Bible Commentaries

If the book of Psalms be, as some have styled it, a mirror or looking-glass of pious and devout affections, this psalm in particular deserves, as much as any one psalm, to be so entitled, and is as proper as any to kindle and excite such in us: gracious desires are here strong and fervent; gracious hopes and fears, joys and sorrows, are here struggling, but the pleasing passion comes off a conqueror. Or we may take it for a conflict between sense and faith, sense objecting and faith answering. I. Faith begins with holy desires towards God and communion with him, Ps 42:1,2. II. Sense complains of the darkness and cloudiness of the present condition, aggravated by the remembrance of the former enjoyments, Ps 42:3,4. III. Faith silences the complaint with the assurance of a good issue at last, Ps 42:5. IV. Sense renews its complaints of the present dark and melancholy state, Ps 42:6,7. V. Faith holds up the heart, notwithstanding, with hope that the day will dawn, Ps 42:8. VI. Sense repeats its lamentations (Ps 42:9,10) and sighs out the same remonstrance it had before made of its grievances. VII. Faith gets the last word (Ps 42:11), for the silencing of the complaints of sense, and, though it be almost the same with that (Ps 42:5) yet now it prevails and carries the day. The title does not tell us who was the penman of this psalm, but most probably it was David, and we may conjecture that it was penned by him at a time when, either by Saul's persecution or Absalom's rebellion, he was driven from the sanctuary and cut off from the privilege of waiting upon God in public ordinances. The strain of it is much the same with 63, and therefore we may presume it was penned by the same hand and upon the same or a similar occasion. In singing it, if we be either in outward affliction or in inward distress, we may accommodate to ourselves the melancholy expressions we find here; if not, we must, in singing them, sympathize with those whose case they speak too plainly, and thank God it is not our own case; but those passages in it which express and excite holy desires towards God, and dependence on him, we must earnestly endeavour to bring our minds up to.

The title of this psalm is, "To the chief Musician, Maschil, for the sons of Korah." On the phrase "To the chief Musician," see the notes at the title to Psalm 4:1-8. On the term "Maschil," see the notes at the title to Psalm 32:1-11. This title is prefixed to eleven psalms. It properly means, as in the margin, giving instruction. But why such a title was prefixed to these psalms rather than to others is unknown. So far as appears, the title, in that sense, would be applicable to many other psalms as well as to these, whether understood in the signification of "giving instruction" in general, or of "giving instruction" on any particular subject. It is not easy to give an account of the origin of such titles long after the occasion for affixing them has passed away. The phrase "for the sons of Korah" is rendered in the margin "of the sons," etc. The Hebrew may mean for the sons of Korah; of the sons of Korah; or to the sons of Korah, as it is here rendered by Prof. Alexander. The Septuagint renders the title "For the end - εἰς τὸ τέλος eis to telos: for understanding, εἰς σύνεσιν eis sunesin: to the sons of Kore, τοῖς υἱοῦς Κορέ tois huiois Kore."

So the Latin Vulgate. DeWette renders it, "A poem of the sons of Korah." The psalms to which this title is prefixed are the Psalm 42:1-11; 44; 45; Psalm 46:1-11; Psalm 47:1-9; Psalm 48:1-14; 49; Psalm 84:1-12; Psalm 85:1-13; Psalm 87:1-7; 88. So far as the title is concerned, it may mean either that the psalms were dedicated to them, or that they were submitted to them for arranging the music; or that they were designed to be employed by them as leaders of the music; or that they were the authors of these psalms, that is, that the psalms thus indicated emanated from their body, or were composed by one of their number. Which of these is the true idea must be determined, if determined at all, from some other source than the mere title. The sons of Korah were a family of Levitical singers. Korah was a great-grandson of Levi, Numbers 16:1. He was united with Dathan and Abiram in opposition to Moses, and was the leader of the conspiracy, Numbers 16:2; Jde 1:11.

