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© Tim Mackie
The Psalms: Literary Design and Theological Themes

1. The Psalms within the TaNaK

a. The book of Psalms is woven into the three-part design of the TaNaK by means of the
literary seams: Deut 34:10-12 + Joshua 1:1-9 + Malachi 4:4-6 + Psalms 1-2
b. This prepares us to find intentional literary design within the Psalms scroll as a
whole.

2. The Psalms scroll contains many older individual poems and songs and older collections of
poems, but it is not designed to function like a hymnbook. It is meant to be read from
beginning to end. This can be discerned from the scroll’s literary design.

(1) Psalms 146–150 are a clearly marked five-part conclusion (hallelu-yah inclusios)

(2) The five-part conclusion corresponds to the five-part shape of the entire scroll:
Book 1 Pss 1-41 > conclusion in 41:13
Book 2 Pss 42-72 > conclusion in 72:18-19
Book 3 Pss 73-89 > conclusion in 89:52
Book 4 Pss 90-106 > conclusion in 106:48
Book 5 Pss 107-150 > conclusion Pss146-150

(3) These five larger units are made up of many smaller collections:
a. “Psalms of Ascents” > Pss 120–134 + 135-136
b. “Hallel” Psalms > Pss 111–118
c. Twin Psalms: Pss 42-43, 105-106, 112-113
d. Psalms of Asaph: Pss 73–83
e. Psalms of Korah: Pss 84–88
f. “Yahweh Reigns” Psalms: Pss 93–99

(4) Preliminary Conclusion:

“There has been a general agreement among recent scholars on the following points”:
1. “The Psalter is not a random collection of psalms but was designed to constitute...a coherent
book.”
2. The Psalms “were given a new interpretation in the post-exilic period.”
3. “The new understanding of the Psalter...was intended to offer an alternative way of using the
Psalms in the new circumstances of the post-exilic period.”
4. “The positioning of certain Psalms...is crucial for the study of the structure and theological
meaning of the Psalter.”
5. “There is evidence that some pairs and small groups of psalms were formed by the redactors in
order to further the new interpretation.”
6. “Groups of psalms already formed at an earlier time were retained by the final redactors.”
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© Tim Mackie
7. “The psalms, most of which were expressions of prayer, came to be regarded as a source of
instruction or an aid to theological reflection (God’s word to humanity).”
— Norman Whybray, Reading the Psalms as a Book, (1996), 30-31

(5) If 146–150 are a conclusion to the scroll, and if it has an internal organization of five-part, we
should look to the beginning for an introduction:

a. In Book 1 (Pss 1–41) all the poems have the superscription “Of David”, BUT Psalms
1-2 do not (Ps 10 is unique, as Psalms 9-10 used to be a single poem)

b. Pss 1-2 are united by unique vocabulary and themes:

i. In Ps 1:1–2 the one who meditates on Torah is blessed (’ashray). In the
conclusion of Ps 2:12 those who take refuge in the Messiah are blessed
(’ashray) [= “Inclusio”]
ii. In Ps. 1:2, the righteous “meditate” (hagah) on Torah; in Ps 2:1 the wicked
“plot” (hagah) against the Messiah
iii.In Ps 1:6, the wicked perish (’abad) “in their way”; in Ps 2:12, the wicked are
destroyed (’abad) “in their way”

c. Psalms1-2 appear to be the an introduction to the entire scroll focusing on the twin
main themes:
i. TORAH
• The Scriptures (the Torah alongside this “new” Psalms-Torah) is the place
where God meets with his people (Garden-Temple imagery) = Joshua 1
• The Scriptures fuel a counter-cultural way of life that anticipates the final
judgment and the vindication of the righteous = Malachi 4

ii. MESSIAH
• The nations are in rebellion against God’s purposes to rule the nations through
the Messiah from the line of David
• The ultimate fate of all humanity is determined by their response to this king
and his rule

