A musical and prophetic introduction sets the stage for a profound cry and prayer arising from the depths of exile. The historical period inspiring this plea is a matter of discussion. Some view it as a composition from the days of Ezra and Nehemiah, capturing the distress of those returning from Babylon as enemies tried to disrupt the rebuilding of the Temple [מלבי״ם]. Others see it as a glimpse into future troubles during the reign of King Jehu [רש״י]. However, the primary approach among commentators is that this serves as a vision and prayer for the long, ongoing exile of the Israelites [רד״ק, מאירי].
The opening addresses the individual overseeing the choir or the musicians [ביאור שטיינזלץ]. The musical direction includes a reference to lilies, which is understood in two main ways. The musical approach suggests it is an instruction for a specific, now-unknown melody or an elite musical instrument [רד״ק, אבן עזרא, מאירי]. Specifically, it may have been an instrument crafted in the shape of a lily [מצודת ציון]. Conversely, an allegorical approach views the lily as a symbol for the Israelites themselves [רש״י]. It is also seen as a reference to righteous individuals, such as Mordecai and Esther [אלשיך], or as an image of pure, young children studying the Torah, whose merit sustains the world [חומת אנך].
The concept of testimony within the introduction carries several meanings. It can be understood as an ornament or jewel, indicating that the song is an honorable creation that brings glory to Asaph, its composer [אבן עזרא, מצודת ציון, מאירי]. Alternatively, it signifies a law or permanent decree established to sing this specific song [מאירי]. Another perspective views it as a matter of memory, designed to serve as a reminder [ביאור שטיינזלץ], or as a literal testimony to the miracles God performed for the Israelites throughout their various exiles, such as the miracle of the oil [אלשיך].
The introduction concludes by attributing the song to Asaph, framing the entire composition as a prophetic plea for mercy across different periods of exile. Each element of the opening hints at a distinct exile. The final attribution points toward the ultimate exile, carrying a sense of hope and trust in the future building of the Third Temple, at which time Asaph will sing a song of complete redemption [אלשיך]. Reinforcing this theme, the entire song is woven with references to these periods of displacement, featuring three recurring prayers for salvation that correspond to three distinct historical exiles [רש״י].