This psalm purports to be a psalm of David. It is dedicated to "the chief Musician." See the notes at the Introduction to Psalm 4:1-8. There is no reason to doubt the correctness of the title, as there is nothing in the psalm which conflicts with the supposition that David was the author, and as it accords so much, in its scope and language, with his undoubted compositions. On the phrase in the title "A Psalm or Song," see the notes at the title to Psalm 65:1-13.
It is not certainly known on what occasion the song was composed. It is evidently, like the eighteenth psalm, a triumphal song designed to celebrate victories which had been achieved; but whether composed to celebrate some particular victory, or in view of all that had been done in subduing the enemies of the people of God, it is impossible now to determine. Prof. Alexander supposes that it was in reference to the victory recorded in 2-Samuel 12:26-31, the last important victory of David's reign. Venema supposes that it was composed on the occasion of removing the ark to Mount Zion, to the place which David had prepared for it. This also is the opinion of Rosenmuller. DeWette inclines to the opinion that it was written in view of the victory over the Ammonites and others, as recorded in 2 Sam. 8-12. There are some things, however, in regard to the time and occasion on which the psalm was composed, which can be determined from the psalm itself.
(1) it is clear that it was not composed before the time of David, because before his time Jerusalem or Zion was not the seat of the royal authority, nor the place of divine worship, which it is evidently supposed to be in the psalm, Psalm 68:29.
(2) it was composed when the Hebrew nation was one, or before the separation of the ten tribes and the formation of the kingdom of Israel under Jeroboam, for Benjamin, Judah, Zebulon and Naphtall are especially mentioned as taking part in the solemnities referred to in the psalm, Psalm 68:27.
(3) it was consequently before the Babylonian captivity.
(4) it was composed on some occasion of bringing up the ark, and putting it in the place which had been prepared for it, Psalm 68:16, Psalm 68:24-25. These verses can be best explained on the supposition that the psalm was written on that occasion. Indeed they cannot well be explained on any other supposition.
(5) it was in view of past triumphs; of victories secured in former times; of what God had then done for his people, and especially of what he had done when the ark of the covenant had been placed at the head of the armies of Israel, Psalm 68:14. Compare Psalm 68:7-8, Psalm 68:12, Psalm 68:17-18.
(6) it was in anticipation of future triumphs - the triumphs of the true religion; under the feeling and belief that Jerusalem would be the center from which wholesome influences would go out over the world; and that through the influences which would go out from Jerusalem the world would be subdued to God, Psalm 68:20-23; 29-31. Compare Isaiah 2:3.
The psalm was composed, therefore, I apprehend, when the ark was brought up from the house of Obed-edom, and placed in the city of David, in the tent or tabernacle which he had erected for it there: 2-Samuel 6:12; 1 Chr. 15. It is not improbable that other psalms, also, were composed for this occasion, as it was one of great solemnity.
The contents of the psalm accord entirely with this supposition. They are as follows:
I. A prayer that God would arise and scatter all his enemies, Psalm 68:1-2.
II. A call on the people to praise God, with reference to his greatness, and to his paternal character, Psalm 68:3-6.
III. A reference to what he had done in former times for his people in conducting them from bondage to the promised land, Psalm 68:7-14.
IV. A particular reference to the ark, Psalm 68:15-18. After it had been lying neglected, God had gone forth with it, and Zion had become distinguished above the hills; the chariots of God had been poured forth; victory had attended its movements; and God had gone up leading captivity captive.
V. The anticipation of future triumphs - the confident expectation of future interposition - as derived from the history of the past, Psalm 68:19-23.
VI. A description of the procession on the removing of the ark, Psalm 68:24-27.
VII. The anticipation of future triumphs expressed in another form, not that of subjugation by mere power, but of a voluntary submission of kings and nations to God, Psalm 68:28-31. Kings would come with presents Psalm 68:29; nations - Egypt and Ethiopia - would stretch out their hands to God, Psalm 68:31.
