สดุดี 18:4 วิจารณ์

This psalm we met with before, in the history of David's life, 2 Sa. 22. That was the first edition of it; here we have it revived, altered a little, and fitted for the service of the church. It is David's thanksgiving for the many deliverances God had wrought for him; these he desired always to preserve fresh in his own memory and to diffuse and entail the knowledge of them. It is an admirable composition. The poetry is very fine, the images are bold, the expressions lofty, and every word is proper and significant; but the piety far exceeds the poetry. Holy faith, and love, and joy, and praise, and hope, are here lively, active, and upon the wing. I. He triumphs in God (Psa 18:1-3). II. He magnifies the deliverances God had wrought for him (v. 4-19). III. He takes the comfort of his integrity, which God had thereby cleared up (Psa 18:20-28). IV. He gives to God the glory of all his achievements (Psa 18:29-42). V. He encourages himself with the expectation of what God would further do for him and his (Psa 18:43-50). To the chief musician, A psalm of David, the servant of the Lord, who spake unto the Lord the words of this song in the day that the Lord delivered him from the hand of all his enemies.

INTRODUCTION TO PSALM 18 To the chief Musician, a Psalm of David. This is the same with that in Sa2 22:1, with some variations, omissions, and alterations: the servant of the Lord; not only by creation, nor merely by regeneration, but by office, as king of Israel, being put into it by the Lord, and acting in it in submission and obedience to him; just as the apostles under the New Testament, on account of their office, so style themselves in their epistles: who spake unto the Lord the words of this song; that is, who delivered and sung this song in so many express words, in public, before all the congregation of Israel, to the honour and glory of God: in the day [that] the Lord delivered him from the hand of all his enemies, and from the hand of Saul, Not that this psalm was composed and sung the selfsame day that David was delivered from Saul, and set upon the throne; for it seems to have been written in his old age, at the close of his days; for immediately after it, in the second book of Samuel, it follows, "now these be the last words of David", Sa2 23:1, but the sense is, that whereas David had many enemies, and particularly Saul, who was his greatest enemy, the Lord delivered him from them all, and especially from him, from him first, and then from all the rest; which when he reflected upon in his last days, he sat down and wrote this psalm, and then sung it in public, having delivered it into the hands of the chief musician for that purpose. There are two passages cited out of it in the New Testament, and applied to Christ; Psa 18:2, in Heb 2:13, and Psa 18:49 in Rom 15:9; and there are many things in it that very well agree with him; he is eminently the "servant" of the Lord as Mediator; he was encompassed with the snares and sorrows of death and hell, and with the floods of ungodly men, when in the garden and on the cross God was his helper and deliverer, as man; and he was victorious over all enemies, sin, Satan, the world, death and hell; as the subject of this psalm is all along represented: and to Christ it does most properly belong to be the head of the Heathen, whose voluntary subjects the Gentiles are said to be, Psa 18:43; and which is expressed in much the same language as the like things are in Isa 55:4; which is a clear and undoubted prophecy of the Messiah; to which may be added, that the Lord's Anointed, the King Messiah, and who is also called David, is expressly mentioned in Psa 18:50; and which is applied to the Messiah by the Jews (q) as Psa 18:32 is paraphrased of him by the Targum on it; and he said; the following words: (q) Echa Rabbati, fol. 50. 2. & Midrash Tillim in Tzeror Hammor, fol. 47. 3.

The sorrows of hell compassed me about,.... Or "the cords of the grave" (s), under the power of which he was detained for awhile; the allusion may be to the manner of burying among the Jews, who wound up their dead bodies in linen clothes; so that they were as persons bound hand and foot; and thus were they laid in the grave; see Joh 11:44; and so was Christ, till he was raised from the dead, when he showed himself to have the keys of hell and death, and to be no more under their power, or be held by them; the snares of death prevented me; or "met" or "got before me" (t) the sense is, he was taken in them: this phrase designs the insidious ways and methods which the enemies of Christ took to ensnare him, and take away his life, and in which they succeeded; see Mat 26:4. (s) "funes sepulchri", Musculus, Gejerus. (t) "praeoccupaverunt me", V. L. "anteverterunt me", Vatablus; "occurrerunt", Cocceius.

"The pains of death," that is, of the flesh, have "compassed Me about. And the overflowings of ungodliness have troubled Me" [Psalm 18:4]. Ungodly troubles stirred up for a time, like torrents of rain which will soon subside, have come on to trouble Me.

