10 Be wise now therefore, O ye kings: be instructed, ye judges of the earth.

11 Serve the LORD with fear, and rejoice with trembling.

12

PSALM II.-Although this Psalm has no superscription, yet that David was the author may be gathered from the manifest relation which it bears to the affairs of his time. It is supposed to have been written when the nations subdued by David were meditating a revolt, or had already revolted. The authorship is expressly assigned to David in Acts iv. 25. Its reference, by application, to the Messiah, is admitted by the Jews.

Verse 1. The heathen.The Hebrew word, Di goyim, usually translated 'Heathen,' signifies, in fact, 'peoples' or nations' in general. But it is used in the Old Testament for the most part, and by the later (and even modern) Jews, and that with contemptuous and odious secondary meaning. Other nations, also, have similar names for foreigners, and for such as are not of their own religious faith. Thus the Greeks and Romans called them Barbarians, that is, properly, inhabitants of the desert. The Arabs called them Adjhemi, by which they mean, first, their neighbours the Persians, and then all foreigners in general. The Mohammedans call all the people of the

earth, who do not believe the pretended divine mission of Mohammed, Kafirs, and, by a corrupted pronunciation, Gaurs, or Giaours, which signifies unbelievers and infidels. Hence the name Kafirs, which the inhabitants of the southeastern coast of Africa received from the Mohammedan Arabs.

12. Kiss the Son.'-This is doubtless to be understood as an act of homage and reverence. There are few acts bearing more diversified and contrasted significations than the kiss. It denotes as well the tenderest affection as the most profound and even adoring reverence. As an act of homage it needs little explanation, since it is still our own custom to express homage by kissing the monarch's hand. It was also so far a mark of general respect among our fathers, that for one person to say in a letter or message, that he kissed the hands' of another, was a formulary for expressing his respect for that person, and was of equivalent import with the expressions of servitude and obedience with which communications to superiors are now usually attended. See the note to 1 Sam. x. 1.

PSALM III.

The security of God's protection.

A Psalm of David, 'when he fled from Absalom his son.

LORD, how are they increased that trouble me? many are they that rise up against me.

2 Many there be which say of my soul, There is no help for him in God. Selah.

3 But thou, O LORD, art a shield 'for me; my glory, and the lifter up of mine head.

4 I cried unto the LORD with my voice, and he heard me out of his holy hill. Selah.

5 I laid me down and slept; I awaked; for the LORD sustained me.

6 'I will not be afraid of ten thousands of people, that have set themselves against me round about.

7 Arise, O LORD; save me, O my God? for thou hast smitten all mine enemies upon the cheek bone; thou hast broken the teeth of the ungodly.

8 'Salvation belongeth unto the LORD: thy blessing is upon thy people. Selah.

Verse 2. Selah.'-This is evidently a musical term, occurring only in the Psalms, and in Habakkuk iii. Its meaning has been a subject of much dispute. It usually occurs at the end of a period or strophe; but sometimes at the end of a clause only. One of the principal explanations is that advocated by Herder, De Wette, Ewald, and others, who suppose that the word comes from the verb salah, 'to raise up, or elevate,' which would make it signify an elevation of the voice; and so perhaps be a sign for changing the key, or for repeating the same tune some notes higher. Not very different from this is the interpretation usually given to the word didyaλua, diapsalma, which is explained to mean a variation in singing and melody, to correspond perhaps with a transition from one subject or sentiment to another in the words; or to be a musical sign for a bold symphony, intimating that the singers should raise their voices, and that all the instruments should sound along with them in one grand chorus. (See Ewing in Advaλua.) The Chaldee Paraphrast renders it by for ever,' understanding

probably, with Jerome, that Selah' connected what followed with that which went before, and further expresses that the words to which it is affixed are of eternal moment-not applicable to any particular person, or to any temporary circumstances, but such as ought to be remembered by all men and for ever. Aben Ezra says that it is like the conclusion of a prayer, answering nearly to Amen; and that the Jews, in this sense, usually put it at the end of their books and epitaphs. Fenwick, Parkhurst, and others, hold that the word is intended to direct particular attention to the passage, as: N.B., attend to, or mind this. Dr. Wall is of opinion that it is a note directing that the last words to which it is added should be repeated by the chorus; and observes that it is always put after some remarkable or pathetic clause. Meibomius also thinks it means 'a repeat,' and is equivalent to the Italian Da Capo. Some conclude that it directed the time of the music, and was perhaps equivalent to our word slow,' or according to some of our provincial dialects, slaw,' which in a rapid pronunciation might easily be taken for Selah. Calmet thinks the word was sometimes put in the margin

PSALM IV.

of the Hebrew psalters, to indicate that a musical pause was to be made and that the tune was ended: and this is also the opinion which Dr. Burney deduces from the 'diapsalma' of the Septuagint. Rosenmüller, after detailing the opinions of others, decides to prefer that which supposes that the word Selah indicates a rest, or pause, for the vocal performers, and that the musical instruments only were to be heard: with him Gesenius, Tholuck, and Hengstenberg concur, and it seems to us the most probable of the opinions which have been advanced. Calmet, in his

PSALM IV.

1 David prayeth for audience. 2 He reproveth and exhorteth his enemies. 6 Man's happiness is in God's favour.

To the 'chief Musician on Neginoth, A Psalm of David.

HEAR me when I call, O God of my rightcousness: thou hast enlarged me when I was in distress; have mercy upon me, and hear my prayer.

