A collection of 150 poems. They are the hymnbook of the OT period, used in public worship. Psalms contains songs of different lengths, types, and dates. The earliest psalm (Ps. 90) is attributed to Moses (mid-second millennium BC), while the content of Ps. 126 and Ps. 137 points to the latest periods of the OT (mid-first millennium BC). They continue to be used as a source of public worship and private devotion.

Historical Background

Most psalms have a title. In the Hebrew text this title comprises the first verse, whereas English translations set it off before the first verse. Titles vary. Many name an author (e.g., David [Ps. 3]; Asaph [Ps. 77]; sons of Korah [Ps. 42]), while others provide information about genre (e.g., Psalms of Ascent [Pss. 120–134]), tune (e.g., “Do Not Destroy” [Ps. 75]), use in worship (Ps. 92), and a circumstance that led to composition (Ps. 51). Information in the title gives hints concerning how psalms were written and brought into a final collection.

Composition

As mentioned, the titles of the psalms often give indications of authorship and occasionally name the circumstance that led to the writing of the psalm. A good example is Ps. 51, where the title states, “For the director of music. A psalm of David. When the prophet Nathan came to him after David had committed adultery with Bathsheba.” The title connects the psalm with the events recorded in 2 Sam. 11–12 and suggests that David wrote the song in response to his sin and Nathan’s confrontation.

Although only a handful of the psalms have such a historical title, it is likely that most psalms were composed in response to some specific circumstance that encouraged the author to write. Interestingly, though, the psalmists do not speak about the specific circumstance in the psalm itself. Psalm 51, for instance, fits perfectly with the situation that the title describes in that it expresses guilt toward God and asks for forgiveness, but nowhere does it speak specifically about adultery. The psalmists do this intentionally because they are writing the song not as a memorial to an event, but rather as a prayer that others who have had similar though not identical experiences can use after them. Thus, Ps. 51 has been used as a model prayer for many penitents, whether they have sinned like David or in another way.

Most modern hymns have a similar background. John Newton, for instance, was inspired to write “Amazing Grace” because of awe that he felt at his conversion to Christianity from the evil of being a slave trader. However, when he wrote it, he wanted others to sing it as reflecting not on his conversion but on their own.

Collection

The psalms were composed over a thousand-year period. Thus, it appears that the book of Psalms was a growing collection until it came to a close at an unknown time between the writing of the two Testaments.

In 1 Chron. 16:7–36 we may get a glimpse of how the process worked. The text describes David turning a musical composition over to the Levitical musician Asaph and his associates. It is likely that the priests kept an official copy of the book of Psalms in the holy place (the temple while it stood). The psalms, after all, were the hymns of ancient Israel. Their primary function was as a corporate book of prayer, though certainly they could be used in private devotions (note Hannah’s prayer in 1 Sam. 2:1–10 and its relationship to Ps. 113).

Organization and Structure

The psalms have no obvious organization that explains the location of all the psalms. They are not organized in terms of genre, authorship, time of composition, or length. There is only one statement about organization, found in Ps. 72:20: “This concludes the prayers of David son of Jesse.” In the light of this comment, it is surprising that a number of Davidic psalms appear in subsequent sections (Pss. 101; 103; 108–110; 122; 124; 131; 133; 138–145). The best explanation is that at one point Ps. 72 concluded the Davidic psalms, but there was a reorganization before the canonical order was permanently closed.

A number of contemporary theories try to find some deep structure to the book, but it is best to refrain from speculation in regard to the overall structure. Nonetheless, a few structural characteristics are obvious. First, the division of Psalms into five books seems to reflect the fivefold division of the Pentateuch:

I. Book 1 (Pss. 1–41)

II. Book 2 (Pss. 42–72)

III. Book 3 (Pss. 73–89)

IV. Book 4 (Pss. 90–106)

V. Book 5 (Pss. 107–150)

Each book ends with a doxology. Such an intentional association with the Pentateuch would lend support to the Psalter’s claim to authority. Although these are prayers to God, they are also God’s word.

