《Ellicott’s Commentary for English Readers – Psalms (Vol. 1)》(Charles J. Ellicott) Commentator

20 Psalm 20
Introduction

XX.

This psalm is addressed to a king going to battle, and was plainly arranged for part-singing in the Temple. The congregation lead off with a prayer for the monarch’s success (Psalms 20:1-5). The priest, or the king himself, as priest, after watching the successful performance of the sacrificial rites, pronounces his confidence of the victory (Psalms 20:6-8), upon which the shout, “God save the king! “is raised by the whole host, which acclaim again sinks down into the calmer prayer, “May he hear us when we cry.”

The transparent language of the poem and its simple arrangement, the smooth symmetry of the rhythm, and the quiet advance in thought, are all in favour of its being a hymn carefully composed for a public occasion and not a poetical effusion of the feelings of the moment. It is not therefore necessary to discuss the authorship or the question of what particular king it was intended for. It may be taken as a type of the sacrificial hymn. There is, however, a strong Jewish tradition which connects its use, if not its composition, with Hezekiah (Stanley, Jewish Church, ii. 461).

Verse 1

(1) Day of trouble . . . God of Jacob.—This certainly recalls the patriarch’s words (Genesis 35:3), “I will make there an altar unto God, who answered me in the day of my distress.” The “name” alone of the God of Jacob was a safeguard to the people, called after their great forefather “Israel. So even under the shadow of the greatness of human monarchs and heroes whole peoples have often felt secure and strong, using no other weapon but his name.

Defend thee.—Better, set thee up on high (comp. Psalms 69:29; Psalms 91:14) as in a fortress, out of the reach of foes.

Verse 3

(3) All thy offerings.—The king is sacrificing, according to custom, before battle (1 Samuel 13:9), the burnt offering (ôlah, from root to “go up,” i.e., of the smoke) and the bloodless offering (minchah, from root “to portion out”) of fine flour. (See Leviticus 2:1). Since the word rendered in our version memorial (Leviticus 24:7), which is a derivative of the verb here rendered “remember,” has been proved by eminent scholars to signify “incense,” we may believe the psalmist meant—

“Accept the incense of all thy minchah,

And the fat of thy ôlah”

Indeed Mr. Burgess would render “smell” and “relish.”

Accept.—Literally, make fat (Psalms 23:5, “anointest”) i.e., regard or receive as a fat or a worthy offering. The objection to the alternative rendering, “turn to ashes,” i.e., “consume,” (Leviticus 9:24; 1 Kings 18:38), is that the Hebrew word never elsewhere has that sense, but only that of “cleansing from ashes.”

Verse 5

(5) We will set up our banners.—Rather, we will wave our banners. (Comp. Song of Solomon 6:10.) The whole army, or their representatives, assembled in the Temple courts, raise the encouraging shout.

Verse 6

(6) Now know I.—Better, now know I that Jehovah hath saved his anointed, i.e., the king who is the subject of the poem, it being out of keeping with the rest of the poem to understand “Israel” or the “ideal” king here. The now is emphatic. After seeing the sacrifice performed, and feeling sure of its acceptance, this confidence is expressed.

From his holy heaven.—The prayer in Psalms 20:2 had mentioned the sanctuary as the residence of the Divine power, and its symbol, the ark, being deposited there (1 Samuel 4:4). The inspiration now expresses a yet higher conviction. The manifestation of succour will not be through any earthly symbol of God’s might, but immediately from His dwelling-place on high.

With the saving.—Better, with the might of the help of.

Verse 7

(7) Trust.—The poetry is weakened by the insertion of this word. Render, These in chariots and these on horses; but we in the name of Jehovah our God make boast. The mention of horses and chariots suggests a Syrian war, since the armies of Syria were peculiarly strong in this arm. For an interesting historical reference to this verse, see Macaulay’s Hist. of England, chap. ix.

Verse 8

(8) Stand upright.—We seem to see a whole battle fought before our eyes, in which those formerly struck down rise, and returning to the fight, beat off their foes, and in their turn lay them low. “We were fallen, but have risen, and stand upright.”

