Psa 71:3 | KD | STEP | The Davidic is followed by an anonymous Psalm which begins like Ps 31 and closes like Ps 35, in which , just like , is an echo of Psa 40:14. The whole Psalm is an echo of the language of older Psalms, which is become the mental property, so to speak, of the author, and is revived in him by experiences of a similar character. Notwithstanding the entire absence of any thorough originality, it has an individual, and in fact a Jeremianic, impress. The following reasons decide us in considering the Psalm as coming from the pen of Jeremiah: - (1) Its relationship to Psalms of the time of David and of the earlier times of the kings, but after David, leads us down to somewhere about the age of Jeremiah. (2) This anthological weaving together of men’s own utterances taken from older original passages, and this skilful variation of them by merely slight touches of his own, is exactly Jeremiah’s manner. (3) In solitary instances the style of Ps 69, slow, loose, only sparingly adorned with figures, and here and there prosaic, closely resembles Jeremiah; also to him corresponds the situation of the poet as one who is persecuted; to him, the retrospect of a life rich in experience and full of miraculous guidings; to him, whose term of active service extended over a period of more than thirty years under Zedekiah, the transition to hoary age in which the poet finds himself; to him, the reference implied in to some high office; and to him, the soft, plaintive strain that pervades the Psalm, from which it is at the same time clearly seen that the poet has attained a degree of age and experience, in which he is accustomed to self-control and is not discomposed by personal misfortune. To all these correspondences there is still to be added an historical testimony. The lxx inscribes the Psalm τῷ Δαυίδ υἱῷν Ἰωναδάβ καὶ τῶν πρώτων αἰχμαλωτισθέντων. According to this inscription, the τῷ Δαυίδ of which is erroneous, but the second part of which is so explicit that it must be based upon tradition, the Psalm was a favourite song of the Rechabites and of the first exiles. The Rechabites are that tribe clinging to a homely nomad life in accordance with the will of their father, which Jeremiah (Jer 35) holds up before the men of his time as an example of self-denying faithful adherence to the law of their father which puts them to shame. If the Psalm is by Jeremiah, it is just as intelligible that the Rechabites, to whom Jeremiah paid such a high tribute of respect, should appropriate it to their own use, as that the first exiles should do so. Hitzig infers from , that at the time of its composition Jerusalem had already fallen; whereas in Ps 69 it is only the cities of Judah that as yet lie in ashes. But after the overthrow of Jerusalem we find no circumstances in the life of the prophet, who is no more heard of in Egypt, that will correspond to the complaints of the psalmist of violence and mockery. Moreover the foe in is not the Chaldaean, whose conduct towards Jeremiah did not merit these names. Nor can have been written at the time of the second siege and in the face of the catastrophe. Stayed upon Jahve, his ground of trust, from early childhood up, the poet hopes and prays for deliverance out of the hand of the foe. The first of these two strophes ( ) is taken from , the second ( , with the exception of and ) from ; both, however, in comparison with exhibit the far more encroaching variations of a poet who reproduces the language of others with a freer hand. Olshausen wishes to read מעוז in , ; , instead of מעון, which he holds to be an error in writing. But this old Mosaic, Deuteronomial word (vid., on ) - cf. the post-biblical oath המעון (by the Temple!) - is unassailable. Jahve, who is called a rock of refuge in , is here called a rock of habitation, i.e., a high rock that cannot be stormed or scaled, which affords a safe abode; and this figure is pursued still further with a bold remodelling of the text of : לבוא תּמיד, constantly to go into, i.e., which I can constantly, and therefore always, as often as it is needful, betake myself for refuge. The additional צוּית is certainly not equivalent to צוּה; it would more likely be equivalent to אשׁר צוית; but probably it is an independent clause: Thou hast (in fact) commanded, i.e., unalterably determined ( ; ; ), to show me salvation, for my rock, etc. To the words לבוא תמיד צוית corresponds the expression לבית מצודות in , which the lxx renders καὶ εἰς οἶκον καταφυγῆς, whereas instead of the former three words it has καὶ εἰς τόπον ὀχυρόν, and seems to have read לבית מבצרות, cf. (Hitzig). In , Thou art my hope reminds one of the divine name מקוה ישׂראל in ; (cf. ἡ ἐλπίς ἡμῶν used of Christ in ; ). נסמכתּי is not less beautiful than השׁלכתּי in Psa 22:11. In its incipient slumbering state (cf. ), and in its self-conscious continuance. He was and is the upholding prop and the supporting foundation, so to speak, of my life. And גוזי instead of גּחי in , is just such another felicitous modification. It is impracticable to define the meaning of this גוזי according to גּזה = גּזה, Arab. jz’, retribuere (prop. to cut up, distribute), because גּמל is the representative of this Aramaeo-Arabic verb in the Hebrew. Still less, however, can it be derived from גּוּז, transire , the participle of which, if it would admit of a transitive meaning = מוציאי (Targum), ought to be גּזי. The verb גּזה, in accordance with its radical signification of abscindere (root גז, synon. קץ, קד, קט, and the like), denotes in this instance the separating of the child from the womb of the mother, the retrospect going back from youth to childhood, and even to his birth. The lxx σκεπαστής (μου) is an erroneous reading for ἐκσπαστής, as is clear from , ὁ ἐκσπάσας με. הלּל בּ, (cf. שׂיח בּ, ), is at the bottom of the expression in . The God to whom he owes his being, and its preservation thus far, is the constant, inexhaustible theme of his praise.

