"For of the soul the body form doth take;For soul is form, and doth the body make."
"For of the soul the body form doth take;For soul is form, and doth the body make."
The highest truth of this opening word is realised only in Him of whom it was also said, in apparent contradiction, but real harmony with it, "His visage was so marred more than any man, and His form more than the sons of men." The craving for "whatsoever things are lovely," like all other desires, has for its object Jesus Christ. Another kingly excellence is sweet courtesy of speech. Possibly, indeed, the "grace poured on the lips" may mean the gracious smile which moulds their curves, but more likely it refers to the kindly speech that so well become a mouth that can command. The sweetest examples of such words are poor beside "the gracious words that proceeded out of His mouth." The psalmist's ideal is that of a gentle king. Where else than in the King whose sceptre was a reed, not an iron rod, has it been fulfilled?
"Nor know we anything more fairThan is the smile upon Thy face."
"Nor know we anything more fairThan is the smile upon Thy face."
From such characteristics the psalmist draws an inference—"therefore God hath blessed thee for ever";for that "therefore" does not introduce the result of the preceding excellences, but the cause of them. The psalmist knows that God has blessed the king because he sees these beauties. They are the visible signs and tokens of the Divine benediction. In its reference to Christ, the thought expressed is that His superhuman beauty is to all men the proof of a unique operation of God. Abiding divinity is witnessed by perfect humanity.
The scene changes with startling suddenness to the fury of battle. In a burst of lyric enthusiasm, forgetting for a moment nuptials and wedding marches, the singer calls on the king to array himself for war and to rush on the foe. Very striking is this combination of gentleness and warrior strength—a union which has been often realised in heroic figures, which is needful for the highest type of either, and which is fulfilled in the Lamb of God, who is the Lion of the tribe of Judah. The king is to gird on his sword, and to array himself, as in glittering armour, in his splendour and majesty, and, thus arrayed, to mount his chariot, or, less probably, to bestride his war-horse, and hurl himself on the yielding ranks of the enemy. "Press forward, drive (orride) on," crushing obstacles and forcing a path. But Israel's king could be no vulgar conqueror, impelled by lust of dominion or "glory." His sword is to be girt on for the help or "on behalf of truth, meekness, and righteousness." These abstracts may be used for concretes—namely, the possessors of the qualities named. But the limitation is not necessary. The monarch's warfare is for the spread of these. The Hebrew binds the two latter closely together by an anomalous construction, which may be represented by connecting the two words with a hyphen. They areregarded as a double star. Then follows a verse of hurry: "Thy right hand shall teach thee awe-striking deeds." He has no allies. The canvas has no room for soldiers. The picture is like the Assyrian sculptures, in which the king stands erect and alone in his chariot, a giant in comparison with the tiny figures beneath him. Like Rameses in Pentaur's great battle-song, "he pierced the line of the foe; ... he was all alone, no other with him." Then follow three abrupt clauses, reflecting in their fragmentary character the stress of battle: "Thine arrows are sharp—The peoples fall under thee—In the heart of the enemies of the king." The bright arrow is on the string; it whizzes; the plain is strewed with prostrate forms, the king's shaft in the heart of each. It is no mere fanciful spiritualising which sees in this picture an adumbration of the merciful warfare of Christ all through the ages. We get to the kernel of the history of Israel when we regard it as the preparation for Christ. We understand theraison d'êtreof its monarchy when we see in these poor shadows the types of the King of men, who was to be all that they should have been and were not. The world-wide conflict for truth and meekness and righteousness is His conflict, and the help which is done on earth He doeth it all Himself. The psalm waits for its completion still, and will wait until the day when the marriage supper of the Lamb is preceded by the last battle and crowning victory of Him who "in righteousness doth judge and make war."
All the older versions take "God," in ver. 6a, as a vocative, while most moderns seek another construction or text. "The sum of the matter is that the only natural rendering of the received text is that of the Versions, 'Thy throne, O God'" (Cheyne,in loc.).Three renderings have been proposed, all of which are harsh. "Thy throne is the throne of God," etc., is Ewald's suggestion, revived from a Jewish expositor, and adopted widely by many recent commentators, and in the margin of the R.V. It is clumsy, and leaves it doubtful whether the stress of the assertion lies on the Divine appointment or on the eternal duration of the throne. "Thy God's throne is," etc., is very questionable grammatically, and extremely harsh. The only other suggested rendering, "Thy throne is God," etc., may fairly be pronounced impossible. If the vocative construction is retained, are we shut up to Cheyne's further opinion, that "the only natural interpretation [is] that of the Targum, 'Thy throne, O Jehovah'"? If so, we shall be obliged to admit textual corruption; for a reference to the eternal duration of Jehovah's dominion is quite out of place here, where the parallelism of the next clause demands some characteristic of the king's throne corresponding to that of his sceptre, there stated. But in Exod. xxi. 6, xxii. 8, and Psalm lxxxii. 6, the name God (Elohim) is applied to rulers and judges, on the ground, as our Lord puts it, in John x. 35, that "unto them the word of God came"—i.e., that they were theocratic officers. The designation, therefore, of the king as Elohim is not contrary to the Hebrew line of thought. It does not predicate divinity, but Divine preparation for and appointment to office. The recurrence of Elohim (God) in its full Divine signification in the next verse is felt by many to be an insuperable objection to recognising the lower sense here. But the emphatic "thy God," which is appended to the name in ver. 7, seems expressly intended to distinguish between the uses of the word in the two verses. August, then, as the title is, it proves nothingas to the divinity of the person addressed. We recognise the prophetic character of the psalm, and strongly believe that it points onwards to Christ the King. But we cannot take the ascription of the title "O God" as having reference to His Divine nature. Such a thought lay far beyond the prophetic horizon. The Old Testament usage, which is appealed to in order to justify the translation of the word "God" as a vocative, must govern its meaning. The careful distinction drawn by the expressions of ver. 7, between the lower and higher senses of the name, forbid the attempt to find here a premature and anomalous statement of deep truth, for which the ages were not ripe. While we, who know the full truth, may permissibly apply the psalmist's words as its expression, we must not forget that in so doing we are going beyond their real meaning. The controversies waged over the construction of this verse have sometimes been embittered by the supposition that it was a buttress for the truth of Christ's Divine nature. But that is a mistake. The psalm goes no further than to declare that the king is divinely endowed and appointed. It does outline a character fairer than the sons of men, which requires indwelling Deity for its realisation in humanity. But it does not speak the decisive word, which alone could solve the mystery of its requirement, by proclaiming the fact of incarnation.
