Psa 24:1 | KD | STEP | expressed a longing after the house of Jahve on Zion; celebrates Jahve’s entrance into Zion, and the true character of him who may enter with Him. It was composed when the Ark was brought from Kirjath Jearim to Mount Zion, where David had caused it to be set up in a tabernacle built expressly for it, , cf. , 1Ki 1:39; or else, which is rendered the more probable by the description of Jahve as a warrior, at a time when the Ark was brought back to Mount Zion, after having been taken to accompany the army to battle (vid., Ps 68). is very similar. But only is the counterpart of that Psalm; and there is nothing wanting to render the first part of complete in itself. Hence Ewald divides into two songs, belonging to different periods, although both old Davidic songs, viz., , the song of victory sung at the removal of the Ark to Zion; and , a purely didactic song pre-supposing this event which forms an era in their history. And it is relatively more natural to regard this Psalm rather than , as two songs combined and made into one; but these two songs have an internal coherence; in Jahve’s coming to His temple is found that which occasioned them and that towards which They point; and consequently they form a whole consisting of two divisions. To the inscription לדוד מזמור the lxx adds τῆς μιᾷs σαββάτου (= שׁל אחד בשׁבת, for the first day of the week), according to which this Psalm was a customary Sunday Psalm. This addition is confirmed by B . Tamı̂d extr ., Rosh ha - Shana 31 a , Sofrim xviii. (cf. supra p. 19). In the second of these passages cited from the Talmud, R. Akiba seeks to determine the reasons for this choice by reference to the history of the creation. Incorporated in Israel’s hymn-book, this Psalm became, with a regard to its original occasion and purpose, an Old Testament Advent hymn in honour of the Lord who should come into His temple, Mal 3:1; and the cry: Lift up, ye gates, your heads, obtained a meaning essentially the same as that of the voice of the crier in : Prepare ye Jahve’s way, make smooth in the desert a road for our God! In the New Testament consciousness, the second appearing takes the place of the first, the coming of the Lord of Glory to His church, which is His spiritual temple; and in this Psalm we are called upon to prepare Him a worthy reception. The interpretation of the second half of the Psalm of the entry of the Conqueror of death into Hades-an interpretation which has been started by the Gospel of Nicodemus (vid., Tischendorf’s Evv. apocrypha p. 306f.) and still current in the Greek church, - and the patristic interpretation of it of the εἰς οὐρανοῦς ἀνάληψις τοῦ κυρίου, do as much violence to the rules of exegesis as to the parallelism of the facts of the Old and New Testaments.

‏ Psalms 24:1

Preparation for the Reception of the Lord Who Is About to Come

Psa 23:1-6 expressed a longing after the house of Jahve on Zion; Psa 24:1-10 celebrates Jahve’s entrance into Zion, and the true character of him who may enter with Him. It was composed when the Ark was brought from Kirjath Jearim to Mount Zion, where David had caused it to be set up in a tabernacle built expressly for it, 2Sa 6:17, cf. 2Sa 11:11, 1Ki 1:39; or else, which is rendered the more probable by the description of Jahve as a warrior, at a time when the Ark was brought back to Mount Zion, after having been taken to accompany the army to battle (vid., Ps 68). Psa 15:1-5 is very similar. But only Psa 24:1-6 is the counterpart of that Psalm; and there is nothing wanting to render the first part of Psa 24:1-10 complete in itself. Hence Ewald divides Psa 24:1-10 into two songs, belonging to different periods, although both old Davidic songs, viz., Psa 24:7-10, the song of victory sung at the removal of the Ark to Zion; and Psa 24:1-6, a purely didactic song pre-supposing this event which forms an era in their history. And it is relatively more natural to regard this Psalm rather than Psa 19:1-14, as two songs combined and made into one; but these two songs have an internal coherence; in Jahve’s coming to His temple is found that which occasioned them and that towards which They point; and consequently they form a whole consisting of two divisions. To the inscription לדוד מזמור the lxx adds τῆς μιᾷs σαββάτου ^{▼▼The London Papyrus fragments, in Tischendorf Monum. i. 247, read ΤΗ ΜΙΑ ΤΩΝ ΣΑΒΒΑΤΩΝ. In the Hexaplarian text, this addition to the inscription was wanting.} (= שׁל אחד בשׁבת, for the first day of the week), according to which this Psalm was a customary Sunday Psalm. This addition is confirmed by B . Tamı̂d extr ., Rosh ha - Shana 31 a, Sofrim xviii. (cf. supra p. 19). In the second of these passages cited from the Talmud, R. Akiba seeks to determine the reasons for this choice by reference to the history of the creation.

Incorporated in Israel’s hymn-book, this Psalm became, with a regard to its original occasion and purpose, an Old Testament Advent hymn in honour of the Lord who should come into His temple, Mal 3:1; and the cry: Lift up, ye gates, your heads, obtained a meaning essentially the same as that of the voice of the crier in Isa 40:3 : Prepare ye Jahve’s way, make smooth in the desert a road for our God! In the New Testament consciousness, the second appearing takes the place of the first, the coming of the Lord of Glory to His church, which is His spiritual temple; and in this Psalm we are called upon to prepare Him a worthy reception. The interpretation of the second half of the Psalm of the entry of the Conqueror of death into Hades-an interpretation which has been started by the Gospel of Nicodemus (vid., Tischendorf’s Evv. apocrypha p. 306f.) and still current in the Greek church, - and the patristic interpretation of it of the εἰς οὐρανοῦς ἀνάληψις τοῦ κυρίου, do as much violence to the rules of exegesis as to the parallelism of the facts of the Old and New Testaments.