Korah had three sons, Assir, Elkanah, and Abiasaph Exodus 6:24; and of their descendants David selected a number to preside over the music of the sanctuary, 1 Chronicles 6:22-23, 1 Chronicles 6:31; and they continued in this service until the time of Jehoshaphat, 2 Chronicles 20:19. One of the most eminent of the descendants of Korah, who was employed especially in the musical service of the sanctuary, was Heman: 1 Chronicles 6:33, "Of the sons of the Kohathites; Heman, a singer." The sons of Heman were appointed by David, in connection with the sons of Asaph, and of Jeduthun, to preside over the music: 1 Chronicles 25:1, 1 Chronicles 25:4,1 Chronicles 25:6; 2 Chronicles 5:12; 2 Chronicles 29:14; 2 Chronicles 35:1 :5. See the notes at the title to Psalm 39:1-13. The general appellation, the "sons of Korah," seems to have been given to this company or class of singers. Their office was to preside over the music of the sanctuary; to arrange tunes for the music; to distribute the parts; and possibly to furnish compositions for that service. Whether, however, they actually composed any of the psalms is uncertain. It would seem that the usual custom was for the author of a psalm or hymn designed for public service to deliver it, when composed, into the hands of these leaders of the music, to be employed by them in the public devotions of the people. Thus, in 1 Chronicles 16:7, it is said, "Then on that day David delivered first this psalm, to thank the Lord, into the hand of Asaph and his brethren." Compare 2 Chronicles 29:30. See also the notes at the title of Psalm 1:1-6.

It is not absolutely certain, therefore, who composed this psalm. If it was written by David, as seems most probable, it was with some reference to the "sons of Korah;" that is, to those who presided over the music of the sanctuary. In other words, it was prepared especially to be used by them in the sanctuary, in contradistinction from psalms which had a more general reference, or which were composed for no such specific design. If it was written by the sons of Korah, that is, by any one of their number, it was intended by the author, undoubtedly, to illustrate the feelings of a man of God in deep trials; and the language and the allusions were probably drawn from the history of David, as furnishing the best historical instance for such an illustration of feeling. In this case, the language would be that of one placing himself in imagination in such circumstances, and giving in poetic form a description of the emotions which would pass through his mind, as if they were his own - unless it be supposed that one of the sons of Korah, the author of the psalm, had actually experienced such trials himself. I regard the former as the most probable supposition, and consider that the psalm was composed by David specifically for the use of the leaders of the music in the sanctuary. The name of the author may have been omitted because it was so well understood who he was that there was no need to designate him.

There is a very marked resemblance between this psalm and Psalm 43:1-5. They were composed on a similar, if not on the same occasion; and the two might be united so as to constitute one connected psalm. In fact, they are thus united in thirty-seven codices of Kennicott, and in nine of De Rossi. The structure of both is the same, though they are separated in most of the Hebrew manuscripts, in the Septuagint and Latin Vulgate, in the Chaldee Paraphrase, and in the Syriac and Arabic versions.

Psalm 42:1-11 consists of two parts, marked by the "burden" or "refrain" in Psalm 42:5, Psalm 42:11; and if Psalm 43:1-5 were regarded as a part of the same composition, the two would be divided into three parts, marked by the same burden or refrain, in Psalm 42:5, Psalm 42:11; Psalm 43:5. Of these parts the general structure is similar, containing

(a) an expression of trouble, sorrow, despondency; and then

(b) a solemn appeal of the author to his own soul, asking why he should be cast down, and exhorting himself to put his trust in God.

The occasion on which the psalm was composed by David, if he wrote it - or the occasion which was supposed by the author, if that author was one of the sons of Korah - is not certainly known. The psalm agrees best with the supposition that it was in the time of the rebellion of Absalom, when David was driven from his throne, and from the place which he had appointed for the worship of God after he had removed the ark to Mount Zion, and when he was an exile and a wanderer beyond the Jordan, 2 Samuel 15-18.

The psalm records the feelings of one who had been driven away from the place where he had been accustomed to worship God, and his recollections of those sad days when he endeavored to comfort himself in his despondency by looking to God, and by dwelling on his promises.

I. In the first part Psalm 42:1-5 there is

(1) An expression of his desire to hold communion with God - the panting of his soul after God, Psalm 42:1-2.

(2) his tears under the reproaches of his enemies, while they said, "Where is thy God?" Psalm 42:3.

(3) his remembrance of the former days when he had gone with the multitude to the house of God; and the expression of a firm belief, implied in the language used, that he would go again to the house of God, and with them would keep "holyday," Psalm 42:4. See the notes at that verse.