The perpetuity of the king's throne is guaranteed, not only by his theocratic appointment by God, but by the righteousness of his rule. His sceptre is not a rod of iron, but "a sceptre of uprightness." He is righteous in character as well as in official acts. He "loves righteousness," and therefore cannot but "hate iniquity." His broad shield shelters all who love andseek after righteousness, and he wars against evil wherever it shows itself. Therefore his throne stands firm, and is the world's hope. A singer who had grasped the truth that power divorced from justice could not endure was far in advance of his time. The nations have not yet learned his lesson. The vast robber-kingdoms which seemed to give the lie to his faith have confirmed it by their evanescence.
The king's love of righteousness leads to his being "anointed with the oil of gladness above his fellows." This anointing is not that of a coronation, but that of a feast. His "fellows" may either be other kings or his attendant companions at his marriage. The psalmist looks as deep into individual life as he has just done into politics, and ascribes to righteousness lofty powers in that region too. The heart which loves it will be joyful, whatever befalls. Conformity to the highest ideal known to a man, or, at all events, hearty love thereof, leading to efforts after it, is the surest foundation for lasting and deep joy. Since Christ is the fulfilment of the psalmist's picture, and perfectly realised the perfection of manhood, the psalmist's words here are most fully applicable to Him.
True, He was "a man of sorrows," but beneath His sorrow had abiding and central joy, which He bequeathed to us, with the assurance that to possess it would make our joy full. His pure manhood was ever in touch with God, and lived in conscious righteousness, and therefore there was ever light within, though there was darkness around. He, the saddest, was likewise the gladdest of men, and "anointed with the oil of joy above His fellows."
In ver. 8 the Psalm reaches its main theme—themarriage of the king. The previous verses have painted his grace of person, his heroic deeds in battle, and his righteous rule. Now he stands ready to pass into the palace to meet his bride. His festival robes are so redolent of perfumes that they seem to be composed of nothing but woven fragrance. There are difficulties in the rendering of ver. 8a, but that adopted above is generally accepted as the most probable. The clause then describes the burst of jubilant music which welcomed and rejoiced the king as he approached the "palaces of ivory," where his bride waited his coming.
Ver. 9 carries the king into his harem. The inferior wives are of royal blood, but nearest him and superior to these is the queen-consort glittering with golden ornaments. This feature of the psalmist's description can only have reference to the actual historical occasion of the psalm, and warns against overlooking that in seeking a prophetic reference to the Christ in every particular.
The second half of the psalm is an address to the bride and a description of her beauty and state. The singer assumes a fatherly tone, speaking to her as "daughter." She is a foreigner by birth, and is called upon to give up all her former associations, with whole-hearted consecration to her new duties. It is difficult to imagine Jezebel or Athaliah as the recipient of these counsels, nor does it seem to the present writer to add anything to the enjoyment of the psalm that the person to whom they were addressed should be identified. The exhortation to give up all for love's sake goes to the heart of the sacred relation of husband and wife, and witnesses to the lofty ideal of that relation which prevailed in Israel, even thoughpolygamy was not forbidden. The sweet necessity of wedded love subordinates all other love, as a deeper well, when sunk, draws the surface waters and shallower springs into itself.
"The rich, golden shaftHath killed the flock of all affections elseThat live in her."
"The rich, golden shaftHath killed the flock of all affections elseThat live in her."
The king sung of in the psalm was a type of Christ. Every true marriage is in the same fashion a type of the union of the soul with Jesus, the lover of all, the bridegroom of humanity. So it is not arbitrary spiritualising, but recognition of the nobleness of the lower love and of its essential similarity with the highest, when the counsel to this bride is regarded as shadowing the duties of the soul wedded to Christ. If a heart is really influenced by love to Him, that love will make self-surrender blessed. A child gladly drops toys when it stretches out its little hand for better gifts. If we are joined to Jesus, we shall not be unwilling to "count all things but loss for the excellency of the knowledge" of Him. Have the terms of wedded life changed since this psalm was written? Have the terms of Christian living altered since it was said, "Whosoever he be of you that forsaketh not all that he hath, he cannot be My disciple"? The law still remains, "Daughter, forget thine own people and Thy father's house." The exhortation is followed by a promise: "So shall the king desire thy beauty." The application of these words to the relations of Christ and His people carries with it a striking thought that He is affected by the completeness of our self-surrender and dependence. He pours love on the unworthy, but that is a differentthing from the love with which He responds to such abandonment of self and other loves. Holy, noble living will bring a smile into His face and draw Him nearer to us.
But whilst there is all this sweet commerce of love and giving, the bride is reminded that the king is her lord, and is to be reverenced as well as loved. There is here, no doubt, the influence of an archaic mode of regarding marriage and the wife's position. But it still is true that no woman finds all that her heart needs in her husband, unless she can bring her reverence where she has brought her love; and that love will not long remain if reverence departs. Nor is the warning less needed in the higher region of the wedlock of the soul with the Saviour. Some types of emotional religion have more to say about love than about obedience. They are full of half-wholesome apostrophes to a "dear Lord," and are apt to forget the last word in the emphasis which they put on the first. The beggar-maid married to a king was full of reverence as well as love; and the souls whom Jesus stoops to love and wash and wed are never to forget to blend adoration with approach and obedience with love.
