Bible Commentaries

LXXVI.

The LXX. (followed by the Vulgate) have added to the Hebrew inscription of this psalm the words “to the Assyrian,” indicating that at an early period it was, as it is still by many modern scholars, connected with the overthrow of Sennacherib. Certainly the Psalms 76:5-6 are most suitable to that event. On the other hand, the phrase in Psalms 76:9, “all the afflicted of the land,” breathes of a time of national oppression, and suggests a later date. Psalms 76:8-9 compared with Psalms 76:7-8 of Psalms 75 lead to the conclusion that both were inspired by the Song of Hannah and may both refer to the same circumstances. And some critics not only bring it into the Maccabæan age, but fix on the victory of Judas over Seron (1 Maccabees 3) as the actual event celebrated in this poem. The versification is quite regular.

Title.—See title Psalms 4, 50, 65

(3) There.—This word in Psalms 14:5 does not appear to have a strictly definite local sense; and here may refer to time, possibly to some event, which we are not able with certainty to recover.

Arrows.—Literally, flashes. (See Note, Song of Solomon 8:6.) The image may be derived from the lightning speed of the flight of arrows, or from the custom of shooting bolts tipped with flame (see Note, Psalms 7:13), or the connection may be from the metaphor in Psalms 91:5-6, since the Hebrew word here used denotes pestilence in Habakkuk 3:5.

The shield, the sword, and the battle—Hosea 2:18 is the original of this. (Comp. Psalms 46:9.) Notice the fine poetic touch in the climactic use of battle to sum up all the weapons of war.

(4) Thou art . . .—Better, Splendid art thou, glorious one, from the mountains of prey. The construction is somewhat doubtful and favours Hupfeld’s emendation (nora, i.e., to be feared, as in verses 8 and 13, instead of noar, i.e., glorious). Certainly the comparative of the Authorised Version is to be abandoned. The poet’s thought plainly proceeds from the figure of Psalms 76:2. The mountains are the mountains of prey of the Lion of Judah. True, a different image, as so frequently in Hebrew poetry, suddenly interrupts and changes the picture. The hero appears from the battle shining in the spoils taken from the foe.

(5) Are spoiled.—Literally, have let themselves be spoiled. The picture is of men rendered powerless, at a glance, a word, from God.

Slept their sleep.—Better, have sunk into a deep sleep.

None of the men of might have found their hands.—This expression for powerlessness naturally grew into an idiom in a language that used the word hand as a synonym for strength. (Comp. Joshua 8:20, margin; Exodus 14:31, margin; Deuteronomy 32:36, margin.) Delitzsch quotes a Talmudic phrase, “We did not find our hands and feet in the school house.” We may compare the Virgilian use of manus (Æn. 6:688), and Shakespeare’s “a proper fellow of my hands,” and for the use of “find” compare the common phrase “find one’s tongue.”

(6) Are cast into a deep sleep.—The same Hebrew expression is used of Sisera’s profound slumber (Judges 4:21). Deborah’s Song and Exodus 15 are in the poet’s mind, as they were to the author of Isaiah 43:17, and as they have inspired the well-known lines of Byron’s “Sennacherib.”

(9) Of the earth.—Or, of the land.

(11) Vow, and pay . . .—This clause seems to be addressed to the Israelites, the next to the heathen.

(12) He shall cut off . . .—Literally, lop off, as a vinedresser prunes a vine. For the image see Joel 3:13; Isaiah 18:5; Revelation 14:17 seq.

Spirit—i.e., the life.