Commentari biblici

This psalm, according to the method of many other psalms, begins with sorrowful complaints but ends with comfortable encouragements. The complaints seem to be of personal grievances, but the encouragements relate to the public concerns of the church, so that it is not certain whether it was penned upon a personal or a public account. If they were private troubles that he was groaning under, it teaches us that what God has wrought for his church in general may be improved for the comfort of particular believers; if it was some public calamity that he is here lamenting, his speaking of it so feelingly, as if it had been some particular trouble of his own, shows how much we should lay to heart the interests of the church of God and make them ours. One of the rabbin says, This psalm is spoken in the dialect of the captives; and therefore some think it was penned in the captivity in Babylon. I. The psalmist complains here of the deep impressions which his troubles made upon his spirits, and the temptation he was in to despair of relief, Ps 77:1-10. II. He encourages himself to hope that it would be well at last, by the remembrance of God's former appearances for the help of his people, of which he gives several instances, Ps 77:11-20. In singing this psalm we must take shame to ourselves for all our sinful distrusts of God, and of his providence and promise, and give to him the glory of his power and goodness by a thankful commemoration of what he has done for us formerly and a cheerful dependence on him for the future.

For the meaning of the title to this psalm, see the notes at the title to Psalm 39:1-13. It purports, like the preceding ones, to be a psalm of Asaph. See the notes in the title to Psalm 73. Nothing is known, or can now be ascertained, of the occasion on which the psalm was composed. It is not absolutely certain whether it refers to some public calamity, and is designed to express the feelings of a pious Hebrew, as of the psalmist himself (Rosenmuller), or some other Jew (DeWette), in view of such a public calamity; or whether it is designed to represent the "complaint of the church in view of her calamity and desertion (Prof. Alexander); or whether it is the statement of the private and personal experience of the author of the psalm. To me it seems that the latter is the most probable supposition, and that, in this respect, it accords with the purport and design of Psalm 73, which is by the same author. It is an interesting statement of what passed through the mind of the author, and of what may, therefore, pass through the mind of any pious person, in regard to the divine dealings. The psalm was evidently composed in a time of affliction, and the thoughts which gave the author so much trouble, and which he endeavored to calm down, were such as were suggested by affliction; by the fact that God seemed to have forsaken him, and that he had forgotten to be gracious.

The contents of the psalm are as follows:

I. A general statement of the author that he had cried to God, and that he had been heard, Psalm 77:1. This, although it is in the beginning of the psalm, is clearly designed to be a general expression of his experience in the case "as recorded in the psalm," or as the result of the conflict through which he had passed.

II. A statement of his affliction, and of the exercises of his mind in his affliction, Psalm 77:2-9.

(1) the statement of the affliction, Psalm 77:2.

(2) in that affliction he was troubled in mind, or he had painful ideas in regard to God. He could not reconcile his sufferings with such views as he desired to cherish of God, Psalm 77:3.

(3) his meditations, and perhaps the pain of disease, kept him awake, and he was unable to rest. The ordinary time of repose furnished no relief, Psalm 77:4.

(4) he recalled the past; he looked over the dealings of God with people in former times; he summoned up his own reflections in times past, and especially the time when he could praise God in trouble, recalling his "song in the night" - but in vain, Psalm 77:5-6.

(5) the result was that he had most painful thoughts in regard to God, as if he had forgotten to be gracious, and had cast him off forever, and would be favorable no more, Psalm 77:7-9.

III. His self-reproach; his recalling himself to a proper state of feeling; his purpose to think of the dealings of God with his people, and to examine them more closely, Psalm 77:10-12. He saw that the course of thought which he had indulged in was wrong, and was satisfied that it was an "infirmity," that it was to be traced to his own weakness - and that he ought to take different views of God.

IV. The result of all; the things which comforted him in his troubles, and which enabled him at last to put his calm trust in God, Psalm 77:13-20.

He refers

(1) To the fact that God is great, and that he could not hope to be able to comprehend him, Psalm 77:13-14.

(2) to the fact that God had redeemed his people by surprising manifestations of power, showing that he was faithful, and that he was able to deliver front the deepest distresses, Psalm 77:15-18.

(3) to the fact that the way of God was in the sea, or in great waters, and that we cannot expect to be able to comprehend him, Psalm 77:19.

(4) to the fact that God had led his flock in ancient times amid scenes of danger and of trial, Psalm 77:20.

By all this his mind was comforted, and his soul was made calm. God heard his prayer, and gave him peace.

The psalmist's ardent prayer to God in the tine of distress, Psalm 77:1-4. The means he used to excite his confidence, Psalm 77:5-12. God's wonderful works in behalf of his people, Psalm 77:13-20.

The title, "To the chief Musician, (or conqueror), to Jeduthun, A Psalm of Asaph." On this title we may observe that both Asaph and Jeduthun were celebrated singers in the time of David, and no doubt were masters or leaders of bands which long after their times were called by their names. Hence Psalms composed during and after the captivity have these names prefixed to them. But there is reason to believe also, that there was a person of the name of Asaph in the captivity at Babylon. The author must be considered as speaking in the persons of the captive Israelites, It may however be adapted to the case of any individual in spiritual distress through strong temptation, or from a sense of the Divine displeasure in consequence of backsliding.

INTRODUCTION TO Psalm 77

To the chief Musician, to Jeduthun, A Psalm of Asaph. Jeduthun was the name of the chief musician, to whom this psalm was inscribed and sent; see 1 Chronicles 25:1, though Aben Ezra takes it to be the first word of some song, to the tune of which this was sung; and the Midrash interprets it of the subject of the psalm, which is followed by Jarchi, who explains it thus,

"concerning the decrees and judgments which passed upon Israel;''

that is, in the time of their present captivity, to which, as he, Kimchi, and Arama think, the whole psalm belongs. Some interpreters refer it to the affliction of the Jews in Babylon, so Theodoret; or under Ahasuerus, or Antiochus; and others to the great and last distress of the church under antichrist; though it seems to express the particular case of the psalmist, and which is common to other saints.

