Psa 68:3 | KD | STEP | Is it not an admirably delicate tact with which the collector makes the מזמור שׁיר follow upon the מזמור שׁיר ? The latter began with the echo of the benediction which Moses puts into the mouth of Aaron and his sons, the former with a repetition of those memorable words in which, at the breaking up of the camp, he called upon Jahve to advance before Israel (Num 10:35). “It is in reality,” says Hitzig of Psalms 68, “no easy task to become master of this Titan.” And who would not agree with him in this remark? It is a Psalm in the style of Deborah, stalking along upon the highest pinnacle of hymnic feeling and recital; all that is most glorious in the literature of the earlier period is concentrated in it: Moses’ memorable words, Moses’ blessing, the prophecies of Balaam, the Deuteronomy, the Song of Hannah re-echo here. But over and above all this, the language is so bold and so peculiarly its own, that we meet with no less than thirteen words that do no occur anywhere else. It is so distinctly Elohimic in its impress, that the simple Elohim occurs twenty-three times; but in addition to this, it is as though the whole cornucopia of divine names were poured out upon it: יהוה in ; אדני six times; האל twice; שׁדּי in ; יהּ in ; אדני יהוה in ; אלהים yh in ; so that this Psalm among all the Elohimic Psalms is the most resplendent. In connection with the great difficulty that is involved in it, it is no wonder that expositors, more especially the earlier expositors, should differ widely in their apprehension of it as a whole or in separate parts. This circumstance has been turned to wrong account by Ed. Reuss in his essay, “ Der acht-und-sechzigste Psalm, Ein Denkmal exegetischer Noth und Kunst zu Ehren unsrer ganzen Zunft , Jena, 1851,” for the purpose of holding up to ridicule the uncertainty of Old Testament exegesis, as illustrated in this Psalm. The Psalm is said, as Reuss ultimately decides, to have been written between the times of Alexander the Great and the Maccabees, and to give expression to the wish that the Israelites, many of whom were far removed from Palestine and scattered abroad in the wide earth, might soon be again united in their fatherland. But this apprehension rests entirely upon violence done to the exegesis, more particularly in the supposition that in v. 23 the exiles are the persons intended by those whom God will bring back. Reuss makes out those who are brought back out of Bashan to be the exiles in Syria, and those who are brought back out of the depths of the sea he makes out to be the exiles in Egypt. He knows nothing of the remarkable concurrence of the mention of the Northern tribes (including Benjamin) in with the Asaphic Psalms: Judah and Benjamin, to his mind, is Judaea; and Zebulun and Naphtali, Galilee in the sense of the time after the return from exile. The “wild beast of the reed” he correctly takes to be an emblem of Egypt; but he makes use of violence in order to bring in a reference to Syria by the side of it. Nevertheless Olshausen praises the services Reuss has rendered with respect to this Psalm; but after incorporating two whole pages of the “ Denkmal” in his commentary he cannot satisfy himself with the period between Alexander and the Maccabees, and by means of three considerations arrives, in this instance also, at the common refuge of the Maccabaean period, which possesses such an irresistible attraction for him. In opposition to this transplanting of the Psalm into the time of the Maccabees we appeal to Hitzig, who is also quick-sighted enough, when there is any valid ground for it, in finding out Maccabaean Psalms. He refers the Psalm to the victorious campaign of Joram against faithless Moab, undertaking in company with Jehoshaphat. Böttcher, on the other hand, sees in it a festal hymn of triumph belonging to the time of Hezekiah, which was sung antiphonically at the great fraternizing Passover after the return home of the young king from one of his expeditions against the Assyrians, who had even at that time fortified themselves in the country east of the Jordan (Bashan). Thenius (following the example of Rödiger) holds a different view. He knows the situation so very definitely, that he thinks it high time that the discussion concerning this Psalm was brought to a close. It is a song composed to