Hope in Suffering and Joy in Liberation: Study of Hebrew Poetry and Wisdom

Literature
BBO18, 1st Semester, BD-IV, College Paper

A Paper Presentation on
The Fourth Book of the Psalms

Presenters: Jai Prakash, Dhanapaul, Subangkar, Paje and Dindu

Date: 06/09/2017

Content

1. Introduction
2. Structure
3. Title: Its Form, Date and Theology
4. Selected Theological Themes
4.1. God as Creator
4.2. God as Judge
5. Asian Context
5.1. Relevance of Psalms for the South Asian Context
5.2. Selected Contextual Resemblance in the Book IV
6. Some General Works on the Psalms
6.1. Expounding of the Psalms in Different Epoch
6.1.1. Early Jewish and the Early Christian Commentaries
6.1.2. The Early Church
6.1.3. Middle Age
6.1.4. Humanism and Reformation
6.1.5. The enlightenment
6.1.6. Historical – Critical Exegesis
6.2. Selected recent Work on the Psalms
6.2.1. The Psalms of Individual Lament and the Mark’s Passion Narrative
7. Conclusion
Bibliography
Webliography

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 1. Introduction
The Book IV of the Psalms is classified from Psalms 90 – 106. It is also known as the first
Exodus Collection or it can be seen as a collection for use at Tabernacles.1 The whole of Book
IV has been called as “a Moses book”, and it contains seven references to Moses.2 But in this
paper, the group will bring out the structure, briefly describe the form and theology for each
title, some selected theological themes, relevance of the Psalms to the Asian context, mainly
the South Asian, and some works that has been done on the Psalms.
2. Structure
There are 17 psalms in the fourth division (chapters 90–106). These 17 psalms were
arranged to be sung in sequence during the eight-day Feast of Tabernacles. Psalm 90 would
have been sung on the eve of Tabernacles, in the evening of Tishri 14. Psalm 91 would have
been sung the next day, in the morning of Tishri 15, the first day of the feast. Psalm 92 was for
that evening. Psalm 93 would be for the morning of Tishri 16, and so on, till we get to Psalm
105 for the morning and Psalm 106 for the evening of Tishri 22, the last day of Tabernacles.
Psalm 90 introduces the contextual subject by mentioning “a thousand years” (verse 4)—a
millennium of time. Indeed, the general theme of Book IV is the millennial reign of Christ. But
before peace can come to the earth, the Great Tribulation must first occur.3
Psalm 90 opens the fourth book of the psalms. It may be seen as the first response to
the problems raised by Book 3. Psalm 90, attributed to Moses, reminds the worshiper that God
was active on Israel’s behalf long before David. This theme is taken up in Psalms 103–106,
which summarize God’s dealings with his people before any kings reigned. In between there
is a group of psalms (93–100) characterized by the refrain “The LORD reigns.” This truth
refutes the doubts of Psalm 89.4
Psalms 93, 97, and 99 (odds) are morning psalms beginning “The Lord reigneth” and
ending with holiness. Psalm 93 also declares, “For the Lord is a great God, and a great King
above all gods.” In contrast, Psalms 96 and 98 (evens) are evening psalms beginning “O sing
unto the Lord a new song” and ending “Before the Lord; for he cometh, for he cometh to judge
the earth: with righteousness shall he judge the world and the people with equity.” Similarly,
Psalms 92 and 94 (evens) refer to the punishment of the brutish, the wicked, the workers of
iniquity, the evil-doers.5
Psalms 105 and 106 alternate in another way the faithfulness of God in contrast with
the unfaithfulness of His people. If we are correct, the psalms form an alternating pattern

1
Michael Wilcock, The Message of Psalms 73-150 (Nottingham: Inter-Varsity Press, 2001), 73-74.
2
ATLAS: Moses and the Psalms: The Significance of Psalms 90 and 106 Within Book IV of th Masoretic Psalter,
Pp. 69.
3
Ibid.
4
https://www.esv.org/resources/esv-global-study-bible/chart_19_03/ Accessed on 31/08/2017 at 03:25 PM.
5
Kenneth L. Barker & John R. Kohlenberger III, Expositor’s Bible Commentory (Michigan: Zondervan, 1994), 890-
905.

