Lexical Summary
selah: Selah
Original Word:סֶלָה
Part of Speech:Verb
Transliteration:celah
Pronunciation:seh-lah
Phonetic Spelling:(seh'-law)
KJV: Selah
NASB:Selah
Word Origin:[fromH5541 (סָלָה - Roast)]
1. suspension (of music), i.e. pause
Strong's Exhaustive Concordance
Selah
Fromcalah; suspension (of music), i.e. Pause -- Selah.
see HEBREWcalah
NAS Exhaustive Concordance
Word Originfrom
salalDefinitionto lift up, exalt
NASB TranslationSelah (74).
Brown-Driver-Briggs
(voices in ), or exalt () (
Imperative of (compare
Proverbs 4:8;
Psalm 68:5;
Psalm 9:17, see ), properly , possibly Qr = , Hexapla but compare Ew
554 Kö
ii. 1, 539; Symm Theod , explanation Suidas ; Theodoret, Hippolytus (compare Hexapla
Habakkuk 3:3 ; Syriac, Hexapla Aq in 5 Psalms, Field in
Psalm 38:12); adds e.g.
Psalm 2:2;
Psalm 34:11;
Psalm 94:15, after final editing of Hebrew Psalter; so Psalms of Solomon 17:31; 18:10 on same principles as in MT; used therefore with full knowledge that it indicated some kind of interruption or change in the regular rendering. is used in after Benedictions 3, 18, and after other early Jewish prayers, shewing knowledge, approximately ; Aq gives (Theod. also
Psalm 9:17); Sexta (except
Psalm 20:4 ); Quinta Jerome
semper, usually , ; but
Psalm 39:6 ,
Psalm 44:9 ,
Psalm 48:9 ,
Psalm 49:14 ; uniform tradition best explained by closing contents of the Benedictions, . So Jerome classes
sela with
amen and
salom; and Jacob of Edessa in BarHebr.
Psalm 10:1 compare Christian
Amen of the people after
Gloria); — this interpretation agrees with usage: 71 t. in 39 Psalms, 3t.
Habakkuk 3 (taken from Minor Psalter , see ); it occurs at end of
Habakkuk 3:9; Hab 24:10; Hab 46:12 (omitted by ), Hab 9:21 ( combines 9 and 10); elsewhere at close of strophe,
Habakkuk 3:3;
Habakkuk 3:5; Hab 4:3; Hab 4:5; Hab 7:6; Hab 9:17; Hab 24:6; Hab 32:4; Hab 32:5; Hab 32:7; Hab 39:6; Hab 39:12; Hab 46:4; Hab 46:8; Hab 47:5; Hab 48:9; Hab 49:13 (so read Hab 49:14 by error) Hab 49:16; Hab 50:6; Hab 52:5; Hab 52:7; Hab 54:5; Hab 59:6; Hab 59:14; Hab 61:5; Hab 62:5; Hab 62:9; Hab 66:4; Hab 66:7; Hab 66:15; Hab 67:5; Hab 68:20; Hab 76:4; Hab 76:10; Hab 77:4; Hab 77:10; Hab 77:16; Hab 81:8; Hab 82:2; Hab 83:9; Hab 84:5; Hab 84:9; Hab 88:8; Hab 88:11; Hab 89:38; Hab 89:46; Hab 140:4; Hab 140:6; Hab 140:9; Hab 143:6; or where citations have been made, Hab 44:9; Hab 55:8; Hab 57:7; Hab 60:6; Hab 67:2; Hab 68:8; Hab 68:33; Hab 89:5;
Habakkuk 3:3,9; or where extracts might be made for liturgical purposes,
Psalm 20:4;
Psalm 21:3;
Psalm 55:20;
Psalm 75:4;
Psalm 85:3;
Psalm 87:3;
Psalm 87:6;
Psalm 89:49; so
Psalm 57:3 ( for
Psalm 57:4)
Habakkuk 3:13. — Of Psalms with , 23 used in Elohistic Psalter, 28 in Director's Psalter, 39 in final editing of Psalter. These editors found it in earlier Psalters. Davidic Psalter uses 20 of them, so few in proportion that it is not characteristic of this Psalter; but Korahite 9 (out of 12), and Asaph 7 + Hab 80:8 [] (probably 8 out of 12); apparently it came into use in time of these editors. In Diretor's Psalter musical terms are added to 19 of the 28 it uses (and only to ten others, of which some could hardly use ); Psalms with all (except 61, 81) name the kind of Psalm in title: 3, 7 , 10 , 26 (27) others ,
Habakkuk 3 ; is especially frequent with and , terms associated with musical rendering. It probably came into use in late Persian period in connection with Psalms used with musical accompaniment in public worship, to indicate place of benedictions. It was not added by later editors to other psalms; but was revived in first century B.C., and continued in use for some time (see Jacob
ZAW xvi (1896), 129 f. Br
JBL 1809 EGBriggs
AM. J. Semitic Lang. Oct. 1899, 1 ff.).