LXXVII.

The affliction out of which the mournful cry of this psalm rises is presented in such general terms that there is no single indication by which to refer it to one period more than another. As the consolation is sought entirely in the history of national deliverance, and not in any display of divine goodness toward the author individually, it is safe to conclude that the troubles described are also national rather than personal. At all events, for the time the poet’s individuality is entirely merged in the sense of public calamity. The question whether the psalm, or Habakkuk 3:10-15, which at its close it resembles, is the original, would, if it could be decided, be some guide in ascertaining the date of the composition. But there appear arguments equally strong on both sides of this question. There is a striking change of rhythm at Psalm 77:16, otherwise the structure is regular.

Title.—See title Psalms 4, 39

This Psalm breathes the spirit of Habakkuk, and uses language closely resembling that of his ‘Prayer.’ As Habakkuk watched the advance of the Chaldeans, and foresaw that they were to be the executioners of God’s judgement upon Judah, his faith was tried to the uttermost. Could such an apparent triumph of pride and violence be consistent with the Divine government of the world? His questionings were answered with the assurance that pride and injustice must inevitably come to ruin, while righteousness endures; but the assurance was coupled with the warning that its realisation might be long delayed. And when the prophet prayed that God would hasten His work lest the delay should prove too great a strain for the faith of His waiting people, in place of a direct answer there rose before his mind the vision of God’s Advent to judge His enemies and redeem His people. That Advent he describes in language borrowed from the great deliverances and visitations of the past, conveying the same fundamental idea as that of this Psalm, that Israel’s past is the pledge for Israel’s future[41].

[41] For fuller explanation of Habakkuk’s magnificent ode I may refer to my Doctrine of the Prophets, pp. 281 ff.

When the Psalmist wrote, the blow had fallen. Israel was in exile. It is clearly no merely private and personal sorrow which overwhelms his spirit, but the apparent rejection of Israel by God. But in the light of Israel’s past history he is taught to believe that this rejection cannot be permanent. In the recollection of that marvellous past he finds the ground of hope for the future. The God who led His people out of the bondage of Egypt can bring them back from their Exile in Babylon.

The structure of the Psalm is regular. There are two main divisions, in each of which there are two stanzas, marked off by Selah. The second and third stanzas fall into equal subdivisions of three verses. In the fourth stanza the rhythm changes; instead of six distichs we have four tristichs; but the number of lines is the same. The last verse stands by itself as the conclusion.

i.  The problem.

1.  Introduction. The Psalmist relates how in the day of distress he strove, but in vain, to find comfort in prayer (Psalm 77:1-3).

2.  In the watches of the night he pondered on the past history of Israel (Psalm 77:4-6), and asked himself whether God could have irrevocably rejected His people (Psalm 77:7-9).

3.  The answer to such questionings must, he feels, be looked for in God’s revelation of Himself in history (Psalm 77:10-12), especially in His redemption of Israel out of Egypt (Psalm 77:13-15).

4.  On the grandeur of that manifestation he dwells at length (Psalm 77:16-19).

In conclusion he points to God’s guidance of His people through the wilderness (Psalm 77:20).

Some commentators regard Psalm 77:16-19 as a fragment of another Psalm, mainly on the ground of the change of rhythm, and a supposed want of connexion with what precedes and follows. But though the rhythm changes, tristichs taking the place of distichs, the length of the stanza is the same—twelve lines—as that of the two preceding ones. The first stanza contains a tristich (Psalm 77:2), and it should be noted that Psalm 77:1; Psalm 77:16 are both marked by the figure of ‘epanaphora’ or rhetorical repetition.

Attention has also been called to the abruptness of the close of the Psalm, and it has been suggested that it is either incomplete or mutilated. But this abruptness is a mark of the poet’s skill. He ends with the thought which he would leave impressed on the reader’s mind for his consolation—God’s providential guidance of His people. Any addition would weaken the effect. The reader is left to draw the inference that God’s guidance will continue, and that, as He redeemed Israel from the bondage of Egypt, He can redeem them from exile in Babylon. The parallel between the Exodus from Babylon and the Exodus from Egypt is constantly present to the minds of the prophets.

The resemblance of the Psalm to the Prayer of Habakkuk has already been referred to. It has been much disputed whether the Psalmist is imitating the Prophet, or the Prophet the Psalm. On literary grounds alone it would be difficult to decide, though the presumption is perhaps in favour of the originality of Habakkuk. But if (as I believe) the Prayer of Habakkuk is an integral part of his book, not a later addition, and if the Psalm belongs to the time of the Exile, the Psalmist must be the borrower.

Compare, besides Habakkuk 3, Exodus 15; and Psalm 142:1-3; Psalm 143:4-6.

On the title, For the chief Musician; after the manner of Jeduthun (R.V.), see Introd. to Psalms 62.

Ps 77:1-20.

To Jeduthun--(See on

Ps 39:1,

title). In a time of great affliction, when ready to despair, the Psalmist derives relief from calling to mind God's former and wonderful works of delivering power and grace.

1. expresses the purport of the Psalm.

I cried unto God with my voice - That is, he cried or prayed audibly. It was not mere mental prayer. See the notes at Psalm 3:4.

Even unto God with my voice - The repetition here is emphatic. The idea is that it was an earnest or fervent cry. Compare the notes at 2 Corinthians 12:8.

And he gave ear unto me - See Psalm 5:1, note; Psalm 17:6, note.