only to the earlier Psalms, at once dissuades one from coming down beyond the time of Jehoshaphat or Hezekiah. Moreover, we have here a manifest instance that even Psalms which are composed upon the model of, or are variations of Davidic Psalms, were without any hesitation inscribed לדוד.
Beside the critical problem, all that remains here for the exegesis is merely the discussion of anything peculiar in the deviations in the form of the text.
Psalm 53
Verse 1
The well-grounded asyndeton השׁהיתוּ התעיבוּ is here dismissed; and the expression is rendered more bombastic by the use of עול instead of עלילה. עול (the masculine to עולה), pravitas, is the accusative of the object (cf. Eze 16:52) to both verbs, which give it a twofold superlative attributive notion. Moreover, here השׁחיתו is accented with Mugrash in our printed texts instead of Tarcha. One Mugrash after another is contrary to all rule.
Verse 2
In both recensions of the Psalm the name of God occurs seven times. In Psa 14:1-7 it reads three times Elohim and four times Jahve; in the Psalm before us it is all seven times Elohim, which in this instance is a proper name of equal dignity with the name Jahve. Since the mingling of the two names in Psa 14:1-7 is perfectly intentional, inasmuch as Elohim in Psa 53:1, Psa 53:2 describes God as a Being most highly exalted and to be reverentially acknowledged, and in Psa 52:5 as the Being who is present among men in the righteous generation and who is mighty in their weakness, it becomes clear that David himself cannot be the author of this levelling change, which is carried out more rigidly than the Elohimic character of the Psalm really demands.
Verse 3
Instead of הכּל, the totality, we have כּלּו, which denotes each individual of the whole, to which the suffix, that has almost vanished (Psa 29:9) from the genius of the language, refers. And instead of סר, the more elegant סג, without any distinction in the meaning.
Verse 4
Here in the first line the word כּל־, which, as in Psa 5:6; Psa 6:9, is in its right place, is wanting. In Psa 14:1-7 there then follow, instead of two tristichs, two distichs, which are perhaps each mutilated by the loss of a line. The writer who has retouched the Psalm has restored the tristichic symmetry that
