Psa 9:1 | KD | STEP | Just as Ps 7 is placed after as exemplifying it, so Ps 9 follows as an illustration of the glorifying of the divine name on earth. And what a beautiful idea it is that , the Psalm which celebrates Jahve’s name as being glorious in the earth, is introduced between a Psalm that closes with the words “I will sing of the name of Jahve, the Most High” (Ps 7:18) and one which begins: “I will sing of Thy name, O Most High!” ( ). The lxx translates the inscription על־מות לכן by ὑπὲρ τῶν κρυφίων τοῦ υἱοῦ (Vulg. pro occultis filii ) as though it were על־עלמות. Luther’s rendering is still bolder: of beautiful (perhaps properly: lily-white) youth. Both renderings are opposed to the text, in which על occurs only once. The Targum understands בן of the duellist Goliath (= אישׁ הבּנים); and some of the Rabbis regard לבן even as a transposition of נבל: on the death of Nabal. Hengstenberg has revived this view, regarding נבל as a collective designation of all Nabal-like fools. All these and other curious conceits arise from the erroneous idea that these words are an inscription referring to the contents of the Psalm. But, on the contrary, they indicate the tune or melody, and that by means of the familiar words of the song, - perhaps some popular song, - with which this air had become most intimately associated. At the end of this indication of the air is simply expressed by על־מוּת. The view of the Jewish expositors, who refer לבּן to the musician בּן mentioned in , has, therefore, some probability in its favour. But this name excites critical suspicion. Why may not a well-known song have begun מוּת לבּן “dying (is) to the son...,” or (if one is inclined to depart from the pointing, although there is nothing to render this suspicious) מות לבּן “Death makes white?” Even Hitzig does not allow himself to be misled as to the ancient Davidic origin of Ps 9 and 10 by the fact of their having an alphabetical arrangement. These two Psalms have the honour of being ranked among the thirteen Psalms which are acknowledge by him to be genuine Davidic Psalms. Thus, therefore, the alphabetical arrangement found in other Psalms cannot, in itself, bring us down to “the times of poetic trifling and degenerated taste.” Nor can the freedom, with which the alphabetical arrangement is handled in Ps 9 and 10 be regarded as an indication of an earlier antiquity than these times. For the Old Testament poets, even in other instances, do not allow themselves to be fettered by forms of this character (vid., on Ps 145, cf. on ); and the fact, that in the alphabetical arrangement is not fully carried out, is accounted for otherwise than by the license in which David, in distinction from later poets, indulged. In reality this pair of Psalms shows, that even David was given to acrostic composition. And why should he not be? Even among the Romans, Ennius (Cicero, De Divin . ii. 54 §111), who belongs not to the leaden, but to the iron age, out of which the golden age first developed itself, composed in acrostics. And our oldest Germanic epics are clothed in the garb of alliteration, which Vilmar calls the most characteristic and most elevated style that the poetic spirit of our nation has created. Moreover, the alphabetical form is adapted to the common people, as is evident from Augustine’s Retract . i. 20. It is not a paltry substitute for the departed poetic spirit, not merely an accessory to please the eye, an outward embellishment - it is in itself indicative of mental power. The didactic poet regards the array of the linguistic elements as the steps by which he leads his pupils up into the sanctuary of wisdom, or as the many-celled casket in which he stores the pearls of the teachings of his wisdom. The lyric writer regards it as the keys on which he strikes every note, in order to give the fullest expression to his feelings. Even the prophet does not disdain to allow the order of the letters to exert an influence over the course of his thoughts, as we see from -7. Therefore, when among the nine alphabetical Psalms ( , , , , , , , , ) four bear the inscription לדוד ( , , , ), we shall not at once regard them as non-Davidic just because they indicate an alphabetical plan which is more or less fully carried out. This is not the place to speak of the relation of the anonymous Ps 10 to Ps 9, since Ps 9 is not in any way wanting in internal roundness and finish. It is thoroughly hymnic. The idea that passes from thanksgiving into supplication rests on a misinterpretation, as we shall presently see. This Psalm is a thoroughly national song of thanksgiving for victory by David, belonging to the time when Jahve was already enthroned on Zion, and therefore, to the time after the ark was brought home. Was it composed after the triumphant termination of the Syro-Ammonitish war? - The judgment of extermination already executed, Psa 9:8., harmonises with what is recorded in ; and the גוים, who are actually living within the borders of Israel, appear to be Philistines according to the annalistic passage about the Philistine feuds, 2Sa 21:15., cf. in connection with 1Sa 13:6.

‏ Psalms 9:1

Hymn to the Righteous Judge after a Defeat of Hostile Peoples

Just as Ps 7 is placed after Psa 6:1-10 as exemplifying it, so Ps 9 follows Psa 8:1-9 as an illustration of the glorifying of the divine name on earth. And what a beautiful idea it is that Psa 8:1-9, the Psalm which celebrates Jahve’s name as being glorious in the earth, is introduced between a Psalm that closes with the words “I will sing of the name of Jahve, the Most High” (Ps 7:18) and one which begins: “I will sing of Thy name, O Most High!” (Psa 9:3).

