Psa 105:1-15 | KD | STEP | We have here another Psalm closing with Hallelujah , which opens the series of the Hodu -Psalms. Such is the name we give only to Psalms which begin with הודו (Ps 105, Ps 107, Ps 118, Ps 136), just as we call those which begin with הללויה (Ps 106, , , Ps 135, ) Hallelujah -Psalms ( alleluiatici ). The expression להלּל וּלהודות, which frequently occurs in the books of Chronicles, Ezra, and Nehemiah, points to these two kinds of Psalms, or at least to their key-notes. The festival song which David, according to , handed over to Asaph and his brethren for musical execution at the setting down of the Ark and the opening of divine service on Zion, is, so far as its first part is concerned ( ), taken from our Psalm ( ), which is then followed by as a second part, and is closed with , -48. Hitzig regards the festival song in the chronicler as the original, and the respective parallels in the Psalms as “layers or shoots.” “The chronicler,” says he, “there produces with labour, and therefore himself seeking foreign aid, a song for a past that is dead.” But the transition from to and from to , so devoid of connection, the taking over of the verse out of Ps 106 referring to the Babylonian exile into , and even of the doxology of the Fourth Book, regarded as an integral part of the Psalm, into , refute that perversion of the right relation which has been attempted in the interest of the Maccabaean Psalms. That festival song in the chronicler, as has been shown again very recently by Riehm and Köhler, is a compilation of parts of songs already at hand, arranged for a definite purpose. Starting on the assumption that the Psalms as a whole are Davidic (just as all the Proverbs are Salomonic), because David called the poetry of the Psalms used in religious worship into existence, the attempt is made in that festival song to represent the opening of the worship on Zion, at that time in strains belonging to the Davidic Psalms. So far as the subject-matter is concerned, Psalms 105 attaches itself to the Asaph Ps 78, which recapitulates the history of Israel. The recapitulation here, however, is made not with any didactic purpose, but with the purpose of forming a hymn, and does not come down beyond the time of Moses and Joshua. Its source is likewise the Tôra as it now lies before us. The poet epitomizes what the Tôra narrates, and clothes it in a poetic garb.

‏ Psalms 105:1-15

Thanksgiving Hymn in Honour of God Who Is Attested in the Earliest History of Israel

We have here another Psalm closing with Hallelujah, which opens the series of the Hodu-Psalms. Such is the name we give only to Psalms which begin with הודו (Ps 105, Ps 107, Ps 118, Ps 136), just as we call those which begin with הללויה (Ps 106, Psa 111:1, Psa 117:1-2, Ps 135, Psa 146:1) Hallelujah-Psalms (alleluiatici). The expression להלּל וּלהודות, which frequently occurs in the books of Chronicles, Ezra, and Nehemiah, points to these two kinds of Psalms, or at least to their key-notes.

The festival song which David, according to 1Ch 16:7, handed over to Asaph and his brethren for musical execution at the setting down of the Ark and the opening of divine service on Zion, is, so far as its first part is concerned (1Ch 16:8-22), taken from our Psalm (Psa 105:1), which is then followed by Psa 96:1-13 as a second part, and is closed with Psa 106:1, Psa 106:47-48. Hitzig regards the festival song in the chronicler as the original, and the respective parallels in the Psalms as “layers or shoots.” “The chronicler,” says he, “there produces with labour, and therefore himself seeking foreign aid, a song for a past that is dead.” But the transition from Psa 105:22 to Psa 105:23 and from Psa 105:33 to Psa 105:34, so devoid of connection, the taking over of the verse out of Ps 106 referring to the Babylonian exile into Psa 105:35, and even of the doxology of the Fourth Book, regarded as an integral part of the Psalm, into Psa 105:36, refute that perversion of the right relation which has been attempted in the interest of the Maccabaean Psalms. That festival song in the chronicler, as has been shown again very recently by Riehm and Köhler, is a compilation of parts of songs already at hand, arranged for a definite purpose. Starting on the assumption that the Psalms as a whole are Davidic (just as all the Proverbs are Salomonic), because David called the poetry of the Psalms used in religious worship into existence, the attempt is made in that festival song to represent the opening of the worship on Zion, at that time in strains belonging to the Davidic Psalms.

So far as the subject-matter is concerned, Psalms 105 attaches itself to the Asaph Ps 78, which recapitulates the history of Israel. The recapitulation here, however, is made not with any didactic purpose, but with the purpose of forming a hymn, and does not come down beyond the time of Moses and Joshua. Its source is likewise the Tôra as it now lies before us. The poet epitomizes what the Tôra narrates, and clothes it in a poetic garb. Psa 105:1-6

