GOD'S WORD® Translation (©1995)
Let everything that breathes praise the LORD! Hallelujah!

King James Bible
Let every thing that hath breath praise the LORD. Praise ye the LORD.

Douay-Rheims Bible
Praise him on high sounding cymbals: praise him on cymbals of joy: let every spirit praise the Lord. Alleluia.

Darby Bible Translation
Let everything that hath breath praise Jah. Hallelujah!

English Revised Version
Let every thing that hath breath praise the LORD. Praise ye the LORD.

Webster's Bible Translation
Let every thing that hath breath praise the LORD. Praise ye the LORD.

World English Bible
Let everything that has breath praise Yah! Praise Yah!

Young's Literal Translation
All that doth breathe doth praise Jah! Praise ye Jah!

Cross References

Exodus 15:2 "The LORD is my strength and song, And He has become my salvation; This is my God, and I will praise Him; My father's God, and I will extol Him.

Psalm 41:13 Blessed be the LORD, the God of Israel, From everlasting to everlasting. Amen and Amen.

Psalm 103:22 Bless the LORD, all you works of His, In all places of His dominion; Bless the LORD, O my soul!

Psalm 145:21 My mouth will speak the praise of the LORD, And all flesh will bless His holy name forever and ever.

Commentary

Matthew Henry's Whole Bible Commentary

PSALM 150

The first and last of the psalms have both the same number of verses, are both short, and very memorable. But the scope of them is very different: the first psalm is an elaborate instruction in our duty, to prepare us for the comforts of our devotion; this is all rapture and transport, and perhaps was penned on purpose to be the conclusion of these sacred songs, to show what is the design of them all, and that is to assist us in praising God. The psalmist had been himself full of the praises of God, and here he would fain fill all the world with them: again and again he calls, "Praise the Lord, praise him, praise him," no less than thirteen times in these six short verses. He shows, I. For what, and upon what account, God is to be praised (v. 1, 2), II. How, and with what expressions of joy, God is to be praised (v. 3-5). III. Who must praise the Lord; it is every one's business (v. 6). In singing this psalm we should endeavour to get our hearts much affected with the perfections of God and the praises with which he is and shall be for ever attended, throughout all ages, world without end.

Verses 1-6

We are here, with the greatest earnestness imaginable, excited to praise God; if, as some suppose, this psalm was primarily intended for the Levites, to stir them up to do their office in the house of the Lord, as singers and players on instruments, yet we must take it as speaking to us, who are made to our God spiritual priests. And the repeated inculcating of the call thus intimates that it is a great and necessary duty, a duty which we should be much employed and much enlarged in, but which we are naturally backward to and cold in, and therefore need to be brought to, and held to, by precept upon precept, and line upon line. Observe here,

I. Whence this tribute of praise arises, and out of what part of his dominion it especially issues. It comes, 1. From his sanctuary; praise him there. Let his priests, let his people, that attend there, attend him with their praises. Where should he be praised, but there where he does, in a special manner, both manifest his glory and communicate his grace? Praise God upon the account of his sanctuary, and the privileges which we enjoy by having that among us, Eze. 37:26. Praise God in his holy ones (so some read it); we must take notice of the image of God as it appears on those that are sanctified, and love them for the sake of that image; and when we praise them we must praise God in them. 2. From the firmament of his power. Praise him because of his power and glory which appear in the firmament, its vastness, its brightness, and its splendid furniture; and because of the powerful influences it has upon this earth. Let those that have their dwelling in the firmament of his power, even the holy angels, lead in this good work. Some, by the sanctuary, as well as by the firmament of his power, understand the highest heavens, the residence of his glory; that is indeed his sanctuary, his holy temple, and there he is praised continually, in a far better manner than we can praise him. And it is a comfort to us, when we find we do it so poorly, that it is so well done there.

II. Upon what account this tribute of praise is due, upon many accounts, particularly, 1. The works of his power (v. 2): Praise him for his mighty acts; for his mightinesses (so the word is), for all the instances of his might, the power of his providence, the power of his grace, what he has done in the creation, government, and redemption of the world, for the children of men in general, for his own church and children in particular. 2. The glory and majesty of his being: Praise him according to his excellent greatness, according to the multitude of his magnificence (so Dr. Hammond reads it); not that our praises can bear any proportion to God's greatness, for it is infinite, but, since he is greater than we can express or conceive, we must raise our conceptions and expressions to the highest degree we can attain to. Be not afraid of saying too much in the praises of God, as we often do in praising even great and good men. Deus non patitur hyperbolum-We cannot speak hyperbolically of God; all the danger is of saying too little and therefore, when we have done our utmost, we must own that though we have praised him in consideration of, yet not in proportion to, his excellent greatness.

