Commentaires bibliques

David was a preacher, a royal preacher, as well as Solomon; many of his psalms are doctrinal and practical as well as devotional; the greatest part of this psalm is so, in which Wisdom cries to men, to the sons of men (as Pr 8:4,5), to receive instruction. The title does not tell us, as that of the former did, that it was penned on any particular occasion, nor are we to think that all the psalms were occasional, though some were, but that many of them were designed in general for the instruction of the people of God, who attended in the courts of his house, the assisting of their devotions, and the directing of their conversations: such a one I take this psalm to be. Let us not make the prophecy of scripture to be of more private interpretation than needs must, 2Pe 1:20. Here I. David begins with a short prayer (Ps 4:1) and that prayer preaches. II. He directs his speech to the children of men, and, 1. In God's name reproves them for the dishonour they do to God and the damage they do to their own souls, Ps 4:2. 2. He sets before them the happiness of godly people for their encouragement to be religious, Ps 4:3. 3. He calls upon them to consider their ways, Ps 4:4. III. He exhorts them to serve God and trust in him, Ps 4:5. IV. He gives an account of his own experiences of the grace of God working in him, 1. Enabling him to choose God's favour for his felicity, Ps 4:6. 2. Filling his heart with joy therein, Ps 4:7. 3. Quieting his spirit in the assurance of the divine protection he was under, night and day, Ps 4:8.

1. "The title of the psalm." - The title of this psalm is "To the chief Musician on Neginoth. A psalm of David." This phrase in the title, "To the chief Musician," occurs at the beginning of 53 psalms, and at the close of the hymn in Habakkuk 3:19. It is uniformly rendered "to the chief Musician," and means that the psalm was intended for him, or was to be given to him, probably to regulate the manner of performing it. In no one instance does the title imply that he was the author. The word rendered "Chief Musician, מנצח menâtsēcha, is derived from נצח nâtsach, properly meaning "to shine," but not used in the Qal. In the Piel form it means to be conspicuous; to be over anything; to be chief; to be superintendent 2 Chronicles 2:2, 2 Chronicles 2:18; 2 Chronicles 34:12, and then it means to lead in music. The meaning of the form used here, and in the other places where it occurs as a title to a psalm, is "Chief Musician," or precentor; and the idea is, that the psalm is to be performed under his direction; or that the music is to be directed and adapted by him.

In the case before us there is a particular designation of the "instrument" that was to be employed in the music; which occurs also in Psalm 6:1-10; Psalm 54:1-7; Psalm 55; Psalm 61:1-8; Psalm 67:1-7; Psalm 76:1-12; where the same instrument is mentioned as here. In Psalm 8:1-9; Psalm 81; Psalm 84:1-12, another instrument is mentioned; and in Psalm 45; Psalm 60:1-12; Psalm 80, another instrument still. It would seem that the author of the psalm frequently adapted his poem to a particular kind of instrument, but left the further arrangement of the music to the precentor himself. The word "Neginoth," plural of "Neginah" - נגינה negı̂ynâh - means properly "stringed instruments." It occurs in the title of the following psalms, Psalm 4:1-8; Psalm 6:1-10; Psalm 54:1-7; Psalm 55; Psalm 67:1-7; Psalm 76:1-12. It means in these cases that the psalm was designed to be sung with the accompaniment of some stringed instrument, or under the direction of the musician, who presided over the department of stringed instruments. It designates nothing as to the kind of stringed instruments which were to be employed.

2. "The author of the psalm." This psalm, like the preceding, purports to be a psalm of David, and there is no reason to doubt the correctness of this opinion. Indeed, there is some internal probability that, if the former psalm was composed by him, this was also, for as that appears to be a "morning" psalm Psa 3:5, so this seems to be its counterpart, and to be designed to be an "evening" psalm, Psalm 4:4, Psalm 4:8. The general resemblance in the structure, and the reference in the one to the morning, and in the other to the evening, show that the two were designed, probably, to be a kind of "double" psalm, to be used on the same day, the one in the morning, and the other in the evening. If this is so, and if David was the author of the third psalm, then there is the same reason to suppose that he was the author also of this. It may be added there has been a general concurrence of opinion in the belief that the psalm was written by David.

