What Is Mankind? The Majestic Lord and Humanity Crowned under His Rule

Psa 8:6-8 (Hebrew_Bible_8:7-9) Man is a king, and not a king without territory; the world around, with the works of creative wisdom which fill it, is his kingdom. The words “put under his feet” sound like a paraphrase of the רדה in Gen 1:26, Gen 1:28, כּל is unlimited, as in Job 13:1; Job 42:2; Isa 44:24. But the expansion of the expression in Psa 8:8, Psa 8:9 extends only to the earth, and is limited even there to the different classes of creatures in the regions of land, air, and water.

The poet is enthusiastic in his survey of this province of man’s dominion. And his lofty poetic language corresponds to this enthusiasm. The enumeration begins with the domestic animals and passes on from these to the wild beasts-together the creatures that dwell on terra firma . צנה (צנא Num 32:24) from צנה (צנא) Arab. dnâ ( dn' ), as also Arab. dân , fut. o.

, proliferum esse is, in poetry, equivalent to צאן, which is otherwise the usual name for small cattle. אלפים (in Aramaic, as the name of the letter shows, a prose word) is in Hebrew poetically equivalent to בּקר; the oxen which willingly accommodate themselves to the service of man, especially of the husbandman, are so called from אלף to yield to. Wild animals, which in prose are called חיּת הארץ, (השּׂדה) here bear the poetical name בּהמות שׂדי, as in Joe 2:22, cf.

Joe 1:20, 1Sa 17:44. שׂדי (in pause שׂדי) is the primitive form of שׂדה, which is not declined, and has thereby obtained a collective signification. From the land animals the description passes on to the fowls of the air and the fishes of the water. צפּור is the softer word, instead of עוף; and שׁמים is water. צפּור is the softer word, instead of עוף; and שׁמים is used without the art .

according to poetical usage, whereas היּם without the art . would have sounded too scanty and not sufficiently measured. In connection with ימּים the article may be again omitted, just as with שׁמים. עבר is a collective participle. If the following were intended: he (or: since he), viz. , man, passes through the paths of the sea (Böttcher, Cassel, and even Aben-Ezra and Kimchi), then it would not have been expressed in such a monostich, and in a form so liable to lead one astray.

The words may be a comprehensive designation of that portion of the animal kingdom which is found in the sea; and this also intended to include all from the smallest worm to the gigantic leviathan: ὁππόσα ποντοπόρους παρεπιστείβουσι κελεύθους (Apollinaris). If man thus rules over every living thing that is round about him from the nearest to the most remote, even that which is apparently the most untameable: then it is clear that every lifeless created thing in his vicinity must serve him as its king.

The poet regards man in the light of the purpose for which he was created.

Psa 8:6-8 (Hebrew_Bible_8:7-9) Man is a king, and not a king without territory; the world around, with the works of creative wisdom which fill it, is his kingdom. The words “put under his feet” sound like a paraphrase of the רדה in Gen 1:26, Gen 1:28, כּל is unlimited, as in Job 13:1; Job 42:2; Isa 44:24. But the expansion of the expression in Psa 8:8, Psa 8:9 extends only to the earth, and is limited even there to the different classes of creatures in the regions of land, air, and water.

The poet is enthusiastic in his survey of this province of man’s dominion. And his lofty poetic language corresponds to this enthusiasm. The enumeration begins with the domestic animals and passes on from these to the wild beasts-together the creatures that dwell on terra firma . צנה (צנא Num 32:24) from צנה (צנא) Arab. dnâ ( dn' ), as also Arab. dân , fut. o.

, proliferum esse is, in poetry, equivalent to צאן, which is otherwise the usual name for small cattle. אלפים (in Aramaic, as the name of the letter shows, a prose word) is in Hebrew poetically equivalent to בּקר; the oxen which willingly accommodate themselves to the service of man, especially of the husbandman, are so called from אלף to yield to. Wild animals, which in prose are called חיּת הארץ, (השּׂדה) here bear the poetical name בּהמות שׂדי, as in Joe 2:22, cf.