Second, within the Psalter there are subcollections. That is, there are psalms that came into the book not individually but as a group. The best-known such group are the Psalms of Ascent (Pss. 120–134), probably so named because worshipers sang them while going up (ascending) to the Temple Mount during one of the annual religious festivals in Jerusalem.

Third, it appears that psalms are intentionally placed at the beginning and at the end of the book to serve as an introduction and a conclusion. Psalms 1–2 serve as an introduction that alerts the reader to the twin important themes of law and messiah. Psalm 1 pronounces a blessing on those who love God’s law. The psalms, after all, are an intimate and personal conversation with God. One must be on the side of the godly to enter such a holy textual space, just as one must be godly to enter the precincts of the temple. After the reader enters, Psalm 2 provides an encounter with God and his anointed one (messiah). At the end of the book, the last five psalms (Pss. 146–150) constitute a tremendous doxology of praise.

This leads to the final observation on structure. Psalms of lament predominate at the beginning of the book, but they give way to hymns of praise toward the end. It is almost as if one enters the Psalter mourning and leaves it praising. Indeed, the Psalter brings the reader into contact with God and thus transforms the reader from sadness to joy.

Literary Considerations

Genre. The individual psalms may be identified as songs, prayers, or poems. Specifically, they are lyric poems (expressing the emotions of the poet), often addressed to God, and set to musical accompaniment. Although the categories overlap, seven different types of psalms can be recognized, with the first three being by far the most common.

• Lament. The largest single group of psalms are the laments, characterized by the expression of unhappy emotions: sadness, disappointment, anger, worry. The lamenters call on God to save them, even while at times complaining about God’s actions toward them (Ps. 42:9–10). Some laments contain petitions for forgiveness (Ps. 51), while others assert innocence of any wrongdoing (Ps. 26). A few laments even contain curses directed toward the enemies who are trying to harm the psalmist (Ps. 69:19–28). Most laments end by praising God or reaffirming confidence in God (Ps. 130:7–8). Usually the reason for the change from mourning to rejoicing is not given, but Ps. 77 pinpoints the reason as the memory of God’s great salvation events in the past (vv. 10, 16–20). One psalm, Ps. 88, laments but never makes the turn, remaining in the pit of despair. Yet even here we have a glimmer of hope in that the one who laments is still speaking to God.

• Thanksgiving. When God answers a lament, the response is thanksgiving. Psalms of thanksgiving are very similar to hymns (see below), but they cite an earlier problem that God has addressed. Psalm 30 praises God for restoring the psalmist’s good fortune and health after he suffered due to his earlier arrogance that led him to forget God (vv. 6–7).

• Hymn. Hymns are psalms of unalloyed praise directed toward God. The psalmists often call for others to join their worship of God (Ps. 100).

• Remembrance. While many psalms evoke memories of God’s actions in the past (as the lament in Ps. 77 recalls the exodus), certain psalms focus on rehearsing the actions of God in the past. Psalm 136 is one of the most memorable examples. As a liturgical psalm, it recites a divine action (“[God] swept Pharaoh and his army into the Red Sea” [v. 15]) followed by a congregational response (“His love endures forever”).

• Confidence. These psalms are defined by their mood of quiet trust in God even in the midst of trouble. They often present a reassuring image of God. The picture of God as a shepherd in Ps. 23 or as a mother in Ps. 131 are good examples.

• Wisdom. Some psalms meditate on the law (Pss. 1; 119) or have interests similar to those of wisdom literature, such as Job, Proverbs, and Ecclesiastes (Pss. 49; 73).

• Kingship. A number of psalms praise God as king (Ps. 47) or the human king as his agent (Pss. 20–21) or both (Ps. 2).

Style. The psalms are poems, and so their style is characterized by the use of parallelism and figurative language. Poetry is also notable for its short lines. A poet packs a lot of meaning into very few words. So it is important to slow down and reflect on a psalm in order to derive its maximum effect. Besides brevity of expression, parallelism, and figurative language, poets create interest by using other literary tools. The psalmists use these poetic devices not only to inform their readers’ intellect but also to stimulate their imagination and arouse their emotions. (See also Acrostic; Imagery; Poetry.)