(4) Self-remonstrance for his despondency, and an exhortation to himself to arouse and to trust in God, with the confident assurance that he would yet be permitted to praise Him, Psalm 42:5.

II. The second part contains a series of similar reflections, Psalm 42:6-11.

(1) a description of his desponding feelings under these circumstances; under the troubles which had rolled over him like waters, Psalm 42:6-7.

(2) an assurance that God would yet manifest His loving-kindness to him; and, on the ground of that, an earnest appeal to God as his God, Psalm 42:8-9.

(3) a further statement of his troubles, as derived from the reproaches of his enemies, as if a sword penetrated even to his bones, Psalm 42:10.

(4) Self-remonstrance again for his despondency, and an exhortation to himself to trust in God (in the same language with which the former part of the psalm closes), Psalm 42:11.

The idea of the whole is, that we should not be overwhelmed or cast down in trouble; that we should confide in God; that we should be cheerful, not desponding; that we should go to God, whatever may happen; and that we should feel that all will yet be well, that all will be overruled for good, and that brighter and happier days will come. How often have the people of God occasion to use the language of this psalm! In a world of trouble and sorrow such as ours is; in a world where the friends of God have often been, and may again be, persecuted; in the anguish which is felt from the ingratitude of children, kindred, and friends; in the distress which springs up in the heart when, from sickness or from any other cause, we are long deprived of the privileges of public worship - in exile as it were from the sanctuary - how imperfect would be a book professing to be a revelation from God, if it did not contain some such psalm as this, so accurately describing the feelings of those who are in such circumstances; so adapted to their needs; so well suited to direct to the true source of consolation! It is this adaptedness of the Bible to the actual requirements of mankind - this accurate description of the feelings which pass through our own mind and heart - this constant direction to God as the true source of support and consolation - which so much endears the Bible to the hearts of the people of God, and which serves, more than any arguments from miracle and prophecy - valuable as those arguments are - to keep up in their minds the conviction that the Bible is a Divine revelation. Psalms like this make the Bible a complete book, and show that He who gave it "knew what is in man," and what man needs in this vale of tears.

The psalmist earnestly longs for the ordinances of the Lord's house, Psalm 42:1-4; describes his deep distress, Psalm 42:5-7; endeavors to take comfort from the consideration that the Lord would appear in his behalf, Psalm 42:8, Psalm 42:9; speaks of the insults of his enemies, Psalm 42:10; and again takes encouragement, Psalm 42:11.

The title, To the chief Musician giving instruction to the sons of Korah. This is the first of the Psalms that has this title prefixed, and it is probable that such Psalms were composed by the descendants of Korah during the Babylonish captivity, or by some eminent person among those descendants, and that they were used by the Israelites during their long captivity, as means of consolation: and, indeed, most of the Psalms which bear this inscription are of the consoling kind and the sentiments appear to belong to that period of the Jewish history, and to none other. The word משכיל maskil, from שכל sakal, signifies to make wise, to direct wisely, to give instruction; and here is so understood by our translators, who have left this signification in the margin; and so the Versions in general.

The Syriac says, "It is a Psalm which David sung when he was an exile, and desired to return to Jerusalem." The Arabic says: "A Psalm for the backsliding Jews."

INTRODUCTION TO Psalm 42

To the chief Musician, Maschil, for the sons of Korah. Of the word "Maschil", See Gill on Psalm 32:1, title. Korah was he who was at the head of a conspiracy against Moses and Aaron, for which sin the earth opened its mouth, and swallowed alive him and his company, and fire devoured two hundred and fifty more; the history of which is recorded in Numbers 16:1; yet all his posterity were not cut off, Numbers 26:11; some were in David's time porters, or keepers of the gates of the tabernacle, and some were singers; see 1 Chronicles 6:33; and to the chief musician was this psalm directed for them to sing, for they were not the authors of it, as some (b) have thought; but most probably David himself composed it; and it seems to have been written by him, not as representing the captives in Babylon, as Theodoret, but on his own account, when he was persecuted by Saul, and driven out by men from abiding in the Lord's inheritance, and was in a strange land among the Heathen, where he was reproached by them; and everything in this psalm agrees with his state and condition; or rather when he fled from his son Absalom, and was in those parts beyond Jordan, mentioned in this psalm; see 2 Samuel 17:24; so the Syriac inscription, the song which David sung in the time of his persecution, desiring to return to Jerusalem.

