The sigh for deliverance, in the second half of the psalm, is no breach of that patient submission. Trust and resignation do not kill natural shrinking from contempt and scorn. It is enough that they turn shrinking into supplication and lamentations into appeals to God. He lets His servants make their moan to Him, and tell how full their souls have long been of men's scorn. As a plea with Him the psalmist urges the mockers' "ease." In their security and full-fed complacency, they laughed at the struggling band, as men gorged with material good ever do at enthusiasts; but it is better to be contemned for the difficulties which cleaving to the ruins of God's city brings, than to be the contemners in their selfish abundance. They are further designated as "haughty," by a word which the Hebrew margin reads as two words, meaning "proud ones of the oppressors"; but this is unnecessary, and the text yields a good meaning as it stands, though the word employed is unusual.
This sweet psalm, with all its pained sense of the mockers' gibes and their long duration, has no accent of impatience. Perfect submission, fixed observance, assured confidence that, "till He is gracious," it is best to bear what He sends, befit His servants, and need not hinder their patient cry to Him, nor their telling Him how long and hard their trial has been.
[PSALM CXXIV.]
1 Had not Jehovah been for us,
—Thus let Israel say—
2 Had not Jehovah been for us,
When men rose against us:
3 Then had they swallowed us alive,
When their wrath blazed out upon us;
4 Then had the waters overwhelmed us,
The torrent had gone over our soul;
5 Then had gone over our soul
The proud waters.
6 Blessed be Jehovah,
Who has not given us [as] a prey to their teeth.
7 Our soul is like a bird escaped from the fowlers' snare;
The snare is broken, and we—we are escaped.
8 Our help is in the name of Jehovah,
Maker of heaven and earth.
A sequence may be traced connecting this with the two adjacent psalms. In Psalm cxxiii., patient resignation sighed for deliverance, which here has been received and has changed the singer's note into jubilant and wondering praise; while, in the next little lyric, we have the escaped Israel established in Jerusalem, and drawing omens of Divine guardianship from its impregnable position, on a mountain girt by mountains. This psalm is an outgush of the first rapture of astonishment and joy for deliverance so sudden and complete. It is most naturally taken as the expression of the feelings of the exiles on their restoration from Babylon. One thought runs through it all, that the sole actor in their deliverance has been Jehovah. No human arm has been bared for them; no created might could have rescued them from the rush of the swelling deluge. Like a bird in a net panting with fear and helplessness, they waited the fowler's grasp; but, lo, by an unseen Power the net was broken, and they are free to wing their flight to their nest. So, triumphantly they ring out at last the Name which has been their help, abjuring any share in their own rescue, and content to owe it all to Him.
The step-like structure is very obvious in this psalm. As Delitzsch puts it, "In order to take a step forward, it always goes back half a step." But the repetitions are not mere artistic embellishments; they beautifully correspond to the feelings expressed. A heart running over with thankful surprise at its own new security and freedom cannot but reiterate the occasion of its joy. It is quite as much devotion as art which says twice over that Jehovah was on the singers' side, which twice recalls how nearly they had been submerged in the raging torrent, and twice remembers their escape from the closely wrapping but miraculously broken snare. A suppliant is not guilty of vain repetitions though he asks often for the same blessing, and thanksgiving for answered petitions should be as persistent as the petitions were. That must be a shallow gratitude which can be all poured out at one gush.
The psalmist's metaphors for Israel's danger are familiar ones. "They had swallowed us alive" may refer to the open jaws of Sheol, as in other psalms, but more probably is simply a figure drawn from beasts of prey, as in ver. 6. The other image of a furious swollen torrent sweeping over the heads (or, as here, over the soul) recalls the grand contrast drawn by Isaiah between the gently flowing "waters of Siloam" and the devastating rush of the "river," symbolising the King of Assyria, which, like some winter torrent swollen by the rains, suddenly rises and bears on its tawny bosom to the sea the ruins of men's works and the corpses of the workers.