Psa 16:1 | KD | STEP | The preceding Psalm closed with the words לא ימּוט; this word of promise is repeated in as an utterance of faith in the mouth of David. We are here confronted by a pattern of the unchangeable believing confidence of a friend of God; for the writer of is in danger of death, as is to be inferred from the prayer expressed in and the expectation in Psa 16:10. But there is no trace of anything like bitter complaint, gloomy conflict, or hard struggle: the cry for help is immediately swallowed up by an overpowering and blessed consciousness and a bright hope. There reigns in the whole Psalm, a settled calm, an inward joy, and a joyous confidence, which is certain that everything that it can desire for the present and for the future it possesses in its God. The Psalm is inscribed לדוד; and Hitzig also confesses that “David may be inferred from its language.” Whatever can mark a Psalm as Davidic we find combined in this Psalm: thoughts crowding together in compressed language, which becomes in bold even to harshness, but then becomes clear and moves more rapidly; an antiquated, peculiar, and highly poetic impress (אדני, my Lord , מנת, נחלת, שׁפר, תּומיך); and a well-devised grouping of the strophes. In addition to all these, there are manifold points of contact with indisputably genuine Davidic Psalms (comp. e.g., with ; with ; with ), and with indisputably ancient portions of the Pentateuch ( ; ; ). Scarcely any other Psalm shows so clearly as this, what deep roots psalm-poetry has struck into the Tôra, both as it regards the matter and the language. Concerning the circumstances of its composition, vid., on -12. The superscription מכתּם לדוד, has in common with Psa 56:1. After the analogy of the other superscriptions, it must have a technical meaning. This at once militates against Hitzig’s explanation, that it is a poem hitherto unknown, an ἀνέκδοτον, according to the Arabic mâktum , hidden, secret, just as also against the meaning keimee'lion, which says nothing further to help us. The lxx translates it στηλογραφία (εἰς στηλογραφίαν), instead of which the Old Latin version has tituli inscriptio (Hesychius τίτλος· πτυχίον ἐπίγραμμα ἔχον). That this translation accords with the tradition is shown by that of the Targum גּליפא תריצא sculptura recta (not erecta as Hupfeld renders it). Both versions give the verb the meaning כּתם insculpere , which is supported both by a comparison with כּתב, cogn. חצב, עצב, and by חתם imprimere ( sigillum ). Moreover, the sin of Israel is called נכתּם in (cf. ) as being a deeply impressed spot, not to be wiped out. If we now look more closely into the Michtam Psalms as a whole, we find they have two prevailing features in common. Sometimes significant and remarkable words are introduced by אמרתּי, וימר, דּבּר, ; 58:12; , cf. (in Hezekiah’s psalm, which is inscribed מכתּב = מכתּם as it is perhaps to be read); sometimes words of this character are repeated after the manner of a refrain, as in : I will not fear, what can man do to me! in : Be Thou exalted, Elohim, above the heavens, Thy glory above all the earth! and in Ps 59: For Elohim is my high tower, my merciful God . Hezekiah’s psalm unites this characteristic with the other. Accordingly מכתם, like ἐπίγραμμα, appears to mean first of all an inscription and then to be equivalent to an inscription-poem or epigram, a poem containing pithy sayings; since in the Psalms of this order some expressive sentence, after the style of an inscription or a motto on a monument, is brought prominently forward, by being either specially introduced or repeated as a refrain. The strophe-schema is 5. 5. 6. 7. The last strophe, which has grown to seven lines, is an expression of joyous hopes in the face of death, which extend onward even into eternity.

‏ Psalms 16:1

Refuge in God, the Highest Good, in the Presence of Distress and of Death

The preceding Psalm closed with the words לא ימּוט; this word of promise is repeated in Psa 16:8 as an utterance of faith in the mouth of David. We are here confronted by a pattern of the unchangeable believing confidence of a friend of God; for the writer of Psa 16:1-11 is in danger of death, as is to be inferred from the prayer expressed in Psa 16:1 and the expectation in Psa 16:10. But there is no trace of anything like bitter complaint, gloomy conflict, or hard struggle: the cry for help is immediately swallowed up by an overpowering and blessed consciousness and a bright hope. There reigns in the whole Psalm, a settled calm, an inward joy, and a joyous confidence, which is certain that everything that it can desire for the present and for the future it possesses in its God.

The Psalm is inscribed לדוד; and Hitzig also confesses that “David may be inferred from its language.” Whatever can mark a Psalm as Davidic we find combined in this Psalm: thoughts crowding together in compressed language, which becomes in Psa 16:4 bold even to harshness, but then becomes clear and moves more rapidly; an antiquated, peculiar, and highly poetic impress (אדני, my Lord, מנת, נחלת, שׁפר, תּומיך); and a well-devised grouping of the strophes. In addition to all these, there are manifold points of contact with indisputably genuine Davidic Psalms (comp. e.g., Psa 16:5 with Psa 11:6; Psa 16:10 with Psa 4:4; Psa 16:11 with Psa 17:15), and with indisputably ancient portions of the Pentateuch (Exo 23:13; Exo 19:6; Gen 49:6). Scarcely any other Psalm shows so clearly as this, what deep roots psalm-poetry has struck into the Tôra, both as it regards the matter and the language. Concerning the circumstances of its composition, vid., on Psa 30:1-12.

The superscription מכתּם לדוד, Psa 16:1-11 has in common with Psa 56:1. After the analogy of the other superscriptions, it must have a technical meaning. This at once militates against Hitzig’s explanation, that it is a poem hitherto unknown, an ἀνέκδοτον, according to the Arabic mâktum, hidden, secret, just as also against the meaning keimee'lion, which says nothing further to help us. The lxx translates it στηλογραφία (εἰς στηλογραφίαν), instead of which the Old Latin version has tituli inscriptio (Hesychius τίτλος· πτυχίον ἐπίγραμμα ἔχον). That this translation accords with the tradition is shown by that of the Targum גּליפא תריצא sculptura recta (not erecta as Hupfeld renders it). Both versions give the verb the meaning כּתם insculpere, which is supported both by a comparison with כּתב, cogn. חצב, עצב, and by חתם imprimere (sigillum). Moreover, the sin of Israel is called נכתּם in Jer 2:22 (cf. Psa 17:1) as being a deeply impressed spot, not to be wiped out. If we now look more closely into the Michtam Psalms as a whole, we find they have two prevailing features in common. Sometimes significant and remarkable words are introduced by אמרתּי, וימר, דּבּר, Psa 16:2; 58:12; Psa 60:8, cf. Isa 38:10-11 (in Hezekiah’s psalm, which is inscribed מכתּב = מכתּם as it is perhaps to be read); sometimes words of this character are repeated after the manner of a refrain, as in Psa 56:1-13 : I will not fear, what can man do to me! in Psa 57:1-11 : Be Thou exalted, Elohim, above the heavens, Thy glory above all the earth! and in Ps 59: For Elohim is my high tower, my merciful God. Hezekiah’s psalm unites this characteristic with the other. Accordingly מכתם, like ἐπίγραμμα, ^{▼▼In modern Jewish poetry מכתם is actually the name for the epigram.} appears to mean first of all an inscription and then to be equivalent to an inscription-poem or epigram, a poem containing pithy sayings; since in the Psalms of this order some expressive sentence, after the style of an inscription or a motto on a monument, is brought prominently forward, by being either specially introduced or repeated as a refrain.

The strophe-schema is 5. 5. 6. 7. The last strophe, which has grown to seven lines, is an expression of joyous hopes in the face of death, which extend onward even into eternity.