III. In what manner this tribute must be paid, with all the kinds of musical instruments that were then used in the temple-service, v. 3-5. It is well that we are not concerned to enquire what sort of instruments these were; it is enough that they were well known then. Our concern is to know, 1. That hereby is intimated how full the psalmist's heart was of the praises of God and how desirous he was that this good work might go on. 2. That in serving God we should spare no cost nor pains. 3. That the best music in God's ears is devout and pious affections, non musica chordula, sed cor-not a melodious string, but a melodious heart. Praise God with a strong faith; praise him with holy love and delight; praise him with an entire confidence in Christ; praise him with a believing triumph over the powers of darkness; praise him with an earnest desire towards him and a full satisfaction in him; praise him by a universal respect to all his commands; praise him by a cheerful submission to all his disposals; praise him by rejoicing in his love and solacing yourselves in his great goodness; praise him by promoting the interests of the kingdom of his grace; praise him by a lively hope and expectation of the kingdom of his glory. 4. That, various instruments being used in praising God, it should yet be done with an exact and perfect harmony; they must not hinder, but help one another. The New-Testament concert, instead of this, is with one mind and one mouth to glorify God, Rom. 15:6.

IV. Who must pay this tribute (v. 6): Let every thing that has breath praise the Lord. He began with a call to those that had a place in his sanctuary and were employed in the temple-service; but he concludes with a call to all the children of men, in prospect of the time when the Gentiles should be taken into the church, and in every place, as acceptably as at Jerusalem, this incense should be offered, Mal. 1:11. Some think that in every thing that has breath here we must include the inferior creatures (as Gen. 7:22), all in whose nostrils was the breath of life. They praise God according to their capacity. The singing of birds is a sort of praising God. The brutes do in effect say to man, "We would praise God if we could; do you do it for us." John in vision heard a song of praise from every creature which is in heaven, and on the earth, and under the earth, Rev. 5:13. Others think that only the children of men are meant; for into them God has in a more peculiar manner breathed the breath of life, and they have become living souls, Gen. 2:7. Now that the gospel is ordered to be preached to every creature, to every human creature, it is required that every human creature praise the Lord. What have we our breath, our spirit, for, but to spend it in praising God; and how can we spend it better? Prayers are called our breathings, Lam. 3:56. Let every one that breathes towards God in prayer, finding the benefit of that, breathe forth his praises too. Having breath, let the praises of God perfume our breath; let us be in this work as in our element; let it be to us as the air we breathe in, which we could not live without. Having our breath in our nostrils, let us consider that it is still going forth, and will shortly go and not return. Since therefore we must shortly breathe our last, while we have breath let us praise the Lord, and then we shall breathe our last with comfort, and, when death runs us out of breath, we shall remove to a better state to breathe God's praises in a freer better air.

The first three of the five books of psalms (according to the Hebrew division) concluded with Amen and Amen, the fourth with Amen, Hallelujah, but the last, and in it the whole book, concludes with only Hallelujah, because the last six psalms are wholly taken up in praising God and there is not a word of complaint or petition in them. The nearer good Christians come to their end the fuller they should be of the praises of God. Some think that this last psalm is designed to represent to us the work of glorified saints in heaven, who are there continually praising God, and that the musical instruments here said to be used are no more to be understood literally than the gold, and pearls, and precious stones, which are said to adorn the New Jerusalem, Rev. 21:18, 19. But, as those intimate that the glories of heaven are the most excellent glories, so these intimate that the praises the saints offer there are the most excellent praises. Prayers will there be swallowed up in everlasting praises; there will be no intermission in praising God, and yet no weariness-hallelujahs for ever repeated, and yet still new songs. Let us often take a pleasure in thinking what glorified saints are doing in heaven, what those are doing whom we have been acquainted with on earth, but who have gone before us thither; and let it not only make us long to be among them, but quicken us to do this part of the will of God on earth as those do it that are in heaven. And let us spend as much of our time as may be in this good work because in it we hope to spend a joyful eternity. Hallelujah is the word there (Rev. 19:1, 3); let us echo to it now, as those that hope to join in it shortly. Hallelujah, praise you the Lord.