‏ Psalms 71:3

Prayer of a Grey-Headed Servant of God for Further Divine Aid

The Davidic Psa 70:1-5 is followed by an anonymous Psalm which begins like Ps 31 and closes like Ps 35, in which Psa 71:12, just like Psa 70:2, is an echo of Psa 40:14. The whole Psalm is an echo of the language of older Psalms, which is become the mental property, so to speak, of the author, and is revived in him by experiences of a similar character. Notwithstanding the entire absence of any thorough originality, it has an individual, and in fact a Jeremianic, impress.

The following reasons decide us in considering the Psalm as coming from the pen of Jeremiah: - (1) Its relationship to Psalms of the time of David and of the earlier times of the kings, but after David, leads us down to somewhere about the age of Jeremiah. (2) This anthological weaving together of men’s own utterances taken from older original passages, and this skilful variation of them by merely slight touches of his own, is exactly Jeremiah’s manner. (3) In solitary instances the style of Ps 69, slow, loose, only sparingly adorned with figures, and here and there prosaic, closely resembles Jeremiah; also to him corresponds the situation of the poet as one who is persecuted; to him, the retrospect of a life rich in experience and full of miraculous guidings; to him, whose term of active service extended over a period of more than thirty years under Zedekiah, the transition to hoary age in which the poet finds himself; to him, the reference implied in Psa 71:21 to some high office; and to him, the soft, plaintive strain that pervades the Psalm, from which it is at the same time clearly seen that the poet has attained a degree of age and experience, in which he is accustomed to self-control and is not discomposed by personal misfortune. To all these correspondences there is still to be added an historical testimony. The lxx inscribes the Psalm τῷ Δαυίδ υἱῷν Ἰωναδάβ καὶ τῶν πρώτων αἰχμαλωτισθέντων. According to this inscription, the τῷ Δαυίδ of which is erroneous, but the second part of which is so explicit that it must be based upon tradition, the Psalm was a favourite song of the Rechabites and of the first exiles. The Rechabites are that tribe clinging to a homely nomad life in accordance with the will of their father, which Jeremiah (Jer 35) holds up before the men of his time as an example of self-denying faithful adherence to the law of their father which puts them to shame. If the Psalm is by Jeremiah, it is just as intelligible that the Rechabites, to whom Jeremiah paid such a high tribute of respect, should appropriate it to their own use, as that the first exiles should do so. Hitzig infers from Psa 71:20, that at the time of its composition Jerusalem had already fallen; whereas in Ps 69 it is only the cities of Judah that as yet lie in ashes. But after the overthrow of Jerusalem we find no circumstances in the life of the prophet, who is no more heard of in Egypt, that will correspond to the complaints of the psalmist of violence and mockery. Moreover the foe in Psa 71:4 is not the Chaldaean, whose conduct towards Jeremiah did not merit these names. Nor can Psa 71:20 have been written at the time of the second siege and in the face of the catastrophe.