"They surrounded me." Here the necessity of deliverance is set forth. And first he shows the magnitude of deliverance. Second, the prayer he pours forth to God in tribulation. Third, he sets forth the hearing of his prayer, "he heard." Note that these three -- iniquity, death, and hell -- are ordered to one another in this way: that from iniquity a person is led to death, and through death is led down to hell; and just as the first is the way to the second, so the second is to the third. And therefore first he speaks of the first progression. Second, of the second, that from death they go to hell, at "the sorrows of hell," etc. First he does two things. First he sets forth the manner. Second, the way to it, namely iniquity, "the torrents of iniquity." The pain of death is the greatest: 1 Sam. 15: "Does bitter death so separate?" Sir. 41: "O death, how bitter is the remembrance of you." Hence when one cannot escape it, then the pains surround him; and the more so, the more inescapable they are. The way is iniquity; as if to say: therefore I fear it, because "the torrents of iniquity have disturbed me." A torrent is a flow of water rushing down with force: Job 6: "Like a torrent that passes swiftly through the valleys." Therefore the sudden force of interior iniquity, such as a sudden and grave temptation, is a torrent driving one toward sin. Or of exterior iniquity, such as the assault of some enemy. And these "have disturbed me."

"The servant of the LORD," which in the Hebrew precedes "David," is a significant part of the title (and not a mere epithet of David), denoting the inspired character of the song, as the production of one entrusted with the execution of God's will. He was not favored by God because he served Him, but served Him because selected and appointed by God in His sovereign mercy. After a general expression of praise and confidence in God for the future, David gives a sublimely poetical description of God's deliverance, which he characterizes as an illustration of God's justice to the innocent and His righteous government. His own prowess and success are celebrated as the results of divine aid, and, confident of its continuance, he closes in terms of triumphant praise. 2Sa. 22:1-51 is a copy of this Psalm, with a few unimportant variations recorded there as a part of the history, and repeated here as part of a collection designed for permanent use. (Psa. 18:1-50) I will love thee--with most tender affection.

sorrows--literally, "bands as of a net" (Psa 116:3). floods--denotes "multitude."

(Heb.: 18:5-7) In these verses David gathers into one collective figure all the fearful dangers to which he had been exposed during his persecution by Saul, together with the marvellous answers and deliverances he experienced, that which is unseen, which stands in the relation to that which is visible of cause and effect, rendering itself visible to him. David here appears as passive throughout; the hand from out of the clouds seizes him and draws him out of mighty waters: while in the second part of the Psalm, in fellowship with God and under His blessing, he comes forward as a free actor. The description begins in Psa 18:5 with the danger and the cry for help which is not in vain. The verb אפף according to a tradition not to be doubted (cf. אופן a wheel) signifies to go round, surround, as a poetical synonym of סבב, הקּיף, כּתּר, and not, as one might after the Arabic have thought: to drive, urge. Instead of "the bands of death," the lxx (cf. Act 2:24) renders it ὠδῖνες (constrictive pains) θανάτου; but Psa 18:6 favours the meaning bands, cords, cf. Psa 119:61 (where it is likewise חבלי instead of the הבלי, which one might have expected, Jos 17:5; Job 36:8), death is therefore represented as a hunter with a cord and net, Psa 91:3. בליּעל, compounded of בּלי and יעל (from יעל, ועל, root על), signifies unprofitableness, worthlessness, and in fact both deep-rooted moral corruption and also abysmal destruction (cf. Co2 6:15, Βελίαρ = Βελίαλ as a name of Satan and his kingdom). Rivers of destruction are those, whose engulfing floods lead down to the abyss of destruction (Jon 2:7). Death, Belı̂jáal, and Sheôl are the names of the weird powers, which make use of David's persecutors as their instruments. Futt. in the sense of imperfects alternate with praett. בּעת (= Arab. bgt) signifies to come suddenly upon any one (but compare also Arab. b‛ṯ, to startle, excitare, to alarm), and קדּם, to rush upon; the two words are distinguished from one another like ׬berfallen and anfallen. The היכל out of which Jahve hears is His heavenly dwelling-place, which is both palace and temple, inasmuch as He sits enthroned there, being worshipped by blessed spirits. לפניו belongs to ושׁועתי: my cry which is poured forth before Him (as e.g., in Psa 102:1), for it is tautological if joined with תּבא beside ושׁועתי. Before Jahve's face he made supplication and his prayer urged its way into His ears.