָאֵל יְכַנֵּס
KJ: The LORD doth build up Jerusalem: he gathereth together the outcasts of Israel.
BN: YHVH is building Yeru-Shala'im; he is gathering together the dispersed of Yisra-El.
The original Davidic-Solomonic construction, taking seven independent hilltop villages and conurbating them as a single city, and then adding the Temple? Or the rebuilding after the return from captivity in Babylon, 536 BCE and afterwards, started at the time of Zeru-Bavel, resumed at the time of Ezra and Nechem-Yah? The "gathering of the dispersed" rather suggests the latter, but the polytheistic opening insists on the former; though it is entirely possible, indeed likely, that the followers of Zeru-Bavel would have chosen precisely that earlier hymn, and then updated it to their own context.
147:3 HA ROPH'E LISHVUREY LEV U MECHABESH LE ATSVOTAM
הָרֹפֵא לִשְׁבוּרֵי לֵב וּמְחַבֵּשׁ לְעַצְּבוֹתָם
KJ: He healeth the broken in heart, and bindeth up their wounds.
BN: He it is who heals the broken-hearted, and binds up their wounds.
LISHVUREY: Or LI SHEVUREY? On this occasion my endlessly repeated question is made more understandable to the non-Yehudit speaker, by comparison with LE ATSVOTAM at the end of the verse. I guess the equivalent in English would be something like "a hotel" or "an hotel"? It should be the latter, but the common usage is the former.
147:4 MONEH MISPAR LA KOCHAVIM LE CHULAM SHEMOT YIKRA
מוֹנֶה מִסְפָּר לַכּוֹכָבִים לְכֻלָּם שֵׁמוֹת יִקְרָא
KJ: He telleth the number of the stars; he calleth them all by their names.
BN: He counts the number of the stars; he gives them all their names.
MONEH: The root is rather more "dividing" than "counting", but in the sense that you keep track of what you are dividing, by counting it. Normally we would expect LESAPER for "to count", but that also has the connotation of keeping the written record of the division, and of "recounting" it in the story-telling sense, rather than what is done when an election is tied. So we in English also play with these meanings. But the Yehudit has a further dimension, because MANAH is what YHVH counted out daily, and a double-portion on the eve of Shabat, to feed the Beney Yisra-El in the Mosaic wilderness - see my note at Exodus 16:15.
Again confirming that we are still in the polytheistic stage of development. In this verse he is clearly ADONAI TSEVA'OT, the "Lord of the Hosts of the Heavens", the equivalent of Ar Thur before he was reduced to a pseudo-historical king: the deity who sits on the throne in the twelve noon position of the circular horoscope, at the summit of the Round Table, which is the peak of the southern sky (for some reason, in the Jesus version, as per the illustration above, the Round Table is always made rectangular - maybe it was easier to paint it that way); his consort, the White Goddess, Queen Guinevere in Celtic, Yah in this Yisra-Eli Psalm, sits in the one place that he cannot go, the apex of the northern sky, the 12 midnight position, that of the full moon. And on his Bin-Yamin, his right hand...
147:5 GADOL ADONEYNU VE RAV KO'ACH LITVUNATO EYN MISPAR
גָּדוֹל אֲדוֹנֵינוּ וְרַב כֹּחַ לִתְבוּנָתוֹ אֵין מִסְפָּר
KJ: Great is our Lord, and of great power: his understanding is infinite.
BN: Great is our Lord, and mighty in power; there are no limits to his understanding.
147:6 ME'ODED ANAVIM YHVH MASHPIL RESHA'IM ADEY ARETS
מְעוֹדֵד עֲנָוִים יְהוָה מַשְׁפִּיל רְשָׁעִים עֲדֵי אָרֶץ
KJ: The LORD lifteth up the meek: he casteth the wicked down to the ground.
BN: YHVH lifts up the humble, but the wicked are brought down to earth.
ME'ODED: More word-games - or actually the same word-game, but played differently. OD means "again", so this really is the "recount" at the tied election. But the wicked cheated, and claimed they had won it, and they have to be brought down to earth; while the losers, in every sense of that word, get a recount, and then another recount, of their manna portion as well as their votes.