inspirit the army in the presence of the battle which Josiah undertook against Necho, and the prominent, hateful character in is Pharaoh with his lofty artificial adornment of hair upon his shaven head. It is, however, well known what a memorably tragical issue for Israel that battle had; the Psalm would therefore be a memorial of the most lamentable disappointment. All these and other recent expositors glory in hot advancing any proof whatever in support of the inscribed לדוד. And yet there are two incidents in David’s life, with regard to which the Psalm ought first of all to be accurately looked at, before we abandon this לדוד to the winds of conjecture. The first is the bringing home of the Ark of the covenant to Zion, to which, e.g., Franz Volkmar Reinhard (in vol. ii. of the Velthusen Commentationes Theol . 1795), Stier, and Hofmann refer the Psalm. But the manner in which the Psalm opens with a paraphrase of Moses’ memorable words is at once opposed to this; and also the impossibility of giving unity to the explanation of its contents by such a reference is against it. Jahve has long since taken up His abode upon the holy mountain; the poet in this Psalm, which is one of the Psalms of war and victory describes how the exalted One, who now, however, as in the days of old, rides along through the highest heavens at the head of His people, casts down all powers hostile to Him and to His people, and compels all the world to confess that the God of Israel rules from His sanctuary with invincible might. A far more appropriate occasion is, therefore, to be found in the Syro-Ammonitish war of David, in which the Ark was taken with them by the people ( ); and the hymn was not at that time first of all composed when, at the close of the war, the Ark was brought back to the holy mountain (Hengstenberg, Reinke), but when it was set in motion from thence at the head of Israel as they advanced against the confederate kings and their army ( ). The war lasted into the second year, when a second campaign was obliged to be undertaken in order to bring it to an end; and this fact offers at least a second possible period for the origin of the Psalm. It is clear that in , and still more clear that in (and from a wider point of view, ), the victory over the hostile kings is only hoped for, and in , therefore, the pageantry of victory is seen as it were beforehand. It is the spirit of faith, which here celebrates beforehand the victory of Jahve, and sees in the single victory a pledge of His victory over all the nations of the earth. The theme of the Psalm, generalized beyond its immediate occasion, is the victory of the God of Israel over the world. Regarded as to the nature of its contents, the whole divides itself into two halves, vv. 2-19, 20-35, which are on the whole so distinct that the first dwells more upon the mighty deed God has wrought, the second upon the impressions it produces upon the church and upon the peoples of the earth; in both parts it is viewed now as future, now as past, inasmuch as the longing of prayer and the confidence of hope soar aloft to the height of prophecy, before which futurity lies as a fulfilled fact. The musical Sela occurs three times ( , , ). These three forte passages furnish important points of view for the apprehension of the collective meaning of the Psalm. But is David after all the author of this Psalm? The general character of the Psalm is more Asaphic than Davidic (vid., Habakkuk , S. 122). Its references to Zalmon, to Benjamin and the Northern tribes, to the song of Deborah, and in general to the Book of Judges (although not in its present form), give it an appearance of being Ephraimitish. Among the Davidic Psalms it stands entirely alone, so that criticism is quite unable to justify the לדוד. And if the words in are addressed to the king, it points to some other poet than David. But is it to a contemporary poet? The mention of the sanctuary on Zion in , 36, does not exclude such an one. Only the threatening of the “wild beast of the sedge” ( ) seems to bring us down beyond the time of David; for the inflammable material of the hostility of Egypt, which broke out into a flame in the reign of Rehoboam, was first gathering towards the end of Solomon’s reign. Still Egypt was never entirely lost sight of from the horizon of Israel; and the