Psalms 9:13

“I will go into thy house with burnt offerings, etc.] The psalmist here represents the saints and faithful in those times, who being delivered out of all their troubles, and brought into a large, free, plentiful, and comfortable condition, will come together into the place of public worship, and there unite in their sacrifices of praise to God; will come and present themselves as a whole burnt offering to the Lord; will come with hearts inflamed with love to God and one another, which is more than all whole burnt offerings and sacrifices, (<411233>Mark 12:33); I will pay thee my vows; thanksgivings promised in time of distress, as follows; (see <195014>Psalm 50:14).”

“gates--or, "regions." of death--Gates being the entrance is put for the bounds.”

“Have mercy upon me, O Lord - The cry for mercy implies that though God had interposed and granted them surprising deliverances, yet he was still surrounded by enemies, and was still in trouble. See introduction to the psalm, 2, 3. He had been delivered from many troubles, but there were many still pressing upon him, and he now calls on God to interpose further in his behalf, and to grant him entire deliverance from all his sorrows and dangers. The trouble to which he here refers was of the same kind as that adverted to in the former part of the psalm - that arising from the efforts of formidable enemies. Consider my trouble - Do not forget this trouble; bear it in remembrance; look upon its…”

“9:13-14 The psalmist returns from a vision of the glorious future to the reality of facing his enemies (9:3). • The jaws (literally gates) are a vivid image of the powerful grip of death (see 13:3-4). • Jerusalem’s gates provide an intentional contrast to the “gates” of death.”

“Have: Psa 51:1, Psa 119:132 consider: Psa 13:3, Psa 25:19, Psa 119:153, Psa 142:6; Neh 9:32; Lam 1:9, Lam 1:11 thou: Psa 30:3, Psa 56:13, Psa 86:13, Psa 107:18, Psa 116:3, Psa 116:4; Isa 38:10; Joh 2:6 Psalms 9:14”

“(Heb.: 9:14-15) To take this strophe as a prayer of David at the present time, is to destroy the unity and hymnic character of the Psalm, since that which is here put in the form of prayer appears in what has preceded and in what follows as something he has experienced. The strophe represents to us how the עניּים (ענוים) cried to Jahve before the deliverance now experienced. Instead of the form חנּני used everywhere else the resolved, and as it were tremulous, form חננני is designedly chosen. According to a better attested reading it is חננני (Pathach with Gaja in the first syllable), which is regarded by Chajug and others as the imper. Piel, but more correctly (Ewald 251, c) as the imper.…”