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Psalm 145
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Psalm 145
"I will extol thee, my God, O king"
Lobgesang (Song of praise) after Psalm 145 at Johanniskirche, Lüneburg
Other name
  • Psalm 144 (Vulgate)
  • "Exaltabo te Deus meus rex"
LanguageHebrew (original)
Psalm 145
BookBook of Psalms
Hebrew Bible partKetuvim
Order in the Hebrew part1
CategorySifrei Emet
Christian Bible partOld Testament
Order in the Christian part19

Psalm 145 is the 145th psalm of the Book of Psalms, generally known in English by its first verse, in the King James Version, "I will extol thee, my God, O king; and I will bless thy name for ever and ever". In Latin, it is known as "Exaltabo te Deus meus rex".[1] It is the last psalm in the final Davidic collection of psalms, comprising Psalms 138 to 145, which are specifically attributed to David in their opening verses.[2]

In the slightly different numbering system used in the Greek Septuagint version of the Bible, and in the Latin Vulgate, this psalm is Psalm 144. The psalm is a hymn psalm.

The psalm forms a regular part of Jewish, Catholic, Lutheran, Anglican and other Protestant liturgies. It has often been set to music, notably by Antonín Dvořák who set several verses in Czech in his Biblical Songs.

Background and themes

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This is the only psalm which identifies itself as a תְּהִלָה (tehillah) – as a psalm (namely, a hymn of praise). The version in the Dead Sea Scrolls instead describes itself as a "prayer" although it does not contain any request.[3]

Psalm 145 is an alphabetic acrostic, the initial letter of each verse being the Hebrew alphabet in sequence. For this purpose, the usual Hebrew numbering of verse 1, which begins with the title, "A Psalm of David", is ignored in favor of the non-Hebrew numbering which treats verse 1 as beginning ארוממך (Aromimkha, "I will exalt You").

The Dead Sea Scrolls version also ends each verse with the recurring (non-canonical) refrain, "Blessed be YHVH and blessed be His name forever and ever" and adds at the end of the Psalm the tag, "This is for a memorial".[4] The Dead Sea Scrolls version also preserves a line beginning with the letter nun.

Psalm 145 is the last Psalm attributed explicitly to David, and also the last of the nine acrostic Psalms in its placement in the Book of Psalms (the acrostic Psalms being Psalms 9, 10, 25, 34, 37, 111, 112, 119 and 145).[5][6] Methodist writer Joseph Benson notes that the king (David) praises "his king", "termed so by way of eminence: the King of kings, the God by whom kings reign".[7]

O Palmer Roberton writes "The last Psalm has been set in place in preparation for the final crescendo of Praise in the Psalter.", which would be Psalms 146-150.[8]

Uses

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Judaism

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  • The majority of the prayer Ashrei that is recited thrice daily is Psalm 145 (see the entry for Ashrei for further details on its use in Jewish liturgy).
  • Verse 13 is found in the repetition to the Amidah on Rosh Hashanah.[9]
  • Verse 16 is found in the final paragraph of Birkat Hamazon.[10] It is also recited while donning the tefillin a after the head tefillin is securely in place.[11]
  • Verse 21 is recited by some following Psalm 126 (Shir Hama'alot) preceding Birkat Hamazon.[12]

Book of Common Prayer

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In the Church of England's Book of Common Prayer, this psalm is appointed to be read on the morning of the thirtieth day of the month,[13] as well as at Evensong on Whitsunday.[14]

Musical settings

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Czech composer Antonín Dvořák set verses 1–3, 5 and 6 (together with Psalm 144 verse 9) to music in No. 5 of his Biblical Songs (1894). Brian Shamash has recorded one of the most common traditional Jewish melodies for chanting Ashrei.

Giovanni Bernardone, better known as Francis of Assisi, wrote a poem towards the end of his life, in 1225, based on Psalm 145 which Draper adapted to the song "All Creatures of Our God and King" in 1919.[15][16]

Text

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The following table shows the Hebrew text[17][18] of the Psalm with vowels, alongside the Koine Greek text in the Septuagint[19] 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 144.

