The Psalter: His Purposeful Progression 

The Psalter was written to be meditated upon—at all times of the day, through all seasons of the year (Ps. 1:2-3).[1]  It has a reputation for meaning, importance, and relevance.  It is so clearly meaningful to God the Spirit that He repeatedly superintended His writers to cite it and reiterate the wisdom He gave hundreds of years earlier.   Its importance is so well known by Christian leadership that it is one of only two books of the Old Testament included in my Agano Jipya, Zaburi na Methali (The New Testament, Psalms and Proverbs) from the Bible Society of Kenya.  Finally, any portion of Scripture that contains verses so well recognized among believers and non-believers alike (e.g., Psalm 23) is bound to remain relevant regardless of social trends.

What is less obvious is how the psalms are not randomized—and therefore the collection has significance (in the statistics sense).  The null hypothesis then, is that the structure of the Psalter is random, with no rhyme or reason connecting each psalm.  Robertson makes a valiant attempt to disprove this in the Flow of the Psalms[2].  His book is ambitious and successful in affirming the inspiration of this book of the Bible by highlighting God’s majestic orchestration as the Divine Author.  The purpose of this short paper is to highlight Robertson’s efforts at revealing the significance of the Psalter, in order to validate its deeper meaning, importance, and relevance.  By reviewing the conclusions of Robertson’s methods, which he had used to analyze the psalms in a purposeful manner, the mystery of the Psalter is revealed: that it was written in a purposeful manner by the Divine Author to instruct and inspire greater worship through the singing of the covenantal theology that spans His redemptive history.

Narrative Arc

Robertson notes that Augustine, the celebrated Bishop of Hippo, admitted that writing hundreds of pages of commentary on the psalms, was still not enough for him to fathom the mystery behind their arrangement (23).  It is therefore no surprise that in the current era, with Bible literacy nowhere near where it can and should be, most laity are unable to recognize the divine design inherent in the Psalter while seminary-trained professionals shrink fearfully from the impossible task (61).  Robertson’s awe-struck marveling is therefore appropriate, even as he exhorts readers to not give up on making any sense of it.  This reviewer agrees that (only) with the illumination of the Holy Spirit, the impossible can be achieved (Matt. 19:26).

Accordingly, Robertson steps into the fray by tracing a narrative arc that bridges five successive stages: (1) confrontation, (2) communication, (3) devastation, (4) maturation, and (5) consummation.  Book 1 (Pss. 1-41) opens with opposition to David and, with him, fulfillment of the Davidic covenant through the “Royal Redeemer” (62).  Book 2 (Pss. 42-72) proclaims the Lord of hosts’ victories over the nations, inviting them to join in celebrating the son of David’s ultimate reign (84, 109).  Book 3 (Pss. 73-89) recognizes the humbling reality of worldly defeat, even if prompted by Yahweh (110).  Book 4 (Pss. 90-106) provides a more developed vision of God’s approaching kingdom.  Book 5 (Pss. 107-150) opens floodgates of praise for God.  This arc is compelling and elucidates a meaning that only a well-designed storyline can offer (59-61).

Covenantal Content

While the five books can be visualized as cohesive sections to a single bridge, each individual cobblestone has distinctive coloring that can be interpreted as reflective of the covenantal nature of redemptive history.  Robertson charts a trajectory where the movement of the psalms can be clearly seen from the vantage point of those living in the Old Testament apex, when God’s throne coincided with that of David under the “covenant of the kingdom” (40).  Passages are then lit up in vibrant technicolor throughout the psalms as they allude to God’s covenant at creation—calling to mind the original creational ordinances of labor, marriage, and the Sabbath—with “Everyman” (41), who has the glory and honor of being His vassal king ruling over His creation (Ps. 8:3-8), sustained by His providence (Ps. 104:10-15), given the gift of a spouse (Ps. 128:3) and equipped by their resulting procreation (Ps. 127:3-5) with weekly respite (Ps. 62:1, 5) to worship our Suzerain (Ps. 95:6) despite all odds (Ps. 4:8; cf. Ps. 3:5) until the promised eternal rest arrives (Ps. 95:11; cf. Heb 4:3-11).

