Psalms 149:3

Psa 149:3 Let them praise his name in the dance: let them sing praises unto him with the timbrel and harp.

Ver. 3. Let them praise his name in the dance] Or, with the pipe, tibiis et tympanis et omni musices organicae genere, by all lawful means possible.

John Trapp, A Commentary or Exposition upon All the Books of the Old and New Testament (1647–1656) — public domain. Text from a community e-Sword module.

3. (Psa 149:3) Let them praise his name in the dance; with timbrel and harp let them play (or make music) to him. The usual modes of expressing joy are here combined. As to the dance, see above, on Psa 30:11.

Joseph Addison Alexander, The Psalms Translated and Explained (1850) — public domain. Text from a community e-Sword module.

in the dance-- (Psa 30:11). The dance is connected with other terms, expressive of the great joy of the occasion. The word may be rendered "lute," to which the other instruments are joined.

sing praises--or, sing and play.

Jamieson, Fausset & Brown — Commentary Critical and Explanatory on the Whole Bible (1871) — public domain (CC PDM 1.0). Text via the HelloAO Bible API.

Verse 3. Let them praise his name in the dance] במחול bemachol, with the pipe, or some kind of wind music, classed here with תף toph, the tabor or drum, and כנור kinnor, the harp. " מחול machol," says Parkhurst, "some fistular wind-instrument of music, with holes, as a flute, pipe, or fife, from חל chal, to make a hole or opening." I know no place in the Bible where מחול machol and מחלת machalath mean dance of any kind; they constantly signify some kind of pipe.

Adam Clarke's Commentary on the Bible (1810–1826) — public domain. Text from a community e-Sword/MySword module.

(3) In the dance.—Rather, as margin, with the pipe. The use of the word machôl in what was evidently a list of all the orchestral instruments used in the Temple in the next psalm, would alone be almost decisive of the meaning. But one possible derivation is certainly in favour of this rendering, as also the translation in the Syriac version by the name of a flute still found in Syria. Its connection, too, with the timbrel or drum (comp. our pipe and tabor), just as a cognate, chalîl, is connected in 1Sa_10:5; Isa_5:12, points the same way. (See Bible Educator, i. p. 70, and Note to Son_6:13.)

Timbrel.—See Exo_15:20; Bible Educator, i. 314.

Harp.—See Psa_33:2.

A Bible Commentary for English Readers, edited by Charles John Ellicott (1878–1897) — public domain. Text from a community e-Sword module.

3. in the dance] This, and not pipe (A.V. marg.), is the right rendering here and in Psa_150:4. Dancing was a natural expression of joy among the Jews as among other nations of antiquity, in all periods of their history, on occasions of religious as well as secular festivity. Cp. Exo_15:20; Jdg_11:34; 2Sa_6:14; Jer_31:4; and for a description of the torch-dance, which formed part of the festivities of the Feast of Tabernacles in the later post-exilic period, see Delitzsch in the Expositor, 1886 (2), pp. 81 ff.; Hastings’ Dict. of Bible, 1. 550. Even the leading men of the city and famous teachers joined in it, and it was a current proverb that he who had not seen this joy had not seen any joy in his life.

timbrel] The tambourine, or hand drum, frequently mentioned in connexion with dances and processions (Psa_68:25).

The Cambridge Bible for Schools and Colleges (gen. ed. J. J. S. Perowne; Cambridge University Press, 1878–1918) — public domain. Text from a community e-Sword module.

Let them praise his name in the dance,.... In a chorus of saints, joining together in their expressions of joy, by words and gestures; an ancient practice that went along with singing praises, Exo 15:20; or rather, "with the pipe" (k), as some render it; a musical instrument used in former times in the worship of God, in this part of it, praising his name, with those that follow;

let them sing praises unto him with the timbrel and harp; the former of these was a vessel of brass, a drum or tabret, on which they beat, perhaps like one of our kettle drums; the other was a stringed instrument of music much used, and in playing on which David was very skilful: the music of these was typical of the spiritual melody made in the heart to the Lord in singing his praises, to which there are allusions in Gospel times; though the instruments themselves are now laid aside, being only suited to the church in her infant state, when under tutors and governors; see Psa 68:25.

(k) "cum tibia", Tigurine version, Junius & Tremellius, Piscator, Amama.

John Gill's Exposition of the Whole Bible (1746–1763) — public domain (CC PDM 1.0). Text via the HelloAO Bible API.

