Jamieson-Fausset-Brown Commentary Critical and Explanatory on the Whole Bible · Psalms Capitolo 1

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Psalms Capitolo 1

서론

Introduction

Apri passaggio

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導論

本書的希伯來文書名為 Tehilim(「讚美」或「讚美詩」),因為其內容的一大特色正是讚美,儘管這詞僅出現在一篇詩篇(第一百四十五篇)的標題中。希臘文書名(見於 Septuagint,即基督降生前二百年譯成的七十士譯本)為 psalmoi,英文 "Psalms" 一詞即由此而來。這對應希伯來文 mizmoi,有六十五篇詩篇在題註中以此自稱;而與希伯來文相近的敘利亞文,則以此詞稱呼全書。正如希臘文書名一樣,這詞意指伴以樂器(尤其是豎琴)歌唱的頌歌(參

1Ch 16:4-8; 2Ch 5:12, 13)。

在某些詩篇之前,冠以希伯來文詞(shir)「一首歌」。保羅似乎暗指這一切用詞:

Eph 5:19,

「唱……用詩篇、頌詞、靈歌。」

標題。——有一百多篇詩篇附有題註,提供下列一項或多項(在 [Psalm 60] 一例中為全部)資料:給樂師的指示、作者或樂器的名稱、音樂或詩歌的體裁、主題或緣由。某些作者質疑這些題註的權威。他們說,最早的譯者,如希臘文譯本與敘利亞文譯本,表現出對其權威的漠視,對部分題註的翻譯有所偏離,更改其他題註,並在若干情形下為希伯來文原文無題的詩篇補上標題。又有論者謂,題註中所載詩篇的主題,常與其內容不符。然而,這些譯者同樣偏離了聖經中許多公認具權威之段落的正確翻譯;而所謂的不一致,經更精細的考查後,或可證明並不存在。另一方面,這些題註公認的古遠,甚至其晦澀難明,都構成有利於其權威的推定;而此類作品的序言,也符合當時與該地域的慣例(參

Isa 38:9)。

「伶長」(The Chief Musician)是音樂的督導(參「管理」,

1Ch 15:21,

Margin)。其前所冠的「交與」,意指就其職分而言「屬於」。此題註見於五十三篇詩篇,並附於哈巴谷的祈禱

(Hab 3:1-19)。

同一希伯來文介詞冠於作者名字之前,譯作「的」,如「大衛的詩」、「亞薩的」,惟獨對於「可拉的後裔」,卻譯作「為」,這顯然有誤,因為通常的指示「交與伶長」仍舊保留,且未暗示其他作者。關於此點最後的說明中,表面上的例外,見下文,並見

Ps 88:1,

題註。題註中其他細節的解釋,將在出現時逐一說明。

作者。——本書常被稱為「大衛的詩篇」,因為他是新約中唯一提及的作者

(Lu 20:42),

且其名字出現於題註中的次數多於其他任何作者。除約半數的詩篇如此署名外,第二篇與第九十五篇也歸於他

(Ac 4:25 及 Heb 4:7)。

他很可能也是許多未署名詩篇的作者。他竭力美化聖所的敬拜。在他所指派負責歌唱與演奏樂器的二百八十八名利未人中,我們見到「可拉的後裔」

(1Ch 9:19);

包括希幔

(1Ch 6:33-38);

以及亞薩

(1Ch 6:39-44);

和以探

(1Ch 15:17-19)。

神無疑樂意以聖靈的默示賜恩予這些人,使他們運用因與音樂這一相近技藝相連而培養出的詩歌才華,創作出與其君王兼恩主相似的作品。歸於亞薩的有十二篇;歸於可拉的後裔的有十一篇,包括第八十八篇,該篇亦歸於希幔,這是惟一提及「兒子」(或後裔)名字的例子;歸於以探的有一篇。所羅門的名字見於第七十二篇與第一百二十七篇之前;摩西的名字見於第九十篇之前。關於作者的特殊問題,將在出現時加以說明。

內容。——由於本書包含一百五十篇各自獨立的作品,因此無法作任何邏輯分析。猶太人將其分為五卷,對應摩西五經(卷一,第一至四十二篇;卷二,第四十三至七十二篇;卷三,第七十三至八十九篇;卷四,第九十至一〇六篇;卷五,第一〇七至一五〇篇),許多人試圖在此分法中發現某種考據或實用價值,卻徒勞無功。也曾有人多方嘗試按主題將詩篇分類。Angus' Bible Hand Book(《昂格聖經手冊》)或許最為實用,附列於後。

