Charles Ellicott Commentary Psalms 81

Take a psalm. —Rather, Strike up a tune (with voice and harp) .

Bring here the timbrel. —Literally, Give a timbrel (or, drum) , which evidently means “sound the timbrel,” and may, perhaps, be explained by a phrase sometimes found in Hebrew—“Give a voice,” i.e., speak. Such phrases as “Let them have the drum,” “Give them the drum,” may illustrate the expression. (For the instrument, tôph, see Exodus 15:20, and consult Bible Educator, 2:214 and following pages.)

Harp ... psaltery. —See Note, Psalms 33:2.

Trumpet.—Hebrew, shôphar. (Psalms 47:5). In connection with this festival psalm, the mention of the shôphar is especially interesting, as it is the only ancient Hebrew instrument whose use is still retained on solemn occasions (see Bible Educator, Vol. ii, p. 242).

In the new moon.—Standing by itself, this phrase might mean the beginning of every month , and many scholars are inclined to interpret it this way here. Others translate it as “in this month.” However, see the next Note.

In the time appointed.—This is the translation of the Hebrew word kçseh offered by many authorities. However, in Proverbs 7:20, the only other passage where the word is found, the Vulgate translates it as “after many days.” While the English margin reads “new moon,” Aquila and Jerome render it as “full moon.”

This latter meaning (“full moon”) is supported by the Syrian version, which uses keso for the 15th day of the month (1 Kings 12:32). Yet, in 2 Chronicles 7:10, the same word is used for the 23rd day. Therefore, it is thought to denote the entire period of the moon’s waning from its fullness. Consequently, it seems hardly possible that keseh, like chadesh, could mean new moon here, as some believe, especially since it is strange to find both the new and the full moon mentioned together.

Some attempt to resolve this difficulty by adopting the plural reading feast-days, following the Syriac, Chaldee, and several manuscripts, although the authority of the Septuagint opposes this interpretation. It appears, however, that the festival in question was the Feast of Tabernacles.

The word chag used here, according to Gesenius, is employed pre-eminently in the Talmud for this feast, just as it is in 2 Chronicles 5:3 and 1 Kings 8:2 . Moreover, the Jews, always holding firmly to ancient tradition, regularly use this psalm in the liturgy for the first day of Tishri.

Thus, the new moon mentioned is that of the seventh month, which in Numbers 29:1 is specifically called a day of trumpet blowing (see Note on Psalms 81:1). The full moon, then, denotes this feast (Leviticus 23:24).

For this. —Better, for it is a statute. Referring either to the feast itself or to the mode of celebrating it.

Law. —Literally, judgment, as Septuagint and Vulgate.

Joseph. — The prominence given to this name indicates, according to some critics, that the author belonged to the northern kingdom. But when a poet was wishing to vary his style of speaking of the whole people—the names Israel and Jacob have just been used—the name Joseph would naturally occur, especially with the mention of Egypt, where that patriarch had played such a conspicuous part.

Through the land of Egypt. — The Hebrew means either upon, over, or against, but none of these meanings will suit with Israel as the subject of the verb. Therefore, the Septuagint, disregarding common usage, renders “out of Egypt.” But God is doubtless the subject of the verb, and we may render, over the land of Egypt, in allusion to Exodus 12:23, or against the land of Egypt, in reference to the Divine hostility to Pharaoh.

Where I heard ... — The insertion of the relative adverb, where, makes this refer to the Egyptian tongue , giving an equivalent for, “when I was in a foreign country.” So apparently the Septuagint and Vulgate. But the expression, words unknown to me I heard, when followed by an apparent quotation, most naturally introduces that quotation. The poet hears a message, which is borne to him on the festival music, and this he goes on to deliver.

Pots. —Deriving from a root to boil, and with allusion to potteries, which, probably, together with the brick-kilns, formed the scene of the forced labour of Israel. The Septuagint and Vulgate have “slaved in the basket,” but the basket, which is represented on Egyptian monuments, is doubtless meant by the burden of the last clause.