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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 Psa 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 1Ch 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 Psalms have the honour of being ranked among the thirteen Psalms which are acknowledge by him to be genuine Davidic Psalms. Thus, therefore, the alphabetical arrangement found in other Psalms 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 Psa 42:2); and the fact, that in Psa 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 Psalms 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