The psalmist's vocabulary is full of synonyms for sin, which witness to the profound consciousness of it which law and ritual had evoked in devout hearts. First, he speaks of it in the abstract, as "wickedness" and "evil." Then he passes to individuals, of whom he singles out two pairs, the first a more comprehensive and the second a more specific designation. The former pair are "the foolish" and "workers of iniquity." The word for "foolish" is usually translated by the moderns "arrogant," but the parallelism with the general expression "workers of iniquity" rather favours a less special meaning, such as Hupfeld's "fools" or the LXX.'s "transgressors." Only in the last pair are special forms of evil mentioned, and the two selected are significant of the psalmist's own experience. _Liars_ and _men of blood and craft_ are his instances of the sort of sinners most abominable to God. That specification surely witnesses to his own sufferings from such. In ver. 7 the psalmist comes back to the personal reference, contrasting his own access to God with the separation of evil-doers from His presence. But he does not assert that he has the right of entrance because he is pure. Very strikingly he finds the ground of his right of entry to the palace in God's "multitude of mercy," not in his own innocence. Answering to "in Thy righteousness" is "in Thy fear." The one phrase expresses God's disposition to man which makes access possible, the other man's disposition to God which makes worship acceptable. "In the multitude of Thy mercy" and "in Thy fear," taken together, set forth the conditions of approach. Having regard to ver. 4, it seems impossible to restrict the meaning of "Thy house" to the material sanctuary. It is rather a symbol of communion, protection, and friendship. Does the meaning pass into the narrower sense of outward worship in the material "temple" in the second clause? It may be fairly taken as doing so (Hupfeld). But it may be maintained that the whole verse refers to the spiritual realities of prayer and fellowship, and not at all to the externalities of worship, which are used as symbols, just as in ver. 3 prayer is symbolised by the morning sacrifice. But probably it is better to suppose that the psalmist's faith, though not tied to form, was fed by form, and that symbol and reality, the outward and the inward worship, the access to the temple and the approach of the silent soul to God, are fused in his psalm as they tended to be in his experience. Thus the first part of the psalm ends with the psalmist prostrate (for so the word for "worship" means) before the palace sanctuary of his King and God. It has thus far taught the conditions of approach to God, and given a concrete embodiment of them in the progress of the singer's thoughts from petition to assurance and from resolve to accomplishment.