Ver. 3_a_ is from Psalm xlviii. 1, and _b_ is tinged by Isaiah xl., but substitutes "greatness," the key-note of the first part of this psalm, for "understanding." That note having been thus struck, is taken up in vv. 4-6, which set forth various aspects of that greatness, as manifested in works which are successively described as "mighty"--_i.e._, instinct with conquering power such as a valiant hero wields; as, taken together, constituting the "splendour of the glory of Thy majesty," the flashing brightness with which, when gathered, as it were, in a radiant mass, they shine out, like a great globe of fire; as "wonders," not merely in the narrower sense of miracles, but as being productive of lowly astonishment in the thoughtful spectator; and as being "dread acts"--_i.e._, such as fill the beholder with holy awe. In ver. 5_b_ the phrase rendered above "records of His wonders" is literally "words of His wonders," which some regard as being like the similar phrase in Psalm lxv. 3 (words or matters of iniquities), a pleonasm, and others would take as they do the like expression in Psalm cv. 27, as equivalent to "_deeds_ of the Divine wonders" (Delitzsch). But "words" may very well here retain its ordinary sense, and the poet represent himself as meditating on the records of God's acts in the past as well as gazing on those spread before his eyes in the present.
His passing and repassing from his own praise in vv. 1, 2, to that of successive generations in ver. 4, and once more to his own in ver. 5, and to that of others in ver. 6, is remarkable. Does he conceive of himself as the chorus leader, teaching the ages his song? Or does he simply rejoice in the less lofty consciousness that his voice is not solitary? It is difficult to say, but this is clear, that the Messianic hope of the world's being one day filled with the praises which were occasioned by God's manifestation in Israel burned in this singer's heart. He could not bear to sing alone, and his hymn would lack its highest note, if he did not believe that the world was to catch up the song.
But greatness, majesty, splendour, are not the Divinest parts of the Divine nature, as this singer had learned. These are but the fringes of the central glory. Therefore the song rises from greatness to celebrate better things, the moral attributes of Jehovah (vv. 7-10). The psalmist has no more to say of himself, till the end of his psalm. He gladly listens rather to the chorus of many voices which proclaims Jehovah's widespread goodness. In ver. 7 the two attributes which the whole Old Testament regards as inseparable are the themes of the praise of men. Goodness and righteousness are not antithetic, but complementary, as green and red rays blend in white light. The exuberance of praise evoked by these attributes is strikingly represented by the two strong words describing it; of which the former, "well forth," compares its gush to the clear waters of a spring bursting up into sunlight, dancing and flashing, musical and living, and the other describes it as like the shrill cries of joy raised by a crowd on some festival, or such as the women trilled out when a bride was brought home. Ver. 8 rests upon Exod. xxxiv. 6 (compare Psalm ciii. 8). It is difficult to de-synonymise "gracious" and "full of compassion." Possibly the former is the wider, and expresses love in exercise towards the lowly in its most general aspect, while the latter specialises graciousness as it reveals itself to those afflicted with any evil. As "slow to anger," Jehovah keeps back the wrath which is part of His perfection, and only gives it free course after long waiting and wooing. The contrast in ver. 8_b_ is not so much between anger and loving-kindness, which to the psalmist are not opposed, as between the slowness with which the one is launched against a few offenders and the plenitude of the other. That thought of abundant loving-kindness is still further widened, in ver. 9, to universality. God's goodness embraces all, and His compassions hover over all His works, as the broad wing and warm breast of the mother eagle protect her brood. Therefore the psalmist hears a yet more multitudinous voice of praise from all creatures; since their very existence, and still more their various blessednesses, give witness to the all-gladdening Mercy which encompasses them. But Creation's anthem is a song without words, and needs to be made articulate by the conscious thanksgivings of those who, being blessed by possession of Jehovah's loving-kindness, render blessing to Him with heart and lip.