Armenia in comments -- Book: Psalms (tPs) Սաղմոս

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Albert Barnes

psa 9:0
Section 1
"Author of the psalm." This psalm is ascribed to David, not only in the title, but in all the versions, and there is no reason to doubt the correctness of this. It would not be difficult to show from its contents that the sentiments and style of composition are such as accord with the other compositions of David.
Section 2
"Occasion on which the psalm was composed." On this point nothing is intimated expressly in the psalm, unless it be in the title, "To the chief Musician upon Muth-labben." The meaning of and that it was composed on his death. Others, as Rudinger, suppose that it is a psalm of thanksgiving on occasion of the victory over Absalom, and the suppression of his rebellion by his death: a harsh and unnatural supposition, as if any father, in any circumstances, could compose a psalm of praise on occasion of the death of it son. Moeller supposes that it was composed on occasion of a victory over the Philistines by David; Ferrand, who unites this psalm with the following, supposes that the whole refers to the times of the captivity in Babylon, and is a triumphal song of the people over their enemies; and Venema, who also thinks that these two psalms should be united, supposes that Ps. 9:1-18 refers to David, and to his deliverance from all his enemies, and the remainder to the times of the Maccabees, and the deliverance from the persecutions under Antiochus Epiphanes. Dr. Horsley styles the psalm "thanksgiving for the extirpation of the Atheistical faction, promised in Ps. 10," and supposes that the order should be reversed, and that the whole refers to some great deliverance - either the "overthrow of the Babylonian empire by Cyrus, or the defeat of Haman's plot."
The Jewish writers, Jarchi and Aben Ezra, suppose that it was composed on occasion of the defeat and death of some foreign prince. From this variety of views, none of which seem to rest on certain historical grounds, it appears probable that the exact occasion on which the psalm was composed cannot now be ascertained in such a way as to leave no ground for doubt. The only indications of the occasion on which it this will be considered in another part of the introduction to the psalm (Section 4). it will be seen there that nothing is determined by that title in regard to the origin of the psalm, or the time when it was composed. Neither is there any certain tradition which will determine this, and most that has been written on this point has been mere conjecture, or has arisen out of some interpretation of the enigmatical title; "upon Muthlabben." Some have supposed that the word labben refers to some foreign king or prince slain by David, and that the psalm was composed on his death. Others, following the Targum, or Aramaic Paraphrase (see section 4), suppose that the person referred to was Goliath of Gath, was written must be found, if at all, in the psalm itself. In the psalm we find the following things, which may, perhaps, be all that is necessary to enable us to understand it.
(a) It was composed in view of "enemies" of the writer, or foes with whom he had been engaged, Psa 9:3 : "When mine enemies are turned back, they shall fall and perish at thy presence." Compare Psa 9:6, Psa 9:13, Psa 9:19-20.
(b) These were foreign enemies, or those who are called pagan, that is, belonging to idolatrous nations, Psa 9:5 : "Thou hast rebuked the heathen." Compare Psa 9:15, Psa 9:19.
(c) They were desolating foes - invading foes - those who laid a land waste in their marches, Psa 9:6 : "Thou hast destroyed cities: their memorial is perished with them."
(d) The writer had achieved a victory over them, and for this he celebrated the praises of God for his interposition, Psa 9:1-2, Psa 9:10-11, Psa 9:15. This victory thus achieved was such as to make him certain of ultimate complete triumph.
(e) Yet he was still surrounded by enemies, and he still asks God's merciful interposition in his behalf, Psa 9:13 : "Have mercy upon me, O Lord; consider my trouble which I suffer of them that hate me, thou that liftest me up from the gates of death." Compare Psa 9:18-20.
David was not unfrequently in his life in circumstances such as arc here supposed, and it is not possible now to determine the exact occasion to which the psalm alludes.
Section 3
The contents of the psalm. The psalm erabraces two leading subjects - one pertaining to the past and the other to the future, both illustrating the character of God, and both giving occasion to the writer to express iris confidence in God. The one relates to deliverance already granted; the other to deliverance still hoped for in his troubles.
I. The first relates to deliverance from trouble, or conquest over foes, already granted, and to the occasion which that furnished for praising God, and for pious reflections on his character.
(1) The psalmist expresses his thanks to God, or pours out the language of praise for mercies that have been received. Psa 9:1-2.
(2) The particular reason for this is stated; that God had enabled him to overcome many of his enemies - the pagan that had risen up against him, who had now been subdued, Psa 9:3-6.
(3) this gives occasion for pious reflections on him character of God, as one who would endure forever; as one who had set up his throne to do judgment or right; as one who would be a refuge for the oppressed; as one who might; be confided in by all who knew him; as one who would remember the foes of the righteous, and who would not forget the cry of the humble, Psa 9:7-12. The principal truth taught in this part of the psalm is, that God is a refuge and help for those who are in trouble and danger; that all such may put their trust in Him; and that He will interpose to save them.
