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Psalm 116
Psalm 116
Psalm 116
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Psalm 116
"I love the LORD, because he hath heard my voice"
Egyptian Hallel psalm
Scroll of the Psalms
Other name
  • Psalm 114
  • "Dilexi quoniam exaudiet Dominus"
  • Psalm 115
  • "Credidi propter quod locutus sum"
LanguageHebrew (original)
Psalm 116
BookBook of Psalms
Hebrew Bible partKetuvim
Order in the Hebrew part1
CategorySifrei Emet
Christian Bible partOld Testament
Order in the Christian part19

Psalm 116 is the 116th psalm of the Book of Psalms,[1] beginning in English in the King James Version: "I love the LORD, because he hath heard my voice and my supplications". It is part of the Egyptian Hallel sequence in the Book of Psalms.

In the slightly different numbering system in the Greek Septuagint and the Latin Vulgate version of the Bible, this psalm begins with Psalm 114, counted as verses 1–9 of Psalm 116, combined with Psalm 115 for the remaining verses. In Latin, Psalm 114 is known as "Dilexi quoniam exaudiet Dominus",[2] and Psalm 115 is known as "Credidi propter quod locutus sum".[3] Psalm 116 in Hebrew is the fourth psalm in the “Egyptian Hallel”.[4] The Septuagint and Vulgate open with the word "Alleluia", whereas the Hebrew version has this word at the end of the preceding psalm.[5]

Psalm 116 is used as a regular part of Jewish, Catholic, Lutheran, Anglican and other Protestant liturgies. It has often been set to music, including settings by Marc-Antoine Charpentier, Anton Bruckner and Franz Schreker.

Language

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Psalm 116 is without a title in the Hebrew.[6] The psalm was translated into the Greek Septuagint (about 250BC) in Hellenistic Egypt. There is a presence of Aramaisms in the psalm which has been interpreted by some biblical commentators as evidence of a late date,[7] although this is not definitive. The psalm draws heavily from other psalms, so much so that the German commentator Hermann Hupfeld called it a "patched-up psalm".[8]

Theme

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It is a question of the praise of the Lord by all peoples. The second verse expresses the reason for the first verse: the goodness of the Lord has been experienced in the past, and his faithfulness will last forever. If we take into consideration the whole book of psalms, we see that this psalm seems to sum up and conclude all the psalms of the hallel, and even all the preceding psalms from Psalm 107 onwards, for they invite Israel and all nations to praise "Eternal".

Authorship

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Theodoret in the fifth century applied this psalm to the distresses of the Jews in the times of the Maccabees under Antiochus Epiphanes,[9][10] while a small minority ascribe it to Hezekiah's sickness, recorded in Isaiah 38;[11] Alexander Kirkpatrick notes a similarity in the wording.[12] However, most commentators today ascribe it to King David. If David were the author, it is not certain whether it was composed upon any particular occasion,[13] or "upon a general review of the many gracious deliverances God had wrought for him".[14] The Syriac Church holds it was written on the occasion of Saul coming to the cave where David was hiding.[15]

Uses

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New Testament

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Verse 10 of the Psalm was quoted by Paul the Apostle in 2 Corinthians 4:13.[16][12][17]

Judaism

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The Tosher Rebbe of Montreal, Quebec, Canada shaking the four species during Sukkot while praying Hallel.
  • This psalm is one of six psalms (113-118) of which Hallel is composed. On all days when Hallel is recited, this psalm is recited in its entirety, except on Rosh Chodesh and the last six days of Passover, when only verses 1-11 are recited.[18] The word hallel means "praise". Since ancient times, the Egyptian Hallel has been used in the celebration of Passover.[19]
  • Verse 13 is part of Havdalah.[20]

Syriac Christianity

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The Syriac Church applies it to converts coming into the church.[21]

Coptic Orthodox Church

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In the Agpeya, the Coptic Church's book of hours, this psalm is prayed (as two consecutive psalms) in the office of None.[22] It is also in the prayer of the Veil, which is generally prayed only by monks.[23]

Catholicism

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The Psalm has been used as public prayer by Pope John Paul II, who called it a "Prayer of thanksgiving to the Lord".[24][25] The Psalm is used in the Rule of St. Benedict.[26][27] However, Psalm 117 is now read in the Liturgy of the Hours.[28]

Protestant Christianity

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Matthew Henry calls it a thanksgiving psalm,[29] while Charles Spurgeon saw it as "A Psalm of Thanksgiving in the Person of Christ".[30] David Dickson wrote, "This Psalm is a threefold engagement of the Psalmist unto thanksgiving unto God, for his mercy unto him, and in particular for some notable delivery of him from death, both bodily and spiritual."

On February 3, 1788 Anglican Minister, Reverend Richard Johnson delivered the first Christian church service ever on Australian soil to convicts of the First Fleet. The text of his sermon was Psalm 116:12-14.

City motto

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Pro Tanto Quid Retribuamus, Belfast city motto

The city of Belfast, Northern Ireland has as its motto Pro Tanto Quid Retribuamus, the Vulgate translation of Ps 116:12 ("what shall we give in return for so much?" or "What shall I return to the Lord for all his bounty to me?")

Musical settings

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Heinrich Schütz composed a metred paraphrase of Psalm 116 in German, "Meim Herzen ist's ein große Freud", SWV 214, for the Becker Psalter, published first in 1628.

A collection Angst der Hellen und Friede der Seelen ("Fear of Hell and Peace of the Soul") combines sixteen motet settings of Psalm 116 in German, "Das ist mir lieb" (That is dear to me). It was commissioned by the Jena merchant Burckhard Grossmann in 1616, and published in 1623. The composers are Heinrich Schütz, Michael Altenburg, Christoph Demantius, Nicolaus Erich, Andreas Finold, Melchior Franck, Abraham Gensreff, Johannes Groh, Johann Krause, Christian Michael, Daniel Michael, Rogier Michael, Tobias Michael, Michael Praetorius, Johann Hermann Schein and Caspar Trost.[31]

Marc-Antoine Charpentier set Psalmus David 115 (in Vulgate numbering), Credidi propter quod locutus sum, H. 209 - H. 209a, for soloists, chorus and continuo in 1690. Anton Bruckner composed a setting of the first nine verses as Psalm 114 "Alleluja! Liebe erfüllt mich", WAB 36, in 1852. Franz Schreker composed a setting of Psalm 116 for three-part women's choir and orchestra as his Op. 6 in 1900.[32]

Text

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The following table shows the Hebrew text[33][34] of the Psalm with vowels, alongside the Koine Greek text in the Septuagint[35][36] and the English translation from the King James Version. Note that the meaning can slightly differ between these versions, as the Septuagint and the Masoretic Text come from different textual traditions.[note 1] In the Septuagint, verses 1–9 are counted as Psalm 114, and verses 10–19 are counted as Psalm 115.

