Commentaires bibliques

God speaks once, yea, twice, and it were well if man would even then perceive it; God, in this psalm, speaks twice, for this is the same almost verbatim with the fourteenth psalm. The scope of it is to convince us of our sins, to set us a blushing and trembling because of them; and this is what we are with so much difficulty brought to that there is need of line upon line to this purport. The word, as a convincing word, is compared to a hammer, the strokes whereof must be frequently repeated. God, by the psalmist here, I. Shows us how bad we are, Ps 53:1. II. Proves it upon us by his own certain knowledge, Ps 53:2,3. III. He speaks terror to persecutors, the worst of sinners, Ps 53:4,5. IV. He speaks encouragement to God's persecuted people, Ps 53:6. Some little variation there is between Ps 14:1-7,53:1-6, but none considerable, only between Ps 14:5,6,53:5, there, and Ps 14:5,6,53:5 here; some expressions there used are here left out, concerning the shame which the wicked put upon God's people, and instead of that, is here foretold the shame which God would put upon the wicked, which alteration, with some others, he made by divine direction when he delivered it the second time to the chief musician. In singing it we ought to lament the corruption of the human nature, and the wretched degeneracy of the world we live in, yet rejoicing in hope of the great salvation.

There is a remarkable resemblance between this psalm and Psalm 14:1-7. Both are ascribed to the same author, David; and each pursues the same line of thought - the folly and wickedness of Atheism. They both show that the belief that there is no God is not a harmless idea, or a mere speculation, but that it has important consequences on the life, and is naturally connected with a wicked life, Psalm 53:3-4.

The difference in the two compositions is (a) in the title; and (b) in the psalm itself.

(a) In the title. Both psalms are ascribed to David, and both are dedicated to the "Chief Musician." But in the title to the psalm before us, there is this addition: "Upon Mahalath, Maschil." On the meaning of the term Maschil, see Introduction to Psalm 32:1-11. The term here would seem to imply that the psalm was designed to give instruction on an important subject, but why it is prefixed to this psalm, and not to the others, we have no means of determining. The word, rendered "Mahalath" - מחלת machălath - occurs only here and in the title to Psalm 88. It is supposed by Gesenius to denote a stringed instrument, as a lute or guitar, that was designed to be accompanied with the voice. DeWette renders it "flute." Luther renders it "for a choir, to be sung by one another;" that is, a responsive choir. The Septuagint and the Latin Vulgate retain the original word with no attempt to translate it. Prof. Alexander renders it disease, because a form of the word "almost identical" occurs Exodus 15:26; Proverbs 18:14; 2 Chronicles 21:15 meaning "disease," and he supposes reference is to "the spiritual malady with which all mankind are infected, and which is really the theme or subject of the composition." It is true that there is a word - מחלה machăleh - similar to this, meaning "disease," but it is also true that the word used here is never employed in that sense, and equally true that such a construction here is forced and unnatural. The obvious supposition is that it refers to an instrument of music.

(b) The difference in the psalms themselves is mainly that in Psalm 53:1-6 Psalm 14:6 is omitted, and that in the other parts of the psalm there are enlargements designed to illustrate or to explain more fully the course of thought in the psalm. It is not known by whom these changes were made. They are, as DeWette remarks, such as could not have occurred by an error in transcribing, and they must have been made by design. Whether the changes were made by the author, or by someone who collected and arranged the psalms, and who, adopting the main thoughts of Psalm 14:1-7, inserted additions conveying new phases of thought, though without intending to supersede the use of the original composition, it is not possible now to determine. It is by no means an improbable supposition that the author of the psalm - David - may have revised it himself, and made these changes as expressing more fully his idea, while, as embodying valuable thoughts, it was deemed not undesirable to retain the original psalm in the collection as proper to be used in the service of God. Similar changes occur in Psalm 18, as compared with 2 Samuel 22, where that psalm occurs in the original form of composition. There is no evidence that the alteration was made by a later writer; we may doubt whether a later writer would alter a composition of David, and publish it under his name.

For an analysis of the psalm, see Introduction to Psalm 14:1-7.

The sentiments of atheists and deists, who deny Divine Providence; their character: they are corrupt, foolish, abominable, and cruel, Psalm 53:1-4; God fills them with terror, Psalm 53:5; reproaches these for their oppression of the poor, Psalm 53:5. The psalmist prays for the restoration of Israel, Psalm 53:6.

The title, To the chief Musician upon Mahalath, an instructive Psalm of David. The word מחלת machalath, some translate the president; others, the master or leader of the dance; others, hollow instruments; others, the chorus. A flute pipe, or wind instrument with holes, appears to be what is intended. "To the chief player on the flute;" or, "To the master of the band of pipers."

