Psa 7:1 | KD | STEP | In the second part of David meets his enemies with strong self-confidence in God. Ps 7, which even Hitzig ascribes to David, continues this theme and exhibits to us, in a prominent example taken from the time of persecution under Saul, his purity of conscience and joyousness of faith. One need only read 1 Sam 24-26 to see how this Psalm abounds in unmistakeable references to this portion of David’s life. The superscribed statement of the events that gave rise to its composition point to this. Such statements are found exclusively only by the Davidic Psalms. The inscription runs: Shiggajon of David, which he sang to Jahve on account of the sayings of Cush a Benjamite. על־דּברי is intentionally chosen instead of על which has other functions in these superscriptions. Although דּבר and דּברי can mean a thing, business, affairs ( ; , and freq.) and על־דּברי “in reference to” ( ; ) or “on occasion of” ( ), still we must here keep to the most natural signification: “on account of the words (speeches).” Cûsh (lxx falsely Χουσί = כּוּשׁי; Luther, likewise under misapprehension, “the Moor”) must have been one of the many servants of Saul, his kinsman, one of the talebearers like Doeg and the Ziphites, who shamefully slandered David before Saul, and roused him against David. The epithet בּן־ימיני (as in , , cf. אישׁ־ימיני ) describes him as “a Benjamite” and does not assume any knowledge of him, as would be the case if it were הבּנימיני, or rather (in accordance with biblical usage) בּן־הימיני. And this accords with the actual fact, for there is no mention of him elsewhere in Scripture history. The statement וגו על־דברי is hardly from David’s hand, but written by some one else, whether from tradition or from the דברי הימים of David, where this Psalm may have been interwoven with the history of its occasion. Whereas there is nothing against our regarding לדוד שׁגּיון, or at least שׁגיון, as a note appended by David himself. Since שׁגּיון (after the form הזּיון a vision) belongs to the same class as superscribed appellations like מזמור and משׂכּיל, and the Tephilla of Habakkuk, (vid., my Commentary ), has the addition על־שׁגינות, שׁגיון must be the name of a kind of lyric composition, and in fact a kind described according to the rhythm of its language or melody. Now since שׁגה means to go astray, wander, reel, and is cognate with שׁגע (whence comes שׁגּעון madness, a word formed in the same manner) שׁגיון may mean in the language of prosody a reeling poem, i.e., one composed in a most excited movement and with a rapid change of the strongest emotions, therefore a dithyrambic poem, and שׁגינות dithyrambic rhythms, variously and violently mixed together. Thus Ewald and Rödiger understand it, and thus even Tarnov, Geier, and other old expositors who translate it cantio erratica . What we therefore look for is that this Psalm shall consist, as Ainsworth expresses it (1627), “of sundry variable and wandering verses,” that it shall wander through the most diverse rhythms as in a state of intoxication - an expectation which is in fact realized. The musical accompaniment also had its part in the general effect produced. Moreover, the contents of the Psalm corresponds to this poetic musical style. It is the most solemn pathos of exalted self-consciousness which is expressed in it. And in common with Hab it gives expression to the joy which arises from zealous anger against the enemies of God and from the contemplation of their speedy overthrow. Painful unrest, defiant self-confidence, triumphant ecstasy, calm trust, prophetic certainty-all these states of mind find expression in the irregular arrangement of the strophes of this Davidic dithyramb, the ancient customary Psalm for the feast of Purim ( Sofrim xviii. §2).

‏ Psalms 7:1

Appeal to the Judge of the Whole Earth against Slander and Requiting Good with Evil

In the second part of Psa 6:1-10 David meets his enemies with strong self-confidence in God. Ps 7, which even Hitzig ascribes to David, continues this theme and exhibits to us, in a prominent example taken from the time of persecution under Saul, his purity of conscience and joyousness of faith. One need only read 1 Sam 24-26 to see how this Psalm abounds in unmistakeable references to this portion of David’s life. The superscribed statement of the events that gave rise to its composition point to this. Such statements are found exclusively only by the Davidic Psalms. ^{▼▼Viz. Psa 7:1, Psa 59:1, Psa 56:1, Psa 34:1, Psa 52:1, Psa 57:1, Psa 142:1, Psa 54:1 (belonging to the time of the persecution under Saul), Psa 3:1, Psa 63:1 (to the persecution under Absolom), Psa 51:1 (David’s adultery), Psa 60:1 (the Syro-Ammonitish war).}

The inscription runs: Shiggajon of David, which he sang to Jahve on account of the sayings of Cush a Benjamite. על־דּברי is intentionally chosen instead of על which has other functions in these superscriptions. Although דּבר and דּברי can mean a thing, business, affairs (Exo 22:8; 1Sa 10:2, and freq.) and על־דּברי “in reference to” (Deu 4:21; Jer 7:22) or “on occasion of” (Jer 14:1), still we must here keep to the most natural signification: “on account of the words (speeches).” Cûsh (lxx falsely Χουσί = כּוּשׁי; Luther, likewise under misapprehension, “the Moor”) must have been one of the many servants of Saul, his kinsman, one of the talebearers like Doeg and the Ziphites, who shamefully slandered David before Saul, and roused him against David. The epithet בּן־ימיני (as in 1Sa 9:1, 1Sa 9:21, cf. אישׁ־ימיני 2Sa 20:1) describes him as “a Benjamite” and does not assume any knowledge of him, as would be the case if it were הבּנימיני, or rather (in accordance with biblical usage) בּן־הימיני. And this accords with the actual fact, for there is no mention of him elsewhere in Scripture history. The statement וגו על־דברי is hardly from David’s hand, but written by some one else, whether from tradition or from the דברי הימים of David, where this Psalm may have been interwoven with the history of its occasion. Whereas there is nothing against our regarding לדוד שׁגּיון, or at least שׁגיון, as a note appended by David himself.

Since שׁגּיון (after the form הזּיון a vision) belongs to the same class as superscribed appellations like מזמור and משׂכּיל, and the Tephilla of Habakkuk, Hab 3:1 (vid., my Commentary), has the addition על־שׁגינות, שׁגיון must be the name of a kind of lyric composition, and in fact a kind described according to the rhythm of its language or melody. Now since שׁגה means to go astray, wander, reel, and is cognate with שׁגע (whence comes שׁגּעון madness, a word formed in the same manner) שׁגיון may mean in the language of prosody a reeling poem, i.e., one composed in a most excited movement and with a rapid change of the strongest emotions, therefore a dithyrambic poem, and שׁגינות dithyrambic rhythms, variously and violently mixed together. Thus Ewald and Rödiger understand it, and thus even Tarnov, Geier, and other old expositors who translate it cantio erratica. What we therefore look for is that this Psalm shall consist, as Ainsworth expresses it (1627), “of sundry variable and wandering verses,” that it shall wander through the most diverse rhythms as in a state of intoxication - an expectation which is in fact realized. The musical accompaniment also had its part in the general effect produced. Moreover, the contents of the Psalm corresponds to this poetic musical style. It is the most solemn pathos of exalted self-consciousness which is expressed in it. And in common with Hab it gives expression to the joy which arises from zealous anger against the enemies of God and from the contemplation of their speedy overthrow. Painful unrest, defiant self-confidence, triumphant ecstasy, calm trust, prophetic certainty-all these states of mind find expression in the irregular arrangement of the strophes of this Davidic dithyramb, the ancient customary Psalm for the feast of Purim (Sofrim xviii. §2).