{"commentary":{"id":"jamieson-fausset-brown","name":"Jamieson-Fausset-Brown Bible Commentary","website":"https://en.wikipedia.org/wiki/Jamieson-Fausset-Brown_Bible_Commentary","licenseUrl":"https://creativecommons.org/publicdomain/mark/1.0/","licenseNotes":null,"licenseNotice":null,"englishName":"Jamieson-Fausset-Brown Bible Commentary","language":"eng","textDirection":"rtl","sha256":"db3d4c8b3c1f32ef9d1430a57392e02bda3a17aac1f9bbe398461de021a3cb13","availableFormats":["json"],"listOfBooksApiLink":"/api/c/jamieson-fausset-brown/books.json","listOfProfilesApiLink":"/api/c/jamieson-fausset-brown/profiles.json","numberOfBooks":66,"totalNumberOfChapters":1187,"totalNumberOfVerses":17056,"totalNumberOfProfiles":0,"languageName":"English","languageEnglishName":"English"},"book":{"id":"PSA","commentaryId":"jamieson-fausset-brown","name":"Psalms","commonName":"Psalms","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 Ch1 16:4-8; Ch2 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.\"\n\nTITLES.--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).\n\n\"The Chief Musician\" was the superintendent of the music (compare \"to oversee,\" Ch1 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 Psa 88:1, title. The explanations of other particulars in the titles will be given as they occur.\n\nAUTHORS.--This book is often called \"The Psalms of David,\" he being the only author mentioned in the New Testament (Luk 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 (Act 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\" (Ch1 9:19); including Heman (Ch1 6:33-38); and also Asaph (Ch1 6:39-44); and Ethan (Ch1 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.\n\nCONTENTS.--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.\n\nStill 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.\n\nThe 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\" [Act 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 [Co1 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.\n\nThe 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:\n\nTHE 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\" [Act 2:30; Rom 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 (Sa2 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 [Mat 26:30]; He took from one the words in which He uttered the dreadful sorrows of His soul [Mat 27:46], and died with those of another on His lips [Luk 23:46]. Paul and Silas in the dungeon [Act 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. \n\n\n\nNext: Psalms Chapter 1\n\n","order":19,"numberOfChapters":149,"sha256":"bce573c5d547438781f40f59aab598ce89543e427dcc5c370e3d07d4ea20b442","firstChapterNumber":1,"firstChapterApiLink":"/api/c/jamieson-fausset-brown/PSA/1.json","firstChapterReference":{"commentaryId":"jamieson-fausset-brown","book":"PSA","chapter":1},"lastChapterNumber":150,"lastChapterApiLink":"/api/c/jamieson-fausset-brown/PSA/150.json","lastChapterReference":{"commentaryId":"jamieson-fausset-brown","book":"PSA","chapter":150},"totalNumberOfVerses":799},"chapter":{"number":22,"content":[{"type":"verse","number":2,"content":["The long distress is evinced by-- \n\nam not silent--literally, \"not silence to me,\" either meaning, I continually cry; or, corresponding with \"thou hearest not,\" or answerest not, it may mean, there is no rest or quiet to me.\n\n"]},{"type":"verse","number":3,"content":["Still he not only refrains from charging God foolishly, but evinces his confidence in God by appealing to Him. \n\nthou art holy--or possessed of all the attributes which encourage trust, and the right object of the praises of the Church: hence the sufferer need not despair.\n\n"]},{"type":"verse","number":4,"content":["Past experience of God's people is a ground of trust. The mention of \"our fathers\" does not destroy the applicability of the words as the language of our Saviour's human nature.\n\n"]},{"type":"verse","number":6,"content":["He who was despised and rejected of His own people, as a disgrace to the nation, might well use these words of deep abasement, which express not His real, but esteemed, value.\n\n"]},{"type":"verse","number":7,"content":["For the Jews used one of the gestures (Mat 27:39) here mentioned, when taunting Him on the cross, and (Mat 27:43) reproached Him almost in the very, language of this passage. \n\nshoot out--or, \"open.