Comm <strong>on</strong> <strong>Psalms</strong> (V3)John Calvingeneral agreement, is, that so great will be the ground for rejoicing, that the praises of God willresound in Zi<strong>on</strong> c<strong>on</strong>tinually, with the energy of the living voice, as well as with musical instruments.This, then, is a c<strong>on</strong>firmati<strong>on</strong> of what was spoken before c<strong>on</strong>cerning the glorious restorati<strong>on</strong> of Zi<strong>on</strong>;for by the greatness of the joy, and the manifold harm<strong>on</strong>y and melody of praises, is portrayed thehappiness which shall prevail in the midst of it. At the same time, we have here described the greatdesign of all the gifts which God has c<strong>on</strong>ferred up<strong>on</strong> his Church with so liberal a hand; namely,that the faithful, by hymns and s<strong>on</strong>gs, should testify their remembrance of his benefits and gratefullyacknowledge them. 503 The Hebrew word , cholelim, which we have rendered the players up<strong>on</strong>instruments, is translated by some, those who dance to the sound of instruments. 504 But this is amatter of no great importance, it being enough to c<strong>on</strong>sider the meaning, in short, as this, that therewill be a c<strong>on</strong>tinual c<strong>on</strong>cert of God’s praises in the Church, where he unfolds the treasures of hisgrace, and that the faithful will be heard singing successively and in resp<strong>on</strong>se. Moreover, the prophetshows 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 t<strong>on</strong>gue cleave to the roof of my mouth; if I prefer not Jerusalem above my chief joy.” (Psalm137:5)All our affecti<strong>on</strong>s are then settled <strong>on</strong> the Church, when, gathered in from the vague and vainobjects by which they are distracted, and regarding with indifference the h<strong>on</strong>ors, pleasures, riches,and pageantries of the world, they find enough to engage and satisfy them in the spiritual glory ofChrist’s kingdom, and in that al<strong>on</strong>e.503 Cresswell c<strong>on</strong>nects the sec<strong>on</strong>d clause of this verse with the first, in this manner: — “Singers also, and players up<strong>on</strong> thepipe, shall chant, ‘All my wells are in thee;’” i.e., says he, “all my sources of refreshment, of hope, and of salvati<strong>on</strong>, are in thee,O Zi<strong>on</strong>!” He adds, “The phrase, wells of salvati<strong>on</strong>, occurs in Isaiah 12:3, the Hebrew word being the same as that which, in ourtwo English versi<strong>on</strong>s of the <strong>Psalms</strong>, is translated springs and fountains.” Walford c<strong>on</strong>nects the two clauses in the same manner,“They sing with musical instruments, ‘All my springs are in thee.’” “The pers<strong>on</strong>s 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 s<strong>on</strong>g ofpraise and thanksgiving; and the burden of their s<strong>on</strong>g is, ‘All my springs are in thee.’ Springs or fountains are a c<strong>on</strong>stant imagefor the blessings which are productive of refreshment and happiness. These new-born c<strong>on</strong>verts are, therefore, represented asjoining the universal Church, and offering ascripti<strong>on</strong>s of praise to God, who is the overflowing source of all the streams of good,which refresh and bless the people.”504 “Afin que les fideles en chantant Pseaumes et Cantiques m<strong>on</strong>strent la souvenance qu’ils <strong>on</strong>t des benefices receus, et luy enfacent recognoissance.” — Fr.244
Comm <strong>on</strong> <strong>Psalms</strong> (V3)John CalvinPSALM 88This psalm c<strong>on</strong>tains very grievous lamentati<strong>on</strong>s, poured forth by its inspired penman whenunder very severe afflicti<strong>on</strong>, and almost at the point of despair. But he, at the same time, whilststruggling with sorrow, declares the invincible steadfastness of his faith; which he displayed incalling up<strong>on</strong> God to deliver him, even when he was in the, deep darkness of death. 505A S<strong>on</strong>g or Psalm of the s<strong>on</strong>s of Korah. To the chief musician up<strong>on</strong> Machalath, to makehumble. An instructi<strong>on</strong> of Heman, the Ezrahite.Heman, whose name appears in the inscripti<strong>on</strong>, is probably the same pers<strong>on</strong> who is menti<strong>on</strong>edin sacred history, 1 Kings 4:31, where Solom<strong>on</strong>, when commended for his wisdom, is comparedwith Ethan, Heman, Chalcol, and Darda. 