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In this psalm we are directed to give to God the glory of his power and goodness, which appear, I. In the kingdom of grace (Ps 65:1), hearing prayer (Ps 65:2), pardoning sin (Ps 65:3), satisfying the souls of the people (Ps 65:4), protecting and supporting them, Ps 65:5. II. In the kingdom of Providence, fixing the mountains (Ps 65:6), calming the sea (Ps 65:7), preserving the regular succession of day and night (Ps 65:8), and making the earth fruitful, Ps 65:9-13. These are blessings we are all indebted to God for, and therefore we may easily accommodate this psalm to ourselves in singing it.

This also purports to be a psalm of David. It is dedicated to "the chief Musician," or committed to him to be set to appropriate music for the public worship of God. See the notes at the Introduction to Psalm 4:1-8. It is described as both "a psalm," and "a song." It is not easy to account for this double appellation, or to distinguish between the meaning of these words, though probably the real distinction is that the former word - psalm - refers to that to which it is applied, considered merely as a poem or composition; the latter - song - is applied with reference to its being sung in public worship. See Introduction to Psalm 48:1-14.

Though the psalm is ascribed to David, and though there is nothing in its general character which is inconsistent with this supposition, yet it has been maintained by DeWette and some others that the expressions in Psalm 65:4 demonstrate that the psalm was composed after the temple was erected. The ground of this supposition is, that the words "courts," "house," and "holy temple," occurring in that verse, are applicable only to the temple. This, however, is not decisive, for all these words may have been used in reference to the tabernacle, or to the tent which David erected on Mount Zion 2 Chronicles 1:4, and where he was accustomed to worship. Compare the notes at Psalm 65:4. If this is so, then there is nothing to forbid the supposition that the psalm was composed by David. Compare also the notes at Psalm 65:1.

The occasion on which it was written is not indicated in the title, and it is impossible now to determine it. It would seem from the psalm itself to have been composed after a copious and much-needed rain, perhaps after a long drought, when the earth was again refreshed by showers from heaven. The language, however, is of so general character that it may have had no particular reference to any recent event in the time of the psalmist, but may have been suggested, like Psalm 104, by a general contemplation of the power and the beneficence of God as manifested in his providential dealings. Possibly it may have been a song composed for some annual occasion, recounting the acts of God in the revolving seasons of the year - the general reasons which his people had to praise him. It evidently refers to some public solemnity - some acts of praise to be rendered to God in his house Psalm 65:1, Psalm 65:4, and would be eminently appropriate when his people approached him in an annual thanksgiving.

The contents of the psalm are as follows:

I. The blessedness of praising God, or of coming before him, in his house, with the language of prayer and praise, Psalm 65:1-4.

(a) Praise "waits" for God;

(b) he is the hearer of prayer;

(c) he alone can cleanse the soul from sin;

(d) it is a blessed privilege to be permitted to come before him, and to dwell in his courts.

II. The things for which he is to be praised, Psalm 65:5-13.

(1) he is to be praised for the exhibitions of his power, or as the Almighty God; as one who answers the prayers of his people by heavy judgments; as one who shows that all may have confidence in him, on the earth and on the sea; as one who makes the mountains firm, who stills the noise of the waves, who calms the tumults of the people, who displays the tokens of his power everywhere, and makes the outgoings of the morning and evening to rejoice, Psalm 65:5-8.

(2) for his beneficence, especially in sending down refreshing rains upon the earth, and causing the grain to spring up, the grass to grow, and the hills to rejoice on every side, Psalm 65:9-13.

God is praised for the fullilment of his promises, and for his mercy in forgiving sins, Psalm 65:1-3. He is praised for the wonders that he works in nature, which all mankind must acknowledge, Psalm 65:4-8; for the fertilizing showers which he sends upon the earth, and the abundance thereby produced both for men and cattle, Psalm 65:9-13.

