Psalms 60:1

PSALM LX

The psalmist complains of the desolation which had fallen on

the land; prays for deliverance, 1-5;

and promises himself victory over Shechem, Succoth, Gilead,

Ephraim, Moab, Idumea, and the Philistines, by the special

help and assistance of God, 6-12.

NOTES ON PSALM LX

The title, "To the chief Musician upon the hexachord, or lily of the testimony, a golden Psalm of David, for instruction; when he strove with Aram Naharaim, Syria of the two rivers (Mesopotamia) and Aram-Zobah, Syria of the watchmen, (Coelosyria,) when Joab returned, and smote twelve thousand Edomites in the Valley of Salt." I have only to remark here that there is nothing in the contents of this Psalm that bears any relation to this title. According to the title it should be a song of victory and triumph; instead of which the first part of it is a tissue of complaints of disaster and defeat, caused by the Divine desertion. Besides, it was not Joab that slew twelve thousand men in the Valley of Salt; it was Abishai, the brother of Joab; and the number twelve thousand here is not correct; for there were eighteen thousand slain in that battle, as we learn from 1 Chronicles 18:12. The valley of salt or salt pits is in Idumea. To reconcile the difference between the numbers, various expedients have been hit on; but still the insuperable objection remains; the contents of this Psalm and this title are in opposition to each other. That the Psalm deplores a defeat, is evident from the three first and two last verses. And the Targumist seems to have viewed it in this light, perhaps the proper one, by expressing the title thus: "To give praise for the ancient testimony, (סהדותא sahadutha,) of the sons of Jacob and Laban, (see Genesis 31:47,) an exemplar by the hand of David, to give instruction when he gathered together the people, and passed by the heap of testimony, (איגר סהדותא ayegar sahadutha,) and set the battle in array against Aram, which is by the Euphrates; and against Aram, which is by Izobah. And after this Joab returned and smote the Idumeans in the Valley of Salt; and of the armies of David and Joab there fell twelve thousand men." The Psalm, therefore, seems to deplore this disastrous event; for although they had the victory at last, twelve thousand of the troops of Israel were justly considered too great a sacrifice for such a conquest, and a proof that God had not afforded them that succour which they had long been in the habit of receiving. The latter part of the Psalm seems to be intended to put God in remembrance of his ancient promise of putting Israel in possession of the whole land by driving out the ancient iniquitous inhabitants. Others consider the Psalm as descriptive of the distracted state of the land after the fatal battle of Gilboa, till David was anointed king of the whole at Hebron.

This is the last of the six Psalms to which מכתם michtam is prefixed; the others are Psalms 16, Psalms 56, Psalms 57, Psalms 58, and Psalms 59. I have said something relative to this word in the introduction to Psalms 16:1, but some observations of Mr. Harmer lead me to consider the subject more at large. It is well known that there were seven most eminent Arabic poets who flourished before and at the commencement of the career of Mohammed: their names were Amriolkais, Amru, Hareth, Tharafah, Zohair, Lebeid, and Antarah. These poets produced each a poem, which because of its excellence was deemed worthy to be suspended on the walls of the temple of Mecca; and hence the collection of the seven poems was termed Al Moallakat, The Suspended; and Al Modhahebat, The Gilded or Golden, because they were written in letters of gold upon the Egyptian papyrus. The six michtams of David might have this title for the same reason; they might have been written in letters of gold, or on gilded vellum, or the Egyptian papyrus; for the word מכתם michtam is generally supposed to signify golden, and כתם kethem is used to signify gold, probably stamped or engraven with figures or letters. That the Moallakat were written in this way, there can be no question; and that the works of men of great eminence in Asiatic countries are still thus written, my own library affords ample evidence. Copies of the following works are written on paper all powdered with gold, with gold borders, and highly illuminated anwans or titles: The MISNAVI of Jelaluddeen Raumy; The DEEVAN of Zuheer Faryabi; The HADIKATUSANI, or Garden of Praise; The SUHBET AL ABRAR; The DEEVAN of Hafiz; GULISTAN of Saady; DEEVAN of Shahy, with many more, all works of eminent authors, written in the finest manner, ruled with gold borders, c.

Copies of the Koran are often done in the same manner: one in 12mo., so thickly powdered over with gold that the ground on which the text is written appears to be almost totally gilded another large octavo, all powdered with gold, and golden flowers down every margin; another small octavo, that might be almost called the Codex Aureus, with rich golden borders on every page. And, lastly, one in large folio, which besides superbly illuminated anwans, has three gold lines to every page; one at the top, one in the middle, and one at the bottom. To the above may be added a small folio, that opens out about eleven feet, every page of which is like a plate of solid gold, with the characters engraven on it. It is a collection of elegant extracts. Another of the same kind, large folio, opens out sixty-two feet, on which every page is finished in the same manner, with a vast variety of borders, sprigs, and flowers. And to close the whole, a copy of the Borda, supposed to be the most elegant MS. in Europe, entirely covered with gold flowers and lines, the writing the most perfect I ever saw; so that of this MS. it might be truly said, splendid as it is, materiam superabit opus.

As Mr. Harmer has alluded to accounts which he has collected from other writers in order to illustrate the michtams of David, I have above produced a number of evidences to bear witness to the fact that such is and such was the custom in the east, to write the works of the most eminent authors in letters of gold, or on a page highly ornamented with the utmost profusion of golden lines, figures, flowers, c. In this way these Psalms might have been written, and from this circumstance they may have derived their name. I may just add, that I think these titles were made long after the Psalms were composed.

Verse Psalms 60:1. O God, thou hast cast us off] Instead of being our general in the battle, thou hast left us to ourselves and then there was only the arm of flesh against the arm of flesh, numbers and physical power were left to decide the contest. We have been scattered, our ranks have been broken before the enemy, and thou hast caused the whole land to tremble at our bad success; the people are become divided and seditious. "Thou hast made the land to tremble, even the breaches of it, for it shaketh, it is all in commotion," Psalms 60:2.