Theological Message

Although the psalms are not theological essays, readers can learn about God and their relationship with God from these poems. The book of Psalms is a bit like a portrait gallery of God, using images to describe who he is and the nature of our relationship with him. Some examples include God as shepherd (Ps. 23), king (Ps. 47), warrior (Ps. 98), and mother (Ps. 131), and the list could be greatly expanded. Each one of these picture images casts light on the nature of God and also the nature of our relationship with God. After all, the aforementioned psalms explicitly or implicitly describe God’s people as sheep, subjects, soldiers, and children.

Connection to the New Testament and Today

Jesus himself draws attention to Psalms as a book that anticipated his coming suffering and glorification (Luke 24:25–27, 44). The Gospels recognized that Jesus’ zeal for God was well expressed by Ps. 69:9 (John 2:17). When at the apex of his suffering on the cross, Jesus uttered the words found in Ps. 22:1 (Matt. 27:46). The NT writers also saw that Jesus was the fulfillment of the covenant that promised that a son of David would have an everlasting throne (2 Sam. 7:16). Accordingly, the royal psalms (e.g., Pss. 2; 110) often were applied to Jesus, who is the Messiah (the Christ, “the anointed one”).

Today we read Psalms not only as an ancient witness to the coming work of Christ but also, as John Calvin put it, as a mirror of our souls. The psalms were written for worshipers who came after them with similar though not identical joys and problems. The psalms should become models of our prayers.

A collection of 150 poems. They are the hymnbook of the OT period, used in public worship. Psalms contains songs of different lengths, types, and dates. The earliest psalm (Ps. 90) is attributed to Moses (mid-second millennium BC), while the content of Ps. 126 and Ps. 137 points to the latest periods of the OT (mid-first millennium BC). They continue to be used as a source of public worship and private devotion.

Historical Background

Most psalms have a title. In the Hebrew text this title comprises the first verse, whereas English translations set it off before the first verse. Titles vary. Many name an author (e.g., David [Ps. 3]; Asaph [Ps. 77]; sons of Korah [Ps. 42]), while others provide information about genre (e.g., Psalms of Ascent [Pss. 120–134]), tune (e.g., “Do Not Destroy” [Ps. 75]), use in worship (Ps. 92), and a circumstance that led to composition (Ps. 51). Information in the title gives hints concerning how psalms were written and brought into a final collection.

Composition

As mentioned, the titles of the psalms often give indications of authorship and occasionally name the circumstance that led to the writing of the psalm. A good example is Ps. 51, where the title states, “For the director of music. A psalm of David. When the prophet Nathan came to him after David had committed adultery with Bathsheba.” The title connects the psalm with the events recorded in 2 Sam. 11–12 and suggests that David wrote the song in response to his sin and Nathan’s confrontation.

Although only a handful of the psalms have such a historical title, it is likely that most psalms were composed in response to some specific circumstance that encouraged the author to write. Interestingly, though, the psalmists do not speak about the specific circumstance in the psalm itself. Psalm 51, for instance, fits perfectly with the situation that the title describes in that it expresses guilt toward God and asks for forgiveness, but nowhere does it speak specifically about adultery. The psalmists do this intentionally because they are writing the song not as a memorial to an event, but rather as a prayer that others who have had similar though not identical experiences can use after them. Thus, Ps. 51 has been used as a model prayer for many penitents, whether they have sinned like David or in another way.

Most modern hymns have a similar background. John Newton, for instance, was inspired to write “Amazing Grace” because of awe that he felt at his conversion to Christianity from the evil of being a slave trader. However, when he wrote it, he wanted others to sing it as reflecting not on his conversion but on their own.

Collection

The psalms were composed over a thousand-year period. Thus, it appears that the book of Psalms was a growing collection until it came to a close at an unknown time between the writing of the two Testaments.

