Chú giải Kinh Thánh

This psalm is the first of those fifteen which are here put together under the title of "songs of degrees." It is well that it is not material what the meaning of that title should be, for nothing is offered towards the explication of it, no, not by the Jewish writers themselves, but what is conjectural. These psalms do not seem to be composed all by the same hand, much less all at the same time. Four of them are expressly ascribed to David, and one is said to be designed for Solomon, and perhaps penned by him; yet Ps 126:1-6,129:1-8 seem to be of a much later date. Some of them are calculated for the closet (as Ps 120:1-7,130:1-8), some for the family (as Ps 127:1-5,128:1-6), some for the public assembly (as Ps 122:1-9,134:1-3), and some occasional, as Ps 124:1-8,132:118 So that it should seem, they had not this title from the author, but from the publisher. Some conjecture that they are so called from their singular excellency (as the song of songs, so the song of degrees, is a most excellent song, in the highest degree), others from the tune they were set to, or the musical instruments they were sung to, or the raising of the voice in singing them. Some think they were sung on the fifteen steps or stairs, by which they went up from the outward court of the temple to the inner, others at so many stages of the people's journey, when they returned out of captivity. I shall only observe, 1. That they are all short psalms, all but one very short (three of them have but three verses apiece), and that they are placed next to Ps 119:1-176, which is by much the longest of all. Now as that was one psalm divided into many parts, so these were many psalms, which, being short, were sometimes sung all together, and made, as it were, one psalm, observing only a pause between each; as many steps make one pair of stairs. 2. That, in the composition of them, we frequently meet with the figure they call climax, or an ascent, the preceding word repeated, and then rising to something further, as 120, "With him that hated peace. I peace." 121, "Whence cometh my help; my help cometh." "He that keepeth thee shall not slumber; he that keepeth Israel." 122, "Within thy gates, O Jerusalem. Jerusalem is builded." 123, "Until that he have mercy upon us. Have mercy upon us." And the like in most of them, if not all. Perhaps for one of these reasons they are called songs of degrees.

This psalm is supposed to have been penned by David upon occasion of Doeg's accusing him and the priests to Saul, because it is like 52, which was penned upon that occasion, and because the psalmist complains of his being driven out of the congregation of the Lord and his being forced among barbarous people. I. He prays to God to deliver him from the mischief designed him by false and malicious tongues, Ps 120:1,2. II. He threatens the judgments of God against such, Ps 120:3,4. III. He complains of his wicked neighbours that were quarrelsome and vexatious, Ps 120:5-7. In singing this psalm we may comfort ourselves in reference to the scourge of the tongue, when at any time we fall unjustly under the lash of it, that better than we have smarted from it.

This is the first of fifteen psalms Ps. 120-134 to each of which is prefixed the title "A Song of Degrees." Four of these psalms are ascribed to David, one of them to Solomon, and the rest are by unknown authors.

There has been a great diversity of opinion as to the meaning of the title, and the reason why it was prefixed to these psalms. Some have supposed that the title, "Song of Degrees," or "Ascents," was applied to them as being Psalms which were sung during the periodical journeys or pilgrimages to Jerusalem at the times of the great yearly festivals - the "going up" to Jerusalem. Others have supposed that they were psalms which were composed or sung during the return from the exile - the "going up" again to Jerusalem after their long captivity in Babylon. Some of the Jewish rabbins supposed that they were psalms which were sung as the people ascended the fifteen steps - going up to the temple represented by Ezekiel, seven on one side and eight on the other, Ezekiel 40:22, Ezekiel 40:37. Others have supposed that the title refers to some uniqueness of structure in the psalms - a gradation or elevation of thought - approaching to a climax. Michaelis (Notes on Lowth's Lectures on Hebrew Poetry, xxv., p. 512) supposes that the title is a musical term, and that the reference is to something special in the rhythm, or what is called by us, "feet" of the psalm, but which in the East would be called "steps" or "ascents." See DeWette, Einleitung, p. 35.

In this variety of conjecture - for it can be regarded as little more than conjecture - it is impossible now to determine with any degree of certainty what is the true meaning of the title, or why it was given to these psalms. It is evident that, from some cause, there was such a unity in them, either from the nature of the composition, or from the occasion on which they were used, that they could properly have a general title given to them, as indicating what would be well understood among the Hebrews in regard to their design. But I apprehend that the reason for that title cannot now be positively ascertained. Something negative, however, may be determined in regard to this.

(1) It is quite clear that the opinion of the rabbis that they were 15 in number, and named Songs of Degrees, because they were sung on ascending the steps to the temple, is purely fanciful. In the real temple there was no such ascent; and it is only in the visions of Ezekiel that there is any such allusion.