INTRODUCTION TO Psalm 53

To the chief Musician upon Mahalath, Maschil, A Psalm of David. The word "mahalath" is only used here and in Psalm 88:1. Some, with Aben Ezra, take it to be the first word of a song, to the tune of which this psalm was set; others, with Jarchi, that it is the name of a musical instrument on which it was sung; a hollow instrument; of the same nature with "nehiloth", See Gill on Psalm 5:1, title. Though it may relate to the argument or subject matter of the psalm, and be rendered, "concerning sickness" or "infirmity" (e); and, as Jarchi observes, some interpret it, "concerning the sickness or weakness of Israel", when the temple was destroyed. But it seems much better to understand it of the sickness and disease of sin, and the weakness following upon that, to which all mankind are subject; since the psalm manifestly treats of the general corruption and depravity of human nature. This psalm is the same with Psalm 14:1, and is expressed in the same words, with some little difference; the reason of its repetition is variously conjectured. Some think that the compiler of the book of Psalms, observing various readings in it occasioned by copying, thought fit to insert it both ways; but it is most likely to be composed by David himself, at different times, and it may be on different occasions, and with different views. Some think the former, namely the fourteenth psalm, was written concerning Nabal, and this concerning Doeg; according to Jarchi, that was concerning Nebuchadnezzar, this concerning Titus Vespasian; or, as others think, Antiochus Epiphanes. Kimchi is of opinion that this psalm, being placed between one that relates to Doeg, and another that refers to the Ziphites, points at the likeness there is between the case of David and the Messiah; that as David had many who sought to ensnare him, yet God rewarded them, and established him in the kingdom; so it will be with the Messiah: but it is much more reasonable with others to conclude, that it is repeated either because of the importance of it; because that as the former may refer to the corruption of the Jews in the times of David, this to the corruption of men in the times of Christ and his apostles, and under the Gospel dispensation, until the second coming of Christ, especially under the reign of antichrist. The argument of the psalm, according to the Syriac version, is concerning Ahithophel, who gave counsel to Absalom to pursue his father David and kill him: and, according to the Arabic version, it is a prophecy concerning Babel and Sennacherib; so Theodoret: but rather concerning mystical Babylon, and the man of sin.

(e) "de miseria", Tigurine version, "vel infirmitate"; so Ainsworth.

LIII.

This Psalm is a variation from Psalms 14. Which was the original, or whether both are not corruptions of some lost original, are questions involving minute comparisons and examinations of the Hebrew text, and possibly do not admit of satisfactory answers. Instead of “Jehovah” in Psalms 14, Psalms 53 has Elohîm, according to the style of this part of the collection. The other differences are discussed in the Notes. (See Introduction and Notes to Psalms 14)

Title.—See title, Psalms 4.

Upon Mahalath.—One of the most perplexing of the perplexing inscriptions. We have a choice of explanations from derivation between upon a flute, and after the manner of sickness. The word occurs again in the Title of Psalms 88, with the addition of “to sing.” It is against the analogy supplied by other inscriptions to refer this to the sad nature of the contents of the Psalm, though in the case of Psalms 88 such an interpretation would be very appropriate and not inappropriate here. As in other cases, we look for some musical direction here, and if we take the root, meaning “sick” or “sad,” we must render “to a sad strain,” or “to the tune of a song beginning with the word ‘sadness.’”

This Psalm is another recension of Psalms 14. Elôhîm (God), is substituted for Jehovah (A.V. Lord) in accordance with the usage of this book; and in Psalm 53:1-4; Psalm 53:6 there are a few variations which hardly affect the sense; but Psalm 53:5 differs widely from the corresponding Psalm 53:5-6 of Psalms 14. It is a disputed question whether this difference is due to corruption of the text or to intentional change. On the one hand the curious similarity of the Hebrew letters is in favour of the view that the text here is a conjectural restoration of characters which had become partially obliterated: but on the other hand it is possible that some later editor intentionally altered the original text in order to adapt the Psalm to his purpose by introducing a fresh historical reference, probably, as we shall see, to the destruction of Sennacherib’s army.

At first sight Psalm 53:6 seems to bring the date of the Psalm down to the Exile. It might be a liturgical addition made in the time of the Exile, but even if this is not the case (and the occurrence of the verse in both recensions points to its being an original part of the Psalm) its language, as will be shewn in the notes, is not decisive.

The Psalmist traces the deep and universal corruption of mankind to its source in their failure to seek after God (Psalm 53:1-3). He illustrates this corruption by the cruel treatment to which ‘the people of Jehovah’ have been subjected; and points to some signal interposition by which Jehovah has proved His care for them and refuted the denial of His Providence (Psalm 53:4-5). The Psalm concludes with a prayer that He will gladden Israel with a full deliverance (Psalm 53:6).

It is commonly supposed that the Psalmist is describing the depravity of his own age and his own country. But at least in Psalm 53:1-3 it is of mankind at large (the sons of men, Psalm 53:2) that he is speaking. His words recall the great examples of corruption in the primeval world, in the days before the Flood, at Babel, in Sodom; and in this recension at any rate, it is clear that ‘my people’ in Psalm 53:4 must mean the nation of Israel, and not the poor but godly folk within the nation, while the ‘workers of iniquity’ must mean foreign invaders, not tyrannical Israelite magnates, for Psalm 53:5 can refer to nothing less than some great national deliverance from a foreign enemy. In the notes on Psalms 14 the view is taken that Psalm 53:4-5 were originally meant to refer to the oppression of Israel in Egypt and the deliverance at the Red Sea, as a great typical instance of defiant antagonism to Jehovah and of His intervention on behalf of His people; and they seem to have been remodelled here to introduce a reference to the invasion of Judah by the Assyrians and the miraculous destruction of Sennacherib’s host.

The title runs: For the chief Musician: set to Mahalath. Maschil of David. Mahalath (cp. the title of Psalms 88) may mean sickness, and is best explained as the initial word of some well-known song, to the melody of which the Psalm was set; rather than as denoting a mournful style of music or some kind of instrument. The LXX could only transliterate the word as unintelligible.

Ps 53:1-6.

Upon Mahalath--(See on

Ps 88:1,

title). Why this repetition of the fourteenth Psalm is given we do not know.

1-4. with few verbal changes, correspond with

Ps 14:1-4.

The fool hath said in his heart ... - For the meaning of this verse, see the notes at Psalm 14:1. The only change in this verse - a change which does not affect the sense - is the substitution of the word "iniquity," in Psalm 53:1-6, for "works," in Psalm 14:1-7.