psa 116:0 Thanksgiving Song of One Who Has Escaped from Death We have here another anonymous Psalm closing with Hallelujah. It is not a supplicatory song with a hopeful prospect before it like Ps 115, but a thanksgiving song with a fresh recollection of some deadly peril that has just been got the better of; and is not, like Ps 115, from the mouth of the church, but from the lips of an individual who distinguishes himself from the church. It is an individual that has been delivered who here praises the loving-kindness he has experienced in the language of the tenderest affection. The lxx has divided this deeply fervent song into two parts, Psa 116:1-9, Psa 116:10-19, and made two Hallelujah-Psalms out of it; whereas it unites Psa 114:1-8 and Ps 115 into one. The four sections or strophes, the beginnings of which correspond to one another (Psa 116:1 and Psa 116:10, Psa 116:5 and Psa 116:15), are distinctly separate. The words אקרא וּבשׁם ה are repeated three times. In the first instance they are retrospective, but then swell into an always more full-toned vow of thanksgiving. The late period of its composition makes itself known not only in the strong Aramaic colouring of the form of the language, which adopts all kinds of embellishments, but also in many passages borrowed from the pre-exilic Psalms. The very opening, and still more so the progress, of the first strophe reminds one of Ps 18, and becomes an important hint for the exposition of the Psalm. Psalms 116:1
tPs 116:15From what he has experienced the poet infers that the saints of Jahve are under His most especial providence. Instead of המּות the poet, who is fond of such embellishments, chooses the pathetic form המּותה, and consequently, instead of the genitival construct state (מות), the construction with the Lamed of "belonging to." It ought properly to be "soul" or "blood," as in the primary passage Psa 72:14. But the observation of Grotius: quae pretiosa sunt, non facile largimur, applies also to the expression "death." The death of His saints is no trifling matter with God; He does not lightly suffer it to come about; He does not suffer His own to be torn away from Him by death. (Note: The Apostolic Constitutions (vi. 30) commend the singing of these and other words of the Psalms at the funerals of those who have departed in the faith (cf. Augusti, Denkwrdigkeiten, ix. 563). In the reign of the Emperor Decius, Babylas Bishop of Antioch, full of blessed hope, met death singing these words.) After this the poet goes on beseechingly: ānnáh Adonaj. The prayer itself is not contained in פּתּחתּ למוסרי - for he is already rescued, and the perfect as a precative is limited to such utterances spoken in the tone of an exclamation as we find in Job 21:16 - but remains unexpressed; it lies wrapped up as it were in this heartfelt ānnáh: Oh remain still so gracious to me as Thou hast already proved Thyself to me. The poet rejoices in and is proud of the fact that he may call himself the servant of God. With אמתך he is mindful of his pious mother (cf. Psa 86:16). The Hebrew does not form a feminine, עבדּה; Arab. amata signifies a maid, who is not, as such, also Arab. ‛abdat, a slave. The dative of the object, למוסרי (from מוסרים for the more usual מוסרות), is used with פתחת instead of the accusative after the Aramaic manner, but it does also occur in the older Hebrew (e.g., Job 19:3; Isa 53:11). The purpose of publicly giving thanks to the Gracious One is now more full-toned here at the close. Since such emphasis is laid on the Temple and the congregation, what is meant is literal thank-offerings in payment of vows. In בּתוככי (as in Psa 135:9) we have in the suffix the ancient and Aramaic i (cf. Psa 116:7) for the third time. With אנּה the poet clings to Jahve, with נגדּה־נּא to the congregation, and with בּתוככי to the holy city. The one thought that fills his whole soul, and in which the song which breathes forth his soul dies away, is Hallelujah. Next: Psalms Chapter 117