Psalms 42 — BST — Scriptura

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42A Psalm of David.Judge me, O God, and plead my cause, against an ungodly nation: deliver me from the unjust and crafty man.^{Verse 2}For thou, O God, art my strength: wherefore hast thou cast me off? and why do I go sad of countenance, while the enemy oppresses me?^{Verse 3}Send forth thy light and thy truth: they have led me, and brought me to thy holy mountain, and to thy tabernacles.^{Verse 4}And I will go in to the altar of God, to God who gladdens my youth: I will give thanks to thee on the harp, O God, my God.^{Verse 5}Wherefore art thou very sad, O my soul? and wherefore dost thou trouble me? Hope in God; for I will give thanks to him, who is the health of my countenance, and my God.

Commentary

(Heb.: 42:2-6) The poet compares the thirsting of his soul after God to the thirsting of a stag. איּל (like other names of animals is epicoene, so that there is no necessity to adopt Bצttcher's emendation כּעיּלת תערג) is construed with a feminine predicate in order to indicate the stag (hind) as an image of the soul. ערג is not merely a quiet languishing, but a strong, audible thirsting or panting for water, caused by prevailing drought, Psa 63:2; Joe 1:20; the signification desiderare refers back to the primary notion of inclinare (cf. Arab. 'l-mı̂l, the act of inclining), for the primary meaning of the verb Arab. ‛rj is to be slanting, inclined or bent, out of which has been developed the signification of ascending and moving upwards, which is transferred in Hebrew to an upward-directed longing. Moreover, it is not with Luther (lxx, Vulgate and authorized version) to be rendered: as the (a) stag crieth, etc., but (and it is accented accordingly): as a stag, which, etc. אפיק = אפק is, according to its primary signification, a watercourse holding water (vid., Psa 18:16). By the addition of מים the full and flowing watercourse is distinguished from one that is dried up. על and אל point to the difference in the object of the longing, viz., the hind has this object beneath herself, the soul above itself; the longing of the one goes deorsum, the longing of the other sursum. The soul's longing is a thirsting לאל חי. Such is the name here applied to God (as in Psa 84:3) in the sense in which flowing water is called living, as the spring or fountain of life (Psa 36:10) from which flows forth a grace that never dries up, and which stills the thirst of the soul. The spot where this God reveals Himself to him who seeks Him is the sanctuary on Zion: when shall I come and appear in the presence of Elohim?! The expression used in the Law for the three appearings of the Israelites in the sanctuary at solemn feasts is אל־פני ה נראה or את־פני, Exo 23:17; Exo 34:23. Here we find instead of this expression, in accordance with the license of poetic brevity, the bare acc. localis which is even used in other instances in the definition of localities, e.g., Eze 40:44). Bttcher, Olshausen, and others are of opinion that אראה in the mind of the poet is to be read אראה, and that it has only been changed into אראה through the later religious timidity; but the avoidance of the phrase ראה פּני ה is explained from the fundamental assumption of the Tra that a man could not behold God's פנים without dying, Exo 33:20. The poet now tells us in Psa 42:4 what the circumstances were which drove him to such intense longing. His customary food does not revive him, tears are his daily bread, which day and night run down upon his mouth (cf. Psa 80:6; Psa 102:20), and that בּאמר, when say to him, viz., the speakers, all day long, i.e., continually: Where is thy God? Without cessation, these mocking words are continually heard, uttered again and again by those who are found about him, as their thoughts, as it were, in the soul of the poet. This derision, in the Psalms and in the