Psalms 98

Psa 98:4-6 The call in Psa 98:4 demands some joyful manifestation of the mouth, which can be done in many ways; in Psa 98:5 the union of song and the music of stringed instruments, as of the Levites; and in Psa 98:6 the sound of wind instruments, as of the priests. On Psa 98:4 cf. Isa 44:23; Isa 49:13; Isa 52:9, together with Isa 14:7 (inasmuch as פּצחוּ ורננוּ is equivalent to פּצחוּ רנּה). קול זמרה is found also in Isa 51:3.

Psa 98:7-9 Here, too, it is all an echo of the earlier language of Psalms and prophets: Psa 98:7 = Psa 96:11; Psa 98:7 like Psa 24:1; Psa 98:8 after Isa 55:12 (where we find מחא כּף instead of the otherwise customary תּקע כּף, Psa 47:2; or הכּה כּף, 2Ki 11:12, is said of the trees of the field); Psa 98:9 - Psa 96:13, cf. Psa 36:10. In the bringing in of nature to participate in the joy of mankind, the clapping rivers (נהרות) are original to this Psalm: the rivers cast up high waves, which flow into one another like clapping hands; cf.

Hab 3:10, where the abyss of the sea lifts up its hands on high, i. e. , causes its waves to run mountain-high.

Psa 98:7-9 Here, too, it is all an echo of the earlier language of Psalms and prophets: Psa 98:7 = Psa 96:11; Psa 98:7 like Psa 24:1; Psa 98:8 after Isa 55:12 (where we find מחא כּף instead of the otherwise customary תּקע כּף, Psa 47:2; or הכּה כּף, 2Ki 11:12, is said of the trees of the field); Psa 98:9 - Psa 96:13, cf. Psa 36:10. In the bringing in of nature to participate in the joy of mankind, the clapping rivers (נהרות) are original to this Psalm: the rivers cast up high waves, which flow into one another like clapping hands; cf.

Hab 3:10, where the abyss of the sea lifts up its hands on high, i. e. , causes its waves to run mountain-high.

Psa 98:7-9 Here, too, it is all an echo of the earlier language of Psalms and prophets: Psa 98:7 = Psa 96:11; Psa 98:7 like Psa 24:1; Psa 98:8 after Isa 55:12 (where we find מחא כּף instead of the otherwise customary תּקע כּף, Psa 47:2; or הכּה כּף, 2Ki 11:12, is said of the trees of the field); Psa 98:9 - Psa 96:13, cf. Psa 36:10. In the bringing in of nature to participate in the joy of mankind, the clapping rivers (נהרות) are original to this Psalm: the rivers cast up high waves, which flow into one another like clapping hands; cf.

Hab 3:10, where the abyss of the sea lifts up its hands on high, i. e. , causes its waves to run mountain-high.

This is the third of the Psalms (Psa 93:1-5, Psa 97:1-12, Psa 99:1-9) which begin with the watchword מלך ה. It falls into three parts, of which the first (Psa 99:1-3) closes with קדושׁ הוּא, the second (Psa 99:4, Psa 99:5) with קדושׁ הוּא, and the third, more full-toned, with אלחנוּ קדושׁ ה - an earthly echo of the trisagion of the seraphim. The first two Sanctuses are two hexastichs; and two hexastichs form the third, according to the very same law by which the third and the sixth days of creation each consists of two creative works.

This artistic form bears witness against Olshausen in favour of the integrity of the text; but the clare-obscure of the language and expression makes no small demands upon the reader. Bengel has seen deepest into the internal character of this Psalm. He says, “The 99th Psalm has three parts, in which the Lord is celebrated as He who is to come, as He who is, and as He who was, and each part is closed with the ascription of praise: He is holy.

” The Psalm is laid out accordingly by Oettinger, Burk, and C. H. Rieger.

Psa 99:1-3 The three futures express facts of the time to come, which are the inevitable result of Jahve’s kingly dominion bearing sway from heaven, and here below from Zion, over the world; they therefore declare what must and will happen. The participle insidens cherubis (Psa 80:2, cf. Psa 18:11) is a definition of the manner (Olshausen): He reigns, sitting enthroned above the cherubim.