# Hebrew English Greek
1 תְּהִלָּ֗ה לְדָ֫וִ֥ד אֲרוֹמִמְךָ֣ אֱלוֹהַ֣י הַמֶּ֑לֶךְ וַאֲבָרְכָ֥ה שִׁ֝מְךָ֗ לְעוֹלָ֥ם וָעֶֽד׃‎ (David's Psalm of praise.) I will extol thee, my God, O king; and I will bless thy name for ever and ever. Αἴνεσις τοῦ Δαυΐδ. - ΥΨΩΣΩ σε, ὁ Θεός μου ὁ βασιλεύς μου, καὶ εὐλογήσω τὸ ὄνομά σου εἰς τὸν αἰῶνα καὶ εἰς τὸν αἰῶνα τοῦ αἰῶνος.
2 בְּכׇל־י֥וֹם אֲבָֽרְכֶ֑ךָּ וַאֲהַֽלְלָ֥ה שִׁ֝מְךָ֗ לְעוֹלָ֥ם וָעֶֽד׃‎ Every day will I bless thee; and I will praise thy name for ever and ever. καθ᾿ ἑκάστην ἡμέραν εὐλογήσω σε καὶ αἰνέσω τὸ ὄνομά σου εἰς τὸν αἰῶνα καὶ εἰς τὸν αἰῶνα τοῦ αἰῶνος.
3 גָּ֘ד֤וֹל יְהֹוָ֣ה וּמְהֻלָּ֣ל מְאֹ֑ד וְ֝לִגְדֻלָּת֗וֹ אֵ֣ין חֵֽקֶר׃‎ Great is the LORD, and greatly to be praised; and his greatness is unsearchable. μέγας Κύριος καὶ αἰνετὸς σφόδρα, καὶ τῆς μεγαλωσύνης αὐτοῦ οὐκ ἔστι πέρας.
4 דּ֣וֹר לְ֭דוֹר יְשַׁבַּ֣ח מַעֲשֶׂ֑יךָ וּגְב֖וּרֹתֶ֣יךָ יַגִּֽידוּ׃‎ One generation shall praise thy works to another, and shall declare thy mighty acts. γενεὰ καὶ γενεὰ ἐπαινέσει τὰ ἔργα σου καὶ τὴν δύναμίν σου ἀπαγγελοῦσι.
5 הֲ֭דַר כְּב֣וֹד הוֹדֶ֑ךָ וְדִבְרֵ֖י נִפְלְאֹתֶ֣יךָ אָשִֽׂיחָה׃‎ I will speak of the glorious honour of thy majesty, and of thy wondrous works. τὴν μεγαλοπρέπειαν τῆς δόξης τῆς ἁγιωσύνης σου λαλήσουσι καὶ τὰ θαυμάσιά σου διηγήσονται.
6 וֶעֱז֣וּז נֽוֹרְאֹתֶ֣יךָ יֹאמֵ֑רוּ (וגדלותיך) [וּגְדֻלָּתְךָ֥] אֲסַפְּרֶֽנָּה׃‎ And men shall speak of the might of thy terrible acts: and I will declare thy greatness. καὶ τὴν δύναμιν τῶν φοβερῶν σου ἐροῦσι καὶ τὴν μεγαλωσύνην σου διηγήσονται.
7 זֵ֣כֶר רַב־טוּבְךָ֣ יַבִּ֑יעוּ וְצִדְקָתְךָ֥ יְרַנֵּֽנוּ׃‎ They shall abundantly utter the memory of thy great goodness, and shall sing of thy righteousness. μνήμην τοῦ πλήθους τῆς χρηστότητός σου ἐξερεύξονται καὶ τῇ δικαιοσύνῃ σου ἀγαλλιάσονται.
8 חַנּ֣וּן וְרַח֣וּם יְהֹוָ֑ה אֶ֥רֶךְ אַ֝פַּ֗יִם וּגְדׇל־חָֽסֶד׃‎ The LORD is gracious, and full of compassion; slow to anger, and of great mercy. οἰκτίρμων καὶ ἐλεήμων ὁ Κύριος, μακρόθυμος καὶ πολυέλεος.
9 טוֹב־יְהֹוָ֥ה לַכֹּ֑ל וְ֝רַחֲמָ֗יו עַל־כׇּל־מַעֲשָֽׂיו׃‎ The LORD is good to all: and his tender mercies are over all his works. χρηστὸς Κύριος τοῖς σύμπασι, καὶ οἱ οἰκτιρμοὶ αὐτοῦ ἐπὶ πάντα τὰ ἔργα αὐτοῦ.
10 יוֹד֣וּךָ יְ֭הֹוָה כׇּל־מַעֲשֶׂ֑יךָ וַ֝חֲסִידֶ֗יךָ יְבָרְכֽוּכָה׃‎ All thy works shall praise thee, O LORD; and thy saints shall bless thee. ἐξομολογησάσθωσάν σοι, Κύριε, πάντα τὰ ἔργα σου, καὶ οἱ ὅσιοί σου εὐλογησάτωσάν σε.
11 כְּב֣וֹד מַלְכוּתְךָ֣ יֹאמֵ֑רוּ וּגְבוּרָתְךָ֥ יְדַבֵּֽרוּ׃‎ They shall speak of the glory of thy kingdom, and talk of thy power; δόξαν τῆς βασιλείας σου ἐροῦσι καὶ τὴν δυναστείαν σου λαλήσουσι
12 לְהוֹדִ֤יעַ ׀ לִבְנֵ֣י הָ֭אָדָם גְּבוּרֹתָ֑יו וּ֝כְב֗וֹד הֲדַ֣ר מַלְכוּתֽוֹ׃‎ To make known to the sons of men his mighty acts, and the glorious majesty of his kingdom. τοῦ γνωρίσαι τοῖς υἱοῖς τῶν ἀνθρώπων τὴν δυναστείαν σου καὶ τὴν δόξαν τῆς μεγαλοπρεπείας τῆς βασιλείας σου.
13 מַֽלְכוּתְךָ֗ מַלְכ֥וּת כׇּל־עֹלָמִ֑ים וּ֝מֶֽמְשַׁלְתְּךָ֗ בְּכׇל־דּ֥וֹר וָדֹֽר׃‎ Thy kingdom is an everlasting kingdom, and thy dominion endureth throughout all generations. ἡ βασιλεία σου βασιλεία πάντων τῶν αἰώνων, καὶ ἡ δεσποτεία σου ἐν πάσῃ γενεᾷ καὶ γενεᾷ. 13α πιστὸς Κύριος ἐν πᾶσι τοῖς λόγοις αὐτοῦ καὶ ὅσιος ἐν πᾶσι τοῖς ἔργοις αὐτοῦ.
14 סוֹמֵ֣ךְ יְ֭הֹוָה לְכׇל־הַנֹּפְלִ֑ים וְ֝זוֹקֵ֗ף לְכׇל־הַכְּפוּפִֽים׃‎ The LORD upholdeth all that fall, and raiseth up all those that be bowed down. ὑποστηρίζει Κύριος πάντας τοὺς καταπίπτοντας καὶ ἀνορθοῖ πάντας τοὺς κατερραγμένους.
15 עֵֽינֵי־כֹ֭ל אֵלֶ֣יךָ יְשַׂבֵּ֑רוּ וְאַתָּ֤ה נֽוֹתֵן־לָהֶ֖ם אֶת־אׇכְלָ֣ם בְּעִתּֽוֹ׃‎ The eyes of all wait upon thee; and thou givest them their meat in due season. οἱ ὀφθαλμοὶ πάντων εἰς σὲ ἐλπίζουσι, καὶ σὺ δίδως τὴν τροφὴν αὐτῶν ἐν εὐκαιρίᾳ.
16 פּוֹתֵ֥חַ אֶת־יָדֶ֑ךָ וּמַשְׂבִּ֖יעַ לְכׇל־חַ֣י רָצֽוֹן׃‎ Thou openest thine hand, and satisfiest the desire of every living thing. ἀνοίγεις σὺ τὰς χεῖράς σου καὶ ἐμπιπλᾷς πᾶν ζῷον εὐδοκίας.
17 צַדִּ֣יק יְ֭הֹוָה בְּכׇל־דְּרָכָ֑יו וְ֝חָסִ֗יד בְּכׇל־מַעֲשָֽׂיו׃‎ The LORD is righteous in all his ways, and holy in all his works. δίκαιος Κύριος ἐν πάσαις ταῖς ὁδοῖς αὐτοῦ καὶ ὅσιος ἐν πᾶσι τοῖς ἔργοις αὐτοῦ.
18 קָר֣וֹב יְ֭הֹוָה לְכׇל־קֹרְאָ֑יו לְכֹ֤ל אֲשֶׁ֖ר יִקְרָאֻ֣הוּ בֶֽאֱמֶֽת׃‎ The LORD is nigh unto all them that call upon him, to all that call upon him in truth. ἐγγὺς Κύριος πᾶσι τοῖς ἐπικαλουμένοις αὐτόν, πᾶσι τοῖς ἐπικαλουμένοις αὐτὸν ἐν ἀληθείᾳ.
19 רְצוֹן־יְרֵאָ֥יו יַעֲשֶׂ֑ה וְֽאֶת־שַׁוְעָתָ֥ם יִ֝שְׁמַ֗ע וְיוֹשִׁיעֵֽם׃‎ He will fulfil the desire of them that fear him: he also will hear their cry, and will save them. θέλημα τῶν φοβουμένων αὐτὸν ποιήσει καὶ τῆς δεήσεως αὐτῶν εἰσακούσεται καὶ σώσει αὐτούς.
20 שׁוֹמֵ֣ר יְ֭הֹוָה אֶת־כׇּל־אֹהֲבָ֑יו וְאֵ֖ת כׇּל־הָרְשָׁעִ֣ים יַשְׁמִֽיד׃‎ The LORD preserveth all them that love him: but all the wicked will he destroy. φυλάσσει Κύριος πάντας τοὺς ἀγαπῶντας αὐτὸν καὶ πάντας τοὺς ἁμαρτωλοὺς ἐξολοθρεύσει.
21 תְּהִלַּ֥ת יְהֹוָ֗ה יְֽדַבֶּ֫ר־פִּ֥י וִיבָרֵ֣ךְ כׇּל־בָּ֭שָׂר שֵׁ֥ם קׇדְשׁ֗וֹ לְעוֹלָ֥ם וָעֶֽד׃‎ My mouth shall speak the praise of the LORD: and let all flesh bless his holy name for ever and ever. αἴνεσιν Κυρίου λαλήσει τὸ στόμα μου· καὶ εὐλογείτω πᾶσα σὰρξ τὸ ὄνομα τὸ ἅγιον αὐτοῦ εἰς τὸν αἰῶνα καὶ εἰς τὸν αἰῶνα τοῦ αἰῶνος.

