VII.
In this psalm we seem to be once more on sure historical ground. It not only breathes the feeling when David and his outlawed band were daily evading the snares laid for them by the emissaries of Saul, but seems to refer pointedly to the two most romantic incidents in all that romantic period — the chance encounter of pursuer and pursued — (1) In the cave of En-gedi, and (2) (if the two are not the same under different versions) in the wilderness of Ziph (1 Samuel 24, 26); at least, no other recorded incidents in the Bible fall in so well, either as occasions for its composition or as illustrations of its spirit. We can readily imagine that there would be men (for Cush, see Note to Title) who would turn even these instances of David’s generosity into occasions of slander against him, and that he would pour out his feelings under such unjust provocation in song.
Against this must be noticed the occurrence of an Aramaic word in Psalms 7:9, which suggests a late date for the poem.
The poetical form is uncertain.
Title. — Shiggaion is either a variation of Higgaion (Psalms 9:16), and means generally, as the LXX. render it, “poem or psalm;” or it is derived from shâgah, to wander, and denotes a wild passionate ode — cantio erratica, as some of the old expositors describe it. The Greeks called such a composition Dithyrambic. Gesenius makes it simply “a song of praise.” “Cush,” or Kush, cannot be identified. The mistake of the LXX. in writing it Chus has led some to connect it with the Hebrew name for an Ethiopian, and to regard it as a nickname, “the blackamoor.” The fact of the tribal relation with Saul is quite enough to allow us to conjecture that Cush was some person high in favour with that monarch, servilely eager to injure David.
Concerning the words. — This is better than the margin, “business,” since Psalms 7:4 shows that the author’s indignation arose from some calumny of him.