3. "The occasion on which the psalm was composed." There is nothing in the psalm, or in the title, to determine this question, and it is now impossible to settle it with certainty. The Jewish interpreters generally, and most Christian expositors, suppose that it was composed on the same occasion as the preceding, in relation to the rebellion of Absalom. But there is nothing in the psalm itself which will certainly determine this, or which would make it improbable that it might have been composed at some other time in the life of David. It should be said, however, that there is nothing in the psalm which is inconsistent with that supposition, especially as the manifest purpose of the psalm is to make the occasion, whatever it was, one on which to utter great thoughts that would be valuable at all times. There is some internal evidence that this psalm was composed in reference to the same circumstances as the preceding, with this difference, that "that" was when the writer was in the midst of his troubles, and when he thought it a great mercy that he had been permitted to enjoy a night of quiet rest Psalm 3:5; "this," when he had obtained deliverance from those troubles, and now felt that he "could" give himself to calm repose without anxiety and fear, Psalm 4:8.

4. "The contents of the psalm." The psalm expresses general confidence in God, and a general sense of security. The writer is conscious, indeed, that he has enemies, and that they would "turn" his "glory into shame" if they could; that they are false men who seek his ruin by detractions Psalm 4:2, but still he has confidence in God that all will be well. Though he has enemies who are seeking to destroy him, yet his mind is so calm that he feels that he can commit himself confidently to God, and lie down and slumber. The general subject, therefore, of the psalm is the fact that confidence in God will make the mind calm in the midst of troubles, and that reliance on his protecting care will enable us to give ourselves at night to undisturbed repose. The following points occur in the psalm on this general subject.

(a) The writer calls on God to hear him, and makes it the ground of his petition that he had formerly heard him - that he had enlarged him when he was in distress, Psalm 4:1.

(b) He addresses directly his enemies, and gives them counsel as to what they ought to do, Psalm 4:2-5. He solemnly appeals to them, and asks them how long they would persevere in attempting to turn his glory into shame, Psalm 4:2; he conjures them to remember that all their efforts must be in vain, since the Lord had set apart him that was godly for himself, and would protect him, Psalm 4:3; he exhorts them to stand in awe, and to fear the consequences of the course which they were pursuing, and exhorts them to take proper time to reflect upon it - to think on it in the night, when alone with God, and when away from the excitements of the day, Psalm 4:4; and he entreats them to become themselves true worshippers of God, and to offer to him the sacrifices of righteousness, Psalm 4:5.

(c) He contrasts the sources of his own joy and theirs, Psalm 4:6-7. They were seeking worldly good, and endeavored to find their happiness in that alone; he desired more than that, and, as the chief source of his joy, asked that God would lift upon him the light of his countenance. He had experienced this, and he says that God "had put gladness into his heart more than in the time that their corn and wine increased." He had more real happiness in the conscious favor of God than the greatest worldly prosperity without that could afford. Religion will, in time of trouble, give more true happiness than all that the world can bestow.

(d) As the result of all, and in view of all these mercies and comforts, he says that he will lie calmly down and sleep. Though he had enemies, his mind is composed and calm; though there may be dangers, he can confide in God; and though he may be less prospered in worldly things than others, he has a joy in religion superior to all that the world can give; and that makes the mind calm as the body is committed to rest in the darkness of the night, Psalm 4:8.

David prays to be heard, Psalm 4:1; expostulates with the ungodly, Psalm 4:2; exhorts them to turn to God, and make their peace with him, Psalm 4:3-5; shows the vain pursuits of men in search of happiness, which he asserts exists only in the approbation of God, Psalm 4:6, Psalm 4:7; commends himself to the Lord, and then quietly takes his repose, Psalm 4:8.

This Psalm seems to have been composed on the same occasion with the preceding, viz., Absalom's rebellion. It appears to have been an evening hymn, sung by David and his company previously to their going to rest. It is inscribed to the chief Musician upon Neginoth, למנצח בנגינות lamnatstseach binginoth. Probably the first word comes from נצח natsach, to be over, or preside; and may refer to the precentor in the choir. Some suppose that it refers to the Lord Jesus, who is the Supreme Governor, or victorious Person; the Giver of victory. Neginoth seems to come from נגן nagan, to strike; and probably may signify some such instruments as the cymbal, drum, etc., and stringed instruments in general. But there is no certainty in these things. What they mean, or what they were, is known to no man.

