Psa 105:1 | KD | STEP | We have here another Psalm closing with Hallelujah , which opens the series of the Hodu -Psalms. Such is the name we give only to Psalms which begin with הודו (Ps 105, Ps 107, Ps 118, Ps 136), just as we call those which begin with הללויה (Ps 106, , , Ps 135, ) Hallelujah -Psalms ( alleluiatici ). The expression להלּל וּלהודות, which frequently occurs in the books of Chronicles, Ezra, and Nehemiah, points to these two kinds of Psalms, or at least to their key-notes. The festival song which David, according to , handed over to Asaph and his brethren for musical execution at the setting down of the Ark and the opening of divine service on Zion, is, so far as its first part is concerned ( ), taken from our Psalm ( ), which is then followed by as a second part, and is closed with , -48. Hitzig regards the festival song in the chronicler as the original, and the respective parallels in the Psalms as “layers or shoots.” “The chronicler,” says he, “there produces with labour, and therefore himself seeking foreign aid, a song for a past that is dead.” But the transition from to and from to , so devoid of connection, the taking over of the verse out of Ps 106 referring to the Babylonian exile into , and even of the doxology of the Fourth Book, regarded as an integral part of the Psalm, into , refute that perversion of the right relation which has been attempted in the interest of the Maccabaean Psalms. That festival song in the chronicler, as has been shown again very recently by Riehm and Köhler, is a compilation of parts of songs already at hand, arranged for a definite purpose. Starting on the assumption that the Psalms as a whole are Davidic (just as all the Proverbs are Salomonic), because David called the poetry of the Psalms used in religious worship into existence, the attempt is made in that festival song to represent the opening of the worship on Zion, at that time in strains belonging to the Davidic Psalms. So far as the subject-matter is concerned, Psalms 105 attaches itself to the Asaph Ps 78, which recapitulates the history of Israel. The recapitulation here, however, is made not with any didactic purpose, but with the purpose of forming a hymn, and does not come down beyond the time of Moses and Joshua. Its source is likewise the Tôra as it now lies before us. The poet epitomizes what the Tôra narrates, and clothes it in a poetic garb.

‏ Psalms 105:1

Thanksgiving Hymn in Honour of God Who Is Attested in the Earliest History of Israel

We have here another Psalm closing with Hallelujah, which opens the series of the Hodu-Psalms. Such is the name we give only to Psalms which begin with הודו (Ps 105, Ps 107, Ps 118, Ps 136), just as we call those which begin with הללויה (Ps 106, Psa 111:1, Psa 117:1-2, Ps 135, Psa 146:1) Hallelujah-Psalms (alleluiatici). The expression להלּל וּלהודות, which frequently occurs in the books of Chronicles, Ezra, and Nehemiah, points to these two kinds of Psalms, or at least to their key-notes.

The festival song which David, according to 1Ch 16:7, handed over to Asaph and his brethren for musical execution at the setting down of the Ark and the opening of divine service on Zion, is, so far as its first part is concerned (1Ch 16:8-22), taken from our Psalm (Psa 105:1), which is then followed by Psa 96:1-13 as a second part, and is closed with Psa 106:1, Psa 106:47-48. Hitzig regards the festival song in the chronicler as the original, and the respective parallels in the Psalms as “layers or shoots.” “The chronicler,” says he, “there produces with labour, and therefore himself seeking foreign aid, a song for a past that is dead.” But the transition from Psa 105:22 to Psa 105:23 and from Psa 105:33 to Psa 105:34, so devoid of connection, the taking over of the verse out of Ps 106 referring to the Babylonian exile into Psa 105:35, and even of the doxology of the Fourth Book, regarded as an integral part of the Psalm, into Psa 105:36, refute that perversion of the right relation which has been attempted in the interest of the Maccabaean Psalms. That festival song in the chronicler, as has been shown again very recently by Riehm and Köhler, is a compilation of parts of songs already at hand, arranged for a definite purpose. Starting on the assumption that the Psalms as a whole are Davidic (just as all the Proverbs are Salomonic), because David called the poetry of the Psalms used in religious worship into existence, the attempt is made in that festival song to represent the opening of the worship on Zion, at that time in strains belonging to the Davidic Psalms.

So far as the subject-matter is concerned, Psalms 105 attaches itself to the Asaph Ps 78, which recapitulates the history of Israel. The recapitulation here, however, is made not with any didactic purpose, but with the purpose of forming a hymn, and does not come down beyond the time of Moses and Joshua. Its source is likewise the Tôra as it now lies before us. The poet epitomizes what the Tôra narrates, and clothes it in a poetic garb.