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local standing which the kingdom of God will have upon the earth, either by the side of or in antagonism to the kingdom of the world. The prophet prays and speaks throughout the entire ode in the name of the believing congregation. His pain is their pain; his joy their joy. Accordingly he closes his ode by appropriating to himself and all believers the promise which the Lord has given to His people and to David His anointed servant, to express the confident assurance that the God of salvation will keep it, and fulfil it in the approaching attack on the part of the power of the world upon the nation which has been refined by the judgment.
The last words, למנצּח בּנגינותי, do not form part of the contents of the supplicatory ode, but are a subscription answering to the heading in Hab 3:1, and refer to the use of the ode in the worship of God, and simply differ from the headings למנצּח בּנגינות in Psa 4:1-8; Psa 6:1-10; 54:1-55:23; Psa 67:1-7, and Psa 76:1-12, through the use of the suffix in בּנגינותי. Through the words, “to the president (of the temple-music, or the conductor) in accompaniment of my stringed playing,” the prophet appoints his psalm for use in the public worship of God accompanied by his stringed playing. Hitzig's rendering is grammatically false, “to the conductor of my pieces of music;” for ב cannot be used as a periphrasis for the genitive, but when connected with a musical expression, only means with or in the accompaniment of (ה instrumenti or concomitantiae). Moreover, נגינות does not mean pieces of music, but simply a song, and the playing upon stringed instruments, or the stringed instrument itself (see at Psa 4:1-8). The first of these renderings gives no suitable sense here, so that there only remains the second, viz., “playing upon stringed instruments.” But if the prophet, by using this formula, stipulates that the ode is to be used in the temple, accompanied by stringed instruments, the expression bingı̄nōthai, with my stringed playing, affirms that he himself will accompany it with his own playing, from which it has been justly inferred that he was qualified, according to the arrangements of the Israelitish worship, to take part in the public performance of such pieces of music as were suited for public worship, and therefore belonged to the Levites who were entrusted with the conduct of the musical performance of the temple.