Psa 92 | CalvinCommentaries | STEP | PSALM 92 This psalm contains an exhortation to praise God, and shows how much ground we have for this exercise from the works of God, insisting, especially, upon his justice, displayed in the protection of his people, and the destruction of the wicked. By such truth it encourages to the practice of righteousness, and preserves us from fainting under the cross of Christ, by proposing to our view a happy issue out of all our afflictions. To deter us, on the other hand, from the commission of iniquity it declares that sinners, however they may prosper for a time, will speedily be destroyed. A Song for the Sabbath-day. 1. It is good to give thanks unto Jehovah, to sing praises unto thy name, O Most High! 2. To show forth thy lovingkindness in the morning, and thy faithfulness in the night, 3. Upon the psaltery, and upon the hand instrument, with the song upon the harp. 4. For thou, Jehovah, hast made me glad in thy works; I will triumph in the works of thy hands. 1 It is good to give thanks unto Jehovah. There is no reason to doubt that the Jews were in the habit of singing this psalm, as the inscription bears, upon the Sabbath-day, and it is apparent, from different passages, that other psalms were applied to this use. As the words may be read literally in the Hebrew, it is good for giving thanks unto the Lord, some interpreters, founding upon the letter ל , lamed, prefixed to the verb, understand the Psalmist to mean that it was good to have a certain day set apart for singing the praises of God — that it was a useful arrangement by which one day had been chosen to be occupied by the Lord’s people in celebrating his works. But it is well known that this letter, when prefixed, is merely the ordinary mark of the infinitive mood — and I have given what is obviously the simple meaning. The reason why the Psalmist appropriated this psalm to the Sabbath is sufficiently obvious. That day is not to be holy, in the sense of being devoted to idleness, as if this could be an acceptable worship to God, but in the sense of our separating ourselves from all other occupations, to engage in meditating upon the Divine works. As our minds are inconstant, we are apt, when exposed to various distractions, to wander from God. We need to be disentangled from all cares if we would seriously apply ourselves to the praises of God. The Psalmist then would teach us that the right observance of the Sabbath does not consist in idleness, as some absurdly imagine, but in the celebration of the Divine name. The argument which he adduces is drawn from the profitableness of the service, for nothing is more encouraging than to know that our labor is not in vain, and that what we engage in meets with the Divine approbation. In the succeeding verse, he adverts to the grounds which we have for praising God, that we may not imagine that God calls upon us to engage in this service without reason, or simply in consideration of his greatness and power, but in remembrance of his goodness and faithfulness, which should inflame our hearts to such exercise, if we had any proper sense and experience of them. He would have us consider, in mentioning these, that not only is God worthy of praise, but that we ourselves are chargeable with ingratitude and perversity should we refuse it. We are the proper objects of his faithfulness and goodness, and it would argue inexcusable indifference if they did not elicit our cordial praises. It might seem a strange distinction which the Psalmist observes when he speaks of our announcing God’s goodness in the morning, and his faithfulness at night. His goodness is constant, and not peculiar to any one season, why then devote but a small part of the day to the celebration of it? And the same may be said of the other Divine perfection mentioned, for it is not merely in the night that his faithfulness is shown. But this is not what the Psalmist intends. He means that beginning to praise the Lord from earliest dawn, we should continue his praises to the latest hour of the night, this being no more than his goodness and faithfulness deserve. If we begin by celebrating his goodness, we must next take up the subject of his faithfulness. Both will occupy our continued praises, for they stand mutually and inseparably connected. The Psalmist is not therefore to be supposed as wishing us to separate the one from the other, for they are intimately allied; he would only suggest that we can never want matter for praising God unless indolence prevail over us, and that if we would rightly discharge the office of gratitude, we must be assiduous in it, since his goodness and his faithfulness are incessant. In the fourth verse, he more immediately addresses the Levites, who were appointed to the office of singers, and calls upon them to employ their instruments of music — not as if this were in itself necessary, only it was useful as an elementary aid to the people of God in these ancient times. We are not to conceive that God enjoined the harp as feeling a delight like ourselves in mere melody of sounds; but the Jews, who were yet under age, were astricted to the use of such childish elements. The intention of them was to stimulate the worshippers, and stir them up more actively to the celebration of the praise of God with the heart. We are to remember that the worship of God was never understood to consist in such outward services, which were only necessary to help forward a people, as yet weak and rude in knowledge, in the spiritual worship of God. A difference is to be observed in this respect between his people under the Old and under the New Testament; for now that Christ has appeared, and the Church has reached full age, it were only to bury the light of the Gospel, should we introduce the shadows of a departed dispensation. From this, it appears that the Papists, as I shall have occasion to show elsewhere, in employing instrumental music, cannot be said so much to imitate the practice of God’s ancient people, as to ape it in a senseless and absurd manner, exhibiting a silly delight in that worship of the Old Testament which was figurative, and terminated with the Gospel.

‏ Psalms 92

PSALM 92

This psalm contains an exhortation to praise God, and shows how much ground we have for this exercise from the works of God, insisting, especially, upon his justice, displayed in the protection of his people, and the destruction of the wicked. By such truth it encourages to the practice of righteousness, and preserves us from fainting under the cross of Christ, by proposing to our view a happy issue out of all our afflictions. To deter us, on the other hand, from the commission of iniquity it declares that sinners, however they may prosper for a time, will speedily be destroyed.

A Song for the Sabbath-day.

