salms|Psa 106:1]], Psa 106:47-48. Hitzig regards the festival song in the chronicler as the original, and the respective parallels in the Psalms as “layers or shoots.” “The chronicler,” says he, “there produces with labour, and therefore himself seeking foreign aid, a song for a past that is dead.” But the transition from Psa 105:22 to Psa 105:23 and from Psa 105:33 to Psa 105:34, so devoid of connection, the taking over of the verse out of Ps 106 referring to the Babylonian exile into Psa 105:35, and even of the doxology of the Fourth Book, regarded as an integral part of the Psalm, into Psa 105:36, refute that perversion of the right relation which has been attempted in the interest of the Maccabaean Psalms. That festival song in the chronicler, as has been shown again very recently by Riehm and Köhler, is a compilation of parts of songs already at hand, arranged for a definite purpose. Starting on the assumption that the Psalms as a whole are Davidic (just as all the Proverbs are Salomonic), because David called the poetry of the Psalms used in religious worship into existence, the attempt is made in that festival song to represent the opening of the worship on Zion, at that time in strains belonging to the Davidic Psalms.
So far as the subject-matter is concerned, Psalms 105 attaches itself to the Asaph Ps 78, which recapitulates the history of Israel. The recapitulation here, however, is made not with any didactic purpose, but with the purpose of forming a hymn, and does not come down beyond the time of Moses and Joshua. Its source is likewise the Tôra as it now lies before us. The poet epitomizes what the Tôra narrates, and clothes it in a poetic garb.
Verses 1-6
Invitation to the praise - praise that resounds far and wide among the peoples - of the God who has become manifest wondrously in the deeds and words connected with the history of the founding of Israel. הודה לה, as in Psa 33:2; Psa 75:2, of a praising and thankful confession offered to God; קרא בשׁם ה, to call with the name of Jahve, i.e., to call upon it, of an audible, solemn attestation of God in prayer and in discourse (Symmachus, κηρύσσετε). The joy of heart[1]
