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Psalm 24
"The earth is the LORD's,
and the fulness thereof"
Psalm 24 in an anonymous French manuscript, early 14th century
Other name
  • Psalm 23
  • "Domini est terra et plenitudo eius orbis terrarum"
Textby David
LanguageHebrew (original)
Psalm 24
BookBook of Psalms
Hebrew Bible partKetuvim
Order in the Hebrew part1
CategorySifrei Emet
Christian Bible partOld Testament
Order in the Christian part19

Psalm 24 is the 24th psalm of the Book of Psalms, beginning in English in the King James Version: "The earth is the LORD's, and the fulness thereof". In the slightly different numbering system used in the Greek Septuagint version of the Bible and the Latin Vulgate, this psalm is Psalm 23. In Latin, it is known as "Domini est terra et plenitudo eius orbis terrarum".[1] The psalm is marked as a Psalm of David.

The psalm is a regular part of Jewish, Catholic, Lutheran, Anglican and Nonconformist Protestant liturgies. It has often been set to music, notably by Heinrich Schütz and Lili Boulanger. The section "Lift up your heads, O ye gates" has been associated with Advent, and paraphrased in hymns. The same dialogue, requesting the gates to open for the King of Glory, have also been associated with the feast of the Ascension, therefore Handel set it in Part II of his Messiah in the scene "Ascension", and Christoph Bernhard Verspoell wrote a related hymn, "Öffnet eure Tore", in 1810.

Background

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The Ark carried into the Temple, from Très Riches Heures du Duc de Berry (early 15th c.)

David may have composed this psalm after buying the Temple Mount, intending for it to be sung at the dedication of the Temple by his son, Solomon. In verses 7 and 9, he instructs the gates of the Temple to open to receive God's glory at that time. The Talmud notes that when Solomon came to dedicate the Temple and bring in the Ark of the Covenant, the gates refused to open. They acceded only after Solomon prayed for them to open in the merit of his father, David.[2][3] Another possible Sitz im Leben of Psalm 24 is the situation described in 1 Chronicles 15 and 2 Samuel 6 where David brings the Ark of the Covenant from Obed-Edom's house up to the Tabernacle in Jerusalem.[4]

Themes

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The Midrash Tehillim notes the inversion of the first two words of this psalm compared to the preceding one, Psalm 23. Psalm 23 begins, "Mizmor LeDavid, a song of David", while this psalm begins, "LeDavid Mizmor, of David, a song". The Midrash explains that Mizmor LeDavid indicates that first David played on his harp, and then God's spirit rested upon him. LeDavid Mizmor indicates that first he was imbued with the holy spirit, and then he played.[5]

The Talmud in Berakhot 35 a-b remarks on the discrepancy between verse 1, "The world and its contents belong to God", and Psalm 115:16, "The heavens are God's, but the earth He has given to humans". It concludes that these verses express the importance of saying a blessing over food. Before one says a blessing, the food belongs to God and to consume it would be akin to stealing, but after saying the blessing, one has permission to eat it.[3]

Text

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The following table shows the Hebrew text[6][7] of the Psalm with vowels, alongside the Koine Greek text in the Septuagint[8] 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 23.

# Hebrew English Greek
1 לְדָוִ֗ד מִ֫זְמ֥וֹר לַֽ֭יהֹוָה הָאָ֣רֶץ וּמְלוֹאָ֑הּ תֵּ֝בֵ֗ל וְיֹ֣שְׁבֵי בָֽהּ׃‎ (A Psalm of David.) The earth is the LORD's, and the fulness thereof; the world, and they that dwell therein. Ψαλμὸς τῷ Δαυΐδ· τῆς μιᾶς Σαββάτων. - ΤΟΥ Κυρίου ἡ γῆ καὶ τὸ πλήρωμα αὐτῆς, ἡ οἰκουμένη καὶ πάντες οἱ κατοικοῦντες ἐν αὐτῇ.
2 כִּי־ה֭וּא עַל־יַמִּ֣ים יְסָדָ֑הּ וְעַל־נְ֝הָר֗וֹת יְכוֹנְנֶֽהָ׃‎ For he hath founded it upon the seas, and established it upon the floods. αὐτὸς ἐπὶ θαλασσῶν ἐθεμελίωσεν αὐτὴν καὶ ἐπὶ ποταμῶν ἡτοίμασεν αὐτήν.
3 מִֽי־יַעֲלֶ֥ה בְהַר־יְהֹוָ֑ה וּמִי־יָ֝ק֗וּם בִּמְק֥וֹם קׇדְשֽׁוֹ׃‎ Who shall ascend into the hill of the LORD? or who shall stand in his holy place? τίς ἀναβήσεται εἰς τὸ ὄρος τοῦ Κυρίου καὶ τίς στήσεται ἐν τόπῳ ἁγίῳ αὐτοῦ;
4 נְקִ֥י כַפַּ֗יִם וּֽבַר־לֵ֫בָ֥ב אֲשֶׁ֤ר ׀ לֹא־נָשָׂ֣א לַשָּׁ֣וְא נַפְשִׁ֑י וְלֹ֖א נִשְׁבַּ֣ע לְמִרְמָֽה׃‎ He that hath clean hands, and a pure heart; who hath not lifted up his soul unto vanity, nor sworn deceitfully. ἀθῷος χερσὶ καὶ καθαρὸς τῇ καρδίᾳ, ὃς οὐκ ἔλαβεν ἐπὶ ματαίῳ τὴν ψυχὴν αὐτοῦ καὶ οὐκ ὤμοσεν ἐπὶ δόλῳ τῷ πλησίον αὐτοῦ.
5 יִשָּׂ֣א בְ֭רָכָה מֵאֵ֣ת יְהֹוָ֑ה וּ֝צְדָקָ֗ה מֵאֱלֹהֵ֥י יִשְׁעֽוֹ׃‎ He shall receive the blessing from the LORD, and righteousness from the God of his salvation. οὗτος λήψεται εὐλογίαν παρὰ Κυρίου καὶ ἐλεημοσύνην παρὰ Θεοῦ σωτῆρος αὐτοῦ.
6 זֶ֭ה דּ֣וֹר דֹּרְשָׁ֑ו מְבַקְשֵׁ֨י פָנֶ֖יךָ יַעֲקֹ֣ב סֶֽלָה׃‎ This is the generation of them that seek him, that seek thy face, O Jacob. Selah. αὕτη ἡ γενεὰ ζητούντων τὸν Κύριον, ζητούντων τὸ πρόσωπον τοῦ Θεοῦ ᾿Ιακώβ. (διάψαλμα).
7 שְׂא֤וּ שְׁעָרִ֨ים ׀ רָֽאשֵׁיכֶ֗ם וְֽ֭הִנָּשְׂאוּ פִּתְחֵ֣י עוֹלָ֑ם וְ֝יָב֗וֹא מֶ֣לֶךְ הַכָּבֽוֹד׃‎ Lift up your heads, O ye gates; and be ye lift up, ye everlasting doors; and the King of glory shall come in. ἄρατε πύλας, οἱ ἄρχοντες ὑμῶν, καὶ ἐπάρθητε, πύλαι αἰώνιοι, καὶ εἰσελεύσεται ὁ βασιλεὺς τῆς δόξης.
8 מִ֥י זֶה֮ מֶ֤לֶךְ הַכָּ֫ב֥וֹד יְ֭הֹוָה עִזּ֣וּז וְגִבּ֑וֹר יְ֝הֹוָ֗ה גִּבּ֥וֹר מִלְחָמָֽה׃‎ Who is this King of glory? The LORD strong and mighty, the LORD mighty in battle. τίς ἐστιν οὗτος ὁ βασιλεὺς τῆς δόξης; Κύριος κραταιὸς καὶ δυνατός, Κύριος δυνατὸς ἐν πολέμῳ.
9 שְׂא֤וּ שְׁעָרִ֨ים ׀ רָֽאשֵׁיכֶ֗ם וּ֭שְׂאוּ פִּתְחֵ֣י עוֹלָ֑ם וְ֝יָבֹ֗א מֶ֣לֶךְ הַכָּבֽוֹד׃‎ Lift up your heads, O ye gates; even lift them up, ye everlasting doors; and the King of glory shall come in. ἄρατε πύλας, οἱ ἄρχοντες ὑμῶν, καὶ ἐπάρθητε, πύλαι αἰώνιοι, καὶ εἰσελεύσεται ὁ βασιλεὺς τῆς δόξης.
10 מִ֤י ה֣וּא זֶה֮ מֶ֤לֶךְ הַכָּ֫ב֥וֹד יְהֹוָ֥ה צְבָא֑וֹת ה֤וּא מֶ֖לֶךְ הַכָּב֣וֹד סֶֽלָה׃‎ Who is this King of glory? The LORD of hosts, he is the King of glory. Selah. τίς ἐστιν οὗτος ὁ βασιλεὺς τῆς δόξης; Κύριος τῶν δυνάμεων αὐτός ἐστιν ὁ βασιλεὺς τῆς δόξης.

