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Psalm 142
Psalm 142
Psalm 142
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Psalm 142
"I cried unto the LORD with my voice"
Statue of Mary and Saint Anne in Molln church; Anne holds a scroll with a quotation from Ps 142: Tu es spes mea, portio mea ("Thou art my refuge and my portion.")
Other name
  • Psalm 141 (Vulgate)
  • "Voce mea ad Dominum clamavi"
Psalm 142
BookBook of Psalms
Hebrew Bible partKetuvim
Order in the Hebrew part1
CategorySifrei Emet
Christian Bible partOld Testament
Order in the Christian part19

Psalm 142 is the 142nd psalm of the Book of Psalms, beginning in English in the King James Version: "I cried unto the LORD with my voice." In the slightly different numbering system used in the Greek Septuagint version of the Bible, and the Latin Vulgate, this psalm is Psalm 141. In Latin, it is known as "Voce mea ad Dominum clamavi".[1] It is attributed to David in the opening verses.[2] It is labelled as a maschil or contemplation.[3] The text is presented as a prayer uttered by David at the time he was hiding in the Cave of Adullam (part of the David and Jonathan narrative in the Books of Samuel). Albert Barnes notes that "a prayer when he was in the cave" could mean it was a prayer which he composed while in the cave, or one which he composed at a later date, "putting into a poetic form the substance of the prayer which he breathed forth there."[4] It is, consequently, used as a prayer in times of distress.

The psalm is used as a regular part of Jewish, Catholic, Lutheran, Anglican and other Protestant liturgies; it has been set to music.

Uses

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Catholic Church

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In Catholic liturgy, this psalm has been recited at Vespers since the Middle Ages. According to the Rule of St. Benedict (530), this psalm traditionally appeared on Friday night.[5][6] In the current Liturgy of the Hours, this psalm is recited on Saturday Vespers in the first week of the cycle of four weeks. This psalm is known to have been recited by Saint Francis of Assisi on his deathbed.

Coptic Orthodox Church

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In the Agpeya, the Coptic Church's book of hours, this psalm is prayed in the office of Compline[7] and the third watch of the Midnight office.[8]

Book of Common Prayer

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Psalm 142 is said or sung at Evensong on the 29th of the month following the rubrics of the Book of Common Prayer.

Musical settings

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Heinrich Schütz composed a metred paraphrase of Psalm 142 in German, "Ich schrei zu meinem lieben Gott", SWV 247, for the Becker Psalter, published first in 1628.

Artemy Vedel composed a choral concerto based on the Psalm 142, Glasom moim.[9] Polyphonic settings of the psalm have been composed by Andreas Hakenberger, Gracián Babán, and Jules Van Nuffel, among others.

Text

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The following table shows the Hebrew text[10][11] of the Psalm with vowels, alongside the Koine Greek text in the Septuagint[12] 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, this psalm is numbered Psalm 141.

