A SECOND edition of the fourteenth psalm, with variations, more or less important, in each verse. That either of these compositions is an incorrect copy of the other is highly improbable, because two such copies of the same psalm would not have been retained in the collection, and because the variations are too uniform, consistent, and significant, to be the work of chance or mere traditional corruption. That the changes were deliberately made by a later writer is improbable, because such a liberty would hardly have been taken with a psalm of David, and because the later form, in that case, would either have been excluded from the Psalter, or substituted for the first form, or immediately connected with it. The only satisfactory hypothesis is, that the original author afterwards re-wrote it, with such modifications as were necessary to bring out certain points distinctly, but without any intention to supersede the use of the original composition, which therefore still retains its place in the collection. This supposition is confirmed by the titles, which ascribe both psalms to David. Of this kind of retractatio, which is not unknown to the practice of uninspired hymnologists, we have already met with a remarkable example in the case of David. See above, the concluding note on Ps. xviii. p. 87. As a general fact, it may be stated, that the variations in the psalm before us are such as render the expression stronger, bolder, and in one or two cases more obscure and difficult. To these variation3>the remarks which follow will be restricted. For the exposition of the parts which are common to both psalms, the reader is referred to that of Ps. xiv.
1. To the Chief Musician—uponMahalath—Maschil—hy David. Between the inscription to the Chief Musician and the name of David, which are also found at the beginning of Ps. xiv., we have here two additional expressions. The first of these is by some regarded as the name or description of an instrument; but as it is so used nowhere else, and as forms almost identical occur more than once in the sense of sickness or disease (Exod. XV. 26, Prov. xviii. 14, 2 Chron. xxi. 15), it seems most natural to take the phrase as an enigmatical enunciation of the subject of the psalm, which is in strict accordance both with general usage and with that of David in particular. See above, on Ps. v. 1, xxii. 1, xiv. 1. By disease we may then understand the spiritual malady with which mankind are all infected, and which is really the theme or subject of the composition. In the only other title where it reappears (Ps. lxxxviii. 1), it denotes corporeal disease. The other addition (maschil) describes the psalm as a didactic one. See above, on Ps. lii. 1.
2 (1). The fool hath said in his heart, There is no God. They have done corruptly, they have done abominable wickedness, there is none doing good. See above, on Ps. xiv. 1. The only variation in this verse is the substitution of (^ly) iniquity for (Tyy^J) deed or act. Instead of saying, they have made (their) conduct abominable, the Psalmist uses the stronger expression, they have made iniquity abominable, or done abominably (in their) wickedness.
3 (2). God from heaven has looked down on the sons of man, to see if there is (any) acting wisely, seeking God. See above, on Ps. xiv. 2. The only difference in the Hebrew of these verses is that the name Elohim is here substituted for Jehovah. The same change occurs below, in ver. 5, 6, 7 (4,5,6). The name Jehovah is not used at all in the psalm before us, but occurs four times in Ps. xiv., and Elohim thrice. This difference seems to mark Ps. liii.- as the later composition, in which the writer aimed at an external uniformity, which did not occur to him at first. This is a much more natural supposition than that he afterwards varied what was uniform at first. The attempts which have been made to account, still more particularly, for the use of the divine names in these two psalms, have entirely failed.
4 (3). All of it has apostatised; together they have putrefied; there is none doing good; there is not even one. See above, on Ps. xiv. 3. For all of it we there have the whole, i. e. the whole human race. The same thing seems to be intended by the more obscure phrase, all of it, in which the pronoun may refer to man, in the collective sense of mankind or the human race. The idea of departure from God, apostasy, is expressed in the parallel places by two verbs almost identical in form (“ID and;iD), the one of which means properly to turn aside and the other to turn back.
5 (4). Do they not know—(these) workers of iniquity—eating my people (as) they eat bread—(and on) God call not? See above, on Ps. xiv. 4. The only variation here, besides the change of the divine name which has been already mentioned, is the omission of the all before workers of iniquity. This has been noted by some critics as the only case in which the language of the fourteenth psalm is stronger than the parallel expression of the fifty-third.
6 (5). There have they feared a fear, because God hath scattered the bones of thy besieger; thou hast put (them) to shame, because God hath rejected them. See above, on Ps. xiv. 5, 6. The design to strengthen the expression is particularly clear in this case, where two verses are compressed into one, and the other changes all enhance the emphasis. Thus, instead of a general assurance of divine protection, God is in the righteous generation, we have here a description of their enemies’ destruction, in the most poetical and striking terms, God hath scattered the bones of thy besieger, literally thy encamper, him that encampeth against thee. So, too, instead of the complaint, that the wicked treat the faith of pious sufferers with contempt—the counsel of the sufferer ye will shame, because Jehovah is his refuge—we have here the tables turned upon the scoffers by the scorn both of God and man—thou hast 2)ut to shame (the individuals included in the collective phrase thy besieger), because God has rejected them, an act implying both abhorrence and contempt. In this, which is by far the most considerable variation of the two editions, the existence of design is so apparent, that the supposition of an inadvertent or fortuitous corruption seems preposterous. So far are the two psalms from being contradictory, or even inconsistent, that they might be sung together, by alternate or responsive choirs, with the happiest effect. Nothing can be more natural, therefore, than the supposition that David gave the psalm this new shape, to express the same essential feelings in a higher degree, and a more emphatic form.
7 (6). Who will give out of Zion salvations (to) Israel—in God’s returning (to) the captivity of his people—let Jacob exult, let Israel joy! See above, on Ps. xiv. 7. The only variations are the change of Jehovah to Elohim, and of the singular salvation to its plural, denoting variety and fulness. See above, on Ps. xviii. 51 (50). The exact translation is salvations of Israel, and the meaning of the next clause, “ when God revisits (or in God’s revisiting) his captive people.”