(b) So R. Moses in Muis, Gussetius, Ebr. Comment. p. 918, & others.

Book II.

XLII.

It is needless to waste argument on what is seen by every reader at a glance, that Psalms 42, 43 form in reality one poem. In style, in subject, in tone, they might have been recognised as from one time and pen, even if they had been separated in the collection instead of following one on the other, and even if the refrain had not marked them as parts of one composition. (For expressions and feelings interlacing, as it were, the text together, comp. Psalm 42:9; Psalm 42:2; Psalm 42:4, with 43:2, 4, 4, respectively.) The poems thus united into one are seen to have three equal stanzas. All three stanzas express the complaint of a sufferer sinking under the weight of his misfortunes; the refrain in contrast expresses a sentiment of religious resignation, of unalterable confidence in Divine protection and favour. We can even realise the very situation of the sufferer. We find him not only far from Jerusalem, and longing anxiously for return thither, but actually on the frontier, near the banks of the Jordan, not far from the sources of the river, on the great caravan route between Syria and the far east, on the slopes of Hermon. We seem to see him strain his eyes from these stranger heights to catch the last look of his own native hills, and from the tone of his regrets—regrets inspired not by worldly or even patriotic considerations, but by the forcible separation from the choral service of the Temple, we conjecture him to have been a priest or a Levite.

Title. (See title, Psalms 4, 32) “For the sons of Korah.” This is a title of Psalms 42, 44-49, 84, 85, 87, 88.

We see from 1Chronicles 6:16-33, that the Korahites were, when that history was written, professional musicians. Kuenen, in History of Religion, p. 204, has pointed out that in the older documents the singers and porters are mentioned separately from the Levites (Ezra 7:7; Ezra 7:24; Ezra 10:23-24; Nehemiah 7:1), and it is only in those of a later date that we find them included in that tribe, when “the conviction had become established, that it was necessary that every one who was admitted in any capacity whatever into the service of the Temple should be a descendant of Levi;” the pedigrees which trace this descent cannot be relied on, and therefore we regard these “sons of Korah” (in one passage a still vaguer appellation, “children of the Korahites,” 2Chronicles 20:19), not as lineally descendants from the Korah of Numbers 16:1, but as one of the then divisions of the body of musicians who were, according to the idea above noticed, treated as Levitical.

THE PSALMS

BOOK II

Psalms 42-72

THE SECOND BOOK OF PSALMS

The Second and Third Books (Psalms 42-89) form the second principal division of the Psalter. The greater part of it (Psalms 42-83) is known as the ‘Elohistic’ collection, because the appellative Elôhîm, ‘God,’ is employed throughout it in the place and almost to the exclusion of the proper name Jehovah, A.V. ‘Lord’ or ‘God.’ This peculiarity is due, in all probability, to the hand of the editor who made the collection by combining a selection of Psalms taken from three sources: (1) a collection of Psalms preserved and used by the Levitical family or guild of the Korahites: (2) a collection bearing the name of David: (3) a collection bearing the name of Asaph, and probably preserved in the family or guild of Asaph. To the Elohistic collection is attached an appendix containing Psalms taken from the Korahite hymnary and other sources, which have not been altered by the Elohistic editor. This collection, perhaps at first without, and afterwards with, the appendix, was probably at one time in circulation as a separate book. See Introd. pp. liii ff.

The first seven Psalms in Book ii (if we reckon 42 and 43 as one) are described in their titles as of the sons of Korah. This rendering of the R.V. is certainly to be preferred to that of the A.V. for the sons of K., which is explained to mean that these Psalms were delivered to the Korahites to be set to music and performed; and the title indicates in all probability (see p. xxix) that the Psalms bearing it were taken from a collection bearing some such name as “The Book of the Songs of the Sons of Korah.”

Korah was the grandson of Kohath and great-grandson of Levi. When he perished for the part which he took in the famous rebellion against Moses, his family escaped (Numbers 16; Numbers 26:11), and his descendants held important offices.