In 1 Chron. 16:7–36 we may get a glimpse of how the process worked. The text describes David turning a musical composition over to the Levitical musician Asaph and his associates. It is likely that the priests kept an official copy of the book of Psalms in the holy place (the temple while it stood). The psalms, after all, were the hymns of ancient Israel. Their primary function was as a corporate book of prayer, though certainly they could be used in private devotions (note Hannah’s prayer in 1 Sam. 2:1–10 and its relationship to Ps. 113).

Organization and Structure

The psalms have no obvious organization that explains the location of all the psalms. They are not organized in terms of genre, authorship, time of composition, or length. There is only one statement about organization, found in Ps. 72:20: “This concludes the prayers of David son of Jesse.” In the light of this comment, it is surprising that a number of Davidic psalms appear in subsequent sections (Pss. 101; 103; 108–110; 122; 124; 131; 133; 138–145). The best explanation is that at one point Ps. 72 concluded the Davidic psalms, but there was a reorganization before the canonical order was permanently closed.

A number of contemporary theories try to find some deep structure to the book, but it is best to refrain from speculation in regard to the overall structure. Nonetheless, a few structural characteristics are obvious. First, the division of Psalms into five books seems to reflect the fivefold division of the Pentateuch:

I. Book 1 (Pss. 1–41)

II. Book 2 (Pss. 42–72)

III. Book 3 (Pss. 73–89)

IV. Book 4 (Pss. 90–106)

V. Book 5 (Pss. 107–150)

Each book ends with a doxology. Such an intentional association with the Pentateuch would lend support to the Psalter’s claim to authority. Although these are prayers to God, they are also God’s word.

Second, within the Psalter there are subcollections. That is, there are psalms that came into the book not individually but as a group. The best-known such group are the Psalms of Ascent (Pss. 120–134), probably so named because worshipers sang them while going up (ascending) to the Temple Mount during one of the annual religious festivals in Jerusalem.

Third, it appears that psalms are intentionally placed at the beginning and at the end of the book to serve as an introduction and a conclusion. Psalms 1–2 serve as an introduction that alerts the reader to the twin important themes of law and messiah. Psalm 1 pronounces a blessing on those who love God’s law. The psalms, after all, are an intimate and personal conversation with God. One must be on the side of the godly to enter such a holy textual space, just as one must be godly to enter the precincts of the temple. After the reader enters, Psalm 2 provides an encounter with God and his anointed one (messiah). At the end of the book, the last five psalms (Pss. 146–150) constitute a tremendous doxology of praise.

This leads to the final observation on structure. Psalms of lament predominate at the beginning of the book, but they give way to hymns of praise toward the end. It is almost as if one enters the Psalter mourning and leaves it praising. Indeed, the Psalter brings the reader into contact with God and thus transforms the reader from sadness to joy.

Literary Considerations

Genre. The individual psalms may be identified as songs, prayers, or poems. Specifically, they are lyric poems (expressing the emotions of the poet), often addressed to God, and set to musical accompaniment. Although the categories overlap, seven different types of psalms can be recognized, with the first three being by far the most common.

• Lament. The largest single group of psalms are the laments, characterized by the expression of unhappy emotions: sadness, disappointment, anger, worry. The lamenters call on God to save them, even while at times complaining about God’s actions toward them (Ps. 42:9–10). Some laments contain petitions for forgiveness (Ps. 51), while others assert innocence of any wrongdoing (Ps. 26). A few laments even contain curses directed toward the enemies who are trying to harm the psalmist (Ps. 69:19–28). Most laments end by praising God or reaffirming confidence in God (Ps. 130:7–8). Usually the reason for the change from mourning to rejoicing is not given, but Ps. 77 pinpoints the reason as the memory of God’s great salvation events in the past (vv. 10, 16–20). One psalm, Ps. 88, laments but never makes the turn, remaining in the pit of despair. Yet even here we have a glimmer of hope in that the one who laments is still speaking to God.

• Thanksgiving. When God answers a lament, the response is thanksgiving. Psalms of thanksgiving are very similar to hymns (see below), but they cite an earlier problem that God has addressed. Psalm 30 praises God for restoring the psalmist’s good fortune and health after he suffered due to his earlier arrogance that led him to forget God (vv. 6–7).