MASHPIL: A study-group might find it interesting to compare this verse with 1 Samuel 2:7, and try to determine why differently specific verbs are chosen in each case, or why the same ones.
147:7 ENU LA YHVH BE TODAH ZAMRU L'ELOHEYNU VE CHINOR
עֱנוּ לַיהוָה בְּתוֹדָה זַמְּרוּ לֵאלֹהֵינוּ בְכִנּוֹר
KJ: Sing unto the LORD with thanksgiving; sing praise upon the harp unto our God:
BN: Sing to YHVH with gratitude; accompany that song to our gods upon the harp.
ENU: I have asked this before in the Psalms, but it keeps on recurring: the root is ANAH, which really means "to reply" or "to answer"; but YHVH hasn't said anything or done anything that requires an answer. Why is the verb not then SHIR, "to sing"? And my speculation is: look at the structure of the verse, which is caesuraed, two-parts: is the chazan (the lead cantor) delivering the first part, and the congregation, or perhaps the choir, "responding" with the second part; the verb used as a piece of conductor's notation, a kind of uttered stage direction, but also as part of the line?
VE CHINOR: And can we also assume that this verse, and the following, would have been accompanied by solo harp, rather than full orchestra; or at least by lead-virtuoso harp, as might be a piano or violin concerto today?
147:8 HA MECHASEH SHAMAYIM BE AVIM HA MECHIN LA ARETS MATAR HA MATSMIYACH HARIM CHATSIR
הַמְכַסֶּה שָׁמַיִם בְּעָבִים הַמֵּכִין לָאָרֶץ מָטָר הַמַּצְמִיחַ הָרִים חָצִיר
KJ: Who covereth the heaven with clouds, who prepareth rain for the earth, who maketh grass to grow upon the mountains.
BN: He it is who covers the skies with clouds, who prepares rain for the Earth, {N} who makes the mountains spring with grass.
ARETS: I have given this an Upper Case "e", but it doesn't have to be; the grass in the mountain springs need wet mud, locally, not universally, to thrive.
So we get closer to answering the dating question. YHVH Tseva'ot belongs to the early years of the Second Temple; the transition to the Omnideity did not start until at least a century after Zeru-Bavel, and only came to full fruition in the Hasmonean era, so we cannot state for certain, only presume that it must be, from the Davidic age. This verse makes it even more certain - the fertility cult was the stage before YHVH Tseva'ot, and here it is, still very much in place.
And again, worth comparing this with Chanah's hymn, and not just the verse that I linked at verse 6.
147:9 NOTEN LIVHEMAH LACHMAH LIVNEY OREV ASHER YIKRA'U
KJ: He giveth to the beast his food, and to the young ravens which cry.
BN: He provides food for the cattle, and for the young crows when they cry.
OREV: The OREV, as Ted Hughes will tell you, can never be mentioned without other associations. Lots of "ambushers" in the Yehoshu'a tales (see my notes at Joshua 8:2 and 15:52), and again in Judges (16:9, 20:36...), but in a Psalm that is making clear distinctions between the territory of the sun-god and that of the moon-goddess, the arrival of evening cannot be without significance. Evening in Yehudit is EREV (עֶרֶב), identical spelling to the crow, until you add the Masoretic pointing.
147:9 NOTEN LIVHEMAH LACHMAH LIVNEY OREV ASHER YIKRA'U
נוֹתֵן לִבְהֵמָה לַחְמָהּ לִבְנֵי עֹרֵב אֲשֶׁר יִקְרָאוּ
KJ: He giveth to the beast his food, and to the young ravens which cry.
BN: He provides food for the cattle, and for the young crows when they cry.
OREV: The OREV, as Ted Hughes will tell you, can never be mentioned without other associations. Lots of "ambushers" in the Yehoshu'a tales (see my notes at Joshua 8:2 and 15:52), and again in Judges (16:9, 20:36...), but in a Psalm that is making clear distinctions between the territory of the sun-god and that of the moon-goddess, the arrival of evening cannot be without significance. Evening in Yehudit is EREV (עֶרֶב), identical spelling to the crow, until you add the Masoretic pointing.
