The Voice of the Lord in Glory and Peace

Psa 29:3-9 Now follows the description of the revelation of God’s power, which is the ground of the summons, and is to be the subject-matter of their praise. The All-glorious One makes Himself heard in the language (Rev 10:3.) of the thunder, and reveals Himself in the storm. There are fifteen lines, which naturally arrange themselves into three five-line strophes.

The chief matter with the poet, however, is the sevenfold קול ה. Although קול is sometimes used almost as an ejaculatory “Hark! ” (Gen 4:10; Isa 52:8), this must not, with Ewald (§286, f ), be applied to the קול ה of the Psalm before us, the theme of which is the voice of God, who announced Himself from heaven - a voice which moves the world. The dull sounding קול serves not merely to denote the thunder of the storm, but even the thunder of the earthquake, the roar of the tempest, and in general, every low, dull, rumbling sound, by which God makes Himself audible to the world, and more especially from the wrathful side of His doxa.

The waters in Psa 29:3 are not the lower waters. Then the question arises what are they? Were the waters of the Mediterranean intended, they would be more definitely denoted in such a vivid description. It is, however, far more appropriate to the commencement of this description to understand them to mean the mass of water gathered together in the thick, black storm-clouds (vid.

, Psa 18:12; Jer 10:13). The rumbling of Jahve is, as the poet himself explains in Psa 29:3 , the thunder produced on high by the אל הכּבוד (cf. מלך הכבוד, Psa 24:7.) , which rolls over the sea of waters floating above the earth in the sky. Psa 29:4 and Psa 29:4 , just like Psa 29:3 and Psa 29:3 , are independent substantival clauses. The rumbling of Jahve is, issues forth, or passes by; ב with the abstract article as in Psa 77:14; Pro 24:5 (cf.

Pro 8:8; Luk 4:32, ἐν ἰσχύΐ Rev 18:2), is the ב of the distinctive attribute. In Psa 29:3 the first peals of thunder are heard; in Psa 29:4 the storm is coming nearer, and the peals become stronger, and now it bursts forth with its full violence: Psa 29:5 describes this in a general form, and Psa 29:5 expresses by the fut. consec . , as it were inferentially, that which is at present taking place: amidst the rolling of the thunder the descending lightning flashes rive the cedars of Lebanon (as is well-known, the lightning takes the outermost points).

The suffix in Psa 29:6 does not refer proleptically to the mountains mentioned afterwards, but naturally to the cedars (Hengst. , Hupf. , Hitz.) , which bend down before the storm and quickly rise up again. The skipping of Lebanon and Sirion, however, is not to be referred to the fact, that their wooded summits bend down and rise again, but, according to Psa 114:4, to their being shaken by the crash of the thunder-a feature in the picture which certainly does not rest upon what is actually true in nature, but figuratively describes the apparent quaking of the earth during a heavy thunderstorm.

שריון, according to Deu 3:9, is the Sidonian name of Hermon, and therefore side by side with Lebanon it represents Anti-Lebanon. The word, according to the Masora, has ש sinistrum , and consequently is isriyown, wherefore Hitzig correctly derives it from Arab. srâ , fut . i. , to gleam, sparkle, cf. the passage from an Arab poet at Psa 133:3. The lightning makes these mountains bound (Luther, lecken , i.

e. , according to his explanation: to spring, skip) like young antelopes. ראם, like βούβαλος, βούβαλις, is a generic name of the antelope, and of the buffalo that roams in herds through the forests beyond the Jordan even at the present day; for there are antelopes that resemble the buffalo and also (except in the formation of the head and the cloven hoofs) those that resemble the horse, the lxx renders: ὡς υἱὸς μονοκερώτων.

Does this mean the unicorn Germ. one-horn depicted on Persian and African monuments? Is this unicorn distinct from the one horned antelope? Neither an unicorn nor an one horned antelope have been seen to the present day by any traveller. Both animals, and consequently also their relation to one another, are up to the present time still undefinable from a scientific point of view.

Each peal of thunder is immediately followed by a flash of lightning; Jahve’s thunder cleaveth flames of fire, i. e. , forms (as it were λατομεῖ) the fire-matter of the storm-clouds into cloven flames of fire, into lightnings that pass swiftly along; in connection with which it must be remembered that קול ה denotes not merely the thunder as a phenomenon, but at the same time it denotes the omnipotence of God expressing itself therein.