• Hymn. Hymns are psalms of unalloyed praise directed toward God. The psalmists often call for others to join their worship of God (Ps. 100).

• Remembrance. While many psalms evoke memories of God’s actions in the past (as the lament in Ps. 77 recalls the exodus), certain psalms focus on rehearsing the actions of God in the past. Psalm 136 is one of the most memorable examples. As a liturgical psalm, it recites a divine action (“[God] swept Pharaoh and his army into the Red Sea” [v. 15]) followed by a congregational response (“His love endures forever”).

• Confidence. These psalms are defined by their mood of quiet trust in God even in the midst of trouble. They often present a reassuring image of God. The picture of God as a shepherd in Ps. 23 or as a mother in Ps. 131 are good examples.

• Wisdom. Some psalms meditate on the law (Pss. 1; 119) or have interests similar to those of wisdom literature, such as Job, Proverbs, and Ecclesiastes (Pss. 49; 73).

• Kingship. A number of psalms praise God as king (Ps. 47) or the human king as his agent (Pss. 20–21) or both (Ps. 2).

Style. The psalms are poems, and so their style is characterized by the use of parallelism and figurative language. Poetry is also notable for its short lines. A poet packs a lot of meaning into very few words. So it is important to slow down and reflect on a psalm in order to derive its maximum effect. Besides brevity of expression, parallelism, and figurative language, poets create interest by using other literary tools. The psalmists use these poetic devices not only to inform their readers’ intellect but also to stimulate their imagination and arouse their emotions. (See also Acrostic; Imagery; Poetry.)

Theological Message

Although the psalms are not theological essays, readers can learn about God and their relationship with God from these poems. The book of Psalms is a bit like a portrait gallery of God, using images to describe who he is and the nature of our relationship with him. Some examples include God as shepherd (Ps. 23), king (Ps. 47), warrior (Ps. 98), and mother (Ps. 131), and the list could be greatly expanded. Each one of these picture images casts light on the nature of God and also the nature of our relationship with God. After all, the aforementioned psalms explicitly or implicitly describe God’s people as sheep, subjects, soldiers, and children.

Connection to the New Testament and Today

Jesus himself draws attention to Psalms as a book that anticipated his coming suffering and glorification (Luke 24:25–27, 44). The Gospels recognized that Jesus’ zeal for God was well expressed by Ps. 69:9 (John 2:17). When at the apex of his suffering on the cross, Jesus uttered the words found in Ps. 22:1 (Matt. 27:46). The NT writers also saw that Jesus was the fulfillment of the covenant that promised that a son of David would have an everlasting throne (2 Sam. 7:16). Accordingly, the royal psalms (e.g., Pss. 2; 110) often were applied to Jesus, who is the Messiah (the Christ, “the anointed one”).

Today we read Psalms not only as an ancient witness to the coming work of Christ but also, as John Calvin put it, as a mirror of our souls. The psalms were written for worshipers who came after them with similar though not identical joys and problems. The psalms should become models of our prayers.

The Hebrew verb “praise” (in the imperative form). Hallel is used generally to refer to psalms that contain the command “Hallelujah (“praise the Lord”; “jah” is a shortened form of YHWH [“Yahweh”], which is typically translated as “Lord”). It also designates Pss. 113–118, which are collectively referred to as the Egyptian Hallel because they begin with “Praise the Lord” and refer to the exodus and Passover sacrifice. These psalms were read liturgically during Jewish festivals. Their use during family Passover celebrations makes it likely that the hymn sung by Jesus and his disciples after the Last Supper included some of these psalms. Psalm 136 is known as the Great Hallel, as it entreats worshipers to praise God for his great works in creation and salvation from Israel’s enemies. The Psalter ends with five psalms that each begin and end with “praise the Lord” (Pss. 146–150).

