and thence receiving its name. Although not coined, it may have borne some mark to denote its value and character. As such pieces could not claim the confidence reposed in coined money, they were probably weighed in masses whea large sums were in question; and this is a supposition which will obviate some of the difficulties by which the subject has been perplexed.

14. "Jemima... Kezia... Keren-happuch."-These names are very characteristic, and are exactly of the same class as are at the present day given to women in the Fast. The first name, Jemima, which according to the Targum, means "day;" or may as probably have the signification of "turtle" or "dove," which it bears in the Arabic language. The se cond is cassia-the aromatic of that name. And, the third appears to be correctly rendered by the Vulgate, cornu-sib"the horn or vessel of stibium," that is of paint, such paint as the eyes were adorned with. All these names are in exact conformity with the present usages, in which the names of females are taken from whatever is considered agreeable and beautiful-flowers, fruits, gums, perfumes, precious stones, and the like. The last name is the most singular. It is one of the characteristics of the Orientals that they do not keep in the background the materials and instruments of personal adornment, but obtrude them on every occasion, as objects calculated to suggest agreeable ideas. Hence the vessels containing paints, unguents, and perfumes, give names to females, supply images to poetry, and painted representations of them, with their names inscribed upon them, occur, equally with representations of flowers, on the walls of palaces in the East. It is also remarkable that this custom, of painting the eyes, should have existed at so very early a period as the name of Job's daughter intimates. Yet we know that it existed in the time of the kings see 2 Kings ix. 30, and the note); as also among the ancient Egyptians, as appears from their paintings and mummies. as well as from the fact that vessels with remains of the black powder, and the probes or pencils for applying it to the eye have often been found in the ancient tombs. We annex representations both of the ancient vessels of stibium and of those that are now in use.

THE BOOK

OF

PSALM S.

PSALM I.

delight is in the law of the LORD; and

1 The happiness of the godly. 4 The unhappiness in his law doth he meditate day and

of the ungodly.

LESSED 'is
the man that
walketh not in
the counsel of
the 'ungodly,
nor standeth
in the way of
sinners,

nor

sitteth in the
seat of the
scornful.

night.

3 And he shall be like a tree 'planted by the rivers of water, that bringeth forth his fruit in his season; his leaf also shall not wither; and whatsoever he docth shall prosper.

4 The ungodly are not so: but are 'like the chaff which the wind driveth away.

5 Therefore the ungodly shall not stand in the judgment, nor sinners in the congregation of the righteous.

6 For the LORD knoweth the way of the righteous: but the way of the ungodly shall 2 But his perish.

1 Prov. 4. 14.

Or, wicked.

Josh. 1. 8. Psal. 119. 1.

4 Jer. 17. 8. 5 Heb.fade.

Psal. 35. 5. Isa. 17. 13.

PSALMS.-In the original, the title of this book is sepher tehillim, "the book of praises, "or" hymns." In the common editions of the Septuagint it is simply entitled YAAMOI, "Psalms," while the Alexandrian manuscript in the British Museum has YAATHPION MET RAAIE, "the Psalter with Odes or Hymns;" these odes being the poetical effusions dispersed through the Old and New Testaments. The Syriac version entitles it, "The book of Psalms of David, the King and Prophet ;" and the Arabic has, "The Book of Psalms of David the Prophet, king of the sons of Israel."-In a general sense the Psalms are ascribed to David, because he was the author of a greater proportion of them than any other individual. Some indeed have thought him the author of the whole number, and conclude that those which are said, in the title, to be Psalms of Asaph, or of Heman, &c., should be rendered, "to Asaph ""to Heman," &c.; and only denote that the Psalms were delivered to them to be publicly sung. There is plain internal evidence that this must be wrong. It is highly probable that some were written in the time of Moses, and it is certain that others are so late as the Captivity. They may therefore be taken to extend over a period of about one thousand years; without believing, with some, that the oldest are as early as Adam, or, with others, that the latest are as ate as the Maccabees. The present titles ascribe seventy-one of the psalms to David; and the Septuagint gives him eleven others. It is probable that many of these are erroneously assigned to him; while it is still more probable that many of those to which no names are prefixed are of his composition. We shall not however enlarge on the authorship of the respective Psalms, intending, as we proceed, to make such observations on the subject as may seem necessary. It will be understood, where we say nothing as to the authorship of particular Psalms, that they are usually attributed to David on grounds which appear the most satisfactory that can be obtained.

