journey or a pilgrimage, although it is not a little curious that Gesenius should have given to it a primary signification in accordance with Ezra vii. 9, and the more indefinite passage in Ezek. x. 5. For Gesenius was no friend to the Pilgrim theory, having started a theory of his own. In regard to this important part of the investigation into the meaning of the Title, we would sum up what we have said as follows:-1. Wherever the meaning of is clear and unmistakeable, it implies steps, stairs, degrees, and out of 32 passages only one can be urged with any plausibility as meaning an ascent or journey or pilgrimage. 2. În regard to this solitary passage a very slight change in the vocalization, such indeed as we have seen might very easily have crept in unintentionally, would reduce this passage also to the rank from which it alone stands distinct ; and 3. whatever be made of Ezra vii. 9, seeing we have the general meaning of ny a step, and the general meaning of hy an ascent, and the line of separation between them broad and evident, we cannot interpret either of them when placed absolutely, by any of the merely secondary or remote meanings which in certain circumstances they may possess. Thus in establishing what we consider the meaning of the words of the Title, we have come into direct collision with Hengstenberg; and seeing that he has elaborately defended his theory in his excellent work on the Psalms, as well as that his explanations are very widely accepted as perhaps the best that can be got—we think we may diverge here for a little from our own straight course in order to examine his Pilgrim theory still more minutely. What has been said already may be considered as one fatal position taken up against the Pilgrim theory, viz. that the word n cannot be made to signify a pilgrimage. 2. Another fatal objection to the Pilgrim theory is that it does not fulfil the legitimate requirements of a satisfactory hypothesis. If a Pilgrim book is put into our hands, we expect it to refer very decidedly to pilgrimages. Moreover if it is a small book consisting of 15 odes, all arranged according to some systematic plan, we expect still more explicit proof that pilgrimages are the object of the book, inasmuch as in a large volume there is greater latitude for variety under the same general title. The fact is, that of the 15 nibyon “ý perhaps only three can be pointed to as countenancing the Pilgrim theory, viz. Pss. cxxi., cxxii., exxvi. In regard to this, Hengstenberg himself says, ‘it is objected that several [he * We may well ask what possible connection has Ps. cxxvii, with pilgrimages? and yet we shall presently see that this same psalm is probably the keystone of the whole—the nucleus around which all the others have been placed. should have said most] of these psalms contain no reference to such a special occasion [i. e. of their being put together]. But such a reference was not in every case necessary; the contents might be general, and the indicating of the purpose of the psalms might be attended to only in the form and appearance which they were made to assume; and this is really the case' (Hengs. Psalms, vol. iii. p. 409). As to this line of argument, we cannot do better than place beside it another passage from Hengstenberg, in his examination of the step-rhythm theory. The assertion of Gesenius that the term is applied à fortiori, irrespective of the fact that the appearances are few in number and weak, is inadmissible, on the ground that every separate song bears the name of a song of the Maaloth' (p. 406). Again, It is quite true, indeed, that this psalm shows something of the kind [i. e. step-rhythm in Ps. cxxi.], but it is by no means true that the series of psalms is characterised by it throughout, which, if the hypothesis were true, must have been the case' (p. 406). These objections are quite fatal to the step-rhythm; we think they are about as fatal to the pilgrimages. 3. But not only so-there is another aspect of the same difficulty: we have seen that only one-fifth of the 'Pilgrim book' does in reality refer to pilgrimages, and now we have to encounter the strange fact that there are many other psalms which would have answered the purpose had they been required. Had a collector set himself to pick out of the 150 psalms those applicable for the special purpose of being sung by the tribes on their pilgrimage to Jerusalem and its temple, we are strongly disposed to think that Pss. xxiv., lxv., lxxxiv., lxxxvii., and even the venerable c., would have found a place in such a collection, rather than Pss. cxx., cxxiii., cxxiv., cxxvii., cxxx., etc. שִׁירֵי 4. We think there is considerable weight in the objection to the pilgrim theory, on the score of the generally plaintive tone which pervades the nibyen. Hengstenberg's answer does not appear to us very satisfactory: Just as if the tone of these festival journeys would not be entirely dependent upon the then existing condition of the people! No one will deny that the nameless psalms truly emanated from the innermost feelings of the people at the time when they were originally composed; and the people could at that time find in them only a representation of their own state' (p. 409). Whatever be the importance of these considerations, we have the standing fact before us that the very psalms which contain any evidence at all in favour of pilgrimages are for the most part the very psalms which are distinguished from the rest by a tone of greater joy, gladness, and triumph, e.g. Pss. cxxi., cxxii., cxxvi. Auf der fröhlichen Festreise nach Jeru salem sang man schwerlich so traurige Lieder, wie die Stufenpsalmen zum Theil sind.' z. B. Pss. cxx., cxxiii., cxxx. De Wette, Einleitung. We are disposed to think that Jerusalem and its temple were approached with feelings of joy and sounds of gladness. See, for example, the psalms to which we have already referred, xxiv., lxv., lxxxiv., lxxxvii.; and the very opening sentence of Ps. cxxii., the main pillar of the pilgrim theory, commences with 'I was glad,' etc. Thus the general tone of the .is contrary to the pilgrim hypothesis שִׁירֵי הַמַּעֲלוֹת 5. Another line of argument, extending to the whole of the collection, is, that they do not possess an individual character. 