VIII. A call on all the nations, in view of these things, to ascribe praise to God, Psalm 68:32-35.

The psalmist calls upon God to arise, bless his people, and scatter his enemies, Psalm 68:1-3; exhorts them to praise him for has greatness, tenderness, compassion, and judgments, Psalm 68:4-6; describes the grandeur of his march when he went forth in the redemption of his people, Psalm 68:7, Psalm 68:8; how he dispensed his blessings, Psalm 68:9, Psalm 68:10; what he will still continue to do in their behalf, Psalm 68:11-13; the ejects produced by the manifestation of God's majesty, Psalm 68:14-18; he is praised for has goodness, Psalm 68:19, Psalm 68:20; for his judgments, Psalm 68:21-23; he tells in what manner the Divine worship was conducted, Psalm 68:24-27; how God is to be honored, Psalm 68:28-31; all are invited to sing his praises, and extol his greatness, Psalm 68:32-35.
In the title of this Psalm there is nothing particular to be remarked. It is probable that this Psalm, or a part of it at least, might have been composed by Moses, to be recited when the Israelites journeyed. See Numbers 10:35; and that David, on the same model, constructed this Psalm. It might have been sung also in the ceremony of transporting the ark from Kirjath-jearim, to Jerusalem; or from the house of Obed-edom to the tabernacle erected at Sion.
I know not how to undertake a comment on this Psalm: it is the most difficult in the whole Psalter; and I cannot help adopting the opinion of Simon De Muis: In hoc Psalmo tot ferme scopuli, tot labyrinthi, quot versus, quot verba. Non immerito crux ingeniorum, et interpretum opprobrium dici potest. "In this Psalm there are as many precipices and labyrinths as there are verses or words. It may not be improperly termed, the torture of critics, and the reproach of commentators." To attempt any thing new on it would be dangerous; and to say what has been so often said would be unsatisfactory. I am truly afraid to fall over one of those precipices, or be endlessly entangled and lost in one of these labyrinths. There are customs here referred to which I do not fully understand; there are words whose meaning I cannot, to my own satisfaction, ascertain; and allusions which are to me inexplicable. Yet of the composition itself I have the highest opinion: it is sublime beyond all comparison; it is constructed with an art truly admirable; it possesses all the dignity of the sacred language; none but David could have composed it; and, at this lapse of time, it would require no small influence of the Spirit that was upon him, to give its true interpretation. I shall subjoin a few notes, chiefly philological; and beg leave to refer the reader to those who have written profusely and laboriously on this sublime Psalm, particularly Venema, Calmet, Dr. Chandler, and the writers in the Critici Sacri.

INTRODUCTION TO PSALM 68
To the chief Musician, A Psalm or Song of David. The Targum makes the argument of this psalm to be the coming of the children of Israel out of Egypt, and the giving of the law on Mount Sinai; in which it is followed by many of the Jewish interpreters: but Aben Ezra rejects such an interpretation of it, and thinks that David composed it, concerning the war he had with the uncircumcised nations, the Philistines and others, 2-Samuel 8:1, &c. And so the title of the Syriac version begins,
"a psalm of David, when the kings prepared themselves to fight against him:''
and Kimchi says it was composed on account of Sennacherib's army coming against Jerusalem, in the times of Hezekiah, and so delivered by David, under a spirit of prophecy concerning that affair; though he owns that some of their writers interpret it of the war of Gog and Magog, in the times of the Messiah they yet expect. But they are much nearer the truth, who take it that it was written on occasion of the ark being brought to the city of David; seeing it begins with much the same words that Moses used when the ark set forward in his times, Numbers 10:35; and the bringing of which was attended with great joy and gladness, 2-Samuel 6:14; such as the righteous are called upon to express in this psalm, Psalm 68:3. And this being a type of Christ, and of his ascending the holy hill of God, may be allowed of; for certain it is that this psalm treats of the coming of Christ, and of blessings by him, and of victory over his enemies; and particularly of his ascension to heaven, as most evidently appears from Ephesians 4:8; and from prophecies in it, concerning the calling of the Gentiles. Wherefore the latter part of the Syriac inscription of it is very pertinent;
"also a prophecy concerning the dispensation of the Messiah, and concerning the calling of the Gentiles to the faith.''
Jarchi interprets Psalm 68:31 of the Messiah.

(Psalm 68:1-6) A prayer-- The greatness and goodness of God.
(Psalm 68:7-14) The wonderful works God wrought for his people.
(Psalm 68:15-21) The presence of God in his church.