The brevity and threefold division of Psa 29:7 depicts the incessant, zigzag, quivering movement of the lightning ( tela trisulca, ignes trisulci , in Ovid). From the northern mountains the storm sweeps on towards the south of Palestine into the Arabian desert, viz. , as we are told in Psa 29:8 (cf. Psa 29:5, according to the schema of “parallelism by reservation”), the wilderness region of Kadesh (Kadesh Barnea) , which, however we may define its position, must certainly have lain near the steep western slope of the mountains of Edom toward the Arabah.

Jahve’s thunder, viz. , the thunderstorm, puts this desert in a state of whirl, inasmuch as it drives the sand (חול) before it in whirlwinds; and among the mountains it, viz. , the strong lightning and thundering, makes the hinds to writhe, inasmuch as from fright they bring forth prematurely. both the Hiph . יהיל and the Pil . יחולל are used with a causative meaning (root חו, חי, to move in a circle, to encircle).

The poet continues with ויּחשׂף, since he makes one effect of the storm to develope from another, merging as it were out of its chrysalis state. יערות is a poetical plural form; and חשׂף describes the effect of the storm which “shells” the woods, inasmuch as it beats down the branches of the trees, both the tops and the foliage. While Jahve thus reveals Himself from heaven upon the earth in all His irresistible power, בּהיכלו, in His heavenly palace (Psa 11:4; Psa 18:7), כּלּו (note how בהיכלו resolves this כלו out of itself), i.

e. , each of the beings therein, says: כבוד. That which the poet, in Psa 29:1, has called upon them to do, now takes place. Jahve receives back His glory, which is immanent in the universe, in the thousand-voiced echo of adoration.

Psa 29:3-9 Now follows the description of the revelation of God’s power, which is the ground of the summons, and is to be the subject-matter of their praise. The All-glorious One makes Himself heard in the language (Rev 10:3.) of the thunder, and reveals Himself in the storm. There are fifteen lines, which naturally arrange themselves into three five-line strophes.

The chief matter with the poet, however, is the sevenfold קול ה. Although קול is sometimes used almost as an ejaculatory “Hark! ” (Gen 4:10; Isa 52:8), this must not, with Ewald (§286, f ), be applied to the קול ה of the Psalm before us, the theme of which is the voice of God, who announced Himself from heaven - a voice which moves the world. The dull sounding קול serves not merely to denote the thunder of the storm, but even the thunder of the earthquake, the roar of the tempest, and in general, every low, dull, rumbling sound, by which God makes Himself audible to the world, and more especially from the wrathful side of His doxa.

The waters in Psa 29:3 are not the lower waters. Then the question arises what are they? Were the waters of the Mediterranean intended, they would be more definitely denoted in such a vivid description. It is, however, far more appropriate to the commencement of this description to understand them to mean the mass of water gathered together in the thick, black storm-clouds (vid.

, Psa 18:12; Jer 10:13). The rumbling of Jahve is, as the poet himself explains in Psa 29:3 , the thunder produced on high by the אל הכּבוד (cf. מלך הכבוד, Psa 24:7.) , which rolls over the sea of waters floating above the earth in the sky. Psa 29:4 and Psa 29:4 , just like Psa 29:3 and Psa 29:3 , are independent substantival clauses. The rumbling of Jahve is, issues forth, or passes by; ב with the abstract article as in Psa 77:14; Pro 24:5 (cf.

Pro 8:8; Luk 4:32, ἐν ἰσχύΐ Rev 18:2), is the ב of the distinctive attribute. In Psa 29:3 the first peals of thunder are heard; in Psa 29:4 the storm is coming nearer, and the peals become stronger, and now it bursts forth with its full violence: Psa 29:5 describes this in a general form, and Psa 29:5 expresses by the fut. consec . , as it were inferentially, that which is at present taking place: amidst the rolling of the thunder the descending lightning flashes rive the cedars of Lebanon (as is well-known, the lightning takes the outermost points).

The suffix in Psa 29:6 does not refer proleptically to the mountains mentioned afterwards, but naturally to the cedars (Hengst. , Hupf. , Hitz.) , which bend down before the storm and quickly rise up again. The skipping of Lebanon and Sirion, however, is not to be referred to the fact, that their wooded summits bend down and rise again, but, according to Psa 114:4, to their being shaken by the crash of the thunder-a feature in the picture which certainly does not rest upon what is actually true in nature, but figuratively describes the apparent quaking of the earth during a heavy thunderstorm.