The lxx translates the inscription על־מות לכן by ὑπὲρ τῶν κρυφίων τοῦ υἱοῦ (Vulg. pro occultis filii) as though it were על־עלמות. Luther’s rendering is still bolder: of beautiful (perhaps properly: lily-white) youth. Both renderings are opposed to the text, in which על occurs only once. The Targum understands בן of the duellist Goliath (= אישׁ הבּנים); and some of the Rabbis regard לבן even as a transposition of נבל: on the death of Nabal. Hengstenberg has revived this view, regarding נבל as a collective designation of all Nabal-like fools. All these and other curious conceits arise from the erroneous idea that these words are an inscription referring to the contents of the Psalm. But, on the contrary, they indicate the tune or melody, and that by means of the familiar words of the song, - perhaps some popular song, - with which this air had become most intimately associated. At the end of Psa 48:1-14 this indication of the air is simply expressed by על־מוּת. The view of the Jewish expositors, who refer לבּן to the musician בּן mentioned in 1Ch 15:18, has, therefore, some probability in its favour. But this name excites critical suspicion. Why may not a well-known song have begun מוּת לבּן “dying (is) to the son...,” or (if one is inclined to depart from the pointing, although there is nothing to render this suspicious) מות לבּן “Death makes white?”

Even Hitzig does not allow himself to be misled as to the ancient Davidic origin of Ps 9 and 10 by the fact of their having an alphabetical arrangement. These two Psalms have the honour of being ranked among the thirteen Psalms which are acknowledge by him to be genuine Davidic Psalms. Thus, therefore, the alphabetical arrangement found in other Psalms cannot, in itself, bring us down to “the times of poetic trifling and degenerated taste.” Nor can the freedom, with which the alphabetical arrangement is handled in Ps 9 and 10 be regarded as an indication of an earlier antiquity than these times. For the Old Testament poets, even in other instances, do not allow themselves to be fettered by forms of this character (vid., on Ps 145, cf. on Psa 42:2); and the fact, that in Psa 9:1 the alphabetical arrangement is not fully carried out, is accounted for otherwise than by the license in which David, in distinction from later poets, indulged. In reality this pair of Psalms shows, that even David was given to acrostic composition. And why should he not be? Even among the Romans, Ennius (Cicero, De Divin. ii. 54 §111), who belongs not to the leaden, but to the iron age, out of which the golden age first developed itself, composed in acrostics. And our oldest Germanic epics are clothed in the garb of alliteration, which Vilmar calls the most characteristic and most elevated style that the poetic spirit of our nation has created. Moreover, the alphabetical form is adapted to the common people, as is evident from Augustine’s Retract. i. 20. It is not a paltry substitute for the departed poetic spirit, not merely an accessory to please the eye, an outward embellishment - it is in itself indicative of mental power. The didactic poet regards the array of the linguistic elements as the steps by which he leads his pupils up into the sanctuary of wisdom, or as the many-celled casket in which he stores the pearls of the teachings of his wisdom. The lyric writer regards it as the keys on which he strikes every note, in order to give the fullest expression to his feelings. Even the prophet does not disdain to allow the order of the letters to exert an influence over the course of his thoughts, as we see from Nah 1:3-7. ^{▼▼This observation is due to Pastor Frohnmeyer of Würtemberg.}

Therefore, when among the nine ^{▼▼The Psalterium Brunonis (ed. by Cochleus, 1533) overlooks Ps 9-10, reckoning only seven alphabetical Psalms.} alphabetical Psalms (Psa 9:1, Psa 10:1, Psa 25:1, Psa 34:1, Psa 37:1, Psa 111:1, Psa 112:1, Psa 119:1, Psa 145:1) four bear the inscription לדוד (Psa 9:1, Psa 25:1, Psa 34:1, Psa 145:1), we shall not at once regard them as non-Davidic just because they indicate an alphabetical plan which is more or less fully carried out.

This is not the place to speak of the relation of the anonymous Ps 10 to Ps 9, since Ps 9 is not in any way wanting in internal roundness and finish. It is thoroughly hymnic. The idea that Psa 9:14 passes from thanksgiving into supplication rests on a misinterpretation, as we shall presently see. This Psalm is a thoroughly national song of thanksgiving for victory by David, belonging to the time when Jahve was already enthroned on Zion, and therefore, to the time after the ark was brought home. Was it composed after the triumphant termination of the Syro-Ammonitish war? - The judgment of extermination already executed, Psa 9:8., harmonises with what is recorded in 2Sa 12:31; and the גוים, who are actually living within the borders of Israel, appear to be Philistines according to the annalistic passage about the Philistine feuds, 2Sa 21:15., cf. Psa 8:1 in connection with 1Sa 13:6.