Uses

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Judaism

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In the late Ashkenazi tradition, Psalm 24 is recited while the Torah scroll is being carried back to the ark on weekdays, Rosh Chodesh, and festivals.

Psalm 24 is designated as the Psalm of the Day for the first day of the week (Sunday) in both the Ashkenazi and Sephardi liturgies. It was sung by the Levites after the offering of the regular daily sacrifice (tamid).[9] This tradition continued into the diaspora, as the psalm is sung on Sundays in synagogues around the world.[10] In recent centuries, Ashkenazi Jews also recite the psalm while the Torah scroll is carried back to the ark on weekdays, Rosh Chodesh, festivals, and during the Shabbat afternoon prayer. Chasidic and Sephardic Jews recite it on Rosh Hashanah and Yom Kippur after the evening prayer, and some Nusach Ashkenaz communities have adopted the practice as well.[11] In the Siddur Avodas Yisroel, the psalm is also said after Aleinu during the evening prayer on weeknights.[12] Some congregations recite this psalm during the hakafot on Simchat Torah.[13]

Verse 1 is said by the earth in Perek Shirah. Additionally, verses 7–8 are the first call of the rooster, and verses 9–10 are the second call of the rooster, in that ancient text.[12][14]

Verse 5 is a "companion verse" for the word yissa (Hebrew: יִשָּׂא, may He turn) in the Priestly Blessing (Numbers 6:26).[12][15]

Verses 7–10 are included in the ten verses recited during the section of Malchuyot in the Mussaf Amidah on Rosh Hashanah.[16]

Psalm 24 is also recited as a prayer for financial success and to protect from a flood.[17]

Christianity

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New Testament

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Verse 1 is quoted in 1 Corinthians 10:26 of the New Testament.[18]

Ascension and Advent

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The dialogue of Psalm 24, verses 7–10, requesting the gates to open for the King of Glory, have been associated with the ascension of Jesus since the second century, when the Christian philosopher Justin described (in Dialog mit dem Juden Tryphon 36,4–6) a dialogue of heavenly lords who did not recognise Jesus because of his human appearance.[19] Charles Spurgeon writes, "He who, fresh from the cross and the tomb, now rides through the gates of the New Jerusalem is higher than the heavens; great and everlasting as they are, those gates of pearl are all unworthy of him before whom the heavens are not pure, and who chargeth his angels with folly. Lift up your heads, O ye gates".[20] Matthew Henry concurs, adding that the Ark being brought up to Jerusalem symbolizes Christ entering into heaven, "and the welcome given to him there".[21]

The same dialogue has also been associated with Advent.