# Hebrew English Greek
[a] מַשְׂכִּ֥יל לְדָוִ֑ד בִּֽהְיוֹת֖וֹ בַמְּעָרָ֣ה תְפִלָּֽה׃‎ (Maschil of David; A Prayer when he was in the cave.) Συνέσεως τῷ Δαυΐδ, ἐν τῷ εἶναι αὐτὸν ἐν τῷ σπηλαίῳ· προσευχή. -
1 ק֭וֹלִי אֶל־יְהֹוָ֣ה אֶזְעָ֑ק ק֝וֹלִ֗י אֶל־יְהֹוָ֥ה אֶתְחַנָּֽן׃‎ I cried unto the LORD with my voice; with my voice unto the LORD did I make my supplication. ΦΩΝῌ μου πρὸς Κύριον ἐκέκραξα, φωνῇ μου πρὸς Κύριον ἐδεήθην.
2 אֶשְׁפֹּ֣ךְ לְפָנָ֣יו שִׂיחִ֑י צָ֝רָתִ֗י לְפָנָ֥יו אַגִּֽיד׃‎ I poured out my complaint before him; I shewed before him my trouble. ἐκχεῶ ἐνώπιον αὐτοῦ τὴν δέησίν μου, τὴν θλῖψίν μου ἐνώπιον αὐτοῦ ἀπαγγελῶ.
3 בְּהִתְעַטֵּ֬ף עָלַ֨י ׀ רוּחִ֗י וְאַתָּה֮ יָדַ֢עְתָּ נְֽתִיבָ֫תִ֥י בְּאֹֽרַח־ז֥וּ אֲהַלֵּ֑ךְ טָמְנ֖וּ פַ֣ח לִֽי׃‎ When my spirit was overwhelmed within me, then thou knewest my path. In the way wherein I walked have they privily laid a snare for me. ἐν τῷ ἐκλείπειν ἐξ ἐμοῦ τὸ πνεῦμά μου, καὶ σὺ ἔγνως τὰς τρίβους μου· ἐν ὁδῷ ταύτῃ, ᾗ ἐπορευόμην, ἔκρυψαν παγίδα μοι.
4 הַבֵּ֤יט יָמִ֨ין ׀ וּרְאֵה֮ וְאֵֽין־לִ֢י מַ֫כִּ֥יר אָבַ֣ד מָנ֣וֹס מִמֶּ֑נִּי אֵ֖ין דּוֹרֵ֣שׁ לְנַפְשִֽׁי׃‎ I looked on my right hand, and beheld, but there was no man that would know me: refuge failed me; no man cared for my soul. κατενόουν εἰς τὰ δεξιὰ καὶ ἐπέβλεπον, καὶ οὐκ ἦν ὁ ἐπιγινώσκων με· ἀπώλετο φυγὴ ἀπ᾿ ἐμοῦ, καὶ οὐκ ἔστιν ὁ ἐκζητῶν τὴν ψυχήν μου.
5 זָעַ֥קְתִּי אֵלֶ֗יךָ יְ֫הֹוָ֥ה אָ֭מַרְתִּי אַתָּ֣ה מַחְסִ֑י חֶ֝לְקִ֗י בְּאֶ֣רֶץ הַחַיִּֽים׃‎ I cried unto thee, O LORD: I said, Thou art my refuge and my portion in the land of the living. ἐκέκραξα πρὸς σέ, Κύριε, εἶπα· σὺ εἶ ἡ ἐλπίς μου, μερίς μου εἶ ἐν γῇ ζώντων.
6 הַקְשִׁ֤יבָה ׀ אֶֽל־רִנָּתִי֮ כִּֽי־דַלּ֢וֹתִ֫י מְאֹ֥ד הַצִּילֵ֥נִי מֵרֹדְפַ֑י כִּ֖י אָמְצ֣וּ מִמֶּֽנִּי׃‎ Attend unto my cry; for I am brought very low: deliver me from my persecutors; for they are stronger than I. πρόσχες πρὸς τὴν δέησίν μου, ὅτι ἐταπεινώθην σφόδρα· ῥῦσαί με ἐκ τῶν καταδιωκόντων με, ὅτι ἐκραταιώθησαν ὑπὲρ ἐμέ.
7 ה֘וֹצִ֤יאָה מִמַּסְגֵּ֨ר ׀ נַפְשִׁי֮ לְהוֹד֢וֹת אֶת־שְׁ֫מֶ֥ךָ בִּ֭י יַכְתִּ֣רוּ צַדִּיקִ֑ים כִּ֖י תִגְמֹ֣ל עָלָֽי׃‎ Bring my soul out of prison, that I may praise thy name: the righteous shall compass me about; for thou shalt deal bountifully with me. ἐξάγαγε ἐκ φυλακῆς τὴν ψυχήν μου τοῦ ἐξομολογήσασθαι τῷ ὀνόματί σου· ἐμὲ ὑπομενοῦσι δίκαιοι, ἕως οὗ ἀνταποδῷς μοι.

Verse 2

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I pour out my complaint before Him;
I declare before Him my trouble.[13]

Barnes points out that the psalmist is not so much "complaining" as meditating, or praying for release.[4]

Notes

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References

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Psalm 142

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Psalm 142 is the 142nd psalm of the Book of Psalms in the and Christian , classified as an individual lament and designated as a maskil—a term denoting a meditative or instructional psalm—attributed to and subtitled "When he was in the cave. A ." The psalm consists of seven verses (eight in the Hebrew numbering), in which the speaker cries out to in vocal amid profound distress, describing a fainting spirit, hidden traps set by enemies, and utter isolation with no human ally or refuge. It transitions from raw complaint to a declaration of trust in as the sole portion and refuge, culminating in a plea for from overwhelming pursuers so that may be offered among the righteous. The historical superscription links the psalm to David's experiences as a fugitive from King Saul, most likely during his hiding in the as described in 1 Samuel 22:1-2, where he gathered a band of outcasts while feeling abandoned and endangered, though some scholars also connect it to the cave at En Gedi in 1 Samuel 24. Structurally, it follows the typical form of an individual lament psalm: an invocation and outpouring of trouble (verses 1-2), description of the peril and loneliness (verses 3-4), affirmation of faith (verse 5), and urgent petition for rescue (verses 6-7), emphasizing audible and God's intimate of the psalmist's path despite human . Key themes include overwhelming solitude—"Look and see, there is no one at my right hand; no one cares for my life" (verse 4)—divine attentiveness amid despair, and ultimate hope in God's goodness leading to communal praise, making it a poignant expression of personal crisis resolved through reliance on . In Jewish tradition, Psalm 142 holds significance as a tefillah () recited in times of trouble, often associated with themes of or isolation, and it appears in penitential contexts or personal supplications. Within , it is incorporated into services of and comfort, such as in the Roman Catholic Liturgy of the Hours and Anglican daily offices, underscoring its in voicing before . Scholarly , including form-critical studies, highlights its place among the Davidic psalms of Book V (Psalms 107-150), where it contributes to motifs of and restoration, potentially edited to evoke post-exilic resonances of communal and divine .