147:10 LO VIGVURAT HA SUS YECHPATS LO VE SHOKEY HA ISH YIRTS'E
לֹא בִגְבוּרַת הַסּוּס יֶחְפָּץ לֹא בְשׁוֹקֵי הָאִישׁ יִרְצֶה
KJ: He delighteth not in the strength of the horse: he taketh not pleasure in the legs of a man.
BN (literal translation): He finds no delight in the strength of the horse; he takes no pleasure from the legs of a man.
BN (interpretative translation): He sees absolutely no point in horse-racing and gets no pleasure from watching athletics.
[Well what do you expect? He's a Jewish deity. He plays chess and bridge, and may be persuadable to try a round of golf, but only if there's a caddie-cart!]
147:11 ROTSEH YHVH ET YER'E'AV ET HA MEYACHALIM LE CHASDO
רוֹצֶה יְהוָה אֶת יְרֵאָיו אֶת הַמְיַחֲלִים לְחַסְדּוֹ
KJ: The LORD taketh pleasure in them that fear him, in those that hope in his mercy.
BN: YHVH takes pleasure from those who fear him, from those who wait for his mercy.
147:12 SHABCHI YERUSHALA'IM ET YHVH HALELI ELOHAYICH TSI'ON
שַׁבְּחִי יְרוּשָׁלַםִ אֶת יְהוָה הַלְלִי אֱלֹהַיִךְ צִיּוֹן
KJ: Praise the LORD, O Jerusalem; praise thy God, O Zion.
BN: Soothe YHVH's anger, Yeru-Shala'im; praise your gods, Tsi'on.
SHABCHI: But now we have a much later word, and it throws our date back into question. The root means "to soothe", even "to stroke", and it was in that sense that we found it in Psalm 89:10, used for the stilling of the sea in a time of storm. Proberbs 29:11 does much the same with anger. But that is clearly not its meaning here, and somewhere along the way the root changed from "soothing" to "praising"; we find it in that sense in the Book of Daniel (2:23 and 4:34), which is a very late work, and likewise in Ecclesiastes 8:15... but that is attributed to the era of King Shelomoh (Solomon), the heart of the Davidic epoch. Nor is this Psalm the only one to use SHAVACH as "praise"; we have encountered it at 63:4 and, more famously, because it is part of Hallel, at 117:1. So the attempt at dating is thrown back into debate.
But also into one last thought. Why do humans praise their gods? To propitiate them, which is to say "to soothe" any anger that they may be feeling towards humankind. So perhaps the two seemingly different meanings are not so different after all, merely a shift from the Mythological Age to the Metaphysical Age, or, in the words of Shemu-El (1 Samuel 15:22) and Yesha-Yah (Isaiah 1:11), from the epoch of "sacrifice" to that of "obedience".
147:13 KI CHIZAK BERIYCHEY SHE'ARAYICH BERACH BANAYICH BE KIRBECH
כִּי חִזַּק בְּרִיחֵי שְׁעָרָיִךְ בֵּרַךְ בָּנַיִךְ בְּקִרְבֵּךְ
KJ: For he hath strengthened the bars of thy gates; he hath blessed thy children within thee.
BN: For he has made the bars of your gates strong; he has blessed your children in your womb.
KIRBECH is obviously feminine (the masculine would be grammatically KIRBECHA, but anatomically anomalous), and it denotes Yeru-Shala'im as a feminine noun; what is odd is not this, but the continuation of the feminine into the next verse, which provides an unstated explanation of why it is feminine, despite being the political capital, which is usually male in most cultures. Yet again I am left wondering if this was not originally a hymn to both the male sun-and-sky god and the female moon-and-fertility goddess, and in the updating for the Ezraic period the Redactor simply didn't have sufficient understanding of the ancient language, or was too locked in the new ideology, to be able to remove all the "evidence". In the same way we can see the goddess Ishtar at the root of the Christian festival of Easter (better still in the mediaeval spelling, Oester, where the oestrus-oestrogen-ostrich of the Cosmic Egg are all palpable).
