14 ס Jehovah upholds all the falling,
And raises all the bowed down.
15 ע The eyes of all look expectantly to Thee,
And Thou givest them their food in its season.
16 פ Thou openest Thy hand,
And satisfiest every living thing [with] its desire.
17 צ Jehovah is righteous in all His ways,
And loving in all His works.
18 ק Jehovah is near to all who call on Him,
To all who call on Him in truth.
19 ר The desire of them that fear Him He will fulfil,
And their cry He will hear and will save them.
20 ש Jehovah keeps all who love Him,
And all the wicked will He destroy.
21 ת The praise of Jehovah my mouth shall speak,
And let all flesh bless His holy name for ever and aye.
This is an acrostic psalm. Like several others of that kind, it is slightly irregular, one letter (Nun) being omitted. The omission is supplied in the LXX. by an obviously spurious verse inserted in the right place between vv. 13 and 14. Though the psalm has no strophical divisions, it has distinct sequence of thought, and celebrates the glories of Jehovah's character and deeds from a fourfold point of view. It sings of His greatness (vv. 1-6), goodness (vv. 7-10), His kingdom (vv. 11-13), and the universality of His beneficence (vv. 14-21). It is largely coloured by other psalms, and is unmistakably of late origin.
The first group of verses has two salient characteristics—the accumulation of epithets expressive of the more majestic aspects of Jehovah's self-revelation, and the remarkable alternation of the psalmist's solo of song and the mighty chorus, which takes up the theme and sends a shout of praise echoing down the generations.
The psalmist begins with his own tribute of praise, which he vows shall be perpetual. Ver. 1 recalls Psalms xxx. 1 and xxxiv. 1. We "exalt" God, when we recognise that He is King, and worthily adore Him as such. A heart suffused with joy in the thought of God would fain have no other occupation than the loved one of ringing out His name. The singer sets "for ever and aye" at the end of both ver. 1 and ver. 2, and while it is possible to give the expression a worthy meaning as simply equivalent to continually, it is more in harmony with the exalted strain of the psalm and the emphatic position of the words to hear in them an expression of the assurance which such delight in God and in the contemplation of Him naturally brings with it, that over communion so deep and blessed, Death has no power. "Every day will I bless Thee"—that is the happy vow of the devout heart. "And I will praise Thy name for ever and ever"—that is the triumphant confidence that springs from the vow. The experiences of fellowship with God are prophets of their own immortality.
Ver. 3a is from Psalm xlviii. 1, and b is tinged by Isaiah xl., but substitutes "greatness," the key-note of the first part of this psalm, for "understanding." That note having been thus struck, is taken up in vv. 4-6, which set forth various aspects of that greatness, as manifested in works which are successively described as "mighty"—i.e., instinct with conquering power such as a valiant hero wields; as, taken together, constituting the "splendour of the glory of Thy majesty," the flashing brightness with which, when gathered, as it were, in a radiant mass, they shine out, like a great globe of fire; as "wonders," not merely in the narrower sense of miracles, but as being productive of lowly astonishment in the thoughtful spectator; and as being "dread acts"—i.e., such as fill the beholder with holy awe. In ver. 5b the phrase rendered above "records of His wonders" is literally "words of His wonders," which some regard as being like the similar phrase in Psalm lxv. 3 (words or matters of iniquities), a pleonasm, and others would take as they do the like expression in Psalm cv. 27, as equivalent to "deeds of the Divine wonders" (Delitzsch). But "words" may very well here retain its ordinary sense, and the poet represent himself as meditating on the records of God's acts in the past as well as gazing on those spread before his eyes in the present.
His passing and repassing from his own praise in vv. 1, 2, to that of successive generations in ver. 4, and once more to his own in ver. 5, and to that of others in ver. 6, is remarkable. Does he conceive of himself as the chorus leader, teaching the ages his song? Or does he simply rejoice in the less lofty consciousness that his voice is not solitary? It is difficult to say, but this is clear, that the Messianic hope of the world's being one day filled with the praises which were occasioned by God's manifestation in Israel burned in this singer's heart. He could not bear to sing alone, and his hymn would lack its highest note, if he did not believe that the world was to catch up the song.
