The mention of only four tribes in ver. 27 is claimed as showing that the psalm was written when Judæa and Galilee were the only orthodox districts, and central Palestine was in the hands of the Samaritans. But could there be any talk of "princes of Zebulun and Naphtali" then? The exultant tone of the psalm makes its ascription to such a date as the age of the Ptolemies unlikely, when "Israel is too feeble, too depressed, to dream of self-defence; and, if God does not soon interpose, will be torn to pieces" (Cheyne, "Aids to the Devout Study," etc., 335).
To the present writer it does not appear that the understanding and enjoyment of this grand psalm depend so much on success in dating it as is supposed. It may be post-exilic. Whoever fused its reminiscences of ancient triumph into such a glowing outburst of exultant faith, his vision of the throned God and his conviction that ancient facts reveal eternal truths remain for all generations as an encouragement of trust and a prophecy of God's universal dominion.
The main division at ver. 18 parts the psalm into two equal halves, which are again easily subdivided into strophes.
The first strophe (vv. 1-6) may be regarded as introductory to the chief theme of the first half—namely, the triumphant march of the conquering God to His sanctuary. It consists of invocation to Him to arise, and of summons to His people to prepare His way and to meet Him with ringing gladness. The ground of both invocation and summons is laid in an expansion of the meaning of His name as Helper of the helpless, Deliverer of the captive, righteous, and plentifully rewarding the proud doer. The invocation echoes the Mosaic prayer "when the ark set forward" (Numb. x. 35), with the alteration of the tense of the verb from a simple imperative into a precative future, and of "Jehovah" into God. This is the first of the quotations characteristic of the psalm, which is penetrated throughout with the idea that the deeds of the past are revelations of permanent relations and activities. The ancient history glows with present life. Whatever God has done He is doing still. No age of the Church needs to look back wistfully to any former, and say, "Where be all His wondrous works which our fathers have told us of?" The twofold conditions of God's intervention are, as this strophe teaches, Israel's cry to Him to arise, and expectant diligence in preparing His way. The invocation, which is half of Israel's means of insuring His coming, being a quotation, the summons to perform the other half is naturally regarded by the defenders of the post-exilic authorship as borrowed from Isaiah II. (e.g., xl. 3, lvii. 14, lxii. 10), while the supporters of an earlier date regard the psalm as the primary passage from which the prophet has drawn.
God "arises" when He displays by some signal act His care for His people. That strong anthropomorphism sets forth the plain truth that there come crises in history, when causes, long silently working, suddenly produce their world-shaking effects. God has seemed to sit passive; but the heavens open, and all but blind eyes can see Him, standing ready to smite that He may deliver. When He rises to His feet; the enemy scatters in panic. His presence revealed is enough. The emphatic repetition of "before" in these verses is striking, especially when fully rendered,—from His face (ver. 1); from the face of the fire (ver. 2); from the face of God (ver. 2); before His face (vv. 3, 4). To His foes that face is dreadful, and they would fain cower away from its light; His friends sun themselves in its brightness. The same fire consumes and vivifies. All depends on the character of the recipients. In the psalm "the righteous" are Israel, the ideal nation; the "wicked" are its heathen foes; but the principle underlying the fervid words demands a real assimilation of moral character to the Divine, as a condition of being at ease in the Light.
The "deserts" are, in consonance with the immediately following reminiscences, those of the Exodus. Hupfeld and those who discover in the psalm the hopes of the captives in Babylon, take them to be the waste wilderness stretching between Babylon and Palestine. But it is better to see in them simply a type drawn from the past, of guidance through any needs or miseries. Vv. 5, 6, draw out at length the blessed significance of the name Jah, in order to hearten to earnest desire and expectance of Him. They are best taken as in apposition with "Him" in ver. 4. Well may we exult before Him who is the orphans' father, the widows' advocate. There may be significance in the contrast between what He is "in His holy habitation" and when He arises to ride through the deserts. Even in the times when he seems to be far above, dwelling in the separation of His unapproachable holiness, He is still caring and acting for the sad and helpless. But when He comes forth, it is to make the solitary to dwell in a home, to bring out prisoners into prosperity. Are these simply expressions for God's general care of the afflicted, like the former clauses, or do they point back to the Exodus? A very slight change in the text gives the reading, "Makes the solitary to return home"; but even without that alteration, the last clause of the verse is so obviously an allusion to the disobedient, "whose carcasses fell in the wilderness," that the whole verse is best regarded as pointing back to that time. The "home" to which the people were led is the same as the "prosperity" into which the prisoners are brought—namely, the rest and well-being of Canaan; while the fate of the "rebellious" is, as it ever is, to live and die amidst the drought-stricken barrenness which they have chosen.
With the second strophe (vv. 7-10) begins the historical retrospect, which is continued till, at the end of the fourth (ver. 18), God is enthroned in the sanctuary, there to dwell for ever. In the second strophe the wilderness life is described. The third (vv. 11-14) tells of the victories which won the land. The fourth triumphantly contrasts the glory of the mountain where God at last has come to dwell, with the loftier peaks across the Jordan on which no such lustre gleams.