Background

Authorship and title

Psalm 142 is traditionally attributed to , as indicated by its superscription in the : "A Maskil of David. When he was in the cave. A ." This ascription links the psalm to David's experiences of flight and isolation during his early life, prior to his kingship, when he evaded Saul's pursuit and sought hiding places in caves. The term "Maskil," appearing in the titles of thirteen psalms including this one, remains etymologically debated among scholars, but it is widely understood as denoting a type of composition intended for instruction, , or skillful performance, possibly involving a didactic or contemplative element to impart . Some interpretations suggest it refers to a musical or liturgical cue, such as a responsive style, emphasizing the psalm's role in communal or reflective worship. Scholarly consensus, informed by form-critical analysis pioneered by , classifies Psalm 142 as an individual psalm, a genre characterized by cries of distress, complaint, and pleas for divine intervention, which Gunkel dated primarily to pre-exilic based on structural and linguistic patterns. However, debates persist regarding its precise dating; while the superscription supports a Davidic origin around the BCE, many modern critics view the titles as later editorial additions from the post-exilic period (after BCE), citing potential linguistic developments and the psalm's placement in the Psalter's final book as evidence of composition or redaction during or after the Babylonian . Form-critical arguments for an earlier date highlight the psalm's straightforward structure, which shows minimal later elaboration compared to more complex post-exilic compositions.

Historical context

Psalm 142 bears a superscription attributing it to "when he was in the cave," a phrase that traditionally connects the psalm to episodes in David's life recounted in the Books of , where he sought refuge from King Saul's pursuit. This link is most commonly associated with 1 Samuel 22:1–2, describing David's hiding in the during his early flight as an outlaw, or alternatively with 1 Samuel 24:1–22, where David spares Saul's life in a cave at En Gedi in the Judean wilderness. These narratives portray David as isolated and persecuted, themes that resonate with the psalm's expressions of distress and plea for divine protection. The historical setting of these events is placed in the late 11th to early BCE, during the period of the united monarchy in ancient , when , anointed but not yet king, evaded Saul's forces amid political and military tensions. This era, around 1020–1000 BCE, was marked by tribal conflicts and the consolidation of power, with David's experiences of and survival in remote areas like the Judean hills reflecting the instability of the time. The psalm's emphasis on persecution by overwhelming enemies aligns with the biblical accounts of Saul's obsessive hunt, underscoring a context of personal vulnerability and reliance on amid human abandonment. Scholarly opinions on the psalm's historicity remain divided, with debates centering on whether it was composed by David himself or later attributed to him during the compilation of the . Proponents of Davidic authorship, such as Jerome L. Skinner, argue for its authenticity based on linguistic features like archaic Hebrew vocabulary (e.g., terms for "cry" and "refuge" paralleling ), frequent use of first-person singular pronouns, and lexical echoes with the Samuel narratives, suggesting a pre-exilic origin tied to the BCE. Conversely, many modern critical scholars, drawing on diachronic linguistic analysis, propose a post-exilic composition or (6th–5th century BCE), citing the psalm's placement in Book V of the and features like standardized forms that evolved later, though they acknowledge the superscription's potential to preserve an ancient tradition. Evidence from the Dead Sea Scrolls, including 11QPs^a, supports the stability of the text but does not resolve the dating definitively. Within the Book of Psalms, Psalm 142 forms part of the broader collection, the largest genre in the comprising approximately 60 individual and communal that express complaint, supplication, and trust in divine deliverance. Positioned in Book V (Psalms 107–150), it contributes to a cluster of Davidic (138–145) emphasizing covenant faithfulness amid adversity, reflecting editorial shaping during or after to evoke historical remembrance and liturgical use. This placement highlights its role in the 's thematic arc from to , without implying a specific "Elohistic" subgroup but aligning with the anthology's focus on prayers of distress.