circumstance that it is mentioned in the first rank, where the submission of the kingdoms of this world to the God of Israel is lyrically set forth in the prophetic prospect of the future, need not astonish one even in a poet of the time of David. And does not compel us to keep on this side of the division of the kingdom? It ought then to refer to the common expedition of Jehoram and Jehoshaphat against Moab (Hitzig), the indiscriminate celebration of which, however, was no suitable theme for the psalmist. The Psalm begins with the expression of a wish that the victory of God over all His foes and the triumphant exultation of the righteous were near at hand. Ewald and Hitzig take יקום אלהים hypothetically: If God arise, He enemies will be scattered. This rendering is possible in itself so far as the syntax is concerned, but here everything conspires against it; for the futures in form an unbroken chain; then a glance at the course of the Psalm from onwards shows that the circumstances of Israel, under which the poet writes, urged forth the wish: let God arise and humble His foes; and finally the primary passage, Num 10:35, makes it clear that the futures are the language of prayer transformed into the form of the wish. In the wish is addressed directly to God Himself, and therefore becomes petition. הנדּן is inflected (as vice versâ ירדף, , from ירדּף) from הנּדף (like הנּתן, ); it is a violation of all rule in favour of the conformity of sound (cf. הקצות for הקצות, , and supra on ) with תּנדּף, the object of which is easily supplied ( dispellas, sc. hostes tuos ), and is purposely omitted in order to direct attention more stedfastly to the omnipotence which to every creature is so irresistible. Like smoke, wax (דּונג, root דג, τηκ, Sanscrit tak , to shoot past, to run, Zend taḱ , whence vitaḱina , dissolving, Neo-Persic gudâchten ; causative: to cause to run in different directions = to melt or smelt) is an emblem of human feebleness. As Bakiuds observes, Si creatura creaturam non fert, quomodo creatura creatoris indignantis faciem ferre possit? The wish expressed in forms the obverse of the preceding. The expressions for joy are heaped up in order to describe the transcendency of the joy that will follow the release from the yoke of the enemy. לפני is expressively used in alternation with מפני in , : by the wrathful action, so to speak, that proceeds from His countenance just as the heat radiating from the fire melts the wax the foes are dispersed, whereas the righteous rejoice before His gracious countenance. As the result of the challenge that has been now expressed in , Elohim, going before His people, begins His march; and in an appeal is made to praise Him with song, His name with the music of stringed instrument, and to make a way along which He may ride בּערבות. In view of we cannot take צרבות, as do the Targum and Talmud ( B. Chagiga 12 b ), as a name of one of the seven heavens, a meaning to which, apart from other considerations, the verb ערב, to be effaced, confused, dark, is not an appropriate stem-word; but it must be explained according to Isa 40:3. There Jahve calls in the aid of His people, here He goes forth at the head of His people; He rides through the steppes in order to right against the enemies of His people. Not merely the historical reference assigned to the Psalm by Hitzig, but also the one adopted by ourselves, admits of allusion being made to the “steppes of Moab;” for the way to Mêdebâ, where the Syrian mercenaries of the Ammonites had encamped ( ), lay through these steppes, and also the way to Rabbath Ammon (2Sa 10:7.). סלּוּ calls upon them to make a way for Him, the glorious, invincible King (cf. ; ); סלל signifies to cast up, heap up or pave, viz., a raised and suitable street or highway, Symmachus katastroo'sate. He who thus rides along makes the salvation of His people His aim: “ ä is His name, therefore shout with joy before Him.” The Beth in בּיהּ (Symmachus, Quinta: ἴα) is the Beth essentiae , which here, as in , stands beside the subject: His name is (exists) in יה, i.e., His essential name is yh, His self-attestation, by which He makes Himself capable of being known and named, consists in His being the God of salvation, who, in the might of free grace, pervades all history. This Name is a fountain of exultant rejoicing to His