Section 1
"Author of the psalm." This psalm is ascribed to David, not only in the title, but in all the versions, and there is no reason to doubt the correctness of this. It would not be difficult to show from its contents that the sentiments and style of composition are such as accord with the other compositions of David.
Section 2
"Occasion on which the psalm was composed." On this point nothing is intimated expressly in the psalm, unless it be in the title, "To the chief Musician upon Muth-labben." The meaning of and that it was composed on his death. Others, as Rudinger, suppose that it is a psalm of thanksgiving on occasion of the victory over Absalom, and the suppression of his rebellion by his death: a harsh and unnatural supposition, as if any father, in any circumstances, could compose a psalm of praise on occasion of the death of it son. Moeller supposes that it was composed on occasion of a victory over the Philistines by David; Ferrand, who unites this psalm with the following, supposes that the whole refers to the times of the captivity in Babylon, and is a triumphal song of the people over their enemies; and Venema, who also thinks that these two psalms should be united, supposes that Ps. 9:1-18 refers to David, and to his deliverance from all his enemies, and the remainder to the times of the Maccabees, and the deliverance from the persecutions under Antiochus Epiphanes. Dr. Horsley styles the psalm "thanksgiving for the extirpation of the Atheistical faction, promised in Ps. 10," and supposes that the order should be reversed, and that the whole refers to some great deliverance - either the "overthrow of the Babylonian empire by Cyrus, or the defeat of Haman's plot."
The Jewish writers, Jarchi and Aben Ezra, suppose that it was composed on occasion of the defeat and death of some foreign prince. From this variety of views, none of which seem to rest on certain historical grounds, it appears probable that the exact occasion on which the psalm was composed cannot now be ascertained in such a way as to leave no ground for doubt. The only indications of the occasion on which it this will be considered in another part of the introduction to the psalm (Section 4). it will be seen there that nothing is determined by that title in regard to the origin of the psalm, or the time when it was composed. Neither is there any certain tradition which will determine this, and most that has been written on this point has been mere conjecture, or has arisen out of some interpretation of the enigmatical title; "upon Muthlabben." Some have supposed that the word labben refers to some foreign king or prince slain by David, and that the psalm was composed on his death. Others, following the Targum, or Aramaic Paraphrase (see section 4), suppose that the person referred to was Goliath of Gath, was written must be found, if at all, in the psalm itself. In the psalm we find the following things, which may, perhaps, be all that is necessary to enable us to understand it.
(a) It was composed in view of "enemies" of the writer, or foes with whom he had been engaged, Psalm 9:3 : "When mine enemies are turned back, they shall fall and perish at thy presence." Compare Psalm 9:6, Psalm 9:13, Psalm 9:19-20.
(b) These were foreign enemies, or those who are called pagan, that is, belonging to idolatrous nations, Psalm 9:5 : "Thou hast rebuked the heathen." Compare Psalm 9:15, Psalm 9:19.
(c) They were desolating foes - invading foes - those who laid a land waste in their marches, Psalm 9:6 : "Thou hast destroyed cities: their memorial is perished with them."
(d) The writer had achieved a victory over them, and for this he celebrated the praises of God for his interposition, Psalm 9:1-2, Psalm 9:10-11, Psalm 9:15. This victory thus achieved was such as to make him certain of ultimate complete triumph.
(e) Yet he was still surrounded by enemies, and he still asks God's merciful interposition in his behalf, Psalm 9:13 : "Have mercy upon me, O Lord; consider my trouble which I suffer of them that hate me, thou that liftest me up from the gates of death." Compare Psalm 9:18-20.
David was not unfrequently in his life in circumstances such as arc here supposed, and it is not possible now to determine the exact occasion to which the psalm alludes.
Section 3
The contents of the psalm. The psalm erabraces two leading subjects - one pertaining to the past and the other to the future, both illustrating the character of God, and both giving occasion to the writer to express iris confidence in God. The one relates to deliverance already granted; the other to deliverance still hoped for in his troubles.
I. The first relates to deliverance from trouble, or conquest over foes, already granted, and to the occasion which that furnished for praising God, and for pious reflections on his character.