A picture of the reflected honour and influence of the bride follows in ver. 12. When she stands by the king's side, those around recognise her dignity, and seek to secure her favour. Hupfeld, Hitzig, and others take "daughter of Tyre" to be a vocative, addressed to the bride, who is, according to their view, a Tyrian princess. But there is a strong grammatical objection to that construction in the copula ("and") prefixed to "daughter," which is never so prefixed to a vocative unless preceded by another vocative. Delitzsch, Baethgen, Perowne, and Cheyne agree in recognising theforce of that consideration, and the three former regard the phrase not as a vocative, but as a nominative. It is a personification of the Tyrians according to a familiar idiom. The clause is elliptical, and has to be supplemented by supposing that the same verb, which appears in the next clause in the plural, is to be supplied in thought, just as that clause requires the supplement of "with a gift" from this one. There appears to be some flaw in the text, as the clauses are unsymmetrical, and possibly the punctuators have marked a hiatus by the sign (Pasek) after the word "daughter of Tyre." To "seek thy favour" is literally to "smooth thy face"—a graphic representation. In the highest region, which we regard the psalm as adumbrating, the words have fulfilment. The bride standing by her bridegroom, and showing her love and devotion by self-abandonment and reverence, will be glorious in the eyes of those around. They who manifestly live in loving communion with their Lord will be recognised for what they are, and, though sometimes hated therefor, will also be honoured. When the Church has cast all but Christ out of its heart, it will conquer the world. "The sons of them that afflicted thee shall come bending unto thee."
In vv. 13-15 the bride's apparel and nuptial procession are described. She is "all glorious within,"—by which is not meant, as ordinarily supposed, that she possesses an inner beauty of soul, but that the poet conceives of her as standing in the inner chamber, where she has been arrayed in her splendour. Krochmal, followed by Graetz and Cheyne, changes the text so as to readcorals, or, as Cheyne renders,pearls(Heb.p'ninim), forwithin(p'ninah), and thus preserves unity of subject in the verse by removing the local designation.But the existing reading is intelligible. In ver. 14 the marriage procession is described. The words rendered "embroidered robes" are by some taken to mean "tapestry of divers colours" (Perowne), or richly woven carpets spread for the bride to walk on, and by others (Hitzig, Riehm) gay-coloured cushions, to which she is led in order to sit beside the bridegroom. But the word means apparel elsewhere, and either of the other meanings introduces an irrelevant detail of another kind into the picture. The analogy of other Scripture metaphors leads at once to interpreting the bride's attire as symbolic of the purity of character belonging to the Church. The Apocalypse dresses "the Lamb's wife" in "fine linen, clean and white." The psalm arrays her in garments gleaming with gold, which symbolise splendour and glory, and in embroidered robes, which suggest the patient use of the slow needle, and the variegated harmony of colour attained at last. There is no marriage between Christ and the soul, unless it is robed in the beauty of righteousness and manifold graces of character. In other places we read that the bride "madeherselfready," and also that "to her wasgrantedthat she should be arrayed in fine linen, clean and white," in which sayings are set forth the double sources of such a garment of the soul. It is a gift from above. It is "put on" by continual effort, based on faith. The picture of the home-coming of the bride follows. She is attended by her maidens, and with them she passes into the palace amid joys and exultation. The psalm stops at the threshold. It is not for the singer to draw back the curtains and let in the day. "The door was shut." The presence of virgin companions waiting on the bride no more interferes with the application of the psalm to Christ andHis Church than the similar representation brings confusion into our Lord's parable of the Ten Virgins. Parables and symbols are elastic, and often duplicate their representations of the same thing; and such is the case here.
The closing verses are addressed, not to the bride, but to the king, and can only in a very modified way and partially be supposed to pass beyond the Jewish monarch and refer to the true King. Hopes that he might be blessed with fortunate issue of the marriage were quite in place in an epithalamion, and the delicacy of the light touch with which this closing note is struck is noteworthy, especially in contrast with the tone of many famous secular songs of similar import. But much straining is needed to extract a spiritual sense from the words. Perowne truly says that it is "wiser to acknowledge at once the mixed character" of the psalm, and he quotes a sagacious saying of Calvin's to the effect that it is not necessary that every detail should be carefully fitted to Christ. The psalm had a historical basis; and it has also a prophetic meaning, because the king of Israel was himself a type, and Jesus Christ is the fulfilment of the ideal never realised by its successive occupants. Both views of its nature must be kept in view in its interpretation; and it need cause no surprise if, at some points, the rind of prose fact is, so to speak, thicker than at others, or if certain features absolutely refuse to lend themselves to the spiritual interpretation.
1 God is a refuge and stronghold for us,A help in troubles most readily to be found.2 Therefore we will not fear, though the earth do change,And the mountains reel into the heart of the sea.3 Let its waters roar and foam;Let mountains shake at its pride. Selah.[Jehovah of hosts is with us;A high tower for us is Jacob's God.]4 [There is] a river—its branches make glad the city of GodThe sanctuary of the tabernacles of the Most High.5 God is in her midst; she shall not be moved:God shall help her at the morning dawn.6 Nations roared, kingdoms were moved:He gave forth His voice, the earth melts.7 Jehovah of hosts is with us;A high tower for us is Jacob's God. Selah.8 Come, behold the deeds of Jehovah,Who has made desolations in the earth.9 Quelling wars to the end of the earth:The bow He breaks, and hews the spear in splinters;The chariots He burns in the fire.10 "Desist, and know that I am God:I will be exalted in the nations, I will be exalted in the earth."11 Jehovah of hosts is with us;A high tower for us is Jacob's God. Selah.
There are two events, one or other of which probably supplies the historical basis of this and the two following psalms. One is Jehoshaphat's deliverance from the combined forces of the bordering nations (2 Chron. xx.). Delitzsch adopts this as the occasion of the psalm. But the other more usuallyaccepted reference to the destruction of Sennacherib's army is more probable. Psalms xlvi. and xlviii. have remarkable parallelisms with Isaiah. The noble contrast of the quiet river which makes glad the city of God with a tossing, earth-shaking sea resembles the prophet's threatening that the effect of refusing the "waters of Shiloah which go softly" would be inundation by the strong and mighty river, the Assyrian power. And the emblem is expanded in the striking language of Isa. xxxiii. 21: "The glorious Lord will be unto us a place of broad rivers and streams; wherein shall go no galley with oars." Encircled by the flashing links of that broad moat, Jerusalem sits secure. Again, the central thought of the refrain in the psalm, "The Lord of hosts is with us," is closely allied to the symbolic name which Isaiah gave as a pledge of deliverance, "Immanuel, God with us."