Joe 1:20, 1Sa 17:44. שׂדי (in pause שׂדי) is the primitive form of שׂדה, which is not declined, and has thereby obtained a collective signification. From the land animals the description passes on to the fowls of the air and the fishes of the water. צפּור is the softer word, instead of עוף; and שׁמים is water. צפּור is the softer word, instead of עוף; and שׁמים is used without the art .

according to poetical usage, whereas היּם without the art . would have sounded too scanty and not sufficiently measured. In connection with ימּים the article may be again omitted, just as with שׁמים. עבר is a collective participle. If the following were intended: he (or: since he), viz. , man, passes through the paths of the sea (Böttcher, Cassel, and even Aben-Ezra and Kimchi), then it would not have been expressed in such a monostich, and in a form so liable to lead one astray.

The words may be a comprehensive designation of that portion of the animal kingdom which is found in the sea; and this also intended to include all from the smallest worm to the gigantic leviathan: ὁππόσα ποντοπόρους παρεπιστείβουσι κελεύθους (Apollinaris). If man thus rules over every living thing that is round about him from the nearest to the most remote, even that which is apparently the most untameable: then it is clear that every lifeless created thing in his vicinity must serve him as its king.

The poet regards man in the light of the purpose for which he was created.

Psa 8:6-8 (Hebrew_Bible_8:7-9) Man is a king, and not a king without territory; the world around, with the works of creative wisdom which fill it, is his kingdom. The words “put under his feet” sound like a paraphrase of the רדה in Gen 1:26, Gen 1:28, כּל is unlimited, as in Job 13:1; Job 42:2; Isa 44:24. But the expansion of the expression in Psa 8:8, Psa 8:9 extends only to the earth, and is limited even there to the different classes of creatures in the regions of land, air, and water.

The poet is enthusiastic in his survey of this province of man’s dominion. And his lofty poetic language corresponds to this enthusiasm. The enumeration begins with the domestic animals and passes on from these to the wild beasts-together the creatures that dwell on terra firma . צנה (צנא Num 32:24) from צנה (צנא) Arab. dnâ ( dn' ), as also Arab. dân , fut. o.

, proliferum esse is, in poetry, equivalent to צאן, which is otherwise the usual name for small cattle. אלפים (in Aramaic, as the name of the letter shows, a prose word) is in Hebrew poetically equivalent to בּקר; the oxen which willingly accommodate themselves to the service of man, especially of the husbandman, are so called from אלף to yield to. Wild animals, which in prose are called חיּת הארץ, (השּׂדה) here bear the poetical name בּהמות שׂדי, as in Joe 2:22, cf.

Joe 1:20, 1Sa 17:44. שׂדי (in pause שׂדי) is the primitive form of שׂדה, which is not declined, and has thereby obtained a collective signification. From the land animals the description passes on to the fowls of the air and the fishes of the water. צפּור is the softer word, instead of עוף; and שׁמים is water. צפּור is the softer word, instead of עוף; and שׁמים is used without the art .

according to poetical usage, whereas היּם without the art . would have sounded too scanty and not sufficiently measured. In connection with ימּים the article may be again omitted, just as with שׁמים. עבר is a collective participle. If the following were intended: he (or: since he), viz. , man, passes through the paths of the sea (Böttcher, Cassel, and even Aben-Ezra and Kimchi), then it would not have been expressed in such a monostich, and in a form so liable to lead one astray.

The words may be a comprehensive designation of that portion of the animal kingdom which is found in the sea; and this also intended to include all from the smallest worm to the gigantic leviathan: ὁππόσα ποντοπόρους παρεπιστείβουσι κελεύθους (Apollinaris). If man thus rules over every living thing that is round about him from the nearest to the most remote, even that which is apparently the most untameable: then it is clear that every lifeless created thing in his vicinity must serve him as its king.

The poet regards man in the light of the purpose for which he was created.

Psa 8:9 (Hebrew_Bible_8:10) 8:10. He has now demonstrated what he expressed in Psa 8:2, that the name of Jahve whose glory is reflected by the heavens, is also glorious on earth. Thus, then, he can as a conclusion repeat the thought with which he began, in a wider and more comprehensive meaning, and weave his Psalm together, as it were, into a wreath. It is just this Psalm, of which one would have least expected it, that is frequently quoted in the New Testament and applied to the Messiah.

Indeed Jesus’ designation of Himself by ὁ υἱὸς τοῦ ἀνθρώπου, however far it may refer back to the Old Testament Scriptures, leans no less upon this Psalm than upon Dan 7:13. The use the writer of the Epistle to the Hebrews (Heb 2:6-8) makes of Psa 8:5 of this Psalm shows us how the New Testament application to the Messiah is effected. The psalmist regards man as one who glorifies God and as a prince created of God.

