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This psalm is a solemn meditation on, and admiration of, the glory and greatness of God, of which we are all concerned to think highly and honourably. It begins and ends with the same acknowledgment of the transcendent excellency of God's name. It is proposed for proof (Ps 8:1) that God's name is excellent in all the earth, and then it is repeated as proved (with a "quod erat demonstrandum"—which was to be demonstrated) in the Ps 8:9. For the proof of God's glory the psalmist gives instances of his goodness to man; for God's goodness is his glory. God is to be glorified, I. For making known himself and his great name to us, Ps 8:1. II. For making use of the weakest of the children of men, by them to serve his own purposes, Ps 8:2. III. For making even the heavenly bodies useful to man, Ps 8:3,4. IV. For making him to have dominion over the creatures in this lower world, and thereby placing him but little lower then the angels, Ps 8:5-8. This psalm is, in the New Testament, applied to Christ and the work of our redemption which he wrought out; the honour given by the children of men to him (Ps 8:2, Mt 21:16) and the honour put upon the children of men by him, both in his humiliation, when he was made a little lower then the angels, and in his exaltation, when he was crowned with glory and honour. Compare Ps 8:5,6, Heb 2:6-8, 1Co 15:27. When we are observing the glory of God in the kingdom of nature and providence we should be led by that, and through that, to the contemplation of his glory in the kingdom of grace.

Section 1. "The author of the psalm." This is another psalm purporting to have been written by David, and there is nothing in it that lead's us to think otherwise.

Section 2. "The title to the psalm." The psalm is addressed To the chief Musician upon Gittith. In regard to the meanin of the phrase "chief Musician," see the notes at the introduction to Psalm 4:1-8. The word Gittith - גתית gittı̂yth - occurs but in two other places, also in the titles to the psalms, Psalm 81:1; Psalm 84:1. It is supposed to refer to a musical instrument so called, either as being common among the Gittites (from גתי gittı̂y), Gittites, or an inhabitant of Gath. See 2 Samuel 6:10-11; 2 Samuel 15:18), among whom David for some time resided; or as being derived from גת gath - a wine-press, as denoting an instrument that was used by those accustomed to tread the wine-vat, and intended to accompany the songs of the vintage. The former is the more probable derivation, as it is known that David dwelt for some time among that people, and it is not at all improbable that an instrument of music in use among them should have become common among the Hebrews. Nothing is known, however, as to whether it was a stringed instrument or a wind instrument. Compare, however, Ugolin, Thes. Sac. Ant. xxxii. 487. All that can be ascertained, with any degree of probability about this instrument, is, that as each of the psalms to which this title is prefixed is of a cheerful or joyous nature, would seem that this instrument was adapted to music of this kind, rather than to that which was pensive or serious. This idea also would agree well with the supposition that it denotes an instrument that was employed by those connected with the vintage. Compare Isaiah 16:10.

Section 3. "Occasion on which the psalm was composed." Of this nothing is specified in the psalm itself, and it is impossible now to ascertain it. Aben Ezra, and some others, have supposed that it was written when David brought up the ark to the house of Obed-edom the Gittite, as mentioned in 1 Chronicles 13:12-14. But there is nothing in the psalm adapted to such an occasion. Rudinger supposes that it was composed in the joy of taking possession of Mount Zion. Others have supposed that it was on occasion of the victory of David over Goliath of Gath; but there is nothing in it adapted to the celebration of such a victory.

If we may judge from the psalm itself, it would seem probable that it was composed by night in the contemplation of the starry heavens - naturally suggesting, in view of the vastness and beauty of the celestial luminaries, the littleness of man. This also filled the mind of the psalmist with wonder that the God who marshals all these hosts should condescend to regard the condition and wants of a being so feeble and frail as man, and should have exalted him as he has done over his works. That it was composed or suggested in the night seems probable, from Psalm 8:3, where the psalmist represents himself as surveying or "considering" the "heavens, the work" of the divine "fingers," and as making the "moon and the stars" the subject of his contemplation, but not mentioning the sun. In such contemplations, when looking on the vastness and grandeur, the beauty and order, of the heavenly hosts, it was not unnatural for the writer to think of his own comparative littleness, and then the comparative littleness of man everywhere. No time is more favorable for suggesting such thoughts than the still night, when the stars are shining clearly in the heavens, and when the moon is moving on in the silent majesty of its course. It would seem also, from Psalm 8:2, to be probable that the immediate occasion of this expression of admiration of the name and character of God was some act of condescension on his part in which he had bestowed signal favor on the writer - as if he had ordained strength out of the mouth of babes and sucklings - from even the most feeble and helpless. Perhaps it was in view of some favor bestowed on David himself; and his soul is overwhelmed with a sense of the condescension of God in noticing one so weak and feeble and helpless as he was. From the contemplation of this, the thought is naturally turned to the honor which God had everywhere bestowed upon man.