But greatness, majesty, splendour, are not the Divinest parts of the Divine nature, as this singer had learned. These are but the fringes of the central glory. Therefore the song rises from greatness to celebrate better things, the moral attributes of Jehovah (vv. 7-10). The psalmist has no more to say of himself, till the end of his psalm. He gladly listens rather to the chorus of many voices which proclaims Jehovah's widespread goodness. In ver. 7 the two attributes which the whole Old Testament regards as inseparable are the themes of the praise of men. Goodness and righteousness are not antithetic, but complementary, as green and red rays blend in white light. The exuberance of praise evoked by these attributes is strikingly represented by the two strong words describing it; of which the former, "well forth," compares its gush to the clear waters of a spring bursting up into sunlight, dancing and flashing, musical and living, and the other describes it as like the shrill cries of joy raised by a crowd on some festival, or such as the women trilled out when a bride was brought home. Ver. 8 rests upon Exod. xxxiv. 6 (compare Psalm ciii. 8). It is difficult to de-synonymise "gracious" and "full of compassion." Possibly the former is the wider, and expresses love in exercise towards the lowly in its most general aspect, while the latter specialises graciousness as it reveals itself to those afflicted with any evil. As "slow to anger," Jehovah keeps back the wrath which is part of His perfection, and only gives it free course after long waiting and wooing. The contrast in ver. 8b is not so much between anger and loving-kindness, which to the psalmist are not opposed, as between the slowness with which the one is launched against a few offenders and the plenitude of the other. That thought of abundant loving-kindness is still further widened, in ver. 9, to universality. God's goodness embraces all, and His compassions hover over all His works, as the broad wing and warm breast of the mother eagle protect her brood. Therefore the psalmist hears a yet more multitudinous voice of praise from all creatures; since their very existence, and still more their various blessednesses, give witness to the all-gladdening Mercy which encompasses them. But Creation's anthem is a song without words, and needs to be made articulate by the conscious thanksgivings of those who, being blessed by possession of Jehovah's loving-kindness, render blessing to Him with heart and lip.
The Kingship of God was lightly touched in ver. 1. It now becomes the psalmist's theme in vv. 11-13. It is for God's favoured ones to speak, while Creation can but be. It is for men who can recognise God's sovereign Will as their law, and know Him as Ruler, not only by power, but by goodness, to proclaim that kingdom which psalmists knew to be "righteousness, peace, and joy." The purpose for which God has lavished His favour on Israel is that they might be the heralds of His royalty to "the sons of men." The recipients of His grace should be the messengers of His grace. The aspects of that kingdom which fill the psalmist's thoughts in this part of his hymn, correspond with that side of the Divine nature celebrated in vv. 1-6—namely, the more majestic—while the graciousness magnified in vv. 7-10 is again the theme in the last portion (vv. 14-20). An intentional parallelism between the first and third parts is suggested by the recurrence in ver. 12 of part of the same heaped-together phrase which occurs in ver. 5. There we read of "the splendour of the glory of Thy majesty"; here of "the glory of the splendour of Thy kingdom,"—expressions substantially identical in meaning. The very glory of the kingdom of Jehovah is a pledge that it is eternal. What corruption or decay could touch so radiant and mighty a throne? Israel's monarchy was a thing of the past; but as, "in the year that King Uzziah died," Isaiah saw the true King of Israel throned in the Temple, so the vanishing of the earthly head of the theocracy seems to have revealed with new clearness to devout men in Israel the perpetuity of the reign of Jehovah. Hence the psalms of the King are mostly post-exilic. It is blessed when the shattering of earthly goods or the withdrawal of human helpers and lovers makes more plain the Unchanging Friend and His abiding power to succour and suffice.