Psa 3:1 | KD | STEP | The two Psalms forming the prologue, which treat of cognate themes, the one ethical, from the standpoint of the חכמה, and the other related to the history of redemption from the standpoint of the נבואה, are now followed by a morning prayer; for morning and evening prayers are surely the first that one expects to find in a prayer-and hymn-book. The morning hymn, , which has the mention of the “holy hill” in common with , naturally precedes the evening hymn ; for that is an evening hymn as some are of opinion, rests on grammatical misconception. With , begin, as already stated, the hymns arranged for music. By מזמור לדוד, a Psalm of David , the hymn which follows is marked as one designed for musical accompaniment. Since מזמור occurs exclusively in the inscriptions of the Psalms, it is no doubt a technical expression coined by David. זמר (root זם) is an onomatopoetic word, which in Kal signifies to cut off, and in fact to prune or lop (the vine) (cf. Arabic zbr , to write, from the buzzing noise of the style or reed on the writing material). The signification of singing and playing proper to the Piel are not connected with the signification “to nip.” For neither the rhythmical division (Schultens) nor the articulated speaking (Hitz.) furnish a probable explanation, since the caesura and syllable are not natural but artificial notions, nor also the nipping of the strings (Böttch., Ges.), for which the language has coined the word נגּן (of like root with נגע). Moreover, the earliest passages in which זמרה and זמּר occur ( ; ; Jdg 5:3), speak rather of song than music and both words frequently denote song in distinction from music, e.g., ; , cf. Sol 2:12. Also, if זמּר originally means, like ψάλλειν, carpere (pulsare) fides , such names of instruments as Arab. zemr the hautboy and zummâra the pipe would not be formed. But זמּר means, as Hupfeld has shown, as indirect an onomatope as canere , “to make music” in the widest sense; the more accurate usage of the language, however, distinguishes זמּר and שׁיר as to play and to sing. With בּ of the instrument זמּר denotes song with musical accompaniment (like the Aethiopic זמר instrumento canere ) and זמרה (Aram. זמר) is sometimes, as in , absolutely: music. Accordingly מזמור signifies technically the music and שׁיר the words. And therefore we translate the former by “Psalm,” for ὁ ψαλμός ἐστιν - says Gregory of Nyssa - ἡ διὰ τοῦ ὀργάνου τοῦ μουσικοῦ μελωδία ᾠδὴ δὲ ἡ διὰ στόματος γενομένου τοῦ μέλους μετὰ ῥημάτων ἐκφώνησις. That is a hymn arranged for music is also manifest from the סלה which occurs here 3 times. It is found in the Psalter, as Bruno has correctly calculated, 71 times (17 times in the 1st book, 30 in the 2nd, 20 in the 3rd, 4 in the 4th) and, with the exception of the anonymous Ps 66, , always in those that are inscribed by the name of David and of the psalmists famed from the time of David. That it is a marginal note referring to the Davidic Temple-music is clearly seen from the fact, that all the Psalms with סלה have the למנצּח which relates to the musical execution, with the exception of eight ( , Psa 48:1-14, 50, Psa 82:1-8, 83, Psa 87:1-7, 89, ) which, however, from the designation מזמור are at least manifestly designed for music. The Tephilla of Habbakuk, Hab 3, the only portion of Scripture in which סלה occurs out of the Psalter, as an exception has the למנצח at the end. Including the three סלה of this tephilla, the word does not occur less than 74 times in the Old Testament. Now as to the meaning of this musical nota bene , 1st, every explanation as an abbreviation, - the best of which is = סב למעלה השּׁר (turn thyself towards above i.e., towards the front, O Singer! therefore: da capo ) - is to be rejected, because such abbreviations fail of any further support in the Old Testament. Also 2ndly, the derivation from שׁלה = סלה silere , according to which it denotes a pause, or orders the singers to be silent while the music strikes up, is inadmissible, because סלה in this sense is neither Hebrew nor Aramaic and moreover in Hebrew itself the interchange of שׁ with ס (שׁריון, סריון) is extremely rare. There is but one verbal stem with which סלה can be combined, viz., סלל or סלה (סלא). The primary notion of this verbal stem is that of lifting up, from which, with reference to the derivatives סלּם a ladder and מסלּה in the signification an ascent, or steps, , comes the general meaning for סלה, of a musical