(Psalm 68:22-28) The victories of Christ.
(Psalm 68:29-31) Enlargement of the church.
(Psalm 68:32-35) The glory and grace of God.

Hymn of War and Victory in the Style of Deborah
Is it not an admirably delicate tact with which the collector makes the מזמור שׁיר Psalm 68:1 follow upon the מזמור שׁיר Psalm 67:1? The latter began with the echo of the benediction which Moses puts into the mouth of Aaron and his sons, the former with a repetition of those memorable words in which, at the breaking up of the camp, he called upon Jahve to advance before Israel (Numbers 10:35). "It is in reality," says Hitzig of Psalm 68, "no easy task to become master of this Titan." And who would not agree with him in this remark? It is a Psalm in the style of Deborah, stalking along upon the highest pinnacle of hymnic feeling and recital; all that is most glorious in the literature of the earlier period is concentrated in it: Moses' memorable words, Moses' blessing, the prophecies of Balaam, the Deuteronomy, the Song of Hannah re-echo here. But over and above all this, the language is so bold and so peculiarly its own, that we meet with no less than thirteen words that do no occur anywhere else. It is so distinctly Elohimic in its impress, that the simple Elohim occurs twenty-three times; but in addition to this, it is as though the whole cornucopia of divine names were poured out upon it: יהוה in Psalm 68:17; אדני six times; האל twice; שׁדּי in Psalm 68:15; יהּ in Psalm 68:5; אדני יהוה in Psalm 68:21; אלהים yh in Psalm 68:19; so that this Psalm among all the Elohimic Psalm is the most resplendent. In connection with the great difficulty that is involved in it, it is no wonder that expositors, more especially the earlier expositors, should differ widely in their apprehension of it as a whole or in separate parts. This circumstance has been turned to wrong account by Ed. Reuss in his essay, "Der acht-und-sechzigste Psalm, Ein Denkmal exegetischer Noth und Kunst zu Ehren unsrer ganzen Zunft, Jena, 1851," for the purpose of holding up to ridicule the uncertainty of Old Testament exegesis, as illustrated in this Psalm.
The Psalm is said, as Reuss ultimately decides, to have been written between the times of Alexander the Great and the Maccabees, and to give expression to the wish that the Israelites, many of whom were far removed from Palestine and scattered abroad in the wide earth, might soon be again united in their fatherland. But this apprehension rests entirely upon violence done to the exegesis, more particularly in the supposition that in v. 23 the exiles are the persons intended by those whom God will bring back. Reuss makes out those who are brought back out of Bashan to be the exiles in Syria, and those who are brought back out of the depths of the sea he makes out to be the exiles in Egypt. He knows nothing of the remarkable concurrence of the mention of the Northern tribes (including Benjamin) in Psalm 68:28 with the Asaphic Psalm: Judah and Benjamin, to his mind, is Judaea; and Zebulun and Naphtali, Galilee in the sense of the time after the return from exile. The "wild beast of the reed" he correctly takes to be an emblem of Egypt; but he makes use of violence in order to bring in a reference to Syria by the side of it. Nevertheless Olshausen praises the services Reuss has rendered with respect to this Psalm; but after incorporating two whole pages of the "Denkmal" in his commentary he cannot satisfy himself with the period between Alexander and the Maccabees, and by means of three considerations arrives, in this instance also, at the common refuge of the Maccabaean period, which possesses such an irresistible attraction for him.
In opposition to this transplanting of the Psalm into the time of the Maccabees we appeal to Hitzig, who is also quick-sighted enough, when there is any valid ground for it, in finding out Maccabaean Psalm. He refers the Psalm to the victorious campaign of Joram against faithless Moab, undertaking in company with Jehoshaphat. Bצttcher, on the other hand, sees in it a festal hymn of triumph belonging to the time of Hezekiah, which was sung antiphonically at the great fraternizing Passover after the return home of the young king from one of his expeditions against the Assyrians, who had even at that time fortified themselves in the country east of the Jordan (Bashan). Thenius (following the example of Rצdiger) holds a different view. He knows the situation so very definitely, that he thinks it high time that the discussion concerning this Psalm was brought to a close. It is a song composed to inspirit the army in the presence of the battle which Josiah undertook against Necho, and the prominent, hateful character in Psalm 68:22 is Pharaoh with his lofty artificial adornment of hair upon his shaven head. It is, however, well known what a memorably tragical issue for Israel that battle had; the Psalm would therefore be a memorial of the most lamentable disappointment.
