This little psalter within the psalter consists of fifteen
brief songs. Why they are grouped together and what is meant by their generic
name it would be hard to tell. The conjectures are very mary, but they are mere
suppositions. Out of them all the conjecture of Dr. Jebb best commends itself to
my own mind, though it would be quite consistent with this suggestion to believe
that the series of songs arranged by David became the Pilgrim Psalms of after
ages, and were chanted by the Lord's people as they went up to the temple. They
are "Songs of the Goings Up; "so some read the word. Those who delight to
spiritualize everything find here Ascents of the Soul, or language fitted to
describe the rising of the heal t from the deepest grief to the highest delight.
I have thought it well to indicate the methods by which learned men have tried
to explain the term "Songs of Degrees, " but the reader must select his own
interpretation. --C.H.S.
In the thirteenth chapter of the First Book of Chronicles, it
is related, that David brought up the Ark from Kirjath-jearim to the house of
Obed-edom. The word (hjlu) used in the
seventh verse, for "bringing up" the Ark, is of the same etymology with, and
cognate to that which is translated "degrees." And upon this occasion the great
event was celebrated by the accompaniment of sacred music. "And David and all
Israel played before God with all their might, and with singing, and with harps,
and with psalteries, and with timbrels, and with cymbals, and with trumpets."
Again, in the fifteenth chapter of the same book, in the fourteenth verse, the
same term is employed for bringing up the Ark to Jerusalem; and the choral
services of the Levites are mentioned in immediate connection. And in the fifth
chapter of the Second Book of Chronicles (fifth verse), we are told that Solomon
assembled the people at the dedication of the Temple, to bring up the Ark from
Sion to the Temple of the Lord. --John Jebb.
I abide in the simple and plain sense as much as I may, and
judge that these psalms are called The Psalms of Degrees because the Levites or
priests were wont to sing them upon the stairs or some high place; even as with
us he that begins the Psalms or preacheth, standeth in a place above the rest,
that he may be the better seen and heard: For it seemeth not that these psalms
were sung of the multitude which were in the Temple, or of the rest of the
choir, but of certain which were appointed to sing them, or at least to begin
them on the stairs to the rest, and so have their name; like as some other of
the Psalms have their name and title from the singer. But how should a man know
all their rites and ceremonies, especially after so long a time, whereby they
are now clean worn out of the memory of all men? Seeing therefore among such a
multitude of psalms, when the law was yet in his full force and power, some were
wont to be sung with one manner of ceremony, and some with another, according to
the time and place, as the use and custom then was, let this suffice us to think
that this title pertaineth to no point of doctrine, but only to the ceremony of
the singers, what manner of ceremony soever it was.
--Martin Luther, in "A Commentarie upon the Psalmes of
Degrees," 1577.
There were fifteen steps by which the priests ascended into the
Temple, on each of which they sang one of these fifteen psalms.
--David Kimchi.
Whatever view of the Songs of Degrees you may take besides, you
cannot leave out some association of them with the steps, without ignoring the
unanimous belief about them handed down from time immemorial amongst the people
who gave them to us; without, in fact, implying that at some epoch or other this
strange association of the steps with the psalms was gratuitously invented, and,
being invented, secured general acceptance in the sacred literature of the
Hebrew nation. It is quite impossible to believe such a thing, when we are
dealing with a people so jealous of precedent and authority in religion as the
Hebrews have always been. I see, in fact, no sufficient; reason why we should
not follow the leading of the Mischna and feel that Songs of Degrees, Songs of
the Steps, is as much as to say Songs in the sacred Orchestra.
--H.T. Armyqeld, in "The Gradual Psalms," 1874.
The great Carmelite expositor, Michael Ayguan, alleges that the
fifteen psalms were divided by the Jews into three portions of five, with
prayers intercalated, much as the Gregorian division of matins into three
nocturns; and that each of the three grades of advance in the spiritual life is
betokened by each quinary; the beginners, the progressors, and the perfect; or,
in other terms, those who are severally in the purgative, the illuminative, and
the unitive way. And thus it will be noticed that in Psalms 120-124, there is
constant reference to trouble and danger; in 125-129 to confidence in God; in
130-134, to direct communion with him in his house. And Genebrardus, a later
commentator, defines the fifteen degrees of going up out of the valley of
weeping to the presence of God to be (1) affliction, (2) looking to God, (3) joy
in communion, (4) invocation, (5) thanksgiving, (6) confidence, (7) patient
waiting for deliverance, (8) God's grace and favour, (9) fear of the Lord, (10)
martyrdom, (11) hatred of sins, (12) humility, (13) desire for the coming of
Christ, (14) concord and charity, (15) constant blessing of God. --Neale and
Littledale.
