Psalms 40:3

Authorized King James Version

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And he hath put a new song in my mouth, even praise unto our God: many shall see it, and fear, and shall trust in the LORD.

Original Language Analysis

וַיִּתֵּ֬ן And he hath put H5414
וַיִּתֵּ֬ן And he hath put
Strong's: H5414
Word #: 1 of 11
to give, used with greatest latitude of application (put, make, etc.)
בְּפִ֨י׀ in my mouth H6310
בְּפִ֨י׀ in my mouth
Strong's: H6310
Word #: 2 of 11
the mouth (as the means of blowing), whether literal or figurative (particularly speech); specifically edge, portion or side; adverbially (with prepos
שִׁ֥יר song H7892
שִׁ֥יר song
Strong's: H7892
Word #: 3 of 11
a song; abstractly, singing
חָדָשׁ֮ a new H2319
חָדָשׁ֮ a new
Strong's: H2319
Word #: 4 of 11
new
תְּהִלָּ֪ה even praise H8416
תְּהִלָּ֪ה even praise
Strong's: H8416
Word #: 5 of 11
laudation; specifically (concretely) a hymn
לֵֽאלֹ֫הֵ֥ינוּ unto our God H430
לֵֽאלֹ֫הֵ֥ינוּ unto our God
Strong's: H430
Word #: 6 of 11
gods in the ordinary sense; but specifically used (in the plural thus, especially with the article) of the supreme god; occasionally applied by way of
יִרְא֣וּ shall see H7200
יִרְא֣וּ shall see
Strong's: H7200
Word #: 7 of 11
to see, literally or figuratively (in numerous applications, direct and implied, transitive, intransitive and causative)
רַבִּ֣ים many H7227
רַבִּ֣ים many
Strong's: H7227
Word #: 8 of 11
abundant (in quantity, size, age, number, rank, quality)
וְיִירָ֑אוּ it and fear H3372
וְיִירָ֑אוּ it and fear
Strong's: H3372
Word #: 9 of 11
to fear; morally to revere; causatively to frighten
וְ֝יִבְטְח֗וּ and shall trust H982
וְ֝יִבְטְח֗וּ and shall trust
Strong's: H982
Word #: 10 of 11
properly, to hie for refuge (but not so precipitately as h2620); figuratively, to trust, be confident or sure
בַּיהוָֽה׃ in the LORD H3068
בַּיהוָֽה׃ in the LORD
Strong's: H3068
Word #: 11 of 11
(the) self-existent or eternal; jeho-vah, jewish national name of god

Analysis & Commentary

And he hath put a new song in my mouth, even praise unto our God: many shall see it, and fear, and shall trust in the LORD. This verse describes the natural consequence of divine deliverance: transformed worship. The 'new song' (shir chadash, שִׁיר חָדָשׁ) isn't merely a new composition but qualitatively new praise arising from fresh experience of God's salvation. Several psalms call for 'new songs' (Psalms 33:3, 96:1, 98:1, 144:9, 149:1), each celebrating God's mighty acts that demand fresh response.

'He hath put' (natan, נָתַן) emphasizes divine agency—God gives the song, just as He gave the deliverance. We don't manufacture praise through effort; it's God's gift flowing from His work. When God saves, praise inevitably follows. This contrasts with attempts to generate enthusiasm through emotional manipulation; genuine worship springs from genuine encounter with God's saving power.

'In my mouth' (befi, בְּפִי) indicates that inner gratitude must find vocal expression. Worship isn't merely private feeling but public declaration. Romans 10:10 connects heart belief with mouth confession: 'With the heart man believeth unto righteousness; and with the mouth confession is made unto salvation.' The saved person becomes witness, the delivered becomes testifier, the rescued becomes herald of God's goodness.

The final clause reveals worship's evangelistic effect: 'many shall see it, and fear, and shall trust in the LORD.' David's deliverance and subsequent praise become testimony that draws others to faith. 'See' (yir'u, יִרְאוּ) means to perceive, to understand, to recognize. 'Fear' (veyira'u, וְיִירָאוּ) means reverent awe, not terror—recognizing God's power and holiness. 'Trust' (veyivtechu, וְיִבְטְחוּ) is the goal—that observers would place confident faith in YHWH. One person's testimony multiplies as others witness God's faithfulness and respond with their own trust. This is how revival spreads—not through programs but through authentic testimonies of God's saving power.

Historical Context

Israel's worship tradition centered on recounting God's mighty acts. The psalms function as testimony set to music, enabling corporate remembrance and celebration of divine faithfulness. Historical psalms like 78, 105, 106, and 136 rehearse salvation history—exodus, wilderness wandering, conquest, and covenant faithfulness. Each generation received and transmitted these testimonies, maintaining living connection to God's past acts and expecting future deliverance.

The 'new song' motif appears prominently in contexts of divine intervention. Exodus 15 records Moses and Israel's 'new song' after Red Sea deliverance. Judges 5 preserves Deborah and Barak's song after defeating Sisera. These weren't pre-composed liturgies but spontaneous responses to fresh experiences of God's salvation. The newness wasn't stylistic innovation but theological content—celebrating newly accomplished deliverance.

The verse's evangelistic dimension reflects Israel's missionary calling. Though not commissioned to global evangelism like the church, Israel was to be 'a kingdom of priests' (Exodus 19:6), a 'light to the Gentiles' (Isaiah 42:6, 49:6). When God blessed, delivered, or exalted Israel, surrounding nations were to observe and recognize YHWH's supremacy. Solomon's dedicatory prayer for the temple requested that 'all people of the earth may know thy name, to fear thee' (1 Kings 8:43).

The New Testament amplifies this evangelistic dimension. Peter calls the church 'a chosen generation... that ye should shew forth the praises of him who hath called you out of darkness into his marvellous light' (1 Peter 2:9). The church's primary evangelistic method is testimony—believers declaring what God has done. Paul's conversion testimony appears three times in Acts, becoming paradigmatic for Christian witness. Revelation prophesies that the redeemed will sing 'a new song' before the throne (Revelation 5:9, 14:3), celebrating completed redemption.

Questions for Reflection