Psalms 9 - Introduction

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 Psalms 9:1 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 Psalms 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, Psalms 9:3 : “When mine enemies are turned back, they shall fall and perish at thy presence.” Compare Psalms 9:6, Psalms 9:13, Psalms 9:19.

(b) These were foreign enemies, or those who are called pagan, that is, belonging to idolatrous nations, Psalms 9:5 : “Thou hast rebuked the heathen.” Compare Psalms 9:15, Psalms 9:19.

(c) They were desolating foes - invading foes - those who laid a land waste in their marches, Psalms 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, Psalms 9:1, Psalms 9:10, Psalms 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, Psalms 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 Psalms 9:18.

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. Psalms 9:1.

(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, Psalms 9:3.

(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, Psalms 9:7. 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, Psalms 9:18.

(1) The psalmist still needs help, Psalms 9:13. 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, Psalms 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, Psalms 9:16.

(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, Psalms 9:19. 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 Psalms 4:1. 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 1 Chronicles 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 Psalms 46:1, “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.