people. This Name is exemplificatively unfolded in Psa 68:6. The highly exalted One, who sits enthroned in the heaven of glory, rules in all history here below and takes an interest in the lowliest more especially, in all circumstances of their lives following after His own to succour them. He takes the place of a father to the orphan. He takes up the cause of the widow and contests it to a successful issue. Elohim is one who makes the solitary or isolated to dwell in the house; בּיתה with He locale , which just as well answers the question where? as whither? בּית, a house = family bond, is the opposite of יהיד, solitarius , recluse, Psa 25:16. Dachselt correctly renders it, in domum, h.e. familiam numerosam durabilemque eos ut patres-familias plantabit . He is further One who brings forth (out of the dungeon and out of captivity) those who are chained into abundance of prosperity. כּושׁרות, occurring only here, is a pluralet . from כּשׁר morf .tela, synonym אשׁר, to be straight, fortunate. briefly and sharply expresses the reverse side of this His humanely condescending rule among mankind. אך is here (cf. ; ) restrictive or adversative (as is more frequently the case with אכן); and the preterite is the preterite of that which is an actual matter of experience. The סוררים, i.e., (not from סוּר, the apostate ones, Aquila afista'menoi, but as in , from סרר) the rebellious, Symmachus ἀπειθεῖς, who were not willing to submit to the rule of so gracious a God, had ever been excluded from these proofs of favour. These must inhabit צחיחה (accusative of the object), a sun-scorched land; from צחח, to be dazzlingly bright, sunny, dried or parched up. They remain in the desert without coming into the land, which, fertilized by the waters of grace, is resplendent with a fresh verdure and with rich fruits. If the poet has before his mind in connection with this the bulk of the people delivered out of Egypt, ὧν τὰ κῶλα ἔπεσαν ἐν τῇ ἐρήμω ( ), then the transition to what follows is much more easily effected. There is, however, no necessity for any such intermediation. The poet had the march through the desert to Canaan under the guidance of Jahve, the irresistible Conqueror, in his mind even from the beginning, and now he expressly calls to mind that marvellous divine leading in order that the present age may take heart thereat.

‏ Psalms 68:3

Hymn of War and Victory in the Style of Deborah

Is it not an admirably delicate tact with which the collector makes the מזמור שׁיר Psa 68:1 follow upon the מזמור שׁיר Psa 67:1? The latter began with the echo of the benediction which Moses puts into the mouth of Aaron and his sons, the former with a repetition of those memorable words in which, at the breaking up of the camp, he called upon Jahve to advance before Israel (Num 10:35). “It is in reality,” says Hitzig of Psalms 68, “no easy task to become master of this Titan.” And who would not agree with him in this remark? It is a Psalm in the style of Deborah, stalking along upon the highest pinnacle of hymnic feeling and recital; all that is most glorious in the literature of the earlier period is concentrated in it: Moses’ memorable words, Moses’ blessing, the prophecies of Balaam, the Deuteronomy, the Song of Hannah re-echo here. But over and above all this, the language is so bold and so peculiarly its own, that we meet with no less than thirteen words that do no occur anywhere else. It is so distinctly Elohimic in its impress, that the simple Elohim occurs twenty-three times; but in addition to this, it is as though the whole cornucopia of divine names were poured out upon it: יהוה in Psa 68:17; אדני six times; האל twice; שׁדּי in Psa 68:15; יהּ in Psa 68:5; אדני יהוה in Psa 68:21; אלהים yh in Psa 68:19; so that this Psalm among all the Elohimic Psalms is the most resplendent. In connection with the great difficulty that is involved in it, it is no wonder that expositors, more especially the earlier expositors, should differ widely in their apprehension of it as a whole or in separate parts. This circumstance has been turned to wrong account by Ed. Reuss in his essay, “Der acht-und-sechzigste Psalm, Ein Denkmal exegetischer Noth und Kunst zu Ehren unsrer ganzen Zunft, Jena, 1851,” for the purpose of holding up to ridicule the uncertainty of Old Testament exegesis, as illustrated in this Psalm.