Prophets, is always the keenest sting of pain: Psa 79:10; Psa 115:2 (cf. Psa 71:11), Joe 2:17; Mic 7:10. In this gloomy present, in which he is made a mock of, as one who is forsaken of God, on account of his trust in the faithfulness of the promises, he calls to remembrance the bright and cheerful past, and he pours out his soul within him (on the עלי used here and further on instead of בּי or בּקרבּי, and as distinguishing between the ego and the soul, vid., Psychol. S. 152; tr. p. 180), inasmuch as he suffers it to melt entirely away in pain (Job 30:16). As in Psa 77:4, the cohortatives affirm that he yields himself up most thoroughly to this bittersweet remembrance and to this free outward expression of his pain אלּה (haecce) points forwards; the כּי (quod) which follows opens up the expansion of this word. The futures, as expressing the object of the remembrance, state what was a habit in the time past. עבר frequently signifies not praeterire, but, without the object that is passed over coming into consideration, porro ire. סך (a collateral form of סך), properly a thicket, is figuratively (cf. Isa 9:17; Isa 10:34) an interwoven mass, a mixed multitude. The rendering therefore is: that I moved on in a dense crowd (here the distinctive Zinnor). The form אדּדּם is Hithpa., as in Isa 38:15, after the form הדּמּה from the verb דּדה, "to pass lightly and swiftly along," derived by reduplication from the root דא (cf. Arab. d'ud'u), which has the primary meaning to push, to drive (ἐλαύνειν, pousser), and in various combinations of the ד (דא, Arab. dah, דח, Arab. da‛, דב, דף) expresses manifold shades of onward motion in lighter or heavier thrusts or jerks. The suffix, as in גּדלני = גּדל עמּי, Job 31:18 (Ges. 121, 4), denotes those in reference to whom, or connection with whom, this moving onwards took place, so that consequently אדּדּם includes within itself, together with the subjective notion, the transitive notion of אדדּם, for the singer of the Psalm is a Levite; as an example in support of this אדּדּם, vid., Ch2 20:27., cf. v. 21. המון חוגג is the apposition to the personal suffix of this אדדם: with them, a multitude keeping holy-day. In Psa 42:6 the poet seeks to solace and encourage himself at this contrast of the present with the past: Why art thou thus cast down... (lxx ἵνα τί περίλυπος εἶ, κ. τ. λ., cf. Mat 26:38; Joh 12:27). It is the spirit which, as the stronger and more valiant part of the man, speaks to the soul as to the σκεῦος ἀσθενέστερον; the spiritual man soothes the natural man. The Hithpa. השׁתּוחח, which occurs only here and in Psa 43:1-5, signifies to bow one's self very low, to sit down upon the ground like a mourner (Psa 35:14; Psa 38:7), and to bend one's self downwards (Psa 44:26). המה (the future of which Ben-Asher here points ותּהמי, but Ben-Naphtali ותּהמּי), to utter a deep groan, to speak quietly and mumbling to one's self. Why this gnawing and almost desponding grief? I shall yet praise Him with thanksgiving, praise ישׁוּעות פּניו, the ready succour of His countenance turned towards me in mercy. Such is the text handed down to us. Although it is, however, a custom with the psalmists and prophets not to express such refrainlike thoughts in exactly the same form and words (cf. Psa 24:7, Psa 24:9; Psa 49:13, 21; Psa 56:5, Psa 56:11; Psa 59:10, 18), nevertheless it is to be read here by a change in the division both of the words and the verses, according to Psa 42:5 and Psa 43:5, ישׁוּעות פּני ואלהי, as is done by the lxx (Cod. Alex.), Syriac, Vulgate, and most modern expositors. For the words ישׁועות פניו, though in themselves a good enough sense (vid., e.g., Psa 44:4, Isa 64:9), produce no proper closing cadence, and are not sufficient to form a line of a verse. (Note: Even an old Hebrew MS directs attention to the erroneousness of the Soph pasuk here; vid., Pinsker, Einleitung, S. 133 l.)