A song of worship and praise to God. The NIV only uses the word once in the OT, in Ps. 40:3, referring to a “hymn of praise” to God. The Hebrew word behind this phrase is tehillah, which is common in the OT and is elsewhere translated simply as “praise,” especially in the psalms. Psalms were part of Israel’s worship, and so such “hymns of praise” to God are more common than the English suggests.

The content of these hymns is not laid out for modern readers, but it involves things such as thanksgiving, gratitude, or generally giving God due recognition for who he is (e.g., Ps. 66:2) and what he has done (e.g., 106:2, 12).

In the NT, the word occurs only a handful of times in the NIV, and there is very little indication what these hymns were about. Here too, generally we can say that a hymn is a particular type of song of praise to God.

In Matt. 26:30; Mark 14:26, Jesus and the disciples sang a hymn at the conclusion of the Lord’s Supper. Since this meal was patterned after the Passover, it is likely that one or more of the Hallel psalms (Pss. 111–118) were sung. (“Hallel” means “praise” in Hebrew and is related to tehillah). The Greek word behind this use in the Gospels, hymneō, is the origin of the English word “hymn.” In Acts 16:25 Paul and Silas sang hymns at midnight while in prison, although we are told nothing about their content.

In 1 Cor. 14:26 Paul is instructing his readers about orderly worship. According to the NIV, one of the elements of worship includes hymns, although the Greek word here is psalmos (the word used to refer to the book of Psalms in Luke 20:42; 24:44; Acts 1:20; 13:30), which the KJV renders there as “psalm.” There is certainly significant overlap between hymns and psalms, since both involve praising God, but evidently there is some distinction too, as can be seen in Eph. 5:19 and Col. 3:16, where Paul makes a distinction between “psalms, hymns, and songs from the Spirit.” Perhaps these terms do not reflect clearly marked categories in Paul’s mind. In Eph. 5:19 all three are directed to God “from [the] heart,” and in Col. 3:16 they are sung with “gratitude,” both of which reflect the use of psalms in the OT.

Biblical scholars also refer to other portions of the Bible as “hymns,” even though the word is not used. The Song of Moses (Exod. 15:1–18) and the Song of Hannah (1 Sam. 2:1–10) are sometimes called “hymns” simply as a convenient designation (although Hannah’s is more a prayer). The same goes for Mary’s song, the Magnificat (Luke 1:46–55), which clearly is modeled after Hannah’s song, and Zechariah’s song, the Benedictus (Luke 1:68–79), which reflects OT prophetic poems. Elsewhere biblical scholars detect the possibility of fragments of preexisting “hymns” that were incorporated into the NT (e.g., Phil. 2:6–11). This suggests to some that there was some hymn-writing activity in the early church.

A song of worship and praise to God. The NIV only uses the word once in the OT, in Ps. 40:3, referring to a “hymn of praise” to God. The Hebrew word behind this phrase is tehillah, which is common in the OT and is elsewhere translated simply as “praise,” especially in the psalms. Psalms were part of Israel’s worship, and so such “hymns of praise” to God are more common than the English suggests.

The content of these hymns is not laid out for modern readers, but it involves things such as thanksgiving, gratitude, or generally giving God due recognition for who he is (e.g., Ps. 66:2) and what he has done (e.g., 106:2, 12).

In the NT, the word occurs only a handful of times in the NIV, and there is very little indication what these hymns were about. Here too, generally we can say that a hymn is a particular type of song of praise to God.

In Matt. 26:30; Mark 14:26, Jesus and the disciples sang a hymn at the conclusion of the Lord’s Supper. Since this meal was patterned after the Passover, it is likely that one or more of the Hallel psalms (Pss. 111–118) were sung. (“Hallel” means “praise” in Hebrew and is related to tehillah). The Greek word behind this use in the Gospels, hymneō, is the origin of the English word “hymn.” In Acts 16:25 Paul and Silas sang hymns at midnight while in prison, although we are told nothing about their content.