Calvin's Commentary

1. Praise God in his sanctuary: praise him in the firmament of his power. 2. Praise him in, his might; praise him for the plenitude of his greatness. 3. Praise him with sound of trumpet, [306] praise him with psaltry and harp. 4. Praise him with timbrel [307] and pipe, [308] praise him upon chords, [309] and the organ. [310] 5. Praise him upon cymbals of sound, praise him upon cymbals of jubilation [311] 6. Whatsoever breathes, let it praise God. Hallelujah.

1. Praise God in his sanctuary. This psalm in general commends the spiritual worship of God, which consists in sacrifices of praise. By the sanctuary there is little doubt that heaven is here meant, as is often the case elsewhere. The second clause is exegetical, for the same thing is repeated. But for sanctuary we read rqy, rekia, that is, the expanse of heaven, to which is added the epithet of power, because there we have a proof of the matchless power of God, so that we cannot look to the heavens without being lost in admiration. As to the interpretation which some give -- Praise God, ye angels who inhabit the heavens, and ye men who dwell under the firmament, it is forced and unnatural; for the Psalmist, in order to awaken men who grow languid in God's praises, bids them lift their eyes towards the heavenly sanctuary. That the majesty of God may be duly reverenced, the Psalmist represents him as presiding on his throne in the heavens; and he enlarges upon the same truth in the second verse, celebrating his power and his greatness, which he had brought under our notice in the heavens, which are a mirror in which they may be seen. If we would have our minds kindled, then, to engage in this religious service, let us meditate upon his power and greatness, which will speedily dispel all such insensibility. Though our minds can never take in this immensity, the mere taste of it will deeply affect us. And God will not reject such praises as we offer according to our capacity.

3. Praise him with sound of trumpet. I do not insist upon the words in the Hebrew signifying the musical instruments; only let the reader remember that sundry different kinds are here mentioned, which were in use under the legal economy, the more forcibly to teach the children of God that they cannot apply themselves too diligently to the praises of God -- as if he would enjoin them strenuously to bring to this service all their powers, and devote themselves wholly to it. Nor was it without reason that God under the law enjoined this multiplicity of songs, that he might lead men away from those vain and corrupt pleasures to which they are excessively addicted, to a holy and profitable joy. Our corrupt nature indulges in extraordinary liberties, many devising methods of gratification which are preposterous, while their highest satisfaction lies in suppressing all thoughts of God. This perverse disposition could only be corrected in the way of God's retaining a weak and ignorant people under many restraints, and constant exercises. The Psalmist, therefore, in exhorting believers to pour forth all their joy in the praises of God, enumerates, one upon another, all the musical instruments which were then in use, and reminds them that they ought all to be consecrated to the worship of God.

6. Whatever breathes, etc. As the word nsmh, neshamah, means breath, or blowing, and whatever is animate, or breathes, the words may be extended to every kind of living creatures, as we have seen in the preceding psalms that the declaration of God's praises is assigned even to things wanting intelligence. But as men exclusively are often meant under the name of "flesh," so we may very well suppose that the words have reference here to men, who, although they have vital breath in common with the brute creation, obtain by way of distinction the name of breathing, as of living creatures. I am led to think this for the following reason: As yet the Psalmist has addressed himself in his exhortations to the people who were conversant with the ceremonies under the law, now he turns to men in general, tacitly intimating that a time was coming when the same songs, which were then only heard in Judea, would resound in every quarter of the globe. And in this prediction we have been joined in the same symphony with the Jews, that we may worship God with constant sacrifices of praise, until being gathered into the kingdom of heaven, we sing with elect angels an eternal hallelujah.

