Psa 20:1 | KD | STEP | To is closely attached , because its commencement is as it were the echo of the prayer with which the former closes; and to is closely attached , because both Psalms refer to the same event relatively, as prayer and thanksgiving. is an intercessory psalm of the nation, and a thanksgiving psalm of the nation, on behalf of its king. It is clearly manifest that the two Psalms form a pair, being connected by unity of author and subject. They both open somewhat uniformly with a synonymous parallelism of the members, ; ; they then increase in fervour and assume a more vivid colouring as they come to speak of the foes of the king and the empire, ; ; and they both close with an ejaculatory cry to Jahve, Ps 20:10; 21:14. In both, the king is apostrophised through the course of the several verses, ; ; and here and there this is done in a way that provokes the question whether the words are not rather addressed to Jahve, ; Psa 21:10. In both Psalms the king is referred to by המּלך, Ps 20:10; ; both comprehend the goal of the desires in the word ישׁוּעה, , cf. , , ; both delight in rare forms of expression, which are found only in these instances in the whole range of Old Testament literature, viz., נדגל , נתעדד , ארשׁת , תחדהו, Psa 21:7. If, as the לדוד indicates, they formed part of the oldest Davidic Psalter, then it is notwithstanding more probable that their author is a contemporary poet, than that it is David himself. For, although both as to form of expression (cf. with ) and as to thoughts (cf. with ), they exhibit some points of contact with Davidic Psalms, they still stand isolated by their peculiar character. But that David is their subject, as the inscription לדוד, and their position in the midst of the Davidic Psalms, lead one to expect, is capable of confirmation. During the time of the Syro-Ammonitish war comes David’s deep fall, which in itself and in its consequences made him sick both in soul and in body. It was not until he was again restored to God’s favour out of this self-incurred peril, that he went to his army which lay before Rabbath Ammon, and completed the conquest of the royal city of the enemy. The most satisfactory explanation of the situation referred to in this couplet of Psalms is to be gained from 2 Sam 11-12. prays for the recovery of the king, who is involved in war with powerful foes; and gives thanks for his recovery, and wishes him a victorious issue to the approaching campaign. The “chariots and horses” ( ) are characteristic of the military power of Aram ( , and frequently), and in and we perceive an allusion to , or at least a remarkable agreement with what is there recorded.

‏ Psalms 20:1

Prayer for the King in Time of War

To Psa 19:1-14 is closely attached Psa 20:1-9, because its commencement is as it were the echo of the prayer with which the former closes; and to Psa 20:1-9 is closely attached Psa 21:1-13, because both Psalms refer to the same event relatively, as prayer and thanksgiving. Psa 20:1-9 is an intercessory psalm of the nation, and Psa 21:1-13 a thanksgiving psalm of the nation, on behalf of its king. It is clearly manifest that the two Psalms form a pair, being connected by unity of author and subject. They both open somewhat uniformly with a synonymous parallelism of the members, Psa 20:2-6; Psa 21:2-8; they then increase in fervour and assume a more vivid colouring as they come to speak of the foes of the king and the empire, Psa 20:7-9; Psa 21:9-13; and they both close with an ejaculatory cry to Jahve, Ps 20:10; 21:14. In both, the king is apostrophised through the course of the several verses, Psa 20:2-6; Psa 21:9-13; and here and there this is done in a way that provokes the question whether the words are not rather addressed to Jahve, Psa 20:6; Psa 21:10. In both Psalms the king is referred to by המּלך, Ps 20:10; Psa 21:8; both comprehend the goal of the desires in the word ישׁוּעה, Psa 20:6, cf. Psa 20:7, Psa 21:2, Psa 21:6; both delight in rare forms of expression, which are found only in these instances in the whole range of Old Testament literature, viz., נדגל Psa 20:6, נתעדד Psa 20:9, ארשׁת Psa 21:3, תחדהו, Psa 21:7.

If, as the לדוד indicates, they formed part of the oldest Davidic Psalter, then it is notwithstanding more probable that their author is a contemporary poet, than that it is David himself. For, although both as to form of expression (cf. Psa 21:12 with Psa 10:2) and as to thoughts (cf. Psa 21:7 with Psa 16:11), they exhibit some points of contact with Davidic Psalms, they still stand isolated by their peculiar character. But that David is their subject, as the inscription לדוד, and their position in the midst of the Davidic Psalms, lead one to expect, is capable of confirmation. During the time of the Syro-Ammonitish war comes David’s deep fall, which in itself and in its consequences made him sick both in soul and in body. It was not until he was again restored to God’s favour out of this self-incurred peril, that he went to his army which lay before Rabbath Ammon, and completed the conquest of the royal city of the enemy. The most satisfactory explanation of the situation referred to in this couplet of Psalms is to be gained from 2 Sam 11-12. Psa 20:1-9 prays for the recovery of the king, who is involved in war with powerful foes; and Psa 21:1-13 gives thanks for his recovery, and wishes him a victorious issue to the approaching campaign. The “chariots and horses” (Psa 20:8) are characteristic of the military power of Aram (2Sa 10:18, and frequently), and in Psa 21:4 and Psa 21:10 we perceive an allusion to 2Sa 12:30-31, or at least a remarkable agreement with what is there recorded.