Psalms 9:13

(Heb.: 9:14-15) To take this strophe as a prayer of David at the present time, is to destroy the unity and hymnic character of the Psalm, since that which is here put in the form of prayer appears in what has preceded and in what follows as something he has experienced. The strophe represents to us how the עניּים (ענוים) cried to Jahve before the deliverance now experienced. Instead of the form חנּני used everywhere else the resolved, and as it were tremulous, form חננני is designedly chosen. According to a better attested reading it is חננני (Pathach with Gaja in the first syllable), which is regarded by Chajug and others as the imper. Piel, but more correctly (Ewald 251, c) as the imper. Kal from the intransitive imperative form חנן. מרוממי is the vocative, cf. Psa 17:7. The gates of death, i.e., the gates of the realm of the dead (שׁאול, Isa 38:10), are in the deep; he who is in peril of death is said to have sunk down to them; he who is snatched from peril of death is lifted up, so that they do not swallow him up and close behind him. The church, already very near to the gates of death, cried to the God who can snatch from death. Its final purpose in connection with such deliverance is that it may glorify God. The form תּהלּתיך is sing. with a plural suffix just like שׂנאתיך Eze 35:11, אשׁמתימו Ezr 9:15. The punctuists maintained (as עצתיך in Isa 47:13 shows) the possibility of a plural inflexion of a collective singular. In antithesis to the gates of death, which are represented as beneath the ground, we have the gates of the daughter of Zion standing on high. ציּון is gen. appositionis (Ges. 116, 5). The daughter of Zion (Zion itself) is the church in its childlike, bride-like, and conjugal relation to Jahve. In the gates of the daughter of Zion is equivalent to:…

In this psalm, I. David praises God for pleading his cause, and giving him victory over his enemies and the enemies of his country (Psa 9:1-6), and calls upon others to join with him in his songs of praise (Psa 9:11, Psa 9:12). II. He prays to God that he might have still further occasion to praise him, for his own deliverances and the confusion of his enemies (Psa 9:13, Psa 9:14, Psa 9:19, Psa 9:20). III. He triumphs in the assurance he had of God's judging the world (Psa 9:7, Psa 9:8), protecting his oppressed people (Psa 9:9, Psa 9:10, Psa 9:18), and bringing his and their implacable enemies to ruin (Psa 9:15-17). This is very applicable to the kingdom of the Messiah, the enemies of which have been in part destroyed already, and shall be yet more and more till they all be made his footstool, which we are to assure ourselves of, that God may have the glory and we may take the comfort. To the chief musician upon Muth-labben. A psalm of David.

9:13-14 The psalmist returns from a vision of the glorious future to the reality of facing his enemies (9:3). • The jaws (literally gates) are a vivid image of the powerful grip of death (see 13:3-4). • Jerusalem’s gates provide an intentional contrast to the “gates” of death.