The apocryphal Apocalypse of Peter quotes Psalm 24 when giving its version of the ascension of Jesus, directly saying that "the word of the scripture" was fulfilled and going on to tie opening the gates and seeing the face of the God of Jacob to Jesus's ascension.[22]

Liturgy of the hours

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In the pre-Tridentine Divine Office of the Catholic Church, the Psalm was said on Sundays at Prime. It was reassigned to Tuesday at Prime by Pope Pius V. In the current Divine Office promulgated in 1971 (Liturgy of the Hours), with the suppression of Prime, it was reassigned to both Tuesday Week 1 Lauds, and Sunday Week 4 Office of Readings (Matins).[23]

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 Terce.[24]

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 fifth day of the month,[25] as well as at Evensong on Ascension Day.[26]

Musical settings

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Hymns

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The Protestant minister Georg Weissel paraphrased the last section of Psalm 24 as an Advent hymn, "Macht hoch die Tür" (Make the door high) in 1623.[27] It became Number 1 in the current Protestant hymnal Evangelisches Gesangbuch (EG),[27] and appears in most German hymnals including the Catholic Gotteslob (GL 218). Catherine Winkworth translated it as "Lift up your heads, ye mighty gates" in 1853.[28]

The title of the hymn "Come Thou Almighty King", first published in 1757,[29] is based on verse 10 of this psalm.[30]

Christoph Bernhard Verspoell wrote the 1810 hymn "Öffnet eure Tore" (Open your gates) for the Feast of the Ascension. The German text is based on the dialogue in verses 7–10, and a melody was added in a Trier hymnal of 1846.[19]

In the Free Church of Scotland's 2003 Psalter, Sing Psalms, the metrical version of Psalm 24 commences "The world and all in it are God’s, all peoples of the earth" and is set in the common metre. The recommended tunes are Nativity, Praetorius, Winchester and St. George's, Edinburgh.[31]

Vocal music

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Heinrich Schütz set the psalm in German for choir as part of his setting of the Becker Psalter as SWV 121, "Die Erd und was sich auf ihr regt" (The Earth and what moves on it).[32] Andreas Hammerschmidt composed a six-part motet, "Machet die Tore weit" (Make the gates wide), setting verses 7–9.[33]

Verses 7–10 are set in Handel's Messiah (1742) in the chorus "Lift up your heads", within the scene "Ascension".[34][35]

Henry Desmarest composed a grand motet, "Domini est terra" (unknown date).

Lili Boulanger set the entire psalm in French, La terre appartient à l’Eternel in 1916 for mixed choir, organ, brass ensemble, timpani and 2 harps.[36]

Notes

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References

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Sources

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[edit]
Revisions and contributorsEdit on WikipediaRead on Wikipedia

Psalm 24

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from Grokipedia
Psalm 24 is the twenty-fourth psalm of the Book of Psalms in the and Christian , a short traditionally ascribed to King David that proclaims God's ownership of the and its inhabitants, outlines the moral qualities required to approach God's holy presence, and depicts a triumphant of the "King of Glory" entering through ancient gates. The psalm's text, as rendered in the , begins with verses 1–2 affirming, "The is the LORD's and the fullness thereof, the world and those who dwell therein, for he has founded it upon the seas and established it upon the rivers," establishing a theme of divine creation and dominion. Scholars generally view the psalm's structure as tripartite: an opening hymnic declaration of God's (vv. 1–2), an "entrance " or questioning who may ascend the Lord's hill and stand in his holy place—answered by those with " and a pure heart" who shun falsehood and deceit (vv. 3–6)—and a dialogic liturgical exchange calling upon the gates to lift for the entry of the mighty King of Glory, identified as the Lord of hosts (vv. 7–10). This structure, marked by two "" pauses (after vv. 6 and 10), suggests its use in worship, possibly as part of a temple in ancient , such as the bringing of the during 's reign around 1000 BCE. While the superscription attributes authorship to , modern scholarship often dates the psalm or its final form to the post-exilic period (after 539 BCE), viewing it as an editorial composition by temple Levites emphasizing ethical purity and Yahweh's kingship amid themes of cosmic order, human , and divine victory. The psalm's themes intertwine creation with soteriological and eschatological elements, portraying the as God's stable foundation and access to his presence as contingent upon rather than alone, with blessings of promised to the faithful that seeks God's face. Rhetorically, it employs a series of four questions to build emphasis—two on worthy (vv. 3, with implied answer in v. 4) and two on the King's identity (vv. 8, 10)—highlighting Yahweh's military might and splendor as the basis for true . In Jewish and Christian traditions, Psalm 24 holds liturgical significance, recited during festivals like or associated with Advent and , and it influences imagery of Christ's ascension and entry into heavenly realms.

Background and Authorship

Superscription and Attribution

The superscription of Psalm 24 in the reads מִזְמוֹר לְדָוִד (mizmôr lədāwîd), typically translated as "A Psalm of ." This phrase combines mizmôr, denoting a lyrical composition or song accompanied by music, with the preposition lə prefixed to dāwîd, the name of King , indicating either authorship, dedication, or association with a Davidic collection. The superscription appears consistently in the Hebrew manuscripts, including those from the Dead Sea Scrolls, though its interpretive nuances have been debated in scholarly . In Jewish and Christian traditions, this attribution credits as the psalm's composer, portraying him as a divinely inspired and who shaped Israel's . Second-century BCE texts like 47:8–10 praise David for singing hymns with all his heart and appointing singers before , implying his role in authoring . Similarly, the treats David as the authoritative voice behind many , as seen in quotations attributing prophetic insight to him (e.g., :25, 34 citing 16 and 110). These traditions, echoed in early rabbinic and patristic sources, reinforce the superscription's role in linking the psalm to David's legacy as Israel's royal psalmist (2 Samuel 23:1). Modern scholarship, however, often views the Davidic superscriptions, including that of Psalm 24, as pseudonymic or later insertions rather than indications of direct authorship. Critical analyses suggest these titles were added during the compilation of the in the post-exilic period to organize collections thematically around Davidic figures or to evoke his covenantal themes, with variations in the supporting their secondary nature. While some exegetes defend their antiquity based on linguistic consistency and ancient witnesses like the Psalms (11Q5), which affirms David's compositional output, the consensus leans toward them functioning as interpretive frames rather than historical facts. This layer may connect the psalm to events in David's life, such as the procession of the into (2 6), providing a liturgical without confirming personal authorship.