然而,詩篇仍具有其獨特的形式與性格;儘管風格與主題各有不同,它們都同化於此一形式,並共同構成一個一致且完整的道德真理體系。它們全都是詩歌,並且都屬於那種獨特的平行體(見

Introduction to the Poetical Books(《詩歌書導論》),)

這是希伯來詩歌的特徵。它們全是抒情詩,即配以樂器歌唱的詩歌,且全是宗教抒情詩,即設計用於聖所敬拜的詩歌。

詩篇的顯著特徵在於其靈修性質。無論其內容是教導性的、歷史性的、預言性的,還是實踐性的,都成為禱告或讚美,或兩者兼有的根據或主題。神學的教義與純正道德的訓誨在此得著諄諄教誨。神的本性、屬性、完全,以及祂創造、護理、施恩的作為,都一一展開。在最崇高的詩句與最宏偉的構思中,祂在天上、地上、陰間一切權勢之上的榮耀至高主權,以及祂對一切有形與無形力量的聖潔、智慧與大能的統管,都成為頌讚的對象。那基於救贖主這一根本應許的恩典聖約——兩者同為神無盡憐憫的預備——就聖靈的重生、罪的赦免、向神悔改、以及向耶穌基督的信心等教義而論,都得以闡明;同時其榮耀的結果,即「從地極」拯救世人

[Ac 13:47],

也在信心的、預言性的禱告與感恩的讚美中宣告出來。作者們的個人歷史,尤其是大衛在屬靈層面的經歷,正是神子民普遍的經歷。基督徒的傳記之所以能造就人,僅在於它是真理在經歷中的彰顯,正如神的道與神的靈所產生的那樣。傳記可能出於人工的編造,其真實性亦可疑。然而在此,真正敬虔之人的經歷,是在神的感動之下,「用聖靈所指教的言語」

[1Co 2:13]

記述的。敬虔之人整個內在的生命都敞開呈現,歷世歷代的基督徒在此都能找到與自己屬靈經歷相對照的試探、爭戰、困惑、疑惑、恐懼、悔罪的哀嘆與壓倒性的憂傷,另一方面也能找到赦罪之恩的喜樂與盼望、對虛偽諂媚者誘惑的得勝,以及從撒但權勢下得蒙拯救。在此也呈現了那主權憐憫的果子——這憐憫在懇切禱告中屢屢尋求,既尋得便在狂喜中高歌——表現於患難中的忍耐、順境中的節制、為神榮耀的熱心、對人的愛、對受壓迫者的公義、對驕傲者的聖潔蔑視、對仇敵的寬宏、對朋友的忠誠、為錫安的興旺而喜樂,以及為其擴展與永存發出信心的禱告。

詩篇中的歷史概述蘊含豐富的教訓。神對列祖的揀選、以色列人在埃及的苦難、他們的出埃及、試探神、在曠野中的叛逆與災禍、在迦南的定居、退後與復興,都為神對其子民——無論個人或整體——的護理之工提供了例證,旨在高舉祂那可頌的恩典並貶抑人的驕傲。然而,與這些概述相連的、以及詩篇其他地方所呈現的應許與預言,卻有更為深遠的涵蓋,揭示了本書與應許和預言這一大主題的關係:

彌賽亞與祂的國度。——大衛是神所揀選、治理祂子民的僕人,既是國家也是教會的元首,是「按肉體說」

[Ac 2:30; Ro 1:3]

祂可頌之子的直系祖先,也是在祂的職分關係上——無論受苦或得勝——的預表。一般而言,大衛受惡人苦害的經歷描繪了基督的受苦,而他最終的成功則預表基督國度的成功。在預表的意義上,他使用描述自身感受的語言,這些語言惟有在基督的感受中才找到其完全的意義。正因如此,這些經文在新約中被引用並應用。進一步說,鑒於那賜予他與他後裔的重大應許

(2Sa 7:12-16)