1 It is good to give thanks unto Jehovah. There is no reason to doubt that the Jews were in the habit of singing this psalm, as the inscription bears, upon the Sabbath-day, and it is apparent, from different passages, that other psalms were applied to this use. As the words may be read literally in the Hebrew, it is good for giving thanks unto the Lord, some interpreters, founding upon the letter ל, lamed, prefixed to the verb, understand the Psalmist to mean that it was good to have a certain day set apart for singing the praises of God — that it was a useful arrangement by which one day had been chosen to be occupied by the Lord’s people in celebrating his works. But it is well known that this letter, when prefixed, is merely the ordinary mark of the infinitive mood — and I have given what is obviously the simple meaning. The reason why the Psalmist appropriated this psalm to the Sabbath is sufficiently obvious. That day is not to be holy, in the sense of being devoted to idleness, as if this could be an acceptable worship to God, but in the sense of our separating ourselves from all other occupations, to engage in meditating upon the Divine works. As our minds are inconstant, we are apt, when exposed to various distractions, to wander from God. ^{▼▼
“ Car selon que nos pensees sont volages, si elles sont distraittes ca et la, elles s’alienent facilement de Dieu.”} We need to be disentangled from all cares if we would seriously apply ourselves to the praises of God. The Psalmist then would teach us that the right observance of the Sabbath does not consist in idleness, as some absurdly imagine, but in the celebration of the Divine name. The argument which he adduces is drawn from the profitableness of the service, for nothing is more encouraging than to know that our labor is not in vain, and that what we engage in meets with the Divine approbation. In the succeeding verse, he adverts to the grounds which we have for praising God, that we may not imagine that God calls upon us to engage in this service without reason, or simply in consideration of his greatness and power, but in remembrance of his goodness and faithfulness, which should inflame our hearts to such exercise, if we had any proper sense and experience of them. He would have us consider, in mentioning these, that not only is God worthy of praise, but that we ourselves are chargeable with ingratitude and perversity should we refuse it. We are the proper objects of his faithfulness and goodness, and it would argue inexcusable indifference if they did not elicit our cordial praises. It might seem a strange distinction which the Psalmist observes when he speaks of our announcing God’s goodness in the morning, and his faithfulness at night. His goodness is constant, and not peculiar to any one season, why then devote but a small part of the day to the celebration of it? And the same may be said of the other Divine perfection mentioned, for it is not merely in the night that his faithfulness is shown. But this is not what the Psalmist intends. He means that beginning to praise the Lord from earliest dawn, we should continue his praises to the latest hour of the night, this being no more than his goodness and faithfulness deserve. ^{▼▼
“ Que si nous commencons au matin de louer Dieu, il faut continuer ses louanges jusques a la derniere partie de la nuit; pource que sa bonte et fidelite meritent cela.” — Fr.} If we begin by celebrating his goodness, we must next take up the subject of his faithfulness. Both will occupy our continued praises, for they stand mutually and inseparably connected. The Psalmist is not therefore to be supposed as wishing us to separate the one from the other, for they are intimately allied; he would only suggest that we can never want matter for praising God unless indolence prevail over us, and that if we would rightly discharge the office of gratitude, we must be assiduous in it, since his goodness and his faithfulness are incessant.

In the fourth verse, he more immediately addresses the Levites, who were appointed to the office of singers, and calls upon them to employ their instruments of music — not as if this were in itself necessary, only it was useful as an elementary aid to the people of God in these ancient times. ^{▼▼
“ Mais pource que c’estoit un rudiment fort utile au peuple ancien.” — Fr.} We are not to conceive that God enjoined the harp as feeling a delight like ourselves in mere melody of sounds; but the Jews, who were yet under age, were astricted to the use of such childish elements. The intention of them was to stimulate the worshippers, and stir them up more actively to the celebration of the praise of God with the heart. We are to remember that the worship of God was never understood to consist in such outward services, which were only necessary to help forward a people, as yet weak and rude in knowledge, in the spiritual worship of God. A difference is to be observed in this respect between his people under the Old and under the New Testament; for now that Christ has appeared, and the Church has reached full age, it were only to bury the light of the Gospel, should we introduce the shadows of a departed dispensation. From this, it appears that the Papists, as I shall have occasion to show elsewhere, in employing instrumental music, cannot be said so much to imitate the practice of God’s ancient people, as to ape it in a senseless and absurd manner, exhibiting a silly delight in that worship of the Old Testament which was figurative, and terminated with the Gospel. ^{▼▼
But although Calvin held the use of instrumental music in public worship to be inconsistent with the genius of the Christian dispensation, he regarded the celebration of the praises of God with the melody of the human voice as an institution of great solemnity and usefulness. He knew that psalm-singing is sanctioned by the apostles, and that music has a powerful influence in exciting the mind to ardor of devotion; and to him belongs the merit of having, with the advice of Luther, formed the plan of establishing, as a principal branch of public worship in the Reformed Churches, the singing of psalms, translated into the vernacular language, and adapted to plain and easy melodies, which all the people might learn, and in which they all might join. Immediately upon the publication of Clement Marot’s version of David’s Psalms into French rhymes at Paris, he introduced it into his congregation at Geneva, set to plain and popular music; and it soon came into universal use throughout the numerous congregations of the Reformed Church of France. At length Marot’s Psalms formed an appendix to the Catechism at Geneva, and became a characteristic mark or badge of the Calvinistic worship and profession. Marot’s translation, which did not aim at any innovation in the public worship, and which he dedicated to his master Francis I., and the ladies of France, received at first the sanction of the Sorbonne, as containing nothing contrary to sound doctrine. But Calvin knew the character of the book better than the doctors of the Sorbonne, and having, by his influence, obtained its introduction into the worship of the Protestant Church of France, it contributed so much, in consequence of its extraordinary popularity, to the advancement of the Reformed cause in that country, that it was interdicted under the most severe penalties; and, in the language of the Romish Church, psalm-singing and heresy became synonymous terms. — Warton’s History of English Poetry, volume 3, pages 164, 165.}