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 analogy of the å following (cf. בּסּערה,  2Ki 2:1), which presupposes the principal form טהר (Böttcher, §386, cf. supra, 2:31, note). The personal tenor of Psa 89:46 requires that it should be referred to the then reigning Davidic king, but not as dying before his time (Olshausen), but as becoming prematurely old by reason of the sorrowful experiences of his reign. The larger half of the kingdom has been wrested from him; Egypt and the neighbouring nations also threaten the half that remains to him; and instead of the kingly robe, shame completely covers him.

Verses 46-51
After this statement of the present condition of things the psalmist begins to pray for the removal of all that is thus contradictory to the promise. The plaintive question, Psa 89:47, with the exception of one word, is verbatim the same as Psa 79:5. The wrath to which quousque refers, makes itself to be felt, as the intensifying (vid., Psa 13:2) לנצח implies, in the intensity and duration of everlasting wrath. חלד is this temporal life which glides past secretly and unnoticed (Psa 17:14); and זכר־אני is not equivalent to זכרני (instead of which by way of emphasis only זכרני אני can be said), but אני מה־חלד stands for מה־חלד אני - according to the sense equivalent to אני מה־חדל, Psa 39:5, cf. Psa 39:6. The conjecture of Houbigant and modern expositors, זכר אדני (cf. Psa 89:51), is not needed, since the inverted position of the words is just the same as in Psa 39:5. In Psa 89:48 it is not pointed על־מה שׁוא, “wherefore (Job 10:2; Job 13:14) hast Thou in vain (Psa 127:1) created?” (Hengstenberg), but על־מה־שּׁוא, on account of or for what a nothing (מה־שׁוא belonging together as adjective and substantive, as in Psa 30:10; Job 26:14) hast Thou created all the children of men? (De Wette, Hupfeld, and Hitzig). על, of the ground of a matter and direct motive, which is better suited to the question in Psa 89:49 than the other way of taking it: the life of all men passes on into death and Hades; why then might not God, within this brief space of time, this handbreadth, manifest Himself to His creatures as the merciful and kind, and not as the always angry God? The music strikes in here, and how can it do so otherwise than in elegiac mesto? If God's justice tarries and fails in this present world, then the Old Testament faith becomes sorely tempted and tried, because it is not able to find consolation in the life beyond. Thus it is with the faith of the poet