The Psalm is said, as Reuss ultimately decides, to have been written between the times of Alexander the Great and the Maccabees, and to give expression to the wish that the Israelites, many of whom were far removed from Palestine and scattered abroad in the wide earth, might soon be again united in their fatherland. But this apprehension rests entirely upon violence done to the exegesis, more particularly in the supposition that in v. 23 the exiles are the persons intended by those whom God will bring back. Reuss makes out those who are brought back out of Bashan to be the exiles in Syria, and those who are brought back out of the depths of the sea he makes out to be the exiles in Egypt. He knows nothing of the remarkable concurrence of the mention of the Northern tribes (including Benjamin) in Psa 68:28 with the Asaphic Psalms: Judah and Benjamin, to his mind, is Judaea; and Zebulun and Naphtali, Galilee in the sense of the time after the return from exile. The “wild beast of the reed” he correctly takes to be an emblem of Egypt; but he makes use of violence in order to bring in a reference to Syria by the side of it. Nevertheless Olshausen praises the services Reuss has rendered with respect to this Psalm; but after incorporating two whole pages of the “Denkmal” in his commentary he cannot satisfy himself with the period between Alexander and the Maccabees, and by means of three considerations arrives, in this instance also, at the common refuge of the Maccabaean period, which possesses such an irresistible attraction for him.

In opposition to this transplanting of the Psalm into the time of the Maccabees we appeal to Hitzig, who is also quick-sighted enough, when there is any valid ground for it, in finding out Maccabaean Psalms. He refers the Psalm to the victorious campaign of Joram against faithless Moab, undertaking in company with Jehoshaphat. Böttcher, on the other hand, sees in it a festal hymn of triumph belonging to the time of Hezekiah, which was sung antiphonically at the great fraternizing Passover after the return home of the young king from one of his expeditions against the Assyrians, who had even at that time fortified themselves in the country east of the Jordan (Bashan). Thenius (following the example of Rödiger) holds a different view. He knows the situation so very definitely, that he thinks it high time that the discussion concerning this Psalm was brought to a close. It is a song composed to inspirit the army in the presence of the battle which Josiah undertook against Necho, and the prominent, hateful character in Psa 68:22 is Pharaoh with his lofty artificial adornment of hair upon his shaven head. It is, however, well known what a memorably tragical issue for Israel that battle had; the Psalm would therefore be a memorial of the most lamentable disappointment.

All these and other recent expositors glory in hot advancing any proof whatever in support of the inscribed לדוד. And yet there are two incidents in David’s life, with regard to which the Psalm ought first of all to be accurately looked at, before we abandon this לדוד to the winds of conjecture. The first is the bringing home of the Ark of the covenant to Zion, to which, e.g., Franz Volkmar Reinhard (in vol. ii. of the Velthusen Commentationes Theol. 1795), Stier, and Hofmann refer the Psalm. But the manner in which the Psalm opens with a paraphrase of Moses’ memorable words is at once opposed to this; and also the impossibility of giving unity to the explanation of its contents by such a reference is against it. Jahve has long since taken up His abode upon the holy mountain; the poet in this Psalm, which is one of the Psalms of war and victory describes how the exalted One, who now, however, as in the days of old, rides along through the highest heavens at the head of His people, casts down all powers hostile to Him and to His people, and compels all the world to confess that the God of Israel rules from His sanctuary with invincible might. A far more appropriate occasion is, therefore, to be found in the Syro-Ammonitish war of David, in which the Ark was taken with them by the people (2Sa 11:11); and the hymn was not at that time first of all composed when, at the close of the war, the Ark was brought back to the holy mountain (Hengstenberg, Reinke), but when it was set in motion from thence at the head of Israel as they advanced against the confederate kings and their army (2Sa 10:6). The war lasted into the second year, when a second campaign was obliged to be undertaken in order to bring it to an end; and this fact offers at least a second possible period for the origin of the Psalm. It is clear that in Psa 68:12-15, and still more clear that in Psa 68:20-24 (and from a wider point of view, Psa 68:29-35), the victory over the hostile kings is only hoped for, and in Psa 68:25-28, therefore, the pageantry of victory is seen as it were beforehand. It is the spirit of faith, which here celebrates beforehand the victory of Jahve, and sees in the single victory a pledge of His victory over all the nations of the earth. The theme of the Psalm, generalized beyond its immediate occasion, is the victory of the God of Israel over the world. Regarded as to the nature of its contents, the whole divides itself into two halves, vv. 2-19, 20-35, which are on the whole so distinct that the first dwells more upon the mighty deed God has wrought, the second upon the impressions it produces upon the church and upon the peoples of the earth; in both parts it is viewed now as future, now as past, inasmuch as the longing of prayer and the confidence of hope soar aloft to the height of prophecy, before which futurity lies as a fulfilled fact. The musical Sela occurs three times (Psa 68:8, Psa 68:20, Psa 68:33). These three forte passages furnish important points of view for the apprehension of the collective meaning of the Psalm.