By whom the book was compiled in its present form, is another question which has raised some discussion. Some of the Rabbins hold that this was the work of David, and seem to deny him any other share in the book than that of collecting into one volume the sacred songs of his predecessors and contemporaries. But this is too absurd to need refutation. Neither do we think that there is any foundation for the opinion which ascribes the compilation to Ezra. But there seems no objection to combine the two statements and infer that David did form a collection, for the sacred service, of the Psalms written by himself, and others that were composed in and before his own time. This formed, probably, the psalm book that was used in the services of the first Temple: and to which was afterwards added, most probably by Ezra, such divine songs as had since been written, down to the time of the return of the Jews from captivity and the foundation of the second Temple.

Verse 3. "A tree planted by the rivers of water."-Here is a beautiful comparison derived from the contrast, often exhibited in the East, between the exuberant production near the rivers and water courses, and the desolation and nakedness of places destitute of natural or artificial irrigation. Often, while traversing plains perfectly destitute of tree,

shrub, or bush of any kind, have we been able to trace for miles the course of a distant stream by the thick and tall growth of trees and underwood upon its banks. Indeed, to perceive this, was to feel assured of the presence of the water that could not be seen. The scenery of Asia, generally speaking, is a continual alternation of such marked contrasts. The soil is thronged with vegetation wherever water can be found; while, beyond the extent in which the streams, usually few and distant, can be made to operate, there is only a "waste, howling wilderness."-As a suitable illustration of this we have introduced a cut of one of the streams of Lebanon-the Nahr Quades, or "Holy River,' showing the rich and crowded vegetation which its valley exhibits.

4. "Like the chaff which the wind driveth away."-Here is a reference to the process of winnowing corn. When it had been threshed, or rather, crushed and trodden, in the open threshing floor, it was thrown out, altogether, into the middle of the floor; it was then tossed up into the wind, which removed the broken straw and the chaff, while the grain, the unthreshed ears, and clods of earth with grain adhering to them, fell in a separate heap. The earth and other impurities were then removed from the grain by means of a sieve; and the winnowed heap containing many ears that were broken, but not fully crushed out, was exposed again to the threshing operation. This was again thrown across the wind by a shovel ( mizreh, rendered "fan" in our version of Isaiah xxx. 24.), when the pure grain fell to the ground and the light chaff was borne away by the wind, as the psalmist here describes. The scattered straw, so far as required for the fodder of cattle and the making of bricks, was collected for use; but the light chaff of the second winnowing was left in the ground entangled with the stubble (the threshing-floor being in the harvest-field), with which it was burnt in the ground to help to manure the soil It therefore furnished a fit symbol of the destruction

of the wicked. These winnowing processes are still followed in the East; and, as far as appears by their paintings, are much the same as were practised by the ancient Egyptians.

PSALM II.

1 The kingdom of Christ. 10 Kings are exhorted to accept it.

WHY 'do the heathen 'rage, and the people 'imagine a vain thing?

2 The kings of the earth set themselves, and the rulers take counsel together, against the LORD, and against his anointed, saying, 3 Let us break their bands asunder, and cast away their cords from us.

4 'He that sitteth in the heavens shall laugh: the LORD shall have them in derision. 5 Then shall he speak unto them in his wrath, and 'vex them in his sore displeasure. 6 Yet have I 'set my king 'upon my holy

hill of Zion.

7 I will declare the decree: the LORD hath said unto me, "Thou art my Son; this day have I begotten thee.

8 Ask of me, and I shall give thee the heathen for thine inheritance, and the uttermost parts of the earth for thy possession. 9

Thou shalt break them with a rod of iron; thou shalt dash them in pieces like a potter's vessel.

10 Be wise now therefore, O ye kings: be instructed, ye judges of the earth.

11 Serve the LORD with fear, and rejoice with trembling.

12 Kiss the Son, lest he be angry, and ye perish from the way, when his wrath is kindled but a little. Blessed are all they that put their trust in him.

Heb. meditate.

