Habakkuk 3

Prayer for Compassion in the Midst of the Judgment - Habakkuk 3

In this chapter, which is called a prayer in the heading, the prophet expresses the feelings which the divine revelation of judgment described in ch. 1 and 2 had excited in his mind, and ought to excite in the congregation of believers, so that this supplicatory psalm may be called an echo of the two answers which the prophet had received from the Lord to his complaints in Hab 1:2-4 and Hab 1:12-17 (vid., Hab 1:5-11 and 2:2-20). Deeply agitated as he was by the revelation he had received concerning the terrible judgment, which the Lord would execute first of all upon Judah, through the wild and cruel Chaldaean nation, and then upon the Chaldaean himself, because he deified his own power, the prophet prays to the Lord that He will carry out this work of His "within years," and in the revelation of His wrath still show mercy (Hab 3:2). He then proceeds in Hab 3:3-15 to depict in a majestic theophany the coming of the Lord to judge the world, and bring salvation to His people and His anointed; and secondly, in Hab 3:16-19, to describe the fruit of faith which this divine manifestation produces, namely, first of all fear and trembling at the day of tribulation (Hab 3:16, Hab 3:17), and afterwards joy and rejoicing in the God of salvation (Hab 3:18 and Hab 3:19). Consequently we may regard Hab 3:2 as the theme of the psalm, which is distributed thus between the two parts. In the first part (Hab 3:3-15) we have the prayer for the accomplishment of the work (Hab 3:2) announced by God in Hab 1:5, expressed in the form of a prophetico-lyric description of the coming of the Lord to judgment; and in the second part (Hab 3:16-19), the prayer in wrath to remember mercy (Hab 3:2), expanded still more fully in the form of a description of the feelings and state of mind excited by that prayer in the hearts of the believing church.

The song has a special heading, after the fashion of the psalms, in which the contents, the author, and the poetical character of the ode are indicated. The contents are called t^ephillâh, a prayer, like Psa 17:1-15; 86; 90; 102, and Psa 142:1-7, not merely with reference to the fact that it commences with a prayer to God, but because that prayer announces the contents of the ode after the manner of a theme, and the whole of the ode is simply the lyrical unfolding of that prayer. In order, however, to point at the same time to the prophetic character of the prayer, that it may not be regarded as a lyrical effusion of the subjective emotions, wishes, and hopes of a member of the congregation, but may be recognised as a production of the prophets, enlightened by the Spirit of Jehovah, the name of the author is given with the predicate "the prophet;" and to this there is added על שׁגינות, to indicate the poetico-subjective character, through which it is distinguished from prophecy in the narrower sense. The expression "upon Shigionoth" cannot refer to the contents or the object of the ode; for although shiggâyōn, according to its etymon shâgâh = shâgag, to transgress by mistake, to sin, might have the meaning transgression in a moral sense, and consequently might be referred to the sins of transgressors, either of the Judaeans or the Chaldaeans, such an assumption is opposed both to the use of shiggâyōn in the heading to Psalm 7, and also to the analogy between ‛al shigyōnōth, and such headings to the psalms as ‛al haggittı̄th, ‛al n^egı̄nōth, and other words introduced with ‛al. Whilst shiggâyōn in Psa 7:1 indicates the style of poetry in which the psalm is composed, all the notices in the headings to the psalms that are introduced with ‛al refer either to the melody or style in which the psalms are to be sung, or to the musical accompaniment with which they are to be introduced into the worship of God. This musico-liturgical signification is to be retained here also, since it is evident from the subscription in Hab 3:19, and the repetition of Selah three times (Hab 3:3, Hab 3:9, Hab 3:13), that our hymn was to be used with musical accompaniment. Now, as shâgâh, to err, then to reel to and fro, is applied to the giddiness both of intoxication and of love (Isa 28:7; Pro 20:1; Pro 5:20), shiggâyōn signifies reeling, and in the terminology of poetry a reeling song, i.e., a song delivered in the greatest excitement, or with a rapid change of emotion, dithyrambus (see Clauss on Psa 7:1; Ewald, Delitzsch, and others); hence על שׁגינות, after dithyrambs, or "after the manner of a stormy, martial, and triumphal ode" (Schmieder).

