Bibelkommentare

In this psalm, I. David praises God for pleading his cause, and giving him victory over his enemies and the enemies of his country (Ps 9:1-6), and calls upon others to join with him in his songs of praise, Ps 9:11,12. II. He prays to God that he might have still further occasion to praise him, for his own deliverances and the confusion of his enemies, Ps 9:13,14,19,20. III. He triumphs in the assurance he had of God's judging the world (Ps 9:7,8), protecting his oppressed people (Ps 9:9,10,18), and bringing his and their implacable enemies to ruin, Ps 9:15-17. This is very applicable to the kingdom of the Messiah, the enemies of which have been in part destroyed already, and shall be yet more and more till they all be made his footstool, which we are to assure ourselves of, that God may have the glory and we may take the comfort.

Section 1

"Author of the psalm." This psalm is ascribed to David, not only in the title, but in all the versions, and there is no reason to doubt the correctness of this. It would not be difficult to show from its contents that the sentiments and style of composition are such as accord with the other compositions of David.

Section 2

"Occasion on which the psalm was composed." On this point nothing is intimated expressly in the psalm, unless it be in the title, "To the chief Musician upon Muth-labben." The meaning of and that it was composed on his death. Others, as Rudinger, suppose that it is a psalm of thanksgiving on occasion of the victory over Absalom, and the suppression of his rebellion by his death: a harsh and unnatural supposition, as if any father, in any circumstances, could compose a psalm of praise on occasion of the death of it son. Moeller supposes that it was composed on occasion of a victory over the Philistines by David; Ferrand, who unites this psalm with the following, supposes that the whole refers to the times of the captivity in Babylon, and is a triumphal song of the people over their enemies; and Venema, who also thinks that these two psalms should be united, supposes that Psalm 9:1-18 refers to David, and to his deliverance from all his enemies, and the remainder to the times of the Maccabees, and the deliverance from the persecutions under Antiochus Epiphanes. Dr. Horsley styles the psalm "thanksgiving for the extirpation of the Atheistical faction, promised in Psalm 10," and supposes that the order should be reversed, and that the whole refers to some great deliverance - either the "overthrow of the Babylonian empire by Cyrus, or the defeat of Haman's plot."

The Jewish writers, Jarchi and Aben Ezra, suppose that it was composed on occasion of the defeat and death of some foreign prince. From this variety of views, none of which seem to rest on certain historical grounds, it appears probable that the exact occasion on which the psalm was composed cannot now be ascertained in such a way as to leave no ground for doubt. The only indications of the occasion on which it this will be considered in another part of the introduction to the psalm (Section 4). it will be seen there that nothing is determined by that title in regard to the origin of the psalm, or the time when it was composed. Neither is there any certain tradition which will determine this, and most that has been written on this point has been mere conjecture, or has arisen out of some interpretation of the enigmatical title; "upon Muthlabben." Some have supposed that the word labben refers to some foreign king or prince slain by David, and that the psalm was composed on his death. Others, following the Targum, or Aramaic Paraphrase (see section 4), suppose that the person referred to was Goliath of Gath, was written must be found, if at all, in the psalm itself. In the psalm we find the following things, which may, perhaps, be all that is necessary to enable us to understand it.

(a) It was composed in view of "enemies" of the writer, or foes with whom he had been engaged, Psalm 9:3 : "When mine enemies are turned back, they shall fall and perish at thy presence." Compare Psalm 9:6, Psalm 9:13, Psalm 9:19-20.

(b) These were foreign enemies, or those who are called pagan, that is, belonging to idolatrous nations, Psalm 9:5 : "Thou hast rebuked the heathen." Compare Psalm 9:15, Psalm 9:19.

(c) They were desolating foes - invading foes - those who laid a land waste in their marches, Psalm 9:6 : "Thou hast destroyed cities: their memorial is perished with them."

(d) The writer had achieved a victory over them, and for this he celebrated the praises of God for his interposition, Psalm 9:1-2, Psalm 9:10-11, Psalm 9:15. This victory thus achieved was such as to make him certain of ultimate complete triumph.

(e) Yet he was still surrounded by enemies, and he still asks God's merciful interposition in his behalf, Psalm 9:13 : "Have mercy upon me, O Lord; consider my trouble which I suffer of them that hate me, thou that liftest me up from the gates of death." Compare Psalm 9:18-20.