(6) Psalms 1-2 set up a narrative-plot for the Psalms scroll

a. Will this Messianic promise overcome opposition?
b. How will the righteous cope with such hostility and keep their hope in God’s
promise?
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“David” in the Psalms
• David was known as a musician and songwriter from a young age (see 1 Samuel 16:14-23)
and his talents were remembered (see Amos 6:5). His poems were remembered and sung by
the Levitical choirs in the temple: see Ezra 12:45-46 and 1 Chronicles 25
• David is mentioned in the superscription of 73 psalms, 13 of which contain some kind of
reference to a narrative about David in 1-2 Samuel (Psalms 3, 7, 18, 34, 51, 52, 54, 56, 57,
59, 60, 63, 142).
• The titles that mention people are not simply indicating historical authorship, but are meant
to recall the narrative significance of the person within the literary design of the Torah and
Prophets.
• “Of David” = Heb. le-David, ‫לדויד‬: “related to/with reference to David, Solomon,
Moses” = “related to the David, Solomon, Moses in the text of the Torah and
Prophets”

• The question is how are they related to David, Solomon, Moses, etc.
• It could simply indicate authorship, but this doesn’t explain the fact that many Psalms
of David have been supplemented for their literary context in the book of Psalms:
• 23:6 and 27:4 speak of a temple that didn’t exist in David’s time
• 51:18-19 assumes a destroyed temple
• The book of Psalms was explicitly shaped in the period after the exile: Psalms 106:47;
137 “by the rivers of Babylon”; 147:2 “the exiles of Israel”

• The TaNaK depicts David and the Levites as “prophets” whose poems were prophecy: see 1
Chronicles 25:1-2
• Jesus and the apostles continued this tradition, reading the psalms as “eschatological
prophecy” pointing forward to the messianic age and the kingdom of God
• Mark 12:35-37 and Acts 2:29-35 on Ps 110
• Hebrews 4:7 describes Psalm 95 as being written “in David” (Grk. εν Δαυιδ), which is
not a reference to authorship.
• Jesus adopted the suffering servant poems to express his own experience:
• In the garden of Gethsemane: Matthew 26:38, quoting Psalm 42:5-6
• On the cross: Matthew 27:46, quoting Psalms 22:1
• Romans 15:3-4, Paul quotes Psalms 69:9 as reflecting the messianic mindset of Jesus

• The Psalms refer to the “Biblical David” (along with the “Biblical Solomon/Moses”)
depicted earlier in the TaNaK as images/archetypes of the future king and prophet figures
anticipated in Deuteronomy 34:10-12, Malachi 4:4-6, and in the prophets (the “David” of
Hosea 3:5; Jer 30:9; 33:15; Ezek 34:23; 37:24).
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Design and Main Themes of the “books” of the Psalms scroll

1. Literary design and Main themes of book 1: Psalms 3-41

• Psalms 3-14:
• The persecuted David of the past (see the headings of Psalms 3 and 7) becomes a
model of prayer and dependence for future generations
• David calls out for God to “rise up” and bring future vindication (3:7; 7:6; 9:19; 12:5)
and “salvation” (Heb. yeshua: 3:2, 7, 8; 6:4; 7:1; 9:14; 12:1; 14:6)
• The focal point of God’s salvation is the temple in Zion (as in Psalm 2): 3:4; 5:7; 9:11;
11:3; 14:6

• Psalms 15-24
• The section is framed by “temple entrance” poems (15 and 24), which surround two
sections focused on the future deliverance of the messianic king (16-18 and 20-23). At
the center is a Torah poem (19)

The Symmetrical Shape of Psalms 15-24

TORAH: 15: Requirements for entering YHWH’s presence: integrity and righteousness by the Torah
TRUST IN YHWH: 16: The king confesses confidence in YHWH’s power to deliver from distress.
PRAYER FOR HELP: 17: Petition for deliverance in the midst of distress.ROYAL PRAYER: 18:
King’s prayer telling the narrative of how YHWH delivered him from distress because 1) he cried
out to YHWH (v.7ff.) and 2) he walked in integrity and righteousness (vv.21-31) and 3) YHWH
has promised to deliver his ‘anointed one’ (v.51).
TORAH: 19: The king confesses that following Torah keeps one’s life pure and righteous before
YHWH.
ROYAL PRAYER: 20: Prayers of deliverance on behalf of the king.
ROYAL PRAYER: 21: YHWH answers the prayers for deliverance on behalf of the king.
PRAYER FOR HELP: 22: Prayer of the king in the midst of mortal distress (vv.1-22) and
thanksgiving for deliverance (vv.23-32).
TRUST IN YHWH: 23: The king confesses confidence in YHWH’s compassion to deliver his king so
that he may go up to YHWH’s presence in the temple.
TORAH: 24 Requirements for entering YHWH’s presence: integrity and righteousness by the Torah
(vv.3-6) and proclamation of YHWH’s kingship (vv.7-10).