'No one of these psalms bears an individual character; they all refer to the whole church of God, with the exception, in some measure, of only Ps. cxxvii., which, without being individual, places before us, in the first instance, the particular members of the church, but which the collector has applied also to the circumstances of the "whole community "' (p. 404). In the above statement we think we can see Hengstenberg labouring considerably to bend very unyielding materials. If the nibyen be for the pilgrims in successive generations, they must be of a general character in such a way as to be applicable in a variety of circumstances, and on numerous occasions, according to Hengstenberg's theory, and therefore whatever tends towards fixing down time, place, occasion, and author, tends also to the damage of his theory. Hence he is greatly cramped in his whole investigation of these psalms. With regard to those which are untitled, they are always with him merely the nameless psalms. To point out numerous coincidences in Ps. cxxi. which identified it with David and with a particular incident in his life, such as 1 Sam. xxvi., would be to impart to it an individuality inconsistent with the general plan of having the whole collection for the general use of the church. When we look at Pss. cxx., cxxi., we are disposed to qualify considerably his statement that none of the fifteen, except Ps. cxxvii., bears an individual character. We think the individual is quite discernible also in Pss. cxxx., cxxxi., nor is he lost sight of altogether in Pss. cxxii., exxiii. And, taking his own admission in regard to Ps. cxxvii., we have to repeat that this is a most important exception, for, as we think, Hengstenberg himself has given us ground for considering Ps. cxxvii. the central point where all the rest radiate, as we shall see presently. We draw our strictures upon Hengstenberg to a close with a restatement of the five foregoing positions, which we have been endeavouring to establish :— 1. means properly a step, and is never used to designate the annual pilgrimages to Jerusalem. 2. The niby are in reality not characterised by sufficiently prominent reference to pilgrimages. 3. Had pilgrim songs been really required as such, there are many much more suitable for the purpose than those actually employed. 4. The tone of those adapted for pilgrim songs is different from שִׁירֵי הַמַּעֲלוֹת that of the great majority of the 5. The attempt to destroy the individuality of these psalms is a procedure in itself questionable, and in the present case not allowable. Having now given, as we think, sufficient attention to the pilgrim theory per se, it is time we should return to the point whence we diverged. In the foregoing pages we think we have established the meaning of the title of the songs of degrees; and now we shall proceed to another most important investigation, viz., that of the general structure and arrangement of the whole collection. Here we are largely indebted to Hengstenberg, for he has pointed out a systematie arrangement of the whole, and symmetry of the different parts, affording a ground plan which we think a superstructure can be reared, in the shape of an hypothesis, more satisfactory than his own pilgrim theory. He says, The whole is grouped around Ps. cxxvii., which was composed by Solomon, who stands in middle between the first and the last of the pilgrim poets. On both sides there stands a heptade of pilgrim songs, consisting of two psalms composed by David, and five new ones, which have no name. The seven is divided both times by the four and the three. Each heptade contains the name of Jehovah twenty-four times; each of the connected groups, Ps. cxx.-cxxiii., cxxiv.-cxxvi, cxxviii.-cxxxi., cxxxii.-cxxxiv.," twelve times. This cannot be accidental, and it renders it evident that the collector of the whole must be identical with the author of the nameless psalms' (p. 410). We do not pause at present to examine the last remark; we are now concerned more especially with the remarkably symmetrical arrangement above described, and which may be easily addressed to the eye. 120. 2 128 3 129. 3 The letters are the initials of the authors' names, and it may be noticed in passing that occurs once in each heptade, and that the number 15 is denoted in Hebrew by the same letters, though in common use they were changed, from motives of reverence, .טו into What at once strikes the eye in Hengstenberg's map of these psalms is the central and prominent position of Ps. cxxvii. Shall we do wrong in considering it the key to the whole explanation ? We think it certainly worth a fair trial. What, then, is there peculiar in Ps. cxxvii.? Its author is Solomon, its subject is building; and we know Solomon was for years engaged in adding to the splendour of Jerusalem by the magnificence of the temple and his own palace. But still more specially: the first verse contains a double warning that, whatever labour may be bestowed, all is dependent upon the blessing and protection of God. We must now glance occasionally along the contents of the heptades on either side, and watch for the key-note struck by Ps. cxxvii., with which all the rest will chime in unison. We think every note of joy and of sorrow, of hope and of fear, and of confidence in God, which proceeds from the nibyny, has its echo in the book of Nehemiah, and it will be our next step to point out the correspondence thus referred to. Ps. cxx. 1, 'In my distress I cried,' etc.; Neh. ii. 17, ‘Ye see the distress that we are in,' etc.; also Neh. i. 3-11, ix. 37. In ver. 2, 3, the lying lips and deceitful tongue accurately describe Sanballat, Tobiah, the Arabians, etc. (Neh. ii. 19; vi. 2, 6, 8, 9, 10, 12, 13). The psalmist was for peace (ver. 7); Nehemiah's enemies were ever ready to pick quarrels (Neh. ii. 19; iv. 7, 8; vi. 12). Ps. cxxi., 'Shall I lift up mine eyes to the hills?' (ver. 1). A very appropriate and natural exclamation for those constantly working upon the walls or elevated parts of the city in view of the surrounding hills. Moreover they were in need of help, and looked to God for it. Neh. iv. 4, 20, Our God shall fight for us.' The reference to the hills, to help, the foot slipping, their keeper not sleeping, the shade from the heat of the sun by day, their protection from injury in the night, and, finally, their being preserved in their going out and coming in, comprises a catalogue as pointedly applicable as if the ode had been expressly composed to suit the circumstances of men whose eyes were often cast towards the hills; who were surrounded with enemies; who were engaged upon walls or dangerous places; who were exposed to the heat by day and the cold by night; who required to keep strict watch against foes, and, in fact, who were constantly taken up with labour, at the same time that they themselves were exposed |