Salmos 68

LXVIII.

“It is no easy task,” writes Hitzig of this psalm, “to become master of this Titan.” The epithet is apt. The psalm is Titanic not only in its unmanageable resistance to all the powers of criticism, but also in its lyric force and grandeur. It scales too, Titan-like, the very divinest heights of song.

In the case where there is still room for so many contradictory theories, it is best to confine an introduction to certainties. Salmos 68 will no doubt remain what it has been called, “the cross of critics, the reproach of interpreters;” but it tells us some facts of its history and character that are beyond question.

1. The mention of the Temple in Salmos 68:29, in a context which does not allow of the interpretation sometimes possible, palace, or heavenly abode, brings down the composition to a period certainly subsequent to Solomon.

2. The poet makes free use of older songs. Indeed M. Renan calls the psalm “an admirable series of lyric fragments” (Langues Sémitiques, p. 123). Most prominent among these references are those to Deborah’s magnificent ode (Juízes 5) which is with the writer throughout, inspiring some of his finest thoughts.

3. The ode, while glancing ever and anon back over Israel’s ancient history, is yet loud and clear with the “lyric cry” of the author’s present. See Salmos 68:4; Salmos 68:21, (where there is probably a veritable historic portrait), Salmos 68:22; Salmos 68:30 seqq.

4. The interest of this present, though we lack the key to its exact condition, centred, as far as the poet was concerned, in the Temple, which is represented as the object of the reverence and regard of foreign powers, who bring gifts to it.

5. Notwithstanding the warlike march of the poem, and the martial ring of its music, it appears from Salmos 68:5; Salmos 68:10; Salmos 68:19, not to have been inspired by any immediate battle or victory, but by that general confidence in the protection of God which Israel’s prophets and poets ever drew from the history of the past.

These few features, obvious on the face of the poem, lend probability to the conjecture which sees in this psalm a processional hymn of the second Temple. That Temple needed gifts and offerings from the Persian monarchs, and was rising into completion at a time when Israel could boast of no military greatness, but found its strength only in religion. The poetical form is irregular, varying with the subject and tone.

Title. — See titles, Psalms 4, 66