* Psalm 22 -- " they have pierced my hands and feet " instead of " like a lion, ( they are at ) my hands and feet "

There are several biblical references to " casting lots ", as in Psalm 22, indicating that dicing was commonplace in the region during King David's reign.

In the Talmud ( Tractate Yoma 29a ), Esther is compared to the " morning star ", and is considered the subject of Psalm 22, because its introduction is a " song for the morning star ".

The designation " memoirs of the apostles " occurs twice in Justin's First Apology ( 66. 3, 67. 3 – 4 ) and thirteen times in the Dialogue, mostly in his interpretation of Psalm 22, whereas the term " gospel " is used only three times, once in 1 Apol.

The quotations refer to the fulfillment of a prophecy of Psalm 2: 7 found in the Western text-type of Luke 3: 22.

* Psalm 22 describes the actions of the crucifixion in John 19

For biblical references to Sheol see Genesis 42: 38, Isaiah 14: 11, Psalm 141: 7, Daniel 12: 2, Proverbs 7: 27 and Job 10: 21, 22, and 17: 16, among others.

According to Brichtothe, other Biblical names for Sheol were: Abaddon ( ruin ), found in Psalm 88: 11, Job 28: 22 and Proverbs 15: 11 ; Bor ( the pit ), found in Isaiah 14: 15, 24: 22, Ezekiel 26: 20 ; and Shakhat ( corruption ), found in Isaiah 38: 17, Ezekiel 28: 8.

# REDIRECT Psalm 22 # Aijeleth Shahar

"-a reference to Psalm 118: 22.

King David, in Psalm 22, foretold the sufferings of the messiah.

In pre-1970 editions, the Roman Missal envisages this being done ceremonially, to the accompaniment of Psalm 21 / 22, a practice which continues in many Anglican churches.

The details of Saint Sebastian's martyrdom were first spoken of by 4th century bishop Ambrose of Milan ( Saint Ambrose ), in his sermon ( number 22 ) on Psalm 118.

Back references to the event occur in Numbers 25: 18 and 31: 16, Deuteronomy 4: 3, Joshua 22: 17, Hosea 9: 10 ; Psalm 106: 28.

In the King James Version of the Bible, " psaltery ," and its plural, " psalteries ," is used to translate the Hebrew keliy ( כלי ) in Psalm 71: 22 and I Chronicles 16: 5 ; nevel ( נבל ) in I Samuel 10: 5 ; 2 Samuel 6: 5 ; I Kings 10: 12 ; I Chronicles 13: 8 ; 15: 16, 20, 28 ; 25: 1, 6 ; II Chronicles 5: 12 ; 9: 11 ; 20: 28 ; 29: 25 ; Nehemiah 12: 27 ; Psalms 33: 2 ; 57: 6 ; 81: 2 ; 92: 3 ; 108: 2 ; 144: 9 ; and 150: 3 ; and pesanterin ( פסנתרין ) in Daniel 3: 5, 7, 10, and 15.

Yet, its transcendence lies in its relationship to truth and justice ( Psalm 85. 10, Isaiah 48. 18, 22, 57. 19-21 ).

The cosmic tehom is, or was, hostile to God: it confronted him at the beginning of the world ( Psalm 104: 6ff ) but fled from the dry land at his rebuke ; he has now set a boundary or bar for it which it can no longer pass ( Jerome 5: 22 and Job 38: 8-10 ).

* Psalm 22 ( 22nd in the Book of Psalm in the King James Bible ), described by the New American Standard Bible as the " A Cry of Anguish and a Song of Praise ", is the Psalm to which the crucified and dying Jesus makes reference, citing its first verse in Aramaic ( Matthew 27: 46 ; Mark 15: 34 )

I repaired under these thoughts to my Bible ( my great comfort in that time ) and that scripture came to my hand, ' Cast thy burden on the Lord, and He shall sustain thee ' ( Psalm 55. 22 ).

This is regarded by more conservative scholars as a quotation in Aramaic of the opening of Psalm 22, which in English is " My God, my God, why have you forsaken me?

As suggested by the Gospel's use of Psalm 22, a classic todah psalm, Christ's Passion, death, and resurrection exemplify the characteristic todah movement from lament to praise.

The word golem occurs once in the Bible in Psalm 139: 16, which uses the word, meaning " my unshaped form ".

: 1 Timothy 1: 17 ; Deuteronomy 6: 4 ; 1 Kings 8: 27 ; 1 John 1: 5 ; Genesis 1: 1 – 2 ; Acts 17: 24 – 25, 28 ; Psalm 90: 1 – 2 ; Matthew 28: 19 ; John 3: 16 ; Isaiah 57: 15 ; 2 Peter 3: 9.

: 2 Peter 1: 20 – 21 ; Romans 3: 2 ; 2 Peter 3: 1 – 2, 15 – 16 ; 2 Timothy 3: 14 – 17 ; Matthew 5: 17 – 19 ; Psalm 119: 105 ; John 20: 30 – 31 ; Hebrews 1: 1 – 2.

* R 6. 16 – Psalm: Laudate pueri in C major

The first two lines of the Latin text are based on verses 15 and 16 of Psalm 145.

" While Goldingay suggests that Qohelet points out that there is no evidence that " human beings would enjoy a positive afterlife ," Philip Johnston argues that a few Psalms, such as Psalm 16, Psalm 49 and Psalm 73, " affirm a continued communion with God after death ," but " give no elaboration of how, when or where this communion will take place.