(1) The psalmist expresses his thanks to God, or pours out the language of praise for mercies that have been received. Psalm 9:1-2.
(2) The particular reason for this is stated; that God had enabled him to overcome many of his enemies - the pagan that had risen up against him, who had now been subdued, Psalm 9:3-6.
(3) this gives occasion for pious reflections on him character of God, as one who would endure forever; as one who had set up his throne to do judgment or right; as one who would be a refuge for the oppressed; as one who might; be confided in by all who knew him; as one who would remember the foes of the righteous, and who would not forget the cry of the humble, Psalm 9:7-12. The principal truth taught in this part of the psalm is, that God is a refuge and help for those who are in trouble and danger; that all such may put their trust in Him; and that He will interpose to save them.
II. The second part, constructed in a manner similar to the former, relates to the future, and to what the psalmist hoped still from God, in view of the character which lie had evinced in his former troubles, Psalm 9:18-20.
(1) The psalmist still needs help, Psalm 9:13-14. He still has trouble from them that hate him, and he calls upon God still to interpose and lift him up from the gates of death, that he may praise him.
(2) He refers to the fact that; the pagan, who surrounded him as his foes, had sunk down into the pit which they hall made for others; and that their foot was taken in the net which they had hid: referring either to what had occurred in the past as the foundation of his present hope, or being so certain that this would be done that he could speak of it as if it were now actually accomplished, Psalm 9:15.
(3) This also, as in the former case, gives occasion for pious reflections on the character of God, and on the fact that he would interpose to destroy the wicked, and to protect the righteous, Psalm 9:16-18.
(4) In view of all this, the psalmist calls on God still to interpose - to manifest the same character which He had formerly done, by protecting him, and by overcoming his foes, Psalm 9:19-20. The principal truth taught in this part of the psalm is, that the wicked will be destroyed; that they as contradistinguished from the righteous, can hope for no protection from God, but will be cut down and punished.
The condition of the author of the psalm then was, that he had been surrounded by foes, and that God had interposcd in his behalf, giving him occasion for praise and thanksgiving; that he was still surrounded by formidable inemies, yet he felt assured that God would manifest the same character which he had done formerly, and that he might, therefore, call upon Him to interpose and give him occasion for future praise.
Section 4
"The title of the psalm." The psalm is directed to "the chief Musician upon Muth-labben." In regard to the phrase "chief Musician," see the notes at the title to Psalm 4:1-8. The phrase, "upon Muthlabben," occurs nowhere else, and very different explnations have been given of its meaning. The Targum, or Aramaic Paraphrase, renders it "To be sung over the man that went out between the camps;" that is, Goliath of Gath; and the author of the Aramaic Paraphrase, evidently supposed it was written on the occasion of his death. The Latin Vulgate renders it, "Proverbs occultis filii;" and so the Septuagint, ὑπὲρ τῶν κρυφίων τοῦ ὑιοῦ huper tōn kruphiōn tou huiou - "for the secret things (mysteries) of the Son:" but what idea was attached to those words it is impossible now to determine. The Syriac has this title: "Concerning the Messiah taking his throne and kingdom, and prostrating his foe." Luther renders it, "A Psalm of David concerning a beautiful youth" - von der schonen Jugend. Substantially so also DeWette; Nach der Jungfernweise, den Beniten. Tholuck renders it, "To the chief Musician, after the melody 'Death to the Son' (Tod dem Sohne), a Psalm of David."
After this variety in the explanation of the title, it is certainly not easy to determine the meaning. The most probable opinions may be regarded as two.
(1) That which supposes that it was a melody designed to be sung by females, or with female voices: literally according to this interpretation, "after the manner of virgins;" that is, with the female voice treble, soprano, in opposition to the deeper voice of men. Compare 1-Chronicles 15:20. Forkel, in his History of Musick (Gesch. der Musik, 1,142), understands it as meaning virgin measures, like the German Jungfrauweis. Gesenius, who supposes that it refers to the female voice or treble, regards the title - על־מות ‛al-mûth - "upon Muth," as being the same as עלמות על ‛al ‛ălâmôth, in Psalm 46:1-11, "Upon Alamoth," and supposes that it is derived from עלמה ‛almâh - a virgin.
