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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- 21,603 / 22,101
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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
전권 강해·설교·예화 풍부 (항목 대량)
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Keil & Delitzsch Commentary on the Old Testament
Carl F. Keil, Franz Delitzsch · 1866
구약 학술 표준 — 히브리어·문헌비평·고대근동 배경
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Ellicott's Commentary for English Readers
ed. Charles J. Ellicott · 1878
학술+가독 균형 전권 주석
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Cambridge Bible for Schools and Colleges
Cambridge (다저자) · 1900
준전권 준학술 (권별 저자·연도 확인)
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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
헬라어 시제·문법 해설 결정판 (KR PD / US 1931+ 권별)
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The Expositor's Greek Testament
ed. W. Robertson Nicoll (다저자) · 1910
헬라어 신약 학술 (권별 저자 PD 확인 필요)
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Meyer's Critical and Exegetical Commentary on the New Testament
Heinrich A.W. Meyer · 1880
신약 학술 정밀주해 (독일 — K&D 대응)
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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
웨슬리안 전권 주석
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The Treasury of David
Charles H. Spurgeon · 1885
시편 주석 고전 (설교 자료 풍부)
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MacLaren's Expositions of Holy Scripture
Alexander Maclaren · 1910
설교형 강해 명저 (전권, 절별 가공 필요)
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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
감리교 전권 주석
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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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- “本诗的标题”——本诗的标题是“交与伶长，用丝弦的乐器。大卫的诗。”标题中“交与伶长”这一说法出现于53篇诗篇的开头，并在哈巴谷书诗歌的末尾出现（Habakkuk 3:19）。它一律译作“交与伶长”，意指本诗是给他用的、或要交给他，大概是要由他来规范演奏的方式。在任何一个实例中，这标题都没有暗示他是作者。译作“伶长”的词 מנצח menâtsēcha 源于 נצח nâtsach，本义为“发光”，但未用于 Qal 干语形。在 Piel 干语形中，它的意思是显赫出众、管理某事、作首领、作督工（2 Chronicles 2:2、2 Chronicles 2:18；2 Chronicles 34:12），然后引申为指导音乐。此处所用形式、以及它作为诗篇标题出现于别处时的意思是“伶长”（领唱者）；其观念是：本诗要在他的指导下演唱，或者说音乐要由他来指挥和编排。
