Salmos 4

IV.

This psalm most probably belongs to the same occasion as that which produced Salmos 3 (see Introduction to that psalm), but was sung in an hour of still greater trial. Standing by itself, indeed, it might have been written by any prophet struggling against the dislike and opposition of his fellow-citizens. The rhythm is irregular. Salmos 4 was one of those repeated by Augustine at his conversion.

Title. — To the chief musician. — (Margin, overseer.) The rendering of a word occurring fifty-five times in the inscriptions, and in Habacuque 3:19. Whatever be the primary meaning of the root-word, whether to be bright or strong, the form here employed must imply “one who has obtained the mastery,” or “holds a superior post.” Hence “master,” “director,” or “overseer” (2 Crônicas 2:18; 2 Crônicas 34:12). But from the description in 1 Crônicas 15:16, et seq., we see that the musical directors, as they are considered to be (Asaph, Heman, and Ethan), had themselves cymbals, and took part in the performance, and hence the word would answer to a leader of the band; but as in the case of the Psalms there is vocal music as well, perhaps “precentor” is the best equivalent. The LXX., followed by the Vulg., render “to the end” — a phrase difficult to explain, but which possibly had an eschatological reference rather than a musical.

On Neginoth. — Another musical term occurring, with a slight variation in the preposition, in the titles of six psalms. Its derivation from a root, meaning “to touch the strings,” as well as the connection in which it is found, point to the explanation (almost universally given), “upon stringed instruments,” or, “with harp accompaniment.” It seems natural to join the two directions — “to the conductor of those playing on stringed instruments,” or, “to the leader of the harps.”