Psa 22:1-3 | Clarke | STEP | Under great affliction and distress, the psalmist prays unto God, ; appeals to God's wonted kinkiness in behalf of his people, , ; relates the insults that he received, ; mentions the goodness of God to him in his youth, as a reason why he should expect help now, ; details his sufferings, and the indignities offered to him, , prays with the confidence of being heard and delivered, ; praises God. and foretells the conversion of the nations to the true religion, . The title of this Psalm, To the chief Musician upon Aijeleth Shahar, A Psalm of David, has given rise to many conjectures. The words אילת השחר aiyeleth hashshachar are translated in the margin, "the hind of the morning;" but what was this? Was it the name of a musical instrument? or of a tune? or of a band of music? Calmet argues for the last, and translates "A Psalm of David, addressed to the Musicmaster who presides over the Band called the Morning Hind." This is more likely than any of the other conjectures I have seen. But aiyeleth hashshachar may be the name of the Psalm itself, for it was customary among the Asiatics to give names to their poetic compositions which often bore no relation to the subject itself. Mr. Harmer and others have collected a few instances from D'Herbelot's Bibliotheque Orientale. I could add many more from MSS. in my own collection: - thus Saady calls a famous miscellaneous work of his Gulisstan, "The Country of Roses," or, "Tbe Rose Garden:" and yet there is nothing relative to such a country, nor concerning roses nor rose gardens, in the book. Another is called Negeristan, "The Gallery of Pietures;" yet no picture gallery is mentioned. Another Beharistan, "The Spring Season;" Bostan, "The Garden;" Anvar Soheely, "The Light of Canopus;" Bahar Danush, "The Garden of Knowledge;" Tuhfit Almumeneen, "The Gift of the Faithful," a treatise on medicine; Kemeea lsadut, "The Alchymy of Life;" Mukhzeen al Asrar, "The Magazine of Secrets;" Sulselet al Zahab, "The Golden Chain;" Zuhfit al Abrar, "The Rosary of the Pious:" Merat al Asrar, "The Mirror of Secrets;" Durj al Durar, "The most precious Jewels" Deru Majlis, "The Jewel of the Assembly;" Al Bordah, "The Variegated Garment;" a poem written by Al Basiree, in praise of the Mohammedan religion, in gratitude for a cure which he believed he received from the prophet who appeared to him in a dream. The poem is written in one hundred and sixty-two couplets, each of which ends with mim, the first letter in the name of Mohammed. Scarcely one of the above titles, and their number might be easily trebled, bears any relation to the subject of the work to which it is prefixed, no more than Aijeleth Shahar bears to the matter contained in the twenty-second Psalm. Such titles are of very little importance in themselves; and of no farther use to us than as they serve to distinguish the different books, poems, or Psalms, to which they are prefixed. To me, many seem to have spent their time uselessly in the investigation of such subjects. See my note on (note). On the subject of the Psalm itself, there is considerable diversity of opinion: 1. Some referring it all to David; 2. Others referring it all to Christ; and, 3. Some, because of the application of several verses of it to our Lord in his sufferings, take a middle way, and apply it primarily to David, and in a secondary or accommodated sense, to Christ. Of this opinion was Theodore of Mopsuestia. who gave a very rational account of his own plan of interpretation; for which he was condemned by the second council of Constantinople or fifth Ecumenic council. Grotius and others have nearly copied his plan; and I think, with a little correction, it is the only safe one. That several parts of it relate to David, primarily, there is very little reason to doubt; that several passages may be applied by way of accommodation to our Lord, though originally belonging to and expressing the state of David, may be piously believed; and that it contains portions which are direct prophecies of our Lord's passion, death, and victory, appears too evident to be safely denied. On this plan I propose to treat it in the following paraphrase; keeping it as near to the Gospel standard as I can. Dr. Delaney supposes the Psalm to have been written by David when he was at Mahaniam, the very place where God appeared to Jacob in his distress. See Genesis 22: And on this supposition the third, fourth, and fifth verses may be easily and strikingly illustrated: Our fathers trusted in thee; why may not I? Thou didst deliver Them; why may not I expect deliverance also? They cried unto thee, trusted in thee, and were not confounded; I cry until thee, trust in thee; and why should I be confounded? For thou art the same God, thou changest not; and with thee there is no respect of persons. Thus David encouraged himself in the Lord; and these considerations helped to sustain him in his painful exercises and heavy distresses. Verse 1 My God, my God, why hast thou forsaken me? - Show me the cause why thou hast abandoned me to my enemies; and why thou seemest to disregard my prayers and cries? For a full illustration of this passage, I beg the reader to refer to my note on . The words of my roaring? - שאגתי shaagathi, The Vulgate, Septuagint, Syriac, Ethiopic, and Arabic, with the Anglo-Saxon, make use of terms which may be thus translated: "My sins (or foolishness) are the cause why deliverance is so far from me." It appears that these versions have read שגגתי shegagathi, "my sin of ignorance," instead of שאגתי shaagathi, "my roaring:" but no MS. extant supports this reading.

Psalms 22:1-3

Introduction

Under great affliction and distress, the psalmist prays unto God, Psa 22:1-3; appeals to God's wonted kinkiness in behalf of his people, Psa 22:4, Psa 22:5; relates the insults that he received, Psa 22:6-8; mentions the goodness of God to him in his youth, as a reason why he should expect help now, Psa 22:9-11; details his sufferings, and the indignities offered to him, Psa 22:12-18, prays with the confidence of being heard and delivered, Psa 22:19-24; praises God. and foretells the conversion of the nations to the true religion, Psa 22:25-31.