נוּט, like Arab. nwd , is a further formation of the root na , nu, to bend, nod. What is meant is not a trembling that is the absolute opposite of joy, but a trembling that leads on to salvation. The Breviarium in Psalterium , which bears the name of Jerome, observes: Terra quamdiu immota fuerit, sanari non potest; quando vero mota fuerit et intremuerit, tunc recipiet sanitatem.

In Psa 99:3 declaration passes over into invocation. One can feel how the hope that the “great and fearful Name” (Deu 10:17) will be universally acknowledged, and therefore that the religion of Israel will become the religion of the world, moves and elates the poet. The fact that the expression notwithstanding is not קדושׁ אתּה, but קדושׁ הוּא, is explained from the close connection with the seraphic trisagion in Isa 6:3.

הוּא refers to Jahve; He and His Name are notions that easily glide over into one another.

Psa 99:1-3 The three futures express facts of the time to come, which are the inevitable result of Jahve’s kingly dominion bearing sway from heaven, and here below from Zion, over the world; they therefore declare what must and will happen. The participle insidens cherubis (Psa 80:2, cf. Psa 18:11) is a definition of the manner (Olshausen): He reigns, sitting enthroned above the cherubim.

נוּט, like Arab. nwd , is a further formation of the root na , nu, to bend, nod. What is meant is not a trembling that is the absolute opposite of joy, but a trembling that leads on to salvation. The Breviarium in Psalterium , which bears the name of Jerome, observes: Terra quamdiu immota fuerit, sanari non potest; quando vero mota fuerit et intremuerit, tunc recipiet sanitatem.

In Psa 99:3 declaration passes over into invocation. One can feel how the hope that the “great and fearful Name” (Deu 10:17) will be universally acknowledged, and therefore that the religion of Israel will become the religion of the world, moves and elates the poet. The fact that the expression notwithstanding is not קדושׁ אתּה, but קדושׁ הוּא, is explained from the close connection with the seraphic trisagion in Isa 6:3.

הוּא refers to Jahve; He and His Name are notions that easily glide over into one another.

Psa 99:4-5 The second Sanctus celebrates Jahve with respect to His continuous righteous rule in Israel. The majority of expositors construe it: “And (they shall praise) the might of the king, who loves right;” but this joining of the clause on to יודוּ over the refrain that stands in the way is hazardous. Neither can ועז מלך משׁפּט אהב, however, be an independent clause, since אהב cannot be said of עז, but only of its possessor.

And the dividing of the verse at אהב, adopted by the lxx, will therefore not hold good. משפט אהב is an attributive clause to מלך in the same position as in Psa 11:7; and עז, with what appertains to it, is the object to כּוננתּ placed first, which has the king’s throne as its object elsewhere (Psa 9:8, 2Sa 7:13; 1Ch 17:12), just as it here has the might of the king, which, however, here at the same time in מישׁרים takes another and permutative object (cf.

the permutative subject in Psa 72:17), as Hitzig observes; or rather, since מישׁרים is most generally used as an adverbial notion, this מישׁרים (Psa 58:2; Psa 75:3; Psa 9:9, and frequently), usually as a definition of the mode of the judging and reigning, is subordinated: and the might of a king who loves the right, i. e. , of one who governs not according to dynastic caprice but moral precepts, hast Thou established in spirit and aim (directed to righteousness and equity).

What is meant is the theocratic kingship, and Psa 11:4 says what Jahve has constantly accomplished by means of this kingship: He has thus maintained right and righteousness (cf. e. g. , 2Sa 8:15; 1Ch 18:14; 1Ki 10:9; Isa 16:5) among His people. Out of this manifestation of God’s righteousness, which is more conspicuous, and can be better estimated, within the nation of the history of redemption than elsewhere, grows the call to highly exalt Jahve the God of Israel, and to bow one’s self very low at His footstool.

להדם רגליו, as in Psa 132:7, is not a statement of the object (for Isa 45:14 is of another kind), but (like אל in other instances) of the place in which, or of the direction (cf. Psa 7:14) in which the προσκύνησις is to take place. The temple is called Jahve’s footstool (1Ch 28:2, cf. Lam 2:1; Isa 60:13) with reference to the ark, the capporeth of which corresponds to the transparent sapphire (Exo 24:10) and to the crystal-like firmament of the mercaba (Eze 1:22, cf.

1Ch 28:18).