What is the meaning of "Do Not Destroy" in the prologue of Psalms 57, 58, 59 and 75?

Two Hebrew words untranslated in the titles of Psalms 57, 58, 59, and 75: reading in the margin 'destroy not,' and thus rendered in the LXX. The general thought is that reference is made to some air to which these Psalms were sung. The words, however, may have been taken from what David said in 1 Sam. 26:9, "Destroy him not."

The Al-tashcheth ("Destroy not") which is in the title of the two following psalms, and the Asaphic seventy-fifth, as well as the present, is hard from its brevity to understand, as well as from its apparent applicability in so many ways. The historical occasion of the psalm also, while there is no difficulty attending it, has, in the same way, no special noteworthiness that I can discover. An opportunity this which men will take to disparage Scripture in favor of their own ignorance; but the stars do not the less shine because our sight may be too dull to behold them. Thank God, they do not!

In the psalm itself, there is no peculiar difficulty. It goes on from present shelter to future deliverance and these are (speaking broadly) the two parts into which it is divided, each part being closed with the refrain.

In the first part the soul casts itself upon divine grace, as that which will surely meet the faith that takes refuge in it. The bird that, according to the ancient story, would shelter itself from the pursuer in the bosom of man may have cause to repent its confidence; but who shall ever say that his confidence in God has deceived him? Nay, rather, when all other trust is found to be in vain, this becomes the only and all-sufficient one. "Depths" of evil and abysses of sorrow there are indeed on every side; but the shadow of Jehovah's wings is not merely a place of escape but a home rest, where the Eternal Light subdues itself to our weakness, and yet is an infinite glory of truth and holiness and fostering care.

The seventy-fifth psalm is the announcement of the divine answer to this prayer, presently to be given in the day of manifestation and Christ is the Interpreter of God, upon the throne of the world, — the anti-typical Joseph of days near to come. The psalm is easily understood as "a psalm of Asaph," and "a song." The Al-tashcheth "Destroy not," which we have had also in the title of Psalm 58, I cannot apply with any more certainty here than there.

The inscription is Al-taschith, which means "destroy not"; it is the Michtam of David when he fled from Saul. It shows us once more the exercise of faith in the godly of Israel. In the shadow of His wings they take refuge till these calamities are overpast. They look for intervention from above, from where it will surely come at the close of the days of tribulation. "He shall send from heaven, and save me." Then they know they will be delivered in anticipation of which the voice of praise is heard. "Be Thou exalted, O God, above the heavens, let Thy glory cover all the earth."

Ayeleth-Shahar. Psalm 22. "The hind of the dawn." The early light preceding the dawn of the morning, whose first rays are likened to the shining horns of a hind. (Delitzsch) Alamoth. It means "concerning maidens." It is found in the beginning of Psalm 46. Al-Tashcheth. "Destroy not," in Psalms 57- 59 and in Psalm 75. Gittith. "Winepresses," in Psalms 7, 80 and 83. jeduthun. "Praise giver," in Psalms 39, 62, and 77.

Among the authors of the Psalms, David, of course, figures largely; but Moses, Asaph, Heman, and Ethan also appear, and it may be Solomon as the writer of Ps. 72 and 127. Then, as to the circumstances which gave rise to many of the compositions, all so described are attributed to the history of David, — Ps. 102 alone excepted. But whether the different headings can be depended upon, that of Ps. 18 excepted, is a matter on which there is not agreement, though they must have been inserted very early, being found in the Greek Septuagint version. In that version, however, there are headings to other Psalms which have no authority from the Hebrew text. Then of instruments of music we have mention, both wind and stringed instruments being pressed into the service of God. Ps. 4 tells of the latter, and Ps. 5 speaks of the former. And tunes, it would seem, well known in those days, we read of, to which certain Psalms were to be set, such as Al-taschith "destroy not," Ps. 57, 58, 59, 75. The character also of the different compositions are noticed, as Psalms; songs also, as Ps. 30, 45, 46, etc.; prayers, as Ps. 17, 86, 90, 102, 142; and praise, as Ps. 145. Some, too, are distinguished by the Hebrew term Michtam, Ps. 16, 56, 57, 58, 59, 60, an addition, as we see at times, to the designation of "a song"; others are described as Maschil (see Ps. 32; 42, 44, 45, etc.). Into all this, however, it would be foreign to our purpose here to enter. So closing these prefatory remarks, which remind us of the varied character of the compositions, we invite our readers to examine with us the order of the Psalms in detail.

This is again "To the chief musician, Al-tascheth (destroy not), of David, Michtam, when Saul sent, and they watched the house to put him to death."

This too is "To the chief musician; Al-tascheth (destroy not), of David, Michtam, on his fleeing from Saul in the cave."

*The music to which the psalm was set, it appears.

Observation must decide whether this was connected with the subject of the Psalms, or whether it was the name of a tune.