Commentary on Psalms Volume 2 John Calvin (continued)
JOHN CALVIN
7. And the singers as the players upon instruments: all my springs are in thee. 983
The meaning of this verse is obscure, partly from its abrupt brevity, and partly from the ambiguity of one word. The word springs is, beyond all controversy, to be here taken metaphorically; but interpreters are not agreed as to the explanation of the metaphor. Some understand it as denoting hopes, some affections, and others thoughts. Did the idiom of the language admit, I would willingly subscribe to the opinion of those who translate it melodies or songs. But as this might be considered unsupported by the usage of the Hebrew term, I am rather inclined to adopt, as most suitable to the subject in hand, the opinion that lookings is the proper translation, the root of the word signifying an eye. It is as if the Psalmist had said, I will always be earnestly looking, as it were, with fixed eyes upon thee.
Let us now inquire what is meant by the other clause, The singers as the players upon instruments. This, it is true, is an abrupt form of expression; but the sense, about which there is a general agreement, is, that so great will be the ground for rejoicing, that the praises of God will resound in Zion continually, with the energy of the living voice, as well as with musical instruments. This, then, is a confirmation of what was spoken before concerning the glorious restoration of Zion; for by the greatness of the joy, and the manifold harmony and melody of praises, is portrayed the happiness which shall prevail in the midst of it. At the same time, we have here described the great design of all the gifts which God has conferred upon his Church with so liberal a hand; namely, that the faithful, by hymns and songs, should testify their remembrance of his benefits and gratefully acknowledge them. 984 The Hebrew word,חולליםcholelim, which we have rendered the players upon instruments, is translated by some, those who
Horsley, who takes this view, translates — "And every one shall say of Zion, He was born there:" on which he has the following note: — "Unusquisque, every one. Every one shall confess, to the honor of the Israelites, that the Savior was a native Jew." Dimock objects to this, observing that Christ was not born at Jerusalem.
COMMENTARY ON PSALMS - VOLUME
dance to the sound of instruments. 985 But this is a matter of no great importance, it being enough to consider the meaning, in short, as this, that there will be a continual concert of God's praises in the Church, where he unfolds the treasures of his grace, and that the faithful will be heard singing successively and in response. Moreover, the prophet shows his singular love to the Church, and the singular care and zeal which he exercised about her, to encourage and stir up all the godly, by his example, to cultivate and manifest the same zeal, agreeably to what is stated in another psalm,
"If I forget thee, O Jerusalem! let my right hand forget her cunning. If I do not remember thee, let my tongue cleave to the roof of my mouth; if I prefer not Jerusalem above my chief joy." (Psalm 137:5)
All our affections are then settled on the Church, when, gathered in from the vague and vain objects by which they are distracted, and regarding with indifference the honors, pleasures, riches, and pageantries of the world, they find enough to engage and satisfy them in the spiritual glory of Christ's kingdom, and in that alone.
Cresswell connects the second clause of this verse with the first, in this manner: — "Singers also, and players upon the pipe, shall chant, 'All my wells are in thee;'" i.e., says he, "all my sources of refreshment, of hope, and of salvation, are in thee, O Zion!" He adds, "The phrase, wells of salvation, occurs in Isaiah 12:3, the Hebrew word being the same as that which, in our two English versions of the Psalms, is translated springs and fountains." Walford connects the two clauses in the same manner, "They sing with musical instruments, 'All my springs are in thee.'" "The persons who are here said to sing," he observes, "accompanied by musical instruments, are the people spoken of in verse 6. They are described as uniting in a joyful song of praise and thanksgiving; and the burden of their song is, 'All my springs are in thee.' Springs or fountains are a constant image for the blessings which are productive of refreshment and happiness. These new-born converts are, therefore, represented as joining the universal Church, and offering ascriptions of praise to God, who is the overflowing source of all the streams of good, which refresh and bless the people."
"Afin que les fideles en chantant Pseaumes et Cantiques monstrent la souvenance qu'ils ont des benefices receus, et luy en facent recognoissance." — Fr.