(2) It seems equally clear that they were not so called because they were composed and used for the "going up" from the captivity in Babylon, or to be sung during the march through the desert. Several of them - those of David and Solomon - were composed long before that event, and could have had no allusion to it. Besides, there are but two of them Psalm 122:1-9; Psalm 126:1-6 that have any reference to the return from Babylon, or that would have any applicability to that journey. Moreover, it is extremely improbable that any such selection of psalms should have been used on such a journey, or that any arrangement should have been made for such a purpose.

(3) It seems to me equally improbable that they were called "Songs of Degrees or Ascents," because they were used by the people when "going up" to Jerusalem to attend on the great festivals. As in the previous specification, it may be remarked that the psalms here referred to had no special applicability to such a use; that there is no evidence that any such practice prevailed; that it is wholly improbable that there would be any such set and fixed arrangement, or that the people in going up to Jerusalem on those occasions would move along to measured music.

The word rendered "degrees" in the title - מעלה mă‛âlâh, in the singular - and מעלות ma‛ălôth, in the plural, the form used here - means properly an "ascent, a going up," as from a lower to a higher region, Ezra 7:9 (margin); or of the thoughts that ascend in the mind, Ezekiel 11:5. Then it means a "step," by which one ascends, 1 Kings 10:19; Ezekiel 40:26, Ezekiel 40:31, Ezekiel 40:34. Then it means a degree of a dial, or a dial as divided into degrees, where there is an "ascent" on the dial, 2 Kings 20:9-11. See the notes at Isaiah 38:8. After what has been said above, there seem to be but two suppositions which have probability in regard to its meaning here:

(a) The one is the opinion of Gesenius, that these psalms are called Songs of Degrees, or Ascents, because of a certain "ascent" in the mode of composition, as when the first or last words of a preceding line are repeated at the beginning of a succeeding line, and then some new increase in the sense or idea - or some "ascent" in the meaning - follows by such an addition. The following instances may be referred to as illustrating this view. Psalm 121:1-2 : "I will lift up mine eyes unto the hills, from whence cometh my help: My help cometh from the Lord," etc, Psalm 121:3-4 : He that keepeth thee will not slumber: Behold, he that "keepeth" Israel shall neither slumber nor sleep." Psalm 121:7-8 : "the Lord shall "preserve" thee from all evil; he shall "preserve" thy soul: The Lord shall "preserve" thy going out, and thy coming in," etc. So also Psalm 124:1-2 : "If it had not been the Lord who was "on our side," now may Israel say: If it had not been the Lord who was "on our side;" when people rose up against us - "then" Psalm 124:3 they had swallowed us up quick; "then" Psalm 124:4 the waters had overwhelmed us; "then" Psalm 124:5 the proud waters had gone over our soul." See also Psalm 122:2-4; Psalm 123:3-4; Psalm 126:2-3; and Psalm 129:1-2. There is doubtless some foundation for this supposition, but, after all, it seems far-fetched, and though the remark may be true of some of these fifteen psalms, yet it can by no means be made applicable to all of them, nor could it be shown to be so special to them that no others could have been for the same reason included in the number.

(b) The remaining supposition seems to have much more plausibility than anyone here suggested. It is that the term is a musical expression; that there was something special in the "scale" of the music to which these psalms were sung, though that is now lost to us. This is akin to the opinion of John D. Michaelis, as alluded to above. This is, also, referred to by Asseman (Biblioth. Orient., t. i., p. 62), and by Castell (Lex. Syr.) It is impossible, however, now to ascertain "what" there is that would make this appellation especially appropriate to these psalms. All that can be known is, that there was some reason why these psalms were, so to speak, bound up together, and designated by a common title. This does not prevent a special title being prefixed to some of them in regard to their author and design.

The psalm now before us has no other title, and nothing to designate its author. it pertains to a sufferer who calls earnestly upon the Lord for deliverance. The particular form of trial is that caused by the tongue - slander. The author was suffering from some unjust aspersions cast upon him; from some effort to destroy his reputation; from some charge in regard to his character, which made him miserable, as if he sojourned in Mesech and dwelt in the tents of Kedar, Psalm 120:5. He says that it was in vain for him to attempt to live in peace with the men who calumniated him. He was himself disposed to peace. He earnestly desired it. But they were for war, and they kept up the war, Psalm 120:6-7. Among the forms of suffering to which the people of God are exposed, this is not uncommon; and it was proper that it should be referred to in a book designed, as the Book of Psalms was, to be useful in all ages, and in all lands, as a record of religious experience.

