Psa 30:1-3 | KD | STEP | The summons to praise God which is addressed to the angels above in , is directed in to the pious here below. There is nothing against the adoption of the לדוד. Hitzig again in this instance finds all kinds of indications of Jeremiah’s hand; but the parallels in Jeremiah are echoes of the Psalms, and דלּיתני in does not need to be explained of a lowering into a tank or dungeon, it is a metaphorical expression for raising up out of the depths of affliction. Even Hezekiah’s song of thanksgiving in Isa 38 has grown out of the two closing strophes of this Psalm under the influence of an intimate acquaintance with the Book of Job. We are therefore warranted in supposing that it is David, who here, having in the midst of the stability of his power come to the verge of the grave, and now being roused from all carnal security, as one who has been rescued, praises the Lord, whom he has made his refuge, and calls upon all the pious to join with him in his song. The Psalm bears the inscription: A Song-Psalm at the Dedication of the House, by David . This has been referred to the dedication of the site of the future Temple, 2 Sam; ; but although the place of the future Temple together with the altar then erected on it, can be called בּית יהוה ( ), and might also at any rate be called absolutely הבּית (as הר הבית, the Temple hill); yet we know that David did not himself suffer ( ) from the pestilence, which followed as a punishment upon the numbering of the people which he instituted in his arrogant self-magnification. The Psalm, however, also does not contain anything that should point to a dedication of a sanctuary, whether Mount Moriah, or the tabernacle, 2Sa 6:17. It might more naturally be referred to the re-consecration of the palace, that was defiled by Absolom, after David’s return; but the Psalm mentions some imminent peril, the gracious averting of which does not consist in the turning away of bloodthirsty foes, but in recovery from some sickness that might have proved fatal. Thus then it must be the dedication of the citadel on Zion, the building of which was just completed. From we see that David regarded this building as a pledge of the stability and exaltation of his kingdom; and all that is needed in order to understand the Psalm is, with Aben-Ezra, Flaminius, Crusius, and Vaihinger, to infer from the Psalm itself, that David had been delayed by some severe illness from taking possession of the new building. The situation of is just like it. The regular official title אשׁר על־הבּית (majordomo) shows, that הבית, used thus absolutely, may denote the palace just as well as the Temple. The lxx which renders it τοῦ ἐγκαινισμοῦ τοῦ οἴκου (τοῦ) Δαυίδ, understands the palace, not the Temple. In the Jewish ritual, is certainly, as is even stated in the Tractate Sofrim xviii. §2, the Psalm for the feast of Chanucca , or Dedication, which refers to 1 Macc. 4:52ff.

‏ Psalms 30:1-3

Song of Thanksgiving after Recovery from Dangerous Sickness

The summons to praise God which is addressed to the angels above in Psa 29:1-11, is directed in Psa 30:1-12 to the pious here below. There is nothing against the adoption of the לדוד. Hitzig again in this instance finds all kinds of indications of Jeremiah’s hand; but the parallels in Jeremiah are echoes of the Psalms, and דלּיתני in Psa 30:2 does not need to be explained of a lowering into a tank or dungeon, it is a metaphorical expression for raising up out of the depths of affliction. Even Hezekiah’s song of thanksgiving in Isa 38 has grown out of the two closing strophes of this Psalm under the influence of an intimate acquaintance with the Book of Job. We are therefore warranted in supposing that it is David, who here, having in the midst of the stability of his power come to the verge of the grave, and now being roused from all carnal security, as one who has been rescued, praises the Lord, whom he has made his refuge, and calls upon all the pious to join with him in his song. The Psalm bears the inscription: A Song-Psalm at the Dedication of the House, by David. This has been referred to the dedication of the site of the future Temple, 2 Sam; 1Ch 21:1; but although the place of the future Temple together with the altar then erected on it, can be called בּית יהוה (1Ch 22:1), and might also at any rate be called absolutely הבּית (as הר הבית, the Temple hill); yet we know that David did not himself suffer (2Sa 24:17) from the pestilence, which followed as a punishment upon the numbering of the people which he instituted in his arrogant self-magnification. The Psalm, however, also does not contain anything that should point to a dedication of a sanctuary, whether Mount Moriah, or the tabernacle, 2Sa 6:17. It might more naturally be referred to the re-consecration of the palace, that was defiled by Absolom, after David’s return; but the Psalm mentions some imminent peril, the gracious averting of which does not consist in the turning away of bloodthirsty foes, but in recovery from some sickness that might have proved fatal. Thus then it must be the dedication of the citadel on Zion, the building of which was just completed. From 2Sa 5:12 we see that David regarded this building as a pledge of the stability and exaltation of his kingdom; and all that is needed in order to understand the Psalm is, with Aben-Ezra, Flaminius, Crusius, and Vaihinger, to infer from the Psalm itself, that David had been delayed by some severe illness from taking possession of the new building. The situation of Psa 16:1-11 is just like it. The regular official title אשׁר על־הבּית (majordomo) shows, that הבית, used thus absolutely, may denote the palace just as well as the Temple. The lxx which renders it τοῦ ἐγκαινισμοῦ τοῦ οἴκου (τοῦ) Δαυίδ, understands the palace, not the Temple. In the Jewish ritual, Psa 30:1-12 is certainly, as is even stated in the Tractate Sofrim xviii. §2, the Psalm for the feast of Chanucca, or Dedication, which refers to 1 Macc. 4:52ff. Psa 30:1-3 (Hebrew_Bible_30:2-4) The Psalm begins like a hymn. The Piel דּלּה (from דּלה, Arab. dlâ, to hold anything long, loose and pendulous, whether upwards or downwards, conj. V Arab. tdllâ =, to dangle) signifies to lift or draw up, like a bucket (דּלי, Greek ἀντλίον, Latin tollo, tolleno in Festus). The poet himself says what that depth is into which he had sunk and out of which God had drawn him up without his enemies rejoicing over him (לי as in Psa 25:2), i.e., without allowing them the wished for joy at his destruction: he was brought down almost into Hades in consequence of some fatal sickness. חיּה (never: to call into being out of nothing) always means to restore to life that which has apparently or really succumbed to death, or to preserve anything living in life. With this is easily and satisfactorily joined the Kerî מיּרדי בור (without Makkeph in the correct text), ita ut non descenderem; the infinitive of ירד in this instance following the analogy of the strong verb is ירד, like יבשׁ, ישׁון, and with suffix jordi (like josdi, Job 38:4) or jaaredi, for here it is to be read thus, and not jordi (vid., on Psa 16:1; Psa 86:2). ^{▼▼The Masora does not place the word under יו וחטפין קמציןאלין תיבותא יתירין ו (Introduction 28 b), as one would expect to find it if it were to be read mijordi, and proceeds on the assumption that mijārdi is infinitive like עמדך (read ‛amādcha) Oba 1:11, not participle (Ewald, S. 533).}

The Chethîb מיורדי might also be the infinitive, written with Cholem plenum, as an infinitive Gen 32:20, and an imperative Num 23:8, is each pointed with Cholem instead of Kamtez chatuph; but it is probably intended to be read as a participle, מיּורדי: Thou hast revived me from those who sink away into the grave (Psa 28:1), or out of the state of such (cf. Psa 22:22) - a perfectly admissible and pregnant construction.