The title of this psalm is, “To the chief Musician, Maschil, for the sons of Korah.” On the phrase “To the chief Musician,” see the notes at the title to Psalms 4:1-8. On the term “Maschil,” see the notes at the title to Psalms 32:1-11. This title is prefixed to eleven psalms. It properly means, as in the margin, giving instruction. But why such a title was prefixed to these psalms rather than to others is unknown. So far as appears, the title, in that sense, would be applicable to many other psalms as well as to these, whether understood in the signification of “giving instruction” in general, or of “giving instruction” on any particular subject. It is not easy to give an account of the origin of such titles long after the occasion for affixing them has passed away. The phrase “for the sons of Korah” is rendered in the margin “of the sons,” etc. The Hebrew may mean for the sons of Korah; of the sons of Korah; or to the sons of Korah, as it is here rendered by Prof. Alexander. The Septuagint renders the title “For the end - εἰς τὸ τέλος eis to telos: for understanding, εἰς σύνεσιν eis sunesin: to the sons of Kore, τοῖς υἱοῦς Κορέ tois huiois Kore.”
So the Latin Vulgate. DeWette renders it, “A poem of the sons of Korah.” The psalms to which this title is prefixed are the Psalms 42:1-11; Psalms 44; Psalms 45; Psalms 46:1-11; Psalms 47:1-9; Psalms 48:1-14; Psalms 49; Psalms 84:1-12; Psalms 85:1-13; Psalms 87:1-7; Psalms 88. So far as the title is concerned, it may mean either that the psalms were dedicated to them, or that they were submitted to them for arranging the music; or that they were designed to be employed by them as leaders of the music; or that they were the authors of these psalms, that is, that the psalms thus indicated emanated from their body, or were composed by one of their number. Which of these is the true idea must be determined, if determined at all, from some other source than the mere title. The sons of Korah were a family of Levitical singers. Korah was a great-grandson of Levi, Numbers 16:1. He was united with Dathan and Abiram in opposition to Moses, and was the leader of the conspiracy, Numbers 16:2; Jude 1:11.
Korah had three sons, Assir, Elkanah, and Abiasaph Exodus 6:24; and of their descendants David selected a number to preside over the music of the sanctuary, 1 Chronicles 6:22-23, 1 Chronicles 6:31; and they continued in this service until the time of Jehoshaphat, 2 Chronicles 20:19. One of the most eminent of the descendants of Korah, who was employed especially in the musical service of the sanctuary, was Heman: 1 Chronicles 6:33, “Of the sons of the Kohathites; Heman, a singer.” The sons of Heman were appointed by David, in connection with the sons of Asaph, and of Jeduthun, to preside over the music: 1Ch 25:1, 1 Chronicles 25:4,1 Chronicles 25:6; 2Ch 5:12; 2 Chronicles 29:14; 2 Chronicles 35:1 :5. See the notes at the title to Psalms 39:1-13. The general appellation, the “sons of Korah,” seems to have been given to this company or class of singers. Their office was to preside over the music of the sanctuary; to arrange tunes for the music; to distribute the parts; and possibly to furnish compositions for that service. Whether, however, they actually composed any of the psalms is uncertain. It would seem that the usual custom was for the author of a psalm or hymn designed for public service to deliver it, when composed, into the hands of these leaders of the music, to be employed by them in the public devotions of the people. Thus, in 1 Chronicles 16:7, it is said, “Then on that day David delivered first this psalm, to thank the Lord, into the hand of Asaph and his brethren.” Compare 2 Chronicles 29:30. See also the notes at the title of Psalms 1:1-6.
It is not absolutely certain, therefore, who composed this psalm. If it was written by David, as seems most probable, it was with some reference to the “sons of Korah;” that is, to those who presided over the music of the sanctuary. In other words, it was prepared especially to be used by them in the sanctuary, in contradistinction from psalms which had a more general reference, or which were composed for no such specific design. If it was written by the sons of Korah, that is, by any one of their number, it was intended by the author, undoubtedly, to illustrate the feelings of a man of God in deep trials; and the language and the allusions were probably drawn from the history of David, as furnishing the best historical instance for such an illustration of feeling. In this case, the language would be that of one placing himself in imagination in such circumstances, and giving in poetic form a description of the emotions which would pass through his mind, as if they were his own - unless it be supposed that one of the sons of Korah, the author of the psalm, had actually experienced such trials himself. I regard the former as the most probable supposition, and consider that the psalm was composed by David specifically for the use of the leaders of the music in the sanctuary. The name of the author may have been omitted because it was so well understood who he was that there was no need to designate him.