The deformation of this position by sin he leaves unheeded. But both sides of the mode of regarding it are warranted. On the one hand, we see that which man has become by creation still in operation even in his present state; on the other hand, we see it distorted and stunted. If we compare what the Psalm says with this shady side of the reality, from which side it is incongruous with the end of man’s creation, then the song which treats of the man of the present becomes a prophecy of the man of the future.

The Psalm undergoes this metamorphosis in the New Testament consciousness, which looks more to the loss than to that which remains of the original. In fact, the centre of the New Testament consciousness is Jesus the Restorer of that which is lost. The dominion of the world lost to fallen man, and only retained by him in a ruined condition, is allotted to mankind, when redeemed by Him, in fuller and more perfect reality.

This dominion is not yet in the actual possession of mankind, but in the person of Jesus it now sits enthroned at the right hand of God. In Him the idea of humanity is transcendently realised, i. e. , according to a very much higher standard than that laid down when the world was founded. He has entered into the state-only a little (βραχύ τι) beneath the angels - of created humanity for a little while (βραχύ τι), in order to raise redeemed humanity above the angels.

Everything (כּל) is really put under Him with just as little limitation as is expressed in this Psalm: not merely the animal kingdom, not merely the world itself, but the universe with all the ruling powers in it, whether they be in subjection or in hostility to God, yea even the power of death (1Co 15:27, cf. Eph 1:22). Moreover, by redemption, more than heretofore, the confession which comes from the mouth of little children is become a bulwark founded of God, in order that against it the resistance of the opponents of revelation may be broken.

We have an example of this in Mat 21:16, where our Lord points the pharisees and scribes, who are enraged at the Hosanna of the children, to Psa 8:3. Redemption demands of man, before everything else, that he should become as a little child, and reveals its mysteries to infants, which are hidden from the wise and intelligent. Thus, therefore, it is μικροὶ καὶ νήπιοι, whose tongue is loosed by the Spirit of God, who are to put to shame the unbelieving; and all that this Psalm says of the man of the present becomes in the light of the New Testament in its relation to the history of redemption, a prophecy of the Son of man κατ ̓ ἐξοχήν, and of the new humanity.

Just as Ps 7 is placed after Psa 6:1-10 as exemplifying it, so Ps 9 follows Psa 8:1-9 as an illustration of the glorifying of the divine name on earth. And what a beautiful idea it is that Psa 8:1-9, the Psalm which celebrates Jahve’s name as being glorious in the earth, is introduced between a Psalm that closes with the words “I will sing of the name of Jahve, the Most High” (Ps 7:18) and one which begins: “I will sing of Thy name, O Most High!

” (Psa 9:3). The lxx translates the inscription על־מות לכן by ὑπὲρ τῶν κρυφίων τοῦ υἱοῦ (Vulg. pro occultis filii ) as though it were על־עלמות. Luther’s rendering is still bolder: of beautiful (perhaps properly: lily-white) youth. Both renderings are opposed to the text, in which על occurs only once. The Targum understands בן of the duellist Goliath (= אישׁ הבּנים); and some of the Rabbis regard לבן even as a transposition of נבל: on the death of Nabal.

Hengstenberg has revived this view, regarding נבל as a collective designation of all Nabal-like fools. All these and other curious conceits arise from the erroneous idea that these words are an inscription referring to the contents of the Psalm. But, on the contrary, they indicate the tune or melody, and that by means of the familiar words of the song, - perhaps some popular song, - with which this air had become most intimately associated.

At the end of Psa 48:1-14 this indication of the air is simply expressed by על־מוּת. The view of the Jewish expositors, who refer לבּן to the musician בּן mentioned in 1Ch 15:18, has, therefore, some probability in its favour. But this name excites critical suspicion. Why may not a well-known song have begun מוּת לבּן “dying (is) to the son... ,” or (if one is inclined to depart from the pointing, although there is nothing to render this suspicious) מות לבּן “Death makes white?

” Even Hitzig does not allow himself to be misled as to the ancient Davidic origin of Ps 9 and 10 by the fact of their having an alphabetical arrangement. These two Psalms have the honour of being ranked among the thirteen Psalms which are acknowledge by him to be genuine Davidic Psalms. Thus, therefore, the alphabetical arrangement found in other Psalms cannot, in itself, bring us down to “the times of poetic trifling and degenerated taste.