4 Prov. 1. 26.
Heb. 1.5.

5 Or, trouble. 10 Psal. 72 .8. 1 Pet. 2. 6.

Heb. anointed.

11 Revel. 2. 27, and 19. 15.

1 Acts 4. 25. 2 Or, tumultuously assemble. 7 Heb. upon Zion, the hill of my holiness. 8 Or, for a decree. 9 Acts 13. 33. 12 Prov. 16. 20. Isa. 30. 18. Jer. 17. 7. Rom. 9. 33, and 10. 11. PSALM II.-This Psalm is supposed to have been written when the nations subdued by David were meditating a revolt, or had already revolted. Its reference, by application, to the Messiah, is admitted by the Jews.

Verse 12. "Kiss the Son."-This is doubtless to be understood as an act of homage and reverence. There are few acts bearing more diversified and contrasted significations than the kiss. It denotes as well the tenderest affection as the most profound and even adoring reverence. As an act of homage it needs little explanation, since it is still our own custom to express homage by kissing the monarch's hand. It was also so far a mark of general respect among our fathers, that for one person to say in a letter or message, that he "kissed the hands" of another, was a formulary for expressing his respect for that person, and was of equivalent import with the expressions of servitude and obedience with which communications to superiors are now usually attended. See the note to 1 Sam. x. 1.

PSALM III.

The security of God's protection.

A Psalm of David, 'when he fled from Absalom

his son.

LORD, how are they increased that trouble me? many are they that rise up against me. 2 Many there be which say of my soul, There is no help for him in God. Selah.

3 But thou, O LORD, art a shield 'for me; my glory, and the lifter up of mine head. 4 I cried unto the LORD with my voice,

and he heard me out of his holy hill. Selah.

5 'I laid me down and slept; I awaked; for the LORD sustained me.

6 I will not be afraid of ten thousands of people that have set themselves against me round about.

7 Arise, O LORD; save me, O my God: for thou hast smitten all mine enemies upon the cheek bone; thou hast broken the teeth of the ungodly.

8 Salvation belongeth unto the LORD: thy blessing is upon thy people. Selah.

12 Sam. 15. 14. 2 Or, about. 3 Psal. 4. 8. 4 Psal. 27.3. 5 Isa. 43. 11. Hos. 13. 4. Verse 2. "Selah."-This is evidently a musical term, occurring only in the Psalms and in Habakkuk iii. Its meaning has been a subject of much dispute. It usually occurs at the end of a period or strophe; but sometimes at the end only of a clause. Gesenius (in D, selah) observes, that in explaining a word of so much difficulty, it is 537

VOL. II.

3 Z

undoubtedly safest to follow the usus loquendi of the Hebrew dialect: and therefore he seems disposed to concur ia the explanation of the learned rabbi Kimchi, who derives the word from salah, “to raise up, or elevate,” which would make it signify an elevation of the voice; and so, perhaps, be a sign for changing the key, or for repeating the same tune some notes higher. Not very different from this is the interpretation usually given to the word diapsalma, which is explained to mean a variation in singing and melody, to correspond perhaps with a transition from one subject or sentiment to another in the words; or to be a musical sign for a bold symphony, intimating that the singers should raise their voices, and that all the instruments should sound along with them in one grand chorus. (See Ewing, in aλuz.) The Chaldee Paraphrast renders it by "for ever," understanding probably with Jerome, that "Selah" connected what followed with that which went before, and further expresses that the words to which it is affixed are of eternal moment-not applicable to any particular person, or temporary circumstances, but ought to be remembered by all men and for ever. Aben Ezra says that it is like the conclusion of a prayer, answering nearly to "Amen;" and that the Jews, in this sense, usually put it at the end of their books and epitaphs. Fenwick, followed by Parkhurst and others, hold that the word is intended to direct particular attention to the passage, as: N.B. attend is, or mind this. Dr. Wall is of opinion that it is a note directing that the last words to which it is added should be repeated by the chorus; and observes that it is always put after some remarkable or pathetic clause. Meibomius also thinks it means "a repeat," and is equivalent to the Italian Da Capo. Some conclude that it directed the time of the music, and was perhaps equivalent to our word "slow," or according to some of our provincial dialects “slaw,” which in a rapid pronunciation might easily be taken for Selah. Calmet thinks the word was sometimes put in the margin of the Hebrew psalters, to indicate that a musical pause was to be made, and that the tune was ended: and this is also the opinion which Dr. Burney deduces from the "diapsalma" of the Septuagint. Rosenmüller, after detailing the opinions of others, decides to prefer that which supposes that the word Selah indicates a rest, or pause, for the vocal performers, and that the musical instruments only were to be heard.-These are the principal opinions, and from their diversity we may probably conclude that Selah is a musical direction, the meaning of which is altogether lost. (See Calmet's 'Dissertation sur ces deux termes Hébreux, Lámnatseach et Séla;' and Fenwick, Dodd, and Hewlett, in loc.)

