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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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
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Matthew Poole's Annotations upon the Holy Bible
Matthew Poole · 1685
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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
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Ellicott's Commentary for English Readers
ed. Charles J. Ellicott · 1878
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Cambridge Bible for Schools and Colleges
Cambridge (다저자) · 1900
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Vincent's Word Studies in the New Testament
Marvin R. Vincent · 1887
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Word Pictures in the New Testament
A.T. Robertson · 1933
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The Expositor's Greek Testament
ed. W. Robertson Nicoll (다저자) · 1910
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Meyer's Critical and Exegetical Commentary on the New Testament
Heinrich A.W. Meyer · 1880
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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
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The Treasury of David
Charles H. Spurgeon · 1885
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MacLaren's Expositions of Holy Scripture
Alexander Maclaren · 1910
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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
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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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一、「本篇標題。」本詩的標題是「大衛的詩，交與伶長，用絲弦的樂器」。標題中「交與伶長」一語出現在五十三篇詩的開頭，也出現在哈巴谷書第三章那首詩歌的結尾（Habakkuk 3:19）。它一律譯作「交與伶長」，意思是本詩是為他而設、或要交給他，大概是為要規範演唱的方式。沒有一處標題暗示他是作者。譯作「伶長」的字——מנצח menâtsēacha——源於 נצח nâtsach，本義是「發光」，但不用於 Qal 字幹。在 Piel 字幹中，它的意思是顯著、居於某物之上、作首領、作主管（2 Chronicles 2:2、2 Chronicles 2:18；2 Chronicles 34:12），然後意為在音樂中帶領。這裡所用的形式——以及它作為詩篇標題出現的其他地方——意義是「伶長」或領唱者；其觀念是：本詩要在他的指導下演唱；或音樂要由他指揮、安排。
在我們眼前的例子中，特別指明了音樂中當用的「樂器」；這也見於 Psalm 6:1-10、Psalm 54:1-7、Psalm 55、Psalm 61:1-8、Psalm 67:1-7、Psalm 76:1-12，那裡提到的樂器與這裡相同。在 Psalm 8:1-9、Psalm 81、Psalm 84:1-12，提到另一種樂器；在 Psalm 45、Psalm 60:1-12、Psalm 80，又是另一種樂器。看來詩篇的作者常把他的詩配上某種特定的樂器，而把音樂進一步的安排留給領唱者自己。「用絲弦的樂器」（Neginoth）——「Neginah」（נגינה negı̂ynâh）的複數——本義是「絃樂器」。它出現在以下詩篇的標題中：Psalm 4:1-8；Psalm 6:1-10；Psalm 54:1-7；Psalm 55；Psalm 67:1-7；Psalm 76:1-12。在這些例子中，它的意思是本詩要在某種絃樂器的伴奏下演唱，或在主持絃樂器部門之樂師的指導下演唱。至於當用哪一種絃樂器，它沒有任何指定。
二、「本篇作者。」本詩與前一篇一樣，自稱為大衛的詩，這意見的正確性沒有理由懷疑。誠然，有內在的可能：若前一篇詩是他所寫，這一篇也是；因為前一篇看來是一篇「清晨」的詩（Psa 3:5），這一篇則彷彿是它的配對篇，是一篇「夜間」的詩（Psalm 4:4、Psalm 4:8）。兩者在結構上總體相似，一者提到早晨、另一者提到晚上，表明這兩篇大概是要構成一種「成雙」的詩，在同一天使用——一篇在早晨，一篇在晚上。若是這樣，而大衛又是第三篇的作者，那麼同樣有理由推想他也是本篇的作者。還可以補充：人們普遍同意相信本詩是大衛所寫。
三、「本篇寫作緣由。」詩中或標題裡都沒有什麼能決定這問題，如今已無法確切解決。猶太解經家一般、以及大多數基督教解經家，都以為它與前一篇寫於同一場合，與押沙龍的叛亂有關。但詩的本身沒有什麼能確定這一點，也沒有什麼使它不可能寫於大衛生平的別的時候。不過應當說，詩中沒有什麼與那假設不相合之處，特別是因為本詩顯然的目的，正是要使那場合——無論它是什麼——成為傾吐歷代都有價值之偉大思想的場合。有內在的證據表明，本詩與前一篇是鑒於相同的境況而寫，其分別在於：「那篇」寫於作者正處患難之中、認為蒙允享受一夜安靜休息是大事之時（Psalm 3:5）；「本篇」寫於他已脫離那些患難、如今感到自己「能」毫無焦慮懼怕地安然歇息之時（Psalm 4:8）。
四、「本篇內容。」本詩表達對神總體的信靠和總體的安全感。作者誠然知道他有仇敵，知道他們若能，必把他的「榮耀變為羞辱」；知道他們是藉毀謗尋索他敗落的虛謊之人（Psalm 4:2）；但他仍然信靠神，相信一切都必安好。他雖有尋索他性命的仇敵，他的心卻如此平靜，以致感到能把自己坦然交託給神，躺下睡覺。因此，本詩的總主題是：信靠神能使人心在患難中平靜，倚靠他的保護，能使我們在夜間安然歇息、不受攪擾。在這總主題之下，本詩有以下幾點：
(a) 作者呼求神垂聽他，並以神先前曾垂聽他——在困苦中曾使他寬廣——作為他祈求的根據，Psalm 4:1。
(b) 他直接向他的仇敵說話，勸告他們當行的事，Psalm 4:2-5。他鄭重地向他們呼籲，問他們要把他的榮耀變為羞辱要到幾時，Psalm 4:2；他懇切地提醒他們，他們一切的努力必定徒然，因為耶和華已經分別虔誠人歸他自己，必保護他，Psalm 4:3；他勸他們畏懼，懼怕他們所行道路的後果，並勸他們抓緊合宜的時間反省——在夜間、獨自與神同在、遠離白日激動的時候思想這事，Psalm 4:4；他又懇求他們自己成為真實敬拜神的人，向他獻上義的祭，Psalm 4:5。
(c) 他把自己喜樂的源頭與他們的對比，Psalm 4:6-7。他們尋求屬世的好處，企圖單單在其中尋得幸福；他所渴慕的卻多過於此，並以神使他的臉光照他為喜樂的首要源頭。他已經歷過這事，他說，神「使我心裡快樂，勝過那豐收五穀新酒的人」。他在自覺神恩眷之中所得的真實幸福，多過沒有神恩眷的最大屬世興盛所能提供的。宗教在患難之時所給的真幸福，多過世界所能賜的一切。
(d) 作為這一切的結果，並鑒於這一切的憐憫與安慰，他說他要安然躺下睡覺。他雖有仇敵，他的心卻安靜平穩；雖然可能有危險，他能信靠神；雖然他在屬世的事上可能不如別人興盛，他在宗教中的喜樂卻勝過世界所能給的一切；當他的身體在夜的黑暗中交託休息之時，這使他的心平靜，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.
