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This chapter is a psalm, a psalm of praise; we find it afterwards inserted among David's psalms (Ps. 18) with some little variation. We have it here as it was first composed for his own closed and his own harp; but there we have it as it was afterwards delivered to the chief musician for the service of the church, a second edition with some amendments; for, though it was calculated primarily for David's case, yet it might indifferently serve the devotion of others, in giving thanks for their deliverances; or it was intended that his people should thus join with him in his thanksgivings, because, being a public person, his deliverances were to be accounted public blessings and called for public acknowledgments. The inspired historian, having largely related David's deliverances in this and the foregoing book, and one particularly in the close of the foregoing chapter, thought fit to record this sacred poem as a memorial of all that had been before related. Some think that David penned this psalm when he was old, upon a general review of the mercies of his life and the many wonderful preservations God had blessed him with, from first to last. We should in our praises, look as far back as we can, and not suffer time to wear out the sense of God's favours. Others think that he penned it when he was young, upon occasion of some of his first deliverances, and kept it by him for his use afterwards, and that, upon every new deliverance, his practice was to sing this song. But the book of Psalms shows that he varied as there was occasion, and confined not himself to one form. Here is, I. The title of the psalm (Sa2 22:1). II. The psalm itself, in which, with a very warm devotion and very great fluency and copiousness of expression, 1. He gives glory to God. 2. He takes comfort in him; and he finds matter for both, (1.) In the experiences he had of God's former favours. (2.) In the expectations he had of his further favours. These are intermixed throughout the whole psalm.

INTRODUCTION TO SECOND SAMUEL 22 This chapter contains a song or psalm, the same with the eighteenth psalm, and which, according to Jarchi, was composed by David in his old age, and, as Kimchi says, at the end or close of his days; but Abarbinel is of opinion that it was written in his youthful time, in the midst of his troubles, and was sung by him as often as he had a deliverance from any; and which may account for the several variations in it from the eighteenth psalm, which, the same writer observes, are seventy four; and are not to be ascribed to the difference of copies, or neglect of copiers: and very probably, towards the close of his days, he revised it, and made it fit for general use, and sent it with the rest of his psalms to the chief musician; but the particular consideration of it, and of the differences in it from Psa 18:1 are referred to the exposition of that book in its course.

They prevented me in the day of my calamity: but the Lord was my stay. See Gill on Psa 18:18. . 2 Samuel 22:20 sa2 22:20 sa2 22:20 sa2 22:20He brought me forth also into a large place: he delivered me, because he delighted in me. See Gill on Psa 18:19.

David's psalm of thanksgiving for God's powerful deliverance and manifold blessings, including prophetic declarations relative to the humiliation and exaltation of the Messiah, vv. 1-51.