The "missing verse"

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Being an alphabetic acrostic psalm,[a] the initial letter of each verse in Psalm 145 should be the Hebrew alphabet in sequence, but in the Masoretic Text there is no verse beginning with the letter nun (נ), which would come between verses 13 and 14. A very common supposition is that there had been such a verse but it was omitted by a copyist's error. If so, that error must have occurred very early. By the 3rd century C.E., Rabbi Johanan Ha-Nappah is quoted in the Talmud (Berakhot 4b) as asking why is there no verse in Psalm 145 beginning with nun, and the explanation is given (presumably by the same Rabbi Johanan) that the word "fallen" (נפלה, nawfla) begins with nun, as in the verse of Amos 5:2 ("Fallen is the Maiden of Israel, she shall arise nevermore"), and thus it is incompatible with the uplifting and universal theme of the Psalm. Since verse 14, the samech verse, contains the word "נֹּפְלִ֑ים" (the fallen), the Talmud conjectures that King David foresaw the destruction ("fall") of Israel and omitted a verse starting with nun, while nevertheless hinting to it in the next verse (cf. the pattern of verse 12, ending with "מַלְכוּתֽוֹ" (His kingship), and verse 13, starting with "מַֽלְכוּתְךָ֗" (Your kingship)). The explanation may not satisfy modern readers (it did not satisfy Rabbi David Kimhi of the 13th century[21]), but it demonstrates that the absence of a verse beginning with that letter was noticed and was undisputed even in antiquity.

