In the first part of this psalm a sufferer describes his own afflictions, occasioned by the malice of his enemies, and earnestly prays to be delivered from them, ver. 2-5 (1-4). In the second he anticipates a favourable answer to his prayer, and praises God for it, ver. 6-12 (5-11).
1. To the Chief Musician. Destroy not. By David. A Secret. When he fled from before Saul in the cave. The enigmatical inscription, Al-tashheth, destroy not, reappears in the titles of the next two psalms, and of the seventy-fifth. As in other cases of the same kind, some interpreters regard it as a musical expression, others as the first words of a well-known poem, to the air of which this was to be sung. The best explanation is the one suggested by the Chaldee Paraphrase, to wit, that the psalms which bear this title belong to that period of David’s history, when he was under the perpetual necessity of saying Destroy not, and are therefore suited to all similar emergencies of other “saints. It is not at all impossible, that this was a favourite saying of David in real life, the rather as it is borrowed from the prayer of Moses in Deut. ix. 26, of which it may be said to be an abbreviated citation, not unlike the Latin designations, De Profundis, Miserere, Venite Exsultemus, Non Nobis Domine, Te Deum, &c. The explanation above given is corroborated by the obvious allusion in these three psalms (lvii.-lix.) to the Sauline persecution. The very expression may be traced in 1 Sam. xxvi. 9, where David utters, as a command to his followers, what he so often had occasion to utter as a prayer in his o^vn behalf. This psalm is described as a michtam, mystery, or secret, on account of the extraordinary consolation and support which he experienced, enabling him to triumph even in the midst of enemies and dangers. See above, on Ps. xvi. 1. In the cure of Adullam (1 Sam. xxii, 1), or of Engedi (1 Sam. xvi. 1-3), or more indefinitely in the cave, equivalent to saying in caves, as a generic description of the mode of life which he then led (Heb. xi. 38), not without some reference to the subterraneous cavern, as an emblem of solitude and darkness. Hence the absence of any more specific allusion to particular incidents which occurred in caves, such as that recorded in 1 Sam. xxiv., and the obvious reference to the whole period of the Sauline persecution, as a time of wandering, danger, and distress. Hence, too, the striking similarity, in sentiment and form, between this psalm and the one before it.
2 (1). Be merciful unto me, 0 God, he merciful unto me, for in thee has my soul sought refuge, and in the shadow of thy wings will I seek refuge, until (these) calamities he overpast. The repetition of the prayer for mercy shews the intensity of his desire. Sought refuge from the persecutions mentioned in Ps. lvi. 2 (1). The soul is mentioned as the object of pursuit. See above, on Ps. liv. 5 (4), lvi. 7 (6), and compare 1 Sam. xxiv. 12 (11). The shadow of thy wings: the same beautiful figure for protection is presented in Ps. xvii. 8, xxxvi. 8 (7). Calamities, occasioned by the crimes of others. See above, on Ps. lii. 4, 9, (2, 7).
3 (2). I will cry unto God Most High, unto the Almighty, finishing for me, i. e. perfecting what he has begun. Compare Phil. i. 6. This verse assigns two reasons for his crying unto God. The first is the supremacy and omnipotence of God himself, the second is the previous experience of his faithfulness in fully performing whatever he has promised. See below, on Ps. cxxxviii. 8.
4 (3). He will send, from heaven and save me—(when or whom) the devourer reviles, Selah!—GodvMl send his mercy and his truth. The first verb may govern hand, as in Ps. cxliv. 7, or help,&s in Ps. xx. 3 (2), or be used absolutely, as in Ps. xviii. 17 (16). The devourer, literally the one gaping after me, snorting with rage against me, or panting for my destruction. See above, on Pa. lvi. 2, 3 (1, 2). Without supplying anything, this clause may be taken as a short independent proposition—the devourer has reviled— interposed between the two principal members of the sentence. See above, on Ps. xxvii. 8, xlv. 6(5). In the last clause, Mercy and Truth seem to be personified, like Integrity and Uprightness in Ps. xxv. 21, Violence and Strife in Ps. lv. 10 (9). With this clause compare Ps. xliii. 3.
