THE SONGS OF DEGREES.
(Vol. ix., p. 121.)
Too much pains cannot be expended on the elucidation of the internal structure of the Psalms. In this laudable endeavour, your correspondent T. J. Buckton has, as I conceive, fallen into an error. He assumes that those Psalms which are entitled "Songs of Degrees" were appropriated for the domestic use rather than the public services of the Jews. I cannot consider that the allusions to external objects which he enumerates could affect the argument; for, on the other hand, we find mention of the House of the Lord (cxxii.
1. 9., cxxvii. 1., cxxxii. 3. 7., cxxxiv. 1.); the sanctuary (cxxxiv. 2.); the priests (cxxxii. 9.); and the singers (cxxxiv. 1.), who attended by night as well as by day (1 Chron. ix. 33.): allusions which would sufficiently warrant these Psalms being considered as connected with the temple worship.
The name Shir Hammachaloth, "Song of Ascents," prefixed to these fifteen Psalms, has given rise to much controversy. The different opinions as to the import of this title may be thus stated: 1. The ancients understood it to relate to the steps of the temple: of this supposition I shall speak hereafter. 2. Luther, whom Tholuck is inclined to follow, renders it a song in the higher choir: intimating that they should be sung from an elevated position, or, as Patrick says, "in an elevated voice." 3. Junius and Tremellius would translate it "Song of Excellences," or "Excellent Song." 4. Gesenius with De Wette, considers that this name refers to a particular rhythm, in which the sense ascends in a rhythming gradation; but as this barely appears in one Psalm (cxxi.), the facts will scarcely support the hypothesis. 5. The more modern opinion is, that (notwithstanding four of them being composed by David, and one by Solomon) it signifies "Song of the Ascents" αναβασις or "Pilgrims' Song," being composed for or sung by the people during their journeys to Jerusalem, whether on their return from the Babylonian captivity, or as they statedly repaired to their national solemnities.
The first of these hypotheses, though in least repute, I am inclined to prefer.
The title in Chaldee is "A Song sung upon the Steps of the Abyss;" the Septuagint superscription "Ὠδὴ τῶν ἀναβαθμῶν;" and the Vulgate, carmen graduum, "Song of the Steps." In accordance with which the Jewish writers state, that these Psalms were sung on fifteen steps leading from the Atrium Israelis to the court of the women. In the apocryphal book of the "Birth of Mary," translated by Archbishop Wake, which is to be found in the works of St. Jerome, and which is attributed to St. Matthew, there is an account of a miracle in the early history of the Virgin Mary, in which it is said (ch. iv.):
"2. And there were about the temple, according to the fifteen Psalms of Degrees, fifteen stairs to ascend.
"3. For the temple being built in a mountain, the altar of burnt-offering, which was without, could not be come near but by stairs."
It goes on to state how the infant Mary miraculously walked up these stairs. In the account of the same miracle, in the Protevangelion, ascribed to St. James, it is related (ch. vii.) how the priest—
"5. ... placed her (the infant) upon the third step of the altar."
From this comparison it would appear, that the "stairs about the temple" were synonymous with the "steps of the altar."
I would therefore suggest, for the consideration of those better acquainted with the subject, that these Psalms were adapted to be sung (not on the steps, as some think, but) as a kind of introit while the priests ascended the steps of the altar.
To show their adaptation for this purpose, it may be worth remarking, that they are all, except cxxxii., introits in the first Prayer Book of Edward VI.
J. R. G.
Dublin.