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Luther's version, “David's mirror of a monarch.” Can there be any more appropriate motto for it than what is said of Jahve's government in Psa 99:4? In respect of this passage of Psa 99:1-9, to which Psa 100:1-5 is the finale, Psa 101:1-8 seems to be appended as an echo out of the heart of David. The appropriateness of the words לדוד מזמור (the position of the words is as in Psa 24:1-10; 40; 109:1-110:7; 139) is corroborated by the form and contents. Probably the great historical work from which the chronicler has taken excerpts furnished the post-exilic collector with a further gleaning of Davidic songs, or at least songs that were ascribed to David. The Psalm before us belongs to the time during which the Ark was in the house of Obed-Edom, where David had left it behind through terror at the misfortune of Uzzah. David said at that time: “How shall the Ark of Jahve come to me (the unholy one)?” 2Sa 6:8. He did not venture to bring the Ark of the Fearful and Holy One within the range of his own house. In our Psalm, however, he gives utterance to his determination as king to give earnest heed to the sanctity of his walk, of his rule, and of his house; and this resolve he brings before Jahve as a vow, to whom, in regard to the rich blessing which the Ark of God diffuses around it (2Sa 6:11.), he longingly sighs: “When wilt Thou come to me?!” This contemporaneous reference has been recognised by Hammond and Venema. From the fact that Jahve comes to David, Jerusalem becomes “the city of Jahve,” Psa 101:8; and to defend the holiness of this the city of His habitation in all faithfulness, and with all his might, is the thing to which David here pledges himself.
The contents of the first verse refer not merely to the Psalm that follows as an announcement of its theme, but to David's whole life: graciousness and right, the self-manifestations united ideally and, for the king who governs His people, typically in Jahve, shall be the subject of his song. Jahve, the primal source of graciousness and of right, it shall be, to whom he consecrates his poetic talent, as also his playing upon the harp. חסד is condescension which flows from the principle of free love, and משׁפּט legality which binds itself impartially and uncapriciously to the rule (norm) of that which is right and good. They are two modes of conduct, mutually tempering