Charles Ellicott Commentary Psalms 42

As the hart panteth. — “I have seen large flocks of these panting stags gather round the water-brooks in the great deserts of central Syria, so subdued by thirst that you could approach quite near them before they fled” (Thomson, Land and Book, p. 172).

Thirsteth. —The metaphor occurs in exactly the same form (Psalms 63:1), and only calls for notice since “God” Himself is here made the subject of the thirst, instead of righteousness, or knowledge, or power, as in the familiar and frequent use of the metaphor in other parts of the Bible, and in other literature.

The living God. —Evidently, from the metaphor, regarded as the fountain or source of life. (Psalms 36:9.)

Appear before God. —Exodus 23:17 shows that this was the usual phrase for frequenting the sanctuary , though poetic brevity here slightly altered its form and construction.

My tears. — Compare Psalms 80:5; Psalms 102:9; and Ovid, Metamorphoses 10.75, “ Cura dolorque animi lacrimaeque alimenta fuere.”

Where is thy God? — For this bitter taunt compare Psalms 79:10; Psalms 115:2; Joel 2:17, etc.

When I. —The conjunction “when” is not expressed, but may be implied from the next clause. Others translate, let me recall these days (i.e., what follows), let me pour out my soul within me (literally, upon me. Compare to Psalms 142:3). But the Authorised Version is better, when I think of it, my heart must overflow. The expression, “I pour out my soul upon me,” may, however, mean, “I weep floods of tears over myself,” i.e., “over my lot.”

For I had gone with the multitude. —The Septuagint and Vulgate, as well as the strangeness of the words translated “multitude” and “went with them,” indicate a corruption of the text. Fortunately, the general sense and reference of the verse are independent of the doubtful expressions. The poet indulges in a grateful recollection of some great festival, probably the Feast of Tabernacles (see the Septuagint).

That kept holyday. —Literally, dancing or reeling. But the word is used absolutely (Exodus 5:1; Leviticus 23:41) for keeping a festival, and especially the Feast of Tabernacles. Dancing appears to have been a recognised part of the ceremonial (compare to 2 Samuel 6:16).

Why art thou. —The refrain here breaks in on the song like a sigh, the spirit of dejection struggling against the spirit of faith.

Cast down. —Better, as in margin, bowed down, and in the original with a middle sense, “why do you bow yourself down?”

Disquieted. —From a root related to, and sharing the meaning of, our word “hum.” The idea of “internal emotion” is easily derived from its use. We see the process in such expressions as Isaiah 16:11, “My bowels shall sound like a harp for Moab.”

For the help of his countenance. —There is no question that we must read the refrain here as it is in Psalm 42:12 and Psalm 43:5. The Septuagint and Vulgate already have done so, and one Hebrew manuscript notices the wrong accentuation of the text here. The rhythm without this change is defective, and the refrain unnecessarily altered. Such alteration, however, from comparison of Psalm 24:8; Psalms 24:10; Psalms 49:12; Psalms 49:20; Psalms 56:4; Psalms 56:10; Psalms 59:9; Psalms 59:17, is not unusual.