Footnotes:

[306] "The trumpets of the last Temple were probably formed after the ancient model; and as these are represented among the spoils of that Temple on the Triumphal Arch of Titus at Rome, we are enabled to see that they were long straight trumpets, of a form which has always been and continues to be common... Trumpets and horns are the only instruments concerning which any directions are given in the law. In the infancy of a state,' says Burney, a nation has but little leisure for cultivating music any otherwise than as it is connected with religious rites and the military art;' and it is thus that he accounts for the fact, that (with the exception of Miriam's timbrel) no instruments but horns and trumpets are noticed in the Law. And, indeed, it may be said that they are scarcely mentioned as musical instruments, but as suited to and employed for making signals, calls, and conveying instructions during the religious solemnities, and in the field of war... It is clear, however, that trumpets and cornets were introduced into the musical choirs in the time of David; while they still continued to be employed in their former service. The following particulars concerning the use of trumpets in the Temple will be useful, and are collected chiefly from Lightfoot's Temple Service.' The trumpets were sounded exclusively by the priests who stood not in the Levitical choir, but apart and opposite to the Levites, on the other side of the altar, both parties looking towards it--the priests on the west side, and the Levites on the east. The trumpets did not join in the concert; but were sounded during certain regulated pauses in the vocal and instrumental music "--Illustrated Commentary upon the Bible..

[307] See [5]footnote 293, Psalm 149:3.

[308] See [6]footnote 292, Psalm 149:3.

[309] The original word is vmnym "This word occurring nowhere else, it is impossible to ascertain what kind of instrument this was, but as Edwards, upon the authority of Rabbi Hannase makes, it a stringed instrument, and the word is probably derived from mnh, to number, probably it was so called from the extraordinary number of strings which it had; and perhaps it was the decachord, mentioned in Psalm 33:2, which, having ten strings, might be called Minim, kat exochen, as consisting of the greatest number of strings in use among the Jews." -- Dimock.

[310] The Hebrew name is gv, ougab. This instrument is equal in antiquity to the knvr, kinnor, both being mentioned in Genesis 4:21, as the invention of Jubal. These are the two first musical instruments the invention of which is recorded in Scripture, and the only ones mentioned before the deluge. Subsequently they are almost always mentioned in connection with each other. The ougab was not that complicated instrument which goes by the name of the organ in the present day. Calmet supposes it to have been a flute which consisted of a number of pipes, of unequal thickness and length, set close or joined together, which gave harmonious sound when blown into, by moving them successively under the lower lip. Such is the common opinion, and there seems no ground to dispute its correctness. This instrument was the small organ or syrinx, or fistula Panis of antiquity; its invention having been ascribed to Pan, the great sylvan god, who was usually figured with the instrument in his hands. According to the fable, he formed it of reeds which grew by the river, and played upon it while his goats were feeding on the banks; which shows that it was regarded as properly a pastoral instrument, and as such it seems to be mentioned by Job. (Job 21:11, 12.) The principle of its construction is so simple, that it is among the most widely diffused of musical instruments. It is in common use in the island of New Amsterdam, in the South Seas, as flutes and drums have been found in Otaheite and New Zealand, an uncontestable proof that these are instruments which tribes the most barbarous and the most remote from each other naturally invent. The number of tubes, as represented on ancient monuments, varies from seven to eleven.

[311] Of the Hebrew musical instrument called tsltsl, tsiltel, or "cymbal," as Calvin here renders it, and as it is rendered in the Septuagint and Vulgate, two kinds are here mentioned -- tsltslym, "tsiltelim," or, "cymbals of sound," and "tsiltelim," or "cymbals of jubilation." The specific difference between these two sorts of the same instrument is not accurately marked. The latter were probably of a larger size than the farmer, or made of such a shape or of such metals as to emit a louder sound. The former are translated by French and Skinner, "the soft cymbal." The literal translation of the Hebrew is, "cymbals of hearing," i.e., say these critics, "cymbals which when struck do not overpower the voices of the singers." They translate the latter, "the loud cymbals." The ancient cymbals were two convex or hollow plates of brass or other metal, as silver or copper, made in the form of cups, which were held in each hand, and which being struck against each other produced a sharp clanging sound. Some, however, think that the word tsiltzel exclusively denotes the sistrum, and that cymbals, properly speaking, are denoted by the word slysym shalishim, in 1 Samuel 18:6, which is, equally with the other, rendered cymbala by the Septuagint and the Vulgate, and which our authorized version translates "instruments of music." It is difficult to decide as to these two opinions; but it seems admitted on all hands that both cymbals and sistrums were in use among the Jews. The sistrum was a concave plate of sonorous metal, and of an oval configuration, crossed by bars of the same metal with reverted ends. These bars moved freely in the holes through which they passed, and when the instrument was shaken by the handle to which it was fixed, the reverted ends striking upon the body of the instrument produced the sound. It had generally three or four transverse bars. It was much used by the Egyptians in their religious services, and actual specimens of it of an ancient date have been discovered. See [7]volume 3

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