There is a very marked resemblance between this psalm and Psalms 43:1-5. They were composed on a similar, if not on the same occasion; and the two might be united so as to constitute one connected psalm. In fact, they are thus united in thirty-seven codices of Kennicott, and in nine of De Rossi. The structure of both is the same, though they are separated in most of the Hebrew manuscripts, in the Septuagint and Latin Vulgate, in the Chaldee Paraphrase, and in the Syriac and Arabic versions.
Psalms 42:1-11 consists of two parts, marked by the “burden” or “refrain” in Psalms 42:5, Psalms 42:11; and if Psalms 43:1-5 were regarded as a part of the same composition, the two would be divided into three parts, marked by the same burden or refrain, in Psalms 42:5, Psalms 42:11; Psalms 43:5. Of these parts the general structure is similar, containing
(a) an expression of trouble, sorrow, despondency; and then
(b) a solemn appeal of the author to his own soul, asking why he should be cast down, and exhorting himself to put his trust in God.
The occasion on which the psalm was composed by David, if he wrote it - or the occasion which was supposed by the author, if that author was one of the sons of Korah - is not certainly known. The psalm agrees best with the supposition that it was in the time of the rebellion of Absalom, when David was driven from his throne, and from the place which he had appointed for the worship of God after he had removed the ark to Mount Zion, and when he was an exile and a wanderer beyond the Jordan, 2 Sam. 15–18.
The psalm records the feelings of one who had been driven away from the place where he had been accustomed to worship God, and his recollections of those sad days when he endeavored to comfort himself in his despondency by looking to God, and by dwelling on his promises.
I. In the first part Psalms 42:1-5 there is
(1) An expression of his desire to hold communion with God - the panting of his soul after God, Psalms 42:1-2.
(2) his tears under the reproaches of his enemies, while they said, “Where is thy God?” Psalms 42:3.
(3) his remembrance of the former days when he had gone with the multitude to the house of God; and the expression of a firm belief, implied in the language used, that he would go again to the house of God, and with them would keep “holyday,” Psalms 42:4. See the notes at that verse.
(4) Self-remonstrance for his despondency, and an exhortation to himself to arouse and to trust in God, with the confident assurance that he would yet be permitted to praise Him, Psalms 42:5.
II. The second part contains a series of similar reflections, Psalms 42:6-11.
(1) a description of his desponding feelings under these circumstances; under the troubles which had rolled over him like waters, Psalms 42:6-7.
(2) an assurance that God would yet manifest His loving-kindness to him; and, on the ground of that, an earnest appeal to God as his God, Psalms 42:8-9.
(3) a further statement of his troubles, as derived from the reproaches of his enemies, as if a sword penetrated even to his bones, Psalms 42:10.
(4) Self-remonstrance again for his despondency, and an exhortation to himself to trust in God (in the same language with which the former part of the psalm closes), Psalms 42:11.
The idea of the whole is, that we should not be overwhelmed or cast down in trouble; that we should confide in God; that we should be cheerful, not desponding; that we should go to God, whatever may happen; and that we should feel that all will yet be well, that all will be overruled for good, and that brighter and happier days will come. How often have the people of God occasion to use the language of this psalm! In a world of trouble and sorrow such as ours is; in a world where the friends of God have often been, and may again be, persecuted; in the anguish which is felt from the ingratitude of children, kindred, and friends; in the distress which springs up in the heart when, from sickness or from any other cause, we are long deprived of the privileges of public worship - in exile as it were from the sanctuary - how imperfect would be a book professing to be a revelation from God, if it did not contain some such psalm as this, so accurately describing the feelings of those who are in such circumstances; so adapted to their needs; so well suited to direct to the true source of consolation! It is this adaptedness of the Bible to the actual requirements of mankind - this accurate description of the feelings which pass through our own mind and heart - this constant direction to God as the true source of support and consolation - which so much endears the Bible to the hearts of the people of God, and which serves, more than any arguments from miracle and prophecy - valuable as those arguments are - to keep up in their minds the conviction that the Bible is a Divine revelation. Psalms like this make the Bible a complete book, and show that He who gave it “knew what is in man,” and what man needs in this vale of tears.