——詩篇中屢屢提及——大衛受默示而知道,儘管他地上的國度將要消亡,他屬靈的國度卻必在基督國度的大能、恩澤與榮耀中永遠長存。在重述並擴展那應許時,他不僅以預表的身分說話,更是「既是一位先知,又知道神曾向他起誓立誓,要從他的後裔中,按肉體說,興起基督坐在他的寶座上」,他就「預先說明基督受苦,以及後來得的榮耀。基督的道成肉身、屈辱的憂傷、受逼迫與慘死,都啟示於一位絕望受苦者哀切的呼喊中;而祂的復活與升天、祂永遠的祭司職任、祂的王權尊嚴、祂先知的職分、聖靈恩賜的購得與賜下、列國的歸信、教會的建立、增長與永存、時代的終局,以及承認這位錫安君王的義人之福,並拒絕祂的惡人之滅亡,都以確信與喜樂的語言預言出來。」這些偉大的主題,一方面以靈修的語言,為神的子民提供了通俗的神學,以及宗教經歷與基督徒道德的指引,另一方面也提供了受默示的禮儀,使歷代不同信仰與宗派的敬虔之人,在近三千年間傾吐他們的禱告與讚美。基督降生以前,敬虔的猶太人以古王的言辭,為錫安的苦難哀嘆,或頌揚她未來的榮耀。我們的救主與門徒,在被賣的那一夜,唱了其中一首

[Mt 26:30];

祂從其中一篇取了表達祂靈魂深處可怖痛苦的話語

[Mt 27:46],

又帶著另一篇的話語而死

[Lu 23:46]。

保羅和西拉在監牢裡

[Ac 16:25],

早期基督徒在他們隱密的敬拜之所,或後來宏偉的教堂中,以及中世紀黑暗與謬誤盛行之時分散而微弱的信徒群體,都從這些安慰的詩歌中得著餵養與激勵。如今,在整個基督信仰的世界中,透過無數形式的譯本、意譯與仿作,無論天主教徒或新教徒,無論主教制教會、長老會、獨立教會、浸信會、循道宗——各方各地、各種信仰的人,在公開與私下的敬拜中,仍然以這些古老詩篇所表達的情感來敬拜神。從前半部充斥的憂傷與受苦的調子,我們漸漸被引領前行,穿梭於交替的爭戰與得勝、哀訴與甦醒的信心之間;當我們接近終末時,憂傷的調子漸漸微弱,讚美的聲音越發洪亮堅定——直到在末篇歡騰的樂聲中,地上的合唱融入天上聖所中那無人能數之群眾的哈利路亞之中。

Angus 或 Bickersteth 的分類可作為按特殊題目尋找詩篇的指引。茲略加修改如下:

一、教導性。

(1) 善人與惡人:第一、五、七、九至十二、十四、十五、十七、二十四、二十五、三十二、三十四、三十六、三十七、五十、五十二、五十三、五十八、七十三、七十五、八十四、九十一、九十二、九十四、一一二、一二一、一二五、一二七、一二八、一三三篇;

(2) 神的律法:第十九、一一九篇;

(3) 人生虛空:第三十九、四十九、九十篇;

(4) 治理者的本分:第八十二、一〇一篇。

二、讚美。

(1) 為神普遍向以色列所施的恩惠:第四十六、四十八、六十五、六十六、六十八、七十六、八十一、八十五、九十八、一〇五、一二四、一二六、一二九、一三五、一三六、一四九篇;

(2) 為對善人的恩惠:第二十三、三十四、三十六、九十一、一〇〇、一〇三、一〇七、一一七、一二一、一四五、一四六篇;

(3) 為對個人的憐憫:第九、十八、二十二、三十、四十、七十五、一〇三、一〇八、一一六、一一八、一三八、一四四篇;

(4) 為祂普遍的屬性:第八、十九、二十四、二十九、三十三、四十七、五十、六十五、六十六、七十六、七十七、九十三、九十五至九十七、九十九、一〇四、一一一、一一三至一一五、一三四、一三九、一四七、一四八、一五〇篇。

三、靈修性——表達

(1) 悔罪:第六、二十五、三十二、三十八、五十一、一〇二、一三〇、一四三篇;

(2) 患難中的信靠:第三、十六、二十七、三十一、五十四、五十六、五十七、六十一、六十二、七十一、八十六篇;

(3) 帶著盼望的憂傷:第十三、二十二、六十九、七十七、八十八篇;

(4) 深切的困苦:第四、五、十一、二十八、四十一、五十五、五十九、六十四、七十、一〇九、一二〇、一四〇、一四一、一四三篇;