Text and structure

Superscription and form

The superscription of Psalm 142 reads, "A Maskil of . When he was in the cave. A ," serving as an introductory rubric that frames the psalm's authorship, context, and liturgical function. The term maskil denotes a contemplative or instructional composition, often associated with or skillful poetic expression, appearing in several Davidic linked to historical narratives in 1 . The attribution "of " indicates traditional authorship by the king, reflecting personal experience amid persecution. The phrase "when he was in the cave" alludes to David's flights from , such as at (1 Samuel 22:1–2) or En Gedi (1 Samuel 24:1–3), evoking themes of isolation and refuge without specifying a single event. Finally, "a " classifies the text as a supplicatory piece, emphasizing its role in personal devotion. Psalm 142 exemplifies the individual lament genre within Hebrew poetry, comprising seven verses (in the Masoretic Text) that blend elements of complaint, confession of distress, and petition for divine intervention. This form follows the classic lament structure: an invocation to God, description of affliction, and plea for deliverance, designed for solitary use rather than communal worship. The psalm's brevity and intensity underscore its suitability for moments of acute personal crisis, aligning with other maskil psalms that integrate didactic reflection. Structurally, the psalm divides into three stanzas: verses 1–2 articulate the initial cry to , emphasizing vocal ; verses 3–4 detail the psalmist's distress and abandonment; and verses 5–7 culminate in a plea for refuge and vindication. This progression creates a unified arc from to resolution, enhanced by synonymous parallelism, where adjacent lines reinforce ideas through restatement, such as the doubled emphasis on outpouring the soul in verse 2. Some analyses propose a chiastic arrangement (ABCCBA pattern) that centers on the theme of isolation, linking the outer pleas to the inner . Hebrew poetic devices further unify the form, including the repetition of qol ("voice") in verses 1–2 to intensify the act of crying out as a for desperate . Path imagery in verse 3, with "you know my path," employs to convey divine awareness amid aimless wandering, a common motif in laments for guidance. These elements, devoid of or strict meter, rely on rhythmic repetition and semantic layering typical of .

Verse content overview

Psalm 142 opens with the psalmist aloud to the and lifting up his voice in a for , establishing an immediate tone of urgent . In the following verse, he describes pouring out his complaint before and recounting his troubles directly to Him, emphasizing a raw outpouring of personal distress. As the psalm progresses in verses 3 and 4, the psalmist expresses that his spirit grows faint within him, yet affirms God's awareness of his path amid hidden snares set by others; he laments looking to his right hand and finding no one concerned for him, declaring himself abandoned with no escape or helper. This sense of isolation intensifies the despair, portraying a figure hemmed in by enemies and devoid of human support. The latter verses shift toward affirmation and petition, with the psalmist proclaiming as his refuge and portion in the land of the living in verse 5, followed by a cry for the to listen to his desperate need and rescue him from overpowering pursuers in verse 6. The psalm culminates in verse 7 with a request to be set free from his prison-like confinement so that he may praise 's name, anticipating that the righteous will surround him due to divine goodness. Overall, the verses trace a narrative arc from profound despair and abandonment to a hopeful plea centered on 's protective intervention.

