The Treasury of David — Charles H. Spurgeon
TITLE. This Psalm has no title, and all we know of its authorship is that Paul quotes it as “in David.” (Heb 4:7.) It is true that this may merely signify that it is to be found in the collection known as David’s Psalms; but if such were the Apostle’s meaning it would have been more natural for him to have written, “saying in the Psalms; “we therefore incline to the belief that David was the actual author of this poem. It is in its original a truly Hebrew song, directed both in its exhortation and warning to the Jewish people, but we have the warrant of the Holy Spirit in the epistle to the Hebrews for using its appeals and entreaties when pleading with Gentile believers. It is a psalm of invitation to worship. It has about it a ring like that or church bells, and like the bells it sounds both merrily and solemnly, at first ringing out a lively peal, and then dropping into a funeral knell as if tolling at the funeral of the generation which perished in the wilderness. We will call it THE PSALM OF THE PROVOCATION.
DIVISION. It would be correct as to the sense to divide this psalm into an invitation and a warning so as to commence the second part with the last clause of Ps 95:7: but upon the whole it may be more convenient to regard Ps 95:6 as “the beating heart of the psalm, “as Hengstenberg calls it, and make the division at the end of Ps 95:5. Thus it will form (1) an invitation with reasons, and (2) an invitation with warnings.
Exposition
Verse 1. O come, let us sing unto the LORD. Other nations sing unto their gods, let us sing unto Jehovah. We love him, we admire him, we reverence him, let us express our feelings with the choicest sounds, using our noblest faculty for its noblest end. It is well thus to urge others to magnify the Lord, but we must be careful to set a worthy example ourselves, so that we may be able not only to cry “Come”, but also to add “let us sing”, because we are singing ourselves. It is to be feared that very much even of religious singing is not unto the Lord but unto the car of the congregation: above all things we must in our service of song take care that all we offer is with the heart’s sincerest and most fervent intent directed toward the Lord himself. Let us make a joyful noise to the rock of our salvation. With holy enthusiasm let us sing, making a sound which shall indicate our earnestness; with abounding joy let us lift up our voices, actuated by that happy and peaceful spirit which trustful love is sure to foster. As the children of Israel sang for joy when the smitten rock poured forth its cooling streams, so let us make a joyful noise to the rock of our salvation. The author of this song had in his mind’s eye the rock, the tabernacle, the Red Sea, and the mountains of Sinai, and he alludes to them all in this first part of his hymn. God is our abiding, immutable, and mighty rock, and in him we find deliverance and safety, therefore it becomes us to praise him with heart and with voice from day to day; and especially should we delight to do this when we assemble as his people for public worship.
“Come let us to the Lord sing out With trumpet voice and choral shout.”
it becomes us to praise him with heart and with voice from day to day; and especially should we delight to do this when we assemble as his people for public worship.
“Come let us to the Lord sing out With trumpet voice and choral shout.”
“Come let us to the Lord sing out With trumpet voice and choral shout.”
Verse 2. Let us come before his presence with thanksgiving. Here is probably a reference to the peculiar presence of God in the Holy of Holies above the mercy seat, and also to the glory which shone forth out of the cloud which rested above the tabernacle. Everywhere God is present, but there is a peculiar presence of grace and glory into which men should never come without the profoundest reverence. We may make bold to come before the immediate presence of the Lord—for the voice of the Holy Ghost in this psalm invites us, and when we do draw near to him we should remember his great goodness to us and cheerfully confess it. Our worship should have reference to the past as well as to the future; if we do not bless the Lord for what we have already received, how can we reasonably look for more. We are permitted to bring our petitions, and therefore we are in honour bound to bring our thanksgivings. And make a joyful noise unto him with psalms. We should shout as exultingly as those do who triumph in war, and as solemnly as those whose utterance is a psalm. It is not always easy to unite enthusiasm with reverence, and it is a frequent fault to destroy one of these qualities while straining after the other. The perfection of singing is that which unites joy with gravity, exultation with humility, fervency with sobriety. The invitation given in the first verse (Ps 95:1) is thus repeated in the second (Ps 95:2) with the addition of directions, which indicate more fully the intent of the writer. One can imagine David in earnest tones persuading his people to go up with him to the worship of Jehovah with sound of harp and hymn, and holy delight. The happiness of his exhortation is noteworthy, the noise is to be joyful; this quality he insists upon twice. It is to be feared that this is too much overlooked in ordinary services, people are so impressed with the idea that they ought to be serious that they put on the aspect of misery, and quite forget that joy is as much a characteristic of true worship as solemnity itself.