Korahites acted as sentinels of the camp of the Levites; they were warders of the sacred Tent erected by David[18]; and to them was assigned the office of porters or door-keepers of the Temple, which they resumed after the Return from Babylon (1 Chronicles 9:17 ff; 1 Chronicles 26:1 ff.; Nehemiah 11:19)[19].

[18] It is uncertain whether the Korahites who joined David at Ziklag (1 Chronicles 12:6) belonged to the Levitical family, or to that of the Judahite Korah settled at Hebron (1 Chronicles 2:43).

[19] It is doubtful whether Psalm 84:10 is really, as has been supposed, an allusion to this important office. See note on the passage.

Korahites were also connected with the service of sacred song in the Temple. Heman, one of David’s three principal musicians, was a Korahite (1 Chronicles 6:31-33), and his sons were the leaders of fourteen out of the twenty-four courses of Temple musicians (1 Chronicles 25:4 ff.).

There is an allusion to them as singers in the history of the reign of Jehoshaphat (2 Chronicles 20:19), but in the post-exilic period they are only mentioned as door-keepers and not as musicians. Jehuel and Shimei, two of Heman’s descendants, are named in 2 Chronicles 29:14 as taking part in Hezekiah’s reformation.

The common characteristics of the Korahite Psalms have been somewhat exaggerated. The collection includes, as we should expect a Levitical collection to do, Psalms which breathe a spirit of strong devotion to the Temple, and heartfelt delight in its services (Psalms 42-43; Psalms 84), and Psalms which celebrate with enthusiastic pride the praise of Jerusalem as “the city of God,” which He has chosen for His own abode, and in which He reigns as King (46, 47, 48, 87). But these thoughts are not confined to these Psalms[20]; and other features have been pointed out as peculiar, which do not amount to distinctive characteristics common to these Psalms as a group, or which, as in the case of the Divine names, are due to the editor, not to the original authors[21].

[20] See e.g. for the first, Psalms 63, 65; for the second, Psalms 24.

[21] Thus though Jehovah Tsebâôth occurs six times in Korahite Pss. (Psalm 46:7; Psalm 46:11; Psalm 48:8; Psalm 84:1; Psalm 84:3; Psalm 84:12) and only once besides in the Psalter (Psalm 24:10), it is only found in three out of eleven Psalms, and of these two (46, 48) are the work of the same poet. But in view of the alteration which the Divine names have undergone, it can hardly be distinguished from Jehovah Elôhîm Tsebâôth, which occurs not only in the Korahite Ps., Psalm 84:8, but in a Davidic Ps., Psalm 59:5, and an Asaphic Ps., Psalm 80:4; Psalm 80:19, which also has Elôhîm Tsebâôth (v. 7, 14), which can be nothing but the editorial equivalent Jehovah Tsebâôth. The peculiar Adonai Jehovah Tsebâôth in Psalm 69:6 is probably due to the editor: the form in Psalm 89:8 is not unfrequent in the prophets.

In fact the variety of thought and type in the Psalms included in this collection is more remarkable than their similarity. There are (1) personal Psalms, expressive of the most intense personal devotion (Psalms 42-43, 84), and, if 88 is included among the Korahite Psalms, a most pathetic prayer in a situation of the deepest distress: (2) national Psalms, of which one (Psalms 44) is a prayer in time of grave calamity, others (Psalms 46-48) are thanksgivings for a marvellous deliverance, another (85) is a combination of thanksgiving and prayer. (3) Psalms 45 is a congratulatory ode on the marriage of a king: Psalms 49 is a didactic poem, closely related (as is also Psalms 88) to the ‘Wisdom literature’: Psalms 87 breathes the largest spirit of prophetic universalism. The Korahite Psalms form in fact a strikingly representative selection, though, as might be expected, the public and national elements predominate.

As regards the date of these Psalms, the group included in the Elohistic collection should be distinguished from the Psalms in the appendix to it. Of the former (Psalms 42-49) some certainly belong to the time of the Monarchy (45, 46, 48); none are certainly later than the Fall of the Kingdom: of the latter, some may date from the time of the Monarchy, but one at least (85) is later than the Return.

Psalms 42, 43

These two Psalms form a connected poem, consisting of three equal stanzas, each ending with the same refrain. The same circumstances appear to lie in the background, and the tone, spirit, and language are the same throughout. The prayer of Psalms 43 is needed to supplement the complaint of Psalms 42.