” Nor can the freedom, with which the alphabetical arrangement is handled in Ps 9 and 10 be regarded as an indication of an earlier antiquity than these times. For the Old Testament poets, even in other instances, do not allow themselves to be fettered by forms of this character (vid. , on Ps 145, cf. on Psa 42:2); and the fact, that in Psa 9:1 the alphabetical arrangement is not fully carried out, is accounted for otherwise than by the license in which David, in distinction from later poets, indulged.

In reality this pair of Psalms shows, that even David was given to acrostic composition. And why should he not be? Even among the Romans, Ennius (Cicero, De Divin . ii. 54 §111), who belongs not to the leaden, but to the iron age, out of which the golden age first developed itself, composed in acrostics. And our oldest Germanic epics are clothed in the garb of alliteration, which Vilmar calls the most characteristic and most elevated style that the poetic spirit of our nation has created.

Moreover, the alphabetical form is adapted to the common people, as is evident from Augustine’s Retract . i. 20. It is not a paltry substitute for the departed poetic spirit, not merely an accessory to please the eye, an outward embellishment - it is in itself indicative of mental power. The didactic poet regards the array of the linguistic elements as the steps by which he leads his pupils up into the sanctuary of wisdom, or as the many-celled casket in which he stores the pearls of the teachings of his wisdom.

The lyric writer regards it as the keys on which he strikes every note, in order to give the fullest expression to his feelings. Even the prophet does not disdain to allow the order of the letters to exert an influence over the course of his thoughts, as we see from Nah 1:3-7. Therefore, when among the nine alphabetical Psalms (Psa 9:1, Psa 10:1, Psa 25:1, Psa 34:1, Psa 37:1, Psa 111:1, Psa 112:1, Psa 119:1, Psa 145:1) four bear the inscription לדוד (Psa 9:1, Psa 25:1, Psa 34:1, Psa 145:1), we shall not at once regard them as non-Davidic just because they indicate an alphabetical plan which is more or less fully carried out.

This is not the place to speak of the relation of the anonymous Ps 10 to Ps 9, since Ps 9 is not in any way wanting in internal roundness and finish. It is thoroughly hymnic. The idea that Psa 9:14 passes from thanksgiving into supplication rests on a misinterpretation, as we shall presently see. This Psalm is a thoroughly national song of thanksgiving for victory by David, belonging to the time when Jahve was already enthroned on Zion, and therefore, to the time after the ark was brought home.

Was it composed after the triumphant termination of the Syro-Ammonitish war? - The judgment of extermination already executed, Psa 9:8. , harmonises with what is recorded in 2Sa 12:31; and the גוים, who are actually living within the borders of Israel, appear to be Philistines according to the annalistic passage about the Philistine feuds, 2Sa 21:15. , cf. Psa 8:1 in connection with 1Sa 13:6.

Psa 9:1-2 (Hebrew_Bible_9:2-3) In this first strophe of the Psalm, which is laid out in tetrastichs-the normative strophe-the alphabetical form is carried out in the fullest possible way: we have four lines, each of which begins with א. It is the prelude of the song. The poet rouses himself up to a joyful utterance of Jahve’s praise. With his whole heart (Psa 138:1), i.

e. , all his powers of mind and soul as centred in his heart taking part in the act, will he thankfully and intelligently confess God, and declare His wondrous acts which exceed human desire and comprehension (Psa 26:7); he will rejoice and be glad in Jahve, as the ground of his rejoicing and as the sphere of his joy; and with voice and with harp he will sing of the name of the Most High.

עליון is not an attributive of the name of God (Hitz. : Thine exalted name), but, as it is everywhere from Gen 14:18-22 onward (e. g. , Psa 97:9), an attributive name of God. As an attributive to שׁמך one would expect to find העליון.

Psa 9:3-4 (Hebrew_Bible_9:4-5) The call upon himself to thanksgiving sounds forth, and the ב-strophe continues it by expressing the ground of it. The preposition בּ in this instance expresses both the time and the reason together (as in Psa 76:10; 2Ch 28:6); in Latin it is recedentibus hostibus meis retro . אחור serves to strengthen the notion of being driven back, as in Psa 56:10, cf.