"Jehovah, I have heard Thy tidings, am alarmed. Jehovah, Thy work, in the midst of the years call it to life, in the midst of the years make it known; in wrath remember mercy." שׁמעך is the tidings (ἀκοή) of God; what the prophet has heard of God, i.e., the tidings of the judgment which God is about to inflict upon Judah through the Chaldaeans, and after that upon the Chaldaeans themselves. The prophet is alarmed at this. The word יראתי (I am alarmed) does not compel us to take what is heard as referring merely to the judgment to be inflicted upon Judah by the Chaldaeans. Even in the overthrow of the mighty Chaldaean, or of the empire of the world, the omnipotence of Jehovah is displayed in so terrible a manner, that this judgment not only inspires with joy at the destruction of the foe, but fills with alarm at the omnipotence of the Judge of the world. The prayer which follows, "Call Thy work to life," also refers to this twofold judgment which God revealed to the prophet in ch. 1 and 2. פּעלך, placed absolutely at the head for the sake of emphasis, points back to the work (pō‛al) which God was about to do (Hab 1:5); but this work of God is not limited to the raising up of the Chaldaean nation, but includes the judgment which will fall upon the Chaldaean after he has offended (Hab 1:11). This assumption is not at variance even with חיּיהוּ. For the opinion that חיּה never means to call a non-existent thing to life, but always signifies either to give life to an inorganic object (Job 33:4), or to keep a living thing alive, or (and this most frequently) to restore a dead thing to life, and that here the word must be taken in the sense of restoring to life, because in the description which follows Habakkuk looks back to Psalm 77 and the pō‛al depicted there, viz., the deliverance out of Egyptian bondage, is not correct. חיּה does not merely mean to restore to life and keep alive, but also to give life and call to life. In Job 33:4, where תּחיּני is parallel to עשׂתני, the reference is not to the impartation of life to an inorganic object, but to the giving of life in the sense of creating; and so also in Gen 7:3 and Gen 19:32, חיּה זרע means to call seed to life, or raise it up, i.e., to call a non-existent thing to life. Moreover, the resemblances in the theophany depicted in what follows to Psalm 77 do not require the assumption that Habakkuk is praying for the renewal of the former acts of God for the redemption of His people, but may be fully explained on the ground that the saving acts of God on behalf of His people are essentially the same in all ages, and that the prophets generally were accustomed to describe the divine revelations of the future under the form of imagery drawn from the acts of God in the past. There is special emphasis in the use of בּקרב שׁניםtwice, and the fact that in both instances it stands at the head. It has been interpreted in very different ways; but there is an evident allusion to the divine answer in Hab 2:3, that the oracle is for an appointed time, etc. "In the midst of the years," or within years, cannot of course mean by itself "within a certain number, or a small number, of years," or "within a brief space of time" (Ges., Ros., and Maurer); nevertheless this explanation is founded upon a correct idea of the meaning. When the prophet directs his eye to the still remote object of the oracle (ch. 2), the fulfilment of which was to be delayed, but yet assuredly to come at last (Hab 2:3), the interval between the present time and the mō‛ēd appointed by God (Hab 2:3) appears to him as a long series of years, at the end only of which the judgment is to come upon the oppressors of His people, namely the Chaldaeans. He therefore prays that the Lord will not delay too long the work which He designs to do, or cause it to come to life only at the end of the appointed interval, but will bring it to life within years, i.e., within the years, which would pass by if the fulfilment were delayed, before that mō‛ēd arrived.

Grammatically considered, qerebh shânı̄m cannot be the centre of the years of the world, the boundary-line between the Old and New Testament aeons, as Bengel supposes, who takes it at the same time, according to this explanation, as the starting-point for a chronological calculation of the whole course of the world. Moreover, it may also be justly argued, in opposition to this view and application of the words, that it cannot be presupposed that the prophets had so clear a consciousness as this, embracing all history by its calculus; and still less can be expect to find in a lyrical ode, which is the outpouring of the heart of the congregation, a revelation of what God Himself had not revealed to him according to Hab 2:3. Nevertheless the view which lies at the foundation of this application of our passage, viz., that the work of God, for the manifestation of which the prophet is praying, falls in the centre of the years of the world, has this deep truth, that it exhibits the overthrow not only of the imperial power of Chaldaea, but that of the world-power generally, and the deliverance of the nation from its power, and forms the turning-point, with which the old aeon closes and the new epoch of the world commences, with the completion of which the whole of the earthly development of the universe will reach its close. The repetition of בּקרב שׁנים is expressive of the earnest longing with which the congregation of the Lord looks for the tribulation to end. The object to תּודיע, which is to be taken in an optative sense, answering to the imperative in the parallel clause, may easily be supplied from the previous clause. To the prayer for the shortening of the period of suffering there is appended, without the copula Vav, the further prayer, in wrath to remember mercy. The wrath (rōgez, like râgaz in Isa 28:21 and Pro 29:9) in which God is to remember mercy, namely for His people Israel, can only be wrath over Israel, not merely the wrath manifested in the chastisement of Judah through the Chaldaeans, but also the wrath displayed in the overthrow of the Chaldaeans. In the former case God would show mercy by softening the cruelty of the Chaldaeans; in the latter, by accelerating their overthrow, and putting a speedy end to their tyranny. This prayer is followed in Hab 3:3-15 by a description of the work of God which is to be called to life, in which the prophet expresses confidence that his petition will be granted.

