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 The Elohimic Judica (the introit of the so-called Cross or Passion Sunday which opens the celebritas Passionis), with which the supplicatory and plaintive first strophe of the Psalm begins, calls to mind the Jehovic Judica in Psa 7:9; Psa 26:1; Psa 35:1, Psa 35:24 : judge me, i.e., decide my cause (lxx κρῖνόν με, Symmachus κρῖνόν μοι). ריבה has the tone upon the ultima before the ריבי which begins with the half-guttural ר, as is also the case in Psa 74:22; Psa 119:154. The second prayer runs: vindica me a gente impia; מן standing for contra in consequence of a ''constr. praegnans''. לא־חסיד is here equivalent to one practising no חסד towards men, that is to say, one totally wanting in that חסד, by which God's חסד is to be imitated and repaid by man in his conduct towards his fellow-men. There is some uncertainty whether by אישׁ one chief enemy, the leader of all the rest, is intended to be mentioned side by side with the unloving nation, or whether the special manner of his enemies is thus merely individualised. עולה means roguish, mischievous conduct, utterly devoid of all sense of right. In Psa 43:2 the poet establishes his petition by a twofold Why. He loves God and longs after Him, but in the mirror of his present condition he seems to himself like one cast off by Him. This contradiction between his own consciousness and the inference which he is obliged to draw from his afflicted state cannot remain unsolved. אלהי מעזּי, God of my fortress, is equivalent to who is my fortress. Instead of אלך we here have the form אתהלּך, of the slow deliberate gait of one who is lost in his own thoughts and feelings. The sting of his pain is his distance from the sanctuary of his God. In connection with Psa 43:3 one is reminded of Psa 57:4 and Exo 15:13, quite as much as of Psa 42:9. “Light and truth” is equivalent to mercy and truth. What is intended is the light of mercy or loving-kindness which is coupled with the truth of fidelity to the promises; the light, in which the will or purpose of love, which is God's most especial nature, becomes outwardly manifest. The poet wishes to be guided by these two angels of God; he desires that he may be brought (according to the Chethîb of the Babylonian text יבואוני, “let come upon me;” but the אל which follows does not suit this form) to the place where his God dwells and reveals Himself. “Tabernacles” is, as in Psa 84:2; Psa 46:5, an amplificative designation of the