He rode upon a cherub, and did fly - he was seen upon the things of the wind - In the original of this sublime passage, sense and sound are astonishingly well connected. I shall insert the Hebrew, represent it in English letters for the sake of the unlearned reader, and have only to observe, he must read from the right to the left. רוח כנפי על וירא ויעף כרוב על וירכב ruach canphey al vaiyera vaiyaoph kerub al vayirkab wind the of wings the upon seen was he and; fly did and cherub upon rode he The clap of the wing, the agitation and rush through the air are expressed here in a very extraordinary manner. Other beauties of this kind will be noted in the exposition of the Psalm alluded to above. I now subjoin Dr. Kennicott's remarks on this chapter: - "The very sublime poetry contained in this chapter is universally admired, and yet it cannot be perfectly understood, till it is known Who is the speaker, who the person thus triumphant over mighty enemies, whose Sufferings occasioned such a dreadful convulsion of nature, and, who, upon his deliverance, inflicted such vengeance on his own people, and also became thus a king over the heathen. Should we be told that this person was David, it will be very difficult to show how this description can possibly agree with that character: but if it did in fact agree, yet would it contradict St. Paul, who quotes part of it as predicting the conversion of the Gentiles under Christ the Messiah. Rom 15:9; Heb 2:13; and see Peirce's Commentary, p. 50. Now if the person represented as speaking through this Divine ode be David only, the Messiah is excluded. In consequence of the difficulties resulting from each of these suppositions, the general idea has been that it relates both to David and to the Messiah as a prophecy of a double sense; first, as spoken by David of himself, and yet to be understood in a secondary sense, of the Messiah. But it must be remarked here, that if spoken only of David, it is not a prediction of any thing future, but a thanksgiving for favors past, and therefore is no prophecy at all. And farther, it could not be a prophecy descriptive of David unless the particulars agreed to David, which they evidently do not. If then David be here necessarily excluded from the single sense, he must be excluded also from the double sense, because nothing can be intended by any sacred writer, to relate to two persons, unless it be True of both; but it not being the case here as to David, we must conclude that this song relates only to the Messiah; and on this subject an excellent Dissertation, by the late Mr. Peirce, is subjoined to his comment on the Epistle to the Hebrews. It may be necessary to add here two remarks: the twenty-fourth verse now ends with, I have kept myself from mine iniquity, which words, it is objected, are not proper, if applied to the Messiah. But this difficulty is removed, in part, by the context, which represents the speaker as perfectly innocent and righteous; and this exactly agrees with the proof arising from the Syriac and Arabic versions, and also the Chaldee paraphrase, that this word was anciently מעונים ab iniquitatibus; consequently, this is one of the many instances where the ם final mem is improperly omitted by the Jewish transcribers. See my General Dissertation. Lastly, the difficulty arising from the title, which ascribes the Psalm to David, and which seems to make him the speaker in it, may be removed, either by supposing that the title here, like those now prefixed to several Psalms, is of no sufficient authority; or rather, by considering this title as only meant to describe the time when David composed this prophetic hymn, that when delivered from all his other enemies as well as from the hand of Saul, he then consecrated his leisure by composing this sublime prophecy concerning Messiah, his son, whom he represents here as speaking, (just as in Psalm 22, 40, and other places), and as describing, 1. His triumph over death and hell; 2. The manifestations of Omnipotence in his favor, earth and heaven, trembling at God's awful presence; 3. The speaker's innocence thus divinely attested; 4. The vengeance he was to take on his own people the Jews, in the destruction of Jerusalem; and, 5. The adoption of the heathen, over whom he was to be the head and ruler. "Another instance of a title denoting only the time of a prophecy, occurs in the very next chapter; where a prophecy concerning the Messiah is entitled, The Last words of David; i.e., a hymn which he composed a little before his death, after all his other prophecies. And perhaps this ode in2 Samuel 22, which immediately precedes that in2 Samuel 23, was composed but a little while before; namely, when all his wars were over. Let it be added, that Josephus, immediately before he speaks of David's mighty men, which follow in this same chapter of Samuel, considers the two hymns in2 Samuel 22 and 23, as both written after his wars were over - Jam Davides, bellis et periculis perfunctus, pacemque deinceps profundam agitans, odas in Deum hymnosque composuit. Tom. i., page 401."

DAVID PROFESSES HIS FAITH IN GOD'S PROMISES. (Sa2 23:1-7) Now these be the last words of David--Various opinions are entertained as to the precise meaning of this statement, which, it is obvious, proceeded from the compiler or collector of the sacred canon. Some think that, as there is no division of chapters in the Hebrew Scriptures, this introduction was intended to show that what follows is no part of the preceding song. Others regard this as the last of the king's poetical compositions; while still others consider it the last of his utterances as an inspired writer. raised up on high--from an obscure family and condition to a throne. the anointed of the God of Jacob--chosen to be king by the special appointment of that God, to whom, by virtue of an ancient covenant, the people of Israel owed all their peculiar destiny and distinguished privileges. the sweet psalmist of Israel--that is, delightful, highly esteemed.