INTRODUCTION TO Psalm 4

To the chief Musician on Neginoth, a Psalm of David. This psalm is inscribed "to the chief musician", or "conqueror" (d): who excelled others in the art of music, and carried the glory from them; who was very skilful, and instructed others in it, and was the master of the song, as Chenaniah, 1 Chronicles 15:22; who set the tune, led on the psalm, and had the whole direction and management of it; and so the Jewish doctors (d) generally understand it of one that presided over the rest of the musicians and singers; and to such an one was this psalm sent, to be sung in public worship: for the psalms of David were not composed for private use only, but for public service; and were committed into the hands and care of the chief of the singers, as Asaph and others; see 1 Chronicles 16:7; by whom they were preserved and transmitted to future ages for the use of the church, not only in the former but in the present dispensation. The Septuagint interpreters, and after them the Vulgate Latin and Ethiopic versions, render it "unto the end", or for ever; to this agrees the sense of R. Saadiah Gaon (e), who says,

"this is a psalm of David, who gave it to one of the singers to sing it continually,''

as if it was "for ever"; but the former sense is best, to understand it of the chief musician, or precentor, who is said to be "on neginoth": the singular; "neginah", is used in the title of Psalm 61:1, and it is sometimes rendered "a song", as in Job 30:9; hence the Vulgate Latin version here renders it "in songs"; and the Septuagint renders it "in psalms"; and then the meaning is, that this person was the chief man that presided over the songs and psalms: though the Jewish writers (f), for the most part, interpret it of a musical instrument so called; not such an one as was blown, as the pipe and trumpet, but what was played upon with the hand; see 1 Samuel 16:16; a stringed instrument, which was touched with the fingers as an harp, or struck with a quill or bow as a violin. And as there were various instruments of music used in the temple service, so there were persons set over them, some over one sort, and some over another; and this man presided over the instruments that were played with the hand: and it looks as if this psalm was to be sung to such an instrument, by its being inscribed and sent to him. Aben Ezra takes the word to be, "the beginning of a song"; and the Targum renders the whole, "to sing upon the chorus" or "dances". It is called "a Psalm of David", being written by him, under the inspiration of the Spirit of God; the occasion of it was Absalom's rebellion; and it was written when he fled from him, as the preceding, as Kimchi thinks; but, according to Lightfoot and others, it was the rebellion of Sheba, 2 Samuel 20:1, though others refer it to the time of his distresses and persecutions by Saul; according to the Jewish Rabbins (g), where there are the words , as they are both in this title, the psalm belongs to future time, to the world to come, to the times of the Messiah.

(d) "victori", Pagninus, Montanus, Vatablus; "vincenti", Munster. (d) Jarchi, Aben Ezra, Kimchi, & Ben Melech in loc. (e) Apud Aben Ezra in loc. (f) Kimchi & Ben Melech in loc. and others in Aben Ezra in loc. (g) Kimchi Praefat. in Psalm.

IV.

This psalm most probably belongs to the same occasion as that which produced Psalms 3 (see Introduction to that psalm), but was sung in an hour of still greater trial. Standing by itself, indeed, it might have been written by any prophet struggling against the dislike and opposition of his fellow-citizens. The rhythm is irregular. Psalms 4 was one of those repeated by Augustine at his conversion.

Title.—To the chief musician.—(Margin, overseer.) The rendering of a word occurring fifty-five times in the inscriptions, and in Habakkuk 3:19. Whatever be the primary meaning of the root-word, whether to be bright or strong, the form here employed must imply “one who has obtained the mastery,” or “holds a superior post.” Hence “master,” “director,” or “overseer” (2Chronicles 2:18; 2Chronicles 34:12). But from the description in 1Chronicles 15:16, et seq., we see that the musical directors, as they are considered to be (Asaph, Heman, and Ethan), had themselves cymbals, and took part in the performance, and hence the word would answer to a leader of the band; but as in the case of the Psalms there is vocal music as well, perhaps “precentor” is the best equivalent. The LXX., followed by the Vulg., render “to the end”—a phrase difficult to explain, but which possibly had an eschatological reference rather than a musical.