The title, "To the chief Musician or conqueror, a Psalm and Song of David." So the Hebrew; and, in effect, the Chaldee, Ethiopic, and best copies of the Septuagint. The Arabic has, "A Psalm of David concerning the transmigration of the people."

The Vulgate is singular: "A Psalm of David. A hymn of Jeremiah and Ezekiel for the people of the transmigration, when they began to go out," from Babylon, understood. This title is of no authority; it neither accords with the subject of the Psalm, nor with the truth of history. Calmet has very properly remarked that Jeremiah and Ezekiel were never found together, to compose this Psalm, neither before at, nor after the captivity. It should therefore be utterly rejected. In the Complutensian edition Haggai is added to Jeremiah and Ezekiel, all with equal propriety.

It is supposed to have been written after a great drought, when God had sent a plentiful rain on the land. I rather think that there was no direct drought or rain in the prophet's view, but a celebration of the praises of God for his giving rain and fruitful seasons, and filling men's mouths with food, and their hearts with gladness. There is a particular providence manifested in the quantity of rain that falls upon the earth, which can neither be too much admired nor praised.

INTRODUCTION TO Psalm 65

To the chief Musician, A Psalm and Song of David. Some copies of the Septuagint and Vulgate Latin versions read

"a song of Jeremiah and Ezekiel, "sung" by the people of the captivity, when they were about to come out;''

and some copies have "Haggai": but though it is possible it might be sung upon that occasion, it is certain it was not then composed, but was written by David, as the genuine title shows: as for Jeremiah; he was not carried captive to Babylon, and Ezekiel died before the return of the people from it; nor is there anything in the psalm relating to that captivity. The title of it, indeed, in the Arabic version, is concerning the captivity of the people; which it seems to have taken from some Greek copy; and Kimchi and Arama interpret it of the captivity of the people of the Jews; but then they mean their present captivity, and their deliverance from it. According to the title of it in the Syriac version, the occasion of it was the bringing up of the ark of God to Sion; and Aben Ezra is of opinion that David composed the psalm at that time; or that one of the singers composed it at the building of the temple, and which he thinks is right, and perhaps is concluded from Psalm 65:1; and who also says it was composed in a year of drought; but it rather seems to have been written in a year of great plenty, as the latter part of it shows; and the whole seems to respect the fruitful, flourishing, and happy state of the church in Gospel times, for which it is a song of praise.

LXV.

The feeling pervading this psalm is indicated by the initial words quiet and praise. The attitude of Israel towards God is one of silent expectation, or expressed thankfulness—it waits hopeful of blessing to be vouchsafed in history and nature, and then bursts forth, like the refreshed and renewed earth, into a loud song of praise. There is only one direct indication of the probable date of the poem—the mention of the Temple, which sets aside the traditional ascription to David. Some have seen reference to a great national deliverance, such as that from Sennacherib, and to an abundant harvest following it. Others, even as early as some MSS. of the LXX. (see Note to title), date the psalm during the exile. The language of the latter part certainly recalls the glowing pictures of the blessings of the Return painted by the later Isaiah. But we can afford to leave undiscovered the author and date of a poem which is perennially fresh and true—a harvest song for the whole world and for all time. The parallelism is symmetrical throughout, but in form the psalm is an ode without regularity of stanza.

Title.—See titles to Psalms 4, 45

The Vulgate and some MSS. of the LXX. add to the word song, “of Jeremiah or Ezekiel, for the people of the dispersion, as they were about to return home.”

A hymn of praise, intended probably to be sung at the presentation of the firstfruits at the Passover (Leviticus 23:10-14) in a year of exceptional promise. It is clear from the allusions to the gathering of the people to the Temple (Psalm 65:2; Psalm 65:4) that it was composed for use at one of the great festivals, and as the corn was still in the fields (Psalm 65:13) the later festivals of Pentecost or Harvest and Tabernacles or Ingathering are excluded.

