IX.
In the LXX. and Vulg., Psalms 9:10 are combined into one. This arrangement appears the more ancient of the two, and possibly is original; for (1) Psalms 10, 33 are the only compositions of the original Davidic collection (Psalms 3-41) without a title. The absence in each case is accounted for in the same way — Psalms 33 had apparently, by a mistake, been joined to Psalms 32 before the ‘collection was made; Psalms 9:10 had not been then separated. (2) The whole piece was originally alphabetical. This acrostic arrangement was either in the beginning very imperfect, or has been deranged by some later hand. The latter is most probable, as it is not by any means likely that two pieces, each with an imperfect attempt at a structure as easy in accomplishment as fanciful in design, should have been first composed, then brought side by side in a collection, and finally combined; whereas a later writer, anxious to adopt to his purpose some earlier work, might either have disregarded the alphabetical arrangement, or possibly have overlooked it. For the details of the arrangement, see below; and for the alphabetical psalms generally, see General Introduction. (3) These two psalms have in common certain characteristic turns of expression, which occur rarely elsewhere.
The Hebrew division, no doubt, is based on the fact, that while at first sight Psalms 9 seems to be a thanksgiving for victory, breathing only triumph and hope, Psalms 10 is a prayer against violence and blood. But Psalms 9:13 is quite in the tone of Psalms 10 And again, Psalms 10:12-13 gives an exact echo of Psalms 9:19-20. From Psalms 9:12, indeed, Psalms 10 is as triumphant and hopeful in its tone as Psalms 9. Probably, when used by the later writer, the clouds had darkened round Israel, or round himself personally; for it is difficult to decide whether the psalms are expressions of individual or national feeling. But he still found that he could adopt the victorious ending as well as the confident beginning. The acrostic proceeds regularly from aleph to gimmel (Psalms 9:1-6); daleth is wanting. Four verses (8-11) begin with vaw, and the arrangement proceeds regularly to yod (Psalms 9:18). For caph, which should succeed, koph is substituted (Psalms 9:20); and the arrangement is taken up correctly with lamed, in Psalms 10:1. Here it suddenly ceases. Mem, nun, samech, ayin, pe, and tsaddi are wanting; but koph appears again in Psalms 9:12, and the other letters duly succeed to the end of the psalm. The authorship and date of the combined psalms cannot be ascertained. Their redaction for congregational use must be referred to post-exile times.
Title. — For the “chief musician,” see Introduction to Psalms 4.
Upon Muth-labben. — Al muth-labben. Of the perplexing titles, this is one of the most perplexing. No conjecture of the meaning of the Hebrew as it stands is satisfactory. The text must be emended.
It is evident from the LXX. rendering, “on account of the mysteries of the son,” that they had before them a different text from ours. Our text has, therefore, probably become corrupted. Now Psalms 46 has as part of its title libeney Kôrah al-alamôth; and if these words were to be transposed, and al omitted from the beginning, and y from the end, we should have the same Hebrew letters as in Almuth-labben. Neither assumption ‘is difficult to suppose; and though the emendation does not remove us from the region of conjecture, it narrows it. For the meaning of al-alamôth, see Introduction to Psalms 46