Vv. 7, 8, are from Deborah's song, with slight omissions and alterations, notably of "Jehovah" into "God." The phrase "before" still rings in the psalmist's ears, and he changes Deborah's words, in the first clause of ver. 7, so as to give the picture of God marching in front of His people, instead of, as the older song represented Him, coming from the east, to meet them marching from the west. The majestic theophany at the giving of the Law is taken as the culmination of His manifestations in the wilderness. Vv. 9, 10, are capable of two applications. According to one, they anticipate the chronological order, and refer to the fertility of the land, and the abundance enjoyed by Israel when established there. According to the other, they refer to the sustenance of the people in the wilderness. The former view has in its favour the ordinary use of "inheritance" for the land, the likelihood that "rain" should be represented as falling on soil rather than on people, and the apparent reference in "dwelt therein," to the settlement in Canaan. The objection to it is that reference to peaceful dwelling in the land is out of place, since the next strophe pictures the conquest. If, then, the verses belong to the age of wandering, to what do they refer? Hupfeld tries to explain the "rain" as meaning the manna, and, still more improbably, takes the somewhat enigmatical "assembly" of ver. 10 to mean (as it certainly does) "living creatures," and to allude (as it surely does not) to the quails that fell round the camp. Most commentators now agree in transferring "thine inheritance" to the first clause, and in understanding it of the people, not of the land. The verse is intelligible either as referring to gifts of refreshment of spirit and courage bestowed on the people, in which case "rain" is symbolical; or to actual rainfall during the forty years of desert life, by which sowing and reaping were made possible. The division of the verse as in our translation is now generally adopted. The allusion to the provision of corn in the desert is continued in ver. 10, in which the chief difficulty is the ambiguous word "assembly." It may mean "living creatures," and is so taken here by the LXX. and others. It is twice used in 2 Sam. xxii. 11 (?), 13, for an army. Delitzsch takes it as a comparison of Israel to a flock, thus retaining the meaning of creatures. If the verse is interpreted as alluding to Israel's wilderness life, "therein" must be taken in a somewhat irregular construction, since there is no feminine noun at hand to which the feminine pronominal suffix in the word can be referred. In that barren desert, God's flock dwelt for more than a generation, and during all that time His goodness provided for them. The strophe thus gives two aspects of God's manifestation in the wilderness—the majestic and terrible, and the gentle and beneficent. In the psalmist's triumphant retrospect no allusion is made to the dark obverse—Israel's long ingratitude. The same history which supplies other psalmists and prophets with material for penetrating accusations yields to this one only occasion of praise. God's part is pure goodness; man's is shaded with much rebellious murmuring.
The next strophe (vv. 11-14) is abrupt and disconnected, as if echoing the hurry of battle and the tumult of many voices on the field. The general drift is unmistakable, but the meaning of part is the despair of commentators. The whole scene of the conflict, flight, and division of the spoil is flashed before us in brief clauses, panting with excitement and blazing with the glow of victory. "The Lord giveth the word." That "word" may be the news which the women immediately repeat. But it is far more vivid and truer to the spirit of the psalm, which sees God as the only actor in Israel's history, to regard it as the self-fulfilling decree which scatters the enemy. This battle is the Lord's. There is no description of conflict. But one mighty word is hurled from heaven, like a thunder-clap (the phrase resembles that employed so often, "the Lord gave His voice," which frequently means thunder-peals), and the enemies' ranks are broken in panic. Israel does not need to fight. God speaks, and the next sound we hear is the clash of timbrels and the clear notes of the maidens chanting victory. This picture of a battle, with the battle left out, tells best Who fought, and how He fought it. "He spake, and it was done." What scornful picture of the flight is given by the reduplication "they flee, they flee"! It is like Deborah's fierce gloating over the dead Sisera: "He bowed, he fell, he lay: at her feet he bowed, he fell: where he bowed, there he fell." What confidence in the power of weakness, when God is on its side, in the antithesis between the mighty kings scattered in a general sauve qui peut, and the matrons who had "tarried at home" and now divide the spoil! Sisera's mother was pictured in Deborah's song as looking long through her lattice for her son's return, and solacing herself with the thought that he delayed to part the plunder and would come back laden with it. What she vainly hoped for Israel's matrons enjoy.
Vv. 13, 14, are among the hardest in the Psalter. The separate clauses offer no great difficulties, but the connection is enigmatical indeed. "Will (lit. if) ye lie among the sheepfolds?" comes from Deborah's song (Judg. v. 16), and is there a reproach flung at Reuben for preferring pastoral ease to warlike effort. Is it meant as reproach here? It is very unlikely that a song of triumph like this should have for its only mention of Israel's warriors a taunt. The lovely picture of the dove with iridescent wings is as a picture perfect. But what does it mean here? Herder, whom Hupfeld follows, supposes that the whole verse is rebuke to recreants, who preferred lying stretched at ease among their flocks, and bidding each other admire the glancing plumage of the doves that flitted round them. But this is surely violent, and smacks of modern æstheticism. Others suppose that the first clause is a summons to be up and pursue the flying foe, and the second and third a description of the splendour with which the conquerors (or their households) should be clothed by the spoil. This meaning would require the insertion of some such phrase as "ye shall be" before the second clause. Delitzsch regards the whole as a connected description of the blessings of peace following on victory, and sees a reference to Israel as God's dove. "The new condition of prosperity is compared with the play of colours of a dove basking in the rays of the sun." All these interpretations assume that Israel is addressed in the first clause. But is this assumption warranted? Is it not more natural to refer the "ye" to the "kings" just mentioned, especially as the psalmist recurs to them in the next verse? The question will then retain the taunting force which it has in Deborah's song, while it pictures a very different kind of couching among the sheepfolds—namely, the hiding there from pursuit. The kings are first seen in full flight. Then the triumphant psalmist flings after them the taunt, "Will ye hide among the cattle?" If the initial particle retains its literal force, the first clause is hypothetical, and the suppression of the conclusion speaks more eloquently than its expression would have done: "If ye couch——" The second and third clauses are then parallel with the second of ver. 12, and carry on the description of the home-keeping matron, "the dove," adorned with rich spoils and glorious in her apparel. We thus have a complete parallelism between the two verses, which both lay side by side the contrasted pictures of the defeated kings and the women; and we further establish continuity between the three verses (13-15), in so far as the "kings" are dealt with in them all.