Psa 17:1 | KD | STEP | is placed after , because just like the latter (cf. ) it closes with the hope of a blessed and satisfying vision of God. In other respects also the two Psalms have many prominent features in common: as, for instance, the petition שׁמרני, ; ; the retrospect on nightly fellowship with God, ; ; the form of address in prayer אל, ; ; the verb תּמך, ; , etc. (vid., Symbolae p. 49), notwithstanding a great dissimilarity in their tone. For is the first of those which we call Psalms written in the indignant style, in the series of the Davidic Psalms. The language of the Psalms of David, which is in other instances so flowing and clear, becomes more harsh and, in accordance with the subject and mood, as it were, full of unresolved dissonances ( ; ; ; , cf. ) when describing the dissolute conduct of his enemies, and of the ungodly in general. The language is then more rough and unmanageable, and wanting in the clearness and transparency we find elsewhere. The tone of the language also becomes more dull and, as it were, a dull murmur. It rolls on like the rumble of distant thunder, by piling up the suffixes mo , āmo , ēmo , as in ; ; , , where David speaks of his enemies and describes them in a tone suggested by the indignation, which is working with his breast; or in ; ; ; ; , where, as in prophetic language, he announces to them of the judgment of God. The more vehement and less orderly flow of the language which we find here, is the result of the inward tumult of his feelings. There are so many parallels in the thought and expression of thought of this Psalm in other Davidic Psalms (among those we have already commented on we may instance more especially and , and also and ), that even Hitzig admits the לדוד. The author of the Psalm is persecuted, and others with him; foes, among whom one, their leader, stands prominently forward, plot against his life, and have encompassed him about in the most threatening manner, eager for his death. All this corresponds, line for line, with the situation of David in the wilderness of Maon (about three hours and three quarters S.S.E. of Hebron), as narrated in 1Sa 23:25., when Saul and his men were so close upon the heels of David and his men, that he only escaped capture by a most fortunate incident. The only name inscribed on this Psalm is תּפּלּה (a prayer), the most comprehensive name for the Psalms, and the oldest ( ); for שׁיר and מזמור were only given to them when they were sung in the liturgy and with musical accompaniment. As the title of a Psalm it is found five times ( , , , , ) in the Psalter, and besides that once, in Hab. Habakkuk’s תפלה is a hymn composed for music. But in the Psalter we do not find any indication of the Psalms thus inscribed being arranged for music. The strophe schema is 4. 7; 4. 4. 6. 7.

‏ Psalms 17:1

Flight of an innocent and Persecuted Man for Refuge in the Lord, Who Knoweth Them That Are His

Psa 17:1-15 is placed after Psa 16:1-11, because just like the latter (cf. Psa 11:7) it closes with the hope of a blessed and satisfying vision of God. In other respects also the two Psalms have many prominent features in common: as, for instance, the petition שׁמרני, Psa 16:1; Psa 17:8; the retrospect on nightly fellowship with God, Psa 16:7; Psa 17:3; the form of address in prayer אל, Psa 16:1; Psa 17:6; the verb תּמך, Psa 16:5; Psa 17:5, etc. (vid., Symbolae p. 49), notwithstanding a great dissimilarity in their tone. For Psa 16:1-11 is the first of those which we call Psalms written in the indignant style, in the series of the Davidic Psalms. The language of the Psalms of David, which is in other instances so flowing and clear, becomes more harsh and, in accordance with the subject and mood, as it were, full of unresolved dissonances (Psa 17:1; Psa 140:1; Psa 58:1; Psa 36:2, cf. Psa 10:2-11) when describing the dissolute conduct of his enemies, and of the ungodly in general. The language is then more rough and unmanageable, and wanting in the clearness and transparency we find elsewhere. The tone of the language also becomes more dull and, as it were, a dull murmur. It rolls on like the rumble of distant thunder, by piling up the suffixes mo , āmo , ēmo, as in Psa 17:10; Psa 35:16; Psa 64:6, Psa 64:9, where David speaks of his enemies and describes them in a tone suggested by the indignation, which is working with his breast; or in Psa 59:12-14; Psa 56:8; Psa 21:10-13; Psa 140:10; Psa 58:7, where, as in prophetic language, he announces to them of the judgment of God. The more vehement and less orderly flow of the language which we find here, is the result of the inward tumult of his feelings.

There are so many parallels in the thought and expression of thought of this Psalm in other Davidic Psalms (among those we have already commented on we may instance more especially Psa 7:1 and Psa 11:1, and also Psa 4:1 and Psa 10:1), that even Hitzig admits the לדוד. The author of the Psalm is persecuted, and others with him; foes, among whom one, their leader, stands prominently forward, plot against his life, and have encompassed him about in the most threatening manner, eager for his death. All this corresponds, line for line, with the situation of David in the wilderness of Maon (about three hours and three quarters S.S.E. of Hebron), as narrated in 1Sa 23:25., when Saul and his men were so close upon the heels of David and his men, that he only escaped capture by a most fortunate incident.

The only name inscribed on this Psalm is תּפּלּה (a prayer), the most comprehensive name for the Psalms, and the oldest (Psa 72:20); for שׁיר and מזמור were only given to them when they were sung in the liturgy and with musical accompaniment. As the title of a Psalm it is found five times (Psa 17:1, Psa 86:1, Psa 90:1, Psa 92:1, Psa 142:1) in the Psalter, and besides that once, in Hab. Habakkuk’s תפלה is a hymn composed for music. But in the Psalter we do not find any indication of the Psalms thus inscribed being arranged for music. The strophe schema is 4. 7; 4. 4. 6. 7.