rise. When the tradition of the Mishna explains the word as a synonym of נצח and the Targum, the Quinta, and the Sexta (and although variously Aquila and sometimes the Syriac version) render it in accordance therewith “for ever (always),” - in favour of which Jerome also at last decides, Ep. ad Marcellam “quid sit Sela” , - the original musical signification is converted into a corresponding logical or lexical one. But it is apparent from the διάψαλμα of the lxx (adopted by Symm., Theod., and the Syr.), that the musical meaning amounts to a strengthening of some kind or other; for διάψαλμα signifies, according to its formation (-μα = -μενον), not the pause as Gregory of Nyssa defines it: ἡ μεταξὺ τῆς ψαλμῳδιάς γενμένη κατὰ τὸ ἀθρόον ἐπηρέμησις πρὸς ὑποδοχὴν τοῦ θεόθεν ἐπικρινομένου νοήματος, but either the interlude, especially of the stringed instruments, (like διαύλιον [διαύλειον], according to Hesychius the interlude of the flutes between the choruses), or an intensified playing (as διαψάλλειν τριγώνοις is found in a fragment of the comedian Eupolis in Athenaeus of the strong play of triangular harps). According to the pointing of the word as we now have it, it ought apparently to be regarded as a noun סל with the ah of direction (synonymous with גּוה, up! ); for the omission of the Dagesh beside the ah of direction is not without example (cf. 1Ki 2:40 גּתה which is the proper reading, instead of גּתּה, and referred to by Ewald) and the -, with Dag. forte implicitum , is usual before liquids instead of -, as, פּדּנהּ , הרה instead of paddannah, harrah , as also כּרמלה instead of כּרמלּה. But the present pointing of this word, which is uniformly included in the accentuation of the Masoretic verse, is scarcely the genuine pointing: it looks like an imitation of נצח. The word may originally have been pronounced סלּה ( elevatio after the form בּתּה, דּלּה). The combination סלה הגּיון , in which הגיון refers to the playing of the stringed instruments ( ) leads one to infer that סלה is a note which refers not to the singing but to the instrumental accompaniment. But to understand by this a heaping up of weighty expressive accords and powerful harmonies in general, would be to confound ancient with modern music. What is meant is the joining in of the orchestra, or a reinforcement of the instruments, or even a transition from piano to forte . Three times in this Psalm we meet with this Hebrew forte . In sixteen Psalms (7, 10, 21, 44, 47, 48, 50, 54, 60, 61, 75, 81, 82, 83, 85, 143) we find it only once; in fifteen Psalms (4, 9, 24, 39, 49, 52, 55, 57, 59, 62, 67, 76, 84, 87, 88), twice; in but seven Psalms (3, 32, 46, 56, 68, 77, 140 and also Hab), three times; and only in one (Ps 89), four times. It never stands at the beginning of a Psalm, for the ancient music was not as yet so fully developed, that סלה should absolutely correspond to the ritornello . Moreover, it does not always stand at the close of a strophe so as to be the sign of a regular interlude, but it is always placed where the instruments are to join in simultaneously and take up the melody - a thing which frequently happens in the midst of the strophe. In the Psalm before us it stands at the close of the 1st, 2nd, and 4th strophes. The reason of its omission after the third is evident. Not a few of the Psalms bear the date of the time of the persecution under Saul, but only this and probably have that of Absolom. The Psalter however contains other Psalms which reflect this second time of persecution. It is therefore all the more easy to accept as tradition the inscription: when he fled before Absolom, his son . And what is there in the contents of the Psalm against this statement? All the leading features of the Psalm accord with it, viz., the mockery of one who is rejected of God 2Sa 16:7., the danger by night , the multitudes of the people ; , and the high position of honour held by the psalmist. Hitzig prefers to refer this and the following Psalm to the surprize by the Amalekites during David’s settlement in Ziklag. But since at that time Zion and Jerusalem were not free some different interpretation of becomes necessary. And the fact that the Psalm does not contain any reference to Absalom does not militate against the inscription. It is explained by the tone of [2Sa 18:33 Engl.]. And if Psalms belonging to the time of Absalom’s rebellion required any such reference to make them known, then we should have none at all.