# Hebrew English Greek
1 אָ֭הַבְתִּי כִּי־יִשְׁמַ֥ע ׀ יְהֹוָ֑ה אֶת־ק֝וֹלִ֗י תַּחֲנוּנָֽי׃‎ I love the LORD, because he hath heard my voice and my supplications. ᾿Αλληλούϊα. - ΗΓΑΠΗΣΑ, ὅτι εἰσακούσεται Κύριος τῆς φωνῆς τῆς δεήσεώς μου,
2 כִּי־הִטָּ֣ה אׇזְנ֣וֹ לִ֑י וּבְיָמַ֥י אֶקְרָֽא׃‎ Because he hath inclined his ear unto me, therefore will I call upon him as long as I live. ὅτι ἔκλινε τὸ οὖς αὐτοῦ ἐμοί, καὶ ἐν ταῖς ἡμέραις μου ἐπικαλέσομαι.
3 אֲפָפ֤וּנִי ׀ חֶבְלֵי־מָ֗וֶת וּמְצָרֵ֣י שְׁא֣וֹל מְצָא֑וּנִי צָרָ֖ה וְיָג֣וֹן אֶמְצָֽא׃‎ The sorrows of death compassed me, and the pains of hell gat hold upon me: I found trouble and sorrow. περιέσχον με ὠδῖνες θανάτου, κίνδυνοι ᾅδου εὕροσάν με· θλῖψιν καὶ ὀδύνην εὗρον,
4 וּבְשֵֽׁם־יְהֹוָ֥ה אֶקְרָ֑א אָנָּ֥ה יְ֝הֹוָ֗ה מַלְּטָ֥ה נַפְשִֽׁי׃‎ Then called I upon the name of the LORD; O LORD, I beseech thee, deliver my soul. καὶ τὸ ὄνομα Κυρίου ἐπεκαλεσάμην· ὦ Κύριε, ῥῦσαι τὴν ψυχήν μου.
5 חַנּ֣וּן יְהֹוָ֣ה וְצַדִּ֑יק וֵ֖אלֹהֵ֣ינוּ מְרַחֵֽם׃‎ Gracious is the LORD, and righteous; yea, our God is merciful. ἐλεήμων ὁ Κύριος καὶ δίκαιος, καὶ ὁ Θεὸς ἡμῶν ἐλεεῖ.
6 שֹׁמֵ֣ר פְּתָאיִ֣ם יְהֹוָ֑ה דַּ֝לֹּתִ֗י וְלִ֣י יְהוֹשִֽׁיעַ׃‎ The LORD preserveth the simple: I was brought low, and he helped me. φυλάσσων τὰ νήπια ὁ Κύριος· ἐταπεινώθην, καὶ ἔσωσέ με.
7 שׁוּבִ֣י נַ֭פְשִׁי לִמְנוּחָ֑יְכִי כִּֽי־יְ֝הֹוָ֗ה גָּמַ֥ל עָלָֽיְכִי׃‎ Return unto thy rest, O my soul; for the LORD hath dealt bountifully with thee. ἐπίστρεψον, ψυχή μου, εἰς τὴν ἀνάπαυσίν σου, ὅτι Κύριος εὐηργέτησέ σε,
8 כִּ֤י חִלַּ֥צְתָּ נַפְשִׁ֗י מִ֫מָּ֥וֶת אֶת־עֵינִ֥י מִן־דִּמְעָ֑ה אֶת־רַגְלִ֥י מִדֶּֽחִי׃‎ For thou hast delivered my soul from death, mine eyes from tears, and my feet from falling. ὅτι ἐξείλετο τὴν ψυχήν μου ἐκ θανάτου, τοὺς ὀφθαλμούς μου ἀπὸ δακρύων καὶ τοὺς πόδας μου ἀπὸ ὀλισθήματος.
9 אֶ֭תְהַלֵּךְ לִפְנֵ֣י יְהֹוָ֑ה בְּ֝אַרְצ֗וֹת הַחַיִּֽים׃‎ I will walk before the LORD in the land of the living. εὐαρεστήσω ἐνώπιον Κυρίου, ἐν χώρᾳ ζώντων.
10 הֶ֭אֱמַנְתִּי כִּ֣י אֲדַבֵּ֑ר אֲ֝נִ֗י עָנִ֥יתִי מְאֹֽד׃‎ I believed, therefore have I spoken: I was greatly afflicted: ᾿Αλληλούϊα. - ΕΠΙΣΤΕΥΣΑ, διὸ ἐλάλησα· ἐγὼ δὲ ἐταπεινώθην σφόδρα.
11 אֲ֭נִי אָמַ֣רְתִּי בְחׇפְזִ֑י כׇּֽל־הָאָדָ֥ם כֹּזֵֽב׃‎ I said in my haste, All men are liars. ἐγὼ δὲ εἶπα ἐν τῇ ἐκστάσει μου· πᾶς ἄνθρωπος ψεύστης.
12 מָה־אָשִׁ֥יב לַיהֹוָ֑ה כׇּֽל־תַּגְמוּל֥וֹהִי עָלָֽי׃‎ What shall I render unto the LORD for all his benefits toward me? τί ἀνταποδώσω τῷ Κυρίῳ περὶ πάντων, ὧν ἀνταπέδωκέ μοι;
13 כּוֹס־יְשׁוּע֥וֹת אֶשָּׂ֑א וּבְשֵׁ֖ם יְהֹוָ֣ה אֶקְרָֽא׃‎ I will take the cup of salvation, and call upon the name of the LORD. ποτήριον σωτηρίου λήψομαι καὶ τὸ ὄνομα Κυρίου ἐπικαλέσομαι.
14 נְ֭דָרַי לַיהֹוָ֣ה אֲשַׁלֵּ֑ם נֶגְדָה־נָּ֝֗א לְכׇל־עַמּֽוֹ׃‎ I will pay my vows unto the LORD now in the presence of all his people. τὰς εὐχάς μου τῷ Κυρίῳ ἀποδώσω ἐναντίον παντὸς τοῦ λαοῦ αὐτοῦ.
15 יָ֭קָר בְּעֵינֵ֣י יְהֹוָ֑ה הַ֝מָּ֗וְתָה לַחֲסִידָֽיו׃‎ Precious in the sight of the LORD is the death of his saints. τίμιος ἐναντίον Κυρίου ὁ θάνατος τῶν ὁσίων αὐτοῦ.
16 אָנָּ֣ה יְהֹוָה֮ כִּֽי־אֲנִ֢י עַ֫בְדֶּ֥ךָ אֲנִי־עַ֭בְדְּךָ בֶּן־אֲמָתֶ֑ךָ פִּ֝תַּ֗חְתָּ לְמֽוֹסֵרָֽי׃‎ O LORD, truly I am thy servant; I am thy servant, and the son of thine handmaid: thou hast loosed my bonds. ὦ Κύριε, ἐγὼ δοῦλος σός, ἐγὼ δοῦλος σὸς καὶ υἱὸς τῆς παιδίσκης σου. διέρρηξας τοὺς δεσμούς μου,
17 לְֽךָ־אֶ֭זְבַּח זֶ֣בַח תּוֹדָ֑ה וּבְשֵׁ֖ם יְהֹוָ֣ה אֶקְרָֽא׃‎ I will offer to thee the sacrifice of thanksgiving, and will call upon the name of the LORD. σοὶ θύσω θυσίαν αἰνέσεως καὶ ἐν ὀνόματι Κυρίου ἐπικαλέσομαι.
18 נְ֭דָרַי לַיהֹוָ֣ה אֲשַׁלֵּ֑ם נֶגְדָה־נָּ֝֗א לְכׇל־עַמּֽוֹ׃‎ I will pay my vows unto the LORD now in the presence of all his people. τὰς εὐχάς μου τῷ Κυρίῳ ἀποδώσω ἐναντίον παντὸς τοῦ λαοῦ αὐτοῦ,
19 בְּחַצְר֤וֹת ׀ בֵּ֤ית יְהֹוָ֗ה בְּֽת֘וֹכֵ֤כִי יְֽרוּשָׁלָ֗͏ִם הַֽלְלוּ־יָֽהּ׃‎ In the courts of the LORD's house, in the midst of thee, O Jerusalem. Praise ye the LORD. ἐν αὐλαῖς οἴκου Κυρίου ἐν μέσῳ σου, ῾Ιερουσαλήμ.