Translations and variants

Masoretic Hebrew text

The of Psalm 142 represents the standardized Hebrew version of the biblical book of , based on the (ca. 1008 CE), meticulously preserved by the between the 7th and 10th centuries CE, including vowel points () and cantillation accents to ensure accurate and liturgical chanting. This text forms the basis for Jewish scriptural tradition and lacks the "Michtam" designation found in other Davidic psalms (such as Psalms 16 and 56–60), instead featuring a superscription identifying it as a "maskil" (a term possibly denoting a contemplative or instructional psalm) composed by while in a . In Jewish tradition, the psalm is divided into 7 verses, with the superscription treated separately rather than as a numbered verse; however, some Masoretic editions, including those from , incorporate the superscription as verse 1, yielding a total of 8 verses (note: has minor textual variants from the ). The system profoundly influences pronunciation—for instance, the vowel in שִׂיחִי (śîḥî, "my complaint" in verse 2) produces a short 'i' sound, distinguishing it from similar roots and facilitating melodic recitation in settings, while cantillation marks like the munach indicate phrasing and emphasis. Key linguistic features include recurring terms emphasizing distress and divine reliance, such as forms of the root זעק (zā‘aq, "to cry out"), seen in אֶזְעָק (’ez‘āq, "I cry out") in verse 1, which conveys an urgent vocal supplication. Another pivotal term is מַחְסִי (maḥsî, "my refuge") in verse 5, derived from the root חסה (ḥāsâ, "to seek refuge"), underscoring the psalmist's sole dependence on God amid isolation. The full Masoretic Hebrew text (Leningrad Codex), with niqqud, is presented below alongside a standard transliteration for each verse (based on Sephardic pronunciation conventions, where applicable). The superscription is presented separately; verses are numbered 1–7.
VerseHebrew TextTransliteration
Superscriptionמַשְׂכִּיל לְדָוִד בִּהְיוֹתוֹ בַמְּעָרָה תְפִלָּהmaskîl lədāwîd bihyôtô bamməʿārâ təfillâ
1קוֹלִי אֶל־יְהוָה אֶזְעָק קוֹלִי אֶל־יְהוָה אֶתְחַנָּןqôlî ʾel-YHWH ʾezʿāq qôlî ʾel-YHWH ʾetḥannān
2אֶשְׁפֹּךְ לְפָנָיו שִׂיחִי צָרָתִי לְפָנָיו אַגִּידʾešpôk ləpānāyw śîḥî ṣārātî ləpānāyw ʾaggîd
3בְּהִתְעַטֵּף עָלַי רוּחִי וְאַתָּה יָדַעְתָּ נְתִיבָתִי בְּאֹרַח־זֶה אֲשַׁלֵּךְ טָמְנוּ פַח לִיbəhithʿaṭṭēp ʿālay rûḥî wəʾattâ yādaʿtā nətîbātî bəʾôraḥ-zeh ʾăšallēk ṭāmənû paḥ lî
4הַבֵּיט יָמִין וּרְאֵה וְאֵין־לִי מַכִּיר אָבַד מָנוֹס מִמֶּנִּי אֵין דּוֹרֵשׁ לְנַפְשִׁיhabbēṭt yāmîn ûrəʾēh wəʾên-lî makkîr ʾāwad mānôs mimmennî ʾên dôrēš lənafšî
5זָעַקְתִּי אֵלֶיךָ יְהוָה אָמַרְתִּי אַתָּה מַחְסִי חֶלְקִי בְּאֶרֶץ הַחַיִּיםzāʿaqtî ʾēleykā YHWH ʾāmartî ʾattâ maḥsî ḥelqî bəʾereṣ haḥayyîm
6הַקְשִׁיבָה אֶל־רִנָּתִי כִּי־דַלּוֹתִי מְאֹד הַצִּילֵנִי מֵרֹדְפָי כִּי אָמְצוּ מִמֶּנִּיhaqšîbâ ʾel-rinnātî kî-dallôtî məʾōd haṣṣîlēnî mēroḏpāy kî ʾāməṣû mimmennî
7הוֹצִיאֵנִי מִמִּסְגֵּר נַפְשִׁי לְהוֹדוֹת אֶת־שִׁמְךָ בִּי יַסְתִּירוּ צַדִּיקִים כִּי תְגַמְּלֵנִיhôṣîʾēnî mimmisgēr nafšî ləhôdôt ʾet-šiməkā bî yasṭîrû ṣaddîqîm kî təgamməlēnî

Septuagint and Vulgate differences

The (LXX), the ancient Greek translation of the produced in between the 3rd and 2nd centuries BCE, numbers the psalm attributed to Hebrew Psalm 142 as Psalm 141 due to variations in how psalm divisions were delineated, particularly after where certain psalms were combined or split differently from the later Masoretic Hebrew tradition. This shift arises from the LXX translators' interpretation of Hebrew acrostics and other structural elements, resulting in a total of 151 psalms in the Greek compared to 150 in the Hebrew. Similarly, the Latin , translated by in the late 4th century CE primarily from Hebrew sources but incorporating LXX influences for the (known as the Gallican Psalter), follows the same numbering as Psalm 141. Textual variants between these versions and the Masoretic Hebrew are generally minor but notable in wording and emphasis. For instance, in the opening verse (Hebrew 142:1; LXX/Vulgate 141:1), the Hebrew repeats "with my voice" to underscore the psalmist's audible cry to the LORD, a phrasing retained and emphasized in the LXX as "Φωνῇ μου πρὸς κύριον κεκράξομαι, φωνῇ μου πρὸς κύριον δεήσομαι" ("With my voice to the Lord I will cry out; with my voice to the Lord I will beseech") and similarly in the Vulgate as "Voce mea ad Dominum clamavi, voce mea ad Dominum deprecatus sum," highlighting vocal supplication over silent meditation. Another example appears in the superscription, where the Hebrew "maskil" (often rendered as "instruction" or "meditation") is translated in the LXX as implying "instruction" (e.g., "of instruction" in English renderings of συνέσεως) and in the Vulgate as "intellectus" (understanding), while both ancient versions explicitly reference the setting "in the cave" (LXX: "ὅτε ἦν ἐν τῷ σπηλαίῳ"; Vulgate: "cum esset in spelunca"), aligning closely with the Hebrew superscription, traditionally linked to David's flight from Saul. In verse 2 (Hebrew 142:2; LXX/Vulgate 141:2), the Hebrew uses "complaint" (śîaḥ) for what is poured out before God, contrasted with the LXX's "supplication" (deēsin) and "affliction" (thlipsin) and the Vulgate's "prayer" (orationem) alongside "tribulation" (tribulationem), subtly shifting focus from verbal lament to broader distress. These differences stem from the LXX's translation from pre-Masoretic Hebrew texts and Jerome's , blending Hebrew fidelity with LXX phrasing for liturgical familiarity in the Western Church. In Christian traditions, particularly Eastern Orthodox and Roman Catholic , the LXX/ numbering has shaped psalm usage in the Divine Office and , where Psalm 141 is appointed for or penitential rites, influencing chants, readings, and devotional practices that differ from Protestant or Jewish sequences based on the Masoretic numbering. This has led to variations in how the psalm's themes of isolation and divine refuge are encountered in worship, with the Greek and Latin emphases on vocal prayer reinforcing its role in communal .