David was not unfrequently in his life in circumstances such as arc here supposed, and it is not possible now to determine the exact occasion to which the psalm alludes.

Section 3

The contents of the psalm. The psalm erabraces two leading subjects - one pertaining to the past and the other to the future, both illustrating the character of God, and both giving occasion to the writer to express iris confidence in God. The one relates to deliverance already granted; the other to deliverance still hoped for in his troubles.

I. The first relates to deliverance from trouble, or conquest over foes, already granted, and to the occasion which that furnished for praising God, and for pious reflections on his character.

(1) The psalmist expresses his thanks to God, or pours out the language of praise for mercies that have been received. Psalm 9:1-2.

(2) The particular reason for this is stated; that God had enabled him to overcome many of his enemies - the pagan that had risen up against him, who had now been subdued, Psalm 9:3-6.

(3) this gives occasion for pious reflections on him character of God, as one who would endure forever; as one who had set up his throne to do judgment or right; as one who would be a refuge for the oppressed; as one who might; be confided in by all who knew him; as one who would remember the foes of the righteous, and who would not forget the cry of the humble, Psalm 9:7-12. The principal truth taught in this part of the psalm is, that God is a refuge and help for those who are in trouble and danger; that all such may put their trust in Him; and that He will interpose to save them.

II. The second part, constructed in a manner similar to the former, relates to the future, and to what the psalmist hoped still from God, in view of the character which lie had evinced in his former troubles, Psalm 9:18-20.

(1) The psalmist still needs help, Psalm 9:13-14. He still has trouble from them that hate him, and he calls upon God still to interpose and lift him up from the gates of death, that he may praise him.

(2) He refers to the fact that; the pagan, who surrounded him as his foes, had sunk down into the pit which they hall made for others; and that their foot was taken in the net which they had hid: referring either to what had occurred in the past as the foundation of his present hope, or being so certain that this would be done that he could speak of it as if it were now actually accomplished, Psalm 9:15.

(3) This also, as in the former case, gives occasion for pious reflections on the character of God, and on the fact that he would interpose to destroy the wicked, and to protect the righteous, Psalm 9:16-18.

(4) In view of all this, the psalmist calls on God still to interpose - to manifest the same character which He had formerly done, by protecting him, and by overcoming his foes, Psalm 9:19-20. The principal truth taught in this part of the psalm is, that the wicked will be destroyed; that they as contradistinguished from the righteous, can hope for no protection from God, but will be cut down and punished.

The condition of the author of the psalm then was, that he had been surrounded by foes, and that God had interposcd in his behalf, giving him occasion for praise and thanksgiving; that he was still surrounded by formidable inemies, yet he felt assured that God would manifest the same character which he had done formerly, and that he might, therefore, call upon Him to interpose and give him occasion for future praise.

Section 4

"The title of the psalm." The psalm is directed to "the chief Musician upon Muth-labben." In regard to the phrase "chief Musician," see the notes at the title to Psalm 4:1-8. The phrase, "upon Muthlabben," occurs nowhere else, and very different explnations have been given of its meaning. The Targum, or Aramaic Paraphrase, renders it "To be sung over the man that went out between the camps;" that is, Goliath of Gath; and the author of the Aramaic Paraphrase, evidently supposed it was written on the occasion of his death. The Latin Vulgate renders it, "Pro occultis filii;" and so the Septuagint, ὑπὲρ τῶν κρυφίων τοῦ ὑιοῦ huper tōn kruphiōn tou huiou - "for the secret things (mysteries) of the Son:" but what idea was attached to those words it is impossible now to determine. The Syriac has this title: "Concerning the Messiah taking his throne and kingdom, and prostrating his foe." Luther renders it, "A Psalm of David concerning a beautiful youth" - von der schonen Jugend. Substantially so also DeWette; Nach der Jungfernweise, den Beniten. Tholuck renders it, "To the chief Musician, after the melody 'Death to the Son' (Tod dem Sohne), a Psalm of David."

After this variety in the explanation of the title, it is certainly not easy to determine the meaning. The most probable opinions may be regarded as two.