\" \n\nthe lip--(Compare Psa 35:21).\n\n"]},{"type":"verse","number":8,"content":["trusted on the Lord--literally, \"rolled\"--that is, his burden (Psa 37:5; Pro 16:3) on the Lord. This is the language of enemies sporting with his faith in the hour of his desertion.\n\n"]},{"type":"verse","number":9,"content":["Though ironically spoken, the exhortation to trust was well founded on his previous experience of divine aid, the special illustration of which is drawn from the period of helpless infancy. \n\ndidst make me hope--literally, \"made me secure.\"\n\n"]},{"type":"verse","number":11,"content":["From this statement of reasons for the appeal, he renews it, pleading his double extremity, the nearness of trouble, and the absence of a helper.\n\n"]},{"type":"verse","number":12,"content":["His enemies, with the vigor of bulls and rapacity of lions, surround him, eagerly seeking his ruin. The force of both figures is greater without the use of any particle denoting comparison.\n\n"]},{"type":"verse","number":14,"content":["Utter exhaustion and hopeless weakness, in these circumstances of pressing danger, are set forth by the most expressive figures; the solidity of the body is destroyed, and it becomes like water; the bones are parted; the heart, the very seat of vitality, melts like wax; all the juices of the system are dried up; the tongue can no longer perform its office, but lies parched and stiffened (compare Gen 49:4; Sa2 14:14; Psa 58:8). In this, God is regarded as the ultimate source, and men as the instruments.\n\n"]},{"type":"verse","number":15,"content":["the dust of death--of course, denotes the grave. We need not try to find the exact counterpart of each item of the description in the particulars of our Saviour's sufferings. Figurative language resembles pictures of historical scenes, presenting substantial truth, under illustrations, which, though not essential to the facts, are not inconsistent with them. Were any portion of Christ's terrible sufferings specially designed, it was doubtless that of the garden of Gethsemane.\n\n"]},{"type":"verse","number":16,"content":["Evildoers are well described as dogs, which, in the East, herding together, wild and rapacious, are justly objects of great abhorrence. The last clause has been a subject of much discussion (involving questions as to the genuineness of the Hebrew word translated \"pierce)\" which cannot be made intelligible to the English reader. Though not quoted in the New Testament, the remarkable aptness of the description to the facts of the Saviour's history, together with difficulties attending any other mode of explaining the clause in the Hebrew, justify an adherence to the terms of our version and their obvious meaning.\n\n"]},{"type":"verse","number":17,"content":["His emaciated frame, itself an item of his misery, is rendered more so as the object of delighted contemplation to his enemies. The verbs, \"look\" and \"stare,\" often occur as suggestive of feelings of satisfaction (compare Psa 27:13; Psa 54:7; Psa 118:7).\n\n"]},{"type":"verse","number":18,"content":["This literally fulfilled prediction closes the sad picture of the exposed and deserted sufferer.\n\n"]},{"type":"verse","number":19,"content":["He now turns with unabated desire and trust to God, who, in His strength and faithfulness, is contrasted with the urgent dangers described.\n\n"]},{"type":"verse","number":20,"content":["my soul--or self (compare Psa 3:2; Psa 16:10). \n\nmy darling--literally, \"my only one,\" or, \"solitary one,\" as desolate and afflicted (Psa 25:16; Psa 35:17).\n\n"]},{"type":"verse","number":21,"content":["Deliverance pleaded in view of former help, when in the most imminent danger, from the most powerful enemy, represented by the unicorn or wild buffalo. \n\nthe lion's mouth--(Compare Psa 22:13). The lion often used as a figure representing violent enemies; the connecting of the mouth intimates their rapacity.\n\n"]},{"type":"verse","number":22,"content":["He declares his purpose to celebrate God's gracious dealings and publish His manifested perfections (\"name,\" Psa 5:11), &c., and forthwith he invites the pious (those who have a reverential fear of God) to unite in special praise for a deliverance, illustrating God's kind regard for the lowly, whom men neglect [Psa 22:24]. To hide the face (or eyes) expresses a studied neglect of one's cause, and refusal of aid or sympathy (compare Psa 30:7; Isa 1:15).