Composition and Dating

Scholarly views on the composition and dating of Psalm 24 vary, with many associating its core elements with the pre-exilic period and the monarchic era of ancient Israel, potentially linked to the 10th century BCE during David's reign, based on linguistic features of early Classical Biblical Hebrew, rhythmic patterns in pre-exilic hymnody, and contextual ties to the Ark of the Covenant's procession (2 Samuel 6:12-19). Others propose a post-exilic date (after 539 BCE) for the psalm's final form, viewing it as an editorial composition by temple Levites, possibly incorporating older liturgical traditions into the first Davidic Psalter (Psalms 15-24), with influences from festivals like the Babylonian Akitu or post-exilic adaptations of earlier rituals. A key contextual clue often cited for a pre-exilic origin is the psalm's apparent connection to the procession of the Ark of the Covenant into Jerusalem, as described in 2 Samuel 6:12-19, where David leads a celebratory entry amid music and sacrifices. This event, traditionally dated to around 1000 BCE, provides a plausible Sitz im Leben for the psalm's liturgical dialogue in verses 7-10, evoking a ritual ascent and divine entry through gates, which would commemorate the Ark's installation as a symbol of Yahweh's presence in the city. While some scholars debate whether the psalm reflects a later adaptation of this procession for temple dedications like Solomon's (1 Kings 8), the core imagery remains tied to pre-exilic royal and cultic practices. Form-critical analysis, pioneered by , classifies Psalm 24 as an "entrance " or gate , a involving questioning and affirmation for cultic access, distinct from but related to that celebrate Yahweh's kingship. viewed it as a unified composition for festive occasions, such as post-battle returns of the Ark, rather than a composite work, though later scholars like Sigmund Mowinckel linked it to an annual festival. Debates persist on its unity, with some proposing post-exilic redaction to fit the Psalter's editorial frame ( 15-24), but many favor an original pre-exilic core for its elements. The psalm incorporates motifs of divine kingship influenced by Canaanite and broader Ancient Near Eastern traditions, where deities like were enthroned as cosmic rulers, adapted here to affirm 's sole sovereignty over creation and the temple. This adaptation reflects Israelite theological innovation during the early monarchy, transforming polytheistic warrior-god imagery into monotheistic praise, as seen in the repeated acclamation of as "the King of glory" (vv. 7-10). Such influences underscore the psalm's roots in pre-exilic cultic worship, predating the Deuteronomistic reforms that emphasized centralized .

Text and Manuscripts

Hebrew Text

Psalm 24 is preserved in the , the authoritative Hebrew version of the finalized by Jewish scholars between the 7th and 10th centuries CE, as represented in the (c. 1008 CE). The psalm consists of 10 verses and exhibits classic Hebrew poetic features, including synonymous parallelism and a , antiphonal structure in its latter half. Below is the full Hebrew text with Masoretic vocalization () and cantillation marks, divided by verse. Verse 1: לְדָוִד מִזְמוֹר לַֽיהוָ֥ה הָאָ֗רֶץ וּמְלֹאָ֫הּ֥ תֵּבֵ֗ל וְיֹ֣שְׁבֶֽי־בָֽהּ׃
Verse 2: כִּֽי־ה֭וּא עַל־יַמִּ֣ים יְסָדָ֑הּ וְעַל־נְהָר֥וֹת יְכוֹנֶֽנָּהּ׃
Verse 3: מִֽי־יַעֲלֶ֥ה בְהַר־יְהוָ֑ה וּמִ֖י יִקּ֣וֹם בִּמְקֽוֹם־קָדְשֽׁוֹ׃
Verse 4: נְקִֽי־כַפַּ֥יִם וּבַֽר־לֵבָ֑ב אֲשֶׁ֤ר ׀ לֹֽא־נָשָׂ֬א לַשָּׁ֗וְא נַפְשׁ֘וֹ֙ וְלֹֽא־נִשְׁבַּ֥ע לְמִרְמָֽה׃
Verse 5: יִשָּׂ֣א בְרָכָ֣ה מֵעִֽם יְהוָ֑ה וּ֝צְדָקָ֗ה מֵאֱלֹ֥הֵי יִשְׁעֽוֹ׃
Verse 6: זֶ֤ה ׀ דּֽוֹר־מְבַקְשֶׁ֗יךָ מְ֭בַקְשֵׁי פָנֶ֣יךָ יַעֲקֹ֑ב סֶלָֽה׃
Verse 7: שְֽׂאוּ־שְׁעָרִ֥ים רָאשֵׁיכֶ֑ם וְ֝הִנָּשְׂא֗וּ פֶּתְעֵ֥י עוֹלָ֗ם וְיָב֥וֹא מֶֽלֶךְ־הַכָּבֽוֹד׃
Verse 8: מִֽי־ה֭וּא זֶה מֶ֣לֶךְ הַכָּב֑וֹד יְ֝הוָ֗ה עִזּ֥וֹז וְגִבּ֗וֹר יְהוָ֥ה גִּבּ֥וֹר מִלְחָמָֽה׃
Verse 9: שְֽׂאוּ־שְׁעָרִ֥ים רָאשֵׁיכֶ֑ם וְ֝הִנָּשְׂא֗וּ פֶּתְעֵ֥י עוֹלָ֗ם וִֽיבֹ֥א מֶֽלֶךְ־הַכָּבֽוֹד׃
Verse 10: מִֽי־ה֭וּא זֶה מֶ֣לֶךְ הַכָּב֑וֹד יְ֝הוָ֗ה צְבָא֗וֹת הֽוּא־מֶ֭לֶךְ הַכָּב֑וֹד סֶלָֽה׃ For accessibility, a Romanized transliteration follows, based on the Westminster Leningrad Codex, which renders the Hebrew in a simplified phonetic form suitable for non-specialists. This highlights poetic elements such as parallelism, where ideas are echoed or contrasted (e.g., the repetitive questioning and response in verses 7-10 create an antiphonal, call-and-response structure evoking a liturgical procession). Verse 1: lə·ḏā·wîḏ miz·mō·wr lā·Yah·weh hā·’ā·reṣ ū·mə·lō·’āh; tē·ḇêl wə·yō·šə·ḇê·ḇāh.
Verse 2: kî- hū ’al- yam·mîm yə·sā·ḏāh; wə·’al- nə·hā·rō·wṯ yə·ḵō·wə·nen·nāh.
Verse 3: mî- ya·’ă·leh bə·har- Yah·weh; ū·mî- yā·qūm bim·qō·wm qā·ḏə·šōw.
Verse 4: nə·qî- ḵap·pa·yim ū·ḇar- lê·ḇāḇ ’ă·šer lō- nā·śā’ la·šāw’ naf·šōw; wə·lō- niš·ba‘ lə·mir·māh.
Verse 5: yiś·śā’ bə·rā·ḵāh mē·‘im Yah·weh; ū·ṣə·ḏā·qāh mē·’ĕ·lō·hê yiš·‘ōw.
Verse 6: zeh dōr- mə·ḇaq·šê·ḵā mə·ḇaq·šê fā·ne·ḵā ya·‘ă·qōḇ se·lāh.
Verse 7: śə·’ū- šə·‘ā·rîm rā·šê·ḵem wə·hin·nā·śə·’ū pet·ḥê ‘ō·w·lām wə·yā·ḇōw me·leḵ- hak·kā·ḇō·wḏ.
Verse 8: mî- hū’ zeh me·leḵ hak·kā·ḇō·wḏ Yah·weh ‘iz·zuz wə·ḡib·bō·wr; Yah·weh gib·bō·wr mil·ḥā·māh.
Verse 9: śə·’ū- šə·‘ā·rîm rā·šê·ḵem ū·śə·’ū pet·ḥê ‘ō·w·lām wî·ḇōw me·leḱ- hak·kā·ḇō·wḏ.
Verse 10: mî- hū’ zeh me·leḵ hak·kā·ḇō·wḏ Yah·weh ṣə·ḇā·’ō·wṯ hū’- me·leḱ hak·kā·ḇō·wḏ se·lāh. The poetic form of Psalm 24 divides into two main stanzas: verses 1-6, which affirm Yahweh's over creation and outline the moral worthiness required for approaching the ; and verses 7-10, a depicting the triumphant entry of the "King of glory" through ancient gates, structured as an antiphonal exchange between gatekeepers and responders. This repeats nearly identically in verses 7-8 and 9-10, emphasizing rhythmic parallelism to evoke a processional . Among ancient manuscripts, the text of Psalm 24 appears in fragments from the Dead Sea Scrolls, particularly from Cave 4 (e.g., 4QPs^b [4Q84] preserves verses 3-6). These show wording closely matching the , differing only in minor orthographic variations, such as spelling conventions (e.g., plene vs. defective for certain words in verse 5), which do not affect the meaning and underscore the textual stability of the psalm across traditions. No substantive additions, omissions, or rearrangements specific to Psalm 24 are evident in these Cave 4 fragments compared to the Masoretic version.