(5) 失去信仰特權時的感受:第四十二、四十三、六十三、八十四篇;

(6) 渴求幫助:第七、十七、二十六、三十五、四十四、六十、七十四、七十九、八十、八十三、八十九、九十四、一〇二、一二九、一三七篇;

(7) 代求:第二十、六十七、一二二、一三二、一四四篇。

四、歷史性。第七十八、一〇五、一〇六篇。

五、預言性。第二、十六、二十二、四十、四十五、六十八、六十九、七十二、九十七、一一〇、一一八篇。

附註。——下列註釋的編者省略了所有對作者的引述,以免註釋過於累贅。他所依據的著作有:CALVIN、SCOTT、POOLE、AINSWORTH、COBBIN、GEICE、VATABLUS、THOLUCK、J. H. MICHAELIS、ROSENMULLER 與 ALEXANDER。其中末後兩位的著作,在平行經文方面他尤其受惠。他自由地採用了這些作者所提出的見解,本書中除簡明而兼具詳盡解說之外,別無其他功勞可誇。但凡嘗試此工作者,必會發現撰寫一本冗長的註釋遠比寫一本精簡的要容易得多。

Originale inglese

INTRODUCTION

The Hebrew title of this book is Tehilim ("praises" or "hymns"), for a leading feature in its contents is praise, though the word occurs in the title of only one Psalm (the hundred forty-fifth). The Greek title (in the Septuagint, a translation made two hundred years before Christ) is psalmoi, whence our word "Psalms." This corresponds to the Hebrew word mizmoi by which sixty-five Psalms are designated in their inscriptions, and which the Syriac, a language like the Hebrew, uses for the whole book. It means, as does also the Greek name, an ode, or song, whose singing is accompanied by an instrument, particularly the harp (compare

1Ch 16:4-8; 2Ch 5:12, 13).

To some Psalms, the Hebrew word (shir) "a song," is prefixed. Paul seems to allude to all these terms in

Eph 5:19,

"singing . . . in psalms, hymns, and spiritual songs."

TITLES.--To more than a hundred Psalms are prefixed inscriptions, which give one or more (and in one case, [Psalm 60], all) of these particulars: the direction to the musician, the name of the author or the instrument, the style of the music or of the poetry, the subject or occasion. The authority of these inscriptions has been disputed by some writers. They say that the earliest translators, as the Greek and Syriac, evince a disregard for their authority, by variations from a proper translation of some, altering others, and, in several instances, supplying titles to Psalms which, in Hebrew, had none. It is also alleged that the subject of a Psalm, as given in the title, is often inconsistent with its contents. But those translators have also varied from a right translation of many passages in the Bible, which all agree to be of good authority; and the alleged inconsistency may be shown, on more accurate investigation, not to exist. The admitted antiquity of these inscriptions, on the other hand, and even their obscurity, raise a presumption in their favor, while such prefaces to a composition accord with the usages of that age and part of the world (compare

Isa 38:9).

"The Chief Musician" was the superintendent of the music (compare "to oversee,"

1Ch 15:21,

Margin). "To" prefixed to this, means, "pertaining to" in his official character. This inscription is found in fifty-three Psalms and is attached to Habakkuk's prayer

(Hab 3:1-19).

The same Hebrew preposition is prefixed to the name of the author and translated "of," as "a Psalm of David," "of Asaph," except that to "the sons of Korah," it is translated "for," which is evidently wrong, as the usual direction, "to the chief musician," is given, and no other authorship intimated. On the apparent exception to this last remark, see below, and see on

Ps 88:1,

title. The explanations of other particulars in the titles will be given as they occur.

AUTHORS.--This book is often called "The Psalms of David," he being the only author mentioned in the New Testament

(Lu 20:42)

and his name appearing in more titles than that of any other writer. Besides about one-half of the Psalms in which it thus appears, Psalms 2 and 95 are ascribed to him

(Ac 4:25 and Heb 4:7).

He was probably the author of many others which appear without a name. He used great efforts to beautify the worship of the sanctuary. Among the two hundred eighty-eight Levites he appointed for singing and performing instrumental music, we find mentioned the "sons of Korah"

(1Ch 9:19);

including Heman

(1Ch 6:33-38);

and also Asaph

(1Ch 6:39-44);

and Ethan

(1Ch 15:17-19).

