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Psalm 16 is the 16th psalm in the Book of Psalms, beginning in English in the King James Version: "Preserve me, O God: for in thee do I put my trust." In the slightly different numbering system used in the Greek Septuagint and Latin Vulgate translations of the Bible, this psalm is Psalm 15 .
The oldest surviving manuscript of the psalm comes from the Dead Sea Scrolls, first discovered in 1947. Significantly, the 5/6 H. ev–Sev4Ps Fragment 11 of Psalm 22 contains the crucial word in the form of what some have suggested may be a third person plural verb, written כארו ("dug").
Miktam or Michtam (Hebrew: מִכְתָּם) is a word of unknown meaning found in the headings of Psalms 16 and 56–60 in the Hebrew Bible. [1] These six Psalms, and many others, are associated with King David, but this tradition is more likely to be sentimental than historical. [2]
A split-leaf psalter (sometimes known as a "Dutch door" psalter) is a book of Psalms in metrical form, in which each page is cut in half at the middle, so that the top half of the pages can be turned separately from the bottom half. The top half usually contains the tunes, and the bottom half contains the words.
Eadwine, folio 108v. The psalm begins (NIV): "Hear me, my God, as I voice my complaint; protect my life from the threat of the enemy. 2 Hide me from the conspiracy of the wicked, from the plots of evildoers. 3 They sharpen their tongues like swords and aim cruel words like deadly arrows."
Psalms are often referred to as sacred songs or hymns, the word Psalm originating from the Greek psallein meaning "to pluck". However, despite Sidney's musical use of rhyme and rhythm, it has been argued that Sidney's Psalms inject a stronger poetic theme rather than a musical one: "Sidney and especially Pembroke put into thorough practice ...
(Canticle / and psalm / according to the pure word of God / from the holy scripture / made by several learned [people] / to be sung in church / as already practised in part in Wittenberg.) The hymnal is rather "eine lose buchhändlerische Zusammenfassung", [3] a loose collection of songs which existed as broadsheets, than a hymnal with a concept.
The work has been described by Laura Saetveit Miles, a University of Bergen Professor of medieval literature, as "one of the most admired fifteenth-century Middle English lyrics [which] offers, within a deceptively simple form, an extremely delicate and haunting presentation of Mary (the 'mayden / þat is makeles') and her conception of Christ ('here sone')". [1]