Wonderful use of alliteration in this line, and simultaneously a richly complex word-play using each of the words that form that alliteration: Beriychey, Berach, Banayich, Kirbech - all from entirely different roots, but at last three of them seeming to share one common root.
And probably that word-play is why the author has used KIRBECH ("in your innards" literally, where we would expect RECHEM for "womb".
147:14 HA SAM GEVULECH SHALOM CHELEV CHITIM YASBIY'ECH
KJ: He maketh peace in thy borders, and filleth thee with the finest of the wheat.
BN: He has established peace along your borders; he will give you the fat of the wheat in surfeit.
The theme of fertility continued, again suggesting an earlier version of the hymn - the male element of fertility is always associated with the rain and dew, the heavenly sperm that fertilises, while the womb of Earth belongs to the mother-goddess, and the crops are their offspring, the "beloved son".
SHALOM: But "makes peace" is simply inadequate as a translation. For two reasons. Firstly because SHALOM doesn't really mean "peace", but "wholeness" or even "perfection", of which peace is of course one manifestation, and quite possibly one of the ones intended here. But SHALOM is also the root of Yeru-Shala'im itself, Ir Shalem having been one of the seven hilltop villages from which it was conurbated; "the City of Peace" perhaps, but just as much "The Perfect City" or "The City of Perfection", which isn't quite the same thing.
147:15 HA SHOL'E'ACH IMRATO ARETS AD MEHERAH YARUTS DEVARO
KJ: He sendeth forth his commandment upon earth: his word runneth very swiftly.
BN: He sends out his words over the Earth; the words become epiphanies at remarkable speed.
IMRATO...DEVARO: AMAR is the root for "to say", while DAVAR is the root for "to speak", and, as in English, the distinction is not always easy to make. The key to both is that speech is the principal means by which thought and idea are made articulate, and so the gods bring the world into being by pronouncing the word that describes them: Let there be basalt, and there was basalt. Let there be roses, and there were roses. Let there be light, and there was light. But these are always the DAVAR, "the Word of God" with capitalised nouns in the Christian rendition of this. As we have seen from several of the teaching-Psalms, the IMRATO are the instructions to humankind on how to live correctly within the DAVAR. So the former is the essence, the latter the means of existence. (See verse 18).
147:16 HA NOTEN SHELEG KA TSAMER KEPHOR KA EPHAR YEPHAZER
KJ: He giveth snow like wool: he scattereth the hoarfrost like ashes.
BN: He gives snow like wool; he scatters the hoar-frost like ashes.
KA TSAMER... KEPHOR... KA EPHAR... YEPHAZER: Still more musical word-games; but how to parallel these in an English translation?
147:17 MASHLICH KARCHO CHE PHITIM LIPHNEY KARATO MI YA'AMOD
KJ: He casteth forth his ice like morsels: who can stand before his cold?
BN: He sprinkles his ice like crumbs; who can stand before his cold?
KARCHO...CHE...KARATO: mostly the word-games in this Psalm are driven by the music, or at least by the assonances and dissonances of language, which may or may not be the same thing. Other Psalms focus more on the meanings of the words, and play their games at that level.
147:18 YISHLACH DEVARO VE YAMSEM YASHEV RUCHO YIZLU MAYIM
KJ: He sendeth out his word, and melteth them: he causeth his wind to blow, and the waters flow.
BN: He despatches his creations, and then lets them rot; he commands his wind to blow, and the waters flow.
YAMSEM: From the root MASAH, which is used for "melt", because that is what ice and snow eventually do. But the point is the nature of the DAVAR: that life is given, and taken away, and that reconciling ourselves with that inexorability is the first of the IMROT.
147:14 HA SAM GEVULECH SHALOM CHELEV CHITIM YASBIY'ECH
הַשָּׂם גְּבוּלֵךְ שָׁלוֹם חֵלֶב חִטִּים יַשְׂבִּיעֵךְ
KJ: He maketh peace in thy borders, and filleth thee with the finest of the wheat.
BN: He has established peace along your borders; he will give you the fat of the wheat in surfeit.
