Hab 3:6 | KD | STEP | Coming of the Lord to judge the nations and to redeem His people. The description of this theophany rests throughout upon earlier lyrical descriptions of the revelations of God in the earlier times of Israel. Even the introduction ( ) has its roots in the song of Moses in ; and in the further course of the ode we meet with various echoes of different psalms (compare with ; with ; with ; also with ; with , ). The points of contact in with Ps. 77:17-21, are still more marked, and are of such a kind that Habakkuk evidently had the psalm in his mind, and not the writer of the psalm the hymn of the prophet, and that the prophet has reproduced in an original manner such features of the psalm as were adapted to his purpose. This is not only generally favoured by the fact that Habakkuk’s prayer is composed throughout after the poetry of the Psalms, but still more decidedly by the circumstance that Habakkuk depicts a coming redemption under figures borrowed from that of the past, to which the singer of this psalm looks back from his own mournful times, comforting himself with the picture of the miraculous deliverance of his people out of Egypt (see Hengstenberg and Delitzsch on Psalm 77). For it is very evident that Habakkuk does not describe the mighty acts of the Lord in the olden time, in order to assign a motive for his prayer for the deliverance of Israel out of the affliction of exile which awaits it in the future, as many of the earlier commentators supposed, but that he is predicting a future appearance of the Lord to judge the nations, from the simple fact that he places the future יבוא ( ) at the head of the whole description, so as to determine all that follows; whilst it is placed beyond the reach of doubt by the impossibility of interpreting the theophany historically, i.e., as relating to an earlier manifestation of God. “Eloah comes from Teman, and the Holy One from the mountains of Paran. Selah. His splendour covers the sky, and the earth is full of His glory. Hab 3:4. And brightness appears like sunlight, rays are at His hand, and there His power is concealed. Hab 3:5. Before Him goes the plague, and pestilence follows His feet.” As the Lord God once came down to His people at Sinai, when they had been redeemed out of Egypt, to establish the covenant of His grace with them, and make them into a kingdom of God, so will He appear in the time to come in the terrible glory of His omnipotence, to liberate them from the bondage of the power of the world, and dash to pieces the wicked who seek to destroy the poor. The introduction to this description is closely connected with Deu 33:2. As Moses depicts the appearance of the Lord at Sinai as a light shining from Seir and Paran, so does Habakkuk also make the Holy One appears thence in His glory; but apart from other differences, he changes the preterite בּא (Jehovah came from Sinai) into the future יבוא, He will come, or comes, to indicate at the very outset that he is about to describe not a past, but a future revelation of the glory of the Lord. This he sees in the form of a theophany, which is fulfilled before his mental eye; hence יבוא does not describe what is future, as being absolutely so, but is something progressively unfolding itself from the present onwards, which we should express by the present tense. The coming one is called Eloah (not Jehovah , as in , and the imitation in Jdg 5:4), a form of the name Elohim which only occurs in poetry in the earlier Hebrew writings, which we find for the first time in , where it is used of God as the Creator of Israel, and which is also used here to designate God as the Lord and Governor of the whole world. Eloah , however, comes as the Holy One ( qâdōsh ), who cannot tolerate sin ( ), and who will judge the world and destroy the sinners ( ). As Eloah and Qâdōsh are names of one God; so “from Teman” and “from the mountain of Paran” are expressions denoting, not two starting-points, but simply two localities of one single starting-point for His appearance, like Seir and the mountains of Paran in Deu 33:2. Instead of Seir, the poetical name of the mountainous country of the Edomites, Teman , the southern district of Edomitish land, is used per synecdochen for Idumaea generally, as in Oba 1:9 and (see p. 168). The mountains of Paran are not the Et-Tih mountains, which bounded the desert of Paran towards the south, but the high mountain-land which formed the eastern half of that desert, and the northern portion of which is now called, after its present inhabitants, the mountains of the Azazimeh (see comm. on Num 10:12). The two localities lie opposite to one another, and are only separated by the Arabah (or deep valley of the Ghor). We are not to understand the naming of these two, however, as suggesting the idea that God was coming from the Arabah, but, according to the original passage in , as indicating that the splendour of the divine appearance spread over Teman and the mountains of Paran, so that the rays were reflected from the two mountainous regions. The word Selâh does not form part of the subject-matter of the text, but shows that the music strikes in here when the song is used in the temple, taking up the lofty thought that God is coming , and carrying it out in a manner befitting the majestic appearance, in the prospect of the speedy help of the Lord. The word probably signified elevatio , from sâlâh = sâlal , and was intended to indicate the strengthening of the musical accompaniment, by the introduction, as is supposed, of a blast from the trumpets blown by the priests, corresponding therefore to the musical forte . (For further remarks, see Hävernick’s Introduction to the Old Testament , iii. p. 120ff., and Delitzsch on -8.) In the glory of the coming of God is depicted with reference to its extent, and in with reference to its intensive power. The whole creation is covered with its splendour. Heaven and earth reflect the glory of the coming one. הודו, His splendour or majesty, spreads over the whole heaven, and His glory over the earth. Tehillâh does not mean the praise of the earth, i.e., of its inhabitants, where (Chald., Ab. Ezr., Ros., and others); for there is no allusion to the manner in which the coming of God is received, and according to it fills the earth with trembling; but it denotes the object of the praise or fame, the glory, ἡ δόξα, like hâdâr in , or kâbhōd in ; , and Num 14:21. Grammatically considered, תּהלּתו is the accusative governed by מלאה, and הארץ is the subject.

