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    Psalm 50: A Call to Worship in Spirit and Truth
    Psalm 50: A Call to Worship in Spirit and Truth
    Psalm 50: A Call to Worship in Spirit and Truth
    Ebook79 pages55 minutes

    Psalm 50: A Call to Worship in Spirit and Truth

    By Domenic Marbaniang

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    About this ebook

    An exegetical study of one of the boldest psalms celebrating the Sovereignty of God. Psalm 50 was written by Asaph, Choir leader in Solomon's Temple. The Psalm is a neat and clear arrangement of verses that convincingly proclaim that God is King.

    LanguageEnglish
    PublisherDomenic Marbaniang
    Release dateJan 18, 2014
    ISBN9781311551382
    Psalm 50: A Call to Worship in Spirit and Truth
    Author

    Domenic Marbaniang

    Domenic Marbaniang is Christian writer, musician, and minister.

    Read more from Domenic Marbaniang

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      Wonderful exegesis of Psalm 50: the calling, true worship, divine warning, etc.

    Book preview

    Psalm 50 - Domenic Marbaniang

    PSALM 50

    A Call to Worship in Spirit and Truth

    Copyright 2002, 2014 Domenic Marbaniang

    Published by Domenic Marbaniang at Smashwords

    Smashwords Edition License Notes

    This ebook is licensed for your personal enjoyment only. This ebook may not be re-sold or given away to other people. If you would like to share this book with another person, please purchase an additional copy for each recipient. If you’re reading this book and did not purchase it, or it was not purchased for your enjoyment only, then please return to Smashwords.com or your favorite retailer and purchase your own copy. Thank you for respecting the hard work of this author.

    Table of Contents

    INTRODUCTION

    OUTLINE

    THE DIVINE APPEARANCE

    THE DIVINE CALL

    THE DIVINE WARNING

    THE DIVINE POSTSCRIPT

    CONCLUSION

    BIBLIOGRAPHY

    .

    To those sought by the Father

    INTRODUCTION

    Psalm 50 is the first of the psalms in the Psalter bearing the name of Asaph in their inscriptions. It is one of the forty psalms (42-72) that form the second group in the Book.

    AUTHORSHIP

    The titles of twelve psalms (50,73-83) bear the name of Asaph. Peter C.Craigie notes two problems about these titles:

    ‘The first part of the problem concerns whether or not this designation of persons in the title was intended to convey authorship, or whether there was some other purpose in the designation. Depending upon the resolution of the first part of the problem, a second problem may emerge: if the designations were intended to convey authorship, are they a reliable guide or does their editorial nature result in doubtful evidence with respect to identifying authors?’[1]

    Craigie further notes that the Hebrew preposition Le prefixed to the persons named in the titles could mean either for, by, to, with reference to, concerning, about, or for the use of. He, however, concludes that no certain statement can be made concerning the authorship of the majority of the psalms. This he doesn’t consider to be a serious  setback with respect to understanding the psalms

    ‘...for their theme is the relationship between a person and God, and their variations on that central theme have a universality and timelessness which transcend the particularities of authorship.’[2]

    Concerning the reliability of the Hebrew Psalm Titles, Geisler notes two lines of  evidence    used by critics:[3]

    1. The occasional discrepancies between the psalm titles in the Masoretic Text and those in the LXX .

    2. The lack of correspondence between statements of historical background and the situation presupposed in the   psalms themselves.

    He replies that it is impossible to explain how any latter rabbi would have ventured to  attach titles of this sort to psalms whose text does not clearly reflect the situations in David’s life which are assigned as settings for compositions. Secondly, the LXX translation of the titles might have been erroneous owing to the distance of time and its related linguistic horizons.  

    ‘The LXX furnishes conclusive evidence that the titles were added to the Hebrew Psalter at a date long before Hellenistic times. That is to say, there are several technical terms appearing in the Hebrew  titles the meanings of which had been forgotten by the time the Alexandrian translation was made (ca. 150-100 BC).’[4]

    For instance, the title to the choir leader, lam-menasseah is rendered by the LXX translator as unto the end, eis to telos (cf., e.g., Ps.44, equivalent to the LXX Ps.43). ‘Apparently, the Alexandrian scholar conjectured the vocalization to be le-min-nesah, to from the end’[5]

    Baxter contends that the inscriptions were part of  the sacred text. They were, apparently, in existence when the LXX translation was made in the third century BC, and must have been so far a good while before that,

    ‘...since the meaning of those which we have called special-word inscriptions [e.g., 4-9,12,16,52,74, etc.] had already by that time gradually become lost, as is evidenced by the fact that the Septuagint translators did not attempt to translate these words, but simply let them stand untranslated in inscriptions....a detailed study of them [the inscriptions] reveals every likelihood of their having been a part of the primitive sacred text.’[6]

    Having proven the credibility of the inscriptions, we can thus infer that the psalms bearing the names of Asaph in their inscriptions were originally composed by Asaph himself. Delitzsch concludes that if not the others, atleast Psalm 50 ‘is an original psalm of Asaph.’[7] He does that by a refutation of two possible arguments against the authorship of Asaph:

    ‘It  cannot surprise one that  stress is laid on... denunciation of a heathen service of works by so many voices during the Davidic age. The nothingness of the opus operatum is also later a watchword of the prophets in times when religious observances, well ordered and in accordance with legal prescription, predominate in Judah. Nor should it

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