No trace in history, or authentic tradition, can be found of
these steps, which owe their construction solely to the accommodating fancy of
the Rabbins, who, as usual, imagined facts, in order to support their
preconceived theories.
--John Jebb.
It is an additional objection to this Rabbinical conceit, that
David, whose name several of these psalms bear--and others of which have evident
reference to his time and circumstances--lived in the time of the tabernacle
which had no steps.
--James Anderson's Note to Calvin in loc.
In the version of Theodotian, executed in the early part of the
second century, with the express view of correcting the errors of the
Septuagint, as well as in the translations by Aquila and by Symmachus, these
psalms are rightly described as songs for the journeys up, and are thus at once
referred to the stated pilgrimages to the Temple. The expressions, "Thou shalt
go up to appear before the Lord thy God thrice in the year" (Ex 39:24), "If this
people go up to do sacrifice" (1Ki 3:27) --a form of expression constantly
employed as often as these sacred journeys are mentioned--is precisely that which
the psalms themselves exhibit: "I was glad when it was said unto me, Go up unto
the house of the Lord"; and while we may well adopt this view, for the
additional reason that it is in harmony with the whole spirit and sentiment
which they breathe throughout, we shall find these psalms to form at the same
time one of the most admirable and instructive manuals of devotion with which
the love of our heavenly Father, through the grace of the Holy Spirit, has been
pleased to bless us.
--Robert Nisbet, in "The Songs of the Temple Pilgrims," 1863.
If the traditionary interpretation of the title, Song of
Degrees, be accepted, that they were sung by devout pilgrims on their way to
Jerusalem to keep the great feasts of the Lord, we may suppose that companies
toiling up this long ascent would relieve the tedium of the way by chanting some
of them.
From the customs of Orientals still prevalent, I think it
highly probable that such an explanation of the title may be substantially
correct. Nothing is more common than to hear individuals and parties of natives,
travelling together through the open country and along mountain paths,
especially during the night, break out into singing some of their favourite
songs. Once, descending from the top of Sunnin, above Beirut, with a large
company of natives, they spontaneously began to sing in concert. The moon was
shining brightly in the clear sky, and they kept up their chanting for a long
time. I shall not soon forget the impression made by that moonlight concert, as
we wound our way down the eastern side of Lebanon to the Buka'a, on the way to
Ba'albek. Through the still midnight air of that lofty region the rough edge of
their stentorian voices, softened into melody, rang out full and strong, waking
the sleeping echoes far and wide down the rocky defiles of the mountain.
Something like this may have often rendered vocal this dreary ascent to
Jerusalem. It is common in this country to travel in the night during the
summer, and we know that the Hebrew pilgrims journeyed in large companies. On
his ascent along this road from Jericho to the Holy City, Jesus was attended not
only by the twelve apostles, but by others, both men and women; and it would be
strange indeed if sometimes they did not seek relief from this oppressive
solitude by singing the beautiful songs of Zion. --William M. Thomson, in
"The Land and the Book," 1881.
When we consider the place in the psalter which these "Songs of
Degrees, or of the goings up" occupy, we see good reason to accept the statement
(of the Syriac version, and of S. Chrysostom, Theodoret, Euthymius, and other
Fathers, and also of Symmachus, Aquila, and of Hammond, Ewald, and many
moderns), that these psalms describe the feelings of those Israelites who went
up with Zerubbabel and Jeshua, and afterwards with Ezra, and still later with
Nehemiah, from the land of their captivity and dispersion at Babylon, Susa, and
other regions of the East, to the home of their fathers, Jerusalem. Hence, in
some of the foregoing psalms, we have seen a reference to the dedication of the
Second Temple, Psalm 118, and of the walls of Jerusalem Psalm 102, and to the
building up of the nation itself on the old foundation of the law of God, given
to their fathers at Sinai Psalm 119. --Christopher Wordsworth.
Gesenius has the merit of having first discerned the true
meaning of the questioned inscription, inasmuch as first in 1812, and frequently
since that time, he has taught that the fifteen songs have their name from the
step like progressive rhythm of their thoughts, and that consequently the name,
like the triolet (roundelay) in Western poetry, does not refer to the liturgical
usage, but to the technical structure. The correctness of this view has been
duly appraised more particularly by De Wette, who adduces this rhythm of steps
or degrees, too, among the more artificial rhythms. The songs are called Songs
of Degrees or Gradual Psalms as being songs that move onward towards a climax,
and that by, means of plokh (epiplokh), i.e., a taking up again of the immediately
preceding word by way of giving intensity to the expression; and they are placed
together on account of this common characteristic, just like the Miehtammim,
which bear that name from a similar characteristic. --Franz Delitzsch.
