The third chapter, an Ode or Rhapsody, is ascribed to Habakkuk by its title. This, however, does not prove its authenticity: the title is too like those assigned to the Psalms in the period of the Second Temple.[339] On the contrary, the title itself, the occurrence of the musical sign Selah in the contents, and the colophon suggest for the chapter a liturgical origin after the Exile.[340] That this is more probable than the alternative opinion, that, being a genuine work of Habakkuk, the chapter was afterwards arranged as a Psalm for public worship, is confirmed by the fact that no other work of the prophets has been treated in the same way. Nor do the contents support the authorship by Habakkuk. They reflect no definite historical situation like the preceding chapters. The style and temper are different. While in them the prophet speaks for himself, here it is the nation or congregation of Israel that addresses God. The language is not, as some have maintained, late;[341] but the designation of the people as _Thine anointed_, a term which before the Exile was applied to the king, undoubtedly points to a post-exilic date. The figures, the theophany itself, are not necessarily archaic, but are more probably moulded on archaic models. There are many affinities with Psalms of a late date. At the same time a number of critics[342] maintain the genuineness of the chapter, and they have some grounds for this. Habakkuk was, as we can see from chaps. i. and ii., a real poet. There was no need why a man of his temper should be bound down to reflecting only his own day. If so practical a prophet as Hosea, and one who has so closely identified himself with his times, was wont to escape from them to a retrospect of the dealings of God with Israel from of old, why should not the same be natural for a prophet who was much less practical and more literary and artistic? There are also many phrases in the Psalm which may be interpreted as reflecting the same situation as chaps. i., ii. All this, however, only proves possibility. The Psalm has been adapted in Psalm lxxvii. 17-20. FURTHER NOTE ON CHAP. I.—II. 4.