(1) That which supposes that it was a melody designed to be sung by females, or with female voices: literally according to this interpretation, "after the manner of virgins;" that is, with the female voice treble, soprano, in opposition to the deeper voice of men. Compare 1 Chronicles 15:20. Forkel, in his History of Musick (Gesch. der Musik, 1,142), understands it as meaning virgin measures, like the German Jungfrauweis. Gesenius, who supposes that it refers to the female voice or treble, regards the title - על־מות ‛al-mûth - "upon Muth," as being the same as עלמות על ‛al ‛ălâmôth, in Psalm 46:1-11, "Upon Alamoth," and supposes that it is derived from עלמה ‛almâh - a virgin.

(2) The other opinion is that which supposes that the title is the beginning of some old and well-known melody in common use, and that the idea is, that this psalm was to be sung to that melody. That melody was, as expressed by Tholuck and others, a melody on the death of a son, and was set to some hymn that had been composed with reference to such an event. This is founded on the supposition that the national melodies had become in some degree fixed and unchangeable, or that certain melodies or tunes originally composed for a particular occasion had become popular and that the melody would be affixed to new pieces of music. This is common in the East; and, indeed, it is common in all countries. See this idea illustrated in Rosenmuller (Morgenland, No. 800). The meaning, as thus expressed, is, "According to the manner (or, to the air) of the song (or poem called Death to the Son." Thus understood, it does not refer to the death of Absalom (as some have supposed), since there is nothing in the psalm that would correspond with such a supposition; nor to the death of Goliath, as the Targum supposes; but the composition was to be sung to the well-known air, or tune, entitled "Death to the Son." But when that air was composed, or on what occasion, there is of course no possibility now of ascertaining; and equally impossible is it to recover the air, or tune. The literal meaning of the title is על ‛al, on, or according to - מות mûth, death - לבן labên, to the son.

David praises God for the benefits which he has granted to Israel in general, and to himself in particular, Psalm 9:1-6. He encourages himself in the Lord, knowing that he will ever judge righteously, and be a refuge for the distressed, Psalm 9:7-10. He exhorts the people to praise God for his judgments, Psalm 9:11, Psalm 9:12; prays for mercy and support; and thanks God for his judgments executed upon the heathen, Psalm 9:13-16. He foretells the destruction of the ungodly, Psalm 9:17; prays for the poor and needy, and against their oppressors, Psalm 9:18-20.

The inscription to this Psalm in the Hebrew text is, To the chief Musician upon Muth-lab-ben, A Psalm of David. The Chaldee has, "A Song of David, to be sung concerning the Death of the Strong Man, (or champion, דגברא degabra), who went out between the Camps," that is, Goliath, on account of whose defeat this Psalm has been supposed by many to have been composed. The date in the margin is several years posterior to the death of Goliath. See the introduction.

The Vulgate: A Psalm of David, for the end; concerning the secrets of the Son."

The Septuagint and Aethiopic are the same with the Vulgate.

The Syriac: "A Psalm of David concerning Christ's receiving the throne and the kingdom, and defeating his enemies.

The Arabic: "Concerning the mysteries of the Son, as to the glory of Christ, his resurrection, and kingdom, and the destruction of all the disobedient."

Houbigant causes the Hebrew title to agree with the Vulgate, Septuagint, and Ethiopic, by uniting על מות al muth, "concerning the death," into the word עלמות alamoth, which signifies secret, or hidden things. "To the chief musician, or conqueror; secrets concerning the Son: A Psalm of David.

About a hundred MSS. and printed editions unite the words as above. Some translate עלמות alamoth, "concerning the youth or infancy; the infancy of the Son." Several of the fathers have on this ground interpreted it, "concerning the incarnation of our Lord." Indeed the title and the Psalm have been so variously understood, that it would be as painful as it would be useless to follow the different commentators, both ancient and modern, through all their conjectures.

