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Begin Typing VigilThe Hebrew title of the Book of Psalms is תְּהִלִּים 'praise-songs,' a word which in the OT. itself occurs only in the forms תְּהִלָּה (sing.) תְּהִלּוֹת (plur.), and with the general sense of praise, praises (e.g. Ex. 15:11, Ps. 22:4). The modern term 'Psalms' is derived from the LXX rendering of תְּהִלִּים, ψαλμοί.
In the Hebrew Bible the Psalter is divided into five Books, Ps. 1-41 ; 42-72; 73-89; 90-106; 107-150. The end of each of the first four Books is marked by a doxology (Ps. 41:13; 72:18f; 89:52; 106:48), of liturgical character, pointing, in all probability, to the fact that the collections were formed in the first instance for use in public worship; in Book 5 the place of such a doxology appears to have been taken by Ps. 150 itself. The second Book has in addition a special subscription (Ps. 72:20), viz. 'The Prayers of David, the son of Jesse, are ended.' The division into five Books is older than the LXX translation, in which the doxologies are already found. The probable explanation of the division will be considered subsequently.
The Psalms, speaking generally, consist of reflexions, cast into a poetical form, upon the various aspects in which God manifests Himself either in nature, or towards Israel, or the individual soul, accompanied often — or, indeed, usually — by an outpouring of the emotions and affections of the Psalmist, prompted by the warmth of his devotion to God, though varying naturally in character, according to the circumstances in which he is placed. Thus, in some Psalms the tone is that of praise or thanksgiving, in others it is one of penitence or supplication, in others again it is meditative or didactic: not unfrequently also a Psalm is of mixed character; it begins, perhaps, in a strain of supplication, and as the poet proceeds the confidence that his prayer will be answered grows upon him, and he ends in a tone of jubilant exultation (e.g. Ps. 6, 13, 22 (see v.22ff), 26, 31, 36, 64, 69, 71). In the Psalter the devotional element of the religious character finds its completest expression; and the soul is displayed in converse with God, disclosing to Him its manifold emotions, desires, aspirations, or fears. It is the surprising variety of mood and subject and occasion in the Psalms which gives them their catholicity, and, combined with their deep spirituality, adapts them to be the hymn-book, not only of the second Temple, but of the Christian Church.
Most of the Psalms are provided with titles. The object of the titles is partly to define the character of a Psalm, partly to state the name of the author to whom it is attributed, and sometimes also the occasion on which it is supposed to have been composed, partly (as it seems) to notify the manner in which the Psalms were performed musically in the public services of the Temple. The terms describing the character and the musical accompaniment of a Psalm are frequently obscure: for the explanations that have been offered of them, reference must be made to the commentaries.
This timeline includes all thirteen books that would come to be known as the Ketuvim (the Writings).