Psalm 9:13 Kommentar

In this psalm, I. David praises God for pleading his cause, and giving him victory over his enemies and the enemies of his country (Psa 9:1-6), and calls upon others to join with him in his songs of praise (Psa 9:11, Psa 9:12). II. He prays to God that he might have still further occasion to praise him, for his own deliverances and the confusion of his enemies (Psa 9:13, Psa 9:14, Psa 9:19, Psa 9:20). III. He triumphs in the assurance he had of God's judging the world (Psa 9:7, Psa 9:8), protecting his oppressed people (Psa 9:9, Psa 9:10, Psa 9:18), and bringing his and their implacable enemies to ruin (Psa 9:15-17). This is very applicable to the kingdom of the Messiah, the enemies of which have been in part destroyed already, and shall be yet more and more till they all be made his footstool, which we are to assure ourselves of, that God may have the glory and we may take the comfort. To the chief musician upon Muth-labben. A psalm of David.

INTRODUCTION TO PSALM 9 To the chief Musician upon Muthlabben, a Psalm of David. Some, take "muthlabben" to be the name of the tune to which this psalm was sung, and to design the same note which we call the counter-tenor: others think, that "upon muth", or "almuth", are but one word, and the same as "alamoth", Psa 45:1, title; and that it is the name of a musical instrument; and that "Ben" in "labben", is the name of the chief musician, who was over that sort of instrument, to whom the psalm is inscribed (l); and indeed R. Sol Jarchi says, that he had seen in the great Masorah these words as one; and so it seems the Septuagint interpreters read them, who render them, "for the hidden things of the son"; and the Arabic version, "concerning the mysteries of the son": and Ben is a name, it is said, of one of the singers, whose kindred and companions were appointed with psalteries on "alamoth", Ch1 15:18. And so then the title runs thus; "to the chief musician on alamoth, [even to] Ben". But others are of opinion that the subject matter or occasion of the psalm is designed by this phrase; and that as "muth" signifies "death", the death of some person is intended, on account of which this psalm was composed; some say Nabal, seeing the word "Laban", inverted, or read backwards, is "Nabal" (m), whose death affected David; as appears from Sa1 25:38. Others, that it was one of the kings of the Gentiles, whose name was Labben, and is mentioned nowhere else, who fought with David, and whom he slew, and upon his death penned this psalm (n). Others, Goliath the Philistine (o), who is called, Sa1 17:4. , which we render "champion" and dueller, one of two that fight together. But rather the reason of the name is, as given by the Jewish commentators (p), because he went and stood between the two camps of the Philistines and the Israelites; and so the Chaldee paraphrase renders the title of this psalm, "to praise, concerning the death of the man who went out between the camps, a song of David.'' And so the psalm itself, in the Targum, and by other Jewish writers, is interpreted of Goliath and the Philistines, and of the victory over them; and which does not seem amiss. Arama interprets it of the death of Saul. Others interpret Almuth Labben "of the death of the son"; and understand it of the death of Absalom, the son of David (q): but David's passion moved in another way, not in joy, but in grief, Sa2 18:33; nor is there anything in the psalm that can be referred unto it. Others, of the death of the son of God; but of that there is not the least hint in the psalm. Theodoret interprets it of Christ's victory over death by dying, which was a mystery or hidden thing. Rather, I should think, it might be interpreted of the death of the son of perdition, the man of sin and his followers; who may be typified by Goliath, and the Philistines: and so, as Ainsworth observes, as the former psalm was concerning the propagation of Christ's kingdom, this is of the destruction of antichrist. And Jerom, long ago said, this whole psalm is sung by the prophet in the person of the church, concerning antichrist: and to this agrees the Syriac version; which makes the subject of the psalm to be, "concerning Christ, taking the throne and kingdom, and routing the enemy.'' And also the Arabic version, according to which the argument of the psalm is, "concerning the mysteries of the Son, with respect to the glory of Christ, and his resurrection and kingdom, and the destruction of all the children of disobedience.'' To which may be added, that this psalm, according to R. Sol Jarchi, belongs to the time to come, to the days of the Messiah, and the future redemption by him. (l) Kimchi & Abendana in Miclol Yophi in loc. (m) So some in Jarchi & Aben Ezra in loc. (n) Donesh Hallevi in ibid. (o) Kimchi & Ben Melech in loc. (p) Jarchi, Kimchi, Levi Ben Gersom, R. Isaiah, & Ben Melech in 1 Sam. xvii. 4. (q) So some in Jarchi in loc.