Invitation to the praise - praise that resounds far and wide among the peoples - of the God who has become manifest wondrously in the deeds and words connected with the history of the founding of Israel. הודה לה, as in Psa 33:2; Psa 75:2, of a praising and thankful confession offered to God; קרא בשׁם ה, to call with the name of Jahve, i.e., to call upon it, of an audible, solemn attestation of God in prayer and in discourse (Symmachus, κηρύσσετε). The joy of heart ^{▼▼The Mugrash of ישׂמח with the following Legarme seems here to be of equal value with Zakeph, 1Ch 16:10.} that is desired is the condition of a joyous opening of the mouth and Israel’s own stedfast turning towards Jahve, the condition of all salutary result; for it is only His “strength” that breaks through all dangers, and His “face” that lightens up all darkness. משׁפּטי־פּיו, as Psa 105:7 teaches, are God’s judicial utterances, which have been executed without any hindrance, more particularly in the case of the Egyptians, their Pharaoh, and their gods. The chronicler has פּיהוּ and זרע ישׂראל, which is so far unsuitable as one does not know whether עבדו is to be referred to “Israel” the patriarch, or to the “seed of Israel,” the nation; the latter reference would be deutero-Isaianic. In both texts the lxx reads עבדו (ye His servants). Psa 105:7-11

The poet now begins himself to do that to which he encourages Israel. Jahve is Israel’s God: His righteous rule extends over the whole earth, whilst His people experience His inviolable faithfulness to His covenant. יהוה in Psa 105:7 is in apposition to הוּא, for the God who bears this name is as a matter of course the object of the song of praise. זכר is the perfect of practically pledges certainty (cf. Psa 111:5, where we find instead the future of confident prospect). The chronicler has זכרוּ instead (lxx again something different: μνημονεύωμεν); but the object is not the demanding but the promissory side of the covenant, so that consequently it is not Israel’s remembering but God’s that is spoken of. He remembers His covenant in all time to come, so that exile and want of independence as a state are only temporary, exceptional conditions. צוּה has its radical signification here, to establish, institute, Psa 111:9. לאלף דּור (in which expression דור is a specifying accusative) is taken from Deu 7:9. And since דּבר is the covenant word of promise, it can be continued אשׁר כּרת; and Hag 2:5 (vid., Köhler thereon) shows that אשׁר is not joined to בריתו over Psa 105:8. וּשׁבוּעתו, however, is a second object to זכר (since דּבר with what belongs to it as an apposition is out of the question). It is the oath on Moriah (Gen 22:16) that is meant, which applied to Abraham and his seed. לישׂחק (chronicler ליצחק), as in Amo 7:9; Jer 33:26. To זכר is appended ויּעמרדה; the suffix, intended as neuter, points to what follows, viz., this, that Canaan shall be Israel’s hereditary land. From Abraham and Isaac we come to Jacob-Israel, who as being the father of the twelve is the twelve-tribe nation itself that is coming into existence; hence the plural can alternate with the singular in Psa 105:11. את־ארץ כּנען (chronicler, without the את) is an accusative of the object, and חבל נחלתכם accusative of the predicate: the land of Canaan as the province of your own hereditary possession measured out with a measuring line (Psa 78:55). Psa 105:12-15

The poet now celebrates the divine preservation which had sway over the small beginnings of Israel, when it made the patriarchs proof against harm on their wanderings. “Men of number” are such as can be easily counted, vid., the confessions in Gen 34:30; Deu 26:5; ויּתהלּכוּ places the claim upon the hospitality at one time of this people and at another time of that people in the connection with it of cause and effect. כּמעט, as a small number, only such a small number, signifies, as being virtually an adjective: inconsiderable, insignificant, worthless (Pro 10:20). בּהּ refers to Canaan. In Psa 105:13 the way in which the words גּוי and עם alternate is instructive: the former signifies the nation, bound together by a common origin, language, country, and descent; the latter the people, bound together by unity of government. ^{▼▼For this reason a king says עמּי, not גּויי; and גּוי only occurs twice with a suffix, which refers to Jahve (Psa 106:5; Zep 2:9); for this reason גּוי, frequently side by side with עם, is the nobler word, e.g., in Deu 32:21; Jer 2:11; for this reason עם is frequently added to גּוי as a dignitative predicate, Exo 33:13; Deu 4:6; and for this reason גּוים and עם ה are used antithetically.}

The apodosis does not begin until Psa 105:14. It is different in connection with בּהיותכם in the text of the chronicler, and in this passage in the Psalter of the Syriac version, according to which Psa 105:12 ought to be jointed to the preceding group. The variation ומממלכה instead of מממלכה is of no consequence; but לאישׁ (to any one whomsoever) instead of אדם, in connection with הניח, restores the current mode of expression (Ecc 5:11; 2Sa 16:11; Hos 4:17) instead of one which is without support elsewhere, but which follows the model of נתן, נטשׁ, Gen 31:28 (cf. supra p. 171); whilst on the other hand ובנביאי instead of ולנביאי substitutes an expression that cannot be supported for the current one (Gen 19:9; Rth 1:21). In Psa 105:14 the poet has the three histories of the preservation of the wives of the patriarchs in his mind, viz., of Sarah in Egypt (Gen. 12), and of Sarah and of Rebekah both in Philistia (Psa 20:1-9, Psa 26:1-12, cf. especially Psa 26:11). In the second instance God declares the patriarch to be a “prophet” (Psa 20:7). The one mention has reference to this and the other to Gen. 17, where Abram is set apart to be the father of peoples and kings, and Sarai to be a princess. They are called משׁיהים (a passive form) as eing God-chosen princes, and נביאים (an intensive active form, from נבא, root נב, to divulge), not as being inspired ones (Hupfeld), but as being God’s spokesmen (cf. Exo 7:1. with Exo 4:15.), therefore as being the recipients and mediators of a divine revelation.