Selah (/ˈsiːlə(h)/; Biblical Hebrew: סֶלָה, romanized: selā) is a word used 74 times in the Hebrew Bible. Its etymology and precise meaning are unknown, though various interpretations are given.[1]
It is probably either a liturgical-musical mark or an instruction on the reading of the text, with the meaning of "stop and listen." Another proposal is that selah can be used to indicate that there is to be a musical interlude at that point in the Psalm.[2] It can also be interpreted as a form of underlining in preparation for the next paragraph.
It should not be confused with the Hebrew word sela' (סֶלַע) meaning "rock".
This word occurs 71 times in 39 of the Psalms, and three times in Habakkuk 3: altogether 74 times in the Bible.[3] It is found at the end of Psalms 3, 24, and 46, and in most other cases at the end of a verse, the exceptions being Psalms 55:19, 57:3, and Habakkuk 3:3, 9, 13.
At least some of the Psalms were sung accompanied by musical instruments and there are references to this in many chapters. Thirty-one of the thirty-nine psalms with the caption "To the choir-master" include the word selah.
The significance of this term was apparently not known even by ancient Biblical commentators. This can be seen by the variety of renderings given to it. The Septuagint, Symmachus, and Theodotion translate it as διάψαλμα (diapsalma, or "apart from psalm") — a word as enigmatic in Greek as is selah in Hebrew. The Hexapla simply transliterates it as σελ (sel).[4]Aquila,[4]Jerome, and the Targum translate it as "always", and in Jewish liturgy the word is used to mean "forever" (notably in the second to last blessing of the Amidah).[4]
According to Hippolytus, the Greek term διάψαλμα signified a change in rhythm or melody at the places marked by the term, or a change in thought and theme.[5] Against this explanation, Baethgen notes that selah also occurs at the end of some psalms.[6]
One proposed meaning assigns it to the root סלל, as an imperative that should properly have been vocalized סֹלָּה, sollah.[7] The meaning of this imperative is given as "lift up," equivalent to "loud" or "fortissimo," a direction to the accompanying musicians to break in at the place marked with crash of cymbals and blare of trumpets, the orchestra playing an interlude while the singers' voices were hushed. The effect, as far as the singer was concerned, was to mark a pause. Similarly, another opinion understands selah being held to be a variant of the verb shelah (meaning "pause"). But as the interchange of shin (ש) and samekh (ס) is not usual in Biblical Hebrew, and as the meaning "pause" is not held to be applicable in the middle of a verse, or where a pause would interrupt the sequence of thought, this proposition has met with little favor.[1]
The Brown-Driver-Briggs Hebrew and English Lexicon (2006) states that the main derivation of the Hebrew word selah is found through the fientive verb root סֶ֜לָה which means "to lift up (voices)" or "to exalt," and also carries a close connotational relationship to the verb סָלַל, which is similar in meaning: "to lift up" or "to cast up." The word סֶלָה, which shifts the accent back to the last syllable of the verb form, indicates that in this context, the verb is being used in the imperative mood as somewhat of a directive to the reader. As such, perhaps the most instructive way to view the use of this word, particularly in the context of the Psalms, would be as the writer's instruction to the reader to pause and exalt the Lord.[8]
Heinrich Grätz argues that selah introduces a new paragraph, and also in some cases a quotation (e.g., Psalms 57:8-12 from 108:2-6). The fact that the term occurs four times at the end of a Psalm would not weigh against this theory. The Psalms were meant to be read in sequence, and, moreover, many of them are fragments; indeed, Psalms 9 and 10 are considered one psalm in the Septuagint; the Septuagint also omits the word διάψαλμα (diapsalma, "pause") at the end of Psalms 3, 24, 46 and 68.[9]
B. Jacob concludes (1) that since no etymological explanation is possible, selah signifies a pause in or for the Temple song; and (2) that its meaning was concealed lest the Temple privileges should be obtained by the synagogues or perhaps even by the churches.[10]
Another interpretation claims that selah comes from the primary Hebrew root word salah (סָלָה), meaning "to hang," and by implication "to measure (weigh)".[11]
The term selah is used by the Czech philosopher John Amos Comenius (1592–1670) at the end of his book Kšaft umírající matky, Jednoty bratrské. Likewise, selah appears several times in the Wanderer and Shadow's song in Among the Daughters of the Desert from Nietzsche's Thus Spoke Zarathustra. Eliphas Levi (1810–1875), in his work "Transcendental Magic", says "Selah! Fiat! So mote it be!" at the end of one of his magical invocations of the elemental spirits.
Selah is used in IyaricRastafarian vocabulary. It can be heard at the end of spoken-word segments of some reggae songs. Its usage here, again, is to accentuate the magnitude and importance of what has been said, and often is a sort of substitute for amen.
InPredator 2, just before being killed by the predator, the Jamaican drug lord King Willie says, "His foundation lie in the holy mountain" before pausing and adding "Selah".
Gonzo journalistHunter S. Thompson commonly used the word to end articles and personal letters. In Hunter S. Thompson's collected works "Songs of the Doomed," "The Proud Highway: Saga of A Desperate Southern Gentleman 1955-1967," and Fear and Loathing in America: the Brutal Odyssey of an Outlaw Journalist, The Gonzo Letters Volume Two 1968-1976 the word Selah is used frequently in letters and diatribes written from the 1960s to the 1990s.
"Selah!" is used at the end of the second part (titled Dimanche) of Conversations dans le Loir-et-Cher by French writer Paul Claudel (1935).
The writer Robert Ruark used the word 'Selah' to finish an educational exclamation by the Old Man in the second chapter of his book 'The Old Man's Boy Grows Older'.
Journalist, author and screenwriter George MacDonald Fraser used selah occasionally in The Flashman Papers, a celebrated historical fiction series published between 1969 and 2005.
Katherine Kurtz uses it in some of her Deryni novels, including The King's Justice (1985); it is among the acquired Eastern influences on the ritual practices of Deryni at King Kelson's court, largely brought by Richenda, Duchess of Corwyn, after her marriage to Duke Alaric Morgan. It is also the last word in Gilbert Sorrentino's novel Little Casino (2002), probably in homage to Dahlberg.
In poet Julia Vinograd's American Book Award-winning collection of poems, "The Book of Jerusalem", each poem is followed by "selah".[14]
In the humorous essay "New Days in Old Bottles," by Robert Benchley, the narrator ends with the paragraph "Life and the Theatre. Who knows? Selah."[15]
Selah! appears in the final stanza of Geoffrey Hill's poem "History as Poetry": 'The old / Laurels wagging with the new: Selah!'
Amen! Selah! ends pronouncements in several stories of Sholem Aleichem, such as Dreyfus in Kasrilevka and Modern Children
