Psa 75:1 | KD | STEP | That for which Ps 74 prays: Arise, Jahve, plead Thine own cause (Psa 74:22.), beholds; the judgment of God upon the proud sinners becomes a source of praise and of a triumphant spirit to the psalmist. The prophetic picture stands upon a lyrical groundwork of gold; it emerges out of the depth of feeling, and it is drawn back again into it. The inscription: To the Precentor , (after the measure:) Destroy not (vid., on ), a Psalm by Asaph, a Song , is fully borne out. The Sela shows that the Psalm, as מזמור שׁיר says, is appointed to be sung with musical accompaniment; and to the לאסף corresponds its thoroughly Asaphic character, which calls Ps 50 to mind with especial force. But from this Psalm differs, however, in this particular, viz., that a more clearly defined situation of affairs manifests itself through the hope of the judicial interposition of God which is expressed in it with prophetic certainty. According to appearances it is the time of the judgment of the nations in the person of Assyria; not, however, the time immediately following the great catastrophe, but prior to this, when Isaiah’s prophecy concerning the shattering of the Assyrian power against Jerusalem had gone forth, just as Hengstenberg also regards this Psalm as the lyrical companion of the prophecies which Isaiah uttered in the presence of the ruin which threatened from Assyria, and as a testimony to the living faith with which the church at that time received the word of God. Hitzig, however, assigns both and to Judas Maccabaeus, who celebrates the victory over Apollonius in the one, and the victory over Seron in the other: “we may imagine that he utters the words of Ps 75:11 whilst he brandishes the captured sword of the fallen Apollonius.” But the probability that it refers to the Assyrian period is at least equally balanced with the probability that it refers to the Maccabaean (vid., ; ); and if the time of Hezekiah were to be given up, then we might sooner go back to the time of Jehoshaphat, for both songs are too original to appear as echoes and not much rather as models of the later prophecy. The only influence that is noticeable in is that of the Song of Hannah.

‏ Psalms 75:1

The Nearness of the Judge with the Cup of Wrath

That for which Ps 74 prays: Arise, Jahve, plead Thine own cause (Psa 74:22.), Psa 75:1-10 beholds; the judgment of God upon the proud sinners becomes a source of praise and of a triumphant spirit to the psalmist. The prophetic picture stands upon a lyrical groundwork of gold; it emerges out of the depth of feeling, and it is drawn back again into it. The inscription: To the Precentor, (after the measure:) Destroy not (vid., on Psa 57:1), a Psalm by Asaph, a Song, is fully borne out. The Sela shows that the Psalm, as מזמור שׁיר says, is appointed to be sung with musical accompaniment; and to the לאסף corresponds its thoroughly Asaphic character, which calls Ps 50 to mind with especial force. But from this Psalm Psa 75:1-10 differs, however, in this particular, viz., that a more clearly defined situation of affairs manifests itself through the hope of the judicial interposition of God which is expressed in it with prophetic certainty. According to appearances it is the time of the judgment of the nations in the person of Assyria; not, however, the time immediately following the great catastrophe, but prior to this, when Isaiah’s prophecy concerning the shattering of the Assyrian power against Jerusalem had gone forth, just as Hengstenberg also regards this Psalm as the lyrical companion of the prophecies which Isaiah uttered in the presence of the ruin which threatened from Assyria, and as a testimony to the living faith with which the church at that time received the word of God. Hitzig, however, assigns both Psa 75:1-10 and Psa 76:1-12 to Judas Maccabaeus, who celebrates the victory over Apollonius in the one, and the victory over Seron in the other: “we may imagine that he utters the words of Ps 75:11 whilst he brandishes the captured sword of the fallen Apollonius.” But the probability that it refers to the Assyrian period is at least equally balanced with the probability that it refers to the Maccabaean (vid., Psa 75:7; Psa 76:5-7); and if the time of Hezekiah were to be given up, then we might sooner go back to the time of Jehoshaphat, for both songs are too original to appear as echoes and not much rather as models of the later prophecy. The only influence that is noticeable in Psa 75:1-10 is that of the Song of Hannah.