Robertson then adroitly layers another covenantal theme—contrasting the righteous seeds against the wicked ones—to astutely recognize how the total depravity of humanity detailed is so pronounced that Psalms is the go-to section of Scripture that the apostle Paul favors (even over the prophetical books; 46).  With his discerning eye, Robertson reassures the reader that the psalmist may appear to fixate on death, but he deftly delineates between those who trust in themselves versus those who trust in the Lord, balancing the specter of death with the hope of deliverance by God’s plan of redemption (47).  Other covenants canvassed range from: the Noahic with its contrast of judgement for the wicked and comfort for the righteous (48); the Abrahamic with its emphasis on inheritance through generational election by God (50) first upon Israel, then all the nations, and then Israel again (51); the Mosaic with its portrayal of faithful relationship with God in light of historical and legal dimensions (e.g., priestly benediction, the role of sacrifices, cultic festivals, and the moral law; 51-56); and the Davidic as the culminating covenant celebrated in the Psalms with its dual promises of dynasty and dwellingplace (56-57) fulfilled by Jesus Christ, who is the son of God as well as the son of David (2 Sam. 7:14) found on Mount Zion (Ps. 9:11; 132:13-14) and in heaven (Ps. 11:4; 103:19; 123:1) at the same time.

Literary Elements

Beyond illuminating the overarching structure and thematic content running throughout the Psalter, Robertson highlights 12 different literary elements that reveal the Divine Author’s artful design within the five books.  These can be described as basic building blocks used to construct this divinely structured book of the Bible.  However, these elements can also be seen as beautiful stained-glass windows that offer rich hues to crystallize key concepts and engage the reader in His wonder.  Such elements span:

