I reviewed volume 3 of Allen Ross’s commentary on the Psalms some time ago. It seems a bit backwards, starting at the end and only then going to the beginning, but I was so thoroughly impressed with volume 3 that I thought it would be worth my time to work through volume 1 and 2 as well. Volume 2 is waiting for me to crack open its spine, and as each volume comes in at around 930 pages, it might be waiting for a while yet.
The style, layout, and approach in this volume is the same as in volume 3, so I don’t feel the need to revisit it is great detail. In my previous review, I highlighted the ease of interacting with the structure of Ross’s work, and the treasure trove of information that he provides for each Psalm. What sets this volume apart is the lengthy introductory essay in the front.
Composing almost 200 pages of the first volume, it covers the necessary explanations of Ross’ approach, and how to make the most of these commentaries. While the essay was not necessary for my reading of volume 3, having now spent some time with it, I dearly wished I had read, at the very least, “Literary Forms and Functions in the Psalms” (p. 111-145). Ross handles the minutiae of this section throughout his exegesis, but I found his summary and his presentation of the big picture to be a great help as I worked through volume 1. For instance, while I had read about royal and lament and wisdom psalms previously, enthronement psalms were new to me. The general concept, and its conceptual history, fascinated me, and gave me refreshed perspective when looking at Psalm 41 or 99. And there were additional categories in this section to consider, such as the Songs of Zion, which greatly added to how I interact with the Psalms as I read them now.
Of course, saying that a commentary changed one’s perspective is not new, nor is it limited to Biblical studies. But the nature of Ross’s writing is different from the commentary one picks up on Hemingway or on the Iliad. The point of understanding the Psalms better is to approach God’s revelation and purposes with eyes open wide. Here, though the poetic form of each psalm provides challenges, exegesis is so helpful in grappling with texts that can be difficult or even opaque at times.
As Ross nicely summarizes the issue: “the exegetical exposition . . . is the one method that guarantees the entire psalm will be explained, correlated and applied in a clear, interesting, and meaningful way” (179). Ross certainly approaches this goal in his commentary, and his observations and study will benefit any Christian wishing to better understand these worship “essentials”, both of the past and for today (147).