5 (4). My soul (is) in the midst of lions; I will lie down (among) burning ones, sons of man, (whose) teeth (are) spears and arrows, and their tongue a sharp sword. By his soul he means himself, or rather his endangered life. Lions, as often elsewhere, means ferocious enemies. See above, on Ps. vii. 3 (2), xxii. 13, 14 (12, 13). The form of the verb which follows is the one denoting fixed determination. “ Though surrounded by hons I will fearlessly lie down,” &c. Among or upon them. Burning may possibly refer to lions and mean raging; but the indefinite application is more natural. Sons of man is added to shew that what precedes is to be figuratively understood; but in the very next clause, the writer relapses into language still more highly metaphorical. In likening their teeth to swords he presents the double image of a wild beast and a warrior. The mention of the tongue has reference, no doubt, to the slander and abuse, which entered so largely into the Sauline persecutions. These had already been referred to in the middle clause of ver. 4 (3), of which this maybe regarded as an amplification.
6 (5). Be high above the heavens, 0 God, above all the earth thy glory! Some, in the last clause, read on all the earth, and then explain on the heavens to mean nothing more than in heaven. The whole verse then is the expression of a wish that God may be exalted both in heaven and earth. But this is far less natural than the usual construction, which supposes a comparison, and makes the verse exalt God above all his works. Compare Ps. viii. 2 (1).
7 (6). A net they prepared for my steps; he pressed down my soul; they digged before me a pit; they fell into the midst of it. Selah. This verse assigns the reason or occasion of the praise ascribed to God in that before it. The image here presented is the same as in Ps. vii. 16 (15), ix. 16 (15). The sudden change of number is particularly common in the Psalms when speaking of an ideal person, representing many real individuals. See above, on Ps. lvi, 3 (2). The phrase pressed doum is borrowed from the Prayer-Book version, and is well suited to convey the idea of an animal caught and held down by a trap or snare. That version is also more correct than the English Bible in giving to the verb an active meaning; of the neuter or passive there is no example elsewhere. Before me, in my path, where am I walking. The Selah at the close is almost equivalent to an Amen, as expressing acquiescence in God’s righteous retributions.
8 (7). Fixed (is) my heart, 0 God, fixed (is) my heart; I will sing and play. The repetition adds solemnity and force to the declaration. Fixed, i. e. firmly resolved and proof against all fear. See above, on Ps. U. 12 (10), and below on Ps. cxii. 7. The two verbs in the last clause are properly descriptive of the two kinds of music, vocal and instrumental; but in the usage of the Psalms they always have reference to the praise of God.
9 (8). Awake, my glory! awake, lute and harp! I will awaken morning. The same idea is now expressed in the form of a poetical apostrophe. By glory most interpreters understand the soul, as the glory of the whole man, but some the tongue, as the glory of the body. See above, on Ps. vii. 6 (5), xvi. 9, XXX. 13, and below, on Ps. cviii. 2 (1). It is possible, however, that it here means that in which he gloried, his inspiration as a sacred poet, and which he personifies, as the heathen poets invoked the muse. Lute and harp is the translation in the Prayer Book. Any other combination, denoting two familiar instruments, such as harp and lyre, would be here appropriate. The verb in the last clause is a causative of that in the first, and is related to it as the English verb awaken to awake. Strictly translated, this clause contains a bold but beautiful poetical conception, that of awakening the dawn instead of being awakened by it, in other words, preventing or anticipating it by early praises. In like manner, Ovid sajs the crowing of the cock evocat auroram. We thus obtain the same sense, in a far more striking form than is expressed by the inexact and prosaic version, / will awake early. The intransitive sense given to the verb, and the adverbial sense given to the noun, are both without sufficient authority in usage. From this verse some have inferred, that the psalm was expressly designed to be an even-song; but he does not say, I will do thus to-morrow. The meaning rather is that he will do it daily. See above, on Ps. xvii. 15. The summons to the harp and lyre, may be understood as implying, that they have long slept without occasion for such praise as they are now to utter.
10 (9). I will thank thee among the nations. Lord; I will praise thee among the peoples. The divine interposition to be celebrated is so gi-eat and glorious as to be entitled to the praises of the whole world. See above, on Ps. xviii. 50 (49.)
11 (10). For great unto the heavens (is) thy mercy, and unto the clouds thy truth. By a natural and favourite hyperbole, God’s goodness is described as reaching from earth to heaven. See above, on Ps. xxxvi. 6 (5), and compare Jer. li. 9.
12 (11). Be thou high above the heavens, 0 God, above all the earth thy glory! The strophe ends as it began in ver. 6 (5) above. In the last clause the verb of the first may be repeated, be thy glory high; or the substantive verb alone may be supplied, let thy glory he above all the earth!