Notable verses

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  • Verse 11, In my haste I said all men are liars

This can be read as an early statement of the liar paradox. It has also been translated "I said in my fear, Every man is a liar." and "In an ecstasy of despair, I said, the whole race of man is a delusion." Some take the word חפז, (chaphaz) to denote haste or flight rather than fear. Samuel Horsley translates the verse as "an ecstasy of despair".[37]

  • Verse 17, I will sacrifice the sacrifices of praise
  • Verse 13, The cup of salvation

This phrase has been used by Catholics as prophetic of the eucharist. While some see this as similar to the modern Jewish ceremony held every year in commemoration of the deliverance of their ancestors from the bondage of Egypt. Others see this portion as reference to morning drink offering in Solomon's temple under Mosaic law (Numbers 28:7), inferring the writer is now making an offering of thanks for being delivered. Others think the verse may have inspired Jesus at the Last Supper,[38] or Paul's "cup of blessing".[39]

Notes

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References

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[edit]
Revisions and contributorsEdit on WikipediaRead on Wikipedia

Psalm 116

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from Grokipedia
Psalm 116 is an anonymous psalm in the Book of of the and Christian , comprising 19 verses that express an individual's profound gratitude to for hearing prayers and delivering the psalmist from the snares of death and overwhelming distress. Classified as a declarative or psalm (tôdāh), it recounts a personal journey from crisis and disorientation to reorientation and renewed devotion, emphasizing themes of , trust, and communal worship. As the fourth psalm in the Egyptian collection ( 113–118), it holds liturgical significance, traditionally recited during the to commemorate deliverance, with its first-person perspective shifting focus to individual salvation amid the group's exodus narrative. The psalm's structure exhibits symmetry, often divided into two main sections: verses 1–9 (or 1–11 in some analyses) detail the psalmist's anguish—"the cords of entangled me, the anguish of the came over me" (v. 3, ESV)—and God's gracious intervention, while verses 10–19 articulate vows of praise, including lifting "the cup of " and fulfilling promises in the temple courts (vv. 13, 18–19, ESV). This anthological composition integrates echoes from earlier biblical texts, such as 18 and 56, and 2, reflecting late post-exilic psalmody that reinterprets prior material to affirm Yahweh's and the psalmist's commitment to proclaim His name. Central themes include unwavering love for —"I love the , because he has heard my voice and my pleas for " (v. 1, ESV)—and the transformative power of calling upon Him, culminating in public and temple-oriented service. A particularly notable verse, 15, states that "precious in the sight of the is the death of his saints" (ESV), interpreted in scholarly analyses as underscoring 's valuation of the faithful amid mortality, though it poses interpretive challenges regarding and the . Overall, Psalm 116 exemplifies the Psalter's blend of personal piety and corporate , influencing Jewish and Christian traditions of and redemption.

Text and Translations

Hebrew Text

Psalm 116 is preserved in the (MT), the authoritative Hebrew version of the standardized between the 7th and 10th centuries CE, consisting of 19 verses in a poetic form typical of the . The text reflects classical , with features such as parallelism and archaic grammatical forms. Below is the full Hebrew text from the MT, followed by a verse-by-verse in Latin characters for , based on standard scholarly conventions. Verse 1: אָהַבְתִּי כִּי־יִשְׁמַע יְהוָה אֶת־קוֹלִי תַּחֲנוּנָי׃
Transliteration: 'âhabhtiy kiy-yishma` Adonay 'eth-qoliy tachanunây Verse 2: כִּי־הִטָּה אָזְנוֹ לִי וּבְיָמַי אֶקְרָא׃
Transliteration: kiy-hithâh 'âzeno liy ubheyâmay 'eqrâ' Verse 3: אֲפָפוּנִי חֶבְלֵי־מָוֶת וּמְצָרֵי שְׁאוֹל מְצָאוּנִי צָרָה וְיָגוֹן אֶמְצָא׃
Transliteration: 'aphâphuniy chebhlêy-mâveth umetsârêy she'ol metsâ'uniy tsârâh veyâghon 'emtsâ' Verse 4: וּבְשֵׁם־יְהוָה אֶקְרָא אָנָּה יְהוָה מַלְּטָה נַפְשִׁי׃
Transliteration: ubheshêm-Adonay 'eqrâ' 'ânnâh Adonay mallethâh naphshiy Verse 5: חַנּוּן וְצַדִּיק יְהוָה וֵאלֹהֵינוּ רַחֵם׃
Transliteration: channun Adonay vetsaddiyq vê'lohêynu merachêm Verse 6: שֹׁמֵר פְּתָאִים יְהוָה דַּלֹּתִי וְלִי יוֹשִׁיעֵנִי׃
Transliteration: shomêr pethâ'yim Adonay dallothiy veliy yehoshiya` Verse 7: שׁוּבִי נַפְשִׁי אֶל־מְנוּחָיְכִי כִּי־יְהוָה הֵיטִב לָךְ׃
Transliteration: shubhiy naphshiy limnuchâyekhiy kiy-Adonay gâmal `âlâyekhiy Verse 8: כִּי חִלַּצְתָּ נַפְשִׁי מִמָּוֶת אֶת־עֵינַי מִדִּמְעָה אֶת־רַגְלִי מִדֶּחִי׃
Transliteration: kiy chillatstâ naphshiy mimmâveth 'eth-êyniy min-dimâh 'eth-raghliy middechiy Verse 9: אֶתְהַלֵּךְ לִפְנֵי יְהוָה בְּאַרְצוֹת הַחַיִּים׃
Transliteration: 'ethhallêkh liphnêy Adonay be'artsoth hachayyiym Verse 10: הֶאֱמַנְתִּי כִּי־אֲדַבֵּר אֲנִי עָנִיתִי מְאֹד׃
Transliteration: he'emantiy kiy 'adhabbêr 'aniy `âniythiy me'odh Verse 11: אֲנִי אָמַרְתִּי בְחַפְזִי כָּל־הָאָדָם כֹּזֵב׃
Transliteration: 'aniy 'âmartiy bhechâpheziy kol-hâ'âdhâm kozêbh Verse 12: מַה־אָשִׁיב לַיהוָה כָּל־תְּגֻמֻלֹהִי עָלָי׃
Transliteration: mâh-'âshiybh layhvh kol-taghmulohiy `âlây Verse 13: כּוֹס־יְשׁוּעוֹת אֶשָּׂא וּבְשֵׁם־יְהוָה אֶקְרָא׃
Transliteration: kos-yeshu`oth 'esâ' ubheshêm Adonay 'eqrâ' Verse 14: נְדָרַי לַיהוָה אֲשַׁלֵּם נֶגְדָה־נָּא לְכָל־עַמּוֹ׃
Transliteration: nedhâray layhvh 'ashallêm neghdhâh-nâ' lekol-`ammo Verse 15: יָקָר בְּעֵינֵי יְהוָה הַמָּוְתָה לַחֲסִידָיו׃
Transliteration: yâqâr be`êynêy Adonay hammâvthâ hlachasiydhâyv Verse 16: אָנָּה יְהוָה כִּי־אֲנִי עַבְדֶּךָ אֲנִי עַבְדֶּךָ בֶּן־אָמָהּ פִּתַּחְתָּ לְמוֹסֵרָי׃
Transliteration: 'ânnâh Adonay kiy-'aniy abhdekha 'aniy-abhdekha ben-'amâthekha pittachtâ lemosêrây Verse 17: לְךָ־אֶזְבַּח זֶבַח תּוֹדָה וּבְשֵׁם־יְהוָה אֶקְרָא׃
Transliteration: lekha-'ezbach zebhach todhâ ubheshêm Adonay 'eqrâ' Verse 18: נְדָרַי לַיהוָה אֲשַׁלֵּם נֶגְדָה־נָּא לְכָל־עַמּוֹ׃
Transliteration: nedhâray layhvh 'ashallêm neghdhâh-nâ' lekol-`ammo Verse 19: בְּחַצְרוֹת בֵּית־יְהוָה בְּתוֹכֵכִי יְרוּשָׁלִַם הַלְלוּ־יָהּ׃
Transliteration: bechatsroth bêyth Adonay bethokhêkhiy yerushâlâim halelu-yâh The psalm exhibits an unusual textual division in some ancient traditions, where it is split into two separate compositions: verses 1–9 as one psalm and verses 10–19 as another. This bifurcation appears in the Septuagint (LXX), the Greek translation from the 3rd–2nd centuries BCE, which treats the first half as Psalm 114 and the second as Psalm 115 within the Hallel sequence. Similar divisions are attested in certain Dead Sea Scrolls fragments and medieval Masoretic manuscripts, such as splits between verses 10–11 or 11–12, reflecting liturgical or interpretive preferences rather than substantive textual changes. These variations highlight the fluid psalm arrangement in Second Temple Judaism, though the MT preserves the unified 19-verse structure. Key Hebrew terms underscore the psalm's emotional depth in the original language. The opening word "ahavti" (אָהַבְתִּי) in verse 1 is the first-person singular perfect form of the root אהב (ʾāhav), a primitive verb meaning "to love" or "to have affection," etymologically linked to concepts of giving or providing, as seen in related forms denoting relational commitment throughout the Hebrew Bible. In verse 15, "yaqar" (יָקָר) describes the death of the faithful as "precious," deriving from the root יקר (yāqar), which fundamentally conveys "heaviness" or "weightiness," evolving to signify value, rarity, or honor in contexts of worth or esteem. These terms, rooted in the consonantal skeleton of Biblical Hebrew, allow for nuanced vocalization and interpretation in the MT tradition.