שריון, according to Deu 3:9, is the Sidonian name of Hermon, and therefore side by side with Lebanon it represents Anti-Lebanon. The word, according to the Masora, has ש sinistrum , and consequently is isriyown, wherefore Hitzig correctly derives it from Arab. srâ , fut . i. , to gleam, sparkle, cf. the passage from an Arab poet at Psa 133:3. The lightning makes these mountains bound (Luther, lecken , i.

e. , according to his explanation: to spring, skip) like young antelopes. ראם, like βούβαλος, βούβαλις, is a generic name of the antelope, and of the buffalo that roams in herds through the forests beyond the Jordan even at the present day; for there are antelopes that resemble the buffalo and also (except in the formation of the head and the cloven hoofs) those that resemble the horse, the lxx renders: ὡς υἱὸς μονοκερώτων.

Does this mean the unicorn Germ. one-horn depicted on Persian and African monuments? Is this unicorn distinct from the one horned antelope? Neither an unicorn nor an one horned antelope have been seen to the present day by any traveller. Both animals, and consequently also their relation to one another, are up to the present time still undefinable from a scientific point of view.

Each peal of thunder is immediately followed by a flash of lightning; Jahve’s thunder cleaveth flames of fire, i. e. , forms (as it were λατομεῖ) the fire-matter of the storm-clouds into cloven flames of fire, into lightnings that pass swiftly along; in connection with which it must be remembered that קול ה denotes not merely the thunder as a phenomenon, but at the same time it denotes the omnipotence of God expressing itself therein.

The brevity and threefold division of Psa 29:7 depicts the incessant, zigzag, quivering movement of the lightning ( tela trisulca, ignes trisulci , in Ovid). From the northern mountains the storm sweeps on towards the south of Palestine into the Arabian desert, viz. , as we are told in Psa 29:8 (cf. Psa 29:5, according to the schema of “parallelism by reservation”), the wilderness region of Kadesh (Kadesh Barnea) , which, however we may define its position, must certainly have lain near the steep western slope of the mountains of Edom toward the Arabah.

Jahve’s thunder, viz. , the thunderstorm, puts this desert in a state of whirl, inasmuch as it drives the sand (חול) before it in whirlwinds; and among the mountains it, viz. , the strong lightning and thundering, makes the hinds to writhe, inasmuch as from fright they bring forth prematurely. both the Hiph . יהיל and the Pil . יחולל are used with a causative meaning (root חו, חי, to move in a circle, to encircle).

The poet continues with ויּחשׂף, since he makes one effect of the storm to develope from another, merging as it were out of its chrysalis state. יערות is a poetical plural form; and חשׂף describes the effect of the storm which “shells” the woods, inasmuch as it beats down the branches of the trees, both the tops and the foliage. While Jahve thus reveals Himself from heaven upon the earth in all His irresistible power, בּהיכלו, in His heavenly palace (Psa 11:4; Psa 18:7), כּלּו (note how בהיכלו resolves this כלו out of itself), i.

e. , each of the beings therein, says: כבוד. That which the poet, in Psa 29:1, has called upon them to do, now takes place. Jahve receives back His glory, which is immanent in the universe, in the thousand-voiced echo of adoration.

Psa 29:3-9 Now follows the description of the revelation of God’s power, which is the ground of the summons, and is to be the subject-matter of their praise. The All-glorious One makes Himself heard in the language (Rev 10:3.) of the thunder, and reveals Himself in the storm. There are fifteen lines, which naturally arrange themselves into three five-line strophes.

The chief matter with the poet, however, is the sevenfold קול ה. Although קול is sometimes used almost as an ejaculatory “Hark! ” (Gen 4:10; Isa 52:8), this must not, with Ewald (§286, f ), be applied to the קול ה of the Psalm before us, the theme of which is the voice of God, who announced Himself from heaven - a voice which moves the world. The dull sounding קול serves not merely to denote the thunder of the storm, but even the thunder of the earthquake, the roar of the tempest, and in general, every low, dull, rumbling sound, by which God makes Himself audible to the world, and more especially from the wrathful side of His doxa.

The waters in Psa 29:3 are not the lower waters. Then the question arises what are they? Were the waters of the Mediterranean intended, they would be more definitely denoted in such a vivid description. It is, however, far more appropriate to the commencement of this description to understand them to mean the mass of water gathered together in the thick, black storm-clouds (vid.

, Psa 18:12; Jer 10:13). The rumbling of Jahve is, as the poet himself explains in Psa 29:3 , the thunder produced on high by the אל הכּבוד (cf. מלך הכבוד, Psa 24:7.) , which rolls over the sea of waters floating above the earth in the sky. Psa 29:4 and Psa 29:4 , just like Psa 29:3 and Psa 29:3 , are independent substantival clauses. The rumbling of Jahve is, issues forth, or passes by; ב with the abstract article as in Psa 77:14; Pro 24:5 (cf.