Psa 71:1-6

Stayed upon Jahve, his ground of trust, from early childhood up, the poet hopes and prays for deliverance out of the hand of the foe. The first of these two strophes (Psa 71:1-3) is taken from Psa 31:2-4, the second (Psa 71:4-6, with the exception of Psa 71:4 and Psa 71:6) from Psa 22:10-11; both, however, in comparison with Psa 70:1-5 exhibit the far more encroaching variations of a poet who reproduces the language of others with a freer hand. Olshausen wishes to read מעוז in Psa 71:3, Psa 90:1; Psa 91:9, instead of מעון, which he holds to be an error in writing. But this old Mosaic, Deuteronomial word (vid., on Psa 90:1) - cf. the post-biblical oath המעון (by the Temple!) - is unassailable. Jahve, who is called a rock of refuge in Psa 31:3, is here called a rock of habitation, i.e., a high rock that cannot be stormed or scaled, which affords a safe abode; and this figure is pursued still further with a bold remodelling of the text of Psa 31:3 : לבוא תּמיד, constantly to go into, i.e., which I can constantly, and therefore always, as often as it is needful, betake myself for refuge. The additional צוּית is certainly not equivalent to צוּה; it would more likely be equivalent to אשׁר צוית; but probably it is an independent clause: Thou hast (in fact) commanded, i.e., unalterably determined (Psa 44:5; Psa 68:29; Psa 133:3), to show me salvation, for my rock, etc. To the words לבוא תמיד צוית corresponds the expression לבית מצודות in Psa 31:3, which the lxx renders καὶ εἰς οἶκον καταφυγῆς, whereas instead of the former three words it has καὶ εἰς τόπον ὀχυρόν, and seems to have read לבית מבצרות, cf. Dan 11:15 (Hitzig). In Psa 71:5, Thou art my hope reminds one of the divine name מקוה ישׂראל in Jer 17:13; Jer 50:7 (cf. ἡ ἐλπίς ἡμῶν used of Christ in 1Ti 1:1; Col 1:27). נסמכתּי is not less beautiful than השׁלכתּי in Psa 22:11. In its incipient slumbering state (cf. Psa 3:6), and in its self-conscious continuance. He was and is the upholding prop and the supporting foundation, so to speak, of my life. And גוזי instead of גּחי in Psa 22:10, is just such another felicitous modification. It is impracticable to define the meaning of this גוזי according to גּזה = גּזה, Arab. jz’, retribuere (prop. to cut up, distribute), because גּמל is the representative of this Aramaeo-Arabic verb in the Hebrew. Still less, however, can it be derived from גּוּז, transire, the participle of which, if it would admit of a transitive meaning = מוציאי (Targum), ought to be גּזי. The verb גּזה, in accordance with its radical signification of abscindere (root גז, synon. קץ, קד, קט, and the like), denotes in this instance the separating of the child from the womb of the mother, the retrospect going back from youth to childhood, and even to his birth. The lxx σκεπαστής (μου) is an erroneous reading for ἐκσπαστής, as is clear from Psa 22:10, ὁ ἐκσπάσας με. הלּל בּ, Psa 44:9 (cf. שׂיח בּ, Psa 69:13), is at the bottom of the expression in Psa 71:6. The God to whom he owes his being, and its preservation thus far, is the constant, inexhaustible theme of his praise.