7. "Cheek bone...teeth.”—The allusion is here, probably, to the condition of a beast of prey which is completely disabled from taking and devouring its prey by having the jaws and teeth broken. (See the note on Job xix. 20.) However, the breaking of the jaws and knocking out of the teeth were common circumstances in ancient warfare, in which the opposing parties were much accustomed to fling stones at each other's heads.

PSALM IV.

1 David prayeth for audience. 2 He reproveth and
exhorteth his enemies. 6 Man's happiness is in
God's favour.

To the 'chief Musician on Neginoth, A Psalm of
David.

HEAR me when I call, O God of my righte
ousness: thou hast enlarged me when I was
in distress; have mercy upon me, and hear
my prayer.

20 ye sons of men, how long will ye turn my glory into shame? how long will ye love vanity, and seek after leasing? Selah.

3 But know that the LORD hath set apart 1 Or, overseer. 2 Or, be gracious unto me.

him that is godly for himself: the LORD will hear when I call unto him.

4 Stand in awe, and sin not: commune with your own heart upon your bed, and be still. Selah.

5 Offer the sacrifices of righteousness, and put your trust in the LORD.

6 There be many that say, Who will shew us any good? LORD, lift thou up the light of thy countenance upon us.

7 Thou hast put gladness in my heart. more than in the time that their corn and their wine increased.

8 I will both lay me down in peace, and sleep for thou, LORD, only makest me dwell in safety.

3 Psal. 50. 14, and 51. 19. 4 Psal. 3. 5.

TITIE," To the chief Musician."-The word thus rendered lamnatseach) has not passed without discussion. The general opinion, which our translators followed, seems to be well authorised in rendering "chief musician." Whenever the word occurs historically, with a reference to persons, it denotes those who have the superintendence or oversight, whether of works or workmen; and hence, in the general sense, an "overseer." So when it thus occurs, as prefixed to a psalm, it is not easy to suppose it can allow of any other reference than to the president or leader of a band of singers or musicians. The Septuagint, and after it the Vulgate, regards it as without a personal application. and renders it by "for ever;" understanding it to denote a psalm which deserved to be sung eternally, and to be ever in the mouth of God's servants. The Chaldee has," for praise," seemingly under a similar impression. The Jews themselves are not agreed about it; but the majority concur with our version. The old Greek interpreters differ also: but in general they suppose it to denote the psalm to be one of victory. One very good reason for adhering to our own version is, that on examining the numerous psalms which are thus inscribed, they have by no means that uniformity of subject or general purport which a characterizing title would seem to require. The reader who wishes to look further into this, may consult Calmet's Dissertation sur ces deux termes Hébreux, Lámnatseach et Séla.' "Neginoth."-This word (), which occurs in the titles of seven psalms, has occasioned some discussion. Septuagint and the Vulgate render it by "song." (Sept. iuvos: Jaλuos. Vulg. carmen: canticum.) The verb from which the noun is derived implies "to play upon a stringed instrument," whence it is concluded that the plural noun in the titles of the psalms, denotes such stringed instruments. What they were we do not know; but under this view Neginoth may possibly be a general word for all the stringed instruments then in use. Wherever the word does occur as a noun, however, other than in the titles of the psalms, the context determines that it must mean songs (as in Job xxx. 9; Lam. iii. 14), and probably such songs as were intended for the accompaniment of stringed instruments. The difference is therefore not greater than whether stringed instruments, or songs or music intended for stringed instruments, be denoted by the word Neginoth.

The