But is David after all the author of this Psalm? The general character of the Psalm is more Asaphic than Davidic (vid., Habakkuk, S. 122). Its references to Zalmon, to Benjamin and the Northern tribes, to the song of Deborah, and in general to the Book of Judges (although not in its present form), give it an appearance of being Ephraimitish. Among the Davidic Psalms it stands entirely alone, so that criticism is quite unable to justify the לדוד. And if the words in Psa 68:29 are addressed to the king, it points to some other poet than David. But is it to a contemporary poet? The mention of the sanctuary on Zion in Psa 68:30, 36, does not exclude such an one. Only the threatening of the “wild beast of the sedge” (Psa 68:31) seems to bring us down beyond the time of David; for the inflammable material of the hostility of Egypt, which broke out into a flame in the reign of Rehoboam, was first gathering towards the end of Solomon’s reign. Still Egypt was never entirely lost sight of from the horizon of Israel; and the circumstance that it is mentioned in the first rank, where the submission of the kingdoms of this world to the God of Israel is lyrically set forth in the prophetic prospect of the future, need not astonish one even in a poet of the time of David. And does not Psa 68:28 compel us to keep on this side of the division of the kingdom? It ought then to refer to the common expedition of Jehoram and Jehoshaphat against Moab (Hitzig), the indiscriminate celebration of which, however, was no suitable theme for the psalmist.

The Psalm begins with the expression of a wish that the victory of God over all His foes and the triumphant exultation of the righteous were near at hand. Ewald and Hitzig take יקום אלהים hypothetically: If God arise, He enemies will be scattered. This rendering is possible in itself so far as the syntax is concerned, but here everything conspires against it; for the futures in Psa 68:2-4 form an unbroken chain; then a glance at the course of the Psalm from Psa 68:20 onwards shows that the circumstances of Israel, under which the poet writes, urged forth the wish: let God arise and humble His foes; and finally the primary passage, Num 10:35, makes it clear that the futures are the language of prayer transformed into the form of the wish. In Psa 68:3 the wish is addressed directly to God Himself, and therefore becomes petition. הנדּן is inflected (as vice versâ ירדף, Psa 7:6, from ירדּף) from הנּדף (like הנּתן, Jer 32:4); it is a violation of all rule in favour of the conformity of sound (cf. הקצות for הקצות, Lev 14:43, and supra on Psa 51:6) with תּנדּף, the object of which is easily supplied (dispellas, sc. hostes tuos), and is purposely omitted in order to direct attention more stedfastly to the omnipotence which to every creature is so irresistible. Like smoke, wax (דּונג, root דג, τηκ, Sanscrit tak, to shoot past, to run, Zend taḱ, whence vitaḱina, dissolving, Neo-Persic gudâchten; causative: to cause to run in different directions = to melt or smelt) is an emblem of human feebleness. As Bakiuds observes, Si creatura creaturam non fert, quomodo creatura creatoris indignantis faciem ferre possit? The wish expressed in Psa 68:4 forms the obverse of the preceding. The expressions for joy are heaped up in order to describe the transcendency of the joy that will follow the release from the yoke of the enemy. לפני is expressively used in alternation with מפני in Psa 68:2, Psa 68:3 : by the wrathful action, so to speak, that proceeds from His countenance just as the heat radiating from the fire melts the wax the foes are dispersed, whereas the righteous rejoice before His gracious countenance.