All these and other recent expositors glory in hot advancing any proof whatever in support of the inscribed לדוד. And yet there are two incidents in David's life, with regard to which the Psalm ought first of all to be accurately looked at, before we abandon this לדוד to the winds of conjecture. The first is the bringing home of the Ark of the covenant to Zion, to which, e.g., Franz Volkmar Reinhard (in vol. ii. of the Velthusen Commentationes Theol. 1795), Stier, and Hofmann refer the Psalm. But the manner in which the Psalm opens with a paraphrase of Moses' memorable words is at once opposed to this; and also the impossibility of giving unity to the explanation of its contents by such a reference is against it. Jahve has long since taken up His abode upon the holy mountain; the poet in this Psalm, which is one of the Psalm of war and victory describes how the exalted One, who now, however, as in the days of old, rides along through the highest heavens at the head of His people, casts down all powers hostile to Him and to His people, and compels all the world to confess that the God of Israel rules from His sanctuary with invincible might. A far more appropriate occasion is, therefore, to be found in the Syro-Ammonitish war of David, in which the Ark was taken with them by the people (2-Samuel 11:11); and the hymn was not at that time first of all composed when, at the close of the war, the Ark was brought back to the holy mountain (Hengstenberg, Reinke), but when it was set in motion from thence at the head of Israel as they advanced against the confederate kings and their army (2-Samuel 10:6). The war lasted into the second year, when a second campaign was obliged to be undertaken in order to bring it to an end; and this fact offers at least a second possible period for the origin of the Psalm. It is clear that in Psalm 68:12-15, and still more clear that in Psalm 68:20-24 (and from a wider point of view, Psalm 68:29-35), the victory over the hostile kings is only hoped for, and in Psalm 68:25-28, therefore, the pageantry of victory is seen as it were beforehand. It is the spirit of faith, which here celebrates beforehand the victory of Jahve, and sees in the single victory a pledge of His victory over all the nations of the earth. The theme of the Psalm, generalized beyond its immediate occasion, is the victory of the God of Israel over the world. Regarded as to the nature of its contents, the whole divides itself into two halves, vv. 2-19, 20-35, which are on the whole so distinct that the first dwells more upon the mighty deed God has wrought, the second upon the impressions it produces upon the church and upon the peoples of the earth; in both parts it is viewed now as future, now as past, inasmuch as the longing of prayer and the confidence of hope soar aloft to the height of prophecy, before which futurity lies as a fulfilled fact. The musical Sela occurs three times (Psalm 68:8, Psalm 68:20, Psalm 68:33). These three forte passages furnish important points of view for the apprehension of the collective meaning of the Psalm.
But is David after all the author of this Psalm? The general character of the Psalm is more Asaphic than Davidic (vid., Habakkuk, S. 122). Its references to Zalmon, to Benjamin and the Northern tribes, to the song of Deborah, and in general to the Book of Judges (although not in its present form), give it an appearance of being Ephraimitish. Among the Davidic Psalm it stands entirely alone, so that criticism is quite unable to justify the לדוד. And if the words in Psalm 68:29 are addressed to the king, it points to some other poet than David. But is it to a contemporary poet? The mention of the sanctuary on Zion in Psalm 68:30, 36, does not exclude such an one. Only the threatening of the "wild beast of the sedge" (Psalm 68:31) seems to bring us down beyond the time of David; for the inflammable material of the hostility of Egypt, which broke out into a flame in the reign of Rehoboam, was first gathering towards the end of Solomon's reign. Still Egypt was never entirely lost sight of from the horizon of Israel; and the circumstance that it is mentioned in the first rank, where the submission of the kingdoms of this world to the God of Israel is lyrically set forth in the prophetic prospect of the future, need not astonish one even in a poet of the time of David. And does not Psalm 68:28 compel us to keep on this side of the division of the kingdom? It ought then to refer to the common expedition of Jehoram and Jehoshaphat against Moab (Hitzig), the indiscriminate celebration of which, however, was no suitable theme for the psalmist.