2
because they were designed for a sequence of evenings and mornings, which also form an
alternating pattern.6
3. Title: Its Form, Date and Theology
i. The Days of Our Years (Psalms 90)
Psalm 90 is ascribed to Moses. Psalm 90 shows a decisive rhetorical move away from
David. One of the important message of Psalm 90 is that God, who has been the refuge of the
Israelites in the past will also be continually involved in their future. In verse 13, there is a
similar prayer in the story of Moses, found in Exodus 32:12. And by linking these two verses,
the prayer in Psalm 90 points in the Exodus narratives during which Moses interceded for the
Israelites in Exodus 32.7
The structure of this Psalm is unusual because it begins with an exordium of two elements
(vv. 1b-2), which presides over three strophes. It may not be considered as a complaint. It
begins and ends with an invocation to God as Adonai, the sovereign master of the cosmos.8
The dating, the similarity with the Jobian poem might indicate the last years of the kingdom of
Judah and even the beginning of the exile, when the catastrophes of 598 and 587 prompted the
survivors to reflect on the hiddenness of Yahweh.9
The psalmist passes from the acknowledgement of the eternal God to the finitude and
sinfulness of man and ends with the marvel of God the Worker. This psalm is a plea for
transitory happiness, in the sharing of divine and human work.10
ii. Courage Aroused by Faith (Psalm 91)
Psalm 91 has a simple structure of five regular strophes consisting of three elements
each. It is not a hymn, a lament, or even a prayer of trust. With the dating, it is uncertain but it
could be that of many crowned heads of the monarchy in Judah.11
It contains a sign of meditation and and of an oracular genre. It is apparently destined to be
sung for a monarch or during man of war who has just escaped violent death and is still exposed
to future danger.12
The singing of this poem include the advent of the future Messiah. The celebration of the
Sabbath may be viewed as the anticipation of rest in the life to come. The Mishnah described
this canticle as a song for the future time.13
iii. Hymn of Praise for God’s Act (Psalm 92)

6
Ibid.
7
ATLAS: Moses and the Psalms: The Significance of Psalms 90 and 106 Within Book IV of th Masoretic Psalter,
Pp. 70-72.
8
Samuel Terrien, The Psalms: Strophic Structure and Theological Commentary, Vol. 2 (Grand Rapids: William B.
Eerdmans Publishing Company, 2003), 642.
9
Ibid., 648-646.
10
Ibid.
11
ibid., 648,652.
12
Ibid.
13
ibid., 657.

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 The psalmist wrote it as a chiastic psalm of praise. There is a hymnic elements in strophes
I and II, but strophes III, IV, and V belong to the mixed genre of meditation, with the prophetic
and sapiential tones.
The exegetical suggestion points that this canticle is a royal psalm obtains approval, the
date of compilation may well be the time of Hezekiah or Josiah (8th – 7th century).
iv. The Lord is King (Psalm 93)
This short hymn has been classified with several other hymns like Psalms 47; 92; 99. The
date for “The Lord is King!” may have evolved from the early days in the Promised Land. It
received its final formulation at the birth of Judaism and after the Babylonian exile. The king
may have been vanished, but “the Lord is the King!”14
Here, an eschatological promise appear which is looking toward the future, “till the end of
time.” Psalm 93 sums up the entire faith of Israel in five succinct cola i.e. Yahweh reigns; the
initiator of stability and durability for both the temple and its foundation; the earth; looks at
public worship and its musicality of praise as the flowering of his faithfulness; viewed in its
double dimension: space and time.15
v. God the Avenger (Psalm 94)
The literary of this psalm cannot be determines easily, for it contains hymnic praise,
national lament, individual supplication, and sapiential questioning. Rabbinical tradition
relates that this psalm was sung on the 4th day after the Sabbath. It add that the singer were
completing the rendition (version) of the psalm and were interrupted by the Babylonian army
that seized the city of Jerusalem (in 587 century BC).16
vi. Praise God, Never Test Him (Psalm 95)
This psalm begins as an invitation to worship and repeats the call imperatively, “O
come…”. It presents exactly five regular strophes. The date of Psalm 95 may be trace back to
the renewal of Yahwism that seems to have taken place with the reform of Josiah (622 B.C.E.).
The psalmist professional vocation was not to question the justice of God but to sing God’s
praise.17
vii. Song for the New Day (Psalm 96)
Psalm 96 is a hymn that contains four strophes of three bicola each. The affinities with the
Deutro-Isaiah is strong that the date might be the late exile with its hope of restoration, if not
actually the postexilic times with new ceremonial of joy in the second temple.18
Here, the divine justice continues to form the major motif which is extended to the whole
world and transformed by the continuity of a proximate future that is in a dateless end of time.19