However, the Septuagint, the Latin Vulgate (which is largely based on the Septuagint), the Syriac Peshitta, and the Dead Sea Scrolls (11QPs-ɑ;[22] which shows some affinity with the Septuagint, e.g., the inclusion of a 151st Psalm) all provide a verse at this point which commences (in Hebrew) with nun—נֶאֱמָן

"Faithful is God in His sayings, and Honest in all His works"
"נאמן אלוהים בדבריו וחסיד בכל מעשיו"‎.

New Revised Standard Version

Your kingdom is an everlasting kingdom,
and your dominion endures throughout all generations.
The Lord is faithful in all his words,
and gracious in all his deeds.[23]

This verse is now inserted at the end of verse 13 (sometimes numbered "verse 13b") in several Christian versions of the Bible including the New Revised Standard, the New American, the Today's English Version, the Moffat, and others.[b] However, not everyone is convinced that this nun verse is authentic.[24][25] It is, except for the first word, identical to verse 17 (צ) ("Righteous is YHVH in all His ways…"), and thus, as Kimelman argues, may have been a post-facto attempt to "cure" the apparent deficiency. These ancient versions all have other departures from the traditional Hebrew text which make them imperfect evidence of the original text; for example, the Dead Sea Scrolls version ends every verse in Psalm 145 with "Blessed be YHVH and blessed is His name forever and ever". And no such nun verse is found in other important ancient translations from the Hebrew — the Aramaic Targum, the Greek versions of Aquila, Symmachus, and Theodotion — nor is such a verse quoted anywhere in the Talmud. Additionally, there are other alphabetic acrostics in the Book of Psalms — specifically Psalms 25 and 34 — that also imperfectly follow the alphabet. It is plausible that a nun verse was not part of the original text.[26]

Notes

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References

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Psalm 145

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from Grokipedia
Psalm 145 is a of praise attributed to King David in the Book of Psalms, the final book of the Writings in the and part of the in Christian scriptures. It consists of 21 verses structured as an alphabetic in Hebrew, with each verse beginning with a successive letter of the alphabet from to tav, making it one of the eight such psalms in the and the last attributed specifically to David. The psalm extols God's eternal kingship, greatness, , and , emphasizing themes of generational proclamation of divine works and the call for all creation to praise the Lord. Unique among the psalms, it bears the superscription "A Praise of David" (Tehillah l'David in Hebrew). This psalm introduces the concluding or (Psalms 146–150) in Book Five of the . The content divides into sections praising God's majesty (verses 1–7), grace and (verses 8–9), everlasting kingdom (verses 10–13), sustaining goodness (verses 14–20), and a final doxological call to universal (verse 21). Notably, in the —the standard Hebrew version—the acrostic skips the letter (the 14th letter), omitting a verse at the end of verse 13; however, this verse ("The Lord is faithful in all his words and gracious in all he does") appears in the , Syriac , and a manuscript (11QPs^a), suggesting it may have been original but lost or intentionally omitted in the Hebrew tradition due to interpretive concerns. In Jewish , Psalm 145 is central to the daily prayer service, known as (from verse 2, "Happy are those who..."), recited three times each day—during the morning Pesukei d'Zimra, at the close of the morning service, and in the afternoon service—as a meditative affirmation of God's providence and a merit for eternal reward, according to rabbinic tradition. Its universal language of praise, using terms like kol ("all") to encompass creation, underscores its role in both personal devotion and communal worship across Jewish and Christian contexts.

Background

Authorship and dating

Psalm 145 bears a superscription in the identifying it as "A of " (Tehillah leDavid), reflecting the traditional attribution of its composition to King , the second king of . This designation aligns with ancient Jewish and Christian interpretive traditions that ascribe authorship to for 73 psalms in the Book of Psalms, emphasizing his role as a paradigmatic poet and worshiper. In the canonical arrangement of the Psalter, Psalm 145 concludes the final Davidic collection (Psalms 138–145) in Book V, serving as a climactic expression of praise that transitions to the concluding psalms (146–150). This placement underscores its traditional link to Davidic authorship while highlighting its thematic role in the book's editorial shaping. Scholarly consensus largely rejects literal Davidic authorship (ca. 10th century BCE), viewing the superscription as an editorial tradition to invoke David's authority rather than indicate historical origin. Arguments for Davidic composition draw on thematic parallels to David's life experiences, such as kingship and divine deliverance, and linguistic features suggesting a pre-exilic context during the late (8th–6th century BCE). However, these are countered by evidence of post-exilic , including the psalm's universal scope, absence of references to a human , and optimistic tone evoking restoration themes in Ezra-Nehemiah. Linguistic indicators, such as the use of terms like mlkt (kingdom) and jkp (upholds) in verses 13–14, further support a post-exilic dating, as do the psalm's form and the ayin-pe , features prominent in other late compositions like 111–112, which scholars date to the Persian period through Torah-wisdom . Overall, the estimated composition range spans the late to the post-exilic (5th–2nd century BCE), with most analyses favoring the latter due to its alignment with liturgical and theological developments.