Verse 9

(9) Save Lord . . .—The Authorised Version follows the accentuation of the Masoretic text, but spoils the rhythm, and interrupts the sense. The LXX. and Vulg., followed by all modern commentators, dividing the verse differently render, “Jehovah, save the king,” whence our National Anthem. Jehovah thus becomes the subject of the verb hear in the last clause. “May He hear us in the day of our calling.” The change from second to third person is characteristic of the Hebrew manner of conquering emotion, and allowing the close of a poem to die away in calm and subdued language. (Comp. Psalms 110:7.)

21 Psalm 21
Introduction

XXI.

The preceding psalm was a prayer for success; this is a thanksgiving after victory. Possibly, as many think, the two refer to the same event, and are by the same author. The composition is also similar, since here also the arrangement is for a part song. The people—probably a chorus of maidens (see Note to Psalms 21:3), or of Levites—meet the returning hero, with their shouts of praise to Jehovah (Psalms 21:1-7). The monarch himself is then addressed, perhaps by the leader of the procession (Psalms 21:8-12), and the whole concourse again unite in a burst of praise to God at the end. The rhythm is weak and ill-sustained.

Verse 1

(1) The king shall.—Rather, the king is exulting in thy might (which has secured the victory he prayed for), and in thy help how greatly glad is he.

Verse 2

(2) Request.—The Hebrew word occurs nowhere else, but is connected with a root, to be poor, and, therefore, in want. The “not” is emphatic: “And the request of his lips thou hast by no means withheld.” The mention in Psalms 21:4 of a prayer for long life, or perhaps, rather, continuance of life, suggests that this “request” was uttered in sickness. On the other hand the general tone of the psalm connects it with a victory.

Verse 3

(3) Thou preventest—i.e., comest to meet him. The word “prevent” is familiar in this sense in the English collect: “Prevent us, O Lord, in all our doings.” (Comp. Psalms 79:8; 1 Thessalonians 4:15.) The “crown “is by some identified with that won by David at Rabbah Moab. Others make it refer to a coronation. Ewald thinks of a birthday celebration. Probably no more is intended than a symbol of victory and rejoicing. Maidens were accustomed to meet a monarch returning in victory, and to offer a crown, or garland, which was a symbol of extraordinary rejoicing. (Comp. 1 Samuel 18:6; Psalms 68:11; Song of Solomon 3:11; Wisdom of Solomon 2:8; Judith 15:13; 3 Maccabees 7:16.)

Verse 4

(4) For ever and ever.—This is merely a term for indefinite length. (Comp. the common salutation of a king: 1 Kings 1:31; Nehemiah 2:3; Daniel 3:9.) An allusion to the eternal kingdom of the Messiah is not to be forced on the passage.

Verse 6

(6) Most blessed.—Literally, blessings. The idiom is similar to that in Psalms 1:1.

With thy countenance.—Rather, In thy presence. (Comp. Psalms 16:11.)

Verse 8

(8) Thine.—The psalm has hitherto been addressed to Jehovah. It now turns in prophetic strain to the king.

Verse 9

(9) Thou shalt make . . .—As it stands the figure is most obscure. Lamentations 5:10 is not analogous. Here the fire and not the blackness of the smoky oven is the object of comparison. A very slight literal change gives the sense obviously required: Thou shalt put them into a fiery oven. The figure is not drawn from Sodom and Gomorrah, but from a smelter’s furnace. (Comp. Isaiah 31:9; Malachi 3:3. For the custom in its literal horror, see Jeremiah 48:45; Jeremiah 49:2; Amos 2:1, where the reference is to the Transjordanic tribes.) The Philistines subjected their enemies to a similar treatment (Judges 15:6).

In the time of thine anger.—Literally, of thy face, i.e., by thy very appearance. The dread majesty of God’s face is often thus spoken of (Psalms 34:16; Leviticus 20:6). Here the same awful power of withering the wicked with a glance is ascribed to the representative of Jehovah. (Comp. Proverbs 16:14-15; Proverbs 19:12.) But, as if startled by the boldness of his own figure, the poet instantly refers to Jehovah.

In his wrath.—Literally, in his nostril, in direct parallelism with “face” in last clause.

Verse 10

(10) Their fruit.—More fully, “fruit of the womb” (Psalms 127:3; Psalms 132:11).

Verse 11

(11) For they.—Better, though they have intended evil against thee, have plotted mischief, they have no power at all.

Verse 12

(12) Therefore.—Literally, for thou shalt put them shoulder (pones eos dorsum, Vulg.). Upon thy strings thou shalt aim against the face of them. Ewald renders: “Shalt strike them back;” but the English version seems to explain rightly To “give the neck of an enemy” (Psalms 18:4) is a similar form of expression.

