First, in contrast to the spontaneous prose prayers found in biblical narratives, the Psalms are tightly woven poetic compositions. Even prayer psalms reflecting life or death distresses (such as Psalms 13 and 22) exhibit intricate literary echoes and structures. While their references to singing imply oral performance, their intricate wording implies that psalms were literary compositions, not spontaneous ad hoc cries of help or praise.

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Second, the identities of “I,” “we,” and “they” (usually the enemies) are open-ended. Unlike the narratives of biblical history and even the poetic oracles of the prophets, the speaker’s opponents in the Psalms are rarely identified. Moreover, the circumstances reflected in the Psalms are portrayed with a variety of impressionistic images. The images applied to the opponents in Psalm 35, for example, reflect metaphors from a variety of social spheres: the battlefield, agriculture, hunting, robbery, legal accusation, carnivorous beasts, and social mockery. The generic nature of psalms becomes apparent when we compare them to David’s poetic lament in 2 Samuel 1, which names its subjects (Saul and Jonathan), their enemies (the Philistines), the location (Mount Gilboa), and the circumstances of battle. It is significant that this poetic lament has been transmitted to us, not in the book of Psalms, but in “The Book of Jashar.” The open-ended language of the Psalms implies they were written for typical, recurring occasions in the life of God’s people.

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Third, while each of the 150 Psalms is unique in its own right, most of them follow regular literary patterns, as seen in the psalmic genres described below. This is not to suggest that the biblical psalmists had to follow anything like the style guide of the Jerusalem temple publishing house, but clearly traditional conventions of poetic expression prevailed over individual invention, as in “free verse.”

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Fourth, many psalms contain liturgical and ritual allusions. Most hymns begin with plural imperatives that serve as a “call to worship” to a congregation (such as, “Hallelu-Yah!,” which means, “Ya’ll praise Yahweh!”). Changes of address (from addressing God directly, “you,” to referring to Him in the third person, “He”) and speaker (evident, e.g., from a question-answer format) suggest a congregational setting. Many psalms refer to the temple on Mt. Zion and to ritual processions (e.g., Psalms 24 and 68) and sacrifices that accompanied the performance of the psalm. References to lyres and other musical instruments imply musical performance.

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These observations imply that the psalms were not spontaneous, free verse, written for singular occasions, but were carefully crafted liturgies written for recurring, typical human needs and for services of worship. In other words, the psalms formed a kind of ancient prayer and hymn book.

An analogy with Christian hymn books and especially denominational prayer books may be helpful. As The Book of Common Prayer contains regular liturgies in which all worshipers participate during the liturgical year, such as Morning Prayer, the Lord’s Supper, and Easter Sunday, so the Book of Psalms contains liturgies, such as hymns and the Songs of Zion, that were performed at annual pilgrimage festivals, such as Passover, Feast of Weeks, and Tabernacles. As the back of the prayer book contains special prayers and thanksgivings for particular groups and needs (such as governments, schools, the unemployed, and the sick), so the Book of Psalms contains Royal Psalms reserved for the king’s coronation and prayer psalms for individual needs as they arise. These individual prayers may have been invoked in local, private ceremonies and even at the bedside of the sick.

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