14
Ibid., 658, 660.
15
Ibid.
16
ibid., 663, 666.
17
Ibid., 669, 672.
18
Ibid., 674, 677.
19
Ibid.

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 viii. From Heaven to Earth (Psalm 97)
The form of this hymn presents three strophes of three stichoi each (vv. 2-4, 5-7, 9-10),
preceded by a prelude (v.1) and followed by a postlude (vv. 11-12). Psalm 97 has the influence
of Second Isaiah, which can be probably date back to the early postexilic period.20
ix. The Remembrance of Holiness (Psalm 98)
Psalm 98 begins with a prelude and ends with a postlude.21 It is also called as the
enthronement Psalms as Yahweh is pictured as enthroned, as ruling over the created order, as
a divine warrior who fights as the champion of his people, and as the monarch over the nation
of Israel. This psalm features the characteristic phrase “yhwh mālak” express as ‘the Lord
reigns”; ‘the Lord is King’ and ‘the Lord has become king.” And when this “yhwh mālak” in
the enthronement psalms is linked with the comparable language of Isa. 52:7, it is possible to
construe a context in the future messianic kingdom. In the light of the NT, which reveals Jesus
as the King of kings and Lord of lords (Rev. 19:16), can be applied to the Messianic kingdom
of Christ. Adding to this, Longman comments, “The modern Christian may appropriately sing
Psalm 98 remembering Christ’s salvation in his past, his present ruling and guiding of his life,
and Christ future as judge.22
Psalm 98 also emerged from the early postexilic period, when the second temple has been
erected.23
x. The Holy King (Psalm 99)
This Psalm is made up of three strophes and an Envoi. There is a rhythmic diversity which
suggest that the psalmist assembled citations and composed a regular poem with them. The
most likely date for this psalm is the Persian period, when the second temple had been erected.
Some of the elements psalm also shows that it may have come from pre-exilic times.24
xi. A Joyful Noise to the Lord (Psalm 100)
Psalm 100 is classically approached as a processional hymn composed in close relation
with the musical worship at official ceremonies. This psalms displays few textual ambiguities,
and its main matter of discussion concerns the mention of todah (in verse 1a). This specifies
that this psalm was composed for an official ceremony of thanksgiving.25
It is difficult to suggest a date of composition for this psalm and so the lack of a precise
superscription implies that Psalm 100 did not fall under any preliminary psalters. 26
xii. Ideal Conduct of a King (Psalm 101)

20
Terrien, The Psalms: Strophic Structure and Theological Commentary…, 679,
21
ibid., 682.
22
Daniel J. Estes, Handbook on the Wisdom Books and Psalms (Grand Rapids: Baker Academic, 2010), 185-190.
23
Terrien, The Psalms: Strophic Structure and Theological Commentary…, 684.
24
Ibid., 686,
25
ATLAS: Nissim Amzallag, The Meaning of Todah in the Title of Psalm 100, Pp. 535-536.
26
Terrien, The Psalms: Strophic Structure and Theological Commentary…, 690.