Themes and interpretation

Lament and isolation

Psalm 142 exemplifies the classic structure of an individual psalm, beginning with a in verses 1–4 where the psalmist voices distress and pours out troubles to , followed by a turning point in verse 5 affirming trust in divine knowledge, and concluding with a for in verses 6–7 (noting that Hebrew numbers the content as verses 2–8). This form aligns with scholarly analyses that identify an introduction (verses 1–2), core (verses 3–4), transitional affirmation (verse 5), and for rescue (verses 6–7). The section vividly details the psalmist's emotional and situational plight, emphasizing vulnerability without immediate resolution. Central to the psalm's is the motif of isolation, captured in verse 4's declaration, "Look on my right hand and see—there is no one who acknowledges me; no refuge remains to me, no one cares for my life," which evokes abandonment in ancient Near Eastern cultural contexts where the right hand symbolized and . This imagery of solitude intensifies the sense of , separating the psalmist from community and heightening dependence on amid . The psalm shares structural and thematic parallels with other laments, such as Psalm 13, both progressing from cries of despair to vows of praise while grappling with divine silence and personal affliction. Psychologically, the text portrays exhaustion in verse 3's "when my spirit faints within me" and entrapment through metaphors like the hidden trap (verse 3) and prison (verse 7), representing a profound of overwhelm and confinement that mirrors emotional depletion in the face of threats. These elements underscore isolation not merely as physical but as an existential rupture, fostering a raw expression of human frailty in .

Divine refuge and deliverance

In Psalm 142, the theme of divine refuge centers on God's protective presence amid isolation and threat, most explicitly articulated in verse 5: "I cry to you, O LORD; I say, 'You are my refuge, my portion in the land of the living'" (ESV). Here, the term "refuge" (Hebrew ma'ōn) denotes a secure shelter, while "portion" (ḥēleq) evokes the idea of inheritance and sustenance, tying directly to Yahweh's covenant faithfulness as the faithful provider for the individual believer. This declaration reflects a profound personal reliance on God when human support fails, positioning Yahweh as the sole guardian against peril. The psalm's plea for deliverance intensifies in verses 6–7, where the supplicant implores, "Attend to my cry, for I am brought very low; deliver me from my persecutors, for they are too strong for me. Bring me out of prison, that I may give thanks to your name!" (ESV). The "prison" (maśgēr) symbolizes not only physical confinement—possibly alluding to David's cave hiding (1 Samuel 22:1)—but also broader oppression or even the realm of death (Sheol), from which divine rescue is sought. Upon deliverance, the psalmist anticipates restored community with the righteous and vows praise, emphasizing God's bountiful response (ṭôb) as an act of covenant loyalty that restores the faithful to fellowship. Theologically, Psalm 142 exemplifies individual piety through unwavering trust in Yahweh during persecution, portraying prayer as the pivot from despair to hope in God's sovereignty. This personal dimension underscores the covenantal bond, where the suppliant's fidelity mirrors Yahweh's reliability, fostering resilience against overwhelming foes. Scholars connect this to exodus motifs, noting the "cry" (ṣā'aq) in verse 2 as echoing Israel's groaning under bondage (Exodus 2:23), thus framing the psalm's deliverance as a microcosm of national redemption. Additionally, interpretive links to prophetic literature highlight parallels with laments of entrapment and divine vindication, such as in Jeremiah's confessions of isolation (Jeremiah 20:7–18), reinforcing the motif of God as ultimate liberator.