Verse 13

(13) Thou.—Again the song turns to address Jehovah.

So will we sing and praise.—Better, We will both with song and lyre celebrate Thy power.

22 Psalm 22
Introduction

XXII.

The fact that Jesus uttered from His cross the words of bitter woe that begin this poem, have given and must ever give it a special interest and importance. It was natural that Christian sentiment should fasten lovingly on it, and almost claim it, not only as a record of suffering typical of our Lord’s suffering, but as actually in every detail prophetic of Him. But the signs of a true Messianic character of prophecy are to be looked for in moral likeness, not in accidental resemblances of situation, or coincidences of language, and in this sense Psalms 22 must ever be considered Messianic.

Nothing in David’s recorded life bears out the title. The identification of the sufferer with Jeremiah, though much more probable, is excluded by the joyous and hopeful tone of the conclusion of the poem. But is it an individual sufferer at all, and not rather suffering Israel whose profound misery in the first part, and whose happy restoration in the second, the poet depicts?

If such an interpretation suits the description of the suffering servant of Jehovah in Isa. Iii., 53, as many critics think (comp. Isaiah 49:3), it suggests itself for this psalm which has so many points of analogy with that passage (see Notes). The herds of wild beasts that surround the sufferer are more appropriate as a figure of hostile tribes than of personal enemies, and the vivid picture of suffering in Psalms 22:14-15 are not less applicable to the material condition of an oppressed nation than the description in Isaiah 1:5-6 is to the moral condition. (Comp. Isaiah 52:14.) Such a view certainly suits the conclusion of the psalm better than any other. The individual sufferer at all events there disappears, and his fortunes merge in those of the nation (notice the change to the plural in Psalms 22:26; Psalms 22:29), and the brilliant prospect of a time when the tale of God’s righteousness shall be handed down from generation to generation is that of the prophet who has mourned his country’s woes rather than his own, and has seen in faith the prayers of Israel heard, and the promises made to her amply performed.

Still, the strong personal tone in the opening of the poem suggests that this prophet was himself closely identified with the sufferings he depicts, and shared them not only in sympathy but in reality, and the great consensus of opinion looks for the author among the sufferers in the exile, and probably among the Levites. (See Note, Psalms 22:26.) The rhythm is irregular, suited to such a dirge.

Upon Aijeleth Shahar.—More correctly, upon Ayyeleth ha-shachar, i.e., upon the hind of the morning, a phrase which at once suggests either an instrument so named, or a particular tune to which the psalm was to be sung, as we might say, “to the tune of ‘As pants the hart.’ ” The latter is the view to which all the best commentators have now unanimously come. It is not worth while even to notice other conjectures.

Verse 1

(1) My God, my God.—Heb., Eli, Eli, lama azavtanî, where the Targum paraphrases sabbacthani, the form used by our Saviour on the cross. (See Notes, N. T. Comm., Matthew 27:46; Mark 15:34.) The LXX. and Vulgate insert “look upon me.” (Comp. English Prayer Book version.) For the despairing tone comp. Psalms 80:14. It suits the whole of pious Israel in her times of trouble even better than any individual.

The second part of the verse is obscure from its lyric conciseness, but the Authorised Version has given the meaning, though sacrificing the rhythm—

“My God, my God, why hast thou forsaken me,

Far from my aid, from the words of my groaning?”

i.e., far from listening to the words that escape me only in groans.

Roaring.—A word used generally of a lion (Isaiah 5:29; comp. Judges 14:5); but also of a man (Psalms 38:9). Hitzig’s conjecture, “from my cry,” instead of “from my help,” is very plausible, since it makes the parallelism complete and involves a very slight change. The LXX. and Vulg. have “the words of my offences.”

Verse 2

(2) And am not silent.—This misses the parallelism, which evidently requires “O my God, I cry in the daytime, and thou answerest not; in the night, and find no repose.”

Verse 3

(3) But.—In spite of his seeming desertion the poet still believes Jehovah is the God of the covenant—still the Holy One in whom His people could trust.