II. The second part, constructed in a manner similar to the former, relates to the future, and to what the psalmist hoped still from God, in view of the character which lie had evinced in his former troubles, Psa 9:18-20.
(1) The psalmist still needs help, Psa 9:13-14. He still has trouble from them that hate him, and he calls upon God still to interpose and lift him up from the gates of death, that he may praise him.
(2) He refers to the fact that; the pagan, who surrounded him as his foes, had sunk down into the pit which they hall made for others; and that their foot was taken in the net which they had hid: referring either to what had occurred in the past as the foundation of his present hope, or being so certain that this would be done that he could speak of it as if it were now actually accomplished, Psa 9:15.
(3) This also, as in the former case, gives occasion for pious reflections on the character of God, and on the fact that he would interpose to destroy the wicked, and to protect the righteous, Psa 9:16-18.
(4) In view of all this, the psalmist calls on God still to interpose - to manifest the same character which He had formerly done, by protecting him, and by overcoming his foes, Psa 9:19-20. The principal truth taught in this part of the psalm is, that the wicked will be destroyed; that they as contradistinguished from the righteous, can hope for no protection from God, but will be cut down and punished.
The condition of the author of the psalm then was, that he had been surrounded by foes, and that God had interposcd in his behalf, giving him occasion for praise and thanksgiving; that he was still surrounded by formidable inemies, yet he felt assured that God would manifest the same character which he had done formerly, and that he might, therefore, call upon Him to interpose and give him occasion for future praise.
Section 4
"The title of the psalm." The psalm is directed to "the chief Musician upon Muth-labben." In regard to the phrase "chief Musician," see the notes at the title to Psa 4:1-8. The phrase, "upon Muthlabben," occurs nowhere else, and very different explnations have been given of its meaning. The Targum, or Aramaic Paraphrase, renders it "To be sung over the man that went out between the camps;" that is, Goliath of Gath; and the author of the Aramaic Paraphrase, evidently supposed it was written on the occasion of his death. The Latin Vulgate renders it, "Pro occultis filii;" and so the Septuagint, ὑπὲρ τῶν κρυφίων τοῦ ὑιοῦ huper tōn kruphiōn tou huiou - "for the secret things (mysteries) of the Son:" but what idea was attached to those words it is impossible now to determine. The Syriac has this title: "Concerning the Messiah taking his throne and kingdom, and prostrating his foe." Luther renders it, "A Psalm of David concerning a beautiful youth" - von der schonen Jugend. Substantially so also DeWette; Nach der Jungfernweise, den Beniten. Tholuck renders it, "To the chief Musician, after the melody 'Death to the Son' (Tod dem Sohne), a Psalm of David."
After this variety in the explanation of the title, it is certainly not easy to determine the meaning. The most probable opinions may be regarded as two.
(1) That which supposes that it was a melody designed to be sung by females, or with female voices: literally according to this interpretation, "after the manner of virgins;" that is, with the female voice treble, soprano, in opposition to the deeper voice of men. Compare Ch1 15:20. Forkel, in his History of Musick (Gesch. der Musik, 1,142), understands it as meaning virgin measures, like the German Jungfrauweis. Gesenius, who supposes that it refers to the female voice or treble, regards the title - על־מות ‛al-mûth - "upon Muth," as being the same as עלמות על ‛al ‛ălâmôth, in Psa 46:1-11, "Upon Alamoth," and supposes that it is derived from עלמה ‛almâh - a virgin.
(2) The other opinion is that which supposes that the title is the beginning of some old and well-known melody in common use, and that the idea is, that this psalm was to be sung to that melody. That melody was, as expressed by Tholuck and others, a melody on the death of a son, and was set to some hymn that had been composed with reference to such an event. This is founded on the supposition that the national melodies had become in some degree fixed and unchangeable, or that certain melodies or tunes originally composed for a particular occasion had become popular and that the melody would be affixed to new pieces of music. This is common in the East; and, indeed, it is common in all countries. See this idea illustrated in Rosenmuller (Morgenland, No. 800). The meaning, as thus expressed, is, "According to the manner (or, to the air) of the song (or poem called Death to the Son." Thus understood, it does not refer to the death of Absalom (as some have supposed), since there is nothing in the psalm that would correspond with such a supposition; nor to the death of Goliath, as the Targum supposes; but the composition was to be sung to the well-known air, or tune, entitled "Death to the Son." But when that air was composed, or on what occasion, there is of course no possibility now of ascertaining; and equally impossible is it to recover the air, or tune. The literal meaning of the title is על ‛al, on, or according to - מות mûth, death - לבן labên, to the son. Psalms 9:1