The structure is simple. The three strophes into which the psalm falls set forth substantially the same thought, that God's presence is safety and peace, whatever storms may roar. This general theme is exhibited in the first strophe (vv. 1-3) in reference to natural convulsions; in the second (vv. 4-7) in reference to the rage of hostile kingdoms; and in the third (vv. 8-11) men are summoned to behold a recent example of God's delivering might, which establishes the truth of the preceding utterances and has occasioned the psalm. The grand refrain which closes the second and third strophes should probably be restored at the end of ver. 3.
In the first strophe the psalmist paints chaos come again, by the familiar figures of a changed earth, tottering mountains sinking in the raging sea from which they rose at creation, and a wild ocean withthunderous dash appalling the ear and yeasty foam terrifying the eye, sweeping in triumphant insolence over all the fair earth. It is prosaic to insist on an allegorical meaning for the picture. It is rather a vivid sketch of utter confusion, dashed in with three or four bold strokes, an impossible case supposed in order to bring out the unshaken calm of those who have God for ark in such a deluge. He is not only a sure refuge and stronghold, but one easy of access when troubles come. There is little good in a fortress, however impregnable, if it is so difficult to reach that a fugitive might be slain a hundred times before he was safe in it. But this high tower, which no foe can scale, can be climbed at a thought, and a wish lifts us within its mighty walls. The psalmist speaks a deep truth, verified in the spiritual life of all ages, when he celebrates the refuge of the devout soul as "most readily to be found."
As the text stands, this strophe is a verse too short, and ver. 3 drags if connected with "will not we fear." The restoration of the refrain removes the anomaly in the length of the strophe, and enables us to detach ver. 3 from the preceding. Its sense is then completed, if we regard it as the protasis of a sentence of which the refrain is the apodosis, or if, with Cheyne and others, we take ver. 3, "Let its waters roar," etc.—what of that? "Jehovah of hosts is with us." If the strophe is thus completed, it conforms to the other two, in each of which may be traced a division into two pairs of verses. These two verse-pairs of the first strophe would then be inverted parallelism,—the former putting security in God first, and surrounding trouble second, the latter dealing with the same two subjects, but in reversed sequence.
The second strophe brings a new picture to view with impressive suddenness, which is even more vividly dramatic if the refrain is not supplied. Right against the vision of confusion comes one of peace. The abrupt introduction of "a river" as an isolated noun, which dislocates grammatical structure, is almost an exclamation. "There is a river" enfeebles the swing of the original. We might almost translate, "Lo! a river!" Jerusalem was unique among historical cities in that it had no great river. It had one tiny thread of water, of which perhaps the psalmist is thinking. But whether there is here the same contrast between Siloam's gentle flow and the surging waters of hostile powers as Isaiah sets forth in the passage already referred to (Isa. viii. 6), the meaning of this gladdening stream is the ever-flowing communication of God Himself in His grace. The stream is the fountain in flow. In the former strophe we hear the roar of the troubled waters, and see the firm hills toppling into their depths. Now we behold the gentle flow of the river, gliding through the city, with music in its ripples and sunshine in its flash and refreshment in its waters, parting into many arms and yet one in diversity, and bringing life and gladness wherever it comes. Not with noise nor tumult, but in silent communication, God's grace and peace refresh the soul. Power is loud, but Omnipotence is silent. The roar of all the billows is weak when compared with the quiet sliding onwards of that still stream. It has its divisions. As in old days each man's bit of garden was irrigated by a branch led from the stream, so in endless diversity, corresponding to the infinite greatness of the source and the innumerable variety of men's needs, God's grace comes. "All these worketh that one andthe selfsame Spirit, dividing to every man severally." The streams gladden the city of God with the gladness of satisfied thirsts, with the gladness which comes from the contact of the human spirit with Divine completeness. So supplied, the city may laugh at besiegers. It has unfailing supplies within itself, and the enemy may cut off all surface streams, but its "water shall be sure."
Substantially the same thought is next stated in plain words: "God is in the midst of her." And therefore two things follow. One is unshaken stability, and another is help at the right time—"at the turn of the morning." "The Lord is in the midst of her"—that is a perennial fact. "The Lord shall help her"—that is the "grace for seasonable help." He, not we, determines when the night shall thin away its blackness into morning twilight. But we may be sure that the presence which is the pledge of stability and calm even in storm and darkness will flash into energy of help at the moment when He wills. The same expression is used to mark the time of His looking from the pillar of cloud and troubling the Egyptians, and there may be an allusion to that standing instance of His help here. "It is not for you to know the times and the seasons"; but this we may know—that the Lord of all times will always help at the right time; He will not come so quickly as to anticipate our consciousness of need, nor delay so long as to let us be irrevocably engulfed in the bog. "Jesus loved Martha, and her sister, and Lazarus. When He heardthereforethat he was sick, He abode two days still in the same place where He was." Yet He came in time.
With what vigour the short, crashing clauses of ver. 6 describe the wrath and turbulence of the nations, andthe instantaneous dissolving of their strength into weakness at a word from those awful lips! The verse may be taken as hypothetical or as historical. In either case we see the sequence of events as by a succession of lightning flashes. The hurry of the style, marked by the omission of connecting particles, reflects the swiftness of incident, likeVeni, vidi, vici. The utterance of God's will conquers all. At the sound of that voice stillness and a pause of dread fall on the "roar" (same word as in ver. 3) of the nations, like the hush in the woods when thunder rolls. He speaks, and all meaner sounds cease. "The lion hath roared, who shall not fear?" No material vehicle is needed. To every believer in God there is an incomprehensible action of the Divine Will on material things; and no explanations bridge the gulf recognised in the psalmist's broken utterances, which declare sequence and not mode of operation: "He uttered His voice, the earth melted."