INTRODUCTION TO Psalm 9

To the chief Musician upon Muthlabben, a Psalm of David. Some, take "muthlabben" to be the name of the tune to which this psalm was sung, and to design the same note which we call the counter-tenor: others think, that "upon muth", or "almuth", are but one word, and the same as "alamoth", Psalm 45:1, title; and that it is the name of a musical instrument; and that "Ben" in "labben", is the name of the chief musician, who was over that sort of instrument, to whom the psalm is inscribed (l); and indeed R. Sol Jarchi says, that he had seen in the great Masorah these words as one; and so it seems the Septuagint interpreters read them, who render them, "for the hidden things of the son"; and the Arabic version, "concerning the mysteries of the son": and Ben is a name, it is said, of one of the singers, whose kindred and companions were appointed with psalteries on "alamoth", 1 Chronicles 15:18. And so then the title runs thus; "to the chief musician on alamoth, [even to] Ben". But others are of opinion that the subject matter or occasion of the psalm is designed by this phrase; and that as "muth" signifies "death", the death of some person is intended, on account of which this psalm was composed; some say Nabal, seeing the word "Laban", inverted, or read backwards, is "Nabal" (m), whose death affected David; as appears from 1 Samuel 25:38. Others, that it was one of the kings of the Gentiles, whose name was Labben, and is mentioned nowhere else, who fought with David, and whom he slew, and upon his death penned this psalm (n). Others, Goliath the Philistine (o), who is called, 1 Samuel 17:4. , which we render "champion" and dueller, one of two that fight together. But rather the reason of the name is, as given by the Jewish commentators (p), because he went and stood between the two camps of the Philistines and the Israelites; and so the Chaldee paraphrase renders the title of this psalm,

"to praise, concerning the death of the man who went out between the camps, a song of David.''

And so the psalm itself, in the Targum, and by other Jewish writers, is interpreted of Goliath and the Philistines, and of the victory over them; and which does not seem amiss. Arama interprets it of the death of Saul. Others interpret Almuth Labben "of the death of the son"; and understand it of the death of Absalom, the son of David (q): but David's passion moved in another way, not in joy, but in grief, 2 Samuel 18:33; nor is there anything in the psalm that can be referred unto it. Others, of the death of the son of God; but of that there is not the least hint in the psalm. Theodoret interprets it of Christ's victory over death by dying, which was a mystery or hidden thing. Rather, I should think, it might be interpreted of the death of the son of perdition, the man of sin and his followers; who may be typified by Goliath, and the Philistines: and so, as Ainsworth observes, as the former psalm was concerning the propagation of Christ's kingdom, this is of the destruction of antichrist. And Jerom, long ago said, this whole psalm is sung by the prophet in the person of the church, concerning antichrist: and to this agrees the Syriac version; which makes the subject of the psalm to be,

"concerning Christ, taking the throne and kingdom, and routing the enemy.''

And also the Arabic version, according to which the argument of the psalm is,

"concerning the mysteries of the Son, with respect to the glory of Christ, and his resurrection and kingdom, and the destruction of all the children of disobedience.''

To which may be added, that this psalm, according to R. Sol Jarchi, belongs to the time to come, to the days of the Messiah, and the future redemption by him.

(l) Kimchi & Abendana in Miclol Yophi in loc. (m) So some in Jarchi & Aben Ezra in loc. (n) Donesh Hallevi in ibid. (o) Kimchi & Ben Melech in loc. (p) Jarchi, Kimchi, Levi Ben Gersom, R. Isaiah, & Ben Melech in 1 Samuel 17.4. (q) So some in Jarchi in loc.

IX.

In the LXX. and Vulg., Psalms 9, 10 are combined into one. This arrangement appears the more ancient of the two, and possibly is original; for (1) Psalms 10, 33 are the only compositions of the original Davidic collection (Psalms 3-41) without a title. The absence in each case is accounted for in the same way—Psalms 33 had apparently, by a mistake, been joined to Psalms 32 before the ‘collection was made; Psalms 9, 10 had not been then separated. (2) The whole piece was originally alphabetical. This acrostic arrangement was either in the beginning very imperfect, or has been deranged by some later hand. The latter is most probable, as it is not by any means likely that two pieces, each with an imperfect attempt at a structure as easy in accomplishment as fanciful in design, should have been first composed, then brought side by side in a collection, and finally combined; whereas a later writer, anxious to adopt to his purpose some earlier work, might either have disregarded the alphabetical arrangement, or possibly have overlooked it. For the details of the arrangement, see below; and for the alphabetical psalms generally, see General Introduction. (3) These two psalms have in common certain characteristic turns of expression, which occur rarely elsewhere.

