Psalm 22

Aijeleth Shahar

Aijeleth Shahar or Ayelet HaShachar (Hebrew: "hind of the dawn") is found in the title of the Psalm. It is probably the name of some song or tune to the measure of which the psalm was to be chanted. Some, however, understand by the name some instrument of music, or an allegorical allusion to the subject of the psalms.

Heading

Where English translations have "Psalm," the underlying Hebrew word is מִזְמוֹר (mizmor), a song with instrumental accompaniment. This is part of the series of "Davidic Psalms" (mizmor le-david). Traditionally, their authorship was attributed to King David. In scholarly exegesis this write-up is no longer represented in the 19th century. The Hebrew particle le, means "of", "about", "for" or "in the manner of," so that it remains unclear whether the Davidic psalms originate with David, or simply take Davidic kingship as their topic, or take even in his own way the psalms terms.

The heading further assigns the psalm as "for the conductor." This is apparently a reference to the use of Psalms in the (temple) liturgy. The exact meaning is unclear.

The song is to be sung to the tune "Hind of Dawn", in a style apparently known to the original audience, according to the traditional interpretation. In the recent literature, however, it is argued that "Hind of Dawn" cultic role of the priest designated person acting as menatseach, as head of the ritual.

Historical-Critical Analysis

In the exegetical science of Psalm is not widely regarded as a unified whole. It is expected at least a basic Psalm in V. 1-22 / 23 and an extension through V. 23 / 24-32. Further analysis also recognize V. 4-6 as part of the extension and take a third editorial development layer in V. 28-32 in. the distinction between the two main parts is also controversial. So verse 23 is sometimes counted yet for basic Psalm.

The emergence of the basic psalm (vv 2-22 / 23) is suspected in pre-exilic period. The second part was probably added only in post-exilic period because of significant rescue Israel. The last operation (V. 28-32) is because of the universalist perspective the Hellenistic period probably of the late 4th century.

Commentary

The reproachful, plaintive question "why" of suffering (v 2) is the 22nd Psalm the title deepest godforsakenness in the face of suffering and multiple persecution by enemies. Because of the vagueness of the emergency is made by the first part of the Psalm many typical situations of persecution and has thus become a timeless testimony. The complaint about the absence of God will multiply by praise (V. 4), confidences (V. 5-6, 10-11) and petitions (vv 20-22) interrupted.

The second part of the Psalm is the gratitude of the petitioner in the light of his salvation (v.22) in the context of Israel (V. 26-27) and expands in worship YHWH the perspective of the peoples of the world that impressed God's action should show.

In the New Testament Jesus cites Psalm shortly before his death on the cross and making himself the attitude of Psalm petitioner, and to own according to Jewish tradition, the entire contents of the psalm. Even in the biggest agony and abandonment remains God of familiar contact.

Christolgically this part was considered offensive, inasmuch as Jesus Christ, who is God's Person of the Trinity in Christianity, can say that God had forsaken him. However, as in Psalm is the abandonment by God not the end. Rather, following in both cases the sudden and abrupt rescue the petitioner by God, in the New Testament Jesus' resurrection. The usual division of the Psalms in an action part (Ps 22.2 to 22 EU) and a praise or thanks part (Ps 22.23 to 32 EU) therefore is in Christianity (including Martin Luther) on the one hand with regard to the crucifixion and on the other hand pointed to the resurrection.

Judaism

In the most general sense, Psalm 22 is about a person who is crying out to God to save him from the taunts and torments of his enemies, and (in the last ten verses) thanking God for rescuing him.

Jewish interpretations of Tehillim 22 identify the individual in the Psalm with a royal figure, usually King David or Queen Esther. There is no evidence of the Psalm being used in a Jewish messianic context.

The Psalm is also interpreted as referring to the plight of the Jewish people and their distress and alienation in exile. For instance, the phrase "But I am a worm" (Hebrew: ואנכי תולעת) refers to Israel, similarly to Isaiah 41 "Fear not, thou worm Jacob, and ye men of Israel; I help thee, saith the LORD, and thy Redeemer, the Holy One of Israel."

Christianity

The New Testament makes numerous allusions to Psalm 22, mainly during the crucifixion of Jesus.

Christians also contend "They have pierced my hands and my feet" (Psalm 22:16), and "I can count all my bones" (Psalm 22:17) indicate the manner of Jesus's crucifixion, being nailed to the cross (John 20:25) and also that, per the Levitical code, no bones of the sacrifice (Numbers 9:11-13) may be broken. (Christians view Jesus as an atoning sacrifice)

Catholic Liturgy

In the Roman Rite, prior to the implementation of the Mass of Paul VI, this psalm was sung at the Stripping of the Altar on Maundy Thursday to signify the stripping of Christ's garments before crucifixion. The psalm was preceded and followed by the antiphon "Diviserunt sibi vestimenta mea: et super vestem meam miserunt sortem" (They divided my clothes among them and cast lots for my garment). The chanting of this psalm was suppressed in the 1970 revisions to the Mass. It is still included in many parts of the Anglican Communion.

Since the Middle Ages, this psalm was traditionally performed during the celebration of the vigils dimanche, according to the Rule of St. Benedict set to 530, as St. Benedict of Nursia simply attributed Psalms 21 (20) 109 (108) offices vigils, "all sitting with ordre. "

In the Liturgy of the Hours now, Psalm 22 is sung or recited the Friday of the third week to the Office of the middle of the day.