Psa 60:10 | KD | STEP | The third strophe reverts to prayer; but the prayer now breathes more freely with a self-conscious courage for the strife. The fortified city (עיר מצור) is not Rabbath Ammon; but, as becomes evident from the parallel member of the verse and 2Ki 14:7, the Idumaean chief city of Sela' (סלע) or Petra (vid., Knobel on , cf. ; ; together with ). The wish: who will conduct me = Oh that one would conduct me (Ges. §136, 1)! expresses a martial desire, joyful at the prospect of victory; concerning מי נחני, quis perduxerit me , vid., on Psa 11:3. What follows is not now to be rendered: Not Thou (who but Thou), Elohim, who...(Hitzig) - for in order to have been understood thus and not as in , , the poet could not have omitted אשׁר - on the contrary, the interrogatory הלא is the foundation on which the supplicatory הבה is raised. The king of Israel is hard pressed in the battle, but he knows that victory comes from above, from the God who has hitherto in anger refused it to His people, inasmuch as He has given power to Edom to break through the defensive forces of Israel (vid., ). עזרת (not עזרת = עזרה) is, as in , equivalent to עזרתה. The view that it is equal to עזרתי, the suffix being cast away, is not confirmed in this instance, vid., on , cf. Psa 3:3. How vain is human succour, has been seen only very recently in the case of the kings of Zobah and Ammon, who have succumbed in spite of their confederates. Israel prays for its victorious power from above, and also obtains it thence, as is most confidently expressed in v. 14. עשׂה חיל, to do valiantly, to show valour, is equivalent to: to be victorious, as in Psa 118:16. In God does Israel conquer, and God, who is in Israel, will by means of Israel tread down Edom in accordance with its deserts. Prayer and Thanksgiving of an Expelled King on His Way Back to the Throne The Davidic Michtammı̂m are now ended, and there follows a short Davidic song על־נגינת. Does this expression mean “with the accompaniment of stringed instruments?” Not strictly, for this is expressed by the inscription בּנגינות ( , cf. , ). But the formula may signify “upon the music of stringed instruments,” i.e., upon stringed instruments. And this is more probable than that נגינת is the beginning of a standard song. The termination ath is not necessarily the construct state. It was the original feminine termination; and the prevailing one in Phoenician. Some expositors, like Köster, Ewald, Hitzig, and Olshausen, feel themselves here also bound, by reason of the לדוד of the inscription, to seek a place for this Psalm as far down as the Babylonian exile and the times of the Ptolemies and the Seleucidae. Hupfeld deals somewhat more kindly with the לדוד in this instance, and Böttcher ( De Inferis , p. 204) refutes the hypotheses set up in its stead in order finally to decide in favour of the idea that the king of whom the Psalm speaks is Cyrus - which is only another worthless bubble. We abide by the proudly ignored לדוד, and have as our reward a much more simple interpretation of the Psalm, without being obliged with Ewald to touch it up by means of a verse of one’s own invention interwoven between and Psa 61:6. It is a Psalm of the time of Absalom, composed in Mahanaim or elsewhere in Gilead, when the army of the king had smitten the rebels in the wood of Ephraim. It consists of two parts of eight lines.

‏ Psalms 60:10

The third strophe reverts to prayer; but the prayer now breathes more freely with a self-conscious courage for the strife. The fortified city (עיר מצור) is not Rabbath Ammon; but, as becomes evident from the parallel member of the verse and 2Ki 14:7, the Idumaean chief city of Sela' (סלע) or Petra (vid., Knobel on Gen 36:42, cf. Psa 31:22; 2Ch 8:5; 2Ch 11:5 together with Psa 14:5). The wish: who will conduct me = Oh that one would conduct me (Ges. §136, 1)! expresses a martial desire, joyful at the prospect of victory; concerning מי נחני, quis perduxerit me, vid., on Psa 11:3. What follows is not now to be rendered: Not Thou (who but Thou), Elohim, who...(Hitzig) - for in order to have been understood thus and not as in Psa 60:3, Psa 44:10, the poet could not have omitted אשׁר - on the contrary, the interrogatory הלא is the foundation on which the supplicatory הבה is raised. The king of Israel is hard pressed in the battle, but he knows that victory comes from above, from the God who has hitherto in anger refused it to His people, inasmuch as He has given power to Edom to break through the defensive forces of Israel (vid., Psa 44:10). עזרת (not עזרת = עזרה) is, as in Psa 108:13, equivalent to עזרתה. The view that it is equal to עזרתי, the suffix being cast away, is not confirmed in this instance, vid., on Psa 16:6, cf. Psa 3:3. How vain is human succour, has been seen only very recently in the case of the kings of Zobah and Ammon, who have succumbed in spite of their confederates. Israel prays for its victorious power from above, and also obtains it thence, as is most confidently expressed in v. 14. עשׂה חיל, to do valiantly, to show valour, is equivalent to: to be victorious, as in Psa 118:16. In God does Israel conquer, and God, who is in Israel, will by means of Israel tread down Edom in accordance with its deserts. Prayer and Thanksgiving of an Expelled King on His Way Back to the Throne

The Davidic Michtammı̂m are now ended, and there follows a short Davidic song על־נגינת. Does this expression mean “with the accompaniment of stringed instruments?” Not strictly, for this is expressed by the inscription בּנגינות (Psa 4:1, cf. Isa 30:29, Isa 30:32). But the formula may signify “upon the music of stringed instruments,” i.e., upon stringed instruments. And this is more probable than that נגינת is the beginning of a standard song. The termination ath is not necessarily the construct state. It was the original feminine termination; and the prevailing one in Phoenician.

Some expositors, like Köster, Ewald, Hitzig, and Olshausen, feel themselves here also bound, by reason of the לדוד of the inscription, to seek a place for this Psalm as far down as the Babylonian exile and the times of the Ptolemies and the Seleucidae. Hupfeld deals somewhat more kindly with the לדוד in this instance, and Böttcher (De Inferis, p. 204) refutes the hypotheses set up in its stead in order finally to decide in favour of the idea that the king of whom the Psalm speaks is Cyrus - which is only another worthless bubble. We abide by the proudly ignored לדוד, and have as our reward a much more simple interpretation of the Psalm, without being obliged with Ewald to touch it up by means of a verse of one’s own invention interwoven between Psa 61:5 and Psa 61:6. It is a Psalm of the time of Absalom, composed in Mahanaim or elsewhere in Gilead, when the army of the king had smitten the rebels in the wood of Ephraim. It consists of two parts of eight lines.