vv. 7 and 8, on the grounds that "the transposition explains what

Zion heard, and brings the summons to the false gods into connection with the emphatic claim on behalf of Jehovah in ver. 9." But there is no need for the change, since there is no ambiguity as to what Zion heard, if the existing order is retained, and her gladness is quite as worthy a consequence of the exaltation of Jehovah in ver. 9 as the subjugation of the false gods would be. With ver. 9 compare Psalm lxxxiii. 18, and Psalm xlvii. 2.

The last strophe (vv. 10-12) draws exhortation and promises from the preceding. There is a marked diminution of dependence on earlier passages in this strophe, in which the psalmist points for his own generation the lessons of the great deliverance which he has been celebrating. Ver. 12_a_ is like Psalm xxxii. 11; ver. 12_b_ is from Psalm xxx. 4; but the remainder is the psalmist's own earnest exhortation and firm faith, cast into words which come warm from his own heart's depths. Love to Jehovah necessarily implies hatred of evil, which is His antagonist, and which He hates. That higher love will not be kept in energy, unless it is guarded by wholesome antipathy to everything foul. The capacity for love of the noble is maimed unless there is hearty hatred of the ignoble. Love to God is no idle affection, but withdraws a man from rival loves. The stronger the attraction, the stronger the recoil. The closer we cleave to God, the more decided our shrinking from all that would weaken our hold of Him. A specific reference in the exhortation to temptations to idolatry is possible, though not necessary. All times have their "evil," with which God's lovers are ever tempted to comply. The exhortation is never out of place, nor the encouragement which accompanies it ever illusory. In such firm adherence to Jehovah, many difficulties will rise, and foes be made; but those who obey it will not lack protection. Mark the alternation of names for such. They are first called "lovers of God"; they are then designated as His "favoured ones." That which is first in time is last in mention. The effect is in view before it is traced to its cause. "We love Him because He first loved us." Then follow names drawn from the moral perfecting which will ensue on recognition and reception of God's favour, and on the cherishing of the love which fulfils the law. They who love because they are loved, become righteous and upright-hearted because they love. For such the psalmist has promise as well as exhortation. Not only are they preserved in and from dangers, but "light is sown" for them. Many commentators think that the figure of light being sown, as seeds are buried in the ground to shoot up in beauty in a future spring-time, is too violent, and they propose to understand "sown" in the sense of _scattered on_, not _deposited in_, the earth, "so that he, the righteous, goes forward step by step in the light" (Delitzsch). Others would correct into "is risen" or "arises." But one is reluctant to part with the figure, the violence of which is permissible in an Eastern singer. Darkness often wraps the righteous, and it is not true to experience to say that his way is always in the sunlight. But it is consolation to know that light is sown, invisible and buried, as it were, but sure to germinate and fruit. The metaphor mingles figures and offends purists, but it fits closer to fact than the weakening of it which fits the rules of composition. If we are God's lovers, present darkness may be quieted by hope, and we may have the "fruit of the light" in our lives now, and the expectation of a time when we shall possess in fulness and in perpetuity all that light of knowledge, purity, and gladness which Jesus the Sower went forth to sow, and which had been ripened by struggles and sorrows and hatred of evil while we were here.

Therefore, because of this magnificent theophany, and because of its blessed consequences for loving souls, the psalmist ends with the exhortation to the righteous to rejoice. He began with bidding the world be glad. He now bids each of us concentrate that universal gladness in our own hearts. Whether earth obeys Him or not, it is for us to clasp firmly the great facts which will feed the lamp of our joy. God's holy memorial is His name, or His self-revealed character. He desires to be known and remembered by His acts. If we rightly retain and ponder His utterance of Himself, not in syllables, but in deeds, we shall not be silent in His praise. The righteous man should not be harsh and crabbed, but his soul should dwell in a serene atmosphere of joy in Jehovah, and his life be one thanksgiving to that mighty, never-to-be-forgotten Name.