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.

"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. T^ehillâh 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.

Hab 3:16-19 form the second part of the psalm, in which the prophet describes the feelings that are produced within himself by the coming of the Lord to judge the nations, and to rescue His own people; viz., first of all, fear and trembling at the tribulation (Hab 3:16, Hab 3:17); then exulting joy, in his confident trust in the God of salvation (Hab 3:18, Hab 3:19). Hab 3:16. "I heard it, then my belly trembled, at the sound my lips yelled; rottenness forces itself into my bones, and I tremble under myself, that I am to wait quietly for the day of tribulation, when he that attacketh it approacheth the nation. Hab 3:17. For the fig-tree will not blossom, and there is no yield on the vines; the produce of the olive-tree disappoints, and the corn-fields bear no food; the flock is away from the fold, and no ox in the stalls." שׁמעתּי is not connected with the theophany depicted in Hab 3:3-15, since this was not an audible phenomenon, but was an object of inward vision, "a spectacle which presented itself to the eye." "I heard" corresponds to "I have heard" in Hab 3:2, and, like the latter, refers to the report heard from God of the approaching judgment. This address goes back to its starting-point, to explain the impression which it made upon the prophet, and to develop still how he "was afraid." The alarm pervades his whole body, belly, and bones, i.e., the softer and firmer component parts of the body; lips and feet, i.e., the upper and lower organs of the body. The lips cried l^eqōl, at the voice, the sound of God, which the prophet heard. Tsâlal is used elsewhere only of the ringing of the ears (1Sa 3:11; 2Ki 21:12; Jer 19:3); but here it is applied to the chattering sound produced by the lips, when they smite one another before crying out, not to the chattering of the teeth. Into the bones there penetrates râqâbh, rottenness, inward consumption of the bones, as an effect of alarm or pain, which paralyzes all the powers, and takes away all firmness from the body (cf. Pro 12:4; Pro 14:30). Tachtai, under me, i.e., in my lower members, knees, feet: not as in Exo 16:29; 2Sa 2:23, on the spot where I stand (cf. Ewald, §217, k). אשׁר אנוּחmight mean, "I who was to rest;" but it is more appropriate to take 'ăsher as a relative conjunction, "that I," since the clause explains the great fear that had fallen upon him. אשׁר is used in a similar way viz., as a conjunction with the verb in the first person, in Ezek. 29:29. Nūăch, to rest, not to rest in the grave (Luther and others), nor to bear quietly or endure (Ges., Maurer), but to wait quietly or silently. For it could hardly occasion such consuming pain to a God-fearing man as that which the prophet experienced, to bear misfortune quietly, when it has already come, and cannot be averted; but it might be to wait quietly and silently, in constant anticipation. Tsârâh, the trouble which the Chaldaeans bring upon Judah. לעלות is not subordinate to ליום צרה, but co-ordinate with it, and is still dependent upon אנוּח; and יגוּדנּוּ, as a relative clause (who oppresses it), is the subject to לעלות: "that I am to wait quietly for him that attacketh to approach my nation." For if לעלוי were dependent upon ליום, it would be necessary to supply יום as the subject: "when it (the day) comes." But this is precluded by the fact that עלה is not used for the approach or breaking of day. לעם, to the people, dativ. incomm., is practically equivalent to על עם, against the people. עם, used absolutely, as in Isa 26:11; Isa 42:6, is the nation of Israel. Gūd, as in Gen 49:19-20, i.e., gâdad, to press upon a person, to attack him, or crowd together against him (cf. Psa 94:21). In Hab 3:17 the trouble of this day is described; and the sensation of pain, in the anticipation of the period of calamity, is thereby still further accounted for. The plantations and fields yield no produce. Folds and stalls are empty in consequence of the devastation of the land by the hostile troops and their depredations: "a prophetic picture of the devastation of the holy land by the Chaldaean war" (Delitzsch). Fig-tree and vine are mentioned as the noblest fruit-trees of the land, as is frequently the case (see Joe 1:7; Hos 2:14; Mic 4:4). To this there is added the olive-tree, as in Mic 6:15; Deu 6:11; Deu 8:8, etc. Ma‛asēh zayith is not the shoot, but the produce or fruit of the olive-tree, after the phrase עשׂה פרי, to bear fruit. Kichēsh, to disappoint, namely the expectation of produce, as in Hos 9:2. Sh^edēmôth, which only occurs in the plural, corn-fields, is construed here as in Isa 16:8, with the verb in the singular, because, so far as the sense was concerned, it had become almost equivalent to sâdeh, the field (see Ewald, §318, a). Gâzar, to cut off, used here in a neuter sense: to be cut off or absent. מכלה, contracted from מכלאה: fold, pen, an enclosed place for sheep. Repheth, ἁπ. λεγ., the rack, then the stable or stall.