5
 This unique psalm was presumably used to be sung by a royal prince about to become king
of Judah. It was composed in the form of a hymn. Psalm 101 is often categorized as a royal
hymn, but its destination is quite distinct. It may be dated back to the pre-exilic, coming from
the time of the Judahite monarchy.27
This particular psalm combines sapiential ethics with theocentric spirituality. This Psalm
101 contains the prophetic picture of the perfect King, the Son of David, the King Messiah.28
xiii. Lament and Hymn (Psalm 102)
The genre of this psalm is complex as it begins from the complaint of a man sick to
death to a rather extravagant hymn of praise, to a prayer, and finally concluded with an outburst
of praise. Psalm 102, from its interpretation, the date of its composition must be at a time
following the exile, just before the building of the second temple.29
xiv. Bless the Lord, O my Soul! (Psalm 103)
The form of Psalm 103 is constructed with six strophes. The body of the poem is surrounded
by a prelude (vv. 1b-2) and a postlude (vv. 21-22) in which the psalmist dialogues with himself.
The authorship is ascribed to David basing on account of its personal tone. It is one of the
greatest Psalms of praise and thanksgiving where it embodies David’s own experience.30
Psalm 103 has also a great prophetic meaning that gives a glimpse of Israel’s future praise
and worship, the worship of their once rejected King.
xv. The Lord of the Seven Wonders (Psalm 104)
This particular psalm is a hymn of praise to the Creator. It contains seven strophes (vv.1-
30) in harmony with the seven days of creation in the Genesis. There is a minor difference, but
apart from that the order of the creative acts in the psalms is clearly that of the Genesis Yahwist
myth. The date of both documents seems to be approximately the same. Here, in this psalm,
the poet was trying to show eschatologically that the world would reflect the order, the justice,
and the beauty of God. At the end of the psalm, the psalmist points humanity as a tool of divine
love and compassion.31
xvi. Hymn to the Lord of the Covenant (Psalm105)
This particular psalm contains seven strophes, and each strophe is intended to proclaim the
greatness and universality of the Lord. Adele Berlin regarded psalm 105 specifically as an
example of inner-biblical interpretation whereby the primary focus is the land promise to the
ancestors, which is reinterpreted in reference to their heirs, the exilic generation. This psalm
also expands the conception of covenant similarly to Genesis, as it has the additional promise
of presence and protection granted to Jacob in Genesis 28:15.32

27
Ibid., 692, 694.
28
ibid.
29
ibid., 699.
30
Ibid.
31
Ibid., 718-719.
32
ATLA: Remembering the Ancestors: Psalms 105 and 106 as Conclusion to Book IV of the Psalter by John E.
Anderson