Pro 8:8; Luk 4:32, ἐν ἰσχύΐ Rev 18:2), is the ב of the distinctive attribute. In Psa 29:3 the first peals of thunder are heard; in Psa 29:4 the storm is coming nearer, and the peals become stronger, and now it bursts forth with its full violence: Psa 29:5 describes this in a general form, and Psa 29:5 expresses by the fut. consec . , as it were inferentially, that which is at present taking place: amidst the rolling of the thunder the descending lightning flashes rive the cedars of Lebanon (as is well-known, the lightning takes the outermost points).

The suffix in Psa 29:6 does not refer proleptically to the mountains mentioned afterwards, but naturally to the cedars (Hengst. , Hupf. , Hitz.) , which bend down before the storm and quickly rise up again. The skipping of Lebanon and Sirion, however, is not to be referred to the fact, that their wooded summits bend down and rise again, but, according to Psa 114:4, to their being shaken by the crash of the thunder-a feature in the picture which certainly does not rest upon what is actually true in nature, but figuratively describes the apparent quaking of the earth during a heavy thunderstorm.

שריון, according to Deu 3:9, is the Sidonian name of Hermon, and therefore side by side with Lebanon it represents Anti-Lebanon. The word, according to the Masora, has ש sinistrum , and consequently is isriyown, wherefore Hitzig correctly derives it from Arab. srâ , fut . i. , to gleam, sparkle, cf. the passage from an Arab poet at Psa 133:3. The lightning makes these mountains bound (Luther, lecken , i.

e. , according to his explanation: to spring, skip) like young antelopes. ראם, like βούβαλος, βούβαλις, is a generic name of the antelope, and of the buffalo that roams in herds through the forests beyond the Jordan even at the present day; for there are antelopes that resemble the buffalo and also (except in the formation of the head and the cloven hoofs) those that resemble the horse, the lxx renders: ὡς υἱὸς μονοκερώτων.

Does this mean the unicorn Germ. one-horn depicted on Persian and African monuments? Is this unicorn distinct from the one horned antelope? Neither an unicorn nor an one horned antelope have been seen to the present day by any traveller. Both animals, and consequently also their relation to one another, are up to the present time still undefinable from a scientific point of view.

Each peal of thunder is immediately followed by a flash of lightning; Jahve’s thunder cleaveth flames of fire, i. e. , forms (as it were λατομεῖ) the fire-matter of the storm-clouds into cloven flames of fire, into lightnings that pass swiftly along; in connection with which it must be remembered that קול ה denotes not merely the thunder as a phenomenon, but at the same time it denotes the omnipotence of God expressing itself therein.

The brevity and threefold division of Psa 29:7 depicts the incessant, zigzag, quivering movement of the lightning ( tela trisulca, ignes trisulci , in Ovid). From the northern mountains the storm sweeps on towards the south of Palestine into the Arabian desert, viz. , as we are told in Psa 29:8 (cf. Psa 29:5, according to the schema of “parallelism by reservation”), the wilderness region of Kadesh (Kadesh Barnea) , which, however we may define its position, must certainly have lain near the steep western slope of the mountains of Edom toward the Arabah.

Jahve’s thunder, viz. , the thunderstorm, puts this desert in a state of whirl, inasmuch as it drives the sand (חול) before it in whirlwinds; and among the mountains it, viz. , the strong lightning and thundering, makes the hinds to writhe, inasmuch as from fright they bring forth prematurely. both the Hiph . יהיל and the Pil . יחולל are used with a causative meaning (root חו, חי, to move in a circle, to encircle).

The poet continues with ויּחשׂף, since he makes one effect of the storm to develope from another, merging as it were out of its chrysalis state. יערות is a poetical plural form; and חשׂף describes the effect of the storm which “shells” the woods, inasmuch as it beats down the branches of the trees, both the tops and the foliage. While Jahve thus reveals Himself from heaven upon the earth in all His irresistible power, בּהיכלו, in His heavenly palace (Psa 11:4; Psa 18:7), כּלּו (note how בהיכלו resolves this כלו out of itself), i.

e. , each of the beings therein, says: כבוד. That which the poet, in Psa 29:1, has called upon them to do, now takes place. Jahve receives back His glory, which is immanent in the universe, in the thousand-voiced echo of adoration.