Topical Lexicon
Overview“Selah” is a liturgical marker that appears seventy-four times in the Hebrew Scriptures, predominantly in the Book of Psalms and three times in Habakkuk. While its precise musical or structural nuance is debated, its presence consistently calls worshipers to pause, ponder, and respond to the truths just expressed.
Distribution across the Canon
• Psalms: seventy-one occurrences spanning thirty-nine separate psalms, with frequent clustering in Psalms of David (for example, Psalms 3, 4, 7, 9), the Korahite collection (for example, Psalms 46, 47, 48), and Asaph’s compositions (for example,Psalm 50).
• Habakkuk: three occurrences (Habakkuk 3:3, 3:9, 3:13) within the prophet’s hymn-prayer.
Liturgical and Musical Function
1. Interlude for instrumental accompaniment. InPsalm 4:4 we read, “Tremble in awe, and do not sin; commune in your heart on your bed, and be still. Selah.” The pause would allow instruments to underscore the solemn call to self-examination.
2. Cue for congregational response. After affirming God’s protective care,Psalm 46:7 states, “The LORD of Hosts is with us; the God of Jacob is our fortress. Selah.” The break invites the assembly to voice assent before the next stanza.
3. Structural hinge. InHabakkuk 3, each “Selah” divides the prophet’s vision into three movements: God’s arrival, His victorious warfare, and His covenantal rescue.
Theological Significance
• Emphasis on divine sovereignty. By inserting a purposeful pause, the inspired authors highlight God’s works as worthy of contemplation (Psalm 66:4).
• Call to trust. InPsalm 55:19 David writes, “God, who is enthroned from of old, will hear and afflict them—Selah—because they do not change and do not fear God.” The break magnifies the certainty of divine justice.
• Assurance amidst crisis. The refrain “Selah” anchors the repeated confession, “I will not be afraid” (Psalm 3:6), directing hearts from fear to faith.
Spiritual Application in Personal and Corporate Worship
1. Meditation. Modern believers can mirror the ancient congregation by lingering after weighty declarations of Scripture during private reading or corporate singing.
2. Prayerful response. Following a reading that ends with “Selah,” a moment of silence or a short congregational prayer can embody the intended pause.
3. Musical arrangement. Composers may incorporate instrumental interludes at these moments to allow reflection without distraction.
Christological and Eschatological Resonances
Many “Selah” psalms carry messianic overtones.Psalm 24 culminates in “Selah” after proclaiming, “Lift up your heads, O gates… that the King of Glory may come in” (Psalm 24:7–10). The pause draws attention to the coming King fulfilled in Jesus Christ. Likewise,Habakkuk 3:13, “You went forth for the salvation of Your people, for the salvation of Your Anointed One—Selah,” foreshadows the ultimate deliverance accomplished at the cross and consummated at Christ’s return.
Notable Occurrences
•Psalm 32:5: confession and forgiveness.
•Psalm 68:19: daily divine bearing of burdens.
•Psalm 89:37: covenant with David anchored “forever” before the witness of the heavens.
•Psalm 140:3: contrast between deceitful speech and righteous trust.
Historical Reception in Jewish and Christian Tradition
Jewish liturgy continued to preserve “Selah” within public readings, respecting its ancient function. Early Church Fathers, such as Jerome, understood it as a summons to “everlasting rest” in the truths proclaimed. Reformation hymnody restored strategic pauses to allow congregational meditation, and many modern translations still print “Selah” to honor its inspired role.
Summary
“Selah” is more than a technical notation; it embodies the Scriptural rhythm of proclamation followed by contemplation. Whether in the Temple courts, synagogues, or contemporary gatherings, its divinely placed pauses invite worshipers to internalize God’s revelation, align hearts in faith, and prepare for obedient action.
Forms and Transliterations
סֶ֑לָה סֶ֥לָה סֶּֽלָה׃ סֶֽלָה׃ סלה סלה׃ se·lāh Selah selāh
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