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 xvii. The Father’s Sin and God’s Grace (Psalm 106)
This psalm is also in the hymnic form where the psalmist invites his fellow singers and the
whole congregation to praise the Lord. Unlike psalms 105, the body of the poem is made up of
five strophes.33
The time of composition for this psalm seems to be the latter part of the exile, when a new
administration of the empire was taking over. This psalm rejects nationalism as a caricature of
patriotism that hides collective guilt. Psalm 105 and 106 contradict each other and yet complete
each other in the dialectic of sin and grace.34
4. Selected Theological Themes
4.1. God as Creator
In Psalm 104 we see Him as the creator. The God wears honor and light as His clothing.
God created heaven to live in and angels to serve Him. We see God’s power when He created
the world vs. 5-9. God also has the power to control all nature so that His creatures can live in
the world vs. 10-18. We can also learn from nature that God is wise.35
The psalm expresses creation into song, environmental theory into wonder and praise.
The sequence of the psalm goes with Genesis 1. Two terms that stand out in bold relief in
Psalm 104 are “works or made” (Heb. Maăśeh and ʿāśâ; vv. 4, 13, 19, 24 and “satisfy” (Heb.
śāba; vv. 13, 16, 28). These establish the two main theological points of the psalm: God’s initial
“works” of creation and His continual “satisfying” or providing for His creation.36
Psalm 104 is re-affirms and amplifies the sense of orderliness and purposefulness that
emerges from Genesis 1 and 2. Everything is created “in wisdom” v. 24, in an orderly way,
and has its determination. The psalm also underscores and develops the sense of beauty and
pleasure that God’s orderly, purposeful creation brings, not only to His creatures but also to
God Himself. In Genesis 1, God proclaims His works good and beautiful (the meaning of the
word good in Heb. ṭôb), but it comes into full expression in the beautifully shaped turns of
phrases and plenitude of imagery in Psalm 104, climaxing with the exclamation.37
4.2. God as Judge
Psalm 94:1-3. There is better grounded than wishful thinking in the appeal to the God
as vengeance or punishment, and the judge of the earth.38
In Psalm 97, the reign of God, while wholly beneficent in purpose and ultimate issue,
is yet full of terror and of judgment in its process toward the issue. The method of God’s
judgment is described and the effects of His judgments are declared in Ps 97.39

33
Terrien, The Psalms: Strophic Structure and Theological Commentary, 729.
34
Ibid., 733.
35
R. E. Harlow, Songs of Israel, studies in the psalms, (Canada: Everyday Publications,1967), 123
36
http://universitypress.andrews.edu/content/Genesis%20Creation%20Excerpt.pdf. Accessed on at 1/9/2017
at 8:34 PM.
37
Ibid.
38
Dereek Kinder, Psalms 73-150: A commentary on Books 3, 4 and 5, (England: Inter-Varsity press, 1975), 340.
39
G. Campbell Morgan, Notes on the Psalms (London: Westminister Chapel, 1946), 81.

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 5. Asian Context
5.1. Relevance of Psalms for the South Asian Context
Poetry and song has a long history in South Asia. With this, the South Asians can easily
relate to many of the categories of the psalms and their forms of expression even though the
Psalmists lived in a different cultural and historical context thousands of years ago.40
The poetry of the psalms should also be used to encourage local writers to develop
bhakti songs in their own languages using their own local styles of music and indigenous
instruments. The more such writers know about the psalms and what they teach about God and
our lives, the more South Asian Christians will be able to cherish the psalms as their own,
compare their situations with the joys, sorrows and victories of the Israelite singers, and trust
the same God who acted in the history.41
5.2. Selected Contextual Resemblance in the Book IV
Psalms 90 specified that human sin makes human life burdensome and fleeting on earth,
and the way to put an end to suffering is only putting ourselves on God’s mercy and favor.
Buddhism also holds that human life is characterized by suffering and burden. According to
them, human craving is the root cause of human suffering. And the way to put an end to
suffering is by practicing the eight noble paths.42
6. Some General Works Done on the Psalms
6.1. Expounding of the Psalms in Different Epoch
There has been a chain of exegesis which sought to explain and keep alive for each
generation the words of the songs and prayer of Psalms, because the archaic style and language
threatened to push back the Psalms to obscurity. The followings are the few selected examples
of contribution each epoch has made to the exegesis of the Psalms:
6.1.1. Early Jewish and Early Christian Commentaries
The first know commentary on the Psalms was that of the Qumran community. There is
some evidence that shows that the Qumran Essenes already had a tradition of exegesis, and
that the Psalms belonged to the category of texts worthy of exposition.43
6.1.2. The Early Church
It is said that the Early Church suffered in the exegesis of the Psalms because of the general
ignorance of the Hebrew language. The only people who have concerned with the hebraica
veritas was Origen and Jerome, their works was also mostly dependent on the “Greek Truth”
like the other expositors of that period. Certainly, many Church Fathers wrote commentaries

40
David Clarence, “Psalms 90-106” in South Asian Bible Commentary (Rajasthan: Open Door Publication, 2015),
1019.
41
Ibid.
42
Shirley Ho, Asian Bible Commentary Series: The Book of of Psalms 73-150 (Manila: Asia Theological Association,
2013), 70.
43
Klaus Seybold, Introducing the Psalms, translated by R. Graeme Dunphy (Edinburgh: T&T Clark Ltd., 1990),
244.