Liturgical uses

In Judaism

Psalm 142 holds significance in Jewish penitential contexts, incorporating the psalm's themes of distress and supplication to , evoking David's isolation in the as a for personal affliction during times of . It is used in some prayer books for responsive readings or personal supplications to underscore pleas for . In the , the standard book, Psalm 142 is not a fixed component of daily services but is recommended for occasional personal use during moments of or . It serves as a tool for individuals facing trouble, allowing the reciter to pour out complaints and affirm God as a refuge, much like David's original context. This flexible inclusion highlights its role in private devotion rather than obligatory communal recitation. Rabbinic commentary, particularly in Tehillim, interprets the psalm through the lens of David's experience hiding in the from , portraying it as a born of utter loneliness where no human ally could be found. The midrash emphasizes verses like "Look to the right and see: there is none who regards me" (Psalm 142:5) to illustrate David's reliance on divine awareness amid entrapment, teaching that stands as the "right hand of the poor" to deliver the needy from condemnation. This connects the psalm to broader themes of trust in during . In modern Jewish interpretations, Psalm 142 resonates as a poignant expression of personal affliction, offering solace to those experiencing isolation, anxiety, or in contemporary life. Scholars and educators view it as a model for honest lamentation that transitions to , relevant for addressing struggles or societal alienation, while reinforcing the idea of as the ultimate portion in the land of the living. This perspective encourages its use in counseling and reflective practices within progressive and Orthodox communities alike.

In Christianity

In the Catholic tradition, Psalm 142 is incorporated into the Liturgy of the Hours, specifically recited at Evening Prayer I on Sundays during the first week of the four-week psalter cycle, reflecting its themes of supplication and trust in divine refuge during evening prayer. This assignment draws from ancient monastic practices that influenced the psalter arrangement. Within Eastern Orthodox Christianity, including Oriental Orthodox branches, Psalm 142 (Hebrew numbering) holds a prominent place in night prayers, such as the Midnight Prayer of the Coptic Agpeya, where it serves as a penitential plea for God's attention amid personal distress, recited to invoke protection before sleep. In Byzantine Orthodox tradition, Small Compline uses Psalm 143 (Hebrew), aligning with the use of Septuagint numbering to express isolation and dependence on divine mercy in the quiet of night. Broader Eastern usage extends such psalms to services like Small Compline. In Protestant denominations, Psalm 142 features in evening liturgies, notably in the Anglican , where it is appointed for on the 29th day of the monthly cycle, highlighting its role in contemplative prayer that mirrors the day's end with cries for . Lutheran similarly incorporate the psalm within responsive readings and hymns, drawing on its lament to underscore themes of human frailty and God's sustaining grace in daily worship settings. Patristic interpretations, particularly St. Augustine's commentary in his Expositions on the , view Psalm 142 as the voice of the in , crying out not from despair but in recognition of God's encompassing grace, which transforms isolation into a pathway for divine communion and ultimate deliverance. Augustine emphasizes how the psalmist's hidden cave symbolizes the inner retreat of the believer, where grace alone provides refuge from worldly snares.

Musical settings

Classical compositions

One notable classical setting of Psalm 142 is Heinrich Schütz's "Ich schrei zu meinem lieben Gott" (SWV 247), a metered German paraphrase composed in 1628 as part of his Becker (Op. 5). This work, scored for four voices (), employs expressive to convey the psalm's themes of isolation and plea for divine aid, reflecting the era's emphasis on affective text expression through dramatic contrasts in dynamics and . A setting comes from Gracián Babán (c. 1620–1675), whose "Voce mea ad Dominum" features polychoral writing for multiple choirs, preserved in collections like Hilarión Eslava's Lira sacro-hispana (1869). Babán's composition uses layered voices to evoke the psalm's cry from solitude, embodying the era's transition to expressiveness in Iberian sacred music. Early 20th-century Belgian composer Jules Van Nuffel (1883–1953) provided an organ-accompanied setting in his "Voce mea" (Op. 47, c. ), arranged for eight-part choir to intensify the psalm's introspective lament with rich harmonic progressions and subtle organ support. Though on the cusp of , it draws from late Romantic traditions to emphasize deliverance, often performed in liturgical contexts. These compositions collectively highlight the focus on , where composers amplified the psalm's through innovative vocal textures and interplay, influencing subsequent sacred music traditions.

Modern adaptations

In the 20th and 21st centuries, adaptations of Psalm 142 have shifted toward accessible, congregational forms in evangelical and contemporary , emphasizing themes of personal and divine refuge through simple melodies suitable for group singing. This trend reflects a broader movement in modern hymnody to make biblical relevant for everyday devotion, often incorporating acoustic or folk elements to foster communal expression of isolation and . A transitional example bridging classical and modern eras is the late 18th-century choral "Glasom moim" ("I cry with my voice to the Lord") by Ukrainian composer (1767–1808), which draws directly from the psalm's opening verse and has influenced subsequent Orthodox-inspired settings with its polyphonic structure. In the mid-20th century, American composer set Psalm 142 for voice and in his "Cycle of Holy Songs" (1975), capturing the psalm's raw emotional plea in a minimalist, contemporary style that highlights vocal introspection. Contemporary praise music has further popularized the psalm, with songs like "You Are My Refuge" adapting verses 5–6 into uplifting refrains for worship settings; notable versions include Fiechter's 2025 acoustic arrangement and Caroline Cobb's 2013 folk-inspired demo track, both designed for personal and group reflection on God's provision amid distress. Projects such as 2022 release in their EveryPsalm series and Silver's 2020 scripture song "Land of the Living" exemplify this evangelical focus, promoting the psalm in streaming platforms and church services for congregational use. Uses in media remain rare but include inclusions in devotional soundtracks, such as recordings by Crown & Covenant on their 2015 album "Defender: Selections from the Book of for ," which features "To You, O Lord, I Lift My Voice" for meditative listening in personal or small-group contexts. This evolution underscores a of emotional over elaborate , enabling broader participation in evangelical communities.