It is possible that some interval of time separated the composition of Psalms 43 from that of Psalms 42, or even that they were the work of different poets, and that from the first they were separate poems; but it is far more probable that they are the work of the same poet, and that they originally formed one poem, which has been divided for liturgical or devotional purposes. This division is ancient, for it appears in the majority of Hebrew MSS., and in all Ancient Versions. In some MSS. the two Psalms appear to be united, but this may be due to the absence of any title to mark the beginning of Psalms 43. The absence of a title, however, indicates that the division was made after the formation of the Elohistic collection, in which all the Psalms, with the exception of this and 71, are furnished with titles. See Introd., p. liv.

The author of these Psalms was one who had been wont to conduct processions of pilgrims to the Temple for the great festivals with joyous songs of praise. But now he is forcibly debarred from going up to the worship of the sanctuary. He describes the locality where he is detained as “the land of Jordan and the range of Hermon,” the district in which the Jordan takes its rise from the roots of Hermon. “Mount Mizar” was doubtless some hill in the neighbourhood, though it cannot now be identified. He is surrounded by inhuman heathen enemies (Psalm 43:1), who continually taunt him with being deserted by his God (Psalm 42:3; Psalm 42:10; Psalm 43:2). His faith is sorely tried; but he is confident that he will soon be allowed once more to go up to Jerusalem, and join in the services of the sanctuary.

Who was he and when did he live? The inclusion of the Psalm in the Korahite collection makes it probable that he was a Korahite Levite; and this probability is confirmed by his enthusiastic love for the Temple services, by the part he was accustomed to take in the festal pilgrimages, and by his skill as a musician (Psalm 42:8; Psalm 43:4). The Temple was standing and its services were being regularly carried on. So far however as this Psalm is concerned there is nothing to shew whether it was written before or after the Exile. But its close connexion with Psalms 84 is in favour of assigning it to the earlier period. That Psalm presents such striking resemblances in tone and spirit, in language, and in structure, that it may well have been written by the same author under happier circumstances; and if v. 9 is understood (as it is most natural to understand it) as a prayer for the king, it must belong to the period of the monarchy. Psalms 63, and in a less degree Psalms 61, which belong to the same period, also present affinities. The coincidences with Joel (see notes on Psalm 42:1; Psalm 42:3, and cp. Psalm 84:6), and the use of the Psalm in the prayer of Jonah (see on Psalm 42:7), are noteworthy, but in the uncertainty as to the date of these books, throw no additional light on the question. The circumstances under which the Psalmist found himself debarred from going up to Jerusalem and exposed to the taunts of heathen conquerors might have happened at many different periods, in one of the Syrian or Assyrian invasions, or after the northern kingdom had ceased to exist.

More definite conjectures as to the date lack probability. Delitzsch attributes the Psalm to a Korahite Levite who accompanied David in his flight to Mahanaim, in Absalom’s rebellion (2 Samuel 15:24). But the Psalm contains no allusions to the circumstances of the rebellion; David was among sympathising friends, not among mocking heathen enemies; and Mahanaim was too distant from Hermon to suit the description of the locality in v. 6. Ewald thinks that the Psalm was written by Jehoiachin, as he halted for a night in the neighbourhood of Hermon on his way to exile in Babylon. But there is not the slightest hint that the Psalmist was a king: he does not appear to be an actual prisoner, or a mere temporary sojourner in the neighbourhood of Hermon: he expects soon to be able to go up to Jerusalem again, whereas Jehoiachin had nothing before him but the prospect of a lifelong captivity. Hitzig, followed so far as the date is concerned by Cheyne, attributes the Psalm to the high-priest Onias 3, whom he supposes to have been carried away prisoner by the Egyptian general Scopas, when after the capture of Jerusalem he marched northwards to be defeated by Antiochus the Great, near the source of the Jordan (Jos. Antiq. xii. 3. 3), in b.c. 199–198. But the inclusion of the Psalm in the Elohistic collection, to say nothing of the arguments already given for assigning the Psalm to the period of the monarchy, renders so late a date extremely improbable. See Intr. to Psalms 44.

