perhaps a march of the Gittite guard, 2Sa 15:18 (Hitzig).
Kurtz makes this Psalm into four tetrastichic strophes, by taking Psa 8:2 and v. 10 by themselves as the opening and close of the hymn, and putting Psa 8:2 (Thou whose majesty...) to the first strophe. But אשׁר is not rightly adapted to begin a strophe; the poet, we think, would in this case have written אתה אשׁר תנה הודו.
Verses 1-2
Psa 8:1-2 (Hebrew_Bible_8:2-3) Here, for the first time, the subject speaking in the Psalm is not one individual, but a number of persons; and who should they be but the church of Jahve, which (as in Neh 10:30) can call Jahve its Lord (אדנינוּ, like אדני from אדנים plur. excellentiae, Ges. §108, 2); but knowing also at the same time that what it has become by grace it is called to be for the good of the whole earth? The שׁם of God is the impress (cognate Arabic wasm, a sign, Greek σῆμα) of His nature, which we see in His works of creation and His acts of salvation, a nature which can only be known from this visible and comprehensible representation (nomen = gnomen).[1]
This name of God is certainly not yet so known and praised everywhere, as the church to which it has been made known by a positive revelation can know and praise it; but, nevertheless, it, viz., the divine name uttered in creation and its works, by which God has made Himself known and capable of being recognised and named, ifs אדּיר amplum et gloriosum, everywhere through out the earth, even if it were entirely without any echo. The clause with אשׁר must not be rendered: Who, do Thou be pleased to put Thy glory upon the heavens (Gesenius even: quam tuam magnificentiam pone in caelis), for such a use of the imperat. after אשׁר is unheard of; and, moreover, although it is true a thought admissible in its connection with the redemptive history (Psa 57:6, 12) is thus obtained, it is here, however, one that runs counter to the fundamental tone, and to the circumstances, of the Psalm. For the primary thought of the Psalm is this, that
- ↑ Cf. Oehler's art. Name in Herzog's Real-Encyklopädie.