Historical context

Psalm 145 forms the culmination of the final Davidic collection in the , encompassing 138–145, all superscribed to and positioned within Book V to conclude the Davidic . This strategic placement highlights royal and communal praise, portraying as a model leader who acknowledges YHWH's supreme kingship while guiding the in . The collection's arrangement reflects a redactional intent to emphasize dependence on divine protection and the integration of personal with corporate . The psalm's historical setting is deeply influenced by the Babylonian and the subsequent return, as the broader context of 137–145 addresses post-exilic themes of displacement, identity, and restoration. Following the lament of in , Psalm 145 affirms God's everlasting kingdom (v. 13), offering hope for renewal and divine faithfulness amid the community's recovery from . This emphasis on YHWH's providential rule over generations resonates with the era's aspirations for Zion's rebuilding and the reestablishment of covenantal life. Psalm 145 connects to the tradition through its post-exilic editorial shaping, incorporating reflective elements on and ethical response that align with the Psalter's wisdom-influenced . It also draws on prophetic traditions, echoing motifs of universal sovereignty found in , where YHWH's reign extends over all nations and creation, reinforcing themes of inclusive praise and cosmic order. During , Psalm 145 functioned as a for temple and communal worship, underscoring its role in fostering devotion to God's kingship. Fragments preserved in the Dead Sea Scrolls, particularly the Great Psalms Scroll (11QPs^a) from Cave 11, attest to its liturgical significance, featuring a repeated after every verse, including after verse 13, and variants that enhance its praise elements, indicating active use in sectarian and broader Jewish practice.

Structure and form

Acrostic composition

Psalm 145 is structured as an alphabetic , a form of Hebrew poetry in which successive verses begin with consecutive letters of the , from (א) to tav (ת), encompassing all 22 letters. This device appears in several biblical texts, organizing content to follow the aleph-bet sequence for structural precision. In Psalm 145, the acrostic is nearly complete across its 21 verses, with each line initiating with the next letter, except for the omission of the nun (נ) verse, which would correspond to the 14th position. For instance, verse 1 opens with aleph: אֲעַלֶּ֥כָה אֱלֹהַ֗י מַלְכִּ֫י ('e'allekha 'elohay malki, "I will extol you, my God, my king"). This pattern continues systematically, such as verse 2 with bet (ב) and verse 21 with tav (ת), though the nun absence is noted in the Masoretic Text while appearing in some Dead Sea Scrolls and the Septuagint. The form served multiple purposes in ancient Near Eastern , including aiding through its ordered sequence, enhancing aesthetic appeal by demonstrating poetic craftsmanship, and symbolizing completeness to represent the entirety of creation or a subject. In biblical contexts, this "A to Z" structure conveyed comprehensive or , as seen in Psalm 145's focus on extolling God exhaustively. Compared to other biblical acrostics, such as :10–31, which praises the virtuous woman in a single line per letter for didactic completeness, or Lamentations 1–4, where chapters form extended alphabetic laments with triplets per letter to express total sorrow, Psalm 145 uniquely employs the form for unreserved praise, aligning its structure with the psalm's thematic totality.

Verse divisions and arrangement

Psalm 145 in the () consists of 21 verses, structured with verses 1–2 as an introduction extolling , verses 3–20 as the central body developing themes of , and verse 21 as a concluding call to universal worship. This arrangement frames the psalm as a cohesive , with the body further divisible into stanzas: verses 3–9 praising 's character through his greatness and goodness, verses 10–13 recounting acts of via testimonies of his works, and verses 14–20 affirming the of his kingdom and supportive providence. In the (LXX), the numbering varies to accommodate the form, treating the second half of MT verse 13 ("The LORD is faithful in all his words and kind in all his works") as a distinct verse 13b, thereby extending the psalm to 22 verses and including the missing line. This adjustment, also attested in some fragments like 11QPs^a. These verse divisions and stanzaic groupings enhance the psalm's suitability for liturgical recitation, leveraging Hebrew parallelism to create a rhythmic, ascending progression from personal to communal praise that underscores its interpretive emphasis on God's eternal reliability. The alignment, with each verse initiating successive letters, further supports this structured flow.

Themes and content

Praise and attributes of God

Psalm 145 centers its praise on the incomparable greatness of , declaring in verse 3 that "Great is the Lord, and greatly to be praised, and his greatness is unsearchable." This attribute underscores God's transcendent , which defies full human comprehension and invites perpetual across generations, as subsequent verses emphasize the declaration of his mighty acts and wondrous works. The psalmist's on the "glorious splendor" of this divine (verse 5) highlights a theological focus on God's as the foundation of all , positioning his name as the eternal object of exaltation. The psalm further extols God's abundant goodness and , portraying these as inseparable from his character and actions. In verse 7, the faithful are depicted as proclaiming the "fame of your abundant goodness" while singing of his , which reflects divine moral perfection and in all dealings. This is not abstract but evident in God's consistent benevolence, as the text transitions seamlessly into affirmations of grace and . The phrase "The is and merciful, slow to and abounding in steadfast love" (verse 8) echoes ancient covenantal language, emphasizing God's patient forbearance and unwavering loyalty (hesed) toward creation. Scholars note this as a universalizing of divine attributes, extending invitation to all peoples to recognize God's protective commitment. God's manifests in comprehensive provision for all creation, human and animal alike, underscoring a benevolent creator whose care knows no bounds. Verse 9 states, "The is good to all, and his is over all that he has made," illustrating divine goodness as actively sustaining life across the entire created order. This universal scope portrays God not as distant but as intimately involved, offering sustenance and support that reveals his kingdom's eternal, inclusive reign. The structure of the psalm reinforces this praise by methodically enumerating these qualities from to , ensuring a complete celebration of God's multifaceted character.