Again the triumph of the refrain peals forth, with its musical accompaniment prolonging the impression. In it the psalmist gives voice, for himself and his fellows, to their making their own of the general truths which the psalm has been declaring. The two names of God set forth a twofold ground for confidence. "Jehovah of hosts" is all the more emphatic here since the Second Book of the Psalter is usually Elohistic. It proclaims God's eternal, self-existent Being, and His covenant relation, as well as His absolute authority over the ranked forces of the universe, personal or impersonal, spiritual or material. The Lord of all these legions is with us. When we say "The God of Jacob," we reach back into the past and lay hold of the Helper of the men of old as ours. What He has been, He is; what He did, He is doing still. The river is full to-day,though the van of the army did long ago drink and were satisfied. The bright waters are still as pellucid and abundant as then, and the last of the rear-guard will find them the same.
The third strophe summons to contemplate with fixed attention the "desolations" made by some great manifestation of God's delivering power. It is presupposed that these are still visible. Broken bows, splintered spears, half-charred chariots, strew the ground, and Israel can go forth without fear and feast their eyes on these tokens of what God has done for them. The language is naturally applied to the relics of Sennacherib's annihilated force. In any case it points to a recent act of God's, the glad surprise of which palpitates all through the psalm. The field of history is littered with broken, abandoned weapons, once flourished in hands long since turned to dust; and the city and throne of God against which they were lifted remain unharmed. The voice which melted the earth speaks at the close of the psalm; not now with destructive energy, but in warning, through which tones of tenderness can be caught. God desires that foes would cease their vain strife before it proves fatal. "Desist" is here an elliptical expression, of which the full form is "Let your hands drop"; or, as we say, "Ground your weapons," and learn how vain is a contest with Him who is God, and whose fixed purpose is that all nations shall know and exalt Him. The prospect hinted at in the last words, of a world submissive to its King, softens the terrors of His destructive manifestations, reveals their inmost purpose, and opens to foes the possibility of passing, not as conquerors, but as subjects, and therefore fellow-citizens, through the gate into the city.
1 All ye peoples, clap [your] hands;Shout to God with joyful cry.2 For Jehovah is most High [and] dread,A great King over all the earth.3 He subdues peoples under us,And nations under our feet,4 He chooses for us our inheritance,The pride of Jacob whom He loved. Selah.5 God is gone up with a shout,Jehovah with trumpet clang.6 Sing with the harp to God, sing with the harp:Sing with the harp to our King, sing with the harp.7 For King of all the earth is God:Sing with the harp a skilful song.8 God has become King over the nations:He has taken His seat on His holy throne.9 The princes of the peoples gather themselves together[As] a people of the God of Abraham:For to God belong the shields of the earth;Greatly has He exalted Himself.
The closing thought of Psalm xlvi. is nobly expanded in this jubilant summons to all nations to praise Jehovah as their King. Both psalms have a similar, and probably the same, historical basis: a Divine act so recent that the tumult of triumph has not yet subsided, and the waves of joy still run high. Only in Psalm xlvi. the effect of that God-wrought deliverance is principally regarded as the security and peace of Israel, and in this psalm as the drawing of the nationsto obey Israel's King, and so to join the chorus of Israel's praise. While the psalm has many resemblances to the Songs of the King (Psalm xciii.seqq.), it is clearly in its right place here, as forming with the preceding and succeeding psalms a trilogy, occasioned by one great manifestation of God's care for the nation. No event is more appropriate than the usually accepted destruction of Sennacherib's army. The psalm has little of complexity in structure or thought. It is a gush of pure rapture. It rises to prophetic foresight, and, by reason of a comparatively small historical occasion, has a vision of the world-wide expansion of the kingdom of God. It falls into two strophes of four verses each, with one longer verse appended to the latter.
In the first strophe the nations are invited to welcome God as their King, not only because of His Divine exaltation and world-wide dominion, but also because of His deeds for "Jacob." The same Divine act which in Psalm xlvi. is represented as quelling wars and melting the earth, and in Psalm xlviii. as bringing dismay, pain, and flight, is here contemplated as attracting the nations to worship. The psalmist knows that destructive providences have their gracious aspect, and that God's true victory over men is not won when opposition is crushed and hearts made to quake, but when recognition of His sway and joy in it swell the heart. The quick clatter of clapping hands in sign of homage to the King (2 Kings xi. 12) blends with the shrill cries with which Easterns express joy, in "a tumult of acclaim." Hupfeld thinks that to suppose the heathen called upon to do homage because of the victory for Israel won over them is entirely mistaken. But unless that victory is the reason for the summons,the psalm offers none; and it is surely not difficult to suppose that the exhibition of God's power leads to reflection which issues in recognition of His sovereignty. Vv. 3, 4, seem to state the grounds for the summons in ver. 1. The tenses in these verses present a difficulty in the way of taking them for a historical retrospect of the conquest and partition of Canaan, which but for that objection would be the natural interpretation. It is possible to take them as "a truth of experience inferred from what had just been witnessed, the historical fact being expressed not in historical form, but generalised and idealised" (Delitzsch,in loc.). The just accomplished deliverance repeated in essence the wonders of the first entrance on possession of the land, and revealed the continuous working of the same Divine hand, ever renewing the choice of Jacob's inheritance, and ever scattering its enemies. "The pride of Jacob" is a phrase in apposition with "our inheritance." The Holy Land was the object of "pride" to "Jacob," not in an evil sense but in that he boasted of it as a precious treasure intrusted to him by God. The root fact of all God's ancient and continued blessings is that He "loved." His own heart, not Jacob's deserts, prompted His mercies.