在眼下这例中，还特别指明了音乐所要使用的“乐器”；这一指明也见于 Psalm 6:1-10；Psalm 54:1-7；Psalm 55；Psalm 61:1-8；Psalm 67:1-7；Psalm 76:1-12，那里提到的是与此处相同的乐器。在 Psalm 8:1-9；Psalm 81；Psalm 84:1-12 中提到的是另一种乐器；在 Psalm 45；Psalm 60:1-12；Psalm 80 中又是另一种乐器。看来诗篇的作者常使其诗作适配某一种特定的乐器，而把音乐的进一步编排留给领唱者自己。“丝弦的乐器”一词是“Neginah”的复数——希伯来文 נגינה negı̂ynâh——本义为“弦乐器”。它出现于以下诗篇的标题中：Psalm 4:1-8；Psalm 6:1-10；Psalm 54:1-7；Psalm 55；Psalm 67:1-7；Psalm 76:1-12。在这些情形中，它的意思是：本诗是要在某件弦乐器的伴奏下、或在管理弦乐器部门之乐师的指导下演唱的。至于要用哪一种弦乐器，它并没有指明。
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“本诗的作者”。本诗与前一篇一样，标明为大卫的诗，没有理由怀疑这意见的正确性。事实上，有某种内在的可能性：若前一篇诗是他所写，这一篇也是；因为前一篇似是“晨间”的诗（Psa 3:5），本篇则似乎是它的对应篇，是被设计为“晚间”的诗（Psalm 4:4、Psalm 4:8）。两者结构大体相似，且一处提到早晨、一处提到晚上，表明这两篇大概被设计为一种“成对”的诗篇，要在同一天使用——一篇在早晨，一篇在晚上。若果真如此，并且大卫是第三篇的作者，那么同样有理由认为他也是本篇的作者。还可补充一点：人们普遍同意相信本诗为大卫所写。
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“本诗写作的场合”。诗中或标题中都没有什么能决定这个问题，如今已无法确切判定。犹太解经家普遍以及大多数基督教解经家都认为，它与前一篇写于同一场合，即与押沙龙的叛乱有关。但诗本身中没有什么能确定这一点，也没有什么使它不可能写于大卫生平的另一个时候。然而应当说，诗中没有什么与那一设想相抵触，尤其因为本诗的明显目的是要使那场合——无论它是什么——成为一个抒发历世历代都宝贵之伟大思想的场合。有某种内在的证据表明，本诗与前一篇是针对相同处境而写的，只是有这分别：“前一篇”是写诗者仍在患难之中、并认为能蒙恩享受一夜安静休息已是极大怜悯之时（Psalm 3:5）；“本篇”则是他已脱离那些患难、如今感到自己“能”无忧无惧地安然入睡之时（Psalm 4:8）。
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“本诗的内容”。本诗表达了对神普遍的信靠和普遍的安全感。诚然，写诗者知道自己有仇敌，知道他们若能够，就必把他的“荣光”变为“羞辱”；知道他们是虚妄的人，寻求借毁谤毁掉他（Psalm 4:2）；但他仍然信靠神，相信一切终必安好。他虽有寻索他命的仇敌，心中却如此平静，以致他觉得自己能坦然把自己交给神，躺下睡觉。因此，本诗的总主题是：信靠神能使人心在患难中平静，倚赖祂的保护眷顾，能使我们在夜间安然安息、不受搅扰。围绕这一总主题，本诗有以下几点。
（a）写诗者呼求神垂听他，并以神先前曾垂听他——在困苦中使他宽广——作为他祈求的根据（Psalm 4:1）。
（b）他直接向仇敌说话，就他们当行的事给他们劝告（Psalm 4:2-5）。他郑重地呼吁他们，问他们要把他的荣光变为羞辱要到几时（Psalm 4:2）；他恳切地提醒他们记住：他们的一切努力必归徒然，因为耶和华已经分别虔诚人归祂自己，必保护他（Psalm 4:3）；他劝他们应当畏惧，惧怕他们所行之路的后果，并劝他们留出适当的时间反省——在夜间独自与神同在、远离白日激动之时思想这事（Psalm 4:4）；他又恳求他们自己成为真正敬拜神的人，向祂献上义的祭（Psalm 4:5）。
（c）他对比自己喜乐的源头与他们的源头（Psalm 4:6-7）。他们寻求属世的好处，并试图单在其中寻找幸福；他所渴望的却不止于此——作为喜乐的首要源头，他求神使祂的脸光照他。他已经历了这一点，并说神“使我心里快乐，胜过他们的五谷、新酒丰收的时候”。在自觉蒙神恩眷之中，他所得的真实幸福，远胜过没有这恩眷的最大属世兴旺所能给予的。在患难之时，宗教所赐的真实幸福，胜过世界所能赐予的一切。
（d）作为这一切的结果，并鉴于这一切的怜悯与安慰，他说他必安然躺下睡觉。他虽有仇敌，心中却平静安稳；虽有危险，他仍能倚靠神；虽然在属世之事上他可能不及别人兴旺，他却在宗教中拥有胜过世界所能赐予一切的喜乐；这使人心平静，正如身体在黑夜中被交付安息一样（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.
