The petition, grounded upon these names, is supposed by modern commentators to prove that the psalmist's enemies were heathens, which would, of course, destroy the Davidic authorship, and make the singer a personification of the nation. But against this is to be observed the description of the enemies in the last clause of ver. 5 as "apostates," which must refer to Israelites. The free access to the "city," spoken of in ver. 6, is also unfavourable to that supposition, as is the prominence given to the _words_ of the enemy. Foreign foes would have had other swords than those carried between their lips. The prayer that Jehovah would arise to visit "all nations" is much more naturally explained, as on the same principle as the judgment of "the peoples" in Psalm vii. All special cases are subsumed under the one general judgment. The psalmist looks for his own deliverance as one instance of that world-wide manifestation of Divine justice which will "render to every man according to his deeds." Not only personal considerations move him to his prayer; but, pressing as these are, and shrill as is the cry for personal deliverance, the psalmist is not so absorbed in self as that he cannot widen his thoughts and desires to a world-wide manifestation of Divine righteousness, of which his own escape will be a tiny part. Such recognition of the universal in the particular is the prerogative in lower walks of the poet and the man of genius; it is the strength and solace of the man who lives by faith and links all things with God. The instruments here strike in, so as to fix attention on the spectacle of God aroused to smite and of the end of apostates.
The comparison of the psalmist's enemies to dogs occurs in another psalm ascribed to David (xxii. 16, 20). They are like the masterless, gaunt, savage curs which infest the streets of Eastern cities, hungrily hunting for offal and ready to growl or snarl at every passer-by. Though the dog is not a nocturnal animal, evening would naturally be a time when these would specially prowl round the city in search of food, if disappointed during the day. The picture suggests the enemies' eagerness, lawlessness, foulness, and persistency. If the psalm is rightly dated in the superscription, it finds most accurate realisation in the crafty, cruel watchfulness of Saul's spies. The word rendered by the A.V. and R.V. "make a noise" is "said usually of the growling of the bear and the cooing of the dove" (Delitzsch). It indicates a lower sound than barking, and so expresses rage suppressed lest its object should take alarm. The word rendered (A.V. and R.V.) "belch" means to gush out, and is found in a good sense in Psalm xix. 1. Here it may perhaps be taken as meaning "foam," with some advantage to the truth of the picture. "Swords are in their lips"--_i.e._, their talk is of slaying the psalmist, or their slanders cut like swords; and the crown of their evil is their scoff at the apparently deaf and passive God.
With startling suddenness, as if one quick touch drew aside a curtain, the vision of God as He really regards the enemies is flashed on them in ver. 8. The strong antithesis expressed by the "And Thou," as in ver. 5, comes with overwhelming force. Below is the crowd of greedy foes, obscene, cruel, and blasphemous; above, throned in dread repose, which is not, as they dream, carelessness or ignorance, is Jehovah, mocking their fancied security. The tremendous metaphor of the laughter of God is too boldly anthropomorphic to be misunderstood. It sounds like the germ of the solemn picture in Psalm ii., and is probably the source of the similar expression in Psalm xxxvii. 13. The introduction of the wider thought of God's "mocking"--_i.e._, discerning, and manifesting in act, the impotence of the ungodly efforts of "all nations"--is to be accounted for on the same principle of the close connection discerned by the devout singer between the particular and the general, which explains the similar extension of view in ver. 5.