20 ye sons of men, how long will ye turn my glory into shame? how long will ye love vanity, and seek after leasing? Selah.

3 But know that the LORD hath set apart

3 Psal. 50. 14, and 51. 19.

4 Psal. 3. 5.

PSALM iv. That this Psalm was composed in a time of persecution and distress is manifest from the contents. It is usually supposed to have been written by David, either during the persecutions of Saul or the rebellion of Absalom; and there are grounds on which the latter alternative may seem entitled to preference.

TITLE. To the chief Musician.'-The word thus rendered ( lamnatzeach) stands at the head of fiftythree of the Psalms, and has occasioned considerable discussion. The general opinion, which our translators followed, seems to be well authorized in rendering it 'to the chief musician.' Whenever the word occurs historically, with a reference to persons, it denotes those who have the superintendence or oversight, whether of works or workmen; and hence, in the general sense, an overseer. So when it thus occurs, as prefixed to a psalm, it is not easy to suppose it can allow of any other reference than to the president or leader of a band of singers or musicians. The Septuagint, and after it the Vulgate, regards it as without a personal application, and renders it by for ever;' understanding it to denote a psalm which deserved to be sung eternally, and to be ever in the mouth of God's servants. The Chaldee has, for praise,' seemingly under a similar impression. The Jews themselves are not agreed about it; but the majority concur with our version. The old Greek interpreters differ also;

but in general they suppose it to denote the psalm to be one of victory. One very good reason for adhering to our own version is, that on examining the numerous psalms which are thus inscribed, they have by no means that uniformity of subject or general purport which a characterizing title would seem to require. The reader who wishes to look further into this, may consult Calmet's 'Dissertation sur ces deux termes Hébreux, Lámnatseach et Séla; De Wette, Einleitung die Psalmen, p. 35; and Ewald, Poet, Bücher, i. 169.

Neginoth. This word (ni), which occurs in the titles of seven psalms, is in the Septuagint and the Vulgate rendered by song.' (Sept. Buvos, yaλuós. Vulg. carmen, canticum.) The verb from which the noun is derived implies to play upon a stringed instrument,' whence it is concluded that the plural noun in the titles of the psalms, denotes such stringed instruments. What they were we do not know; but under this view Neginoth may possibly be a general word for all the stringed instruments Wherever the word does occur as a noun, then in use. however, other than in the titles of the psalms, the context determines that it must mean 'songs' (as in Job xxx. 9: Lam. iii. 14), and probably such songs as were intended The for the accompaniment of stringed instruments. difference is therefore not greater than whether stringed instruments, or songs or music intended for stringed instruments, be denoted by the word Neginoth.

7

1 Psal. 130. 6.

2 Heb. before thine eyes.
Or, stedfastness.

5 Heb. those which observe me.
9 Rom. 3. 13. 10 Or, Make them guilty.

ing: the LORD will abhor 'the bloody and deceitful man.

7 But as for me, I will come into thy house in the multitude of thy mercy and in thy fear will I worship toward thy holy temple.

8 Lead me, O LORD, in thy righteousness because of "mine enemies; make thy way straight before my face.

9 For there is no "faithfulness in their mouth; their inward part is very wickedness; 'their throat is an open sepulchre; they flatter with their tongue.

107

10 Destroy thou them, O God; let them fall "by their own counsels; cast them out in the multitude of their transgressions; for they have rebelled against thee.

11 But let all those that put their trust in thee rejoice: let them ever shout for joy, because thou defendest them: let them also that love thy name be joyful in thee.

in, and its obkhalal, to bore through,'

TITLE, Nchiloth.'-The word is vious derivation from whence khalil, 'a pipe,' would suggest that wind instruments are here meant. We do not feel it necessary to inquire, with some writers, whether flutes or bagpipes be intended. We may suppose it a general term for all the softer sorts of wind instruments, if not for all sorts. The Septuagint, Vulgate, and other ancient versions, however, find the root in nakhal, to inherit, possess,' and render, with some variation of phrase, 'For that which (or she who) obtained (or obtains, or shall obtain) the inheritance.' The Arabic has simply, Concerning the inheritance.' Hengstenberg thinks that the Psalm refers to the double destiny of the righteous and the wicked; and accepting this derivation from, the feminine adjective of which, with a passive signification, can only mean the inherited, the possessed, in plural the possessions, the lots, he finds that the title of the psalm has reference to its contents. The Targum renders the title, both of this

and the preceding psalm, 'To sing upon the dances a song of David;' while Aben Ezra understands this word, as he does neginoth, to denote some old and well-known melody, to which this psalm was to be played. On this see further in the note to Ps. xvi.

Verse 5. Shall not stand in thy sight.'—They must not stand under his eyes.' A mark of deep abhorrence, taken from earthly kings, near whom none are allowed to come but such as enjoy their favour.

7. Toward thy holy temple.-The temple did not exist in the time of David: how then does this agree with the title which ascribes the psalm to him? The answer is, that the term here employed denotes properly the dwelling-place of the Lord, and was not confined to the temple, but belonged equally to the tabernacle before the temple was erected. See notable instances of this in 1 Sam. i. 9; iii. 3; in both which places our translators scruple not to render the same term by temple,' although they knew the tabernacle was intended, and that nothing else could be intended. The phrase is here, literally, 'the abode of thy holiness;' there, the abode of Jehovah.'