That I may show forth all thy praise,.... That is, all thy bounties and acts of goodness, deserving of praise; even as many of them as he had an experience of, and which came within his knowledge; and as much of them as he was capable of observing: for otherwise the instances of divine grace and goodness are so many, that they cannot be reckoned up in order, nor God be praised for them, in the present state of things, as he should; See Gill on Psa 9:1; in the gates of the daughter of Zion: it was usual with the Hebrews to represent a chief city as a mother city, and the towns and villages, and places adjacent, as daughters; and so, as Zion or Jerusalem signifies the church of God in general, or the mother church, Gal 4:26; so "the daughter" of Zion may mean a particular church: the Targum renders it the congregation of Zion; and "the gates" of it are the public ordinances of divine worship in it; and the sense is, that the psalmist desired to show forth the praises of God in the most public manner in the congregation and assembly of the saints; I will rejoice in thy salvation, or "that I may rejoice in thy salvation" (m): meaning either temporal salvation and deliverance from enemies, wrought by God for him, which would be matter of joy to him; or spiritual salvation, which may be called God's salvation, because contrived by him in the council of peace, and secured by him in the covenant of grace, and wrought out by his Son in the fulness of time, and applied by his Spirit at conversion. And a gracious man rejoices in this salvation more because it is the Lord's than because it is his own; or he rejoices more because of the glory of God, which is displayed in it, than because of his own advantage and happiness by it. (m) "exultem", Junius & Tremellius, Musculus; "ut exultem", Piscator, Gejerus, Michaelis; "gaudeam", Cocceius; so Ainsworth.

See him given constantly to prayer: though freed from troubles and made secure, he does not cease from praying again in the words “have pity on me” and implores God for future benefits. You see, we always stand in need of God’s providence, but especially at a time of freedom from troubles. I mean, another battle follows that is more difficult than the former, that against indifference and obtuseness; then it is that the devil comes panting more aggressively. And so it is especially after being freed from troubles that we have need of that grace so as to cope with good times more easily.

But I ask, what is that cry of the poor, which God forgets not? Is it that cry, the words whereof are these, "Pity me, O Lord, see my humiliation at the hands of my enemies"? [Psalm 9:13]. Why then did he not say, Pity "us" O Lord, see our humiliation at the hands of "our" enemies, as if many poor were crying; but as if one, Pity "me," O Lord? Is it because One intercedes for the Saints, "who" first "for our sakes became poor, though He was rich;" [2 Corinthians 8:9] and it is He who says, "Who exaltest me from the gates of death [Psalm 9:14], that I may declare all Your praises in the gates of the daughter of Sion"? For man is exalted in Him, not that Man only which He bears, which is the Head of the Church; but whichsoever one of us also is among the other members, and is exalted from all depraved desires; which are the gates of death, for that through them is the road to death. But the joy in the fruition is at once death itself, when one gains what he has in abandoned wilfulness coveted: for "coveting is the root of all evil:" [1 Timothy 6:10] and therefore is the gate of death, for "the widow that lives in pleasures is dead." [1 Timothy 5:6] At which pleasures we arrive through desires as it were through the gates of death. But all highest purposes are the gates of the daughter of Sion, through which we come to the vision of peace in the Holy Church....Or haply are the gates of death the bodily senses and eyes, which were opened when the man tasted of the forbidden tree, [Genesis 3:7] ... and are the gates of the daughter of Sion the sacraments and beginnings of faith, which are opened to them that knock, that they may arrive at the hidden things of the Son?...

For one who lives in this type of death and in the lusts of the world, with a depressed spirit, if he will perceive a sense of his own wrongdoing and the nature of divine goodness, let him say in the manner of a prayer: “Have mercy on me and see my humility,” which I suffer from my enemies. They have humiliated me, drawing me down. You alone are able to lift me up from the gates of death because of your essential goodness.