‏ Psalms 3:1

Morning Hymn of One in Distress, but Confident in God

The two Psalms forming the prologue, which treat of cognate themes, the one ethical, from the standpoint of the חכמה, and the other related to the history of redemption from the standpoint of the נבואה, are now followed by a morning prayer; for morning and evening prayers are surely the first that one expects to find in a prayer-and hymn-book. The morning hymn, Psa 3:1-8, which has the mention of the “holy hill” in common with Psa 2:1-12, naturally precedes the evening hymn Psa 4:1-8; for that Psa 3:1-8 is an evening hymn as some are of opinion, rests on grammatical misconception.

With Psa 3:1-8, begin, as already stated, the hymns arranged for music. By מזמור לדוד, a Psalm of David, the hymn which follows is marked as one designed for musical accompaniment. Since מזמור occurs exclusively in the inscriptions of the Psalms, it is no doubt a technical expression coined by David. זמר (root זם) is an onomatopoetic word, which in Kal signifies to cut off, and in fact to prune or lop (the vine) (cf. Arabic zbr, to write, from the buzzing noise of the style or reed on the writing material). The signification of singing and playing proper to the Piel are not connected with the signification “to nip.” For neither the rhythmical division (Schultens) nor the articulated speaking (Hitz.) furnish a probable explanation, since the caesura and syllable are not natural but artificial notions, nor also the nipping of the strings (Böttch., Ges.), for which the language has coined the word נגּן (of like root with נגע). Moreover, the earliest passages in which זמרה and זמּר occur (Gen 43:11; Exo 15:2; Jdg 5:3), speak rather of song than music and both words frequently denote song in distinction from music, e.g., Psa 98:5; Psa 81:3, cf. Sol 2:12. Also, if זמּר originally means, like ψάλλειν, carpere (pulsare) fides, such names of instruments as Arab. zemr the hautboy and zummâra the pipe would not be formed. But זמּר means, as Hupfeld has shown, as indirect an onomatope as canere, “to make music” in the widest sense; the more accurate usage of the language, however, distinguishes זמּר and שׁיר as to play and to sing. With בּ of the instrument זמּר denotes song with musical accompaniment (like the Aethiopic זמר instrumento canere) and זמרה (Aram. זמר) is sometimes, as in Amo 5:23, absolutely: music. Accordingly מזמור signifies technically the music and שׁיר the words. And therefore we translate the former by “Psalm,” for ὁ ψαλμός ἐστιν - says Gregory of Nyssa - ἡ διὰ τοῦ ὀργάνου τοῦ μουσικοῦ μελωδία ᾠδὴ δὲ ἡ διὰ στόματος γενομένου τοῦ μέλους μετὰ ῥημάτων ἐκφώνησις.

That Psa 3:1-8 is a hymn arranged for music is also manifest from the סלה which occurs here 3 times. It is found in the Psalter, as Bruno has correctly calculated, 71 times (17 times in the 1st book, 30 in the 2nd, 20 in the 3rd, 4 in the 4th) and, with the exception of the anonymous Ps 66, Psa 67:1-7, always in those that are inscribed by the name of David and of the psalmists famed from the time of David. That it is a marginal note referring to the Davidic Temple-music is clearly seen from the fact, that all the Psalms with סלה have the למנצּח which relates to the musical execution, with the exception of eight (Psa 32:1-11, Psa 48:1-14, 50, Psa 82:1-8, 83, Psa 87:1-7, 89, Psa 143:1-12) which, however, from the designation מזמור are at least manifestly designed for music. The Tephilla of Habbakuk, Hab 3, the only portion of Scripture in which סלה occurs out of the Psalter, as an exception has the למנצח at the end. Including the three סלה of this tephilla, the word does not occur less than 74 times in the Old Testament.