Human response and providence

Psalm 145 emphasizes the human obligation to respond to God's greatness through continual , beginning with the psalmist's personal commitment in verses 1-2 to extol and bless God daily and forever. This individual vow expands in verses 4-7 to a generational transmission of , where one generation declares God's mighty acts to the next, commending His works, speaking of His , and celebrating His goodness with outbursts of joy. The communal dimension intensifies in verses 10-12, as all God's works Him and the faithful ones bless Him, proclaiming the glory of His kingdom to inform every generation of His power and the wondrous acts that sustain it. Central to this response is the theme of , depicted in verses 14-20 as God's active support for the vulnerable and needy. He upholds all who are falling and raises those bowed down, ensuring that the eyes of all creation look to Him for timely provision of food that satisfies every living thing. God's nearness to those who call upon Him in truth underscores His righteous and gracious character, fulfilling the desires of all who fear Him and hearing their cry to save them, thereby fostering dependence on His sustaining care. The psalm contrasts this providential intimacy with judgment on the wicked in verse 20, stating that preserves all who Him while destroying the wicked, highlighting a moral order where human response determines divine relation. This duality encourages faithful adherence amid providence. The inclusive communal aspect culminates in verse 21, extending praise from the individual psalmist to "all flesh" blessing 's holy name forever, promoting a universal devotion that unites humanity in response to His benevolence.

Textual analysis

Hebrew text and translation table

The (MT) of Psalm 145, preserved in the , provides the authoritative Hebrew version, complete with (vowel points) and ta'amim (cantillation marks) that guide its traditional chanting in . This text forms the basis for most modern translations, ensuring fidelity to the original wording while allowing for interpretive nuances in English renderings. The psalm's structure features verse 13 as a single unit in the MT, emphasizing God's eternal dominion: "Your kingdom is a kingdom of all ages, and your rule is in all generations" (transliterated as malkhutkha malkhut kol-olamim u-memshaltekha b'khol-dor va-dor). Key translational challenges arise from Hebrew terms that carry layered theological connotations. In verse 1, the verb rum (רום), rooted in the idea of elevation or exaltation, is rendered as "extol" in the King James Version (KJV) to convey active praise, while the New International Version (NIV) uses "exalt" to highlight God's royal sovereignty; this word choice underscores the psalmist's personal commitment to lifting above all. Similarly, in verse 8, channun (חנון), evoking unmerited favor and mercy, is translated as "gracious" in both NIV and KJV, reflecting echoes of Exodus 34:6 and emphasizing God's relational benevolence toward creation. These variations illustrate how translators balance literal accuracy with the poetic intent of the MT. The following table offers a representative comparison of the Hebrew text (original script with transliteration) alongside NIV and KJV translations for selected verses, focusing on those highlighting structural and lexical features; the full psalm follows this parallel format across all 21 verses, with each beginning letter forming an in Hebrew as noted in the acrostic composition section. Note that the row for 13b presents the nun verse, which is absent in the MT but included here for comparison as it appears in the and .
VerseHebrew (Script)TransliterationNIVKJV
1אֲרוֹמִמְךָ אֱלֹהַי הַמֶּלֶךְ וַאֲבָרֲכָה שִׁמְךָ לְעוֹלָם וָעֶדA'romimkha Elohai ha-melekh va-avarakha shimkha l'olam va'edI will exalt you, my God the King; I will praise your name for ever and ever.I will extol thee, my God, O king: and I will bless thy name for ever and ever.
8חַנּוּן וְרַחוּם יְהוָה אֶרֶךְ אַפַּיִם וְגְדָל־חָסֶדChannun ve-rachum Adonai erech appayim ve-g'dal-chas'dThe Lord is gracious and compassionate, slow to anger and rich in love.The Lord is gracious, and full of compassion; slow to anger, and of great mercy.
13aמַלְכוּתְךָ מַלְכוּת כָּל־עֹלָמִים וּמֶמְשֶׁלְתְּךָ בְּכָל־דּוֹר וָדוֹרMalkhutkha malkhut kol-olamim u-memshaltekha b'khol-dor va-dorYour kingdom is an everlasting kingdom, and your dominion endures through all generations.Thy kingdom is an everlasting kingdom, and thy dominion endureth throughout all generations.
13b (nun verse, absent in MT)יֶאֱמִין יְהוָה לְכָל־דְּבָרָיו וְחַסִיד לְכָל־מַעֲשָׂיוYe'emin Adonai l'khol-d'varav ve-chasid l'khol-ma'aseyvThe Lord is trustworthy in all he promises and faithful in all he does.*The Lord is faithful in all his words, and holy in all his works.
21פִּ֭י יְדַבֵּ֣ר אֶת־שֵׁ֣ם יְהוָ֑ה וִ֝יבָרְכ֗וּ כָּל־בָּשָׂ֥ר אֶת־שֵׁ֗ם קָדְשׁ֥וֹ לְעוֹלָ֗ם וָעֶֽדPi y'dab'er et-shem Adonai vi-y'var'khu kol-basar et-shem kodsho l'olam va'edMy mouth will speak in praise of the Lord. Let every creature praise his holy name for ever and ever.My mouth shall speak the praise of the Lord: and let all flesh bless his holy name for ever and ever.
*NIV includes this as a footnote, reflecting its presence in ancient versions like the .

