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Sermon 85: On Working out our Own Salvation - Philippians 2:12-13; Sermon 86: A Call to Backsliders - Psalm 77:7-8; Sermon 87: The Danger of Riches - 1 Timothy 6:9; Sermon 88: On Dress - 1 Peter 3:3-4; Sermon 89: The More Excellent Way - 1 Corinthians 12:31; Sermon 90: An Israelite Indeed - John 1:47 ("Behold an Israelite indeed, in whom is no ...
One unique feature of this psalm is the frequent allusion to other psalms (even almost direct quotation) such as: Verses 1–3 almost matches Psalm 31:1–3; Verses 5–6 alludes to Psalm 22:9–10; Verse 11 (NRSV reverses the clauses) to Psalm 22:1; Verses 12–13 to Psalm 35:22; 38:21; 40:13–14; Verse 24 to Psalm 35:4, 26; 40:14. [5]
J. Carl Laney. "A Fresh Look at the Imprecatory Psalms". Bibliotheca Sacra 138 (1981) 35–45. Daniel M. Nehrbass. Praying Curses; The Therapeutic and Preaching Value of the Imprecatory Psalms. Wipf and Stock, 2013. John Piper, "Do I Not Hate Those Who Hate You, O Lord?" Desiring God, 2000. Available online. Samuel J. Schultz.
Other such duplicated portions of psalms are Psalm 108:2–6 = Psalm 57:8–12; Psalm 108:7–14 = Psalm 60:7–14; Psalm 71:1–3 = Psalm 31:2–4. This loss of the original form of some of the psalms is considered by the Catholic Church's Pontifical Biblical Commission (1 May 1910) to have been due to liturgical practices, neglect by copyists ...
First edition title page of the 1539 Strasburg Psalter. The Genevan Psalter, also known as the Huguenot Psalter, [1] is a 1539 metrical psalter in French created under the supervision of John Calvin for liturgical use by the Reformed churches of the city of Geneva in the sixteenth century.
The psalms are filled with thanksgiving and praise towards God. Many of these psalms forecast destruction or devastation in the future for their tribes but are balanced with God’s mercy and saving power for the people. [6] Some of the Psalms of Asaph are not labeled as only from Asaph but as "for the leader."
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Singing a Psalm in unison was a standard practice before and after the sermon in all Reformed churches in the sixteenth and seventeenth centuries, with Zurich ending their prohibition on church music in 1598. A leader sang each line with the congregation repeating. Organs were forbidden, though trumpets were gradually introduced. [25]