This is another psalm which purports to be a psalm of David. The propriety of ascribing it to him cannot be called in question. It is addressed to "the chief Musician" (see the notes to Introduction of Psalm 4:1-8). Though relating to an individual case, and to the particular trials of an individual, yet it had much in it that would be appropriate to the condition of others in similar circumstances, and it contained, moreover, such general sentiments on the subject of religion, that it would be useful to the people of God in all ages. The expression in the title, "Al-taschith," rendered in the margin, "Destroy not," and by the Septuagint, μή διαφθείρης mē diaphtheirēs (destroy not), and in the same manner in the Latin Vulgate, occurs also in the titles of the two following psalms, and of the seventy-fifth. It is regarded by some as a musical expression - and by others as the first words of some well-known poem or hymn, in order to show that this psalm was to be set to the music which was employed in using that poem; or, as we should say, that the "tune" appropriate to that was also appropriate to this, so that the words would at once suggest the tune, in the same manner as the Latin designations De Profundis, Miserere, Non Nobis Domine, Te Deum, etc., indicate well-known tunes as pieces of music - the tunes to which the hymns beginning with those words are always sung.
The author of the Chaldee Paraphrase regards this psalm as belonging to that period of David's history when he was under a constant necessity of using language of this nature, or of saying "Destroy not," and as therefore suited to all similar emergencies. The language seems to be derived from the prayer of Moses, Deuteronomy 9:26; "I prayed therefore unto the Lord, and said, O Lord God, destroy not thy people," etc. This very expression is found in 1-Samuel 26:9, in a command which David addressed to his followers, and it "may" have been a common expression with him. On the meaning of the word "Michtam" in the title, see the notes at the Introduction to Psalm 16:1-11. It is found in the three following psalms - in the two former of them, in connection with the phrase "Al-taschith, showing that probably those psalms had reference to the same period of David's life.
When he fled from Saul in the cave - Possibly the cave of Adullam 1-Samuel 22:1, or that of En-gedi 1-Samuel 24:1-3. Or, the word may be used in a "general" sense as referring not to any "particular" cave, but to that period of his life when he was compelled to flee from one place to another for safety, and when his home was "often" in caves.
The psalm consists of the following parts:
I. An earnest prayer of the suffering and persecuted man, with a full expression of confidence that God would hear him, Psalm 57:1-3.
II. A description of his enemies, as people that resembled lions; people, whose souls were inflamed and infuriated; people, whose teeth were like spears and arrows, Psalm 57:4.
III. The expression of a desire that God might be exalted and honored, or that all these events might result in his honor and glory, Psalm 57:5.
IV. A further description of the purposes of his enemies, as people who had prepared a net to take him, or had digged a pit into which he might fall, but which he felt assured was a pit into which they themselves would fall, Psalm 57:6.
V. A joyful and exulting expression of confidence in God; an assurance that he would interpose for him; a determination to praise and honor him; a desire that God might be exalted above the heaven, and that his glory might fill all the earth - forgetting his own particular troubles, and pouring out the desire of his heart that "God" might be honored whatever might occur to "him."

David cries to God for mercy, with the strongest confidence of being heard, Psalm 57:1-3; he describes his enemies as lions, Psalm 57:4; thanks God for his deliverance, Psalm 57:5; and purposes to publish the praises of the Lord among his people, Psalm 57:6-11.
The title is, To the chief Musician, Al-taschith, (destroy not), a golden Psalm of David, (or one to be engraven), where he fed from Saul in the cave. It is very likely that this Psalm was made to commemorate his escape from Saul in the cave of En-gedi, where Saul had entered without knowing that David was there, and David cut off the skirt of his garment. And it is not improbable that, when he found that Saul was providentially delivered into his hand, he might have formed the hasty resolution to take away his life, as his companions counselled him to do; and in that moment the Divine monition came, אל תשצת al tascheth! Destroy not! lift not up thy hand against the Lord's anointed! Instead, therefore, of taking away his life, he contented himself with taking away his skirt, to show him that he had been in his power. When, afterwards, he composed the Psalm, he gave it for title the words which he received as a Divine warning. See the history 1 Samuel 24 (note): See also my note upon the fourth verse of that chapter, 1-Samuel 24:4 (note).