English Translations

English translations of Psalm 116 have evolved significantly since the , reflecting advances in biblical scholarship, linguistic accuracy, and cultural sensitivities. The King James Version (KJV), published in 1611, represents an early influential rendering based primarily on the (MT), the standard Hebrew manuscript tradition. It employs archaic English to convey poetic , as seen in verse 1: "I love the , because he hath heard my voice and my " and verse 13: "I will take the cup of salvation, and call upon the name of the ." This version prioritizes literal fidelity to the MT while incorporating some influences from the Latin , resulting in phrasing that emphasizes dramatic supplication and divine mercy. The (RSV), released in 1952, modernizes the KJV's language while adhering closely to the MT, aiming for greater precision in poetic . For instance, verse 11 renders "I said in my consternation, 'Men are all a vain ,'" capturing the Hebrew kullam (all) as a general human frailty rather than outright deceit, differing from the KJV's more absolute "All men are liars." Verse 13 maintains "I will lift up the cup of salvation," aligning with MT's koshi yeshu'ot (my cup of deliverances), interpreted as a of gratitude. The RSV's updates reflect mid-20th-century , reducing archaic forms for readability without altering core MT dependencies. The (NIV), first published in 1978 and revised in 2011, adopts a dynamic equivalence approach, balancing thought-for-thought with MT fidelity to make the text accessible to contemporary readers. In verse 11, it states "in my alarm I said, 'Everyone is a liar,'" using inclusive "everyone" to reflect the Hebrew's broad scope while heightening emotional urgency over the RSV's "consternation." For verse 13, the NIV uses "I will lift up the cup of ," consistent with the KJV and RSV, but contextualizes it as a eucharistic-like offering in modern devotional use. This version occasionally draws on (LXX) readings for clarity, such as in verse 10's faith emphasis, though the MT remains the . Jewish English translations, such as the Jewish Publication Society (JPS) versions, emphasize MT accuracy from a Jewish interpretive . The 1917 JPS renders verse 11 as "I said in my haste: 'All men are liars,'" echoing the KJV's while using "liars" for sheker to denote falsehood. Verse 13 appears as "I will take the cup of ," preserving connotations tied to temple offerings. The 1985 JPS Tanakh (NJPS) updates this for modernity, with verse 11: "In panic I declared, 'No man can be relied on,'" softening the absolutism to "no man" for kol adam and using gender-neutral implications. Verse 13 becomes "I lift the cup of deliverance," opting for "deliverance" to underscore yeshu'ot as rescues, reflecting post-20th-century sensitivity to historical Jewish . Both JPS editions rely exclusively on the MT, avoiding LXX influences prevalent in some Christian translations. Post-20th-century developments include to address gender specificity in the MT. The (NRSV), published in 1989 and updated in 2021, exemplifies this shift, drawing on the MT but incorporating broader textual witnesses for nuance. Verse 11 reads "I said in my consternation, 'Everyone is a liar,'" aligning with the NIV's inclusivity while retaining RSV phrasing. Verse 15 evolves from "saints" or "servants" to "Precious in the sight of the is the death of his faithful ones," using "faithful ones" (chasidav) for . Verse 16 similarly changes "son of thy handmaid" to "the child of your serving girl," promoting equity without altering MT substance. The NRSV's reliance on the MT is supplemented by LXX consultations for disputed terms, like verse 10's faith declaration, but maintains MT as the baseline for English Psalters. These evolutions highlight a trend toward , inclusivity, and scholarly rigor in rendering Psalm 116's themes of and .

Septuagint Version

The Septuagint version of Psalm 116 from the Masoretic Text (MT) is divided into two separate psalms due to differences in ancient scribal traditions: LXX Psalm 114 corresponds to MT 116:1–9, and LXX Psalm 115 corresponds to MT 116:10–19. This split reflects an early interpretive decision to treat the psalm's two stanzas as distinct compositions, a practice evident in the Greek translation and carried into the Latin Vulgate. The full Greek text, based on the standard Rahlfs edition, is outlined below verse by verse for clarity.