Another meditation for the three angels ( compare No. 18 ), in E flat major, on God's omnipotence and mercy, quoting Psalm 145: 15 – 16.

" Evidence of this is shown in both New and Old Testament in Micah 3: 3, Psalm 27: 1-2, Isaiah 9: 18-21, Isaiah 49: 26 and Revelation 17: 6, 16.

* Bible: Jonah 3: 8, Nehemiah 9: 1, Ester 4: 1-4, Job 16: 15, Psalm 30: 11, Matthew 11: 21, Revelations 11: 3

In Christianity, the Bible teaches that God " dwells in unapproachable light, whom no one has even seen or can see " ( 1 Timothy 6: 16 ), but when God reveals Himself to us in heaven we will then see Him face to face ( 1 Corinthians 13: 12 ; Matthew 5: 8 ; Psalm 17: 15 ).

In particular, they regard the thousand year period as a figurative expression of Christ's reign being perfectly completed, as the " thousand hills " referred to in Psalm 50: 10, the hills on which God owns the cattle, are all hills, and the " thousand generations " in 1 Chronicles 16: 15, the generations for which God will be faithful, refer to all generations.

The album Salvation ( 2003 ) by the group Funeral Mist included the song " In Manus Tuas " which used verses 3 – 16 in Latin from Psalm 51.

Several passages from the Old Testament have been proposed as likely candidates for this source such as Psalm 16, Hosea 6: 2, and Jonah 1: 17.

With its 176 verses, Psalm 119 has more verses than 13 Old Testament Books and 16 New Testament Books.

( 2 Samuel 7: 12 – 16, 2 Chronicles 13: 5, Psalm 89: 20 – 37 ) 1 Kings 9: 4 – 7 as well as 1 Chronicles 28: 5 and 2 Chronicle 7: 17 state that Solomon's establishment is conditional on Solomon obeying God's commandments.

" Shaped by the " history of religions " approach to the Old Testament popularized in Europe by Julius Wellhausen, Toy came to believe that the writers of the New Testament — using a rabbinical hermeneutic of their day — misunderstood the original meaning of several Old Testament passages ( e. g., Psalm 16: 10, Isaiah 53 ) when they placed a christological emphasis on them.

This could be a quote from Psalm 1: 3, 72: 16 or 92: 14:

" Psalm 72: 16

The New American Bible also says that Psalm 93 alludes to " an ancient myth " in which God battles a personified Sea.

Most branches of Christianity have historically held abortion to be generally wrong, referring to Old Testament passages such as Psalm 139 and Jeremiah 1, as well as New Testament passages concerning both Jesus and John the Baptist while they were in utero.

He also played organ at Philadelphia's Christ Church and composed or edited a number of hymns and psalms including: " A Collection of Psalm Tunes with a few Anthems and Hymns Some of them Entirely New, for the Use of the United Churches of Christ Church and St. Peter's Church in Philadelphia " ( 1763 ), " A psalm of thanksgiving, Adapted to the Solemnity of Easter: To be performed on Sunday, the 30th of March, 1766, at Christ Church, Philadelphia " ( 1766 ), and " The Psalms of David, with the Ten Commandments, Creed, Lord's Prayer, & c. in Metre " ( 1767 ).

These readings are most often part of an established lectionary ( i. e., selected texts to be read at church services on specific days ), and ( together with an Old Testament reading and a Psalm ) include a non-gospel reading from the New Testament and culminate with a Gospel reading.

" ( New World Order ), a song by Ministry ( band ) from Psalm 69: The Way to Succeed and the Way to Suck Eggs

Waterhouse was dismissed as architect in 1878 and succeeded by George Gilbert Scott, who, after extending the Chapel, provided additional accommodation with the construction of New Court in 1881, with letters on a series of shields along the string course above the first floor spelling out the Psalm text " Nisi Dominus aedificat domum …" (" Except the Lord build the house, their labour is but vain that build it ").

Billings wrote the first version of the song for his 1770 songbook The New England Psalm Singer, and made improvements for the version in his The Singing Master's Assistant ( 1778 ).

In 1651, then, a third edition was created, and became known as the New England Psalm Book ; this became the standard for many years.

By this point, the evolution from the Ainsworth Psalter to the New England Psalm Book had steadily dwindled the number of tunes in use.

For example, compare Psalm 127: 1 in the ( much more literal ) New International Version:

This stimulus soon led to the development of a robust native school of composition, signaled by the 1770 publication of William Billings's The New England Psalm Singer, and then by a great number of new compositions by Billings and those who followed in his path.

* Psalm 51 ( 50 ) New American Bible from the United States Conference of Catholic Bishops.

* William Billings – The New England Psalm Singer, featuring the song Chester.

In 1651, then, a third edition was created, and became known as the New England Psalm Book ; this became the standard for many years.

By this point, the evolution from the Ainsworth Psalter to the New England Psalm Book had steadily dwindled the number of tunes in use.

In the Sacred Harp and other shape note singing traditions, the tune is sung with the text " O Come, Loud Anthems Let Us Sing ," a metrical paraphrase of Psalm 95 from Tate and Brady's A New Version of the Psalms of David.

* William Henry Havergal, A History of the Old Hundredth Psalm Tune: With Specimens, New York: Mason Brothers, 1854 online

Billings wrote Africa some time before 1770 and included it in his first published hymnbook, The New England Psalm Singer.

* The New England Psalm Singer, ISBN 0-8139-0917-1

The song " Unsung Psalm " was originally written for her previous album, New Beginning, but it didn't make it onto the album.