(2) The other opinion is that which supposes that the title is the beginning of some old and well-known melody in common use, and that the idea is, that this psalm was to be sung to that melody. That melody was, as expressed by Tholuck and others, a melody on the death of a son, and was set to some hymn that had been composed with reference to such an event. This is founded on the supposition that the national melodies had become in some degree fixed and unchangeable, or that certain melodies or tunes originally composed for a particular occasion had become popular and that the melody would be affixed to new pieces of music. This is common in the East; and, indeed, it is common in all countries. See this idea illustrated in Rosenmuller (Morgenland, No. 800). The meaning, as thus expressed, is, "According to the manner (or, to the air) of the song (or poem called Death to the Son." Thus understood, it does not refer to the death of Absalom (as some have supposed), since there is nothing in the psalm that would correspond with such a supposition; nor to the death of Goliath, as the Targum supposes; but the composition was to be sung to the well-known air, or tune, entitled "Death to the Son." But when that air was composed, or on what occasion, there is of course no possibility now of ascertaining; and equally impossible is it to recover the air, or tune. The literal meaning of the title is על ‛al, on, or according to - מות mûth, death - לבן labên, to the son.

David praises God for the benefits which he has granted to Israel in general, and to himself in particular, Psalm 9:1-6. He encourages himself in the Lord, knowing that he will ever judge righteously, and be a refuge for the distressed, Psalm 9:7-10. He exhorts the people to praise God for his judgments, Psalm 9:11, Psalm 9:12; prays for mercy and support; and thanks God for his judgments executed upon the heathen, Psalm 9:13-16. He foretells the destruction of the ungodly, Psalm 9:17; prays for the poor and needy, and against their oppressors, Psalm 9:18-20.
The inscription to this Psalm in the Hebrew text is, To the chief Musician upon Muth-lab-ben, A Psalm of David. The Chaldee has, "A Song of David, to be sung concerning the Death of the Strong Man, (or champion, דגברא degabra), who went out between the Camps," that is, Goliath, on account of whose defeat this Psalm has been supposed by many to have been composed. The date in the margin is several years posterior to the death of Goliath. See the introduction.
The Vulgate: A Psalm of David, for the end; concerning the secrets of the Son."
The Septuagint and Aethiopic are the same with the Vulgate.
The Syriac: "A Psalm of David concerning Christ's receiving the throne and the kingdom, and defeating his enemies.
The Arabic: "Concerning the mysteries of the Son, as to the glory of Christ, his resurrection, and kingdom, and the destruction of all the disobedient."
Houbigant causes the Hebrew title to agree with the Vulgate, Septuagint, and Ethiopic, by uniting על מות al muth, "concerning the death," into the word עלמות alamoth, which signifies secret, or hidden things. "To the chief musician, or conqueror; secrets concerning the Son: A Psalm of David.
About a hundred MSS. and printed editions unite the words as above. Some translate עלמות alamoth, "concerning the youth or infancy; the infancy of the Son." Several of the fathers have on this ground interpreted it, "concerning the incarnation of our Lord." Indeed the title and the Psalm have been so variously understood, that it would be as painful as it would be useless to follow the different commentators, both ancient and modern, through all their conjectures.