The second strophe is distinguished from the first by the increased fervour of its calls to praise, by its still more exultant rush, and by its omission of reference to Jacob. It is wholly concerned with the peoples whom it invites to take up the song. As in the former strophe the singer showed to the peoples God working in the world, here he bids them look up and see Him ascending on high. "Now that He ascended, what is it but that He also descended first?" The mighty deliverance of which the triumph throbs through thistrilogy of pæans of victory was God's coming down. Now He has gone back to His throne and seated Himself thereon, not as having ceased to work in the world—for He is still King over it all—but as having completed a delivering work. He does not withdraw when He goes up. He does not cease to work here below when He sits throned in His palace-temple above. The "shout" and "voice of a trumpet," which accompany that ascent, are borrowed from the ordinary attendants on a triumphal procession. He soars as in a chariot of praises,—from whose lips the psalm does not say, but probably it intends Israel to be understood as the singer. To that choir the nations are called to join their voices and harps, since God is their King too, and not Jacob's only. The word rendered in the A.V. and R.V. (text) "with understanding" is a noun, the name of a description of psalm, which occurs in several psalm titles, and is best understood as "a skilful song." Ver. 8 gathers up the reasons for the peoples' homage to God. He has "become King" over them by His recent act, having manifested and established His dominion; and He has now "sat down on His throne," as having accomplished His purpose, and as thence administering the world's affairs.
A final verse, of double the length of the others, stands somewhat apart from the preceding strophe both in rhythm and in thought. It crowns the whole. The invitations to the nations are conceived of as having been welcomed and obeyed. And there rises before the poet's eye a fair picture of a great convocation, such as might wait before a world-ruling monarch's throne on the day of his coronation. The princes of the nations, like tributary kings, come flocking to do homage, "as if they surely knew their sovereign Lord was by."
The obliteration of distinction between Israel and the nations, by the incorporation of the latter, so that "the peoples" become part of the "people of the God of Abraham," floats before the singer's prophetic eye, as the end of God's great manifestation of Himself. The two parts of that double choir, which the preceding strophes summon to song, coalesce at last, and in grand unison send up one full-throated, universal melodious shout of praise. "The shields of the earth" are best understood as a figurative expression for the princes just spoken of, who now at last recognise to whom they belong. Thus God has exalted Himself by His deeds; and the result of these deeds is that He is greatly exalted by the praise of a world, in which Israel and the "peoples" dwell as one beneath His sceptre and celebrate His name.
The psalmist looked far ahead. His immediate experience was as "a little window through which he saw great matters." The prophecy of the universal spread of God's kingdom and the inclusion in it of the Gentiles is Messianic; and whether the singer knew that he spoke of a fair hope which should not be a fact for weary centuries, or anticipated wider and permanent results from that triumph which inspired his song, he spake of the Christ, and his strains are true prophecies of His dominion. There is no intentional reference in the psalm to the Ascension; but the thoughts underlying its picture of God's going up with a shout are the same which that Ascension sets forth as facts,—the merciful coming down into humanity of the Divine Helper; the completeness of His victory as attested by His return thither where He was before; His session in heaven, not as idle nor wearied, but as having done what He meant to do; His continuous working as Kingin the world; and the widening recognition of His authority by loving hearts. The psalmist summons us all to swell with our voices that great chorus of praise which, like a sea, rolls and breaks in music round His royal seat.
1 Great is Jehovah, and much to be praised,In the city of our God, His holy mountain.2 Lovely in loftiness, a joy of all the earth,Is Mount Zion, the recesses of the north, the city of the great King.3 God in her palacesHas made Himself known as a high tower.4 For, lo, the kings assembled themselves,They marched onwards together.5 They saw, then they were amazed;They were terror-struck, they fled.6 Trembling seized them there;Pain, as [of] a woman in travail.7 With an east windThou breakest the ships of Tarshish.8 According as we have heard, so have we seenIn the city of Jehovah of hosts, in the city of our God:God will establish her for ever. Selah.9 We have thought, O God, of Thy loving-kindnessIn the midst of Thy Temple.10 According to Thy name, O God,So is Thy praise to the ends of the earth:Thy right hand is full of righteousness.11 Let Mount Zion rejoice,Let the daughters of Judah exult,Because of Thy judgments.12 Compass Zion, and walk round her:Reckon her towers.13 Give heed to her bulwark,Pass through her palaces;That ye may tell it to the generation after.14 That such is God, our God:For ever and aye He will guide us.Al-Muth.
The situation seems the same as in Psalm xlvi., with which this psalm has many points of contact. In both we have the same triumph, the same proud affection for the holy city and sanctuary, the same confidence in God's dwelling there, the same vivid picturing of the mustering of enemies and their rapid dispersion, the same swift movement of style in describing that overthrow, the same thought of the diffusion of God's praise in the world as its consequence, the same closing summons to look upon the tokens of deliverance, with the difference that, in the former psalm, these are the shattered weapons of the defeated foe, and in this the unharmed battlements and palaces of the delivered city. The emphatic word of the refrain in Psalm xlvi. also reappears here in ver. 3. The psalm falls into three parts, of which the first (vv. 1, 2) is introductory, celebrating the glory of Zion as the city of God; the second (vv. 3-8) recounts in glowing words the deliverance of Zion; and the third tells of the consequent praise and trust of the inhabitants of Zion (vv. 9-14).
The general sense of the first part is plain, but ver. 2 is difficult. "Mount Zion" is obviously subject, and "lovely in loftiness" and "joy of all the earth" predicates; but the grammatical connection of the two last clauses is obscure. Further, the meaning of "the sides of the north" has not been satisfactorily ascertained. The supposition that there is an allusion inthe phrase to the mythological mountain of the gods, with which Zion is compared, is surely most unnatural. Would a Hebrew psalmist be likely to introduce such a parallel, even in order to assert the superiority of Zion? Nor is the grammatical objection to the supposition less serious. It requires a good deal of stretching and inserting to twist the two words "the sides of the north" into a comparison. It is more probable that the clause is topographical, describing some part of the city, but what part is far from clear. The accents make all the verse after "earth" the subject of the two preceding predicates, and place a minor division at "north," implying that "the sides of the north" is more closely connected with "Mount Zion" than with the "city of the great King," or than that last clause is.
Following these indications, Stier renders "Mount Zion [and] the northern side (i.e., the lower city, on the north of Zion), which together make the city," etc. Others see here "the Holy City regarded from three points of view"—viz., "the Mount Zion" (the city of David), "the sides of the north" (Mount Moriah and the Temple), "the city of the great King" (Jerusalem proper). So Perowne and others. Delitzsch takes Zion to be the Temple hill, and "the sides of the north" to be in apposition. "The Temple hill or Zion, in the narrower sense, actually formed the north-eastern corner of ancient Jerusalem," says he, and thus regards the subject of the whole sentence as really twofold, not threefold, as appears at first—Zion on the north, which is the palace-temple, and Jerusalem at its feet, which is "the city of the great King." But it must be admitted that no interpretation runs quite smoothly, though the summary ejection of the troublesome words "the sides of the north" from the text is too violent a remedy.