Let them praise his name in the dance - Margin, with the pipe. The Hebrew word here - מחול mâchôl - is rendered dancing in Psa 30:11; dance, as here, Psa 150:4 (where also the margin has pipe); Jer 31:13; Lam 5:15; dances, Jer 31:4. It does not elsewhere occur. On the verb חול chûl, see Psa 10:5, note; Psa 51:5, note. Here it cannot be improper to regard it as referring to that measured tread, or solemn movement which sometimes constituted a part of worship: 2Sa 6:14. Such a movement cannot be proved to be wrong in worship; whether it is wise or expedient is a different matter. Customs in worship change as the customs of a people change; and that might be very proper in one stage of society, or in one period of the world, which, though not in itself wrong, might be very unadvisable in another. There was much in the Hebrew mode of worship which cannot be transferred to the forms of Christian worship without an obvious incongruity and disadvantage; and because a thing has been done, and is not in itself wrong, we should not infer that it should always be done, or that it would be always best. If people like the Shakers dance in worship, they have an undoubted right to do so, and it may be the most edifying mode of worship for them with their low notions of religion; let not others ridicule them; nor let others go to see them as they would any other “outr’e” performance from idle curiosity. Such absurdities might soon die away if they were not kept alive by the notice which they attract, and by the foolish curiosity of wiser people. There are some things which are more certain to come to an end by neglect than they could by sober argument; some things which live merely because they are ridiculed, and because they who practice them are exalted into conspicuity by their own folly, and by the idea that they are martyrs.

Let them sing praises unto him with the timbrel and harp - On these instruments, see the notes at Isa 5:12; notes at Job 21:12; notes at Psa 68:25; notes at Psa 81:2.

Albert Barnes' Notes on the Bible (1834–1885) — public domain. Text from a community e-Sword/MySword module.

According to the usage of that time and dispensation.

Matthew Poole's English Annotations on the Holy Bible (1683–1685) — public domain. Text from a community e-Sword/MySword module.

Ver. 3. Let them praise his name in the dance: let them sing praises unto him with the timbrel and harp. Thus let them repeat the triumph of the Red Sea, which was ever the typical glory of Israel. Miriam led the daughters of Israel in the dance when the Lord had triumphed gloriously; was it not most fit that she should? The sacred dance of devout joy is no example, nor even excuse, for frivolous dances, much less for lewd ones. Who could help dancing when Egypt was vanquished, and the tribes were free? Every mode of expressing delight was bound to be employed on so memorable an occasion. Dancing, singing, and playing on instruments were all called into requisition, and most fitly so. There are unusual seasons which call for unusual expressions of joy. When the Lord saves a soul its holy joy overflows, and it cannot find channels enough for its exceeding gratitude: if the man does not leap, or play, or sing, at any rate he praises God, and wishes for a thousand tongues with which to magnify his Saviour. Who would wish it to be otherwise? Young converts are not to be restrained in their joy. Let them sing and dance while they can. How can they mourn now that their Bridegroom is with them? Let us give the utmost liberty to joy. Let us never attempt its suppression, but issue in the terms of this verse a double license for exultation. If any ought to be glad it is the children of Zion; rejoicing is more fit for Israel than for any other people: it is their own folly and fault that they are not oftener brimming with joy in God, for the very thought of him is delight.

Ver. 3. The dance was in early times one of the modes of expressing religious joy (Ex 15:20 2Sa 6:16). When from any cause men's ideas shall undergo such a revolution as to lead them to do the same thing for the same purpose, it will be time enough to discuss that matter. In our time, dancing has no such use, and cannot, therefore, in any wise be justified by pleading the practice of pious Jews of old. William Swan Plumer.

Ver. 3. Let them sing praises unto him with the timbrel and harp. They who from hence urge the use of music in religious worship, must, by the same rule, introduce dancing, for they went together, as in David's dancing before the ark (Jud 21:21). But whereas many Scriptures in the New Testament keep up singing as a gospel ordinance, none provide for the keeping up of music and dancing; the gospel canon for Psalmody is to "sing with the spirit and with the understanding." Matthew Henry.