INTRODUCTION TO PSALM 9
To the chief Musician upon Muthlabben, a Psalm of David. Some, take "muthlabben" to be the name of the tune to which this psalm was sung, and to design the same note which we call the counter-tenor: others think, that "upon muth", or "almuth", are but one word, and the same as "alamoth", Psalm 45:1, title; and that it is the name of a musical instrument; and that "Ben" in "labben", is the name of the chief musician, who was over that sort of instrument, to whom the psalm is inscribed (l); and indeed R. Song Jarchi says, that he had seen in the great Masorah these words as one; and so it seems the Septuagint interpreters read them, who render them, "for the hidden things of the son"; and the Arabic version, "concerning the mysteries of the son": and Ben is a name, it is said, of one of the singers, whose kindred and companions were appointed with psalteries on "alamoth", 1-Chronicles 15:18. And so then the title runs thus; "to the chief musician on alamoth, [even to] Ben". But others are of opinion that the subject matter or occasion of the psalm is designed by this phrase; and that as "muth" signifies "death", the death of some person is intended, on account of which this psalm was composed; some say Nabal, seeing the word "Laban", inverted, or read backwards, is "Nabal" (m), whose death affected David; as appears from 1-Samuel 25:38. Others, that it was one of the kings of the Gentiles, whose name was Labben, and is mentioned nowhere else, who fought with David, and whom he slew, and upon his death penned this psalm (n). Others, Goliath the Philistine (o), who is called, 1-Samuel 17:4. , which we render "champion" and dueller, one of two that fight together. But rather the reason of the name is, as given by the Jewish commentators (p), because he went and stood between the two camps of the Philistines and the Israelites; and so the Chaldee paraphrase renders the title of this psalm,
"to praise, concerning the death of the man who went out between the camps, a song of David.''
And so the psalm itself, in the Targum, and by other Jewish writers, is interpreted of Goliath and the Philistines, and of the victory over them; and which does not seem amiss. Arama interprets it of the death of Saul. Others interpret Almuth Labben "of the death of the son"; and understand it of the death of Absalom, the son of David (q): but David's passion moved in another way, not in joy, but in grief, 2-Samuel 18:33; nor is there anything in the psalm that can be referred unto it. Others, of the death of the son of God; but of that there is not the least hint in the psalm. Theodoret interprets it of Christ's victory over death by dying, which was a mystery or hidden thing. Rather, I should think, it might be interpreted of the death of the son of perdition, the man of sin and his followers; who may be typified by Goliath, and the Philistines: and so, as Ainsworth observes, as the former psalm was concerning the propagation of Christ's kingdom, this is of the destruction of antichrist. And Jerom, long ago said, this whole psalm is sung by the prophet in the person of the church, concerning antichrist: and to this agrees the Syriac version; which makes the subject of the psalm to be,
"concerning Christ, taking the throne and kingdom, and routing the enemy.''
And also the Arabic version, according to which the argument of the psalm is,
"concerning the mysteries of the Son, with respect to the glory of Christ, and his resurrection and kingdom, and the destruction of all the children of disobedience.''
To which may be added, that this psalm, according to R. Song Jarchi, belongs to the time to come, to the days of the Messiah, and the future redemption by him.
(l) Kimchi & Abendana in Miclol Yophi in loc. (m) So some in Jarchi & Aben Ezra in loc. (n) Donesh Hallevi in ibid. (o) Kimchi & Ben Melech in loc. (p) Jarchi, Kimchi, Levi Ben Gersom, R. Isaiah, & Ben Melech in 1 Sam. xvii. 4. (q) So some in Jarchi in loc.

(Psalm 9:1-10) David praises God for protecting his people.
(Psalm 9:11-20) And for cause to praise him.

Hymn to the Righteous Judge after a Defeat of Hostile Peoples
Just as Ps 7 is placed after Psalm 6:1-10 as exemplifying it, so Ps 9 follows Psalm 8:1-9 as an illustration of the glorifying of the divine name on earth. And what a beautiful idea it is that Psalm 8:1-9, the Psalm which celebrates Jahve's name as being glorious in the earth, is introduced between a Psalm that closes with the words "I will sing of the name of Jahve, the Most High" (Ps 7:18) and one which begins: "I will sing of Thy name, O Most High!" (Psalm 9:3).
The lxx translates the inscription על־מות לכן by ὑπὲρ τῶν κρυφίων τοῦ υἱοῦ (Vulg. pro occultis filii) as though it were על־עלמות. Luther's rendering is still bolder: of beautiful (perhaps properly: lily-white) youth. Both renderings are opposed to the text, in which על occurs only once. The Targum understands בן of the duellist Goliath (= אישׁ הבּנים); and some of the Rabbis regard לבן even as a transposition of נבל: on the death of Nabal. Hengstenberg has revived this view, regarding נבל as a collective designation of all Nabal-like fools. All these and other curious conceits arise from the erroneous idea that these words are an inscription referring to the contents of the Psalm. But, on the contrary, they indicate the tune or melody, and that by means of the familiar words of the song, - perhaps some popular song, - with which this air had become most intimately associated. At the end of Psalm 48:1-14 this indication of the air is simply expressed by על־מוּת. The view of the Jewish expositors, who refer לבּן to the musician בּן mentioned in 1-Chronicles 15:18, has, therefore, some probability in its favour. But this name excites critical suspicion. Why may not a well-known song have begun מוּת לבּן "dying (is) to the son...," or (if one is inclined to depart from the pointing, although there is nothing to render this suspicious) מות לבּן "Death makes white?"