LXX Psalm 114 (MT 116:1–9)

  1. Ἠγάπησα, ὅτι εἰσακούσεται κύριος τῆς φωνῆς τῆς δεήσεώς μου.
  2. Ὅτι ἔκλινεν τὸ οὖς αὐτοῦ ἐμοί, καὶ ἐν ταῖς ἡμέραις μου ἐπικαλέσομαι.
  3. Περιέσχον με ὠδῖνες θανάτου, κίνδυνοι ᾅδου εὗρόν με· θλῖψιν καὶ ὀδύνην εὗρον.
  4. Καὶ ὄνομα κυρίου ἐπεκαλεσάμην· ὦ κύριε, ῥῦσαι τὴν ψυχήν μου.
  5. Ἐλεήμων κύριος καὶ δίκαιος, καὶ ὁ θεὸς ἡμῶν οἰκτείρει.
  6. Φυλάσσων τὰ νήπια κύριος· ἐταπεινώθην, καὶ ἔσωσέν με.
  7. Ἀποστρέψον, ψυχή μου, εἰς τὴν ἀνάπαυσίν σου, ὅτι κύριος εὐεργέτησέν σε.
  8. Ὅτι ἐξεῖλεν τὴν ψυχήν μου ἐκ θανάτου, τοὺς ὀφθαλμούς μου ἐκ δακρύων, τοὺς πόδας μου ἐκ σεισμοῦ.
  9. Εὐαρεστήσω ἐνώπιον κυρίου ἐν χώρᾳ ζώντων.

LXX Psalm 115 (MT 116:10–19)

  1. Ἐπίστευσα, διὸ ἐλάλησα· ἐγὼ δὲ ἐταπεινώθην σφόδρα.
  2. Ἐγὼ εἶπα ἐν τῇ ἐκστάσει μου· πᾶς ἄνθρωπος ψεύστης.
  3. Τί ἀνταποδώσω τῷ κυρίῳ περὶ πάντων ὧν ἀνταπέδωκέν μοι;
  4. Ποτήριον σωτηρίου λήψομαι, καὶ ὄνομα κυρίου ἐπικαλέσομαι.
  5. Τὰς εὐχάς μου τῷ κυρίῳ ἀποδώσω ἐνώπιον παντὸς τοῦ λαοῦ αὐτοῦ.
  6. Τιμιὰ παρὰ τῷ κυρίῳ ὁ θάνατος τῶν ὁσίων αὐτοῦ.
  7. Ὦ κύριε, ἐγὼ δοῦλός σου, ἐγὼ δοῦλός σου καὶ υἱὸς τῆς παιδίσκης σου· διέρρηξας τοὺς δεσμούς μου.
  8. Σοὶ προσάξω θυσίαν αἰνέσεως καὶ ὄνομα κυρίου ἐπικαλέσομαι.
  9. Τὰς εὐχάς μου τῷ κυρίῳ ἀποδώσω ἐνώπιον παντὸς τοῦ λαοῦ αὐτοῦ,
  10. ἐν αὐλαῖς οἴκου κυρίου, ἐν μέσῳ σου, Ἰερουσαλήμ.
The translation of the Psalms, including this psalm, was produced in , , during the 3rd to 2nd centuries BCE as part of the broader effort to render the Hebrew Scriptures into Greek for Hellenistic Jewish communities who spoke Greek as their primary language. This translation served as the scriptural foundation for Diaspora Judaism, enabling worship, study, and interpretation in a Hellenistic cultural context where knowledge of Hebrew was limited. Key divergences from the Hebrew include the consistent rendering of the divine name YHWH as κύριος (, "Lord"), which aligns with Jewish reverential practices and influences later Christian usage. A notable expansion occurs in LXX Psalm 115:1 (MT 116:10), where the Hebrew "I believed, even when I said" becomes "Ἐπίστευσα, διὸ ἐλάλησα" ("I believed, therefore I spoke"), providing a more causal link between and speech that emphasizes theological confidence amid affliction. Other minor variations involve idiomatic Greek phrasing, such as "σεισμοῦ" ( or stumbling) in LXX 114:8 for the Hebrew "slipping," highlighting deliverance from peril. Early Greek manuscripts, such as (4th century CE), preserve the text of Psalms 114–115 with high fidelity, featuring primarily orthographic and minor morphological variants rather than substantive changes; for instance, consistent spelling of κύριος without significant omissions or additions in this section compared to later uncials like . This codex, one of the oldest complete witnesses to the LXX, underscores the stability of the Greek tradition for this psalm.

Notable Verses

Psalm 116 contains several verses that stand out for their poetic depth, theological weight, and rhetorical power, often highlighted in biblical scholarship for their emotional intensity and interpretive richness. Verse 1, " the , because he hath heard my voice and my supplications," offers a rare direct expression of personal love for in the , where such explicit declarations are uncommon outside of intimate relational contexts like those in the . This verse sets the psalm's tone of grateful reciprocity, linking the psalmist's affection to God's attentive response, and it echoes throughout the text as a motif of divine-human intimacy, cross-referencing the psalm's later vows of praise in verses 12-14 and 17-19. Verse 11, "I said in my haste, All men are liars," captures a moment of profound distress, employing hyperbolic rhetoric to underscore human frailty and unreliability amid crisis. In the psalm's narrative of near-death anguish (verses 3-4, 8), this exclamation reflects the psalmist's temporary disillusionment with human support, a sentiment echoed in New Testament allusions like Romans 3:4, where it emphasizes trust in God's truth over fallible people. While some patristic interpreters, such as Origen and Basil of Caesarea, viewed the phrase through the lens of the classical liar paradox—questioning its logical implications—modern scholarship treats it primarily as a poetic device highlighting vulnerability rather than a formal antinomy, reinforcing the psalm's theme of sole reliance on divine deliverance. Verse 13, "I will take the cup of , and call upon the name of the ," symbolizes through the elevation of a , drawing from ancient Near Eastern sacrificial practices where such acts commemorated God's rescue. In Jewish tradition, this gesture evokes the peace offering of Leviticus 7, blending communal with personal gratitude for physical and spiritual . Christian interpreters often see it as a precursor to Eucharistic , portraying the as a foretaste of redemption celebrated in the Lord's Supper, where believers lift it in remembrance of Christ's salvific work. Verse 15, "Precious in the sight of the is the death of his saints," has sparked over the Hebrew term yaqar (precious), which conveys not mere but a of high value, costliness, or weightiness, implying that regards the death of the faithful as significant and honorable within his redemptive purposes. Some scholars argue yaqar suggests "costly" or "difficult," emphasizing divine reluctance to allow such losses, as seen in 's intervention to spare the psalmist earlier in the text (verses 6-8), while others affirm its connotation of treasured worth, aligning with themes of eternal reward. This verse cross-references the psalm's opening declaration in verse 1 by framing not as defeat but as a valued transition for those devoted to .

