Matthew Henry's Complete Commentary
Matthew Henry · 1714
Matthew Henry 사후(1714) 공개 도메인. 디지털판 CC0-1.0.
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Jamieson-Fausset-Brown Commentary Critical and Explanatory on the Whole Bible
Robert Jamieson, A. R. Fausset, David Brown · 1871
Commentary Critical and Explanatory on the Whole Bible (1871). CCEL expanded electronic edition states it is in the public domain.
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Barnes' Notes on the Bible
Albert Barnes · 1834
Albert Barnes' Notes on Revelation Of St. John The Divine (New Testament, English original, public domain). Sourced from the Christian Classics Ethereal Library (CCEL). Public domain. Retrieval mirror: biblehub.com/commentaries/barnes.
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Adam Clarke's Commentary and Critical Notes on the Bible
Adam Clarke · 1831
Public domain English commentary by Adam Clarke, normalized from Wikisource book pages for scripture.how. Public domain. Retrieval mirror: biblehub.com/commentaries/clarke.
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John Gill's Exposition of the Bible
John Gill · 1763
John Gill(1697-1771), Exposition of the Old and New Testament(1746-1763). Public domain. Retrieval mirror: biblehub.com/commentaries/gill.
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Calvin's Commentaries
John Calvin · 1850
종교개혁 신학 원천 (영역본 PD, 대부분 — 전권 아님)
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Matthew Poole's Annotations upon the Holy Bible
Matthew Poole · 1685
간결 절별 전권 개혁주의 주석
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The Pulpit Commentary
ed. H.D.M. Spence & Joseph S. Exell · 1890
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Keil & Delitzsch Commentary on the Old Testament
Carl F. Keil, Franz Delitzsch · 1866
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Ellicott's Commentary for English Readers
ed. Charles J. Ellicott · 1878
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Cambridge Bible for Schools and Colleges
Cambridge (다저자) · 1900
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Vincent's Word Studies in the New Testament
Marvin R. Vincent · 1887
신약 헬라어 단어 연구
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Word Pictures in the New Testament
A.T. Robertson · 1933
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The Expositor's Greek Testament
ed. W. Robertson Nicoll (다저자) · 1910
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Meyer's Critical and Exegetical Commentary on the New Testament
Heinrich A.W. Meyer · 1880
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Wesley's Explanatory Notes
John Wesley · 1755
간결 실용 전권(NT 1755 / OT 1765) 웨슬리안
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Benson's Commentary of the Old and New Testaments
Joseph Benson · 1815
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The Treasury of David
Charles H. Spurgeon · 1885
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MacLaren's Expositions of Holy Scripture
Alexander Maclaren · 1910
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The People's New Testament
B.W. Johnson · 1891
평이 절별 신약 해설 (일반신자·모바일)
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Coke's Commentary on the Holy Bible
Thomas Coke · 1803
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Trapp's Complete Commentary
John Trapp · 1660
청교도 전권 주석 — Henry/Gill 보완
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Hodge's Commentary on the New Testament
Charles Hodge · 1860
프린스턴 조직신학 관점 신약 정밀 주석 (롬·고전후·엡)
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This psalm (title) is inscribed "To the chief Musician upon Neginah." On the meaning of the expression, "To the chief Musician," see the notes at the title to Psalm 4:1-8, where also we have the following word in another form, - "on Neginoth" - the plural, instead of the singular. The word means a stringed instrument; and the idea is, that the psalm was committed to the leader of those who played on stringed instruments in the sanctuary.
The psalm is ascribed to David, but the occasion on which it was composed is not specified. From the psalm itself it is evident that it was composed by one who was in exile Psalm 61:2, and by one who was a king Psalm 61:6. The supposition which best agrees with all the circumstances alluded to in the psalm is, that it was composed by David when he was driven into exile on the rebellion of Absalom, and that it was composed when he was still beyond the Jordan 2 Samuel 17:22, and when his life was yet in danger. Psalm 42:1-11 and Psalm 43:1-5 refer to the same period, and have the same general characteristics.
The psalm consists of the following parts:
I. A prayer for the divine interposition, Psalm 61:1-2. The psalmist was far away from his home - in exile - and his heart was overwhelmed.
II. A reference to former mercies, and to the divine interposition in other days, as a ground of hope and of pleading now, Psalm 61:3-5.
III. An expression of confident assurance that his prayer would be heard; that his life would be preserved; that his days would be lengthened out, and that he would be delivered from danger, Psalm 61:6-7.
IV. The result of this deliverance; or, as an expression of gratitude for it, a purpose to devote himself to God, in a life spent in the daily performance of his vows, Psalm 61:8.
Adam Clarke's Commentary and Critical Notes on the Bible
Psalm 61 Introduction
The psalmist's prayer for those who mere banished from their own land, and from the ordinances of God, Psalm 61:1, Psalm 61:2. He praises God for his past mercies, Psalm 61:3; purposes to devote himself entirely to his service, Psalm 61:4, Psalm 61:5. He prays for the king, Psalm 61:6, Psalm 61:7; and promises to perform his vow to the Lord daily, Psalm 61:8.
The title, To the chief Musician upon Neginath, נגינת. The verb נגן nagan signifies to strike or play on a musical instrument, especially one of the stringed kind; but the נגינות neginoth, as it is written in about thirty MSS., may signify either the players on the instruments or the instruments themselves. The Psalm appears to have been written about the close of the captivity, and the most judicious interpreters refer it to that period. On this supposition the notes are formed.