References

  1. https://www.biblegateway.com/passage/?search=Psalm+142&version=NIV
  2. https://scholar.valpo.edu/cgi/viewcontent.cgi?article=1143&context=kellerpsalms
  3. https://www.chabad.org/library/bible_cdo/aid/16363/jewish/Chapter-142.htm
  4. https://nextstepbiblestudy.net/index.php/2025/09/08/sunday-psalm-studies-psalm-142/
  5. https://www.biblegateway.com/passage/?search=1+Samuel+22&version=NIV
  6. https://enduringword.com/bible-commentary/psalm-142/
  7. https://outorah.org/p/3490/
  8. https://www.academia.edu/10067266/_The_Book_of_Psalms_as_a_Structured_Theological_Story_With_the_Aid_of_Subscripts_and_Superscripts_In_Zenger_Erich_ed_The_Composition_of_the_Book_of_Psalms_Bibliotheca_Ephemeridum_Theologicarum_Lovaniensium_238_Leuven_Peeters_2010_p_579_592
  9. https://tidsskrift.dk/hiphilnovum/article/download/142167/185858/310000
  10. https://www.sefaria.org/Psalms.142?lang=bi
  11. https://mechon-mamre.org/p/pt/pt26e2.htm
  12. https://www.oca.org/liturgics/outlines/septuagint-numbering-psalms
  13. https://www.bibles.net/history-of-septuagint-and-vulgate/
  14. https://www.catholicculture.org/culture/library/view.cfm?id=7470
  15. https://biblehub.com/sep/psalms/142.htm
  16. https://biblehub.com/vul/psalms/142.htm
  17. https://liturgy.co.nz/why-are-there-two-different-numbers-for-the-same-psalm
  18. https://emmausinstitute.net/psalms-of-lament/
  19. https://etzion.org.il/en/tanakh/ketuvim/sefer-tehillim/psalm-142-prison-loneliness-part-i
  20. https://scielo.org.za/pdf/ote/v21n2/01.pdf
  21. https://www.chafer.edu/CTS-Journal-An-Exegesis-of-Psalm-13-by-Stephen-L-Dolson-Andrew
  22. https://repository.up.ac.za/bitstreams/6f00481c-3200-4551-b72e-438a1a116e61/download
  23. https://www.studylight.org/commentaries/eng/tpc/psalms-142.html
  24. https://jewishmiami.org/about/departments/chaplaincy/Desktop/PrayerBook.pdf
  25. https://aarecon.org/poems-and-blessings/
  26. https://www.sefaria.org/Psalms.142?with=Midrash
  27. https://etzion.org.il/en/tanakh/ketuvim/sefer-tehillim/psalm-142-prison-loneliness-part-ii
  28. https://www.newadvent.org/fathers/1801.htm
  29. https://www.copticchurch.net/liturgy/agpeya/8.midnight.html
  30. https://www.goarch.org/-/the-akathist-hymn-and-small-compline
  31. https://www.churchofengland.org/prayer-and-worship/worship-texts-and-resources/book-common-prayer/psalter/psalms-142-143
  32. https://files.lcms.org/dl/f/48DFC64B-AF9E-4FAE-90F9-0A43B28960AC
  33. https://musescore.com/choral/ich-schrei-zu-meinen-lieben-gott-swv-247-heinrich-schtz
  34. https://www.koorenstem.be/nl/artikel/jules-van-nuffel
  35. https://hymnary.org/browse/scripture/Psalms/142
  36. https://www.orthodoxchoral.org/en/sources/2604
  37. https://open.spotify.com/track/2cqheLr3FdLQQgXgcqah37
  38. https://music.apple.com/us/song/psalm-142-you-are-my-refuge/1823470675
  39. https://carolinecobb.bandcamp.com/track/my-refuge-psalm-142-for-carolyn
  40. https://www.youtube.com/watch?v=cnjIGGu77Jo
  41. https://open.spotify.com/track/68r0sn5kOjfCvyGdImEQdm
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