Attributed commentary excerpt
Keil & Delitzsch on Psalms 145:1
A historical reference excerpt for this verse. Read it alongside the biblical text and other available sources.
Commentary on the Old Testament
C. F. Keil & F. Delitzsch · 19th-century historical commentary
Source: BibleWord.ai's local reference edition of this named work.
The strains with which this hymn opens are familiar Psalm-strains. We are reminded of Psa 30:2, and the likewise alphabetical song of praise and thanksgiving Psa 34:2. The plena scriptio אלוהי in Psa 143:10; Psa 98:6. The language of address "my God the King," which sounds harsh in comparison with the otherwise usual "my King and my God" ( Psa 5:3; Psa 84:4), purposely calls God with unrelated generality, that is to say in the most absolute manner, the King. If the poet is himself a king, the occasion for this appellation of God is all the more natural and the signification all the more pertinent. But even in the mouth of any other person it is significant. Whosoever calls God by such a name acknowledges His royal prerogative, and at the same time does homage to Him and binds himself to allegiance; and it is just this confessory act of exalting Him who in Himself is the absolutely lofty One that is here called רומם. But who can the poet express the purpose of praising God's Name for ever? Because the praise of God is a need of his inmost nature, he has a perfect right to forget his own mortality when engaged upon this devotion to the ever-living King. Clinging adoringly to the Eternal One, he must seem to himself to be eternal; and if there is a practical proof for a life after death, it is just this ardent desire of the soul, wrought of God Himself, after the praise of the God of its life (lit., its origin) which affords it the highest, noblest delight. The idea of the silent Hades, which forces itself forward elsewhere, as in Psa 6:6, where the mind of the poet is beclouded by sin, is here entirely removed, inasmuch as here the mind of the poet is the undimmed mirror of the divine glory. Therefore Psa 145:2 also does not concede the possibility of any interruption of the praise: the poet will daily ( Psa 68:20) bless God, be they days of prosperity or of sorrow, uninterruptedly in all eternity will he glorify His Name (אהללה as in Psa 69:31). There is no worthier and more exhaustless object of praise ( Psa 145:3): Jahve is great, and greatly to be praised (מהלּל, taken from Psa 48:2, as in Psa 96:4, cf. Psa 18:4), and of His "greatness" (cf. Ch1 29:11, where this attribute precedes all others) there is no searching out, i.e., it is so abysmally deep that no searching can reach its bottom (as in Isa 40:28; Job 11:7.). It has, however, been revealed, and is being revealed continually, and is for this very reason thus celebrated in Psa 145:4 : one generation propagates to the next the growing praise of the works that He has wrought out (עשׂה מעשׁים), and men are able to relate all manner of proofs of His victorious power which prevails over everything, and makes everything subject to itself (גּבוּרת as in Psa 20:7, and frequently). This historically manifest and traditional divine doxa and the facts (דּברי as in Psa 105:27) of the divine wonders the poet will devoutly consider. הדר stands in attributive relation to כּבוד, as this on its part does to הודך. Thy brilliantly gloriously (kingly) majesty (cf. Jer 22:18; Dan 11:21). The poet does not say גּם אני, nor may we insert it, either here in Psa 145:5, or in Psa 145:6, where the same sequence of thoughts recurs, more briefly expressed. The emphasis lies on the objects. The mightiness (עזוּז as in Psa 78:4, and in Isa 42:25, where it signifies violence) of His terrible acts shall pass from mouth to mouth (אמר with a substantival object as in Psa 40:11), and His mighty acts (גּדלּות, m…
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