Psalm 150 [MT 150]

"Praise the Lord in His saints," that is, in those whom He has glorified: "praise Him in the firmament of His power" [Psalm 150:1]. All these His saints are; as the Apostle says, "But we may be the righteousness of God in Him." If then they be the righteousness of God, which He has wrought in them, why are they not also the strength of Christ which He has wrought in them, that they should rise again from the dead? For in Christ's resurrection, "strength" is especially set forth to us, for in His Passion was weakness, as the Apostle says. And well does it say, "the firmament of His power." For it is the "firmament of His power" that He "dies no more, death has no more dominion over Him."

Exposition on Psalm 150

"Praise Him in His deeds of strength;" or, as others have explained it, "in His deeds of power: praise Him according to the multitude of His greatness" [Psalm 150:2]. Why should not they also be called "the works of" God's "strength," which He has done in them: yea rather, they themselves are the works of His strength; just as it is said, "We are the righteousness of God in Him." For what more powerful than that He should reign for ever, with all His enemies put under His feet? Why should not they also be "the multitude of His greatness"? Not that whereby He is great, but whereby He has made them great, many as they are, that is, thousands of thousands. Just as righteousness too is understood in two ways, that whereby He is righteous, and that which He works in us, so as to make us His righteousness. These same saints are signified by all the musical instruments in succession, to praise God in. For what the Psalmist began with, saying, "Praise the Lord in His saints," that he carries out, signifying in various ways these same saints of His.

Exposition on Psalm 150

The trumpet is the contemplative mind or the mind by which the teaching of the spirit is embraced. The harp is the busy mind that is quickened by the commands of Christ.

Commentary on the Psalms 150:3-5

"Praise Him in the sound of the trumpet" [Psalm 150:3]: on account of the surpassing clearness of note of their praise. "Praise Him in the psaltery and harp." The psaltery praises God from things above, the harp praises God from things below; I mean, from things in heaven, and things in earth, as He who made heaven and earth. We have already in another Psalm, explained that the psaltery has that board, whereon the series of strings rests that it may give a better sound, above, whereas the harp has it below.

Exposition on Psalm 150

Let us praise him on the psaltery and on the harp, supposing that on the harp we may embrace the wood of the cross and on the psaltery we may maintain the universal confession. The sound is harsh because the confession is not held in unity.

Selections from the Psalms 150

The timbrel represents the death of fleshly desire because of honesty itself. Dancing is the agreement of reasonable spirits all saying the same thing and in which there are no divisions. The stringed instruments suggest the unison of the voices of moral excellence and the unity of the organ which is the church of God resting on reflective and active minds.

Commentary on the Psalms 150:3-5

"Praise Him in the timbrel and choir" [Psalm 150:4]. The "timbrel" praises God when the flesh is now changed, so that there is in it no weakness of earthly corruption. For the timbrel is made of leather dried and strengthened. The "choir" praises God when society made peaceful praises Him. "Praise Him on the strings and organ." Both psaltery and harp, which have been mentioned above, have strings. But "organ" is a general name for all instruments of music, although usage has now obtained that those are specially called organ which are inflated with bellows: but I do not think that this kind is meant here. For since organ is a Greek word, applied generally, as I have said, to all musical instruments, this instrument, to which bellows are applied, is called by the Greeks by another name: but it being called organ is rather a Latin and conversational usage. When then he says, "on the strings and organ," he seems to me to have intended to signify some instrument which has strings. For it is not psalteries and harps only that have strings: but, because in the psaltery, and harp, on account of the sound from things below and things above, somewhat has been found which can be understood after this distinction, he has suggested to us to seek some other meaning in the strings themselves: for they too are flesh, but flesh now set free from corruption. And to those, it may be, he added the organ, to signify that they sound not each separately, but sound together in most harmonious diversity, just as they are arranged in a musical instrument. For even then the saints of God will have their differences, accordant, not discordant, that is, agreeing, not disagreeing, just as sweetest harmony arises from sounds differing indeed, but not opposed to one another.

Exposition on Psalm 150

Let us praise on timbrel and with dance, when we, firmly set upon a restored way of life, adorn the timbrel of our body with the models of best behavior. Let us praise him on stringed instruments and on the organ as we play the fresh strings that are on our harp, let us also, as with the narrow needs of modesty make melodious sounds to God, cleansing ourselves from all the blight of sin.

