Some Exegetical Fragments of Hippolytus

⁶ It is likely, also, that a similar account is to be given of the fact, that David alone of the prophets prophesied with an instrument, called by the Greeks the “psaltery,” and by the Hebrews the “nabla,” which is the only musical instrument that is quite straight, and has no curve. And the sound does not come from the lower parts, as is the case with the lute and certain other instruments, but from the upper. For in the lute and the lyre the brass when struck gives back the sound from beneath. But this psaltery has the source of its musical numbers above, in order that we, too, may practise seeking things above, and not suffer ourselves to be borne down by the pleasure of melody to the passions of the flesh. And I think that this truth, too, was signified deeply and clearly to us in a prophetic way in the construction of the instrument, viz., that those who have souls well ordered and trained, have the way ready to things above. And again, an instrument having the source of its melodious sound in its upper parts, may be taken as like the body of Christ and His saints— the only instrument that maintains rectitude; “for He did no sin, neither was guile found in his mouth.” This is indeed an instrument, harmonious, melodious, well-ordered, that took in no human discord, and did nothing out of measure, but maintained in all things, as it were, harmony towards the Father; for, as He says: “He that is of the earth is earthly, and speaks of the earth: He that comes from heaven, testifies of what He has seen and heard.”

7. As there are “psalms,” and “songs,” and “psalms of song,” and “songs of psalmody,” it remains that we discuss the difference between these. We think, then, that the “psalms” are those which are simply played to an instrument, without the accompaniment of the voice, and (which are composed) for the musical melody of the instrument; and that those are called “songs” which are rendered by the voice in concert with the music; and that they are called “psalms of song” when the voice takes the lead, while the appropriate sound is also made to accompany it, rendered harmoniously by the instruments; and “songs of psalmody,” when the instrument takes the lead, while the voice has the second place, and accompanies the music of the strings. And thus much as to the letter of what is signified by these terms. But as to the mystical interpretation, it would be a “psalm” when, by smiting the instrument, viz. the body, with good deeds we succeed in good action though not wholly proficient in speculation; and a “song,” when, by revolving the mysteries of the truth, apart from the practical, and assenting fully to them, we have the noblest thoughts of God and His oracles, while knowledge enlightens us, and wisdom shines brightly in our souls; and a “song of psalmody,” when, while good action takes the lead, according to the word, “If you desire wisdom, keep the commandments, and the Lord shall give her unto you,” we understand wisdom at the same time, and are deemed worthy by God to know the truth of things, till now kept hidden from us; and a “psalm of song,” when, by revolving with the light of wisdom some of the more abstruse questions pertaining to morals, we first become prudent in action, and then also able to tell what, and when, and how action is to be taken. And perhaps this is the reason why the first inscriptions nowhere contain the word “songs,” but only “psalm” or “psalms;”for the saint does not begin with speculation; but when he has become in a simpleway a believer, according to orthodoxy, he devotes himself to the actions that are to be done. For this reason, also, are there many “songs” at the end; and wherever there is the word “degrees,” there we do not find the word “psalm,” whether by itself alone or with any addition, but only “songs.” For in the “degrees” (or “ascents”), the saints will be engaged in nothing but in speculation alone. And let the account which we have offered, following the indications given in the interpretation of the Seventy, suffice for this subject in general.

8. But again, as we found in the Seventy, and in Theodotion, and in Symmachus, in some psalms, and these not a few, the word δια'ψαλμα inserted, we endeavoured to make out whether those who placed it there meant to mark a change at those places in rhythm or melody, or any alteration in the mode of instruction, or in thought, or in force of language. It is found, however, neither in Aquila nor in the Hebrew; but there, instead of δια'ψαλμα (= an intervening musical symphony), we find the word ἀει' (= ever). And further, let not this fact escape you, O man of learning, that the Hebrews also divided the Psalter into five books, so that it might be another Pentateuch. For from Ps. i. to xl they reckoned one book; and from xli. to lxxi. they reckoned a second; and from lxxii. to lxxxviii. they counted a third book; and from lxxxix. to cv. a fourth; and from cvi. to cl. they made up the fifth. For they judged that each psalm closing with the words, “Blessed be the Lord, Amen, amen,” formed the conclusion of a book. And in them we have “prayer,” viz., supplication offered to God for anything requisite; and the “vow,” i.e., engagement; and the “hymn,” which is the song of blessing to God for benefits enjoyed; and “praise” or “extolling,” which is the laudation of the wonders of God. For laudation is nothing else but just the superlative of praise.

9. However it may be with the “time when and the manner” in which this idea of the Psalms has hit upon by the inspired David, he at least seems to have been the first, and indeed the only one, concerned in it, and that, too, at the earliest period, when he taught his fingers to tune the psaltery. For if any other before him showed the use of the psaltery and lute, it was at any rate in a very different way that such an one did it, only putting together some rude and clumsy contrivance, or simply employing the instrument, without singing either to melody or to words, but only amusing himself with a rude sort of pleasure. But after such he was the first to reduce the affair to rhythm, and order, and art, and also to wed the singing of the song with the melody. And, what is of greater importance, this most inspired of men sang to God, or of God, beginning in this wise even at the period when he was among the shepherds and youths in a simpler and humbler style, and afterwards when he became a man and a king, attempting something loftier and of more public interest. And he is said to have made this advance, especially after he had brought back the ark into the city. At that time he often danced before the ark, and often sang songs of thanksgiving and songs to celebrate its recovery. And then by and by, allocating the whole tribe of the Levites to the duty, be appointed four leaders of the choirs, viz. Asaph, Aman (Heman), Ethan, and Idithum (Jeduthun), inasmuch as there are also in all things visible four primal principles. And he then formed choirs of men, selected from the rest. And he fixed their number at seventy-two, having respect, I think, to the number of the tongues that were confused, or rather divided, at the time of the building of the tower. And what was typified by this, but that hereafter all tongues shall again unite in one common confession, when the Word takes possession of the whole world?