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but the only outstanding work was the collection of sermons by Augustine (354-430, the
“Enarrationes in Psalmos” in 416 AD.44
6.1.3. Middle Age
This period seems to hold the exposition of the Psalms in hermeneutical paradigm. The
medieval interpreters of the Psalms were Alkuin (735-804), Walahfrid Strabo (807-847), Bruno
von Würzburg (+1045), Peter Lombard (+1160), Thomas Aquinas (1225-1274), Nicholas of
Lyra (c. 1270-1349). This period’s exegesis is important for two reasons: firstly, it serve as a
channel to preserved many insights and to passed on, from the Early Church. Secondly, it also
developed a variety of expositions techniques. Some examples were the hand book of practical
Psalms written by Benedictine (early medieval France i.e. 7 Century) entitled “Glosa
psalmorum ex traditione seniorum,” the “Commentarius in Psalmos davidicos” by Peter
Lombard which follows the technique of interlinear and marginal glossing which had been
introduced by Anselm of Laon (1050-1117).45
6.1.4. Humanism and Reformation
Here, new standards in Psalms exposition was laid down by Johannes Reuchlin of
Pforzheim (1455-1522), a German Humanist, who studied systematically with the Hebrew
language and published a commentary on the seven Psalms of Expiation under the title
“[Introduction] to the seven Hebrew Psalms of Expiation, [and] exposition from word to word
and explanations beyond this, in order to learn the Hebrew language from its rudiments”
(roughly translated from the original title).46
Martin Luther (1484-1546) published commentaries such as “Dictata super Psalterium”,
“Operationes in Psalmos,” “the Summa on the Psalms” and the great lectures on the Gradual
Psalms. And John Calvin (1509-1564) also exposited the Psalms in his book “commentarii in
psalms,” and there are many other reformers who produced commentaries on the Psalms. The
Psalter was the first of the books of the Bible to appear in print.47
6.1.5. The Enlightenment
The enlightened 18th century brought forth new ideas but it was in the next century that
set the dawn for commentaries. Johann Gottfried was the one who herald a new movement in
exegesis. It is said that he rediscovered the ‘spirit of Hebrew poetry’ and his Hebrew humanism
had drawn attention to the historical being, the uniqueness and the individuality of poetry of
the ancient Orient which an expositor must immerse and empathies.48
6.1.6. Historical – Critical Exegesis
Rosenmüller and de Wette marked the beginning of the great classical commentaries of the
th
19 century, which introduced modern Psalm scholarship. In this period, the focus of interest
of historical-critical work on the text shifted successively the methodological apparatus from