The psalm, though one part of it is applied by the apostle Paul to Christ Hebrews 2:6-7, does not appear originally to have had any designed reference to the Messiah, though the apostle shows that its language had a complete fulfillment in him, and in him alone. See the notes at that passage. The psalm is complete in itself, as applicable to man as he was originally created, and according to the purposes of his creation; though it is true that the original design will be carried out and completed only in the dominion which will be granted to the Messiah, who, as a man, has illustrated in the highest manner the original purpose of the creation of the race, and in whom alone the original design will be fully carried out.

Section 4. "Contents of the psalm." The psalm embraces the following points:

I. An admiring recognition of the excellence of the name of God (that is, of God himself); of that excellence as manifested in all the earth, Psalm 8:1. The excellency referred to, as the subsequent part of the psalm shows, is in his great condescension, and in his conferring such honor on man - a being so feeble as compared with himself, and so unworthy as compared with the glory of the heavens.

II. The immediate occasion of this reflection, or the cause which suggested it, Psalm 8:2. This seems to have been some remarkable manifestation to one who was feeble and helpless, as if God had ordained strength out of the mouth of babes and sucklings. It is not improbable, as remarked above, that in this the psalmist refers to himself as having been, though conscious of weakness and helplessness, the means of overcoming the enemies of God, as if God had ordained strength through him, or had endowed him with strength not his own.

III. The psalmist is led into admiration of the condescension of God in bestowing such dignity and honor on man, Psalm 8:3-8. This admiration is founded on two things:

(1) That the God who had made the heavens, the moon and the stars, should condescend to notice man or creatures so insignificant and unworthy of notice, Psalm 8:3-4.

(2) The actual honor conferred on man, in the rank which God had given him in the dominion over his works here below; and in the wide extent of that dominion over the beasts of the field, the fowls of the air, and the inhabitants of the seas, Psalm 8:5-8.

IV. The psalm concludes with a repetition of the sentiment in the first verse - the reflection on the excellency of the divine name and majesty, Psalm 8:9.

The glory and excellence of God manifested by his works, Psalm 8:1, Psalm 8:2; particularly in the starry heavens, Psalm 8:3; in man, Psalm 8:4; in his formation, Psalm 8:5; and in the dominion which God has given him over the earth, the air, the sea, and their inhabitants, Psalm 8:6, Psalm 8:7, Psalm 8:8 : in consequence of which God's name is celebrated over all the earth, Psalm 8:9.

The inscription to this Psalm is the following: To the chief Musictan upon Gittith, A Psalm of David. This has been metaphrased, "To the conqueror, concerning the wine-presses;" and has been supposed to be a Psalm intended for the time of vintage: and as that happened about the time of the year in which it is supposed the world was created, hence there is a general celebration of those works, and of the creation, and the high privileges of man. The Chaldee gives it a different turn: "A Psalm of David, to be sung upon the harp, which he brought out of Gath." That the Psalm has respect to our Lord and the time of the Gospel, is evident from the reference made to Psalm 8:2, in Matthew 11:25, the express quotation of it in Matthew 21:16, and another reference to it in 1 Corinthians 1:27. The fourth and sixth verses are quoted Hebrews 2:6-9. See also 1 Corinthians 15:27, and Ephesians 1:22. The first and second Adam are both referred to, and the first and second creation also; and the glory which God has received, and is to receive, through both. It relates simply to Christ and redemption.

INTRODUCTION TO Psalm 8

To the chief Musician upon Gittith, a Psalm of David. Some think this psalm was composed when the ark was brought to the house of Obededom the Gittite; and that it was delivered to him and his sons, as others were to Asaph, to Jeduthun, to the sons of Korah, &c. (l). But against this lies a strong objection, that Obededom and his sons were porters, and not singers, 1 Chronicles 26:4; and for the same reason "gittith" cannot be the name of a musical instrument which was kept in his family, and presided over by them (m). Some are of opinion this word had its name from Gath; and that this psalm was wrote by David when he was there (y); or that it is the name of a musical instrument invented and made there, and which was brought from thence (z): And so the Targum paraphrases it;

"upon the harp which was brought from Gath.''