The psalmist, in great distress, calls on the Lord for deliverance from calumny and defamation, Psalm 120:1, Psalm 120:2; shows the punishment that awaits his persecutor, Psalm 120:3, Psalm 120:4; deplores the necessity of his residence with the ungodly, Psalm 120:5-7.

This Psalm, and all the rest that follow it, to the end of Psalm 134:1-3, fifteen in number, are called Psalms of Degrees; for thus the Hebrew title המעלות hammaaloth is generally translated, as coming from the root עלה alah, to ascend or mount upwards. Hence מעלות maaloth, steps or stairs for ascending, 1 Kings 10:19, 1 Kings 10:20; 2 Kings 9:13. But as the word may be applied to elevation in general, hence some have thought that it may here signify the elevation of voice; "these Psalms being sung with the highest elevations of voice and music." Others have thought the word expresses rather the matter of these Psalms, as being of peculiar excellence: and hence Junius and Tremellius prefix to each Canticum excellentissimum, "A most excellent ode."

R. D. Kimchi says, "There were fifteen steps by which the priests ascended into the temple, on each of which they sang one of these fifteen Psalms." This opinion I find referred to in the Apocryphal Gospel of the birth of Mary: "Her parents brought her to the temple, and set her upon one of the steps. Now there are fifteen steps about the temple, by which they go up to it, according to the fifteen Psalms of Degrees." But the existence of such steps and practices cannot be proved.

Aben Ezra supposes that the word means some kind of tune sung to these Psalms. It is more likely, if the title be really ancient, that it was affixed to them on account of their being sung on the return from the Babylonish captivity, as the people were going up to Jerusalem; for though some of them are attributed to David, yet it is very probable that they were all made long after his time, and probably during the captivity, or about the end of it. The author of these fifteen Psalms is not known; and most probably they were not the work of one person. They have been attributed to David, to Solomon, to Ezra, to Haggai, to Zechariah, and to Malachi, without any positive evidence. They are, however, excellent in their kind, and written with much elegance; containing strong and nervous sentiments of the most exalted piety, expressed with great felicity of language in a few words.

INTRODUCTION TO Psalm 120

A Song of degrees. This psalm, and the fourteen following, are called "songs of degrees", or "ascents" (o); for what reason it is not easy to say. Some think it refers to the music of them, and that this is the name of the tune to which they were set; or the first word of a song according to which they were sung, as Aben Ezra; or that they were sung with an higher voice, or an ascending note, as Saadiah Gaon. Others are of opinion that the title of them respects the ascent of persons or places, at what time and where they were sung; either when the Israelites went up to Jerusalem, at the three solemn yearly feasts; or when the Jews came up from Babylon, mention being made in some of these psalms of their being in Babylon, and of their return from their captivity there; and so the inscription of the Syriac version is,

"the first song of ascent; the people detained in Babylon pray to be delivered.''

But the common opinion of the Jews, and which is embraced by many Christians (p), and is mentioned by Jarchi, Saadiah Gaon, Kimchi, and Ben Melech, is, that these are the songs sung by the Levites, on the fifteen steps, by which they went up from the court of the women to the court of the Israelites, or came down them; and on each step sung one of these psalms (q). Though it may be they are so called because of their excellency; a song of degrees being an "excellent" (r) song, as an excellent man is called a man of high degree, 1 Chronicles 17:17; these being excellent ones for the matter of them, their manner of composure, and the brevity of them. It is generally thought this psalm was composed by David, on account of Doeg the Edomite, because of its likeness in some things with the fifty second psalm: and certain it is that the psalmist had been in some great distress, and at a distance from his own country and the house of God, and dwelt among wicked men when he wrote it; so that it is very probable it was composed during his exile through the persecution of Saul.

(o) "canticum ascensionum", Munster, Vatablus. (p) L'Empereur in Middot, c. 2. s. 5. Lightfoot's Temple-Service, c. 20. so Theodoret in loc. (q) Vid. Misn. Middot. c. 2. s. 5. Succah, c. 5. s. 4. (r) "Canticum excellentissimum", Junius & Tremellius.

CXX.

This is the first of the fifteen “songs of degrees,” as the title appears in our version (“of steps” in the LXX. and Vulg.; literally, of goings up). The probable meaning of this strange inscription is discussed in the General Introduction. That the Psalms so entitled formed a collection made with some definite intention can hardly be questioned. But whatever that intention, the position of this psalm in the collection is unaccountable. Even if the title denotes a rhythmical peculiarity—a kind of climactic progress in the verse—it is only just observable here, while there is not the slightest touch in the poem, which can be brought into peculiar connection or association with a pilgrimage to Jerusalem, or with the return from the captivity. One thing is clear; we are again, after the long gnomic 119th Psalm, in the region and air of lyric song, this fragment, for it is nothing more, being bright and intense with passion and fire. If the poem is personal, it records an experience which every phase of life in all ages presents, the mischief arising from slander. If—the more probable conjecture—it is national, then we must look for its motive in the complications which would naturally arise when Israel had to struggle amid foreign powers and influences to maintain its religious and national existence. The “enemy to peace” (Psalm 120:6; comp. Psalm 129:5; Ezra 4:1) has been most plausibly identified with the Samaritans. (See 2Kings 17:24 seq., and Josephus, Ant. xi., 2:1.)