In 1 Cor. 14:26 Paul is instructing his readers about orderly worship. According to the NIV, one of the elements of worship includes hymns, although the Greek word here is psalmos (the word used to refer to the book of Psalms in Luke 20:42; 24:44; Acts 1:20; 13:30), which the KJV renders there as “psalm.” There is certainly significant overlap between hymns and psalms, since both involve praising God, but evidently there is some distinction too, as can be seen in Eph. 5:19 and Col. 3:16, where Paul makes a distinction between “psalms, hymns, and songs from the Spirit.” Perhaps these terms do not reflect clearly marked categories in Paul’s mind. In Eph. 5:19 all three are directed to God “from [the] heart,” and in Col. 3:16 they are sung with “gratitude,” both of which reflect the use of psalms in the OT.

Biblical scholars also refer to other portions of the Bible as “hymns,” even though the word is not used. The Song of Moses (Exod. 15:1–18) and the Song of Hannah (1 Sam. 2:1–10) are sometimes called “hymns” simply as a convenient designation (although Hannah’s is more a prayer). The same goes for Mary’s song, the Magnificat (Luke 1:46–55), which clearly is modeled after Hannah’s song, and Zechariah’s song, the Benedictus (Luke 1:68–79), which reflects OT prophetic poems. Elsewhere biblical scholars detect the possibility of fragments of preexisting “hymns” that were incorporated into the NT (e.g., Phil. 2:6–11). This suggests to some that there was some hymn-writing activity in the early church.

A song of worship and praise to God. The NIV only uses the word once in the OT, in Ps. 40:3, referring to a “hymn of praise” to God. The Hebrew word behind this phrase is tehillah, which is common in the OT and is elsewhere translated simply as “praise,” especially in the psalms. Psalms were part of Israel’s worship, and so such “hymns of praise” to God are more common than the English suggests.

The content of these hymns is not laid out for modern readers, but it involves things such as thanksgiving, gratitude, or generally giving God due recognition for who he is (e.g., Ps. 66:2) and what he has done (e.g., 106:2, 12).

In the NT, the word occurs only a handful of times in the NIV, and there is very little indication what these hymns were about. Here too, generally we can say that a hymn is a particular type of song of praise to God.

In Matt. 26:30; Mark 14:26, Jesus and the disciples sang a hymn at the conclusion of the Lord’s Supper. Since this meal was patterned after the Passover, it is likely that one or more of the Hallel psalms (Pss. 111–118) were sung. (“Hallel” means “praise” in Hebrew and is related to tehillah). The Greek word behind this use in the Gospels, hymneō, is the origin of the English word “hymn.” In Acts 16:25 Paul and Silas sang hymns at midnight while in prison, although we are told nothing about their content.

In 1 Cor. 14:26 Paul is instructing his readers about orderly worship. According to the NIV, one of the elements of worship includes hymns, although the Greek word here is psalmos (the word used to refer to the book of Psalms in Luke 20:42; 24:44; Acts 1:20; 13:30), which the KJV renders there as “psalm.” There is certainly significant overlap between hymns and psalms, since both involve praising God, but evidently there is some distinction too, as can be seen in Eph. 5:19 and Col. 3:16, where Paul makes a distinction between “psalms, hymns, and songs from the Spirit.” Perhaps these terms do not reflect clearly marked categories in Paul’s mind. In Eph. 5:19 all three are directed to God “from [the] heart,” and in Col. 3:16 they are sung with “gratitude,” both of which reflect the use of psalms in the OT.

Biblical scholars also refer to other portions of the Bible as “hymns,” even though the word is not used. The Song of Moses (Exod. 15:1–18) and the Song of Hannah (1 Sam. 2:1–10) are sometimes called “hymns” simply as a convenient designation (although Hannah’s is more a prayer). The same goes for Mary’s song, the Magnificat (Luke 1:46–55), which clearly is modeled after Hannah’s song, and Zechariah’s song, the Benedictus (Luke 1:68–79), which reflects OT prophetic poems. Elsewhere biblical scholars detect the possibility of fragments of preexisting “hymns” that were incorporated into the NT (e.g., Phil. 2:6–11). This suggests to some that there was some hymn-writing activity in the early church.