Was the Psalm written for any special occasion? Not only does the poet see before him the promise of a more than ordinarily bountiful harvest, but the recollection of a great national deliverance seems to be fresh in his mind (Psalm 65:5 ff). Accordingly Delitzsch thinks that the spring of the third year foretold by Isaiah (Isaiah 37:30), when the retreat of the Assyrians had left the Israelites once more free to till their fields in peace, offers the most appropriate historical basis for the Psalm. This view gains support from the coincidences of thought and language with Psalms 46, which belongs to that time, and with Isaiah, as well as from the general similarity of the Ps. to Psalms 66, which there are good reasons for connecting with the deliverance of Jerusalem from the Assyrians.

The Psalm consists of three nearly equal stanzas.

i. It is meet that a grateful people should gather in the Temple to offer their praises to the Hearer of prayer to whom all mankind may have access. Sin indeed unfits them to approach God, but He Himself will make atonement for them. In the blessings of His house they will find their highest happiness (Psalm 65:1-4).

ii. Israel’s God is the one true trust of all mankind. He created and sustains the world; and He controls the nations in it as He controls its natural forces. The signs of His power inspire universal awe and joy (Psalm 65:5-8).

iii. And now in particular Israel has to acknowledge God’s loving bounty in the rich abundance with which He has blessed the year (Psalm 65:9-13).

Some MSS. of the LXX and the Vulg. contain the curious addition to the title; ‘a song of Jeremiah and Ezekiel and the people of the captivity (lit. sojourning) when they were about to set forth,’ but it does not appear to have been part of the original LXX.

This and the three following Psalms bear the double title Song and Psalm. Cp. 48, 75, 76, &c. Song is the older term for a hymn intended to be sung in public worship. Cp. Isaiah 30:29; Amos 8:3.

Ps 65:1-13.

This is a song of praise for God's spiritual blessings to His people and His kind providence over all the earth.

1. Praise waiteth for thee--literally, "To Thee silence praise," or (compare

Ps 62:1),

To Thee silence is praise--that is, Praise is waiting as a servant; it is due to Thee. So the last clause expresses the duty of paying vows. These two parts of acceptable worship, mentioned in

Ps 50:14,

are rendered in Zion, where God chiefly displays His mercy and receives homage.

Praise waiteth for thee, O God, in Sion - That is, all the arrangements are made; the people are assembled; their hearts are prepared to praise thee. The fact that Zion is mentioned here as the seat of praise would seem to imply that this psalm was composed before the building of the temple, contrary to the opinion of DeWette and others, as noticed in the Introduction to the psalm, for after the building of the temple the seat of worship was transferred from Mount Zion, where David had placed the ark and prepared a tent for it 1 Chronicles 15:1; 1 Chronicles 16:1; 2 Chronicles 1:4, to Mount Moriah. It is true that the general name Zion was given familiarly to Jerusalem as a city, but it is also true that the particular place for the worship of God in the time of David was Mount Zion strictly so called. See the notes at Psalm 2:6. The margin in this place is, "Praise is silent." The Hebrew is, "To thee is silence-praise," - a kind of compound phrase, not meaning "silent praise," but referring to a condition where everything is ready; where the preparations have been entirely made; where the noise usually attendant on preparation has ceased, and all is in readiness as if waiting for that for which the arrangements had been carried forward. The noise of building - of preparation - was now hushed, and all was calm. The language here would also denote the state of feeling in an individual or an assembly, when the heart was prepared for praise; when it was filled with a deep sense of the majesty and goodness of God; when all feelings of anxiety were calmed down, or were in a state of rest; when the soul was ready to burst forth in expressions of thanksgiving, and nothing would meet its needs but praise.

And unto thee shall the vow be performed - See Psalm 22:25, note; Psalm 50:14, note; Psalm 56:12, note. The reference here is to the vows or promises which the people had made in view of the manifested judgments of God and the proofs of his goodness. Those vows they were now ready to carry out in expressions of praise.