(Heb.: 42:7-12) The poet here continues to console himself with God's help. God Himself is indeed dishonoured in him; He will not suffer the trust he has reposed in Him to go unjustified. True, עלי seems at the beginning of the line to be tame, but from עלי and אזכּרך, the beginning and end of the line, standing in contrast, עלי is made emphatic, and it is at the same time clear that על־כּן is not equivalent to אשׁר על־כּן - which Gesenius asserts in his Lexicon, erroneously referring to Psa 1:5; Psa 45:3, is a poetical usage of the language; an assertion for which, however, there is as little support as that כּי על־כּן in Num 14:43 and other passages is equivalent to על־כּן כּי. In all such passages, e.g., Jer 48:36, על־כּן means "therefore," and the relationship of reason and consequence is reversed. So even here: within him his soul is bowed very low, and on account of this downcast condition he thinks continually of God, from whom he is separated. Even in Jon 2:8 this thinking upon God does not appear as the cause but as the consequence of pain. The "land of Jordan and of Hermonim" is not necessarily the northern mountain range together with the sources of the Jordan. The land beyond the Jordan is so called in opposition to ארץ לבנון, the land on this side. According to Dietrich (Abhandlungen, S. 18), חרמונים is an amplificative plural: the Hermon, as a peak soaring far above all lower summits. John Wilson (Lands of the Bible, ii. 161) refers the plural to its two summits. But the plural serves to denote the whole range of the Antilebanon extending to the south-east, and accordingly to designate the east Jordanic country. It is not for one moment to be supposed that the psalmist calls Hermon even, in comparison with his native Zion, the chosen of God. הר מצער, i.e., the mountain of littleness: the other member of the antithesis, the majesty of Zion, is wanting, and the מן which is repeated before הר is also opposed to this. Hitzig, striking out the מ of מהר, makes it an address to Zion: "because I remember thee out of the land of Jordan and of summits of Hermon, thou little mountain;" but, according to Psa 42:8, these words are addressed to Elohim. In the vicinity of Mitz‛are, a mountain unknown to us, in the country beyond Jordan, the poet is sojourning; from thence he looks longingly towards the district round about his home, and just as there, in a strange land, the wild waters of the awe-inspiring mountains roar around him, there seems to be a corresponding tumult in his soul. In Psa 42:8 he depicts the natural features of the country round about him - and it may remind one quite as much of the high and magnificent waterfalls of the lake of Muzêrı̂b as of the waterfall at the course of the Jordan near Paneas and the waters that dash headlong down the mountains round about - and in Psa 42:8 he says that he feels just as though all these threatening masses of water were following like so many waves of misfortune over his head (Tholuck, Hitzig, and Riehm). Billow follows billow as if called by one another (cf. Isa 6:3 concerning the continuous antiphon of the seraphim) at the roar (לקול as in Hab 3:16) of the cataracts, which in their terrible grandeur proclaim the Creator, God (lxx τῶν καταῤῥακτῶν σου) - all these breaking, sporting waves of God pass over him, who finds himself thus surrounded by the mighty works of nature, but taking no delight in them; and in them all he sees nothing but the mirrored image of the many afflictions which threaten to involve him in utter destruction (cf. the borrowed passage in that mosaic work taken from the Psalms, Jon 2:4). He, however, calls upon himself in Psa 42:9 to take courage in the hope that a morning will dawn after this night of affliction (Psa 30:6), when Jahve, the God of redemption and of the people of redemption, will command His loving-kindness (cf. Psa 44:5, Amos; 3f.); and when this by day has accomplished its work of deliverance, there follows upon the day of deliverance a night of thanksgiving (Job 35:10): the joyous excitement, the strong feeling of gratitude, will not suffer him to sleep. The suffix of שׁירה is the suffix of the object: a hymn in praise of Him, prayer (viz., praiseful prayer, Hab 3:1) to the God of his life (cf. Sir. 23:4), i.e., who is his life, and will not suffer him to come under the dominion of death. Therefore will he say (אומרה), in order to bring about by prayer such a day of loving-kindness and such a night of thanksgiving songs, to the God of his rock, i.e., who is his rock (gen. apos.): Why, etc.? Concerning the different accentuation of למה here and in Psa 43:2, vid., on Psa 37:20 (cf. Psa 10:1). In this instance, where it is not followed by a guttural, it serves as a "variation" Hitzig); but even the retreating of the tone when a guttural follows is not consistently carried out, vid., Psa 49:6, cf. Sa1 28:15 (Ew. 243, b). The view of Vaihinger and Hengstenberg is inadmissible, viz., that Psa 42:10 to Psa 42:11 are the "prayer," which the psalmist means in Psa 42:9; it is the prayerful sigh of the yearning for deliverance, which is intended to form the burthen of that prayer. In some MSS we find the reading כּרצח instead of בּרצח; the בּ is here really synonymous with the כּ, it is the Beth essentiae (vid., Psa 35:2): after the manner of a crushing (cf. Eze 21:27, and the verb in Psa 62:4 of overthrowing a wall) in my bones, i.e., causing me a crunching pain which seethes in my bones, mine oppressors reproach me (חרף with the transfer of the primary meaning carpere, as is also customary in the Latin, to a plucking and stripping one of his good name). The use of ב here differs from its use in Psa 42:10; for the reproaching is not added to the crushing as a continuing state, but is itself thus crushing in its operation (vid., Psa 42:4). Instead of בּאמר we have here the easier form of expression בּאמרם; and in the refrain פּני ואלהי, which is also to be restored in Psa 42:6.

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