用絲弦的樂器，即絃樂器，作為伴奏的種類。題註其他部分，見
Introduction.（《導論》）。
歷史背景可能與前篇相同[見
Ps 3:1]。
作者求進一步的拯救，規勸仇敵攻擊神僕人是徒然的，勸戒他們悔改，並宣認他在神恩惠中的信心與平安。
1. 應允——如
Ps 3:4。
我公義的神——或作「我的義神，如我的聖山」
(Ps 2:6)，
祂必以公義的原則待我。
寬廣——表達與「困境」相對的解救，「困境」一詞指狹窄或壓迫。過去的恩惠是未來盼望的根據。
「我呼籲的時候，求你應允我」——即我禱告之時。在這類用例中，「垂聽」一詞總是含有「聆聽」、「施恩垂聽」或「留意顧念」的意思；因此，就字面而言，神確實「聽見」人所說的一切話，這乃是永遠真實的。此處的意義是：「求你垂聽而應允我」，或將我所求的賜給我。
「顯我為義的神啊」——意即我公義的神。這是希伯來文常見的表達方式。例如 Psalm 2:6 的「我聖潔之山」，意即「我的聖山」；Psalm 3:4 的「他的聖潔之山」，意即「他的聖山」。詩人在此向神呼求，以祂為「他的」神——就是他所信靠的神；又以祂為「公義的」神——就是必行公義之事、因而可以倚靠祂保護自己子民的神。詩人以神為公義的神而呼求，這蘊含著他心中確信自己的案情合乎公義；他不過是求神在此案中施行「公義」。這並非根據他自己身為義人的資格，而是因為在這件特定的事上，他受了不義的逼迫；故他求神介入，使公義得以伸張。這永遠是向神呼求的合宜根據。人儘管大體上承認自己是罪人，仍可能在某件特定的事上自覺理直；他可以求神使他的仇敵行正直的事，或引導那些職司裁決此案的人行所當行，以洗雪他的名，救他脫離冤屈。
「我在困苦中，你曾使我寬廣」——意即在某個從前的時候。當他被「壓迫」或「困迫」、不知如何逃脫之時，神曾介入，給他寬闊之地，使他感到自由。如今他再次懇求同樣的憐憫。他深信那在從前諸般患難中施行此事的神，必能再度施行；故求祂重施憐憫。這禱告顯明他對神的大能與不變性滿有信心，也證明我們在禱告中追念神從前介入的實例，以之為論據、或為神必再度介入之盼望的根據，乃是正當的。
「求你憐恤我」——在我現今的患難中。意即：求你眷顧我，憐憫我，正如你從前所行的。凡曾確實體會神垂聽他以往的禱告、並拯救他脫離患難的人，誰不會帶著更充足的確據再到祂面前，深信祂必再次垂聽呢？
大衛是一位傳道者，是如同所羅門一般的君王傳道者；他的許多詩篇既是敬虔的，也是教義性與實踐性的。本詩最大的部分正是如此——在其中智慧向眾人、向世人呼喊（如箴八4、5），要他們領受訓誨。本篇的標題並不像前一篇那樣告訴我們，它是因任何特殊場合而寫；我們也不當認為所有的詩篇都是偶發性的——有些確是如此，但有許多是為了一般目的而寫，即為教導那聚集在神殿院中的神子民、幫助他們的敬拜、並引導他們的行事為人：我看本詩就是這樣的一篇。我們不可把聖經的預言作過於私意的解釋（彼後一20）。在本篇中：一、大衛以一簡短的禱告開始（詩四1），而這禱告本身就是在講道。二、他向世人發言，並且：1. 奉神的名責備他們羞辱神、又損害自己靈魂的罪（詩四2）。2. 他將敬虔人之福擺在他們面前，以此鼓勵他們敬虔（詩四3）。3. 他呼召他們省察自己的道路（詩四4）。三、他勸勉他們事奉神、並信靠祂（詩四5）。四、他述說自己對神恩典在他心中運行的經歷：1. 這恩典使他能揀選神的恩寵為他的福分（詩四6）。2. 這恩典使他的心在其中充滿喜樂（詩四7）。3. 這恩典使他的靈在晝夜蒙神保護的確據中得享安寧（詩四8）。