Psa 29:3-9 Now follows the description of the revelation of God’s power, which is the ground of the summons, and is to be the subject-matter of their praise. The All-glorious One makes Himself heard in the language (Rev 10:3.) of the thunder, and reveals Himself in the storm. There are fifteen lines, which naturally arrange themselves into three five-line strophes.

The chief matter with the poet, however, is the sevenfold קול ה. Although קול is sometimes used almost as an ejaculatory “Hark! ” (Gen 4:10; Isa 52:8), this must not, with Ewald (§286, f ), be applied to the קול ה of the Psalm before us, the theme of which is the voice of God, who announced Himself from heaven - a voice which moves the world. The dull sounding קול serves not merely to denote the thunder of the storm, but even the thunder of the earthquake, the roar of the tempest, and in general, every low, dull, rumbling sound, by which God makes Himself audible to the world, and more especially from the wrathful side of His doxa.

The waters in Psa 29:3 are not the lower waters. Then the question arises what are they? Were the waters of the Mediterranean intended, they would be more definitely denoted in such a vivid description. It is, however, far more appropriate to the commencement of this description to understand them to mean the mass of water gathered together in the thick, black storm-clouds (vid.

, Psa 18:12; Jer 10:13). The rumbling of Jahve is, as the poet himself explains in Psa 29:3 , the thunder produced on high by the אל הכּבוד (cf. מלך הכבוד, Psa 24:7.) , which rolls over the sea of waters floating above the earth in the sky. Psa 29:4 and Psa 29:4 , just like Psa 29:3 and Psa 29:3 , are independent substantival clauses. The rumbling of Jahve is, issues forth, or passes by; ב with the abstract article as in Psa 77:14; Pro 24:5 (cf.

Pro 8:8; Luk 4:32, ἐν ἰσχύΐ Rev 18:2), is the ב of the distinctive attribute. In Psa 29:3 the first peals of thunder are heard; in Psa 29:4 the storm is coming nearer, and the peals become stronger, and now it bursts forth with its full violence: Psa 29:5 describes this in a general form, and Psa 29:5 expresses by the fut. consec . , as it were inferentially, that which is at present taking place: amidst the rolling of the thunder the descending lightning flashes rive the cedars of Lebanon (as is well-known, the lightning takes the outermost points).

The suffix in Psa 29:6 does not refer proleptically to the mountains mentioned afterwards, but naturally to the cedars (Hengst. , Hupf. , Hitz.) , which bend down before the storm and quickly rise up again. The skipping of Lebanon and Sirion, however, is not to be referred to the fact, that their wooded summits bend down and rise again, but, according to Psa 114:4, to their being shaken by the crash of the thunder-a feature in the picture which certainly does not rest upon what is actually true in nature, but figuratively describes the apparent quaking of the earth during a heavy thunderstorm.

שריון, according to Deu 3:9, is the Sidonian name of Hermon, and therefore side by side with Lebanon it represents Anti-Lebanon. The word, according to the Masora, has ש sinistrum , and consequently is isriyown, wherefore Hitzig correctly derives it from Arab. srâ , fut . i. , to gleam, sparkle, cf. the passage from an Arab poet at Psa 133:3. The lightning makes these mountains bound (Luther, lecken , i.

e. , according to his explanation: to spring, skip) like young antelopes. ראם, like βούβαλος, βούβαλις, is a generic name of the antelope, and of the buffalo that roams in herds through the forests beyond the Jordan even at the present day; for there are antelopes that resemble the buffalo and also (except in the formation of the head and the cloven hoofs) those that resemble the horse, the lxx renders: ὡς υἱὸς μονοκερώτων.

Does this mean the unicorn Germ. one-horn depicted on Persian and African monuments? Is this unicorn distinct from the one horned antelope? Neither an unicorn nor an one horned antelope have been seen to the present day by any traveller. Both animals, and consequently also their relation to one another, are up to the present time still undefinable from a scientific point of view.

Each peal of thunder is immediately followed by a flash of lightning; Jahve’s thunder cleaveth flames of fire, i. e. , forms (as it were λατομεῖ) the fire-matter of the storm-clouds into cloven flames of fire, into lightnings that pass swiftly along; in connection with which it must be remembered that קול ה denotes not merely the thunder as a phenomenon, but at the same time it denotes the omnipotence of God expressing itself therein.

