O Lord my God, Thou art very great.
A hymn of praise to God in Nature
I. The universality of God’s workings in Nature.
1. In the domain of dead matter. He is operating in the waters as they sail in the clouds, come down in the showers, etc. He is operating on the crusted earth, laying its “foundations,” touching its soil into verdure, and shaking it by volcanic fires. “He looketh on the earth and it trembleth,” etc.
2. In the domain of living matter,
(1) He works in all vegetable life--in the smallest blade as well as in the mightiest monarchs of the forest.
(2) He works in all sentient life--feeds every beast of the field, etc.
3. In the domain of rational existence. God works in all moral minds, from the highest angel to the humblest soul on earth.
II. The personality of God’s workings in Nature.
1. He works sublimely. If we take the telescope, we are struck with mute amazement at the vastness and splendour of the stellar systems; if we take the microscope and look at the wing of the smallest insect, or even at an atom of metallic dust, what brilliancy and perfection we discover. He paints His beauty on an insect’s wing, and wheels His throne upon the rolling worlds.
2. He works incessantly. There is no pause in His exertions; He neither slumbers nor sleeps, always at work, and at work everywhere and in everything. “It takes as much life,” says Emerson, “to conserve as to create the universe.”
3. He works benevolently. His desire to communicate His blessedness to other beings is the philosophy of the universe.
4. He works wisely. The Great Author never revises His books, the Great Architect never alters His plans.
5. He works in nature morally.
(1) The inspiring of the human soul with rapturous worship (verse 34). There is no true happiness without true worship; and God so appears in Nature as to awaken all souls into an anthem of praise.
(2) To clear from the soul all moral wrong (verse 35). God’s purpose, in all His operations on the earth as well as in the truths of His Gospel, is to make this world morally better and happier. (Homilist.)
A psalm of Providence
This and the psalm immediately foregoing are closely connected. The one sings of God in salvation, the other of God in creation. The first is a hymn; the second, a poem. The first is the peculiar song of the Church; the second, of all His manifold works. The opening of the psalm conveys a sense of being bowed down with the greatness of the Divine Majesty. No description of God is attempted. Only His robe is seen. Light is the robe of God, with which He has covered Himself. And water is the robe of earth, with which God has covered it. This thought governs the chief part of the poem. It might be called the water psalm. For physical life, as we know it, water is essential. God may have creatures formed of fire and living in the fierce stars. God has, we believe, beings of a spiritual nature. But in the natural universe it is only in that small region where water can exist that vegetable, animal, and human life are found. We can but live in earth’s water robe. And grandly the psalmist describes it. In clouds the waters gather above the mountains, and await the Divine bidding. Then they hasten to their appointed work. Some roll up the hill sides in mists, some stream down in rivulets; all go to the place God has appointed them. In the deep seas they dance in waves, and roar on the beach, but keep their bounds. With splendid vivacity the poet then describes the water at work in sustaining life. The wild ass drinks, and his strength is renewed. The cedars of Lebanon have their draughts. The great trees, water sustained, provide homes for the singing birds. In them the stork has her house. Grass for cattle, bread and wine and oil for men, supplying varied needs, are produced. In the far-stretching sea there is vigorous life in many and varied forms. And as thus the waters are seen to obey their first command, to bring forth abundantly, there comes the beautiful remark, “These all wait upon Thee, O God,” etc. The 104th psalm is very evidently a paraphrase of the 1st chapter of the Book of Genesis. There is this great difference, the psalm before us is rather a song of Providence than of creation. It does not speak of God as completing the machinery of earth and then setting it in motion and retiring for rest. It is God ever living, ever watching, ever at work. This psalm is the necessary supplement to Genesis. In the panorama at the opening of Holy Scripture there is calm and restfulness, but in the picture here all is movement. In the one God looks, and again and again pronounces all to be good. But here there are signs of the entrance of some element of restlessness and disorder. The mountain streams suffer rebuke--they are chased by thunder to their appointed place. When night comes the young lions are heard roaring after their prey. When the sun leads in the dawn man has to go to his toil and labour until the evening. There is something wrong. Signs of manifold wisdom are apparent, but there are darkness, want, toil, trouble, and death. A discord has evidently entered, and the perfect harmony is gone. Here then is a great mystery. Looking abroad upon nature, the prospect is that of a glorious creation, but with something wrong. It has been compared to a perfect chronometer into the works of which a pin has fallen. Science cannot but see much that is mysterious, and at times seem baffled. Creation tells of marvellous wisdom, but all is not right. It shows vast arrangements for happiness which something has marred. This world is a vase of exceeding loveliness, but it has fallen and lies shattered with jagged edges and points. The study of nature ever leads to the conclusion that it is the work of infinite wisdom, but spoiled in some mysterious manner. Everywhere are there signs of the handiwork of One who wrought for purity and peace and love, and everywhere is foulness and disorder and war. Fact or poem, Genesis gives the only solution. Sin has entered, and the splendid work is shattered. With a truer science than many of those who profess to study nature, the psalmist recognizes this and breathes the prayer, “May sinners pass away from the earth and evil-doers be no more. Bless the Lord, O my soul. Hallelujah.” St. Augustine of Hippo, in his very remarkable series of sermons on this psalm, comes to the conclusion that a spiritual meaning must be sought. He will have water here to allude to “the love of God which is shed abroad on our hearts by the Holy Spirit which is given us.” By the world which He hath so founded “that it shall not be moved for ever and ever,” he says “I understand the Church.” As light is the garment of God, and water the garment of earth, so is love the garment of the Church. It is only as she is robed in this that she is attired with beauty. It is her wedding garment, for he that loveth not is not in Christ. It is in love that God lays the beams of the chambers of His home where there are many mansions. It is love that flows up over the lofty mountains and down in cascades to the humble valleys, sometimes in rushing torrents, and sometimes in hidden springs. It is love that gives verdure and refreshment, and through which souls find a home. Love which is like a mighty sea wherein live creatures innumerable. In God’s works in nature are seen His glory and majesty. In the Church is manifest His love. And it is as we consider this, that with sweetest notes we sing, “My meditations of Him shall be sweet, I will be glad in the Lord.” (J. H. Cooke.)