Ver. 3. Timbrel. The toph was employed by David in all the festivities of religion (2Sa 6:5). The occasions on which it was used were mostly joyful, and those who played upon it were generally females (Ps 68:25), as was the case among most ancient nations, and is so at the present day in the East. The usages of the modern East might adequately illustrate all the scriptural allusions to this instrument, but happily we have more ancient and very valuable illustration from the monuments of Egypt. In these we find that the tambourine was a favourite instrument, both on sacred and festive occasions. There were three kinds, differing, no doubt, in sound as well as in form; one was circular, another square or oblong, and the third consisted of two squares separated by a bar. They were all beaten by the land, and often used as an accompaniment to the harp and other instruments. The tambourine was usually played by females, who are represented as dancing to its sound without the accompaniment of any other instrument. John Kitto.

Ver. 3. Harp. Of the kinnor the Scripture affords little further information than that it was composed of the sounding parts of good wood, and furnished with strings. Josephus asserts that it was furnished with ten strings, and played with a plectrum; which, however, is not understood to imply that it never had any other number of strings, or was always played with the plectrum. David certainly played it with the hand (1Sa 16:23 18:10 19:9); and it was probably used in both ways, according to its size. That this instrument was really a harp is now very generally denied (Kitto). The reader will, by this time, have balanced the probabilities as to the nature and construction of the kinnor; and most likely he will be led to think that it was either a guitar or lyre, a belief which seems to be gaining ground, on account of the aptitude of such instruments for the uses to which the kinnor was devoted. J. Stainer.

Psalms 149:4*

Charles H. Spurgeon's The Treasury of David (1869–1885) — public domain. Psalms only. Text from a community e-Sword/MySword module.

3. In the dance—Hebrew, With the mahhol. מחול, (mahhol) from חול, (hhool,) to twist, turn, writhe, is supposed to indicate the “dance,” from the twisted and contorted motions of the actor, or the round “dance,” dancing in a circle. It occurs, with its derivative mehhoolah, fourteen times, and is always translated “dance” in our English Version, except once, (Son_6:13,) though in the text, and in Psa_150:4, the marginal reading is pipe, which is probably the true idea. The mention in the text, of the mahhol with the timbrel, (toph,) or tambourine and harp, would seem to be sufficient to class it with their musical instruments. This is corroborated by Jdg_21:21, where the English translation, “If the daughters of Shiloh come out to dance in dances,” should be: “If they come out to dance with meholoth, or musical instruments,” of whatever kind. Professor Marks, (Smith’s Dic. of the Bible, article Dance,) quotes Joel Brill, an author of the first authority on this subject, who says: “It is evident from the passage (Psalm cl, 4) ‘Let him praise his name with the toph, [timbrel] and mahhol,’ that the latter must here mean some musical instrument, and this, he adds, is the opinion of the majority of scholars.”

Dr. A. Clarke says: “I know of no place in the Bible where the word means dance, but constantly some kind of pipe,” and quotes Parkhurst as sustaining the same opinion. So also Rosenmuller.

As the English version now stands, it would authorize the opinion that dancing was a familiar accompaniment of the higher forms of praise among the Hebrews. We have already had occasion to say, (see note on Psa_30:10,) that this is unsustained by history. The marginal reading is better: “Let them praise his name with the pipe.” A form of solemn dance, did accompany some of their triumphal celebrations, such as are recorded Exodus 15; 2Sa_6:14; 2Sa_6:16; but the evangelical spirit predominated. A notable instance is given Psalms 68. Dancing is not there specified, but from Psa_68:11; Psa_68:25, it seems probable. Let the reader examine the psalms composed and sung on the occasion of the second removal of the ark, at which David danced, and judge whether his example countenances modern social dancing, or justifies any custom of religious dancing. In the religious rites of the heathen it was common, but always, with them, irreverent, gay, and lewd. With the Hebrews it never received the sanction of Moses, nor attained a permanency. The reference of Jdg_21:21, indicates the custom at a time proverbial for irregularities. See notes on Psa_30:11; Psa_42:4

Daniel D. Whedon (gen. ed.), Commentary on the Old and New Testaments (1874–1909) — public domain. Text from a community e-Sword module.

Let them praise his Name in the dance. (comp. Psa_150:4) (On the employment of dancing by the Hebrews as a religious exercise, and in their most solemn acts of worship, see Exo_15:20 2Sa_6:14-16. Let them sing praises unto him with the timbrel and harp. (On the toph, or "timbrel," see the comment upon Psa_68:25) It was used to accompany a hymn of rejoicing by Miriam, (Exo_15:20) by Jephthah"s daughter, (Jud_1:11:34) and by David. (2Sa_6:5)

The Pulpit Commentary (1880–1919), ed. H.D.M. Spence-Jones & Joseph S. Exell — public domain. Text from a community e-Sword module.