1 Jehovah's is the earth, and what fills it, The world and the dwellers therein. 2 For He--upon the seas He founded it, And upon the floods established it.
3 Who may ascend into the hill of Jehovah, And who may stand in His holy place?
4 The clean-handed and pure-hearted, Who lifts not his desire to vanity, And swears not to falsehood. 5 He shall receive blessing from Jehovah And righteousness from the God of his salvation. 6 This is the generation of them that seek Him, That seek Thy face; [this is] Jacob. Selah.
7 Lift up, O gates, your heads, Yea, lift up yourselves, O ancient doors, That the King of glory may come in. 8 Who then is the King of glory? Jehovah, strong and a Champion, Jehovah, a Champion in battle.
9 Lift up, O gates, your heads, Yea, lift them up, O ancient doors, That the King of glory may come in. 10 Who is He, then, the King of glory? Jehovah of hosts, He is the King of glory. Selah.
Ewald's widely accepted view that this psalm is a composite of two fragments rests on a somewhat exaggerated estimate of the differences in tone and structure of the parts. These are obvious, but do not demand the hypothesis of compilation; and the original author has as good a right to be credited with the uniting thought as the supposed editor has. The usually alleged occasion of the psalm fits its tone so well and gives such appropriateness to some of its phrases that stronger reasons than are forthcoming are required to negative it. The account in 2 Sam. vi. tells of exuberant enthusiasm and joy, of which some echo sounds in the psalm. It is a processional hymn, celebrating Jehovah's entrance to His house; and that one event, apprehended on its two sides, informs the whole. Hence the two halves have the same interchange of question and answer, and the two questions correspond, the one inquiring the character of the men who dare dwell with God, the other the name of the God who dwells with men. The procession is climbing the steep to the gates of the ancient Jebusite fortress, recently won by David. As it climbs, the song proclaims Jehovah as the universal Lord, basing the truth of His special dwelling in Zion upon that of His world-wide rule. The question, so fitting the lips of the climbers, is asked, possibly in solo, and the answer describing the qualifications of true worshippers, and possibly choral (vv. 3-6), is followed by a long-drawn musical interlude. Now the barred gates are reached. A voice summons them to open. The guards within, or possibly the gates themselves, endowed by the poet with consciousness and speech, ask who thus demands entrance. The answer is a triumphant shout from the procession. But the question is repeated, as if to allow of the still fuller reiteration of Jehovah's name, which shakes the grey walls; and then, with clang of trumpets and clash of cymbals, the ancient portals creak open, and Jehovah "enters into His rest, He and the ark of His strength."
Jehovah's dwelling on Zion did not mean His desertion of the rest of the world, nor did His choice of Israel imply His abdication of rule over, or withdrawal of blessings from, the nations. The light which glorified the bare hilltop, where the Ark rested, was reflected thence over all the world. "The glory" was there concentrated, not confined. This psalm guards against all superstitious misconceptions, and protests against national narrowness, in exactly the same way as Exod. xix. 5 bases Israel's selection from among all peoples on the fact that "all the earth is Mine."
"Who may ascend?" was a picturesquely appropriate question for singers toning upwards, and "who may stand?" for those who hoped presently to enter the sacred presence. The Ark which they bore had brought disaster to Dagon's temple, so that the Philistine lords had asked in terror, "Who is able to stand before this holy Lord God?" and at Beth-shemesh its presence had been so fatal that David had abandoned the design of bringing it up and said, "How shall the ark of the Lord come to me?" The answer, which lays down the qualifications of true dwellers in Jehovah's house, may be compared with the similar outlines of ideal character in Psalm xv. and Isa. xxxiii. 14. The one requirement is purity. Here that requirement is deduced from the majesty of Jehovah, as set forth in vv. 1, 2, and from the designation of His dwelling as "holy." This is the postulate of the whole Psalter. In it the approach to Jehovah is purely spiritual, even while the outward access is used as a symbol; and the conditions are of the same nature as the approach. The general truth implied is that the character of the God determines the character of the worshippers. Worship is supreme admiration, culminating in imitation. Its law is always "They that make them are like unto them; so is every one that trusteth in them." A god of war will have warriors, and a god of lust sensualists, for his devotees. The worshippers in Jehovah's holy place must be holy. The details of the answer are but the echoes of a conscience enlightened by the perception of His character. In ver. 4 it may be noted that of the four aspects of purity enumerated the two central refer to the inward life (_pure heart; lifts not his desire unto vanity_), and these are embedded, as it were, in the outward life of deeds and words. Purity of act is expressed by "clean hands"--neither red with blood, nor foul with grubbing in dunghills for gold and other so-called good. Purity of speech is condensed into the one virtue of truthfulness (_swears not to a falsehood_). But the outward will only be right if the inward disposition is pure, and that inward purity will only be realised when desires are carefully curbed and directed. As is the desire, so is the man. Therefore the prime requisite for a pure heart is the withdrawal of affection, esteem, and longing from the solid-seeming illusions of sense. "Vanity" has, indeed, the special meaning of _idols_, but the notion of earthly good apart from God is more relevant here.