Albert Barnes

tPs 9:5 Thou hast rebuked the heathen - Not the pagan in general, or the nations at large, but those who are particularly referred to in this psalm - those who are described as the enemies of the writer and of God. On the word rendered "heathen" here - גוים gôyim - see the notes at Psa 2:1. The word rebuke here does not mean, as it does usually with us, to chide with words, but it means that he had done this by deeds; that is, by overcoming or vanquishing them. The reference is, undoubtedly, to some of those nations with whom the writer had been at war, and who were the enemies of himself and of God, and to some signal act of the divine interposition by which they had been overcome, or in which the author of the psalm had gained a victory. DeWette understands this as referring to "barbarians, foreigners, pagan?" David, in the course of his life, was often in such circumstances as are here supposed, though to what particular event he refers it would not be possible now to decide.
Thou hast destroyed the wicked - The Hebrew here is in the singular number - רשׁע râshâ‛ - though it may be used collectively, and as synonymous with the word "heathen." Compare Isa 14:5; Psa 84:10; Psa 125:3. The Aramaic Paraphrase renders this, "Thou hast destroyed the impious Goliath." The reference is undoubtedly to the enemies meant by the word pagan, and the writer speaks of them not only as pagan or foreigners, but as characterized by wickedness, which was doubtless a correct description of their general character.
Thou hast put out their name forever and ever - As when a nation is conquered, and subdued; when it is made a province of the conquering nation, and loses its own government, and its distinct existence as a people, and its name is no more recorded among the kingdoms of the earth. This is such language as would denote entire subjugation, and it is probably to some such event that the psalmist refers. Nations have often by conquest thus lost their independence and their distinct existence, by becoming incorporated into others. To some such entire subjugation by conquest the psalmist undoubtedly here refers. Psalms 9:6

Albert Barnes

tPs 9:14 That I may show forth all thy praise - That I may praise time in the land of the living; that I may finish the work of praise by rendering to thee all that is due. The idea is, that the dead could not praise God, or that his praise could be uttered only by the living; and he calls on God, therefore, to interpose and save him, that he might yet worship and praise him on the earth. In this sentiment the psalmist utters only what man naturally feels when he looks upon the grave; that it is an end of human plans and pursuits; that it is a land of silence; that the worship of God is not there celebrated. Such language must be retarded as uttered under the impulse of natural feeling, and not as uttered by the deliberate judgment of the mind when calmly contemplating the whole subject. All pious persons baize these feelings at times, and it was proper that these feelings should be expressed in the sacred writings, as illustrating human nature even under the influence of religion. The same sentiment occurs in several places, as is, that he was apparently near to the gates of death, and that the only one who could raise him up was God, and he now invoked His interposition that it might be done. The phrase "gates of death" relates to the prevalent views about the unseen world - the world where the dead abide. That world was represented as beneath; as a dark and gloomy abode; as enclosed Psa 115:17, "The dead praise not the Lord, neither any that go down into silence." See the notes at Psa 6:5. It is not necessary to say that the sacred writers had brighter views at times than these. But who can keep the mind always from desponding when it looks at the grave? Who can always help feeling that it is a place of darkness and gloom?
In the gates of the daughter of Zion - As contradistinguished from the "gates of death." Gates in ancient cities were places of concourse, where important transactions were performed; and the "gates" of Jerusalem were regarded as attractive and sacred, because it was through them that the people passed on their way to worship God at the tabernacle or in the temple. Hence, it is said, Psa 87:2, "The Lord loveth the gates of Zion more than all the dwellings of Jacob." Psa 100:4, "enter into his gates with thanksgiving." Compare Psa 118:19. The phrase, "daughter of Zion," means Jerusalem. For the reason of this appellation see the notes at Isa 1:8. The language used here proves that the psalm was composed after Zion or Jerusalem was made the capital of the kingdom and the seat of public worship, and, therefore, that it cannot refer, as is supposed in the Aramaic Paraphrase, to the death of Goliath.
I will rejoice in thy salvation - In the salvation which thou wilt bestow on me; here particularly, in delivering him from his dangers. The language, however, is general, and may be employed with reference to salvation of any kind. Psalms 9:15