Although trembling on account of the approaching trouble, the prophet will nevertheless exult in the prospect of the salvation that he foresees. Hab 3:18. "But I, in Jehovah will I rejoice, will shout in the God of my salvation. Hab 3:19. Jehovah the Lord is my strength, and makes my feet like the hinds, and causes me to walk along upon my high places." The turning-point is introduced with ואני ht, as is frequently the case in the Psalms. For this exaltation out of the sufferings of this life to believing joy in God, compare Psa 5:8; Psa 13:6; Psa 31:15, etc. עלז, a softened form of עלץ, to rejoice in God (cf. Psa 5:12), i.e., so that God is the inexhaustible source and infinite sphere of the joy, because He is the God of salvation, and rises up to judgment upon the nations, to procure the salvation of His people (Hab 3:13). Elōhē yish‛ı̄ (the God of my salvation), as in Psa 18:47; Psa 25:5 (see at Mic 7:7). The thoughts of the 19th verse are also formed from reminiscences of Psalm 18: the first clause, "the Lord is my strength," from Psa 18:33. "God, who girdeth me with strength," i.e., the Lord gives me strength to overcome all tribulation (cf. Psa 27:1 and 2Co 12:9). The next two clauses are from Psa 18:34, "He maketh my feet like hinds'," according to the contracted simile common in Hebrew for "hinds' feet;" and the reference is to the swiftness of foot, which was one of the qualifications of a thorough man of war (2Sa 1:23; 1Ch 12:8), so as to enable him to make a sudden attack upon the enemy, and pursue him vigorously. Here it is a figurative expression for the fresh and joyous strength acquired in God, which Isaiah calls rising up with eagles' wings (Isa 40:29-31). Causing to walk upon the high places of the land, was originally a figure denoting the victorious possession and government of a land. It is so in Deu 32:13 and Deu 33:29, from which David has taken the figure in Psalm 18, though he has altered the high places of the earth into "my high places" (bâmōthai). They were the high places upon which the Lord had placed him, by giving him the victory over his enemies. And Habakkuk uses the figurative expression in the same sense, with the simple change of יעמידני into ידרכני after Deu 33:29, to substitute for the bestowment of victory the maintenance of victory corresponding to the blessing of Moses. We have therefore to understand bâmōthai neither as signifying the high places of the enemy, nor the high places at home, nor high places generally. The figure must be taken as a whole; and according to this, it simply denotes the ultimate triumph of the people of God over all oppression on the part of the power of the world, altogether apart from the local standing which the kingdom of God will have upon the earth, either by the side of or in antagonism to the kingdom of the world. The prophet prays and speaks throughout the entire ode in the name of the believing congregation. His pain is their pain; his joy their joy. Accordingly he closes his ode by appropriating to himself and all believers the promise which the Lord has given to His people and to David His anointed servant, to express the confident assurance that the God of salvation will keep it, and fulfil it in the approaching attack on the part of the power of the world upon the nation which has been refined by the judgment.

The last words, למנצּח בּנגינותי, do not form part of the contents of the supplicatory ode, but are a subscription answering to the heading in Hab 3:1, and refer to the use of the ode in the worship of God, and simply differ from the headings למנצּח בּנגינות in Psa 4:1-8; Psa 6:1-10; 54:1-55:23; Psa 67:1-7, and Psa 76:1-12, through the use of the suffix in בּנגינותי. Through the words, "to the president (of the temple-music, or the conductor) in accompaniment of my stringed playing," the prophet appoints his psalm for use in the public worship of God accompanied by his stringed playing. Hitzig's rendering is grammatically false, "to the conductor of my pieces of music;" for ב cannot be used as a periphrasis for the genitive, but when connected with a musical expression, only means with or in the accompaniment of (ה instrumenti or concomitantiae). Moreover, נגינות does not mean pieces of music, but simply a song, and the playing upon stringed instruments, or the stringed instrument itself (see at Psa 4:1-8). The first of these renderings gives no suitable sense here, so that there only remains the second, viz., "playing upon stringed instruments." But if the prophet, by using this formula, stipulates that the ode is to be used in the temple, accompanied by stringed instruments, the expression bingı̄nōthai, with my stringed playing, affirms that he himself will accompany it with his own playing, from which it has been justly inferred that he was qualified, according to the arrangements of the Israelitish worship, to take part in the public performance of such pieces of music as were suited for public worship, and therefore belonged to the Levites who were entrusted with the conduct of the musical performance of the temple.