"Go up, go up, my soul!" must be the motto of one who would
enter into the meaning of these psalms. They are a Jacob's ladder whose foot is
fixed on the earth, but the top reaches up to the "heavenly Jerusalem."
The rhythmical structure of these psalms (in which one line is
built up upon another stair wise) is a suitable outward accompaniment of the
interior character of the psalms. Short, pointed lines fall in well with the
flow of mystico allegorical thought: --as in "Nearer, my God, to thee, "or,
"Jerusalem; the golden." --William Kay.
We may notice the following characteristics of nearly all these
psalms: sweetness and tenderness; a sad pathetic tone; brevity; an absence
generally of the ordinary parallelism; and something of a quick, trochaic
rhythm. --"The Speaker's Commentary."
Though it may be they are so called because of their
excellency; a song of degrees being an excellent song, as an excellent man is
called a man of high degree (1Ch 17:17); these being excellent ones for the
matter of them, their manner of composure, and the brevity of them. --John
Gill.
This being a matter of small moment, I am not disposed to make
it the subject of elaborate investigation; but the probable conjecture is, that
this title was given to these psalms because they were sung on a higher key than
others. The Hebrew word for degrees being derived from the word, hlutsalah, to ascend, or go up, I agree
with those who are of opinion that it denotes the different musical notes rising
in succession. --John Calvin.
Hezekiah liveth, these fifteen years, in safety and prosperity,
having humbled himself before the Lord for his pride to the ambassadors of
Babel. The degrees of the sun's reversing, and the fifteen years of Hezekiah's
life prolonging, may call to our minds the fifteen Psalms of Degrees; viz. from
Psalm 120 and forward. There were Hezekiah's songs that were sung to the
stringed instruments in the house of the Lord (Isa 38:20): whether these were
picked out by him for that purpose may be left to conjecture. --John
Lightfoot, 1602--1675.
WORKS UPON PSALMS 120-134, COMMONLY CALLED THE PSALMS OF
DEGREES.
A Commentarie upon the Fifteene Psalmes, called "Psalmi
traduum", that is, Psalmes of Degrees: Faithfully copied out of the Lectvres of
D. Martin Luther, very fruitful and comfortable for all Christian afflicted
consciences to reade. Translated out of Latine into English by HENRY BVI, L.
London....1577. Quarto, Black Letter. Preface by John Fox, the Martyrologist.
Another edition, 1615. Also 8vo., Lewes: 1823; and London: 1819.]
THE ASCENTS OF THE SOUL: OR, DAVID'S Mount Towards GOD'S House.
Being Paraphrases on the Fifteen Psalms of Degrees. Written in Italian, By the
Illustrious GEO. FRANCESCO LOREDANO, a Noble Venetian, 1656. Rendered in
English, Anno Domi 1665. By Henry Hare, Lord Coleraine. London...1681.
Small folio.
La Scala Santa: or, A Scale of Devotions, Musical and
Gradual. Being Descants on the Fifteen Psalms of Degrees, in Metre; with
Contemplations and Collects upon them, in Prose, 1670. By Henry Hare, Lord
Coleraine. London...1681. Small folio.
The Pilgrim Psalms: an Exposition of the Songs of Degrees.
Psalms
120-134. By the Rev. N. M'MICHAEL, D.D., Dunfermline...
Edinburgh and London: 1860. Cr. 8vo.
The Songs of the Temple Pilgrims. An Exposition, Devotional
and Practical, of the Psalms of Degrees. By ROBERT NISBET, D.D., Edinburgh.
London: 1863. {12mo.]
The Gradual Psalms: a Treatise on the Fifteen Songs of Degrees,
withCommentary, based on Ancient Hebrew, Chaldee, and ChristianAuthorities. By Rev. H. T. ARMFIELD, M.A., F.S.A. London; 1874. Cr.
8vo.]
The Pilgrim Psalms. An Exposition of the Songs of Degrees.
By the Rev. SAMUEL COX. London: 1874. Cr. 8vo. In "The Golden Diary of
Heart Converse with Jesus in the Book of Psalms"...By ALFRED EDERCHEIM, D.D.,
Ph.D., London, 1877, there are Expositions of Psalms 121, 124, 127, and 133.
The Caravan and the Temple, and Songs of the Pilgrims.
Psalms
120-134. By EDWARD JEWITT ROBINSON. London... 1878.