The brevity and threefold division of Psa 29:7 depicts the incessant, zigzag, quivering movement of the lightning ( tela trisulca, ignes trisulci , in Ovid). From the northern mountains the storm sweeps on towards the south of Palestine into the Arabian desert, viz. , as we are told in Psa 29:8 (cf. Psa 29:5, according to the schema of “parallelism by reservation”), the wilderness region of Kadesh (Kadesh Barnea) , which, however we may define its position, must certainly have lain near the steep western slope of the mountains of Edom toward the Arabah.

Jahve’s thunder, viz. , the thunderstorm, puts this desert in a state of whirl, inasmuch as it drives the sand (חול) before it in whirlwinds; and among the mountains it, viz. , the strong lightning and thundering, makes the hinds to writhe, inasmuch as from fright they bring forth prematurely. both the Hiph . יהיל and the Pil . יחולל are used with a causative meaning (root חו, חי, to move in a circle, to encircle).

The poet continues with ויּחשׂף, since he makes one effect of the storm to develope from another, merging as it were out of its chrysalis state. יערות is a poetical plural form; and חשׂף describes the effect of the storm which “shells” the woods, inasmuch as it beats down the branches of the trees, both the tops and the foliage. While Jahve thus reveals Himself from heaven upon the earth in all His irresistible power, בּהיכלו, in His heavenly palace (Psa 11:4; Psa 18:7), כּלּו (note how בהיכלו resolves this כלו out of itself), i.

e. , each of the beings therein, says: כבוד. That which the poet, in Psa 29:1, has called upon them to do, now takes place. Jahve receives back His glory, which is immanent in the universe, in the thousand-voiced echo of adoration.

Psa 29:10-11 Luther renders it: “The Lord sitteth to prepare a Flood,” thus putting meaning into the unintelligible rendering of the Vulgate and lxx; and in fact a meaning that accords with the language - for ישׁב ל is most certainly intended to be understood after the analogy of ישׁב למשׁפט, Psa 122:5, cf. Psa 9:8 - just as much as with the context; for the poet has not thus far expressly referred to the torrents of rain, in which the storm empties itself.

Engelhardt also ( Lutherische Zeitschrift , 1861, 216f.) , Kurtz ( Bibel und Astronomie , S. 568, Aufl. 4), Riehm ( Liter. - Blatt of the Allgem. Kirchen-Zeit. , 1864, S. 110), and others understand by מבול the quasi-flood of the torrent of rain accompanying the lightning and thunder. But the word is not למבול, but למּבול, and המּבּוּל (Syr. momûl ) occurs exclusively in Gen 6-11 as the name of the great Flood.

Every tempest, however, calls to mind this judgment and its merciful issue, for it comes before us in sacred history as the first appearance of rain with lightning and thunder, and of the bow in the clouds speaking its message of peace ( Genesis , S. 276). The retrospective reference to this event is also still further confirmed by the aorist ויּשׁב which follows the perfect ישׁב (Hofmann, Schriftbeweis i.

208). Jahve - says the poet - sat (upon His throne) at the Flood (to execute it), and sits (enthroned) in consequence thereof, or since that time, as this present revelation of Him in the tempest shows, as King for ever, inasmuch as He rules down here upon earth from His throne in the heavens (Psa 115:16) in wrath and in mercy, judging and dispensing blessing.

Here upon earth He has a people, whom from above He endows with a share of His own might and blesses with peace, while the tempests of His wrath burst over their foes. How expressive is בּשּׁלום as the closing word of this particular Psalm! It spans the Psalm like a rain-bow. The opening of the Psalm shows us the heavens opened and the throne of God in the midst of the angelic songs of praise, and the close of the Psalm shows us, on earth, His people victorious and blessed with peace (בּ as in Gen 24:1 in the midst of Jahve’s voice of anger, which shakes all things.

Gloria in excelsis is its beginning, and pax in terris its conclusion.

Psa 29:10-11 Luther renders it: “The Lord sitteth to prepare a Flood,” thus putting meaning into the unintelligible rendering of the Vulgate and lxx; and in fact a meaning that accords with the language - for ישׁב ל is most certainly intended to be understood after the analogy of ישׁב למשׁפט, Psa 122:5, cf. Psa 9:8 - just as much as with the context; for the poet has not thus far expressly referred to the torrents of rain, in which the storm empties itself.

Engelhardt also ( Lutherische Zeitschrift , 1861, 216f.) , Kurtz ( Bibel und Astronomie , S. 568, Aufl. 4), Riehm ( Liter. - Blatt of the Allgem. Kirchen-Zeit. , 1864, S. 110), and others understand by מבול the quasi-flood of the torrent of rain accompanying the lightning and thunder. But the word is not למבול, but למּבול, and המּבּוּל (Syr. momûl ) occurs exclusively in Gen 6-11 as the name of the great Flood.

