PREFACE
PREFACE t would have been a pleasure for me [857]1 to do a commentary2 on the inspired composition3 of the mighty David prior to the other divine sayings, especially since the students of religion, both city dwellers and in the country, have all given their attention to this work in particular. Not least of these, however, are those, who embrace religious life, and recite it aloud at night and in the middle of the day;4 they thus sing praise to the God of all and allay the bodily passions . You see, divine grace mingled benefit with the charm of the poetry, [860] and thus provided human beings with teaching that is both welcome and lovable.5 You can find most people making little or no reference to the other divine Scriptures, whereas the spiritual harmonies of the divinely inspired David 39 1. The bracketed numbers are keyed to the columns in Migne. 2. Theodoret would have preferred the Commentary on the Psalms to be his first essay into biblical interpretation, as it was of his fellow Antiochene Theodore of Mopsuestia; John Chrysostom’s also betrays signs of youthful inexperience. The Psalter, of course, was—after the Gospels (strangely missing from his literary profile)—the staple spiritual diet of Christians generally, at least in terms of Scripture. But, as he says, he was obliged to meet demands for commentaries on other books first. 3. As David is an “inspired composer,” prophetes, so his work—and that of all Old Testament composers—is “inspired composition,” propheteia. Theodoret therefore insists on the inspiration of David and the other biblical authors . 4. As an erstwhile monk, Theodoret would be aware of the monastic practice of “praying the hours.” But, as he says also in commenting on Ps 32, David’s verses form the pattern of prayer for people of all states of life. 5. As for Chrysostom (his particular model in biblical commentary, his eighteenth-century editor J. L. Schulze tells us), for Theodoret the Psalms are primarily didactic material rather than, say, celebration in liturgy (not mentioned here as a Sitz im Leben); yet he envisages their being sung rather than merely recited, at least by religious. His further statement that people make little reference to the other Scriptures may reflect Theodoret’s own insecurity in biblical matters. many people frequently call to mind, whether at home, in public places or while traveling, gain serenity for themselves from the harmony of the poetry, and reap benefit for themselves through this enjoyment. (2) This is the reason, then, why I wanted to do a commentary on this piece of inspired composition first of all, and offer to discerning investors the profit lying hidden in its depths, so that they might sing its melodies and at the same time recognize the sense of the words they sing,6 thus reaping a double dividend . But we were prevented from putting this desire into effect by those who requested from us commentaries on the other divine Scriptures:7 some required of us clarification of the Song of Songs, others were anxious to have a close knowledge of the inspired composition of the Man of Passion,8 still others of the work of the divinely inspired Ezekiel, while others were impatient for the predictions of the Twelve Prophets, shrouded in obscurity, to be rendered clear and obvious. (3) So after it was granted to us by the God of all, who gives insight to the blind, who reveals mysteries, who gives one person speech and makes another deaf and dumb, grants sight to one and makes another blind, that we should complete the commentary on these other divine sayings of his—come now, let us invoke divine grace, which leads the blind (according to the inspired text)9 by a way they knew not and prepares paths for their traveling with which they were unfamiliar, enables those once deaf to the divine sayings to hear them, and leads those who live in darkness and gloom to enjoy sight; and let us address ourselves to commentary on this inspired composition. (4) Now, let no one think any the less of our efforts for the reason that others have produced a commentary on this before ours. I have, in fact, encountered various such commentaries: some I found taking refuge in allegory with considerable relish, 40 THEODORET OF CYRUS 6. Chrysostom also complained that congregations could sing a psalm, or at least its liturgical refrain, without understanding the psalm...
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