David's Psalm of Thanksgiving for Victory over All His Enemies - 2 Samuel 22 In the following psalm of thanksgiving, David praises the Lord as his deliverer out of all dangers during his agitated life and conflicts with his foes (Sa2 22:2-4). In the first half he pictures his marvellous deliverance out of all the troubles which he passed through, especially in the time of Saul's persecutions, under the image of an extraordinary theophany (vv. 5-20), and unfolds the ground of this deliverance (Sa2 22:21-28). In the second half he proclaims the mighty help of the Lord, and his consequent victories over the foreign enemies of his government (vv. 29-46), and closes with renewed praise of God for all His glorious deeds (Sa2 22:47-51). The psalm is thus arranged in two leading divisions, with an introductory and concluding strophe. But we cannot discover any definite system of strophes in the further arrangement of the principal divisions, as the several groups of thoughts are not rounded off symmetrically. The contents and form of this song of praise answer to the fact attested by the heading, that it was composed by David in the later years of his reign, when God had rescued him from all his foes, and helped his kingdom to victory over all the neighbouring heathen nations. The genuineness of the psalm is acknowledged to be indisputable by all the modern critics, except J. Olshausen and Hupfeld, (Note: Even Hitzig observes (die Psalmen, i. p. 95): "There is no ground whatever for calling in question the Davidic authorship of the psalm, and therefore the statement made in the heading; and, in fact, there is all the more reason for adhering to it, because it is attested twice. The recurrence of the psalm as one of Davidic origin in 2 Samuel 22 is of some weight, since not the slightest suspicion attaches to any of the other songs of sayings attributed to David in the second book of Samuel (e.g., Sa2 3:33-34; Sa2 5:8; Sa2 7:18-29; Sa2 23:1-7). Moreover, the psalm is evidently ancient, and suited to the classical period of the language and its poetry. Sa2 22:31 is quoted as early as Pro 30:5, and Sa2 22:34 in Hab 3:19. The psalm was also regarded as Davidic at a very early period, as the 'diaskeuast' of the second book of Samuel met with the heading, which attributes the psalm to David. No doubt this opinion might be founded upon Sa2 22:51; and with perfect justice if it were: for if the psalm was not composed by David, it must have been composed in his name and spirit; and who could have been this contemporaneous and equal poet?" Again, after quoting several thoroughly Davidic signs, he says at p. 96: "It is very obvious with how little justice the words of Sa2 22:51, relating to Sa2 7:12-16, Sa2 7:26, Sa2 7:29, have been pronounced spurious. Besides, the psalm can no more have concluded with למשׁיחו (Sa2 22:51) than with Sa2 22:50; and if David refers to himself by name at the commencement in Sa2 23:1, and in the middle in Sa2 7:20, why should he not do the same at the close?") who, with hypercritical scepticism, dispute the Davidic origin of the psalm on subjective grounds of aesthetic taste. This psalm is found in the Psalter as Ps 18, though with many divergences in single words and clauses, which do not, however, essentially affect the meaning. Commentators are divided in opinion as to the relation in which the two different forms of the text stand to one another. The idea that the text of 2 Samuel. rests upon a careless copy and tradition must decidedly be rejected: for, on the one hand, by far the larger portion of the deviations in our text from that of the Psalter are not to be attributed to carelessness on the part of copyists, but are evidently alterations made with thoughtfulness and deliberation: e.g., the omission of the very first passage (Sa2 22:1), "I will love Thee, O Lord, my strength;" the change of צוּרי אלי (my God, my strength, or rock) into צוּרי אלהי (the God of my rock), as "the God of the rock" occurs again in Sa2 22:47 of the text before us; or the substitution of ויּרא (He was seen, Sa2 22:11) for ויּדא (He did fly), etc. On the other hand, the original reading has undoubtedly been retained in many passages of our text, whilst simpler and more common forms have been substituted in that of the Psalms; e.g., in v. 5, מות משׁבּרי instead of מות fo d חבלי; in v. 8, השּׁמים מוסדות (the foundations of the heavens) for הרים מוסדי (the foundations of the hills); in v. 12, השׁרת־מים for חשׁכת־מים; in v. 16, ים אפיקי for מים אפיקי; in v. 28, תּשׁפּיל על־רמים ועניך for תּשׁפּיל רמות וענים; in v. 33, דּרכּו תמים ויּתּר for דּרכּי תמים ויּתּן; and in v. 44, לראשׁ תּשׁמרני for לראשׁ תּשׂימני, and several others. In general, however, the text of the Psalms bears the stamp of poetical originality more than the text before us, and the latter indicates a desire to give greater clearness and simplicity to the poetical style. Consequently neither of the two texts that have come down to us contains the original text of the psalm of David unaltered; but the two recensions have been made quite independently of each other, one for the insertion of the psalm in the Psalter intended for liturgical use, and the other when it was incorporated into the history of David's reign, which formed the groundwork of our books of Samuel. The first revision may have been made by David himself when he arranged his Psalms for liturgical purposes; but the second was effected by the prophetic historian, whose object it was, when inserting David's psalm of praise in the history of his reign, not so much to give it with diplomatic literality, as to introduce it in a form that should be easily intelligible and true to the sense.