Selections from the Psalms 150

But let us ask ourselves (in a spirit of love, as Mr. Chadband would say), what are the ballets of the Alhambra? The ballets of the Alhambra are institutions in which a particular selected row of persons in pink go through an operation known as dancing. Now, in all commonwealths dominated by a religion—in the Christian commonwealths of the Middle Ages and in many rude societies—this habit of dancing was a common habit with everybody, and was not necessarily confined to a professional class. A person could dance without being a dancer; a person could dance without being a specialist; a person could dance without being pink. And, in proportion as Mr. McCabe’s scientific civilization advances—that is, in proportion as religious civilization (or real civilization) decays—the more and more “well trained,” the more and more pink, become the people who do dance, and the more and more numerous become the people who don’t. Mr. McCabe may recognize an example of what I mean in the gradual discrediting in society of the ancient European waltz or dance with partners, and the substitution of that horrible and degrading oriental interlude which is known as skirt-dancing. That is the whole essence of decadence, the effacement of five people who do a thing for fun by one person who does it for money. Now it follows, therefore, that when Mr. McCabe says that the ballets of the Alhambra and my articles “have their place in life,” it ought to be pointed out to him that he is doing his best to create a world in which dancing, properly speaking, will have no place in life at all. He is, indeed, trying to create a world in which there will be no life for dancing to have a place in. The very fact that Mr. McCabe thinks of dancing as a thing belonging to some hired women at the Alhambra is an illustration of the same principle by which he is able to think of religion as a thing belonging to some hired men in white neckties. Both these things are things which should not be done for us, but by us. If Mr. McCabe were really religious he would be happy. If he were really happy he would dance.

Briefly, we may put the matter in this way. The main point of modern life is not that the Alhambra ballet has its place in life. The main point, the main enormous tragedy of modern life, is that Mr. McCabe has not his place in the Alhambra ballet. The joy of changing and graceful posture, the joy of suiting the swing of music to the swing of limbs, the joy of whirling drapery, the joy of standing on one leg,—all these should belong by rights to Mr. McCabe and to me; in short, to the ordinary healthy citizen. Probably we should not consent to go through these evolutions. But that is because we are miserable moderns and rationalists. We do not merely love ourselves more than we love duty; we actually love ourselves more than we love joy.

Heretics, Ch. 16: On Mr. McCabe and a Divine Frivolity (1905)

The melodious cymbal reflects the active mind affixed on its desire for Christ; the joyous cymbal the purified mind inspired by the salvation of Christ.

Commentary on the Psalms 150:3-5

"Praise Him on the well-sounding cymbals, praise Him on cymbals of jubilation" [Psalm 150:5]. Cymbals touch one another in order to sound, and therefore are by some compared to our lips. But I think it better to understand that God is in a manner praised on the cymbal, when each is honoured by his neighbour, not by himself, and then honouring one another, they give praise to God. But lest any should understand such cymbals as sound without life, therefore I think he added, "on cymbals of jubilation." For "jubilation" that is, unspeakable praise, proceeds not, save from life. Nor do I think that I should pass over what musicians say, that there are three kinds of sounds, by voice, by breath, by striking: by voice, uttered by throat and windpipe, when man sings without any instrument; by breath, as by pipe, or anything of that sort: by striking, as by harp, or anything of that kind. None then of these kinds is omitted here: for there is voice in the choir, breath in the trumpet, striking in the harp, representing mind, spirit, body, but by similitudes, not in the proper sense of the words. When then he proposed, "Praise God in His saints," to whom said he this, save to themselves? And in whom are they to praise God, save in themselves? For you, says he, are "His saints;" you are "His strength," but that which He wrought in you; you are "His mighty works, and the multitude of His greatness," which He has wrought and set forth in you. You are "trumpet, psaltery, harp, timbrel, choir, strings, and organ, cymbals of jubilation sounding well," because sounding in harmony. All these are you: let nought that is vile, nought that is transitory, nought that is ludicrous, be here thought of.

Exposition on Psalm 150

No one, perhaps, but a sociologist can see whether General Booth’s housing scheme is right. But any healthy person can see that banging brass cymbals together must be right. A page of statistics, a plan of model dwellings, anything which is rational, is always difficult for the lay mind. But the thing which is irrational any one can understand. That is why religion came so early into the world and spread so far, while science came so late into the world and has not spread at all. History unanimously attests the fact that it is only mysticism which stands the smallest chance of being understanded of the people. Common sense has to be kept as an esoteric secret in the dark temple of culture. And so while the philanthropy of the Salvationists and its genuineness may be a reasonable matter for the discussion of the doctors, there can be no doubt about the genuineness of their brass bands, for a brass band is purely spiritual, and seeks only to quicken the internal life. The object of philanthropy is to do good; the object of religion is to be good, if only for a moment, amid a crash of brass.

Heretics, Ch. 6: Christmas and the Aesthetes (1905)

But someone will say: if the divine nature is incomprehensible, then why do you discourse about these things? Well then, because I cannot drink up the whole stream, am I not even to take in proportion to my need? Or because I cannot take in all the sunlight owing to the constitution of my eyes, am I not even to gaze on what is sufficient for my wants? On entering a vast orchard, because I cannot eat all the fruit therein, would you have me go away completely hungry? I praise and glorify him who made us; for it is a divine command that says, “Let everything that has breath praise the Lord!” I am endeavoring now to glorify the Lord, not to describe him, though I know that I shall fall short of glorifying him worthily; still I consider it a godly work to try all the same. For the Lord Jesus encourages my weakness when he says, “No one has at any time seen God.”

Catechetical Lecture 6:5

And since to savour of the flesh is death, "let every spirit praise the Lord" [Psalm 150:6].

Exposition on Psalm 150