The theme of fertility continued, again suggesting an earlier version of the hymn - the male element of fertility is always associated with the rain and dew, the heavenly sperm that fertilises, while the womb of Earth belongs to the mother-goddess, and the crops are their offspring, the "beloved son".
SHALOM: But "makes peace" is simply inadequate as a translation. For two reasons. Firstly because SHALOM doesn't really mean "peace", but "wholeness" or even "perfection", of which peace is of course one manifestation, and quite possibly one of the ones intended here. But SHALOM is also the root of Yeru-Shala'im itself, Ir Shalem having been one of the seven hilltop villages from which it was conurbated; "the City of Peace" perhaps, but just as much "The Perfect City" or "The City of Perfection", which isn't quite the same thing.
147:15 HA SHOL'E'ACH IMRATO ARETS AD MEHERAH YARUTS DEVARO
הַשֹּׁלֵחַ אִמְרָתוֹ אָרֶץ עַד מְהֵרָה יָרוּץ דְּבָרוֹ
KJ: He sendeth forth his commandment upon earth: his word runneth very swiftly.
BN: He sends out his words over the Earth; the words become epiphanies at remarkable speed.
IMRATO...DEVARO: AMAR is the root for "to say", while DAVAR is the root for "to speak", and, as in English, the distinction is not always easy to make. The key to both is that speech is the principal means by which thought and idea are made articulate, and so the gods bring the world into being by pronouncing the word that describes them: Let there be basalt, and there was basalt. Let there be roses, and there were roses. Let there be light, and there was light. But these are always the DAVAR, "the Word of God" with capitalised nouns in the Christian rendition of this. As we have seen from several of the teaching-Psalms, the IMRATO are the instructions to humankind on how to live correctly within the DAVAR. So the former is the essence, the latter the means of existence. (See verse 18).
147:16 HA NOTEN SHELEG KA TSAMER KEPHOR KA EPHAR YEPHAZER
הַנֹּתֵן שֶׁלֶג כַּצָּמֶר כְּפוֹר כָּאֵפֶר יְפַזֵּר
KJ: He giveth snow like wool: he scattereth the hoarfrost like ashes.
BN: He gives snow like wool; he scatters the hoar-frost like ashes.
KA TSAMER... KEPHOR... KA EPHAR... YEPHAZER: Still more musical word-games; but how to parallel these in an English translation?
147:17 MASHLICH KARCHO CHE PHITIM LIPHNEY KARATO MI YA'AMOD
מַשְׁלִיךְ קַרְחוֹ כְפִתִּים לִפְנֵי קָרָתוֹ מִי יַעֲמֹד
KJ: He casteth forth his ice like morsels: who can stand before his cold?
BN: He sprinkles his ice like crumbs; who can stand before his cold?
KARCHO...CHE...KARATO: mostly the word-games in this Psalm are driven by the music, or at least by the assonances and dissonances of language, which may or may not be the same thing. Other Psalms focus more on the meanings of the words, and play their games at that level.
147:18 YISHLACH DEVARO VE YAMSEM YASHEV RUCHO YIZLU MAYIM
יִשְׁלַח דְּבָרוֹ וְיַמְסֵם יַשֵּׁב רוּחוֹ יִזְּלוּ מָיִם
KJ: He sendeth out his word, and melteth them: he causeth his wind to blow, and the waters flow.
BN: He despatches his creations, and then lets them rot; he commands his wind to blow, and the waters flow.
YAMSEM: From the root MASAH, which is used for "melt", because that is what ice and snow eventually do. But the point is the nature of the DAVAR: that life is given, and taken away, and that reconciling ourselves with that inexorability is the first of the IMROT.
This time the plays are on the YUD: YISHLACH... YAMSEM... YASHEV... YIZLY... MAYIM, and they will continue into the next verse with both YA'AKOV and YISRA-EL.