Linguistic and Structural Features

Language Characteristics

Psalm 116 displays linguistic traits indicative of late , notably the incorporation of Aramaisms that suggest influence during the post-exilic period. Specific examples include the pronominal suffix -aykî in verse 7 ("limnûḥāyêkî," to your rest), which aligns with morphology rather than classical Hebrew forms, and a similar in verse 12 ("kol-gĕmûlāw 'ālay," all his benefits to me). These elements contribute to the psalm's distinctive vocabulary and have been identified as markers of linguistic evolution in the . The poetic diction emphasizes emotional immediacy through repetition and personal address. In verse 3, the parallel phrases "ḥĕbēlê-māwet" (cords of death) and "mĕṣārê šĕʾôl" (terrors/pangs of Sheol) employ synonymous parallelism to evoke entrapment, a common device in lament poetry that intensifies the sense of peril. Additionally, the frequent use of first-person pronouns ("ʾānōkî," "I"; "napsî," my soul) throughout the psalm fosters a confessional intimacy, drawing the reader into the speaker's personal encounter with divine deliverance. This direct, subjective language underscores the individualistic tone typical of thanksgiving compositions. Vocabulary in Psalm 116 aligns closely with the genre of thanksgiving psalms, featuring terms evocative of ritual gratitude. Verse 17's "zĕbaḥ-tôdâ" (sacrifice of thanksgiving) is a hallmark phrase in such texts, denoting both the liturgical offering and the accompanying praise, as seen in similar usages across the (e.g., 50:14, 107:22). This word choice reflects a specialized for expressing communal and personal acknowledgment of God's favor, reinforcing the psalm's cultic orientation. Syntactically, the psalm features abrupt transitions that mirror an oral, extemporaneous style of composition. The shift from in verses 3–4 ("ṣārâ wĕyāgôn ʾemṣāʾ," I found distress and sorrow) to unqualified praise in verse 5 ("ḥannûn wĕṣaddîq YHWH," gracious and righteous is the LORD) occurs without transitional markers, creating a dramatic pivot that evokes the spontaneity of spoken . This structure, common in individual laments transitioning to hymns, highlights the psalm's performative quality, likely intended for in settings.

Poetic Structure

Psalm 116 exhibits a bipartite structure, dividing into two primary sections: verses 1–9, which recount the psalmist's personal experience of deliverance from death and distress, and verses 10–19, which articulate a public response of and commitment in a communal setting. This division is marked by a at verse 10, where the psalmist transitions from individual reflection ("I believed, even when I spoke") to a broader of , linking the private narrative to corporate expression. The psalm employs an to frame its content, beginning with an expression of for the in response to divine hearing (v. 1) and concluding with acts of gratitude, including the offering of a of (v. 17). This bookending reinforces the theme of reciprocal devotion, enclosing the entire composition within motifs of affection and appreciative worship. Additionally, verses 12–19 display chiastic patterns, with symmetrical elements centering on the preciousness of the faithful's death to the (vv. 15–16) and radiating outward to vows, libations, and communal praise, creating a balanced, mirrored progression that highlights the psalmist's obligations. Parallelism, a hallmark of Hebrew poetry, manifests in varied forms throughout the psalm. Synonymous parallelism appears prominently in the praise sections, such as verses 1–2, where the Lord's attentiveness to the psalmist's voice is reiterated through equivalent phrasing ("he heard my voice and my pleas for mercy" paralleled by "he inclined his ear to me"), amplifying the intensity of divine . In contrast, antithetic parallelism underscores human-divine tensions, as seen in verses 3–4, juxtaposing the "cords of death" and "anguish of " against the act of calling on the Lord's name, thereby emphasizing from peril through faithful . Recent scholarship highlights as a unifying literary device in Psalm 116, strategically linking disparate elements—such as personal (vv. 10–11) with communal resolve (vv. 12–19)—to integrate the psalm's potentially fragmented parts into a cohesive whole, countering earlier views of structural disunity.

Themes and Interpretation

Central Themes

Psalm 116 is fundamentally a psalm that centers on the psalmist's profound for divine from a life-threatening . In verses 3-9, the vividly recounts being ensnared by the "cords of " and the anguish of , yet cries out to the , who hears and rescues the soul from , eyes from , and feet from stumbling. This underscores an individual encounter with mortality, transforming terror into confident walking "before the in the land of the living." A key motif is the reciprocity between the human made in distress and God's merciful response, illustrated by the psalmist's commitment to fulfill promises through acts. The pledges to lift the "cup of " and offer a , repaying the for boundless benevolence by proclaiming to all the godly. This exchange highlights as the initiator of , prompting a vowed return of and obedience. The psalm extends this personal into a universal call to praise, culminating in verse 19 with of fulfilling vows "in the presence of all his people, in the courts of the house of the Lord." This shifts from individual crisis to communal celebration, inviting the assembly to witness and participate in the acknowledgment of God's deeds, thereby broadening into collective . Contrasting sharply with divine reliability is the theme of human deceit, articulated in verse 11: "I said in my alarm, 'All mankind are liars.'" This exclamation arises from amid affliction, yet reinforces trust in God's unwavering , positioning the as the sole dependable refuge amid human frailty.

Theological Insights

Psalm 116 offers profound theological insights into divine deliverance, particularly through the psalmist's experience of being rescued from the "pangs of " in verse 3, which portrays as a realm of death and separation from , foreshadowing hopes of in . This deliverance underscores 's power to intervene in mortal peril, transforming a near-descent into the abode of the dead into a testimony of life restored, influencing Christian by prefiguring Christ's victory over death and the promise of eternal life for believers. The psalm's opening verses (1-2) emphasize 's attentiveness to , declaring that the "inclined his ear" to the psalmist's cries, which reinforces the doctrine of as an active, personal care that sustains the faithful amid distress. This attentiveness motivates lifelong devotion to calling upon , illustrating how answered fosters trust in His oversight of human affairs. Verse 15, "Precious in the sight of the is the of his saints," meditates on the intrinsic value God places on the lives and s of the faithful, viewing their passing not as loss but as a costly transition to eternal communion, often invoked in reflections on martyrdom where believers' sacrifices align with divine purposes. However, scholars the of the Hebrew term yāqār ("precious"), with some interpreting it as "grievous" or "difficult," suggesting that God finds the of the righteous burdensome, thus emphasizing divine reluctance to allow their demise and addressing concerns. This perspective highlights God's intimate knowledge of each saint's appointed time, affirming eternal life as the ultimate fulfillment of His redemptive care. As part of the psalms (113-118), recited during Jewish like , Psalm 116 integrates themes of personal and communal redemption, celebrating God's salvation from death as a microcosm of Israel's exodus , thereby enriching festival worship with motifs of and liberation.

