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 a being fugitive,” the unsettled life of a fugitive (Pro 27:8), can really be numbered both by its duration and its many temporary stays here and there. And upon the fact that God, that He whose all-seeing eye follows him into every secret hiding-place of the desert and of the rocks, counteth (telleth) it, the poet lays great stress; for he has long ago learnt to despair of man. The accentuation gives special prominence to נדי as an emphatically placed object, by means of Zarka; and this is then followed by ספרתּה with the conjunctive Galgal and the pausal אתּה with Olewejored (the   of which is placed over the final letter of the preceding word, as is always the case when the word marked with this double accent is monosyllabic, or dissyllabic and accented on the first syllable). He who counts (Job 31:4) all the steps of men, knows how long David has already been driven hither and thither without any settled home, although free from guilt. He comforts himself with this fact, but not without tears, which this wretched condition forces from him, and which he prays God to collect and preserve. Thus it is according to the accentuation, which takes שׂימה as imperative, as e.g., in 1Sa 8:5; but since שׂים, שׂימה ,שׂים, is also the form of the passive participle (1Sa 9:24, and frequently, 2Sa 13:32), it is more natural, in accordance with the surrounding thoughts, to render it so even in this instance (posita est lacrima mea), and consequently to pronounce it as Milra (Ewald, Hupfeld, Böttcher, and Hitzig). דמעתי (Ecc 4:1) corresponds chiastically (crosswise) to נדי, with which בנאדך forms a play in sound; and the closing clause הלא בּספרתך unites with ספרתּה in the first member of the verse. Both Psa 56:9 and Psa 56:9 are wanting in any particle of comparison. The fact thus figuratively set forth, viz., that God collects the tears of His saints as it were in a bottle, and notes them together with the things which call them forth as in a memorial (Mal 3:16), the writer assumes; and only appropriatingly applies it to himself. The אז which follows may be taken either as a logical “in consequence of so and so” (as e.g., Psa 19:14; Psa 40:8), or as a “then” fixing a turning-point in the present tearful wandering life (viz., when there have been enough of the “wandering” and of the “tears”), or “at a future time” (more abruptly, like שׁם in Psa 14:5; 36:13, vid., on Psa 2:5). בּיום אקרא is not an expansion of this אז, which would trail awkwardly after it. The poet says