1 Jehovah is King--the peoples tremble; Throned [on] the cherubim--the earth totters. 2 Jehovah in Zion is great, And exalted above all the peoples. 3 Let them praise Thy great and dread name, Holy is He.
4 And the strength of the King loves judgment, Thou, Thou hast established equity, Judgment and righteousness in Jacob hast Thou wrought. 5 Exalt Jehovah our God, And prostrate yourselves at His footstool, Holy is He.
6 Moses and Aaron among His priests, And Samuel among them that call [on] His name; They called on Jehovah, and He, He answered them. 7 In a pillar of cloud He spoke to them, They kept His testimonies, And the statute [which] He gave them. 8 Jehovah our God! Thou, Thou didst answer them, A forgiving God wast Thou unto them, And executing retribution for their deeds. 9 Exalt Jehovah our God, And prostrate yourselves at His holy mountain, For holy is Jehovah our God.
Delitzsch has well called this psalm "an earthly echo of the seraphic Trisagion," the threefold proclamation of the Divine holiness, which Isaiah heard (Isa. vi. 3). It is, as already noted, a pendant to Psalm xcviii., but is distinguished from the other psalms of this group by its greater originality, the absence of distinct allusion to the great act of deliverance celebrated in them, and its absorption in the one thought of the Divine holiness. Their theme is the event by which Jehovah manifested to the world His sovereign rule; this psalm passes beyond the event, and grasps the eternal central principle of that rule--namely, holiness. The same thought has been touched on in the other members of the group, but here it is the single subject of praise. Its exhibition in God's dealings with Israel is here traced in ancient examples, rather than in recent instances; but the view-point of the other psalms is retained, in so far as the Divine dealings with Israel are regarded as the occasion for the world's praise.
The first strophe (vv. 1-3) dwells in general terms on Jehovah's holiness, by which august conception is meant, not only moral purity, but separation from, by elevation above, the finite and imperfect. Ver. 1 vividly paints in each clause the glory reigning in heaven, and its effect on an awestruck world. We might render the verbs in the second part of each clause as futures or as optatives (_shall tremble, shall totter_, or _Let peoples tremble_, etc.), but the thought is more animated if they are taken as describing the result of the theophany. The participial clause "throned on the cherubim" adds detail to the picture of Jehovah as King. It should not, strictly speaking, be rendered with a finite verb. When that vision of Him sitting in royal state is unveiled, all people are touched with reverence, and the solid earth staggers. But the glory which is made visible to all men has its earthly seat in Zion, and shines from thence into all lands. It is by His deeds in Israel that God's exaltation is made known. The psalmist does not call on men to bow before a veiled Majesty, of which they only know that it is free from all creatural limitations, lowliness and imperfections; but before a God, who has revealed Himself in acts, and has thereby made Himself a name. "Great and dread" is that name, but it is a sign of His loving-kindness that it is known by men, and thanksgiving, not dumb trembling, befits men who know it. The refrain might be rendered "It is holy," referring to the name, but vv. 5 and 9 make the rendering _Holy is He_ more probable. The meaning is unaffected whichever translation is adopted.
Jehovah is holy, not only because lifted above and separated from creatural limitations, but because of His righteousness. The second strophe therefore proclaims that all His dominion is based on uprightness, and is a continual passing of that into acts of "judgment and righteousness." The "And" at the beginning of ver. 4, following the refrain, is singular, and has led many commentators to link the words with ver. 3_a_, and, taking the refrain as parenthetical, to render, "Let them give thanks to Thy great and dread name, [for it is holy], and [to] the strength of the King [who] loveth," etc. But the presence of the refrain is an insuperable bar to this rendering. Others, as Delitzsch and Cheyne, regard "the strength of the king" as dependent on "established" in ver. 4_b_, and suppose that the theocratic monarch of Israel is represented as under Jehovah's protection, if he reigns righteously. But surely one King only is spoken of in this psalm, and it is the inmost principle and outward acts of His rule which are stated as the psalmist's reason for summoning men to prostrate themselves at His footstool. The "And" at the beginning of the strophe links its whole thought with that of the preceding, and declares eloquently how closely knit together are Jehovah's exaltation and His righteousness. The singer is in haste to assert the essentially moral character of infinite power. Delitzsch thinks that love cannot be predicated of "strength," but only of the possessor of strength; but surely that is applying the measuring line of prosaic accuracy to lyric fervour. The intertwining of Divine power and righteousness could not be more strongly asserted than by that very intelligible attribution to His power of the emotion of love, impelling it ever to seek union with uprightness. He is no arbitrary ruler. His reign is for the furtherance of justice. Its basis is "equity," and its separate acts are "judgment and righteousness." These have been done in and for Jacob. Therefore the call to worship rings out again. It is addressed to an undefined multitude, which, as the tone of all this group of psalms leads us to suppose, includes the whole race of man. They are summoned to lift high the praise of Him who in Himself is so high, and to cast themselves low in prostrate adoration at His footstool--_i.e._, at His sanctuary on Zion (ver. 9). Thus again, in the centre strophe of this psalm, as in Psalms xcvi. and xcviii., mankind are called to praise the God who has revealed Himself in Israel; but while in the former of these two psalms worship was represented as sacrificial, and in the second as loud music of voice and instrument, here silent prostration is the fitting praise of the holiness of the infinitely exalted Jehovah.