Psa 44:11; and just as, in Latin, verbs compounded of re are strengthened by retro . In Psa 9:4 finite verbs take the place of the infinitive construct; here we have futt . with a present signification, just as in 2Ch 16:7 we find a praet . intended as perfect. For the rendering which Hitzig adopts: When mine enemies retreat backwards, they stumble... is opposed both by the absence of any syntactic indication in Psa 9:4 of an apodosis (cf.

Psa 27:2); and also by the fact that יכּשׁלוּ is well adapted to be a continuation of the description of שׁוּב אחור (cf. Joh 18:6), but is tame as a principal clause to the definitive clause בשוב אויבי אחור. Moreover, אחור does not signify backwards (which would rather be אחרנּית Gen 9:23; 1Sa 4:18), but back, or into the rear. The מן of מפּניך is the מן of the cause, whence the action proceeds.

What is intended is God’s angry countenance, the look of which sets his enemies on fire as if they were fuel (Psa 21:10), in antithesis to God’s countenance as beaming with the light of His love. Now, while this is taking place, and because of its taking place, will be sing praise to God. From Psa 9:2 we see that the Psalm is composed directly after the victory and while the destructive consequences of it to the vanquished are still in operation.

David sees in it all an act of Jahve’s judicial power. To execute any one’s right, משׁפּט (Mic 7:9), to bring to an issue any one’s suit or lawful demand, דּין (Psa 140:13), is equivalent to: to assist him and his good cause in securing their right. The phrases are also used in a judicial sense without the suffix. The genitive object after these principal words never denotes the person against whom, but the person on whose behalf, the third party steps forward with his judicial authority.

Jahve has seated Himself upon His judgment-seat as a judge of righteousness (as in Jer 11:20), i. e. , as a judge whose judicial mode of procedure is righteousness, justice, and has decided in his favour. In ישׁב ל (as in Psa 132:11), which is distinguished in this respect from ישׁב על (Psa 47:9), the idea of motion, considere, comes prominently forward.

Psa 9:3-4 (Hebrew_Bible_9:4-5) The call upon himself to thanksgiving sounds forth, and the ב-strophe continues it by expressing the ground of it. The preposition בּ in this instance expresses both the time and the reason together (as in Psa 76:10; 2Ch 28:6); in Latin it is recedentibus hostibus meis retro . אחור serves to strengthen the notion of being driven back, as in Psa 56:10, cf.

Psa 44:11; and just as, in Latin, verbs compounded of re are strengthened by retro . In Psa 9:4 finite verbs take the place of the infinitive construct; here we have futt . with a present signification, just as in 2Ch 16:7 we find a praet . intended as perfect. For the rendering which Hitzig adopts: When mine enemies retreat backwards, they stumble... is opposed both by the absence of any syntactic indication in Psa 9:4 of an apodosis (cf.

Psa 27:2); and also by the fact that יכּשׁלוּ is well adapted to be a continuation of the description of שׁוּב אחור (cf. Joh 18:6), but is tame as a principal clause to the definitive clause בשוב אויבי אחור. Moreover, אחור does not signify backwards (which would rather be אחרנּית Gen 9:23; 1Sa 4:18), but back, or into the rear. The מן of מפּניך is the מן of the cause, whence the action proceeds.

What is intended is God’s angry countenance, the look of which sets his enemies on fire as if they were fuel (Psa 21:10), in antithesis to God’s countenance as beaming with the light of His love. Now, while this is taking place, and because of its taking place, will be sing praise to God. From Psa 9:2 we see that the Psalm is composed directly after the victory and while the destructive consequences of it to the vanquished are still in operation.

David sees in it all an act of Jahve’s judicial power. To execute any one’s right, משׁפּט (Mic 7:9), to bring to an issue any one’s suit or lawful demand, דּין (Psa 140:13), is equivalent to: to assist him and his good cause in securing their right. The phrases are also used in a judicial sense without the suffix. The genitive object after these principal words never denotes the person against whom, but the person on whose behalf, the third party steps forward with his judicial authority.

Jahve has seated Himself upon His judgment-seat as a judge of righteousness (as in Jer 11:20), i. e. , as a judge whose judicial mode of procedure is righteousness, justice, and has decided in his favour. In ישׁב ל (as in Psa 132:11), which is distinguished in this respect from ישׁב על (Psa 47:9), the idea of motion, considere, comes prominently forward.