3 Praise H1984 him with the sound H8629 of the trumpet: H7782 praise H1984 him with the psaltery H5035 and harp. H3658
Praise H3034 the LORD H3068 with harp: H3658 sing H2167 unto him with the psaltery H5035 and an instrument of ten strings. H6218
Let them praise H1984 his name H8034 in the dance: H4234 let them sing praises H2167 unto him with the timbrel H8596 and harp. H3658
And Shebaniah, H7645 and Jehoshaphat, H3146 and Nethaneel, H5417 and Amasai, H6022 and Zechariah, H2148 and Benaiah, H1141 and Eliezer, H461 the priests, H3548 did blow H2690 H2690 with the trumpets H2689 before H6440 the ark H727 of God: H430 and Obededom H5654 and Jehiah H3174 were doorkeepers H7778 for the ark. H727
Also in the day H3117 of your gladness, H8057 and in your solemn days, H4150 and in the beginnings H7218 of your months, H2320 ye shall blow H8628 with the trumpets H2689 over your burnt offerings, H5930 and over the sacrifices H2077 of your peace offerings; H8002 that they may be to you for a memorial H2146 before H6440 your God: H430 I am the LORD H3068 your God. H430
Take H5375 a psalm, H2172 and bring H5414 hither the timbrel, H8596 the pleasant H5273 harp H3658 with the psaltery. H5035 Blow up H8628 the trumpet H7782 in the new moon, H2320 in the time appointed, H3677 on our solemn feast H2282 day. H3117
Upon an instrument of ten strings, H6218 and upon the psaltery; H5035 upon the harp H3658 with a solemn sound. H1902
Awake, H5782 psaltery H5035 and harp: H3658 I myself will awake H5782 early. H7837
That at what time H5732 ye hear H8086 the sound H7032 of the cornet, H7162 flute, H4953 harp, H7030 H7030 sackbut, H5443 psaltery, H6460 dulcimer, H5481 and all H3606 kinds H2178 of musick, H2170 ye fall down H5308 and worship H5457 the golden H1722 image H6755 that Nebuchadnezzar H5020 the king H4430 hath set up: H6966
Worthy.Bible » Commentaries » Keil & Delitzsch Commentary » Commentary on Psalms 150
Commentary on Psalms 150 Keil & Delitzsch Commentary
The Final Hallelujah
The call to praise Jahve “with dance and with timbrel” in Psalms 149:3 is put forth here anew in Psalms 150:4, but with the introduction of all the instruments; and is addressed not merely to Israel, but to every individual soul.
The Synagogue reckons up thirteen divine attributes according to ex. Psalms 34:6. ( שׁלשׁ עשׂרה מדּות ), to which, according to an observation of Kimchi, correspond the thirteen הלּל of this Psalm. It is, however, more probable that in the mind of the poet the tenfold halaluw encompassed by Hallelujah's is significative; for ten is the number of rounding off, completeness, exclusiveness, and of the extreme of exhaustibleness. The local definitions in Psalms 150:1 are related attributively to God, and designate that which is heavenly, belonging to the other world, as an object of praise. קדשוּ (the possible local meaning of which is proved by the קדשׁ and קדשׁ קדשׁים of the Tabernacle and of the Temple) is in this passage the heavenly היכל ; and רקיע עזּו is the firmament spread out by God's omnipotence and testifying of God's omnipotence (Psalms 68:35), not according to its front side, which is turned towards the earth, but according to the reverse or inner side, which is turned towards the celestial world, and which marks it off from the earthly world. The third and fourth hălalu give as the object of the praise that which is at the same time the ground of the praise: the tokens of His גּבוּרה , i.e., of His all-subduing strength, and the plenitude of His greatness ( גּדלו = גּדלו ), i.e., His absolute, infinite greatness. The fifth and sixth hălalu bring into the concert in praise of God the ram's horn, שׁופר , the name of which came to be improperly used as the name also of the metallic חצצרה (vid., on Psalms 81:4), and the two kinds of stringed instruments (vid., Psalms 33:2), viz., the nabla (i.e., the harp and lyre) and the kinnor (the cithern), the ψαλτήριον and the κιθάρα ( κινύρα ). The seventh hălalu invites to the festive dance, of which the chief instrumental accompaniment is the תּף (Arabic duff , Spanish adufe , derived from the Moorish) or tambourine. The eighth hălalu brings on the stringed instruments in their widest compass, מנּים (cf. Psalms 45:9) from מן , Syriac menı̂n , and the shepherd's pipe, עגב (with the Gimel raphe = עוּגב ); and the ninth and tenth, the two kinds of castanets ( צלצלי , construct form of צלצלים , singular צלצל ), viz., the smaller clear-sounding, and the larger deeper-toned, more noisy kinds (cf. κύμβαλον ἀλαλάζον , 1 Corinthians 13:1), as צלצלי שׁמע (pausal form of שׁמע = שׁמע , like סתר in Deuteronomy 27:15, and frequently, from סתר = סתר ) and צלצלי תרוּעה are, with Schlultens, Pfeifer, Burk, Köster, and others, to be distinguished.
The call to praise has thus far been addressed to persons not mentioned by name, but, as the names of instruments thus heaped up show, to Israel especially. It is now generalized to “the totality of breath,” i.e., all the beings who are endowed by God with the breath of lie (Heb.: נשׁמת חיּים ), i.e., to all mankind.
With this full-toned Finale the Psalter closes. Having risen as it were by five steps, in this closing Psalm it hovers over the blissful summit of the end, where, as Gregory of Nyssa says, all creatures, after the disunion and disorder caused by sin have been removed, are harmoniously united for one choral dance ( εἰς μίαν χοροστασίαν ), and the chorus of mankind concerting with the angel chorus are become one cymbal of divine praise, and the final song of victory shall salute God, the triumphant Conqueror ( τῷ τροπαιούχῳ ), with shouts of joy. There is now no need for any special closing beracha . This whole closing Psalm is such. Nor is there any need even of an Amen (Psalms 106:48, cf. 1 Chronicles 16:36). The Hallelujah includes it within itself and exceeds it.