19 To the choirmaster. A Psalm of David.
19:1 The heavens declare the glory of God,
and the sky above1 proclaims his handiwork.
2 Day to day pours out speech,
and night to night reveals knowledge.
3 There is no speech, nor are there words,
whose voice is not heard.
4 Their voice2 goes out through all the earth,
and their words to the end of the world.
In them he has set a tent for the sun,
5 which comes out like a bridegroom leaving his chamber,
and, like a strong man, runs its course with joy.
6 Its rising is from the end of the heavens,
and its circuit to the end of them,
and there is nothing hidden from its heat.
7 The law of the Lord is perfect,3
reviving the soul;
the testimony of the Lord is sure,
making wise the simple;
8 the precepts of the Lord are right,
rejoicing the heart;
the commandment of the Lord is pure,
enlightening the eyes;
9 the fear of the Lord is clean,
enduring forever;
the rules4 of the Lord are true,
and righteous altogether.
10 More to be desired are they than gold,
even much fine gold;
sweeter also than honey
and drippings of the honeycomb.
11 Moreover, by them is your servant warned;
in keeping them there is great reward.
12 Who can discern his errors?
Declare me innocent from hidden faults.
13 Keep back your servant also from presumptuous sins;
let them not have dominion over me!
Then I shall be blameless,
and innocent of great transgression.
14 Let the words of my mouth and the meditation of my heart
be acceptable in your sight,
O Lord, my rock and my redeemer.
Section Overview
In singing Psalm 19 God’s people celebrate God’s law, the Torah, as his supreme revelation of himself. The psalm recounts the way the creation speaks of its Maker (vv. 1–6) and then the way in which the Mosaic law addresses the soul (vv. 7–11), followed by the humble response for which this calls (vv. 12–14).
C. S. Lewis called this the “greatest poem in the Psalter and one of the greatest lyrics in the world.”173 Not everyone is quite so sure about that, and this is tied up at least partly with theories about how the psalm came to be put together. Many researchers have confidently declared that this psalm arose through the combination of two or three originally unrelated compositions. DeClaissé-Walford, Jacobson, and Tanner explain why they find the arguments for such a compositional history “convincing.”
In vv. 1–6 the focus is on creation, the genre is similar to a hymn, the poetry is flexible and playful, and the more generic name for God (ʼel) is used. In vv. 7–10, the focus is on torah (perhaps better translated as “instruction”), the genre is that of a psalm of instruction or torah psalm, the poetry becomes rigid and formal, and the proper name for God (YHWH) is used six times (always in a construct chain). In vv. 11–14, the focus shifts to the servant who speaks the psalm, the genre becomes a prayer, the poetry becomes less stylized and more conversational, and the proper name for God (YHWH) is used, but this time only once (and this time not in a construct chain, but as the addressee of the prayer).174
There is no reason why an artist (David, as I read the title) could not have made such a combination, but the arguments for such a reconstruction are far from persuasive. First, the supposed original poems no longer exist (if they ever did). Second, the argument fails to recall that the psalm types are a posteriori, heuristic efforts to gather the variety of psalms into broad categories. We have no assurance that any psalmist actually saw a “hymn” as being over against a Torah psalm, or that these excluded personal prayer. Theologically, to put a wedge between creation and Torah is itself problematic:175 the shift in divine name from “God” to “the Lord God” in Genesis 2:4 has the rhetorical effect of identifying the transcendent Creator (“God”) with the covenant God of Israel (“the Lord”).176
Any claim to literary disunity in this psalm will be undermined if we can actually see such unity. Lewis the literary scholar did see a clear flow for the psalm:
Most readers will remember its structure; six verses about Nature, five about the Law, and four of personal prayer. The actual words supply no logical connection between the first and second movements. . . . First he thinks of the sky; how, day after day, the pageantry we see there shows us the splendour of its Creator. Then he thinks of the sun, the bridal joyousness of its rising, the unimaginable speed of its daily voyage from east to west. Finally, of its heat; not of course the mild heats of our [English] climate but the cloudless, blinding, tyrannous rays hammering the hills, searching every cranny. The key phrase on which the whole psalm depends is “there is nothing hid from the heat thereof”. It pierces everywhere with its strong, clean ardour. Then at once, in verse 7 he is talking of something else, which hardly seems to him something else because it is so like the all-piercing, all-detecting sunshine.
In fact, the linguistic details actually point to a strong form of unity. The observation that “nothing [is] hidden from its heat” (Ps. 19:6) connects with the fear of “hidden faults” (v. 12); both use the adjective “hidden” (Hb. nistar). This enhances the point C. S. Lewis made: “As he has felt the sun, perhaps in the desert, searching him out in every nook of shade where he attempted to hide from it, so he feels the Law searching out all the hiding-places of his soul.”177
If the law, like the sun, pierces everything, then it pierces to the soul, and the fitting response of the worshiper is to acknowledge this and to pray for inner cleansing.
Further links between the second and third sections include “your servant” (vv. 11, 13) and “perfect/blameless” (vv. 7 [cf. ESV mg.], 13).
Hence if someone has in fact combined two or three preexisting poems, the combination has resulted in the coherent composition we have as Psalm 19.
The stanza structure is quite clear: verses 1–6 are all about heavenly bodies (heavens, sky, sun), while verses 7–11 use a variety of terms for God’s instruction (“law,” “testimony,” “precepts,” “commandment,” “fear,” “rules”) and show a consistent pattern of describing attributes and effects of that instruction. Verses 12–14 alone have verbs expressing wishes, in a high concentration (“declare me innocent,” “keep back,” “let them not,” “let the words”).
Section Outline
This yields a clear outline of three stanzas:178
I. The Eloquent Heavens (19:1–6)
II. The Perfect Torah (19:7–11)
III. The Humble Response (19:12–14)
Response
The prayer that ends this psalm guides us in its proper use. The congregation celebrates the way in which God has revealed himself (at least partially) to all humankind and in special clarity to his covenant people. The laws of the Torah do not supplant this general revelation; they rather sharpen it, to show that the God who is known through the creation has an interest in saving human beings from the sin that ails them and in guiding them in living out true goodness and beauty. Under such a view the special revelation is indeed a treasure, to be desired over riches, sweeter than the finest honey. Thus the faithful will not rest, smug in their superiority to the Gentiles or to the less faithful within Israel (as in Luke 18:10–14); rather they will offer their lives at the deepest level afresh to God for his transforming work.
Christians, both Jewish and Gentile, have entered into these privileges enjoyed by ancient Israel (Eph. 2:11–22). In singing this they too offer themselves. The Sinai covenant is a chapter in our story and shows God’s interest in the well-being of a community bound together. We too may find God’s instructions more to be desired than gold and sweeter than honey.Psalm 19
Psalm 20