The greatness of God
I. In comparison with the kings of the earth. We read of Alexander the Great, of Constantine the Great, and Frederick the Great, but, verily, in comparison with the God of heaven, their greatness dwindles into insignificance--dwindles into nothing! Have they thrones? Their thrones are upon the earth; God’s throne is in the heavens, “high above all height.” Have they robes? God’s robes are robes of light and majesty. Have they pavilions? He stretcheth forth the heavens as His pavilion, and spreadeth them out as a tent to dwell in. Have they chariots? He maketh the clouds His chariot--He walketh upon the wings of the wind. Have they kingdoms? The whole universe is God’s kingdom, and literally He ruleth over all.
II. In certain passages of Scripture which speak sublimely of Him (Habakkuk 3:3-6; Psalms 18:6-15; Isaiah 40:12; Isaiah 40:15-17; Revelation 20:11-12).
III. In certain attributes ascribed to Him.
1. He is uncreated and eternal.
2. Omniscient.
3. Omnipotent.
4. Omnipresent.
IV. In the mighty work of creation. We have spoken of His omnipotence as an attribute; here we have its sublime demonstration. How vast is this creation, and how wonderful in all its parts!
V. In the world of redemption. This exhibits His moral grandeur; and it is this which makes Him emphatically and supremely great indeed. Infinitely great in goodness as He is infinitely great in power; infinitely great in all His moral as in all His natural perfections; so that, in the sublimest sense, it may be said of Him that “He is a God, all o’er consummate, absolute, full orbed, in His whole round of rays complete.” Inferences.
1. How reasonable it is that we should worship and serve this only living and true God.
2. How dreadful a thing it must be to have this great God for an enemy.
3. How blessed it is to have God upon our side. (D. Baker, D.D.)
Nature
Nature has two great revelations,--that of use and that of beauty; and the first thing we observe about these two characteristics of her is, that they are bound together, and tied to each other. The beauty of nature is not, as it were, a fortunate accident, which can be separated from her use; there is no difference in the tenure upon which these two characteristics stand; the beauty is just as much a part of nature as the use; they are only different aspects of the self-same facts. It is worth observing, in the history of the mind of this country, the formation of a kind of passion for scenery and natural beauty. Though it might sometimes appear that there is nothing particularly serious in the current fashion, still the general sentiment shows a serious passion existing in the poetry and thought of the age, which it follows and copies. What is the religious bearing, then, of this modern passion for nature in its pictorial aspect? First, then, with respect to the place which the beauty of nature has in the argument of Design from nature. When the materialist has exhausted himself in efforts to explain utility in nature, it would appear to be the peculiar office of beauty to rise up suddenly as a confounding and baffling extra, which was not even formally provided for in his scheme. Nature goes off at a tangent which carries her farther than ever from the head under which he places her, and shows the utter inadequacy of that head to include all that has to be included in it. The secret of nature is farther off than ever from what he thinks of it. Physical science goes back and back into nature, but it is the aspect and front of nature which gives the challenge; and it is a challenge which no backward train of physical causes can meet. But again, nature is partly a curtain and partly a disclosure, partly a veil and partly a revelation; and here we come to her faculty of symbolism, which is so strong an aid to, and has so immensely affected, the principles of worship. It is natural for us to regard the beauty and grandeur of nature as not stopping with itself, but bearing a relation to something moral, of which it is the similitude and type. Certainly no person has a right to fasten his own fancies upon the visible creation, and say that its various features mean this and that, resemble this or that in the moral world; but if the association is universal, if we cannot even describe nature without the help of moral terms--solemn, tender, awful, and the like--it is evidence of a natural and real similitude of physical things to moral. Nature is sometimes spoken of in a pantheistic corporeal manner; as if it were a kind of bodily manifestation of the Divine Being, analogous to that garment of the flesh which encircles the human soul, and is the instrument of expression to it. But the manifestation of the Deity which takes place in the beauty of nature rests upon the ground and the principle of language. It is the revelation of the character of God in the way a material type or similitude can be. But a type is a kind of distinct language--the language of oblique and indirect expression, as contrasted with direct. While we do not worship the material created sign, for that would be idolatry, we still repose on