Psa 8:1 | KD | STEP | Ps. 7 closed with a similar prospect of his enemies being undeceived by the execution of the divine judgments to -10. The former is the pendant or companion to the latter, and enters into detail, illustrating it by examples. Now if at the same time we call to mind the fact, that , if it be not a morning hymn, at any rate looks back upon sleepless nights of weeping, then the idea of the arrangement becomes at once clear, when we find a hymn of the night following with its pendant, Ps 7. David composes even at night; Jahve’s song, as a Korahite psalmist says of himself in , was his companionship even in the loneliness of the night. The omission of any reference to the sun in shows that is a hymn of this kind composed in the night, or at least one in which the writer transfers himself in thought to the night season. The poet has the starry heavens before him, he begins with the glorious revelation of Jahve’s power on earth and in the heavens, and then pauses at man, comparatively puny man, to whom Jahve condescends in love and whom He has made lord over His creation. Ewald calls it a flash of lightning cast into the darkness of the creation. Even Hitzig acknowledges David’s authorship here; whereas Hupfeld is silent, and Olshausen says that nothing can be said about it. The idea, that David composed it when a shepherd boy on the plains of Judah, is rightly rejected again by Hitzig after he has been at the pains to support it. (This thought is pleasingly worked out by Nachtigal, Psalmen gesungen vor David’s Thronbesteigung, 1797, after the opinion of E. G. von Bengel, cum magna veri specie. ) For, just as the Gospels do not contain any discourses of our Lord belonging to the time prior to His baptism, and just as the New Testament canon does not contain any writings of the Apostles from the time prior to Pentecost, so the Old Testament canon contains no Psalms of David belonging to the time prior to his anointing. It is only from that time, when he is the anointed one of the God of Jacob, that he becomes the sweet singer of Israel, on whose tongue is the word of Jahve, 2Sa 23:1. The inscription runs: To the Precentor, on the Gittith, a Psalm of David . The Targum translates it super cithara, quam David de Gath attulit . According to which it is a Philistine cithern, just as there was (according to Athenaeus and Pollux) a peculiar Phoenician and Carian flute played at the festivals of Adonis, called γίγγρας, and also an Egyptian flute and a Doric lyre. All the Psalms bearing the inscription על־הגּתּית (Psa 8:1-9, 81, ) are of a laudatory character. The gittith was, therefore, an instrument giving forth a joyous sound, or (what better accords with its occurring exclusively in the inscriptions of the Psalms), a joyous melody, perhaps a march of the Gittite guard, (Hitzig). Kurtz makes this Psalm into four tetrastichic strophes, by taking and v. 10 by themselves as the opening and close of the hymn, and putting (Thou whose majesty...) to the first strophe. But אשׁר is not rightly adapted to begin a strophe; the poet, we think, would in this case have written אתה אשׁר תנה הודו.

‏ Psalms 8:1

The Praise of the Creator’s Glory Sung by the Starry Heavens to Puny Man

Ps. 7 closed with a similar prospect of his enemies being undeceived by the execution of the divine judgments to Psa 6:1-10. The former is the pendant or companion to the latter, and enters into detail, illustrating it by examples. Now if at the same time we call to mind the fact, that Psa 6:1-10, if it be not a morning hymn, at any rate looks back upon sleepless nights of weeping, then the idea of the arrangement becomes at once clear, when we find a hymn of the night following Psa 6:1-10 with its pendant, Ps 7. David composes even at night; Jahve’s song, as a Korahite psalmist says of himself in Psa 42:9, was his companionship even in the loneliness of the night. The omission of any reference to the sun in Psa 8:4 shows that Psa 8:1-9 is a hymn of this kind composed in the night, or at least one in which the writer transfers himself in thought to the night season. The poet has the starry heavens before him, he begins with the glorious revelation of Jahve’s power on earth and in the heavens, and then pauses at man, comparatively puny man, to whom Jahve condescends in love and whom He has made lord over His creation. Ewald calls it a flash of lightning cast into the darkness of the creation.

Even Hitzig acknowledges David’s authorship here; whereas Hupfeld is silent, and Olshausen says that nothing can be said about it. The idea, that David composed it when a shepherd boy on the plains of Judah, is rightly rejected again by Hitzig after he has been at the pains to support it. (This thought is pleasingly worked out by Nachtigal, Psalmen gesungen vor David’s Thronbesteigung, 1797, after the opinion of E. G. von Bengel, cum magna veri specie.) For, just as the Gospels do not contain any discourses of our Lord belonging to the time prior to His baptism, and just as the New Testament canon does not contain any writings of the Apostles from the time prior to Pentecost, so the Old Testament canon contains no Psalms of David belonging to the time prior to his anointing. It is only from that time, when he is the anointed one of the God of Jacob, that he becomes the sweet singer of Israel, on whose tongue is the word of Jahve, 2Sa 23:1.

The inscription runs: To the Precentor, on the Gittith, a Psalm of David. The Targum translates it super cithara, quam David de Gath attulit. According to which it is a Philistine cithern, just as there was (according to Athenaeus and Pollux) a peculiar Phoenician and Carian flute played at the festivals of Adonis, called γίγγρας, and also an Egyptian flute and a Doric lyre. All the Psalms bearing the inscription על־הגּתּית (Psa 8:1-9, 81, Psa 84:1-12) are of a laudatory character. The gittith was, therefore, an instrument giving forth a joyous sound, or (what better accords with its occurring exclusively in the inscriptions of the Psalms), a joyous melody, perhaps a march of the Gittite guard, 2Sa 15:18 (Hitzig).

Kurtz makes this Psalm into four tetrastichic strophes, by taking Psa 8:2 and v. 10 by themselves as the opening and close of the hymn, and putting Psa 8:2 (Thou whose majesty...) to the first strophe. But אשׁר is not rightly adapted to begin a strophe; the poet, we think, would in this case have written אתה אשׁר תנה הודו.