The phrase “inhabiting the praises of Israel,” recalls the more usual “thou that dwellest between the cherubims” (1 Samuel 4:4; 2 Samuel 6:2; Psalms 80:1; Psalms 99:1, where see Note). But the idea here is more spiritual. The ever-ascending praises of His people become a throne for the Divine King, and take the place of the outstretched wings of the cherubim. Perhaps there is a reminiscence of Exodus 15:11-12. This explanation is at once more literal and better than the Rabbinical, “enthroned as the praises.” (Comp. Aquila: “as the hymns.”)

Verse 5

(5) Confounded—i.e., ashamed.

Verse 6

(6) Worm.—An indication of extreme degradation and helplessness. (Comp. Isaiah 41:14.)

Verse 7

(7) Laugh me to scorn.—LXX., ἐξεμυκτήρισάν, the verb used by St. Luke in his description of the crucifixion (Luke 23:35).

Shoot out the lip.—Literally, open with the lip (Psalms 35:21; Job 16:10). We use the expression, “curl the lip.”

Verse 8

(8) He trusted.—So the LXX. (Comp. Matthew 27:43.) So, too, Ewald among moderns. But generally the form gol (short for gôl) is taken as an imperative. Literally, roll thyself on God. (Comp. Psalms 37:5; Proverbs 16:3, margin.)

Verse 9

(9) But.—Better, For. Faith that turns to God in spite of derision is the best answer to derision.

Thou didst make me hope.—Better, thou didst make me repose on my mother’s breast.

Verse 12

(12) Bulls of Bashan.—For “Bashan” see Numbers 21:33; for its pastures and cattle, comp. Deuteronomy 32:14, and for the figures, Amos 4:1. Instead of “fat bulls,” the LXX. and Vulgate paraphrase “strong ones of Bashan.” The point of the comparison lies in the wantonness and insolence of pampered pride, displayed by the minions of fortune.

Verse 13

(13) Ravening.—Literally, tearing in pieces. (Comp. Lamentations 2:15-16; Lamentations 3:10.)

Roaring.—Comp. Amos 3:4.

Verse 14

(14) The state of hopeless prostration into which the victim of these terrible foes is brought could not be more powerfully described. It is a state of entire dissolution. Again Lamentations 2:2 offers a close parallel.

Out of joint.—Perhaps, better, stand out as in a state of emaciation. (Comp. Psalms 22:17.) Literally, separate themselves. In other places, however, “bones” is used in the sense in which we use “fibres,” in such a phrase as “all the fibres of his frame.”

Verse 15

(15) My strength.—The conjecture, “my palate,” instead of “my strength,” improves the parallelism. Others, but not so happily, “my moisture.”

The dust of death.—Comp. Shakespeare’s “Macbeth:”

“The way to dusty death.”

Verse 16

(16) Dogs.—Literally, barkers. (For the wild scavenger dogs of the East, comp. 1 Kings 12:19, &c) Symmachus and Theodotion render, “hunting dogs.”

The assembly of the wicked denotes the factious nature of the attacks on the sufferer. His enemies have combined, as savage animals, to hunt in packs. Comp. Virgil, Æn. ii. 351:—

——“lupi ceu

Raptores atra in nebula.”

They pierced.—The word thus rendered has formed a battle-ground for controversy. As the Hebrew text at present stands the word reads kâarî (like a lion). (Comp. Isaiah 38:13.) But no intelligible meaning can be got out of “like a lion my hands and my feet.” Nor does the plan commend itself of dividing the verses differently, and reading, “The congregation of wicked men have gathered round me like a lion. On my hands and my feet I can tell all my bones.” The punctuation of the text must therefore be given up, and a meaning sought by changing the reading. The necessity of a change is supported both by the ancient versions and by some MSS., and also by the Masora; though considerable difference exists as to what the word should be read. If the authority of the ancient versions alone were to decide, some verb in the past tense must be read, but the most reasonable course is to accept the present text, but with a different vowel, treating it as a participle, with suffix, of kûr, whose root-idea, according to Ewald, is “to bind;” but according to most other scholars is “to dig.” It is, however, so doubtful whether it can mean to dig through—i.e., to pierce—that it is better to understand here a binding of the limbs so tightly as to dig into them, and wound them. Render: “The band of villains [literally, breakers] surrounded me, binding my hands and feet so as to cut them.”

