EXPOSITION
AT first sight this psalm seems to be composed of two quite separate fragments (Psalms 24:1-4 and Psalms 24:7-10); whence Ewald has laid it down that, in their origin, the two parts were wholly separate, and that the union took place subsequently. But a careful consideration reveals points of unity which favour the view that the connection was intended from the first, and is essential and congenital. "The glory of the approaching Lord is, in both parts of the psalm, the fundamental idea" (Hengstenberg). Both parts speak of an ascent into the holy hill of Zion, the first manifestly (Psalms 24:3), the second by implication (Psalms 24:7, Psalms 24:9). If we regard part it; with most critics, as intended to be sung by the choir of Levites, which bore and accompanied the ark of the covenant as it was brought to the gates of the tabernacle or of the citadel of Zion, then it is clear that in part 1. we have a very suitable introduction. Part 1. puts forward two ideas—the infinite glory of God (Psalms 24:1, Psalms 24:2), and the need of holiness in all that draw near to him (Psalms 24:3-6). To impress on the minds of those present the infinite glory of God is the main object of part it.; while, if we regard the lifting up of the gates as emblematic of the lifting up of men's hearts, we may say that the direct teaching of the part is the need of a pure spirit of devotion in worshippers.
David's authorship is allowed by most critics; and the most probable period of the composition is the time when David determined to bring up the ark of God from the house of Obed-Edom to the tabernacle which he had prepared for it on Mount Zion (2 Samuel 6:12).
The psalm is made up of three strophes: Psalms 24:1, Psalms 24:2; Psalms 24:3-6; and Psalms 24:7-10. The first and second arc closely connected; the third is a little detached.