Septuagint variations

The version of Psalm 145 expands the psalm to 22 verses, completing the alphabetic structure by inserting a verse beginning with the Hebrew letter (ν in Greek) after verse 13 (LXX numbering 144:13c). This added verse reads: "The Lord is faithful in all his words and holy in all his works," reflecting a textual tradition that preserves the full absent in the (MT). The inclusion is corroborated by the Dead Sea Scroll 11QPs^a, the Syriac Peshitta, and other ancient witnesses, suggesting the LXX drew from a Hebrew Vorlage differing from the later MT. Beyond the nun verse, the Septuagint exhibits other variations, such as adjustments in word order and syntax. In verse 3, the LXX includes an explicit copula (οὐκ ἔστιν) and phrasing that emphasizes the boundless nature of God's greatness ("τῆς μεγαλωσύνης αὐτοῦ οὐκ ἔστιν πέρας"), alongside coordinating conjunctions (καί), which smooth Greek idiom compared to the more concise MT structure ("וְלִגְדֻלָת֥וֹ אֵֽין־חֵקֶר"). In verse 14, the LXX uses finite verb forms (e.g., ὑποστηρίζει for supporting and ἀνορθοῖ for raising up) instead of the MT's participles (סוֹמֵךְ... וּמְקִים), highlighting God's active support for the fallen and bowed down. For verse 17, the LXX renders the MT's חָסִיד (gracious or faithful) as ὅσιος (holy), shifting nuance while maintaining the theme of divine righteousness in all works. The Septuagint's textual features, including the nun verse, held significant influence on early Christian writings and , as the Greek Psalter was the primary text for the . The , Jerome's Latin translation completed around 405 CE, incorporates the added verse directly from the LXX, thereby embedding it in Western and patristic , where it was viewed as an integral, inspired element affirming God's . This reception underscores the LXX's role in shaping creedal and doxological uses of the psalm in Christian contexts, distinct from Jewish traditions that retained the MT omission. Scholarly debate centers on the nun verse's absence in the MT, with evidence from indicating a fluid textual tradition before the first century CE, where the fuller form may represent an earlier Hebrew . Some propose the omission was accidental, due to scribal error in transmission, as the verse's content aligns seamlessly with the psalm's themes of divine reliability. Others argue for intentional exclusion in the MT, possibly for theological reasons, such as harmonizing the with interpretive concerns, though no direct evidence ties it to numerological avoidance; the LXX's preservation suggests it was not universally deemed problematic in antiquity.

Liturgical uses

In Judaism

Psalm 145 forms the central component of the prayer in Jewish , recited as part of the section during the morning service. In many traditional customs, it is also recited at the afternoon service and during in some communities, resulting in its recitation up to three times daily. The (Berakhot 4b) extols the merit of reciting three times a day, stating that one who does so will be saved from dependence on others for sustenance. Rabbinic literature, particularly Midrash Tehillim, interprets the psalm as an exposition of God's providence over creation, emphasizing divine care for all beings. Verse 8, "The Lord is gracious and compassionate, slow to anger and abounding in kindness," directly echoes the attributes of God proclaimed in Exodus 34:6, linking the psalm to the foundational revelation of divine mercy at Sinai. In Kabbalistic thought, the psalm's structure—where each verse begins with successive letters of the —symbolizes the completeness and unity of divine praise, encompassing all aspects of creation under God's . The omission of the letter is explained in Kabbalistic terms as representing vulnerability and the "fall" (nophelet), with the subsequent verse affirming God's support, thus highlighting humanity's reliance on divine unity. Within the Lurianic , as outlined in Sha'ar HaKavanot, meditative intentions (kavvanot) accompany the recitation of to unify supernal realms and foster contemplative connection to the divine. The psalm is incorporated into festival liturgies, including Shavuot, where its themes of God's sustaining providence resonate with the holiday's commemoration of the Torah's revelation and the harvest's abundance.

In Christianity

In Christianity, Psalm 145 holds a prominent place in liturgical worship across various traditions, serving as a canticle of praise that underscores God's eternal kingdom and providential care. In the Anglican Book of Common Prayer (1662 edition), it is appointed for Morning Prayer on specific days, such as the thirtieth day of the month, where it functions as a responsive psalm recited by the congregation to exalt God's majesty and mercy. Metrical versions of the psalm, such as those in the 1650 Scottish Metrical Psalter, adapt it for sung responsive reading, facilitating communal participation in services like Evening Prayer. The psalm is integrated into the Roman Catholic Divine Office, particularly the , where it is divided into two parts for on Fridays in Week 4 of the four-week cycle, emphasizing themes of divine righteousness and support for the faithful. In Eastern Orthodox liturgy, Psalm 145 (numbered as 144 in the Septuagint-influenced numbering) is chanted antiphonally during the consecration of churches, following the placement of relics in , as a proclaiming God's everlasting reign and compassion. It also forms part of the kathismata readings in and , recited weekly as the twentieth to invoke God's providence over creation. Among Protestant denominations, the psalm appears in lectionaries such as the Revised Common Lectionary, assigned for daily readings on dates like January 20 and 21, and for Sundays like Proper 12 in Year B, where it inspires sermons on God's goodness. Patristic exegesis, notably by , interprets Psalm 145 as a prophetic prefiguring Christ's kingdom. In his Enarrationes in Psalmos, Augustine identifies the psalm's speaker as Christ, the Son of according to the flesh yet Lord and Creator in divinity, whose eternal reign—described as "a kingdom of all ages"—manifests God's transcendent glory through the and redemption. This christological reading portrays the psalm's acclamations of as fulfilled in the savior who upholds the humble and extends to all generations. Theologically, the psalm links to Christian doctrines of providence, as seen in Reformation writings. , in his commentary on the , expounds verse 14—"The Lord upholds all who are falling and raises up all who are bowed down"—as an illustration of God's merciful providence in Christ's kingdom, where the divine king justifies sinners, sustains the afflicted amid trials like and , and acts as a compassionate fulfilling the needs of the faithful. This emphasis on uplifting the fallen has informed Protestant sermons, portraying God's care as active consolation for the burdened soul.