A word like this signifies "winepresses": and hence the Septuagint, Vulgate Latin, and Ethiopic versions, render it "for the winepresses": which Theodoret interprets of churches, where Christ the true vine is gathered by believers, and they prepare the mystic wine. Some think (a) the psalms which bear this name were composed for the feast of tabernacles: when, having got in their vintage, they filled their presses, and squeezed their grapes, and therefore gave thanks; it was usual, even with the Heathens (b), to make use of the harp, and other instruments of music, at the gathering of the grapes to be squeezed and pressed. Some of the Jewish writers (d) apply it to the times of Edom's destruction, who was to be trodden down as in a winepress, foretold in Isaiah 63:1; and others interpret it of the times of Gog and Magog, when the prophecy in Joel 3:13; shall be fulfilled (d) and some have thought this psalm to be a song of praise, like one of those sung by them that tread in the winepress; the time of vintage being a time of joy. The ancient Christian writers explain it of the sufferings of Christ, when he trod the winepress of his Father's wrath. But the word "gittith" is either the first word of some song, as Aben Ezra thinks; or the name of the tune, as Kimchi; or rather of the musical instrument to which this psalm was set and sung. Though the author of the epistle to the Hebrews, Hebrews 2:6; citing some passages from this psalm, only says, "one in a certain place testified"; without mentioning either the number of the psalm, or the name of the writer; yet it is certain that David was the penman of it: and both from the testimony of that writer, and from a citation of Christ himself, it is evident that the subject of this psalm is the Messiah, and that it belongs to his times; see Hebrews 2:6. So the Syriac scholiast;

"the eighth psalm is concerning Christ our Redeemer.''

(l) Aben Ezra in loc. (m) R. Moses apud ibid. (y) Ben Melech in loc. vide Kimchi ibid. (z) Jarchi in loc. (a) Vide Godwin. Synops. Antiqu. Heb. l. 2. s. 1. c. G. (b) Phurnutus de Natura Deorum, p. 84. (d) Rabbini apud Jarchium in loc. (d) Midrash Tillim apud Viccars. in loc.

VIII.

This psalm has been aptly called a lyric echo of the first chapter of Genesis. There is no reason to doubt the traditional ascription to David. This exquisite little poem is a record of his shepherd’s days, when, under the midnight sky of Palestine, brilliant with stars, he mused on things deep and high, on the mystery of the universe and man’s place in it, his relation to the Creator on the one hand, to the rest of creation on the other.

The form of the poem is perfect and yet simple. A spontaneous burst of praise to the Creator of the glorious world is followed by the inevitable feeling of the insignificance and weakness of man, compared with the majestic march of the shining worlds above him. But like a flash of light comes the claim of kinship with the Author of them all, and a twofold proof of this heavenly origin: the lisping tongues of infants, which can impose silence on those who impiously question it; and the sovereignty man asserts by his superior endowments over the rest of living creation.

Title.—Upon Gittith. (Comp. Psalms 81, 84) The LXX. and Vulg. render, “for the wine-presses,” as if the word were gittôth; and this has been explained to refer either to the festivities of the vintage time, or to the prophecies which describe how the nations would be trodden down as in a wine-press. Another derivation makes it a kind of flute, from a word meaning “to hollow out.” But the most probable and now generally accepted explanation connects it with Gath, the Philistine town. A Talmudic paraphrase for “upon Gittith” is “on the kinnor which was brought from Gath.” According to this, it was a Philistine lute, just as there was an Egyptian flute and a Doric lyre. Others think it refers to a particular tune, perhaps the march of the Gittite guard (2Samuel 15:18).

From a comparison of the three psalms so inscribed, it cannot be a title having any reference to the subject.

It is the marvel of God’s choice of man to be the chief revelation of Himself and His representative on earth that is the theme of this Psalm. Although God’s glory is so conspicuously stamped upon the heavens, He makes infants the defenders of His cause (Psalm 8:1-2). The infinite vastness of the heavens would seem to make a puny creature like man beneath God’s notice (Psalm 8:3-4). Not so, for He has made him in His own image, and appointed him His viceroy over creation (Psalm 8:5-6), in all its varied forms of life (Psalm 8:7-8).

Man then, not Nature, is the central thought in the poet’s mind. It is indeed the contemplation of the heavens with all their wealth of mystery and magnificence which by the law of contrast has turned his gaze to man. Nature is wonderful as the reflection of God’s glory, but man is more wonderful still. Mere atom as he seems to be compared with those starry depths (and what force modern astronomical discovery adds to the contrast), he is in truth more mysterious and wonderful than they, for he is by nature scarce less than God, and appointed to be His viceroy in the world. Man’s dignity is the true marvel of the universe.

The Psalmist looks away from the Fall with its heritage of woe, from the sin and failure and rebellion of mankind, to man’s nature and position and destiny in the original purpose of God. And was he not justified in doing so? The image of God in man is defaced but not destroyed (1 Corinthians 11:7; St James 3:9); the grant of dominion is not abrogated (Genesis 9:2 ff.), though its conditions are modified. Prophets and Apostles look steadily forward to the restoration of man’s destined relation to God and to creation (Isaiah 11:1-9; Romans 8:18-22). God’s purposes are not frustrated by man’s sin, and the Psalm is virtually a prophecy. It finds ‘fulfilment’ in the Incarnation.

