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 reconcileable with the Davidic authorship of the Psalm, as Hitzig acknowledges. And Theodoret does not wrongly appeal to the closing words עד־עולם against the Jews. In whom, but in Christ, the son of David, has the fallen throne of David any lasting continuance, and in whom, but in Christ, has all that has been promised to the seed of David eternal truth and reality? The praise of Jahve, the God of David, His anointed, is, according to its ultimate import, a praising of the Father of Jesus Christ.

Psalm 18 according to the Text of 2 Samuel 22
2Sa 22:1 On the differences of the introductory superscription, see on Psa 18:1. The relation of the prose accentuation of the Psalm in 2 Sam 22 to the poetical accentuation in the Psalter is instructive. Thus, for example, instead of Mercha mahpach. (Olewejored) in the Psalter we here find Athnach; instead of the Athnach following upon Mercha mahpach., here is Zakeph (cf. Psa 18:7, Psa 18:16, Psa 18:31 with 2Sa 22:7, 2Sa 22:16, 2Sa 22:31); instead of Rebia mugrash, here Tiphcha (cf. Psa 18:4 with 2Sa 22:4); instead of Pazer at the beginning of a verse, here Athnach (cf. Psa 18:2 with 2Sa 22:2). The peculiar mode of writing the stichs, in which we find this song in our editions, is the old traditional mode. If a half-line is placed above a half-line, so that they form two columns, it is called לבנה על־גבי לבנה אריח על־גבי אריח, brick upon brick, a half-brick upon a half-brick, as the song Haazinu in Deut 32 is set out in our editions. On the other hand if the half-lines appear as they do here divided and placed in layers one over another, it is called אריח על־גבי לבנה ולבנה על־גבי אריח. According to Megilla 16b all the cantica in the Scriptures are to be written thus; and according to Sofrim xiii., Ps 18 has this form in common with 2 Sam 22. 2Sa 22:2-4 This strophe is stunted by the falling away of its monostichic introit, Psa 18:2. In consequence of this, the vocatives in Psa 18:2. are deprived of their support