INTRODUCTION TO PSALM 57
To the chief Musician, Altaschith, Michtam of David, when he fled from Saul in the cave. Some think the words "Altaschith" are the beginning of a song, to the tune of which this was set, as Aben Ezra; others, that they are taken from Deuteronomy 9:26; they signifying "destroy not" (g); others, that they refer to what David said to Abishai, when he would have slain Saul, "destroy him not", 1-Samuel 26:9; but that was an affair that happened after this psalm was penned: they seem rather to be words which were frequently used by David in the time of his distress; who often said unto the Lord, either in an ejaculatory way, or vocally, or both, "do not destroy [me]", or "suffer [me] to be destroyed"; of which he was in great danger, as appears from Psalm 57:4; and therefore prefixed these words in the title of the psalm, in memorial of the inward anguish of his mind, and of what his mouth then uttered; and to this agrees the Chaldee paraphrase,
"concerning the trouble at the time when David said, do not destroy.''
Of the word "michtam", See Gill on Psalm 16:1, title. The occasion and time of writing this psalm were David's fleeing from Saul in the cave; or rather "into" (h) the cave, as it should be rendered; for it was after that Saul was gone that David and his men came out of the cave; but he fled hither for fear of Saul; and while he was here, Saul, with three thousand men, came to the mouth of the cave, and he himself went into it; which must have put David and his men into a very great panic, there being no retreat, nor any human possibility of an escape, but must expect to fall into the hands of the enemy, and be cut to pieces at once. This cave was in Engedi, 1-Samuel 24:1; of which Le Bruyn (i) says, it is on the top of a very high hill, and is extremely dark; which agrees with the account in the above place, since it was on the rocks of the wild goats Saul sought David, and coming to the sheepcotes there, went into the cave where David was.
(g) "ne disperdas", V. L. Pagninus, Montanus, Vatablus; "ne perdas", Tigurine version, Musculus, Junius & Tremellius, Piscator, Cocceius, Gejerus, Michaelis (h) "in speluncam", V. L. Pagninus, Montanus, &c. "in specum", Tigurine version. (i) Voyage to the Levant, ch. 51. p. 199.

(Psalm 57:1-6) David begins with prayer and complaint.
(Psalm 57:7-11) He concludes with joy and praise.

Before Falling Asleep in the Wilderness
The Psalm that are to be sung after the melody אל־תּשׁחת (Psalm 57:1-11, Psalm 58:1-11, 59 Davidic, 75 Asaphic) begin here. The direction referring to the musical execution of the Psalm ought properly to be אל־תשׁחת (אל); but this is avoided as being unmelodious, and harsh so far as the syntax is concerned. The Geneva version is correct: pour le chanter sur Al taschchet. There is no actual reference in the words to Deuteronomy 9:26, or 1-Samuel 26:9 (why not also to Isaiah 65:8?).
The historical inscription runs: when he fled from Saul, in the cave. From the connection in the history from which this statement is extracted, it will have been clear whether the Psalm belongs to the sojourn in the cave of Adullam (1 Sam. 22) or in the labyrinthine cave upon the alpine heights of Engedi, "by the sheep-folds" (1 Sam. 24), described in Van de Velde's Journey, ii. 74-76.
How manifold are the points in which these Psalm belonging to the time of Saul run into one another! Psalm 57:1-11 has not merely the supplicatory "Be gracious unto me, Elohim," at the beginning, but also שׁאף applied in the same way (Psalm 57:4; Psalm 56:2.), in common with Psalm 56:1-13; in common with Ps 7, כבודי = נפשׁי (Psalm 57:9; Psalm 7:6); the comparison of one's enemies to lions and lionesses (Psalm 57:5; Psalm 7:3); the figure of the sword of the tongue (Psalm 57:5; Psalm 59:8, cf. Psalm 52:4); with Psalm 52:1-9 the poetical expression הוות (Psalm 57:2; Psalm 52:4); with Ps 22 the relation of the deliverance of the anointed one to the redemption of all peoples (Psalm 57:10; Psalm 22:28.). Also with Psalm 36:1-12 it has one or two points of contact, viz., the expression "refuge under the shadow of God's wings" (Psalm 57:2, Psalm 36:8), and in the measuring of the mercy and truth of God by the height of the heavens (Psalm 57:11, Psalm 36:6). Yet, on the other hand, it has a thoroughly characteristic impress. Just as Psalm 56:1-13 delighted in confirming what was said by means of the interrogatory הלא (Psalm 57:9, 14), so Psalm 57:1-11 revels in the figure epizeuxis, or an emphatic repetition of a word (Psalm 57:2, Psalm 57:4, Psalm 57:8, Psalm 57:9). Psalm 108:1-13 (which see) is a cento taken out of Psalm 57:1-11 and Psalm 60:1-12.
The strophe-schema of Psalm 57:1-11 is the growing one: 4. 5. 6; 4. 5. 6.
(Note: The Syriac version reckons only 29 στίχοι (fetgome); vid., the Hexaplarian version of this Psalm taken from Cod. 14,434 (Add. MSS) in the British Museum, in Heidenheim's Vierteljahrsschrift, No. 2 (1861).)
Here also the Michtam is not wanting in its prominent favourite word. A refrain of a lofty character closes the first and second parts. In the first part cheerful submission rules, in the second a certainty of victory, which by anticipation takes up the song of praise.