The Hebrew division, no doubt, is based on the fact, that while at first sight Psalms 9 seems to be a thanksgiving for victory, breathing only triumph and hope, Psalms 10 is a prayer against violence and blood. But Psalm 9:13 is quite in the tone of Psalms 10 And again, Psalm 10:12-13 gives an exact echo of Psalm 9:19-20. From Psalm 9:12, indeed, Psalms 10 is as triumphant and hopeful in its tone as Psalms 9. Probably, when used by the later writer, the clouds had darkened round Israel, or round himself personally; for it is difficult to decide whether the psalms are expressions of individual or national feeling. But he still found that he could adopt the victorious ending as well as the confident beginning. The acrostic proceeds regularly from aleph to gimmel (Psalm 9:1-6); daleth is wanting. Four verses (8-11) begin with vaw, and the arrangement proceeds regularly to yod (Psalm 9:18). For caph, which should succeed, koph is substituted (Psalm 9:20); and the arrangement is taken up correctly with lamed, in Psalm 10:1. Here it suddenly ceases. Mem, nun, samech, ayin, pe, and tsaddi are wanting; but koph appears again in Psalm 9:12, and the other letters duly succeed to the end of the psalm. The authorship and date of the combined psalms cannot be ascertained. Their redaction for congregational use must be referred to post-exile times.

Title.—For the “chief musician,” see Introduction to Psalms 4.

Upon Muth-labben.—Al muth-labben. Of the perplexing titles, this is one of the most perplexing. No conjecture of the meaning of the Hebrew as it stands is satisfactory. The text must be emended.

It is evident from the LXX. rendering, “on account of the mysteries of the son,” that they had before them a different text from ours. Our text has, therefore, probably become corrupted. Now Psalms 46 has as part of its title libeney Kôrah al-alamôth; and if these words were to be transposed, and al omitted from the beginning, and y from the end, we should have the same Hebrew letters as in Almuth-labben. Neither assumption ‘is difficult to suppose; and though the emendation does not remove us from the region of conjecture, it narrows it. For the meaning of al-alamôth, see Introduction to Psalms 46

There is evidently a close relationship between the Ninth and Tenth Psalms. In the LXX, Vulg., and Jerome’s Latin Version they are reckoned as a single Psalm: and the absence of a title to Psalms 10, contrary to the general rule in Book I (Introd. p. liii), may indicate that in the Hebrew text also it was originally united to Psalms 9.[4]

[4] Comp. the analogous case of Psalms 42, 43.

They are connected by resemblances (a) of form, and (b) of language. (a) The same ‘alphabetic’ or ‘acrostic’ structure appears in both. In Psalms 9 the pairs of verses begin with successive letters of the alphabet, with the exceptions that the fourth letter (Daleth) is missing; the fifth letter (Hç) is obscured by a corruption of the text in Psalm 9:7; and the eleventh letter (Kaph) is represented by Qôph[5] in Psalm 9:19. Psalms 10 begins with the twelfth letter (Lamed); but the alphabetical arrangement is then dropped, and six letters are passed over. At Psalm 9:12 however the structure of Psalms 9 reappears, and Psalm 9:12; Psalm 9:14-15; Psalm 9:17 begin with the last four letters of the alphabet in order. (b) Language. ‘In times of trouble’ (Psalm 9:9, Psalm 10:1) is a peculiar phrase found nowhere else: the word for ‘oppressed’ or ‘downtrodden’ (Psalm 9:9; Psalm 10:18) occurs elsewhere only in Psalm 74:21; Proverbs 26:28 (?): ‘mortal man’ is mentioned at the close of both Psalms in the same connexion (Psalm 9:19-20; Psalm 10:18). Comp. further Psalm 9:12 a with Psalm 10:4; Psalm 10:13, Psalm 9:12 b with Psalm 10:12, and Psalm 9:18 with Psalm 10:11 : ‘for ever and ever,’ Psalm 9:5, Psalm 10:16 : the appeal to ‘arise’ Psalm 9:19, Psalm 10:12 : and other points of thought and expression.