• Psalms 25-34 + 35-41

• This section is framed by three alphabet acrostic “wisdom” poems (25 and 34 and 37;
25 and 34 both have “redemption” conclusions that stand outside the acrostic [25:21
and 34:22] and refer back to Psalms 1-2)
• This outer frame gives a future orientation to the David lament poems in 26-33, 35-36,
38-41.
• David appeals for deliverance and vindication before his enemies: 28:6-9
• David’s greatest desire is to be in God’s temple presence: 26:3-7; 27:1-5; 28:1-2
• David’s own journey of forgiveness and restoration (32-33) becomes a model
for future generations.
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© Tim Mackie

2. Literary design and Main themes of books 2 and 3: Psalms 42-72 and 73-89

• The entire composition is arranged as a symmetry with a “David” section at its center and as
its conclusion
42-49 Korah Psalms
50 Asaph Psalms
51-72 David Collection
73-83 Asaph Psalms
84-89 Korah Psalms

• The Korah psalms (42-49 and 84-89): These two collections develop in parallel fashion. The
begin with poems that encourage piety and hope in God’s promise which is anchored in the
Jerusalem temple. This hope must be embraced despite a deep feeling of God’s absence.
• 42-44 = 84-85: Longing for the beloved divine presence in the temple + collective
laments over Israel sin + hope in God’s covenant love
• 45-48 = 86-87: Celebrations of God’s royal power in Zion (Ps 45-48) over all the
nations who will one day be included among God’s covenant people (Ps 87!)
• 49 = 88: Laments over human mortality and the ephemeral nature of life under the sin
• “Zion” psalms which foster messianic hope: 45-48 and 84-87

• The Asaph psalms (50 and 73-83)

• These poems highlight the existential crisis brought about by the exile (73, 74, 79-80)
and they promote hope in God’s kingship (75-76, 81-82)

• Psalms 51, 72 and 89 are both connected to the larger themes of messianic hope and exile
that unite the TaNaK
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• Psalm 51: The New Covenant: David’s sin with Bathsheba brought divine judgment
and repentance that led to restoration. This provides hope for the post-exilic
community (see how 51:18-19 repurpose David’s hope for future generations).

• Psalm 72: The Messianic Kingdom: Solomon’s reign as described in 1 Kings 3-10
becomes a model of future hope for the messianic king who will fulfill God’s promise
to bless the nations through Abraham.
• 72:8 = Numbers 24:19 and Zechariah 9:9-10
• 72:9 = Micah 7:17
• 72:15 = 1 Kings 10 and Isaiah 60:6
• 72:17 = Genesis 12:3

• Psalms 89: Restoration from Exile: The Babylonian destruction of Jerusalem and the
exile of the line of David poses a threat to God’s covenant faithfulness promised to
David in 2 Samuel 7
• 89:46-48: The passing of the monarchy of Judah is compared to the larger
existential crisis facing all mortal humans.
• 89:49-51: The downfall of the “messianic” line is connected to the persecution
of God’s “servants.” The poet petitions God on behalf of both.
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3. Literary Design and Main Themes of Book 4: Psalms 90-106

• Psalms 90-92:
• Moses (Ps 90) takes up his role as intercessor on Israel’s behalf, with a series of allusions
to the golden calf narrative of Exodus 32-34. He acknowledges Israel’s sin and frailty
and asks God to allow their faithfulness to endure: Psalm 90:7-13 refers back to Exodus
32:11-14.
• 91-92: God promises vindication for those who remain faithful to him