Translations and Versions

Psalm 24 has been translated into numerous languages, with significant versions shaping its interpretation in Jewish and Christian traditions. In English, the King James Version (KJV), published in 1611, renders the opening question in verse 3 as "Who shall ascend into the hill of the Lord?" emphasizing a literal ascent to a specific locale, while the (NIV), from 1978, updates it to "Who may ascend the mountain of the Lord?" for smoother modern readability. These differences highlight varying approaches: the KJV adheres closely to the Hebrew phrasing of "har-YHWH" (hill/mountain of the Lord), whereas the NIV opts for inclusivity in language without altering core meaning. A notable interpretive variation appears in verse 4, addressing moral qualifications for . The Hebrew phrase "lo' nasa' la-shav nafsho" (not lifted up his to /falsehood) is translated in the KJV as "who hath not lifted up his unto ," retaining the literal sense of futile or pursuits. In contrast, the NIV interprets it dynamically as "who does not trust in an idol," linking "shav'" () to false gods, a choice informed by contextual usage in ancient Near Eastern critiques, though footnotes acknowledge the alternative "swear falsely." This shift reflects the NIV's thought-for-thought , prioritizing conceptual clarity over word-for-word fidelity. The Septuagint (LXX), the Greek translation of the Hebrew Bible completed by the 2nd century BCE, numbers Psalm 24 as Psalm 23 due to differences in psalm divisions, maintaining a total of 150 psalms but combining or splitting some from the Masoretic Text. Its wording shows Hellenistic influences, such as rendering "King of Glory" (melekh ha-kavod) in verses 8 and 10 as "basileus tēs doxēs" (βασιλεὺς τῆς δόξης), which amplifies divine royalty and splendor in a manner resonant with Greek philosophical and imperial concepts of glory (doxa). For verse 4, the LXX translates "not lifted up his soul to an idol" (ouk elabēn epi mataiō tēn psychēn autou), explicitly tying "shav'" to idolatry, influencing early Christian readings of moral purity. Jerome's Vulgate, completed around 405 CE and based partly on Hebrew and LXX sources, follows LXX numbering (Psalm 23) and profoundly shaped Western Christian liturgy for over a millennium, serving as the authoritative Bible text until the Reformation and influencing chants, prayers, and art. Its phrasing for verse 3, "Quis ascendet in montem Domini?" (Who shall ascend the mountain of the Lord?), mirrors the Hebrew closely while adopting a rhythmic Latin suitable for recitation, and verse 4 renders the purity clause as "innocens manibus et mundo corde, qui non accepit in vanum animam suam" (innocent of hands and pure of heart, who has not received his soul in vain), preserving the ambiguity of "vanum" (vain/false) to encompass both deceit and idolatry. This version's integration into the Roman Rite, including processional uses, reinforced its liturgical dominance in medieval Europe. To illustrate key translational parallels and divergences, the following table compares select verses across the original Hebrew (with interlinear English), representative English versions, the LXX Greek (with English), and the Vulgate Latin (with English). Focus is on terms for creation ownership (v. 1), ascent and purity (vv. 3-4), and divine kingship (v. 8).
VerseHebrew (Interlinear English)KJV (English)NIV (English)LXX (Greek / English)Vulgate (Latin / English)
1La-YHWH ha-aretz u-melo'ah / tevel ve-yoshevei vah. (To the LORD [is] the earth and its fullness, the world and those who dwell in it.)The earth is the LORD's, and the fulness thereof; the world, and they that dwell therein.The earth is the LORD's, and everything in it, the world, and all who live in it.Tou kyriou hē gē kai to plērōma autēs / hē oikoumenē kai pantes hoi katoikountes en autē. (The Lord's [is] the earth and its fullness, the inhabited world and all who dwell in it.)Domini est terra et plenitudo eius / orbis terrarum et qui habitant in eo. (The Lord's is the earth and its fullness, the orb of the earth and those who dwell in it.)
3Mi ya'aleh be-har-YHWH / u-mi yakum bi-mekom kodsho? (Who shall ascend the hill of the LORD? / And who shall stand in his holy place?)Who shall ascend into the hill of the LORD? or who shall stand in his holy place?Who may ascend the mountain of the LORD? Who may stand in his holy place?Tis anabēsetai eis to oros tou kyriou? / kai tis stēsetai en topō hagiō autou? (Who shall ascend to the mountain of the Lord? / And who shall stand in his holy place?)Quis ascendet in montem Domini? / et quis stabit in loco sancto eius? (Who shall ascend the mountain of the Lord? / And who shall stand in his holy place?)
4Neki khafayim u-var levav / asher lo' nasa' la-shav nafsho / ve-lo' nishba' le-mirmah. (Clean of hands and pure of heart, / who has not lifted to vanity his soul, / and not sworn to deceit.)He that hath clean hands, and a pure heart; who hath not lifted up his soul unto vanity, nor sworn deceitfully.The one who has clean hands and a pure heart, who does not trust in an idol or swear by a false god.Athōos kher sin kai katharos tē kardia, / hos ouk elab en epi mataiō tēn psychēn autou, / oude ōmosen epi dolō tō plēsi on autou. (Innocent of hands and pure in heart, / who has not taken his soul to an idol, / nor sworn deceit to his neighbor.)Innocens manibus et mundo corde, / qui non accepit in vanum animam suam, / nec iuravit in dolo proximo. (Innocent of hands and pure of heart, / who has not taken his soul in vain, / nor sworn deceit to his neighbor.)
8Mi zeh melekh ha-kavod? / YHWH azuz ve-gibbor, / YHWH gibbor milkhama. (Who [is] this King of glory? / The LORD strong and mighty, / The LORD mighty in battle.)Who is this King of glory? The LORD strong and mighty, the LORD mighty in battle.Who is this King of glory? The LORD strong and mighty, the LORD mighty in battle.Tis estin houtos ho basileus tēs doxēs? / Kyrios krataios kai dynatos, / kyrios dynatos en polemō. (Who is this, the King of glory? / The Lord strong and powerful, / the Lord powerful in war.)Quis est iste rex gloriae? / Dominus fortis et potens, / dominus potens in proelio. (Who is this King of glory? / The Lord strong and powerful, / the Lord powerful in battle.)