God was doubtless pleased to endow these men with the inspiration of His Spirit, so that they used those poetic talents which their connection with the kindred art of music had led them to cultivate, in the production of compositions like those of their king and patron. To Asaph are ascribed twelve Psalms; to the sons of Korah, eleven, including the eighty-eighth, which is also ascribed to Heman, that being the only instance in which the name of the "son" (or descendant) is mentioned; and to Ethan, one. Solomon's name appears before the seventy-second and hundred twenty-seventh; and that of Moses before the ninetieth. Special questions respecting authorship will be explained as they arise.

CONTENTS.--As the book contains one hundred fifty independent compositions, it is not susceptible of any logical analysis. The Jews having divided it into five books, corresponding to the Five Books of Moses (First, Psalms 1-42; Second, Psalms 43-72; Third, Psalms 73-89; Fourth, Psalms 90-106; Fifth, Psalms 107-150), many attempts have been made to discover, in this division, some critical or practical value, but in vain. Sundry efforts have been made to classify the Psalms by subject. Angus' Bible Hand Book is perhaps the most useful, and is appended.

Still the Psalms have a form and character peculiar to themselves; and with individual diversities of style and subject, they all assimilate to that form, and together constitute a consistent system of moral truth. They are all poetical, and of that peculiar parallelism (see

Introduction to the Poetical Books,)

which distinguished Hebrew poetry. They are all lyrical, or songs adapted to musical instruments, and all religious lyrics, or such as were designed to be used in the sanctuary worship.

The distinguishing feature of the Psalms is their devotional character. Whether their matter be didactic, historical, prophetical, or practical, it is made the ground or subject of prayer, or praise, or both. The doctrines of theology and precepts of pure morality are here inculcated. God's nature, attributes, perfections, and works of creation, providence, and grace, are unfolded. In the sublimest conceptions of the most exalted verse, His glorious supremacy over the principalities of heaven, earth, and hell, and His holy, wise, and powerful control of all material and immaterial agencies, are celebrated. The great covenant of grace resting on the fundamental promise of a Redeemer, both alike the provisions of God's exhaustless mercy, is set forth in respect of the doctrines of regeneration by the Spirit, forgiveness of sins, repentance toward God, and faith toward Jesus Christ, while its glorious results, involving the salvation of men "from the ends of the earth"

[Ac 13:47],

are proclaimed in believing, prophetic prayer and thankful praise. The personal history of the authors, and especially David's in its spiritual aspects, is that of God's people generally. Christian biography is edifying only as it is truth illustrated in experience, such as God's Word and Spirit produce. It may be factitious in origin and of doubtful authenticity. But here the experience of the truly pious is detailed, under divine influence, and "in words which the Holy Ghost" taught

[1Co 2:13].

The whole inner life of the pious man is laid open, and Christians of all ages have here the temptations, conflicts, perplexities, doubts, fears, penitent moanings, and overwhelming griefs on the one hand, and the joy and hope of pardoning mercy, the victory over the seductions of false-hearted flatterers, and deliverance from the power of Satan on the other, with which to compare their own spiritual exercises. Here, too, are the fruits of that sovereign mercy, so often sought in earnest prayer, and when found, so often sung in rapturous joy, exhibited by patience in adversity, moderation in prosperity, zeal for God's glory, love for man, justice to the oppressed, holy contempt for the proud, magnanimity towards enemies, faithfulness towards friends, delight in the prosperity of Zion, and believing prayer for her enlargement and perpetuity.

The historical summaries of the Psalms are richly instructive. God's choice of the patriarchs, the sufferings of the Israelites in Egypt, their exodus, temptations of God, rebellions and calamities in the wilderness, settlement in Canaan, backslidings and reformations, furnish illustrations of God's providential government of His people, individually and collectively, tending to exalt His adorable grace and abase human pride. But the promises and prophecies connected with these summaries, and elsewhere presented in the Psalms, have a far wider reach, exhibiting the relations of the book to the great theme of promise and prophecy:

THE MESSIAH AND HIS KINGDOM.--David was God's chosen servant to rule His people, as the head at once of the State and the Church, the lineal ancestor, "according to the flesh"

[Ac 2:30; Ro 1:3],

of His adorable Son, and His type, in His official relations, both in suffering and in triumph. Generally, David's trials by the ungodly depicted the trials of Christ, and his final success the success of Christ's kingdom. Typically, he uses language describing his feelings, which only finds its full meaning in the feelings of Christ. As such it is quoted and applied in the New Testament. And further, in view of the great promise