Psalm 88
PSALM 88
This psalm contains very grievous lamentations, poured forth by its inspired penman when under very severe affliction, and almost at the point of despair. But he, at the same time, whilst struggling with sorrow, declares the invincible steadfastness of his faith; which he displayed in calling upon God to deliver him, even when he was in the, deep darkness of death. 986
A Song or Psalm of the sons of Korah. To the chief musician upon Machalath, to make humble. An instruction of Heman, the Ezrahite.
Heman, whose name appears in the inscription, is probably the same person who is mentioned in sacred history, 1 Kings 4:31, where Solomon, when commended for his wisdom, is compared with Ethan, Heman, Chalcol, and Darda. 987 It is, therefore, not surprising that a man, so highly distinguished by the spirit of wisdom, was the author of this psalm. Some
"As well the singers as players, or dancers, shall be there; i e., the whole chorus of joy and praise. Dr Chandler renders it, 'They shall sing like those that lead up the dance;' i e., with joy and exultation." — Williams Symmachus and Aquila translate the text:—...Και ἁδοντες ὡς χωροι, πασαι πηγαι εν σοι:"And they shall sing as in leading up a dance; 'All my fountains are in thee.'"
upon infirmity; 988 but it is probable, according to the ordinary use of the word, that it denotes either some instrument of music, or the beginning of some song. 989 Of the other words I have already sufficiently spoken elsewhere. Moreover, it is of importance to bear in mind, that in the person of one man there is presented to our view an example at once of rare affliction and of singular patience. God, in so sorely exercising Heman, whom he had adorned with such excellent gifts to be an example to others, did not do this for the sake of his servant only. His object was to present common matter of instruction to all his people. Carrying out this object, Heman ascending, as it were, an elevated stage, testifies to the whole Church his infirmities as well as his faith and constancy. It greatly concerns us to look upon such a distinguished servant of God, and one who was so eminently adorned with the graces of the Holy Spirit, thus overwhelmed with so heavy a burden of afflictions as made him mournfully complain that he differed nothing from a dead man, — it greatly concerns
There are various opinions as to the occasion of the composition of this psalm. Dr Kennicott conceives it to be the prayer of a person shut up in a separate house because of the leprosy, who seems to have been in the last stage of that distemper; this disease, under the Mosaic dispensation, having been supposed to come from the immediate stroke of God. Kimchi is of opinion that it was written in the name of the Jewish people during the captivity, in the language of a poor slave under his chains. Bishop Patrick supposes that Heman, the author of it, was during the same period cast into a dark prison, (see verses 5, 6,) or, that he was otherwise as miserably treated, as if he had been in a dungeon; and that he here bewails his private calamity.
The Heman mentioned in that text has been supposed by some to be the son of Zerah, one of Judah's sons, by his daughter-in-law Tamar, spoken of in 1 Chronicles 2:6. If these two passages refer to the same persons, then as the grandchildren of Judah are called in 1 Kings 4:31, the sons of Mahol, it would follow that Mahol was either another name of Zerah or the name of his wife. If this Heman was the author of the psalm before us, and if Ethan, his brother, wrote the subsequent psalm, as they lived at least one hundred and seventy years before Moses, these poems are the oldest poetical compositions extant, and the most ancient part of divine revelation. This, however, is far from being certain. Heman, the grandson of Judah, may have been the author of the 78th psalm; but the 79th could not have been written by Ethan, his brother, as it speaks of transactions that took place long after his time, at least as late as the days of David, who is particularly mentioned in it. Calvin obviously considers this Heman to have lived in the time of David or Solomon. There is a person of the same name who was constituted by David one of the chiefs of the sacred singers, 1 Chronicles 25:1. But he was a Levite, whereas the present Heman is called an Ezrahite, which is understood to denote a descendant from Zerah, the son of Judah. If, therefore, the chief musician in the time of David be intended, some transcriber must have erroneously applied to him the term Ezrahite. But if the psalm, as is supposed by many, was written during the Babylonish captivity, it must have been written by a different person.
Street renders the title, "An instructive psalm in sickness, through affliction, by Aiman, the Ezrahite." He observes, ",מחלהsickness, is used, Exodus 23:25. The word,מהלתis the construct form of it." He adds — "The title thus translated agrees with the matter contained in the psalm."