• The Five Books. According to Jewish tradition, the division of 150 psalms into five books parallels the Pentateuch. However, Robertson contends that this comparison is not content-based, but rather, a reflection of the instructional value of the books as Torah (29).  Perhaps even more importantly, the undisputed fact is that each of the five books concludes with verses of doxology, an extra dimension that is not insignificant.  It is a worthwhile benefit, when many readers have been raised to prefer cognitive orthodoxy and orthopraxy to the detriment of the doxological praise which creates new hearts.
• Groupings by Reference in Titles to Specific Individuals. Robertson points out the obvious: many psalms are attributed to a handful of the same writers.  Where he adds the most value is in calling attention to the ample intrinsic and extrinsic evidence that corroborates authorship.
  1. It is reasonably deduced that David penned 73 of the 150 psalms, in four distinct compilations. However, Robertson goes on to connect the psalms themselves with other portions of Scripture (see, e.g., 2 Sam. 1:17-27; 3:33-34; 22:1-51; 23:1-7) to conclude that there are 14 first-person psalm titles that can be traced to specific events in the narrative of David’s life (30).  He also locates New Testament verses that not only attribute authorship of specific psalms to David (viz., Pss. 2, 16, 32, 69, 95, 109, 110) but deems his authorship as key to the issues at hand.  Such direct argument is highly convincing.
  2. Other contributors include the Sons of Korah and Asaph, responsible for approximately one-third and two-thirds of Book 3, respectively (31-32). Perhaps most noteworthy is how Robertson pinpoints the occasions where a book of the Psalter is demarcated by a standalone psalm attributed to someone highly regarded yet not known as a psalmist (e.g., Moses, Solomon; 32).  The fact that they are not as prolific as the others makes such strategically located cameo appearances a brilliant juxtaposition within the Psalter.
• Poetic Pillars. The first two psalms serve an introductory purpose for the entire Psalter.  They act as a model for presenting: (1) the Torah so that readers can understand differences between two groups (viz., the righteous, the wicked) in order to make appropriate choices (which is then reiterated in Psalm 19 and Psalm 119); and (2) the Messiah and His central role fulfilling the Davidic covenant (Ps. 2:7; cf. 2 Sam. 7:4-17; which itself was the culmination of the Adamic, Noahic, Abrahamic, and Mosaic covenants), by merging the two kingdoms (viz., earthly, heavenly) with the aforementioned dynasty and dwellingplace (32).  Robertson is emphatic as he proclaims that “Serve the Lord” and “Do obeisance to the Son” (Ps. 2:6-8, 10-12) combine to be an “all-embracing decree regarding the reign of God and His Anointed One from their united thrones in Zion sets the stage for the full development of the Psalter” (33).
• Three Torah Psalms Paired with Three Messianic Psalms. Robertson necessarily corrects the basic myth that Torah is a legal framework.  The actual purpose of Torah psalms is to nurture “a wholesome approach to life that comes from a full apprehension of the will of God for the well-being of [those] made in God’s image” (33) and are key transition elements when paired with messianic psalms (Ps. 1-2; Ps. 18-19; Ps. 118-119).
• Acrostics. Eight psalms balance the first and last books (Ps. 9/10, 25, 34, 37; 111, 112, 119, 145) by artfully cycling through the Hebrew alphabet in varying sequences (34).
• Groupings Celebrating the Kingship of Yahweh and His Messiah. In several sections, Robertson reiterates that “the union of the rule of God and Messiah is a focal truth that runs through the Psalter” (34).  He identifies this theme in three distinctive collections: (a) Psalm 18 connects with Psalms 20-24 to proclaim the victories of the Lord’s anointed king; (b) Psalms 45-48 declare the sovereign reign of Israel’s God and His Messiah over the entire earth; and (c) Psalms 93, 96, 97, and 99 announces Yahweh Malak (translated as “the Lord is King”) (35).
• Psalm of Ascents. Robertson notes 15 psalms (Ps. 120-134) of the same title are sung by pilgrims traditionally ascending to Jerusalem or returning from national exile (35-36).
• Psalms of Historical Reflection. Robertson observes how some psalms recall God’s sovereign acts in relation to His people, particularly while showcasing a significant event in redemptive history.  Psalms 105-106 describe the joining of God’s throne with David’s throne when the ark of the covenant was brought to Jerusalem (1 Chron. 16:7-36).  Psalm 78 depicts the crowning of David as shepherd-king.  Psalms 135-137 recounts historical details while shifting from Psalms of Ascents to the final Davidic collection (36).
• Focal Messianic Psalms. Robertson describes how some psalms focus on presenting the messianic king as the One who fulfills the Davidic covenant (36).  The first instance of which is Psalm 2 acting as the introduction, and the last being Psalm 118 which has the highest number of New Testament references and identifies Jesus as the expected messianic king. In between, there is a wide variety of literary elements offering different aspects of messianic rule; e.g., a compilation comprising pairs of Messiah’s kingship and Yahweh’s kingship connected by a focal psalm (Pss. 20-24), presentation of the Messiah as God reigning over the nations (Ps. 45), referencing by multiple New Testament writers (Ps. 69), the climax of Book 2 detailing the Messiah’s universal rule (Ps. 72), a Messiah ben Joseph in the center of Book 3 as the one and only hope for the northern kingdom (Ps. 80), double anointing of one person as both king and priest (Ps. 110).
• Psalms Confessing Sins. Such psalms are distributed throughout the Psalter (Pss. 6, 25, 32, 51, 65, 78, 85, 103, 130), but Robertson capably identifies a number of connections. For example, Psalms 38-41 are a set, while a two-psalm pair closes Book 4 by asking God to gather and then opens Book 5 by stating how God gathered (Pss. 106-107).
• “Poetic Pyramid” Psalms. Robertson keys in how psalms are clearly not standalone when there are instances of 5-15 psalms arranged symmetrically around a pinnacle psalm.
  1. Hallelu-YAH Groupings of Psalms. The spontaneous praise Hallelu-YAH (translated as “All of you, Praise Yahweh,” where YAH is poetic shorthand for Yahweh), is found in three distinctive groupings of psalms in Book 5—and nowhere else in the Old Testament Psalms 104-106 all end with the praise, with the concluding psalm beginning with it as well.  The collection of Psalms 111-117 has three psalms in the beginning and three psalms at the end (Pss. 111-113 and 115-117) that all have the praise.  They are jointly referred to as the “Hallel of Egypt” because the central psalm in this group (Ps. 114, which does not have the praise) depicts Israel’s exodus from Egypt.  They conclude the first section of Book 5 as it transitions with a Messiah-and-Torah coupling (38).  Finally, the five concluding psalms of the entire Psalter begin and end with the celebratory praise.

Conclusion

Too many readers flip through the Psalter as if it were a pagan wheel of fortune, hoping to end up with a psalm that resonates.  Even among those who appreciate divine inspiration, few recognize the meaningful narrative that God purposefully structured, the critically important themes He intentionally weaved together, or the perennially relevant content that He artfully arranged with engaging literary elements.  Whether they are acrostic psalms to bookend inclusios, or Torah psalms coupled with messianic psalms, Robertson has identified more than enough arrangements within the Psalter to reject the null hypothesis of random inclusion.  We can safely surmise that the Psalter may not be like a palace constructed from a single design at once, but its careful selection and arrangement through the centuries is evidence of a single Divine Author who chose to build it like a cathedral organically perfected by a harmonious variety of styles (39)—evidence that the Psalter’s value is more than the sum of its parts.

[1] Unless otherwise noted, all Scripture citations are from the ESV.

[2] O. Palmer Robertson, The Flow of the Psalms: Discovering Their Structure and Theology (Phillipsburg, NJ: P & R Publishing, 2015).