Every tempest, however, calls to mind this judgment and its merciful issue, for it comes before us in sacred history as the first appearance of rain with lightning and thunder, and of the bow in the clouds speaking its message of peace ( Genesis , S. 276). The retrospective reference to this event is also still further confirmed by the aorist ויּשׁב which follows the perfect ישׁב (Hofmann, Schriftbeweis i.

208). Jahve - says the poet - sat (upon His throne) at the Flood (to execute it), and sits (enthroned) in consequence thereof, or since that time, as this present revelation of Him in the tempest shows, as King for ever, inasmuch as He rules down here upon earth from His throne in the heavens (Psa 115:16) in wrath and in mercy, judging and dispensing blessing.

Here upon earth He has a people, whom from above He endows with a share of His own might and blesses with peace, while the tempests of His wrath burst over their foes. How expressive is בּשּׁלום as the closing word of this particular Psalm! It spans the Psalm like a rain-bow. The opening of the Psalm shows us the heavens opened and the throne of God in the midst of the angelic songs of praise, and the close of the Psalm shows us, on earth, His people victorious and blessed with peace (בּ as in Gen 24:1 in the midst of Jahve’s voice of anger, which shakes all things.

Gloria in excelsis is its beginning, and pax in terris its conclusion.

The summons to praise God which is addressed to the angels above in Psa 29:1-11, is directed in Psa 30:1-12 to the pious here below. There is nothing against the adoption of the לדוד. Hitzig again in this instance finds all kinds of indications of Jeremiah’s hand; but the parallels in Jeremiah are echoes of the Psalms, and דלּיתני in Psa 30:2 does not need to be explained of a lowering into a tank or dungeon, it is a metaphorical expression for raising up out of the depths of affliction.

Even Hezekiah’s song of thanksgiving in Isa 38 has grown out of the two closing strophes of this Psalm under the influence of an intimate acquaintance with the Book of Job. We are therefore warranted in supposing that it is David, who here, having in the midst of the stability of his power come to the verge of the grave, and now being roused from all carnal security, as one who has been rescued, praises the Lord, whom he has made his refuge, and calls upon all the pious to join with him in his song.

The Psalm bears the inscription: A Song-Psalm at the Dedication of the House, by David . This has been referred to the dedication of the site of the future Temple, 2 Sam; 1Ch 21:1; but although the place of the future Temple together with the altar then erected on it, can be called בּית יהוה (1Ch 22:1), and might also at any rate be called absolutely הבּית (as הר הבית, the Temple hill); yet we know that David did not himself suffer (2Sa 24:17) from the pestilence, which followed as a punishment upon the numbering of the people which he instituted in his arrogant self-magnification.

The Psalm, however, also does not contain anything that should point to a dedication of a sanctuary, whether Mount Moriah, or the tabernacle, 2Sa 6:17. It might more naturally be referred to the re-consecration of the palace, that was defiled by Absolom, after David’s return; but the Psalm mentions some imminent peril, the gracious averting of which does not consist in the turning away of bloodthirsty foes, but in recovery from some sickness that might have proved fatal.

Thus then it must be the dedication of the citadel on Zion, the building of which was just completed. From 2Sa 5:12 we see that David regarded this building as a pledge of the stability and exaltation of his kingdom; and all that is needed in order to understand the Psalm is, with Aben-Ezra, Flaminius, Crusius, and Vaihinger, to infer from the Psalm itself, that David had been delayed by some severe illness from taking possession of the new building.

The situation of Psa 16:1-11 is just like it. The regular official title אשׁר על־הבּית (majordomo) shows, that הבית, used thus absolutely, may denote the palace just as well as the Temple. The lxx which renders it τοῦ ἐγκαινισμοῦ τοῦ οἴκου (τοῦ) Δαυίδ, understands the palace, not the Temple. In the Jewish ritual, Psa 30:1-12 is certainly, as is even stated in the Tractate Sofrim xviii.

§2, the Psalm for the feast of Chanucca , or Dedication, which refers to 1 Macc. 4:52ff.