(2Sa 7:12-16)

to him and his seed, to which such frequent reference is made in the Psalms, David was inspired to know, that though his earthly kingdom should perish, his spiritual would ever endure, in the power, beneficence, and glory of Christ's. In repeating and amplifying that promise, he speaks not only as a type, but "being a prophet, and knowing that God had sworn with an oath to him, that of the fruit of his loins, according to the flesh, he would raise up Christ to sit on his throne," he "foretold the sufferings of Christ and the glory that should follow. His incarnation, humiliating sorrows, persecution, and cruel death are disclosed in the plaintive cries of a despairing sufferer; and His resurrection and ascension, His eternal priesthood, His royal dignity, His prophetical office, the purchase and bestowal of the gifts of the Spirit, the conversion of the nations, the establishment, increase, and perpetuity of the Church, the end of time, and the blessedness of the righteous who acknowledge, and the ruin of the wicked who reject this King in Zion, are predicted in the language of assured confidence and joy." While these great themes have supplied the people of God with a popular theology and a guide in religious experience and Christian morality, clothed in the language of devotion, they have provided an inspired liturgy in which the pious, of all creeds and sects, have, for nearly three thousand years, poured out their prayers and praises. The pious Jew, before the coming of Christ, mourned over the adversity, or celebrated the future glories, of Zion, in the words of her ancient king. Our Saviour, with His disciples, sang one of these hymns on the night on which He was betrayed

[Mt 26:30];

He took from one the words in which He uttered the dreadful sorrows of His soul

[Mt 27:46],

and died with those of another on His lips

[Lu 23:46].

Paul and Silas in the dungeon

[Ac 16:25],

primitive Christians in their covert places of worship, or the costly churches of a later day, and the scattered and feeble Christian flocks in the prevalence of darkness and error through the Middle Ages, fed their faith and warmed their love with these consoling songs. Now, throughout the Christian world, in untold forms of version, paraphrase, and imitation, by Papists and Protestants, Prelatists and Presbyterians, Independents, Baptists, Methodists--men of all lands and all creeds, in public and private worship, God is still adored in the sentiments expressed in these venerable Psalms. From the tone of sorrow and suffering which pervade their earlier portions we are gradually borne on amid alternate conflicts and triumphs, mournful complaints and awakening confidence; as we approach the close the tones of sorrow grow feebler, and those of praise wax louder and stronger--till, in the exulting strains of the last Psalm, the chorus of earth mingles with the hallelujahs of the multitude, which no man can number, in the sanctuary above.

Angus' or Bickersteth's arrangement may be profitably used as a guide for finding a Psalm on a special topic. It is a little modified, as follows:

  1. Didactic.

(1) Good and bad men: Psalms 1, 5, 7, 9-12, 14, 15, 17, 24, 25, 32, 34, 36, 37, 50, 52, 53, 58, 73, 75, 84, 91, 92, 94, 112, 121, 125, 127, 128, 133;

(2) God's law: Psalms 19, 119;

(3) Human life vain: Psalms 39, 49, 90;

(4) Duty of rulers: Psalms 82, 101.

  1. Praise.

(1) For God's goodness generally to Israel: Psalms 46, 48, 65, 66, 68, 76, 81, 85, 98, 105, 124, 126, 129, 135, 136, 149;

(2) To good men, Psalms 23, 34, 36, 91, 100, 103, 107, 117, 121, 145, 146;

(3) Mercies to individuals: Psalms 9, 18, 22, 30, 40, 75, 103, 108, 116, 118, 138, 144;

(4) For His attributes generally: Psalms 8, 19, 24, 29, 33, 47, 50, 65, 66, 76, 77, 93, 95-97, 99, 104, 111, 113-115, 134, 139, 147, 148, 150.

  1. Devotional--expressive of

(1) Penitence: Psalms 6, 25, 32, 38, 51, 102, 130, 143;

(2) Trust in trouble: Psalms 3, 16, 27, 31, 54, 56, 57, 61, 62, 71, 86;

(3) Sorrow with hope: Psalms 13, 22, 69, 77, 88;

(4) Of deep distress: Psalms 4, 5, 11, 28, 41, 55, 59, 64, 70, 109, 120, 140, 141, 143;

(5) Feelings when deprived of religious privileges: Psalms 42, 43, 63, 84;

(6) Desire for help: Psalms 7, 17, 26, 35, 44, 60, 74, 79, 80, 83, 89, 94, 102, 129, 137;

(7) Intercession: Psalms 20, 67, 122, 132, 144.

