Psalms 46 - Introduction

This psalm has been called Luther’s Psalm. It was that which he was accustomed to sing in trouble. When the times were dark; when the enemies of truth appeared to triumph; when disaster seemed to come over the cause in which he was engaged, and the friends of the Reformation were disspirited, disheartened, and sad, he was accustomed to say to his fellow-laborers, “Come, let us sing the 46th Psalm.”

The author of the psalm is unknown. It is not ascribed to David, but to “the Sons of Korah,” and there are no indications in the psalm that David was the author, or that it refers to his times. There is reason to believe that most of the psalms attributed to the “Sons of Korah” were composed subsequent to the time of David.

The title of the psalm is, “To the chief Musician, for the Sons of Korah, a song upon Alamoth.” On the phrase “To the chief Musician,” see the notes at the title to Psalms 4:1. On the phrase “For the Sons of Korah,” see the notes at the title to Psalms 42:1. The word “song” in the title occurs also in that to Psalms 30:1. (see the notes at that title), and also in the titles to Psalms 45; Psalms 48:1; Psalms 65:1; Psalms 66; Psalms 67:1; Psalms 68; Psalms 75:1; Psalms 76:1; Psalms 83; Psalms 87:1; Psalms 88; Psalms 92:1; Psalms 108:1; and Ps. 120–134 inclusive. Nothing seems to be indicated by it in regard to the nature and character of the psalms where it is found. The word “Alamoth” occurs only here and in 1 Chronicles 15:20, where it is found in connection with the mention of certain singers or musicians, evidently referring to some kind of musical instruments which those who are mentioned used; “so the singers” Psa 46:1-11 :19, “Heman, Asaph, and Ethan, to sound with cymbals of brass; and Zechariah, and Aziel, and Shemiramoth, etc., with psalteries on Alamoth.” The word from which this is derived - עלמה ‛almâh - means properly a “virgin,” or a youthful spouse (compare the notes at Isaiah 7:14); and the phrase here, and in 1 Chronicles 15:20, would seem properly to denote “after the manner of virgins;” that is, with the female voice, answering to our treble or soprano, as opposed to the deep bass or baritone voice of men. Then the reference might be to some musical instruments that were suited to accompany that voice, or whose tones resembled that voice, as distinguished from cymbals, trumpets, harps, etc. The form of the instrument is now unknown.

It is not possible now to ascertain the occasion on which the psalm was written. It was evidently in view of trouble, or of some impending calamity; apparently some national calamity, or some time when the nation was in danger, and when it was felt that their only refuge - their last hope - was in God. It would seem to be not improbable that the psalm was composed when wars were ragtag abroad in the earth; when the nations were convulsed; and when Jerusalem itself was besieged and threatened with ruin. The main thought Of the psalm - the central idea in it - is, that, amidst these general and far-spreading agitations and convulsions among the nations of the earth, the people of God were safe. They had nothing to fear, even though those convulsions and agitations should be multiplied and increased; even though they should be carried so far that the very foundations of the earth should be shaken, and the mountains removed and carried into the midst of the sea.

There was to them an Infinite Protector; there were unfailing sources of peace; they had nothing to dread. It was their duty, therefore, to be calm, still, confiding, for God would be exalted among the nations of the earth. It is possible that the psalm refers to the invasion of the land of Israel by Sennacherib, and to the miraculous destruction of his host, as recorded in 2 Kings 19 and Isaiah 36; Isaiah 37. All the circumstances in that invasion - the tumul tuous hosts summoned for the war Isaiah 36:2; the overthrow of numerous nations by their armies Isaiah 36:18; the siege of Jerusalem itself Isaiah 36:2; the confidence of Hezekiah and of his people in God when the city was besieged Isaiah 37:14; and the final overthrow of the Assyrian host by the angel of the Lord Isaiah 37:36, agree well with all the statements in the psalm, and seem well to “illustrate” the psalm, though it be impossible now to determine with precise accuracy to what particular historical occasion it has reference. The circumstances in that invasion, however, are so similar to those supposed in the psalm, that, perhaps, we shall not be likely to err in supposing that the psalm “had” reference to that occasion.

The psalm is divided into three parts or strophes, the close of each of which is indicated by the word “Selah,” in Psalms 46:3, Psalms 46:7,Psalms 46:11.

I. The first strophe, Psalms 46:1. In this there is the general statement that God is a refuge and strength, and that the people of God would have nothing to fear though the earth should be removed, and though the raging waters of the ocean should shake the very mountains.

II. The second, Psalms 46:4. In this there is the statement that the people of God had an unfailing source of consolation, like an ever-flowing river, making glad the city of God; that God himself was in that city as its Protector; that though the nations raged, and the kingdoms were moved, he had only to utter his voice and even the earth would be dissolved; that they had nothing to fear while the God of hosts - the God of mightier armies than those which had invaded the land - was with them.

III. The third strophe, Psalms 46:8. In this we have a reference to the mighty power of God as actually put forth in the desolations, which “he” had made in the earth. He had shown that power by making wars to cease; by breaking the bow, and cutting the spear in sunder; and by causing the warchariot to be burned in the fire. They had, therefore, nothing to fear while such a God was their Protector, and it was their duty calmly to confide in him, and leave the whole issue with him, for it was his purpose to exalt himself among the nations of the earth.