Musical settings

Historical compositions

Psalm 145, known in Latin as Exaltabo te, Deus meus, rex meus, has inspired numerous musical settings from the through the , reflecting its themes of divine praise in liturgical and concert contexts. These compositions often adapted the psalm's structure and laudatory verses to polyphonic forms, enhancing its devotional impact in Protestant and Catholic traditions alike. In the period, English composers contributed significantly to psalm settings within Anglican worship. (1583–1625) composed a verse anthem titled "The eyes of all wait upon thee" (also known as "Oculi omnium"), drawing from Psalm 145:15–21 in the Coverdale translation from the . This work features soloists and chorus with organ accompaniment, exemplifying the verse anthem style where solo verses alternate with full choral refrains to emphasize the psalm's assurance of God's providence. Gibbons' setting, part of his broader output for the , highlights the intimate yet expansive praise central to the text. The era saw German composers integrating Psalm 145 into s and collections, often underscoring its alphabetic through contrapuntal techniques. (1585–1672) included a setting of the full psalm in his Becker Psalter, Op. 5 (SWV 250, circa 1628), a collection of 150 psalm melodies composed for domestic and courtly devotion in memory of his late wife. This German-language employs simple for four voices, allowing the form—where verses begin with successive Hebrew letters—to emerge clearly in the melodic structure, fostering a meditative reflection on God's greatness. Schütz's approach, influenced by Italian madrigals, balances homophonic and elements to convey the psalm's rhythmic praise. Additionally, his later Symphoniae Sacrae III (SWV 429, 1650) features a concise four-voice on Psalm 145:15–16 ("Aller Augen warten auf dich"), used as a table grace, which reinforces themes of divine provision through elegant . By the 19th century, Romantic composers expanded psalm settings into larger orchestral forms, blending choral grandeur with symphonic elements. (1809–1847) incorporated verses from into his Symphony No. 2, "Lobgesang" (Op. 52, 1840), a premiered to celebrate the Gutenberg tercentenary. The fourth movement, "Alles was Odem hat, lobe den Herrn," combines texts from 150, 33, and 145:21, culminating in a triumphant choral finale that evokes universal praise through soaring melodies and full . Mendelssohn's setting, rooted in Lutheran hymnody, amplifies the psalm's call to adoration with dynamic contrasts and fugal passages, making it a staple of 19th-century concert repertoires. Liturgical chants provided foundational settings for Psalm 145 across traditions, predating and influencing polyphonic works. In the Catholic tradition, Gregorian chant assigns the psalm to various tones from the Liber Usualis, such as Tone 8 for Vespers, where its verses are intoned monophonically to facilitate communal recitation in the Liturgy of the Hours. This unaccompanied modal chant, developed from the 9th century onward, preserves the psalm's meditative flow, with neumes guiding subtle melodic inflections on key phrases of praise. Similarly, in Anglican practice, single or double chants—harmonic adaptations of psalm tones—were standardized in the 19th century for cathedrals and parishes. Composers created pointed psalm chants for Psalm 145, dividing the text into half-verses over four-part harmonies, enabling responsive singing that underscores the acrostic's progression during Evensong. These chant forms, drawn from the Coverdale Psalter, emphasize accessibility and reverence in daily worship.

Modern interpretations

In the 20th century, choral music saw innovative settings of Psalm 145 that emphasized its themes of divine provision and praise. A prominent example is Jean 's "The Eyes of All Wait Upon Thee" (1959), an work for mixed voices drawing from verses 15-16, featuring lush chordal textures and mixed meters to evoke God's sustaining care. , a German-born American who fled , crafted this piece during his later career, reflecting personal and collective hopes for nourishment amid hardship; it remains a staple in choral repertoires for its accessible yet expressive style. Contemporary worship music in Christian traditions has frequently adapted Psalm 145 for congregational singing, blending scriptural text with accessible melodies to foster communal praise. Michael W. Smith's "Great Is the Lord" (1982), co-written with his wife Debbie, directly echoes verse 3—"Great is the Lord and most worthy of praise"—in its lyrics and structure, becoming a cornerstone of evangelical worship with over a million recordings sold by the 1990s. Similarly, the Taizé community's chant "Grande est ta bonté" (There Can Be No Greater Love), composed by Joseph Gelineau in 1963 and adapted for Taizé prayer, sets verses 8-9 and 13 in a meditative, repetitive form that encourages participation through simple ostinatos and multilingual verses, promoting ecumenical unity. Modern Jewish compositions have incorporated Psalm 145 into , preserving its form while infusing contemporary Israeli influences. Paul Ben-Haim, a pioneering Israeli composer who Hebraicized his name upon immigrating from in 1933, created settings of psalm texts for choral and solo use, including a 1967 piece opening with verse 1 of Psalm 145 ("I will extol you, my God and King"). His works blend modal Hebrew melodies with Western harmony, designed for services to evoke spiritual intimacy and , as seen in collections published by the Israel Music Institute. Experimental approaches to Psalm 145 in the late 20th and 21st centuries have explored and genre fusions to engage diverse audiences in worship. John Rutter's choral anthems from the 1990s, such as those in his Psalmfest cycle, inspire similar innovations by highlighting psalm structures like acrostics through layered vocal lines, though direct settings of Psalm 145 appear in broader contemporary adaptations; for instance, digital productions in evangelical settings project verse texts with electronic soundscapes and video, as in Sovereign Grace Music's "How Great (Psalm 145)" (2022), which layers acoustic and synth elements for immersive praise experiences. These forms extend the psalm's timeless attributes into interactive formats, often using software for and visuals to underscore God's providence in modern contexts.

References

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  45. https://www.milkenarchive.org/artists/view/jean-berger
  46. https://www.songfacts.com/facts/michael-w-smith/great-is-the-lord
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