506 It is, therefore, not surprising that a man, so highlydistinguished by the spirit of wisdom, was the author of this psalm. Some translate - ,al-machalath, up<strong>on</strong> infirmity; 507 but it is probable, according to the ordinary use of the word, thatit denotes either some instrument of music, or the beginning of some s<strong>on</strong>g. 508 Of the other wordsI have already sufficiently spoken elsewhere. Moreover, it is of importance to bear in mind, thatin the pers<strong>on</strong> of <strong>on</strong>e man there is presented to our view an example at <strong>on</strong>ce of rare afflicti<strong>on</strong> andof singular patience. God, in so sorely exercising Heman, whom he had adorned with such excellentgifts to be an example to others, did not do this for the sake of his servant <strong>on</strong>ly. His object was topresent comm<strong>on</strong> matter of instructi<strong>on</strong> 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 andc<strong>on</strong>stancy. It greatly c<strong>on</strong>cerns us to look up<strong>on</strong> such a distinguished servant of God, and <strong>on</strong>e whowas so eminently adorned with the graces of the Holy Spirit, thus overwhelmed with so heavy a505 “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 exultati<strong>on</strong>.” — Williams Symmachus and Aquila translatethe text:— ...Και ἁδοντες ὡς χωροι, πασαι πηγαι εν σοι:“And they shall sing as in leading up a dance; ‘All my fountains are inthee.’”506 There are various opini<strong>on</strong>s as to the occasi<strong>on</strong> of the compositi<strong>on</strong> of this psalm. Dr Kennicott c<strong>on</strong>ceives it to be the prayerof a pers<strong>on</strong> shut up in a separate house because of the leprosy, who seems to have been in the last stage of that distemper; thisdisease, under the Mosaic dispensati<strong>on</strong>, having been supposed to come from the immediate stroke of God. Kimchi is of opini<strong>on</strong>that it was written in the name of the Jewish people during the captivity, in the language of a poor slave under his chains. BishopPatrick supposes that Heman, the author of it, was during the same period cast into a dark pris<strong>on</strong>, (see verses 5, 6,) or, that hewas otherwise as miserably treated, as if he had been in a dunge<strong>on</strong>; and that he here bewails his private calamity.507 The Heman menti<strong>on</strong>ed in that text has been supposed by some to be the s<strong>on</strong> of Zerah, <strong>on</strong>e of Judah’s s<strong>on</strong>s, by hisdaughter-in-law Tamar, spoken of in 1 Chr<strong>on</strong>icles 2:6. If these two passages refer to the same pers<strong>on</strong>s, then as the grandchildrenof Judah are called in 1 Kings 4:31, the s<strong>on</strong>s of Mahol, it would follow that Mahol was either another name of Zerah or the nameof his wife. If this Heman was the author of the psalm before us, and if Ethan, his brother, wrote the subsequent psalm, as theylived at least <strong>on</strong>e hundred and seventy years before Moses, these poems are the oldest poetical compositi<strong>on</strong>s extant, and the mostancient part of divine revelati<strong>on</strong>. This, however, is far from being certain. Heman, the grands<strong>on</strong> of Judah, may have been theauthor of the 78th psalm; but the 79th could not have been written by Ethan, his brother, as it speaks of transacti<strong>on</strong>s that tookplace l<strong>on</strong>g after his time, at least as late as the days of David, who is particularly menti<strong>on</strong>ed in it. Calvin obviously c<strong>on</strong>sidersthis Heman to have lived in the time of David or Solom<strong>on</strong>. There is a pers<strong>on</strong> of the same name who was c<strong>on</strong>stituted by David<strong>on</strong>e of the chiefs of the sacred singers, 1 Chr<strong>on</strong>icles 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 s<strong>on</strong> of Judah. If, therefore, the chief musician in the time of Davidbe intended, some transcriber must have err<strong>on</strong>eously applied to him the term Ezrahite. But if the psalm, as is supposed by many,was written during the Babyl<strong>on</strong>ish captivity, it must have been written by a different pers<strong>on</strong>.508 Street renders the title, “An instructive psalm in sickness, through afflicti<strong>on</strong>, by Aiman, the Ezrahite.” He observes, “ ,sickness, is used, Exodus 23:25. The word , is the c<strong>on</strong>struct form of it.” He adds — “The title thus translated agrees with thematter c<strong>on</strong>tained in the psalm.”245
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