That Song 10 is a continuation of, rather than separate from, Song 9 is clear from its first verse. It mentions neither the composer nor the instrument, setting it apart from Songs 3 to 9.*
Psalm 8 describes the contrast between or oppositeness of God and humankind. An oppositeness that is immediately established in verse 2, with the juxtaposition of human frailty — “infants and sucklings” — and God’s “strength”. And yet it is out of the vulnerability and helplessness of the infant that God’s strength emerges: “From the mouths of infants and sucklings, You have founded strength….”
The Sages identified the ‘address’ / opening verse of Psalm 7, as King David who talks about King Saul: “A shiggayon of David, which he sang to the Lord concerning Cush the Benjamite.” (Psalm 7:1). King Saul’s line goes all the way to Jakob’s youngest son, Banjamin. The description ‘Cush’ mentioned only in this verse, nowhere else in the Bible. The Midrash Sifree explains that the meaning is Unique – King Saul who was a unique individual in character and deeds. (An opposite explanation given, is that ‘Cush’ means ‘different’ or ‘strange’. Unique in a negative sense. If that is so, ‘Shigayon’, the name of the instrument used for this Psalm describes the mischief of King Saul rather than of King David)
On first reading, Song 4 seems disjointed, as though several melodies were being sung, one after the other. The one common chord throughout, however, is the constancy of the singer’s faith in God.
Structure and meaning are striking complements in song 3; where and when words occur in the verses sound the singer’s intent as surely and harmoniously as the strings of his lyre voice their notes together. Thus: Psalm 3 verses 2 and 3 contain three repetitions of the word “many” (the Hebrew words for “many” differ from each other slightly but share a common root:’רַבּוּ’ , ‘רַבִּים’ ) — the singer is lamenting the number of his foes. He feels threatened both physically and spiritually, as he declares how his enemies afflict his “soul” with their taunt,”There is no deliverance for him through God!” (verse 3) Certainly “deliverance” (Hebrew: ‘יְשׁוּעָה’) is deliberately chosen by his foes to show their derision. But, as the singer claims the verb “deliver”, in verses 8 and 9, as he calls upon God to aid him, he proves his victory over his enemies. His two repetitions of “deliver”, building as they do upon his foes’ use of “deliverance”, sound a three-word chord that easily overpowers that of “many”. That his victory is a moral one, his own faith in God makes clear; that it is a physical one as well, he suggests in verse 8: “You have slapped all my enemies on the cheek; the teeth of the wicked You have broken” — God’s reprimand has deprived them of clarity of speech and the ability to chew. Thus they are deprived of communication and nourishment, just as they tried to deny the singer his sustenance — God’s response to and deliverance of him.
The second song is both a completion of and contrast to the first. The first song is stately, composed of elegant generalities; the tone, overall calm. The second is passionate; direct quotations break the flow, and the overall effect –but for the final line– is unsettling.