What is a Psalm Paraphrase?
This Sunday’s worship at Christ Reformed DC is something of a case study on psalm paraphrases.
[Full disclosure, I’m not musically trained, and I’m not an historian of music. I’m just a pastor who loves congregational singing, and celebrates the psalm singing element of our Reformed tradition. These are my reflections as a worship leader and song selector in a Reformed church.]
Our sermon text this week is Psalm 79, and we’ll be singing two different settings of this psalm from the Trinity Psalter Hymnal (TPH). For our Psalm of Confession we’ll be singing “Remember Not, O God” (79B), which is a parphrase, and for our Psalm of Response we’ll be singing “God, the Nations Have Invaded” (79A), which is a literal rendering of the psalm in meter.
We’ll also be singing “Glorious Things of Thee Are Spoken,” which is found in the hymn section of our psalter hymnal, but which is in fact a paraphrase of Psalm 87, as the scripture index in the back of the book makes clear.
What is a Psalm Paraphrase?
So, what’s a psalm paraphrase? And why does it mattter?
To paraphrase, obviously, is to restate a text in a different form. Psalm paraphrases are loose translations of psalms that restate them in different terms. They can be close paraphrases, or extremely broad. Often, paraphrases are also partial, which means, they only paraphrase a certain part of a psalm.
Why do they exist?
Well, when you set a biblical psalm to music, you have a few choices.
You can chant it, which requires little or no alteration of a standard translation of the Hebrew text. Chants don’t have to rhyme, and they don’t have to conform to a particular rhythm or meter. These are, arguably, points in favor of chanting psalms.
Much psalm singing since the Protestant Reformation, however, has been metrical. “Meter” is a number that refers to the number of syllables in each line of a hymn. Psalm 79A is set to the meter 8.7.8.7.D, which means that each line of a stanza consists of 8, then 7, then 8, then 7, then D, which is short for “Doubled,” so do it again, i.e., 8.7.8.7.8.7.8.7.
Needless to say, English translations of the psalms don’t consist of a regularly alternating number of syllables in each line. Sometimes the Hebrew text itself has a particular meter, but, depending on who you talk to, this is rather inconsistent through the Psalter, and it doesn’t ranslate into English.
So when we marry a psalm to a hymn tune for the purposes of singing, we have to standardize or regularize the meter. I’ve attempted this once in my life, with mediocre results. I set Psalm 43 to the same meter as the tune Genevan 42, so they could be sung together. It’s not too difficult, but you have to substitute words and syllables to synchronize them with the lines of the tune.
All of which is a rather long way of saying, any psalm sung to a standard hymn tune has been altered somewhat. All English metrical psalms are, to some degree, paraphrases. However, since this process became widespread in the Protestant Reformation — notably, Calvin was an innovator in Geneva — different strategies have been pursued. Some have sought to set psalms to meter with the fewest possible departures from a literal translation, while others have been quite loose and free in this process.
A Case Study on Psalm Paraphrases: Psalm 79
Which brings us to this Sunday at Christ Reformed DC.
My personal bias is toward singing more literal settings of the psalms. A big argument in favor of singing psalms is that you are actually singing the inspired text of Scripture, and thereby familiarizing yourself with it. It is a very practical way of letting “the word of Christ dwell in you richly… singing psalms and hymns and spiritual songs” (Colossians 3:16). The closer the text of the metrical psalm coheres with the biblical text, the more this benefit is enjoyed.
This brings me to one of the great advantages of the TPH. The TPH includes a literal setting of every single one of the 150 psalms in the psalter, and this isn’t necessarily true of all psalm collections available today. If there is a single setting of a psalm, such as Psalm 96, it is always a literal setting. If there are multiple settings of a psalm, such as Psalm 22, then the first setting is always a literal setting. So Psalm 22A, “My God, My God, O Why Have You Forsaken Me,” is a complete, literal setting of the psalm. Psalms 22B, 22C, and 22D are each “partial” settings, which may be more or less literal as well.