The writer of the Epistle to the Hebrews (Psalm 2:6 ff.) quotes Psalm 8:4-6, and contrasts man’s failure with this his lofty destiny. “We see not yet all things subjected to him.” “But,” as he goes on to say, applying the Psalmist’s words to the condescension of the Incarnation, “we behold him who hath been made a little lower than the angels, even Jesus, because of the suffering of death crowned with glory and honour.” The Son of Man, the representative of the race, receives as the reward of His obedience unto death the honour designed for man, and in His exaltation we see “the pledge that the Divine counsel of love will not fail of fulfilment” (Bp. Westcott, Christus Consummalor, p. 21).

St Paul too quotes the last half of Psalm 8:6 as an assurance of the final triumph of Christ (1 Corinthians 15:27; cp. Ephesians 1:22). If all things were subjected to the first Adam who failed through sin, not less must they be subjected to the second Adam who triumphs through obedience, and fulfils the destiny of the race.

The title attributes the Psalm to David, and it may well be his. The fact that the author of the Book of Job was familiar with the Psalm (cp. Job 7:17 ff. with Psalm 8:4) would be a strong confirmation of the accuracy of the title, if that book could be assigned with certainty to the time of Solomon; but the uncertainty as to its date prevents any argument being drawn from the allusion. It has been suggested that David composed the Psalm as a shepherd on the plains of Bethlehem. With all its marvellous depth of meaning, it certainly possesses a striking freshness and simplicity; but would it not be more natural to regard it as the later fruit of seeds of thought sown then and gradually brought to maturity?

The appropriateness of this Psalm as one of the Proper Psalms for Ascension Day is obvious. It is in the Ascension of Christ that we see man, in the person of his perfect representative, “crowned with glory and honour.”

On the title, For the Chief Musician; set to the Gittith (R.V.), see Introd. p. xxv.

Ps 8:1-9.

Upon [or according to the] Gittith, probably means that the musical performance was directed to be according to a tune of that name; which, derived from Gath, a "wine-press," denotes a tune (used in connection with gathering the vintage) of a joyous character. All the Psalms to which this term is prefixed

[Ps 8:1; 81:1; 84:1]

are of such a character. The Psalmist gives vent to his admiration of God's manifested perfections, by celebrating His condescending and beneficent providence to man as evinced by the position of the race, as originally created and assigned a dominion over the works of His hands.

1. thy name--perfections

(Ps 5:11; 7:17).

who hast set--literally, "which set Thou Thy glory," &c., or "which glory of Thine set Thou," &c., that is, make it more conspicuous as if earth were too small a theater for its display. A similar exposition suits the usual rendering.

O Lord - Hebrew, יהוה Yahweh. It is an address to God by his chosen and special title, Exodus 3:14. Compare the notes at Isaiah 1:2.

Our Lord - The word used here - אדני 'âdônay - means properly master, lord, ruler, owner, and is such a title as is given to an owner of land or of slaves, to kings, or to rulers, and is applied to God as being the ruler or governor of the universe. The meaning here is, that the psalmist acknowledged Yahweh to be the rightful ruler, king, or master of himself and of all others. He comes before him with the feeling that Yahweh is the universal ruler - the king and proprietor of all things.

How excellent is thy name - How excellent or exalted art thou - the name being often used to denote the person. The idea is," How glorious art thou in thy manifested excellence or character."

In all the earth - In all parts of the world. That is, the manifestation of his perfect character was not confined to any one country, but was seen in all lands, and among all people. In every place his true character was made known through His works; in every land there were evidences of his wisdom, his greatness, his goodness, his condescension.

Who hast set thy glory above the heavens - The word used here, and rendered "hast set," is in the imperative mood - תנה tenâh - give; and it should probably have been so rendered here, "which thy glory give thou;" that is, "which glory of thine, or implied in thy name, give or place above the heavens." In other words, let it he exalted in the highest degree, and to the highest place, even above the heavens on which he was gazing, and which were in themselves so grand, Psalm 8:3. It expresses the wish or prayer of the writer that the name or praise of God, so manifest in the earth, might be exalted in the highest possible degree - be more elevated than the moon and the stars - exalted and adored in all worlds. In His name there was such intrinsic grandeur that he desired that it might be regarded as the highest object in the universe, and might blaze forth above all worlds. On the grammatical construction of this word - תנה tenâh - see an article by Prof. Stuart, in the Bibliotheca Sacra, vol. ix. pp. 73-77. Prof. Stuart supposes that the word is not formed from נתן nâthan - to give, as is the common explanation, but from תנה tânâh - to give presents, to distribute gifts, Hosea 8:9-10, and that it should be rendered, Thou who diffusest abroad thy glory over the heavens.