Title.—“Song of degrees.” Rather, lyric song of goings up, or ascents.

The Psalmist begins by recalling his past experience of answered prayer (1): he prays that he may be delivered from the intrigues of unscrupulous enemies and that just retribution may be meted out to them (Psalm 120:2-4): and laments that his lot is cast among men who are no better than rude barbarians (Psalm 120:5-7).

It is impossible to determine with any certainty the circumstances which called forth the Psalm. Some commentators have thought that the Psalmist speaks on behalf of Israel, and refers to the misrepresentations by which the Samaritans stopped the building of the Temple (Ezra 4:1-6), or to one of the subsequent occasions upon which they sent false accusations to the Persian court to hinder the rebuilding of the walls (Ezra 4:7 ff.), or to the opposition to Nehemiah which was headed by Sanballat and Tobiah (Nehemiah 2:10; Nehemiah 2:19; Nehemiah 4:1; Nehemiah 4:7 ff.; Nehemiah 6:1 ff.). But the hostility from which the Psalmist is suffering seems rather to be of a personal nature; and like the author of Psalms 119 he may have been a godly Israelite who (with those likeminded) was persecuted and calumniated by the godless party in the community. We may compare the thanksgiving of the son of Sirach for his deliverance “from the snare of a slanderous tongue” which had almost proved his ruin (Sir 51:1 ff.), and Baethgen refers to Psalms 12 of the “Psalms of Solomon,” which closely resembles this Psalm, and, though belonging to a later time, may have sprung out of similar circumstances. Ryle and James suppose that the accuser against whom that Psalm is directed was a Sadducee, who had brought ruin and perhaps death on some prominent Pharisee by laying information against him at the court. A part of the Psalm may be quoted for illustration:

“O Lord, deliver my soul from the lawless and evil man,

From a lawless and whispering tongue, that speaketh false and crafty words with a froward intent.

The words of the evil man’s tongue are like fire in a threshing floor kindling the straw thereof.

He sojourneth (?) among men to set houses aflame with a false tongue,

To hew down trees of gladness … and lawlessly with whispering lips to confound houses with strife.”

Though our Psalm appears primarily to refer to the sufferings of a pious Israelite among unsympathetic and hostile countrymen, it may easily, as a Pilgrim Psalm, have received a national application to the circumstances of Israel in the Dispersion.

On the title, A song of ascents (R.V.), or A song for the goings up, prefixed to this and the next fourteen Psalms, see Introd. p. xxviii. They are probably taken from a collection of the songs sung by pilgrims as they went up to the Feasts at Jerusalem.

Ps 120:1-7.

This is the first of fifteen Psalms (Psalms 120-134) entitled "A Song of Degrees"

(Ps 121:1

--literally, "A song for the degrees"), or ascents. It seems most probable they were designed for the use of the people when going up (compare

1Ki 12:27, 28)

to Jerusalem on the festival occasions

(De 16:16),

three times a year. David appears as the author of four, Solomon of one

(Ps 127:1),

and the other ten are anonymous, probably composed after the captivity. In this Psalm the writer acknowledges God's mercy, prays for relief from a malicious foe, whose punishment he anticipates, and then repeats his complaint.

In my distress - In my suffering, as arising from slander, Psalm 120:2-3. There are few forms of suffering more keen than those caused by slander:

"Whose edge is sharper than the sword; whose tongue

Outvenoms all the worms of Nile; whose breath

Rides on the posting winds, and doth belie

All corners of the world: kings, queens, and states,

Maids, matrons, nay, the secrets of the grave

This viperous slander enters."

Cymbeline, iii.4.

It is one of those things which a man cannot guard against; which he cannot repel by force; whose origin he cannot always trace; which will go where a vindication will not follow; whose effects will live long after the slander is refuted; which will adhere to a man, or leave a trait of suspicion, even after the most successful vindication, for the effect will be to make a second slander more easily credited than the first was.

I cried unto the Lord, and he heard me - I had no other resource. I could not meet the slander. I could not refute it. I could not prevent its effects on my reputation, and all that I could do was to commit the case to the Lord. See the notes at Psalm 37:5-6.