[5] i.e. the hard guttural Semitic k, the 19th letter of the alphabet, takes the place of the soft k.

But while the resemblance in form and language is so marked, the difference in tone and subject is not less striking. The individuality of the writer, which is so prominent in Psalms 9 (Psalm 9:1-4; Psalms 13, 14), disappears in Psalms 10. Psalms 9 is a triumphant thanksgiving, rarely passing into prayer (Psalm 9:13; Psalm 9:19): its theme is the manifestation of God’s sovereign righteousness in the defeat and destruction of foreign enemies of the nation. Psalms 10 is a plaintive expostulation and prayer, describing the tyrannous conduct of godless men within the nation[6], and pleading that God will no longer delay to vindicate His righteousness, and prove Himself the Defender of the helpless.

[6] The only reference to ‘the nations’ (in Psalm 9:16) is by way of illustration.

The two Psalms present an unsolved literary problem. The description of the wicked man (Psalm 10:3-11) may have been taken from another poem, for it is distinguished by other peculiarities, besides the absence of the alphabetic structure. We cannot tell whether verses beginning with the missing letters of the alphabet were displaced to make room for it, or whether it stood here from the first. The latter alternative seems most probable, for the concluding verses of the Psalm have links of connexion with Psalm 9:3-11. Comp. ‘helpless” in Psalm 9:14 with Psalm 9:8; Psalm 9:10; Psalm 9:13 with Psalm 9:4; Psalm 9:14 with Psalm 9:11.

Psalms 9 however appears to be complete in itself, and it seems preferable to regard Psalms 10 as a companion piece rather than as part of a continuous whole.

The connexion of thought is clear. The Psalmist has watched the great conflict between good and evil being waged in two fields: in the world, between Israel and the heathen nations; in the nation of Israel, between godless oppressors of the weak and their innocent victims. He has seen the sovereignty of God decisively vindicated in the world by the defeat of Israel’s enemies: but when he surveys the conflict within the nation, wrong seems to be triumphant. So he prays for an equally significant demonstration of God’s sovereignty within the nation by a signal punishment of the wicked who deny His power or will to interpose.

These Psalms have been assigned to widely differing dates. But the tradition of their Davidic origin may be right. The author of Psalms 9 speaks as the representative of the nation, in language more natural to a king than to anyone else. The enemies of the nation are his enemies (Psalm 9:3); the national cause is his cause (Psalm 9:4).

This Psalm then may celebrate David’s victories in general (2 Samuel 8); and Psalm 10:16 may refer in particular to the expulsion of the Philistines who occupied the north of Palestine for some time after the disaster of Gilboa (1 Samuel 31:7), and to the subjugation of the Jebusites.

Nor is it difficult to understand how David might have to deplore the existence of domestic evils such as those described in Psalms 10, without being able to remedy them[7]. The misgovernment of Saul’s later years, and the contest between Ish-bosheth and David must have left a serious legacy of civil disorder (1 Samuel 22:1-2; 2 Samuel 3:1; 2 Samuel 3:22; 2 Samuel 4:2); and we have indications that David was not in a position to control his powerful nobles and enforce the administration of justice (2 Samuel 3:39; 2 Samuel 15:2 ff.).

[7] Compare the account of Charlemain’s reign in Dean Church’s Beginning of the Middle Ages, p. 125.

The Davidic origin of Psalms 9 is supported by its connexion with Psalms 7. The closing words of Psalms 7 (cp. Psalm 18:49) are taken up and expanded in Psalm 9:1-2 : both Psalms are inspired by a vivid sense of the judicial righteousness of Jehovah (Psalm 7:6 ff., Psalm 7:11; Psalm 9:4; Psalm 9:7-8; Psalm 9:16; Psalm 9:19): in both we have the thought of evil recoiling upon its authors (Psalm 7:14 ff.; Psalm 9:15 ff.). The connexion of Psalm 5:11, Psalm 7:17, Psalm 8:1; Psalm 8:9, Psalm 9:1; Psalm 9:10; should also be noted.

It may further be remarked that in Psalms 10 triumphant injustice is regarded in the simplest light as a wrong that calls for redress; not as in Psalms 37, as a ground of discontent, or as in Psalms 73, as a trial of faith.

The train of thought is as follows.

