Psa 39:1-3 | KD | STEP | In the poet calls himself a dumb person, who opens not his mouth; this submissive, resigned keeping of silence he affirms of himself in the same words in also. This forms a prominent characteristic common to the two Psalms, which fully warranted their being placed together as a pair. There is, however, another Psalm, which is still more closely related to , viz., , which, together with , has a similar historical background. The author, in his dignity, is threatened by those who from being false friends have become open enemies, and who revel in the enjoyment of illegitimately acquired power and possessions. From his own experience, in the midst of which he commits his safety and his honour to God, he derives the general warnings, that to trust in riches is deceptive, and that power belongs alone to God the Avenger - two doctrines, in support of which the issue of the affair with Absalom was a forcible example. Thus it is with , and in like manner also. Both Psalms bear the name of Jeduthun side by side with the name of David at their head; both describe the nothingness of everything human in the same language; both delight more than other Psalms in the use of the assuring, confident אך; both have סלה twice; both coincide in some points with the Book of Job; the form of both Psalms, however, is so polished, transparent, and classic, that criticism is not authorized in assigning to this pair of Psalms any particular poet other than David. The reason of the redacteur not placing immediately after is to be found in the fact that is an Elohim-Psalm, which could not stand in the midst of Jahve-Psalms. To the inscribed למנצּח, לידיתוּן is added in this instance. The name is also written thus in ; ; , and always with the Kerî ידוּתוּן, which, after the analogy of זבוּלוּן, is the more easily pronouncible pointing ( ). It is an offshoot of the form ידוּת or ידית; cf. שׁבוּת and שׁבית, חפשׁוּת and חפשׁית. It is the name of one of David’s three choir-masters or precentors - the third in conjunction with Asaph and Heman, 1Ch 16:41., Psa 25:1., ; , and is, without doubt, the same person as איתן, 1 Chr. 15, a name which is changed into ידותון after the arrangement in Gibeon, 1 Chr. 16. Consequently side by side with למנצח, לידותון will be the name of the מנצח himself, i.e., the name of the person to whom the song was handed over to be set to music. The fact that in two inscriptions ( ; ) we read על instead of the ל of לידיתון, does not militate against this. By ל Jeduthun is denoted as the person to whom the song was handed over for performance; and by על, as the person to whom the performance was assigned. The rendering: “to the director of the Jeduthunites,” adopted by Hitzig, is possible regarding the ידותון as used as a generic name like אהרן in ; ; but the customary use of the ל in inscriptions is against it. The Psalm consists of four stanzas without any strophic symmetry. The first three are of only approximately the same compass, and the final smaller stanza has designedly the character of an epilogue.

‏ Psalms 39:1-3

Prayers of One Sorely Tried at the Sight of the Prosperity of the Ungodly

In Psa 38:14 the poet calls himself a dumb person, who opens not his mouth; this submissive, resigned keeping of silence he affirms of himself in the same words in Psa 39:3 also. This forms a prominent characteristic common to the two Psalms, which fully warranted their being placed together as a pair. There is, however, another Psalm, which is still more closely related to Psa 39:1-13, viz., Psa 62:1-12, which, together with Psa 4:1-8, has a similar historical background. The author, in his dignity, is threatened by those who from being false friends have become open enemies, and who revel in the enjoyment of illegitimately acquired power and possessions. From his own experience, in the midst of which he commits his safety and his honour to God, he derives the general warnings, that to trust in riches is deceptive, and that power belongs alone to God the Avenger - two doctrines, in support of which the issue of the affair with Absalom was a forcible example. Thus it is with Psa 62:1-12, and in like manner Psa 39:1-13 also. Both Psalms bear the name of Jeduthun side by side with the name of David at their head; both describe the nothingness of everything human in the same language; both delight more than other Psalms in the use of the assuring, confident אך; both have סלה twice; both coincide in some points with the Book of Job; the form of both Psalms, however, is so polished, transparent, and classic, that criticism is not authorized in assigning to this pair of Psalms any particular poet other than David. The reason of the redacteur not placing Psa 62:1-12 immediately after Psa 39:1-13 is to be found in the fact that Psa 62:1-12 is an Elohim-Psalm, which could not stand in the midst of Jahve-Psalms.

To the inscribed למנצּח, לידיתוּן is added in this instance. The name is also written thus in Psa 77:1; 1Ch 16:38; Neh 11:17, and always with the Kerî ידוּתוּן, which, after the analogy of זבוּלוּן, is the more easily pronouncible pointing (Psa 62:1). It is an offshoot of the form ידוּת or ידית; cf. שׁבוּת and שׁבית, חפשׁוּת and חפשׁית. It is the name of one of David’s three choir-masters or precentors - the third in conjunction with Asaph and Heman, 1Ch 16:41., Psa 25:1., 2Ch 5:12; 2Ch 35:15, and is, without doubt, the same person as איתן, 1 Chr. 15, a name which is changed into ידותון after the arrangement in Gibeon, 1 Chr. 16. Consequently side by side with למנצח, לידותון will be the name of the מנצח himself, i.e., the name of the person to whom the song was handed over to be set to music. The fact that in two inscriptions (Psa 62:1; Psa 77:1) we read על instead of the ל of לידיתון, does not militate against this. By ל Jeduthun is denoted as the person to whom the song was handed over for performance; and by על, as the person to whom the performance was assigned. The rendering: “to the director of the Jeduthunites,” adopted by Hitzig, is possible regarding the ידותון as used as a generic name like אהרן in 1Ch 12:27; 1Ch 27:17; but the customary use of the ל in inscriptions is against it.

The Psalm consists of four stanzas without any strophic symmetry. The first three are of only approximately the same compass, and the final smaller stanza has designedly the character of an epilogue. Psa 39:1-3 (Hebrew_Bible_39:2-4) The poet relates how he has resolved to bear his own affliction silently in the face of the prosperity of the ungodly, but that his smart was so overpowering that he was compelled involuntarily to break his silence by loud complaint. The resolve follows the introductory אמרתּי in cohortatives. He meant to take heed to his ways, i.e., his manner of thought and action, in all their extent, lest he should sin with his tongue, viz., by any murmuring complaint concerning his own misfortune, when he saw the prosperity of the ungodly. He was resolved to keep (i.e., cause invariably to press) a bridling (cf. on the form, Gen 30:37), or a bridle (capistrum), upon his mouth, so long as he should see the ungodly continuing and sinning in the fulness of his strength, instead of his speedy ruin which one ought to expect. Then he was struck dumb דּוּמיּה, in silence, i.e., as in Psa 62:2, cf. Lam 3:26, in resigned submission, he was silent מטּוב, turned away from (vid., Psa 28:1; 1Sa 7:8, and frequently) prosperity, i.e., from that in which he saw the evil-doer rejoicing; he sought to silence for ever the perplexing contradiction between this prosperity and the righteousness of God. But this self-imposed silence gave intensity to the repressed pain, and this was thereby נעכּר, stirred up, excited, aroused; the inward heat became, in consequence of restrained complaint, all the more intense (Jer 20:9): “and while I was musing a fire was kindled,” i.e., the thoughts and emotions rubbing against one another produced a blazing fire, viz., of irrepressible vexation, and the end of it was: “I spake with my tongue,” unable any longer to keep in my pain. What now follows is not what was said by the poet when in this condition. On the contrary, he turns away from his purpose, which has been proved to be impracticable, to God Himself with the prayer that He would teach him calm submission.