The title of this Psalm, To the chief Musician upon Aijeleth Shahar, A Psalm of David, has given rise to many conjectures. The words אילת השחר aiyeleth hashshachar are translated in the margin, "the hind of the morning;" but what was this? Was it the name of a musical instrument? or of a tune? or of a band of music? Calmet argues for the last, and translates "A Psalm of David, addressed to the Musicmaster who presides over the Band called the Morning Hind." This is more likely than any of the other conjectures I have seen. But aiyeleth hashshachar may be the name of the Psalm itself, for it was customary among the Asiatics to give names to their poetic compositions which often bore no relation to the subject itself. Mr. Harmer and others have collected a few instances from D'Herbelot's Bibliotheque Orientale. I could add many more from MSS. in my own collection: - thus Saady calls a famous miscellaneous work of his Gulisstan, "The Country of Roses," or, "Tbe Rose Garden:" and yet there is nothing relative to such a country, nor concerning roses nor rose gardens, in the book. Another is called Negeristan, "The Gallery of Pietures;" yet no picture gallery is mentioned. Another Beharistan, "The Spring Season;" Bostan, "The Garden;" Anvar Soheely, "The Light of Canopus;" Bahar Danush, "The Garden of Knowledge;" Tuhfit Almumeneen, "The Gift of the Faithful," a treatise on medicine; Kemeea lsadut, "The Alchymy of Life;" Mukhzeen al Asrar, "The Magazine of Secrets;" Sulselet al Zahab, "The Golden Chain;" Zuhfit al Abrar, "The Rosary of the Pious:" Merat al Asrar, "The Mirror of Secrets;" Durj al Durar, "The most precious Jewels" Deru Majlis, "The Jewel of the Assembly;" Al Bordah, "The Variegated Garment;" a poem written by Al Basiree, in praise of the Mohammedan religion, in gratitude for a cure which he believed he received from the prophet who appeared to him in a dream. The poem is written in one hundred and sixty-two couplets, each of which ends with mim, the first letter in the name of Mohammed.

Scarcely one of the above titles, and their number might be easily trebled, bears any relation to the subject of the work to which it is prefixed, no more than Aijeleth Shahar bears to the matter contained in the twenty-second Psalm. Such titles are of very little importance in themselves; and of no farther use to us than as they serve to distinguish the different books, poems, or Psalms, to which they are prefixed. To me, many seem to have spent their time uselessly in the investigation of such subjects. See my note on 2Sam 1:18 (note).

On the subject of the Psalm itself, there is considerable diversity of opinion:

1. Some referring it all to David;

2. Others referring it all to Christ; and,

3. Some, because of the application of several verses of it to our Lord in his sufferings, take a middle way, and apply it primarily to David, and in a secondary or accommodated sense, to Christ.

Of this opinion was Theodore of Mopsuestia. who gave a very rational account of his own plan of interpretation; for which he was condemned by the second council of Constantinople or fifth Ecumenic council. Grotius and others have nearly copied his plan; and I think, with a little correction, it is the only safe one. That several parts of it relate to David, primarily, there is very little reason to doubt; that several passages may be applied by way of accommodation to our Lord, though originally belonging to and expressing the state of David, may be piously believed; and that it contains portions which are direct prophecies of our Lord's passion, death, and victory, appears too evident to be safely denied. On this plan I propose to treat it in the following paraphrase; keeping it as near to the Gospel standard as I can. Dr. Delaney supposes the Psalm to have been written by David when he was at Mahaniam, the very place where God appeared to Jacob in his distress. See Genesis 22: And on this supposition the third, fourth, and fifth verses may be easily and strikingly illustrated: Our fathers trusted in thee; why may not I? Thou didst deliver Them; why may not I expect deliverance also? They cried unto thee, trusted in thee, and were not confounded; I cry until thee, trust in thee; and why should I be confounded? For thou art the same God, thou changest not; and with thee there is no respect of persons. Thus David encouraged himself in the Lord; and these considerations helped to sustain him in his painful exercises and heavy distresses.

Verse 1

My God, my God, why hast thou forsaken me? - Show me the cause why thou hast abandoned me to my enemies; and why thou seemest to disregard my prayers and cries? For a full illustration of this passage, I beg the reader to refer to my note on Mat 27:46.

The words of my roaring? - שאגתי shaagathi, The Vulgate, Septuagint, Syriac, Ethiopic, and Arabic, with the Anglo-Saxon, make use of terms which may be thus translated: "My sins (or foolishness) are the cause why deliverance is so far from me." It appears that these versions have read שגגתי shegagathi, "my sin of ignorance," instead of שאגתי shaagathi, "my roaring:" but no MS. extant supports this reading. Verse 2

I cry in the day-time, and in the night-season - This seems to be David's own experience; and the words seem to refer to his own case alone. Though I am not heard, and thou appearest to forget or abandon me; yet I continue to cry both day and night after thy salvation. Verse 3

But thou art holy - Though I be not heard, even while I cry earnestly, yet I cannot impute any fault or unkindness to my Maker; for thou art holy. and canst do nothing but what is right. This is the language of profound resignation, in trials the most difficult to be borne.

Inhabitest the praises of Israel - Thou dwellest in the sanctuary where the praises, thanksgivings, and sacrifices of thy people are continually offered.