Psalms 9. The Psalmist resolves to celebrate Jehovah’s praise for victory won by His help (Psalm 9:1-4). He contrasts the transitoriness of the nations in their wickedness with the eternal sovereignty of the righteous Judge (Psalm 9:5-8), Who never fails to defend the godly (Psalm 9:9-10). A renewed invitation to praise (Psalm 9:11-12) is succeeded by a prayer for help in the hour of need (Psalm 9:13-14); and the revelation of Jehovah’s judicial righteousness in the discomfiture of the heathen is once more proclaimed (Psalm 9:15-16). After an interlude of music the Psalm concludes with a confident anticipation of the certainty of judgement and deliverance (Psalm 9:17-18), and a prayer that the nations may be taught to know their human impotence (Psalm 9:19-20).

Psalms 10. From the conflict between Israel and the nations in which God’s sovereignty has been victoriously manifested, the Psalmist turns to the triumph of might over right in Israel itself. He remonstrates with Jehovah for His apparent indifference (Psalm 9:1-2), and draws a graphic picture of the atheistic self-complacency and pitiless tyranny of ‘the wicked man’ (Psalm 9:3-11). An urgent appeal to Jehovah to intervene and right these crying wrongs is followed by a confident expression of assurance that they are not unobserved or disregarded (Psalm 9:12-14). The prayer for the extirpation of evil finds a pledge for its fulfilment in the eternal sovereignty of Jehovah and the extermination of the heathen from His land (Psalm 9:15-16). The prayer of faith cannot remain unanswered, and heaven-protected right will finally be triumphant over earthly might (Psalm 9:17-18).

The title should be rendered as in R.V., For the Chief Musician; set to Muth-labben. Probably (if the Massoretic text is sound) Muth-labben are the opening words of some well-known melody to which the Psalm was to be sung. Comp. the title of 22: ‘set to Ayyeleth hash-Shahar,’ i.e. ‘the hind of the morning’; and of 56 and 57. The words are obscure, but may mean ‘Die for the son,’ or, ‘Death to the son.’

The analogy of other titles is decisive against all the interpretations which explain these words to refer to the contents or occasion of the Psalm; ‘upon the death of Ben,’ or, ‘Labben,’ or ‘the son;’ by whom some unknown but formidable enemy of the nation, or Goliath, or even (as though David could possibly have written in this tone then) Absalom, is supposed to be intended. The tradition that it refers to Goliath is as old as the Targum, which paraphrases, “Concerning the death of the man who went forth between the camps,” an allusion to 1 Samuel 17:4, where the Heb. word for ‘champion’ is ‘man of the space between the camps.’

It is however possible that the present text is a corruption of the words ‘upon Alamoth’ which occur in the title of 46 (cp. 1 Chronicles 15:20). So the LXX, Aquila, and Theodotion appear to have read, though they give wrong renderings. See Introd. p. xxv.

Ps 9:1-20.

Upon Muthlabben, or, after the manner according to "death to the Son," by which some song was known, to whose air or melody the musician is directed to perform this Psalm. This mode of denoting a song by some prominent word or words is still common (compare

Ps 22:1).

The Psalmist praises God for deliverance from his enemies and celebrates the divine government, for providing security to God's people and punishment to the wicked. Thus encouraging himself, he prays for new occasions to recount God's mercies, and confident of His continued judgment on the wicked and vindication of the oppressed, he implores a prompt and efficient manifestation of the divine sovereignty.

1. Heartfelt gratitude will find utterance.

I will praise thee, O Lord - That is, in view of the merciful interpositions referred to in the psalm Psa 9:3-5, and in view of the attributes of God's character which had been displayed on that occasion Psalm 9:7-12.

With my whole heart - Not with divided affection, or with partial gratitude. He meant that all his powers should be employed in this service; that he would give utterance to his feelings of gratitude and adoration in the loftiest and purest manner possible.

I will show forth - I will recount or narrate - to wit, in this song of praise.

All thy marvelous works - All his works or doings fitted to excite admiration or wonder. The reference here is particularly to what God had done which had given occasion to this psalm, but still the psalmist designs undoubtedly to connect with this the purpose to give a general expression of praise in view of all that God had done that was fitted to excite such feelings.