Psa 30:1-3 (Hebrew_Bible_30:2-4) The Psalm begins like a hymn. The Piel דּלּה (from דּלה, Arab. dlâ , to hold anything long, loose and pendulous, whether upwards or downwards, conj. V Arab. tdllâ = , to dangle) signifies to lift or draw up, like a bucket (דּלי, Greek ἀντλίον, Latin tollo , tolleno in Festus). The poet himself says what that depth is into which he had sunk and out of which God had drawn him up without his enemies rejoicing over him (לי as in Psa 25:2), i.

e. , without allowing them the wished for joy at his destruction: he was brought down almost into Hades in consequence of some fatal sickness. חיּה (never: to call into being out of nothing) always means to restore to life that which has apparently or really succumbed to death, or to preserve anything living in life. With this is easily and satisfactorily joined the Kerî מיּרדי בור (without Makkeph in the correct text), ita ut non descenderem ; the infinitive of ירד in this instance following the analogy of the strong verb is ירד, like יבשׁ, ישׁון, and with suffix jordi (like josdi , Job 38:4) or jaaredi , for here it is to be read thus, and not jordi (vid.

, on Psa 16:1; Psa 86:2). The Chethîb מיורדי might also be the infinitive, written with Cholem plenum , as an infinitive Gen 32:20, and an imperative Num 23:8, is each pointed with Cholem instead of Kamtez chatuph ; but it is probably intended to be read as a participle, מיּורדי: Thou hast revived me from those who sink away into the grave (Psa 28:1), or out of the state of such (cf.

Psa 22:22 ) - a perfectly admissible and pregnant construction.

Psa 30:1-3 (Hebrew_Bible_30:2-4) The Psalm begins like a hymn. The Piel דּלּה (from דּלה, Arab. dlâ , to hold anything long, loose and pendulous, whether upwards or downwards, conj. V Arab. tdllâ = , to dangle) signifies to lift or draw up, like a bucket (דּלי, Greek ἀντλίον, Latin tollo , tolleno in Festus). The poet himself says what that depth is into which he had sunk and out of which God had drawn him up without his enemies rejoicing over him (לי as in Psa 25:2), i.

e. , without allowing them the wished for joy at his destruction: he was brought down almost into Hades in consequence of some fatal sickness. חיּה (never: to call into being out of nothing) always means to restore to life that which has apparently or really succumbed to death, or to preserve anything living in life. With this is easily and satisfactorily joined the Kerî מיּרדי בור (without Makkeph in the correct text), ita ut non descenderem ; the infinitive of ירד in this instance following the analogy of the strong verb is ירד, like יבשׁ, ישׁון, and with suffix jordi (like josdi , Job 38:4) or jaaredi , for here it is to be read thus, and not jordi (vid.

, on Psa 16:1; Psa 86:2). The Chethîb מיורדי might also be the infinitive, written with Cholem plenum , as an infinitive Gen 32:20, and an imperative Num 23:8, is each pointed with Cholem instead of Kamtez chatuph ; but it is probably intended to be read as a participle, מיּורדי: Thou hast revived me from those who sink away into the grave (Psa 28:1), or out of the state of such (cf.

Psa 22:22 ) - a perfectly admissible and pregnant construction.

Psa 30:4-5 (Hebrew_Bible_30:5-6) Psa 30:4 call upon all the pious to praise this God, who after a short season of anger is at once and henceforth gracious. Instead of שׁם of Jahve, we find the expression זכר in this instance, as in Psa 97:12 after Exo 3:15. Jahve, by revealing Himself, renders Himself capable of being both named and remembered, and that in the most illustrious manner.

The history of redemption is, as it were, an unfolding of the Name of Jahve and at the same time a setting up of a monument, an establishment of a memorial, and in fact the erection of a זכר קדשׁ; because all God’s self-attestations, whether in love or in wrath, flow from the sea of light of His holiness. When He manifests Himself to His won love prevails; and wrath is, in relation to them, only a vanishing moment: a moment passes in His anger, a (whole) life in His favour , i.

e. , the former endures only for a moment, the latter the whole life of a man. “Alles Ding währt seine Zeit, Gottes Lieb' in Ewigkeit. ” All things last their season, God’s love to all eternity. The preposition בּ does not here, as in the beautiful parallel Isa 54:7. , cf. Psa 60:10, denote the time and mode of that which takes place, but the state in which one spends the time.

Psa 30:6 portrays the rapidity with which love takes back wrath (cf. Isa 17:14): in the evening weeping takes up its abode with us for the night, but in the morning another guest, viz. , רנּה, appears, like a rescuing angel, before whom בּכי disappears. The predicate ילין etaci does not belong to Psa 30:6 as well (Hupfeld, Hitzig). The substantival clause: and in the morning joy = joy is present, depicts the unexpectedness and surprise of the help of Him who sends בכי and רנה.