Themes and Interpretation

Divine Kingship and Creation

Psalm 24 opens with a bold affirmation of 's ownership over the entire created order in verses 1–2: "The is the Lord's and all that is in it, the world, and those who live in it," establishing divine sovereignty as the foundational principle of existence. This declaration echoes the themes of Genesis 1, where creates and claims dominion over the heavens and , underscoring 's inalienable right as Creator without granting autonomous control to humanity. The in verse 2 further elaborates this by describing how "founded it upon the seas and established it upon the rivers," portraying the act of creation as a triumph over primordial chaos to ensure cosmic stability. The Hebrew verbs yāsad (to found) and kôn (to establish) emphasize the enduring order imposed by divine wisdom, paralleling Proverbs 3:19 and countering ancient Near Eastern myths of chaotic sea deities like the Canaanite Yam or Nahar. The psalm's portrayal of divine kingship intensifies in verses 7–10 through the repeated refrain of the "King of Glory" entering the gates, linking Yahweh's creative power to his role as sovereign ruler. This title evokes Yahweh's warrior aspect, as seen in verse 8: "Who is this King of glory? The , strong and mighty, the , mighty in battle," where gibbôr milḥāmâ (mighty warrior) highlights his historical victories, such as those symbolized by the in Israel's exodus and conquest narratives. Scholars interpret this as part of an enthronement ritual, where the divine King's procession into the reaffirms his reign over both creation and the cosmic realm, with Sabaoth (Lord of Hosts) enthroned above the heavenly court. This depiction draws parallels to ancient Near Eastern royal processions during New Year's festivals, where deities or kings entered temples to renew cosmic order, yet Psalm 24 contrasts these by asserting 's universal rule beyond territorial limits, encompassing all nations and the fullness of the . The psalm's tripartite structure thus integrates creation theology with kingship, presenting not merely as a local but as the transcendent who subdues chaos and establishes enduring .

Moral Purity for Worship

Verses 3-6 of Psalm 24 pose rhetorical questions that establish the ethical criteria for accessing the divine presence in the temple: "Who shall ascend the hill of the Lord? And who shall stand in his holy place?" These inquiries introduce a dialogic structure, emphasizing that entry into God's sanctuary demands more than physical approach, requiring moral and spiritual qualifications rooted in righteousness. The core virtues outlined in verse 4 are "clean hands and a pure heart," symbolizing outward ethical integrity and inward sincerity, respectively, while explicitly prohibiting those who "lift up their soul to what is false" or "swear deceitfully." denote freedom from wrongdoing and , whereas a pure heart reflects undivided devotion to , avoiding duplicity or reliance on false gods, as interpreted in scholarly analyses of the psalm's ethical framework. This holistic purity—encompassing actions, intentions, and speech—contrasts with mere cleanliness, underscoring a transformative standard for worshippers. The promise in verse 5 extends and vindication from to those who meet these criteria, portraying divine favor as a reward for that upholds and equity. Verse 6 ties this to generational , identifying the qualified as "the generation of those who seek him, who seek the face of the of ," evoking a communal pursuit of intimate divine relationship across time. This seeking motif highlights persistent devotion as essential to receiving 's redemptive . Rabbinic interpretations view these verses as mandating ethical conduct and inner devotion for liturgical participation, with representing avoidance of and a pure heart signifying sincere intent in approaching the divine, akin to preparations in ancient festival rites. Patristic readings, such as Augustine's, expand this to innocence in deeds and thoughts, where purity enables ascent to God's eternal , fostering a longing for unchangeable beyond human frailty. In , these qualifications prepare the soul for encounters with the divine, mirroring the psalm's ascent as a spiritual journey toward God's presence.

