This thesis attempts to demonstrate that the final form of the Psa'ter has been redacted so as to
reflect an anticipated sequence of eschatological events. It therefore falls within the broad discipline of
Canon Criticism of the Psalter, and builds on the work of scholars such as Childs, Brennan, Wilson,
McCann, and Sheppard. Chapter i reviews Psalms interpretation from the Septuagint to modern times,
and concludes that with the exception of the period c. 1850-1980, most interpreters have regarded the
Psalter as having (i) literary unity and (ii) an eschatologico-predictive nature. Chapter II suggests there
is internal evidence in the Psalter to support this view. However, contemporary scholarship on the
canonical form of the Psalter emphasizes either the general eschatological tendency of its arrangement
(Childs, Brennan) or else seeks to discern a historical event-sequence in it (Wilson, Sheppard, Walton,
Mays). No-one has yet proposed a fully eschatological explanation for the sequence of Psalms. In the
remainder of the thesis we attempt to do this.
Chapter III suggests the Psalms of Asaph (Pss 50, 73-83) can be read as depicting a sequence of
latterday events beginning with the ingathering of Israel from exile (Ps 50:5) and culminating in the
ingathering of an alliance of hostile nations against Jerusalem (Ps 83). Chapter IV suggests the Songs
of Ascents (Pss 120-134) can be read as depicting a latterday pilgrimage to the Feast of Sukkolh in
Jerusalem in a post-war messianic malkut. Chapter V examines eschatological programmes in Ezk 34-
48, Zech 9-14, and Joel 3-4, and suggests they feature a sequence of gathering motifs: (i) Israel gather
from exile; (ii) hostile nations gather against Israel, but are subdued; (iii) Israel and all the nations
gather to worship at Sukkoth on Zion.
In the light of the analysis presented in chapters III-V, chapter VI proceeds to suggest that the
Psalms of Asaph represent precisely that period in the prophetic programmes from the ingathering of
Israel to the ingathering of hostile nations, while the Songs of Ascents represent the ingathering to
worship on Zion in the aftermath of the eschatological deliverance. Parallels of language, theology,
imagery, and literary technique between the ingatherings and the psalm-cycles are adduced in support
of this proposal. Chapter VII examines the latest and most sophisticated eschatological programme,
Zech 9-14, which adds two elements following the eschatological conflict: (i) the affliction of a
latterday Davidic king, and (ii) an ensuing exile for Israel. These motifs, together with the ingathering
motifs, form a single complex eschatological programme which reappears in intertestamental literature,
Qumran, NT, and post-Temple apocalyptic midrashim. Chapter VIII suggests that the royal psalms
depict the messianic details of this programme. Chapter IX suggests that Book IV represents Israel's
latterday exile in the wilderness of the nations. Thus the eschatological programme of Zech 9-14 is
represented in the Psalter as follows:
(1) Bridegroom-King comes to Daughter Zion. Ps 45
(2) Ingathering of scattered Israel to Jerusalem. Psalms ofAsaph (cf. Ps 50)
{(3) Temporary messianic malkut. Ps 72.}
(4) Gathering of hostile nations against Jerusalem. Psalms of Asaph (cf. Ps 83)
(5) Cutting-off of latterday king Ps 89.
(6) Israel exiled in desert. Gather and return to Zion Book IV (Pss 90-106)
(7) Deliverance by Superhero-King from heaven Ps 110.
(8) Ascent of Israel and all nations to Sukkoth on Zion. Songs of Ascents (Pss 120-134)
Chapter X briefly proposes how other details of the Psalter, including the five-book division,
might fit into this schema. An appendix follows, containing six apocalyptic midrashim dating from
c.200-1000 CE, translated into English for the first time: Aggadat Mashiah, Otot ha-Mashiah, Sefer
Zerubbavel, 'Asereth Melakhim, Pirqe Mashiah, and Nistarot Rav Shimon ben Yohai. These serve to
confirm that an eschatological programme, such as that which we identify in chapter VII, was indeed
known to some early Jewish writers.