(KAD) Carl Friedrich Keil and Franz Delitzsch

tPs 9:5 (Heb.: 9:6-7) The strophe with ג, which is perhaps intended to represent ד and ה as well, continues the confirmation of the cause for thanksgiving laid down in Psa 9:4. He does not celebrate the judicial act of God on his behalf, which he has just experienced, alone, but in connection with, and, as it were, as the sum of many others which have preceded it. If this is the case, then in Psa 9:6 beside the Ammonites one may at the same time (with Hengstenb.) think of the Amalekites (Sa1 8:12), who had been threatened since the time of Moses with a "blotting out of their remembrance" (Exo 17:14; Deu 25:19, cf. Num 24:20). The divine threatening is the word of omnipotence which destroys in distinction from the word of omnipotence that creates. רשׁע in close connection with גּוים is individualising, cf. Psa 9:18 with Psa 9:16, Psa 9:17. ועד is a sharpened pausal form for ועד, the Pathach going into a Segol (קטן פתח); perhaps it is in order to avoid the threefold a-sound in לעולם ועד (Ngelsbach 8 extr.). In Psa 9:7 האויב (with Azla legarme) appears to be a vocative. In that case נתשׁתּ ought also to be addressed to the enemy. But if it be interpreted: "Thou hast destroyed thine own cities, their memorial is perished," destroyed, viz., at the challenge of Israel, then the thought is forced; and if we render it: "the cities, which thou hast destroyed, perished is the remembrance of them," i.e., one no longer thinks of thine acts of conquest, then we have a thought that is in itself awkward and one that finds no support in any of the numerous parallels which speak of a blotting out and leaving no trace behind. But, moreover, in both these interpretations the fact that זכרם is strengthened by המּה is lost sight of, and the twofold masculine זכרם המּה is referred to ערים (which is carelessly done by most expositors), whereas עיר, with but few exceptions, is feminine; consequently זכרם המה, so far as this is not absolutely impossible, must be referred to the enemies themselves (cf. Psa 34:17; Psa 109:15). האויב might more readily be nom. absol.: "the enemy - it is at end for ever with his destructions," but חרבּה never has an active but always only a neuter signification; or: "the enemy - ruins are finished for ever," but the signification to be destroyed is more natural for תּמם than to be completed, when it is used of ruinae. Moreover, in connection with both these renderings the retrospective pronoun (חרבותיו) is wanting, and this is also the case with the reading חרבות (lxx, Vulg., Syr.), which leaves it uncertain whose swords are meant. But why may we not rather connect האויב at once with תּמּוּ as subject? In other instances תּמּוּ is also joined to a singular collective subject, e.g., Isa 16:4; here it precedes, like הארב in Jdg 20:37. חרבות לנצח is a nominative of the product, corresponding to the factitive object with verbs of making: the enemies are destroyed as ruins for ever, i.e., so that they are become ruins; or, more in accordance with the accentuation: the enemy, destroyed as ruins are they for ever. With respect to what follows the accentuation also contains hints worthy of our attention. It does not take נתשׁתּ (with the regular Pathach by Athnach after Olewejored, vid., on Psa 2:7) as a relative clause, and consequently does not require זכרם המה to be referred back to ערים.
We interpret the passage thus: and cities (viz., such as were hostile) thou hast destroyed (נתשׁ evellere, exstirpare), perished is their (the enemies') memorial. Thus it also now becomes intelligible, why זכרם, according to the rule Ges. 121, 3, is so remarkably strengthened by the addition of המּה (cf. Num 14:32; Sa1 20:42; Pro 22:19; Pro 23:15; Eze 34:11). Hupfeld, whose interpretation is exactly the same as ours, thinks it might perhaps be the enemies themselves and the cities set over against one another. But the contrast follows in Psa 9:8 : their, even their memorial is perished, while on the contrary Jahve endures for ever and is enthroned as judge. This contrast also retrospectively gives support to the explanation, that זכרם refers not to the cities, but to האויב as a collective. With this interpretation of Psa 9:7 we have no occasion to read זכרם מהמּה (Targ.), nor זכר מהמּה (Paul., Hitz.). The latter is strongly commended by Job 11:20, cf. Jer 10:2; but still it is not quite admissible, since זכר here is not subjective (their own remembrance) but objective (remembrance of them). But may not ערים perhaps here, as in Psa 139:20, mean zealots = adversaries (from עיר fervere, zelare)? We reply in the negative, because the Psalm bears neither an Aramaising nor a North Palestinian impress. Even in connection with this meaning, the harshness of the ערים without any suffix would still remain. But, that the cities that are, as it were, plucked up by the root are cities of the enemy, is evident from the context. Psalms 9:7