Authorship and Context

Traditional Views

Early Jewish and Christian traditions attribute Psalm 116 to , portraying the psalm as a personal for from mortal peril, akin to the trials described in David's life such as those in 2 Samuel 22. Early Jewish tradition reinforces this Davidic authorship, with the (b. Pesachim 118a) presenting the psalm as David's vow of praise after God heard his supplications during times of distress. Midrashic interpretations from offer alternative historical contexts, associating the psalm with King 's near-fatal illness recounted in 2 Kings 20 and 38, where , facing death, prays fervently and receives divine healing, prompting vows of lifelong devotion to God. Other midrashim, such as those in Tehillim, connect its themes of redemption to the deliverance from , emphasizing communal gratitude for liberation from death-like oppression. Patristic writers in interpreted the psalm christologically, with (354–430 CE) in his Exposition on Psalm 116 identifying its voice as that of the risen Christ addressing the post-resurrection, celebrating escape from the "snares of " and the soul's return to eternal tranquility. further sees the psalm as encompassing the Church's collective praise, mirroring the martyrs' endurance and . As part of the Egyptian (Psalms 113–118), recited during in Jewish , Psalm 116 functions anonymously as a of communal praise, evoking the ' collective thanksgiving for God's intervention in , without specific individual authorship emphasized in its liturgical role.

Scholarly Debates

Scholarly debates surrounding Psalm 116 primarily revolve around its authorship and date of composition, as the psalm lacks a superscription attributing it to any specific figure in the . Conservative scholars have argued for Davidic authorship in the BCE, citing stylistic affinities with undisputed Davidic , such as the intimate expression of personal deliverance from peril and the emphasis on covenantal loyalty to . This view aligns with broader traditional attributions in Jewish and Christian , though it remains contested due to the absence of explicit historical markers. In contrast, a significant body of modern scholarship favors a later post-exilic origin, often placing the psalm in the Maccabean period around the 2nd century BCE, influenced by its position within the Egyptian (Psalms 113–118), which were prominently used in liturgies during that era of Hellenistic oppression. The 19th-century biblical critic Hitzig notably advanced this dating by classifying 73–150, including 116, as products of Maccabean piety, arguing that their themes of communal thanksgiving and resistance to foreign domination reflect the historical context of the . An alternative 19th-century hypothesis associates the psalm with King Hezekiah's experiences in the late BCE, linking its motifs of near-death illness and divine rescue to the (2 Kings 18–19) and Hezekiah's recovery ( 38; 2 Kings 20), as proposed in commentaries like those of E. W. Hengstenberg. Structural and linguistic analyses further support a composite composition from multiple sources, indicative of late redaction. A 2019 study posits that Psalm 116 reinterprets and integrates pre-existing biblical material, exemplifying post-exilic psalmic creativity in forming new liturgical texts from older traditions. Building on this, a 2022 examination of the psalm's juxtaposition—pitting motifs of death and against life and Yahweh's presence—suggests layered origins, potentially drawing from disparate hymns or prayers to create a unified . Post-2020 has yielded no groundbreaking shifts in these debates, with scholarly focus shifting toward interpretive applications rather than chronological precision; ongoing discussions appear in commentaries like those from Working Preacher in the early 2020s, which acknowledge the uncertainties but prioritize the psalm's enduring themes of .

Liturgical and Cultural Uses

In Judaism

Psalm 116 forms an integral part of the , a collection of 113–118 recited during services to express praise and gratitude for divine redemption. It is chanted in its entirety during the full Hallel on major holidays such as (), , and , commemorating events like and the joy of these pilgrim festivals. On (the new month) and the intermediate days of , an abbreviated version of Hallel is recited, omitting the first half of 115 and 116 to reflect a tempered joy in light of historical events, such as the drowning of the . Beyond communal , Psalm 116 holds significance in personal expressions of , particularly after recovery from illness or escape from peril. As a classic example of an individual psalm, it is often recited privately or incorporated into prayers of gratitude, echoing the psalmist's vow to offer sacrifices and praise God for hearing supplications. This practice aligns with the Birkat HaGomel blessing, recited publicly after surviving dangers like serious illness, where the themes of divine responsiveness in Psalm 116 resonate deeply. The provides interpretive depth to such thanksgiving motifs, as seen in Berakhot 54b, which mandates public recitation of gratitude by those delivered from life-threatening situations—, travelers, the recovered ill, and freed prisoners—mirroring the psalm's emphasis on God's attentive response to cries for help. This ruling underscores the psalm's role in framing personal deliverance as a communal to proclaim divine kindness. In contemporary Jewish practice, Psalm 116 appears in modern siddurim ( books) for festival use, such as those published by and Koren, where it is included in sections with transliterations and commentaries to aid recitation. It also features in personalized resources for recovery and gratitude, maintaining its traditional vitality in both synagogue and home settings.

In the

Psalm 116 finds a direct in the through Paul's quotation of verse 10 in 2 Corinthians 4:13, where he writes, "But having the same spirit of , according to what is written, 'I believed, and so I spoke,' we also believe, and so we also speak." This verse from the psalm, expressing unwavering amid affliction that leads to proclamation, is applied by Paul to the apostolic ministry's endurance in suffering and bold testimony about Christ's , linking the psalmist's personal to the broader Christian experience of hope in resurrection power. Thematically, Psalm 116 influences resurrection narratives, particularly through its imagery of deliverance from death and the "cup of salvation" in verse 13. As part of the Egyptian ( 113–118), recited during , the psalm was likely sung by and his disciples after the , as noted in :30 and :26, where they "sang a " before departing to the . This cup, symbolizing grateful acceptance of God's rescue from mortal peril, parallels the Eucharistic cup in the accounts (e.g., :27–28; Luke 22:17–20), reinterpreting the psalm's thanksgiving motif as Christ's institution of the through his impending death and . The psalm's emphasis on divine rescue from death also resonates in the Pentecost narrative of :24–28, where Peter proclaims God's deliverance of from the pains of death, echoing the psalm's themes of liberation from Sheol's cords (Psalm 116:3) and walking before the in life (Psalm 116:9). This connection underscores early Christian theology's use of the psalm to frame ' resurrection as the ultimate fulfillment of God's faithfulness to the faithful amid mortal threats. Scholarly analysis highlights the (LXX) version of Psalm 116 as a key influence on quotations, particularly in 2 Corinthians 4:13, which follows the LXX rendering of verse 10 ("I believed, therefore I spoke") rather than the Hebrew ("I believed, even when I spoke"). This reliance on the LXX, common in authors, facilitated the psalm's integration into early Christian writings, adapting its language to articulate faith's role in proclamation and eschatological hope.

In Eastern Christianity

Within the , Psalm 116 is recited as a core component of the None office, or Hour prayer, in the , the Coptic . This recitation, divided into verses 1-9 (focusing on and ) and 10-19 (emphasizing and vows), underscores daily reflection on God's amid affliction, fostering a rhythm of continual praise. During services, the psalm appears in the Praises (Niethnos Tiro) and related prostration prayers, enhancing the liturgical commemoration of Christ's passion and resurrection as ultimate , chanted to evoke communal repentance and joy. In the of , Psalm 116 forms part of the Egyptian (Psalms 113-118), chanted during the Paschal season to celebrate Christ's as victory over . These chants, rendered in traditional Byzantine notation, accompany the midnight Paschal service and subsequent liturgies, with the psalm's motifs of lifting the cup of salvation resonating in the Eucharistic thanksgiving that defines the fifty-day Bright Week.