44
Ibid., 248.
45
Ibid., 249-250.
46
Ibid., 251.
47
Ibid., 251-252.
48
Ibid., 254.

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the historical aspect to the philological, to the religious-historical, to the cultic-historical, to the
formal-historical, to the literary-critical.49
6.2. Selected Recent Work on the Psalms
6.2.1. The Psalms of Individual Lament and the Mark’s Passion Narrative
Stephen P. Ahearne-Krolli in his book “the Psalms of Lament in Mark’s Passion: Jesus’
Davidic Suffering” examined the literary interaction between the Gospel of Mark’s passion
narratives (Mark 14:1 – 16:8) and the four Psalms of individual Lament evoked in it. He stated
that “Mark tells the story of the passion events at the end of Jesus’ days with the copious
references to his scriptures. Jesus goes ‘as it is written of him.’ Upon close examination of one
subset of the scripture passage evoked, namely, the Psalms of Individual Lament, one can
question what if it might mean for Jesus the Messiah to die ‘as it is written of him’.”50
These four Psalms depict a David who challenges God’s role in his suffering, who searches
for understanding of his suffering in light of his past relationship with God, and who attempts
to shame God into acting on his behalf only because he is suffering. Mark alludes to these
psalms in reference to Jesus, and David’s concerns become woven into depicting of Jesus in
Mark. So, for Stephen Ahearne-Kroll, reading David’s challenge to God as part of Jesus’s
going “as it is written” calls into question the necessity for Jesus’s death within an apocalyptic
framework of meaning. Thus, the suffering king David offers a more appropriate model for
Jesus’ suffering in Mark than that that of the servant from Deutero-Isaiah.51
7. Conclusion
The Psalms Book IV divert its focus from the Davidic covenant and monarchy to the
Mosaic covenant and kingship of Yahweh. We can see that the voice of Moses in Psalm 90
opens the Book IV which attesting to the powerful and secure refuge the Lord has been to the
Israelites through the year. And ends with Psalms 105 and 106, a study shows that they are
purposefully placed in their current position as the concluding remark to the Book IV. The
ending part i.e. Psalm 106 is a historical Psalm that provides an archetype of spiritual guidance
in the Mosaic era, where it begins and ends with “Praise the LORD” [Halleluyah]. Through
out this Book IV, the Israelites confess their sins across their various stages of history which is
appealing even for the present Christendom to do the same.

Bibliography
Ahearne-Kroll, Stephen. The Psalms of Lament in Mark’s Passion: Jesus’ Davidic Suffering.
Cambridge: Cambridge University Press, 2007.
Barker, Kenneth L. and John R. Kohlenberger III. Expositor’s Bible Commentary. Michigan:
Zondervan, 1994.

49
Ibid., 254-255.
50
Stephen Ahearne-Kroll, The Psalms of Lament in Mark’s Passion: Jesus’ Davidic Suffering (Cambridge:
Cambridge University Press, 2007), 1.
51
Ibid.

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Harlow, R. E.. Songs of Israel: Studies in the Psalms. Canada: Everyday Publications,1967.
Ho, Shirley. Asian Bible Commentary Series: The Book of of Psalms 73-150. Manila: Asia
Theological Association, 2013.
Kinder, Dereek. Psalms 73-150: A commentary on Books 3, 4 and 5. England: Inter-Varsity
press, 1975.
Morgan, G. Campbell. Notes on the Pslams. London: Westminister Chapel, 1946.
David Clarence, “Psalms 90-106” in South Asian Bible Commentary. Rajasthan: Open Door
Publication, 2015: 1019.
Seybold, Klaus. Introducing the Psalms. Translated by R. Graeme Dunphy. Edinburgh: T&T
Clark Ltd., 1990.
Terrien, Samuel. The Psalms: Strophic Structure and Theological Commentary. Vol. 2. Grand
Rapids: William B. Eerdmans Publishing Company, 2003.
Wilcock, Michael. The Message of Psalms 73-150. Nottingham: Inter-Varsity Press, 2001.
Wilkinson, Bruce and Kennth Boa, The Wilkinson and Boa, Bible Handbook. Nashville:
Thomas Nelson, 2002.

Webliography
ATLAS: Moses and the Psalms: The Significance of Psalms 90 and 106 Within Book IV of the
Masoretic Psalter.
ATLAS: The Meaning of Todah in the Title of Psalm 100 by Nissim Amzallag.
ATLA: Remembering the Ancestors: Psalms 105 and 106 as Conclusion to Book IV of the
Psalter by John E. Anderson.
http://universitypress.andrews.edu/content/Genesis%20Creation%20Excerpt.pdf. Accessed
on 1/9/2017 at 8:34 PM.
https://www.esv.org/resources/esv-global-study-bible/chart_19_03/

i
Stephen P. Ahearne-Kroll is an Assistant Professor of New Testament, Methodist
Theological School in Ohio.

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