• Psalms 93-100: The “Yahweh is king” psalms respond to the exile (Psalm 89) by reaffirming
the climactic claim of the Song of the Sea (Exodus 15:18) that God is king of the nations.
• These poems depict Yahweh as the ultimate ruler of all (metaphors: Yahweh is king,
shepherd, most high, judge)
• Some poems envisions the nations as brought under God’s rule (96, 98, 100) while
others focus on the quality of God’s rule and the standards of final judgment (94, 97, 99)

• Psalms 101-103: This “mini-David” collection represents “repentance” in response to Psalms

93-100
• 101: David is a model of recommitment to Yahweh’s standards of justice and pietry
• 102: The “poor” afflicted sufferer: This individual embodies the “suffering servants” of
Zion who await the future fulfillment of all of God’s promises in the messianic kingdom.
• 103: David blesses God as Israel’s forgiver and healer. Their future hope lies completely
in God’s merciful character to keep his covenant promises.

• Psalms 104-106
• 104: God’s “work” in creation displays his universal rule over all creation
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• 105-106: God “work” in Israel’s covenant history has been complicated: Israel is a
mixed-bag of faithfulness (105) and total failure (106).
• This sets the tone for future hope: despite Israel’s failure, God’s covenant promises rely
solely upon his own faithfulness.

4. Literary Design and Main Themes of Book 5: 107-145

• This book has also been designed as a large symmetry

107+108-110 111-112 113-118 119 120-136 138-145 145

David ACROSTIC Liturgy Torah Liturgy David ACROSTIC
137
ACROSTIC

• 107: Introduction: a poetic retelling of Israel’s history showing that repentance and
restoration are always possible with the God of mercy
• 108-110: Poems the promise future vindication and victory for David and the future
messianic kingdom.
• 111-112: Two acrostics that promote praise, wisdom, and the fear of the Lord
• 113-118: “The great Hallel”: a collection that replays the Exodus themes (113-114). All
nations are called to turn from idols (115) and to celebrate the royal rule of Yahweh the
creator and deliverer (116-117) who invites the redeemed into his temple presence (118)
• 119: The largest Acrostic, Torah psalms
• 120-136: The Psalms of “ascents” (ha-ma’alot “the goings up” = return from exile)

120-124 125-129 130-134 135-136

Hallel
122 Zion Theology

127

132
122 Zion Theology

127Zion

132Zion

134
137
ZionTheology

ZionTheology
Theology

Theology

• 138-145: The final “David” collection:

• The petitioning David (Psalms 138-144) concludes with an acrostic meditation on the
hope of the Davidic Covenant (Psalm 145, especially 145:13b in the ESV).

• 146-150: The five-part Hallelu-Yah conclusion

• The center poem Psalm 148 is a summons that all creation in heaven (148:1-6) and on
earth (148:7-12) praise Yahweh for two reasons: (1) his glorious reputation stands
above all creation (148:13) and (2) “he has lifted up a horn for his people”
• “horn” is a royal metaphor in the OT for the promised king from the line of
David, see 1 Sam 2:1, 10; 2 Sam 22:3; Psalm 132:17.
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Main Themes in the Book of Psalms

1. Yahweh’s people, living in the midst of exile, must ground their faith on…
– Torah (the foundation story) [Psalm 1]
a. Psalms which focus on the beauty of Yahweh’s word: 19, 119
b. Psalms which retell the story of the Torah: 78, 105-106

– Messiah (the coming deliverer) [Psalm 2, note Acts 2:29–30]

a. “Yahweh Reigns” Psalms 93–99
b. “Royal Psalms” which anticipate a coming deliverer: 2, 20–23, 72, 110, 132, 148

2. In the midst of exile, we must fully acknowledge our suffering, and wrestle with Yahweh
about our difficulties and hardships.
– Lament Psalms: 3–7, 9–10, 73, 88–89 [Focus Pss 3–7, 73, 89]

3. We must wait on Yahweh and pray for future vindication in the midst of persecution and
suffering.
– Imprecatory Psalms: 58, 109, 137

4. Our final response to Yahweh should be trust in his promises and worship [Focus: Shift from
Lament to Praise in the books of Psalms]
– Thanksgiving Psalms: 30, 34, 116
– Praise Psalms: 103, 113, 146–150