Now as to the meaning of this musical nota bene, 1st, every explanation as an abbreviation, - the best of which is = סב למעלה השּׁר (turn thyself towards above i.e., towards the front, O Singer! therefore: da capo) - is to be rejected, because such abbreviations fail of any further support in the Old Testament. Also 2ndly, the derivation from שׁלה = סלה silere, according to which it denotes a pause, or orders the singers to be silent while the music strikes up, is inadmissible, because סלה in this sense is neither Hebrew nor Aramaic and moreover in Hebrew itself the interchange of שׁ with ס (שׁריון, סריון) is extremely rare. There is but one verbal stem with which סלה can be combined, viz., סלל or סלה (סלא). The primary notion of this verbal stem is that of lifting up, from which, with reference to the derivatives סלּם a ladder and מסלּה in the signification an ascent, or steps, 2Ch 9:11, comes the general meaning for סלה, of a musical rise. When the tradition of the Mishna explains the word as a synonym of נצח and the Targum, the Quinta, and the Sexta (and although variously Aquila and sometimes the Syriac version) render it in accordance therewith “for ever (always),” - in favour of which Jerome also at last decides, Ep. ad Marcellam “quid sit Sela”, - the original musical signification is converted into a corresponding logical or lexical one. But it is apparent from the διάψαλμα of the lxx (adopted by Symm., Theod., and the Syr.), that the musical meaning amounts to a strengthening of some kind or other; for διάψαλμα signifies, according to its formation (-μα = -μενον), not the pause as Gregory of Nyssa defines it: ἡ μεταξὺ τῆς ψαλμῳδιάς γενμένη κατὰ τὸ ἀθρόον ἐπηρέμησις πρὸς ὑποδοχὴν τοῦ θεόθεν ἐπικρινομένου νοήματος, but either the interlude, especially of the stringed instruments, (like διαύλιον [διαύλειον], according to Hesychius the interlude of the flutes between the choruses), or an intensified playing (as διαψάλλειν τριγώνοις is found in a fragment of the comedian Eupolis in Athenaeus of the strong play of triangular harps). ^{▼▼On the explanations of διάψαλμα in the Fathers and the old lexicographers. Vid., Suicer’s Thes. Eccl. and Augusti’s Christl. Archäologie, Th. ii.}

According to the pointing of the word as we now have it, it ought apparently to be regarded as a noun סל with the ah of direction (synonymous with גּוה, up! Job 22:29); for the omission of the Dagesh beside the ah of direction is not without example (cf. 1Ki 2:40 גּתה which is the proper reading, instead of גּתּה, and referred to by Ewald) and the -, with Dag. forte implicitum, is usual before liquids instead of -, as, פּדּנהּ Gen 28:2, הרה Gen 14:10 instead of paddannah, harrah, as also כּרמלה 1Sa 25:5 instead of כּרמלּה. But the present pointing of this word, which is uniformly included in the accentuation of the Masoretic verse, is scarcely the genuine pointing: it looks like an imitation of נצח. The word may originally have been pronounced סלּה (elevatio after the form בּתּה, דּלּה). The combination סלה הגּיון Psa 9:17, in which הגיון refers to the playing of the stringed instruments (Psa 92:4) leads one to infer that סלה is a note which refers not to the singing but to the instrumental accompaniment. But to understand by this a heaping up of weighty expressive accords and powerful harmonies in general, would be to confound ancient with modern music. What is meant is the joining in of the orchestra, or a reinforcement of the instruments, or even a transition from piano to forte.

Three times in this Psalm we meet with this Hebrew forte. In sixteen Psalms (7, 10, 21, 44, 47, 48, 50, 54, 60, 61, 75, 81, 82, 83, 85, 143) we find it only once; in fifteen Psalms (4, 9, 24, 39, 49, 52, 55, 57, 59, 62, 67, 76, 84, 87, 88), twice; in but seven Psalms (3, 32, 46, 56, 68, 77, 140 and also Hab), three times; and only in one (Ps 89), four times. It never stands at the beginning of a Psalm, for the ancient music was not as yet so fully developed, that סלה should absolutely correspond to the ritornello. Moreover, it does not always stand at the close of a strophe so as to be the sign of a regular interlude, but it is always placed where the instruments are to join in simultaneously and take up the melody - a thing which frequently happens in the midst of the strophe. In the Psalm before us it stands at the close of the 1st, 2nd, and 4th strophes. The reason of its omission after the third is evident.

Not a few of the Psalms bear the date of the time of the persecution under Saul, but only this and probably Psa 63:1-11 have that of Absolom. The Psalter however contains other Psalms which reflect this second time of persecution. It is therefore all the more easy to accept as tradition the inscription: when he fled before Absolom, his son. And what is there in the contents of the Psalm against this statement? All the leading features of the Psalm accord with it, viz., the mockery of one who is rejected of God 2Sa 16:7., the danger by night 2Sa 17:1, the multitudes of the people 2Sa 15:13; 2Sa 17:11, and the high position of honour held by the psalmist. Hitzig prefers to refer this and the following Psalm to the surprize by the Amalekites during David’s settlement in Ziklag. But since at that time Zion and Jerusalem were not free some different interpretation of Psa 3:5 becomes necessary. And the fact that the Psalm does not contain any reference to Absalom does not militate against the inscription. It is explained by the tone of 2Sa 19:1 [2Sa 18:33 Engl.]. And if Psalms belonging to the time of Absalom’s rebellion required any such reference to make them known, then we should have none at all.