The composition of this work can be allotted to the period of the 540s and 550s. Cassiodorus deploys the psalms not only for the purposes of instruction in theology and hermeneutics, but also to inculcate a general education in eloquence. +

The Psalms have long served a vital role in the individual and corporate lives of Christians. The church fathers employed the Psalms widely—as hymns, Scripture readings, counsel on morals, forms for prayer, and apologetic and doctrinal wisdom. In this ACCS volume readers will find rich comment and theological reflection from more than sixty-five ancient authors.

Commentary from Christopher Ash Sets Out a Deeply Christian Study of Psalms 1–50 While reading Psalms, it is common for commentaries to focus on Old Testament meaning, without connecting it deeply to Christ's fulfillment in the New Testament. By studying Scripture this way, believers miss out on the fullness of God's word. The key to experiencing authentically Christian worship is learning a Christ-focused approach to praying and singing the Psalms. In this thorough commentary, Christopher Ash provides a careful treatment of Psalms 1–50, examining each psalm's significance to David and the other psalmists, to Jesus during his earthly ministry, and to the church of Christ in every age. Ash includes introductory quotations, a deep analysis of the text's structure and vocabulary, and a closing reflection and response, along with selected quotations from older readings of the Psalms. Perfect for pastors, Bible teachers, and students, this commentary helps readers sing and pray the Psalms with Christ in view. Exhaustive: Christopher Ash's exegesis explores how the Psalms are quoted and echoed throughout the New Testament Applicable and Heartfelt: Explains how a Christ-centered approach to reading the Psalms influences doctrines of prayer, prophecy, the Trinity, ecclesiology, and more Ideal for Pastors and Serious Students of Scripture: Written for Bible teachers, Sunday school and youth leaders, and small-group leaders

This is the first of a two-volume bible commentary covering the Psalms and examining the role of these biblical poems throughout Jewish and Christian history. Provides a fascinating introduction to the literary, historical, and theological background of psalmody Examines the psalms through liturgy and prayer, study and preaching, translation and imitation, and musical composition and artistic illustration Includes illustrations of significant psalms, helpful maps, and an extensive bibliography; an expanded bibliography to accompany the book is also available at www.wiley.com/go/gillingham A forthcoming second volume is planned, which will take an alternative psalm-by-psalm approach Now available in paperback, and published in the innovative reception-history series, Blackwell Bible Commentaries

There is broad support today for the idea that biblical scholarship ought to be informed by the faith of the Church and serve the life of the Church. In a word, it should be ecclesial. There is far less agreement, however, when one asks how this goal is to be achieved and what ecclesial exegesis ought to look like. In 1988, Joseph Ratzinger put forth his "Method C" proposal, calling for the development of a new exegetical and hermeneutical synthesis. This would be neither a retreat to the patristic-medieval approach (Method A) nor the continued hegemony of the historical-critical approach (Method B). The latter must be purified of its positivism through a transformational encounter with the former, so that the gifts of both might be released for the life of the Church. Such a synthesis, Ratzinger claimed, would require the philosophical, theological, exegetical, and hermeneutical work of "at least a whole generation" of scholars. Gregory Vall has devoted over thirty years to the development of ecclesial exegesis, and the present volume represents the mature fruit of his labor. Over against those who treat Dei Verbum as Vatican II's endorsement of the historical-critical method, he demonstrates that the dogmatic constitution actually points to something very much like Ratzinger's Method C. Employing a dialogic movement between the inductive-exegetical and the deductive-dogmatic, Vall offers nine studies that bring to the surface issues such as the relationship between Old Testament and New Testament, literal sense and spiritual sense, and Scripture and Tradition. While Vall brings theological knowledge and hermeneutical skill to the quest for Method C, he also provides a great deal of valuable exegesis of both testaments. Ecclesial Exegesis is not simply another book of theory. It demonstrates how Method C can be done.

The Roman Catholic Good Friday liturgy includes a series of chants known today as the Improperia ("Reproaches") beginning with the following text: Popule meus, quid feci tibi? aut in quo contristavi te? responde mihi. Quia eduxi te de terra Egypti, parasti crucem Salvatori tuo ("My people, what have I done to you, or in what have I grieved you? Answer me. Because I led you out of the land of Egypt, you prepared a cross for your Savior"). The earliest witness to the chants is a Carolingian liturgical book from around 880, but it is agreed among scholars that their history extends back farther than this. Employing comparative analysis of Biblical exegesis, chant texts, and chant melodies, this study suggests that the initial chant verse, Micah 6:3-4a plus a Christianizing addendum ("My people... you prepared..."), originated in northwestern Italy between the end of the 4th century and the end of the 7th century and carried associations of the Last Judgment, the Passion, and Christian works, penitence, and forgiveness. Although previous scholarship has sometimes pointed to the Reproaches as a key text of Christian anti-Jewish history, it is clear that the initial three verses, the Popule meus verses, originally held allegorical rather than literal meanings. The fact that there are several preserved Popule meus chants across various liturgical repertoires and, moreover, several sets of Popule meus verses in a smaller subset of these repertoires--in northern Italy, southern France, and the Spanish March--bespeaks the pre-Carolingian origins of the Popule meus verses and raises the question of why the verses appear in the Carolingian liturgy when they do. This study proposes that the Popule meus verses were incorporated into the Carolingian liturgy at the Abbey of Saint-Denis under the abbacy of Charles the Bald (867-77). In the Adoration of the Cross ceremony adopted from Rome, paired with the Greek Trisagion, and carrying Gallican melody and meaning, the Carolingian Popule meus verses would have been an ecumenical declaration, as they spread, of the expediency of the crucified Christ and a penitent people, even in the face of impending political disintegration.

In a major departure from previous scholarship, this volume argues that the illustrations in the famous and widely influential Utrecht Psalter manuscript were inspired by a late antique Hebrew version of Psalms, rather than a Latin, Christian version of the text. Produced during the early ninth century in a workshop near Reims, France, the Utrecht Psalter is illustrated with pen-and-ink drawings in a lively style reminiscent of Hellenistic art. The motifs are largely literal renditions of words and phrases found in the book of Psalms. However, more than three dozen motifs cannot be explained by either the Latin text that accompanies the imagery or the commentaries of the church fathers. Through a close reading of the Hebrew Psalms, Pamela Berger demonstrates that these motifs can be explained only by the Hebrew text, the Jewish commentary, or Jewish art. Drawing comparisons between the “Hellenistic” style of the Psalter images and the style of late antique Galilean mosaics and using evidence from recent archaeological discoveries, Berger argues that the model for those Psalter illustrations dependent on the Hebrew text was produced in the Galilee. Pioneering and highly persuasive, this book resolves outstanding issues surrounding the origins of one of the most extensively studied illuminated manuscripts. It will be mandatory reading for many historians of medieval art and literature and for those interested in the Hebrew text of the book of Psalms.