Happily the poetic beauty and the devotional earnestness of the Psalm are independent of all doubts as to its date and authorship. It is a monument of the spirituality and the joyousness of the religion of Israel. If the writer yearns for renewed access to the earthly sanctuary, it is that in the appointed place and by the appointed means he may realise that communion with God which is the soul’s highest happiness. The Latin hymn Ut iucundas cervus undas (Trench, Sacred Latin Poetry, No. lii) is a beautiful development of the theme of this Psalm.

The structure of the poem is symmetrical and artistic. It consists of three equal stanzas, each closed by the same refrain. Many of the lines fall into the peculiar ‘lamentation-rhythm.’

i. The yearning of the Psalmist’s soul for God strikes the keynote of the Psalm (Psalm 42:1-2): and in his present sorrow he finds sad comfort in the recollection of former happiness (Psalm 42:3-4).

ii. He describes his pitiable plight (Psalm 42:6-7); and recalling past mercies, expostulates with God for having abandoned him to the taunts of his foes (Psalm 42:8-10).

iii. He prays for deliverance from these enemies (Psalm 43:1-2), and restoration to the privileges of the sanctuary (Psalm 43:3-4).

In the refrain which closes each stanza faith rebukes despondency and hope triumphs over despair (Psalm 43:5).

On the title, which should be rendered, with R.V., For the Chief Musician; Maschil of the sons of Korah, see Introd. pp. xix, xxi, xxxiii, and p. 223.

Ps 42:1-11.

Maschil--(See on

Ps 32:1,

title). For, or of (see

Introduction)

the sons of Korah. The writer, perhaps one of this Levitical family of singers accompanying David in exile, mourns his absence from the sanctuary, a cause of grief aggravated by the taunts of enemies, and is comforted in hopes of relief. This course of thought is repeated with some variety of detail, but closing with the same refrain.

1, 2. Compare

(Ps 63:1).

panteth--desires in a state of exhaustion.

As the hart panteth after the water-brooks - Margin, brayeth. The word rendered hart - איל 'ayâl - means commonly a stag, hart, male deer: Deuteronomy 12:15; Deuteronomy 14:5; Isaiah 35:6. The word is masculine, but in this place is joined with a feminine verb, as words of the common gender may be, and thus denotes a hind, or female deer. The word rendered in the text "panteth," and in the margin "brayeth" - ערג ‛ârag - occurs only in this place and in Joel 1:20, where it is applied to the beasts of the field as "crying" to God in a time of drought. The word properly means to rise; to ascend; and then, to look up toward anything; to long for. It refers here to the intense desire of the hind, in the heat of day, for water; or, in Joel, to the desire of the cattle for water in a time of drought. Luther renders it "cries;" the Septuagint and Vulgate render it simply "desires."

Neither the idea of panting nor braying seems to be in the original word. It is the idea of looking for, longing for, desiring, that is expressed there. By 'water-brooks' are meant the streams that run in vallies. Dr. Thomson (Land and the Book, vol. i., p. 253) says, "I have seen large flocks of these panting harts gather round the water-brooks in the great deserts of Central Syria, so subdued by thirst that you could approach quite near them before they fled." There is an idea of tenderness in the reference to the word "hart" here - female deer, gazelle - which would not strike us if the reference had been to any other animal. These are so timid, so gentle, so delicate in their structure, so much the natural objects of love and compassion, that our feelings are drawn toward them as to all other animals in similar circumstances. We sympathize with them; we pity them; we love them; we feel deeply for them when they are pursued, when they fly away in fear, when they are in want. The following engraving will help us more to appreciate the comparison employed by the psalmist. Nothing could more beautifully or appropriately describe the earnest longing of a soul after God, in the circumstances of the psalmist, than this image.

So panteth my soul after thee, O God - So earnest a desire have I to come before thee, and to enjoy thy presence and thy favor. So sensible am I of want; so much does my soul need something that can satisfy its desires. This was at first applied to the case of one who was cut off from the privileges of public worship, and who was driven into exile far from the place where he had been accustomed to unite with others in that service Psalm 42:4; but it will also express the deep and earnest feelings of the heart of piety at all times, and in all circumstances, in regard to God. There is no desire of the soul more intense than that which the pious heart has for God; there is no want more deeply felt than that which is experienced when one who loves God is cut off by any cause from communion with him.

Psalm 42:1