As the result of the challenge that has been now expressed in Psa 68:2-4, Elohim, going before His people, begins His march; and in Psa 68:5 an appeal is made to praise Him with song, His name with the music of stringed instrument, and to make a way along which He may ride בּערבות. In view of Psa 68:34 we cannot take צרבות, as do the Targum and Talmud (B. Chagiga 12 b), as a name of one of the seven heavens, a meaning to which, apart from other considerations, the verb ערב, to be effaced, confused, dark, is not an appropriate stem-word; but it must be explained according to Isa 40:3. There Jahve calls in the aid of His people, here He goes forth at the head of His people; He rides through the steppes in order to right against the enemies of His people. Not merely the historical reference assigned to the Psalm by Hitzig, but also the one adopted by ourselves, admits of allusion being made to the “steppes of Moab;” for the way to Mêdebâ, where the Syrian mercenaries of the Ammonites had encamped (1Ch 19:7), lay through these steppes, and also the way to Rabbath Ammon (2Sa 10:7.). סלּוּ calls upon them to make a way for Him, the glorious, invincible King (cf. Isa 57:14; Isa 62:10); סלל signifies to cast up, heap up or pave, viz., a raised and suitable street or highway, Symmachus katastroo'sate. He who thus rides along makes the salvation of His people His aim: “ä is His name, therefore shout with joy before Him.” The Beth in בּיהּ (Symmachus, Quinta: ἴα) is the Beth essentiae, which here, as in Isa 26:4, stands beside the subject: His name is (exists) in יה, i.e., His essential name is yh, His self-attestation, by which He makes Himself capable of being known and named, consists in His being the God of salvation, who, in the might of free grace, pervades all history. This Name is a fountain of exultant rejoicing to His people.

This Name is exemplificatively unfolded in Psa 68:6. The highly exalted One, who sits enthroned in the heaven of glory, rules in all history here below and takes an interest in the lowliest more especially, in all circumstances of their lives following after His own to succour them. He takes the place of a father to the orphan. He takes up the cause of the widow and contests it to a successful issue. Elohim is one who makes the solitary or isolated to dwell in the house; בּיתה with He locale, which just as well answers the question where? as whither? בּית, a house = family bond, is the opposite of יהיד, solitarius, recluse, Psa 25:16. Dachselt correctly renders it, in domum, h.e. familiam numerosam durabilemque eos ut patres-familias plantabit. He is further One who brings forth (out of the dungeon and out of captivity) those who are chained into abundance of prosperity. כּושׁרות, occurring only here, is a pluralet. from כּשׁר morf .tela, synonym אשׁר, to be straight, fortunate. Psa 68:7 briefly and sharply expresses the reverse side of this His humanely condescending rule among mankind. אך is here (cf. Gen 9:4; Lev 11:4) restrictive or adversative (as is more frequently the case with אכן); and the preterite is the preterite of that which is an actual matter of experience. The סוררים, i.e., (not from סוּר, the apostate ones, Aquila afista'menoi, but as in Psa 66:7, from סרר) the rebellious, Symmachus ἀπειθεῖς, who were not willing to submit to the rule of so gracious a God, had ever been excluded from these proofs of favour. These must inhabit צחיחה (accusative of the object), a sun-scorched land; from צחח, to be dazzlingly bright, sunny, dried or parched up. They remain in the desert without coming into the land, which, fertilized by the waters of grace, is resplendent with a fresh verdure and with rich fruits. If the poet has before his mind in connection with this the bulk of the people delivered out of Egypt, ὧν τὰ κῶλα ἔπεσαν ἐν τῇ ἐρήμω (Heb 3:17), then the transition to what follows is much more easily effected. There is, however, no necessity for any such intermediation. The poet had the march through the desert to Canaan under the guidance of Jahve, the irresistible Conqueror, in his mind even from the beginning, and now he expressly calls to mind that marvellous divine leading in order that the present age may take heart thereat.