Psalms 118:1

Psa 118:1-29. After invoking others to unite in praise, the writer celebrates God's protecting and delivering care towards him, and then represents himself and the people of God as entering the sanctuary and uniting in solemn praise, with prayer for a continued blessing. Whether composed by David on his accession to power, or by some later writer in memory of the restoration from Babylon, its tone is joyful and trusting, and, in describing the fortune and destiny of the Jewish Church and its visible head, it is typically prophetical of the Christian Church and her greater and invisible Head.

1-4. The trine repetitions are emphatic (compare Psa 118:10-12, 15, 16; 115:12, 13). Let ... say--Oh! that Israel may say. now--as in Psa 115:2; so in Psa 118:3, 4. After "now say" supply "give thanks." that his mercy--or, "for His mercy."

Robert Jamieson, A. R. Fausset & David Brown, 1871 · public domain

Introduction

A general exhortation to praise God for his mercy, Psa 118:1-4. The psalmist, by his own experience, encourages the people to trust in God, and shows them the advantage of it, Psa 118:5-9; then describes his enemies, and shows how God enabled him to destroy them, Psa 118:10-13. The people rejoice on the account, Psa 118:15, Psa 118:16. He speaks again of the help he received from the Lord; and desires admission into the temple, that he may enter and praise the Lord, Psa 118:17-19. The gate is opened, Psa 118:20. He offers praise, 21. The priests, etc., acknowledge the hand of the Lord in the deliverance wrought, Psa 118:22-24. The psalmist prays for prosperity, Psa 118:25. The priest performs his office, blesses the people, and all join in praise, Psa 118:26, Psa 118:27. The psalmist expresses his confidence, Psa 118:28. The general doxology, or chorus, Psa 118:29. Most probably David was the author of this Psalm, though many think it was written after the captivity. It partakes of David's spirit, and every where shows the hand of a master. The style is grand and noble; the subject, majestic. Dr. Kennicott, who joins this and the hundred and seventeenth Psalm together, considers the whole as a dialogue, and divides it accordingly. The whole of the hundred and seventeenth he gives to the psalmist as part the first, with the first four verses of the hundred and eighteenth. The second part, which is from the fifth verse to the twenty-first inclusive, he gives to the Messiah. The third part, from the twenty-second verse to the twenty-seventh, he gives to the chorus. And the fourth part, the twenty-eighth and twenty-ninth verses, he gives to the psalmist. Of the whole he has given an improved version. Bishop Horsley is still different. He considers the hundred and seventeenth Psalm as only the exordium of this. The whole poem, he states, is a triumphant processional song. The scene passes at the front gate of the temple. A conqueror with his train appears before it; he demands admittance to return thanks for his deliverance and final success, in an expedition of great difficulty and danger. The conqueror and his train sing the hundred and seventeenth Psalm, and the first four verses of the hundred and eighteenth, as they advance to the gate of the temple, in this manner - The hundred and seventeenth Psalm, Chorus of the whole procession. The first verse of the hundred and eighteenth Psalm, A single voice. The second, Another single voice. The third, A third single voice. The fourth, Chorus of the whole procession. Arrived at the temple gate, the conqueror alone sings the fifth, sixth, and seventh verses. The eighth and ninth are sung by his train in chorus. The conqueror, again alone, sings the tenth, eleventh, twelfth, thirteenth, and fourteenth verses. His train, in chorus, sing the fifteenth and sixteenth. The conqueror alone sings the seventeenth, eighteenth, and nineteenth verses. The twentieth is sung by the priests and Levites within, in chorus. The twenty-fifth by the conqueror alone within the gates. The twenty-sixth, by the priests and Levites in chorus. The twenty-seventh, by the conqueror's train in chorus. The twenty-eighth, by the conqueror alone. The twenty-ninth, by the united chorus of priests and Levites, and the conqueror's train, all within the gates. "Now," the learned bishop adds, "the Jewish temple was a type of heaven; the priests within represent the angelic host attending round the throne of God in heaven; the Conqueror is Messiah; and his train, the redeemed." On this distribution the bishop has given a new version. The simple distribution into parts, which I have given in the contents, is, in my opinion, the best. Ingenious as Dr. Kennicott and Bishop Horsley are, they seem to me too mechanical. This is the last of those Psalms which form the great hallel, which the Jews sung at the end of the passover.

Adam Clarke, 1831 · public domain

The account the psalmist here gives of his troubles is very applicable to Christ: many hated him without a cause; nay, the Lord himself chastened him sorely, bruised him, and put him to grief, that by his stripes we might be healed. God is sometimes the strength of his people, when he is not their song; they have spiritual supports, though they want spiritual delights. Whether the believer traces back his comfort to the everlasting goodness and mercy of God, or whether he looks forward to the blessing secured to him, he will find abundant cause for joy and praise. Every answer to our prayers is an evidence that the Lord is on our side; and then we need not fear what man can do unto us; we should conscientiously do our duty to all, and trust in him alone to accept and bless us. Let us seek to live to declare the works of God, and to encourage others to serve him and trust in him. Such were the triumphs of the Son of David, in the assurance that the good pleasure of the Lord should prosper in his hand.

Matthew Henry, 1706 · public domain