PSALM XCVIII.

1 Sing to Jehovah a new song, For wonders He has done, His right hand has brought Him salvation, and His holy arm 2 Jehovah has made known His salvation, To the eyes of the nations He has revealed His righteousness. 3 He has remembered His loving-kindness and His faithfulness to the house of Israel, All the ends of the earth have seen the salvation of our God.

4 Shout aloud to Jehovah, all the earth, Break forth into shrill cries of joy and make melody, 5 Make melody to Jehovah with the lyre, With lyre and voice of melody. 6 With trumpets and blast of horn, Shout aloud before Jehovah, the King.

7 Let the sea thunder and its fulness, The world and the dwellers therein, 8 Let streams clap hands, Together let mountains ring out joyful cries, 9 Before Jehovah, for He comes to judge the earth, He will judge the world in righteousness, And peoples in equity.

The two preceding psalms correspond in number and division of verses. The first begins with a summons to sing to Jehovah; the second, with a proclamation that He is King. A precisely similar connection exists between this and the following psalm. Psalm xcviii. is an echo of Psalm xcvi., and Psalm xcix. of Psalm xcvii. The number of verses in each of the second pair is nine, and in each there is a threefold division. The general theme of both pairs is the same, but with considerable modifications. The abundant allusions to older passages continue here, and the second part of Isaiah is especially familiar to the singer.

The first strophe (vv. 1-3), though modelled on the first of Psalm xcvi., presents the theme in a different fashion. Instead of reiterating through three verses the summons to Israel to praise Jehovah, and declare His glory to the nations, this psalm passes at once from the summons to praise, in order to set forth the Divine deed which evokes the praise, and which, the psalmist thinks, will shine by its own lustre to "the ends of the earth," whether it has human voices to celebrate it or not. This psalmist speaks more definitely of Jehovah's wonders of deliverance. Israel appears rather as the recipient than as the celebrator of God's loving-kindness. The sun shines to all nations, whether any voices say "Look," or no. Ver. 1_a_ is from Psalm xcvi. 1; vv. 1_c_-3 weave together snatches of various passages in the second part of Isaiah, especially Isa. lii. 10, lix. 16, lxiii. 5. The remarkable expression "brought salvation to Him" (from the second passage in Isaiah) is rendered by many "helped Him," and that rendering gives the sense but obliterates the connection with "salvation," emphatically repeated in the two following verses. The return from Babylon is naturally suggested as best corresponding to the psalmist's words. That was "the salvation of our God," who seemed to have forgotten His people, as Isa. xlix. 2 represents Israel as complaining, but now, before "the eyes of all nations," has shown how well He remembers and faithfully keeps His covenant obligations. Israel is, indeed, Jehovah's witness, and should ring out her grateful joy; but Jehovah's deed speaks more loudly than Israel's proclamation of it can ever do.

The second strophe (vv. 4-6) corresponds to the third of Psalm xcvi.; but whereas there the Gentiles were summoned to bring offerings into the courts of Jehovah, here it is rather the glad tumult of vocal praise, mingled with the twang of harps, and the blare of trumpets and horns, which is present to the singer's imagination. He hears the swelling chorus echoing through the courts, which are conceived as wide enough to hold "all the earth." He has some inkling of the great thought that the upshot of God's redeeming self-manifestation will be glad music from a redeemed world. His call to mankind throbs with emotion, and sounds like a prelude to the melodious commingling of voice and instrument which he at once enjoins and foretells. His words are largely echoes of Isaiah. Compare Isa. xliv. 23, xlix. 13, lii. 9, for "break forth into," and li. 3 for "voice of melody."

The final strophe is almost identical with that of Psalm xcvi., but, in accordance with the variation found in vv. 1-3, omits the summons to Israel to proclaim God's Kinghood among the nations. It also inverts the order of clauses in ver. 7, and in ver. 7_b_ quotes from Psalm