11 He rode upon a cherub and flew hither, And appeared upon the wings of the wind. 12 He made darkness round about Him as pavilions, Water-gathering, thick clouds. 13 Out of the splendour before Him Burned red-hot coals of fire. These three verses are a further expansion of Sa2 22:19, and Sa2 22:11 of Sa2 22:10. The cherub is not a personified earthly creature, for cherubim are angels around the throne of God (see at Gen 3:22). The poetical figure "riding upon the cherub" is borrowed from the fact that God was enthroned between the two cherubim upon the lid of the ark of the covenant, and above their outspread wings (Exo 25:20-21). As the idea of His "dwelling between the cherubim" (Sa2 6:2; Sa1 4:4; Psa 80:2) was founded upon this typical manifestation of the gracious presence of God in the Most Holy place, so here David depicts the descent of Jehovah from heaven as "riding upon a cherub," picturing the cherub as a throne upon which God appears in the clouds of heaven, though without therefore imagining Him as riding upon a sphinx or driving in a chariot-throne. Such notions as these are precluded by the addition of the term ויּעף, "did fly." The "flying" is also suggested by the wings of the cherubim. As the divine "shechinah" was enthroned above the ark of the covenant upon the wings of the cherubim, David in his poetical description represents the cherub and his wings as carrying the throne of God, to express the thought that Jehovah came down from heaven as the judge and saviour of His servants in the splendour of His divine glory, surrounded by cherubim who stand as His highest servants around His throne, just as Moses in his blessing (Deu 33:2) speaks of Jehovah as coming out of myriads of His holy angels. The elementary substratum of this was the wings of the wind, upon which He appeared. In the psalm we have ויּדא, from דּאה, to soar (Deu 28:39; Jer 48:40), which suggests the idea of flying better than ויּרא (He was seen), though the latter gives the real explanation. In Sa2 22:12 and Sa2 22:13, the "cloudy darkness under His feet" (Sa2 22:10) is still further expanded, so as to prepare the way for the description of thunder and lightning in Sa2 22:14. God in His wrath withdraws His face from man. He envelopes himself in clouds. The darkness round about him is the black thunder-cloud which forms His hut or tent. The plural succoth is occasioned by the plural סביבתיו, "His surroundings:" it is used with indefinite generality, and is more probably the original term than סכּתו in the psalm. The "darkness" is still further explained in the second clause, מים חשׁרת, water-gatherings. חשׁרה (ἁπ. λεγ.) signifies, according to the Arabic, a gathering or collection. The expression used in the psalm is מים חשׁכת, water-darkness, which, if not less appropriate, is at any rate not the original term. שׁחקים עבי, clouds of clouds, i.e., the thickest clouds; a kind of superlative, in which a synonym is used instead of the same noun.