The Psalm could be alluded t 1. the righte m death, and t Shepherd Deat compare ab g in the age fatal visitati ariation in th ation of deat by contrast , puts mea honour o Notes B li-lvi li. This is an appeal for deliverance, not as in most psalms from trouble, but from sense of sin. There is a progression of thought through successive stanzas, if, as in the text, an arrangement in sextets be followed, instead of the usual division into quatrains. The appeal is only to God's mercy: the sin is wholly acknowledged-God is only just; the penitent is nothing but iniquity-purification is claimed to the inward depths - more than this, a restoration that will blot out the past and create new power for the future — restoration will bring joy, and an energy overflowing in bringing back others—summary: it must be God who shall do it all, there is no sacrifice, but the sacrifice of the spirit. A postscript (in different rhythm) makes fresh application to national ruin and restoration. [Sextet stanzas: postscript, a quatrain; or possibly this should be divided as two strains.] lii. A typical Song of Judgment: antistrophic form presents the oppressor, and the oppressor overthrown. A doxology concludes. [Antistrophic (in strains): 4,4: with conclusion.] liii. This is a duplicate of xiv, with God substituted for The LORD. There is a considerable change in stanza five. liv. A dramatic psalm (see on iii), presenting trouble and relief. [Strophic structure (in strains): 5, 2.] lv. This litany (see on xxxv) has been already analysed in the note on Interruption (page 166). [Stanzas of sextets (the last varied) interrupted by antistrophic structure (in couplets): 8, 8.] lvi. A simple dramatic psalm (see on iii), presenting trouble and relief. In the first strophe the phraseology suggests war, in the second persecution: this may be understood by making the whole a national monologue, or (what is usual in such psalms) the idealising of the trouble. [Strophic structure (in strains): 3 and refrain, 5 and refrain; and, after the dramatic break, 2.] lvii. A very striking example of the antistrophic form applied to the presentation of trouble and relief. As with xlii-iii, there is a refrain which, though unaltered in words, takes a different spirit from the two strophes to which it is attached. The trouble is generalised; and the break comes suddenly (compare xxii), in the middle of the first stanza of the antistrophe. [Antistrophic (in stanzas): 3, 3: with refrain.] lviii. This Song of Judgment is a vehement remonstrance addressed to 'judges'— a vague O.T. term for ruling powers in general. The form is antistrophic. The strophe apostrophises indignantly the delinquent 'judges' themselves, and then elaborates a picture of moral disorder, with four striking images: exact measurement applied to iniquity, monstrosity (creatures born lying), the serpent whose venom is natural, the adder deaf to softening influences. The antistrophe balances this with a passionate execration, followed by an extended picture of destruction in four images: melting snows, a snail melting into slime as it crawls, an abortion, a boiling pot swept away, fire and all, by the desert whirlwind before the sticks have had time to catch. A conclusion expresses the rejoicing of the righteous. [Antistrophic (in lines): 2 a, 7 b; 2a, 7b: with conclusion.] lix. A vigorous War Ballad, somewhat obscure from our want of knowledge of the circumstances referred to. Probably, although the language is not quite clear, it is to be reckoned as a dramatic psalm (see on iii), the dramatic break taking place after the last line of page 121. The picture is apparently that of a rabble foe: not only do we find the word heathen, but there are suggestions of a barbarous tongue [belch out with their mouth - make a noise like a dog-swords are in their lips: compare cxx], and nomad ways: They return at evening, They make a noise like a dog, And go round about the city. The recurrence of this stanza is suggestive of swarming by night. The first strophe [of quatrains] treats the whole as a visitation of God; protests innocence, and invokes God against the heathen. A second strophe, in a rapid triplet metre, pictures the night swarming and the barbarous jargon. The first antistrophe is an imprecation: not death is desired, but that the rabble foe may go swarming on for ever. The second antistrophe is apparently resuming the former picture, when it appears to change, and suggest a deliverance: the enemy seen swarming on, hungry and unsatisfied, while the psalmist rejoices in his Strength, now the crisis has passed away (in the morning, compare note on xvii). [Antistrophic interlacing (in stanzas) : four quatrains, four triplets; four quatrains, four triplets.] It is clear that psalms 1x and cviii are companion poems: they come under the general head of War Anthems (compare xx, xxi). One is a hymn of defeat, the other of victory. There is antiphony as between People and King. Apparently 1x is to be considered a dramatic psalm (see on iii), the final couplet of the people implying deliverance, so far as recovered confidence in God. On the other hand, cviii has the more extended form of the Dramatic Anthem (see on ix-x): the opening triumph, the trouble recalled in the King's solo, and the resumption of triumph in the People's chorus. [lx has quatrains, and half quatrain at close, enveloping sextets with couplet lead: antiphonal. — cviii has two quatrains and a half at the commencement, the remaining half quatrain at the close, enveloping sextets with couplet lead antiphonal.] : lxi, lxiii have been already discussed in the note (pages 172-3) on Direct Metaphor. [lxi is in quatrains. — lxiii is in triplets and sextets: apparently an example of Duplication (page 159).] lxii. This Song of Trust is antistrophic in form, with the peculiarity of initial refrains. The refrain opens the chief image of the song, God as a rock: the strophe pictures persecution, using the contrasting image of a tottering wall. The antistrophe reiterates the idea of God as a rock of refuge, adding the image of a balance for the weighing of the foe. The conclusion makes a grand formula of judgment, on its two sides, of power as against the persecutor, and mercy for the oppressed. [Antistrophic (in stanzas), including initial refrains: 3, 3: with gnomic conclusion.] Ixiv. A Conspiracy of Iniquity is pictured: treacherous foes, who fight with words and snares and secret schemes. There is a suggestion of the sudden arrow of God, with the triumph transferred to the righteous. [Quatrains.] lxv. See analysis in note to xxv, on Liturgies. lxvi. A Votive Hymn: compare on xxxiv. This is, like xxxiv, a typical example; in this case it is antistrophic form which is used to distinguish the two elements-Israel's blessings, the individual worshipper's vow. [Antistrophic (in strains): 8, 8: with introduction.] lxvii. This is plainly the Response of the Congregation to the High Priest's blessing (Numbers, vi. 24). It is a ‘Festal Response,' in being suitable for any high ceremonial, and it cannot be specialised to harvest or any other particular occasion. [Sextet stanzas, including refrain. This has to be restored for the last stanza: compare xlvi and xcix.] lxviii This magnificent lyric is a Processional Hymn. Though no doubt originally composed for some specific occasion, it has nothing to limit it as such; but might be used by the Hebrews in the same way as Christians celebrate triumphs by singing Te Deum. Not only does this ode at one point picture the actual procession of the day, but the idea of procession as concealed imagery is made to run through the whole; until the past, present, and future of Israel's history have appeared as a series of vast processions. The introduction starts from the traditional formula of procession: the song of the Levites starting with the ark. Then I reviews the past. First, the wilderness life of Israel - |