Processional Liturgy

The dialogic structure of Psalm 24:7-10 is widely interpreted by scholars as a liturgical script enacting a temple entry , where the gates of the are personified and commanded to open for the arrival of , the "King of glory." This section features a repeated call to the gates to "lift up your heads" (vv. 7, 9), followed by inquiries about the identity of the approaching king, creating a dramatic framework for communal . The antiphonal call-and-response format in these verses suggests a responsive between participants, such as leading the and Levites or gatekeepers replying from within the temple precincts. The initial command addresses the "ancient doors" (v. 7), urging them to elevate themselves to admit the divine entrant, while the response affirms Yahweh's might as a ("strong and mighty in battle," v. 8) and of hosts (v. 10), culminating in the 's triumphant admission. This interplay heightens the ritual's participatory nature, evoking a sense of and reverence during the symbolic ascent. Scholars view this liturgy as symbolically representing the procession of the , embodying Yahweh's presence and victory, with the responsive elements performed by priests and Levites to guide the sacred object into the temple. The Ark's entry mirrors historical events like David's transport of it to (2 Samuel 6), but in ritual form, it signifies Yahweh's and over chaos. This procession presupposes the moral purity required for worshipers, as delineated in verses 3-6, ensuring only the upright participate in the divine encounter. Form-critically, Psalm 24:7-10 is classified as a "gate liturgy," a subtype of entrance or psalms designed for ritual use at the threshold, emphasizing access to the holy space. Pioneering form critic identified such psalms, including Psalm 24 alongside Psalm 15, as enacted at the " of the ," integrating hymnic , interrogative , and declarative responses to facilitate . Later analyses refine this as an "entrance liturgy" with antiphonal elements, distinguishing it from purely didactic psalms by its performative, processional Sitz im Leben. Modern scholarship posits that this gate liturgy served in festival reenactments commemorating the Ark's installation or Yahweh's kingship, potentially during annual temple celebrations that evoked Israel's covenantal history. While not exclusively tied to a single event, it likely functioned in post-exilic contexts to reaffirm Yahweh's , possibly adapting earlier traditions for honoring divine victories or processions. Interpretations emphasize its role in unifying disparate psalmic motifs—creation, purity, and warrior kingship—into a cohesive .

Liturgical and Scriptural Uses

In Judaism

Psalm 24 holds a prominent place in Jewish , particularly during the festivals of , , and , where it is recited as the scroll is returned to the Ark following its reading. This practice underscores the psalm's thematic resonance with the joyous hakafot processions on , in which congregants dance with the scrolls around the , symbolizing the 's triumphant "entry" into the community much like the ancient entering the Temple gates described in the psalm. The psalm is also incorporated into Kabbalat services in certain rites, serving as an introductory psalm among selections that evoke the natural world's praise of to welcome the Sabbath bride. Additionally, it features in daily prayers as the Shir shel Yom (Psalm of the Day) for and in the preliminary morning service (), as well as in weekday and festival services when the scroll is processed and returned to the Ark, emphasizing communal reverence during these rituals. Midrashic literature interprets the psalm's refrain, "Who is this King of Glory?" (verses 8, 10), as referring to who shares divine honor with the righteous host accompanying the , evoking messianic visions of triumphant entry and redemption in sources like Tehillim. This reading aligns with broader rabbinic hopes for a future era of peace and ethical renewal, where the "King of Glory" leads in procession to the restored Temple.

In the New Testament

Psalm 24 finds Christological application in the New Testament through allusions that emphasize as the divine King of glory and the imagery of his heavenly ascension. In 1:3, the description of the Son as "the radiance of the glory of " echoes the psalm's repeated proclamation of the "King of glory" (Psalm 24:7-10), portraying Christ as the exact representation of God's being who upholds all things by his powerful word. This connection underscores the Son's preeminence and shared divine glory, linking the psalm's liturgical exaltation to the epistle's high . A possible reference to the psalm's procession imagery appears in Ephesians 4:8-10, where Christ's ascension "on high" involves leading captives in triumph and filling all things, evoking the triumphant entry of the King of glory through the gates in Psalm 24:7-10. While the passage directly quotes Psalm 68:18, the shared motif of victorious ascent has led some interpreters to see thematic parallels with Psalm 24's depiction of divine procession. Early Christian exegesis frequently interpreted verses 7-10 of Psalm 24 as prefiguring ' entry into heaven following his . , in his Expositions on the Psalms, views these verses as Christ overcoming the "gates of death" and commanding the heavenly powers to open for the victorious King, who ascends with his glorified body to sit at God's right hand. emphasizes that the scars of Christ's serve as badges of , allowing believers to recognize him as the strong and mighty (Psalm 24:8), thus interceding for humanity above all angelic hosts. Scholars debate the extent to which Psalm 24 influenced the ascension narrative in Acts 1:9-11, where is taken up into before the disciples' eyes. Some argue that the psalm provides a prophetic framework for the heavenly reception of the ascended Christ, contrasting the earthly "going" in Acts with the triumphant arrival implied in Psalm 24's gate-lifting . Others contend that while thematic resonances exist—such as exaltation and divine kingship—the Lukan account draws more directly from broader ascension motifs without explicit dependence on this psalm. This discussion highlights how the psalm's imagery of the King of glory entering his (Psalm 24:9-10) typologically anticipates Christ's , applying the theme of divine kingship to him as the exalted Lord.

In Christian Worship

Psalm 24 holds a prominent place in Christian liturgical traditions, particularly associated with the feasts of Ascension and Advent. Verses 7-10 are interpreted as depicting Christ's triumphant entry into heaven following his , symbolizing his as the King of Glory, a theme emphasized in patristic such as Augustine's, where the psalm portrays the Lord's ascension and . In Ascension liturgies, these verses underscore the heavenly exaltation of , as seen in Coptic Orthodox readings for the Feast of the Ascension, which include Psalm 24:9-10 to proclaim the Lord's mighty entry. For Advent, the psalm anticipates the King's coming in judgment and , preparing the faithful for Christ's , with its imagery of divine ownership of creation and moral preparation resonating in seasonal . In the of the , Psalm 24 is incorporated into the , specifically appointed for on in the first week of the four-week cycle, where it serves as an invitatory psalm affirming God's sovereignty over the earth. It also appears in during certain solemnities, emphasizing themes of purity and . In Eastern Orthodox practice, the psalm features in the , such as the Third Hour, where Psalms 16, 24, and 50 are recited together to invoke God's protection and guidance, aligning with the tradition's emphasis on daily cycles. These uses draw upon allusions, such as Ephesians 4:8-10, which frame the psalm as fulfilled in Christ's ascension. The in Anglican tradition appoints Psalm 24 for Morning Prayer on the fifth day of the monthly , integrating it into daily offices to reflect on creation's belonging to and the call to holiness. In the , beyond Ascension, the psalm appears in readings for the Advent Fast and Nativity vigil, highlighting Christ's opening of paradise's gates, as in prophetic interpretations of verses 7-10 during the feast preparations. It also undergirds ethical sermons focusing on moral purity, drawing from verses 3-6 to exhort believers toward clean hands and a pure heart as prerequisites for encountering the divine, a motif common in Reformation-influenced preaching.