‏ Habakkuk 3:6

Hab 3:3-15 Coming of the Lord to judge the nations and to redeem His people. The description of this theophany rests throughout upon earlier lyrical descriptions of the revelations of God in the earlier times of Israel. Even the introduction (Hab 3:3) has its roots in the song of Moses in Deu 33:2; and in the further course of the ode we meet with various echoes of different psalms (compare Hab 3:6 with Psa 18:8; Hab 3:8 with Psa 18:10; Hab 3:19 with Psa 18:33-34; also Hab 3:5 with Psa 68:25; Hab 3:8 with Psa 68:5, Psa 68:34). The points of contact in Hab 3:10-15 with Ps. 77:17-21, are still more marked, and are of such a kind that Habakkuk evidently had the psalm in his mind, and not the writer of the psalm the hymn of the prophet, and that the prophet has reproduced in an original manner such features of the psalm as were adapted to his purpose. This is not only generally favoured by the fact that Habakkuk’s prayer is composed throughout after the poetry of the Psalms, but still more decidedly by the circumstance that Habakkuk depicts a coming redemption under figures borrowed from that of the past, to which the singer of this psalm looks back from his own mournful times, comforting himself with the picture of the miraculous deliverance of his people out of Egypt (see Hengstenberg and Delitzsch on Psalm 77). For it is very evident that Habakkuk does not describe the mighty acts of the Lord in the olden time, in order to assign a motive for his prayer for the deliverance of Israel out of the affliction of exile which awaits it in the future, as many of the earlier commentators supposed, but that he is predicting a future appearance of the Lord to judge the nations, from the simple fact that he places the future יבוא (Hab 3:3) at the head of the whole description, so as to determine all that follows; whilst it is placed beyond the reach of doubt by the impossibility of interpreting the theophany historically, i.e., as relating to an earlier manifestation of God. Hab 3:3 “Eloah comes from Teman, and the Holy One from the mountains of Paran. Selah. His splendour covers the sky, and the earth is full of His glory. Hab 3:4. And brightness appears like sunlight, rays are at His hand, and there His power is concealed. Hab 3:5. Before Him goes the plague, and pestilence follows His feet.” As the Lord God once came down to His people at Sinai, when they had been redeemed out of Egypt, to establish the covenant of His grace with them, and make them into a kingdom of God, so will He appear in the time to come in the terrible glory of His omnipotence, to liberate them from the bondage of the power of the world, and dash to pieces the wicked who seek to destroy the poor. The introduction to this description is closely connected with Deu 33:2. As Moses depicts the appearance of the Lord at Sinai as a light shining from Seir and Paran, so does Habakkuk also make the Holy One appears thence in His glory; but apart from other differences, he changes the preterite בּא (Jehovah came from Sinai) into the future יבוא, He will come, or comes, to indicate at the very outset that he is about to describe not a past, but a future revelation of the glory of the Lord. This he sees in the form of a theophany, which is fulfilled before his mental eye; hence יבוא does not describe what is future, as being absolutely so, but is something progressively unfolding itself from the present onwards, which we should express by the present tense. The coming one is called Eloah (not Jehovah, as in Deu 33:2, and the imitation in Jdg 5:4), a form of the name Elohim which only occurs in poetry in the earlier Hebrew writings, which we find for the first time in Deu 32:15, where it is used of God as the Creator of Israel, and which is also used here to designate God as the Lord and Governor of the whole world. Eloah, however, comes as the Holy One (qâdōsh), who cannot tolerate sin (Hab 1:13), and who will judge the world and destroy the sinners (Hab 3:12-14). As Eloah and Qâdōsh are names of one God; so “from Teman” and “from the mountain of Paran” are expressions denoting, not two starting-points, but simply two localities of one single starting-point for His appearance, like Seir and the mountains of Paran in Deu 33:2. Instead of Seir, the poetical name of the mountainous country of the Edomites, Teman, the southern district of Edomitish land, is used per synecdochen for Idumaea generally, as in Oba 1:9 and Amo 1:12 (see p. 168). The mountains of Paran are not the Et-Tih mountains, which bounded the desert of Paran towards the south, but the high mountain-land which formed the eastern half of that desert, and the northern portion of which is now called, after its present inhabitants, the mountains of the Azazimeh (see comm. on Num 10:12). The two localities lie opposite to one another, and are only separated by the Arabah (or deep valley of the Ghor). We are not to understand the naming of these two, however, as suggesting the idea that God was coming from the Arabah, but, according to the original passage in Deu 33:2, as indicating that the splendour of the divine appearance spread over Teman and the mountains of Paran, so that the rays were reflected from the two mountainous regions. The word Selâh does not form part of the subject-matter of the text, but shows that the music strikes in here when the song is used in the temple, taking up the lofty thought that God is coming, and carrying it out in a manner befitting the majestic appearance, in the prospect of the speedy help of the Lord. The word probably signified elevatio, from sâlâh = sâlal, and was intended to indicate the strengthening of the musical accompaniment, by the introduction, as is supposed, of a blast from the trumpets blown by the priests, corresponding therefore to the musical forte. (For further remarks, see Hävernick’s Introduction to the Old Testament, iii. p. 120ff., and Delitzsch on Psa 3:1-8.) In Hab 3:3 the glory of the coming of God is depicted with reference to its extent, and in Hab 3:4 with reference to its intensive power. The whole creation is covered with its splendour. Heaven and earth reflect the glory of the coming one. הודו, His splendour or majesty, spreads over the whole heaven, and His glory over the earth. Tehillâh does not mean the praise of the earth, i.e., of its inhabitants, where (Chald., Ab. Ezr., Ros., and others); for there is no allusion to the manner in which the coming of God is received, and according to Hab 3:6 it fills the earth with trembling; but it denotes the object of the praise or fame, the glory, ἡ δόξα, like hâdâr in Job 40:10, or kâbhōd in Isa 6:3; Isa 42:8, and Num 14:21. Grammatically considered, תּהלּתו is the accusative governed by מלאה, and הארץ is the subject.