John Gill

psa 9:0INTRODUCTION TO PSALM 9 To the chief Musician upon Muthlabben, a Psalm of David. Some, take "muthlabben" to be the name of the tune to which this psalm was sung, and to design the same note which we call the counter-tenor: others think, that "upon muth", or "almuth", are but one word, and the same as "alamoth", Psa 45:1, title; and that it is the name of a musical instrument; and that "Ben" in "labben", is the name of the chief musician, who was over that sort of instrument, to whom the psalm is inscribed (l); and indeed R. Sol Jarchi says, that he had seen in the great Masorah these words as one; and so it seems the Septuagint interpreters read them, who render them, "for the hidden things of the son"; and the Arabic version, "concerning the mysteries of the son": and Ben is a name, it is said, of one of the singers, whose kindred and companions were appointed with psalteries on "alamoth", Ch1 15:18. And so then the title runs thus; "to the chief musician on alamoth, [even to] Ben". But others are of opinion that the subject matter or occasion of the psalm is designed by this phrase; and that as "muth" signifies "death", the death of some person is intended, on account of which this psalm was composed; some say Nabal, seeing the word "Laban", inverted, or read backwards, is "Nabal" (m), whose death affected David; as appears from Sa1 25:38. Others, that it was one of the kings of the Gentiles, whose name was Labben, and is mentioned nowhere else, who fought with David, and whom he slew, and upon his death penned this psalm (n). Others, Goliath the Philistine (o), who is called, Sa1 17:4. , which we render "champion" and dueller, one of two that fight together. But rather the reason of the name is, as given by the Jewish commentators (p), because he went and stood between the two camps of the Philistines and the Israelites; and so the Chaldee paraphrase renders the title of this psalm, "to praise, concerning the death of the man who went out between the camps, a song of David.'' And so the psalm itself, in the Targum, and by other Jewish writers, is interpreted of Goliath and the Philistines, and of the victory over them; and which does not seem amiss. Arama interprets it of the death of Saul. Others interpret Almuth Labben "of the death of the son"; and understand it of the death of Absalom, the son of David (q): but David's passion moved in another way, not in joy, but in grief, Sa2 18:33; nor is there anything in the psalm that can be referred unto it. Others, of the death of the son of God; but of that there is not the least hint in the psalm. Theodoret interprets it of Christ's victory over death by dying, which was a mystery or hidden thing. Rather, I should think, it might be interpreted of the death of the son of perdition, the man of sin and his followers; who may be typified by Goliath, and the Philistines: and so, as Ainsworth observes, as the former psalm was concerning the propagation of Christ's kingdom, this is of the destruction of antichrist. And Jerom, long ago said, this whole psalm is sung by the prophet in the person of the church, concerning antichrist: and to this agrees the Syriac version; which makes the subject of the psalm to be, "concerning Christ, taking the throne and kingdom, and routing the enemy.'' And also the Arabic version, according to which the argument of the psalm is, "concerning the mysteries of the Son, with respect to the glory of Christ, and his resurrection and kingdom, and the destruction of all the children of disobedience.'' To which may be added, that this psalm, according to R. Sol Jarchi, belongs to the time to come, to the days of the Messiah, and the future redemption by him. (l) Kimchi & Abendana in Miclol Yophi in loc. (m) So some in Jarchi & Aben Ezra in loc. (n) Donesh Hallevi in ibid. (o) Kimchi & Ben Melech in loc. (p) Jarchi, Kimchi, Levi Ben Gersom, R. Isaiah, & Ben Melech in 1 Sam. xvii. 4. (q) So some in Jarchi in loc. Psalms 9:1