Verse 18

(18) They part my garments . . .—i.e., as of one already dead. The word “garment” (beged) and “vesture” (lebûsh) are synonymous terms for the same article of dress—the modern abba, or plaid, the usual outer garment of the Bedouin. The latter is a more poetic term. (See Bib. Diet, art. “Dress.”) The application of the verse in John 19:24, &c, adds a refinement not present in the psalm.

Verse 19

(19) Darling.—See margin. The Hebrew word is used of an only child, Genesis 22:2; Genesis 22:12, Judges 11:34; of a person left desolate, Psalms 25:16; Psalms 68:6; here as a synonym for “soul” or “life.” We may compare the common Homeric expression, ϕίλον κῆρ.

Verse 21

(21) Unicorns.—See Numbers 23:22; either “buffaloes” or “antelopes.” There is some uncertainty about the translation of the second clause of this verse. It may be (1) “And from the horns of buffaloes hear me,” i.e., hear me calling for help from the horns, &c; or (2) “Save me from the lion’s mouth, and from the horns of buffaloes Thou hast heard me”—a sudden transition from plaintive prayer to exultant faith; or (3), following the LXX. and Vulg., “And from the horns of buffaloes save me, poor and humble as I am.” The first is, on the whole, preferable, as preserving the parallelism better.

Verse 22

(22) I will declare.—For the application of this verse in Hebrews 2:12, see New Testament Commentary.

Verse 23-24

(23, 24) These verses contain the substance of the poet’s joyful announcement.

Verse 26

(26) The meek.—Better, The afflicted. This term, combined here with so many expressions for the worship of Jehovah, points to the Levites.

Your heart.—LXX. and Vulg., “their,” which carries on the construction better. But such sudden changes of person are common in Hebrew; see even next verse. The feast that was made after a great sacrifice, such as 2 Chronicles 7:5, not improbably suggested the figure of the banquet at which all the restored of Israel should meet; afterwards elaborated in the prophets (comp. Isaiah 25:6), and adopted in its refined spiritual sense by our Lord (Luke 14:16).

The prophetic glance reaches further than the immediate occasion, and in the sufferer’s triumphant sense of vindication and restoration he embraces the whole world. (Comp. Jeremiah 16:19.) The interposition of Divine judgment in favour of Israel will warn the nations into sudden recollection of Him, and bring them submissive to His throne.

Verse 29

(29) Shall eat.—The figure of the banquet is resumed from Psalms 22:26, and extended. The mention of the “fat upon earth,” as included in this feast, seems certainly out of place, and injures the parallelism. We must change the text to either (1) “Shall eat and do homage all earth’s mourners,” or (2) “Ah! to him shall be bowed all the fat ones of earth.”

They that go down to the dust—i.e., those on the point to die through their sufferings.

And none can keep.—Better, And he who cannot keep his soul alive. Literally, has not kept. But the parallelism shows that this is not spoken of those actually dead, but of those not able from poverty to keep body and soul together.

Verse 30

(30) A seed . . .—Better, Posterity shall serve Him. About Jehovah it shall be told to the (coming) generation. The article makes for this interpretation. Others, as in Psalms 87:6, understand a reference to the census; but the parallelism is against this reference. The next verse repeats the same thought in another form.

Verse 31

(31) They shall come—i.e., the generation just foretold: it shall announce His righteousness to a still younger generation (literally, to a people born) that He wrought. The tale of Jehovah’s goodness to Israel would be handed on from age to age,

“His triumphs would be sung

By some yet unmoulded tongue.”

23 Psalm 23
Introduction

XXIII.

Under two images equally familiar in Hebrew poetry—that of the shepherd watching over his flock, and of the banquet where Jehovah presides over the just—this psalm expresses the tranquility and happiness of those who are conscious of the Divine protection. But, after the Hebrew lyric manner, direct allusions to circumstances mingle with the images. We think therefore of some real person and some actual experience, and not of an allegorical reference to the return of the people of Israel from exile, or of the guidance of the rescued nation from Egypt through the wilderness, which were favourite modes of explanation among the Rabbis. The mention of the house of Jehovah seems decisive against the Davidic authorship, which else it would be fascinating to accept, breathing, as the exquisite verse does, the freshness and beauty of the “sweet singer’s” early shepherd days. The feast, too, under the enemies’ eyes, might have been a reminiscence of Mahanaim; but if David’s fortunes have thus coloured the psalm, it must have been through the mind of some later writer. The rhythm of the poem is as tender as the thought.