"Have mercy." Here he sets forth the fruit as regards himself. And first, he commemorates the benefit. Second, he sets forth the fruit, at "that I may announce," etc. The benefit is twofold: one future, the other already received. "Who exalts," etc. First, he does two things. First, he sets forth the mercy. Second, the motive for mercy. The future benefit is mercy. "Have mercy on me." Ps. 32: "The earth is full of the mercy of the Lord." The motive for mercy is the consideration of God. "See," that is, consider, "my humiliation." This humility does not signify the virtue, as in "if I did not think humbly," but rather abasement. Hence Jerome has "my affliction from my enemies," because they afflict me. Or otherwise: "See my humility," because he gives grace to the humble, Jas. 4. But this can be considered from the consideration of enemies, who are proud and wicked. Consequently, he acknowledges the benefit already received: "Who exalts me," etc.; as if to say: you have rescued me from so great a danger that nothing remained but for me to die. Jer. 9: "Death has come up through our windows; it has entered our houses to destroy the little ones outside." Spiritually, however, the gates of death are the heretics: Mt. 16: "The gates of hell shall not prevail against it." And the senses of man: Jer. 9: "Death has entered through the windows." Hatred of the word of God: Ps. 106: "Their soul abhorred all food, and they drew near even to the gates of death." Temptations and vices: Wis. 16: "You lead to the gates of death, and bring back again." Therefore whoever is freed from these, let him say, "You exalt me," that is, "You have freed me from the gates of death."

Upon Muthlabben, or, after the manner according to "death to the Son," by which some song was known, to whose air or melody the musician is directed to perform this Psalm. This mode of denoting a song by some prominent word or words is still common (compare Psa 22:1). The Psalmist praises God for deliverance from his enemies and celebrates the divine government, for providing security to God's people and punishment to the wicked. Thus encouraging himself, he prays for new occasions to recount God's mercies, and confident of His continued judgment on the wicked and vindication of the oppressed, he implores a prompt and efficient manifestation of the divine sovereignty. (Psa. 9:1-20) Heartfelt gratitude will find utterance.

gates--or, "regions." of death--Gates being the entrance is put for the bounds.

(Heb.: 9:14-15) To take this strophe as a prayer of David at the present time, is to destroy the unity and hymnic character of the Psalm, since that which is here put in the form of prayer appears in what has preceded and in what follows as something he has experienced. The strophe represents to us how the עניּים (ענוים) cried to Jahve before the deliverance now experienced. Instead of the form חנּני used everywhere else the resolved, and as it were tremulous, form חננני is designedly chosen. According to a better attested reading it is חננני (Pathach with Gaja in the first syllable), which is regarded by Chajug and others as the imper. Piel, but more correctly (Ewald 251, c) as the imper. Kal from the intransitive imperative form חנן. מרוממי is the vocative, cf. Psa 17:7. The gates of death, i.e., the gates of the realm of the dead (שׁאול, Isa 38:10), are in the deep; he who is in peril of death is said to have sunk down to them; he who is snatched from peril of death is lifted up, so that they do not swallow him up and close behind him. The church, already very near to the gates of death, cried to the God who can snatch from death. Its final purpose in connection with such deliverance is that it may glorify God. The form תּהלּתיך is sing. with a plural suffix just like שׂנאתיך Eze 35:11, אשׁמתימו Ezr 9:15. The punctuists maintained (as עצתיך in Isa 47:13 shows) the possibility of a plural inflexion of a collective singular. In antithesis to the gates of death, which are represented as beneath the ground, we have the gates of the daughter of Zion standing on high. ציּון is gen. appositionis (Ges. 116, 5). The daughter of Zion (Zion itself) is the church in its childlike, bride-like, and conjugal relation to Jahve. In the gates of the daughter of Zion is equivalent to: before all God's people, Psa 116:14. For the gates are the places of public resort and business. At this period the Old Testament mind knew nothing of the songs of praise of the redeemed in heaven. On the other side of the grave is the silence of death. If the church desires to praise God, it must continue in life and not die.