On Neginoth.—Another musical term occurring, with a slight variation in the preposition, in the titles of six psalms. Its derivation from a root, meaning “to touch the strings,” as well as the connection in which it is found, point to the explanation (almost universally given), “upon stringed instruments,” or, “with harp accompaniment.” It seems natural to join the two directions—“to the conductor of those playing on stringed instruments,” or, “to the leader of the harps.”

The occasion of this Psalm has already been discussed in the introduction to Psalms 3. Some days at least have elapsed. The immediate personal peril is past. Reflection has deepened David’s consciousness of his own integrity, and his sense of the rebels’ guilt. The Psalm breathes a spirit of righteous indignation, which rises completely above mere personal vindictiveness.

Its structure, if the indications afforded by the Selah at the end of Psalm 4:2 and Psalm 4:4 are to be followed, is similar to that of its companion Psalm.

i. Appeal to God, and remonstrance with the rebels, Psalm 4:1-2.

ii. The true character of the rebellion exposed, Psalm 4:3-4.

iii. The better way indicated, Psalm 4:5-6.

iv. The supreme joy of perfect trust, Psalm 4:7-8.

Most commentators however divide the Psalm thus: i. Appeal to God, Psalm 4:1; ii. Remonstrance with enemies, Psalm 4:2-5; iii. The superiority of God-given joy to all earthly grounds of rejoicing, Psalm 4:6-8. This division however neglects the Selah, which serves to emphasise the important thought of Psalm 4:3, and after Psalm 4:4 prepares the way for repentance following on reflection: it ignores the parallelism of structure with Psalms 3, and though at first sight attractive, fails to bring out the true connexion and sequence of the thoughts.

The title should be rendered as in R.V., For the Chief Musician; on stringed instruments. See Introd. pp. xxi f., xxiv.

Ps 4:1-8.

On Neginoth, that is, stringed instruments, as the kind of musical accompaniment. On other parts of title, see

Introduction.,

The historical occasion was probably the same as that of the foregoing [see on

Ps 3:1].

The writer, praying for further relief, admonishes his enemies of the vanity of attacking God's servant, exhorts them to repentance, and avows his confidence and peace in God's favor.

1. Hear--as in

Ps 3:4.

God of my righteousness--or, "my righteous God, as my holy hill"

(Ps 2:6),

who will act towards me on righteous principles.

thou hast enlarged--expresses relief afforded in opposition to "distress," which is expressed by a word denoting straits or pressure. Past favor is a ground of hope for the future.

Hear me when I call - When I pray. The word "hear" in such cases is always used in the sense of "listen to," "hear favorably," or "attend to;" hence, in the literal sense it is always true that God "hears" all that is said. The meaning is, "hear and answer me," or grant me what Iask.

O God of my righteousness - That is, O my righteous God. This is a common mode of expression in Hebrew. Thus, in Psalm 2:6, "hill of my holiness," meaning "my holy hill;" Psalm 3:4, "his hill of holiness," meaning "his holy hill." The psalmist here appeals to God as "his" God - the God in whom he trusted; and as a "righteous" God - a God who would do that which was right, and on whom, therefore, he might rely as one who would protect his own people. The appeal to God as a righteous God implies a conviction in the mind of the psalmist of the justice of his cause; and he asks God merely to do "right" in the case. It is not on the ground of his own claim as a righteous man, but it is that, in this particular case, he was wrongfully persecuted; and he asks God to interpose, and to cause justice to be done. This is always a proper ground of appeal to God. A man may be sensible that in a particular case he has justice on his side, though he has a general conviction that he himself is a sinner; and he may pray to God to cause his enemies to do right, or to lead those whose office it is to decide the case, to do what ought to be done to vindicate his name, or to save him from wrong.

Thou hast enlarged me when I was in distress - That is, on some former occasion. When he was "pressed" or "confined," and knew not how to escape, God had interposed and had given him room, so that he felt free. He now implores the same mercy again. He feels that the God who had done it in former troubles could do it again; and he asks him to repeat his mercy. The prayer indicates confidence in the power and the unchangeableness of God, and proves that it is right in our prayers to recall the former instances of the divine interposition, as an argument, or as a ground of hope that God would again interpose.

Have mercy upon me - In my present troubles. That is, Pity me, and have compassion on me, as thou hast done in former times. Who that has felt the assurance that God has heard his prayer in former times, and has delivered him from trouble, will not go to him with the more confident assurance that he will hear him again?