In the case of Psalm 79 this week, 79A is a new setting drafted by the OPC/URCNA committee in 2016, which is indicated clearly by the copyright in the lower left corner of the page. The production of the TPH triggered the resetting of a number of psalms, and a great deal of effort was invested in the production of texts that were both faithful to the Hebrew original and wedded to appropriate musical accompaniment. It is quite fitting, indeed, to sing Psalm 79A to the same tune as the hymn “Stricken, Smitten, and Afflicted” (O MEIN JESU, ICH MUSS STERBEN).
Normally, if we sing the literal setting of a psalm, we won’t also sing a paraphrase of the same psalm in the same service. That’s a bit much even for a psalm junkie such as myself, when there’s so much other great music to sing. But in the case of Psalm 79B, “Remember Not, O God,” this paraphrase zeroes in on the second half of the psalm, 79:8 and following: “
Do not remember against us our former iniquities;
let your compassion come speedily to meet us,
for we are brought very low.
Help us, O God of our salvation,
for the glory of your name;
deliver us, and atone for our sins,
for your name's sake!
These words are well suited to be sung during our confession of sin, which is a regular feature of our liturgy. Furthermore, this paraphrase is appropriately set to a beautiful and moving tune by Beethoven. According to hymnary.org, The Psalter of 1912 set these words to GORTON, a tune derived from the second movement of Beethoven's Piano Sonata No. 23, Opus 57, written in 1807.
According to my (mostly complete) records, in fifteen years of singing a psalm of confession in our service, we have only sung this setting of Psalm 79 once. This is a shame, and reflects the fact that I am a relative neophyte to psalm singing. Hopefully, it will now enter our regular rotation. This is one of the benefits of preaching through the psalter! Listen to these beautiful words that lead us in confession:
Remember not, O God,
the sins of long ago;
in tender mercy visit us,
distressed and humbled low.O Lord, our Savior, help,
and glorify your name;
deliver us from all our sins
and take away our shame.In your compassion hear
your pris'ner's plaintive sigh,
and in the greatness of your pow'r
save those about to die.Then, safe within your fold,
we will exalt your name;
our thankful hearts with songs of joy
your goodness will proclaim.
While I have a large personal bias toward singing literal settings of the psalms, this is an excellent application of the paraphrase approach, and it illustrates why the editors of the TPH wisely included both. Furthermore, many of these paraphrases are traditional and beloved in our churches. By including both literal and paraphrased psalms, the TPH helps unite multiple generations of our church around a common songbook.
Hymns and Psalm Paraphrases
This brief blog post has already expanded beyond its original scope, but I would be remiss if I failed to mention another song we are singing this Sunday, “Glorious Things of Thee Are Spoken,” TPH #403, a hymn credited to John Newton. This “hymn” is largely a paraphrase of Psalm 87, and illustrates how fluid these categories are, especially in the 18th century hymn writing of the likes of the Wesleys and Newton.
Normally, I would rather sing a literal setting of Psalm 87, rather than a paraphrastic hymn, in keeping with our church order that gives psalms “priority of place” to psalms in our congregational singing. I look to the psalms first, and to hymns later, in selecting appropriate songs to sing in our corporate worship. However, in this case, neither of the tunes of Psalm 87A nor 87B are familiar to our congregation. Nor are they particularly pleasing to my ear — de gustibus nils disputandem! This is a personal disappointment to me, as I love Psalm 87! However, Newton’s hymn is a wonderful alternative, and a classic hymn that we delight to sing.
Psalm 79 is in large part a lament for the destruction of Jerusalem. The temple is in ruins, the bodies of God’s servants are given to the birds for food, their blood runs in the streets, and there is no one left even to bury them. This is a tragic picture of a dark battle day in the spiritual warfare that God’s pilgrim people are called to engage in. The promise that the gates of hell will not prevail against the church of Jesus Christ is, after all, also a promise that they will continually try to do so.
As Jeremiah lamented for Jerusalem, fallen, often we are called to lament for the church, wounded. And at the heart of this is a lament for our sins, which so often lead the church astray. So we confess, with Psalm 79B. We lament, with Psalm 79A. And, as members of the church of Jesus Christ, we celebrate, with Psalm 84B “O Lord of Hosts How Lovely,” and “Glorious Things of Thee Are Spoken” (Psalm 87), and “The Church’s One Foundation.”
Paraphrase, Psalm, Hymn. What a privilege for the saints to sing within the gates of God’s temple, wherein one day excels a thousand hence.