But the main thought of this first part is independent of such minute difficulties. It is that the one thing which made Zion-Jerusalem glorious was God's presence in it. It was beautiful in its elevation; it was safely isolated from invaders by precipitous ravines, inclosing the angle of the plateau on which it stood. But it was because God dwelt there and manifested Himself there that it was "a joy for all the earth." The name by which even the earthly Zion is called is "Jehovah-Shammah, The Lord is there." We are not forcing New Testament ideas into Old Testament words when we see in the psalm an eternal truth. An idea is one thing; the fact which more or less perfectly embodies it is another. The idea of God's dwelling with men had its less perfect embodiment in the presence of the Shechinah in the Temple, its more perfect in the dwelling of God in the Church, and will have its complete when the city "having the glory of God" shall appear, and He will dwell with men and be their God. God in her, not anything of her own, makes Zion lovely and gladdening. "Thy beauty was perfect through My comeliness which I had put upon thee, saith the Lord."
The second part pictures Zion's deliverance with picturesque vigour (vv. 3-8). Ver. 3 sums up the whole as the act of God, by which He has made Himself known as that which the refrain of Psalm xlvi. declared Him to be—a refuge, or, literally, a high tower. Then follows the muster of the hosts. "The kings were assembled." That phrase need not be called exaggeration, nor throw doubt on the reference to Sennacherib's army, if we remember the policy of Eastern conquerors in raising their armies from their conquests, and the boast which Isaiah puts into themouth of the Assyrian: "Are not my princes altogether kings?" They advance against the city. "They saw,"—no need to say what. Immediately they "were amazed." The sight of the city broke on them from some hill-crest on their march. Basilisk-like, its beauty was paralysing, and shot a nameless awe into their hearts. "They were terror-struck; they fled." As in Psalm xlvi. 6, the clauses, piled up without cement of connecting particles, convey an impression of hurry, culminating in the rush of panic-struck fugitives. As has been often noticed, they recall Cæsar'sVeni, vidi, vici; but these kings came, saw,wereconquered. No cause for the rout is named. No weapons were drawn in the city. An unseen hand "smites once, and smites no more"; for once is enough. The process of deliverance is not told; for a hymn of victory is not a chronicle. One image explains it all, and signalises the Divine breath as the sole agent. "Thou breakest the ships of Tarshish with an east wind" is not history, but metaphor. The unwieldy, huge vessel, however strong for fight, is unfit for storms, and, caught in a gale, rolls heavily in the trough of the sea, and is driven on a lee shore and ground to pieces on its rocks. "God blew upon them, and they were scattered," as the medal struck on the defeat of the Armada had it. In the companion psalm God's uttered voice did all. Here the breath of the tempest, which is the breath of His lips, is the sole agent.
The past, of which the nation had heard from its fathers, lives again in their own history; and that verification of traditional belief by experience is to a devout soul the chief blessing of its deliverances. There is rapture in the thought that "As we have heard, so have we seen." The present ever seemscommonplace. The sky is farthest from earth right overhead, but touches the ground on the horizon behind and before. Miracles were in the past; God will be manifestly in the far-off future, but the present is apt to seem empty of Him. But if we rightly mark His dealings with us, we shall learn that nothing in His past has so passed that it is not present. As the companion psalm says, "The God of Jacob isourrefuge," this exclaims, "As we have heard, so have we seen."
But not only does the deliverance link the present with the past, but it flings a steady light into the future. "God shall establish her for ever." The city is truly "the eternal city," because God dwells in it. The psalmist was thinking of the duration of the actual Jerusalem, the imperfect embodiment of a great idea. But whatever may be its fate, the heart of his confidence is no false vision; for God's city will outlast the world. Like the "maiden fortresses," of which there is one in almost every land, fondly believed never to have been taken by enemies, that city is inexpugnable, and the confident answer to every threatening assailant is, "The virgin, the daughter of Zion, hath despised thee, and laughed thee to scorn; the daughter of Jerusalem hath shaken her head at thee." "God will establish her for ever." The pledges of that stability are the deliverances of the past and present.
The third part (vv. 9-14) deals with the praise and trust of the inhabitants of Zion. Deliverance leads to thankful meditation on the loving-kindness which it so signally displayed, and the ransomed people first gather in the Temple, which was the scene of God's manifestation of His grace, and therefore is the fitting place for them to ponder it. The world-wide consequences of thegreat act of loving-kindness almost shut out of sight for the moment its bearing on the worshippers. It is a lofty height to which the song climbs, when it regards national deliverance chiefly as an occasion for wider diffusion of God's praise. His "name" is the manifestation of His character in act. The psalmist is sure that wherever that character is declared praise will follow, because he is sure that that character is perfectly and purely good, and that God cannot act but in such a way as to magnify Himself. That great sea will cast up nothing but pearls. The words carry also a lesson for recipients of Divine loving-kindness, teaching them that they misapprehend the purpose of their blessings, if they confine these to their own well-being and lose sight of the higher object—that men may learn to know and love Him. But the deliverance not only produces grateful meditation and widespread praise; it sets the mother city and her daughter villages astir, like Miriam and her maidens, with timbrel and dance, and ringing songs which celebrate "Thy judgments," terrible as they were. That dead host was an awful sight, and hymns of praise seem heartless for its dirge. But it is not savage glee nor fierce hatred which underlies the psalmist's summons, and still less is it selfish joy. "Thy judgments" are to be hymned when they smite some giant evil; and when systems and their upholders that array themselves against God are drowned in some Red Sea, it is fitting that on its banks should echo, "Sing ye to Jehovah, for He hath triumphed gloriously."
