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Job 42:1-6. JOB'S PENITENT REPLY.
2. In the first clause he owns God to be omnipotent over nature, as
contrasted with his own feebleness, which God had proved
(Job 40:15; 41:34);
in the second, that God is supremely just (which, in order to be
governor of the world, He must needs be) in all His dealings, as
contrasted with his own vileness
and incompetence to deal with the wicked as a just judge
3. I am the man! Job in God's own words
expresses his deep and humble penitence. God's word concerning our
guilt should be engraven on our hearts and form the groundwork of our
confession. Most men in confessing sin palliate rather than confess.
Job in omitting "by words"
goes even further than God's accusation. Not merely my words,
but my whole thoughts and ways were "without knowledge."
4. When I said, "Hear," &c., Job's demand (Job 13:22) convicted him of being "without knowledge." God alone could speak thus to Job, not Job to God: therefore he quotes again God's words as the groundwork of retracting his own foolish words.
5. hearing of the ear--
Margin). Hearing and seeing are often in
Job 42:7-17. EPILOGUE, in prose.
7. to Eliphaz--because he was the foremost of the three friends;
their speeches were but the echo of his.
The number offered by the Gentile prophet
Job plainly lived before the legal priesthood, &c. The patriarchs acted
as priests for their families; and sometimes as praying mediators
thus foreshadowing the true Mediator
but sacrifice accompanies and is the groundwork on which the mediation
10. turned . . . captivity--proverbial for restored, or
amply indemnified him for all he had lost
Thus the future vindication of man, body and soul, against Satan
at the resurrection
has its earnest and adumbration in the temporal vindication of Job at
last by Jehovah in person.
11. It was Job's complaint in his misery that his "brethren," were
"estranged" from him
these now return with the return of his prosperity
(Pr 14:20; 19:6, 7);
the true friend loveth at all times
(Pr 17:17; 18:24).
"Swallow friends leave in the winter and return with the spring"
12. Probably by degrees, not all at once.
14. Names significant of his restored prosperity
(Ge 4:25; 5:29).
16. The Septuagint makes Job live a hundred seventy years after
his calamity, and two hundred forty in all. This would make him seventy
at the time of his calamity, which added to a hundred forty in
Hebrew text makes up two hundred ten; a little more than the age (two
hundred five) of Terah, father of Abraham, perhaps his contemporary.
Man's length of life gradually shortened, till it reached threescore
and ten in Moses' time
17. full of days--fully sated and contented with all the happiness that life could give him; realizing what Eliphaz had painted as the lot of the godly (Job 5:26; Ps 91:16; Ge 25:8; 35:29). The Septuagint adds, "It is written, that he will rise again with those whom the Lord will raise up." Compare Mt 27:52, 53, from which it perhaps was derived spuriously.
The Hebrew title of this book is Tehilim ("praises" or "hymns"), for a leading feature in its contents is praise, though the word occurs in the title of only one Psalm (the hundred forty-fifth). The Greek title (in the Septuagint, a translation made two hundred years before Christ) is psalmoi, whence our word "Psalms." This corresponds to the Hebrew word mizmoi by which sixty-five Psalms are designated in their inscriptions, and which the Syriac, a language like the Hebrew, uses for the whole book. It means, as does also the Greek name, an ode, or song, whose singing is accompanied by an instrument, particularly the harp (compare 1Ch 16:4-8; 2Ch 5:12, 13). To some Psalms, the Hebrew word (shir) "a song," is prefixed. Paul seems to allude to all these terms in Eph 5:19, "singing . . . in psalms, hymns, and spiritual songs."
TITLES.--To more than a hundred Psalms are prefixed inscriptions, which give one or more (and in one case, [Psalm 60], all) of these particulars: the direction to the musician, the name of the author or the instrument, the style of the music or of the poetry, the subject or occasion. The authority of these inscriptions has been disputed by some writers. They say that the earliest translators, as the Greek and Syriac, evince a disregard for their authority, by variations from a proper translation of some, altering others, and, in several instances, supplying titles to Psalms which, in Hebrew, had none. It is also alleged that the subject of a Psalm, as given in the title, is often inconsistent with its contents. But those translators have also varied from a right translation of many passages in the Bible, which all agree to be of good authority; and the alleged inconsistency may be shown, on more accurate investigation, not to exist. The admitted antiquity of these inscriptions, on the other hand, and even their obscurity, raise a presumption in their favor, while such prefaces to a composition accord with the usages of that age and part of the world (compare Isa 38:9).
"The Chief Musician" was the superintendent of the music (compare "to oversee," 1Ch 15:21, Margin). "To" prefixed to this, means, "pertaining to" in his official character. This inscription is found in fifty-three Psalms and is attached to Habakkuk's prayer (Hab 3:1-19). The same Hebrew preposition is prefixed to the name of the author and translated "of," as "a Psalm of David," "of Asaph," except that to "the sons of Korah," it is translated "for," which is evidently wrong, as the usual direction, "to the chief musician," is given, and no other authorship intimated. On the apparent exception to this last remark, see below, and see on Ps 88:1, title. The explanations of other particulars in the titles will be given as they occur.
AUTHORS.--This book is often called "The Psalms of David," he being the only author mentioned in the New Testament (Lu 20:42) and his name appearing in more titles than that of any other writer. Besides about one-half of the Psalms in which it thus appears, Psalms 2 and 95 are ascribed to him (Ac 4:25 and Heb 4:7). He was probably the author of many others which appear without a name. He used great efforts to beautify the worship of the sanctuary. Among the two hundred eighty-eight Levites he appointed for singing and performing instrumental music, we find mentioned the "sons of Korah" (1Ch 9:19); including Heman (1Ch 6:33-38); and also Asaph (1Ch 6:39-44); and Ethan (1Ch 15:17-19). God was doubtless pleased to endow these men with the inspiration of His Spirit, so that they used those poetic talents which their connection with the kindred art of music had led them to cultivate, in the production of compositions like those of their king and patron. To Asaph are ascribed twelve Psalms; to the sons of Korah, eleven, including the eighty-eighth, which is also ascribed to Heman, that being the only instance in which the name of the "son" (or descendant) is mentioned; and to Ethan, one. Solomon's name appears before the seventy-second and hundred twenty-seventh; and that of Moses before the ninetieth. Special questions respecting authorship will be explained as they arise.
CONTENTS.--As the book contains one hundred fifty independent compositions, it is not susceptible of any logical analysis. The Jews having divided it into five books, corresponding to the Five Books of Moses (First, Psalms 1-42; Second, Psalms 43-72; Third, Psalms 73-89; Fourth, Psalms 90-106; Fifth, Psalms 107-150), many attempts have been made to discover, in this division, some critical or practical value, but in vain. Sundry efforts have been made to classify the Psalms by subject. Angus' Bible Hand Book is perhaps the most useful, and is appended.
Still the Psalms have a form and character peculiar to themselves; and with individual diversities of style and subject, they all assimilate to that form, and together constitute a consistent system of moral truth. They are all poetical, and of that peculiar parallelism (see Introduction to the Poetical Books,) which distinguished Hebrew poetry. They are all lyrical, or songs adapted to musical instruments, and all religious lyrics, or such as were designed to be used in the sanctuary worship.
The distinguishing feature of the Psalms is their devotional character. Whether their matter be didactic, historical, prophetical, or practical, it is made the ground or subject of prayer, or praise, or both. The doctrines of theology and precepts of pure morality are here inculcated. God's nature, attributes, perfections, and works of creation, providence, and GOTO NEXT CHAPTER - D. J-F-B INDEX & SEARCH