it as the true language of the Deity. In this peculiar view of nature there are two points in striking concurrence with the vision-language of Scripture. First, Scripture has specially consecrated the faculty of sight, and has partly put forth, and has promised in a still more complete form, a manifestation of the Deity to mankind, through the medium of a great sight. This view only breaks out in fragments in the Old Testament. It emerges into light when nature is spoken of as the garment and robe of the Deity, when the glory of the Lord covers the tabernacle; when Moses is permitted to behold from the cleft in the rock the skirts of the Divine glory. Especially does the idea of a visible manifestation come out in the prophetic visions, where the splendid gleams and colours of nature, sapphire and amber, rainbow and flame, are collected together, and combined in an emblematic figure and shape, in order to make “the appearance of the likeness of the glory of the Lord.” “And when I saw,” says the Prophet, “I fell on my face, and I heard the voice of one that spake.” But the scattered rays of pictorial representation which only occasionally pierce through the clouds of the Old Testament, are gathered into one focus in the New, they converge and are absorbed into an ineffable, eternal appearance, in which God will ever be seen as He is, and they issue in the doctrine of the Visio Dei. Secondly, it must be remarked, as another principle in the Scriptural representation, that the act of seeing a perfectly glorious sight or object is what constitutes the spectator’s and beholder’s own glory. The future life is called a state of glory in Scripture, and it is called such not only in reference to the world in which it will be enjoyed, which is a glorious world, but also with regard to those who enjoy it; who attain to glory as a personal state. This personal state is enjoyed by them on this principle, that they are glorified as spectators of glory, that beholding Majesty is their own exaltation, and adoration their own ascent. But this latter is certainly the principle of nature and it is inculcated by all who vindicate the place and office of nature as a spectacle. No one was ever struck with wonder and admiration in beholding the works of God, no one was ever impressed strongly by the beauty and majesty of the visible creation, without at the same time feeling an accession of rank and elevation to himself from the act. (J. B. Mozley, D.D.)
Nature’s teaching
Nothing is more obvious than that the writers of the Psalms were attracted by the beauty, influence, and fecundity of the earth. Now beauty, apart from all else, is something which must for ever attract us. Beauty is something so subtle, so incomprehensible, that there is no language we can employ or discover which can in any way enable us to understand what is the common root and ground out of which all the beauty springs. And this particular view of nature is very highly important in this materialistic age, when men are so disposed to teach that there is nothing beyond what we see; and so lead our minds to the contemplation of what is material, to give an explanation of all the wonders of nature, the causes of their wonderful operations, and the secret of their power. Wherever you travel with a man of science, and you draw his attention to something in the universe, he will have ready to hand an explanation of what you have pointed out, and a ready answer to the difficulties in your mind. If you are travelling, for instance, in Switzerland, and you point out the grandeur and glory of the mountain range, he will at once begin to explain to you how they arose and got their present configuration, and be extremely learned with regard to the properties of which they consist. After he has dilated at great length, with all learning and profundity, on these aspects of nature, you suddenly turn to him and say, “All you tell me may be very true; your explanation may be very profound, and your science may be very subtle, but I would like to ask you one question. Can you tell me what the beauty of the mountains is? Is it the height, or the depth; is it the light or the shade? Is it the cloud above, or the earth beneath, which constitutes its beauty?” He looks at you and says, “That is beyond me.” For what is beauty? No man can describe it, or tell us what it is. It has no real existence apart from intelligence; for you must recollect that the beauty of nature is as much open and exposed to the brute as it is to you and to me. I am, therefore, left to draw a single inference, and that is this--The beauty of nature is not a mere accident; the beauty of nature is not something painted on the surface of nature. The beauty of nature is some integral part of its whole working; and while it is working as a machine it is sleeping as a picture. In the Bible you always find the writer draws the attention of the reader to the soul. The psalmist, after contemplating the glory of God, and that spectacle of light, felt there was a mystery beyond all explanation; and he called on his higher nature to rejoice. (Canon Barker.)