The close of this part may be slightly separated from vv. 9-11. The citizens who have been cooped up by the siege are bidden to come forth, and, free from fear, to compass the city without, and pass between its palaces within, and so see how untouched they are.The towers and bulwark or rampart remain unharmed, with not a stone smitten from its place. Within, the palaces stand without a trace of damage to their beauty. Whatever perishes in any assaults, that which is of God will abide; and, after all musterings of the enemy, the uncaptured walls will rise in undiminished strength, and the fair palaces which they guard glitter in untarnished splendour. And this complete exemption from harm is to be told to the generation following, that they may learn what a God this God is, and how safely and well He will guide all generations.
The last word in the Hebrew text, which the A.V. and R.V. render "even unto death," can scarcely have that meaning. Many attempts have been made to find a signification appropriate to the close of such a triumphal hymn as this, but the simplest and most probable course is to regard the words as a musical note, which is either attached abnormally to the close of the psalm, or has strayed hither from the superscription of Psalm xlix. It is found in the superscription of Psalm ix. ("Al-Muth") as a musical direction, and has in all likelihood the same meaning here. If it is removed, the psalm ends abruptly, but a slight transposition of words and change of the main division of the verse remove that difficulty by bringing "for ever and aye" from the first half. The change improves both halves, laying the stress of the first exclusively on the thought that this God is such a God (or, by another rendering, "is here,"i.e., in the city), without bringing in reference to the eternity of His protection, and completing the second half worthily, with the thought of His eternal guidance of the people among whom He dwells.
1 Hear this, all ye peoples;Give ear, all ye inhabitants of the world:2 Both low-born and high-born,Rich and poor together.3 My mouth shall speak wisdom;And the meditation of my heart shall utter understanding4 I will bend my ear to a parable:I will open my riddle on the harp.5 Why should I fear in the days of evil,When the malice of my pursuers surrounds me,6 [Even of] those who rely on their riches,And boast of their wealth?7 No man can at all redeem a brother;He cannot give to God a ransom for him8 (Yea, too costly is the redemption price of their soul,And he must leave it alone for ever):9 That he may continue living on for ever,And may not see the pit.10 Nay, he must see that the wise dieThe fool and the brutish perish alike,And leave to others their riches.11 Their inward thought [is that] their houses [shall last] for ever,Their dwellings to generation after generation;They call their lands by their own names.12 But man [being] in honour abides not:He becomes like the beasts [that] are brought to silence.13 This is the lot of them to whom presumptuous confidence belongs:And after them men approve their sayings. Selah.14 Like sheep they are folded in Sheol;Death shepherds them:And the upright shall rule over them in the morning;And their form shall be wasted away by Sheol,So that it is without a dwelling.15 Surely God shall redeem my soul from the power of Sheol:For He shall take me. Selah.16 Fear not thou when a man becomes rich,When the glory of his house increases:17 For when he dies he will not take away any [of it];His glory shall not go down after him.18 Though in his lifetime he bless his soul(And [men] praise thee when thou doest well for thyself)19 He shall go to the generation of his fathers;For evermore they see not light.20 Man [who is] in honour, and has not understanding,Becomes like the beasts that are brought to silence.
This psalm touches the high-water mark of Old Testament faith in a future life; and in that respect, as well as in its application of that faith to alleviate the mystery of present inequalities and non-correspondence of desert with condition, is closely related to the noble Psalm lxxiii., with which it has also several verbal identities. Both have the same problem before them—to construct a theodicy, or "to vindicate the ways of God to man"—and both solve it in the same fashion. Both appear to refer to the story of Enoch in their remarkable expression for ultimate reception into the Divine presence. But whether the psalms are contemporaneous cannot be determined from these data. Cheyne regards the treatment of the theme in Psalm lxxiii. as "more skilful," and therefore presumably later than Psalm xlix., which he would place "somewhat before the close of the Persian period." This date rests on the assumption that the amount of certitude as to a future life expressed in the psalm was not realised in Israel till after the exile.
After a solemn summons to all the world to hear the psalmist's utterance of what he has learned by Divine teaching (vv. 1-4), the psalm is divided intotwo parts, each closed with a refrain. The former of these (vv. 5-12) contrasts the arrogant security of the prosperous godless with the end that awaits them; while the second (vv. 13-20) contrasts the dreary lot of these victims of vain self-confidence with the blessed reception after death into God's own presence which the psalmist grasped as a certainty for himself, and thereon bases an exhortation to possess souls in patience while the godless prosper, and to be sure that their lofty structures will topple into hideous ruin.
The psalmist's consciousness that he speaks by Divine inspiration, and that his message imports all men, is grandly expressed in his introductory summons. The very name which he gives to the world suggests the latter thought; for it means—the world considered as fleeting. Since we dwell in so transitory an abode, it becomes us to listen to the deep truths of the psalm. These have a message for high and low, for rich and poor. They are like a keen lancet to let out too great fulness of blood from the former, and to teach moderation, lowliness, and care for the Unseen. They are a calming draught for the latter, soothing when perplexed or harmed by "the proud man's contumely." But the psalmist calls for universal attention, not only because his lessons fit all classes, but because they are in themselves "wisdom," and because he himself had first bent his ear to receive them before he strung his lyre to utter them. The brother-psalmist, in Psalm lxxiii., presents himself as struggling with doubt and painfully groping his way to his conclusion. This psalmist presents himself as a divinely inspired teacher, who has received into purged and attentive ears; in many a whisper from God, andas the result of many an hour of silent waiting, the word which he would now proclaim on the housetops. The discipline of the teacher of religious truth is the same at all times. There must be the bent ear before there is the message which men will recognise as important and true.
There is no parable in the ordinary sense in the psalm. The word seems to have acquired the wider meaning of a weighty didactic utterance, as in Psalm lxxviii. 2. The expression "Open my riddle" is ambiguous, and is by some understood to mean the proposal and by others the solution of the puzzle; but the phrase is more naturally understood of solving than of setting a riddle, and if so, the disproportion between the characters and fortunes of good and bad is the mystery or riddle, and the psalm is its solution.
The main theme of the first part is the certainty of death, which makes infinitely ludicrous the rich man's arrogance. It is one version of