And with each of these latter verses, the early date becomes more certain once again, even if it has been redacted and updated: this is the Creator god, making and unmaking the world, fertilising it with life and then refertilising it with dead matter (the original "dragons of Hell" were simply large worms, undertaking the essential task of biodegradation, so that foetuses can form, down there in the womb of earth). YHVH Tseva'ot, the next phase after this, is the beginning of metaphysics: that god is all about peace and mercy and compassion, and humans should by now have learned the skills of husbandry in any type of climate. By the time of the Omnideity, the Yehudim have become sedentary city-dwellers and only know about the consequences of agriculture, as purchased at the market.
147:19 MAGID DEVARO LE YA'AKOV CHUKAV U MISHPATAV LE YISRA-EL
KJ: He sheweth his word unto Jacob, his statutes and his judgments unto Israel.
BN: He recites his Word to Ya'akov, his statutes and his ordinances to Yisra-El.
And with each of these latter verses, the early date becomes more certain once again, even if it has been redacted and updated: this is the Creator god, making and unmaking the world, fertilising it with life and then refertilising it with dead matter (the original "dragons of Hell" were simply large worms, undertaking the essential task of biodegradation, so that foetuses can form, down there in the womb of earth). YHVH Tseva'ot, the next phase after this, is the beginning of metaphysics: that god is all about peace and mercy and compassion, and humans should by now have learned the skills of husbandry in any type of climate. By the time of the Omnideity, the Yehudim have become sedentary city-dwellers and only know about the consequences of agriculture, as purchased at the market.
147:19 MAGID DEVARO LE YA'AKOV CHUKAV U MISHPATAV LE YISRA-EL
מַגִּיד דְּבָרוֹ לְיַעֲקֹב חֻקָּיו וּמִשְׁפָּטָיו לְיִשְׂרָאֵל
KJ: He sheweth his word unto Jacob, his statutes and his judgments unto Israel.
BN: He recites his Word to Ya'akov, his statutes and his ordinances to Yisra-El.
So the DAVAR and the IMROT become One, through the process of CHUKIM.
147:20 LO ASAH CHEN LE CHOL GOY U MISHPATIM BAL YEDA'UM HALELU YAH
לֹא עָשָׂה כֵן לְכָל גּוֹי וּמִשְׁפָּטִים בַּל יְדָעוּם הַלְלוּ יָהּ
KJ: He hath not dealt so with any nation: and as for his judgments, they have not known them. Praise ye the LORD.
BN: He has not dealt in the same manner with any other nation; and as for his ordinances, they don't even know them. {N} Hallelu Yah.
And no question, by the end of this 147th Psalm, that Yah has been fully absorbed as a masculinised deity, or at least as one of the names of the masculine Omnideity, in the post-Ezraic transition from polytheism to Omnideism. The very positioning of these final Psalms, each one a Halelu to Yah, a propagandistic statement. So we can conclude that this must have been one of the very earliest of the Psalms of Solomonic Yeru-Shala'im, retained but updated by the Ezraic Redactor, and quite probably the version we have here was further redacted a century or more later on - remember that the earliest version of the Tanach that has survived, not including the Dead Sea Scrolls, is the Codex Vaticanus, dated to the 4th century CE, 800 years after the Ezraic Redaction, and itself a Greek translation; of Yehudit versions, the oldest surviving is the Leningrad Codex, and that dates from around 1000 CE.
Psalms:
Bk 1: 1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 16 17 18 19 20 21 22 23 24 25 26 27 28 29 30 31 32 33 34 35 36 37 38 39 40 41
Bk 2: 42 43 44 45 46 47 48 49 50 51 52 53 54 55 56 57 58 59 60 61 62 63 64 65 66 67 68 69 70 71 72
Bk 3: 73 74 75 76 77 78 79 80 81 82 83 84 85 86 87 88 89
Bk 4: 90 91 92 93 94 95 96 97 98 99 100 101 102 103 104 105 106
Bk 5: 107 108 109 110 111 112 113 114 115 116 117 118 119a 119b 120 121 122 123 124 125 126 127 128 129 130 131 132
133 134 135 136 137 138 139 140 141 142 143 144 145 146 147 148 149 150
Additional Psalms: 151 152 153 154 155 156 157 158 159 160 Samuel Chronicles
Essays: Intro - Music - Form & Language
Copyright © 2022 David Prashker
All rights reserved
The Argaman Press
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