(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. {377} 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" [Greek: anabasis] 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 "[Greek: Ode ton anabathmon];" 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.