In Western Christianity

In Western Christianity, Psalm 116 holds a prominent place in Catholic liturgy, particularly within the Liturgy of the Hours, where it is appointed for Evening Prayer across various liturgical weeks, such as the second week of Lent and the sixth week of Easter. The psalm's themes of thanksgiving and deliverance resonate in these vespers, often divided into sections like verses 1-9 for the first antiphon and verses 10-19 for the second, emphasizing God's rescue from death. In funeral Masses, verse 15—"Precious in the sight of the Lord is the death of his faithful ones"—serves as a key responsorial psalm option, providing comfort and affirmation of the value of believers' lives in God's eyes, as outlined in the approved lectionary for Masses for the Dead. Among Protestants, Psalm 116 has been invoked in historical sermons to express gratitude amid hardship, notably in the first Christian service on Australian soil on February 3, 1788, when chaplain Richard Johnson preached on verses 12-13—"What shall I return to the Lord for all his goodness to me? I will lift up the cup of salvation"—to the settlers, framing their arrival as . In modern Protestant worship, the psalm features in Lenten services focused on and , as seen in resources from the Calvin Institute of Christian Worship, which provide service plans centering Psalm 116 to highlight God's faithfulness during trials. Reformation-era commentaries, such as Martin Luther's exposition in his Commentary on the Psalms, underscore the psalm's call to heartfelt for God's mercies, portraying as a sacrificial response that binds the believer to divine service. This emphasis on influenced Protestant hymnody by promoting congregational singing of psalms and themes, aligning with Luther's broader vision of as a vehicle for scriptural devotion and praise in worship. Post-2020, Psalm 116 has integrated into targeting younger audiences, including Gen Z, through accessible digital resources like the GenZ.Bible translation and study guide, which rephrases the psalm to emphasize personal deliverance and communal thanks in modern contexts. Such adaptations support its use in youth-oriented services, fostering relevance in an era of digital engagement.

Secular and Civic Applications

Psalm 116, particularly verse 12, has found application in secular civic contexts through its Latin translation in the , "Pro tanto quid retribuamus," meaning "What shall we give in return for so much?" This phrase embodies themes of gratitude and reciprocity, adapted beyond religious settings to symbolize communal obligation and civic pride. The City of adopted this motto as part of its on March 18, 1890, coinciding with its grant of by . In this emblematic role, the phrase reflects the city's appreciation for its industrial growth and historical privileges, transforming the psalm's original expression of personal into a symbol of collective civic reciprocity toward benefactors and community welfare. This adoption illustrates a broader historical shift in the , where biblical texts like Psalm 116 transitioned from liturgical exclusivity to public , serving as moral anchors in emerging urban identities without direct religious invocation. Such uses emphasize emblematic meanings of mutual return for societal benefits, as seen in Belfast's enduring civic heraldry. In modern secular discourse, verse 12 has occasionally surfaced in discussions of reciprocity, such as in ethical frameworks for and , underscoring obligations to repay societal investments through .

Musical Settings

Classical Compositions

Psalm 116 has inspired numerous musical settings from the period onward, reflecting its themes of and divine deliverance in sacred choral and orchestral works. Composers drew on the psalm's text—particularly verses expressing personal devotion and praise—for motets, cantatas, and larger liturgical pieces, often adapting it to Latin () or translations. These compositions typically feature polyphonic textures and expressive contrasts to evoke the psalm's emotional depth, with ranging from continuo to full . One prominent Baroque example is Marc-Antoine Charpentier's Credidi propter quod locutus sum, H.209, a motet setting verses from Psalm 115 in the Vulgate (corresponding to Psalm 116 in the Hebrew Bible). Composed around 1685–1690 for soloists, chorus, and continuo, it employs grand motet style with alternating solo and ensemble sections to highlight the text's confessional tone, "I believed, therefore I spoke." In the early 17th century, Heinrich Schütz contributed Das ist mir lieb, SWV 51, a German setting of Psalm 116 verses 1–9 from his Psalmen Davids (1619). Scored for SSATB choir and basso continuo, this polychoral work uses spatial antiphony and vivid word-painting—such as flowing lines for "living waters"—to convey the psalm's imagery of salvation from distress. Anton Bruckner's Psalm 114, WAB 36 (1852), sets a German translation of Psalm 116 verses 1–9 for five-part mixed (SAATB) and three trombones. This compact , influenced by Mendelssohn's psalm style, features Bruckner's characteristic harmonic richness and builds to a triumphant close on the theme of divine mercy, reflecting his early sacred output during his time in . Franz Schreker's Psalm 116, Op. 6 (1900), marks his graduation from the Conservatory and stands as a late-Romantic orchestral setting for three-part women's chorus, orchestra, and organ. Lasting about 13 minutes, it emphasizes dramatic contrasts through lush orchestration and dynamic shifts, portraying the psalm's journey from affliction to praise with Wagnerian influences in its and emotional intensity. Other pre-20th-century works include Johann Hermann Schein's polyphonic setting in the collection Angst der Höllen und Friede der Seelen (1616), which integrates Lutheran chorale elements. George Frideric Handel's oratorios, such as Israel in Egypt (1739), indirectly draw on psalmic traditions including echoes of Psalm 116's thanksgiving motifs in choral movements, though no standalone setting exists.

Contemporary Adaptations

In the , Psalm 116 has inspired a range of modern choral and band compositions that adapt its themes of and into accessible, congregational formats suitable for contemporary Christian services. The Robbie Seay Band's "Psalm 116 (You Turned My Soul to Rest)," released in 2015 on their Psalms LP album, exemplifies this approach with its acoustic-driven melody and lyrics drawn directly from the psalm's verses, emphasizing personal restoration and praise. Similarly, Sovereign Grace Music has produced several -oriented settings in the and , including "Jesus, Your Mercy" from their 2020 album The Glorious Christ Live, which highlights the psalm's focus on divine mercy as a source of hope and boasting. Another from the same collective, the Spanish-language "Pon Tu Mirada" released in 2022, encourages turning eyes to Christ amid earthly trials, reflecting the psalm's imagery of salvation from death. Post-2020 adaptations have increasingly incorporated Psalm 116 into liturgical and experimental contexts, often for seasonal worship like . The Oregon Catholic Press's Spirit & Psalm 2022 hymnal features contemporary settings such as Chris Muglia's "Our Blessing-Cup," used in Holy Thursday liturgies to underscore the psalm's eucharistic themes of communion and return for God's goodness. In more innovative styles, Poor Bishop Hooper's folk-infused "Psalm 116" from their 2022 EveryPsalm project offers a stripped-down, acoustic rendition that captures the psalm's tone, designed for use and released as part of a initiative to musically interpret all 150 psalms. Mission House's "Psalm 116 (I Love You )," an acoustic worship track from 2020, further illustrates this trend in , blending intimate vocals with the psalm's opening declaration of love for the who hears prayers. These adaptations mark an from classical polyphonic forms, shifting toward verse-chorus structures and like guitars and light percussion to foster participatory in modern settings, while preserving the psalm's core message of and rescue.

References

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  88. https://robbieseayband.bandcamp.com/track/psalm-116-you-turned-my-soul-to-rest
  89. https://sovereigngracemusic.com/music/songs/jesus-your-mercy/
  90. https://sovereigngracemusic.com/music/songs/pon-tu-mirada/
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