Musical Settings

Psalm 24 has inspired numerous hymns and popular adaptations that facilitate congregational participation in worship, particularly emphasizing its themes of divine sovereignty and the entry of the King of Glory. One prominent 19th-century example is the Advent hymn "Lift Up Your Heads, Ye Mighty Gates," written by Georg Weissel in 1623 and translated into English by Catherine Winkworth in 1855, which directly draws from verses 7-10 to portray Christ as the approaching King of Glory. This hymn appears in various denominational collections, such as the United Methodist Hymnal and the Lutheran Service Book, where it is sung to invite worshippers to prepare for Christ's coming during Advent services. In modern worship, Psalm 24 influences through songs that highlight its creation motifs from verses 1-2. For instance, "The Earth Is the Lord's" by , composed by Bill Batstone in 1981, sets the opening verses to a melodic suitable for group singing, underscoring God's ownership of all creation. Similarly, "Prepare Him Room" by Sovereign Grace Music, written by Dave Fournier and Rebecca Elliott in 2014, adapts verses 7-10 into an upbeat calling believers to make space for the King of Glory, often featured in Advent playlists and church worship sets. These tracks emphasize accessibility, with simple structures that encourage audience participation in evangelical and settings. Adaptations in and extend Psalm 24's reach, including verse-by-verse settings designed for youth groups and choirs. A notable -infused rendition is "Psalm 24 (The King of Glory)" by featuring Blair Linne and , recorded live in 2022, which blends spoken-word elements with saxophone to proclaim the psalm's procession imagery in a dynamic, urban worship style. For youth contexts, scripture songs like "The Earth Is the Lord's (Psalm 24:1)" by GroupMusic provide straightforward, repetitive melodies for memorization and group singing during studies or camps. These adaptations prioritize rhythmic energy and thematic relevance to engage younger audiences in reflecting on moral purity and divine kingship. Psalm 24 holds a significant role in congregational , especially during Advent to evoke anticipation of Christ's return or in missions-focused services to affirm God's global lordship. Examples from denominational include its inclusion in the Presbyterian Hymnal (1933) as a responsive reading set to , used in calls to , and in the Baptist Hymnal (1991) for missions conferences highlighting creation . Such uses foster communal declaration of the psalm's truths, reinforcing its liturgical vitality in diverse Christian traditions.

Classical and Choral Compositions

One of the earliest significant choral settings of Psalm 24 is Heinrich Schütz's "Die Erd und was sich auf ihr regt" ( 121), composed around 1628 as part of his (Op. 5), a collection of German psalm motets for five voices with . This polyphonic work emphasizes the psalm's themes of creation and divine entry through layered vocal textures, reflecting Schütz's Venetian influences from , and was intended for Lutheran worship with instrumental support. A landmark setting appears in George Frideric Handel's (HWV 56, 1741), where the chorus "Lift up your heads, O ye gates" directly quotes Psalm 24:7–10 in English translation. Composed for the by , this triumphant movement for double choir and depicts the ascension of Christ as the King of Glory, with antiphonal exchanges between the "gates" and the responding voices, and has become one of the most performed pieces in the classical canon. In the Romantic era, composed "Dem Herrn der Erdkreis zusteht" (MWV B 34, Op. 78), a choral setting for mixed voices, organ, and orchestra completed in 1843, premiered in the following year. Mendelssohn's dramatic treatment highlights the processional aspect of the psalm, with ascending motifs evoking the "lifting up" of gates (verses 7–10) and a triumphant orchestral conclusion underscoring divine kingship, aligning with his interest in biblical oratorios. The work's lyrical and fugal elements make it a staple in concert repertoires, demonstrating Mendelssohn's synthesis of forms and Romantic expressiveness. The saw innovative adaptations, including Lili Boulanger's "Psaume 24: La terre appartient à l'Éternel" (1916) for chorus, organ, and orchestra, one of her three psalm settings composed during her brief but influential career. Boulanger's piece captures the psalm's majesty through bold fanfares and impressionistic harmonies, with the organ providing a majestic backdrop to the choral declarations of God's sovereignty, premiered posthumously in 1918 and reflecting her studies under . Its concise yet powerful structure has ensured frequent performances in modern choral programs. Jewish composer incorporated elements of Psalm 24 into his "Avodath Hakodesh" (Sacred Service, 1930–1933), a full for , chorus, and organ, commissioned for synagogues. In the section "Taking the Scroll from the Ark," Bloch sets verses 7–10 ("Lift up your heads, O ye gates") in Hebrew with soaring choral lines and modal inflections drawn from Jewish cantorial traditions, blending them into a symphonic choral framework that evokes ritual procession. This integration underscores Bloch's commitment to Hebraic musical identity, making the work a landmark in choral music.

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  54. https://www.umcdiscipleship.org/resources/history-of-hymns-lift-up-your-heads-ye-mighty-gates
  55. https://www.youtube.com/watch?v=7Ge7ExDaOxM
  56. https://worshipmatters.com/2014/09/09/prepare-him-room-a-video-preview/
  57. https://www.youtube.com/watch?v=i2FudayNPbE
  58. https://open.spotify.com/track/3JR0UoeiVX0NVGu2ARv6eh
  59. https://hymnary.org/browse/scripture/Psalms/24
  60. https://imslp.org/wiki/Messiah%2C_HWV_56_%28Handel%2C_George_Frideric%29
  61. https://www.milkenarchive.org/music/volumes/view/masterworks-of-prayer/work/sacred-service-avodat-hakodesh/
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