\n\n"]},{"type":"verse","number":25,"content":["My praise shall be of thee--or, perhaps better, \"from thee,\" that is, God gives grace to praise Him. With offering praise, he further evinces his gratitude by promising the payment of his vows, in celebrating the usual festival, as provided in the law (Deu 12:18; Deu 16:11), of which the pious or humble, and they that seek the Lord (His true worshippers) shall partake abundantly, and join him in praise [Psa 22:26]. In the enthusiasm produced by his lively feelings, he addresses such in words, assuring them of God's perpetual favor [Psa 22:26]. The dying of the heart denotes death (Sa1 25:37); so its living denotes life.\n\n"]},{"type":"verse","number":27,"content":["His case illustrates God's righteous government. Beyond the existing time and people, others shall be brought to acknowledge and worship God; the fat ones, or the rich as well as the poor, the helpless who cannot keep themselves alive, shall together unite in celebrating God's delivering power, and transmit to unborn people the records of His grace.\n\n"]},{"type":"verse","number":30,"content":["it shall be accounted to the Lord for, &c.--or, \"it shall be told of the Lord to a generation.\" God's wonderful works shall be told from generation to generation.\n\n"]},{"type":"verse","number":31,"content":["that he hath done this--supply \"it,\" or \"this\"--that is, what the Psalm has unfolded.\n\n\n\n\nNext: Psalms Chapter 23\n\n"]}],"introduction":"The obscure words Aijeleth Shahar in this title have various explanations. Most interpreters agree in translating them by \"hind of the morning.\" But great difference exists as to the meaning of these words. By some they are supposed (compare Psa 9:1) to be the name of the tune to which the words of the Psalm were set; by others, the name of a musical instrument. Perhaps the best view is to regard the phrase as enigmatically expressive of the subject--the sufferer being likened to a hind pursued by hunters in the early morning (literally, \"the dawn of day\")--or that, while hind suggests the idea of a meek, innocent sufferer, the addition of morning denotes relief obtained. The feelings of a pious sufferer in sorrow and deliverance are vividly portrayed. He earnestly pleads for divine aid on the ground of his relation to God, whose past goodness to His people encourages hope, and then on account of the imminent danger by which he is threatened. The language of complaint is turned to that of rejoicing in the assured prospect of relief from suffering and triumph over his enemies. The use of the words of the first clause of Psa 22:1 by our Saviour on the cross, and the quotation of Psa 22:18 by John (Joh 19:24), and of Psa 22:22 by Paul (Heb 2:12), as fulfilled in His history, clearly intimate the prophetical and Messianic purport of the Psalm. The intensity of the grief, and the completeness and glory of the deliverance and triumph, alike appear to be unsuitable representations of the fortunes of any less personage. In a general and modified sense (see on Psa 16:1), the experience here detailed may be adapted to the case of all Christians suffering from spiritual foes, and delivered by divine aid, inasmuch as Christ in His human nature was their head and representative. (Psa. 22:1-31)\n\nA summary of the complaint. Desertion by God, when overwhelmed by distress, is the climax of the sufferer's misery. \n\nwords of my roaring--shows that the complaint is expressed intelligently, though the term \"roaring\" is figurative, taken from the conduct of irrational creatures in pain.\n\n"},"thisChapterLink":"/api/c/jamieson-fausset-brown/PSA/22.json","thisChapterReference":{"commentaryId":"jamieson-fausset-brown","book":"PSA","chapter":22},"nextChapterApiLink":"/api/c/jamieson-fausset-brown/PSA/23.json","nextChapterReference":{"commentaryId":"jamieson-fausset-brown","book":"PSA","chapter":23},"previousChapterApiLink":"/api/c/jamieson-fausset-brown/PSA/21.json","previousChapterReference":{"commentaryId":"jamieson-fausset-brown","book":"PSA","chapter":21},"numberOfVerses":22}