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The didactic Psa 1:1-6 which began with אשׁרי, is now followed by a prophetic Psalm, which closes with אשׁרי. It coincides also in other respects with Psa 1:1-6, but still more with Psalms of the earlier time of the kings (Psa 59:9; Psa 83:3-9) and with Isaiah's prophetic style. The rising of the confederate nations and their rulers against Jahve and His Anointed will be dashed to pieces against the imperturbable all-conquering power of dominion, which Jahve has entrusted to His King set upon Zion, His Son. This is the fundamental thought, which is worked out with the vivid directness of dramatic representation. The words of the singer and seer begin and end the Psalm. The rebels, Jahve, and His Anointed come forward, and speak for themselves; but the framework is formed by the composer's discourse, which, like the chorus of the Greek drama, expresses the reflexions and feelings which are produced on the spectators and hearers. The poem before us is not purely lyric. The personality of the poet is kept in the background. The Lord's Anointed who speaks in the middle of the Psalm is not the anonymous poet himself. It may, however, be a king of the time, who is here regarded in the light of the Messianic promise, or that King of the future, in whom at a future period the mission of the Davidic kingship in the world shall be fulfilled: at all events this Lord's Anointed comes forward with the divine power and glory, with which the Messiah appears in the prophets.
The Psalm is anonymous. For this very reason we may not assign it to David (Hofm.) nor to Solomon (Ew.); for nothing is to be inferred from Act 4:25, since in the New Testament “hymn of David” and “psalm” are co-ordinate ideas, and it is always far more hazardous to ascribe an