  1. Historical. Psalms 78, 105, 106.

  2. Prophetical. Psalms 2, 16, 22, 40, 45, 68, 69, 72, 97, 110,

Note.--The compiler of the following notes has omitted all references to authors, as needlessly encumbering the commentary. He has had before him the works of CALVIN, SCOTT, POOLE, AINSWORTH, COBBIN, GEICE, VATABLUS, THOLUCK, J. H. MICHAELIS, ROSENMULLER, and ALEXANDER. To the two last named he has been particularly indebted for the parallel passages. He has made a free use of the views advanced by these authors, and claims no credit for anything in the work except the conciseness united with fullness of exposition. Whoever attempts it will find it far easier to write a long commentary than a brief one.

1

Ps 1:1-6.

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Ps 1:1-6.

本篇描述並對比敬虔人與惡人的品格與處境,以及他們現今與未來的命運,教導真實的敬虔是最終福樂之源,罪是痛苦之源。由於這是全書教訓的概要,本篇無論是否刻意如此編排,都構成了一個合宜的序言。

1. 有福——字面作「啊,那福分」——這是強烈情感的驚嘆,彷佛由默想此主題而生。複數的使用可表示豐盛與多樣

(2Ch 9:7)。

計謀……道路……座位——與其相應的動詞一道,標示出罪惡的遞進:即照惡人的原則行事、培養與他們的交往、並持久地效法其行為;惡人用三個詞描述,最後一個暗示最膽大妄為的不敬虔(參

Ps 26:4, 5; Jer 15:17)。

Originale inglese

Ps 1:1-6.

The character and condition, and the present and future destiny, of the pious and the wicked are described and contrasted, teaching that true piety is the source of ultimate happiness, and sin of misery. As this is a summary of the teachings of the whole book, this Psalm, whether designedly so placed or not, forms a suitable preface.

1. Blessed--literally, "oh, the happiness"--an exclamation of strong emotion, as if resulting from reflecting on the subject. The use of the plural may denote fulness and variety

(2Ch 9:7).

counsel . . . way . . . seat--With their corresponding verbs, mark gradations of evil, as acting on the principles, cultivating the society, and permanently conforming to the conduct of the wicked, who are described by three terms, of which the last is indicative of the boldest impiety (compare

Ps 26:4, 5; Jer 15:17).

2

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2. 律法——即當時所寫下神全部的話語,尤其是摩西的書卷(參

Ps 119:1, 55, 97

等)。

Originale inglese

2. law--all of God's word then written, especially the books of Moses (compare

Ps 119:1, 55, 97,

&c.).

3

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3. 像一棵樹——

(Jer 17:7, 8)。

栽——安定,穩固。

在——或作「在……之上」。

溪水旁——灌溉的溝渠。

便順利——字面意為「使之順利」,使之成熟。這狀態和品格的基礎見

(Ps 32:1)。

Originale inglese

3. like a tree--

(Jer 17:7, 8).

planted--settled, fast.

by--or, "over."

the rivers--canals for irrigation.

shall prosper--literally, "make prosper," brings to perfection. The basis of this condition and character is given

(Ps 32:1).

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4. 惡人並不如此——無論在行事或結局上都不如此。

乃像糠粃——東方迎風揚場的時候,糠粃被徹底吹散。

Originale inglese

4. not so--either as to conduct or happiness.

like the chaff--which, by Eastern modes of winnowing against the wind, was utterly blown away.

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5. 站立得住——即被定為無罪。他們必從義人中間被趕出

(Mt 25:45, 46)。

Originale inglese

5. stand in the judgment--be acquitted. They shall be driven from among the good

(Mt 25:45, 46).

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6. 曉得……道路——關注並供應他們

(Ps 101:6; Pr 12:10; Ho 13:5)。

惡人的道路——他們一切籌謀終必以失望與毀滅收場

(Ps 37:13; 146:8; Pr 4:19)。

Originale inglese

6. knoweth the way--attends to and provides for them

(Ps 101:6; Pr 12:10; Ho 13:5).

way of the wicked--All their plans will end in disappointment and ruin

(Ps 37:13; 146:8; Pr 4:19).