Introduction

TITLE.—“To the Chief Musician upon Muth-labben, a Psalm of David.” The meaning of this title is very doubtful. It may refer to the tune to which the Psalm was to be sung, so Wilcocks and others think; or it may refer to a musical instrument now unknown, but common in those days; or it may have a reference to Ben, who is mentioned in 1 Chron. xv. 18, as one of the Levitical singers. If either of these conjectures should be correct, the title of Muth-labben has no teaching for us, except it is meant to show us how careful David was that in the worship of God all things should be done according to due order. From a considerable company of learned witnesses we gather that the title will bear a meaning far more instructive, without being fancifully forced: it signifies a Psalm concerning the death of the Son. The Chaldee has, “concerning the death of the Champion who went out between the camps,” referring to Goliath of Gath, or some other Philistine, on account of whose death many suppose this Psalm to have been written in after years by David. Believing that out of a thousand guesses this is at least as consistent with the sense of the Psalm as any other, we prefer it; and the more especially so because it enables us to refer it mystically to the victory of the Son of God over the champion of evil, even the enemy of souls (verse 6). We have here before us most evidently a triumphal hymn; may it strengthen the faith of the militant believer, and stimulate the courage of the timid saint, as he sees here THE CONQUEROR, on whose vesture and thigh is the name written, King of kings and Lord of lords.

ORDER.—Bonar remarks, “The position of the Psalms in their relations to each other is often remarkable. It is questioned whether the present arrangement of them was the order in which they were given forth to Israel, or whether some later compiler, perhaps Ezra, was inspired to attend to this matter, as well as to other points connected with the canon. Without attempting to decide this point, it is enough to remark that we have proof that the order of the Psalms is as ancient as the completing of the canon, and if so, it seems obvious that the Holy Spirit wished this book to come down to us in its present order. We make these remarks, in order to invite attention to the fact, that as the eighth caught up the last line of the seventh, this ninth Psalm opens with an apparent reference to the eighth:—

“I will praise thee, O Lord, with my whole heart; I will shew forth all thy marvellous works. I will be glad and rejoice in thee. (Comp. Song i. 4; Rev. xix. 7.) I will sing to THY NAME, O thou Most High.” Verses 1, 2.

As if “The Name,” so highly praised in the former Psalm, were still ringing in the ear of the sweet singer of Israel. And in verse 10, he returns to it, celebrating their confidence who “know” that “name” as if its fragrance still breathed in the atmosphere around.

DIVISION.—The strain so continually changes, that it is difficult to give an outline of it methodically arranged: we give the best we can make. From verses 1 to 6 is a song of jubilant thanksgiving; from 7 to 12, there is a continual declaration of faith as to the future. Prayer closes the first great division of the Psalm in verses 13 and 14. The second portion of this triumphal ode, although much shorter, is parallel in all its parts to the first portion, and is a sort of rehearsal of it. Observe the song for past judgments, verses 15, 16; the declaration of trust in future justice, 17, 18; and the closing prayer, 19, 20. Let us celebrate the conquests of the Redeemer as we read this Psalm, and it cannot but be a delightful task if the Holy Ghost be with us.