INTRODUCTION TO Psalm 61
To the chief Musician upon Neginah, A Psalm of David. "Neginah" is either the beginning of a song, as Aben Ezra; or the musical note or tune of one: or rather the name of a musical instrument, which was touched by the hand, or with a quill or bow. It is the singular of "neginoth", See Gill on Psalm 4:1. This psalm was written by David, when at the end of the earth, or land of Judea, as appears from Psalm 61:2; either when he was fighting with the Syrians, as R. Obadiah, and so was composed about the same time with the former; or when he was in the land of the Philistines, being obliged to fly there from Saul, as Kimchi and others: or rather after he himself was king, since mention is made of the king in it; and when he fled from his son Absalom, and passed over to the other side of Jordan, and came to Mahanaim, 2 Samuel 17:22; where very probably he wrote this psalm. In it respect is had to the Messiah, as in Psalm 61:2; though Arama thinks it was composed after the prophecy came to Nathan that David should not build the temple; see Psalm 61:4.
LXI.
Here we have the prayer of an Israelite living at a distance from his country, and declaring in the simplest possible manner that in spite of this banishment he does not feel remote from God nor deprived of the Divine protection. It is a forecast of the great principle of spiritual worship which Jesus Christ was to proclaim.
Tradition assigns this exquisite little song, with its fine spiritual discernment, to David. The repetition of the imagery of the high tower is in the Davidic style, but many critics think it breathes rather of the time of the captivity. Three equal stanzas of six short lines and elegant rhythm compose the poem.
Title—See title Psalms 4.
Neginah, properly negînath, probably an error for negînôth, as in Psalms 4, as the LXX. and Vulg. (“in hymns”) evidently read it. Or it may be an anomalous form of negînah, which, in Job 30:9, means a satirical song.
The author of this Psalm is far from Jerusalem. Though his prayers have in part been answered, and he can look forward to his return with confidence, he is still in dispiriting circumstances. He is either a king, or one closely connected with a king and deeply interested in his welfare. At first sight Psalm 61:6-7 seem to favour the latter hypothesis; but inasmuch as the stress in these verses is upon the king’s office, not upon his personality, a king might appropriately speak of himself in the third person; and this view best explains the connexion of the verses.
The Psalm belongs therefore to the time of the monarchy; for there is no real ground for supposing that one of the Maccabaean princes, of whom Aristobulus I (b.c. 105) was the first to assume the title of king, is meant. If David was the author, it may best be referred to the time when he was at Mahanaim, after the collapse of Absalom’s rebellion, but before his recall to Jerusalem.
The hope of return to “God’s dwelling-place,” which finds such touching expression in this Psalm (Psalm 61:4), lay deep in his heart as he left the city (2 Samuel 15:25); Psalm 61:3 may refer to the hairbreadth escapes of his earlier life; Psalm 61:6-7 allude to the great promise of 2 Samuel 7; the phrase ‘God’s tent’ (Psalm 61:4) may naturally be connected with the tent which David pitched for the Ark. At any rate David’s situation gives point to the Psalm and helps to explain it.
The Psalm is best divided into two equal stanzas.
i. Prayer for support and restoration to God’s dwelling-place (Psalm 61:1-4).
ii. He appeals to the experience of answered prayer and to the certainty of God’s promises to the king, and looks forward with confidence to a life of thanksgiving for God’s mercy (Psalm 61:5-8).
The Psalm has affinities with Psalms 20, 21, 27, 42, 43, 63, and with Proverbs.
In later times the Psalm was naturally adopted as a prayer of the nation in its dispersion, and the king was interpreted to refer to the Messiah. See the Targum on Psalm 61:6; Psalm 61:8.
Upon Neginath in the title may mean On a stringed instrument (R.V.), or To the accompaniment of stringed music: or possibly, Set to the song of …, some word of definition being lost. See Introd. p. xxiv.
Jamieson-Fausset-Brown Commentary Critical and Explanatory on the Whole Bible
Ps 61:1-8.
Ps 61:1-8.
Neginah--or, Neginoth (see on
Ps 4:1,
title). Separated from his usual spiritual privileges, perhaps by Absalom's rebellion, the Psalmist prays for divine aid, and, in view of past mercies, with great confidence of being heard.
1-3. From the end--that is, places remote from the sanctuary
(De 28:64).
Hear my cry, O God - See the notes at Psalm 5:2. The word rendered cry in this place sometimes denotes a joyful shout - a shout of triumph; but the connection makes it certain that it here refers to the voice of prayer. It is implied that it was audible prayer, or that the psalmist gave utterance to his desires in words. It is language such as would be produced by deep distress; when a sad and burdened heart gives vent to its feelings in a loud cry for mercy.
Attend unto my prayer - Give ear; incline the ear to me, Psalm 5:1; Psalm 17:1, Psalm 17:6; Psalm 39:12; Psalm 71:2.
David, in this psalm, as in many others, begins with a sad heart, but concludes with an air of pleasantness—begins with prayers and tears, but ends with songs of praise. Thus the soul, by being lifted up to God, returns to the enjoyment of itself. It should seem David was driven out and banished when he penned this psalm, whether by Saul or Absalom is uncertain: some think by Absalom, because he calls himself "the king" (Ps 61:6), but that refers to the King Messiah. David, in this psalm, resolves to persevere in his duty, encouraged thereto both by his experience an by his expectations. I. He will call upon God because God had protected him, Ps 61:1-3. II. He will call upon God because God had provided well for him, Ps 61:4,5. III. He will praise God because he had an assurance of the continuance of God's favour to him, Ps 61:6-8. So that, in singing this psalm, we may find that which is very expressive both of our faith and of our hope, of our prayers and of our praises; and some passages in this psalm are very peculiar.