用丝弦的乐器（On Neginoth），即以弦乐器为伴奏。关于题注其余部分，见导论。其历史背景大概与前篇相同（见
Ps 3:1）。作者在祈求进一步的解救时，警告仇敌攻击神仆人是徒然的，劝勉他们悔改，并宣告他在神恩宠中的信靠与平安。
1. 显允（Hear）——如 Ps 3:4 所言。
显我为义的神（God of my righteousness）——或作“我的义神”，如“我的圣山”（Ps 2:6）那样，祂必按公义的原则向我行事。
你曾……宽广（thou hast enlarged）——表达与“困苦”相对的解救；“困苦”一词原文指狭窄或压迫。过去的恩惠是将来盼望的根据。
我呼吁的时候，求你垂听——即当我祷告的时候。在这样的语境中，“垂听”一词总含有“留心听”、“垂听而施恩”或“关注”之意；因此，按字面意义说，神“听见”一切所说的话，这总是真的。这里的含义是“垂听并应允我”，或说把我所求的赐给我。
显我为义的神啊——即：我的公义之神啊。这是希伯来文常见的表达方式。如 Psalm 2:6 的“我的圣洁之山”，意即“我圣洁的山”；Psalm 3:4 的“他的圣洁之山”，意即“他圣洁的山”。诗人在此向神呼吁，称祂为“他的”神——他所信靠的神；又称祂为“公义的”神——一位必行公义之事的神，因此他可以倚靠祂作保护祂子民的那一位。诗人以神为公义之神向祂呼吁，这暗示他心中确信自己的案情是公正的；他只是求神在这案中行“公义”。这不是基于他自己作为义人的权利主张，而是因为：在这一具体案件中，他是被冤屈逼迫的；他求神介入，使公义得以伸张。这永远是向神呼吁的正当根据。一个人可以在某一具体案件中意识到自己站在公义一边，尽管他总体上深知自己是罪人；他可以求神使他的仇敌行正当的事，或引导那些职分在于裁决此案的人做当做之事，以还他清白，或救他脱离冤屈。
我在困苦中，你曾使我宽广——即在某次从前的经历中。当他被“压制”或“困住”、不知如何逃脱之时，神曾介入，给了他宽阔之地，使他感到自由。他如今再次恳求同样的怜悯。他感到那位在从前的患难中这样行的神，必能再次施行；他求祂重复祂的恩慈。这祷告显出他对神的大能与不变性的信靠，也证明：在我们的祷告中，回想神从前介入的种种事例，作为论据、或作为神必再次介入之盼望的根据，乃是正当的。
现在求你怜恤我——在我如今的患难中。即：怜悯我，体恤我，像你从前所做的那样。凡曾确信神从前垂听了他的祷告、救他脱离患难的人，谁不会带着更充足的信心到祂面前来，深信祂必再次垂听呢？
大卫是传道者,是君王传道者,正像所罗门一样;他的许多诗篇既是敬虔的,也是教训的与实践的;本篇的大部分正是如此——其中智慧向众人、向人子呼喊(如箴8:4,5),要受教诲。标题并未如前篇那样告诉我们它是因任何特别场合而作;我们也不当以为所有诗篇都是因事而作(虽有些是),而要认为其中许多是笼统地为那些在他家院中事奉的神百姓的教训、为他们敬虔的扶助、为他们品行的指引而设:我视本篇即属此类。我们不要使预言的经文成为过于私意的解说(彼后1:20)。本篇结构如下:一、大卫以一短祷告开始(诗4:1),那祷告本身就是讲道;二、他向人子发言:1. 奉神的名责备他们羞辱神、损伤自己灵魂(诗4:2);2. 将敬虔人的福乐摆在他们面前,以鼓励他们归主(诗4:3);3. 呼召他们思量自己的道路(诗4:4);三、他劝勉他们事奉神、信靠他(诗4:5);四、他陈述自己经历神恩典在他心中的运行:1. 使他拣选神的恩眷作为他的福乐(诗4:6);2. 使他心充满其中的喜乐(诗4:7);3. 使他在日夜所蒙神保守的确据中安静己灵(诗4:8)。