Even Hitzig does not allow himself to be misled as to the ancient Davidic origin of Ps 9 and 10 by the fact of their having an alphabetical arrangement. These two Psalm have the honour of being ranked among the thirteen Psalm which are acknowledge by him to be genuine Davidic Psalm. Thus, therefore, the alphabetical arrangement found in other Psalm cannot, in itself, bring us down to "the times of poetic trifling and degenerated taste." Nor can the freedom, with which the alphabetical arrangement is handled in Ps 9 and 10 be regarded as an indication of an earlier antiquity than these times. For the Old Testament poets, even in other instances, do not allow themselves to be fettered by forms of this character (vid., on Ps 145, cf. on Psalm 42:2); and the fact, that in Psalm 9:1 the alphabetical arrangement is not fully carried out, is accounted for otherwise than by the license in which David, in distinction from later poets, indulged. In reality this pair of Psalm shows, that even David was given to acrostic composition. And why should he not be? Even among the Romans, Ennius (Cicero, De Divin. ii. 54 ֗111), who belongs not to the leaden, but to the iron age, out of which the golden age first developed itself, composed in acrostics. And our oldest Germanic epics are clothed in the garb of alliteration, which Vilmar calls the most characteristic and most elevated style that the poetic spirit of our nation has created. Moreover, the alphabetical form is adapted to the common people, as is evident from Augustine's Retract. i. 20. It is not a paltry substitute for the departed poetic spirit, not merely an accessory to please the eye, an outward embellishment - it is in itself indicative of mental power. The didactic poet regards the array of the linguistic elements as the steps by which he leads his pupils up into the sanctuary of wisdom, or as the many-celled casket in which he stores the pearls of the teachings of his wisdom. The lyric writer regards it as the keys on which he strikes every note, in order to give the fullest expression to his feelings. Even the prophet does not disdain to allow the order of the letters to exert an influence over the course of his thoughts, as we see from Nahum 1:3-7.
(Note: This observation is due to Pastor Frohnmeyer of Wrtemberg.)
Therefore, when among the nine
(Note: The Psalterium Brunonis (ed. by Cochleus, 1533) overlooks Ps 9-10, reckoning only seven alphabetical Psalm.)
alphabetical Psalm (Psalm 9:1, Psalm 10:1, Psalm 25:1, Psalm 34:1, Psalm 37:1, Psalm 111:1, Psalm 112:1, Psalm 119:1, Psalm 145:1) four bear the inscription לדוד (Psalm 9:1, Psalm 25:1, Psalm 34:1, Psalm 145:1), we shall not at once regard them as non-Davidic just because they indicate an alphabetical plan which is more or less fully carried out.
This is not the place to speak of the relation of the anonymous Ps 10 to Ps 9, since Ps 9 is not in any way wanting in internal roundness and finish. It is thoroughly hymnic. The idea that Psalm 9:14 passes from thanksgiving into supplication rests on a misinterpretation, as we shall presently see. This Psalm is a thoroughly national song of thanksgiving for victory by David, belonging to the time when Jahve was already enthroned on Zion, and therefore, to the time after the ark was brought home. Was it composed after the triumphant termination of the Syro-Ammonitish war? - The judgment of extermination already executed, Psalm 9:8., harmonises with what is recorded in 2-Samuel 12:31; and the גוים, who are actually living within the borders of Israel, appear to be Philistines according to the annalistic passage about the Philistine feuds, 2-Samuel 21:15., cf. Psalm 8:1 in connection with 1-Samuel 13:6.